Some Unpublished Jaina Images Of Bihar - Book Summary

Here's a comprehensive summary of the provided text from "Some Unpublished Jaina Images of Bihar" by Ajoy Sinha, broken down by the discussed locations:

Overall Context:

The document explores several Jaina sculptural finds in Bihar, focusing on their iconographic details, historical context, and significance within Jainism. The author notes the historical evolution of Jainism from atheism to the adoption of idol worship and the incorporation of Hindu deities.

1. Bhagalpur (Ancient Campa):

An Early Image of Bhagavan Santinatha with the Jyotiska Devas:
- Location: Sri Campapur Digambar Jain Siddhaksetra, Natunagar (a suburb of Bhagalpur).
- Description: A black basalt image (61 x 30.5 cm) of the 16th Tirthankara, Santinatha, seated in samparyankasana on a lotus pedestal. The pedestal features a dharmacakra (Wheel of Law) flanked by two lions. A deer (Santinatha's emblem) and two devotees are engraved below the dharmacakra.
- Key Iconographic Features: Flying Gandharvas adorn the sides of the Jina's head.
- Jyotiska Devas (Planetary Deities): The most striking feature is the presence of eight Jyotiska Devas surrounding Santinatha. These include:
  - Surya (Sun-god): Depicted in lalitasana, holding lotus flowers.
  - Candra (Moon-god): Seated in samparyankasana, in varada (boon-giving) mudra.
  - Mangala (Mars): Holding a spear.
  - Budha (Mercury): Holding a sword.
  - Brhaspati (Jupiter): Emblems unclear, but traditionally sits on a lotus and holds a book, kamanḍalu, and rosary.
  - Sukra (Venus): Holding a rosary-like object and in varada mudra.
  - Sani (Saturn): In an almost tribhanga pose, holding a standard-like object.
  - Rahu: Depicted in a terrific form with hands in tarpana mudra.
- Chronological Significance: The absence of Ketu is noted as important for dating, suggesting an early period as Ketu was a later addition in Indian art. The influence of Hindu art is also evident. The author dates this image to the early Pala period (circa 8th century AD).
Rare Image of Caubisi of Adinatha:
- Location: Sri Digambara Jain Mandir, Jain Mandir Lane, Bhagalpur.
- Description: A black stone sculpture (16 x 10 cm) carved in four tiers.
  - Top Tier: Bhagavan Adinatha seated in samparyankasana, flanked by attendants. Decorated with ashokadruma. Flying Vidyadharas are above his head. He is seated on Kailasa.
  - Second Tier: Seven Tirthankaras standing in khadgasana posture, in chronological order from right to left, with their emblems below their feet (Ajitanatha, Sambhavanatha, Abhinandananatha, Sumatinatha, Padmaprabha, Suparshvanatha, and Chandraprabha).
  - Third Tier: Eight Tirthankaras standing in chronological order from right to left, with their emblems below their feet (Suvidhinatha, Shitalanatha, Shreyamsanatha, Vasupujya, Vimalanatha, Anantanatha, Dharmanatha, and Santinatha).
  - Bottom Tier: The remaining eight Tirthankaras in chronological order, with their emblems below their feet (Kunthunatha, Aranatha, Mallinatha, Munisuvrata, Naminatha, Neminatha, Parshvanatha, and Mahavira).
- Artistic Features: All Tirthankaras have double-circled halos.
- Comparison: Similarities are noted with caubisi sculptures from Bangladesh belonging to the late Pala period (10th-11th century AD).
- Dating: The author believes this caubisi of Adinatha also belongs to the Pala period and is of significant archaeological interest.

2. Pakur (Santal Parganas):

Survey of Images: The author surveyed Pakur and inspected four early Tirthankara images in a newly constructed temple.
Bronze Images:
- Bhagavan Parshvanatha: (10.2 x 5.1 cm) Dated Vikram Samvat 1527 (1470 AD) by an inscription. Seated in samparyankasana on a high pedestal with the characteristic seven-hooded serpent canopy. Nude, with elongated ears, tri-ratna symbol on the chest, and chakra on the soles. The yaksa Dharanendra and yaksini Padmavati are absent. The pedestal has three niches with the serpent emblem in the center and two lions flanking it. This is considered the earliest bronze icon in this region.
- Bhagavan Chandraprabha: (5.2 x 3.8 cm) Dated Vikram Samvat 1671 (1614 AD). Seated in padmasana in meditation. His worship is popular in Rajasthan.
Marble Images:
- Bhagavan Parshvanatha: (Black marble) Seated in padmasana, with the seven-hooded snake canopy. The associated story of the serpent reborn as Dharanendra is recounted. Clear tri-ratna mark.
- Bhagavan Chandraprabha: (White marble) (13.8 x 10.5 cm) Dated Vikram Samvat 1881 (1824 AD). Seated in padmasana in a meditative pose. His emblem, the moon (shashi), is visible.
Significance: These sculptures are important for showing the religious devotion of Jainas in Pakur who migrated from Rajasthan, despite Jainism having a lesser influence in Santal Parganas.

3. Monghyr (Ancient Mudgagiri):

Historical Importance: Monghyr was an important center of Jainism during the early historic period, as evidenced by literary sources like the Padmacarita and accounts of Acharyas Jinasena and Haribhadra.
Recent Discovery: A torso of Bhagavan Parshvanatha, dating to circa 9th century AD and carved from black stone, was discovered in the Monghyr Fort area, further supporting its Jain significance.
Temple: The Sri Parsvanatha Digambar Jain Mandir in Bara Bazar, Monghyr, was constructed in Vikram Samvat 1936 (1879 AD), likely on the ruins of an older temple. The Jain population in Monghyr is small.
Studied Images:
- Two Images of Bhagavan Parshvanatha:
  - One in black stone (16x10 inches), seated in samparyankasana, with a seven-hooded serpent canopy. Features include typical hair style, long ears, half-closed eyes, tri-ratna mark, and the serpent emblem.
  - One in bronze (10x8 inches), seated in samparyankasana, with a nine-hooded serpent canopy. The nine-hooded serpent is mentioned in the Gunadhara Sardilla Sutra. The Jina is in yoga mudra.
- Sasanadevi Padmavati: (White marble, 12x6 inches) Most important image. Installed in Vikram Samvat 1548 (1491 AD). Seated in samparyankasana on a lotus pedestal. Has four hands holding a goad (ankusha), noose, rosary, and kusha grass. Bears a long necklace and round kundalas. Canopied by a serpent, symbolizing her association with the nether regions. The text notes that shilpa texts describe Bhagavan Parshvanatha seated over the canopy of Padmavati, with a five-hooded serpent. This Padmavati image is considered a singular specimen based on published materials.
Conclusion on Monghyr: The town has a strong historical association with Bhagavan Parshvanatha, supported by literary evidence and archaeological finds like the Pala period torso. The temple has faced destruction and rebuilding over time.

In essence, the document highlights the rich Jaina artistic heritage of Bihar, presenting specific examples of sculptures from Bhagalpur, Pakur, and Monghyr, and discussing their iconographic details, dating, and historical context within Jainism.