Jain Pratimao Me Sarasvati Chakreshwari Padmavati Aur Ambika

Here is a comprehensive summary of the provided Jain text, focusing on the goddesses Saraswati, Chakreshwari, Padmavati, and Ambika in Jain iconography:

The book "Jain Pratimao me Sarasvati, Chakreshwari, Padmavati aur Ambika" by Dr. Kadambari Sharma explores the depiction and significance of four prominent goddesses in Jain iconography, tracing their origins and evolution through various artistic representations.

Introduction: The text begins by tracing the origin of Saraswati from the Rigveda as a river goddess, later associated with speech (Vak) and becoming a symbol of language, revered in various religions. In Jainism, she is known as Shrutadevi, closely related to the concept of knowledge and scriptures. While Jainism primarily recognizes only two postures for Tirthankaras (standing kayotsarga and seated padmasana), Saraswati statues are found in various postures like padmasana, tribhanga (three bends), samabhanga (straight), and lalitasana (relaxed seated). Unlike Tirthankaras who typically have two hands, Saraswati is often depicted with four hands. Common attributes in her hands include an abhaya mudra (gesture of fearlessness) or akshamala (rosary) in the right hands, and a book or a white lotus in the left hands. She is often adorned with a sacred thread (yajnopavita), a jata-mukuta (crown of matted hair), and beautiful ornaments.

Saraswati's Iconography: Saraswati statues are often described as embodying youthful beauty and balance. Variations exist across regions and periods:

• Hoysala period (South India): Statues often follow Vishnu-Dharmottara principles, depicted in samabhanga, holding a vina (lyre) made of bamboo in the right hand, and a kamandalu (water pot) instead of a lotus in the left.
• Patna bronze statue: Depicts Saraswati seated in lalitasana, with human figures playing flute and cymbals on either side.
• Parmar period (11th century): A crystal statue shows Saraswati seated in lalitasana with Jain Tirthankaras meditating above.
• Musical Association: Saraswati is frequently depicted as a veena player, with musical motifs around her, highlighting her association with music.
• Two-handed Saraswati: Examples include a statue from Gandhawal, Gorakhpur, and a tribhanga statue from Pala, Bengal, holding a veena in both hands.
• Sharda form: When depicted as Sharda, the presiding deity of sixty-four arts, she can have five faces and ten arms, adorned with various weapons.
• Iconographic Texts: Texts like Vishnu-Dharmottara and Rupmandana describe her as four-handed, seated on a white lotus, fair-complexioned, clad in white, with a jata-mukuta, and adorned with jewel earrings.
• Oldest Statue: The oldest known Jain Saraswati statue was found at Kankali Tila in Mathura, dating back to the 2nd century CE (Kushan period).
• Identification: Jain Saraswati statues can be identified by inscriptions or the presence of Jain Tirthankaras in the iconography. A British Museum statue from the 11th-12th century shows five Tirthankaras meditating above.
• Palli Jain Saraswati: A particularly beautiful 12th-century Palli Jain Saraswati statue from Bikaner is highlighted. This crystal statue is four-handed, holding a white lotus in the upper right hand, a palm-leaf manuscript in the upper left, and the lower hands are broken, possibly having held a veena. The statue is described with intricate details of ornaments, clothing, and facial expressions.

Other Yakshinis (Semi-Deities): The text then moves on to discuss other semi-divine female figures, the yakshinis, who are often depicted as protectors of Tirthankaras and are considered subordinate to them.

1. Chakreshwari and her Statues: Chakreshwari is identified as a Brahmani deity and a shasanadevi (attendant deity) of Rishabhanatha. Her iconography is described with varying numbers of hands, often twelve or six, and sometimes four. She is typically depicted holding chakras (discs) and other attributes like a vajra (thunderbolt), vina, and kamandalu. She is sometimes shown riding a Garuda.

• Gandhawal Statue: A notable twenty-handed statue of Chakreshwari from Gandhawal is mentioned, with most hands broken, but the chakra is clear in several. It is adorned with jewelry, has a halo, and celestial figures (vidyadharas) on either side. Small figures of meditating Tirthankaras are above. Garuda is depicted as her vehicle, and she holds a serpent in her left hand.
• Pratihar Period Statue (Uttar Pradesh): An eight-handed statue depicts Chakreshwari in lalitasana, with six hands holding chakras, the lower right in varada mudra, and the left holding fruit. A statue of Adinatha is above her head, and Garuda is on her pedestal.
• Karitalai Statue: A statue from Karitalai shows Chakreshwari seated beside Rishabhanatha. Interestingly, an Ambika statue is found instead of Chakreshwari in one instance, which is considered unusual.
• British Museum Statues: Statues from the British Museum show Chakreshwari with Garuda, holding fruit and akshamala in right hands, and lotus and parashu (axe) in left hands. Other hands are broken.
• Chandel Period Statues: Two statues from the Chandel period are described, with attendant female figures and meditating Tirthankaras above. Garuda's hands are in anjali mudra (folded hands).
• Svetambara vs. Digambara: Svetambara depictions of Chakreshwari often have eight hands with attributes like arrows, chakras, bows, goads, and vajras, while Digambara versions might have twelve or four hands, with the twelve-handed one having eight chakras.

2. Padmavati (Yakshini) and her Statues: Padmavati is identified as the yakshini of Parshvanatha, described in Hemachandra's "Parshvanatha Charitra."

• Gujarat and Rajasthan Statues: Two statues are notable. One shows Padmavati seated in padmasana beneath the hood of a seven-hooded serpent, with a meditating Tirthankara above. She holds fruit and lotus in upper hands, varada mudra in the lower right, and a pot in the left. Her vehicle, a peacock (kukkuta), is depicted near her feet. The second statue shows her in lalitasana, holding an ankusha (goad) and noose in upper hands, varada mudra in the middle right, and fruit in the left. Meditating Tirthankaras are above.
• Gahadwala Period Statue (12th century, Uttar Pradesh): A beautiful statue shows Padmavati in lalitasana, holding fruit in her right hand and a serpent in the left. A nine-hooded serpent is above her head, and her serpent vehicle is near her left foot.
• British Museum Statue (Parmar Period, 12th century): Depicts the goddess in tribhanga posture, standing under serpent hoods. Her right hand holds a serpent and a broken sword hilt, while the left holds a dal (leaf) and lotus. She wears beautiful ornaments. A meditating Tirthankara is above the serpent hoods.
• Victoria and Albert Museum Statue: This statue portrays Padmavati as the wife of the serpent king, saving Parshvanatha from Meghakumara. She stands to the left of Parshvanatha, holding an umbrella over him. This 7th-century Vardhana period sculpture is considered unique.

3. Ambika and her Statues: Ambika is described by Svetambara Acharya Gunavijaya Gani and is also recognized by Digambaras as a lion-riding, two-armed deity. Her iconography is found in texts like "Pratishthasarasangraha." She is often equated with Durga, Amba, and Kushmandi.

• Gandhawal Statue: Depicted as the yakshini of Neminatha, only the upper part of the statue is found. She wears earrings and a necklace. Her right hand is broken, but the left holds a child. The carving is under a mango tree with monkeys eating fruits. Headless Tirthankaras are shown above.
• Tripura Statue: Ambika is seated on her lion vehicle. Neminatha is depicted in meditation with Balarama and Krishna on either side. Ganapati and Kubera are also present. This statue is noted as an example of religious tolerance.
• National Museum Statue (12th century, Chedi Period): Shows Ambika seated under a tree with a child in her lap. Her lion vehicle is beside her left foot. The four-handed goddess holds mangoes and lotus. Meditating Neminatha is above the tree, with devotees below.
• Chalukya Art Statue (9th century): A bronze Jain Ambika statue, considered an excellent example of Chalukya art, is mentioned along with other goddesses. Rishabhanatha, Mahavira, and Parshvanatha are depicted. Ambika is seated on a lion to the left, holding mangoes and a child.
• Akota Statue (11th century): A beautiful statue shows Ambika seated on a lion in lalitasana. Her right hand holds mangoes, and the left holds her younger son Priyankara. Her elder son Shubhankara stands to the left. A meditating Neminatha is above her head.
• Malwa Region Statue (Parmar Period): Ambika is seated on a lion in lalitasana. She holds mango bunches, fruit, and a child. Meditating Neminatha is above. The inscription "Samvat 1203" is on the back.
• Bihar Statue (Pala Art, 10th century): Notable for its ornaments and flowing sari. Ambika stands under a mango tree, holding her younger son. The elder son stands to the right. The lion vehicle is near the pedestal.
• Karnataka Statues: Two similar statues show Ambika standing in tribhanga under a mango tree. One son sits on a lion to her right, and the other stands to her left. One holds mangoes, the other has broken hands.
• British Museum Statue (Orissa): Depicts Ambika in tribhanga posture under a mango tree, adorned with ornaments and a sari. Her son Priyankara is in her lap, and Shubhankara holds mango bunches. Musical figures are on either side, and meditating Neminatha is above. The lion vehicle is below. This 11th-century statue is similar to one in the Stenhal Gallery, USA.
• Museum Collections: Beautiful Ambika statues are also housed in various museums in Munich, Philadelphia, San Francisco, and Richmond, attracting scholarly attention due to their artistic merit.

In essence, the book meticulously details the visual representations of these goddesses within the Jain tradition, highlighting their attributes, postures, associated symbols, and regional variations in artistic styles, providing a comprehensive overview of their importance in Jain iconography.