Jaina Images and copperplates in the Jain Temples at Joura

Jaina Images and copperplates in the Jain Temples at Joura, Dist. Morena, (M.P.)
Navneet Kumar Jain

Abstract

The Sculpture wealth & archaeological importance in Jaina temples are remarkable on account of their antiquity and historical significance, but their study is continiously neglected by the scholars as the present paper focuses on some such type of Jaina images in the Jaina temple of Joura.

The Gwalior region also known as Gwalior-Chambal division and Northern Madhya Pradesh, comprises eight districts. viz. Gwalior, Morena, Bhind, Sheopur, Datia, Shivpuri, Ashoknagar and Guna, has witnessed a vast tradition of Jaina art and architecture. In the region, the Jaina art-activities were initiated in the Gupta period and gradually developed with innovative art idioms during the realm of various succeeding dynasties, viz. Gurjara-Pratiharas, Kacchapaghatas, Later-Pratiharas, Yajvapalas and Tomaras. At present, these Jaina-art-remains are either scattered over the open village-sites or preserved in the different museums and in the Jaina temples in the cities. The Jaina remains scattered on open sites and preserved in the museums have been thoroughly discussed by the scholars from time to time while the Jaina antiquities specially sculptures made of stone and metal in the Jaina temples of the cities have not been given proper attention, despite the fact that their study view of the point of Jaina art is indispensable. To consider this fact, it is decided to have a major survey of these temples through author's research work. In the present paper, images in the Jaina temples at the town of Joura are discussed.

The town of Joura is located nearly 25 kms. away from the district headquarters of Morena on Morena-Sabalgrah state highway. There are two newly constructed Jaina temples in the town. One of them named as ``Sri Digambar Jain Panchayati Bada Mandira'', was built nearly 50 years ago. While the second one numbed as ``Sri Pauivala Digambar Jain mandire'' was built nearly 20 years ago. Both the temples possess many ancient Tirthankara images made of marble-stone and metal ranging from. 12th century AD to 15th century AD. Of special interest are some copperplates in the form of Yantras with inscriptions on them housed in these temples. It is evident that these images were not originally installed in these temples but were brought here from some other places. In fact, during the migration of the Jaina people from village to the towns, these village's impages were brought along with them and were re-installed in the town temples. For the convenience of the study, the entire scupltural wealth in these temples can be categorized as follows : 1.	Marble images

2.	Bronzes

3.	Copperplates.

Marble Images :
There are 10 marble images in both the temples. Among them, one of ``Tirthankara Candraprabha with an inscription dated V. S. 1238 is exquisitely carved and unique in itself (plate No. 1). It is the first hitherto known marble-image of Tirthamkara Candraprabha. Therefore, it has a great importance to the study of Jaina sculpture and iconography. The image, 3 feet in height, is in good state of preservation but slghtly weathered from fingers. His cognizance `crescent' is marked in the middle of the cushion, even the name Candrapbha is also recorded in the inscription on it. Five distinct features of this image, namely its being made of marble-stone, the excellent craftsmanship of plastic treatment in carving, the perfect anatomy from chin to the toe, the sublime depiction of yogik-serenity and the dated inscription, specify its grandeur and lead it to the culmination of Jaina art. The local Jainas claims to have brought this image from the villege Parsota, nealy 20 kms. from Joura away towards Sabalgarh.

The Inscription, of 3 lines inscribed on the upper portion of the cushion, is quite legible (plate No. 2). The language of the record is Sanskrit and the script is old devanagari. The text is as follows —

1.Siddham samvata 1238 Vaisasa sudi 2 tay

2.Sri mulasamghe sri Amritasenacarya sri mathuranvaye sadhu

3.Dahad tasya patni Delha taiy sutu Padma Kulha no Candraprabhlo pratimeyam karita.

Thus, the record begins with the symbol of Siddham followed by the date V.S. 1238 Vaisakha sudi 2 (1181 AD). It further states that Padam and Kulha, two sons of Sadhu Dahad from his wife Delha installed this image of Candraprabha. The inscription provides very important information about the Bhattaraka tradition of Mulasamgha Mathura anvaya, which had a considerable influence on the Jain society of Gwalior region. The inscription records the name of Acarya Amritsena under whose inspiration the discussed image was inssstalled, but this name surprisingly does not appear in the line of pontiffs of this tradition (Joharapurkar, p. 245-47). Therefore, a question naturally as to arises who was this Acarya Amritsena and why his name is not found addes in the said tradition, that the present inscription. ProclaimsThis problem can be examined in the light of literary accounts given by Acarya Amarkirti (1187-90 AD), who comes later in the same line. Acarya Amarkiti gives the names of five generations of his predecessors. He mentions the name of Acarya Amarsena at third position (Joharapurkar, p. 239), but remains silent about his contribution. It seems probable that Acarya Amarsena and Amritsena were same person. This possiblity can be substantiated with the following points. First, chronologically, the time of Acarya Amritsena (AD 1181) corresponds to that of Acarya Amritsena. Second, linguistically, both the names have a similarity in their meanings. Third, most of the Bhattarakas of this tradition ranging from Mahacarya Devasena to Bhattaraka Gunabhadra, not only followed Jainism but also installed innumerable images and conducted remarkable literary pursuits living in the Gwalior region. In this context, some images installed by the latter Bhattarakas of this line will be discussed below. The present record is also important in the way that it is one of the earliest inscriptional records of the Bhattaraka-tradition.

Besides this, there are two other images of Tirthanakra Candraprabha. One of them bears an inscription that is badly worn out, therefore, quite illegible. The finding spot of this image is unknown. The Second one, which is without inscription, is told to be brought from Pahadgrah (dist. Morena), some 30 kms far from Joura. The cognizance crescent is shown on their lower cushions. On the basis of the iconographic and paleographic considerations, these images can be assigned to circa 15th century AD i.e. Tomar period.

The other two images are of Tirthamkara Parsvanatha and Rsabhanatha with inscriptions of two lines dated respectively V. S. 1548 (1491 AD) and V.S. 1502 (1445 AD). The first inscription records the installation of the image under the inspiration of Bhattaraka Jinacandra by the great image-donator sresthi Jivaraja Papadiwal. Bjattaraka Jinacandra belonged to the Bhattaraka-tradition of Balatkara gana (Delhi-Jaipur branch). The purport of the second incription is not clear. In addition to these, there are two images made of black stone. One of them is of Tirthankara Parsvanatha with an inscription of three lines dated V.S. 1545 (1488 AD). The date is also given in devangari alphabet. The purport of this inscription is clear but could not be understood. This image has a contradictory feature. The image is crowned with seven serpent-hoods which is the proposed identification of Tirthamkara Parsvanatha but it also has a symbol of svastika marked on the cushion, which is the cognizance of Tirthamkara Suparsvanatha. The other image is of Tirthamkara Rsabhanatha with the cognizance bull on cushion bearing an inscription of 3 lines that being badhy worn out is quite illegible. However, on iconographic basis, it can be assigned to circa 13th century AD.

Iconography :
The figures of Jinas in all the marble-images are shown in padmasana posture with their yogic attributes, viz. nasagra-drasti, lamba-karna, griva-rekha, srivasta, curly-hair, usnisa, dyana-mudra, auspicious symbols on the palm of hands etc. These images are devoid of any ornamentation.

Bronzes :
There are more than 25 bronzes in these temples belonging to 14th-15th century AD i.e. Tomar period. Thmar period was prolific in the Jaina art and architecture. The kings of Tomar dynasty ruled over the Gwalior region from the last quarter of 14th century AD to the first quarter of 16th century AD. During this period. various branches of Bhattaraka tradition had flourished in the region and their relations with the Tomar kings were notably good. Consequently, the Jaina community gloriously followed Jainism and constructed Jaina temples and sculptures in abundance under the directions of these Bhattarakas. It is noteworthy that the metal images were first introduced and were in vogue in the region during this period. The author has recorded more than 300 bronzes in the various Jaina temples in the entire region. Inspite of being a great centre of metal-casting, their proper study was negected until now. The present paper attempts their proper study and draw the sincere attention of scholars towards it.

The bronzes, of Tirthamkara Rasbhanatha, Parasvanatha, Candraprabha, Padamprabhla, Santinatha, Kunthunatha, Aranatha, Bahubali and Sarasvati, are illustrated in the form of individual and composite figures of tritirthika, panacatirthika and caturvimsatika. Most of the images bear inscriptions which are badly worn out. Fortunately, some of them have remained in good state of preservation and can be read out. The most important image is a tritirthika of santi-Kunthu-Aranatha that bears a legible inscription of 13 lines, quite legible, in devanagari script and Sanskrit language on its back (plate No. 3 & 4). The text is as follows :

1.	Samvata 1521 varse vaisakha sudi 5 budhe mulasamghe balatkara gane saraavati gacche kumda-

2.	Kumdacaryanvaye bhattaraka sri Jinacamdra deva tatpatte sri simhakirti deva Nalawa.

3.	ra durge

4.	Tomar

5.	Vamse ma-

6.	haraje

7.	sri Kir

8.	ti sim-

9.	ha mane\\varahasani vamse sadhu Amaradeva bharya Vilha putra ra-

10.	va deva bharya karma dausira putra Lohaga rama bharya Jasodevi-

11.	bharya Lali ma da tu bhavilho eva-samramvadhe \\Jinbim

12.	va pratistha karapitam\\edam ratna traya pratishapitam\nityam pranamati\\

Thus, the inscription begins with the date V.S. 1521 (1464 AD). It further states that sadhu Amaradeva of Varahasani vamsa, with his family and relatives installed this image under the inspiration of Bhattaraka Sri Simhakirti of Mulasamgha Balatkara gana Sarasvati gaccha in the region of tomar king kirti Singh of Nalawara fort. The record provides valuable information to reconstruct the history of Tomar dynasty. In the inscription, Tomar King Kirti Singh is told to be a king Singh of Nalawara fort. i.e. Narwara fort (dist. Shivpuri, M.P.). Prior to this, no certain evidences were available to us in this regard. Some Muslim historians mention that the Tomar king Dugrendra Singh, father of Kirti Singh, had made an unsuccessful military campaign to capture Narwara fort (Gouri, Gulab Khan, p. 77-80; Dwivedi, p. 82-84). Nevertheless, none of the available records speak about Kirti Singh's conquest over Narwara fort. However, the finding of present image-inscription clearly proclaims Narwara fort under his sway. Therefore, in the light of above-mentioned discussions, it appears that Kirti Singh not only continued his father's campaign against Narwara but also got success in it.

The Bhattaraka-tradition mentioned in the present inscription, was a second important branch of Jaina pontiffs that existed in the Gwalior region. In the inscription, Bhattaraka Simhakirti, who installed this image, is told to be a disciple of Bhattaraka Jinacandra. Bhattaraka Jinacandra, belonged to the Delhi-Jaipur line of Balatkara gana, had his seat at Delhi and gained the credit of installation of many images in the said region. But his disciple Bhattaraka Simhakirti established his seat at Ater in district Bhind, Madhya Pradesh, some 111 kms away from Gwalior. It is unknown as to how this image belonging to Narawara fort, reached Joura. I think in the region of Tomar King Kirti Singh, the Jaina adherents of Narawara had organized a pancakalyanaka ceremony at Narawara fort in which the present image was also consecrated under the direction of Bhattaraka Simhakirti and later on, it was brought to Joura. The inscription also contains the names of three succeeding generations of Sadhu Amara deva from his wife Vilha. Besides this a tritirhika of Santi-Kunthu-Aranatha, without inscription is housed in the temple. In both the above images. Tirthamkaras are shown standing in kayotsarga possture.

There are 10 specimen of Tirthamakara parsvanatha shown seated in padmasana posture and crowned with seven serpent-hoods. Among them 3 are represented in the form of Pancatirthika. One of them bears a minor inscription of one line, which reads as : ``Re la ta na''. It seems to be the name of either scupltor or engraver. Second image also bears an inscription of four lines dated V.S. 1526 vaisakha sudi 1 (1469 AD). Its purport is not clear. Other one is also inscribed but totally illegible. Other seven images are the individual represnetations of Parsvanatha.

Another Pancatirthika image with an inscription of nine lines, badly worn out, preserve the name of Tirthankara Padamprabhu. Three specimens are of Tirthamkara Candraprabha, Bahubali and Sarasvati. The Candraprabha image, in padmasana posture, bears an inscription of three lines that is totally illegible. The Bahubali image is shown in its traditional way having creepers and reptiles on his body in standing posture. It also bears an inscription of four lines dated V. S. 1520 (1463 AD). The Sarasvati image is four handed holding manuscript, kamandalu in her left hands and padma-pasa in her right hands. Her vehicle peacock is also shown. A miniature figure of Tirthamkara, in padmasana posture, is depicted on upper part of stele. It also has an inscription of five lines dated V.S. 1552 (1495 AD). Its purport is not clear.

Some images could not be identified due to the absence of concerning cognizance. They lack inscriptions also. There are seven caturvimsatika images. Two of them bear inscriptions dated V.S. 1531 (1474 AD) and V.S. 1554 (1495 AD). Their purports are not clear. One of them is inscribed but not legible.

Iconography :
The Tirthamkara figures in all the bronzes are embodied with usual iconographic characteristics as mentioned with the marble-images However, these are elaborated with asta-pratiharyas, viz. simhasana, vrksa, camarendra, bhamandala, chatratraya. dundubhi. They are further adorned with garland-bearers, sasana-devatas, devotees, elephants pouring water from vessels, sardula-figures etc. These images are also shown with symbolic representation of nine plants (navagraha) and a figure of door-keeper (dwarpala) on their pedestals. The stele has been designed with an arch-form, surmounted with a canopy above an amalaka, resting on two pillars on either side to Tirthamkara figure that illustrates a magnificent model of a Jaina temple in itself. We can put the tritirthika, pancatirthika and caturvimsatika bronzes are simple i.e. devoid of any ornamentation. Some caturvimsatika bronzes in the category highty amballished images. However the individual branzes simele i.e. devad of any ornamentation. Some caturrimse tika bronzes are adorned with an outstanding narrative-depiction of a lion and a cow shown on either side of dharmacakra on simhasana apparently a figural-presentation of a main principle of Ahimsa (non-violence of Jaina faith. Hence, these exquisite bronzes represent a period of culmination of metal art, when iconographic and architectural elements of Jaina canon mingled in the art-form.

Copperplates :
Three copperplates are housed in these temples. These are shown in the form of Yantras that are closely associated with the practices of Jaina cult. Jaina mantras with tantric symbols are conspicuously visible on them. The consecration of Yantras, even today very popular in the Jaina community, forms an interesting study not only on account of their antiquity but also for their importance in the Jaina theology. These yantras also bear inscription of historical values. The description of each copperplate is as follows :

1. Copperplate No. 1. This is a squarish single plate with 18 lines of writing on one side only. The inscription begins with date V.S. 1522 magha sudi 12 soma (1465 AD). It records a donation made by Jinamati under the inspiration of Bhattaraka Gunabhadra of Kasthasamgha Mathure anvaya Puskara gana.

2. Copperplate No. 2. This is also a squarish single plate having 17 lines of writhing on one side. The inscription is quite legible, but it is kept surrounded with some images in the temple, therefore, I could not read it out and even the temple-authority did not allow me to touch it. Only the date V.S. 1521 (1464 AD) and the mention of donation made by Sadhu Rai could be traced out.

3. Caooerplate No. 3. This is a convex-shaped rounded off single plate with an inscription of one line written in round on one side. It begins with the date V.S. 1541 phalgun sudi 3 guru (1484 AD). but the rest of the matter could not be understood.

Bibliography :
1. Joharpurkar, Vidhyadhara, Bhattaraka Sampradaya (in Hindi), Nagpur, 1958.

2. Gouri, Gulab Khan, Gwalior ka Rajanaitika Evam Sanskratik Itihas (in Hnindi). Delhi 1986.

3. Dwivedi, Harihar Niwas, Gwalior ke Tomar (in Hindi), Gwalior, 1976.

End Notes :
1. Bhattaraka Jinacandra installed more than thousand images in a single pancakalyanaka ceremony at Mudasa (Rajasthan). All there images were donated by a single person Jivaraj Papadiwal. These images were, later on, sent to several temples all over India, which are now found right from Amritsar to Chennai and from Girnar to Kolkata. This ceremony took place in V.S. 1548 (1494 AD). This present image is one of them.

Arhat Vachan-July to December 2010