Prachin Bhartiya Murtikala Ko Malva Ki Den

Here's a comprehensive summary of the Jain text "Prachin Bhartiya Murtikala ko Malva ki Den" by Bhagvatilal Rajpurohit, focusing on the contributions of Malwa to ancient Indian sculpture:

The book "Prachin Bhartiya Murtikala ko Malva ki Den" (Malwa's Contribution to Ancient Indian Sculpture) by Dr. Bhagvatilal Rajpurohit argues that art serves as a mirror to a nation's culture, and Indian art reflects its age-old life. It encompasses various aspects of existence, including religion, philosophy, aesthetics, human nature, and socio-political dynamics, across Vedic, Buddhist, and Jain traditions. The author emphasizes that true art, when created with deep concentration, transcends religious boundaries and reaches a universal appeal, providing profound joy to every sensitive observer. This ideal of art, like theatrical performances, was meant for the enjoyment of society as a whole, aiming for "Paramananda" (supreme bliss), unlike Western art which might lean towards indulgence.

The text traces the evolution of sculpture in the Malwa region and its influence on Indian art:

Early Periods and the Mauryan Era:

• While the Indus Valley Civilization yielded significant metal and terracotta sculptures, no notable artifacts have been found from the contemporary Malwa civilization.
• A significant gap exists in understanding Indian art from the Indus Valley to the Mauryan period, including Malwa.
• The Mauryan era marked a rich artistic tradition, with remnants found across India. This art manifested in two forms: state art and folk art.
• State Art: Examples include the lion capital pillar from Sanchi (commissioned by Emperor Ashoka), similar to the Sarnath capital, and an elephant sculpture near Ujjain (Sohadong), now housed in the Vikram University's Archaeology Museum. The text notes the unique polish of Mauryan stone sculptures, prevalent during that time but rare before and after.
• Folk Art: This is exemplified by the colossal Yaksha sculptures found in a vast region from Mathura to Odisha, Varanasi to Vidisha, and Pataliputra to Shurparak. These sculptures possessed individual identities and were installed in open spaces. They are direct evidence of widespread Yaksha worship, which was respected across Vedic, Buddhist, and Jain faiths. Notable examples include the Yaksha from Parkham village (Mathura) and a 12-foot-tall Yaksha from Besanagar, renowned for its grandeur and beauty. The Yakshi from Patna's Didarganj is also highlighted as unparalleled, with a corresponding Yakshi from Besanagar being unique in its find.
• These Yaksha and Yakshi figures, often depicted as robust and strong, wore turbans, upper garments draped over the chest, dhotis secured by waistbands, heavy earrings, necklaces, flat triangular chest ornaments, and armbands. They were often depicted as stout or pot-bellied. The origin of this Yaksha tradition is unknown, but its prevalence suggests a rich literary tradition that may not have survived in physical form, possibly originating from perishable materials like clay or wood. Literary references to Yakshas are abundant in this period, with Vasavadatta visiting a Yakshini shrine in Ujjain as mentioned in Bhasa's "Pratijnayaugandharayana."

Shunga Period:

• The Shunga period saw the construction of railings and torana gateways for the stupas at Bharhut and Sanchi, adorned with artistic beauty. Buddhist faith, deeply ingrained in the public, was manifested on stone, but popular deities like Yakshas and Nagas also began to take shape, resulting in a mixed art form at centers like Bharhut and Sanchi.
• This era introduced numerous decorative elements, including Lakshmi, Purnaghat (pot of plenty), Uttarakuru, Dharmachakra (wheel of dharma), Triratna (three jewels), Kalpavriksha (wish-fulfilling tree), Makara, Kachchapa (tortoise), Yaksha-Yakshi, trees, stupas, worship of animals like bulls, lions, horses, and elephants found on Ashoka pillars, various deities, temples, garlands, creepers, and lakes. These depictions served both religious and aesthetic purposes.
• Vidisha and Sanchi flourished with artistic grandeur. Vidisha, a significant trade center on the Mahapath (great road) from Mathura to Pratishthan, featured beautiful depictions of Vishnu temples, Garuda Dhvaja (Garuda banner), Makara Dhvaja (Makara banner), and Kalpavriksha signifying treasures. The Kalpavriksha was depicted as a banyan tree with a pot of treasure, two bags, and conch and lotus at its roots. An 8-foot-tall finial from a Kuber flagpole, now in the Calcutta Museum, is considered a representation of this Kalpavriksha, holding special significance in literature.
• Kalidasa's Meghaduta mentions "Gram Chaityas" in Vidisha, which were residences of Yakshas or trees. The "Vata Yaksha" (Banyan Yaksha) is discussed in literature, and the "Gram Chaitya" of Vidisha is thus linked to Yaksha or Kuber's dwelling. Vidisha's prominence as a center for Yaksha and Kuber idol installation from the 3rd century BCE onwards, during Ashoka's time, explains its mention. The presence of numerous Mauryan-Shunga period colossal sculptures in open spaces and its location on a trade route with a Vaishya settlement (Besanagar) made the widespread worship of Kuber and Yakshas natural. This led to the creation of large idols, shrines, and flagpole finials adorned with treasure-symbolizing Kalpavrikshas. The banyan tree's association with Yaksha habitation fostered a special faith among the people. The conch and lotus depicted at the base of the aforementioned banyan tree are also mentioned by Kalidasa in Meghaduta (2.17) as adorning the entrance of Yaksha dwellings in Alaka, symbolizing ultimate treasures. The depiction of Vishnu with conch and lotus in his hands also signifies wealth. The presence of Vishnu's shrine and Garuda Dhvaja alongside these Kalpavrikshas in Vidisha, a commercial city, is not surprising. Kalidasa's reference to the Chaitya encompasses the entire civilization of Vidisha in his era – its art, society, economy, and religion.
• Sanchi's Stupas: The four torana gateways of the Mahastupa are highly ornate. The toranas of the third stupa also feature elaborate designs. The gateways have three architraves resting on two heavy pillars, adorned with spiral decorations at the ends. They depict riders on elephants and horses, Yaksha figures, and the foreparts of elephants and lions, as well as Yakshis holding chamaras (fly-whisks). Here, Buddhist and folk religions converge. Some sculptures are frequently repeated, while others depict episodes from Buddha's life, Yaksha figures, flora and fauna, and scenes of worship of the Bodhi tree (Ashvattha/Peepal). Dwarf Yaksha figures are carved between the larger reliefs. The animals depicted are both real and mythical, including deer, bulls, camels, elephants, lions, and composite lion-beasts. The Eastern Gateway features Shaka-Tushara figures in northern attire, and winged lions, which are also found outside India. Floral decorations are abundant, especially the lotus.
  • The Southern Gateway depicts Lakshmi being anointed by two elephants. The middle architrave shows Ashoka arriving in a chariot to view the stupa, followed by elephant riders and infantry. Another relief on the pillar of this gateway depicts the Bodhi tree surrounded by the Bodhi-tree shrine built by Ashoka, showing Ashoka despondent upon seeing a withered Bodhi tree. A "mithuna" (couple) playing a veena, enjoying a dance under the Kalpavriksha, is also depicted.
  • The Northern Gateway has Yaksha figures and winged lions on the upper architrave. The lower architrave features excellent depictions of urban architecture, costumes, jewelry, chariots, and scenes similar to Bharhut, such as Jaitavana, Prasenjit, drinking parties, and music. Golden garlands are artistically rendered on golden staffs on the outer parts of the pillars. This gateway showcases a remarkable fusion of Buddhist and folk art.
  • The Eastern Gateway exhibits fluidity in its carvings, depicting Buddha's Mahabhinishkramana (great renunciation) and the city's moat, ramparts, and gates. Various folk scenes are depicted on the pillar sections. The Mahakapijataka is also successfully rendered here, along with scenes of the blissful life in Uttarakuru. The art of the South and West gateways influenced the later Mathura Kushana style. The South Gateway was crafted by ivory artisans from Vidisha, reflecting their fine artistry, with contributions from Ujjain's elite.
• The railing of the Second Stupa, dating to the late 2nd century BCE, features reliefs of Yaksha-Yakshis, horse-fish, Kinnara couples, and abundant lotuses. A charming depiction shows Lakshmi being anointed by two elephants within a lotus creeper. Below this are Yaksha couples, with the Yaksha holding a lotus, symbolizing his immense wealth. They stand on lotus leaves, signifying their love for water. Below them are lions with raised forelegs, then two horses, and at the bottom, a tortoise from whose mouth emerges a flowing lotus creeper, with the aforementioned scenes depicted sequentially. The lotus is depicted in infinite forms. Uttarakuru is also depicted here. The borders are also artistically rendered. These Kinnaras later evolved into Hamshirsha deities, considered an avatar of Vishnu, and were also called horse-faced Yakshas-Yakshis.
• The gateways of the Third Stupa are adorned with Yaksha-Yakshinis, horse riders, Triratnas, Dharmachakras, and other motifs.
• Near the Udayagiri hills, Cunningham discovered several Mauryan-Shunga period remains, some of which are lost, while others are preserved in the Gwalior Museum. An 8.5-foot-high cylindrical pillar fragment, though lacking the Mauryan polish, resembles other Ashoka pillars in form and material. This includes a half-broken lotus motif, a rope necklace, a plain band on top, a circular abacus surrounded by reliefs of bulls, elephants, winged camels, winged horses, giraffes, bearded human faces, and winged lions. A pillar capital from Luhangi hill, also unpolished but considered Mauryan, is decorated similarly to the Rampurva capital, with two lions and two elephants seated one after another, of which only the legs remain.
• A remarkable example of Mauryan art is a sculpture engraved on slate stone found during excavations at Ujjain's fort. South of Sanchi, there is a colossal 12-foot-long horse sculpture, near which stands a magnificent statue of a Naga king, with its hands and face damaged. Nearby, in the village of Firozpur, are life-sized human figures of a Naga king and queen. Many such attractive sculptures exist, believed by the Dwivedi brothers to have been created in the 3rd century CE.
• Near the remnants of the Vishnu temple in Vidisha, a pre-Gupta period broken Vishnu idol was found, holding a lion-faced mace in its left hand, with a halo. A pillar capital from Besanagar, bearing a Makara inscription, has also been recovered. Mentions of Makara Dhvaja or Makara Ketana temples are found in the context of Ujjain and Pataliputra.
• A Shiva-mukha (Shiva face) sculpture engraved on a Shiva Linga in the Veena Cave in Bhelsa predates the Gupta period, as it only displays a third eye, lacking other characteristic Gupta features like the crescent moon. The serene expression of this sculpture is captivating. The hair is tied in a matted bun on the head, with some strands falling to the neck. A necklace of beads adorns the neck.
• The Ashtamukha Shiva (eight-faced Shiva) worshipped by Kalidasa is represented by a unique sculpture found in Dashpur (Mandsaur). An 7-8-foot-high Shiva Linga features four faces on the upper and four on the lower sections, each with three eyes. The faces are oval and serene.
• Large sculptures of Bodhisattvas, Kuber, Yakshas, and doorkeepers are found around the entrances of the Bagh caves. These are from a period before the fully established characteristics of Buddha images, suggesting they predate the Gupta era.

Gupta Period:

• Gupta art represents a remarkable synthesis of virtue, power, and beauty, with figures becoming entirely naturalistic. The balance achieved by the sculptors' chisels during this period was unprecedented and remained unmatched. Sculptures were no longer flat as in the Shunga period or round as in the Kushana period, but became oval, akin to the Gandhara style. Artists drew inspiration directly from the flow of life rather than established artistic conventions. The vibrancy of life became embodied, and ornamentation reduced, allowing natural beauty to flourish.
• The colossal 12.8-foot-high Varaha (boar) sculpture in the Udayagiri caves, depicted lifting the earth, stands as a testament to power. The sixth cave contains two four-armed Vishnu sculptures. Caves 5, 6, 10, and 11 also feature standing Vishnu figures. However, the 13th cave showcases a 12-foot-long reclining Vishnu (Sheshashayi Vishnu), with the head resting on the palm of a raised elbow. This image is extremely serene and beautiful, with attendants like Garuda depicted around it. The nineteenth cave depicts the Samudramanthan (churning of the ocean). A Narasimha (man-lion) sculpture from Besanagar is also attractive. A beautiful Surya (sun god) image was found in Kayatha, near Ujjain.
• The third cave at Udayagiri houses a beautiful Skanda (Kartikeya) sculpture, with a staff or spear in one hand and two heads. A miniature but attractive sculpture from Dumain is also found, as is one from Kota. Caves 6 and 17 at Udayagiri feature Ganesh sculptures. Caves 6 and 17 also contain beautiful Mahishasuramardini (slayer of Mahishasura) with twelve arms. A flying Gandharva sculpture from Mandsaur is also captivating. Yaksha-Yakshi sculptures from this period have been found in Vidisha.
• The Buddha images depicted in Bagh and Sanchi during this period, while adhering to the era's style, did not possess the same captivating quality.
• The remaining Nagachhatra (serpent canopy) in the twentieth cave at Udayagiri suggests the presence of a Parshvanatha image. A few years ago, three sculptures were recovered from Vidisha: two of the Tirthankara Pushpadanta and one of Chandraprabha. These sculptures bear the inscription of "Maharajadhiraj Ramagupta." The depiction of doorkeepers from Khilchipur in Mandsaur and Bagh is also unique.

Post-Gupta to Parmara Period:

• There isn't a continuous artistic sequence from the Gupta period to the Parmara era in Malwa. A 7th-8th century Buddha image from Bhojpur, near Bhopal, is adorned with jewelry. The caves at Dhamnar also feature several unknown mudras (gestures) of Buddha. Gyaraspur depicts Buddha in the Bhumisparsha mudra. North of Mandsaur, about 12 miles away, at Afzalpur, numerous post-Gupta period sculptures are scattered. These black stone sculptures possess a unique charm. The facial part of a large sculpture, called the Mayurdhvaja sculpture, is visible in the courtyard of Bhavsar's house. In another enclosure, several sculptures are present, including an attractive Shalabhunjika (a woman with a bent branch) made of smooth black stone. The ancient name of this village is Madh, likely a corruption of Math (monastery). South of the village, towards Gojana village, the foundations of large buildings are visible, confirming the presence of a monastery. The stones from here were used in the construction of the Mandsaur fort. Remaining stones were utilized by villagers in their homes. A step-well also exists here. This place was quite famous in ancient times and became identified with Dashpur. Since another Dashpur was near Dalichpur in Vidarbha, which was gifted in 810 CE, and is now known as Dasur, this Malwa Dashpur became known as Math Dashpur by associating it with the nearby famous "Math" to distinguish it. The corruption of this combined name is the present word Mandsaur – Mathdashpur → Madadasaur, Mandasaur → Mandsaur. The renowned historian Maharaja Kumar Dr. Raghuvir Singhji holds the same opinion. Near the famous monastery, on the bank of a well east of Gojana village, is a beautiful Ashtabhuji Vishnu (eight-armed Vishnu) and Parvati sculpture. The Vishnu sculpture, about three feet high, is made of light black smooth stone, painted with vermilion. It appears to be from the Parmara period. The sculpture holds a conch, chakra, mace, lotus, sword, bow, etc. On a nearby platform at the root of a banyan tree, attractive sculptures of Shiva, Parvati, Naga, Yaksha, and Shalabhunjikas are found.
• Parmara Period: Sculpture became widely popular again during the Parmara period, with numerous temples and sculptures being created. More figures of people were created than Buddha images previously.
  • Near Devagiri (present-day Devdongri) in Meghaduta, in an ancient temple north of Mahgaon, attractive Dashavatara (ten avatars of Vishnu) sculptures are carved into the walls. Depictions of Varaha and Narasimha are very beautiful. The main sculpture is a four-armed Vishnu, adorned in feminine attire, worshipped by villagers as a goddess. The villagers have attributed a Mohini (enchanting female) form to Vishnu, preserving truth even in ignorance. A beautiful Varaha sculpture is found at the courtyard of the Baijnath temple in Badnavar. A similar sculpture is on the bank of the pond in Laduna village, near Sitamau.
  • In Bhelsa, an 8th-9th-century four-armed Vishnu sculpture exists, with a halo behind the head and a Vaijayanti mala around the neck. An 8-kilometer-drive from Ujjain, in Kamed (possibly a corruption of Kamatha), a 10th-century four-armed sculpture is found. A Vishnu sculpture from Mandu depicts Vishnu riding a flying Garuda, with Lakshmi seated on his thigh. At the entrance of the Dharmnath temple in Dhamnar, there are sculptures of Lakshmi-Narayana. A Vishnu sculpture with Lakshmi has also been found in Dhar. The Hindola Gate in Gyaraspur features Dashavatara sculptures. The aforementioned temple in Dhamnar also has an attractive depiction of the Dashavatara. Varaha sculptures have also been found in Baroh and Karohan.
  • A sculpture of Narasimha killing Hiranyakashipu is found in Tongra. The Varaha temple in Kohala also houses a Narasimha sculpture. In Sunari and Baroh, Buddha, an avatar of Vishnu, is also carved in stone. The aforementioned temple in Dhamnar displays a reclining Vishnu sculpture, with Brahma seated on the navel lotus. Narayana is attacked by Madhu and Kaitabha, but he destroys them. A beautiful reclining Vishnu sculpture from near the Lohani cave in Mandu, inscribed with Samvat 1258, has been found. A sculpture of Brahma with Dashavatara has been found in Dhar. Similarly, reclining Vishnu sculptures are found in Jharda, and Anantashayya (reclining on a serpent) from Dudhakhedi.
  • Scenes from the Ramayana and Mahabharata are depicted on the walls and pillars of ancient temples. A scene from the Ramayana has been found in Sandhana. The Gadamal temple in Baroh depicts Krishna and Yashoda. Ancient temples in Humain also feature Krishna legends. In the mandapa of the Parshvanatha temple in Modi, numerous scenes related to Krishna's life are engraved.
  • The Parmaras were primarily Shaivites. Numerous Shaivite sculptures were created during this period. Sculptures of Parvati seated on Shiva's left thigh can be seen in almost all ancient sites of Malwa, with abundant examples in Ujjain. A beautiful dancing Shiva sculpture from the Parmara period is found in Jhalrapatan. The aforementioned temple in Dhamnar depicts Shiva in Tandava pose. Nandi and dancing goddesses are also depicted alongside him – Parvati with Nandi, Vaishnavi seated on an elephant, Indrani seated on an elephant, Brahmāni seated on a swan. A dancing Shiva sculpture from Ujjain, displayed in the Gwalior Museum, is five feet high and has ten arms, depicted as killing Gajasura. The Shiva temple in Ramgarh also houses a ten-armed Shiva sculpture, depicted dancing in the three worlds, with all the gods appearing dwarfed before him.
  • A sculpture of Shiva seated on Nandi is found in Agar, near Ujjain. Gyaraspur also yields a sculpture of Shiva, the slayer of enemies (Shatruhanata Shiva). Tripurari Shiva is depicted in Jharda. An unfinished Shiva sculpture, six-handed, 26 feet high and 12 feet 7 inches wide, is carved on a large stone on the slope of Udaipur hill. The feet are in a dancing posture, with a demon being crushed beneath them. A serpent is depicted around the neck, its hood spread over the chest. The hair is styled as a jatamukuta (matted hair crown). Local people identify it as Ravana, but it is actually Bhimashankar. The Modi temple houses a Lakulisha sculpture. Gyaraspur has a Katermal Bhairava sculpture holding a dagger. Modi also has a Bhairava sculpture with his vahana (mount), a dog, standing to his left.
  • A Brahma sculpture from Bagh, dated Vikram Samvat 1210, has been found. A Brahma sculpture is also found in Mamon. A Brahma sculpture from the bank of the tank in Laduna was stolen by thieves. Brahma is also depicted along with other deities in Dhauli and Dhundhri. In Bilohipura, Ujjain, a stone slab displays a Brahmani sculpture along with other idols.
  • A five-foot-high standing Surya sculpture is in Gandhavas. A Surya sculpture is depicted in the temple mandapa in Jhardia. The head of a 10th-century Chandra sculpture has been found in Bhelsa.
  • The University Archaeological Museum in Ujjain houses many sculptures, including Shiva with a Khadwanga (skull-staff), Nataraja, a broken Shiva sculpture, Shiva destroying Gayasura, meditating Shiva, four-armed Bhairava, a four-faced Shiva sculpture with a serene expression, Shiva-Parvati seated on Nandi, a combined sculpture of dancing Shiva and lasya (graceful dance) by Parvati, ascetic Parvati, Chamunda (found near Kalabhairava), and another Chamunda sculpture found in the city. Sculptures of Saptamatrikas (seven mothers), Vaishnavi, Brahmāni, Ganapati, dancing Ganapati, Kartikeya, etc., are found here. A beautiful sculpture of a horse rider holding a cup has been found in the Kshipra River. Several sculptures of Vishnu, Surya, Buddha, Mahavira, and goddesses are available from here.
  • Sculptures of various goddesses are found in Bhelsa, Gandharaval, Modi, Jhardia, Suhaniyas, Jharda, and Dhamnar. Sculptures of Agni (fire) and Vayu (wind) are found in Suhaniyas. Temple entrances are adorned with depictions of Ganga and Yamuna, similar to their depiction with the Varaha sculpture in Vidisha.
  • A Vagdevi (goddess of speech) sculpture, created by Manthal in 1034 CE, was formerly in the Bhojshala of Dhara and is now displayed in the British Museum. It was created during the reign of King Bhoja. This four-armed sculpture stands in an Abhanga posture. Adorned with a mukuta (crown) and kundalas (earrings), a necklace, and a waistband, this sculpture's captivating form was created with great skill and concentration. Its marvelous beauty and rhythmic balance are unique. Shivaram Murti considers it an example of the finest Parmara-period sculpture. A Saraswati sculpture of similar form is displayed in the courtyard of the Vaidyanath temple in Badnavar.
  • A ten-armed Durga sculpture from Dabhhoi fort, now displayed in the National Museum, New Delhi, is as beautiful as the Vagdevi sculpture. A captivating Parvati sculpture in white marble from Dhar is also unique and was created during the time of Udayaditya. Parmara-period Ganesh sculptures are found in Suhaniyas, Gyaraspur, Udaipur, etc. Baroh has a dancing Ganesh sculpture, similar to Ujjain. Bhojpur has numerous sculptures, including a 7.5-foot-high Shiva Linga and a Kuber sculpture. A Harihara (combination of Vishnu and Shiva) sculpture is found in Ghusai. An Ardhanarishvara (half Shiva, half Parvati) sculpture from Pali, displayed in Jhalawar, is also beautiful. Attractive Trimurti (three forms of Shiva) sculptures are found in Gyaraspur, Pachhwali, etc. Jhalrapatan has an eight-armed sculpture, depicting Brahma, Vishnu, Mahesh, and Surya in a single form.
  • A Kartikeya sculpture seated on a peacock, from Kagpur, dated to the 8th century, a Kapila Muni sculpture from Ujjain, and a pair of Nagas from Ujjain have been found. Modi yields depictions of Kalpavriksha and Kamadhenu (wish-fulfilling cow). Small Kamadhenu sculptures are also found in Dudhakhedi and Jharda.
  • Jain Sculptures: The Parmara period also saw the creation of beautiful Jain stone sculptures with balanced bodies and attractive postures. A 8 feet 10 inches high Tirthankara sculpture from Mamon is found, with two Yakshas depicted as attendants and several Tirthankaras in miniature form. A halo is present behind the head. Kagpur features a unique four-faced sculpture. The Jain temple in Bhojpur has a 20-foot-high Adinath sculpture, with Parshvanatha and Indra also depicted. Gandhaval yields mostly Jain sculptures, some up to 10 feet high. Jain temples in Un have sculptures from the 12th-13th centuries. A 13 feet 3 inches high Tirthankara sculpture is found in Chainpur. In the Jain temple in Chanderi, a Parshvanatha sculpture is dated Samvat 1252, and another Tirthankara sculpture is from Samvat 1316. A sculpture of the goddess Padmavati is also dated 1261 Samvat. In Jharda, two Jain goddess sculptures are seated on a platform under a tree, with eight arms. The first sculpture, created in Samvat 1226, is more complete and holds a twig, bow, goad, noose, rosary, etc. Three hands are damaged. A bull stands below, with attendants also depicted. The second sculpture, also from Samvat 1226, is headless. Due to their prominent breasts, villagers call these sculptures "Bovawari Mata." Bhoja refers to such sculptures as "Sustani Sustana Pratima" (Shringar Prakash, p. 265).
  • The Digambara Jain Museum in Ujjain houses a total of 516 sculptures, 56 of which are inscribed. There are 37 sculptures of Adinath or Rishabhanath. Besides Ajitnath, Sambhavnath, Abhinandananath, Sumatinath, Padmaprabha, Suvidhinath, Shantinath, Munisuvratnath, and Neminath, there are the most sculptures of Parshvanatha and Mahavira. A beautiful sculpture of a meditating Parshvanatha in Padmasana posture is present, with Yakshas and Yakshinis on either side. Their physique is captivating, with royal figures, chamara bearers, etc., on an elephant. This sculpture was brought from Guna. It is shaded by a seven-hooded serpent. There are 64 Parshvanatha sculptures here. There are also many beautiful sculptures of Jain goddesses. The Chakreshwari sculpture from Badnavar is unique even in its broken state. These sculptures also feature attractive depictions of Yaksha-Yakshis, Nagas, trees, etc.

Patronage and Legacy:

• The Parmara period saw a tradition of kings in Malwa who were connoisseurs of art and literature, with Raja Bhoja being preeminent, whose artistic sensibility became a benchmark in later eras: "Bodhe kalanam nava Bhojarajah." Bhoja commissioned many temples and installed sculptures whose identification is now difficult, with only the aforementioned Vagdevi sculpture serving as proof of his artistic vision. Bhoja, in his Shringar Prakash, emphasizes the creation of serene forms for sculptures and acknowledges the difficulty in creating such art: "Saumya murtiḥ pratimaaya iti. Aho dukham rupam lekhyasya." The compassionate depictions of that era were also not less attractive. The carving of Vasudeva on stone, the relief of the aforementioned Sustani sculptures, the creation of Kamadeva on walls, and the depiction of Hanuman on flags – all are referenced by Bhoja (Shringar Prakash, p. 204).
• The artistic context within Bhoja's work "Shringara Manjari Katha" is also rich. According to Dr. Vasudev Sharan Agarwal, this work holds significance in the creation of the art treasury. It is not surprising that during the reign of Bhoja and his noble lineage, countless attractive sculptures were created alongside texts and buildings. Furthermore, the Parmara period accorded respect to Jainism as much as to Brahmanical Hinduism. During that time, all religions received proper royal patronage, which led to the creation of beautiful sculptures related to all faiths.
• This was a period when other regions experienced a decline in artistic interest. Although sculpture was created elsewhere, the quantity and attractiveness of sculptures produced in Malwa were unparalleled, both before and after.

Conclusion: The survey of Malwa's contribution to Indian sculpture demonstrates that its richness during the Shunga, Gupta, and Parmara periods cannot be overlooked. Vidisha, Sanchi, and the surrounding areas, Ujjain, Dhar, and their peripheries served as centers of sculpture. Here, not only deities and nature were depicted, but kings and subjects were also presented together. The coordination of subjects and kings, spiritual practice and worldly life, royal dharma and folk dharma found in Sanchi is not easily available elsewhere. The theoretical and practical development of iconography here served as an example for other regions in later periods. The Vagdevi sculpture from Bhoja's era continued to be emulated in later periods, although the imitators could not achieve the same level of success. Bhoja himself provided extensive details on sculpture in the Samarangana Sutradhara, inspiring artists. The editor notes that the author's attention did not extend to Shvetambara sculpture, which also holds a distinct place from an artistic perspective.

In essence, the book highlights Malwa as a vibrant cradle of Indian sculptural art, contributing significantly to its development and evolution across various epochs, from the early periods to the illustrious Parmara era.