Two Jaina Sculptures from Bhairavasinghapur
By Umakanta Subuddhi
Summary
Umakanta Subuddhi’s article documents two Jain sculptures from the village of Bhairavasinghapur, near the town of Borigumma in the Jeypore subdivision of Koraput district, Odisha. The first piece is a seated image of Lord Ṛṣabhanātha (also called Ādinātha), measuring roughly 95 × 55 cm and enshrined inside a thatched mud house where locals worship it as Śiva. The author describes the figure in meticulous detail. The Tirthankara sits in the meditation posture (paryaṅkāsana) on a lion throne, his hands in dhyāna‑mudrā. Though heavily worn, the face retains an expression of spiritual calm; his elongated ears and jatāmukuṭa are rendered gracefully. The stele features an oval lotus halo decorated with floral designs and bead garlands. A trilinear umbrella and a celestial drum above the head signify his divinity. The halo is flanked by flying Vidyādharas and Kinnarīs holding garlands. On either side of the throne stand the cauri‑bearing attendants, identified by Subuddhi as Bharata and Bahubali. At the base sit two leogriffs supporting the throne; between them is a miniature goddess Cakreśvarī riding a Garuḍa, holding various attributes. The yakṣa Gomukha, four‑armed and bull‑faced, stands nearby with a noose, hatchet and rosary. The second object is a relief panel (caturviṃsatipaṭṭa) depicting all twenty‑four Tirthankaras arranged in three vertical tiers, with Ṛṣabhanātha as the central mūlanāyaka. The relief measures approximately 65 × 35 cm and is carved in high relief. Each Jina sits on a throne under a triple umbrella, framed by an oval halo with bead‑string contours. Vidyādharas, elephants holding flower garlands and Cakreśvarī again populate the composition. Subuddhi compares this relief to a similar piece housed in the District Museum at Jeypore and notes stylistic features consistent with the post‑Gupta period (seventh–ninth centuries CE): the elongated ears, simple ornaments and balanced composition. He laments that neither sculpture bears an inscription to fix its date, but on iconographic grounds assigns them to the post‑Gupta era. The article concludes with references to relevant scholarship on Orissan history and Jain iconography. By cataloguing and analysing these sculptures, Subuddhi contributes to the documentation of Jain art in eastern India and underscores the need to preserve such artefacts, which often languish unrecognised in rural settings. His detailed description enhances understanding of regional variations in Jaina iconography and the dissemination of Jainism into Odisha.
Conclusion
The examination of the Bhairavasinghapur sculptures reveals how deeply Jain iconography penetrated rural Odisha and how local communities sometimes reassign Jain images to Hindu deities. Subuddhi’s meticulous descriptions allow scholars to appreciate the post‑Gupta artistic vocabulary—oval haloes, triple umbrellas, attendant deities and hierarchic compositions—used to depict Ṛṣabhanātha and the twenty‑four Tirthankaras. By situating the pieces within broader stylistic developments and calling attention to their neglected condition, the article advocates for systematic documentation and preservation. These sculptures are not only artistic treasures but also valuable witnesses to the spread and assimilation of Jainism in eastern India.