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In Jain ideology there is a great controversy regarding the gender of the 罢墨谤迟丑补峁卥补谤补 惭补濒濒颈苍腻迟丑补 (Bhattacharya 1974: 54-5; Shah, 1987: 159-60). According to the 艢惫别迟腻尘产补谤补 tradition the nineteenth Jain 惭补濒濒颈苍腻迟丑补 is a female and she is the princess of king Kumbha and queen 笔谤补产丑腻惫补迟墨 of Mithila in the 痴补峁単补 country. Her birth took place in the A艣vini 苍补办峁�a迟谤补.

On the other hand according to the Digambara tradition, 罢墨谤迟丑补峁卥补谤补 惭补濒濒颈苍腻迟丑补 is a male and they did not believe that a woman can obtain 尘辞办峁�a or 办别惫补濒补箩帽腻苍补. 惭补濒濒颈苍腻迟丑补 obtains 办别惫补濒补箩帽腻苍补 under an 础艣辞办补 tree and 尘辞办峁�a on Mt. Sammeta. Except the sex, almost all other details about 惭补濒濒颈苍腻迟丑补 are common in both the Jain traditions. It is very difficult for us to understand which tradition is older and more reliable and what is the actual gender of 罢墨谤迟丑补峁卥补谤补 惭补濒濒颈苍腻迟丑补. In this connection the Jain conical text 狈腻测腻诲丑补尘尘补办补丑腻辞 mention that Malli was the most beautiful princess of her age and this text is acknowledged by the 艢惫别迟腻尘产补谤补s (罢谤颈峁�a峁ａ弓颈艣补濒腻办腻辫耻谤耻峁�a肠补谤颈迟补, vol. VI: 6; 鲍迟迟补谤补辫耻谤腻峁嘺 Parva 66; 狈腻测腻诲丑补尘尘补办补丑腻辞 8). The several researches show that this text is not earlier than the fourth century CE.

According to Hemachandra, this Jain was called Malli because, when she was in her mother鈥檚 womb, the mother had a pregnancy desire for flower garlands (Bhattacharya, 1939: op. cit.,). On the other hand 鲍迟迟补谤补辫耻谤腻峁嘺 says thathe was called Malli as he had conquered the wrestler (malla) in the form of infatuation (鲍迟迟补谤补辫耻谤腻峁嘺 Parva 66.1).

The symbol of this Jina is water-jar (办补濒补艣补) and the 驰补办峁�a and 驰补办峁�i峁嚹� of this 罢墨谤迟丑补峁卥补谤补 is Kubera and 顿丑补谤补峁嘺辫谤颈测腻 (Dig. 础辫补谤腻箩颈迟腻).

The debate regarding the gender of 罢墨谤迟丑补峁卥补谤补 惭补濒濒颈苍腻迟丑补 still continues and the sculptural representations of this 罢墨谤迟丑补峁卥补谤补 create confusions. Very few sculptures of 惭补濒濒颈苍腻迟丑补 have been reported so far from whole India. Among them an interesting sculpture of female Mallinatha is presently preserved in the Lucknow museum (no.J.885) and was discovered from Unao in Uttar Pradesh. Unfortunately the head of the image is missing and the cognizance, water pot in the centre of the seat is much mutilated. The 诲丑测腻苍补 mudra and 辫补诲尘腻蝉补苍补 posture and the prominent breasts make it quite certain that the image represents 罢墨谤迟丑补峁卥补谤补 惭补濒濒颈苍腻迟丑补 according to the 艢惫别迟腻尘产补谤补 tradition. On the back of the image the braid of hair is well represented (Shah 1956: 128). All these feature shows that the image is actually a figure of female 罢墨谤迟丑补峁卥补谤补 惭补濒濒颈苍腻迟丑补 and this is the only image where Malli is represented as a female. In our study area before the present research only one image of 罢墨谤迟丑补峁卥补谤补 惭补濒濒颈苍腻迟丑补 was reported (Chakrabarti 1993:126). However, the present study documented another beautiful image of this 罢墨谤迟丑补峁卥补谤补, which is presently display in the Purulia Ramkrishna Mission Museum.

The image from Ramkrishna Mission Museum, is carved out on a rectangular back-slab with projected side frame and it measures 112 x 55 x 14 cm (Pl.XXIX.C). The Jina is standing in 办腻测辞迟蝉补谤驳补 posture on a double-petalled lotus placed on a sapta-ratha pedestal. The pedestal of this image is unique. The central ratha of the pedestal bears the 濒腻帽肠丑补苍补 of the Jina i.e., 办补濒补艣补 is neatly carved and placed between Stylized representations of crouching lions. Two 腻肠腻谤测补蝉 facing each other are depict in the next rathas of the pedestal. In front of them a 蝉迟丑腻辫补苍腻 (wooden stand), covered with a cloth is present. The right hands are displays in abhya gesture and holding a broom, which is a conspicuous element for 腻肠腻谤测补蝉, in their left hands. The alms-bowls of 腻肠腻谤测补蝉 are also depicting just behind them. The presence of 腻肠腻谤测补蝉 or monks in the Jain images is not a common features in the present study area is concerned however, this feature is widely popular in Deogarh region of Madhya Pradesh. Klaus Bruhn (1986: 179-187) extremely studied the Jain sculptural remains of this region and he identified and classified the Jain 腻肠腻谤测补蝉 or monks properly. The remaining portions (the extreme rathas) of the pedestal are decorated with geometrical motifs interspersed with rosette motifs.

The 尘奴濒补-苍腻测补办补 obviously devoid of any worldly attire has elongated earlobes, and his hair is arranged in schematic curls with prominent 耻峁ａ箛墨峁�a. A circular 艣颈谤补艣肠补办谤补 with leafed edges adorns the head of the saviour. Above the 艣颈谤补艣肠补办谤补 is the depiction of the tree associated with the 办别惫补濒补箩帽腻苍补 of the Jina i.e., 础艣辞办补 tree. Unfortunately, the trilinear chatra of the image is damaged, which is flanked by two 惫颈诲测腻诲丑补谤补蝉 holding long garlands. The Jina is flanked on both sides by stout male 肠补耻谤墨-bearers. They wear deeply incised loin cloths and elaborate jewellery and both of them have plain, small oval shaped halos. Obviously, the modulation of surfaces apparent from the drapery and jewellery are restricted to these parikara elements. These 肠补耻谤墨-bearers stand on lotus pedestals and their left hands are in 办补峁瓂腻惫补濒补尘产颈迟补 posture and the right hands hold a fly-whisk.

Another interesting feature of this image is the representations of ratna-辫腻迟谤补蝉 between the feet of the 肠补耻谤墨-bearers and 尘奴濒补-苍腻测补办补. The Jina figure is flanked by pillar like structural appendages surmounted by triangular fleurons. On the edges of the back-slab, on a projected frame, are miniature figures of eight planets (箩测辞迟颈峁�k补诲别惫补) arranged in a vertical row of four on either side of the Jina. Those on the dexter side appear to be 厂奴谤测补, 惭补峁単补濒补, 叠峁沨补蝉辫补迟颈 and 艢补苍颈; while those on the sinister side are Soma, Buddha, 艢耻办谤补 and 搁腻丑耻. The eight planetary deities are seated in their usual postures (厂奴谤测补 is seated in padmasana posture and except 搁腻丑耻 remaining six planetary deities are seated in ardha-辫补谤测补峁卥腻蝉补苍补 posture) and holding their respective attributes in both the hands.

Undoubtedly, the present image is the work of a master craftsman and the entire composition signifies perfect symmetry and poise. It seems that the iconometric rules prescribed in the Jain canons (those dealing with iconography) have been adhered to by the craftsman. This image may be carved for the central deity of the temple or monastery. Stylistically, the image may be assignable to c. eleventh-twelfth century CE. The exact find spot of this image is not known however, the artistic features of the image indicate that the image most probably collected or brought from Pakbirra or Chharra region of Purulia district.

The 罢墨谤迟丑补峁卥补谤补 惭补濒濒颈苍腻迟丑补 image from Suisa is measures 75 x 37 x 12 cm and the head of the Jina along with the upper part of the back-slab is missing. Due to the the highly weathered is very difficult to study the details iconography of this image. Like the earlier image the Jina is in his usual posture on a double-petalled lotus placed on a 辫补帽肠补-ratha pedestal. The 办补濒补艣补 濒腻帽肠丑补苍补 is neatly carved at the centre of the pedestal along with two devotees in 苍补尘补蝉办腻谤补-尘耻诲谤腻 (folded hands). At both ends of the pedestal a crouching lion is depicted. The back-slab also reveals the male 肠补耻谤墨-bearers flanking the Jina at the lower corners. Most probably this is a 肠补耻产颈蝉墨 type of sculpture and the remaining back-slab contains some miniature figures of the 罢墨谤迟丑补峁卥补谤补s.