Jain Kala Me Tirthankaro Ka Vitragi Swarup - Book Summary

Here's a comprehensive summary in English of the Jain text "Jain Kala me Tirthankaro ka Vitragi Swarup" (The Vitragi Aspect of Tirthankaras in Jain Art), authored by Maruti Nandan Prasad Tiwari and Chandradev Sinh:

This article, by Dr. Maruti Nandan Tiwari and Dr. Chandradev Singh from the Department of Art History, Banaras Hindu University, delves into the representation of the vitragi (non-attached, dispassionate) nature of Tirthankaras in Jain art. While acknowledging previous scholarly works on Jain art, the authors emphasize that studies on Tirthankaras have primarily focused on their iconographic attributes. This article, however, specifically aims to discuss the vitragi aspect and its artistic manifestation.

Historical Development of Tirthankara Iconography and the Vitragi Aspect:

Early Evidence: While some scholars suggest a nude torso from Harappa (c. 2500 BCE) might be a Tirthankara, the lack of deciphered script makes this uncertain. However, the nude posture, resembling the kayotsarga (standing, detached) pose, does indicate an ancient tradition of depicting yogic figures, which later became integral to Tirthankara imagery. The Mauryan period statue from Lohaniapur (near Patna), dating to the 3rd century BCE, is a clear testament to the creation and worship of Tirthankara images.
Shunga and Kushana Periods: Tirthankara sculptures were produced in Mathura and Chausa (Bihar) during the Shunga period. Unlike Buddhism, Jain tradition did not prohibit the creation of the Buddha's (or Tirthankara's) likenesses, thus paving the way for Tirthankara imagery even before Mahavira's time. Early Jain texts, including the Vasudevahindi (6th century CE) and Hemachandra's Trishashti Shalaka Purusha Charitra (12th century CE), mention the creation and worship of Mahavira's images in his lifetime as Jivantaswami (living lord). The earliest examples of Jivantaswami images are from Akota, Gujarat, with inscriptions explicitly naming the "Jivit Swami."
Kushana Period and Standardization: The Kushana period saw a significant increase in Tirthankara image production, influenced by the Bhakti movement. Key iconographic features were established, including the Shrivatsa symbol on the chest, which helps differentiate Tirthankara images from Buddha images. Tirthankara sculptures were primarily created in two postures: seated in meditation (Padmasana) and standing in kayotsarga. These postures are characteristic of yogic contemplation.
Gupta Period and Full Iconographic Development: The Gupta period saw the incorporation of almost all eight Ashta Pratiharyas (eight auspicious signs) into Tirthankara iconography, such as thrones, attendants with fly-whisks, aureoles, ashoka trees, and garland-bearing Gandharvas. The full set of Ashta Pratiharyas began to appear in the Gupta period. Furthermore, Yakshas and Yakshinis, as attendant deities or Shasan Devis/Devas, were integrated with Tirthankara images, and individual laanchhanas (emblems) of Tirthankaras started to be depicted separately. Numerous Tirthankara images from the 6th-7th centuries CE have been found in Mathura, Akota, Rajgir, Varanasi, Vidisha, Badami, and Aihole.
Medieval Period (8th-13th Centuries CE): This period witnessed the fully developed form of Tirthankara iconography, with images found at numerous sites like Deogarh, Khajuraho, Shahdol, and Ellora. Medieval Tirthankara sculptures often included Yaksha-Yakshinis, Ashta Pratiharyas, individual emblems, and also depictions of Navagrahas (nine planets), Saraswati, Lakshmi, and other deities.

Syncretism and the Unique Jain Approach to Vitraga Nature:

Syncretic Tendencies: Jainism has been inherently liberal and syncretic, incorporating figures like Rama and Krishna into its pantheon, as evidenced by texts like Paumacariya (473 CE) and Harivamsa Purana (783 CE). The 63 Shalaka Purushas list includes not only Tirthankaras but also figures like Balarama, Krishna, Rama, Bharata Chakravarti, and Ravana as Chakravartis, Baladevas, Vasudevas, and Prativasudevas.
Assertion of Superiority: Jain followers often depicted attendant deities (Yaksha-Yakshinis) related to Brahmanical deities. This was a way to assert the superiority of Tirthankaras over Brahmanical gods, but it differed significantly from the often disrespectful portrayal of Brahmanical deities in Buddhism (e.g., shown beneath the feet of Buddhas).
Integrity of the Vitragi Form: Despite embracing syncretism and adapting to the times, Jainism strictly maintained the fundamental vitragi nature of the Tirthankaras. While Yaksha-Yakshinis were introduced to fulfill the worldly desires and provide material prosperity to the common populace, the Tirthankaras themselves were never depicted as bestowers of such boShri, nor were they shown in poses of granting boons or fearlessness (abhaya or varada mudra).
Contrast with Buddhism: The authors contrast this with Buddhism, where the Buddha, initially also having a vitragi aspect, was later depicted in abhaya and varada mudras, signifying the granting of boons and protection. The Buddha was also shown performing miracles, unlike the Tirthankaras.
Tirthankara Resilience: The text highlights how Tirthankaras, like Parshvanatha facing afflictions from Kamatha (Shambara) and Mahavira facing disturbances from Yaksha Shulapani and Sangamadeva, remained undisturbed and absorbed in meditation. In Parshvanatha's case, the Naga king Dharanendra had to intervene to protect him. This is interpreted not as a lack of miraculous powers, but as a deliberate choice to remain detached due to their vitragi nature.
Embodiments of Ahimsa: The renunciation of Neminatha upon witnessing animals prepared for a feast illustrates Jainism's unwavering commitment to ahimsa (non-violence). The dual combat between Bharata Chakravarti and Bahubali, instead of a large-scale battle, further emphasizes the Jain ethos of minimizing bloodshed.
Bahubali as an Example: Bahubali, though not a Tirthankara, attained liberation through intense penance and meditation. The description of vines and insects coexisting peacefully on his body during his asceticism showcases his profound vitragi state. His significance is evident in the massive 57-foot statue at Shravanabelagola, a testament to his attained status, akin to that of a Tirthankara.

Conclusion:

The article concludes by reiterating that despite all the syncretic changes and adaptations, the vitragi essence of the Tirthankaras was consistently preserved in Jain art. This is why Tirthankara sculptures are exclusively depicted in meditative postures – dhyana (meditation) and kayotsarga (standing in detachment). This adherence to their dispassionate nature is identified as a fundamental characteristic of Jainism.