Jain iconography

ICONOGRAPHY OF THE JAIN IMAGES IN THE GOVERNMENT MUSEUM, CHENNAI (Madras): Dr. R. Kannan and K. Lakshminarayanan; Published by the Commissioner of Museums, Government Museum, Chennai-600008. Rs. 200.

THE GOVERNMENT Museum at Egmore in Chennai is not only one of the oldest in India but also one of the richest in its cultural context. It has become world-famous particularly because of its superb collection of sculptures and bronzes from different parts of Southern India as seen in the Amaravathi and the Bronze galleries.

Since the old Madras Presidency covered a vast area including Andhra Pradesh and parts of Karnataka and Kerala, its collections included artefacts from those areas also.

A separate section in the Museum is allotted to display the Jain sculptures and inscriptions. The authors have done a great service by bringing out this well-informed, carefully researched and amply illustrated monograph on the collection of Jain sculptures and bronzes in the Museum, which was long overdue.

The iconography of the Jain images is explained in the context of mythology, literature and history. Parallels are drawn with the monuments and sculptures of Buddhism and Hinduism.

The background account includes the origin of Jainism, the role of the Tirthankaras, particularly the last among them, Mahavira, and his teachings with great emphasis on Ahimsa and also the spread of Jainism to other parts of the country, particularly South India; the appearance of sectarian differences like the Digambaras and the Svetambaras and their respective theologies and philosophy, and rituals.

The advent of Jainism since the time of the arrival of Chandragupta Maurya in Sravanabelagola (Karnataka) and its further spread to Tamil Nadu during the Sangam Age and the Jain contributions to Tamil literature and lexicography are well known.

There were many flourishing Jain centres in Tamil Nadu like Tirupparuttikunram (Jina-Kanchi), Tirumalai (near Tiruvannamalai), Sittanavasal, Sithamur near Tindivanam.

The sculptures and bronzes described here have come from different parts of South India, even from remote villages and include the following: Tirthankaras like Parsvanatha, Suparsvanatha, Ajitanatha (from Peddatumbalam, Bellary dt.) Mahavira, goddesses like Chakrasvami and Jinavani (from Salukkai in Tamil Nadu), and several Yakshis.

The bronze figure of Yakshi Ambika from Singanikuppam (near Tindivanam) is one of the best of its kind. The sculptures of Chaumukh Thirthankaras on circular pedestals (Panivattam) and inscriptions from Danavulappadu in Andhra Pradesh belonging to the 10th century are indeed unique.

The collection includes several Nishidhi pillars or memorial stones erected for the Jain ascetics who performed "Sallekhana" sacrifice.

The authors have described each and every figure, its iconography, date and style and also its religious significance.

Explanations of many concepts like Pancha Parameshtis, 16 Mahavidhyas, Ashtamangalas, Yakshi cults are precise and would be helpful for the lay public to appreciate the theological symbolism.

The beautiful colour illustrations in good art paper bring out the beauties of the sculptures and bronzes in their true perspective.

This is a valuable work to understand the contributions of the Jains to artistic and cultural heritage of South India.

K. V. RAMAN

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