Jain Moorti Vidhan

Here is a comprehensive summary of the Jain text "Jain Moorti Vidhan" by Dr. Priyabala Shah:

Book Title: Jain Moorti Vidhan (Jain Iconography) Author: Dr. Priyabala Shah Publisher: University Granth Nirman Board, Gujarat State Publication Year: 1980

Overall Purpose and Significance:

"Jain Moorti Vidhan" is a scholarly work that aims to provide a comprehensive understanding of Jain iconography, focusing on the identification, classification, and artistic representation of Jain deities and figures. The book is intended for university-level students of Indian Culture, as well as scholars and enthusiasts interested in Jain art and iconography. It fills a void in Gujarati literature by being the first comprehensive book on this subject in the language.

Key Themes and Content:

The book systematically explores the vast world of Jain iconography, covering a wide range of topics related to the visual representations of Jainism. Here's a breakdown of the key areas addressed:

• Introduction to Jainism:

  • The text begins with an overview of Jainism, defining Tirthankaras and Jinas as spiritual guides who lead humanity to liberation.
  • It traces the historical lineage of the 24 Tirthankaras, mentioning their significance and the spiritual path they represent.
  • The book touches upon the origins of idol worship in India, referencing archaeological evidence from the Harappan civilization and early Jain inscriptions.
  • It highlights the historical presence of Jainism in Gujarat and its patronage by kings and merchants.
  • The influence of Hindu traditions on Jainism, leading to the incorporation of certain deities like the Navagrahas, Yakshas, and Yakshinis into the Jain pantheon, is also discussed.

• Identification of Jain Idols:

  • A crucial aspect of Jain iconography is the use of "Lanchana" (symbols) to distinguish the otherwise similar-looking Tirthankaras. The book emphasizes the importance of these symbols as primary identification markers.

• Iconographic Categories and Deities: The book provides detailed descriptions and classifications of various Jain deities and figures, including:

  • Tirthankara Murtis: Chapters are dedicated to the individual Tirthankaras, detailing their iconography, Lanchanas, associated trees (Chaitya Vriksha), and sometimes their guardian deities (Yakshas and Yakshinis). Specific Tirthankaras like Rishabhanatha, Neminatha, Parshvanatha, and Mahavira are given particular attention.
  • Yakshas and Yakshinis: These semi-divine beings, often considered attendants or guardian deities of the Tirthankaras, are extensively covered. Their iconography, vehicles, attributes, and distinctions between different schools (Shvetambara and Digambara) are discussed. Notable Yakshas like Gomukha, Mahayaksha, Trimukha, and Yakshendra, and Yakshinis like Chakreshwari, Rohini, Ambika, and Padmavati are detailed.
  • Dikulapalas and Pratiharas: The eight directional guardians (Dikulapalas) and gatekeepers (Pratiharas) are presented, often showing parallels with their Hindu counterparts. Their iconography and roles in protecting the cardinal directions and entrances of temples are explained.
  • Planetary Deities (Grahas): The nine planets (Navagrahas) are discussed in the context of Jainism, outlining their iconography and their integration into the Jain pantheon, likely due to astrological influences.
  • Shrutadevis and Vidyadevis: These goddesses associated with knowledge and learning, particularly Sarasvati, are described, highlighting their importance and iconography.
  • Other Jain Deities: The book also covers other deities like Hiranyameṣi, Kshetrapala, Ganesha, Lakshmi, and various Yogaṇis, noting their presence and iconography within Jainism, often with Hindu influences.

• Key Iconographic Features:

  • The book delves into the characteristic features of Jain idols, such as the long, drooping arms, the Shrivatsa symbol, the serene expression, youthfulness, and nudity (especially for Digambara figures).
  • The presence of Yakshas and Yakshinis flanking the central Tirthankara figure and the depiction of the Ashoka tree or other significant trees under which Tirthankaras attained Kevala Jnana are explained as important iconographic elements.
  • The concept of "Pratiharas" (eight protective emblems) associated with Tirthankaras, including the divine tree, seat, umbrella, halo, divine sound, divine shower of flowers, fly-whisk, and divine drum, are described.

• Iconographic Treatments and Materials:

  • The text discusses the various materials used for sculpting idols, including stone, metal, and wood.
  • It explains the importance of adhering to specific dimensions and proportions outlined in ancient texts to ensure the sanctity and aesthetic appeal of the idols.

• The Concept of "Parikara" (Aureole/Frame):

  • A significant portion is dedicated to the elaborate decorative frames or aureoles (Parikara) that surround Jain idols. These are described as artistic compositions featuring various figures like Yakshas, Yakshinis, animals, auspicious symbols, and celestial musicians, all contributing to the overall magnificence of the idol. The intricate details and iconographic rules for creating these Parikaras are explained.

• "Ayagapattas" (Inscribed Plaques):

  • The book discusses inscribed plaques (Ayagapattas) found from sites like Mathura, which depict Tirthankaras and other Jain figures, serving as early evidence of Jain iconographic practices.

• "Samavasarana" (Divine Assembly Hall):

  • The unique representation of the Samavasarana, the divine assembly hall where Tirthankaras deliver their sermons, is detailed. This includes descriptions of its architectural layout, the various enclosures for different beings, and the central placement of the Tirthankara idol.

• Classification of Deities:

  • The book notes the classification of deities into categories such as Jyotishi (celestial beings), Vimānavāsi (inhabitants of celestial palaces), Bhavanapati (terrestrial beings), and Vyantaras (intermediate beings), highlighting the hierarchical structure of the Jain celestial realm.

• Iconographic Variations and Syncretism:

  • The text acknowledges the subtle differences in iconographic representations between the Shvetambara and Digambara traditions.
  • It also addresses the syncretic nature of Jain art, where certain Hindu deities and motifs were adopted and adapted into the Jain iconography, often retaining their original forms but being assigned roles within the Jain cosmic framework.

• Author's Background and Expertise:

  • The author, Dr. Priyabala Shah, is highly qualified in the field of art history and archaeology, with degrees from Mumbai University and a D.Litt. from the Sorbonne, Paris. Her extensive academic background and experience in museums and academic institutions lend considerable authority to the work.

Structure of the Book (Based on Table of Contents):

The book is organized into several chapters, systematically covering the subject matter:

• Chapter 1: Introduction to Jainism (Jainism, Tirthankaras, Idol worship, Temple worship, Classes of Jain deities, main characteristics of Jain idols, Pratiharas, Ayagapattas, Samavasarana, ancient Jain iconography literature, postures and mudras)
• Chapter 2: Murtis of Tirthankaras (Detailed descriptions of each of the 24 Tirthankaras)
• Chapter 3: Yakshas (Descriptions of various Yakshas)
• Chapter 4: Yakshinis (Descriptions of various Yakshinis)
• Chapter 5: Dikpalas and Pratiharas (Descriptions of directional guardians and gatekeepers)
• Chapter 6: Grahas in Jainism (Descriptions of planetary deities)
• Chapter 7: Shrutadevis and Vidyadevis (Descriptions of goddesses of knowledge)
• Chapter 8: Other Jain Deities (Miscellanous deities like Hiranyameṣi, Kshetrapala, Ganesha, Lakshmi, etc.)
• Appendices:
  • Siddhachakra or Navadevata
  • Manastambha
  • List of Tirthankaras of the past, present, and future, along with their Lanchanas.

Overall Contribution:

"Jain Moorti Vidhan" stands as a foundational text for anyone seeking to understand the visual language of Jainism. Dr. Priyabala Shah's meticulous research and clear presentation make this book an invaluable resource for studying the rich and diverse iconography of this ancient Indian religion. The inclusion of illustrations further enhances its utility, making the complex subject matter accessible to a wider audience.