CHAPTER VI

JAINA ICONOGRAPHY IN
ODISHA
 CHAPTER-VI
JAINA ICONOGRAPHY IN ODISHA
The genesis of image worship in India has a hoary past and can be safely dated
back to Indus Valley Civilization. In Jainism, the Tirthankaras are passionless and
liberated from worldly desires. They do not help nor do anything for and on behalf of a
devotee. There is ultimate goal for every follower of Jaina is to attain nirvana or mokshya.
Thus, there is no place for God as the Supreme Being, creator and distributor of happiness
and misery, of fruits of action, worship and devotion. Despite this notion, Jainas created
images on the basis of their canonical and mythical details because they know that the
Tirthankaras have perfect (siddha) soul embodiment with infinite power, knowledge and
bliss. The worship of Jaina idols was the outcome of the sublimation of human thoughts
and instincts and not for obtaining any material rewards but for self-purification. The
adoration of gods and goddess in Jainism like Brahmanism and Buddhism started
appearing in the religious scene of India. The Jainas initiated adoration of images of their
Tirthankaras in the beginning. The main idea for conceiving of images appears that a
worshipper of the condition through which a Tirthankara passed to attain salvation or
mokshya. With the course of time more and more subordinate deities viz., Yaksha,
Yakshi, Naga and Harinegamesi or Naigamesa and others were added in Jainism with the
influence of other cult religions prevailed in the contemporary period for obtaining
children and to save the worshipper from all calamities1.
The parents of Mahavira were the followers of Parsvanatha and during the life
time of Mahavira Jivantasvami pratima came into existence which is the earliest
reference for idol worship in Jainism2. However, during the time of Samprati, the
grandson of Asoka Jaina images as cult object already appeared as evidenced by the
recovery of highly polished torso of a nude male figure in kayotsarga posture from
Lohanipur near Patna3. In the subsequent periods particularly during Sunga-Kushana and
Gupta periods image worship became widespread in Jainism.
The Jiana tradition speaks about thirty four atisayas/super natural qualities of
every Jaina. But, asta-pratiharyas or asta-maha-pratiharyas becomes the most needed
feature during carving of an image. These pratiharyas include accompanying chauri
bearer, throne, kevala tree, halo, chhatravali, vidyadharas/flying garland bearer,
divyadhuni/heavenly musicians and lanchana. The earliest known texts4 like Samavayana
Sutra, Vasudevahindi, Tilopannati and Abhidhana Chintamani are describes the atisayas

229
of a Jaina. There are very few minor variations regarding pratiharyas in Digambara and
Svetambara works.
Brahat Samhita (58-45) of Varaha Mihira is the earliest datable source which
describes the essential feature of a Tirthankara image5. It mentions that the god of the
followers of the Arahtas is to be represented as young and beautiful, having a peaceful
countenance and the srivatsa mark on his chest, with arms reaching his knees when
standing his body is covered by only quarters of directions i.e. he is to be displayed as
nude with no garments on his person.
The Manasara (V.71-95), a text on architecture, assigned to circa 6th century CE6
describes that the Tirthankara image should have two arms, two eyes and shaven head
with a top knot, there should be no garments and ornaments. Two feet are placed on the
lotus seat during seated posture and being in a stiff attitude bears a meditative look on the
supreme soul. The palms of the hands should be placed upwards.
However, in Odisha the first hand reference about the possible Jaina icon7 i.e.
Kalinga Jina in the Hati-Gumpha inscriptions which mentions about the removal of
Kalinga Jina by a Nanda king of Magadha and subsequently brought back by the Chedi
king Kharavela. Besides, this rare reference not a single image of Tirthankara of this
period is noticed so far in Odisha. But, evidences of symbol and tree worship are found
depicted in the caves of Udayagiri and Khandagiri but not a single Jaina Tirthankara
appears in the original carvings. The Manchapuri-Gumpha of Udayagiri shows an
unidentifiable image being worshipped by a royal family but the icon is untraceable due
to the erosion occurred due to the vagaries of nature. The absence of cult images in the
early period of Christian era in Odisha makes us believe that the symbol and tree worship
are prevalent in Jaina tradition of Odisha while in other parts of country witnesses Jaina
icons particularly at Mathura in north India. The genesis of Image worship started in
Odisha at the beginning early medieval period as evidenced by some crude variety of
images reported from Keonjhar.
Symbol worship: Worship of symbols like dharmachakra, manastamba, indradhvaja,
chaitya tree, ayagapata and stupas were highly venerated by the follower of Jainas in
ancient India. During Kushana period at Mathura8 worship of symbols like the chaitya
tree, stupa, various stambas, the astamangalas, dharmachakra, ayagapata and triratna
sssGumpha of Khandagiri hill respectively depict a tree being worshipped within a railing
by devotees. The Hathi-Gumpha inscription of Kharavela is also accompanied with

230
symbols like vaddha mangala, svastika, triangle headed symbol etc9. On the back wall of
Ananta-Gumpha at Khandagiri, a nandipada appears on a pedestal flanked on either side
by a set of three symbols, a triangle headed one, srivatsa and svastika. One can also
noticed similar representation on the Jaina ayagapatas found from Mathura of Kushana
period. Besides, these symbols are also noticed at the arch bands of Rani-Gumpha,
Ganesa-Gumpha, Ananta-Gumpha and Bagha-Gumpha.
Tree worship: Tree worship formed an important aspect of religious cult both in
Buddhism and Jainism. It is well recognized from very ancient past and noticed on Indus
seals, Vedic and Brahmanical literature. Tree worship represented either worshipped in its
natural form or the tree spirit is personified by encircling a railing or endowed with
human shape and human attributes. Tree surrounded with railing has been vividly
depicted in the third tympanum of Ananta-Gumpha and in the back wall of Jaya-Vijaya-
Gumpha.10 The tree being depicted as sacred symbol honoured by devotees with floral
offerings in their hands and garlands carried by flying vidyadharas. In latter Jaina
sculptures tree become a indispensable element i.e. one of the asta-pratiharyas of Jaina
images.
The Vyantara deities are sub-divided into eight group11 viz., pisachas, bhutas,
yakhas, raksasas, kinnaras, kimpurusas, maharagas (nagas) and gandharvas. According
to the Svetambara tradition each group of the vyantara deities has on its crest the symbol
of a tree in the following order-the kadamba sulasa, vata, khatvanga(svet.-badari), asoka,
champak, naga and tumbaru.
Other religious images: A four tusked elephant in low relief flanked by attending
elephants carrying lotus stalk and buds at the first tympanum of Ananta-Gumpha. N.K.
Sahu suggests the royal elephant with the rain producing white elephant of the Vessantara
Jataka which averted drought and famine in Kalinga12. While others identified the
elephant with which Trisala saw in her first dream. In one of the inner brackets of the
verandah of Alakapuri-Gumpha at the upper cell depicts a four tusked elephant. It is
attended by two other elephants, one holding a chhatra (umbrella) and the other a
chamara (fly-whisk). The second tympanum of Ananta-Gumpha depicts a royal
personage on a chariot drawn by four horses which is identified as Sun god by scholars.
The Jainas has greater emphasis on the worship of mental attitude rather than
physical worship or idol worship. Their worship is not confined to any God-head or a
deity but of human being who has reached perfection of the soul freed from all bondage.

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The different Tirthankaras are identified with the help of lanchanas carved on or below
their seats and both the sects give lists of these recognising symbols. For example the
fourteenth Jina Ananta, who has the falcon symbol according to Svetambara but the boar
according to the Digambaras and the tenth Jina Sitalanatha, who has srivatsa according to
Svetambara but svastika according to the Digambaras. Aranatha, the eighteenth Jina who
has the fish-symbol according to the Digambaras but the nandyavarata according to the
Svetambaras13.
The Manasara refers to the Digambara image, but except the nakedness other
characteristics are common to both Svetambara and the Digambara images. The chief
characteristics of a Jina image are long arms, a beautiful young figure, eyes centered on
nose tip in meditation and the srivatsa mark on the chest.
Gandharvas, Kinnaras and the vidyadharas styled as vyantara devata in the Jaina
canonical literature. They are mostly engraved near in the prabhamandala of these
images. Beautiful evidences of their representation flying with carrying garlands or trays
full of flowers and other offerings as noticed in the caves of Udayagiri and Khandagiri14.
In the Jaina canonical literature, the Yaksha with their female counterparts Yakshi
or Sasanadevi as subsidiary deities associated with the principal attendant of the
Tirthankara. The Navamuni-Gumpha and Barabhuji-Gumpha of Khandagiri hill represent
separate niches after these Sasanadevi figures below their Tirthankaras. In cases of Jaina
Tirthankara images from Kachela, Subei, B. Singpur, etc. of Koraput district they are
invariably represented in the centre of the pedestal of the Tirthankara. Independent figures
of some prominent Sasanadevis like Chakreswari, Ambika, Rohini, etc. were also carved
and worshipped by the devotees. Representation of Yaksha Gomedha and Sasanadevi
Ambika sitting on a common pedestal under mango tree is a common feature in Odisha.
The worship of Tirthankara images and their subsidiary deities are become popular
with the progress of Jainism and the majority of the images are assigned to the 8th to 11th
centuries CE, mostly of Somavamsis period15. Jaina sculptures are found not only in
coastal districts but also at the districts like Koraput, Kalahandi, Rayagada, Boudh,
Keonjhar and Mayurbhanj16. The Jaina images are found generally made of sandstone,
khandolite and chlorite stones. Metal images are also known from Jajpur, Choudwar,
Bhanapur, Kakatpur and Achutrajpur.

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 For the study of Jaina iconography of Odisha a standard chart of iconography of
Jaina gods and goddess in pan Indian context are given below along with iconography of
each Jaina image in Odisha discussed thoroughly one by one.

Table No. 2: Table Showing Iconography of Jaina Tirthankaras

Sl Tirthankarara Colour Cognizance Special Tree Attendant Yaksha Attendant Miscellaneous
No. Yakshini
01 RISABHANATHA Golden Bull and Nyagrodha(Indian Gomukha Chakresvari Bharata and Bahubali
(Adinatha) Dharmachakra banyan tree) Vehicle-Bull (Elephant) Vehicle-Eagle worshippers
02 AJITANATHA Golden Elephant Kevala –vriksha Mahayaksha Ajitabala Sagaracakri –chauri-
(special tree) Vehicle-Elephant bearer
03 SAMBHAVANANATTHA Golden Horse Sala tree Trimukha Duritari (Prajnapati) Satyavirya - chauri-
(Shorea robusta) Vehicle-peacock Vehicle-Buffalo, bearer
Peacock (?)
04 ABHINANDANATHA Golden Ape Priyangu or Isvara Kali or Vajrasarinkhala Kayotsarga
Sanashmajamule or Vehicle-peacock Vehicle-Lotus or Goose
Vesali
05 SUMATINATHA Red. Golden Curlew(Krauncha)or Priyangu Tumburu Mahakali (Purusadatta) Mitravirya-Chauri-
Red-goose Vehicle-Lotus bearer
(Chakravaka)
06 PADMAPRABHA Blood-red Lotus (Padma) Srisa or Priyangu Kusuma Syama Yamadhyuti-Chauri-
Vehicle-Deer or Bull Vehicle-Man or Horse bearer
07 SUPASRVANATHA Golden. Swastika Sushira Matanga (S), Santi(S) Kati(D) Dharmavirya –chauri
Harita Pacche Varanadi (D), Vehicle-Elephant bearer
Vehicle –Elephant or Lion
08 CHANDRAPRABHA White Moon or crescent Nagadrama Vijaya Bhrkuti Danavirya-chauri-
Vehicle-Goose Vehicle-Lion, Bull or Cat bearer
09 SUVIDHINATHA OR White Dolphin (Makara) or Naga or Malli Ajita Sutari, Mahakalli(D) Maghavataraya –chauri
PUSHPADANTA crab Vehicle-Tortoise Vehicle-Bull(?) -bearer

10 SITALANATHA Golden Srivriksha (Wishing Vilva (Aegle Brahma Asok, Manavi( D)

tree ) or Asvatha marmelos) Vehicle-Lotus Vehicle-Lotus ---------
(Ficus religiosa)
11 SREYAMSUNMATHA/ Golden Rhinoceros or deer Tumbara or Tindaka Yakshesa(S) Manavi (S), Gauri (D) Raja TripistaVasudeva
SREYAMSANMATHA Yaksheswara (D) Vehicle –Lion or Bull
Vehicle –Bull
I 2` VASUPUJYA Red Buffalo Patalika or Kumara Garuda Yakshi (D) Dirpista-Vasudeva-
Kadamba Vehicle-Goose or Peacock Vehicle-Horse or chauri- bearer
Serpent
13 VIMALANATHA Golden Boar Jambu (Black berry) Shanmukha Vairoti Svayambhu –
Vehicle-Peacock Vehicle-Lotus Vasudeva-chauri
bearer
14 ANANTANATHA Golden Hawk(S) Asvattha Patala Anantamati Purushottama-
Bear (D) Vehicle-Crocodile Vehicle-Lotus or Goose Vasudeva-chauri
bearer

15 DHARMANATHA Golden Vajra-danda Dahiparna or Kinnara Kandarpa (S) Pundarika-Vasudeva-

(Thunderbolt) Sapta- chhada Vehicle- Tortoise or fish Manavi (D) chauri -bearer
Vehicle –Horse, Lion or
Goose
16 SANTINATHA Golden Deer or Tortoise Nandi Vriksha Garuda (D) Mhamanasi (D), Raja Purushadatta
Vehicle –Boar or Bull Nirvana (S) chauri bearer
Vehicle-Peacock ,Lotus or
Lion
17 KUNTHUNATHA Golden Goat Tilakataru Gandharva Vijaya (D) Kundala–chauri bearer
Vehicle –Goose or Deer Vehicle –Peacock
18 ARANTHA Golden Nandyavarta or Fish Mango tree Mahendra Vijayadevi Govinda Raja-chauri
Vehicle –Conch or Vehicle-Lotus or Goose bearer
Peacock
19 MALLINATHA Golden Water-jar Asoka Kubera Dharinipriya (S) Raja Sulama-chauri
Vehicle –elephant Aparajita (D) bearer
Vehicle –Lotus or Goose
20 MANISUVRATA Bluish –black Tortoise Champaka Varuna Naradatta (S) Ajita–chauri -bearer
(Indranila or Vehicle-Bull (?) Bahrupini (D)
syamavarna) Vehicle-Lion or Serpent
21 NAMINATHA Golden Blue lotus or Asoka Vakula Bhrikuti Gandhari (S) Vijaya Raja-chauri-
tree Chamundi (D) bearer
Vehicle-Bull (?) Vehicle –Goose ?or
Crocodile
22 NEMINATHA Bluish –black Conch Mahavenu or Vetasa Gomedha (S) Ambika or King Ugrasena-chauri
(Indranila or Sarvahana(D), Kushmandini(D) bearer
syama Vehicle-Man or Horse Vehicle-Lion
23 PARSAVANATHA Blue Snake Dhataki Dharanendra Padmavati Ajitaraja
Vehicle-Cock or Goose
24 MAHAVIRA Golden Lion Sala(Shorea robusta) Matanga Siddhayika Srenika–chauri-bearer
Vehicle –Elaphant Vehicle- Lion or Goose

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 Table No. 3: Table Showing Iconography of Jaina Yaksha
Sl. Yaksha Hands Attributes in Hands Vehicle Colour Miscellaneous
No.

01 GOMUKHA Four R.h. - boon giving and rosary Bull Golden Attached to Risabhanatha.
Digambaras assign Dharmachakra
L.h. - noose (S)
symbol to his head.
Battle-axe (D)
Bull-face and bull as vehicle.
Two types of images-one in the
round and large in size; the other
in miniature form attending on
Adinantha.

02 MAHAYAKHA Eight (S.)R.h. - boon- giving, club, Elephant Green (S) (D.) L.h.- disc, trident, lotus, goad
rosary and noose
Golden (D) R.h.-sword, staff, axe, and boon-
L.h. - citrus, protection, goad and giving
sakti
Four face Attendant of Ajitanatha

03 TRIMUKHA Six (S.).R.h.-mongoose, club and Peacock Dark Three faces. Separate sculptures
protection blue(Syama) not found. Seen in the miniature
form. Attendant of
L.h.-citrus, garland, and rosary
Sambhavanatha.
(D.)R.h.-disc, sword, goad
L.h. - staff, trident, dagger

04 YAKSHESVARA Four (S.)R. h. - citrus, and rosary Elephant Blue or dark- Attendant of Abhinandana. No
blur separate sculptures are found but
L.h. - mongoose and goad
sculptures of Abhinandana
(D.) - bow shield, arrow and include figurines of
sword Yaksheshvara, King of Yaksha.

05 TUMBURU Four S.- boon–giving, spear (sakti), Eagle(Garud Dark –blue Attached to Sumatinatha. In
club and noose. a) or a lion or golden. Hindu literature Tumburu is a
divine musician.
D. - two snakes, fruit, and boon-
giving His Yakshini is Purushadatta (D).
Her vehicle is red goose.

06 KUSUMA OR Four (S.) R.h. - fruit and the posture of Antelope or White or Antelope symbolises quickness in
PUSPA protection pose bull dark movement.
L.h.- rosary and mongoose
(D.) - lance, boon-giving posture,
shield and protection pose

07 MATANGA OR Four S. - Bilva fruit, noose, Elephant (S) Blue or black Matanga is elephant- rider.
VARANANDI mongoose, and goad
Lion (D) The Digambara texts mention
D. - Staff, spear, Swastika and only two of his hands with a
flag trisula and a danda

08 VIJAYA OR Four D. - Fruit, rosary, axe and boon Swan Dark –blue Sculptures of Chandraprabha
SHYAMA giving pose include the figures of Syama
Yaksha. One of the earliest
S. - Two hands hold disc and club
images of Syama in the round has
been found at Aihole.

09 AJITA Four S.- Citrus, rosary, mongoose and Tortoise White

spear
-------------
D. - Sakti, boon giving posture,
fruit and rosary

10 BRAHUA Four or S. - Citrus, club, noose, Lotus seat White He is also attributed with four
eight protection, mace, goad and rosary faces, three eyes.
D.- Bow, staff, sword, shield,
boon-giving, etc.

11 ISHVARA Four S. - Mongoose, rosary, staff, fruit Bull White Three eyes. His Yakshini is Gauri
(D) or Manavi (S).He rides an
D.-Trident, staff, rosary, and fruit
elephant. Yaksha of
Sreyamasynatha

12 KUMARA Four (S) D. - Bow, ichneumon club, fruit Swan White Digambara texts attributed to him
and boon giving posture three heads and six hands
Six (D)
S. - Citrus, arrow, mongoose and
bow

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13 SHANMUKHA OR Eight or S. - Fruit, disc, arrow, sword, Peacock White or Four and six headed. Has the
CHATURMUKHA twelve noose, rosary, mongoose, discus, Dark- blue designation and attributes of
bow, fruit, goad and protection Kartikeya.
pose
D. - Axe, scimitar, rosary, shield,
staff, etc.

14 PATALA Six S.- Lotus, sword, noose, Dolphin or Red Three faces. A canopy of three-
mongoose, fruit, rosary Makara hooded snake. Presiding sprit of
the Nagas
D. - Goad, spear, bow, rope,
plough and fruit

15 KINNARA Six S.—Lotus, citrus, mongoose, Tortoise (S), Red Three faces
rosary, mace, protection pose
Fish (D)
D.- Disc, thunderbolt, goad, club,
rosary, and boon-conferring
posture

16 GARUDA Four S.- Citrus, lotus, mongoose, Bull or Boar Blue or Attendant of Santinatha
rosary or Elephant Dark-blue
or Garuda
D. - Lotus, fruit, thunderbolt and
discus

17 GANDHARVA Four S.- Boon giving, noose, citrus, Bird or Dark blue
goad Swan(S)
------------------------------
D.- Snake, noose, bow and arrow

18 KHENDRA OR Twelve S. - Citrus, arrow, sword, club, Conch or Dark-blue or Six faces, three eyes and ten
YAKSHENDRA noose, Abhaya, bow, mongoose, Peacock Blue hands are attributed to him by
OR JAYA fruit, spear, goad and rosary. some texts.
D.- Bow, thunderbolt, noose,
club, goad, boon-giving
conferring posture, fruit, arrow,
garland, etc.

19 KUBERA Eight or S. - Varada, axe, spear, abhaya, Elephant Kunkum or Four faces.
twelve citrus, sakti, club and rosary. red or
rainbow
D. - Shield, (Phalaka), bow, staff,
colour
lotus, sword, arrow, axe, noose,
varada

20 VARUNA Four (D) S.- Citrus, mace, arrow, spear, Bull and White Three –eyed matted hair
lotus, mongoose, bow and axe Makara
Eight (S)
D.- Shield, sword, fruit, boon-
giving pose

21 BHRIKUTI Eight S.- Citrus, spear, mace, abhaya, Bull Red Four faces. This Yakhya is also
axe, mongoose, vajra, rosary called Nandiga and seems to have
connection with Nandi, the
D.- Shield, sword, bow, arrow,
vehicle of Siva.
goad, lotus, disc, boon conferring
posture

22 SARVANA OR Six S. - Citrus, axe, mongoose, Man or a Dark –blue Three faces. Also known as
GOMEDHA trident, spear Flower Pushpayana. (This means he has
flower as his vehicle).
D.- Hammer, axe, staff, fruit,
thunderbolt and boon-giving
posture

23 PARSHVA OR Four S.-Ichneumon, snake, citrus, Tortoise Black or Also a snake canopy over head.
DHARANENDRA snake Blue
D.- Snake, nose, boon giving
posture

24 MATANGA Two S.- mongoose, Elephant Blue or Dharmachakra symbol on his

Green hand.
citron
D. - Boon giving posture and
fruit

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 Table No. 4: Table Showing Iconography of Jaina Yakshi
Sl. Yakshi Hands Attributes in Hands Vehicle Colour Miscellaneous
No.
01 CHAKRESVARI Eight S.- varada arrow, disc, noose, Eagle Sasanadevi of first Tirthankara.
bow, vajra(thunderbolt), disc, Resembles Vaishnavi ( Vshnu-
goad Chakresvara)
---------
D. - 4 or 12. If 4, holds 2 discs.
If 12 eight discs, citrus, varada
and two vajras
02 AJITA OR ROHINI Four S.- varada, noose, citron, goad. Iron seat (D.) Connected with Jina Ajitanatha.
---------
D. - varada, abhaya, conch, disc Bull (S.) Ajita means invincible.
03 DURITARI (S.) Four S. - varada, rosary, fruit, abhaya Ram (S.) Duritari connected with wife of
OR PARAJNAPATI (D.) OR pose Bird (D.) Agni. Conception of Prajapati
---------
Six D.- axe, crescent, fruit, sword derived from Saravasti (S.).
and varada pose
04 VAJRA-SRIMKHALA Four S.- varada, noose, snake & goad Swan (D.) Yakshini abinandana. She is both
(D.) OR Kali (S.) D.- snake, noose, rosary, fruit Lotus (S). --------- Yakshini and Vidya-devi.

05 MAHAKALI (S.) OR Four S. - varada, noose, citrus, goad. Lotus (S.)

PURUSADATTA (D.) D. - Disc, vajra, fruit, varada Elephant (D) --------- ---------
pose
06 ACHYUTA OR SYAMA Four S. Varada vina, bow, abhaya Man (S)
(S.) & MANOVEGA (D.) pose Horse (D) May have originated from
---------
D. - Sword, lance, fruit and Achyuta or Vishnu.
varada pose
07 SANTA (S.) OR KALI Four D.-varada, trident, fruit, bell. Elephant (S.)
Wife of Matanga . Also Vidya-
(D.) S.-varada, rosary, lance, abhaya Bull (D.) ---------
devi
pose
08 BHRKUTI (S.) OR Four S. - sword, club, spear, axe. Cat (S.)
JVALAMALINI (D.) or D. - disc, arrow, noose, shield, Buffalo (D.) or --------- ---------
Eight trident, sword, bow, etc. Swan
09 SUTRA (S.) Four S. - varada, rosary, urn, goad. Bull (S.)
OR MAHAKALI (D.) D. - vajra, club, fruit & varada Tortoise (D.) --------- ---------
pose
10 ASOKA (S.) Four S. Varada, noose, fruit, goad. Lotus (S.)
--------- Also a Vidya –devi
OT MANAVI (D.) D.- fruit, varada , bow etc. Hog (D.)
11 GOURI (DIG) OR Four S. Varada, club, urn ,goad Lion (S) Originated from Gauri, wife of
---------
MANAVI (S.) D.-club, lotus, urn, varada pose. Antelope (D) Siva
12 CHNDA (S.) OR Four S. - Varada, spear, flower, club. Horse (S.)
GANDHARI (D.) D. Club, two lotuses and varada Crocodile (D.) --------- ---------
pose
13 VIDITA, VIJAYA (S.) Four S.—arrow, noose, bow, snake. Lotus (S.) Vairoti is also a Vidya- devi,
Yellow
OR VAIROTI (D.) D.- two snakes, bow, arrow Snake (D.) Vidita means “learned one”
14 AMKUSA (S.) OR Four S.-sword, noose, spear, goad Lotus (S.)
ANANTAMATI (D.) D.- bow, arrow, fruit, varada Swan ( D.) --------- ---------
pose
15 KANDARPA (S.) OR Four or S. –lotus, goad, lotus & abhaya Horse or fish (S.)
MANASI (D.) Six (D.) pose Tiger (D.)
--------- ---------
D.-lotus, bow, varada, goad,
arrow, lotus
16 NIRVANI (S.) OR Four S.-book, lotus, vase, lotus bud Lotus (S.) Mahamanasi means “great
MAHAMANSI (D.) D.—disc, fruit, sword (?), Peacock (D.) --------- goddess of learning”. This seems
varada pose to connect her with Sarasvati.
17 BALA (S.) OR VIJAYA Four S.- citron, spear, musandi, lotus Peacock (S.)
(D.) D.—conch, sword, disc & Black boar (D.) --------- ---------
varada pose
18 DHARANI (S.) OR Four S.- citrus, two, lotus, rosary Lotus (S.)
TARA (D.) D.-snake, vajra, deer, varada Swan ( D.) --------- ---------
pose
19 VAIROTO (S.) OR Four S.- varada, rosary, citrus, sakti Lotus (S.)
APARAJITA (D.) D.- citrus, sword shield, fruit, Lion (D.) --------- ---------
varada pose
20 NARADATTA (S.) OR Four S . - varada, rosary, citron, Bhadrasana (S.)
BAHURUPINI trident ( or urn) Black snake (D.)
--------- ---------
D. - shield, fruit, sword, varada
pose
21 GANDHARI (S.) OR Four S. -varada, Swan (S.)
CHAMUNDA (D.) citron, sword, spear Dolphin (D.)
--------- ---------
Dig.- rosary, shield, staff,
sword
22 AMBIKA (S.) OR Four S.- mongoose, noose, child, goad Lion (S.)
--------- ---------
AMRA (D.) D.- Mangoose and child Lion (D.)
23 PADMAVATI Four S.- lotus, noose, fruit, goad Snake & cock (S. Dig. I. Six- handed; noose:
D.- goad, rosay, two lotus & D.) lotus (D.) sword, spear, crescent, club, staff
Dig.II. 24-handed: conch, sword,
wheel, crescent, lotus, blue lotus,
---------
bow, spear, noose, kusa-grass,
bell, arrow, staff, shield, trident,
axe, vajra, garland, fruit, club,
leaf, stalk & varada pose
24 SIDDHYAYIKA Four Book, abhaya pose, citrus & Lion
--------- ---------
lute.

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6.1 TIRTHANKARAS
1. Risabhanatha

Risabhanatha is the primordial Jina. Being the first Jina, he is called as

Adinatha and has bull or sometimes with a dharmachakra at the pedestal as his
cognizance17. Of all the Tirthankara images, Risabhanatha appears to be widely
popular in Odisha as evidenced by the large number of findings in throughout Odisha.

Risabhanatha images are reported from Odisha State Museum, Baripada

Museum, Khiching Museum, Jeypore District Museum, Balasore District Museum,
and places like Bagalpur, Chadheibar, Khandagiri, Nibharana, Brahmesvarpatna of
Khordha district, Subei, Jeypore and Kachela of Koraput district, Digambara Jaina
temple of Cuttack town, Pratapanagari, Adaspur of Cuttack district and Jajpur town of
Jajpur district, Podasingidi of Keonjhar district, Charampa of Bhadrak district and
Ayodhya of Balasore district. Bronze image of Risabhanatha has been reported from
Khuntapal now kept in Baripada Museum and Kakatpur now preserved in Odisha
State Museum18.

The Jaina Tirthankara Risabhanatha images found in Odisha are mostly

represented either standing in kayotsarga posture or sitting in meditative attitude on
single or double petalled lotus pedestals. The pedestals in most cases are supported by
spirited lions at the corners. Bull as Ianchana of the Tirthankara is invariably
represented at the centre of the pedestal in a couching position. He is flanked by
chauri bearers on either side. One of the other important and common features of
Risabhanatha in Odisha is the representation of jatamukuta above head and a few
strands of which falls over the broad shoulders. Youthful body, broad chest, long
hanging arms up to the knee and elongated ears are distinct feature with all standing
Risabhanatha images. In cases of seated figures, the broad chest, deep concentration
of mind and half closed eyes are perfectly carved.

Risabhanatha images are found either independently or along with twenty four
Tirthankara and sometimes with one or two Tirthankara images. He is generally found
associated with Mahavira in dvitirthi images where as Parsvanatha added in tritirthi
images. Such images are reported from Choudwar, Jajpur and Balasore. He is also
represented in one of the cardinal niches in sarvotabhadrikapratima/chaumukha
reported from Jajpur, Balasore, Mayurbhanj, Cuttack and Koraput. In some cases we

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found Risabhanatha image is accompanied by standing miniature ganadharas and
purvadharas.19 This type of images are reported from Kuansa and Naguan of Jajpur,
Panchagaon of Khordha, Digambara Jaina temple at Cuttack town, Badia near
Ayodhya in Balasore and one at the Jeypore district museum.

Besides, the representation of lotus and champaka marks on either sides of the
Tirthankara, mounted or simple elephants at the top, kirtimukha motif, makara-torana
supported by gaja-vidalas and trefoil arch behind head of Risabhanatha figures in
Odisha are also reported. The auspicious mark srivatsa on the chest of Risabhanatha
is a very rare phenomenon in case of Odishan sculpture.

In addition to these Risabhanatha images reported from different parts of

Odisha has some unique characteristics are discussed below:

1. Ayodhya Museum, Ayodhya, District Balasore – The most interesting

feature of the Risabhanatha image preserved at the museum is the
depiction of dotted trefoil arch surmounted by a pidha structure over the
head of Tirthankara and a raised outline carved in a low relief from
bottom to top of the image.

2. Nilakantheswara Temple, Adaspur, District Cuttack - Astagrahas are

depicted on either side of the Tirthankara and lotus and champaka flowers
are depicted in between the grahas and Tirthankara image. Similar
features are also noticed in the Risabhanatha image found at the
Subarneswar temple, Dhia Sahi, Jagatsinghpur.

3. Grameswara Temple, Nibarana, District Cuttack – The most outstanding

feature of the seated Risabhanatha image is the depiction of tree foil arch
behind his head, finely carved with beaded boarder.

4. Siva Temple at Servants of India society, Choudwar, District Cuttack -

Four armed Chakresvari, his Sasanadevi is depicted along with his
lanchana bull at the pedestal of Risabhanatha.

5. Barunei Temple, Kantabania, District Jajpur - The significant feature of

the image is having only twelve Tirthankaras instead of twenty four
Tirthankaras are depicted vertically six on each side of the image last one
being the Parsvanatha with snake canopy.

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6. Jagulei Gramadevati, Bansabadi, District Jajpur-The most remarkable
feature of the Tirthankara here is the mount bull (very small in size) is
depicted not below the lotus pedestal but within the petal of lotus pedestal
and a well decorated door jamb with beaded and lata/scroll design noticed
at the back side of the image

7. Podasingidi, District Keonjhar – The unique feature of Risabhanatha

image now displayed in Odisha State Museum is that it has an inscription
engraved on the right side of it. Written in Sanskrit language and in kutila
script of the 8th century CE, it consists of 15 letters in four lines, which
read as “Ehasya pratibimbi Risabha Bhattaraka” meaning there by the
statue of Risabha Bhattaraka.

8. Subei, district Koraput – The Risabhanatha images found at Subei have a

common feature i.e. depiction of Chakresvari along with her lanchana
Garuda at the pedestal of the Tirthankara. The presence of the srivatsa
mark at the chest is another important feature of these images. This
auspicious mark srivatsa is also noticed at the chest of a Risabhanatha
image found at Mahakali temple, Purunagarh in Koraput.

9. Kachela, District Koraput – The Sasanadevi Chakresvari along with

Yaksha Gomedha is depicted at the pedestal of the Tirthankara image.
Similar features are also noticed in few Risabhanatha images preserved in
the Jeypore District Museum.

10. Jamunda, District Koraput - Risabhanatha being the mulanayaka is one of

the amazing images in Odishan Jaina art depicting twenty four
Tirthankara in a common slab along with their respective lanchana.
Below the lotus pedestal where two Sasanadevis are represented viz.,
Chakresvari and Ambika which is also a rare feature in Jaina sculptures of
Odisha.

11. Kamta, District Koraput – The Tirthankara image is now preserved in

Jeypore District Museum and Sl. No. is DM-40. The rare feature in the
image is the depiction of astagrahas in a row below his pedestal and
depiction of a ten armed Chakresvari along with her mount Garuda and
Yaksha Gomukha.

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 12. Jagannatha Temple, Baripada, District Mayurbhanj - The Tirthankara has
jata hair style but his usual halo is absent here for the first time. Two
beaded chains are hanged on either side of the head of the Tirthankara
forming a rectangular shape.

13. Khiching Museum, Khiching, District Mayurbhanj - Kirtimukha design

found on the top of the umbrella in one image while in another image the
lanchana of the Tirthankara is depicted as dharmachakra20 instead of a
bull.

14. Odisha State Museum, Bhubaneswar, District Khordha-The Risabhanatha

image brought from Kakatpur bears an inscription recoding that it was the
gift of one Sri Kara.

15. Risabhanatha image (DM-64). Jeypore District Museum, Koraput-The

Risabhanatha image of B. Singhpur now in Jeypore District Museum does
not represent the astpratiharyas except the lahchana. The Tirthankara
image reported from Podasingidi presently preserved in the Odisha State
Museum is not provided with the pair of chauri bearers, the kevala tree,
the trilinear umbrella and gandharvas playing with various musical
instruments

2. Ajitanatha

Ajitanatha, the second Tirthankara of the Jaina pantheon are carved both in
dhyanamudra and kayotsarga postures on a plain or lotus pedestals. In Odisha the
number of Ajitanatha images are very few and they are reported at Baruadi (Jajpur),
Podasingidi (Keonjhar), Charampa (Bhadrak), B. Singpur (Koraput) and Mahavira-
Gumpha of Khandagiri hill (Khordha). Except the Podasingidi one all the Tirthankara
images are found in seated posture. The image is carved along with all the
astpratiharyas and the one found at B. Singhpur is represented with his Sasanadevi
Ajitabala (six armed) at the pedestal21. Usually elephant, the lanchana of the
Tirthankara is noticed at the center of the pedestal. The Ajitanatha image of Kachela
is carved along with the figure of Mahavira on a common pedestal, having common
chauri bearers but displaying respective lanchanas of elephant and lion.

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 At Mahavira-Gumpha of Khandagiri22 the Ajitanatha image is not represented
with the cymbals or drums played in the palms of invisible gandharvas.
Representation of the sun and moon, the tree foiled arch, naga devotees in
anjalimudra and heavenly figures offering sacred water from pitchers held in their
hands are some of the additional peculiar features of the Tirthankara image. An image
of Rohini is found in the left wall of the Barabhuji-Gumpha of Khandagiri and one at
Subei depicts the Tirthankara Ajitanatha in dhyanamudra on the top of their heads.
The chaumukha of Badasai of Mayurbhanj and Narsingpur of Jajpur also represents
Ajitanatha along with its lanchana in one of the cardinal niches.

3. Sambhavanatha

Sambhavanatha is the third Jina in the list of Jaina Tirthankaras. Soon after the
conception of Jina mother Susena, Sravasti had been abundance of crop and cereals
and hence earned the name23. This Tirthankara images are only found at Mahavira,
Barabhuji and Navamun-Gumphas of Khandagiri hill. All are carved depicted in
yogasana posture and his conventional lanchana horse is depicted at the pedestal. The
asta-pratiharyas are depicted in the Tirthankara images and additional features like a
fivefold arch and a pitcher are noticed in the Tirthankara image found in Mahavira-
Gumpha.24

4. Abhinandananatha

There was rejoicing everywhere after the conception of the Tirthankara. Hence
his name is given after birth as Abhinandananatha.

Three images of Abhinandananatha are carved in the caves of Navamuni and

Barabhuji of Khandagiri hill only25. They are all seated in meditative attitude with
half closed eyes. His lanchana ape is depicted at the pedestal. Lotus pedestal
supported by spirited lions, kevala tree(piyala), chauri bearers, a trilinear umbrella
over head, cymbals played through invisible hands, oval halo and flying garland
bearers are the general features of the image.

5. Sumatinatha

The Jaina scripture mentions that during the period of pregnancy, the mother
of the Tirthankara was provided solution to many complex problems. So, the
Tirthankara names fall after the intellectual pursuit of his mother as Sumatinatha. The

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Tirthankara’s lanchana is a goose which has a clear association with the same symbol
of Saraswati, the Goddess of intelligence.

There are only two images of Sumatinatha in yogasana pose are noticed in the
inner walls of Barabhuji and Mahavira-Gumpha of Khandagiri hill. Besides his usual
lanchana, fly- whisk bearers as attendants, lotus pedestal supported by lions and the
trilinear umbrella, kevala tree (Priyahgu) are the common attributes of the two
images. Priyahgu, cymbals played in palms of hands, oval halo and flying figures
with garlands are the general features represented in the images. Miniature figure of
the Jaina, chakra or wheel and a pair of elephants pouring showers of water or merely
standing at the top of the Tirthankara as available elsewhere are conspicuous in their
absence with Sumatinatha26.

6. Padmaprabha

The beauty of the Tirthankara after the birth resembled that of a lotus flower.
Thus, his name was given as Padmaprabha as per the Jaina traditions. The images of
Padmaprabha, the 6th Jaina Tirthankara are reported from Ada of Balasore district,
Charampa of Bhadrak district, at Digambara Jaina temple in Cuttack city and within
the Barabhuji-Gumpha and Mahavira-Gumpha of Khandagiri hill in Khordha district
both seated and standing positions. The two figures at Barabhuji and Mahavira
Gumpha are seated on lotus pedestals supported by lions and his emblem full blown
lotuses are carved below. In case of the standing figures of Jaina temple at Cuttack
and Charampa, no separate emblem has been depicted where as in Ada a full blown
lotus carved as a shape of a wheel is notice below the lotus pedestal of the
Tirthankara. Besides, the figures of the Tirthankara found from Charampa and
Mahavira-Gumpha of Khandagiri the conventional chauri bearers, trilinear umbrella,
flying gandharvas with garlands, etc. are represented with figures of this Tirthankara
in other places as reported earlier.

7. Suparsvanatha

Only two images of Suparsvanatha, the seventh Tirthankara are found in whole
Odisha particularly at the inner walls of Barabhuji-Gumpha and Mahavira-Gumpha27
of Khandagiri hill. Both the images are found seated in dhyanamudra and all the asta
-pratiharyas are represented in the images except some variation in their lanchana.
The cognizance svastika is available in case of the image at Mahavira-Gumpha where

242
as it is found a six petalled lotus pedestal. The images are also identified on the basis
of one, five or nine hooded snake canopy over his head which distinguishes him from
the seven fold serpent hood of Parsvanatha. Tree foiled arch, emblems flanked by
auspicious jars and decorative creeper motif spreading on either sides of the
Tirthankara are some of the special features found in the figure at Mahavira-Gumpha.
There is a seated Tirthankara image having a snake canopy of twelve hoods at a sub-
shrine in Jagannatha temple complex of Baripada, district Mayurbhanj. Though the
lanchana is not clear but the image can be identified as Suparsvanatha.

8. Chandraprabha

Chandraprabha, the eighth Tirthankara was possessed the luster of moon and of
bright complexion, when he was born. Thus, the moon or crescent became not only
his symbol but he was also given the name as Chandraprabha. Chandraprabha images
are reported from Abhana and Ada of Balasore district, Jajpur, Nuadhana of
Jagatsinghpur, Jamunda of Koraput district and lastly found at the Navamuni,
Barabhuji and Mahavira-Gumpha of Khandagiri hill. Besides, two bronze images of
Chandraprabha recovered from Achutrajpur are now preserved in the Odisha State
Museum28. Both seated and standing images of Chandraprabha are found representing
the usual asta-pratiharyas. His usual cognizance i.e. the crescent moon is generally
depicted at the pedestal. The image found at Jamunda is carved along with his
Yaksha and Yakshi viz., Mahayaksha and Ajitabala on either side of the Tirthankara.
Besides, a man is shown playing with flute on the left side of the Tirthankara just
above the chauri bearer. The bronze image found from Achutrajpur29 stands in
kayotsarga pose with long hanging arms and fingers lightly touching the lowest part
of the thigh. The crescent moon his usual symbol is carved on the front side of the
pedestal.

9. Suvidhinatha

The Tirthankara Suvidhinatha or otherwise called Puspadanta is worshipped as

ninth Jina by both the sects of Jainism. The name ‘Suvidhinatha’ was given to him
because his birth eventually brought “good order” (suvidhi) to the distracted family.
The other name Puspadanta30 was derived from the fact that the Jina’s teeth resembled
the buds of a flower (puspa).

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 In Odisha, the image is found depicted in the caves of Barabhuji-Gumpha and
Mahavira-Gumpha of Khandagiri hill only. The Tirthankara image depicted in the
Mahavira-Gumpha occupies the fourteenth position instead of the conventional
position of nine in the twenty fourth Jaina Tirthankara panel31. Alligator as lanchana
and Niiga (or Malli), the tree associated with his kevala knowledge along with other
components of astpratiharyas are presented here which are the important common
features found in both the images. Symbolical representation of lotus flowers and a
semi-circular arch over head are the other distinct feature of the Tirthankara image
found in Mahavira-Gumpha.

10. Sitalanatha

The name Sitala was given to him because when the king’s body was hot,
become cool at the touch of the queen, while the Jina was in her womb32. The srivatsa
symbol stands for suspiciousness and blessedness is associated with him as lanchana.

Only two images of the tenth Tirthankara Sitalanatha are found depicted one
each in Barabhuji-Gumpha and Mahavira-Gumpha of Khandagiri hill33. The
Tirthankara depicted at Mahavira-Gumpha is in kayotsarga posture while the other
one at Barabhuji-Gumpha is in dhyanamudra. The lanchana in both the cases are not
clear it seems more akin to a vajra rather than the conventional srivatsa. The
astpratiharyas are clearly depicted in both the figure and Yakshi Manasi34 is specially
added the figure in Barabhuji-Gumpha. In addition to that pitchers flanking the
emblem below pedestal, tree foiled arch with makara-torana, parrots, Nandipada
symbol and Naga figures render more iconographical peculiarities to the Tirthankara
of Mahavira- Gumpha.

11. Sreyansanatha

The eleventh Tirthankara is named as Sreyansanatha or the lord of the noble

virtues because when the Jina in the womb, he enabled her mother to drive out an evil
spirit doing good to the world35. In Odisha, the image of Tirthankara is found in
Barabhuji-Gumpha in dhyanamudra whereas in Mahavira-Gumpha he is standing in
kayotsarga posture. He is positioned in the twenty-third place in Mahavira-Gumpha is
a rare occurrence. The common attributes of both the figures are rhinoceros as the
conventional lanchana, chauri bearers, lotus pedestal supported by lions, trilinear
umbrella and cymbals played with invisible hands etc. The flying vidyadharas are

244
depicted with garlands, Tumbar or Tindika as the kevala tree and oval shaped
prabhamandala are represented only with the image in Barabhuji-Gumpha. Similarly
pitchers flanking the lanchana below pedestal, symbolical representation of lotus
flowers and the semi-circular arch over head of the Tirthankara are the additional
features depicted with the Tirthankara image in Mahavira-Gumpha but not found in
case of Mahavira-Gumpha36.

12. Vasupujya

The Tirthankara called as Vasupujya because he was the son of Vasupujya or

because he was the object of worship of Indra37. A total four numbers of Tirthankara
Vasupujya images are reported from Odisha. The two images are reported from
Navamuni-Gumpha and Barabhuji-Gumpha in yogasana posture and the one in
Mahavira-Gumpha is in kayotsarga pose38. On the other hand the fourth one reported
from Achutrajpur39 now in Odisha State Museum is made of bronze is found seated in
dhyanamudra along with his Yaksha and Yakshi. They are all represented with
buffalo as the mark of cognizance below the lotus pedestals supported by lions in
addition to the trilinear umbrella and chauri bearers.

Cymbals played in invisible hands appear in case of two figures only and
Patalika, the tree associated with his kevala knowledge, oval shaped halo behind head
and flying figures with garlands in hands are depicted with the Tirthankara image of
Barabhuji-Gumpha only. The vacant space at the top of this figure is represented with
tridents, pitchers, creepers and inverted parrots are added to its decorative beauty.

The Tirthankara Vasupujya of Achutrajpur represents in association with

Yaksha Kumara and Sasanadevi Gandhari and in this image more emphasis is given
to the Yaksha and Yakshi rather than the Tirthankara which is smaller in dimension
than the others. The robe less Tirthankara seated cross-legged in yogamudra with both
soles visible and have short protruding lips, bulging eyes and elongated ears. Against
the front side of the pedestal there are seven male figures in a row.

13. Vimalanatha

The Tirthankara is said to have gained his name as Vimala because of his
clearness of intellectual thinking, with which he endowed his mother before his
birth40.Two figures of Vimalanatha are depicted on the inner walls of Barabhuji-

245
Gumpha and Mahavira-Gumpha. The Tirthankara in Barabhuji-Gumpha is seated in
yogasana pose while in Mahavira-Gumpha standing in kayotsarga posture41. Boar, as
the mark of cognizance, chauri bearers, lotus pedestals supported by lions, trilinear
umbrella and flying garland bearers are the common features in the Tirthankara
images. Jambu (black-berry), cymbals played through palms of the invisible hands
and oval shaped prabhamandala are the additional attributes depicted with the figure
in Barabhuji-Gumpha. But the notable representations of the image in Mahavira-
Gumpha are tree foiled arch flanked by gandharvas, Naga devotees in anjali hasta,
spouted jar and pitcher.

14. Anantanatha

The Jaina traditions assert that the Tirthankara obtained his name as Ananta as
his mother had seen an endless (ananta) necklace of pearl in dream while the
Tirthankara is in her womb. The emblem of the Tirthankara is hawk according to
Svetambaras and bear according to Digambaras42. Two figures of Anantanatha have
been reported in dhyanamudra on lotus pedestals in Barabhuji and Mahavira-Gumpha
of Khandagiri hill in Odisha43. The one in Barabhuji-Gumpha though depicted in
fourteenth place in the Tirthankara series but depicted in ninth position in Mahavira-
Gumpha. A bird having more affinity with a peacock, instead of a hawk or falcon as
the mark of cognizance of Tirthankara is found in Mahavira-Gumpha but in
Barabhuji-Gumpha he has the mount of a porcupine. The asta-pratiharyas viz.,
trilinear umbrella, chauri bearers, Asvatha as kevala tree, cymbals played in invisible
hands, oval shaped halo are the general iconographic peculiarities of these images.

15. Dharmanatha

According to the Jaina traditions during the period of the pregnancy, the Jina’s
mother was engrossed in religious deeds earning him the name of Dharmanatha. The
symbol by which Dharmanatha is to be recognized is vajra-danda or thunder-bolt44.
In Odisha he is found depicted one each in Barabhuji-Gumpha and Mahavira-Gumpha
with vajra as the mark of cognizance in the lotus pedestals45. The other common
features in both the images are lotus pedestals supported by lions, trilinear umbrella,
cymbals played in invisible hands and chauri bearers. A tray containing offerings, a
spouted jar and the semi-circular arch over the head of the Tirthankara are some
additional feature found only in the Tirthankara image carved in Mahavira-Gumpha.

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On the other hand Dadhiparna as the kevala tree, oval halo and flying garland bearers
are the additional representations noticed with the image in Barabhuji-Gumpha.

16. Santinatha

According to the Jaina tradition46, Santinatha was not only revived the age old
religion which is in danger of falling into oblivion but also consolidated well so as to
never disappear again. He was the first Tirthankara to become a Chakravarti or
emperor of the whole of India. His mother by sprinkling the santi water among the
sufferers in the kingdom was able to stop course of the epidemic. Santinatha, the 16th
Tirthankara was therefore called as the “Lord of Peace”. The cognizance of the
Tirthankara is a deer.

Images of Santinatha, the sixteenth Tirthankara of the Jaina pantheon are

reported from places like Charampa of Bhadrak district; Ada, Manikchauk, and
Martasol of Balasore district; Khiching Museum of Mayurbhanj district; Podasingidi
of Keonjhar district; Digambara Jaina temple in Cuttack city of Cuttack district;
Kachela and Jeypore District Museum of Koraput district; Sitalesvara, Bada bazar,
Dasasvamedha ghata, Kantabania and Permanandapur of Jajpur district; Nasik Kotian
of Jagatsinghpur district; Khandagiri hill of Khordha district; Tala Beguniapada and
Ramachandrapur of Puri district.

The Tirthankara is found seated yogasana as well as standing in kayotsarga

posture on a double or single petalled lotus pedestals and in some cases pedestals are
found supported by a lion at each corner. The Tirthankara are generally carved with
deer as the mark of cognizance in addition to the chauri bearers, kevala tree, trilinear
umbrella, circular or elliptical prabhavali, flying garland bearers, cymbals drums
played with invisible hands and trivali marks at the neck etc. The image of Mahavira-
Gumpha does not display prabhamandala, the flying figures with garlands and
cymbals played in hands47. The Tirthankara image of Manikchauk is provided with a
canopy of five hooded snake over head, a very peculiar iconographic feature which is
generally found in case of the Tirthankara Suparsvanatha. The image found at
Martasol has similar representation like that of one found from Manikchauk except
the depiction of five hooded snake canopy. The snake canopy is replaced by
Mahamanasi, the Sasanadevi of the Tirthankara. She is found depicted sitting in
padmasana and flanked by two elephants at the top pouring sacred water. She

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displays varada mudra in one hand and lotus on the other. A makara-torana
supported by gaja-simhas with rows of pearls falling from their mouths added the
beauty and grace to the entire composition.

The upper portion of the image is missing in case of the Tirthankara image
found at Podasingidi. Here the image is carved very artistically as represented in the
remaining portion which represented the Tirthankara stands over a full blown lotus,
flanked by chauri bearers and lanchana deer is flanked by two crouching lions
engraved below the lotus pedestal. For the first time in Jaina sculptures of Odisha, two
Sasanadevis viz., Ambika and Mahamanasi with their all attributes in lalitasana on the
either side of the Tirthankara near his feet are found.

The Tirthankara image found at the Digambara Jaina temple in Cuttack city is
represented with the usual features in addition some peculiar features like the chauri
bearers are standing over elephants and astagrahas are depicted on either side of the
Tirthankara.

Depiction of astagrahas in the Tirthankara images is a common phenomenon

in Jajpur as evidences in the Tirthankara image found at Sitaleswara temple,
Akhandaleswara temple of Jajpur town area and Kamudei pitha in the village of
Parmanandapur of Vyasanagar area. The most important feature of the image found in
Dasasvamedha ghata is that it wears a beaded chain around the neck, which is a rare
occurrence in any Jaina Tirthankara image and all the twenty four figure of
Tirthankaras in kayotsarga posture are represented in pairs on both the sides of the
image48. Eight Tirthankara images are also seen in kayotsarga posture in diminutive
size vertically and four in each side of the Tirthankara at Kantabania. Besides
astagrahas, a plain door jamb with conical finial at the top on both side and an oval
halo behind the head of the Tirthankara image is noticed at Kamudei pitha of
Vyasanagar area. Circular hallows are provided at the upper portion of the image
which indicates the image probably hanged in a higher place.

The presence of Yakshi Mahamanasi in the Tirthankara image is also another

important feature. The two armed Sasandevi is found depicted in the Tirthankara
image reported from Martasol, Jajpur, Tala Beguniapada, Podasingidi and Jeypore
district museum.

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17. Kunthanatha

Jaina tradition preserved in their literature many accounts regarding the origin of
the name of the Tirthankara Kunthanatha. He was named so as because the Jina’s mother
saw in dream a heap of jewels known as Kunthu, while he was in her womb49. Secondly,
he stood firmly on the earth hence called Kunthanatha50. Thirdly, people began to show
great kindness to insects (Kunthu) as a result he was so named51.

Only two figures of Kunthanatha so far have been noticed in Odisha and both are
depicted in the inner walls of Barabhuji and Mahavira-Gumphas of Khandagiri hill52.
Both are seated in dhyanamudra on lotus pedestals supported by lions and goat as their
symbol of cognizance is found in front of the pedestals. The common features in both the
images are chauri bearers, trilinear umbrella, Tilak taru as the kevala tree. This kevala
tree in case of Mahavira-Gumpha is represented in shape of creepers spreading to both
directions of the semi-circular arch over the head of the Tirthankara. Cymbals played with
invisible hands of gandharvas, flying vidyadharas with garlands and an oval shaped halo
behind the head of the Tirthankara are the other features only found in the image of
Barabhuji-Gumpha.

18. Aranatha

The name of the Tirthankara is named because during the pregnancy, his mother
saw in the dream a spoke of wheel (ara). Aranatha had the cognizance of nadyavarta
symbol according to the Svetambaras and fish according to the Digambaras.53

Two figures of the eighteenth Tirthankara, Aranatha are only reported from the
Barabhuji-Gumpha and Mahavira-Gumpha of Khandagiri. The Tirthankara is seated in
meditative attitude on single or double petalled lotus pedestals supported by lions in both
the cases. The mount fish is depicted in case of Mahavira-Gumpha where as an ant eater
in Barabhuji-Gumpha below their corresponding pedestals. All the astpratiharyas are
represented in the Tirthankara images and in addition to that depiction of the sun and
moon54 with the Tirthankara of Mahavira-Gumpha is a noteworthy feature.

19. Mallinatha

The nineteenth Jina Mallinatha, a female in Svetambara traditions and is

worshipped as male by the Digambaras. The Tirthankara is called Malli because
when she was in her mother’s womb, the mother had a pregnancy desire for flower

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garlands. According to the Digambara traditions, he was called as Malli as he had
conquered the wrestler (malla) in the form of infatuation55.

The Tirthankara Mallinatha is only represented in the group of sculptures of

both Barabhuji and Mahavira-Gumpha of Khandagiri hill with pitcher as the mark of
cognizance seated in dhyanamudra56. The common feature of the images are pedestals
supported by lions, chauri bearers, trilinear umbrella, Asoka as kevala tree, flying
garland bearer and oval shaped halo.

20. Munisuvrata

His name originated from the fact that during the pregnancy the queen mother
was devoted to religious practices (vrata) like a pious monk (muni-vat), which
endowed him with the name of Suvrata or Munisuvrata57. In Odisha only two images
of Munisuvrata are found at the back walls of Barabhuji-Gumpha and Mahavira-
Gumpha of Khandagiri hill58. Both the figures are seated in dhyanamudra on lotus
pedestals supported by lions on which their marks of cognizance i.e. Tortoise are also
depicted. The astpratiharyas are generally represented in the images at Khandagiri
hill. The Tirthankara occupies the twenty-first place in the in Mahavira-Gumpha
instead of its usual twentieth position as per the Jaina tradition.

21. Naminatha

While the Jina was in the mother’s womb, his father’s enemies bowed down
(pranam) in submission. Because of the unexpected surrender of the enemies, the Jina
was given the name of Nami59.

In Odisha two Naminatha images, the twenty-first Tirthankara are reported. At

Barabhuji-Gumpha the Tirthankara is placed in their conventional position whereas in
twentieth position at Mahavira-Gumpha of Khandagiri hill60. Both of them are carved
in yogasana posture on lotus pedestals supported by lions and engraved with marks of
cognizance i.e. blue lotus. They other common features of the images are chauri
bearers, trilinear umbrella and cymbals played through palms of gandharvas, Vakul as
the kevala tree, prabhamandala and flying garland bearers.

22. Neminatha

According to the Jaina traditions, Neminatha was the cousin of Krishna and
Balarama. According to Uttarapurana, Indra called him Neminatha because the Jina

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was as it were the spoke(nemi) of the Wheel of True Law. He was also called as
Aristanemi because, while he was in the womb, his mother saw dream of a wheel of
black jewels61.

In Odisha Neminatha, the twenty-second Tirthankara is found independently as

well as associated with Yaksha Gomedha and Yakshi Ambika. As independent figure
they are only found in Navamuni, Barabhuji and Mahavira-Gumphas of Khandagiri
hill62. In this case Neminatha is carved seated in yogasana pose are invariably placed
at the top of the mango tree seen behind the twin figures of Yaksha Gomedha and
Yakshi Ambika or independent images of Ambika, his Sasanadevi. In case of
independent images his conventional lanchana, the conch is placed below the lotus
pedestal as like in Mahavira-Gumpha. But in case of Navamuni and Barabhuji-
Gumphas, an eight petalled lotus or dharmachakra is carved as lanchana. The lotus
pedestal of the image of Mahavira-Gumpha though supported by a pair of peacocks it
is replaced by lions in case of Barabhuji-Gumpha. The images bear all the
astpratiharyas in representation.

23. Parsvanatha

Parsvanatha, the twenty third Tirthankara is considered as a historical figure

and the real founder of the Jaina faith. As per the Jaina tradition he earned his name as
he touches all sides (parsva) of knowledge. Secondly, his mother was seen a black
cobra in the dream while the Jina was in her womb63.

The twenty third Tirthankara, Parsvanatha seems to be extremely popular in

Odisha evidenced by large number of images from the nook and corners of Odisha.
The Tirthankara images are reported at places like Charampa and Okara of Bhadrak
district; Ada, Ayodhya, Dandapalasa, Kabara, Kupari, Shergarh, Kansa, Nilagiri and
Pundal of Balasore district; Khiching, Baripada and Koisali of Mayurbhanj district;
Podasingidi, Yogichata, Anandapur, Bancho, Vaidakhia and Sainkul of Keonjhar
district; Cuttack Jaina temple, Pratapanagari, Bhanapur, Baideswara, Choudwar of
Cuttack district; Khandagiri, Sisupalgarh, Turintira and Bagalpur of Khordha district;
Nuadhana, Manapur-Gadhama and Kundeswara of Jagatsinghpur; Jeypore, Charmula
and Jamunda of Koraput district; and Shiripura, Jajpur town, Narasinghpur,
Kantabania, Bansabadi, Ijapur, Tarangasagarpur, Kuansa, Tentulidiha and Madhupur
of Jajpur district. These images are premeditated both seated in yogasana or standing

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in kayotsarga posture on plain, single or double petalled lotus pedestals. The
Tirthankara is identified by the canopy of a seven hooded snake over his head. In case
of the standing figures, the coils of the snake are gathered behind the Tirthankara, in
several folds fashioned symmetrically.

Chauri bearers are a common feature of all Parsvanatha images but they are not
shown with some figures available at places like Bada Jagannatha temple (Baripada),
Khiching and Podasingidi. These chauri bearers on either side of the image of
Vaidakhia, now preserved in the Odisha State Museum arc depicted standing on ele-
phants. Representation of other Tirthankaras in miniature size both seated and
standing on either side of the Tirthankara are noticed in rare cases viz., the
Parsvanatha image of Yogichata has all the twenty-three other Tirthankaras where as
in one Parsvanatha image preserved at Khiching museum displays six more
Tirthankara figures along with Parsvanatha. Cymbals played in invisible hands,
though a normal feature are not envisaged in the Parsvanatha images reported from
Sainkul, Bada Jagannatha temple, Charamula, Jamunda and Podasingidi64.

Depiction of astagrahas seated in yogasana posture displaying conventional

attributes are available in the Tirthankara images reported from Cuttack Jaina temple,
Kantabania and Hamsesvara temple of Jajpur district and Kansa of Balasore district.
Two Parsvanatha images one at Podasingidi and the other of Pratapanagari are
fashioned within toranas fitted with makara heads.

Padmavati, the Sasanadevi of the Tirthankara is shown depicted at the center

of the pedestal of the Tirthankara image of Jamunda and Jeypore in Koraput district
and Kabara in Balasore district. Trivali, the auspicious mark in the neck of the
Tirthankara are only found the images of Turintira of Khordha district and Nuadhana
of Jagatsinghpur district. Another important episode that related with the life history
of Parsvanatha i.e. Kamta’s attack is narrated in the sculptures of Parsvanatha are
found from Tentulidiha of Jajpur district, Ada, Ayodhya and Shergarh of Balasore
district.

The two seated Parsvanatha images of Navamuni-Gumpha of Khandagiri

represent a pitcher (kumbha) and the other an eight petalled lotus (or dharmachakra)
below their pedestals. The two bronze idols of Parsvanatha, one from Bhanapur and

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other from Achutrajpur are reported65. The bronze figure of Parsvanatha of Bhanapur
only shows the auspicious srivatsa mark on the chest.

24. Mahavira

Mahavira, the twenty fourth Tirthankara is considered as the real founder of

Jaina religion which was established by Risabhanatha, the first Jaina Tirthankara.
According to Jaina traditions the Tirthankara is named as Vardhamana and Mahavira
because the treasure of the family increased when the Jina was in the womb of his
mother. Hence, after birth the child was named as Vardhamana (i.e. increasing). He
was also called Vira or Mahavira in as much as he specially sent away the deeds
(karmas). His symbol of the lion is the most befitting mark of his spiritual heroism.

In Odisha he is as popular as like that of Risabhanatha and Parsvanatha as

evidenced by the finding of a number of images66. He is depicted either independent
figure or associated with Risabhanatha in dvitirthi images and also found in
chaumukha niches. Mahavira images are reported from the places like Charampa of
Bhadrak district; Ayodhya and Manikchauk in Balasore district; Podasingidi of
Keonjhar district; Digamber Jaina Temple of Cuttack city, Pratapnagari and Athagarh
of Cuttack district places like Subei, Kachela, B. Singhpur, Boriguma, Jamunda and
Jeypore of Koraput district; Sitaleswara temple of Jajpur town, Naguan of Jajpur
district and Khandagiri hill of Khordha district. The dvitirthi images like
Risabhanatha and Mahavira in a common stone slab and with their respective
lanchana in the pedestals are noticed in the places like Adyashakti temple of Kantola
in Athagarh and Digambara Jaina temple of Choudhury Bazaar of Cuttack district and
from Sitaleswar temple in Jajpur town of Jajpur district. Mahavira is also found
depicted in chaumukhas as evidenced from Manikchauk of Balasore district and
Naguan of Jajpur district.

These figures are shown invariably carved seated in meditative attitude or

standing in kayotsarga pose on a plain, single or double petalled lotus pedestals
supported by crouching lions. Lion as the conventional mark of cognizance appears
carved in the centre of these pedestals. Chauri bearers, trilinear umbrella, cymbals or
drum played in hands, Sala tree as kevala knowledge and halo are the common
feature of all these images. But, the image at Mahavira-Gumpha does not display any
halo or divyadvani symbols. The Mahavira figure preserved in the Bhairava temple of

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Borigumma, Jamunda and the ditirthi image of Risabhanatha and Mahavira at
Adyashakti temple of Athagarh are the only images display astagrahas on the
Tirthankara images. The figure of Mahavira of B. Singpur and Jamunda displays the
dharmachakra below the pedestal and a makara torana at the back. The Mahavira
image in the Odisha State Museum represents pair of goose, gandharvas and kinnaras
beating cymbals and blowing conch shells, champak and lotus medallions as well as a
decorative torana fitted with makara heads67.

The auspicious srivatsa mark is depicted on the chest of the Tirthankara of

Subei in Koraput district only. His yaksa Matanga is depicted on an elephant only on
the figures of Kachela and B. Singpur. Similarly, the Yakshi Sidhyika, the Sasanadevi
of the Tirthankara is noticed at the pedestal of the figures of Subei, Kachela,
Bhagavati temple of Jeypore, B. Singpur and Boriguma, all from Koraput district and
two images in the Odisha State Museum.

6.2 SASANADEVIS

The images of Sasanadevis are usually found in association with their

respective Tirthankaras at the pedestals. The iconography of the Sasanadevis can be
best studied in the Barabhuji and Mahavira-Gumpha of Khandagiri hill though they
are also found in the Tirthankara images mostly in Koraput, Cuttack and Jajpur areas.
Besides, independent images of Ambika, Chakresvari, Rohini, and Padmavati are also
found in Odisha.

1. Chakresvari

Independent images of Chakresvari, the Sasanadevi of the first Tirthankara

Risabhanatha are noticed at Ada of Balasore district, Subei, Jamunda and Jeypore of
Koraput district and Navamuni and Barabhuji-Gumphas of Khandagiri hill in
Khordha district68. In addition to her Tirthankara image are found at places like Subei,
Kachela, Jeypore (Kali temple), B. Singpur, Charmula, Kotapata, Jamunda and
Kamata of Koraput district69, Choudwar of Cuttack district etc.

Generally, she is depicted seated either in lalitasana or padmasana posture on

Garuda carved below her lotus pedestal. She has been represented with two, four, six,
ten, twelve and sixteen arms and all attributes are displayed in each of them. In
independent figures, her Tirthankara, Risabhanatha is invariably shown seated in

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meditative attitude at the top. Apart from Garuda, the traditional mount, we notice a
crane (or peacock) and a pitcher in the pedestal of her image in the verandah wall of
Barabhuji-Gumpha. The only two armed Chakresvari image is depicted below the
Risabhanatha figure of Jamunda in Jeypore branch museum displays varada mudra in
both hands. In case of four armed figures Chakresvari holds two discs in the upper
two hands and varada mudra in two remaining hands. The four armed figures under
the Risabhanatha image bearing of Subei and from the Kali temple represent two
discs, vessel and varada mudra in her hands. The only representation of a six armed
Chakresvari image below the pedestal of the Risabhanatha is also reported from Subei
displays two discs, abhaya, varada, sword and shield in her hands.

The Chakresvari image of Namamuni-Gumpha70 is ten armed, six with discs,

the seventh hand holding a perforated disc, eighth a shield, ninth a rosary held against
her chest in vitarka mudra and the tenth placed on tire lap in dhyanamudra. The
twelve armed Chakresvari figure is noticed at the Barabhuji-Gumpha in the series of
Sasanadevis. Of her six right hands one is in varada and the rest hold, a thunder bolt
(vajra), two discs (chakra), rosary and sword; three of her left hands hold shield, disc
and the stalk of flower, the attributes of the three others, one resting on her knee and
the second placed on chest, are badly mutilated.

The twelve-armed Chakresvari figure on the left wall of the verandah of

Barabhuji-Gumpha71 is popularly worshipped as a Barabhuji image of Durga. One of
her right hands is in varada, the second holds a sword, the third a disc. Of her left
hands one is held against her chest and three carry shield, ghanta (bell) and disc.
Attributes in rest of the hands are beyond recognition. All these figures are provided
with a garment covering the lower parts of the body. Their other decorative ornaments
consist of girdle, bracelets, armlets, necklace upavita (sacred thread), anklets, earrings
or studs and head ornaments.

At Bhagavati temple of Jeypore and a temple at Subei, one can notice rare
images of the sixteen armed Chakresvari images. The Chakresvari image at Jeypore72
is carved seated in dhyanamudra on a double petalled lotus pedestal supported by
lions and the asta-pratiharyas are carved around her. A female attendant and
Gomukha, the yaksa and her mount Garuda are depicted in the lower parts of the
pedestal. Her Jina Risabhanatha in dhyanamudra seated above the Sasanadevi. The

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attributes in sixteen hands are sword, conical object (?), crescent moon, chakra (disc),
samkha (conch), vajra (thunder bolt), japamala (rosary) and varada mudra in the
right and the remaining eight of the left hands display conical object (?) shield, gada
(mace), chakra (disc), trident, vajra, kalasa (pot) and an indistinct object. The third
eye on her forehead is distinctly visible.

The Chakresvari image found at Subei73 holds the attributes like mace, sword,
trident, disc, bow and pot on right hands and spear, shield, arrow, dagger and a
conical object in the left hands while attributes of the remaining hands are damaged
and missing. Risabhanatha is shown seated in dhyanamudra on a lotus pedestal on the
top of the sasanadevi along with asta-pratiharyas and astagrahas.

One of the best preserved images of Chakresvari (66x28x20cm) in Odisha is

noticed at village Ada of Balasore district74. The Sasanadevi is carved along with his
Tirthankara i.e. Risabhanatha in a common slab divided into two compartments by a
narrow panel. The lower compartment of the stone slab is depicted the twelve armed
Chakresvari image, seated in cross-legged over a full blown lotus flower. Her usual
lanchana Garuda is depicted at the center of the lotus pedestal as if flying. The
Sasanadevi is decked with crown, karna-kundalas, necklace, armlets, bangles and
beaded ornaments across the body as like yajnapavita etc. She has a central bun over
her head behind which a circular plain halo is marked. The attributes of her right
hands from bottom to top are citrus, wheel, wheel, sword, flower (?) and vajra while,
the left hands are armed with full-blown lotus, wheel, disc, conch, wheel (?) and
vajra. She is flanked by her chauri bearers stands over independent lotus pedestal and
flying garland bearers at the top.

The upper compartment of the stone slab is depicted the Risabhanatha seated
in yogasana posture over a cot below which his lanchana bull is represented and
flanked by crouching lions. The Tirthankara is flanked by chauri bearers in tribhanga
posture. An oval halo without any decorations is marked at the back of the
Tirthankara and it surmounted by trilinear chhatravali flanked by kevala tree
branches. Hovering maladharas and drums played with invisible hands are also
depicted at the upper part of the stone slab.

Another fragmented image of Chakresvari is noticed at the near Basulei

thakurani, Sitaleswara of Jajpur district.

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2. Rohini

Rohini, the Sasanadevi of Ajitanatha is reported from Subei of Koraput district

and Barabhuji and Navamuni-Gumphas of Khandagiri hill75. The images of Khandagiri
are carved seated in lalitasana pose on plain or lotus pedestals but the Sasanadevi at
Subei is seated in padmasana over a lotus pedestal supported by crouching lions. The
elephant is the conventional lanchana of her Tirthankara appears below the pedestal in
case of Navamuni- Gumpha where as bull is depicted in Barabhuji-Gumpha. The
lanchana of the Rohini image of Subei is not clearly visible. Depiction of the third eye is
distinctly shown on the forehead of the figure of Navamuni-Gumpha.

The one at Subei and the other on the verandah wall of Baiabhuji-Gumpha depict
her Tirthankara Ajitanatha in dhyanamudra on the top of the Sasanadevi. The attributes
of the four armed figure of Navamuni-Gumpha are abhayamudra and vajra in the right
and a goad and a three-pronged object in the left hands. The twelve armed image found in
the verandah wall of Barabhuji-Gumpha carries the attributes like the vara, a banner,
goad and disc in right-hands and a samhkha (?) water-pot twig or tridandi and a disc in
left and the others are not recognizable. The other twelve-armed Rohini figure found
along with the group of Sasanadevis held the attributes in hands are varada mudra, spear
or arrow and a sword in right while others are not identified properly and in her left hands
hold a noose (?), bow, hala shield, stalk of a lotus and ghanta (?), the last being held
against her chest. The third twelve-armed Rohini of Subei is carved seated in padmasana
posture. The attributes in her right hands are vajra, sword, disc and arrow and remaining
are broken. The left hands are provided with vessel, shield, bell, tridandi and bow and rest
are broken.

3. Prajnapti

Only two images have been reported from Navamuni and Barabhuji-Gumphas of
Khandagiri hill76. The image in Navamuni-Gumpha is two seated in lalitasana and holds
the stalk of a blue lotus in the left and the right hand is in abhayamudra. She is decked
with necklace, bangles, anklets and has jatamukuta hair style. In Barabhuji-Gumpha, she
is carved as four-armed with the lower right in varada and the upper right holding a
rosary. The other attributes in the left hands are damaged and missing.

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4. Vajrasrinkhala

Two images of Vajrasrinkhala, the Sasanadevi of the fourth Tirthankara, Abhi-

nandananatha are noticed at Navamuni and Barabhuji-Gumphas of Khandagiri hill77. She
is seated in lalitasana pose on a plain pedestal, below, which her mark of cognizance also
a monkey shown in folded hands contrary to the swan prescribed in the text in Navamuni-
Gumpha. In Barabhuji-Gumpha her lanchana is badly disfigured. She carries in her lower
left a child, in upper left, a conch and in upper right a chakra, the lower right hand being
in abhayamudra. The other image of Barabhuji-Gumpha is eight-armed with two hands
playing on a harp, one of her right hands is in varada mudra. Among other attributes only
vajra in one of her left.

5. Purusadatta

The only representation of Purusadatta, the Sasanadevi of Sumatinatha is found

seated in lalitasana pose on a plain pedestal on the left wall of the inner chamber of
Barabhuji-Gumpha78. Her mount, crocodile, contrary to elephant is noticed below the
pedestal. The attributes in her right hands are varada, a perforated disc, long spear and
sword and in her left hands a noose, shield, hala, hammer and blue-lotus are found.

6. Manovega

Manovega has been depicted with her mount swan in Barabhuji-Gumpha of

Khandagiri hill only79. She is seated in lalitasana posture on a plain pedestal and provided
with an oval halo behind her head. She has four armed and holds the attributes of a conch
(?) and banner in left hand and vajra and varada mudra in the right hand.

7. Kali

Kali, the Sasanadevi of Suparsvanatha is only depicted in Barabhuji-Gumpha of

Khandagiri hill. She is seated in lalitasana on a plain pedestal and peacock as her
lanchana displayed below. She is eight armed and has the attributes of varada mudra, a
bowl of fruits, lance (?) and sword in the right and conch, hammer (?) and spear in the left
hands.

8. Jvalamalini

A twelve Jvalamalini image is only reported from the Barabhuji-Gumpha of

Khandagiri hill. She is found seated in lalitasana on a plain pedestal below which her
mount, the lion depicted instead of the conventional lanchana buffalo. Her attributes

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are varada mudra, dagger, disc, arrow, club (?) and sword in right hands and varada
shield, bow, conch, noose and bell in the left hand and the last being held against the
chest.

9. Mahakali

Mahakali, seated in lalitasana pose on a pedestal is found in Barabhuji-

Gumpha only. Her mount, the bull, contrary to tortoise appears below the pedestal.
She is represented with vajra, club, fruit and varada mudra, disc (?), bird, bowl of
fruits (?), and disc in the right and a crescent, tarjnimudra, snake, flower (?) and
branch of a tree (or feather of peacock) in the left.

10. Manavi

Manavi, the Sasanadevi of Sitalanatha is found carved in lalitasana on a plain

pedestal and her lanchana is not clearly recognizable. She is four armed and holds a
danda in her lower left hand and the lower right in varada mudra80. The other
attributes in the upper hands are not clearly visible.

11. Gauri

Gauri, the Sasanadevi of Sreyansanatha is seated in lilitasana on a plain

pedestal in Barabhuji-Gumpha. She is four armed and carries the attributes like water
pot and manuscript in the left hands and varada mudra and rosary in the right. Her
lanchana is not clearly recognizable here.

12. Gandhari

Gandhari, the Sasanadevi of Vasupujya has are found in Navamuni and

Barabhuji-Gumpha of Khandagiri hill. Both are seated in lalitasana on a plain
pedestal below which her lanchana, the peacock is depicted. She is four-armed in
Navamuni-Gumpha and holds a child, a sakti in her lower and upper left hand
respectively whereas abhaya mudra and a mutulunga in the lower and upper hand
respectively. In Barabhuji-Gumpha she is carved as eight-armed and holds the
attributes of varada mudra, a mutulunga (?), rosary and blue lotus in right hands and a
water pot conch, twig (or bunch of flowers), and the stalk of a full-blown lotus in left
hands. The lone bronze idol of Gandhari fashioned along with her Yaksha Kumara
and Tirthankara Vasupujya is reported from Achutrajpur and now preserved in Odisha

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State Museum89. She is seated in maharajalilasana. She rests right hand on her right
knee and the left hand placed on the left thigh.

13. Vairoti

Vairoti, Sasanadevi of Vimalanatha appears only at Barabhuji-Gumpha in

lalitasana on a plain pedestal. She is eight armed and her lanchana depicted as a
crane. Her attributes in the hands are varada mudra, arrow, sword and parasu in her
right hands and vajra, bow, spear and shield in her left hands.

14. Anantamati

Anantamati, the Sasanadevi of Anantanatha is carved in the back wall of

Barabhuji-Gumpha. She is seated in lalitasana posture on a plain pedestal below
which her lahchana, the horse is depicted. She is a ten-armed and holds the attributes
like a staff like object, vajra, stalks of full blown lotus, shield and hammer in the left-
hands and the varada mudra, a dagger, spear, sword and the remaining one being
damaged in the right hands.

15. Manasi

Manasi, the Sasanadevi of Dharmanatha seated in lalitasana on a plain

pedestal in Barabhuji-Gumpha of Khandagiri hill. She is six armed and the attributes
are varada mudra, pellet, three pronged object in left hands and bell, banner and
conch in the right.

16. Mahamanasi

Mahamanasi82, the Sasanadevi of Santinatha is found in Barabhuji-Gumpha of

Khandagiri hill as an independent figure where as associated with the Tirthankara her
image is reported from Podasingidi of Keonjhar district and Tala Beguniapada of Puri
district.

In Barabhuji-Gumpha she is carved seated in padmasana on a double petalled

lotus pedestal. Her conventional mark of cognizance, the peacock is not noticed here.
She holds stalks of full-blown lotus flowers in her two hands. Two elephants, perched
on the lotuses are seen flanking the image at the top in order to pour sacred water
from the pitchers held in their trunks. Similar representations are also noticed in the
images found at Podasingidi and Tala Beguniapada.

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17. Vijaya

Vijaya, the Sasanadevi of Kunthanatha is only found in Barabhuji-Gumpha

and she is found seated in lalitasana on a plain pedestal. The lanchana is missing
here. She is ten armed and her attributes are varada mudra, a staff like object, goad
(ankusa), disc and rosary (?)in the right hand and in the left a three pronged object,
perforated disc, conch (?), stalk of full blown lotus and water pot.

18. Tara

Tara, the Sasanadevi of Aranatha is only represented in Barabhuji-Gumpha

and she is carved seated in lalitasana. She is shown with varada mudra in the right
and the stalk of a full-blown lotus in the left hand. The lanchana seems to be a boar
like animal.

19. Aparajita

Aparajita, Sasanadevi of Mallinatha is found seated in lalitasana on a plain

pedestal in Barabhuji-Gumpha. Her vehicle, probably a ram is shown below the
pedestal. She is eight armed and represented with varada mudra, a long spear, arrow
and a sword in the right and a cone-shaped object (conch) bow, shield and banner in
the left hand.

20. Bahurupini

Bahurupini, the Sasanadevi of Munisuvrata is only found in Barabhuji-

Gumpha. She is carved in a reclining pose on a plain bed (cot) and attended by three
other figures, one of which shown fanning her. Below her bed is placed a water pot.
The left hand of her is traced below the head while the right one is kept over her
body83.

21. Chamunda

Chamunda, Sasanadevi of Naminatha, is depicted with multiple heads in

Barabhuji-Gumpha. She is seated in lalitasana on a plain pedestal below which her
mount the swan is shown. She is four armed and represented with varada mudra and
rosary in the right and water-pot and trident in the left.

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22. Ambika (Amra)

Among Sasanadevis, image of Amra or Ambika, the Yakshi of Neminatha is

the most popular in Odisha. She is found depicted as independent figure as well as
associated with Yaksha Gomedha and her Tirthankara Neminatha in a common slab.
Independent figure of Ambika with a miniature Tirthankara image at the top is
reported from Ada and Balighat of Balasore district; Kartara and Naguan of Jajpur
district; Kuanrpur of Kendrapara district; Anandpur, Bancho and Podasingidi of
Keonjhar district; Brahmesvarapatina and Khandagiri hill of Khordha district;
Kachela, B.Singhpur, Purunagarh and Subei of Koraput district and Osian, Jiolo and
Barala of Puri district. On the other hand along with Gomedha is found in the places
like Kushun Nagar of Bhadrak district; Ayodhya of Balasore district; Choudwar,
Lataharana and Pratapanagari of Cuttack district; Baruadi, Sitaleswara and
Chandigola of Jajpur district; Podasingidi of Keonjhar district; Khandagiri hill of
Khordha district; B.Singhpur of Koraput and Baripada Museum of Mayurbhanj
district. Besides, bronze images of Ambika are also reported from Choudwar and
Achutrajpur of Cuttack and Puri district respectively.

She is shown in lalitasana invariably in all independent seated figures or with

the Yaksha Gomedha but displays tribhanga posture in the standing ones. The
pedestal on which she is seated or standing is either on a plain or lotus pedestals and
her lanchana lion is usually placed below the pedestal. The mango tree, the other
conventional feature of this Sasanadevi is shown in the background in all cases. Her
Tirthankara is placed over this tree in dhyanamudra in few cases along with his
lanchana as a wheel instead of his usual conventional cognizance conch. The
Tirthankara figures on the top are depicted with the mark of cognizance, chauri
bearers, flying garland bearers, halo and the kevala tree. In case of the entire
independent figure, she is shown with a child in her left lap and bunch of mango or a
mango twig in the right hand. Her second son is depicted near her right hand.

On the composite figure Ambika shows carrying a baby in the left lap and in
right hand always rests over the lotus pedestal. She is decked with ornaments like
girdle, necklace, anklets, bangles, armlets, sacred thread and head ornaments in
addition to the under garment and scarf. The Yaksha Gomedha is carved seated in
maharajalilasana right to the Yakshi and hold a twig. In some cases both are also

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carried twig in their respective right hands. A child is shown playing in a swing at the
tree carved at the back ground of the images. Above these depictions, the Tirthankara
is shown in dhyanamudra along with all the asta-pratiharyas. Usually seven numbers
of female figures in maharajalilasana holding a twig in their respective right hand are
represented at the base of the lotus pedestal of the Yaksha and Yakshi.

The four armed image of Badasai84 has the attributes of varada mudra, bunch
of mangoes or its twig and one kept on the thigh. Similarly the other four armed
figure of Barudi is found displaying a bunch of mangoes, varada mudra and conical
objects. The Ambika image found in the Bhagavati temple at Jiolo Sasana has a
unique feature is that like Mahamanasi, the sixteenth Sasanadevi, elephants are
pouring water by pitcher over the Sasanadevi with their trunks. Similarly, a two
armed image of Ganesa is found depicted in the Ambika image of Osian near
Kakatpur of Puri district which is a very rare in Odishan Jaina art and iconography.

23. Padmavati

Padmavati, the Sasanadevi of Parsvanatha are noticed in the Navamuni and

Barabhuji-Gumpha of Khandagiri hill, at Nandapur in Koraput district and at Naguan
of Jajpur district. Her iconography is very similar to Manasa and Padmavati of
Brahmanical pantheon85. Except Naguan all the images are carved seated in lalitasana
posture on double petalled lotus pedestal. Below the pedestal her lanchana elephant is
depicted as noticed in case of Nandapur and lotus in Navamuni-Gumpha and Naguan.
A canopy of five hooded snake appears over head of the figures of Barabhuji-Gumpha
and Nandapur where as we found a seven hooded snake canopy in the image of
Naguan. A votive figure of Parsvanatha having canopy of a seven hooded snake
flanked by chauri bearers and garland bearers is found depicted on the top of
Sasanadevi Padmavati at Nandapur. The third-eye on the forehead is noticed with the
figure of Navamuni-Gumpha where as in Naguan the forehead is marked with a full
blown lotus flower.

The image in Navamuni-Gumpha is two armed and are shown with abhaya
mudra in the right and lotus in the left hand. The four armed figure of Nandapur
represents a twig, varada mudra and parasu in three hands while the fourth one is
damaged. The Sasanadevi at Barabhuji-Gumpha is eight armed which display varada
mudra, arrow, sword and disc (?) in the right and bow, shield, stalks of lotuses in the

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left hands. The Sasanadevi image at Naguan is worshiped as Brahmanidevi. She is
two armed and holds a full blown lotus in the left hand and varada in the right hand.
Two female nagi attendants are also shown flanked by the Sasanadevi. Similar two
more images are found seated in dhyanamudra at Kenduli. They have seven hooded
snake canopy and holds full blown lotus in the left hand and a twig in the right hand.
The identification is still varied from scholar to scholar. Some identified them as
Brahmanical deities while other as Ambika. But their iconographical features are
more akin to the Padmavati image of Naguan and hence can be identified as
Padmavati.

24. Siddhayika

Siddhayika, the Sasanadevi of Mahavira is carved seated in lalitasana posture

on a plain pedestal in the Barabhuji-Gumpha of Khandagiri hill is the only image
found in Odisha86. Her mount is the elephant and the attributes in respective twenty
hands are varada mudra, spear, rosary, arrow, small staff (?) hammer, hala, vajra,
disc and sword in the right hands and a water pot, book, matulunga (?) lotus, bell (?),
bow, nagapasa and shield are the attributes in her left hands while others are not
recognizable.

In brief it can be concluded that the asta-pratiharyas of the Jainas are

commonly appeared in the all the sculptures of Odisha. In addition to it lotus and
champaka marks, representation of moon and sun, pitchers, fishes, mirrors offerings,
anjalimudra, varadamudra naga figures, astagrahas, miniature Tirthankara figures
alongside the mulanayaka and figures of Yaksha and Yakshi associated with the
Tirthankara images. The prabhavali is more elaborate in the later period. Srivatsa
mark on the chest and dharmachakra symbol below pedestal are very rarely found.
The Tirthankaras are found naked but their subsidiary divinities are decked with
extremely varied costumes and ornaments. A matted lock of falling hair is a common
feature in the image of Risabhanatha. The Sasanadevis are carved independently as
well as associated with Yaksha and Tirthankara in a common slab. The twenty four
Tirthankaras and their respective Sasanadevi in a series as independent figures can
only be traced at Khandagiri. In case of Sasanadevi, their attributes and marks of
cognizance usually differ from the general accepted feature according to Jaina
traditions.

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 Representation of third-eye, a typical feature very rarely found elsewhere but
noticed on the foreheads of some Chakresvari and Rohini figures of Khandagiri.
Ambika become the most popular Sasandevi in Odisha as evidenced by their findings.

Miniature figures of ganadharas and purvadharas depicted along with the

image of Adinatha in a single stone slab are noticed in the Jaina temple at Cuttack, at
Siva temple of village Panchagaon, Mangala temple of Kuansa and Gramadevati
shrine at Naguan of Jajpur district. Two more such stone tablets are also noticed at
Tarangasagarpur and Sitaleswar of Jajpur. In all such cases the figures of ganadharas
and purvadharas are carved standing in kayotsarga posture while the Tirthankara
Risabhanatha at the top of the slab seated in yogasana pose.

The Jaina quadruple is known as “chaumukha” or “sarvatobhadra pratima”,

i.e., auspicious from all sides. It represents the figure of a Tirthankara on each of the
four sides and sometimes represented only in one sides. In all such cases standing
Tirthankaras with their respective lanchanas are represented and images of
Risabhanatha, Ajitanatha, Santinatha, Parsvanatha, Chandraprabha and Mahavira are
six most popular Tirthankara invariably represented in them.

References:
1. U.P. Saha, Jaina-Rupa-Mandana, Vol.I, New Delhi, 1987, p.9.
2. S. Nagar, Iconography of Jaina Deities, Vol.I, Delhi, 1999, pp.26-30.
3. Ibid.
4. Ibid.
5. G.C. Chauley, Monumental Heritage of Orissa, Delhi, 2004, p.47.
6. Ibid.
7. S. Agrawal, ri Kh ravela, Cuttack, 2010, p.16.
8. U.P. Saha, op.cit.
9. N.K. Sahu, Kharavela, Bhubaneswar, 1984, p.315.
10. R.P. Mohapatra, Jaina Monuments of Orissa, Delhi, 1984, pp. 197-198.
11. Ibid.
12. N.K. Sahu, History of Orissa, Vol.I, Bhubaneswar, 1964, p.385.
13. S. Nagar, op.cit.
14. N.K. Sahu, Kharavela, op.cit., p.124.

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15. K.S. Behera and T.E. Donaldson, Sculpture Masterpieces from Orissa, New
Delhi, 1998, p.43.
16. Ibid., pp.43-47.
17. B.C. Bhattacharya, The Jaina Iconography, Delhi, 1974, pp.34-35.
18. K.S. Behera, op.cit., pp.48-49.
19. Ibid.
20. R.P. Mohapatra, op.cit., p. 207.
21. Ibid., pp.208-209.
22. Ibid.
23. S. Nagar, op.cit., p.95.
24. Op.cit., p.209.
25. Ibid.210.
26. Ibid.
27. R.P. Mohapatra, Udayagiri and Khandagiri Caves, Delhi, 1981, pp.175-176.
28. R.P. Mohapatra, 1984, op.cit, pp.211-212.
29. D. Mitra, Bronzes from Achutrajpur, Delhi, 1978, pp.49-50.
30. B.C. Bhattacharya, op.cit., p.65.
31. R.P. Mohapatra, 1984, op.cit., p.213.
32. U.P. Saha,op.cit, p.145.
33. Op.cit.
34. S. Nagar, op.cit., pp.107-108.
35. Ibid.
36. R.P. Mohapatra, 1984, op.cit., pp.213-214.
37. U.P. Saha, op.cit., p.148.
38. Op.cit.
39. D. Mitra, op.cit., pp.50-51.
40. S. Nagar, op.cit., p.111.
41. R.P. Mohapatra,1984, op.cit., p.215.
42. B.C. Bhattacharya, op.cit., p.50.
43. Op.cit.
44. S. Nagar, op.cit., p.113.
45. R.P. Mohapatra,1984, op.cit., p.216.
46. Op.cit., pp.114-115.

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47. R.P. Mohapatra, 1984, op.cit., pp.216-217.
48. Ibid.
49. U.P. Saha, op.cit., p.157.
50. B.C. Bhattacharya, op.cit., p.53.
51. S. Nagar, op.cit., p.120.
52. R.P. Mohapatra, 1984, op.cit., 217.
53. U.P. Saha, op.cit., p.158.
54. Op.cit., p.218.
55. U.P. Saha, op.cit., pp.159-161.
56. R.P. Mohapatra, 1984, op.cit., p. 218.
57. Op.cit., pp.161-163.
58. R.P. Mohapatra, 1981, op.cit., p.180.
59. U.P. Saha, op.cit., p.163.
60. R.P. Mohapatra, 1984, op.cit., p.219.
61. Op.cit., pp.164-170.
62. R.P. Mohapatra,1981, op.cit., p.135.
63. S. Nagar, op.cit., p.135.
64. R.P. Mohapatra, 1984, op.cit., pp.220-222.
65. Ibid.
66. G.C. Chauley, op.cit.,p.50.
67. R.P. Mohapatra,1984, op.cit., pp.222-223.
68. Ibid., pp.223-225.
69. Ibid.
70. R.P. Mohapatra, 1981, op.cit., pp.182-183.
71. Ibid.
72. B.K. Ratha, “The Unique image of Chakresvari,” OHRJ, Vol.XXIII, No.1-4,
pp.127-130.
73. Ibid.
74. B. Tripathy, “Jaina antiquities found at Ada”, in H.C. Panda (ed.),
Proceedings of Orissa History Congress, XIX Annual Session,
Bhubaneswar,1994,pp.30-35
75. R.P. Mohapatra, 1984, op.cit., pp.225-226.
76. Ibid., pp.226-227.

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77. Ibid., p.227.
78. Ibid.
79. Ibid., p.228.
80. Ibid.
81. D. Mitra, op.cit., pp.50-51.
82. R.P. Mohapatra, 1984, op.cit., p.231.
83. Ibid. p.232.
84. Ibid.233.
85. K.S. Behera, op.cit., p.52.
86. R.P. Mohapatra, 1984, op.cit., p.236.

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