Iconographic Features of the Sixteen Jaina Mahavidyas as Enunciated in the Iconographic Texts

Summary

Maruti Nandan Prasad Tiwari’s article surveys the iconography of the sixteen Jaina Mahāvidyās, goddesses who embody esoteric knowledge and serve as spiritual aides to Tīrthaṅkaras. While the Jaina tradition is often seen as austere, it developed a rich pantheon of guardians and knowledge deities, especially in the medieval period. Drawing primarily on Sanskrit iconographic manuals such as the Pratiṣṭhā‑sāroddhāra, Āgama‑darpana and the Śrī‑Prakaraṇa, Tiwari catalogues the physical attributes, hand gestures (mudrās), mounts (vāhanas) and symbolic implements of each goddess. The sixteen Mahāvidyās include Sarasvatī (goddess of learning), Bṛhatsrī, Rohiṇī, Prajñāpāramitā and others less familiar outside Jaina circles such as Vajrāṅkuśī and Nāradā. The article notes that each goddess typically has four arms, though some are depicted with two or eight. Their attributes range from manuscripts and rosaries signifying learning to nooses, goads and lotus flowers symbolising control over passions. Tiwari compares depictions in Digambara and Śvetāmbara texts, highlighting variations: for instance, Digambara texts describe Rohiṇī as seated on a lotus with a sword and shield, whereas Śvetāmbara sources assign her a parrot and vina. The author also situates these iconographic prescriptions within the broader context of Indian goddess worship. He notes overlaps with the Hindu Mahāvidyās and the Buddhist Prajñāpāramitā, suggesting a shared pool of symbols. At the same time, Jaina texts often reinterpret these goddesses within a non‑theistic framework: the Mahāvidyās are not objects of ultimate devotion but protectors who help aspirants overcome obstacles on the path to liberation. Tiwari further comments on the role of these goddesses in temple rituals and festival processions, and provides references to sculptural examples from Gujarat and Rajasthan. By bringing together textual prescriptions and material evidence, the article demonstrates that the visual programme of Jaina temples was not arbitrary but grounded in a sophisticated iconographic system. This system balanced the desire to incorporate popular goddess cults with the doctrinal imperative of non‑theistic devotion.