Encyclopaedia Of Jaina Studies Vol 01 Jaina Art And Architecture

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Book Title: Encyclopaedia of Jaina Studies Vol. 01: Jaina Art and Architecture Author(s): Sagarmal Jain, et al. Publisher: Parshwanath Vidyapith

This volume, the first in a projected Encyclopaedia of Jaina Studies, is a meticulously researched and richly illustrated work dedicated to exploring the significant contributions of Jainism to Indian art and architecture. It aims to provide a complete and accessible overview for both lay readers and scholars, covering the religion's various aspects and dimensions, including spirituality, culture, literature, science, art, architecture, rituals, festivals, and philosophy.

The book is structured into three main parts, authored by different scholars:

Part I: Architecture (By Prof. Harihar Singh) This section offers a detailed account of Jaina architectural achievements across India, encompassing:

• Jaina Buildings: It discusses various forms of Jaina structures, including stūpas, rock-cut caves, and structural temples.
• Canonical Architectural Data: The author delves into architectural materials and principles as described in Jaina canonical texts, highlighting their references to both religious and secular buildings.
• Chronological and Regional Survey: The presentation is organized both chronologically and geographically, detailing Jaina edifices region-wise and site-wise, providing approximate dates for each.
• Key Architectural Forms:
  • Stūpas: The text highlights the Jaina stūpa of Mathura as a singular known example, discussing its construction and decoration, and comparing it with its Buddhist counterparts.
  • Rock-cut Architecture: It provides a state-wise description of Jaina caves, covering both "cut-in" and "cut-out" forms, tracing their history from the 3rd century B.C. dwelling caves at Rajgir to later shrines in the Deccan and South India. Examples from Bihar, Uttar Pradesh, Orissa, Gujarat, Madhya Pradesh, Maharashtra, Karnataka, Tamil Nadu, and Kerala are discussed.
  • Structural Temples: Chapters V and VI focus on structural Jaina temples in North and South India, respectively. These represent the latest architectural developments, beginning from the 5th-6th century A.D. The authors conduct an extensive survey of intact temples, describing their plans and elevations, and making use of Sanskrit technical terms for architectural components. Exclusive Jaina features like the mukhamandapa and devakulikās in Western Indian temples are noted. The text also highlights the immense size and rich decoration of many Jaina temples, often bearing precise foundation dates from inscriptions, which are crucial for understanding the evolution of architectural styles.
• Building Materials: The use of wood, burnt bricks, and various types of stone (sandstone, marble, soapstone, granite) in Jaina construction is discussed.
• Destruction and Preservation: The volume addresses factors responsible for the spoliation of Jaina buildings, including natural causes, foreign invasions (particularly by Muslims who converted or dismantled shrines), internal religious rivalries, and even the philanthropic zeal of the Jaina community in repairing and altering structures, which sometimes marred their originality.
• Indigenous Style: The text emphasizes that Jaina architecture, up to the 13th century A.D., remained indigenous, with Islamic traits like arches and domes appearing only after the 13th century.
• Roofing Techniques: The use of horizontal arching and corbelling methods (kadalikākaraṇavidhi) for roofing is explained, highlighting their durability compared to vertical arches.
• Dating Methods: The text outlines the primary reliance on inscriptions for dating Jaina buildings, followed by palaeography, historical references, and stylistic analysis when inscriptions are absent.

Part II: Jaina Sculpture and Iconography (By Prof. Maruti Nandan Prasad Tiwari) This section meticulously details the sculptural manifestations of Jainism, covering:

• Introduction to Jaina Sculpture: It discusses patronage, the Jaina pantheon, and key landmarks of Jaina sculpture in North and South India. It also addresses the common criticism of Jaina art being monotonous, arguing for its rich spiritual content and expression.
• Iconographic Treatment: The author provides a detailed, chapter-by-chapter analysis of various Jaina sculptural elements:
  • Jinas or Tirthankaras: Each of the 24 Tirthankaras is discussed, outlining their iconographic features, associated lāñchana (cognizances), and Śāsanadevatās (Yakṣas and Yakṣis). The chronological development of their iconography and regional variations are taken into account, with examples drawn from important Jaina sites and museums in India and abroad.
  • Yakṣa-Yakṣi (Śāsanadevatās): This chapter elaborates on the numerous guardian deities associated with the Jinas, discussing their varied iconography, mounts, attributes, and the influence of Brahmanical deities on their development.
  • Vidyādevis: Sixteen important Jaina goddesses associated with Tantric influence are discussed, noting their iconography as enunciated in both Svetambara and Digambara texts, and their prevalence in specific sites like Osian and Delvada.
  • Other Jaina Gods and Goddesses: This section covers figures like Sarasvati, Lakṣmī, Gaṇeśa, Brahmaśānti Yakşa, Kṣetrapala, Harinaigameṣi, Astadikpālas, Navagrahas, Dikkumāris, Śāntidevi, Vijaya-Vijayanta-Jayanta-Aparajita, Nine Nāradās, Eleven Rudras, Kāmadevas, Ganipitaka-Yakşarāja, and Tribhuvana-Svāminī Devi.
  • Bahubali, Bharata Muni, Jīvantasvāmi: The sculptural representations of these significant figures, venerated for their austerity and renunciation, are discussed. The unique concept of Jīvantasvāmi (Mahāvīra before his renunciation) is also examined.
  • Other Artistic Manifestations: The chapter includes discussions on Jaina Ayāgapata (tablets of homage), Samavasaraṇa (celestial assembly), Aṣṭamangala (eight auspicious symbols), Nandiśvara-dvīpa, Sammeta-Śikhara, Pañca-Meru, Mānastambha (pillar of respect), and the Parents of Jinas.
• Appendices: Several appendices enhance the scholarly value, providing lists of original texts with dates and authorship, important Jaina sites with dates, tables of iconography for Jinas, Yakṣa-Yakṣis, and Mahāvidyās, and a map of important Jaina sites.

Part III: Jaina Paintings (By Prof. Kamal Giri) This part focuses on the evolution and characteristics of Jaina paintings, covering:

• Introduction to Jaina Painting: An outline of Jaina miniature paintings from the 11th to the early 18th century is presented, suggesting the influence of Ellora and Ajanta murals on early illustrated manuscripts. The stylistic development is traced chronologically.
• Illustrated Manuscripts: Key Jaina texts and their visual representations are discussed:
  • Adipurāṇa: Discusses painted manuscripts from the 15th-16th century illustrating the life of Tirthankara Rsabhanatha and King Bharata.
  • Kalpasūtra: Focuses on the highly revered Svetambara text, covering Jinacarita (lives of Jinas), Sthaviravali (pontifical succession), and Sadhu-sāmācari (rules for monks), with particular attention to their illustrations, especially those of Mahāvīra, Pārśvanātha, Ariṣṭanemi, and Ṛṣabhanātha.
  • Kālakācāryakathā: Explores this Svetambara legend and its integration with the Kalpasūtra, detailing illustrations from A.D. 1250 to 1555 depicting episodes from the life of monk Kālaka.
  • Uttarādhyayana Sūtra: Discusses manuscripts from the 15th-16th century, highlighting how illustrations reflect the text's description of Jaina monks' duties, with minor variations between manuscripts.
  • Yaśodharacarita: Examines how this text imparts religious instructions through stories interwoven with King Yaśodhara's life, noting the careful illustration of prominent colours in manuscripts from the 15th to 18th century, though landscape elements are absent.
• Wall Paintings: Chapters are dedicated to wall paintings found in Jaina structures at Ellora (Indra Sabha), Sittannavasal, Kundavi Jinālaya, and Tiruparuttikunram. The discussion includes the placement, subject matter, and colour palette of these murals, with comparisons to other cave paintings. The Jaina caves at Sittannavasal are recognized as the earliest examples of Jaina frescoes, showcasing techniques similar to Ajanta and Bagh.
• Other Forms of Painting:
  • Pāṭalī (Wooden Book Covers): Discusses paintings on wooden book covers for palm-leaf and paper manuscripts, featuring flora, fauna, historical scenes, Jaina Ācāryas, Tirthankaras, Śālākāpuruṣas, and Mahāvidyās.
  • Pāṭa-citra (Cloth Painting): Explores painted scrolls and banners, categorized as Tantric (with yantras, mantras, deities) and Non-Tantric (with religious content), with examples like Jambudvīpa-pata, Vidyā-pata, Sūrimantra-pata, and Tīrtha-pata.
• Samavasaraṇa: This celestial assembly hall, created by gods for a Jina's first sermon, is discussed as depicted in wall and miniature paintings, and also in sculptural form, covering its structure, shape, and the assembly of gods, goddesses, humans, and animals.
• Appendices: Six appendices provide further elaboration on topics like Citta-sabha (Picture Gallery), Citta-kamma (Art of Painting), Life of Tirthankaras in Painting, Painting and Jaina Canonical Literature, Jñāna-Bhandāra (libraries), Bhaṭṭāraka (administrative heads), and Tāda (Palmyra Tree).

The work is comprehensive, fully illustrated with halftone illustrations and line drawings, and includes a glossary of technical terms and a detailed bibliography. It is dedicated to the memory of Lala Harjas Rai Jain, a founder of Parshwanath Vidyapeeth, whose lifelong dedication to Jaina studies made this ambitious project possible.

The Encyclopaedia of Jaina Studies aims to cover various facets of Jainism in subsequent volumes, including Ethics, History, Language and Literature, Science and Technology, Philosophy and Psychology, and Religious Practices.