Jaina Art And Architecture Vol 02 - Book Summary

The provided text is Volume II of "Jaina Art and Architecture" edited by A. Ghosh, published by Bharatiya Gyanpith in 1975. This volume focuses on Monuments and Sculpture from A.D. 600 to A.D. 1800, divided into Parts IV, V, and VI, concluding with a chapter on Paintings in Part VII.

Here's a summary of the key aspects covered in this volume, based on the provided pages:

Overall Scope and Structure:

Published: In 1975, on the occasion of the 2500th Nirvana Anniversary of Tirthankara Mahavira.
Editor: A. Ghosh, Former Director General, Archaeological Survey of India.
Published in Three Volumes: This is Volume II.
Content: Primarily covers Jaina monuments and sculpture across different regions of India over four major periods:
- Part IV: Monuments & Sculpture A.D. 600 to 1000 (concluded)
- Part V: Monuments & Sculpture A.D. 1000 to 1300
- Part VI: Monuments & Sculpture A.D. 1300 to 1800
- Part VII: Paintings and Wood-carvings (concluded in Volume III)

Key Themes and Regions Covered in Volume II:

Chapter 19: South India (A.D. 600 to 1000):
- Discusses the popularity of Jainism in Tamil Nadu and the Deccan, noting the building of numerous Jaina institutions despite sectarian antagonism.
- Highlights the prevalence of rock-cut cave-temples in Tamil Nadu, often converted into Brahmanical sites, with Sittannavasal being a remarkably preserved Jaina center.
- Details masonry temples in Tamil Nadu, including the Candraprabha temple at Tirupparuttikkunram (Jina-Kañci), and temples in Vijayamangalam and Chettipatti.
- Examines masonry temples in South Karnataka, focusing on Sravanabelgola, with descriptions of the Candragupta-basti, Pañcakūta-basti, and the monumental Cavuṇḍarāya-basti.
- Describes the colossal statue of Gommateśvara at Sravanabelgola as a significant achievement of Ganga art, comparing it to Egyptian and Afghan colossi.
- Covers Jaina rock-shelters and structural temples in Kerala, mentioning sites like Tiruccaranattumalai and Kallil, and noting the influence of Pandya and Ganga art.
Chapter 20: North India (A.D. 1000 to 1300):
- Focuses on the period of the Cāhamānas and Gāhaḍavālas, noting their patronage of Jainism despite being primarily Brahmanical.
- Discusses architectural trends, mentioning the Māru-Gurjara style and its fusion with local Rajasthani and Gurjara elements.
- Highlights the Mahāvira temple at Osia as a prime example of Jaina temple development from the Pratihāra to Cāhamāna periods.
- Mentions temples at Phalodhi, Amer, Sanganer, and Delhi, and discusses the debate about the original nature of the Adhai-din-ka-Jhompḍā at Ajmer.
- Notes the scarcity of well-preserved Gāhaḍavāla Jaina monuments but refers to excavated sculptures and architectural fragments.
- Discusses Jaina iconography and art, emphasizing the influence of religious canons and the emergence of new styles, and mentions the use of sandstone, schist, and marble, as well as bronze casting.
Chapter 21: East India (A.D. 1000 to 1300):
- Observes that Jainism did not hold a dominant position in Eastern India during this period, with Jaina images being rare compared to Buddhist and Brahmanical ones.
- Attributes the rarity to the ascendancy of Tantric Buddhism and Puranic Hinduism.
- Focuses on the iconography of Jaina images, primarily Tirthankaras, Yaksas, and Yakşis, and notes the stylistic similarities to the Pala school of sculpture.
- Mentions specific sculptures from Bengal and Bihar, including images from Mayta, Garh Jaipur, and Manbhum.
- Discusses the "caturmukha" (four-faced) motif as a distinctive Jaina iconographic element and its potential influence on temple architecture, possibly leading to the sarvatobhadra temple design.
- Notes the limited Jaina art in Orissa but mentions the Banpur hoard and sculptures from Khiching and Baripada.
Chapter 22: Central India (A.D. 1000 to 1300):
- Highlights the rule of the Candellas, Kalacuris, and Paramāras, who patronized Jainism despite their own Brahmanical affiliations.
- Focuses on Khajuraho as a significant Jaina center, detailing the Parsvanatha temple and the Ghantai temple, known for their exquisite pillars.
- Describes the architectural features of Khajuraho temples, including the Nagara sikhara style, ornate ceilings, and sculptural decoration on walls.
- Discusses the Adinātha temple at Khajuraho and its architectural kinship with the Vamana temple.
- Examines the Parsvanatha temple at Khajuraho, noting its unique plan and elaborate sculptures.
- Mentions the Bhand-Dewal temple at Arang in the Kalacuri zone, a Bhumija shrine with stellate plan and ornate decoration.
- Includes notes on discoveries in other Central Indian regions like Chandpur, Ahar, Lakhanadon, and Gandhawal, illustrating the artistic activities and materials used.
Chapter 23: West India (A.D. 1000 to 1300):
- Details the flourishing Caulukya (Solanki) style of architecture, characterized by elaborate temples with interconnected halls, ornate pillars, and distinctive domical ceilings.
- Highlights the Jaina contribution to this style, particularly the addition of extensive pillared porches and surrounding chapels (deva-kulikās).
- Discusses early extant Jaina temples like Vimala-vasahi (1032) and Mahavira temple at Kumbharia (1062) on Mount Abu and at Kumbharia respectively.
- Mentions the Lūņa-vasahi temple on Mount Abu (1230) as a masterpiece of intricate carving.
- Examines temples built by ministers Vastupāla and Tejahpāla, emphasizing their contribution to the artistic landscape.
- Focuses on the sculptural art of the period, noting the popularity of Vidya-devis, Brahmachari figures, and narrative reliefs from Jaina Purānas.
- Highlights the skill in marble carving and the development of portrait sculptures of donors and monks.
Chapter 24: The Deccan & South India (A.D. 1000 to 1300):
- Discusses the challenges faced by Jainism due to the rise of Vira-Saivism and Sri-Vaisnavism, and later Islam.
- Notes the patronage of Jainism by the Vijayanagara rulers and officials, such as Harihara II, Bukka I, and Irugappa, and mentions the influence of provincial courts.
- Describes Jaina temple architecture, noting the blend of northern and southern styles, particularly in Hoysala and Kakatiya monuments.
- Highlights key sites like Sravanabelgola, Humcha, Karkala, Mudbidri, and Venur, detailing notable temples like the Tribhuvana-cuḍamani-basadi and the Caumukha-basti.
- Discusses the unique pagoda-like tomb structures of Jaina priests in Mudbidri.
- Mentions Jaina vestiges in Maharashtra and Andhra Pradesh, including cave-temples and stone temples.
- Details the evolution of sculptural styles, including the influence of regional materials like granite and schist, and notes the popularity of Gommata statues.
Part VI: Monuments & Sculpture A.D. 1300 to 1800:
- Chapter 25: North India: Addresses the impact of the Sultanate and Mughal periods on Jaina art and architecture. Notes the decline in grand temple construction but mentions efforts to preserve heritage. Highlights temples in Rajasthan (Chitorgarh, Jaisalmer, Bikaner) and their stylistic adaptations to Indo-Islamic art. Discusses the Kirtti-stambha at Chitor and the Sṛngara-cauri temple. Mentions the Patodi temple in Jaipur for its wall paintings.
- Chapter 26: East India: States that Jainism as an indigenous creed had largely disappeared, with followers being absorbed into Hinduism. Mentions the revival of artistic activities due to migration of Jaina communities from western India during the Mughal rule, but notes the primary reliance on imported marble images and ornamentation from Rajasthan.
- Chapter 27: Central India: Discusses continued Jaina religious activity and art production despite alien rule, with sites like Sonagiri, Nainagiri, and Deogarh becoming important. Notes the prevalence of the Nagara/sikhara style and a fashion for colossal Tirthankara images, influenced by the Gommata cult. Mentions the use of granite and sandstone and the impact of regional rulers.
- Chapter 28: West India: Focuses on the 'middle style' of architecture, with Ranakpur's caumukha temple as a prime example of this period's grandeur and multiplicity of parts. Discusses the continuation of the Solanki and Vaghelā traditions and the role of Jaina patrons like Vastupala and Tejahpāla. Highlights the temple-cities of Satrunjaya and Girnar, and the influence of Jaina artistic norms on subsequent temple building. Mentions the development of metal sculpture, particularly bronzes, and the practice of portraiture.
- Chapter 29: The Deccan: Continues the discussion on Jaina art and architecture in the Deccan, covering the Vijayanagara, Yadava, and Kakatiya periods. Notes the patronage of Jainism by Vijayanagara rulers and officials. Highlights the unique temple architecture of South Kanara, with plain sloping roofs and stone screens. Discusses the Gommata statues at Karkal and Venur as significant examples of colossi. Mentions the influence of regional materials and the stylistic characteristics of sculptures from different areas.
Chapter 30: Mural Paintings:
- Explores early Jaina mural paintings, focusing on the cave temple at Sittannavasal, with descriptions of its various painted panels, including flower-gatherers, dancers, and royal figures.
- Discusses paintings in the Indra-sabha at Ellora, noting their themes from Jaina texts and patterns.
- Covers Cola and Hoysala period paintings, mentioning the illustrated palm-leaf manuscripts from Mudbidri as significant examples of Hoysala painting.
- Highlights the Jaina paintings in the Vijayanagara empire, particularly at Tirupparuttikkunram, detailing scenes from the lives of Vardhamana and Rşabhadeva, and Krishna.

Overall Impression: Volume II provides a comprehensive overview of Jaina art and architecture across India during a crucial millennium, showcasing the diversity of styles, the resilience of Jaina traditions despite political and religious challenges, and the significant contributions of Jaina patrons and artists. It highlights the evolution of temple design, sculptural forms, and painting techniques, often in relation to regional and dynastic influences. The text emphasizes the importance of Jaina centers like Sravanabelgola, Khajuraho, Mount Abu, Ranakpur, and Mudbidri, and the detailed descriptions of specific monuments and sculptures, supported by numerous plates (illustrations), offer valuable insights into the rich heritage of Jaina art.