Junagadhni Ambika Devini Dhatu Pratimano Lekh

Here's a comprehensive summary of the provided Jain text, "Junagadhni Ambika devini Dhatu pratimano Lekh" by Lakshman Bhojak, based on the information from page 1:

The text discusses a metal image (Dhatu Pratima) of Ambika Devi, the tutelary goddess (Shasanadevi) of Jin Arishtanemi, housed in the Mahavir Swami temple in the Vania Mahalla of Jagmal Chek, Junagadh. This temple is described as the largest and relatively modern in the city.

The inscription on the image was deciphered by Pandit Ambalal Premchand Shah. The author, Lakshman Bhojak, is publishing the inscription along with a photograph of the original image.

The inscription is found on the back of the statue and reads: "San. 2012 Va na santanen Fatvavala [...] ne Ambikapratima samastgoshthiya karita."

However, the author immediately raises a significant point of contention:

• The image was commissioned by the "Goshthis" (congregations or groups) of Nagendra Gachha (a lineage of Jain monks).
• Crucially, the inscription mentions the place as "Itbarak" (ઇતબારક) and not Girinagar or Jirnapur (old names for Junagadh).

Due to this discrepancy in the place name, the author suggests that the image might not have a direct connection to Junagadh. The location "Itbarak" remains unidentified, leading the author to speculate whether the engraver might have made a mistake while inscribing the name.

The text then provides a physical description of the statue:

• It is approximately 13 inches high.
• The base is about 7 inches wide.
• The iconography depicts Ambika Devi seated in Ardha-paryankasana (a half-seated posture) on a lion, which is her vahana (mount). The lion is depicted in a pralabita (hanging) posture beneath the seat.
• On the left side, her son, Shubhankara, is shown, and the Dipankara Buddha is standing behind the lion's mouth.
• The seat is adorned with a beautiful "ilicatorana" (an arched gateway) with a central auspicious image of Jin Arishtanemi. Mango branches are depicted around the torana, adding decorative elements.
• The facial features of the Devi are worn (ghasayeli), making them unclear.

Despite the wear and the potential location discrepancy, the author emphasizes the importance of this statue:

• It is an artistic creation from the first half of the 11th century (Samvat 1036 or AD 1036).
• The mention of the Nagendra Gachha further adds to its significance.

The text concludes by referencing "Jain Tirth Sarvasangrah Bhag Pehlo" (Collection of Jain Tirths, Part One), pages 119-20, for further context.