Jain Puratattva Evam Kala - Book Summary

Here is a comprehensive summary in English of the provided Jain text "Jain Puratattva evam Kala" by Madhusudan Narhar Deshpandey:

The book "Jain Puratattva evam Kala" (Jain Archaeology and Art) by Madhusudan Narhar Deshpandey argues that Indian art, in its essence, inspiration, and fundamental principles, flows as a single, unbroken stream, regardless of whether it is associated with Buddhism, Hinduism, or Jainism. To perceive them as separate artistic currents would be akin to trying to separate the sources of the Ganga, Yamuna, and Saraswati rivers in the Triveni Sangam. Indian culture, in its entirety, has fostered the development of art inspired by religious sites, idol worship, and associated practices. Kings, patrons, and common people alike have contributed magnificent artistic creations, reflecting their individual tastes and devotion. Therefore, all these artistic expressions should be evaluated as part of the broader tapestry of Indian art. While stylistic variations exist, the underlying spirit of religious devotion unites them.

The text highlights Mathura as a cradle of Indian art for centuries, particularly during the Kushan and Gupta periods. Art produced there, known simply as "Indian Art," was influenced by the presence of Buddhism, Hinduism, and Jainism. While each religion fostered its own structures like stupas and temples, and sculpted idols, there was a remarkable similarity in artistic value and mediums. Post-Gupta era Jain and Hindu temple architecture, in terms of style and art, are presented as remarkably similar, with differing subjects but a common artistic form.

Jainism's Contribution to Indian Art:

Origins and Philosophy: The book traces Jainism back to Lord Mahavir, the 24th Tirthankar, and his predecessor Parshvanath, who propagated the "Chaturyama Dharma" (Fourfold Vow). Mahavir expanded this to the "Panchashikha" (Five Great Vows). A key contribution of Mahavir was his decision to preach in common languages like Prakrit (Ardha-Magadhi) instead of Sanskrit, making his teachings accessible to the masses and offering a path to salvation that was not exclusive to the priestly class. He challenged the established norms of ritualism and caste, emphasizing self-discipline, knowledge, and austerity as the true markers of spiritual attainment, as exemplified by the verse from the Uttaradhyayana Sutra.
Literary and Linguistic Contribution: Jain literature, composed in Prakrit (Ardha-Magadhi), Shvetambara and Digambara canons, Maharashtri Apabhramsa, and Sanskrit, has significantly enriched India's cultural heritage. This literary wealth illuminates various aspects of Indian culture, including literature, architecture, philosophy, social life, religious practices, and the evolution of Indian languages.
Patronage and Artistic Endeavor: Jain patrons, including wealthy merchants and kings from dynasties like the Chedis (Kharvela), Kushanas, Guptas, Chalukyas, Rashtrakutas, Cholas, Pandyas, Gonas, Paramaras, Chandellas, Yadavas, Hoysalas, and Vijayanagar, played a crucial role in patronizing Jain art and architecture. They commissioned magnificent Jain temples (Jina-dewalayas), contributing immensely to the richness of Indian architecture. Even the Mughal emperor Akbar and Mahatma Gandhi's philosophies were influenced by Jainism.
Early Jain Art in Bihar: The earliest manifestations of Jain art are found in Bihar. A headless Digambara Tirthankar idol from Lohanipur, displayed in the Patna Museum, exhibits the polished finish characteristic of the Maurya period. Bronze statues of Rishabhanatha and Parshvanatha from the Kushana period (1st century BCE), discovered at Chouasa near Buxar, are considered very ancient. The book notes that both these statues are preserved in the Patna Museum.
Caves and Rock-Cut Architecture:
- Kharavela and Odisha: King Kharavela of the Chedi dynasty in Kalinga (Odisha) commissioned rock-cut cave complexes like Ranigumpha and Ganesh Gumpha near Bhubaneswar around the 2nd century BCE. These caves feature elaborate sculptures, with the Ranigumpha inscription beginning with "Namo Arihantanam, Namo Savva-sidhanam," signifying the influence of Jainism. Scholars believe the sculpted panels depict episodes from Parshvanatha's life.
- Maharashtra: Jain rock-cut caves are found in Maharashtra, dating from the 2nd century BCE to the 6th-7th centuries CE. A significant inscription from the 1st century BCE was found in a cave at Palegaon near Pune, suggesting its use by Jain ascetics during the Satavahana period. The style of these panels is compared to that of Bharhut and Sanchi art.
- Gujarat and Saurashtra: Jain cave complexes near Junagadh and Talaja in Saurashtra, dating back to the time of the Kshatrapas, are notable. The pillars in the Upar-kot cave are particularly remarkable.
- Ellora: The Jain caves at Ellora, dating from the 9th-10th centuries CE, are a remarkable confluence of architecture, sculpture, and painting. The text highlights the "Chota Kailasa," "Jagannath Sabha," and "Indra Sabha" as significant Jain caves. The sculptures depicting the attack on Parshvanatha by Kamatha and his protection by the Yaksha Dharanendra are particularly praised, evoking parallels with depictions of Mara's attack on Buddha. The frescoes in the Jain caves are considered important for understanding the continuity of Indian painting, linking Ajanta and later manuscript illustrations.
Mathura and Jain Art: Mathura was a vibrant artistic center. The Kushan period saw the creation of red sandstone sculptures, many of which were sent to Sarnath and Bodh Gaya. The Kankali Tila in Mathura is a significant archaeological site associated with Jainism. Excavations there have revealed a Kushana-era brick-lined reservoir and a plaque with auspicious symbols and a central Tirthankar image. Another plaque depicts a stupa with a torana (gateway) and a pradakshinapatha (circumambulatory path). A Kushana-era statue of Parshvanatha in the Mathura Museum is considered an exemplary piece of Kushana sculpture. Sculptures related to Mahavir's birth stories, like the Harina-gamasar, have also been found.
Gupta Period Jain Art: During the Gupta period, when Hindu temples began to take their more definitive forms, Jain temples also flourished. Near Devgarh in Madhya Pradesh, numerous Jain temples and their remnants from the Gupta and post-Gupta periods (8th-9th centuries CE) are found. The sculptures often bear the imprint of Gupta art. Thousands of Jain images were created and installed in temples at places like Devgarh, Lalitpur, Chanderi, and Chandpur. The text speculates that Gupta-era Jain temples might also be found in Madhya Pradesh, citing the mention of Ramgupta on two Jin statues from Vidisha.
Metal Sculptures: The collection of 68 Jain bronze sculptures unearthed at Akota (ancient Ankotak) near Baroda in Gujarat, under the efforts of Dr. U.P. Shah, is a significant find. These sculptures, dating from the 7th to 10th centuries CE, showcase the influence of Gupta art. The Rishabhanatha (Kayotsarga) and other Tirthankara images exhibit the characteristic beauty of the Gupta period. These metal sculptures are considered a highlight of the Baroda Museum.
Karnataka Jain Art: Jainism has a very ancient presence in Karnataka. During the great famine in North India, many Jain ascetics migrated south under the leadership of Bhadrabahu Muni, who is believed to have attained Nirvana at Chandragiri hill near Shravanabelagola. The Meaguti Jain temple at Aihole, built in 644 CE during the reign of the Chalukya king Pulakeshi II, is notable. Jain cave temples from the Chalukya period (7th century) are found in Badami and Aihole, featuring reliefs of Parshvanatha and Bahubali. The Jain caves at Ellora, attributed to the Rashtrakuta period, also showcase significant artistic achievements.
Gujarat: A Hub of Jain Art: Gujarat has been a deeply influential and ancient center of Jainism. In addition to Talaja and Girnar, Vallabhi-pur was a prominent Jain center. Following Mahavir's Nirvana, a Jain monastic council was held here around 980 years later, where the Shvetambara Jain Agamas were compiled. Remains of Jain settlements and bronze sculptures have been found at Vallabhi. The author Kumarapala of the Chalukya period commissioned the Ajitnath temple at Taranga. Girnar and Shatrunjaya hills are major Jain pilgrimage sites with numerous temples. The Shatrunjaya hills, also known as Palitana, house about 500 Jain temples, with many dating from the 11th century onwards, but a significant number from after the 16th century. Temples at Abu in Rajasthan, built of white marble by Vimal Shah and Tejpal in the 11th and 13th centuries CE, are renowned for their exquisite beauty and intricate craftsmanship.
Khajuraho and Ranakpur: The Chandel rulers of Madhya Pradesh built a group of Jain temples, including the Parshvanatha temple built by a Jain layman in 955 CE. In Rajasthan, the Adhinath temple at Ranakpur, built in 1439 CE, is an architectural marvel with 26 halls and 420 pillars, featuring intricate carvings and clever lighting. The Manastambha (pillar of honor) at Chittorgarh Fort is another example of exceptional Jain architecture. The Mahavir temple at Osian in Rajasthan, dating to the Gurjara-Pratihara period (8th-9th centuries CE), with its beautifully carved pillars, is also highlighted.
Manuscript Art: The book mentions illustrated Jain manuscripts from Gujarat (Patan, Khambhat) and Rajasthan (Jaisalmer), dating between the 12th and 16th centuries. The wooden covers of these manuscripts are also adorned with beautiful paintings, characterized by dramatic movement and vibrant depictions.
Other Significant Sites and Contributions: The book briefly mentions Jain temples in Belgaum (Kamal Basti), Bhatkal, and Moodbidri in Karnataka, noting the unique architectural style of the Bhatkal temple. In Tamil Nadu, ancient Jain caves with rock-cut beds have been found, along with Brahmi inscriptions from the 1st century BCE. The Jain cave at Sittannavasal features Ajanta-style murals from the 7th century CE. Kanchipuram, also known as Jin-Kanchi, was a significant Jain settlement, and during the Chola period, temples were expanded and adorned with paintings depicting scenes from Tirthankaras' lives. The final use of cave architecture is noted in the ग्वालियर (Gwalior) fort complex, where large Jin images were carved during the reign of the Tomar kings.

Conclusion: The author concludes by stating that this is an overview of Jain art and archaeology and hopes that the upcoming 2500th Mahaparinirvana Mahotsav of Lord Mahavir will bring more of this beautiful subject to light.