Kaladham Delwada - Book Summary

This document is the Gujarati text of a book titled "Kaladham Delwada" (કલાધામ દેલવાડા) published by Shrutnidhi, Ahmedabad in 1997 (V.S. 2053). The book is a detailed exploration and appreciation of the Jain temples at Delwada (also known as Dilwara) on Mount Abu, Rajasthan, India.

Here's a comprehensive summary of the content:

Overall Purpose and Scope: The book aims to provide a detailed and factual account of the Delwada Jain temples, focusing on their architectural brilliance, historical context, and artistic merit. It explicitly states its intention to go beyond mythological exaggerations and focus on historical evidence from inscriptions, architectural styles, and literary sources. It highlights the unique artistic achievements of the Maru-Gurjar culture in these temples.

Key Sections and Themes:

Introduction (Page 4):
- The book is presented as a complement to a series of booklets on Jain pilgrimage sites published by Seth Anandji Kalyanji.
- It mentions a previous attempt by Prof. Madhusudan Dhanki to publish a similar booklet in 1963, which did not materialize.
- The current publication incorporates this earlier draft, along with more illustrations and revisions.
- It emphasizes the book's factual, evidence-based approach, drawing from literary sources, inscriptions, and sculptural/architectural analysis, rather than myths and exaggerations.
- It acknowledges the contributions of earlier scholars like Muni Jayantvijayji and Muni Kalyanvijayji.
- The illustrations are credited to the American Institute of Indian Studies in Varanasi and Prof. Dhanki's personal collection.
Geographical, Historical, and Cultural Background (Pages 6-10):
- Arbudachala (Mount Abu): The text describes Abu as a significant confluence point for the cultures of Rajasthan and Gujarat. It highlights its geological antiquity and its role as a cradle for the Maru-Gurjar culture.
- Historical Context: It traces the historical significance of the region, mentioning various ruling dynasties like the Pratiharas, Paramaras, Chahamanas, and Chalukyas. It discusses the importance of ancient towns like Bhillmal (Shri Mal), Bhinmal, Sachipur (Sanchor), Varman (Brahmanpur), and Chandravati in the cultural and political landscape of the era.
- Jain Influence: The text details the historical presence and importance of Jainism in these regions, mentioning the establishment of Jain traditions, monasteries (viharas), and the patronage by rulers and wealthy merchants. It highlights the role of Jain communities and scholars in shaping the cultural milieu.
- Chandravati: The decline of Chandravati is described, noting its past grandeur and subsequent destruction, contrasted with its former status as a "city of gods."
- Timelines: It connects the architectural developments of Delwada to the broader historical context of the 10th to 13th centuries, marking the rise and fall of empires and the construction of various temples.
- Vimal Mantri: The role of Vimal Mantri, a minister under the Chalukya king Bhimdev II, is highlighted as a key figure in the construction of the first major temple at Delwada.
The Jinālayas (Temples) - Detailed Descriptions:
- (1) Vimalvasahi (Pages 10-26):
  - Origin and Patronage: Details the construction commissioned by Minister Vimal, emphasizing his desire for expiation and spiritual merit. It narrates the legend of his childlessness and his choice of progeny over temple construction, as advised by his wife. The story of obtaining the land by producing an idol of Adinath is also recounted.
  - Architectural Features: Describes the temple's layout, including the sanctum (garbhagriha), Gudhamandapa (inner hall), Navchauki (nine-cell structure), Rangamandapa (assembly hall), Devakulikas (shrines), Vālanak (entrance porch), and Hastishala (elephant stable).
  - Construction and Materials: Mentions the use of black stone for the core structure and marble for intricate carvings, discussing the probable origin of artisans from Chandravati.
  - Artistic Merit: Extols the intricate carvings on pillars, toranas, and ceilings (vitanas). It highlights specific panels depicting religious narratives, celestial beings, and geometric patterns, deeming some of them as the pinnacle of 12th-century Maru-Gurjar architectural achievement.
  - Chronology: Discusses the likely construction phases and the contributions of various individuals like Minister Prithvipal.
  - Artistic Critiques and Defenses: Addresses common criticisms of the temples, such as overcrowding of carvings and the use of marble, and defends them by emphasizing the skill of the artisans, the context of the era, and the suitability of marble for the serene depiction of Jain Tirthankaras.
  - Specific Examples: Illustrates various architectural elements with references to specific figures and their placement, like the Chamardharini (fly-whisk bearer) on the Hastishala pillar and the various ceiling designs (vitana).
  - Damage and Restoration: Mentions the destruction by Muslim invaders in 1312 and the subsequent restoration in 1322.
- (2) Lunvasahi (Pages 26-32):
  - Patronage: Attributes its construction to Tejpal, the younger brother of Minister Vastupal, in memory of his son Lunsingh (or Lavanyasingh), though some traditions mention his elder brother Lunig.
  - Architectural Comparison: Notes its similarity in layout to Vimalvasahi but highlights differences in scale and stylistic evolution. It points out the shift in architectural trends towards greater ornamentation and delicacy in the 13th century, evident in this temple.
  - Artistic Achievements: Focuses on the refined proportions, intricate carvings, and the famous Vitanas (ceilings), particularly those in the Rangamandapa and Chauki. The hall of 32 apsaras and the geometric patterns are singled out for praise.
  - Craftsmanship: Praises the balanced composition and the detailed execution of the carvings, suggesting the direct influence of contemporary Karnataka or earlier Chalukyan styles.
  - Vastupal-Tejpal's Legacy: Emphasizes their role as patrons of art and architecture, contributing significantly to Gujarat's cultural heritage.
  - Damage and Restoration: Mentions its damage during invasions and restoration in 1722.
- (3) Bhimsinhvasahi (Pittalhar Jinalaya) (Pages 32-34):
  - Chronology and Patronage: Describes this as a later temple, initiated by Bhimsingh of the Gurjar community in 1327-1333, with later additions and modifications by the Tapagachha sect and the minister Sundar.
  - Unique Feature: Noted for its brass (Pittal) idol of Adinath.
  - Incomplete Construction: Highlights that the temple remained unfinished, with several planned sections like the Rangamandapa and Hastishala not being completed.
  - Architectural Style: Mentions that the existing parts, particularly the Navchauki, show influences from Lunvasahi.
- (4) Khartarvasahi (Pages 34-35):
  - Patronage and Construction: Attributes it to Mandalika of the Keshava dynasty and details its consecration in 1459 by Jinachandrasuri of the Khartar Gachha.
  - Architectural Features: Notes its four-faced (Chaturmukh) sanctum, the use of a layered roof (samvarana), and decorative mandap with sculptured walls.
  - Artistic Influences: Points out the influence of Lunvasahi on its pillars and decorative elements, with notable carvings in the mandapas, especially on the west and north. It acknowledges that 15th-century architecture could not match the finesse of the 12th-13th centuries but still showcased significant advancements.

Concluding Remarks (Page 35): The book concludes by reiterating the profound impact of the Delwada temples, not just as Jain places of worship but as enduring monuments to the elevated culture of Maru-Gurjar society, where religion, art, and wealth converged. It acknowledges the extensive scholarly work done on these temples by various researchers and art historians, both Indian and Western, while also touching upon some critical perspectives regarding the density of carvings and the medium of marble. The author defends the artistic choices, highlighting the skill of the architects and the successful integration of art within the architectural framework.

Overall Tone and Style: The book is scholarly, detailed, and appreciative of the artistic and historical significance of the Delwada temples. It uses descriptive language to convey the grandeur and intricate beauty of the architecture and sculpture. It provides historical context and architectural analysis, making it a valuable resource for anyone interested in Jain art and architecture.