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Jaina Sculptures in Orissa State Museum Orissa Review * May - 2005 Jaina Sculptures in Orissa State Museum Jayanti Rath Jainism, the ancient Indian religion has got a rich years. It sounds strange, but it is true that these and vast connectivity with Orissa. It has exerted rock-cut cave art portrays of the figures about tremendous influence over this land for centuries twenty Tirthankaras. It is quite a rare together as has been reflected in art, literature and phenomenon in the history of Jaina Art. Apart various concepts, ethical codes, rituals and from this site, a large number of Jaina images have philosophy. Even Lord Jagannath, the supreme been identified in different parts of Orissa, i.e. Puri, deity is conceived as a Jina by some ardent Keonjhar, Bhadrak, Balangir, Nawpara and admirers of Jaina Tradition. Koraput districts. etc. Jainism was surely very much established The Tirthankaras occupy the most exalted in Kalinga (the ancient Orissa) by the age of the position in Jaina worship. Tirthankara image has Nandas or 4th century B.C.1 According to the become the rucluse point for visualising the Hathigumpha Inscription of Kharavela, (dated to invocatory forms. The Orissa State Museum 2nd half of 1st century B.C.)2 he brought back displays fourteen Tirthankara images. They include from Magadha to Kalinga the image of Kalinga six Risabhanath images, two Mahavira images, Jina, which had been taken away by a Nanda two Parsvanath images, and the image of king.3 Ajitanath, Santinath, Chandranath and Kharavela was a devout Jaina and a patron Padmaprabha (each numbering one). of Jainism.4 The above reference to the Risabhanath representation of Kalinga Jina which must have The most notable image of Risabhanath is been an object of worship, may also indicate the the one that has been discovered from Podasingdi popularity of Jainism in Kalinga. of Keonjhar district. Here the Adi-Jina i.e. the Architecturally viewed, the sculptures first Tirthankara is seen to be in meditation pose depicted in the caves of Khandagiri and Udayagiri (Yogasana). The image is carved out of a solid Hills, constructed by Emperor Kharavela mainly piece of chlorite stone and measures 2'.6" x 1'.11" for the Jaina Arhats (saints) are certainly the in size. On the pedestal are two lotus flowers on superb Jaina monuments that Orissa still either side of a standing bull worshipped by possesses with pride. The artistic endeavour did devotees with folded hands. The image has an not end with Kharavela. It continued upto 12th - oval halo (Prabhamandala) with two flying 13th century A.D. with a gap of few hundred gandharvas on either side with garlands in their 66 Orissa Review * May - 2005 hands. The unique feature of this image is that it beautiful contour with a very lucid and smiling has an inscription engraved on the right side of it. face. Written in Kutila script of 8th century A.D, it Another image of Risabhanath has been consists of 15 letters which read Risabha collected from Khajuriapara village of Puri district. Bhattaraka. With the passage of time these letters The distinguishing feature of this image is its profuse have become invisible. The stone on which the sculptural ornamentation around the head instead figure is composed provides an impression of of the traditional halo. The image stands in transparent upper garments. Hairs of the kayotsarga posture, alongwith his cognizance bull Tirthankaras are generally fashioned into the rolls and other marks and eight planets. The date of of Jata. But in this case they are designed in curled this image has been assigned to 10th century A.D. knots. The composition of curled hair with long ears and half-closed eyes presents a beautiful The image of Adi Jina brought from meditative facial expression. Charampa of the present Bhadrak district draws spontaneous attention of the visitors. It is depicted Another image of Risabhanath has been as standing in kayotsarga pose on a lotus collected from the same place. Here the Adi-Jina pedestal flanked by Bharata and Bahubali, the stands in kayatsarga posture on a double petalled two chauri - bearers. The mark of cognizance, lotus pedestal supported by spirited lions. the bull is found below the pedestal. On the two Representation of chauri-bearers, bull, kevala vertical sides of the image eight planets have been tree, trilinear umbrella, flying apsaras are carved carved in sitting posture with their conventional in the usual place. So far the period of the image attributes in hands. This fine image measures about is concerned, it is preumed to be made in 9th 5'2" x 2'3". century A.D. Besides this image, three beautiful Jaina In the image acquired from Keonjhar, images have been brought to Orissa State Risabhanath has seated on a double petalled lotus Museum for display from this place. They include pedestal in yogasana posture. His pedestal the images of Ajitanath, Santinath and Mahavir. contains bull, the conventional emblem and devotees in Anjalimudra amidst heap of Ajitanath offerings. Among other attributes one can safely Ajitanath, the second Tirthankara of Jaina recognize the chauri-bearers, trilinear umbrella, Pantheon has been carved in the Yogasana or kevala tree, plain eliptical holo, divya-vadya, Padmasana posture. He sits on a lotus pedestal. flying apsaras with garlands. The hairs of the It measures 3'8" x 2'7" in size. Sitting image of Tirthankara are arranged in Jata of which few Ajitanath is rarely found in other parts of country. strands fall on the shoulders. The image represents Ajitanath is usually found in Khadgasana or the Bhanja Art of the 10th-11th century A.D. Kayotsarga pose. An image of Risabhanath, standing in The origin of his symbolism and his name kayatsarga pose has been recovered from can be traced to the Jaina texts. The Jina's mother Brahmesvarapatna, near by Bhubaneswar. saw an elephant in several dreams. An elephant Alongwith all other characteristic features it in India is always connected with kingly power. contains eight planets. It has been assigned to 11th After his birth all his father's enemies were century A.D. Superbly built this image has got a conquered (Jita), hence his name 'the invincible 67 Orissa Review * May - 2005 one'. The Svetambara author Hemachandra Two remarkable images of Parsvanath, one interprets his name as not conquered by of the greatest Tirthankaras of Jainism have been excrement of the bowels. The Digambara displayed in Orissa State Museum. In authoritative book explains the word 'Ajita' as chronological order he happens to be the twenty- not conquered by sin or by all heretics.7 Thus, all third Tirthankara. the facts and ideas primarily connected with the life and teachings of this Jina converge to one point One of them, has been brought from the - 'invincibility' 'conquest'.8 village Vaidakhia of Keonjhar district. It is a unique image surrounded by four other Santinath Tirthankaras. each having two attendants in their The Santinath image of this group is also either sides. All the images including the central carved on a lotus pedestal displaying Yogamudra. one have been carved in Kayotsarga pose, while The pedestal is supported by lions. His emblem, the central stele has the snake canopy over its the deer is carved below the pedestal along with head - the other four images have only kevala a number of kneeling devotees and heap of tree over them. The upper two images stands on offerings. Born in Hastinapura, Santinath, the lotus pedestal. The two images on either side of sixteenth Tirthankara occupies a very high place the main image stand on the same level. The central in the Jaina history of pontiffs. He not only revived image is bigger than the four other standing images. Jainism which was in tottering condition, but also This image shows the keen sense of proportion consolidated the faith so that it never disappeared of the artist. The attendants and dancing apsaras again. Another extra-ordinary fact about him is of the four other Tirthankaras have been carved that he was the first Tirthankara to become a in miniature forms. The sculptor has also kept Chakravarti or the Emperor of the whole of balance while carving the body of the India.9 The last Tirthankara image of this group is of Mahavira. He stands in Kayotsarga pose Tirthankaras, the size of the bodies of the other on a lotus throne supported by spirited lions. Tirthankaras being less than half of the main image. Under the pedestal, figures of devotees All these sculptures are provided with singing with musical instruments in their hands, kevala tree, chauri-bearers, elliptical halo, flying some Jaina monks and the lotus flower, the lion apsaras holding garlands, trilinear umbrella, lion have been flawlessly depicted. throne and heavenly music. From iconographic and artistic consideration these images can be According to Dr. R.P. Mohapatra, the safely placed in the 8th-9th centuries.10 A peculiar famous archaeologist, this image belongs to the feature of these four Jaina images brought from 11th century. 12 Charampa is that a number of out marks are found The find spot of the other Parsvanath image on their body. These cut marks are certainly is Sisupalgarh. From the artistic point of view it deviation from the other school of Jaina art, if these has been essigned to 9th century A.D. Besides are purposefully done by the artist.11 The images the snake canopy, the entire image has been remind the believer of the faith of the condition through which a Tirthankara passed to attain attached with snake's body, which is a remarkable salvation and that affords him a strong incentive feature of this image.
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