RANAKPUR JAIN

TEMPLE : The Temple

of Pillars

PROJECT BY – BRIJRAJ DEORA REG. NO. –

16A035

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ABOUT THE TEMPLE -
The Ranakpur Jain Temple is located In the heart of the remote and enchanting valley of the
Arvallis, skirting the rivulet Maghai and enveloped in the solitude of the surrounding forest in
the Pali district of Rajasthan. The temple was named after the renowned ruler of Mewar, Rana
Kumbha. This temple is world famous for being one of the five most important Jain shrines in
India. The unique thing about it is that it is entirely made up of light colored marble, this temple
instills awe with its engraved designs and grandeur. It was built in the fifteenth century and is
known worldwide for its unique Jainism design and superb architectural style.

The large complex of the temple houses Chaumukha temple, Parsvanath temple, Neminath
temple, Amba Mata temple and Surya temple also. Amongst all these, Chaumukha temple,
shaped like a Nalinigulm Vimana (Heavenly Aircraft), is a major attraction and is dedicated to
the first Tirthankara of Jains Rishabdev, also called Adinath. The Neminath temple honours the
22nd Tirthankara Neminath and the Parsvanath temple, also called 'Patriyon Ka Mandir', is
devoted to the 23rd Tirthankara. The Surya temple, dedicated to Sun God, shows an idol of Lord
Surya driving his chariot of seven horses. 

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This temple is a masterpiece of carved motifs. The main hall has twenty four towered halls with
eighty domes supported by four hundred pillars. There are more than 1444 marble pillars
embellished with complex carvings and each pillar has a different design hence, none of the
pillars are identical. Surprising thing is about sighting of the inscribed nymphs playing flute in
different dance poses at a height of 45 feet. Another piece of attraction is a stunning marble piece
which has 108 snake-heads and various tails carved into it with such intricacy that it is
impossible to find the end of the tails. Apart from this, another amazing fact about these pillars is
that their color changes from golden to pale blue as the light falls on them.

In the main prayer hall, there are two huge bells of 108 kg which create a melodious and
symphonic sound. This temple is adorned with twenty unique cupolas and arcades. The idol of
Tirthankara Adinath has four faces, each facing a different direction, in accordance to the belief
that he rules the main four directions of the world. The ceilings of the temple are tastefully
adorned with geometric patterns and foliate scrollwork.

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HISTORY OF THE TEMPLE –
It is believed that, the Ranakpur Jain temple was built in the 15th century under the direction of
Seth Dharna Shah, who was a follower of Jainism and a businessman by profession. He
constructed the temple with the help of Rana Kumbha, the king of Mewar whose condition for
help was that the temple be named after him. Therefore, the temple is popularly known as
Ranakpur Jain Temple. This temple is an eloquent testimony to India's cultural heritage, its
unique architecture and the vision and acumen of its past master artists.
This temple is the realiation of the vision and endeavours of four great and devout seekers They
were Acharya Somasundatsuri Dharanashah, the Minister to Kumbha Rana, Rana Kumbha
himself, and above all, Depa or Depaa, the architect who made the realisation of the dream
possible.
Acharya Somasundarsuriji was a magnetic personality who lived in the fifteenth century of
Vikram Era. Shreshti Dharanashah belonged to the village Nadia near Ranaipu From here he had
migrated to Malgadh. His fathers name was Kurpal and Kamalde was his mother. He had an
elder brother named Ratanashah. They had descended from the illustrious portual clan.
Dharanashnh came into contact with Acharya somasundarsumi who infused a strong spiritual
urge in his heart. At the age of thirty-two, when he visited Shatrunjaya, the foremost among all
the places of Jain pilgrimage, Dharanashah tonk the austere vow of lifelong celebacy. Aided by
his sharp intellect, a keen administrative power and an innate capacity to lead and govern, he had
risen to the position of a Porwal Kumbha Rana. one blessed moment Dharanahah felt the
spontaneous urge to build a temple of Lord Risabihadeva, which he resolved, should be without
parallel in beauty. A legend tells us that one night in his dream. Dharanashah had a vision of
Nalinigulma Viman which is considered to be the most beautiful among the celetal planes.
Dharanashah decided that the temple should resemble this heavenly Viman
He invited many renowned artists and sculptors They submited their plans and designs, but none
could even remotely capture the Minister's dream image. last an easy-going sculptor named
Depak from Mundara presented a plan, which simply thrilled the heart of Dharanashah. He was
profoundly impressed. Depak was a carefree type of an artist and would prefer poverty to
servility. He set very high value on his art. He was deeply touched by the transparent personality
and devoutness of Dhararashah. He promised to create a temple which would give concrete
shape to the Ministers dream. And thus, a rare confluence of art and devotion was effected by the
two visionarie. Dharanashah approached Rana Kumbha with a request to give some land for the
construction of the temple. The king not only gave the land but advised Dharanashah to build a
township also near the site. The site of the old village Madgi in the valley of Mount Madri was
selected for the purpose. The construction of the temple and the township began simultaneously.
The town was named Rampur after the name of King Kumbha Rana.and now, Rampur is
popularly known as Ranakpur.
The construction of the temple which had begun in 1446 Vikram Samvat, could not be
completed even after fifty years. Dharanashah, considering his advancing old age and failing
health, decided to install the idol of the Principal deity without much loss of time. In the year

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1496 of the Vikram Era, after the completion of the temple, the idols were ceremoniously
installed by Acharya Somalsundarsunii. At last, hard work and devotion of some 50 years
brought the Minister's dream down to earth in the form of a magnificent temple. an image of the
Viman of the gods. One cannot but feel awe and reverence for the ingenuity and craftsmanship
of this gifted artist. According to one legend, about ninety-nine lakhs of rupees were spent on the
construction of the temple. It is believed that the master builder Depa had put the devotion of his
patron Sheth Dharanashah to test by making him offer seven precious metals, pearls, rich stones,
musk and other fragrant substances while laying the foundation. In spite of the complexity, the
vast expanse and the loftiness of the temple, the architectural balance and symmetry are not the
least affected. The artiste sculptures which lie scattered like precious jewels, the myriad ornate
Toranas' or festoons with minute and delicate carvings, the innumerable elegant and lofty pillars
and a large number of Shikharas, (spires) which make a unique pattern on the face of the sky-all
these works of spiritual art, as one approaches them, become alive and make the beholder
oblivious of all else but a feeling of ecstasy, as if touched by the sublimity of Divine Bliss.
Fortunately, in the Vikram Samvat 1953 (1897 A.D.), the hole congregation-Shri Sangha-of
Sadri, handed over the administration of this shrine to sheth Anandji Kalyanji Trust (Pedhi).
Soon after taking over charge the Pedhi' addressed itself to the primary task of providing
amenities to pilgrims, and safety from the danger of wild animals. The authorities then launched
an ambitious programme of renovating the temple. The renovation which had begun in the
Vikram Year 1990 continued for eleven years and was accomplished in S. Y. 2001. The artists
who set chisel to stone have lent such a delicate grace to this old structure that world-renowned
architects and sculptors have lavishly praised it as one of the wonders of the world. This
renovated shrine has once again attained its unique fame in the world of art and religion.

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ARCHITECTRUL UNIQUENESS --
The temple has four artistic entrances.In the main chamber or Gabhara (Sanctum sanctorum) of
the temple there are four huge white marble images of Bhagvan Adinath , who is the first
'Tirthankara' of the Jains.These four images, which are some 72 inches tall, have been installed
facing the four different directions. In the sanctuaries on the second and third storeys also are
enshrined four identical Jain images. it is because of these four images installed together in this
temple, that it is popularly known as Chaturmukh Jain Temple. The four faced image also
symbolizes the Tirthankara's quest for the four directions and ultimately the cosmos. The image
is surrounded by many small shrines and domes. One more range of cells with separate roofs
encircles these shrines and domes all over again. The f`ive spires elevate above the walls and
around 20 cupolas rise from roof of the pillared hall. Each spire houses a shrine and the largest
shrine is the important one that addresses the central altar. The temple ceilings are festooned with
foliate scrollwork and geometric patterns. Chaumukha temple is formed like a Nalinigulm
Vimana (heavenly aircraft) and provides this whole structure a celestial appearance.
Conceivably, it is due to the intricacy of the structure that the temple took approximately 65
years to complete. In addition to Chaturmukh Prasad this temple is also known as Dharan Vihar,
Trailokya Deepak Prasad or Tribhuvan Vihar. Dharan Vihar is a suitable name because it was
built by Shreshthi Dharanashah. It stands like a luminous light spreading radiance in all the three
Lokas (spheres) so it could be aptly called Trailokya Deepak Prasad or Tribhuvan Vihar. All
these various names speak of its great glory.
Besides, seventy six smaller domed shrines, four Rangamandapas (assembly halls), four
Mahadhar Prasads (Principal Shrines) situated in the four directions, a number of big and small
Devakuikas (subsidiary Shrines)-in all 84 in number stand embellishing the temple, soliciting
and inspiring man to strive for emancipation from cycles of 84 lakhs of birth and death and attain
eternal salvation. The four ornate Meghanada-mandapas are unique in their sculptural beauty.
The forty feet high pillars bedecked with delicate carvings, the artistic Toranas' or festoons
suspended like ornaments studded with precious stones and the magnificent dome with its
delicately carved pendant simply keep one's eyes glued to them. One feels as if the very core of
the stone has not been left untouched by the artist's chisel. The radiant images of the goddesses in
the dome hold the beholders spell bound, with their hearts athrill with expectancy. Judging from
Meghanada mandapa alone, one cannot but feel that the creator must have been much more than
a great artist indeed a weaver of dreams
Looking at the image of the Lord from the Meghanada mandapa, makes one realize how
insignificant and imperfect one really is before his infinite Creator inspiring one to rise above
false pride and ego and to become aware of one's true place in the Divine scheme of things,
while entering through the West Meghanada mandapa one sees on the left hand side pillar, the
carved images of Dharanashah and Depak facing the Lard. They too seem to. remind man of his
humble position before God. How could one not bow down in reverence before these two great
soul the Minister for his artistic devotion and the artist for his devotional art. The domes and
ceiling of this temple are replete with innumerable carvings depicting famous incidents from the
past. The artists have given them life and movement with the magic touch of their chisels. While

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trying to comprehend their mute language, the beholder becomes oblivious of time and space,
marvelling at the workmanship. The stone-slabs depicting sahasrafana (a cobra with thousand
hoods) Parshwanath and sahasrakuta are equally impressive.
.In the North of this temple, there is a Rayan tree (Mimusos laxandra) and the foot prints of
Bhagavan Rishabhadev on a slab of marble. They remind us of the life and preaching of
Bhagavan Risabhadev and of Shatrunjaya, the foremost among the places of Jain pilgrimage.
Light colored marble has been used for the construction of this grand temple The temple has 24
halls, 80 domes and the pavilions include 1444 pillars, each of them so intricately and artistically
carved . The figures of dancing goddesses, beautifully engraved on these pillars are an absolute
architectural wonder.The pillars are all differently carved and no two pillars are the same.
Also, at a height of 45 feet engraved nymphs playing the flute in various dance postures.
The temple, with its distinctive domes, shikhara, turrets and cupolas rises majestically from the
slope of a hill.which occupies an area of approximately 60 x 62 meters. Also all the statues face
one or the other statue.There is one beautiful carving made out of a single marble rock where
there 108 heads of snakes and numerous tails.
One cannot find the end of the tails. The most remarkable thing of the temple is the wonderful
play of light and shade on the nearly 1,444 pillars.
The temples are architectural marvels and it is believed that pillar is different from the others in
design. As the sun rays shift through the day the pillars colour change from gold to pale blue In
the mandap (prayer hall). 
The two big bells of 108 kg each produce a harmonious sound on the movement.
The construction of the main shrine alone took more than 50 years.
The temple is a masterpiece of architecture and boasts of not less than four additional shrines. 
It has 24 pillared halls with 80 domes that are supported by 400 columns. 
The upper and lower parts of the domes are linked by brackets that have deities' sculptures.

Each column is intricately carved and it is surprising to know that no two columns have the
similar design
The Temple of Parsavanath is another attraction centre for visitors. Built in the mid 15th century,
the temple is renowned for its engraved windows embellished with Jain figures. Parsavanath
Temple is also known as Patriyon Ka Mandir.

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Popularly known as the TEMPLE OF PILLARS -
The most outstanding feature of this temple is its infinite number of pillars. This temple can be
called a treasure house of pillars or a city of pillars. In whichever direction one might turn one's
eyes meet pillars and pillars big, small, broad, narrow, ornate or plain. But the ingenious designer
has arranged them in such a manner that none of them obstructs the view of the pilgrim wishing
to have a Darshana' (glimpse) of God. From any corner of the temple one can easily view the
Lord's image. These innumerable pillars have given rise to the popular belief that there are about
1444 pillars in the temple , each of them so intricately and artistically carved . The figures of
dancing goddesses, beautifully engraved on these pillars are an absolute architectural
wonder.The pillars are all differently carved and no two pillars are the same. It is also said that it
is impossible to count the pillars
The temples are architectural marvels and it is believed that pillar is different from the others in
design. As the sun rays shift through the day the pillars colour change from gold to pale blue In
the mandap(prayerhall).

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WONDER FOR THE PRESENT ERA --

 Ranakpur Temple was also nominated amongst the top 77 wonders, while deciding for
new Seven Wonders of the World.
 The Ranakpur Jain temple has been made artistic with it's two upper storeys, and also the
designer has shown foresight in constructing some nine cellars in which the sacred
images could be safely preserved in the event or a crisis. It is believed that there are many
Jain images in these cellars. These cellars must be an additional streng and support to the
entire structure and must have sustained it against the onslaught of time and the elements.
 The Jain temples of Mount Abu are famous for the carvings, but the Ranakpur temple
also is second to none in its delicate carvings.The major attraction of this temple is its
complexity and vast expanse of its structure. There is a popular saying among the people:
The canings of Abu and the architecture of Ranakpur are unique". The eroding sweep of
time and nature and wanton and mindless destruction by foreign invaders did much
damage to this holy shrine. For a long time it wore a deserted look as pilgrims didn't find
it safe to go to this secluded place infested with wild animals and dacoits.
 Every year thousands of art-lovers and spiritual seekers from all over the world come to
this idyllic place. They return amply rewarded. To meet the ever-increasing number of
tourists, the Pedhi has constructed many new Dharmashalas (inns)'. Formerly there was
just one old inn for the pilgrims. Now there are three new inns, which provide all modern
amenities and comforts.
 But the quintessence of this masterpiece is to be discerned in the fact that it was
conceived as an image of the celestial Viman Nalinigulma and the materialisation of the
image acquired an aura that makes the beholder feel transported to a dream-world, where
he experiences the rare and divine magnificence of the heavenly Viman. If the
sublimation of the mind and an experience of the bliss of the subtler and higher states of
the consciousness is the purpose of art, the spirit of Art has undoubtedly been fulfilled in
the Chaturmukha Temple.

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 BIBLIOGRAPGHY –

PRIMARY SOURCES --

1. Tourist Guide of the Ranakpur Jain Temple

2. Priest of the Temple
3. Scriptures Written in Temple for the Visitors Knowledge
4. History Teacher of my MDS Secondary School, Shivganj (Sirohi), Rajasthan
5. Sarpanch of Village, Galthani (Pali ) Rajasthan

SECONDARY SOURCES --

Book- Jain Temples of Rajasthan By Sehdev Kumar

Publishedby IGNCA and ABHINAV PUBLICATIIONS,
NEW DELHI, 2001.

Website - http://www.jaindharmonline.com/pilgri/ranak.htm

http://www.digambarjainonline.com/pilgri/ranakpur.htm

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