Madhya Bharat Ka Jain Puratattva

Here is a comprehensive summary of the provided Jain text, "Madhya Bharat ka Jain Puratattva" by Parmanand Jain, in English:

The book, "Madhya Bharat ka Jain Puratattva" (Jain Archaeology of Central India) by Parmanand Jain, explores the rich Jain heritage and archaeological findings in the Central Indian region. The author emphasizes that Jainism is an ancient and independent religion, predating Buddhism, and its presence is supported by references in Hindu scriptures like the Vedas.

Key Themes and Arguments:

• Ancient Origins of Jainism: The text highlights the deep antiquity of Jainism, tracing its roots to the proto-historic period. The discovery of meditative yogi figurines at Mohenjo-daro is presented as irrefutable proof of Jainism's ancient origins. Jainism is described as representing the tradition of "Vratyas" and "Shramanas" during the Vedic era. The first Tirthankara, Adinath (also known as Adibrahma, son of Nabhi), is credited as the founder, with his praise found in the Vedas. His son, Bharat Chakravarti, is credited with naming the country "Bharatvarsha."

• Importance of Archaeology: The author stresses the critical role of archaeology in understanding Indian history and specifically the significant contribution of Jain archaeology to Madhya Pradesh. The architectural styles, artistic embellishments, temples, sculptures, inscriptions, copper plates, and eulogies found in Madhya Pradesh provide valuable material related to Jain history.

• Jain and Buddhist Parallels and Distinctions: While acknowledging the abundance of archaeological material from Hinduism, Buddhism, and Jainism, the text points out unique artistic elements within each religion. It notes that stupas and Ayagapattas are found in both Jain and Buddhist traditions, with some Jain stupas being mistakenly identified as Buddhist. Ayagapattas, like those found at Kankali Tila in Mathura, are highlighted for their unique characteristics.

• Challenges in Preserving Jain Heritage: The author notes that while Madhya Pradesh has a wealth of medieval Jain architecture (Kalachuri and Chandela periods), older structures are rare, likely due to destruction and burial. The lack of robust Jain community organizations in later periods has also hindered the collection and preservation of valuable historical and cultural materials. The text also mentions a scarcity of comprehensive Jain scriptural collections ("Shastrabhandars") in Madhya Pradesh compared to regions like Rajasthan, Gujarat, South India, and Punjab, attributing this to the limited influence of the Bhattarakiya tradition in some areas.

• Key Archaeological Sites and Their Significance:

  • Khajuraho: Celebrated as a prime example of Chandela-era art, Khajuraho, originally known as "Khajurpur," boasts magnificent sculptures and temples. The southern-eastern part of Khajuraho is particularly noted for its Jain temples, including the Ghantai temple (famous for its bell motifs), Adinath temple, and Parshvanath temple. The temples generally follow the Arya-Nagar style of architecture. The text mentions an inscription from Samvat 1011, indicating the Parshvanath temple predates King Dhanga's reign. The 14-foot-tall idol of Lord Shantinath is described as a symbol of peace and a masterpiece of artistry. Inscriptions detailing the installation of idols by various patrons from the 11th to 13th centuries are also discussed.
  • Mahoba: Historically known by names like Kakpur, Patanpur, and Mahotsavpur, Mahoba was the capital of the Chandela dynasty for a period. It is mentioned that many Jain sculptures dating around Samvat 1200 were found here. The text cites inscriptions from the 12th and 13th centuries, indicating the presence and patronage of Jainism by rulers and merchants like King Jayavarma and Madanvarmadeva.
  • Deogarh: Located on the Delhi-Mumbai railway line, Deogarh is identified as a significant Jain archaeological site. Its ancient name was "Lucchagiri" or "Lachchagiri," as evidenced by an inscription from Samvat 784 (919 AD) mentioning King Bhojadeva of the Gurjara-Pratihara dynasty. The city's name changed to "Kirtigiri" in the 12th century and later to "Deogarh." The site features numerous Jain temples (31 mentioned), sculptures, and inscriptions. Notable among these are the temples with depictions of the Tirthankaras' mothers in dreams, the Sahasrakuta Chaityalaya, and the grand Shantinath temple with a 12-foot-tall idol. The architectural style is described as Arya-Nagar, which developed during the Gupta period and flourished under the Gurjara-Pratihara and Chandela dynasties. The site also showcases Hindu and Buddhist relics, signifying it as a confluence of cultures. The text highlights the discovery of around 200 inscriptions, 60 of which include dates ranging from 552 AD to 1876 AD. The Gupta-era Vishnu temple at Deogarh is also described as a significant architectural marvel.
  • Ahar: Situated in Bundelkhand, Ahar (previously "Madanesagarpur" during the 11th to 13th centuries) was another important center of Jainism. The inscriptions found here reveal the presence of various Jain communities like Jaiswal, Khandelwal, Parwar, etc. The period from the 11th to 13th centuries saw a flourishing of Jain culture here, with numerous idols and inscriptions. The text notes that if excavation were conducted, more ancient Jain cultural remains might be discovered. It also discusses the religious activities of influential families and their patronage of Jain temples and idols.
  • Gwalior: Known by various names like Gopaalyu, Gopaadri, Gopaachal, and Gopalgarh, Gwalior holds immense historical significance due to its fort and the rich archaeological material of Hindu, Jain, and Buddhist origins found there. The fort's existence is traced back to the 6th century AD, with mentions in inscriptions from the Surya temple and the Chaturbhuj temple. The Kacchapaghat ruler Vajradaman, a devotee of Jainism, is credited with establishing a Jain idol in 1034 AD. The Tomar dynasty, ruling from 1398 to 1536 AD, is noted for its patronage of Jainism, with rulers like Dungar Singh and Kirti Singh showing great devotion. During their reign, Jain sculptures were actively carved within the fort. The text mentions a significant influx of inscriptions and literary works, including the composition of "Yashodhar Charit" under the patronage of a Jain minister. The author laments the destruction of naked Digambara Jain idols on the rocks near the Urvahi gate by Babur. The Gwalior Museum houses important Jain artifacts, including a Gupta-era Khadgasana (standing) idol and an inscription from Bhimpur (Samvat 1318). The "Baba Bavdi" site is also mentioned for its Jain sculptures, many of which have been defaced.
  • Dub Kund (Chadobh): This site is noted for its Jain sculptures and inscriptions, dating from the 11th to 13th centuries. It was an important center during the Kacchapaghat rulers. The text mentions the presence of five Digambara Jain Acharyas and inscriptions related to their lineage and activities.
  • Udayagiri: Located near Bhilsa, Udayagiri features rock-cut caves, with cave numbers 1 and 20 identified as Jain. Cave 20 contains a significant Gupta-period inscription from 425-426 AD, detailing the installation of a statue of Lord Parshvanath by Shankar, a disciple of Acharya Gosharmuni.
  • Narwar: Also known as Nalagiri and Nalpur, Narwar has a history intertwined with Gwalior. The text outlines its control by Kacchapghatas, Pratiharas, and later rulers. Jain sculptures and inscriptions from the 13th and 14th centuries have been found here, indicating the presence of Jainism. A notable inscription from Bhimpur (Samvat 1318) provides information about the Jajjayel dynasty and their Jain patrons.
  • Suhaniyan: Mentioned as a former center of Jain culture, Suhaniyan yielded inscriptions dating from the 11th to 15th centuries.

• Artistic and Religious Significance: The book emphasizes that the art found in these sites, particularly the sculptures, reflects the spiritual depth and devotion of the Jain community. The artistic representation of Tirthankaras, Yakshas, Yakshinis, and guardian deities showcases the rich iconography and aesthetic sensibilities of Jain art. The coexistence of Jain and Hindu iconography at sites like Deogarh highlights a period of religious tolerance and cultural exchange.

In essence, "Madhya Bharat ka Jain Puratattva" is a detailed exploration of the archaeological landscape of Jainism in Central India, underscoring its historical depth, artistic contributions, and the challenges faced in its preservation and study. The author aims to bring to light the significant but often overlooked Jain heritage of the region.