Vadnagar Ni Shilpa Samruddhi - Book Summary

Here is a comprehensive summary in English of the provided Jain text, "Vadnagar ni Shilpa Samruddhi" by Ramanlal N Mehta:

Book Title: Vadnagar ni Shilpa Samruddhi (The Sculptural Richness of Vadnagar) Author: Ramanlal N Mehta Publisher: Z_Vijay_Vallabh_suri_Smarak_Granth_012060.pdf

Summary:

This text, "The Sculptural Richness of Vadnagar," by Ramanlal N Mehta, delves into the historical and artistic significance of Vadnagar, a city renowned for its ancient heritage and intricate sculptures.

Vadnagar's Ancient Roots and Descriptions:

Vadnagar, also known as Sharmishtha, is described as a fortified city located on the western and southern banks of the Sharmishtha Lake.
The Skandapurana, specifically the Nagar Khand, attests to its ancient origins, providing names like Chamatskapur, Nagar, Anandpur, and Anartapur. While these names suggest a long history, their veracity requires further proof.
The names Anandpur and Anartapur are also found in copper plates belonging to the Maitraka and Rashtrakuta dynasties.
The earliest recorded description of Vadnagar comes from the Chinese traveler Xuanzang, who characterized it as a prosperous city with a circumference of about three and a half miles.

Archaeological Findings and Early Settlement:

Ancient mounds exist on the eastern, northern, and southern sides of Vadnagar. Many of these sites have been disturbed by later settlements and water bodies.
Excavations in these mounds have yielded pottery from the early centuries CE, conch shell bangles, ancient seals, and foundations of buildings.
Archaeological evidence suggests that Vadnagar's settlement dates back to the early centuries CE.
Excavations near the Thakardavas of Amthara Mata and Gauri Kund have revealed findings that support this early establishment.
From an archaeological perspective, Vadnagar, approximately two thousand years old, has yielded numerous examples of decorative temples and ancient sculptures comparable to the pre-Chalukyan stone temples of Amthara Mata and Sheetla Mata.

The State and Material of Vadnagar Sculptures:

Many sculptures found in Vadnagar are scattered haphazardly. Some are in temples, either worshipped or neglected, while others are embedded in the fort walls or the embankments of the lake.
The majority of these sculptures are made of sandstone, with a few crafted from schist and schistoize.
The stone used for Vadnagar's sculptures originates from the Aravalli mountain ranges in Idar and Dungarpur.

Classification of Vadnagar Sculptures by Historical Periods:

The author categorizes the sculptures from Vadnagar into three distinct historical periods:

Gupta and Post-Gupta Period (5th to 10th Century CE):
- These sculptures are characterized by beautiful craftsmanship and well-proportioned forms.
- They feature slightly oval or round faces, well-defined bodies, elaborate hairstyles, and delicate yet precise ornamentation.
- The beauty of these sculptures lies in their skillful execution, balanced and healthy physique, and fine carving.
- In the later part of this era, the legs sometimes appear disproportionately short and stiff, and the lower part of the body appears weak.
- Examples from this period include sandstone heads, unidentified schist sculptures, a statue of a goddess with a serpent hood, a plaque on the northern wall outside Arjanbari, and sculptures of Haladhara, Varaha, Saptamatrika, Ganesha, Kartikeya, and Sheetla Mata on temple roofs, as well as some embedded in the lake embankments.
Chalukyan Period (11th to 13th Century CE):
- The execution of sculptures in this period is not as refined as in the first period.
- There is a greater emphasis on ornamentation.
- The proportions of the human body are often distorted, with the torso being relatively short compared to the legs, and the legs appearing slender and elongated. The body's curves can sometimes seem unnatural.
- Many sculptures from this era are generic, lacking individual distinctiveness. However, they are notable for the variety of themes depicted, particularly in the Narathara (narrative panels).
- Large sculptures from this period appear to have been mass-produced, heavily adorned, and standardized.
- Early sculptures of this period show a strong influence from the late Gupta period, but later works exhibit more characteristic elements of the Chalukyan era, with a greater development of minute details. The carving in this period also shows variety.
- Sculptures from this period are found at Vadnagar's Toran (Narasinh Mehta's Chowri), fort walls, outside the Ghasakol gate, and scattered throughout the village.
Post-Chalukyan Period (After 13th Century CE) - Gujarat's Medieval Period:
- These sculptures carry forward the characteristics of the second period but appear more lifeless and devoid of emotion.
- The carving is somewhat weaker, and the thematic variety of the previous era is absent.
- There is a significant proportion of sculptures depicting figures from the Puranas, Mahabharata, and Ramayana, including avatars.
- Dancing girls, tigers, and carvings show a clear influence of the previous era, suggesting an imitation of earlier models.
- While these sculptures, used for temple decoration, have a good overall impact, individual sculptures are weaker compared to those of earlier periods.
- Some sculptures from this period display clothing styles from the Muslim era, while others depict clothing from previous periods.
- Sculptures from this period are primarily found in the Hatkeshwar and other later-built temples.

Interconnection with Gujarat's Sculptural Tradition:

The study of Vadnagar's sculptures reveals that Gujarat's sculptural art was highly developed throughout its historical periods, with sculptures adhering to the artistic styles of their respective eras.
Sculptures from the first period (Gupta/Post-Gupta) share considerable similarities with sculptures from the same period in Gujarat and surrounding regions.
Specifically, the sculptures on the plaque near Arjanbari bear resemblance to Jain copper inscriptions found in Akota near Vadodara, indicating a common artistic current in Gujarat before the Chalukyan period. This artistic flow strengthened during the Gupta era and spread across the region.
The sculptures of the second period align with the style of both Jain and non-Jain sculptures of the Chalukyan period.
The sculptures of the third period are indicative of the richness of Gujarat's post-Bhoja sculptural art.
The text highlights the significant contribution of Jains in preserving art in Gujarat during this era. It suggests that art, surviving the difficult times of Muslim invasions and political instability, seemed to express a certain despair and a longing for otherworldly happiness rather than worldly joy.
Artists of this era were keen observers, incorporating the contemporary clothing and fashion of society into their art.

Figure Captions and Descriptions:

The text also includes detailed descriptions of various sculptures, referring to figures illustrated in the book:

Figure 1: A couple in a balcony, embedded in the wall of Sharmishtha Lake. The male is adorned with a mukut, kundala, ekavali, bajuband, and waistcloth. The female, seated on his lap, is also elaborately decorated. The sculpture, showing some damage, is estimated to be from the 9th century, with architectural elements characteristic of the 7th century onwards.
Figure 2: A photograph of Parvati and Vaishnavi from the Saptamatrika sculptures found in the small temples and scattered sculptures at Amthara Mata, dating back to the 9th century. These sculptures are well-drawn, with serene expressions and features indicative of the 8th century.
Figure 3: A section of a sculptural plaque from outside the Arjanbari gate. The entire plaque features couples and solitary male and female figures. The female figures bear strong resemblance to the "Chamardharini" of Vadodara and are dated to the 9th century. Some male figures display the style of the subsequent era.
Figure 4: A large image of a Narasimha-Varaha in the northeast corner of Thakardavas near Amrol gate. The Varaha's body is well-proportioned, holding Earth Goddess in its right hand. The sculpture, with its surrounding pillars and decorative elements, is dated to the 10th century.
Figure 5: A scene depicting a royal procession embedded in the wall of Gauri Kund. The depiction of a happily running elephant and a horse-riding hunter is captivating. Similar sculptures are found in Chalukyan-era temples at Abu, Dabhoi, and other sites.
Figure 6: A dancer or apsara on the wall of Hatkeshwar Temple. The body's curves are unnatural, possibly imitating sculptures from Khajuraho, Orissa, and Gujarat. The facial features, heavy jaw, prominent cheekbones, straight nose, triple-bent face, elongated eyes, and particularly the side-facing eye visible from the front, are characteristic of medieval Gujarati painting. The ornamentation is heavy and less refined than in earlier periods, suggesting imitation.
Figure 7: A sculpture on Hatkeshwar Temple depicting the Pandavas' chariot going to war. The chariot wheels are bound with ropes. The horses are small and appear poorly yoked. The charioteer stands instead of sitting, holding a sword. The turbans of the Pandavas resemble the "kuleh" used in the 16th and 17th centuries.
Figure 8: Another sculpture from Hatkeshwar Temple. A large pillar is adorned with a full "Ghatapallava," with mid-medieval carving around it. Ganesha, holding a snake and a sword, wears pajamas and a cap. The accompanying "Svaha(?)" figure's attire and ornaments resemble those found in wooden carvings, also not exceeding the 16th century.

In essence, "Vadnagar ni Shilpa Samruddhi" is a scholarly exploration of the sculptural heritage of Vadnagar, tracing its evolution through different historical periods and highlighting its connection to the broader artistic traditions of Gujarat. The text emphasizes the skill of the artisans, the materials used, and the thematic richness of the sculptures, offering valuable insights into the cultural and religious life of ancient and medieval India.