Jaina Sculptures Of The Gupta Age In The State Museum Lucknow

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The article "Jaina Sculptures of the Gupta Age in the State Museum, Lucknow" by R. C. Sharma, discusses the Jaina antiquities of the Gupta period found at the Kankali mound in Mathura, which are now housed in the State Museum, Lucknow. While the number of Gupta-era Jaina sculptures is less than those from the Kushana period, Sharma emphasizes their exceptional quality and fine workmanship, representing some of the best examples of Indian art from the Mathura school.

The author begins by outlining the key characteristics of Gupta art, particularly as they manifest in Jaina sculptures. He notes that despite a decline in royal patronage due to the supremacy of Brahmanism during the Gupta age, the strong faith of the middle class and wealthy merchants continued to foster Jaina art.

Sharma then details the artistic shifts from the Kushana to the Gupta period:

• Internal Focus: Gupta artists shifted from outward expression to capturing the inner spiritual state of saints. They focused on conveying the superhuman joy derived from penance and renunciation rather than detailed bodily features.
• Facial Expression: The round, almond-shaped eyes of Kushana figures evolved into half-open, lotus-bud shapes, looking inward. The slight smile of earthly happiness was replaced by serene calmness, reflecting supreme knowledge (kevala-jnana).
• Physical Form: Bodies became more rounded, symbolizing fullness and determination, moving away from the heaviness and straightness of Kushana figures. Images became slim and youthful, signifying movement and energy flow. Passionate and sensual figures became rare.
• Ideals: The intellectual awakening of the Gupta era birthed new ideals in Indian art, establishing set formulae. Great men were differentiated from mortals by symbols like small curly hair, elongated ear-lobes, and long arms (Maha-Purușa-Laksaṇas).
• Halos: The simple, scalloped halos of the Kushana period became more elaborate, featuring ornamented bands of lotus, rosettes, and scrolls, signifying the spread of knowledge from the great person. This demonstrated the triumph of spiritualism over materialism.

Sharma then clarifies the distinctions between Buddha and Jina images of the Gupta age, a common point of inquiry for museum visitors. He cites Varahamihira's Brihatsamhita for distinguishing features of Jaina figures: long hanging arms, the Srivatsa symbol, a peaceful appearance, a youthful body, and nudity. Key differences are:

• Chest Symbol: Buddha images lack a religious mark on the chest, while Jaina figures invariably bear the Srivatsa.
• Hair: Buddha figures typically have a bump of hair (ushnisha) on the head, signifying knowledge, while Jaina figures have only curly hair without an elevation.
• Postures: Buddha images are found in various postures and mudras (e.g., earth-touching, meditation). Jaina images are typically shown in two poses: seated in meditation (dhyanastha) or standing in meditation after renunciation (danda or kayotsarga).

Regarding the identification of Tirthankaras, Sharma notes that early images often lack inscriptions or distinctive marks (lanchanas). Only Suparshvanatha (five snake hoods) and Parshvanatha (seven snake hoods) can be recognized. Rishabhanatha is sometimes depicted with locks falling on his shoulders. The Gupta period sees a scarcity of inscriptions on Jaina images, making identification of the remaining 21 Tirthankaras challenging. Later periods introduced specific symbols to aid identification.

The article then proceeds to describe specific significant Jaina sculptures from the Lucknow Museum collection:

• J. 2 (Fig. 1): The pedestal of a Mahavira image, dated to the 299th year of an unknown era. The inscription, debated by scholars like Bühler, Banarjee, and Konow, discusses various dating possibilities (Mauryan, Seleukidan eras). Lohuizen-De Leeuw proposes reading the date as 199, which would place it before Kanishka's reign. However, Sharma critiques this, arguing for the plausibility of 299, potentially referring to the Vikrama era (242 AD), placing it in the transitional period between Kushana and Gupta rule, supported by stylistic analysis and the absence of a king's name.
• J. 139 (Fig. 2): A Tirthankara bust with curly hair and the Srivatsa symbol. Its style suggests a transitional phase at the beginning of the 4th century AD.
• J. 72 (Fig. 3): A colossal standing nude Tirthankara image, possibly Adinatha due to the hair falling on shoulders. While initially dated to the Kushana period due to its size, Sharma, along with V.S. Agrawala and Stella Kramrisch, dates it to the 4th century AD, representing an evolution from earlier sculptures.
• J. 121 (Fig. 4): A Tirthankara in Kayotsarga pose with a Srivatsa mark and lotus halo. The presence of a Naga deity (possibly Balarama) suggests the Jina could be Neminatha. Stylistically, it's dated to the 4th century AD, despite the label suggesting the Kushana period.
• J. 119 (Fig. 5): A seated Jina image with a richly decorated halo and flying Vidyadharas. The crudely shaped curls and less serene expression suggest a middle to late 4th century AD dating.
• J. 104 (Fig. 7): A Tirthankara seated on a lion throne, dated to the 5th century AD, noted for its elaborately carved halo.
• J. 36 (Fig. 8): An inscribed image of Vardhamana (Mahavira) dated to the 5th century AD (year 113 of Kumaragupta's reign). It provides insight into the contemporary Jaina church organization.
• J. 89 (Fig. 9): A fragment showing a four-handed Naga attendant with a seven-headed snake hood, possibly representing Balarama attending Neminatha.
• J. 666: A large, elaborately ornamented umbrella, classified as a Jaina antiquity, though without definitive proof.
• 48-184 (Fig. 10): A slab showing a nude Jina in meditation, possibly Mahavira, dated to the late 6th century AD.
• 49-199 (Fig. 11): A slab depicting Ajitanatha in Kayotsarga pose, noted for its crude modeling and unusual Tilaka mark, dated to the late 6th or early 7th century AD.

The article concludes by mentioning that the museum also holds fine Tirthankara heads exhibiting Gupta age characteristics, which are not further described. Overall, the text provides a scholarly analysis of the artistic evolution and iconographic features of Jaina sculptures from the Gupta period, using specific examples from the Lucknow Museum collection.