Jain Spirit 2002 06 No 11

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

Page 35

thousand hoods (Sahasrafana), Parshvanath and Sahasrakuta | world. are equally impressive.
The most outstanding feature of this temple is its infinite number of pillars. It can be called a treasure house of pillars or a city of pillars. In whichever direction one might turn the eyes meet pillars and pillars - big, small, broad, narrow, ornate or plain. The ingenious designer has arranged them in such a manner that none of them obstruct the view of the pilgrim wishing to have a glimpse (darshana) of God. From any corner of the temple one can easily view the Lord's image. These innumerable pillars have given rise to the popular belief that there are about 1444 pillars in the temple.
In the north of this temple, there is a Rayan tree (mimusops laxandra) and the foot-prints of Bhagvan Rishabhnath on a slab of marble. They remind us of the life and preaching of Bhagvan Rishabhnath, and the foremost among the places of Jain pilgrimage, Shatrunjaya.
On one hand the temple has been made artistic with its two upper storeys, on the other the designer has shown foresight in constructing some nine cellars in which the sacred images could be safely preserved in the event of a crisis. It is believed that there are many Jain images in these cellars. These cellars must be an additional strength and support to the entire structure and must have sustained it against the onslaught of time and the elements.
The eroding sweep of time and nature, the wanton and mindless destruction by foreign invaders did much damage to this holy shrine. For a long time it wore a deserted look as pilgrims didn't find it safe to go to this secluded place infested with wild animals and dacoits.
Fortunately, in 1897 the whole congregation (Sadri) handed over the administration of this shrine to the Sheth Anandji Kalyanji Trust (Pedhi). Soon after taking charge over the Pedhi addressed itself to the primary task of providing amenities to pilgrims and safety from the danger of wild animals. The authorities then launched an ambitious programme of renovating the temple. The renovation, which had begun in 1933, continued for eleven years and was accomplished in 1944. The artists who set chisel to stone have lent such a delicate grace to this old structure that world-renowned architects and sculptors have lavishly praised it as one of the wonders of the
Poetry In Stone
This renovated shrine has once again attained its unique fame in the world of art and religion. Every year thousands of art-lovers and spiritual seekers from all over the world come to this idyllic place. They return amply rewarded. To meet the ever-increasing number of tourists, the Pedhi has constructed many new inns (dharmashalas). Formerly there was just one old inn for the pilgrims. Now there are three new inns, which provide all the modern amenities and comforts.
The quintessence of this masterpiece is to be discerned in the fact that it was conceived as an image of the celestial Viman Nalinigulma. The materialisation of the image acquired an aura that makes the beholder feel transported to a dream-world, where he experiences the rare and divine magnificence of the heavenly Viman. If the sublimation of the mind and the experience of the bliss of the subtler and higher states of the consciousness is the purpose of art, the spirit of Art has undoubtedly been fulfilled in the Chaturmukha Temple.
Woman worshipping inside the temple
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June-August 2002 Jain Spirit
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