Gujarat Se Prapta Kuch Mahattvapurna Jain Pratimaye

Here's a comprehensive summary of the provided Jain text, "Gujarat se Prapta Kuch Mahattvapurna Jain Pratimaye" (Some Important Jain Idols Obtained from Gujarat) by Pramod Kumar Trivedi:

This article, based on artifacts obtained by the Archaeological Survey of India, Western Circle, Vadodara, discusses several significant Jain metal sculptures, believed to have originated from Gujarat. These sculptures date between the 12th and 19th centuries CE and represent both the Shvetambara and Digambara traditions. The author focuses on the inscribed and selected artifacts for detailed analysis.

1. Chaturvishatipatt (Twenty-Four Tirthankara Panel) of Mahavir (Bronze, 17.05 cm x 10.05 cm): This Shvetambara artwork depicts Lord Mahavir in meditation, seated in the padmasana posture on a high triratha throne with a simple pedestal. He is adorned with an ushnisha (head covering), has an oval face, rectangular eyes, and elongated earlobes. The Shrivatsa symbol is engraved in silver on his chest. Behind his head is a halo, and a pot-shaped umbrella crowns it. Flanking him on either side are two Tirthankaras in the kayotsarga (standing meditation) posture. The presence of clothing details between the feet of these flanking Tirthankaras confirms its Shvetambara affiliation. The panel also features auspicious motifs like mangal kalash (auspicious pot) with paired peacocks, and another Tirthankara in meditation accompanied by flanking Tirthankaras in kayotsarga. The entire panel, including the central figure, displays all twenty-four Tirthankaras. In front of the throne, a Dharma Chakra (wheel of dharma) is depicted between two deer, and the Nine Planets (navagraha) are symbolically represented. The inscription on the back indicates its consecration in 1150 CE (Samvat 1207) by Acharya Shanti Prabh Suri. The inscription details the consecration for the well-being of Shresthi Wadhpal, Shresthi Jamdev, and Pran Singh, brother of Saldev.

2. Panchatirthika (Five-Figure Panel) of Parshvanath (Bronze, 10.05 cm x 9 cm): This Shvetambara artwork features Tirthankara Parshvanath seated in meditation in the padmasana posture on a simple cushion. His ears are long, and his lips are somewhat thick. The central figure's head is protected by seven serpent hoods, indicating it is a saphan murti (serpent-hooded idol). Flanking him are four other Jinas, two in kayotsarga and two seated in the padmasana posture at the top. These four Tirthankaras have similar head adornments as the main deity. The panel is supported by two horizontal bars resting on two vertical pillars. An inscription on the back states that this Panchatirthika idol was consecrated in 1446 CE (Vikram Samvat 1503). However, due to damage to the upper part of the inscribed pedestal, the inscription is not fully legible.

3. Panchatirthika (Five-Figure Panel) of Shantinath (Bronze, 17.02 cm x 11.05 cm): This metal idol has "Om Namah" and footprints inscribed on the front of its pedestal. Shantinath is depicted in meditation, seated in padmasana on a throne. He has a halo behind his head and a pot-shaped umbrella above, flanked by elephants performing an ablution. His head bears an ushnisha, and his eyes are depicted as square. Four other Tirthankaras are shown alongside the central figure. At the bottom, two attendant figures are depicted in the tribhanga posture, one a chamvaradhari (yak-tail whisk bearer). The outer part of the lotus pedestal is adorned with a pearl string emanating from elephant heads. At the top of the artwork, a mangal kalash with paired peacocks is displayed. The throne is intricately carved with a pair of lions facing left. To the left of the throne is the Yaksha Garuda, and to the right is the Yakshi Nirvani, associated with the sixteenth Tirthankara. An upasaka (devotee) in a prayerful posture and a Dharma Chakra with a deer on either side are present on the highly decorated pedestal. Five figures on the left and four on the right of the Dharma Chakra clearly represent the Nine Planets. The date of this artwork is 1468 CE. The inscription on the back in Devanagari script states that the idol was consecrated in Samvat 1525 (1468 CE), Vaishakh Shukla Tritiya, Thursday, by the Humbad community (a Digambara sect) member Karamsee, his wife Karamdevi, and daughter Jainaal. The consecration was performed by Bhattarak Shri Vimalendrakirti, a successor to Bhattarak Shri Sakalkirti, of the Saraswati Gaccha of the Moola Sangha.

4. Padmavati (Bronze, 19 cm x 19.05 cm): This statue depicts Padmavati, the guardian deity (Shasanadevi) of the 23rd Tirthankara Parshvanath, seated in the lalitasana (graceful sitting) posture on a pedestal formed by double lotus circles. Her features are not as refined as contemporary idols. She wears lotus earrings, bangles, a necklace hanging between her breasts, and plain anklets. Her lower garment reaches her knees and is fastened with a waist belt. This four-armed deity has her lower right hand in the vardamudra (boon-granting gesture) and the upper right hand holding a noose. Her lower left hand holds a citron, and the upper left hand holds an unrefined lotus with a stalk, resembling a mace. Her head is protected by three serpent hoods. Above the main deity, on a flower-adorned cushion, sits Tirthankara Parshvanath in meditation in the padmasana posture, with his head covered by seven serpent hoods. Flanking this composite figure are two elephant heads, from whose mouths emanate strings of rubies that terminate at a mangal kalash at the top. The inscription on the back indicates its installation in 1636 CE (Samvat 1693), on the first day of the waning moon in the month of Magha. The consecration ceremony was conducted by Bhattarak Dharmakirti, belonging to the Moola Sangha, Balatkar Gana, Saraswati Gaccha, and the tradition of Kundakundacharya. The inscription mentions the consecration was performed by the wife of Satinaag (name unreadable), who was devoted to her husband.

Concluding Remarks: The article highlights that metalworking and sculpture in this region reached their peak between the 9th and 13th centuries CE, prior to Muslim invasions. The exceptional advancements in Gujarat's art and craftsmanship during the medieval period led to the creation of unique metal artifacts. The religious consciousness of the era, particularly the inspiration from Jain monks and the continuous patronage of ancient art traditions by the Jain community, significantly contributed to the development of metal arts. The Jain community has invested considerable wealth in maintaining temples, sculptures, and manuscripts, preserving this heritage.

While the first artifact from the Solanki era stands out, the subsequent examples demonstrate a natural evolution and gradual decline in individual artistic expression. Although not always aesthetically captivating, the dated inscriptions on these artifacts bear witness to the various stages of artistic decline in metal sculpture. In the later medieval period, brass became increasingly popular for creating metal artifacts due to its shine, similar to gold.

During the period of Muslim rule, artistic activities took a new turn. Metalworkers adopted more reliable techniques and an independent approach. However, over time, there was a tendency towards simplicity and a decline in artistry. Influenced by Mughal styles, the art gradually transformed into an imitative style, resulting in idols that became increasingly crude and artificial, ultimately leading to the overall decline of metal craftsmanship.

The article concludes with a note on the inscriptions, providing slightly varying readings for the first Mahavir Chaturvishatipatt and mentioning that the term "pranamanti" is used in the Digambara tradition. It also reiterates the details of the consecration ceremonies and the lineages of the Acharyas involved.