Tirthankar Tatha Vaishnav Pratimao Ke Saman Lakshan

Here's a comprehensive summary of the provided Jain text, "Tirthankar tatha Vaishnav Pratimao ke Saman Lakshan" by Bhagvatilal Rajpurohit:

This article, "Similar Characteristics of Tirthankara and Vaishnava Idols," by Dr. Bhagvatilal Rajpurohit, explores the striking similarities between the artistic representations of Vaishnavas (followers of Vishnu) and Jains, particularly their Tirthankaras.

The author begins by noting the close spiritual and ritualistic parallels between Vaishnavas and Jains, stating that their purity of conduct and methods of worship are quite similar. This closeness extends to their artistic iconography.

A key point of comparison is the Shrivatsa symbol. Vaishnava idols are prescribed to have the Shrivatsa mark on their chest, a tradition documented in Varahamihira's Brihat Samhita and later in the Mansara. Similarly, Varahamihira's Brihat Samhita also mandates the Shrivatsa mark on Tirthankara idols, describing them as having "long arms up to the knees, marked with Shrivatsa, and a tranquil form." Tirthankaras are also referred to as 'Shrivatsabhushitoraska' (adorned with Shrivatsa on the chest), a common characteristic of all Tirthankaras. While the general characteristic is the Shrivatsa, the Apardjitaprichcha specifically mentions the Shrivatsa as the symbol for Tirthankara Shitalanatha. Furthermore, the Yakshi (attendant deity) associated with Shreyansanatha is named Manavi or Shrivatsa. The Mansara further elaborates that all Tirthankaras should have a golden Shrivatsa on their heart.

Another significant shared feature is the serpent motif. Parshvanatha, the 23rd Tirthankara, is characterized by his symbol of a serpent, and his idols are depicted with a serpent hood providing shelter. The Yaksha associated with Parshvanatha is also named Parshva and is depicted in serpent form. This is contrasted with Vishnu's Sheshashayi (reclining on Shesha Naga) posture, which also features a serpent hood. This connection is supported by texts like Padmapurana, Apardjitaprichcha, and Vishnudharmottara Purana. The text further describes the ideal depiction of a serpent hood for ritualistic purposes, with two coiled hoods near the head being superior, one hood being medium, and no hood being inferior. While Tirthankara and Vishnu idols feature serpent hoods, Shiva idols typically have serpent ornaments, not hoods.

The author then discusses the potential symbolism of these serpent motifs. It's suggested that the serpent symbol might represent the dominance and protection of Naga (serpent) rulers, and the flourishing of those religions under their patronage. It's also possible that Naga rulers themselves popularized the serpent symbol as a lasting memorial. The article notes that Ujjain, especially during the Paramara era, might not have had significant Naga dominance, which could explain the absence of serpent ornamentation in Shiva idols from that region, even though the Paramaras were Shaivites. This is further linked to the Paramara and Naga enmity, where the Paramaras defeated the Nagas. Consequently, the Paramaras adopted the Garuda, the destroyer of serpents, as their royal emblem, despite their Shaivite leanings. The Gupta kings also shared this characteristic of being serpent destroyers, reflected in their Garuda emblem, although they were also Vaishnavas. However, during the Shunga dynasty, while a Vaishnava Garuda pillar exists, a seal with a serpent symbol is also found. This serpent symbol belonged to Queen Dharini, wife of Agnimitra, who was of the Dharana gotra and a Naga princess herself.

The article then turns to the facial expressions and posture. Vishnu's Sheshashayi idol has eyes that are closed in contemplation. Similarly, Tirthankara idols are often depicted in meditation, especially in seated postures. Vishnu's face is described as radiating otherworldly peace, possessing a gentle smile and an oval shape, qualities also attributed to Tirthankara idols, which are depicted with oval faces and immense peace.

Finally, the presence of an aureole or halo behind Vishnu's head is noted, a feature also found in Buddha and Jin (Tirthankara) idols. Peace, serenity, and meditative absorption are also observed in the idols of Buddha and Shiva.

In conclusion, the author posits that these shared symbolic elements and artistic conventions in the idols of Tirthankaras and Vaishnavas reveal the underlying commonality and interconnectedness of these religions. Despite their differences, they exhibit an underlying unity. The article suggests that these symbols were adopted by different denominations under specific circumstances, ultimately reflecting the ideological and emotional unity of the people of India.