Jaina Images And Their Predominant Styles

This paper, "Jaina Images and their Predominant Styles: Dahala and South Kosala Region" by R. N. Misra, is a study of Jain sculptures in Central India, focusing on their stylistic evolution within the broader artistic patterns of the region, particularly under the Kalachuris of Dahala and South Kosala.

The author highlights that despite the Kalachuri rulers being primarily Saivas, Jainism flourished under their rule, evidenced by numerous sculptures dedicated to Jinas, as well as representations of associated figures like Dharanedra-Padmavati, Ambika-Sarvanha, Jaina sasana devatas, and Upasakas. This indicates both royal and individual patronage of Jainism during this period. The paper notes that some of these images are related to a distinct, unique iconographic tradition.

Key Points from the Text:

• Regional Focus: The study concentrates on the Dahala and South Kosala regions of Central India.
• Kalachuri Patronage: The Kalachuri dynasty, ruling over Dahala and South Kosala, provided significant patronage to Jainism, leading to the creation of numerous Jaina sculptures and temples.
• Epigraphic Evidence: While epigraphic evidence for Jaina monuments in the region is not extensive, surviving inscriptions provide valuable details. Examples include:
  • An inscription from K.E. 900 (1149 AD) at Tripuri, mentioning the setting up of a Tirthankara image by Jasadeva and Jasadhaval.
  • The Bahoribandha Jaina image inscription from the time of Gayakarna (1123-1153), detailing the construction of a temple for Tirthankara Santinath by Mhabhoja.
  • The Alhaghat inscription (V.S. 1216 / 1159 AD) referring to the construction of a ghat and a temple dedicated to Ambika by Ranaka Chihula, a feudatory of the Kalachuri Narsimhadeva.
• Architectural and Artistic Influences: The paper discusses how broader architectural trends, like those seen in the Nohalesvara matha and Somanath temple at Bilhari and the temples at Karitalai, influenced Jaina art. This mutual influence led to instances where Jain temples adopted styles typically reserved for Saiva temples (e.g., the Jaina temple at Arang, which showcases the bhumija style).
• Stylistic Evolution in Dahala:
  • Early Phase (c. 9th Century): Images are characterized by simple decoration, ovaloid faces, simple hairstyles, and squat proportions, lacking exaggerated features. Examples include images at Bina-Barha and Naiesa.
  • 10th Century: This period marks a turning point with an upsurge in quality and artistry, possibly influenced by the invitation of saints from the Mattamayura sect. Images from Bilhari and Kalitalai reflect elongated figures, triangular torsos, thin waists, and elegant postures with bhanga. A close parallel is seen in the Lakhamaneshwar temple at Khajuraho.
  • 11th Century (Second and Third Quarters): This was a period of efflorescence, with increased decorative details in the parikara (decorative frame) of sculptures. Intricate scrollwork, beaded festoons, filigreed crowns, and finely carved chhatras characterize this era. While Jina images themselves could be monotonous, the ornamentation made them distinctive. However, angularities and lateralism began to appear.
• Stylistic Characteristics in South Kosala:
  • The art idiom of South Kosala, particularly from the 10th to 14th centuries, shows exuberant or languorous variations. Images from Ratanpur (e.g., Chadraprabh, Rishabhadeva) exhibit these traits.
  • A provincial idiom with lengthening limbs, swollen faces, broad chests, and triangular waists became prominent.
  • The Bhand-Dewala at Arang is highlighted as an exception, with its decorative images showing less contortion of limbs, suggesting inspiration from the Dahala region. The temple's plan and ornamentation are detailed.
• Mutual Artistic Exchange: The paper suggests that the same artists or guilds might have worked on images for different sects, leading to similarities in decorative elements and motifs between Jaina and Brahmanical sculptures. Iconographic considerations were sometimes relaxed, allowing for experimentation.
• Notable Sites: The study references numerous sites where Jaina remains have been found, including Bilhari, Karitalai, Patyan Dae (Satna), Bahoribandha (Jabalpur), Arang, Malhar, Sirpur, Ratanpur, Bina-Barha, Ranital (Sagar), and Narsinghpur.

In essence, the paper provides a historical and stylistic analysis of Jaina sculptures in the Dahala and South Kosala regions, contextualizing them within the patronage of the Kalachuris and the broader artistic traditions of Central India. It traces the evolution of sculptural styles, highlighting regional variations and the interplay of influences.