Reevaluating a Gupta-era Jaina Yakshini Sculpture in Houston
Summary
The Museum of Fine Arts, Houston, acquired a Gupta-period buff sandstone sculpture of a female figure, 83.8 cm tall, in good condition despite minor damage. Initially attributed to Sarasvati by Pal (1977), the author disputes this identification, noting discrepancies: the figure has two arms (unlike Sarasvati’s four), lacks traditional attributes (swan/peacock, book, rosary), and features a horse and monkey instead of her usual companions. The instrument resembles a lute more than a vina. The author proposes reinterpreting the figure as a Jaina Yakshini, specifically Manovega (Acyuta/Syama), attendant to Tirthankara Padmaprabha. This aligns with the horse vehicle, lotus throne, and Vakataka artistic elements like foliage and necklace. The sculpture’s two-armed form, typical of Jaina iconography, and its refined craftsmanship suggest a 5th-century Gupta or Vakataka origin. The annexure’s description of Sarasvati contrasts sharply, emphasizing her Gupta-era attributes and artistic refinement. The figure’s provenance includes the Nasli and Heeramaneck collections, with prior scholarly references misattributing it.
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Conclusion
The article challenges the initial identification of a Gupta-period sculpture in the Museum of Fine Arts, Houston, as Sarasvati, presenting a compelling reinterpretation as a Jaina Yakshini, specifically Manovega (Acyuta/Syama), associated with the Tirthankara Padmaprabha. Through iconographic analysis, the author disputes the Sarasvati attribution due to discrepancies in attributes, vehicle, and period, instead aligning the sculpture with Jaina traditions. The work is dated to the 5th century, reflecting Gupta or Vakataka artistic influences, and is highlighted as an exceptional example of classical sculpture. The conclusion underscores the importance of re-examining cultural and religious contexts in art historical interpretations, offering new insights into the sculpture's significance within Jaina iconography.