Some Inscriptions And Images On Mount Satrunjaya

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This article by Ambalal Premchand Shah examines a selection of inscriptions and images found on Mount Shatrunjaya, a significant Jain pilgrimage site. The author highlights the challenge of dating ancient monuments on Shatrunjaya due to frequent renovations over centuries, which often obscure or replace older evidence. This has led some scholars to believe Shatrunjaya's antiquity might not predate other Jain temple sites like Delvada on Mount Abu. However, Shah aims to present evidence from inscriptions and art that points to a deeper history.

Key Findings and Discussions:

• Mount Shatrunjaya's Ancient Identity: Literary traditions identify Shatrunjaya as an ancient tirtha (pilgrimage site) for Jains, referred to as "Pundarikagiri" in the Jain canonical text "Jñātadharmakatha." This name is linked to auspicious events in the life of Rishabha, the first Tirthankara, and specifically to Pundarikasvāmī, Rishabha's first Ganadhara (chief disciple), who attained liberation there. A memorial shrine was erected for him, leading to the mountain being named Pundarikagiri.

• Analysis of Specific Inscribed Images: Shah focuses on several key examples:

  1. Pundarikasvāmī Image (V.S. 1064 / 1006 A.D.):

     • This marble sculpture, located near the main shrine of Adinatha (Rishabha), depicts Pundarikasvāmī in a meditative pose.
     • The pedestal bears a four-line inscription detailing the death and attainment of heaven by Muni Sangamasiddha, a follower of the Vidyādhara-kula lineage. He died after a month and four days of fasting and austerities on Mount Shatrunjaya, on a Monday in the dark half of Margashirsha in V.S. 1064.
     • The shrine was commissioned by Shreshthi Ammeyaka, son of Rodheyaka, for his own spiritual merit.
     • This is identified as the earliest known inscribed and dated image on Shatrunjaya and is a significant artistic specimen from Gujarat, despite modern paint and glass eyes marring its original beauty.

  2. Shreshthi Narayana Image (V.S. 1131 / 1075 A.D.):

     • This marble sculpture represents a Jain householder (shravaka), identified as Shreshthi Narayana, brother of Jajanaga and father of Kapardi.
     • The inscription states the statue was set up by Siddha and Vira in V.S. 1131.
     • Narayana is depicted in a relaxed posture, adorned with jewelry, and with a long beard. The presence of divine garland-bearers (maladharas) alongside a lay worshipper is noted as unusual.
     • It's considered a fine example of secular sculpture from the 11th century AD.

  3. Goddess Saccikādevi (Mahishasuramardini) Image (V.S. 1371 / 1314 A.D.):

     • This is a twelve-armed marble sculpture of the goddess, known as Mahishasuramardini in Hindu tradition and Saccikadevi in Jain tradition.
     • The goddess is shown trampling the buffalo-demon, pierced by her trident, displaying impressive workmanship. She holds various attributes in her hands.
     • The style is compared to the Sarasvati from Pallu and is dated around 1000-1050 A.D. (though the inscription is later).
     • The inscription states that the image was set up by Sanghapati Sadu Desala, son of Ajada, along with his family members, for their family deity Saccikadevi in V.S. 1371.
     • The Ukesha lineage, named after the ancient town of Osiya, is associated with this Goddess, who is also depicted as Mahishasuramardini at Osiya.

  4. Minister Samarasimha and his Wife Gugan Sculpture (V.S. 1414 / 1357 A.D.):

     • This sculpture represents Minister Samarasimha (also known as Samarasaha), who renovated shrines on Shatrunjaya in V.S. 1371, and his wife Gugan.
     • The minister stands with folded hands, while his wife holds a money bag and a bowl for worship.
     • Desala, mentioned in the previous inscription, is the father of Samarasimha.
     • The inscription indicates the sculpture was made by Samarasimha and his wife Salin and Sajjan Simha in V.S. 1414 and consecrated by Bhikshu Sri Devaguptasuri.

  5. Metal Sculpture (c. 10th Century A.D.):

     • This is a partial depiction of a metal sculpture featuring a central Jina figure flanked by smaller Jina figures. A Kubera-like Yaksa and the goddess Ambika are also present.
     • Stylistically, it's assigned to the 10th century A.D. or slightly earlier.
     • The present whereabouts of the complete bronze are unknown, but it's described as a beautiful example of Western Indian metal sculpture.

• Other Notable Inscriptions (V.S. 1207 - c. 1405 A.D.):

  • Inscription No. 5 (Shrine No. 302): Mentions an image of Sri Shantinatha installed for Gupadevi, wife of merchant Harishchandra of the Bhimapalli-gaccha. It is dated in the "Siddha-Hema-Kumara Samvat" year 4, Vaisakha Krishna Paksha 2, Thursday. This is significant as it is the only known inscriptional evidence of the Siddha-Hema-Kumara Era, associated with Siddharaja Jaysimha, Acharya Hemacandra, and King Kumārapāla. The era likely started around V.S. 1199 and ceased to be used after the deaths of Hemacandra and Kumārapala.
  • Inscription No. 6 (Shrine No. 280): Dates an image to V.S. 1228, mentioning Pahudeva of the Devanandakiyagaccha and his father Pala.
  • Inscription No. 7 (Underground Chamber): Records an image of Pandita Yashovardhana, disciple of Pandita Asachandra and Padama of the Vayatiya gaccha from Dhandhukaka, set up by his spiritual brother Padmacandra in V.S. 1273.
  • Inscription No. 8 (Underground Chamber): Details a statue of Minister Prabhasa, son of [...], set up by his son Jagapala of Padra village in V.S. 1313.
  • Inscription No. 9 (Shrine No. 701): Mentions an image of venerable Sri Gunasenasuri of Nagendragaccha, made by Pt. Ramachandra for his preceptor and consecrated by Sri Jinabhadrasuri in V.S. 1342.
  • Inscription No. 10 (Underground Chamber): Records an image of Ajitanatha set up by minister Sangana, son of minister Maladeva, for his mother Bayi Hirana in V.S. 1405.

In conclusion, Shah's article meticulously presents and analyzes inscriptions and sculptures, pushing back the evidence for significant artistic and religious activity on Mount Shatrunjaya to at least the 11th century AD, and highlighting the site's deep historical and cultural importance within Jainism. The study underscores the value of such epigraphic and iconographic evidence in understanding the chronology and evolution of ancient Indian art and religious traditions.