Module 01: Jain Architecture

Syllabus:
Introduction to Jain Architecture: Study of principles of design of buildings through study of
three kinds of Architecture:
a) Monumental
b) Domestic (Built to inhabit) and
c) Civic space

Contents:

• Introduction to Jainism
• Jain Architecture
• Initial rock cut structures at Badami
• Dilwara Temples, Mount Abu
• Adinatha Temple, Ranakpur

1. JAINISM:
1.1. Lord Mahavir
• Mahavir was born in 599 BC as a prince in Bihar, India. At the age of 30, he
left his family and royal household, gave up his worldly possessions, including
clothing and became a monk.
• He spent the next twelve years in deep silence and meditation to conquer his
desires and feelings.
• After which, he spent the next thirty years travelling on bare feet around India
preaching to the people the eternal truth he realized.
• ‘Mahaveer’, who was generally considered as the founder of Jain religion is
the last Thirthankar of 24 Jinas or Saints.
• ‘Jina’ means conqueror or leader from which Jaina is derived.
• Thirthankar means those who help in crossing river of torrents of endless
cycle of rebirth by leading the way across.

1.2. JAINISM
• Jainism originates in the teachings of Mahavira, a contemporary of the
Buddha from the 6th century BCE.
• Like the Buddha, Mahavira preached a doctrine of ascetism and meditation,
but Mahavira insisted that all forms of life were equivalent and that respect
for life was essential for the purification of the human soul.
 • Strictly ascetic Jains, known as Digambaras (“sky-clad”, or naked), were thus
expected not only to be vegetarians but also to eat only a fruit or vegetable
that had broken off its own accord.
• Like the Mahayana Buddhists of Central and East Asia, the Jains built colossal
monolithic statues of their Thirthankars.
• Like the Buddhists, the Jains challenged Hindu caste hierarchy and refuted
Vedic orthodoxy, particularly the Brahmin’s claim to privileged access to
higher knowledge.
• Jain ideas and institutions, like those of the Buddhists, were severely attacked
by the Hindus in the 9th and 10th centuries.

2. JAIN ARCHITECTURE
• The Jain Architecture can be considered as separate within India.
• It is almost parallel to Buddhist Architecture and almost merged with Hindu
Architecture, with very few exceptions.
• Still for architectural study we can group all Jain buildings of different periods
and categories it as Jain Architecture.
• Thus, the Jain architecture can be considered as early as 2nd century BCE to
17th century AD.
• Those which belongs upto 12th century can be considered as Early Jain period
and 12th century onwards maybe considered as Later Jain Architecture.

• Early Jain temple architecture was mostly rock cut and bricks were hardly
used. In later years, however, brick temples were constructed in a large scale.
At the same time, they also deviated from Hindu and Buddhist sites to build
on their own.

• The majority of Jain temples in India consists of three core building elements:

o Image chamber- Garbhagriha

o Hall- Mandapa
o Porch
• A fourth element, referred to as Antarala, can also be seen lying between the
image chamber and its hall. Antarala, a small vestibule is a space where
worshippers can stand and gaze at the icon or follow rituals conducted within
the shrine.

2.1. JAIN TEMPLE ARCHITECTURE

• Founder of Jainism is Mahavira, Last Thirthankara/ Saint
 • All Jain temples are dedicated to 24 Thirthankara.
• In Jain temple bricks were hardly used.
• Carving out temples from rock faces was adopted. Jains had the concept of
mountains of immortality (to live forever), so they built temples in hills.
• Jain temples are built with various architectural designs and Jain temples in
North India are completely different from the Jain temples in South India,
which in turn are quite different from Jain temples in West India.

Elements of Jain Architecture

• Jain temples have numerous pillars having a well-designed structure, forming

SQUARES. The squares thus formed create Chambers, used as small chapels and
contains the image of the deity.

• The pillars have richly carved brackets that emerge at about two thirds of their
height.
• The roofs have pointy domes and wherever there is a dome, the pillars are omitted
to create an octagonal space within.

• Domes or Shikharas on the top are usually smaller than the ones found in Hindu
temples.

Figure: (left) Pointy dome, (right) Octagonal space

 • Jain temples are noted for the use of rich materials like Marble and intricate carvings
and ornamentations.

• Jain temples usually has a four-faced or Chaturmukh design. In these 4 faced

temples, the image of a Thirthankar faces back-to-back to face four cardinal
directions.

• The entry into these temples is also from four doors that face the cardinal directions.

Chaturmukh design

• The central shrines of these temples are opened to four directions, and in front of
each side there is a “Mandapa” (Hall) covered by a Domical ceiling.
• It’s called “Chaumukh” or “Chaturmukh” (four faced) image.
• If a temple is dedicated to this Chaturmukha image, it’s Garbhagriha is also opened
to all four directions, thus provides Mandapa, which represent a place of both
worship and teaching, infront of each side.

Figure: Typical plan of Jain temple architecture

Parts: 1. Mula-prasada, 2. Garbhagriha, 3.A. Ranga Mandapa, B. Meghanada Mandapa, 4.
Bhadra-prasada, 5. Mahadara-prasada, 6, Devakulika, 7. Bhamati (cloister)

3. EARLY JAIN PERIOD: 3rd century BCE to 12th century AD

ROCK CUT STRUCTURES

• The examples of Rock cut architecture of Early Jain period include rock cut
caves in Badami, Ajanta caves, Ellora caves etc.
• Early Rock cut Jain temple Architecture (Caves structures) were built during
the period of Ashoka for the use of Ajivaka (Jaina) aesthetics.
• The next example of this early period can be seen during 6th century of
Chalukya period at Aihole and Badami.
• All these structures are again rock cut architecture similar to Buddhist
structures but built along with Hindu structures.
• The Jain cave at Aihole is partly rock cut and partly structural and is larger
than the Badami caves.
• In the front, it has a rectangular Mandapa with Cella at the rear containing
the image of Thirthankara.
• The next group of Jain structures can be seen during the period of
Rashtrakutas during 6th century.
• All these examples can be seen at Ellora. At Ellora cave no.30 to 35, i.e., 6 in
number belongs to Jainas.

Figure: Panoramic view of Ajanta caves, Maharastra

Figure: view of Ajanta caves at Maharastra
3.1. ROCK CUT CAVES AT BADAMI
• The Badami cave temples are composed of four caves, all carved out of the
soft Badami sandstone on a hill cliff in the late 6th century.
• The entrance is a verandah with stone columns and brackets, a distinctive
feature of these caves, leading to a columned Mandapa and then to the
small square shrine (sanctum sanctorum) cut deep into the cave.
• The temple caves represent different religious sects.
• The fourth cave is the only Jain temple at Badami.
• The cave enshrines a number of statues of the Jain Tirthankaras in different
postures. While Mahavira, the 24th Tirthankara, is depicted in a sitting
posture, Tirthankara Parshwanatha is carved with a serpent at his feet.
Figure: (top) interior view of the temple, (left) plan of Badami rock cut temple cave no.4,
(right) Elevation of cave no. 4

4. LATER JAIN PERIOD: 12th century AD to 17th century AD

• In later Jain period, the Jain temples were “Chaumukh” or having 4 entrances,
so the Garbhagriha usually had 4 entrances with 4 images or a group of
different Tirthankaras.
• This affected the layout design of temples considerably.
• This provided more scope for designing the exterior, and also the Vimana.
• Usually the main shrine stood in an open courtyard surrounded by
colonnaded small shrines.
• The temple consists of entrance portico, having 8 to 12 columns arranged in
the form of an octagonal set within a square.
• A dome was supported by these columns having bracket type raking struts.
• The horizontal courses with successively diminishing squares, arranged
diagonally to each other finally formed the base for the dome.
• The finial of the dome was “Amalaka” or ornamental “Kalasa”. This feature
was repeated effectively over many parts.
• Another innovation of this period was the interior ceiling decoration.
• The ceilings were beautifully carved and fretted with central pendants, which
resembled glass chandeliers in their delicacy and grace.
• The main building material was marble. Even the ceilings were carved out of
marble.
• These temples were usually situated on top of hills.
• Important Jain temples were of later period built on Mount Abu near Dilwara
village, at Ranakpur and on Girnar hills etc.
 5. DILWARA TEMPLES, Mount Abu
(Please note that detailed pdf of Dilwara temples will be provided in the pdf titled
“Dilwara Temples”)

• From the tenth through the 16th centuries, Jain ministers employed in Rajput
courts used their wealth to build a set of five temples at Mt. Abu, Rajasthan,
170kms North of Ahmedabad.
• Known Collectively as the Dilwara temples after a nearby town, they are
clustered on a hill located on the high plateau summit of the mountain.
• Each temple sits high off the ground on its own terrace and is accessed on its
flank by steps spilling out from a multitiered porch.
• The plans are modeled on Hindu precedents, with a main Garbha-griha
preceded by a Mandapa.
• The central deity of the site is Adinath, one of the Tirthankaras; shrines to all
the Tirthankaras were added to each temple later on. As a result, the
individual temples came to be surrounded by a quadrangle composed of
rows of mini-shrines.
• The Mandapas of the mini-shrines were joined to form a cloister. Into the
residual space between the quadrangle and the temple, the architects
inserted a pavilion held up by highly ornate columns of lavish sculptural
detail.
• The temples, of local while Arasa marble, are carved as if made of wood.
• The columns and ceilings of the open pavilion are the climax of the sculptural
program.
• At the Vimala Vasahi, twelve multifaceted piers, linked by flying arches, hold
up a domed ceiling.
• Sixteen female figures, personifying various aspects of learning, are attached
in a ring around the perimeter.
• The exterior wall, by contrast, is restrained in its ornamentation, masking the
rich articulations of the interior.
• Although each temple has symmetrical plan, there is no axis that runs
through this group of temples as a whole.
• The Mandapas of the mini-shrines were joined to form a cloister.
• Into the residual space between the quadrangle and the temple, the
architects inserted a pavilion held up by highly ornate columns of lavish
sculptural detail.
5.1. Dilwara Temple, Mount Abu- Vimala Vasahi Temple (Adinatha Temple)
• This temple carved entirely out of white marble was built in 1031 AD by Vimal
Shah, a minister of Bhimdev I, the Chalukya King (Solanki Maharaja) of
Gujarat.
• The temple stands in an open courtyard surrounded by a corridor, which has
numerous cells containing smaller idols of the Tirthankaras.
• The richly carved corridors, pillars, arches, and ‘Mandapas’ or porticos of the
temple are simply amazing.

5.2. Dilwara Temple, Mount Abu- Luna Vasahi Temple (Neminatha Temple)
• The Luna Vasahi temple is dedicated to Lord Neminath.
 • This magnificent temple was built in 1230 AD by two Porwad brothers-
Vastupal and Tejpal both ministers of a Virdhaval, the Vaghela ruler of
Gujarat.
• The main hall or Ranga-Mandapa features a central dome from which hangs a
big ornamental pendent featuring elaborate carving.

5.3. Dilwara Temple, Mount Abu- Pittalhar Temple (Adinatha Temple)

• This temple was built by Bhamashah Kavdia of Rajasthan.
• A massive metal statue of the first Tirthankara, Rishabha Dev (Adinath), cast
in five metals, is installed in the temple.
• The main metal used in this statue is “Pittal” (brass), hence the name
“Pittalhar”

5.4. Dilwara Temple, Mount Abu- Kharatara Vasahi (Parshvanatha Temple)

• This temple, dedicated to Lord Parshvanath, was built by Mandalik and his
family in 1458-59.
• It consists of a three storied building, the tallest of the shrines at Dilwara.
• The outer walls of the sanctum comprise beautiful sculptures in grey
sandstone.

6. ADINATH TEMPLE, Ranakpur

• The central main shrine is called “Mula-Prasada”, the interior of which is
“Grabhagriha” (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-
mandapa” (A, assembly hall) infront of four portals of the main shrine.
• Each Ranga-mandapa is concerned with a three storyed “Meghanada-mandapa” (B,
High hall) infront.
• Having four “Mahadara-prasada” (two faced shrine) diagonally in four directions of
the main shrine, the temple type is “Panchayatana” (five-shrine-type). In 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.
• Around the smaller shrines and each side of them are 20 domes, supported by
about 420 columns.
• Four of these domes, the central ones of each group, are three storeys in height and
tower over others.
• The one that faces the principal entrance is supported by the very unusual member
of 16 columns.
• The diameter of this dome is 36ft. and others are 24ft. in diameter.
• Light is surrounded by a range of cells, many of these now unoccupied.
• Each of these has a pyramidal roof of its own.
• These cells consist of images of Tirthankaras.
• Exterior of this temple very richly carved but whereas exterior is very plain.
Ceiling of Adinatha temple

Meghanada Mandapa
View of Adinatha temple at Ranakpur