Category:Victory banner (IM 89-1936)

Victory banner

This is a yantra, a type of meditation aid. This one is a victory banner, which is extremely rare. It was probably produced to help gain victory in battle for the meditators. It consists of a central panel with two rows of smaller illustrations at the top and bottom. There is a heavily faded inscription in the narrow white band beneath the top row of deities.

Top row

The figures in the top row are deities, from left to right:

Second row

In the next row from the top, the focal point is the central parasol under a pot and two peacocks. This is a royal symbol. Under the parasol is a kind of column with a banner, which could be a victory pillar.

From left to right, either side of the parasol:

  • elephant
  • bull
  • horse
  • general
  • queen
  • minister
  • wheel
  • conch shell.

They probably represent the ‘jewels’ of the universal monarch – cakravartin.

Central panel

The main part of the painting consists of a grid pattern divided into quadrants by two columns crossing in the centre. These two columns include both numerals and sacred formulas or mantras. All the other tiny squares contain only numbers.

At the four cardinal points and in the centre are larger squares in blue with mystic syllables:

  • on the top, in the centre – HRĪṂ
  • in the middle – AUṂ
  • at the bottom – KRAUṂ
  • on the left – KLĪṂ
  • on the right – TTĪṂ.

Two borders of stylised flowers adorn the vertical sides.

Bottom rows

The two bottom rows contain delicate and refined paintings.

The first row has a sequence of nine figures, which are difficult to identify. They are possibly personifications of the nine treasures – nidhi – of a cakravartin.

The second row has a line of elephants and horses on the right. Both are royal animals and traditional components of an Indian army so their presence on a victory banner is not out of place. Elephants and horses are also associated with the movements of planets in Jainism. The other animals linked to planetary motion are bulls and lions.

On the left side of the second row is a chain of nine figures. They are the nine celestial elements – nava-grahas – which are frequently shown on Jain yantras. From left to right they are:

  • the sun – sūrya – a seated figure carrying two discs
  • the moon – candra
  • Mars – maṅgala
  • Mercury – budha
  • Jupiter – guru
  • Venus – śukra
  • Saturn – śani – coloured grey or black
  • Rāhu, who causes eclipses, is the easiest to recognise even though only his head appears in a chariot, which represents the movements of the moon
  • Ketu, a half-human, half-snake figure, is shown with a trident and a bird.

This Jain yantra is a rather rare painting from two viewpoints.

Firstly, it is very old, dating back to around 1447 CE. Not many paintings from such an early period have survived.

Secondly, it is a rare example in terms of content. Yantras are formed of complex diagrams combining all or some of the following:

As well as the conventional numbers, mantras and figures, this example shows the emblems of planets and the Universal Monarch or cakravartin. It therefore has cosmological themes.

Yantras are either paintings on paper or cloth or metal objects. Very few have survived.

The earliest surviving yantra paintings date from the 15th century and come from Śvetāmbara environments. Three main varieties are known from a rather large number of artefacts:

  • the sūri-mantra-paṭa, which shows a religious teacher seated in the centre and 24 Jinas in surrounding concentric rings
  • the vardhamāna-vidyā-paṭa, depicting Mahāvīra or Vardhamāna in the centre.
  • the ṛṣi-maṇḍala-paṭa – the ‘Circle of Sages’ – with the tantric syllable Hrīṃ at the centre of the 24 Jinas and usually one or more surrounding concentric circles showing various religious teachers.

Not all yantras fall into one of these groups. There are yantras centred on other Jinas or other religious figures. This yantra seems to be very unusual in not focusing on religious figures and in being a meditation aid to help gain victory in battle.

Yantras are used as meditation aids. Mendicants generally use them in rituals relating to promotion in the religious hierarchy.

The three types are associated with particular rites. The sūri-mantra is connected with the initiation ritual of a new ācārya and it is likely that monks used the vardhamāna-vidyā-paṭa in connection with the rank of upādhyāya. However, the ṛṣi-maṇḍala-paṭa does not seem to have such a specific association. Even so, mendicants use it for other rituals.

The narrow white strip below the top row of deities contains a red inscription in Devanāgarī script. The red ink has faded so much it is hard to make out. It seems to say:

saṃvat 1504 varṣe dīpotsavadine likhitaṃ pratiṣṭhitaṃ śrīKharataragcchādiśvara śrī [Ji]nabhadrasūri nāma jetrapatakākhyaṃ yantraṃ … saparivārasya jayatraṃ vanchita siddhaṃ // kuru kuru svāhā //

The narrow white strip below the top row of deities contains a red inscription in Devanāgarī script. The red ink has faded so much it is hard to make out. It seems to say:

In the year 1504 of the Vikrama era [= 1447 CE] on the day of the Festival of Lights [= Dīvālī] [Ji]nabhadra-sūri, the head of the Kharataragaccha[,] consecrated this magical diagram called ‘victory banner’. May it bring victory, may it fulfil all desires of …. and his family. Svāhā.

Comments

Although the name of the religious teacher is incomplete, it can be guessed as Jinabhadra-sūri. He was one of the most famous leaders of the Kharatara-gaccha, a Śvetāmbara monastic order especially powerful in Gujarat and Rajasthan. Jinabhadra-sūri established a large number of religious institutions and temple-libraries. He is mentioned in many manuscript colophons as having encouraged lay people to commission manuscript copies. He also consecrated numerous Jain images. He was extremely active in Jaisalmer and Patan, from where this object may have come.

The day on which this object was consecrated is especially auspicious. In the Jain religious calendar the Festival of Lights, known as Dīpotsava or more commonly as Dīvālī, is a very important date. It is the date of Mahāvīra’s nirvāṇa.

The lay donor for whom this victory banner was made is unknown. His name would have been written in the blank space. The unfilled space could mean that it was ‘a readymade painting awaiting a donor’ (Granoff, Peaceful Liberators, catalogue number 99).

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