Vimal Vasahini Ketlik Samasyao

Here's a comprehensive summary of the provided Jain text, "Vimal Vasahini Ketlik Samasyao" (Some Problems of Vimal Vasahi) by M. A. Dhaky, translated into English:

Overall Theme:

The article critically examines the traditional attribution of the entire Vimal Vasahi temple complex at Delvada to the minister Vimala. Through detailed architectural analysis, epigraphic evidence, and consideration of various historical texts, the author, M. A. Dhaky, aims to pinpoint the exact contributions of Vimala, his contemporaries, and subsequent patrons like Prithvipala. The central argument is that while Vimala initiated the temple, many significant parts, particularly the Rangamandapa and the Devakulikas (small shrines), were added or renovated later, primarily by minister Prithvipala.

Key Arguments and Findings:

• Challenging the Sole Attribution: While commonly believed and traditionally narrated that Minister Vimala was the sole creator of Vimal Vasahi, recent architectural surveys reveal discrepancies. Not all parts of the temple belong to Vimala's time.
• Dating of Vimal Vasahi:
  • The oldest inscription found is from 1063 AD in Devakulika No. 13, though it doesn't mention Vimala or the temple.
  • Crucially, inscriptions from 1145 AD (Dasharatha, cousin of Prithvipala) in Devakulika No. 10 and 1146 AD (in the installation of Kuntunatha's image in Devakulika No. 5) clearly mention Minister Vimala and the Vimalavasatika. These inscriptions confirm Vimala's involvement.
  • A Jirnoddhar (renovation) inscription from 1312 AD (Samvat 1368) and Jinaprabhasuri's work from 1322 AD (Samvat 1243) state that the temple of Yugadideva was built by Dandadhinayaka Vimala in 1032 AD (Samvat 1088). This date is further corroborated by numerous texts from the 14th and 15th centuries, suggesting the original construction was indeed around 1032 AD.
• Composition of the Current Structure: The current Vimal Vasahi consists of:
  • The "Mulaprasad" (main shrine) and "Gudhamandapa" (inner hall) made of black stone.
  • The marble "Mukhamandapa" (vestibule, also known as Navachoki) and "Rangamandapa" (dance hall) attached to it.
  • A surrounding complex of Devakulikas forming a cloister.
  • A "Hastishala" (elephant stable) in black stone opposite the main shrine.
  • A simple hall with a ceiling connecting the Hastishala to the main shrine's entrance.
• Vimala's Original Construction:
  • Vimala constructed the Mulaprasad and Gudhamandapa in black stone.
  • He also built the Rangamandapa and Hastishala in black stone.
  • The construction was relatively simple, with limited use of marble for decorative elements. The author speculates that the difficulty of transporting large marble blocks might have led to the use of local black stone for the main structure.
  • The Mulaprasad (main shrine) is definitively from Vimala's time, evident from its style. Its simpler form, with a "fansa" (a type of curved roof) instead of a "Nagara" style shikra, is common in 11th-century North Gujarat temples. The author refutes the idea that this was to prevent earthquake damage.
  • The original Mulnayak (main idol) was likely the black stone Adinath idol currently housed in the Bhandar (treasury), based on its style and size fitting the original shrine.
  • The Hastishala is also attributed to Vimala based on the style of its latticework, the bodily proportions of the Dwarapalas, and its black stone construction, aligning with the Mulaprasad. The carving of a Chamardharini (female attendant holding a fly-whisk) on the Hastishala pillar is considered a unique artistic gem from Vimala's era.
• Contributions of Cahilla (Vimala's Brother):
  • The Mukhamandapa (Navachoki) is not by Vimala but was likely added by his younger brother, Cahilla.
  • Texts suggest Cahilla built mandapa-like structures. While one text mentions him building the Rangamandapa, the author argues against this, suggesting it was minister Prithvipala. The author believes Cahilla likely built the Mukhamandapa (perhaps a six-bay hall initially) and potentially the Rangamandapa, both likely in black stone.
  • The inscription of Narasimha, grandson of Cahilla, from 1144 AD, places Cahilla within Vimala's lineage.
• Contributions of Prithvipala (Grandnephew of Naddha, Vimala's Elder Brother):
  • Prithvipala, a minister under Kumarpala, was responsible for major additions and renovations. He completed a significant "Tirthoddhar" (renovation/restoration) around 1150 AD.
  • His most significant contribution was the Rangamandapa (dance hall), which was built in marble and highly ornate. This is supported by epigraphic and literary evidence.
  • Prithvipala also commissioned several Devakulikas (small shrines), with many of them having inscriptions dating to around 1145-1146 AD. The author suggests that Vimala's original temple might not have had Devakulikas, or they were in black stone and replaced.
  • Prithvipala also added the seven elephants in the Hastishala around 1148 AD. His son Dhanpal added two more later.
• The Problem of Simplicity vs. Ornamentation: The author questions why Vimala's temple, despite his wealth, was primarily in black stone and less ornate, unlike the later marble additions. This leads to the speculation about the practicalities of transporting marble at that time.
• Later Additions: The connecting hall between the Hastishala and the main entrance is dated to the 17th century based on its style and literary references.
• Status of the Original Inscriptions and Sculptures: The author notes that many original inscriptions might have been lost or destroyed due to vandalism or renovations. While some original sculptures are preserved, the main idol in the shrine is from the 1322 AD renovation period.

Conclusion:

M. A. Dhaky's article meticulously deconstructs the traditional narrative surrounding Vimal Vasahi, presenting a more nuanced and historically accurate picture. It highlights that while Vimala was the visionary and initiator of the temple in the early 11th century, the magnificent marble structures, including the Rangamandapa and the surrounding Devakulikas, were later additions made by Minister Prithvipala in the mid-12th century. The study underscores the importance of combining architectural analysis with epigraphic and textual evidence to understand the evolution of historical monuments.