Dissertation Report Final

Dissertation Report
Session: 2021-22
JAIN ARCHITECTURE
Name of Student- Sheetal Baid

Enrolment No- 0401180006
Batch: 2018-23
Name of Guide:- Ar. Praveen Jangid
Dissertation submitted in partial fulfilment for the B.Arch. Degree
Faculty of Architecture& Planning

Jagan Nath University
Plot No.-IP-2&3,Phase IV, Sitapura Industrial Area, Jaipur
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© Architecture Dissertation Faculty of Architecture & Planning, Jagan Nath University, Jaipur
Dissertation Report
Session: 2021-22
JAIN ARCHITECTURE
Name of Student :- sheetal baid

Enrolment No-0401180006
Batch: 2018-23
Name of Guide:- Ar. Praveen Jangid
Faculty of Architecture & Planning

2
Session: 2013-14
JAIN ARCHITECTURE
Name Of Student- Sheetal Baid

Batch: 2018-23
Enrolment No-0401180006
Batch: 2018-23
Name Of Guide:- Ar. Praveen Jangid
Faculty of Architecture& Planning

3
Approval
The Dissertation title “JAIN ARCHITECTURE “ is hereby approved as original work of

Name of Student-Sheetal Baid …..; Enrolment No.-0401180006…….on the approved subject
carried out and presented in manner satisfactory to warrant as per the standard laid down by the
Faculty of Architecture & Planning ; Jagan Nath University , Jaipur.
This dissertation has been submitted in partial fulfilment for the award of B.Arch. degree from
Jagan Nath University, Jaipur.
It is to be understood that the undersigned does not necessarily enclose or approved any
statement made, any opinion expressed or conclusion drawn therein , but approves the study for
the purpose it has been submitted.
Date
Place
Seal of Jagan Nath University
…………………… …………………….
Name & Signature Name & Signature
External Examiner Dissertation Guide
…………………… ………………………
Name & Signature Name & Signature
Dissertation Coordinator HoD/Dean
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Declaration
I , Name of Student-Sheetal Baid ……… , hereby solemnly declare that the dissertation
undertaken by me, jain architecture is my original work and whatever incorporated in the form
of text, data, photograph, drawings etc. from different sources, has been duly acknowledged in
my report.
This dissertation has been completed under the supervision of the guide assigned to me by the
Faculty of Architecture & Planning, Jagan Nath University.
I also declare that the work embodied in the present dissertation is my original work/extension of
the existing work and has not been copied from any Journal/dissertation/book, and has not been
submitted by me for any other Degree/Diploma.
…………………………………
Name & Signature of Student
Enrolment No-………………..
Session-………………............
Jagan Nath University,
Jaipur, Rajasthan
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Acknowledgement
The study has followed a long and winding path along which I meet many people, this formal
space to acknowledge their contributions is too less. Yet I would say that the distribution of my
gratitude to all these supporters from different places is proportionate and equitable.
I would like to express sincere gratitude to all my teachers, friends and colleagues at Jagan Nath
University, for their help to make this endeavour possible.
First and foremost, I would like to thank Ar. Praveen Jangid for his guidance and encouragement
throughout the dissertation process.
This dissertation is completely dedicated to my parents and my sister/brother and Apurva Pareek
.Their constant love, support and motivation throughout have made this task possible.
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LIST OF CONTENTS PAGE NO.
Declaration and certificate ………………………………………………………………i

Acknowledgments………………………………………………………........................ii
List of Content………………………………………………………………………….iii
TABLE OF CONTENTS
Chapter 1: Introduction
1.1 Synopsis………………………………..................................................................…8
1.2 Introduction…....................................10
1.3 Background/History………………………………….............................................…17
Chapter 2: Literature Data

2.1 Geometry Of jain Temples……………………………………………23
2.2 The Layout of Jain Temple ……………………………………………....26
2.3 Literature Case Study ……………………………………………….31
Chapter 3: Case Study

3.1. Dilwara Jain Temple Mount Abbu ………………………………45
3.2. Adinath Jain Temple , Rankpur…………………........................64
Chapter 4-Conclusion, Analysis And Scope For Future………………… 77

Bibliography ………………………………………………………………..80
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Chapter – 1
1.1 Synopsis
• AIM:
To study JAIN temple architecture style , planning and
interrelation of spaces of ancient and modern temple of Jainism
.
• OBJECTIVE :
The study gives details of different styles of JAIN temple , there
significance , concepts and evolution from pre-history to
present days.
• NEED TO STUDY :
To understand the interpretation of the spaces in temple .
There detail work, and their hidden meaning.
• LIMITATION:
 Evolution of jain temple from pre – history to present days
 Study the temple of Rajasthan and Gujarat.
 Jain temple of shwetamber sects.
• Methodology :
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 Scope :
Jain temple include planning of a temple which include Hindu
temple as well as Buddhist temple , space intersection , the art
and carving of the state and the place where they were built .
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1.2 Introduction
I. JAINS:
In the legitimate works of Jain (calledagamas), the
beautiful word "Arhat" joins Lord Rishabh Dev. The
religion proposed by "Arhat" is known as "Arhat
dharma". This is the obsolete name of the Jain religion.
The statement of "JIN" is the institution of the "Jain religion". One who
has relied on the preaching of "Jin" and that which follows him is called
“Jain”. As per Jain religion, there were twenty - four Tirthankars who
existed. As per Jain custom, Lord Rishabh was the first who taught the
lesson of Ahimsa to the world. So he could be known as a reformer of
the Jain religion or a rejuvenation of security that existed a long time ago
and had a long tradition.
II. God and cults:

Jainism adopts worship of Shakti in a number of structures. These
structures might be placed in isolation in temple.
Goddesses worshipped in Jainism:
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A. Less Known Goddesses.
a) Goddess of Knowledge.
b) Dikkumaris.
c) Laxmi
B. Broadly known Goddesses:
a) Shasandevis or Shasansundaris
b) Saraswati
c) Prabodhit Devis or Dixit Devis
SNO. NAME PLACE AGE
1 Rishabhanatha Ayodhya 84,00,000
purva
2 Ajitanatha Ayodhya 72,00,000
3 Sambhavanatha Shravasti 60,00,000
4 Abhinandananatha Ayodhya 50,00,000
5 Sumatinatha Ayodhya 40,00,000
6 Padmaprabha Kaushambi 30,00,000
7 Suparshvanatha Varanasi 20,00,000
8 Chandraprabha Chandrapuri 10,00,000
9 Pushpadanta Kakandi 2,00,000
10 Shitalanatha Kakandi 1,00,000
11 Shreyanasanatha Singpur 84,00,000yr
12 Vasupujya Singpur 72,00,000
13 Vimalanatha Kampilpur 60,00,000
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14 Anantanatha Ayodhya 30,00,000
15 Dharmanatha Ratnapur 10,00,000
16 Shantinatha Hastinapur 1,00,000
17 Kunthunatha Hastinapur 95000
18 Aranatha Hastinapur 84000
19 Mallinatha Mithila 55000
20 Munisuvrata Rajghra 30000
21 Naminatha Mithila 10000
22 Neminatha Shauryapur 1000
23 Parshvanatha Varanasi 100
24 Mahavira Kshatriya kund 72
gram
TABLE 1.1 - Twenty four Tirthankar’s detail. Source:
(Tirthankars, 2014)
III. Sects In Jainism:

The most fundamental sects in Jainism are known as Digamber and
Swetamber groups. The division of sects took place is about 600
years after Lord Sri Mahavira's nirvana.
Bhagwan
Mahveer
(599-527BC)
shwetamber Digambar
Terapanth Sthanakvasi Bisapanth Taranpanth
1760CE 1653CE (1889-1981) 1490CE
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IV. Main features of Jainism:
The Jain teaching in its multiple shapes is an expansion of these ‘three
jewels’, the sequence of which is significant and emphasises a concern
for rationality as one leads to the other: one can have a proper conduct
only if one is aware of the proper way to analyse what exists. Correct
faith means recognising the existence of nine verities or principles. They
are:
• The fact that there are sentient souls or living beings (jiva)
• The fact that there are non-sentient or material things (ajiva) such
as time or space
• The fact that karma flow in the soul (asrava)
• The fact that once in the soul karma is attached to it (bandha)
• The fact that there are forms of activity that are good (punya)
• The fact that there are forms of activity that are bad (papa)
• The fact that flowing of karma should be blocked (samvara)
• The fact that karma that has flowed in should be annihilated
(nirjara)
• The fact that once all karmas have been eliminated final liberation
from the cycle of rebirths takes place (moksa)
V. Jain Faith In Practice:

Since the beginning, the Jain society has taken account of the fact there
are two ways of life, a stricter one for ascetics and a milder one for non-
ascetics, who live in the world engaged in professional and family life
and are often called lay followers.
They conform to the ‘five great vows’ (mahavratas) which provide a
broad frame of behaviour.
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1. Non-violence (ahiṃsa)
2. Truth (satya)
3. Not taking what has not been given (asteya)
4. Celibacy (brahmacarya)
5. Non-attachment or non-possession (aparigraha)
VI. Jain Cosmology:

o The universe for Jains is an elaborate system. Jain cosmology is
very distinctive, although it shares some features with other Indian
religious traditions.
o The Jains distinguish two types of space. The first is the world
space (loka-akasa), which is a vast but limited area where all souls
live in the different body-forms they take according to their
rebirths in the various worlds. The second is the non-world space
(aloka-akasa), which is endless. The Jain universe is perfectly
structured and ordered.
o The universe, body, matter
and time are considered
separate from the soul (jiva).
Their interaction explains
life, living, death and rebirth
in Jain philosophy. The Jain
cosmic universe has three
parts, the upper, middle, and
lower worlds (urdhva
loka, madhya loka, and adho loka).
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o Jainism states that Kala (time) is without beginning and eternal, the
cosmic wheel of time, kalachakra, rotates ceaselessly. In this part
of the universe, it explains, there are six periods of time within two
eons (ara), and in the first eon the universe generates, and in the
next it degenerates.
o Thus, it divides the worldly cycle of time into two half-
cycles, utsarpini (ascending, progressive prosperity and happiness)
and avasarpini (descending, increasing sorrow and immorality) It
states that the world is currently in the fifth ara of avasarpini, full
of sorrow and religious decline, where the height of living beings
shrinks. According to Jainism, after the sixth ara, the universe will
be reawakened in a new cycle.
Jain diagram, Two and a Half Continents, Adhai-dvipa, c. 18th century
 According to Jain the world is divided in nine continents

a) The first continent, jambudvipa, is the most noteworthy and is the
template on which all the other continents are
modelled. Jambudvipa is set around mount meru and forms the
heart of adhaidvip .
The two-and-a-half continents comprise:
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 Jambudvipa
 The surrounding ocean of lavaṇasamudra
 The second continent, dhatakikhaṇḍa
 The encircling ocean, kalodadhi
One half of the puṣkara continent.
Tortures in the hells depicted in a manuscript of Śrīcandra’s Saṃgrahaṇīratna
1.3. JAIN ARCHITECTURE HISTORY

The dedication of Jain Architecture to standard art in India has been
remarkable. The extensive Jain temples and the extraordinary framed
purposes of Karnataka, Maharashtra and Rajasthan are acclaimed
worldwide. The Jain Architecture cannot be confirmed by its particular
exceptional style, since it was only a branch of Hindu and Buddhist
styles.
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i. HISTORY OF JAIN ARCHITECTURE IN INDIA
The Jain, who have contributed to the craft and design field since the
early days. Statues of Tirthankar Risabhadeva and figure revealed yogis
or key uncovered ideas recorded on some ceramic seals. Artifacts from
the ancient Indus Valley civilization found in Mohenjodaro, and beyond
the denudated red stone statue are equivalently old.
Jain of Lohanipur (Patna), sometimes attributed Mauryan (fourth BC).
King Kharavela of Kalinga as engravings Hathigumpha, who has
restored the image of Jain taken from Magadha to (4th century BC).
During the period of Satavahana (60 BC to 225 AD), Mathura and
Saurastra were the central reign (Shah, 1998, pp. 3-7).
 In The Gupta Period:

It is said that the Gupta period (from 4th to 7th AD) was the splendid
time of ancient Indian culture. After the period of Gupta; Kakkula,
Vatsaraja and Mahendrapala were Jains rulers in the Pratihara line.
Chittod was the capital of Paramaras where Kalakacarya and Haribhadra
gave their lives for the change of craftsmanship and design. Jains, in the
middle of Candela, Khajuraho, Devagadh, Mahoba, Madanapur,
Canderi, Ahar, Papora and Gwalior line wrapped around celebrating his
Jainism craftsmanship. Some essential incisions, toranas, images and
other sculptural material can be found in Tripuri. As noted in recent
times, the status of Bihar has been evident from the early days with
regard to Jain culture.
 East India
Jainism has a long history since the ninth century BC just like the 23rd
Dharma Chaturyam Tirthankar Sri Parshvanath, who focused on Satya
(truth), Ahimsa (quiet), Achaurya (not taken) and Aparigraha (non-
possessiveness) that was served. Chaturyam Dharma was the pioneer of
Sri Mahavir's religious and social demand. The Eastern India as needed
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are unequivocally preserved in the ancient history of Jainism. Jainism
had a phenomenal support in the time of King Chetaka, the pioneer of
Vaishali, Bimbisar (Shrenika) and king Ajatshtru of Shishunaga (642-
413 BC), the rulers of 17 nandas (413-322 BC) and the emperor
Chandragupta Maurya (322-298 B.C.) of the Maurya dynasty
 South India
Jainism reaches south India at Shravanbelagola 300 BC due to drought
in Bihar region for the long time. The sangh moved to south under the
leadership of Acharya Bhudrabahu. The sovereign Chandragupta
Maurya was part of the sangh. Jainism also made an "obligation
concerning the realization and gigantic during the Vijayanagar Empire
(1336-1565 C.E.)
 West India
Maharashtra from the third century onwards, "the decision arrangements
equipped Satavahanas of Paithans, Chalukyas of Kalyan, Rastrakutas of
Malakhed, Yadava of Devagiri and Silaharas of Kolhapur and Konkan
increased their praise praised to a huge extent to the Jain religion". Jains
in Maharastra claim to have four essential Siddhakshetras (places where
Tirthankars or blessed individuals in particular, to have nirvana) in
Gajapantha (Nasik District), Magitungi (Khamdesh District),
Kunthalagiri (Osmanabad District) and Muktagiri (Amraoti District)
 North India
Mughal emperor Akbar was clearly dedicated for Jainism. He had
rejected the butchering of animals between the days of Paryushan in
1583 CE. At first, Jahangir had denied this course of action. Again
announced the same in 1610 CE. The sovereign Shahjahan was more
tolerant of Jainism and allowed a Jain Temple to construct first. Jains
have contributed the structural parts of the Red Fort at New Delhi and in
the same way; they traded with the inhabitants of the area.
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ii. Time line of jain architecture :
(3rd Century B.C-17th Century A.D)
One impossible to miss variety found in Jain temples is that they are four
confronted or “chaumukh”. Consequently, rather than a single figure
with single face, one path, with one access to the cell, they gave a
fourfold image or a gathering of four different Tirthankars. It requires
the shrine chamber with four doorways, which influenced extensively
the layout of temples .
2nd century BC
Khand& Giri Caves
Bhubaneswar, Odisha
6TH Century AD
Badami Caves
Badami, Karnataka
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1172 AD
Brahma Jinalaya
Lakkundi, Karnataka
11TH-13TH AD
Dilwara temples
Mount Abu, Rajasthan
11TH-16TH AD
Shatrunjaya temple Complex
Bhavnagar , gujrat
1430 AD
Saavira Kambada temple
Mudbidri, Karnataka
15th century AD
Ranakpur Jain temple
Ranakpur, Rajasthan
1658 AD
Lal Mandir
Delhi
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1848 AD
Hutheesing Jain temple
Ahmedabad
1865 AD
Nasiyan temple
Ajmer, Rajasthan
iii. Interior design of Jain temples :

The dedication of the Jains to the craftsmanship and the setting was extremely
important in shaping the famous dazzling appearances, particularly in the type of
paintings, temples and representations scattered throughout the country and
covering a period of exploration in the perception from more reliable until time
limit.
 Mohen-Jo-Daro male seal figure also indicates existence of Jain religion.
 In the third century BC, the exposed and kayotsarga-mudra, which

proposed the full gravity of photography, were related only to Jin.
Lord Parshavanath Statue Source: (Samet-Shikhar, 2018)
 The temple that makes manpower is equally notable in Jain's Achitecture.

The great design and the Jain figure are found in the caves excavated in
Mathura, Bundelkhand, Madhya Pradesh and Odisha
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 In Udaigiri and Khandgiri various caves have been found. A piece of cells
has cutting grids on the spacers. In a little bit of the cell, the floor rises to
the back to fill it like a pillow. A couple of cells has low levels for the beds
(Eliot, 1962). The extension of the cells is centered with authorities that
receive enough light, and the cells open on a tunnel. The natural spaces of
Udaygiri in some of caves have two floors and a patio in the front.
MAP 1 : SPREAD OF JANINSM IN INDIA
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Chapter – 2
Literature data
2.1. GEOMETRY OF JAIN TEMPLES
Jainism has constructed a specific iconography and has created a large number of
religious images and custom tools that are not used or adored by peoples of
various religious and social events in the subcontinent. Several themes have been
given by Jain fables, who give clear representations of incredible constructions,
some of which have become a physical obstacle in Jain's Art and Architecture.
This document will analyze three unmistakable Jain
religious elements: Meru, Samosaran And Simhasana.
Meru is a cosmological component, samosaran,
considered all, an amazing development, and
simhasana is a personalized tool. In its particular
forms, each of the three things is new to Jainism.
The three components form a unique entity because
they are apparently unequivocally related. Each of the FIG : SIMHASANA
three is perfectly healthy pyramidal and includes three
significant levels of overlap. The association between them, independently, is not
just visual or basic.
2.2. Cosmological And Jain Temple
Jain's cosmological works offer minute representations of astronomical oceans
and island rings. They represent what is recognized as the
physical idea of the Jain universe, regardless of how its
standard point is to give the disciples a manual for
salvation. With the sole understanding of the form and
geography of this moral and extraordinary universe, a
superior kind of spiritual closeness. Essential for most of the
representations of the universe, and the Jains can leave the
generous world and go to the individual world, the
terrestrial masses are the proximity of the consecrated mountains.
2.3. The mythological dimension
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It is said that all the Jin are familiar with a ksatriya
family, the heavenly creatures to their destiny mixed
as meaningful instructors, deny life wrenching
sensible world, monk wrapping and after gravity
strenuously achieve enlightenment. As a result, the
celestial creatures have an impact on anamphitheater,
a similar external structure. This is insinuated as
samosaran, or more casually as samvarsana, which
really connotes the collection.
Architecture, for example, the vastuvidya of
visvakarma, merus and samosaran be administered
jointly and inspected in practically identical passages. Its structure similar to an
amphitheater, containing three courtyards or fortifications to satisfy the
assembled spectators of celestial creatures, individuals and animals that affect the
formalized essential education of Jin. The samosaran can be round or square in
the diagram, regardless of their appearance, from all angles, more usually have
an indirect plane.
It is interesting that despite what representations of samosaran divided into three
layers do not appear in the surviving ayagapaṭas first century to the second
century AD, there is what radiates the impression of the first cut representations
in the cavities of Jain in Udaygiri in Odisha.
Fig: Large-scale representation of a Samosaran

at Pawapuri in Bihar
Fig: Large-scale representation of a Samosaran

at Pawapuri in Bihar
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2.4. Hypothetical messages on Architecture
2.4.a. THE RITUAL INSTRUMENT
Despite their unmistakable cosmologies and incredible stories, based on
Tirthankars, the Jains have built similar to a specific type of personalized temple.
This is based on its strategy for the management of discrete blessed images and
the proximity of different religious figures, remaining as often as possible in a
number of rooms arranged in various levels sacred places of the floor.
Impeccability considerations are of great value for the association with the
hallowed symbols of Jain and especially for the mulnayaka.
In its general sense, the term is used to insinuate the seat placed above the
custom supports next to it. Despite everything, it is associated with greater
frequency to the entire three-level structure. Such a custom three-layer stage is
found in most of the Jain temples each time. Most simhasana are arranged in the
main mandapa on the front of the garbhagṛiha, which houses the focal
photograph of a Jain temple, but in the same way, they can be arranged in front
of the side cells.
A.The concept
The sacred statues of Jain must be formally presented and purified through the
execution of a complex development of services that recalls a specific goal of
working in a ritual way and of being solid religious things. In a Jain
environment, these traditions of constitution and refinement are consistently
suggested as panch kalyanaka-pratistha.
B. THE LAYOUT OF JAIN TEMPLE

 The paths of the Jain temples lead to a movement of chambers segmented in
the central vestibules of the temples.
 These temples inside a shelter, divided into sanctuaries and included by a
number of places of supplication and sacred places, and the labyrinth of
segments develops as a defense against looters.
Jain's craftsmanship and composition thrived with great energy between the
10th and 15th centuries. In the period, a large number of Jain temples were
constructed with sculptures. In the middle period new structures and the
iconographic characteristics (with the exception of Jin) of various deities were
25
established. The parikara (environment) of the Jina images was also realized
with the figurative representations of Navagrahas, Sarasvati, Laksmi and the
minor figure of Jin.
The temple that makes design is equally splendid in the Jain plan. These
temples are places where the symbols of Jin near demigods and goddesses, are
preserved in stone or marble. Numerous temples are the specialty of
improving the incredible nature, for example in Khajuraho, Deogarh, Mount
Abu, Ranakpur and others. In Udaygiri and Khandgiri various agitated cuts
were found; two hills in the Bhubneshwar district of Odisha.
C. The Plan
The genuine differentiation is the advancement of 'temple’ by the Jains rather
than solitary Hindu temples, which are the standard instead of the exception.
A Jain place of affection is moreover noted for its rich materials (routinely
marble), and what's more the abundance of ornamentation which decorates the
structure.
Consequently, that it isn't uncommon to find four of these pictures put

successive, one for each cardinal course. Certainly, housetop outlines, for
instance, at the temples at Mount Abu; end up being exceptionally point by
point with marble divine beings and concentric rings of cutting.
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Fig: THE MAGNIFICIANT RANKPUR JAIN TEMPLE
The central place of plan is called "Mula-Prasada", within which is "garbhagriha"

(sacred place), and its guide statue is "mulanayaka". For a place of worship
chaturmukha (four faces), not in any way like the temples of the Mount Abu.
There is no "gudha-mandapa" (closed entrance) or "Trika-mandapas" (vestibule),
however, there are four "ranga-mandapas" (A social hall) before four steps from
the essential heavenly place. Each ranga-mandapa
is connected to a three-storey
"meghanada mandapa". Having four "mahadara-
prasada" (despicable celestial place) from one
corner to another in four methods for the essential
sanctuary, the temple that composes it is
"panchayatana" (type of five chapels).
Furthermore, there are two east and west sides
"bhadra-prasada", which make the total piece
much more complex. A line of "deva-kulika"
Fig: Chaturmukha Style Plan (Type-I).
(small temple of worship) along "bhamati"
(house) incorporates all the perplexity.
Plan 2:- The ideal plan of the Jain Temple, with

a view to the definition of somapura, 1960. In a
general sense, this is a type of "pancha-yatana"
wrapped in meetings, each space is reliable and
is united as in the temple of Ranakpur. The Fig: Chaturmukha Style Plan (Type-II).
five places of worship are all "chaturmukha"
having independently four "ranga-mandapas" before four faces. There are
more critical "meganada-mandapas" at the crossing points that connect five
27
sanctuaries and continue with "balanaka" (entrance campaign) on four sides.
In the peripheral line there are four "Mahadara-prasadas" (unreliable holy
places) and eight "bhadra-prasadas" despite ninety two "deva-kulikas". The
total number of Tirthankar statues is 124 on the ground floor only. All the holy
places have "shikhara" (tower in the sanctum) and the flag pole, the mandapas
are protected by vaults or "roofs of samosaran".
D. Auxiliary components
Temples linked to different convictions in South Asia often share Architectural
parts and show essential styles in a region and
an indisputable period. In any case, Jain
temples sometimes share constructive and
amazing segments found in the temples of
various religions, they are particularly Jain.
a) The Pillared Hall Or The Mandapa
The sanctum of the temple is made as meeting
palace and can accommodate a statue of a consecrated religious figure or
hypothetical segment for example, eight great images, the siddhachakra,
unlimited individual, yantras and sacred syllables or mantras. All that is
considered the place of worship contains gigantic quantities of sacred items.
Most of the temples, throughout the India, have some sacred places. The arcades
are practically nothing, the clear brokers offering access to altars and mandapas.
b) The divider
Almost in any case, Jain temples are enclosed by high compound dividers.
Known as prakara, these divisors do not disengage compound separators,
incorporating the entire sacred temple domain: some types of temples have
developed these dividers to create structures that look alert and solid. The
dividers have joined the exterior of the temples of the complex, so there are the
same prakaras. This can happen with a great variety of temples; however, it is
particularly common in haveli temples.
c) The Superstructure or Shikhara

Shikhara or superstructure is the best individual from a sanctum in Jain
Architecture. This fills in as the base (adhisthana) for the superstructure that
28
climbs over the sanctum known as vimana or shikhara, which outlines the
fundamental part of the temple. In early days, this vertical emphasis was laid
on only a solitary level
(prathama tala). A short time later,
number of levels (talas) were
added to this superstructure. It was
assumed that the entire locale,
which the vimana or shikhara
overlooked was rendered brilliant and
the area secured by this
shikhara, would be prosperous.
Fig : Variour Component Of Jain Temple
Archana- Navnita, an old substance

described these heavenly places into five sorts “1) Svayam-Vyakta (self-
appear) 2) Daivika (presented by Gods) 3) Arsha (presented by sages) 4)
Pauranika (celebrated in the Puranas) and 5) Manusha (synthetic) havens".
d) The supporting Elements
 Jain temples have different segments having an especially formed structure,
molding square.
 The squares thusly molded make chambers, used as meager places of petition
and contains the statue or idol of a divine being.
 From these segments are extravagantly cut areas that create at around two
third of their stature.
 The rooms of these temples have pointy vaults and wherever there is curve,
the sections are blocked to make an octagonal space inside.
 The only assortment in Architecture specific to Jain temples is is chaumukh
layout. The from which have been observed time to time. In these, the
Tirthankar faces back to back in all cardinal directions.
 Entry to these temples is moreover from four doors that face the cardial
directions.
e) THE STRUCTURAL SYSTEM
29
Jain temples frequently share design and inventive fragments found in temples
of different religions, they are unmistakably Jain style. Their religious
structures are particularly changed as per Jain significant custom practices.
There are three main highlights of Jain temples.
• There is generally more than one place of worship in a temple.
• Most are wrapped by extra structures that shape some segment of the temple.
• Temples are as routinely as possible stuffed together to pass on temple
structures or 'temple-urban zones'.
A. Trebeated system
In the trebeated framework, simply the flat and the vertical support members
are used. For instance, columns or pilasters together overpowering with cross
shafts and lintels.
During the tenth and eleventh century the internal rooftops were laid
circuitous with stone courses, arranged one over the other in reducing widths
of span, to deliver complex plans.
Fig : Jain Temple With Trabeated System.
B. Corbelling system
The corbel system of the load transfer of the structure is adopted in Jain
temple. The adjustment measures, all considered, from procedures to curves,
vaulting and various types of utilitarian construction rules have never had an
incredible impact on the movement of the Jain temple. There were no
examples of the use of vaults or curves in the Jain temple Architecture, but the
strengths on the surface of the separators were determined and from time to
time, they transmitted loads from above. The organizers of Jain temple
remained attached to particular methods and reached their progress with the
30
gravity law i.e. assurance with the weight acting vertically and transmitting all
the weight down by using corbelled system.
Literature case study
Udaygiri and khandgiri
Udayagiri and Khandagiri Caves
Date of Construction : 200-170 BC
 Introduction:
Among the first Jain landmarks are the caves of Udayagiri and Khandagiri,
situated near the city of Bhubaneshwar in Odisha, India. These caves are to
some extent typical and have been cut off as private pieces for the Jain monks
in the middle of the reign of King Kharvela of Kalinga (200– 170 BC).
There are in total thirty-two caves existing in these two caves. The monks are
accepted to have lived here under unforgiving conditions but then have
possessed the capacity to produce dazzling and unpredictable figures
delineating the royalty, courts, religious symbols, and customary existence of
society.
Fig : Udaygiri And Khandgiri
31
A. Caves of Udaygiri :-
The caves in Udayagiri are to some degree better
known because of a few imperative monuments of
history and art.
Located in: Khandagiri Digambara Jain Temple
Address: Khandagiri, Bhubaneswar, Odisha
Fig : udaygiri caves

Cave 1: Rani Gumpha
Temple Type – Cave
Rani Gumpha is also known as Rani ka Naur and Queen's Cave or Queen's
Palace cave. It has a double storeyed monastery. There are seven entry doors
with frontal face. Apart from that, there is an upper floor, which contains nine
columns. There is a monument of women, who is dancing and playing musical
instrument. The cave is famous due to its exceptional acoustical characteristics.
The sizes of cells are varying from 22’-0” X 8’-0” to 8’-0” X 6’-0”. The height of
the cells is 3’-6”. The height of entryway verandah is 6’-3”.
Fig : Rani Gumpha Cave
32
Cave 2: Bajaghara Gumpha
It is known as a simple and small cave. It is made for
Jain monks because it has bed and pillows made of
stone. It has rectangular shaped pillars. There is no
other sculpture found in this cave. The sizes of cells are
8’-0” X 8’-0”. The roof of cell is vaulted and height of
the cells is varies from 5’-6” to 6’-6”
Cave 3: Chota Hathi Gumpha
Chota Hathi Gumpha is known as a small size. There
are six small elephant’s figures in the facade. The word
Fig : Jain Tirthankar Carving

'chota hathi' means 'small elephant'. Chota Hathi
Gumpha has a front door on both

sides along with the exquisite relief
with elephants. The sizes of cells is
8’-0” X 6’- 0”. The height of roof is
3’-6”.
Cave 4: Alkapuri Gumpha
Alkapuri Gumpha is known as
double storied cave. There are part
Fig : Veena Temple Cave 4
of columns is built. This cave consists of
sculpted ornaments and sculptures. There are exquisite reliefs depicting
33
elephants on rock-cut pillars’s capitals, winged creatures and people. The sizes
of cells is 6’-0” X 6’-0”. The roof of cell is vaulted and height of the cell
varies from 5’-6” to 6’-6”. The entry of the cave
is from 14’-0” X 8’-0” verandah.
Cave 5: Jaya-vijaya Gumpha
Jaya-vijaya Gumpha is known as double storied
cave. In this cave there are some rockcut columns
and some built. The sizes of cells are varying
from 27’-0” X 7’-0” to 7’- 0” X 6’-0”. The roof of
cell is vaulted and height of the cell varies from
5’-6” to 6’-6”. The height of entryway verandah
is 6’-3”.
Case 6: Panash Gumpha
Temple Type – Cave Fig : carving at cave 5
Panash Gumpha is known as simple cell
along with two built columns. It is another
shelter with ochre paintings near to this cave.
The size of cells is 6’-0” X 6’-0”. The roof of
cell is flat and height of the cell varies from
6’-3”. The entry of the cave is from 18’-0” X
8’-0” verandah.
Cave 7: Thakurani Gumpha
Fig : carving at cave 6
Thakurani Gumpha is known as double storeyed cave. In this cave there are
some rockcut and other are built. It has a relief carving with winged animals.
It has few tiny relief sculptures. The size of cell is 8’-0” X 6’- 0”. The height
of roof is 3’-6”. The entry of the cave is from 8’-0” X 5’-0” verandah.
Cave 8: Patalapuri Gumpha
Patalapuri Gumpha is cut cave designed roughly. There are two columns at
verandah. The columns are decorated with reliefs depicting winged beings.
The size of cells is varying from 32’-0” X 7’-0” to 6’-0” X 6’-0”. The roof of
34
cell is vaulted and height of
the cell varies from 5’-6” to
6’-6”. The height of entryway
verandah is 6’-3”
Cave 9: Mancapuri
Gumpha
Mancapuri Gumpha is double
storeyed cave. There are four
columns on the lower floor.
There are several sculptures and reliefs,
Fig : warrior structure
inscriptions in this cave. Out of those inscriptions,
two inscriptions resemble. The sizeof cells is varying from 21’-0” X 7’-0” to
7’-0” X 6’-0”. The roof of cell is flat and
Cave 10: Ganesa Gumpha
Ganesa Gumpha is known because of its stone monument. It has monument of
Jain Tirthankar and some of like fighting people in action. There is an
inscription also. It consists of two dwelling cells with low ceilings along with
the verandah with a bench in front. The sizes of cells are 8’-0” X 6’-0”. The
roof of cell is flat and height of the cell is 3’-6”. The size of entryway
verandah is 17’-0” X 4’-0” and height is 6’-3”.
Cave 11: Jambesvara Gumpha

Jambesvara Gumpha has a two plain door opening with low cell. There is an
entrance with one column and two pilasters. There is an inscription also which
indicates that the cave of Nakyia, wife of Mahamade. The size of cell is
varying from 10’-0” X 7’-0” to 7’-0” X 6’-0”. The roof of cell is flat and
height of the cells is 3’-6”. The size of entryway verandah is 10’-0” X 4’-0”
and height is 6’-3”
Cave 12: Singh Gumpha
Singh Gumpha is a small cave temple. Its entrance is shaped like some animal’s
head and entrance door is look like the animal’s throat. The entrance is decorated
35
with domed elements. Some inscriptions are also there which talk about this cave
which belongs to the city of Judge Sabhuti. The size of cell is varying from 8’-0”
X 7’-0”. The roof of cell is flat and height of the cells is 3’-6”.
Cave 13: Sarpa Gumpha
Sarpa Gumpha is a small cave, which is unusual and decorated on the upper side
of the entrance. It names ‘sarpana’ because ‘sarpa’ mean snake. There are two
inscriptions found in this cave. The sizes of cells are varying from 8’-0” X 8’-0”.
The roof of cell is flat and height of the cells is 3’-6”.
Cave 14: Hathi Gumpha
Hathi Gumpha is a great history and records of king Kharavelaa’s empire. It

has a natural artificial structure like columns of verandah. There is an
inscription in this cave. Apart from this, there are lots of symbols and foot
idols drawn on this cave. There is a hollowed boulder with entrance doors and
windows in the front of Hathi Gumpha. The sizes of cells are varying from
15’-0” X 8’-0” to 6’-0” X 6’-0”. The roof of cell is flat and height of the cell is
3’-6”. The entryway of these caves is natural topography.
Cave 15: Dhanaghara Gumpha
36
Dhanaghara Gumpha has an
entrance of two columns, which
are massive and unfinished,
decorated adorned with
doorkeeper’s sculpture. The sizes
of cells is 14’-0” X 7’-0”. The
roof of cell is flat and height of
the cell is 3’-6”. The size of
entryway verandah is 14’-0” X 6’-0” and height is 6’-3”.
Cave 16: Haridasa Gumpha
Haridasa Gumpha is cut cave designed
roughly, verandah with one column. There is
an inscription in this cave. The sizes of cell is
14’-0” X 7’-0”. The roof of cell is flat and
height of the cells is 3’-6”. The size of
entryway verandah is 12’-0” X 6’-0” and
height is 6’-3”.
Cave 17: Jagannath Gumpha Fig : Two Shiva Lingas, One Of Which Is A
Temple Type – Cave mukhalinga
Jagannath Gumpha is also a roughly rock cut
cave. The sizes of cells is 18’-0” X 7’- 0”. The
roof of cell is flat and height of the cell is 3’-6”.
The size of entryway verandah is 18’-0” X 6’-
0” and height is 6’-3”.
Cave 18: Rasui Gumpha
Rasui Gumpha is a very small cave and it has
only one flat and height of the cells is 3’-6”
entrance. The size of cell is 7’- 0” X 6’-0”. The
roof of cell is flat and height of the cells is 3’-
6”
Fig : Carving At Cave 9

37
B. Caves of Khandgiri
The Khandgiri hill contains to a certain extent less caves. The Khandgiri
caves are progressively encroached by the Brahmins, turning them into Hindu
shrines, but the internal carvings still tell the story of Tirthankars.
Fig : Double Storyed Caves
Cave 1 and 2: Tatowa Gumpha

Cave 1: The entrance has the form of parrot and so it is named as Tatowa
Gumpha. Cave is luxuriously carved, decorated with two door assistants too.
The two entries in the cells are "watched" by two bulls and two lions as
depicted.
Cave 2: Tatowa Gumpha has a gallery decorated with pilasters; pilaster
capitals contain impeccable sculptures.
Cave 3: Ananta Gumpha
Ananta Gumpha consists of dazzling figures of women, elephants, athletes,
geese conveying blossoms.
Cave 4: Tentuli Gumpha
38
Tentuli Gumpha is a small rock-cut chamber. There is a verandah with one
column. Entrances in shrines decorated
with portals.
Cave 5: Khandgiri Gumpha
Khandgiri Gumpha is known as double
storied cut cave. The ground floor - first
cell size is 13’-0” X 6’-0” and second cell
size is 6’-0” x 6’-0” with height of 3’-6”.
The first floor have three cells with cell
size of 6’-0” x 6’-0” with height of 3’-6”
Cave 6: Dhyan Gumpha
Dhyan Gumpha is generally has a
roughtly cut cell Architecture with cell Fig : The temple platform was unearthed
during excavations in 1914.
size of 16’- 0” X 14’-0” with height of 6’-
9”.
Fig : Shiva lingas
Cave 7: Navamuni Gumpha

Navamuni Gumpha is generally has a cut cell, raise wall embellished with Jain
Tirthankars, Sasana Devis and Ganesh. Inscription is carved here. There is a
small figure of Lord Chandrparbha seated on a lotus. There is a figure of Naga
also. The size of cell is 28’-0” X 10’-0” with height of 3’-6”.
Cave 8: Barabhuji Gumpha
39
Barabhuji Gumpha is embellished with Jain
Tirthankars, Sasana Devis and rock-cut foot
idols. Some Tirthankarssculptures are also
found in this cave. The entry to the cell is
from 6’-0” wide and 6’-9” height verandah.
The size of cell is 18’-0” X 6’-0” with height
of 3’-6”.
Cave 9: Trusula Gumpha
Trusula Gumpha was displayed in medieval
circumstances through a few changes. The
entry to the cell is from 6’-0” wide and 6’-9”
height verandah. The size of cell is 18’- 0” X
6’-0” with height of 3’-6”.
Cave 10: Ambika Gumpha
Fig : God Ganesh Carving
Relief images of Sasan devis is present in this cave. The entry to the cell is
from 6’-0” wide and 6’-9” height verandah. The size of cell is 12’-0” X 6’-0”
with height of 3’-6”.
Cave 11: Lalatendukesari Gumpha
Lalatendukesari
Gumpha also known as
Keshari Cave has a raise
wall embellished with
reliefs of Mahavira,
Parsvanatha, and Jain
Tirthankars. The entry to
the cell is from 6’-0”
wide and 6’-9” height
verandah. The size of cell
is 18’-0” X 6’-0” with
Fig : Carving at cave 11 height of 3’-6”.
40
Cave 14: Ekadasi
Gumpha
Ekadasi Gumpha has a
basic cell structure. It is
very small and simple.
No inscriptions are
found here. The size of
cell is 6’-0” X 6’-0”
with height of 3’-6”.
Cave Fig : khandgiri caves
12 and cave 13 (Lalita Gumpha) of the khandgiri, hills are roughly cut
caves of very less architectural significance
Fig : Carving at cave 14
41
 DIMENSIONAL ANALYSIS( Udaygiri Caves )
1. Number of floors 2. Plan form
3. Type of Roof 4. Internal / External features.
5. Number of cells 6. Area of single cell
42
7. Total Area of each Cave 8. Ceiling height
 DIMENSIONAL ANALYSIS( Khandgiri Caves )

1. Number of floors 2. Plan form
3. Type of Roof 4. Internal / External features.
43
5. Number of cells 6. Area of single cell
7. Total Area of each Cave 8. Ceiling height
FIG : EXTRIOR CARVING OF CAVES
44
Chapter 3
I. Live case study
A. DILWARA JAIN TEMPLE MOUNT ABBU
i. INTRODUCTION :
Dilwara Jain Temples is one of
the finest Jain temples known
world over for its extraordinary
architecture and marvelous
marble stone carvings, some
experts also consider it
architecturally superior to the
Taj Mahal.
These temples were built
between 11th to 13th century AD,
The beautiful lush green hills surrounding the temple gives a very pleasant
feeling. The ornamental details of marble stone carvings is phenomenal and
unmatched, the minutely carved ceilings and the pillars are just amazing.
ii. Location :
 MOUNT ABU, RAJASTHAN
iii. Built year :
 11TH TO 13TH CENTURY
iv. Material :
 WHITE MARBLE
v. Religion :
 JAINISM
vi. Site plan :
45
Delwara Jain Shwetambar Temple, Abu Parvat
In the indescribable beauty of

Arbudachal, the eternal treasure of the
world's unique craftsmanship has been
preserved by the builders, facilitators
and craftsmen of Delwara Jain temples.
The temples here, built of bright white
marble, on one hand the wonderful
workmanship of the craftsmen and on
the other hand, the beauty and splendor
of the idols of Vitrag, opening the
visitor in the spiritual environment to
the eyes of the eyes, while making the visitor feel the supernatural beauty and
calmness. In these temples, along with the direct vision of Jain culture, wonderful
and fascinating sculptures of Hindu culture, dance-theatrical art of that era are
engraved. The subtlety of the craft-beauty, the softness, the uniqueness of the
ornamentation and the artistic bodies swinging like crystal dots on the roofs of
the domes, the fine ornamentation of the arches etc. provide a feeling of
supernatural joy. The paintings engraved on the stone plates, the figures of
various animals, birds, trees, vines, flowers etc. are dreams of heavenly beauty,
the architecture and craftsmanship here is unique, whose example is not found
anywhere else in the world.
The simple entrance of the

temple takes the visitors into the
rare world of beauty and charm.
There are five Shvetambara Jain
temples, in which the temples of
"Vimalvashi" and "Lunvashi"
are very artistic and special.
Other temples include the
temple of Mahavir Swami, the
temple of Brasshar and the
46
temple of Parshvanath. The complex also houses the Digambara Jain temple of
Sri Kunthunatha Swamy.
On entering the temple gate, one can see the four-storey temple of Lord
Parshvanath on the left side. This temple is seen at the end. On going straight
ahead on the way, climbing the stairs to the main temple on the right side comes
the small temple of Lord Mahavir Swami located on the left side.
vii. MASTER PLAN OF DILWARA TEMPLE :
a) MAHVEER SWAMI TEMPLE :

This modern temple was built in 1582 AD. It is smaller and very simple than all
the temples. There are 9 Jin images in the temple including Moolnayak 24th
Jain Tirthankar Lord Mahavir Swami. On the roofs of the outer part of the
temple, V.S. There are paintings made by the painters of Sirohi in 1821 (AD
47
1764). In the first terrace, the figures of
Lord Rishabhdev, Ambaji, Mahadev,
Shri Krishna and elephants, camels,
instrumentalists etc. are painted all
around. On the second terrace, eight
women are depicted dancing
"Ghoomar" and eight women playing
different types of instruments etc.
There is a flower in the middle of the third and fourth roof and there are pictures
of birds all around. On the fifth terrace there is a view of a procession. On the
sixth terrace there is a picture of Ganesha, Hanuman, Kshetrapal and on the wall
there is a scene of Krishna taking off the clothes of the gopis on the banks of the
river Yamuna. This Irish painting is in a dilapidated state.
b) VIMAL VASAHI TEMPLE :
i. Previous Story:
This temple was built by
Vimalshah. Vimalshah was the
minister and general of Chalukya
Maharaja Bhimdev I of Gujarat.
Many wars took place under his
leadership in which thousands of
animals were killed. Vimalshah was
appointed as the administrator of
Chandravati near Abu. As a form of
atonement for the sins of human destruction,
Jainacharya Shri Dharmaghosh Suri asked for the
salvation of Abu Teerth. Vimalshah was a worshiper
of Ambika Devi, hence worshiped the Goddess. The
goddess appeared impressed by his devotion and
virtue. Vimalshah asked for a boon to have a son and
the other to build a temple on Mount Abu. The
goddess asked for only one desired boon. Vimal
asked his wife for a boon to build the temple,
thinking that the son sometimes turns out to be a son
and sometimes a kaput, due to which the name
48
cannot remain immortal for ever. The goddess gave a boon to build the temple.
Vimalshah came to Mount Abu and preferred the place, but the local Brahmins
objected that it was a place of pilgrimage for Hindus. Prove that there was a Jain
temple here earlier. Vimal again worshiped Ambikadevi. The goddess told him in
a dream that the work would be accomplished by digging the place where the
swastika of Kumkum was visible under the Champa tree. On excavation, a very
ancient idol of Lord Rishabhdev, the first Jain Tirthankar, was found which was
installed at the same place. Gave the asking price of the land to the Brahmins and
started the work of the temple.
ii. Temple Construction:

This temple of Vimalvashi was completed
in 1031 AD, at which a cost of Rs 18 crore
53 lakh was incurred at that time. 1500
craftsmen and 1200 workers took 14 years
to build the temple. The craftsman was a
resident of Badnagar (Gujarat) "Kirtidhar”.
Used Marble is about 22 kms from Abu
Road. It was brought from the hills of
"Arasuri" near Ambaji Nagar on elephants.
The cost of the stone is Rs.2 crore. , The
cost of the land is Rs 4 crore 53 lakh. The
land of the temple was 140 feet long and
90 feet wide, on which the price of the
land was paid to the Brahmins by laying square gold coins.
iii. Plan :
 Base measuring is 33x14m .
 The garbh griha
 The gudha mandapa
 A portico called navchoki
 Ranga mandapa
49
 Contain huge black structure of
adinath
 Godess ambika
 Devakulikas or subsidiary
shrines.
iv. Pratishtha:
The temple was established by Jain
Acharya Vardhaman Suri in 1031 AD,
in which the first Jain Tirthankara
Rishabhdev (Adinath) was established with a white marble stone-built statue.
v. Renovation:
Prithvipal, a descendant of Vimalshah, got the work of many walls of this temple
done from Samvat 1204 to 1206 and to make the fame of his ancestors
everlasting, in front of this temple, a "Hastishala" was built, in the main part of
the gate, the statue of Vimalshah riding on a horse. Install and get 8 elephants
made of marble stone. After that two elephants were made in Samvat 1237.
In 1311 AD, the army of the Muslim ruler of Delhi, Alauddin Khilji, returning
from the Jalore conquest, damaged the temple, which was renovated by brothers
named Bijad and Lalag, residents of Mandore (Jodhpur). Reputation vs. The
jyeshth Krishna Navami of 1378 was done by Acharya Gyanchandra Suri. The
latest renovation in the temple was made from 1950 to 1965 AD, and in the
parikrama, new numbers were built from 18 to 27 and generally other temples
were also renovated under the direction of Shri Amritlal Moolshankar Trivedi, an
average of 4244 days by 75 artisans for 4244 days under the direction of Shilpi
Shri Amritlal Moolshankar Trivedi. was done. Inscriptions in this regard are
installed on the door of Dehri No. 17 and outside the entrance of the temple.
vi. RANG MANDAPA :
50
This is the best artistic part of this temple. Eleven
circular garlands of elephants, owls, swans, dancers,
etc. in the large round dome, supported by 12 ornate
pillars and artistically beautiful pylons, and in the
center are hanging crystal clusters of jhumkas. On top
of each pillar there are very impressive and beautiful
statues of 16 Vidya Devis in a standing position,
adorned with different weapons and various types of
vehicles
. It is
constru
cted in
1147-1149.A wide vaulted dome
with diameter of 6.6 m is
covering in the hall.Open from
three sides .Eight pillars forming
an octagon are lavishly
embellished with floral
geometrical and figural motifs and they are linked to one another with
elaborately scalloped and intricately carved arches .
vii. NAVCHOKI :
Upstairs from the c-pavilion, in the Nav Chowki, each ornate ceiling of 9 right
angles has various types of beautiful excavation work, in which there are scenes
of Jain Acharya, Shravak flower garlands in a
humble gesture, etc. There is a beautiful marking
of the vines of Kalpapiksha all around. The
eternal classical form of the expressions of dance-
playing is displayed on the pillars. There are
beautiful idols of Adinath Bhagwan in both the
Gokhadas outside the main gate of the temple.
A portico with eight pillars that has added height. The navchowki is a collection
of nine rectangular ceilings, each one containing beautiful carvings of different
designs supported on ornate pillars. Each of the nine ceilings here seems to
exceed the others in beauty and grace.
51
viii. GUDHU MANDAPA:
The door of the esoteric pavilion is very artistic. In the
sanctum sanctorum of the plain dome, the idol of Lord
Rishabhdev (Adinath), the first Jain Tirthankara, is
enshrined in the sanctum sanctorum of white marble. On
either side of the dome are two idols of Lord Parshvanath
standing in a meditative state. Through it the bright
statue of the first tirthankar is visible. Profusely
decorated doorway. Gudh-mandapa is simple, meant for
obeisance and 'arti' to the deity.
ix. THE AMBULATORY:

Fifty-two devakulikas (subsidiaryshrines) have been arranged on an elevated
platform around the central edifice, each with the statue of a tirthankara.Visual
composition from white marble stones as soon as one enters the main entrance of
the temple.
The ornate carvings of the roofs, domes, archways, etc. of the built temple, show
the grandeur and elegance of the craftsmanship. Pradakshina starts from the left
side of the entrance. There are 57 dehris in Pradakshina, in which beautiful idols
of various Jan Tirthankaras are installed. Outside the carved door of each dehri,
there are two domes each with panoramic sculptures engraved on the roofs. A
brief introduction of a few worthy of special attention is being given.
Dehri 1: Idol of Lord Neminath. In its domes,

lotus flowers, lined lions,dancer.
2-7: Ornate shapes of various flowers. Items of
worship Jain Shravak-Shravikas carrying
flowers, garlands etc. Ornamented lotuses,
figures of birds and humans playing
instruments.
8: Samavasaran composition of Jain Tirthankara in which deities, humans and
animals listening to the sermons.
52
9: The scene of Padmaprabhuji-Panch
Kalyanak, the panch-kalyanak of Jain
Tirthankars i.e. the scene of auspicious
festival, birth, initiation, only knowledge,
attainment of salvation.
10: Scene from the Jain Tirthankar
Neminatha character. Krishna's water-play.
The creation of Neminath's procession, his initiation, Keval Gyan etc.
11: The beautiful 14-handed idol of Maharohini (Vidya Devi) with Ganpati in
the corner.
12 : Scene from Panch Kalyanak.
13 : Blooming Lotus Flower and Idols of Eight Goddesses
14 to 17: Panchakalyanak and lotus flower figures
of Jain Tirthankara
19 : The dome of this new dehri has beautiful
circular panels of dancing effigies and a lotus
flower in the middle of each.
20: The most beautiful work of Gajalakshmi in the
first dome and Shankheshwari Devi in the second
dome.
Between 22-23: A huge
and attractive statue of the
ancient Shyamvarna of
God Adishwar is
established. This idol was
received by Vimalshah from the land of Ambika Mata's
Prasad before the construction of Vimalvashi temple (AD
1031), which is considered very ancient. Its description
has been given above. The four-faced form of this temple
consists of stone statues of four Jin Bimbs, Kshetrapal
Valinath and Jain Acharya Heer Vijaysuri (the preacher of Emperor Akbar).
53
23 : Attractive idol of Ambika Mata.
Adorable goddess of Vimalshah, the builder
of this temple
32: Scene of Kaliya Nag Daman by Shri
Krishna. Seven serpents are standing around
with folded hands. On the one hand, Krishna
is sleeping on the bed of Shesha-nag in
Hades. On the other hand, Krishna, Baldev
and their companions play ball and stick on Yamuna arrow.
38: Artistic statue of Sinhavahini Vidyadevi with 16 hands in a dome. 41: The
idol of 16th Tirthankar Shantinath is installed in this dehri. Scene of Shri Krishna
playing Holi in front of Moolnayak's left door in Gumbaz.
42: Four beautiful idols in the dome - Mayurasan Saraswati, Gajavahini
Lakshmi, on the lotus Lakshmi, Sankheshwari Devi idol on Garuda The clarity,
subtlety, especially the shape of the fingers, fingernails and nails are noticeable.
43 : Laxmi Devi in the middle and laughing around, other gods and goddesses
sitting on a peacock. 44: Idol of Shri Varishesh Prabhu with carved toran and
parikkar in Dehri. The dome has 16 dancers in a
lotus flower.
46-47-48: Beautiful 16-handed idols of Goddess
Sheetla, Hanswahini Saraswati and Padmavati
respectively in the domes.
49: Shri Krishna incarnated as Narasimha and killed
the demon Hirayakashyap by slitting his stomach,
his embossed figure on the lotus flower.
50: The idol of Lord Shantinath in Dehri and the
scene of Abhishek in the dome.
51: There is a sculptural board of twenty sections in
the domes.
54
Observing the deharis, a view of
Adrakumar's hand reflexes on the left hand
side of the dome near the main gate, above
the row of elephants. On the one hand, a
wrestle between a lion and a man is shown in
the bowed elephant's side.
Between the entrance of the temple and the Rang-Pavilion, in the middle dome
below is the scene of the battle of Bharat-Bahubali, in which well-equipped
commanders, soldiers, elephant horses etc. are inscribed.
Artistic earrings hanging between the domes on either side of the central dome
and a group of elephants facing east around
Before entering the Rang-mandapa below, there are beautiful idols of Saraswati
in the dome in the middle of the bhamati of the
right hand (north direction), Lakshmi Devi towards
the south and Amba Devi in the middle of an angle.
x. THE HATISHALA :
There is Hastishala just opposite the main gate of
the Vimalvashi temple. As mentioned above, it was
built in 1147 AD by Prithvipala, a descendant of
Vimalshah. At its door is a horse-mounted statue of
Vimalshah, holding worship items in one hand and
a horse's bridle in the other. Presently it is plastered
with lime since the original idol was broken. There
is harmony behind it. In this, there are 10 elephants
decorated with beautiful workmanship
swings, palanquins, ornaments in three rows
of marble. Above each elephant were two
standing statues of Mahavat, Chhatradhar
behind it, but now these elephants are mostly
in a fragmented state. The renovation of this
Hastishala was completed in the year 1991-
92.
55
c) THE LUNA VASAI TEMPLE :
I. HISTORY:
Vastupal and Tejpal, the ministers of Solanki king
Bhimdev (II) of Gujarat, got the permission of
Parmar king Somasingh of Abu to build this grand
temple with white marble stones similar to the
same near Vimalvashi temple. Both Vastupal and
Tejpal were brothers. This Lunavashi temple is
named after Vastupala's younger brother Tejpal and his wife Anupamadevi's son
"Lavanya Singh".
In this temple, a very beautiful stone
idol of the 22nd Jain Tirthankar Shri
Neminath Bhagwan is installed, whose
reputation is established by Jain
Acharya Shri Vijaysen Suri in V.S. The
Chaitra Vadi of 1287 AD (1231 AD)
was completed on 3 Sundays. The
architect of the temple was
"Shobhandev". At that time an amount
of more than 13 crore rupees was spent in the construction.
In AD 1368, the army of the Muslim emperor Alauddin Khilji destroyed the
original graveyard and crypt-mandapa of
this temple and also damaged some other
parts, which was renovated by the
businessman Chand Singh's son "Pethad".
Made in 1378 and installed this beautiful
idol of Lord Neminath with black colour.
In the final renovation and parikrama,
eight new dehris from Dehri No. 23 to 30
were constructed from 1950 to 1965 by Seth Shri Anandji Kalyanji Pedhi, whose 1
inscription is Dehri No. 44 on the right.
II. THE PLAN :
56
 The shrine,measuring 52 x 28.5 M , it
faces west5
 No.1in plan sanctum(GARBHAGRIHA)
 no. 2 in the plan gudha mandapa
 No. 3 in plan navchoki
 No 4 in plan-rangmandapa
III. THE AMBULATORY:

As soon as you enter the main entrance of the temple, the attractive and grand
form of the temple is visible. The construction of this temple is similar to that of
Vimalvashi temple. It has 52 dehris
and a Hastishala. Statues of various
Jain Tirthankaras are installed in
each dehri. Like the Vimalvashi
temple, there are two domes outside
each of the walls of this temple,
whose carved carvings on the roofs
are observable.
Dehri 1: A beautiful idol of Ambika Devi on the first terrace in front of the first
Dehri and trees on both sides.
2-3 : Artistic panels of flowers, dancers, laughs etc.
4-5-6: In the corners of the central
dome, there are idols of couple
dancing.
9: View of Dwarka city and
Samvasaran. Marking of the Jain
temple of Girnar mountain with
waters, boats and association of
Jain travelers in the sea, depiction
of elephants, horses, palanquins,
artists playing musical
instruments, foot soldiers etc.
57
11 : There are seven rows in
the dome. Elephants, horses,
drama. Krishna-Jarasandha war
Lord Neminath's life-episodes,
marriage, initiation etc. The
figure of his future wife sitting
in the window.
14-15-16: Life-plates of 'Lord
Parshvanath' and 'Lord
Shantinath' respectively.
19 : Idol of Kunthunatha
Swami and story board related to upper side Muni Suvrat Swami. Below the
section of the sea near the tree in which crocodiles, turtles, etc. are inscribed
23-24-25-26 : New construction work. Rajul Devi 25 Ambika Devi and
Kunthunatha Swamy Idols in Dehri No. 24.
IV. LUNAVASHI'S STUDIO:
On entering the Hastishala, there are two inscriptions on the left which describe
the temple arrangement at that time. It has 10 white marble stone elephants on
which ropes, swings are beautifully carved. Live engraved of garlands etc.
In it there are stone statues of the builders of the temple, Vastupala, Tejpal and
their relatives, Guru-Acharya etc. In the middle section of Hastishala, there is an
idol of Moolnayak Adishwar Bhagwan and a carved
Meru mountain in front of it.
27-28-29-30: Newly manufactured parts.
33-34-35 : There are beautiful idols of various
Tirthankaras including Parikkar in the dehris.
36: Beautiful idol playing Veena in the dome.
43-44-45 : New assignment. Dehri number 44 has a large
plate of 72 Tirthankaras of three Jain twenty four periods
of past, future and present. There is a mention of the 16th
century being built on a plate by Oswal Shravika
Champabai, a resident of Mandavgarh.
46-47-48-49 : The artistry of the dome in the middle is observable.
58
50: The artistic body of the beautiful deep reservoir
(bawdi) in its dome is particularly attractive.
Like the Vimalvashi temple, there are 16 very beautiful
statues of Vidya Devis standing on different vehicles at
the ends of each of its pillars. Below these Vidya Devis
are three twenty-four idols in a row i.e. 72 Tirthankaras,
360 miniature figures of Jain sadhus in the form of
circular garlands. The pylons built around the Rang-
Pavilion are so artistic and enchanting that the viewer
cannot remain without being overwhelmed.
In the first two corners of the big pavilion in the middle of the Rang Madap, there
are beautiful figures of Indra. Scene of the birth of Lord Krishna on the walls and
ceilings on the southern side - Mother sleeping in a prison, a woman wiping
buttermilk in Gokul. Gwalbal etc. are supernatural carvings of sculptures.
In the south-west corner there is a beautiful unique scene of Indian theatrical art
depicting 68 dancers in different postures on the petals of a lotus flower.
V. Navchowki:
As soon as you climb the stairs in front of the Rang-Pavilion, there is a
'Navchowki', whose nine roofs have one of the finest carvings on marble stones,
one of the finest, amazing, indescribable craft work. The artistry of Rang-
Pavilion and Nav Chowki are unique and unique creations of the world.
On the right and left side of the esoteric mandapa door are two carved Gokhadas,
in which the work of kottarni is very less like that of Meenakari. Minister Tejpal
got these Gokhade made in the memory of his wife Suhadadevi. In the Gokhade
on the left side, there are statues
of Lord Adinath and on the right
and in the Gokhade there are
statues of Lord Shantinath. On
the pillars of Navchowki there
are figures full of choreography.
Nav Chowki has a big three-

fourth patta on one side with a
beautiful idol of Lakshmidevi in
59
one corner. In the four corners of the third dome on the right, there are beautiful
figures of four goddesses including
elephants on both sides and in the center of
each goddess in the four directions are 6-6
idols.
VI. KUNTHUNATHA SWAMI

TEMPLE : On the right hand side
at the exit from Lunavashi Temple
and Kunthunatha Swami's Digambara
Jain Temple.
VII. KUMBHA STAMBHA: On the

left hand side after descending the
stairs after seeing Lunavashi temple, there is a high pillar of black stone,
which was built by Maharana Kumbha of Mewar in 1449 AD. Below the
Kirti Stambh, there is a picture of a cow-calf on a stone of Surabhi and
below it is the inscription of Kumbha.
VIII. DADAJI KI CHHATRI : On the left side of the road leading to the
Brasshar temple, there is a marble canopy of the footprints of Jain Acharya
Shri Jindutt Suri, also known as "Dada Saheb", in the middle of the trees.
IX. RANGMANDAPA :
The main hall or Rang mandap features a central
dome.
•The eight pillars of the ranga mandapa are
connected to each other with curved arches,
toranas, forming an octagon.The dome is also
marvel of artistic precision and its keystone is
proportionately larger as compared to that of the
Vimala Shah temple. From which hangs a big
ornamental pendent featuring elaborate carving.
60
•Arranged in a circular band are 72 figures
of Tirthankars in sitting posture and just
below this band are 360 small figures of
Jain monks in another circular band.
i) DOME OF RANG MANDAPA
Dome stands on 8 pillars.
The dome is also a marvel of artistic precision and its keystone is proportionately
larger as compared to that of the vimala shah temple
The pendant of the dome is a perfect gem; where it drops from the ceiling it
looks like a cluster of half open lotuses.
Spanning more than ninete en feel in
diameter, its most prominent features
are the sixteen goddess figures that
encircle the central portion of the
dome..
Tiny jinas and goddesses occupy the
space between the larger figures that
support the sixteen vidya devis. seated
jain monks are prominently carved along the second to lowest level of the
circular base, and below them, only visible if one looks closely, are numerous lay
people in various positions, engaging with the monks
and with each other.
d)PITTALHAR TEMPLE:
This temple was built by Bhimashah of Gujarat, hence
it is also called "Temple of Bhimashah". The
construction of the temple is believed to be between
1374 AD to 1433 AD. This temple was renovated by
the ministers of Gujarat "Sundar" and "Gada" and
installed the present Panchadhatu idol of the first Jain
Acharya Rishabhdev in 1468 AD, whose prestige was
accomplished by Acharya Shri Lakshmi Sagar Suri.
"Deta". The idol of Moolnayak was made by the
artisans of Dungarpur whose weight is 108 mans (about 40 quintals). The
detailed article on Parikkar and Moolnayak is from V. No. 1525 Falgun Sudi 7 of
61
Saturday. Parikar 8 feet high 51/4 The foot is wide and the height of the
Moolnayak is 41 inches. This idol of Panchadhatu is also called the Brasshar
temple due to the high amount of brass.
On the left side of the crypt-mandap, a large idol of white stone with a beautiful
periphery is dedicated to Lord Adinathji's V.S. It was built by Shravak "Sinha"
and "Ratna" in 1525. On the right side there is an idol of Lord Parshvanath.
These idols could not be installed as the temple work was incomplete.
Idols of Lord Shantinath are installed in the left side of Nav Chowki and on the
right side of Shri Sambhavnath Bhagwan. On the south side of this temple, there
is a statue of Shri Suvidhinath, the 9th Jain Tirthankara. There are temples built
in 1540 and another 20 Dehariyas whose prestige is took place in 1547.
PLAN OF Pittalhar Temple

e) KHARATARA TEMPLE:
Also known as Parshwanath Temple
On the left side of the entrance of the temple is the three-storeyed Chintamani
Parshvanath's quadruple temple. This temple was built by Darda Gotriya
Oswal Sanghvi "Mandalik" and his relatives, a follower of Khartargachcha
community of Shwetambar Jains,
hence it is called "Khartarvashi"
temple. The idols of Lord
Parshvanath are installed in all the
four directions of this temple, hence it
is also called "Chowmukha
Parshvanath Temple". .
It is baseless to say that this temple

was "artisan's temple" and to say that this temple was built by artisans without
62
remuneration from the leftover
material of other temples. This temple
was built after about 425 years after
the construction of Vimalvasih and
225 years after the construction of
Lunavasih and the stone used in this
temple is also completely different
from the stones of the above two
temples. In this temple many inscriptions are present on the statues on
different sections which attest to the construction of this temple by "Madlik".
This temple is simple but huge. The white marble statues of Moolnayak Shri
Parshvanath around the temple and the four parikkars are very artistic. There
are big colored pavilions around the temple. The decorative sculptures of
Dikpalas, Yakshinis, Salbhanjikas and women on the outer walls of the temple
are attractive from the point of view of expression.
63
B. ADINATH JAIN TEMPLE RANKPUR
i. INTRODUCTION
The Ranakpur temple, a stunningly
exquisite harmony of art and
architecture is located in the heart of
the serene valley of the Aravali hills
and enveloped in the solitude of the
surrounding forests in Pali district of
Rajasthan.
ii. Location :
The grandest of the Jain temples, Ranakpur Jain Tirth is known for its exquisite
harmony of art, architecture and religion. Located about 10 Kms from Sadadi and
32 Kms from Falna on the Ahmedabad-Delhi rail link, Ranakpur has excellent
connectivity with other major towns of the state of Rajasthan. It is 160 Kms from
Jodhpur and about 89 Kms from Udaipur.
64
iii. The mulnayak
Chief deity of Ranakpur tirth is Rushabhdev,
the first of the 24 Tirthankars of the present
avasarpini kalchakra. Bhagwan Rushbhdev
was the creator of the human civilization and
it was he who established the family system,
the social order, the rule of law and formulated
principles of governance. He was the son of
Nabhi and was born in the city of Ayodhya of
Kaushaldesh.
He was the first king on this planet and he
ruled for many years. He evolved the family
system, taught fine arts to the people and the earth became his karma bhumi
rather then bhogbhumi. He established social order in society, organized the lives
of the people and preached penance and sacrifice as supreme virtues and moksha
(final emancipation) the ultimate goal of life.
In his later life King Rushabhdev the 8th day of dark half of Chaitra renounced
throne and entrusted the reins his kingdom son Bharat. After prolonged penance,
attained kevalgyan and preached ahimsa, satya other vows to the people.
Tirthankar Bhagwan Rushabhdev the first king, first sadhu, people was: "Not
anyone, to live harmony with others, not to resort lies, not to steal and possess
chaste character and to live contended life." lived for many, many years and
showed the path of righteousness the people. attained nirvana (release bondage)
on the Ashtapad mountain.
iv. PLAN OF THE TEMPLE
Temple built in 1437CE. The central main shrine is called "Mula-Prasada", the
interior of which is "Garbagriha" (sanctum), and its main statue is "Mulanayaka".
For a Chaturmukha (four-faced) shrine, unlike the temples of Mt. Abu, there are
no "Gudha-mandapa" (closed hall) or "Trika-mandapas" (vestibule), but four
"Ranga-mandapas" ( A, assembly hall) in front of four portals of the main shrine.
Each Ranga-mandapa is connected with a three storyed "Meghanada-mandapa"
( B, high hall) in front.
Having four "Mahadara-prasada" (two-faced-shrine) diagonally in four directions
of the main shrine, the temple type is "Panchayatana" (five-shrined-type). In
65
addition to this, there are two "Bhadra-prasada" east and west sides, making the
total composition much more intricate. A line of "Deva-kulika" (small shrine)
along "Bhamati" (cloister) surround the whole complex. All these shrines hold a
statue of Tirthankara or Jina (four in Chaturmukha, two in Mahadara-prasada),
there are more than 100 statues in total.
The temple is very large. It stands on a basement of 60m x 62m
On the top of a flight of stairs at the central entrance, there is a three-storied

"Balanaka" (entrance hall),
which has a domed roof. Its
entrance door is rather small
in order to defend itself from
incursion. Passing through
the portals and walking up a
dark staircase, there
suddenly appears a bright
and magnificent space, and
the splendor .
A splendid space of the Meghanada-mandapa of the Adinatha Temple at

Ranakpur`
66
The structure consists of 1,444
Pillars, 29 Halls, 80 Domes, and 426
Columns.
The Ranakpur Jain Temple is built
over an area of 48,000 sq feet.
A large number of columns are
carved elaborately, and it is said that
no two pillars are alike in design. At
a space that penetrates through two
to three stories, various heights of domes A Pillared Corridor
are placed, and their ceilings have

sculptures that are unbelievably intricate. Light is abundantly coming inside
through gaps between ceilings and from courtyards, highlighting the intertwined
spaces and fine carvings all around. The
splendor of the space is so pure as the
entire temple from the floors to the ceilings
is made of white marble.
Depaka, who designed this temple, must
have been a genius in architecture.
The whole of Ranakpur temple is made of
Sevali and Sonana stones and based on
pillars. The excellent planning and the Beautiful Carving at Ranakpur Jain Temple
solidity of construction reflect the depth of
its foundation. The Steps, the Shringar Chowkis, the Mandapas, the Entrances
everything is identical on all four sides creating a unique ambience of symmetry.
Four entrances in four directions that lead to four temples, four Sabha Mandapas,
four Megha Mandapas each covered by a domical ceiling, the four Derasars with
minarets in four corners, the colossal columns embellished with exquisite Torans,
the Sanctum Sanctoram surrounded by a series of Devkulikas of Bhamati the
entire place is a divine communion of art, craft, religion and architecture.
v. TEMPLE OF PILLARS AND TORANS
Ranakpur is a temple of columns and pillars. The most striking feature of this
temple is its seemingly infinite number of pillars. Dharnasha had dreamt of
67
creation of a Chaturmukh Jinaprasada and to
achieve that, the Devkulikas had to be carved at
a height. Hence, to support the high dome and
the weight of this colossal structure, the temple
of Ranakpur is entirely based on these 1,444
pillars. Ranakpur Jain Temple Pillars
The Ranakpur temple is a treasure house of richly carved and breathtakingly

beautiful pillars and not one of them is similar to the other. Apart from the sheer
number of pillars, what is most outstanding is the
creativity of their placement. These pillars are
arranged so ingeniously that none of them obstruct
the view of the pilgrim wishing to have a Darshana
(glimpse) of Tirthankar.
A marvelous piece of workmanship is that on the
Torans - the decorative arches, which are carved Exquisite Toran at Ranakpur Jain Temple
from a single stone, reminiscent of the world
famous Torans of the Delwara temple. There are
references to the existence of around 108 or 128
such Torans when the temple was built,
unfortunately today, only 3 of them exist. And,
today, one can only imagine the artistic
splendour that the 128 Torans would have added
to the fine craftsmanship of the pillars. Ranakpur Jain Temple askew Pillar
It is believed that just like 84 devkulikas, there

were 84 cellars specially constructed for sessions of quiet meditation in front of
the idols. During invasions, the idols were kept hidden here.
vi. THE UNPARALLEL LAMP – DHARNAVIHAR

On this Chaturmukha Prasada are installed 52 idols of 'Karmasthaya Karigars' in
which 'Bhungalbheri Aadi Vajintro' continue beat in a rhythmic fashion. The four
idols have been installed on the four entrances. There is a beautiful Mandapa
68
near the western gate where Shri Sangh offers prayers and meditates. At the
northern gate, bard Bhojak is engaged in a dialogue with the devotees of Shri
Sangha. In the east is the wall of the Vindhyachal mountains and it is here that
people reside. These people wake up early in the morning and perform pooja of
Bhagwan Adinath. The southern gate is huge and the Paushadhshala is situated
here; and this is place where Tapa Gachhadhiraaj Acharya Somsundarsurishwarji
meditates and the virtuous Gurus are engrossed in study of the principles and
values.
On the main entrance of the temple is the figure of an elephant with another one
just behind it and on top of it are the idols of the two couples – Dharnasha and
his wife and Ratnasha and his wife.
vii. THE MAJESTY OF MULNAYAK BHAGWAN
Bhagwan Rushabhdev is the first of the Jain
Tirthankars. In the main chamber or the
'Gabhara' (Sanctum sanctorum) of the
temple there are four grand white marble
images of fifty one inch of Bhagwan
Rushabhdev in the Padmasana posture.
These have been installed facing four
different directions. In the three directions
are the figures of Marudevi, mother of RAYAN TREE AT RANAKPUR JAIN TEMPLE
AND PAGLA
Rushabhdev seated on elephants.
Considering the height of the temple, the
planning and creation of the Sabha
Mandapa has been done in a very unique
and different manner The four Megha
Mandapas in four directions astound the
visitors by their exquisite carvings and
justify their names as Meghanada
Mandapas or Megha Mandapas. SAHASRAKUT INSIDE RISHABHVIHAR
In the Rang Mandapa, there is a dome inside

another dome and is erected on 16 columns The Navgrahas (the nine planets), the
16 Vidhyadevis, and the 72 small idols of Tirthankars-24 each in the 3 phase
69
circular formation relating to the past, the present and
the future are symbols of exemplary artistry
interwoven with ancient wisdom.
The height of the Megha Mandapa is forty feet and in
one of the columns is the small figure of Dharmasha in
a standing posture with folded hands facing Tirthankar
Rushabhdev. It is placed so strategically that his eyes ASTAKUL NAG ANANT DEV
stay focused on Tirthankar despite other columns.

There is always a Rayan (Mimusops Laxandra) tree a small yellow fruit bearing
tree wherever the idol of the Bhagwan Adishwar is installed. At Ranakpur too,
between the inner Sanctum Sanctorum and Bhamati is the Rayan tree planted
almost 500 years ago.
Outside are the carvings depicting Girnar
and Shetrunjay centres of pilgrimage and
the four Mahadhar Prasadas (principal
shrines) situated in the four directions
makes it look like an Avatar of
Nandishwardweep.
viii. Artistic sculptures
Unmistakably one of the most beautiful
creations at Ranakpur is the idol of
Bhagwan Parshwanath standing in a Kayotsaig
SAHASTRAFANA PARSHWANATH
meditation along with the 1000 hooded snake,
Dharmendra and Padmavati . This imagery of a cobra intertwined with Nagins is
carved out of a single stone of about four feet in circumference. It is by far the
magnum opus par excellence, an idol that
inspires devotional lervous in the hearts of
the devotees.
One of the most decorative masterpieces is
the alpha creeper in the vestibule ceiling of
the temple. These delicately carved
flowery creepers look like individual
circles of garlands at first glance, however
on a closer look one notices the continuity NAGADAMAN
70
of this single creeper that transforms this temple into a
divine sculptural space.
On the northern side of the temple is the Kumbha Rana
Chowki and on the left hand side inside a stall Mandapa
made of mate the ancient alone can served with utmost care
Standing from this point and looking towards the entrance, one can easily notice
a beautifully carved image of Saraswatidevi standing on a Lotus and adorned by
the ethnic ornaments of Rajasthan. On the
peripheral wall of the temple there are
exquisite idols of Dev Adhishtayak and
Devi Adhishtayika.
The idol of Kichak of Mahabharata and
the Nagdaman image of Lord Krishna are
also awe inspiring .Most of the Jain
temples had Hindu artisans and
craftsmen, hence the Jain temples have
MEGHA MANDAPA
carvings of Hindu gods and goddesses
and even sculptured references to
tales of Ramayana and
Mahabharata.
There are two huge bells on either

side of the Garbhadwar of the
temple. Weighing 250 kilograms
each, these bells when struck,
emanate blissfully resonating
Omkar sounds that can be heard ELABORATE CARVED PILLARS
from a distance of over 3 miles. One of the bells is the male bell while the other
is a female one. Striking them individually produces different sounds, however
when rung together, they create a different aura and ambience altogether.
Engraved on these bells are Mantras and imagery of Yantras.
One of the pillars of this temple has the idol of Mughal Emperor Akbar. Akbar
was known for his respect towards all religions and the Jain Acharya
Hirvijaysuri's preachings had a great impact on him. On the advice of Acharys
Hirvijaysuri in Vikram Samvat 1651, a sangha from Ahmedabad had visited
71
Ranakpur to commemorate it. Reference inscription of this can be found along
with the idol of Akbar on one of the stone pillars.
A divine experience of solitude and meditation can be felt on the second and
third floors of this temple. The top floor has a four sided idol, while the third
floor can be accessed by narrow steps. Both these floors have an ambience that
inspires forvent devotion in the hearts of the pilgrims On One hand it is the
divine ambience inside that is awe inspiring while on the other hand the green
and pleasing exteriors are feast for the eyes, which is why pilgrims often come
here and sit in silence to experience the divine bliss and peace.
ix. SHRI NEMINATH & SHRI PARSHWANATH &
TEMPLES SUN TEMPLE
The Neminath Derasar or Neminath Jain temple
stands a little distance away from the main temple
and is dwarfed by its opulence. The Neminath
temple is much smaller and simpler. It is built in
the Nagara style of architecture. It has a small
open courtyard supported by pillars. The NEMINATH JAIN TEMPLE RANAKPUR
courtyard leads to an inner chamber that opens

onto the Garba Griha or Sanctum Sanctorum that
has an idol of Neminath.
The Parshwanath temple of Ranakpur is the
closest to the main Ranakpur Jain temple. It is
also built in the Nagara style of architecture. The
outer walls of the temple have beautiful carvings PARSHWANATH JAIN TEMPLE RANAKPUR
of Gods, Goddesses, and mythical beings. The
sanctum of the temple houses an image of
Parshwanatha.
There is a temple to the Sun God, Suryadev, outside
the periphery of the Ranakpur Jain temple premises.
It may be noted that this temple is not part of the Jain
temples and stands outside the campus of the Jain SUN TEMPLE RANAKPUR
temples. It is a 600 years old temple which is known
as, “Shri Surya Narayan Mandir.” The temple is
72
managed by the Eklingji Trust, which is a trust of the royal family of Udaipur.
The idol of the Sun God inside the sanctum sanctorum is believed to be about
1000 years old.
x. THE EXTERIOR OF RANAKPUR JAIN TEMPLE
The general Ranakpur Jain Temple Architecture
is somewhat similar to the 9th
century Mirpur Jain Temple, in the Sirohi district
of Rajasthan.
The main temple is spread over an area of 48,000

square feet and is built on an elevated platform
which is known
as Pithika or Jagat The Shikhara above the Garba Griha
i, a common
element of Indian
temple architecture. The temple has four entry
doors, one each in all the cardinal directions. A
flight of stairs leads from ground level to doors
which are relatively small and narrow by design,
for security reasons. The outer wall built across
AN ORNAMENTAL DOOR ON THE
NORTHERN SIDE the perimeter of the temple is devoid of
ornamentation, barring at the four entry doors
in the cardinal directions.
The main entrance to the temple is on the western side. A flight of stairs leads to
a 3-storeyed, “Balanaka“, or entrance hall. The entrance hall is topped by a dome
on the top floor. From the outside, the
temple walls are bare, and only when one
looks upwards can one spot the multiple
small shikharas of the Devakulikas which
are 84 in number and are the smaller
temples, that are cloistered across the
inner perimeter of the temple.
In the center is the main Shikhara. The

SHIKHARAS OF THE DEVAKULIKAS OF RANAKPUR smaller shikharas rise like spires piercing
MAIN TEMPLE
the blue skies and flank the main shikhara
that rises over the sanctum sanctorum. Partially visible from ground level are the
multiple domes that crown the four Meghnad Mandapas or halls that are placed
73
on the four sides of the sanctum sanctorum. Other domes are the roofs over the
inner halls known as Ranga Mandapas that directly lead to the sanctum
sanctorum.
We circled around the entire temple for better and different views, and to take a
look at the entrance doors that have been built into the walls in all the cardinal
directions. The doors and the Balanakas are identical to the ones at the main
western door, though there is a difference in the number of stairs that reach the
doors as the temple is built on an incline.
xi. The Interiors Of Ranakpur Jain Temple

As you climb up the steps towards the entry door of the Ranakpur Jain Temple,
you get a taste of what to expect inside. The
door is framed by exquisite carvings that are
intricate in design and pleasing in aesthetics.
At the top of the entrance, one can see the
figures of two elephants, one behind the
other, and above them are carved the figures
of Dharna Shah and his wife as well as that
of his brother Ratna Shah and his wife.
RANG MANDAP
Once you cross the threshold of the main entrance you pass through a semi-dark
hall to emerge into an unbelievable world which is sheer poetry in marble. One is
stunned by the visual spectacle that unfolds. Exquisite pillars seem to be
everywhere, each like a sweet musical
note in marble. Every pillar is different
from the other and aesthetically arranged.
There are 1444 pillars inside the temple,
and one would expect that space would
be choc-a-bloc with these pillars.
However, the architectural expertise of
the builders is such that there is no sense
of overcrowding, the pillars are
aesthetically arranged and so aligned that
DANCING FIGURE
one can have an unobstructed view of the
sanctum sanctorum from any position in the
halls that surround it on all four sides.
74
The sanctum sanctorum or Garba Griha has
four doors in all the cardinal directions.
Immediately adjacent to it are the 4 Ranga
Mandapas. When one enters the temple
through any of the entrances, one first
emerges into the Meghnad Mandapa that
leads into the Ranga Mandapa which in turn
leads to the door of the Garba Griha.
However, entrance is through the main ORNATELY CARVED CHANDELIER
western entrance only.
The ceiling of the main Ranga Mandapa is embellished with carvings of the
Navagrahas and 16 Vidyadevis. The pillars that support the domes in the halls
have carvings of the Ashta-Dikpala. These are seen on eight pillars and are the
guardians of the eight directions.
The Mandapas bask under the grandeur of exquisite ceilings with intricate
carvings and motifs. These include elaborately carved chandeliers that hang from
the ceiling. It is also believed that the entire dome can be dismantled and is
actually made up of interlocking parts. The genius of the craftsmen and the
imagination of the visionaries who gave shape to the temple is indeed
unfathomable.
On the ceiling of the Meghnad Mandap on the western side can be seen the
beautiful carving of the Kalpavriksha, which is a mythical wish-fulfilling tree.
The carving is an intricate design of intersecting lattices.
xii. THE SANCTUM SANCTORUM OF RANAKPUR
JAIN TEMPLE
The sanctum sanctorum or Garba Griha has a
statue of Adinatha also known as Rishabhanatha,
the first Jain Teerthankar. The temple is also
known as Rishabhvihar as it is dedicated to
Rishabnatha or Rishabhdev. The idol is made of
white marble and measures 72 inches (6 Feet).
White marble has been used with loving MULNAYAK GARBA GRIHA OR SANCTUM
devotion to sculpt the image of Lord Adinatha SANCTORUM
75
in a Padmasana position. The
image is four-sided and each
of the doors of the Garbagriha
in the four cardinal directions
open to reveal the divine
image of the first Jain
Tirthankara.
Two huge bells, each

weighing 250 kilograms, hang
on either side of the sanctum sanctorum. RANAKPUR JAIN TEMPLE ASKEW PILLAR
One of the bells is referred to as male while

the other is female. The difference is based on the sounds that the bells produce.
The female bell produces a softer note while the male bell produces a louder
note. These bells are rung together at the time of arati and their pealing resonates
across the temple premises and the sound is believed to carry to a distance of a
few kilometers.
Outside the sanctum sanctorum, on three sides can be seen the stone sculpture of
identical elephants. Astride the elephant is the Mahout and behind him is seated
the figure of Marudevi, the mother of Rishabhanatha. It is believed that Marudevi
went on an elephant to Shetrunji hills to see her son, and died on the back of the
elephant on which she was seated and attained moksha.
FIGURE OF MARUDEVI
76
Chapter 4
i. COMPARATIVE ANALYSIS
a) In prehistoric rock-cut caves and monasteries were being constructed.
b) The plan form of these caves are either square or rectangular
c) The Jain caves had no congregation halls or rock cut shrines. Later, however,
some cells were enlarged into shrines.
d) The Jain cave cells were cut wherever the rock permitted. There was no
planning.
e) The Jain caves were simple and reflected the asceticism of jina monks. The
cells were tiny (not tall enough to stand, not long enough to stretch while
sleeping, small entrances so as to bend very low).
The only luxury was occasional shelves cut into rocks and sloping floor acting
as a pillow but actually designed to keep of water from accumulating. Only
the outer portions were carved sometimes.
f) The Jain caves are of two types – those without pillars in verandah or those
with pillars. Without pillars had cells cut along three sides of the verandah.
Pillars were square at top and bottom and octagonal at middle.
Comparison between dilwara jain temple and rankpur jain temple
The dilwara temple was constructed in 1032AD where rankpur temple was
constructed in 1432CE. The elevation of the both temple represent the
samvosaran. Both temples have almost same feature in planning. The garbhgriha
of both temple have chaumkh idol of the tirthtankar . The rankpur temple and
dilwara temple both are known and famous for their magnificent carving and
sculpture.the rankpur temple is famous for its pillars carving, where as Dilwara
Jain Temples is one of the finest Jain temples known world over for its
extraordinary architecture and marvelous marble stone carvings.
ii. CONCLUSION
India had a very rich history for Jain Architecture starting from the Indus valley
civilization to date. As the religion is a movement against the Hindu religion and
it parallelly grows. It is almost supported by all the dynasties throughout the
time.
77
The conclusion drawn from the study is that the Jain Architecture has been
influenced by the Architecture of other contemporary religions in the plan form
as well as elevational form through the course of time. Despite that, it has unique
style of Architecture, which is concluded from following characteristic features
of Jain Architecture:
a) Earliest Jain Architecture dates back to 200 BC when Udaygiri and Khandgiri
were cut- when Budhhism was flourishing in India. The first rock cut cave
was Barabar Hill at Jahanabad, Bihar in 300 BC, and it was Buddhist in
nature.
b) The Jainism caves were more engineered and have artistic qualities at that
point of time.
c) Scale of the Jain caves size is less than human scale, which follows Jainism's
belief in inner spiritual qualities, and it got followed in the future temple
Architecture also. Scale of Jain temples is comparatively lesser than that of
other religious building.
d) The circular open-air theatre of Samosaran temple evolved from the Jain
practice of oral preaching regularly conducted by the Tirthankars, with
devotees sitting all around him. The central statue installed faces Tirthankars
in all the cardinal points. Such a structure is not found in any other religion
and is native to Jain religion as symbolism.
e) Manastambha, a free-satnding pillar with the idols of four-faced Tirthankar is
unique and distinct feature of Jain Architecture.
f) Manastambha, a free-satnding pillar with the idols of four-faced Tirthankar is
unique and distinct feature of Jain Architecture.
g) Intricate carving with marble and plaster in the interior and exterior of temples
is an inherent characteristic of Jain Architecture.
From the above, it can be said that there is impact of Jain religion on Jain
Architecture. It moved on a parallel way with the other contemporary Indian
religious Architecture for its style and have its own symbolism in interior and
exterior of the temple. Therefore, other contemporary religious Architecture
influenced the style of Jain Architecture. A number of pilgrimage sites are
available in the region with the examples like Jal Mandir, Samosaran,
Manastambha and intricate carving in the temples. All such structures are result
of religious belief and unique in nature but their elements are borrowed from the
contemporary Indian Architecture. It clearly shows that, Jain Architecture has
78
influenced the Architecture of the Bihar region in the form of Caves,
Chaityalaya, Temples, Jal Mandir, Samosaran and Manastambha at various
pilgrimage sites. The kind of uniqueness that the Jain religion holds in terms of
its distict Architectural types such as Jal Mandir, Samosaran, Manastambha and
intricate carving has to be maintained, preserved and glorified.
iii. SCOPE OF FUTURE RESEARCH

The Jain temples in India have been the subject of reflection for various historical
features complied by authorities such as technocrats, religious analysts, classical
artists, historians, archaeologists and other experts. There is a requirement of in-
depth research of Jain temples in various parts of India, not only in the light of
iconography and change, but also for the innovation in temple form and its
auxiliary elements. It is understood that various temples have fallen down from
time to time due to various disaster, invasion, and natural decay. However, there
are examples of Jain temples well preserved from storm and other recorded
disasters. It is to be noted that, these temples have been filled as an interlaced
structure as indicated in the obsolete manuals. Therefore, these temples had
ability to sustain during various calamities. From now on there is need of
expansion to include the structural features of theses Jain temples. It can be a
more basic subject of research such as the safety examination and the
examination of the structures of good disposition, including the most notable
concern of these temples, its various elements, Shikhara, lintel, arches, domes
etc.
79
Bibliography
 Https://www.researchgate.net/publication/329311986_Critical_Analysis_o
f_Jain_Architecture_in_Bihar_Region_and_its_Influence_on_Regional_A
rchitecture
 https://en.wikipedia.org/wiki/Dilwara_Temples
 https://en.wikipedia.org/wiki/Udayagiri_and_Khandagiri_Caves
 https://frontline.thehindu.com/arts-and-culture/heritage/magic-in-
marble/article32480634.ece
 https://imvoyager.com/ranakpur-jain-temple-amazing-facts-and-
mysteries/
 https://www.slideshare.net/Cutegalrj/chaumukha-temple-at-ranakpur
 https://www.slideshare.net/Cutegalrj/dilwara-jain-temple-2
 Guide to Udayagiri Caves – Kevin Standage (wordpress.com)
 Temple Architecture and Sculpture - Hindu, Buddhist and Jain (Indian
Culture Series – NCERT) - Clear IAS
 Jainism: Introduction | World Religions (lumenlearning.com)
 An introduction to the Jain faith (article) | Khan Academy
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Dissertation Report

Name of Student- Sheetal Baid

Name of Guide:- Ar. Praveen Jangid

Dissertation submitted in partial fulfilment for the B.Arch. Degree

Faculty of Architecture& Planning

Name of Student :- sheetal baid

Name of Guide:- Ar. Praveen Jangid

Dissertation submitted in partial fulfilment for the B.Arch. Degree

Faculty of Architecture & Planning

Name Of Student- Sheetal Baid

Name Of Guide:- Ar. Praveen Jangid

Dissertation submitted in partial fulfilment for the B.Arch. Degree

Faculty of Architecture& Planning

The Dissertation title “JAIN ARCHITECTURE “ is hereby approved as original work of

Seal of Jagan Nath University

External Examiner Dissertation Guide

Declaration and certificate ………………………………………………………………i

Chapter 2: Literature Data

Chapter 3: Case Study

Chapter 4-Conclusion, Analysis And Scope For Future………………… 77

II. God and cults:

III. Sects In Jainism:

Terapanth Sthanakvasi Bisapanth Taranpanth

1760CE 1653CE (1889-1981) 1490CE

V. Jain Faith In Practice:

VI. Jain Cosmology:

Jain diagram, Two and a Half Continents, Adhai-dvipa, c. 18th century

 According to Jain the world is divided in nine continents

Tortures in the hells depicted in a manuscript of Śrīcandra’s Saṃgrahaṇīratna

1.3. JAIN ARCHITECTURE HISTORY

 In The Gupta Period:

iii. Interior design of Jain temples :

 Mohen-Jo-Daro male seal figure also indicates existence of Jain religion.

 In the third century BC, the exposed and kayotsarga-mudra, which

Lord Parshavanath Statue Source: (Samet-Shikhar, 2018)

 The temple that makes manpower is equally notable in Jain's Achitecture.

MAP 1 : SPREAD OF JANINSM IN INDIA

Fig: Large-scale representation of a Samosaran

Fig: Large-scale representation of a Samosaran

B. THE LAYOUT OF JAIN TEMPLE

Consequently, that it isn't uncommon to find four of these pictures put

The central place of plan is called "Mula-Prasada", within which is "garbhagriha"

Plan 2:- The ideal plan of the Jain Temple, with

c) The Superstructure or Shikhara

Archana- Navnita, an old substance

e) THE STRUCTURAL SYSTEM

Fig : Jain Temple With Trabeated System.

Fig : Udaygiri And Khandgiri

Fig : udaygiri caves

Fig : Rani Gumpha Cave

Fig : Jain Tirthankar Carving

Gumpha has a front door on both

Cave 11: Jambesvara Gumpha

Hathi Gumpha is a great history and records of king Kharavelaa’s empire. It

Fig : Carving At Cave 9

Fig : Double Storyed Caves

Cave 1 and 2: Tatowa Gumpha

Fig : Shiva lingas