Khajuraho Ki Kala Aur Jainacharyo Ki Samanvayatamaka Evam Sahishnu Drushti

Here's a comprehensive summary of the provided text, focusing on the themes of Khajuraho art and the accommodating and tolerant perspective of Jain Acharyas:

The text argues that a significant portion of the artistic development and cultural synthesis evident in Khajuraho art is attributable to the adaptable and tolerant approach of Jain Acharyas. The period of Khajuraho temple construction (late 9th to early 12th century CE) was a golden age for Jain literature and art, but also a time of existential crisis for Jainism.

The Crisis and the Jain Response:

• Shifting Religious Landscape: During the Gupta period and onwards, there was a resurgence of the "Pravritti-marga" (path of engagement and desire fulfillment) in Hinduism. People, moving away from the austere, renunciatory traditions, sought religions that could address their worldly and sensual needs while also offering a path to liberation. This led to the rise of Vaishnavism, Shaivism, Shaktism, and Kaulism in Hinduism, and Vajrayana in Buddhism. These traditions embraced worldly desires, attracting the masses.
• Existential Threat to Renunciatory Traditions: For renunciatory traditions like Jainism and Buddhism, this posed an existential threat. They had two choices: either compromise their strict renunciatory ideals to harmonize with the demands of the era or face extinction by opposing the prevailing trends.
• Jain Acharyas' Strategy of Adaptation and Tolerance: Jain Acharyas, demonstrating wisdom, established a unique synthesis with the prevailing circumstances. They maintained their independent identity and avoided direct opposition to the mainstream of Indian culture.
  • Incorporation of Hindu Deities and Practices: While preserving their ideal of non-attachment (Vitaragata) and renunciation (Nivritti), they adopted many Hindu deities and their worship practices, including Tantra, by transforming them to align with their own traditions.
  • Assimilation of Social Structures: They also assimilated the Hindu Varnashrama (caste) system and its ritualistic practices by "Jainizing" them.
  • Demonstration of Tolerance and Goodwill: By extending tolerance and goodwill, they safeguarded their existence.

Khajuraho Art as Evidence of this Perspective:

The text then examines Khajuraho's temple and sculptural art to illustrate these points:

• Co-existence and Strategic Location: The contemporary construction of both Hindu and Jain temples at Khajuraho indicates a degree of harmony and co-existence. However, the Jain temples being located about 2 kilometers away from the Hindu temple complex suggests the Jain Acharyas' foresight in selecting sites to avoid potential conflict. This was crucial as Jain temples were funded by merchants, while Hindu temples received royal patronage.
• Artistic Parallels and Jain Distinctiveness: While the temples and sculptures of both traditions share significant similarities, this does not imply that Jainism completely abandoned its unique characteristics.
  • Incorporation of Hindu Deities: Even as deities like Rama, Krishna, Balarama (as Vasudeva and Baladeva), and Yakshinis of Jinas (like Saraswati, Kali, Mahakali) became part of the Jain pantheon, Jainism retained its distinct identity.
  • Influence of Tantra and Kaulism: The era saw the pervasive influence of Tantra and Kaulism, leading to the depiction of erotic scenes at Khajuraho, which were also worshipped.
  • Erotic Sculptures: While Khajuraho temples prominently feature erotic and naturalistic depictions, Jain temples have a significantly lower quantity of such sculptures. This suggests that Jain followers were cautious and did not permit such unrestrained depictions of sensuality, as it contradicted their renunciatory path. The few erotic panels found in Jain temples are explained either as overlooked or accepted under Tantric beliefs for the temple's preservation.
• Depiction of Hindu Deities in Jain Temples: The presence of numerous Hindu deities within Jain temples is a testament to the accommodating nature of Jain Acharyas. Deities like Rama, Krishna, Balarama, Vishnu, Saraswati, Lakshmi, Kali, Mahakali, Jwalamalini, Ashtadikpalas, and Navagrahas are abundantly sculpted. This inclusion, along with the absence of Jain or Buddhist deities in Hindu temples (except for Dashavatara), highlights the inclusive approach of Jainism.
• Sculptures of Jain Monks and Controversy: The text addresses controversial depictions of Jain monks in erotic poses found in some Khajuraho temples.
  • Scholarly Interpretations: Some scholars, like Dr. Lakshmikant Tripathi, interpret these as reflecting the licentiousness of Jain monks and societal resentment.
  • The Author's Counter-Argument: The author disagrees with this interpretation, suggesting these depictions were not due to the moral degradation of Jain monks but rather a deliberate attempt by opposing groups (like Kaula and Kapalika sects) to tarnish the social reputation of Jain monks through slander and religious animosity.
  • Historical Context: The author argues that Jain monks, generally, were not as depraved as depicted, nor were they intolerant. If they were so morally compromised, they wouldn't have been respected by rulers like the Chandela kings. The text suggests these depictions were a result of envy from groups who found the strict conduct and self-discipline of Jain monks, which they themselves lacked, to be an object of jealousy.
  • Jain Monks' Tolerance: The depiction of a Jain monk with folded hands amidst the anger of his perceived antagonists can also be interpreted as a sign of Jain resilience and tolerance. The principles of Anekanta (non-absolutism) and Ahimsa (non-violence) instilled in Jain monks naturally led to adaptability and tolerance, which are evident in the art of Khajuraho Jain temples.
  • Absence of Similar Depictions in Jain Temples: The author notes that, with one exception, such depictions of Hindu ascetics are absent in Jain temples, further supporting the argument for Jain Acharyas' liberal and tolerant outlook. While some Jain texts from this era did satirize Hindu deities, the general Hindu tradition towards Jainism was one of tolerance and goodwill.

In conclusion, the text posits that the art and architecture of Khajuraho, particularly the Jain temples, serve as a powerful visual testament to the accommodating and tolerant approach of Jain Acharyas. They skillfully navigated a period of religious and social flux, integrating elements of the dominant culture without losing their core identity, thereby ensuring their survival and contributing significantly to the rich tapestry of Indian art and culture.