CHAPTER XII

Nagpur’s Maṇḍapa-line Jain temples

Based on a Contribution by Julia A. B. Hegewald
3 Jain Temples in and near NAGPUR
Detailed photographic essay to supplement the theme of the book

The tempkes in and around Nagpur as a part of the most common type of Jain temple
construction in India is the maṇḍapa-line temple, raised by followers of the image-worshipping
sects.

Built by both the principal Jain sects of Digambaras and Śvetāmbaras, these temples are typical
of all periods and can be found in all regions of the subcontinent.We will hereafter consider 3
temples belonging to both denominations but showing different construction styles.

In maṇḍapa-line temples the three core building elements – porches, halls and shrines – that form
most Jain temples in India are arranged more or less in one long line. This line runs from the
entrance to the principal image-chamber at the far end of the building.While other Jain temple
types also combine these three basic architectural elements, they do this in a distinct and not
primarily linear fashion. Although other religions in India also use these elements in their
temples, the architecture of Jain temples represents distinctive Jain principles and beliefs.

Worshippers enter the temple by ascending the platform on which it sits and going through the
porch at the front, then progressing though one or several temple halls to the image-chamber,
which is the sacred heart of the building. This may symbolise the journey to enlightenment that
is the ultimate goal of Jainism, an aim that is also represented in other aspects of the temple.
Maṇḍapa-line temples are frequently composed of many examples of these three elements,
which were often added to the original structure over time. How many entrance porches, halls
and shrines a maṇḍapa-line temple has depends on its size, its fame and particular importance, its
age and the present or past wealth of the religious community supporting it.

There are often numerous shrines and images as well as the main temple icon, which is housed in
the image-chamber. The multiplicity of building elements that make up the temple and the
smaller, simpler shrines outside the main structure combine to form an often elaborate temple
complex. This mirrors the complex nature of the universe and Jain cosmology, and allows space
for the large number of donated images, and more abstract symbols, venerated in Jain temples.

In maṇḍapa-line temples, the porches, halls and shrines are arranged to create a straight line
from the front entrance to the main shrine at the opposite end. This line may be stronger in large
temples, which may be composed of several examples of such architectural elements. Other
architectural elements may be used to lengthen the main alignment. Such additions to a simple
original temple may have been made over centuries. However, areas where Jains enjoyed wealth
and protection may have intricate maṇḍapa-line temples that were designed from the beginning
to have many elements.
Spatial layout of maṇḍapa-line temples

The maṇḍapa-line temple is characterised by an axis of clearly aligned architectural elements

that echoes the ritual movement of devotees and priests into the temple. It is a journey from light,
openness and abundant stimulation of the senses towards the darkness and simplicity of the
confined inner space of the shrine at the far end.
The simplest form of a maṇḍapa-line temple consists of a single small entrance hall that gives
access to a vestibule before the cella or immediately to the shrine. All major
Jain pilgrimage centres in India have ample examples of this simple architectural form, as may
be seen on the sacred mountains of Sona-giri in Madhya Pradesh and Shatrunjaya in Gujarat and
at Karkal in Karnataka.
Larger temples of this type, however, have:
 a front porch
 more than one hall, of which often at least one is open and one is closed
 at least one shrine projecting from the end farthest from the main entrance porch.
The closed halls often have side entrances. Such central halls with side openings leading to side
porches or subsidiary shrines are known as ‘large halls’ – mahā-maṇḍapas. These are
particularly popular in north-western and central India. See, for instance, the temples at
Kumbharia and Mount Abu in Rajasthan.
Developed Jain temples of the maṇḍapa-line type usually consist of large numbers of
architectural elements aligned along a main axis. This arrangement of temple elements – halls
and porches – serves the functions of:
 creating an approach to the sacred icon
 providing clearly defined spaces for the celebration of rituals
 hierarchically structuring holy space.
Completely detached platforms, halls, gateways – toraṇas – or water structures can be added to
further lengthen the line of architectural elements. Two examples are the detached platform at
Phalghat in Kerala and the line of gateways at Patan in Gujarat.
Often, Jain temples started simply but were enlarged by adding elements, such as additional halls
and supplementary shrines, thus developing impressive dimensions over time. Most Jain
temples combine building components from various centuries up to the present day. The older a
temple, the more often it has usually been modified and enlarged.
During periods in which Jainism flourished and was supported by influential patrons, however,
more elaborate temple constructions were also designed and built from the outset. Examples of
such periods are the reigns of the:
 Solaṅkī dynasty in north-western India during the tenth to 13th centuries, which saw the
building of the temple complex at Mount Abu, Rajasthan
 Hoysaḷa Empire in the south, lasting from the 11th to 13th centuries, with examples at
Halebid, Karnataka.
Multiplicity in maṇḍapa-line temples

Multiplicity is an important issue in Jain temple architecture in general. In maṇḍapa-line

temples, there can be multiple free-standing or interconnected shrines and many image-
chambers. These may be arranged on both a horizontal level and on various vertical layers added
to the building. This reflects Jain religious practice, and is related to the diverse objects of
veneration housed inside the temples and to distinct Jain cosmological issues.
It is characteristic of Jain temples to accommodate large numbers of figural icons – of
the Jinas and of gods and goddesses – as well as more abstract symbols. The latter can be:
 foot-imprints of the Jinas – pāda or pādukā
 sacred symbols – yantras or mantras
 manuscripts.
These are found inside the multiple shrines and halls on the ground floor, which form the typical
spatial layout of developed Jain temples. Often there are further subsidiary image-chambers and
interconnected levels of halls on additional levels inside temple structures. These can be
raised sanctums as well as some which have been sunk into the ground. The most complex
temples combine raised with subterranean layers.
Multiplicity is also created by surrounding these often very complex maṇḍapa-line temples with
small shrines and subsidiary temple structures. These can be free-standing.
However, a typical architectural feature is to connect large numbers of small shrines, consisting
of porches and image-chambers only – deva-kulikās or deva-koṣṭhas – to line or form the
compound walls of a temple at the top of the tall terraces. Often, the walls between the individual
shrines have been removed to create passages – bhamatīs or bhramantikās – used for the
sacred rite of circumambulation – pradakṣiṇā. Such lines of interconnected deva-kulikā shrines
surround the well-known Jain temples on Mount Abu and the Ādinātha Temple at Ranakpur, all
in Rajasthan. Deva-kulikās too can be double-storied and may be linked to the central temple
buildings on several levels, producing spatial patterns of great complexity.
Building elements

The elements out of which maṇḍapa-line temples are assembled are simple.
The majority of Jain temples in India consist of the three core building elements of:
 entrance porch – ardha-maṇḍapa
 hall – maṇḍapa
 image-chamber – garbha-gr̥ha.
The followers of other religions in India, such as Hinduism, also use these elements for their own
religious architecture, yet Jain temples are designed to support and reflect distinctively Jain
beliefs.
The diverse ways in which these three elements can be arranged and multiplied are
endless. Jain sacred architecture is particularly well known for its complex arrangements of
entrance porches, halls and shrines, all raised on a moulded plinth. This characteristic
organisation of building elements leads to a distinct structuring of space in Jain temples.
Religious ceremonies are usually performed within specific spaces in the temple. For example,
offerings are made to images of Jinas and deities in dedicated image-chambers while hymns are
sung and recitations performed in the temple halls.

Temple platform
All building elements in a Jain temple are elevated above the ground on a platform or terrace –
jagatī or vedī – which is normally decorated. The terrace has a symbolic role as well as a
functional purpose, underlining the Jain notion of effortful progress towards liberation.
The temple platform, which may be quite low or up to a few metres tall, is usually ornamented
with abstract mouldings or floral and vegetal motifs. Especially tall and prominent platforms can
be seen in the Odegal Basti at Shravana Belgola, Karnataka, and in the modern Jaina Temple at
Bakara Road, Rajasthan. Some plinths are adorned with rows of geese and elephants, processions
of horses and riders, battle scenes and lines of dancers and musicians. Such elaborate decorations
can be found at the Neminātha Temple at Kumbharia and the Pārśvanātha Temple at Mirpur,
both in Rajasthan.
The aim of the terrace is to raise the sacred temple structure from the dusty ground and to create
an upward approach towards the holy icons housed inside.
In some instances, the terrace varies in height under different parts of the temple. In these cases
the platform is lowest beneath the porch while it rises below the hall, reaching its highest point
underneath the shrine. This creates the feeling of a slight upward climb towards the most
important image-chamber, which is at the end of the succession of architectural elements. This
can be seen in the Neminātha Temples at Nadol in Rajasthan and in the Neminātha Temples at
Tirumalai in Tamil Nadu.
The platform may be wide enough to allow worshippers to use it for the ritual circumambulation
– pradakṣiṇā – of the temple. See, for instance, the Ādinātha Temple at Kundalpur, Bihar and the
Cintāmaṇī Pārśvanātha Temple at Hastinapur in Haryana.

Porches and halls

To enter a Jain temple, visitors go up the steps built at the front or cut into the terrace at the
entrance. Larger temples usually have a porch leading to a hall.
The generic term for a temple hall Is maṇḍapa while a porch is commonly known as an ardha-
maṇḍapa.
Porch

A porch is a roofed structure outside a building's entrance, attached to the external wall and
projecting outwards from it. A porch may have open or closed sides and more than one storey.
Porches are essentially very small, simple halls and provide access to shrines and
larger maṇḍapas. Porches create spaces for people to pause before entering or leaving the
building proper.
Porches are frequently called ardha-maṇḍapas but other terms can be used, depending on the
region and style of the porch. Amongst the most common are:
 agra-maṇḍapa
 prāggrīva
 balana-maṇḍapa
 balānaka
 mukha-maṇḍapa
 mukha-catuṣkī
 mukha-catuṣkya.

Porches provide shelter against sun and rain and allow devotees to prepare themselves for the
religious experience inside the temple.
In addition to the main entrance, through a porch, many temple halls have two side entrances,
which frequently also have porches. Clear examples are the Sambhavanātha Temple at Sravasti
in Uttar Pradesh and the Ādinātha Temple at Kulpak in Andhra Pradesh.

Temple hall

The temple hall – maṇḍapa – is a fundamental element in Jain religious buildings. It can take
different forms, including being several storeys high or a free-standing structure. All temple halls
in maṇḍapa-line temples, however, lead the devotee to the sanctum at the heart of the building,
which contains the main image and is the centre of worship.
Larger halls can be open – raṅga-maṇḍapa or nr̥tya-maṇḍapa – with columns marking their
boundaries at the sides. Such halls are particularly typical of central India, where they can be
seen in the Caubārā Dehrā at Un. Looking into pillared halls from the outside, they are airy and
flooded by sunlight.
Halls can also be closed – gūḍha-maṇḍapa – rooms, with walls at the side. Light and air is only
admitted to such halls through one or several porches. A good example is
the Pārśvanātha Temple at Khajuraho.
The space inside the halls, whether open or closed, is usually pillared. The pillars support the
roof and structure the internal space into distinct areas. There are specific terms for halls with
certain numbers of pillars or bays, such as the popular nine-bayed halls, referred to as trika-
maṇḍapa, nava-caukī and nava-catuṣkī. Examples include the Mahāvīra Temples at Osian,
Ghanerao, Sewadi and Kumbharia, all in Rajasthan.
There are also multi-storeyed temple halls – meghanāda-maṇḍapas – connected to
raised image-chambers. These can be seen in the Ādinātha Temples at Ranakpur in Rajasthan
and in the Bālā Bhāī Tunk on Mount Shatrunjaya in Gujarat as well as in many of the Jain
temples in Varanasi, Uttar Pradesh.
Noteworthy are the detached open halls – sabhā-maṇḍapas. A prominent example can be seen
in front of the Pārśvanātha Basti at Halebid, Karnataka. Although they are free-standing, they
visually extend further the line of elements that are arranged along one axis in large maṇḍapa-
line temples.
Temple halls create an approach to the shrine and house additional religious statues and ritual
paraphernalia. They are used for ritual activities – pūjā – and the recitation of sacred texts.
During larger gatherings, the devotees sing hymns and watch ceremonial dance performances in
the temple hall.
Image-chamber and vestibule

The innermost sanctum in which the main icon of a temple is housed is referred to as
the garbha-gr̥ha – 'womb chamber'. In temples with more than one shrine, the main image-
chamber is usually referred to as the mūla-garbha as it contains the principal statue – mūla-
nāyaka or adhi-nāyaka.
The cella of maṇḍapa-line temples is usually square and has no windows that let in natural light.
In its simplicity and dimly lit state it resembles a cave inside a mountain, a model which the
superstructure of the temple aims to copy.
Based on perceptions of ritual purity, sometimes not all devotees are allowed to enter the shrine,
which is the purest and most sacred area of the temple. For this reason, a small vestibule –
antarāla or kapilī – sits between the image-chamber and its adjacent hall. Worshippers can
stand in this intermediate compartment to:
 perform the rite of darśana – gazing at the icon
 communicate with a priest
 make offerings
 follow the rituals conducted within the shrine.
Jain communities are ardent religion enthusiasts and have a daily darshan or visit to the temple.
Hence they strive to build temples as near to their homes as possible. Whereas in 1980 there was
only 1 Jain temple in Nagpur city(not counting the one at Ramtek described later) today there are
10 and some quite magnificent as described later. The Ramdaspeth Temple that I describe had
its birth or start in actually in a Garage in Giriraj Apartments in Dhantoli, near Ramdaspeth
hardly 1 km away. Later on, a Plot was bought to construct a temple. In Nagpur the strategy of
the community is to buy a plot large enough to make ½ or 1/3 of it into a Temple and rest into
residential buildings the sale of apartments from which could finance the construction of the
Temple. The idea is also an attraction for Jains to buy flats in the said building so as to stay as
near to the temple as possible. This is the case in both the modern temples described at
Ramdaspeth and Shri Wardhaman Nagar Swetambar Jain Sangh Sambhawnath Jain Mandir.
Michael carrithers in his book-On Polytropy: Or the Natural Condition of Spiritual
Cosmopolitanism in India: The Digambar Jain Case,Michael Carrithers,Modern Asian Studies
Vol. 34, No. 4 (Oct., 2000), pp. 831-861 (31 pages),Published By: Cambridge University Press
describes the case of the Kasar Jain community in Kolhapur – a single relevant page is attached above. .

Sumpinath Jain Derasar, Ramdaspeth, Nagpur

Pratihta by Rajyashrisuri Maharaj Saheb

Marble Flooring of new extension
stairs to reach flag shikhars
 CHAPTER XVII
Shri 1008 ShantiNath digambar Jain Atishay Kshetra, Ramtek,
Nagpur, Maharashtra (Atishay Kshetra)

The simplest temple to build is a Shiva Hemadpanti temple.The temples structure is infact
congruent with the form of the Shivalingam. Fits like a glove. Since then temples are made
utilizing red sand stone and the mainstays of sanctuary are made out of white marble
Various types of Jain temples are started constructing throughout Maharashtra. After 14th
century, Bhuyar temples started constructing to protect the temples from unstable political and
social condition. So, that in case of emergency, the basement used to be use as hiding place of
shrines. Later this type of temple planning became commonand basement became the integral
part of temple planning. Another type of temple is Chaumukh temple, where the shrine is
located on all four sides and entrance to the temple is also provided from all sides.

In Shikhar temple type, shikhar of the temple is provided above Garbhagriha. Temples
constructed without shikhar are called Chaityalay temples. Temples also. The temple was
constructed 450 years ago with use of Maratha elements but it also shows influence of Mughal
architecture. The temple has basement, ground and first floor. Manastambha is later addition
located at the entrance of the temple. The temple also shows glass work as well as carving in
main hall. The temple is constructed out of brick and stone. It is planned on the concept of
number of vedis in one hall showing six vedis in main hall, with number of big and small shrines
kept on it, one vedi is in basement and one small is located on first floor above vedi number two,
total eight vedis. Vedi one, two and three has three different shikhar.

Shri 1008 ShantiNath digambar Jain Atishay Kshetra, Ramtek, Nagpur, Maharashtra
(Atishay Kshetra)
Lord Shantinath temple is in Ramtek and it is sacred to the sixteenth Tirthankara of Jainism.
Devotees from all around the country come and visit the temple where the idol of Lord
Shantinath is installed. It is believed that the desires of all the devotees get fulfilled after visiting
this temple. People believe that Shree Ramachandra visited the Shantinath Digambar Jain
Temple, Ramtek, once.
There are fifteen other shrines and temples along with the main temple. Kalidasa in his lyrical
poem Meghaduta or the cloud messenger has mentioned the temple a couple of times.

History

The legend of this temple and the story is 4000 years old. The story behind this temple is
interesting and exciting. Appasaheb Bhonsle, a ruler from Nagpur came to Rumtek with
Vardhman Savaji, his minister to construct a Ram mandir.
One fine day, the minister reached the spot very late. When he was asked the reason he said that
he is a Jain and he can not take food until he worships the Jain idol. He went thirty kilometres to
offer his prayers daily which is the reason why he was late.
Hearing this the king ordered to find an idol of Shantinath Bhagwan. Soon the idol was found
under a tree and a temple was made there. This is how Shantinath Digambar Jain Temple,
Ramtek originated and devotees from all around the country come and offer prayers here.
N o o f Te m p l e s : 0 9 , P a h a a d / M o u n t a i n : N o , H i s t o r i c a l I mp o r t a n c e : A n i d o l o f L o r d S h a n t i n a t h j i i s
T e mp t i n g o n e . I t b e l o n gs t o C h a t u r t h a K a l a a n d i s c a r v e d b e a u t i fu l 1 3 f e e t 5 i n c h t a l l i n ye l l o w
s t o n e . I t i s i n s t a n d i n g p o s t u r e . H e a r s a y t h a t S h r i R a m c h a n d r a vi s i t e d t h i s p l a c e . Th e b e a u t i fu l fo r e s t
o f R a m t e k a r e m e n t i o n e d b y t h e g r e a t p o e t K a l i d a s i n h i s fa m o u s s c r i p t u r e M e gh a d o o t . An n u a l F a i r :
Kartik Sudi 13 to 15 Ratha Yatra is organized on this occasion.
A C h o u b i s i a n d a P a n c h B a l ya t Te m p l e a r e b e a u t i fu l l y c o n s t r u c t e d
 Shri Parshwaprabhu Digamber Jain temple, Itwari, Nagpur: Maharashtra has total 36
Tirtha Kshetras and number of temples smaller and bigger sizes, located in almost each and
every city, town. So,different Jain temple construction majorly started between 11th to 14th
centuries in Maharashtra. Temples at Anjaneri, Phaltan were also constructed during this period.
(Kabade, 2015) These used to be constructed in stone in Nagar style, Hemadpanthi style and
used to carve by depicting 24 Tirthankars and attendants called Yaksha-Yakshini. (Shah). In later
period use of brick also started.

Hemadri Pandit, (1259-1274 CE) who conceived of Hemadpanti architecture of buildings and
temples which did not use lime. was born in a Deshastha Rigvedi Brahmin (DRB) family that
had its origin in the Hemadri village in the Dakshin Kannada District of Karnataka. His father,
Kāmadeo, had brought him up in Maharashtra. In Hemadri's biography written by Keshav Appa
Padhye, the author has mentioned that Hemadri was a Deshastha Rigvedi of Ashvalayana sutra
and Vatsagotri (belonging to the Vatsa Gotra) Panchapravari brāhmaṇa. Padhye has mentioned
the reference for this information to be the book authored by Hemadri himself, or chaturvarga-
chintāmaṇ. Hemadri was a diplomat, an administrator, an architect, a poet, and a theologian and
scholar. During his prime ministership, the Yadav kingdom reached its zenith; soon after his
tenure, the Turkic emperor at Delhi, Alāuddin Khalji, and his successors ended the Yadav rule in
southwestern India.

Most striking feature of the construction was the use of locally available black stone and lime.
Inside, the temples are profusely decorated. These black stone pillars are such that they appear to
have been turned on a lathe. Similarly ceiling carvings are carved out of single stones. . The form

has a sort of eternal simplicity. [1]

The simplest representative of this style would be the common temple you’ll see on the top of a
hill, provided there is one, in the vicinity of any Hindu settlement. The fact that every village
surrounded by hills, whatever the altitude, boasts of such a temple is a tribute to human
shraddha or dedication, and human endeavour. Imagine how they would have carried uphill the
huge stones and other construction material…like industrious little ants carrying grains of sugar..

In Hemandmari architecture,first one erects a simple structure with a dome on pillars Then,
Shiva’s faithful Nandi has to be accommodated outside the sanctorum, which dictates the
creation of an elongated verandah. Thereafter, simply by extending the verandah on either side
of Nandi, the required space for devotees to sit, pray, chant, or be offered protection from the
elements is created. Extensions are permitted to any extent, and often they end up as pavilions.
In the sanctum sanctorum, the idol is so easy to make- it’s found in nature- that’s obviously
why jyotirlinga temples abound.

The only construction material required is plenty of rough stone slabs for the ceilings, and maybe
a few hundred feet of stone pillars for the columns and for functioning as the criss-crossing
horizontal supports for the slabs. For a few hundred years now, the function of the horizontal
columns has been taken over by iron girders.

Variants of the Hemadpanti happen when different types of extensions are created, or the kalash
made more elaborate, sculptures thrown-in….depending upon the budget of the village
trust…with simplicity, the possibilities are endless.
TEMPLE AT CHENGALPATTU, T'NADU: SIMPLEST FORM: NO DOME EVEN

BIT MORE ELABORATE: BHIMASHANKAR, M'RASHTRA

 PONNERI SREE AGATHEESWARA, CHENNAI

KALARAM TEMPLE, NASIK: DUAL GARBHAGRIHA

COPYBOOK HEMADPANTI: MAHADEV OF YEOTMAL

The process of building a temple atop a hill would commence with the discovery by the local
populace, of a sadhu or Mahatma on one of the hills. Devotees would start frequenting
the Mahatma and the need would eventually arise for a temple in order to keep the weather at
bay...
 Shri Wardhaman Nagar Swetambar Jain Sangh
Sambhawnath Jain Mandir

3 arches of 3 darwaza 4 mukhi mandir. Main door or Mukhya darwaza ( 1 of 3)

Mukhya dwar 1 of 10
 Chowki

Chowki Rangmandap is inside pratisthan in 11 may 2005 sanction

 Lovely ceiling

Pradakshana
Pradakshana
Garbagriha . Below pic one can see Smaller mandirs around main mandirs.
Tigda or 3 gadh. Birthday of Bhagwan is celebrated there. Snatra puja ABOVE
 bell is rung on leaving
temple to signify happiness to have seen the God.

(BELOW PIC)Apsaras entice othergods who may be jelous of the temple deity
Vimana
kala

Mangal kalash on top

Musicians on murals as deco elements
3 disciples and 2 sasandevi 1 sasandev. Gautamswami……3 mangalmurti
 labdhisuri
Nakodaji Gandhar RIGHT ABOVE

The Garbagriha as seen from the rangmandap portion/ se also Trigada for doing
snatrapuja
Bhandar to gift money
The 2 doors of the 4 sided temple
Chandarva painting

Dary
 The Jain temple here in Wardhaman Nagar started its
Journey as Choota Jain Temple also in the same area.The
idea was floated seriously around 1990. It took 15 years to
fructify much to the efforts of GaneshBhai jain who led the
enterprise. It had Prathistha (commissioned ) in 11 th May
2005.Residential houses are planned behing the temple as is
the general case described in the Ramdaspeth model.