Figures
Suparshvanatha
Also Known As Suparshvanath (Hindi) Hindi form of the Sanskrit name.
Tirthankaras
Citation Formats
General Reference
APA Style
BibTeX
Suparshvanatha is the seventh Tirthankara of Jainism, venerated as a liberated soul and omniscient teacher; his emblem is the svastika, an ancient auspicious symbol in the tradition. Jains honour him among the twenty-four ford-makers of the present age who taught the path of non-violence and detachment.
Facts
Identity
PositionSeventh of the twenty-four Tirthankaras of the present half-cycle 1Tradition: Jainism The sequence of twenty-four is fixed and identical in the Digambara and Svetambara canons. SymbolNandyavarta, the nine-cornered auspicious diagram 1Tradition: Digambara The lanchana as the Digambara tradition gives it, differing from the Svetambara emblem recorded beside it. SymbolSwastika, the ancient Indian auspicious sign 1Tradition: Svetambara The lanchana, the emblem carved beneath the figure on images and shrines. The two traditions give different emblems for this Tirthankara; both are recorded. Canonical ReferenceThe Jaina Path of Purification notes that Digambara and Svetambara textual traditions, despite real differences elsewhere in Jain doctrine and practice, concur closely on the fixed list and order of the twenty-four Tirthankaras of the present age, Suparshvanatha's position among them included. 2 Attestation
HistoricityLegendary: known from narrative tradition, not the historical record 1 Earlier Tirthankaras belong to the cosmological scheme, not to history. Critical scholarship accepts only Parshvanatha and Mahavira as historical. Jainism holds all 24 Tirthankaras of this half-cycle to be historical teachers Traditions Revering This Figure Life
Manner of DeathAttained liberation (moksha) 2Tradition: Jainism Position Profile
Key TextThe Kalpa Sutra's Jina-caritra section is the traditional Svetambara account of his life and lineage as the seventh Tirthankara of the present age. 3 Origins
Place of OriginVaranasi, as Jain tradition places him 2 Attributions
TraditionJainism, where he is venerated as the seventh of the twenty-four Tirthankaras of the present age, traditionally held to have been born at Varanasi into the Ikshvaku dynasty. 1 Veneration
Shrine or Burial PlaceAttained final liberation atop Sammeta Shikharji (Parasnath Hill) in present day Jharkhand, the site tradition credits as the liberation place of twenty of the twenty-four Tirthankaras and one of Jainism's most important pilgrimage destinations. 1 Learn More
The Seventh Ford-Maker
Suparshvanatha is the seventh Tirthankara of the present age, venerated as a liberated soul and omniscient teacher of the path of non-violence and detachment. His emblem is the svastika, one of the most ancient of Jain auspicious symbols, in the tradition its four arms are read as the four states into which a soul may be reborn (heavenly, human, animal or plant, and infernal), a reminder of the wandering the ford-maker teaches one to end.
Jains count him among the twenty-four ford-makers of the current avasarpini and hold that he attained final liberation at Sammeta Shikhar (Shikharji). Like the other early ford-makers he belongs to Jain sacred history rather than the documented past, and the sources preserve little narrative particular to him beyond his emblem and traditional attributes.
Jain tradition assigns each Tirthankara a specific height and a specific total lifespan, both said to decrease steadily across the ford-makers of a descending age as the moral and physical condition of the world itself declines, a cosmological pattern the texts apply to the whole sequence of twenty-four rather than to any one figure alone. Suparshvanatha's own place within that declining sequence is recorded in the canon; beyond it, and beyond the svastika emblem and its traditional reading already given, the sources preserve no further narrative particular to him.
Older Than the Earliest Datable Point in the Lineage
Even Parshvanatha, the twenty third Tirthankara and the earliest figure in the lineage that most scholars treat as potentially historical, is only tentatively placed by modern scholarship somewhere around the eighth or seventh century BCE, and that dating rests on later tradition and a small amount of corroborating circumstantial material rather than on contemporary independent record. Suparshvanatha, seventh in the sequence and therefore reckoned by Jain tradition as having lived at a point vastly more remote than even Parshvanatha, falls entirely outside any period historians have a method for testing. His placement depends wholly on the internal chronology of Jain cosmological literature, which measures time in cycles far exceeding any span archaeology or comparative textual history can address. This does not mean Jain tradition treats the dating casually.
Jain cosmology is a carefully elaborated system in its own right, describing precise, if cosmologically vast, durations for each age and each Tirthankara's place within it. It means instead that a figure like Suparshvanatha belongs to a category of religious claim, an internally consistent sacred chronology, that operates on different terms from a historical claim about a datable person, and treating the two as directly comparable is where confusion tends to arise.
Cross-Tradition Connections
Associated With
This source names Suparshvanatha directly: "The museum's own gallery text states this sculpture represents Suparshvanatha, the seventh jina, correcting an earlier identification as Parshvanatha."
Belongs to Tradition
Depicted In
The Harvard Art Museums' own title and gallery text for this bronze name Suparshvanatha as the seventh jina depicted.
Instance Of
Number 7 of the twenty-four Tirthankaras of the present half-cycle.
Succeeded By
Chandraprabha follows Suparshvanatha in the sequence of twenty-four, at position 8.
Successor Of
Suparshvanatha follows Padmaprabha in the sequence of twenty-four, at position 7.
Sources
1. The Jains
Paul Dundas, Routledge, 2002Suparshvanatha and the svastika emblemView the Source 1. The Jains
2. The Jaina Path of Purification
Padmanabh S. Jaini, University of California Press, 1979The universe of ford-makersView the Source 3. Kalpa Sutra
Attributed to Bhadrabahu, F.A. Brockhaus, 1879Traditional life-events and Sammeta ShikharView the Source Encyclopedia of Religion
Mircea Eliade (ed.); Lindsay Jones (ed., 2nd ed.), Macmillan Reference, 2005View the Source Tirthankara Suparsvanatha in Kayotsarga, Harvard Art Museums (2012.193)
Harvard Art MuseumsDepicted In: Tirthankara Suparsvanatha in Kayotsarga (Harvard Art Museums), Harvard Art Museums 2012.193View the Source Reader Challenges (0 open reader challenges)
No disputes yet. Spotted an error or a better source? Open the first one.
Sign in to dispute this or suggest a correction.
View At A Past Year
The atlas records no dated fact of its own for this entry, so there is no other year to choose.