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Mahobaki Jain Pratimaye

Added to library: September 2, 2025

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Summary

Here's a comprehensive summary of the Jain text "Mahobaki Jain Pratimaye" by Shailendra Rastogi:

Book Title: Mahobaki Jain Pratimaye (Jain Sculptures of Mahoba) Author: Shailendra Rastogi Publisher: Z_Kailashchandra_Shastri_Abhinandan_Granth_012048.pdf (Part of a felicitation volume for Kailashchandra Shastri) Catalog Link: https://jainqq.org/explore/211705/1

Summary:

The book "Mahobaki Jain Pratimaye" by Shailendra Rastogi discusses the significant Jain sculptures found in Mahoba, an ancient city once known as 'Mahotsavanagar' and the administrative capital of the Chandela dynasty. Mahoba holds historical importance, having been conquered by Prithviraj Chauhan in 1182 and Kutub-ud-din Aibak in 1203. The region is renowned for its archaeological finds from Brahmanical, Jain, and Buddhist traditions.

Mahoba as a Jain Center: The author highlights Mahoba's prominent role as a significant Jain center during the Chandela period. Numerous remnants of Jain temples and artfully crafted sculptures have been discovered here. The book focuses on Jain sculptures that entered the Lucknow State Museum in 1904 and 1935, with the assistance of district officials and the Director-General of the Archaeological Survey of India. While the museum also houses many Jain sculptures from Mathura, dating primarily from the Kushan and Gupta periods, the Mahoba sculptures are crucial for understanding medieval Jain art. Specifically, sculptures of Shantinath, Ambika, Padmavati, and other Yakshinis are exclusively from Mahoba.

Detailed Description of Key Sculptures:

The book provides detailed descriptions of several significant Jain sculptures from Mahoba, many of which are being published for the first time:

  • Sculptures from 1904 (Accession numbers J-823 to J-846): These are made of black polished stone, and none are complete. Six of these sculptures have published inscriptions on their pedestal bases, mentioning places like Kuddakpur and Golapur, and individuals like Sadhu Ratnapal, Tribhuvanpal, and artisans Ramdev and Lashan. These are identified as sculptures of Rishabh, Padmaprabhu, Munisuvrata, and Neminath, with one mentioning 'Jinath'.

  • Sculptures from 1935 (Accession numbers G-304 to G-323): This collection includes sculptures of Rishabh, Shantinath, Neminath, Parshvanath, and Mahavir, as well as the Yakshi Ambika (associated with Neminath) and the Shasan Devi Padmavati (associated with Parshvanath). A 'Chauvisi' (a panel depicting 24 Tirthankaras) and a 'Tritirthi' (a shrine with three main idols) are also noteworthy. Eight of these sculptures have inscriptions:

    • G-304 (Neminath, 92 x 34 cm): A standing sculpture of Neminath in Kayotsarga mudra, made of black stone. The inscription on the pedestal mentions Samvat 1283 (1226 CE) and refers to the 'Navaranvaya' lineage, indicating a devotee named Prabhata, wife of Sadhu Alha, and her son Sadhu Alha, and their daughter-in-law. A conch shell symbol confirms it's Neminath.

    • G-305 (Rishabhanath, 66 x 51 cm): A meditating sculpture of Rishabhanath in black stone, with a bull as the emblem. The inscription indicates its installation in Samvat 1228 (1171 CE) and names the sculptor as Kelhal.

    • G-323 (Parshvanath, 98 x 39 cm): A standing sculpture of Parshvanath in black stone, with seven serpent hoods above the head, each adorned with a flower. The inscription mentions Samvat 1253 (1196 CE) and the devotee Galha, wife of Sadhu Jalh, belonging to the 'Navaranvaya'.

  • Interpretation of 'Navaranvaya': The author discusses the significance of the term 'Navaranvaya', citing Dr. Jyotiprasad Jain's opinion that it might be a corrupted form of 'Narvaranvaya'. This lineage is believed to refer to Vaishya community members from the region of ancient Narwar, traditionally known as King Nala's capital.

  • Other Notable Sculptures:

    • G-306: A white marble sculpture of a seated Tirthankara, with indistinct inscriptions.
    • G-309 (another one): A meditating Tirthankara made of white stone, with three large flowers adorning the pedestal.
    • G-308 (Pedestal, 1 m x 22 cm): Made of light brownish stone, this pedestal was initially misidentified as a Buddha statue base due to the presence of two deer. However, it is identified as a pedestal for Shantinath, with a Yakshi (Anantmati) and a Yaksha. The inscription indicates installation in Samvat 1324 (1267 CE).
    • G-309 (Shantinath, 62 x 15 cm): A standing, unclothed sculpture of Shantinath in black stone, with a triple umbrella and other auspicious symbols above. Instead of Yakshas, it features monks.
    • G-310 (Parshvanath, 42 x 25 cm): A seated, meditating sculpture of Parshvanath in light brownish stone, with lotus motifs on the pedestal. It depicts Padmavati and Dharanendra Yaksha, and a triple umbrella above the serpent hoods.
    • G-312 (Ambika, 50 x 20 cm): A four-armed sculpture of Ambika, holding objects like a mirror, a child, a bunch of mangoes, and a book. A Neminath sculpture is seated above her. Made of brownish stone.
    • G-313 (Parshvanath, 82 x 28 cm): A standing sculpture of Parshvanath in Kayotsarga mudra, made of white marble, with flanking devotees and attendants. Serpent motifs are present on the sides, but not above the head.
    • G-315 (Tritirthi, 25 x 16 cm): A shrine with Rishabhanath in the center and two other Tirthankaras on either side, all seated in meditation. Made of white stone. An inscription mentions Samvat 1103 (1046 CE).
    • G-316 (Padmavati, 60 x 10 cm): Padmavati seated under a seven-hooded canopy, four-armed. It shows devotees, attendants, and flying Vidyadhar couples. Parshvanath is depicted in the center, under a three-hooded canopy. Made of brownish stone.
    • G-318 (Mahavir, 92 x 32 cm): A standing sculpture of Mahavir in black polished stone, with a lion emblem and surrounding devotees. The inscription mentions its installation in Samvat 1283 (1226 CE) by the son of Lashan.
    • G-319 (Tirthankara, 42 x 15 cm): A small standing sculpture in white stone, featuring a triple umbrella and the 'Vaksh' symbol.
    • G-320 & G-321: Two standing sculptures of Digambara Jinas in Khadgasana (standing posture) in white stone, with flying Vidyadhar couples. Inscriptions mention Vasavachandra as a devotee.
    • G-322 & 66-273 (Chauvisi): A panel of 24 Tirthankaras made of brown stone, with Rishabhanath as the main idol (head is broken). It includes Chakreshwari (as Naravahana) and a Yakshi. The sculpture is dated to the Pratihara period based on stylistic analysis.

Dating and Material: The sculptures discussed are generally dated between Samvat 1103 (1046 CE) and 1324 (1267 CE), primarily belonging to the Chandela and Pratihara periods. Most are made of black or white stone.

Unique Qualities of the Stone: The author notes that the stone used for these sculptures is remarkably hard, cool, smooth, melodious, and fragrant. When struck, some even produce a metallic sound, leading to initial confusion about their material. This characteristic is attributed to natural processes during stone formation.

Significance: The book emphasizes that these Mahoba sculptures are essential for a complete understanding of medieval Jain art. Their sonic quality also adds an intriguing dimension for viewers. The mention of Vasavachandra, a Jain monk referenced in a Khajuraho inscription from Dhanga Chandela's reign, suggests that some of these sculptures might date back to the mid-10th century CE.

In essence, "Mahobaki Jain Pratimaye" is a scholarly exploration and documentation of the rich Jain artistic heritage found in Mahoba, contributing significantly to the study of medieval Indian art and religious history.