Malva Ki Parmarkalin Jain Pratimaye

Here's a comprehensive summary of the Jain text "Malva ki Parmarkalin Jain Pratimaye" by Mayarani Arya, based on the provided pages:

The book "Malva ki Parmarkalin Jain Pratimaye" by Dr. Mayarani Arya explores the significant development of Jainism and Jain art in the Malwa region during the Paramara dynasty's rule. Alongside the prevalent Shaivism and Vaishnavism, Jainism flourished, leading to the establishment of Jain temples and the consecration of Tirthankara images.

Key Points and Findings:

• Spread of Jainism: The text highlights that Jainism had a consistent presence and growth in Malwa. According to a Jain 'Pattavali' (genealogical record of pontiffs), the 56th Jain Acharya Maghachandra propagated Jainism from Ujjain in 1083 CE. His influence led to many wealthy merchants donating to and facilitating the construction of Jain temples in Western Malwa.
• Prominent Jain Figures: Several Jain Acharyas like Amitagati, Mahasen, Dhanpal, Jindatta, and the Paramara king Vākpati Muñja are mentioned for their contributions to Jain literature and temple construction. Acharya Shri Devdhar was a prominent Acharya of the Ujjain Jain Sangh in the mid-12th century, contributing to Jain temple construction in Malwa.
• Significant Sculptures and Temples:
  • Bhojpur: A 20-foot high idol of Adinath was found here, identified by its vehicle and the Yakshini Chakreshvari. A statue of Shantinath was installed by Sagarnandi during Bhoja's reign. In the same location, during Naravardhana's rule, a person named Chillan installed a statue of Parshvanath. An inscription from Samvat 1157 (1100 CE) in the Bhojpur Jain temple mentions Chillan, grandson of Nemichandra and son of Shreshthin Rama, installing two Tirthankara images.
  • Dashpur: Statues of Ajitnath, Sumatinath, Sheetalnath, Neminath, Parshvanath (with their vehicles), and the Yakshini Padmavati were found here.
  • Gandhaval and Un: Tirthankara statues from this period are enshrined in temples here.
  • Ujjain: A relief panel depicting Mahavir in meditation shows musicians playing instruments above. The artistic composition is noteworthy. Inscriptions from V.S. 1113-1116 are found on some statues of Vimalnath, Abhinandanath, and Parshvanath.
  • Karedi: A 11th-century statue of Neminath was discovered, along with a similar statue of Adinath from the same period, adorned with the Yaksha Gomukhi and Yakshini Chakreshvari. A beautiful and artistically rich statue of Shantinath from Samvat 1242 (1164 CE) was also found here.
  • Un: A statue of Shreyansanath with its rhinoceros vehicle is attributed to the Paramara period based on inscriptions.
  • Badnawar: A sculptural panel features Neminath prominently, with four other Tirthankaras in Padmasana mudra, which is described as commendable.
  • Baroh, Gyaraspur, Suhania, Bhelsa, Gandhaval, Ashta, and Barwani: Numerous ruined Jain temples and sculptures are found in these locations.
  • Barwani: A colossal Mahavir statue, 52 gaz (approximately 52 cubits) in height, was constructed in V.S. 1233. Statues of Adinath, Sambhavnath, Padmaprabh, Chandranath, Vasupujya, Shantinath, Munisuvratnath, and Parshvanath from the Paramara period with inscriptions are also present.
• Jain Goddess Sculptures:
  • Gandhaval: Famous Jain goddesses include Padmavati, Manavi, Prachanda, Ambika, and Ashokā. Similar sculptures are found in Un.
  • Badnawar: The equestrian statue of Manavi Devi, and the statues of Ambika and Padmavati from Ujjain are particularly attractive. Four inscribed Jain goddess sculptures from Badnawar, identified as Trishladevi, Siddhayika Devi, Ankusha, and Prachanda, bear an inscription from Vaisakha Badi of Samvat 1226.
  • Jharda: A statue of an eight-armed goddess from V.S. 1227 was found holding a tree. The presence of a bull on the right suggests it might be Chakreshvari, the Yakshini of Adinath.
  • Ashta, Makhi, Pachaur, and Sakheti: Statues of Padmavati and Chakreshvari were found in these places.
  • Dashpur: The Padmavati statue from Dashpur is particularly striking in its sculptural artistry.
  • Saraswati (from Pachaur) and Sutradevi: These statues are also considered significant artworks.
  • Achayuta Devi (from Badnawar): This statue depicts the goddess on a horse, with four hands. She holds a shield in her left hand and reins in another. Two hands are broken. The goddess is adorned with jewelry. The upper niche has three Jin statues, and four small Tirthankara figures are in the corners. The statue is 3 feet 6 inches high. An inscription on the base (Samvat 1226 Vaisakha Badi) indicates that Achayuta Devi was installed in the Shantinath Chaityalaya of Vardhamanpur by members of certain families.
  • Ujjain Chakreshvari: The statue features Tirthankaras on the plaque. Chakreshvari is seated on a male figure, with eight male figures below representing the eight Dikpalas.
• Other Discoveries: Statues of Jain goddesses and Tirthankaras from the Paramara period have also been found in Neemthur, Modi, Ringnod, Jeeran, Ghusai (Mandsaur), Sonkachh, Gondalmau, Isagarh, and Narwar.
• Jain Pilgrimage Sites: Jinaprabhasuri's "Vividh-Tirthakalpa" mentions Dashpur, Kudageshwar, Manglapur for Suparshva, and Bhailaswami-garh for Mahavir as significant sites. Later, places like Barwani, Ujjain, Maksi, and Banedia gained considerable importance as Jain pilgrimage centers.
• Paramara Kings and Religious Harmony: The Paramara rulers fostered the complete development of Jain religion and art alongside Shaivism and Vaishnavism. They are recognized in Indian history as representatives of religious harmony. King Munja, the father of King Siyak, was the hero of Indian folklore. King Siyak himself took monastic initiation from a Jain Acharya in his later years. Dhara Nagari became a major center of Digambara Jainism during Maharaj Bhoja's era. Acharyas like Amitagati, Manikyanandi, Nayanandi, and Prabhachandra received honor from Bhojaraja. Even after being defeated by the religiously fanatic army of the powerful Sultan Shamsuddin Iltutmish of the Slave Dynasty, King Devpal gathered strength and demonstrated respect for all religions, offering a mantra of national unity. During that difficult time, religiously fanatical rulers were ruthlessly destroying Indian temples. However, even amidst this great destruction, the Paramara period witnessed the flourishing of Jain art and culture.

In essence, the book meticulously documents the rich artistic and religious legacy of Jainism in the Malwa region under the Paramara rulers, highlighting specific sculptures, temples, key figures, and the overall atmosphere of religious tolerance that characterized this era.