Prof. Dr. Nagarajaiah Hampana
A painting of Śrutadevī seated on her mount haṁsa (goose), on white cloth, of late fifteenth century, based on Vardhamānasūri's description is extant. Similarly, an unique painting of Śrutadevī figures on the opening page of Jaina manuscript of the Nāmasāroddhāra on the Abhidhāna-cintāmaṇi of Kalikāla Sarvajña Hemacandra Ācārya (1088-1172 CE), has survived. It is interesting to note in this painting that Śrutadevī is seated on peacock. She holds Manuscript and rosary in her left hands, harp and varada in her right hands. She wears sari and blouse. Above her head is an embellished umbrella with fly-whisks in the flank.
Indranandi (930 CE), teacher of Kannada poet Ponna (960 CE), erudite in the genesis of Jināgama tradition has authored the Srutāvatāra. It is a non-such work of its genre and has authenticated the major Jaina saint-scholar's lineage from Gautama-Gaṇadhara, direct disciple of Vardhamāna Mahāvīra, onwards who passed on the Śrutajñāna from generation to generation without break. Indranandi wrote the work in the Jaina monastery at Mānyakheṭa, capital of the Imperial Rāṣṭrakūṭa dynasty. [Hampana: 2000.]
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[30 ] Uttaraṅga, Temple no. 31(16), Devagaḍh, 10th cent. |
Littérateurs, dialecticians, grammarians and friars sought her grace. Legends of winning deity's favours in their endeavour are not lacking. The Prabandhakāvyas, the Prabhāvakacarita narrate such stories. Bappabhaṭṭisūri defeated Vardhanakuñjara, a Buddhist dialectician, Hemacandra Ācārya (12th cent.) wrote a new grammar. Malliṣenasūri (1047 CE) was blessed with Sārasvata power, Bālacandrasūri (c.13th cent.) became Siddhasārasvata, Mallavādasūri composed logical treatise the Nayacakra, Vṛddhavādisūri (c. 4th cent. CE) earned mastery of all vidyas, Harihara reproduced 108 verses just by listening to their recitation once - all with the blessings of Sarasvatī.
Śrutadevatā is the personified knowledge embodied in the Āgamas. She is only next to Jinas because she is Jinavāṇi. It is in this concept the tri-tīrthaka relief, mentioned and discussed in the previous chapter, assumes importance. The sculptural manifestation is an art expression of traditional belief.
The Śruta-Pañcamī or Jñāna -Pañcamī consecrating Śruta-skanda plaques in the Jina-mandiras and serving the rites of Śruta-Jñānavratas speak of the prominence accorded to Śruta. |
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[32] Architrave panel, Vimala Vasahi, Dilvaḍa (Mt. Abu), 12th cent. |
Small, but not miniature, representation of Śrutadevī is shown at one of end of the big sculptures like that of Cakresvarī (Deogarh) or on the stone slabs depicting navagrahas, the nine planets (Khajurāho and Devagarh), or on the lintel (Khajurāho).
Some attributes are common between Sarasvatī and Śrutadevī:
Śrutadevatā śvetavarṇā śveta-vastra-dhāriṇī
haṁsavāhanā śvetasimhāsanāsīnā
bhāmaṇḍalālarikrta caturbhujā
śvetābja-vīnālaṅkṛta vāmakarā
pustaka muktākṣamālaṅkṛtādkṣiṇakarā
-Bappabhattisūri, Sarasvatī-kalpa
Śrutadevī is white, wears white clothing, rides on a goose and sits on a white-lion-throne. Light radiates from her person. She holds a white lotus and a vīṇā in her two left hands, a book and the rosary in her right hands'.
Uttarāṅga, Temple no. 31 (16). Devagaḍh, 10th century on either side of the seated Jina are the figures of Navagrahas, 'nine planets'. Four-armed deity in lalitāsana is at the left corner.
