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SHRI ASHTÄPAD MAHÄ-TIRTH
5.0 Development of the Ashtäpad Design:
Once the concept of Ashtäpad was firm, the next step was to develop a design of the model on the drawing board. It was important to identify all the constraints upfront because it is almost impossible to go back to make changes to a sculptured or carved product. Moreover precious material and months of craftsmanship work would be wasted if any constraints forced the change or necessitated discarding a particular model or part of it. Accordingly, a top down approach was adopted. The process began with assessment of available space for housing the final model, aesthetics and religious requirements and the process was carried on with the required analysis to the material level.
5.1 Religious Consideration:
Positioning of any religious object is determined by the religious guidelines laid out in the scriptures or as directed by the Ächäryas. The original design of Ashtäpad was four sided as per the picture given below, also called as Sarvatomukhi - Omni-directional. Space constraint forced us to make a unidirectional unit viewable only from the front. Now an architectural blueprint was developed to a scale based on the available space. Height and width of the mountain (Ht 13'.1" x W 14'.6” x D 5'.1") were determined according to the space available in the conservatory.
The sitting arrangement of idols in multiple rows as shown in the photos was done as per the following verse (Shloka) from scripture;
चत्तारि अट्ठदसदोयवंदिया जिणवराचउव्वीसं; परमट्ठ-निट्ठिअट्ठा सिध्धा सिध्धिं मम दिसंतु
Jain Education International
चत्तारि अट्ठ दश गाथाना जुदा जुदा अर्थो
चार दक्षिण दिशामां, आठ पश्चिम दिशामां, दश उत्तर दिशामां, अने बे पूर्व दिशामां, एम अष्टापद उपर वंदन करायेला अने जेमणे परमार्थने (मोक्ष) संपूर्ण सिध्ध कर्यो छे तेवा चोवीसे तीर्थंकरो मने सिध्धि आपो.
अथवा
चार उपरनी मेखलामां, आठ वच्चेनी मेखलामां, दश नीचेनी मेखलामां, अने बे सौथी नीचेनी मेखलामां, ए प्रमाणे पण अष्टापद उपर वंदन थाय
छे.
-सिध्धाणं बुध्धाणं सूत्र
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