An Unpublished Asta-Mangala Patta at Bhagalpur
By Ajay Kumar Sinha
Summary
The final article examines an unpublished asta‑mangala‑patta (eight‑auspicious‑symbol plaque) from Bhagalpur. As the article notes, the asta‑mangala‑patta holds an important place in the Jaina pantheon. Small platters of these auspicious symbols, whether cast in silver or bronze, are enshrined in temples and worshipped alongside metal images of Tirthankaras. For lay worshippers unable to practise purely mental bhava worship, such icons serve as tools for symbolic reverence. The author reviews canonical references to ashta‑mangalas. The Aupapatika Sutra and other Svetambara texts list the eight symbols—bhadrāsana (blessed seat), kalaśa (full vase), dārpaṇa (mirror), cāmara (fly‑whisk), dhvaja (banner), vyajana (fan), chatra (parasol) and supratiṣṭha (auspicious throne)—and explain their symbolism. A later text, the Acaradinakara, equates the kalaśa with the Jina’s fullness, the mirror with self‑reflection, the bhadrāsana with sanctified throne, the vardhamanaka with increase in wealth and merit, and the śrīvatsa and svastika with spiritual prosperity and peace. The nandyāvarta diagram with its nine points represents nine treasures, while the pair of fish symbolises Cupid’s banner and was also revered in Mathura. The author points out that archaeological discoveries corroborate these textual traditions. Depictions of the eight auspicious symbols have been found on a second‑century red sandstone umbrella from Mathura, and miniature paintings show them on manuscript margins, scroll‑paintings and caitya trees. The article then describes the Bhagalpur silver plaque in detail. Rectangular in shape, about 20.5×15 cm, it is cast in two panels divided by a dotted band. Each panel contains four auspicious symbols separated by miniature pillars with floral motifs. The upper panel begins with a swastika surrounded by stylised flowers and leaves, followed by a supratiṣṭha (auspicious seat) sheltered by a canopy; then a pūrṇa‑ghaṭa (full vase) with leaves; and finally a vardhamanaka (powder flask). The lower panel displays a puṣpa‑dāma (flower), a matsya‑yugma (pair of fish) rendered with lifelike detail, a round mirror with ornate handle and a nandyāvarta diagram. The plaque has a decorative border and the dotted band dividing the panels may symbolise a horizon. Based on style and technique, the author suggests that the plaque was cast during a flourishing jewellery industry at ancient Champapuri (Champa). Excavations at Champanagar have yielded stone moulds for ornaments, indicating local manufacture. The plaque’s small size implies it was used for worship in the Champapuri temple and preserved by the Jain community after the temple’s demolition. The article concludes that such artefacts illustrate how the eight auspicious symbols were integrated into Jain ritual practice and art and reveal cross‑fertilization with Hindu motifs.
Conclusion
By analysing the Bhagalpur asta‑mangala‑patta within the context of Jain canonical literature and archaeological finds, the article highlights the religious and artistic significance of eight auspicious symbols. The intricate silver plaque shows how artisans translated abstract concepts—peace, prosperity, enlightenment—into tangible forms used in temple worship. Comparison with similar motifs from Mathura and miniature paintings demonstrates a pan‑Indian tradition of symbolic representation. The author argues that the Champapuri plaque was part of a broader ritual of displaying and venerating these symbols and urges preservation and study of such relics to better understand Jain art history.