Jain Kala Evam Sthapatya Part 2

Here's a comprehensive summary of "Jain Kala evam Sthapatya Part 2" by Lakshmichandra Jain, based on the provided text and catalog link:

Book Title: Jain Kala evam Sthapatya Part 2 (Jain Art and Architecture Part 2) Author: Lakshmichandra Jain Publisher: Bharatiya Gyanpith Publication Year: 1975

This book, the second of a three-volume series, continues the comprehensive exploration of Jain art and architecture, focusing on the periods from 600 CE to 1800 CE. Translated from original English into Hindi by Lakshmichandra Jain, it delves into the evolution of Jain artistic and architectural expressions across various regions of India.

Key Themes and Content:

The book is structured into several parts, each dedicated to specific periods and geographical regions:

• Part 4: Architecture and Sculpture (600-1000 CE)

  • Chapter 19: South India: This chapter, co-authored by K.R. Srinivasan and Harivishnu Sarkar, examines the popularity of Jainism in South India between the 7th and 10th centuries CE. It details the construction of numerous Jain institutions and rock-cut cave temples, noting their initial association with Jain monks and their subsequent transformation into centers of Shaivite and Vaishnavite worship. The chapter discusses the architectural styles, materials used (granite, gneiss, charnockite), and significant sites like Tirunelveli, Madurai, and Shittanvasal. It also highlights the conversion of many Jain cave temples into Brahmanical centers, citing historical figures like Gnanasambandar. Shittanvasal is described as a protected Jain heritage site, dating from the 2nd century BCE to the 9th century CE, and features detailed descriptions of its rock-cut cave temple, inscriptions, and paintings. The chapter also covers rock-cut and built Jain temples in Tamil Nadu and Karnataka, detailing the architectural features of prominent sites like Tirupparuttikkunram, Chettipatti, Sambattur, Shravanabelagola, and Kambadahalli. The monumental Gommateshvara statue at Shravanabelagola is highlighted as a significant sculptural achievement of the Ganga kings.

• Part 5: Architecture and Sculpture (1000-1300 CE)

  • Chapter 20: North India: Authored by Munish Chandra Joshi, this chapter focuses on the art and architecture of North India during the rule of the Chahamanas (Chauhans) and Gahadavalas. It discusses the patronage of Jainism by these dynasties, despite their primary adherence to Brahmanism. The chapter details the architectural characteristics of Jain temples, often similar to Brahmanical temples but with distinct iconography. It mentions sites like Osian (famous for its Mahavira temple), Phalodi, and Ajmer, and discusses the influence of Gujara and Maru styles on Jain architecture. The chapter notes the challenges in reconstructing the exact forms of Gahadvala-era Jain temples due to their destruction or dilapidated states.
  • Chapter 21: East India: Sarasi Kumar Saraswati's contribution examines Jain art and architecture in East India (Bengal, Bihar, and Orissa). It acknowledges the limited number of Jain sculptures and monuments compared to Buddhist and Hindu ones in this region, attributing the decline of Jainism to the rise of Tantric Buddhism and Puranic Brahmanism. Despite the scarcity, the chapter discusses surviving sculptures, particularly bronze images, and highlights the common Pal-style characteristics shared with Buddhist and Hindu art. It also explores the concept of "Chaturmukha" or "Choukh" images and their associated temples, drawing parallels with Southeast Asian Buddhist architecture. The Oḍiśā section, by S.K. Saraswati, notes the prevalence of Jain sculptures, particularly of Tirthankaras and Yakshinis, in the 11th-12th centuries, often found in the same style as Pal-era art.
  • Chapter 22: Central India: Krishna Deva's chapter focuses on the Jain art and architecture of Central India, particularly the Chandela and Paramara regions. Khajuraho is presented as a significant center for Jain art and architecture, with descriptions of temples like the Parshvanatha temple and Ghantai temple. The chapter details the architectural features, including the plan, elevation, and sculptural decoration of these temples. It also touches upon the patronage of Jainism by the Paramara rulers, especially King Bhoja, and mentions significant Jain centers like Ujjain and Dhar. The discussion includes the unique architectural style of the Ghantai temple and its intricate pillar carvings. The chapter also highlights the Jain temples in Eran, Bundelkhand, and Malwa regions.
  • Chapter 23: West India: Krishna Deva and Dr. Umakant Premanand Shah cover West India, with a focus on the Solanki (Chaulukya) style of architecture. The Vimal Vasahi and Lun Vasahi temples at Mount Abu are described in detail as prime examples of this style, emphasizing their intricate marble carvings, pillar designs, and ceiling decorations. The chapter also discusses other significant Jain sites in Gujarat and Rajasthan, such as Kumbharia, Ranakpur, and Dilwara, highlighting their architectural innovations and sculptural richness.
  • Chapter 24: Dakshinapatha and South India: K.V. Soundararajan and R. Champakalakshmi (with a note) discuss the diverse architectural styles of the Deccan and South India during this period. It covers the Chalukyan, Hoysala, Yadav, and Kakatiya influences on Jain art and architecture. The fusion of Northern and Southern architectural elements is noted, with Jain patrons contributing to this syncretic development. Significant sites like Lakkundi, Aihole, Lakshmeshwar, Shravanabelagola, and Humcha are discussed, with detailed descriptions of their architectural layouts, sculptural embellishments, and historical context. The monumental Gommateshvara statue at Shravanabelagola and the intricate carvings at Belur are highlighted. The influence of Jainism on Kerala's art and architecture is also touched upon.
  • Chapter 25: North India: Munish Chandra Joshi covers North India from 1300 to 1800 CE, discussing the impact of the Delhi Sultanate and Mughal rule on Jain art and architecture. It notes the decline in large-scale temple construction in some areas due to political instability but also the continuity of artistic traditions, particularly in regions less affected by foreign rule like Rajasthan. The chapter mentions the influence of Islamic architectural elements in later Jain temples and the preservation of older styles.

• Part 6: Architecture and Sculpture (1300-1800 CE)

  • Chapter 26: East India: Sarasi Kumar Saraswati concludes the discussion on East India, reiterating the limited impact and near disappearance of Jainism as a dominant religious force by this period. However, it acknowledges the continued presence of Jain communities, primarily merchants from Western India, who sponsored the construction of temples and patronage of art, often in styles influenced by local traditions and Mughal elements.
  • Chapter 27: Central India: Krishna Deva examines Central India, noting the continued patronage of Jainism by rulers like the Chandels and Paramaras, and the development of Jain art and architecture in sites like Khajuraho, Gwalior, and Devgarh. The chapter highlights the sculptural richness and architectural continuity, while also acknowledging a gradual decline in originality and a greater emphasis on ornamentation in later periods.
  • Chapter 28: West India: Krishna Deva continues the study of West India, focusing on the later phases of Jain art and architecture, particularly during the Rajput and early Mughal periods. It discusses the continuation of existing styles and the incorporation of new influences.
  • Chapter 29: Dakshinapatha and South India: K.V. Soundararajan concludes the regional survey, discussing the Jain art and architecture in the Southern Deccan and South India during this later period. It notes the impact of Vijayanagara and subsequent rulers on Jain patronage, the continuation of earlier styles, and the presence of regional variations in Jain artistic expressions.

Overall Significance:

"Jain Kala evam Sthapatya Part 2" is a seminal work that provides a detailed and scholarly account of Jain art and architecture across India during a significant period of its development. It highlights the regional variations, architectural evolution, sculptural achievements, and the socio-political factors that influenced Jain artistic patronage. The book serves as an invaluable resource for understanding the rich and diverse heritage of Jainism in India's artistic and architectural history. The detailed descriptions of various sites, stylistic analyses, and the inclusion of photographs and diagrams make it a comprehensive and visually engaging study.