Shri Digambar Jain Lal Mandir – New Delhi

Address

Shri Digambar Jain Lal Mandir , Chandni Chowk, Opposite Red Fort, Netaji Subhash Marg, New Delhi, Delhi 110006

Diety

Parshvanatha

Introduction

Shri Digambar Jain Lal Mandir (Śrī Digambar Jain Lāl Mandir) is the oldest and best-known Jain temple in Delhi, India. It is directly across from the Red Fort in the historical Chandni Chowk area. The temple is known for an avian veterinary hospital, called the Jain Birds Hospital, in a second building behind the main temple. Located just opposite the massive Red Fort at the intersection of Netaji Subhas Marg and Chandni Chowk, Digambar Jain Temple is the oldest Jain temple in the capital. According to Jain scholar Balbhadra Jain’s compendium of Digambar Jain shrines in India, it was built in 1656

Puranic Significance

Old Delhi was founded by Mughal Emperor Shah Jahan (1628–1658) who built what is commonly known as the old city or walled city, surrounded by a wall, with the main street Chandni Chowk in front of the Red Fort, the imperial residence. Shah Jahan invited several Agrawal Jain merchants to come and settle in the city and granted them some land south of the Chandani Chowk around Dariba Gali. According to Jain scholar Balbhadra Jain’s compendium of Digambar Jain shrines in India, the temple was constructed during the reign of the Mughal emperor Shah Jahan. Balbhadra Jain states that a Jain officer of the Mughal army is said to have kept a tirthankara statue in his tent for personal worship. The tent gradually started attracting other Jain army officers, and subsequently, a Jain temple was constructed at the site in 1656At that time, the temple was also known as “Urdu temple” (because it was located in an area called “Urdu Bazaar”) and “Lashkari Mandir” (laskhar means an army camp). Balbhadra Jain also mentions that there are several legends about the temple. One such legend claims that Shah Jahan’s successor Aurangzeb once ordered a ban on all musical instruments in the temple. However, miraculously, sounds of drums (nagadas) would be heard emanating from the temple despite inspections from the Mughal officers. Aurganzeb himself visited the temple to see the miracle, and finally, lifted the ban. The present-day temple buildings were constructed after the fall of the Mughal Empire, and date from 1878Balbhadra Jain states that one of the idols in the temple dates back to 1491, and was originally installed by Bhattaraka Jinachandra. The Agrawal Jain community acquired three marble idols installed by Jivaraj Papriwal under the supervision of Bhattaraka Jinachandra in Samvat 1548 (1491 AD) for the temple. The main icon is that of Tirthankara Parshva. It is said that the deities in temple were originally kept in a tent belonging to an Agrawal Jain officer of the Mughal army

Special Features

A manastambha column stands in front of the temple. The main devotional area of the temple is on the first floor. It is reached by ascending to the terrace after crossing the small courtyard of the temple, surrounded by a colonnade. There are a number of shrines in this area but the main shrine is of Lord Mahavira, the 24th and last Tirthankara of the present Avasarpani era (half time cycle of decreasing happiness as per Jain cosmology). Born in 599 BC in the ancient republic of Vaishali (Bihar) as a prince, he renounced all worldly pleasures and comforts and went in search of ‘Moksha’ (salvation). Soon he attained Kevala Jnana (Enlightenment), and spent the rest of his life preaching to the people all over the country about the eternal truth of life and ways to attain Moksha. Though some believe that he was the founder of Jainism but he was in a real sense the reformer of an existing faith who reorganized and presented the tenets of the religion in a form suitable to the period. The statue of Rishabhanatha, the first Tirthankara is also present here, along with the shrine of Lord Parshvanath, the immediate predecessor of Lord Mahavira. The temple is popular among the Jains. The place is very peaceful and the ambience is really soothing especially due to the shining of the gilded paintwork of the shrine area under the lights of butter lamps and candles.