Jaina Remains In The Government Museum, Madras.
By Unexhibited
Summary
The Government Museum in Madras houses a significant collection of Jain artifacts, primarily sculptures and inscriptions. Key items include a memorial stone depicting a Tirthankara, a Jain Acharya, and his disciple (1); a 23-foot-tall granite seated Mahavira with three umbrellas and chauri-bearers (2); and a Kayotsarga posture Santhinatha (16th Tirthankara) in black stone, linked to King Salvadeva and possibly from Mysore or South Canara (5). Other notable pieces include a 45-foot Parsvanatha with a serpent hood (7), a Mahavira with 24 Tirthankaras on a prabhavali (8), and multiple seated Tirthankaras from various districts, including Bellary and Chingleput (9–14). Inscriptions in Kanarese characters are present on several items, such as the Santhinatha statue (5) and a pillar with Sanskrit verses detailing virtues and a 1319 Saka year date (34). Architectural elements include pillars with Tirthankara carvings (17, 33) and a 73-foot pillar with Mahavira, a worshipper, and inscriptions (19). Fragmented items like broken Yakshi figures (27–28) and a headless Tirthankara (25) are also part of the collection. The collection includes pieces from Tuticorin, Godavari, and North Arcot districts, with some brought before 1859. A post-publication note mentions a temple dedicated to Mahavira in Naurangabad, Jaipur, known for fulfilling devotees
Conclusion
The Government Museum's collection of Jain remains offers a remarkable glimpse into the religious and artistic heritage of South India, particularly through intricately carved Tirthankara images and memorial stones. The diverse artifacts, ranging from a 45-foot-tall Santhinatha to a 17-inch Padmaprabha, highlight regional variations in iconography and craftsmanship, with notable examples like the Kayotsarga posture and prabhavalaya carvings reflecting adherence to Silpa-sastras. The inscriptions, such as King Salvadeva's commemoration, provide historical context, linking these artifacts to specific dynasties and regions like Mysore and South Canara. The presence of fragmented pillars and damaged idols underscores the fragility of these remains, while the detailed sculptures of worshippers and chauri-bearers emphasize the socio-religious significance of Jainism in the period. This collection not only enriches our understanding of South Indian Jain art but also serves as a critical record for preservation and further research.