Jain Mahapurana Kalaparak Adhyayana

Here's a comprehensive summary of the Jain text "Jain Mahapurana: Kalaparak Adhyayana" by Kumud Giri, based on the provided pages:

Book Title: Jain Mahapurana: Kalaparak Adhyayana (Jain Mahapurana: An Artistic Study) Author: Dr. Kumud Giri Publisher: Parshwanath Shodhpith, Varanasi Publication Year: 1995

This book, published by Parshwanath Shodhpith, Varanasi, is an in-depth artistic study of the Jain Mahapurana, a monumental work in Digambara Jain literature. The author, Dr. Kumud Giri, received her Ph.D. from Banaras Hindu University for this research, highlighting its academic significance.

Core Focus:

The central aim of the book is to analyze and understand the artistic and iconographic elements described within the Jain Mahapurana. It delves into how the descriptions in this foundational text influenced the visual representations (sculpture, painting) of Jain deities, Tirthankaras, and other significant figures throughout history.

Key Themes and Content:

1. Jain Mahapurana as a Source for Art History: The book establishes the Jain Mahapurana (comprising the Adi Purana by Jinansen and Uttar Purana by Gunabhadra) as a crucial repository of information for understanding Jain art and architecture. The text provides detailed descriptions of Tirthankaras, the 63 Salakapurushas (illustrious individuals), Yakshas, Yakshinis, Vidya Devis (goddesses of knowledge), and various architectural elements.

2. Iconography of Jain Deities: A significant portion of the study is dedicated to the iconographic details of the Jain pantheon. It meticulously details the characteristics, symbols (lāñchana), attributes, and associated figures (like Yaksha-Yakshini guardians) of the 24 Tirthankaras, as well as other celestial and semi-divine beings mentioned in the Mahapurana.

3. Influence on Sculpture and Temple Architecture: The book highlights how the Mahapurana's descriptions directly impacted the creation of Jain sculptures and temple designs. It notes that the period of the Mahapurana's composition (9th-10th centuries CE) was a crucial phase for defining the iconographic norms for Jain figures.

4. Comparative Study with Artistic Sites: The author makes a significant effort to compare the textual descriptions in the Mahapurana with the actual artistic representations found at important Jain sites like Ellora, Devgarh, Khajuraho, Mathura, Badami, and Aihole. The study specifically emphasizes the connection between the Mahapurana's narrative and the sculptures in the Jain caves at Ellora (Caves 30-34), noting the clear influence of the text on their depiction, particularly for figures like Parshvanatha and Bahubali.

5. The 63 Salakapurushas: The book details the lives and iconographic representations of these significant individuals, including the 24 Tirthankaras, 12 Chakravartins (Universal Emperors), 9 Balabhadras, 9 Narayanas (Vasudevas), and 9 Pratinarayanas (anti-Vasudevas). It explores how these figures, like Bharata Chakravartin and Bahubali, were artistically rendered based on the Mahapurana's accounts.

6. Syncretism and Inter-religious Influence: The study points out the religious syncretism evident in the Mahapurana, where names and attributes of deities from Brahmanical (like Shiva, Vishnu, Brahma) and even Buddhist traditions are sometimes referenced, particularly in the hymns to Rishabhanatha. This reflects the harmonious religious environment of the time and the Mahapurana's broad approach.

7. Cultural Milieu: The book situates the Mahapurana and its artistic descriptions within their historical and cultural context, discussing the political, religious, and social conditions of the Rashtrakuta period, when the work was composed. It also touches upon aspects of daily life, such as clothing, ornaments, hairstyles, music, and dance, as gleaned from the text and corroborated by archaeological evidence.

8. Specific Deities and Themes: The study examines the evolution and representation of various deities, including:

   • Tirthankaras: Detailed accounts of the 24 Tirthankaras, their parentage, auspicious dreams, lifetimes, body measurements, symbols, and associated Yaksha-Yakshinis, with particular focus on Rishabhanatha, Parshvanatha, Neminatha, and Mahavira.
   • Shalaka Purushas: Descriptions of Chakravartins (Bharata, Sagar, etc.), Balabhadras (like Rama/Balarama), Narayanas (like Krishna), and Pratinarayanas (like Ravana), and their artistic manifestations.
   • Yakshas and Yakshinis: Their role as guardian deities and their iconographic evolution, with mentions of specific Yakshas like Manibhadra, Purnabhadra, Gomukha, Dharanendra, and Yakshinis like Chakreshvari, Ambika, and Padmavati.
   • Vidya Devis: The emergence and representation of goddesses associated with knowledge and specific arts.
   • Other Deities: The integration of deities like Indra, Shiva, Vishnu, Brahma, Surya, Kubera, and goddesses like Lakshmi and Saraswati into the Jain pantheon, reflecting Brahmanical influence.
   • Architecture: Descriptions of temples, Samavasarans (celestial assembly halls), royal palaces, and general dwellings, providing insights into Jain architectural practices.
   • Cultural Life: Detailed accounts of jewelry, clothing, cosmetics, hairstyles, music, and dance, offering a glimpse into the lifestyle and aesthetic sensibilities of the time.

Contribution:

Dr. Kumud Giri's "Jain Mahapurana: Kalaparak Adhyayana" is considered a significant and scholarly contribution to the study of Jain art and iconography. By meticulously analyzing the artistic content of the Mahapurana and comparing it with extant art and architectural examples, the book provides a comprehensive understanding of how Jain religious texts shaped and were reflected in their visual culture. It serves as a vital resource for scholars and enthusiasts interested in Jain art, history, and religious studies.

Funding:

The publication of this book was made possible with financial assistance from the Indian Council of Historical Research, New Delhi.