DOI Page / Citation link:
https://doi.org/10.11588/diglit.9541#0231
20S
JAINA ARCHITECTURE.
Book II.
both in their origin, and their development and doctrines, that their
architecture must also at one time have been nearly the same. In
consequence of this, if we could trace back Jaina art from about the
year 1000, when practically we first meet it, to the year 600 or Too,
when we lose sight of Buddhist art, we should probably find the two
very much alike. Or if, on the other hand, we could trace Buddhist art
from a.d. GOO to a.d. 1000, we should as probably find it developing
itself into something very like the temples on Mount Aim, and elsewhere,
at that period of time.
A strong presumption that the architecture of the two sects was
similar arises from the fact of their sculptures being so nearly identical
that it is not always easy to distinguish what belongs to the one and
what to the other; and in all instances it requires some experience to
do this readily. The Tirthankars are generally represented seated in
the same cross-legged attitude as Buddha, with the same curly hair,
and the same stolid contemplative expression of countenance. Where,
however, the emblems that accompany the Jaina saints can be recog-
nised, this difficulty does not exist. Another, but less certain test
arises from the fact that the Jaina saints are generally represented as
naked—Digambaras or Sky-clad, which in ancient times seems to have
been the most numerous sect, though another division or the Swetam-
baras, or White-robed, were clothed much like the Buddhist. When,
therefore, a figure of the class is represented as naked it may certainly
be assumed to belong to the sect of the Jains, but the converse is by no
means so certain. If clad it may belong to either, and in consequence
it is frequently difficult to distinguish between late Buddhist and early
Jaina bas-reliefs and sculptures.
So far as we can at present see, the most hopeful source of informa-
tion regarding Jaina architecture seems to be the ruined monasteries
of the Gandhara country (Woodcuts Nos. 92, 93, 96). The square or
polygonal court of these viharas surrounded by cells containing images
is what is found in all Jaina temples. The square or circular altar, or
place of worship, may easily be considered as the prototype of the Sikra
surrounded by cells of the Jains ; and altogether these viharas, though
probably as early as the 4th or 5th century of our era, are more like
the temples at Abu and Girnar than anything intermediate. It is indeed
every day becoming more and more apparent that, in consequence of
our knowledge of Buddhist architecture being derived almost exclusively
from rock-cut examples, we miss a great deal which, if derived from
structural buildings, would probably solve this among other problems
that are now perplexing us.
The same remarks apply equally to the Jaina caves. Those at
Ellora and Badami do not help us in our investigation, because they
are not copies of structural buildings, but are imitations of the rock-
cut examples of the Hindus, which had grown up into a style of their
JAINA ARCHITECTURE.
Book II.
both in their origin, and their development and doctrines, that their
architecture must also at one time have been nearly the same. In
consequence of this, if we could trace back Jaina art from about the
year 1000, when practically we first meet it, to the year 600 or Too,
when we lose sight of Buddhist art, we should probably find the two
very much alike. Or if, on the other hand, we could trace Buddhist art
from a.d. GOO to a.d. 1000, we should as probably find it developing
itself into something very like the temples on Mount Aim, and elsewhere,
at that period of time.
A strong presumption that the architecture of the two sects was
similar arises from the fact of their sculptures being so nearly identical
that it is not always easy to distinguish what belongs to the one and
what to the other; and in all instances it requires some experience to
do this readily. The Tirthankars are generally represented seated in
the same cross-legged attitude as Buddha, with the same curly hair,
and the same stolid contemplative expression of countenance. Where,
however, the emblems that accompany the Jaina saints can be recog-
nised, this difficulty does not exist. Another, but less certain test
arises from the fact that the Jaina saints are generally represented as
naked—Digambaras or Sky-clad, which in ancient times seems to have
been the most numerous sect, though another division or the Swetam-
baras, or White-robed, were clothed much like the Buddhist. When,
therefore, a figure of the class is represented as naked it may certainly
be assumed to belong to the sect of the Jains, but the converse is by no
means so certain. If clad it may belong to either, and in consequence
it is frequently difficult to distinguish between late Buddhist and early
Jaina bas-reliefs and sculptures.
So far as we can at present see, the most hopeful source of informa-
tion regarding Jaina architecture seems to be the ruined monasteries
of the Gandhara country (Woodcuts Nos. 92, 93, 96). The square or
polygonal court of these viharas surrounded by cells containing images
is what is found in all Jaina temples. The square or circular altar, or
place of worship, may easily be considered as the prototype of the Sikra
surrounded by cells of the Jains ; and altogether these viharas, though
probably as early as the 4th or 5th century of our era, are more like
the temples at Abu and Girnar than anything intermediate. It is indeed
every day becoming more and more apparent that, in consequence of
our knowledge of Buddhist architecture being derived almost exclusively
from rock-cut examples, we miss a great deal which, if derived from
structural buildings, would probably solve this among other problems
that are now perplexing us.
The same remarks apply equally to the Jaina caves. Those at
Ellora and Badami do not help us in our investigation, because they
are not copies of structural buildings, but are imitations of the rock-
cut examples of the Hindus, which had grown up into a style of their