Divinity and Rajputs
Legend
By Suverchala Kashyap

RAJASTHAN is more popularly known as the land of valour. Stories of unparalleled courage, love and gallantry abound. The entire state of Rajputana is dotted with forts and palaces that are architectural wonders par excellence and to this day retain a strange majestic aura. Every time that one gets an opportunity to ramble through these awe-inspiring structures one is totally dumbfounded.

Resplendence and grandeur were perhaps the key words then and almost every object, building or hut was beautifully articulated. Art was life or life was art, there seemed to be a very fine line separating the two.

The first thing, however, that comes to mind when talking of Rajasthan are its sprawling havelis, exquisite palaces, forts and its handsome though rustic and virile menfolk and beautiful and graceful tattooed women, who often became the envy of many as well as pride of few and sometimes even sparked off a war.

But, seldom does one think of this land of Rajputs, as that of religion or temples. More often than not the palaces and forts seem to hog all the limelight. Little known is the fact that apart from these structures the Rajput kings built a number of exquisite temples, several of which were later plundered by the invaders, but some of them still retain their pristine and pure glory of the bygone days.

One such dream, rather poetry in stone, is the Ranakpur temple. Tucked away in the heart of the remote but enchanting valley of the Aravalli mountains, is the lofty three storey structure that looks like an ancient viman about to take off. Popularly known as the Chaturmurkha Jain temple of Rishabhadeva, this edifice seems to be immersed in celestial bliss.

One is enveloped by a strange feeling of comfort and peace as one enters this magnificent architectural marvel. Its structure is such that it is in complete harmony with nature and does not in any way mar the beauty of this little and verdant valley. Even the surrounding hills seem to be a mute witness, swayed by its grandeur, waiting upon it, as if spellbound.

It is believed that this temple came about as a result of endeavour and vision of Dharanshah, a minister of Rana Kumbha.

Rana Kumbha, one of the erstwhile rulers of the neighbouring kingdom of Kumbhalgarh, was a devout and valiant king who was open to developmental projects in his area. The story goes that Dharanashah came in contact with the famous 25th century Acharya Somasundarji and was extremely affected by his teachings and guidance. Then at the age of 32, upon visiting a Jain temple Shatrunjaya the foremost among Jain pilgrimages, he took the vow of lifelong celibacy and at the same time was overtaken by the urge to build a temple for Lord Rishabhadeva, which he resolved would be without parallel in beauty.

One night soon after, he dreamt of the Nalinigulma Viman, which is considered to be the most beautiful among the celestial planes. Then began the search for the right architect who could translate his dream-image and give it an earthly form. Several artists and sculptors submitted bluerprints but, none came close to what he had visualised. Then, came along Depaka, an eccentric and headstrong sculptor. He placed high value on his art and was not one to be easily swayed by money and the like. Dharanashah, impressed by his plan as well as his attitude to life, decided to give the work to him.

Thus, this riveting rhapsody in stone, was created painstakingly and with utmost devotion by Depaka, who was extremely touched by Dharanashah’s devoutness and commitment, Dharanashah, then approached Rana Kumbha to give him appropriate land to realise his dream project. Rana Kumbha, a patron of art and architecture readily agreed. The site of the old village of Magdi in the valley of Mount Madri was selected for the purpose. Work was simultaneously begun on the temple and a well established neighbouring town, according to the wishes of the Rana. As a mark of respect the place was named Ranpur, popularly also called Ranakpur.

The temple construction took a good 50 years by which time Dharanashah had become quite old and owing to failing health had the principal deity installed in the temple. In spite of the complexity and the vast expanse as well as the loftiness of the temple its symmetry and architectural balance are not affected at all.

Not a single part of the temple has been neglected, nor is any one corner less attractive than the other. Each little nook and corner has been endowed with a spiritual light as if each artisan has put in a little bit of his soul this divine creation.

The creative genius of man, especially when he is spiritually driven is manifest here in all its ecstasy, literally overwhelming one by the sheer intricacies.

There are four artistic entrances to the temple, with four white marble images of Bhagvan Adinath, about 72 inches tall facing the four entrances of the temple. The temple being three-storey high above the plinth and with a basement has been made in such a way that it is cool, has natural light coming in from all angles and creates a very interesting ambience that in turn is extremely soothing.

This temple is known by several names, some of the more popular ones being Trailokya Deepak Prasad or Tribhuvan Vihar. It stands like a luminous light spreading radiance in all three lokas.

Besides, there are 76 smaller domed-shrines, four Rangamandapas (assembly halls), four Mahadhar Prasads (Principal shrines), situated in the four directions, a number of big and small Devakulikas (subsidiary shrines) — in all 84 in number.

The creator here seems to be a weaver of dreams, one who has bestowed the place with life. Even the stones come alive under his chisel and are a manifestation of artists’ innermost feelings.

A noteworthy feature of this temple is the large number of pillars of all shapes and sizes and both ornate and plain. Seldom is there an interior that has such a harmonious collection of pillars, where they do not obstruct but become an integral and essential part of the space. Also worth observing is the fact that is there not a single spot in the temple from where the view of the main deity is obstructed.

Utility has also played an important role here, and apart from the main part of the temple which is the visible-three-storey structure, there are nine cellars built into the basement area. In times of crisis one could easily take refuge here as well as safely stow away the deities.

As one approaches the temple, from afar a strange tinkling sound comes from its direction and a closer scrutiny shows several red and white triangular flags aflutter in the breeze and small bells at the end of each flag create a divine music.

To this day the most mesmerising experience other than the presence of the awesome temple itself, is the soul-warming aarti performed to the accompaniment of resounding drum beats. Another feature that makes this holy place different is the complete absence of electricity in the temple premises. Even today the place is lit with the traditional diyas that lend a heavenly and soothing ambience adding to the whole spiritual catharsis.

A renowned and international architect of our times Louis Kahn, has surmised it in a beautiful way." As one enters the temple, it is as if a hand caused it to be. The details with all this effort, recede in the light of the glorious overall conception. It is only after the wonder of the spaces in their music of light becomes real and settled that the marvellous carving of the details takeover. It is all truly a marvel of architecture and spiritual expression."