The Images of the Jaina Tirthankara Neminatha at Khajuraho
By Maruti Nandan Prasad Tiwari
Summary
Maruti Nandan Prasad Tiwari’s article examines sculptures of the Tirthankara Neminatha at Khajuraho, a temple site in Madhya Pradesh known for its profusion of Jain images. Khajuraho contains over 400 Jina figures, with more than 150 representing the Tirthankaras in two principal postures: kāyotsarga (standing in meditation) and dhyāna‑mudrā (seated with hands in lap). Tiwari notes that most sculptures belong to the Digambara sect and date from the tenth to twelfth centuries. The article focuses on images of Neminatha, the twenty‑second Tirthankara, who is usually depicted in kāyotsarga with a lotus emblem and a conch as his lanchana. Tiwari describes the statues as carved in buff‑coloured sandstone; they measure roughly 26″ × 15″ and display a high level of craftsmanship. Neminatha is often accompanied by the yakṣa Gomedha and the yakṣiṇī Ambikā; Ambikā is shown with a child on her lap and attributes such as a lion mount and a mango tree. The author notes that although Ambikā’s cult was popular, Neminatha himself did not receive extensive veneration at Khajuraho. Several sculptures show a lion mount beneath Neminatha’s throne, while others portray him with a halo and triple umbrella. Tiwari compares Khajuraho images with those from other sites such as Taranga, highlighting stylistic continuities and differences. A plate of a dancing Vidyādevī on the Ajitanātha temple illustrates the dynamic representation of attendant deities. The article discusses the iconographic conventions of Digambara art, including the absence of clothing and the emphasis on symmetrical posture. Tiwari concludes that Khajuraho’s Neminatha images exhibit both local artistic traits and broader Digambara iconography, contributing to our understanding of regional variations in Jain art.
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Conclusion
Through detailed description of sculptures and their attendant deities, Tiwari shows that the Neminatha images at Khajuraho harmonise local artistry with established Digambara conventions. Although Ambikā figures prominently, the Tirthankara himself appears less celebrated, suggesting selective devotional emphasis within Khajuraho’s Jain community.