Bronze figure of Santinatha, bronze, probably Rajasthan, Western India, 12th century (the backplate probably later).

The meditating figure of Shantinatha (Santinatha), the 16th Jaina Tirthankara, is seated in the padmasana posture, on a jewelled cushion richly decorated with silver and copper inlay. There is a tiny figure of the deer which is the symbol (lanchana) of this Tirthankara. The figure is beautifully modeled, with finely articulated hands and feet. The symmetrical curls of hair frame a face of serene calm. The prominent srivatsa mark on the chest is inlaid with silver and copper. The eyes are silver and were probably once set with precious stones and crystal, now missing. An aureole is given behind the head with lotus design. A portion on top of the aureole is missing, perhaps it held a chatravali (umbrellas). The elaborate back-rest of the throne is cast in two sections, the lower section shows the fly-whisk bearers and the leogryphs and male figures. Two garland-bearers (maladharas or vidyadharas) and two seated four-armed female figures (yakshis) are shown on the throne-bar. Elephants and drummers are shown on top. A meditating male figure seated in the lalitasana posture is illustrated on top in the centre. We are unable to identify this important figure. Branches of the Kevala tree of the Jina also are shown on top with pots. This image of Shantinatha is one of the finest twelfth-century western Indian Jain monumental bronze castings recorded. The modelling and casting of the backplate, however, gives the appearance of not being contemporary. In all probability it was cast as a replacement, perhaps as late as the fifteenth century. An inscription on the base of the image confirms the identity of the Jina and the date of its dedication.

Shantinath (Santinatha), the sixteenth Jina is especially revered in the Jain pantheon. He is said to have revived Jainism at a time when it was in danger of extinction and thus assured the faith's survival. Over time he came to be invoked to avert calamities and ensure calm in the world, as his name suggests (santi means "peace"; natha, "lord"). The popularity of Santinatha resulted in a great many images being produced, including large-scale bronzes of superb quality as seen here. The distinguishing attribute of Santinath is the deer, which is placed on the throne-base of the image. This cognizance is independent of the deer flanking a dharmachakra, which came to be associated with all Jinas. This is a rare example of monumental bronze casting from the medieval period and bears an inscription dedicating it to the triumph of Sri Santinatha in the year of Vikrama-Sanwat 1224 (1168 AD).

Probably Rajasthan, India

Shantinath is especially revered in the Jain pantheon. He is the 16th Jina (saviour-teacher) and is said to have revived Jainism at a time when it was in danger of extinction, assuring the faith's survival. Over time Jains came to invoke him to avert calamities and ensure the peace his name suggests (santi, ‘peace’; natha,‘lord’).

This image is one of the finest 12th-century western Indian Jain monumental bronze castings recorded. The figure bears an inscription dedicating it to the triumph of Sri Shantinatha in the year of Vikrama-Sanwat 1224 (1168 AD).

The naked meditating Jina is seated in the ‘padmasana’ posture on a jewelled cushion. This is richly decorated with silver and copper inlay and deer motifs. The deer which appears on the throne-base is the attribute (symbol) associated with Shantinatha.

The figure is beautifully modelled, with finely articulated hands and feet. The symmetrical curls of hair frame a face of serene calm. The prominent ‘srivatsa’ mark on the chest is inlaid with silver and copper. The eyes are silver and were probably once set with precious stones or crystal, now missing. The highly elaborate back plate is cast in three sections and provides the ‘prabhavati’ (radiating halo). It also supports the fly-whisk bearers and celestial attendants, elephants and musicians who pay homage to the Jina.

930(IS)