2.5. The Dharani-vihara temple at Ranakpur

Structural Temples after the end of the Caulukyan Period 211 Dharanivihara temple at Ranakpur* The consecration ceremony of the existing catur-mukha prasada ( four faced temple), popularly known as Dharanivihara at Ranakpur built by Dhamnasha, was performed by Somasundara Suri (A. D. 1373-4-1442-3) in V. S. 1496 (A. D. 1440).35 In plan the temple is nearly square (68-8*61 ms.) exclusive of the projection on each face, thus, covering a space of over 3600 square meters and it consists of 29 halls containing as many as 420 pillars, the design of no two of which are alike. The temple is three-storeyed building and in all it is supported by 1424 columns or pillars. Such a large and extensive conception can hardly claim to be an unified whole, and as a matter of fact it resolves itself into a comprehensive structural scheme consisting of an orderly aggregation of shrines, symmetrically disposed arround a larger one in the centre, the entire complex erected on a lofty plinth and contained within a high and solid boundary wall, to which 66 cells are attached facing to its inner side. Of the sikharas there are five, the largest and most prominent surmounting the central sanctuary, with each of the others over a corner shrine, while the cupolas are 20 in number, each forming the roof of the pillared hall. From the middle of three sides of the enclosing rectangle project the temple entrances, each a double storied portal of great elegance, that on the west being the largest, thus denoting the principal approach. Each of these entrances leads through a series of columned courts into the main halls of the temple 19.2 Kms. from Falana (Rajsthana) Station (W. Rly.) 35. The temple is also named 'Trailokya dipaka'. an 'Tribhuvana vihara', 'Nalinigulma vihara' etc. There is inscription in the temple recording the aforesaid date; also recorded by Kavi Meha in his Ranigapur Caturmukha prasada stavana', composed in V. S. 1499 ( A. D. 1443 ).

212 The Structural Temples of Gujarat proper. At first sight the interior appears to be a complicated labyrinth of courts and pillared halls, but its regular and balanced composition soon becomes evident. Reduced to simple forms it resolves itself into a temple within a temple, in other words a central sanctuary surrounded by a range of chapels and subsidiary shrines. The main temple occupying the middle of the composition, is contained within a rectangular court-yard measuring 29.1*30.5 ms. which space it partially fills as it consists of a large hall standing on a plinth and graced with a hundred pillars. In the centre at the crossing or nave of this hall is adytum, 2.25 square meters in size and with four entrances, its interior consisting of a cruciform chamber enshrining the Caumukha, a quadruple image in white marble of Adinatha, the first Tirthankara. The rectengular courtyard surrounding this main temple is open to the sky, but the four outer sides are enclosed by the range of supplementary courts referred to above. There are three of these open spaces along each side with a special sanctuary and cella known as the Khunt-ra-mandar at each angle, besides four other shrines one on each side of the north. and south entrance halls. Such is a bare outline of the arrangements of this temple on its ground floor, practically the whole of it is duplicated at the second story while portions of it, as for instance the compartments on each side of the main sanctuary, rise up to a third storey. These upper stories repeat, in many respects, the disposition of those below, even to the shrine chamber, with its four openings, access to which is obtained from the terraced roofs. The principal impression conveyed by this temple is the variety and multiplicily of its parts, yet all are well proportioned and uniformly disposed within the scheme. Then there is the contrast of the pointed spires with the ovoid domes, and the fretted roofs, each of a different character and height, but each signifying the position of some chapel, hall, or tabernacle within. Across these architectural elements move the broad and clear cut shadows of the wide eaves contrasting with the passages of light on the pillars of the superstructure, such are

Structural Temples after the end of the Caulukyan Period 213 some of the attractive features of the exterior. In the interior are the unending vistas of the columns interrupted of intervals by open courts, each vaulted compartment ceiled with carving of a most intricate character, and the whole illuminated by either direct or reflected light which is thrown from pavement to pillar, and from pillar to screen to penetrate into all parts. The general effect of this temple may not be that of great architecture, but as work of inspired art, and at the same time complying with the exacting conditions of the creed, it is a notable achievement. 36 The temple of Sangramsinha Soni at Girnar was restored and renovated by Sangramsinha during the years V. S. 1502 to 1517 (i. e. A. D. 1446-61). 37