Taranga Ka Prachintar Jinalaya

Here's a comprehensive summary of the provided Jain text, "Taranga ka Prachintar Jinalaya" by M.A. Dhaky, focusing on the oldest Jinnalaya (temple) of Sambhavanatha at Taranga:

The article by M.A. Dhaky focuses on the oldest Jinnalaya of Sambhavanatha located behind the more famous Ajitanatha temple at Taranga. Taranga, situated north of Vadnagar in North Gujarat, has been a renowned pilgrimage site for Nirgranthas (Jains) since the medieval period. While the Ajitanatha temple, built by the Solanki king Kumarpala, has gained significant fame in recent decades, this article delves into the history and architecture of a much older temple dedicated to Sambhavanatha, currently under the administration of the Digambara sect.

Historical Context and Disputed Claims:

• Somaprabhacharya's "Jinadharmaprabodha" (1185 CE): This text mentions that in ancient times, King Vatsaraja built a temple to the Buddhist goddess Tara, followed by a temple for the Jain Yakshi Siddhayika. It also states that the pilgrimage site later came under Digambara control, and subsequently, the Ajitanatha temple was constructed by Kumarpala.
• Author's Skepticism: Dhaky expresses doubt regarding some of Somaprabhacharya's claims. He notes the lack of any epigraphic or literary evidence suggesting that temples were built for Siddhayika in a manner similar to Bhagavati Ambika. Furthermore, there's no mention of Taranga being a renowned Śvetāmbara pilgrimage site before Kumarpala's era.

The Sambhavanatha Jinnalaya:

• Original Occupant: While the oldest temple within the Digambara community currently houses the idol of Sambhavanatha, the original presiding deity (Mulanayaka) remains unknown due to a lack of inscriptions or older literary references.
• Architectural Style: The temple is constructed in the Marugurjara style. The main sanctuary (Prasada) is of the "latina" or "ekandaka" type, a less common style in Western India after 1030 CE. It is adjoined by a "gūḍhamaṇḍapa" (inner hall) and further by a "ṣaḍcatuṣka" (six-pillared hall), as seen in the provided floor plan.
• Detailed Architectural Features:
  • Prasada (Sanctuary): The plan incorporates "karna," "pratiratha," and "bhadra" components. The base of the sanctuary ("bhitt") is now submerged under modern flooring. The pedestal ("pitha") features elements like "jāḍyakumbha" (lotus-leaved bulbous molding), "karṇaka" or "kaṇāli" (corner molding), "antarapaṭṭa" (inner molding with elephant heads), "kapotikā" or "chajjikā" (cornice), and "grāsapaṭṭī" (face molding).
  • The wall ("maṇḍovar") rises from a base ("vedibandha") consisting of a plain "khuraka" (plinth), "kumbha" (bulbous molding), "kalasha" (pot molding), "antarapaṭṭa," and "kapotapālī" (dove-shaped molding) with a "gārapāṭṭī" (decorative band).
  • The "kumbha" and "pratiratha" sections have "ardharatna" (half-jewel motifs), and the "bhadra" kumbha is adorned with sculptures.
  • The typical sculpted figures of dikpālas (guardians of directions) on the corners and apsaras (celestial dancers) on the pratirathas, usually found on temple walls, are absent here.
  • The main wall surface is plain, with "grāsapaṭṭī" as a central band and another "grāsapaṭṭī" at the upper part. However, the "bhadra" sections are decorated, featuring seated Jina images in the lotus posture with prātihāryas (eight auspicious symbols) within niches ("khātaka").
  • Above the wall are the "bharaṇī," "kapotapālī," "antarapaṭṭa," and "khuracchadya" (eaves).
  • The "latina" type of shikhara (spire) rises above the eaves. The spire's nine stories and its "padmakośa" (lotus-bud) shaped outline are aesthetically pleasing, as are the intricate latticework on the pratirathas and bhadras. The original spire has been marred by the addition of a modern "moīlāpaṭṭī yukt skandha" (spire section with a projecting molding), affecting the beauty of the neck. The neck has "āmalasāraka" and "chandrikā," but the upper "āmalasārikā" and the finial kalasha are modern.
  • The "śukanāsa" (prominent superstructure over the entrance) is characterized by a curvilinear projection with lion-headed projections ("sinha-karṇa") and features sculptures of celestial damsels (surasundarī or deities) in niches on its sides.
• Gūḍhamaṇḍapa (Inner Hall): The entire structure of the inner hall is similar to the sanctuary but slightly more extensive due to its greater width. It features a "saṁvaraṇā" (a type of decorative molding or screen), which is rare and exceptionally beautiful in Gujarat. The saṁvaraṇā is adorned with twelve large bells ("uraḥghaṇṭā"), four corner bells ("pañcaghaṇṭā"), and numerous smaller bells. The bhadra sections of the saṁvaraṇā contain niches with divine figures and attendant male and female figures.
• Ṣaḍcatuṣka (Six-Pillared Hall): This section appears to have been damaged by restoration work. The door frames of the temple and the sanctum have also undergone similar alterations. Inside the inner hall, the ceiling is of the "nābichhanda" type.

Dating of the Temple:

The architectural features, particularly the style of the "jāḍyakumbha" and "kumbha" on the pedestal and the intricate latticework and well-proportioned bells of the saṁvaraṇā, suggest the 11th century CE. The author estimates the construction period to be between 1015 and 1025 CE, shortly before Sultan Mahmud of Ghazni's invasion of Gujarat in 1025 CE.

Significance:

Despite its smaller size, this temple is considered highly valuable due to its antiquity and rarity, especially given the destruction of many 11th-century temples during Muslim invasions.

Regarding the Builders and Sect:

The article acknowledges the lack of definitive evidence about the builders and their sect. It proposes that if the builders belonged to the Mūla Saṅgha Āmnāya, then the temple being under the Digambara sect would be unsurprising. However, if it was built by the Mathura Kāṣṭhā Saṅgha, it might have originally been under the Achēla/Kṣapaṇaka sect (whom the Śvetāmbara called "Bhoṭika").

In essence, "Taranga ka Prachintar Jinalaya" is a detailed architectural and historical analysis of the ancient Sambhavanatha temple at Taranga, situating it as a significant surviving monument of the Marugurjara architectural style from the early 11th century CE, predating the famous Ajitanatha temple.