SOME JAINA ANTIQUITIES FROM BANKURA, WEST BENGAL By D k b a la M it b a , In course of my official tours I (^me across some interesting Jaina relics in the district of Bankura, which, I feel, should be brought to the notice of scholars, as Jaina images are generally considered to be very rare ill Bengal proper.i Apparently this area had been a stronghold of the Digambara sect of the Jainas, as all the images of the tirthaAkaras noticed by me were nude. Another reason for my drawing the attention of scholars to these medieval Jaina remains is that some of them will be submerged w Jien the Kangsabati Dam Project of ih e West Bengal Government is oompleted. It is desirable that at least the better preserved sculptural and architectural pieces described here should be removed to a place of safety in order that they may be studied further by future scholars. Ambikanagar (lat. 22° 56'; long. 86° 46').—The village (in Rani- bandh P.S.) is situated on the confluence of the Kangsabati and Kumari, 3() miles south-west of Bankura railway station. It is readily approachable ()y bus which stops at Gorabari on the northern bank of the Kangsabati. From the bus-terminus to the village, which is on the southern bank, the distance is only one mile, negotiable on foot. The village owes its name to its presiding deity, Ambika, who is now worshipped in a modern brick temple, built over the ruined plinth of an ea'-licr stone temple. Unfortunately I could not have a full view of the image (ht. 4J') due to the priests’ refusal to remove the drapings with which they have covered it. The face is obliterated by successive coats of ver­ milion. Lavishly bejewelled, the image seems to be two-armed, one liand broken and the other touching the head of a small figure. On either side is an attendant, the one on the right being pot-bellied. The mount below the feet looks like a lion. The upper part of the back-slab is missing, but in the extant part are, in compartments, rows of figures in different poses, some dancing. The fragment of the right top corner of a sculpture (PI. I A), which now lies outside this temple, seems to have formed part of this image. In this piece (extant ht. 1' 6") is to be seen a portion of the oval lialo with branches of the mango-tree above, crowned by a group of musicians and dancers; below the pendent mangoes are couples in two I'owa, some of them distinguished for their animal- and bird-heads. The deity, though worshipped as a Brahmanical goddess, is thus Ambika, the idsana-devi of the twentysecond tirtkankara Neminatha. Immediately at the back of the temple of Ambika is a ruined sandstone temple standing to a height of 11' 8" (Pis. I B and II), originally,Jaina but now appropriated for the worship o f the Brahmanical god Siva. The temple, with its missing Mkhara, resembles architectonically the Sallefivara and Sadeivara temples of Dihar * and may belong to the same period, i.e. eleventh century A.D. or even earlier. Like the Orissan temples, its b a ^ has different divisioiiB—pabhdga, jangha and baran ^ . Built on a low narrow platform {updna), the pahh^a lonsists of the four lowermost mouldings, khura, kumhha, khura and inverted ' R. D. BanerJi, Bastem School of Mediaeval Sculplure (Delhi, 1933), p. 144. ^ Ibid., p. ISO. khura, the last two relieved at intervals with heart-shaped motifs. The north, west and south sides of the jM gha are relieved with six pilasters, three on either side of the central projeotion, the last containing a nicho, meant for the pariva-devatds (no longer existing). The pilasters are plain except for the two mouldings, kkura and inverted khura at the base and the top. The baranda is a projected moulding, the recess over which, demarcating the 6d3a from the iikhara, is crowned by a series of mouldings forming the iikhara of the temple. Five of these mouldings are now extant. The central projection on the front (east) side is thicker than the rest and in it is provided the entrance. The door-opening is spanned at the top by five inconspicuous corbels capped by a lintel, the last extending to the entire width of the central projection. The temple is tri-rcUha on plan, its inside 4' 2^" square. The thickness of the walls is, 2' 1", so that the outer sides are exactly double the inner sides. The interior of the temple corbels inwards up to the garbha-muda (lowermost ceiling of the sanctum), which is formed of two stone slabs. There was at least one more cell over the garbha-muda, approach to which was provided by a narrow opening above the lintel of the door. The linga within the temple is of modem installation. The temple was most probably dedicated to RishabhanStha, whose image (ht. 3' 2"; br. r 6") now lies by the side of the linga. The image (PI. I ll A) is a fine piece of sculpture and may be referred to a date not later than the eleventh century. The central figure, remark­ able for its beautiful facial expression and jata-mukuta, stands against a throne in the usual kayotaarga pose on a double-petalled lotus, below whicli is his characteristic lanchhana, bull, between two devotees. On either side of his legs is a standing attendant, wearing ornaments and loin-cloth. Over his head is a canopy of a succession of gradually diminishing chhatras, flanked by a flying couple holding garlands. Over the chhatra are two pairs of hands playing on musical instruments. The back-slab is relieved with miniature figures of twentyfour tlrthankaras, arranged in twelve rows of two each. Like the principal image, they also stand in kdyotsarga pose, with their respective cognizances carved below each. Inside the temple, above the lintel j)f the door, was found the head of a Jaina tlrthanlMra. His spirally-curled hairs are arranged in a top knot at the centre of his head. Near the temple was found, lying under a tree, another image of a tirihankara, now headless (extant ht. 1' 7"). That the village was a thriving Jaina centre is proved by the existence of a few more mutilated Jaina images. Two of them, one headless and the other fairly complete, are now in worship in the house of a local villager. Chitgiri.—Immediately opposite Ambikanagar is Chitgiri, situated on the north bank of the Kangsabati at its confluence with Kumari. Here existed once a red sandstone temple, now denuded completely beyond recognition. Two images, one of ekamukha-linga and the other of a tir- lhankara (PI. I l l B), are now lying over the scanty remains. The latter (ht. r ll" ) stands in kayotaarga pose on a double-petalled lotus with an attendant on either side of his legs. The back-slab is relieved with four more tirthoAharas, in the same pose, and two flying figures at top comers. The cognizance below the pedestal loo]^ like a deer; the image may, there­ fore, be of the sixteenth tirthankara Santinatha. The date of the image seems to be earlier than that of RishabhanStha at Ambikanagar. Barkola.—About miles east of Ambikanagar is the village of Barkola, where once stood a Jaina temple, made of bricks. Forces of nature, aided by the vandalism of man, have brought about virtually a complete des­ truction of the temple. Recently, its foundation has also been disturbed by brick-hunters. What remains now is a low heap of brick-bats, which does not afford even a rough idea about its plan or general form. Some of these bricks have been utilized in the renovation of an old well, which was probably contemporary with the temple. From the ruins, a local person has collected (1) a stone pedestal, (2) three stone complete i^ g e s , (3) two monolithic miniature votive shrines, and (4) the pedestal-portion o f a stone Jaina image. Of the three Jaina images, the female one (ht. 1' 5", br, 9^") is Ambika (I’l. I ll C). With her right leg slightly bent, she stands on a lotus, below which is het cognizance, lion. Clad in a finely-carved aari and a scarf, she is gracefully decorated with sparse but elegant ornaments—mekhala, armlets, bracelets, a necklace and ear-rings. Her hanging left hand is held by a child. On her right side is a standing female figure. Over her head lire the branches of a tree (mango), and in the centre immediately above her coiffure is a seated miniature figure of her Jina, Neminatha. The other two images (PI. IV A) are identical with each other in size (5" X 6"). Each depicts a tirthankara, standing in kdyotsarga, on a lotus flanked by an attendant. The cognizance of one is indistinct and that of the other is a makara or elephant, thus indicating either Suvidhinatha or Ajitanatha. Of the two miniature shrines, one is reported to have been removed about three years back by one Mr. Bhaduri, a Kanungo of the locality. The other (ht., without tenon, 1' 2J") is in a perfect state of preservation (Pis. IV B, IV C, V A and V B). Commonly known as chaturmukha or chaumuklia, it depicts on each of its four faces the figure of a tirthankara within a trefoil- arched niche. All of them are shown in identical posture and stand in kayoisarga pose on a double-petalled lotus.