Jain Kala Evam Sthapatya Part 1

This document is the first volume of a comprehensive study titled "Jain Art and Architecture," authored by Lakshmichandra Jain and published by Bharatiya Gyanpith. This particular volume was released on the auspicious occasion of the 2500th Nirvana Mahotsav of Lord Mahavir.

The book is structured into several parts, covering the vast subject of Jain art and architecture across different historical periods and regions of India. Volume 1 focuses on the period from 300 BCE to 300 CE.

Here's a breakdown of the key themes and content presented in the provided pages:

Introduction and Context:

• Prakthan (Foreword/Preface): This section highlights the growing recognition of Jainology as a significant and integrated part of Indian studies. It emphasizes the rich cultural contribution of Jainism to Indian philosophy, literature, and a unique way of life that balances social responsibility with spiritual progress. The preface also debunks common misconceptions, such as Jainism being a mere offshoot of Buddhism or Tirthankara Mahavir being the founder of Jainism. It notes the historical evidence placing the 23rd Tirthankara Parshvanath 250 years before Mahavir and connecting the 22nd Tirthankara Neminath with Krishna of the Mahabharata era. The text also mentions the Jain belief in the eternal existence of the soul and five other substances (pudgala, dharma, adharma, akasha, kala), and their contribution of the concept of anekanta (many-sidedness) and ahimsa (non-violence) to Indian philosophy. The importance of Jain contributions to literature in Sanskrit, Prakrit, and Apabhramsa, as well as in Kannada and Tamil, is acknowledged.
• The book's purpose: It aims to provide a comprehensive introduction to the vast treasure trove of Jain art and architecture, which has been systematically studied and documented by historians and archaeologists. Bharatiya Vidya has compiled over ten thousand photographs of Jain artifacts from India and abroad to support this study.
• Inspiration and Publication: The book was conceived under the inspiration of Sahu Shantiprasad Jain and published by Bharatiya Gyanpith, a renowned literary and cultural institution. The publication coincided with the 2500th Nirvana anniversary of Lord Mahavir.
• Editorial Process and Challenges: The preface details the immense effort and challenges involved in compiling this work. It mentions the difficulty in finding qualified editors, the time constraints faced by contributors, the extensive correspondence (4861 letters) with authors, museums, and photographers, and the arduous task of translation from English to Hindi, especially for art-related texts. The introduction also acknowledges the contributions of various individuals and institutions, including the Archaeological Survey of India.

Content Breakdown by Chapters (Based on the Table of Contents):

• Part 1: Introduction

  • Chapter 1: Editor's Note (Amalanand Ghosh): This note discusses the significance of Jain art and architecture as an integral part of Indian art history, influencing and being influenced by other art forms. It highlights the unique Jain iconographic concepts like samavasarana, Nandishvara dvipa, and Ashtapada, and notes how Jain art, while having distinct religious themes, absorbed the regional styles of its time. It also touches upon the early presence of Jain imagery, possibly predating Buddhist and Brahmanical devotional images.
  • Chapter 2: Background and Tradition (Shantaram Bhalchandra Dev): This chapter delves into the ancient origins of Jainism, tracing its lineage through the 24 Tirthankaras, starting with Rishabhanatha. It details the symbolic representations of each Tirthankara, their legendary genealogies, and the significance of their attributes. It also discusses the historical context of Tirthankaras like Neminatha and Parshvanatha, their connection to epics like the Mahabharata, and the philosophical underpinnings of Jainism, including its views on the soul, karma, and liberation.
  • Chapter 3: Spread of Jainism (Shantaram Bhalchandra Dev): This chapter examines the historical spread of Jainism across India, from its origins in Bihar to its influence in West Bengal, Uttar Pradesh, and eventually southwards into Karnataka and Tamil Nadu. It highlights the roles of Tirthankaras Mahavir and Parshvanatha, the political patronage it received from rulers like Chandragupta Maurya, Samprati, and Kharavela, and the eventual schism into Digambara and Shvetambara traditions. The chapter also discusses the decline of Jainism in certain regions due to the rise of other religious movements.
  • Chapter 4: Origin and Soul of Jain Art (Jyotiprasad Jain): This chapter explores the philosophical underpinnings that shaped Jain art. It emphasizes Jainism's goal of human perfection and the expression of divinity through self-realization. The chapter highlights the role of art and architecture in making the rigorous path of Jain discipline more palatable and popular. It discusses how Jain art, while opulent and diverse, lacks sensuality and superficiality, instead fostering feelings of self-sacrifice, peace, and equanimity, imbued with a sense of the transcendental. It also emphasizes the importance of Jain pilgrimage sites as centers of art and spiritual upliftment.
  • Chapter 5: Ideological Background of Jain Art (Adinath Nemnath Upadhyaye): This chapter delves into the ideological framework that guided Jain art and architecture. It discusses Jain beliefs about God as the ultimate spiritual ideal rather than a creator and judge. It emphasizes the worship of the Pancha-Parameshthis (Arhats, Siddhas, Acharyas, Upadhyayas, and Sadhus) and the purpose of this worship, which is not to gain favors but to cultivate the virtues possessed by the perfected souls. The chapter highlights how Jain art aims to elevate the spiritual consciousness, inspire religious values, and manifest the philosophical concepts and ethical principles of Jainism. It discusses the role of Jain scriptures, the concept of moksha, and the practice of karyotsarga in shaping the artistic expressions.

• Part 2: Architectural Monuments and Sculpture (300 BCE to 300 CE):

  • Chapter 6: Mathura (Devla Mitra): This chapter focuses on the significant Jain art and architectural remains found in Mathura, an important ancient city and a hub for artistic development during the Kushana and pre-Kushan periods. It discusses the historical context of Mathura, its religious significance for Jains, and the archaeological evidence of Jain structures like stupas, temples, and viharas. It details various artifacts, including ayagapatas (worship plaques), torana fragments, vedika pillars, railings, and sculptures, highlighting their artistic styles, iconography, and inscriptions. The chapter specifically analyzes the evolution of stupa representations and the distinctive features of Mathura art, including its blend of Indian and foreign influences.
  • Chapter 7: Eastern India (Devla Mitra): This chapter focuses on Jain art and architecture in eastern India, primarily in Bihar and Odisha. It discusses the early association of Jainism with Bihar, the birthplace of Lord Mahavir, and the archaeological evidence from sites like Rajgir (Sonebhandar caves) and Lohanipur (Mauryan-era Jain torso). It also extensively details the rock-cut caves and architectural features of Udayagiri and Khandagiri in Odisha, attributing their development to the Jain faith, particularly during the reign of King Kharavela. The chapter analyzes the sculptural elements within these caves, depicting religious scenes and motifs.
  • Chapter 8: Western India (Umakant Premanand Shah): This chapter examines Jain art and architecture in western India, including regions like Gujarat, Rajasthan, and Sindh. It discusses the traditional connections of Jainism to these areas, referencing literary sources and archaeological findings. It highlights sites like Junagadh (Baba Pyara caves) and the evidence of early Jain presence and artistic activities. The chapter also touches upon the classification and evolution of Jain imagery and architectural styles in this region during the specified period.
  • Chapter 9: South India (R. Champakalakshmi): This chapter explores Jainism and its artistic manifestations in South India, particularly in Tamil Nadu. It discusses the early arrival of Jain monks and the creation of rock-cut shelters and beds (prastar-shayyas) with Brahmi inscriptions. It highlights sites like Madurai, Tirupparankundram, and Tiruchirapalli, analyzing the inscriptions and the limited sculptural remains from this early period. The chapter also notes the transition of some Jain sites into Brahmanical centers and the influence of Dravidian architectural styles.

The provided text offers a rich and detailed account of Jain art and architecture, emphasizing its historical development, religious significance, and artistic nuances. The extensive descriptions of sculptures, architectural features, and iconography, coupled with references to archaeological evidence and literary sources, make it a valuable resource for understanding this significant aspect of Indian cultural heritage.