Unke Prachin Jain Mandir - Book Summary

Here is a comprehensive summary of the provided Jain text in English:

The book "Unke Prachin Jain Mandir" by Rakeshdutt Dwivedi, published as part of the Z_Kailashchandra_Shastri_Abhinandan_Granth, discusses the historical and architectural significance of ancient Jain temples in the village of Un, located in the Western Nimar district of Madhya Pradesh.

Un's Significance in Jain Tradition:

Ancient Name and Nirvana: According to Jain traditions, Un was historically known as Pavagiri. It holds a significant place as one of the Nirvana (liberation) sites for Jain monks. Specifically, it is mentioned that Suvarnabhadra and three other Jain munis attained Nirvana here, which elevated its status as a Jain pilgrimage site in later periods.
Present Day: Today, Un is a pilgrimage destination for Digambara Jains, featuring a large Jain temple and associated guesthouses (dharamshalas), attracting numerous pilgrims for worship and spiritual merit.

Archaeological Importance and Architectural Context:

Temple Complex: Beyond its religious significance, Un is archaeologically important for its extensive ancient temple complex. The remains of approximately twelve ancient temples can still be found in and around the village, although most are in a dilapidated state, with some only identifiable by their location.
Artistic and Architectural Heritage: Despite their condition, the surviving structures shed considerable light on the artistic splendor and temple-building traditions of the era. The text emphasizes that such large clusters of ancient temples are rare not only in Madhya Pradesh but across India.
Patronage and Style: These temples were constructed during the 11th and 12th centuries, under the reign of the Paramara kings of Malwa, who were renowned for their patronage of architecture and their artistic and literary inclinations. The predominant architectural style of these temples is identified as Bhumi-ja style, characterized by its distinctive shikhara (spire) configuration and ornamentation.

Two Prominent Jain Temples in Un:

The text focuses on two specific Jain temples within this larger complex, which stand out due to their distinct architectural styles and significance:

Chaubara Dera No. 2 (or Nahal Avarka Deram):
- Location and Orientation: The ruins of this temple are situated on a rocky mound north of Un village, visible in its fragmented glory before entering the village from Khargone. It faces north.
- Layout: The temple's plan is divided into five sections, starting from the sanctum sanctorum (garbhagriha) and extending to the outer porch (mukhachatuski). These include: garbhagriha (sanctum), antaral (vestibule), guḍhamandapa (inner hall), trikamandapa (three-aisled hall), and mukhachatuski (porch). The guḍhamandapa is particularly significant due to its central location, role as a connecting point, and largest size.
- External and Internal Decorations: Both the exterior and interior of the temple exhibit impressive ornamentation. A substantial base (pitha) and plinth (vedibandha) were constructed at the lower level to enhance the perceived height of the temple. These are adorned with various decorative bands.
  - Pitha and Vedibandha: The pitha features ornate bands above two plain lower bands, identified by architectural texts as naḍyakumbha, karṇikā, grāsa-paṭṭi, gaja-pīṭha, and nara-pīṭha. Above these are the vedibandha bands known as kumbha, kalasha, and kapotikā.
  - Gaja-pitha and Nara-pitha: The gaja-pīṭha (elephant base) and nara-pīṭha (human base) bands are particularly noteworthy. Their prevalence is observed in the architecture of the Solanki kings of Gujarat and Western Rajasthan. The nara-pīṭha depicts numerous religious and secular scenes, including music, dance, erotic art, the Samudramanthan (churning of the ocean) episode, and scenes from the Ramayana. A notable depiction shows the combat between Vali and Sugriva, with Rama drawing an arrow and Lakshmana behind him, indicating the popularity of the Ramayana and a spirit of religious tolerance allowing its inclusion in a Jain temple.
  - Jain Deities and Apsaras: Jain Yakshinis in various forms are carved on the niches (rathikā) on the kumbha sections. The wall section above the vedibandha (jhangābhāga) features ornate niches with sculptures of Jain goddesses, deities, and graceful Apsaras. The corners of the original structure depict the eight Dikpalas (guardians of the directions).
- Columns and Doorways: The temple's columns are elaborately decorated. Some are square at the base and circular above, while others are octagonal at the base and transition to ornate circular forms. The capitals are adorned with miniature niches, floral patterns, goose motifs, grāsamukha, and circular bands, supporting the stone slabs that hold the ceiling. The lintels of the main doorways feature seated Jain figures, with further niches above depicting Jain Yakshinis. The door jambs are decorated with various motifs. The ornamentation of the doorways, including the mandara and kīrtimukha motifs, follows the tradition of Jain temples in Western India.
- Ceiling (Vitan): The inner ceiling of the guḍhamandapa is supported by eight octagonal pillars and is described as a nābhi-chhanda type projecting ceiling, providing a sense of spaciousness and grandeur. This ceiling would have had descending circular bands, with the uppermost likely being a lotus-shaped or hanging element. Figures of Apsaras in various postures were previously located around the circular ceiling.
- Dating: Two Digambara Jain idols from this temple have been preserved in the Indore Museum. One is of Tirthankar Shantinath, dated Vikram Samvat 1242 (1185 CE). This inscription suggests that the temple was constructed around 1185 CE.
Gwaleshwar Temple (now Shantinath Temple):
- Location and Current Use: This Jain temple is located on a small hill south of Un village and is still in use for worship. It is currently known as Shantinath Temple.
- Renovations and Ancient Features: Extensive renovations to the exterior and interior have obscured its original antiquity. However, a close examination of its original parts, particularly the guḍhamandapa and the main structure (mūlaprasād), reveals its ancient character.
- Layout and Decoration: The temple's layout is believed to have been similar to Chaubara Dera No. 2, as indicated by the remaining ancient portions. However, its external decorative elements are relatively simpler. The original front half-mandapa is no longer present, replaced by a new porch, but the square guḍhamandapa and its eight pillars supporting the circular nābhi-chhanda ceiling are still remarkably preserved. The side entrances are similar in design to those of Chaubara Dera No. 2.
- Sanctum Sanctorum (Garbhagriha): The floor of the garbhagriha is about thirty meters below the guḍhamandapa, accessed by a flight of stairs. Inside, three large Tirthankar images in the kayotsarga (standing) posture are installed. They are made of shining black stone. The central image is the largest, approximately four meters high. An inscription on the pedestal of one of the side images dates its installation to Vikram Samvat 1263 (1206 CE). Small passages behind the statues on the walls allow access for ablutions, a feature common in many Jain temples.
- Shikhara (Spire): The upper part of the temple's shikhara has undergone significant restoration. However, a portion below the neck (griva) still retains some of its original form. The urashringa (smaller spires) and uparashringa around the shikhara create the impression of gradually ascending to the highest point. The overall shape of the shikhara, with its urashringa, resembles the spires of the famous temples of Khajuraho, suggesting the influence of this architectural style in the Malwa region.

Conclusion and Significance:

Both Jain temples in Un are significant for several reasons:

Unique Art Style: They showcase a unique art style.
Religious Harmony and Tolerance: They symbolize the prevailing spirit of religious harmony and tolerance of the period, allowing their construction and preservation alongside Hindu temples.
Influences: Chaubara Dera No. 2 exhibits the clear influence of Solanki temples of Gujarat in its architectural style, particularly in the arrangement of the temple plinth bands, the construction of the trikamandapa in front of the entrance, the ornamentation of the columns, and the decoration of the doorways. The gaja-pīṭha and nara-pīṭha bands are characteristic of Solanki temples and indicate contact with Gujarati art.
Paramara Contribution: Additionally, there is a contribution from Paramara art of Malwa, which was responsible for the construction of other temples in Un.

In essence, the book provides a detailed architectural and historical analysis of these two ancient Jain temples, highlighting their religious importance, artistic merit, and the cultural context of their construction, revealing the rich architectural heritage of Jainism in the region.