Prachin Bharatiya Murtikala Ko Mevad Ki Den - Book Summary

Here's a comprehensive summary of the Jain text "Prachin Bharatiya Murtikala ko Mevad ki Den" (Mewar's Contribution to Ancient Indian Sculpture) by Ratnachandra Agarwal:

This book by Ratnachandra Agarwal, Director of the Archaeology Museum Department, Rajasthan, Jaipur, highlights Mewar's significant contributions to ancient Indian sculpture, providing a new perspective and direction to the art form. The author draws upon extensive research, discoveries, and archaeological excavations conducted over the past 15-20 years to illuminate Mewar's rich artistic heritage.

Early Periods and Influences:

Prehistoric Era: Archaeological findings near Udaipur, Chittor, and Bhilwara indicate human activity in Mewar dating back 100,000 years, with evidence of stone tools. While no sculptural art existed then, excavations at Bagor in Bhilwara are revealing later-period materials.
Ahar Culture (c. 1500 BCE): Excavations at Ahar (ancient Ahatpur) near Udaipur, known as 'Tamravati Nagari', have unearthed artifacts dating back 4,000 years, post-Indus Valley Civilization. This period shows the influence of Indus Valley art, particularly in the imitation of "Dish on Stand" pottery. There's also evidence of Iranian influence, with pottery fragments bearing black paintings on a white surface, reminiscent of Sialk art. The Ahar culture, characterized by red and black pottery with white paintings, spread northwards along the rivers. It's now recognized as a distinct civilization. A significant male figure is depicted on a pottery piece from Gilund. Ahar also shows the use of copper, with tools and a smelting furnace found.
Shunga Period (Pre-1st-2nd Century BCE): No sculptures from before the Shunga period have been found in Mewar. However, at Madhyamika (Nandni) near Chittor, a significant Shivibijan center, Shunga-era terracotta sculptures have been discovered. A notable piece is a plaque of the standing goddess Vasudhara holding a fish, reflecting Mathura art influences and indicating connections with other Indian art centers.

Religious and Sculptural Developments:

Vaishnavism and Early Sculptures: Madhyamika held significant importance for Bhagavat Dharma. King Sarvatata, who performed an Ashvamedha Yajna, built a large enclosure for 'Narayanavatika', with inscriptions found on its stones. A stone inscription still exists, while fragments are preserved in the Udaipur Pratap Museum. Worship of Sankarshana-Vasudeva was prevalent within this enclosure, but no Krishna-Balarama sculptures from this period have been found. The author speculates that wooden images may have existed and perished, or stone images were destroyed by Muslim invaders. The mention of Vrishni heroes in the Morakuan inscription from Mathura, and the discovery of some Vrishni sculptures there, suggests that Madhyamika might have also housed stone sculptures of these deities.
Early Centuries CE: Terracotta figurines resembling Kushan pottery have been found at Ahar, including figures of Kubera and a dancer. While lacking refined artistry, these offer insight into the period. Stone pillars from Nadis (3rd century CE) indicate carving skills, but sculptures from this era remain unknown.
Gupta Period (5th-6th Century CE): This era saw a significant influence of Gupta art, with local artisans actively engaged. Inscriptions at Madhyamika mention a Vishnu temple and a 'Manorathaswami' temple. Remains of a brick temple have also been found, adorned with terracotta figures of animals, birds, floral motifs, and human heads. These terracotta plaques, some preserved in Ajmer and Pune, are crucial, though depictions of deities are less common. A large Makara-pranali (water spout) from a Gupta-era temple in Madhyamika is still extant. Other significant finds include bull capital and stone slabs, a grand torana (gateway) with Yugalakriti (paired figures) in amorous poses, and a standing Shiva holding a trident. A unique stone slab depicts the Kiratarjuniya dialogue in separate sections, a motif not found elsewhere in Rajasthan. A depiction of Natesha Shiva on a stone fragment from Madhyamika is considered the oldest representation of Shiva dancing in Rajasthani art. The presence of an amalaka (a ribbed stone disk) suggests the existence of a temple spire. These sculptural elements show similarities with art from Dashpur (Mandsaur) and Khilchipur.

Post-Gupta and Early Medieval Periods:

Matrika Worship (6th Century CE): The Ambika Temple at Jagat (near Kurawar) is described as "Rajasthan's Khajuraho." Inscriptions from this period indicate the prominence of Shakti worship. Terracotta plaques featuring goddesses with children have been found, including Aindri, Brahmanni, Kaumari, Maheshwari, and Ambika, often depicted with children. Notable finds from Ganatpur include child-rearing Aindri and Ambika holding mangoes. These figures, identified as Skanda with the Krittikas, are significant for showing the independent worship and iconography of the Krittikas who nurtured Skanda.
Shaivism and Other Deities: An Harihara idol near Bedla village (post-Gupta) is considered one of the oldest known Harihara sculptures in Rajasthan. The Tanesar site near Parsad village yielded several ancient sculptures from the 5th-6th centuries CE, including a Ganapati head and a Shakti-Kartikeya figure similar to those found in Shamlaji. Other sculptures depict motherly affection towards children, possibly representing the Krittikas.
Chittor and Medieval Art: Chittor Fort's Kumbhshyam Temple and Kalika Temple are important landmarks. The Kumbhshyam Temple's outer wall (8th century CE) features a Shiva-Parvati marriage scene and a standing Lakulisha. The Kalika Temple, originally a Sun Temple, has Sun images on its lintel and in niches. The circumambulatory path features Dikpalas, including a significant Soma (Moon) image, considered the oldest in Rajasthani sculpture. It also features Ashvin Kumar figures. The temple's outer walls depict various sculptures, including an interesting Kachhpa (tortoise) avatar of Vishnu involved in Samudramanthan (churning of the ocean).
Menal and Jain Art: The Mahavaleshwar Shiva temple at Menal (12th century CE) is a significant Chauhana art monument. Nearby, a Shiva math has an inscription from 1225 CE. The temple pillars feature ghatapallava motifs. The side shrines have Nataraja Shiva and Ardhanarishvara Shiva sculptures. A magnificent Kubera statue from the Jain tradition was found at Bansi (Bhindar region) and is now in the Pratap Museum. This statue of Kubera, the god of wealth, holds a money bag and a citron fruit. Crucially, the head of Kubera is adorned with a miniature Tirthankara image, making it distinctively a Jain Kubera.
Kalyanpur and Suryamukhi Images: At Kalyanpur, several Shaiva sculptures are preserved. A Chaturmukha Shivalinga (7th-8th century CE) depicts Shiva heads on the upper part, with Brahma, Vishnu, Mahesh, and Surya figures below. Surya and his attendants are shown in Iranian attire. A large Shiva head from Kalyanpur, also made of "pareva" stone, was displayed in European exhibitions. This head features Lakshmi and Saraswati in the ear pendants, a unique motif. Two serpent sculptures indicate the prevalence of serpent worship in Mewar. The village of Nagda (ancient Nagahrad) also had a prominent Vaishnava center in the 7th century CE.
Metal Sculpture: A bronze Tirthankara figure from Ahar, depicting meditation, is a significant early metal sculpture from Mewar.
Sun Worship: Sun worship was popular in Mewar, with several Sun temples built. The Sun temple at Daroli (13 miles from Udaipur) is a grand example, with Surasundari figures adorning the mandapa and niches.
Krishna Lila and Social Scenes: The Mira Temple at Ahar (10th century CE, mistakenly associated with the poetess Mira Bai) features interesting panels depicting Krishna Lila, including Nanda with cows, Yashoda churning curd, and Krishna stealing butter. Other panels depict merchants weighing goods and a blacksmith at work, offering a glimpse into the social and economic life of 10th-century Mewar.
Lakulisha Temple: The Lakulisha Temple at Kailashpuri (1028 CE) is a significant monument of Indian architecture. It houses a black stone Lakulisha figure in the urdhvaretas form of Shiva. A Sharada-Saraswati statue is also present.
Sas-Bahu Temple: The Sas-Bahu Temple at Nagda features sculptures of Balarama, Dasharathi Ram, and Parashurama, highlighting the emphasis on the Ram narrative. A unique depiction of Martanda Bhairava (a fusion of Surya and Shiva) is found here, with Vishnu-like attributes and Shiva's symbols. A scene of Gajendramoksha (Vishnu saving an elephant) is also present, notable for its representation in Rajasthani sculpture.
Vishnu's Forms: The book discusses various forms of Vishnu, including Narasimha-Varaha-Vishnu, which were popular from the 8th-9th centuries CE in Kashmir, Chamba, and Kangra, and became very popular in Rajasthan. The Vaikuntha Vishnu form, with horse, lion, and boar heads, is particularly noted, with examples at Bijolia and Chittor. The text suggests a significant exchange of artistic ideas between Mewar and other regions.
Ambika Temple, Jagat: This temple is praised for its artistic skill. The entrance pillars have Matrika sculptures, including Varahi holding a fish. The roof depicts Samudramanthan, and the outer walls feature amorous couples. Figures carrying "kavads" (bangles) are also depicted. The main shrine has magnificent Mahishasuramardini Durga figures. A rare depiction of Durga in male form battling a demon is found here, contrasting with similar depictions elsewhere. Other sculptures include Saraswati, Gauri, Chamunda, Dikpalas, and Surasundaris in various poses.
Durga's Attributes: A Narayani Durga idol at Jagat depicts her with all of Vishnu's weapons, embodying the ancient mythological concept. A Nrutya Ganapati (dancing Ganesha) made of white stone is another important artistic treasure from Jagat.

Later Periods and Patronage:

11th Century Onwards: The artistic tradition continued in Mewar.
15th Century Patronage: Maharana Kumbha provided significant patronage. The architect families of Jaita and Mandan were active during his reign. Jaita and his sons built the Kirti Stambha at Chittor. Mandan oversaw architectural projects at Nagda and Kumbhalgarh and authored several treatises on art and architecture. His descendants contributed to the construction of Udaipur palaces, Jagdish Temple, and the Nau Choki at Rajsamand, preserving Mewar's artistic heritage.

Conclusion:

The book concludes by emphasizing that Mewar's ancient sculptures, despite facing foreign invasions, have survived in considerable numbers and hold significant importance not only for Rajasthan but also for India's art history. The artistic tradition continued to flourish, with the patronage of rulers like Maharana Kumbha and the contributions of skilled architects like Mandan ensuring the preservation of Mewar's rich sculptural legacy.