Sculptural Art of Jaina Goddess Ambika in Bengal (7th-13th Century CE): A Study
By Rajeswar Roy
Summary
This study examines the sculptural art of the Jaina goddess Ambikā in Bengal from the 7th to 13th centuries CE, focusing on her iconography and stylistic evolution. Ambikā, the Śāsanadevī or Yakṣinī of Neminātha (22nd Jaina Tīrthaṅkara), is a central deity in both Śvetāmbara and Digambara traditions. The research identifies seventeen independent stone or bronze sculptures of Ambikā from West Bengal, primarily in Bankura and Purulia districts, dating to the Pāla-Sena period. These images depict her in standing or seated postures, often with her sons Śubhaṅkara and Priyaṅkara, a lion as vāhana, and attributes like mangoes and ornaments. The sculptures show Ambikā in dvibhaṅga or ābhaṅga poses on lotus pedestals, adorned with ratnamukuṭa, ornaments, and folded garments. A notable example from Pakbirra (Purulia) features a bejewelled Ambikā with her sons, a panel of five dhyānī Tīrthaṅkara, and mango motifs. Another damaged sculpture from the same village retains iconographic elements like the lion pedestal and a child in her hand. The study highlights the influence of Brāhmanical goddess Dūrgā on Ambikā’s iconography, noting similarities in symbols and attributes. The research emphasizes Bengal’s artistic contributions to Jaina sculpture, particularly in the early medieval period, and underscores the scarcity of such images compared to Buddhist and Brāhmanical representations.
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Conclusion
This study highlights the significant but understudied role of the Jaina goddess Ambikā in Bengal's religious art, particularly during the early medieval Pāla-Sena period. The research reveals Ambikā's prominence as a Śāsanadevī and her iconographic evolution, showing clear influences from Hindu goddess Durga through shared attributes like the lion vāhana and mango symbolism. The detailed analysis of seventeen independent sculptures from Bankura and Purulia districts demonstrates Bengal's artistic skill in depicting Ambikā's distinctive features—her dual sons, ornate jewelry, and the broken mango-branch motif. These findings underscore the need to recognize Jaina female deities as critical to regional religious expression, challenging the historical emphasis on male Tīrthaṅkara imagery. The study also calls for further investigation into the sparse archaeological evidence of Jainism in Bengal compared to Buddhism and Brahmanism, suggesting a broader reassessment of the region's religious art history.