Nandiya Ni Prachin Jina Pratima

Here is a comprehensive summary in English of the Jain text "Nandiya ni Prachin Jina Pratima" by M.A. Dhaky:

This document is an academic study of an ancient Jain idol found in Nadiya, Rajasthan, by M.A. Dhaky. The book is titled "Nandiya ni Prachin Jina Pratima" (The Ancient Jin Pratima of Nadiya).

Historical Context:

• The region around Arbudaachal (Mount Abu) in Rajasthan, historically known as Gurjaradesh, was under the rule of the Chap dynasty in the first half of the 7th century CE.
• Notable ancient sites from this period in the area include Bhillamal (Bhinmal), Kutsapur (Kusuma), Bramhan (Varman), and Vatpur or Vatakarasthan (Vasantgarh). Sculptural and epigraphic remains have been found at these locations.
• Nandigram, now known as Nadiya, is one such ancient site. A small Jain temple in Nadiya, dating back to around the 10th century, houses a remarkably well-preserved, ancient idol of a Shvetambara Jain Tirthankara, which is considered one of the few surviving ancient idols of its kind in Western India.
• Inscriptions from the Ajmer Jain temple (1036 CE) mention "Nandigram Chetya," and an inscription from Nadiya itself (1074 CE) refers to the construction of a stepwell within the precincts of "Nandiyaketya." This confirms Nadiya's medieval name as Nandigram and its associated shrine as Nandiyaketya.
• A local saying in the Sirohi region, "Naana Diyaana Naadiya, Jeevit Swami Vaadiya," suggests that idols of 'Jeevit Swami' (primarily Mahavir in his youthful form) were once established in the Jain temples of these places.

The Nadiya Idol and its Artistic Significance:

• The principal idol in the sanctum sanctorum of the Nadiya Jain temple (Figure 1) is described as unique and unparalleled. Its iconography deviates significantly from the familiar medieval Jain idols of Western India.
• Pedestal (Peeth): The pedestal features a throne with rampant lions (vyala) on its sides. In the center of the back support (pith-patt), there is a Dharma Chakra (Wheel of Law), flanked by a pair of deer. This arrangement, particularly the deer with the Chakra, echoes the stylistic traditions of Gupta-period Buddhist sculptures from Sarnath.
• Chamaradharis (Chamber Bearers): Positioned almost at a right angle to the seated Tirthankara on the pedestal are two medium-sized, elegantly posed, and well-formed Chamara bearers (attendants holding fly-whisks). These are identified as Indras or Yakshas, functioning as pratiharas (attendants). Their heads are adorned with coiled hair, and they wear karanda mukutas (crowns) decorated with a band of three jeweled pendants (Figure 2, 3).
• Surrounding Figures: The prabhamandala (halo) around the Tirthankara, who is seated in padmasana (lotus posture), depicts celestial beings. On either side are Gandharvas playing the veena, with serene expressions, and above them are Akashachari (sky-moving) garlands bearers and Vidyadharis (Figure 4, 5).
• Hair: According to ancient tradition, the idol's hair is depicted in a clockwise curl (dakshinavarta kesh) covering the entire head.
• Dating: While there are no inscriptions on the idol or its base, the details of the Tirthankara and the attendant deities, along with stylistic analysis, suggest a dating in the mid-7th century CE. The artist's skill and composition are comparable to those found in cave temples or rock-cut shrines.
• Artistic Deterioration/Alterations: The author notes that, similar to the Mahavir idol from the Pratihar period at Osiya, the original artistic elements of the Nadiya idol have been compromised. This is attributed to centuries of archa (worship) within the Shvetambara tradition, particularly elements that developed during the Chaityavasi (temple-dwelling monk) period. Specific examples of alterations include:
  • The original serene expression of the Tirthankara's face being obscured by black paint used for the eyebrows (like black bees).
  • The use of crystal eyes.
  • The application of metal ornaments and gold leaf (varkh) on the chest and other areas.
  • Even the Yaksha attendants have been similarly altered, with their serene faces marred by large, goggle-like eyes painted in black. Early photographs from fifty to sixty years prior reveal their original divine beauty.

Comparisons and Contextualization:

• The Nadiya idol is compared to the 'Archi Matrika' idol from Mahudi Kotyark, possibly dating to fifty to seventy years earlier.
• Later Jain idols, such as one from the Mahavir temple in Varman, dating to the late 9th century, are also mentioned, but again, their original expressiveness has been diminished by similar decorative additions.
• The author notes the unfortunate destruction of ancient Jain idols during Muslim invasions and renovations, and the ongoing degradation of surviving statues due to worship practices. There is a lack of effort to preserve their original artistic elements.
• The tradition of chamaras as one of the 34 atishayas (extraordinary qualities) or later as ashta mahapratiharas (eight great attendant symbols) in the Shvetambara tradition is discussed, contrasting with its exclusion from the 34 atishayas in the Digambara tradition.
• The author recalls reading about three types of halos (prabhamandala) in art treatises: 'Adityaprabha,' 'Chandrprabha,' and 'Padmprabha,' with 'Ratnaprabha' also appearing in the medieval period.
• The inscription from Kuvalayamala (circa 778 CE) by Udyotan Suri mentions a predecessor, Shivchandra Mahattara (circa 650-675 CE), who visited and settled in a Jain temple in Bhinmal, suggesting that the Nadiya idol might follow the stylistic conventions of Bhinmal, which is about forty miles away.
• The author refers to a note by Muni Jayantvijay suggesting the need for cleaning and application of eye-paint to the idol.

Conclusion:

The Nadiya idol, dated to the mid-7th century CE, is a significant example of early Jain iconography in Western India. Its composition, incorporating elements like the Dharma Chakra and deer, shows influences from Gupta-period Buddhist art. However, the idol has undergone significant alterations over time due to worship practices, which have diminished its original artistic qualities. The study highlights the importance of preserving such ancient artifacts and the challenges faced in their conservation within religious contexts.