Ujjayantgirini Khartarvasahi

Here is a comprehensive summary of the Jain text "Ujjayantgirini Khartarvasahi" by M. A. Dhaky:

This scholarly work, "Ujjayantgirini Khartarvasahi," by M. A. Dhaky, delves into the historical and architectural significance of a prominent Jain temple located on Mount Girnar (Ujjayantgiri). The primary focus is to identify and describe a temple historically known as "Khartarvasahi," which the author argues has been mistakenly identified with the present-day "Melavasahi" or "Merakvasahi."

Key Arguments and Findings:

• Correct Identification of Khartarvasahi: Dhaky asserts that the temple currently known as "Melavasahi" or "Merakvasahi" is, in fact, the original "Khartarvasahi." He refutes the notion that "Melavasahi" refers to a smaller shrine dedicated to Dharmanath, as mentioned by some later Chaitya-paripatikars (temple chroniclers). Instead, the current "Merakvasahi" is a large temple with 52 jinālayas (shrines) and elaborate architectural features consistent with descriptions of the Khartarvasahi.
• Architectural Marvel: The Khartarvasahi is described as a magnificent temple boasting a distinctive architectural style. It features bhadraprasādas (prominent projections on the facade) similar to those found in Ashtapada and Sammeta Shikhar, along with gūḍhamaṇḍapa (inner sanctum) and raṅgamaṇḍapa (assembly hall). Noteworthy are its beautifully carved ceilings adorned with motifs like 'Panchanga-Vir' and 'Nagabandha,' along with other architectural designs sanctioned by Vāstuśāstra (science of architecture).
• Construction and Patronage: The construction of the Khartarvasahi is dated to the latter half of the 15th century. While the nirmiti (construction) is attributed to the Khartar-gachchhiya Upadhyaya Jayasoma in his "Jayasāgaropādhyāya-prashasti" to Samvat 1511 (1455 CE), an inscription in the Dharanvihār at Ranakpur, dated Samvat 1507 (1451 CE), also depicts this temple on Girnar, indicating it was built prior to that. The primary patron is identified as the renowned merchant Narapal Sanghvi.
• Debunking a Misconception: Dhaky addresses and dismisses a popular but unfounded legend that the wealth accumulated by Minister Sajjan for the construction of the Neminath temple was diverted by King Jayasinhadev Siddharaj for building this temple. The author states there is no contemporary or later evidence to support this claim, and the temple's architectural style clearly places it in the 15th century.
• Original Iconography: The current mulnayak (principal deity) in the sanctum is a thousand-hooded Parshvanath, installed in Samvat 1859 (1803 CE). However, in the 15th century, the principal deity was a golden-hued Sovanmaya Vir (golden adorned Vira) idol, made of brass and gilded, with flanking brass kāyotsarga (standing posture) idols of Shantinath and Parshvanath. The description of the mulnayak idol as "sanpratikārit" (made in the time of Samprati) suggests the temple might have been known as a temple of King Samprati during that era.
• Architectural Details and Decoration: The text meticulously details the temple's interior architecture. The mukha-maṇḍapa (entrance hall) features ceilings with depictions of 'Panchanga-Vir' and 'Vasudeva-Gopa-Lila.' The raṅgamaṇḍapa is highlighted by a magnificent mahāvitāna (great vaulted ceiling) of the 'Sabha-Padma-Mandārak' type, depicting scenes of kalyāṇakas (auspicious events) and processions of devotees. The ceilings are described with intricate details, including depictions of animals, lotus motifs, and geometric patterns ('Nabhīmandārak', 'Nāgabandha', 'Panchanga-Vir'). The use of various motifs like 'gajataḷu' (elephants), 'kola' (turtles), and 'lūmā' (longitudinal beams) showcases the sophisticated craftsmanship.
• Later Renovations: The original prasāda (sanctum) was substantially altered at the end of the 16th or beginning of the 17th century, with the original intricate carvings replaced by simpler decorative bands. The author notes that the current prasāda was built during the reign of Emperor Akbar, while the gūḍhamaṇḍapa was left in its original condition with its damaged idols. Evidence suggests that contributions from minister Karmachand Bachhavat of Bikaner were used for the renovation, particularly the rebuilding of the main prasāda, likely as part of a larger restoration effort on Girnar.
• Dazzling Ceiling Artistry: The text emphasizes the exceptional quality of the ceilings (vitānas) in the 52 subsidiary shrines (devalikās). It describes various types of ceilings with intricate carvings, geometric patterns, and floral motifs, often comparing their artistry favorably to the renowned temples of Rajasthan and Gujarat. The author expresses admiration for the skillful execution, delicacy, and suppleness of the 15th-century craftsmanship, suggesting it surpasses contemporary works elsewhere.
• Historical Accounts and Evidence: Dhaky extensively quotes from various contemporary and later Jain chaitya-paripatikars (temple chroniclers) and poets. These include Hemahamsagani, Pandit Jayasoma, Ratnasinhsuri's disciple, an anonymous pilgrim-monk, Rangasara, and Karnasinh. Their writings consistently identify the "Merakvasahi" as the "Khartarvasahi" and corroborate its construction by Narapal Sanghvi, its architectural features, and the original iconography.
• The "Khartar-gachchha" Tradition of Architecture: The author highlights that the Khartar-gachchha was known for its meticulous attention to architectural design and the beautiful ornamentation of temples. Examples like the Khartarvasahi on Shatrunjaya, the Khartarvasahi at Devakulpathak (Mewar-Delwada), the Khartarvasahi at Ranakpur, and this Girnar Khartarvasahi are presented as stellar examples of this tradition.
• Possible Earlier Temple: Based on Karnasinh's account, Dhaky speculates that the Khartarvasahi might have been a renovation or rebuilding of an earlier temple, possibly the "Satyapurāvatāra Mahavir" temple built by Minister Vastupal.

In essence, Dhaky's work meticulously reconstructs the history, architectural grandeur, and patronage of the "Khartarvasahi" on Mount Girnar, correcting historical misidentifications and highlighting its status as a masterpiece of Jain temple architecture from the 15th century. The text provides a detailed analysis of its various architectural elements, decorative motifs, and the historical sources that confirm its identity and significance.