Nestled in the heart of Old Delhi’s Dharampura locality, the Shri Digamber Jain Naya Mandir stands as a testament to the rich cultural tapestry that weaves through the historic streets of this vibrant city.
Raja Harsukh Rai, an imperial treasurer in the Mughal court during the late Mughal period, was an Agrawal Jain from Hisar in Haryana. He constructed this large and ornate Jain temple in the Dharampura locality of Old Delhi in 1807 CE during the rule of Mughal Emperor Akbar II at a cost of approximately 8 Lakh rupees, then an enormous amount. The area of Dharampura in Shajahanabad had been given to the Jain Community for their services to the Imperial Court since Aurangzeb’s reign. Jains were quite prominent in the Mughal empire, as they were the richest community and controlled most of the trade. There were numerous Jain Mandirs in the city at the time, but Harsukh Rai wanted this one to be different.
Harsukh Rai knew how and when to ask for extraordinary favours. When Akbar-II, son of Shah Alam-II became emperor in 1806, Harsukh Rai understood the political realities; that the power of Mughals was merely symbolic due to the rising influence of the British in India during that time.
He was able to obtain the royal permission to construct a towering shikhara for the temple, the first in the city of Shajahanabad, as previously this had not been permitted. This temple came to be known as Naya Mandir (or the new temple) because there was already a historic Jain temple called Lal Mandir that was built in 1656 CR.
When the temple construction was almost finished, Harsukh Rai stopped the construction. When the representatives of the Agrawal Jain community approached him and asked about it, he claimed that he has run out of money and needed donations from the community to finish the construction. After accepting modest donations, Harsukh Rai declared the temple to be panchayati (i.e. belonging to the community, rather than himself) and finished the construction.
During the festivities of temple consecration (Panch-kalyanak Pratishtha), the festive pandal was raided by a local group and the gold and silver objects (chhatra, chamar, utensils) were plundered. Harsukh Rai complained to the Emperor Akbar II, who ordered that they be returned.
Today the temple has one of the best preserved Mughal era interiors to be found anywhere in Delhi.
The Naya Mandir book archive includes a rare illustrated manuscript of Maha-purana of Acharya Jinasena. This manuscript dated to 1420 CE is a rare surviving example of Jain (and Indian) art in early 15th century.
It would seem this temple has remained relatively untouched in the 200+ years since its foundation. Referred to as the Jain temple of Delhi by several European visitors, their colourful accounts of visits here paint a vivid and still relevant account of just how special this place is.
The standout account by Augusta King (who wrote The Diary Of A Civilian’s Wife In India 1877-1882) describes the temple in 1884 as:
“The frontage: The Jain temple has a fine frontage of carved stone, carved so profusely in such delicate airy tracery that it is difficult to believe it is stone. We went up a flight of steps and came to a courtyard surrounded by what we call Moorish arches, with colonnades having groined roofs, every inch of which was painted elaborately with graceful arabesques, the effect being rich and soft in the extreme.”
“The decorations: On one side of the courtyard is the temple proper, on a raised dais four feet high. The building and decorations are exquisite; the shafts of all the arches are of polished white marble inlaid with flowing flowery patterns in coloured marbles. The walls and ceiling and every available inch are painted richly, the prevailing colours being blue and gold, but all so artistically blended that the eye only takes in the general effect, which is something like that of a Cashmere shawl.”
“The central shrine: In the centre, under the dome, is a very beautiful shrine for the idol, who is sitting serenely at a height of ten feet or so under a fine baldachino of white inlaid marble. If the whole could be transported to Italy, and a statue of the Virgin substituted for the idol, its beauty would be raved about. A sparrow was perched familiarly on the shrine, and gave us some little friendly chirps to show he did not object to our presence.”
What Augusta witnessed some 140 years ago remains as relevant today as it did back then. It is a classic example of the clout and privileges enjoyed by the wealthy and influential Jains in the Mughal administration.
The temple’s facade is a masterful display of carved stone, the precision of which defies belief, creating an illusion that challenges the very essence of its stony composition. As you venture forward, the transition into the courtyard unveils a captivating ensemble of architectural elements. Colonnades grace three sides of the space, adorned with Moorish arches—a distinctive design feature synonymous with the historical charm of Old Delhi.
The arches, fashioned from polished white marble, stand as pillars of artistic brilliance, meticulously inlaid with colored marbles, intricately arranged to form enchanting flowery patterns. The celestial dance of colors and shapes on the shafts of the arches transports visitors into a realm of aesthetic wonder. Above, the ceiling of the colonnades becomes a canvas for ornamental designs, where intertwined flowing lines create a mesmerizing tapestry. Every inch of the roof is a testament to the skillful strokes of blue and gold, lending the entire space a rich, yet soft, visual allure.
As you move towards the heart of the temple, the proper sanctum awaits on the fourth side of the courtyard, elevated on a tiered and raised marble platform known as vedi. The inlay work on this platform is a standalone piece of art, a testament to the meticulous craftsmanship of its creators. Here, devotees can experience darshan—a sacred glimpse—of Lord Adinatha, the first Tirthankar. The image of the deity, sculpted from Makrana marble, exudes divine tranquility as it sits gracefully on a symbolic flower beneath a marble canopy.
Flanking the vedi are two halls, each adding to the spiritual ambiance of the temple. On the left, another platform or vedi is adorned with idols representing the 1008 Tirthankaras, creating a divine congregation. Historians note that the original temple featured only one vedi. However, in the aftermath of the rebellion of 1857, a new vedi was added to accommodate and safeguard the sacred images rescued during that tumultuous period.
This architectural symphony within Naya Mandir not only reflects the artistic brilliance of its builders but also serves as a living testament to the temple’s resilience through historical challenges.
In the past, numerous Jain temples featured a discreet chamber, often referred to as bhonyra, designed to safeguard statues during turbulent periods by concealing them. The Naya Mandir, too, is said to house a concealed chamber, continuing the tradition of protecting sacred artifacts during challenging times. A visitor in 1876 described it:
“In Delhi I found a Jain temple which was wholly unknown to Europeans well acquainted with the city; and on prosecuting inquiry, I got its priest to open to me a concealed chamber containing large statues of several of the Tirthankaras richly ornamented. The chamber has now been given the form of a cave, suitable for peaceful meditation by visiting Jain monks.”
I was completely unaware of a potentially concealed chamber within the temple, and sadly none of the attending caretakers had any inclination to show me such a place if it exists. Maybe next time 🙂
The Shri Digambar Jain Naya Mandir welcomes visitors exclusively in the morning, unveiling a mystical ambiance as shadows gracefully dance through its intricately carved stones and arches. Even after two centuries since its construction, the atmosphere remains a testament to the envisioned tranquility of Raja Harsukh Rai, offering a space that exudes enduring peace and serenity.
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