ever, of the Jains, differs from that of the Buddhists, as the former believe in the existence of a soul within the body, and in the transmigration of souls, moksha being the emancipation from the power of transmigration. The system does not teach the existence of a God, nor, like the Hindu faith, the absorption of the soul into the deity, but it includes in its angels and demons nearly all the gods of the Hindus, and the Vedas are respected and sometimes quoted, according to Rhys Davids, in support of Jain doctrines, but Burgess says that one of the leading doctrines of Jains is the denial of the authority of the Vedas. The Jains are most numerous in Western India, but they are also scattered over the rest of India, and they have one recent temple in Calcutta. Their most imposing buildings are the famous temples at Mount Abu, and their largest colossal statues occur in the Maisur and the Kanara country.3 2 Connagar. In Cabinet No. 5. Cr. 1.-A small marble figure of Pārswanatha, 11"-25 high, seated in the bhumisparsā mūdrā. The cushion on which the figure is represented to be seated is inscribed. On the upturned palm there are three circles, side by side, and on the chest an oval, four-lobed eminence. The small spiral curls in this, as in two of the other Jain statues in this gallery are reduced to a kind of coronet consisting of three concentric bands. A large seven-headed cobra forms a canopy over the head of Parswanatha. 'Conf. Part I of this Handbook, p. 237. 2 Burnes. Journ. As. Soc. Beng., Vol. II, p. 161: Fergusson's Hist. Arch., Vol. II, p. 620. 3 Mackenzie, Ind. Ant., Vol. II, p. 129, Pl. v: Burnell, ibid, p. 353. Pl. xx: Walhouse, ibid, Vol. V, p. 36, Pl. III. Found at low water, at Connagar, on the right bank of the Hügli, about 10 miles above Calcutta, by Babu Behari Lall Bose. This figure had probably fallen overboard from some up-country boat, and is evidently of recent origin. Presented by Babu Haran Chandra Bose, 18th August 1882. Manbhum District. The District of Manbhum forms the eastern part of the Chutia Nagpur Division of the Province of Bengal. It is bounded on the north by the districts of Hazaribagh and Birbhum, on the south by Singbhūm and Midnapore, on the east by Burdwan and Bänkurā, and on the west by Lohardaga. The late Colonel Dalton 1 states that two distinct types of architectural remains are found, one in Jain temples and the other in the Brahmanical temples, and that the former are generally found on the banks of streams. He instances a number of sites, and states that the ruins" are doubtless of great antiquity." 2 In the south-east corner of the Gallery. Mm. 1.-This figure of Santinatha, the 16th Jina, is known by his symbol, the Indian Antelope, placed below the lotus pedestal on which he stands. The figure is carved in bold relief, against a slab two feet high and one foot broad, and behind the figure there is a round slab, like the back of a chair, terminating in a peaked ornament on each side, and behind the head is a somewhat horse-shoe shaped nimbus. There is an attendant male human figure on each side, carrying a chauri, and with one arm akimbo, and below the pedestal on which each stands is a lion. Above these attendants there are, in relief, two other figures of Jinas, one above the other on 1 Journ. As. Soc. Beng., Vol. XXXV, Pt. 1, p. 186. each side of the slab, and above the highest pair there are some effaced figures, probably vidyādharas. The highest pair of Jinas is effaced, and the symbols on the lowest pair are so obscurely represented that it is impossible to determine what they are. From an old Jain temple in the Manbhum District of Chutia Nagpur. Presented by V. Ball, Esq. 22nd August 1877. Mm. 2.-A somewhat similar sculpture, measuring 2' 2" 50 × 1' 2," the principal figure being the first Jina Adinatha, as indicated by his cognizance the bull, below the lotus pedestal on which he stands, and at each corner of which, as in the previous one, there is a lion. There is a male human attendant figure as in the last, less than half the size of the Jina himself. There is also the same kind of arrangement behind the figure as in the last, with the vidyāhharas above uninjured, and a chhatra over the head which has an elaborate head-dress, while the head of the previous figure had small curly locks as in figures of Buddha Gotama. On each side of the principal figure, arranged in seven rows, one above the other on each side of the slab, are the 24 Jinas, Pārswanatha being indicated by the many-hooded snake over his head, but the other symbols have not been indicated beyond some conventional carving in front of each pedestal. From an old temple in the Manbhum District, Chutia Nagpur. Presented by V. Ball, Esq., 22nd August 1877. Kampilya. Kampilya was the southern capital of the great kingdom of Panchala, which, according to the Mahabharata, extended from the Himalaya to the Chambal. Drona, the teacher of the military art to the Kaurava and Pāṇḍava princes having been slighted by Drupada, the king of Panchala, his former school fellow and companion, became his enemy, and by means of the Pandavas took Drupada prisoner, but he spared his life, dividing his kingdom however, retaining the northern capital for himself, but allowing Drupada to retain the southern half and its capital Kamilya.1 It was at this city that the Swayamvara of Draupadī, the beautiful daughter of Drupada was held, and at which she selected Arjuna, one of the five Pandava princes, to be her husband; but through the influence of Kunti, the mother, and the sage Vyasa, Draupadi became the wife of all the brothers. The site of this ancient city, of which no trace now remains beyond a few broken bricks, is in the Doab, on the left bank of the old Ganges, between Budaun and Farrukhā, bad. The ruins were visited by Colonel C. Mackenzie in 1815, and the sculptures he obtained there were Jain. The remains that have been observed at the northern capital of Panchāla are also Jain.2 Ka. 1.-A small reddish sandstone pedestal forming a lion throne, on which four of the Jinas are seated back to back against a quadrangular pillar, terminating above in the foliage of Saraca indica, which forms a bower over each figure, with suspended garlands. The heads of the figures have been broken off. Each figure is in the bhumisparsă mudrā, and there has been a beaded halo behind each head. There is a lion at each corner of the throne, one-headed, but with two bodies, a body to each side of the pedestal which is divided into two parts by a wheel of the law placed transversely, and on one face of the pedestal a man and a woman are worshipping the chakra. The symbols of the Tirthankaras are not shown. Arch. Surv. Rep., Vol. XI, p. 11: ibid., Vol. I, p. 255. 2 Cunningham, op. cit., Vol. I p. 264, foot-note. The total height of the sculpture is 2' 2", and it is 11" the base. There is a mortice on the upper square at surface, so that the sculpture probably formed a pillar, or a baluster of a railing. It is described by Dr. Mitra, as No. 837 of his Catalogue,1 where it is said to represent the "four Dhyani Buddhas" but Dr. Mitra was apparently not aware of the locality whence it was obtained. By the aid, however, of Colonel C. Mackenzie's manuscript drawings, I have been enabled to identify this sculpture as it is there figured (No. 13), and described as a "Sculptured altar brought from the ancient Jain Temple of Campela in Rohilcund." 2 Presented to the Asiatic Society of Bengal by Colonel C. Mackenzie, 15th February 1815. Ka. 2.-A similar sculpture, 2′ 2′′ high, and l′ 1′′.50 square at the base, but without the lion throne. The four Jinas, one of whom is Pārsawānatha, as indicated by the fiveheaded cobra on his head, are standing erect on a simple flat pedestal, at each corner of which are a couple of human figures, much injured, but apparently kneeling. The heads of the Jinas are very much injured. None of them have symbols except Paraswanatha. The top of the pillar against which they stand dilates into a kind of conventional floral canopy over each Jina except Paraswanatha. The sculpture has also a mortice, so that it probably was a fellow pillar or baluster of the previous sculpture. This sculpture is also figured in Colonel C. Mackenzie's drawings, and it has a similar history to the last. In Dr. Mitra's catalogue it is No. 836; and is described as "Four erect human figures, standing under a tree, mutilated." 1 Op. cit., p. 47. 2 This is also No. 7 of Colonel C. Mackenzie's Memorandum. See his letter dated 8th February, 1815, in the MS. Records of the Asiatic Society of Bengal. |