International Journal of Advanced Science and Technology

Vol. 29, No. 03, (2020), pp. 7451 - 7465

Indian Sculptural Art of Jaina Images from the Prachi Valley of

Odisha in Eastern India

Dr. Ratnakar Mohapatra

Assistant Professor, Department of History, KISS, Deemed to be University,
Bhubaneswar, PIN-751024, Odisha, India

Abstract
Prachi Valley is well-known for its amazing antiquities and religious sanctuaries in
Odisha of Eastern India. On the basis of the available Jainaimages , the Prachi Valley is
considered as an important place of Jaina heritage in Odisha. The Prachi valleywas a
centre of Jainism during the medieval period as evidenced by the available of old
JainaTirthankara images of that period noticed in the different sites of it. Really, the
Prachi Valley has produced an excellent trend of sculptural activities in Odisha of
Eastern India. As agood number of images of various sects arefound in the different
places of the Prachi Valley. Henceforth, the Prachi Valley is amotivating study area for
the scholars of art history. In the present piece of work, the authoris merelylimited to the
Jainasculptures of the Prachi valley of Odisha. The extant Jainaimages of Prachi valley
were made by the artists of Kalingan School of artists of Odisha. The rare Jainaimages
found from the different shrines of Prachi Valley epitomise the iconographic features of
the Odishan classical art of the medieval period. The study of Jainaimages of the Prachi
Valley of Odisha is one of the fascinating aspects of the Jaina art of India. In fact, the
extant Jaina sculpturesprovethat during the medieval period, Jainism was prevalent in the
region of Prachi valley ofOdisha in Eastern India.

Keywords: Jaina, Sculptures, Tirthankaras, images, Prachi valley, Odisha, India

1. Introduction
The Prachi Valley is one of the important historical sites in the coastal-
belt of Odisha. The Prachi is an ancient river, which is considered as most
sacred by the people of Odisha.1 The name Prachi is possibly derived from the
word “Prachina”, which means ancient. The Prachiriver lies in between the
rivers Kushabhadra and Devi in the coastal-belt of Odisha. There was
flourishing a glorious civilization around the Prachiriver. The Prachi Valley is
an important cultural heritage site of Eastern India and the Valley is also
famous for its historic antiquities and religious sanctuaries in the Eastern part of
Odisha. This valley is, indeed, rich in archaeological remains. Most of the
images of JainaTithankaras and their sasanadevis discovered from different
parts of Odisha may be assigned to a period between the 7th and the 12th
century.2 In the early medieval period , the worship of Jaina images were
popular in the coastal belt of Odisha and the iconography of JainaTithankaras
were also found to be developed. A reach haul of exquisite images of

ISSN: 2005-4238 IJAST 7451

Copyright ⓒ 2019 SERSC
 International Journal of Advanced Science and Technology
Vol. 29, No. 03, (2020), pp. 7451 - 7465

Rishavanatha, Parsvanatha,Mahavir, Neminatha and Santinatha of both stone

and bronze found in the Prachi valley creates an impression that once upon a
time this valley was a popular Jaina centre.3 Jainism in the Prachi valley seems
to have flourished for a long period. The JainaTirthankara images found in
different parts of the Prachi valley are of two types , one in Kayotsarga pose
and the other sitting in cross legged position. The present article attempts to
highlight the style and iconographical features of the extant Jainaimages along
with the condition of Jainism in the Prachi valley of Odisha in Eastern India.

II. METHODOLOGY

For the accomplishment of the present article, both the primary

and secondary sources have been used by the author. The primary data have
been collected from Gazetteers, reports, practical observations, taking
photographs and measurements, hearsay accounts of respondents through the
interview methods adopted in course of the experimental field survey, etc. The
field survey had been undertaken for the collection of dataregarding the style
and iconographic features of the extant Jaina sculptures from the different
shrines of the Prachi valley of Odisha as far as practicable on the part of
present researcher. For the collection of primary data, the practical field study
has been adequately made by the present author. The data collected from both
the primary and secondary sources are critically analysed and interpreted as
per the methodological procedure.

III. DISCUSSION AND RESULT ANALYSIS

3. JainaTirthankaras

On the basis of tradition, Rishvanatha was possibly the first

Tirthankara of Jainism in India. Lord Mahavira was the last and most
prominent Tirthankara of Jainism. The word Tirthankara is variously called
"Teaching God". The names of 24 Tirthankaras of Jainism are such as
1.Rishabhanatha (Adinatha), 2. Ajitanatha,3.Sambhavanatha,
4.Avinanadananatha, 5.Sumatinatha, 6.Padmaprava, 7.Suparshvanatha,
8.Chandraprava, 9.Pushpandata, 10.Shitalanatha, 11.Shyeyansanatha,
12.Vasupujya, 13.Vimalanatha, 14.Anantanatha, 15.Dharmanatha,
16.Shantinatha, 17.Kunthunatha, 18.Aranatha, 19.Mallinanatha,
20.Munisuvrata, 21.Naminatha, 22.Neminatha, 23.Parshvanatha, and
24.Mahavira.Accordingly the historical evidences, out of Twenty-four
Tirthankaras, the last two such as Parsvanatha and Mahavira are prominent
personality of Jainism.4 On the other hand, the life and teachings of rest
fourteen Tirthankaras are not clearly found recorded in any texts of Jainism.
The Sixth century B.C. has given a definite form and philosophy to Jainism
by advocating improve ideas upon the previous Tirthankara i.e. Parsvanatha.
Initially, the parents of Mahavira were the followers of the religion of

ISSN: 2005-4238 IJAST 7452

Copyright ⓒ 2019 SERSC
 International Journal of Advanced Science and Technology
Vol. 29, No. 03, (2020), pp. 7451 - 7465

Parsvantha, which was known as Chaujjama dharma.5The philosophical ideas

of Parsvanatha advocate four jamas(vows) such as 1. Ahimsa(non-killing),
2.Truthfulness, 3. Non-stealing, and 4. Non-possession. It is clearly known
that Mahavira was not the founder of Jainism in India. To these four jamas,
VardhamanaMahavira added the fifth vow i.e. Brahmacharya (Chastity) and
his dharma came to be known as the ‘PanchajamaDharma’.6

Before going to the study of style and iconographic features of the

JainaTirthankara images of Prachi valley, here we have toinitially discuss
about the general sculptural features of JainaTithankaras of Odisha. Jainism
like Buddhism has played a significant role in the history of Odishan
sculptural art of Eastern India. Ichnographically, JainaTirthankara images of
Odisha are carved in nude , shown as young, beautiful, and calm with serene
expression and long hanging arms in case of standing figures on the other
cases in seated posture right palm rests upon that of the left.7 The figures are
found to be carved along with their respective lanchanas and the chauri-
bearers. Other features such as trilinear umbrella, pravamandala, jatamukuta,
drum, and cymbal players on the top corners of the slab, garland-bearer
figures(apsaras) flanking the trilinear umbrella and devotees either on one
side on both sides of the centrally carved lanchanaon the front face of the
pedestal.8 The Tirthankaras usually stand in the Kayotsarga pose or sit in the
yogasana with their distinctive lanchhanas carved below.9 In a few instances
coils of the snake are arranged behind the image. A canopy of seven hooded
snake is found over the head of JainaTirthankara image. Coils of snake The
early Jaina literature has glorified plants and trees and prescribed some of
these to be symbolic of gods and goddesses.10 In India the divine concept of
trees was found to be recognised by Jainas and Buddhists. The notion of
Chaitya tree, Keval tree, Jnana tree, etc have increased popularity among the
Jainas. Some of the plants like Sun flower, mango, kadamba, lotus, and grapes
are very common in Jaina art of Odisha. These plants are found to be carved
in the JainaTirthankara images of Odisha. Really, a unique feature in Jaina
iconography is that the depiction of plants bears both symbolic as well as
religious importance with decorative value.11All the extant Tirthankara
images of Odisha as well as Prachi valley are astonishing for their beautiful
appearance and good modelling. The images of Rishavanatha, Neminatha,
Parsvanatha and Mahavir are more common in Odisha.

3.1. JainaImages of Prachi Valley

During the medieval period, Jainism was developed in some

districts of the coastal belt of Odisha. But we have no sufficient source
material to trace the development of Jainism in the Prachi valley as only based
on a few Jaina images noticed in some shrines of this region. Here, the
archaeological sources merely suggest some ideas with regard to the prevalent

ISSN: 2005-4238 IJAST 7453

Copyright ⓒ 2019 SERSC
 International Journal of Advanced Science and Technology
Vol. 29, No. 03, (2020), pp. 7451 - 7465

of Jainism in the Prachi valley. Some of the Jaina images have been found
from the different places of Prachi valley. A few of them are found preserved
in the Odisha State Museum, Bhubaneswar. Though some Jaina images have
been found in the different parts of Prachi valley region, it is not possible to
study the various aspects of the history of Jainism in the Prachi valley in
general and the study of sculptural art in general.The systematic surveys
conducted by the earlier scholars like G.S. Das, P.K. Ray, R.C. Panda S.S.
Tripathy and also by the recent scholars including the present author reveal
that Jainism and Buddhism flourished simultaneously with Shaivism,
Shaktism and Vaisnavism. A series of rare Jaina images are found preserved
in the different monuments of the Prachi Valley. A few Jaina images are also
lying scattered on the surface of some sites. The names of
JainaTirthankaraimages and their sites are described below.

3.1.1. Rishavanatha Image of Gramesvara Temple of Nibharana

The temple of Grameshvara is one of the ancient Shaiva shrines

situated at the centre of the village Nibharana in the Niali Block of the
Cuttack district in Odisha. It is exactly located at a distance of 54 kms from
Bhubaneswar and 5 kms from the Nuahat Bus stand.12A rare image of Lord
Rishavanatha, which is kept in the north-east corner of the
jagamohana(Pl.No.1). The image of Lord Rishavanatha is being worshipped
in different forms by the local people. Some devotees worship it as Lord
Buddha, some wrongly believe it as Kandarpa and others consider it as
Kamadeva. The ‘Prachi Valley Report’ records it as an image of Parshvanatha
of the Jaina pantheon.13 Most probably this image is of the
JainaTirthankaraRishavanatha. The two handed image of Lord Rishavanatha
is carved seated cross legged in yogasanapose on the visvapadma. Both the
palms of hands are kept one on another at the crossing point of the legs. The
gesture of the image suggests that the deity is in meditative pose.
Chauribearer figure is depicted standing posture on both sides of Lord
Rishavanatha in the attitude of rendering service.14The backside of the head of
deity is decorated with trefoil arch, which is surmounted by the three tiered
umbrella. Above the three tiered umbrella is carved with a Kevaÿa tree
appears on the head of Lord Rishavanatha. Flying apsaras holding garlands,
cymbals and drum played by Vidyadharas are found carved on both side top
corners of the slab. Scroll works appear in the slab as the space fillers.
Champaka flower medallion is decorated on both side upper part of the stone
slab containing the Tirthankaraimage.Hairs on the head of Lord Rishavanatha
are arranged in jata, a few strands of which are seen falling on the shoulders.
A series of devotees in kneeling posture with folded hands are carved on the
lower part of the pedestal. Bull, the conventional mount of the Tirthankarais
carved at the centre of the lotus pedestal. Bull is the distinct traditional
associate of Rishavanatha. Spirited lion is flanked on both sides of the bull

ISSN: 2005-4238 IJAST 7454

Copyright ⓒ 2019 SERSC
 International Journal of Advanced Science and Technology
Vol. 29, No. 03, (2020), pp. 7451 - 7465

figure. The slab of the deity measures 39.5 inches x20 inches.15The image
Rishavanatha is made of black chlorite stone. Observing the image of Lord
Rishavanatha, R.P. Mohapatra remarks that stylistically the image can be
placed in the Ganga period.16 This Rishavanatha image is one of the beautiful
Jaina sculptures of Prachi valley of Odisha.

3.1.2. Rishabhanatha Image of Svapneshvara temple of Adaspur

The temple of Svapneshvara is one of the ancient Shaiva shrines

of the Prachi Valley in the coastal-belt of Odisha. It is situated about 37 kms
from Bhubaneswar on the eastern bank of the river Prachi.17 The temple is
located at the village Adaspur in the Kantapara Block of the Cuttack district.
In the left side doorway wall of the sanctum is fixed with an image of
JainaTirthankara, Rishabhanatha. It is one of the most significant Jaina
images of the Prachi valley. The two armed image of Rishabhanatha is carved
in standing posture on the double petalled lotus pedestal (Pl.No.2). The
Tirthankaraimage is found depicted in kayotsarga pose and in complete
nudity.18Both the hands of deity hang downward posture. The Lanchhanbull
is carved at the centre of the bottom part of the pedestal. Female devotees are
carved in kneeling posture on both sides of the bull figure at the bottom part
of the pedestal. Figures of Bharata and Bahavali, the two worshippers
provisioned in the Jaina texts holding fly whisks are carved on both sides of
the slab in the gesture of rendering service to the Adinatha.19 Diminutive
figures of 24 Tirthankaras are finely carved on the slab. Ten Tirthankaras are
carved on each side of the slab. Four Tirthankaras are found depicted on the
pedestal of the deity. The backside of the head of Rishabhanatha is decorated
with prabhamandala, which carved with lotus petal designs surmounted by a
trilinear umbrella. The hairs of the Tirthankara are arranged in jata , which is
decorated with jewels. A few locks of thejata fall on the shoulders. Flying
apsara figure is depicted on both side top corners of the slab. The image
Rishabhanatha is made of black chlorite stone. The slab of deity
(Rishabhanatha) measures 20½ inches x 10½ inches. This image seems to be
the representation of the last TirthankaraMahavira who with the First
Tirthankara(Rishabhanatha) commonly appears in the Jaina sculptures of
Odisha.20 The peculiarities of the image will lead one to identify
Rishabhanatha as Muÿanayaka.21 This indicates that Adinatha was the temple
cult of this locality and a temple enshrining this deity might have been
situated in the vicinity of the Svapneshvara temple.22 Here, P.K. Ray has
assigned the image Rishabhanatha to circa 7th century A.D.23 The image
exhibits the perfect calm and an inward look with half closed eyes suggesting
a divinity dignity.24 The image of Rishabhanatha was possibly made in the
11th-12th centuries A.D. on the ground of iconographical features. Really, the
Rishabhanatha image of Adaspur is one of fine images of Odisha in eastern
India.

ISSN: 2005-4238 IJAST 7455

Copyright ⓒ 2019 SERSC
 International Journal of Advanced Science and Technology
Vol. 29, No. 03, (2020), pp. 7451 - 7465

3.1.3. JainaTirthankara ofNilakantheshvara temple at Adaspur

The temple of Nilakantheshvarais situated at the village Adaspur

in the Kantapara Block of the Cuttack district in Odisha. The temple is
exactly located behind the High School of that Village. A broken image of
JainaTirthankarais found fixed in the left side doorway wall of the sanctum.
The bottom part of the slab of deity is completely broken. The Tirthankarain
kayotsarga pose is standing in complete nudity.25

3.1.4.Gomedha-Ambika Image of Lataharana

The Grameshvara temple is situated about 3 Kilometers to the

south-west of Kakatpur and the river Prachi.26 The temple is exactly located at
the centre of the village Lataharana in the Kakatpur Block of the Puri district.
A very important image depicting a Jaina couple (Gomedha-Ambika) has
been brought to light at the southern side additional shrine of the Grameshvara
temple of Lataharana. The Jaina couple named YakshaGomedha and
YakshiniAmbika has been carved seated in ardhaparyanka pose on a common
pedestal (Pl.No.3).The local people consider it as Hara–Parvati. The lower
part of the lotus pedestal of the image is decorated by seven devotees /
sasanadevis seated in folded hands amidst heaps of offerings. The depiction
of seven Sasanadevis below is of enormous artistic value. The figure of
Ambika displays a bunch of mangoes in right hand, and holds a baby in left-
hand. Image of Gomedha on the other hand holds a group of mangoes in right
big hand and left hand rests on the thigh. Both the figures wore simple lion
clothes in the same style and bear on them same types of ornaments, the only
exception being in the conical head dress of the Yaksha and the round hairdo
of the Yakshini.27 Both of them reveal the same meditative expression with
half closed eyes fixed at the tips of the noses, while their faces lit with smile
indicate that they are not completely indifferent to the world outside.28 A
mango tree is depicted in the background of the slab. From the trunk of the
tree a baby is found swinging in between the couple. At the top (above their
heads), TirthankaraNaminatha is found seated in yogasana pose on a lotus
pedestal.29 On either side of the Tirthankara, cauri bearers are also found
carved with artistic care. The image of the Jaina couple measures 17½ inches
in height and 9 inches in width respectively.30 Observing the iconography of
the Jaina couple, some senior scholars remark that the Jaina couple image
belongs to the 11th century A.D.31 The image of Jaina couple represents the
best work of the Jaina sculptors who have been able to represent here the
combination of beauty with plastic art.

3.1.5. Two Jaina Images ofAmbika Temple of Kenduli

The temple of Ambika is situated at Kenduli-Deuli (Kenduli)

under the Balipatna Police Station of the Khurda district. The present temple

ISSN: 2005-4238 IJAST 7456

Copyright ⓒ 2019 SERSC
 International Journal of Advanced Science and Technology
Vol. 29, No. 03, (2020), pp. 7451 - 7465

is completely a renovated temple of that locality.32The local people say that

the present temple has been rebuilt within 40 years before the present. The
cleaning works of the site conducted by K. N. Mahapatra, the retired
Superintendent of Archaeology has brought to view two beautiful images,
according to him, are known as Ambika and Jageshvari, supposed to have
been worshipped inside the dilapidated brick temple.33 Now, the temple is
under the protection of the Odisha State Archaeology Department,
Bhubaneswar. The sanctum preserves the image of Ambika as the presiding
deity of the temple (Pl. No. 4). The two armed image of Ambika is carved in
padmasana pose on the double petalled lotus pedestal. The slab of the
presiding deity is installed on the simhasanaof 1½ feet high. The right arm is
broken from the elbow portion. A bunch of five mangoes are depicted on the
side of her right hand. Perhaps, She had displayed stalks of these mangoes in
her right arm. The left arm of DeviAmbika holds lotus flower, which is
depicted near the left side arm of deviAmbika. The bottom part of the pedestal
of the presiding deity is decorated with female devotees with musical
instruments. The middle portion of the pedestal is carved with scroll work and
female devotees. Lion figure is also depicted on the left of the pedestal. The
backside of the head of the presiding deity is decorated with seven hooded
serpent. Apsarafigure is depicted on both side top corners of the slab. The
image Ambika measures 42 inches x20 inches. Iconographical features of
DeviAmbika indicate the artistic tradition of the Ganga period. The image of
presiding deity is made of black chlorite stone. T.E. Donaldson has remarked
that the image of presiding deity was made in the late 11th century or early
12th century A.D.34

There is an image of female deity Jageshvari noticed in the south-

west corner of the jagamohana. She is also considered by local people as the
image of Padmavati. K. N. Mahapatra has recorded that initially there is a
small brick temple for DeviJageshvari located in a few yards distance on the
south-east corner of the temple but it has already destroyed.35After the
complete renovation of the jagamohana, this image has been preserved inside
of it. The two armed image of Jageshvari is carved in padmasana posture on
the double petalled lotus pedestal (Pl.No.5) The right hand of Jageshvari holds
a fruit with stalk and leaves and the left hand is broken from the wrist portion.
Possibly, She displays the stalk of a lotus flower, because the full blown lotus
flower is depicted above the left arm of deviJageshvari. The head of deviis
crowned by a canopy of seven hooded serpent. Apsaras holding garlands in
their hands are carved on both side top corners of the slab. The bottom part of
the pedestal of deviJageshvari is decorated with two devotees in kneeling
posture. The central part of the pedestal of deity is carved with devotees,
scroll work and a lion figure like the pedestal of the presiding deity. The
image Jageshvari is made of black chlorite. The slab of deviJageshvari

ISSN: 2005-4238 IJAST 7457

Copyright ⓒ 2019 SERSC
 International Journal of Advanced Science and Technology
Vol. 29, No. 03, (2020), pp. 7451 - 7465

measures 3 feet 7½ inches in height and 2 feet in width respectively. There is

a lot of controversy among the scholars with regard to the proper
identification of the image of the presiding deity and of the Jageshvariimage
ofjagamohana. No such images have been so far discovered in Odisha.
Observing this image, one of the senior scholars of the Prachi Valley like
HansanathaSahu says that the image in the jagamohana of the temple can be
identified with JainaVidyadeviJageshvari. Probably, a full blown lotus as
JainaVidyadevi ofDigamber sect was found with the snake canopy.36Most
probably, this image is Jageshvari and it was made in the same period when
the image of presiding deity (Ambika) was made. Iconographical features of
these two images indicate the artistic tradition of the Ganga period.

3.1.6. Two JainaTirthankara Images of Bagalpur

Two important JainaTirthnkara images of Rishavanatha and

Parsvnatha are found to be preserved in the village Bagalpur of the Prachi
valley of Odisha.37. Both the images are now installed on a masonry mandapa
within a mango tope of this village. The place of installation of these images
is locally known as ‘Baudei’.38 The first image of Rishavanatha of Baglpur is
carved standing in kayotsargapose on a lotus pedestal .Bull, the conventional
lanchhanaof the Tirthankara is carved below the pedestal along with a group
of devotees and heaps of offerings.39 Two chauri bearers flank the
Rishavanatha on each side. Above the Chauri bearers are shown gajasimha
motifs. The Tirthankarais decorated with a pravamandala, the trilinear
umbrella, Kavala tree, jatamukuta flying apsarasdisplaying garlands and
heavenly music played through hands of invisible gandharvasandkinnaras.40
A few strands of jata of the head are falling over the broad shoulders. Lower
part of both the hands and the face are partially mutilated due to exposure to
natural agencies. The iconography of Rishavanatha image contains the artistic
features of the Odishan classical art of the Ganga period as mentioned by R.P.
Mohapatra.41

The second image of the site i.e. the image of Parsvanatha , the
Twenty-third Tirthankara of the Jaina Pantheon.42 This image is carved seated
in yogasana pose on a lotus pedestal. A canopy of seven hooded snake is
found over the head of this figure. Hairs on the head of Tirthankara are
arranged in curled knots with a bulging at centre. Coils of the snake are
gathered behind the image. The two chammaradhariesare shown on either
side of the Tirthankara. The image has been covered with patches of moss
and lichen. Elongated ears, and marking of trivalion the neck add royal grace
and vigour to the Tirthankara. The iconographic features of the Parsvanatha
image of Bagalpur is collected from the book Archaeology in Orissa :Sites
and Monuments by R.P. Mohapatra.43 Stylistically, the Parsvanatha image of
the site displays the artistic features of the Ganga art of Odisha as mentioned

ISSN: 2005-4238 IJAST 7458

Copyright ⓒ 2019 SERSC
 International Journal of Advanced Science and Technology
Vol. 29, No. 03, (2020), pp. 7451 - 7465

in Archaeology in Orissa :Sites and Monuments by R.P. Mohapatra. At

present these two Tirthankara images are not found in the village of Bagalpur
of the Prachi valley.

3.1.7.TirthankaraImages of Other Shrines of Prachi Valley

A small image of Rishavanatha is found preserved inside the

Viswamitraashrama near Kakatpur and a similar type of small mutilated
image was lying near the Bharadvajaashrama.44 These two ashramasare
located in the Prachi Valley. One Tirthankaraimage of chlorite stone is found
in the Agikhiamatha of Sohagpur near Nayahat.45 One Rishavanatha image of
chlorite stone, one foot height, worshipped as “Varuneithakurani” at
Kenduvilva is worshipped under a Neem tree.46An image of Yaksha
associated with Neminatha, one of the JainaTirthankarais to be found in the
Antarvedimatha near Banamaÿipur of the Prachi Valley.47 Another small
image of Jaina couple (Gomedha-Ambika) is found preserved in the Dr. N. K.
Sahu Museum, Sambalpur University, Jyotivihar.48 This image was collected
by N. K. Sahu through his Departmental/archaeological excavation from the
Prachi Valley. The Narayani temple of Dhia-Dhanamandala preserves a good
specimen of the Rishavanathaimage(Pl.No.6). The image of Rishavanatha of
Dhia-Dhanamandala is carved standing in kayotsarga pose on a lotus pedestal
.Bull, the conventionallanchhanaof the Tirthankara is carved below the
pedestal. Two chauri bearers flank the Rishavanatha on each side. Flying
apsara figure is depicted on both side top corners of the slab. The image
Rishabhanatha is made of black chlorite stone. The sand stone image of
JainaTirthankarasix feet height found at Betenda near Nayahat depicts a
shallow relief of seven Tirthankaras in a row with seven sasana devise over
head.49 A group of three Tirthankaras in a row on the chlorite stone
worshipped as the village deity, Siddhesvari in the village Matigadia, near
Ottara, in attention pose naked depicted with Pipala tree and different hair
style having no cognizance symbol.50These Tirthankara images of the above
minor shrines / sitesclearly prove that Jainism was prevalent in the region of
Prachi valley during the medieval period.

3.1.8. Bronze JainaTirthankaraImages of Prachi Valley

Besides the stone images of JainaTirthankaras , the Prachi valley

region also have yielded some metal Jaina images. The metal images of
Adinatha and Parsvanatha found from Kakatpur and now preserved in the
Odisha State Museum, Bhubaneswar. The image of Adinatha is carved
standing in Kayotsarga posture on double pettalled lotus pedestal.51 On the
front face of the square pedestal the bull, the lanchana of the Tirthankara is
carved. In front of the bull is carved a kneeling devotee with folded hands.
The hair on the head of the image is arranged in matted locks. The other metal

ISSN: 2005-4238 IJAST 7459

Copyright ⓒ 2019 SERSC
 International Journal of Advanced Science and Technology
Vol. 29, No. 03, (2020), pp. 7451 - 7465

Jaina image is that of the seated Parsvanatha , which is carved in

yogasanaposture on a traditional double pettalled lotus pedestal. 52 Over the
head of the Parsvanatha image is carved a canopy of seven hooded snake.53 A
hoard of JainaTirthankara images, standing posture was found at Kandalapur
near Kakatpur , were acquisitioned by Cuttack Provincial Museum , shifted to
Patna Museum.54 The Tirthankara images of this place is of ten inches in
height stands over a double lotue pedestal in Kayotsargamudra. The hair
style fashioned to conical stupa. Standing over a four faced pedestal with
Lanchhana ,bull.55 These metal Jaina images of Kakatpur and Kandalpur
suggests that Jainism was the faith and belief of some sections of people of
the Prachi Valley of Odisha.

IV. Conclusion
We can conclude from the above discussionthat the available
scanty JainaTirthankaraimages found in different parts of the Prachi valley
are depicted in two types such asKayotsarga posture and sitting in cross
legged position. All the extant Tirthankara images of the Prachi valley are
amazing for their fine-looking appearance and decent modelling. The images
of Rishavanatha, Parsvanatha,Neminathaand Mahavir are more common in
the Prachi valley so far the author’s field study is concerned in this regard.
The JainaTirthankara image of Nibharana is one of the beautiful Jaina
sculptures of Prachi valley in Odisha considering its iconographic features.
On stylistic ground, the Rishabhanatha image of Svapnesvara temple of
Adaspur is the most significant Jainasculpture of the Prachi valley in the
coastal belt of Odisha.The images of JainaTirthankaras found inside the
Svapnesvara and Nilakanthesvara temples of Adaspur indicate that the
JainaTirthankaraimages were being worshipped in some nearby shrines of the
temple site. The above these two JainaTirthankaraimages suggest that
Adaspur of the Prachi Valley was one of the strongholds of Jainism in the
coastal-belt of Odisha during the early medieval period. The Jaina couple
image of YakshaGomedha and YakshiniAmbika of Lataharana represents the
best work of the sculptors of Kalingan school of artists by executing
combination of beauty with plastic art. . Iconographical features of Devi
Ambika ofKenduli indicate the artistic tradition of the Ganga period. The
Jageshvariimage ofjagamohanaof the Amblika temple is one of the rare
sculpturesof the Prachi valley of Odisha. Most probably, the imageJageshvari
was made in the same period when the image of presiding deity (Ambika) was
made. Stylistically andichnographically, both the images of Rishavanatha and
Parsvanatha of Bagalpursuggest the artistic features of the Ganga art of
Odisha. The Jaina images from the Viswamitraashrama ,Agikhiamatha of
Sohagpur , Kenduvilva ,Antarvedimatha , Dr. N. K. Sahu Museum, Dhia-

ISSN: 2005-4238 IJAST 7460

Copyright ⓒ 2019 SERSC
 International Journal of Advanced Science and Technology
Vol. 29, No. 03, (2020), pp. 7451 - 7465

Dhanamandala , Betendaand Matigadia discussed above clearly suggest that

Jainism was prevalent in the region of Prachi valley during the medieval
period. Besides the stone sculptures, some metal Jaina images of Kakatpur
and Kandalpur prove that Jainism was the faith and belief of some people of
the Prachi Valley. On the basis of these scanty evidences, we can presume
that Jainism was also flourished in the Prachi Valley during the medieval
period. It appears that Jainism was flourishing side by side with Shaivism at
one point of time. Really,the Prachi Valley region was a cultural heritage
siteofJaina tradition of Odisha. The sculptural representations of the extant
images of JainaTirthankaras mentioned in the subject indicate that the
worship of JainaTirthankaras was prevalent in the Prachi valley during the
medieval period. Subsequently, the Jainas had accepted Vaishnavism of the
Hindu pantheon at later period and lost their separate identity and got
assimilated with Brahminic faiths. On the stylistic ground and iconographical
point of view, the extant scanty Jainaimages of the Prachi valley possess a
distinct place in the history of Jaina art of Odisha in Eastern India.
Acknowledgement
I am deeply obliged to Prof. K.S. Behera (late), Prof. C.R. Mishra
(late), Prof. Prof. K.K. Basa, Dr. B.K. Ratha, Prof. P.K. Nayak, Prof. Harihar
Panda and Prof. ByomakeshTripathy for their encouragement and valuable
suggestions in the course of preparation of this article.
I express our profound reverence to Prof. AchyutaSamanta, the
Hon’ble Founder of KISS, Deemed to be University, Bhubaneswar who
encouraged me for the writing of this piece of work.
References
1. Das, G.S. , (1958).Exploration of the Prachi Valley, Bhubaneswar, p.5.
2. Behera, K.S., (1982). “Traditions in Sculpture”, in Art Tradition of Orissa, Edited by Orissa
SahityaAkademi, Bhubaneswar, pp.41-42.
3. Mitra, S.K., (2011). “Religious Art Heritage of Prachi River Valley”, in Cultural Heritage of Coastal
Odisha, Kaktpur, Puri, p. 98.
4. Saha, C.J., (1932). Jainism in Northern India, Bombay, p.2.
5. Jacobi, H., (1964). Sacred Book of the East, Vol. XXII, Part-I, Delhi, p.194.
6. Motilal, B.K., (1981). The Central Philosophy of Jainism (Anekantavda), Ahmedabad, p.3.
7. Sahoo, A.C., (2007), “Jaina Sculptural Art in the PrachiValley : A Study”, in Pradhan, P. K. ed.,
Incredible Prachi Valley : Its Monuments and Tourism Possibilities,Adaspur, pp. 78-79.
8. Ibid., (2007).
9. Behera, K.S., (1982). op.cit., pp.41-42.
10. Malla, B.L.,(2000). “Trees in Indian Art ,Mythology and Folklore”, New Delhi, p. XIV. Also see
Mohanty, C.A. ,(2012). “Plants in Jaina Art of Coastal Odisha”, in Mitra, S.K.ed., Cultural
Heritage of Coastal Odisha, KakatpurPuri, pp.83-84.
11. Mohanty, C.A. ,(2012). op.cit., pp.83-84.
12. Ray, P.K., ed., (1975). Archaeological Survey Report Prachi Valley,Odisha State Archaeology;
Bhubaneswar, p. 54.
13. Ibid., (1975). p.54.
14. Mohapatra, R.P. , (1986). Archaeology in Orissa (Sites and Monuments), Vol. 1, New Delhi, p. 152.
15. Mohapatra, R., (2009). “Gramesvara Temple at Nibharana : A Study on Art and Architecture”, in
S.K. Mitra (ed.), Re-Exploring Prachi Valley, Bhubaneswar, pp.57-58.
16. Mohapatra, R.P. , (1986). op.cit., Vol.I, New Delhi, p. 152.
17. Ray, P.K., (1975). op.cit., p.7.

ISSN: 2005-4238 IJAST 7461

Copyright ⓒ 2019 SERSC
 International Journal of Advanced Science and Technology
Vol. 29, No. 03, (2020), pp. 7451 - 7465

18. Das, G.S. , (1958). op.cit., p. 27.

19. Ray, P.K. , (1975). op.cit.,1975, p. 53. Also see Bhattacharya, B.C., (1974). The Jaina Iconography,
Delhi, p.35.
20. Das, G.S. (1958). op.cit., p. 27. Also see Chand, R.P. ,Medieval Indian Sculpture, pp. 71 and Plate
– XXII.
21. P.K. Ray, (1975). op.cit., p. 53. Also see R.P. Mohapatra, op.cit., Vol. II, New Delhi, 1986, p.3.
22. P.K. Ray, (1975). op.cit., p. 53. Also see R.P. Mohapatra, (1986). op.cit., Vol. II, p. 4.
23. P.K. Ray, (1975). op.cit., p. 53.
24. Sahoo, A.C. , (2007). op.cit., pp.77-78.
25. Mohapatra, R.P., (1986). op.cit.,Vol.II, p. 4.
26. Ray, P.K. (1975). op.cit., p.21.
27. Mohapatra, R.P. (1986). op.cit,Vil.I, pp.147-148. Also see Das, G.S. (1958). op.cit., p.28.
28. G.S. Das, G.S. (1958). op.cit, p.28.
29. Mohapatra, R.P. (1986). op. cit., Vol. I, pp.147-148.
30. Behera , K.S. & Donaldson, T.E., (1998). Sculptures Masterpieces from Orissa; Style and
Iconography, New Delhi, p.107.
31. Ibid. Also see Donaldson, T.E.,(1985/86). Hindu Temple Art of Orissa, Vol.I , p.440.
32. Mohapatra, R. P. , (1986). op.cit., Vol. I, p. 126.
33. Mahapatra, K. N. , (1997). ShriJayadeva O ShriGitagovinda (Odia),
KedarnathaGaveshanaPratisthana, Bhubaneswar, Revised Edition, p. 9.
34. Donaldson, T. E. , (1985/1986). Hindu Temple Art of Orissa, Vol. II, Leiden, p .687.
35. Mahapatra, K.N. , (1997). op.cit., p. 9.
36. Sahoo, H., (2007). “The Rare But Less Known Monuments of Prachi Valley,” in Pradhan, P.K. (ed.),
Incredible Prachi Valley: Its Monuments & Tourism Possibilities, Adaspur, p.54.
37. Mohapatra, R.P., (1986). op.cit.,Vol. 1, p.35.
38. Ibid., (1986). Vol. I, p.35.
39. Ibid., (1986). Vol. I, p.35.
40. Ibid., (1986). Vol. I, p.35.
41. Ibid., (1986). Vol. I, p.35.
42. Ibid., (1986). Vol. I, p.35.
43. Ibid., (1986). Vol. I, p.35.
44. Ray, P.K. (1975). op.cit., p. 54.
45. Sahoo, H.N., (2009). “Jaina Sculptures in Prachi Valley,” in S.K. Mitra (ed.), Re-Exploring Prachi
Valley, Cuttack, p. 94.
46. Ibid., (2009). p. 95.
47. Ray, P.K. (1975). op.cit., p. 54.
48. Mohapatra, R., (2013). ” Prachi Valley: An Incredible Place of Cultural Heritage in Odisha”, in B.K.
Mallick and J. Dora (eds.), Utkal Historical Research Journal, Vol. XXVI, Bhubaneswar,
p.123.
49. Sahoo, H.N. , (2009). “Jaina Sculptures InPrachi Valley”, in Mitra, S.K., Re-Exploring Prachi
Valley, Kakatpur, Puri, p.93.
50. Ibid., (2009)., p.93.
51. Sahoo, A.C. , (2007). op.cit., p. 78.
52. Ibid. , (2007). p. 78.
53. Ibid. , (2007). p. 78
54. Sahoo, H.N. , (2009). op.cit., p.94.
55. Ibid.,(2009). p.94.

ISSN: 2005-4238 IJAST 7462

Copyright ⓒ 2019 SERSC
 International Journal of Advanced Science and Technology
Vol. 29, No. 03, (2020), pp. 7451 - 7465

Plate No.1 : The Rishavanatha image is preserved in the jagamohana of the

Grameshvara temple, Nibharana, Cuttack District, Odisha, India

Plate No. 2 : The Rishavanatha image is found inserted in the doorway wall of the
Svapnesvara temple, Adaspur, Cuttack District, Odisha, India.

ISSN: 2005-4238 IJAST 7463

Copyright ⓒ 2019 SERSC
 International Journal of Advanced Science and Technology
Vol. 29, No. 03, (2020), pp. 7451 - 7465

Plate No. 3 : The Gomedha-Ambika image is preserved in the additional shrine of

the Gramesvara temple, Lataharana , Puri District, Odisha, India

Plate No.4 :Ambika, the presiding deity of the Ambika temple, Kenduli,
Khurda District, Odisha, India.

ISSN: 2005-4238 IJAST 7464

Copyright ⓒ 2019 SERSC
 International Journal of Advanced Science and Technology
Vol. 29, No. 03, (2020), pp. 7451 - 7465

Plate No.5 : The Jagesvari image is preserved inside the jagamohana of

the Ambika temple, Kenduli, Khurda District, Odisha, India.

Plate No. 6 : The Rishavanatha image of the Narayani temple ofDhia-

Dhanamandala, Cuttack District, Odisha, India.

ISSN: 2005-4238 IJAST 7465

Copyright ⓒ 2019 SERSC