19세기 인도 자이나교 사원 건축의 변천과 그 원인: 샤뜨룬자야의 모띠샤 뚱크를 중심으로

Abstract

atruñjaya, located in Gujarat, India, is one of the most important pilgrimage sites for S´veta¯mbara Murtipuja¯k Jains, who comprise the majority of Jains in western India. The summit of S´atruñjaya hill is covered with more than 800 temples including the main temple dedicated to A´dis´vara, the first of 24 Jinas, or teachers, of Jainism. However, in spite of the alleged antiquity of the site, most of the temples were built only during the 19th century. This was contemporaneous with a series of court cases regarding the ownership of the site between the Jains and the Hindu rulers of the surrounding area. This paper examines the architecture and patronage of the 19th-century temples at S´atruñjaya, focusing on Motis´a¯h. T. unk, one of the latest temple complexes built at the site. Architecturally, the temples of Motis´a¯h. T. unk provide an exemplar of 19th-century Jain temple architecture. Compared with earlier Jain temples built in the Western Indian Style, or Maru-Gurjara Style, the large central courtyard, multiple subsidiary temples, powerful outer walls, as well as eclectic sculptural and decorative elements of Motis´a¯h. T.unk are indicative of significant changes within the Jain community. Motis´a¯h. T. unk was built by Motis´a¯h., a merchant from Bombay (Mumbai) who had gained an enormous amount of wealth from opium export during the early 19th century. While patronage of temples and religious events served as an established means of acquiring merit for Jain lay people, this also provided the patron with financial stability, or credit (sakh), among fellow merchants, which was crucial during the pre-modern era. This essay argues that the architecture of Motis´a¯h. T. unk represents the patrons’ desire to sustain the mode of traditional credit-building under British colonial rule. However, this did not stop the patrons from incorporating western or non-traditional architectural elements, which served to enhance the religious experience of the worshiper. This paper also explores the dichotomy in South Asian art history, which has consequently relegated the study of 19th-century religious monuments to a scholarly periphery. The colonially constructed (and later widely accepted) notion of India as an ancient, religious society that only became “modern”with its encounter with the West, has led to studies that focus either on pre-modern,“ traditional”art, or on the other hand, modern, “Western-style”art. As a result, Motis´a¯h. T. unk, a modern monument with a pre-modern function (as a religious structure) and traditional style, has remained in relative obscurity. Nevertheless, the acknowledgement of this dichotomy and its constructed nature are imperative to the understanding of the temples as well as their patrons who reconstructed a modern religious community during the 19th century in South Asia.