Mount Abu

The Story in Stone of Great Renunciation of Nemintha
in the Temple of Mount Abu

By Dr. H. D. SANKALIA. M.A., Ph.D. (London)

We are familiar with scenes from the life of the Buddha, particularly the Great Renunciation, represented in numerous sculptures of the Graeco-Buddhist school from Gandhata, Sanchi, Amaravati and elsewhere in India. But little is known of similar scenes in the lives of the Jaina teachers, because hardly any Jaina sculpture of the kind has reached the museums in India, Europe or America. The majority of them are still preserved in the temples on Mount Abu, at Kumbharia (at the foot of Mount Abu) in Patan and at Deogarh and other sites in Central India. The story of the Great Renunciation of Neminatha, the 22 Jaina Tirthankara, which is carved in a ceiling panel in the Tejahpala temple on Mount Abu is perhaps more poignant in the swiftness and contrasts of its scenes than the gradual world-weariness of the Buddha.

The story had become a classic as early as the 4th century B.C., for it is related in the Uttaradhyayanasutra,* a canonical work of the Jainas. Since then it was so popular and sacred that as late as the 12th century A. D., Hemachandra, the great poet-philosopher of Gujarat, included it in his work, on lives of 63 great men.

Neminatha, or Aristanemi as he was called before he became a Jina, was a prince who, some 5000 years ago, is supposed to have lived in the town of Sauryapura (near modern Mathura). Kesava (Krishna of Hindu mythology) was his friend and relative, and he, by his influence, arranged the engagement of Aristanemi with Rajimati, a daughter of king Ugrasena of Mathura (and later of Dwarika). For the marriage-rite, the bridegroom, according to the Hindu custom, was invited to go to the bride’s house. Decked in rich clothes and ornaments, riding on the best of elephants, under a raised umbrella, fanned by attendants, and surrounded by his clansmen, and preceded by musicians and an army drawn up in rank and file, he started from his palace.

On his way he saw animals kept in enclosures, overcome by fear and looking miserable. Beholding them thus, Aristanemi spoke to his charioteer. “Why are all these animals, which desire to be happy, kept in an enclosure?”

The charioteer answered “Lucky are these animals because at thy wedding they will furnish food for many people.”

Having heard the words, which meant the slaughter of so many innocent animals, he, full of compassion and kindness for living beings, decided to renounce the world and there and then he presented the charioteer with his ornaments and clothes.

Everyone including the gods, coming to know of Aristanemi’s resolution, gathered together to celebrate and witness the Great Renunciation. Thus surrounded, sitting on a palanquin, Aristanemi left Dwarika for Mount Raivataka, (modern Girnar in Kathiawar, Saurastra) and there in the presence of the whole assembly he plucked out his hair in five handfuls, called technically Panchamusti-locha, Aristanemi renounced the world. An erstwhile prince, about to be married to a beautiful princess, was now a homeless, naked ascetic in search of truth and happiness for the suffering humanity.

With but one exception, the story in the canonical work is faithfully represented on a ceiling carved in the marble temple called “Lunavasahi” built by Tejhpala, a minister of king Viradhavala of Gujarat in 1232 A. D., at Delwara on Mount Abu.

The ceiling is divided into 7 horizontal sections. Each section depicts a part of the story. Beginning from the bottom.

SECTION I: Shows the dancers and musicians who led the marriage procession of Aristanemi.

SECTION II: the battle between Krishna and king Jarasandha with Aristanemi in a chariot. *

SECTION III: the musicians, army and clansmen.

SECTION IV: (from right): first, the arrival of Aristanemi ina chariot; second, animals tied for slaughter in an enclosure; third, the marriage pandal, called ‘Chori’, a square tent-like bower constructed with seven of earthen pots, supported by stems of plantain trees, and decorated with festoons and garlands; fourth and fifth, the elephants guarding the entrance of the palace and horse-stable; sixth, gateway to the palace of Rajimati; seventh, two storied palace, with the chamberlain announcing to Rajimati and her friends the arrival of Aristanemi.

SECTIONS: V, VI, VII, face upwards. Chronologically first comes Section VI, then VII and lastly V.

SECTION VI: (from right) Aristanemi seated on a throne in the midst of the assembly of gods and men, giving money and food in charity for a year, before he became a Jaina ascetic.

SECTION VII: (from left to right) first, a scene which cannot be exactly identified; it shows Aristanemi seated on a throne attended by fly-whisk bearers and others; second, Neminatha seated in meditation pose and plucking out the hair in five handfuls.

SECTION V: (from right to left) first, procession of gods and men carrying Aristanemi on Mount Raivataka; second, Aristanemi, now Neminatha, standing erect and motionless, practising penance (kayotsarga).

We may marvel at the strange happenings of the story, but not less marvellous is the art of the sculptor who has told it in stone. His chisel has carved minute details with fulness, vividness and a rare clarity. Every scene stands out in bold relief, endowed with life and individuality. Behold the meek animals in the enclosure, and the spirited elephant guarding the entrance to the palace of Rajimati. Contrast similarly the movements of the crowd with the stillness of Neminatha.**

*An episode mentioned in the canonical work but which is referred in the later works. This battle took place because Jarasandha resented the death of Kamsa, his son-in-law, who was killed by Krishna.
** Besides the art, it would be worthwhile to compare not only this story but similar stories in Jaina literature, with those related in Hindu (or Brahmanic) literature. For one thing, the story in the Uttaradhyayanasutraenbles us to push the traditional historic city of Krishna and others, mentioned in the Puranas.