Jain Vastu Aur Murtikala - Book Summary

Here's a comprehensive summary of the provided Jain text, "Jain Vastu aur Murtikala" by K. Bhujbali Shastri:

The text "Jain Vastu aur Murtikala" (Jain Architecture and Sculpture) by K. Bhujbali Shastri, published as part of the Z_Kailashchandra_Shastri_Abhinandan_Granth, highlights the significant contributions of Jainism to Indian architecture and sculpture, emphasizing its aesthetic beauty, craftsmanship, and enduring legacy.

The author begins by acknowledging Lord Curzon's role in establishing the Department of Ancient Monuments Preservation in India, which unearthed numerous exquisite examples of ancient Indian architecture. He notes that while sites like Nalanda, Taxila, Mohenjo-daro, and Harappa are prominent, Jain monuments are also found in these locations.

The text then delves into specific examples of Jain architectural and sculptural brilliance across India:

Mount Abu: The Jain temples here are described as world-renowned. Built with white and sky-blue stones, they showcase incredibly intricate carvings and craftsmanship that are considered unparalleled, even in the modern era. The latticework in front of the elephant stables is praised as superior to that found in the Taj Mahal. The sheer cost and time invested in constructing the Adhinath temple (6.5 million rupees for the platform alone, 24 years of work, and 280 million rupees in total) underscore its grandeur. Art critic Ferguson is quoted as saying only the Taj Mahal in India can match the carving quality of these temples. The temples in the Jaisalmer Fort and the Kirti Stambha (Victory Pillar) in Chittorgarh are also mentioned as artistically significant.
Khajuraho: The Ghantai Jain temple here is noted for its finest craftsmanship, representing the pinnacle of Indian artistry in the 7th and 8th centuries. The Parshvanath temple is also considered artistically supreme, with every inch showcasing the exceptional skill of the artisans. The triangular corners are particularly noteworthy. The absence of lime in their construction and the beautiful Vedic sculptures adorning the Parshvanath temple are highlighted.
Devgarh: Located in the Lalitpur district, the Jain temples here are considered the best among Gupta-era temples, according to Smith. The wall carvings are cited as prime examples of Indian craftsmanship. The site has yielded 32 temples and approximately 200 inscriptions. Thousands of sculptures have been found, with the statues of Saraswati, Chakreshvari, Jwalamalini, and Padmavati being particularly beautiful. The unique sculptures of 24 Yakshinis found here are not replicated elsewhere in North India. The text also mentions depictions of Kalpavriksha and Yugalis. The oldest inscription from this area dates back to Vikram Samvat 919, suggesting a flourishing period for about a thousand years. A notable inscription called the "Jnana Shila" in temple number 12 is said to contain samples of eighteen scripts. Temples in Chanderi (near Gwalior) and Sanganer (near Jaipur) are also recognized for their artistic merit.
Mathura (Kankali Tila): The Jain stupa here, dating to the 2nd century, is considered the finest among the Kushan-era art of Mathura. It is described as "divine-made" and its construction from gold in memory of Suparshvanatha by Kubera is mentioned from the "Tirthakalpa." The stupa existed until the 8th century and predates Buddhist stupas. Jain art flourished in Mathura until the 17th century. The site has yielded numerous items like Ayagapata (votive tablets), torana gateways, and vedika stambhas (pillar fragments). Ayagapata, with their beautiful depictions of Ashtamangala and Dikpalas, are particularly highlighted. Mathura has provided more Jain material from the Shunga to Gupta periods than any other location, offering insights into the daily life, entertainment, and attire of the time. Kushan-era sculptures are often accompanied by inscriptions in Brahmi script, in a mixed Sanskrit and Prakrit language. Notable sculptures include those of Saraswati, Aryavati, and Negamesha. The carvings on the Mathura vedika stambhas beautifully depict the joyous life of the era, with many images of women in various captivating poses – picking flowers, bathing, drying their hair, applying makeup, playing the veena, playing the flute, and dancing. These stambhas are presented as living examples of artistic beauty devoid of ostentation. The period from the 1st to the 5th century is called the golden age of Mathura's sculpture, where natural elements like mountains, rivers, waterfalls, flowers, and animals were harmoniously integrated with human beauty. The depiction of women as an essential aspect of beauty is a hallmark of ancient Jain art.
Women's Contribution: The text emphasizes the active role of women in the protection and propagation of religion. Thousands of memorable artworks created by women have been found in Mathura, including those from lower castes like jewelers and blacksmiths. A beautiful Ayagapata was donated by Lavanshobhika, daughter of a courtesan. Women from all strata of society, including dancers, participated in religious activities. Hundreds of names of female donors are recorded, such as Achala, Kumaramitra, Grihatri, Griharakshita, Shivamitra, and Shivayasha, often inspired by Aryikas.
Royal Patronage: Several dynasties, including the Gupta, Chalukya, Rashtrakuta, and Pandya, contributed to the advancement of Jain art. Notable rulers include Siddharaja Jaysimha, Kumarpala, Amoghavarsha, Akalavarsha, and Marasimha, with saints like Jinasena and Gunabhadra acting as their inspiration.
Gwalior Fort: During the reign of the Tomar ruler Dungrendra Deo, magnificent large sculptures were commissioned by wealthy local devotees, with their names and the ruler's name inscribed on the pedestals. These sculptures date to the 15th-16th centuries. Further sculptures were created during the reign of his son Kirtisingh. The sculptures here, particularly the Arvahi group for their immense size and the Southeast group for their ornate art, are impressive.
South India: Jain temples in Shravanabelgola, Halebidu, Karkala, and Venur are described as unparalleled gems of Dravidian and Chalukya art. Smith's assessment of the Halebidu temples as astonishing witnesses to the labor of a devout humanity, whose artistry is inexhaustible, is cited. N.C. Mehta suggests that the famous Vishnu temple of Belur was originally a Jain temple. The Chandranath Basadi at Moodbidri, Chaturmukh Basadi at Karkala, and Shantinath at Venur are artistically significant. Ancient stone Jain temples are also found in Vijayanagar, Bhatkal, Gersoppa, and Hubli.
Cave Temples: The oldest Jain cave temples are the Khandagiri and Udayagiri caves near Bhubaneswar in Odisha. The Jain caves of Badami, Mangitungi, and Ellora are from later periods. These cave temples are artistically beautiful, featuring excellent stone craftsmanship. Many Jain caves are also located in the Belgaum, Dharwad, Uttara Kannada, Hassan, and Ballari districts.
Jain Sculpture: N.C. Mehta, an ICS officer and expert in this field, is quoted extensively. He states that examples of Indian art from the Nanda dynasty to the 15th century are significant for their architecture and sculptural art. The iconography (Pratima Vidhan) is seen as a tangible representation of Jain civilization, religious devotion, and thought tradition. He notes that despite centuries passing, there is very little external difference between early Jain statues of the Kushan period and those made later, indicating a continuity in Jain fine arts and iconography. While the scale of temples and sculptures increased, their unity and solemnity remained consistent. The characteristic features of sculptures have remained largely unchanged for about 2000 years, with minimal variation in standing or seated poses over long periods. Jain Tirthankaras are depicted as detached, peaceful, and serene, devoid of worldly desires. Their sculptures bear similarities to Buddhist sculptures in most aspects, except for the posture and hand gestures. Jain art, along with its associated arts, has spared no effort in adorning temples and sculptures. The text contrasts this with Brahmanical temples, which, due to influences like Vamachara, incorporated obscene themes, while Jain temples maintained pure, sattvic, and sacred sculptural art. While the main idols in temples are important, the attractive sculptures of other deities on the outer walls are also significant. Tirthankara sculptures emanate detachment and grandeur. Sculptures should be free from defects in stone or form. Household idols should not exceed twelve inches. Sculptures should have three umbrellas above them, and Yakshas and Yakshinis on either side.
Highlight of Bahubali: From an artistic perspective, the statue of Bahubali at Shravanabelgola is considered the most remarkable, satisfying the soul of the sculptor. Vir Martand Chamundaray is credited for this achievement. Two other noteworthy Bahubali statues are in Karkala and Venur. The sculptures found in Lohaniypur, Patna, are the oldest Jain sculptures.
Khajuraho Revisited: The Ghantai Jain temple in Khajuraho is a testament to India's high craftsmanship, famous for its carved bells and chains. The devotional songs and dances of worshipping groups depicted on the ceiling are captivating. The Vidyadhar sculptures at the top of the Adhinath temple are also interesting. The Parshvanath temple is the largest and most beautiful, with excellent examples of sculptural art on its outer walls, including a mother caressing her child, a woman writing a letter, and a boy removing a thorn from a woman's foot. These depictions are particularly noteworthy.

In essence, the book "Jain Vastu aur Murtikala" serves as a comprehensive testament to the rich and diverse artistic heritage of Jainism, showcasing its profound influence on Indian architecture and sculpture through detailed descriptions of significant sites and artworks, and highlighting the skill, dedication, and spiritual underpinnings of Jain artisans throughout history.