Vimala Period Sculptures In Vimal Vashi - Book Summary

Here's a comprehensive summary of M.A. Dhaky's "The Vimala Period Sculptures in Vimala-Vashi," based on the provided text:

The Vimala-Vashi temple, renowned for its ornate marble interior, was initially founded by Jaina Vimala of the Prāgavāța caste around 1030 AD in Deülavādāgrāma (modern Delvādā) on Mount Abu. Vimala, a political and military agent appointed by King Bhimadeva I of the Solankis, faced difficulties in acquiring land for his temple dedicated to Jina Ṛṣabha from the local Śivaite owners. The cult image was consecrated in 1032 AD.

Vimala's original structure was modest in size and ornamentation. Constructed from local dark stone of questionable quality, it featured a small sanctuary (mūlaprāsāda) and a closed hall (gūdhamandapa), likely with an original open pillared portico (trika or mukhamandapa). The building had shallow foundations due to its location on a sloping rock surface. Vimala's brother or son, Cāhilla, later made additions in the same black stone, including a dance hall (raṅgamandapa), an entrance porch (mukhacatuṣki), an elephant court (hastisālā), and a torana (gateway).

The true splendor of Vimala-Vashi owes much to later renovations and additions, primarily in the 12th century. Pr̥thvipāla, a minister of Emperor Kumārapāla and Vimala's great-grandnephew, replaced Vimala's original black stone halls with magnificent marble structures. He also planned a complex of surrounding chapels (devakulikās) and a cloister (paṭṭaśālā), all in marble. These extensive refurbishments, starting around 1144 and completed by 1150 AD, were funded by Pr̥thvipāla and his son Dhanapāla, with further devakulikās added until 1189 AD.

Despite the later marble additions, the author, M.A. Dhaky, focuses on identifying sculptures that can be attributed to Vimala's original period (early 11th century). Through his research, he has located at least six such images.

Key Vimala Period Sculptures Identified:

Three Jina Images in Marble within the Prāsāda Walls: These images, found in the north, west, and south bhadra-khaṭṭakas, are stylistically dated to the early 11th century and are considered to be from Vimala's time. The only exception is the southern bhadra-khaṭṭaka, where the central image might be from a later restoration.
- Artistic Characteristics: These sculptures share identical details in their lion thrones (simhāsana) and ornamental frames (parikara). The lion thrones feature Sarvāṇubhūti and Ambikā at the ends, followed by lions, elephants, and dharmacakras flanked by deer. The parikara includes cauri-bearers, the Hiraṇyendra pair on elephants, garland-bearers, soaring vidyādharas, and a conch-blowing figure (śaṅkhapāla) at the apex. The presence of the Sarvāṇubhūti-Ambikā pair is noted as rare after the 11th century. The suave flexure of the cauri-bearers and the composition of celestials above are characteristic of the second quarter of the 11th century.
Two Contemporaneous Larger Marble Images at the Jaina Temple in Beda: These images, brought from an unrecorded site, are stylistically similar to the Vimala-Vashi sculptures and are dated to the middle of the 11th century AD. The Beda images feature a face-wise dharmacakra and a triple umbrella, accommodating the larger scale of the sculptures.
Two Images of Yakṣī Ambikā in a Devakulikā Chapel: Located in the southeastern corner of Vimala-Vashi, two smaller Ambikā images flank a larger one. These are considered more ancient.
- Artistic Characteristics: One image has a padmaprabhā-aureole, while the other has lotus petals in the aureole that resemble flames. The style of these aureoles and the dhammila-crowns are rarely found after 1040 AD and are common in the latter half of the 10th century across various Mahā-Gurjara schools. Therefore, these two marble images of Ambikā are reasonably placed in Vimala's period, with at least one potentially dating from the temple's foundation.

Comparative Analysis and Chronological Context:

The author uses comparative analysis with other sculptures to solidify the dating of the Vimala period works. He discusses:

An earlier image at the Jaina temple in Beda: This image, possibly from the early 10th century, shows more space between figures, more animated poses, and influences from painting traditions. It also includes a female attendant, with plain oblong haloes reminiscent of pre-medieval styles.
A still earlier image in the Brahmāṇa Jaina temple: Dated to the late 9th century AD, this image represents the pure Gurjaradeśa tradition. It lacks Hiranyendras and śaṅkhapāla and features exceptionally graceful body flexure in its cauri-bearers.
Later Ambikā images: Dhaky presents images of Ambikā from Āraṣaṇa (c. 1062 AD) and Girnar (c. 1159 AD) to demonstrate a progressive ossification and hardening of artistic style, thereby reinforcing the relative earliness of the Vimala-Vashi and Beda sculptures. The Āraṣaṇa Ambikā, with flattened ornaments and a preferred karṇḍa crown, shows derivation from the Sās temple at Nāgadā. The Girnar Ambikā, likely dating from Kumārapāla's time, exhibits stylistic similarities to the later additions in Vimala-Vashi.

Other Noteworthy Points:

The Hastishala and Torana: The hastiśālā of Vimala-Vashi was plausibly built by Cāhilla. The dvārapālakas at the eastern entrance still retain the graceful swaying posture from the mid-11th century, thus belonging to Cāhilla's period or earlier.
The Original Mūlanāyaka Image: The author notes a large black stone image, popularly identified as Muni Suvrata, is actually of Jaina Ṛṣabha. This was likely the original mūlanāyaka image of Vimala's temple, dating to 1032 AD. Its pedestal is lost, but its features, including the seat, aureole, and hairstyle, are indicative of the early 11th century. This image is not permitted to be photographed.

In conclusion, M.A. Dhaky's paper meticulously examines the Vimala period sculptures within the Vimala-Vashi temple complex, distinguishing them from later, more elaborate marble additions. By analyzing stylistic elements, iconography, and comparing them with contemporaneous sculptures from other sites, he provides a scholarly attribution and chronological framework for these early artistic achievements, highlighting their significance within the evolution of Jain art in Gujarat.