Shadhol Jile Ke Prachin Jain Kala Sthapatya - Book Summary

Here's a comprehensive summary of the provided Jain text, "Shadhol Jile ke Prachin Jain Kala Sthapatya" by Rajendrakumar Bansal, focusing on its content about ancient Jain art and architecture in the Shahdol district:

The book "Shadhol Jile ke Prachin Jain Kala Sthapatya" (Ancient Jain Art and Architecture of Shahdol District) by Dr. Rajendrakumar Bansal explores the rich historical, cultural, and artistic heritage of the Shahdol district in Madhya Pradesh, with a particular focus on its significant Jain art and architectural remnants.

Geographical and Natural Significance: The Shahdol district, located in the Rewa division, is characterized by its diverse natural landscape, including forests, mountains, caves, rivers, and valleys. It is blessed with abundant mineral resources like coal, bauxite, iron ore, and limestone. Beyond its industrial importance, the district holds significant religious and historical value, being the origin point of the sacred rivers Narmada, Son, and Juhila. Amar कंटक, mentioned in the Matsya Purana and by Kalidasa as Amrakoot, has been a spiritual and religious focal point since ancient times. The district's historical roots extend to the prehistoric era, having been inhabited by Stone Age people, evidenced by rock paintings found near Gajjvahi village.

Historical Background and Political Eras: While the Rigveda does not mention the Narmada or Vindhyas, Amar कंटक gained prominence in the Puranic period. The Vindhya region came under the control of the Satavahana kings after the Nand-Maurya period. The discovery of Kushana-era copper coins and gold coins of Chandragupta II near Bandhavgarh indicates their rule in the area.

The Kalachuri dynasty, founded by Vamaraja in the Dahal region in the mid-7th century AD, with its capital later shifting to Tripuri, significantly influenced the district. Shahdol remained under the Kalachuris until the 12th century AD. Following the dynasty's decline, the district experienced political instability until 1818, after which it was integrated into the Rewa state as a reward for loyalty during the 1857 uprising.

Kalachuri Rulers and their Patronage of Art: The Kalachuri period is particularly noteworthy for the development of art and architecture in Shahdol. The Kalachuri rulers were patrons of literature, art, and religion, commissioning numerous artistic Shiva temples. They provided state patronage to artists and art forms. Examples include the Swarna Mandir at Amar कंटक (11th century, built by Raja Karna) and the Vaidyanath Mandir at Bhedaghat (built by Raja Narsinghdev). Importantly, this patronage extended to Jain, Vaishnav, and Shaiv temples and sculptures, indicating religious tolerance and coexistence. Places like Bhedaghat, Karitalai, Bilhari, Tripuri, Panagar, and Shahdol itself became centers for the flourishing of Kalachuri art.

Kalachuri-Era Jain Architectural Art: Despite the Kalachuri rulers being predominantly Shaivites, their faith did not hinder the development of Jainism. Inscriptions from the Kalachuri period confirm the construction of Jain temples. The architectural remains of Tirthankaras and their attendant deities indicate both state and private patronage of Jain religious structures. A significant portion of the population followed Jainism, leading to the construction of grand Jain temples, rest houses, stupas, monuments, and caves for ascetics.

Numerous sites in Shahdol district, including Sohagpur, Singhpur, Anuppur, Pipariya, Ara (Kotma), Singhwara, Arjuli, Mau village, Birsinghpur Pali, Umaria, Sitapur, Barbashpur, Patharhata, Chitola, Vikrampur, Antariya, Jhagaraha, Baghwapara, Chua, Pawgaon, Lakhabaria, and Silhara, have yielded remnants of Jain architecture and sculpture, including idols of Tirthankaras and their Yaksha-Yashinis. Sohagpur, in particular, had significant Jain temples, as evidenced by the numerous Jain sculptures, including those of attendant deities, housed in the Thakur's palace. The Rewa State Gazetteer mentions that ancient Jain idols were found in a Hindu temple (Birasini Devi) in Pali. Even in Shahdol city, remnants of Jain art and broken idols can be found in places like Pandav Nagar, Rajabagh, Sohagpur Garhi, the District Collector's office, Kotwali, Shaktipith, Durga Mandir, Shahanshah Ashram, and Ban Ganga.

Jain Monastic Life and Cave Dwellings: In the early period, Jain ascetics often resided in forests and caves. During the Kalachuri era, they moved freely in this region, practicing self-discipline in secluded forests. Jain caves have been discovered in Kanadi village, as well as in Lakhabaria and Silhara (Bhalumada), containing sculptures and artifacts of Jain Tirthankaras, suggesting these were used as ashrams by Jain monks.

Jain Art through Archaeological Surveys: Renowned archaeologist Mr. Beglar conducted an archaeological survey of Shahdol district in 1873. His report highlighted the existence of Jain temple ruins, Tirthankara idols, and attendant deities in Sohagpur and its surrounding areas, suggesting Sohagpur was a major Jain center in the 10th-11th centuries.

Sohagpur Palace (Garhi): The palace contained numerous Jain sculptures, including those of Tirthankaras and Jain deities, embedded in its walls and exterior. A notable sculpture identified as that of Lord Parshvanath and his Yakshi Padmavati was found there. While most structures have deteriorated, the foundations of four Tirthankara shrines remain.
Viratashwar Temple (11th Century): This temple, constructed with red, yellow, and dark brown sandstone, is located near Sohagpur Garhi. Beglar dated it to the 11th century, contemporary with Khajuraho, and noted its architectural style, particularly its towering shikhar, resembled Khajuraho's Jain temples. The Mahamandapa houses two Jain Tirthankara sculptures.
Two Jain Temples (10th Century): Beglar observed ruins of several temples in the eastern part of Sohagpur, with two identified as Jain. A sculpture marked "Shreechandra" with a deer motif was found near one of these temples. He also noted the remains of a large temple with surrounding small cells, similar to the Chausath Yogini temples of Khajuraho and Bhedaghat.
Ancient Jain Ruins, Sculptures, and Stupa Monuments: Further north, Beglar documented clusters of ruined temples and a mound with nearby Jain sculptures. He also observed semicircular stupas, broken sculptures, and other Jain artifacts near a step-well.

Personal Observations and Key Sites: The author's personal inspection of sites like Singhpur, Kanadi, and Mau village in 1978 revealed significant Jain art.

Kanadi Jain Cave: Located in a forest about 8 km from Tetka village on the Shahdol-Rewa road, this cave, carved into sandstone, features two Jain Padmasana sculptures with Naga hoods above the main entrance, identified as Lord Parshvanath.
Mahu Village Ruins (10th-11th Century): Approximately 1 km from the village on the Shahdol-Rewa road, 15-20 ancient mounds indicate a former temple city. Jain, Vaishnav, and Shaiv idols have been found here. A large standing idol of Lord Shantinath from Mahu is now housed in the Satna Digamber Jain Mandir. Local lore suggests that a large sangha of ascetics attained samadhi in the stones of this region.
Singhpur: Located 15 km south of Shahdol, Singhpur and its surrounding villages were cultural and artistic centers from the 10th to 13th centuries. A dilapidated temple known as "Panchmadhi" still stands, featuring an artistic entrance. The remains within the temple complex, including a "Garhi," yielded numerous Jain sculptures of Tirthankaras and their attendant deities, many of which were unfortunately found in the pond, used for mundane purposes. Several archaeologists consider the Panchmadhi temples to be Jain, with depictions of Adhinath, and his attendant deities, as well as standing figures of Adhinath and Parshvanath.
Rajabagh Museum, Sohagpur: The residence of Kunwar Mrigendra Singh at Rajabagh serves as a repository for Kalachuri art and sculpture. It houses 13 Jain art pieces and pedestals, including idols of Tirthankaras and Jain deities. A notable idol of the first Tirthankara, Lord Adinath (11th-12th century), carved in white sandstone, is described in detail, along with a stone slab depicting Lord Shantinath in Kayotsarga mudra.
Archaeology of Shahdol in Dhubela State Museum: The Dhubela State Museum possesses over 50 sculptures of Jain Tirthankaras and their attendant deities, with at least 22 originating from Shahdol district. These predominantly red sandstone sculptures from the Kalachuri period represent Rishabhnath, Neminath, and Parshvanath, along with Yaksha-Yashinis like Gomeda, Ambika, Chakreshwari, and Brahma. The idol of the 22nd Tirthankara, Lord Neminath, is highlighted as a representative piece of Shahdol's Kalachuri Jain art, depicting him in Padmasana mudra with other Tirthankaras, Vidyadharas, and attendant deities.
Virla Archaeology Museum, Bhopal: An image of Ambika, a Shasan Devi of Lord Neminath, from Antara (Singhpur) village in Shahdol district, is preserved here. This 9th-10th century Kalachuri Jain art piece depicts Ambika with her children and vehicle, the lion.
Parshvanath Jain Mandir, Shahdol: This temple in the heart of Shahdol city contains 20 Kalachuri-era Jain artifacts, including idols of Adinath, Parshvanath, and Mahavir in Padmasana mudra. A small Kayotsarga mudra idol is also present. A notable 122 cm tall, unbroken idol of Lord Mahavir is considered highly auspicious, along with a 122 cm artistic idol of Lord Parshvanath with a seven-hooded serpent. An impressive idol of Lord Adinath depicting all 108 Tirthankaras in various postures is also described, dating back to the 9th-10th century.
Digamber Jain Mandir, Budhar: This temple houses ten ancient Jain artifacts, including seven-hooded idols of Lord Parshvanath and other Tirthankaras in Kayotsarga mudra. These 9th-10th century sculptures, made of red sandstone, were collected from various villages and caves in the region, suggesting the presence of Jain temples there.
Tirthankar Mahavir Museum, Shahdol: Established to preserve the district's archaeological heritage, this museum houses 35 artifacts and sculptures from the 10th-11th centuries, including an idol of Lord Adinath with accompanying Tirthankaras and divine figures.

The book emphasizes the significant contribution of the Kalachuri period to Jain art and architecture in the Shahdol district, showcasing a harmonious blend of religious patronage and artistic excellence. The detailed descriptions of various sites and sculptures provide valuable insights into the historical and cultural landscape of Jainism in the region.