Rare Jaina Sculptures of State Museum, Lucknow

Brijesh Rawat1 1. Department of History, Dr. Shakuntala Misra National Rehabilitation University,

Lucknow, India (Email: rawat.brijesh11@gmail.com)

Received: 15 October 2014; Accepted: 01 November 2014; Revised: 20 November 2014 Heritage: Journal of Multidisciplinary Studies in Archaeology 2 (2014): 890-895

Abstract: This paper highlights the importance of selected exhibited objects in the State Museum, Lucknow in parlance with the Jain sculptural art in ancient India. A handful of sculptures are noteworthy for their rarity and peculiarities which are discussed in terms of iconographical characteristics and art styles. ‘Jina’ are great, courteous and lenient souls and according to Jain traditions they are called Tirthankaras. Various references in ancient literature have been examined minutely to point out the process of coining of Jain divinities and religious beliefs.

Keywords: Lucknow, State Museum, Jainism, Sculptures, Tirthankaras, Iconography, Puranas

Introduction The state museum of Lucknow is one of the biggest and the oldest multipurpose serving museum in India. Presently the State Museum is situated in "Geological Garden Compound Banarasi Bagh". It was founded in 1863 AD in Sikheche wali Kotthi. After 20 years it was announced to be a regional museum and was shifted to Lal Baradari near Chhatar Manzil. In 1885 AD, famous archaeologist Dr. A. Furer was appointed as the secretary of this museum. In 1950, it was named as 'State Museum, Lucknow’. Due to increase of articles, need was felt for constructing a new building for museum which was inaugurated by the then prime minister Pt. Jawahar Lal Nehru on 12th May, 1963. Presently the museum is working under the cultural ministry of Uttar Pradesh, India.

Its archaeological collection is the most flourished one; it comprises pre-historic articles, copper age antiquities, fossils, sculptures of plaster, terracotta sculpture, stone sculpture, beads, stone inscriptions, tamrapattra, utensils of terracotta, bricks and various sorts of other items. The currency department comprises of coins from 8th century BC including Punch marked coins, Indo-Greek Coins, Indo-Parthian Coins, Kushana age coins and Gupta age coins with rulers engraved in various poses. It has a rich collection of Mughal age coins in which coins of Babar, Humayun, Akabar, Jahangir and Shahjahan are exhibited. Coins of other Muslim rulers like the Turks,

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Khiliji, Tughlack, Lodi and Suri are also exhibited; further on coins of Dutch East India company, British India Company and Awadh rulers can also be seen.

Jainism The one who overcame all his mental barriers and weaknesses was called Jina, the word Jain is derived from Jina which means to 'win'. The Jain word was originated from this same word Jina. Jina is termed as Tirthankara. Thus it concludes that one who preaches the religion of Jainism is the Jain. Anybody, anywhere and anytime can be a Jina because basically they are common people with uncommon capabilities. Undoubtedly Jina were outstanding polite and lenient souls and thus were called Tirthankara according to Jain mythology and traditions. Jainism is a profound and aborted religion propounded by twenty four Tirthankaras during their own time span, namely Rishabha, Ajit, Sambhava, Abhinandan, Sumathi, Padamaprabha, Suparsva, chandraprabha, suvidhi, sitala, shreyansh, vaasupujya, vimal, Ananta, Dharma, Shanti, Kunthu, Ara, Malli, Munisvrata, Nami, Parsva and Mahavira. Jainism is divided into two sects- Digambara and Sevatambara. Digambara believe that sky is their clothes while Sevatambara followers cover themselves in white clothing.

The founder of Jain religion Rishabha and authenticated data in his context were first found in Rigveda, here he has been mentioned as a ruler who provided prosperity to his people. According to the Shivapurana Rishabha is mentioned as one of the Shiva's yogavatar (Shivapurana 7.9.3). In the same Purana another mention of Shiva as Rishbhaavatar is mentioned (Shivapurana 1.47). Bhagavada Purana (Bhagavada Purana, 1.3.1622, 2, 7, 1-40) and Garuda Purana (Garuda Purana, 1.1, 13-35) mention Rishbha as a Vaishinavavtar. In Agni (Agni Purana, 1.1.13-35) and Vishnu Purana (Vishnu Purana, 5, 3, 20, 5) the same is mentioned as Vishnu's avatar. Myths related to the origin of Rishabha (Bhagavada Purana 5, 3, 20, 5) are mentioned in Bhagavada Purana, Maha Purana (Maha Purana, 190-91) and Aadi Purana (Aadi Purana 16, 179-90). This custom of mention of Jain Tirthankara as Lord Vishnu's avatar continued till medieval period.

Jain Sculptures The word Pratima literally means ‘symbolic’ or ‘same’ which means quite likely to the original figure. Panini in his equation has mentioned the word Pratikriti for the resemblance. In India the word Pratima has been used as early as during the Vedic period (Rigveda). The word Archcha is mentioned in Rigveda for Pratima-Vigragh, Bimb, Pratikriti, Pratirup etc. The sculptures of Tirthankara are found in abundance in context of Jain art. Some of the selected objects of interest in terms of Jainism are discussed below.

Ayagapatta Ayagapatta is a stone of worship which was generally used by followers for the means of worshiping and donation and was established round the four sides of temples or stupas. J.N. Banerjee (Shah 1955: 109-110) advocates the origin of Ayagapatta from Harappan civilization. Seals and tablets from various sites of Harappan civilization

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bear trees engraved on them with Vedika in Shilapatta which is believed to be the precursors of Ayagapatta. A significant Ayagapatta established by Singhnadika (Smith 1969: 17) with four gems in which the center point has a sculpture of Jina in padmasana pose. This Ayagapatta belongs to the 1st century BC and is located in the State Museum, Lucknow (Fig. 1).

Srivats A damaged sculpture of Srivats, belonging to the 2nd century AD has no head and hands. The lower abdominal area is also shattered but it exhibits the resemblance towards a sculpture of Srivats from Kushana age. The arms are fleshy and the chest is wide. The provenance of this sculpture is unknown (Fig. 2).

Saraswati An inscribed sculpture of the deity Saraswati was found from Mathura which is dated back as old as the Kanishka period. It is about 54-61cm high. The head of the sculpture is damaged. The whole body is covered with dothi which is placed over the left shoulder. There are kangan in both the hands and left hand bears a book. The right hand is damaged as well but still some pearls of a necklace are visible. The worshipers are standing to the left, a man with kamandalu in his right hand stands on the right hand side with a piece of cloth curtailed round his left hand. According to the inscription the sculpture was patronized by Lohiye Gop and the sculpture was created for the welfare and prosperity of all in the form of Rang-Nartan. This text attests the tradition of exhibiting the founder goddess of Jain Aagamik Gyan with the book in her hand (Fig. 3).

Suparshva Another sculpture found from Khiri which is datable to 4th century AD belongs to 7th Tirthankara Suparshva which has some inscribed portions on it. The sculpture is in the pose of meditation. Though the sculpture is damaged, representation of hairs, eyes, nostrils, long ears and beautiful lips along with arms, wide chest and feet are visible clearly (Fig. 4).

Ajitnath This standing sculpture of second Tirthankara Ajitnath who is of fair complexion is made out of stone. This was obtained from Rajaghat, Varanasi and is exhibited in the State Museum, Lucknow. The Tirthankara is in standing and nude posture, his hands are too long, the chest has a symbol of Srivats engraved and his navel is also visible. While observing minutely we can see a shankh below the right hand and a symbol of padam below the left hand. Below the kamalasan two elephants are standing. This sculpture is very significant if we keep period in mind because in 7th century AD scanty sculptures were made. The dimensions of this sculpture are 87 × 25 × 18 cm (Fig. 5).

Rishabha Nath with Navagrahas The statue of first Tirthankara Rishbhanath is exhibited in the museum. His eye brows,

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Conclusion The State Museum of Lucknow has a very rare and valuable collection of antiquities pertaining to Jain religion. Some of the significant objects among the collection are discussed here. A comprehensive study based on artistic and iconographic features and periodisation is attempted in this paper. The objects selected for this study include Ayagapatta, sculptures of Srivats, Saraswati, Suparshva, Ajitnath, Rishabha Nath with Navagrahas, Meditating Muni Suvratnath with Jivantswami, Balarama, and Krishna and Malli.

References Aadi Purana. 16, 179-90. Agni Purana. 1.1.13-35. Bhagavada Purana. 1.3.1622, 2,7,1-40, 5, 3, 20, 5. Garuda Purana. 1.1, 13-35. Maha Purana. 190-91. Rigveda. 7, 9, 19., 10, 130, 3. Shah, U. P. 1955. Studies in Jaina Art VIII. Jaina Cultural Research Society. Banaras. Shiva Purana. 1.47, 7.9.3. Smith, V.A. 1901. (Reprin.t 1969). Jain Stupa and Other Antiquities of Mathura. Indological

Book House. Varanasi. Vishnu Purana. 5, 3, 20, 5.