Jaina Iconography: Toward a Comparative Approach

Summary

This paper by Dr. Thomas McEvilley advocates for a comparative approach to Jaina iconography, contrasting it with traditions from the Indus Valley Civilization, ancient Mesopotamia, and broader Indic religious art. It critiques the insular treatment of Jain iconography in both Indian and Western scholarship and proposes that greater contextualization would enrich understanding. Key Points of Analysis 1. Scholarly Neglect of Jainism i) Western scholarship offers limited engagement with Jain art. Even major works by Benjamin Rowland (1953) and Susan Huntington (1985) devote merely 5–10 pages out of hundreds to Jainism, despite inclusive titles. ii) This lack of attention persists despite Western culture's increasing pluralism and openness to non-dogmatic traditions like anekāntavāda. 2. Need for Comparative Analysis Existing writings, including those in previous Jinamanjari issues (e.g., T.V.G. Sastri’s ""Jina Sculpture and Iconographic Norms""), present symbols like tirthankara lanchanas in isolation, without examining cross-cultural parallels or symbolic meanings. 3. Antiquity and Origins of Jainism i) Jainism may predate both Buddhism and the Vedas, with possible continuity from the Indus Valley Civilization. The 23rd tirthankara, Pārśva, is suggested as a historical figure adapting preexisting traditions, possibly including Ājīvika practices. ii) Some scholars, following Heinrich Zimmer, have proposed links between Jain and Mesopotamian iconographies. However, others, particularly nationalist Indian scholars, emphasize indigenous origins and deny Mesopotamian influence. 4. Iconographic Motifs and Their Parallels i) Serpent Imagery: Pārśvanātha’s serpent-hood halo resembles Mesopotamian and Egyptian motifs (e.g., Ishtar, Mucalinda-Buddha), suggesting shared visual vocabulary across cultures. ii) Standing on Animals: The vahana concept (divine figure on an animal) exists in both Jain and Mesopotamian art. Ṛṣabhanātha’s bull icon parallels Ishtar’s lion mount. iii) Mulabandhāsana Posture: Mahāvīra’s kevala-jñāna attainment posture (joined heels) matches that on Indus “Śiva seals,” possibly suggesting a proto-Jain rather than proto-Śaiva interpretation. 5. Heraldic Flanking and Fertility Imagery i) Symmetrical flanking, a hallmark of Sumerian art, is observed in Jain images—e.g., tirthankaras flanked by yakṣas/yakṣīs or serpents. ii) Fertility motifs (lotus, elephants, tree goddesses) are seen in dreams of tirthankara’s mothers (e.g., Mahāvīra’s mother) and align with Mesopotamian and Egyptian fertility symbolism. These were reinterpreted allegorically in Jainism to signify mental/spiritual fertility (enlightenment) rather than physical fertility. 6. Kayotsarga Posture as Unique Jain Expression i) The upright, motionless kayotsarga posture (with extended arms) reflects non-violence (ahiṃsā) and renunciation. Though archaic in style, it has no Mesopotamian precursor. Zimmer describes it as “crystalline stasis of absolute perfection”. ii) Tirthankara images like the one at Śravaṇa Beḷagoḷa (Gommateshvara) entwined in vines may recall Sumerian fertility gods (e.g., Ningizzida), symbolizing inner transcendence through recontextualized ancient motifs.