Artefact Details

This brass sculpture either depicts the 6th Jina Padmaprabhu or the 12th, Vasupujya, as the sculpture's base carrying the identifying emblem or lakshana is missing. For Padmaprabhu, it is the red lotus, and for Vasupujya, the buffalo. In Jain tradition, both these Jinas are depicted in red, and the sculpture retains traces of red pigment on its back. This suggests that it was originally fully painted in red. Portrayed in a state of serene stillness, the Jina stands upright with pendant arms and empty hands in the meditative pose of kayotsarga, a posture of complete abandonment that underscores transcendence over the physical self. The nudity links this artefact to the Digambara sect of Jainism, which emphasises renunciation of all possessions to prevent vanityeven a small piece of cloth to cover the body. Details such as inlaid silver eyes and eyebrows and copper on the lips showcase the sculpture's complex craftsmanship and metalwork.

Padma meaning lotus, is Padmaprabhu's lakshana, or cognisance. It is said that before his birth, the Jina's mother wished to sleep upon a bed of red lotuses. Her granted wish bestowed upon him his name, colour, and lakshana.

Vasupujya is a particularly revered Tirthankara in the Jain pantheon. He is believed to have lived in Bhagalpur (modern~day Bihar), where he achieved keval-gyan (omniscience) under a parijata tree and attained liberation on Mount Champapuri. Born to King Vasupujya and Queen Jaya Devi of the Ikshvaku dynasty, Vasupujya rejected the material world early in life. After he refused to be crowned, he decided to abandon his royal status to take diksha and is said to have attained omniscience in just a year through intense meditation. Thereafter, he wandered through countries preaching and is said to have converted over a million people.