Delwara Jain Temples - Book Summary

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The document "Delwara Jain Temples: Hymns in Marble" by Jayantvijay, published by Seth Kalyanji Parmanandji Pedhi, is a guide to the renowned Jain temples located in Delwara, a place considered a wonder of the world for its unique and unparalleled marble architecture.

General Information and Rules for Entry (Pages 2-3):

The temples are places of worship, and visitors are expected to maintain sanctity.
Visiting hours are from 12:00 AM to 6:00 PM, with mornings reserved for Jain worship and darshan.
Entry is free.
Strict rules prohibit the entry of arms, ammunition, eatables, drinkables, shoes, sticks, leather articles, cameras, transistors, bags, and luggage. These items must be deposited in the cloakroom.
Eating or chewing anything in the mouth is forbidden.
Photography is strictly prohibited.
Entry into cells housing Jain idols or deities is restricted.
Visitors are urged not to touch the sculptures, pillars, or art pieces, as they are invaluable cultural heritage.
Silence and order are expected, and visitors should follow instructions from security personnel.
The management of the temples is vested in the Seth Kalyanji Parmanandji Pedhi, Sirohi (Rajasthan).

Overview of the Temples (Page 3):

Delwara is home to five Swetamber Jain temples:

Vimal Vasahi
Luna Vasahi
Pithalhar
Khartar Vasahi (Parshwanath)
Mahaveer Swami

These temples belong to different centuries, with Vimal Vasahi and Luna Vasahi being entirely of white marble and featuring exquisite carvings. The art depicts floral designs, religious themes, mythological figures, royal courts, and everyday life, with no repeated designs, showcasing immense human ingenuity. The beauty of the interior sculptures is considered beyond adequate description, making Delwara a "Tirth of art and beauty."

Temple Descriptions:

Mahaveer Swami Temple (Page 3): A small, simple structure built in 1582 AD, dedicated to Lord Mahaveer. It houses nine other images. The porch walls feature paintings from 1764 AD by Sirohi artists.
Vimal Vasahi Temple (Pages 4-9):
- Construction: Built by Vimal Shah, Minister and Commander-in-Chief to Bhima Dev I of Gujarat, to atone for battlefield sins, with the blessings of Ambika Devi. It cost a substantial amount (18.53 crore rupees at the time) and took 14 years to build with 1500 artisans and 1200 laborers, under architect Kirthidhar. Marble was transported from Arasoori hill.
- Architecture: Covers 140 ft x 90 ft. Features a sanctum, Gudha Mandap, Navchoki, Rang Mandap, and a circumambulatory corridor with 57 cells, each containing a Jain Tirthankar image. Ceilings, domes, pillars, and arches are adorned with exuberant carvings of floral motifs, geometric designs, and reliefs depicting the lives of Tirthankars, deities, heroes, royal courts, and everyday scenes.
- History: Vimal Shah's descendant, Prithvipal, added constructions and the Hasti Shala. The temple was damaged by Alla-uddin Khilji in 1311 AD and later repaired by the brothers Bijad and Lalag. Significant renovations to ten cells occurred between 1950-1965.
- Artistic Details: The corridor ceilings are profusely decorated. Specific cells feature:
  - Cell 1: Idol of Neminath, ceilings with lotus rows, lions, dancers, musicians.
  - Cells 2-7: Lotus buds, figures making offerings, birds, musical scenes.
  - Cell 8: Depiction of 'Samavasaran' (Jain Acharya preaching to a diverse audience).
  - Cell 9: 'Panch Kalyanak' scenes (birth, renunciation, knowledge, salvation of Tirthankars).
  - Cell 10: Life of Lord Neminath, including scenes with Krishna and his gopis.
  - Cell 11: Sculpture of a 14-handed Goddess.
  - Cell 12: 'Panchkalayanak' of Lord Shantinath.
  - Cell 13: Lotus with eight goddesses.
  - Cells 14-17: 'Panchakalayanak' scenes.
  - Cell 19: New construction with lotus motifs and dance postures.
  - Cell 20: Images of Gaj Laxmi and Shankeshwari.
  - Between Cells 22 & 23: Shrine with a large black stone idol of Rishabdev (Adinath), believed to have been found with Ambika Devi's guidance.
  - Cell 23: Image of Tutelary deity Ambika Devi.
  - Cell 32: Krishna subduing Kaliya Nag, Krishna playing with Baldev and friends, Krishna on Shesh Nag.
  - Cell 38: Sixteen-armed Goddess Vidyadevi.
  - Cell 41: Krishna playing Holi.
  - Cell 42: Goddesses Saraswati, Laxmi with elephant, Shankeshwari on Garuda.
  - Cell 43: Goddess Laxmi surrounded by deities.
  - Cells 46-48: Sixteen-armed goddesses Shitla Mata, Saraswati, Padmavati.
  - Cell 49: Man-lion (Narsimha) tearing Hiranyakashyapa.
  - Cell 51: Ceiling divided into 20 sections with Tirthankar and Acharya carvings.
- Entrance Area: Features panels of elephants, Arda Kumar, flowers, dancing figures, scenes of Bharat and Bahubali, army compositions. Porticos showcase goddesses Laxmi, Saraswati, Ambika.
- Rang Mandap: A grand hall with 12 decorated pillars, carved arches, and a central dome with 11 concentric rings of elephants, horsemen, birds, and ornamental pendants.
- Pillars: Adorned with female figures playing musical instruments and 16 Vidhyadevis.
- Navchowki: Nine rectangular ceilings with different designs, supported by ornate pillars. Niches contain sculptures of Adinath.
- Gudh-Mandap: Houses the principal deity, Lord Rishabdev. Features standing white marble images of Parswanath in meditation.
- Hastishala (Elephant Cell): Built by Prithvipal, it housed ten marble elephant sculptures, now mostly destroyed. It also features a Samavasaran. An equestrian statue of Vimal Shah is present at the entrance.
Luna Vasahi Temple (Pages 12-16):
- Construction: Built by brothers Vastupal and Tejpal, ministers to Solanki Raja Bhimdev-II. Tejpal built it in memory of his deceased brother Luna, for the spiritual welfare of his wife and son, at a cost of over 13 crore rupees. The architect was Shobhandev. Dedicated to 22nd Jain Tirthankar Shri Neminath.
- History: Also damaged by the Muslim army in 1311 AD and repaired in 1321 AD.
- Architecture: Smaller than Vimal Vasahi but similar in ground plan. Noted for its perfection and refinement in drawing, design, and depiction. Features 52 cells in the corridor, with intricately carved ceilings depicting various themes.
- Artistic Details:
  - Cell 1: Devi Ambika.
  - Cells 2-3: Flower panels, dancing figures, swans.
  - Cells 4-6: Dancing figures.
  - Cell 9: Ceiling depicting an ocean, boats, aquatic animals, Dwarka, Girnar, and scenes of Krishna and Jarasand's fight.
  - Cells 14-16: Life sketches of Parshwanath and Shantinath.
  - Cell 19: Life incidents of Muni Suvrata, with an ocean scene below.
  - Cells 23-26: New constructions, including deities Ambika and Kunthunath.
- Hastishala (Elephant Cell): Houses ten marble elephant sculptures, along with portraits of Vastupal, Tejpal, family members, and Jain Acharyas. Features a magnificent sculpture of Lord Adinath and a three-storied white marble tower.
- Rangmandap: Features a central dome with an ornamental pendant, described as a marvel of carving. Pillars support figures of 16 Vidhyadevis. The dome periphery has 72 Tirthankars and 360 Jain monks. Notable ceilings depict 'Samavaswara', renunciation of Lord Neminath, and life stories of Shantinath and Parshwanath. The walls depict scenes from Lord Krishna's life. A unique Indian dancing panel of 68 female figures is also present.
- Navchowki: Above the Rangmandap, nine ceilings showcase exquisite marble work. Niches contain Jain idols and images of Laxmi.
- Gudha Mandap: Houses the black marble idol of Neminath.
- Kirti Stambha: A blackstone pillar constructed by Maharana Kumbha of Mewar.
- Small Cell: Dedicated to the foot-prints of Jain Acharya Shri Jindutt Suri.
Pittalhar Temple (Page 17):
- Construction: Built by Bhima Shah, minister to Sultan Begada of Ahmedabad. Named Pittalhar due to a massive brass statue of Rishabdev (Adinath). Construction dates between 1315-1433 AD.
- Architecture: Consists of a main shrine, Gudh Mandap, and Navchowki. The Rangmandap and corridor appear unfinished. An old idol was replaced in 1468-69 AD, weighing 108 maunds (40 quintals). The image, 8 ft high and 5.5 ft broad, was cast by artist 'Deta'.
- Details: A Panch-Tirthi sculpture of Adinath is in the Gudh Mandap. Niches were constructed in 1474 AD, and cells in 1490 AD.
- Suvidinath Temple: A smaller temple with an idol of Suvidhinath installed in 1490 AD, containing 20 cells dedicated to other Tirthankars.
Parshwanath Temple (Page 18):
- Construction: Dedicated to Lord Parswanath, built by Mandlik and his family in 1458-59 AD. It is the tallest of the Delwara shrines, being three-storied with a pinnacle.
- Architecture: Each storey has images of Parswanath on all four sides, under a canopy of nine snake-hoods. The temple is constructed with grey sandstone, not white marble, contradicting a legend.
- Sculptures: The outer walls feature vibrant sculptures in grey sandstone, depicting Dikpals, Vidhyadevis (standing and sitting), Yakshinis, Shalabhanjikas, and other decorative female figures comparable to Khajuraho and Konark.

The document is compiled based on "Holy Abu" by Muni Shri Jayant Vijaiji and edited by P.S. Choudhri. It serves as a detailed artistic and religious guide to these magnificent Jain architectural marvels.