Jain Remains of Ancient Bengal
by Shubha Majumder | 2017 | 147,217 words
This page relates ‘Position of Yakshas and Yakshinis in Jainism� 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.
Go directly to: Footnotes.
Appendix 1 - The Position of ۲ṣa and ۲ṣiṇīs in Jainism
This appendix is intended to provide complete information regarding the twenty-four ۲ṣa and ۲ṣiṇīs in Jainism. ۲ṣa and ۲ṣiṇīs played an important role in Jainism, though Jains mainly worship idols of the Jainas or Tīrthaṅkars. In the early religious traditions of India, the ۲ṣa along with other gods came to be identified as the 'creatures of wild and forest'. In Jainism, they were introduced as the guardians of the Jainas, also known as śԲ𱹲, ‘guardian’s angels' and 'protectors of the Jainism'. They were regarded to be belonging to a class of semi-gods or supernatural beings. All the twenty-four īٳṅk were said to be protected by a pair of ۲ṣa and ۲ṣiṇ� and the Jains even now offer them elaborate worship for boons, blessings and protection.
Basically ۲ṣa cult was a relic of non-Aryan worship. According to Fergusson, �Tree and serpent worship i.e. the worship of ۲ṣa and 岵, powers of fertility and rainfall, was the primitive faith of the aboriginal casteless Dāsyus who inhabited Northern India before the advent of the Āryans�[1]. A.K. Coomaraswamy also opines on the basis of the discoveries found from the Indus valley civilization that the worship of deities like ۲ṣa and 岵 was very much prevalent in the indigenous non-Āryan people in India[2]. In Indian Jain sculptural tradition, they are also known as attendant deities to the īٳṅk. Very often they are not distinguished from Devas and ٱ𱹲 which is clearly experienced by their worship in their temples. According to the Jain faith, Indra appoints one ۲ṣa-۲ṣiṇ� couple to serve as attendants to each īٳṅk In pictorial or sculptural representations a ۲ṣa would usually be depicted on the right side of the Jain and a ۲ṣiṇ� on his left side. Thus, they also came to be called ŚԲ-𱹲, attendant spirits[3] or guardian angels of the Jainas.
It would be difficult to believe that ۲ṣa worship had suddenly originated in Jain pantheistic practices. According to Hindu sources, the ۲ṣa and ۲ṣiṇ� worship was very much prevalent in India even before the Āryans had settled here. They were generally spoken of a Puṇyajanas (good folk) and appeared to be countless. The Buddhists regarded them as 'fallen angels'.
Thus, the Jainas, like Hindus and Buddhists, admitted them into their pantheon of gods and goddesses and gave them a special place in their ritualistic order. In the beginning, they were not given that high position, but in the due course of time, during the post Gupta period, the prestige of ۲ṣa and ۲ṣiṇīs were gradually high and the followers of Jainism pay their respect to these ۲ṣa and ۲ṣiṇīs for having them provided protection to īٳṅk. As a result of these, they are found around the images of Jinas as well as their individual images in many Jain temples. Usually they are found in pair around the idols of Jinas as male (۲ṣa) and female (۲ṣiṇ�) guardian deities. In earlier periods, they were regarded mainly as devotees of Jina, and have supernatural powers. Over time, people started worshiping these deities as well. Some sections of Jains looked at ۲ṣa and ۲ṣiṇīs for the immediate returns, and gave them the places in their temples.
By about the eighth-ninth century under the indirect influence of esoterism that was flourishing in Buddhism and elsewhere, Jainism felt inclined in figuring separate entities of śԲ𱹲, shaking off their attachment to Jain figures through miniature representations at the sides or on the pedestals found equal favor with the artists throughout, in the all the parts of Indian subcontinent. Individual shrines were built for worship ۲ṣa and ۲ṣiṇīs.
The earliest īٳṅk image having ۲ṣa-۲ṣiṇīs figures has been found from Akota which is dated in C. 550 C.E.[4]. A separate image belonging to the sixth century CE is also discovered from Akota hoard. The earliest ۲ṣa and ۲ṣiṇ� pair carved in Jain sculpture was Gomedha and . Next comes the figure of ٳṇeԻ and ʲ峾屹ī, the ۲ṣa and ۲ṣiṇ� pair of Pāśvanātha. The Jain pantheon slowly developed around the twenty four īٳṅk who constitute the principal objects of worship[5].
Though ۲ṣa and ۲ṣiṇīs figures were accepted by the Jinas and they regularly worshipped them as guardian deities of twenty four īٳṅk images, however, according to some scholars these images not directly associated with Jainism. In this connection we can recall the comments of B. C. Bhattaclrarya, that ‘these demigods do not represent purely Jain elements� in Jainism. ‘The names of some of the ۲ṣa and śԲ𱹲 betray unmistakable identity with those of Hindu deities while the symbols connected with them are also of those of the latter class�[6].
Walther Schubring also held similar views on the subject. According to him, ‘an Arhat is far beyond the reach of human affairs. Being in the state of pure cognition and without both sentiment and will, he cannot bestow grace and favour unto those who appeal to him�. ‘Hindu influence,� he adds, ‘seems to have been at work in placing at his [Arhat's or Jina's] side two adjutants, one male (۲ṣa) and one female (۲ṣiṇ�)…and it is these two that take care of a devout suppliant. That on a large scale, Hindu mythology was adopted by the Jains and brought in accord with their own principles is a fact known too well to be treated here in detail�[7].
In the present study, it is observed that though the depiction of ۲ṣa-۲ṣiṇ� couple in association with the īٳṅk images is a common style however, this style not frequently accepted by the artisan of this area. Only two īٳṅk images i.e. Ṛṣٳ image from Sitalpur and Punchra, are reported from the present study area where we can notice the depiction of ۲ṣa and ۲ṣiṇ� couple at the both the ends of the pedestal. However, in some cases only ۲ṣiṇ� images is engraved in the center of the pedestal. Whereas in śٳ images from the study area ٳṇeԻ and Padmāvati i.e. the ۲ṣa and ۲ṣiṇ� of the īٳṅk are most of the time depicted as protector of the Jina and also in depicted as 岵 couple with their inter-coiled tails springs gracefully almost rhythmically from the centre projection of the pedestal just below the feet of the Jina. ۲ṣiṇ� was very popular in the present study area and a good number of images of ۲ṣiṇ� were documented and described in the forgoing pages.
A brief list along with pictorial view of the twenty four Jain ۲ṣa and ۲ṣiṇ� are given below:
Iconographic details of twenty four ۲ṣa:
Sl. No. | Name of the ۲ṣa | Vehicle | Total Hands | Left Hand Attributes | Right Hand Attributes | Colour |
1 | Gomukha | Bull or Elephant | 4 | Varada ܻ and Rosary | ś and ʲś | Golden |
2 | Ѳⲹṣa | Elephant | 8 | Disc, trident, Goad, lotus | Sword, staff, axe, and Varada ܻ | Dark |
3 | Trimukha | Peacock | 6 | Disc, Sword, Śṛṇ (Goad) | Staff, trident and dagger | Dark |
4 | ۲ṣeś (Dig.) ⲹ첹 (Ś.) |
Elephant | 4 | Bow, Shield | Sword | Black |
5 | Tumburu | Garuda | 4 | Snake and Snake | Fruit and Varada ܻ | White |
6 | Kusuma | Antelope | 4 | Lance and Varada ܻ | Shield, abhaya-ܻ | Nila |
7 | Varanandin (Dig.) ٲṅg(Ś.) |
Lion | 4 | Staff and spear | Swastika and flag | Dark |
8 | Vijaya | Swan | 4 | Fruit and rosary | Axe and Varada ܻ | Green |
9 | Ajita | Toroise | 4 | Sakti and Varada ܻ | Fruit and rosary | White |
10 | A chariot carried by black hogs | 6 | Bow, 岹ṇḍ and ṭa첹 | Arrow, sword, Varada ܻ, | White | |
11 | ۲ṣeٲ | Bull | 4 | Trident, Staff | Rosary, fruit | White |
12 | ܳ | Swan | 4 | Bow and mongoose | Club, arrow | White |
13 | Caturmukha (Dig.) Ṣaṇmܰ (Ś.) |
Peacock | 12 | Mongoose, disc, bow, shield, cloth and abhayaܻ | Fruit, disc, arrow, sword, noose and a rosary | White |
14 | Dolphin | 6 | Mongoose, shield and a rosary | Lotus, sword and noose | Red | |
15 | Kinnara | Tortoise | 6 | Mongoose, lotus and a rosary | Club, citron and varada-ܻ | Red |
16 | Kiṃpuraṣa (Dig.) Ҳḍa (Ś.) |
Boar | 4 | Mongoose and rosary | Citron and lotus | Black |
17 | Gandharva | Swan | 4 | Citron and a goad | Noose and varada-ܻ | Dark |
18 | Khendra (Dig.) Yakṣpāvatī (Ś.) |
Sankha | 12 | Mongoose, bow, shield, trident, goad, and a rosary | Citron, arrow, sword, hammer, noose and abhaya-ܻ | Blue |
19 | Kubera | Elephant | 8 | Citron, spear, club and a rosary | Bow, trident, axe and abhaya-ܻ | Rainbow |
20 | ղṇa | Bull | 8 | Mongoose, a rosary, a bow and axe | Citron, a club arrow and a spear | White |
21 | ṛkṭ� | Bull | 8 | Mongoose, axe, thunderbolt and a rosary | Citron, a spear, a hammer and abhaya-ܻ | Gold |
22 | Gomedha | Man | 6 | Mongoose, trident and spear | Citron, axe and disc | Dark |
23 | ٳṇeԻ | Tortoise | 4 | Snake and mongoose | Citron and Snake | Dark |
24 | ٲṅg | Elephant | 2 | Mongoose | Citron | Black |
Iconographic details of twenty four ۲ṣiṇīs:
Sl. No. | Name of the ۲ṣiṇīs | Vehicle | Total Hands | Left Hand Attributes | Right Hand Attributes | Colour |
1 | 䲹śī | Ҳḍa | 8 | Bow, thunderbolt, disc and goad. | Varada-ܻ, arrow, disc and noose | Golden |
2 | ᾱٲ or dzṇ� | Lohāsana (iron seat) | 4 | Varada-ܻ and abhaya-ܻ | Citron and a goad | Golden |
3 | ٳܰī or ʰñپ | Ram | 4 | Fruit and abhaya-ܻ | Rosary and varada-ܻ | - |
4 | or Vajra- Śṛṃkhalā | Swan | 4 | Snake and a goad | Noose and varada-ܻ | Dark |
5 | ʳܰṣa岹ٳٲ or Ѳī | Lotus seat | 4 | Citron and a goad | Noose and varada-ܻ | Golden |
6 | ܳ or Ś峾 ѲԴDZ | Man or Horse | 4 | Bow and abhaya-ܻ | Noose and varada-ܻ | - |
7 | ŚԳ or ī | Elephant or Bull | 4 | Trident and abhaya-ܻ | Rosary and varada-ܻ | Gold |
8 | 峾ī or ṛkṭ� | Cat | 4 | Axe and Shield | Sword, hammer | Yellow |
9 | ܳ or Ѳī | Bull | 4 | Pitcher and goad | Rosary and varada-ܻ | White |
10 | śǰ or Բī | Cloud | 4 | Fruit and goad | Noose and varada-ܻ | Green |
11 | Ҳܰī or Բī | Lion | 4 | Thunderbolt and goad | Hammer and varada-ܻ | - |
12 | 䲹ṇḍ or Ի | Horse | 4 | Club and flower | Spear and varada-ܻ | Dark |
13 | վ徱 or ղṭi | Lotus seat | 4 | Snake and bow | Arrow and noose | Yellow |
14 | ṃkś or ԲԳٲī | Lotus seat | 4 | Shield and goad | Sword and noose | - |
15 | Ի岹 or Բī | Fish | 4 | Lotus and varada-ܻ | Goad and blue Lotus | - |
16 | Ѳ峾Բī or ṇ� | Lotus seat | 4 | Water jar and blue lotus | Book and blue lotus | - |
17 | վᲹ or | Peacock | 4 | Round club and lotus | Trident and citron | - |
18 | or ٳṇ� | Lotus seat | 4 | Red lotus and rosary | Citron and blue lotus | Blue |
19 | 貹ᾱ or ղṭi | Lotus seat | 4 | Citron and rosary | Rosary and varada-ܻ | Black |
20 | ܰū辱ṇ� or 岹ٳ | Lotus seat | 4 | Citron and trident | Rosary and varada-ܻ | - |
21 | 峾ṇḍ or Ի | Swan | 4 | Citron | Sword and varada-ܻ | - |
22 | or Ā or Kusmāṇḍī | Lion | 4 | A boy and a goad | Bunch of mangoes and noose | Golden |
23 | ʲ峾屹ī | Snake | 4,6,8,24 | Fruit and goad | Lotus and noose | Golden |
24 | ⾱ | Lion | 4 | Citron and a lute | Book and abhaya-ܻ | Green |
Footnotes and references:
[1]:
Fergusson 1868: 244
[2]:
Coomaraswamy 1980/ I: 2
[3]:
Gupta 1972: 176
[5]:
Sivaramamurti 1983: 25
[6]:
Bhattacharya 1974:65.
[7]:
Schubring 1962:16-17