उत्तर भारत में जैन यक्षी आभिक्का का प्रतिमा-निरूपण

This Hindi research paper examines the iconography of the Jain goddess (yakṣī) Abhikkṣakā in northern India. The author begins by surveying scriptural references to Abhikkṣakā across the Śvetāmbara and Digambara Jain traditions, noting that she is associated with protection, fertility and the granting of wishes. The essay then analyses sculptural depictions from temples and caves in Uttar Pradesh, Rajasthan and Madhya Pradesh, focusing on attributes such as the lotus, pot of jewels, child and fly‑whisk. By comparing dozens of images, the author identifies a basic iconographic pattern: Abhikkṣakā is usually seated in lalitasana on a lotus throne, holds a lotus or noose in one hand and a child or pot in the other, and is flanked by attendants. Some regional variations are noted; in certain sites she carries a rosary or fruit, while in others she is shown standing. The paper also traces the historical development of Abhikkṣakā’s worship, suggesting that she evolved from an independent fertility goddess into an attendant of specific Tīrthaṅkaras. Through epigraphic evidence, the author links several statues to donations by merchants and aristocrats, indicating the socio‑economic factors that promoted yakṣī worship. The study emphasises the importance of yakṣī figures in Jain art: they served as approachable embodiments of divine energy and were popular among lay devotees. By documenting the diversity and consistency of Abhikkṣakā’s iconography, the article contributes to the understanding of regional artistic traditions and religious syncretism in north India. It calls for further fieldwork to discover more sculptures and inscriptions that could clarify her origin and spread. Overall, the paper demonstrates that the iconography of Abhikkṣakā reflects a complex interplay of theology, popular devotion and artistic creativity. यह हिंदी शोध‑पत्र उत्तर भारत में जैन देवी (यक्षिणी) [translate:अभिक्षका] (Abhikkṣakā) की प्रतीक‑विद्या (आइकॉनोग्राफी) का विश्लेषण प्रस्तुत करता है। लेखक की चर्चा की शुरुआत [translate:श्वेतांबर] (Śvetāmbara) और [translate:दिगंबर] (Digambara) परंपराओं के शास्त्रीय ग्रंथों में अभिक्षका से संबंधित उल्लेखों के सर्वेक्षण से होती है, जहाँ उन्हें रक्षा, संतान‑प्राप्ति और कामना‑पूर्ति से संबद्ध माना गया है। इसके पश्चात लेख उत्तर प्रदेश, राजस्थान और मध्य प्रदेश के मंदिरों और गुफाओं में प्राप्त अभिक्षका की मूर्तियों के चित्रात्मक रूपों का विश्लेषण करता है। मुख्य ध्यान उनके हाथों में धरे प्रतीकों — जैसे [translate:पद्म] (padma), रत्न‑कलश, बालक और [translate:चामर] (cāmara) — पर केंद्रित किया गया है। दर्जनों प्रतिमाओं की तुलना कर लेखक ने एक आधारभूत प्रतिमा‑रूप निर्धारित किया है: अधिकांश चित्रणों में अभिक्षका [translate:ललितासन] (lalitāsana) में पद्मासन‑सिंहासन पर बैठी हुई दर्शाई गई हैं; वे एक हाथ में पद्म या फंदा, और दूसरे हाथ में बालक या कलश धारण करती हैं, तथा चारों ओर सेविकाओं या सहचर मूर्तियों से परिवेष्ठित होती हैं। कुछ क्षेत्रीय भेद भी देखे गए हैं— कहीं वे माला या फल धारण करती हैं, तो कहीं खड़ी अवस्था में अंकित की गई हैं। पत्र में अभिक्षका की पूजा‑परंपरा के ऐतिहासिक विकास का अनुसरण भी किया गया है। लेखक का मत है कि वे प्रारंभ में स्वतंत्र प्रजनन‑देवी थीं, जो क्रमशः विशिष्ट [translate:तीर्थंकरों] (Tīrthaṅkaras) की सहचरी देवी रूप में विकसित हुईं। अभिलेखीय साक्ष्य के आधार पर कई मूर्तियों को व्यापारियों और राजपरिवारों द्वारा किए गए दानों से जोड़ा गया है, जो यक्षिणी‑पूजा के सामाजिक‑आर्थिक पृष्ठभूमि को स्पष्ट करता है। अध्ययन जैन कला में यक्षिणी प्रतिमाओं के महत्त्व पर बल देता है — वे दैवी ऊर्जा के सुलभ रूप के रूप में पूजी गईं और सामान्य श्रद्धालुओं में अत्यंत लोकप्रिय रहीं। अभिक्षका की प्रतिमा‑परंपरा के विविध एवं स्थिर रूपों का दस्तावेज़ीकरण करके यह लेख उत्तर भारत की क्षेत्रीय कला‑परंपराओं और धार्मिक सांस्कृतिक संमिश्रण (सिन्क्रेटिज़्म) की गहरी समझ में योगदान देता है। लेखक ने अधिक मैदानी अनुसंधान की आवश्यकता बताई है ताकि अधिक प्रतिमाएँ और अभिलेख प्राप्त हो सकें जो इस देवी की उत्पत्ति और विस्तार को और स्पष्ट कर सकें। समग्र रूप से देखा जाए तो यह शोध‑पत्र यह प्रमाणित करता है कि अभिक्षका की प्रतिमा‑विद्या थियोलॉजी, लोक‑भक्ति और शिल्प‑कौशल के जटिल अंतर्संबंध का प्रतिबिंब है।

Summary reviewed by a volunteer editor.