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On the Identification of an Image

Vol. 18 · No. 3September - 1942pp. 261–265English

Summary

This miscellany piece examines a black stone stele discovered in 1923 near Pirpahar. Measuring about twelve by seven‑and‑a‑half inches with a curved top and mortise tenon, the stele is carved on one face and divided into three compartments by relief bands. The central figure is identified as Rsabha, the first Jain Tirthankara, seated in meditation with a halo, flanked by chauri‑bearers. Below are the bull emblem and two small stupas, while further down appear a tree, a seated female figure holding a swing and a male figure holding a flower stalk. The author compares these elements with descriptions in the Bhairava‑Padmavatikalpa and other iconographic texts and notes similarities with depictions of the Jain goddess Ambika, who is often shown with attendants, children and a tree symbolising fertility. The article argues that the combination of bull emblem, attendants, tree and child points to Ambika’s identification rather than other Yakshi figures. By analysing regional stylistic features and referencing comparable finds, the author situates the stele within broader patterns of Jain iconography in India.

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Conclusion

The study concludes that the Pirpahar stele most likely represents the Jain goddess Ambika. Iconographic details—such as the bull emblem, the presence of attendants and children, and the tree motif—correspond to textual descriptions of Ambika and distinguish her from other deities. The article emphasises the importance of combining field discoveries with textual analysis to accurately identify and interpret religious art.

Key passages

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  • “The stele contains (on one surface only) carved images and is divided into three compartments’ by two intetvening relief bands.”
  • “The only Sasanadevata who 15 credited with carrying a child on her lap and caressing (or being attended by) another is Ambiki Devi, the Yaksi of Neminitha, the twenty-sccond Tirthankara (whose cognisance 15 a conch).”
  • “It would not be proper therefore to hazard an answer, it might be that the artist (who was of a later date, 10 our case the sculpture seems to be of the 11th century) wanted to break away from the monotony imposed by textual strictness and introduced a variety by breaking loose from: tradition.”

Works cited in this article

  1. Vogel’s Catalogue of the drchacological Museum દ! Mathura
  2. Journal of Indian Art, vol. VIII, no. 62
  3. By Mr. Umanath P. Shah, M.A., published in the Journal of the University of Bombay, vol. IX, pt- 2. Scptember, 1940, a reprint of which was kindly ડાલા
  4. Pratisthasaroddhare of Afidhara, p. 176.
  5. Pratisthabana-saingraba (of Vasunandi), ch. ઈ, verse 59

Discussed in this article

People

Places

Texts & works

  • Bbairava-Padmavati-kalpa
  • Ambika-Devikalpa
  • Vividba-tirtha-kalpa

Dynasties, sects & groups

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