Iconographic distinctiveness and sacred veneration: Exploring some of the ancient pratimās of Jina Śrī Ṛṣabhadeva
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The veneration of Jina Śrī Ṛṣabhadeva, also known as Ṛṣabhanātha or Śrī Ādinātha Bhagavān, occupies a central place in the Jain tradition. As the first Tīrthaṅkara, his pratimās (idols) are revered in hundreds of temples across India, reflecting his profound spiritual and cultural significance. These sacred spaces are not only centres of worship but also repositories of rich artistic heritage, housing ancient and exquisite pratimās (idols) that exhibit distinct iconographic features.
According to Śvetāmbara Jain texts such as the Triṣaṣṭiśalākāpuruṣacaritra, during the dīkṣā (initiation) of Jina Ṛṣabhadeva, the Saudharma Indra requested the Jina not to pluck the locks of hair falling behind his ears, as they enhanced his divinity[1]. Consequently, the iconography of Jina Ṛṣabhadeva is distinct from that of other Tīrthaṅkaras, as his pratimā’s often depict flowing locks of hair. A text named Padma Purāṇa by Ācārya Ravisena, also references these locks, describing them as “blowing in the wind, resembling smoke emerging from the fire burning karmas.” Even non-Jain texts like the Bhāgavata Purāṇa mention the locks of hair of Jina Ṛṣabhadeva[2].
Notable and ancient Jain Śvetāmbara temples dedicated to Jina Śrī Ṛṣabhadeva include Kāṅgra in Himachal Pradesh; Pūrīmatāla (Prayāgraj, formerly known as Allāhābād) in Uttar Pradesh; Nālandā, and Rājagṛha in Bihār; Kāṭhgola (Murshidābād) in West Bengal; Bīkāner, Māṇḍalgaṛh, Nāgaur, Gāṅgānī, Amarsāgar, Keśariyājī, Āyād, Dūṅgarpur, Nāghyād, Devakulapāṭaka, Rāṇakpur, Sirohī, Citrakūṭ, Lotanā, Piṇḍwāḍā, Mt. Ābu (Dilwāra), and Ācalgaḍh in Rajasthan; Śatruñjaya, Una Uparīyalājī, Vāmaj, Kāvī, and Jhāgaḍiyājī in Gujarat; Talanpur, Dhār, Biṁbdāud, and Bādnawar in Madhya Pradesh; Koḷanupāka & Pēdamiram in Telangana and Pūzhal in Tamil Nadu.
This paper will primarily focus on some of these ancient pratimās with unique iconography and delve into their historical significance. Of particular interest are the pratimās which stand out due to their distinctive artistic and iconographic elements. By examining these unique representations of Jina Śrī Ṛṣabhadeva, this study aims to shed light on the regional variations in the depiction of the Tīrthaṅkara and explore the cultural and historical contexts that shaped these extraordinary pratimās.
Special Note: This research paper has been published in the "Ṛṣabhāyana: Bhāratīya Saṁskṛti ke Puroddhā" compendium launched on October 19, 2024, during the seminar under the same name organized by the Government of Gujarat and LVJST (Labdhi Vikram Jan Sevā Trust), in the presence of revered Ācārya Śrī Yaśovarmasūrīśvarajī Mahārāj Sāheb, other noble Gurubhagavantas, eminent scholars, and researchers.
(1) Pratimā of Śrī Ādinātha at Nāgarkot, Kāṅgra
Within the historic Nāgarkot Fort, situated in Kāṅgra, Himachal Pradesh, lies a shrine dedicated to Jina Ādinātha. Perched on a hillock between the Mañjhī and Baṅgāṅgā rivers in the foothills of the Dhaulādhār range, this site was once a vibrant centre of pilgrimage. However, the tīrtha fell into obscurity following significant historical upheavals, particularly the devastating earthquake of 1905. The fort and its remnants were largely neglected and remained under government possession until Ācārya Śrī Vijayavallabhasūriśvarajī rediscovered the site, guided by the scripture Vigyāpti Triveṇī[3].
Amidst the ruins of several Jain structures within the fort, the pratimā of Jina Śrī Ādinātha was discovered in the Indreśvara temple. This statue, depicting the first Tīrthaṅkara in Padmāsana mudrā (lotus posture), was later installed in an independent shrine in 1978, thanks to the dedicated efforts of Sādhvī Mṛgāvatī Śrījī from the Ācārya Śrī Vijayavallabhasūriśvarajī Samudāya. Currently under the care of the Archaeological Survey of India, the shrine allows Jains the right to worship.
The pratimā, crafted from grey granite, stands 39.5 inches tall and 31 inches wide (figure 1). It portrays Jina Ādinātha in a calm and serene meditative state. Over time, some features of the statue have been smoothened, but its core characteristics remain intact. The lañchana (emblem) of a bull is carved in the center of the pedestal, unmistakably identifying the deity as Ādinātha. The emblem is framed by an inscription and delicate patterns. Particularly notable are the long, non-jeweled earlobes and the gracefully carved curled locks of hair cascading over the shoulders. The presence of a delicate conical śrīvatsa in the center of the chest further enhances the divinity of the sculpture.
Interestingly, while this pratimā lacks the kāṭīsūtra/kaṇḍora and kacoṭa[4] (depictions of clothing typically associated with Śvetāmbara iconography), it is not attributable to the Digambara sect. The inscription on the pedestal explicitly references Ācārya Abhayacandra of the Rājakula Gaccha, a monastic lineage linked to the Śvetāmbara tradition, confirming its Śvetāmbara affiliation.
A local legend enriches the significance of this shrine. It is said that King Suśarmachandra of Kāṅgra once took a vow to abstain from food until he had the darśana of Lord Ādinātha at the Śatruñjaya Tīrtha in Gujarat. To save the king from starvation, Ambikā Devī, miraculously manifested this temple and the pratimā of Lord Ādinātha at the king’s fort. However, the historical context is clarified by an eight-line inscription found on the pedestal, written in old Śāradā script. The inscription dates the installation of this pratimā to (Laukika) Saṁvat 30, which corresponds to 845 CE. According to the inscription, the statue was installed by Kuṇḍalaka and Kumāra under the guidance of Muni Amalcandra, a disciple of Ācārya Abhayacandra of the Rājakula Gaccha. This inscription was later edited by G. Bühler and noted by Sir John Marshall, providing valuable insight into the pratimā's historical and religious significance.
ओम् सवत् ३० गच्छे राज कुले सूरि भू च (द) – भयचंद्रः (।) तच्छिष्यो मलचन्द्राख्य (स्त) – त्पदा (दां) भोजषटपदः (।।) सिद्धराजस्ततः ढङ्ग – ढङ्गादजनि (च) ष्टकः । रल्हेति गृहि (णी) (त) –(स्य) पा-धर्म-यायिनी । अजनिष्ठां सुतौ ।
(तस्य) ां (जैन) धर्मध (प) रायणी । ज्येष्ठः कुंडलको (भ्र) ा (ता) कनिष्ठः (कुमाराभिधः । प्रतिमेयं (च) –जिना…་नुज्ञया । कारिता.......................... (।। )[5]
(2) Pratimā of Śrī Ādināthaji at Nahātāoṅ kā Mohallā, Bīkāner
Located within Nahātāoṅ kā Mohallā in the historic city of Bīkāner, this ancient pratimā of Śrī Ādinātha Bhagavān holds a special place in Jain worship, revered as the “Śatruñjaya Tīrthāvatarā.” Its significance and distinctiveness make it an unparalleled representation of the Tīrthaṅkara[6].
The 6-foot-long pratimā (figure 2), meticulously carved from marble, exhibits several unique features that distinguish it from other depictions of Jina Ādinātha. Its round face is notably accentuated by extra-large metallic cakṣus (eyes), shaped in an irregular triangular form, giving the statue an imposing presence. Another distinguishing characteristic is the hair; rather than the typical long flowing locks that cascade down the shoulders, this pratimā depicts smaller, fewer strands of hair—an elegant artistic interpretation.
The chest of the pratimā prominently displays a protruding śrīvatsa. The lañchana (emblem) of a bull, identifying the deity as Ādinātha, is intricately sculpted in the middle of the pedestal below the kacoṭa. Additionally, the fingers and toes of the statue are finely detailed, with even the nails rendered in sharp, prominent relief. Of particular note is the exaggerated sharpness of the nails on the right and left toes, along with the unusual spacing between each finger, which is large enough to accommodate rose petals during devotional offerings.
An intriguing aspect of this pratimā is its size, which exceeds that of the gate to the sanctum. This suggests that the statue was carved within the sanctum itself, rather than being brought in from elsewhere, as is typically the case. The idols of Bharata Cakravartin and Marudevā Mātā on an elephant, traditionally placed outside the sanctum, are installed diagonally opposite the pratimā, further emphasizing the unique layout of the shrine.
According to a detailed inscription located on the pedestal (reproduced below), this pratimā was installed in Vikrama Saṁvat 1662, which corresponds to 1605 CE. The installation was overseen by the esteemed Yugapradhān Ācārya Śrī Jinacandrasūriśvarajī Mahārāja of the Kharatara Gaccha[7] lineage.
॥ संवत् १६६२ वर्षे चैत्र बदि ७ दिने विक्रमनगरे ॥ महाराजाधिराज महाराजा श्रीरायसिंह जी विजयराज्ये । श्रीविक्रमनगरवास्तव्य खरतरसकल श्रीसंघेन श्रीआदिनाथबिंबं कारितं प्रतिष्ठितं श्री गुरूपदेशादेवयावज्जीवषाण्मासिकजीवामारिप्रवर्तक सकलजैन-सम्मत श्रीशत्रुंजयादिमहातीर्थकरमोचन स्वदेश-परदेश-शुल्क-जीजियादिकरनिवर्त्तन दिल्लीपतिसुरत्राणश्रीअकबरसाहिप्रदत्तयुगप्रधानविरुदधरैः संतुष्टसाहिदत्ताषाढीयासदमारि स्तंभ-तीर्थीय समुद्रजलचरजीवजातसंरक्षणसमुद्भूतप्रभूतयशसंभारैः वितथतया साहिराजसमक्षं निराकृतकु मतिकृतोत्सूत्रासत्यवचनमयप्रवचनपरीक्षादिशास्त्रव्याख्यानविचारैः विशिष्टः स्वेष्टमंत्रादिप्रभा-वप्रसाधितपंचनदीपतिसोमराजादियक्षपरिवारैः श्रीशासनाधीश्वर-वर्द्धमानस्वामीपट्ट-प्रभाकर पंचमगणधर श्रीसुधर्मस्वामीप्रमुखयुगप्रधानाचार्याविच्छिन्नपरंपरायात श्रीचन्द्रकुलाभरण। दुर्लभराजमुखो-पलब्ध खरतरविरुद श्रीजिनेश्वरसूरि- श्रीजिनचन्द्रसूरि-नवांगीवृत्तिकारक स्तंभनकपार्श्वनाथ- प्रतिमाविर्भावक श्रीअभयदेवसूरि-श्रीजिनवल्लभसूरि- श्रीजिनदत्तसूरि-पट्टानुक्रमसमागत सुगृहीतनामधेय श्रीश्रीश्री जिनमाणिक्यसूरिपट्टप्रभाकरैः सदुपदेशादादिम एव प्रतिबोधित सलेमसाहिप्रदत्तजीवाभयथर्म- प्रकरैः। सुविहितचक्रचूडामणि युगप्रधान श्रीजिनचन्द्रसूरिपुरंदरैः। शिष्य श्रीमदाचार्य जिनसिंहसूरि ।। श्री- समयराजोपाध्याय वा० हंसप्रमोद गणि ॥ सुमतिकल्लोल गणि वा० पुण्यप्रधान गणि....... सुमतिसागर प्रमुखसकलसाधुसंघसपरिकरैः श्रीआदिनाथबिंबं ।[8]
(3) Pratimā of Śrī Nābhinandana at Gāṅgānī, Rajasthan
Located 35 kilometers south of Jodhpur, in the town of Gāṅgānī, Rajasthan, stands an extraordinary metal pratimā of Jina Śrī Ādinātha, dating back to the 9th century CE. Though the temple where this sculpture is housed is dedicated to Jina Śrī Chintāmaṇi Pārśvanātha, this particular pratimā of Jina Śrī Ādinātha, known as "Sarvadhātumaya Nābhinandana," has become highly revered due to its historical significance and unique stylistic elements that hint at the influence of the Vasantagaḍh School of artistry.
The pratimā, depicted in the padmāsana mudrā (figure 3), sits majestically on a throne adorned with a Dharmacakra, flanked by two lions. Above the throne, an inverted lotus rises elegantly, resting on an intricately carved rug of metal, showcasing the craftsmanship of the era. Two smaller lotuses, placed on either side of the throne, once likely served as the seats for the śāsanadevīs Gomedhā and Ambikā, though these figures are now missing from the composition. The silver-inlaid pedestal of the pratimā further enhances its beauty, with delicate, conical designs and fine linear patterns that reflect the intricacy typical of early Jain art.
The facial features of the pratimā are notable for their lack of emotion, a characteristic common to early Jain sculptures that aim to express serenity and detachment from worldly affairs. The eyes of the Jina are represented by glass cakṣus, while the gracefully flowing locks of hair cascade down the shoulders, adding a sense of fluidity and naturalism to the form. While the typical lañchana is absent, a small conical śrīvatsa symbol is present on the chest.
The parikara[9] of the pratimā is an elaborate composition, featuring two smaller Jinas seated in padmāsana mudrā,. The bhāmaṇḍala extends from the waist of the Jina to the height of the ears, symbolizing the radiant aura of enlightenment. Delicate vine motifs and intricate patterns are depicted along both sides of the parikara, highlighting the level of detail and skill that went into the creation of this remarkable piece.
The inscription on the pratimā provides important historical context. According to this inscription, the pratimā was installed in Vikrama Saṁvat 937 (corresponding to 881 CE) by Ācārya Udyotanasūri, as reproduced below:-
ओं नवसु शतेष्वब्दानां सप्ततृं (त्रिं) शदधि केष्वती तेषु । श्री वच्छलांगली भ्यां । ज्येष्टायभ्यिां । परम भक्त्या ॥ नाभेय जिन स्यैषा । प्रतिमाऽषाढ़ार्द्ध मास निष्पन्ना श्री म - त्तोरण कलिता । मोक्षार्थ कारिता ताभ्यां ॥ ज्येष्ठार्य पदं प्रोप्ता द्वावपि - जिन धर्म वच्छलौ ख्यातौ । उद्योतन सूरे स्तौ ॥ शिष्यौ श्री वच्छपलदेवौ ॥ सं० ६३७ आषाढार्द्धे[10]
(4) Pratimā of Śrī Ādinātha from Vasantgarh, Rajasthan
Two exceptionally beautiful and ancient Jina pratimās, originally from the ruins of Vasantagaḍh in Rajasthan, have been relocated and installed at the Śrī Mahāvīra Svāmī 52 Jinalaya, enhancing the sanctity of the town of Pindwāṛā, Rajasthan. Vasantagaḍh, an ancient site in the Sirohī district, was historically significant for copper mining and smelting. It was renowned for its sophisticated alloy sculpting arts, which utilized one of the oldest known techniques for metal casting: the lost-wax method (cire perdue), a practice still in use today[11].
Both pratimās (figure 4) exhibit remarkable similarities in their casting and structure. One represents Śrī Ādinātha, the first Tīrthaṅkara, and the other Śrī Śāntinātha, the 16th Tīrthaṅkara. These statues are cast in pañcadhātu, an alloy of five metals, which traditionally holds religious significance for Jain and Hindu iconography. The pratimās are depicted in the kāyotsarga mudrā—a standing meditative posture symbolizing detachment from the physical world—showcasing the dhyāna magna svarūpa (deeply meditative state) of the Tīrthaṅkaras.
The pratimā of Jina Śrī Ādinātha is notable for its precise dimensions, measuring 42 inches in height and 12 inches in width, standing on a pedestal that is 10 inches high and 14 inches wide. The sculpted pleats of the clothing are intricately detailed, with a complexity that surpasses even the famed Akota bronzes, which are well-known for their artistic merit. Particularly noteworthy are the flowing locks of hair on both sides of the figure, as well as the exquisitely carved eyelids, which enhance the serene expression of deep meditation, a detail rarely captured with such finesse in other Jain pratimās.
A shared inscription for both twin pratimās has been inscribed on one of them in five lines of Sanskrit, dating to Vikrama Saṁvat 744 (688 CE). Additionally, it includes the name of the sculptor, “Śivnāga,” a rare detail in Jain iconography, where the identity of the artist is often left unrecorded:
ॐ नीरागत्वादिभावेन, सर्वज्ञत्वविभावकं । ज्ञात्वा भगवतां रूपं, जिनानामेव पावनं।। द्रो-वयक यशोदेव... भिः रिदं जैनं कारितं युग्ममुत्तमं ॥ भवशतपरंपराज्जित-गुरुकर्म्मरसा (जो) तवर दर्शनाय शुद्ध सम्झान चरणलाभाय ॥ संवत ७४४ । साक्षात्पितामहेनेव विश्वरूपविधायिना । शिल्पिना शिवनागेन, कृतमेतज्जिनद्वयम् ॥[12]
The historical and artistic value of these pratimās is immense. Not only do they represent the technical prowess of early alloy casting in Vasantagaḍh, but they also serve as a link to the region’s religious history, offering insights into the metallurgical and devotional practices of early medieval Jain communities. The detailed craftsmanship, combined with the rare mention of the sculptor’s name, elevates these pratimās to the status of cultural treasures, continuing to inspire awe and devotion.
(5) Pratimā of Śrī Ādinātha from Arbudachala (Mt. Abu), Rajasthan
This mesmerizing pratimā of Jina Śrī Ādinātha (figure 5) is located in the 20th subsidiary shrine (Dehri) of the Pradakṣiṇā at the renowned Vimala Vasahi Jinalay, Mount Abu. The temple, part of the famous Dilwara Temples complex, is the first of the cluster and stands as a pinnacle of Jain architectural and artistic achievement. Carved from black stone, the pratimā is known for its divine aura, with many sādhus, sādhvīs, and sādhakas choosing to meditate before the sacred figure of Jina Śrī Ādinātha.
Initially, the absence of a lañchana (emblem) led people to believe that the pratimā represented Jina Śrī Munisuvrata, as it was sculpted in black stone, traditionally associated with the 20th Tīrthaṅkara. However, the characteristic locks of hair flowing down to the shoulders, a distinctive iconographic feature of Jina Śrī Ādinātha, provided the necessary clues for correct identification.
The pratimā is seated on an intricately carved pedestal, showcasing typical medieval-style patterns that are attributed to Sampratikālin Jina sculptures. However, the original pedestal, which likely carried further details of iconographic significance, has since been replaced by a newer one that prominently features a lañchana, reaffirming its identification. The parikara is supported by two finely crafted pillars, which uphold a large bhāmaṇḍala (halo) and makaramukha (mythical aquatic creature motifs) on both sides. Atop the structure sits a Chhatra (parasol), symbolizing divine nature of the Jina.
The pratimā is not only revered for its artistic brilliance but also holds a significant place in the lore surrounding the construction of the Vimal Vasahi Jinalay. Vimal Shah, the minister of Bhīma I, the Chaulukya king of Gujarat, is credited with building this temple in 1026 CE. According to tradition, the landowners of Arbudachal hill (Mount Abu), who were non-Jain priests, refused to sell the land for the temple's construction, claiming that the area was not historically a Jain pilgrimage site. In response, Vimal Shah fervently prayed to Ambikā Devī, the protective goddess of the Jains, and undertook the severe Attham Tapa (a three-day penance).
Ambikā Devī appeared to him in a vision, directing him to excavate a specific location under a tree. The next day, when the site was excavated, the beautiful black stone pratimā of Jina Śrī Ādinātha was unearthed, much to the amazement and disbelief of the non-Jain landowners. The revelation of this idol, in line with Jain Śvetāmbara iconography, established that Arbudachal hill had indeed been a Jain pilgrimage site in ancient times. In gratitude, Vimal Shah rewarded the landowners generously by covering the land in square-shaped gold coins, ensuring that no space was left uncovered.
The pratimā, found before the construction of the temple in 1026 CE, is thus significantly older, predating the temple by an undetermined but substantial period[13].
(6) Chovīsi of Śrī Ādinātha from Nāgahyad (Nāgda), Rajasthan
One of the rare and exquisite chovīsis (clusters of the 24 Tīrthaṅkaras) carved in stone, this remarkable piece showcases all 24 Tīrthaṅkaras with Śrī Ādinātha as the central deity. Located in the town of Nāgda near Udaipur, Rajasthan, this chovīsi is a striking example of Jain art, housed within the tīrtha known as Adbhutji, which is dedicated to Jina Śrī Śāntinātha. Nāgda is also notable for its association with the composition of the Śāntikaram Stotra by Ācārya Śrī Munisundarasūri, further enhancing its religious significance. The pratimā carved from black stone can be dated to the same period as the mūlanāyaka (primary idol) of the temple, around 1438 CE[14].
At the heart of the chovīsi (figure 6), Jina Śrī Ādinātha is seated in padmāsana flanked by two Cāmaradharas (Indras holding fly-whisks). The elaborate parikara surrounding the main idol features the Aṣṭamahāprātihāryas—eight auspicious symbols, including deities arriving on elephants, flower garlands, and the Tri-Chatra (three-tiered parasol), symbolizing the divinity and auspiciousness of the Tīrthaṅkara. The idol is seated atop an inverted lotus, and the pedestal beneath the kacoṭa displays intricate carvings.
Encircling the central pratimā of Śrī Ādinātha are eight Tīrthaṅkaras, with four on each side, adding to the visual symmetry and balance of the composition. Subsidiary shrines on the sides house individual Tīrthaṅkaras, further enhancing the complexity and grandeur of the design. The uppermost part of the chovīsi resembles a śikhara (temple tower) structure, where eleven additional Tīrthaṅkaras are positioned, with Jina Śrī Pārśvanātha (identifiable by the snakehoods) placed centrally.
The pedestal also features an intricately carved Dharmacakra (Wheel of Dharma), flanked by two lions. Yakṣa and Yakṣis (attendant deities) are depicted on either side of the lions. This beautifully crafted chovīsi not only serves as a visual representation of all 24 Tīrthaṅkaras but also stands as a testament to the skill and artistic achievement of Jain sculptors during the 15th century.
(7) Pratimā of Marudevā-nandana Śrī Ādinātha from Nālandā, Bihār
Nalanda, historically known for its ancient university, is also an important site in Jain history. Located approximately 15 kilometers from Rajgir, it is revered as the birthplace of three of Jina Śrī Mahāvīra’s eleven principal disciples (gandhars): Indrabhūti Gautama, Agnibhūti, and Vāyubhūti. Alongside the ruins of Nalanda University stands a Śvetāmbara Jain temple, which houses one of the most rare and distinctive pratimās of Jina Śrī Ādinātha, showcasing unique iconographic features not observed elsewhere in Jain art.
This extraordinary pratimā, (figure 7) carved from black stone, portrays Jina Ādinātha in a meditative posture (padmāsana) beneath a smaller figure of Māta Marudevī, his mother, who is depicted seated above the chatras at the top of the sculpture. The iconography of Māta Marudevī atop the pratimā is unusual and significant, as it emphasizes her revered status in the life of Jina Ādinātha.
Below her figure, an intricate and elaborate jaṭādhārī (matted hair) styling of Jina Ādinātha further accentuates the divinity of the sculpture. The main figure is distinguished by long locks of hair cascading from the head of Jina Śrī Ādinātha down past his shoulders to his arms. The pratimā sits gracefully on a kamala āsana (lotus seat). Below this, an exquisitely carved lañchana of a bull, the emblem of Jina Śrī Ādinātha, occupies the space on the pedestal, serving as a clear identifier of the Jina's identity.
Flanking the Jina's head, two male figures riding elephants are depicted descending from the heavens. These figures represent the deity Indra, who, in Jain tradition, is said to anoint the tīrthaṅkara with celestial waters at the time of their birth and enlightenment. Each Indra holds a kalasha (vessel) in both hands, symbolizing this sacred ritual. Above the head of Jina Śrī Ādinātha, three chatras are depicted, while gandharvas (celestial beings) on either side of the umbrellas hold garlands of flowers, offering them to the Jina as a mark of devotion.
The entire sculpture exudes a sense of divine grandeur, with each element carefully crafted to highlight the supreme spiritual status of Jina Ādinātha. The detailed and intricate carvings on the parikara, along with the unique presence of Māta Marudevī and the celestial figures, make this pratimā a rare and significant artifact within Jain iconography. Based on the stylistic features, and the overall composition, this undated sculpture is likely to have been crafted no later than the 10th century CE, making it a remarkable example of medieval Jain art[15].
(8) Pratimā of Śrī Maṇikyasvāmi at Koḷanupāka
One of the most ancient and revered pratimās of Jina Śrī Ṛṣabhadeva is located in the village of Koḷanupāka, also known as Kulpākjī, in Aler, approximately 80 kilometers from Hyderabad, Telangana. This pratimā, known as Maṇikyasvāmi[16] (figure 8), is an exquisite example of early Drāviḍian Jain art, carved from black stone, likely granite. The depiction of the Jina in the Ardha Padmāsana (half-lotus posture) without a parikāra (backdrop) is noteworthy. The pratimā measures 38.5 inches in height, including the bhāmaṇḍala (halo), and 34.5 inches in width[17], presenting broad shoulders, robust legs, and shorter earlobes that do not extend to the shoulders—an unusual feature in the iconography of Jina Ṛṣabhadeva.
A key aspect of this pratimā is its stylistic simplicity, as it lacks the typical lañchana (identification mark) of a bull and the flowing locks of hair often associated with Jina Ṛṣabhadeva. The absence of these elements sets this icon apart from similar representations, though the kāṭīsūtra, a string-like ornament carved just below the navel, clearly indicates that this idol belongs to the Śvetāmbara tradition of Jainism. Despite its minimalist approach, the pratimā exemplifies the elegance and restraint characteristic of Drāviḍian art.
While the exact date of the pratimā’s creation remains unknown, a rich traditional account is linked to its history. According to the 14th-century text Vividhatīrthakalpa, composed by Ācārya Jinaprabhasūri, the pratimā was originally created by Bharata, the son of Jina Śrī Ṛṣabhadeva, from a precious gemstone known as Mārakata Maṇi (emerald). It is further believed that the pratimā was worshipped by Mandodarī, the queen of Rāvaṇa. Over the centuries, the idol disappeared and was later recovered from the sea in the 12th century CE by Śaṅkara, a ruler of the Kalacuri dynasty from Kalyāṇi in Karnataka. It is said that Śaṅkara used the sacred water from the abhiṣeka of this pratimā to cure an epidemic that had afflicted his kingdom. Following this miraculous event, the pratimā was ceremoniously installed at Koḷanupāka, where it has been revered ever since[18]. Based on this traditional history, it is plausible to date the creation of the pratimā to a period prior to the 12th century CE.
In 1710 CE, the pratimā underwent reinstallation by Ācārya Vijayaratnasūri, of the Tapāgaccha[19] lineage. An inscription beneath the pratimā records this event, providing the names of both the Mughal emperor of the time and the local subedār, further adding to the historical significance of the artifact. The inscription is reproduced below for reference –
स्वस्ति श्रीमत्पदांभोजमेजुषां सम्मुखी सदा । तस्मै देवाधिदेवाय श्रीआदिप्रभवे नमः ॥ संवत १७६७ वर्षे चैत्र शुद्धदशमी पुष्यार्कदिने विजयमुहूर्ते श्रीमाणिक्यस्वामिनाम्नः आदीश्वरभगवतो बिंबरत्नं प्रतिष्ठितं। दिल्लीश्वर पातशाह श्रीओरंगजेब आलमगीर पुत्र पातशाह श्रीबहादरशाह विजयराज्ये सुब्बादार नव्वाच महमदयुसुफखानबहादरसहाय्यात् तपागच्छे भट्टारकश्रीविजयप्रभसूरि शिष्य भ० श्रीविजयरत्नसूरिवरे सति पंडितश्रीधर्मदुःशीलगणिशिष्य पंडितकेसरकुशलेन चैत्योद्धारश्च कृतः... केन प्राकारः कारितः । शाके १६३३ प्रवर्तने ॥[20]
(9) Pañcatīrthī Pratimā of Śrī Keśariyanātha at Kolkata, West Bengal
In the bustling metropolis of Kolkata, lies a hidden gem: the ancient pratimā of Śrī Keśariyanātha Pañcatīrthī. One does not associate Jain heritage with Kolkata; however, several temples in Kolkata house a diverse collection of Jina images made from metal, gemstone, and stone, which were transported from various regions of the country and installed in these shrines. This extraordinary icon of Jina Ādinātha is housed in the Śvetāmbara Pañcāyati Mandir, Tulapatti (Burrabazar), and exemplifies a rich blend of artistic styles and iconographic features rarely found elsewhere.
The pratimā (figure 9) portrays Jina Ādinātha seated in padmāsana (lotus posture), exuding a serene and tranquil expression. The central figure is flanked by two chauri-bearer Indras, depicted in their traditional role of attendants to the Tīrthaṅkara. The Lord is seated on an intricately carved throne, resting upon a richly detailed metallic rug. The base of the throne is supported by two lions, while a small dharmacakra is placed on the pedestal below. The pedestal also features depictions of the Navagrahas (nine planetary deities) and a Śrāvaka-Śrāvikā (male and female devotees) pair, possibly representing the commissioners of the pratimā.
On either side of the pedestal are the figures of Gomedhā and Ambikā, and the throne is flanked flanked by the Śāsanadeva and Śāsanadevī. Above the chauri-bearer Indras are vertical columns containing niches where two Jinas are depicted in kāyotsarga mudrā (standing posture of meditation). Above these figures, two more Jinas are seated in padmāsana mudra. The pratimā’s parikara is crowned by an elaborate torana (arched gateway), adorned with intricately carved gandharvas (celestial beings) bearing flowers, elephants, and a row of smaller seated figures, likely representing deities or celestial beings. At the centre of this ornate arch is a niche containing another Jina seated in padmāsana mudrā, providing a focal point for the cosmic arrangement. The parikara also features traditional motifs, including the makarāmukha. Above the arch and chatra (parasol), a kalasha sits as a symbol of abundance and prosperity.
An interesting element of this pratimā is the subtle incorporation of Buddhist artistic influences, particularly in the detailing of the figures. The detailed carvings, intricate patterns, and multi-layered composition reflect the high level of craftsmanship and the syncretism of artistic traditions prevalent during the time of its creation.
The pratimā also carries historical significance through its inscription, which indicates that it once served as the mūlanāyaka (principal deity) of a Jain temple. The inscription, dated to Vikrama Saṁvat 1083 (corresponding to 1027 CE), is reproduced - ऋषभनाथप्रतिमाऽयं मूलनायक सम्वत् १०८३ वै० सु० १५ ।।[21]
(10) Pratimā of Śrī Ādinātha at Nathnagar, Bihar
This remarkable pratimā of Jina Śrī Ādinātha, currently housed at the Shri Champapur Digambar Jain Siddhakshetra Mandir, was retrieved from the Ganga River near Nathnagar, Bihar. Crafted from dark stone, likely black schist, a material commonly used during the Pāla period (8th to 12th century CE) in Bihar and Bengal, the sculpture exhibits the smooth contours and refined details characteristic of Pāla art.
The Jina (figure 10) is depicted seated in padmāsana (lotus position), with hands placed in dhyāna mudrā, palms facing upwards in the lap. The serene, meditative expression of the Jina's face is accentuated by the nāsāgra driṣṭi, where the eyes are gently directed towards the tip of the nose. This gaze enhances the sense of deep concentration and inner stillness, characteristic of the meditative state of the Tīrthaṅkara. The earlobes are gracefully elongated, reinforcing the pratimā's portrayal of spiritual transcendence.
A distinct hairline separates the forehead from the meticulously rendered hair, which is styled with exceptional intricacy. The hair is elegantly pulled back and tied in the middle, forming two layers of flowing locks that fall beautifully onto the shoulders. Each layer of hair is carved with precision, creating a sense of depth and texture that contrasts with the smooth, calm face of the Jina. The figure is depicted without any visible clothing.
The pratimā rests on an ornate pedestal shaped like an inverted lotus. The lañchana (emblem) of a bull, is prominently displayed on both sides of the Dharmachakra at the center of the pedestal. Flanking the bulls are small figures of a śrāvaka and śrāvikā holding kalashas (vessels) for the abhiṣeka (ritual anointing), possibly representing the commissioners of the pratimā. The parikara (backdrop) features two flying gandharvas, divine attendants bearing chauris (fly-whisks), signifying reverence. Above the Jina's head, a three-tiered chatra (parasol) is depicted.
This pratimā, with its intricate details and distinctive iconography, reflects the artistic mastery of the Pāla period and its significance associated with Jina Ādinātha in Jain tradition.
References
[1] The Jain Sāga, Part 1, Muni Śrī Saṁvegyaśvijaya, p. 99
[2] Lord Ṛṣabha, the first Jina, Ṛishabh Malaiya, Colorado State University
[3] Ātmā Vallabh Smārikā, Guru Vallabh aur Kāṅgra Tīrtha, Śāntilāl Nahār, Sec. 2, p. 27
[4] The kaṇḍora or kāṭīsūtra refers to the waistband, while the kacoṭa represents the pleats of the loincloth on the lower half of Tīrthaṅkara pratimā. Śvetāmbara monk Upādhyāya Dharmasāgar, in his work Pravacana Parīkṣā, documents a dispute over the ownership of Jain temples at Mt. Girnar during the time of Ācārya Bappabhaṭṭisūri (743–838 CE). To prevent further conflicts, the Śvetāmbaras began the practice of depicting Tīrthaṅkaras with carvings of kacoṭa and kaṇḍora.
[5] Nāgarkot Kāṅgḍā Mahātīrtha (Ek Śodha), Śrī Bhāṅvarlāl Nahatā, p. 18
[6] Bīkāner ke Darśanīya Jain Mandir, Āgarcand Nāhatā, p. 6
[7] A monsastic order established by Ācārya Jineshvarasuri in 11th century CE
[8] Kharatara Gaccha Pratiṣṭhā Lekha Saṅgraha, Mahopādhyāya Vinayasāgara, p. 217
[9] Attached Panel behind the Pratimā displaying the Aṣṭa-prātihārya and attendant deities of a Tīrthaṅkara
[10] Śrī Jain Śvetāmbara Tīrtha Śrī Gāṅgānī kā Saṅkṣipta Itihāsa, p. 3
[11] The Abandoned Treasures of Vasantgarh: Art, Metal Industry and Trade. Sprin Journal of Arts, Humanities and Social Sciences, 1(12), Talesara, P., Bahuguna, A., Saini, R., & Thakar, C,. 01–17
[12] Jain Tīrtha Sarva Saṅgrah, Part 1, Section 2, Ambālāl Preṁcand Śāh, p. 234
[13] Ābu Sācitra, Bhāg 1, Śrīmad Jayantvijayji Mahārāja, p. 50
[14] Jain Tīrtha Sarva Saṅgrah, Part 2, Ambālāl Preṁcand Śāh, p. 336
[15] Jain Tīrtha Sarva Saṅgrah, Part 2, Ambālāl Preṁcand Śāh, p. 449
[16] Śrī Kulpākastha Ṛṣabhadeva Stuti, Śrī Jinaprabhasūri viracita Vividhatīrthakalpa Sacitra, Muni Śrī Ratnatraya Vijayajī & Muni Śrī Ratnajyota Vijayajī, p. 187
[17] Jain Tīrtha Sarva Saṅgrah, Part 2, Ambālāl Preṁcand Śāh, p. 397
[18] Śrī Koḷḷapāk Māṇikya Deva Kalpa, Śrī Jinaprabhasūri viracita Vividhatīrthakalpa Sacitra, Muni Śrī Ratnatraya Vijayajī & Muni Śrī Ratnajyota Vijayajī, p. 196
[19] The largest monastic order in Śvetāmbara Mūrtipūjaka tradition
[20] Jain Tīrtha Sarva Saṅgrah, Part 2, Ambālāl Preṁcand Śāh, p. 397
[21] Jain Dhātu Pratimā Lekhā, Muni Kantisāgara, p.1
According to Śvetāmbara Jain texts such as the Triṣaṣṭiśalākāpuruṣacaritra, during the dīkṣā (initiation) of Jina Ṛṣabhadeva, the Saudharma Indra requested the Jina not to pluck the locks of hair falling behind his ears, as they enhanced his divinity[1]. Consequently, the iconography of Jina Ṛṣabhadeva is distinct from that of other Tīrthaṅkaras, as his pratimā’s often depict flowing locks of hair. A text named Padma Purāṇa by Ācārya Ravisena, also references these locks, describing them as “blowing in the wind, resembling smoke emerging from the fire burning karmas.” Even non-Jain texts like the Bhāgavata Purāṇa mention the locks of hair of Jina Ṛṣabhadeva[2].
Notable and ancient Jain Śvetāmbara temples dedicated to Jina Śrī Ṛṣabhadeva include Kāṅgra in Himachal Pradesh; Pūrīmatāla (Prayāgraj, formerly known as Allāhābād) in Uttar Pradesh; Nālandā, and Rājagṛha in Bihār; Kāṭhgola (Murshidābād) in West Bengal; Bīkāner, Māṇḍalgaṛh, Nāgaur, Gāṅgānī, Amarsāgar, Keśariyājī, Āyād, Dūṅgarpur, Nāghyād, Devakulapāṭaka, Rāṇakpur, Sirohī, Citrakūṭ, Lotanā, Piṇḍwāḍā, Mt. Ābu (Dilwāra), and Ācalgaḍh in Rajasthan; Śatruñjaya, Una Uparīyalājī, Vāmaj, Kāvī, and Jhāgaḍiyājī in Gujarat; Talanpur, Dhār, Biṁbdāud, and Bādnawar in Madhya Pradesh; Koḷanupāka & Pēdamiram in Telangana and Pūzhal in Tamil Nadu.
This paper will primarily focus on some of these ancient pratimās with unique iconography and delve into their historical significance. Of particular interest are the pratimās which stand out due to their distinctive artistic and iconographic elements. By examining these unique representations of Jina Śrī Ṛṣabhadeva, this study aims to shed light on the regional variations in the depiction of the Tīrthaṅkara and explore the cultural and historical contexts that shaped these extraordinary pratimās.
Special Note: This research paper has been published in the "Ṛṣabhāyana: Bhāratīya Saṁskṛti ke Puroddhā" compendium launched on October 19, 2024, during the seminar under the same name organized by the Government of Gujarat and LVJST (Labdhi Vikram Jan Sevā Trust), in the presence of revered Ācārya Śrī Yaśovarmasūrīśvarajī Mahārāj Sāheb, other noble Gurubhagavantas, eminent scholars, and researchers.
(1) Pratimā of Śrī Ādinātha at Nāgarkot, Kāṅgra
Within the historic Nāgarkot Fort, situated in Kāṅgra, Himachal Pradesh, lies a shrine dedicated to Jina Ādinātha. Perched on a hillock between the Mañjhī and Baṅgāṅgā rivers in the foothills of the Dhaulādhār range, this site was once a vibrant centre of pilgrimage. However, the tīrtha fell into obscurity following significant historical upheavals, particularly the devastating earthquake of 1905. The fort and its remnants were largely neglected and remained under government possession until Ācārya Śrī Vijayavallabhasūriśvarajī rediscovered the site, guided by the scripture Vigyāpti Triveṇī[3].
Amidst the ruins of several Jain structures within the fort, the pratimā of Jina Śrī Ādinātha was discovered in the Indreśvara temple. This statue, depicting the first Tīrthaṅkara in Padmāsana mudrā (lotus posture), was later installed in an independent shrine in 1978, thanks to the dedicated efforts of Sādhvī Mṛgāvatī Śrījī from the Ācārya Śrī Vijayavallabhasūriśvarajī Samudāya. Currently under the care of the Archaeological Survey of India, the shrine allows Jains the right to worship.
The pratimā, crafted from grey granite, stands 39.5 inches tall and 31 inches wide (figure 1). It portrays Jina Ādinātha in a calm and serene meditative state. Over time, some features of the statue have been smoothened, but its core characteristics remain intact. The lañchana (emblem) of a bull is carved in the center of the pedestal, unmistakably identifying the deity as Ādinātha. The emblem is framed by an inscription and delicate patterns. Particularly notable are the long, non-jeweled earlobes and the gracefully carved curled locks of hair cascading over the shoulders. The presence of a delicate conical śrīvatsa in the center of the chest further enhances the divinity of the sculpture.
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| Figure 1: Śrī Ādinātha of Nāgarkot, Kāṅgra |
Interestingly, while this pratimā lacks the kāṭīsūtra/kaṇḍora and kacoṭa[4] (depictions of clothing typically associated with Śvetāmbara iconography), it is not attributable to the Digambara sect. The inscription on the pedestal explicitly references Ācārya Abhayacandra of the Rājakula Gaccha, a monastic lineage linked to the Śvetāmbara tradition, confirming its Śvetāmbara affiliation.
A local legend enriches the significance of this shrine. It is said that King Suśarmachandra of Kāṅgra once took a vow to abstain from food until he had the darśana of Lord Ādinātha at the Śatruñjaya Tīrtha in Gujarat. To save the king from starvation, Ambikā Devī, miraculously manifested this temple and the pratimā of Lord Ādinātha at the king’s fort. However, the historical context is clarified by an eight-line inscription found on the pedestal, written in old Śāradā script. The inscription dates the installation of this pratimā to (Laukika) Saṁvat 30, which corresponds to 845 CE. According to the inscription, the statue was installed by Kuṇḍalaka and Kumāra under the guidance of Muni Amalcandra, a disciple of Ācārya Abhayacandra of the Rājakula Gaccha. This inscription was later edited by G. Bühler and noted by Sir John Marshall, providing valuable insight into the pratimā's historical and religious significance.
ओम् सवत् ३० गच्छे राज कुले सूरि भू च (द) – भयचंद्रः (।) तच्छिष्यो मलचन्द्राख्य (स्त) – त्पदा (दां) भोजषटपदः (।।) सिद्धराजस्ततः ढङ्ग – ढङ्गादजनि (च) ष्टकः । रल्हेति गृहि (णी) (त) –(स्य) पा-धर्म-यायिनी । अजनिष्ठां सुतौ ।
(तस्य) ां (जैन) धर्मध (प) रायणी । ज्येष्ठः कुंडलको (भ्र) ा (ता) कनिष्ठः (कुमाराभिधः । प्रतिमेयं (च) –जिना…་नुज्ञया । कारिता.......................... (।। )[5]
(2) Pratimā of Śrī Ādināthaji at Nahātāoṅ kā Mohallā, Bīkāner
Located within Nahātāoṅ kā Mohallā in the historic city of Bīkāner, this ancient pratimā of Śrī Ādinātha Bhagavān holds a special place in Jain worship, revered as the “Śatruñjaya Tīrthāvatarā.” Its significance and distinctiveness make it an unparalleled representation of the Tīrthaṅkara[6].
The 6-foot-long pratimā (figure 2), meticulously carved from marble, exhibits several unique features that distinguish it from other depictions of Jina Ādinātha. Its round face is notably accentuated by extra-large metallic cakṣus (eyes), shaped in an irregular triangular form, giving the statue an imposing presence. Another distinguishing characteristic is the hair; rather than the typical long flowing locks that cascade down the shoulders, this pratimā depicts smaller, fewer strands of hair—an elegant artistic interpretation.
The chest of the pratimā prominently displays a protruding śrīvatsa. The lañchana (emblem) of a bull, identifying the deity as Ādinātha, is intricately sculpted in the middle of the pedestal below the kacoṭa. Additionally, the fingers and toes of the statue are finely detailed, with even the nails rendered in sharp, prominent relief. Of particular note is the exaggerated sharpness of the nails on the right and left toes, along with the unusual spacing between each finger, which is large enough to accommodate rose petals during devotional offerings.
An intriguing aspect of this pratimā is its size, which exceeds that of the gate to the sanctum. This suggests that the statue was carved within the sanctum itself, rather than being brought in from elsewhere, as is typically the case. The idols of Bharata Cakravartin and Marudevā Mātā on an elephant, traditionally placed outside the sanctum, are installed diagonally opposite the pratimā, further emphasizing the unique layout of the shrine.
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| Figure 2: Pratimā of Śrī Ādināthji at Bīkāner |
According to a detailed inscription located on the pedestal (reproduced below), this pratimā was installed in Vikrama Saṁvat 1662, which corresponds to 1605 CE. The installation was overseen by the esteemed Yugapradhān Ācārya Śrī Jinacandrasūriśvarajī Mahārāja of the Kharatara Gaccha[7] lineage.
॥ संवत् १६६२ वर्षे चैत्र बदि ७ दिने विक्रमनगरे ॥ महाराजाधिराज महाराजा श्रीरायसिंह जी विजयराज्ये । श्रीविक्रमनगरवास्तव्य खरतरसकल श्रीसंघेन श्रीआदिनाथबिंबं कारितं प्रतिष्ठितं श्री गुरूपदेशादेवयावज्जीवषाण्मासिकजीवामारिप्रवर्तक सकलजैन-सम्मत श्रीशत्रुंजयादिमहातीर्थकरमोचन स्वदेश-परदेश-शुल्क-जीजियादिकरनिवर्त्तन दिल्लीपतिसुरत्राणश्रीअकबरसाहिप्रदत्तयुगप्रधानविरुदधरैः संतुष्टसाहिदत्ताषाढीयासदमारि स्तंभ-तीर्थीय समुद्रजलचरजीवजातसंरक्षणसमुद्भूतप्रभूतयशसंभारैः वितथतया साहिराजसमक्षं निराकृतकु मतिकृतोत्सूत्रासत्यवचनमयप्रवचनपरीक्षादिशास्त्रव्याख्यानविचारैः विशिष्टः स्वेष्टमंत्रादिप्रभा-वप्रसाधितपंचनदीपतिसोमराजादियक्षपरिवारैः श्रीशासनाधीश्वर-वर्द्धमानस्वामीपट्ट-प्रभाकर पंचमगणधर श्रीसुधर्मस्वामीप्रमुखयुगप्रधानाचार्याविच्छिन्नपरंपरायात श्रीचन्द्रकुलाभरण। दुर्लभराजमुखो-पलब्ध खरतरविरुद श्रीजिनेश्वरसूरि- श्रीजिनचन्द्रसूरि-नवांगीवृत्तिकारक स्तंभनकपार्श्वनाथ- प्रतिमाविर्भावक श्रीअभयदेवसूरि-श्रीजिनवल्लभसूरि- श्रीजिनदत्तसूरि-पट्टानुक्रमसमागत सुगृहीतनामधेय श्रीश्रीश्री जिनमाणिक्यसूरिपट्टप्रभाकरैः सदुपदेशादादिम एव प्रतिबोधित सलेमसाहिप्रदत्तजीवाभयथर्म- प्रकरैः। सुविहितचक्रचूडामणि युगप्रधान श्रीजिनचन्द्रसूरिपुरंदरैः। शिष्य श्रीमदाचार्य जिनसिंहसूरि ।। श्री- समयराजोपाध्याय वा० हंसप्रमोद गणि ॥ सुमतिकल्लोल गणि वा० पुण्यप्रधान गणि....... सुमतिसागर प्रमुखसकलसाधुसंघसपरिकरैः श्रीआदिनाथबिंबं ।[8]
(3) Pratimā of Śrī Nābhinandana at Gāṅgānī, Rajasthan
Located 35 kilometers south of Jodhpur, in the town of Gāṅgānī, Rajasthan, stands an extraordinary metal pratimā of Jina Śrī Ādinātha, dating back to the 9th century CE. Though the temple where this sculpture is housed is dedicated to Jina Śrī Chintāmaṇi Pārśvanātha, this particular pratimā of Jina Śrī Ādinātha, known as "Sarvadhātumaya Nābhinandana," has become highly revered due to its historical significance and unique stylistic elements that hint at the influence of the Vasantagaḍh School of artistry.
The pratimā, depicted in the padmāsana mudrā (figure 3), sits majestically on a throne adorned with a Dharmacakra, flanked by two lions. Above the throne, an inverted lotus rises elegantly, resting on an intricately carved rug of metal, showcasing the craftsmanship of the era. Two smaller lotuses, placed on either side of the throne, once likely served as the seats for the śāsanadevīs Gomedhā and Ambikā, though these figures are now missing from the composition. The silver-inlaid pedestal of the pratimā further enhances its beauty, with delicate, conical designs and fine linear patterns that reflect the intricacy typical of early Jain art.
The facial features of the pratimā are notable for their lack of emotion, a characteristic common to early Jain sculptures that aim to express serenity and detachment from worldly affairs. The eyes of the Jina are represented by glass cakṣus, while the gracefully flowing locks of hair cascade down the shoulders, adding a sense of fluidity and naturalism to the form. While the typical lañchana is absent, a small conical śrīvatsa symbol is present on the chest.
The parikara[9] of the pratimā is an elaborate composition, featuring two smaller Jinas seated in padmāsana mudrā,. The bhāmaṇḍala extends from the waist of the Jina to the height of the ears, symbolizing the radiant aura of enlightenment. Delicate vine motifs and intricate patterns are depicted along both sides of the parikara, highlighting the level of detail and skill that went into the creation of this remarkable piece.
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| Figure 3: Pratimā of Śrī Nābhinandana at Gāṅgānī |
The inscription on the pratimā provides important historical context. According to this inscription, the pratimā was installed in Vikrama Saṁvat 937 (corresponding to 881 CE) by Ācārya Udyotanasūri, as reproduced below:-
ओं नवसु शतेष्वब्दानां सप्ततृं (त्रिं) शदधि केष्वती तेषु । श्री वच्छलांगली भ्यां । ज्येष्टायभ्यिां । परम भक्त्या ॥ नाभेय जिन स्यैषा । प्रतिमाऽषाढ़ार्द्ध मास निष्पन्ना श्री म - त्तोरण कलिता । मोक्षार्थ कारिता ताभ्यां ॥ ज्येष्ठार्य पदं प्रोप्ता द्वावपि - जिन धर्म वच्छलौ ख्यातौ । उद्योतन सूरे स्तौ ॥ शिष्यौ श्री वच्छपलदेवौ ॥ सं० ६३७ आषाढार्द्धे[10]
(4) Pratimā of Śrī Ādinātha from Vasantgarh, Rajasthan
Two exceptionally beautiful and ancient Jina pratimās, originally from the ruins of Vasantagaḍh in Rajasthan, have been relocated and installed at the Śrī Mahāvīra Svāmī 52 Jinalaya, enhancing the sanctity of the town of Pindwāṛā, Rajasthan. Vasantagaḍh, an ancient site in the Sirohī district, was historically significant for copper mining and smelting. It was renowned for its sophisticated alloy sculpting arts, which utilized one of the oldest known techniques for metal casting: the lost-wax method (cire perdue), a practice still in use today[11].
Both pratimās (figure 4) exhibit remarkable similarities in their casting and structure. One represents Śrī Ādinātha, the first Tīrthaṅkara, and the other Śrī Śāntinātha, the 16th Tīrthaṅkara. These statues are cast in pañcadhātu, an alloy of five metals, which traditionally holds religious significance for Jain and Hindu iconography. The pratimās are depicted in the kāyotsarga mudrā—a standing meditative posture symbolizing detachment from the physical world—showcasing the dhyāna magna svarūpa (deeply meditative state) of the Tīrthaṅkaras.
The pratimā of Jina Śrī Ādinātha is notable for its precise dimensions, measuring 42 inches in height and 12 inches in width, standing on a pedestal that is 10 inches high and 14 inches wide. The sculpted pleats of the clothing are intricately detailed, with a complexity that surpasses even the famed Akota bronzes, which are well-known for their artistic merit. Particularly noteworthy are the flowing locks of hair on both sides of the figure, as well as the exquisitely carved eyelids, which enhance the serene expression of deep meditation, a detail rarely captured with such finesse in other Jain pratimās.
A shared inscription for both twin pratimās has been inscribed on one of them in five lines of Sanskrit, dating to Vikrama Saṁvat 744 (688 CE). Additionally, it includes the name of the sculptor, “Śivnāga,” a rare detail in Jain iconography, where the identity of the artist is often left unrecorded:
ॐ नीरागत्वादिभावेन, सर्वज्ञत्वविभावकं । ज्ञात्वा भगवतां रूपं, जिनानामेव पावनं।। द्रो-वयक यशोदेव... भिः रिदं जैनं कारितं युग्ममुत्तमं ॥ भवशतपरंपराज्जित-गुरुकर्म्मरसा (जो) तवर दर्शनाय शुद्ध सम्झान चरणलाभाय ॥ संवत ७४४ । साक्षात्पितामहेनेव विश्वरूपविधायिना । शिल्पिना शिवनागेन, कृतमेतज्जिनद्वयम् ॥[12]
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| Figure 4: Jina Śrī Śāntinātha (left) and Śrī Ādinātha (right) from Vasantgarh, Rajasthan |
The historical and artistic value of these pratimās is immense. Not only do they represent the technical prowess of early alloy casting in Vasantagaḍh, but they also serve as a link to the region’s religious history, offering insights into the metallurgical and devotional practices of early medieval Jain communities. The detailed craftsmanship, combined with the rare mention of the sculptor’s name, elevates these pratimās to the status of cultural treasures, continuing to inspire awe and devotion.
(5) Pratimā of Śrī Ādinātha from Arbudachala (Mt. Abu), Rajasthan
This mesmerizing pratimā of Jina Śrī Ādinātha (figure 5) is located in the 20th subsidiary shrine (Dehri) of the Pradakṣiṇā at the renowned Vimala Vasahi Jinalay, Mount Abu. The temple, part of the famous Dilwara Temples complex, is the first of the cluster and stands as a pinnacle of Jain architectural and artistic achievement. Carved from black stone, the pratimā is known for its divine aura, with many sādhus, sādhvīs, and sādhakas choosing to meditate before the sacred figure of Jina Śrī Ādinātha.
Initially, the absence of a lañchana (emblem) led people to believe that the pratimā represented Jina Śrī Munisuvrata, as it was sculpted in black stone, traditionally associated with the 20th Tīrthaṅkara. However, the characteristic locks of hair flowing down to the shoulders, a distinctive iconographic feature of Jina Śrī Ādinātha, provided the necessary clues for correct identification.
The pratimā is seated on an intricately carved pedestal, showcasing typical medieval-style patterns that are attributed to Sampratikālin Jina sculptures. However, the original pedestal, which likely carried further details of iconographic significance, has since been replaced by a newer one that prominently features a lañchana, reaffirming its identification. The parikara is supported by two finely crafted pillars, which uphold a large bhāmaṇḍala (halo) and makaramukha (mythical aquatic creature motifs) on both sides. Atop the structure sits a Chhatra (parasol), symbolizing divine nature of the Jina.
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| Figure 5: Pratimā of Śrī Ādinātha from Arbudachala |
The pratimā is not only revered for its artistic brilliance but also holds a significant place in the lore surrounding the construction of the Vimal Vasahi Jinalay. Vimal Shah, the minister of Bhīma I, the Chaulukya king of Gujarat, is credited with building this temple in 1026 CE. According to tradition, the landowners of Arbudachal hill (Mount Abu), who were non-Jain priests, refused to sell the land for the temple's construction, claiming that the area was not historically a Jain pilgrimage site. In response, Vimal Shah fervently prayed to Ambikā Devī, the protective goddess of the Jains, and undertook the severe Attham Tapa (a three-day penance).
Ambikā Devī appeared to him in a vision, directing him to excavate a specific location under a tree. The next day, when the site was excavated, the beautiful black stone pratimā of Jina Śrī Ādinātha was unearthed, much to the amazement and disbelief of the non-Jain landowners. The revelation of this idol, in line with Jain Śvetāmbara iconography, established that Arbudachal hill had indeed been a Jain pilgrimage site in ancient times. In gratitude, Vimal Shah rewarded the landowners generously by covering the land in square-shaped gold coins, ensuring that no space was left uncovered.
The pratimā, found before the construction of the temple in 1026 CE, is thus significantly older, predating the temple by an undetermined but substantial period[13].
(6) Chovīsi of Śrī Ādinātha from Nāgahyad (Nāgda), Rajasthan
One of the rare and exquisite chovīsis (clusters of the 24 Tīrthaṅkaras) carved in stone, this remarkable piece showcases all 24 Tīrthaṅkaras with Śrī Ādinātha as the central deity. Located in the town of Nāgda near Udaipur, Rajasthan, this chovīsi is a striking example of Jain art, housed within the tīrtha known as Adbhutji, which is dedicated to Jina Śrī Śāntinātha. Nāgda is also notable for its association with the composition of the Śāntikaram Stotra by Ācārya Śrī Munisundarasūri, further enhancing its religious significance. The pratimā carved from black stone can be dated to the same period as the mūlanāyaka (primary idol) of the temple, around 1438 CE[14].
At the heart of the chovīsi (figure 6), Jina Śrī Ādinātha is seated in padmāsana flanked by two Cāmaradharas (Indras holding fly-whisks). The elaborate parikara surrounding the main idol features the Aṣṭamahāprātihāryas—eight auspicious symbols, including deities arriving on elephants, flower garlands, and the Tri-Chatra (three-tiered parasol), symbolizing the divinity and auspiciousness of the Tīrthaṅkara. The idol is seated atop an inverted lotus, and the pedestal beneath the kacoṭa displays intricate carvings.
Encircling the central pratimā of Śrī Ādinātha are eight Tīrthaṅkaras, with four on each side, adding to the visual symmetry and balance of the composition. Subsidiary shrines on the sides house individual Tīrthaṅkaras, further enhancing the complexity and grandeur of the design. The uppermost part of the chovīsi resembles a śikhara (temple tower) structure, where eleven additional Tīrthaṅkaras are positioned, with Jina Śrī Pārśvanātha (identifiable by the snakehoods) placed centrally.
The pedestal also features an intricately carved Dharmacakra (Wheel of Dharma), flanked by two lions. Yakṣa and Yakṣis (attendant deities) are depicted on either side of the lions. This beautifully crafted chovīsi not only serves as a visual representation of all 24 Tīrthaṅkaras but also stands as a testament to the skill and artistic achievement of Jain sculptors during the 15th century.
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| Figure 6: Chovīsi of Śrī Ādinātha from Nāgahyad (Nāgda), Rajasthan |
(7) Pratimā of Marudevā-nandana Śrī Ādinātha from Nālandā, Bihār
Nalanda, historically known for its ancient university, is also an important site in Jain history. Located approximately 15 kilometers from Rajgir, it is revered as the birthplace of three of Jina Śrī Mahāvīra’s eleven principal disciples (gandhars): Indrabhūti Gautama, Agnibhūti, and Vāyubhūti. Alongside the ruins of Nalanda University stands a Śvetāmbara Jain temple, which houses one of the most rare and distinctive pratimās of Jina Śrī Ādinātha, showcasing unique iconographic features not observed elsewhere in Jain art.
This extraordinary pratimā, (figure 7) carved from black stone, portrays Jina Ādinātha in a meditative posture (padmāsana) beneath a smaller figure of Māta Marudevī, his mother, who is depicted seated above the chatras at the top of the sculpture. The iconography of Māta Marudevī atop the pratimā is unusual and significant, as it emphasizes her revered status in the life of Jina Ādinātha.
Below her figure, an intricate and elaborate jaṭādhārī (matted hair) styling of Jina Ādinātha further accentuates the divinity of the sculpture. The main figure is distinguished by long locks of hair cascading from the head of Jina Śrī Ādinātha down past his shoulders to his arms. The pratimā sits gracefully on a kamala āsana (lotus seat). Below this, an exquisitely carved lañchana of a bull, the emblem of Jina Śrī Ādinātha, occupies the space on the pedestal, serving as a clear identifier of the Jina's identity.
Flanking the Jina's head, two male figures riding elephants are depicted descending from the heavens. These figures represent the deity Indra, who, in Jain tradition, is said to anoint the tīrthaṅkara with celestial waters at the time of their birth and enlightenment. Each Indra holds a kalasha (vessel) in both hands, symbolizing this sacred ritual. Above the head of Jina Śrī Ādinātha, three chatras are depicted, while gandharvas (celestial beings) on either side of the umbrellas hold garlands of flowers, offering them to the Jina as a mark of devotion.
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| Figure 7: Pratimā of Marudevā-nandana Śrī Ādinātha from Nālandā |
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| Figure 7a: Pratimā of Marudevā-nandana Śrī Ādinātha from Nālandā (inset view with Marudevā at top) |
The entire sculpture exudes a sense of divine grandeur, with each element carefully crafted to highlight the supreme spiritual status of Jina Ādinātha. The detailed and intricate carvings on the parikara, along with the unique presence of Māta Marudevī and the celestial figures, make this pratimā a rare and significant artifact within Jain iconography. Based on the stylistic features, and the overall composition, this undated sculpture is likely to have been crafted no later than the 10th century CE, making it a remarkable example of medieval Jain art[15].
(8) Pratimā of Śrī Maṇikyasvāmi at Koḷanupāka
One of the most ancient and revered pratimās of Jina Śrī Ṛṣabhadeva is located in the village of Koḷanupāka, also known as Kulpākjī, in Aler, approximately 80 kilometers from Hyderabad, Telangana. This pratimā, known as Maṇikyasvāmi[16] (figure 8), is an exquisite example of early Drāviḍian Jain art, carved from black stone, likely granite. The depiction of the Jina in the Ardha Padmāsana (half-lotus posture) without a parikāra (backdrop) is noteworthy. The pratimā measures 38.5 inches in height, including the bhāmaṇḍala (halo), and 34.5 inches in width[17], presenting broad shoulders, robust legs, and shorter earlobes that do not extend to the shoulders—an unusual feature in the iconography of Jina Ṛṣabhadeva.
A key aspect of this pratimā is its stylistic simplicity, as it lacks the typical lañchana (identification mark) of a bull and the flowing locks of hair often associated with Jina Ṛṣabhadeva. The absence of these elements sets this icon apart from similar representations, though the kāṭīsūtra, a string-like ornament carved just below the navel, clearly indicates that this idol belongs to the Śvetāmbara tradition of Jainism. Despite its minimalist approach, the pratimā exemplifies the elegance and restraint characteristic of Drāviḍian art.
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| Figure 8: Śrī Maṇikyasvāmi of Koḷanupāka |
While the exact date of the pratimā’s creation remains unknown, a rich traditional account is linked to its history. According to the 14th-century text Vividhatīrthakalpa, composed by Ācārya Jinaprabhasūri, the pratimā was originally created by Bharata, the son of Jina Śrī Ṛṣabhadeva, from a precious gemstone known as Mārakata Maṇi (emerald). It is further believed that the pratimā was worshipped by Mandodarī, the queen of Rāvaṇa. Over the centuries, the idol disappeared and was later recovered from the sea in the 12th century CE by Śaṅkara, a ruler of the Kalacuri dynasty from Kalyāṇi in Karnataka. It is said that Śaṅkara used the sacred water from the abhiṣeka of this pratimā to cure an epidemic that had afflicted his kingdom. Following this miraculous event, the pratimā was ceremoniously installed at Koḷanupāka, where it has been revered ever since[18]. Based on this traditional history, it is plausible to date the creation of the pratimā to a period prior to the 12th century CE.
In 1710 CE, the pratimā underwent reinstallation by Ācārya Vijayaratnasūri, of the Tapāgaccha[19] lineage. An inscription beneath the pratimā records this event, providing the names of both the Mughal emperor of the time and the local subedār, further adding to the historical significance of the artifact. The inscription is reproduced below for reference –
स्वस्ति श्रीमत्पदांभोजमेजुषां सम्मुखी सदा । तस्मै देवाधिदेवाय श्रीआदिप्रभवे नमः ॥ संवत १७६७ वर्षे चैत्र शुद्धदशमी पुष्यार्कदिने विजयमुहूर्ते श्रीमाणिक्यस्वामिनाम्नः आदीश्वरभगवतो बिंबरत्नं प्रतिष्ठितं। दिल्लीश्वर पातशाह श्रीओरंगजेब आलमगीर पुत्र पातशाह श्रीबहादरशाह विजयराज्ये सुब्बादार नव्वाच महमदयुसुफखानबहादरसहाय्यात् तपागच्छे भट्टारकश्रीविजयप्रभसूरि शिष्य भ० श्रीविजयरत्नसूरिवरे सति पंडितश्रीधर्मदुःशीलगणिशिष्य पंडितकेसरकुशलेन चैत्योद्धारश्च कृतः... केन प्राकारः कारितः । शाके १६३३ प्रवर्तने ॥[20]
(9) Pañcatīrthī Pratimā of Śrī Keśariyanātha at Kolkata, West Bengal
In the bustling metropolis of Kolkata, lies a hidden gem: the ancient pratimā of Śrī Keśariyanātha Pañcatīrthī. One does not associate Jain heritage with Kolkata; however, several temples in Kolkata house a diverse collection of Jina images made from metal, gemstone, and stone, which were transported from various regions of the country and installed in these shrines. This extraordinary icon of Jina Ādinātha is housed in the Śvetāmbara Pañcāyati Mandir, Tulapatti (Burrabazar), and exemplifies a rich blend of artistic styles and iconographic features rarely found elsewhere.
The pratimā (figure 9) portrays Jina Ādinātha seated in padmāsana (lotus posture), exuding a serene and tranquil expression. The central figure is flanked by two chauri-bearer Indras, depicted in their traditional role of attendants to the Tīrthaṅkara. The Lord is seated on an intricately carved throne, resting upon a richly detailed metallic rug. The base of the throne is supported by two lions, while a small dharmacakra is placed on the pedestal below. The pedestal also features depictions of the Navagrahas (nine planetary deities) and a Śrāvaka-Śrāvikā (male and female devotees) pair, possibly representing the commissioners of the pratimā.
On either side of the pedestal are the figures of Gomedhā and Ambikā, and the throne is flanked flanked by the Śāsanadeva and Śāsanadevī. Above the chauri-bearer Indras are vertical columns containing niches where two Jinas are depicted in kāyotsarga mudrā (standing posture of meditation). Above these figures, two more Jinas are seated in padmāsana mudra. The pratimā’s parikara is crowned by an elaborate torana (arched gateway), adorned with intricately carved gandharvas (celestial beings) bearing flowers, elephants, and a row of smaller seated figures, likely representing deities or celestial beings. At the centre of this ornate arch is a niche containing another Jina seated in padmāsana mudrā, providing a focal point for the cosmic arrangement. The parikara also features traditional motifs, including the makarāmukha. Above the arch and chatra (parasol), a kalasha sits as a symbol of abundance and prosperity.
An interesting element of this pratimā is the subtle incorporation of Buddhist artistic influences, particularly in the detailing of the figures. The detailed carvings, intricate patterns, and multi-layered composition reflect the high level of craftsmanship and the syncretism of artistic traditions prevalent during the time of its creation.
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| Figure 9: Pañcatīrthī Pratimā of Śrī Keśariyanātha at Kolkata |
The pratimā also carries historical significance through its inscription, which indicates that it once served as the mūlanāyaka (principal deity) of a Jain temple. The inscription, dated to Vikrama Saṁvat 1083 (corresponding to 1027 CE), is reproduced - ऋषभनाथप्रतिमाऽयं मूलनायक सम्वत् १०८३ वै० सु० १५ ।।[21]
(10) Pratimā of Śrī Ādinātha at Nathnagar, Bihar
This remarkable pratimā of Jina Śrī Ādinātha, currently housed at the Shri Champapur Digambar Jain Siddhakshetra Mandir, was retrieved from the Ganga River near Nathnagar, Bihar. Crafted from dark stone, likely black schist, a material commonly used during the Pāla period (8th to 12th century CE) in Bihar and Bengal, the sculpture exhibits the smooth contours and refined details characteristic of Pāla art.
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| Figure 10: Pratimā of Śrī Ādinātha at Nathnagar, Bihar |
The Jina (figure 10) is depicted seated in padmāsana (lotus position), with hands placed in dhyāna mudrā, palms facing upwards in the lap. The serene, meditative expression of the Jina's face is accentuated by the nāsāgra driṣṭi, where the eyes are gently directed towards the tip of the nose. This gaze enhances the sense of deep concentration and inner stillness, characteristic of the meditative state of the Tīrthaṅkara. The earlobes are gracefully elongated, reinforcing the pratimā's portrayal of spiritual transcendence.
A distinct hairline separates the forehead from the meticulously rendered hair, which is styled with exceptional intricacy. The hair is elegantly pulled back and tied in the middle, forming two layers of flowing locks that fall beautifully onto the shoulders. Each layer of hair is carved with precision, creating a sense of depth and texture that contrasts with the smooth, calm face of the Jina. The figure is depicted without any visible clothing.
The pratimā rests on an ornate pedestal shaped like an inverted lotus. The lañchana (emblem) of a bull, is prominently displayed on both sides of the Dharmachakra at the center of the pedestal. Flanking the bulls are small figures of a śrāvaka and śrāvikā holding kalashas (vessels) for the abhiṣeka (ritual anointing), possibly representing the commissioners of the pratimā. The parikara (backdrop) features two flying gandharvas, divine attendants bearing chauris (fly-whisks), signifying reverence. Above the Jina's head, a three-tiered chatra (parasol) is depicted.
This pratimā, with its intricate details and distinctive iconography, reflects the artistic mastery of the Pāla period and its significance associated with Jina Ādinātha in Jain tradition.
References
[1] The Jain Sāga, Part 1, Muni Śrī Saṁvegyaśvijaya, p. 99
[2] Lord Ṛṣabha, the first Jina, Ṛishabh Malaiya, Colorado State University
[3] Ātmā Vallabh Smārikā, Guru Vallabh aur Kāṅgra Tīrtha, Śāntilāl Nahār, Sec. 2, p. 27
[4] The kaṇḍora or kāṭīsūtra refers to the waistband, while the kacoṭa represents the pleats of the loincloth on the lower half of Tīrthaṅkara pratimā. Śvetāmbara monk Upādhyāya Dharmasāgar, in his work Pravacana Parīkṣā, documents a dispute over the ownership of Jain temples at Mt. Girnar during the time of Ācārya Bappabhaṭṭisūri (743–838 CE). To prevent further conflicts, the Śvetāmbaras began the practice of depicting Tīrthaṅkaras with carvings of kacoṭa and kaṇḍora.
[5] Nāgarkot Kāṅgḍā Mahātīrtha (Ek Śodha), Śrī Bhāṅvarlāl Nahatā, p. 18
[6] Bīkāner ke Darśanīya Jain Mandir, Āgarcand Nāhatā, p. 6
[7] A monsastic order established by Ācārya Jineshvarasuri in 11th century CE
[8] Kharatara Gaccha Pratiṣṭhā Lekha Saṅgraha, Mahopādhyāya Vinayasāgara, p. 217
[9] Attached Panel behind the Pratimā displaying the Aṣṭa-prātihārya and attendant deities of a Tīrthaṅkara
[10] Śrī Jain Śvetāmbara Tīrtha Śrī Gāṅgānī kā Saṅkṣipta Itihāsa, p. 3
[11] The Abandoned Treasures of Vasantgarh: Art, Metal Industry and Trade. Sprin Journal of Arts, Humanities and Social Sciences, 1(12), Talesara, P., Bahuguna, A., Saini, R., & Thakar, C,. 01–17
[12] Jain Tīrtha Sarva Saṅgrah, Part 1, Section 2, Ambālāl Preṁcand Śāh, p. 234
[13] Ābu Sācitra, Bhāg 1, Śrīmad Jayantvijayji Mahārāja, p. 50
[14] Jain Tīrtha Sarva Saṅgrah, Part 2, Ambālāl Preṁcand Śāh, p. 336
[15] Jain Tīrtha Sarva Saṅgrah, Part 2, Ambālāl Preṁcand Śāh, p. 449
[16] Śrī Kulpākastha Ṛṣabhadeva Stuti, Śrī Jinaprabhasūri viracita Vividhatīrthakalpa Sacitra, Muni Śrī Ratnatraya Vijayajī & Muni Śrī Ratnajyota Vijayajī, p. 187
[17] Jain Tīrtha Sarva Saṅgrah, Part 2, Ambālāl Preṁcand Śāh, p. 397
[18] Śrī Koḷḷapāk Māṇikya Deva Kalpa, Śrī Jinaprabhasūri viracita Vividhatīrthakalpa Sacitra, Muni Śrī Ratnatraya Vijayajī & Muni Śrī Ratnajyota Vijayajī, p. 196
[19] The largest monastic order in Śvetāmbara Mūrtipūjaka tradition
[20] Jain Tīrtha Sarva Saṅgrah, Part 2, Ambālāl Preṁcand Śāh, p. 397
[21] Jain Dhātu Pratimā Lekhā, Muni Kantisāgara, p.1
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