Ranakpur Jain Temple




The Chaturmukha Jain temple of Ranakpur in the heart of the remote and enchanting valley of the Arvallis, bypassing the rivulet district Maghai and wrapped in the solitude of the surrounding forest, cradles, in solemn grandeur, the Chaturmukha Jain temple of Rishabhadeva. Place on a pedestal noble, the three-storey building in marble, for which the genius of the artist has inculcated exquisite artistic grace, and which his deep devotion has endowed with serene spiritual dignity is, in truth, a poem of stone. Majestic yet in complete harmony with the nature, whose beautiful lap it rests, this magnificent monument of architecture devotion seems bathed in the celestial beatitude. The hills around, overshadowed by its imposing bearing, seem to be absorbed in mute meditation, as if spell-bound. The concord have reached between opulent generosity of nature and the man the creative expression of gratitude, unique is symbolized in this divine creation. In behold this sanctuary of its spectacular sublime settingis of edifying experience instant of the soul.
Rajasthan is famous for its rich and prolific artistic treasures. Some of its architectural monuments are considered among the best in the world. The Ranakpur Jain temple excels as a exquisite work of art and architecture. There are a number of beautiful and finely carved sculptures in this sanctuary that defy comparison. The temple is an eloquent testimony of India the cultural heritage of humanity and its unique architecture and of the vision and foresight of its past master artists.
This temple is the regulator of the vision and efforts of four large and devout of asylum, they were Acharya Somasundatsuri Dharanashah, the minister to Rana Kumbha Palace, Rana Kumbha Palace itself, and above all, the DEPA architecture or Depaa, the architect who has made the realization of the dream possible.
Acharya Somasundarsuriji was a magnetic personality who lived in the fifteenth century of Vikram Era. Shreshti Dharanashah belonged to the village Nadia Ranaipu near here, he had migrated to Malgadh. His fathers name was Kurpal and Kamalde was his mother. He had an elder brother named Ratanashah. They descend from the illustrious Portugal (Authentic in clan. Dharanashnh is between in contact with Acharya somasundarsumi which breathes a strong spiritual impulse in his heart. At the age of thirty-two, when he visited Shatrunjaya Hills, the first of all the places of pilgrimage Jain, 
Dharanashah tonk austere of the vow of education celebacy. Shoulder by his intellect sharp, a keen the administrative power and an innate ability to lead and to govern, it is past to the position of a Porwal Rana Kumbha Palace. a moment beni Dharanahah felt that the spontaneous demand to build a temple of the Lord Risabihadeva, he has 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 regarded as the most beautiful among the celetal slices. Dharanashah has decided that the temple must look like this heavenly Viman he invited many renowned artists and sculptors they transmitted its plans and drawings, but none has been able even remote capture of the minister dream image. last a sculptor named Depak of Mundara has submitted a plan, which simply delighted the heart of Dharanashah. It has been deeply impressed. 
Depak was a carefree type of an artist and preferred poverty of servility. He set very high value of its s. It has been deeply affected by the personality transparent and devoutness of Dhararashah. He has promised to create a temple, which would give concrete form to the ministers dream. And therefore, a rare convergence of art and devotion has been carried out by the two visionarie. Dharanashah approach Rana Kumbha Palace with a request to give some of its land for the construction of the temple. The king not only gave the land but advised Dharanashah to build a township also in the vicinity of the site. The site of the former Madgi village in the valley of the Mont Madri has been selected for the effect. The construction of the temple and the township commenced simultaneously. 
The town was named Rampur after the name of the king Rana Kumbha Palace. 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, taking account of its progress old age and failing health, has decided to install the idol of Principal deity without much loss of time. In the year 1496 of the Vikram era, after the completion of the temple, the idols have been solemnly installed by Acharya Somalsundarsunii. Finally, a hard work and the dedication of the 50 past few years have led the minister dream down on the earth, in the form of a beautiful temple. an image of the Viman of gods. One cannot but feel admiration and respect for the ingenuity and the crafts of this talented artist. 
According to a legend, approximately ninety-nine rupees of rupees have been spent for the construction of the temple. It is estimated that the master builder Depa had put the devotion of his boss Seth Dharanashah to test by making him offer seven precious metals, pearls, stones rich, musk and other fragrant substances while laying the foundations. In spite of the complexity, the immensity and the nobility of the temple, the architectural balance and symmetry are not the least affected. The artist sculptures scattered as precious jewels, the countless ornaments Toranas" or "daisy chain" with minute and delicate sculptures, the countless noble and elegant pillars and a large number of Shikharas, (arrows) which are a single model on the face of the heaven of all these works of art spiritual, that we are approaching, become alive and make the spectator insensitive to all, but a feeling of ecstasy, as if affected by the sublime of Divine Bliss the temple has four entries artistic.In the main bedroom or Gabhara (sanctum sanctorum) of the temple there are four huge white marble images Bhagvan Adinath, these four images, which are approximately 72 inches in height, have been installed in front of the four different directions. In the shrines on the second and third floors are also devoted four identical Jain images. It is because of these four imaages read carefully together in this temple, as it is popularly known as Chaturmukh Jain temple addition Chaturmukh Prasad this temple is also known as Dharan Vihar, Trailokya Deepak Prasad or Tribhuvan Vihar. Dhahran Vihar is an appropriate name, because it was built by Shreshthi 
Dharanashah. It is like a light propagates the radiance in all three your (areas) so it could be rightly called Trailokya Deepak Prasad or Tribhuvan Vihar. All these various names speak of his greater glory.In addition, sixty-six small bombs sanctuaries, four Rangamandapas (assembly halls), four Mahadhar Prasads (main sanctuaries) located in the four directions, a number of large and small Devakuikas (subsidiary shrines) -in all 84 in number stand beautify the temple, the soliciting and inspiring man to strive to emancipation of cycles of 84 rupees of birth and death and attain eternal salvation. The four ornate Meghanada-mandapas are unique in their statuesque beauty. The forty feet high pillars hung with delicate sculptures, the artistic Toranas" or garlands suspended like ornaments adorned with precious stones and the magnificent dome with its finely sculpted handle simply keep our eyes on them. It feels as if the very heart of the stone has not been spared by the artist of burin. The radiant images of goddesses in the dome hold the beholders fate linked, with their hearts athrill with expectancy. Judging by Meghanada mandapa alone, one cannot but feel that the creator must have been much more than a great artist in effect a weaver, of dreamsby looking at the image of the Lord of Meghanada mandapa, realizes how insignificant and imperfect is really a before his infinite creator inspiring to the increase above the false pride and ego and to become aware of the true place in the divine plan of things, while entering in the West Meghanada mandapa is seen on the left pillar, the carved images of Dharanashah and Depak opposite the lard. They also seem to recall the man of his humble position before God. How could we not bow down in reverence before these two great soul the minister for its artistic devotion and the artist for his devotion s. The domes and the ceiling of this temple are replete with countless sculptures of famous incidents of the past. The artists have given their life and movement with the magic touch of their scissors. While trying to understand their language mute, the spectator becomes forgetful of time and space, you will marvel at the manufacture. The stone slabs depicting sahasrafana (a cobra with thousand covers) Parshwanath and sahasrakuta are equally impressive.
The most remarkable 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. Regardless of the direction in which we could turn the eyes respond to pillars pillars and large, small, wide, narrow, ornate or plain. But the ingenious designer has organized in such a way that none of them blocks the view of the pilgrim wishing to have a technology" (preview) of God. From any corner of the temple, one can easily visualize the Lord's image. These innumerable pillars have given rise to the popular belief, there are approximately 1444 pillars in the temple.in the north of this temple, there is a tree view Rayan bus company (Mimusos laxandra) and the fingerprints of Bhagavan (Rishabhadev on a slab of marble. They remind us of the life and the preaching of Bhagavan (Risabhadev and Shatrunjaya Hills, the first of the places of pilgrimage Jain.
On the one hand, the temple has been artistic rendering with its two upper floors and, on the other hand, the designer has shown foresight in constructing nine cellars or sacred images could be retained in the case or a crisis. It is estimated that there are many Jain images in these cellars. These cellars must be a further strengthening and of the support of the whole of the structure and must be supported against the assaults of time and the elements of the Jain temples of Mount Abu are famous for sculptures, but the Ranakpur temple is also second to none of its delicate sculptures. What attracts a more is its complexity and the vast extent of its structure. There is a popular saying among the people: the stick are practice of Abu and the architecture of Ranakpur are unique".  The erosion the sweep of time and nature and blind and senseless destruction by foreign invaders did much damage of this sanctuary. At the time, he was wearing a desert watch as pilgrims did not find that this was not safe to go to this isolated place infested with wild animals and dacoits.
Ranakpur fortunately, in the Vikram Samvat 1953 (1897 A.D. ), the hole congregation of Shri Sangha of  Sadri Khiari, handed over the administration of this shrine of Seth Kalyanji Anandji Trust (Pedhi).  Shortly after the support of the Pedhi" address itself to the main task to provide equipment for pilgrims, and of the security of the danger of wild animals. The authorities then launched an ambitious program of renovation of the temple. The renovation work, which had begun in the Vikram 1990, has continued for eleven years and has been carried out in S. Y. 2001. The artists who has defined a chisel to stone have prepared such a delicate grace to this old structure that of world-renowned architects and sculptors have generously leased as one of the wonders of the world. This sanctuary renovated has once again achieved its unique fame in the world of art and religion. Each year, thousands of art enthusiasts and spiritual asylum come from around the world for this idyllic place. They return amply rewarded. To respond to the constant increase in the number of tourists, the Pedhi has built many new Dharmashalas (DCI) ".  Previously, it was just an old hostel for pilgrims. There are now three new inns, which offer all the modern conveniences and the modern comfort.
But the quintessence of this masterpiece is to be discerned in the fact that it has been designed as an image of the heavenly Viman Nalinigulma and the materialization of the image acquired an aura that akes the spectator feels transported in a dream-world, or it is the experience of the rare and divine magnificence of the heavenly Viman. If the sublimation of the spirit and the experience of the bliss of he more subtle and higher states of consciousness is the purpose of art, the spirit of Art has without doubt been fulfilled in the Chaturmukha Temple.


Rajakpur, Pali district, Rajasthan - 306702
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Bikaner Jn (BKN)
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Dabo Airport
latitude : -8.431944444 longitude :147.843055600
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15th century
Seth Dharna Sah with the aid from Rana Kumbha
Dedicated To
Lord Adinatha

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  • The Chaturmukha Jain temple of Ranakpur in the heart of the remote and enchanting valley of the Arvallis, bypassing the rivulet district Maghai and wrapped in the solitude of the surrounding forest, cradles, in solemn grandeur, the Chaturmukha Jain temple of Rishabhadeva. Place on a pedestal noble, the three-storey building in marble, for which the genius of the artist has inculcated exquisite artistic grace, and which his deep devotion has end



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