Journal Paper Format

International Journal of Advanced Science and Technology Vol. 29, No. 03, (2020), pp. 7451 - 7465

Indian Sculptural Art of Jaina Images from the Prachi Valley of Odisha in Eastern India

Dr. Ratnakar Mohapatra Assistant Professor, Department of History, KISS, Deemed to be University, Bhubaneswar, PIN-751024, Odisha, India

Abstract Prachi Valley is well-known for its amazing antiquities and religious sanctuaries in Odisha of Eastern India. On the basis of the available Jainaimages , the Prachi Valley is considered as an important place of Jaina heritage in Odisha. The Prachi valleywas a centre of Jainism during the medieval period as evidenced by the available of old JainaTirthankara images of that period noticed in the different sites of it. Really, the Prachi Valley has produced an excellent trend of sculptural activities in Odisha of Eastern India. As agood number of images of various sects arefound in the different places of the Prachi Valley. Henceforth, the Prachi Valley is amotivating study area for the scholars of art history. In the present piece of work, the authoris merelylimited to the Jainasculptures of the Prachi valley of Odisha. The extant Jainaimages of Prachi valley were made by the artists of Kalingan School of artists of Odisha. The rare Jainaimages found from the different shrines of Prachi Valley epitomise the iconographic features of the Odishan classical art of the medieval period. The study of Jainaimages of the Prachi Valley of Odisha is one of the fascinating aspects of the Jaina art of India. In fact, the extant Jaina sculpturesprovethat during the medieval period, Jainism was prevalent in the region of Prachi valley ofOdisha in Eastern India.

Keywords: Jaina, Sculptures, Tirthankaras, images, Prachi valley, Odisha, India

1. Introduction The Prachi Valley is one of the important historical sites in the coastal- belt of Odisha. The Prachi is an ancient river, which is considered as most sacred by the people of Odisha.1 The name Prachi is possibly derived from the word “Prachina”, which means ancient. The Prachiriver lies in between the rivers Kushabhadra and Devi in the coastal-belt of Odisha. There was flourishing a glorious civilization around the Prachiriver. The Prachi Valley is an important cultural heritage site of Eastern India and the Valley is also famous for its historic antiquities and religious sanctuaries in the Eastern part of Odisha. This valley is, indeed, rich in archaeological remains. Most of the images of JainaTithankaras and their sasanadevis discovered from different parts of Odisha may be assigned to a period between the 7th and the 12th century.2 In the early medieval period , the worship of Jaina images were popular in the coastal belt of Odisha and the iconography of JainaTithankaras were also found to be developed. A reach haul of exquisite images of

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Rishavanatha, Parsvanatha,Mahavir, Neminatha and Santinatha of both stone and bronze found in the Prachi valley creates an impression that once upon a time this valley was a popular Jaina centre.3 Jainism in the Prachi valley seems to have flourished for a long period. The JainaTirthankara images found in different parts of the Prachi valley are of two types , one in Kayotsarga pose and the other sitting in cross legged position. The present article attempts to highlight the style and iconographical features of the extant Jainaimages along with the condition of Jainism in the Prachi valley of Odisha in Eastern India.

II. METHODOLOGY

For the accomplishment of the present article, both the primary and secondary sources have been used by the author. The primary data have been collected from Gazetteers, reports, practical observations, taking photographs and measurements, hearsay accounts of respondents through the interview methods adopted in course of the experimental field survey, etc. The field survey had been undertaken for the collection of dataregarding the style and iconographic features of the extant Jaina sculptures from the different shrines of the Prachi valley of Odisha as far as practicable on the part of present researcher. For the collection of primary data, the practical field study has been adequately made by the present author. The data collected from both the primary and secondary sources are critically analysed and interpreted as per the methodological procedure.

III. DISCUSSION AND RESULT ANALYSIS

3. JainaTirthankaras

On the basis of tradition, Rishvanatha was possibly the first Tirthankara of Jainism in India. Lord Mahavira was the last and most prominent Tirthankara of Jainism. The word Tirthankara is variously called "Teaching God". The names of 24 Tirthankaras of Jainism are such as 1.Rishabhanatha (Adinatha), 2. Ajitanatha,3.Sambhavanatha, 4.Avinanadananatha, 5.Sumatinatha, 6.Padmaprava, 7.Suparshvanatha, 8.Chandraprava, 9.Pushpandata, 10.Shitalanatha, 11.Shyeyansanatha, 12.Vasupujya, 13.Vimalanatha, 14.Anantanatha, 15.Dharmanatha, 16.Shantinatha, 17.Kunthunatha, 18.Aranatha, 19.Mallinanatha, 20.Munisuvrata, 21.Naminatha, 22.Neminatha, 23.Parshvanatha, and 24.Mahavira.Accordingly the historical evidences, out of Twenty-four Tirthankaras, the last two such as Parsvanatha and Mahavira are prominent personality of Jainism.4 On the other hand, the life and teachings of rest fourteen Tirthankaras are not clearly found recorded in any texts of Jainism. The Sixth century B.C. has given a definite form and philosophy to Jainism by advocating improve ideas upon the previous Tirthankara i.e. Parsvanatha. Initially, the parents of Mahavira were the followers of the religion of

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Parsvantha, which was known as Chaujjama dharma.5The philosophical ideas of Parsvanatha advocate four jamas(vows) such as 1. Ahimsa(non-killing), 2.Truthfulness, 3. Non-stealing, and 4. Non-possession. It is clearly known that Mahavira was not the founder of Jainism in India. To these four jamas, VardhamanaMahavira added the fifth vow i.e. Brahmacharya (Chastity) and his dharma came to be known as the ‘PanchajamaDharma’.6

Before going to the study of style and iconographic features of the JainaTirthankara images of Prachi valley, here we have toinitially discuss about the general sculptural features of JainaTithankaras of Odisha. Jainism like Buddhism has played a significant role in the history of Odishan sculptural art of Eastern India. Ichnographically, JainaTirthankara images of Odisha are carved in nude , shown as young, beautiful, and calm with serene expression and long hanging arms in case of standing figures on the other cases in seated posture right palm rests upon that of the left.7 The figures are found to be carved along with their respective lanchanas and the chauri- bearers. Other features such as trilinear umbrella, pravamandala, jatamukuta, drum, and cymbal players on the top corners of the slab, garland-bearer figures(apsaras) flanking the trilinear umbrella and devotees either on one side on both sides of the centrally carved lanchanaon the front face of the pedestal.8 The Tirthankaras usually stand in the Kayotsarga pose or sit in the yogasana with their distinctive lanchhanas carved below.9 In a few instances coils of the snake are arranged behind the image. A canopy of seven hooded snake is found over the head of JainaTirthankara image. Coils of snake The early Jaina literature has glorified plants and trees and prescribed some of these to be symbolic of gods and goddesses.10 In India the divine concept of trees was found to be recognised by Jainas and Buddhists. The notion of Chaitya tree, Keval tree, Jnana tree, etc have increased popularity among the Jainas. Some of the plants like Sun flower, mango, kadamba, lotus, and grapes are very common in Jaina art of Odisha. These plants are found to be carved in the JainaTirthankara images of Odisha. Really, a unique feature in Jaina iconography is that the depiction of plants bears both symbolic as well as religious importance with decorative value.11All the extant Tirthankara images of Odisha as well as Prachi valley are astonishing for their beautiful appearance and good modelling. The images of Rishavanatha, Neminatha, Parsvanatha and Mahavir are more common in Odisha.

3.1. JainaImages of Prachi Valley

During the medieval period, Jainism was developed in some districts of the coastal belt of Odisha. But we have no sufficient source material to trace the development of Jainism in the Prachi valley as only based on a few Jaina images noticed in some shrines of this region. Here, the archaeological sources merely suggest some ideas with regard to the prevalent

International Journal of Advanced Science and Technology Vol. 29, No. 03, (2020), pp. 7451 - 7465 of Jainism in the Prachi valley. Some of the Jaina images have been found from the different places of Prachi valley. A few of them are found preserved in the Odisha State Museum, Bhubaneswar. Though some Jaina images have been found in the different parts of Prachi valley region, it is not possible to study the various aspects of the history of Jainism in the Prachi valley in general and the study of sculptural art in general.The systematic surveys conducted by the earlier scholars like G.S. Das, P.K. Ray, R.C. Panda S.S. Tripathy and also by the recent scholars including the present author reveal that Jainism and Buddhism flourished simultaneously with Shaivism, Shaktism and Vaisnavism. A series of rare Jaina images are found preserved in the different monuments of the Prachi Valley. A few Jaina images are also lying scattered on the surface of some sites. The names of JainaTirthankaraimages and their sites are described below.

3.1.1. Rishavanatha Image of Gramesvara Temple of Nibharana

The temple of Grameshvara is one of the ancient Shaiva shrines situated at the centre of the village Nibharana in the Niali Block of the Cuttack district in Odisha. It is exactly located at a distance of 54 kms from Bhubaneswar and 5 kms from the Nuahat Bus stand.12A rare image of Lord Rishavanatha, which is kept in the north-east corner of the jagamohana(Pl.No.1). The image of Lord Rishavanatha is being worshipped in different forms by the local people. Some devotees worship it as Lord Buddha, some wrongly believe it as Kandarpa and others consider it as Kamadeva. The ‘Prachi Valley Report’ records it as an image of Parshvanatha of the Jaina pantheon.13 Most probably this image is of the JainaTirthankaraRishavanatha. The two handed image of Lord Rishavanatha is carved seated cross legged in yogasanapose on the visvapadma. Both the palms of hands are kept one on another at the crossing point of the legs. The gesture of the image suggests that the deity is in meditative pose. Chauribearer figure is depicted standing posture on both sides of Lord Rishavanatha in the attitude of rendering service.14The backside of the head of deity is decorated with trefoil arch, which is surmounted by the three tiered umbrella. Above the three tiered umbrella is carved with a Kevaÿa tree appears on the head of Lord Rishavanatha. Flying apsaras holding garlands, cymbals and drum played by Vidyadharas are found carved on both side top corners of the slab. Scroll works appear in the slab as the space fillers. Champaka flower medallion is decorated on both side upper part of the stone slab containing the Tirthankaraimage.Hairs on the head of Lord Rishavanatha are arranged in jata, a few strands of which are seen falling on the shoulders. A series of devotees in kneeling posture with folded hands are carved on the lower part of the pedestal. Bull, the conventional mount of the Tirthankarais carved at the centre of the lotus pedestal. Bull is the distinct traditional associate of Rishavanatha. Spirited lion is flanked on both sides of the bull

International Journal of Advanced Science and Technology Vol. 29, No. 03, (2020), pp. 7451 - 7465 figure. The slab of the deity measures 39.5 inches x20 inches.15The image Rishavanatha is made of black chlorite stone. Observing the image of Lord Rishavanatha, R.P. Mohapatra remarks that stylistically the image can be placed in the Ganga period.16 This Rishavanatha image is one of the beautiful Jaina sculptures of Prachi valley of Odisha.

3.1.2. Rishabhanatha Image of Svapneshvara temple of Adaspur

The temple of Svapneshvara is one of the ancient Shaiva shrines of the Prachi Valley in the coastal-belt of Odisha. It is situated about 37 kms from Bhubaneswar on the eastern bank of the river Prachi.17 The temple is located at the village Adaspur in the Kantapara Block of the Cuttack district. In the left side doorway wall of the sanctum is fixed with an image of JainaTirthankara, Rishabhanatha. It is one of the most significant Jaina images of the Prachi valley. The two armed image of Rishabhanatha is carved in standing posture on the double petalled lotus pedestal (Pl.No.2). The Tirthankaraimage is found depicted in kayotsarga pose and in complete nudity.18Both the hands of deity hang downward posture. The Lanchhanbull is carved at the centre of the bottom part of the pedestal. Female devotees are carved in kneeling posture on both sides of the bull figure at the bottom part of the pedestal. Figures of Bharata and Bahavali, the two worshippers provisioned in the Jaina texts holding fly whisks are carved on both sides of the slab in the gesture of rendering service to the Adinatha.19 Diminutive figures of 24 Tirthankaras are finely carved on the slab. Ten Tirthankaras are carved on each side of the slab. Four Tirthankaras are found depicted on the pedestal of the deity. The backside of the head of Rishabhanatha is decorated with prabhamandala, which carved with lotus petal designs surmounted by a trilinear umbrella. The hairs of the Tirthankara are arranged in jata , which is decorated with jewels. A few locks of thejata fall on the shoulders. Flying apsara figure is depicted on both side top corners of the slab. The image Rishabhanatha is made of black chlorite stone. The slab of deity (Rishabhanatha) measures 20½ inches x 10½ inches. This image seems to be the representation of the last TirthankaraMahavira who with the First Tirthankara(Rishabhanatha) commonly appears in the Jaina sculptures of Odisha.20 The peculiarities of the image will lead one to identify Rishabhanatha as Muÿanayaka.21 This indicates that Adinatha was the temple cult of this locality and a temple enshrining this deity might have been situated in the vicinity of the Svapneshvara temple.22 Here, P.K. Ray has assigned the image Rishabhanatha to circa 7th century A.D.23 The image exhibits the perfect calm and an inward look with half closed eyes suggesting a divinity dignity.24 The image of Rishabhanatha was possibly made in the 11th-12th centuries A.D. on the ground of iconographical features. Really, the Rishabhanatha image of Adaspur is one of fine images of Odisha in eastern India.

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3.1.3. JainaTirthankara ofNilakantheshvara temple at Adaspur

The temple of Nilakantheshvarais situated at the village Adaspur in the Kantapara Block of the Cuttack district in Odisha. The temple is exactly located behind the High School of that Village. A broken image of JainaTirthankarais found fixed in the left side doorway wall of the sanctum. The bottom part of the slab of deity is completely broken. The Tirthankarain kayotsarga pose is standing in complete nudity.25

3.1.4.Gomedha-Ambika Image of Lataharana

The Grameshvara temple is situated about 3 Kilometers to the south-west of Kakatpur and the river Prachi.26 The temple is exactly located at the centre of the village Lataharana in the Kakatpur Block of the Puri district. A very important image depicting a Jaina couple (Gomedha-Ambika) has been brought to light at the southern side additional shrine of the Grameshvara temple of Lataharana. The Jaina couple named YakshaGomedha and YakshiniAmbika has been carved seated in ardhaparyanka pose on a common pedestal (Pl.No.3).The local people consider it as Hara–Parvati. The lower part of the lotus pedestal of the image is decorated by seven devotees / sasanadevis seated in folded hands amidst heaps of offerings. The depiction of seven Sasanadevis below is of enormous artistic value. The figure of Ambika displays a bunch of mangoes in right hand, and holds a baby in left- hand. Image of Gomedha on the other hand holds a group of mangoes in right big hand and left hand rests on the thigh. Both the figures wore simple lion clothes in the same style and bear on them same types of ornaments, the only exception being in the conical head dress of the Yaksha and the round hairdo of the Yakshini.27 Both of them reveal the same meditative expression with half closed eyes fixed at the tips of the noses, while their faces lit with smile indicate that they are not completely indifferent to the world outside.28 A mango tree is depicted in the background of the slab. From the trunk of the tree a baby is found swinging in between the couple. At the top (above their heads), TirthankaraNaminatha is found seated in yogasana pose on a lotus pedestal.29 On either side of the Tirthankara, cauri bearers are also found carved with artistic care. The image of the Jaina couple measures 17½ inches in height and 9 inches in width respectively.30 Observing the iconography of the Jaina couple, some senior scholars remark that the Jaina couple image belongs to the 11th century A.D.31 The image of Jaina couple represents the best work of the Jaina sculptors who have been able to represent here the combination of beauty with plastic art.

3.1.5. Two Jaina Images ofAmbika Temple of Kenduli

The temple of Ambika is situated at Kenduli-Deuli (Kenduli) under the Balipatna Police Station of the Khurda district. The present temple

International Journal of Advanced Science and Technology Vol. 29, No. 03, (2020), pp. 7451 - 7465 is completely a renovated temple of that locality.32The local people say that the present temple has been rebuilt within 40 years before the present. The cleaning works of the site conducted by K. N. Mahapatra, the retired Superintendent of Archaeology has brought to view two beautiful images, according to him, are known as Ambika and Jageshvari, supposed to have been worshipped inside the dilapidated brick temple.33 Now, the temple is under the protection of the Odisha State Archaeology Department, Bhubaneswar. The sanctum preserves the image of Ambika as the presiding deity of the temple (Pl. No. 4). The two armed image of Ambika is carved in padmasana pose on the double petalled lotus pedestal. The slab of the presiding deity is installed on the simhasanaof 1½ feet high. The right arm is broken from the elbow portion. A bunch of five mangoes are depicted on the side of her right hand. Perhaps, She had displayed stalks of these mangoes in her right arm. The left arm of DeviAmbika holds lotus flower, which is depicted near the left side arm of deviAmbika. The bottom part of the pedestal of the presiding deity is decorated with female devotees with musical instruments. The middle portion of the pedestal is carved with scroll work and female devotees. Lion figure is also depicted on the left of the pedestal. The backside of the head of the presiding deity is decorated with seven hooded serpent. Apsarafigure is depicted on both side top corners of the slab. The image Ambika measures 42 inches x20 inches. Iconographical features of DeviAmbika indicate the artistic tradition of the Ganga period. The image of presiding deity is made of black chlorite stone. T.E. Donaldson has remarked that the image of presiding deity was made in the late 11th century or early 12th century A.D.34

There is an image of female deity Jageshvari noticed in the south- west corner of the jagamohana. She is also considered by local people as the image of Padmavati. K. N. Mahapatra has recorded that initially there is a small brick temple for DeviJageshvari located in a few yards distance on the south-east corner of the temple but it has already destroyed.35After the complete renovation of the jagamohana, this image has been preserved inside of it. The two armed image of Jageshvari is carved in padmasana posture on the double petalled lotus pedestal (Pl.No.5) The right hand of Jageshvari holds a fruit with stalk and leaves and the left hand is broken from the wrist portion. Possibly, She displays the stalk of a lotus flower, because the full blown lotus flower is depicted above the left arm of deviJageshvari. The head of deviis crowned by a canopy of seven hooded serpent. Apsaras holding garlands in their hands are carved on both side top corners of the slab. The bottom part of the pedestal of deviJageshvari is decorated with two devotees in kneeling posture. The central part of the pedestal of deity is carved with devotees, scroll work and a lion figure like the pedestal of the presiding deity. The image Jageshvari is made of black chlorite. The slab of deviJageshvari

International Journal of Advanced Science and Technology Vol. 29, No. 03, (2020), pp. 7451 - 7465 measures 3 feet 7½ inches in height and 2 feet in width respectively. There is a lot of controversy among the scholars with regard to the proper identification of the image of the presiding deity and of the Jageshvariimage ofjagamohana. No such images have been so far discovered in Odisha. Observing this image, one of the senior scholars of the Prachi Valley like HansanathaSahu says that the image in the jagamohana of the temple can be identified with JainaVidyadeviJageshvari. Probably, a full blown lotus as JainaVidyadevi ofDigamber sect was found with the snake canopy.36Most probably, this image is Jageshvari and it was made in the same period when the image of presiding deity (Ambika) was made. Iconographical features of these two images indicate the artistic tradition of the Ganga period.

3.1.6. Two JainaTirthankara Images of Bagalpur

Two important JainaTirthnkara images of Rishavanatha and Parsvnatha are found to be preserved in the village Bagalpur of the Prachi valley of Odisha.37. Both the images are now installed on a masonry mandapa within a mango tope of this village. The place of installation of these images is locally known as ‘Baudei’.38 The first image of Rishavanatha of Baglpur is carved standing in kayotsargapose on a lotus pedestal .Bull, the conventional lanchhanaof the Tirthankara is carved below the pedestal along with a group of devotees and heaps of offerings.39 Two chauri bearers flank the Rishavanatha on each side. Above the Chauri bearers are shown gajasimha motifs. The Tirthankarais decorated with a pravamandala, the trilinear umbrella, Kavala tree, jatamukuta flying apsarasdisplaying garlands and heavenly music played through hands of invisible gandharvasandkinnaras.40 A few strands of jata of the head are falling over the broad shoulders. Lower part of both the hands and the face are partially mutilated due to exposure to natural agencies. The iconography of Rishavanatha image contains the artistic features of the Odishan classical art of the Ganga period as mentioned by R.P. Mohapatra.41

The second image of the site i.e. the image of Parsvanatha , the Twenty-third Tirthankara of the Jaina Pantheon.42 This image is carved seated in yogasana pose on a lotus pedestal. A canopy of seven hooded snake is found over the head of this figure. Hairs on the head of Tirthankara are arranged in curled knots with a bulging at centre. Coils of the snake are gathered behind the image. The two chammaradhariesare shown on either side of the Tirthankara. The image has been covered with patches of moss and lichen. Elongated ears, and marking of trivalion the neck add royal grace and vigour to the Tirthankara. The iconographic features of the Parsvanatha image of Bagalpur is collected from the book Archaeology in Orissa :Sites and Monuments by R.P. Mohapatra.43 Stylistically, the Parsvanatha image of the site displays the artistic features of the Ganga art of Odisha as mentioned

International Journal of Advanced Science and Technology Vol. 29, No. 03, (2020), pp. 7451 - 7465 in Archaeology in Orissa :Sites and Monuments by R.P. Mohapatra. At present these two Tirthankara images are not found in the village of Bagalpur of the Prachi valley.

3.1.7.TirthankaraImages of Other Shrines of Prachi Valley

A small image of Rishavanatha is found preserved inside the Viswamitraashrama near Kakatpur and a similar type of small mutilated image was lying near the Bharadvajaashrama.44 These two ashramasare located in the Prachi Valley. One Tirthankaraimage of chlorite stone is found in the Agikhiamatha of Sohagpur near Nayahat.45 One Rishavanatha image of chlorite stone, one foot height, worshipped as “Varuneithakurani” at Kenduvilva is worshipped under a Neem tree.46An image of Yaksha associated with Neminatha, one of the JainaTirthankarais to be found in the Antarvedimatha near Banamaÿipur of the Prachi Valley.47 Another small image of Jaina couple (Gomedha-Ambika) is found preserved in the Dr. N. K. Sahu Museum, Sambalpur University, Jyotivihar.48 This image was collected by N. K. Sahu through his Departmental/archaeological excavation from the Prachi Valley. The Narayani temple of Dhia-Dhanamandala preserves a good specimen of the Rishavanathaimage(Pl.No.6). The image of Rishavanatha of Dhia-Dhanamandala is carved standing in kayotsarga pose on a lotus pedestal .Bull, the conventionallanchhanaof the Tirthankara is carved below the pedestal. Two chauri bearers flank the Rishavanatha on each side. Flying apsara figure is depicted on both side top corners of the slab. The image Rishabhanatha is made of black chlorite stone. The sand stone image of JainaTirthankarasix feet height found at Betenda near Nayahat depicts a shallow relief of seven Tirthankaras in a row with seven sasana devise over head.49 A group of three Tirthankaras in a row on the chlorite stone worshipped as the village deity, Siddhesvari in the village Matigadia, near Ottara, in attention pose naked depicted with Pipala tree and different hair style having no cognizance symbol.50These Tirthankara images of the above minor shrines / sitesclearly prove that Jainism was prevalent in the region of Prachi valley during the medieval period.

3.1.8. Bronze JainaTirthankaraImages of Prachi Valley

Besides the stone images of JainaTirthankaras , the Prachi valley region also have yielded some metal Jaina images. The metal images of Adinatha and Parsvanatha found from Kakatpur and now preserved in the Odisha State Museum, Bhubaneswar. The image of Adinatha is carved standing in Kayotsarga posture on double pettalled lotus pedestal.51 On the front face of the square pedestal the bull, the lanchana of the Tirthankara is carved. In front of the bull is carved a kneeling devotee with folded hands. The hair on the head of the image is arranged in matted locks. The other metal

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Jaina image is that of the seated Parsvanatha , which is carved in yogasanaposture on a traditional double pettalled lotus pedestal. 52 Over the head of the Parsvanatha image is carved a canopy of seven hooded snake.53 A hoard of JainaTirthankara images, standing posture was found at Kandalapur near Kakatpur , were acquisitioned by Cuttack Provincial Museum , shifted to Patna Museum.54 The Tirthankara images of this place is of ten inches in height stands over a double lotue pedestal in Kayotsargamudra. The hair style fashioned to conical stupa. Standing over a four faced pedestal with Lanchhana ,bull.55 These metal Jaina images of Kakatpur and Kandalpur suggests that Jainism was the faith and belief of some sections of people of the Prachi Valley of Odisha.

IV. Conclusion

We can conclude from the above discussionthat the available scanty JainaTirthankaraimages found in different parts of the Prachi valley are depicted in two types such asKayotsarga posture and sitting in cross legged position. All the extant Tirthankara images of the Prachi valley are amazing for their fine-looking appearance and decent modelling. The images of Rishavanatha, Parsvanatha,Neminathaand Mahavir are more common in the Prachi valley so far the author’s field study is concerned in this regard. The JainaTirthankara image of Nibharana is one of the beautiful Jaina sculptures of Prachi valley in Odisha considering its iconographic features. On stylistic ground, the Rishabhanatha image of Svapnesvara temple of Adaspur is the most significant Jainasculpture of the Prachi valley in the coastal belt of Odisha.The images of JainaTirthankaras found inside the Svapnesvara and Nilakanthesvara temples of Adaspur indicate that the JainaTirthankaraimages were being worshipped in some nearby shrines of the temple site. The above these two JainaTirthankaraimages suggest that Adaspur of the Prachi Valley was one of the strongholds of Jainism in the coastal-belt of Odisha during the early medieval period. The Jaina couple image of YakshaGomedha and YakshiniAmbika of Lataharana represents the best work of the sculptors of Kalingan school of artists by executing combination of beauty with plastic art. . Iconographical features of Devi Ambika ofKenduli indicate the artistic tradition of the Ganga period. The Jageshvariimage ofjagamohanaof the Amblika temple is one of the rare sculpturesof the Prachi valley of Odisha. Most probably, the imageJageshvari was made in the same period when the image of presiding deity (Ambika) was made. Stylistically andichnographically, both the images of Rishavanatha and Parsvanatha of Bagalpursuggest the artistic features of the Ganga art of Odisha. The Jaina images from the Viswamitraashrama ,Agikhiamatha of Sohagpur , Kenduvilva ,Antarvedimatha , Dr. N. K. Sahu Museum, Dhia-

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Dhanamandala , Betendaand Matigadia discussed above clearly suggest that Jainism was prevalent in the region of Prachi valley during the medieval period. Besides the stone sculptures, some metal Jaina images of Kakatpur and Kandalpur prove that Jainism was the faith and belief of some people of the Prachi Valley. On the basis of these scanty evidences, we can presume that Jainism was also flourished in the Prachi Valley during the medieval period. It appears that Jainism was flourishing side by side with Shaivism at one point of time. Really,the Prachi Valley region was a cultural heritage siteofJaina tradition of Odisha. The sculptural representations of the extant images of JainaTirthankaras mentioned in the subject indicate that the worship of JainaTirthankaras was prevalent in the Prachi valley during the medieval period. Subsequently, the Jainas had accepted Vaishnavism of the Hindu pantheon at later period and lost their separate identity and got assimilated with Brahminic faiths. On the stylistic ground and iconographical point of view, the extant scanty Jainaimages of the Prachi valley possess a distinct place in the history of Jaina art of Odisha in Eastern India. Acknowledgement I am deeply obliged to Prof. K.S. Behera (late), Prof. C.R. Mishra (late), Prof. Prof. K.K. Basa, Dr. B.K. Ratha, Prof. P.K. Nayak, Prof. Harihar Panda and Prof. ByomakeshTripathy for their encouragement and valuable suggestions in the course of preparation of this article. I express our profound reverence to Prof. AchyutaSamanta, the Hon’ble Founder of KISS, Deemed to be University, Bhubaneswar who encouraged me for the writing of this piece of work. References 1. Das, G.S. , (1958).Exploration of the Prachi Valley, Bhubaneswar, p.5. 2. Behera, K.S., (1982). “Traditions in Sculpture”, in Art Tradition of Orissa, Edited by Orissa SahityaAkademi, Bhubaneswar, pp.41-42. 3. Mitra, S.K., (2011). “Religious Art Heritage of Prachi River Valley”, in Cultural Heritage of Coastal Odisha, Kaktpur, Puri, p. 98. 4. Saha, C.J., (1932). Jainism in Northern India, Bombay, p.2. 5. Jacobi, H., (1964). Sacred Book of the East, Vol. XXII, Part-I, Delhi, p.194. 6. Motilal, B.K., (1981). The Central Philosophy of Jainism (Anekantavda), Ahmedabad, p.3. 7. Sahoo, A.C., (2007), “Jaina Sculptural Art in the PrachiValley : A Study”, in Pradhan, P. K. ed., Incredible Prachi Valley : Its Monuments and Tourism Possibilities,Adaspur, pp. 78-79. 8. Ibid., (2007). 9. Behera, K.S., (1982). op.cit., pp.41-42. 10. Malla, B.L.,(2000). “Trees in Indian Art ,Mythology and Folklore”, New Delhi, p. XIV. Also see Mohanty, C.A. ,(2012). “Plants in Jaina Art of Coastal Odisha”, in Mitra, S.K.ed., Cultural Heritage of Coastal Odisha, KakatpurPuri, pp.83-84. 11. Mohanty, C.A. ,(2012). op.cit., pp.83-84. 12. Ray, P.K., ed., (1975). Archaeological Survey Report Prachi Valley,Odisha State Archaeology; Bhubaneswar, p. 54. 13. Ibid., (1975). p.54. 14. Mohapatra, R.P. , (1986). Archaeology in Orissa (Sites and Monuments), Vol. 1, New Delhi, p. 152. 15. Mohapatra, R., (2009). “Gramesvara Temple at Nibharana : A Study on Art and Architecture”, in S.K. Mitra (ed.), Re-Exploring Prachi Valley, Bhubaneswar, pp.57-58. 16. Mohapatra, R.P. , (1986). op.cit., Vol.I, New Delhi, p. 152. 17. Ray, P.K., (1975). op.cit., p.7.

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18. Das, G.S. , (1958). op.cit., p. 27. 19. Ray, P.K. , (1975). op.cit.,1975, p. 53. Also see Bhattacharya, B.C., (1974). The Jaina Iconography, Delhi, p.35. 20. Das, G.S. (1958). op.cit., p. 27. Also see Chand, R.P. ,Medieval Indian Sculpture, pp. 71 and Plate – XXII. 21. P.K. Ray, (1975). op.cit., p. 53. Also see R.P. Mohapatra, op.cit., Vol. II, New Delhi, 1986, p.3. 22. P.K. Ray, (1975). op.cit., p. 53. Also see R.P. Mohapatra, (1986). op.cit., Vol. II, p. 4. 23. P.K. Ray, (1975). op.cit., p. 53. 24. Sahoo, A.C. , (2007). op.cit., pp.77-78. 25. Mohapatra, R.P., (1986). op.cit.,Vol.II, p. 4. 26. Ray, P.K. (1975). op.cit., p.21. 27. Mohapatra, R.P. (1986). op.cit,Vil.I, pp.147-148. Also see Das, G.S. (1958). op.cit., p.28. 28. G.S. Das, G.S. (1958). op.cit, p.28. 29. Mohapatra, R.P. (1986). op. cit., Vol. I, pp.147-148. 30. Behera , K.S. & Donaldson, T.E., (1998). Sculptures Masterpieces from Orissa; Style and Iconography, New Delhi, p.107. 31. Ibid. Also see Donaldson, T.E.,(1985/86). Hindu Temple Art of Orissa, Vol.I , p.440. 32. Mohapatra, R. P. , (1986). op.cit., Vol. I, p. 126. 33. Mahapatra, K. N. , (1997). ShriJayadeva O ShriGitagovinda (Odia), KedarnathaGaveshanaPratisthana, Bhubaneswar, Revised Edition, p. 9. 34. Donaldson, T. E. , (1985/1986). Hindu Temple Art of Orissa, Vol. II, Leiden, p .687. 35. Mahapatra, K.N. , (1997). op.cit., p. 9. 36. Sahoo, H., (2007). “The Rare But Less Known Monuments of Prachi Valley,” in Pradhan, P.K. (ed.), Incredible Prachi Valley: Its Monuments & Tourism Possibilities, Adaspur, p.54. 37. Mohapatra, R.P., (1986). op.cit.,Vol. 1, p.35. 38. Ibid., (1986). Vol. I, p.35. 39. Ibid., (1986). Vol. I, p.35. 40. Ibid., (1986). Vol. I, p.35. 41. Ibid., (1986). Vol. I, p.35. 42. Ibid., (1986). Vol. I, p.35. 43. Ibid., (1986). Vol. I, p.35. 44. Ray, P.K. (1975). op.cit., p. 54. 45. Sahoo, H.N., (2009). “Jaina Sculptures in Prachi Valley,” in S.K. Mitra (ed.), Re-Exploring Prachi Valley, Cuttack, p. 94. 46. Ibid., (2009). p. 95. 47. Ray, P.K. (1975). op.cit., p. 54. 48. Mohapatra, R., (2013). ” Prachi Valley: An Incredible Place of Cultural Heritage in Odisha”, in B.K. Mallick and J. Dora (eds.), Utkal Historical Research Journal, Vol. XXVI, Bhubaneswar, p.123. 49. Sahoo, H.N. , (2009). “Jaina Sculptures InPrachi Valley”, in Mitra, S.K., Re-Exploring Prachi Valley, Kakatpur, Puri, p.93. 50. Ibid., (2009)., p.93. 51. Sahoo, A.C. , (2007). op.cit., p. 78. 52. Ibid. , (2007). p. 78. 53. Ibid. , (2007). p. 78 54. Sahoo, H.N. , (2009). op.cit., p.94. 55. Ibid.,(2009). p.94.

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Plate No.1 : The Rishavanatha image is preserved in the jagamohana of the Grameshvara temple, Nibharana, Cuttack District, Odisha, India

Plate No. 2 : The Rishavanatha image is found inserted in the doorway wall of the Svapnesvara temple, Adaspur, Cuttack District, Odisha, India.

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Plate No. 3 : The Gomedha-Ambika image is preserved in the additional shrine of the Gramesvara temple, Lataharana , Puri District, Odisha, India

Plate No.4 :Ambika, the presiding deity of the Ambika temple, Kenduli, Khurda District, Odisha, India.

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Plate No.5 : The Jagesvari image is preserved inside the jagamohana of the Ambika temple, Kenduli, Khurda District, Odisha, India.

Plate No. 6 : The Rishavanatha image of the Narayani temple ofDhia- Dhanamandala, Cuttack District, Odisha, India.