Chaturvidh Sangh Prastarankan - Book Summary

This document, "Chaturvidh Sangh Prastarankan" by Shailendra Rastogi, found within the "Z_Deshbhushanji_Maharaj_Abhinandan_Granth_012045.pdf," is a detailed exploration of the representation of the "Chaturvidh Sangh" (Four-fold Jain Community) in ancient Jain art, particularly focusing on sculptures found in Mathura.

Here's a comprehensive summary of the provided text:

The Chaturvidh Sangh:

The Jain Sangh is composed of four components: Muni (monks), Aryika (nuns), Shravak (laymen), and Shravika (laywomen).
Munis and Aryikas are the renounced class, while Shravakas and Shravikas belong to the householder class.
The text emphasizes that the Jain Sangh ceases to exist if these four components are absent, and consequently, Jainism itself would cease to exist.

Artistic Representations in Mathura:

The core of the document discusses the artistic depictions of the Chaturvidh Sangh on Jain sculptures, primarily from Mathura, dating from the pre-Christian era to the Kushan period.

Contrast with Brahmanical and Buddhist Art:
- Early Brahmanical (Vishnu, Shiva) sculptures from Mathura have simple pedestals.
- Buddhist sculptures, however, sometimes feature decorative elements around the Dharma Chakra on the base, depicting householders adorned with garlands. This is noted by Prof. Charandas Patanjali.
- Another Buddhist example shows Bodhisattvas and householders with garlands below the Buddha image.
Early Jain Sculptural Evidence:
- The text highlights a significant number of Jain sculptures from Kankali Tila, Mathura, housed in the State Museum, Lucknow. Out of 66 sculptures, a large portion (45 seated, 5 standing, 2 Sarvatobhadra, 2 with lion depictions and inscriptions, 11 worn with faint signs of the Sangh) clearly depict the Chaturvidh Sangh. One sculpture is without an inscription.
- Early Pillars and Ayaga Pattas: The earliest representations include naked ascetics with pichhi (a broom-like object) and kamandal (water pot), along with a fragmented statue with a remnant of clothing. A pillar with an inscription detailing Lord Rishabhanatha's renunciation is also mentioned. An Ayaga Patta (votive tablet) shows Parshvanatha with a seven-hooded serpent, flanked by two Jinkalpi (highly ascetic) monks in prayer. These are dated to the Shunga period (pre-1st century CE) based on the style of seated Tirthankara and other figures.
Kushan Period Depictions:
- Sculptures from the Kushan period (Kanishka Samvat 4 to Vasudeva Samvat 18) are frequently inscribed with details of the Chaturvidh Sangh. Specific years like 58, 60, and 48 of Huvishka are highlighted.
- Script and Chronology: The script on the inscriptions is also noted as important for dating. One sculpture dated to Samvat 31 differs from those with later dates, indicating that older styles persisted or that different eras might have been used in Mathura.
- Specific Representations:
  - Some sculptures feature only householders around the Dharma Chakra.
  - A statue of Sambhavanatha shows a Dharma Chakra on Tiratra (three jewels) with a well-adorned Shravika holding a garland on the left and a Shravaka with an uttariya (upper garment) on his left shoulder, holding flowers, on the right. Notably, two guardian Yakshas are absent.
  - Dharma Chakras are sometimes depicted with seated Yakshas, and on a few occasions, placed on the head.
  - Standing vs. Seated Figures: Standing sculptures are often characterized by depictions of lions, while seated ones feature pillars.
  - A sculpture from Samvat 76 shows an ardhachela (partially clothed ascetic) on the right, the Dharma Chakra on Tiratra, and three women on the left, adorned with long dhotis, earrings, and bangles, holding lotuses – identified as Shravikas, possibly of foreign origin due to their height.
  - Aryikas: Depicted without ornaments, holding books for knowledge and pichhi for purity.
  - Shravikas: Shown in various saree styles, with tilak on the forehead, and adorned with jewelry on ears, hands, and feet. They are depicted holding garlands, the end of their saree, with hands on their waist, or holding flowers. Young children are also shown with folded hands. Attendants, possibly maids, are shown holding folded hands or flower plates in secondary positions.
  - Shravakas: Shown with a cloth fragment (aggoyara) and pichhi, or with an uttariya on the left shoulder, holding a garland in their right hand. They are identified as householders. Young children in veneration are also present. Servants with folded hands are at the edges.
  - Other Ascetic Depictions: Mentions of kanhashraman, kachhaute (loincloth), and a statue fragment showing an ascetic with a cloth fragment, naked and in mid-air, with a Vidyadhara holding an umbrella and garland in front.
  - Jinkalpi Ascetics: Besides those on the Ayaga Patta, a Tirthankara statue from Vasudeva Samvat 80 shows a naked ascetic with folded hands behind the throne, followed by three householders holding garlands. On the other side are three women with folded hands and a fourth holding a lotus. Another sculpture has a nun, and a third shows a naked ascetic holding a pichhi. A fragment depicts a householder, an ardhakala, and a nun holding a pichhi and fruit in another hand. The nun is depicted wearing a lower garment and a shawl with its knot below the neck, with the other hand inside. Nuns are generally shown wearing a saree or a long, stitched coat-like garment.
  - Unique Depiction at Ahichhatra: A sculpture at Ahichhatra shows women on the right and men on the left, considered a new artistic experiment or mistake. A Sarvatobhadra pedestal (Samvat 74) from Ahichhatra, made of Mathura's spotted red stone, beautifully depicts men, women, monks, and nuns in veneration on all sides.
Decline in Gupta Period: By the Gupta period, the practice of depicting the Chaturvidh Sangh becomes less prevalent, with only a few devotees shown kneeling in veneration around the Dharma Chakra.

Scholarly Insights and Future Research:

Dr. Jyotiprasad Jain's Opinion: The text presents Dr. Jyotiprasad Jain's view that the Mathura Jain Sangh, originally Digambara, maintained contact with both Digambara and Shvetambara traditions after their separation. This interaction might have led to the existence of "Ardhaphalaka" sect ascetics in Mathura during the early centuries CE. These ascetics were neither fully naked Digambaras nor clothed Shvetambaras, but carried a folded piece of cloth on their left arm to cover their nudity. Many such depictions exist in Mathura's art.
Historical Significance of Mathura: Mathura is described as a historically important city where Indian civilization and culture flourished. Its strategic location on a major highway facilitated the movement of artists, scholars, merchants, rulers, and invaders, and it became a center for religious teachings and the propagation of knowledge by various saints.
Archaeological Contributions: The text acknowledges the significant contributions of General Sir Alexander Cunningham and Dr. Furgur in illuminating Mathura's cultural heritage and providing a foundation for understanding Jain architecture and sculpture. The excavations between 1853 and 1866 are highly respected.
Call for Further Research: The author suggests that further systematic and scientific study of the archaeological remains, artistic treasures, stupas, and Ayaga Pattas from Mathura is needed to shed light on Indian history, the rise and development of Jainism, schisms within the Sangh, and the evolution of sculpture.
Dr. Bhagwatsaran Upadhyay's Observation: Dr. Bhagwatsaran Upadhyay noted a depiction on the base of an ancient Tirthankara statue (B.4) showing a battle scene with a Dharma Chakra between two lions in front.
Encouraging Public Engagement: The author hopes that the Jain community will actively encourage the analysis of such historical artifacts to provide a scientific basis for the history of Jain sculpture.

Acknowledgments:

The images used in the article are courtesy of the Director, State Museum, Lucknow.
Shri Rajesh Sinha and Shri Rajjan Khan are credited for photography.
The author expresses gratitude to Dr. Jyotiprasad Jain for sharing his views.

In essence, this document is a scholarly examination of how the four pillars of the Jain community were visually represented in ancient Mathura art, highlighting the evolution of these depictions, their significance in understanding Jain history and practices, and the enduring legacy of archaeological research in this field.