Maladevi Temple Of Gyaraspur

Here is a comprehensive summary of the provided Jain text, "Maladevi Temple of Gyaraspur," by Krishna Deva:

Overview:

The Maladevi Temple at Gyaraspur, situated in Madhya Pradesh, is a significant archaeological site, partly rock-cut and partly structural. Perched on a hill slope and supported by a retaining wall, the temple faces east. It is a "sandhara prasada" (temple with an ambulatory) comprising an ardha-mandapa (entrance porch), mandapa (hall), antarala (vestibule), and a sanctum. The sanctum is topped by a curvilinear shikhara (spire) adorned with an amalaka and kalasa.

Exterior Architecture and Decoration:

The temple's exterior is richly ornamented with relief carvings. Key decorative elements include:

• Niches: Large niches with elaborate pediments of caitya-arches and smaller niches with intricate caitya-gavaksha (chaitya window) patterns.
• Balconies: Projecting balconies also crowned with caitya-arch pediments.
• Basement Mouldings: Panels of figures, scrolls, and decorative designs on the basement mouldings. The basement features traditional mouldings (khura, khumbha, kalasha) occasionally embellished with faces or scrolls.
• Projections: The southern façade boasts six projections, three large and three small, each with niches. The eastern façade has two.
• Iconography in Niches and Panels: Niches display Dikpalas (guardians of directions) and Jaina Yakshas and Yakshinis. Relief panels feature human faces and scrolls. Architectural motifs like caitya-gavaksha and miniature shrines are used extensively for decorative effect.

The Shikara:

The shikhara is of the pancaratha type but is described as squat with a triangular appearance, lacking the elegance of Khajuraho temples. It is navandaka (clustered with eight minor spires) and decorated with caitya-gavakshas, similar to the Shiva temple at Kerakot.

South Façade:

The south façade is the best-preserved, offering insight into the original design. It features three balconies, each with a niche on the basement. The eastern balconies have more elaborate niches with ornate pediments. Buttresses flanking the balcony projections have vertical rows of niches. Pilasters within these niches are decorated with scrolls, kirtimukhas (face of glory), and vase-and-foliage designs. Some niche pediments were topped with seated lions.

Balcony Details:

The balcony railings (vedika-moulding) show miniature shrines alternating with chess patterns. The seating planks (asanapatta) are adorned with scrolls, and the seats (kaksasana) have lotus scrolls and beaded shafts.

Roof Niches:

Niches on the roof between the eastern balconies of the south façade contain images of eight-armed Chakreshvari seated on Garuda, flanked by female attendants. The niches in the corresponding north side mirror this with Chakreshvari Yakshi and Ambika Yakshi, and a seated Jina.

Outer Niches and Iconography:

The text details numerous niches on the exterior, describing the figures they contain. These include:

• South-East Corner (Jangha): An eight-armed goddess, possibly Padmayati Yakshi.
• South Façade (Jangha): A four-armed goddess, possibly Purushadatta Yakshi.
• South Façade Recesses: Niches flanking the main projections (bhadras) of the sanctum invariably feature Dharanendra Yaksha and Padmavati Yakshi. One niche shows a standing Dharanendra Yaksha, while others depict goddesses, one possibly being Manovega Yakshi.
• West Face: A niche with a two-armed Padmavati Yakshi under a serpent canopy, possibly painted. Another niche contains a four-armed goddess seated on a lotus resting on a crocodile.
• North Face: A two-armed Padmavati Yakshi under a serpent canopy. Niches below show a standing Kubera and a four-armed goddess. A niche below the north balcony features a twelve-armed goddess. Another niche on the north projection of the mandapa depicts Indra seated on an elephant. A niche below this shows a twelve-armed goddess identified as Ajita or Rohini. A niche on the north-east balcony shows a four-armed goddess. The last north-face niche features a four-armed goddess identified as Kandarpa.
• East Face: A niche on the north-east corner shows the consort of Revanta.

Interior Architecture:

• Entrance Porch (Ardha-mandapa): Supported by four pillars, with a rectangular ceiling featuring a cusped and coffered design.
• Mandapa Doorway: An elaborate pancasakha (five-banded) doorway with designs of scrolls, Nagas, mithunas, and pilasters. The lintel depicts Chakreshvari riding Garuda. The door-jambs feature Ganga and Yamuna, flanked by attendants and dvarapalas (door-keepers).
• Mandapa: Supported by four pillars. The ceiling is octagonal with diminishing courses. The inner walls have blind windows. A colossal standing Jina image is placed against the southern wall.
• Pillars: Interior pillars are similar, featuring square pedestals with figures in miniature niches. The shafts are decorated with pot-and-foliage patterns and chain-and-bell designs. The capitals are complex, with various cushion and abacus elements.
• Antarala: Supported by two pillars. The narrow ceiling is decorated with panels of flying vidyadhara couples.
• Sanctum Doorway: Resembles the mandapa doorway, with pancasakha bands and figures. The lintel and architraves are worn, but the lower architrave shows standing Jina figures.
• Sanctum: Supported by three central pillars, with a low rock-cut ceiling. The main deity is a seated medieval Jina. Loose Jina images are also present.
• Inner Ambulatory: Entered through doorways decorated with miniature shrines and figures. The southern doorway's lintel shows a flying vidyadhara. The architraves have registers of Jinas and devotees. The northern doorway's lintel depicts the Seven Mothers, Ganesha, and Virabhadra. The ambulatory has six major and minor niches on each side.

Conclusion and Dating:

The temple's sophisticated decorative and architectural elements, along with its developed iconography, suggest a late 9th-century date, marking the zenith of the Pratihara architectural style in central India.

Original Purpose:

The author strongly argues that the Maladevi Temple was originally a Jaina temple, refuting the earlier notion that it was a Brahmanical temple later appropriated for Jain worship. Evidence supporting this includes:

• The absence of purely Brahmanical deities, except for Ganesha and the Seven Mothers, who may have lost their exclusive sectarian character.
• Prominent representations of Jinas on doorways.
• The significant presence of Chakreshvari Yakshi on the mandapa doorway.
• Chakreshvari and Ambika Yakshis and seated Jina figures in roof niches.
• The consistent depiction of Dharanendra Yaksha and Padmavati Yakshi in niches flanking the sanctum's bhadras.

The text provides a detailed examination of the Maladevi Temple's architectural features, sculptural decorations, and iconographic program, establishing its importance as a key example of Jain art and architecture from the Pratihara period.