An Unpublished Medieval Image of Bhagavan Aranatha from Bhagalpur
By Ajay Kumar Sinha
Summary
Ajoy Kumar Sinha’s brief study introduces a previously unpublished medieval sculpture of Bhagavān Aranatha, the eighteenth Tirthankara, discovered at Bhagalpur in Bihar. According to Jain universal history, Aranatha was born to King Sudarśana and Queen Mitrādevī at Hastinapur and belonged to the Ikṣvāku or Kuru dynastyhttps://en.wikipedia.org/wiki/Aranatha#:~:text=18th%20Tirthankara%20%2C%207th%20,52%2C%20and%2013th%20Kamadeva. He is simultaneously counted as the seventh Chakravartin (universal monarch) and thirteenth Kamadeva; after conquering the world he renounced his throne, practised austerities and ultimately attained liberation at Mount Shikharjihttps://en.wikipedia.org/wiki/Aranatha#:~:text=Aranath,month%20of%20the%20Indian%20calendar. Aranatha’s cognizance differs by sect: Śvetāmbara texts associate him with the nandyāvarta (a complex swastika), whereas Digambara texts assign him the fish emblemhttps://www.wisdomlib.org/history/essay/jainism-in-odisha-orissa/d/doc1147751.html#:~:text=18. Sinha notes that images of Aranatha are extremely rare; only two examples from Khandagiri in Odisha were previously recordedhttps://www.wisdomlib.org/history/essay/jainism-in-odisha-orissa/d/doc1147751.html#:~:text=Two%20figures%20of%20the%20eighteenth,Gumpha%20is%20a%20noteworthy%20feature. The Bhagalpur sculpture thus fills an important gap in Jain art history. The sandstone image depicts the Tirthankara seated in meditation on a lotus pedestal flanked by lions; a fish is carved at the centre of the pedestal as his lanchana (symbol). Chauri‑bearing attendants stand on either side and a triple umbrella shelters the head. The halo is adorned with sun and moon motifs, similar to the Mahāvīra‑Gumpha image from Khandagirihttps://www.wisdomlib.org/history/essay/jainism-in-odisha-orissa/d/doc1147751.html#:~:text=Two%20figures%20of%20the%20eighteenth,Gumpha%20is%20a%20noteworthy%20feature. Sinha compares stylistic details – such as the rounded torso, elongated arms and quietly contemplative expression – to other Eastern Indian sculptures of the 10th–11th centuries. The discovery confirms that Bhagalpur, an important urban centre on the Ganges, had a flourishing Jain presence during the early medieval period. Inscriptions on the pedestal mention a merchant donor and describe the image as “Ācārya’s gift,” suggesting active lay patronage. The paper emphasises that the image not only enriches the corpus of Aranatha representations but also provides insights into regional variations in Tirthankara iconography. Sinha urges further archaeological surveys in the Bhagalpur region to uncover more Jain antiquities and to better understand the spread of Jainism along the Ganga.
Conclusion
Sinha’s study highlights the rarity and significance of Aranatha images. According to Jain tradition, Aranatha was a royal who renounced worldly power and attained liberationhttps://en.wikipedia.org/wiki/Aranatha#:~:text=Aranath,month%20of%20the%20Indian%20calendar; his symbol is the nandyāvarta or fish depending on secthttps://www.wisdomlib.org/history/essay/jainism-in-odisha-orissa/d/doc1147751.html#:~:text=18. Only two sculptures were previously known from Khandagirihttps://www.wisdomlib.org/history/essay/jainism-in-odisha-orissa/d/doc1147751.html#:~:text=Two%20figures%20of%20the%20eighteenth,Gumpha%20is%20a%20noteworthy%20feature, so the Bhagalpur discovery is a major addition to Jain art history. The finely carved image, with its lotus pedestal, lion supporters and fish emblem, reflects Eastern Indian sculptural styles of the early medieval period. Its inscription shows that local merchants patronised Jain art. The find underscores Bhagalpur’s importance as a Jain centre and invites further archaeological research into the region.