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The Story in Stone of the Great Renunciation of Neminatha

By H. D. Sankalia

Vol. 16 · No. 2June - 1940pp. 314–317English

Summary

This article analyses a sculptural narrative from the marble Jain temple of Mount Abu depicting the great renunciation of the Jain Tirthankara Neminatha (Aristanemi). The story recounts how the prince Aristanemi, on his way to marry Princess Rajimati, sees animals kept for slaughter and is moved by compassion. He questions the purpose of the animals, learns that they will be killed for the wedding feast, and decides to renounce worldly life. The sculptural panel portrays his wedding procession, his moment of compassion, his return of ornaments to the charioteer, and his journey to Mount Raivataka. There he plucks out his hair in five handfuls and becomes an ascetic. The article describes the temple ceiling divided into seven horizontal sections, each illustrating a part of the story. Section I shows dancers and musicians; Section II a battle between Krishna and Jarasandha; Section III the wedding procession; Section IV various scenes including the arrival of Aristanemi, animals tied for slaughter, and the marriage pavilion; Sections V–VII depict scenes of charity, the renunciation ceremony and ascetic practice. The author notes that the sculptor captures emotions through contrasts between the meek animals and the proud elephants, and between the bustling procession and the serene ascetic. The article emphasises that the sculptor’s narrative closely follows the canonical Jain account, with only minor deviations, and highlights the high artistic quality of the relief.

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Conclusion

The article concludes that the Mount Abu panel is a masterful visual retelling of Neminatha’s renunciation. It combines narrative clarity with artistic finesse and provides valuable insights into Jain iconography and story-telling.

Key passages

Chosen by AI from the article's text. Each one is checked word for word against the text before it is shown.

  • “The story of the Great Renuncration of Neminatha, the 22nd Jaina Tirthankara, which 15 carved 10 a ceiling panel in the Tejahpala temple બગ Mount Abu 15 perhaps more poignant in the swiftness and contrasts of its scenes than the gradual world-weariness of Buddha.”
  • “On his way he saw animals, kept 10 enclosures. Overcome by fear and looking miserable, beholding them thus Aristanemi spoke to his charioteer, “Why are all these animals, which desite to be happy, kept in an enclosure?””
  • “With but one exception, the story in घाट canonical work 15 faithfully represented on a ceiling carved in the marble temple called “Lunavasahs,” built by Tejahpila, a minister of king Viradhavala of”

Works cited in this article

  1. Jacobi, Sacred Baoks of the East and Charpentier, Archives D’Etudes Orientales, vol. 18, adhyayana .22, p. 164 ff.
  2. Trisasthi-falaka-purasa-caritra, Parva 5, Sargas 5) 9, 10; 11, I2.

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