Chittodgadh Ke 2 Uttar Madhyakalin Jinalaya - Book Summary

This is a comprehensive summary of the provided Jain text, "Chittodgadh ke 2 Uttar Madhyakalin Jinalaya" by Atul Tripathi, focusing on the architectural and artistic details of two late medieval Jain temples in Chittorgarh:

Chittorgarh: A Historical Jain Hub

The text begins by establishing Chittorgarh (ancient Chitrakuta) not only as a land of sacrifice, bravery, and Rajput valor but also as a significant center for Jain philosophy and art. Historically, Chittorgarh Fort is mentioned as a Jain pilgrimage site from ancient times. During the pre-medieval and medieval periods, the region was virtually synonymous with Jainism, serving as a residence for renowned Jain scholars like Haribhadra Suri (circa 700-785 AD) and Jinavallabha Suri (circa 1075-1119 AD). The area appears to have been predominantly influenced by the Shvetambara tradition. According to the Guravali of the Kastasangha's Lat-Bagad Sangha, during the reign of King Narvahan (circa 971 AD) of the Guhil dynasty, Muni Prabhachandra is noted for defeating formidable Shaivites. Both Digambara and Shvetambara temples were constructed in this region, particularly during the late medieval period.

Architectural Description of the Two Temples

The article focuses on two adjacent Jain temples situated east of the "Satais Deori" within Chittorgarh Fort. These temples, oriented north and south and running parallel to each other, are architecturally and artistically significant. Constructed from sandstone and facing east, both temples are elevated on a high platform (jagati). The temples exhibit such strong resemblances that distinguishing them at first glance is challenging.

The author notes that while the article primarily describes the northern temple, it will highlight the differences found in the southern temple. Both temples share a common layout: a mulprasad (main sanctuary), a gudhmandap (inner hall), a nauchauki (a platform with nine pillars), and an adjoining terrace. Stairs are present on the northern, southern, and eastern-central parts of the terrace. Near the eastern stairs of the southern temple, an andol-torana (a type of archway) is situated between two uplifted pillars.

Details of the Mulprasad (Main Sanctuary)

The mulprasad is divided into the peeth (base), mandovar (wall portion), and shikhar (spire).

Peeth: The base is composed of three moldings. The middle molding features a half-gem carving, above which is a molding with a half-lotus. This is followed by the jadya-kumbh (a decorative molding), karnak (corner element), chadyaki (a projecting molding), and grasapatti (a molding with projecting figures). The flanks of the jadya-kumbh are adorned with leaves, and the grasapatti has a lumbika (a pendant) protruding from its bhadra (central projection).
Mandovar: The mandovar is divided into vedibandh (plinth), jangha (wall), and varandika (entablature).
- Vedibandh: It comprises five components: khur (cornice), kumbh (bulbous molding), kalash (pot-like molding), antarapatt (intervening molding), and kapolipali (a molding resembling a pigeon's nest). The khur in the northern temple features a pair of swans, while the southern temple has two pairs. The kumbh is decorated with half-gems, divided by a manibandha (a band) in the middle, and the upper shoulder part is embellished with a row of lotuses. The subhadra (central projection) of the kumbh has carvings of Vidyadevis and Yakshinis seated in a relaxed posture. The pratirath (offset projection) shows a sprout but lacks depictions of goddesses. The southern temple's pratirath also features Vidyadevis and Yakshinis, including a chauri-bearer. The southern temple's kumbh has a thin karnika (a pointed element) above the manibandha, with depictions of apsaras holding chauris on its sub-projections. The jeweled kalash of both temples are excellent examples of craftsmanship and exhibit variations in their carvings. The southern temple's kalash is divided into two parts by a manibandha.
Jangha: Above the vedibandh is the jangha, supported by a manchika (a molding). The jangha's bhadra-khattak (central niche) is narrow and deep, housing a Jin image in the Kayotsarga (standing) posture. Above the chadyaki is an illikavalana-torana (a decorative arch), with a Jin image seated in Padmasana (lotus) and meditation posture in the center. The southern temple's bhadra-khattak is relatively wider and contains a Jin image in the Paryankasana (seated) posture, flanked by chauri-bearers and topped with an elephant. Above the illikavalana, Jin in meditation is flanked by chauri-bearers and Kinnaras. The corners (karna) and kapili (junction of the main and side structures) of the temple feature the eight Dikpalas in their respective positions.
Subhadra and Pratirath: The sub-projections and main projections of the jangha are adorned with charming Apsaras, including depictions of: a woman playing with a lion, a deer, a chakri, or a parrot; a surasundari holding a knife, shield, or sword; Karpuramanjari; an Apsara tying anklets; and Lilavati. The southern temple also notably features the Shasanadevi Ambika and Patralekha Apsara.
Intermediary and Upper Portions: Between the parts of the jangha, there are carvings of ascetics, and above them, devotees seated with folded hands. The Dikpalas and Apsaras are shown with their attendants. Above them are two-tiered sprouts, with monkeys seated at the corners. The sprout cuts into the ascending grasapatti, above which is a bharani with karnikas and a vidyadharapattika (a frieze with celestial beings).
Varandika: The varandika portion of the jangha is followed by khurachhadya.
Shikhar: The shikhar of the northern temple is relatively denser, comprising a four-part spire (chaturanga mulamanjari), three upper spires (ur:manjari), projections (pratirath), and corners (karna) with two navandaka (ornamental elements) each, topped by a finial (shringa). The corners have two kutagondas (decorative spirelets) and a tilak (a central decorative element), with two nashashringas (pointed projections) and one shringa between the corners and projections. The projections above the kutagondas have secondary projections. In the eastern section, the lower ur:manjari is replaced by a shukanas (a projecting architectural element). The southern temple features vyalas (mythical creatures) instead of nashashringas. Here, the three-part spire and secondary projections are relatively larger. The corners have two navandaka elements topped by a finial, while the projections are replaced by tilak.

Features of the Bhadra (Central Projection)

On the bhadra of both temples, a smaller niche (rathika) is present above a larger niche (rathika) below the nivli ur:manjari. These niches contain depictions of Jain goddesses. The lower niche has female chauri-bearers on both sides. The portion of the ur:manjari above the kalash in both temples is modern, having been renovated by the Shvetambara Trust in 1942.

Kapili and Gudhmandap

The kapili and gudhmandap of both temples are constructed similarly to the mulprasad, with a peeth and mandovar. The chadyaki of the kapili has two finials, while the chadyaki and upper portion of the gudhmandap are newer.

Gudhmandap Details

The bhadra and karna sections of the gudhmandap are wider compared to the mulprasad. The wider khattak of the bhadra features a stone lattice. Above the khurachhadya of the bhadra-khattak is an illikavalana, with a Jin image seated in the padmasana posture in the center, flanked by chauri-bearing women. Much of the vedibandh and jangha portions of the gudhmandap have crude and later carvings. The northern gudhmandap has comparatively less sculptural work.

Gudhmandap Karna and Iconography

The karna sections of the gudhmandap of both temples depict four-armed Dikpalas with their consorts. In the northern temple, above the Dikpalas, a four-armed goddess is shown in a relaxed posture on the sprout. In the southern temple, the jadya-kumbh of the gudhmandap features elephants facing each other. On the southern face of the southern-eastern karna, a four-armed Balrama is depicted. The southern face of the southern-western karna has carvings of two goddesses inscribed with the names "Vimala" and "Kanti." The western part features two four-armed unknown goddesses. On the bhadra of the northern vedibandh, the western face has a two-armed dancing Ganesha, along with a beautiful makara-pranala (a spout in the form of a mythical sea creature).

Garbagriha (Sanctum Sanctorum) Doorway

The four branches of the doorway of the northern temple's garbagriha are composed of leaf-branches (patrashakha), decorative branches (rupashakha), pillar-branches (stambhashakha), and decorative branches (rupashakha). The leaf-branches are adorned with creepers originating from the mouth of a peacock. The lower part of the leaf-branches features women holding pots (likely Ganga and Yamuna). The plinth has depictions of four-armed guards (pratihar) in the tribhanga (three-bend) posture, flanked by chauri-bearing women. The lintel section of the doorway is divided into two parts, with projecting grasamukhs (mouths of mythological creatures) on both sides. At the bottom corners of the lintel, below the plinth, Sarvanubhuti is depicted on the left and Ambika on the right, both in the relaxed posture. The leaf-branches continue on the uttaranga (upper lintel). Above the leaf-branches are garland-bearing Vidyadharas facing the lalatabimba (central decorative panel), which features a Jin image seated in the Padmasana posture. The doorway of the southern temple is similar, but its pillar-branches are flanked by bakulamala (a garland of bakula flowers).

Iconography within the Garbagriha

Inside the northern temple's garbagriha, a dark Parshvanath statue is present, with Adinath and Sambhavanath statues seated in Padmasana on the left and right, respectively. These are modern statues. The ceiling of the northern temple has five levels and a lotus-slab in the center. The second level of the southern temple's garbagriha is in the form of a swan row, with a lotus carving in the middle.

Other Architectural Elements

The flat ceiling of the southern temple's pragriva (vestibule) features half-lotuses adorned with a ruby border. The gudhmandap's ceiling has twelve levels with a lotus-slab in the center. The doorway of the southern temple is unique and shares some similarities with the garbagriha. The nauchauki adjacent to the gudhmandap is supported by twelve mixed pillars. Except for one or two, the other chowkies in the southern temple do not have special ornamentation. The terrace adjoining the nauchauki is based on a platform. Near the eastern stairs of the southern temple, an andol-torana is situated between two uplifted pillars. The andol-torana is made of five segments, with the third touching the weight-bearing slab. Each segment has a pendant below it. The weight-bearing slab likely once held a Parshvanath image in the Padmasana posture, which is no longer present.

Dating and Renovation

Based on their architectural style, both temples are definitively attributed to the 15th century. The inscription in corrupt Prakrit script on the right side of the southern waist-projection of the gudhmandap reads "Savana 1612 Praskra Sudhi 13 Sach Jal Prasritakita" and below a statue in the northern bhadra is inscribed "Samvat 1564 Varsha." This indicates that the temples, particularly the gudhmandap section, underwent renovation.

The text concludes with a list of figures and acknowledgment of the American Institute of Indian Studies, Varanasi, for providing the images.