Jaina Art of Bengal
Summary
Kalyan Kumar Ganguli's article, "Jaina Art of Bengal," examines the historical presence of Jainism in Bengal, the archaeological evidence of its practice, and the distinct characteristics of its surviving art from the ninth and tenth centuries A.D. The author argues that despite the scarcity of extant relics today, Bengal had a profound and early association with Jainism, which helped culturally integrate the region. This is supported by literary sources such as the Ayaranga Sutta, which states Mahavira traveled through Radha and Vajjabhumi, and the ninth-century Kathakosa, which records the birth of the saint Bhadrabahu in Devikot, modern Bangarh. The article also cites a fifth-century A.D. Gupta-era copper plate inscription and the seventh-century observations of the Chinese pilgrim Yuan Chwang to establish a continuous Jaina tradition. The main evidence discussed consists of Jaina images, primarily from the Pala period, which are classified into three types: single Tirthankara figures, caumukha shrines, and dual Tirthankara tablets. The author highlights specific artifacts, including an early image of Rsabhanatha from Surohar, a bronze figure from Manbhum, and caumukha shrines from Dolgaon and Deulia. These sculptures, mostly housed in the Asutosh Museum and the Varendra Research Society Museum, display a unique Bengal idiom characterized by suppleness, restraint, and vigorous animation. The article concludes by noting the sudden appearance of this highly mature art form in the ninth and tenth centuries, suggesting that the liberal Pala rulers allowed Jainism and Buddhism to flourish alongside Brahmanism, leaving behind a proud artistic heritage despite the later rise of the Sena dynasty.
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Conclusion
The article establishes that Bengal possessed a significant yet often overlooked Jaina artistic tradition, evidenced by archaeological records and a corpus of surviving sculptures primarily dating from the 9th and 10th centuries A.D. during the Pala period. These artifacts, broadly affiliated with the Eastern School of medieval style, reveal a highly matured iconography distinct from other contemporary religious art in the region. The Jaina sculptures, characterized by a specific aesthetic of restrained grace and concentrated animation, demonstrate a unique Bengal idiom that successfully fused ancient iconographic prototypes—such as the Mathura style and the *kayotsarga* pose—with local artistic sensibilities. Despite the later decline of Buddhism and Brahmanism under the Senas, these Jaina works survived as a proud and enduring heritage, standing as some of the finest artistic achievements of the Jaina faith.