Sahitya Ane Shilp Ma Kalyantraya

This document, titled "Sahitya ane Shilp ma Kalyantraya" (Literature and Sculpture in Kalyantraya) by Madhusudan Dhaky, explores the concept and representation of "Kalyantraya" within Jain literature and art.

The term "Kalyantraya" generally refers to three of the five "Panchkalyanaks" (auspicious events) of a Jin (Jain Tirthankar). More specifically, in a particular context, it refers to the three auspicious events of the 24th Tirthankar, Lord Neminath, that took place on Urjayanta, Ujjayant, or Ujjayantaka, later known as Raivataka Parvata (modern Girnar mountain): Diksha (renunciation), Nyan (omniscience), and Nirvan (liberation). The author suggests that during the medieval period, based on scriptural literature, this specific meaning of "Kalyantraya" was intended.

The author then delves into the literary and sculptural evidence from the 13th to the 15th centuries that depict these three events symbolically or artistically. He notes that many of these "Kalyantraya" structures, though ancient, are not recognized by their original names today and are often identified by different appellations. The article aims to re-establish their true identity using medieval literary and epigraphic evidence.

Key points and findings presented in the text:

• First literary mention: The earliest mention of the "Kalyantraya" structure comes from the construction of a temple by Minister Tejpal on Girnar. This is found in the Apabhramsa text "Revatgiri Raso" by Acharya Vijayansuri, composed shortly after the consecration of Jain temples on Girnar in Samvat 1288 (1232 CE). The text describes Tejpal erecting a tall building named "Kalyantraya," pleasing to all three worlds and touching the sky.
• Further corroboration: This structure is also mentioned in Acharya Dharmakirti's Sanskrit work "Shri Girnarkalpa" (around 1294 CE), referring to a "Kalyantrayachaitra" built by Minister Tejpal near the "mekhala" (slope) of the mountain. Jinaprabhasuri's "Revatgiri Kalpa" (early 14th century) also notes this fact. Merutunga's "Prabandhachintamani" (1309 CE) mentions Tejpal visiting the "Kalyantraya Chaitya" after worshipping Neminath on Girnar. Rajshekhar Suri's "Chaturvinshatprabandha" (1349 CE) also includes "Kalyantraya" among the sacred sites visited by the minister on Girnar.
• Structure and meaning: Later mentions, particularly from the 14th century, shed light on the structure of the "Kalyantraya." Jnanachandra's "Girnar Chaityaparipati Stavan" (around 1320-1325 CE) refers to the "Kalyantraya-jinlay" having three stories and containing Chaturanan (four-faced) and Anjanabha (dark-complexioned) images of Neminath. This is the first clear indication of a three-storied structure with four-faced Neminath images in each direction.
• Symbolic representation of Neminath's Kalyanaks: Vinayaprabhopadhyaya's "Tirthmalastavan" (mid-14th century) lists the "Kalyantraya" as housing Neminath, further solidifying his central role. Hemahamsagani's "Girnar Jainprabadi" (1459 CE) provides a detailed description, stating that the "Kalyantraya Vihar" had twelve main deities in three stories, with the lower story featuring Neminath in Kayotsarga posture. This text also explicitly mentions the three Kalyanakas: Diksha, Nyan, and Nirvan.
• Architectural features: The "Kalyantraya" is described as a tall, stone structure, possibly with a "Meghnad Mandapa" or "Meghamandapa." The recent scholarship suggests it was a three-storied structure with twelve images of Neminath, with the lower story featuring four images in Kayotsarga posture, and the upper two stories with images in Padmasana. These three tiers were likely symbolic representations of Neminath's three major auspicious events.
• Physical remains and misidentification: The "Kalyantraya Chaitya" built by Tejpal still exists on Girnar, but its original name has been lost, and it is now mistakenly known as "Sagram Sonni's temple." While the original structure from Tejpal's time might not be intact within the current complex, the descriptions of the "Meghnad Mandapa" and the internal multi-level structure with seated images align with the historical accounts.
• Analogous structure: A similar architectural representation exists in the elephant stable (Hastishala) of the Luna Vasahi temple on Mount Abu, also built by Minister Tejpal. This structure features a three-tiered arrangement of Jin images, with a Kayotsarga image at the bottom, followed by Padmasana and then Paryankasana images. While not explicitly called "Kalyantraya," its description strongly matches the accounts of the Girnar structure.
• Epigraphic evidence: Two crucial epigraphic pieces of evidence support the interpretation:
  1. A "Shri Shatrunjay Shri Girnar Patt" (1451 CE) in the Dharan Vihar at Ranakpur depicts a three-part section with a Kayotsarga Jin at the bottom and seated Jins in the upper two sections, suggesting the "Kalyantraya Chaitya."
  2. A panel in the Neminath temple at Kumbhariya (approx. 1287 CE) refers to the installation of Neminath images in the "Kalyantraya." This panel, though partially damaged, shows a three-tiered arrangement.
• Origin and attribution: The author posits that while the concept of Neminath's three Kalyanaks was ancient, the symbolic architectural representation likely originated with Minister Tejpal and his sculptors. He notes that some later texts attribute the construction to his elder brother, Vastupal, but the overwhelming contemporary evidence points to Tejpal.
• Other locations: Literary evidence suggests the existence of "Kalyantraya" structures at other Jain pilgrimage sites like Shatrunjay (in the Kharatar Vasahi, 1325 CE) and Delwada in Mewar. An inscription from Jaisalmer (1462 CE) also describes a "Kalyantraya" structure with three central Chaturmukh images.

In conclusion, the article establishes that "Kalyantraya" refers to a significant architectural and symbolic representation of Lord Neminath's three auspicious events, primarily found on Girnar mountain, built by Minister Tejpal. This structure was characterized by its three stories and specific iconographic representations of Neminath, symbolizing his Diksha, Nyan, and Nirvan. The work highlights the importance of interdisciplinary research combining literature and art to understand Jain history and traditions.