Prasiddh Kala Tirth Ranakpur

Here's a comprehensive summary of the provided Jain text about Ranakpur, translated into English:

Book Title: Prasiddh Kala Tirth Ranakpur (Famous Art Pilgrimage: Ranakpur) Author: Dr. Chetanprakash Patni

This text, from the "Z_Deshbhushanji_Maharaj_Abhinandan_Granth_012045.pdf," delves into the significance of Ranakpur as a paramount Jain art and pilgrimage site, highlighting the integral role of art within Jainism.

Core Philosophy of Jainism and Art:

The author begins by stating that the ultimate aim of Jainism is human perfection, where the worldly soul becomes the divine. Jainism inspires individuals to manifest their inherent divinity through self-realization, offering support in this endeavor. While Jainism is characterized by strict discipline, restraint, renunciation, and penance, art is presented as a sacred means to achieve divinity and a sense of oneness with it. Jain followers have consistently fostered various forms and styles of fine arts.

Jain art, though primarily subservient to religion, has also been instrumental in softening the rigor and austerity of spiritual practice, making it more accessible and appealing. The development of devotional, emotional, and popular expressions of faith necessitated the creation of countless artistic and architectural marvels. Jain people have invested immense labor and wealth in their creation, striving to make them increasingly beautiful and captivating. The essence of Jainism is clearly reflected in Jain art, which not only evokes an appreciation for beauty but, more importantly, inspires feelings of self-sacrifice, peace, equanimity, and tolerance.

Jain Pilgrimage Sites as Repositories of Art:

While art and architectural works in diverse styles are scattered throughout India, Jain pilgrimage sites (Tirth Kshetra, Siddha Kshetra, Atishaya Kshetra, etc.) are particularly true treasure troves of art. The locations chosen for these sites are often atop mountains or in secluded valleys, away from the dazzle of materialism and the hustle and bustle of worldly life, or in serene, green plains. These settings are conducive to spiritual contemplation and unwavering meditation, purifying the soul and revealing its inherent purity. These sacred places and the artistic "Jinalayas" (temples) and divine idols housed within them are living memorials to liberated souls and great beings.

Purpose of Jain Devotion:

It's crucial to clarify that devotion in Jainism is not for worldly aspirations or to ward off earthly calamities. The fundamental Jain belief is that individuals experience the fruits of their own happiness and sorrow, their own merits and demerits, without divine intervention. Therefore, the objective of all Jain religious activities is self-purification. Liberation from karmas (mental, material, and resultant actions) and the attainment of the divine state are possible only through achieving self-purification. Pilgrimages to Tirthakshetras, Siddhakshetras, Atishayakshetras, and holy places are undertaken with this very purpose, aiding in the accumulation of merit and self-purification.

Jain Contribution to India's Cultural Heritage:

The text emphasizes that Jain followers have made significant contributions to enriching India's glorious cultural heritage, arguably leading in this domain as well. They have enriched India's cultural treasury with innumerable works of art and architecture. Many of these creations are so grand and artistically exquisite that they are unparalleled, serving as their own benchmarks and evoking admiration. Even supposedly self-aware foreign travelers have acknowledged this fact.

Ranakpur Temple: A Jewel of Jain Art and Architecture:

The Ranakpur temple, known as Trailokya Deepak Teerthadhiraj, Shri Chaturmukh Yugadishwar Vihar, is presented as a vibrant depiction of Jain art and religious sentiment. It is hailed as a supreme symbol of Indian architectural art, proudly showcasing the developed art of the 15th century. Thousands of Indian and foreign tourists visit this grand temple annually. It holds a prominent place among Jain temples constructed in the West Indian 'Middle Style' characterized by its shikhar (spire).

Location and History:

Located in Rajasthan, six miles south of Sadri amidst the picturesque valleys of the Aravalli range, its nearest railway station is Falna on the Delhi-Ahmedabad main line. The Ranakpur Jain temple was consecrated in 1436 AD. Its construction was commissioned by Dharana Shah Porwal, a Jain follower, under the guidance of the architect Depak. An inscription at the entrance of the Sukhmandap reveals the significant contribution of Rana Kumbha, a great patron of art and architecture, to the construction of this magnificent Choumukha (four-faced) temple. Rana Kumbha ascended the throne in 1460 VS (Victorian Calendar), during whose reign sculptural art flourished. The Kirti Stambha and Vijay Stambha in Chittor, this temple in Ranakpur, and the Kumbhashyam temple in Abu are prime examples of his artistic patronage.

The inscription "Pragvatavanshvatans Sanghapati Magan Sut San. Kurpal..." mentions the name 'Ranpur', indicating that the name was derived from Rana Kumbha. 'Ran' is a part of Rana's name, and 'pur' is a shortened form of Porwal. Combining both names, 'Ranpur' was established. While 'Ranpur' is the pure pronunciation, it has become colloquially known as Ranakpur or Rankapur.

Temple Architecture and Features:

The temple covers an area of 3716 square meters and features 26 large rooms and 420 pillars, showcasing an ambitious architectural plan. The temple is also known by the name 'Trailokya Deepak'. Two annual fairs are held here: one on the tenth day of the dark fortnight of Chaitra and the other on the thirteenth day of the bright fortnight of Ashwin. Descendants of Dharana and his brother Ratna consider it their birthright to perform worship with saffron and attar, offer aarti, and hoist flags on fair days.

Other inscriptions within the temple provide information about its builders and renovation periods, but the exact date of its foundation and the duration of its construction remain unknown. According to popular belief, the temple took forty years to complete. No inscription details the total expenditure. Colonel Tod, a renowned historian of Rajasthan, stated in his book 'Annals and Antiquities of Rajasthan' that the temple cost lakhs of rupees and that Rana Kumbha contributed 80,000 rupees from his treasury, with the rest raised through donations. However, Tod did not cite the basis for this statement, and it appears debatable as he himself had not visited the temple.

Inscriptions indicate that Jain laypeople undertook renovation work periodically. The temple was not in its current complete state initially. The descendants of Dhanna and Ratna, along with other Jain followers, constructed and consecrated Tirthankara idols at various times, guided by contemporary Jain acharyas. The construction, consecration, and renovation activities continued until approximately 1600 VS, and renovation work is ongoing.

Materials and Design:

The exterior of the four-faced temple utilizes two types of stone: Sevadi stone for the flooring and Sonana stone for the walls. All idols, except the main Chaturmukh idol, are made of Sonana stone. The tall shikhar of the temple is constructed from bricks. The term "Chaturmukh" signifies four idols facing the four directions, back to back. These are idols of the first Tirthankara, Bhagwan Adinath, made of white stone. Each idol has a large doorway in front of its face, with the main entrance facing west. Behind it, there is exquisite carving. The main garbhagriha (sanctum sanctorum) is square. The first floor also houses a similar temple with four idols and four doorways in each direction. The stairs leading to the second floor, made of a single stone, are remarkable.

In the ground-level temple, each doorway is preceded by a small sabhāmandap (assembly hall) instead of a garhāmandap. The main mandap of the temple features a larger temple, and each sabhāmandap is followed by a smaller shrine. Thus, there are temples in all four corners, in front of which are clusters of four domes supported by 420 pillars. There are 56 dehris (small shrines or cells) without dividing walls, intended for installing separate idols. The large dehari in the northwest of the temple features carvings of Sammed Shikharji. A single slab depicts carvings of the Girnar and Shatrunjaya hills. Outside the temple, the idol of the 23rd Tirthankara, Bhagwan Parshvanath, with a serpent's body, is a notable sculptural representation.

There are also exquisite and artistic carvings elsewhere. The carving on the ceiling of the mukhmandap upon entering the main temple is particularly noteworthy, depicting the phases of the moon in a single slab. The two torana gateways of the rangmandap (dance hall) are made of a single stone, showcasing vibrant art. Dancing figurines adorn the circumference of the rangmandap dome. The temple is also said to have eighty-four tahkhanas (basements) extending far underground. Currently, the temple's management is overseen by the prominent Jain institution, Anandji Kalyanji Pedhi. Its chief has invested several lakh rupees in the temple's renovation, yet much work remains to be done. Ranakpur was once a large settlement, and excavation in the area could yield significant historical material and shed new light on the temple's history.

European Scholars' Appreciation:

European scholar Sir James Fergusson, deeply impressed by the temple's artistic composition, wrote in his book 'History of Indian and Eastern Architecture': "Not just one part of this temple, but its entire form is unique. The temple's base is elevated significantly from the ground, making the temple appear very tall. Each pillar of the temple is decorated differently; no two of the 420 pillars share the same design. The sculptor's chisel has worked so beautifully that it has achieved ivory-like carving in stone. As far as I know, there is no other temple or building of this caliber in India where such beautiful and impressive work has been done on the pillars. The area covered for the temple's construction is 3716 square meters, comparable to medieval European churches, yet in craftsmanship and beauty, this temple far surpasses them."

Every slab and stone of the temple is a living testament to 15th-century art. The author concludes by stating that the pen lacks the power to describe the art of this unique art pilgrimage, as it cannot express the joy that arises in the heart from direct visual experience. He then quotes a Sanskrit verse expressing reverence for the divine temples built by humans.