Styles of Jain Images of Dhala Mandala and South Kosala, Central India

Summary

"Dr. R.N. Misra offers a detailed examination of Jaina sculptures in Dahala Maṇḍala and South Kosala (Central India), tracing their stylistic development under the Kalachuri patronage from the 9th to 12th century C.E. The study is grounded in inscriptional evidence, architectural analysis, and regional stylistic idioms. A) Dahala Maṇḍala Region (Madhya Pradesh) i) Historical Context: Kalachuris of Tripuri patronized Jainism; regions include Shahdol, Jabalpur, Sagar, and Satna. ii) Key Inscriptions: a) 1149 C.E.: Jasadeva and Jasadhaval of Mathura erected a Jina image at Tripuri. b) 1123–1153 C.E.: Santinatha temple with white vitāna at Bahoribandha by Mahabhoja. c) 1159 C.E.: Alhaghat inscription records temple of Ambika built by feudatory Ranaka Chihula and artisans like Kamlasinha and Kokasa. iii) Important Sites & Museums: a) Temples at Bilhari, Karitalai, Patyan Dae, and Bahoribandha. b) Relocated ruins now housed at Rani Durgavati Museum (Jabalpur) and Mahant Ghasidas Museum (Raipur). iv) Stylistic Highlights: a) Hanumantal and Karitalai Jina images show variations in standard iconography. b) Patyan Dae’s 12th C.E. temple reflects stylistic decline. c) Early icons (e.g., Ambika, 10th C.E.) preserve classical restraint and canonicity. B) South Kosala Region (Chhattisgarh & Bastar) i) Geographic Spread: Covers Bilaspur, Raipur, Ratanpur, Malhar, and extends to Maharashtra (Amarkantak). ii) Key Artistic Traits: a) 7th–8th C.E. Rsabha images (Malhar) show classical balance, rhythmic movement, and refined modeling. b) Later sculptures (10th–14th C.E.): exaggerated limbs, triangular torsos, stylized rigidity — a provincial idiom. c) Black stone images (Ratanpur), grey sandstone (Malhar), often with lateralism and decorative excess. iii) Important Site – Arang (Bhand-Devala Temple): a) Stellate-plan temple with gajapīṭha, aśvapīṭha, and narapīṭha base mouldings. b) Janghā decorated with vidyādhara paṭṭika, śāsanadevīs, dikpālas, apsaras, and erotic couples. c) Notable for absence of vyāla figures and restrained limb contortion. C) Stylistic Evolution and Iconographic Traits i) Dahala Style (9th–11th C.E.): a) Simple, unornamented, oval faces, squat forms, minimal parikara in early phase. b) 10th C.E. onward: elongated bodies, thin waists, elegant standing postures with bhanga (bend). c) Parikaras evolve with elephant motifs, āstara-kas, festooned couch, and Jina cognizance. ii) South Kosala Style: a) Sophistication in early phase (Malhar), degeneration by later centuries. b) Sculptural opulence increases; local idiom dominates from 10th to 14th C.E. c) Influence of Orissan (Somavamśi) styles emerges post-Gupta period.\