More Sculptures From Bhagalpur

Here's a comprehensive summary of the provided Jain text from "More Sculptures from Bhagalpur" by Ajoy Sinha, focusing on the different sculptures discussed:

The article "More Sculptures from Bhagalpur" by Ajoy Sinha, published by Jain Education International, discusses several significant Jain sculptures found in or related to the Bhagalpur region of India. It highlights the distinctiveness of Jain art, where Tirthankaras are depicted in purely human form, unlike the often supernatural representations in Hindu and Buddhist art.

1. Adimithuna or Yugalia Sculptures (Figures of the Jina's Parents):

• General Features: These sculptures typically depict a couple (identified as the Jina's parents) seated or standing, often with children in their laps, under a tree. The couple is usually richly adorned with ornaments. Above them, a Jina is seated in meditation (padmasana mudra) on a lotus pedestal, often supported by a lion. The Jina is distinguished by a trilinear umbrella, a halo, and his palms forming a lotus-bud yoga-mudra. All figures, except the Jina, are heavily ornamented.
• Geographical Distribution: Such sculptures are found in Eastern and Central India, with examples mentioned in the British Museum (from Bihar), Bharat Kala Bhavan (Rajghat, Varanasi), Varendra Research Society (Rajshahi, Bangladesh), and the National Museum, New Delhi (from Bengal and Northern India).
• The Bhagalpur Adimithuna: A significant find is a black basalt stone sculpture from Sri Campupur Digambar Jain Siddhaksetra, Nathnagar (Bhagalpur). This sculpture, measuring 30.5 x 15.3 cm and dated to the 8th century AD, perfectly matches the described iconographic details. The couple is depicted as regal, heavily ornamented, and seated in a relaxed pose (sukhasanu). The babies and children are also shown with ornaments. The Jina is seated in yoga-mudra on an ornamented throne, with an unusual trilinear umbrella over his "uspisu styled hair," suggesting local art influence.
• Identification: While some suggest these figures represent Yaksa and Yaksi, the author strongly agrees with the identification of the couple as the parents of the Jina, specifically Bhagavan Adinatha and his parents, Nabhi and Marudevi, acknowledging their worship by devotees for giving birth to Jainism's founder.

2. Ancient Caubisi of Bhagavan Adinatha:

• Religious Significance: The "Caubisi" (representation of all 24 Tirthankaras) is religiously important in Jainism, usually featuring Bhagavan Adinatha as the principal deity (mulnayaka) surrounded by the other 23 Tirthankaras. This arrangement signifies Adinatha's primacy and allows for the worship of all Tirthankaras at once.
• The Bhagalpur Caubisi: This sculpture, also found in Sri Campapur Digambar Jain Siddhaksetra, Nathnagar, is carved from black basalt and measures 61 x 30.05 cm. It is dated to around the 8th century AD. Bhagavan Adinatha is seated in padmasana mudra on a double-petalled lotus, in deep meditation. His curly hair and uspisa resemble those of Lord Buddha. Flying Vidyadharas with garlands are above him, and a trilinear umbrella is present. His attendant deities, Sasandevi Cakresvari and Yaksa Gomukha (in human form), are depicted nearby.
• Unusual Iconography: The Caubisi presents an unusual iconographic feature: the goddess Ambika (Sasanadevi of Bhagavan Neminatha) is depicted in place of the usual Cakra (wheel of law) on one side, between the bull (Adinatha's vahana) and an elephant. Ambika, holding a baby, is seated in ardhaparyankasana. This depiction of Ambika with Adinatha is rare, with a similar example noted at the Archaeological Museum, Raipur. The author suggests this might be due to Ambika's significant place in the Jain pantheon.
• Regional Uniqueness: This Caubisi is considered a singular specimen of its type reported from the eastern part of Bihar.

3. A Khadgasana Image of Bhagavan Adinatha:

• Description: This stone sculpture from Sri Campapur Digambar Jain Siddhaksetra, Nathnagar, is carved in ashy black stone and measures 25.3 x 15.3 cm. It portrays Bhagavan Adinatha standing in the kayotsarga mudra (a typical yogic posture of detachment, with hands hanging down to the knees) and is nude, reflecting Digambara tradition.
• Iconographic Features: The sculpture adheres to silpa texts, depicting Adinatha as youthful with a serene face. Key features include the srivatsa mark on his chest (though not clear), elongated ears, half-closed eyes, tied hair, and a simple trilinear umbrella. The oval prabhavali has a simple linear design. The pedestal features a cakra (wheel of law) and two flanking bulls.
• Attendant Deities: The sculpture is notable for its numerous attendant deities. On the left, near the shoulder, is his Sasandevi Cakresvari, holding a wheel. On the right, Yaksa Gomukha is seated, with a flying Vidyadhara emerging from his back. Below Cakresvari is the Gandharva Yaksa, holding a snake. Below Gomukha is Yaksa Kuvera, holding a club.
• Parents and Donor: In the lowest row, the Jina's parents are beautifully carved, seated in sukhasana and giving blessings. Above them, Yaksa Bhrkuti is shown, associated with the bull. A kneeling donor figure in folded palms (anjali mudra) is also present.
• Dating and Significance: This image is considered an important example of kayotsarga Adinatha in eastern Bihar, dating to circa 7th-8th century AD, making it archaeologically significant.

4. An Early Image of Bhagavan Adinatha:

• Location and Identity: This is described as the earliest known Jain stone sculpture from Bhagalpur, housed in Sri Champapur Digambar Jain Siddhaksetra, Nathinagar. It represents Bhagavan Adinatha, the first Tirthankara.
• Artistic Style: The sculpture is in Khadgasana pose, following silpa guidelines. Bhagavan Adinatha stands with feet slightly apart and hands at his sides. His hair style (vritabandhajatajuta) is characteristic of the Gupta and late Gupta periods (c. 5th-7th century AD), with locks of hair falling over his shoulders. The srivatsa mark is clear, and his nudity indicates adherence to the Digambara sect.
• Physical Attributes: The physical proportions are well-executed in ashy granite stone (96.5 x 48.3 cm). Elongated ears and a round mole mark on the forehead are notable iconographic features.
• Pedestal and Symbols: A plain pedestal features a dharmacakra in the center, flanked by his vahana, the bull.
• Unaccompanied by Attendants: Uniquely, this idol of Bhagavan Adinatha is not accompanied by any Yaksa or Yaksini.
• Dating: It is dated to circa 5th-6th century AD, highlighting its importance as an early example.

In essence, the article meticulously details several significant Jain sculptures from Bhagalpur, focusing on their iconographic characteristics, historical context, regional artistic influences, and religious importance within the Jain tradition. It underscores the rich artistic heritage of Jainism in this region.