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(Fig.13) The image represents Parshvanatha, the 23rd Jain Tirhankara, from North India. A Tirhankara is similar to the Buddha, someone who helps people to cross the river of rebirth. Parshvanatha stands contemplating in kayotsarga (an erect posture like a tree trunk) signifying detachment and liberation from all desires. His nudity indicates that he belongs to the Digambara (sky clad) Jain sect and is a statement of Jain doctrine which stresses supreme detachment from all human values and possessions. His powerful and smooth torso is distinguished by an auspicious mark on his chest, and like the Buddha he has a cranial bump. Also, as is sometimes the case with Buddha, he is sheltered by a multi-headed cobra. Above are two elephants and flying figures bearing garlands. This is one of the truly successful figures illustrating the serenity and ascetic ideal of Jainism. | ||
| (Fig. 14) This head was once probably part of a Jain Tirhankara (compare to the previous figure). It is not, however, impossible that it is a Buddha image, underlining how close the iconography is between the two. Both have the curly hair and cranial bump. The smiling countenance, half closed eyes, and thin arched eyebrows give a remarkable delicacy to the facial features and an overall serenity in keeping with the Jain religion. | 
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(Fig. 15) The head is typical of Buddha images from Central Java, such as the some five hundred over life-size images which cover the great monument of Borobudur. These Buddhas can be identified as belonging to the Mahayana pantheon, but without the body and its specific hand gesture, which Mahayana Buddha this head belonged to cannot be determined. The serene face, with soft contours and half closed eyes, is the image of solemn meditation. All the features are derived from Indian prototypes, but it has a pitted complexion due to the volcanic nature of the stone that was used in the construction of Borobudur. | ||
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(Fig. 16 A) This is an impressive figure of a yakshi or female spirit standing under a mango tree while grasping its trunk with her right hand and the branches with her left. The woman entwined with a tree is a common motif in Indian art, often repeated on both Buddhist and Hindu religious structures, such as stupas and temples. The fertile touch of a woman causes the vegetation to spring into life producing foliage, fruit, and blossoms. This pose indicates her fecundity. The exaggerated sway of the Yakshi's hips reveals her attractive physique, which is selectively decorated with bangles, necklace and waist band characteristic of the region and period. Yakshi remained a source of inspiration for sculptures who never departed fro their enthusiasm for the beauty of the female form. (Fig. 16 B) On the back of this sculpture is the head of a lion and a bilingual inscription of which the first three lines are in Brahmi and the fourth in Kharoshti. |
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(Fig. 17) This exquisite figure of a lady with four arms is a goddess, probably a depiction of Sarasvati from a Jain temple in Western India. She stands in the double flexion (dvibhanga), exhibiting a sweet yet dignified charm. Her supple body, particularly the waist, thighs and arms, is decorated with delicate strands of jewelry. the ends of a narrow, flowing garment extend toward the two female attendants who stand on either side. Although sensual, the image is the epitome of dignity and represents the power of the goddess. | ||
| (Fig. 18) This is a beautiful portrait of the Hindu goddess Parvati, Shiva's consort, from the Mathura region. Parvati is identifiable by her elaborately jeweled coiffure, in the form of matted locks, which indicate (ironically, considering her rich ornaments and voluptuous figure) her ascetic nature. Parvati, like Shiva, combines simultaneously the sensual and the ascetic. She is full bodied, which is emphasized by her rounded neck pearl strands and ornaments. Her face radiates a sense of warm flesh with a restrained expression. the characteristic of the sensual and the sacred are combined in this sculpture, the latter suggested by the matted locks and the diaphanous garment. | 
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(Fig. 19) Buddha sits in meditation, reaching down with his powerful right arm to touch the earth, calling her to witness his right to Enlightenment. This, perhaps the essential moment in Buddha's life and of all Buddhism, indicates his triumph over Mara, the king of karma, the actions which keep people in continuous rounds of rebirth, pain and death. Buddha is thus at the moment of leaving both the sensual and the ascetic by moving beyond them through Enlightenment and ultimately Nirvana. Within this visual depiction of Buddha's determination and ascetic intentions is contained the narrative event of the temptations of sensuality, of samsara within nirvana. | ||
