Prak Madhyakalin Jain Parikar Ke Khand

Here's a comprehensive summary of the provided Jain text, "प्राक्मध्यकालीन जैन परिकर के खण्ड" (Fragments of Pre-Medieval Jain Parikara) by Sumantbhai Shah:

The book, authored by Sumantbhai Shah, focuses on the "Parikara" in Jain art. The term "Parikara" refers to the decorative elements behind the statues of Tirthankaras and Yaksha-Yakshinis in Jain sculptures. In Prakrit, "Parikara" is also called "Parivar." These decorative elements make the consecrated idols more meaningful and attractive.

The author categorizes Parikaras into various types:

• For Tirthankaras: Chovisiti (24 Tirthankara) Parikara, Panchtirthi (five Tirthankara) Parikara, and Triteerthi (three Tirthankara) Parikara.
• Other Decorative Elements: Attractive aureoles (Aabhamandala), attendants holding chowries (Chamaradhari Indras), Yaksha-Yakshinis, Gandharvas and Kinnaras descending from the sky with musical instruments and worship materials, rows of animals and birds, animals like Vyala, elephants, and floral designs. Parikaras are also found for Yaksha-Yakshinis themselves.

The book highlights a particular Parikara, accession number 94.3, housed in the Atmavallabh Jain Smarak Museum. Professor M.A. Dhaki, the museum's president and an archaeologist, praised this piece, suggesting it could date back to the 6th or 7th century CE.

This specific Parikara, along with other sculptural materials, was discovered at the Vanachchhara Jain Tirth in the Vadodara district of Gujarat. The research and discovery were facilitated by the inspiration of Acharya Shri Vijay Nityanandsurishwarji Maharaj and the guidance of archaeologist Shri Umakantbhai P. Shah. The minister of the Vanachchhara Tirth mentioned that the ancient name of the site was Vachhnagar. Historical accounts in Jain literature suggest that two brothers, Hemraj and Vatsaraj, traders, came to this area. Vatsaraj is credited with building Vachhnagar, which was a significant trade center and port located on the banks of the Dhaddar River. Although it's now distant from the sea, the text speculates that the receding coastline over time is responsible for this. Vatsaraj also reportedly built 52 Jain temples here, which have been lost to time. The temple at Vanachchhara has undergone repeated renovations, and this sculptural material was found during excavations related to these renovations.

A point of discussion arises regarding the historical context: the grand Jain temple of Lord Mahavir at Osian, Rajasthan, discovered with inscriptions, was built in the 8th century by King Vatsaraj of the Pratihara dynasty. The text suggests that the Vachhnagar might also have been constructed by this same Vatsaraj. However, since the excavated Parikara is dated to the 6th century, it indicates that Jain temples were being constructed at this site even earlier.

Detailed Analysis of the 6th-7th Century Parikara:

The Parikara, made of light pink marble, comprises several elements:

• Two Pillars: The design and art of pillars have evolved over time. The pillars in this Parikara are square-based, with the upper part resembling a square lotus. The parallel lines, both raised and lowered, create the effect of lotus petals. This characteristic can be seen in circular pillars of cave temples in South India from the 5th-6th centuries, suggesting a similar dating for these pillars.
• Two Vyals: A Vyala is a mythical, lion-like creature used decoratively in Indian temples to enhance their aesthetic appeal. Typically, they are depicted standing on one or two hind legs. The significant representation of the Vyala in this Parikara is notable. While usually, Parikaras feature attendants, deities, Yaksha-Yakshinis, or meditating Tirthankaras, the prominent placement of the Vyala here points to its antiquity. In this piece, the Vyala stands on one leg with the other raised, supported by its bushy tail on the elephant's shoulder. The Vyala is depicted in a tribhanga (three-bend) posture, with legs spread sideways, the waist twisted, and the chest and face pointing forward. Both its upper limbs are spread wide, suggesting joy and service to the Lord, with its mouth fully open, implying happiness. It has deer-like horns joined to its eyebrows and a crest in between, along with proportionate ears, all indicative of joy.
• Two Elephants and Human Figures: Beneath the Vyala's spread legs, there are human figures in a devotional posture with folded hands. The proportionate and beautiful elephants below them are depicted in a state of complete surrender and gentleness, symbolizing ahimsa (non-violence) and patience.
• Two Makaras: Above the elephants, two smiling Makaras are depicted. The Makara is a mythical crocodile-like creature commonly seen in Indian architecture and sculpture, particularly with toranas (arches). These smiling Makaras face opposite directions. The figures behind them resemble rising sea waves, giving the impression of creatures emerging from the ocean.
• Aureole (Aabhamandala): Aureoles are a common feature in Brahmanaical, Buddhist, and Jain art and architecture, representing divine radiance behind a sacred figure. This Parikara features a particularly beautiful and special aureole between the two Makaras. It is depicted with wave-like figures rising upwards and meeting at the central point, balanced and proportionate. These specific figures are not found in other aureoles. The central part of the aureole contains a circle, within which is a lotus with open petals. Inside this lotus, there's another circle, and within that, a smaller circle, surrounded by radiating lines resembling sunbeams, suggesting a solar depiction. The unique characteristics of this aureole further support the ancient dating of the Parikara.

The author concludes by emphasizing that although this Parikara is composed of limited and simple elements, its craftsmanship is powerful and skillfully executed by master artisans, making it noteworthy as a piece of sculptural art.