Ambika in Jaina Art and Literature (Book Review)

The reviewed volume, *Ambikā in Jaina Art and Literature* by Dr Maruti Nandan Prasad Tiwari, is a comprehensive study of the female attendant deity (yakṣi) **Ambikā**, who serves as the protective goddess of the 22nd Tīrthaṅkara Neminātha. Tiwari traces Ambikā’s origins to early mother‑goddess and fertility cults. She may have evolved from an earlier yakṣi called Bahu‑putrikā, who was worshipped as a provider of children and prosperity. By the late sixth century, this cult was incorporated into Jainism and Ambikā emerged as a prominent yakṣi. The book stresses that Ambikā’s iconography reflects a syncretism between Jain and non‑Jain traditions: while she is sometimes equated with the Hindu goddess Durgā because she rides a lion, Tiwari argues that her essential attributes—mango tree (amra‑lumbī), a child on her lap and a pair of smaller attendants—derive from indigenous fertility rituals. The book charts Ambikā’s iconographic development in two phases. In the **early phase** (ca. 6th–8th centuries AD), she is depicted as a two‑armed goddess seated under a mango tree holding a bunch of mangoes and a child. Examples from Akota (Gujarat) show her associated not only with Neminātha but also with other Jinas such as Ṛṣabhanātha and Pārśvanātha. In the **later phase** (9th–16th centuries AD), Ambikā’s popularity increased and her representations became more diverse. Four‑armed and multi‑armed forms appear, particularly under Tantric influence. While the mango branch and child remain constant, new attributes such as a goad, noose, mirror, sword or disc are added; her lion mount becomes a symbol of martial power. The book identifies regional variations: western India (Gujarat and Rajasthan) yields abundant depictions, including the Akota bronzes; Maharashtra features early forms at Ellora; in Uttar Pradesh and Madhya Pradesh, sites like Deogarh and Khajuraho show Ambikā surrounded by attendant goddesses and even the navagrahas; in Orissa she appears as a largely independent goddess. Tiwari also discusses the **parivāra** (entourage) of Ambikā that emerges after the 10th century, particularly at Khajuraho and Deogarh. She is accompanied by other female deities, attendants and her two sons, Siddha and Buddha (or their variants), reflecting her status as a mother goddess. The book notes several legends explaining her attributes, including the story of Agnilā, whose devotion earned her deification as Ambikā. Finally, Tiwari surveys Ambikā’s representation in painting from the 12th century onwards, emphasising how artists incorporated regional styles while retaining her defining features. By collating textual references, sculptures, paintings and inscriptions, Tiwari demonstrates that Ambikā’s worship reflects the assimilation of popular religious beliefs into Jainism. The book thus contributes both to Jain art history and to broader studies of Indian goddess traditions. It shows how a local fertility deity was gradually integrated into the Jain pantheon, acquiring complex iconography and a wide geographical spread.

Summary reviewed by a volunteer editor.