Mahavira: An Epic of Serenity in Sculpture – Part 1
Summary
This article examines the iconography of Vardhamana Mahavira in sculpture, arguing that his representations convey a unique blend of transcendental serenity and divine majesty, distinguishing him from other Tirthankaras. The author, P. C. Dasgupta, posits that the life of Mahavira, as the son of Siddhartha and Trisala, inspired an iconography of profound symbolic value, reflecting the glory of the Jina and the emancipation of the soul. The main argument centers on the symbolic contrast between Mahavira’s image in the Kayotsarga pose, which manifests the knowledge of Kevala, and his representation as Jivantasvami, where he is depicted wearing a celestial crown and ornaments, embodying a divine majesty. The evidence and sources discussed include early bronze sculptures from Akota near Baroda in Western India, which illustrate the Jivantasvami tradition. The author cites U. P. Shah, who discusses this legend based on texts such as the Avasyaka-Curni, the MNisitha-Curni, the Vasudeva-Hindi, and the writings of Hemacandracarya. A key narrative involves a sandalwood portrait of Mahavira, which fascinated King Pradyota of Ujjain and was later excavated by Kumarapala and brought to Anahilavada-Patan. This tradition is linked to the Akota bronzes. The article also explores the symbolic appeal of Mahavira as a meditating prince, distinct from figures like Marcus Aurelius or Asoka. It references illustrations in manuscripts like the Sthananga-Sutra and the Kalpa-Sutra. Furthermore, the author discusses the Mauryan pillar capitals ascribed to Priyadarsi Asoka, suggesting that the lion and bull motifs may hold significance for the Nirgranthas, followers of Mahavira, and the Ajivikas. The veneration of these animals is connected to the auspicious dreams experienced by Brahmani Devananda at Mahavira’s conception. Sunga-Kusana style sculptures are analyzed, including a scene from the Museum at Lucknow depicting a dance, interpreted by V. S. Agrawal as a celebration of Mahavira’s birth, though U. P. Shah suggests it shows Lokantika gods witnessing the dance of Nilanjana before King Rsabha. The article also mentions a stone slab in the State Museum at Lucknow, labeled “Bhagavate Nemeso,” which depicts Naigamesa transferring the embryo of Mahavira from Brahmani Devananda to Trisala, as recounted by Dr. Buhler. Finally, the text highlights images of Mahavira from Mathura, including a Kusana-era sculpture described as a Vardhamana-Pratima and a Gupta-tradition masterpiece. Dr. V. S. Agrawal’s work is cited regarding the Jaina community of Mathura’s interest in Vyuha worship, featuring conjoint fourfold images with Mahavira as the twenty-fourth. The article concludes by noting the potential inspiration of Mahavira’s story for the early Jaina art of Orissa.
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Conclusion
This article establishes that the sculptural representation of Mahavira uniquely embodies a profound serenity and transcendental knowledge, distinguishing his iconography from that of other Tirthankaras. Key findings include the symbolic significance of the Jivantasvami tradition, depicting him as a meditating prince, and the allegorical value of his birth narrative, particularly the transfer of the embryo and the appearance of the goat-headed deity Naigamesa. The text further explores the convergence of Jaina symbolism with Mauryan imperial art, suggesting that motifs like the lion-capital served as eternal emblems of Mahavira. The implications of these findings lie in understanding the sophisticated use of symbols in early Jaina worship and the enduring artistic legacy of Mahavira's life, which inspired distinct regional traditions from Mathura to Orissa. Ultimately, the article highlights how these sculptures convey the realization of eternity and the glory of Nirvana.