Mahuvathi Prapta Prak Madhyakalin Adinath Pratima

Here's a comprehensive summary of the Jain text "Mahuvathi Prapta Praku-Madhyakalin Adinath Pratima" by M.A. Dhaky, based on the provided pages:

Title: Mahuvathi Prapta Praku-Madhyakalin Adinath Pratima (An Adinath Idol from Mahuva from the Pre-Medieval Period)

Author: M. A. Dhaky

Publisher: Z_Nirgranth_Aetihasik_Lekh_Samucchay_Part_1_002105.pdf and Nirgranth_Aetihasik_Lekh_Samucchay_Part_2

Central Theme: The article discusses a significant Jain idol discovered in Mahuva (ancient Madhumati), a historically important Jain center on the Saurashtra coast. The idol is identified as belonging to Adinath (Rishabhanatha), the first Tirthankara, and its style suggests it dates back to the pre-medieval period, likely the 9th century CE.

Key Points:

• Mahuva's Historical Significance: Mahuva, on the Saurashtra coast, was an important Jain center during the post-classical and medieval periods. It was the residence of the Shvetambara merchant Javadi, who in approximately 1027-1033 CE, facilitated the restoration of an ancient idol of Adinath on Shatrunjayagiri. Mahuva also had a significant temple dedicated to Mahavir, built by Javadi.

• The Idol Itself:

  • The idol, made of white stone, is of medium size and is described as fragmented but beautiful.
  • It is currently housed in the Barton Museum in Bhavnagar (now part of the Gandhi Smriti).
  • It is considered one of the rare and most beautiful stone Jain idols from Gujarat.
  • The original throne is missing.
  • The idol is seated in the padmasana (lotus) posture on a cushion (masuraka), with a diamond-shaped emblem (vajratna) adorning the central part of the cushion.
  • The posture is stable and depicts a meditative state with bent arms.
  • The description of the hair, extending slightly to the shoulders, identifies the figure as Adinath.
  • The facial features include round, moon-like face, a ushnisha (cranial protuberance), and four rows of clockwise curled hair.
  • The prabhamandala (halo) behind the head, with an elevated collar, has its upper portion destroyed.
  • The back of the throne, except for the part touching the idol's body, has been carved away to reveal the back.
  • On either side of the idol, attendant figures holding fly-whisks (chamardharas) are depicted in a dvibhanga (double bend) posture, suggesting royal attendants or pratiharas (door-keepers), indicative of glory and majesty.
  • The horizontal bar at the back of the throne has makara (mythical sea creatures) carved on both sides. The upper jaw of the right makara is damaged, and any celestial garland-bearers above it have also been lost.

• Artistic Style and Dating:

  • Stylistically, the idol is considered older than the 10th century, likely dating to the first half of the 9th century.
  • The hasyanvita mukha (smiling face) of the surviving makara is particularly noted as indicative of the influence of Karnata (Karnataka) art. This style of smiling makara faces is observed in the pedestals and pranalas (water channels) of Kapotabandha style foundations in later Rashtrakuta and Chalukya temples in that region.

• Political and Cultural Context:

  • An inscription from Palitana, dated 817 CE, suggests that this part of Saurashtra was under the rule of the Rashtrakutas of Lata.
  • Rashtrakuta dominion likely extended at least until the end of the 9th century.
  • Given Mahuva's proximity to Palitana, it is plausible that Mahuva was also under Rashtrakuta rule.
  • This political connection suggests a potential influence of Karnata culture on the art of Mahuva, in addition to political factors.

• Religious Affiliation:

  • The idol shows no characteristics that would identify it as Shvetambara.
  • The tranquil face with closed eyes, and the round facial features are indicative of the Shramanaka (Sthānakavāsī/Digambara) sect.
  • The article contrasts this with a 9th-century Shvetambara Mahavir idol from the Varamana Mahavir Jinalaya, which, despite being in padmasana, lacks meditative depth, shows a decline in the meditative state due to the presence of eye-tilak, and mocks the ideals of detachment and meditative posture.
  • The author posits that during the 8th-9th centuries, Shramanaka sect related idols have been found at places like Ujjayanta Giri (Girnar) and on the west coast at Ajahra and Prabhas.
  • Therefore, the Mahuva idol fits into this series of Shramanaka finds, making its attribution plausible and logical.

• Notes:

  • Note 1: Mentions that literary sources suggest Mahuva's antiquity dates back to the early centuries CE or at least the Gupta-Maitraka period, but detailed discussion of these proofs is omitted for brevity.
  • Note 2: Refers to the dating of "Javadi" in Shvetambara literature to around the beginning of the 14th century CE (V.S. 13XX), noting a potential omission of the century's digit. Further discussion is planned for the author's book, "The Sacred Hills of Shatrunjaya."
  • Note 3: Discusses an inscription from Sialbet (dated 1259 CE) that originally belonged to a Parshvanatha idol installed in the 'Mahavirdev Chaitya' in Mahuva. This implies that the Mahavir Jinalaya there predated this inscription. The inscription is cited as published in the Revised Lists of Antiquarian of the Bombay Presidency and republished by Jinavijay.
  • The article acknowledges the assistance from the American Institute of Indian Studies in Varanasi for the photographs.
  • A specific scholarly work is referenced for comparison: "The Vimala Period Sculptures in Vimala-Vasahi," Aspects of Jainology II.

In essence, the article presents a significant archaeological find from Mahuva, arguing for its pre-medieval (9th century CE) origin, its stylistic connection to Karnata art (likely due to Rashtrakuta influence), and most importantly, its probable affiliation with the Shramanaka Jain sect rather than the Shvetambara tradition, based on iconographic analysis.