Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

Author(s): Sagarmal Jain, Others
Publisher: Parshwanath Vidyapith

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Encyclopaedia of Jaina Studies
this volume are the latest development of Indian architecture beginning from the 5th-6th century A.D. Here, we have made an extensive survey of all the intact Jaina temples and described them in an intelligible manner with a good number of line drawings pertaining to plan and elevation. In describing the temples an extensive use of Sanskrit technical terms contained in the Indian architectural texts for indicating different components of temples has been made because the English alternatives do not always carry the exact meaning of the Sanskrit words. The Jaina temples are not very different from the Brahmanical ones in the general plan and design but the compartments like mukhamandapa and devakulikās in the Jaina temples of Western India are exclusively Jaina features. Another point worth mentioning is that many Jaina temples are stupendous in size and very rich in decoration and bear precise dates of their foundation. The Mahāvīra temple at Osian, the Vimalavasahi and Lūņavasahi at Abu, the Jaina temple at Jhalrapatan, Mahāvīra temple at Kumbharia, Neminātha temple and Vastupālavihāra at Girnar, Meguti temple at Aihole, Akkana-basadi at Sravanabelagola, the Great Jaina temple at Lakkundi, Pārsvanātha temple at Halebid, the Jaina temple at Belgaum etc. are some such temples which are precisely dated by inscriptional evidences. These dated temples provide us definite clues not only for ascertaining the relative chronology of both the Jaina and non-Jaina temples but also for tracing the evolution of their style in a particular region.
Part II deals with Jaina Sculpture and Iconography in seven chapters and six appendices. It brings out important aspects of the renderings of the Jinas and their Sāsanadevatās (Yaksas and Yaksīs) and other Jaina gods and goddesses such as Mahavidyas, Laksmi, Sarasvati, Brahmaśānti and Kaparddi Yakşas, Astadikpälas, Navagrahas, Sāntidevi, Vijaya-Vijayanta-Jayanta-Aparājita, Nine-Nāradas, Eleven-Rudras, Kāmadevas, GanipițakaYakşarāja and Tribhuvana-Svāmini. Besides, other important sculptural manifestations like those of Bahubali and Bharata Muni, Jaina-Ayāgapata, Samavasarana, Aştamangala, Nandiśvara-dvīpa, Sammeta-Sikhara and PancaMeru, Mānastambha and Parents of the Jinas are also discussed to make the study complete. The study is based on the corroborative and analytical study of both the textual and sculptural data with comparative and aesthetic assessment thereof.
Chapter VII of Volume is an Introduction which gives background of Jaina Sculptures and Iconography by way of succinct mention of the patronage, pantheon and landmarks of the Jaina sculptures of North and South India. Some observations on art and aesthetics have also been made as it is alleged that the Jaina art is monotonous and merely spiritual in content and expression.
Chapter VIII deals at length with the iconography of each of the 24 Jinas or Tirthankaras on the basis of texts and images. The iconographic features and formulations are outlined with suitable explanations for particular association. In tracing the development of the images of each of the 24 Jinas their iconography and regional features have been discussed on the basis of the data procured from important Jaina sites of Svetambara and Digambara traditions of North and South India. Examples from different important museums of India and abroad are also included.
Chapter IX discusses Yaksas and Yakşīs (Säsanadevatās) shown invariably with the Jinas. While Vītaragi Jinas represent the highest moral and ethical values of truth, non-violence, austerity, renunciation and nonacquisition, the Yakşas and Yakşīs, shown in close association with the Jinas from Gupta period and gradually occupying independent status to enjoy veneration, were as per texts capable of fulfilling worldly aspirations of the worshippers and removing the sorrow and pangs caused by grahas, bhūtas and piśācas. It also takes note of the process of interaction between the Brahmanical and Jaina cults in so far as the iconography of Yakşas and Yaksis is concerned.
Jain Education Intemational
ucation Intermational