Bhagawan Parshwanath Digambar Jain Mandir

The famous Nagara Style of the temple entice tourists towards itself. Built around 10th 11th century during Chandela Dynasty. This temple reflects the spiritual depth of the artistic brilliance. A satvik food kitchen is also available where pure Jain food is served on appreciate charges. One can enjoy sitting by the temple boundaries all over the precinct.

Discover the vibrant Jain temple cluster in Khajurao, captured in 1885: from left to right, a small temple, the stunning Parshvanath temple with entrance, the majestic Adinath temple, two smaller temples with ruins and three columns, and envision the serene Shantinath temple, nestled out of view to the left

A quieter, more peaceful experience compared to the Western group, but equally captivating. These temples reflect the influence of Jain and Hindu traditions and are less crowded, allowing for a serene exploration. The Parsvanath and Adinath temples have finely detailed carvings and an air of spiritual tranquility. Ideal for those who enjoy both art and quiet contemplation.

Parshvanath Digambar Jain Temple in Khajuraho is a peaceful and holy place. The temple has beautiful old carvings and a calm atmosphere. It's a great spot to sit quietly, meditate, or pray. Jain rules like cleanliness, silence, and respect are followed here. Visitors are asked to remove leather items and keep the place clean. A must-visit for anyone looking for peace and spiritual vibes.

An architectural marvel from our glorious past. Surprisingly, carvings on the outer walls are still intact and one can spot a mythical creature SHARDUL in almost every column of the outer walls. The premise of the temple smell a bit due to trapped moisture. The temple authority must try to mitigate with room fresheners.

The largest and best preserved amongst the old jain temples of Khajuraho has individual features of plan and design. The temple is an example of sandhara architecture but not having the complimentary balconied windows, which, albeit is partially made up by the the latticed windows for diffused light in the ambulatory passage. Another feature of particular interest is the shrine attached to the back of sanctum. The temple shares the characteristics of the envolved Khajuraho style including the exquisite finish and grace of the sculptures. This temple was built during the middle of 10th century C.E.

Parswanatha Temple (c. 950-970 CE). This is the largest temple among the Jain group. The temple was built between 950 and 970 CE, in the time of King Dhangadeva. It has an inscription mentioning a certain Pahila, who was respected by Dhagadeva. This temple was dedicated to Adinatha, the first Tirthankara, however now it houses image of Parshvanatha which was installed in 1860 during some renovation work. The largest and the finest of the Jain temples, this was originally dedicated to Adinatha. Later a black image of Parswanatha was sanctified here. The temple is devoid of balconies and represents on its walls unique images like that of Parasurama, Balrama-Revati, Agni Swaha, Kama - Rati and a group of Rama, Sita and Hanuman. It bears similarity to the Lakshmana Temple in terms of the style of the surasundaris, the heart- shaped foliage on the basement, in modeling and treatment style of the sculptures, though architecturally, the Parswanatha Temple seems a little more advanced. It is the only temple with two vedicas (alters) - one in front and one at the back HISTORY AND INSCRIPTIONS King Dhanga was great ruler and builder. He annexed many new areas and expanded his territory. He made Chandella as powerful as the Pratihara and discarded tutelage to them and title himself maharadiraja. The two magnificent temples Vishwanath and Parshvanath were built during his period. He dedicated two Shiva Linga to this temple Vishwanath, one made of emerald and second of stone.

The Parsvanatha temple, originally dedicated to the first Tirthankara, is one of the finest monuments of Khajuraho and the largest among the local Jaina temples. It is oblong on plan with axial projections on the two ends; the projection on the east or front constitutes the entrance-porch, while that on the west comprises a shrine attached to the back of the sanctum. Although it is a sandhara temple, the transepts with the balconied windows, which are so characteristic of the developed Khajuraho style, are absent. The outer wall is solid and is embellished with three bands of graceful sculptures. The entrance-porch shows an ornate ceiling of coffered design with pendants, the central one being exquisitely embellished with chain and floral patterns, terminating is a pair of intertwined flying vidyadhara figures. The interior consists of a sanctum enclosed by ambulatory a vestibule and maha-mandapa provided with a doorway. The door-lintel of the maha-mandapa represents in the center a ten-armed image of yakshi Chakresvari riding on Garuda, while that of the sanctum shows Jinas. Despite its Jaina affilation, the Parsvanatha temple bears a significant kinship to the Lakshmana in displaying among its sculptures a predominance of Vaishnava themes which include Parasurama, Balarama with Revati, group of Rama, Sita and Hanuman and the Yamalarjuna episode of the Krishna-legend. The sculptures of this temple also approximate those of the Lakshmana in voluminous modeling, proportion and poise. This temple bears some of the loveliest surasundari figures. It is datable to circa A.D. 960. (Information from ASI)