Jainkala Ka Bharatiya Sanskruti Ko Adbhut Den - Book Summary

Here is a comprehensive summary in English of the provided Jain text, "Jainkala ka Bharatiya Sanskruti ko Adbhut Den" by Surendrakumar Arya:

Jain Art's Wonderful Contribution to Indian Culture

This article by Dr. Surendrakumar Arya highlights the profound and multifaceted contribution of Jain art to the broader tapestry of Indian culture. It begins by emphasizing the inherent characteristic of synthesis within Indian culture, which embraced Vedic, Buddhist, Jain, Shakta, and Ganapatya traditions. Despite doctrinal differences, these religions shared a common goal: the seamless integration of religion and ethics, with moral ideals such as friendship, brotherhood, non-violence, and truthfulness being universally accepted.

Jain art, the author argues, embodies this principle of harmonious vitality in life. In the realms of architecture, sculpture, and painting, Jainism established a vision centered on beauty and spiritual upliftment.

Temple Architecture: Jain temples, particularly those dedicated to Tirthankaras, were designed to convey a profound spiritual journey. The entrance, mandapa (hall), garbhagriha (sanctum), and shikhara (spire) symbolize the process of transcending social impurities, embracing divine emotions, purifying mind, speech, and action through non-violence, and progressively ascending towards spiritual liberation.
Sculpture: Jain sculpture aimed to depict the divine form of the deity, encouraging devotees to internalize this form and realize their own path to salvation and eternal beauty.

The article notes that Lord Mahavir established a comprehensive philosophy beneficial to all living beings. The awareness of Jain art among Indian art scholars dates back to 1784 CE, spurred by the writings of Ananda Coomaraswamy and excavations at the Kankali Tila in Mathura. Today, over 640 locations across India boast Jain architectural, sculptural, and painting remnants, and numerous books have been written on the subject.

The primary focus of this article is to present a survey of newly discovered Jain art sites and remains in Madhya Pradesh, alongside an assessment of previous research. It aims to elucidate the stylistic contributions of Jain art, and specifically that of Madhya Pradesh, to ancient Indian art as a whole.

Jain Art in Madhya Pradesh: Birth and Development

Madhya Pradesh holds a glorious history of Jain art, with Jain culture flourishing in various forms from the 4th to the 15th centuries. The text emphasizes that Jainism, more than other Indian religions, stressed equality, non-violence, and right resolve. It represents a unique confluence of ethics, ideology, and self-control, with the ascetic and disciplined personalities of Mahavir and other Tirthankaras serving as ideals. This adherence to eternal principles has ensured the continuity of Jainism's core tenets.

Major Centers of Jain Art in Madhya Pradesh:

The article details several key regions and sites:

Dashpur (Mandsaur): Jain texts mention a wooden statue of Mahavir established during the time of Pradyota and a festival celebrated for it, calling it "Jivant Swami." However, scholars question the antiquity of this claim, suggesting that no Jain statues in Madhya Pradesh predate the Gupta period, despite later Jain references.
Post-Gupta Period: The Pratīhāra, Kalachuri, Chandela, and Paramara dynasties, who ruled after the Guptas, significantly patronized and fostered the rapid development of Jain art in Madhya Pradesh.

The text categorizes Jain centers in Madhya Pradesh into:

Siddhakshetra (Places of Liberation): Locations where Nirgrantha monks attained Keval Gyan (omniscience) through asceticism and then guided others before achieving liberation. Examples include Pavagiri, Choolagiri, Dronagiri, Sonagiri, Deshandigiri, and Siddhavarkoot.
Atishaykshetra (Miraculous Sites): Places where miraculous events occurred involving Jain monks. Madhya Pradesh has a considerable number of these, including Chanderi, Thubon, Bahuriband, Singhonia, Panagar, Patna Ganj, Bandha, Aahar, Golakot, Pachrai, Papora, Kandhalpur, Koni, Talanpur, Maksi Parshvanath, Banediya, Bina-Baraha, Budhi Chanderi, Khandar, and Hastadaun. Many of these sites contain scattered ancient Jain heritage. The author has published a booklet on the archaeological statues and artistic aspects of Maksi Tirth, which is distributed free to visitors. Banediya also houses preserved Jain Tirthankara statues from the 9th to 13th centuries, exhibiting advanced artistic merit.
Kalakshetra (Artistic Centers): Locations where Jain art developed alongside Brahmanical art, often reaching its zenith. These include Gwalior, Ajaiyagarh, Tripuri, Udaipur, Badod, Pathari, Vidisha, Mandsaur, Ujjain, Khajuraho, Guna, Isagarh, Andar, Gandhawal, Badwani, Pachore, Sundarli, Ashta, Shajapur, Shujalpur, Vanyakhadi, and Sanver (referred to as Ksamaner Nagare).

Chronological Classification of Jain Sculpture:

Based on the findings, Jain sculpture from Madhya Pradesh can be classified chronologically into:

Gupta Period Sculpture
Medieval Period Sculpture (600-900 CE)
Late Period Sculpture (900-1500 CE)

Regional Classification of Art Centers:

The art centers can also be divided regionally:

Jain Art Centers of the Gopadri-Vidarbha Region (Gwalior is prominent)
Jain Art Centers of the Malwa Region
Jain Art Centers of the Central Region
Jain Art Centers of the Chhattisgarh Region

Specific Site Details:

Gwalior: Known as Gopadripur, Gopachalgarh, and Govagiri in ancient times. Jain art remnants date from after 900 CE. Cunningham found remnants of important Jain temples in 1844. The construction of the Parsvanath temple is estimated to be around the 11th century. The Adhinath temple has a similar layout to the Vaman Temple, with construction dating to 1108 CE. Numerous Tirthankara statues in seated and standing postures were found here. The Ghantai Temple houses Jain sculptural remains from the 8th century. Gwalior Museum displays impressive Ambika Yakshi and Gomeda Yaksha figures, along with a magnificent seated Parsvanath statue. Approximately 250 statues from the 10th to 12th centuries are displayed, including a significant artistic statue of Adhinath Tirthankara, showcasing the grandeur of Gopakala.
Singhania (Morena District): A major center of Jain culture, featuring a Jinlaya of Lord Shantinath with a 16-foot tall statue made of sandstone.
Papora (Tikamgarh District): Houses a 12th-century temple with a black stone statue of Lord Shantinath, inscribed with Samvat 1202.
Aahar: Another important site with a temple to Shantinath containing a highly artistic 10-foot tall statue of Kunthunath, inscribed in Samvat 1237. The statues of Adhinath, Shreyansanath, Parsvanath, Kunthunath, and Mahavir found here, with inscription on their pedestals, exhibit excellent Parmara-era artistic craftsmanship. While the bodies are fleshy, the accompanying Yakshas, Yakshinis, attendants, dancers, and apsaras depict the vibrant, material aspects of life, embodying the sublime expression of Jain sculpture.
Khajuraho: Exhibits the exquisite Chandela art. Three independent Jain statues from this period (Adhinath, Parsvanath, and Mahavir) are found here. A pedestal depicting the twenty-four Tirthankaras is also present.
Ujjain: Recognized as one of the ancient Saptapuris and a significant cultural and Jain center. The article discusses its Jain sculpture extensively, mentioning its association with Mahavir's suffering and the accounts of it being a Jain pilgrimage site in texts like Hemchandracharya's Prabhavakcharitra and Kalakacharya Kathanak. Ujjain's Jain sculpture clearly shows the influence of Rashtrakuta sculptural styles and the stylistic and aesthetic beauty of Parmara art. The Ujjain Archaeological Museum displays Tirthankara statues from Ashta and Maksi, believed to be from the periods of Parmara rulers Bhoj, Udayaditya, and Naravarman. These often have inscribed pedestals and display characteristics mentioned in texts like "Samarangan Sutradhar" and "Yukti Kalpataru" regarding form, proportion, and vehicles.
Barddhamanpur (identified as Badod Pathari): Dr. Hiralal Jain and Dr. A.N. Upadhye identified Barddhamanpur with present-day Badod Pathari. The Gadamal Temple here is magnificent. The lintels of its Jain temples feature artistic depictions of the four-armed Jain Yakshi. An inscribed statue of a riding Achchhammadevi (a deity) has been praised by Western scholars.
Gyaraspur: The Maladevi Temple contains a remarkably beautiful seated statue of Lord Shantinath, representing the peak of Pratihara-era sculpture.
Gandhawal: Identified with Gandharvapuri, it is another significant location for Jain sculptures, exhibiting Parmara-era art. The notable statue of Rishabhdev, in a seated posture, displays a serene face with divine emotion. Sculptures of Ambika Yakshi and Padmavati Yakshi here further highlight the artistic aspects. The author drew the attention of Indian art critics to these works at the Silver Jubilee celebration of the Central Museum in Indore.
Lakhna, Baraha, Bina, Kundalpur, Karitalai, Konoji: These are sites yielding Kalachuri-era architecture and sculpture from the 10th and 11th centuries, including the important artistic Jinlaya of Nandishwar Dwip.
Chhattisgarh Region (Arg, Rajim, Sirpur): These sites show Jain art at its peak, with a statue of Mahavir Lord depicted with his eight Pratiharyas. A significant Chaturvisha Patt is also found here.
Yakshi Sculptures: The article highlights important Yakshas: Gomukh, Gomeda, Parshva, and Matanga. Gomukh Yaksha statues from Khajuraho (10th-11th centuries) are described, with their bull vehicle being clear. They hold lotuses, maces, or money bags. Gomeda Yaksha, the vehicle of Tirthankara Neminath, is found at Bhavpura, Kathuli, and the Maladevi Temple, displaying a grand form. Khajuraho also has excellent artistic statues of this Yaksha. Parshva Yaksha, associated with the 23rd Tirthankara Parshvanath, is depicted as four-armed with a serpent canopy and his vehicle is described as "karma" (possibly meaning a chariot or conveyance, or a symbolic representation). An independent statue of this Yaksha is also found in the Maladevi Temple. Matanga Yaksha is associated with the 24th Tirthankara Mahavir, with a grand statue present in Khajuraho.
Badwani ("BavanGaja"): The colossal statue of "BavanGaja" at Badwani is world-renowned for its immense size and balanced form. It is a Siddhakshetra, mentioned in Jain texts as Choolagiri. The statue of Lord Adhinath is grand and noteworthy. Dating to the 12th century, it is artistically significant in its sculptural composition. Devotees are deeply moved by its majestic form. The base of the mountain features 19 temples, including an artistically significant statue of Muni Suvrat Nath from Vikram Samvat 1131.
Un (District West Nimar): This is another important Jain pilgrimage site. Raja Ballaldev intended to build 100 temples, but only managed 99, hence the name "Un" (meaning "lack"). Professor K.D. Vajpeyi states that after Khajuraho, Un is the only place in Central India with so many ancient temples.
Choubaradea and Gwalior Temple: These showcase the excellence of Jain architectural sculpture.
Vidisha: A well-known ancient city, from which important Jain statues have been recovered from Besnagar. Three Tirthankara statues found at Durjanpur within Vidisha's ancient city limits are considered the oldest and most artistic found in Madhya Pradesh to date. These statues are of Chandrapra and Pushpadanta, with other significant statues of Parsvanath, Shantinath, Neminath, and Rishabhdev. Statues of Padmavati Yakshi and Dharanendra Yaksha also exemplify superior Jain art.

The article concludes by noting that in ancient times, Jainism was a major religion in Madhya Pradesh. A foreign friend, Neumayer Erwin from Austria, observed that Jain art in Madhya Pradesh not only brings Jainism to life but also displays the sublime beauty of art. Such art-adorned Jainism, the author posits, once held a prominent position in Madhya Pradesh.

The text is rich in details about specific sites, architectural features, sculptural descriptions, and historical contexts, providing a comprehensive overview of Jain art's significant contribution to Indian culture, with a special focus on its manifestations in Madhya Pradesh.