Jain Sculptures in the Salar Jung Museum

"The article by Dr. B.K. Goud surveys the Jain sculptures housed in the Salar Jung Museum, Hyderabad, emphasizing their iconographic, regional, and historical significance. Declared a museum of national importance in 1961, Salar Jung Museum possesses a noteworthy collection of Jaina sculptures dated from the 10th to 19th century CE, representing both North and South Indian artistic traditions. A) Historical and Religious Context The introduction outlines the core tenets of Jainism, including karma, asceticism, and the Three Jewels (right faith, right knowledge, and right action). It acknowledges Mahavira (599–527 BCE) as the 24th Tirthankara and contemporary of the Buddha. Jainism split into two major sects — Śvetāmbara and Digambara — by the 1st century CE. The religion flourished across various dynasties including the Satavahanas, Chalukyas, Rashtrakutas, and Kakatiyas, who patronized Jaina teachers, viharas, and sculptures. B) Jaina Iconography Jaina iconographic norms are detailed, citing canonical sources such as Silparatna, Brhatsamhita, Kalpasutra, Pratisthasarasamgraha, and Nirvanakalika. Tirthankaras are depicted in either padmasana or kayotsarga (standing) poses. Key identifiers include srivatsa symbols, associated trees, yaksha-yakshini pairs (e.g., Padmavati, Dharanidra), and specific emblems (lion, bull, conch, etc.). Distinctions from Buddhist iconography are also noted (e.g., srivatsa to differentiate from Buddha). C) Museum Sculptures (Detailed by Period and Region) i) 10th–12th Century (Deccan) a) Sitalanatha (Black Granite, Karnataka): Depicted in kayotsarga, marked by srivatsa and triple umbrella, linked to Rashtrakuta/Chalukya patronage. b) Parsvanatha I (Karnataka, 10th c.): Damaged head; identifiable by seven-hooded snake. Acquired from Brig. Kulwanth Singh. c) Parsvanatha II (12th c.): Richly detailed with 23 miniature Tirthankaras on ring, yaksha-yakshini pair (Dharanindra and Padmavati), inscription in Kannada by sculptor Bopana. d) Mahavira (Panchatirthi) (12th c.): Surrounded by four meditating Jinas, Kannada inscription notes dedication by Devana, disciple of Madhava Chandra of Mulasangha. ii) 12th Century (Gujarat) Jaina Prabhavali (White Marble): Intricate relief with musical motifs, elephants, and missing central Tirthankara (likely Parsvanatha). Imported from Gujarat. iii) 15th–19th Century (Rajasthan and North India) a) Parsvanatha (1490 CE): Marble, seated in padmasana, dated to Vikram Samvat 1548, inscribed in Devanagari. Purchased in 1984. b) Parsvanatha (19th c., Jaipur): Under nine-hooded serpent canopy, lotus motif on pedestal. c) Mahavira (Plate 9): Identified by srivatsa, elongated ears, knot on head. Exemplifies calmness and iconographic fidelity.\

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