Madhyapradesh Ki Prachin Jain Kala - Book Summary

Here's a comprehensive summary in English of the provided Jain text, "Madhyapradesh ki Prachin Jain Kala" by Krishnadatta Bajpai:

This article, "Ancient Jain Art of Madhya Pradesh" by Prof. Krishnadatta Bajpai, highlights the significant role of the central region of India in the development of fine arts from prehistoric times to the medieval period. The text details the historical and artistic contributions of Jainism to Madhya Pradesh, focusing on key sites and evolving artistic styles.

Early Artistic and Religious Landscape:

Cave Paintings: The Vindhya valleys north of the Narmada River served as early dwelling places for primitive people who adorned cave walls and ceilings with paintings, offering insights into their daily life.
Trade Routes and Patronage: Major trade routes passed through the region, connecting important ancient cities like Kausambi, Bharhut, Eran, Gyaraspur, Vidisha, and Ujjain. Along these routes, merchants and travelers commissioned the construction of temples, stupas, and rest houses. Many of these sites have yielded significant Jain monuments and artifacts. Tumain, Devgarh, Chanderi, Thaboun, Ahar, Vidisha, and Khajuraho emerged as prominent centers of Jain architecture and sculpture. The spread of Jainism in the medieval period is attributed to the patronage of merchants who funded numerous Jain temples, monasteries, and sculptures, and encouraged scholars.
Early Religious Coexistence: While Bharhut and Sanchi are known for early Buddhist art, and Vidisha, Eran, Bhumra, and Nachana saw the development of Vaishnavism and Shaivism from the Mauryan to the Gupta periods, Jainism also had a notable presence.

Jainism's Early Presence and Artistic Influences:

Vidisha's Significance: Jain traditions speak highly of Vidisha, where the worship of Lord Mahavir as "Jivantaswami" (Living Lord) is believed to have originated. It's said that King Pradyota of Avanti brought this idol from Sheruk (Sindh-Sauvir region) and installed it in Vidisha, where grand chariot processions were held in its honor.
Ujjain's Role: Jainism's early propagation in Ujjain is also mentioned in texts like the 'Kalkacharya-Kathanak'.
Shunga-Satavahana Period (2nd Century BCE to 200 CE): Yaksha worship was prevalent in Vidisha, with significant Yaksha and Yakshi sculptures discovered there. The worship of Naga (serpent deities) was also widespread in Vidisha, Padmavati, and Kantipuri, with Naga and Nagini idols depicted in both symbolic and anthropomorphic forms.
Shaka-Kushana Period (1st Century BCE to 2nd Century CE): Mathura flourished as an art center, experiencing remarkable development in both Jain and Buddhist religions. Early Jain and Buddhist artworks and Vedic-Puranic deity sculptures from Mathura are notable for their iconographic significance. A remarkable aspect of ancient Indian history was the peaceful coexistence and flourishing of various religions like Jainism, Buddhism, and Brahmanism in cities like Mathura, Vidisha, and Ujjain, without animosity.

Cross-Cultural Artistic Exchange and Development:

Mathura-Vidisha Connection: During the Shaka-Kushana period, the connection between Mathura and Vidisha grew significantly. After the reign of these dynasties, Naga kings ruled Vidisha. The influence of Mathura art is evident in the artworks of central Indian cities like Padmavati and Vidisha during their time. This period saw the incorporation of external forms and spiritual beauty in art, a trend that culminated in the Gupta period.
Iconographic Innovations in Mathura: Mathura pioneered the practice of assigning specific symbols (lāñchanas) to Tirthankara images. Besides the Shrivatsa mark, various auspicious symbols and Tirthankara-specific emblems were incorporated into their sculptures. Jain "Sarvato-bhadra" (four-faced) images also began to be made in Mathura from the Kushana period onwards, a practice that was emulated in other art centers.

Gupta Period and Beyond:

Ramagupta's Patronage: The discovery of three rare Tirthankara sculptures from Vidisha, inscribed in Brahmi script and Sanskrit, provided significant historical evidence. Two bore the name of Tirthankara Chandraprabha, and the third that of Tirthankara Pushpadanta. The inscriptions revealed that these sculptures were commissioned by the Gupta ruler "Maharajadhiraj" Ramagupta, the elder brother of Chandragupta II Vikramaditya. The inscriptions and numerous coins bearing Ramagupta's name have confirmed his historical existence.
Artistic Characteristics of Ramagupta's Sculptures: These three sculptures exhibit strong influence from the Mathura style, evident in their meditative posture (seated in Padmasana), anatomical proportions, and simple halos. Like early Mathura sculptures, they are carved on all sides, with attendants holding chauris (fly-whisks) on either side of each Tirthankara image. A chakra (wheel) is depicted on the pedestal. These new sculptures from Vidisha are made of local sandstone and their inscriptions resemble the Gupta-era Brahmi inscriptions from Sanchi and Udayagiri.
Continued Jain Art Production: Jain artwork continued to be produced in various parts of the region during the Gupta period. A particularly artistic sculpture of Tirthankara Parshvanatha was created in Cave No. 20 of Udayagiri near Vidisha during the reign of Gupta Emperor Kumaragupta I. A Tirthankara statue, dating to around 500 CE, was found at Sehra hill near Sahela in Panna district.

Post-Gupta and Medieval Periods:

Devgarh as a Major Center: Devgarh, in the Lalitpur tehsil of Jhansi district, witnessed a flourishing of art during the Gupta and early medieval (approx. 650-1200 CE) periods. While the famous Dashavatara temple of Vishnu was built there in the Gupta period, Jain temples were constructed on the banks of the Betwa River in the subsequent era, continuing from the 7th to the 12th centuries.
Patronage and Spread of Jainism: This construction was supported by royal patronage, as well as contributions from the business community and the general public, resulting in the creation of numerous artworks. The Acharyas of the Bhattaraka sect of Jainism played a significant role in spreading Jainism in the surrounding areas of Devgarh.
Other Jain Sites: Numerous Jain monuments and sculptures have been found at sites like Chanderi, Thaboun, Dudhai, and Chandpur, indicating the significant development of Jainism in the early medieval period. Khajuraho in the east became a center for this region, featuring not only temples but also many artistic sculptures.
Later Medieval Period (1200-1800 CE): Art continued to develop in various regions of Madhya Pradesh. Abundant Jain artifacts have been found at numerous locations such as Ahar, Bina-Baraha, Ajaygarh, Banpura, Mohnedra, Terhi, Damoh, Gandharwal, Gwalior, Gyaraspur, Bhanpura, and Badoh-Pathari.
Architectural and Sculptural Styles: The architecture of most temples follows the Nagara style, with particular attention paid to iconographic details in sculptures. Many medieval Jain artworks, like those from earlier periods, are inscribed. These inscriptions offer valuable information not only about religious history but also shed light on political, economic, social, and linguistic aspects.

Conservation Needs:

The article concludes by emphasizing the need for immediate attention to the proper preservation of the vast amount of art, which is currently scattered across various ancient sites in Madhya Pradesh, in addition to being housed in public museums and private collections.