Jaina Bronzes The Patna Museum

This document, "Jaina Bronzes in the Patna Museum" by H. K. Prasad, provides a detailed analysis of the Jaina bronze collection housed in the Patna Museum, cataloging and contextualizing pieces discovered from two primary locations: Chausā in the Shahabad District and Aluāra (also known as Machuātānd Aluāra) in the Manbhum District.

The author divides the study into two main sections, reflecting the distinct stylistic characteristics of the bronzes from each site:

A. The Chausā Jaina Bronzes:

• Discovery: A hoard of 18 Jaina bronzes was found in Chausā in 1931. This collection included one Dharmacakra (Wheel of Dharma), one Kalpavṛkṣa (wish-fulfilling tree), and 16 images of Jaina Tirthankaras.
• Categorization: The Chausā bronzes are further categorized into three groups:
  • Group 1 (Dharmacakra and Kalpavṛkṣa):
    • The Dharmacakra is described as having 16 spokes, a handle flanked by nude female figures (Yakṣiṇīs) emerging from Makaras (mythical sea creatures). Its style is compared to Sāñci and Bhārhut art, suggesting a dating in the Sunga period (2nd-1st centuries B.C.). The author notes its independent status as an object of worship, contrasting with its later subordinate placement on Tirthankara pedestals.
    • The Kalpavṛkṣa, depicting a tree with a female figure seated on top, is also attributed to the Sunga period due to the association of female figures with trees in Sāñci and Bodh Gaya art. Its independent representation, unlike later Gupta period depictions, further supports this dating.
  • Group 2 (Ten Standing Tirthankara Images):
    • These images are characterized by their similarity to Mathura sculptures of the Kušāṇa period. They are standing in the Kayotsarga (meditative standing) posture, are nude, and generally lack lañchana (distinctive symbols) except for Pārśvanātha. The execution is described as crude, with disproportionate limbs, lack of grace, and dullness.
    • The absence of attendant Yakṣa and Yakṣiṇī figures, which became common in the Gupta period, further supports the Kuṣāṇa attribution. While most are placed in the Kuṣāṇa period, one Pārśvanātha image is discussed as potentially dating to the late 1st century B.C. based on stylistic comparisons.
  • Group 3 (Six Seated Tirthankara Images):
    • These six seated images are considered to belong to the early Gupta or Gupta period. They exhibit delicacy, refinement, grace, charm, life, and vigor, with naturalistic and well-proportioned body representations.
    • The presence of lañchana on two of the images and the characteristic features of Gupta art, such as the trilinear umbrella and the overall aesthetic, distinguish them from the Kuṣāṇa period pieces.

B. The Aluāra Jaina Bronzes:

• Discovery: In March 1947, a hoard of 29 Jaina bronzes was found in Aluāra (Manbhum District). This included 27 Tirthankara images, one female deity (likely Ambikā), and one Jina head.
• Distinctive Features: These bronzes are noted for their local style, differing significantly from the Chausā bronzes in technique and form. Key characteristics include:
  • Solid casting: Unlike the Chausā bronzes, these are solid cast and lack a core.
  • Delicacy and Proportion: The images generally possess delicacy, charm, and well-proportioned limbs, indicating fine execution.
  • Posture: The Kayotsarga posture is not strictly adhered to; hands often touch the knees.
  • Ūrṇa and Lañchanas: The presence of ūrṇa (a curl of hair on the forehead) and the association of lañchana with the images, which became prevalent from the Gupta period onwards, are noted.
  • Pedestals: The pedestals are complex, tiered, and often decorated with figures of devotees, a tradition that also began in the Gupta period.
  • Lañchana Placement: The lañchana are depicted on the pedestal itself, not on the stole or halo, a feature that became common in the Pāla period.
  • Canopied Thrones: Some images are shown within canopied thrones (simhāsanas), a later conception likely originating in the Pāla period.
  • Inscriptions: Some images bear inscriptions with palaeographical features suggesting an 11th-century A.D. date, making them later than the Chausā bronzes.
• Identifiable Figures: The text lists several identifiable Tirthankaras based on their lañchanas and other attributes, including Ṛṣabhanātha, Candraprabha, Ajitanātha, Śāntinātha, Kunthunātha, Pārśvanātha, Neminātha, and Mahāvīra, as well as the female deity Ambikā.

In conclusion, the paper systematically analyzes the Jaina bronzes in the Patna Museum, establishing chronological and stylistic distinctions between the Chausā and Aluāra collections. The Chausā bronzes showcase a development from the Sunga period (Dharmacakra, Kalpavṛkṣa) through the Kuṣāṇa period (standing Tirthankaras) to the early Gupta period (seated Tirthankaras). The Aluāra bronzes, characterized by their own regional style and later dating (likely up to the 11th century A.D.), demonstrate a continuity of Jain artistic traditions with evolving iconographic and stylistic features.