The Ajmer Jain sanctuary called Soniji Ki Nasiyan

Rajasthani Tadka
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Jain sanctuary of The Ajmer :

The Ajmer Jain sanctuary, otherwise called Soniji Ki Nasiyan, is a structurally rich Jain sanctuary. It was worked in the late nineteenth century. The fundamental chamber, known as the Swarna Nagari “City of Gold”, has a few gold-plated wooden figures, portraying a few figures in the Jain religion. This brilliant assembly of the sanctuary utilizes 1000 kg of gold to cut out the portrayal of Ayodhya.

Kurt Titze, in his book, “Jainism: A Pictorial Manual for the Religion of Peacefulness” (1998, p. 143), composes on Soniji Ki Nasiyan

“Ajmer’s principle fascination is – for the Jainas – the noticeably arranged Nasiayan Digambara Sanctuary, or rather the two-storied Svarana Nagara Lobby behind the sanctuary, otherwise called the Exhibition hall. Both the sanctuary and the exhibition hall were manufactured are as yet possessed by the Soni group of Ajmer. The sanctuary, committed to Rishabha or Adinatha in 1865, was built of red sandstone in a matter of a couple of years, however it took a quarter century, from 1870 to 1895, to mold – by craftsmen at Jaipur – the huge number of individual parts required to gather a three-dimensional imitation of the account of Rishabha as per an old original copy by Acharya Jinasena.

The idea to have such a three-dimensional model for instructive purposes jumped out at Seth Moolchand Soni, who was conceived in 1830, simply after the fulfillment of the sanctuary. His demise in 1891 kept him from seeing his aggressive work in its completed state.

In numerous Jaina sanctuaries, one sees painted or metaphorical portrayals of the ‘five propitious occasions’ (Pancha-kayak) in the life of each Tirthankara: origination, birth, renunciation, edification, and salvation (moksha or nirvana). The one at Ajmer, presently over a hundred years of age, is by a long shot the biggest and most masterful plastic portrayal of that much-adored fanciful story. An uncommonly planned lobby of 24.3 m by 12.2 m must be worked to show it viable. It is available to guests of all religions consistently all the all year for an extremely little passage charge.”

History

Delineation of Ayodhya :

Extraordinarily worshipped by the Digambar group of the Jains, the Nasiyan sanctuary is devoted to Ruler Rishabhdev, first of the 24 Tirthankara by Rai Bahadur Seth Moolchand and Nemichand Soni. It is arranged on Prithvi Raj Marg in Ajmer, the core of Rajasthan state in India. The establishment of this brilliant Jain sanctuary was laid on 10 October 1864 and the picture of the first Tirthankar Ruler Rishabhdev (Adinath), was introduced in the Sanctum Sanctorum on 26 May 1865. This work was done under the capable direction of the incredible researcher Pandit Sadasukhdasji of Jaipur.

The name of the sanctuary is Siddhkoot Chaityalaya. It is otherwise called ‘Red Sanctuary’ as it is worked of red sandstone or ‘Nasiyan of Seth Moolchand Soni’ meaning the originator’s name. After the Svarna Nagri was added to the sanctuary in 1895 A.D. it prevalently started to be called as ‘Sone ka Mandir’ or ‘Soni Mandir’ stressing the brilliant structure just as the family name. The corridors of this sanctuary are embellished with an intriguing arrangement of huge, overlaid wooden figures and fragile works of art that show scenes from Jain scriptures.

Fundamental Sanctuary :

The passageway door of the sanctuary is made of red sandstone brought from Karauli. Before the portal is the marble staircase, prompting the fundamental sanctuary, which is decorated with the pictures of the Tirthankars.

Vedi’s

The focal picture is of Master Rishabhdev situated in the “Samavasarana” – in which He gives genuine information to the enduring mankind, with the goal that they get freed from the snares of life and passing. In the year 2005, the 3 Vedi’s were redesigned and every one of the symbols of Tirthankaras was re-introduced in the midst of religious customs and services. In this bit, just Jains are permitted to play out their religious customs.

Shantinath statue

54 feet Shantinatha statue is being worked here. This statue will be the biggest Shanti Nath statue in the world.

Manastambha

On entering this chronicled sanctuary one gets the perspective on the perfectly and imaginatively structured 82 feet high Manastambha. R. B. Seth Tikamchand Soni established the framework and R. B. Seth Sir Bhagchand Soni constructed this Manastambha. He, alongside his children Prabhachand, Nirmal Chand and Sushilchand sanctified and introduced the pictures of the Jain Tirthankars in it. A major capacity was held for ten days in June 1953, where alongside the individuals from the Soni family, a huge number of others took an interest.

Library

In the year 1974, in the favorable nearness of 108 Acharya Vidyasagar Maharaj, a major library was set up by R.B. Seth Sir Bhagchand Soni. The library houses uncommon Jain sacred texts which are widely utilized for research by researchers.

Guests

The sanctuary is being visited by numerous voyagers every year. Recognized Guests incorporate India’s first President Dr. Rajendra Prasad, PMs Jawaharlal Nehru, Indra Gandhi, Morarji Desai and Rajiv Gandhi, President General K.M.Kariappa. Pre autonomy the Emissary and Vicereine of India Master and Woman Irwin and Woman Willingdon additionally visited. [6]

Svarna Nagri :

It came to R.B. Seth Moolchand Soni’s mind that 5 Kalyanakas of Ruler Rishabhdev could be shown in models. As needs are, the work began in Jaipur and it took 25 years to finish these reproductions of Ayodhya and Mount Sumeru. The entire structure, secured with gold leaf, is made by the portrayals contained in Adi Purana composed by His Sacredness Shri Jina Sen Acharya.

On the finish, the models were shown in the Historical center Corridor in Jaipur. A major reason was commended for ten days in 1895 A.D which was gone to by H.H. Maharaja Madhosinghji of Jaipur. The models were from that point introduced in the working behind the Principle Sanctuary. This Corridor is luxuriously painted in variegated hues, and the dividers and roof are secured with glass mosaic work.

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