Studies in Jaina Iconography

Summary

The article introduces the neglected field of Jain iconography and outlines the sources and methodology used to study images of Jinas and associated deities. Bhattacharyya distinguishes between early Jain literature and installation manuals that provide dhyāna‑śloka (meditative verses) for deities, and later Sanskrit and Prākrit texts that describe installation ceremonies. He notes that these sources, along with mythological stories, legends, and inscriptions, provide the basic material for understanding Jain images and that inscriptions dating from the third or second century B.C. through the Gupta period demonstrate the antiquity of Jain art. The author summarises previous scholarship on Jain iconography and proposes a comparative method that correlates textual descriptions with archaeological finds. He emphasises the need to consider influences from Brahmanical and Buddhist art while also appreciating the distinctive features of Jain imagery. Bhattacharyya explains that many basic Jain motifs, such as the carmacakra (war wheel), triratna (three jewels), and srivatsa emblems, derive from broader Indian religious iconography yet acquire unique interpretations in Jainism. He describes votive tablets from the Kuṣāṇa period that show the cakra on a pillar surrounded by śrīvatsa symbols at the corners and four triratna emblems touching a circle containing a meditating Jina. Later Gupta‑period sculptures depict cakra‑puruṣa figures—anthropomorphic forms attached to the sacred wheel and flanked by conch‑shells—reflecting Brahmanical influence while retaining Jain meaning. Throughout the article, Bhattacharyya analyses the symbolic significance of these motifs and traces their evolution across different regions and periods. He argues that understanding Jain images requires careful comparison with related Brahmanical and Buddhist prototypes, because many forms were adapted rather than invented. The article also highlights methodological challenges. As a non‑Jain scholar, Bhattacharyya recounts the difficulty of accessing temple sculptures and manuscripts; he notes that he travelled widely to museum collections and Jain sites across India to collect material. The aim of the study is not only to catalogue images but to correlate textual descriptions, archaeological evidence and historical context for each deity, identifying both correspondence and variation. This holistic approach allows him to propose a new classification of Jain iconography that respects the antiquity of the tradition while acknowledging syncretic influences. The introduction sets the stage for subsequent chapters by establishing the historical scope, sources and analytical framework for the study. Ultimately the article argues that iconographic studies should not simply list motifs but should interpret them in relation to doctrinal and ritual contexts. By integrating textual analysis, field research and comparative art history, Bhattacharyya lays the foundation for a systematic understanding of Jain iconography and invites further scholarly attention to this understudied field.