Studies in Jaina Iconography

Summary

A.K. Bhattacharyya’s essay, “Studies in Jaina Iconography — Chapter II (continued),” examines how dream symbols, ritual motifs and auspicious emblems shaped early Jain art. He begins with the fifth auspicious dream: a garland. While such dreams foretell fame and beauty, he shows that garlands are among the earliest Indian art motifs and were carved on stone during the Maurya period. Garlands symbolise love and prosperity and later influenced anthropomorphic Yaksha images. The author then discusses the moon and sun, which follow the garland in Śvetāmbara lists of auspicious dreams. In early Jain art the sun is given a human face and the moon is shown as a crescent within a rectangular maṇḍala. Over time these celestial bodies were absorbed into the Navagraha (nine planets). Ritual manuals describe yantras drawn for the planets and depict them with their vāhanas and weapons, showing how Vedic planetary deities were assimilated into Jain tradition. The middle section of the essay surveys the depiction of the Navagraha as a group. Although planetary worship originated in Brahmanical tradition, Jain artists gave it a distinctly Jain expression. The Sun appears standing on a lotus pedestal holding lotus buds, while the Moon rides a chariot drawn by antelopes. Budha, Shukra and other planets also have distinct vehicles and attributes. The planets are sometimes shown together in a panel and other times individually with their yantras inscribed beneath. By codifying these forms, Jain acharyas ensured that planetary deities remained subservient to the supreme reality embodied in the Tīrthaṅkaras. Bhattacharyya emphasises the aṣṭamaṅgala (eight auspicious symbols) and their incorporation into temple art. In Jainism these emblems are the swastika, shrīvatsa, nandyāvarta, vardhamānak (bowl of plenty), bhadrasana (lion throne), kalasha (full vase), minayugala (pair of fish) and mirrorhttps://jainsquare.wordpress.com/2011/06/01/ashtamangal-8-auspicious-jain-symbols/#:~:text=These%20are%20eight%C2%A0symbols%C2%A0Swastika%2C%20Shrivasta%20,symbolising%20knowledge%2C%20vision%20and%20character. Each conveys qualities such as good fortune, wisdom and purity. The essay explains how they adorn votive tablets (ayāgapaṭas) and decorative friezes, reinforcing their central role in lay devotion. He also surveys the lanchanas of the twenty‑four Tīrthaṅkaras. R̥ṣabhanātha’s emblem is the bull, Ajitanātha’s is the elephant, Pārśvanātha’s is the serpent and Mahāvīra’s is the lionhttps://jainsquare.wordpress.com/2011/05/01/24-tirthankars-symbols/#:~:text=1,Lord%20Mahaveera%20Lion%20%28Sih. These emblems helped worshippers recognise images and allowed artists to convey doctrinal messages even in tiny sculpture. Finally, the essay examines early votive pillars such as the kirti‑stambha and māna‑stambha. Erected by patrons to trumpet Jain glory, these monolithic pillars are carved with foliage motifs and auspicious objects. Through these examples Bhattacharyya shows that Jain iconography grew from a synthesis of indigenous folk motifs, Brahmanical symbolism and doctrinal teachings. The evolution from simple auspicious signs to complex narrative reliefs reflects a community’s need to express metaphysical ideas visually while remaining faithful to principles of non‑violence and spiritual uplift.