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Development of Concept: The Jain center of America in New York has constructed a new building for its temple and other religious activities. As a tribute to 24 Tirthankars, it is customary to make their idols and place them around Gabhärä - main place of worship in a temple. One wanted to install Shri Chovisi (24 idols of Tirthankaras) in the Bhamati area but due to lack of space this was not feasible. As thought process was evolving and the Jain Centre temple building blue prints were being finalized, one thought of making 24 idols out of gemstones and house them in “Ratna Mandir” which will need much smaller space. At this stage a preliminary design of the Ratna Mandir was drawn. While the idea of the Ratna Mandir was taking shape, one happened to visit a temple in Jaipur (India) & saw an Ashtäpad PAT; this was the turning point form “Ratna Mandir” concept into “Ashtäpad”.
Preliminary work resulted into visualization of the actual Ashtäpad: “Shri Ashtäpad Tirth is supposed to be situated in the tranquil region of the snow covered mountains of Himalayas and is open to the skies. It is known by several names such as Ratnamay - A palace made of gemstones and houses 24 idols of Tirthankars made of gemstones, Rajatädri - Rajat Adri or Silver Mountain; because Ashtäpad Mountain is snow covered and looks like silver, and Sfatikächal - Sfatik Achal: meaning a mountain of crystal. The above description helped us in defining the attributes of the model for Ashtäpad Tirth. To be able to replicate the real scenario,a mountain should be carved out of crystal stone (naturally available in transparent and translucent shades) that could provide the look and feel of the snow-covered mountain. Provide eight steps at the base and 24 niches (Gokhaläs) for Shri Chovisi in the center of the mountain that will fulfill the desire of “Ratna Mandir”. The whole structure would be assembled to appear as a mountain. Thus the idea of making a model of “Shri Ashtäpad” with “Ratna Mandir” Chovisi (24 Tirthankar idols) installed on the Ashtäpad Mountain was born.
Development of the Ashtapad design: Once the concept of Ashtäpad was firmed up, the next step was to develop a design of the model on the drawing board. It was important to identify all the constraints upfront because it is almost impossible to go back to make changes to a sculptured or carved product. Moreover precious material and months of craftsmanship work would be wasted if any constraints forced the change or necessitated discarding a particular model or part of it. Accordingly, a top down approach was adopted. The process began with assessment of available space for housing the final model, aesthetics and religious requirements and the process was carried on with required analysis to the material level.
Religious considerations - Shri Chovisi: Positioning of any religious object is determined by the religious guidelines laid out in the scriptures or as directed by the Acharyas. The original design of Ashtäpad was four sided, also called as Sarvatomukhi – Omni-directional. Space constraint forced us to make a unidirectional unit viewable only from the front. Now an architectural blueprint was developed to a scale based on the available space. Height and width of the mountain (Ht 13’.1” x W 14’.6” x D 5’.1”) were determined according to the space available in the conservatory. The idol positions were determined for a unidirectional unit in four horizontal rows, one above the other. Four Tirthankars are installed at upper level (numbers 3 to 6 /9” in ht), eight at the middle level (numbers 7 to 14/ 7” in ht) ten at the lower level (numbers 15 to 24/ 5” in ht) & two at the lowest level (number 1 and 2/ 11” in ht). Each gokhala has been carved with Asht Pratiharya design. Mountain has five shikhars with a kalash and a dhwaja.
Crystal & Gemstones: The rough crystal stone weighing 30 tons was imported. After processing & carving the final weight of the mountain is 7.5 tons. This will be supported on a 1.5 ton steel frame. Various colored gemstones were imported from all over the world and used to carve idols of different sizes. Each idol is a single piece as acquired and as found in nature. All stones are certified by the Gemological Lab. There are no joints and each stone is carved as per religious rules and measurements. One has tried to use the best quality gemstones. These idols will form the part of the final unit.
Ashtapad related stories: There are many stories related to Shri Ashtapad Maha Tirth. Most of these stories has been carved out of gemstones. Some are installed on mountain itself and others are displayed separately.
Collection of Literature: One have collected lot of material from scriptures & literature & put it together in XX volumes. This includes exhibits, seminars and research related topics. A master index and cross reference is available in a booklet format. All material is available on 2 DVDs. One is trying to put it on the web also.
Exhibitions and Seminar in Major Cities: The Ashtäpad Model and all 3 Chovisi (72 idols of Tirthankars) and other idols were exhibited to many major cities. This was done with the purpose so that many people can pay their respect to all the 3 Chovisi. This way one makes people aware of Ashtäpad Tirth. The sixteen Volumes of Ashtapad Literature and many other items were also exhibited. Making of Ashtapad and Kailash Mansarovar research trip video was very well received. We have already exhibited it at Mumbai, New York, Jaina at NJ, Los Angeles, Antwerp, Palitana, Surat, Ahmedabad, Jaipur, Delhi, and Kolkatta. A research oriented seminar was held at Ahmedabad & Mumbai. We will be having more exhibits and seminars.
Research: We have already undertaken three field trips to Kailash Mansarovar region to do preliminary research work. Satellite studies have helped us a lot in trying to locate the buried structure. We are trying to form an Ashtäpad Research International Foundation (ARIF) to coordinate the research work. It will be registered in India as well as overseas. ARIF will coordinate with Geological, Archeological, & other related departments of government of India & China. They will also approach various research institutes for help. A team of Geologists & Archeologists are involved. We will publicize the research work -This will create a lot of enthusiasm among the younger generations, professionals & research workers.
Conclusion: Shri Adinath era was dawn period of world civilization & if one can locate, it will tell us about early growth of human civilization. This will open a new chapter on world history and will become a potential source of information about religion and culture of that period.
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