The Jaina Samavasarana

A work of art created to serve a particular religion can both convey a philosophical statement and be a part of a ritual process. Such is the case of the Samavasarana, the sacred preaching hall where all creatures, according to the Jaina faith, can hear the message of Supreme Knowledge given by one of their 24 spiritual leaders. The purpose of this thesis is to study different expressions of the Samavasarana, a still-vital ritual concept for practicing Jainas. Where, when, and how Samavasaranas appear, as well as possible sources for their artistic treatment, are discussed. The two major sects of Jainism, the Svetambaras and(' ) Digambaras, share the basic concept of the Samavasarana, although their textual descriptions and artistic renditions have certain differences. These variations are discussed at length, and the Appendix includes text passages and diagrams. At the center of the Samavasarana, either square or circular in plan, the Enlightened One (the Jina, or T(')irthankara) miraculously(' ) appears facing out in the four directions, so that all present may see and hear him. This caturmukha, or four-faced theme, is discussed both sculpturally and architecturally, with reference to Hindu and Buddhist examples. The fact that the Samavasarana is "built by the gods" denotes a splendor far exceeding anything man can possibly achieve. The closest artistic examples may be found in Jaina temples themselves, especially in the magnificent temple-complexes such as Satrunjaya(' ) and Mount Abu. Circle and square are symbols of cosmic order in which man can take part. In the case of the Jaina Samavasarana, the work of art serves the ritual. Experiencing these visual expressions, be they painted, sculptured, or built, allows the pilgrim to be physically or mentally present within a Samavasarana, the only place where the message of how to attain moksa can be received. The thesis also has various charts and 244 illustrations. An Addendum makes a special study of Indian architectural antecedents to the Samavasarana, including the stupa and Buddhist and Hindu temples. Major architectural elements of the Samavasarana are brought into this discussion, including its plan, elevation, axis, and "hypaethral", or roofless nature.