•  
  •  
  •  
  •  
 

Jaina Art In Karnataka

 

By Dr. H. R. Raghunath Bhat

 

Jaina Art In Karnataka is not only unique but also substantial, qualitatively as well as quantitatively. This is further substantiated against the backdrop of Karnataka which continued to be meeting place of northern and southern styles. It is proposed to introduce the Jaina Art with special reference to architecture, sculpture and painting as developed in Karnataka through the ages in general terms and from layman's point of view.

We may notice in the artistic creations of ancient Karnataka, like in other regions, a deep commitment to Dharma, in a broad sense, suggestive of universal ethical principles and Religion (matha) in a restricted sense denoting a particular faith Jainism, of course without sacrificing its inherent aesthetic appeal. In other words, Jaina Art in Karnataka significantly reflects the philosophical and religious attitude and cultural aspirations of the people.

Art is the hand-maid of religion. Its growth depended on the ritual needs of the developing creed like Jainism in Karnataka. The Jaina temples are technically called Chaityalayas or Jinalayas and more popularly Basdis or Bastis (derived from vasati­the dwelling place). Architectural features of the Jaina basti are identified by terms derived either from classical texts or from the style cultivated by the contemporary artists, administrators and patrons of art.

The Jaina basti is divided into different sections or component parts. The cell where the main Tirthankara murthi is consecrated is the garbhagriha (Sanctum-sanctorum); a room next to it and in front of it is antarala (vestibule) and the one next to antarala is navaranga mantapa (main pillared hall) followed sometimes by front room or portico called mukhamantapa which is generally at the entry point. As a result of this arrangement the ground plan is rectangular or elongated. However there is no regidity in so far as the shape of the ground plan is concerned. The shape of the garbhagriha otherwise square is sometimes modified to be elongated so as to accommodate more than one image of Tirthankaras -three, five, twentyfour. Similarly the sabhamantapa (pillared hall) and mukhamantapa (portico) may also be elongated so as to accommodate more monks in the basti i.e. dwelling place. It is in this respect more utilitarian than symbolic. The exterior shape of the plan may be plain, off-setted or stellate like in Konnur.

In so far as the elevation of the Jaina basti is concerned providing an additional shrine-cell (garbhagriha) in the first tala of the sikhara which rises above the sanctum or the main garbhagriha constitutes a distinct feature. This may be upparige or happalige (EC II (1973) SB373) as mentioned in the Sravanabelagola inscription. Melgudi of Aihole, Jinalaya at Pattadakal and Sravanabelagola are some of the examples for this feature.

The sikhara of Jinalaya or Jinagriha is generally of the Vimana type. Kuta, salakhe are other terms denoting the sikhara. It is generally decorated with sculptures of Tirthankara Yakshas and Yakshis.

The exterior wall (bhitti) consists of three sections basement (the lower most), wall proper (middle portion) and eave and parapet (upper portion) characterised by simplicity or some times minimum architectural decorations as evidenced by the bhitti at Sravanabelagola.

Jinalayas are faced by tall, free-standing pillars designated as manasthambhas, sometimes called Brahmasthambhas. The images of Jaina Tirthankaras facing the four directions called Chaumukhas are normally found in the mantapa on the top of the manasthambhas. Sometimes Yakshas occupy the place of chaumukhas but never the Yakshis. These are called Brahmadevapillars as found at Halebid. These manasthambhas are often replaced by low, round or square stones or structures called mandaras or balipithas.

The enclosure around the Jinalaya is called parisutra or paridhi, pariveshta as evidenced by the ones found around the colossal image of Gommata and the Bhandari basti at Sravanabelagola. The suttalaya of the Gommata contains a corridor for enshrining parivaradevatas.

The Jinalayas are built of wood, brick-mortar (Mandali, Talkad), granite (Halsi), schist (Hale bid) or some other materials. These materials have also influenced nature and style of Jaina art in Karnataka. The laterite stone used in coastal Karnataka Uttara Kannada in particular as found at Bhatkal and Jiddi bear this out. The use of granite for the basement, brick and wood (7) for the superstructure as indicated in the recent excavations at Talkad adds to our knowledge of Jaina art in Karnataka.

It is curious to note the influence of regional ecological or environmental factors on the stylistic aspects of Jaina architecture. The Jaina monuments of Canara districts with slopy roofs ( which may resemble to some extent the architecture of the Himalayan region) and double wall system of the garbhagriha are so well designed as to suit to the local ecoiogical conditions like heavy rains. Mudabidure monuments (for slant roofing), Bhatkal monuments ( for courses of slabs arranged overlapping one another) may be mentioned here as proper examples.

With all these influencing factors which are mostly peculiar to jaina art in Karnataka, Jaina Architecture implies what is built or constructed within the frame work of Digambara Jainism in Karnataka. In no other Digambara Jaina zone in India do we have as many Jinalayas covering a wide time span as in Karnataka in general and Sravanabelagola in particular.

II

The sculptural art of Karnataka more or less accords, in development and distribution, with that of architecture. The Jaina sculptural art in Karnataka is richer and more varied than architecture. Jaina sculptures in round, relief and those that combine the characteristics of both these and stand midway between them are found in different parts of Karnataka. Metal images of Jaina establishments are equally rich and varied. We notice the scene of extraordinary achievement in the field of Jaina sculptural art alongwith its unique regional elements.

Bahubali, son of Adinatha, the first Tirthankara, and brother of emperor Bharatha, has been elevated to the level of cult deity in Karnataka. Both in art and literature, Gommata (Bahubali) is treated extensively in Karnataka. Some of the greatest images of, and finest literary works on, Bahubali-Gommata are naturally found here right from the Badami Chalukya period to the present day. The importance of hundreds of handsome sculptures of Tirthankaras, Yakshas and beautiful images of Yakshis is partly obescured by the colossus, wonder that is Gommata. About 58'-8" high this colossal Gommata is unmatched in size', spiritual appeal and aesthetic quality. It is really unique among historical creations. In the historical period no artist in the world so dared to plan and brave the odds to achieve the aesthetic perfection as the one who made Gommata.

Jainism took a lead in the image worship. The classical Kannada literature as well as art afford basic source material for Jaina iconography. Massive stone sculptures of Tirthankaras known as sasvata pratimas were consecrated, besides setting up the kautuka, utsava, abhisheka bheras in metal. The icons are invested with great qualities of Jina (sa yeva devo Jina bimba eshah). According to the Jaina canons of art, the Tirthankaras are to be carved either in the sitting or in the standing posture. They are not to be attributed with any ornaments. In the sitting posture, the Jina crosses his legs and places his two hands with the palms upturned on his heels. He is not even allowed to turn his face either to the left or to the right. This rigid yogic sitting posture is called paryankasana. In the standing posture Jina's feet are placed evenly and his hands are hung on either side of his thighs without touching them. No flexion in his body is permitted. This standing meditative posture is called kayotsarga. Thus all the twenty four Tirthankaras have identical features. Only the first Tirthankara. Adinath, is shown with long hair which sometimes spread on his shoulders. Only Suparshvanatha, the seventh Tirthankara and Parsh­vanatha, the twenty third, are endowed with serpent canopies. Each of these Tirthankaras is attended by a Yaksha and a Yakshi who have distinctive names. Attributes, vahanas and roles.

The object of worship in Jinalayas is normally one of Tirthankaras. But there are structures in Karnataka dedicated to one of attendant deities either a Yaksha or a Yakshi but mostly a Yakshi like Padmavathi (Humcha). In Jaina pantheon they are treated as demi-gods and goddesses or subordinate deities (upadevatas). However they play an important role. The gradual growth of the status of the Yakshas and Yakshis in Jainsim is equally interesting. We find more and more Yakshas and Yakshis attaining cult status. The Yapaniya sect popularised the worship of Jvalamalini with supposedly Tantric elements as evidenced by inscriptions.

The Jaina Yakshas and Yakshis are represented in the Karnataka sculptural art of different dynasties and in defferent styles. They are well decorated with ornaments and their hands are attributed with weapons and they are known for their elegance, beauty and majesty. In other words what is not found in the sculptural art of Tirthankaras is very much compensated by the artists in the images of Yakshas and Yakshis it is from the evidence provided by the Yakshas and Yakshis along with respective cognizances and vahanas that we are able to distinguish one Tirthankara from other.

The metal images of Tirthankaras represent an interesting phase of Jaina art in Karnataka. The metal icons and votive tablets for ritual requirements on the one hand and for enriching the Jinalayas on the other were commissioned by the patrons. The excessive deference to technical rules and prescribed formulae in the casting of metal images among Jainas resulted in their rigid pose tending to be uniform in style and rather dull aesthetically. There are some metal images found in different parts of Karnataka which are known for their elegant proportions, flowing lined and serenely contemplative facial features.

Though we do not find any ancient Jaina images made of stucco, an epigraph from Kadalur (Dharwad) refers to the worship of stucco figures and painted images to which a gift of twelve villages was given by King Marasinha III (962).

The Jaina sculptural art in stone, metals and stucco and wood represents a signficant phase.

Another distinction of Jaina art in Karnataka is to be noticed in the field of paintings both frescoes and manuscript-paintings. Sravanabelagola is the only centre in Karnataka and one of a couple centres in south India to possess Jaina frescoes of immense artistic, historical, mythological and socio-cultural significance. These murals are ascribable to the post-Vijayanagara period. Mudubidire manuscripts of Dhavala, Jayadhavala and Mahadhavala or Mahabandha of the original text of Shatkhandagama constitute rare examples for painer's art of the Hoysala period. Painted in bright colours on unusually large palm-leaves are important both for the beauty of letters and for the illustrations. These are all delightful artistic creations of the Hoysala painter's brush. The floriated tail of the bird and the delineation of the contours of the figures reflect great artistic taste and creative talent. Even the borders reveal great taste and elegance of the Hoysala period. These illustrated manuscripts of Karnataka represent a unique and rare examples for Jaina art. Similarly some of the palmleaf and paper manuscripts preserved in Sravanabelagola matha, Mudubidire, Humcha and other inathas including the Dharmasthala museum are equally significant from the point of view of regional schools of painting like Mysore School of Painting.

It is evident from the above review that in Karnataka the art forms patronized by the Jainas-be it architecture, sculpture or paintings tended to be austere, aesthetically appealing with its own ascetic outlook and abstract approach. The Digambara Jainism is Karnataka has definetly developed certain special characteristics in architecture, sculpture and painting through the ages. It has its won share of contribution rich in variety and distinctly individualistic in style.

 

-----------------------------------------------------

Author : Dr. H. R. Raghunath Bhat, Department of Studies in Ancient Indian History & Epigraphy, Karnataka University, Dharwad-580003

Article Source : Book "Rishabh Saurabh" Published on the occasion of Seminar on "Jaina Heritage of Karnataka, held at Bangalore ( Organised By Rishabh Dev Foundation, Delhi ) on 4th & 5th April 1994"

-----------------------------------------------------

Mail to : Ahimsa Foundation
www.jainsamaj.org
R220904