Studies in Jaina Iconography
Summary
This article introduces a comparative study of Jaina iconography, focusing on the correlation between textual descriptions and extant archaeological finds from all over India. The author argues that this comparative method, which traces Brahmanical proto-types and explains the symbolism of imageforms in the light of influences from both Brahmanic and Buddhist iconography, is the only viable approach for studying Indian religious art. The work differentiates itself from previous studies, such as Jaina Iconography by B.C. Bhattacharyya, studies by U.P. Shah on Sarasvati and Ambika, a brief survey by B. Bhattacharyya, and discussions by H.D. Sankalia, by offering a new line of approach and clear reasons for differing interpretations of symbolism. The subject draws textual material from two main kinds of works: Sanskrit texts on installation ceremonies (Pratistha) and texts with casual references to iconographic details available in both Prakrit and Sanskrit, dating back to the Arigas. Additionally, mythological stories and legends of the Svetambara and Digambara traditions, along with Jain inscriptions from the 3rd or 2nd century B.C. to the 12th or 13th centuries, provide crucial evidence. Due to the scarcity of Jain specimens and scholars in Bengal, the author studied specimens in Bengal museums and undertook a 1945 tour of Rajputana Jain sites. The study is not exhaustive, focusing on important types and peculiar specimens, and specifically explains the postures of Kayotsarga and Padmasana for Tirthankara figures. The article also discusses the nature of symbolism in Jain art. Like in Buddhism and Brahmanism, aniconic symbols in Jainism are not allowed to function purely biologically as likenesses. Instead, they appeal to the intellect. The author notes that aniconic representations are ancient, with the earliest image of a Jain Tirthankara discovered at Kankali Tila in Mathura. The text cites early Buddhist literature and statements by the Buddha expressing a dislike for anthropomorphic images, favoring "associated" symbols as substitutes when the Lord is absent.
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Conclusion
This study establishes a novel comparative methodology for understanding Jaina iconography, correlating textual descriptions with archaeological evidence to trace the Brahmanical and Buddhist influences on Jain imageforms. By analyzing the symbolism of deities and the specific postures of Kayotsarga and Padmasana, the research reveals that Jaina art evolved from early aniconic representations to later anthropomorphic forms. The work highlights the antiquity of the art through inscriptions and textual sources, offering a more comprehensive framework than previous scholarship. Despite the challenges of limited textual availability and regional scarcity, this investigation provides a foundational approach, encouraging further research into iconometry and the broader development of Jaina visual culture.