Studies in Indian Art c12.s13.4

c12.s13.4

From the point of view of art the Āyāgapaṭṭas from Mathura rank amongst some of the most beautiful specimens of the Mathura School of Sculpture. They are exceedingly well conceived and the composition adequately conveys the meaning of the symbolism they seek to represent. The grouping of the static and moving figures and the arrangement of the religious symbols produces a fine harmonious effect. The Tīrthaṅkara figure seated in the central circle in meditation, symbolises as it were the bedrock on which Jaina metaphysics bases its conception of world creation. The Arhat figure predominates the whole group, every thing else, viz., the *Triratnas*, the *Svastika* and the other symbols stand fixed in relation to it and revolve round it. An ideal harmony of the static and dynamic aspects of creation seems to have been achieved in art on these Āyāgapaṭṭas (*Figs. 8,104*) The conspicuous *Svastika* on J. 250 with a circle at the centre enclosing the figure of a Jina is primarily a symbol of creation or birth. The *Svastika* has been universally worshipped in India as part of the natal cermonicsal ong with *Shashṭhīpūjana* performed after the birth of the child. Bāṇa Bhaṭṭa gives an elaborate description of the ceremonial of *Svastika* worship after the birth of Prince Chandrāpīḍa and the custom can be traced to earlier times.