Mangalayatan: Great Jain Pilgrimage Center

The magnificent compound

Spread over an area of more than 40,000 square yards, Mangalayatan is one of the largest Jain pilgrimage centres in this part of the country. Its development plan was designed to adhere to the international quality construction and safety standards without compromising with the related religious concepts, guidelines and traditions, which have been implemented in minutest detail. After the completion of the first phase of development, the complex has been termed by experts and scholars as scientifically perfect and religiously authentic.

Estimated cost for the first phase of construction has been Rs. 5 Crore. It also includes the cost of 40 thousand square yards of land. Second phase of construction is estimated to cost Rs. 3 Crore. This phase of Manglayatan's development should complete by the end of year 2004, following which the third and final phase would begin. Mangalayatan has already created a record of sorts by completing the first phase development work within the predefined deadline of 2 years. During this phase, all the major devalayas and basic facilities have been constructed. With its picturesque look and peaceful ambience, Mangalayatan has not only become popular among the Jain devotees, but has also become a major tourist attraction for people visiting Aligarh or the neighboring cities.

Bhagwan Adinath Mandir

Mangalayatan features Bhagwan Adinath as the main deity, the Moolnayak. His temple has been constructed on an artificial hill running across the complex. The hill starts from the height of 4' and rises to 31'. On its peak, a white marble platform measuring 16' x 16' x 2.5' supports a 10' high pink marble lotus throne. Seated on this is an impressive 111'' high white marble statue of Bhagwan Adinath with halo (bhamandal) and three umbrellas (chhatras).

The statue, towering a maximum height of over 55 feet from the ground level, is a fascinating sight to anyone passing on the Agra-Aligarh highway. A staircase has been built for the devotees to climb up to the temple. For people who cannot climb stairs, a ramp way has been constructed. Installation of a high speed lift is also being planned for use by handicapped, disabled and aged persons.

Bhagwan Mahavir Mandir

Shri Adinath Kund-kund Kahan Digamber Jain Trust has enshrined Teerthankar Mahavir as 'Vidhinayak' in the complex. His beautiful temple has been constructed over an area of 4500 square feet. Inside this temple, His 33 inches high marble statue is seated on the vedi built of white marble. It is surrounded by 30" high marble statues of Bhagwan Shantinath, and Bhagwan Parshvanath, sitting on white marble vedis. Bhagwan Mahavir Swami and Videhinath Bhagwan Seemandhar Swami's Ashtadhatu Jin-bimbs (statues) have also been established in the temple.

This temple has also been adorned with portraits of Bhagwan Kundkundacharyadev and Amritchandracharyadev engraved on marble slabs measuring 4' x 4.5'. These pictures, framed in beautifully engraved white marble frames, have been placed on the walls of the temple. Except the sanctum sanctorum (garbha griha), the rest of the hall of 50' x 50' is being utilised for meditation, religious discourses etc.

On the walls of Mahavir Swami Jinalaya, 150 marble slabs have been fixed, on which Shri Samaysar gathas written by Bhagwan Kundkundacharyadev have been engraved.

Bhagwan Bahubali Mandir

Bhagwan Bahubali Temple, covering an area of around 4000 sq. feet, is also a special attraction of Mangalayatan complex. The temple houses a white marble statue of Bhagwan Bahubali in standing posture. The 7'3" high statue stands on a 24" high lotus platform. The temple also has statues of Muniraj Bahubali and Muniraj Bharat in standing postures.

Design of Bahubali temple is the same as the Mahavir temple. The hall of the temple has been adorned with portraits of Dharsenacharyadev and Muniraj Padmaprabhamaldharidev. These portraits have been engraved on 4' x 4.5' sized marble panels. Marble slabs of 4' x 2' size, engraved with the text of the 7th Adhikar (chapter) of Acharyakalpa Pt. Todarmalji written Shri Mokshamarga-prakashak and Pt. Daulatramji written Shri Chheh-dhala, have also been fixed on the walls of the temple.

The Bahubali temple will also house a small library and a research institute until their spacious individual buildings, proposed to be built in the second phase of development, are ready.

Shri Bhagwan Adinath Swami Mansatambh

The Manstambh at 'Mangalayatan' is a replica of the Manstambh of Bhagwan Seemandharnath erected in Songarh, the sadhnabhumi of our revered gurudevshri kanji Swami and Bhagwatimat Champaben.

The bottom of the proposed Manstambh has been adorned with Chitrapats (pictures) of the Tirthankars, Acharyas, Upadhyayas, Munirajs and Gurudevshri kanji Swami in different postures, in 3 steps in all 4 directions. These pictures are seated inside three cornices measuring 20' x 20' x 3.5', 16' x 16' x 3' and 12' x 12' x 2.5'. Above these cornices, there is a beautiful Jinalaya (temple) in which four pink statues of Lord Adinath, each with a height of 23 inches, have been seated on lotus platforms. On the top of the tower, four more pink statues of Bhagwan Adinath, each with a height of 27 inches, have been placed. These statues, all seated on lotus platforms, look in four different directions.

The ever flying flag on the top of the 63 feet high Manstambh always extends invitation to all the living beings to rid themselves of the feeling of 'I' and experience the unparalleled and out-of-this-world joy in the court of Jinendra Bhagwan.

To attain the highest standards of craftmanship, experienced and skilled sculptors from Jaipur had been commissioned to give shape to the magnificent manstambh.

Click here to read the details of the second phase of development.

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Ellora Jain Caves

The followers of the Jainism were the last to arrive at Ellora. The Cave nos. 30 – 34 belongs to the Jaina tradition. They are generally dated between 9th and 11th – 12th centuries A.D. Out of the five caves, Caves 32 and 33 are most important. They are known as Indra Sabha and Jagannath Sabha respectively. Cave 30 is an unfinished excavation resembling the Great Kailasa; hence it is known as Chhota Kailasa (Small Kailasa). The technique of rock excavation and converting it into structures can be well understood from the unfinished excavation.

CAVE 32 (INDRA SABHA)

The Cave 32 known as Indra Sabha is actually a series of shrines dedicated to Mahavira and other Jaina divinities aesthetically arranged in double storeys. The main entrance of Cave 32 is on the south, the gate in the form of a Dravidian gopura. The entrance leads into a small court at the center of which is a monolithic shrine on a high pedestal. A huge monolithic pillar known as manastambha is to its right and a colossal monolithic elephant to its left. The manastambha measures 28 feet in height and is crowned by four seated images facing the cardinal directions. The monolithic elephant reminds one of the elephants sculpted in the court of Kailasa, but, here it is more elegant and well preserved.

The monolithic shrine at the center is reached by a flight of steps on the south and north, and with provisions of entrance on east and west but without steps. At the center of the shrine is the Sarvatobhadra, a concept in Jainism of worshipping the four important tirthankaras, viz., Adinatha or Rshibhanatha (1st), Parsvanatha (22nd), Neminatha (23rd) and Mahavira (24th). The images of these tirthankaras are depicted on the cardinal directions. The superstructure of the shrine is in Dravidian order with local variations.

The court leads to multiple shrines, two on the west, one on the north and one on the east. All these shrines are primarily dedicated to Mahavira, flanked by his attendant deities, Indra on elephant and Ambika on lion. The side walls of the shrines usually depict the images of Gomateshwara (the son of Rishabhanatha, in penance), Parsvanatha with the snake hood and subsidiary deities.

A flight of steps leads us to the first storey through the bigger shrine at the north of the court. The steps lead into a large shrine on the first floor, with side entrances on the east and west leading to smaller shrines. Invariably these shrines are also dedicated to Mahavira. Here one can see the remains of murals executed on the ceilings and the wall portion of the caves.
The exit on the west leads to two smaller shrines dedicated to Mahavira. A small exit on the southwest corner of this shrine takes us to a huge shrine of Mahavira. The pillars, wall portions are exquisitely decorated with sculptures. The pillars are elaborate and depart well with the earlier period traditions. The doorway of the shrine is also elaborately carved with multiple bands of sculptures.

Kharvel Festival: Showcase of Orissa's Jain Heritage

By Prabhukalyan Mohapatra

The week long national Kharavela festival coinciding with the traditional Magha Saptami Mela, is observed at the foothills of historic Khandagiri and Udayagiri in Bhubaneswar every year. The festival commemorates the heroic and brilliant rule of the greatest Jain ruler of Kalinga, Kharavela and at the same time showcases the rich tapestry of Orissan classical folk dance, music, handicraft and handlooms.

The festival has been named after Kharavela, the mighty emperor of Kalinga, whose glorious activities and achievements have been inscribed in the Hati-gumpha (elephant-cave) dated 1st century B.C. in Udayagiri hills (Kumari-parvat). As a ruler, he is attributed in restoring the glory of Kalinga through his political and military achievements. Kharavela's greatness in history rests not merely on conquests; rather he is remembered as a protagonist and patron of Jainism. The architectural and sculptural grandeur of the rock-cut caves hewed by Kharavela in Khandagiri and Udayagiri are indictive not only of his religious fervor but were regarded as the precursor of the temple architecture that followed during his reign.

These twin heritage hills cover an area of 200 acres and are protected monuments of Archeological Survey of India. There are about 18 rocks - hewn apartments at Udayagiri alone, with Hatigumpha (elephant-cave) bearing the well known inscription of King Kharavela.Ranigumpha (Queen's cave) of Udayagiri, one of the largest and double storied is ornately embellished with beautiful carvings. The lower storey of Ranigumpha depicts the King accompanied by two queens and attendants, enjoying the dancing. Manchapuri-gumpha tells about the installation of the image of Kalinga Jina which was brought back fromMagadha by the mighty emperor after a victorious campaign.

Khandagiri has 15 caves and the cave numbers 7, 8 & 9 contain the images of Jain Tirthankars. Huge residential blocks carved out of the rocks for the Jain monks are also a big attraction. A temple was also constructed on the crest of Khandagiri for worshipping Jain shrine in early part of the 19th century. At present, there are five temples where images of Adinath, Sitalnath, Rasvanath and Parsvanath are being worshipped.

In the history of rock - cut architecture of India, especially of eastern India, these caves have a significant place, where exists beautiful carvings of floral, vegetal, linear decorative sculptural designs as well as animal and human figures. While the animal figures include elephant, horses, lions and deer; parrots, doves, goose, crane, snakes, lizards etc., can also be seen. Human figures comprising of King, Queen, Tirthankars, dancers, officials andpriests too form a part of the carvings.

The sculptural design of Khandagiri and Udayagiri caves provide glimpses into the social life of people during the reign of Kharavela, where men used to wear turbans and women enjoyed a great deal of freedom which is evident from their participation in dance and musical performance on the rock surface. Apart from the caves rock - cut reservoirs are also seen here which hold rain water.

Here in the back drop of the great historical monument and coinciding with the traditional Magha Saptami Mela, this festival has been planned in a beautiful ambience of tradition and modernity. Hence adding colour and fervor to the traditional mela which lakhs of visitors throng for a period of seven days. To entertain the tourists, cultural programmes are presented each evening throughout the festival. While the cultural troupes of the state perform Odissi, Sambalpuri, Chhow, Ghodanacha, and Shankhabadan as items of folk artshows; the participation by the various Central Government departments makes the festival even more lively and spirited. Moreover, the participation of the galaxy of artists of National and International repute in the cultural extravaganza transcends this week long Kharvela festival into a national carnival. Exhibition of Orissa's handicraft and handlooms like stonewares, bell-metal utensils, artifacts for interior decoration adds to the charm makingthe festival a buyers' paradise.

(PIB Features)