Ilurana Gufa Mandiro

Here's a comprehensive summary of the Jain text "Ilurana Gufa Mandiro" by Dhirajlal Tokarshi Shah, based on the provided pages:

Title: Ilurana Gufa Mandiro (The Cave Temples of Ellora) Author: Dhirajlal Tokarshi Shah Publisher: Dhirajlal Tokarshi Shah Foreword by: Nanlal Chimanlal Mehta (I.C.S.)

Overall Theme: The book "Ilurana Gufa Mandiro" is a detailed exploration and appreciation of the magnificent cave temples at Ellora, a UNESCO World Heritage site in India. The author, Dhirajlal Tokarshi Shah, aims to provide a comprehensive guide and historical context for these ancient rock-cut structures, particularly from a Jain perspective, while also acknowledging their significance for Buddhist and Hindu traditions. The book emphasizes the artistic, architectural, and spiritual heritage embodied in these caves.

Key Points and Sections:

1. Introduction and Foreword (Pages 4-8):

   • Nanlal Chimanlal Mehta's Foreword: He highlights Ellora and Ajanta as pinnacles of Indian ancient sculpture, architecture, and painting, noting the remarkable synthesis of these art forms at Ellora. He observes that while Ellora's paintings are few, its art is closely related to medieval Gujarati paintings and likely influenced the tradition of Jain manuscript art. He stresses the rich artistic heritage of Gujarat in music, dance, sculpture, and painting, suggesting a significant, though largely unacknowledged, contribution of Gujaratis to sites like Ellora and Ajanta. Mehta critiques India's current state of dependency and the lingering fascination with Western civilization, which often leads to judging Indian heritage by foreign standards. He laments the lack of aesthetic appreciation in modern Indian life. He praises Ellora's unique convergence of Buddhist, Brahmanical (Hindu), and Jain cultures. He also commends the Nizam government for its efforts in preserving these monuments. The foreword encourages educated Indians to visit Ellora and Ajanta, emphasizing that no book or picture can fully capture the essence of this living art.
   • Author's Motivation: Dhirajlal Tokarshi Shah explains that the idea for this book arose during his twenty-day visit to the "abodes of nature and art" at Ellora. He expresses joy in being able to publish this independent work on the Ellora caves.

2. Publisher's Statement (Page 9):

   • The publisher expresses gratitude to Nanlal Chimanlal Mehta for writing the foreword and to Bhai Balvant Bhatt for allowing the use of his photographs.
   • He expresses a fervent wish to create a series of books celebrating India's many art centers. He hopes the sale of this book will cover its printing costs, enabling him to pursue this endeavor. He invites correspondence from those interested in such publications.

3. Significance of Ellora (Page 12):

   • Ellora is described as an immortal creation of Indian sculpture, a life-enriching experience.
   • It offers immense material for study for sculptors, painters, historians, and spiritual seekers.
   • The caves showcase India's spiritual message, the high ideals of its art, and the self-confidence, devotion, and dedication of its people.
   • The rock-cut viharas and temples are unparalleled, with the Kailasa Temple (Cave 16) being the most outstanding rock-cut structure globally.
   • The sculptures are proportionate, expressive, and brilliant, capable of rivaling works by Michelangelo.

4. The Confluence of Religions (Page 13):

   • A significant aspect of Ellora is its role as a sacred confluence of three major branches of Aryan civilization: Buddhist, Hindu, and Jain. This "Triveni Sangam" (confluence of three rivers) is rarely found elsewhere.

5. Location and Arrangement of Caves (Page 13-14):

   • The caves are carved into a hill facing west, located nine miles from Laltabad, fourteen miles from Aurangabad, and three miles from Khuldabad.
   • There are a total of 34 caves spread over about a mile.
   • Caves 1-12 are Buddhist.
   • Caves 13-29 are Brahmanical (Hindu).
   • Caves 30-34 are Jain.
   • The caves are named after the nearby village of Ellora or Vesalgaon.
   • Some damage occurred due to Muslim invasions and natural forces, but the Nizam government is now diligently preserving them, employing a curator and staff.

6. Literature on Ellora (Page 14-15):

   • Early European attention was drawn by Daniel's illustrations in 1795. Charles Mallet also contributed to understanding them.
   • Seely's "Wonders of Ellora" (1820) was a notable early work.
   • Scholars like Dr. Fergusson and especially Dr. James Burgess conducted extensive research, published in "Archaeological Survey of Western India, Vol. V."
   • Modern guidebooks are often re-publications of their work.
   • E.B. Havell praised the artistry in his "Notes on Indian Art."
   • Dr. A. Coomaraswamy and Dr. Henry Cousens also documented Ellora in their works.
   • The author notes the lack of comprehensive books specifically from a Jain perspective in Indian languages and feels the need for a more detailed description.

7. Names of Caves (Page 15-16):

   • The book lists common names for various caves, including: Dhedwada (1-4), Maharwada (6-9), Vishwakarma (Cave 10), Doethal (Cave 11), Teethal (Cave 12), Dashavatara (Cave 15), Kailasa/Rangamahal (Cave 16), Indrasabha (Cave 32), Parshvanath (Cave 34), and others like Ravan-ki-Khai (Cave 14), Nilkanth, Teeli-ka-Gan, Kumbharwada, Janavas, Govalani, Dhumarlena.

8. Religious and Historical Context:

   • "Revolution Against Vedic Religion" (Page 16-17): The text explains the rise of Buddhism and Jainism as reactions against the increasing ritualism, animal sacrifices, and rigid caste system in Brahmanism. Figures like Parshvanath, Buddha, and Mahavir emerged to preach principles of non-violence, compassion, and equality.
   • Spread of Buddhism (Page 17-19): After Buddha's Nirvana, monks spread his teachings across India. Emperor Ashoka significantly boosted the religion. Buddhist viharas became centers of learning and service, leading to institutions like Taxila and Nalanda. Rock-cut viharas were preferred for their durability and suitability for all seasons. Ellora's Buddhist caves serve as a testament to the history of Buddhist architecture, from its early stages to its decline.
   • History of Buddhist Art (Page 19-20): Initially, Buddhist art was simple due to Buddha's non-endorsement of idol worship. However, as the Sangha grew and royal patronage increased, the art evolved, incorporating elaborate paintings and sculptures. This period attracted artists from across Asia. The eventual decline of Buddhism in India is also noted.
   • Types of Buddhist Caves (Page 20-21):
     • Vihara: Residential quarters for monks, typically with a central hall and surrounding cells.
     • Chaitya: Worship halls for congregations, identifiable by their distinctive horseshoe-shaped entrance, columns, and stupas. The text notes that at Ellora, some Chaitya characteristics, like the arched entrance and specific stupa designs, have evolved or disappeared in later caves.
   • Specific Buddhist Caves (Pages 21-33):
     • Cave 1 & 2: Simple Viharas, suggesting ancient origins.
     • Cave 2 (Chaitya): Described in detail, featuring a central Buddha image in a preaching mudra, attended by chauri-bearers and Bodhisattvas. The detailed ornamentation and iconography are discussed.
     • Buddhist Iconography: The text explains the representation of Buddha (fully enlightened) and Bodhisattvas (those on the path to enlightenment), their physical attributes, and the symbolism. It lists various Bodhisattvas and their attributes.
     • Fusion with Hinduism: The text points out how Mahayana Buddhism adapted many Hindu deities into its pantheon, often giving them new roles or symbolism (e.g., Indra as Vajrapani, Brahma as Manjushri, Vishnu as Avalokiteshvara).
     • Caves 4-10: Briefly described, including Cave 10, Vishwakarma Chaitya, lauded for its architectural precision and resemblance to wooden structures, dedicated to Vishwakarma, the architect of the gods.
     • Caves 11 & 12 (Doethal & Teethal): Described as multi-storied Viharas, with Cave 12 being the finest Buddhist cave at Ellora, featuring numerous pillars and sculptures, including representations of the seven Tathagatas.

9. Hindu Caves (Pages 34-54):

   • "Jain and Shaiva Dharmas' History" (Page 34-35): This section provides a historical overview. Jainism was strong before and alongside Buddhism. The rise of Shaivism and Vaishnavism in the South, led by figures like Kumarila Bhatta, Adi Shankaracharya, and Ramanujacharya, challenged Jainism. After centuries of religious conflicts, Shaivism ultimately gained prominence by the 12th century. The construction of these Hindu caves, including Ellora's, falls within this period.
   • Hindu Iconography: The caves are filled with sculptures of various Hindu deities, including Shiva and Vishnu, their consorts (Parvati, Lakshmi), and other deities like Ganesha and Kartikeya. Detailed descriptions of various forms of Shiva (like Kala-tandava, Gajasurasamhara, Bhairava) and Vishnu's avatars (Matsya, Kurma, Varaha, Vamana, Parashurama, Rama, Krishna, Narasimha, Buddha, Kalki) are provided.
   • Specific Hindu Caves:
     • Cave 14 (Ravan-ki-Khai): Features a large courtyard and a central temple with sculptures of both Shaivite and Vaishnavite deities on opposing walls.
     • Cave 15 (Dashavatara): A two-storied cave showcasing various avatars of Vishnu and Shaivite themes, noted for its dynamic and expressive sculptures.
     • Cave 16 (Kailasa/Rangamahal): This is the highlight, a colossal monolithic temple carved entirely from a single rock. It's described as the paramount example of rock-cut architecture globally. The immense scale, intricate carvings, and detailed narrative panels depicting scenes from Hindu mythology (like Ravana lifting Mount Kailasa, Shiva's Tandava dance, and the avatars) are extensively detailed. The author expresses awe at the craftsmanship and the representation of deities. The construction started by Rashtrakuta king Krishna I around 760 CE and likely took centuries to complete. The section mentions the religious fervor that inspired such monumental works.

10. Jain Caves (Pages 55-66):

    • Jain Caves (Caves 30-34): These are situated separately. Caves 32 (Indrasabha) and 34 (Parshvanath) are particularly noted for their beauty and intricate carvings, considered among the best at Ellora. Cave 31 (Chota Kailasa) is mentioned as being incompletely excavated.
    • Jain Iconography: The text describes the characteristic features of Jain sculptures: the Tirthankaras in meditation posture (Kayaotsarga), typically accompanied by attendants (Yakshas and Yakshinis). It mentions the symbolism associated with each of the 24 Tirthankaras (e.g., Rishabhanatha with a bull, Parshvanatha with a serpent hood). The absence of clothing in many Jain images is noted as symbolizing the Tirthankaras' renunciation.
    • Cave 32 (Indrasabha): Described as a small but exquisite cave, perhaps once richly decorated with paintings. It features impressive sculptures of Indra and Indrani.
    • Cave 34 (Parshvanath): The central figure is a colossal image of Parshvanatha, crowned by a seven-hooded serpent canopy, referencing a significant event in his life where the serpent king Dharanendra protected him from demonic onslaughts. An inscription from 1234-35 CE, translated by Dr. Bühler, detailing the patronage of Chakresvara, is included.
    • The author concludes that seeing these sculptures brings peace to a troubled mind and strongly recommends a visit to Ellora for any reader.

Overall Contribution: "Ilurana Gufa Mandiro" serves as a guide and an ode to the artistic and spiritual achievements represented by the Ellora caves. It highlights the syncretic nature of ancient Indian art and religion, showcasing the contributions of Buddhist, Hindu, and Jain traditions. The book aims to educate and inspire readers, particularly within the Gujarati community, about their rich cultural heritage and the profound artistry of Indian civilization.