Mahavira: An Epic of Serenity in Sculpture – Part 3
Summary
The final section of Dasgupta’s essay is dominated by plates illustrating later medieval sculptures of Mahavira and other Tirthankaras from diverse regions, revealing how the canonical iconography persisted while local styles blossomed. Beginning with Plate XVII, the author showcases finely cast bronze and stone images from south India, Rajasthan, Gujarat, Bengal and Bihar. These include tenth‑century bronzes from Tamil Nadu with broad shoulders and slender waists, their surfaces smooth and polished; eleventh‑century stone images from Gujarat where Mahavira sits on a lion‑footed throne beneath a triple parasol; and Pāla‑period statues from eastern India, carved in dark chlorite, emphasising elongated bodies and graceful hands. Several plates feature standing kāyotsarga figures carved in deep relief, their arms hanging straight and eyes focused inward, while others depict seated padmāsana images with intricately carved halos and attendant yakshas and yakshīs. A distinctive group of bronzes from Karnataka displays sinuous modelling and lyrical ornamentation, testifying to the genius of south‑Indian metalworkers. Dasgupta notes that even when images include elaborate back‑plates, decorative pedestals or serpent hoods (as in the case of Pārśvanātha), the central figure retains a calm, symmetrical posture and expression. The continuation of plates up to number XXXII allows readers to appreciate variations in proportional treatment, facial modelling and ornament across centuries and regions. Many images show the triple umbrella (chattravali) above Mahavira’s head, symbolising his spiritual sovereignty, and the śrīvatsa mark on his chest as a distinguishing symbol; these attributes appear unchanged from the early centuries, emphasising doctrinal continuity. For example, Plate XXVII depicts a slender eleventh‑century image from Bihar where the Jina’s elongated limbs and narrow torso convey ethereal lightness; Plate XXVIII shows a west‑Indian bronze of Pārśvanātha with a seven‑hooded nāga canopy; Plate XXXI presents a fourteenth‑century bronze of Mahavira from Karnataka with elegant loops of hair and a halo of stylised flames. By placing these images side‑by‑side, the article invites a comparative study of regional schools. Dasgupta concludes that despite stylistic differences – from the sturdy volumes of western India to the linear elegance of eastern India and the fluid dynamism of the south – Jain artists consistently portrayed Mahavira with restraint, balance and serenity. The final pages emphasise the timeless appeal of the Jina’s image: its simplicity and calm have inspired devotion for over two millennia. The author urges that these works be preserved and studied not only as religious icons but also as masterpieces of Indian artistic heritage. Through this gallery of sculptures, the article completes its “epic of serenity,” showing how Mahavira’s ideal of spiritual equanimity has been translated into stone and bronze across the ages.
AI-assisted summary, not yet checked. Consult the original PDF before citing.
Conclusion
The concluding section of the article presents a gallery of later medieval sculptures from across India, demonstrating that diverse regional schools nevertheless adhered to the canonical image of Mahavira. Whether carved in dark stone in eastern India, cast in bell‑metal in the south or hewn in sandstone in the west, each image remains symmetrical, unadorned and absorbed in meditation. The repetition of śrīvatsa and triple umbrella across the plates underlines doctrinal continuity, while stylistic differences showcase artistic creativity. Dasgupta argues that this combination of unity and variety epitomises the Jain aesthetic ideal and ensures that Mahavira’s image continues to inspire reverence.