DILWARA JAIN TEMPLE

LOCATION: Mount Abu,Rajasthan

BUILT YEAR: B/W 11TH AND 13TH AD
MATERIAL: White Marble
RELIGION: Jainism
 ABOUT

• WHY THE NAME DILWARA?

o BASICALLY TAKES THE NAME FROM THE ADJOINING
VILLAGE SITUATED AT A HEIGHT OF 4000 FEET ON HILL.

• GUJRAT AND RAJASTHAN,WERE THE TRADITIONAL CENTERS

OF THE MERCHANTS AND PRINCES,BECAME GREAT
ARCHITECTURAL CENTERS.

• THE DILWARA TEMPLES ARE A COMPOSITE CLUSTER OF 5

TEMPLES,EACH HAVING ITS OWN UNIQUE IDENTITY AND ARE
BUILT AT DIFFERENT TIME.
 SPECIAL ARCHITECTURAL DETAILS
• CONSTRUCTED ENTIRELY OUT OF WHITE MARBLE.
• EXUBERANT CARVINGS AND ORNAMENTATION WORK.
• MINUTELY CARVED DECORATION OF
CEILING,PILLARS,DOORWAYS,PANELS,TORANS,MANDAPA
S.
 THE 5 TEMPLES
1. VIMAL VASAHI(Shri Adi Nathji temple) dedicated to
the first Jain Tirthankar lord Rishabh.
2. LUNA VASAHI(Shri Neminathji temple) dedicated
to
3. the 22nd Jain Tirthankar
PITALHAR(Shri lord Neminatha.
Rishabha Devji temple) dedicated to
the first Jain Tirthankar lord Rishabh
4. KHARTAR VASAHI(Shri Parshva Nathji
temple) dedicated to the 23rd Jain Tirthankar lord
Parshva.
5. MAHAVIR SWAMI(Shri Mahavir Swamiji temple)
dedicated to the 23rd Jain Tirthankar lord
Parshva.
 VIMAL VASAHI TEMPLE
• BUILT IN 1031-1032 AD BY VIMAL SHAH.
• HE WAS A MINISTER AND COMMANDER-IN-CHIEF OF
BHIMA DEV-I CHALUKYA KING(SOLANKI
MAHARAJA)OF
•
• GUJRAT.
OLDEST AND MOST PROMINENT.
IT IS SAID THAT TO WIPE OUT THE SINS THAT HE
INCURRED IN BATTLEFIELD,VIMAL SHAH SPENT THE
• REST OF HIS LIFE IN RELIGIOUS PENANCE AT MOUNT
ABU AND CONSTRUCTED THIS TEMPLE.
DEDICATED TO LORD RISHABHNATH ALSO KNOWN AS
LORD ADINATH-THE FIRST JAIN TIRTHANKARA.
 HISTORY
• At the beginning of the second millennium, the
Solanki dynasty of Gujrat ruled
• over the west coast of northern India.
•
The Parmars of Mt. Abu were the tribute paying vassals of the Solankis. One
of the Solanki ministers, Vimala Shah, minister of King Bhimdeo (or Bhima
• deva), was dispatched to the city of Chandravati to put and end to the
rebellion in a princely state.
At the end of his mission, he asked a Jain monk how he could atone for the
• bloodshed. The monk informed him that willful killing could not be
atoned.
• However, he could earn good virtue by constructing a temple at Mt. Abu.
• Legend has it that the Brahmans were made to part with the land on
which
• the Vimala Vasahi Temple stands.
Vimala Shah’s tutelary goddess was Ambika, who appeared to him in a dream
and showed him the place where an ancient ADINATHA statue lay buried.
This he placed before the Brahmans as evidence that the Jains had also
been
 HOW WAS IT BUILT?
• The shrine masons’ guild of Badnagar in Gujarat was
responsible for drawing up the plan.
• Their architect, Kirthidhar, took fourteen years to
complete this marvel with the help of twelve
• hundred
laborers and fifteen hundred stonemasons.
• The marble was brought from the Arasoori hills near
Ambaji.
• It was transported on the backs of elephants over a
distance of approximately thirty to forty
kilometers.
It is said, that one hundred and eighty million rupees
have been spent on the construction of the temple,
 THE PLAN • • •
•ba e measuring 33 x 14 m
•
•NO-
•NO- 2 IN PLAN:GUDHA MANDAPA •• •
•NO- 3 IN PLAN: A PORTICO CALLED NAVCHOKI • •
•NO- 4 IN PLAN:RANGA MANDAPA OR SABHA
MAN
•NO-7 IN PLAN:CONTAINS A HUGE BLACK
•
SCU LPTURE OF ADINATHA.
•NO-8 IN PLAN:GODDESS AMBIKA ,

• •
.•
•52 DEVAKULIKAS OR SUBSIDIARY SHRINES

•
•
• • •
•
• • 4 •
•
• •
•
• • • • •
• • •
• • • •
• It stands in the middle of a courtyard,
surrounded by a double arcade of pillars and
an ambulatory lined by devakulikas or
subsidiary shrines.
 THE RANG MANDAPA
• THE DANCE PAVILION CONSTRUCTED IN 1147-1149.
• As the interior had to be free of supporting pillars,
a SHIKHARA tower was not possible due to its heavy weight.
Instead, a wide vaulted dome with a diameter of 6.6 m is
covering the hall.
 THE RANG MANDAPA
• The ranga mandapa is open from three sides.
• Its eight pillars, forming an octagon, are lavishly
embellished with floral, geometrical and figural
motifs
and they are linked to one another with elaborately
• scalloped and intricately carved arches, so-called
toranas.
12 decorated pillars.
 Dome of the ranga-
mandapa in Vimala Vasahi
Temple
THE RANG MANDAPA
DOME DETAILS
•From the dome hangs down
from the centre is a pendant
in the form of a lotus blossom
(padamashila).
•a garland of low hanging,
conical ornaments surround
it.
•It is surrounded by a series
of sixteen brackets showing
the so-called goddesses of
knowledge.
•On the pillars are carved
female figurines playing
musical instruments and
superimposed across the
lower rings are 16 brackets
carved in the form of the
goddesses of knowledge
NAVCHOKI
•a portico with eight
pillars that has added
height.
•The Navchowki is a
collection of nine
rectangular ceilings,
each one containing
beautiful carvings of
different designs
supported on ornate
pillars.
•Each of the nine
ceilings here seems
to
GUDHU
MANDAPA
•Through it the
bright statue of the
first Tirthankara is
visible.
•profusely
decorated
doorway.
•Gudh-Mandap is
simple, meant for
obeisance and
'Arti' to the deity.
 • Fifty-two devakulikas (subsidiary
The Ambulatory shrines) have been arranged on an
elevated platform around the central
edifice, each with the statue of a
• Tirthankara
These date back to different periods,
• some much later than others have.
Besides these, some larger cells have
• been added in the southwest.
One of these (no. 7 in the plan)
contains
a huge black sculpture of Adinatha
• whose discovery ultimately proved
decisive in VIMALA Shah’s procuring of
the land.
The tutelary goddess Ambika ,statue of
this goddess worshipped in the
adjoining cell (no. 8 in the plan).
 Partial view of the southern
ambulatory in Vimala Vasahi Temple
 Partial view of the southern
ambulatory in Vimala Vasahi Temple
 CEILING AROUND THE CELLS
• Going clockwise round the cells, some of the more important ceiling sculptures
illustrate:
• cell 1, lions, dancers and musicians;
• cells 2-7, people bringing offerings, birds, music-making;
• cell 8, Jain teacher preaching;
• cell 9, the major auspicious events in the life of the Tirthankars;
•
cell 10, Neminath’s life, including his marriage, and playing with Krishna and the
• gopis.
In the southeast corner of the temple between cells 22 and 23 is a large black
• idol
of Adinath.
• Cell 32 shows Krishna subduing Kaliya Nag, half human and half snake, and other
• Krishna scenes;
• cell 38, the 16-armed goddess Vidyadevi (goddess of knowledge);
cells 46-48, 16-armed goddesses, including the goddess of smallpox, Shitala Mata;
cell 49, Narasimha, the ‘man-lion’ tearing open the stomach of the demon
Hiranya-Kashyapa, surrounded by an opening lotus.
 Plan 2 •

•
•
•
•
•
•
•
••• • •• ••
THE HATISHALA
•The Hatishala (Elephant Cell) was
constructed by Prithvipal, a
descendant of Vimal Shah in
1147-49 and features a row of
elephants in sculpture.
•The Hathishala or elephant cell
features 10 beautiful marble
elephants neatly polished and
realistically modelled.
•Formerly the elephants carried
the idols representing the
members of Vastupala's
family,but now they have
disappeared.
• Behind the elephants are 10
slabs,each bearing a male and
female figureson it ( it is believed
that these figures represent the
members of Vastupala's family).
 DESTRUCTION AND PRESENT
CONDITION
• Only garbha griha, gudham, gudha mandapa andapa and navchoki date back to the time of
Vimala Shah.
• All other structures were constructed later.
• Ala-ud-din Khilji, the Sultan of Delhi, probably destroyed the temple during his invasion in
1511 and that explains why only three structures of the original edifice remain.
• This could also provide the explanation for the absence of carvings on the exterior, which
are otherwise so typical of Solanki architecture.
• During the restoration of the temple, they have consciously dispensed with the originally,
undoubtedly ornate exterior
• A major part of the Vimala Shah temple dates back to the 12th century.
• Most of the structures were added in 1147-1149 AD. He constructed the ranga mandapa
and the elephant pavilion at the entrance, the later clearly out of deep respect for his famous
precursor.
• Since the pavilion contains statues of the founder Vimala Shah and his family, each seated
on
• an elephant,
in addition to these, he also erected a high pavilion, a place from which
• a Tirthankara delivers his sermon.
The Muslim invaders, in all likelihood, mutilated the original statues beyond repair.
Therefore, in our days only an insignificant plaster of Paris statue of the founder of the
garlandlike, richly decorated arches (makara toranas) free pending from the
middle between two columns, carried by little pillars on each column.
View through toranas surrounding the
ranga-mandapa onto the SANCTUM
THE LUNA VASAHI TEMPLE
•BUILT IN 1230 A.D.
•ALMOST AFTER
200 YEARS OF
VIMALA VASAHI
TEMPLE.
•IS DEDICATED TO
22ND TIRTHANKAR
SHRI NEMI NATH.
•ANOTHER NAME
FOR THIS TEMPLE
IS TEJPAL
TEMPLE.
ARCHITECTURE STYLE AND DETAILS
• VERY SIMILAR TO THAT OF VIMALA VASAHI TEMPLE.
• TEMPLE’S LAYOUT IS BASED ON SOLANKI
• ARCHITECTURE.
• DOME IS THE MAJOR ATTRACATION OF THIS TEMPLE.
• JALI WORK
NICHES.
 HISTORY

• This temple was constructed by two brothers, Tejapala and Vastupala,

who
• are perhaps the greatest builders of all time in Indian architectural history.
•
They were the ministers of King Viradhavala.
According to a famous legend, the brothers buried their money under a
tree when on a pilgrimage, because of the instability in the country. When
• they again dug it out, they discovered more money than had been
concealed by them.
• They were at loss of idea. Tejapala’s wife, Anupama Devi came to
their
rescue, suggesting they view the entire incident as an omen and to
• construct from their wealth temples in Shatrunjaya and Girnar.
• Later, as ministers they resolved to construct a temple in Mt. Abu in
• memory of their deceased brother, Luna and to dedicate it also to
the took
25OO WORKERS TO BUILD.
IN A SPAN OF 15 YEARS.
THE PLAN
•The shrine,
measuring 52 x 28.5 m
•it faces west
•No.1 in plan-
sanctum(GARBHAGRI
HA)
•no. 2 in the plan-
gudha mandapa
•No. 3 in plan-
navchoki
•No 4 in plan-rang
mandap with dome
• The T-shaped temple stands in a
courtyard, surrounded by fifty-two
devakulikas screened by a double
• row of colonnades.
Only in the north and south does
a
• cell project a little out of the
closed
ground plan.
At the back, there are no shrines,
only an enclosed hall with very old
• jali work, i.e., a latticed wall with
ornamental tracery. It contains
the
shockingly mutilated statues of
the
founders and their families.
RANG
MANDAPA
•The main hall or Rang mandap
features a central dome.
•The eight pillars of the ranga
mandapa are connected to
each
other with curved
arches, toranas, forming an
octagon.
• The dome is also a marvel of
artistic precision and its
keystone is proportionately
larger as compared to that of
the Vimala Shah temple.
• from which hangs a big
ornamental pendent featuring
elaborate carving.
•Arranged in a circular band are
72 figures of Tirthankars in
sitting posture and just below
this band are 360 small figures
of Jain monks in another
circular band.
DOME OF RANG
MANDAPA
•dome stands on 8 pillars.
•The dome is also a marvel of artistic
precision and its keystone is
proportionately larger as compared to
that of the Vimala Shah temple
•The pendant of the dome is a perfect
gem;where it drops from the ceiling it
looks like a cluster of half open
lotuses.
•Spanning more than nineteen feet in
diameter, its most prominent features
are the sixteen goddess figures that
encircle the central portion of the
dome.
•Tiny Jinas and goddesses occupy the
space between the larger figures that
support the sixteen Vidyadevis.
• seated Jain monks are prominently
carved along the second-to-lowest
level of the circular base, and below
them, only visible if one looks closely,
are numerous lay-people in various
positions, engaging with the monks
and with each other.
 Details from Pillar in Hall of Luna Vasahi
Detail, Goddesses in central section: Lakshmi
and Sarasvati Detail, dancers on base
CEILINGS • Among the 146 ceiling panels
supported by the pillars of the Luna
Vasahi, 93 are elaborately sculpted.
• Each ceiling is unique, a testament
to the skill and creativity of the
artists who worked on the temple.
• The design of this ceiling
impressively combines floral and
geometric imagery, with concentric
six-, twelve- and twentyfour-lobed
motifs.
 NAVCHOKI

• Columned hall.
• The Navchowki features some of the most
magnificent and delicate marble stone cutting
work of the temple.
• Each of the nine ceilings here seems to
exceed the others in beauty and grace.
GUDH • It does not have any
MANDAP supporting pillars (no. 2 in
the plan).
• A simple hall decorated
with the images of Shri Adi
Nath.
• The Kirthi Stambha is a big
black stone pillar that
stands on the left side of
the temple. The pillar was
constructed by Maharana
Kumbha of Mewar.
SANCTUM • The roof of the Sanctum is
such a flat phamsana
(pyramidal roof) that it
barely projects above the
complex.
• The Gudh mandap features
a black marble idol of the
22nd tirthankar
Neminatha.
• In front of the sanctum is
the gudha mandapa and
navchoki.
 • There are 52 cells in the corridor,
CELLS out of which four were newly
built and four renovated.
• Most of the ceilings in front of
the cells are highly ornamented.
• The relief in the porticoes of
the cells depicts incidents from
the life of Neminatha,
his marriage,deification etc.
• In front of every cell the ceiling
is divided into two sections with
double row of columns.
• In each cell image of one or the
other Jain Tirthankar or Devi is
installed.
 CELLS
• Cell No. 1: the ceiling bears a beautiful figure of Devi AmbikA.
• 9:Ceilings contains a ocean, boats, aquatic animals and scenes of
‘Dwarka’ and shrine of Girnar.
• 11:The ceiling is divided into seven lines elephants, horses,dances
figures. Fight of Krishna and Jarasand. Life depiction of Lord
Neminath etc.
•
14 to 16: life sketches of Tirthankars Parashwanath and
• Shantinath
respectively are depicted.
19: in the cell on a relief, life incidents of 20 th Tirthankar Muni
Suvrata. In the lower portion scenes is an ocean. In the midst, the
• sailing ship, fishes, crocodiles, tortoises and such other aquatic
animals.
23 to 26: New construction, in cell no. 24 Rajuldevi and Neminath.
In 25 th Ambika and 26 th contains Kunthunath.
 HATHISHALA

• The Hathishala or elephant cell features 10

beautiful marble elephants neatly polished
and realistically modelled.
• Earlier these elephants carried the idols
which
• depicts the family of Vastu Pala.
There are about ten slabs behind the
elephants which bears a figure of male and
female.
 Pittalhar Temple
• Opposite to vimal vasahi temple.
• It is unfinished as the construction of corridor and mandap was curtailed by
war
• with gujrat.
Built in13th century. The date is not certain but the construction falls between
• 1315-1433 A.D
This temple was built by Bhima Shah, Minister of Sultan Begada of Ahmadabad.
 Shri Reshabdevji or Pittalhar Temple

• A massive metal statue with rich carving of its elaborate

parikar of Rishabdev, cast in five metals, mainly ‘ Pittal’ is
installed, hence it is named Pittalhar temple.
•
The old mutilated idol was replaced and installed in 1468-
69 A.D.
•
weighing 108 maunds(4.3 tonnes) according to the
inscription on it.
•
The image was cast by an artist Deta which is 8 ft. heigh,
5.5 ft. broad and the figure is 41 inches in height.
•
In Gudh Mandap one side, big marbel stone Panch- Tirtha
sculpture of Adinath is installed.
•
The niches were constructed in 1474 A.D. while some cells
were created in 1490 A.D.
The shrine consists of main Garbhagraha,
Gudh Mandap,and Navchowki.
Parshavanath Temple
 • This temple is also called Khartar Vashi temple.
• It is devoted to Lord Parshavnath.
• This was built by Mandlik and his family in 1458-59 A.D.
• The temple was constructed after 425 years of Vimal
Parshavanath Temple
Vasahi and 225 years after Luna Vasahi and is
• constructed with sandstone, not white marbel.
This temple is dedicated to Lord Paraswanath wherein
in each storey, in all the four sides, images of
• Paraswanath are installed.
This three storeyed temple, with its pinnacle, is the
• tallest of all the shrines at Delwara.
In the sanctum, on each of the four sides, is installed a
white marbel stone sculpture of Paraswanath,
• canopied by nine snare- hoods and with elaborate
Patikar round each figure.
• In front of two of these sculpture ornate Torans are
resting on similar pillars.
• On all the four faces of the sanctum on the ground
floor are four big Mandaps.
The outer walls of the sanctum contains some
beautiful
and vibrant sculptures in grey sandstone,
depicting
Dikpals, double set of Vidyadevis- one of standing
figures and another of sitting ones and a set of all
the
 Mahaveer Swami Temple
• smallest structure in the temple complex.
• Constructed in 1582 A.D.
• dedicated to the 24th Jain Tirthankara, Lord Mahaveer,
• it has beautiful paintings on its walls.
• There are pictures on the upper walls of the porch painted in
1764 A.D. by the artists of Sirohi.
• On the walls of the temple the images of Lord Mahaveer
is there.
• This temple is an amalgamation of ancient and modern Jain
architecture - quite contemporary in design, unlike the
ancient Jain temples which were highly ornamented and
richly carved.
 THANK YOU
PRESENTED BY:
VARTIKA AGARWAL
YASHIKA AGARWAL
RASHI JAIN
SHIVANI DAD
SNEHA SHARMA
VIDHUSHI METHWANI