Khajuraho Ki Kala Aur Jainacharyo Ki Drushti - Book Summary

Here's a comprehensive summary of the Jain text "Khajuraho ki Kala aur Jainacharyo ki Drushti" (The Art of Khajuraho and the Comprehensive and Tolerant View of Jain Acharyas) by Sagarmal Jain:

The article by Dr. Sagarmal Jain explores the contribution of Jains to the art and architecture of Khajuraho and the inclusive and tolerant approach of Jain scholars during the period of the temples' construction (late 9th to early 12th century CE). This era was a golden age for Jain literature and art but also a critical period for Jain existence.

Context of the Era:

Rise of Tantra and Sensual Practices: The period saw the resurgence of Brahmanical traditions focused on worldly pursuits (pravrittimarga). Common people, disillusioned with the austere, renunciatory ideals of Jainism and Buddhism, sought religions that offered fulfillment of worldly desires alongside liberation. This led to the rise of Vaishnavism, Shaivism, Shaktism, and Kaula traditions within Hinduism, and Vajrayana Buddhism. These movements rejected strict renunciation and attracted the masses.
Threat to Ascetic Traditions: Ascetic traditions like Jainism faced an existential crisis. They had two options: either compromise their strict renunciatory ideals to align with the times or face extinction.
Fate of Other Ascetic Traditions: Hinayana Buddhism, Yapaniya Jainism, and Ajivikas, due to their adherence to rigid renunciatory principles, eventually disappeared. Mahayana Buddhism, evolving into Vajrayana, attempted to integrate with the times but became so immersed in tantric practices and rituals that it lost its distinct identity and, due to its indulgence in sensual pleasures, lost popular faith, ultimately perishing.

Jain Acharyas' Strategic Response:

Wisdom and Accommodation: Jain acharyas demonstrated wisdom by strategically adapting to the prevailing circumstances. They achieved a balance that preserved their distinct identity while avoiding conflict with the mainstream of Indian culture.
Integration with Hindu Pantheon: While upholding their ideal of detachment (vitaragata) and renunciation (nivrutti), Jains incorporated many Hindu deities, worship methods, rituals, and even tantric practices, transforming them to align with their own traditions.
Adaptation of Social Structures: They also adopted and Jainized the Hindu caste system (varnashrama) and their ritualistic practices.
Tolerance and Harmony: By exhibiting tolerance and goodwill, Jain acharyas ensured their survival.

Khajuraho's Art Through a Jain Lens:

Co-existence and Site Selection: The contemporaneous construction of Hindu and Jain temples at Khajuraho indicates a degree of harmony and co-existence. However, the significant distance (approximately 2 km) between the Jain and Hindu temple complexes suggests the Jain acharyas' foresight in choosing separate locations to prevent potential conflicts.
Healthy Competition in Art: Both traditions engaged in a healthy competition, resulting in exquisite artistic creations. Jains were mindful that Hindu temples were patronized by royalty, while Jain temples relied on merchant support. Strategic separation minimized the chances of conflict with state funding and the general public.
Similarities and Distinctiveness: While there are significant similarities in temple and sculptural art between Hindu and Jain traditions at Khajuraho, Jains did not completely abandon their unique characteristics.
Erotic Sculptures: The period was influenced by tantra and tantric practices, leading to the prominent depiction of erotic scenes in Khajuraho temples, including natural and unnatural sexual acts. While some such depictions exist on Jain temple exteriors, they are significantly fewer than on Hindu temples. This suggests Jain acharyas were cautious about the excessive depiction of lustful acts, as it contradicted their renunciatory outlook.
- The few erotic panels found on Jain temples might have been overlooked by the acharyas or accepted based on a tantric belief that such depictions protected the temple from lightning. Such motifs are also found in some Digambara Jain temples in South India and the Shvetambara Jain temples of Taranga and Ranakpur.
- Jain acharyas, in response to the era's demands, had accepted these erotic depictions as a means to attract the masses, akin to the allure of a courtesan, as advocated by Acharya Jinasena a century earlier. He stated that the outer walls of temples should be like courtesans, capable of drawing people in.
- Despite this accommodation, Jains generally remained more conservative regarding explicit erotic carvings, with some instances of attempts to deface such panels.
Incorporation of Hindu Deities: A key example of Jain tolerance and syncretism is the abundant depiction of Hindu deities within Jain temples at Khajuraho. Deities like Rama, Krishna, Balarama, Vishnu, Saraswati, Lakshmi, Kali, Mahakali, Jwalamalini, eight directional guardians, and the nine planets are frequently sculpted.
- Many of these deities were incorporated into the Jain pantheon centuries before the Khajuraho temples were built. Rama, Lakshmana, Krishna, and Balarama were recognized as Vasudeva and Baladeva (Shalaka Purushas), while Saraswati, Kali, and Mahakali were considered Vidyadevis or Yakshinis of Jinas. The Navagrahas, Ashtadikpalas, and Indra were also established within the Jain pantheon and worshipped.
- Jain acharyas, however, maintained the supremacy of the Tirthankaras and accepted these deities as subordinate divine attendants of the Jinas.
One-Sided Tolerance? The article notes that while Jain temples feature depictions of Hindu deities, the author is unaware of any depiction of Jain Tirthankaras in Hindu temples at Khajuraho, except perhaps in rare instances of Dasavatara panels that might depict Buddhist or Jain figures. The author urges scholars to consider whether this tolerance and syncretism were one-sided or mutual.

Depictions of Jain Monks in Hindu Temples:

Questionable Portrayals: The depiction of Digambara Jain monks in Hindu temples at Khajuraho warrants reconsideration. The author refers to a sculpture in the Jagadambi temple showing a Jain monk surrounded by two seductive women and another in the Lakshmana temple depicting a monk engaged in sexual intercourse, with an inscription "Shri Sadhu Nandikshapanaka" on its pedestal. Another depiction shows a monk with an erect phallus, with a Hindu ascetic touching it.
Dr. Tripathi's Interpretation: Dr. Lakshmikant Tripathi interpreted these as representing the Jain monks' indulgence in sensuality and societal resentment towards them, citing the Prabodhachandrodoya play which portrays Jain monks negatively.
Author's Counter-Argument: Dr. Sagarmal Jain disagrees with this interpretation, arguing that these depictions were intended to tarnish the social reputation of Jain monks. He contends that the Prabodhachandrodoya is a biased source aiming to portray Jain and Buddhist monks as degenerate.
Jain Monks' Resilience: The author asserts that Jain monks, while having moved from forest-dwelling to monastic life for the preservation of the Sangha, and adopting tantra and arts to remain relevant, did not fundamentally abandon their strict asceticism. They did not embrace licentious practices like the Kapalikas. The depictions at Khajuraho are attributed not to actual moral decline but to religious rivalry and intolerance.
Religious Rivalry: Dr. Tripathi himself acknowledges that these sculptures suggest religious rivalry and conflict, rather than solely amity.
Lack of Reciprocal Criticism: The author questions whether similar hostile depictions of Hindu ascetics exist in Jain temples. He believes that, with few exceptions, such portrayals are absent in Jain temples, reflecting the Jain acharyas' magnanimous and tolerant outlook.
Jain Critiques of Hinduism: While acknowledging that some Jain acharyas critiqued Hindu traditions (e.g., in Dharma-Pariksha) and satirized sensual deities, the presence of numerous Hindu deities in Jain temples at Khajuraho, often depicted with their consorts, demonstrates the Jains' broad-mindedness.
Social Standing and Control: The author argues that if Jain monks were as morally corrupt as depicted, they would not have been respected by figures like King Dhanga and would not have wielded such influence. The strict disciplinary measures within the Jain order, including excommunication of errant monks, ensured their moral conduct. The portrayals in Hindu temples are seen as attempts at character assassination fueled by envy.
General Hindu Tolerance: The author emphasizes that the general Hindu society was always liberal and tolerant towards Jains. It was primarily the Kaula and Kapalika sects, driven by envy of the Jain monks' moral integrity, who exhibited intolerance and whose influence is seen in these specific artistic depictions.
Interpretation of the "Namaste" Scene: The panel showing a monk with folded hands in the face of aggression can also be interpreted as a testament to the Jain monk's patience and tolerance.
Inherent Jain Values: The principles of anekanta (non-absolutism) and ahimsa (non-violence) fostered a natural inclination towards accommodation and tolerance in Jain monks, which is evident in the art of the Khajuraho Jain temples.

In conclusion, the article highlights the complex interplay of religious accommodation, societal pressures, and artistic expression at Khajuraho, underscoring the sophisticated and pragmatic approach adopted by Jain acharyas to navigate a challenging era and preserve their rich heritage.