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THE TEMPLE OF MAHAVIRA AT AHAR
Ahar (Ahad), Ăghāta of the Medieaval times, was the capital of the Guhilas of Mewar (Mevāda i. e. Meda pāta) since the middle of tenth century when Allata is said to have transferred his seat from Nagada (Nagahrda)1. Ahar acted as the hub of architectural activities in Mewar for a full quarter of a century. It seems to have lost its importance soon after A. D. 980 around which date Guhi'a Saktikumāra suffered reverses at the hands of Paramāra Munja of Dhärā.
The three decades in question must have been very brilliant for Ahar as attested by the ruins and fragments of some of the splendid temples of the Medapāta school of Maha-Gurajara style of Western Indian temple architecture. The Vişņu Temple (the so called Meerā's Temple) has been dwelt upon by R. C. Agrawal (Arts Asiatique, Tome XI 1965, F2): the remaining Brahmanical and four Jaina temples are being studied by Prakash Bapna of Government Museum, Udaipur. I have, for the purpose of this felecitation volume dedicated to Muni Jinavijaya, selected for discussion the Temple of Mahāvira (now going by the name of Kesariyāji) as a tribute on my part to the services rendered to the fields of Indology and Indian Archaeology by the great Muri.
The Temple under reference is one of the tivo northerly oriented Jaina emples situated to the south of Vişnu Temple across the causeway leading to the main bazar of the town.
The Temple stands on a high Jagati (terrace) now thoroughly renovated except at the main, southern entrance, The two Devakulikās (chapels) flanking the storied Valinaka (portal), though old, do not belong to the complex of the Jaina temple, They were transferred, possibly in late 15th century (during the time of Mahärānā Rājamalla) from their original location near the Brahmanical kunda and re-erected here. The doorframe of the portal is of the same later period, being a substitution for the original one; the engaged pillars flanking the doorframe are, however, as old as, and formed the integral part of the original temple located up inside. :
The Temple comprises the Mülaprāsāda (Shrine proper, Güdhamandapa (closed Hall), Mukhamandapa (vestibule), the Rangamandapa (Dancing Hall) and two Bhadra-präsādas attached to the either transept of the Rangamandapa.
1. This tradition, however, needs confirmation.
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M. A. Dhaky
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The Mülaprāsāda is tri-anga on plan and thus possesses bhadra (central offset), karna (principal corner) and atiratha (juxta-buttress) as the proliferations (Fig. 1).
In its elevational part, it consists of Kämada class of pitha possessing a bhiria (plainth), jadyakumbha (inverted cyma recta), karnikā (knife edged moulding) and grisa patrika (band of kirttimukhās).
The kumha (pitcher) of the vedibandha of the mandovara (wall proper) shows the figure of cakresvari (south), Vairotyä (west) and (?) Sarasvati (North). On each of the remaining kumbha faces is carved a bold ardharatna (half diamond) on the janghā (frieze) of the mandovara are carved fine figures of apsarases (heavenly damsels), vyālas and Dikpālas (Fig. 2 and 3)2. Some of the Dikpāla figures, particularly yama and Nirri are masterpieces of Maha-Gurjara style known in Western India. The fine lotus-bearing apsaras on the south bhadra (Fig. 2) has been labelled as Padmāvati. The deep niches on the bhadra which once sheltered Jina images, are vacant; two are even pierced through.
Above the udgama pediment of the janghā comes a wide sîrsapattika (topmust band) harbouring figures of seated and standing Jinas and vidya devis in the recesses (Fig 2 and 3). Above this band, at each bhadra comes vidyādhara-māla (band bearing daemons) while corresponding part at karna as well as pratiratha shows a plain, square complex bharani (capital). Above this comes the crowning, double course of kantha-and varandika (eve-cornice). In the jarghā of the kapili (which connects the Gūdhamandapa is found, besides vyàlas, the figure of Dikpāla Varuna on the West and Iśína on the corresponding position on the east-face.
The Gūdhamandapa has, on the kumbha faces the figures of Vidyādevis and yaksis such Ambikā, Saraswati etc. on the west and çakreśvari, Prajñapti an unidentified goddess on the east. The bhadra niches of the jarghā show Saraswati on the west (Fig. 4) and Cakreśvari on the east, (Fig. 5); on the front kara ia, flanked by apsarases and yyata is the figure of Jivantasyämi Mahävira on the west (Fig. 6) and standing kāyotsarga Jina on the east (Fig. 7.)
The figures on the Güdhamandapa carry a look of lateness when compared with those on the Müla prāsāda. The top-mouldings of the Gūdhamandapa are likewise in confusion It seems that the latter structure was renovated in 1050, the 2. The Dikpäla Indra and Agni were replaced during recent renovations when the
carving on the Mülaprāsāda was subjected to ungainly abrasion. Note : The photographs are reproduced here by the courtesy of the American
Academy of Benares which own the copy-right.
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________________ 232 M. A. Dhaky date of the image of Cakresvari. The presence of Jivantasyami indicates that the temple was dedicated to Jina Mahavira. The pillars of the Mukhamandapa are simple. The pilasters inside the Gudhamandapa, the doorframe, as well as the image call for no special remarks. The large magnificent parikara (frame) with two bold lions flanking the edge-wise dharmacakr is certainly old. The sikhara over the Mulaprasa da is new. The Gudhamandapa has likewise lost its original superstructure. The Rangamandapa and the two Bhadraprasadas are of later age, possibly of late fifteenth century. The Temple has an entourage of Devakulikas around the Rangamandapa. Except one illustrated in Fig. 8, none are contemporary with the Mulaprasada. Its decorative details closely agree with those on the Mulaprasada. Dikpilas, apsaras and Vyals feature here also. A seated Jina figure graces the bhadra niche. As for the date of the Mulaprasada and the last-nored Devakulika late tenth century seems a most plausible guess. The Dik palas with two-arms, the vyalas in salilantras (recessioned corners), the ture sirsapattika, the square, complex, bharni and the absence of kutacchadya (ribbed aning) a top the modovara are features characteristical of that age. The presence of karnika in the pitha, ardharatna on the kumbha-faces, and the general suavity of the figure sculptures indicate that the dawn of eleventh century is not far, and the temple is younger only by a few years than the Visnu Temple. Belonging thus with the group of temples of the transition age, few and far between in existance as far as known, it holds a significant position in the history of temple architecture in Western India,