Shri Rishabhnath is the foremost in all the other twenty four Tirthankars being first in them Adi-Jin. Hence it was natural that when idol worship began Adinath was acknowledged as a chief one. Generally the worship of idols in Jainism is regarded as old as Jainology itself or the beginning of human culture but in order to prove this fact there is scarcity of old architectural sculptures. In Sindhu culture, small nacked persons in red carved stones found in Harappa have been recognized as Jain idols by some of the learned persons (Picture no.1 -National Musuem, New Delhi). If this principle is acknowledged then the idols of lord Vardhman or Mahaveer and Parshvanath about four/five thousand years ago can not exist. Lord Neminath whose period was of Mahabharat time, may not have become so famous that his idol should have been felt as essential. The other twenty Tirthankars have been known only by names in Jain sculptures and specially in Kalpa Sutra. Hence the carving of any of their idols can not be thought of under such circumstances the said idol of human body can be supported to be an idol of Rishabhnathji alone. It is worthy to be mentioned here that at that time the symbols of tirthankars were not for identification. Therefore the said idol may not have been recognized but by approximation may be of Aadinath and there should be no objection at all. As a sculpture of art, it is an art of super nature. It reveals the culature of many previous cultural arts. Therebeing no head, arms and legs even then it shows marks of joints that these limbs have been separately carved and fixed. The appearance of a body is approximately Unani and the belly and its uplift reminds that of Kushan or its prior idols of Yakshas. Some of it point to Khincha Sharir Pranayam which could only be given shape by Indian artists. In all these wonderful idols one, art has several pairs of secrets. Some persons agree that it is an idol of Yoksha.

After Harappa culture connection with Jain idols refering to cultural art about two thousand years have elapsed and this fact reveals the inscription of elephant cave of Khandgiri which is in Orissa, since prior to two hundred years prior to Christian era that the Ruler of Kalinga Kharvel had attacked Magadha in the 12th year of his ruling period and in the memory of his victory he had taken in possession of that Jain idol which was taken to Magadha from Kalinga by Nanda Raja i.e. this idol of Jin was already established prior to four hundred years of Christian era in Kalinga then this idol must have been carved previously.

It is recognized that near in Morya period the polished naked body is the same idol of Jin the discription of which is given in scripture of Kharwel (Picture no. 2-Bhartiya Gyanpith, New Delhi). Some facts here need attention. The first thing is where this idol was originally established and where was it transferred ? How did it again reach Bihar etc ? These are unrevealed facts. The second point is that such a polish was neither used before the period of Ashoka nor any proof has been found regarding stone idols being carved. Therefore it is not proper to think that the Jin idols referred were contemporary to Nand Raja period.

It is also unsolved that it should be recognized as which of the Jin? Surely the period to which it belongs, there was no symbolic system of recognization of Tirthankars. It is also doubtful that the recognition of the twenty four Tirthankars will have been established. And as already been made clear that hundreds of years before Christ Rishabhnath had become fully popular. Hence the idol may be supposed to be that of Lord Aadinath. The idol mentioned in Kharwels scripture is called as Kalinga Jin.

Now it is to be considered that which of the tirthankars were recognized in Kaling at that time. The learned persons have given different opinoin about this point. Surely the Jin had been so much acknowledged in the general public as well as ruling dynesties that it had been famous in the special areas as well as in lenguistic definition that had become as a Lord of special areas of country and this recognition went on for several hundred years. It seems that he was a separate one from Lord Mahaveer. Because Lord Mahaveer who was born in Bihar does not seem to have been recognized in the period of Nand Raja or Kharwel as Kaling Jin. The same thing may be said about Neminath and Parshvanath. On the other hand Rishabhnathji had been recognized already prior to Lord Mahaveer in all the foursides of the country. Therefore, it may meant that the Kaling Jin mentioned in Kharwels scriptures may be Rishabhnath.

Besides these uncertain and doubtful idols of Harappa and Lohanipur the dawn of Jain idol art took place at Mathura. Its origin is with Ayag Patas in the first centuary B.C. In which many a show emblems are engraved. In some of them shape of idols of tirthankars are small and there being no marks of identification they can not be recognized. But the idol of Parshvanath is covered by a snake since beginning and there is mark of it one Ayagpat. The remaining tirthankars are known by written names.

After some time of Ayagpats the carving of Jin idols in free condition began in Mathura and very soon Lord Rishabhnath was shown with long hair falling on shoulders. In Mathura these idols are found in three appearances (Mudras). First in Padmasan meditation, second standing in penance which is called "Kayotsarga Mudra" and the third Sarvatobhadra or having four faces directions on a four sided pillar. These are often found standing and have a scripture below in Brahmilipi. Out of these four Jins Rishabhnath is identified by the hair touching its shoulders and Parshvanath by covering of a snake. It is impossible to identify the other two. The study of scriptures and Jain Sahitya reveals this fact that in Mathura the worship of Rishabhnath, Parshvanath, Suparshvanath, Neminath and Vardhman Mahaveer were being done.

In addition to these three types of idols one stone monument is found which belongs to second or first centuary BC. It shows renunciation of Rishabhnath (Picture no. 3-State Musuem, Lucknow, U.P.). One dancer is shown dancing in court drumers and trumphuters are playing on and the naked person is renunciating for penance. It is said that the royal dancer Nilanjala became uncouscious while dancing in court, In Jain literature Nilanjana has been described as Apsara also. Seeing her pains and uneasiness Rishabhnaths heart moved for renunciation and he went out leaving the Royal position for penancing in forest. The description of Tirthankars life activities is very rare. As per Jain literature one princely dancer named Nilanjala died while dancing in the court of King Rishabha Dev and another Devangana looking similar to Nilanjana began to dance in her place. This happening roused one feeling of renunciation in the mind of Rishabhadeva and he gave kingdom to his eldest son Bharat and left for penancing. According to this view the state Musium in Lakhnow has a great importance for having this old sculpture in safe custody.

In this way Mathura has played an important role in carving of idols of other Lords and greatmen. Similarly the originals of Jain idols are also presented by Mathura to India. In this view the science of idols, carving art and beautys knowledge has been established. In the cultural art of Mathura the red stones with lines and grey stones were used for Jain idols. It is a special custom of this place to engrave Jain idols with Shriwats on chest which has been adopted at many places. But in East and South India the idols were made with mark of Shriwats. The idols of Rishabhnath also prove this fact. The Jin idols in Mathura often have scripture below platform of feet which has description of samwat and Jain unity and sociely. It is difficult to say that during Gupta period the Jin idols were carved on the basis of religious script or the prevailing idol system were in accordence to it but it seems that Wrahat Sanhita and the famous idols of Mathura are coutemporary.

The idols in Mathura established by Samudra and Sagar have script of Brahmi during Gupta period and so they have great importance because "Rishabhasya Pratima" (Idol of Lord Rishabh) is written (Picture no. 4-National Musuem, New Delhi). It has made it very easy to recognise the idols of Rishabhnath after a long period having elepsed. The hair on shoulders became an identity for mark identification.

It is necessary to mention about the Jain idols of Mathura and specially Rishabha idols recieved from Kankali and now placed in State Musium of Lakhnow one Wrasharohi idol which is of Sunga period. It is possible that it may have been established in the form of "Dhwaj Murti" before the carving of independent idols which may mean Rishabha.

In Shahbad District of Bihar in Chousa the idols of metals which were found in a large quantity, also include some of the idols to be of Rishabhnath. Their period is of about fourth century A.D. out of which Kayotsarga (Picture no. 5-American Institute of Indian Studies-Varanasi) and Dhyanastha (Picture no. 6-American Institute of Indian Studies-Varanasi) both kinds of idols are there. In the same way the idols of metal found at Akota in Gujarat are also worthy to be mentioned. One idol is of the end of 9th century A.D. and is of twenty four Lords. Lord Rishabhnath is shown in the middle of it wearing a Dhoti which belong to Swetamber Jain tradition (Picture no. 7-American Institute of Indian Studies-Varanasi).

After Gupta period the marks of Jain idols of Rishabhnath with other idols became fixed and the problem of recognition was solved. In the middle age the idols became of variety and with them their followers or protectors (Sashan Devata) were also carved. Accordingly the holy mark of Rishabha was fixed to be an ox or bullock. His yak was gomukh and 'Sashan Devi' (protector) became Chakreshwari.

From the middle age i.e. from Ninth centuary A.D. generally all Jin idols follow the path of marrings. Surely, the distinction of area may be in clear condition.

For example at some places there is Shriwats and at other places it is absent. At some places it is Digamber (naked) and sometimes it is shown with clothes. The Kanshya idol found in Chopara of Khandesh which belongs to 8th centuary approximately and dispresent in prince of wells musium in Bombay. Rishabhnath is shown wearing Dhoti, which is according to Swetamber traditions.

In the middle age other figures were also carved with identity marks and Shasan deotas, such as Gandhar Chawardhari, Upasak (worshiper) and sometimes doners with the chief idols. Above them illusive and Maladhari Gandharvas were also engraved. The Deo Dundubhi Vadak also were presented with them as a necessity. Some of the idols of Parshvanath were also decorated in the side portion by elephants, lions and shardul etc. The carved and engraved marks were called the eight astonishments.

By showing them the impression of the chief Lord and this astonishment was pointed, which is the main speciality of idol carving of the middle age. The architectural idol found in Khajuraho which is of tenth centuary approximately is worth praise (Picture no. 8-American Institute of Indian Studies-Varanasi).

The idol of Rishabhnath is also carved with the other Jin idols. If it is with the twenty four tirthankars then it is called as twenty four Lords. If there are three Jins then it was called Tritithi or Trimurti. If five then Panch Tirthi. This tradition went on from Kushan age till the end of middle age. Simultaneously Sarvatobhadra or four sided idols included idol of Rishabhdeo which remained popular in all ages. In Jadhina (Bharatpur, Rajasthan) an idol was found in which the Lord is shown in Dand Mudra (Picture no. 9-American Institute of Indian Studies-Varanasi).

The idols of Rishabhnath have been found throughout India in regional areas and Gujarat, Maharashtra, Karnataka, Andhra Pradesh, Rajasthan, Uttar Pradesh and Madhya Pradesh are chief of them. Some idols have also been found in Bihar, Bengal and Orissa.

The idols found previously are mostly of Pasan Yug (stone age). In Gupta period the metallic idols were found and during middle age due to Bhakti and personal service small idols were made in a large quantity. Many idols have samwat year carved on them. It increases their historic and periodical importance. One of the Kansya idol of west India kept safe in National Musium, New Delhi is of Samwant year 1599 which to be of 1541 A.D. (Picture no. 10-National Musuem, New Delhi). In all the musiums of India the idols of Rishabhnath are safely kept. Some of them are also found in Art gallaries Musiums and Artitectural places are also to be seen and they also represent the foreign Musiums with this view the musiums in Bangladesh, France, England, Denmark, Germany and America are worthy to mention. Only in British Musium many idols of stone and metal are of Rishabhnath. Late Brajendranath Sharma had given discription of the safely kept idols in the musiums of India and foreign countries in one of his books. It was a very important survey which was published in 1979. Since them then stock has increased and on the basis of certified sculptures the increase of stock is expected.

Adapted from : Rishabh Sorabh Patrika 1994.

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