09-20-2014, 10:18 AM
Oriented around a square plan with an octagonal garbha griha, the temple must be one of the finest examples of medieval Jain architecture.
It features a complex floor plan with multi storied porches and balconies. The temple has a strong directional orientation, with entrances at the four compass points and, in the central chamber, images of Adinath facing in each of the four directions.
![[Image: attachment.php?aid=386]](http://www.frontdesk.co.in/forum/attachment.php?aid=386)
from "The Penguin Guide to the Monuments of India" vol. 1, Buddhist, Jain, Hindu, by George Michell, 1989)
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 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 interior is elaborately carved and decorated throughout with Jain saviors, plant and floral motifs, and other figures.
The standard Jain pattern of richly decorated columns in the interior and an overwhelming use of marble dominate. It is interesting to note that none of the pillars is exactly alike in terms of carving and disposition.
A modern glass chandelier depends from the top of the corbelled dome, surrounded by carvings of celestial dancers and musicians.
Stonework
Exquisitely detailed carving covers nearly every available surface in the temple.
The beautiful diagonal arch (in the shape of an upside-down "V") seen here, is formed by two sinuously curved brackets issuing from makaras. This kind of arch is a typical decorative (not weight-bearing) feature of Hindu and Jain temple architecture, where it defines a ceremonial entrance or gateway. It can also be found, as a borrowed element, in some early Mughal buildings.
The Five Elements
This odd figure, which combines four animal bodies and one human body, represents the "five elements" (earth, water, air, fire, and soul). Soul, being the only conscious element, is the only one represented as a human body, and the only one with a head. However, in Jain philosophy even inanimate particles of matter have souls, so the other four bodies symbolically "borrow" the head (consciousness) that comes from the soul within them.
The purpose of life, according to Jain religion, is for souls to shed their material bodies so that they can become free and pure again.
It features a complex floor plan with multi storied porches and balconies. The temple has a strong directional orientation, with entrances at the four compass points and, in the central chamber, images of Adinath facing in each of the four directions.
from "The Penguin Guide to the Monuments of India" vol. 1, Buddhist, Jain, Hindu, by George Michell, 1989)
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 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 interior is elaborately carved and decorated throughout with Jain saviors, plant and floral motifs, and other figures.
The standard Jain pattern of richly decorated columns in the interior and an overwhelming use of marble dominate. It is interesting to note that none of the pillars is exactly alike in terms of carving and disposition.
A modern glass chandelier depends from the top of the corbelled dome, surrounded by carvings of celestial dancers and musicians.
Stonework
Exquisitely detailed carving covers nearly every available surface in the temple.
The beautiful diagonal arch (in the shape of an upside-down "V") seen here, is formed by two sinuously curved brackets issuing from makaras. This kind of arch is a typical decorative (not weight-bearing) feature of Hindu and Jain temple architecture, where it defines a ceremonial entrance or gateway. It can also be found, as a borrowed element, in some early Mughal buildings.
The Five Elements
This odd figure, which combines four animal bodies and one human body, represents the "five elements" (earth, water, air, fire, and soul). Soul, being the only conscious element, is the only one represented as a human body, and the only one with a head. However, in Jain philosophy even inanimate particles of matter have souls, so the other four bodies symbolically "borrow" the head (consciousness) that comes from the soul within them.
The purpose of life, according to Jain religion, is for souls to shed their material bodies so that they can become free and pure again.