AKOTA BRONZES

Ankottaka (modern Akota) was the famous seat of jainism and Jain studies towards 5th century AD. The metallic images recovered from Akota, on the western fringe of modern Vadodara, heralds the great antiquity of Akota. The hoard of jain bronzes provide interesting studies in metallic art and development of metal technology during Gupta, post-Gupta and medieval period. Shri U.P. Shah saved this hoard from dispersal by purchasing and protecting it. He later presented this to M.S. University which transferred it to Baroda Museum.

There are in all sixty eight images recovered so far and Shah's monograph titled "Akota Bronzes" describe them vividly. Of these two images of jivantsvami, name used to indicate Mahavira who was still a prince, are striking examples of the early western Indian school of art. Of the two, the one inscribed as jivantsvami installed by Nagisvari displays strength and elegance. Its large eyes with bulging lids and the roundness of face represent early phase of the Gupta style. Whereas the figure of Jivantsvami having four side cylindrical crown with a Chaitya-window ornament in front and lotus motif on sides represents the late phasae of Gupta style. Both these images could be unquestionably assigned to the Gupta period.

Similarly there are two images of Tri-Tirthika Parsvanatha of post-Gupta period in which Parsvanatha is flanked by two standing figures of Tirthjankaras. In the image, which is inscribed to have been gifted by Sadhu Sarvadeva there, are eight standing figures on the upper platform representing eight planets, four on each side of dharmachakra. The snake hood in these images suggests the protection of serpent king to meditating Parsvanath. It also indicates his absolute purity and freedom from snares of karma.

Of the same period are the images of Ambika on Lion and Standing Sarasvati. In the image of Ambika the flamboyant circular type of halo with a miniature jina figure having umbrella type of structure overhead, the typical ear ornament and the hair design are significant. In the image of Sarasvati, the lotus association is significant as it symbolises thought devoted to beauty, divinity and perfection.

The image of Chamardharini is well preserved, however, the left hand that held Chamara is mutilated. It gracefully stands in tribhanga pose on a carefully carved lotus pedestal. The hair of the lady is yield into a graceful bun, which is decorated at the back with roses and in front with the chudamani ornament. The modelling of the body is superb and full of grace. Ornaments like bracelets, necklace with several pendants and girdles across the hip with ornamental chain between the legs add to the beauty and grace of this marvellous image which represents western India school of art in its full glory during the Solanki period between11th and 12th century AD.