Hathisinh Nu Daheru - Book Summary

Here is a comprehensive summary in English of the provided Gujarati Jain text about Hathisinh nu Daheru:

The text describes the magnificent Hathisinh nu Daheru (temple) in Ahmedabad, highlighting its historical context, the life of its patron, and its architectural significance.

Historical Context and Patronage:

The text begins by referencing the flourishing of Jainism in Gujarat during the reign of Maharaja Kumarpal, noting the historical generosity of Gujarati merchants in building grand Jain pilgrimage sites like Kumbhariya, Abu, Shatrunjaya, and Ranakpur.
Ahmedabad, founded by Gujarati Muslim Sultans, also boasts impressive Jain temples that add to its fame. These were built by Jain merchants who, during the Sultanate period, enjoyed respect and used their wealth to construct temples, following the example set by Shahjahan's era Zaveri Shantidas, who built the Chintamani temple with 52 Jinalayas (sanctuaries). However, this temple was later desecrated during Aurangzeb's governorship.
The mid-19th century brought a period of peace and stability under British rule. This peace allowed Ahmedabad's trade to recover and expand, rekindling the interest of Jains in temple construction. It was during this era that the grand temple of Seth Hathisinh was built outside the Delhi Gate of Ahmedabad.
The author emphasizes that this temple was the most significant Jain structure built in Ahmedabad since the destruction of Shantidas's Chintamani temple and likely unparalleled in its craftsmanship in any other region during the post-Mughal chaotic period.

Seth Hathisinh's Life and Contribution:

Seth Hathisinh was born in the Oshwal Vaniya (merchant) caste in 1852 Vikram Samvat (1806 AD). His father, Keshari Singh, was a merchant dealing in silk and kirmach (silk thread).
Hathisinh's father passed away when he was young, and the family business was managed by his cousin, Mokamchand. Hathisinh gained significant experience in trade and foreign customs from him.
Hathisinh's primary trade was in opium, often engaging in large transactions, with deals rarely less than a thousand or two thousand chests. He was known for his integrity and trustworthiness in business dealings, maintaining good relationships with his associates.
He was also known for his charitable activities, not discriminating based on caste or creed, and his generosity was remembered by the poor even after his death.
He embarked on a pilgrimage to Panchtirth with Seth Himabhai and Seth Maganbhai but turned back upon learning of an epidemic along the route.
The foundation stone for the grand temple outside the Delhi Gate was laid in Maha month of 1941 Vikram Samvat (1848 AD).
Tragically, before the temple's completion, Hathisinh fell ill with a severe infection on his lip, which worsened and led to his death after four days, on Friday, Shravan Sud 5, 1941 VS. His mother, Surajbai, passed away a month later.
Hathisinh was married three times. His first marriage was to Rukshmani, daughter of Nagarsheth Himabhai. After she became blind, he married Himabhai's second daughter, Prasanna, who also passed away prematurely. His third marriage was to Harkunwar, daughter of a Vishnu priest from Ghogha.
Harkunwar Shethani is remembered as an educated, business-savvy, intelligent, and religiously influential woman. She played a crucial role in completing the unfinished temple as per her husband's wish. She actively managed the family business, guiding the accountants and clerks.
Since Seth Hathisinh had no sons, he adopted two sons of his cousin Daulatbhai for both his wives. However, the text asserts that his extraordinary fame is preserved solely through the Hathisinh temple.
The consecration of the temple was a grand event, attended by approximately a lakh (100,000) people. The procession extended from the Delhi Gate to the Shahi Bagh palace. The temple was consecrated on Maha Vad 11, 1907 VS, by Bhattarak Shri Shantisagarji of the Sagar Gachha, with the installation of idols of the 15th Tirthankar, Shri Dharmanath Bhagwan, and others.

Architectural Significance:

The Hathisinh nu Daheru is described as Ahmedabad's finest temple, built in the first half of the 19th century.
The temple showcases traditional architectural styles, with families of sculptors still existing who worked on it. Sculptor Premchand Salate was its designer.
When built, surrounded by the spires of Shikharbandh deories (temples), the entire structure, amidst greenery, must have resembled a divine abode.
The text notes the later addition of a European-style bungalow and the imposing city gate, along with Greek Corinthian pillars and Roman arches, creating a curious juxtaposition with the ancient temple architecture. The author questions the intention behind such foreign architectural elements in proximity to the ancient structure.
Upon entering, visitors are captivated by the harmonious and proportionate architectural design. The ornate pillars supporting the balconies and entrances are complemented by similar decorative structures above.
The temple features flanking minarets-like structures at the base, indicating a Muslim architectural influence.
Inside the main gate (Deli/Dodi), the temple stands in a vast courtyard. The surrounding deories, arranged like a fort, are reminiscent of the temples at Mount Abu. These, along with the central temple, form 52 Jinalayas.
The arrangement includes seventeen deories on each side, nine in the back, and eight (four on each side of the entrance).
The temple's mandap (hall), Gudhmandap (inner hall), and Garbhgrah (sanctum sanctorum) are all constructed from local sandstone.
The architecture, particularly the seating arrangements on the steps leading to the Gudhmandap on both sides, is categorized as belonging to the Nagar style.
Architectural scholars like Burnes and Fergusson praised the temple's proportionate and unified design, noting its purposeful and captivating nature. The intricate carvings, proportions, and sections converge towards the central focus, creating a rare power of concentration.
Fergusson is quoted saying, "Jain architecture reached its peak in Hindustan and, with some admixtures during the Muslim period, became even more refined. This temple's design is perfectly seen in Jain temples built during the Muslim period."
Despite the overall excellent design, the author notes that the human figures are not of the highest quality, attributing this to the five-century period where Indian sculptors were influenced by Islamic ideals, leading to ambiguity and lifelessness in forms. This is evident in the celestial dancers and figures on the eight pillars of the Rangmandap.
The method of placing square pillars and creating round domes is from the Solanki era. The inner dome is called the Vitana, featuring decorative belts, and at the apex, a lotus stone in the shape of a chandelier.
In the Rangmandap, in the center above, is a lotus chakra made of colored stone inlay, similar to Agra, significantly enhancing its beauty. Facing the Garbhgrah is a single, large, intricately carved five-branched doorway, with ground-level carvings on either side. These carvings are designed to prevent damage or disrespect to the idols in the underground chambers.
The Gudhmandap has no pillars. Apart from the entrance, there are large doorways on both sides leading to the courtyard, resulting in less light. However, this dimness aids in concentrating on the meditative statues in the Garbhgrah.
The idol enclosures in the Gudhmandap feature beautiful, smooth brass lattice work, a fine example of craftsmanship developed during the Muslim period.
The Gudhmandap has a high dome due to the upper floor. Staircases on the sides lead to the upper floor and the terrace. A circular balcony on the upper floor offers views of the lower sections and allows a closer look at some beautiful figures on the dome. From the balcony, one can access the terrace and observe the upper parts of the Vimangrihas (sanctuaries), their seating spires, and the craftsmanship, finding great satisfaction. The elephant and human figures carved on the Vimana walls are attributed to skilled artisans.
The stone lattice carvings on the Vimana walls, along with pillars and arches with lotus leaf designs influenced by Rajasthani styles, add delicate beauty. The author considers the Vimanamedi (tiered structures) and the entrance balconies or arched doorways as unique and beautiful creations not found in other Jain temples.
The domes on the temple, particularly the Rangmandap's dome, are round and influenced by Muslim styles, with petals added to the kalash (finial) and integrated into the neck of the spire, similar to the Taj Mahal. The Gudhmandap's spire is of the ancient Meru (pyramid) shape, composed of multiple kalashes, showcasing remarkable geometric precision.
The large dome of the Gudhmandap has a circumference of 24 feet, yet the spires of the main idol's Garbhgrah are placed at a higher elevation. This creates a visual hierarchy where other structures descend in proportion from a line drawn from the front steps.
The circular balcony around the courtyard features a dancing or musical figure at the apex of each pillar. Some of these figures are exceptionally lifelike and expressive, indicating the work of skilled artists. The author notes that a discerning eye can easily distinguish between simpler and more elaborate carvings.
The long corridors of the colonnade offer a unique visual experience, allowing one to appreciate the sculptural artistry on all sides of the temple.
The text mentions the existence of authoritative texts guiding the construction of such Jinalayas, which sculptors must follow while incorporating new designs.
The temple's north-south width is 126 feet, and its east-west length is 160 feet, excluding the outer mandap (balcony).
In conclusion, the author states that this temple stands as a flag of Seth Hathisinh's fame within Ahmedabad's architectural heritage and a source of pride for the nation.