Jagvikhyat Jaisalmer

Here's a comprehensive summary of the Jain text "Jagvikhyat Jaisalmer" (World-Renowned Jaisalmer), based on the provided pages:

The book "Jagvikhyat Jaisalmer" (World-Renowned Jaisalmer) is published by Shrutnidhi, a part of the Shardaben Chimanbhai Educational Research Center in Ahmedabad. The publication year is V.S. 2053 (1997 CE). The book is a detailed exploration of the famous Jain temples of Jaisalmer, Rajasthan, focusing on their history and architecture. The text and illustrations were prepared by Prof. Madhusudan Dhanki, with the photographs provided by The American Institute of Indian Studies in Varanasi.

Introduction to Jaisalmer:

• Jaisalmer, located in the northern part of Rajasthan, close to the border with Pakistan, is renowned for its artistic Jain temples, ancient Jain manuscript libraries, and intricately carved large and beautiful Havelis (mansions).
• Historically, reaching Jaisalmer was difficult and dangerous due to its location in a vast desert. However, improved rail and road networks have made travel significantly easier, attracting not only Jain pilgrims but also thousands of domestic and international tourists annually.
• The city of Jaisalmer is situated on a fortified hill, with the medieval city within the fort and the modern city spread out to its north and west. The famous Havelis of the Patwa family, built over 125 years ago, are in the lower, newer part of the city, while some are also built within the fort in a similar style, including royal palaces like Motimahal and Gajvilas, as well as residences of wealthy merchants.
• The most significant structures are the group of Jain temples built in the 15th century, located in the western part of the fort, resembling a collection of divine aerial vehicles (devavimanas).

Historical Context and Origins:

• According to legend, in the 12th century, Bhatti Rajput Jesal Rao captured Lodhruva after defeating his nephew Bhojdev. For safety reasons, he then established a new fortified city named 'Jaisalmeru' on a hill a few miles away.
• The current fort with round bastions was built in 1456 CE using bricks from the broken walls of the Amarkot fort (ancient Akashvavra) and Jaisalmer stone, with the assistance of Jain merchants.
• Evidence suggests a smaller settlement existed on this hill even before the legends, as indicated by a Brahmanical temple known as Lakshmikant, built in the Maha Maru style around the mid-10th century.
• According to the tradition of the Kharatargachha sect, in 1207 CE, Acharya Jinpatisuri brought a statue of Parshvanath from the deserted Lodhruva to Jaisalmer. The text questions whether a Jain temple already existed to house the idol respectfully.
• Supporting evidence includes Jain idols found in small niches on the northern entrance architrave of the internal sanctuary of the Lakshmikant temple, dating back to the 11th century. An inscription from Cambay dated 1310 CE mentions a Jain temple built in Jaisalmer by merchant Keshave in the late 13th century. These suggest the existence of at least two Jain temples before the 15th-century constructions, possibly in the same location as the current temple complex.

Architectural Material and General Style:

• All major constructions in Jaisalmer are made from the local yellow sandstone, described as having a color similar to turmeric mixed with sandalwood. The text notes that Jaisalmeri stone is now being used in Ahmedabad, with a stone pillar at the Seth Hathisingh Jain Temple serving as an example.
• The Jain temples in Jaisalmer comprise a group of six temples, with construction spanning about seven decades. This period is considered a golden age for Jaisalmer.
• These temples, a blend of the wealth and religious devotion of the Oswal merchants of the Kharatargachha sect, can be seen as a creative response to the destruction of earlier Brahmanical and Jain temples by foreign invaders in Western India. They represent a part of the resurgence of religious architecture in the 15th century, similar to developments in other Rajput states like Mewar and Godwad, and in Gujarat.
• While acknowledging the skill of the artisans, the text notes that the art of this era does not match the perfection of earlier periods. The influence of carpentry is evident in much of the craftsmanship. The refined aesthetic qualities and artistic mastery of older periods are absent, though some traditions, even in a diminished form, and new innovations are present. The architectural value of these structures lies in their historical context and unique contributions.

Detailed Description of the Jain Temples:

The book then proceeds to detail each of the six main Jain temples:

1. Parshvanath Jinalaya:

   • Built to house the sandalwood idol of Parshvanath brought from Lodhruva in 1207 CE, on the advice of Acharya Jinraj Suri.
   • Construction began in 1403 CE and was completed in 1417 CE as the "Bavan Jinalaya" (Temple of Fifty-two Shrines), consecrated by Jinachandra Suri (IV).
   • The complex includes the main shrine (Mulprasad), Gūḍhamaṇḍap (inner hall), Navachoki (nine-bay hall), Rangamaṇḍap (assembly hall), 51 small shrines (devakulikas) surrounding it, and an ornate torana (gateway) in front of the eastern entrance.
   • The main idol of Parshvanath and the devakulikas were consecrated in 1417 CE.
   • The temple was also known as 'Lakshmanvihar' after the ruler 'Lakshman'.
   • The construction was undertaken by the Oswal Rakka sect merchants Jaysingh and Narsingh.
   • Detailed descriptions and photographic references are provided for the torana, pillars, ceilings (vitans), decorative motifs, and the main shrine. The text also highlights artistic features like the intricate carving on the pillar bases and the decorative elements on the ceilings, comparing them to those found in Abu-Delvada. It notes some artistic shortcomings, such as the lack of tiered floor levels between different sections, which diminishes the visual rhythm seen in other medieval temples.

2. Sambhavnath Jinalaya:

   • Located south of the Rangamaṇḍap of the Parshvanath Jinalaya.
   • Features a modest entrance hall with less ornate pillars but beautiful jalis (latticed screens) on the side walls depicting animals, geometric patterns, and motifs from the 14 dreams.
   • The ceiling of the entrance hall is of the Nabhipadmamandaraka type.
   • The Rangamaṇḍap has well-decorated ceilings, with the central one resembling those in Vimalavasa, Abu. The pillars are less carved, but the ceiling is richly adorned with floral and vine patterns.
   • The text details the complex decorative scheme of the ceiling, including rows of Vidyadharas, Surasundaris, and decorative motifs, some of which are unique.
   • The main shrine and Gūḍhamaṇḍap have sculpted tiers with minimal ornamentation.
   • Built by four Oswal brothers of the Chopda gotra, it was consecrated in 1441 CE by Acharya Jinbhadra Suri. It houses a manuscript collection in a basement chamber.

3. Shitalnath Jinalaya:

   • Accessible from the northern passage of the Parshvanath temple.
   • Features a ceiling similar to the Sambhavnath temple and a latticed entrance hall with geometric designs and animal sculptures.
   • The text mentions lost artifacts like a 24-Tirthankara plaque and a 170-Tirthankara marble plaque, now housed in the Rishabhdev temple.
   • Built by Oswal merchants Lonas and Manasa of the Daga gotra, it was consecrated in 1452 CE.
   • The interior is dimly lit due to light entering only from the southern direction.

4. Chandraprabh Jinalaya:

   • This is described as the most magnificent, elevated, and divine-looking temple in the Jaisalmer complex, located behind the double-storeyed devakulikas on the west side.
   • It is a Chatuhmukh (four-faced) temple with no separate Gūḍhamaṇḍap. The surrounding devakulikas are designed as Bhadraprasad type structures.
   • The main shrine is three stories high, with the third story forming the lower part of the shikhara.
   • The temple is built on a decorated platform (jagatī) and features two-storied devakulikas.
   • The entrance is through an ornate gateway. The Rangamaṇḍap is elaborately decorated, with unique carvings on the pillars and a multi-tiered ceiling featuring celestial beings and decorative motifs, some of which are compared to Saurashtra ceilings of that period.
   • The construction of the main shrine was completed in 1451 CE, and the Rangamaṇḍap by Seth Gunraj. The entire temple appears to have been built around the same time.

5. Rishabhdev Jinalaya:

   • Located north of the Chandraprabh temple, this temple has a prominent shikhara.
   • The main shrine is well-carved, with decorative pillars and a widened Bhadra section featuring latticed screens.
   • The Rangamaṇḍap pillars have unique carvings on their bases, depicting small figures with decorative settings, a style not found elsewhere. Some Brahmanical deities are also sculpted.
   • Notable artifacts include a finely crafted model of a shikhara from 1487 CE and figures of Marudevi Mata and Bharat Chakravarti riding an elephant. Also present are plaques of 24, 72, and 70 Tirthankaras dating around 1480 CE.
   • The temple, also known as 'Ganadharvasahi', was built by Sammu Ganadhar and his nephew Jayavant, and consecrated in 1480 CE by Acharya Jinachandra Suri (IV).

6. Ashtapad / Shantinath Jinalayas:

   • These are a pair of double temples, with the Ashtapad temple below and the Shantinath temple above, located opposite the southern Bhadraprasad of the Chandraprabh temple.
   • The Ashtapad temple features a Chatuhmukh Ashtapad with Kuntunath as the main deity, though typically Adinath is the main deity for Ashtapad. The shrine's walls have sculptures.
   • The Shantinath temple houses Chatuhmukh idols of the main deity in a Samavasharana setting. The central five-deity image is from 1480 CE. The ceiling features Vidyadharas and Surasundaris in dancing poses.
   • The builders of these temples are noted as Pancha Chopda and Kharapak Oswal Seth Khata Sankhvalech and his wife Saraswati. The consecration was done by Acharya Jinsamudrasuri in 1480 CE.
   • There is also a mention of a Mahavir Jinalaya, described as a simple temple located away from the main complex, with a debated consecration date.

Concluding Remarks:

The book concludes by stating that the temples of Jaisalmer are distinct in West Indian temple architecture of the 15th century due to their innovations and hold a significant place among the notable contributions of that era.

The extensive "Chitrasoochi" (Picture Index) at the end lists numerous figures (1-35) that illustrate various architectural details, sculptures, and overall views of the temples, further enriching the reader's understanding of this significant Jain heritage.