THE DELWARA TEMPLES

Overall plan of the temples:

The Jain temples of Delwara are located a few kilometers away from the downtown, in a valley; they are barely visible from a distance since their domes and little pyramids hardly protrude above the boundary wall.

The Vimal Vasahi or Vimal Shah Temple:

The Vimal Shah temple was begun in 1031AD.The shrine masons guild of Vadnagar 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 stone masons. The marble was brought from the Arasoori hills near Ambaji. It was transported on the back of elephants over a distance of approximately thirty to forty kilometers. One hundred and eighty million rupees are said to have been spent on the construction of the temple, including the price of the land.  

The Tejpal and the Luna Vasahi Temple:

The Luna Vasahi Temple is situated a little above the Vimal Shah Temple. Two brothers, Tejpal and Vastupal, who have gone down in the Indian architectural history as the greatest builders of all times, constructed this temple. They were the ministers of King Viradhavala. They constructed many more temples of which only the Neminath Temple of Girnar still remains. The Solankis constructed the Luna Vasahi Temple in 1231 AD; the brothers were closely involved in this project. Stylically, however, the Luna Temple is similar to that of the Vimala Shah Temple.    

The ranga-mandap:

The dance pavilion was constructed between 1147-1149 AD and is the most exquisite structure in the temple complex. Since the interior had to be free of supporting pillars, it could not be surmounted with a shikhara tower. Instead, a wide vaulted dome with a diameter of 6.60 m covered the hall. This is the largest extant example of the style of a construction during the Solanki period. It is open from three sides. Consequently, it is brightly sunlit. Its eight pillars, forming an octagon, are lavishly embellished with floral, geometrical and figural motifs and they are linked to one another with the elaborately scalloped and intricately carved arches. The architecture on the whole give the impression of a precious ivory carving with intricate relief-work in which solid wall structures seem to melt in favor of the play of light and shade.

The Sanctum:

The tourist cannot proceed beyond his point. However, from here, though the gudha mandapa, the sanctum sanctorum and the bright statue of the first Tirthankara is visible. The entrance to the calla is flanked by two standing Parsva statues standing erect and by the reliefs of monks and nuns. The idol of Andinath or Rishabhanath is deliberately made to appear impersonal and not human; Tirthankars are carved preferably in alabaster or in any translucent stone in order to indicate the spirituality of a body, which has been liberated from al earthly shackles and is thus no longer a part of this world.

The Ambulatory:

Fifty-two deva kulikas i.e. subsidiary 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 the others. The holy figures of fifty-two symbolize, for the Jains, the four eternal Tirthankaras and in addition to them, the twenty-four belonging to the past and present eons. Beside these, some larger cells have been added in the southwest. On three sided the deva kulikas preceded by double columned halls with a single colonnade only on the west.

Hasti Shala: