Analysis of Ancient Sculptures in the Jain Temples of Nainagiri

The Jain temples of Nainagiri preserve a rich corpus of ancient sculptures that illuminate both religious devotion and regional artistic traditions in central India. These images, carved predominantly in sandstone and marble, represent major Tirthankaras and attendant deities, and together they chart a long history of patronage at this sacred hill site.​

The Sacred Landscape of Nainagiri

Nainagiri, also known as Reshandigiri, is located in Chhatarpur district of Madhya Pradesh at approximately 24°9′ N and 79°7′ E, with an elevation of about 470 meters. Nestled within the Vindhyan ranges, the site lies in the ecological zone of Panna National Park and the Baxwaha Forest Reserve, on the northern bank of the Semra Pathara river, a tributary of the Beban.​

The hill is revered as the liberation ground of five munis, which enhances its religious significance within the Jain tradition. Archaeological indicators link the region to the Mesolithic age, while the surviving temples and sculptures testify to continued patronage over many centuries.​

Iconography at Nainagiri Hill Jain Temple

The Nainagiri Hill Jain Temple complex houses several important images of Tirthankaras, each displaying distinctive iconographic features. These sculptures encode theological concepts through posture, attributes, attendant figures, and emblematic animals known as lanchhanas.​

The image of Adinath in temple number 8 is carved in sandstone with dimensions of approximately 78 x 44 x 20 centimeters. Vidhyadharas appear at the top corners, elephants perform abhisheka to symbolize the supremacy and honor accorded by all beings, while attendants flank the Jina, with a bull at the lanchhana and a lion on the pedestal.​

Parshvanath images housed in temple number 37, also in sandstone, show snake hood and tail at the lanchhana, with parikar forms that are curved, rectangular, or absent, yet otherwise share similar compositional elements with the Adinath image.​

Sculptures in the Siddha Temple

Within the Siddha Temple, multiple sculptures extend the iconographic range of the site. These include further depictions of Adinath, other unidentified Tirthankaras, and a striking seated Parshvanath.​

One sandstone image of Adinath, measuring about 128 x 27 x 21 centimeters, features both simple and decorated halos, a trijata hairstyle with multiple locks, and chauri-bearer attendants, preserving the same core elements observed in the hill temple image. Another Tirthankara in kayotsarga posture, also in sandstone and measuring roughly 106 x 43 x 25 centimeters, lacks a visible lanchhana but shows multiple hair locks that may suggest an identification with Adinath.​

The Parshvanath image in this temple is characterized by a smiling face, seated padmasana posture on a snake, elongated ears, and a seven-headed snake hood, with an inscription in Nagiri script adding epigraphic interest. A related composition, “Parshvanath and Attendant,” measuring about 88 x 43 x 23 centimeters, shows a five-headed snake hood, tri-chattra, elephants flanking the Jina, two small attendants near the legs, a beautiful attendant in tribhanga, and a lion at the pedestal.​

Images from the Library Depository

The library depository at Nainagiri preserves additional sculptures that broaden the understanding of local devotional practices. These include representations of Tirthankaras as well as attendant deities such as Ambika and Gomedh.​

An image of Ajitnath, measuring approximately 103 x 27 x 21 centimeters, presents the Jina in kayotsarga posture with vidhyadharas above, tri-chattra, elephants performing abhisheka, elongated ears, a thick upper lip, attendants in tribhanga, an elephant as lanchhana, and lions on the pedestal. The Ambika sculpture, around 99 x 32 x 27 centimeters, shows the goddess in sambhanga posture with a five-hooded snake, plump body, necklace, armband, katiband, uttariya, anklet, and a child in her arms, revealing a rich treatment of jewelry and maternal imagery.​

A composite sandstone panel of Gomedh and Ambika, measuring about 98 x 61 x 21 centimeters, depicts the figures in ardhapriyanka posture. Smaller Tirthankara images include a white marble Chandraprabhu (44 x 34 x 17 centimeters) seated in padmasana with a moon symbol on the pedestal, and a black marble Tirthankara (16 x 12 x 4 centimeters) lacking a clear lanchhana, possibly reflecting either damage or a more aniconic intention.​

Major Tirthankara Images and Stylistic Observations

Two large sculptures, one of Adinath and one of Parshvanath, stand out for their scale and refined workmanship. These images embody the culmination of iconographic conventions observed elsewhere in the complex.​

The large sandstone Adinath, measuring about 150 x 78 x 41 centimeters, is seated in padmasana on a decorated pedestal in dhyana mudra, with a well-carved prabhamandal behind the head, a srivatsa symbol on the chest, and a bull as lanchhana, marking a complete and canonical representation. The Parshvanath image, around 61 x 41 x 23 centimeters, shows the Jina in padmasana with dhyana mudra, hair locks touching the shoulders, srivatsa motif, and a multi-headed naga canopy above, with a chipped left knee that records the passage of time and the vulnerability of stone icons.​

Taken together, the sculptures of Nainagiri reveal a sophisticated visual language that integrates posture, gesture, attendants, and animal emblems into a coherent theological program. The continuity of iconographic themes across temples and centuries underscores the sustained patronage of Jain communities at this sacred hill site, while local stylistic variations enrich the broader history of Jain art in central India.​

Ms. Nabanita Ghoshal is an archaeologist and heritage researcher from Kolkata, currently associated with the Directorate of Archaeology and Museums, Government of West Bengal. She holds an M.Sc. in Archaeology from the University of Calcutta and a Post Graduate Diploma in Archaeology from the Archaeological Survey of India. A UGC-NET JRF awardee, she combines strong academic training with extensive fieldwork experience across major archaeological sites, including Malhar, Karanpura, Binjore, and the Kalibangan cultural zone.

She has also contributed to conservation initiatives through specialized heritage training and field projects at Tabo, Kangra, and Dehradun, developing expertise in the preservation and restoration of historic monuments. Currently, she is part of a collaborative project to establish a district museum in Hooghly, envisioned as a centre for regional heritage curation and public engagement.

Fluent in Bengali, English, and Hindi, Ms. Ghoshal also pursues creative interests in sketching, dance, and travel. Her work seeks to integrate archaeological research, cultural historiography, and conservation ethics to support India’s tangible and intangible heritage.

Ms. Ronita Mondal is an archaeologist and historian from Howrah, West Bengal, committed to the study, documentation, and preservation of India’s cultural heritage. She holds a Master’s degree in Archaeology (2019) from the University of Calcutta, Alipore Campus, and a Bachelor’s degree in History (Honours, 2017) from Gokhale Memorial Girls’ College. She completed her schooling at Tarasundari Balika Vidyabhaban, Howrah.

Her academic and field training reflects a deep engagement with material culture, archaeological methods, and heritage conservation. She participated in the University of Calcutta’s excavations at Asur Danga (2018–2019) and took part in exploration programs at Kotasur, Masra, and Malooti—experiences that enriched her understanding of settlement archaeology and regional cultural dynamics.

Ms. Mondal has further strengthened her expertise through specialized workshops, including sessions on coinage and museum studies at the State Archaeological Museum, and training in temple architecture and iconography at Utkal University, organized by the Asiatic Society. In 2025, she broadened her scholarly exposure by attending the Ministry of Culture’s international conference “Gyan Bharatam: Reclaiming India’s Knowledge Legacy through Manuscript Heritage” held at Vigyan Bhawan, New Delhi.

She is currently engaged in a collaborative initiative to establish a district museum in Hooghly, focusing on regional heritage curation and public engagement. Proficient in Bengali, English, and Hindi, Ms. Mondal integrates archaeological research with conservation ethics, working toward safeguarding and promoting India’s cultural legacy.