- Jatra of the devotees of Baba Ramdev Peer in Rajasthan
- Ranakpur Jain Temple – The Dream Temple of Dharna Shah
- Ranakpur Jain Temple – A Hidden Gem of Rajasthan
- Radiant Jain Temple of Ranakpur
- The story of Lord Parshvanatha
- Thousand Petaled Lotus in Ranakpur Temple
- Sun temple, Lord Parshvanath Temple and other offbeat things to do and see in Ranakpur
- रणकपुर की संध्या आरती
In this article, we will explore the Ranakpur Jain Temple, admiring its distinctive features and the rich heritage that make it a remarkable monument and an extraordinary place of worship.
Bhagwan Adinath and the Rayan Tree
Upon entering the temple and heading north, we come to a serene courtyard featuring a four-hundred-year-old Rayan tree (Manilkara Hexandra). Beneath this tree lie the Paglia (idol of Bhagwan’s footprint) of Lord Adinath. The evergreen Rayan tree, native to India, is notable for its many medicinal uses in Ayurveda. Jains believe that Bhagwan Adinath delivered his first sermon under a Rayan tree.
The Incomplete Pillar of the Ranakpur Jain Temple – No place for pride!
On the north side of the temple stands the famous incomplete pillar, commissioned by Maharana Kumbha, and originally intended to reach the dome. When it was half-built, Maharana Kumbha inspected it and took pride in his contribution, believing this unique pillar would stand as a symbol of his personal glory. However, after this inspection, whenever the artisans attempted to build beyond that level, the pillar began to collapse, leaving the chief architect puzzled by the flaw in the design.
Realization of mistake by Maharana Kumbha
Then the goddess Ambika intervened. In a dream, she made Maharana Kumbha realize that his ambitions and pride were hindering his spiritual growth. Recognizing his mistake, Maharana Kumbha ordered the pillar to remain half-constructed as a reminder of human insignificance before the all-powerful creator. This incomplete pillar serves as an inspiration for individuals to rise above false pride and ego and to understand their true place in the divine scheme of things.
Who was Mata Marudevi?
In front of this incomplete pillar stands a grand, ornate statue of an elephant carrying Marudevi, the mother of Bhagwan Adinath. According to the Svetambara sect of Jainism, when Bhagwan Rishabhdev attained Kevalgyan, Marudevi visited him on an elephant accompanied by her grandson Bharat. The sight of the enlightened Lord Rishabhdev eradicated all her karmas, leading her to attain Moksha at that very moment. She thus became the first human being to attain Moksha in the present life cycle, even before Bhagwan Rishabhdev himself. This statue immortalizes the incident.
The guard look annoyed – In the Ranakpur Jain Temple
My French friend Anne is taking pictures inside the temple, and I’m explaining anything she wants to know about the temple and Jainism. Anne carefully respects the rules, ensuring she doesn’t take photos of the main idol, as it is prohibited. Nevertheless, we notice that a guard seems displeased with us. Local Gurjars, who are smart and handsome, guard the temple. I appreciate this approach because I believe tourism is sustainable only when it generates revenue for the local community.
Are you a Guide?
Anne asks, “Are we taking pictures that we shouldn’t? I notice that guard is not happy with us.”
“Yes, it appears so. Let me go and inquire,” I reply. As I walk towards the guard, I sense his unhappiness. When I get closer, he immediately asks, “Are you a guide?”
Ah, so that’s the reason. I understand his anger now and reassure him, “No, I am not a guide. She is my friend.” My answer neither pleases nor convinces him, and he gives me a stern warning, “Be careful. If you are a guide, you will be in trouble.”
I smile at his warning and walk away, knowing we’re not doing anything wrong. His only concern is to protect his earnings.
The Sun temple from the Jain Temple of Ranakpur
This temple boasts a complex floorplan with multi-storied porches and balconies. We climb up to a balcony and gaze outside. From there, the nearby sun temple, nestled amidst the lush green surroundings, looks beautiful and inviting.
The Four medallions in the Jain Temple of Ranakpur
The temple features four circular medallions, each vying for attention with their intricate craftsmanship and the profound symbolism they embody.
Lord Krishna and Kalia Mardan
One of these medallions portrays Lord Krishna dancing over the entangled coils of the intertwined Kalia-Nag. Jains revere Lord Krishna as Vasudeva. Vasudevas are responsible for eliminating evil, but in the process, they commit significant acts of violence. Consequently, Jainism regards them as a notch below the Tirthankara.
The Plaques of Nandishwardvīpa and Jambūdvīpa
In the southern corner of the temple, two plaques face each other: one depicting Nandishwardvīpa and the other Jambūdvīpa. These two islands are among the eight island-continents of Jain cosmography. Jain cosmography divides the entire cosmos into eight concentric island-continents, separated by seven encircling oceans, each double the size of the preceding one as they extend outward. Jambūdvīpa, the first and central island, is where humans reside in Madhyaloka, the middle part of the universe. Nandishwardvīpa is the eighth continent; it is the continent of rejoicing where gods, led by Indra riding his Airawat elephant, come together thrice a year for worshiping Jinas.
Jambūdvīpa
The word Jambūdvīpa literally means ‘the land of Jamun trees’. Jains consider it to have the form of a circle with Mount Meru at its center, surrounded by Lavan Samundra (the salty ocean). The Gods take all Jinas to Mount Meru for the ritual bath.
Nandishwardvīpa and fifty-two shrines
The Nandishwardvīpa plaque has four clusters of tiny thirteen shrines (fifty-two in total) symmetrically erected around the main shrine arranged within a circular frame. Puzzled by the significance of the number fifty-two, I delve into the study of its meaning.
My research leads me to John Cort’s work, ‘Framing the Jina: Narratives of Icons and Idols in Jain History,’ where he explains:
‘Fifty-two is the number of temples that emerges naturally from the strict mirror or the bilateral symmetry of the temples on both the horizontal and vertical axes. In each of the four clusters of temples located in the cardinal directions, four temples surround a central temple. Each of these four is then flanked by two more temples, resulting in thirteen temples per cluster and fifty-two temples overall.’
To confirm this, I redraw the representation on paper, replacing each temple with a dot. His observation convinces me.
Cort further explains, “In Jain iconology, perfection is understood to be highly ordered, and therefore, any depiction of perfection must embody a high order of symmetry. Symmetry best conveys the concept of an unchanging perfection that underlies the universe.”
The fourth plaque! let me talk about in a separate article.
The ceiling of Meghanada Mandap in the Jain Temple of Ranakpur
As I move around the temple, appreciating its carvings, my gaze falls upon the ceiling of one of the Meghanada-Mandaps, and I remain captivated for a long time.
Each of the four Meghanada Mandaps, located in the cardinal directions, boasts intricately carved ceilings, a testament to the assiduous workmanship of the artists. I firmly believe that generations after generations will keep on appreciating these stunning sculptures.
Intricate carvings on marble – Jain Temple of Ranakpur
The master architect seems to have given the master-artisans free rein to chisel and sculpt the entire marble canvas. This freedom allowed them to enter a sublime state of mind, creating masterpieces to celebrate, adore, and worship, leaving a permanent impression of their supreme craftsmanship.
The pillars in these mandaps are adorned with amazingly delicate foliate scroll-work and geometrical motifs. In a remarkable play of light and shade, the deep etchings and torans suspended like exquisite lacework create an unforgettable experience.
A fellow tourist, so enthralled by his experience, willingly lies fully on his back to capture the perfect shot of the Meghanad-Mandap ceiling.
In creating these marvelous carvings, the artists treated marble like lace, exhibiting their highly cultivated sense of imagination, skill, and artistry. They were well aware that these pieces would be part of a complete work. Viewers will appreciate the individual piece of intelligence only if the overall vision inspires them and seamlessly integrates into the structural and aesthetic coherence.
The Statue of Lord Adinath
The main idol of Lord Adinath stands with a serene face and a youthful yet austere figure. His long arms stretch down to the knees, and the auspicious symbol of Srivatsa is marked on His chest. The idol creates a spiritual ambiance, but since all the statues of Jain Tirthankaras look similar, they evoke a limited response.
We appreciate the art and beauty by looking at the idols of Vidhyadevis—the Goddess of Knowledge—carved in a group of sixteen on the circular ceilings with exquisite detail and proficient imagination.
The carvings of Seth Dharnashah and the architect Depaka – Jain Temple Ranakpur
Wow, what a celebration of creativity! Finally, let’s look at those responsible for these creations. In this temple, the architect and the patron carved their small likenesses on the facets of the pillars in the breathtaking halls they built.
On one side, we see a small male figure with folded hands in front of the Lord—this is the statue of Seth Dharnashah, in continuous attendance to Lord Adinath.
Next to him stands another small figure, holding a water-pot in his left hand, with his hair tied as a sanyasi, and his body covered with minimal cloth. He is Depaka, the chief architect. These masters offered their names and likenesses not for self-appraisal, but out of a desire to be in continuous presence of the Lord.
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.
“Framing the Jina: Narratives of Icons and Idols in Jain History” by John Cort
6 Comments