Two Kausaggiyas from Vadnagar

Summary

Harihar Singh’s article describes two marble images of Ṛṣabhanātha discovered in the ancient city of Vadnagar (Anandapura) in Gujarat. Both sculptures, dated by an inscription to Vikrama Saṃvat 1312 (1255 CE), depict the first Tīrthaṅkara standing in kāyotsarga (body‑abandonment) posture. In this posture, the Jina stands erect, with arms hanging straight down and not touching the body, embodying the resolve to give up physical comforthttps://en.wikipedia.org/wiki/Kayotsarga#:~:text=meditation%20,a%20Jain%20monks%20and%20nuns. The images also display the ajānu‑bāhu characteristic: their arms are so long that the fingers reach the knees, a mark traditionally associated with divine beings and Jain Tīrthaṅkarashttps://en.wikipedia.org/wiki/Ajanubahu#:~:text=%C4%80j%C4%81nub%C4%81hu%20is%20a%20Sanskrit%20word,2. Singh provides detailed iconographic descriptions. Each image is set within a decorative gateway (torana) with two pillars carved in five superposed sections, representing regions of the cosmos. The Tīrthaṅkara wears a crown with a high usnisa (topknot), and a halo encircled by flames symbolises spiritual radiance. On either side stand cāmara (fly‑whisk) bearers, indicating royal honour. The chest bears a faint śrīvatsa mark, and the genital area is covered by a simple cloth belt. Above the halo, small elephants and musicians are carved, and in the spandrels of the arch are vidyādharas. The base includes lotus petals and miniature figures of Yakṣa and Yakṣiṇī attendants. Singh notes that the sculptures reflect the mature late‑Chaulukya style, with balanced proportions and restrained ornamentation. The article situates the discovery within the historical context of Vadnagar as an important Jain centre; inscriptions found nearby record donations by merchant guilds for temple construction and indicate that the area was part of a major trade route. Singh compares the sculptures to similar images from Palitana and Taranga, noting stylistic differences in the depiction of the halo and headdress. He emphasises that the rarity of fully preserved standing Tīrthaṅkara images from this period makes the find significant for art history. The article also discusses the ritual term kāusaggika, referring to the posture of meditation practised by Jain ascetics, linking it to the physical representation. By analysing the iconography, inscriptions and regional artistic style, Singh provides insights into the religious and cultural life of 13th‑century Gujarat. The images illustrate how sculptors conveyed metaphysical ideals—detachment, serenity and liberation—through precise physical attributes and symbolic motifs.