Some Jaina Bronzes in the National Museum, New Delhi
Summary
Art historian B. N. Sharma surveys newly acquired Jain bronzes in the National Museum, New Delhi and analyses their historical and iconographic significance. The first piece, a bronze of Ṛṣabhanātha (Ādinātha) seated in meditation with a śrīvatsa mark on his chest and surrounded by a halo, Vidyādhara and an elephant rider, is notable for including his sons Bhārata and Bahubali standing in kāyotsarga, a rare motif in Jain art. A pedestal inscription dates the image to V.S. 1114 (1056 A.D.) and links it to the Kalachuri (Cedi) period; the treatment of garment folds resembles Cedi sculptures and suggests that this depiction of Ādinātha with his sons originated in that region. Sharma explains that this bronze may have served as a **covisi** or caturviṃśati‑pāṭa, a ritual representation of all twenty‑four Tirthankaras. In such compositions the central Tirthankara is surrounded by the other Tirthankaras, each identified by their symbol—here Ādinātha sits above a couchant bull and is flanked by ornate pillars, a halo and a serrated torana. The author then discusses a standing bronze of an unidentified Tirthankara from the late Calukya period. The figure’s kayotsarga pose, spiral curls, elongated limbs and youthful nudity are characteristic of South Indian bronzes, while the absence of the śrīvatsa mark distinguishes it from northern examples. Female deities receive equal attention. Ambikā, yakṣī of Neminātha, is depicted as a mother goddess carrying mangoes and holding a child, seated on a lion and flanked by her sons Subhaṅkara and Prabhaṅkara. Her dhammilla coiffure, jewels and decorated back‑frame reflect Calukya workmanship, and Sharma notes parallels with bronzes in Los Angeles collections. Another piece portrays Padmāvatī, yakṣī of Pārśvanātha, enthroned on a cobra with nine hoods; she holds a fruit and a snake, wears a karanda‑mukuṭa and heavy ornaments, and is attributed to a Paramāra artist from c. 12th century Malwa. In some variations the serpent canopy shelters a Tirthankara rather than a yakṣī, illustrating regional iconographic differences. By meticulously describing each bronze’s stylistic features, inscriptions and associated legends, Sharma reveals how regional schools—Cedi, Calukya and Paramāra—contributed to Jain art. The article underscores the rarity of images showing Ādinātha with his sons, clarifies the function of covisi icons, and highlights the role of yakṣīs as protective mother goddesses in Jainism. These new acquisitions enrich the National Museum’s collection and provide valuable material for understanding the development of Jain bronze sculpture.
Summary reviewed by a volunteer editor.
Conclusion
Sharma’s study of recently acquired bronzes illustrates how regional styles and iconographic innovations shaped medieval Jain art. The Cedi bronze of Ādinātha with Bhārata and Bahubali highlights a rare compositional motif and demonstrates the development of the covisi format. A late Calukya bronze emphasises the calm austerity of the Tirthankara and the absence of the śrīvatsa mark typical of Deccan images, while depictions of Ambikā and Padmāvatī showcase the maternal and protective aspects of yakṣīs and the craftsmanship of Calukya and Paramāra artists. Collectively, these bronzes demonstrate the richness and diversity of Jain sculptural traditions across India."