Kameshastrabundel Khand Me Jain Dharm Ke Prachintam Pratik

Here's a comprehensive summary of the provided Jain text, "बुन्देलखण्ड में जैन-धर्म के प्राचीनतम प्रतीक" (Ancient Symbols of Jainism in Bundelkhand) by Chandrabhushan Trivedi:

This article, authored by Chandrabhushan Trivedi of the Archaeological Survey of India, New Delhi, delves into the ancient presence and symbols of Jainism in the Bundelkhand region of India.

The Significance of Bundelkhand: The author begins by highlighting Bundelkhand's natural beauty, with its mountains, forests, and rivers contributing significantly to its religious and cultural landscape. This region has served as a spiritual hub for Hinduism, Buddhism, and Jainism for millennia. It is nourished by sacred rivers like Betwa, Yamuna, Dhasan, Or, Tamas, and Ken, which eventually merge into the Ganges. Vidisha, a city in this region, is identified as the birthplace of Tirthankara Shitalnathji. Jainism flourished particularly during the Gupta and medieval periods under the rule of the Pratihar, Kalchuri, and Chandel dynasties. The author suggests that there is likely no village in the region without some Jain remnants.

Early Evidence of Jainism: Based on archaeological findings, the article posits that Jainism saw the commencement of idol worship even before Hinduism and Buddhism. Two significant artifacts are mentioned:

• A steatite seal from Mohenjo-daro depicting a Shravaka (ascetic) in Kayotsarga posture within a forest, a householder near a bull in Anjali mudra, and seven more figures in Kayotsarga posture below this line.
• A red sandstone sculpture from Harappa.

However, the author cautions that definitively attributing these artifacts to Jainism is difficult without deciphering the Indus script. Furthermore, distinguishing early Indian art and religious practices from their origins has proven challenging over years of study, with many foundational principles shared across religions.

Historical Accounts and Early Sculptures: The text references accounts of contemporary sculptures of Lord Mahavir. One narrative mentions the queen of King Uddaman of Vaitamayapattan (whose location is uncertain) worshipping a Tirthankara made of sandalwood. A similar legend connects King Udaiyan of Kausambi with an image of Buddha. Another mention refers to the statue of Jivantswami in Dashpur (Mandsaur). The author notes that these accounts have not been archaeologically verified, suggesting that wooden sculptures might have been prevalent in those times.

Concrete Archaeological Evidence: The most concrete archaeological evidence presented is from an inscription found in the Udaigiri-Khandagiri caves, attributed to Kharavel of the Chedi dynasty (1st century BCE). This inscription states that Kharavel recovered a Tirthankara idol that had been forcibly taken by King Nanda. Another significant piece of evidence is an opulent stone sculpture from Lohanipur, currently in the Patna Museum, which is adorned with Yaksha figures and dated to around the 3rd century BCE.

Manglik Symbols and Ayagapatas: Beyond sculptures, the article highlights that Jains in the pre-Christian and post-Christian eras worshipped auspicious symbols, which are depicted on 'Ayagapatas' (worship tablets). Ayagapatas from the pre-Kushan and Kushan periods have been recovered from Mathura (Shauripur).

Cave Dwellings and Early Settlements: The author speculates that building sculptures in dense forests might not have been easy. Ascetics, being itinerant, often resided in mountain caves. The presence of numerous such caves associated with Buddhism in Panaguria, Budhni tehsil, Sehore district, is noted. These caves were naturally formed in stratified rock or carved from igneous rocks.

Chanderi and its Discoveries: The author recounts their archaeological survey work in Chanderi, a significant pilgrimage site for Jains even today. The discovery of a significant artifact here helps establish the presence of Jainism in the pre-Christian era. Approximately a thousand years later, this pilgrimage site saw a revival with the construction of numerous Tirthankara statues and temples in places like Deogarh (Pathraadi Deogarh), Budhi Chanderi, Thubaun, and the Shivpuri region. In the 15th-16th centuries, during the Tomar rulers' reign, large statues were erected in the Gwalior Fort and Chanderi, similar to the Marimata statue. During the Muslim rule, 'Khandarji' structures were carved out of massive rocks, with Dilavar Khan Ghori of Malwa being the Sultan during this period.

The Chanderi Inscription and Symbols: Chanderi was historically connected to Mathura and Vidisha. An important discovery was made at a site called Pathaghatia, located at the top of a forest-covered fort in Chanderi. Here, a rock face was carved out, measuring seven meters wide and three meters deep. The pathway was filled with stone fragments, and it is believed that removing these might reveal a staircase. On the west-facing wall, two inscriptions were found: one dated Vikram Samvat 1571, and another in Brahmi script. Based on the letter forms, the Brahmi inscription is dated to approximately the 2nd-1st century BCE.

Alongside the inscription, several auspicious symbols (Manglik Chihna) were carved:

1. Nandipada (Nandyavarta)
2. Swastika
3. Vihaga (bird)
4. Mina-mithuna (pair of fish)
5. Padma (lotus)
6. Shankha (conch shell)
7. Triratna (three jewels)
8. Vajra (thunderbolt)
9. Shrivatsa
10. Dhvaja (flag)
11. Talavrita (fan) or Darpan (mirror)

The pair of fish was depicted more than once. The author notes that many of these symbols are similar to the "Eight Auspicious Symbols." A Jain inscription from an earlier period is quoted, listing similar auspicious symbols. Circular depressions on the rock surface, possibly for collecting water for ritualistic cleansing, were also observed.

Interpretation of Symbols and Conclusion: The article asserts that from the dawn of human culture, the focus has been on the devotional aspect of worship rather than ritualistic offerings. Along with formless worship, idol worship also began to emerge. When symbols become insufficient for general understanding, they evolve into two forms: iconic and aniconic.

The carved symbols are interpreted as representing specific Tirthankaras: Swastika for Shitalnathji, Vihaga (Padmiruva) for Sumatinathji, Matsya (fish) for Aranatha, Padma (lotus) for Padmanabha, Shankha (conch) for Nemi, and Vajra (thunderbolt) for Dharma. Shrivatsa is present on the chest of every Tirthankara. The Talavrita (fan) is on the left of the inscription, and the Swastika is on the right. The exact meaning of the inscription is unclear.

Based on this evidence, the auspicious symbols are dated to the 2nd-1st century BCE. Therefore, the author concludes that Jainism has ancient prevalence in Bundelkhand. The article strongly advocates for further archaeological surveys in the region, suggesting that stupas and natural caves might yield even more Jain remnants. The article concludes with a reference to the inscription's transcription from the "Indian Archaeology Review" (1971-72).