Images of Bahubali in Deogarh
By Maruti Nandan Prasad Tiwari
Summary
Maruti Nandan Prasad Tiwari’s article offers an art‑historical survey of the cult of Bahubali at Deogarh, a site in Uttar Pradesh renowned for its profusion of Jain vestiges from the 9th to the 12th centuries. Bahubali (also called Gommata) is revered as the second son of the first Jina Ṛṣabhanātha who renounced his kingdom after defeating his brother Bharata. The article begins by recounting Bahubali’s legendary duel with Bharata and his year‑long standing meditation (kāyotsarga) that led to omniscience. Tiwari then examines how Deogarh’s artists rendered Bahubali’s austere figure: statues depict him nude in kayotsarga posture with vines entwined around his limbs and animals such as snakes, lizards and scorpions crawling over his body to symbolise extreme tapas. Some depictions also include attendants like vidyādharis (celestial maidens) who hold the ends of the creepers, or the two sisters Brahmi and Sundarī who persuaded him to renounce pride. The author notes that Deogarh pioneered certain iconographic innovations—notably the earliest collective representation of the 24 Yakṣīs—and introduced features like the asta‑pratīhāryas (eight auspicious symbols), yakṣa‑yakṣī pairs and depictions of Bahubali alongside other Jinas. By comparing northern and southern images, Tiwari argues that Deogarh and other north‑Indian sites elevated Bahubali’s status, often depicting him with attributes usually reserved for Jinas, whereas southern images adhere more closely to older conventions. The article catalogues several specific sculptures from Deogarh’s temples, describing their stylistic features, dating and iconography. It also traces the wider spread of Bahubali images, from early carvings at Badami and Aihole in Karnataka to later colossi at Śravaṇa Beḷgoḷa, Karkal and Venur. Tiwari observes that while Bahubali worship was historically more popular at Digambara sites, north‑Indian Svetāmbara temples also feature distinctive images with dhoti‑clad figures and flanking sisters. The essay concludes by arguing that North India played a crucial role in the evolution of Bahubali’s iconography, often introducing innovations that raised his cultic status to that of a Jina. Deogarh, yielding the largest number of Bahubali statues at one site in the north, emerges as a significant centre for this artistic development.
Conclusion
Tiwari concludes that the Deogarh corpus illustrates how artists and devotees reimagined Bahubali’s image, gradually elevating him from a revered ascetic to a figure almost equal to the Jinas. Through stylistic innovations—such as adding auspicious symbols, yakṣa‑yakṣī pairs and flanking vidyādharis—northern sculptures emphasised his spiritual stature and shaped subsequent representations across India. Deogarh’s unique contributions demonstrate the site’s importance in the history of Jain art and highlight regional diversity in the depiction of Bahubali. The study suggests that iconographic analysis can reveal shifts in religious emphasis and the dynamic interplay between artistic creativity and devotional practice.