Jaina Mahavidyas In Osian

This document, "Jaina Mahavidyas in Osian" by Maruti Nandan Prasad Tiwari and Kamal Giri, is a scholarly analysis of the iconography of the sixteen Jaina Mahavidyas as depicted in the Mahavira temple complex at Osian, Rajasthan.

Key aspects covered in the text:

• Historical Context: The paper begins by establishing Osian as a significant Pratihara township with a historical Jaina temple dedicated to Mahavira, considered the oldest standing Jaina temple in Western India, dating possibly to the late 8th century AD. It notes that the buildings at Osian are exclusively Svetambara Jaina.
• Significance of Osian Sculptures: The sculptures on the main temple and associated structures are highlighted as the earliest known Jaina sculptures linked to a temple. They include Mahavidyas, Yakshas, Yakshis, Asta-Dikpalas, Sarasvati, and Mahalakshmi. The paper specifically focuses on the Mahavidyas, noting their special position and significance as early examples of their iconography.
• Iconographic Evolution and Textual Concordance: The study emphasizes that the Osian Mahavidya figures reveal an iconographic evolution and, in many cases, demonstrate a strong concordance with the prescriptions found in Svetambara texts like the Caturvimsatika of Bappabhatti Suri and the Nirvanakalika of Padalipta Suri III.
• Comparison with Other Sites: The text draws comparisons with Mahavidya representations at other Svetambara sites like Kumbharia, Delvada (Vimala Vasahi, Luna Vasahi, Kharatara Vasahi), and Taranga. It also notes the presence of Mahavidyas on the facade of the Adinatha temple at Khajuraho, which are of Digambara origin.
• Detailed Iconography of Specific Mahavidyas: A significant portion of the paper is dedicated to a detailed analysis of the iconography of individual Mahavidyas found at Osian. This includes:
  • Rohini: Represented by ten examples, consistently four-armed and riding a cow, with variations in attributes compared to textual descriptions.
  • Prajnapti: Depicted with two or four arms, riding a peacock, with a spear as a distinguishing attribute.
  • Vajrashronkhala: Shown seated on a lotus, with two or four arms, consistently holding a chain.
  • Vajrankusha: Always depicted riding an elephant, with two or four arms, holding attributes like a thunderbolt and a goad. The paper notes a connection to the Brahminical Matrika Aindri.
  • Apraticakra (Cakreshvari): The most numerous representation, always four-armed and riding a Garuda. Its iconography aligns with Svetambara tradition, with some variations noted in attributes. The influence of Brahminical Cakreshvari is also mentioned.
  • Purushadatta (Naradatta): Mostly two-armed, riding a buffalo, holding a sword and shield. The paper notes deviations from textual prescriptions regarding the number of arms.
  • Kali: Consistently two-armed and seated on a lotus. While earlier texts describe her with a mace and rosary, later texts and sculptures show variations.
  • Mahakali: Always four-armed and riding a man. The iconography is considered settled early on and largely conforms to texts.
  • Gauri: Depicted with two or four arms, riding an iguana (traditional mount), with some instances showing a bull, linking her to Brahminical Siva.
  • Gandhari: Two-armed, seated on a lotus, holding a vajra and a pestle.
  • Vairotya: Always four-armed and riding a snake, with iconography considered standardized early. Its position as the Yakshi of Vimalanatha is noted.
  • Acchupta: One of the most favored, with its iconography fully corresponding to Svetambara tradition and standardized early. It is depicted four-armed, riding a horse, with attributes like sword, bow, and arrow. The influence on Deogarh sculptures is mentioned.
  • Manasi: Represented by a single instance, two-armed, riding a hamsa, holding a thunderbolt. Its absence on the main temple is explained by its initial combined depiction with Sarvastramahajvala.
  • Mahamanasi: The most popular, with two, four, or six arms. Its iconography was settled early and largely follows Svetambara tradition, with a lion as the mount. The six-armed representation is unique and suggests an elevated status. Its influence on Deogarh Yakshi Sumalini is noted.
• Absence of Certain Mahavidyas: The paper points out that Sarvastramahajvala and Manavi are conspicuously absent from the Osian representations.
• Comparisons with Brahminical and Buddhist Pantheons: The Mahavidyas at Osian are also compared to deities in Brahminical and Buddhist traditions, noting similarities in names and iconography. Examples include Mahakali, Kali, Gauri with Brahminical goddesses, and Vairotya with snakes.
• Conclusion: The study concludes that the Mahavidya figures at the main Mahavira temple at Osian represent an early stage of iconographic standardization, while those on the devakulikas show the continuation of an older tradition with some advancements. The overall iconography largely aligns with the prescriptions of key Svetambara texts.

In essence, the paper provides a detailed and comparative study of the Jaina Mahavidya iconography as manifested in the ancient temple complex of Osian, contributing significantly to the understanding of Jaina art history and religious practices.