Jaina Iconography - Book Summary

Here's a comprehensive summary of B. C. Bhattacharya's "The Jaina Iconography," based on the provided text:

Overview:

"The Jaina Iconography" by B. C. Bhattacharya, first published in 1939 and revised in 1974, is a seminal work in the study of Jainism's artistic and religious representations. The book aims to systematically document and analyze the visual aspects of Jaina deities, symbols, and practices, drawing from both published and unpublished literary sources, as well as archaeological findings. The author emphasizes the importance of iconography in understanding the evolution and core tenets of the Jaina faith.

Key Themes and Content:

Fundamentals of Jaina Religion: The introduction provides a foundational understanding of Jainism, highlighting its core principles like Ahimsa (non-violence), its philosophical underpinnings (pluralistic realism, recognition of Jiva and Ajiva), and ethical guidelines. It also touches upon the differences and similarities between Jainism, Hinduism, and Buddhism, particularly regarding concepts like Nirvana, karma, and asceticism.
The Tirthankaras: The book dedicates a significant portion to the 24 Tirthankaras, the spiritual teachers of Jainism. It discusses their historicity, their identification through specific emblems (Lanchanas), trees under which they attained enlightenment, and the associated Yakshas and Yakshinis. The text notes that while the historicity of all Tirthankaras is debated, figures like Rishabhanatha, Parshvanatha, and Mahavira are considered historically significant. It also details the characteristic postures (Asanas) and hand gestures (Mudras) associated with Jaina images, such as Kayotsarga (standing) and Padmasana (seated).
Yakshas and Yakshinis (Sasana-Devatas): Chapters III and IV delve into the subordinate deities that accompany the Tirthankaras, known as Yakshas (male attendants) and Yakshinis (female attendants), collectively called Sasana-Devatas. The book meticulously describes their iconography, including their mounts, attributes (weapons, symbols), number of hands and faces, and their relationship with specific Tirthankaras. It highlights the influence of Brahmanical deities on these Jaina figures, noting instances of borrowed names and symbols, suggesting a syncretic evolution of Jaina art. Examples include Gomukha (bull-faced Yaksha) for Rishabhanatha and Padmavati (snake goddess) for Parshvanatha.
Dikpalas and Navagrahas: The book also covers the guardians of the directions (Dikpalas) and the nine planets (Navagrahas), both of which are integrated into the Jaina pantheon, often with representations mirroring their Brahmanical counterparts but with Jaina-specific adaptations. The author notes the subservient position of these deities to the Tirthankaras in Jaina art.
Miscellaneous Divinities and Vidyadevis: The text explores other important deities like Harinegamesi (associated with Mahavira's birth), Ksetrapala (guardian deity), Ganesa, and Lakshmi, tracing their Jaina iconography and their origins, often highlighting their adoption from Brahmanical traditions. It also discusses the sixteen Vidyadevis (goddesses of learning), noting their distinct Jaina conception and their connection to the Yakshinis.
Asanas and Mudras: Chapter VIII focuses on the yogic postures (Asanas) and hand gestures (Mudras) depicted in Jaina sculptures, which are seen as aids to spiritual contemplation. It details specific Asanas like Kayotsarga (distinctly Jaina) and Padmasana, and various Mudras, explaining their significance in the context of Jaina spiritual practice.
Symbols and Technical Terms: Appendix A provides a glossary of important Jaina symbols like the Svastika, Srivatsa, and Dharmachakra, along with technical terms, offering crucial insights into their meaning and usage in Jaina art.
Illustrations and Archeological Basis: The book is richly illustrated with plates of sculptures, providing visual evidence for the iconographic descriptions. Bhattacharya's research is grounded in extensive fieldwork, visiting monasteries and museums across India to collect textual and archaeological data, emphasizing the interrelationship between sculptural art and canonical literature.

Author's Approach and Significance:

B. C. Bhattacharya's work is recognized for its pioneering effort in systematically cataloging Jaina iconography. He meticulously compares descriptions from both Svetambara and Digambara texts, highlighting their similarities and differences in representing deities and symbols. The author acknowledges the strong influence of Brahmanical traditions on Jaina iconography while also pointing out unique Jaina developments. The book is considered a foundational text for scholars of Jainology and Indian art history, offering a comprehensive and detailed study of Jaina visual culture. The foreword by B. N. Sharma further attests to the book's enduring importance and its contribution to the field.