The Seated Jina

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The Seated Jina and Saintliness Jessica McGlynn Art History Survey The Seated Jina in Meditation is a figure slightly larger than reality carved smoothly from granitic stone in 11th century India. The smooth lines of this figure’s body and exaggerated curves of the muscular build construct a relaxed aura to the seated figure while the upright stature represents leadership and power. With his or her hands folded in their lap and crossed legs, the seated jina appears open and peaceful, almost healing in nature. The ease of this figure’s relaxed meditative state is portrayed fully, as well as the symmetrical formation of his body. From the front, his legs are crossed in a triangle, folded tightly, so that there are no separations. The triangular structure of his upper torso creates an hourglass shape as his elbows bend slightly to created triangular windows between his arms and upper body. The organic quality of this sculpture as well as relaxed musculature and emotional bliss create an image of power and of highest being. Jainism, an ethical philosophy that arose around the same time as Buddhism (6th century) focuses on nonviolence and renunciation for the release from rebirth cycles. This sculpture bears a simplicity based on the abstract concept of beings whom no longer have bodies; a supreme being who has achieved a state of bliss through defeating his or her internal demons and is free of earthly attachments. These sculpted figures function as a reminder of perfection attained instead of a manifestation of divinity. This image depicts one of the jinas, Jain savior-saints who are perfected beings enlightened for teaching, possibly the historical founder of Jainism and the last of the twenty-four jinas, jina Mahavira. Seated in the padmasana or lotus position, this jina is in a classical position of meditation as jinas are meant to meditate daily for 48

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