Introduction To Iconography Of Jain Goddess Padmavati

Here's a comprehensive summary of the provided text from "An Introduction to the Iconography of the Jain Goddess Padmavati" by A.K. Bhattacharya:

The text delves into the origins and development of serpent worship and iconography, ultimately connecting it to the Jain goddess Padmavati. It begins by exploring the symbolism of the serpent in European and Indian traditions, noting its association with the sun, time, eternity, enlightenment, and creation. The author highlights the ancient Indian reverence for serpents, tracing it back to the Vedic period, where serpents (like Ahi) are initially depicted as enemies of Indra but later evolve into semi-divine beings with anthropomorphic features.

The evolution from a masculine embodiment of virile energy to a feminine representation of creation and preservation is attributed to epic writers. This transformation led to the eventual focus on female deities as serpent goddesses. The text then discusses the serpent sacrifice of Janamejaya in the epic age, introducing figures like Vasuki and his sister Jaratkāru, who later becomes the mother of Astika and a presiding deity over serpent spirits. Kasyapa is noted as the one who could cure snakebite, and Kadrū as the mother of serpents.

The author then traces the development of the serpent goddess concept through Puranic literature, introducing Manasa as an example. Manasa's lineage shifts from being the mind-born of Kasyapa to the spiritual daughter of Shiva, with later texts reconciling these ideas. The text also touches upon the association of the serpent chief Shesha with Balarama in Puranic times, often depicted with a serpent-wreath and canopy.

A significant portion of the text focuses on the Jain goddess Padmavati, highlighting her connection to the lotus symbol, which was initially associated with Lakshmi. The name "Padma" itself signifies this association. The text posits that Padmavati, as a serpent goddess, is a relatively late development.

Crucially, the text draws parallels between the Jain Padmavati and the Buddhist serpent goddess Jānguli. Both are depicted as goddesses who cure and prevent snakebites. Jānguli is described as emanating from Akshobhya, similar to how Padmavati is considered a Sāsanadevi (attendant deity) of Pārsvanatha. The text notes that Jānguli is also called a Tārā in Buddhist tradition, and fear from serpents is one of the fears Tārā dispels. This leads to the conclusion that Padmavati in Jainism is analogous to Tārā in Buddhism.

The author points out the mutual influence between Buddhist Kurukulla (emanating from Amitābha) and Jain Padmavati. Both are described as being attended by the "Eight Principal Nāgas," whose names and descriptions, including their clan and color, are detailed. The text also explores the idea that these Nāgas might represent wealth symbols (nidhis), particularly in relation to Lakshmi (often identified with Padma), who was born from the ocean, the abode of both treasures and serpents.

The text emphasizes Padmavati's popularity in the Jain pantheon, noting her transition from a Sāsanadevi of Pārsvanatha to an independent and influential goddess. Her iconography is described as varied, with some texts identifying her as the "Primordial Power" or "Adi-sakti."

The discussion then extends to the affiliation of the serpent goddess (including Padmavati) with higher divinities in Brahmanism, Buddhism, and Jainism. The text notes ideological similarities and highlights the representation of emanations bearing the effigies of their respective higher divinities. An inscription from the 2nd century BC mentioning an apsaras Padmavati attending on the Buddha is cited, as is the significance of Padmavati as the name of Nāga kings' capital cities.

The text further explores Padmavati's connection to Shiva (Hara), mentioning her being called "Mahesa" and "Maha-Bhairvi" in Jain texts, linking her to Saiva mythology. This is compared to the conception of Padmavati as the Yakshini of Pārsvanatha, who is often depicted with a seven-hooded serpent canopy, mirroring Amoghasiddhi's canopy as the sire of Tārā. The significance of the seven-hooded canopy is discussed, linking it to the exalted imagery of Pārsvanatha in Jainism, while acknowledging its connection to Saiva myths.

The text concludes by discussing the iconographic representation of Padmavati, particularly the Digambara tradition of placing the effigy of the Lord of the Serpents (Dharanendra, often considered Padmavati's consort) on her crest. This contrasts with Buddhist iconography where the Sire's effigy is placed. The author also clarifies the evolution of Sāsanadevatas in Jainism, moving from principal converts to emanations of Tirthankaras, and the changing significance of the term "Yaksa." Padmavati's journey from a Sāsanadevi of Pārsvanatha to an independent deity invoked for various purposes, including wealth, protection, and even destructive actions (marana, uccatana, vasika), is highlighted. The text emphasizes her conception as the source of all powers in the Jain pantheon.