Jain Spirit 2002 06 No 11

Author(s): Jain Spirit UK
Publisher: UK Young Jains

Page 33

Poetry In Stone
remotely capture the Minister's dream-image. At last an easy-going sculptor named Depaka from Mundara presented a plan, which simply thrilled the heart of Dharanashah. He was profoundly impressed. Depaka was a carefree type of an artist and would prefer poverty to servility. He set very high value on his art. He was deeply touched by the transparent personality and devoutness of Dharanashah. He promised to create a temple which would give concrete shape to the Minister's dream. And thus a rare confluence of art and devotion was affected by the two visionaries
Dharanashah approached Rana Kumbha with the request to give some land for the construction of the temple. The king not only gave the land but also advised Dharanashah to build a township near the site. The site of the old village Madgi in the valley of Mount Madri was selected for the purpose. The construction of the temple and the township began simultaneously. The town was named Ranpur after the name of King Kumbha Rana. Ranpur is popularly known as Ranakpur.
Dharanashah, considering his advancing old age and Mr Shrenik Kasturbhai, a trustee of the Anandji Kalyanji Trust failing health, decided to install the idol of the principal which maintains the temple. His father started the original deity without much loss of time. In the year 1443, after the renovation in 1933
completion of the temple, the idols were ceremoniously
installed by Acharya Somasundarsuriji. At last, hard work Kumbha Rana, Kumbha Rana himself and, above all, Depa and devotion of some 50 years brought the Minister's dream or Depaka, the architect who made the realisation of the down to earth in the form of a magnificent temple, an image dream possible.
of the Viman of the gods. One cannot but feel awe and Acharya Somasundarsuriji was a magnetic personality reverence for the ingenuity and craftsmanship of this gifted who lived in the fifteenth century of
artist. According to one legend, about Vikram Era. Shreshthi Dharanashah
ninety-nine lakhs of rupees were belonged to the village Nadia near
"The architect, spent on the construction of the Ranakpur. He had descended from the
temple. It is believed that the master illustrious Porwal clan. Dharanashah
builder Depaka had put the devotion came into contact with Acharya
of his patron Sheth Dharanashah to Somasundarsuriji who infused a strong
the test by making him offer seven spiritual urge in his heart. At the age of
precious metals, pearls, rich stones, thirty-two when he visited
musk and other fragrant substances Shatrunjaya, the foremost among all a very high value on his
while laying the foundation. the places of Jain pilgrimage,
In spite of the complexity, the Dharanashah took the austere vow of
vast expense and the loftiness of the lifelong celibacy. Aided by his sharp
temple, the architectural balance and intellect, keen administrative power
symmetry are not the least affected. and an innate capacity to lead and govern, he had risen to The artistic sculptures, which lie scattered like precious the position of a Porwal Kumbha Rana. One blessed jewels, the myriad ornate festoons (toranas) with minute moment Dharanashah felt the spontaneous urge to build a and delicate carvings, the innumerable elegant and lofty temple of Lord Rishabhnath which, he resolved, should be pillars and a large number of spires (shikharas) which make without parallel in beauty. Legend tells us that one night in a unique pattern on the face of the sky - all these works of his dream Dharanashah had a vision of Nalinigulma Viman, spiritual art become alive and make the beholder oblivious which is considered to be the most beautiful among the of all else but a feeling of ecstasy, as if touched by the celestial planes. Dharanashah decided that the temple sublimity of Divine Bliss. should resemble this heavenly plane (viman).
The temple has four artistic entrances. In the main He invited many renowned artists and sculptors. They chamber (gabhara) of the temple there are four 72-inch-tall submitted their plans and designs, but none could even images which have been installed facing the four different
Depaka was a carefree type of an artist who set
art.”
June - August 2002. Jain Spirit
31
Jain Education Intemational