Some Notable Swetambara Jain Bronzes

Here's a comprehensive summary of the provided Jain text, "Some Notable Śvetāmbara Jaina Bronzes" by Umakant P. Shah, based on the given pages:

This paper by Umakant P. Shah focuses on significant Śvetāmbara Jain bronze images, highlighting their artistic merit, historical context, and inscribed details. The author presents and analyzes several notable examples, emphasizing their importance in understanding the evolution of Jain art and iconography.

The first discussed bronze (Plate 1) is a beautiful pre-medieval brass image of Jina Ṛṣabha, found in the Jaina temple at Gāṅghānī near Jodhpur, Rajasthan. Dated to Samvat 937 / A.D. 880, this image depicts Ṛṣabha seated on a decorated cushion above a lotus and a simhāsana (lion throne). The throne features lively hamsa (swan) figures and floral/creeper designs. Two lotuses on the sides of the simhāsana likely once held figures of the Yakṣa and Yakṣī, which were not recovered. The inscription on the back provides details about its creation by two senior nuns, Śrī Vatsa and Lāṅgalī, who were disciples of Udyotana Sūri, and that it was made with deep devotion for liberation. The inscription also mentions that the two disciples attained senior monkhood.

The second example (Plate 2) is an exquisite and elaborately decorated bronze of an unidentified Tīrthaṅkara from Mount Śatruñjaya. This rare piece features a larger central Jina figure in padmāsana (lotus posture) with three smaller Jina figures above, all in padmāsana and dhyāna-mudrā (meditation gesture). The composition includes celestial musicians, garland-bearing vidyādharas, and an undulating makara-torana (arch). The artist notes influence from Karṇāta art in the torana and the placement of camaradharas (flywhisk bearers), while the Jina figures and associated Yakṣa and Yakṣī (Sarvāṇa and Ambikā) suggest Gurjara-Pratihāra art, likely from Lāṭa or Southern Gujarat around the ninth century A.D.

The third discussed piece (Plate 3) is a dated Jaina brass image unearthed during repairs at the Pārśvanātha temple in Broach (ancient Bharukaccha). The image was temporarily housed in the neighboring Ajitanātha Jaina temple. The inscription on the back (Plate 4) states it is a religious gift of Gaṇinī Acchuptā of the Śrī Vijayatungācārya-gaccha, fashioned by Govinda, and dated Śaka Samvat 930 / A.D. 1008. This image depicts a central contemplative Jina in padmāsana, flanked by two standing Tīrthaṅkaras and two camaradharas. Below are the two-armed Yakṣa Sarvāṇubhūti (alias Sarvāṇa) and the two-armed Yakṣī Ambikā. The composition, arranged in a triangular form from the pedestal to the top, is a fine example of metal sculpting art, likely fashioned in Bharuch itself. Some facial features are worn due to centuries of worship.

The author then discusses the prevalence of "trītīrthika" (three-Jina) brass images among Western Indian Śvetāmbaras, citing examples from the Vasantagaḍh and Akotā hoards. A trītīrthī from the Śāntinātha temple in Cambay (Plate 7) is mentioned with an 11th-century Nāgarī inscription, though its facial features are worn and later retouched. Another ekatīrthika (single-Jina) image from the Ghoghā hoard (Plate 8) is dated to Samvat 1009 / A.D. 953 and bears the name "Viradeva."

A significant bronze from Broach, dated Śaka Samvat 910 / A.D. 988, is discussed. This image was originally in a Jain institution in Kadi and is now in the Los Angeles County Museum. The inscription indicates it was commissioned by Pārśvīlla gaṇi, a disciple of Śilabhadra, who was in the lineage of Lakṣmaṇa sūri of the Nāgendra kula. It was set up in the Mūla-vasati in Bhrgukaccha. Unlike the Broach 1008 A.D. piece, this bronze features two standing goddesses flanking the Jinas: Vidyādevī Vairōṭya on the left and potentially Vidyādevī Apraticakra on the right, identified by their attributes.

In essence, Shah's paper showcases early to medieval Śvetāmbara Jain bronzes, providing crucial information about their origins, patrons, artists, dating, and artistic styles, often influenced by regional schools of art like Karṇāta and Gurjara-Pratihāra. The inscriptions are vital in establishing the historical context and patronage of these significant religious artifacts.