Jaina Tirthas in India and Their Architecture

Author(s): Sarabhai Manilal Nawab
Publisher: Sarabhai Manilal Nawab
Catalog link: https://jainqq.org/explore/006717/1

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Jaina Tirthas In India And Their Architecture Compiled by Sarabhai M. Nawab MRAS (Lond) Published by Sarabhai Manilal Nawab Ahmedabad

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Sri Jaina Kala Sahitya Samsodhak Series 2 English Series V JAINA TIRTHAS IN INDI AND THEIR ARCHITECTURE Compiled by Sarabhai Manilal Nawab, M. R. A. S. (London) Published by Sarabhai M. Nawab Nagji Bhudhar's Pole in Mandvi's Pole Ahmedabad

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Copyright reserved by the Publisher Can be had from Mr. Sarabhai Manilal Nawab, Nagji Bhudhar's Pole in Mandvi's Pole, Ahmedabad. This is the 150h copy of the first edition of 150 copies Price Rupees Thirty-two Printed by Bachubhai Rawat at Kumar Printery 1454, Raipur, Ahmedabad. Published by Sarabhai Manilal Nawab, Nagji Bhudar's Pole in Mandvi'. Pole Ahmedabad. Sole agents : D. B. Tarapotevala Sons & Co. 210 Hornby Road Fort Bon.bay-1.

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Sheth Maneklal Chunilal Shah, J. P.

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Respectfully Dedicated TO SHETH MANEKLAL CHUNILAL SHAH, J. P.

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PUBLISHER'S PREFACE THIS publication forms the 2nd volume of the Sri Jaina Kala Sahitya Samsodhak Series which I started in 1943. In this tenth year of my work in the field of literature I am laying before the English knowing public this my second literary work. No amount of words can fully express my indebtedness to Sheth Maneklal Chunilal Shah, J. P., who fostered my literary activites from time to time and inspired me to bring out more and more attractive and good works. Most of my Gujarati publications I have humbly dedicated to him, being urged by his good will towards me. Today I am dedicating to him this my second English literary work. I have always cherished the desire, as mentioned by Jinavijayaji in his foreward, to publish ten volumes illustrating gems of Jaina architecture and sculptures lying in all the corners of India. But due to various reasons, chief among which are the dearness of everything in these days af war and the piling-up of the copies of my publications due the apathy of rich Jainas towards such an undertaking, I have decided to retire from the field of research after the publication of this brochure and to give up the scheme of the publication of the remaining volumes. Besides as I accepted on 26-6-41 or V. S. 1997 Ashadha Su. 2 the responsible task of compiling a Jaina Directory wnich is to be started on behalf of the firm of Shriman Seth Anandji Kalyanji, the only Institution representative of the Svetambara iconolate Jainas throughout the whole of India, my main activities in the near future would naturally be confined to that work. In connection with that work, I had to visit many cities and villages in the Punjab, Sind, Cutch, Marwar and other states in the Rajputana. In the course of these visits I have come across such abundance of architectural remains as makes me believe that as long as we take no steps to conserve these architectural and sculptural gems scattered throughout the length and breadth of India, we are simply adding to the responsibilities of the posterity of the Jaina community by constructing new temples. The trustees of the above mentioned pedhi do wish to repair and conserve the (Jaina) temples in India. But the field of work is so vast and scattered that unless every Jaina does his utmost in every way to help the cause, it is impossible to execute it.

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6 JAINA TIRTHAS IN INDIA This volume contains Jaina shrines, icons and sculptures from famous holy Jaina places like Satrunjaya, Girnar, Taranga, Ranakpur, Talaja, Kadambagiri, Sametasikhara, Pavapuri, Lucknow, Calcutta, Kshatriyakunda, Rajagrihi etc. I am greatly indebted to Shriman Anandji Kalyanji's Pedhi, the Young Men's Jaina Society, the Archaeological Survey of India, the State Archaeological Department of Baroda, Editor of the Jaina at Bhavanagar for giving me some of the photographs. My thanks are also due to the Kumar Printery and the Bharata Process Studio for the preparation of the Blocks. To the former my additional thanks are due for the fine printing of the Book work. My cordial thanks are due to the famous Indologist Sri Jinavijayaji, who has always affectionately encouraged my literary activities, for the foreward he has written to this volume, and to Mr. Ravishankar Rawal who has penned the introduction to this volume in order to introduce lovers of art to it, so also to Mr. A. S. Gadre M. A. Director of Archaeological Deprt. of Baroda state for translating this work in English. The illustrations in this volume include the images of the Tirthankaras, venerable to the Jainas, of presiding deities, and of holy Jaina monuments. The publisher himself is a Jaina. It is his earnest appeal to all not to use or reproduce these pictures for any purpose without his express permission. Only one hundred fifty copies of this volume have been struck off, which means that the publisher would not be able to make any profit out of it. Still the volume has been published to enable devout Jainas to see their holy places in one book every morning and in order to give the lovers of art a glimpse into Jaina architecture. Hence I implore every purchaser not to keep it negligently anywhere or to be careless enough to throw it in any place. Nagaji Bhudhar's Pol, Ahmedabad, 18-12-1944 V. S. 2001 Posa Su. 3. SARABHAI MANILAL NAWAB

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FOREWORD IN the course of the last two thousand years many Jaina scholars, I devotees of Sarasvati, the goddess of learning, have made a distinct contribution enriching Indian literature by their works written on diverse subjects in many Indian languages like Sanskrit, Prakrit, Apabhrarsa and the like, and have in a peculiar manner incessantly helped to educate the people eager for knowledge. In the same way Jaina millionaires, worshippers of the goddess of Wealth, have constructed in many Indian regions, cities, villages, hills and forests, varieties of stupas, pillars, temples, monasteries and other religious establishments and have thus left an abundance of architectural relics which form their unique contribution to the field of Indian Architecure and have spared no amount of money in erecting spacious structures which enshrined images for worship for the benefit of the pious Jaina congregation. Though the greater part of the Jaina architecture has been damaged in the course of the Ruthless Time and through the cruel foreign iconoclasts, what little remains of it at present is by itself even in its present form matchless. It is a difficult task to count these Jaina sculptures and monuments and to properly evaluate them. These architectural remains are a thousand times more valuable than the wealth possessed by all the Jainas in India. These Jaina architectural relics are a set of most precious ornaments of the Indian Arts, Culture and Opulence. They constitute a national heritage of the whole of India. It should be the earnest desire of not only the Jainas but of every Indian to study this rich architectural collection. It is the practice in many occidental countries to publish guides and picture-albums introducing such architectural national heritage, printed with an attractive get-up. Such photo-albums are usually accompanished by descriptive labels. In India such attempts have been sporadic. It is true that illustrated descriptions of such monumental structures are given in books published on such subjects by the Archaeological Survey of India as also in its Annual Reports. Their prohibitive prices and unwieldy size have made them unserviceable to the layman. Many years ago a European Company had published an attractive photo-album about Mt. Shatrunjaya. I am not aware of a similar publication which might have appeared after it.

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JAINA TIRTHAS IN INDIA From this point of view this publication of Mr. Sarabhai M. Nawab, whose unbounded enthusiasm and untiring exertions in the interest of Jaina Architecture, Painting and Sculpture are well-known, deserves the patronage of all. Mr. Nawab has made a name among the learned by his recent publication entitled Jaina Chitra-kalpadruma through which he has placed before the connoisseurs priceless Jaina paintings which lay hidden in the Jaina libraries or Jnanabhandaras and rendered a laudable service to the Jaina community as a whole. Unique is the zeal and gigantic are the endeavours of Sarabhai. He has been cherishing a desire to bring to light every Jaina shrine and sculpture lying scattered all over India. Indeed this task is beyound the power of an individual who has not got means to achieve it. I congratulate Mr. Nawab on this attempt of his to publish this small brochure at present in pursuance of the axiom 'Subhe yatha-sakti yataniyam'- (One should exert one's utmost to achieve the auspicious.) -JINAVIJAYA.

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INTRODUCTION CHE publisher of this volume has indeed rendered an inestimable 1 service to Gujarat by presenting his collection of the photographs of the Jaina tirthas and their architecure. His work entitled the Jaina Chitrakalpadruma; which containes photographs from the illustrated manuscripts of the Kalpasutra and other Jain religious works, has already aquainted us with the patronage given to Fine Arts by the followers of Jainism from times immemorial. Architectural relics, however, by dint of the more durable nature of their material, can be traced to more antique times than paintings. It is a well-known fact that the Jaina Art of fashioning images is almost conterminous with the Buddhist art. Thus Jaina icons were fashioned in all periods and in all the schools of Indian sculpture. No one has succeeded in giving a continious history of Indian iconography and architecture every since their inception. But from the descriptions of deities found in the ancient Vedic literature it can be said that icons of those deities did exist in the Vedic period. The images of Indra, Ambika and other deities have continued even upto the modern times and it makes it possible that sculptors of older Vedic tradition did exist when the Jainas and the Buddhists found it necessary to make images and statues of their deities, Buddhas, Bodhisattvas, Tirthankaras, Yakshas and Yakshinis. The sculptors of the stones age had erected stones with strange figures in memory of their heroes and forefathers. And it is quite possible that this example may have inspired the erection of pillars near temples in later civilized days. At the same time certain points of difference are observed between divine and human figures. The oldest stone image of historical times is of king Ajatasatru (552 B.C. to525 B.C.) of the Saisunaga dynasty from Magadha or Bihar. It has now been preserved in the Curzon Museum of Archaeology at Muttra and is contemporaneous with the Buddha. The statue is 8-8" in height. Besides these two statues were found from near Patna-one of them is of Aja-uddiya, grandson of Ajatasatru, (founder of Pataliputra, died in 467 B.C.) and the other, of his son Nandivardhana (died 418 B. C.). These are now kept in the Indian Museum at Calcutta. All these three statues are carved in the same style and are of more

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10 JAINA TIRTHAS IN INDIA than the average human height. We thus see that this style began in about the 6th cen. B. C. These are not simply bhava-murtis and are of persons whose features they try to copy faithfully. A practice prevailed in ancient India whereby statues of kings were fashioned and were kept in shrines for worship. Is it possible that this practice was influenced by the tombs of Egyptian kings who are sleeping an eternal sleep in the Pyramids ? This inspiration must have given rise to the practice of building monasteries and shrines in places where the Buddha or the Jina resided or preached. Such personages with subdued passions would never require that their images or pictures should be worshipped. But their disciples must have thought it wise to get their-of the Buddha or Jina-statues fashioned and to enshrine them in order to enable the devotees to concentrate their minds on the objects of their worship. This has resulted in the emotional features that we find in the images in place of the anatomic ones. Another interesting point is that the history of the development of Jaina and Buddhist temples is not bound up with the development of images of the two religions. It would be very interesting to find out how the modern temple architecture can be coordinated with the architecture of the Buddhist stupas, monasteries or other monuments. Only stupas and caves of the time of Asoka, the great patron of Buddhism exist at present. The erection of a stupa is simply a development of a round mound that was made on a dead body or its ashes in Vedic times. In its early forms, it was given the shape of an inserted bowl and a tree was planted in the centre of its top and a fence was made for its protection. The Jaina scriptures refer to the stupas erected in memory of the Arhats and these were built even before the advent of Buddhism. There was no difference in the stupas of both the religions. In the days of Emperor Asoka some change was effected in the shape of a stupa. It Consisted of a nicely carved railing in place of the fence and an umbrella instead of the tree. Arched gateways were built in the four directions in the railing. These changes enhanced the grandeur of the stupa without changing its shape.

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AND THEIR ARCHITECTURE There is no connection between these stupas and the modern Brahmanical temples, because the latter were built for deities and not in commemoration of the deceased as the former. The construction of a cave may be briefly stated to consist of a spacious hall and small cells round it. In short they provided the same facilities as a hut to the Jaina and Buddhist saints. The big hall was used for religious discourses and the cells for rest and as storerooms. This assumption is supported by the description of the gandha-kuti of the Buddha which we get in the Buddhist literature. The only common point cave architecture has with temple architecture is that the hall was meant for the devotees who came for paying homage or for listening to religious sermons and the adjoining antechamber was used as the shrine. Still both the types of architecture differ in many points. The caves were the resting places of monks and the stupas were erected over the sacred relics of the great Buddha or on the spots consecrated as the scenes of his acts. Whereas temples enshrine deities and are surmounted by spires indicative of their grandeur. It is known that temple architecture existed prior to the epoc of Emperor Asoka. The Arthasastra of Chanakya lays down rules for the allocation of sites for temples of various deities and their construction in a town-planning scheme. This shows that temple architecture was in vogue even before the times of Chanakya. Koishna worship was preva. lent in the days of Panini (800 B. C.) as also in the days of Chandragupta. Many things point towards an earlier and independent development of Brahmanical temple architecture. The spire is copied from summits of mountains. Mountains like Meru, Mandara and Kailasa were the abodes of gods. Along with them Gandharvas, Kinnaras, Apsarases and other denizens of hills are represented in temple sculptures. Brahmanical scriptures have pointedly laid down that temple architecture should contain sculptures representing Apsarases, Siddhas and various designs. These decorative features were so firmly settled in architecture that architects could not work without them. Thus when the Buddhists and the Jainas started the practice of enshrining holy relics, shrines and mansions without such decorations were not considered holy and religious. This resulted in the construction of

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12 JAINA TIRTHAS IN INDIA highly decorated and sculptured shrines for the worship of the images of even the self-controlled and all-renouncing Buddhas and Tirthankaras. Thus it would not be proper to class temple architecture as a special school and to discuss its art. The dexterious delineation and the workmanship that we notice in every sculpture and temple is the creation of expert sculptors and artists of their times. The patrons of art may be millionairs, or religious heads or others, but the workmanship is assuredly inspired by the sculptors who even after many centuries have immortalised in mute forms of art the prowess and the emotional greatness of their patrons. The work of these sculptors scattered all over India. The Bhuvanesvara and Konarak temples from Orissa, the Khajuraho shrines in Bundelkhand, the monuments from Ujjain, Dhara, Mathura, Nalanda, Benares, as also the richly carved monuments of southern Chaulukyas, Hoysalas and Cholas, have made India a wonder to the whole world. Gujarat architecture and Art are well-developed and rich heir of a variety of political and religious movements. One would commit a great blunder if one identified the cultural boundaries of Gujarat with its present-day political limits. Hence in discussions of art it is said to belong to the Rajasthana-mandala. Thus we find architecture and art of the same style exist in Gujarat, Malwa, Mewad, even upto East Khandesh. It will be found that the art of Modhera and Chandravati is inherited by Ranakpur. The Delwada temples display a profuse use of marble for architecture. The dancing figures on the ruins of the Rudramahalaya at Siddhapur appear again on the pillars at Delwada near Mt. Abu. The thousand Siva shrines erected on the banks of the Munasara lake at Viramgam, and the many Jaina figures surrounding the Neminatha temple or Hathibhai's temple show that the same religious motifs were used by different religious sects. The Rangamandapas, entrance gates, or arches may belong to different sects like the Brahmanical, Jaina or Swaminarayana, but we can discern the hand of Somapura sculptors working behind all of them. This will make it abundantly clear that Mr. Nawah has secured these architectural photographs and has not only illuminated the Jaina culture but has kindled a lamp for the guidance of all the devotees of fine arts. Jainism has saved the chisel of Gujarat sculptors from rusting and their dexterity from deteriorating. Even before

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AND THEIR ARCHITECTURE 13 the cities of Delhi and Agra were founded, the sculptors who were responsible for the unrivalled architecture of Ahmedabad in the 14th century hailed from Gujarat and especially from the families of artisons who had been building Jaina temples. And are not the Gujarati masons repairing the shrines at Ranakpur and Girnar even at present? Mr. Nawab has made the collection of the pictures of sculptures and has tried to secure the photos of as many ancient monuments as he could. On comparing this collection with specimens of Buddhist art we find that the majority of the latter are of a uniform pattern inspired by an imperialistic tendency, whereas in the former we find that sculptors of various provinces had been used with a broad mind and that they were patronized by the Jainas. If you see the pillars in the cave at Uparkot (Junagadh), you will find that their workmanship is in no way related to the local Gujarat Architecture. The Buddhist images also seem to have emanated from and to have been inspired by one central school of sculpture. But Jaina architecture and images of various types emanated from Gujarat itself. This Volume contains many illustrations secured and studied independently by Mr. Nawab. Personally I know many difficulties he had to surmount in collecting, coordinating and publishing all his material. I am very eager to see how the very rich community of Gujarat appreciates in a suitable manner the cultural service rendered to them by one of their own religion. If a worker like Mr. Nawab were backed by competent assistants, photographers, draftsmen and finenciers I am sure he would be much more useful not only to the Jainas of Gujarat but to all the peoples of India. "Our art of fashioning images and statues is imbued with cultural and spiritual teachings of every age. It had once developed all over the world but is now an object of neglect. It is our duty to study it properly and to revise it." Bharatiya-Murtikala (Sri-Ramakrishnadasa). RAVISHANKAR RAVAL.

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Plate Figure 1 2 3 4 5 6 7 13 An unidentified deity. 14 Sri Antariksha-Parsvanatha 15 Sri Manikyaswamiji 16 Sri Parsvanathaji 17 A Jina image 18 A broken Jina image 19 A Jina image 9 20 Sri Ajara-parsvanathaji 8 TABLE OF CONTENTS 1 Symbols and weapons. 2, 3, 4 Plaques of Ayagapalas of various types from Mathura. 5 Foot-prints 6 Sri Parsvanathji from Mathura. from Mathura. from Mathura. 7 Sri Rishabhadevaji 8 Sri Mahavirasvami 9 Sri Parsvanathaji 10 Sri Parsvanathaji 11 Sri Parsvanathaji 12 Sri Parsvanathaji 14 21 A Yaksha with his consort 22 Various forms of Harinaigameshin 23 Sravaka & Sravika 10 24-25 Jina images 26-27 Jina images 12 28 Kausagiyaji 11 29 Sri Rishabhadevaji 13 30 Sri Parsvanathaji 31 Sri Parsvanathaji 32 Sri Rishabhadevaji 33 Sri Chakresvari and Ambika from Kshatridyakunda. from Rajagrihi. 15 34 Sri Chakresvari 35 Sri Ambikadevi 16 36 Sri Parsvanathaji (Sarabhai Nawab). 37 Sri Parsvanathaji (Puranchandji Nahar). 38 Sri Parsvanathaji-Godiji temple 39 Back view of Fig. 38. 17 11 77 31 11 from Dhanka. from Ajara. 37 from Sripura. Kulpakaji. from Mathura. 11 71 71 17 17 71 19 37 11 11 33 from Mahudi "" Ajara Mathura 37 37 39 from Wankaner. from Prabhasa-Patana. 39 from Pindwada. 23 Bombay.

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AND THEIR ARCHITECTURE 15 Plate Figure 18 40 Sri Rishabhadevaji-Godiji temple Bombay. 41 Back view of Fig. 40. 19 42 A Jina image from Patan. 20 43 Sri Parsvanatha image Charup. 44 Sri Avanti-Parsvanathaji, Ujjain. 45 Sri Parsvanathaji from Bhanduk. 46 Sri Parsvanathaji 47 Sri Neminathaji from the Satrunjaya Hill. 48 Sri Amijhara Parsvanathaji 23 49 Sri Mahavirasvamiii 50 Sri Parsvanathji 51 Sri Santinathaji 52 Sri Adisvaraji 53 Sri Sahasraphani Parsvanathaji 26 54 Sri Adisvaraji 55 Sri Pundarikasvamin 56 Sri Abhinandanasvamin 57 Sri Ajitanathaji from the Taranga Hill. 58 Sri Chandraprabhasvamin from the Prabhasa-Patan. 59 Stone Pancha-tirthi from Kadambagiri. 60 Sahasraphana-Parsvanatha from Jodhpur. 61 Dadasaheb from Bhavnagar. 62 Sri Parsvanathaji from Delwada. 30 63 Samavasarana from Ranakpurji. 64 Sri Parsvanathaji 65 Sri Padmavatidevi from Patan. 31 66 A Jina image 67 Sri Rishabhadevaji 32 68 A Jina image from Talaja. 69 Stone Chovisi from Prabhasa-Patan. 33 70 Sahasrakuta from the Satrunjaya Hill. 71 Sri Neminathaji & the Yadavas 34 72 Twenty Viharamana (present) Tirthankaras From Ranakpur. 35 73 Sri Nandisvaradvipa from Girnar. 74 Twenty Viharamana (present) Jinas from Girnar. 36 75 Sri Marudeva along with Rishabhanatha from Satrunjaya 76 Marudeva and king Bharata on elephant back.

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16 Plate Figure 37 77 Sri Ambikadevi 78 Metal Kausagiya 38 79 Shanmukha Yaksha 80 Vijaya-Yakshini 39 81 Sri Parsvayaksha 41 87 Sri Ambikadevi 88 22 42 89 Sri Sarasvatidevi "" "" 90 43 91 Sri Chakresvaridevi 92 An unidentified sculpture 44 93 Sri Manibhadraji 22 "" 94 45 95 Sri Sarasvatidevi 96 Sri Padmavatidevi 46 97 Sri Yakshesa-Yaksha 98 Sri Kalidevi 47 99 Sri Gomukha Yaksha 100 Sri Chakresvaridevi 48 101 Three Sravikas or lay-sisters 102 Sri Jinaprabhasuri (?) 49 103 Sri Amarachandrasuri 104 Sri Devachandrasuri 105 Vanaraj, the King of Gujarat, 50 106 Motisha Seth & his wife 107 A Sravaka and a Sravika 51 108 11 JAINA TIRTHAS IN INDIA 23 82-83 Sri Lakshmidevi from Diu. 84 A slab representing the mother of the twentyfour Jinas. 40 85 Sri Parsvayaksha Prabhasa-Patan. 86 Sri Padmavatidevi Prabhasa-Patan. from Girnar. 27 from 17 11 27 109 Dharmaraja 52 110 Inscribed pillar from the Purva-Meghanada Mandapa of the Jaina temple at Ranakpur. 111 Sahadeva, Dharmaraja and Nakula 53 112 Draupadi, Bhima and Acharya 113 Sahasraphana-Parsvanatha 39 11 17 "" 91 27 15 ". 37 "" 27 27 73 22 from Girnar. from Diu. from Prabhasa Patan. Diu. from Satrunjaya. 11 27 27 "" 17 77 21 17 22 17 17 11 19 from Satrunjaya. "2 17 from Patan. "" from Satrunjaya. from Talaja. "1 from Kadambagiri. from Satrunjaya. from Satrunjaya. "" from Ranakpur.

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AND THEIR ARCHITECTURE 17 Plate Figure 54 114-115 To stone inscriptions from Sri Ranakpur. 55 116 Inscription from the Purva-Meghanadamandapa. from Ranakpur. 117 Arjuna, Sri Krishna and Rukmini (?) (Satrunjaya.) 56 118 Dharanavihara (Ranakpur.) 57 119 58 120 (East view) from 59 121 (east and south view) 60 122 Dakshina-Meghanada mandapa 61 123 Paschima , view of the interior. 62 124 ,, of the dome 63 125 Paschima-Meghanada-mandapa, inner view, from Ranakpur. 64 126 Paschima-Meghanad-mandapa, View of the dome, 65 127 inside view of the north-wes tern corner, 66 128 Paschima-Meghanada-mandapa south eastern corner, 67 129 Main spire. a ceiling from the Dakshina Meghanada-mandapa, 68 131 Sri Parsvanath temple, 132 Ceiling of the western Nagarakhana at 69 133 A view of Samarana of West-Meghanada mandapa 134 A view of the Nrityamandapa on the west 70 135 Sri Makshiji's temple Malwa. 136 Sri Dadawadi temple, Lucknow. 71 137 The Jaina temple at Lachhwad (Bihar). 138 The Jain temple on the hill at Kshatriyakunda. 72 139 The Jaina temple at Kampila. 140 2 >> Kulpakji. 73 141 Jagatsheth's temple, Katgola (Bengal). 142 A general view of Saptadhara, Rajagira. 130

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18 JAINA TIRTHAS IN INDIA Plate Figure 74 143 Babu Badridasa's Temple, Calcutta. 144 >> >> 75 145 A General View of the Babu Badridasa's temple, , 146 The Jaina Svetambara Temple, Guniyaji. 76 147 A general view of the Jala-mandir, Pawapuri. 148 Jalamandir through the main entrance Pawapuri. 77 149 Sita-Nala Sametasikhara. 150 Natural scenery on the Sametasikhara Hill. 78 151 Bird's-eye view of Sametasikhara. 152 Main temple, 79 153 The Nirvana-bhumi of Sri Parsvanatha. 154 The beautiful scene of Achalagadha with the Jaina temples. 80 155 Metal Parikara from Patan. 156 A miniature metal Jaina temple from Patan. 81 157 Silver Samavasarana from Baroda. 158 Jaina tower from Chitodgadh. 82 159 An exquisitely carved wooden pillar from Surat. 160 A small wooden temple from Patan. 83 161 Scene of the marriage procession of Neminatha, carved in wood, from Patan. 162 A beautiful piece of sculpture, from Charup. 84 163 Carved wooden ceiling, from Patan. 164 The Jaina temple at Charup. 85 165 Temple of Sri Ajitanatha, Taranga. 86 166 Sculptures on the southern wall of Sri Ajita natha temple, 167 Back-view of Sri Ajitanatha temple 87 168 Sculptures of the above, 88 169 Another view of wall sculptures, 89 170 Another view of Taranga-Sculptures. 90 171 More Taranga-Sculptures. 91 172 Somanatha temple, Prabhasa-Patan. 173 Anotner view of Somanatha temple, 92 174 Third view of Somanatha Patan, 175 General view of Ajara Parsvanatha's temple, Ajara. 13

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AND THEIR ARCHITECTURE 19 Plate Figure 93 176 A richly carved pillar at Ajara. 177 Another view of the pillar. 94 178 The death place of Sri Hiravijayasuri. 179 Interior of Somanatha temple, Prabhasa-Patan. 95 180 Some wall sculptures on the Somanatha temple 181 Ajayapala's Chora, Ajara. 96 182 Main entrance of the Somanatha temple. 183 General view of the Jaina temples at Prabhasa-Patan. 97 184 Entrance of Chandraprabha's temple, 185 Carved stone pillars, 98 186 Old carved pillars from Uparkot, Junagadh. 187 Old architecture at Uparkot. 99 188 A Jaina image carved in a wall on the Uparkot-Junagadb. 189 Entrance door of the main temple in the Merakavasi's Tuk-Girnar. 100 190 Specimen of old sculpture Uperkot. 191 Rock-cut well 101 192 Entrance to the Girnar Hill-Junagadh. 193 Sri Neminatha's temple Girnar. 102 194 Kumarapala's Tak 195 Ceiling from a temple in Merakavasi's Tuk 103 196 Merakavasi's Tak 197 Another ceiling from a temple on Merakavasi's , 104 198 Another Jina image carved in a wall on the Uperkot junagadh. 199 Third ceiling of Merakavasi's Tuk Girnar. 105 200 Back-portion of Vastupala's temple Girnar. 201 The mandovara of Vastupala's 106 202 A ceiling in the Vastupala's 203 A ceiling of the Santinatha's 107 204 Vastupala's Tuk (view from the west) Girnar 205 Back view of the five Pandavas' temple Girnar 108 206 Tuk of Samprati Maharaja 207 The exquisite carving of Samprati's Tuk Girnar. 109 208 West portion of Samprati's 209 View of main Tuk from the way to Sahasavana 110 210 Sri Rahanemi's Tuk Girnar. 211 Sri Imbika's

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20 Plate Figure 111 212 A ceiling from Sri Ambika's 213 A ceiling from Kumarapala's 112 214 Jaina temples on the Girnar Hill-general view. 215 Jaina temples on Girnar. 113 216 Jaina temples on Girnar, another view. 17 "" 217 Jaina temples on Girnar. 114 218 The Satrunjaya hill and the city of 219 Ceiling of wooden temple 115 220 Sahasamravana 221 Wooden Jaina temple from 116 222 Jaya-taleti, 223 Sri-Pujyaji's Tuk, 117 224 Babu's temple from 99 "" JAINA TIRTHAS IN INDIA "" another view 234 A portion of Chaumukhaji's Tuk, 123 235 Wall sculpture of the Balabhai Modi's Tuk, 236 Architectural beauty of the pillars of chaumukhji's temple, 124 237 A pillar of Pandava's small shrine, 238 The small shrine of Pandavas, 125 239 Sri-UjamaPhoi's Tuk, 240 Sheth Hemabhai's Tuk, 126 241 Sheth Motishah's Tuk, 225 118 226 Jayataleti, 227 The way to Nava-Tuk, 119 228 The shrine of Padmavati 229 Chaumukhaji's Tuk, 120 230 The way to Nava Tuk 231 "" 121 232 General plan of the Jaina temples on the Satrunjaya Hill. 122 233 Side view of the Samprati's temple, 242 Main temple of the Motishah's Tuk, 127 243 A portion of the main Tuk, 244 Main temple of Modi's Tuk, 128 245 Jaina temple on the 246 An artistic Architectural piece from the Modi's Tuk, Tuk Girnar. "" Palitana. Palitana. Girnar. Palitana. Satrunjaya. " 37 77 17 21 32 29 "" "" 21 27 "" Satrnjaya 11 37 33 27 ** 77 22 23 Satrunjaya Hill. Satrunjaya

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AND THEIR ARCHITECTURE Plate Figure 129 247 The niche on the right side of the Modi's Tuk, Satrunjaya. 248 -Do-on the left side, 130 249 Interior of Vimalavasahi, 250 A view of the river Shetrunjee. 131 251 A ceiling from Sri Neminatha's Chori, 252 Exterior of Kumarapala's Tuk, 132 253 Exterior of Gheti's paga, 254 The silver ratha, 133 255 Sculptures on the left side of the main temple 256 Foot prints of Rishabhadeva, 134 257 Right wing of the main temple, 258 Sculptures on a par, in the right wing of the main temple, 135 259 A torana on the right side of the main temple 260 Architecture of the right side of the entrance of the main temple 136 261 The silver shrine in front of the main temple 262 The shrine of the Gheti's Paga, 137 263 Another view of the Satrunjaya. 264 The temple at the foot of the Kadambagiri. 138 265 The temple at the top of the Kadambagiri. 266 Sri Satrunjayavatara, Kadambagiri. 139 267 The Taladhvajagiri-Talaja (Kathiawad). 268 The main temple on the Taladhvajagiri, Talaja. 140 269 The temple on the top Tuk on the Taladhvajagiri, 270 Sri Parsvanathaji, Bhavnagar. 271 The temple of Dadasaheb, 141 272 Chorivala temple, (front view) Jamnagar. 273 -Do-(Back view)142 274-75-76 Jaina sculptures preserved in the Jumma Musjid, Cambay.

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THE JAINA TIRTHAS IN INDIA AND THEIR ARCHITECTURE Plate 1 Poses of hands and the symbols and weapons they wield. Figure 1:-Akshasutra or rosary. 2. A fruit (generally Matulinga or Citron) 3. A conch. 4 & 5 A lotus. 6. A drum or damaru. 7. The Vajra or thunderbolt. 8. Khadga or a sword. 9. Pasa or a noose. 10. A spear. 11 & 12 A lotus. 13. A bunch of mangoes. 14. An elephant. 15. A shield. 16. A Kamandalu or gourd. 17. An umbrella or Chhatra. 18. A book. 19. A conch. 20. A bell. 21. A noose. 22. A lute. 23. A child. 24. A bunch of mangoes. 25. A spear. 26. An arrow. 27. A dagger. 28. A bow. 29. A trident. 30. A child. 31. A lotus. 32. A pitcher. These symbols and poses have been copied for the benefit of students from illustrations in palm-leaf MSS and from Jaina icons. Plate 2 Figures 2 to 4:-Various types of plaques of AYAGAPATAS excavated from the Kajikali-tila, Mathura, which were worshipped by the Jainas in the 2nd Cen. after Christ. For a description of these illustrations, vide Annual Report of the Archeological Survey of India, Vol. XX. Pls. VII, IX and the explanatory note on Pl. VIII. Figure 5:-CHARANA-PADUKAS or foot-prints secured from the same locality as above. This furnishes important evidence to prove that the Jainas worshipped padukas even in the 2nd Cen. A. D. Plate 3 Figure 6 :-PARSVANATHA image from Mathura. For the correct identification of this headless icon, see my article on the old Jaina images in the Bharatiya-Vidva, (Hindi-Gujarati) Vol. I., Pt. 2. pp. 179 to 194. Figure 7 :-RISHABHADEVA From Mathura. For identification of this image, see my article quoted above Pl. 3, Fig. 6. Both the images (Fig. 6 & 7) were secured from the excavations at Kankali-tila, Mathura. The late Dr. Vincent Smith has wrongly identified them as those of Rishabhanatha and Vardhamana respecti. vely in his work entitled 'The Jaina Stupa and other Antiquities of Maihura', plates 98 and 95, as has been proved by me in my article referred to above.

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AND THEIR ARCHITECTURE 23 Plate 4 Figure 8:-MAHAVIRASVAMIN. This image is enshrined in a Jaina temple on the Kundeghata Hill of Kshatriya-kunda, the birth place of Mahavirasvamin. A photo of it, as also of Fig. 9, was supplied to me by the Young Men's Jaina Society of Ahmedabad. I am of opinion that this image is almost contemporaneous with Mahavirasvamin or at the most it may be posterior to him by about a hundred years. It stands testimony to the skill of the architects of the period. Figure 9:-PARSVANATHA. From Rajagpiha. It is situated in a cave on the Udayagiri Hill near Rajagliha. Its photograph was supplied to me by the Young Men's Jaina Society, Ahmedabad. Its placid facial expression, the expanded serpentine hoods behind it, its lotus seat and the wonderful and artistically arranged coils of the snake below the lotus seat create admiration in the minds of the visitors for the forceful inspiration of the master artists of those days. Very rare are such sculptures saved from the devastation of time. Both the images are without lanchhanas or emblems. Plate 5 Figure 10 :-PARSVANATHA, situated outside the cave on the Udayagiri Hill of Rajagriha. The image is a peerless specimen of ancient sculptures. The Jainas have spared no pains to preserve such treasures and greater efforts are needed in the same direction. Figure 11:-Standing image of PARSVANATHA from a cave near Dhank near Wala in Kathiawad. A photograph of the image was supplied to me by the secretaries of the Sri Jaina Satysprakasa Samiti, Ahmedabad. The image has been identified by me in my article referred to under Pl. 3, fig. 6. (N. B. Dhank is not near Vala. It is under Gond, about nine miles to the Souti-east of Bhayavadar and lies at the South-east corner of the Alech range of hills. Dhank is in western Kathiawad, whereas Wala is in eastern Kathia vad. A. S. G.) Plate 6 Figure 12 :-PARSVANATHA. This is a damaged stone image of about 2nd or 3rd century A. D. It was noticed by me on the outskirt of the village of Ajara, about 13 miles from Una Junagadh State, Kathiawad). I had suggested to the secretaries of the Jaina temple at Ajara to remove the image to the compound of the temple and preserve it. When, however, I visited the place about a couple

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24 JAINA TIRTHAS IN INDIA of years ago, I was fortunate to find it standing in the same condition. Though most of it is defaced, it testifies to the wonderful workmanship of the artisans. I hope the trustees of the Ajara-Parsvanatha shrine will take early steps to preserve this ancient structure. Figure 13 :-An unidentified goddess. This image lies covered with thorny bushes near the entrance gate of the Ajara-Parsvanatha temple. It holds a bell in one hand and a staff in another. The remaining hands and the weapons held in them are lost and it has made identification rather uncertain. Still from its drapery, the image can be assigned to about the 10th to the 12th Cen. A. D. Besides these two sculptures (Figures 12 & 13) many loose fragments of sculptures are lying strewn all round the village of Ajara. Plate 7 Figure 14:-ANTARIKSHA-PARSVANATHA from the cellar of a Jaina shrine at Sripura near Akola. According to an old Jaina tradition which is current even to this day the image was got fashioned by king Ravana and one full chapter called Sri-Antariksha-Parsvanathakalpa is devoted to its description in the work called Vividhatirthakalpa of Sri Jinaprabhasuri (14th Cen. A. D.). The image is seated in the Ardhapadmasana pose and the serpentine hood behind it is of a different type from those of the other ancient Parsvanatha images. It appears that the sculptor chiseiled it with great haste. Members of both the Jaina sects-the Svetambaras and the Digambaras-worship it with devotion. Figure 15:-SRI MANIKYASVAMI from the Jaina temple at Kulpakaji a village in the Hyderabad State (Deccan). It is in the Ardhapadmasana pose and according to Jaina tradition the image was got fashioned by Emperor Bharata, the elder brother of the fir: t Tirthankara Rishabhadeva. A detailed description of this image also is given in the chapter entitled Kollapaka-Manikyadeva-tortha-kalba in the Vividhatirthakalpa which is mentioned above. The pedestal of the image bears an inscription dated V. S. 1767 and refers to the repairs done by the Sangha from Bhavnagar. Both the images are very old and besmeared. Plate 8 Figure 16:-Image of PARSVANATHA excavated at Kankali-tila, Mathura, and now preserved in the Provincial Museum at Lucknow. The serpant hood over the head of this image has been very dexter

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25 AND THEIR ARCHITECTURE ously chiselled. The pedestal is too damaged to allow the deciphering of a single letter of the inscription it bears. However its workmanship would assign the image to a period anterior to the 2nd centuary A.D. The lobes of the ears of this icon do not touch the shoulders as in the case of other images and would suggest that the image belonged perhaps to a period even anterior to Mahavira's time. Figure 17 :-A Jina image from the Kankali-tila, Mathura, seated in the Utthita-padmasana pose, with curly hair on the head which differentiates it from other images. The Srivatsa mark also is clearly visible on the chest. Hair is seen flowing on the shoulders down to the middle of the collarbone and helps us to identify the image as that of the first Tirthankara Rishabhadeva. Figure 18:-Fragmentary Jina image from the same locality as the images in Fig. 16 & 17. Its head is lost. Its identification has become very difficult as ancient images had no lanchhanas or emblems. Below its seat are to be seen indistinct Kharosthi letters which defy decipherment. The pedestal is flanked by a pair of lions and in its middle is engraved a stupa (?) in place of the Dharmachakra and on each sides of the stupa are four persons extolling it. This is an evidence of the existence of stupa worship among the Jainas of that period. Plate 8 Figure 19:-This skilfully wrought image also was secured from the Kankali-tila at Mathura. The sculptor has carved the outline of a fine garment on the pedestal and has clearly shown that it belongs to the Svetambara sect of the Jainas. The delineation of the Prabhamandala or abhamandala behind the head of the image as also the lotus petals on the pedestal indicate that the image is of a Tirtharikara. The pedestal is flanked by very fine images of lions, and behind the lion on the left side, the sculptor has drawn the images of the lady who got the image fashioned. It can be assigned to about the lith century after Clirist. Plate 9 Figure 20 :-Sri Ajara-Parsvanatha. This Parsvanatha image from the Jaina temple at Ajara (Kathiawad) is, according to the Jaina tradition, very old. As it is covered, it is difficult to assess its workmenship. But the tirtha is situated in such a lonely but lovely place that one feels highly satisfied after visiting it even once. The author

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26 JAINA TIRTHAS IN INDIA of this work also had been twice on pilgrimage to this tirth where he tried to derive spiritual happiness. Figure 21 :-A PAIR OF YAKSHAS from Curzon Museum of Archaeology, Mathura. Mr. Vasudeva Sarana Agravala, the Curator of the Curzon Museum of Archaeology at Mathura has tried to identify this image in an article of his published in the Jaina Satyaprakasa Vol. IV. pt. 12 without success. In the sculpture a man and a woman are seated side by side. The hands and faces of both are damaged. Over the head is a tree in which is carved a Jina image seated in the padmasana-pose. Traces of a child held by the woman in her left hand are distinctly observed. This leads me to identify it as of Ambikadevi. The male must be a two handed Yaksha. Figure 22:-Sculptures representing the Yaksha HARINAIGAMESHI secured from Kankali-tila near Mathnra. For a discussion of these images see the monthly Jaina Satyaprakasa (Ahmedabad) Vol. IV, 1-2. Figure 23:-A COULPE OF Devotees. This image secured from the Kankali-tila, gives a correct idea of the dress put on by the Sravakas and Sravikas of old days. A wreath of flowers has been carved by the sculptor between the folded hands of the male devotee. The serene and devout expression on the face of the male so successfully shown by the sculptor evokes our admiration. Plates 10 & 11 Figure 24:-A Jaina image. Figure 25:-A Jaina image. Figure 26 :-RISHABHADEVA. Figure 27 :-PARSVANATHA. All these four images were excavated at Mahudi, a village in the Baroda State and have been identified as Buddhist by Dr. Hirananda Sastri in the Annual Report for 1937-38 of the Archaeology Department, Baroda state. I have however disproved the identification of Dr. Sastri by his own evidence and have shown that the images are Jaina, in my article on very Ancient Jaina images from Gujarat published in the Bharatiya Vidya Vol. I. pt. 2. Plate 12 Figure 28:-A Jaina image in the Kayotsarga form, from the Maha virasvami's shrine at Pindvada (Marwad). A detailed description of this image has been given by Kalyana-Vijayaji in the Nagaripracharini-patrika N. S. Vol. XVIII pt. 2 pp. 221 to 231. It is

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AND THEIR ARCHITECTURE 27 about a little over four feet in height and its pedestal bears a fivelined Sanskrit inscription which reads as follows: (1) Om Niragatvadibhavena sarva natvavibhavakam | Jnatva bhagavatam rupam Jinanam=eva pavanam || Dro-Vayaka... (2) Yasodeva.....bhih.... ridam Jainam karitam yuktam uttamam \\\ (3) Bhavasataparampararjita-gurukarmmaras (j) O....ta.... vara darsanaya suddha sajjhana charanalabhaya || (4) Samvat 744. (5) Sakshat pitamahen-eva Visvarupavidhayina | Silpina Sivanagena Kritam-etaj-Jinadvayam || The fourth line gives the date as V. S. 744 and the fifth mentions the sculptor Sivanaga. Figure 29-RISHABHADEVA from the same locality as in figure 28. For a description of this image vide Bharatiyavidya Vol. I. Pt. 2 (Fig. 8). Plate 13 Figure 30-PARSVANATHA from Pindavada (Marwad). The Jina is to be seen in the centre of the sculpture, flanked by two standing Kayotsarga figures. A very fine lotus is engraved below the pedestal. Its petals are engraved below the seat and under them is engraved a richly decorated piece of cloth in front of which is drawn a dharmachakra symbol flanked by a couple of deer. At the end of the pedestals are shown figures of lions. On the right hand side near the lion is seated a Yaksha with a fruit in one hand. Under the Yaksha is his conveyance, the elephant. To the left is the figure of the seated Yakshi with a bunch of mangoes in the right hand and a child in the left. It is the Yakshi Ambika, riding a lion. Behind both the Yaksha and the Yakshi, stands a female chowri-bearer. In the lowest course of the pedestal, below the Yaksha, the Yakshi and the Dharmachakra, are drawn the figures of the nine grahas. Such exquisitely carved sculptures seem to have been divinely inspired to the sculptor. Figare 31-PARSVANATHA from Wankaner, (Kathiawad). For a detailed description of this, see my article on old Jaina images in Bharatiyavidya Vol. I. pt. 2 (fig. 9). This images almost resembles the image in fig. 30. Still both appear to be of different periods and do not seem to be the work of one and the same artist.

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28 JAINA TIRTHAS IN INDIA Plate 14 Figure 32 :-RISHABHADEVA. This is a loose metal image standing in the antechamber of the temple of Suvidhinatha at Prabhasa-patana. Originally it must have stood as a Kayotsarga image belonging to some Jaina scul Cure. Under this standing image there is a seated four-handed image of Chakresvari and on her left is the standing image of Ambika with a child in the left hand and a mango bunch in the right. Figure 33 :-CHAKRESVARI and AMBIKA. Photo of the lower part of the Kayotsarga image (Fig. 32), taken from the left. Plate 15 Figure 34 :-CHAKRESVARI, copied from fig. 32. The goddess holds wheels in both of the upper hands. The lower right hand is in the Varada pose and holds a rosary. She holds a conch in the lower left hand and rides Garuda who is shown on a Kamalasana. There is a lotus below Garuda. Figure 35 :-AMBIKA copied from Fig. 32. above. She holds a bunch of mangoes in her right hand and supports a child on her waist with her left hand. This image is unique. For it is rare to see two different Yakshis in one and the same Tirthankara image. It presents a new problem to the students of Jaina Iconography. Plate 16 Figure 36 :-PARSVANATHA from the collection of Mr. Sarabhai Nawab. This has been fully described in my article in the Bharatiyavidya. (Vol. I. pt. 2 Fig. 10). on Rare old Jaina Images. The back of the image bears a short inscription engraved in characters of the 10th century A. D., which reads Sri ChandraKule Madhagachchhe muktisamihaya ! Sravako gochi namai Jina-traya.' Figure 37 :-PARSVANATHA. (From the collection of the late Babu Puranachandra Nahar, Calcutta). It is dated V. S. 1077. This image is published by Mr. Mohanlal Dalichand Desai in his book called Jaina Sahityano Samkshipta Itihasa' (Plate 3, facing page 1), but has been wrongly identified by him as of Adinatha, For its correct identification see my article on 'Ancient metal Images prior to the 12th Cen. A. D.' published in Jain Satyaprakasha. Plate 17 Figure 38 :-PARSVANATHA. It is kept in the Godi-Parsvanatha

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AND THEIR ARCHITECTURE 29 temple at Pydhoni, Bombay. Originally the image hailed from Prabhasa-Patan along with other metal images. This image is similar to the image from Pindwada (Fig. 30 above), but it has not been as artistically made as the latter. Figure 39 :-The back view of the above mentioned image is given here to enable readers to read the date engraved on it. Unfortunately the letters have come out indistinct in the block. Still it gives some idea of this sculptur of the 11th Cen. to the students of Jaina Iconography. Plate 18 Figure 40 :-RISHABHADEVA. This image also comes from PrabhasaPatan and is now kept in the Godiji Parsvanatha temple mentioned above. The date on its inscribed back is clearly seen in Fig. 41 (see below). The two chowrie-bearers flanking the image, the Yaksha on its right and the Yakshi-Ambika-on the left, are clearly visible. The prabhavali behind the image is lost. The association of Ambika with Rishabhadeva also presents new problem to the students of Jaina Iconography. Figure 41:-The back side of the above mentioned image. It bears a three-lined inscription in which the date. V. S. 1090 is clearly readable. Curls of hair are distinctly visible, flowing over the shoulders on the back. Tbere is ample evidence of Rishabhadeva images with curls of hair flowing on the shoulders. But this is a solitary instance of an image of this Tirthankara with hair flowing behind the head down the neck. Plate 19 Figure 42 :-A Tirtharkara image from the cellar of Ashtapadaji temple at Patan. Its expression is pleasing and serene and it seems that it was fashioned by its artist at leisure. The image is without any symbol. Plate 20 Figure 43 :-PARSVANATHA. This image is known as Charupa Parsvanatha from the village of Charupa (4 miles from Patan) from which it comes. The Jainas regard it as very ancient. It is difficult to ascertain its period as it is anointed. Figure 44 :-AVANTI-PARSVANATHA-from the Avanti-Parsvanatha temple at Ujjain in Malwa in the cellar of which it is enshrined. This Avanti-Parsvanatha temple was constructed in memory of

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30 JAINA TIRTHAS IN INDIA Avanti-Sukumala by his son. This Avanti-Sukumala was the son of a merchant from Ujjain and was contemporaneous with Aryasuhastisvami Siddhasena-Divakara, a learned Jaina, who composed his Kalyana-mandira-Stotra in this temple. The shape of the serpent hood in this image is of a different type. It is of white marble. Plate 21 Figure 45-PARSVANATHA from the Jaina temple at Bhanduka near Wardha. It is of black marble and was secured from excavations some years ago. The image is anointed now. It is seated in the ardhapadmasana pose. Figure 46-Parsvanatha. Same as above with the angi or dress and ornaments. Plate 22 Figure 47:-NEMINATHA. This black marble image is near Pundarikasvami in the first pradakshina path on the Moti Tuk on the Satrunjaya Hill and attracts every devout Jaina. Figure 48-AMIJARA PARSVANATHA image from a temple on a knoll to the right after entering the Waghan Pol on the Satrunjaya Hill. Plate 23 Figure 49:-MAHAVIRASVAMIN. This yellow image is situated in a niche near the door on the left, on entering the temple of the Mula-Nayaka or Adinatha on the Satruniaya Hill. Figure 50-PARSVANATHA. On the Satrunjaya Hill near Palitana, there is the tuk of Balabhai Modi. In it there is a temple on the left just when one enters it. Outside the sanctum of the temple there are two nicely carved niches which remind one of the niches called Derani-Jethanina Gokhlas. This image is installed in one of the niches. It belongs to the 18th or 19th the Cen. after Christ and carving of the niches seems to be of the 12th or 13th Cen. A. D. It is possible that the carved stones of these niches are extraneous and have been fixed at a later date. Plate 24 Figure 51-SANTINATH (Satrunjaya Hill). This image is installed as the Mula-Nayaka or chief image in the temple that is seen on the left just on entering the Waghana Gate. Every pilgrim to the Satrunjaya Hill visits other shrines after making obeisance to this

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AND THEIR ARCHITECTURE 31 image. This images is highly placid and attractive and is carved out of a very fine white marble. Figure 52-ADISVARA. This image is worshipped as the Mulanayaka in the Chaumukhaji tuk, the highest of the nine tuks of the Satrunjaya Hill. This tuk was got built by two Jaina merchants named Sada and Somaji. Its history is very romantic. For want of space it cannot be given here but will be included in my future publication called 'Satrunjaya-Sarvasva.' Plate 25 Figure 53-This image is installed in a temple that is seen in the right just on entering Balabhai Modi's tuk. Its pedestal is inscribed and is dated V. S. 1921. The serpent hoods over the head of the image are very dexterously chiselled by the sculptor. Plate 26 Figure 54:-ADISVARA. On the Satrunjaya Hill. The tuk of Motishah Sheth, a merchant from Surat is situated on the left and is seen just after entering the Rama Pol. The image is worshipped as the Mulanayaka in the lofty temple which one sees in front soon on entering the main gate of the tuk. The marble for this image is more pure and crystaline than that used for any other image on the Satrunjaya Hill. Figure 55-PUNDARIKASVAMIN. This image is installed in the shrine which is just opposite the shrine mentioned above. The marble of this image is equally pure and bright. Plate 27 Figure 56-ABHINANDANASVAMIN. This image is worshipped as the Mulanayaka in the Kesavaji Nayakani tuk which is on the right side just after entering the main gate of the Navatukas. It is carved out of very fine and pure white marble. Figure 57-AJITANATHA. This image is worshipped as the Mulanayaka in the Jaina temple built by the illustrious king of Gujarat, Kumarapala, on the Taranga Hill. Plate 28 Figure 58-CHANDRAPRABHA. This is the image of the Mulanayaka in the principal Jaina temple in Prabhasapatan which is 11 miles from the Veraval Railway Station (Kathiawad) (Junagadh State). It appears to be of the 12th cen. A.D. Figure 59-STONE-PANCHTIRTHI or a stone slab with five Tirthan

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32 JAINA TIRTHAS IN INDIA karas carved on it. This sculpture is of yellow stone and is fixed in the back wall of the principle Jaina temple which is at the foot of the Kadambagiri near Palitana in Kathiawad. There is a pair of a Sravaka and a Sravika standing with hands folded below the central image, giving an idea of the male and female costumes in the 15th Cen. A. D. Plate 29 Figure 60:-SAHASRAPHANA-PARSYANATHA. This is a Mulanayaka image from the Parsvanatha temple of the Guramaka talao from Jodhpura. It has been described by me in my article quoted above in the Bharatiyavidya (Fig. 12). Figure 61 :-DADASAHEB. The image is enshrined in Bhavnagar as the Mulanayaka in the Jaina temple known as the Mota Derasar. The name Dadasaheb is printed under the picture through oversight. Figure 62 :-SRI-PARSVANATHA. All these three images are worshipped in the Jaina temple at Delwada about three miles from Una in Kathiawad. The middle one is of the Mulanayaka-Sri-Parsvanatha. Plate 30 Figure 63 :-SAMAVASARANA DESIGN carved in a mandovara of Dharana-vihara, a Jaina temple at Ranakapura near Sadadi in Marwad. Figure 64 :-SRI-PARSVANATHA. A black marble mage from a Jaina teinple situated near the Dharanavihara mentioned above. Figure 65 :-PADMAVATI. from Patan. This is a white marble image of Padmadevi on the right side in the temple of Sri Sitalanatha, the 10th Tirthankara, in the pada of Khetarapala in Patas. Plate 31 Figure 66 :-CHANDRAPRABHA. A fine white marble image with all its paraphernalia from the pada of Khada-Kotadi. The inscription on it reads:(1) Patasha-Sri Mahamadarajye: Samvat 1598 Varshe Vaisakha Sudi 12 dine Adajya Modhanyati Sri Pattana-vastayyam 1 Thakara gotana bha: Kau Suta ...... bha. (3) Dahisuta Thakara-asadhara--bharjya (bharyya) Achhabade Sri Chandraprabha pratishtha Karapita (4) gurusri Anandavimalasuri pati-Sri-Vijayadanasuri-pratishthitam. 5) .............. Figure 67 :-RISHABHANATHA. A fine white marble image of the G

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AND THEIR ARCHITECTURE 33 Tirthankara who is worshipped as the Mulanayaka in the Khada-kotadino pado at Patan. The cognizance of the Tirthankara-the bull is seen on pedestal. Both these images (figs, 66 & 67) provide examples of the exquisite workmanship of sculptors in the 16th Cen. A.D. Plate 32 Figure 68:-A Jaina image from the Taladhvaja Hill near Talaja the terminus of the Bhavnagar Talaja Tramway. Standing Jina image of fine white marble like this are on the right and left of the main Jaina temple. The image has human appearance. Both the images have a two-armed Yaksha on the right of the pedestal and on the left Ambika image with a bunch of mangoes in the right hand and a child supported in the left hand. As both the images have no lanchhana or cognizance on the pedestal, they seem to belong to the 11th or 12th cen. A.D. The whole of the Taladhvaja Hill does not possess a more exquisite icon. Figure 69:-STONE CHOVISI from Prabhasapatan. Just after entering the Chintamani Parsvanatha temple one sees on the left hand wall three stone slabs containing chovisis of Tirthankars, past, present and future, and one of them is illustrated here. The inscription below it reads:-Samvat 1454 Varshe Vaisakha Sudi 6. Plate 33 Figure 70:-SAHASRAKUTA. The sculpture of white marble called Sahasrakuta is in a small Jaina temple of the five Pandavas on the Satrunjaya Hill. The total number of the Jina icons in it is 1028. Figure 71 :-Sri Neminatha with the Yadavas. This sculpture of the chori of Sri Neminatha is in the cellar of the Jaina temple called Vimala-vasahi which is seen on the left just after entering the Waghana Pol on the Satrunjaya Hill. In the middle of the figure is a marble image of Neniinatha, the 22nd Tirthankara. The small images are of the Yadavas who espoused Jainism with him after he returned from his party and who obtained salvation. In the upper right hand corner of the figure there is a design of Samavasarana which represents Neminatha's Kaivalya Kalyanaka. Elephants and horses are shown in all the corners, symbolical of the marriage proces. sion of Neminatha. The picture can be best appreciated from the original.

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34 JAINA TIRTHAS IN INDIA Plate 34 Figure 72 :-Twenty present Jinas (or Visa Viharamana Jinas) from a small shrine in the circumambulatory path of the Dharanavihara at Ranakapur. Plate 35 Figure 73 :-SRI NANDISVAR A-DVIPA of white marble from the circumambulatory path of the main shrine in the Girnar Hill. The sculptor has given a historical touch to it by carving the image of the person who got the slab carved at its bottom right hand corner and of his wife at the bottom left hand corner of it. Below the male figure are engraved the words-Maham Dhandhala and below the female are carved Maham Srimurti. The inscription on the pedestal reads:(1) Sam. 1287 Faguna va [o] 3 Sukre Tha. Rajaplal Rajapalasuta Maham. Dhandhalena bandhava Udayanavadya tatha bharya Siri Suta Muma Sobha Simha Asapala tatha Suta Jalha-Nalha prabhriti nijagotramanusha-Sreyase Nandi-Svarajinabimba(2) -ni karapitani il Brihadgachchhiya-Sri Pradyumna-suri-Sishya Sri Manadevasuri-pratishthita-Sri Jayananda Suribhih pratishthitam | Subham bhavatu 11 Tha. Kanhada-Suta Figure 74 :-The twenty Viharamana Tirthankaras. The white marble slab is fixed in the circumambulatory path on the Girnar Hill. Below this slab is an inscription dated V. S. 1290. The inscription reads:-- Sam [0] 1290 Ashadha Su 0 8 Bhaume Pragvata Tha. Rajapala Tha. Nandamatisuta Maham Dhandhala tasya bharya Maham Sri 11 Plate 36 Figure 75:-MARUDEVA and RISHABHANATHA from a niche outside the shrine of Pundarikasvamin in front of the temple of the Mulanayaka in the Motisha Sheth's Tuk on the Satrunjaya Hill. It repre. sents Rishabhadeva the first Tirthankara sleeping in the lap of his mother Marudeva. It is a unique piece of sculpture. The marble is of a shining and fine quality. Figure 76 :-MARUDEVA and king BHARATA riding an elephant. This beautiful sculpture stands in front of the Mulanayaka of the main temple in the Motishah Sheth tuk on the Satrunjaya Hill. Plate 37 Figure 77 :-SRI AMBIKADEVI. This is a small metal image of the

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AND THEIR ARCHITECTURE 35 goddess Ambika, kept in the Jain temple of Suvidhinatha at Prabhasapatan. It is illustrated here for the use of the students of Jain Iconography. On its back there is an inscription which reads: Samvat 1506 varshe Vaisakha-Suda 6 Sukre Osavala-inativa Shatvake-gotre Sa. Nakar bha. gangi Sandadana Ambikainurti kara pitam! Figure 78:-A standing metal Kayotsarga image. An artistically fashioned metal parikara is kept in a dark cell in the circumnabulatory passage round the Sri Neminatha temple on the Girnar Hill. It contains two Kayotsarga figures one of which is reproduced here for the benefit of he readers. The parikara bears an inscription which reads: Samvata (t) 1523 varshe Vaisakha Sudi 13 gurau Sri-Vriddha Tapagachchhe Sri-Gachchana yaka-Bhatt. Sri Ratnsimhasurinam tatha Bhattaraka Udayavallabhasurinam chal upadesena Tha. Sri Sana Sa. Bhava-pramukha Sri-Samghena Sri-vimalanatha parikara karitah pratishthita ....... Sri-Jnanasagarasuribhihil Plate 38 Figure 79:-SANMUKHA-YAKSHA from Girnar. This is found in the right lower part of the parikara mentioned above. Figure 80 :-VIJAYA-YAKSHINI. Image of Vijaya 'the Yakshini of Vimalanatha, the thirteenth Tirthankara, carved on the lower left part of the same parikara. It is difficult to understand why such a unique piece of art has been placed in a dark cell where no lover of art can possibly see it, by the trustees of the Inandji Kalyanji Pedhi. It would not have been possible to take photographs of these sculpures without the complete cooperation of the Manager of the Pedhi at Junagadh, Mr. Sankalchandabhai. I hereby bring to the notice of the said trustees to arrange to place it in a prominent place where lover of art and art critics can easily see it. Plate 39 Figure 81 :-PARSVA YAKSHA from the main Jaina shrine as Navalakha Parsvanatha, at port Diu, a Portuguese possession in Kathiawad The deity is seated in the padmasana pose with the palms of the hands arranged one above the other in the lap. As can be seen clearly in the photo, a hooded snake is shown on shoulders. This image presents a new evidence in Jaina Iconograpy. Figure 82-83 :-LAKSHMI. Both these metal images are in the

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36 JAINA TIRTHAS IN INDIA temple at Diu mentioned above. The head of each image is flanked by an elephant. The image in figure 82 is seated in the Padmasana pose whereas that in fig. 83 is seated in the Bhadrasana pose. The elephant is shown as the vehicle in fig. 82 whereas no vehicle is shown in fig. 83. But for these minor difference the images are almost identical. Figure 84:-The slab representing the mothers of the 24 Tirthankaras. This slab is rubbed in many places by its contact with the wall in a Jina temple in the Sagorama Modi's tuk on the Girnar Hill. This slab has been illustrated here in order to show the difference the Jinamatas bear with the image of the Jina-mata in fig. 75. Plate 40 Figure 85-PARSVA-YAKSHA. This white marble image is seen on the outside of the left of the antechamber of the temple of DadaParsvanatha at Prabhaspatana. Local people wrongly take it as an image of Sri-Ganesa. For Ganesa has one tusk whereas this image has a pair of them. From this it appears that the sculptor wanted to chisel the image of Parsva-Yaksha. Figure 86-PADMAVATI-DEVI. This four armed image of yellow stone of the Sasanadevi of Sri-Parsvanatha, the 23rd Tirthankara, in the Tapagachchhiya Upasara at Prabhaspatan. Plate 41 Figure 87-SRI-AMBIKADEVI. This fine sculpture is situated to the right on the outside of the antechamber of the Dada-Parsvanatha temple at Prabhasa-Patan. The right hand of the goddess holds a bunch of mangoes and the left hand a child. Near the right knee of the Goddess stands a boy holding a fruit in one of his hands and under the left lap is seated a lion, the conveyance of the goddess. Over her head is a branch of a mango tree, in the middle of which is a seated Jina, on either side of which is a monkey eating mangoes. The image is unique and hardly is one like it to be seen anywhere else. The pedestal bears an inscription which reads: (1) Samvata 1365 varshe Vaisakha vadi 5 Budhe Sri-Devapattana -vastavya-Sri-Malajnatiya pitri-Tha. (2) Somasimhasya-Matri-Guur (gaura)devyas-cha punyaya-Sri-Chandraprabhaswamichaitye pravishta-Goma maye

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AND THEIR ARCHITECTURE 37 115 (3) na Samananiya Ambikavamurter=jirnoddhara khattakadcayalam kritaya devaku(4) likava jirnoddharah Tha. Suhadasimhena Karitah Figure 88 :- AMBIKA IMAGE (fine white marble) lying in a niche to the right on the outside of the antechamber of the Neminatha temple at Prabhasapatan. The weapons and the conveyance of this image are identical with those of the Fig. 87. Still the two images show different workmanship. Plate 42 Figure 89:-SARASVATI. This fine marble image is fixed exactly opposite the Ambika image (fig. 87) in the Dada-Parsvanatha temple at Prabhasa-patan. She holds a lotus in the upper right hand, a rosary in the lower right hand, a lute in the upper left hand, and a book in the lower left hand. To the right of the image is the figure of lady that got the image fashioned and the vahana of the godd the swan, near the left leg. Standing images of Sarasvati are very rare. The pedestal bears an inscription which reads: Samvat 1323 Vaisakha Sudi 9. Figure 90:-SARASVATI (white marble; seated). From another Jaina temple in Prabhasa-ratan. The weapons she holds are similar to those in fig. 89. Plate 43 Figure 91:-SRI-CHAKRESVARI. This four-handed image is found in a niche on the left of the Vastupala-Tejahpala tuk on the Girnar Hill. There is a discus in each of the upper hands a rosary in the lower right hand and a conch in the lower left hand. Figure 92 :-An unidentified sculpture from Diu. It is a loose sculpture from a Jina temple at Diu (Kathiawad). It appears to be a Hindu image. Plate 44 Figure 93:-SRI-MANIBHADRAJI. from the Tapagachchha Upasraya at Prabhasapatana. The devout pilgrims have besmeared it with much oil and red lead. Figure 94:-SRI-MANIBHADRAJI-white marble image placed in a niche behind the Mulanayaka in the above temple (fig. 92). Plate 45 Figure 95 :-SRI-SARASVATIDEVI. The four-armed image of the goddess is in a small shrine in a narrow pass which one sees on the right, just while starting to climb the Satrunjaya Hill. As the image

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38 JAINA TIKTHAS IN INDIA has received coatings of red colour, it has a dreadful appearance. The complexion of the goddess is white. So I humbly suggest that if in Future the trustees of the temple start colouring it white, I think the inage would look serene and pleasing in appearance. Figure 96:-SRI-PADMAVATI-DEVI. This four-handled image is found in the tuk of Sri-Pujyaji on a small hill to the right of the resting place called chhala-kunda on the way leading up to the Satrunjaya Hill. Plate 46 Figures 97 :-SRI-YAKSHESAYAKSHA. This marble image is in a niche on the left side of a Jina temple while entering the tuk of Chomukhaji. Figure 98 :-SRI-KALI-DEVI. This is a white marble image in the same temple as above. Plate 47 Figure 99:-GOMUKHA-YAKSHA. This white and shining marble image is found in a small shrine to the right of the steps of the main temple in the tuk of MotiShah. Figure 100:-SRI-CHAKRESVARI-DEVI. This is an eight-armed image of Chakresvari-devi riding Garuda to the left of the steps that lead to the highest point of the Chomukhaji on the Satrunjaya Hill. Plate 48 Figure 101 :-THREE SRAVIKAS OR LAY-SISTERS. The slab with these three lay-sisters is fixed in the wall on the right hand side on the outside of the main temple of Sri-Adisvara, the Mulanayaka, on the Satrunjaya Hill. Figure 102:-SRI-JINAPRABHAsuri. This image of a monk is seen in the circumambulatory passage in the tuk of Chomukhaji on the Satrun. jaya Hill. The inscription on the pedestal of the image looks to be modern, engraved afterwards by some devout follower of the Gachchha, fur Jinaprabhasuri had been a great inonk of the 14th Cen. A. D. when even the tuk did not exist. Plate 49 Figure 103 :-SRI-AMARACHANDRA-SURI. This white marble image of the famous monk dated in V. S. 1349 is found in the Jaina temple in the Tangadiya-wada at Patan. The monk was the author of many works including Padmananda Maha-kavya, Amurakosa, LughaTirthankaracharita etc. The inscription on its pedestal reads:

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AND THEIR ARCHITECTURE 'Sam. 1349 Chaitra vadi 6 sanau Sri-Vayatiyagachchhe Sri-Jinadattasuri-Sishya-pandita-Sri-Amarachandra-murtih Pam. Mahendrasishya-Madanachandrakhya-(e)na Karita Sivam=astu \\ 39 Figure 104-SRI-DEVACHANDRA-SURI. This image of Devachandrasuri, the chief disciple of Sri-Silagunasuri, the protector of Vanaraja the illustrious king of Gujarat, is seen in the Panchasara-Parsvanatha temple at Patan. Figure 105-VANARAJA, the illustrious king of Gujarat. This fine marble image of the heroic king is seen just after entering the circumambulatory passage of the Jaina temple referred to above at Patan. All these three white marble images are very helpful for the History of Gujarat. Plate 50 Figure 106-MOTISHAH SHETH AND HIS WIFE. These standing images of Motishah Sheth who caused the tuk, known after him on the Satrunjaya Hill, to be built, who was a resident of Surat and a merchant of Bombay, and of his wife, with folded hands, are placed just opposite the image of Jinesvara in the temple of the Mulanayaka. Both the images are very important for the history of Gujarat, specially of the Jainas. Figure 107-A LAY-BROTHER AND A LAY-SISTER from Talaja. These two images, bearing an inscription dated 1437, of a lay-brother and a lay-sister of the Pallivala-gachchha are in a niche on the right of the Jina temple on the Talaja Hill. Plate 51 Figure 108-A LAY-BROTHER AND A LAY-SISTER from Kadambagiri. A yellow stone image of a lay-brother in the circumambulatory passage of the main shrine at the foot of the Kadambagiri provides an excellent example of the costume of the 15th Cen. A. D. Figure 109-DHARMARAJA. On the righthand outside of the PanchPandava temple, are fixed plaster images of the five brothers by the masons. It appears that the middle image with a rosary in the right hand and an gourd in the left hand is of Dharmaraja. On his left there is a female chowrie-bearer. Plate 52 Figure 110-INSCRIBED PILLAK in the Purva-meghanada-mandapa of the Jaina temple at Rapakapura. It bears an inscription dated V. S. 1651. Above the inscribed portion is, it appears, the standing

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40 SAINA TIRTHAS IN INDIA image of the mason Samala with hands folded. The inscription purports to record that the pavilion was repaired in the presence of the members of his family by the sons of Prowad. Sa. Raymala, a resident of Usmanpura near Ahmedabad. The inscription reads: 1, 118011 Samvat 1651 Varshe Vaisakha $142. ! di 13 dine- Patasahi-Sri-Akabbara pra3. Il datta-jagadguru-biruda-dharika parama-gil 4. Il rul-Tabagachchhadhiraja-Bhattaraka-Sri 6 Hi5. Il ravijayasurinam=upadesena Sri-Rand6. Il pura-nagare chatu[r]mukha-Sri-Dharanavihara-Sri7. it mad-Amha(hma)dabad-nagara-nikatavarti=Usama8. Il puravastavy'i-Pragva(a)ta-jnatiya-Sa. Rarama9. 11 la-bharyci Varaju-bharya-Surupa-de talputra Sa'.] 10. | Kheta-Sa. Nayakabhyam Sa[.] Varadhadi Kutum11. 11 bavutabhyam purvadikpratolya Meghanadabhi12. 11 dho mandupa[h]Karitah SvaSreyo'rthe | Sutradha13. il ra-Samala-mandapa-priva (Megha)nada virachilash] Figure 111 :-SAHADEVA, DHARMARAJA AND NAKULA. A plaster pannel in the temple of the Pancha-Pandavas. See account given under Fig. 109. Plate 53 Figure 112:-DRAUPADI, BHIMA AND ACHARYA. Third part of the plaster images cast by masons in the Five-Pandava's temple on the Satrunjaya hill. The images in order are of a female seated figure (Draupadi), Bhima, wielding a club in the middle and the third seems to be of acharya Dharmaghosha-suri, half veiled. Figure 113 :-SRI-SAHASRA PHANA-PARSVANATHA. This most elaborately carved sculpture is fixed in a wall in the circumambulatory passage of the Dharana-vihara at Ranakapura. For its description see the Bharatiyavidya Vol. I. pt. 2. p. 193. Plate 5.4 Figure 114-115 :-Inscriptions ou the right and left in the sabhamandapa of the main shrine at Ranakapura. The inscription in fig. 114 recordis in brief the history of the successors of Dharana Shah Porwad who got built the main shrine at Ranakapura and of the Ranas of Mewad. The inscription has been published in the 'Prachina-Lekhasangraha' Vol. 11. pp. 169-171, No. 307 and is dated 1. S. 1496.

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AND THEIR ARCHITECTURE Fig. 115 contains the records of various sangha-patis and acharyas, engraved on various occasions. Plate 55 Figure 116 :--INSCRIBED SLAB on the eastern Meghanada-mandapa. The inscription records the expenditure of 4800 golded mohurs, incurred by Sravaka Sa. Kheta Nayaka etc. of the Porwad community of Usmanpura near Ahmedabad, who had repaired the said inandapa. The inscription reads:1. 1801 Samoat 1647 Varshe Sri-Phalgunamase Suklapakshe 2. panchamyam tithan Guruvasare Sri-Tapagachchhadhiraja-pata3. Shal-Sri-Akabara pra] datta-Jagadguru-biruda-dharaka Bhattari(a)ka-Sri4. Sri-Sri 4 Hiravijayasurinam=upadasena i Chaturmukha Sri-Dharan5. vihare-Pragvatajuuttiya-Susravaka Sa. Kheta Nayakena 1 6. Varddhaputra-Yasavantadi-kutumbayutena ashtacha tvarimsat 48 pra7. manani Suvarnanamnakani mukiani purva-dik saika-pratoli 1 8. nimittam=iti Sri-Ahimadabuda parsve Usama puralah | Srir=as!!! The inscriptions recorded in figs. 110 and 116 are both useful for the history of Ahmedabad as they bear testimony to the residence of rich Jainas at Usmanpura in those days. Figure 117 :-ARJUNA, SRI KRISHNA AND RUKMINI () This is the fourth part of the plaster sculptures on the Satrunjaya Hill. (See figs. 109-111-112) It is generally believed that the figures are of Arjuna (with an arrow and a bow), Krishna and Rukmini from left to right. Plate 56 Figure 118:-THE DHARANA-VIHARA at ka nakapura. View from the north-west. The photo gives some idea of the extent of this spacious temple, which is surrounded by jungle on all the four sides. Plate 57 Figure 119:-North-west view of the Dharana-vihara, Ranakapur It is a closer view of fig. 118. Plate 58 Figure 120:-Outside eastern view of the Dharana-vihara. The

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42 JAINA TIRTHAS IN INDIA Hight of steps at the entrance to this imposing temple at Ranakapur is to be seen in the centre of the picture. Plate 59 Figure 121 :-South-east view of the Dharana-vihara at Ranakapur. This picture also gives an idea of the spaciousness of the temple. Plate 60 Figure 122 :-SOUTHERN MEGHANADA MANDAPA of the Dharanavihara at Ranakapur. The picture shows the carving on some of the 1444 pillars of the Jaina temple at Ranakapur (Marwad). Plate 61 Figure 123:-View of the interior of the WESTERN MEGHANADAMANDAPA, of the Dharana-vihara at Ranakapur which is three-storeyed. The picture gives a view of the interior of one of the storeys. Plate 62 Figure 124 :-View of the interior of the dome of the western Meghanada-mandapa, The pillars, arches and post of the carving of the dome are seen clearly in this illustration. Plate 63 Figure 125:-View of the interior of the western Meghanada. manda pa of the Dharana-vihara at Ranakapur. The photo shows the pendant hanging from the dome as also the bracket figures. The photo shows that the carving of the famous Delwada temple has been copied here. Plate 6+ Figure 126 :-View of the interior of the dome of the western Meghanada-inandapa of the Dharana vihara at Ranakapur. The poses of the bracket figures are clearly seen in this picture. Plate 65 Figure 127 :-View of the interior of the south-west corner of the Dharana-vihara at Ranakapur. The picture, gives some idea of the speciousness of the interior of the temple Plate 66 Figure 128 :-View of the interior of the south-east corner of the Dharana-vihara. The picture includes the nagarakhana inside the temple. The architecture resembles that of the structures of the period of Sultans of Gujarat. Plate 67 Figure 129 :-DHARANA-VIHARA-The main spire. The photo shows

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AND THEIR ARCHITECTURE 43 the central Sikhara of the main temple and gives an idea of its height and its three storeys. Figure 130:-Part of the ceiling of the southern MEGHANADAMANDAPA. The Kaliyamardana episode is chiselled by the sculptor in the central panel. Around him are seen the eight wives of the Snake, carved by the artist in a wonderful manner. The presence of Hindu subjects in the panels thus carved in the ceiling in this temple as in those of the Delwada-Abu Jaina temple helps to convince us of the great contribution made by Jainism towards Gujarat architecture in a very unconventional or catholic manner. Plate 68 Figure 131-TEMPLE OF PARSVANATHA to the west of the Dharanavihara at Ranakapur. For the photo of the Mulanayaka-Parsvanatha, see fig. 64. On the outside of this temple are carved many amorous Mithuna figures which some person unappreciative of their artistic carving has attempted to whitewash. For fear of digression I am unable to say why such obscene figures found a place in Jaina architecture. Figure 132:-CEILING IN THE WESTERN VERANDAH OF THE DHARANAVIHARA TEMPLE at Ranakapur. The ceiling like that of the Shaikh Farid Tomb and of the Vimalavasahi temple on the Satrunjaya Hill. For the former, vide the Architectural Antiquities of Northern Gujarat Plate XVI. Plate 69 Figure 133A VIEW OF THE SAMARANA of the western Meghanada-mandapa. Figure 134-View of the western DANCING HALL from Ranakapur. The architecture resembles that of the period of the Sultans of Gujarat of Ahmedabed. This temple is situated on the border of Gujarat and should be visited at least once by the students of Gujarat Architecture. A look at it would give a clear idea of the architecture and art of the sculptors of Gujarat of the 15th Cen. A. D. Plate 70 Figure 135-SVETAMBARA JAIN TEMPLE AT MAKSHI, a Rly. Station near Ujjain in Malwa. It is dedicated to Sri-Makshiji-Parsvanatha. It is under the management of the Sheth Anandji Kalyanji Pedhi of Ahmedabad.

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44 JAINA TIRTHAS IN INDIA Figure 136 :-THE JAINA TEMPLE OF DADA-WADI at Lucknow. Lucknow has fourteen Jaina temples which contain hundreds of Jina images of the Mughal period. One of them is illustrated here as an example of their architecture. Plate 71 Figure 137 :-THE JAINA TEMPLE AT LACHHAWAD in Bihar. Mahavira, the 24th Tirthankara was born in the village of Kshatriyakunda in Bihar, which is now known by the name of Lachha wad. The place where he was born and the place of his Chyavana and Diksha are located on the hills near it. At the foot of hill is a Dharmasala of iconolate Svetambara Jainas. The temple is inside that Dharmasala. In the centre of the picture is seen a huge temple surrounded by a broad rampart inside which is the Dharmasala. Every visitor to Bihar should not fail to see this charming site. Figure 138 :-THE JAINA TEMPLE ON THE HILL AT KSHATRIYAKUNDA. It is built on the birth-spot of Mahavira. . Plate 72 Figure 139:-THE JAINA TEMPLE AT KAMPILLA-Farukkabad, where the thirteenth Tirthankara Sri-Vimalanatha underwent four Kalyanakas. Figure 140 :-THE JAINA TFMPLE AT KULPAKAJI, a town in H.E.H, the Nizam's Dominions. Plate 73 Figure 141 :-JAGAT SHETH'S JAINA TEMPLE at Katgola (Bengal). This temple was built by the renowned Jagat Sheth on river bank in the village of of Katgola on the bank opposite to Murshidabad in Bengal. Figure 142:-A GENERAL VIEW OF SAPTA-DHARA. A Jaina temple and a Dharmasala exist near the Railway Station of Rajgir in Bihar and are seen in the picture. The modern village of Rajgir was once Rajagrihi the capital of Magadha. Plate 74 Figure 143 :-Main enterance of Badridasa Babu's temple at Calcutta. Figure 144 :-BADRIDASA BABU'S TEMPLE at Calcutta. Plate 75 Figure 145:-A general view, showing the scenery of the Badridasa Babu's temple at Calcutta. This glass temple built in Culcutta by the late Rao Bahadur Badridasji Babu is famous for its grandeur. He spent laks of Rupees

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45 AND THEIR ARCHITECTURE to built this fine and spacious Jaina temple which attracts every visitor to Calcutta. Figue 146 :-JAINA TAMPLE AT GUNIYAJI NEAR Patna where SriGautamasvami the first disciple of Sri-Mahavirasvami, the 24th Tirthnkara was born. Plate 76 Figure 147 :-General view of the Jalamandira at Pavapuri. Figure 148 :-JALAMANDIRA AT PAVAPURI as seen through the main entrance of the colonnade. Mahaviraswami, the last Tirthankara, who promulgated the doctrine of ahimsa entered Nirvana at the spot where the Jalamandira is built. The temple is in the centre of a lake, and is reached by a beautiful colonnade built by the Jainas. Plate 1 Plate 77 Figure 149:-SITA-NALA ON THE SAMETASIKHARA where twenty out of the twenty-four Tirthankaras of the Jainas entered nirvana. This Sira-nala is at a distance of three miles on the way that takes up to the summit. Figure 150:-SCENERY ON SAMETASIKHARA, showing the dense forest in the back ground and the pilgrims on their way. Plate 78 Figure 151 :-Bird's-eye view of the Sametasikhara Hill. Figure 152:-MAIN TEMPLE (Jalamandira --SAMETASIKHARA. Padukas are established at every spot where each one of the twenty Tirthankaras attained Nirvana. Jina images are enshrined only in this Jalamandira. Plate 79 Figure 153 :-THE NIRVANA-BHUMI OF PARSVANATHA on the Sametasikhara or the place where Parsvanatha, the 23rd Tirthankara attained Nirvana. The temple is on the highest point of the Hill and can be seen for iniles. Figure 154 :-ACHALAGADHA with the Jina shrines. Achalagadha is at a distance of a few miles from Delwada (Abu) and a general view of the Jaina temples is given here. Plate 80 Figure 155 :-METAL PARIKARA FROM PATAN. This artistically carved Parikara is in the collection of Sri-Muni-Punyavijayaji of Patan. Its back bears an inscription which reads :

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46 JAINA TIRTHAS IN INDIA 18On Samvat 1616 varshei Sake 1482 pravartamane Chaitravadi 12 Some ady-eha Sri-Pattane Dhamdherapatake Sri-Sri-Malajnatiya Dosi Naka bha. Kas(p?)urai-putra Do. Panaputri Samputabakuyutena Dosi Nakakhyena Svasreyortham Sri-Padmaprabhabimba Karita Sri-Purnimapakshe pradhanasakhaya bha. Sri-Bhuvanaprabha Suri-tatpatte bha. Sri-Vidyaprabha-suribhi pratishthita pujyamanam Chiram nandatu Subham bhavatu karaka-pujakayoh mangalam bhavatu Figure 156: A MINIATURE METAL TEMPLE FROM the collection of Muni-Punyavijayaji of Patan. It is of a fourfold figure of Jina and the inscription on its pedestal reads: 1811 Svasti Sri-Nripa-vikrama-Samvat 1462 Varshe Margr(g)a vadi 8 Ravau haste Sakshaj-jagachchandra-Saarikshas-chaturmukhah prasadah Sri-Sanghena karitah | Sadhu-Dharmmakena Suvarnnarupyair-alamkritahu Figure 157:-SILVER SAMAVASAKANA (from Baroda). It is kept in a room on the left hand side in the temple of Dada-Parsvanatha in the Narasimhaji Pol at Baroda. It was exhibited in the ancient Architecture section of the Exhibition that was arranged in connection with the Diamond Jubilee of His late Highness Sir Sayaji Rao Gaekwad of Baroda. Plate 81 Figure 158-JAINA KIRTISTAMBHA AT CHITODGADH. This Kirtistambha which was built in the fifteenth century bears testimony to the opulence of the Jainas of Chitor of that period. In a central panel of the pillar is seen a standing figure of a Tirhankara on both the hands of which white stripes have been made by some ignorant person. Above the head of this standing figure is anothere figure of Jina sitting in the padmasana pose. Above this portion are hundreds of seated Jina figures on all the four sides. Besides this Kirtistambha, there are hundreds of dilapidated Jina temples on the Chitorgadh. Repairs of some of them are at present taken up through the advice of the late revered Sri-Vijayanitisurisvara. Plate 82 Figure 159:-An exquisitely CARVED WOODEN PILLAR from Surat. Hundreds of figures are carved in wood on the walls of the Sri-Chintamani Parsvanatha temple in the Shahpur Moholla of Surat. Many

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AND THEIR ARCHITECTURE pillars of the temple are also exquisitely carved. One of the pillars is shown here. Figure 160 :-A small WOODEN TEMPLE FROM PATAN in Pandya Abhyasagriha at Patan. A similar shrine from Patan has been sold to the Prince of Wales Museum at Bombay by some unscrupulous Merchant. Plate 83 Figure 161 :-THE MARRIAGE PROCESSION OF NEMINATHA in wood carving from Patan. This is one of the exquisitely carved wooden pieces from the Jaina temple in the Maniyati-pada at Patan. Figure 162 :-A BEAUTIFUL PIECE OF SCULPTURE FROM CHARUPA. While I was on a tour to Patan in connection with the Jaina Literary Exhibition held at Ahmedabad, I visited Charupa, which is about four miles from Patan, where I saw this sculpture among loose stones lying in a compound. The letter-press below the picture has Chanasma printed for Charup through mistake. Plate 84 . Figure 163:-A CEILING OF CARVED WOOD from the rangumandapa of the Jaina temple in the Damkha Mehta's pada at Patan. The ironi bars seen in the photo are for hanging handis and Zummars for illumination during Jaina religious festival. Figure 164 :-THE JAINA TEMPLE AT CHARUPA about four miles to the north of Patan. This temple has been completely rebuilt in place of the old dilapidated one. Plate 85 Figure 165 :-SRI-AJITANATHA TEMPLE-Taranga. This lofty temple built by Kumarapala, the illustrious rular of Gujarat has been fully described in Architecture Antiquities of Northern Gujarat by Burgess and Cousens pp. 115-16 (Archaeological Survey of India (New Series) Vol. XXXII]. Plate 86 Figure 166 :--Sculptured southern walls of the temple mentioned above. Figure 167 :-Back view of the Ajitanatha temple at Taranga. The jali work in the picture exactly corresponds with similar work in the monuments of the Gujarat Sultans of Ahmedabad. But these jalis belong to the period of Kumarapal, much earlier then the period of the Gujarat Sultans.

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JAINA TIRTHAS IN INDIA (1 do not agree with the view of Mr. Sarabhai for we know from an inscription in it that it was repaired in the time of Emperor Akbar. This makes it quite possible that the jalis were inserted at the time of the restoration A. S. Gadre). Plate 87 Figure 168:-Some sculptures from a part of the outside walls of the Ajitanatha temple at Taranga. All the sculptures are not clear in this photograph supplied by the Baroda Archaeological Department. Plate 88 Figure 169:- Another view of Taranga sculptures, Plate 89 Figure 170 :-One more view of Tarangu sculptures. Plate 90 Figure 171:-Some more sculptures from Taranga. Plate 91 Figure 172 :-A portion of the SOMANATHA TEMPLE at Prabhasapatan Figure 173:-Another portion of the somanatha temple at Prabhasapatan Plate 92 Figure 174 :-A third view of the Somanatha temple at Prabhasapatan. Figure 175:-SRI-AJARA--PARSIANATH TEMPLE ar ljara. Plate 93 Figure 176:-, beautifully CARVED PILLAR AC Ajara. Figure 177 :-Another view of the same pillar. This pillar has been lying on the outskirt of the village of Ajara for many years. Plate 94 Figure 178 :-THE DEATH-PLACE OF SKI-HIKAVIJAYAJI near Una. Figure 179:--The interior of the Somanatha temple at Prabhasaparan. Plate 93 Figure 180:-Sono sculptures of Sonjanatha temple at Prabhasa. patan. Figure 181 :-SRI-AJAYAPALANO CHORO, Ajara. Plate 96 Figure 182 :-The main entrance of the Semanatha temple at Prabhasapatana. Figure 183: GENERAL VIEW OF THE AINA TEMPLE at Prabh sapatana.

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AND THEIK AKCHITECTURE Plate 97 Figure 184:-Entrance to the temple of Chandraprabhu at Prabhasapatana. Figure 185:-Exquisitely carved pillars in the temple of Chandraprabhu a: Prabhasapatana. (Cir. 12th cen. A. D.). Plate 98 Figure 186 :-Old carved pillars from Uparakota Junagadh. Figure 187 :-Old architecture from Uparakota, Junagadh. Plate Go Figure 188:-Carved image of a Tirthankaru in the Uparakota, Junagadh. Figure 189:-Entrance door of the mam teraple in the Meraka vasi's 11h-Girna: Plate 100 Figure 190 : ATED CAPITAL OF A PILLIR-Specimen of old sculpture from Uparakota Junagadh. Figure 191 :-Rock-cut stepped-well Operakota Junagadh. Plate 101 Figure 192:-Entrance to the Girnar Hill-Junagadh Figure 193:-SRI-NEMINATHA TEMPLE-Girnar. Plate 102 Figure 194 :-KUMARAPALA'S TUK-Girnar. Figure 195 -Ceiling from a temple on Merakavasis tuk. Plate 103 Figure 196 :-MERAKAVASIS TUK-Girnar. Figure 197 :- Another ceiling from a femple: ou Vieraka rasis tuk-Girnar, Plate 104 Figure 198:-A carved image of a Tirthankara from Uparakota, Figure 199:-A ceiling from a temple on the Merakavasi's Tuk-Girnar. Plate 105 Figure 200:-Carved panels in the back wall of the Santinatha's temple-Girnar. This temple is situated in the right hand circumarsabulatory passage in the Merakavasis tuk. Figure 201 :-Outside carved wall of the Vastapaia's temple. Gimar. Plate 106 Figure 202 :-A ceiling with its pendant in the Vastupala's comple sirnar.

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30 JAINA TIRTHAS IN INDIA Figure 203-A ceiling with its pendant of the Santinatha temple. Girnar. This ceiling is of the temple seen in Fig. 200. 222 Plate 107 Figure 204-VASTUPALA'S TUK from the west-Girnar. Figure 205 :-Back view of the temple of five Pandavas-Satrunjaya. Plate 108 Figure 206-TUK OF EMPEROR SAMPRATI-Girnar. Figute 207-Latticed work in stone showing beautiful carving from samprati's tuk-Girnar. Plate 109 Figure 208-SAMPRATI'S TUK from the west-Girnar. Figure 206-207-208 :-are specimens of the Gujarat Architecture of the 13th Cen. A. D. Figure 209:-View of the tuk of the Mulanayaka from the way to Sahasamravana-Girnar. Plate 110 Figure 210-SRI-KAHANEMI'S TUX-Girnar. Figure 211-SRI-AMBIKA'S TUK-Girnar. Plate 111 Figure 212-A ceiling from Sri-Ambika's tuk Girnar. Figure 213-A ceiling from Kumarapala's tuk Girnar. Plate 112 Figure 214-A general view of the Jaina temples-Girnar. Figure 215-JAINA TEMPLES on the Girnar. Plate 113 Figure 216-JAINA TEMPLES on the Girnar. Figure 217:-Do Plate 114 Figure 218-THE SATRUNJAYA HILL and the city of Palitana. Figure 219-Ceiling of a wooden temple from Palitana. Plate 115 Figure 220-SAHASAMRAVANA-Girnar. Figure 221-The wooden Jaina temple at Palitana. Plate 116 Figure 222-JAYA-TALETI-Satrunjaya. Figure 223-SRI-PUJYAJI'S TUK-Satrunjaya. Plate 117 Figure 224 :-BABU'S TEMPLE from Satrunjaya.

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AND THEIR ARCHITECTURE Figure 225 - Do. Do another view. Plate 118 Figure 226 :-JAYA-TALETI-Satrunjaya. Figure 227 :-The way to Nava-tuk-Satrunjaya Plate 119 Figure 228 :- The small shrine of Sri-Padmavati-Devi,-Satrunjaya. This charming temple is situated in the tuk of Sri-Pujyaji which is to the right of the resting place at the chhala-kunda on the Satrun jaya Hill. Figure 229 :-Spires of Sri-Chomukhaji's tuk--Satrunjaya. Plate 120 Figure 230 :-The way to Navatuk-Satrunjaya. Figure 231 :- Do. Do. Plate 121 Figure 232:-General plan of Jaina temples on the Satrunjaya Hill. (Through the courtsey of the Indian Archaeological Survey). Plate 122 Figure 233 :-A side view of the temple known as Samprati's temple--Satrunjaya. Figure 234 :-Part view of the Chaumukhaji's tuk-Girnar. Plate 123 Figure 235:-Sculptured panels on the Balabhai Modi's tuk. Figure 236:-Exquisitely carved pillars of the Chaumukhaji's temple - Satrunjaya. Plate 124 Figure 237:-A beautifully carved jamb of the door of the sinall shrine of Pandavas-Satrunjaya. Figure 238:-The finely carved jambs and the lintel of the door (showing the Pandavas inside) of the small shrine of PandavasSatrunjaya. This is a photo of the small shrine, known as the temple of Pandavas, which is behind the tuk of Chomukhaji. Plate 125 Figure 239 :-Sri-Ujama Phoi's tuk-Satrunjaya. Figure 240 :-Tuk of Sheth Hemabhai. Both these tuks are included in the Nava Tuks on the Satrunjaya. Plate 126 Figure 241 :-Tuk of Moti Shah Sheth-Satrunjaya. Figure 242 :-The main temple of the Moti Shah's tuk-Satrunjaya.

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JAINA TIRTHAS IN INDIA Plate 127 Figure 243 :-Carved panels on a mandovara of the main tukSatrunjaya. Figure 244:-Main temple of Modi's tuk. This temple is one of the main shrines in the nine tuks. Plate 128 Figure 245 :-General view of the Jaina temples on the Satrunjaya Hill. Figure 246 :-A sculpture from the Modi's tuk. Plate 129 Figure 247 :-Niche on the right side of Modi's tuk-Satrunjaya. Figure 248 :-Niche on the left side of Modi's tuk-Satrunjaya, Such beautiful sculptures are rather rarely seen on the Satrunjaya Hill. Plate 130 Figure 249:-Interior of the Vimalavasahi-Satrunjaya. Figure 250:-A view of the Shetrunjee river-Satrunjaya. Plate 131 Figure 251 :-Ceiling from Sri-Neminatha's Chori-Satrunjaya. This ceiling is found in the Neminatha's chori inside the Vimalayasahi tuk. The sculptor has depicted all the five kalyanaka incidents from the life of Neminatha. Figure 252 :-Exterior of Kumarapala's tuk, Satrunjaya (mediaeval period). Plate 132 Figure 253 :- EXTERIOR OF THE GHETI'S PAGA-Satrunjaya. This has been recently repaired by the Sheth Anandji Kalyanji Pedhi. All the persons who are seen praying in the picture are members of the family of the editor of this book Mr. S. Nawab. Figure 254 :-THE SILVER CHARIOT-Satrunjaya. This chariot is used by the Jainas in the procession of Jalayatra and the festival of the Kalyanakas of the Jinas. Plate 133 Figure 255 :-Sculptures on the left side of the main templeSatrunjaya. The sculptures show Brahma fixed in the wall and a woman with a bow and arrows. Both the pictures appeal to the visitors by their artistic carving. A similar figure of a hunting woman is carved in the mandovara of the temple of Santinatha in the fort of Jesalmere.

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AND THEIR ARCHITECTURE 53 Figure 256-FOOT-PRINTS OF RISHABHADEVA, the Mulanayaka, situated in a shrine behind the temple of Mulanayaka, built by Sheth Dalpatram Bhagubhai of Ahmedabad. Plate 134 Figure 257:-Right wing or aisle of the main temple on the Satrunjaya Hill. The arch shown in the centre of the photo is of the type of the arches of the 12th Cen. A. D. Figure 258-Sculptured panel on the pillar on the right of the main temple. The figures on it appear to be of the 12th Cen. A. D. Plate 135 Figure 259-A TORANA ON the right side of the main templeSatrunjaya. Figure 260-Architecture of the right side of the entrance of the main temple-Satrunjaya. From both these sculptures the temple seems to belong to the time of the restoration made by Bahada, the minister, in the 12th Cen. A. D. Plate 135 Figure 261-THE SILVER SHRINE in front of the main templeSatrunjaya. The shrine is placed in the courtyard adjoining the enterance gate to the main temple. Pilgrims enshrine a metal image in it at the time of bath and worship it etc. The glass used in the awning of the mandapa erected in this courtyard is out of proportion and does not match with it. It conceals a great deal of the sculptures in the temple. Figure 262-The small shrine of Gheti's paga-Satrunjaya (the picture clearly shows the porch etc. of the shrine.). Plate 137 Figure 263-Another view of the shetrunjee river-Satrunjaya Figure 264-The temple at the foot of Kadambagiri in the circumambulatory path round the Satrunjaya Hill. There is the village of Bodananesa, near which is the Kadambagiri Hill. This temple as also the temples shown in figs. 265, 266 are modern, built at the command of Sri-Vijayanemi-suri of the Tapagachchha community. The tirtha is under the management of Sheth Jinadasa Dharmadasa's Pedhi, Plate 138 Figure 265-The temple at the top of the Kadambagiri. Figure 266-Model of the Satrunjaya Hill on the Kadambagiri hill.

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JAINA TIRTHAS IN INDIA Plate 139 Figure 267 :-SRI-TALADHVAJAGIRI HILL-Talaja. A Tramway joins Bhavnagar with Talaja and near the Railway Station of Talaja are situated the Jaina Dharmasala and the hill seen in the picture. Figure 268 :-The main temple of Taladhvajagiri-Talaja (Kathiawad). The view is taken from the top tuk. Plate 140 Figure 269:-The temple on the top tuk on the TaladhvajagiriTalaja. The temples on these hills are also built at inspiration of the Tapagachhacharya Sri-Vijayanemi-suri. The temples are managed by the Jaina community at Talaja. Figure 270 :-PARSVANATHA-from the Sri-Godiji Parsvanatha temple in Bhavnagar. Figure 271 :-THE TEMPLE OF DADASAHEB, Bhavnagara. This is the most beautiful and spacious of the Bhavnagar temples. Plate 141 Figure 272 :-Front view of the Chaurivala temple, Jamnagar. (17th Cen. A. D.). Figure 273 :-Back view of the same. The artistically symmetrical construction of this temple has been praised by many foreign and Indian architects. For a description of this and other Jaina temples in Jamnagar, see the article entitled 'Jaina drishtie Jamnagar' in the Silver Jubilee Number of the Jaina. Plate 142 Figures 274, 275, 276 :- Jaina sculptures from the Jumma Musjid at Cambay. All the three pictures were given by Acharya Maharaja Vijayalavanya-suri for publication. at Cambay. All the

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' citra 12 zrI pArzvanAthajI * ajArA Fig 12 Sri Parsvanatha * Ajara citra 13 ajJAta devI * ajArA Fig 13 An Unknown Goddess : Ajara

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DITriterature Tool REALIZAdara sanizrIyaMtyadAtoDAtahaSAsanmukhIsadAtasmaidevAdhidevAyA zrImAdimattavetamAzAsavAda | mAmIyAkaditaviGaTAmagrImANikya svAminAnayAdAzvaralagAvata vivaraharatAdi niishvrpaatshaahshriirNgtthbbaalmgiirpaatshaadiibhaadrshaahviddaayraaddyaasbaadaartcaabaa| mahammadAsapharavAnabahAdarasAhAyAnapAgaletahArakazrIviDApatamAraziyAtavyAvirudAranam / viresatitizrIdharmazAlagANiziyAmitakesarakarAlenavaityohAravakRtAzrInAganArabAisa kenIkArakAritAbA231vanamAne itishryH|| citra 14 zrI aMtarIkSapAzvanAthajI. zrIpura Fig 14 Sri Antariksha Parsvanatha. Sripore citra 15 zrI mANikyasvAmIjI * kulpAkajI Fig 15 Sri Manikyaswami * Kulpakaji Copyright Jain Office

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citra 20 zrI ajAharA pArzvanAthajI __ig.20 Sri Ajahara Parsvanatha - Ajara citra 22 hariNagameSinAM svarUpo * mathurA Fig. 22 Different Dhyanas of Harinaigameshin - Muttra citra 21 yakSa yugala * mathurA Fig. 21 Yaksa with his consort Muttra citra 23 gRhastha yugala * mathurA Fig. 23 Sravaka and Sravika - Muttra education International

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citra 26 RSabhadevajI - mahuDI Fig. 26 Sri Rshabhadeva Mahudi Copyright Govt. of Baroda citra 27 zrI pArzvanAthajI mahuDI Fig. 27 Sri Parsvanatha Mahudi * 11

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citra 28 kAusagIyAjI piMDavADA (mAravADa) Fig. 28 Jain image - Pindwara (Marwar) citra 29 zrI RSabhadevajI * piMDavADA Fig. 29 Sri Rshabhadeva - Pindwara Copyright S.M. Nawab

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Education International citra 30 zrI pArzvanAthajI . piMDavADA Fig. 30 Sri Parsvanatha - Pindwara citra 31 zrI pArzvanAthajI * vAMkAnera (kAThiyAvADa) Fig. 31 Sri Parsvanatha - Vankaner (Kathiawar) www.jainelibrary Copyright S. M. Nawab

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14 citra 32 zrI RSabhadevajI * prabhAsapATaNa Fig. 32 Sri Rshabhadeva * Prabhaspatan citra 33 zrI cakrezvarIdevI ane aMbikA Fig. 33 Goddess Chakresvari and Ambika LAC NA .........

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16 citra 36 zrI pArzvanAthajI (sArAbhAI navAba) Fig. 36 Sri Parsvanatha (Sarabhai Nawab) citra 37 zrI pArzvanAthajI (pUraNacaMdajI nahAra) Fig. 37 Sri Parsvanatha (Pooranchandji Nahar) Copyright S. M. Nawab

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18 Cana FesaLER yAtahasina citra 40 zrI RSabhadevajI * goDIjI * muMbAI Fig. 40 Sri Rshabhadeva - Bombay citra 41 citra naM 40no pAchaLano bhAga Fig. 41 Back side of fig. 40 Copyright S.M. Nawab

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20 citra 43 zrI pArzvanAthajI * cArUpa Fig.43 Sri Parsvanatha-Charupa near Patan Copyright S.M. Nawab citra 44 zrI avaMtipArzvanAtha * ujjaina Fig. 44 Sri Avanti Parsvanatha - Ujjain

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can Education International citra 45 zrI pArzvanAthajI * bhAMDuka Fig. 45 Sri Parsvanatha - Bhanduka Copyright S. M. Nawab citra 46 zrI pArzvanAthajI bhAMDuka Fig. 46 Sri Parsvanatha - Bhanduka 21

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22 , citra 47 zrI neminAthajI * zatrujaya moTI Taka Fig. 47 Sri Neminatha . Satrunjaya Conuricht SM. Nawab citra 48 zrI amIjharA pArzvanAthajI * zatrujaya Fig. 48 Sri Amizara Parsvanatha : Satrurjaya

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195 Copyright S. M. Nawab ON H 2,944 Phontasaller citra 51 zrI zAMtinAthajI * zatruMjaya Fig. 51 Sri Santinatha Satrunjaya citra 52 zrI AdIzvarabhagavAna caumukhajInI TUka Fig. 52 Sri Adisvara Satrunjaya 24 Copyright Govt. of India

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25 1060 suutr r`aaheNtte vinayI-bhAyA hIroina citra 53 zrI sahasraphaNA pArzvanAthajI * bAlAbhAInI Traka Fig. 53 Sri Sahasrafana Parsvanatha - Satrunjaya Copyright Govt. of India bucalion International

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G0000 RE citra 68 zrI jinamUrti . taLAjA (kAThiyAvADa) citra 69 pASANanI covIzI * prabhAsapATaNa

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BITNESS, AFERDINAN A NIMAIS ENTENDREMONTS KANNATTSERRAT TRAESTANYS SENSES DANESSAYNESIA DENDAARSTELLUNDE ESTEETTITUTKIRCHENT ATTENTION THAT PARKIRAN KREISIKI28% PEROR EBAB INTERESTED ainelibrary.org citra 70 sahasrakUTa * zatrujaya Fig. 70 Sahasrakuta - Satrunjaya Copyright Govt. of India citra 71 yAdavo sahita zrI neminAthajI * zatrujaya Fig. 71 Sri Neminatha with Yadavas - Satrunjaya Copyright S. M. Nawab 33

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citra 72 vIza viharamANa jina . rANakapura Fig. 72 Twenty present Tirthankaras. Ranakapur Copyright Govt. of India

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Ja zrInaMtItharIya vosa viharamAna tIrthaMkaronI derIo alion International AMNAMA @ AIDATE VIE citra 73 zrI naMdIzvaradvIpa * giranAra Fig. 73 Sri Nandisvara-dveepa - Girnar citra 74 vIza viharamANa tIrthakara * giranAra Fig. 74 Twenty present Tirthankaras - Girnar Copyright S. M. Nawab 35

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36 CUR3yakAsakA EARNmarA citra 75 zrI mArUdevA RSabhadeva sahita . zava'jaya Fig. 75 Rshabhadeva in the lap of his mother Marudeva - Satrunjaya Copyright S.M. Nawab citra 76 hasti para mArUdevA ane bharatarAjA * zatrujaya Fig. 76 Marudeva and Bharat on Elephant - Satrunjaya

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citra 77 zrI aMbikAdevI. prabhAsapATaNa Fig. 77 Goddess Ambika - Prabhasapatan Copyright S. M. Nawab citra 78 dhAtunA kAusagIyA * giranAra Fig. 78 A standing metal image - Girnar

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citra 79 SaNmukha yakSa giranAra Fig. 79 Sanmukha Yaksa - Girnar Convricht SM Nawab citra 80 vijayA yakSiNI. giranAra Fig. 80 Vijaya Yaksini - Girnar 38

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citra 81 pArzvayakSa Fig. 81 Parsvayaksa citra 82,83 zrI lakSmIdevI * dIva (kAThiyAvADa) Fig. 82,83 Goddess Laksmi-Div (Kathiawar) Copyright S.M. Nawab ducation International citra 84 covIza jinamAtAno paTa * giranAra Fig. 84 The Tablet of twenty-four Jina Mothers. Girnar

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citra 85 zrI pArzvayakSa prabhAsapATaNa Fig. 85 Parsvayaksa Prabhaspatan citra 86 zrI padmAvatI devI prabhAsapATaNa Fig. 86 Goddess Padmavati 40

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Education International citra 87 zrI aMbikAdevI * prabhAsapATaNa Fig. 87 Goddess Ambika - Prabhaspatan Copyright S. M. Nawab citra 88 zrI aMbikAdevI * prabhAsapATaNa Fig. 88 Goddess Ambika * Prabhaspatan 41

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TE citra 89 zrI sarasvatI devI * prabhAsapATaNa Fig. 89 Goddess Sarasvati - Prabhaspatan Copyright S.M. Nawab citra 90 zrI sarasvatIdevI * prabhAsapATaNa Fig. 90 Goddess Sarasvati * Prabhaspatan

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Mondben 300 citra 91 zrI cakrezvarIdevI - giranAra Fig 91 Sri Chakresvari - Girnar Copyright S. M. Nawab citra 92 eka ajJAta zilpa * dIva (kAThiyAvADa) Fig 92 An unknown image - Diva

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++ Jan Education International citra 93 zrI mANibhadrajI prabhAsapATaNa Fig. 93 Sri Manibhadraji - Prabhaspatan Copyright S.M. Nawab citra 94 zrI mANibhadrajI - dIva (kAThiyAvADa) Fig. 94 Sri Manibhadraji - Diva

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can Education international For Private & Personal use only ras 45 citra 9, zrI sarasvatIdevI * zatrujaya Fig. 95 Goddess Sarasvati - Satrunjaya citra 96 zrI padmAvatIdevI * zava'jaya Fig. 96 Goddess Padmavati. Satruniava

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citra 97 zrI yakSeza yakSa * zatrujaya Fig. 97 Yaksesa Yaksa - Satrunjaya Copyright S. M. Nawab citra 98 zrI kAlIdevI * zatrujaya Fig. 98 Goddess Kali - Satrunjaya

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citra 99 zrI gomukha yakSa * zatrujaya Fig. 99 Gomukh Yaksa - Satrunjaya Copyright S. M. Nawab citra 100 zrI cakrezvarIdevI * zatrujaya Fig. 100 Goddess Cakresvari - Satrunjava

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ducation International www.jainelibrar 216 146 citra 101 vraNa zrAvikAo zatruMjaya Di 101 TLE... E queermuistilcmagding citra 102 zrI jinaprabhasUrI (?) - zatruMjaya Tier 100 Sri ling hhasiri (2). Satruniava

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nAravara TanazAiyanarAmaya mANagaparatyaya citra 103 zrI amaracaMdrasUrI - pATaNa Fig. 103 Sri Amarcandrasuri - Patan citra 104 zrI devacaMdrasUrI * pATaNa Fig. 104 Sri Devacandrasuri - Patan citra 105 gUrjarezvara vanarAja Fig. 105 Vanaraj, the king of Gujarat - Patan Copyright S. M. Nawab

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50 actalirimasamAnAkAmA citra 106 motIzA zeTha ane teozrInAM dharmapatnI Fig. 106 Seth Motisa with his wife - Satrunjaya Copyright S. M. Nawab citra 107 zrAvaka zrAvikA - taLAjA Fig. 107 Sravaka Sravika - Talaja (Kathiawar)

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93126 citra 108 zrAvaka zrAvikA * kadaMbagiri Fig. 108 Sravaka, Sravika - Kadambagiri (Kathiawar) Copyright S.M. Nawab citra 109 dharmarAjA * zatrujaya Fig. 109 Dharmaraja - Satrunjaya

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www.jainelibrar APOPUT // // // vana1616vezaSaDa Adizadine pAsAdizrIprakaraNa ruviruddha kaparamagu ghirA dAraka zrI hI yasa pAdarona A nagara umara dharaNAvihAra purAnI sArA dAvA nikaTa pha Em Coyyright S. M. Nawab varatarupasa sAdhAra mAvalyAna ka lamhA ti HMALLOL citra 110 derAsaranA pUrvameghanAda maMDapano staMbhalekha rANakapura Fig. 110 Inscription on Pillar Ranakpur citra 111 sahadeva, dharmarAjA, nakuLa Fig. 111 Sahadeva, Dharmaraja and Nakula 52

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Jan Education internal Por private & Personal use only citra 112 draupadI, bhIma, AcArya * zatraMjaya Fig. 112 Draupadi, Bhima and Acarya - Satrunjaya Copyright S.M. Nawab citra 113 zrI sahasraphaNA pArzvanAtha * rANakapura Fig. 113 Sri Sahasrafana Parsvanatha 53

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54 G ecavaramAcAra praaimrtaadd'njhaadiivraattngii| basa kamata-miravAvagrImedavArAsAdhi gaNanAahilaratIkazIlakAlona * patasiMAmadAdAkarItayunatama ma unAtIlakIrakhamamANa zrImadattanavAda sAnA vAmakumAsivamA3kAvimA yoga yAvaraTAyazaNanIvArimihAvIra siMhAvIra siMdacAumidavikamasidazyAmiTama 24AmaMtasiMdapaka mArasidamanasipala saMkSA narminadhimaMda 10 samarmidAbAjI mAnanIkArakAdhInahI vadIna sarakAzamitra apazrIcana 32prIjavAsiMda33mAladeza gogAdevajepIlamazriImajAsika patAzrI mAmila 36 zrImA23tAsa zrIladAdAnadalidizAma paNa para kArAdimAravazAvaramavidhAmanadanIbhovAla mahIpani nakAnana dAnAvikSamatamAgatama SRIDAramANazakA kAmadAra dalakara dii| rakha dATakAnAdinAnAmahAdurgalAnAmA damgRACT nanikAzivAtinuna nikatamotimAninikala gadhanamahIpAladyAlauvAvidale navidA cAvaDadauDa ra dinAninivezamAbhA dezana sAmAnamA cIna devA jAvAsa sakatAipomaravAdapara PlBRATE SHARMA nagarIya THESISE rAsara noDojo nAgaNI apanA mAnalA upanApAsAsama lAdaka lAlAlitapAdAravidayAmatitalAlatalamavilA mgaavidch| nayagaDhavaTavaTa jAna lAma mAnavatAvara papamATemAnasakananalamatile lenAmA dIdA nArAkamA konadilImaMDalArivArako sAkA nihiMDapuravAtavimada navasAgarI navaniraMgavAhinIvAdinISAgAradhukAma hAyAlanamalakiTAnIrAmadAzimAdi mogAsavara rivAra pADItakarsavAdApanisAvatomAjavA mAnasIpavizavinayA vivekaviTadAnikA nirmalakAlAAAYNamasimajhA taraNAnAmugaviNa zrImadahamAna sarapharANasI92055nisAhavadhimAyA sakyarigalavADAIrasaraNIzajavAdinIdhayAbalA dIpiDaravATakasAlezadivAnamavInAnavidArakIhora sAyamAvimasAgAramAmA kAyaropayazImadhamA kAsagaepamahAbakiTANa kamAlavAmavatAramA adhdhanamAyAnapAvaNamAsasaMsogarAdhanaH dhIra pAlanAgakAmadevasmAInasaMdharApavinAzvAsana dezamalASAmA sonAmAnimanAbharatadezamA bhavadIkSipadamAgasavanayanenarANapuranapadezakazrImata kelI nIde manAma nivezinisdImAdezamAralAkpadA a:zrIaadeIkSiNakAritA kRti nayAmAna garnama cavadA MASKAR A kAyama vAdA mAnadevanAradezAlAmA citra 114-115 zrI rANakapurajInA mukhya derAsarajInI koLInA jamaNI tathA DAbI bAjunA thAMbhalA uparanA zilAlekho Fig. 114-115 Inscriptions on the pillars at Ranakpur Copyright S.M. Nawab

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55 || mAnava zvArSIpAlanamA lApatA pAniyogamayamarApAgAdhirAjamAta sAvadhADAmanA dAjaga nuhAidhAranahArikatrI prAjApadAsayatrI mubAdahanAvaTamukhazrIdhara bihAraDAravA jJAnIyamAvaka sArazalA mAyA baghA vanAvika vayunAva kAnAta mAni varNanAta kAlimakA nipUrikasakasI timila matimI himadAbAdAbIusamAnaramAzrArA citra 116 pUrvameghanAtha maMDapanA pATa uparano zilAlekha Fig. 116 Inscription on a stone at Ranakpur citra 117 ajuna, zrI kRSNa, rUkimaNI (?) Fig. 117 Arjuna, Sri Krsna and Rukmini (?) Copyright S. M. Nawah

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99 citra 118 zrI dharaNavihAra-uttara tathA pazcima bAjuno dekhAva Fig. 118 North-west view of Sri Dharanvihar - Ranakpur Copyright S. M Nawab

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Education International ... 57 citra 119 dharaNavihAra-uttara tathA pazcima bAjuno dekhAva Fig. 119 Dharanvihar-North-west view with Dharmasala - Ranakpur

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citra 120 dharaNavihAra-pUrva bAjuno bahArano dekhAva TMEER paavu

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am Leucation interational citra 121 gharaNavihAra-pUrva tathA dakSiNa bAjuno dekhAva Fig. 121 Dharanihor. A Cruth na no 1 59

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citra 122 dharaNavihAra-dakSiNa meghanAda maMDapano dekhAva rANakapura (mAravADa) Maahanada mandana Ranakpur C

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61 citra 123 dharaNa vihAra-pazcima meghanAda maMDapanI aMdarano dekhAva Fig. 123 Dharanvihar-Interior of west Meghanada mandapa - Ranakpur Copyright S. M. Nawab www.jainenorary.org

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NI 323177537333 SCOTEC E 700002 SEE Hured citra 124 dharaNavihAra-pazcima meghanAda maMDapanA ghumaTano dekhAva Fig. 124 Dharanvihar-Dome of west Meghanada mandapa

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63 D6D2DDA TOTO HIMATY citra 125 dharaNavihAra-pazcima meghanAda maMDapanI aMdarano dekhAva Fig. 125 Dharanvihar-An interior of west Meghanada mandapa - Ranakpur Copyright S. M. Nawab

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6+ citra 126 dharaNavihAra-pazcima meghanAda maMDapanA ghumaTano dekhAva Fig. 126 Dharanvihar-Dome of west Meghanada mandapa Ranakpur Copyright S. M. Nawab

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65 citra 127 dharaNavihAra-naiRtya khaNAno aMdarano dekhAva Fig. 127 Dharanvihar-Ranakpur Interior of the south-west corner

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60 citra 128 dharaNavihAra-agnikhuNAno aMdarano dekhAva Fig. 128 Dharanvihar-Ranakpur Interior of the south-east corner Copyright S. M. Nawab

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citra 129 dharaNavihAra - mukhya zikhara Fig. 129 Dharanvihar Main spire Copyright S. M. Nawab PIFOTO B MAILAL Ca MISTRY PHOTO citra 130 dakSiNa meghanAda maMDapanI eka chatano dekhAva Fig. 130 A ceiling of south Meghnad mandap Ranakpur 67

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68 RTAL citra 131 dharaNavihAranI pazcime Avela zrI pArzvanAtha bhagavAnana derAsara Fig. 131 The Parsvanath temple on the west side of Dharanvihar - Ranakpur citra 132 pazcima balANakanI eka chatano dekhAva Fig. 132 A ceiling of west Balanaka

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s citra 133 pazcima meghanAda maMDapanAM sAmaraNano dekhAva Fig. 133 A view of Samarana of west Meghnad mandap - Ranakpur Copyright S. M. Nawab citra 134 pazcima bAjunA nRtyamaMDapano dekhAva Fig. 134 Aview of dancing mandap on the west - Ranakpur 69

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citra 135 zrI makSIjI- derAsara Fig. 135 The Jain temple of Maksiji (Malwa) citra 136 zrI dAdAvADInuM derAsara * lakhanau Fig. 136 The Jain temple of Dadawadi - Lucknow Copyright S.M. Nawab

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citra 137 zrI lachavADanuM nIcena derAsara Fig. 137 The Jain temple at Lachwar (Bihar) citra 138 zrI kSatriyakuMDanu parvata para derAsara Fig. 138 The Jain temple on the hill of Ksatriyakund Copyright S. M. Nawab

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citra 139 zrI kapilAnagarI (pharukkAbAda)nuM derAsara Fig. 139 The Jain temple at Kampila - Farukkabad citra 140 zrI kulpAkajIna derAsara Fig. 140 The Jain temple of Kulpakji Copyright S. M. Nawab

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RNER aaiiiiiHERE citra 141 jagatazeThana derAsara * kaTagolA Fig. 141 Jagatseth's Jain temple - Katgola (Bengal) citra 142 saptadhArAnu dRzya * rAjagira Fig. 142 A general view of Saptadhara - Rajagira Copyright S. M. Nawab

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74 Copyright S. M. Nawab citra 143 zrI badrIdAsa bAbunA derAsaranA kaMpAunDanuM mukhya dvAra kalakattA Fig. 143 Main entrance of Babu Badridas temple Calcutta citra 144 zrI badrIdAsa bAbunuM derAsara kalakattA Fig. 144 The Jain temple of Badridas Babu - Calcutta

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citra 145 zrI badrIdAsa bAbunA derAsaranI bhavyatA darzAvatuM dRzya * kalakattA Fig. 145 A general view of Babu Badridas temple - Calcutta citra 146 jaina zvetAMbara derAsara . guNIyAjI Fig. 146 The Jain Swetambar temple - Guniaji Copyright S. M. Nawab

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76 Copyright S. M. Nawab . citra 147 zrI jalamaMdiranuM suMdara dRzya pAvApurI Fig. 147 A General view of Jalmandir Pavapuri citra 148 mukhya pravezadvAra sahitanuM jalamaMdiranuM dRzya Fig. 148 Jalmandir through main entrance Pavapuri . '

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citra 149 sItAnALAno dekhAva * sametazikhara Fig. 149 Sitanala - Sametsikhar citra 150 sametazikhara parvatana eka kudaratI dRzya Fig. 150 Scenery on Sametsikhar hill Copyright S.M. Nawab

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citra 151 sametazikhara parvatanI Toca paranaM ramya dRzya Fig. 151 Bird's-eye view of Sametsikhar hill citra 152 mukhya maMdira (jalamaMdira) sametazikhara Fig. 152 Main temple - Sametsikhar Copyright S. M. Nawab

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citra 153 zrI pArzvanAtha bhagavAnanI nirvANabhUmi Fig. 153 The place where Sri Parsvanath attained Nirvana citra 154 jaina derAsaro sahitanaM ramya dRzya * acalagar3ha Fig. 154 The beautiful scene of Avachalgadh with Jain temples

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osno citra 155 dhAtunuM parikara pATaNa Fig. 155 Metal Parikar - Patan citra 156 dhAtunuM nAnuM derAsara Fig. 156 A miniature temple citra 157 cAMdInaM samavasaraNa vaDodarA Fig. 157 Silver Samavasarana ( Baroda) 80

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81 oonaanny 2355 DEFENDER citra 158 zrI jaina kIrtisthaMbha - citoDagar3ha Fig. 158 Jain Tower - Chitodgadh Canuriah Caut afl...

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inar citra 159 lAkaDAnA kotarakAmavALo thAMbhalo Fig. 159 A wooden pillar with exquisite carving - Surat Conurioht S. M. Nawab citra 160 lAkaDAnuM nAceM ghara derAsara * pATaNa Fig. 160 A small wooden temple - Patan

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RECElimitatistirnnEART citra 161 zrI neminAthajInI jAnanu lAkaDAnuM kotarakAma * pATaNa Fig. 161 Marriage procession of Neminath in wood carving - Patan citra 162 eka suMdara sthApatyakAma* cANasmA Fig. 162A beautiful piece of sculpture - Chanasma Copyright S. M. Nawab

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8+ AARTIANI ADDISTRIOTS citra 163 lAkaDAnA kotarakAmavALI chata * pATaNa Fig. 163 A ceiling in wood carving - Patan N....... citra 164 zrI jaina derAsara * dhANasmA Fig. 164 The Jain temple - Chanasma .... C M

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Copyright Govt. of Baroda citra 165 zrI ajitanAthanuM derAsara tAraMgA Fig. 165 Sri Ajitnath temple - Taranga 85

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85 anita citra 167 zrI ajitanAthanA derAsarano pAchaLano dekhAva Fig. 167 Back view of Ajitnath temple - Taranga citra 166 dakSiNa bAjunAM sthApatyakAmotAraMgA Fig. 166 Sculptures on the south side - Taranga Copyright Govt. of Baroda

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citra 168 tAraMgAnA suMdara zilpasthApatyano namUno Fig 168 A view of Taranga sculptures Copyright Govt. of Baroda 87

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88 citra 169 tAraMgAnA zilpasthApatyanuM bIju darzana Fig. 169 Another view of Taranga sculptures - Taranga Copyright Govt. of Baroda

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Copyright Govt. of Baroda citra 170 bIjI eka bAjunAM sthApatyakAmotAraMgA Fig. 170 One more view of Taranga sculptures 89

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90 citra 171 thoDAM vadhu sthApatyakAmo . tAraMgA Fig. 171 Further Taranga sculptures Copyright Govt. of Baroda

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citra 172 zrI somanAthanA maMdirano eka bhAga-prabhAsapATaNa Fig. 172 A portion of Somanath temple - Prabhaspatan Copyright S.M.Nawab citra 173 somanAthanA maMdirano bIjo bhAga-prabhAsapATaNa Fig. 173 Second portion of Somanath temple - Prabhaspatan

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92 citra 174 somanAthanA maMdirano trIjo bhAga. prabhAsapATaNa Fig. 174 Third portion of Somnath temple - Prabhaspatan citra 175 zrI ajArApArzvanAthajIna derAsara * ajArA Fig. 175 General viewief Ajara Parsvanath's temple - Ajara

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Education International citra 176 suMdara kotarakAmavALo thAMbhalo. ajArA Fig. 176 A beautifully carved pillar - Ajara Copyright S. M. Nawab citra 177 citra 176 vALA thAMbhalAnI bIjI bAju Fig. 177 Another view of the pillar in fig. 176 93

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94 citra 178 zrI hIravijayasUrinI nirvANabhUmi * UnA najIka Fig. 178 The death place of Sri Hiravijayasuri near Una citra 179 somanAthanA maMdirano aMdarano bhAga * prabhAsapATaNa Fig. 179 Interiorabf&Somanathe temple - Prabhaspatan

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citra 180 somanAthanA maMdiranA keTalAMka zilpa ___Fig. 180 Some sculptures of Somanath temple Copyright S.M. Nawab citra 181 zrI ajayapAlano coro * ajArA Fig. 181 Ajayapal's choro - Ajara 95

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96 citra 182 somanAthanA maMdiranuM pravezadvAra * prabhAsapATaNa Fig. 182 Main entrance of Somanath temple - Prabhaspatan citra 183 zrI prabhAsapATaNanAM jaina derAsaronu sAmudAyika dRzya Fig. 183 GeneralPview of Jain temples - Prabhaspatan .

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mukhaDara sthA putra nA paDA. thI290 citra 184 zrI caMdraprabhunA derAsaranuM pravezadvAra * prabhAsapATaNa Fig. 184 Entrance of Candraprabhu's temple - Prabhaspatan Copyright S. M. Nawab citra 185 sthApatyakAmavALA thAMbhalAo Fig. 185 Carved pillars - Prabhaspatan

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98 citra 186 prAcIna sthApatyavALA thAMbhalA . uparakoTa jUnAgar3ha Tig. 186 Old carved pillars - Uperkot Junagadh citra 187 prAcIna sthApatyakAmo * uparakoTa jUnAgaDha Fig. 187 Old Architacture at Uperkot Junagadh

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citra 188 kotarelI jinamUrti * uparakoTa Fig. 188 Carved image of Jina - Uperkot citra 189 merakavazInI TakanA mukhya derAsaranaM pravezadvAra - giranAra Fig. 189 Entrance door of main temple Merakvasi's Tuk - Girnar Copyright S.M. Nawab 99

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100 . citra 19. prAcIna zilpano namUno . uparakoTa Fig. 190 Specimen of old sculpture - Uperkot citra 191 zilAomAthI kArI kADhelI vAva . uparakoTa Fig. 191 Rock cut well - Uperkot

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citra 192 giranAra parvatanuM pravezadvAra jUnAgaDha Fig. 192 Entrance to Mount Girnar Junagadh Copyright S. M. Nawab ne yogI citra 193 zrI nemInAthajInuM derAsara - giranAra Fig. 193 Sri Neminath's temple Girnar 101

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102 *********** citra 194 kumArapAlanI Traka giranAra Fig. 194 Kumarpal's Tuk - Girnar 200 citra 195 merakavazInI Traka paranA maMdiramAMnI eka chata giranAra Fig. 195 Ceiling from a temple on Merakvasi's Tuk - Girnar were

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citra 196 zrI merakavazInI TUka . giranAra Fig. 196Merakvasi's Tuk-Girnar Copyright S M. Nawab citra 197 merakavazInI Traka paranA maMdiramAMnI bIjI chata * giranAra Fig. 197 Another ceiling from a temple on Merakvasi's Tuk - Girnar

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104 citra 198 bIjI kotarelI jinamUrti * uparakoTa Fig. 198 Another carved image of Jina - Uperkot citra 199 meskavazInI TrakanI trIjI chata * giranAra Fig. 199 Third-ceilingpol Merakvasi's Tuk - Girnar

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105 citra 200 zAMtinAthanA derAsarano pAchaLano bhAga * giranAra Fig. 200 Back portion of Santinath's temple - Girnar citra 201 zrI vastupAlanA derAsarano maMDovara * giranAra 18:401 The Mandovar Fig. 201 The Mandovar of Vastupal's temple - Girnar www.jainelibrary.orml

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citra 202 zrI vastupAlanA derAsaranI chata giranAra Fig. 202 Ceiling of Vastupal's temple Girnar Convright S. M. Nawaba MOTY citra 203 zrI zAMtinAthajInA derAsaranI chata giranAra Fig. 203 Ceiling of Santinath's temple - Girnar 1C6

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ain Education International 107 citra 204 vastupAlanITakano pazcima bhAga. giranAra Fig. 20+ West view of Vastupal's Tuk. citra 205 pAMca pAMDavanI derInI pAchaLano bhAga * zatraMjaya Fig. 205 Back view of five Pandava's temple-Satrunjaya

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108 Copyright S. M. Nawab. citra 206 zrI saMprati mahArAjanI Traka giranAra Fig. 206 Tuk of Samprati Girnar citra 207 zrI saMpratinI TrakanI jALIonuM zilpa giranAra Fig. 207 The beautiful Carvings of Samprati's Tuk - Girnar

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citra 208 saMpratinI TUkanI pazcima bAjuno dekhAva - giranAra Fig. 208 West portion of Samprati's Tuk Girnar citra 209 sahasAvananA rastethI mULa nAyakanI TUkano dekhAva * giranAra Fig. 209 View of main Tuk from the way to Sahasamravana Girnar 109

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110 citra 210 zrI rahaneminI TUka - giranAra Fig. 210 Sri Rahanemi's Tuk - Girnar citra 211 zrI aMbikAnI TUka . giranAra Fig. 211 Sri Ambika's Tuk Girnar .

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TAGOOOD Hadhepo4000000 CLAR KRO. citra 212 zrI aMbikAjInI TakamAMnI eka chata * giranAra Fig. 212 A ceiling from Sri Ambika's Tuk - Girnar Copyright S.M. Nawab citra 213 kumArapAlanI TrakamAMnI eka chata * giranAra Fig. 213 A ceiling from Kumarpal's Tuk - Girnar 111

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112 citra 214 zrI giranArajInAM jaina maMdironu sAmudAyika dRzya Fig. 214 General view of Girnar's Jain temples citra 215 zrI giranAra parvata paranAM jainamaMdiro Fig. 215 Jain temples at Girnar

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113 citra 216 zrI giranArajInAM jaina maMdiro Fig. 216 Jain temples at Girnar citra 217 zrI giranAra parvata paranAM jaina derAsaro. giranAra Fig. 217 Jain temples at Girnar Copyright S. M. Nawab

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114 Copyright S. M. Nawab citra 218 zrI zatruMjaya parvata ane pAlItANA zahera Fig. 218 Sri Satrunjaya hill and Palitana City citra 219 lAkaDAnA derAsaranI chata pAlItANA gurukula Fig. 219 Ceiling of wooden temple - Palitana

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citra 220 sahasAmravana - giranAra' Fig. 220 Sahasamravana-Girpar Copyright S. M. Nawab citra 221 lAkaDAna jaina derAsara * pAlItANA Fig. 221 The wooden Jain temple - Palitana 115

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116 citra 222 jayataleTI zatruMjaya Fig. 222 Jayataleti Satrunjaya citra 223 zrIpUjyajInI TUka zatruMjaya Fig. 223 Sripujyaji's Tuk Satrunjaya

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117 citra 224 bAbunuM derAsara * zatrujaya parathI Fig. 22+ Babu's temple from Satrunjaya citra 225 bAbunuM derAsara * zatrujaya parathI Fig. 225 Babu's temple from Satrunjaya another view

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118 citra 226 jayataleTI * zatrujaya Fig. 226 Jayataleti - Satrunjaya citra 227 navaTakanA raste . zatrujaya Fig. 227 The way to Navatuk Satrunjaya

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Education International For Private & Personal use only citra 228 zrI padmAvatIdevInI derI * zatraMjaya Fig. 228 The small shrine of Goddess Padmavati-Satrunjaya Copyright S. M. Nawab citra 229 zrI comukhajInI TakanAM zikharo * zatrujaya Fig. 229 Sri Chaumukhji's Tuk - Satrunjaya 119

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120 citra 230 navaTUkanA raste - zatruMjaya Fig. 230 The way to Navatuk Satrunjaya citra 231 navaTUkanA raste zatruMjaya Fig. 231 The way to Navatuk - Satrunjaya

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UBIEN 1111100 S BALL GENERAL PLAN JAINA TEMPLES ON MT: SATRUNJAYA IN PALITANA Scale, 1500 feet-12 inches. citra 232 zatrujaya paranAM jaina maMdirono nakazo Fig. 232 General plan of Jaina temples on Mt. Satrunjaya Copyright Govt. of India 121

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122 Ri www #TATT Kafl SUBS citra 233 saMpratinA derAsarajInI bAjuno bhAga zatruMjaya Fig. 233 Side view of Samprati's temple - Satrunjaya citra 234 comukhajInI TUkano eka bhAga zatruMjaya Fig. 234 A portion of Chaumukhji's tuk Satrunjaya

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123 citra 235 bAlAbhAI modInI TrakanaM sthApatyakAma * zatrujaya Fig. 235 Sculptures on Balabhai Modi's Tuk - Satrunjaya HORSHAN SCARE citra 236 comukhajInI TukanA thAMbhalAogeM sthApatyakAma * zatrujaya Architectural herit a te Persoparse Only,... ucation inte Fig236 .

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124 citra 237. pAMDavonI derIno thAMbhalo . zatraMjaya Fig. 237 A pillar of Pandava's small shrine - Satrunjaya ........c m No.nk citra 238 pAMDavonI derI * zatrujaya Fig. 238 The small shrine of Pandavas - Satrunjaya

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125 citra 239 zrI ujamaphoinI Tuka * zatrujaya Fig. 239 Sri Ujamafoi's tuk - Satrunjaya citra 240 zeTha hemAbhAInI Taka . zatrujaya Fig. 240 Sheth Hemabhai's tuk: Satrunjaya in Education International

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126 citra 241 motIzA zeThanI Taka zatrujaya Fig. 241 Sheth Motisa's tuk - Satrunjaya citra 242 motIzAnI TUkanu mukhya derAsara * zatrujaya Fig.242 Min templecof Matisadsatoky- Satrunjaya .

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127 citra 243 mULanAyakanI Takano eka bhAga * zatraMjaya Fig. 243A portion of main tuk - Satrunjaya citra 244 modInI Trakanu mukhya derAsara * zatrujaya Fig. 24+ Main temple of Modi's tuk - Satrunjaya Copyright S. M. Nawab -

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citra 245 zatruMjaya parvata paranAM jaina maMdiro Fig. 245 A group of Jain temples on Satrunjaya mountain citra 246 modInI TUkanI eka zilpAkRti Fig. 246 A piece of art from Modi's tuk Satrunjaya 128

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in Education International citra 247 modInI Trakano jamaNI bAjano gokhalo zatrujaya Fig. 247 The nitch on the right side of Modi's tuk - Satrunjaya Copyright S.M. Nawab citra 248 modInI Trakano DAbI bAjuno gokhalo Fig. 248 The nitch on the left side of Modi's tuk - Satrunjaya 129

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130 citra 249 zrI vimalavasahInI TUkano aMdarano bhAga zatruMjaya Fig. 249 Interior of Vimalvasahi Satrunjaya citra 250 zetruMjI nadIno eka dekhAva* zatruMjaya Fig. 250 A view ofativeresetrunjee Satrunjaya

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citra 251 zrI neminAthanI corInI chata . zabaMjaya Fig. 251 Ceiling of Sri Neminath's Chori - Satruniava citra 252 zrI kumArapAlanI Trakano bahArano dekhAva * zatrujaya Fig. 252 Exterior of Kumarpal's tuk . Satruniava 131

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132 citra 253 zrI gheTInI pAgano bahArano bhAga * zajaya Fig. 253 Exterior of Gheti's Paga - Satrunjaya citra 254 zrI cAMdIno ratha * zatrujaya Fig. 254 The silver-cart - Satruajaya Copyright S.M.Nawab

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an Education International www.gallery citra 255 mukhya derAsaranI DAbI bAjuna sthApatya Fig. 255 Sculpture on the left side of main temple - Satrunjaya Copyright S. M. Nawab citra 256 rAyaNa pagalAM * zatrujaya Fig. 256 Footprints of Rsabhadeva - Satrunjaya 133

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134 citra 257 mukhya derAsaranI jamaNI bAjuna dRzya * zatrujaya Fig. 257 Right wing of the main temple - Satrunjaya citra 258 mukhya derAsaranI jamaNI bAjunA thAMbhalAnaM zilpa * zatrujaya Fig. 258 Sculpture on the right wing of the main temple - Satrunjaya

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135 citra 259 mukhya derAsaranI jamaNI bAjunu toraNa * zatrujaya Fig. 259 A torana on the right side of main temple - Satrunjaya nonnonononono citra 260 mukhya derAsaranA pravezadvAranI jamaNI bAjuna sthApatya . zatraMjaya Fig.260 Architecture of the right side of the entrance of main temple. Satrunjaya

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136 citra 261 mukhya derAsaranI AgaLa5 cAMdInaM derAsara * zatrujaya Fig. 261 The silver temple in front of the main temple - Satrunjaya Copyright S.M. Nawab citra 262 gheTInI pAgAnI derI . zatrujaya Fig. 262. The small shrine of Gheti's Paga - Satrunjaya

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13 citra 263 zejejI nadIno bIjo dekhAva * zatrujaya ___Fig. 263 Another view of river Setrunjee - Satrunjaya Education International citra 264 zrI kadaMbagiri nI nIcena derAsara kadaMbagiri T: 00 TL

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138 citra 265 zrI kadaMbagirinI uparanaM derAsara Fig. 265 The temple at the top of Kadambagiri citra 266 zrI zatruMjayAvatAra kavagiri Fig. 266 Sri Satrunjayavatar Kadambagiri

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139 citra 267 zrI tAladhvajagiri * talAjA Fig. 267 Sri Taladhvajagiri - Talaja (Kathiawar) citra 268 zrI tAladhvajagirInaM mukhya derAsara * talAjA Fig. 268 The main temple of Taladhvajagiri - Talaja

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140 citra 269 zrI tAladhvajagirinI uparanI TakanuM derAsara Fig. 269 The temple on the top Tuk on the Taladh wajagiri - Talaja citra 270 zrI pArzvanAthajI bhAvanagara Fig. 270 Sri Parsvanath - Bhavnagar citra 271 dAdAsAhebaceM derAsara * bhAvanagara Fig. 271 The temple of Dadasaheb - Bhavnag .

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citra 272 corIvAlA derAsarano AgaLano dekhAva * jAmanagara Fig. 272 Front view of Chauriwala temple - Jamnagar citra 273 corIvAlA derAsaranA pAchaLanA bhAgano dekhAva * jAmanagara Fig. 273 Back view of Chauriwala temple - Jamnagar

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142 nAvAdavAharavivArabama mirA ALWORLS MOREPHONE M andu citra 274 -275-276 khaMbhAtanI jumA masjidamAMnAM jana zilpo Fig. 274-275-276 Jain sculptures preserved in Jumma Masjid at Cambay Copyright S.M.Nawab

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Introducing the Pictures

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