It is a large well maintained and a beautiful temple. The whole temple is made of marble which is not the best quality. Since it is a living temple the morning time is for prayers. Foreigners are allowed in the afternoon and that’s the time...More
Pls find below a note on architecture in Ranakpur Jain temple: Light colored marble has been used for the construction of this grand temple which occupies an area of approximately 60 x 62 meters. The temple, with its... More
Pls find below a note on architecture in Ranakpur Jain temple: Light colored marble has been used for the construction of this grand temple which occupies an area of approximately 60 x 62 meters. The temple, with its distinctive domes, shikhara, turrets and cupolas rises majestically from the slope of a hill. Over 1444 marble pillars, carved in exquisite detail, support the temple. The pillars are all differently carved and no two pillars are the same. It is also said that it is impossible to count the pillars. Also all the statues face one or the other statue. There is one beautiful carving made out of a single marble rock where there 108 heads of snakes and numerous tails. One cannot find the end of the tails. The image faces all four cardinal directions. In the axis of the main entrance, on the western side, is the largest image. The moolnayak of this temple is a 6 feet tall white colored idol of Adinatha. The temple is designed as chaumukha—with four faces. The construction of the temple and quadrupled image symbolize the Tirthankara's conquest of the four cardinal directions and hence the cosmos. The architecture and stone carvings of the temple is based on the Ancient Mirpur Jain Temple at Mirpur in Rajasthan. The sun temple at Ranakpur dates back to the 13th century CE. After its destruction, it was rebuilt in the 15th century. A temple dedicated to Suparshvanatha is also present here. The temple has an intrinsic architecture & this temple is also famous for erotic arts on the wall. Māru-Gurjara Architecture show the deep understanding of structures and refined skills of Rajasthani craftmen of bygone era. Māru-Gurjara Architecture has two prominent styles Maha-Maru and Maru-Gurjara. According to M. A. Dhaky, Maha-Maru style developed primarily in Marudesa, Sapadalaksha, Surasena and parts of Uparamala whereas Maru-Gurjara originated in Medapata, Gurjaradesa-Arbuda, Gurjaradesa-Anarta and some areas of Gujarat. Scholars such as George Michell, M.A. Dhaky, Michael W. Meister and U.S. Moorti believe that Māru-Gurjara Temple Architecture is entirely Western Indian architecture and is quite different from the North Indian Temple architecture. There is a connecting link between Māru-Gurjara Architecture and Hoysala Temple Architecture. In both of these styles architecture is treated sculpturally.