Studies in Jaina Iconography
Summary
The first article in this issue of Jain Journal continues A.K. Bhattacharyya’s study of Jaina iconography by examining the symbolism of the aṣṭamaṅgala. The term aṣṭamaṅgala refers to a set of eight auspicious emblems that are depicted around images of the Jinas or used during rites to invoke good fortune. Bhattacharyya points out that in early art only a subset of these symbols was depicted and that their form and number were not rigidly fixed until the early centuries of the Common Era. The article surveys archaeological finds, such as ayāgapaṭas from Mathurā, where variations of the auspicious group range from four to eight motifs. It notes that the symbols appear across Brahmanical, Buddhist and Jain art, but the Jain interpretation emphasises the spiritual virtues they represent. Each of the eight emblems is discussed in turn. The mirror (darpaṇa) represents self‑knowledge; devotees place a mirror before a Jina image to remind themselves that spiritual purity must be reflected within. The throne or bhadrāsana symbolises the seat on which the Tīrthaṅkara’s feet rest, recalling the piety of those who support his teachings. The vardhamāna‑kalasa or auspicious pot stands for abundance, prosperity and spiritual growth. Other emblems, such as the fish pair, Śrīvatsa, lotus, fly‑whisk and parasol, evoke themes of purity, good fortune and royal protection. Bhattacharyya surveys scriptural references from texts like the Aupapātika Sūtra and Trilokasāra that describe these emblems and compares Digambara and Śvetāmbara lists of the aṣṭamaṅgala. By situating the symbols within wider Indian artistic traditions, the article shows how Jain artists adapted common motifs while imbuing them with distinct doctrinal meaning. Throughout, Bhattacharyya stresses that the aṣṭamaṅgala cannot be traced back to the earliest period of Jain art; rather, the full group crystallised during the Kushāṇa era. The article concludes that understanding the evolution and meaning of these eight emblems is essential for interpreting Jain images and for appreciating how Jain iconography both draws on and contributes to the shared visual culture of South Asia.
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Conclusion
Bhattacharyya’s essay highlights how a seemingly simple set of auspicious signs encapsulates core Jain ideals. By tracing the evolution of the aṣṭamaṅgala and explaining the moral and spiritual messages encoded in each symbol, the article illuminates the dialogue between doctrine and art. It also shows that Jain iconography developed in conversation with wider Indian traditions, adapting common motifs to express the religion’s distinctive emphasis on purity, renunciation and spiritual prosperity. Recognising these connections enriches our understanding of both Jain art and the broader history of Indian symbolism.