Ranakpur Jain Temple – A Hidden Gem of Rajasthan

The Jain Temple of Ranakpur is a hidden gem among the places to visit around Udaipur. In this article, we will discuss its architectural style, explore the significance of the carvings inside the temple, and examine the Yaksha/Vidhyadhars in Jain iconography.

James Fergusson’s impression of the Ranakpur Jain Temple, the hidden Gem

“I know of no other building in India, of the same class, that leaves so pleasing an impression or affords so many hints for the graceful arrangement of columns in an interior. The torans, ornate multi-foliated arches joining these pillars are carved with most exquisite details and have been indulgently chiseled in marvelous perfection.” – James Fergusson, a Sottish architectural historian famous for his interest in Indian historical architectures, wrote about Rankapur in his book “History of Indian art and Indian Architecture”.

The architectural style of the Jain Temple of Ranakpur

The “Maru-Gurjara” style of architecture defines the temple of Ranakpur. The term “Maru-Gurjara” refers to the architectural traditions of Marudesh (Rajasthan) and Gurjaratra (Gujarat). These two western states of India share similarities in ethnic, cultural, and political aspects of society, which reflect in their temple architecture as well.

In this style, architects design the temple as a monolithic structure chiseled from living rock. These temples stand as testimonials to the deep understanding of architectural principles and the refined sculpting skills of the Rajasthani and Gujarati craftsmen of the bygone era.

The Ranakpur temple is raised on a lofty basement, and it is nearly a square 198 feet by 205 feet exclusive of projections on each face. It has balconied entrances in the middle of each side that give access to an interior of spatial complexity.

The central sanctuary has four subsidiary shrines at its four corners, making it a Pancayatana (पंचायतन) temple. Five large shikharas adorn the roof of the Ranakpur temple, with the largest and the most prominent one capping the central sanctuary. Four others surround each corner shrine. Twenty-four cupolas provide roofing over the pillared halls, while seventy-six undulating small shikharas crown the small shrines of the Jain Tirthankara, lining the internal wall.

The carvings at the entrance of the Jain Temple of Ranakpur – A hidden Gem

We ascend a flight of stone stairs to enter the temple, which devotees also revere as “Chaturmukh Temple,” “Dharna Vihar,” “Nalini-Gulm Viman,” and “Trilokya-Deepak-Prasad.”

At the threshold, we observe a semi-circular structure flanked by a conch shell on each side, with a raised platform above it, guarded by a demon on either side.

Artisans have intricately carved the entrance door with Pratihars—the door guardians—and four Goddesses (Vidhyadevis) on each side. It also features images of meditating Tirthankara, dancing women, and guarding Yakshas.

Significance behind carving Demons at the entrance of the temples

The symbolism of the demon idols at the doorstep might serve multiple purposes. They may remind worshippers to enter the temple with pure thoughts, leaving all evil thoughts outside, or they may be there to protect the temple from evil eyes.

These demons appear as huge serpents with bulging eyes, symbolizing the importance of not disturbing the Tirthankaras in meditation or destroying the temple’s sanctity. The guardian Yaksha of Bhagwan Parshvanath, associated with the deity, is Dharnendra—a snake Yaksha. Additionally, it may symbolize vigilance, with Dharnendra keeping an eye on any miscreants.

To me, the message is to be attentive to all the details and enjoy the marvelous carvings scattered throughout the temple. It also offers an opportunity to learn about the Jain iconography.

Do you need a guide?

As we enter the temple, a priest approaches me and asks, “Do you need a guide?” I reply, “No, thanks.” The priest leaves without pestering further or showing any sign of irritation or disappointment.

Kichaka Carving at the entrance hall of the Jain Temple of Ranakpur

In the entrance hall, I see an artistically engraved, strange figure with one head and five bodies depicted at the center of the ceiling. It is Kichaka.

Does it bear any meaningful resemblance to Kichaka from the Mahabharata? Is the powerful but lascivious Kichaka destined to appear in temples, under pillars, bearing the weight of buildings, pillars, and ceilings upon his massive body? Could it be a way to depict him carrying the burden of his lustful desire for Draupadi? Or is there no resemblance apart from the name—perhaps even the name is incorrect?

I gaze at it for a long time. It is a huge, protruding figure of a valiant, bearded person.

His right hand rests on his knee, making him appear fearless, while his left hand’s index finger and thumb join together as if he is preaching the essence of life. There is a serene, saint-like quality to his face.

I don’t believe he represents Kichaka of Mahabharata fame. Then what does he represent?

Could he symbolize that our body is composed of the five elements—Water, Air, Fire, Earth, and Soul? Among these elements, only the soul appears as a human body and head.

Does this statue convey a message to utilize human birth for spiritual upliftment? As only in human birth we can focus on the right conduct, the right vision, and the right knowledge to liberate and elevate our souls.

It may also symbolically represent having control over the five senses of the body or following the five main principles of Jainism—Ahimsa, Satya, Achorya, Brahmacharya, and Aparigraha.

Introduction of Yakshas/Vidhyadhars in Jain Pantheon

Or is this a figure of one of the many Yakshas or Vidhyadhars introduced into the Jain pantheon from the sixth century onwards, and that became popular by the tenth century?

These deities gained prominence in the Jain pantheon because people consider the Jinas or Tirthankaras detached from worldly attachments and unapproachable for worldly desires.

As mortal humans, we approach deities to resolve our worldly matters and worries. The inclusion of Yakshas in the pantheon provided a solution to this need.

One more and possibly the correct explanation of the above sculpture

I read this explanation in a Facebook post by Sh. Krishan Jugnu, a highly acclaimed and knowledgeable person from Udaipur. According to him, this kind of sculpture became very popular during the time of Maharana Kumbha and also appears in Meera Mandir of Chittorgarh.

Wrestlers (पहलवान) and tumblers (नट) performed this style, known as लोटन-मोटन पैंतरा. The key aspect of this performance was that the performer’s eyes remained focused on one object or point while their body kept moving and changing position.

During the medieval period, performers entertained the public with this art form, and as local traditions influence the sculptors, they incorporated it into their work.

Yakshas and Yakshinis – Divine Soul of passion

The Yakshas and Yakshinis, full of passion, also wander through the cycles of death and birth like us. People believe they possess supernatural powers, including the ability to fly and change their forms and sizes.

Initially, people considered them devotees of the Tirthankaras, but as time passed and needs arose, people began to worship them as well. Some of these Yakshas bestow fertility and wealth upon their devotees, while others neutralize the destructive powers of negative energies like roga, grahas, rakshas, bhoot, and Pischaas.

There can be numerous interpretations, but I am unsure what the artist had in mind. To my knowledge, no such figures exist in any other Jain temples. It is something unique to the temples of Ranakpur.

The recitation of Navkar Mantra in the Jain Temple of Ranakpur – the hidden Gem

A priest reciting the Navkar Mantra in a deep bass voice, covering his mouth with a handkerchief, draws my attention.

णमो अरिहंताणं, णमो सिद्धाणं, णमो आयरियाणं, णमो उवज्झायाणं, णमो लोए सव्व साहूणं, एसोपंचणमोक्कारो, सव्वपावप्पणासणो मंगला णं च सव्वेसिं, पडमम हवई मंगलं

He is the same priest who approached me earlier. A group of foreigners listens to him carefully. His recitation of the Navkar Mantra creates an aura of spirituality all around. He finishes reciting the mantra and begins explaining Jainism and its high emphasis on Ahimsa and forbearance to the group.

He explains, “The word ‘Jain’ derives from the Sanskrit word ‘Jina,’ which means a conqueror; a person who has conquered their inner world of temptations and desires.” A person who has realized that the world is an illusion and so is indifferent to their sufferings.” He appears knowledgeable. The tourists are in safe hands.

Intricately carved Kalpavalli

I stop paying attention to them and look around. My gaze soon falls upon another masterpiece on the ceiling above the stairway near the main entrance.

This intricately detailed artwork, with patterns of flowers, foliage, and tendrils, represents Kalpavalli, a creeper that fulfills wishes. Perhaps the never-ending patterns in this medallion symbolize human desires.

Why this Jain Temple of Ranakpur is a hidden Gem of Rajasthan

After gazing at the ceiling for a long time, I look around and realize that I am standing in a jungle of intricately carved pillars—1444 in total, each uniquely carved. The pillars after pillars are intricately carved with figures of dancing damsels, extending from the ground up to the soaring domes. Each pillar is so intricately carved that it resembles delicate lacework rather than solid stone.

Despite the multitude of pillars, the temple’s interior exudes a feeling of lightness, a marvelous calming sense of space and harmony.

The intelligent arrangement of these pillars ensures that none obscure the view of the main idol, allowing a devotee standing in any corner to have an unobstructed view of the Lord Adinath.

The profusion of architectural details and perfect craftsmanship reflects the vitality and ingenuity of the architects and sculptors of this region.

The Chaumukhi statue of Bhagwan Adinath

The temple has a strong directional orientation, with the garbhgrih housing a seventy-two-inch idol of Bhagwan Adinath facing the four cardinal directions. People call a typical idol with four faces Chaumukhi.

The earliest example of such a sculptural style, featuring a square shaft with a Tirthankara’s figure on each face, comes from Mathura. This symbolizes the Tirthankara’s conquest of the four cardinal directions and, hence, the cosmos.

The garbhgrih has four openings that lead to four large (strictly symmetric) two or three story high Meghanada mandapas and twenty smaller Rangamandapas. The pillared halls preceding this multi-doored sanctuary are designed as lofty spaces, featuring double or triple-height columns that support stepped domes.

These domes are masterful constructions of impressive dimensions, featuring intricate designs adorned with lotus motifs at the summit and encircled by intricately sculpted figural brackets.

Along the boundary wall, facing the inner rectangle, is a long row of eighty-six Devakulikas — chapels for other Tirthankaras. Each of these shrines is topped by a curving clustered tower above which rises a pole bearing a fluttering banner.

Let us take a break here and I would be back with the next part of the story soon.

References

The East – Buddhists, Hindus and the sons of Heaven by Christopher Tadgell

Exploring India’s sacred Art – Selected writings of Stella Kramrisch by Barbara Stoler Miller

Indian by Abrahm Early, Yasmin Khan, George Michelle and Mitali Saran

Jaina Shrines in India – O. P Tandon

A history of Indian and Eastern Architecture by James Fergusson

Jaina art and architecture – Volume II by A Ghosh.

Temples in India by S.P Gupta and S Vijayakumar

Click Here to read who were responsible behind the construction of the Ranakpur Jain Temple

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