Jain Murti Shastri

Here's a comprehensive summary of the provided Jain text, "Jain Murti Shastri" by Krishnadatta Bajpai, focusing on Jain sculptural art, particularly in the context of Madhya Pradesh:

The book "Jain Murti Shastri" by Krishnadatta Bajpai delves into the history and development of Jain sculptural art, with a significant focus on the artistic traditions of Madhya Pradesh.

The text begins by tracing the origins of Jain temple architecture back to the Maurya period. It highlights the construction of rock-cut caves for ascetics, citing examples like the Barabar caves near Gaya in Bihar, initially created for the Ajivika sect (contemporaries of Tirthankara Mahavir) by Emperor Ashoka and his successor Dasharatha. The concept of these rock-cut dwellings is likened to traditional thatched huts (parnashalas). Similar rock-cut shelters for Jain ascetics are also found in Tamil Nadu.

A significant development in Jain architecture occurred in the 2nd and 1st centuries BCE in Odisha and Western India, with the carving of temples from mountains. The famous Jain caves of Khandagiri and Udayagiri near Bhubaneswar, Odisha, are mentioned, with the Hatigumpha inscription from the third cave being particularly significant. This inscription reveals that the Jain ruler Kharavela of Kalinga, in the mid-2nd century BCE, retrieved a Tirthankara idol from Magadha, which had been taken by the Magadha king Mahapadmananda in the 4th century BCE. This inscription indicates that the creation of Tirthankara idols began before Mahapadmananda's reign, and Jain traditions suggest their production started during or shortly after Lord Mahavir's nirvana.

Mathura is identified as a crucial center of Jain art in North India, flourishing from the 2nd century BCE to the 12th century CE. Thousands of Jain artifacts, primarily made from spotted red sandstone, have been unearthed in and around Mathura. Notable among these are Tirthankara images and ayagapattas (altars or votive tablets). These ayagapattas often feature a central Tirthankara image surrounded by decorative motifs, including the eight auspicious symbols (ashtamangala dravyas) such as the Swastika, Nandavarta, Vardhamanakya, Shrivatsa, Bhadrasana, mirror, pitcher, and paired fish. One ayagapatta depicts celestial nymphs in a mesmerizing circular dance, a practice mentioned in the Jain text "Raiyapaseniy Sutra." Another ayagapatta showcases a beautiful rendering of a torana (gateway) and a railing (vedika), considered exemplary pieces of ancient Jain art. Many of these ayagapattas are inscribed in Brahmi script dating from around 100 BCE to the 1st century CE. The influence of Mathura's Jain art is evident in the art of places like Vidisha and Tumain in Madhya Pradesh.

The tradition of carving rock-cut Jain temples continued in Western, Central, and Southern India for an extended period. The text points to two Jain caves on the Udayagiri hill near Vidisha, Madhya Pradesh. Cave number one contains remnants of a Gupta-period Jain temple, while cave number twenty houses a beautiful Tirthankara image created during the reign of Gupta emperor Kumaragupta I.

Another form of Jain temple architecture is the bhumija temple, typically built on flat ground using stone and bricks. Numerous Jain temples of this type are found across Uttar Pradesh, Rajasthan, Gujarat, Bengal, and Madhya Pradesh, sometimes associated with Jain stupas.

Literary and epigraphic evidence confirms the widespread construction of Jain stupas at various ancient sites, including Mathura and Kausambi. The systematic construction of Jain stupas began in the 2nd century BCE. Early stupas were semi-circular and enclosed by stone railings called vedikas, often adorned with sculptures of women in attractive postures. From the Gupta period onwards, Jain stupas became more elongated, and like Buddhist stupas, they grew taller in later periods.

The medieval period witnessed a significant proliferation of Jain temple construction throughout India, decorated with various sculptures. This construction was supported by different dynasties, as well as merchant communities and the general populace.

The Jain temples at Khajuraho, built during the Chandela period, are particularly renowned. Their exteriors are carved in the distinctive Khajuraho style, featuring parallel decorative bands depicting deities, humans, and nature with great vitality. The Parsvanatha temple at Khajuraho is the largest, standing 68 feet high. Its internal structure comprises a Mahamandapa, Antarala, and Garbhagriha, with a circumambulatory path. The roof's design is artistically notable, showcasing the skill of Khajuraho's architectural experts. The entrance features a ten-armed Jain goddess riding a Garuda. The doorway of the Garbhagriha is adorned with images of Tirthankaras in padmasana and khadgasana postures. Sculptures of Surasundaris or Apsaras in attractive poses are also a prominent feature, with their anatomical details and expressive gestures being particularly captivating. The Adinatha temple at Khajuraho, with similar architecture, is also noteworthy.

The text also mentions the temple of Mala Devi at Gyaraspur in the Vidisha district, whose exterior decoration and grand sculptures in the Garbhagriha indicate artistic refinement. Madhya Pradesh saw significant architectural and sculptural development in medieval times at places like Gwalior, Devgarh, Chanderi, Ajmer, and Ahar. These "temple cities" often developed in mountainous regions.

Various Indian dynasties, including the Chalukyas, Rashtrakutas, Kalachuris, Gangas, Kadambas, Cholas, and Pandyas, provided patronage and encouragement to Jain art. Many rulers from these dynasties were followers of Jainism. Notable among them are Siddhamurti Jayasimha, Kumarpala, Amoghavarsha, Akalvarsha, and Gangavamsi Bharasingha II. The text credits Jain acharyas like Hemachandra, Jinasena, Gunabhadra, and Kundakunda with contributing to the advancement of Jain literature and art through their religious propagation and state patronage.

The construction of Jain temples and sculptures continued across India until the end of the 18th century. This artistic and architectural wealth is often found in "temple cities." The material collected is significant for understanding the socio-religious history of the period.

In summary, "Jain Murti Shastri" by Krishnadatta Bajpai provides a detailed historical overview of Jain sculptural art, emphasizing its evolution from rock-cut shelters to grand temples and stupas. It highlights key centers of production like Mathura and Udayagiri, discusses stylistic developments through different periods (Maurya, Gupta, Medieval), and underscores the significant contribution of various dynasties and religious scholars in shaping this rich artistic tradition, with a particular focus on the artistic heritage of Madhya Pradesh.