Underground Shrine Queens Stepwell Patan

Here's a comprehensive summary of the Jain text "Underground Shrine: Queen's Step-Well at Patan" by Jaikishandas Sadani, based on the provided pages:

This book, published by the B. J. Institute of Learning & Research, Ahmadabad, is a detailed study of the sculptures found in the Queen's Step-well (Rani-ki-Vav) at Patan, Gujarat. The author, Jaikishandas Sadani, a scholar of Indian art, literature, and culture, delivered three lectures on the topic in 1995, which form the basis of this publication.

Key Themes and Structure:

The book is structured to explore the multifaceted artistic and religious significance of the step-well, presenting its sculptures as an "underground shrine." Sadani categorizes the sculptures thematically, covering:

1. Introduction to the Step-well and its Historical Context:

   • The book begins by placing the step-well within the context of Gujarat's rich cultural heritage, specifically highlighting the Caulukya (Solanki) dynasty (942-1304 AD) as a period of immense cultural growth and artistic achievement, often called the "Glorious Period" of Gujarat.
   • The step-well was built by Queen Udayamati, wife of King Bhimadeva I (1022-1064 AD), during his reign. While the exact purpose of its construction is debated (memorial for the king vs. a royal commission), it is acknowledged as a novel creation surpassing even the Sahasralinga Lake built later by her grandson.
   • Patan was the ancient capital of Gujarat, and despite its decline after the capital shifted to Ahmedabad, its monuments, like the step-well, were preserved, often buried underground.
   • The step-well, also known as "Rani-ki-Vav," is a seven-storeyed structure, measuring 65 meters long, 20 meters broad, and 25 meters deep. It was buried for centuries until rediscovered and excavated by the Archaeological Survey of India.
   • The step-well's walls are adorned with over 800 panels featuring large sculptures, depicting a vast panorama of life, spirituality, and mythology prevalent in the 11th century.

2. Iconographic Analysis of Deities and Figures: The core of the book delves into the detailed descriptions and interpretations of the sculptures, categorizing them as follows:

   • Vishnu: Various Forms and Avatars:

     • Vishnu is identified as the presiding deity, with three large panels of Sesashayi Vishnu (reclining on the cosmic serpent Ananta) prominently featured, reflecting the importance of water reservoirs and the cyclical nature of creation. The astronomical orientation of these panels to catch sunlight is also noted.
     • The book details 15 of the 24 recognized forms of Vishnu, highlighting their attributes as described in canonical texts like Rupamandana. Notably, the absence of the first two avatars (Matsya and Kurma) is pointed out.
     • The Dashavataras (ten incarnations) are extensively discussed and illustrated, including:
       • Varaha: Lifting the Earth from the ocean.
       • Narasimha: The man-lion avatar, slaying Hiranyakashipu.
       • Vamana: The dwarf incarnation.
       • Parashurama: The warrior sage.
       • Rama: The ideal king, depicted with four hands, bow, and arrow.
       • Balarama: Vishnu's elder brother, often associated with the serpent Sesha.
       • Buddha: Uniquely depicted with four hands, a departure from Buddhist iconography, signifying his integration into the Hindu pantheon.
       • Kalki: The prophesied future avatar, shown mounted on a horse, ready to restore Dharma.
     • The book also describes images of Mahalakshmi, Vishnu's consort, and Vishnu mounted on Garuda.

   • Brahma:

     • Brahma, the creator god, is presented with his consort Brahmani (Savitri/Gayatri). The sculptures depict Brahma with four faces, often bearded, and the importance of his role as the source of creation and Vedic knowledge is emphasized.

   • Shiva:

     • Shiva's multifaceted nature is explored through various sculptural representations, including standing postures, Uma-Maheshvara (Shiva and Parvati together), and Kalyana Sundaram (Shiva's marriage).
     • Composite images like Hari-Hara (Shiva and Vishnu united), Hari-Hara-Pitamaha-Arka (Shiva, Vishnu, Brahma, and Surya), and Ardhanarishvara (Shiva and Shakti combined) are discussed, reflecting the concept of unity in diversity and the integration of different deities.
     • The terrifying aspect of Shiva, Bhairava, is described in detail, highlighting his dynamism, multiple arms, fierce imagery, and association with the Matrikas or Yoginis.

   • Shakti (The Goddess):

     • The significance of Shakti as the divine feminine energy is central.
     • Gauri is depicted in twelve forms, illustrating her various attributes.
     • The Matrikas (Seven or Eight Divine Mothers) are prominently featured, emphasizing their importance in Indian iconography.
     • Parvati is shown in severe penance (Kaupina Dhariņi Uma), as Gauri, and as Kshemankari Durga, the benevolent mother, in both standing and seated postures with her child.
     • Mahishasuramardini (the goddess slaying the buffalo demon Mahishasura) is a significant panel, showcasing the fierce aspect of the divine mother.
     • Chamunda, another terrifying form of the goddess, is also detailed, embodying fierce emotions.

   • Other Gods and Goddesses:

     • The book details the iconography of various other deities important in the Indian pantheon:
       • Ganesha: The elephant-headed god, depicted with his consorts Riddhi and Siddhi, and his mount, the mouse.
       • Surya: The Sun God, identified with Vishnu, shown with lotuses.
       • Indra: The Vedic king of gods, shown with his consort Indrani and mount Airavata.
       • Agni: The Vedic fire god, depicted with his mount, the ram.
       • Kubera: The god of wealth, shown with his consort Bhadra and mount, the elephant.
       • Varuna: The god of water and oceans, shown with his mount, the makara.
       • Vasus: Preservers of waters, depicted with bovine faces.
       • Agastya (or Dhanvantari): A revered sage.
       • Nava Graha Pattika: Panels depicting the nine planets.
       • Hanuman: The devoted monkey god, shown in a heroic posture.
       • Sarasvati: The goddess of knowledge and arts, shown with her musical instrument, the veena.
       • River Goddesses: Depicted with lotuses and snakes, linked to the water element of the step-well.
       • Suryani: The consort of Surya.
     • The conjugal images of gods and their consorts (Vishnu-Lakshmi, Shiva-Uma, Brahma-Brahmani) are highlighted as representing the union of Prakriti and Purusha, symbolizing the harmony of divine family life.

   • The Eternal Woman of Grace and Beauty:

     • This section is dedicated to the numerous Nayikas (heroines) and other female figures, showcasing their diverse moods and activities.
     • Matri-Vatsalya Murtis: Images of mothers with their children, depicting maternal love and nurturing.
     • Nayikas are shown in various roles:
       • Darpanasundari: A woman admiring her beauty in a mirror.
       • Nayika writing a letter to her beloved, lost in longing.
       • Nayika teased by a monkey.
       • Sadya-snata Nayika: A maiden squeezing her wet hair.
       • Suka-Kanya: A maiden with a parrot.
       • Nayika admonishing a bearded man infatuated by her.
       • Nayikas in worship and devotion, carrying lamps, incense, or flower garlands to temples.
     • Naga-Kanyas: Serpent maidens, often depicted nude with snakes, interpreted as representing the taming of sensual desires (Kama) and the potential of Kundalini energy.
     • Yoginis: Female ascetics or devotees associated with Bhairava, depicted in dance and ritualistic poses.
     • Tapasvis and Ascetics: Figures of men and women performing severe penance and meditation.
     • The text also notes narrative panels depicting episodes from the Ramayana and Mahabharata, as well as depictions of animals and decorative motifs.

3. The Artistic Synthesis and Spiritual Message:

   • The book emphasizes the artistic brilliance and technical mastery of the sculptors of the Queen's Step-well, noting their deep understanding of religious texts, iconographic rules, and human emotions.
   • The "Vanasthali" or "Forest of Pillars" structure of the step-well, with its 212 pillars and pavilions, is described as a unique architectural marvel creating a dense, visually rich environment.
   • Sadani highlights how the sculptures convey the four aims of human life (Dharma, Artha, Kama, Moksha) and the Navarasas (nine aesthetic sentiments), such as love (Shringara), laughter (Hasya), anger (Raudra), bravery (Vira), fear (Bhayanaka), disgust (Bibhatsa), wonder (Adbhuta), peace (Shanta), and maternal love (Vatsalya).
   • The step-well is ultimately presented as a "Temple of Immortal Bliss," a place of spiritual fulfillment and liberation (Moksha), where art mediates between the worldly and the transcendental, allowing the viewer to experience eternal beauty and divine union.

In essence, Jaikishandas Sadani's book offers a scholarly and evocative exploration of the Queen's Step-well, not just as an architectural marvel but as a profound repository of Indian culture, spirituality, and artistic achievement, meticulously carved in stone.