Two Unique Inscribed Jaina Sculptures
By Sudhin De
Summary
Sudhin De’s article introduces two significant Jain sculptures housed in the State Archaeological Gallery of West Bengal and emphasises their art historical and epigraphic value. The first piece is a stone image of Santinatha, the 16th Tīrthaṅkara, discovered at Pakbira and dated to the 11th century. De describes the figure seated in padmāsana atop a lotus supported by lions and flanked by two standing attendant figures. The pedestal features carvings of the navagraha (nine planetary deities) and an inscription in regional script that records its dedication by a donor named Śrī Punya Siṃha in the year Samvat 1558. The inscription also invokes the well‑being of both the donor’s family and the broader community, indicating the communal nature of such offerings. The second sculpture is a bronze image of Vasupujya, the 12th Tīrthaṅkara, recovered from Sagardighi and attributed to the 16th century. This bronze depicts the Tīrthaṅkara in meditative posture beneath a caitya-vṛkṣa (sacred tree) supported by elephants, with miniature Jinas seated in the branches and a pair of worshippers at the sides. De highlights the detailed craftsmanship: the folds of the robes, the delicate expressions and the ornamental torana (arch) framing the figure. An inscription on the back identifies the image as a gift by a local devotee and mentions the date and place of casting. De contextualises these sculptures within the larger corpus of eastern Indian Jain art, noting stylistic similarities to Pala‑Sena sculpture but also unique regional features. He argues that such images were not merely objects of worship but also served as markers of patronage and regional identity. By translating the inscriptions and analysing the iconography, the article contributes to our understanding of devotional practices and artistic production in medieval Bengal.
Summary reviewed by a volunteer editor.
Conclusion
De’s study showcases how a careful examination of sculpture and inscription can illuminate the cultural history of Jain communities in eastern India. The two images exemplify regional variations in Jain iconography—the stone Santinatha emphasises monumental solidity, while the bronze Vasupujya displays intricate ornamentation. The donor inscriptions reveal the social context of their commission, linking art patronage with religious merit and community welfare. These sculptures are valuable not only as devotional icons but also as historical documents that evidence the vitality of Jain art in Bengal.