Ranakpur Temple & Shirdi Sai Baba Temple

 Ranakpur Temple

Ranakpur is a village in the Pali district of Rajasthan and falls between Udaipur and Jodhpur. One of the very famous pilgrimage sites in India, the majestic 15th century Jain temple is dedicated to Lord Adinatha. It is counted among the 5 major sacred places of Jains.

The marvelous architecture of the temple structure brought it among the list of 77 nominees at the time of determining the new Seven Wonders of the World. Completely built from light colored marble, the great structure is well supported with the help of about 1400 superbly carved pillars. The temple uses natural light of sun as the only means of illumination.

Acharya Somasundarsuriji was a magnetic personality who lived in the fifteenth century of Vikram Era. Shreshti Dharanashah belonged to the village Nadia near Ranaipu From here he had migrated to Malgadh. His fathers name was Kurpal and Kamalde was his mother. He had an elder brother named Ratanashah. They had descended from the illustrious portual clan. Dharanashnh came into contact with Acharya somasundarsumi who infused a strong spiritual urge in his heart. At the age of thirty-two, when he visited Shatrunjaya, the foremost among all the places of Jain pilgrimage, Dharanashah tonk the austere vow of lifelong celebacy. Aided by his sharp intellect, a keen administrative power and an innate capacity to lead and govern, he had risen to the position of a Porwal Kumbha Rana. one blessed moment Dharanahah felt the spontaneous urge to build a temple of Lord Risabihadeva, which he resolved, should be without parallel in beauty. A legend tells us that one night in his dream. Dharanashah had a vision of Nalinigulma Viman which is considered to be the most beautiful among the celetal planes. Dharanashah decided that the temple should resemble this heavenly Viman

He invited many renowned artists and sculptors They submited their plans and designs, but none could even remotely capture the Minister's dream image. last an easy-going sculptor named Depak from Mundara presented a plan, which simply thrilled the heart of Dharanashah. He was profoundly impressed. Depak was a carefree type of an artist and would prefer poverty to servility. He set very high value on his art. He was deeply touched by the transparent personality and devoutness of Dhararashah. He promised to create a temple which would give concrete shape to the Ministers dream. And thus, a rare confluence of art and devotion was effected by the two visionarie. Dharanashah approached Rana Kumbha with a request to give some land for the construction of the temple. The king not only gave the land but advised Dharanashah to build a township also near the site. The site of the old village Madgi in the valley of Mount Madri was selected for the purpose. The construction of the temple and the township began simultaneously. The town was named Rampur after the name of King Kumbha Rana. Ranpur is popularly known as Ranakpur

The construction of the temple which had begun in 1446 Vikram Samvat, could not be completed even after fifty years. Dharanashah, considering his advancing old age and failing health, decided to install the idol of the Principal deity without much loss of time. In the year 1496 of the Vikram Era, after the completion of the temple, the idols were ceremoniously installed by Acharya Somalsundarsunii. At last, hard work and devotion of some 50 years brought the Minister's dream down to earth in the form of a magnificent temple. an image of the Viman of the gods. One cannot but feel awe and reverence for the ingenuity and craftsmanship of this gifted artist. According to one legend, about ninety-nine lakhs of rupees were spent on the construction of the temple. It is believed that the master builder Depa had put the devotion of his patron Sheth Dharanashah to test by making him offer seven precious metals, pearls, rich stones, musk and other fragrant substances while laying the foundation. In spite of the complexity, the vast expanse and the loftiness of the temple, the architectural balance and symmetry are not the least affected. The artiste sculptures which lie scattered like precious jewels, the myriad ornate Toranas' or festoons with minute and delicate carvings, the innumerable elegant and lofty pillars and a large number of Shikharas, (spires) which make a unique pattern on the face of the sky-all these works of spiritual art, as one approaches them, become alive and make the beholder oblivious of all else but a feeling of ecstasy, as if touched by the sublimity of Divine Bliss

The temple has four artistic entrances.In the main chamber or Gabhara (Sanctum sanctorum) of the temple there are four huge white marble images of Bhagvan Adinath, These four images, which are some 72 inches tall, have been installed facing the four different directions. In the sanctuaries on the second and third storeys also are enshrined four identical Jain images. it is because of these four imaages nstalled together in this temple, that it is popularly known as Chaturmukh Jain Temple In addition to Chaturmukh Prasad this temple is also known as Dharan Vihar, Trailokya Deepak Prasad or Tribhuvan Vihar. Dharan Vihar is a suitable name because it was built by Shreshthi Dharanashah. It stands like a luminous light spreading radiance in all the three Lokas (spheres) so it could be aptly called Trailokya Deepak Prasad or Tribhuvan Vihar. All these various names speak of its great glory.

Besides, seventy six smaller domed shrines, four Rangamandapas (assembly halls), four Mahadhar Prasads (Principal Shrines) situated in the four directions, a number of big and small Devakuikas (subsidiary Shrines)-in all 84 in number stand embellishing the temple, soliciting and inspiring man to strive for emancipation from cycles of 84 lakhs of birth and death and attain eternal salvation. The four ornate Meghanada-mandapas are unique in their sculptural beauty. The forty feet high pillars bedecked with delicate carvings, the artistic Toranas' or festoons suspended like ornaments studded with precious stones and the magnificent dome with its delicately carved pendant simply keep one's eyes glued to them. One feels as if the very core of the stone has not been left untouched by the artist's chisel. The radiant images of the goddesses in the dome hold the beholders spell bound, with their hearts athrill with expectancy. Judging from Meghanada mandapa alone, one cannot but feel that the creator must have been much more than a great artist indeed a weaver of dreams

Looking at the image of the Lord from the Meghanada mandapa, makes one realize how insignificant and imperfect one really is before his infinite Creator inspiring one to rise above false pride and ego and to become aware of one's true place in the Divine scheme of things, while entering through the West Meghanada mandapa one sees on the left hand side pillar, the carved images of Dharanashah and Depak facing the Lard. They too seem to. remind man of his humble position before God. How could one not bow down in reverence before these two great soul the Minister for his artistic devotion and the artist for his devotional art. The domes and ceiling of this temple are replete with innumerable carvings depicting famous incidents from the past. The artists have given them life and movement with the magic touch of their chisels. While trying to comprehend their mute language, the beholder becomes oblivious of time and space, marvelling at the workmanship. The stone-slabs depicting sahasrafana (a cobra with thousand hoods) Parshwanath and sahasrakuta are equally impressive.

The most outstanding feature of this temple is its infinite number of pillars. This temple can be called a treasure house of pillars or a city of pillars. In whichever direction one might turn one's eyes meet pillars and pillars big, small, broad, narrow, ornate or plain. But the ingenious designer has arranged them in such a manner that none of them obstructs the view of the pilgrim wishing to have a Darshana' (glimpse) of God. From any corner of the temple one can easily view the Lord's image. These innumerable pillars have given rise to the popular belief that there are about 1444 pillars in the temple.In the North of this temple, there is a Rayan tree (Mimusos laxandra) and the foot prints of Bhagavan Rishabhadev on a slab of marble. They remind us of the life and preaching of Bhagavan Risabhadev and of Shatrunjaya, the foremost among the places of Jain pilgrimage.

on one hand the temple has been made artistic with it's two upper storeys, on the other the designer has shown foresight in constructing some nine cellars in which the sacred images could be safely preserved in the event or a crisis. It is believed that there are many Jain images in these cellars. These cellars must be an additional streng and support to the entire structure and must have sustained it against the onslaught of time and the elements The Jain temples of Mount Abu are famous for the carvings, but the Ranakpur temple also is second to none in its delicate carvings. What attracts one most is its complexity and vast expanse of its structure. There is a popular saying among the people: The canings of Abu and the architecture of Ranakpur are unique". The eroding sweep of time and nature and wanton and mindless destruction by foreign invaders did much damage to this holy shrine. For a long time it wore a deserted look as pilgrims didn't find it safe to go to this secluded place infested with wild animals and dacoits.

Fortunately, in the Vikram Samvat 1953 (1897 A.D.), the hole congregation-Shri Sangha-of Sadri, handed over the administration of this shrine to sheth Anandji Kalyanji Trust (Pedhi). Soon after taking over charge the Pedhi' addressed itself to the primary task of providing amenities to pilgrims, and safety from the danger of wild animals. The authorities then launched an ambitious programme of renovating the temple. The renovation which had begun in the Vikram Year 1990 continued for eleven years and was accomplished in S. Y. 2001. The artists who set chisel to stone have lent such a delicate grace to this old structure that world-renowned architects and sculptors have lavishly praised it as one of the wonders of the world. This renovated shrine has once again attained its unique fame in the world of art and religion. Every year thousands of art-lovers and spiritual seekers from all over the world come to this idyllic place. They return amply rewarded. To meet the ever-increasing number of tourists, the Pedhi has constructed many new Dharmashalas (inns)'. Formerly there was just one old inn for the pilgrims. Now there are three new inns, which provide all modern amenities and comforts.

But the quintessence of this masterpiece is to be discerned in the fact that it was conceived as an image of the celestial Viman Nalinigulma and the materialisation of the image acquired an aura that makes the beholder feel transported to a dream-world, where he experiences the rare and divine magnificence of the heavenly Viman. If the sublimation of the mind and an experience of the bliss of the subtler and higher states of the consciousness is the purpose of art, the spirit of Art has undoubtedly been fulfilled in the Chaturmukha Temple.

 Shirdi Sai Baba Temple

The holy temple of Sai baba was built in 1922, in the Shirdi town of Maharashtra. Located about 296 kms from Mumbai, the small town of Shirdi has attained fame due to its association with Shri Sai Baba.

Spread in an area of 200 sq. Km, the shrine was made over the Samadhi of Sai Baba. Each day around 25,000 devotees come for Baba’s darshan and on festivals the figure comes into lakhs. Ramnavmi, Guru Purnima and Vijayadashami are the major festivals that are celebrated with great enthusiasm and passion. The principles of Sai Baba (like love, charity, forgiveness) are spread through the land of Shirdi, which has been made holy by the pure soul.

People also realised that this "Baba" was no ordinary person but a person with extraordinary godly powers. Such powers are not known or present in normal human beings. Baba preached his principle of love and faith in humanity to all his disciples. He always felt anguished over the fact that all those who came to him were more for their own personal problems and not for attaining the ultimate goal of reaching God which he felt could be attained only by true servicing of humanity.

Sai baba strongly believed in uniformity of religion and he never distinguished anyone on the basis of caste, creed or religion. He always made it a point not to return empty handed those who had come to him in their hour of need and grief. He performed miracles to alleviate the suffering of poor people. On one occasion he restored the eyes of a blind elderly and in another occasion he lighted a lantern with water when there was no oil to burn it.

As all good things have to end ultimately "Baba" also left his body on his own will on 15th Oct. 1918, leaving his millions of believers and followers crying. His body was laid in the Samadhi Mandir called "Booty", which he had asked his disciple to built before his death.

Sai Baba was Unique, in that, he lived his message through the Essence of his Being. His life and relationship with the common man was his teaching. The lmmense Energy that was manifest in the body of Sai was moving and is still moving in a mysterious way, creating and recreating itself everywhere, beyond the comprehension of time and space.Yet, he lived with the common folk as a penniless fakir, wearing a torn kafni, sleeping over a mat while resting his head on a brick, begging for his food. He radiated a mysterious smile and a deep inward look, of a peace that passeth all understanding. He was always and ever aware of what transpired within the hearts and minds of everyone, whether they be, His devotees or not. This Omnipresent and Omniscient Sri Sai Baba who left his mortal body in 1918, is the living spiritual force that is drawing people from all walks of life, from all parts of the world, into his fold, today.Sri Sai Baba lived, acted and behaved as only a "God descended on Earth" can. He came to serve mankind, to free them from the clutches of fear.

His most concise message for one and all alike was "Why fear when I am here". To take refuge in Sai, is to enter into ajourney to reach the Divine Oasis of Love and drink deep from the Fountain of Life, the source of all Spiritual Energy.Wherever the devotee is, Baba makes him recognize within himself his highest aspirations and goal and at one stroke, his conduct and the attitude to fellow beings is touched with the awareness of love, understanding, patience and faith. This is the promise that Sri Sai Baba holds out to all who come to Him. Sri Sai Baba was beyond the limitations of Time and Space and thus caste, creed, position dogmas and doctrines were fundamentally unimportant to him. Nobody really knew his parentage, where he came from or which religion he practised. He claimed no possessions nor accepted any disciples or gave any specific teaching.

This anonymity lent a strange facet to his interaction with the people who came to him for guidance. To the Hindus he was an orthodox Brahmin, with a sacred fire, enjoining the worship of many gods and the devout study of various Hindu scriptures. He lived in a mosque but always referred to it as "Dwarkamay!" (Lord Krishna's birth place is Dwaraka). To the Moslems he was a fakir living in a mosque observing the disciplines of Islam, uttering "Allah Malik" (God is the master) guiding Muslim seekers along the lines c)f their own religion. To the Parsis he was the sacred rire worshipper. His life was a living manifestation c)f the Sermon of the Christ and of the Eight-fold path of the Buddha.

Sai Baba's attraction and appeal lie in this fact that he was a perfect model of the harmony of all religions, for whom this world - with all its sectarian and religious antagonism, had been waiting. Sai Baba lived to awaken and lead mankind to the varities of spiritual life. He set in motion a wave of spirituality, which is now spreading all over the globe. All his life's activities constituted the upliftment of mankind. By first conferring temporal benefits, he drew unto himself countless souls caught up in ignorance (darkness) and opened their eyes to the true meaning of life. The miracles which manifested through Sai Baba were just such as were needed to create faith in the people and to make his devotees ethically and spiritually better evolved. Baba did not purposefully perform miracles to show his powers. The very strength of his perfect realisation, in its interaction with nature, caused "the miracle" to take place. Thus he drew people from their deluded pursuits after earthly objects of a transitory nature and induced and inspired them to strive for self-realisation. He continued this glorious work until the last moment of his human embodiment in Shirdi.

Amazingly, there are a phenomenally large number of Instances in which Sai Baba has been literally physically appearing before his devotees, even decades after his passing out of the physical body.Sai Baba is constantly and simultaneously proving that he Is alive in spirit and responds to our sincere prayers. He Is the One Spirit of all existence. which is God in all the forms of God, in all the saints, in all the men and in all the creatures.All those who sincerely take to a life of inner development, Sai Baba lifts him to a higher level. Every one derives benefit according to the ripeness o f his soul and in accordance with his inner yearning.Baba assured his devotees by his saying "I am at Shirdi and everywhere. Whatever you do, wherever you may be, ever bear this in mind, that I am always aware of everything". Sai Baba does not belong to any single tradition but to all mankind on the path of goodness, love and understanding