Parshvanath Ni Ek Viral Dhatu Pratima

Here's a comprehensive summary of the Jain text "Parshvanath ni Ek Viral Dhatu Pratima" by Dinkar Mehta, based on the provided pages:

The book discusses a rare metal (Dhatu) statue of Parshvanath, the 23rd Jain Tirthankar. The author, Dinkar Mehta, places the Nirgrantha (Jain) tradition among the ancient Indian religious sects, with evidence of its early entry into Gujarat. Parshvanath, who lived in the 7th-6th century BCE, is a highly revered figure in Jain worship, and numerous statues of him have been discovered across India, particularly in Uttar Pradesh, Madhya Pradesh, Rajasthan, and Karnataka. Gujarat also boasts a significant number of Parshvanath statues, with several important pilgrimage sites dedicated to him during the medieval period, such as Stambhanpur, Ajahara, Shankhpur, Charup, and Vatpadra. The Jiraapalli-Parshvanath in the nearby Abu region was also a notable pilgrimage site.

The text highlights that during the Maitraka and early Solanki periods in Gujarat, many beautiful statues of Parshvanath were created within the Shvetambara tradition. Notable examples include the renowned collection of Nirgrantha metal statues found at Akota (ancient Ankotak) near Vadodara, and the exceptional "Tritirthika" (three-tiered) statues of Parshvanath discovered in the Jinamandir at Vasantgadh, near Arbudaachal.

The specific statue discussed in this book is from the collection of the Jain Derasar in Darbargadh, Morbi city. The author explains that ancient and medieval metal statues were manufactured in three ways: by forging, casting solid metal, and casting hollow metal. The statue in question was made using the hollow casting method.

The iconographic representation of the statue adheres to the established principles for Parshvanath's imagery. It depicts the well-known legend of the serpent king Dharanendra protecting Parshvanath from the harassment of the demon Kamatha. Parshvanath is seated in a meditative posture (Padmasana) on a lotus placed on a tall, elevated pedestal. Below the seat, it's believed that the "Ashtagraha" (eight planets) are represented, with six faces clearly visible and the remaining two possibly hidden behind the Dharma chakra. The seven-hooded serpent king (Naga) appears as an umbrella over Parshvanath's head. The serpent body of Dharanendra is indicated by horizontal lines. The rightmost hood of the serpent is broken. The seven hoods are depicted by vertical lines, highlighting the multi-hooded Naga. Parshvanath's face is serene, with a meditative expression, half-closed eyes, full cheeks, a three-lined neck, and long ears signifying knowledge, all in a yogic mudra.

The statue's overall composition, including its broad chest, symmetrical proportions, and face resembling a moon disc, aligns with the general characteristics of art from the Gupta-post-Gupta period, signifying an "Uttam Purush" (superior being). To the right of Parshvanath sits the Yaksha Sarvanubhuti in a semi-seated posture (Ardha-paryankasana), holding a gem-studded mongoose (dravya-nakulak) in his right hand and a citron (Matulinga) in his left. A jewel-encrusted golden crown, symbolizing the prosperity of Vaishravan, adorns his head. To the left, Goddess Ambika is seated with her legs folded, also in a semi-seated posture. She holds a child in one hand and a mango cluster (Amlumbh) in the other. A lotus halo is depicted behind the heads of both the Yaksha and Yakshi.

The text further compares the Morbi statue with a Parshvanath metal statue from Akota dating around 650 CE. Both share a similar casting technique where the Tirthankar and the pedestal were cast together. The serpent hood and the accompanying Yaksha-Yakshi were cast separately and then joined to the main statue, a technique used to create these composite images. Based on the casting method, the facial expressions, physique of Parshvanath, Yaksha, and Yakshi, and the style of the halo, the statue is estimated to be from the mid-7th century CE or slightly later, towards the end of that century.

Although an inscription is present at the base of the statue, it is too worn to be legible. However, the visible curvature of some letters suggests a 7th-century origin, supporting the stylistic dating of the statue.

The footnotes provide additional context:

1. An mention in the "Sthaviravali" of the "Paryushanakalpa" from approximately 1st century CE states that the "Sorathiya branch" of monks originated from Arya Rishigupta, a disciple of Arya Sushasti, the guru of King Chandragupta Maurya. This event is dated around the 2nd century BCE.
2. References to R. U. P. Shah's "Akota Bronzes."
3. Acknowledgement of the courtesy of the Shri Morbi Shvetambara Murtipujak Sangh, Darbargadh, and Shri Jayendra Vora, Registration Officer (Archaeology), Rajkot, for providing the accompanying photograph. The author also expresses gratitude to Shri Ravi Hazaranis and Shri Jayendra Vora for their inspiration.