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temples as well. His brother Kumarpal had almost accepted Jainism as his personal religion. Siddharaj Jaisingh's iconographical innovation of endowing some images with six hands is clearly obvious from the figures still discernible at the Rudramal in Siddhapur. Therefore, it is fair to believe that the inspiration for the images of the Dikpalas with six hands in the main shrine in Ranakpur Jain temple-complex might have been derived from the Rudramal. Similarly, the prototypes of the images of the Dikpalini-Matrikas on the exterior of the Parshvanath temple within the compound of this complex can be traced back to the image of Dikpalini-Matrika (with four hands each) discovered in the Rudramal. The Golera Jain Temple, Kumbhaigadh, perhaps, followed the Parshvanath Temple in XVI-XV cen. A.D.
One must not fail to recall that the Sasa-Bahu Temple-complex in Nagada (near Eklingji) is a XI cen. A.D. monument, believed to be of the Solanki period by several scholars. Thus, the tradition invented by Siddharaj entered Mewar via Nagada. Therefore, the set of the Dikpalini-Matrikas found on the exterior of the dilapidated Temple in the bed of the Baghela Tank, Nagada, should also belong to the same tradition. It is contemporaneous with the Vindhyavasinidevi Temple, Eklingji. Both these structurals with the Dikpalini Matrikas had, possibly, derived their inspiration from the Solanki school exemplified in the Rudramal. Therefrom in XVI cen. A.D. it travelled to adorn the Shakta shrine in Javar (near Udaipur).
By the time Maharana Kumbha, however, this tradition was not completely absorbed and assimilated in the Shaiva-Shakta tradition of Mewar. Therefore, we have the images of the Dikpalini-Matrikas in the Vijaya Stambha revealing the semi-digested tradition of the Solanki school. The failure to assimilate the iconographical details of these Matrikas is clear from the fact that none of the books on iconography written during or about that period even refer to them, much less describe them. This failure to understand the special significance and the chief features of these Matrikas, perhaps, led to the mistaken rennovation of the Siddhambika Temple in Disa.
In short, the tradition of giving iconographical expression to the Dikpalini-Matrikas should go to Siddharaj Jaisingh. The inspiration for this innovation might be attributable to the Jain impact on that great monarch because only in the Jain structurals this tradition is followed and that too correctly. The non-Jains (Shaktas excepted) fumbled miserably when they wanted to adopt it.
Even if one, who is inclined to deny any Jain impact on Siddharaj Jaisingh in this respect, will have to accept that this concept was adopted and popularized in the subsequent period by the Jain iconograpers only. At least in this respect their contribution stands unrivalled and in all respects even unique. This certainly speaks volumes for the elasticity, catholicity, self-confidence and inner vitality of Jainism in accepting, adopting and assimilating the best elements from other traditions to enrich its own spiritual content. Herein lies its true greatness and a clue to assess real inner strength.
1. Ibid., p. 304.
2.
Ibid., p. 367.
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