Some Inscriptions And Images In Mount Satrunjaya

Here is a comprehensive summary of the Jain text "Some Inscriptions and Images in Mount Satrunjaya" by Ambalal Premchand Shah:

Overview:

This scholarly article, reprinted from the Golden Jubilee Volume of Shri Mahavira Jaina Vidyalaya, Bombay, examines specific inscriptions and images found on Mount Shatrunjaya, a significant Jain pilgrimage site. The author, Ambalal Premchand Shah, aims to shed light on the antiquity and artistic styles of the temple-city, which has undergone numerous renovations over centuries, making it challenging to determine its earliest periods. While literary traditions point to Shatrunjaya's ancient origins, tangible evidence is often obscured by these renovations. The article focuses on several key findings that contribute to understanding the site's historical and artistic development.

Key Findings and Analysis:

The article presents and analyzes several significant sculptures and their accompanying inscriptions:

• Image of Pundarikaswami (Figure 1):

  • This well-preserved marble sculpture, measuring approximately 2.5 feet in height, is located near the main shrine of Rshabhanatha.
  • It depicts Pundarikaswami, the first Gaṇadhara of Rshabha, seated in padmāsana and dhyānamudrā.
  • The sculpture also features divine garland-bearers and a chatra (umbrella), common motifs in Jaina art.
  • Crucially, an inscription on the pedestal provides a date: V.S. 1064 (1006 A.D.).
  • The inscription details the spiritual journey of Muni Sangamasiddha, who meditated on Mount Shatrunjaya, practiced sallekhana (ritual fasting to the death), and attained heaven. It also credits Śreṣṭhi Ammeyaka with commissioning the shrine and image for his own spiritual merit.
  • This image is considered the earliest known inscribed and dated image at Shatrunjaya and is praised for its artistic quality, despite some modern embellishments marring its original beauty. The author suggests Muni Sangamasiddha might be the grand-teacher of Padalipta, author of Nirvāņakalikā.

• Sculpture of Śreṣṭhi Nārāyaṇa (Figure 2):

  • This marble sculpture represents a Jain lay worshipper (śrāvaka).
  • Nārāyaṇa is depicted in añjalimudrā (folded hands) and lalita-posture, adorned with various ornaments.
  • An inscription on the pedestal identifies him as Śreṣṭhi Nārāyaṇa, younger brother of Jajanāga and father of Kapardi.
  • The inscription states the statue was set up by Siddha and Vira in V.S. 1131 (1075 A.D.).
  • This is noted as a fine example of secular sculpture from the 11th century, highlighting the artistic traditions of Gujarat.

• Image of Saccikādevi (Figure 3):

  • This striking twelve-armed Goddess is identified as Mahiṣamardinī in Hindu traditions and Saccikādevi in Jain traditions.
  • The marble sculpture depicts the Goddess in bold relief, trampling the Mahiṣa-demon pierced by her trident. It's described as a work of superior craftsmanship.
  • The sculpture is placed within a miniature shrine.
  • The inscription on the pedestal dates the image to V.S. 1371 (1314 A.D.).
  • It was commissioned by Samghapati Sādu Desala, son of Ajada and grandson of Salakṣaṇa, belonging to the Vesaṭa-gotra of the Ukeśa lineage. He, along with his family and sons, dedicated this image of their family deity.
  • The article connects Saccikādevi to Osia in Rajasthan, the origin of the Oswal community, where she is also depicted in the Mahiṣamardinī form. The style is compared to the renowned Sarasvati from Pallu.

• Sculpture of Minister Samarasimha and his Wife Gugān (Figure 4):

  • This sculpture represents Minister Samarasimha, who renovated various shrines at Shatrunjaya in V.S. 1371, and his wife Gugān.
  • Samarasimha stands with folded hands, while Gugān holds a money bag and a bowl for worship.
  • The dress and ornaments are noted for their artistic merit.
  • The inscription on the pedestal dates the sculpture to V.S. 1414 (1357 A.D.) and states it was caused to be made and consecrated by Samghapati Desala's son Samarasimha and his wife Gugan, along with Sālig and Sajan-simha, under the guidance of Śrī Kakka Suri's disciple, Bh. Devagupta Suri.

• Jaina Metal Sculpture (Figure 5):

  • This is a beautiful bronze sculpture featuring a central Jina figure flanked by two smaller Jina figures. It also includes a Yakṣa (Kubera-like) and a Yakṣī Ambikā.
  • Although it lacks an inscription, its stylistic features suggest a date of circa 10th century A.D. or slightly earlier.
  • The author notes the sculpture's current whereabouts are unknown but recalls seeing it on Mount Shatrunjaya. It is considered a fine example of metal sculpture from Western India.

Other Noted Inscriptions:

The article also briefly mentions several other inscriptions, ranging from V.S. 1207 to c. 1405 A.D., providing further dating for various images and structures:

• Inscription No. 5: On a metal image of Śāntinātha, dated in the Siddha-Hema-Kumāra Samvat 4 (circa V.S. 1203), linked to the era associated with Siddharaja Jayasimha, Acarya Hemacandra, and Kumārapāla. This is crucial as it's the only known inscriptional evidence of this era.
• Inscription No. 6: From Shrine No. 280, dated V.S. 1228, by Pahudeva of the Devanandakiyagaccha for his father's spiritual benefit.
• Inscription No. 7: On a mutilated image, dated V.S. 1273, of Pandita Yaśovarddhana, disciple of Panditas Āsacandra and Padama, set up by his spiritual nephew Padmacandra.
• Inscription No. 8: From a statue of Minister Prabhāsa, dated V.S. 1313, set up by his son Jagapala.
• Inscription No. 9: On an image of Pujya Sri Gunasenasuri, dated V.S. 1342, made by Pt. Ramacandra for his guru's merit and consecrated by Sri Jinabhadrasuri.
• Inscription No. 10: From a Jina image, dated V.S. 1405, of Ajitanatha, set up by minister Sangana for his mother's welfare.

Conclusion:

The study of these inscriptions and images significantly contributes to establishing the antiquity and artistic evolution of Mount Shatrunjaya. The unearthed evidence, particularly the dated inscriptions, pushes back the timeline of artistic activity on the mountain, refuting earlier assumptions that it might be younger than other prominent Jain sites. The article highlights the importance of these artifacts in understanding the history of Jain art, sculpture, and religious practices in Western India.