3. Description of Temple architecture

(d) TEMPLE ARCHITECTURE—(i) SHRINES OF TIRTHANKARAS—Dhanapala has described two Jain temples in the course of his narration: (1) the temple of Lord Rsabha at Mount Ekasrnga; (2) the Jain temple of Lord Mahavira at Mount Ratnakuta. Several interesting details have been given by the poet%3; a few of them have been noticed 94 by Dr. U.P.Shah. Dhanapala's intimate knowledge about Jain temples is amply reflected in the graphic descriptions of these two Jain temples of the Tirthankaras. The Vastusara-prakarana of Thakkura Pheru seems to have served as the practical handbook for architects as well torana 91. M(N),p.8(17££.)- bhrto pura prakara parivesai ratham kasa pratoti bhiruttunkama kara do la vibhusita kanavedibhih datta valabhika bhitticitran vibhinna mayukha jala ka muco, mani kama jalaka nkalayadbhi ra dbhuta karai rane kabhumika - bhrajisnubhih sodhe | 92. ibid., p.9(lff.). 93. ibid., p.8(22) sarasibhih samvalitana ca svaccha dhavalayatabhih 94. Prog. Stu. F.A. Tech. Sci., p.6. --- krida - 950

506 95 as scholars for details of Jain temples. The descriptions in the Tilakamanjari of Dhanapala may have been based on the Jain temples built by Dhanapala himself as is clear from the autobiographical allusions in his work. 96 The Shrine of Lord Rabha, the first Jain Tirthankara, at Mount Ekasraga, was a Prasada type of stony structure lined with ruby slabs and it resembled a divine mansion 97. (Sura-vimana). 'The term 'Vimana', according to Kramrisch, denotes the inmost sanctuary with its generally square plan. 98. T↓ 'In order to differentiate between the terms 'Prasada' and 'Vimana', Dr. Dwijendranath Shukla has quoted Mrs. Stella who maintains that the meaning of Prasada is extended from the temple (mandira) itself to the various halls etc., which are attached to it, while Vimana is a name of the temple built according to the tradition (sastra) by the application of various proportionate measurements. The architectural sub-type of the shrine of 100. Rsabha is called Sarvatobhadra. In his Samaranganasutradhara, Bhoja has given a detailed account of the 95. A photostat each of the plan and the outline of a typical Jain temple as given in Vastu-sara-prakarana of Thakkara Pheru,pp.135-136 is reproduced here, on p.507 and p.508 respectively. 96. cf. Tilakamanjari, p. 275 (5££.) drstamiva pura, sevitamiva bhavantare, karita- ,p.275(5ff.) mivatmana, parimalitamiva sarvva kalam --- 1 97. ibid., p. 224 (10ff.) - suravimanakalpah- padmaraga silamayah prasadah | 98. Kramrisch quoted in Bharatiya Sthapatya ,p.228. 99. cf. Bharatiya Sthapatya , pp.226-227. 100. Tilakamanjari, p. 216 (11.) agi kula vimanakarana pi sarvatobhad m - 1

mamdira ke tala bhaga ka svarupa- 507 prasada prakaranam ( 135 ) hi ba gutha madapa O 0 naye roki ramga mamdava - srrmgara posa O DO kasa praya Q A sketch of the base-plan of a typical Jain temple. Photostat of the diagram on p.135 of Vasty-saraprakarana.

samasta samgopamga yukta rekha mandira ke udaya ka svarupa- 508 Outline of a typical Jain temple (Side-view) [( 136 ) argent Photostat of the diagram on p.136 of the Vastu- -sara-prakarana . Byp halls.

509 101 The specifications of a Sarvatobhadra type of Prasada. Silpa-ratnakara of Shri Narmadashankar M. Sompura also notices the specifications of the Sarvatobhadra type. 102 103 As has been described by Dhanapals, the whole structure was encircled by a compound-wall (prakara) which seems to have had at least four gates in the four principal directions leading to the temple by a corresponding lane (pratolika) each. And all this was situated in a beautiful garden which served as a proper surroundings. There were subsidiary marble shrines to the right, left and back of the main shrine (Mulayatana) and various 106 images of different Tirthankaras were housed in them%3 some of them were carved in topaz, some in ruby and set on 107 sapphire throne, some in moonstone and some in sapphire. 1 ± " 101. cf. Samarangana-sutradhara of Bhojadeva, Vol.II, Chap.55,.vss.23-30. 102. cf. slp. Rt. bahu VI, 16- 20, PP. 223-225: caturastrikrte ksetre catya 9000 bhajite punah | konam bhagadvayam karya sala bhagada ya tatha ||16|| nirgama bhagamekena bhagane kena ca bhitayah | bhramani bhagamakana garbha sodasa - bhagikam ||1 % kone srsam tatha karya bhanne bhanne srmाm tathaiva ca| rekhah sodsa bhagana kartav yastu sada budhaih || bhadre raksikamtilakam satha pada tathaiva ca | navandakastu vijneyah sarvatobhadnamatah || 24|| devanam ca hitarthaya raja evam saukhyena nandati | bhuktimukti ko divyah sarvabhadra kah ||20 || prasadah nirjagama | samatolya prakaraprataulikaya| uttaraya prakasa For a photostatic diagram of this type see p. 510. 103. Tilakamanjari, p. 361 ( 11 ) devatakara gopuradvara ... 1 104. cf.ibid., p.226(16ff.) Jp12411 105. ibid.,p.224 (10ff.) kalpapadapa praya taruna sarvartukena divyaramena 106. (P.T.).) / --- parigatah sarvvata evam - 1

510 A Section of the Sarvatobhadra type of Prasada. Tit ratnakara phala 4 [ 54 ratna (ra) sabhad prasada. bheda dvitiya 9 4 ka. 8 tiluka. kha 940. a te mata Photostat of, the diagram on p.224 of the Silpa-ratnakara.

511 Further details of the same temple, such as the emerald Kapisirsaka, the inner temple-wall (antah-prakara- -bhitti), the jewelled floor (manikuttima), the wode basement (pithabandha) built of marble slabs, the skirts of the banner (dhvaja-patakancala), the bull's-eye air-holes (gavaksa), the silken flags (cinamsuka-pataka), the topaz needles serving as lamps, artificial birds carved on eaves, the suspended pearl-strings (mauktika-lata-pralamba), the ornamental Sukanasa, the frescoed portions (citra-karma- -khacita-pradesa), the wide attractive doors (kapata), the golden pillars with huge capitals, beautiful foliage- -ornamentations (caru-manjarika), jewel-studded quadrangle (ratna-catuska) and the lion figure on the projection, are also noticed in another context. Jewel-strips of various colours were fixed up on to the pillars; and there was a canopy of white silk with strings of pearls knitted at the edges. Caranas had written Subhasitas on the top of the door. Young men, fond of gambling, had carved out various types of gambling boards on the floor of the sapphire- 109 108 window. On the western wall (pascaatya-bhitti) a marble 110 slab was fixed on which a Prasasti was engraved. The 108. TMON),pp.215-216. 109. ibid., pp.218-219. 110. ibid.,p.219(12ff.).

512 sapphire floor of the temple had quadrangular designs of 111 pearls. 112 Some of the details about the sanctum (garbha-vesman) are also provided. Thus, from the ground level there was a series of moonstone stairs which led through the emerald gate to the door of the hall (mandapa). On one side of the gate an image of a Yaksa was installed. White Camaras was hanging on a peg (nagadanta) fixed to a wall. A sah curtain (javanika) covered the body of the image. To the Jayantika, a diamond bell (vajra-ghanta) was suspended by a golden chain. The big throne (simhasana) was decorated with carvings of the group of constellations, a deer and a lion. And there on was installed the image in the sitting posture called Padmasana 113, The shrine of Mahavira at Ratnakuta was a Prasada built of jewel slabs. The high bandy-shaped basement (vikata-pitha) of the temple was built of emerald slabs; the staircase (sopanamala) with steps studded with moonstones led to the wide doorway of the hall (mandapa-dvara); numerous turrets (matta-varanaka) of ruby adorned the hall; the bracket female figures (salabhanjika) were also carved 111. Tilakamanjari, p.221(20ff.). 112. ibid., p.216(16ff.). 113. ibid., p.344(1) manisilaprasadasya /

513 in ruby slabs; the pillar capitals (stambha-sikhara) were made of topaz; the crest-pitcher (kalasa) was made of ruby; the frets (jalaka) were made of diamond needles; the white flag (sita-pataka) fluttered on the Amalasaraka carved from sapphire; the high Sikhara rose to the sky; a marble wall encircled the shrine; subsidiary golden temples surrounding the main shrine%3B the wide railed parapet (jagati) was conspicuous; many windows adorned the temple; and the complex foliage decoration (visama-pattra-bhanga) astonished the onlookers. 114 " In the extensive Manikya-mandapa the canopied curtain i. (pata-vtanaka) covered the whole body of the image; many strings of variegated a pearls were hanging by it; there were silken banners (ahvajamsuka), diamond lamps (mani-pradipa), marble mirrors (sphatika-darpana) and golden pillars (camikara-stambha) 115 In the centre of the pavilion (mandapa-ksana) was a marble platform (sphatika-vitardika). There were staircases in the inner side of the temple-wall to reach to its 117 top. The huge diamond image (vajramani-silamaya) of Lord Mahavira was installed on a lion-throne (simhasana) in the adytum (garbhagrha); 114. Tilakamanjari,pp.154-155. 116. ibid., p.267(14). 118 / 115. ibid., pp.265-266. 117. ibid.p. 276 (211.) sopanavartsana daksinam devatagrha prakara bhitti madhya roham | 118. ibid., p.275(7-15).

514 (ii) TEMPLES OF CUPID :Dhanapala has also referred to the temple of Cupid at Kanci, and he has given some stray details of a similar temple at Ayodhya. The shrine of Cupid at Kanci was situated in the public park called Kusumakara. Among the architectural features, the poet has mentioned the red silken flag with crocodile design, the flag-post of coral, the very high dome, a high and vide rampart, white subsidiary domes with golden crest-pitchers, an extensive hall with tall strong pillars, and a pool 119 deng lu facing the main gate. A series of stairs seems to have 120 enabled one to rich the top of the rampart of the temple. 122 There were pavilions adjoining the door, and nearby was situated a water-hall surrounded by mango trees. 123 The image of Cupid was installed on a bandy-ArEO 123 legged pedestal of pure gold. (iii) TEMPLE OF THE GODDESS SRI :The temple of the goddess Sri, specially built by 119. Tilakamanjari,P.303 (19ff.) - samnihita makarabhiralohitam surupatakabhih vaidrumena ke tustambhena atituka srrkhocchraya pramsusilasala parigarta kaladhauta- kaladhauta kalesa- dhyasita dhavala nihsesa kutam atidrdha stambhavitala mandama bhirama -- ayatana sala sikharaga sthitam kayam etc. , --- dvaradarthi ** ..1 120. cf. ibid., p.324(16ff.) 121. ibid., p. 323 (10)- dvaradesabhyasa gata manyata mamuttamam mattavarana kam- .-1 122. ibid., p.163(17) 544&a: -- kusumayudha vesmanah 123. cf. ibid., p. 304 (7)- visuddha haraka ghatita vikatasanapitha bandham--- 1 parigatam cutasandena jalamandapam-- 1

515 King Meghavahana in his palace garden, was a small shrine, not too small nor too extensive, with few pillars, a low encircling compoundiwall and wide pavilion paved with polished jewel slabs. 124 (iv) THE CONVENT FOR HERMITS :- 125 The convent for hermits or nuns, attached to the temple of Lord Rsabha on Mount Ekasrga, was a threestoreyed construction built of jewel slabs. On the topmost storey, it seems, there was a sleeping chamber with 126 paved floor, and the walls had ivory pegs to hang things 127 upon. On the terrace was a small pavilion of ruby slabs and moonstones with a series of jewelled domes covering 128 the front portion of the pedestal thereon. On the uncovered part of the terrace there seems to have been a 129 130 silver platsorm, and an extensive jewel slab. (V) MISCELLANEOUS :A There is a passing reference to a series of stairs for descent into the water of the Adrstapara lake, which 131 was embanked with a series of moonstone slabs. The sandal-wood aeroplane (haricandaha-vimana) was a sort of a small wooden Prasada 132 which could fly in jue 124. Tilakamanjari, p.33 (21ff.) - nativarsa nativistirna malyastambha parikara mapramsu - prakara krta pariksepa manupalaksita nyonya samdhi bhagai rabhoga salibhih prakamamasrnai - manisilatale khanaddha vistirna nam ... devata grham - .. 125. (P.T.O.)

516 the air and, if necessary, float in the water. It had at least two storeys as is evident from the reference to the 133 134. topmost floor and latticed windows or air-holes. It was decorated with silken banners and a flag on the flagpost. Among the minor structures mention may be made of Pattamsuka-vitanaka (267,5), Cinamsuka-vitanak 57,7) and Pata-mandira(142,11).