Jain temples of Dilwara
Architecture
By Shona Adhikari

IT is just the right time in the year to visit the celebrated marble Dilwara temples near Mount Abu in Rajasthan. Built by the British,to escape the searing heat of the plains at a height of 1,220 meters, Mount Abu is the only hill station in the state.The Dilwara temples were already important places of pilgrimage by the time the British came on the scene. It is also possible that they were first attracted to the place during a visit to these celebrated temples. What is a fact, though, is that the British built the hill station in 1845, on land leased from the Maharao of Sirohi, who owned the entire region.

While the weather at Mount Abu may not be cold in the summer months, it is certainly very pleasant, and cooler than in the plains. In the coming months, there will be many holiday-makers visiting this pretty hill station that boasts of a lake, and numerous palaces and temples that are located by the lake or on the surrounding hill sides. However, the main focus of visitors to Mount Abu has always been the Dilwara temples, located at Dilwara village, just 4 km fromMount Abu. These magnificent Jain temples are among the finest examples of religious sculpture seen anywhere in the world, and certainly a legacy of the best Indian creativity in temple architecture.

The marble used for the Dilwara temples came fromMakrana, the same mines that gave Agra its Taj Mahal. However, unlike the Mughal masterpiece, the exterior of the temple complex is not grand and imposing. The outer simplicity is deceptive, hiding a profusion of exquisite carving and ornamental details in designs that are abstract as well as figurative.Probably to avoid unwelcome visitors, these temples have simple exteriors. Perhaps this is why marauders have not shown any interest in the Dilwara temples, and these wonderful edifices have remained intact for centuries, for us to see and marvel at the skill of the builders and their expert carvers.

The earliest of these temples — the Vimal Vasahi — is dedicated to the first Jain Tirthankara or sage Adinath, and is said to have been commissioned around 1031 by Vimal Shah, Prime Minister to Bhim Deva, the first Solanki monarch of Gujarat. The temple is surrounded by a high enclosure wall of 52 cells which contain seated figures of Adinath.Facing the entrance is a six-pillared pavilion with 10 statues of the founder and his family seated on elephants. The interior of the temple is a profusion of carving, dazzling visitors with their intricacy.The central dome is built of 11 concentric rings, five depicting patterns of figures and animals, while the rest are abstract designs. The carvings are so fine and intricate that the effect is that of fine lace.

Superimposed on the rings of carvings are 16 female figures of the goddesses of knowledge, an important part of most Jain temples of earlier times, also seen at the Jain temples of Osiyan and Ranakpur.Ornate pillars and ‘torans’ or arches lead up to the main central shrine of Adinath — his image simple and unadorned, in stark contrast to the exuberance of decoration outside. The Luna Vasahi temple is said to have been built two centuries later by Vastupal and Tejpal, two brothers who were powerful ministers at the court of the ruling Solanki monarch, Raja Bhim Dev II.

Bringing in the best-known marble craftsmen of the time, they offered rewards of silver and gold to the masons, encouraging them in their creativity. The temple is dedicated to Neminath, the 22nd Jain Tirthankar, whose symbol the conch shell forms. In this temple, there is a deeper attention to detail, and the central dome designed in the shape of a giant lotus pendant, shows carvings in layer so thin, that they seem to be almost transparent. There are thirtynine cells with images of Neminath.

The Pittalhar temple was built by Bhima Shah, Minister to Sultan Begada of Ahmedabad, and is said to have been built between 1317 and 1432 A.D. An 8 ft metal statue of Adinath installed here is said to have been made out of an alloy of five metals or Panchdhatu in which the primary metal used is brass or Pittal giving the temple its name. There are other marble images of Adinath to be seen in the niches, but the temple was never completed.

The Pareshwanath temple is the tallest among the temples of Dilwara, rising to three storeys. each storey has a marble image of Pareshwanath, depicted under the protection of a hooded snake. Built in 1458 A.D. the temple has elaborate carved pillars and torans similar to those of the other temples, with the addition of decorative female figures as seen in the Hindu temples of Khajuraho. The main difference in this temple is that instead of white marble, grey sandstone has been used in its construction.

There is also the Mahavir Swami temple, a small and simple structure constructed in 1582 A.D. and dedicated to the 24th. Jain Tirthankar, Mahavir. The walls of this temple have frescoes dating back to 1764, and are said to have been done by painters from Sirohi. These fine painted surfaces are still fresh, and well preserved.

There is however one problem for visitors. There is a strict ban on photography in the entire complex, probably in a bid to preserve them and also because the temples are still in use, with hundreds of devotees offering prayers all morning. But for those who wish to take back a souvenir, photo studios at Mount Abu sell black and white prints and postcards, taken before the ban on photography was imposed.

A visit to the Dilwara temples should be a must on the calenders of all, for nowhere else has marble been used with more artistry. Luckily, since Mount Abu is somewhat difficult to reach, one does not have to encounter the usual hoards of people at this hill station. And most people who visit Mount Abu, travel the 185 km by car or by bus fromUdaipur. On the way many stop for a meal at the pleasant Maharani Bagh Mango Orchards, and then visit the Ranakpur temples, which is almost midway on the road between Udaipur and Mount Abu. The Ranakpur Jain temple complex is definitely worth a visit, and also created in the traditional Jain style with exquisite carvings — so special in fact, that it offers stiff competition to the carvings at Dilwara.