Jain Kala Ka Puratattvik Mahattva

Here's a comprehensive summary in English of the Jain text "Jain Kala ka Puratattvik Mahattva" (The Archaeological Significance of Jain Art) by Rameshchandra Sharma:

Introduction:

The text highlights the significant contribution of Jainism to the development and flourishing of Indian culture. Jain principles like non-violence, non-possession, non-stealing, and syadvada have united humanity. The profound ideals of Jainism have attracted people since ancient times, evidenced by its rich literature, art, and archaeological findings.

Early Beginnings and the Indus Valley Civilization:

Pinpointing the exact origin of Jain art is difficult, as it requires a blend of logic, reasoning, and patient analysis beyond what archaeology alone can provide. Jain tradition asserts that idol worship is an eternal practice dating back to Lord Rishabhdev. The vast time intervals between Tirthankaras make precise chronological dating challenging even with modern technology.

While the Indus Valley Civilization is considered the earliest artistic civilization (though Mehrgarh is even older), the male torso discovered at Harappa, with its anatomical precision and nude form, is suggested to potentially represent a Tirthankara. However, the Indus Valley script remains undeciphered, and a full understanding of its cultural context is still elusive, despite ongoing archaeological efforts. The Indus Valley Civilization dates between 2700 BCE and 1500 BCE.

The Richness of Jain Art from Mathura:

After a significant gap in archaeological evidence, German archaeologist Dr. A. Fuhrer discovered a vast collection of Jain artifacts between 1889-91 CE in Kankali, a site in the western part of Mathura city. These stone artifacts date from the 2nd century BCE to the 12th century CE. The art initially began with auspicious symbols on ayagapattas (votive tablets) and later evolved to include images of Jinas.

Mathura was a significant center for Jain art, architecture, and religious texts even centuries before the Common Era. Many of these sculptures bear inscriptions and dates, serving as valuable mirrors for studying the contemporary culture. The oldest known statue of Goddess Saraswati, bearing her name, was also found here. The "Saraswati movement" for the compilation, editing, and preservation of ancient religious texts began in Mathura during the Kushan period, also known as the Mathuri recension. The contemporaneous Saraswati idol holds particular importance in this context. This movement inspired the creation of Jain "Saraswati Bhandars" or libraries in various parts of the country, many of which are fortunately preserved to this day.

A key artifact is a jin statue with an inscription in Prakrit and Brahmi script on its base. It states that a stup built by gods was renovated during the time of Parshvanath. Even if other Tirthankaras are beyond the reach of history and archaeology, Lord Mahavira and his predecessor Parshvanath were undoubtedly historical figures, dating to the 5th and 8th centuries BCE respectively. If the inscription and supporting literary references are considered authentic, it implies that the original stup established by Kubera Devi was so ancient and dilapidated by the 8th century BCE that renovation was necessary. It must have been built several centuries earlier. The description of it as "god-made" further suggests its antiquity, as its original construction date had been forgotten. A monument whose construction can be traced back to a few centuries before the 8th century BCE opens new chapters in the origin and development of Indian architecture.

Jinas and their Iconography:

The sculpture of Rishabhanath from the Gupta period, inscribed as "Rishabhasya Pratima," shows him with matted hair on his shoulders, aiding in the identification of Adinath's statues. Over time, distinct characteristics, Yakshas, and Shasan Devatas (guardian deities) were established for all Jinas.

Jainism in Bihar and Odisha:

While Mathura was a thriving hub of Jain art, architecture, and literature, in Bihar, the Mauryan ruler Ashoka arranged for caves in the Barabar hills for Jain ascetics. Bihar being the land of incarnation for Tirthankaras, this was a pious act for Jain followers and tolerant rulers. Odisha also played a leading role, with the Jain emperor Kharavela of the 2nd century BCE detailing his achievements in a Brahmi inscription at the Udayagiri cave near Bhubaneswar. A particularly significant event for Jain art and archaeology mentioned is his success in bringing back a jin idol to Kalinga, which had been taken by previous Magadha rulers. The identity and location of this statue are debated. A Jain statue found at Lohanipur near Patna, now in the Patna Museum, is stylistically from the Mauryan period. However, it's unclear if it's the statue mentioned in Kharavela's inscription, as the historical and archaeological record is silent on how it returned to Magadha from Kalinga.

Royal Patronage and Rock-Cut Architecture:

The text emphasizes that jin idols were created and worshipped during the Maurya era, and their installation reflected the prestige of the rulers. Kharavela also commissioned shelters in Udayagiri-Khandagiri for Jain ascetics for meditation and contemplation. Many narratives are carved on these chambers. It is natural to infer that a part of the hill was designed as an assembly hall or amphitheater for performances and plays. The Jain cave complex of Udayagiri-Khandagiri is praiseworthy from the perspective of art and archaeology.

For several centuries, rock-cut architecture was highly popular, with mountainous regions in Western India becoming centers for these retreats. Initially, Buddhism dominated this practice for the first five hundred years, resulting in famous cave complexes like Bhaja, Karle, Kondane, Bagh, and Ajanta. Later, Hindu and Jain communities also adopted this method. Ellora is noteworthy as it features cave complexes from all three religions. The Jain cave complexes, dating from the 3rd to 4th centuries (likely referring to eras or specific caves), were created in the 9th century CE. Among them, Chota Kailasa and Indra Sabha are famous.

It's crucial to note that rock-cut architecture requires significantly more labor and skill than conventional building. While rock-cutting exists in other countries, Indian cave mandapas are unparalleled. This is a unique contribution of India to world architecture. In a regular building, errors can be corrected or modified, but in rock-cutting, there is no room for rectification. Everything must be carved from the mountain itself. Sculptures, floral motifs, pillars, doorways, chambers, and even the deity images are integral parts of the mountain; nothing is brought from outside. Therefore, extreme caution is expected in artistic practice. Moreover, rock-cutting is done from top to bottom, as there is no need for a foundation. The Jain caves of Ellora exemplify this uniqueness. The Jain caves of Badami predate and are smaller than those at Ellora.

Jainism in South India and the Gomateshwara Statue:

Jainism also spread to South India, with Karnataka being a leading region. The colossal statue of Gomateshwara is not only astonishing in its size but also commendable for its artistic excellence. The statue embodies a remarkable synthesis of serenity in grandeur, detachment in youth, and asceticism amidst splendor, radiating these qualities universally. We appear so diminutive before this transcendental achievement.

Temple Architecture and the Khajuraho Controversy:

With the advent of temple construction, Jain artists and patrons were at the forefront. Along with the virtues of the era, certain flaws also emerged. As Jain temples were built alongside other temples at Khajuraho, themes of romance and erotic plays found their way into temples like the Parshvanath temple of the 10th century CE. A reference from the 9th-century CE Harivamsha Purana by Acharya Jinasena is noteworthy. According to this, to attract a society that had deviated from dharma and indulged in pleasures towards temples, the depiction of erotic and Kamadeva's (god of love) playful activities was deemed necessary. The aim was to draw them to the Jinalaya (temple) by their allure, where they might listen to religious discourses for a while and turn towards the righteous path. This might have been the rationale for incorporating romantic themes into the renunciation-focused Jain dharma. However, this had adverse consequences, and the intended purpose was defeated by the excess in all religions.

The Splendor of Dilwara Temples:

The excellence of Jain craftsmanship is evident in the Dilwara temple complex. Here, the carving holds such prominence that temple architecture itself becomes a showcase of architectural science. The extensive use of marble occurred here for the first time in the 11th century CE. The temples appear simple from the outside but are intricately decorated within. The carving of the domes is particularly noteworthy. However, the excessive ornamentation has overshadowed the architecture, and the repetition and uniformity of the motifs become slightly jarring over time. The violation of the principle "excess in all things should be avoided" was committed by the merchant Vimal Shah in the 11th century CE and repeated by Tejpal and Vastupala in the 13th century CE. If these minor flaws are overlooked, the Jain temples of Dilwara are indeed testaments to the pinnacle of craftsmanship.

Iconography and Metal Sculptures:

Jin statues were typically depicted in a meditative posture, seated in practice or standing in kayotsarga (standing meditation pose). Clothing and ornaments were generally neglected, thus not providing the artist with opportunities to showcase their craftsmanship on the principal deities. This deficiency was compensated through architectural decoration and the adornment of minor deities. These stylistic differences aid in chronological determination. Besides stone sculptures, a significant number of metal sculptures of the Jain faith have been found, which are as important archaeologically as they are artistically commendable. Sculptures found at Akota in Gujarat and Chausa in Bihar are particularly noteworthy. They date from the Gupta period (4th to 6th centuries CE), although some scholars consider them earlier. The metal craftsmen of Akota devised a method to adorn the Tirthankara statues with garments and ornaments, presenting them as living beings. Vardhaman Mahavir is depicted as a prince here.

Conclusion and Future Prospects:

Archaeological evidence of Jain art is abundant in India and graces many museums and art galleries worldwide. It is imperative that all these are documented with photographs as soon as possible. This will provide scholars and researchers with resources for their studies and help in the proper evaluation of Jain art within the context of Indian cultural history.