CHAPTER III

SURVEY OF JAINA
ANTIQUITIES IN ODISHA
 CHAPTER-III
SURVEY OF JAINA ANTIQUITIES IN ODISHA
3.1 BALASORE DISTRICT
The name Balasore derives from the Persian word Bala e Shore, meaning

Baneshwar (Lord Siva) of the town.

shor was bifurcated as a separate district in October 1828
CE from erstwhile Bengal presidency1. It is one of the coastal districts of Odisha and
lies on the northernmost part of the state. The district is surrounded by Medinapur
district of West Bengal in north, Bay of Bengal in east, Bhadrak district in south and
Mayurbhanj and Keonjhar districts lies on its western side. The district is located
between 21° 3' to 21° 59' north latitude and 86° 20' to 87° 29' east longitude. The
district covers an area of 3634sq.km. The district can be broadly divided into three
geographical regions viz., the coastal belt, the inner alluvial plain and the north-
western hills. The district is crisscrossed with perennial and estuarine rivers like
Budhabalanga and Subarnarekha because of its proximity to the sea

The district is famous for its glorious history, art, culture and tradition. It is the
seat of several cultures and civilizations in the past. The antiquarian remains
evidenced in the district are of various religious beliefs viz., Hindus, Buddhists, Jains,
Muslims, Sikhs, Christians etc., which reflects the cultural genesis of Balasore
district. The history of Balasore witnessed a quick succession of several dynasties in

The district Balasore was a flourishing centre of Jainism due to its strategic
location on the major trade route connecting to Bihar, Bengal and Odisha. Many of
the Jaina centers of the districts lies on such root from Jaleswar to Charampa (the later
now in Bhadrak district). The Jaina sculptures are discovered at the places like Ada,
Ayodhya, Balasore town, Balighat, Jaleswar, Manikchauk, Martasol, Shergarh,
Nilagiri, Pundal, etc.

Abhana

Abhana, a small village located in the Bahanaga block is 21km from Balasore
town, the district headquarters. It is situated from a short distance from the Bay of
Bengal on the left bank of the river Son and is located about 6km north of Ayodhya.

16
 In 02.12.1980 a large number of antiquities were discovered here 2. When a
stone temple, locally known as Brahmani temple on a mound in the middle of the
village almost buried and only its upper portion visible was exposed by some of the
villagers along with volunteers from the NSS wing of the local Belabhunli College
and Gopaljiu Cultural Association. In course of their digging they had come across
several Brahmanical, Buddhist and Jaina antiquities such as stone sculptures,
terracotta figures and clay seals containing inscriptions. The Jaina sculptures include:-

a) Risabhanatha (33x23x09cm)
b) Chandraprabha (25x19x03cm)
c) Tirthankara image (not identified due to damage condition) (33x23x09cm)

Ada

Located on the bank of the river Kansabansa, the village Ada is situated 12km
east of Kupari, a famous center of Buddhist and Jaina learning3. The northern outskirt
of the village filled with debris of a late medieval fort probably of a zamindar family.
A number of Bramhinical and Jaina images have been found at the core area of the
palace complex locally known as gadakhai. Out of the 12 images; nine are found in
the Narayana temple complex (Pl.IA), one is worshipped as thakurani near
Chatesvara Siva temple and two are in private possessions 4. The Jaina reliquaries of
the site include the images of Risabhanatha (2nos.), Mahavira, Chandraprabha,
Santinatha, Parsvanatha (3nos.), Chakresvari (2nos.; one of them in private
possession), Ambika and an image of Ambika with Gomedha in a common stone slab
(near Chatesvara Siva temple) etc. The Narayana temple complex stands over a brick
mound (Pl.IB) where nine images are found (Pl.IC). The brick walls are clearly
visible at the section of the mound and the brick measures 26x20x05cm in length,
breadth and thickness respectively.

Risabhanatha: The Tirthankara (1.10x0.45x0.25m) represented in kayotsarga

posture over a double petalled lotus pedestal below which his lanchana bull is carved.
(Pl.IIA) He is flanked by chauri bearer at the bottom and flying vidyadhara and
divine musical instrument at the top. He has usual curly knots and few strands of
which fallen over his shoulder. The auspicious trivali mark at the neck, elongated
earlobe, plain oval halo behind his head and chhatravali surmounted by kevala tree

17
are the other features depicted on the image. The image is carved out of khandolite
stone and the upper part of the stone block is partially defaced now.

A mutilated figure of Risabhanatha (Pl.IIB) is seen worshipped as

Gramadevata along with Brahmanical deities like Visnu and Mahisasuramardini
Durga. The Tirthankara is seated in dhyanamudra and his face defaced with vermilion
by the villagers. His lanchana bull is carved below the pedestal along with a couching
lion.

Padmaprabha: Another image is identified as Risabhanatha5 quite analogous to the

previous one in its representation except the hair style of the image which is not curly
as usual found in the case of Risabhanatha images (Pl.IIC). The pedestal below the
Tirthankara is depicted with a full blown lotus flower flanked by spirited lions at the
corner. Thus, the image can be identified as Padmaprabha (80x42x20cm) instead of
Risabhanatha. The Tirthankara is carved out of the khandolite stone and partially
defaced particularly at the face and the lower part of the hands.

Chandraprabha: The Tirthankara Chandraprabha (70x40x18cm) depicted in

kayotsarga posture over a plain pedestal below which his cognizance moon is
represented and flanked by spirited lions at the corner (Pl.IID). The Tirthankara is
flanked by chauri bearers at the bottom and flying gandharvas and divine musical
instruments at the top. He has a circular plain halo behind his head and chhatravali
flanked by kevala tree is also noticed above the halo. The image is badly weathered at
the face, hands and chhatravali portion.

Santinatha: The Jaina Tirthankara Santinatha (76x36x16cm) stands in kayotsarga

posture over a double petal lotus throne below which his usual lanchana deer is
carved but partially buried (Pl.IIIA). The chauri bearer, garland bearer, invisible
hands play with cymbals and drums are represented in their respective positions. The
trilinear umbrella, face and hands of the Tirthankara are completely damaged. He has
a plain oval halo behind his head and trivali, the auspicious mark at the neck of the
Jaina Tirthankaras are also seen.

Parsvanatha: Out of the three Parsvanatha images, this is the most decorated and
stunning image (82x49x22cm). He is seated in dhyanamudra over a beautifully
carved multi-petalled lotus pedestal (Pl.IIIB). The place below his pedestal is also
well decorated and filled with kneeling devotees and crouching lions. The Tirthankara

18
has curly knots, elongated ear lobes, down casting eyes and a smiling face, a rarely
shown image. He is accompanied by well decked chauri bearers standing in tribhanga
postures over independent lotus pedestal. He has a seven hooded snake canopy behind
his head surmounting the chhatravali. The halo of the Tirthankara is represented here
in a disparate way. It is a huge oval shape but decorated with beaded, crimped, criss-
cross and leaf pattern lines first of its design found in Odisha. The gandharvas at the
top usually shown with garlands but here one of them holds a full blown lotus flower
in one hand while the object in his right hand is missing.

The second image of Parsvanatha (1.25x0.75x0.35m) is carved seated in

dhyanamudra over a double petalled lotus pedestal (Pl.IIIC). The space below his
pedestal is represented with three fold torana and kneeling devotees worshipped a
sacred object kept over a pitcher and the torana is flanked by lavishly decorated
purnaghata capped with a conch and a flower bud on the left and right respectively.
Rampart lions over elephants are found on the either corner of the stone slab at the
bottom which is a rare representation. The Tirthankara is flanked by chauri bearers at
the bottom and male and female garland bearer at the top and in between them is the
epic story of Kamatha with bow and arrow, mace sword etc. depicted on
either side. The back side of the Tirthankara is decorated with beaded design,
crimped, criss-cross and leaf pattern lines first of its kind found in Odisha. The
outstanding feature of the image is having five hooded snake canopy which is the
identification mark of Naminatha and the conch which is the cognizance of
Neminatha etc. A cut mark similar to that of images found from Charampa is also
noticed at the chest of the Tirthankara image.

The third Parsvanatha image (1.10x0.61m) installed here is badly mutilated at

(Pl.IIID). He is seated in
dhyanamudra over a lotus pedestal. His usual lanchana the seven hooded snake
canopy is seen behind his head and curls of its tail at the back of the Tirthankara. The
chauri bearers are depicted just below the hovering garland bearer amidst sky at the
top instead of their usual location. Kneeling devotees with folded hands and spirited
lions are depicted in their respective position below the pedestal of the Tirthankara.

Chakresvari: One of the best preserved images of Chakresvari (66x28x20cm) in

Odisha is noticed here on the southern side of the temple complex. The Sasanadevi is

19
carved along with his Tirthankara Risabhanatha in a common slab divided into two
compartments by a narrow panel (Pl.IVA). The lower compartment of the stone slab
is depicted the twelve armed Chakresvari image, seated in cross-legged over a full
blown lotus flower. Her usual lanchana Garuda is depicted at the center of the lotus
pedestal as if flying. The Sasanadevi is bedecked with crown, karna-kundalas,
necklace, armlets, bangles and beaded ornaments across the body as like yajnapavita
etc. She has a central bun over her head behind which a circular plain halo is marked.
The attributes of her right hand from bottom to top are citrus, wheel, wheel, sword,
flower (?) and vajra while the left hands attributes are full-blown lotus, wheel, disc,
conch, wheel(?) and vajra. She is flanked by her chauri bearers stands over
independent lotus pedestal and flying garland bearers at the top.

The upper compartment of the stone slab is depicted the Risabhanatha seated
in yogasana posture over a cot below which his lanchana bull represented and
flanked by crouching lions. The Tirthankara is flanked by chauri bearers in tribhanga
posture. An oval halo without any decoration marked at the back of the Tirthankara
and is surmounted by trilinear chhatravali flanked by kevala tree branches. Hovering
maladharas and drums played with invisible hands are also depicted at the upper part
of the stone slab.

Another twelve armed image of Chakresvari is found under worship at the

house of a villager named Narayan Ray Mohapatra.

Ambika: Ambika (80x42x18cm) along with her diminutive Tirthankara Neminatha is

depicted on a common slab while Ambika is larger in dimension (Pl.IVB). She is
seated in lalitasana posture with right leg pendant over a double petalled lotus
pedestal. She is holding a baby in her left hand while a bunch of mangoes in the right
leg. She is bedecked with various ornaments and her elder son is seen standing on the
right side of her. A mango tree studded with lots of mangoes is depicted at the back
side of the deity. Her lanchana lion is seen below her pedestal. The Tirthankara
Neminatha is depicted in dhyanamudra over a lotus pedestal at the upper part of the
stone slab. His lanchana wheel is carved at the center of his lotus pedestal and is
flanked by chauri bearers on the either side.

Another fragmented image of Ambika and Yaksha Gomedha along with their
Tirthankara Neminatha is also found in Chatesvara temple complex.

20
Ayodhya

Being situated on the ancient route from Magadha to Kalinga, Jainism marked a
high watermark at Ayodhya, a small village in the Nilagiri sub-division of Balasore
district. It was a center of cultural hub during the medieval period known from the
archaeological remains of ruined temple, abandoned walls, votive temples/stupas,
sculptures, earthen potsherd etc. scattered all over. A number of Jaina antiquities are
found in this area along with Brahmanical and Buddhist sculpture. A sixteen sided
monolithic dhvajastamba is installed in front of the Marichi temple. The special
attraction of the dhvajastamba is its crowning figure lion, which is the vehicle of the
Mahavira and Sasanadevi Ambika. Inside the Maninageswar temple two pieces of
Jaina sculpture are kept inside the temple. One of them is the figure of Risabhanatha
and the other is a figure of Gomedha and Ambika in a common stone slab. 6

Few sculptures of Jaina pantheon are reported in the private possession7 . Sri
Hadibandhu Raj preserves two Jaina sculptures such as one image of Parsvanatha and
the other is of Ambika. Sri Bhagavata Behera, another villager, preserves an image of
Mahavira in his residence. In the premises of Ayodhya High School, a lower part of
Parsvanatha and upper part of Tirthankara image are also found. But, unfortunately
few of the images in private collection are not now with the private individuals; they
are either donated, theft or sold. In order to preserve and protect these scattered
beautiful Jaina sculptures along with other sculptures of different faith Odisha State
Archaeology constructed (1983-1991) a small museum building here8 (Pl.IVC). It has
displayed five Jaina sculptures (i) Risabhanatha (ii) Lower part of a Tirthankara image
(iii) Parsvanatha (iv) Ambika with Yaksha Gomedha (v) Chaumukha which are
collected from the area and taken as gift from the villagers.

Risabhanatha: Risabhanatha (60x30x10cm) is carved standing in kayotsarga posture

over a double petalled lotus pedestal below which his lanchana bull is depicted
(Pl.VA). The bull is flanked by kneeling devotees with folded hands offering oblations
and further by spirited lions. The Tirthankara is crowned with a high jatamukuta and
few strand of it fall over his shoulders. The Tirthankara is flanked by well decked
chauri bearers at the bottom and flying garland bearer and divine musical instruments
at the top while in between them astagrahas are depicted, four on either side. The
most interesting feature of the Tirthankara is the depiction of a decorative trefoil arch

21
surmounted by a pidha structure and the carving of outline of the body of the
Tirthankara behind him which are rare depiction in Odishan Jaina art. There is a
elongated positive socket below the stone slab indicates it was fixed in somewhere.

Tirthankara image (Mahavira?): The headless Tirthankara image (38x28x10cm) is

carved standing in kayotsarga posture over a full blown lotus pedestal (Pl.VB). A
circular space is left below his feet may be for the carving of the lanchana but left
unfinished. The circular shape indicates to be of a wheel symbol. Thus, it can be
presumed to be an image Mahavira. The Tirthankara is flanked by chauri bearers and
spirited lions. The positions of spirited lions are not usual found in the Odishan
sculptures. Remnants of a torana along with the pilasters can be seen behind the
Tirthankara.

Parsvanatha: The twenty third Tirthankara Parsvanatha is carved out of black

chlorite stone (1.40x0.75x0.36m). He is standing in kayotsarga posture over a lotus
pedestal below which kneeling devotees with folded hands, garlands pays homage to
the Tirthankara (Pl.VC). A seven hooded snake canopy is seen behind his head and the
curly tails at the back of the Tirthankara. Besides, chauri bearers, flying gandharvas
and divine musicians in their respective positions; astagrahas and the Kamath
attack is seen on the either side of the Tirthankara image.

Ambika with Gome dha: Ambika along with Yaksha Gomedha (50x26x14cm) are
seated over a lotus pedestal (Pl.VD). Seated in lalitasana posture she is with a baby in
her left lap while Gomedha is seen in rajalilasana. His left hand placed over the
pedestal while right hand is missing. Both the deities are lavishly decorated with
costumes and ornaments. Below their pedestal seven kneeling devotees are depicted
with offering oblation to them. A tree studded with flowers and fruits are depicted
behind them and at the center, a child swinging a swing. Neminatha, the twenty-
second Tirthankara appears in dhyanamudra and flanked by chauri bearers and
garland bearers.

Chaumukha: This is one of the rare Jaina chaumukha which depicts the twenty four
Tirthankaras instead of usual one or four Tirthankaras (Pl.VIA). This is designed as
like a miniature pidha structure in triratha pattern. The lower portion of the central
raha paga engraved with Jaina Tirthankaras like Parsvanatha, Chandraprabha,
Padmaprabha and the fourth one could not be identified due to damage condition.

22
They are identified by their respective lanchana carved at the pedestal and they
flanked by chauri bearers. Five Tirthankaras each depicted within a circular design on
each cardinal direction at the raha paga. The bisama portion of the miniature temple
has dopichha simhas and mastaka is crowned with a large amlaka. A male socket is
also noticed at the base of the chaumukha. The way of stylistically representation of
the chaumukha and the Tirthankara is very rare in Odisha.

Tritirthi image at Banesvara Temple, Balasore Town

It is located on the right side of the river Budhabalanga in Puruna Balasore

and 1km from the Balasore town. It is a modern concrete flat-roofed temple but
housing a few ancient images of Saiva, Sakta, Saurya and Jaina pantheons. The
present temple (Pl.VIB) was built over the foundation of an earlier temple.

Three Tirthankara images represented in a common slab is found in the

garbhagriha of the temple worshipped as Saivite god. All of them stand in kayotsarga
posture over a common lotus pedestal and flank by a pair of chauri bearer. The central
figure is identified with Risabhanatha as he has jata-bhara on his head, his one of the
identical marks and the other two features are not clear in absence of lanchana or any
other distinct marks (Pl.VIC).

Ambika Temple, Balighat

The temple is located on the right bank of the river Burabalaga. It is about
1.5km north of the Shyamasundar temple of Balasore town. This is a modern flat
roofed with open pillared mandapa structure houses one of the finest images of
Ambika (1.17x0.60x0.25m), the Sasanadevi so far noticed in Odisha. The image is
attached to a pillar placed at the centre of the mandapa. Ambika carved seated in
lalitasana under a mango tree below which her lanchana lion is depicted. She carries
a baby in her left lap while right hand holds a bunch of mangoes which is flocked by
another child at the right. The Tirthankara Neminatha flanked by chauri bearers is
represented over the head of Ambika in dhyanamudra and his lanchana wheel is
noticed in his lotus pedestal (Pl.VIIA). This image is said to have been brought from a
nearby village of Shergarh.

23
Balasore District Museum

The Balasore District Museum at Balasore preserves three Jaina figures of

Risabhanatha collected from the Shri Nitish Nath Deb of Manikhamb, Balasore and
the local temple of Bateswara temple.9 Of the three Tirthankara images, two are
standing in kayotsarga posture while the other one is seated in dhyanamudra having
the usual features represented in Risabhanatha images.

1) Risabhanatha (90x56x24cm)-It does not represent chauri bearer.

2) Risabhanatha (1.12x0.59x0.23m)-This image was brought from

Bateswara temple and depicts astagrahas, four on each side of the
Tirthankaras.

3) Risabhanatha (1.12x0.59x0.23m)-This image was brought from N.N. Deb

and is badly damaged at the upper right side.

Dandapalasa

The village Dandapalasa10 is located about 6km south-west of Soro, on the

bank of a rivulet Kamsavamsa. The village is rich in antiquities of both Jainism and
Hinduism.Besides the image of Bhairava, Ganesa and ten armed Mahishasuramardini,
a mutilated seated figure of Parsvanatha is worshiped as Brahmanical deity in the
village shrine called Ramachandi. The Tirthankara has a seven hooded snake canopy
over his head. In the premises of the residence of one Gajendra Mohanty, an image of
Parsvanatha (88x34cm) seated in dhyanamudra is noticed. He has a seven hooded
snake canopy over his head. The chauri bearers on both sides and the vidyadhara
couples on the top corners of the back slab are the exquisitely carved on the figure.
The usnisa, the curled knots and the elongated ears are the characteristic features of
the image. Another nude figure of Parsvanatha (1.19x0.71m) standing in
kayotsargamudra is found enshrined in a modern temple and worshipped as Ananta-
Vasudeva as the deity crowned with a seven hooded snake canopy over his head.

In the adjoining village Chalisimadha a sitting figure of Risabhanatha (55x43cm)

is now housed in a modern temple under a tamarind tree and is worshipped as
Siddhesvari. The chauri-bearers, oval prabhamandala, kevala tree, cymbals and
drums are usual representations marked in a Tirthankara figure. The bull is distinctly
marked on the pedestal. Sabira is a nearby village another seated figure of

24
Parsvanatha is found. The figure has been worshipped as a Brahmanical deity11
namely Patrasuni.

Kabara

Maa Brahmani Devi Shrine: The small pidha temple facing east located on southern
outskirt of the village Kabara is
(Pl.VIIB). It is about 1km north of Kupari bus stand. The presiding deity is the image
of Parsvanatha (50x20cm), the 23rd Jaina Tirthankara (Pl.VIIC). He is carved
standing in kayotsarga posture over a double petal lotus pedestal. A seven hooded
snake canopy is seen behind his head. Astagrahas are also depicted on the both side of
the image. The chauri bearers, flying gandharvas, divine musicians are represented in
their usual positions. A nagi figure with folded hand and a giant snake as his lanchana
is seen below the lotus pedestal.

Barakhanda Temple: The ruined structure having a pidha vimana and jagamohana
over a low platform faces east (Pl.VIIIA). It is located at the middle of the village
near Kabareswara temple behind the Ashrama School. The temple is named after the
presiding deity a hero stone, who holds a sword/khanda in one of his hands
(Pl.VIIIB). Close to the hero stone, a seated image of Parsvanatha image is noticed
(Pl.VIIIC). The Tirthankara is carved seated in dhyanamudra on a lotus pedestal over
a cot. Below the pedestal his Sasanadevi Padmavati is seen in folded hand in the
centre and flanked by spirited lions on either side. A devotee in folded hand is also
seen below the Sasanadevi. His usual cognizance viz., seven hooded snake canopy,
chhatravali, kevala tree, chauri bearer, flying garland bearers, cymbals and drums
played with invisible hands are depicted in their respective positions.

Kupari

According to N.N. Vasu, the village Kupari was a flourishing centre of

Jainism at the period of Parsvanatha i.e. about the 9 th century BCE. Hitherto, Kupari
was believed to be a Buddhist centre in the early medieval period as narrated by John
Beams12 . An image of Parsvanatha is found in the village shrine at Kupari and another
in the nearby villages testify to the fact that among the Jainas Parsvanatha figures
were very popular in this area. Besides, a Santinatha image is also noticed in the
village Samkhana and a slab (61x31cm) containing the figures of 24 Tirthankaras in
the village Tisalpur near Kupari13 . Thus, it substantiates s identification as

25
per Jaina Kshetra Samasa of Kopakata or Kopakapuri with that of present day Kupari
became prominent.

Shergarh

Biswanatha Temple: It is located at a distance of 2km west of Phandi chowk of

Balasore, from the National Highway No.5. The Biswanatha temple complex (Pl.IXA)
has four temples of Gaudiya style and miniature pidha style structure of later
construction. These temples house images of various cult affiliations of Jaina,
Buddhist and Brahmanical deities. These include Asta-Mahabhaya Tara, Trivikrama,
headless image of Risabhanatha, Visnu, Astika-jaratkaru, Ganesa, two female deities
now under the care and maintenance of Shesadhara Senapati, the former zamindar of
Shergarh.

The first Tirthankara Risabhanatha (25x22x05cm) is carved seated in

dhyanamudra over a lotus pedestal whose head is missing (Pl.IXB). His lanchana bull
and a kneeling devotee with folded hand are noticed below his pedestal. The image is
completely defaced with vagaries of nature.

Gada Chandi Temple: It is located in Khajura sahi, Shergarh, at a distance of 3km

west of Phandi chowk from the National Highway No.5. It is a modern Reinforced
Cement Concrete (RCC) built living temple (Pl.IXC) with the presiding deity
worshipped as Gada Chandi, which is originally an image of Parsvanatha (Pl.XA)
(1.12x0.58x0.20m). Besides, images of Visnu, Risabhanatha and Mahishasuramardini
Durga are also kept inside the temple. Paradoxically, this Jaina image is worshipped
as a female divinity of the Shergarh fort. The Parsvanatha image can be compared to
the Parsvanatha image of Tentulidiha image of Jajpur. He is carved seated in
dhyanamudra over a lotus pedestal. A seven hooded snake canopy is marked over his
head. The representation of Kamth attack is very narrative and similar that of
Tentulidiha of Jajpur. Another small image of Risabhanatha (18x11x04cm) attached
on the wall of the temple is very badly defaced. Oil and vermilion are applied over the
image regularly which conceals the attributes of the images (Pl.XB).

Kansa

The village Kansa or Kanishai is situated about 3km north of Ayodhya. A

small RCC shrine (Pl.XC) located in the village preserves a number of fragmented

26
ancient sculptures. One of them can be identified as the head of Parsvanatha, the 23 rd
Tirthankara (Pl.XD) with of its seven hooded snake canopy, remnants of two graha
figures at the side and depiction of flying garland bearers and a drum played with
invisible hands on the top right corner of the stone slab. The remaining feature s of the
image are missing.

Majhikia

The village Majhikia in Padampur Gramapanchayat is located on the bank of a

rivulet Paganala and 15km south east of Balasore and 2km north of Maninageswar
temple of Vardhanpur (Pl.XIA). Viswesvaraya temple of this village is a newly built
temple having pidha vimana and a flat roofed RCC mandapa preserves a number of
Brahmanical sculptures like Visnu, Varaha, Ganesa, akasha chakra and a Jaina
Tirthankara image of Risabhanatha (Pl.XIB). The Tirthankara (47x43x10cm) is
carved seated in dhyanamudra over a double petalled lotus pedestal. Below the
pedestal his lanchana bull depicted at the center while seated figure of chauri bearer
is depicted on either side of the Tirthankara, a rare representation in the Jaina art
Odisha. The Tirthankara has a jata-bhara crowned by chhatravali and flanked by
flying garland bearers. An oval prabhavali devoid of any decoration is also seen
behind his head (Pl.XIC).

Manikchauk

Two images of Santinatha and a chaumukha have been collected from

Manikchauk displayed in Odisha State Museum. These sculptures are found on the
bank of the river Subarnarekha where heap of ancient ruins and brick structures are
also noticed14.

Santinatha: The image of Santinatha (17x10.5x5cm) is carved in kayotsarga posture

over a double petalled lotus pedestal below which his lanchana deer is represented.
Other usual features like chauri bearer, divine musicians, garland bearer, astagrahas
are carved in their respective positions. The most important and peculiar feature of
this image is a five hooded snake canopy over his head which generally found in case
of the Tirthankara image of Suparsvanatha.

Chaumukha: The chaumukha (40x10x10cm) has resemblance with that of found at

Nilagiri and Ayodhya in execution. It is des igned like a miniature pidha temple

27
having five receding tiers. Tirthankaras like Risabhanatha, Mahavira, Santinatha and
Chandraprabha standing in kayotsarga postures along with their lanchanas are carved
in separate niches in each cardinal side of the chaumukha. Spirited lions are shown
flanked just above the Tirthankara niches instead of their usual location at the bisama
portion of the miniature shrine.

Martasol

Santinatha: An image of Santinatha (52x27x9cm) is also brought to Odisha State

Museum from Martasol in Jaleswar area of Balasore. The image has similar
representation like that of one found from Manikchauk except the depiction of five
hooded snake canopy. The snake canopy is replaced by Mahamanasi, the Sasanadevi
of the Tirthankara. She is found depicted sitting in dhyanamudra over lotus pedestal
and flanked by two elephants at the top pouring sacred water. She displays
varadamudra in one hand and lotus on the other. A makara-torana supported by gaja-
simhas with rows of pearls falling from their mouths adds the beauty and grace to the
entire composition.

Both Martasol and Manikchauk are situated on the bank of river

Subarnarekha. Ancient ruins in the form of brick structures, earthen potsherds
reported on bank which need close examination for its association with Jaina religious
structure.

Nilagiri

Nilagiri, the headquarters of the ex-state of the same name has now formed a
Sub-division of Balasore district. It is well known for its gadajata fort as well as
important center of Jagannatha cult. Dhabhasila is a small village located about 4km
away from Nilagiri on the way to Mitrapur. The village has a number of small shrines
of Brahmanical faith namely Mandalshri (Pl.XIIA), Boulei, Kushumei and
Gadachandi. But the small Mandalishri RCC shrine contains a Jaina chaumukha
(Pl.XIIB). The chaumukha (27x9cm) has similar representation as like one displayed
in Ayodhya museum except rampart lions at the bisama portion of the miniature
shrine. The Tirthankaras (8x4cm) are carved in the niches of the rahapagas are
Risabhanatha, Parsvanatha, Chandraprabha and the rear one is not visible as it is
attached to the wall of the shrine. Their respective lanchanas are clearly depicted
below their pedestal. The remaining twenty Tirthankaras are depicted five on each

28
side within a circular design above the Tirthankaras are badly defaced. A thick coat of
vermilion is seen on the frontal part of the chaumukha

Pundal

One of the finest specimens of Jaina sculptural art is the image of Parsvanatha
found on the bed of the river Son, near a place known as Pundal15 . A fabulous figure
of Mahavira was found during excavation of a Tank of the village Bhimpur, situated
13km south-east of the Balasore town.

Besides, the above mentioned sites, Jaina images are also reported from the
villages of Baulagadia, Bhimpur, Karatasala, Panchaghanta, Sasanabad and
Vardhanpur. The Jaina monuments in the district are very rare but a large number of
Tirthankara images ranging from circa 7th to 11th centuries CE16 .

3.2 BHADRAK DISTRICT

Bhadrak district is an ancient land noted for puranic legends, maritime

activities, agrarian prosperity, flourishing trade and commerce. This district has also a
rich cultural heritage and history from the hoary past. According to legends, it also
derives its name from the Goddess Bhadrakali, the temple stands on the banks of the
river Salandi. The earliest inscription about the district traced back to the 3rd century

at that time17 . The district is also named after the town of Bhadrak, which is the
district headquarters. Bhadrak, the administrative district of Odisha came into
existence on 1 st April 1993 after bifurcation of the Balasore district. This district is
bounded by Balasore district on the north, Jajpur district and the river Baitarani on the
south, Keonjhar district on the west and Bay of Bengal and Kendrapara district are on
the east. The district is located between latitude 20 043' to 21013' and longitude 86016'
to 870 05' and extends over an area of 2505 sq.km. It ranks 27th among the districts of
Odisha in size. The district is divided into three zones according to its soil condition
namely saline soil, alluvial soil and sandy soil. Geography of Bhadrak district is
divided into two well-designed tracks and these are the salt tracks along the coasts
which are not arable and the arable track, which is called the granary of the state. A
number of deltaic seasonal rivers namely Salandi, Baitarani, Kansabansa, Gamol,
Mantei, Genguti, Kochila, Reba and Kapali pass through the district. The antiquity of

29
Bhadrak is eloquently confirmed by the Buddhist, Jaina and Brahmanical remnants
discovered in the district18 .

As like Buddhism and Brahmanism, Jainism was also traced here from very
early times as evidenced by the sculptural remains have been found in the different
part of the district.

Charampa

Charampa the large village is situated near the Bhadrak railway station. The
village yielded a hoard of Jaina images and from where Odisha State Museum
collected four Jaina sculptures viz., Risabhanatha, Ajitanatha, Santinatha and
Mahavira19 . Even today an image of Parsvanatha as Kharakhia thakurani is
worshipped as gramadevati under a banyan tree near Rahania tank in Barala-pokhari
area and an Ambika image as gramadevati in an open mandapa are found at the
village20.

A peculiar feature of these images is that a number of double concave cut

marks found on their bodies. These cut marks are certainly a deviation from the other
Jaina images of Odisha. Different explanations/opinions have been given by scholars
about the significance of these cut marks. A few scholars opine that the images
remind the believer of the faith for the condition through which a Tirthankara passed
to attain salvation that affords him a strong incentive to follow the noble example of
Tirthankaras in life. But after the discovery of such cut marks on Jaina images of Ada,
the doorjamb in the temple complex of Khajuresvara at Shergarh, on the back slab of
a Buddhist image Tara and an Ananta Visnu at Kaupur near Bhadr ak and the chlorite
slabs found at Baringia near the Ananta-sayi Visnu image21 narrates something
different. Though, the concave cut marks on the body of images pertaining to
different pantheons found in this region, the cut marks were engraved by the artists as
a regional trademark or done by religious iconoclasts during course of time.

Parsvanatha: The Tirthankara worshipped as Kharakhia Thakurani is located in a

modern RCC structure at the north-east corner of the Rahania tank and the tank is
about 18acres in area (Pls.XIIIA-XIIIC). The image of Parsvanatha is carved standing
in kayotsarga posture over a double petalled lotus pedestal. A canopy of seven
hooded snake is noticed over his head, flying gandharvas with garlands, heavenly

30
music played with hands, trilinear umbrella, kevala tree, chauri bearers are noticed at
the image. Cut marks are found on the body of the image which is partially damaged.

Ambika: The Sasanadevi now worshipped as Gramadevati Jagulei (Pls.XIVA-XIVB),

originally brought from Rahania tank is seated in lalitasana posture with a baby in her
left lap and a bunch of mangoes in the right hand. She is depicted under a mango tree
and lion, the lanchana of the deity is depicted at the pedestal.

The four images (Pls.XIVC-XVC) preserved in the museum are quite

noteworthy22 .

Risabhanatha: Risabhanatha (1.55x0.68m), the first Jaina Tirthankara is standing in

the kayotsarga posture. The face is partly mutilated and flanked by two chauri
bearers. Flying vidyadharas with garlands flanked on either side of the oval in shape
prabhamandala. Around the image eight planets (astagrahas) have been beautifully
carved. Below the pedestal the cognizance mark lanchana bull is clearly visible.

Ajitanatha: Ajitanatha (1.10x0.78m), the Tirthankara is carved seated in

dhyanamudra over a lotus pedestal. His lanchana elephant is depicted on its pedestal.
The chauri bearers, trilinear umbrella and other usual features are splendidly carved
on the Tirthankara image. As like other Jaina images from Charampa, this image has
also got many cut-marks on its body.

Santinatha: The third Tirthankara from Charampa is seated in dhyanamudra. The

lanchana deer is clearly visible on the pedestal. Besides the cognizance deer all other
features are similar to the style of Ajitanatha.

Mahavira: The fourth and the last image from Charampa is Mahavira, 24 th Jaina
Tirthankara is standing in kayotsarga posture. The garlands on either side of the
image hangs down from the half concealed flying vidyadhara couples which enhance
the beauty of the image. The other features of the image are oval prabhamandala and
chauri bearers.

On the basis of iconographical features, stylistic finish and display of

astagrahas the sculptures found from Charampa may be dated to the 8th/ 9th century
CE.23

31
Kushun Nagar

The village Kushun Nagar is located on the right bank of the river Salandi and
left side of the road leading from Bhadrak to Anandapur. It is about 10km north-west
of Bhadrak town. There is a small recent built gramadevati temple having a vimana
and jagamohana are of pidha style, houses images of different faiths such as image of
Ambika (Jaina), Anantasayi Visnu, Kartikeya and a royal figure etc. 24

Ambika: The image of Ambika is fully defaced by application of vermillion by the

local priest (Pl.XVD). The Sasanadevi Ambika is seated along with Yaksha Gomedha
over a lotus pedestal under a mango tree. She holds a child in her left lap. A child
swing at the branches of the tree, a usual feature of this type of image is not traced
clearly due to the thick coat of vermilion. Seven devotees are also seen below their
pedestal.

Okara

A Parsvanatha image in dhyanamudra, prototype of the image that found at

Sainkul of Keonjhar district is also found placed in the temple complex of Ramesvara
at Okara near Annapal25 .

Khadipada

An image of Ambika with Gomedha (Pl.XIIC) is found attached one of the

walls of Kailaseswara temple near Khadipada of Dhamnagar block.

3.3 BOLANGIR DISTRICT

The district of Bolangir lies between 20º09'N to 21º05' N latitude and 82º41' E
to 83º42'E longitude. It is bounded on the north by district of Bargarh, on the south by
Kalahandi, on the east by the districts of Kandhamal, Boudh, Debagarh and Sonapur
on the west by the district Nuapada. The river Mahanadi and its tributaries such as Tel
and Suktel are the principal rivers of the district26 .

Parsvanatha image in Haris hankara Temple Complex: Harishankara, situated on

the southern side of the Gandhamardana hill well known for its famous Siva temple
i.e Harishankara and natural surroundings (Pl.XVIA). The temple was built by
Durlabha Devi, queen of Vijjal Dev-II of the Chauhan dynasty, can be assigned to the
circa 15th century CE27. The temple name itself suggests it as a center of religious

32
synthesis between Vaishnavism and Saivism. But, a half buried image of Parsvanatha
(Pl.XVIB) is also found in the Harishankar temple complex. As per the data inscribed
in a stone slab near the image, the image is brought here from Ranipur-Jharial area in
the 1837 CE by one British officer. The image is now badly defaced and repairing has
been done with the application of cement and sand. The image is seems to be a standing
figure of Parsvanatha in kayotsarga posture. A seven hooded serpent hood is seen over
his head. Besides, no more iconographical feature is obtained from the image.

3.4 BOUDH DISTRICT

Boudh was a sub-division of previously undivided district of Phulbani. This

enjoyed the status of a separate district on 22.12.1993 and was named after its
headquarters town, Boudh, a place located on the bank of Mahanadi. The district lies
between 20022'N and 200 50'N latitudes and between 83034' E and 840 49' E longitudes.
It is bounded on the north by the districts of Sonepur and Anugul, on the east by
Anugul and Nayagarh, on the south by Nayagarh and Kandhamal and on the west by
Balangir and Sonepur28 .

Boudh is one of the centrally located districts of Odisha. The strategic location
of Boudh led her to play a significant role in the evolution of Odishan art, architecture
and culture. Being located on the bank of Mahanadi, Boudh offered a suitable land to
various political powers to display their efficiency in the field of politics and cultural
activities. Stellate Siva temples, the remarkable architectural marvel in Odisha located
in Ramnatha temple complex of Boudh town29 . It is located on the right bank of the
river Mahanadi in Malipada area, the district headquarter township of Boudh on the
left side of the N.H. 224 leading from Boudh to Sonepur. These temples (Pl.XVIC)
bear the name of Bhubanesvara, Swapnesvara, and Paschima Somanatha30. These are
the wonderful temples built of red sand stone, profusely carved and each of them had
a cell and an attached small portico star shaped in plan. The general form of these
temples is like three identical temples each standing on a raised platform (pista). The
triple temples are arranged on three corners of a rectangle, the first two facing east
and the other to west. Two temples are standing at the southern and northern ends of
the base line of the imaginary triangle, known respectively as Bhubanesvara and
Swapnesvara facing east. The temple at the apex of the triangle is Kapilesvara, faces
west31 .

33
 These temples are unique in their architectural design. The presiding deity i.e.
Siva lingam with yonipithas is also found in star-shaped design. The ground plan of
the temple is star-shaped or stellate, formed by intersecting two squares at 45 0 of the
eight angles. One in chemsfered serves as the frontal passage while other seven angles
are ornamentally carried along the structure up to the visama32 . On the basis of
architectural and sculptural embellishments, the temple can be assigned to the
Somavamsis period33 i.e. circa 10th century CE. The temples seem to be the
representation of sculptures of different religious cult. Besides Saivite sculptures,
images of Buddhists and Jainas are also found depicted on the bada portion of the
temples but in diminutive size (Pls.XVIIA-XVIID). The Tirthankara figures are carved
in low relief clearly show that they stand in kayotsarga postures. They are mostly
carved on the khura and basanta portion at the raha, anuratha and kanika pagas.
Survey indicates fourteen numbers of Tirthankara images are carved on the temple
wall but it may increase if the temples are in good state of preser vation. It indicates
the religious tolerance of this period, region and the rulers which supports the view
that Somavamsis kings Siavite by faith but are very loyal to the Jainas.

3.5 CUTTACK DISTRICT

Cuttack district is named after the principal town as well as the headquarters

Sanskrit word that assumes different meanings out of which two, namely,
e seat of the government protected by

Odisha for almost ten centuries, was built as a military cantonment in the 989 CE by
the king Nrupa Keshari34. The city, however, attained prominence in the 12th century
CE as the capital of imperial Gangas whose empire stretched from the river Ganga in
the north to the river Godavari in the south. This capital town continued to prosper
during the rule of the successive dynasties, exc ept for a brief period. After the killing
of Mukundadeva by Ramchandra Bhanja who was subsequently defeated and killed
by Bayazid, the suzerainty of Cuttack passed on to the hands of the Afghans in the
1568 CE and later to the Mughals35.

The district Cuttack forms a part of the Mahanadi delta and extends from
84 58' to 860 20' east longitudes and from 20003' to 20040' north latitudes. It is
0

34
bounded on the north by Jajapur district, on the east by Jagatsinghpur and Kendrapara
districts, on the west by Dhenkanal district and on the south by Khordha and
Nayagarh districts.

The city had originally quite a good number of temples, however their
structural and sculptural remains are only found now. Some of them were attached to
the modern temples and some of them are kept in personal collection. A large number
of Jaina relics have been reported from different parts of the district. Even in recent
years several Jaina shrines are built by Marwari communities in the town itself. They
preserve in them not only a series of marble and bronze idols of recent made but also
several Jaina relics of ancient past.

The Jaina Temple of Choudhury Bazar, Cuttack City

The Jaina temple at Choudhury Bazar36 has a rekha vimana and pidha
jagamohana of Kalingan School of architecture. A small chamber between the temple
and jagamohana serves the purpose of antarala and has a pidha superstructure. Each
shrines from jagamohana to the sanctum sanctorum act as a jinalaya viz.,
Padmaprabhu jinalaya, Parsvanatha jinalaya and Chandraprabhu jinalaya. It is
situated within a spacious compound and having dvajastamba at the entrance. The
temple faces east but the major entrance is from the north door of the jagamohana.

The main temple is in rekha order and stands over a raised plinth. The temple
is in pancharatha on plan and panchanga bada in elevation. The temple has a thick
coat of lime plaster and stucco figures are found in few places. The jagamohana had
originally four openings but the one to the south is closed converted to a jinalaya i.e.
Padmaprabhu jinalaya for preservation for a few Jaina relics (Pls.XVIIIA-XXIIB). The
western openings lead to the sanctum. The other two on the east and north are used
for entry and exists for the devotees. The lintel of the door-jambs displays the figure
of a seated Parsvanatha flanked by two attendants instead of the conventional
navagrahas and Gaja-Lakshmi figure found in Hindu religious shrine.

Risabhanatha images: Five Risabhanatha images of different dimension are found in

the temple. They are all standing in kayotsarga posture on lotus pedestals. Flying
garland bearers, chauri bearers and cymbals played with imperceptible hands are
placed in their usual position. Among five sculpture s of Risabhanatha, two depict
astagrahas and in one image few strands of hair of Tirthankara fall over his shoulder.

35
Risabhanatha and Mahavira: The figures of Risabhanatha and Mahavira are carved
on a common slab with separate lotus pedestal representing bull and lion as their
respective lanchanas. They are flanked by chauri bearers on the pedestal and flying
figures with garland on the top. The image surmounted by trilinear umbrellas, kevala
trees, circular hallow and cymbals played with invisible hands. Kneeling devotees at
the base of the pedestal are engraved.

Padmaprabha: The image of Padmaprabha is placed in the central niche of the inner
wall of the jagamohana. The Tirthankara stands in kayotsarga posture on lotus
pedestal, flanked by chauri bearers on either side. The upper part of the figure is
flanked by representation of lotus flower, flying figures with garlands and cymbals
played in hands. The trilinear umbrella over head is surmounted by the kevala tree
and a faint trace of halo is visible behind his head. The figure is carved in chlorite
stone quite similar to the artistic finish of Khiching sculptures.

Santinatha: A beautiful Santinatha image is found inside the temple in kayotsarga

posture over a lotus pedestal. His usual lanchana deer is depicted on the base of the
pedestal and flanked by two spirited lions and number of kneeling devotees in folded
hands. The chauri bearers on elephant and astagrahas in sitting posture flanked the
Tirthankara on either side. Flying gandharvas with garlands, cymbals and drums
played in hands are found on the top portion of the image. The Tirthankara has curly
hair and behind it a lavishly decorated circular halo is depicted. The trilinear umbrella
surmounted by kevala tree is found above the head of Tirthankara.

Parsvanatha: Four beautiful Parsvanatha images of different dimension are also kept
inside the temple. They have similar feature except in two Tirthankara images w hich
depict astagrahas in one image and four seated Tirthankara images on either side of
the Parsvanatha in another image.

The general features of the images include kayotsarga posture with a canopy
of seven hooded snake above the head. Coils of snake are shown on the back. The
pedestal containing devotees of nagas and nagakanyas in folded hands flanked by two
spirited lions. Flying garlands in hands, lotus and champak flowers, cymbals and
drums played with hands are noticed on either side of the image at the top.

Unidentified Tirthankara image: A figure of Tirthankara is found in kayotsarga

pose over a lotus pedestal with kevala tree, umbrella, flying gandharvas with garlands

36
and cymbals played in hands. The chauri bearers and astagrahas are flanked the
figure on either side. The conventional lanchana of the figure is missing in the
pedestal.

Ganadharas and Purvadharas: A stone slab containing 153 standing ganadharas

and purvadharas in nine rows is kept near the chaumukha found near the pedestal of
the main temple. A seated Risabhanatha figure on the top of the stone slab is
identified. His lanchana bull is depicted on the lotus pedestal over which the
Tirthankaras seated and he is flanked by chauri bearers on either side.

Chaumukhas: Two chaumukhas containing standing figures of Risabhanatha,

Santinatha, Mahavira and Parsvanatha on their niches of cardinal direction are kept on
the sanctum. They are kept near the pedestal of the main temple. The chaumukhas are
designed in the shape of pidha mundis of Odishan variety with crowning amlaka sila
at their top. The lanchanas of the Tirthankaras carved below the pedestal respectively.

Besides the above mentioned sculptures and chaumukhas, the temple

preserves a large number of newly built marble, brass and silver sculptures which are
donated by Jaina devotees and a number of Yantra mandalas viz., Rishi Mandala
Yantra, Sarva Siddhi Yantra, Jinavani Yantra etc. All are found in good state of
preservation.

Jagannatha Temple at Dolamundai, Cuttack Town

The recently built Jagannatha temple at Dolamundai has a stunning image of

Risabhanatha37 . According to local people it was recovered from a tank at the time of
renovation.

Risabhanatha stands on kayotsarga posture over a double petalled lotus

pedestal bellow which his lanchana bull is depicted (Pl.XXIIC). Hair on the head of
the figure is arranged in matted locks, a few strands of which fall on the shoulders. An
indistinct auspicious mark is noticed on the chest of the Tirthankara. The
prabhamandala behind his head is decorated with floral devices enclosed by beaded
borders. Two chauri bearers are standing on the either side of the image at bottom
portion while the upper part of the image is depicted with eight seated Tirthankara
images. Trilinear umbrella, kevala tree, flying gandharvas with garlands, cymbals and

37
drums played with hands found on the top portion of the image. In addition, two more
gandharvas holding flywhisks in hands on elephant back are depicted at the top.

Tirthankara image, Barabati Fort

Architectural fragments containing a miniature Tirthankara image

(Pl.XXXVIIIB) as like that of Brahmesvara temple of Bhubaneswar is recovered
from the moat while restoration works of it going on 2012. Now the stone fragment is
kept in campus of the Sub-Circle office of ASI.

Parsvanatha image at Dhabalesvara Temple, Baidyesvara

An image of Parsvanatha is found in a small temple namely Dhabales vara

temple within the Baidyesvara temple complex at Baidyesvara (Pls.XXIIIA-
XXIIIB). It is situated at the summit of the hillock, locally called as Hatia on the right
bank of the river Mahanadi. It is located on the north-western outskirts of the village
Baidyesvara and on the way to Simhanatha Siva temple. It is abo ut 9km north-east of
Kalapathar chowk and 25km from Banki.

Parsvanatha: The Tirthankara carved out of chlorite schist stone block (73x38
x18cm) stands in kayotsarga posture over a double petalled lotus pedestal. A seven
hooded snake canopy is noticed above his head. Naga and Nagi figures along with
male and female devotees with folded hands are also depicted on the lotus pedestal.
The Tirthankara is flanked by chauri bearers at the bottom, astagrahas four on each
side at the middle and flying garland bearers, cymbal and drum played with invisible
hands are depicted at the top.

Narasinghapur

One seated Tirthankara image kept in the premises of the Rupanatha temple
near Banesvaranasi of Narasinghapur area of Cuttack district. The lower part of the
figure is badly damaged and difficult to identify it with any particular Tirthankara
image. It displays astagrahas, flying figure with kevala tree, trilinear umbrella and a
trefoil decorative arch. Heads are arranged in curly knots. The chauri bearers are
conspicuously absent. L.N. Sahu considers it to be the figure of Padmaprabha,
probably in the view of the marking of a full lotus at the top left side of the
Tirthankara.

38
Hatamala

A small figure of Padmaprabha was recovered from the tank, at village

Hatamala in Tigiria block of Cuttack district in 1972. Now it is preserved in Odisha
State Museum. The image measures 18.5x9.5x05cm and carved standing on
kayotsarga posture on a lotus pedestal supported by lions. Its lanchana, the lotus is
found depicted below the pedestal. Two chauri bearers are flanked on the either side
of the image. Kevala tree, trilinear umbrella decorated hallow, marks of champaka
flowers and drums played in hands are all envisaged in a reduce scale. A torana
surmounted by lions is carved behind the figure.

Baramba

Two Jaina Tirthankara images are found in Baramba. One of them is a figure
of Risabhanatha seated in yogasana posture with conventional chauri bearers and the
astagrahas. A number of Tirthankaras and other Jaina antiquities have been
discovered under the ruins of ancient Jadesvara temple located in Kushamandala
pragana, 40km north-east of Cuttack. All the sculptures are made of chlorite stone
and having striking impression on Odishan Jaina art.

Lendura-Bhagwanpur

A Jaina chaumukha(Pl.XXVID) in the village Lendura-Bhagwanpur located

to the south of river Chitrotpala near Kendupatana and a stone slab containing
Tirthankara image is lying in the compound of the Kanakesvara Mahadeva temple of
village Atuda, at the point from where the river Chitrotpala branches off from the
Mahanadi.

Pratapanagari

Pratapanagari is a place known to the scholarly world for the discovery of

large number of Jaina relics in recent past38 . Few of them were stolen and few of them
are now preserved by the local people. State Archaeology Department took a
commendable step by making a sculpture shed and display the finding Jaina images
from the surrounding areas. The building named as Jaina Heritage Museum
(Pls.XXIIIC-XXVC) and exhibits the fallowing images39. Besides, a fragmentary
image of Tirthankara is found in front of Dhakulei Shrine (Pl.XXVD) under a banyan
tree near the Jaina Heritage Museum.

39
Risabhanatha: A total number of five Risabhanatha image have been displayed in
the museum, out of which two have been depicted with twenty four Tirthankara,
while one depicts astagrahas. The general features of these images are that all are
standing in kayotsarga posture over a lotus pedestal and flanked by chauri bearers.
Their hairs are arranged in jatamukuta style and few strands of hair fall upon their
shoulders. In one of the image depiction of torana is found. A headless image of
Risabhanatha is also found having the similar feature.

Risabhanatha and Mahavira: The two Tirthankaras are found in a common slab but
having independent lotus pedestal, chauri bearers, flying gandharvas and their
respective lanchanas. Both are standing in kayotsarga pose. In respect to the hair
arrangement also differ with each other. While Risabhanatha has jatamukuta,
Mahavira has curly hair. The unique feature of this image is the depiction of divine
personal for playing the cymbals.

Parsvanatha: There are four Parsvanatha images displayed in the museum. Among
them two are depicted astagrahas along with other features. The most elaborated and
decorated image of Parsvanatha is a master piece of Jaina sculpture in Odisha in spite
of partially defaced. The Tirthankara stands in kayotsarga posture, with seven hooded
snake canopy at the back and surmounted by trilinear umbrella. The lotus pedestal
depicted with two rampart lions. Two highly decorative chauri bearers flanked on
either side of the image are carved at the top. Besides, representation of man coming
out of sky and playing with drums for the first time is noticed.

Ambika and Gomedha: Ambika and Yaksha Gomedha seated in ardhaparyanka

asana over a common lotus pedestal below which a series of devotees are depicted. In
between the Yaksha and Yakshi, the usual seen of child swing in a tree is noticed.
Above the tree, depiction of Neminatha in dhyanamudra is found.

Bhanapur

From Bhanapur, a place near Pratapanagari, a number of Jaina images were

recovered by Sri Kangali Charana Panda during digging of a canal. He kept them in a
small thatched shrine but they are stolen immediately after few days. The images
include five Mahavira images and one Parsvanatha image 40 .

40
 At present, the lone bronze image of Parsvanatha is worshipped as Ananta
Basudeva in a modern pidha temple (Pls.XXVIA-XXVIC). The temple is located on
the right side of N.H-5 after Pratapanagari on the way from Cuttack to Bhubaneswar.

Prachi Valley

The River Prachi, a distributary of the Mahanadi System, always held in high
esteem by the people of Odisha. It once cradled a civilization which is so rich and
varied in character that its glory can hardly be explained. It is considered as the holiest
river of Odisha and rightly called the eastern Saraswati41 . In its valley, there is
everything that makes the history of Odisha most outstanding and glorious. The basic
tenet of Jainism which resolves round the theory of ahimsa or non-violence, together
with other religious cult and their iconographical, cultural traditions made impact on
the valley from the very period of their inception.

Jainism, which once was the state religion of Kalinga42 , flourished in the
Prachi river valley as a pioneer centre. A systematic exploration work conducted in
the Prachi valley, reveals that Jainism flourished along with Buddhism, Saivism,
Saktism and Vaishnavism. A number of Jaina images are lying scattered in various
parts of the Prachi valley and many of them are now worshipped in the form of
Brahmanical deities. An extensive survey of the valley reveals many Jaina sculptures
in the modern temples or shrines. Some of them come under Puri district as the river
confluence at sea in Puri district. Thus, without demarcating the geographical area of
them on the basis of administrative unit, Jaina sculptures on the valley are discussed
here to highlights spread of Jainism in the Prachi valley or to know the contribution of
Prachi valley for the expand of Jainism in Odisha

Risabhanatha image, Swapnesvar Temple, Adaspur

A beautiful image of Risabhanatha (50 x25x05cm), chiseled out of black

chlorite schist is noticed on the right side wall of the Swapnesvar temple43 of Adaspur
(Pl.XXVIIA). He is depicted as mulanayaka, being surrounded by twenty four
Tirthankaras, twelve on each side standing nude in kayotsarga posture with solemn
and sublime grandeur. He is bestowed with divine grace with all anatomical
perfections. His long arms fall with easy elegance on the sides touching both the
knees with the middle fingers. Although in complete nudity he wears a bejeweled tier
conical in shape and a pair of dangling warring adorns his elongated ears. The lotus-

41
petalled aura round his head lends a divine dignity to the expression of his face which
with half closed eyes shows absorption in meditation. The trilinear umbrella is seen
above his head and the elliptical aura and the branches of the Nyagrodha, his kevala
tree are placed above the umbrella. Flying garland bearers are noticed just above the
prabhamandala. His lanchana, the bull is depicted at the middle of the lotus pedestal
supported by spirited lions. Two female devotees on anjali hasta are seen on both
sides of the bull. Just above the lion throne, there are three lotus pedestals and the
central one canopied by the mulanayaka whereas, the side one are by fly-whisk
bearer. It is considered as one of the perfect representations of Risabhanatha depicting
most of his divine symbols.
Tirthankara image at Nilakanthesvara Temple, Adaspur
Another Tirthankara image (40x26x12cm) is noticed at the sanctum of the
Nilakanthesvara temple (Pl.XXVIIB) at Adasapur44 . The image is severely damaged
below waist and the portion below feet is completely missing. Thus, it is very difficult
to identify the particular Tirthankara image without the depiction of lanchana. The
Tirthankara stands in kayotsarga posture as like the Risabhanatha image found in
Swapnesvara temple. But, here the Tirthankara is flanked by astagrahas instead of
twenty four Tirthankaras. The depiction of lotus flower, champaka flower in between
the Tirthankara and grahas and the depiction of makara-torana behind his halo are
new features. A single chhatra is seen above his head and the aura is stylised in three
bands of scroll work and is oblong in shape. Of the two chauri bearers, the one on the
right is missing. Devine musicians are noticed at the top of the slab on either side.
Sola-Pua-Maa Temple, Anla
Carved out of a finely chiseled chlorite sto ne, the image Risabhanatha
(52x28x11cm) is presently worshipped as one of the son of Goddess Durga at Anla
in Sola-Pua-Maa temple45. The image is quite akin to the Nilakanthesvara temple
Jaina image in respect to the representation of grahas. The Tirthankara (Pl.XXVIIC)
which stands in nude with kayotsarga posture is flanked by astagrahas, four on each
side. Rahu, the last graha of the series is represented as a bodiless human head with
protruding eyes and grinning teeth. The Tirthankara has a beautiful circular halo
behind his head and a chatra over it. Right at the back of the Tirthankara image, a
makara-torana is also noticed. Devine garland bearers and drums played with
invisible hands are also depicted at the top portion of the stone slab. The fly-whisk

42
 bearers are standing in katyabalambita mudra on both sides of the Tirthankara
image. Below the lotus pedestal of the Tirthankara and chauri bearers, the lanchana
bull and female devotees are depicted.
Barunei Gramadevati Shrine, Kenduli
The Barunei Gramadevati shrine is a small square platform in the outskirt of
village Kenduli preserves a number of images of different faith such as image of
Avalokiteswar, Hanuman, Mahisasuramardini Durga, image of Tirthankara
(Pl.XXVIID) and a number of broken sculptural pieces. The Tirthankara image
measures 32x18x09cm and made of sandstone. The Tirthankara stands elegantly in
kayotsarga posture and flanked by a chauri bearer on the either side at the bottom. He
has a five tiered chhatravali over his head and an oval shaped prabhamandala at the
back. Drums played by invisible hands and flying vidyadharas are depicted on either
side of the Tirthankara at the top. The portion below the feet of the Tirthankara is
badly damaged hence; it is difficult to identify the further features.
Janjesvari Temple, Kenduli
The two female deity kept in the Janjesvari temple of Kenduli are traditionally
worshipped as Amba (1.08x0.58x0.28m) and Ambalika (1.06x0.54x0.18m)46. Both the
figures are carved out of black chlorite schist and seated over double petalled lotus
pedestal. At the lower part of the pedestal a series of female devotees with folded
hands amidst heaps of offering are noticed. Both the deities are holding lo ng-stemmed
flower in each hand. Particularly noteworthy are their elaborate coiffure studded with
jewels, waist bands, anklets, ear-rings and very delicately carved upavitas. Both the
figures have canopy of seven hooded snake and above which flaring garla nd bearers
are noticed on either side. Stylistically, they have close resemblance with the image of
Ambika of Jaina pantheon except the serpent hood (Pls.XXVIIIA-XXVIIIC).
Rushi Thakurani Shrine, Mahatabpari
Two broken pieces of sculpture affinity to Jaina religion are found here
(Pls.XXVIIID-XXIXB), worshipped as Rushi Thakurani47. One is identified as lower
part of Risabhanatha (22x16x08cm) as evidenced by his lanchana bull below his lotus
seat. A female devotee is also seen with anjali hasata below the lotus seat. Above the
visvapadma Risabhanatha is seated in dhyanamudra as depicted on broken sandstone
piece. The other sculpture is identified as a broken piece of Ambika (20 x12x08cm)
with Yaksha Gomedha as the Yakshi is seen in ardhaparyankasana and holding a

43
bunch of corn in his right hand. He is decked with a yajnopovita at the chest, circular
kundala at the ear and a conical bejeweled crown at the top. A branch of leaves also
notice flanked over his head. It can be compared with the Ambika image of
Lataharana and made out of chlorite stone.
Gramesvar Temple, Nibarana
The finest specimen of Jaina sculpture ever noticed in Prachi valley is one
which is kept on the jagamohana of Gramesvara temple at Nibarana48 (Pls.XXIXC-
XXXA). It is made out of black chlorite and worshipped as Kandapa/Kamadeva by
devotees. The Jaina divinity Risabhanatha (98 x50x28cm) is distinguished from his
conventional lanchana bull. The pedestal of the image is supported by two spirited
lions at the corner and below which a panel shows several devotees, male and female
in kneeling posture with folded hands and a heaps of offering in front. The
Tirthankara is seated in yogasana pose over the double petalled lotus pedestal. He has
a jatamukuta hair cap and few strands of which are fallen on the shoulder, a basic
feature of Risabhanatha image in Odishan art. The most outstanding feature of the
image is the depiction of the trefoil torana behind his head, finely carved with beaded
boarder. The trilinear umbrella is surmounted by kevala tree, flying vidyadharas
showering flowers and garlands, cymbals and drums played by invisible heavenly
figures.
Gramesvara Temple, Lataharana
A stone slab depicting Yaksha Gomedha and Ambika (43 x23x06cm) is found
in a small shed in the compound of Gramesvar temple (Pl.XXXB) at Lataharana49 .
Images of Yaksha associated with their consort are often found in various places of
India and the most remarkable of them have been preserved at present in the museum
of Mathura, Deogarh fort (Jhansi) and Gwalior50 . The similar image at Lataharana is
carved out of black chlorite schist. Both Gomedha and Ambika are seated in
ardhaparyankasana on their respective visvapadma below which a series of seven
devotees also depicted in ardhaparyankasana. Both of them hold a bunch of
mangoes/ branch of a tree in their respective right hands and left hands rest over their
left thigh. They are decked with yajnopovitas, valayas, haras and karna-kundalas.
The Yaksha has a conical head dress while the Yakshi has a round, side bun hair style.
A tree is depicted at the background on which a baby is found swinging in playful

44
mood. At the top, the 23rd Tirthankara Neminatha is found seated in
ardhaparyankasana over a lotus pedestal and flanked by chauri bearers on either side.
Bhagavati Temple, Jiolo
A unique image of Ambika is worshipped as Bhagavati/Gajalakshmi by
villagers at the Bhagavati temple (Pls.XXXC-XXXIC) at Jiolo51. The image is quite
akin to the Brahmanical goddess Gajalakshmi except few features. The deity is
standing over a double petalled lotus pedestal in tribhanga posture holding a child on
the left lap and finger of the other child on the right hand, who is standing on the
dexter side of the deity at the bottom. She is bejeweled with bangles, armlets, haras
and karna-kundalas. A pair of elephants is showering water over the head of the deity.
Above it, branches of tree laden with fruit is flanked on either side and above which a
diminutive Tirthankara image is found in vajraparyankasana. The deity is flanked by
eight female figures, four on each side with different posture such as dancing, playing
drums and cymbals etc. Flying vidyadharas and drums are seen at the top on both side
of the image and chauri bearers at the bottom. Below the pedestal kneeling devotees
in anjalihasta are also noticed.
Bageswari Temple, Pindola
The recently constructed shrine Bageswari is located on the left bank of Prachi
and about 5km from Nayahat in Desthali panchayat. The shrine preserves a small
Tirthankara image (20x10x05cm) carved out of black chlorite schist52. The
Tirthankara (Pl.XXXID) stands in kayotsarga posture with middle fingure touches
their respective thigh. Two fly-whisk bearers are noticed on either side of the image.
The portion above the head of the Tirthankara and the pedestal over which he stands
completely defaced.
Ambikei Shrine, Puruna Osian
The Ambikei shrine at Puruna Osian in the Naiguan panchayat preserves three
beautiful images of Ambika (Pls.XXXIIA-XXXIIIC). Local people of the area have
been worshipping them as goddess Parvati. The presiding deity is a life size figure of
Ambika (1.5x0.60x0.24m) and carved out of chlorite stone, probably the largest one
so far has been noticed in Odisha of this kind. She is standing over a lotus pedestal in
dvibhanga posture. She holds a bunch of mangoes in her right hand which plucked by
a child in his left hand, while her left hand holds the finger of another child. She is
bejeweled with valayas, keuras, chhannavira type of haras and large puspa kundalas.

45
Her hair is arranged in jatamukuta style and a narrow beaded crown is noticed at her
fore head. Two female chauri bearers are noticed on both sides of the deity. The most
interesting feature of the image is the depiction of two armed Ganesa on the dexter
side of the image at the top and a two armed bore faced female figure at the sinister
above which flying garland bearer are noticed. Above the large oval halo, one can
notice branches laded with mangoes and flanked by a bird on either side. A lion is
considered as her conventional lanchana is peeping out behind his leg at dexter side
of her leg.

Besides the main deity, there are two small Ambika images, seated in
lalitasana with right leg pendant also kept here. Both have iconographically close
resemblance with each other. They are seated over a beaded pedestal below which a
squatting lion is noticed and bedecked with waist bands, channavira type hara and
armlet and ear rings. They hold a baby in their left lap while another child is seated on
the dexter side of the image. Both hands of the deity are partially missing.
Sobhanesvar Temple, Niali
The Sobhanesvar temple is a Ganga monument in the Prachi valley having a
rekha vimana, pidha Jagamohana and a detached pillared mandapa. The temple is
saptaratha on plan and panchanga bada in elevation. The talajangha portion of the
vimana particularly in the khakara mundi design six diminutive (12x5x1.5cm) Jaina
Tirthankara images are noticed (Pls.XXXIVA-XXXIVC).
Durga Shrine, Gada Itapokhari

One sandstone image of Risabhanatha was found while digging the Kundei
canal near Gada Itapokhari53 . It is now kept inside the Durga shrine of this Village.
The Tirthankara is seated in vajraparyankasana over a double petalled lotus pedestal.
His usual lanchana bull is represented at the pedestal. The most outstanding feature of
this image is that the deity is seated within the womb of a chaitya.

Besides these images, a good number of Jaina sculptures have been reported
from Viswamitra Matha of Kaktapur54, Agnitirtha Matha, Jiunti, Nijigarha Tailipur,
Muruda, Matigadia55 etc. but unfortunately most of the sites do not have the images at
present. They are now either missing or theft.

A good number of Jaina sculptures in the valley prove that Prachi valley is an
important Jaina center of Odisha. Few sculptures of them contain astagrahas which

46
show they are of earlier date, probably to the circa 9th century CE because the concept
of navagraha was introduced in Odishan temple art during middle of the 9 th century
CE as noticed at Mukteswara temple56. The latest time frame of Jaina sculptures of
the valley can safely be dated back to the 13th century CE. Jaina sculptures found in
the Sobhanesvar temple are dated contemporary to Megheswara temple of
Bhubaneswar which correspond to the last quarter of the 13 th century CE57 and the
Risabhanatha image found at Nibarana also iconographically dated back to the Ganga
period. So it is clear that the Jaina sculptures of the valley fall under a broad time
frame i.e., between the 8th/9th century CE to the 13th century CE. It is noteworthy to
mention some important aspects of the Jaina sculptures in the valley. Next to
Mukteswara temple58, Sobhanesvara temple at the valley depict Jaina Tirthankara
image in temple art. Brahmanical gods and goddess are accepted by Jains as an image
of Ganesa is found on the Ambika image o f Puruna Osian as tutelary deity, The
Ambika image of Jiolo Sasana is also carved with a fashion of Gajalakshmi concept
of Brahmanical deity. The Jaina sculptures of Prachi valley mostly include images of
Risabhanatha and Ambika. In spite of profuse images there is no evidence of any
Jaina shrine in the valley. After a thorough study of the iconographical features of the
sculptures, it reveals that except the image found at Nilakanthesvara temple at
Adaspur and Tirthankara image of Barunei Shrine, all the images are of Svetambara
Sect as they decked with bejewelled crown, valayas, keuras, karna-kundalas and
sometimes with transparent clothes. Hence, it can be assumed that Prachi valley was
an important strong hold of svetambara sect of Jainism in Odisha.

Choudwar

Jainism is a splendid living tradition with a well defined world view,

metaphysics, code of ethics and base on non violence, truth and righteous conduct 59 .
In Odisha Jainism flourished along with Buddhism and Hinduism from its early days
till at least the medieval period as attested by literary and archaeological sources.
Archaeological evidence leaves no doubt that Jainism flourished in Odisha during the
reign of emperor Kharavela60 in 1 st century BCE and inspired the Kalingan sculptor to
create rare works of art. Therefore the sculptural heritage of the religion is found in
different parts of Odisha, among which undivided Cuttack district, is a pioneer region
having many Jaina remains.

47
 Choudwar61 , on the left side of N.H-5, situated on the left bank of the river
Birupa in Cuttack district, is an important Jaina center of Odisha. It is about 2km from
the Manguli Chowk on N.H-5. One of the five great forts (panchakatakas) built by
Chodagangadeva and according to the tradition, Choudwar was the earliest capital of
the Gangas in Odisha from which Anangabhimadeva-III transferred it to the place
known as Barabati62 . This place also served as the capital city of Somavamsis 63 . It is
noteworthy to mention that the Somavamsis were not only the patrons of Saivism but
they also showed their tolerance to other religion. This is evidenced from the
sculptural remains found throughout the state and the caves commissioned by the
Somavamsi Kings at Udayagiri and Khandagiri hillocks64 . Though, Choudwar was the
capital city of the Somavamsis, it also reveals some Jaina sculptural remains in the
locality. Along with a number of Buddhist and Brahmanical sculptures and
monuments, Jaina antiquarian remains are found either lying under tree or being
worshipped as Hindu deities.

Jaina Antiquities at Servants of India Society

Three Jaina Tirthankara images (Pls.XXXVA-XXXVC) noticed in a Siva

temple65 are located within the premises of Servants of India Society in Ward No.4 of
Choudwar Municipality area.

Risabhanatha: The temple is recently built but the deities inside the sanctum of the
temple are of much earlier date. It preserves two Risabhanatha images 66 which are
worshipped as Lord Siva. Both the images are coloured with oil paint as like lord
genital organ is
chopped of and a snake hood is added on his head. This is an image of Risab hanatha,
the first Jaina Tirthankara in kayotsarga posture and measures 65cm in height and
37cm in width. The pedestal of the image shows his lanchana bull and his Sasanadevi
four armed Chakresvari67. In the upper right hand the Sasanadevi holds a wheel, while
in upper left hand has a conch. The lower right hand in varadamudra and the lower
left hand is not clearly visible. Devotees are sitting in front of a consecrated book kept
in a tripod is also depicted at the base.

In the proximity of the main image, the small but stunning Risabhanatha
(17x08cm) image attached to the rear wall of the shrine. The stone slab depicted
twenty three Tirthankara around the mulanayaka image of Risabhanatha. The image

48
stands on a lotus pedestal on which a small bull figurine is carved. The image is
flanked by two chauri bearers at the bottom and flying vidyadharas with garlands and
invisible hands playing with cymbals at the top. His hair is arranged in the jata
mukuta style and a few strands of which fall on the shoulders. Another headless
Tirthankara image is kept in the outer niches of the shrine. A head of a Brahmanical
deity having karanda mukuta is placed over the head less Tirthankara image.

Jaina images in the House of Sri Sarat Chandra Behera

A bust portion of a Tirthankara image (Pl.XXXVIA) is noticed in front of the

house of Sri Sarat Chandra Behera, a resident of Ward No.4 of Choudwar. The upper
half portion of the image is only in existence while the lower part is missing now. He
has curly hair, elongated ear and attention-grabbing engraved elliptical
prabhamandala at the back. A trilinear umbrella surmounted by branches of a kevala
tree, are also seen above the head of Tirthankara. The fragmented image surro unded
by seated Tirthankara images (existing three in number), flying vidyadharas and
cymbals played by indiscernible hands.

Jaina images, Sahara Sahi

In Sahara Sahi, just opposite to the Municipal High School in Ward No.4, a
Tirthankara image is worshipped as Gramadevati Kalika. The image is identified as a
Parsvanatha image68 standing in kayotsarga posture. Its upper half of the body is
missing but the coil of snake at the back side of his body is clearly seen. A bust
portion of an Ambika image in mutilated condition is also noticed here. It is very
difficult to identify it as oil and vermillion is regularly applied by the villagers.

Tirthankara images in front of the House of Sri Kasinatha Mallick

A stone slab containing three Tirthankara images in kayotsarga posture are

attached to a Brundabati (tulasi chaunra) (Pl.XXXVIB), worhipped as Mangala
deity, is noticed in front of the house of Sri Kasinatha Mallick, a resident of
Brahmana sahi, Ward No.5 of Choudwar. The images are unfinished and not bear any
lanchana.

Jaina images, Matha Sahi

In Matha Sahi particularly in a matha, a large number of images of Buddhist,

Hindu and Jaina are worshipped as Brahmanical deities. Sudama Nayak, a villager is

49
now act as custodian of the matha. Originally the sculptures were collected from
nearby site by late Zamindar Krishnachandra Mangaraj. Among these sculptures three
are of Jaina affiliation and identified as an image of Risabhanatha and two Ambika
images (Pl.XXXVIC). All the images are coloured with oil paint except the Ambika
image made of bronze.

Risabhanatha: The image of Risabhanatha stands on kayotsarga pose on lotus

pedestal, below which his lanchana bull is depicted. He is flanked by two chauri
bearers at the bottom and astagrahas on the top. Thus the image can be safely dated
to the 9th century CE.

Ambika with Yaksha Gome dha: The image of Ambika with Yaksha Gomedha is
depicted in a single stone slab. They are seated under a tree with a common lotus
pedestal in ardhaparyankasana having a bunch of corn in their respective right hands
and left hand kept over the thigh touching the lotus. Both of them are decked with rich
costumes and ornaments. As like the Ambika image, seven numbers of male devotees
are depicted on the pedestal. A child is seen enjoying swing in a tree, which is
depicted behind the Yaksha and Yakshi figures. Above the tree, an image of
Risabhanatha is carved in yogasana posture with his usual lanchana bull and chauri
bearers, garland holders, drums and cymbals played with heavenly hands at the top.
The image is similar with the image of Ambika preserved in Ayodhya Museum,
Balasore in respect to art and iconography. 69

Ambika: An enchanting bronze image of Ambika was also found under worship. It
is a very small figure measuring about 10cm. The Sasanadevi Ambika70 stands on a
lotus pedestal over a four legged high pedestal. A lion figure is also exhibited on the
pedestal as her lanchana. She holds a bunch of mangoes in her left hand along with a
child in the left lap and in right hand she holds the left hand of another child standing
on right side to her. The elliptical aura starts from the base of the pedestal up to the
head of the image over which a Tirthankara image is found in dhyanamudra.

Risabhanatha image, Kapalesvara Temple

An exquisitely carved Risabhanatha image is found in the premises of

Kapalesvara temple (Pl.XXXVIIA), half a kilometer away from Choudwar
Municipality High School. The image is worshipped as Baba Akhandala Mani, in a
recently built pidha temple. The Tirthankara image stands in kayotsarga posture over

50
a lotus pedestal, which is supported by two rampart lion facing towards opposite
direction. In between the rampart lions, kneeling devotees are also seen in folded
hands. The Tirthankara image is flanked by two chauri bearers standing in tribhanga
posture. The upper half portion of the image is represented with astagrahas and
surmounted by flying garland bearers and cymbals played with invisible hands. The
Tirthankara has jatamukuta and few strands of his hair falls upon his shoulder. A well
decorated trefoil halo is noticed behind the image and surmounted by the umbrella
and the kevala tree.

Tirthankara image, Nuagaon

A similar image having all these features except two i.e. rampart lion and
falling of hair strands upon the shoulder is found in the village Nuagaon. The lower
portion of the image is partially broken which seems to be depicted the lanchana. The
image is now worshipped as navagraha image (Pl.XXXVD) and kept inside the
Bhagavata Tungi, in the middle of the village.

Parsvanatha image, Bharandi

Bharandi, is located half a kilometre away from the village Nuagaon. A

fragmentary image Parsvanatha (Pl.XXXVIIB) kept under a pipal tree near a matha
is noticed. The image is broken into two pieces. Another such broken Parsvanatha
image is also noticed in the Maninagesvara temple complex. The image is kept under
a banyan tree. A head portion of a Tirthankara image is also noticed at Ambilijhari,
in Dalijoda Reserve Forest of Mangarajpur Gramyapanchayat.

Titirthi image, Radhabhallva Temple

Three Jaina Tirthankara images, represented in a single stone slab

(19x15x6cm) are worshipped as Trinatha in the Radhabhallva temple at the TPM
Chowk in Choudwar (Pl.XXXVIIC). The pedestal of the image is in obliterated
condition. So their lanchana could not be ascertained. But on the basis of hair style,
the central image can be identified as Risabhanatha. Bira Kishore Mohapatra, the
priest now looks after the temple.

Jaina images, Chatesvara Temple

Number of images of different faiths such as Brahmanical, Buddhist and Jaina

are recovered from a stepped well while cleaning operation was carried out by the

51
sevayatas of Chatesvara temple. An image of Ambika with Yaksha Gomedha
(Pl.XXXVIID) in a single stone slab (35x15x8cm) was also found among the hoard.
The image is partially defaced at the top but have female attendants at the base. This
image is quite akin to the image of Ambika preserved in Baripada Museum in respect
to size, art and iconography. 71

An image of Ambika with Yaksha Gomed ha (30x16x6cm) is also noticed at

the sanctum of the Gandharavanatha temple at Chitresvara in Choudwar
(Pl.XXXVIIIA). Stylistically, it resembles with the Ambika image of the Matha Sahi.

Eighteen Jain sculptures are found in and around the Choudwar area and
among them five are of Risabhanatha, five of Ambika, three of Parsvanatha, one of
votive temple and four of defaced images. On the basis of iconographical features and
raw materials, the sculptures can be dated back to the Somavamsis period i.e. circa 9th
-11th centuries CE. A few other Jaina sculptural remains may come to notice if
extensive exploration work is undertaken.

Athagarh

The Athagarh region of Cuttack district is also rich in Jaina antiquities bur are
worshipped in some small modern temple as Brahmanical deities. They are discussed
below:-

Dakhina Chandi Temple, Kantola

A Tirthankara image is noticed on the western niche of the jagamohana of the

Dakhina Chandi temple. It is not properly identified due to lack of his lanchana. The
temple faces south and is under worship by the local people. The temple is about 2km
away from Athagarh Town and located on the right side of the old Cuttack-Sambalpur
Road.

The Tirthankara images (37x18x6cm) stands in kayotsarga posture over a lotus

pedestal and flanked by chauri bearers on either side. The rear end of the image
displays a beautiful torana with makara-mukha design at the end. The image is
flanked by two flying gandharvas seated over lotus pedestal and below it are depicted
hands playing with cymbals. In between the Tirthankara and torana-stamba,
champaka and lotus flowers are depicted one above the other. Well decorated hallo,
trilinear umbrella and kevala tree are the other features of the Tirthankara.

52
Risabhanatha and Mahavira, Adyashakti Temple, Kantola

The image is found placed in front of the Adyashakti temple. It is a single

stone slab (38x25x6cm) depicted two headless Tirthankara images such as
Risabhanatha and Mahavira (Pl.XXXIXA). Each has a separate lotus pedestal below
which their respective lanchana viz., bull and lion are depicted. The Tirthankaras are
flanked by the chauri bearers and astagrahas on both sides.

Kapilesvar Temple, Taradinga, Jaina Sasanadevi

The Sasanadevi image is placed on the wall of Kapilesvar Temple. The four
armed Sasanadevi is seated over a lotus pedestal in lalitasana pose. She wears a
karanda mukuta over which a small Tirthankara image is carved seated in
dhyanamudra. Two attendants are found in two separate pedestals below which two
lotus symbols are found. The hands of the deity are missing.

Besides, a lone image of Jaina Tirthankara carved out over a natural laterite
block is noticed on the top of the hillock Nuagarh, backside of the Athagarh palace
complex (Pls.XXXVIIIC-XXXVIIID). The Tirthankara stands in kayotsarga posture
No cognizance is carved below but no cognizance is found at the pedestal.

Jaina relics are also reported from Baidesvara, Chatia and Chandol (Salepur
area) of Cuttack district. A bronze sculpture of Risabhanatha found from village
Barunia of Darpani estate of Cuttack. The image was presented to Odisha State
Museum by the then Zamindar R.K. Tripathy of Bayree. It is carved seated in
yogasana pose on a lotus pedestal supported by rectangular base with legs. His
conventional lanchana bull is depicted on the pedestal. A decorative oval halo, kevala
tree and umbrella are all noticed at the top forming parts of the pratiharyas. Hair on
the head of the Tirthankara is arranged in matted locks, a few rolls of which hang over
the shoulders.

3.6 JAGATSINGHPUR DISTRICT

Jagatsinghpur, the smallest district of Odisha in dimension located at 19 0 58'

and 200 23' north latitude and 860 03'and 860 45' east longitude. Its boundary is
marked by the beautiful coastline of Bay of Bengal in the east and the districts of
Cuttack in the west, Kendrapara in the north and Puri in the south. Jagatsinghpur was

53
created as a new district of Odisha in 1993 prior to it was a sub-division of Cuttack
district72.

The name Jagatsinghpur was earlier known as Hariharapur which was a

famous mint town during the Mughal period located on the banks of the river Alaka 73 .
The sacred rivers such as Mahanadi, Devi and Alaka flow throughout the district and
divide the district in its length and breadth, the valleys contain a large number of
archaeological sites. The region is very rich in archaeological remains and monuments
including various religious and secular groups such as Buddhism, Jainism, Saivism,
Skatism, Vaishnavism and Islamism.

A large numbers of temples, monuments and sculptures are noticed in this

district. The archaeological remains include Bhubaneswar Mahadeva temple at Balia
(8th/9th century CE), Trilochaneswara temple at Kundeswara (11 th-12th centuries CE),
Lokanatha temple at Paradipgarha, the temple of Bhagabati at Parahat ( 13 th century
CE), Panchapandaveswara a temple at Daraba ( 13th century CE) etc. indicates the
rich temple building activities in medieval period. 74

In additions, the Sakta images are also found on the bank of river Alaka and
Mahanadi viz., an eight armed Mahisasuramardini from Mudupur, the images of
seated Durga, Mahisasuramardini and Haraparbati found in Trilochaneswar temple,
four images of Panchavarahis from Satbhaya , six matrika images from Sathalpura,
the images of Gajalaksmi, Haraparbati and the ten armed Mahisasuramardini images
found in the present temple of Kutamacandi, ten armed Durga and an eight armed
Durga image from Erasama , Mahisasuramardini from Garama, image of Chamunda
at Ebirisingh in Erasama region, ten armed Mahisasuramardini image from
Paradipgarh are among the important ones. Besides, the temples relate with the sakti
include the Sarala temple at Jhankada is one of the ten Saktipithas in Odisha and
Kutumachandi temple at Debidola.

Buddhism also flourished in Jagatsinghpur district which evidenced from

Buddhist sculptures from Dihasahi, Kaduapara, Kalyanpur, Kundeswara, Mudupur,
Nasik-Kotian, Tarpur and Paradipagarh etc.

Jainism like other religious faith also has a great footing in this district. The
Jaina antiquities are found at the places like Nuadhana, Sahada, Nasik, Sujanga,
Manapur-Ghadama and Kundeswra. These are discussed as follows:-

54
Jaina images at Kapilesvara Temple, Nuadhana

The temple of Kapilesvara is located on the left side of Kandarpur-

Jagatsinghpur Road and about 1km from Dogachhia chhaka. It is situated on the
outskirt of village Nuadhana in the Biridi gramapanchayat. The modern built temple
preserves outstanding sculptures of Saivaite, Vaishnavite and Jaina faiths. The
outstanding Jaina sculptures (Pls.XXXIXB-XLC) of the temple include
Risabhanatha, Chandraprabha and Parsvanatha 75 which are discussed below.

Risabhanatha: The first Jaina Tirthankara Risabhanatha stands in kayotsarga posture

over a lotus pedestal as mulanayaka and flanked by two chauri bearers on the either
side at the bottom. The Tirthankara has a high conical defaced mukuta and elongated
earlobe. He is depicted at the center on the projected flat surface of the stone slab
while other Tirthankaras are carved in diminutive size on the recessed stepped surface
at the boarder of same stone slab. Among the 23 Tirthankaras, seven on either side,
four at the top, five at the bottom seated in dhyanamudra over their independent lotus
pedestal are beautifully represented. Flying vidyadharas with garlands and drums
played with hands of invisible gandharvas are also shown on either side of the image
at the top. In between the drum player and chauri bearers, three full blown lotus
flowers are depicted. Three tiered chhatravali flanked by branches of kevela tree are
found at the center of the top above his head. His lanchana bull is carved in kneeling
position with upraised tail just below the feet of the Tirthankara and amidst the lower
five seated Tirthankaras. The image is partially defaced at the crown a nd lower parts
of the both hands. The image is carved in a black chlorite stone and the stone slab is
narrowed down towards the top. So it measures 35cm in width at the top while 45cm
in width at the bottom. The image is attached on the rear wall of the jagamohana and
worshipped as Lord Siva. Presently, all the Saivite rituals are associated with the
images.

Parsvanatha: Carved in black chlorite stone (73x40x16cm), the twenty third

Tirthankara is found attached on the frontal right wall of the jagamohana. He stands
in kayotsarga posture over a viswapadma. He has curly hair and a raised central knot
at the top, elongated ear and trivali mark at the neck. A seven hooded snake canopy
with two coiled tail is marked behind the image. Further behind, a makara torana
with the shape of makara mouth end and square pillar decorated hanging pendants are

55
shown on either side. Single chhatravali flanked by kevala branches are placed at the
center, above the serpent hood. In between chhatravali and flying vidyadharas,
cymbals and drums played with invisible hands intermediate with champaka flowers
are engraved. Two chauri bearers bedecked with kirtimukha, circular puspa-kundala,
necklace, yajnapavita, valayas, armlets, nupura, girdles and short dhotis. The pedestal
below the Tirthankara image shows three kneeling devotees in anjalimudra on either
side and naga and nagi figure in human form at the center also in anjalimudra flanked
the viswapadma. The image and hoods of the snake are partially damaged.

There is another Tirthankara image kept at the recess in between the vimana
and jagamohana of the same temple. Parsvanatha (60x34x15cm) carved out of black
chlorite stone stands in kayotsarga posture over a double petalled lotus pedestal. The
seven hooded snake canopy with curly hair is marked on the either side of the image
at the back. Just above the lower end (tail) of the snake, chauri bearers are standing in
tribhanga posture with cross legged. The torana behind the image has shown just like
a decorated stool and decorated with circular mark, flying vidyadharas, cymbals and
drums played by divine musicians are shown on either side of the serpent hood. The
serpent hood is surmounted by three tiered chhatravali flanked by kevala tree. Full-
blown lotus mark found on either side of the chhatravali. The panel below the feet of
the Tirthankara shows kneeling devotees with folded hands.

Chandraprabha: The image (75x42x15cm) carved out of black chlorite stone is

attached on the outer wall of the jagamohana at the entrance. The Jina stands in
kayotsarga posture over an unfinished viswapadma, below which his lanchana moon
(crescent moon) is clearly visible. He has curly hair and elongated ear. The narrow
waist and broad chest of the Tirthankara resembles that with the image found in
Khandagiri hill at Bhubaneswar. Behind him a stylized torana with makara-mukha
design is engraved. The image is carved with three tiered chhatravali flanked by
kevala branches. It is further flanked by a champaka flower on either side. Flying
vidyadharas topped by cymbals and drums played with invisible hands on either side
of the torana at the top. The chauri bearers bedecked with ornaments and dress, stands
in tribhanga posture with crossed legged over caparisoned elephant. Except the
lanchana of the Tirthankara nothing clearly visible at the pedestal, as inserted into the
cement plaster. The face and genital organ of the Tirthankara is partially damaged.

56
Jaina Antiquities at Nageswari Gramadevati Shrine, Nuadhana

Three number of Jaina images are kept inside the Nageswari Gramadevati
shrine amidst a large number of broken sculptures of Buddhist and Brahmanical
pantheons. They are discussed as follows-

Risabhanatha: The fragmented black chlorite stone image Risabhanatha

(28x14x10cm) stands in kayotsarga posture over a double petal lotus pedestal below
which his lanchana bull and a kneeling devotee are depicted (Pl.XLD). The lower
dexter of the Tirthankara shows the well dressed chauri bearers in dvibhanga posture
over a double petalled lotus pedestal below which a crouching lion is shown. The
upper portion of the image including the head and the left half portion of the image
including the head and the left half portion of the Tirthankara image is missing.

Besides, the remnant of another image of Risabhanatha (10x10x05cm) that

stands over a double petalled lotus pedestal is also found. The image is carved out of
black chlorite stone and his lanchana bull is engraved just below the lotus pedestal.
He is flanked by chauri bearers on either side at the bottom. The image is badly
damaged and beyond descriptions due to the application of oil and chuha by local
priests.

Chaumukha: It is a fragmented chaumukha and the lower half of which is missing.

Only the head of the Tirthankaras are found on the four cardinal directions of the
chaumukha. The upper portion of the chaumukha is represented as a miniature pidha
design temple with triratha on plan. It super imposed by a circular beki, amlaka,
khapuri and full blown lotus at the top. It is fashioned out of black chlorite stone and
the height of the remaining portion is 24 cm.

Risabhanatha image at Subarnesvara Temple, Dhia Sahi, Sahada

The temple Subarnesvara at village Dhia Sahi, Sahada is located on the left
side of the Jagatsinghpur-Machagaon Road and about 7km from the district head
quarters. An image of Risabhanatha 76 is placed in a niche at the front wall of the
vimana of the temple.

The sculpture of Risabhanatha (58x30x15cm) carved out of black chlorite

stone with high curly jatamukuta stands in kayotsarga posture over a viswapadma
(Pl.XLIA). Below which his lanchana bull is engraved and flanked by two kneeling

57
devotees. He has a plain circular halo behind his head, topped by trilinear chhatravali
flanked by kevala tree. He is flanked by chauri bearers on either side at bottom and
flying vidyadharas, cymbals and drums played by invisible hands. Seated image of
astagrahas, four on either side are depicted in between chauri bearers and flying
vidyadharas. The space in between Tirthankara and astagrahas is relieved with
champaka flower and full blown lotus.

Santinatha image at Khandeswara Temple, Nasik

The temple Khandeswara is situated at the outskirt of the village Nasik, 11km
north-east of Dihasahi Chhaka in the Jagatsinghpur-Machhagaon Road. The present
temple was constructed over an ancient temple belong to the Somavamsis period 77 .
The present temple has a rekha vimana and jagamohana having thick coats of lime
plaster on the wall surface. Besides, Brahmanical and Buddhist sculpture, a beautiful
image of Santinatha (Pl.XLIB) is noticed at the one of the inner niches of
jagamohana.

The image of Santinatha78 (96x48x15cm) is carved standing on a double

petalled lotus pedestal below which his lanchana deer is visible in front of a kneeling
devotee in anjali-hasta. The two chauri bearers standing on elephant backs flank the
Tirthankara on the sides and above them the astagrahas are depicted (four on each
side) in yogasana, displaying conventional attributes in their hands. The kevala tree
and the sacred umbrella at the top are flanked by flying figures with garlands and
invisible gandharvas playing cymbals and drums in their palms. Face of the
Tirthankara and heads of the two chauri bearers are partially disfigured. The vacant
space below pedestal is filled with lotus stalks.

Risabhanatha image at Dhabalesvara Temple, Sujanga (Madhapur)

A beautiful image of Risabhanatha is found in the temple complex of

Dhabalesvara at Sujanga (Madhapur)79 village near Jagatsinghpur. Risabhanatha
stands in kayotsarga posture over a double petalled lots pedestal and his lanchana
bull is depicted below his pedestal. He is flanked by two chauri bearers on either side
standing in tribhanga posture. The double ring prabhamandala, chhatravali and
kevala tree which is partially damaged. Astagrahas are depicted (four on each side) on
either side of the Tirthankara. Flying garland bearers and drums played with invisible

58
hands are only seen on the dexter portion at the top, while the left portion of the stone
is broken.

Besides, a small Jaina Tirthankara image is reported from village Khorata in

Jagatsinghpur, worshiped as gramadevati along with hoard of other sculptures.

Jaina Antiquities at Manapur-Gadhama

During a digging operation at Taladanda canal for a bridge construction, a

Jaina chaumukha (43x17x17cm) and a slab containing three Jaina Tirthankara images
(47x26x13cm) are found80 and now placed in a thatched roof nearby site which is
known as Lokanatha matha (Pls.XLIC-XLID). There is no lanchana below the
titirthi figure where as the Tirthankaras represented in the chaumukhas are
lanchana is not
identifiable. People of this area also informed that they have come across many
terracotta rings well during the ploughing in their field where the images are found. A
large number of potsherds, fragments of terracotta rings are also found on the paddy
field close to the thatched shrine. The potteries are mostly red ware, red slipped ware
and a thick course red ware with husk mark is also noticed here.

Chaumukha at Gatesvara Siva Temple, Kundeswara

The Gatesvara temple is a subsidiary structure in the precinct of

Trilochanesvara temple complex in the village of Kundeswara. The shrines within the
complex are protected by the department of Odisha State Archaeology81. The site is
located about 4km east of Mundalo town. The Gatesvara temple has a small rekha
vimana without any frontal porch. It is a living temple enshrining a Siva linga within
a circular yonipitha. The temple is pancharatha on plan and triangabada in elevation
but the crowning element of the temple is a chaumukha82 instead of a trident as
ayudha usually found in case of a Siva temple. The chaumukha seems to be added in
later period. The chaumukha is carved with twenty four Jaina Tirthankaras, six on
each cardinal direction. Each side of the chaumukha depicts a standing Tirthankara
image at the central rectangular niche in a larger dimension (8x2.5cm) w hile four
Tirthankaras in seated posture, two on each side within oval niches in smaller
dimension (8x0.4cm) (Pls.XLIIA-XLIIC). Another diminutive figure of Tirthankara
is depicted at the top of the central figure. The chaumukha is partially defaced.

59
3.7 JAJPUR DISTRICT

The cultural heritage of Jajpur is reflected in its vibrant art forms. Jajpur has a
prolonged and variegated history and is believed to have existed with all its glory and
greatness since time immemorial. It was the cultural cockpit and political epicenter of
the ancient Kalingan empire. In past it was one of the cultural headquarters of Odisha
i.e. the Viraja Mandala (Jajpur). The nomenclature of the district is believed to be
named after the Somavamsi king Jajatikeshari in the early 10 th century CE83 . It has
witness many ups and down and political turmoil right from the Guptas, Matharas,
through Bhoumakaras, Somavamsis, Gangas, Marathas and finally to the Britishers.
However, systematic and chronological history of Jajpur practically begins since the
8th century CE with the reigning period of Bhaumakaras and achieved a remarkable
epoch during the Somavasis period84 .

Jajpur district85 was formed as a new district after the reorganization of the
districts in Odisha in 1st April 1993. It extends from 85040'E to 86044'E longitude and
from 20030'N to 210 10'N latitude and covers an area of 2899 sq.km. Bhadrak
surrounds the district on its north and east, Kendrapara on the south and east,
Dhenkanal on the west and Keonjhar on the north-western side. Physiographically,
the district may be divided into two physical regions such as Eastern alluvial plain and
North-western hilly terrains. The district considerably drained by the several major
rivers such as the Brahmani, the Vaitarani, the Birupa and their tributaries and
distributaries have been playing significant role in the cultural matrix of Jajpur or
Virajakshetra86.

Jajpur is a place of synthesis of all religions viz., Jainism, Buddism, Saktism,

Saivism and Vaishnavism reflected in icons and architectural remains abound the
district. The Iconoclasts and religious fanatics have done a lot of damages to the
cultural efflorescence of the area in the past.

The bountiful of Jaina vestiges on Jajpur eloquently prove that Jajpur region
was under the sway of Jainism. Jajpur was also great learned center of Buddhism.

were reduced to ruins due to lack of royal patronage and hard core penance system.
But the icons of Jaina Tirtankaras and Sasanadevis are found in large numbers
particularly along the plain area of the river Vaitarani87 .

60
Jaina images at Hamsesvara Temple, Near Viraja Temple

The temple Hamesvara alias Madhavesvara is situated on the northern bank of

a small streamlet known as Hamsarekha, a tributary of river Mandakini, 500 meter
east to Viraja temple, near Viraja High School. A standing Parsvanatha image and a
headless image of Chandraprabha are found in the temple.

Chandraprabha: The headless seated image of Chandraprabha (Pl.XLIIIA) is kept

in front of the temple along with other Brahmanical images. Carved out of sandstone,
the robe less Chandraprabha with the broad chest exhibits the dhyanamudra with his
right palm placed on the left against the abdomen. The cognizance of the Tirthankara,
the crescent moon is depicted on the central portion of the plain pedestal. The crude
finishes and devoid of ornamentation put the image to a very early period.

Parsvanatha: The Parsvanatha image (Pl.XLIIIB) now worshipped as a icon of Lord

Siva is placed inside the sanctum sanctorum attached to the rear wall of the temple.
The image stands in kayotsarga posture over a single petalled lotus pedestal. He has a
seven hooded snake canopy over his head. The coils of snake gathered behind the
image symmetrically. Over the snake canopy the tri- linear umbrella and kevala
tree Dhataki is also noticed. At the pedestal of Tirthankara image, four spirited lions
two at the centre and two at each side of the corner are depicted. The chauri-bearers
decked with high costumes and ornaments are standing on either side of the
Tirthankara image at the bottom. The astagrahas are neatly carved, four on each side
of the image. The trivali mark is also found at the neck of the Tirthankara.

Jaina Antiquites at Chandi Devi Temple, Baruadi

The Chandi Devi temple is a modern flat roofed RCC structure in the village
Baruadi and is about 1km away from Viraja temple. The shrine posses images of
Ajitanatha, a headless Tirthankara and Ambika which are now under worship along
with other Brahminical and Buddhist images.

Ajitanatha: Ajitanatha found in dhyanamudra over a plain pedestal(Pl.XLIIIC)

which is engraved with an elephant, the cognizant of the Tirthankara at the middle
and two spirited lions at each corner. In close to the elephant an attendant is also
found in anjalimudra at the dexter. The Tirthankara has a circular prabhamandala
behind his head and above it is a trilinear chhatravali. Two chauri bearers are
standing in either side of the image. The figures are bejeweled with high costumes and

61
ornaments and have also circular prabhamandala behind their heads. His hairstyle
reflected in form of rows of curled knots with an usnisa at the centre.

Ambika: The upper part of the stone image is missing but the figure depicted with
Yaksha Gomedha (Pl.XLIIID) in a common slab. They are seated in
ardhaparyankasana over a double petalled lotus pedestal and each holds a branch of a
tree on their right hands and left hand are resting over the pedestal. Seven figures with
cornucopia on right hand in ardhaparyankasana are also depicted on a panel below the
lotus pedestal. A kneeling devotee with folded hands is also seen left to these images.

Another standing image of Tirthankara also found under worship is beyond

description due to the missing portion below knees and above the neck.

Jaina images at Sitalesvara Temple, Sitalesvara

The Sitalesvara temple is located in the village Sitalesvara. The site is about one
and half km distance from the city bus stand near Sitalesvara M. E. School. The temple
is located in a deserted place and now in a stage of ruin condition. Two Jaina images,
namely Santinatha and Risabhanatha (Pls.XLIVA-XLIVC) along with a number of
Saivite, Vaishnavite sculptures and architectural fragments are found.

Risabhanatha: The Risabhanatha image is found attached to the inner wall of the
sanctum of the temple. Seated in dhyanamudra over a lotus pedestal below which his
mount bull is delicately carved. Chhatravali flanked by flying garland bearers are seen
at the top while two chauri bearers are also found on either side of the image.

Santinatha: The Santinatha image (69cm in height) is found on niche of the outer wall
of the temple. The image is white washed with lime and his face his partially defaced.
He is seated over a lotus pedestal in dhyanamudra below which his lanchana deer is
clearly depicted in the central portion of the pedestal while two spirited lion are also
carved on each corner of the pedestal. The image of Santinatha with broad chest,
elongated ear lobes, curled knot, in hair with a bulge at the centre, exhibits the
yogamudra with his right palm placed on the left against the abdomen. Besides these, a
circular halo and a tri- linear chhatra are marked behind his head. Nandi vriksha, the
tree associated with his kevala knowledge is depicted in running creepers on the sides
of the circular arch above head. Two chauri bearers are also noticed at the bottom
standing over separate lotus pedestal on either side of the image. They have also
separate elliptical halo behind their head. The most peculiar feature of the image is the

62
placement of astagrahas which are placed in between flying vidyadharas and chauri
bearer, four on each side in two rows.

Jaina Antiquities at Basulei Thakurani, Sitalesvara

A number of Jaina antiquarian remains are found scatter in a half constructed

modern brick structure in the outskirt of Sitalesvara village near the paddy field. The
Jaina vestiges include fragmented parts of many Tirthankaras, Sasanadevi Ambika and
a mastaka portion of a chaumukha. (Pls.XLIVD-XLVB)

Ambika: This image stylistically represented like other Ambika images with her
Yaksha found in different parts of Odisha. Ambika (20x20x05cm) is seated left to the
Yaksha in lalitasana with left leg pendant over a fine carved lotus pedestal. She holds a
mango twig in her left hand while right hand rest over the pedestal with facing
downward. The head portion of the Yakshi is totally missing while the portion above
the waist of the Yaksha is also missing. Six female figures are shown seated in
rajalilasana and hold some object in their right hands and left hands of the respective
devotees placed above the left thigh.

Mahavira and Parsvanatha: Mahavira and Parsvanatha are carved in a single stone
but the upper part is missing. Both the Tirthankaras are standing in kayotsarga posture
over a pedestal. The pedestal is divided into five segments by a narrow border. The
segments below the Tirthankaras are depicted their respective lanchana such as lion and
snake while other is engraved with full blown lotus petal. The seven hooded snake
canopy of the Parsvanatha is available but the upper portion of Mahavira is missing.
Only a defaced figure of chauri bearer is noticed on the left side of Parsvanatha and the
other one on the right probably missing.

Besides, the above discussed images, a mutilated Tirthankara image without

head and lower part below the knee standing in kayotsarga mudra is found. A head
portion of an image probably of a Tirthankara a nd mastaka portion of a miniature rekha
temple, probably remnants of a chaumukha is also found there.

Chaumukha, Jatesvara Temple, Sitalesvara Chowk

The Jatesvara temple is located in close to Sitalesvara M.E. School, on the left
side of the road leading from Jajpur town bus-stand to Viraja temple. It preserves one
small votive stupa depicting Parsvanatha in one of its faces.

63
Chaumukha: The chaumukha fashioned in form of a circular votive stupa is
represented with an image of Parsvanatha in kayotsarga posture in one side
(Pl.XLVC). A modern cement concrete shakti/yonipitha is added to the shrine. Local
people worshiped him as Lord Siva namely Nagesvar as the image has serpent hood
behind its head. The khandolite stupa measures 55cm in height and 90cm in its
perimeter. Three more Jaina chaumukhas of similar fashion have been recovered from
the dry river bed of the Vaitarani near Kothavasantapur. These chaumukhas contain
only one Risabhanatha figure in kayotsarga posture with the lanchana bull carved
below. Other three sides of the chaumukhas are plain without any carving.

Chaumukha at Hatkesvara Temple, Baruadi

The Hatakesvara Siva temple alias Mahisi Tirtha is located at the village
Baruadi in the ward no.11 of Jajpur Town Municipality famous for Saivite, Vaishnavite
as well as Jaina antiquities in a temple, which was rebuilt by using the stone of an
earlier temple.

Chaumukha: A partially damaged Jaina chaumukha (80x32cm) is placed in front of

the Hatakesvara temple (Pl.XLVD) at Baruadi. The miniature shrine made of a single
khandolite stone block has beki, amlaka and over it marks of lotus petals which
resemble a miniature rekha temple. Four Tirthankara images in kayotsarga posture are
carved on the four side of the miniature sarvatobhadrika88 shrine. The lower portion of
the chaumukha is broken which probably represents their respective lanchanas. All the
images have circular prabhavali behind their head, curly hairs with a knot at the center,
hands stretched out up to thigh, which shows their spiritual dignity. The existing portion
of the Tirthankara images measures 55x23x3cm in height, width and breadth
respectively.

Santinatha image at Akhandalesvara Temple, Jajpur Town

The Akhandalesvara temple built over an ancient temple is located in Bada

Bazar chowk, close to the bus-stand of Jajpur town. A beautiful standing image of
Santinatha is noticed on the right side wall of the temple facing east.

Santinatha: The stunning image of Santinatha measuring 1.14m in height is standing in

kayotsarga posture over a lotus pedestal. His lanchana deer is clearly depicted on the
pedestal. The back side of the deer is depicted with three female kneeling devotees and
one child who are immediately standing behind the lanchana. The front side of the

64
lanchana depicted with the two armed Sasanadevi Mahamanasi. The Sasanadevi is
depicted in padmasana with a pair of elephants offering sacred water from pitchers held
in their uplifted trunks. The Tirthankara image is flanked by two attendants at bottom
and two flying vidyadharas at the top on each side. Above the flying vidyadharas
cymbals and drums played with invisible hands of gandharvas are also carved an either
side of the mulanayaka. The image has hair of curl knot and a bulge at the centre. He
has a circular halo behind his head. A tri- linear umbrella is clearly depicted above the
halo which is also surmounted by branches of Nandi vriksya. The most interesting
feature of this Santinatha image is the depiction of astagrahas, four on each side sitting
in conventional yogasana posture on the sides. The image is in good state of
preservation though the image is coloured with oil paint by the priest.

Parsvanatha image, Narayana Chhaka, Jajpur Town

The 23rd Jaina Tirthankara, Parsvanatha is worshipped here as Ananta Basudeva

(Pl.XLVIA) as it carries snake canopy over his head. The site is located 200m east of
Jajpur town Bus-stand near Durga cinema hall.

Parsvanatha: The image made out of black chlorite stone and well finished stands in
kayotsarga posture. Besides, snake canopy the image is adorned with a circular halo,
trilinear umbrella, cymbals played with hands of invisible gandharvas at the upper part
of the image. The depiction of champaka flowers superimposed with full blown lotus in
a series found vertically on either side of the image. The lower part of the image is not
seen clearly due to its living nature and garmented with cloths. The image is well
preserved but partially damaged at the snake canopy.

Santinatha at Ganesa Temple, Dasasvamedha Ghata

The Ganesa temple is located in the right bank of the river Vaitarani near
saptamatrika images, locally known as Jama Maa Sata Bhauni. Besides, the colossal
image of Ganesa as presiding deity, cult and secular icons of other religion including a
remarkable image of Santinatha is found in a well preserved condition at the porch89 .

Santinatha: The Santinatha image (Pl.XLVIB) is carved standing in kayotsarga

posture on a double petalled lotus pedestal below which his lanchana deer is clearly
engraved with kneeling devotees in anjalimudra and heaps of offerings. The chauri-
bearers are represented on the either side of the image at bottom. The kevala tree Nandi
virksya, trilinear umbrella, cymbals played with invisible hands of gandharvas and

65
flying figures with garlands are carved at the top. The most important feature of this
image is that it wears a beaded chain around the neck, which is a rare occurrence in any
Jaina Tirthankara image. His hairs on the head are arranged in curled knots and a
circular halo is marked behind his head. All the twenty four figure of Tirthankaras in
kayotsarga posture are represented in pairs on both the sides. It is partially damaged in
its left hand.

Chaumukha, Dharmeswar Temple, Sana Bazar

A small Jaina chaumukhas (Pl.XLVIC) found in front of Dharmeswara Siva

temple, on the bank of the river Vaitarani at Sana Bazar of Jajpur town along with a
Buddhist votive stupa and an image of nandi. Built of triratha design rekha temple, the
chaumukha represents an image of Risabhanatha within a rectangular niche in one side.
He is standing in kayotsarga mudra over a lotus pedestal and flanked by attendants. A
kneeling devotee is also seen at the right side of the image on the bottom portion. His
lanchana bull is depicted below his lotus pedestal. The image is crudely executed in
khandolite stone. Some portion of the chaumukha is buried in the ground and the
remaining portions above the surface level measures 50x30cm in height and width and
the Tirthankara image measures 18x15cm in height and width respectively.

Jaina Antiquities at Narasinghpur

The village Narasinghpur is located near village Kodandapur and is about 2

km away from Jajpur bus-stand on the way to Rambag. Three important and beautiful
Jaina antiquities viz., a beautiful Parsvanatha image, Risabhanatha image and a Jaina
chaumukha are found in front of the house of one Shri Sadhu Panda (Pls.XLVID-
XLVIIB) particularly near Narsinghpur M.E. School.

Parsvanatha image: The image (1.35m in height) is standing on a double petalled

lotus pedestal in kayotsarga posture with a seven hooded snake canopy over his head.
He is flanked by two chauri bearers standing on the separate double petalled lotus
pedestal. The flying vidyadharas with garlands and cymbals played by the hands of
invisible gandharvas are depicted on either side of the image at the top. The tri- linear
umbrella and the kevala tree Dhataki or Debadaru appear above the snake canopy.
The coils of the snake are beautifully gathered behind the image in several folds
fashioned symmetrically. But the most interesting feature of this image is the
depiction naga and nagi figures having a canopy of three hooded snake at the bottom

66
on either side of the lotus pedestal of Parsvanatha. While naga image depicted
kneeling with anjalimudra, the nagi figure probable Padmavati his yakshi holds the
staff of tri- linear umbrella which is behind his head. The Tirthankara image is
partially damaged on the face, snake hoods and fingers of hands.

Chaumukha: The chaumukha (36x20cm) is carved out of a rectangular khandolite

stone block with square base and depicts four Tirthankara images viz., Risabhanatha,
Ajitanatha, Chandraprabha and Parsvanatha on its four cardinal directions. The
images are beautifully engraved within rectangular niches in kayotsarga posture along
with divine musician at the top and their respective lanchanas at the below. Exception
being the Parsvanatha image, which is flanked by astagrahas, four on either side and
dharmachakra as his lanchana and presence of two women devotees at the bottom,
besides his mark of his identification i.e. the serpent hood. The chaumukha is now
converted to a brundabati and worshipped by the villager by planting a tulshi tree
over it.

Risabhanatha image: The Risabhanatha image (55cm in height) attached to the front
wall of the Tarini temple is standing in kayotsarga posture over a plain pedestal. His
lanchana i.e. bull is elegantly carved at the pedestal. An elliptical halo is marked
behind his head. Two chauri attendants dressed with ornaments are also found on
both sides of the images. The face of the image is broken and was repaired latter on.
The image is now coated with lime plaster and painted with colours depicting
garments and ornaments.

Jaina Vestiges at Jagulei Shrine, Kartara

The village Kartara is located on the left side of the Jajpur-Nandipur road in
Nandipur gramapanchayat and is about 12km from Jajpur town. There is a small flat
roof RCC structure known as Gramadevati over a small mound and preserves some
sculptural pieces among them the image of Ambika is noteworthy which is worshiped
as the presiding deity. A Jaina chaumukha is also placed in front of the temple
(Pls.XLVIIC-XLVIIID).

Ambika: The presiding deity of Kartara known as Jagulei is a Jaina Sasanadevi

image of Ambika. The two armed deity seated on lalitasana over a khatuli and her left
leg rest over her lanchana lion, which is below the pedestal. She holds a baby in her
left hand and a mango twig (?) in her right hand. A kneeling devotee in anjalimudra is

67
also shown near the right leg of the deity. The deity is decked with highly costumes
and ornaments. She has also a circular halo behind her head. Two chauri bearers at
the bottom and two flying vidyadharas at the top are depicted on either side of the
image. Two other kneeling figures in anjalimudra are also seen at the pedestal.

Chaumukha: A Jaina chaumukha is placed in front of the Budhi Jagulei shrine. The
chaumukha is fashioned in form of a miniature tri-ratha rekha style temple out of a
single khandolite stone block. The votive temple is buried up to its half of bada
portion. Risabhanatha, the first Tirthankara is engraved in low relief on a rectangular
niche at the raha paga of the shrine, particularly at the bada portion. His lanchana
bull is depicted in the pedestal below his feet. But the most interesting thing is the
presence of an epigraphical record of four letters in the raha paga, above the image at
gandi portion, particularly in raha Udabat
probably the donor of the shrine and paleographically datable to the circa 6th/7th
century CE90. The existing measurement of the chaumukha is 85x40cm while the
Tirthankara measures 16x10cm in height and width respectively.

Jaina images at Chandesvara Siva Temple, Chandigola

The site is located in the right side of village Kartara, at a short dista nce of
200m and preserves images of Risabhanatha and Ambika with Yaksha Gomedha
which are under worship as Brahmanical deity in the Chandesvara Siva temple.

Risabhanatha: The Risabhanatha (61cm in height) carved out of a sandstone is

standing in kayotsarga posture over a lotus pedestal (Pls.XLIXA-XLIXC). He has a
circular halo behind his head and above it a tri-linear chhatra is also marked. The
mount bull is very small in size and located in between the lotus petal. Two spirited
lions are also depicted at each corner of the bottom. Decked with highly costumes and
ornaments the two chauri bearers are also present on either side at bottom. In the top
portion of the image flying vidyadharas with garlands are found in each corner.

Ambika: The Sasanadevi Ambika is invariably shown seated in the left of Yaksha
Gomedha in lalitasana posture over a single petalled lotus pedestal. She holds a baby
in her left lap and depicted with varadamudra in right hand. The Yaksha Gomedha
also seated in lalitasana posture over a single petalled lotus pedestal. His right hand
depicted in varadamudra and the left hand support the earth. The mango tree is
depicted behind the two figures. A seated Tirthankara image in yogasana pose is

68
found at the top of the tree. He seated over double petalled lotus pedestal and his
lanchana bull, depicted in between the petals of lotus pedestal. The stone slab is a
defaced one and the upper part is missing.

Ambika image, Phalesvara Temple, Shoradiha

An image of Ambika with Yaksha Gomedha (Pl.LA) enshrined in the sanctum

of the Phalesvara temple at Shoradiha which is located on the right side of Jajpur-
Preetipur road and about 500m from the Bahabalpur chhaka.

Ambika: A very small image of Ambika with Yaksha Gomedha is found at the
sanctum of the temple who is seated in the left of Yaksha in lalitasana posture over a
single petalled lotus pedestal. She holds a baby in her left lap and depicted with
varadamudra in right hand. The Yaksha Gomedha also seated in lalitasana posture over
a single petalled lotus pedestal. His right hand depicted in varadamudra and the left hand
rests over the pedestal. The mango tree is depicted behind the two figures and child is
shown in swing with a rope. A seated Tirthankara image in yogasana pose is found at the
top of the tree. He seated over double petalled lotus pedestal and his lanchana is not
clearly visible. The peculiar feature of the image is the depiction of female devotees in
lalitasana, five at the pedestal while two are represented on the either side of the
Tirthankara image. Depiction of cymbals and drum plays with invisible hands are noticed
on the upper portion of the stone slab but are badly deface one.

Hatadiha

One of the most striking and marvelous image of Adinatha/Risabhanatha

(Pl.LB) of Odisha is found at the village Hatadiha91 . The site is about 300m away
from the village Kantabania. According to the tradition the image while transported in
a boat was dropped near Hatadiha due to some accident. Since then it was placed near
the rivulet. In 1975 the local people shifted the image to a place beside the road. But
now the image is kept inside a newly constructed structure made by State
Archaeology Department.

Risabhanatha: It is the marvelous sculptural representation and artistic skill

highlighting the Odishan Jaina art. The colossal image having the dimension of
almost 168cm in height is carved in kayotsarga posture on a lotus pedestal. The lower
part of the pedestal including the lanchana and devotees are left unfinished. The two

69
chauri-bearers decked with rich costumes and ornaments are standing on either side
of the mulanayaka on separate lotus pedestal. An elliptical halo, crown by a
chatravali is noticed behind his head. The kevala tree behind the head is studded with
leaves. His hairs on the head are arranged in curled knots with the usnisa at the centre.
Trivali on the neck are prominently observed. Flying vidyadharas with garlands is
found at each upper corner. The most remarkable feature of this image is the depiction
of 25 Tirthankaras (not 24 Tirthankara) are flanked either side of the mulanayaka and
arranged in pairs, twelve in number on each side displaying the sacred umbrella on
their heads.

Jaina images at Barunei Temple, Kantabania

The site Kantabania is a hamlet of village Asanpur, under Chhatrapada post

near Hatadiha. A number of Jaina images such as Risabhanatha, Santinatha and an
image of Ambika are under worship at the temple Barunei of one Gagan Chandra
Dash and a broken Parsvanatha image and another broken unidentified seated
Tirthankara image are noticed under a tree outside the temple (Pls.LC-LIB).

Risabhanatha: Risabhanatha, the first Jaina Tirthankara is standing gracefully in

kayotsarga posture over a full blown lotus pedestal. The pedestal is engraved with a
bull figure at the center and spirited lions at the corner. He is adorned with a beaded
design circular halo behind his head superimposed by chhatravali and the kevala
tree. The bejeweled chauri bearer, flying vidyadharas and garland bearers are
representing in their respective places. The significant feature of the image is that
instead of twenty four Tirthankaras only twelve Tirthankars are depicted vertically six
on each side of the image last one being the Parsvanatha with snake canopy. Each
Tirthankara image represented in kayotsarga posture over double petal lotus pedestal
and each one surmounted a trilinear chhatravali.

Risabhanatha: Another badly defaced image of a Jaina Tirthankara is also found

under a tree. He is seated in dhyanamudra and flanked by chauri bearers on either
side. Traces of beaded design halo and beaded with flower design door jamb as like
images of Pratapanagari is also noticed. A band of hair is fallen over his shoulder, on
basis of which the image is identifiable as Risabhanatha.

Santinatha: The image of Santinatha seated on a lotus pedestal in dhyanamudra

below which the lanchana deer is perceptibly depicted among lotus flower and buds.

70
A kneeling devotee is noticed in front of the deer in anjalimudra. The lanchana figure
is flanked by two spirited lions on either side. Two chauri bearers are standing at the
bottom and flying vidyadharas with garland, cymbals and drum plays with heavenly
hands are depicted at the top on either side of the Tirthankara. Eight Tirthankara
images are also seen in kayotsarga posture in between flying garland bearer and
chauri bearer vertically four images on each side is a rare feature in Odishan Jaina
sculptures. The image has curly hair tightened in a knot at the center of the head and a
circular halo with beaded design is seen behind his head. The sacred tri- linear
umbrella and kevala tree are also very neatly carved.

Parsvanatha: The Parsvanatha image in two pieces, particularly broken at the thigh
portion is kept under a tree in front of the temple. From the broken part it is observed
that the Tirthankara image is standing in kayotsarga posture. He has a seven hooded
snake canopy, wide chest, elongated ear, curly knot design of hair with a bulge at the
centre. The tri-linear chhatravali, kevala tree Dhataki and flying vidyadharas are also
noticed on the top of the image. Astagrahas are also depicted vertically both side of
the image. The lower half portion of the image is represented with rear end of snake
coil which is depicted behind the leg portion of the Tirthankara. The Tirthankara is
flanked by two bejeweled chauri bearers and female Nagi devotees. Both the Nagi
image have serpent hood and seated over lotus pedestal. The dexter one while carries
a nectar pot in her two hands; the left one holds the lower part of the stick of the
parasol. Spirited lions and snakes are engraved on the lower base of the stone slab.

Ambika: The Jaina Sasanadevi Ambika is worshipped as the presiding deity of the
Barunei temple. The two armed deity is seated in lalitasana over a lotus pedestal. The
feet of the deity are rested over her usual lanchana lion. She is holding a baby in her
left lap and a bunch of mangoes in the right hand. The mango tree, the other
conventional feature of the Sasanadevi is shown in the background. Her Tirthankara is
placed over this tree in yogasana pose, flanked by two chauri attendants on either side
of the deity.

Jagulei Gramadevati, Bansabadi

The site Bansabadi in Panchupur gramapanchayat is about 500m away from

Hatadiha on the way to Katia chowk. Two Jaina images i.e. Risabhanatha and

71
Parsvanatha (Pls.LIC-LID) in a small shed locally known as Jagulei amidst the paddy
field are worshipped as Gramadevati.

Risabhanatha: The Tirthankara image is standing in kayotsarga posture. An

elliptical halo is marked behind his head and above it a tri- linear umbrella. The chauri
attendants standing in tribhanga posture are also present at the bottom with fly-whisk
on their right hands. Below it the pedestal represents two couching lion at the middle
and one kneeling female devotee and offerings in conical shape over a desk on two
sides. But the most remarkable feature is the mo unt bull (very small in size) is
depicted not in the pedestal but in the lotus petal, in between the couching lion and
feet of the Tirthankara. Another remarkable feature is a well decorated door jamb with
beaded and lata/scroll design noticed at the back side of the image. The branches of
kevala tree are also marked just above the halo of the Tirthankara. In close to these
branches cymbals and drum played by the palms of invisible gandharvas are also seen
in both sides along with flying vidyadharas.

Parsvanatha

The image of Parsvanatha is seated over a double petalled lotus pedestal. He has
seven hooded snake canopy behind his head. His wide chest, elongated ear and curled
knot with a bulge at the centre are clearly visible. Two chauri-bearers at the bottom and
two flying vidyadharas with garlands at the top are noticed either side of the image. In
between chauri bearers and flying vidyadharas cymbals played with invisible hands of
gandharvas are found on both side of the image. Below the lotus pedestal two couchant
lions are found on each corner. In the center of the pedestal two female figures, one in
anjalimudra and the other holds the shaft of the parasol behind Parsvanatha.

Ijapur

The village Ijapur is located in the right side of Jajpur-Mangalpur Road,

before Katikata chhaka. A small image of Parsvanatha in dhyanamudra is found on
the way to the village from the main road.

Parsvanatha: The Parsvanatha image a very diminutive one and is approximately

25cm in height. He is seated in dhyanamudra over a lotus pedestal. A seven hooded
snake canopy is clearly noticed behind his head and above which a tri- linear umbrella
is also marked. The image has wide chest, elongated ear, hair designed with curl knot

72
and a prominent bulge at the centre. Two chauri bearers at the bottom and two flying
vidyadharas at the top are also noticed. The iconographical detail of the pedestal of
the image is not clearly visible as it covered with a cloth by the local people.

Tarangasagarpur

The site Tarangasagarpur is located right side of Jajpur-Mangalpur road and

about 2km distance from Jhumpuri market. A Jaina Tirthankara panel, an image of
Ambika with Yaksha Gomedha and a beautiful image of Risabhanatha are found in
the Jagulei shrine located at the end of the village. Besides, an image of Ambika with
Yaksha Gomedha is found inside the sanctum of Kasi-Viswanatha temple located at
the middle of the village. A small standing Jaina Tirthankara image is also found on
the left side of the temple. Further, a few Jaina images like head of a Parsvanatha,
fragmentary Ambika image, a standing Tirthankara images, some headless broken
Jaina images and 10 bronze images are found in the personal collection of Dr. Ekadasi
Padhi, a historian belonging to this village92(Pls.LIIA-LIIC).

Risabhanatha: The Risabhanatha image is sitting in dhyanamudra over a double

petalled lotus pedestal. An elliptical halo is marked behind his jatamukuta. The upper
left side of the image is partially missing but the right side depicted a defaced figure
of flying vidyadharas. The lanchana bull is noticed at the middle two spirited lions in
the pedestal.

Parsvanatha image: The Parsvanatha image found in the locality is a single standing
figure without the depiction of flying gandharvas and chauri bearers. He also
assumed relaxed or rather motionless poses with down cast eyes with a pleasant look
and displays an ornamented aura than the former ones.

Ambika: The spectacular figure of Ambika along with Yaksha Gomedha (46x23cm)
is invariably shown seated in the left of Yaksha Gomedha in lalitasana pose over a
single petalled lotus pedestal. She is decked with highly ornaments and costumes. She
holds a baby in her left lap and right hand rests over her thigh. The Yaksha Gomedha
also seated in lalitasana posture over a single petalled lotus pedestal. His right hand
rest over his thigh as like the Sasanadevi but his left hand placed over the earth. He
wears upavita at the chest, conical crown at the head, garlands in the neck and
ornaments in the waist and feet. The mango tree is depicted behind the two figures
along with a wavering child. An image of Risabhanatha is found seated in

73
dhyanamudra over a double petalled lotus pedestal above the tree and his lanchana
bull is depicted in between the petals of lotus pedestal. Two chauri bearers flank the
image and flying vidyadharas with garlands appear on the top of the image. The
kevala tree and trilinear umbrella are also seen over his head. Seven devotees in
kneeling position are also depicted with these figures as the bottom.

Another such image is also found at Biswasvara temple having the similar
stylistic and iconographical feature but carved in low relief. A fragment of such an
tion.

Tirthankara image: The stone slab depicted Tirtankaras in kayotsarga posture on

two rows, five in each row. The upper as well as the lower part of the stone slab is
broken for which it can be assumed that it represented the twenty four Tirthankaras.

Bronze Jaina images: In a chance discovery ten number of Jaina images of bronze
was found by a villager from the river Vaitarani during bathing. Among them six are
in good state of preservation and four of them represented the svetambara sect of
Jainism. All are depicted in kayotsarga posture and three of them have scarf like
object behind their body which hangs from their head to ankle. Probably these are the
earliest known svetambara sect Jaina images of bronze in Odisha.

Jaina images at Budhi Jagulei Shrine, Champeipal

A fragmented image of Risabhanatha and broken parts of Jaina images are

worshiped as Budhi Jagulei in a modern small chala type structure below a banyan
tree at Erakana Diha, the outskirt of village Champeipal (Pls.LIIIA-LIIIB). The
village is situated on the left side of Nandipur to Jhumpuri Road and is about 2km
from Nandipur in Dasarathapur block.

Risabhanatha: The lower part of the Tirthankara image (60x35x18cm), particularly,

below the knee portion is missing. The remaining portion of the image represents that
he is standing in kayotsargamudra. An elliptical halo is marked behind his head. He
has jatamukuta and a pluck of hair strand fall upon his shoulder and is identifiable as
Risabhanatha image.

Besides, the Risabhanatha image one seated Tirthankara image and a female
deity inside the same structure are found broken and disfigured. The circular halo and
chhatravali of the Tirthankara seated in dhyanamudra can only be traceable, where as

74
in case of the female deity it very difficult to identify the image, probably fragment of
an Ambika image.

Parsvanatha image at Bhandesvara Siva Temple, Shripura

The Bhandesvara temple is located at the village Shripura in between

Tarangasagarpur and Sahebnagar. The temple possesses a beautiful seated
Parsvanatha image (Pl.LIIIC) inside the sanctum of the temple along with other
Saivite and Vaishnavite sculptures.

Parsvanatha: The image of Parsvanatha (1.22m in height) carved on chlorite is found

seated in dhyanamudra over a lotus pedestal below which two spirited lions are
noticed at the corner. Two female figures in anjalimudra are also found in the
pedestal. His lanchana seven hooded snake canopy is found over his head.

Jaina Antiquities at Mangala Temple, Kuansa

The village Kuansa famous for its Goddess Mangala is situated about 17km
east of Jajpur town towards Mangalpur. Approached by a narrow road, it is about 2km
form Katia chhaka the right side. Besides, the presiding deity Goddess Mangala i.e. a
ten armed Mahishasuramardini image, a Jaina tablet depicting ganadharas and
purvadharas in the sanctum and a Parsvanatha image in the southern wall of the
temple as parsvadevata are found.

Parsvanatha image

The image of Parsvanatha (Pl.LIVA) is standing in kayotsarga posture with a

seven hooded snake canopy behind his hand. The coils of the snake are gathered
behind the image in several folds fashioned symmetrically and two bejeweled chauri
bearers are standing at the bottom. In close to the right side attendant, a female
devotee is seated in padmasana and holds the staff of the chhatra on the left hand.
She pressed her right hand on the earth while in close to the left chauri bearer two
male devotees are standing in kayotsarga posture. At the top of the Tirthankara image
flying vidyadharas with garlands and cymbals played with hands of invisible
gandharvas are also noticed.

Jaina Tirthankara Panel

A very fine sculptural panel of Jaina Tirthankara (30cm in height) and

depicting 66 standing Jaina Tirthankara (63 salakapuras93 ) on the obverse and a

75
seated image of Risabhanatha at the top is found (Pl.LIVB). The Risabhanatha image
is seated in dhyanamudra over a double petalled lotus pedestal, in the central portion
of upper three lines. His usual lanchana bull is depicted in the middle of the lotus
pedestal. Two chauri-bearers are standing in two separate lotus pedestal on either side
of the image. His kevala tree and trilinear umbrella are noticed over his head. Flying
vidyadharas and cymbals played with the hands of invisible gandharvas on either side
of the image are noticed at the top. The reverse side of the stone panel depicted 96
standing image of Tirthankaras in eight rows having twelve in each row

Parsvanatha image at Dahikhai Thakurani, Tentulidiha

The site Tentulidiha is located on left side of Jajpur-Mangalapur Road and

about 2km away from Kataia chhaka towards Boulanga. It is about 15km from Jajpur
town, the district headquarter. A remarkable image of Parsvanatha, (Pl.LIVC)
worshipped as Ma Dahikhai Thakurani as well as Ananta Basudeva is found in a
modern RCC structure. Originally, it was found in the Muslim hamlet but removed to
the modern temple by some villagers about 100 years ago.

Parsvanatha image: The Tirthankara (1.52m in height) is standing in kayotsarga

pose over a lotus pedestal which is supported by two spirited lion placed below on
each side below the pedestal. A seven hooded snake canopy is clearly visible over his
head. At the bottom two devotees are present while the male devotee is found
standing in anjalimudra, the female one holds the staff in one hand and placed his left
hand over her left thigh. Here the chauri bearers have some different feature from
other images found in Jajpur. They are holding the fly-whisk in left hands and
upraised their right hands. They are also standing over two different full blossom
lotus.
with bow and arrow above the right attendant while in the left side another male is
shown with a sword. And above them two more figures holding swords on either side
are also represented. At the top, two flying vidyadharas are depicted along with
garlands.

Parsvanatha image, Jagannatha Temple, Madhupur

The site Madhupur is about 2km from Boulanga and very nearer to Madhupur
high school. A good-looking Parsvanatha image found at the Jagnnatha temple of this
village is worshipped as Visnu.

76
Parsvanatha: He is standing in kayotsarga posture over a double petalled lotus
pedestal and is about 1.20m in height (Pl.LIVD). He has a circular halo behind his
and a seven hooded snake canopy is profoundly carved above which a trilinear umbrella
is marked. The flying vidyadharas with garlands and cymbals and drums played with
invisible hands of gandharvas are also shown on each side at the upper corner of the
stone slab. At the bottom two chauri-bearers are depicted on each side of the image.
Beside the chauri bearer, male devotee in anjalimudra and female devotees holding the
shaft of the chhatravali are also found on either side of the image.

Padmaprabha image, Padmavati Thakurani, Narendrapur

The only one image of Padmaprabha so far has been noticed in Jajpur district
is found at Narendrapur near Panchupur.

Padmaprabha: The Tirthankara carved seated in dhyanamudra and his lanchana as a

large lotus flower is depicted in the pedestal. Outwardly, it looks like a dhyani
Buddha image but iconographically, it is an image of Padmaprabha. Locally, the
image is worshipped as gramedevati / Padmavati thakurani.

Bada Charampoi

A Jaina chaumukha was collected for the Odisha State Museum from the
village Bada Charampoi located near Mangarajpur94 . The chaumukha contains in all
its four niches figures of Jaina Tirthankaras but could not be identified due to lack of
the lanchana below them. The figure displaying jata hair style is identified as
Risabhanatha. A one line of inscription is noticed in the chaumukha. It is fashioned in
the rekha temple design with square base and curvilinear upper parts surmounted by
amlakasila. The Tirthankara figures (53cm in height) within niches are flanked by
chauri- bearers.

Brahmanidevi Temple, Naguan

The modern pidha style Brahmanidevi temple is located in front of

Brahmanidevi High School at Naguan village of Talagarh gramapanchayata. It is
about 4km from Jajpur Road towards Keonjhar. According to the inscribed stone
tablet attached in the temple95 Raja Balabhadra Narayana
Bhanja Deo Bahadur, under the order of J.H. Price ESQR M.B.E. Superintendent,
pidha temples

77
flanking the main temple. The temple complex and its surrounding areas preserve a
large number of Jaina antiquities (Pls.LVA-LVIIIB) to substantiate to be a venerable
Jaina pilgrimage center.

Padmavati image: The presiding deity Brahmanidevi of the main temple is

worshiped as a Brahmanical deity quite akin to the image of Padmavati temple of
Kenduli in Prachi valley. The two armed goddess (1.35x0.75m) carved out of black
chlorite stone, stands over a double petalled lotus pedestal. She holds a full blown
lotus in the left hand and right hands kept in position of varada mudra. She is decked
with ornate crown in the hair bun, pendants, bangles, armlets and valayas etc. A seven
hooded snake canopy is shown over his head. A decorated torana is depicted behind
his body and topped with birds disgorging pearls from orifice at either end. Above her
prabhavali, foliated tree branches are seen and flying vidyadharas are on the top at
either end. Two nagi figures, one on each side having five hooded snake canopy are
standing with purna-ghata on either side of the deity near the feet. The space below
the pedestal is relieved with stems, leafs and kneeling devotees on either side.

Chaumukhas: Six numbers of chaumukhas found on the temple premises, two of

them khandolite while one of laterite and the material of other chaumukhas are not be
ascertained due to thick lime coat. The two khandolite chaumukhas are kept in two
independent modern pidha temple flanked by the main shrine Brahmanidevi. The
Jaina chaumukhas are fashioned in form of small pidha temple with trefoil arch at the
central projection at each cardinal direction. Each niche depicted a different
Tirthankara figure; two of them are Mahavira and Parsvanatha. The other
Tirthankaras are not identified clearly as their lanchanas are buried under the cement-
concrete flooring of the temple. Both the chaumukhas are identical in feature viz.,
architecture, iconographical representation and material. In dimension the two shrines
are quite different while one measures 36 x14cm, the other measures 45x16cm in
height and width respectively.

Another laterite Jaina chaumukha (1.50x0.60m) is placed in front of the

temple under a banyan tree. It is a typical tri-ratha miniature rekha temple with an
oval niche at the raha paga in one side. The niche is empty as probably an
independent Tirthankara image was attached their which is now missing.

78
 Another chaumukha (1.30x0.50m) in form of miniature tri-ratha rekha temple
next to it is coated with thick lime plaster. The single rectangular niche of the
chaumukha represents a Tirthankara image standing in kayotsarga posture whose
lanchana is not engraved. The image is disfigured with black plastic paint. Carved
with similar design two chaumukhas are found coated with lime plaster. They are tri-
ratha on plan and have single rectangular niches at one of their raha projections. The
Tirthankara images are missing.

Besides, a number of laterite blocks with semi-circular at the top in the

premises are also found. Some are upraised on the ground in rows while others are
fallen here and there. The placement pattern of the laterite blocks seems to be a railing
and each block has socket at the upper end. But each laterite blocks are not uniform in
size so it can be presumed that the niches are mint for keeping Tirthankara images in
it which are now missing. The largest laterite blocks measures 2.10x0.75m with a
socket of 60x40cm in height and width respectively. A pillar having square base and
top and hexagonal at the middle is also found and measures 1.65x0.35cm in height
and width respectively.

A seated image in varadamudra is noticed at the site under the banyan tree.
The image is densely coated with lime plaster and the hand in varadamudra is a later
addition. Thus, it seems be a Jaina Tirthankara image which later on converted to a
Buddhist image by minor alterations which are clearly visible.

A female deity in lalitasana pose is also found in one of the subsidiary pidha
structure. Her attributes in both hands are missing but serpent hoods are depicted
behind her head. She is bejeweled with ornaments and her lanchana lion is shown at
the bottom.

A stone slab depicting lower part of a Tirthankara image, standing in

kayotsarga posture is also found within one of the small subsidiary pidha structure.
He is flanked by two chauri bearers at the bottom while the upper part of the stone
slab is missing.

Tirthankara image, Siva Temple, Naguan

Fragment of a Jaina Tirthankara image (Pl.LVIIIC) found in front of a Siva

temple at the middle of the village Naguan which is located about 300m away from

79
the Brahmanidevi temple. The fragmentary Tirthankara image is standing in
kayotsarga posture but his lower portion below the knee is missing. The face of the
image is defaced and the left hand is missing completely. A full blossom flower is
seen on the right side of the Tirthankara image.

Gramadevati Shrine, Naguan

The gramadevati shrine of this village is located on the outskirt of the village
amidst paddy field. Buddhist, Brahmanical as well as Jaina images are found open to
the sky within low height covered boundary wall over a small mound. Besides an
image of Marichi, a bust part of Buddha, a four armed image of Parvati, an image of
Ambika and stone slab depicting salakapurusa are found.

Ambika: The image is buried partially with other fragments of image depicts the
Sasanadevi Ambika (12x16x8cm) seated in lalitasana with a baby in her left lap
who touches her breast in his hand. While another child is shown standing right side
of the image like other Ambika images found in Odisha. Her mount lion is seen below
his pedestal in crouching posture. A decorated torana is also marked behind her head.
A devotee playing cymbals with hands is seen on either side of the image. The portion
above her neck and the right hand is missing.

Stone-slab depicting Ganadharas and Purvadharas: A stone slab depicting 120

diminutive Ganadharas and Purvadharas (Pl.LVIIID) in 10 rows and 12 in each row
with a height of 4cm. The stone slabs measures 43x28x5cm in height, width and
breadth respectively. This is quite similar to that of found in the Mangala temple at
Kuansa but the back side of the stone slab is completely plain.

Jaina Chaumukhas of Laterite Blocks at Nayagarh

The village Nayagarh which is not far away from the Brahmanidevi temple
witnessed around 90 miniatures Jaina chaumukhas of laterite blocks of different
dimensions amidst the paddy field (Pls.LIXC-LXC). It is located on the right side of
the Umapada bypass road towards Jajpur Road. The chaumukhas are of triratha rekha
temple design with a single rectangular or square niche in one of their raha-pagas. The
chaumukhas have a rectangular or oval protrusion at the lower end and probably these
are designed like so to insert into the ground. These are similar to the chaumukhas of
laterite blocks found at the Brahmanidevi temple in shape and style. A great number of

80
Jaina chaumukhas are found in a single spot enhancing the importance of the place. In
dimension the smallest chaumukha measure 90x50cm while, the highest is 1.75x0.52m
in height and width respectively including the lower protrusion and the niches measure
variously viz., 24x15x4cm, 16x10x7cm and 14x8x 5cm etc.

Tirthankara image, Kuanrda

A mutilated figure of Jaina Tirthankara image (70x40x12cm) was found

during digging works undertaken in the village pond with machines in the month of
April 2010. The Tirthankara carved out of sandstone is kept at the house of one
Bhagaban Moharana in Kuanrda village of Taharpur gramapanchayat. The portion
below the lotus pedestal is completely chopped off. The Tirthankara is seated in
dhyanamudra and flanked by bejeweled chauri bearer on either side. A highly
decorated oval prabhavali is marked behind his head and surmounted by branches of
kevala trees and chhatravali. The chhatravali is flanked by drums and cymbals played
by invisible hands and further at the end by flying garland bearer.

Santinatha image at Paramanandapur

A Santinatha image, the 22nd Tirthankara is found under worship as Narayana

in Gita Yajna Mandapa at Kamudei Pitha near Lakshmi Narayana Tribal School of
Village Paramanandapur. Locating in the Pachhikot Panchayat, the site is about 11km
from Jajpur Road and 1.5km from Ragadi chowk towords Pachhikota.

Santinatha image: The Tirthankara (64x34x10cm) stands in kayotsarga posture over

a double petalled lotus pedestal (Pl.LIXB). His lanchana deer and kneeling devotees
with offerings are shown at the pedestal. He is flanked by chauri bearers at the bottom
and cymbal, drums played with heavenly hands and flying garland bearer at the top.
Astagrahas are depicted vertically four in either side of the image between garland
bearers and chauri bearers. The image has a large central bun at the top o f jata-
mukuta style which is generally found in the Risabhanatha images. A plain door jamb
with conical finial at the top on both side and an oval halo behind the head of the
Tirthankara image is noticed. The halo is a simple one except two deep incised grove
marks at the border and the halo is surmounted by kevala tree and chhatravali.
Circular hallows are marked at the upper portion of the image which indicate the
image probably attached in a higher place by hanging.

81
Risabhanatha image at Aliabad, Ratnagiri

The Tirthankara worshipped as garmadevati along with other Buddhist

sculptures and votive stupas is found within a chala designed small RCC shrine. The
shrine is located about 600m away from the Buddhist site Ratangiri.

Risabhanatha: Carved out a black chlorite stone, the Tirthankara stands in

kayotsarga posture over a double petalled lotus pedestal below which his lanchana
bull is beautifully represented (Pl.LIXA). He is flanked by two bejeweled chauri
bearers those who are standing o ver independent lotus pedestal and below which the
crouching lions are noticed. Kneeling devo tees and the Sasanadevi Chakresvari is also
represented in the pedestal. Astagrahas are depicted on the either side of the
Tirthankara four on each side. He has a beautifully multi boarded circular halo behind
his head. The kevala tree, chhatravali, cymbals and drums played with hands of
invisible gandharvas are depicted in their respective positions. A horizontal band with
lata motif is seen behind the Tirthankara and above it the champaka flowers are also
represented. The image is partially defaced at the face and hands.

Risabhanatha image in the PG. Deptt. of AIHC&A, Utkal University

A beautifully carved Risabhanatha image is in the possession of Museum of

Ancient Indian History, Culture and Archaeology Department of Utkal University,
Vani Vihar, Bhubaneswar. The image is 30cm in height. He stands in kayotsarga
posture over a double petalled lotus pedestal below which his lanchana bull is carved.
His hair is decorated with jatamukuta style. A tri-linear umbrella is noticed over his
head and behind his head, a halo is found. The Tirthankara image is flanked by two
chauri-bearers on two separate lotus pedestal either side of the image at the bottom.
Four standing Tirthankara images two in each side are depicted vertically one above
the other on both side of the image. There is a straight carved line behind the
Tirthankara image connecting upper two standing Tirthankara. Two flying
vidyadharas and cymbals played with invisible hands of gandharvas are also been
noticed on each side of the image at the top. The pedestal of the image is partially
damaged. The find spot of the Tirthankara image is from Jajpur area but particular
place is not ascertained.

It is a land of various religions and cultures having a rich heritage of Jainism,

Buddhism, Saivism, Shaktaism and Vaishnavism. It is the earliest shaktipitha and

82
pitrutirtha having the presiding deity Goddess Viraja, the unique and single image of
two armed Mahisasuramardini in India dated back to the circa 4th century CE. In spite
of political and natural calamity, Jajpur has remains a separate identity in the annals
of Odisha as a great religious centre of Jainism. Jainism in Jajpur had a long life and it
continued as one of the religion of Odisha right up to modern times. It contributed
largely to the illustrious role that Jainism played in the religious realm of Jajpur
region.

Over and above the presence of such a good number of Jaina chaumukhas
along with loose sculptures of Tirthankaras and Sasanadevis eloquently proves that
Jajpur region was under the sway of Jainism. The adherents of the Jaina religion have
left for the posterity quite a large number of monumental evidences which speak of
the wide prevalence and popularity of Jainism in this region. Of course human
vandalism, coupled with the vagaries of nature has razed a number of such
monuments to the ground yet the remnants speak volumes of Jaina influence in the
history of our subcontinent.

3.8 KENDRAP ARA DISTRICT

The present district of Kendrapara was formed out of the erstwhile district of
Cuttack in 27.03.1993. This district was formerly a sub-division of the undivided
district of Cuttack96. As per the Climatic Classification of Odisha, Kendrapara district
falls under the `central coastal plain zone. The place derives its name from the name
of the demon Kendrasura who, as per mythological accounts was killed by Lord
Balarama. Balarama later on married the daughter of the demon Tulasi and settled
here in Kendrapara. It is also known as Tulasi Ksherta (as Tulasi, different from basil
tulsi is the wife of Lord Balabhadra) and Gupta Kshetra (Lord Balabhadra wish to
stay here secretly). The district is bounded by Bhadrak district at its north,
Jagatsinghpur district at its south, Cuttack district at its west and Bay of Bengal at its
east. It lies in between 200 20' N to 200 37' N latitude and 860 14' E to 870 01' E
longitude97 . The district covers an area of 2, 644sq.km. Kendrapara district lies in the
river delta formed by the Brahmani and Baitarani and branch rivers of Mahanadi. A
single image of Jaina Sasanadevi Ambika is so far noticed at the Kendrapara district,
particularly at Kuanrpur within the Harishankaresvara Siva temple complex.

83
Ambika image at Harishankaresvara Siva Temple, Kuanrpur

The village Kuanrpur in Derabish area of Kendrapara is known for its ancient
temple Harishankaresvara Mahadeva, (Pl.LXIA) which is located about 1km south-
west of Derabish and 1/2 km south of Derabish College Chowk. The temple has a
pidha vimana and a jagamohana of impecunious Kalingan order. It is a living temple,
enshrining two shaktipithas with lingam and a Vishnu image. The temple is
pancharatha on plan and panchanga-bada in elevation. The temple devoid of
sculptural embellishment except the parsvadevata niches, which are housed with four
armed Ganesa, four armed Kartikeya and Parvati. Besides, the images of different
faiths viz., Buddhist, Jaina and Brahmanical sculptures also found here are
Avalokitesvara, Ambika98 , Ganesa, Parvati, Astikajaratkaru, Uma-Mahesvara etc. The
present temple was renovated and reconstructed by Ex-Zamindar of Ali and further
repaired by Odisha State Archaeology in 2002. But, the sculptural pieces kept in the
parsvadevata niches of the temple can be dated back to circa 13th century CE.

Ambika: The Sasanadevi Ambika (78x55x30cm) is carved seated in lalitasana with

right leg pendant over a full blown lotus pedestal (Pl.LXIB). She is bedecked with a
headgear, necklace, armlets, bangles and waist bands. The Sasanadevi seated under
the branches of a tree which is filled with bunch of mangoes. She carries a baby in her
left lap and a twig of mango on the right hand. Her second son has been shown
standing right to her whose head is missing. Below the pedestal of the Sasanadevi, her
lanchana lion is noticed at the centre while kneeling devotee with folded hands is
noticed either side of the lion. Flying garland bearers are also noticed on either side of
the Sasanadevi at the top.

3.9 KEONJHAR DISTRICT

After the integration of the feudatory states with Odisha on 1 st January 1948
CE, the erstwhile princely state of Keonjhar emerged as one of the districts of Odisha,
with its headquarters at Keonjhar. The district is bounded by Mayurbhanj district and
Bhadrak district to the east, Jajpur district to the south, Dhenkanal district and
Sundargarh district to the west and West Singhbhum district of Jharkhand State to the
north. Covering a geographical area of 8240sq.km, the Keonjhar district lies
between 210 1' N to 220 10' N latitude and 850 11' E to 860 22' E longitude. As per the
administrative set up is concerned, the Keonjhar district has got three sub-divisions

84
namely Anandpur, Champua and Keonjhar. The district of Keonjhar presents a
panorama of millennia, both from the geographical, anthropological and
archaeological point of view. The manifold expressions of nature along with rich
cultural heritage in this district are unique in Odisha. The district consists of a
compact area and divided into two widely dissimilar tracts-the lower Keonjhar and the
upper Keonjhar. The former is a region of valleys and low lands, while the latter
includes mountainous highlands with a general slope from north to south. The river
Baitarani comes out of Gonasika hills become the lifeline of the district from the
hoary past. A large number of Jaina antiquarian remains are noticed in different
secluded and isolated places of Keonjhar districts, especially in the Anandapur s ub-
division. Places such as Podasingidi, Vaidakhia, Anandapur, Banchua, Ana,
Thunigaon, Sainkula, Panchupalli and Jambhiria are rich in Jaina antiquities.

Podasingidi

Podasingidi, a small hamlet at the foot of the Baula hill range is situated on the
road leading from Anandapur to Soso via Denka. A series of Jaina Tirthankara and
Sasandevi figures are preserved in a temple called Ramachandi99 and a newly
constructed building by Odisha State Archaeology near the village Podasingidi of
Anandapur sub-division. A few are brought to the Odisha State Museum and few are
to Panch Bhavan of Anandapur100 while others are still present there in the newly
constructed building by Odisha State Archaeology. The Tirthankara and Sasanadevi
images include Risabhanatha, Ajitanatha, Padmaprabha, Santinatha, Parsvanatha,
Ambika and Ambika with Gomedha (Pls.LXIIA-LXIVB). B.Acharya101 has rightly
believed that this had been a center of Jainas in ancient times. According to him
Singidi Sankhadi
102

gathering (poda-burnt and singidi-

Risabhanatha: The image carved out of sandstone, the Tirthankara (1.04x0.16m)

stands in kayotsargamudra over a plain pedestal. A full blown lotus as well as his
lanchana bull is carved in front of his pedestal in low relief. He has drooping eyes,
elongated ear robe, curly hairs and trivali mark at the neck. Flying vidyadharas and
chhatravalis are carved on the top portion of the Tirthankara. The image is fashioned
in a cruder form.

85
Ajitanatha: The image (80x45cm) carved out of sandstone stands in kayotsarga
mudra over a full blown lotus pedestal flanked by roaring lions on either side. His
lanchana elephant is carved below his pedestal in low relief. Bejeweled chauri
bearers in tribhanga posture are flanked on either side of the Tirthankara at the
bottom while garland bearer and divine musicians are depicted at the top. The
Tirthankara has curly hair with a high usnisa at the center, elongated ear and trivali
mark on his neck.

Santinatha: The Tirthankara carved out of dolerite stone stands in kayotsarga

posture. A diminutive figure of deer is carved below his pedestal as his cognizance.
Though the face of the image is missing, the image is left unfinished by the sculptor.

Another image of Santinatha (69x18cm) is also noticed here but the upper
portion of the image is missing. Here the image is carved very artistically but the
remaining portion of the Tirthankara stands over a full blown lotus, flanked by chauri
bearers. His lanchana deer is flanked by two crouching lions engraved below the lotus
pedestal. Two Sasanadevis along with one Tirthankara are found for the first time in
Jaina sculptures of Odisha. At the left bottom corner Ambika is shown with her child
and mango twig seated in lalitasana underneath a tree studded with mangoes. On the
right corner of the Tirthankara Mahamanasi, the Sasanadevi of Neminatha is
represented in dhyanamudra holding lotus in the left hand and two elephants poured
water over her head at the top.

Parsvanatha: Two seated and one standing images of Parsvanatha are preserved
here. The first one (1.45x0.90m) is carved seated in dhyanamudra over a lotus
pedestal with a seven hooded snake canopy over his head. Crouching lions are also
noticed on the either side of the lotus pedestal. Hairs of his head are arranged in curly
knots with an usnisa at the center. The second image of Parsvanatha (97x61cm) has
similar representation except the lotus pedestal.

The standing Tirthankara image (87x50cm) depicted in kayotsarga posture is

carved out of dolerite stone. A canopy of seven hooded snake covers his head and
coils of the snake shown behind the body of the Tirthankara. He is flanked by chauri
bearers decked with dress and ornaments at the bottom while by full blown lotus and
champaka flower along with flying garland bearers are noticed at the top. His
Sasanadevi with folded hand is also noticed at the right feet of the Tirthankara. A

86
decorated torana as like that of found at the images of Pratapanagari, Cuttack is also
noticed here. The chhatravali and the kevala tree are prominently carved over his
head.

Mahavira/Padmaprabha: He is carved out of dolerite blocks but left unfinished. He

is standing in kayotsarga posture (1.15x0.57m) and a wheel is noticed to the right of
the figure which is identified as lotus by Mohapatra 103. Hair of his head decorated
with curled knots and he has elongated ear and trivali mark noticed on his neck.

Ramachandi Temple

The recently built pidha structure fronted by a RCC pillared mandapa houses
the presiding deity of Ambika which is worshipped as Chandi. Besides, an image of
four armed Mahisasuramardini Durga, two more Ambika images one with her yaksha
Gomedha, an image of Risabhanatha and two other Tirthankara images whose
identification is not clear are also worshipped here. The images are defaced with the
application of chua and vermillion by the priests.

Ambika: The image of Ambika as presiding deity is the largest of its kind here. The
Sasanadevis carved seated in lailitasana over a lotus pedestal underneath a mango
tree. Her lanchana lion is carved below the pedestal. She holds a baby in her left lap
while right hand displays in varada mudra. The chauri bearers are depicted on either
side of the deity. Neminatha is depicted over her head in separate segment where he is
depicted as seated in dhyanamudra and his cognizance wheel is also seen below his
pedestal. He is flanked by chauri-bearers on either side. Cymbals and drums played
with divine hands are represented on the top corner of the stone slab.

The second figure almost similar in representation as the first one but has few
exceptions such as smaller in dimension, holding a mango twig in her right hand
instead of varada mudra and has flying garland bearers at top along with cymbal and
drum. The most notable feature of the image is the depiction of pillared torana with
three receding pidhas at top behind the deity over which the Tirthankara seated in
dhyanamudra.

Ambika and Gomedha: Ambika along with her Yaksha Gomedha are seated over a
common pedestal in lalitasana. Ambika carries a baby in her left hand while right
hand rest over her thigh. In the other part right hand of the Gomedha in varada mudra

87
and his right hand rest over his thigh. Below their pedestal seven female figures found
seated in rajalilasana is a common feature in the image of Ambika and Gomedha in
Odisha. The tree below which both the figures are seated also depicted a boy is
playing in a jhula and just over the trees. Neminatha is carved seated in dhyanamudra
over a lotus pedestal. He is flanked by chauri bearers and surrounded by flying
gandharvas and divine musical instruments.

Besides, three more Jaina Tirthankara images carved out of sandstone are also
placed here. But they are defaced to a great extent and beyond description but one of
them appear to be Risabhanatha as he has jatamukuta in his head, a peculiar feature of
Risabhanatha images in Odisha. All are standing images i.e. in kayotsarga posture
along with chauri bearers, garland bearers etc.

Risabhanatha: Out of two Risabhanatha images (80x34cm) one sanding and the
other in seated posture were brought from Podasingidi to the Odisha State Museum.
The most notable image of Risabhanatha104 is in meditation posture (yogasana). The
image carved out of a solid piece of chlorite stone. On the pedestal are two lotus
flowers on either side of a standing bull worshipped by devotees with folded hands.
The image has an oval halo with two flying gandharvas on either side with garlands
in their hands. The image has an inscription engraved on the right side of it. It is in
Sanskrit language and in kutila script datable to the 8th century CE. It consists of 15
Ehasya pratibimbi Risabha Bhattaraka
the statue of Risabha Bhattaraka. Paleographically, this image is assignable to the
circa 8th century CE. 105 With the passage of time these letters have become invisible.
The stone on which the figure is composed provides an impression of transparent
upper garments. Hair of the Tirthankaras is generally fashioned into the rolls of jata.
But in this case they are designed in curled knots. The composition of curled hair with
long ears and half-closed eyes presents a beautiful meditative facial expression.

The second image of Risabhanatha106 which has been collected from the same
place i.e. Adi-jina stands in kayotsarga posture on a double petalled lotus pedestal
supported by spirited lions. Representations of chauri-bearers, bull, kevala tree,
trilinear umbrella, flying gandharvas are carved in the usual place. On stylistic ground
this image is assignable to the 9th century CE.

88
Yogichata

A large size Tirthankara figure just below a huge stone block is found at the
top of Baula Mountain. The area called as Yogichata by local people. There are ruins
of walls built of brick and stone are found extending a mile in length and breadth. The
site opposite to Yogichata in near proximate of a spring lies an image of
Parsvanatha107 and this place is called Dvarachandi or Gadachandi, situated in
Hatadiha block, on the foot of Boula hill. The Tirthankara as mulanayaka depicted at
the center while the other twenty four Tirthankaras are surrounded by him in vertical
rows. The seven hooded snake canopy, chauri bearers, flying gandharvas, cymbal
and drum are depicted in their respective positions.

Anandapur

In front of the Pancha Bhavana at Anandapur a few Jaina relics are kept
originally brought from Podasingidi108 . The sculptures include figures of
Risabhanatha, Parsvanatha, Ambika and fragmentay image of a Tirthankara
(Pl.LXIVC).

Risabhanatha: Two Risabhanatha images kept at the place are of identical in

representation except their minor variations. They are standing in kayotsarga posture
along with chauri bearers and flying vidyadharas. The first figure has a circular halo
while the other one has elliptical. Bull, the lanchana of the Tirthankara is only noticed
in the first image but the latter image was identified as Risabhanatha based upon his
jatabhara, a usual feature of the first Tirthankara commonly found in Odisha.

Parsvanatha: The Tirthankara Parsvanatha is carved seated in dhyanamudra. A

canopy of seven hooded snake is noticed over his head. The image has poor
workmanship or probably an unfinished one. The chauri and garland bearers are in
their respective position but in low relief.

Ambika: Decked with rich ornaments like karna-kundalas, armlets, waist bands and
yajnapavita etc, the Sasanadevi is seated in lalitasana with left leg pendant. She holds
a baby in her left lap and a mango twig in the right hand which is missing now. The
face of the deity is badly damaged. Her lanchana lion is depicted below her pedestal
along with a devotee with folded hands. A tree is fashioned behind the deity over
whom Tirthankara Neminatha seated in dhyanamudra and flanked by flying garland
bearers.

89
Bancho

The village Bancho not far from the famous Jaina site Podasingidi and yielded
numerous sculptures of different faiths viz., Brahmanical, Buddhist and Jaina. Three
Jaina images have been reported from the village Bancho and one of them is a
headless image of Parsvanatha but in a mutilated form. The only surviving one among
the Jaina sculptures is the figure of Ambika (65x50cm) seated in lalitasana with her
right leg pendant perched on her vehicle lion (Pl.LXIVD). She carries a baby in her
left hand while the right hand is missing. The mango tree is carved above the oval
prabhamandala over her head. Two vidyadharas occupy the top corner of the back
slab. The chauri bearers flank either side of the image. The figure of Neminatha is
absent in the image.

Jambhira

The village Jambhira is situated very near to the site Podasingidi has some Jaina
sculptures which are stated to have been shifted from Podasingidi. Among the
sculptures the standing figure of Chandraprava with cognizance mark waning moon
on its pedestal and another nude figure of a Jaina Tirthankara found placed under a
big banyan tree are noteworthy. Ambika with Neminatha found carved on a single
piece of stone is found affixed to a raised platform for planting holy basil of a
villager. A good number of plaques of Jaina pantheons are said to have been
unearthed near the village shrine of Jalakalanga, the gramadevati. The presiding
deity of the shrine is a figure of Jaina Sasanadevi Ambika.

Sainkul

The village Sainkul situated 12km to the south of Anandapur, a hub of

Jainism. A gigantic Tirthankara image (1.22x0.91m) in cross- legged posture is firmly
embedded in earth in front of a modern Siva temple Gangesvara, located on the
eastern end of the village. The figure is so much mutilated that it has lost its grandeur
and now beyond description. The pedestal of the image buried under the ground,
hence the lanchana is not visible. Another image of Risabhanatha (80x55cm) seated
in padmasana pose is loosely leaned against the temple wall inside the temple along
with the Siva linga. The cognizance mark bull is clearly visible. The image bears all
the characteristic features of the Jaina Tirthankara image of the 9 th century CE.

90
 Another important Jaina artifact inside the temple is the Jaina chaumukha (40 cm
in height). Figure of Tirthankaras in kayotsarga postures are engraved on four sides
are found in the chaumukha. Besides the figure of Parsvanatha, other three cannot be
identified as their cognizance marks are not discernable.

In the middle of the village two Parsvanatha images are housed in a modern
RCC shed and worshipped as Ananta Narayana by the villagers. These two figures
are identical and carved out of muguni/chlorite stone blocks in cross legged posture.
Both the figures are in good state of preservation. The left figure (91x73cm) and the
right ones (64x34cm) are of equal treatment. Seven hooded snake canopy over their
heads are the cognizance marks. The flying vidyadharas occupy the top corners of
the slab. The mutilated Jaina figures in the nearby village show the influence of
Jainism in this area.

Vaidakhia

A village named Vaidakhia, a small mound with four silted tanks is located on
the south-west of the village. B. Acharya109 informs us that remain of ruined temple
and images of Jaina Tirthankaras which were found lying here and there. The images
are made of chlorite, sandstone and soap stone. Many of them are in mutilated
condition. Some of them are as high as 1.5m to 1.8m in height. The Chandi temple of
the same village preserves an image of Parsvanatha and chaumukha of the Jaina
pantheon. At Anna village, an image of Parsvanatha is found in front of a thatched
house. This was originally collected from Vaidakhia as known from the local
inhabitant.

At Thunigaon, Jaina relics are found under a tree. One of them is

Risabhanatha along with astagrahas and the other of Gomedha and Ambika carved on
a common slab. Two Parsvanatha images worshipped as Ananta in a thatched roof of
village Sainkul are noticed. Jaina relics are also found in the places of Panchupalli and
Kosalesvara. Scholar also attributed the painting of Ravanachhaya of Sitabinjhi to
have Jaina affiliation as the Bhanja rulers were patronized Jainism in their earlier
phase of their rule110 .

91
3.10 KHORDHA DISTRICT

The District Khordha/Khurda (Lat. 19 0 55'' to 20025'' N; Long. 840 55'' to 860
05'' E) has become a separate administrative division of the state of Odisha on 1st
April 1993, carved out of the old Puri district111 . In the year 2000, the district name
was changed to Khordha. Khordha is the headquarters of the district of the same name
and bounded by Cuttack district in north, Nayagarh district in west, Puri district in the

which or
Khordha occupies a distinct place in the historical map
of Odisha. It came into prominence wi
Ramachandra Dev, who made it the capital of his kingdom during the last part of 16 th
century CE. It acted as the capital of Odisha from 1568 to 1803 and is known for its
fort i.e. Khordha- last independent fort of Odisha112 .
The district is known for its rich cultural heritage which is still preserved.

Jainism in this district starts from the first century BCE with the advent of
Kharavela. He caused for excavating many rock-cut caves for the Jaina Arahats. It is
clearly proved by his Hati-Gumpha inscription and the Jaina symbols depicted in the
various caves. After Kharavela, the site continued to be inhabited under the
Bhoumakaras and their successor, the Somavamsis. During the rule of Somavamsis
king Udyotakesari few caves were excavated along with many images of Tirthankara
and Sasanadevi on the cave walls and wells are cleaned for providing drinking water
to the Jaina asceitics113. The twin hill of Udayagiri and Khandagiri still maintain a
continuous tradition of Jaina legacy till today. This tradition continues and a series of
crude Tirthankara figures are carved on the inner wall of the Mahavira-Gumpha of
Khandagiri. Very beautiful carving of 24 th Tirthankara images, nude chlorite image of
Tirthankara and architectural fragment of votive temple are still seen there.

Rock-cut Monuments

The twin hills are honeycombed with a number of big and small caves. At
present, there are only 18 caves in the Udayagiri, while the Khandagiri has preserved
only 15 caves in various state of preservation (Pls.LXVA-LXIXC). A considerable
number of these caves of Khandagiri hill are datable to the post-Kharavela period as
well as early medieval period. These caves are protected and numbered by the

92
Archaeological Survey of India, Bhubaneswar Circle but their local names have been
retained114 . The local names of the caves along with their numbers are given below:-

Udayagiri Hill
1. Rani-Gumpha Cave No.1
2. Bajaghara-Gumpha Cave No. 2
3. Chhota-Hathi-Gumpha Cave No. 3
4. Alakapuri-Gumpha Cave No. 4
5. Jaya-Vijaya-Gumpha Cave No. 5
6. Panasa-Gumpha Cave No. 6
7. Thakurani-Gumpha Cave No. 7
8. Patalapuri-Gumpha Cave No. 8
9. Manchapuri and Svargapuri-Gumpha Cave No. 9
10. Ganesa-Gumpha Cave No. 10
11. Jambesvara-Gumpha Cave No. 11
12. Bagha-Gumpha Cave No. 12
13. Sarpa-Gumpha Cave No. 13
14. Hathi-Gumpha Cave No. 14
15. Dhanaghara-Gumpha Cave No. 15
16. Haridasa-Gumpha Cave No. 16
17. Jagannatha-Gumpha Cave No. 17
18. Rasui-Gumpha Cave No. 18
Khandagiri Hill
1. Tatowa-Gumpha. No-1 Cave No. 1
2. Tatowa-Gumpha, No-2 Cave No. 2
3. Ananta-Gumpha Cave No. 3
4. Tentuli-Gumpha Cave No. 4
5. Khandagiri-Gumpha Cave No. 5
6. Dhyanaghara or Cave No. 6
Dhyana-Gumpha or Shell cave
7. Navamuni-Gumpha Cave No. 7
8. Barabhuji-Gumpha Cave No. 8
9. Trisula-Gumpha Cave No. 9
Satabakhara or Mahavira-Gumpha

93
 10. Unnamed Ruined cave beyond cave No-9 Cave No. 10
11. Lalatendukesari-Gumpha Cave No. 11
12. Ruined cave near Radhakunda Cave No. 12
13. Ruined cave beyond Radhakunda Cave No. 13
14. Ekadasi-Gumpha Cave No. 14
15. Cave near Gupta Ganga Cave No. 15

The art and architecture of caves of Udayagiri and Khandagiri are

comprehensively discussed in the C hapter III and IV. So, the caves which are
depicted either symbols or Jaina images or have some special architectural features
are only briefly discussed below.

UDAYAGIRI HILLS

Cave No.1 (Rani-Gumpha)

Rani-Gumpha consists of a double storied monastery covering three sides

except the south eastern side which is being open115. The upper storey does not rest
immediately above the lower one. It deserves unique place among the contemporary
caves because of its style of execution i.e. architectural design of the caves, narrative
sculptural art depiction both of social and religious scenes with symbols like srivatsa
and nadipada as the crowning element of the arches of its different cells, depiction of
flora and fauna of the contemporary period and above all about the knowledge of
hydrological engineering by virtue of good drainage system.

Cave No.5 (Jaya-Vijaya-Gumpha)

The Jaya-Vijaya-Gumpha is a two celled cave excavated in the higher edge

near Alakapuri-Gumpha. Guards, one male and a female are carved in high relief at
the either end of the pilasters of the verandah. The space between the arches in the
tympanum of the upper storey depicts the sacred tree within railing being worshipped
by two couples with folded hands and flanked by flying figures holding trays full of
flower garlands116.

Cave No.9 (Manchapuri and Svargapuri-Gumpha)

This Manchapuri-Svargapuri- Gumpha is premeditated in the style of Rani-

Gumpha but is smaller in scale than the latter. It is a double-storeyed cave,
Manchapuri-Gumpha is the lower and Svargapuri-Gumpha is the upper one. In the

94
lower storey we found the depictions of srivatsa and nandipada symbol on the door
frame of the caves and guard figures at the either end of the pilasters. The most
important religious scene of the cave is the depiction of worship of some Ja ina
religious symbol which rest on a high pedestals117.

Cave No.10 (Ganesa-Gumpha)

The Ganesa-Gumpha is a celled cave with a veranda in front and named so

because of the figure of Ganesa engraved at the back of its right cell118 . The back wall
of left cell has a Tirthankara image carved in the relief. He is seated in dhyanamudra
posture without lanchana. The arches of the door ways are carved with the symbols of
nandipada and srivatsa where as the space between the arches are represented with
narrative scenes like abduction scene replicated here as like Rani-Gumpha and
Udayana-Vasavadatta story as mentioned by Agrawala. There is also a five line
inscription, in character of circa 8th-9th centuries CE. The inscription was incised in
the reign of the Bhauma king Santikara.

Cave No.12 (Bagha-Gumpha)

It consists of a single cell and a small verandah in front. Engraved so

methodically by the mason that it depicts upper jaw with formidable teeth, eyes and
noose which look like a mouth of a roaring tiger119 . Representation of a lizard and a
short inscription in the outer wall of the cave with a triangle headed symbol at the
beginning and svastika at the end is noticed.

Cave No.14 (Hati-Gumpha)

A natural cavern of considerable extent of irregular shape it appears to have

been enlarged in subsequent date. The seventeen line inscriptions of Kharavela 120
engraved on the frontal ridge of the shelter carries symbols of nandipada, srivatsa and
swastika is the most important aspect of this caves. Besides, rock art motif121 and
some inscriptions are also noticed on the wall and ceiling of the Hati-Gumpha.

KHANDAGIRI HILLS

Cave No.2 (Tatowa-Gumpha, No.2)

The cave has only one cell fronted by a benched verandah. The ceiling of the
cell is convex in shape and the floor is raised at the back. A nandipada symbol is

95
found on the doorway of the cave and symbolical representation of sun and moon122 at
the back of the wall.

Cave No.3 (Ananta-Gumpha)

The cave comprises of a narrow long room and a verandah in front. On the
back wall of the cell is carved a symbol of nandipada and flanked by srivatsa,
svastika and a triangle headed symbol123. An unfinished standing Tirthankara figure is
also noticed near these symbols. The arches of the doorway are also depicted the
symbol of nandipada, srivatsa and worship of tree within railings. The depiction of
worship of four-tusked elephant, tree worship, image of Surya and an image of
Gajalakshmi/Mahamanasi, the Sasanadevi of Santinatha are other notable
representations in the cave.

Cave No.7 (Navamuni-Gumpha)

The cave was originally comprised of two spacious cells but converted into
one in past and a verandah in front. The back wall of the right cell is carved with
seven Tirthankara figures viz., Risabhanatha, Ajitanatha, Sambabanatha,
Abhinandananatha, Vasupujya, Parsvanatha and Neminatha, all seated in
dhyanamudra within niches. Bellow the Tirthankaras, their respective Sasanadevi
images are engraved. On the right wall two Jaina images are also carved, one of
Parsvanatha and the other is of Risabhanatha both seated in yogasana posture. On the
124
left wall a small figure of Chandraprabha is also engraved.

Cave No.8 (Barabhuji-Gumpha)

The Barabhuji-Gumpha is named so because of the depiction of two twelve

armed (bara-bhuji) figures of Sasanadevi viz., Chakresvari and Rohini carved on the
side walls of the verandah125. Twenty four Tirthankara figures of the Jaina pantheon
are carved in 25 niches of the back and side walls, of which Parsvanatha has been
repeated twice. Their respective Sasanadevis in separate niches are carved below the
Tirthankaras.

Cave No. 9 (Mahavira-Gumpha)

The relives of twenty four robes less Tirthankara are carved on three sides of
the cells126. Parsvanatha instead of being placed before Mahavira occupies a central
place on the back wall. Eight of the Tirthankara are carved in kayotsarga posture and

96
the rest are in dhyanamudra pose. The masonry altar near the back wall of the cell
contains three chloride figures of Risabhanatha in kayotsargamudra of much better
workmanship.

Cave No.10

Originally, this is a double storeyed cave but has no trace at present due to the
stone cutter who taken all the privilege for quarrying stone. Three figures, two of
Risabhanatha and one of Amara/Ambika, the Sasanadevi of Neminatha are carved on
the back wall of the upper storey127 of the cave but at present it seems to be carved
only at a higher level.

Cave No.11 (Lalatendukesari-Gumpha)

The cave immediately after the Cave No.10 is locally called as

Lalatendukesari-Gumpha128. This cave has two cells and a common veranda in front.
The left cell contains two images of Risabhanatha and three o f Parsvanatha. Similarly
on the right cell two Parsvanatha and one Risabhanatha figure are found. A five line
inscription dated in the fifth regnal year of Somavamsi king Udyotakesari records the
restoration of a decayed vapi and decayed temples on the Kumara hill is found just
above one of the Risabhanatha image.

JAINA TEMPLE

The crest of Khandagiri hill is crowned by a modern temple with a porch in

front. The temple is constructed in pidha style, 7.62m in height by Manju Choudhry
and his nephew Bhabani Dadu of Cuttack, Jaina merchants of digambara sect. The
sanctum of the temple contains many independent sculptures 129 viz., 16 small chlorite
Jaina sculpture, a sandstone image of Risabhanatha, a damaged chaumukha. All have
been collected from the hills and its neighborhoods. There are some other recently
built small temples have also preserved a number of Jaina images (Pls.LXXA-
LXXIID) which are discussed below.

Adinatha Temple

The Adinatha temple is a recently built one but preserve five notable Jaina images.
The temple has a pidha vimana and flat roofed RCC structure in front as jagamohana.

i) Risabhanatha: The Tirthankara Risabhanatha (36x21cm) stands in

kayotsarga posture over a full blown lotus pedestal. The image is badly

97
 defaced at the face and pedestal. His lanchana bull and a heap of offering is
noticed below the lotus pedestal. The Tirthankara is flanked by chauri bearers
at the bottom and flying garland bearer and divyadvani at the top. He has a
high raised jatamukuta and few of the coils are fallen upon the shoulders. A
faint trace of decorated torana crowning a circular plain prabhavali at the back
of the Tirthankara.
ii) Risabhanatha: This is a panchatirthi image (38x19cm) and Risabhanatha
being the mulanayaka at the center and stands in kayotsarga posture over a
full blown lotus pedestal. He has an elliptical halo, usual jatamukuta and
flanked by chauri bearer at the bottom and garland bearer, drums and cymbal
played with invisible hands at the top. Four Tirthankaras, two on each side are
depicted in dhyanamudra. The pedestal below the Tirthankara is carved with
bull at the center and kneeling devotee and offerings on either side of it.
iii) Risabhanatha: Being carved out of dolerite stone block (35 x19cm), this is
kept as the central image of the series. The Tirthankara is delicately carved in
kayotsarga posture over lotus pedestal. He is flanked by chauri bearer at the
bottom and garland bearer and divyadvani at the top. The Tirthankara has a
high raised karanda mukuta over the head and trivali mark at the neck. A tree
foiled torana in low relief is carved and decorated with creepers at the cross
bar and astagrahas, four on each side in dhyanamudra. Symbolical
representation of champaka flowers and full blown lotus are also depicted on
either side of the image. The pedestal below the feet of the Tirthankara is
buried so other description could not be noticed including the lanchana.
iv) Parsvanatha: The image of Tirthankara Parsvanatha (34x19cm) is badly
defaced. He is standing in kayotsarga posture with a seven hooded snake
canopy at the back of his head. The chauri bearers, flying vidyadharas,
cymbals and drums played with invisible hands are represented in their
respective positions.
v) Risabhanatha: This image of Risabhanatha (35x19cm) is badly defaced but
has quite similar representation as like the first one except the torana and the
position of the cymbals and Garland bearers.

98
Adinatha Temple (Main Temple)
This temple is the main temple of the complex and has a pidha vimana and
jagamohana over a common platform. It preserves a number of Jaina antiquarian
remains in the sanctum and jagamohana.
i) Risabhanatha: The Risabhanatha image (75x40cm) carved out of schist
stone is represented in kayotsarga posture over a lotus pedestal and is kept
over a cemented lotus pedestal at the jagamohana. The chaturvimsatimurti,
Risabhanatha being the mulanayaka is flanked by chauri bearers at the bottom
and garland bearer, cymbals and drums played with invisible hands on the top.
A decorated torana in low relief is marked at the behind of the Tirthankara.
The Tirthankara has long elongated ear- lobe, jatamukuta, a two spiral
elliptical halo which is flanked by branches of tree and further by chhatravali.
The twenty four Tirthankaras are in kayotsarga mudras of diminutive size and
represented on either side of the mulanayaka i.e. Risabhanatha.
ii) Ambika with Gomedha: The image of Ambika and Gomedha is represented
in a common slab and both are seated in rajalilasana over a common lotus
pedestal. Both are bejeweled with crown, necklace, karna-kundalas, waist
bands, armlets and yajnapavitas etc. Ambika holds a baby in her left hand
while her attributes in the right hand is missing. The Yaksha Gomedha is rest
his left palm over his left thigh and attributes in the right hand missing. A tree
is represented in the middle where a child is shown swinging. The tree is
surmounted by the Tirthankara Neminatha. He is carved seated in
dhyanamudra while his lanchana wheel is depicted at the pedestal flanked by
crouching lions. The Tirthankara is also flanked by chauri bearers and full
blown lotus flower on either side. The pedestal below the Ambika and
Gomedha is relived with six instead of usual seven figures in rajalilasana.
They rest their left hands on the surface and hold indistinct objects in their
uplifted right hands.
iii) Ambika: The beautiful image of Ambika (38x20cm) is found in a side niche
of the sanctum. She is carved seated in lalitasana with right leg pendant over a
lotus pedestal. She holds a baby in her left lap and a bunch of mangoes in the
right hand. The tree laden with fruits is depicted above the head of the
Sasanadevi along with her Tirthankara in dhyanamudra.

99
 iv) Broken Tirthankara image
v) Tritirthi image
vi) Vasupujya
vii) Sumatinatha
viii) Risabhanatha
ix) Unidentified
x) Santinatha
xi) Santinatha
xii) Unidentified
xiii) Risabhanatha
xiv) Broken image
xv) Chaumukha: The (20x18cm) upper part is missing while it
represents four tirthankara images on its four cardinal directions.
xvi) Chaumukha: A small triratha design chaumukha (70x24cm) lies scattered
outside of the main temple. In one of its cardinal directions, particularly at the
raha paga, a tirthankara figure is carved standing in kayotsarga posture.
Similar two more chaumukhas are also found at the back side of the temple.
Jaina images in Odisha State Museum.
A good number of Jaina images have been collected by Odisha State Museum
and few of them are displayed in the gallery. The images brought from the places of
Khordha district are only discussed here.
Two Jaina images are collected from Brahmesvarapatna area of Bhubaneswar.
One is an image of Risabhanatha and the other an image of Ambika. The image of
Risabhanatha is now preserved in Odisha State Museum while the Ambika image is
shifted to Dhenkanal Branch Museum130.

Risabhanatha: The Tirthankara Risabhanatha (Pl.LXXIIIA) is carved standing in

kayotsarga posture over a lotus pedestal. His lanchana bull is well represented at the
center below the pedestal and flanked by kneeling devotees with folded hands and
crouching lions on either corner. He has matted locks and few strand of which falling
on the shoulders are also noticed. Besides, other characteristic features like
astagrahas, kevala tree, trilinear umbrella, vidyadharas, cymbals and drums played
with invisible hands of gandharvas etc are also envisaged in their respective
positions.

100
Ambika: The upper part of the image is fully disfigured but the remaining portion
(60x35cm) shows that it is an image of Ambika holding a baby in her left lap and a
mango twig in the right hand. Her second son is also depicted near her right hand. The
tree is carved on the left side of the Sasanadevi instead at the center behind her and
her lanchana lion is also noticed below the tree.

Parsvanatha: An image of Parsvanatha image (Pl.LXXXIB) is collected from the

premises of the Dadhivamana temple of Sisupalgarh village in the year 1975 and
preserved in the Odisha State Museum131. The Tirthankara is carved standing in
kayotsarga posture over a full blown lotus pedestal. He is flanked by bejeweled
chauri bearers at the bottom and garland bearers, cymbals and drums played with
invisible hands at the top. A seven hooded snake canopy is depicted over his head
while the coils of the snake shown behind his body. A torana crowned with a foliated
arch on either end is also noticed at the back side of the Tirthankara in low relief. The
place below the lotus pedestal of the Tirthankara is delicately carved with a wheel
flanked by lions at the center and a four armed partially defaced Sasanadevi
Padmavati along with knelling devotees on the left. The right side of the panel is
carved with a nagi devotee in anjalimudra and two other kneeling devotees. From the
artistic point of view the image has been assigned to circa 9th century CE132.

Mahavira (?): This is one of the best carved Jaina Tirthankaras images (1.14x
0.61x0.25m) but partially defaced and displayed in Odisha State Museum133. The
finds spot of the image is unknown. He is carved seated in dhyanamudra over a
double petalled lotus pedestal. The lanchana of the Tirthankara is depicted in between
the lotus petal seems to be a deer (?). So the image is presumed to an image of
Santinatha instead of Mahavira. Previous scholars mistakenly identified it as
Mahavira due to the depiction of lion below the pedestal. In fact, the lion is in
crouching position and in one corner which is a usual feature found in all the images
as throne bearer. The chauri bearers are found on either side of the Tirthankara. A
beautiful carved torana with leaf pattern, diamond and circular shape design is carved
depicted behind the head of the Tirthankara. The two end of the torana is relieved
with goose is a rare occurrence in Odishan Jaina art. The torana is surmounted by
trilinear chhatravali and kevala tree and flanked by champaka flower, lotus,
gandharvas with garland, cymbals and drums played with human figures are also

101
represented. The cymbals and drums played with gandharvas in human form is only
depicted in one of the Parsvanatha image of Pratapanagari.

There are two more images viz., Risabhanatha and Mahavira along with a
fragmentary stone piece depicting chauri bearers, four grahas, flying garland bearer
and divyadhuni preserved in the Odisha State Museum but their finds spot is not
known.

Mukteswara Temple, Bhubaneswar

Six number of diminutive size figures are carved in the temple art of
Mukteswara appear to be Jaina Tirthankara images. They are carved standing nude in
kayotsarga posture134 and mostly represented in foliated the chaitya arches at the
khura portion of the temple and projected capping portion of the short heighted
boundary wall. The appearance of Jaina and Buddhist images along with Brahmanical
images indicates that the builder of the temple was a man of elective views 135.

Brahmesvara Temple, Bhubaneswar

Similar type of Mukteswara temple, diminutive Tirthankara images

(Pls.LXXIIIC-LXXIVD) are also noticed in the main temple as well as in the sub-
shrines of Brahmesvara temple along with Buddhist, Brahmanical and secular figures.
They are generally carved in khura and basanta projection of pabhaga of the temples
and a total number of 17 images are traced during the field work.

The details are as follows-

Vimana of the main Temple:

a) Northern wall, raha paga, khura projection - 01 image

b) Western wall, raha paga, khura projection - 01 image
c) Western wall, kanika paga, khura projection - 01 image
d) Southern wall, raha paga, khura projection - 01 image

South-western Sub-Shrine:

a) Western wall, anuratha paga (towards north), khura and basanta projection -
02 images

b) Southern wall, kanika paga (towards north) -01 image

102
South-eastern Sub-Shrine:

a) Eastern wall, kanika paga (towards north), kani projection - 01 image

b) Northern wall, raha paga, khura projection - 02 images
c) Southern wall, anuratha paga, khura projection - 01 image

North-eastern Sub-Shrine:

a) Northern wall, anuratha paga, basanta projection - 01 image

North-western Sub-Shrine:

a) Northern wall, raha paga, khura projection - 01 image

b) Northern wall, talagarbhika, basanta projection - 01 image
c) Western wall, raha paga, patta projection - 01 image
d) Western wall, anuratha paga, patta projection - 01 image
e) Southern wall, anuratha paga, khura projection - 01 image

Chadeibar

An image of Risabhanatha has been reported at the Nrusinghanatha temple of

village Chadeibar near Balakati136. He is carved standing in kayotsarga posture over a
double petalled lotus pedestal. His lanchana bull is carved below the pedestal, flanked
by two spirited lions and kneeling devotees in folded hands. The other pratiharyas
like chauri bearers, astagrahas, kevala tree, chhatravali, flying garland bearers etc.
are also noticed in the image in their respective positions. A trefoil decorative arch is
also noticed. The entire figure is conceived in a miniature pidha temple.

Raiguru Basudeipura

The Thakurani temple of the village Raiguru Basudeipura is situated at the

right side of the road leading from Balakati to Hansapal on the left bank of the river
Bhargavi. It is located about 1km from Chausathi Yogini temple, Hirapur and has a
pidha vimana of impoverished Kalingan order. A very small Tirthankara image 137
(17x10x5cm) is found lying scattered among the heap of other broken Brahmanical
images at the open mandapa in front of the temple. The Tirthankara is carved
standing in kayotsarga posture over a double petalled lotus pedestal. The traces of
defaced chauri bearers are also noticed on either side of the Tirthankara those who
are standing in their separate lotus pedestal. A torana is noticed at the back side of
the figure and an oval halo at the back side of head. The chhatravali is also seen

103
above the head of the Tirthankara but his lanchana is missing. The image is carved
out of fine grained sandstone and no other feature can be traced as the image is
badly defaced one.

Turintira

An image of Risabhanatha and a Parsvanatha image are found in an open

mandapa which is locally called as Baudei within a mango tope near village
Turintira138.

Risabhanatha: The Tirthankara image (1.33x0.67x0.22m) is carved standing in

kayotsarga posture over a lotus pedestal below which his lanchana bull is depicted
along with spirited lions, kneeling devotees and heaps of offerings. His hair is
arranged in jata and few strands of which fall upon his shoulders. Besides, all the
asta-pratiharyas are well represented in their respective positions. The vidala figures
carved looking opposite directions just above the chauri bearers is a new feature in
Jaina sculptures.

Parsvanatha: The Parsvanatha image (1.30x0.70x0.27m) is carved seated in

dhyanamudra and has a seven hooded snake canopy over his head. The coils of the
snake are noticed at the back side of the Tirthankara. He is flanked by chauri bearers
on either side. Elongated ears, trivali marks at the neck and curled knots with usnisa
at the centre are envisaged at their respective positions.

Iginia

Two images one being a figure of Risabhanatha and another is a head of a

Tirthankara are reported from Mangala shrine of village Iginia near Khandagiri139.

Jaipurpatana

A Jaina Tirthankara image (Pl.LXXVA) is found in a modern temple locally

known as Nistaruni or Bali budhi temple at Jaipurpatna of Itipur Gramapanchayat, on
the right bank of the river Daya. The image is worshipped as bramhanical deity along
with other Brahmanical images like Ganesa, Kartikeya etc.

The image is fully encrusted with vermillion, oil and chuha by the local priests
and which are obstructed to study the details of the image. But, it is clear that the
headless Tirthankara (28x20x10cm) is standing in kayotsarga posture. Traces of

104
chauri bearer on either side of the Tirthankara can be noticed but the lanchana is not
visible.

Sunderpada

A chaumukha (Pl.LXXVB) is noticed at the Kalia-Sani gramadevati shrine in

Ward No-57 of Sunderpada area. The upper portion of the chaumukha is missing so
as the heads of the Tirthankara figures depicted in the four cardinal directions of it in
kayotsarga posture. Except one, other Tirthankaras are identified on the basis of their
viz., bull, deer and moon as Risabhanatha, Santinatha and Chandraprabha
respectively. The chaumukha is kept along with some beautiful and important naga-
nagi images with nectar pots in hand of very early period in a flat roofed RCC
structure.

Jamukoli

A fragmented image of Risabhanatha (12x9 x5cm) is found in one Baghei Devi

temple of Jamukoli village not far away from Panchagaon (Pl.LXXVC). This is a
recently built pidha style temple but preserved a number of Brahmanical images along
with the only image of Jaina i.e. the lower part of Risabhanatha image. The remaining
leg portion of the Tirthankara shows that he is carved standing in kayotsarga posture.
The chauri bearers flanked the Tirthankaras on either side but their heads are missing.
The place below the lotus pedestal is carved with his lanchana bull and a kneeling
devotee at the center and crouching lions on either side.

Panchagaon

The village Panchagaon is located on the right bank of the river Gangua and
on the left side of the Lingaraja temple road leading from Bhuba neswar to Jatani. It is
about 7km from south-east of Lingaraja temple and 8km north-east of Jatani. The
Bhagamahadeva temple is situated on the western outskirt of the village Panchagaon.
It is a ruined Siva temple survived up to the plinth level. A well and a rock-cut tank
are also found in close proximity to the temple. The Bhagamahadeva temple has a
square sanctum fronted by a pillared jagamohana. The tank is provided with
embankments on each side with bathing ghats on the western and southern bank. Two
Jaina images have been kept in a newly constructed RCC building by O disha State
Archaeology in the year 2003-04 near this temple. Both the Jaina relics i.e.

105
Risabhanatha and the votive tablet depicting ganadharas and Purvadharas140 are
worshipped as Satyaban-Sabitri by the local peoples.

Risabhanatha: The Tirthankara (47x24x12cm) is carved standing in kayotsarga

posture over a double petalled lotus pedestal141 . His lanchana bull is carved along
with kneeling devotees with folded hands below the pedestal. He is flanked by chauri
bearers at the bottom and garland bearers, cymbals, drums played with invisible hands
are also depicted at the top. His hair is arranged in jata style and few curls of his hair
falling over the shoulders of the Tirthankara. A plain circular halo, kevala tree and
chhatravali are also represented over the head of the Tirthankara (Pl.LXXVD).

Votive Stone Tablet: A stone slab (46x26x8cm) depicting 161 figures of ganadharas
and purvadharas carved standing in kayotsarga posture except the mulanayaka i.e.
the Risabhanatha (5x4cm) who is carved seated in dhyanamudra. The ganadharas
and purvadharas are carved in nine rows and each row contains 10, 18,18,18,18, 20,
22, 22 and 14 figures from bottom to top respectively. The topmost line depicted
Risabhanatha at the center and seven on each side. His hair is arranged in matted lock
design and bull as his lanchana is faintly carved below the pedestal (Pl.LXXVIA).

Budhapada

The Somanatha temple at Budhapada is situated on the left side of the road
leading from Jatani to Pipili on the right bank o f the river Daya. It is about 3km east
of Jatani and 15km from Bhubaneswar. The temple has a rekha vimana and pidha
jagamohana of Kalingan order. A Risabhanatha image is found worshipped as Guru
Drona in a small pidha temple within the complex at the south-east corner and few
Tirthankara images are also carved in the bada portion of the temple (Pls.LXXVIC-
LXXVIIC).

Risabhanatha: The Tirthankara is carved seated in dhyanamudra over a lotus

pedestal but his face is missing. His lanchana bull and heaps of offerings are shown
below the pedestal. He is flanked by chauri bearers on both side and other features of
the image could not be ascertained as the image is very much weathered.

Tirthankara (?): An image seems to be a Tirthankara (28 x10cm) is carved standing

in kayotsarga posture at the upper jangha portion of the jagamohana, closed to the
southern side grilled window in a pidha mundi. But, here the Tirthankara is for first

106
time noticed with folded dhoti as lower garment and decked with armlets, karna-
kundalas and a beaded hara. The auspicious trivali mark at the neck is clearly seen
and his eyes are depicted in meditative attitude. The Tirthankara image seems to be
the first of its kind without naked stands in kayotsarga posture in Odisha. Another
similar image (24x10cm) with slight variation with the design of lower garment is
also noticed in the north-west corner of the jagamohana at upper jangha portion
within a pidha mundi design. The images can be safely dated to the 13th century CE,
as the temple belongs to that period.

Daksha-Prajapati Temple, Banapur

The Daksha-Prajapati temple is located on the right side of Balugaon-

Bhagavati temple Road in Banapur town and about 5 km west of Balugaon on N.H-5.
A Risabhanatha image142 carved out of chlorite stone, seated in dhyanamudra is
attached in one of the exterior wall of Buddhima temple (Pl.LXXVIB) within the
complex of Daksha-Prajapati temple.

3.11 KORAPUT DISTRICT

The district of Koraput derives its name from its headquarters the present town
of Koraput. As far as the history of the district is concerned, the region of Koraput
existed since the 3rd century BCE. The region was ruled by several dynasties like
Satavahans, Ikshvakus, Nalas, Ganga kings, kings of Suryavanshi and finally the
Koraput became a district in the year 1936 CE. The Nalas were ruling over this tract,
Pushkari near modern Umarkot was the capital city. In the medieval period Nandapur
developed as the capital under the Silavamsi kings and sometimes under the kings of
the Solar dynasty. Vikram Dev of the Solar dynasty shifted his headquarters
to Jeypore about the middle of the 17th century CE and this town prospered as the
capital. Koraput was chosen by the British in the 1870 CE for better health
prospects143.

The district Koraput is located at Lat.18.820 N: Long. 82.720E. It has an

average elevation of 870m. The district covers an area of 8379 sq.km consisting of
evergreen to deciduous vegetation endowed with various wild plants as a natural
resource. Some major rivers pass through the district are Machhakunda, Bansadhara,
Kolab; waterfalls like Duduma, Bagra, Khandahati and large mountain like Deomali

107
and Chandragiri etc. The district is bounded by Rayagada in the east, Bastar district of
Chhatisgarh in the west and Nabarangpur district in the south144.

Koraput district swarming with scenic beauty in the form of forests, waterfalls,
terraced valleys, darting springs and with the nature loving people has an important
place in the religious history of Odisha. Some of the important historical places in the
district are Gupteswar temple, Jeypore, Sabara Srikshetra, Koraput Museum,
Duduma waterfall, Kolab dam, Daman jodi, Jaina temples at Subei, Maliguda etc.
Koraput is mostly famous for its Jagannatha temple which is also known as Sabara
Srikhetra and Siva temple Gupteswara145. Besides the Vaishnavite and Saivite
monuments, Koraput is also famous for the Jaina antiquarian remains found in the
shape of sculptures as well as temples.

The district is rich in Jaina heritage. Some of the Jaina sculptures are under
worship in Hindu temples or fixed in to the temple walls, some of them are in private
collection, where as some images are lying scattered and uncared. Odisha State
Museum, Bhubaneswar and District Museum Jeypore have got noteworthy collection
of sculptures. State Archaeology Department has constructed one sculpture shed for
Jaina images in Jamunda. There are references of Jaina temples/ruins of temp les at
Subei, Kachela, Bhairava Singhpur, Jeypore and Nandapur in Koraput district. But
temples are available at Subei only, while at other places the temples might be
destroyed or demolished. Besides, other prominent centers of Jaina relics in this area
are Nandapur, Chatua, Boriguma, Korapata, Charmula, Narigaon, Kamta, Mali
Nuagaon, Devata Gajar, Katharaguda, Pankhaguda and Palba 146. The District
Museum of Jeypore also preserves a good number of Jaina images collected from the
surrounding region. Jainism flourished in this area as it was ruled by eastern Gangas,
the Somavamsis and the Telgu Chodas, who were forbearing towards the Jainism.

Jaina Temples at Subei

The village Subei/Suai is located at a distance of 15km from Similiguda and is

about 35km from Koraput on the main road leading to Nandapur147. A group of ten
Jaina temples made of stone masonry are standing in the midst of a shrub forest
within an oval enclosure with a low wall around it near the village at the foot of
Pangiri/Panagiri hill. But at present, there are only remains of six temples (4 east
facing, 2 west facing) and among them only two shrines are in better preserved

108
 condition148. The traces of the compound walls are only visible on the ground and
the area is overgrown with shrubs. The monuments at Subei are under the protection
of State Archaeology Department.

These shrines are small in dimensions (about 6 to 9m) and simple in ground
plan as well as in decorations. Each structure built of sandstone is tri-ratha on plan
with a single low pyramidal tower crowned by an amalaka. There is no trace of
mandapa in front of the shines. The pabhaga is low in height and have only three
plain moldings devoid of any carvings. Decorative motifs like square and circular
rosettes enclosed within dotted squares in low relief are traceable near door-jambs in
two shrines (northern shrine). There is no provision of niche in central projection
(raha) for parsvadevatas. Exterior walls of temples are devoid of sculptural and floral
decorations149. All the shrines contain slabs carved with Jaina Tirthankaras and
Sasanadevis of about 1m height. But all the sculptures are highly weather beaten and
abraded badly. From the entire hoard, twelve` sculptures can be identified and among
them three are of Sasanadevi figures viz., sixteen armed Chakresvari, twelve armed
Rohini and two armed Ambika, one image of Mahavira and nine images of
Risabhanatha. On the basis of simple architectural plan and design, V. Dehejia150
assigned the temple of Subei to the formative phase of Odishan temple architecture
i.e. circa 750 CE. But on the basis of the iconographic features of the Jaina
Tirthankaras and Sasanadevi figures, the temple can be assigned to the 9 th century
CE151. Of the two intact temples, the southern one has an image of Risabhanatha,
while the northern one has two images i.e. Risabhanatha and Mahavira.

Lower portions of four temples only survived, which were repaired by State
Archaeology Department erratically so as to make out difficult to distinguish between
the original and the recent additions. Among the four shrines, two east facing shrines
contain one Jaina Sasanadevi image in each while the west facing shrines contains
Risabhanatha image and the other one has three images of Risabhanatha
(Pls.LXXVIIIA-LXXXB). These images152 are discussed below:-

Risabhanatha: The image of Risabhanatha (80x46cm) is carved seated in

dhyanamudra over a cushion covered with a loin cloth, placed over a plain pedestal.
His lanchana bull in a smaller size is depicted at the overhanging loin cloth at the
front. An image of four armed Chakresvari his Sasanadevi is found below the

109
pedestal and flanked by spirited lions and kneeling devotees with folded hands. The
Tirthankara has elongated earlobe, jata hairs, a circular lotus petal designed halo and
surmounted by a trilinear umbrella caped by branches of kevala tree. He is also
flanked by bedecked chauri bearers, flying garland bearers and an elephant figure one
above the other vertically on both sides. The upper right corner of the stone slab was
damaged and broken into two pieces and mended later on.

Risabhanatha: The image of Risabhanatha (85x57cm) is carved seated in

dhyanamudra over a cushion covered with a loin cloth, placed over a plain pedestal
and at the overhanging loin cloth at the front carved with a diminutive figure of bull
as the mark of his cognizance. Chakresvari, his Sasanadevi is found below the
pedestal displays disc in upper two hands and varada mudra in lower two hands. She
is flanked by spirited lions and a kneeling devotee with folded hands and the Yaksha
Gomedha. The Tirthankara has long jata hairs and few strands of it are fallen over his
shoulder. A circular prabhamandala with lotus petal and beaded boarder design is
found over his head. The prabhamandala is surmounted by a trilinear umbrella with a
central knob at the top lanked by branches of kevala tree on either side. He is also
flanked by bedecked chauri bearers, flying garland bearers and an elephant figure one
above the other vertically on both sides.

Risabhanatha: The image of Risabhanatha (1.20x0.72m) is carved seated in

yogasana posture over plain pedestal below which is his lanchana bull and his
Sasanadevi Chakresvari flanked by spirited lions and kneeling devotees with folded
hands. She is eight armed but her attributes are not distinct. She is seated over a
Garuda figure. The Tirthankara has elongated earlobe, jata hairs and a circular lotus
petal designed halo behind his head. He is also flanked by bedecked chauri bearers,
flying twin garland bearers and an elephant figure one above the other vertically on
the left side while except the chauri bearers other representations are missing as the
upper right corner of the stone slab is damaged.

Risabhanatha: The image of Risabhanatha (97x58cm) is carved seated in yogasana

over a plain lion throne below which bull is depicted as the mark of his cognizance. A
four armed Chakresvari seated on Garuda, his Sasanadevi is found below the pedestal
displays discs in upper two hands and varada mudra in lower two hands. She is
depicted along with the Gomedha Yaksha and kneeling devotees with anjali hasta.

110
The prabhamandala behind his head is decorated with lotus petals and boarder
beaded chains. A trilinear umbrella with a central knob at the top and branches of
kevala tree spreading on both sides is depicted over head. The auspicious mark, trivali
is clearly distinct at the neck of the Tirthankara. He is also flanked by bedecked
chauri bearers on both sides in which the right one holds a champaka flower, flying
gandharvas with garlands and elephants are represented on both sides.

Mahavira: The image of Mahavira (80x45cm) is carved seated in dhyanamudra over

a cushion covered with a loin cloth, placed over a plain pedestal. His lanchana bull in
a smaller size is depicted at the overhanging loin cloth at the front. An image of four
armed Sidhayika, his Sasanadevi is found below the pedestal flanked by spirited lions
and kneeling devotees with folded hands. She is seated in cross legged posture and
displays varada, a circular object, parasu and shula as attributes in her hands. The
Tirthankara has elongated earlobe, curly hair, a circular lotus petal designed halo
behind his head surmounted by a trilinear umbrella caped by branches of kevala tree.
He is flanked by bedecked chauri bearers, flying garland bearers and an elephant
figure one above the other vertically on both sides. The left corner of the trilinear
umbrella is partially damaged.

Chakresvari: Chakresvari, the Sasanadevi of Risabhanatha is carved seated with

sixteen arms displaying mace, sword, disc, bow, pot etc. in right and spear, shield,
arrow, dagger, a conical object etc. in the left hands but attributes in other hands are
missing. The crown over the head is fashioned in conical shape and has a circular
decorative halo behind her head is noticed. Risabhanatha and figures of astagrahas
are represented in yogasana posture in a row over the halo.

Risabhanatha: The Tirthankara Risabhanatha (74x45cm) is found seated in

dhyanamudra over a plain pedestal supported by two spirited lions. His lanchana bull
and Sasanadevi Chakresvari seated over a Garuda is found below the pedestal. She
displays two discs, varada mudras in her four hands as attributes and flanked by
Yaksha Gomukha in right and a female devotee in kneeling position with anjali hasta
in the left side. The Tirthankara is flanked by chauri bearers, hovering gandharvas
with garlands and elephant motifs. The hair of the Tirthankara is arranged in jata, few
strands of which are fallen over his shoulders. The auspicious mark srivatsa is found
at the chest of the Tirthankara image. The prabhamandala behind his head is circular

111
and festooned with lotus petal and beaded chains. A trilinear umbrella is noticed over
his head caped by branches of kevala tree.

Risabhanatha: Seated in dhyanamudra on a padmasana the Tirthankara (98x62cm)

is flanked by chauri bearers, flying gandharvas with garlands in their hands and
elephant motifs one above the other vertically. He has a circular prabhamandala with
lotus flower and diamond shaped design at the border. The halo is surmounted by a
trilinear umbrella flanked by branches of kevala tree. His hair is arranged in jata style,
few of them are fallen over his shoulders. The carving below the pedestal is not clear
as it is under worship and covered by clothes.

Risabhanatha: The image of Risabhanatha is carved seated in dhyanamudra over

plain pedestal below which his lanchana bull and his Sasanadevi Chakresvari flanked
by spirited lions and kneeling devotees with folded hands are found. She is carved
seated over her vehicle Garuda and her four armed displays discs in upper two hands
and varada mudra in one hand while a circular object in the rest hand which in not
distinct clearly. The Tirthankara is flanked by bedecked chauri bearers but they are
standing in samapada asana instead of tribhanga posture found usually and they have
no fly- whisk in their hands. He has elongated earlobe, jata hairs and a circular lotus
petal designed halo behind his head. Flying gandharvas with garlands in their hands,
elephant motifs, trilinear umbrella, branches of kevala tree and trivali mark in the
neck are shown like other images of Risabhanatha.

Risabhanatha: The Tirthankara image (1.00x0.55m) seated in dhyanamudra over a

pedestal in which his lanchana bull is also carved in a diminutive size. Below his
pedestal is an image of four armed Chakresvari, his Sasanadevi in padmasana. She is
flanked by two spirited lions, displays disc in upper two hands and varada mudra in
lower two hands. The twenty three Tirthankaras are depicted the surroundings of the
mulanayaka Risabhanatha along with their lanchanas in respective pedestals. Two
kneeling devotees are also shown with folded hands at the bottom portion of the stone
slab on the left. The flying gandharvas with garlands, instead of depicted at the top
are noticed at the shoulders of the Risabhanatha. The Tirthankara has jata hair and an
elliptical halo is seen behind his head. Besides, tiny figure of elephants are depicted at
the top portion of the stone slab.

Rohini: Rohini, the Sasanadevi of Ajitanatha is carved seated in dhyanamudra over a

112
lotus pedestal supported by spirited lions. The place below the pedestal is carved with
kneeling devotees in folded hands and one of the devotee pouring water by a pot over
an elliptical object kept at the center of them as like a Siva-lingam is a rare
representation in the images of Jaina art of Odisha. The Sasanadevi Rohini has twelve
arms of which principal two arms are in dhyanamudra. The other attributes she
displays are vajra, sword, disc, arrow in the right and vessel, shield, bell, tridandi,
bow in the left hands. One of her right hands is broken and missing. She is generously
festooned with ornaments and costumes like a conical crowning mukuta with jewels,
multi stranded necklace fitted with locket, armlets, bangles, ear-rings, girdle with
central locket and an upavita at the chest. She has a circular halo lavishly decorated
with lotus petals enclosed by beaded boarders. Her Tirthankara Ajitanatha is in
dhyanamudra over a lotus pedestal along with his lanchana elephant and flanked by
chauri bearers. Hovering gandharvas with garlands are also seen at top on either side
of the Tirthankara image. The upper portion of the stone slab is conical instead of flat
and the whole stone slab including pedestal measures is 92x52cm. Similar image of
Rohini, the Sasanadevi of Ajitanatha is also noticed in the cave no.8 of Khandagiri
hill, Bhubaneswar with different attributes in hands.

Risabhanatha: The Tirthankara Risabhanatha (88x52cm) is found seated in

dhyanamudra over a plain pedestal supported by the spirited lions. The bull, lanchana
of the Tirthankara is depicted along with his Sasanadevi Chakres vari seated over a
Garuda is found below the pedestal. She displays in her four hands a disc, a mace,
varadamudra and a pot contrary to other such images found here. The circular halo
behind his head is lavishly festooned with lotus petals and boarder by beaded chains.
His hair is arranged in jata style. The chauri bearers, garland bearers, elephant motifs,
devotees with folded hands and kneeling positions, trilinear umbrella, kevala tree are
the usual representation found in their respective positions.

Risabhanatha: This Tirthankara Risabhanatha image (87x52cm) is found in the

center of a ruined shrine a few meters away from the temple complex. He is carved
seated in dhyanamudra over a plain pedestal supported by two spirited lions at the
corner. His lanchana bull and Sasanadevi Chakresvari seated over a Garuda is found
below the pedestal flanked by kneeling devotees and the Yaksha Gomukha. She
displays in her four hands two discs, varada and a vessel as attributes. The
Tirthankara is flanked by chauri bearers one of which holds a champaka flowers in

113
the left hand. The hairs of the Tirthankara are arranged in jata and a few strands of
which are fallen over his shoulders. The prabhamandala behind his head is circular,
festooned with lotus petal and beaded chains. A trilinear umbrella is noticed over his
head surmounted by branches of kevala tree at the top, flanked by elephant motifs at
the corners. Hovering gandharvas with garlands are also seen on either side of the
image. The most significant feature of the image is the presence of the srivatsa mark
at his chest.

There is an unfinished newly built modern shed in the same enclosure which
houses three Jaina sculptures which are mentioned below:-

Risabhanatha: Seated in dhyanamudra on a padmasana, trilinear umbrella, halo

(prabhamandala) in the form of a lotus, the image flanked by chauri bearers, figure
of Jaina Sasanadevis flanked by lions is carved below the pedestal. The mount
vrishabha/bull is depicted within the lotus pedestal.

Risabhanatha: Seated image Risabhanatha in dhyanamudra is surrounded by 24

figures of Tirthankaras. He is represented twice in the stone slab. He has a n elongated
halo with jata hair on his head and few strands of which are fallen over his shoulders.
The image is partially defaced and broken at the upper part of the stone slab.

Ambika: The Yakshi Ambika is carved seated in lalitasana on a double petalled

lotus pedestal with right leg pendant rests over the back of the vigorous lion
depicted below the lotus pedestal is flanked by kneeling devotees with folded hands.
The Sasanadevi holds a baby in her left lap and a bunch of mango twig in the right
hand. A boy is also shown with a bunch of mangoes on the right while a chauri
bearer is shown on the left side of the Yakshi. She is bedecked with elongated ear
rings, necklaces, armlets, anklets and bangles. Her hair is arranged as a bun at the
top of her head. A plain circular halo is shown behind her head with two beaded
boarder designs. A mango tree studded with mangoes with foliated branches is
depicted over her head and above it is her Tirthankara Neminatha shown seated in
dhyanamudra flanked by chauri bearers and flying garland bearers.

Many of the images at Subei are provided with an additional pedestal acting as
a pranala to drain out the water and milk used for ritual purpose. The images of
Risabhanatha constitute the largest number at Subei. The arrangement of hair of all
the figures of Risabhanatha carved as jatas hanging up to shoulders. One of the

114
 Risabhanatha images contains figures of all other twenty-three Tirthankaras. The
images are studded with heavenly musicians, elephant, kevala tree and trilinear
umbrella on upper crest, chauri bearer on both side, halo is carved in the shape of
full blossomed lotus.

A ruin of another temple in the shape of a mound is noticed about 150 meter
south-west of the group of temples. An image of Risabhanatha is noticed on the top of
the mound.

Jaina Remains at Kachela

Remains of a Jaina temple 9m height was in existence on the south of the

Kachela village as reported by G. Ramdas in his article on the Kachela Copper Plate
Grant of Krishnadeva153 but at present submerged in the Kolab water reservoir and
one need a boat to reach to the site. The village Kachela is in Pattangi tehsil and is 15
km from Koraput, the district headquarters. Six Jaina sculptures154 bought from the
same temple were installed in the village. Now only five images (Pls.LXXXC-
LXXXIB) are found except the images of Ajitanatha and Mahavira in a common slab
which is missing under a group of trees in the Janiguda locality of the Kachela. The
brief descriptions of the images are given as under-

Risabhanatha: Seated image of Risabhanatha (1.10x0.56m) in dhyanamudra has

long matted hair locks hanging up to shoulders. The chhatra is depicted over his head,
lotus shaped halo is further decorated with alternately arranged flowers and ratna
motifs on its border. Elephants and flying garland bearers i.e. female over a male with
garland in their hands are carved on the top of the slab o n either side. The chauri
bearers decked with rich apparels are flanked on both sides of the Tirthankara at the
bottom. His lanchana bull is carved in low relief in the center of the pedestal. An
image of four armed Chakresvari seated over a human shaped Garuda is carved in the
center below the pedestal. She is holding disc in upper hands both in right and left
hands, a citrus/vessel on the lower left hand and her right hand depicted in varada
mudra. The Sasanadevi is flanked by spirited lion on either side and further by a
kneeling female devotee with folded hands on the left and a Gomukha figure standing
on the right which is a rare representation on the Jaina art of Odisha.

Santinatha: Standing in kayotsarga mudra over a lotus pedestal, the Tirthankara

(1.00x52m) is exhibited with elephants, female garland bearers on the upper part of

115
the slab, trilinear chhatra surmounted by kevala tree above the head and lotus shaped
halo enclosed by beaded borders around the head. He is flanked by bejeweled chauri
bearers and astagraha figures four on each side are carved around him. His lanchana
deer is depicted in crouching position below the lotus pedestal.

Mahavira: The image of Mahavira (90x45cm) is seated in dhyanamudra over a lotus

pedestal. He is shown with elephants and heavenly garland bearers on the top of the
slab, tree and chhatra over his head, lotus shaped halo around head. He is flanked by
chauri bearers bedecked with rich costumes and ornaments. The place below the lotus
pedestal is shown with four armed Sidhayika, the Sasanadevi of the Tirthankara. She
displays varada mudra in lower two hands and noose and sword in the upper two
hands as attributes. She is flanked by spirited lions on both the sides and further by
kneeling female devotee in folded hands on either side.

Ambika: One of the most outstanding and remarkable image of Ambika

(1.00x0.53m) in Odisha is found at Subei. Carved in standing posture over a lotus
pedestal she is carrying a baby on her left lap and holding a bunch of mangoes in her
right hand. Another boy shown holding a mango in his hands below the hand of
Sasanadevi, a kneeling devotee is also shown near the feet of the boy in folded hands.
Her lanchana lion is shown on the right side of the Sasanadevi at the bottom. The tree
carved behind her head is profusely studded with mangoes. The circular halo behind
her head is formed a lotus pedestal. Pillars of a lavishly carved torana are shown
behind her body. She has bun shaped hairdo wears beautiful drapery as garments. The
drapery in folds runs up to ankles. It is tied with girdle, the loops of which are
dangling in front. The multi-stranded necklace, bangles, circular ear rings, armlets,
anklets beautify the image. Her Tirthankara Neminatha is carved seated over a lotus
pedestal in dhyanamudra at the top. Two wheels engraved on the either side of the
image at the pedestal is a rare iconographical feature found in Odisha. He is flanked
by chauri bearers and further by flying gandharvas with garlands in their hands.
kevala tree, chhatra and a circular halo is carved above the head of the Tirthankara.

Ambika and Gome dha: An image of yaksha Gomedha and yakshi Ambika
(53x28cm) are also carved seated on a common slab under a tree. Both of them are
provided with thick cushions. A Tirthankara figure with his usual attributes of chauri
bearers, umbrella, kevala tree and flying garland bearers is noticed above the mango

116
tree in the back ground of the composition. A baby is noticed swinging in between the
yaksha and yakshi figure. The figure Ambika is holding a baby on her left lap and a
bunch of mangoes in her right hand, while the figure of Gomedha carries some
unidentified object in his right hand while left hand rests over the left thigh. Below the
pedestal, a two armed female figure in lalitasana pose on a pedestal and she is flanked
by eight devotees.

Bhairava Singhpur

Bhairava Singhpur village is situated in the Jeypore sub-division of Koraput.

The remains of ancient shrines are found in the form of mounds located in the
foothills of the nearby hills. About twenty one Jaina images 155, six are of
Risabhanatha, one each of Parsvanatha, Ajitanatha and Mahavira, five Tirthankaras
with no clear cut identification and seven images of Ambika and Gomedha of
different dimensions recovered from the village. These images are now displayed in
the District Museum, Jeypore (Pls.LXXXIIA-LXXXIID). Some Jaina images are
still lying in the village. One image of Risabhanatha fixed near the entrance of a small
hut shaped temple locally known as the Maa Sankulai temple156. Villagers have
disfigured the image with oil and vermilion; still it can be very easily identified.

Rishabanatha image, Sankulai Te mple: He is carved seated in dhyanamudra over a

pedestal and also shown with chhatra, long jatas, lotus shaped halo around head,
flanked by chauri bearers and twenty three Tirthankaras (Pl.LXXXIC). Elephant and
heavenly musicians are carved on the top of the slab. The four armed Chakres vari
Sasanadevi, the Tirthankara is noticed seated in lalitasana over her lanchana Garuda.
She holds discs in her upper hands and the lower right hand in varada mudra while
lower left hand rests over her left thigh. Kneeling devotees with folded hands are also
shown either side of the Sasanadevi. A diminutive size bull, the lanchana of the
Tirthankara is also carved here.

Risabhanatha image, Nilakanthesvar Temple: The State Archaeology Department

has recently constructed a sculptures shed over an image of Risabhanatha at the
foothill near Nilakanthesvar temple157. The Tirthankara (Pl.LXXXID) is carved
seated in dhyanamudra over pedestal cover up by cushion and loin cloth. He has a
large lotus shaped halo behind his head. He has jatamukuta hair band in his head.
Elongated ear lobe and trivali mark clearly visible in the Tirthankara. He is flanked by

117
bejeweled chauri bearers on the either side. Trilinear umbrella flanked by male and
female garland bearer super imposed by kevala tree and elephants grace the upper part
of the stone slab. The place below the pedestal is carved with a six armed Chakresvari
in the centre, vigorous lion on the either side along with devotees with folded hands.
One broken image of Parsvanatha in kayotsargamudra is kept on the platform of the
temple Nilakanthesvar temple. One more Jaina sculpture is kept in the nearby
Jagannatha temple158.

Jaina images of Bhairava Singhpur at Jeypore District Museum

The images collected from the village Bhairava Singhpur are displayed in the
District museum at Jeypore159. These images (Pls.LXXXIIA-LXXXIID) are
discussed as follows-

Risabhanatha: The figure of Risabhanatha (60x32x15cm) seated in dhyanamudra

over a cushion covered with a cloth which is kept over the pedestal. His lanchana is
carved in a smaller dimension over the cloth hanging in front of the cushion. His hairs
are arranged in jatas and a few strands are fallen over his shoulders. The multi-
petalled oval halo behind his head, chhatra, kevala tree and flying garland bearers
over his head are also depicted. But the right portion of the slab is missing due to
damage. Two bejeweled chauri bearers are flanked by the Tirthankaras on either side.
A four armed Chakresvari displaying sword in upper right hand, disc in upper left
hand, varadamudra with the lower right and the lower left hand is kept over left thigh.
But, the features are quite indistinct. She is flanked by vigorous lion further by a
kneeling devotee in left and seated Gomukha figure on the right corner.

Risabhanatha (DM-14): The figure of Risabhanatha (58x28x10cm) has similar

stylistic representation as described in the above images with minor changes. Male
and female garland bearers, depiction of elephants at the top of the stone slab are
clearly visible. A feature is not well marked in the previous image as it is partially
broken at that portion. Here the lanchana bull is missing but the hair style of the
Tirthankara and the presence of four armed Chakres vari along with Gomedha at the
pedestal is enough to identify the image as the first Tirthankara Risabhanatha.

Risabhanatha (DM-25): The figure of Risabhanatha (40x50x10cm) is carved seated

in dhyanamudra over a pedestal, flanked by two chauri bearers. His hair is arranged
in jata style, the circular halo behind his head is decorated with a series of lotus

118
flowers. Flying gandharvas with garlands are shown on either side of the Tirthankara
at the top. The pedestal below the Tirthankara is shown with a figure of four armed
Chakresvari flanked by spirited lions.

Risabhanatha (DM-36): The figure of Risabhanatha (57x30x09cm) is standing in

kayotsarga posture over a lotus pedestal. He is flanked by well decked chauri bearers
at the bottom and flying garland bearers at the top. His hair arranged in jata style a
few strands of it are fallen over his shoulder. A circular halo decorated with lotus
flower design is envisaged at the back side of the head of the Tirthankara and
surmounted by chhatra and kevala tree.

Risabhanatha (DM-64): The figure of Risabhanatha (72x44x20cm) is carved seated

in dhyanamudra over a pedestal. The image is crudely finished, devoid of significant
representation of iconographical features of a Jaina Tirthankara except the depiction
of bull, the lanchana of the Tirthankara in a low relief.

Tirthankara image (DM-12/47): The Tirthankara is standing in kayotsarga posture

but portion below his knee is missing. His hair is arranged in jata style and a circular
halo is envisaged behind the head of the deity. The sacred umbrella and kevala tree
are also seen above the head of the Tirthankara image.

Ajitanatha (DM-6): Ajitanatha (35x35x10cm) is carved seated in dhyanamudra over

a pedestal covered by a loin cloth. His lanchana elephant is shown in a smaller size at
the hanging loin cloth just below the pedestal. But his upper part i.e. portion above the
waist is missing. The panel below the Tirthankaras pedestal is replete with a six
armed image of Ajitabala at the center and flanked by vigorous lions on either side.
The Sasanadevi holds a sword in the uplifted right hand and shield/disc in the uplifted
left hand. The lower two hands are in dhyanamudra keeping one above the over his
lap while the middle two hands attributes are very difficult to identify due to erosion
of the surface. Kneeling devotees with folded hands are depicted on the left corner of
the pedestal while the right depicts a defaced pot bellied seated figure.

Parsvanatha (DM-10): The image of Parsvanatha (25x15x10cm) is found in a very

crude form. He is seated in dhyanamudra and a serpent hood is shown behind his
head. Besides that no other iconographical features are noticed in the image.

Mahavira (DM-37): Mahavira (54x32x12cm) is carved seated in dhyanamudra

119
over a pedestal covered by a loin cloth. His lanchana lion is shown in a smaller size
at the hanging loin cloth just below the pedestal. He has elongated earlobe and jata
hair on his head. An alternatively circular halo of wheel design boarder with beaded
boarder is noticed behind his head. The chhatra as well as kevala tree is also noticed
above the halo. Flying garland bearer and an elephant is seen at the top right corner
of the slab while the similar representation at the left is missing. The pedestal below
the Tirthankara depicts four armed seated Sidhayika flanked by spirited lions at the
center. She holds parasu and khadga in the upper right and left hand respectively
and lower two hands displays varadamudra. A Yaksha image is depicted at the
extreme right corner and a kneeling devotee with folded hands in the extreme left
corner of the pedestal.

Unidentified images

There are five Tirthankara images are found which are not definitely identified
with name as their respective lanchanas are either missing or completely defaced.

Tirthankara image (DM-4): It is a standing image of Tirthankara (1.38 x 0.60 x

0.25m) over a lotus pedestal and flanked by bedecked chauri bearers. He is standing
in kayotsarga posture and has curly hair with an usnisa at the center. The halo is multi
circled behind his head and design with diamond shape and beaded boarder. Trilinear
umbrella with beaded boarder crowned by kevala tree is also noticed above his head.
Flying gandharvas with garland and elephant motif are found on the top of the slab at
the either side. A torana with makara-mukha as crowning element is shown behind
the Tirthankara image. The pilaster of the torana is carved with the seated figure of
astagrahas four on each side and two in each row. The image is completely defaced
only faint traces of all the above iconographical features are noticed.

Tirthankara image (DM-15): This is an upper part of Tirthankara image (17x12x

10cm) which only depicts elephants and the flying gandharvas with garlands.

Tirthankara image (DM-27): It is a headless Tirthankara image (32x24x10cm)

carved seated in dhyanamudra over a pedestal. The place below the pedestal depicted
a two armed Sasanadevi whose attributes are not clear and flanked by vigorous lions.
The right side chauri bearer of the Tirthankara is only in existence while other
features are missing due to damage.

120
Tirthankara image (DM-31): The upper part of the Tirthankara (34x33x10cm) only
found and the portion below the chest is missing. The circular halo behind his head is
replete with lotus leaf and beaded boarder and surmounted by chhatra and kevala tree.
Flying garland bearers and elephant motifs are found on the either side of the stone
slab at the top.

Tirthankara image (DM-55): It is a seated Tirthankara image carved in

dhyanamudra. A large halo is noticed behind the Tirthankara image which covers up
to the waist of the image is rarely found in any image. He has long earlobe and
jatabhara on the head which makes us believe that it is an image of Risabhanatha but
his lanchana bull is missing.

Ambika images

There are seven figures of Ambika preserved in the District Museum collected
from Bharava Singhpur. Ambika is either carved independently or along with Yaksha
Gomedha in a common slab.

Ambika

DM-5: Ambika is standing over a pedestal in tri-bhanga posture. She holds a baby in
her left lap and a bunch of mangoes in the right hand below which his second son
anxiously watching her for mango. She is lavishly decorated with necklace, girdle,
earrings, bangles, bracelets and her hairs arranged in plaits. Her lanchana lion is
shown in a vigorous posture near her left foot. The chauri bearers are shown on the
either side of the image at the bottom. A tree is shown laden with mangoes behind her
and her Tirthankara Neminatha is depicted over it. Neminatha is seated in
dhaynamudra over a pedestal and flanked by chauri bearers and flying garland bearer.

DM-21: Ambika carved standing over a lotus pedestal and holds a baby in her left lap
and a bunch of mangoes at her right hand. Two boys are shown plucking mangoes
from the bunch depicted on the right side of her feet while a lady figure shown
offering flower at the left. Her lanchana lion is also seen in a crouching posture at the
bottom. She is well decorated with ornaments like earring, necklace, bangles and
armlets. She is dressed with folded draperies which fall up to the knee portion of t he
Sasanadevi. A female figure with folded hands and the seated image of Yaksha
Gomedha keeping one hand in varada mudra in the left and right side respectively are

121
depicted at the waist level of the Sasanadevi. The halo behind her head is decorated
with lotus leaf and further surmounted by a tree laden with mangoes. Her Tirthankara
Neminatha is shown in dhyanamudra over the tree. He is flanked by flying garland
bearers.

Ambika with Gomedha

DM-7: This stone slab is a common representation of Yaksha Gomedha and Yakshi
Ambika (47x17x06cm) in a single stone slab in maharajaIilasana over a lotus
pedestal. But here vertically the Yaksha Gomedha part is missing. The remaining part
of the stone slab depicts Ambika in her usual sitting position in the left of the Yaksha.
She holds a baby in her left lap but the right hands attribute is not fully distinct. She is
decked with beaded headband, elongated karna-kundalas, beaded necklace etc. She
has a circular decorated halo with beaded boarder behind their head and a tree is
shown right to her. The usual representation of a child swinging in a tree is not found
at the center of the two images. Tirthankara Neminatha is carved seated in
dhyanamudra over a lotus pedestal just above the tree flanked by chauri bearers and
garland bearers. The frieze below the pedestal of Yakshi figures depicts a male figure
like a Yaksha in maharajalilasana in the center flanked by three seated female
devotee with folded hands on the left side while right part is missing.

DM-16: It is an upper part of the figure Ambika and Gomedha in a common stone
slab (14x18x8cm). Only the head portion of the Yaksha and Yakshi is noticed and a
boy is swinging on a tree in between them. The portion below their neck is missing.
Her Tirthankara is found in dhyanamudra, seated just above the tree. He is flanked by
flying gandharvas with garlands in their hands.

DM-20: The Yaksha Gomedha and Yakshi Ambika (32 x21x7cm) is shown in a
common stone slab in maharajaIilasana . The attributes of both the images are not
distinct due to badly damage but circular decorative halos are marked behind their
heads. As usual feature a child is swinging in a tree is not depicted in the center of the
two images. The Tirthankara Neminatha is shown seated in dhyanamudra and flanked
by garland bearers. The panel below the pedestal of Yaksha and Yakshi image depicts
a seated Tirthankara image in the center flanked by devotees with folded hands.

DM-22: The Yaksha Gomedha and Yakshi Ambika (30x20x10cm) is shown in a

common stone slab in maharajaIilasana. Neminatha, the Tirthankara of Ambika is

122
carved seated in dhyanamudra just above the tree and flanked by flying garland
bearers. The Yakshi Ambika holds a baby in her left hand while her right hand is
missing. The attributes of the Yaksha is also not clearly distinct due to partial damage
of the stone slab. The panel below the pedestal of them depicts again the Yaksha
figure in maharajalilasana in the center flanked by six seated female devotee with
folded hands, three on each side. The representation of a child is not found.

DM-23: The Yaksha Gomedha and Yakshi Ambika (21x14x04cm) is shown in a

common stone slab in maharajaIilasana over a lotus pedestal. But here Ambika is
shown right of the Yaksha Gomadha instead of her usual sitting position in the left of
the Yaksha. She holds a baby in her right lap and holds some indistinct object in the left
hand while Gomedha holds a conical object in the left hand and right hand rests over
the pedestal. Both are well decked with beaded headband, elongated karna-kundalas,
beaded necklace and armlets. Their halo is design like a full blown lotus flower with
beaded boarder behind their head and a tree is shown in between the two figures. The
usual representation of a child is absent here. Tirthankara Neminatha is carved seated in
dhyanamudra over a lotus pedestal just above the tree and flanked by four flying
garland bearers, two on each side. The frieze below the pedestal of the Yaksha and
Yakshi figures depicts a male figure like the Yaksha in maharajalilasana in the center
flanked by six seated female devotee with folded hands, three on each side.

Boriguma

Boriguma is situated in the midway between Jeypore and Navrangapur. Ruins

of a fort, brick structures, tanks and a modern tin roofed temple popularly known as
Bhairava temple are noticed on the outskirt of the village which appears to have been
belonged to an ancient Jaina temple160. One sculpture of Mahavira is affixed in one of
the outer niches of the Bhairava temple.

Mahavira: The Tirthankara (68x41cm) carved in sandstone is seated in dhyanamudra

(Pl.LXXXIIIA) over a pedestal cover up by cushion and loin cloth. He has a large
lotus shaped halo behind his head. He is flanked by chauri bearers on either side or
astagrahas are carved seated below his asana is a unique depiction. The sacred tree,
chhatra, flying gandharvas with garlands, divine musicians, and elephants are the
notable features of the Tirthankara. His Sasanadevi Sidhayika seated in dhyanamudra
holds a lotus in the right hand and left hand in varada mudra. She is flanked by

123
energetic lions on either side along with kneeling devotees in folded hands.

Fragment of top corner of the image depicting flying gandharvas with garlands
and small figure of Tirthankara seated in dhyanamudra flanked by chauri bearers is
installed in another niche161. A wheel as lanchana is noticed below the seat of the
Tirthankara image over the branches of a foliated tree. It seems to be a part of an
image of Ambika and Gomedha found in a common slab

Jaina Remains at Jamunda Village

Jamunda is located near Jeypore town. Several Jaina sculptures have been
reported from the village out of which seven images are displayed in the District
Museum, Jeypore, while six images (Pls.LXXXIIIB-LXXXIVB) are housed in
recently constructed sculpture shed near the village162. The descriptions about the
images kept in the sculpture shed at Jamunda are as follows:-

Risabhanatha: Risabhanatha being the mulanayaka is one of the amazing images in

Odishan Jaina art depicting twenty four Tirthankara in a common slab along with their
respective lanchanas .The twenty three Tirthankara images around him (eleven on each
side and one on lower side) are depicted of which except Neminatha and Parsvanatha
all are found seated in dhyanamudra. Bedecked chauri bearers are found flanking
Neminatha and Parsvanatha at the bottom. The mulanayaka Risabhanatha is carved
standing in kayotsarga posture over a lotus pedestal and below which two Sasanadevis
are represented, a rare feature in Jaina sculptures of Odisha. He is shown with heavenly
musicians and elephant on the top of the slab, chhatravali and lotus shaped halo over
the head. He has jata hair styles of which a few strands are fallen up to his shoulders.
His lanchana bull is also noticed in a diminutive size at the lotus pedestal.

The Sasanadevi is depicted below the Risabhanatha are Chakres vari and
Ambika. Chakresvari is seated in padmasana
holds disc and noose in upper hands and lower hands in varadamudras. On the Other
hand, the Sasanadevi Ambika is seated in lalitasana, her lanchana bull is shown below
her left leg. She holds a baby in her left lap, a bunch of mangoes in the right hand.

Chandra pra bha: The image of Chandraprabha is carved standing in kayotsarga

posture over a double petalled lotus pedestal. He is flanked by bejeweled chauri
bearers on both sides at the bottom. His lanchana crescent moon is carved below his

124
feet in the center of the lotus pedestal. The Yaksha and Yakshi of Ajitanatha i.e.
Mahayaksha and Ajitabala are depicted on either side of the lotus pedestal. The
Mahayaksha is seated in maharajalilasana keeping left hand over left thigh and right
hand holds an indistinct object. While the Yakshi is seated in padmasana holding a
lotus in the left hand and right hand in varada mudra. The image is broken on the top.
The remaining portion depicts the Tirthankara has long ear lobe, has a circular halo
decorated with lotus flower design with beaded boarder. A man is shown playing with
flute on the left side of the Tirthankara, above the chauri bearer.

Pa rsvanat ha: The image of Parsvanatha carved seated in dhyanamudra over the
coils of a snake visible over the lotus pedestal whose seven hoods are depicted over
the head of the Tirthankara. A chhatra flanked by branches of kevala tree, human
figure playing with conch and elephant motif are shown over his snake canopy. He is
displayed with a pair of garland bearer below the elephant motif and makara-mukha
near his shoulder. The image is flanked by chauri bearers, kneeling devotees with
folded hands at the bottom. The space below the pedestal replete with the four armed
Sasanadevi in the center. She is flanked by crouching lions and kneeling devotees
with folded hands.

M ahavira: The sculpture of Mahavira in dhyanamudra seated over a loin cloth

below which a couch is marked. His lanchana lion is shown at the hanging portion of
the loin cloth in a diminutive size. He is flanked by well decked chauri bearers on
either side. A multi circle halo with beaded and diamond shaped design is shown
behind his head. He has long ear lobe and curly hair. The halo is crowned by a well
decorated chhatra with a long shaft and surmounted by branches of kevala tree. A
pair of garland bearers and an elephant motif is shown on either side of the image.
Makara-mukhas are found on either side just above the shoulder of the Tirthankara.
The pedestal below the Tirthankaras seat is replete with astagrahas and a female
devotee at the upper panel and the four armed Sasanadevi flanked by lions is also
carved in the lower panel of the pedestal. She holds a noose and a sword on the
upper left and right hand respectively while the lower left hand holds a pitcher,
the lower right hand displays in varadamudra. The Yaksha of Mahavira is also
shown in maharajalilasana holding a sword in the right hand and an indistinct
object on the left hand placed on the extreme right corner of the stone slab at the
bottom. Opposite to it a devotee with folded hands is also noticed.

125
 Another image of Mahavira in dhyanamudra analogous to the above mentioned
image is found preserved with minor variations. His lanchana lion and the makara-
mukha are absent here. The halo is decorated with a full blossomed lotus flower with
beaded design. Astagrahas, Yaksha and Yakshi of Mahavira, kneeling devotee and
vigorous lions are depicted at the same place as described in the above mentioned image.

Chakres vari: S ma ll ima ge of Jaina Sasanadevi Chakresvar i with twelve (?)

armed is found seated in dhyanamudra. The image is badly defaced one. Some of her
attributes are identifiable viz., pitcher, goad, sword and one hand in varadamudra etc.

Jaina images of Jamunda at Jeypore District Museum

Seven images were collected from the surroundings of the village Jamunda
and displayed in the District Museum, Jeypore. Out of the seven images three are of
Risabhanatha, two of Parsvanatha, one of Mahavira and another one in not identified
properly163. The descriptions about these images are as follows-

Risabhanatha (DM-08): The Risabhanatha image (42x27x12cm) is carved seated in

dhyanamudra and surrounded by twenty three Tirthankaras in yogasana all around.
He has jata style hair and few strands of it fallen over his shoulder. The auspicious
mark trivali is shown on his neck. An elongated halo at the back of his head and
capped by a foliated umbrella. He is flanked by chauri bearers on the either side. His
Sasanadevi is shown at the pedestal below the row of Tirthankaras. Parsvanatha, the
23rd Tirthankara is depicted here with a three hooded snake canopy instead of his
usual seven canopy snake hood. The lanchanas of Tirthankaras surrounded by the
mulanayaka Risabhanatha are depicted in very diminutive size at their respective
pedestals which are clearly visible at the last row Tirthankaras except one being
damaged. The image is partially damaged at the face of the Risabhanatha and top left
corner of the stone slab.

Risabhanatha (DM-?): The image of Risabhanatha (56x32x10cm) is carved seated

in dhyanamudra over a lotus pedestal supported by two vigorous lions at the two ends
and a four armed Chakresvari image at the center. She is seated in padmasana along
with devotees. She holds disc in the upper two hands while lower hands attributes are
not distinct. The lanchana bull, chauri bearers, decorative circular halo, flying
garland bearer, kevala tree, elephants, sacred umbrella and divine musicians are all
visualized in the image.

126
Risabhanatha (DM-35): The image of Risabhanatha (48x30x09cm) is carved seated
in dhyanamudra over a couch and flanked by two bejeweled chauri bearers on either
side. He has jata-bhara over his head and few strands of it are fallen over his
shoulder. His elongated ear lobe and trivali mark at the neck is clearly envisaged. A
circular halo decorated with lotus leaf and beaded boarder is engraved behind his head
and it surmounted by a chhatra flanked by branches of kevala tree. The top corner of
the left side of the image is missing while on the left side makara-mukha, flying
garland bearer and an elephant motif is depicted one above the other. The space below
the pedestal is carved with a two armed Chakres vari image in the center flanked by
vigorous lions and further by the standing image of yaksha Gomukha on the extreme
right and two kneeling devotees with folded hands on the extreme left of the stone
slab at the bottom. The Sasanadevi seated in lalitasana but her attributes are not
clearly visible.

Parsvanatha (DM-11): A portion at the right side of the stone slab depicting the
image of Parsvanatha (60x32x15cm) is missing. The remaining portion displays the
Tirthankara seated in dhyanamudra over the snake coils, a snake hood canopy is
shown over his head. A bedecked chauri bearer, makara-mukha, flying garland bearer
and an elephant shown one above the other vertically at the left side of the image
while the right portion of the slab is missing. The base below the seat of the
Tirthankara is carved with the two armed Sasanadevi Padmavati at the center and
flanked by spirited lions. The Sasanadevi seated in dhyanamudra and has a seven
hooded snake canopy at her head. Her attributes in hands are indistinct.

Parsvanatha (DM-?): The image of Parsvanatha (32 x20x08cm) is carved standing in

kayotsarga posture over a plain pedestal. His conventional cognizance snake is shown
at his back with a seven hooded canopy over his head. Besides, chauri bearers, kevala
tree, chhatra, flying garland bearers and kneeling devotees with folded hands are also
represented in the figure. The face of the Tirthankara is partially damaged.

Mahavira (DM-26): The Tirthankara Mahavira (80 x38x14cm) carved seated in

dhyanamudra over a loin cloth is placed over a couch decorated with flower
motifs at the two ends. A small portion of couch with beaded boarder hanging in
front is depicted his conventional lanchana lion in a diminutive size. He is flanked
by bedecked chauri bearers, makara-mukha, flying garland bearers - male and

127
female and elephant motifs one above the other vertically from the leg portion of
the Tirthankara respectively on the both sides. The Tirthankara has curly hair, long
ear lobe and trivali mark is shown at the neck. A circular halo of lotus flower with
beaded boarder design is noticed at the back of his head. A decorated chhatra with
a thick shaft and crown by a male figure in folded hands with a beaded chain at the
neck is depicted over the chhatra which is a rare feature in Odishan Jaina art. The
panel below the Tirthankaras pedestal is carved with his Sasanadevi Sidhayika
seated in dhyanamudra in the center. She is flanked by spirited lions, her Yaksha
in maharajalilasana at the extreme right while a kneeling female devotee with
folded hands at the left are depicted. The Sasanadevis is four armed and she holds
a mace upper right hand and a mace/sword in the upper left hand, while her two
lower hands display varada mudra. A wheel is shown hanging just above the head
of the Sasanadevi below the diminutive lion figure.

Padmaprabha: cation as Padmaprabha (33x20x09cm) is

doubtful as no clear cut identification marks are there. The Tirthankara is carved
seated in dhyanamudra over a pedestal supported by spirited lions. His
Sasanadevi, a four armed figure is shown in padmasana in the center below the
pedestal. A human figure carved lying at the space where the conventional
lanchana is normally to be found is a rare occurrence. The other usual features of
the Tirthankara like circular halo, kevala tree, chauri bearers and flying garland
bearers are also envisaged .

Jaina Antiquities at Kamata

Two Jaina Tirthankara images i.e. is a bust part of a Tirthankara image

(Pl.LXXXIVC) and another one is a Risabhanatha image reported from Kamata,
164
which are now kept in the District Museum, Jeypore . The details of these
images are as follows:-

Tirthankara image (DM-29): The lower part of the sculpture below chest is missing
but the remaining parts i.e., the bust part (32x34 x08cm) depicted the usual
iconographical representation. The Tirthankara has curly hair, elongated ear lobe and
has trivali mark at his neck. He has a circular halo behind his head with lotus flower
design and beaded boarder. The trilinear umbrella is shown over the halo. The left
side of the Tirthankara image is depicted upper portion of a chauri bearer. The top

128
corner at the right side of the figure carved with garland bearers and an elephant motif
while the left portion is missing.

Risabhanatha (DM-40): The Tirthankara Risabhanatha (90x50x23cm) is carved

seated in dhyanamudra over a couch covered by a loin cloth and his lanchana bull is
depicted in a very small size at the hanging part of the loin cloth in front of his feet.
The astagrahas are depicted in a row below his seat. The space below his pedestal is
carved with a ten armed Chakresvari along with her lanchana Garuda in the center
flanked by vigorous lion on either side. Further end in the right Yaksha Gomukha is
depicted while in the extreme left kneeling devotees with folded hands are
represented. The Tirthankara is flanked by bejeweled chauri bearers on either side. He
has curly hair on his head and few strands are fallen over his shoulder. The elliptical
halo behind his head is decorated with flower and diamond shape design above which
the chhatravali is also noticed. A torana with makara-mukha, divine musicians,
garland bearers, devotees with folded hands, elephants are envisaged above the chauri
bearers on both sides of the Tirthankara.

Jaina images of Kotapat

Kotpat or Kotpada is a peaceful town which is located abo ut 40km north-west

of Jeypore, on N.H 43 towards Chhatishgarh165. Two Risabhanatha images were
brought from Kotapat, now preserved in the District Museum, Jeypore166.

Risabhanatha (DM-24): The image of Risabhanatha (75x40x18cm) is carved seated

in meditative posture. He is flanked by bejeweled chauri bearer on both side and his
lanchana bull is carved below his seat. The space below his pedestal is depicted with
an image of Chakresvari in the center flanked by vigorous lions. The Yaksha
Gomukha is found on the extreme right corner while devotees with folded hands are
depicted on the left corner. The Tirthankara has a decorated halo with lotus petals
encircled with beaded boarders. The chhatravali, kevala tree, flying garland bearers
are also envisaged here. The image is partially defaced.

Risabhanatha (DM-41): The Risabhanatha image (98x51x16cm) is seated in

yogasana over a pedestal below which his Sasanadevi, a four armed Chakres vari
flanked by spirited lions are noticed. The Yaksha Gomukha and devotees with folded
hands are depicted on the right and left corner of the stone slab at bottom respectively.
The Tirthankara is flanked by bedecked chauri bearers surmounted by flying garland

129
bearers and elephant motif on both sides. He has a decorated circular halo behind his
head crowned by a chhatravali and kevala tree.

Jaina images of Charmula

Two Jaina Tirthankara images Risabhanatha and Parsvanatha have been

reported from Charmula, which are no w kept in the Jeypore District Museum167. The
details of these images are as fallows-

Risabhanatha (DM-54): The Tirthankara Risabhanatha (90 x44x19cm) is carved

seated in padmasana over a plain pedestal. He is flanked by bejeweled chauri bearers.
He has also jata hair style and few strands hair are fallen over his shoulder. He has an
elliptical halo behind his head which is design with lotus petal and beaded boarders.
His usual lanchana bull is depicted in a very small size at the pedestal below which
astagrahas and Yaksha Gomukha are depicted. Yakshi Chakresvari mounted over her
lanchana Garuda is also depicted below the pedestal flanking vigorous lion motif on
her both sides. The kevala tree, trilinear umbrella, divine musicians, garland bearers
and heavenly figures mounted on elephants are all envisaged at the top portion of the
Tirthankara Image.

Parsvanatha (DM-1): The image of Parsvanatha (1.43x0.60x0.20m) is carved

standing kayotsarga posture over a lotus pedestal. A seven hooded snak e canopy is
shown over his head, while the coils of the snake are noticed behind him. He is
flanked by chauri bearers on both sides. The image is badly defaced but traces of
other features represented in the images are kevala tree, trilinear umbrella, flying
gandharvas with garlands in hands, elephant motifs are envisaged in their respective
position at the upper part of the stone slab (Pl.LXXXIVD).

Jaina Remains at Jeypore

Jeypore town being the official residence of Maharaja of Jeypore was rich in
archaeological vestiges. The recently made shrines of Brahmanical, Saiva and Sakta
pantheons found here are also contain sculptures of ancient, medieval periods,
collected from different sites of the state by the efforts of the ruling family168. The
shrines containing Jaina images are discussed below.

Maa Bhagavati Temple

The Bhagavati temple, located near the old residential palace is a modern

130
shrine built of masonry works in the early part of the 20 th century CE. The presiding
deity Bhagavati is no other than Jaina Sasanadevi Chakresvari (Pl.LXXXVA).

Chakresvari: The sixteen armed Sasanadevi Chakresvari169 is carved seated in

padmasana over a lotus pedestal supported by lions. Garuda, lanchana of the
Sasanadevi is carved below the pedestal and flanked by devotees and yaksha Gomukha.
Her attributes in the hands are sword, damaru, crescent moon, disc, conch, dagger,
rosary and varada mudra in the right hands and damaru (?), shield, mace, disc, trident,
noose, vajra and vessel in the left hands. She has a high bun at the top her head
bejeweled with elongated puspa-kundalas at the ears, thin to thick necklaces at the
neck, armlets, bangles, girdle and upavita etc. She has a decorated halo at the back of
her head. The inner circle part of the halo is bordered with champaka flowers while the
outer one bordered with beaded design. The upper part the slab is depicted with her
Tirthankara i.e., an image of Risabhanatha in dhyanamudra flanked by chauri bearers,
pairs of flying garland bearers, elephants, divine musicians, circular halo, kevala tree
and the trilinear umbrella at the top of the Sasanadevi. On the basis of iconographic and
stylistic representation it can be assigned to the circa 11th century CE.

Besides, a series of Jaina Tirthankara images are also affixed to the small
niches of the mandapa of the same temple and some of them are identified as
Mahavira, Santinatha, Ajitanatha etc. (Pls.LXXXVB-LXXXVD).

Mahavira: The Tirthankara is carved seated in dhyanamudra over a couch covered

with loin cloth. A portion of the loin cloth is hanging towards front and carved with a
tiny figure of lion (defaced) his usual lanchana. His Sasanadevi Sidhayika is found
seated in dhyanamudra over a lotus pedestal holding a lotus in the right hand and
varada mudra in the left hand. She is flanked by spirited lions and further by Yaksha
Gomedha in the right and a devotee with folded hands at the left corner of the slab at
the bottom. The Tirthankara is flanked by bejeweled chauri bearers, garland bearers,
elephant etc. one above the other vertically on both sides. He has a circular halo
decorated with lotus leaf and beaded design at the back of his head and surmounted
by trilinear umbrella, kevala tree etc.

Santinatha: The Tirthankara is carved standing in kayotsarga posture on a lotus

pedestal below which his lanchana deer is shown in a diminutive size. The lanchana
deer is flanked by Sasanadevi Mahamanasi in the left and Yaksha Garuda at the right.

131
The two armed Sasanadevi holds a lotus in the uplifted left hand while her right hand
is in varada mudra. The attributes of the Yaksha is not distinct. Devotees are also
seen at the end of the stone slab on both sides at the bottom. The Tirthankara is
flanked by bedecked chauri bearers, makara-mukhas, pair of garland bearers,
elephant motifs one above the other vertically on both sides. His twin circular halos at
the back of his head while the inner one are decorated with lotus leaf and beaded
design, the outer one is plain and completely devoid of any decorations. The halos are
surmounted by trilinear umbrella flanked by branches of kevala tree.

Ajitanatha: The Tirthankara is carved standing in kayotsarga posture over a pedestal

below which his lanchana elephant is carved in a very small dime nsion. The pedestal
below the Tirthankara is depicted in three offsets, the frontal one is carved with the
seated four armed Sasanadevi Ajitabala flanked by vigorous lions. The Sasanadevi
holds a noose in the upper right hand and a goad in the upper left hand while her
attribute of lower two hands are not clearly distinct. The right offset is carved with a
devotee sitting in folded hands while the left offset depicted with an image of two
armed seated Ganesa which is rarely found in Odishan Jaina art. The Tirthankara
Ajitanatha is flanked by bedecked chauri bearers on either side. A pair of
Tirthankaras in meditative poses is shown on either side of the Tirthankara whose
lanchanas are not distinct. Circular halo with lotus leaf and beaded boarder, trilinear
umbrella, kevala tree, flying chauri bearers and elephant motifs are found in their
respective positions on the Tirthankara image.

Tirthankara images: It is a pair of standing Tirthankara images in kayotsarga

posture on a common stone slab displaying oval haloes and trilinear umbrellas over
heads. Their respective lanchans are not visible here.

Purunagarh

Mahakali Temple: Mahakali temple or Durga temple is situated in Purunagarh (Old

Township) within the locality of Jeypore. An image of Risabhanatha in dhyanamudra
is kept in the porch of the temple170.

The Tirthankara (90x50x25cm) is carved seated in meditative pose over a

decorative pedestal supported by vigorous lions at the two corners 171. The Sasanadevi
Chakresvari mounted over her lanchana Garuda is depicted in between the two lions.
She displays disc in one hand and varada mudra in other hand. Yaksha Gomukha and

132
devotees are also carved at the bottom portion of the stone slab. The usual lanchana
of the Tirthankara bull is depicted in a smaller dimension just above the pedestal. The
long matted hair locks of his head are reaching up to the shoulder. The auspicious
srivatsa mark found in his chest which is rarely found in Odishan Jaina sculptures. A
two tier halo is marked around his head i.e. the inner part formed of lotus petals with
beaded boarder and the outer one lavishly decorated with diamond shaped medallions
intervening with champaka buds. The trilinear umbrella decorated with lotus petal
design and the knob of the shaft of the umbrella is designed in the shape of a temple
amlaka. The chauri bearers, torana with makara-mukha design, pair of garland
bearers, elephants and divine figures blowing conch are envisaged on either side of
the Tirthankara vertically one above the others.

Dange rde i Te mple : This temple is situated in Purunagarha locality and possessed
a fragmentary image of lower half of a Tirthankara image in dhyanamudra kept over
the platform of the temple, while the Sasanadevi is found below the pedestal flanked
by spirited lions. The astagrahas panel is also depicted in between the Tirthankara
and Sasanadevi172.

Nilakant hes var Te mple : It is also situated in the Purunagarha locality where a
small image of Ambika173 is fixed in the niche of the temple. Seated in lalitasana with
left leg pendant, she holds a bunch of mangoes in the right hand and a baby in the left
lap. Another boy is shown plucking mangoes from the bunch carried by the
Sasanadevi. She has a lotus shaped circular halo carved around the head and flanked
by divine musicians and garland bearers on either side at the top.

Besides, three Jaina images viz., two images of Mahavira and one image of
Ambika have been collected from Jeypore palace for the Odisha State Museum in the
past174.

District Museum, Jeypore

The museum has special significant because of its rich collection of Jaina
sculptures brought from different parts of the district viz., Bhiarava Singhpur,
Jamunda, Kamta, Kotpad, Charmula.

The Tirthankara images displayed in museum are of Risabhanatha, Parsvanatha,

Mahavira and the other Tirthankaras. Independent image of Yakshi Ambika and joint

133
images of Ambika and Gomedha Yaksha are also displayed there. Fragment of a pillar
of a Jaina temple is also note worthy in the museum. At present there are thirty four
Jaina sculptures and sculptural pieces are preserved in the museum.

Nandapur

Nandapur is about 45km from Koraput. It was once the capital of Silavamsi
rulers. An image of Padmavati, Sasanadevi of Parsvanatha is reported from this
village now kept in the Sarbeswara temple175. Independent image of Padmavati is
rarely found in Odishan Jaina art.

Padmavati: She is carved seated in lalitasana over a lotus pedestal below which her
conventional lanchana elephant is depicted. She has a five hooded snake canopy and
her Tirthankara Parsvanatha depicted over it in dhyanamudra with a seven hooded
snake canopy over his head. She is four armed and one arm is missing. The attributes
kept in the rest of the hands are a branch of tree, varadamudra and a parsu. She is
lavishly decorated with ear rings, necklace, girdle, armlets, anklets, and bangles.

Thus, Koraput district is replenished with a large number of Jaina antiquities

which requires proper attention by the Government and local public. Again, the
district needs to be throughly explored to bring to lime light more antiquities of
Jainism hitherto hidden underneath.

3.12 MAYURBHANJ DISTRICT

the district in the northern Odisha

presents a panorama of many millennia in the human history and is also known for
its vibrant culture, beautiful temples, archaeological sites and remains. This
district was the leading princely state of Odisha in the pre- independence days,
courageously encountered the weave and turns of history under the peacock
emblem Bhanjas that continued to flourish for many centuries as an independent
sub-regional kingdom, enriching Odishan history and culture in the tribal
dominated region. It gets its name from the continuous reign of two ancient
kingdoms for over a thousand years
it merged with the state of Odisha on January 1, 1949. The district lies between
21o and 22o north latitude and 85o and 87o east longitude as the northern boundary
of the state. It has a geographical area of 10418sq.km (or 10418 lakh hectares),

134
which is the 6.69% of the total geographical area of the State. The percentage of
plain land is comparatively lower than the highland and hills. The distr ict is
bounded on the north by West Bengal and Jharkhand, on the west by Keonjhar
district and on the east by Balasore district of Odisha.

Mayurbhanj has nine major perennial rivers namely Budhabalanga, Deo,

Sunei, Gangahar, Jambhira, Kharjhai, Khairibhada n, Bankabal, Katara and their
tributaries, which originate mainly from Similipal hills. The Budhabalanga is the
main river which rises from the Similipal hills and flows about 90km through the
Katra, Palpala and Chipat hill streams are its important tributaries. The river
Baitarini divides the districts of Mayurbhanj and Keonjhar.

Mayurbhanj and its adjacent districts of Odisha, Singhbhum, Manbhum and

Sareikela districts of Jharkhand and Medinapore of West Bengal are extremely
rich in Jaina antiquities. The Jaina Tirthankara found in Mayurbhanj district
belongs to the medieval period. No early specimen of Jaina antiquities has been
discovered. Significantly, the Bhanjas ruling over this territory and Keonjhar
region were Jaina by faith in early phase of their rules. The Jaina relics of
Mayurbhanj are found in the places like Badasahi, Ranibandh, Koisali,
Khuntapala, Baripada and Khiching176.

Badasahi

The village Badasahi is located on the left side of Baripada Udala Road and is
approached by a motorable road, branching at a distance of 12km from Dukura
chowk. It preserves a number of Jaina relics near the Mangala shrine in one corner of
the Bodhi pokhari (pond) 177. Three isolated images are kept under a banyan tree and
one of them is a Jaina chaumukha (50x17cm) depicting four Tirthankara images on
its cardinal niches (18x09x15cm) viz., figures of Risabhanatha, Ajitanatha,
Chandraprabha and Chandrasena
the chief deity of the village (Pl.LXXXVIA) Udaparva Chadaka
Puja
178
Baisakha The Tirthankara images are carved in kayotsarga posture over lotus
pedestal along with their respective lanchanas and chauri bearers. The chaumukha is
designed in the shape of miniature pidha temple i.e. having square base with
pyramidal roof crowned by amlakasila.

135
 The other Jaina relics are four armed image of Ambika as identified by R.P.
Mohapatra is originally an image of four armed Parvati and the fragment containing
the diminutive Tirthankara images reported by him is now missing at the place.

Koisali

The village Koisali is located on the close vicinity of Badasahi. One villager
namely Kailash Chandra Jena having a chlorite image of Parsvanatha (1.35mx0.70m)
in his residence complex, kept under a hinjala tree. A slab containing two small
Ganadharas figures in kayotsarga pose is also kept near the Parsvanatha image. The
images are collected from a paddy field 100m away from the site. The site is locally
known as Kshetrapala. N.N.Vasu179 traced the foundations of ancient Jaina shrine
having the sanctum and its porch at the site.

Barudi

The village Barudi is located about 1km away from Badasahi represents a
figure of Ambika (30x16cm) which is worshipped as Kutasuni Thakurani under a
banyan tree amidst paddy field180 . A large number terracotta figurine of horses and
elephants lie scattered at this place.

Ranibandha

An image of Mahavira is found under worship at a place called Ranibandha,

4.8km from Badasahi. National Museum, New Delhi has acquired a beautiful
Tirthankara image assignable to 10th/11th centuries CE from this area181 .

Jagannatha Temple, Baripada

The Jagannatha temple otherwise known as Haribaladeva Mahaprabhu temple

is located on the right side of Bada Bazar Road and 500m south-east of M.P.C.
College at Baripada. It has a rekha vimana and pidha jagamohana of Kalingan order.
The jagamohana is further followed by a pidha ardhamandapa and a flat mandapa.
All the components are standing over a common high pedestal within a large
compound wall. This temple was built by Vidhyanath Bhanja in saka 1497 i.e. 1575
CE182.

A few Jaina Tirthankara images viz., two Parsvanatha images worshipped as

Ananta/Narayana and one Risabhanatha image in the Jagannatha temple are found
(Pls.LXXXVIB-LXXXVID).

136
Risabhanatha: The image of Risabhanatha (50x26cm) is attached on the inner wall
of the jagamohana. He is standing in kayotsarga posture over a lotus pedestal and
below which his lanchana bull and a kneeling devotee with folded hands is found. He
is surrounded by twenty three Tirthankaras in kayotsarga posture along with their
respective lanchanas and flanked by chauri bearers. The Tirthankara has jata
hairstyle but his usual halo behind the head is absent here for the first time. Two
beaded chains are hanged on either side of the head of the Tirthankara forming a
rectangular shape and crowned with a trilinear umbrella. The stone slab has an apsidal
end at the top and depicted flying garland bearers and cymbals and drums played with
invisible hands on the either corner at the top.

Parsvanatha: An image of Parsvanatha (40x22cm) is also attached at the inner wall

of the jagamohana and worshipped as Basudeva i.e. Lord Visnu. He is standing in
kayotsarga posture over a lotus pedestal. He has a seven hooded snake canopy over
his head and their coils are shown behind his body. The trilinear umbrella flanked by
branches of kevala tree is noticed above the serpent hood. Two naga-nagi figures with
folded hands are also shown below the pedestal. The Tirthankara is flanked with
bedecked chauri bearers and above them are seated figures of astagrahas, four on
each side. Three of the graha figures are missing on the left side of the Tirthankara
whose traces are only noticed.

Parsvanatha: An image of Parsvanatha carved out of chlorite stone found in a small

pidha temple at the left side of the main entrance to the temple complex is worshipped
as Ananta. He is carved seated in dhyanamudra over a plain pedestal. He has
elongated ear- lobe and curly hair over which a twelve hooded snake canopy is noticed
which is rarely found in Odisha. The Tirthankara has also a srivatsa mark on his
chest.

Baripada Museum

Baripada Museum, the first museum in Odisha was established in 1903 by the
late Maharaja Shri Rama Chandra Bhanja of Mayurbhanj. Earlier it was housed in the
Jubilee library of Baripada town. The museum displays artifacts of prehistoric time to
documents of historical period. Among the archaeological findings three Jaina relics
are displayed here. One of them is an Ambika, a chaumukha and other is an image of
Risabhanatha.

137
Ambika (Sl.No.43): The image of Ambika (10x7.5x2.5cm) is carved on a small piece
of chlorite stone. Its find spot is Kuamara in Kaptipada Sub-division and brought to
the collection of the museum in the year 1924 as inscribed in the caption. The left
upper corner of the stone slab is missing. Ambika is carved seated in lalitasana with
right leg pendant. She holds a baby in her left lap and a bunch of mangoes in her right
hand. Her second son is depicted on the right of the Sasanadevi. She has high bun
hairstyle at the top of her head and decked with karna-kundalas, necklace, armlets
and valayas. A circular halo is seen behind her head and above which branches of
kevala tree. Above the head of the Sasanadevi, her Tirthankara Neminatha is carved
seated in dhyanamudra and other features on the upper slab are defaced and missing

Risabhanatha (Sl.No.32): The Risabhanatha image (25x10x04cm) is carved standing

in kayotsargamudra over a lotus pedestal below which his lanchana bull is also
depicted (Pl.LXXXVIIA). Besides, kneeling devotees with folded hands, heaps of
offerings in diminutive size are depicted at the pedestal. The Tirthankara is
surrounded by twenty three Tirthankara figures along with their respective lanchanas,
twenty Tirthankara figures on it vertical side and three Tirthankara figures at the
pedestal. His hair is arranged in jata and few strands of it have fallen over his
shoulders. Perforated jali design is seen behind his leg at the lower portion while a
decorative torana with makara mukha ends is seen behind his body. A circular halo
with beaded boarder and lotus leaf design is found behind his head just above the
decorative torana. The halo is crowned by a defaced trilinear umbrella flanked by
drums and cymbals played by heavenly hands and full blown lotus flower at the
extreme corner of the stone slab on the top.

Chaumukha (Sl.No.33): The chaumukha was recovered from Badasahi in 1924 CE

and brought from the collection of one Mr. K.P Bose. The chaumukha contains the
figure of Risabhanatha, Santinatha, Chandraprabha and Mahavira on the four cardinal
directions183. Instead of Santinatha there is an image of Parsvanatha in the chaumukha.
The Tirthankaras are depicted in kayotsargamudra over lotus pedestals and their
respective lanchanas are also depicted in their pedestals. The chaumukha as a whole
is a rectangular chlorite stone block (30x10cm) with an apsidal long knob (8x5cm) at
the base (Pl.LXXXVIIB). Thus, it can be presumed that the chaumukha may insert
over another platform/object.

138
 In additional to these, nine copper Jaina icons are also preserved in the
museum. They were recovered in a hoard from village Kuntapala in 1935 CE. Among
these sculptures, three each of Parsvanatha and of Risabhanatha, two are of Ambika
and one is unidentified184. All are casted in standing position and their measurement
varies from 12 to 15cm x 4.5 to 6cm in height and length respectively

Khiching Museum, Khiching

The name Khiching is a corruption of Khijjinga or Khijjinga-kota, the capital

of the early Bhaja rulers. The small town is situated within 25km from the sub-
divisional headquarters town of Karanjia and 150km from Baripada. It is the abode of
Maa Kichakeswari Devi. The Khiching museum, the second oldest museum in the
state of Odisha is another attraction of the site. As the erstwhile rulers of the districts
were fond of archaeology and documented the rich historical tradition of the region,
the Khiching museum was established under the Mayurbhanj State Archaeology in
1922 CE. The museums of Baripada and Khiching, in fact, laid the foundation stone
for the archaeological documentation for the first time in Odisha, which was then
under the British rule. The museum located in the temple compound contains a large
number of life-size images different religious faiths viz., Durga, Ganesa, Parsvanatha,
Tara, Parvati, Ardhanarieswar, Vaishnavi, Nandi, Kartikeya, Avalokiteswar, Dhyani
Buddha, Mahishasuramardini, Uma-Maheswara and female devotees. In addition, it
has copper and iron implements, terracotta figurines, seals, ornaments, potteries,
185
coins, stone tools and various fragments of the temples.

A large numbers of Tirthankara images viz., Risabhanatha, Santinatha,

Parsvanatha, and few other Tirthankara images having no cognizance are pr eserved in
the Khiching Branch Museum (Pls.LXXXVIIC-LXXXVIID). Unfortunately, the
museum has no record of their find spots.

Risabhanatha (Sl.No.56): The Tirthankara Risabhanatha (76x37cm) carved in

kayotsarga posture over a double petalled lotus pedestal below which his lanchana
bull is depicted. He has jata hair styles and has a plain elliptical halo behind his head.
The Tirthankara is flanked by bejeweled chauri bearers at the bottom and flying
garland bearers, cymbals and drums played with heavenly hands are at the top. Four
Tirthankara images, two on each side of the Tirthankara in kayotsarga posture over
lotus pedestal.

139
Risabhanatha (Sl.No.55): The Tirthankara (79x37cm) is standing in kayotsarga
mudra over a lotus pedestal. A defaced figure of bull, his usual lanchana is shown
below his pedestal. He has jata hair band and few of which are fallen over his
shoulder. He is flanked by chauri bearer at the bottom. There are indistinct evidences
of trilinear umbrella and musical instrument played by divine hands. Thus, the figure
seems to be left unfinished.

Risabhanatha (Sl.No.93): The Tirthankara image of Risabhanatha/Adinatha

(75x44cm), the first Jaina Tirthankara is carved seated in dhyanamudra over a plain
pedestal supported by vigorous lions at the corner and a dharmachakra as his
lanchana is found in between the lions below the pedestal. The chauri bearer in the
right is found in the conventional pose while the left side one is missing. He has
elongated ear- lobes and curly hair on head with an usnisa at the top. An elliptical halo
is seen behind his head while the remaining portion of the stone slab is missing.

Risabhanatha (Sl.No.155): The Risabhanatha image (52x27cm) is carved in

kayotsarga posture over a double petalled lotus pedestal. The image is damaged into
two parts but depicted the usual features depicted in a Risabhanatha image i.e. bull as
lanchana, chauri bearers, musical instruments played with heavenly hands, trilinear
umbrella, garland bearers etc.

Risabhanatha (Sl.No.176): This image is collected from the village Begunia Bindha,
a place adjacent to Khiching. The Tirthankara (73x37cm) is carved seated in
dhyanamudra over a lotus pedestal supported by spirited lions. Besides the usual
features, the representation of a kirtimukha on the top of the umbrella is a rare feature
in the Jaina art of Odisha.

Santinatha (Sl.No.57): The stone slab depicted the Tirthankara Santinatha

(82x41cm) which is badly defaced at the pedestal, faces of the chauri bearers and the
Tirthankara. It is also broken into two pieces at the upper left corner. Santinatha is
carved in kayotsarga posture over a lotus pedestal below which a badly defaced figure
of deer is represented. He is flanked by bejeweled chauri bearers standing in cross
legged position on either side. Four Tirthankaras, two on each side carved in
kayotsarga posture over lotus pedestals are found vertically one above the other. A
torana with floral design in triangular shape at the top on either end is noticed at the
back of the Tirthankara image. An elliptical halo with beaded chain and lotus leaf

140
design is found behind his head. A trilinear umbrella caped with branches of kevala
tree and flanked by drums and cymbals played with heavenly hands and garland
bearers are found in their conventional position at the top portion of the stone slab.

Parsvanatha (Sl.No.54): The Tirthankara (88x42cm) is standing in kayotsarga

posture over a double petalled lotus pedestal below which naga-nagi figures are also
depicted. The Tirthankara is flanked by six Tirthankaras of diminutive sizes standing
in kayotsarga posture, three on each side. His usual attendants are absent here. His
conventional lanchana, the seven hooded snake canopy is depicted behind his head.
Besides, the chhatravali, branches of kevala tree, cymbals and drums played with
heavenly hands are engraved in their respective positions.

Bust of a Tirthankara (Sl.No.180): A bust part of a Tirthankara image is found

along with two other Tirthankara figures, flying garland bearer, circular halo,
chhatravali in a stone slab with much damaged conditions. It is now kept in the
museum store room186.

Bengal District Gazetteer187 mentions about some Jaina images in the village
Benusagar located on the boundary of Singhbhum and Mayurbhanj.

3.13 NAYAG ARH DISTRICT

An administrative unit of Odisha, Nayagarh District was created in 1995 from

the erstwhile Puri District. The district lies between 190 50' and 200 35' north latitude
and 840 29' and 850 30' east longitude. The district is bounded by Cuttack district on
the north, Kandhamal district on the west, Ganjam district on the South and Khordha
district on its east. During the 13th century CE Nayagarh played an important role in
the political history of Odisha. King Suryamani of Baghela dynasty came to Puri on a
pilgrimage from Madhya Pradesh and established his kingdom at Nayagarh. The
district consists of the four Garjat states of ex-states Ranpur, Nayagarh, Khandapara
and Daspalla188. Besides a large number of Brahmanical and Saivite monument, the
Ranapur and Nayagarh areas witness the traces of Jaina antiquities.

Svapnesvara Mahadeva Temple, Ranpur

The temple is located on the right side of Ranpur-Jankia Road and about half a
kilometer east of Ranpur town. The temple consists of rekha vimana, pidha
jagamohana and a bhogamandapa of impoverished Kalingan order. Besides

141
architectural fragments, images of Jagannatha, Ganesa, Bhairava, two numbers of
Risabhanatha images189 are also found in the temple complex (Pls.LXXXVIIIA-
LXXXVIIIC).

Risabhanatha: The Tirthankara represented in kayotsarga posture over a double

petalled lotus pedestal below which his lanchana bull is carved. He is flanked by
chauri bearers at the bottom and flying vidyadharas and musical instrument played in
the hands of invisible gandharvas at the top. He has usual curly knots and few strands
of which are fallen over his shoulder. The auspicious trivali mark at the neck,
elongated earlobe, ornate torana surmounted by a circular decorated halo at his back
and chhatravali capped by branches of kevala tree are the other features depicted on
the image. Besides, astagrahas (four on each side), champaka flowers and full blown
lotus flowers are represented on either sides of the Tirthankara.

The other Risabhanatha image in the temple complex is less decorated than the
former. He stands in kayotsarga posture over a double petalled lotus pedestal below
which his lanchana bull is carved. He is flanked by chauri bearers at the bottom and
flying vidyadharas at the top. He has a plain circular prabhavali at the back of his
head. Twenty four Tirthankaras (twelve on each side) in diminutive size are depicted
on either side of the mulanayaka Risabhanatha. The image is damaged at the upper
portion of the stone slab.

Kaunri Devi Temple, Gobindpur

The temple in the Gobindpur village is located on the side of Nayagarh-

Khandapada Road, 6 km east of Nayagarh town. This is a newly built temple of 19 th
century CE, has a rekha vimana of impoverished Kalingan order fronted by a RCC
mandapa. Besides, the presiding deity, an eight-armed Durga locally known as
Kmakshi thakurani or Kaunri Devi, images Visnu, Parvati and an image of Ambika
with Gomedha190 are also found in the temple.

Ambika with Gome dha: Ambika along with Yaksha Gomedha (Pl.LXXXVIIID)
are seated over a lotus pedestal. Both are seated in rajalilasana posture and below
their pedestal seven kneeling devotees are depicted. A tree studded with flowers and a
fruit depicted behind them and in the center a child is swinging a swing. Neminatha,
the twenty-second Tirthankara appears in dhyanamudra and flanked by chauri bearers
and garland bearers at the top.

142
 Besides, seven more Jaina images (Pls.LXXXIXA-LXXXIXD) including the
images of Risabhanatha (03nos), Parsvanatha (1no.), Ajitanatha (1no.) and
fragmentary Jaina Tirthankara (2no.) images are reported recently by one Mr.
Behera191 from Ranpur area.

3.14 PURI DISTRICT

Puri, the abode of Visnu, popularly known for Lord Jagannatha temple, is a
coastal district on the eastern part of Odisha. This district derives its name from the
Puri, one of the four pilgrimage centers of India other being are Dwaraka pitha,
Badrinatha and Ramesvaram. in Sanskrit means town or
city and is cognate with polis in Greek. Purusottama name was applied to this town
from the drama Anargharaghava Natakam attributed to circa 9th century CE. In the
Nagari Plate of Anangabhima III of the saka year 1151-52, i.e., 1229-30 CE, the place
is called Purusottama Kshetra. The Mughals, the Marathas as well as the early British
rulers in their official records, used this name in the form of Purusottama Chhatar or
only in the form Chhatar. Even in Yoginitantra and Kalikapurana, the city is referred
to as Purusottam192.

Puri is considered as the cultural capital of Odisha. The cultural heritage of

this district dates back to 3rd century BCE. The architectural grandeur of this district is
most prominently visible in its temples viz., Jagannatha temple, Sun temple, Mangala
temple and Sakhigopal temple etc. These architectural marvels draw people from all
over the world for their cultural appeal. Puri district is well known for its stone
sculptures, palm-leaf paintings, patta paintings, tassar paintings etc193. People of
different religions, sects and faith live here in complete harmony.

Being a sacred seat of Vaishnavism from the remote past, other religious cults
have left their footprints in the district not in a very great extent. A very few Jaina
sculptures are noticed in the district. They are mostly attached in Brahmanical or
Saivite temples.

Santinatha image at Amrutesvara Temple, Tala Beguniapada

The temple is located on the left bank of the river Daya at the outsk irt of the
village Tala Beguniapada. It is situated on the right side of the road leading from
Khordha to Pattanayikia and is about 16km from Khordha. It is a renovated temple

143
but has a rekha vimana and pidha jagamohana of Kalingan order. It preserves a good
number of detached Saivite sculptures. A fragmented Jaina Tirthankara image of
Santinatha194 is also noticed.

The Tirthankara Santinatha (55x43x16cm) carved standing in kayotsarga

posture over a double petalled lotus pedestal but his head is missing (Pl.XCA). Out of
astagrahas five grahas are only traceable on either side of the Tirthankara image. The
chauri bearer with fly- whisk stands in tribhanga posture on either side of the
Tirthankara at the bottom. Below the pedestal a two armed Sasanadevi Mahamanasi
seated in dhyanamudra over a lotus flower. She holds a lotus in the left hand and right
hand is in bhumisparsamudra. Two elephants are depicted pouring water with
pitchers over her head. A diminutive figure of deer in the right and a conch in the left
side of the deity are shown placed over lotus flower. In the extreme right a kneeling
devotee is seen with folded hands.

Jaina Sculptures at Achutrajpur

The digging of foundation for the Godavarisha Vidyapitha in 1963 revealed a

hoard of Buddhist and Jaina sculptures which include bronze as well as stone idols. It
includes ten bronze images of Tirthankaras and Sasanadevi and one small chlorite
image of Rishabanatha195. The images can be assignable to a period between 8th and
11th centuries CE. The bronze images are now preserved in the Odisha State
Museum196 while the lone image of Risabhanatha is attached in the wall of Dakshya-
Prajapati temple of Banapur. The bronze idols are discussed below:

Risabhanatha: He is carved seated in yogasana over a lotus pedestal. His lanchana

bull is carved at the pedestal. His usual hairstyle jatamukuta, an oval halo and
chhatravali with gradual diminishing chhatras capped by a conical finial are also
noticed.

Chandraprabha: He carved in yogamudra over a lotus pedestal and a crescent moon

as his lanchana depicted at the central part of the pedestal at the front. His hair
gathered on the crown in a conical form. The oval halo behind his head is engraved by
a beaded boarder edged by tongues of flames at long intervals.

144
Chandraprabha: The Tirthankara stands in kayotsarga posture over a lotus seat and
that is kept over a hollow square base pedestal. His cognizance the crescent moon is
depicted on the front side of the pedestal within a full blown lotus flower.

Vasupujya: He depicted along with a yakshya and yakshi over an oblong hallow
pedestal with a khura shaped moulding at the base. The base part is carved with seven
devotees in yogasana posture. The yaksha and yakshi are shown in maharajlilasana
while above them the Tirthankara is seen in dhyanamudra. The animal below the legs
of Tirthankara appears to be a buffalo. Both the yaksha and yakshi are decked with
rich ornaments viz., girdle, anklets, bangles, armlets, ear-studs and crowns etc. at the
backdrop of them a child seems to have been swinging. A beaded arch edged by leaf
shaped flames or branches capped by a small finial at the backside of the deities are
also noticed. Two other images also found in this hoard are appeared to be the icons
of Budhha in dhyanamudra.

Ambika: She is carved in lalitasana over a lotus pedestal and her lanchana lion is
carved at the central part of the pedestal on the front. She is elegantly decked with
anklets, bracelets, bangles, necklaces, ear-studs and a crown. She carries a baby in her
left lap and a bunch of mangoes in the right hand. Her second son is depicted at the
right to her holding a mango in his hand. Mango twigs laden with fruits are also
depicted behind the Sasanadevi. The oval halo behind her head is decorated with a
beaded boarder edged by leaf shaped flames. Diminishing chhatra with conical top is
also noticed behind her head.

Ambika with Neminatha: Bearing almost an analogous treatment in depiction as

discussed above, the Sasanadevi seated over a lotus supported by a khura base
pedestal. Her Tirthankara is shown above the tree studded with mangoes in dhyana
mudra. The halos of both the figures are separated but having similar representation
i.e. oval halo with tongues of flames at the edge.

Ambika with Neminatha: The Sasanadevi is carved seated in lalitasana on a lotus

placed over a footed oblong pedestal with a molded base and a high recessed middle
part. Her cognizance, lion is carved at the recessed portion of front part of pedestal.
She holds a child in the left lap and a mango in the right hand. His second son is
depicted in maharajalilasana at her right. The Tirthankara is depicted above the

145
Sasanadevi in dhyanamudra posture. They have a common halo representing the
shape of trefoil at the upper part.

Ambika with Neminatha: She is carved in maharajalilasana posture over a lotus

pedestal and her lanchana lion carved at the central part of the pedestal on the front.
She is elegantly bedecked with various ornaments. She carries a baby in her left lap
and a bunch of mangoes in the right hand. Her second son is depicted right to her and
holds a mango in his hand. Mango twigs laden with fruits are also depicted behind the
Sasanadevi. Except for the rod like outline of two mouldings the halo is open. The
seated figure of Neminatha is depicted within the stylized chhatravali.

Jaina Sculptures at Balunkesvara Temple, Barala

The temple is located at the middle of the village Barala of Sakhigopala tehsil.
It can be approached by a motarable road from Pattanayikia chowk on Bhubaneswar-
Puri Road (State Highway No.206) and is about 3km east of the highway. This is a
living temple, enshrining a patalaphuta siva-lingam within a circular yonipitha and
has a rekha vimana, pidha jagamohana and natamandapa of impecunious Kalingan
order197. Originally the Bhois of Khordha built the temple, but now it is under the care
of Endowment Department, Government of Odisha. Besides, some Vaisnavite and
Jaina images (Pls.XCB-XCIB) are also found.

Risabhanatha: Three images of Risabhanatha are preserved in separate small pidha

temples attached to the inner wall of the temple compound. All the Tirthankara
images are quite analogous in representation except the depiction of pedestal. They
are carved standing in kayotsarga postures over double petalled lotus pedestals.
Astagrahas, four on each side, flying garland bearer and cymbals/drums played with
hands are depicted vertically one above the other on either side of the Tirthankaras.
They have jatabhara hairstyle usually found in Odishan context and have also oval
halo behind their heads surmounted with chhatravalis. In case of the first Tirthankara
image, the lanchana bull is carved at the center of pedestal and a foliated creeper
flank on either side of the bull where as in the second image the lanchana bull is
flanked by kneeling devotees with folded hands. The pedestal part of the third image
is partially buried but shows kneeling devotee as well as flower buds. Full blown lotus
also depicted on either side of the Tirthankara image.

146
Ambika: A small image of Ambika is found attached on the inner wall of the
jagamohana of the main temple. She is carved seated in lalitasana over a double
petalled lotus pedestal and holds a baby in her left lap and a mango twig in the right
hand. The image is partially defaced. The branches of a tree are clearly depicted
behinds the head of the Sasanadevi and kneeling devotees with folded hand at the
pedestal.

Jaina Tirthankara image at Lord Jagannatha Temple, Puri

An image of Jaina Tirthankara (Pl.XCIC) is noticed in a small niche at the

entrance (Beharanadwara) of the left wall of jagamohana of Lord Jagannatha
temple198. He is carved standing in kayotsarga posture over a double petalled lotus
pedestal whose lanchana is covered with the plasters. Chauri bearers bedecked
lavishly ornaments stands in tribhanga posture in front of miniature pidha temple on
the either side of the Tirthankara at the bottom. The Tirthankara has curly hairs with
an usnisa at the top. A torana decorated with flower and diamond motif is noticed
behind the Tirthankara. A circular prabhavali edged with lotus flower design noticed
behind his head and a trilinear chhatravali over the head. Flying vidyadharas with
garland in hand and drums/cymbals played with divine hands are shown on either side
of the Tirthankara at the top. Champaka flowers are also noticed on either side of the
halo. The image is carved out of a chlorite stone.

Risabhanatha image at the Gramadevati Shrine, Ramachandrapur

A panchatirthi image depicting Risabhanatha as the mulanayaka is

worshipped in the gramadevati shrine which is located on the outskirt of the village
Sri Ramachandrapur199. He is carved in kayotsarga posture over a double petalled
lotus pedestal along with all the pratiharyas including the lanchana as bull. The other
four Tirthankaras flanked by their respective chauri bearers and lanchanas are
depicted on the either side of the Risabhanatha. Parsvanatha and Ajitanatha are
depicted on the right while Santinatha and Mahavira on the left side of the
mulanayaka.

Jaina Metal images from Kakatpur

Several Jaina metal images reported from Kakatpur of which some have been
acquired by the Indian Museum, Kolkata and few by Ashutosh Museum of Indian Art.

147
Besides, two of them are found in Odisha State Museum, Bhubaneswar and one is still
available in the residence of late Narayana Tripathy of village Tulasipur near
Chaurashi contains one line inscription200.

Ashutosh Museum, Chandraprabha

The Tirthankara stands in kayotsarga posture on a lotus supported by a square

pedestal which bears his lanchana the crescent moon201 . Hairs of the head of the
Tirthankara are arranged in curled knots with usnisa at the centre. The image is
partially defaced.

Odisha State Museum, Bhubaneswar

Two Tirthankara images collected from Kakatpur and now preserved in

Odisha State Museum which are discussed below-

Risabhanatha: He is carved standing in kayotsarga posture on a double petalled lotus

supported by a square pedestal legs. In front of the square pedestal is lying a bull, the
cognizance of the Tirthankara. Hair of the head of the Tirthankara is arranged in
matted locks, a few rolls of which are seen falling on both the shoulders. Trivali is
prominently noticed on the neck. It bears an inscription recording that it was the gift
of one Sri Kara202.

Parsvanatha: He is carved seated in dhyana mudra over a double petalled lotus

pedestal. A canopy of seven hooded snake is noticed over his head. Another small
snake as the mark of cognizance is carved in front of the pedestal. Elongated ears,
matted locks with usnisa at the centre and trivali mark at the neck are the other
features of the Tirthankara image.

Jaina image in the District Museum, Puri

The Tirthankara stands in kayotsarga posture over a lotus pedestal and flanked
by chauri bearers at the bottom (Pl.XCID). A beautiful arched torana depicted behind
the Tirthankara and its two ends are decorated with makara-mukhas. Vidalas
disgorging pearls from their mouth are also depicted on either side of the Tirthankara.
Flying vidyadharas, trilinear chhatravali, cymbals and drums played with invisible
hands of gandharvas are also envisaged in their respective positions. The place below
the lotus pedestal is damaged and beyond description.

148
3.15 RAYAG ADA DISTRICT

Rayagada district is located between 190 0' and 190 58' north latitude and 820 5'
and 840 2' east longitude in the southern part of Odisha. It is bounded by Gajapati
district in the east, Koraput and Kalahandi districts in the west, Kalahandi and
Phulabani districts in the north and Koraput and Srikakulam (Andhra Pradesh)
districts in the south. The district as a separate administrative unit of Odisha created in
1992 from the erstwhile Koraput district. The district is known for its primitive tribal
groups filled with meadows, forests, perennial streams and terraced valleys. The
scenic beauty and heritage on the land is an unexplored paradise. According to the

large and substantial mud fort built by one of the Rajas of Jeypore from which the
name of the town probably derived 203.

Seven metal Jaina idols are found by chance discovery from Biripada village
under Muniguda tehsil near Ambadola in the month of July, 2015 (Pls.XCIIA-
XCIIIC). Some youth from the village Biripada were digging abandoned ditch for
edible roots along the bank of the river Banshadhara and stumbled upon these metal
idols204. One of them is identified as Parsvanatha because of his seven hooded snake
canopy. The others are difficult to identify without the lanchana. A faint impression
of an inscription found inscribed in one of the idols. These idols are now shifted to
Odisha State Museum, Bhubaneswar for further archaeological investigations. The
site is filled with bricks and potsherds mostly of red ware and black ware

3.16 JAINA SCULPTURES OF ODISHA IN FOREIGN MUSEUMS

The Jaina artifacts are found preserved in several European Museums and
are considered to be the moving ambassadors of the ancient Indian art and culture
in the countries in which they are housed 205.

Musee Guimet, Paris

There is an important collection of artifacts from India and other South

East Asian Countries in this Museum, which is located in the center of Paris. The
best specimen of Jaina sculptures are come here from Bergrann (Afghanistan)
made of Marbles. Besides, an image of Risabhanatha belonging to the eastern

149
Ganga rulers, come from Odisha in which the Jina is shown standing in
kayotsargamudra206. His head is adorned with jatamukuta and the lock of hair fall
up to the shoulders. He stands over a lotus pedestal below which a bull as his
vehicle is depicted. Besides, trilinear chatra, kevala tree, astagrahas and flying
garland bearers appears on both the sides of the image in their respective
positions. The chauri-bearers stand at the level of the feet. A circular prabhavali
appears behind the head of the Jina.

British Museum, London

Four images from Odisha belonging to the eastern Ganga tradition, which
were taken out of India in nineteenth century, now form part of the famous Bridge
collection of the Department of Oriental Antiquities in the British Museum207.

A carved stone image depicts nude Risabhanatha and Mahavira 208,

(Pl.XCIVA) standing side by side in kayotsargamudra. Risabha has a high jata-
mukuta arranged into spiral curls and surrounded by a cranial protuberance. The
Tirthankaras have elongated ears, long cylindrical arms reaching down to the
knees and well proportioned body. The eyes are down cast which reveal serenity
and compassion. A couchant bull, the symbol of Risabha, and a lion, the symbol of
Mahavira, are depicted over the pedestal, with the tiny figure of Indra mounted on
elephant, besides the donor couple. The image belongs to the11 th century CE.

An image of Parsvanatha depicts the Jina standing in kayotsargamudra

against the coils of the serpent, with its seven hoods above his heavily modelled
limbs. The hair of the deity is arranged in spiral curls and has a usnisa over his
head. The Jina is flanked by a chauri-bearers and astagrahas (four on each side)
on either side. The image dates back to the 12 th century CE.

Another contemporary image of Parsvanatha also preserved here, though

damaged slightly, is a fine sculpture and shows a beautiful modelling of the
central figure standing against the horizontally arranged coils of serpent in the
back ground

Ambika209, the popular goddess is shown seated under a mango tree,

standing gracefully in a flexed posture, with a miniature figure of Neminatha
shown above (Pl.XCIVB). Creepers with monkeys are shown on either side of the

150
 goddess. She wears a chignon, a broad necklace and an uttariya covering her left
breast and passing under her right arm. The transparent sari reaches up to the
knees and is secured with a jeweled mekhala. Her elder son stands to her right
trying to pluck mango from the branch of the tree, while held by the goddess in
her right hand. The younger son is supported by her with her left hand. A couchant
lion and a figure of a donor appear over the pedestal. The image belongs to the
11th century CE.

Victoria and Albert Museum, London

There is also a stone sculpture of Ambika from Odisha 210, in which she is
shown seated over a double petalled lotus with her left leg folded and the right one
hanging down. She wears all the ornaments and a tiny figure of Neminatha appears
over the top.

Table No.1 : Table Showing Jaina Sculptures of Odisha in Foreign Museums

Sl. Jaina Image Present Collected From Date Remarks

No Location
01 Risabhanatha Musee Odisha Eastern Standing in kayotsvarga
Guimet, Ganga mudra with jatamukuta
Paris and lanchana bull is
depicted at the pedestal
02 i Risabhanatha British Odisha, now form 11th Century Besides lanchana of both
and Mahavira, Museum, part of the famous CE the Tirthankaras, an image
London Bridge collection of indra mounted over
of the Department elephant is seen
ii Parsvanatha of Oriental 12th Century Standing Parsvanatha
Antiquities in the CE image with usual serpent
British Museum. hood over his head
iii Parsvanatha 12th Century Parsvanatha mage in
CE kayotsarga posture with
usual serpent hood over
his head
iv Ambika 11th Century Depicted along with
CE Neminatha and his two
sons.
03 Ambika Victoria Odisha Depicted along with
and Albert __________ Neminatha
Museum,
London

151
3.17 POTTERY DESCRIPTIONS AND DRAWING S
During field work, a number of sites containing Jaina antiquities come to
notice and few of them have also structural evidences. Some potsherds collected in
those areas are properly documented and supplemented by line drawings for better
understanding. Pottery is considered as the alphabet of archaeology, so their study is
immensely felt necessary to supplement to have relative datings to the Jaina images of
the same site. The potteries taken for study or collected from the sites are Ada of
Balasore district, Charampa of Bhadrak district, Kundeswara and Manapur-Gadhama
of Jagatsinghpur and Baruadi of Jajpur district. They comprised mainly red ware, grey
ware and black ware indicating affinity with medieval period.

Ada, Balasore

The village Ada, on the bank of the river Kansabansa is situated 12km east of
Kupari where a number of Brahmanical and Jaina images have been noticed. The
potsherds collected from the existing small mound at middle of the village Ada over
which the Jaina images are kept. The Jaina reliquaries of the site include images of
Risabhanatha (2nos.), Mahavira, Chandraprabha, Santinatha, Parsvanatha (3nos.),
Chakresvari (2nos. and one of them in private possession), Ambika, Ambika and
Gomedha in a common stone slab (near Chatesvara Siva temple) etc. The mound
contains large number of bricks in the form of concrete walls and large number of
potsherd showing the richness of the site. The brick walls are clearly visible in the
section of the mound and the bricks found measures 26x20x05cm in length, breadth
and thickness respectively. So, the objective is to study the images along with the
potsherds which substantiate a relative dating for the icons which always stands in
obscurity as in case of Jaina images of Odisha.

1. Fragment of a globular vase, wheel turned and with an out-turned rim of red
ware, of medium fabric, showing complete oxidized core.
2. Fragment of a neck less sturdy bulbous jar with sloping shoulders and a
featureless rim, of fine fabric, showing complete oxidized core.
3. Fragment of a vase of red ware with slightly out-turned rim and oblique
shoulders, of fine fabric showing complete oxidized core.
4. Fragment of a handi of grey ware with an externally flanged rim and convex
profile body, of medium fabric, showing incomplete oxidized greyish core.

152
 5. Fragment of a neck less vessel of grey ware with an out turned featureless
rim and a globular semi-oxidized body, of medium fabric.
6. Fragment of a rimless basin of red ware with a discular flat base and oblique
sides of fine fabric, showing a fully oxidized core and treated with a red
wash on the surface.
7. Fragment of a rimless bowl of red ware with a discular flat base and slightly
tapering sides, of fine fabric, showing an oxidized core with treated a red wash
on the surface.

Charampa, Bhadrak

Charampa is a big village situated near the Bhadrak railway station. The
village yielded a hoard of Jaina images and from where Odisha State Museum
collected four Jaina sculptures viz., Risabhanatha, Ajitanatha, Santinatha and
Mahavira. Even today an image of Parsvanatha as Kharakhia Thakurani is
worshipped as Gramadevati under a banyan tree near Rahania tank in Barala-pokhari
area. The potsherds are collected from the embankment of the pond where a
Parsvanatha image is still in worshiping by the villagers as Bramhanical deity. The
potsherd are described as follows-

1. Fragment of a short vertical neck bulbous jar of grey ware with an out turned
flanged rim and concave neck, of medium fabric with semi oxidized greyish
core.
2. Fragment of a jar of stone with slightly incurved featureless rim and oblique
sides of coarse fabric, handmade with polished surface at the inner side.
3. Fragment of a bulbous storage jar of grey ware with a short out turned rim, of
medium fabric and showing semi-oxidized with greyish core.
4. Fragment of a vase of grey ware with slightly out turned rim, of medium
fabric and showing semi-oxidized with greyish core.
5. Fragment of a low necked bulbous storage jar of red ware with an out turned
featureless rim, of coarse fabric and semi-oxidized with reddish core.

Manapur-Gadhama, Jagatsinghpur

During the construction of over the canal, Jaina antiquities like a Jaina
chaumukha and a slab containing three Jaina Tirthankara images are found and now
placed in a thatched roof nearby site. According the local people many terracotta ring

153
wells and pottery of different variety noticed by them during agricultural work at the
field where the images are found. It is also noticed large number of potsherds,
fragments of terracotta rings on the paddy field close to the thatched shrine. The
potteries mostly red ware, dull red ware, Black ware, Black slipped ware, red-slipped
ware and a thick course red ware with husk mark is also noticed here. They are
discussed as follows:-

1. Fragment of a globular pot (lota) of black ware with externally projecting

flaring rim and medium profile, of medium fabric and showing semi oxidized
core.
2. Fragment of a globular pot of black slipped ware with externally projecting
flaring rim and thin profile, of medium fabric and slip on both the faces.
3. Fragment of a shallow dish of black slipped ware with externally projecting
flaring rim, medium profile and of medium fabric with fully oxidized core.
4. Fragment of a globular pot of black ware with externally projecting flaring
rim, thin profile, and of medium fabric, showing with fully oxidized core.
5. Fragment of a deep dish of black ware with externally projecting under-cut
rim and medium profile, of medium fabric with showing fully oxidized core.
6. Fragment of a small globular pot of red ware with flaring rim and medium
profile, of medium fabric showing with a semi-oxidized core.
7. Fragment of a globular pot of black ware with splayed out rim of medium
profile and of medium fabric.
8. Fragment of a miniature dish of red ware with featureless rim and thin
profile, of medium fabric showing fully oxidized core.
9. Fragment of a bulbous vase of grey ware with a projected everted rim, of
medium fabric and showing semi-oxidized greyish core.
10. Fragment of a bulbous storage jar of red ware with a short out turned flat rim
and appliquéd finger tip design at the neck with impression o f husk mark at
both inner and outer surface, made on slow wheel, of coarse fabric and semi-
oxidized with greyish core.
11. Fragment of a handi of grey ware with an externally flanged rim, of medium
fabric and semi-oxidized greyish core. A series of circular lines are marked
on the body parts of the pot.

154
 12. Fragment of a vase of red ware with an externally flanged rim and short
neck, of medium fabric and showing semi-oxidized with greyish core.
13. Fragment of a concave neck vessel with a beaked rim, bulbous profile of fine
fabric and semi-oxidized with greyish core.
14. Fragment body shards of a deep bowl of grey ware with almost straight sides
and a blunt carination to a saggar base, of fine fabric and fully oxidized with
greyish core. Nail tip marks are noticed at the body portion of the potsherds.
15. Fragment of a deep bowl of grey ware with broken rim slightly tapering sides
and flat base, of medium fabric, showing a semi-oxidized greyish core.

Kundeswar, Jagatsinghpur

The village Kundeswar is located at latitude of 20 0 09' 14.61'' N and longitude

of 860 13' 44.12'' E on the bank of the river Alaka (a tributary of Kathjodi) which is 2
km from the Alana hata and 4km east of Mundalo town in Jagatsinghpur district,
famous for the Trilochaneswar Mahadeva temple. The whole villa ge rests over
archaeological mound. The Gatesvara temple is a subsidiary structure in the precinct
of Trilochanesvara temple complex. The temples within the complex are protected by
the department of Odisha State Archaeology. The Gatesvara temple has a small rekha
vimana enshrines a Siva linga within a circular yonipitha but the crowning element of
the temple is a chaumukha instead of a trident as ayudha usually found in case of a
Siva temple. During the renovation of the protection wall by Odisha State
Archaeology a large number of potsherds of various types such as red slipped ware,
grey ware and black slipped ware are found. They are discussed below.

1. Fragment of a globular pot of black slipped ware with externally projecting

moulded rim and medium profile, of medium fabric and slip on the external
face.
2. Fragment of a globular pot with beaded high neck rim and thin profile, of
medium fabric with slips on both the faces.
3. Fragment of a deep dish of black slipped ware with externally projected
flaring rim, has thin profile, of coarse fabric with slip on both the faces.
4. Fragment of a globular pot of red slipped ware with externally projected
flaring rim, circular groove on the rim, slipped on faces and of medium
fabric and medium profile.

155
 5. Fragment of a globular pot of red slipped ware with slightly incurved beaded
rim and slip on external face, of medium profile and of medium fabric.
6. Fragment of a globular pot of red slipped ware with externally projected
flaring rim and slip on both faces, of thick profile and of medium fabric.
7. Fragment of a globular pot of black slipped ware with externally projected
thick rim and of medium fabric with slip on both the faces.
8. Fragment of a globular pot of black slipped ware with externally projected
rim of medium profile and of medium fabric with slip on faces.
9. Fragment of a globular pot of red slipped ware with high necked covered
rim, thick profile, of medium fabric and slip on external face.
10. Fragment of a deep bowl of black slipped ware with featureless rim with thin
profile, oblique sides and of coarse fabric with slip on faces.
11. Fragment of a deep bowl of black slipped ware with featureless rim and
oblique sides and thin profile, of medium fabric and showing with slip on
both the faces.
12. Fragment of a deep dish black slipped ware with slightly internally
projecting rim and thin profile, of coarse fabric and slip on both faces.

Nasik, Jagatsinghpur

The present site is located at a latitude of 20 0 15' 04'' N and longitude of 860
15' 16''E in Tirtol block of Jagatsinghpur district at a distance of 11km north-east of
Dihasahi Chhaka in the Jagatsinghpur-Machhagaon Road and 5km north of Kantara
in Tirtol tehsil. A temple is situated at the outskirt of the village constructed over the
ruins of an earlier temple of Somavasis period (circa 10th-11th centuries CE) which
preserves a beautiful image of Santinatha in one of the inner niches of jagamohana.

A low elevated mound of about one acre in circumference is noticed at the

very close proximity Jainabaja
to the local people, long years back, the Jaina monks were living here. During the
survey it is noticed that the area is filled with heavy vegetation but potsherds of red
ware of different shapes and sizes are found particularly the base and rim portions of
the bowl and dishes.

1. Fragment of a globular pot of red ware with the extremely projecting thin rim
and of medium profile and fabric.

156
 2. Fragment of a miniature globular pot of red ware with thin profile and of
coarse fabric.
3. Fragment of a deep dish of red ware with the extremely projecting flaring
rim, thin profile and of coarse fabric.
4. Fragment of a dip dish of red ware with featureless rim, medium profile and
of coarse fabric.

Baruadi, Jajpur town, Jajpur

The Gramadevati shrine Chandi Devi in the village of Baruadi is about 1km
away from Viraja temple. Images of Ajitanatha, a headless image of Jaina Tirthankara
and an image of Ambika are found under worship along with other Brahminical and
Buddhist images. The local person collected all the images and gathered at the same
place and now has become the Gramadevati shrine. The surrounding area of the shrine
was also surveyed and noticed that a large number of potsherds, of which are found
scattered. They were collected and discussed which is as follows.

1. Fragment of a handi of red ware with an out turned flanged rim and convex
profile body, of medium fabric, showing semi-oxidized greyish core.
2. Fragment of a handi of grey ware with an externally flanged rim of fine
fabric, showing semi-oxidized greyish core.
3. Fragment of a bulbous jar of red ware with an almost vertical beaked rim, of
medium fabric with semi-oxidized reddish core.
4. Fragment of a handi of grey ware with an out turned flanged rim and co nvex
profile body, of medium fabric, showing semi-oxidized core.
5. Fragment of a sturdy storage jar of red ware with a short out turned flat rim
with bulbous profile having husk mark both inner and outer surface, of
coarse fabric, showing semi-oxidized core with thin greyish core.

157
Fig.4

158
Fig.5

159
Fig.6

160
Fig.7

161
Fig.8

162
Fig.9

163
3.18 GRAPHICAL CHART SHOWING THE DISTRIBUTION OF JAINA
IMAGES AND ANTIQUITIES IN ODISHA

Fig.10.Histogram showing the distribution of Jaina images and antiquities,

District Balasore

Fig.11. Histogram showing the distribution of Jaina images and antiquities,

District Bhadrak

164
Fig.12.Histogram showing the distribution of Jaina images and antiquities,
District Cuttack

Fig.13.Histogram showing the distribution of Jaina images and antiquities,

District Jagatsinghpur

165
Fig.14. Histogram showing the distribution of Jaina images and antiquities,
District Jajpur

Fig.15. Histogram showing the distribution of Jaina images and antiquities,

District Keonjhar

166
Fig.16. Histogram showing the distribution of Jaina images (Rock-cut),
District Khordha

167
Fig.17.Histogram showing the distribution of Jaina images and antiquities,
District Khordha

Fig.18.Histogram showing the distribution of Jaina images and antiquities,

District Koraput

Fig.19. Histogram showing the distribution of Jaina images and antiquities,

District Mayurbhanj

168
Fig.20. Histogram showing the distribution of Jaina images and antiquities,
District Nayagarh

Fig.21. Histogram showing the distribution of Jaina images and antiquities,

District Puri

169
Fig.22. Histogram showing the distribution of Jaina images and antiquities in
Odisha

170
References:
1. N.C. Behuria (ed.), Odisha District Gazetteer, Balasore, Cuttack, 1992, pp.1-
44.
2. B.C. . Behera & et al.
(eds.), OHRJ, Vol. XXXII. No.384, Bhubaneswar, 1987, pp.124-128.
3. H.C. Panda (ed.),
Proceedings of Orissa History Congress, XIX Annual Session,
Bhubaneswar,1994, pp.30-35.
4. Ibid.
5. in P.K. Gan (ed.), The
History and Archaeological importance in Northern Orissa, Mayurbhanj,
Orissa, 2006, pp.46-52.
6. H.C. Dash, et al. (eds.),
Glimpses of History and Culture of Balesore, Orissa State Museum,
Bhubaneswar, 1988, pp. 54-259.
7. R.P. Mohapatra, Jaina Monuments of Orissa, New Delhi, 1984, pp.107-108.
8. disha State
Archaeology Department, Department of Culture, Odisha, Bhubaneswar.
9. Op.cit., pp.105-106.
10. B. Tripathy, The Archaeological Treasures of Northern Orissa, New Delhi,
2013, pp.78-79.
11. Ibid.
12. N.N. Vasu, The Archaeological Survey of Mayurbhanj, Vol. I, Delhi, 1981,
pl.21.
13. B. Tripathy, op.cit., p.77.
14. R.P. Mohapatra, op.cit., p.107.
15. R.P. Mohapatra, Archaeology in Orissa, Vol. II, New Delhi, 1986, pp.99-136.
16. Ibid.
17. K.C. Panigrahi, History of Orissa, Cuttack 1981, pp.448-449
18. L. Mohanty and et al., Orissa Review, Vol. LXVII, No.5, 2010, pp.91-95.
19. OHRJ, Vol. XI. No.1. pp.50-53.
20. R.P. Mohapatra, op.cit., 1984, p.110.
21. B. Tripathy, op.cit., 2013, pp.69-73.

171
22. Orissa Review, May
2005, pp.66-69.
23. M.P. Dash, op.cit., pp.52-53.
24. Web supplement: www.ignca.gov.in, Archaeological Sites, Orissa Chapter,
Sl.No. OR/BDK-07, visited on 15/10/2014, 11am.
25. B. Tripathy, op.cit., 2103, p.86.
26. L. Mohanty and et al., op.cit., pp.75-78.
27. R.P. Mohapatra, op.cit., 1986, p.220.
28. L. Mohanty and et al., op.cit., pp.87-91.
29. Orissa Review, October,
2010, pp.51-67.
30. A.N. Parida, Early Temples of Orissa, New Delhi, 1999, p. 50.
31. J. Stellate Temples of Oris Pradhan (ed.) Orissan
History, Culture and Archaeology, New Delhi, 1999,pp.233-243.
32. J. K. Patnaik, Temple of South Kosala, A case study of Stellate temples, un-
published Ph.D. Thesis, Sambalpur University, 1998,pp.158-176.
33. V. Dehejia, Early Stone Temples of Orissa, New Delhi, 1979, p.20.
34. N.C. Behuria (ed.), Orissa District Gazetteer, Cuttack, 1992, pp.85-89.
35. M.A. Haque, M.N. Das(ed.), Sidelights on History
and Culture of Orissa, Bhubaneswar, 1977, pp.137-144.
36. K.C. Panigrahi, History of Orissa, Cuttack, 1981, pp. 453-454.
37. R. P. Mohapatra, op.cit., 1984.
38. B.K. Ratha (ed.), The Forgotten Monuments of Orissa, New Delhi, 1996, pp.
119-271.
39. R.P. Mohapatra, op.cit., 1986, pp.73-74.
40. R.P. Mohapatra, op.cit., 1984,p.93.
41. K.S. Behera and U.N. Dhal (ed.), The Prachi Mhatmya, Bhadrak, p.1.
42. J. Patnaik in M.N. Das (ed.), Sidelights on History and
Culture of Orissa, Bhubaneswar, 1977, pp. 307-317.
43. P.K. Ray (ed.), Archaeological Survey Report: Prachi Valley, Bhubaneswar,
1974-75, pp. 53-54.
44. R.P. Mohapatra, op.cit., 1984, pp. 94-95.
45. S.S. Tripathy, Buddhism and other Religious Cults of South-East India, Delhi,
1988, pp. 133-134.

172
46. R.P. Mohapatra, op.cit., 1986, pp. 126-127.
47. S.S. Tripathy, op.cit., p.138.
48. R.P. Mohapatra, op.cit, 1984, pp.72-73.
49. Ibid., p.72
50. S.S. Tripathy, op.cit., p.137.
51. Ibid., pp.136-137.
52. Ibid., p.130.
53. Ibid., p.134.
54. R.P. Mohapatra, op.cit., 1984, p.72.
55. S.S. Tripathy, op.cit, pp.125-142.
56. A.N. Parida, op.cit., p. 50.
57. K.S. Behera, Temples of Orissa, Bhubaneswar, 1993, pp. 60-63.
58. K.C. Panigrahi, Archaeological Remains at Bhubaneswar, Calcutta, 1981,
p.93.
59. U.P. Saha, Studies in Jaina Art, Banaras, 1955.
60. J. Patnaik, op.cit., 1977, pp. 307-317.
61. N.C. Behuria, op.cit., 1992.
62. R.P. Mohapatra, op.cit., 1986, pp. 19-23.
63. K.C.Panigrahi, op.cit., 1981, p. 452.
64. D. Mitra, Udayagiri and Khandagiri, New Delhi, 1992, pp.3-7.
65. R.P. Mohapatra, op.cit., 1984, p.89.
66. R.S. Gupte, Iconography of the Hindus, Buddhists and Jains, Bombay, 1980,
pp.174-185.
67. S. Nagar, Iconography of Jaina Deities, Vol.I, Delhi, 1999, pp.252-258.
68. Ibid., pp.134-147.
69. R.P. Mohapatra, op.cit., 1984, pp. 107-108.
70. M.N.P. Tiwary, Ambika in Jaina Art and Literature, New Delhi, 1989, pp.25-
33.
71. R.P. Mohapatra, op.cit., 1984 pp.113-117.
72. L. Mohanty and et al., op.cit., pp.115-118.
73. R.P. Mohapatra, op.cit., 1986, p.44.
74. Ibid.

173
75. B. Rout (ed.), Jagatsinghpur ; (Odia), Jagatsinghpur, 2006,
p.61.
76. Ibid.
77. R.P. Mohapatra, op.cit., 1986, p.67.
78. Ibid.
79. B. Rout (ed.), op.cit.
80. Ibid.
81. R.P. Mohapatra, op.cit., 1986, pp.60-61.
82. Web supplement: www.ignca.gov.in, Archaeological Sites, Odisha Chapter, Sl.
No.-OR/JSP-19, visited on 25/03/2012, 11am.
83. K.C. Panigrahi, op.cit., 1981, pp.96-133.
84. N.K. Sahu, Utkal University History of Orissa, Vol-I, Bhubaneswar, 1964,
p.451.
85. L. Mohanty and et al. (eds.), op.cit., p.120.
86. Ibid., pp.119-123.
87. E. Padhi, Mohanty and et al. (ed.), Cultural
Heritage of Jajpur, Bhubaneswar, 2005, pp.85-93.
88. V. Rangarajan and
et al. (ed.), Jainism: Art, Architecture, literature and Philosophy, 2001, p.265.
89. R.P. Mohapatra, op.cit., 1984, p.90.
90. H.H. Yajna Prabha (Odia), Jajpur,
2006, pp.164-68.
91. Op.cit.
92. E. Padhi, op.cit.
93. U.P. Saha, Studies in Jaina Art, Banaras, 1955, p.95.
94. R.P. Mohapatra, op.cit.,1984, pp.90-91
95. This data is engraved on a marble plate and attached to the wall of the
Brahmanidevi Temple.
96. L. Mohanty and et al. (ed.), op.cit., pp.135-139.
97. Web supplement: www.ordistricts.nic.in, visited on 21/12/2013,1.30pm.
98. Web supplement: www.ignca.gov.in, Archaeological Sites, Odisha Chapter, Sl.No.
OR/KDP 08, visited on 21/12/2013, 10.30 am.
99. R.P. Mohapatra, op.cit., 1986, pp.171-173.

174
100. Ibid.
101. JKHRS. 1950, Vol. II, No.4,
p.227.
102. A. OHRJ, Vol.X, No.4,
pp-30-32.
103. R.P. Mohapatra, op.cit., 1984, pp.96-104.
104. A. OHRJ, Vol.X, No.1,
pp-74-76.
105. Ibid.
106. J. Rath, op.cit., pp.66-69.
107. R. Pradhan, Aeitihya, Paryatana;Kendujhara (Odia),
Bhubaneswar, 2012, pp.96-104.
108. R. Mohapatra, op.cit, 1984.
109. B. Acharya, op.cit.
110. B. Tripathy, op.cit., 2013, pp.62-90.
111. L. Mohanty and et.al, op.cit., pp.143-146.
112. N.K. Sahu, Utkal University History of Orissa, Vol.I, Bhubaneswar, 1964.
113. B.K. Rath, Cultural History of Orissa, New Delhi, 1983, pp.153-156.
114. R.P. Mohapatra, Udayagiri and Khandagiri Caves, Delhi, 1981, pp.4-5.
115. Ibid., p.34.
116. Ibid., pp.42-43.
117. D. Mitra, op.cit., pp. 36-39.
118. Ibid., pp.39-43.
119. Ibid., p.45.
120. N.K. Sahu, Kharavela, Bhubaneswar, 1984, pp.312-313.
121. S. Pradhan, Prehistoric antiquities in Hatigumpha,
OHRJ, Vol. XVIII, 2005, pp.1-7.
122. R.P. Mohapatra, op.cit., 1981, pp.52-54.
123. Ibid., pp.56-57.
124. D. Mitra, op.cit., pp.58-61.
125. R.P. Mohapatra, Names of the caves of Khandagiri & Udayagiri , OHRJ,
Vol. XXII, No. 3&4, pp.19-28.
126. D. Mitra, op.cit., pp. 65-67.

175
127. Ibid., pp.67-68.
128. Ibid., pp.68-69.
129. R.L. Mitra, Antiquities of Orissa, Vol. II, 1880, Calcutta, P.64.
130. R.P. Mohapatra, op.cit., 1984, p.71.
131. Ibid., pp.75-76.
132. J. Ratha, op.cit., p.68.
133. R.P. Mohapatra, op.cit., 1984, p.77.
134. K.C. Panigrahi, op.cit., 1981, p.93.
135. V. Dehejia, op.cit., p.145.
136. R.P. Mohapatra, op.cit., 1984, p.73.
137. Web supplement: www.ignca.gov.in, Archaeological Sites, Odisha Chapter,
Sl.No.: OR/KDA/29, visited on 2.10.2014, 2.10pm.
138. R.P. Mohapatra, op.cit.,1984, pp.73-74.
139. Ibid., p.75.
140. R.P. OHRJ,
Vol. XXVIII, Nos.182, 1982, pp.17-23.
141. R.P. Mohapatra, op.cit.,1984, p.75.
142. D. Mitra, Bronzes from Achutrajpur, Delhi, 1978, p.24.
143. N. Senapati and N.K. Sahu, Orissa District Gazetteers, Koraput, Cuttack,
1966, pp.1-38.
144. Web supplement: www.ordistricts.nic.in, visited on 29/03/2014,8.05pm
145. Ibid.
146. J.K. Patnaik and S.K. Mohanty and
et al. (ed.), Cultural Heritage of Odisha, Koraput District , Bhubaneswar,
2008, p.164.
147. N. Senapati and N.K. Sahu, op.cit., p.428.
148. P.K. Panda and M.K. Mohanty and et al.
(ed.), Cultural Heritage of Odisha, Koraput District, Bhubaneswar, 2008,
pp.178-179.
149. S.K. Mohanty and et al.
(ed.), Cultural Heritage of Odisha, Koraput District, Bhubaneswar, 2008,
pp.161-163.
150. V. Dehejia, op.cit., p.103.

176
151. S.K.
Pradhan(ed.), Orissan History, Culture and Archaeology, New
Delhi, 1999, p.96.
152. R.P. Mohapatra, op.cit., 1984, pp.119-123.
153. G. Ramdas, JAHRS ,Vol.VI, pp.8-14; N. Senapati and N.K. Sahu,
op.cit.,p.417.
154. R.P. OHRJ, Vol. XXIX, No.4,
Bhubaneswar, 1984, pp.1-6.
155. R.P. Mohapatra, op.cit.,1984, pp.130-135.
156. J.K. Patnaik and S.K. Kar, op.cit., p.167.
157. Ibid.
158. Ibid.
159. R.P Mohapatra, op.cit.,1984.
160. Ibid., p.126.
161. Ibid.
162. J.K. Patnaik and S.K. Kar, op.cit., pp.167-168.
163. R.P. Mohapatra, op.cit., 1984, pp.136-138.
164. Ibid. pp.137-138.
165. R. G.Mohanty and et al. (ed.) Cultural
Heritage of Odisha, Koraput District, Bhubaneswar, 2008, p.67.
166. R.P. Mohapatra, op.cit., 1984, pp.135-136.
167. Ibid.,p.135.
168. J.K. Patnaik and S.K. Kar, op.cit., pp.168-169.
169. B.K. OHRJ, Vol. XXXIII, No.1/4,
pp.127-130.
170. J.K. Patnaik and S.K. Kar, op.cit., p.169.
171. R.P. Mohapatra, op.cit., 1984, p.128.
172. J.K. Patnaik and S.K. Kar, op.cit.
173. Ibid.
174. R.P. Mohapatra, op.cit.,1984, p.129.
175. J.K. Patnaik and S.K. Kar, op.cit.
176. R.P. Mohapatra, op.cit., 1984, p.110.
177. Ibid., p.111.

177
178. N.K. Sahu and N. Senapati (eds.), Orissa District Gazetteers, Mayurbhanj,
1969, p.460.
179. N.N. Vasu, The Archaeologcal Survey of Mayurbhanja, Vol.I, Delhi, 1981, pp
41-42.
180. R.P. Mohapatra, op.cit., 1984, p.112.
181. A. Ghosh (ed.), Jaina Art and Architecture, Vol.-I, New Delhi, 1974, p.163.
182. R.P. Mohapatra, op.cit., 1984, p.113.
183. L.N. Sahu, Odisare Jaina Dharma, (Odia), p.152.
184. R.P. Mohapatra, op.cit., 1984, p.116.
185. P.K Mishra, Archaeology of Mayurbhanj, New Delhi, 1997, pp.34-83.
186. R.P. Mohapatra, op.cit., 1984, pp.114-115.
187. L.S.S.O Malley (ed.), Bengal District Gazetteer, Singhbhum, Shareikala and
Kharswan, pp.207-208.
188. Web supplement: www.ordistricts.nic.in, visited on 11.03.2015, 10.20am.
189. Web supplement: www.ignca.gov.in, Archaeological Sites, Orissa Chapter, Sl.
No.: OR/NGH 22, visited on 15/10/2015, 11am.
190. Web supplement: www.ignca.gov.in, Archaeological Sites, Orissa Chapter, Sl.
No.: OR/NGH 01, visited on 15/10/2015, 11.15am.
191. Shri Manoranjan Behera, a former P.G student of AIHC&A, Utkal University,
Vaniviahr, Bhubaneswar, reported about the Jaina images in Ranpur areas.
192. N. Senapati and D.C. Kuanra, Orissa District Gazetteer, Puri, 1977, pp.1-65.
193. Ibid.
194. Web supplement: ww.ignca.nic.in, Archaeological Sites, Odisha Chapter, Sl.
No.: OR/PRI- 26, visited on 24/04/2014, 9.23pm.
195. R.P. Mohapatra, op.cit., 1984, p.79.
196. D. Mitra, op.cit., 1978, pp.44-52.
197. Web supplement: www.ignca.nic.in, Archaeological Sites, Odisha Chapter, Sl.
No.: OR/PRI-26, visited on 24/04/2014, 10.00pm.
198. R.P Mohapatra, op.cit., 1984, pp.83-84.
199. Ibid.,p.83.
200. Ibid., p.74.
201. B. Bandopadaya, Survey of Indian Metal Sculpture, Delhi, 1987, pp.31-34.
202. Op.cit., pp.74-75.

178
203. N. Senapati and N.K. Sahu (eds.), Orissa District Gazetteers, Koraput,
Cuttack, 1966, pp.426-427.
204. Web supplement: www.jainheritagecentres.com, visited on 10/07/2015,
11.20am.
205. S. Nagar, Jaina Sculptures in Indian and World Museums, New Delhi, 2000,
pp.165-183.
206. Ibid., p.165.
207. Ibid., pp.165-183.
208. P. Pal, Jaina Art from India, London, 1995 p.175.
209. Ibid., p. 177.
210. S. Nagar, op. cit., 2000.

179