43-559: The Dilwara Temples or Delvada Temples are a group of Śvētāmbara Jain temples located about 2 + 1 ⁄ 2 kilometres from the Mount Abu settlement in Sirohi District , Rajasthan 's only hill station . The earliest were built by Vimal Shah , a Jain minister of Solanki king of Gurjaratra , Bhima I and additions to the temples were made by Vastupala , Jain minister of Vaghelas of Gurjaratra. They date between
86-441: A central dome from which hangs a big ornamental pendant. Arranged in a circular band are 72 figures of tirthankaras in sitting posture; under this band are 360 small figures of Jain monks in another circular band. The Hathishala (elephant cell) features 10 marble elephants, polished and realistically modelled. A special feature of the temple is the two niches of Derani (wife of younger brother) and Jethani (wife of older brother),
129-544: A curtain of shrines was to become a distinctive feature of the Jain temples of West India, still employed in some modern temples. In later temples in the Māru-Gurjara style, a very pure white marble like that at Dilwara came to be regarded as highly desirable, even essential. In modern times, when the style has become popular in other regions of India, and with Hindu and Jain communities in other countries, local Rajastani marble
172-476: A large gopuram tower, similar to those of local Hindu temples. Characteristics of the original Māru-Gurjara style are "the external walls of the temples have been structured by increasing numbers of projections and recesses, accommodating sharply carved statues in niches. These are normally positioned in superimposed registers, above the lower bands of mouldings. The latter display continuous lines of horse riders, elephants, and kīrttimukhas . Hardly any segment of
215-508: A ruler, this was infrequently the case with Jain temples. Instead they were typically funded by wealthy Jain individuals or families. For this reason, and often the smaller numbers of Jains in the population, Jain temples tend to be at the small or middle end of the range of sizes, but at pilgrimage sites they may cluster in large groups - there are altogether several hundred at Palitana , tightly packed within several high-walled compounds called "tuks" or "tonks". Temple charitable trusts, such as
258-425: A standing or other posture, and concentrating upon the true nature of the soul. It is one of the six essentials ( avasyaka ) of a Jain ascetic and one of the 28 primary attributes of a Jain monks and nuns. Twenty-one of the tīrthankaras of Jainism are said to have attained moksha in the kayotsarga “standing meditation” posture. An example of unflinching standing meditation is that of Arihant Bahubali who
301-539: Is a particular temple style from Gujarat and Rajasthan (both regions with a strong Jain presence) that originated in both Hindu and Jain temples around the year 1000, but became enduringly popular with Jain patrons. It has remained in use, in somewhat modified form, to the present day, indeed also becoming popular again for some Hindu temples in the 20th century. The style is seen in the groups of pilgrimage temples at Dilwara on Mount Abu , Taranga , Girnar , Kundalpur , Sonagiri , Muktagiri and Palitana . Derasar
344-695: Is a word used for a Jain temple in Gujarat and southern Rajasthan. Basadi is a Jain shrine or temple in Karnataka . The word is generally used in South India . Its historical use in North India is preserved in the names of the Vimala Vasahi and Luna Vasahi temples of Mount Abu . The Sanskrit word for vasahi is vasati , which implies an institution for residences of scholars attached to
387-508: Is carved entirely out of white marble and was mostly built in 1026 by Vimal Shah, a minister of Bhima I , the Chaulukya king of Gujarat . The outer mandapa is an addition of the next century. The temple is dedicated to Rishabhanatha. 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 ' mandaps ' or porticoes of
430-630: Is carved with attendant deities and images of 4 tirthankaras, giving the idol name Saparikar Panchtirthi . The principal shrine was originally surrounded by 24 sub-shrines but later 74 shub-shrines were added in the 12th century. The Navchowki is a collection of nine rectangular ceilings, each containing carvings of different designs supported on ornate pillars. The Gudh mandap is a simple hall after stepping inside its heavily decorated doorway. The Gudh mandap, houses two idols of Parshvanatha in Kayotsarga position, and an image of Rishabhanatha. The mandap
473-515: Is dedicated to Neminatha. The temple was built in 1230 by two Porwad brothers - Vastupal and Tejpal - both ministers of a Virdhaval, the Vaghela ruler of Gujarat. The temple, built in memory of Vastupal & Tejpal's late brother Lunig, was designed after the Vimal Vashi temple. The temple has a similar structure as Vimala Vasahi but has better carvings. The Rang mandap (main hall) features
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#1732772028946516-465: Is illegible. In the corridor there are images of 17 tirthankaras and paintings of flowers. There is depiction of 14 dreams that a mother of a tirthankara on conception. On the second floor, the Chaumukha idol is of Sumatinatha , Parshvanatha, Adinatha and Parshvanatha. The idol of goddess Ambika is also present. The Chaumukha idol of Parshvanatha is installed on the third floor. The outer walls of
559-721: Is in the midst of a range of forested hills. There are five temples in all, each with its own unique identity. All the five temples are enclosed within a single high walled compound. The group is named after the small village of Dilwara or Delvara in which they are located. The five temples are: Among the five marble temples of Dilwara, the most famous are the Vimal Vasahi and the Luna Vasahi temples. Dilwara Temples along with Ashtapad , Girnar , Shatrunjaya and Shikharji are known as Śvētāmbara Pancha Tirth (five principal pilgrimage shrine). The Adinatha or Vimala Vasahi Temple
602-614: Is known as the mula nayak . A Manastambha (column of honor) is a pillar that is often constructed in front of Jain temples. It has four 'Moortis' i.e. stone figures of the main god of that temple. One facing each direction: North, East, South and West. Jain temples are built with various architectural designs. Some of the earliest examples of Jain architecture are of the Indian rock-cut architecture tradition, whereby structures are produced by carving material out of solid rock. These traditions were initially shared with Buddhism, and by
645-441: Is meant for Aarti to the deity. The ceiling has carvings of horses, elephants, musician, dancers and soldier. The ceiling of the main dome features carving of the sixteen devis associated with learning. The Hastishala (Elephant courtyard) was constructed by Prithvipal, a descendant of Vimal Shah in 1147-49 and features a row of elephants in sculpture with the members of the family riding them. The Luna Vasahi or Neminatha temple
688-423: Is often carved and transported to the new building. The temples have an opulent entranceway, the simplicity in architecture reflecting Jain values like honesty and frugality. The ornamental detail spreading over the minutely carved ceilings, doorways, pillars, and panels is considered to be remarkable. It is said that workmen were paid in gold according to the weight of marble powder scraped off. The temple complex
731-525: The 11th and 16th centuries, forming some of the most famous monuments in the style of Solanki architecture , famous for their use of a very pure white marble and intricate marble carvings. They are managed by Seth Shri Kalyanji Anandji Pedhi, Sirohi and are a pilgrimage place for Jains, and a significant general tourist attraction. The Dilwara temples are regarded as the most impressive among Jain temples in Rajasthan. The five Dilwara temples are among
774-546: The 12th-century Gommateshwara statue , the modern Statue of Vasupujya , and the Statue of Ahimsa , standing the tallest at 108 feet (33 meters) in height, all exemplify this similarity. In recent times, the use of murti images has become controversial within Jainism, and some smaller sects reject them entirely, while others are selective in terms of which figures they allow images of. In sects which largely disapprove of images,
817-613: The Adinatha temple, was built by Bhima Shah, a minister of Sultan Begada of Ahmedabad, between 1316-1432 AD. A massive metal statue of Rishabhanatha (Adinatha), cast in five metals, is installed in the temple. The main metal used in this statue is 'Pital' (brass), hence the name 'Pittalhar'. The name of the temple is also mentioned in an inscription dating back to 1432, found in Digambar shrine in Dilwara complex. There are 107 images in
860-526: The artists of Sirohi . There are detailed carvings of flowers, pigeons, court-scene, dancing girls, horses, elephant, and other scenes. On each side of Mahavira, there are 3 idols of tirthankar. Outside the shrine, there is a marble slab of rectangular shape with a triangle stone over it containing 133 images of miniature-sized tirthankar with a larger image in center. The temples have undergone repairs from time to time. Allauddin Khilji had attacked and damaged
903-494: The ceilings of mandapas, and a characteristic form of "flying arch" between columns, which has no structural role, and is purely decorative. Most early temples in the style are in various local shades of pink, buff or brown sandstone, but the Dilwara temples are in a very pure white marble which lightens the style and has become considered very desirable. While, before British India , large Buddhist or Hindu temples (and indeed Muslim mosques) have very often been built with funds from
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#1732772028946946-441: The end of the classical period, Hinduism. Jain temples and monasteries designed and constructed using rock-cut methods often share a site with those of the other religions, such as those at Udayagiri , Bava Pyara , Ellora, Aihole , Badami , Kalugumalai and Pataini temple . The Ellora Caves are a late site, which contains temples of all three religions, as the earlier Buddhist ones give way to later Hindu excavations. Despite
989-417: The first three named are surrounded by "cloister" screens of devakulikā shrines, and are fairly plain on the outer walls of these; in the case of the Vimal Vasahi this screen was a later addition, around the time of the second temple. These three have an axis from the sanctuary through a closed, then an open mandapa to an open rangamandapa , or larger hall for dance or drama. Surrounding the main temple with
1032-433: The life events of Shantinatha. In the thirty-seventh shrine, there are images of four goddesses. There are several images of life events of Krishna as well. There are a total of 130 pillars in the temple of which 38 are beautifully carved. The Navchowki features some of the most delicate marble stone cutting work of the temple. The ceilings of the temple depicts scenes of the life of Neminatha with image of Rajmathi (who
1075-401: The main shrine. The shrine consists of a Garbhagriha , Gudh mandap and Navchowki with images of yakshi Chakreshvari and yaksha Gomukha on both sides. It seems that the construction of Rangmandap and the corridor was left unfinished. The old mutilated idol was replaced and installed in 1468-69 AD weighing 108 maunds (four metric tons) according to the inscription on it. The image
1118-420: The most famous Jain temples. The Vimal Vasahi is much the earliest, constructed by 1031, with the Luna Vasahi by 1230, and the others at intervals between 1459 and 1582. All are in white marble which adds greatly to their effect and remains in use. The oldest and largest two have large amounts of intricate carving even by the standards of the style, reaching a peak in the Luna Vasahi temple. The main buildings of
1161-517: The newer marble is white. The temples are currently administered by the Seth Kalyanji Paramanandji Pedi. Seth Kalyanji Paramanandji Pedi also runs a Bhojanshala (dining hall) nearby. Facilities are available for bathing, which is mandatory before puja is performed for the idols. These facilities use passive solar power to heat up the water for bathing and other things. Guided tour hours for tourists are posted outside
1204-477: The outer walls, and often raised on a very high platform, so that the outside of larger temples can resemble a fortress with high walls. However the entrance(s), often up high, wide steps, are not designed for actual defence, even though medieval Muslim armies and others destroyed many Jain temples in the past, often permanently. Inside the temple, the Māru-Gurjara style features extremely lavish carving, especially on columns, large and intricately carved rosettes on
1247-710: The religious buildings are used instead. Following the regional styles in Hindu temples, Jain temples in North India generally use the north Indian nagara style, while those in South India use the dravida style, although the north Indian Māru-Gurjara style or Solanki style has made some inroads in the south over the 20th century or so. For example, the Mel Sithamur Jain Math in Tamil Nadu has
1290-403: The same builders and carvers worked for all religions, and regional and periodic styles are generally similar. For over 1,000 years, the basic layout of a Hindu or most Jain temples has consisted of a small garbhagriha or sanctuary for the main murti or idol, over which the high superstructure rises, then one or more larger mandapa halls. Māru-Gurjara architecture or the "Solanki style",
1333-456: The sanctum comprise ornate sculptures in gray sandstone, depicting Dikpalas , Vidhyadevis, Yakshinis , Shalabhanjikas and other decorative sculptures comparable to the ones in Khajuraho and Konark . This is a small structure constructed in 1582 and dedicated to Mahavira . It is small temple with carvings on its walls. On the upper walls of the porch there are pictures painted in 1764 by
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1376-468: The shrine. Temples may be divided into Shikhar -baddha Jain temples, temple buildings dedicated to the public, normally with a high superstructure, (typically a north Indian shikhara tower above the shrine) and the Griha Chaityalaya (Ghar derasar) , a private Jain house shrine. A Jain temple which is known as a pilgrimage centre is often termed as Tirtha . The main idol of a Jain temple
1419-524: The similarity between different religions, Jainism is often known for placing large figures of one or more of the 24 tirthankaras in the open air rather than inside a shrine. These statues later began to increase in size, often in the form of standing nude figures in the kayotsarga meditation position (which is similar to standing at attention ). The Gopachal rock cut Jain monuments , the Siddhachal Caves , and various single figures including
1462-575: The specific sect. Kayotsarga Kayotsarga ( Sanskrit : कायोत्सर्ग Kāyotsarga , Jain Prakrit : काउस्सग्ग Kāussagga ) is a yogic posture which is an important part of the Jain meditation . It literally means "dismissing the body". A tirthankara is represented either seated in yoga posture or standing in the kayotsarga posture. Kayotsarga means "to give up one's physical comfort and body movements", thus staying steady, either in
1505-452: The surface is left unadorned." The main shikhara tower usually has many urushringa (subsidiary spirelets) on it, and two smaller side-entrances with porches are common in larger temples. Later, with Dilwara in the lead, surrounding the main temple with a curtain of devakulikā shrines, each with a small spire, became a distinctive feature of the Jain temples of West India, still employed in some modern temples. These are fairly plain on
1548-444: The temple are simply amazing. The ceilings feature engraved designs of lotus-buds, petals, flowers and scenes from Jain mythology. The figures of animal life, life journey from dream to incarnation of tirthankars are carved. There are 59 devakulikas (small shrine) facing the main image of Rishabhanatha. There are 7 additional cells are found, 1 cell houses image of Ambika and 2 cells of Munisuvrata . The mulnayak idol of Rishabhanatha
1591-496: The temple was built of grey stone. This three-storey building is the tallest temple in Dilwara. Not all the tower remains. On all four faces of the sanctum on the ground floor are four big mandapas housing a Chaumukha idol of Parshvanatha. On the first floor, the Chaumukha idol the front iconography is of Chintamani Parshvanath , second Magalakar Parshvanatha and third Manoratha-Kalpadruma Parshvanatha all are depicted with hood of nine cobras. The image of fourth image of Parshvanatha
1634-481: The temple. Jain temple A Jain temple , Derasar (Gujarati: દેરાસર) or Basadi (Kannada: ಬಸದಿ) is the place of worship for Jains, the followers of Jainism . Jain architecture is essentially restricted to temples and monasteries , and Jain buildings generally reflect the prevailing style of the place and time they were built. Jain temple architecture is generally close to Hindu temple architecture , and in ancient times Buddhist architecture . Normally
1677-476: The temples in 1311. In 1321, Bijag and Lalag of Mandore had undertaken repairs. In 1906, Lallubhai Jaichand of Patan had the temples repaired and reconsecrated on 25 April 1906, under the supervision of Yati Hemasagar. Extensive repairs were again undertaken during 1950-1965 by Anandji Kalyanji with the work done by the Sompura firm Amritlal Mulshankar Trivedi. The older marble has a yellow patina, whereas
1720-401: The very large Anandji Kalyanji Trust , founded in the 17th century and now maintaining 1,200 temples, play a very important role in funding temple building and maintenance. There are some guidelines to follow when one is visiting a Jain temple: Prevailing traditional customs should be followed regarding worshipping at the temple and touching an idol. They can vary depending on the region and
1763-459: The wives of Vastupal and Tejpal respectively. The niches have the image of the goddess Lakshmi with sculptures of tirthankaras Sambhavanatha and Shantinatha respectively. There are 47 sub-shrines housing one or more images of tirthankaras. The first shrine houses an idol of the goddess Ambika . The ninth and eleventh enshrines images of Neminatha's life after renunciation and Neminatha's marriage respectively. The fourteenth shrine has images of
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1806-571: Was cast by an artist 'Deta' which is 8 ft (2.4 m). high, 5.5 ft (1.7 m). broad and the figure is 41 inches (1,000 mm) in height. In Gudh Mandap on one side, a big marble Panch-Tirthi sculpture of Rishabhanatha is installed. Some shrines ( devakulika ) were constructed in 1474 and 1490, before construction was abandoned. This temple, dedicated to Parshvanatha, was built by Sangvi Mandlik and his family in 1458–59. According to popular belief, masons offered free remaining stones of Vimala Vasahi and Luna Vasahi to add marble since
1849-414: Was to marry Neminatha) and Krishna. The Gudh mandap features a black marble idol of Neminatha. The carvings of devkulikas and Chakreshvari in the ceiling of temple are also noteworthy. The Kirti Stambha (pillar of pride), big black stone pillar on the left of the temple, was constructed by Maharana Kumbha of Mewar . The remaining three temples of Dilwara are smaller. The Pittalhar temple, also called
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