It would appear that the ascetic and the sensual are incongruous and diametrically opposite concepts, but in this complex art the two concepts are juxtaposed in a variety of ways. The nude figure of Parsvantha (Fig. 13), the twenty third Tirhankara, illustrates the ascetic ideal of Jainism. His nudity signifies detachment and self abnegation, the means to attain supreme knowledge, particularly spiritual knowledge (kevalyajnana). The female figure (yakshi) standing under the tree (Figs. 16 A and 16 B) is a visual depiction of sensual joy, sweetness and fertility. In the figure of the female goddess (Fig. 17), probably Sarasvatis, spiritual purity does not shrink from an alliance with sensual joy.

The image from Thailand of the Buddha (Fig. 19) touching the earth is a junction of the sensual and the ascetic. the gesture of earth touching recalls the occasion when Buddha prevailed over lust, the "lord" of all sentiments, in his contemplation. Here two differing concepts are juxtaposed in a different way, thereby imparting a new level of meaning to the category, ascetic and sensual.

Parshvanatha, pink sandstone,

10th century, 38 1/2” x 28” x 12 1/2”    , Western India

(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.

Head (Jain or Buddhist), buff sandstone,       10 th - 11th century, 25 x 12 x 12 inches,     North India or Deccan

Head of a Buddha, volcanic stone       

Late 8th or early 9th c.

19 x 9 x 9 inches        Indonesia (Borobudur)

(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.

Fig. 16 A

Fig. 16 B

 Yakshi Under a Tree (Salabhanjika)

(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.

Fig. 18

Goddess (Probably Parvati)

red mottled sandstone, 6th - 7th c.          24 x 18 1/2 x 15 1/2 inches              North India (Mathura)

Seated Buddha, bronze,14th-15th c.

28 x 17 1/2 x 9 inches,            Thailand (Chieng Sen Style)

(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.