Some Unpublished Jaina Images of Bihar
By Ajay Kumar Sinha
Summary
Ajoy Kumar Sinha’s article documents previously unpublished Jain sculptures from the Indian state of Bihar. He begins by describing early images of Bhagavān Śāntinātha from the Sri Campāpura Digambar Jain Siddhakṣetra near Bhagalpur. These black‑basalt sculptures depict Śāntinātha seated in samparyaṅkāsana on a double‑petalled lotus, with a dharmacakra on the pedestal flanked by lions, deer and devotees. Most striking is the presence of Jyotiṣkadevas (Navagraha or planetary deities) on either side of the Jina, a feature not often seen in Jain iconography. The author details the iconographic elements—the śrīvatsa mark, elongated ears, curly hair and halo— and notes that Surya and Candra appear as attendants, followed by other planetary gods like Mangala, Budha, Śukra, Bṛhaspati and Śani. He evaluates the sculpture’s historical significance, suggesting it belongs to the early Pāla period and reflects both Jain and Hindu artistic influences. Sinha then turns to the ancient town of Monghyr (modern Munger), historically a centre of Jainism. In the Sri Pārsvanātha Digambar Jain Mandir he studies three images of Lord Pārsvanātha dated between the 15th and 19th centuries. The first is a black‑stone Jina seated in yoga posture with his lañchana (snake) carved on the pedestal; the second, in bronze, shows Pārsvanātha seated with a nine‑hooded serpent; and the third, in white marble, portrays goddess Padmāvatī (the Śāsanadevī of Pārsvanātha) seated in meditation with four hands holding a goad, noose, rosary and lotus. Sinha analyses each sculpture’s posture, attributes and stylistic features, relating them to textual descriptions in Jain śilpa literature. He concludes that the Monghyr sculptures demonstrate the continuity of Jain worship in the region and reveal unique iconographic variations, such as the depiction of nine instead of seven serpent hoods and the integration of Navagraha imagery. By presenting these findings along with photographic plates, the article expands knowledge of regional Jain art and encourages further field research in Bihar. It underscores the importance of documenting local temple collections before they are lost or damaged and highlights the syncretic artistic environment in which Jain artists worked.
Conclusion
Sinha concludes that the Jain sculptures from Bhagalpur and Monghyr enrich our understanding of medieval Jain art. They illustrate unique features, such as the incorporation of planetary deities and variant serpent‑hood counts, and attest to the sustained presence of Jainism in Bihar. Documenting these images preserves important cultural heritage and provides a basis for further scholarly analysis.