Rajasthan : Delwada - Jain Tirth - Bh. Rishabhdev
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Jain Tirth - Bh. Rishabhdev Delwada, Rajasthan
Location : 3 Kms From Mountabu in Rajasthan, India Railway Station : 27 Kms From Abu Road Among the prominent tourist spots of India, the name of Mount Abu has been renowned for centuries gone by. Developed in the midst of high mountain ranges, the natural form of the tourist spot is like the Heaven it self. Also the Delwada Jain temple here has been the main attraction on world level. At least 15 lakh tourists come here every year to have a glimpse of and pay their homage to this temple. Probably there is no other temple or building in the world which can be compared with the sculptured art of the Delwada temple. The Taj Mahal is considered to be one of the most magnificent buildings of India. But when any tourist, after being fascinated by the Taj Mahal comes to Delwada and observes the minutest details of the temple here, he becomes spell-bound, and exclaims - Oh…….! Wonderful….! Unprecedented !! Rare…………!!! There is such a variety of art in the temple here that its finesse cannot be gauged even after scrutinising it for several days. Factually Delwada, Ranakpur and Jaisalmer represent the Indian sculptural art. Delwada has preserved in itself the immortal wealth of a unique structural art form. Made of milk-white bright marble the temples here present the rare artistry of the artistes on the one hand, whereas on the other hand, the saintly Jain statues convey the message of peace and penance and proffers a spiritual environment with boundless beauty. By viewing the temples, the visitor becomes so much emotionally charged that the closed windows of his heart gets opened, and his consciousness becomes eager to become dedicated at the auspicious feet of the supreme soul. Delwada is in fact, a cluster of five temples. Two of the temples here are indeed very big and the remaining three temples are the complements of the temples' vastness. The finesse of architectural beauty, their delicacy and the minute ornamentation of the domes and the cornices win the hearts of the tourists at the very first glance. The sculptural images of artistically engraved depictions of dance and drama are unprecedented, unique. The domes hanging and rocking on the roofs of the temple and in the campus spreading around the artistically sculptured idols of Mother Saraswati, Ambika, Lakshmi, Shankheswari, Padmavati and Sheetala goddesses are unprecedented examples of sculptural art. In order to view the finesse of the sculptural art, seeing the nails and the nose tips of these idols are enough. The sculptors of Delwada temples have wielded the chisels so skillfully that the artistry which they have shown on marble will be difficult to be shown on ivory. Almost all the idols of the temple have been engraved on very hard marble which makes itself evident how much effort the sculptors had to put in to carve these idols. On observing the engravings of the temple deeply, it appears that the main trend of the sculptors of that period was only in the engraving of ornamental visualisations. The sculptors had acquired special proficiency in making the idols of gods rather than creating statues of human beings. The carvings of these idols of the divinity including the carvings of the nayakas, vidyadharas, apsaras, vidyadevis and other gods-goddesses of Jainism, have been done on the domes, pillars and arches of the temple. It is but natural that the glimpses of Jain philosophy will be seen in a Jain temple, but the builders, the planners and the sculptors of this temple have also presented artistic rendering of the entire Hindu culture and the Indian culture. Even the scene of a woman waiting eagerly for her lover has been accommodated here. There are altogether six temples here out of which five pertain to the 'Shwetamaber' and one to the 'Digambar'. The Temple of Lord Mahavir - Including Lord Mahavir, the twentyfourth 'Tirthankar' of Jainism, nine 'Jinas' have been established here. This is the smallest and the simplest of all the temples constructed here. It was built in 1582 A.D. The paintings of Arayish on the ceilings of the internal part of the temple have become somewhat damaged. Vimalwasahi Temple - This is the most magnificent temple of the Delwada campus. Mahamantri (prime minister) Vimal Shah had got it constructed. Vimal Shah , Chanakya of Gujarat, was the minister-cum-army general of Maharaj Bheemdev. This most splendid temple had been built under the direction of the great sculptor Kirtihar of Vadnagar (Gujarat). Nearly 1,500 artisans and 1,200 labours worked together for 14 years to get this temple materialized. In those days, the construction of the temple cost 18.53 crore gold-coins. The great consecration ceremony of this temple was performed in 1031 A.D. in the auspicious presence of Acharya Shree Vardhman Suri. Prithvipal, the descendant of Vimal Shah had renovated several entrances of this temple between samvat 1204 and 1206. He also built a stable of elephants just in front of this temple with a view to immortalize the glory of his ancestors. At the main portion of its door is the statue of Vimal Shah on a horse-back. In 1311 A.D. Alauddin Khilji had damaged this temple which was later repaired by Beejad and Laalak brothers of Mandor (Jodhpur). Just on entering the main gate, the heart becomes gladdened on viewing the temple's magnificent artistic ceilings, domes and the arched entrances. Glimpses of the ornamental engraving, the magnificence of sculpture and finesse can be seen on every side here. This temple has in all 57 edifices with background arches in which the statues of various Tirthankars have been established. Inside the engraved door of every edifice there are two domes, whose artistic sculptures on the ceilings overwheim the viewers. Out side the tenth edifice of the temple, there is the scene from Tirthankar Neminath's biography. Besides the miniute engraving of the marriage procession of Lord Neminath, Lord Krishna's water-sport has also been sculptured here. Between the twenty-second and the twenty-third edifices, there is a cave-like temple, wherein a huge dusky-green coloured image of Tirthankar Aadinath has been installed. Vimal Shah had retrieved this idol from inside the earth by the grace of mother Ambika, before the construction of Vimalvasahi. Archaeologically, this idol is very ancient and has an importance of its own. In this portion of the temple, there are several ancient idols of various sizes. In the twenty-third edifice there is an attractive idol of Mother Ambika who has been the object of worship of the builders of the temple. In the thirty-second edifice, there is the scene of the defeat of the Kaalia snake at the hands of Shree Krishna. On one side Shree Krishna is lying on the bed of live entwined coils of Shesh Nag (divine snake), and on the other side Krishna and Baldev are playing 'gullidanda' (a game played with a wooden stick and a wooden bell similar to those put atop the stumps in cricket), on the bank of river Yamuna. In the thirty-eighth edifice there is the artistic image of Vidyadevi with sixteen hands and riding a lion. On the dome of the forty-second edifice, there are fascinating images of Saraswati (goddess of learning) riding a peacock, Lakshmi (goddess of wealth) riding an elephant and goddness Shankheshwari riding on Garud (a huge divine bird). The minute details of the sculpture are view-worthy. In the forty-fourth edifice there are the engraved arch and the image of Lord Shree Varishen with background arch. Outside the forty-sixth to forty-eighth edifices, the images of sixteen-handed Sheetala, Saraswati and Padmavati carved on the dome, are extremely beautiful. The most artistic part of the temple is its stage with auditorium. From a big round dome, supported by twelve ornamental pillars and artistically beautiful arches, are suspended eleven roundish garlands of elephants, horses, ducks, dancers etc., together with the bunches of crystal-hangings. Atop every pillar are damsels paying musical instruments and above them are very beautiful and impressive images of sixteen Vidya Devis riding on various kind of vehicles. There are nine square-shaped 'Chaukis', above the stage, on the ornamented ceiling with various kinds of beautiful engravings. In the main sanctum sanctorum a very delicate and eye-filling idol of Lord Rishabhdev is installed. In the deep mandap, the idols of Lord Parashwanath, standing in meditational postures are also fascinating. Outside the Vimalwasahi temple is the stable of elelphants which was restored in 1991 A.D. Loona Vashi Temple - This temple is the heart of the world of art. In the temple such fine engraving has been done that on first sight the viewer is wonderstruck. In engraving larger then largest on stones smaller then the smallest, the sculptures of this temple appear to be experts. To look at this pricelerss treasure of art if one looks up he does not wish to look down. Ministers Vastupal and Tejpal of the Solanki king Bheemdev of Gujarat got this world famous temple built with white-coloured marble. The temple was named Loonawasahi after Lavanya Singh, the son of Tejpal. The black touch-stone idol of the twenty-second Tirthankar, compassion incarnate Neminath, is installed in the temple. The consecration of this idol, which captures our hearts just on being seen, was done by Acharya Shree Vijaysen Suri on Chaitra Krishna Tritiya in Samvat 1287. References available reveal that more than 13 crore gold coins were spent in building the temple. The artistic finesse of the temple is credited to the renowned sculptor Saumandev. In Samvat 1368, the troops of Alauddin Khilji tired to damage the sactum sanctorum as well as other parts of the temple. In Samvat 1378 Shreshthi Chandsingh's son got it repaired. Just on entering the main gate of the temple, a unique gift to humanity, the magnificent and attractive form of the temple can be seen. The world-famous Gokhlas (wall-altars) of Devrani-Jethani are built in this temple. On the left wall-altar is the image of Lord Shantinath. The peerless love of Devrani-Jethani and the incomparable artistry of the sculptors resulted in the shaping-up of both the altars absolutely similar to each other. On looking at these altars it seems as if the artistes have infused life in them. On reaching the rostrum of the temple, we can have a glimpse of the tenderness, beauty and excellence of its wonderful sculptural art, and an indelible impression of the art of the artists is etched in the heart of the viewers. The artistic pendant hanging in the center of the dome, looks like crystal drops. Wherever we cast our glance at the ceiling of the temple, it really appears that everything is unique here. On every pillar stand the idols of sixteen Vidyadevis riding different animal/birds. On everyside of the auditorium the arches are so artistic that the viewers become emotionally overwhelmed. On the south of the hall on the walls and ceilings there are scenes of the birth of Lord Krishna, mother in the lying down posture, the prison, the cowboys etc. are in the form of engraved art-pieces. Ahead of the auditorium are nine square-shaped seats. In each of the ceilings here, we find wonderful art work of the best engravings. Such tender branches of flowers have taken shape in marble that at the very first glance the viewer exclaims-unprecedented !! unsurpassable !!! Around the temple there are 50 edifices whose walls and domes are ornamented with fine artifacts. In edifice 1 to 10 there are respectively the images of goddness Ambika, flowers, danseuses, artistic plaques with the figures of goose, Dwarika and Samavasaran. There are seven rows in the eleventh dome. The artistic presentations of elephants - horses, dramatic art, biographical episodes of Lord Neminath's marriage, ordainment etc. - and the figure of Rajul seated at the window, gladden the heart. Also in the domes of the edifices eighteenth to twenty-sixth various aspects of art have been highilighted. Between the edifices twenty-sixth and twenty-seventh is situated the sprawling elephant stable. Here are ten very beautiful marble elephants. The statues of the builders of the temple and also their 'gurus' (teachers) are also installed here. In the edifices from 27 to 50 various kinds of scenes have been depicted. In the fiftieth dome, the artistic scene of a deep water reservoir has emerged. On the right of the Loonwasahi Temple stands the Digambar Jain temple of Kunthunath. On descending down the steps there is a pillar of black stone known as 'Kumbh Stambh'. It was built in 1449 A.D. by Mewar's Maharana Kumbha. At this very place on the right amidst the trees the arcade (umbrella) of Yug Pradhan (The most prominent person of his era) Dada Shree Jindutt Suri has been built. The footprints of great miraculous and influential acharyas of Jainism, Dada Jindutt Suri and Jina Kushal Suri are kept here. Peetlahar Temple - This temple was built by Bheema Shah. Therefore, it is also called the Temple of Bheema Shah. The temple is supposed to have been built in 1374-89. It was renovated by Sundar and Gadaa of Gujarat. A 41-inch fine metal image of Lord Rishabhdev is installed in the temple. The 'parikar' (parameter) of five metals is eight times of 5 ½ feet. Due to presence of excessive quantity of 'Peetal' (brass) in this idol, this temple is also called Peetlahar Temple. This idol was consecrated in 1468 by the lotus hands of Acharya Lakshmi Sagar Suri. There are other huge marble idols of the Jina in the temples. Khartarwasahi - Parshwanath Temple - This temple built on the left side is sufficiently big. This temple was built by Shrawak Mandalik, follower of Khartar-gaccha. Therefore, it is called Khartar-wasahi Temple. Even in Palitana pilgrimage there is a huge Jina-temple named Khartar-wasahi. In this three-storeyed temple there are four idols of Lord Parshwanath facing the four directions. That is why it is also called Chaturmukh Temple. The consecration of this great temple was performed by the lotus-hands of Acharya Shree Jina Chandra Suri on Ashadh Krishna 1 in 1515 A.D. The summit of the temple is really beautiful and at the same time the white-coloured idols of the principal deity Shree Parshwanath and their surroundings are very artistic. There are big auditoria on the four sides of the temple. On the external walls of the temple the aesthetic creations of the Digpals, Yakshinis, Sal Bhanjikas and women are fascinating in view of their emotional expressions.
----------------------------------------------------- From-World Renowned Jain Pilgrimages Reverence & Art, By: Mahopadhyaya Lalitprabh Sagarji -----------------------------------------------------
Vimla Vashai Temple Mount Abu, Rajasthan
Mount Abu, lies on a plateau 1,200mts high at the southern extremity of the Aravali range in the state of Rajasthan. This hill station is a welcome relief in an otherwise desert landscape. Mount Abu is a holy mount, famous for its five exquisite Jain Temples: Vimla Vashai, Luna Vashai, Pithalhar, Khartar Vashai and Mahavir Swami. Collectively, these temples are known as the Dilwara Jain Temples. Dilwara Jain Temples are famous for their architectural genius and incredibly detailed white marble carvings. The Jain temples at Mount Abu are built in the Nagara Style which is characterized by a beehive shaped tower (shikhara) composed of layer upon layer of architectural elements such as kapotas and gavaksas, all topped by a large cushion-like element called an amalaka. Dilwara Temples once served as storehouses of illustrated manuscripts and treatises. Each has a walled courtyard, the center of which contains a shrine with the image of the principal deity. Around the courtyard are numerous smaller shrines, housing images of the Tirthankars. The ceilings of the Dilwara Temples are ornamented with magnificent carvings and have an ornamented central pendant. The pendant of the dome comes down and ends in a drop or point, symbolizing divine grace coming down to fulfill human aspirations. Vimala Vashai Temple is the oldest of the Dilwara Jain Temples, built in 1030 by Vimala Shah, a minister in the government ofGujarat, as a way to show repentance for his earthly sins. This temple is dedicated to Lord Adinath, the first Jain Tirthankara, and took 1,500 artisans and 1,200 laborers a span of fourteen years to build this brilliant piece of architecture. The white marble has been chiseled and shaped to such exquisite beauty and perfection that the workmen who gave shape to these extraordinary monuments were rewarded in silver and gold equivalent to the weight of chiseled marble dust. The most remarkable thing about the temple is the wonderful play of shadow and light on the nearly 1,500 pillars. As the sunrays shift through the day, the pillars color change from gold to pale blue. The whole shrine covers an area of 140 feet long by 90 feet wide. Upon entering the temple, one gets a glimpse of the grandeur of sculptured marble, exquisite carvings of ceilings, domes, pillars and arches of ancient, and was built in various phases, the last one ending in the the temple. It has a Garbha- Griha (Inner Sanctum), a Rang Mandap (Entrance Hall) and a Pradakshina Path (Circumambulatory Corridor), totaling to fifty-seven cells. In each cell, images of Jain Tirthankars are installed. The Vimala planne structure topped by a dome. The innermost five dome-topped squares form a cross, and represent the five hills sacred to the Jains. The Dilwara Temples are models of design and beauty, reflecting a rich heritage of Jain temple architecture. Elegant relics of the past, these exquisite temple carvings stand as mute testimonials to the rich and elaborate style of architecture of a bygone era. Mount Abu is located approximately 120 miles away from Udaipur in southern Rajasthan. The town is well connected to most cities in Rajasthan and neighboring Gujarat by road and trains. Abu Road, the nearest railway station, is located around 17 miles from Mount Abu and the connects to various cities across India.
----------------------------------------------------- Information Source: Jaina Calendar - 2004, Published By Jaina, USA ----------------------------------------------------- Mail to : Ahimsa Foundation |
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