Parasnath Kila Ke Jain Avashesh - Book Summary

Here's a comprehensive summary of the Jain text "Parasnath Kila ke Jain Avshesh" by Krishnadatta Bajpai:

The text discusses the Jain archaeological remains found at a site known as 'Parasnath Kila' (Parasnath Fort), located approximately 9 miles northeast of the Nagina railway station in the Bijnor district of Uttar Pradesh. About 3 miles east of the town of Bahadrapur, ancient ruins of a fort are visible, referred to as Parasnath Kila. The name suggests the former presence of a temple dedicated to the Jain Tirthankara Bhagavan Parshvanath. This is further supported by the discovery of a large idol of this Tirthankara in the village of Bahadrapur.

Local legends connect the fort with a king named Paras who built it. It's also linked to the ancestors of Suheldev, the ruler of Shravasti. Archaeological evidence indicates that a ruler established the fort around the 10th century CE and also constructed several Jain temples. The cause of the destruction of the fort and temples is unclear, but it's speculated to have occurred during or before the Rohilla period. Over time, the site was neglected and became overgrown.

The author, Krishnadatta Bajpai, had the opportunity to visit the site. The Uttar Pradesh government has cleared a portion of the area for cultivation, establishing a settlement called 'Kashiwala'. The residents of this settlement have leveled the land for farming and have also protected scattered ancient sculptures. A notable find by a gentleman named Sardar Ratansingh is an exquisite stone sculpture of the Jain Tirthankara Mahavira. This white sandstone idol, measuring 2 feet 8 inches in height and 2 feet in width, depicts Bhagavan Mahavira seated in meditation on a lotus-adorned pedestal. Flanking him are standing figures of Neminathji and Chandaprabhuji, all with lotus-filled aureoles. The principal idol features Kalpavriksha (wish-fulfilling tree) leaves on either side of its head. The curly hair and the three overhead chhatris (umbrellas) are also noteworthy. The chhatris are flanked by decorated elephants, behind which are artistic pillars. Below the elephants are two Vidyadharas holding garlands. Attendants holding fly-whisks are depicted on either side of the main and smaller Tirthankara figures.

The pedestal of the idol is also highly ornate, featuring a chakra (wheel) in the center with a lion on each side. Above the chakra is a Kirtimukha (a decorative motif). On one edge of the pedestal, Kubera, the deity of wealth, is depicted, and on the other side is Goddess Ambika holding a child. The lower part of the pedestal bears a Brahmi inscription stating: "Shri Viraddhaman Samidevah. Sm 1067 Ranalsutta Bharath pratima pratishthapi." This translates to: "In Samvat 1067, the idol of Shri Vardhamana Swami was installed by Ranala's son Bharath (Bharat)."

The inscription's language is not pure Sanskrit, with "Shri Vardhamanaswamidevah" being a corrupted form. The word 'Sm' likely refers to the Vikram Samvat. If this is the case, the installation date of the idol would be 1010 CE. The discovery of this inscribed idol and other contemporary sculptures from Parasnath Kila indicates that the fort was a significant center of Jainism in the 10th-11th centuries CE. It is believed that a large Jain monastery also existed there. Excavations at the site have unearthed remnants of ancient buildings. Further survey and excavation of Parasnath Kila are expected to yield more significant findings.

The partial clearing of Parasnath Kila has revealed numerous decorated bricks, artistic stone pillars, lintels, thresholds, and Tirthankara idols. Many stone slabs exhibit beautiful floral carvings. One stone depicts figures of men and women engaged in music. Key among these remains are:

Lintel (No. 1): This lintel features two lions seated on lotus flowers in the center. Above the throne, a Tirthankara is depicted in meditation. On either side are Tirthankara figures in the standing posture (Khadgasana). The central part also shows similar depictions. At the corners of the lintel, Tirthankara images in Khadgasana are carved between two pillars. All Tirthankaras have chhatris above them.
Threshold Part (No. 2): Found at the site where the large idol of Bhagavan Mahavir was discovered, this piece has a Kalpavriksha motif in the center. On each side, two deities holding auspicious pots stand in an attractive tribhanga posture. A lion figure is carved on the edge of this stone, and a similar figure was on the right corner, which is now broken.
Musical Scene (No. 3): Another threshold, found in the middle of the fort, beautifully depicts a musical scene. On one side, several figures and decorative elements are present, while on the other, a young woman is dancing expressively. On her sides are men playing mridanga (drum) and manjira (cymbals). The attire of these three figures is shown with great artistry.
Door Pillar (No. 4): Numerous beautiful door pillars have been found at Parasnath Kila. One pillar depicts Ganga standing on a makara (mythical sea creature) at the bottom. Two attendants in tribhanga posture are shown on either side, adorned with graiveyaka (necklaces), chest ornaments, waist belts with tinkling bells (kinkini), and other decorations. Floral motifs are depicted on the upper part of the pillar.
Door Pillar with Yamuna (No. 5): This pillar shows Yamuna at the lower part, riding her vehicle, the tortoise. She is accompanied by attendants similar to those on the previously mentioned door pillar. This suggests that these two pillars were part of the same doorway. The depiction of Ganga-Yamuna on door pillars is found from the early Gupta period. The great poet Kalidasa mentions the sculpted figures of Ganga and Yamuna at doorways in his work: "Mūrte ca Gaṅgā Yamune tadānīṃ sacāmare devamaseviṣātām." (Kumārasambhava 7.42), meaning, "At that time, Ganga and Yamuna in sculpted form, holding fly-whisks, attended upon the deity."
Door Pillar with Gatekeeper (No. 6): This pillar features a gatekeeper at the bottom holding a thick staff. His long beard and hair tied in a bun are noteworthy. The style resembles that found in medieval Chandel art. The upper part of this pillar displays floral ornamentation.
Lower Part of a Door Pillar (No. 7): Only the lower portion of this pillar remains, depicting a gatekeeper in a similar style to the one mentioned earlier. His attire is also similar to the previous gatekeeper.
Idol of Bhagavan Parshvanath (No. 8): This idol was brought from Bahadrapur village and likely originated from Parasnath Kila. Unfortunately, its face, hands, and feet have been damaged. This is a very large idol of the deity seated in meditation on a throne. The pedestal shows coiled serpents, and a canopy of snake hoods shelters the head. Figures of a Naga and Nagini are carved on either side. Above them are seated Tirthankara couples in meditation. Two decorated lions are depicted on the footrest. Like the previously mentioned idol of Bhagavan Mahavir, this idol is also highly artistic. It is likely the principal idol of the main temple that was built on the site of Parasnath Kila in the medieval period.

The text concludes by stating that many ancient remnants from Parasnath Kila are now scattered. The author observed several ancient sculptures in the Jain temple at Nagina, whose artistic style is consistent with the art of Parasnath Kila. Among these, a seated Tirthankara in meditation is particularly noteworthy. A part of a pillar, depicting a Tirthankara in the standing posture, is also preserved here. The author emphasizes the importance of preserving all these ancient relics. These artworks and inscriptions are valuable in understanding the development of Jainism in North India during the medieval period.