Chaturvinshati Patta Ya Chaubisi - Book Summary

Here's a comprehensive summary of the Jain text "Chaturvinshati Patta ya Chaubisi" by Shailendra Rastogi, based on the provided pages and catalog link:

This document, Chaturvinshati Patta ya Chaubisi, authored by Shailendra Kumar Rastogi, focuses on the significance and study of Chaubisi (or Chaturvinshati Patta) in Jainism, with a particular emphasis on the collection housed at the State Museum, Lucknow.

The text begins by highlighting the importance of the Chaubisi, which represents the twenty-four Tirthankaras (enlightened beings) in Jainism. It explains that Jain belief recognizes twenty-four Tirthankaras in each half-cycle of time (Avsarpini and Utsarpini) in the Bharatkshetra of Jambu-dvipa. These Tirthankaras are believed to have attained their exalted status through their own efforts, without divine intervention or grace.

The author then delves into the archaeological evidence for the depiction of Tirthankaras. While the exact origins are debated, with some references pointing to Kharavela's inscription in the 2nd century BCE and scattered findings from the Indus Valley Civilization and Lohanipura, a continuous tradition of Tirthankara images on stone slabs (Shilapatta) is evident from the time of the Kshatraps (Shodasa) in Saka Samvat 72. This provides a clearer path for the study of Jain iconography.

The text notes that independent images of Tirthankaras, either singular, four-faced (Chowmukhi), or on Ayagapatta (worship plaques), become apparent from the beginning of the Kushana period. These can be with or without inscriptions. However, the practice of depicting multiple Tirthankaras together on a single stone slab emerged, leading to the creation of panels featuring three, five, or all twenty-four Tirthankaras. This artistic development is seen as a precursor to the Chaturvinshati Patta or Chaubisi. The author draws a parallel between these early Ayagapatta depictions and the later Chaubisi panels, a view supported by the renowned Jain scholar Dr. Jyotiprasad Jain.

The middle period of Jain literature also reflects this focus, with compositions like "Chaturvinshati Jinstavan" (10th century) and "Chaturvinshati Jinastuti" by Dharmaghosha and Jinaprabhasuri (14th century).

The State Museum, Lucknow, possesses six complete and two fragmented Chaubisi panels. These originate from places like Mathura, Mahoba, Shravasti, and Dub Kund in Gwalior (Madhya Pradesh). Some fragmented pieces and two panels have unknown provenance. They are crafted from various stones, including mottled red sandstone, Vindhyan sandstone, white marble, green (like mung bean), grey, and earthy red sandstone.

The document then proceeds to describe individual Chaubisi panels in the Lucknow Museum:

Fragmented Panels (S 842 & S 720): These retain 8 and 6 meditating Jinas respectively, with the main image of the first being entirely lost. The second panel is described as the side of a Chaubisi.
Mathura Chaubisi (J-57): Discovered in February 1890 from the Kankali Teela in Mathura, it was initially dated to the 9th century. However, based on the script, proportions, and facial features, it is attributed to the Late Gupta period. It features depictions of umbrellas and the Kaivalya tree. The halo is simple, decorated with dots between two lines. All Tirthankaras are in Padmasana (lotus posture) and meditating. All faces, except the main one, are worn. It measures 105 x 45 cm. An inscription mentions "Ri-k-sa Pratima Karit" (made by Ri-k-sa), suggesting it is the oldest Chaubisi in the collection.
Shravasti Chaubisi (66-59): This panel, measuring 58 x 48 cm, is made of mung-colored stone. It features 23 small meditating Jinas, with space left on the left. Including the main figure, there are twenty-four Tirthankaras. The triple umbrella is adorned with celestial musicians. Below the halo, there are lotuses, and on each side of the pedestal, an elephant is depicted. The left elephant has a rider in front and a lion's face at the rear with two paws. The right elephant has a couple as riders. Below them, Chamar-bearers (fly-whisk bearers) in tribhanga (three-bend) posture, richly adorned, are shown fanning Lord Rishabhdev, seated on a cushion embroidered with pearls and flowers. Lions sit on either side of the throne, with the bull, the symbol of Dharma-chakra, seated in the middle. To the left of the throne sits a Yaksha or householder in Namaskara mudra, and to the right, Chakreshwari, a four-armed deity in Ardha-paryankasana on a seat, holds a chakra in two hands and a conch shell and an indistinct object in the lower two.
Untitled Chaubisi (Likely the one described after Shravasti, size 1.34 x 0.40 cm): Made of grey stone, it has 15 clear Tirthankaras, with impressions of others and some damaged sections. The halo is decorated, and the Kaivalya tree is present. Locks of hair fall on the shoulders. The main figure's arms and legs are broken. The backrest features Chatur-bhuja Padmavati under a three-hooded serpent umbrella on the left, with two hands lost. On the right, Chakreshwari, riding a human, is seated in a four-armed posture. The figure is impressive, but its origin is unknown. It is considered a fine representation of the art of its time.
Sixth Chaubisi (66-295): Measuring 43 x 33 cm and made of earthy red stone. All Jinas are meditating. The main figure's face is worn, and the bottom is broken. Some Tirthankaras are also worn. There are three rows of three figures on the left and right, totaling 18. Three figures are above on the left and two on the right, making a total of 23, plus the main figure for twenty-four. The main figure has a triple umbrella with a worn meditating image on the front and a Vidyadhara (celestial being) on both sides, holding a kalash (pot) in both hands. This artwork is estimated to be from around the 9th century and is without an inscription. Its provenance is unknown.
Chaubisi (J. 820): Carved from white marble, resembling stone that rings like metal, though this one does not. The main figure stands in a naked Khadgasana (standing posture). There are eleven meditating Arhats on each side, totaling twenty-three with the main figure. The reason for only twenty-three is speculated to be due to space constraints. A small image is on the right. The faces radiate brilliance, and the physique is well-proportioned. The main figure is youthful and handsome. Chamar-bearers stand facing the main figure in tribhanga posture. Between them, a female figure sits to the left and a male figure to the right in prayer posture, possibly Yakshas or householders, as other Tirthankaras are depicted parallel to them. If not Yakshas, they can be considered devotees. The main figure's palm is a lotus leaf, referred to as "discs" in old registers. The halo is decorated, with a triple umbrella featuring Keyurak (a decorative motif) with pearls cascading. Celestial musicians above are broken. Elephants are on both sides, with broken riders. Flying Vidyadhara couples carrying garlands are visible on both sides. Leaves of the Kaivalya tree are also depicted. On the footrest of this panel, the Panchakshari mantra ("Ari-ha-u-sa-sva-ha") is inscribed in Devanagari script on the right, and a circular Shanti Yantra (peace symbol) is in the center. Next to the Yantra, a bull is seated to the left. The inscription "Asi Aa U Sa Swaha" represents the salutation of Arhat, Siddha, Upadhyaya, and Sadhu. The panel is considered unique for its auspicious sentiments.
Third Chaubisi (90 x 45.3 cm): This panel is worn, and its origin is unknown. A dancing figure is depicted at the bottom, whose identity is not specified. Below this, Rishabhdev is shown in a standing posture on a throne. Chamar-bearers and Vidyadharas carrying garlands are present on both sides. Twelve Jinas are seated on each side, making twenty-five including the main figure.
Fourth Chaubisi (J. 322 & 66-273): Measuring 1 meter 74 x 70 cm, it is made of Vindhyachal stone. The main figure, Rishabhdev, stands naked in Kayotsarga mudra (standing in meditation), but the head is missing. The Shrivatsa symbol is present on the main figure and all others. The characteristic symbol of the bull is absent, and there is no inscription. At present, there are twenty-two Tirthankaras including the main figure. The upper part is broken, with celestial beings depicted above. On the bottom left, an Arhat is shown, and the third figure above is Suparshvanath with a serpent umbrella. In parallel, an Arhat is depicted in Khadgasana. On the right side at the bottom, Chakreshwari, four-armed and riding a human, is shown, identified by Dr. U. P. Shah as Apratiratha. The throne rests on lions facing opposite directions, with a chakra in the middle from which garments are flowing. Based on the facial features and attire of the Chamar-bearers, this artwork is believed to belong to the Chandel period and was brought here from Mahoba in 1935.
Fifth Chaubisi (J. 949): This panel is also very beautiful, with the mark of an undergarment at the waist clearly visible, suggesting it is Svetambari in origin.

The author expresses gratitude to Dr. Pradyumna Kumar Jain for his assistance in understanding this work. The text concludes with a reference to V.N.S. 2503, indicating the year of its completion.