Interna tional Jo urna l o f Applied Research 2016 ; 2 (2 ): 616 -61 8

ISSN Print: 2394-7500

ISSN Online: 2394-5869
Impact Factor: 5.2 Depiction of Yaksha and Yakshi’s in Jainism
IJAR 2016; 2(2): 616-618
www.allresearchjournal.com
Received: 13-12-2015 Dr. Venkatesha TS
Accepted: 15-01-2016

Dr. Venkatesha TS
Jainism, one of the oldest living faiths of India, has a hoary antiquity in Karnataka. No doubt,
UGC-POST Doctoral Fellow this religion took its birth in North India. However, within a couple of centuries of its birth,
Department of Studies and this religionis said to have entered into Karnataka. Jaina tradition ascribes III C.B.C. as the
Research in History and date of entry of this religion to south India, and in particular to Karnataka. After this period
Archaeology Tumkur Jainism grew from strength to strength and heralded a glorious era, never to be witnessed in
University, Tumkur-572103
any part of India, to become a religion next only to Brahmanism in popularity and number.
Though Jainism was spread over different parts of south India within the first few centuries
of the Christian era, its nucleus as well as the stronghold was southern Karnataka. In fact, it
is the general opinion that the history of Jainism in south India is predominantly the history
of that religion in Karnataka. Such was the prominence that this religion enjoyed throughout
the first millennium A.D.
Liberal royal patronage extended by the Kadambas, the Gangas, the Chalukyas of Badami,
the Rashtrakutas, the Nolambas, the Kalyana Chalukyas, the Hoysalas, the Vijayanagar
rulers and their successors, resulted in the uninterrupted growth of this religion in southern
Karnataka. The growth, spread and popularity of Jainism in Karnataka is best illustrated by
the beautiful monuments that the Jains constructed in different parts of the State. In the
general pattern of architectural and art forms, they, nevertheless, adopted or followed, the
contemporary Brahmanical architectural style prevailing in Karnataka. That is to say during
the early period their architecture was similar to the Dravidian temple forms as practiced by
the Gangas, Chalukyas, Pallavas etc. During the Hoysala period, they conveniently followed
the traditional Hoysala as well as Dravida styles. Again during the Vijayanagar and later
periods they built basadis in the same popular Dravidian style.
Jaina art does not differ from Hindu and Buddhist art in matters of form. The same aesthetic
norms, theories of proportion, and formal concepts are basic to the art of all three religions.
In general the history of Jaina art can be divided into three phases. (Pal, 1994) [1] The Early
phase from second century B.C.E to third Century C.E, the second phase stretching roughly
from about the fourth until the eighth century and the final phase from around 1000 until
1300 may be regarded as the golden age of Indian temple Architecture.

Jaina Subsidiary Deities

After the Sixth century many other deities began to be represented. The Jinas were now
attended by guardian deities. The most important new development was the acceptance of
female divinities, both as companions to the Jinas and as independent deities of wellbeing.
This was a very important concession to the growing and influential lay community, for
which the concept of wellbeing became a basic ingredient of the religious life. (Pal, 1994) [1]
While the Jinas retain their primacy in Jain devotion, there are many other subservient
figures, including guardian spirits, celestial beings, and divinities, known as Sasanadevata,
or tutelary deities, systematized in several classes such as Yakshas and Yakshis, vyantaradevata
(peripatetic gods), vidyadevi, etc. The term Yaksha was once used synonymously with deva or
devata to mean a god but later acquired the connotation of a demigod.
Correspondence
In Jainism the original meaning appears to have been maintained, for most Yakshas and
Dr. Venkatesha TS
UGC-POST Doctoral Fellow Yakshis are regarded as divine beings. They generally serve the Jinas as guardian angels and
Department of Studies and are frequently present in images. Impressive depictions from Karnataka of Dharanendra and
Research in History and Padmavati, the Yaksha and Yakshi of Parsvanatha indicate their status in that region. Though
Archaeology Tumkur in Jaina literature Yaksha cult seem very ancient, Yaksha images do not appear in art much
University, Tumkur-572103
earlier than fifth century. The earlier scriptures like the Sthanangasutra,
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Uttaradhyayan-sutra, Bhagawati-sutra, Tattvartha-sutra, and pratisthasarasamgraha, give different number of the

Antagadadasao-sutra, and Pauma -chariya have frequent hands for the same Yaksha, such as, Matanga or Varanandi.
references to Yakshas and Yakshinis. In the Pratisthakalpa, The first text gives him four arms carrying a staff, a spear,
finally the establishment of the character and the function of Swastika and a flag (Ketu), while the second endows him
Sasanadevatas is achieved, when it says: Ya pati sasanam only with two hands. By about the 8th -9th century under the
jainam sadyah pratyuhanasinisa.....bhuyat sasanadevata- indirect influence of esoterism that was flourishing in
(Bhattacharya, 2007) [3] Buddhism and elsewhere, Jainism felt inclined in figuring
Many Jains pay their respect to these Yakshas and Yakshinis separate entities of Sasanadevatas, shaking off their
for having them provided protection to Tirthankars and to the attachment to Jina figures through miniature representations
existence of Jainism. These are the reasons, they are found at the sides or on the pedestals found equal favor with the
around the images of Jinas as well as their individual images artists throughout, both in the North and in the South.
in many Jain temples. Yaksha usually found on the right side The gods and Goddesses borrowed from the Brahmana
of the Jina idol while Yakshini on the left side. In Jain pantheon may be put into three groups. The first group
temples, they are never situated in superior physical locations consists of the Yaksha-Yakshi pairs made up of minor
in relation to images of the Jinas. These are benevolent divinities who are not known to have been related with each
Yakshas and Yakshinis. There are also malevolent Yakshas other before their adoption in Jainism. The second group
and Yakshinis who caused sufferings to Tirthankars and comprises the pairs who are related with each other, such as
troubles to Jains and existence of Jainism. For example, Isvara and Gauri, the Yaksha and Yakshi of Sreyamsanatha,
Yaksha Sulpani troubled Lord Mahavir in his mediation and who are none else but Siva and his sakti. The third group
inflicted much suffering and there are similar stories in includes Yaksha-Yakshi pairs, such as Gomukha and
which malevolent Yakshas troubled others as well. The Jains Cakresvari, repectively the Yaksha and Yakshi of
do not pay their respects or worship Yakshas and Yakshinis Rsabhanatha who represent two different well known sects.
for the material gains, favor and freedom from fear, illness Gomukha and Cakresvari are Siva and Vaishnavi, the two
and disease. They pay their respect to them for their service principal deities of Saiva and Vaishnava sects. (Tiwari,
to Tirthankars and Jainism. 1983) [6] There are legends associating them with their defied
teachers. An elaborate description of colour, form, attributes,
Iconography vehicles, etc. distinguish the Yakshas and the Yakshis.
The iconographic details for each of the well-known sasana- The earliest Yaksha Yakshi pair carved in Jaina sculpture was
devatas numbering twenty-four male forms, attached to the Sarvanubhuti and Ambika. Next comes the figure of
twenty-four Jinas (Tirthankaras) and the twenty- four female Dharanendra and Padmavati, the Yaksha Yakshi pair of
forms, considering generally as consorts of one or the other Parsvanath the Jaina pantheon slowly developed around the
male sasanadevatas, may be stated that many of the twenty four Thirthankaras who constitute the principal
sasanadevatas, male or female, are known by the name of objects of worship. (Sivaramamurti, 1983) [7]
Brahmanical and Buddhist deities, though most often the
details of the iconography differ from these in those faiths, Yaksha Couple: Dharanendra Padmavati
By the time, further, these sasanadevatas were
ichnographically recognized in texts and came to be
represented in icons, the bifurcation between the two sects,
Svetambara and Digambara had taken place, with the result
that the iconographic details for those that belong to one sect
were different from those that were accepted in the other. In
fixing the iconography of these Sasanadevatas, the
pratishtha texts that had appeared in the meantime were of
considerable help to the artists in giving shape to the
concepts. These Pratistha or Installation texts also got
divided into Svetambara and Digambara, affiliating
themselves to the one or the other of these texts. While thus
the Digambara texts include pratisthasangraha, Karnataka; 12th century Stone; 297/8 in. (76 cm)
pratisthasarasangraha, pratisthasaroddhara, Mandira- Courtesy: Prince of Wales museum of Western India, Bombay
pratistha-vidhana, and a few others, the Svetambaras depend
on the compilations like pravacanasaroddhara, This pair was evidently intended to accompany an image of
pratisthatilaka, Nirvanakalika, Acaradinakara, and others. Parsvanatha, the two images reflect the work of the same
Both also take into account several caritra-granthas and sculptor in their modeling, ornamentation, and iconographic
Pujavidhis. (Bhattacharya, 2007) [3] features. It is a fine example of the ornate sculptural style
However, both Digambara and Svetambara texts prescribe that prevailed in the time. The four armed Padmavati is
the same general features of sasanadevata, as to the change holding a beautifully carved lotus in her lower right hand and
in the character of a Yaksha when absorbed from the Hindu a goad in her upper right. In her upper left she holds a noose,
or Brahmanic fold to the Jaina, a pertinent example is that of while the broken lower left hand, judging by the gesture of
Tumbara, who in Hindu literature is a divine musician, a her companion, must be in Varada mudra. This fits well with
Gandharva, endowed with a musical instrument, as a Yaksha the description mentioned in the
attached to Jina Sumathinatha carries deadly weapons. Trishashtisalapurushacharita, the Jain canonical text by
(Bhattacharya, 2007) [3] Hemachandra. Her high and elegant crown is topped by a
Another interesting point in so far as iconographic details of single serpent hood. In the larger group she would have
Yaksha-yaksinis are concerned is that in some cases texts in occupied a place to the left of the Jina, hence to maintain a
the same sect, e.g., Digambara, such as pratisthasaroddhara visual balance, her left leg is pendant. The details of her sari
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and waistband have not been carved, and even her bracelets pervasive motif in the art of Southern India. From the mouth
and other ornaments have remained incomplete. Padmavati of this monster issues a wondrous flowering wine that binds
may originally have been a snake goddess like the Hindu the composition together. (Pal, 1994) [1]
goddess Manasa. Apart from her serpent attributes, her most
distinctive cognizance is a curious creature combining the Conclusion
forms of s serpent and a rooster. (Pal, 1994) [1] While the Jinas are the highest venerated members of the
The Yaksha Dharanendra has almost identical attributes, Jain pantheon, there are many other deities and subsidiary
even though these do not conform to his iconography. He divinities portrayed in Jain art. These include gods and
normally would have been shown holding a serpent, but he goddesses, guardian spirits and celestial beings who, it is
does not have a hood of three snakes. The sculptures have assumed, came to be worshipped as a result of exchanges of
several similar features. In both, the details of the noose and ideas with Hinduism and Buddhism. All India's early
the lotus are exceptionally fine, and even the flow of the religions shared a common ancestry in the nature cults of the
garland is gracefully maintained. Both aureoles are ancient Vedic period.
architecturally, consisting of moulded stambha, or pillars, on Although many of the secondary members of the Jain
either side of the images, over each of which is a torana. pantheon are shared with the Hindus and Buddhists, Jain
These are decorated with six floral-scroll roundels, and at artistic representations generally emphasise only their benign
each apex is a beautifully carved Kirtimukha. (Pal, 1994) [1] forms, due to the principle of nonviolence. For Jaina art and
iconography tranquility (santarasa) is the prevailing
Yakshi sentiment, in keeping with the jaina insistence on
nonviolence (ahimsa) which can also be seen in the Yaksha
and Yakshis.
The spread of Jainism in South has contributed in great
measure great monuments that speak eloquently of the
aesthetic taste of the patrons and the architects who
constructed the deities in all their glory of divine form. In the
realm of art, the Yakshas and Yakshis have occupied an
important status through ages, highly influenced by the Jaina
religious conceptions and their images have been found
throughout India.
Karnataka (?); 9th century Copper alloy; 9in (22.9cm)
References
On loan from the royal Ontario museum, Ruben wells 1. Pal Pratapaditya. Jaina art from India, Thames &
Leonard Bequest. This beautifully proportioned figure stands Hudson: New York, 1994, 25.
on a lotus base; she holds a lotus rhizome with her right hand 2. Ibid.
and the stem of the lotus bud with her left. These attributes 3. Bhattacharya, A.K Indian and East Asian Art and
are not sufficient to identify her precisely, but almost Iconography, Bharatiya Kala Prakashan: Delhi, 2007,
certainly she was the attendant Yakshi of a Jina. The 131.
depiction of the lotus rhizome and the relatively articulate 4. Ibid.
modeling of the back are unusual and noteworthy figures. 5. Ibid.
(Tiwari, 1983) [6] 6. Tiwari MNP. Elements of Jaina Iconography,
Indological Book House: Varanasi, 1983, 8.
Jina Parsvanatha 7. Sivaramamurti C. Panorama of Jain Art, the Times of
India, New Delhi, 1983, 25.
8. Pal, P. op. cit. 34
9. Ibid.
10. Tiwari, op. cit. 8
11. Pal, P. op. cit. 165.

Karnataka; 11th –early 12th centuries Schist; 38 3/16 in. (97cm)

Courtesy: British Museum.

The seated figure of Parsvanatha is represented in deep

mediation, undisturbed by the storms which have unleashed
against his quietude. He is sheltered by the seven hooded
servant king Dharanendra, who is also represented in
anthropomorphic form seated adjacent to the Jina with his
Yakshi Padmavati, on the opposite side. Their respective
vehicles, elephant and rooster, are beneath them. Parsvanatha
is honored with the triple tiered umbrella rising above his
head. At the apex of the stele is a kirtimuIkha mask, a
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