तरंगलोला - II

Summary

The third Hindi piece in this issue is a richly descriptive survey of Jaina art and architecture, focusing on the evolution of temple design and sculpture from antiquity to the medieval period. The article begins by discussing the rock‑cut caves at Udayagiri and Khandagiri in Odisha (first century BCE), noting their simple façades and relief carvings that depict monks, donors and royal patrons. It then moves on to the Badami and Ellora caves of the Deccan, highlighting the incorporation of intricate pillars and narrative panels showing scenes from the lives of the Tīrthaṅkaras. A major portion of the essay is devoted to the marble temples of Rajasthan, such as those at Mount Abu (Dilwara) and Ranakpur. The author describes the soaring shikharas, the delicate lace‑like carvings on ceilings and pillars, and the exquisite images of the twenty‑four Tīrthaṅkaras. Special attention is paid to the unique domed ceilings carved to resemble lotus blossoms and to the ornate toranas (entrance arches). The article also discusses the role of wealthy merchant families in commissioning these temples, seeing their patronage as an expression of piety and a means of accruing merit. In addition to architecture, the essay surveys the evolution of Jaina iconography. Early images were simple and unadorned, emphasising the meditative posture and bare body (in the Digambara tradition). Over time, images became more elaborate, with jeweled thrones, flywhisks and halo motifs. The author explains the symbolic significance of attendant figures such as yakṣas and yakṣīs and notes regional variations in style. The article concludes by discussing contemporary conservation efforts and the challenges posed by urbanisation and environmental degradation. The author calls on the Jaina community and government agencies to protect and restore endangered monuments.