Diparnava Purvardha - Book Summary

Here's a comprehensive summary of the Jain text "Diparnava Purvardha," based on the provided pages:

Book Title: Diparnava Purvardha Author: Prabhashankar Oghadbhai Sompura Publisher: Prabhashankar Oghadbhai Sompura, Palitana Catalog Link: https://jainqq.org/explore/008415/1

Overview:

The "Diparnava Purvardha" is a significant architectural treatise within Jain tradition, focusing on the principles and practices of temple construction (Shilpashastra and Vastushastra). The provided text is the first part (Purvardha) of a larger work, likely a commentary or translation of an older Sanskrit text by Vishwakarma. The author, Prabhashankar Oghadbhai Sompura, is presented as a traditional architect deeply rooted in the heritage of Gujarat, renowned for his expertise in temple construction. The book is a detailed exploration of the various aspects of temple design, from the foundational elements to intricate decorative details, with a specific focus on Jain temples.

Key Content and Structure (Purvardha):

The book is structured into several chapters (Adhyaya), each dealing with a specific aspect of architectural design. The "Purvardha" (first part) covers the following:

Foundational Principles and Planning (Adhyaya 1-2):

Adhyaya 1: Ayatatvadhiar (Principles of Ayata): This chapter likely deals with fundamental concepts, measurements, and perhaps auspicious timings or astrological considerations for commencing construction. It introduces the concept of "Ayata" and discusses its importance. It also touches upon the calculation of auspicious days and astrological influences for construction.
Adhyaya 2: Purushadhiar (Principles of Purusha): This chapter likely focuses on the concept of "Purusha" in architecture, possibly relating to proportion, humanistic design principles, or the anthropomorphic representation of the cosmic order in a building. It might also detail the calculation of proportions based on the house owner's name or birth constellations.

Structural Elements and Design (Adhyaya 3-12):

Adhyaya 3: Jagati Lakshana (Principles of Jagati - Plinth/Base): This chapter details the plinth or base of the temple, its dimensions, proportions, and construction methods.
Adhyaya 4: Peeth Lakshana (Principles of Peetha - Pedestal): This focuses on the pedestal or platform on which the main deity or structure rests, discussing its dimensions, types, and decorative elements.
Adhyaya 5: Prasad-udaya Mandovara Adhiar (Principles of Temple Dimensions, Mandovara - Wall Structure): This chapter delves into the overall dimensions of the temple and the intricate details of the wall structure (Mandovara), including its various sections, mouldings, and decorative features like niches and projections. It discusses different styles like Nagara, Dravida, and Vesara.
Adhyaya 6: Dwaramana Adhiar (Principles of Door Dimensions): This chapter covers the measurements, proportions, and decorative aspects of doorways, including the number of Jhalakas (door jambs) and their architectural significance.
Adhyaya 7: Devata Dingmukha Adhiar (Principles of Deity Directions): This chapter likely addresses the auspicious directions and orientations for placing the idols or representations of deities within the temple, considering their specific iconography and associated directions.
Adhyaya 8: Devata Drishtipada Sthapanadhiar (Principles of Deity Seating and Gaze): This chapter focuses on the placement of deities, their seating arrangements (asana), and the direction of their gaze, which holds significant ritualistic importance.
Adhyaya 9: Shikharadhiar (Principles of Shikhar - Spire/Tower): This is a crucial chapter detailing the design, structure, proportions, and ornamentation of the temple spire or tower, which is a defining feature of Indian architecture. It likely covers different types of shikharas.
Adhyaya 10: Mandapadhiar (Principles of Mandapa - Hall/Porch): This chapter focuses on the various types of halls or porches attached to the main temple, discussing their design, dimensions, number of pillars, and decorative elements like Mandapa ceilings (Vitan).
Adhyaya 11: Sanvarana Adhiar (Principles of Sanvarana - Vaults/Domes): This chapter likely deals with the construction and design of domes and vaults that form the ceilings of mandapas and other parts of the temple.
Adhyaya 12: Kurmashila Nivesha (Principles of Tortoise Foundation/Plinth): This chapter discusses the concept of a tortoise foundation or plinth, which might be a symbolic or structural element in temple construction. It likely covers its placement and significance.
Adhyaya 13: Rajalingadhiar (Principles of Linga): This chapter focuses on the specific rules and regulations concerning the installation and dimensions of the Linga, the aniconic representation of Shiva, which is central to many Hindu temples. While the book is presented in a Jain context, the inclusion of such a chapter suggests either a broad scope of architectural knowledge shared or a discussion of elements that might have influenced or been adopted from other traditions.
Adhyaya 14: Banlingadhiar (Principles of Bana Linga): This chapter likely details the specifics of "Bana Linga," which are naturally formed lingas found in certain riverbeds, and their religious and architectural significance.
Adhyaya 15: Vrishabha Lakshana (Attributes of Vrishabha - Nandi): This chapter likely describes the iconography and architectural representation of Nandi, the bull mount of Shiva, often found as a significant sculpture in temple precincts. Similar to the Linga chapter, its inclusion might be for comprehensive architectural study or to discuss associated sculptures.
Adhyaya 16: Chaturvinsati Gaurya Swarupam (Forms of Twenty-four Gauri): This chapter details the iconography and forms of twenty-four Gauri deities, likely as attendants or manifestations of the Divine Mother in Hindu traditions. The inclusion of Hindu deities might indicate a comprehensive architectural survey rather than solely focusing on Jain specifics, or it could be to contextualize Jain architecture within the broader Indian landscape.
Adhyaya 17: Dwadasha Saraswati Swarupam (Forms of Twelve Saraswatis): This chapter likely describes the iconography and forms of twelve different manifestations of Goddess Saraswati, the deity of knowledge, arts, and music.
Adhyaya 18: Trayodashaditya Swarupam (Forms of Thirteen Suryas): This chapter focuses on the iconography and forms of thirteen different manifestations of the Sun God, Surya.
Adhyaya 19: Purnabhadradi Panchavimsati Panchadeva Prasadah (Twenty-Five Temples of Five Deities - Purnabhadra etc.): This chapter is highly significant as it details the construction principles and forms of temples dedicated to five major deities: Brahma, Vishnu, Jin, Surya, and Mahesh (Shiva), with five distinct types for each, totaling twenty-five types of temples. This section specifically mentions Jain temples, indicating a focus on adapting architectural principles for Jain deities as well.
Adhyaya 20: Jin Prasadal Lakshana (Attributes of Jin Temples): This chapter is dedicated to the specific architectural characteristics and rules for constructing Jain temples, likely discussing their unique layouts, iconographic requirements, and decorative elements.
Adhyaya 21: Jin Pratim Lakshana (Attributes of Jin Idols): This chapter focuses on the iconometry and stylistic rules for sculpting Jain Tirthankara images, detailing their proportions, mudras, and attributes.
Adhyaya 22: Jin Parikar Lakshana (Attributes of Jin Parikara - Iconographic Enclosures): This chapter likely describes the decorative halos, enclosures, and surrounding elements that adorn Jain Tirthankara idols.
Adhyaya 23: Jin Murti-Varna-Lanchhanadi-Yakshayakshini Swarupa (Forms of Jin Murtis, Colors, Symbols, Yakshas, Yakshinis): This chapter is dedicated to the detailed iconographical descriptions of Jin Murtis, including their colors, auspicious symbols (Lanchhanas), and associated Yaksha and Yakshini deities.
Adhyaya 24: Dash Dikpala-Navagraha-Pratiharadi-Devadevi Swarupa (Forms of Ten Directions, Nine Planets, Guardians, Deities): This chapter likely covers the iconography and placement of the ten Dikpalas (Guardians of Directions), the Navagrahas (Nine Planets), and other attendant deities and guardian figures within the temple complex.
Adhyaya 25: Shri Samavasarana (The Divine Assembly of Tirthankara): This chapter describes the architectural representation of Samavasarana, the divine assembly where Tirthankaras deliver their sermons. It details the circular layout, various tiers, and the symbolic representation of the cosmic order.
Adhyaya 26: Ashtapada Swarupam (Form of Ashtapada): This chapter likely discusses Ashtapada, a symbolic representation of Mount Meru or a celestial mountain, and its architectural depiction in temples.
Adhyaya 27: Merugiri tatha Nandishwar Dwipa Rachana (Formation of Mount Meru and Nandishwar Island): This chapter would likely detail the architectural representations of Mount Meru and the celestial island of Nandishwar, which are significant cosmological concepts in Jainism.

Key Figures and Influences:

Vishwakarma: The text is attributed to Vishwakarma, the divine architect in Hindu mythology, suggesting a foundation in traditional Indian architectural knowledge.
Prabhashankar Oghadbhai Sompura: The author and commentator, highlighted as a master architect from a traditional lineage in Gujarat, responsible for the reconstruction of the Somnath Temple. His practical experience and deep understanding of ancient texts are emphasized.
Acharya Shri Kalapurna Suri: His disciple, Acharya Shri Kalaprabha Suri, and the inspiration from Sadhvi Shri Suryayashashriji are mentioned, indicating a connection to the Jain monastic tradition.
Various Ancient Texts: The book's foundation relies on a vast array of ancient Sanskrit texts on architecture and related subjects, including Mansara, Aparajita Prachha, Brihat Samhita, Matsya Purana, Agni Purana, Garuda Purana, Vishnu Dharmottara Purana, Samarangana Sutradhara, Mayamatam, Kamikagam, and works by Shukracharya, Varahamihira, Gargacharya, Bhrigu, and others, as listed in the "Granthasuchi-Runasvikar" (Bibliography-Acknowledgement of Debt).

Emphasis on Tradition and Practicality:

The text stresses the importance of adhering to traditional Shilpashastra principles, passed down through generations of architects, particularly the Sompura community. The author's work is seen as a revival and dissemination of this traditional knowledge. The inclusion of detailed explanations, diagrams, and the author's personal journey in deciphering and applying these ancient principles highlights a blend of scholarly research and practical application.

Notable Patronage and Appreciation:

The book received blessings and appreciation from various respected figures, including:

Maharaja Jam Saheb Shri Sir Digvijaysinhji Bahadur of Nawanagar: Former Rajpramukh of Saurashtra, who praised the reconstruction of the Somnath Temple under Sompura's guidance.
Shri K.M. Munshi: Renowned Gujarati scholar and former Governor of Uttar Pradesh, who lauded the book's contribution to understanding Vastu Vidya and preserving ancient Indian knowledge.
Shri Krishna Deo: Superintendent of the Temple Survey Project, Government of India, who recognized the monumental research and interpretative work involved.
Shri Shankaracharyaji Maharaj of Dwarka Peeth: Who blessed the book and emphasized the need for preserving classical arts.
Prof. Vasudeva Sharan Agrawal: Head of the Kala-Sthapatya Department, Kashi Vidyapeeth, who provided a valuable introduction highlighting the book's significance and the author's expertise.

Overall Significance:

"Diparnava Purvardha" emerges as a comprehensive guide to temple architecture, preserving and explaining intricate details of design, proportion, iconography, and construction techniques. It serves as a valuable resource for students of Indian architecture, historians, and practicing architects seeking to understand and revive traditional practices, particularly within the Jain context. The author's dedication to translating and annotating these ancient texts makes this complex knowledge accessible to a wider audience. The book is a testament to the enduring legacy of Indian architectural sciences and the efforts to keep them alive.