Devgadh Ki Jain Kala

Here's a comprehensive summary of the Jain text "Devgadh ki Jain Kala" (The Jain Art of Devgarh) by Dr. Bhagchandra Jain 'Bhagendu', published by Bharatiya Jnanpith:

Overall Scope and Significance:

This book is a profound cultural study of the Jain art found at Devgarh, a significant archaeological and artistic site. It's based on Dr. Bhagchandra Jain's doctoral dissertation, guided by the renowned archaeologist Professor Krishnadatt Vajpeyi. The work meticulously examines the Jain material available at Devgarh, placing it within the broader context of Indian art, architecture, and culture. It employs a critical methodology, referencing archaeological evidence, literary sources, and oral traditions. The book is highlighted as presenting original and novel interpretations, particularly regarding the perceived lack of image worship in Jainism, the symbolic nature of temple architecture (like Mount Meru), the emergence of the Bhattaraka institution, and the identification of non-canonical sculptures of Padmavati.

Key Aspects and Content:

The book is structured into nine chapters and five appendices, covering a wide array of topics related to the Jain art and culture of Devgarh.

1. Historical and Cultural Background:

• Introduction: Discusses the cultural significance of art and the historical context of Devgarh, noting its existence from prehistoric times through the Maurya, Shunga, Gupta, Chandel, Mughal, Maratha, and British periods.
• Devgarh's Importance: Highlights Devgarh as a prominent cultural center, comparable to renowned Jain pilgrimage cities like Sammed Shikhar, Urjayanta (Girnar), and Shatrunjaya (Palitana), with a continuous artistic and cultural development for approximately sixteen hundred years.
• Previous Efforts: Details the various governmental and social efforts made by archaeologists and enthusiasts to study and preserve Devgarh's heritage, starting with Alexander Cunningham.

2. Monuments and Architecture:

• Monument Survey: Provides a detailed survey of all identified monuments, including 31 temples, smaller shrines, pillars, and scattered architectural elements.
• Temple Architecture: Discusses the origins of temple architecture, drawing parallels with concepts like Mount Meru and Mount Kailash, and analyzing temple representations on coins and reliefs.
• Architectural Development: Traces the evolution of temple architecture through historical periods (Maurya-Shunga, Shak-Satavahana, Kushana, Gupta, and post-Gupta periods with styles like गुर्जर-प्रतिहार, कलचुरि, चन्देल, and कच्छपघात).
• Devgarh's Unique Features: Analyzes Devgarh's temple architecture, including materials, builders, construction periods, stylistic characteristics, and ornamentation. It delves into the specifics of various Jain temples numbered 1 through 31, detailing their components like the Mahamandapa, Garbhagriha, Pradakshinapatha, etc.
• Manastambhas: Discusses the Manastambhas (triumphal pillars) found at the site.
• Non-Jain Monuments: Briefly introduces non-Jain monuments like the ghatis (valleys), Siddha Gufa, Varaha Temple, Dashavatara Temple, and Sati Pillars.

3. Sculpture (Tirthankaras and Deities):

• Sculptural Evolution: Examines the general study of Tirthankara sculptures from the Gupta and post-Gupta periods.
• Tirthankara Sculptures: Describes various significant Tirthankara sculptures, including the oldest, unique seated Tirthankaras, the largest sculptures, primary deities of temples (Mulnayak), sculptures of specific Tirthankaras like Abhinandanath, Rishabhanath, Neminath, and composite forms like Chaturvinshati Pata (panels of 24 Tirthankaras) and Sahasrakuta (Thousand-Buddha-like images).
• Deities (Dev-Devis): Analyzes the sculptures of presiding deities (Yakshas and Yakshinis) like Gomukha, Parshva, Dharanendra, Chakreshvari, Ambika, and Padmavati. It highlights the non-canonical representations and their significance, particularly the prominence given to Yakshinis compared to their male counterparts and the depiction of Padmavati with Dharanendra.
• Other Sculptures: Discusses sculptures of Vidyadharas (celestial musicians/beings), Sadhus and Sadhvis (ascetics), devout lay followers (Shravakas and Shravikas), couples (Yugma), celestial music and dance ensembles (Mandali), various symbols (Pratik), animals, birds, and mythical creatures, postures (Asana), and hand gestures (Mudra).
• Nature Depictions: Notes the detailed portrayal of natural elements like mountains, rivers, water bodies, animals, flora, and celestial bodies in the art.

4. Religious Life:

• Religious Representatives: Discusses the role of ascetics (Sadhus) and Bhattaraks (ecclesiastical heads).
• Bhattaraka Tradition: Traces the origin and development of the Bhattaraka system, its influence on Jain monastic life, and the philosophical and material aspects associated with it.
• Ascetic and Lay Practices: Examines the lives and practices of monks and nuns, including their accommodation, teachings, daily conduct, and the creation of religious literature. It also analyzes the role of lay followers in supporting religious activities, patronizing art, and adhering to ethical principles.
• Mythological Narratives: Highlights the propagation of mythological stories through sculptures, such as Rishabhanatha's first meal, Bharat-Bahubali's story, Chakreshvari, Ambika's maternal love, and Dharanendra-Padmavati's protection of Parshvanatha.
• Religious Education and Rituals: Touches upon religious education, temple consecrations, Pancha Kalyanak Mahotsavas, Gajrath processions, fairs, Chaturmasa (rainy retreats), vows, initiations, worship rituals, and continuous chanting.
• Integration of Goals: Discusses the subtle integration of Dharma (righteousness), Artha (wealth), Kama (desire), and Moksha (liberation) within religious teachings.

5. Social Life:

• Sources of Study: Mentions the primary sources for understanding social life, including inscriptions, sculptures, and literary references.
• Social Stratification: Discusses the presence of different social strata and the "Chaturvidha Sangha" (fourfold monastic community: monks, nuns, laymen, and laywomen).
• Lineage and Sub-castes: Identifies specific lineages and sub-castes mentioned in inscriptions.
• Devotion and Education: Highlights the religiosity of the populace and the systems of education, including teachers, students, subjects taught, and the guru-shishya relationship.
• Script and Language: Analyzes the scripts and languages used in inscriptions, showing their evolution over time.
• Attire and Adornment: Provides a detailed description of the clothing and ornamentation of both ascetics and laypeople, offering insights into fashion and cultural practices.
• Recreation and Economy: Touches upon leisure activities, music, dance, and economic aspects of life.

6. Inscriptions:

• Content and Classification: Analyzes inscriptions found at Devgarh, discussing their placement, purpose, occasions, and internal content (geographical references, historical figures, social structure, religious life, education, and economic conditions).
• Linguistic and Paleographic Value: Emphasizes the importance of inscriptions for understanding the development of Nagari script, regional languages, and historical timelines.

7. Specific Inscriptions and Their Significance:

• Geographical and Historical Data: Highlights inscriptions that provide crucial information about geographical locations like Chandérigarh, Pāligarh Nagar, Luccagiri, Gopalgarh, Vetravati, Karnataki, and Shrimālavanāgat. It also identifies historical figures such as Bhojdeva, Vishnuram Pachinda, Rajpala, Udayapala Deva, Sultan Mahmud, Udaysingh, and Devisingh.
• Social and Religious Insights: Discusses how inscriptions shed light on social structures (Gotras, sub-castes), respected positions, donations by devout lay followers, religious practices of Sanghas and Ganas, worship of Tirthankaras and Siddhatmas, and the presence of various deities.
• Educational and Literary Information: Mentions inscriptions that refer to education and literature.
• Economic Conditions: Notes inscriptions that provide information about the economic status of the time.

8. Overall Contributions: The book is recognized for its comprehensive study, providing new perspectives on art, architecture, and culture. It's considered an authentic document for understanding Jainism, its philosophy, and the culture of its time. The inclusion of appendices, 123 photographs, and original texts of Jain inscriptions significantly enhances its utility.

Key Themes and Arguments:

• Devgarh as a Cultural Hub: The text consistently portrays Devgarh not just as a religious site but as a vibrant cultural center with a long history of artistic production.
• Jain Artistic Traditions: It details the specific evolution and characteristics of Jain art and architecture in Devgarh, from its earliest influences to later developments.
• Bhattaraka Influence: The study highlights the significant impact of the Bhattaraka tradition on Jain art and religious practices, including the development of certain iconographic features and the patronage of art.
• Scholarly Contributions: It acknowledges and builds upon the work of previous archaeologists and scholars while also presenting new findings and interpretations.
• Cultural Synthesis: The book emphasizes the syncretic nature of the culture at Devgarh, where Jainism flourished alongside Brahmanical and other traditions, as evidenced by the presence of both Jain and non-Jain monuments.

In essence, "Devgadh ki Jain Kala" is a seminal work that offers an in-depth and scholarly exploration of Jain art and culture at a pivotal historical site, making it an indispensable resource for students, researchers, and art enthusiasts interested in the rich heritage of India.