Maladevi Temple of Gyaraspur

Author(s): Krishna Deva
Publisher: Z_Mahavir_Jain_Vidyalay_Suvarna_Mahotsav_Granth_Part_1_012002.pdf and Mahavir_Jain_Vidyalay_Suvarna_
Catalog link: https://jainqq.org/explore/250205/1

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Mala Devi Temple At Gyaraspur KRISHNA DEVA This temple, picturesquely perched on the slope of a hill, is a tower1 ing landmark at Gyaraspur which is a place of considerable archaeological interest, situated 24 miles north-east of the district town of Vidisha in Madhya Pradesh. Partly rock-cut and partly structural, this temple stands on a large terrace cut out of the hill-side and strengthened by a massive retaining wall. The temple faces east and is a sandhara prasada consisting of an ardha-mandapa (entrance porch), mandapa, antarala and a sanctum with an ambulatory. The sanctum is crowned by a lofty sikhara of the curvilinear form, capped by an amalaka and kalasa. EXTERIOR The exterior of the temple is exquisitely carved with figures and designs in relief. The larger niches, crowned by elaborate udgamas or pediments of caitya-arches; the smaller niches, surmounted by tall pediments decorated with a mesh of caitya-gavaksas; and the projecting balconies which are also crowned by a pediment of caitya-arches, form the most conspicuous ornamentation of the elevation. Added to this are the interesting panels of figure reliefs, scrolls and other decorative designs occurring on the basement mouldings. The basement shows the usual mouldings of khura, khumbha, kalasa, occasionally relieved with interesting faces (usually carried on two

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MALA DEVI TEMPLE AT GYARASPUR : 261 adjacent angles) and scrolls in relief, antara-patra, kapotali carved with caitya-arches in relief, chadya moulding containing repeat pattern of miniature shrines, and jangha, containing occasional niches with figure sculptures. From the basement mouldings project six niches on the southern side and two on the front or eastern side. Each niche is crowned by a pediment of caitya-gavaksas, those occurring below the asanapatta of the balconies with the kaksasanas being more elaborate than others. The balconies have the usual components, but are mainly decorative. Their jalaka-windows admit extremely insufficient light and do not serve an effective functional purpose. The figures carved on the niches of the facades comprise Dikpalas and Jaina Yaksas and Yaksis, while the relief panels show human faces and scrolls. Most of the decoration of the elevation consists of architectural motifs like the caitya-gavalsa and miniature shrine and this is one of the rare temples where such motifs have been used with great decorative effect. There are in all six projections in the southern facade, three larger and three smaller, all being embellished with niches. The sikhara (Fig. 1) is of the pancaratha type but it has neither the elegant proportions nor the soaring character of the Khajuraho temples and is rather squat with a marked triangular appearance. It is navandaka, i.e., clustered by eight minor sikharas and is somewhat similar in design to the sikhara of the Siva temple at Kerakot in Kutch. It is marked by six bhumi-amalakas and is decorated with a mesh of caitya-gavaksas. The sukanasika is only partly preserved and has lost the crowning figure of lion. The pyramidal roofs of the antarala, mandapa and ardha-mandapa together with a large portion of the internal ceilings are also badly damaged. But from what has survived there is no doubt that the roof of the mandapa consisted of pilhas decorated with caitya-gavaksas, alternating with recessed courses, carved with ratna-patta. South facade ... This is (Fig. 2) the best preserved and gives an idea of the original design. This had three balconies and each balcony had a niche on the basement. The niches on the two eastern balconies are more elaborate with ornate pediments, while the niche on the balcony of the sanctum is rather shallow. The buttresses flanking the balconyprojections have a vertical row of two niches, one on the janghi and the

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262 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME other on the basement at the same level with the niches below the balconies. The pilasters of these niches are decorated with scrolls, kirttimukhas and vase-and-foliage designs. Some of the pediments of the niches were surmounted by lions seated on haunches. Balconies In the balcony-projections the vedika-moulding shows two rows of miniature shrines alternating with chess-design. The asanapatta is decorated with scrolls and is surmounted by a frieze of lotus petals. The kaksasana has slabs of lotus scrolls alternating with three vertical shafts relieved with bead-design. The lintel and the architrave of the balcony-projections are decorated with chess-pattern. The surmounting frieze which serves as chadya moulding is decorated with half-faces of kirttimukhas showing ears and in some cases horns. Roof-niches Between the two eastern balcony-projections of the south facade the last course of the roof shows a niche containing an image of eight-armed Cakresvari seated on garuna. The goddess carries pasa, indistinct object, indistinct object, and vajra in the right hands; and vajra, indistinct object, cakra and broken in the left hands. This figure is flanked on each side by a female attendant. In the proper left niche occurs a seated Jina, while in the right niche occurs Ambika Yaksi, seated in lalitasana and carrying a child. On the corresponding north side the roof niches show Cakresvari Yaksi, flanked by female attendants which are now defaced. On the proper right occurs a seated Jina, while on the left occurs AmbikaYaksi seated in lalitasana. This is an exact replica of what we have on the south face. A little above this niche we have a seated Tirthankara in a niche flanked by attendants in the side niches. Outer niches The outer niches are now described from the south-east in the order of pradaksina : East face : Niche I on the south-east corner of the jangha shows an eightarmed goddess seated in lalitasana on a lotus, below is represented a bird mount with two heads, one regardant and the other looking down. 1 The attributes are reckoned clock-wise starting from the lower right hand.

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MALA DEVI TEMPLE AT GYARASPUR : 263 The right hands of the goddess hold a tapering object which may be a gada, broken, lotus flower and cauri, while the left hands carry cauri, flag, broken and bow. Is she Padmayati Yaksi riding kukkutahi ? South face : Niche II on the jangha shows a four-armed goddess seated in lalitasana on a lotus, carrying sword, cakra, shield, and sankha. Elephant mount is depicted below the lotus-seat. Is she Purusadatta, the yaksi of the fifth Tirthankara ? All the six principal niches (Niches III-VIII) on the south facade are empty. But there were minor niches in the deep recesses, flanking the bhadras (main projections) of the sanctum on each side. These invariably show representations of Dharanendra Yaksa (Fig. 3) and Padmavati Yaksi. The niche on the eastern recess of the bhadra on the south side contains an image of standing Dharanendra Yaksa which corresponds with the Padmavati Yaksi on the north face in an identical position. This yaksa is two-armed and carries an indefinite object in the right hand and water-vessel in the left. The adjoining lateral faces of the recess also show figures in miniature niches. The western miniature niche shows an image of a goddess seated in lalitasana on a crocodile, carrying varada, abhaya, nilotpala and water-vessel, while the niche on the eastern face shows an eight-armed goddess seated in lalitasana on a lotus, carrying sword, garland, indistinct object and indistinct object in the right hands, and bell, shield, net-like object, and broken in the left hands. A horse is depicted below the lotus-seat. The latter goddess may represent Manovega, the yaksi of the sixth Tirthankara. .: The niche on the western recess of the same southern bhadra shows two-armed Padmavati Yaksi standing under a canopy of serpenthoods. The miniature niches on the adjacent lateral faces also show each an image of a goddess seated in lalitasana. West face : Niche IX on the west face is empty, while western niches X-XI like the northern niches XII-XIII, were never built, as the north-west corner of the temple consisted of the rocky ledge of the hill. Thus in the west face there is only one recess of the bhadra with a niche. It shows an image of two-armed Padmavati Yaksi standing under a canopy of serpent-hoods, carrying nilotpala in the right hand, with the left hand resting over a staff. This figure appears to be painted, as red ochre paint is found sticking to the serpent hood.

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264 SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME In the adjoining miniature niche, which is really the lateral niche of the western bhadra we have an image of a four-armed goddess seated in lalitasana on a lotus which rests over a crocodile. She holds flower in the lower right hand, upper right hand placed on the simanta, the upper left carrying mirror and lower left kept over her lap. North face: The first two northern niches, viz. niches XII-XIII were never built. The eastern recess of the northern bhadra, however, shows an image of two-armed Padmavati Yaksi standing under a canopy of serpent-hoods. Niche XIV on the north projection of the antarala shows a standing image of two-armed Kubera, carrying skull-cup and purse, the latter. placed on two jars, representing nidhis. The purse is decorated with floral pattern disposed in vertical registers. The god has an oval halo resembling a spoked wheel and wears crown, kundalas, torque, upavita, keyuras, long mala, wristlets and anklets. Ram mount is shown on the proper right. The god is flanked on the proper right by a standing couple and on the left by a male cauri-bearer. In the niche below niche XIV occurs a four-armed standing goddess, carrying abhaya, lotus flower, nilotpala, and probably mirror held upside down. She wears crown, kundalas, torque, hara, wristlets, under-garment fastened by belt with jewelled loops and tassels and anklets. Niche XV below the north balcony of the mahamandapa shows an image of a twelve-armed goddess seated in lalitasana. The right hands carry sword, mirror, indefinite object, flower, cakra and vajra; while. of the left hands three are broken and two carry lotus flowers and one carries a fruit. The goddess wears a flattened head-dress with the catula-mani ornament on the simanta, two types of kundalas, torque, hara, keyuras, wristlets, under-garment fastened by belt with jewelled loops and tassels and anklets. A defaced animal partly resembling a boar is depicted below the lotus seat of the goddess, which is wellpreserved with a handsome face. Niche XVI on the north projection of the mandapa shows a two-armed image of Indra seated in lalitasana over his elephant mount. He has an oval halo carved with lotus petals and wears a cylindrical crown (kirita-mukuta), kundalas, torque, upavita, keyuras, wristlets, and

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Fig. 1. South Facade of sikhara, Maladevi Temple, Gyaraspur

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Fig. 2. Decoration of the South Facade, Maladevi Temple, Gyaraspur Fig. 3. Decoration of the South Facade, Maladevi Temple, Gyaraspur

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SEER Fig. 4. Ardhamandapa (Entrance porch), Maladevi Temple, Gyaraspur KOP

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Fig. 5. Ceiling and Architraves of the Mahamandapa, Maladevi Temple, Gyaraspur P POO Fig. 6. A Pillar of the Mahamandapa, Maladevi Temple, Gyaraspur

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... MALA DEVI TEMPLE AT GYARASPUR : 265 anklets. The right foot of the god is placed on a lotus flower which rests on a jar. He carries vajra in the left hand of which faint traces have survived, while his right hand is broken with the attribute. Below niche XVI on the basement occurs a niche containing an image of a twelve-armed goddess seated in lalitasana on a wheeled ironcart (lohasana). Her right hands hold broken abhaya, trisula, cakra and padma with a handle like stalk, while her left hands carry parasu, sankha, shield, bow, indistinct object which may be a toilet box, and fruit. The goddess wears a dhammilla-shaped head-dress with a mani on the simanta, kundalas, torque, wristlets, undergarment fastened by belt with jewelled loops and anklets. A seated devotee carrying offerings is depicted below the seat. From the lohasana the goddess may be identified as Ajita or Rohini, the yaksi of the second Tirthankara. In niche XVII, occurring below the north-eastern balcony, is represented a four-armed goddess seated in lalitasana on a lotus. The head and hands are broken. Niche XVIII or the last niche on the eastern end of the north face contains a four-armed goddess seated in lalitasana over a fish. She holds varada, abhaya, net and indistinct object. She may be identified with Kandarpa, the Svetambara Yaksi of the fifteenth Tirthankara who is the only goddess represented in the Jaina pantheon with the fish mount. East face : Niche XIX on the north-east corner of each face of the jangha shows consort of Revanta seated in lalitasana. She is four-armed and carries vajra, standard surmounted by human being the head of which is broken, net-like object and umbrella. A horse is depicted below the seat. A flying vidyadhara is shown over the head of the figure. INTERIOR The entrance porch or the ardha-manqapa (Fig. 4) is supported on four pillars. The ceiling is rectangular with a lenticular compartment of cusped and coffered design of the sama-ksipta variety. There is a similar ceiling between the two inner or western pillars of the ardha-mandapa and the door-way of the mandapa. Mandapa-doorway The mandapa is entered through a large and elaborate doorway. It is of the pancasakha variety, the sakhas containing respectively

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266 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME designs of scrolls, nagas in anjali-mudra, mithunas and two pilasters containing scrolls of different designs, the inner one being stencilled and the outer one in relief. The mithunas alternate with bhutas or pasa-like design. The lalata-bimba shows an image of Cakresvari riding on Garuda. She is eight-armed and holds spiral lotus-stalk in the lower right hand, the objects in the other right hands being indistinct. In three of her left hands she holds lotus, cakra and ball-like object which may represent a fruit. The door-jambs show at the base figures of Ganga on the left and Yamuna on the right, each river-goddess being flanked by attendants and two dvarapalas wearing kiritamukuta. While two of the dvarapalas face east, the remaining two are placed, juxtaposed to each other in the passage of the doorway. Ganga is flanked by a female umbrella-bearer and a dwarf female carrying a net suspended from the right hand. Above the head of the umbrella-bearer on a lotus-stalk pedestal are seen miniature figures comprising a seated god flanked on each side by a seated attendant and a standing cauri-bearer. This group is flanked on each side by a vidyadhara seated on lotus leaves issuing from the same stalk. Yamuna is also flanked by a female figure carrying a large round ornamental gada and a dwarf female carrying a net in her left hand. Above the head of the female gada-bearer occurs on a lotus pedestal a similar group of five figures, the central figure being a sage seated in padmasana with the right hand in the vyakhyana mudra. Above this group occurs a group of vidyadhara figures carrying flute, vina, drums and garlands and seated on lotus leaves issuing from the same stalk. The door-sill is carved centrally with lotus-stalks entwining dwarf ganas, and is also embellished with crocodiles and elephants, symbolising Dig-gajas. On the extreme ends occur a couple of devotees flanked by lions. Maeaara The mandapa is centrally supported on 'four pillars. Its ceiling (Fig. 5) is octagonal and probably of the sama-ksipta variety, consisting of four diminishing courses of gajatalus of which only the fringes have survived. The lintels and the architraves of the mandapa ceiling are decorated with two rows of miniature shrines, which are repeated on the architraves of the ardha-mandapa and antarala where they alternate with chess-pattern. The inner walls of the mandapa are bare, except for two purely decorative blind windows. Against the southern wall of the mandapa has been placed centrally a colossal standing image of Jina flanked by two seated male devotees.

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MALA DEVI TEMPLE AT GYARASPUR : 267 Pillars All the pillars of the interior are alike in shape and design and show a heavy square pedestal, with a male or female (sometimes semi-divine) figure in a miniature niche on each side, represented as dancing or carrying umbrella or musical instruments. These miniature niches are framed by pilasters and crowned by a small pediment of caitya-gavaksas. The shaft of the pillar (Fig. 6) is square at the lower and upper sections, decorated with boldly executed pot-and-foliage pattern, while the middle section is sixteen-sided fluted and is ornamented on all or some facets with chain-and-bell design suspended from a grasa-patti or horizontal band of kirttimukhas. The pillar capital has several based elements comprising (1) a flattened circular cushion with projections for keeping lamps, or supporting bracket figures, (2) a square abacus decorated with kirttimukha and scrolls, (3) an amalakashaped member, (4) an upper abacus, also square, decorated with foliage in relief, and (5-6) two square diminishing cushions of the ribbed pattern. The pillar capitals are surmounted by brackets of curved profile, decorated with nigas and nagis in anjali, issuing from both outer and inner corners. Antarala The roof of the antarala is supported on two pillars of the same design as described above. The narrow ceiling between pillars of the mandapa and the pillars of the antarala is samatala and rectangular, decorated with small square panels in two rows showing flying vidyadhara couples. The ceiling of the antarala is similar in design to that of the vestibule of the mandapa. Sanctum doorway The sanctum is entered through a large and elaborate doorway which resembles in general appearance the doorway of the mandapa. Its lintel, however, is defaced, save a portion in the right hand corner. The two crowning architraves are also worn-out, but the lower one shows a row of nine standing Jina figures in niches of which the middle one is completely mutilated. The doorway is of the pascasakha variety and shows scrolls, nagas in anjali-mudra, mithunas alternating with bhutas and pasa-design, scrolls and lastly a meandering pattern of creepers, entwining various scenes. The meandering pattern is missing on the proper right jamb. On the proper left jamb it shows from below (1) an acrobat riding a lion, (2) vidyadhara couple, the males holding sword, (3) a group of three devotees, (4) suparnas carrying lotus stalk,

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268 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME (5) a bird couple, (6) an elephant, (7) a naga couple, (8) acrobat riding a lion, (9) a human couple, and (10) indistinct. The right extremity of the lintel shows mithunas bearing garlands and standing four-armed Vidyadevi holding varada, book, book and water-vessel. On the corresponding left extremity we find a defaced image of four-armed standing Sarasvati carrying vina. On the door-jambs occur Ganga and Yamuna, each flanked by a pair of dvarapalas, as on the doorway of the mandapa. The dvarapalas, facing east, carry gada in one of their hands. Sanctum There are only three central pillars inside the sanctum, the fourth being not needed, as the low rock-ceiling is securely supported in the north-west on the walls of the sanctum. The pilasters are quite plain. More than three-fourth of the ceiling of the sanctum is rock-cut, which is further supported by pillars and lintels. Inside the sanctum the main deity now enshrined is a seated mediaeval image of Jina placed on a high pedestal. Loose images of one seated and three standing mediaeval Jinas are also kept in the sanctum. Inner ambulatory The inner ambulatory is entered on each side by a doorway decorated on the lintels and architraves with miniature shrines and figures. The southern doorway of the ambulatory shows on the lalata-bimba of its lintel a flying figure of vidyadhara (can he represent Garuda, the vahana of Cakresvari ?) with folded hands. The architrave surmounting the lintel is elaborate and shows three registers, the lower showing nine standing figures of which seven are Jinas and two female devotees. The middle register shows four Tirtharkaras and the uppermost seven Tirthankaras. The door-jambs show river-goddesses flanked by dvarapalas and surmounted by kneeling nagas. The northern doorway of the ambulatory is similar to the southern one but has some differences. The lintel shows the Seven Mothers represented as dancing, flanked by Ganesa on the proper left and Virabhadra on the right. Starting from the left end we have Ganesa, Camunda, Indrani, Varahi, Vaisnavi, Kaumari, Mahesvari, Brahmani and Virabhadra. The inner ambulatory has three major niches on each side, there being an additional niche for the antarala on the north and south. The central or main niche on each side is larger and is flanked by two

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MALA DEVI TEMPLE AT GYARASPUR : 269 minor niches, there being thus a total of six niches on the north and south. Each major niche also has a niche on the basement mouldings. The main niche on the south shows a seated Tirthankara. The main niche on the north is missing but one of the major niches shows Cakresvari Yaksi. CONCLUSION The mature decorative and architectectural motifs combined with the fairly developed iconography of this temple would indicate a late ninth century date for this building which marks the culmination of the Pratihara architectural style of central India. Like the Bajra Math of Gyaraspur, this temple was hitherto supposed to have been originally a Brahmanical temple, later appropriated for Jaina worship. It was erroneously believed that the loose Jaina images, of which there is a plethora in this temple, were all planted here, as in the Bajra Math. Even if the testimony of the loose Jaina images be discounted, the overwhelming evidence of the builtin images outlined below, leaves no doubt that it was a Jaina temple : (1) Except for a frieze showing Ganesa, Virabhadra, and the Seven Mothers occurring in the interior, there is a complete absence of purely Brahmanical deities. There are reasons to believe that Ganesa and the Seven Mothers had lost their exclusive sectarian character in the mediaeval period. (2) Jinas are prominently represented on the architraves of the doorways of the sanctum and the inner ambulatory. (3) Yaksi Cakresvari occurs conspicuously on the lalata-bimba of the mandapa doorway. This is extremely significant. (4) Cakresvari-and-Ambika Yaksis and seated Jina figures occur in niches on the roof-pediments of the mandapa in the north as well as in the south faces. (5) The built-in niches in the deep recesses flanking the bhadras of the sanctum facade invariably show representations of Dharanendra Yaksa and Padmavati Yaksi. 23