Jaisalmer Jain Mandir Evam Unki Kalatmak Samruddhi

Here is a comprehensive summary of the provided Jain text, "Jaisalmer Jain Mandir evam unki Kalatmak Samruddhi" by Vijayshankar Shrivastava, in English:

This book, "Jaisalmer Jain Mandir evam unki Kalatmak Samruddhi," authored by Vijayshankar Shrivastava, explores the rich Jain heritage and artistic grandeur of Jaisalmer, a city nestled in the Thar Desert of Rajasthan, India. Jaisalmer has historically been a significant center for Jainism and its culture, boasting vast Jain manuscript collections, exquisite Jain temples, and numerous stone and metal sculptures that represent invaluable artistic treasures of India. The development of Jaisalmer as a prominent Jain hub was significantly contributed to by various Jain acharyas, yajakanyavikao (female renunciates), and the merchant class. Although the ruling Bhatti dynasty of Jaisalmer was Hindu, they demonstrated religious tolerance and benevolence in supporting the growth and propagation of Jain art and culture.

Lodhurva (Lodhurva/Lohpur): The Ancient Capital

Before the establishment of Jaisalmer city in the latter half of the 12th century, Lodhurva, located about 16 kilometers from Jaisalmer, served as the capital of the region. The Lord Parshvanath Temple in Lodhurva is identified as the oldest Jain temple in the Jaisalmer complex. It is renowned for its antiquity and artistic richness. While the original construction is believed to date back to the 11th century, the temple's sanctum doorframe, the pillars of the assembly hall, the outer torana (ornate gateway), and other sections largely remain in their original form.

According to tradition, the temple was built in VS 1091 (Vikram Samvat) by Shridhar and Rajdhar, sons of Sagar, and consecrated by Acharya Jinshwarisuri of the Khartar Gacch. Lodhurva suffered damage from invasions, including those of Muhammad Ghori. In the latter half of the 16th century, Shrimansingh of the Bhagwali gotra and his son Punsingh attempted renovations, but without complete success. Ultimately, Punsingh's son, Seth Thahurshah, undertook extensive reconstruction on the ancient foundations, creating the present temple. The main deity is a black, multi-hooded Parshvanath image made of touchstone, named Chintamani Parshvanath. The temple complex is built of white marble. An inscription on the idol's pedestal indicates that Thahurshah, along with his wife and sons, commissioned the idol, which was consecrated by Acharya Jinrajsurisuri of the Khartar Gacch on Thursday, Paush Sudi 12, VS 1675. The temple's exterior and interior are adorned with sculptures that testify to its antiquity and the skill of its artisans. The intricately carved torana-dwara is particularly noteworthy, with its pillars dating back nearly a thousand years, evident from the sculptures depicted on them. Thahurshah added an artistic torana in the 17th century, featuring seated Tirthankaras in the central section. In VS 1693, Thahurshah also constructed four chhatris (domes) in the temple courtyard for the spiritual benefit of his wife, sons, and ancestors, housing images of Adinath, Ajitnath, Sambhavnath, and Chintamani Parshvanath, consecrated by Acharya Jinrajsurisuri along with the main temple in VS 1675. Nearby stands a large, artistically crafted Kalpavriksha (wish-fulfilling tree) made of metal, symbolizing Ashtapadji. The assembly hall of the original temple features an inscription praising the Shatdal Padma Yantra composed by the Jain scholar Sahajkirtigan. This eulogy, composed at the time of the temple's consecration in VS 1675, extols Thahurshah and his ancestors. The Lodhurva Jain temple houses numerous stone and metal sculptures. An inscription on a white marble Ganapati idol indicates that in VS 1337, Pandit Padmachandra created Jain images, including those of Sachchika and Ganapati, at Ajmer fort under the order of the entire gosthika (guild).

Jaisalmer City and its Jain Temples

Due to the continuous invasions by Muslim rulers, Lodhurva was deemed unsafe, leading to the establishment of Jaisalmer city by Bhatti Jaisal around VS 1234. The construction of the city and fort continued during the reign of his son, Shalivahan. From its inception, Jaisalmer had a strong connection with Jainism. The "Khartar Gacch Brihad Guravali" mentions Jaisalmer in VS 1244. The "Dhannyashali Bhadra Charita," a manuscript (No. 270) composed by Purnabhadra in VS 1285 and preserved in the Jaisalmer collection, also confirms the Jain connection to the Jaisalmer fort. In VS 1340, when Acharya Jinprabodhsurisuri arrived in Jaisalmer, the then Bhatti ruler Karnadev, along with his high officials, army, and family, went to welcome him and requested him to spend the monsoon season (Chaturmas) in the state. Acharya Shri initiated many individuals. Similarly, in VS 1356, King Jaitrasinh personally welcomed Acharya Jinchandrasuri, and the following year, a grand garland ceremony was held. In VS 1358, Tolan installed many Jin pratimas (idols). Jaisalmer became a principal center of the Khartar Gacch.

The Temples within Jaisalmer Fort are repositories of religious devotion and artistic excellence. An inscription from the "Dash Shravak Charita," written in VS 1275, states that the Parshvanath temple in Jaisalmer fort was constructed by Jagdhar, son of Kshemendra. The fort houses eight Jain temples, which are exquisite artworks from the 15th and 16th centuries. These temples represent a renaissance in temple construction in Rajasthan and Gujarat during that period. Built in the Nagara style, these temples, with their artistic richness and expressive sculptures, are captivating. The sequential construction of these temples within a century in the desert reflects Jaisalmer's prosperous artistic and architectural tradition.

Among these, the Chintamani Parshvanath Temple, built of yellow stone and featuring 52 smaller shrines, is the oldest and most prominent. It is believed that this ancient temple suffered significant damage during Alauddin Khilji's invasion. Therefore, in the first half of the 15th century, the present temple was constructed on the old foundations. The foundation of this temple was laid in VS 1459 by Acharya Jinrajsurisuri of the Khartar Gacch, and the construction continued for fourteen years. Consequently, the temple was consecrated in VS 1473 by Jinvardhansuri. The credit for the construction of this grand temple goes to Seth Jayasingh and Narsingh of the Rank Goth, Oswal dynasty. The temple has two inscriptions, referring to it as "Khartarprasad Chudamani" and "Laxman Vihar." It is also described as being constructed according to "Vastu Vidya" (architecture).

The Sambhavnath Temple is globally renowned for its vast collection of Jain manuscripts. With the guidance of Jinbhadrasuri, Chopra gotriya Sa. Hemraj and others began construction of the temple in VS 1494, which skilled artisans completed in three years. In VS 1497, Acharya Jinbhadrasuri grandly consecrated the temple, with Maharawal Vaishal himself in attendance. On this occasion, Acharya Shri consecrated 300 idols. The temple preserves a tapapattika (relief panel depicting austerities) carved on yellow stone (2 feet 10 inches x 1 foot 10 inches), created in VS 1505 by Sheta, a renowned businessman of Shankhwal gotra. The left side of the panel depicts the four auspicious moments (descent into the womb, birth, renunciation, and omniscience) of the 24 Tirthankaras, while the right side shows the niches for austerities. The lower part lists the lineage of Khartar Gacch acharyas from Udyotansuri to Jinbhadrasuri. Similar tapapattikas are found at Mount Abu. The temple's assembly hall ceiling and its bracket figures are magnificent and enchanting. The artist has beautifully adorned the false window screens on either side of the entrance with Jain Ashtamangal (eight auspicious symbols), showcasing their aesthetic sensibility. A saparikar (with attendants) idol from this temple, created by the artisan Sutradhar Sangana in VS 1518, is documented in the "Nahata-Bikaner Jain Lekh Sangrah."

The Shitalnathji Temple was built by Lansabhansa of the Daga gotra in VS 1509. A white marble panel in this temple depicts the 24 Tirthankaras, and another panel features a grand representation of the pilgrimage sites of Shatrunjay and Girnar. The Chandrapabhswami Temple is a three-story structure, with a four-faced idol on each floor. The main idol in the sanctum is of the eighth Tirthankar, Chandraprabha, consecrated in VS 1509 by Jinbhadrasuri, as per the inscription on its pedestal. This idol was commissioned by Vida of the Bhandasali gotra. Architecturally, this temple is significant, featuring abundant ornamentation and craftsmanship, including an ornamented ceiling. Structurally, it appears to be a miniature replica of the famous Chaumukha Temple at Ranakpur. The doorframe of the sanctum depicts female deities, crafted by artisans Sutradhar Lashadhira and Parbat Sura. The sculptor Sura created the standing Shiva and dancing maiden in the ardhamandap, while Dhira crafted the standing four-armed Kubera idol, suggesting they were prominent Jaisalmer artisans.

The Rishabhdev Temple was built by Dhanna, son of Ganadhar Chopra gotriya Sa. Sachcha, during the reign of Maharawal Devidas in VS 1536. The exterior base of this temple features an image of a seated Parvati, created by Sutradhar Lakshman. The temple houses a large collection of metal idols dating from the 11th to the 16th centuries. An inscription from VS 1536 on the torana of the temple's four-story section attributes its creation to Sutradhar Devadas.

The Mahavir Swami Temple was built in VS 1473 by Deepa of the Vadiya gotra, Oswal dynasty. This temple is characterized by its simple and unadorned style, which is still intact today. Inscriptions refer to this temple as "Utang Taran Jain Prasad" and "Bibhumik Ashtapad Mahatirtha Prasad." The inscription also mentions the creation of a Vishnu idol depicting the Dashavatara (ten incarnations of Vishnu) along with Lakshmi-Narayana. The installation of a Hindu deity in a Jain temple is presented as another example of religious tolerance. This white marble idol, depicting Lakshmi-Narayana as the principal deity with Varaha and Narasimha incarnations below, and a sword-wielding, horse-riding Achyuta Devi on the upper right and a seated Tirthankar on the upper left, still exists in the temple courtyard.

The Kunthunathji Temple features beautiful madaanikaas (celestial nymphs) in various postures (playing with a ball, fighting a lion, etc.) engraved on its outer walls, crafted by Sutradhar Bhoja. The ceilings and eaves of the various halls of the Shantinath Temple are particularly noteworthy. The Adinath Temple was also constructed in the same year as the Shantinath Temple.

While Jaisalmer city has many Jain temples, derasars (temples), upasrayas (monastic residences), and manuscript collections, the three Jain temples located at Amar Sagar, approximately 6 kilometers from the city, are considered exceptional examples of fine art in the vast desert. Although not as old, they are remarkable for their excellent craftsmanship. These temples are dedicated to Lord Adishwar as the main deity and represent notable examples of refined 19th-century temple architecture. One temple was built by the Panchayat in VS 1903 during the reign of Maharawal Ranjit Singh. The construction of the other two temples is attributed to the renowned Baapna Seths of Jaisalmer, whose Patwon Ki Haveli is famous for its intricate lattice work and windows. The smaller temple was built by Baapna Sawairam in VS 1870, and the larger temple by Baapna Himmatram in VS 1929. The consecration of both these temples was performed by Acharya Jinmahendrasuri of the Khartar Gacch. The craftsmanship of the balconies and windows is unparalleled, and the sculptures depicting scenes from daily life are outstanding examples of 19th-century Rajasthani sculptural art, showcasing Jaisalmer's artistic prosperity.

The Shantinath and Ashtapadji Temples, built within the same courtyard in Jaisalmer fort, are excellent examples of fine art. These are two-story structures, with Shantinath on the upper floor and Kunthunath, the 17th Tirthankar, in the Ashtapadji temple below. Both temples share a single inscription in Rajasthani, indicating their construction and consecration in VS 1536 by Acharya Jinsamudrasuri of the Khartar Gacch. The builders were two influential businessmen, Peta of the Sankhvalechha gotra and Pancha of the Chopra gotra, who had familial ties. Sanghvi Peta had undertaken numerous pilgrimages to Shatrunjay, Girnar, Abu, and other holy sites and consecrated the famous tapapattika of the Sambhavnath Temple. His son, Sanghvi Vida, installed an inscription in the temple and, in VS 1580, established metal idols of his parents, Saraswati and Sheta, on stone elephants in the temple courtyard.

The book concludes with a philosophical quote attributed to Rajendra Suri, highlighting that just as a half-filled pot or bronze plate makes noise, and a donkey brays, similarly, wicked individuals with bad dispositions become arrogant even with minor virtues due to their limited intellect and consider the entire public to be foolish.