Jain Remains of Ancient Bengal
by Shubha Majumder | 2017 | 147,217 words
This page relates ‘Images of Tirthankara Parshvanatha (Introduction)� of the study on the Jain Remains of Ancient Bengal based on the fields of Geography, Archaeology, Art and Iconography. Jainism represents a way of life incorporating non-violence and approaches religion from humanitarian viewpoint. Ancient Bengal comprises modern West Bengal and the Republic of Bangladesh, Eastern India. Here, Jainism was allowed to flourish from the pre-Christian times up until the 10th century CE, along with Buddhism.
Images of Tīrthaṅkara śnātha (Introduction)
The Jain is one of the greatest prophets or īٳṅk of the Jainas. Some of the Jain scholars (Davids 1911: 543) regard him as the true founder of Jainism. Bhattacharya (1974:58) observed that, “His historicity is unquestioned, his date is almost precisely known and his influence on the Jain religion is of leading importance.� According to the Jain ʳܰṇa and Caritas he was born about 817 BCE and died about 717 BCE. His father śԲ, the king of Benares, gave ś in marriage to the daughter of Prasenajit, king of ś. But, like Prince ٳ, ś left the princess to follow the life of an ascetic at 30 years of age. For about 70 years, he preached his doctrines and finally attained Ѵǰṣa (liberation) on Mt. Summet Ś which is now known after him as Giri śnātha Hill in south Bihar (near Dhanbad) (Bhattacharya ibid, Nagar 1999:134-5).
From the Jain canonical texts, we know that his ñԲ or cognizance is a snake. In sculpture he is not only represented by a snake in the usual place of the emblem, but also with a three or seven or eleven hooded snake canopy upon his head.
His ۲ṣa is ٳṇeԻ and ۲ṣiṇ� is known as Padmāvati. This king, who stands by his side as a chowri-bearer is known as Ajitarāja. The ٱ𱹲 is his kevala-tree. It is interesting to mentioned here that a Kannada poet known as śpaṇḍita was composed śnāthapurāṇam in the early stage of the thirteen century CE. and in this text he does not much described about the iconographic details of ۲ṣa and ۲ṣ� of śnātha. Where as he described ٳṇeԻ as the leader of the 岵 and the destroyers of the upsargas created by ṻ and he also mentioned how ٳṇeԻ spread his enormous hood over the mediatation ś. On the other hand Padmāvati held anumbrella to protect her husband in turn. This type of the story is quite popular in the sculptural art of Karnataka region however, in the śnātha images of eastern India specially ancient Bengal we found an unusual type of depiction of ۲ṣa and ۲ṣiṇ�. In some of the śnātha images ṻ episode is also elaborately depicted.