Narration of the event during samavasarana building

[Audio] Greetings, I ,Padmini would like to share my experience in being associated with one of the mega projects in our community. Shri 1008 Aadinath Tirthankara Samavasarana Jina Chaityalaya Hubballi. I will walk you through my journey from 2023 to 2025 in this magnificent project..

[Audio] It is a proud moment for me to hear the adjective "first of its kind" used for this project. It was never by design to have first of its kind content in the project; the focus was to be in line with Jain Literature. And thus ! The status of being first of its kind simply arose as a natural consequence.

[Audio] The number 11 holds special significance for this Jina Chaityalaya. The Bhoomi puja for the small Jina Chaityalaya took place on September 11, 2005. The Mahaveer Pratimaji was selected from Jaipur, Rajasthan, on October 11, 2005. The Panchakalyanka of Mahaveer Pratimaji was completed on November 21 (the 11th month) of 2005 in Kishangarh, Rajasthan. Following the construction of the building, regular (samuhik puja) group puja became a common practice outside the small garbhagudi (center of the temple). Community elders decided to construct a new Jina Chaityalaya in the available space to accommodate more members for ( samuhik Puja) group worship. The foundation stone for the new temple was laid on June 11, 2019, and the Panchakalyanka Mahamahostsav will be held on May 11, 2025. Thus, the number 11 is closely linked to the Jina Chaityalaya..

[Audio] My parents, Smt. Bhanu Navalgund and Shri S. B. Navalgund, selflessly dedicated all their resources – be it physical, mental, or material – with the sole intention of ensuring the new generation's comfort in pursuing their spiritual practices..

[Audio] The ground floor roofing was completed in the early hours to avoid potential rain disruptions. Elders from Varur, a village 17 km from Hubballi and the native place of my parents, visited the venue to show their support and offer suggestions based on their extensive experience. My parents have always advocated being active and never shying away from work, setting an example for the next generation through their hands-on actions. I was not actively involved during the civil work of the temple construction..

[Audio] The temple construction was halted due to Covid, and it took four years to resume. After a seven-month sabbatical, I returned to Karnataka, having served as an Indian Administrative Fellow Designate with the Department of Agriculture and Farmers Welfare, Government of Punjab. My time in Punjab allowed me to understand and appreciate the impact of my parents' work. During one of my regular visits to Hubballi, my father inquired about available visuals of the Samavasarana on the internet while we were discussing its importance. Exploring the readily available resources online, I became drawn to learning more about the Samavasarana. Inspired by what my father read from Adikavi Pampa's Adipurana, I began to imagine and sketch it using a word document. With my father's encouragement, I delved into Jain literature detailing the Samavasarana, frequently referencing Hindi and Kannada texts, as well as a book by Pandit Amanji Shastri..

[Audio] To gain a detailed, on-the-ground understanding of how the Samavasarana appears compared to Jain literature, I searched for images of Samavasaranas, including the closest one located at the Bangalore Balepet Shri Adinath Jain Temple..

[Audio] The engineering mind started its job when the first autocad design images came in for confirmation of the design. Though these autocad designs were for the veedi of the first floor temple but it helped me to do a remote review and communicate. To inform the necessary changes over call to tell the left and right side of the vedi was confusing that is when I started to document the changes in word, Since I was trained only in English typing, I relied on an online translation tool to type in Hindi..

[Audio] After studying the theory, my husband, Sudheer Kurakure, and I began to deliberate on how we should proceed. I felt that creating a 3D model would provide a better sense of how it would look. Subsequently, he started working on it and developed the 3D model based on the dimensions provided by Pandit Amanji Shastri from Delhi. While the skilled artists contributed their Samavasarana designs, we made it clear that our design would adhere to the reference books, and we required their expertise to develop the items accordingly..

[Audio] The initial 3D model images were shared with the expert team at Makarana for their review and feedback. It was then that we identified some discrepancies in the diameter of certain Bhoomis as indicated in the diagram. We engaged in extensive discussions to reach a consensus regarding these deviations. Due to the artist having already created the wall material for the Bhoomi in Makarana marble, slight variations in the layout were present..

[Audio] As work began on the walls of each Bhoomi in the Samavasarana, we started detailing the specific items for each level. For reference, we used the items from the Bangalore Balepet temple, but for most elements, we relied on 3D paint tools to create the designs. From this point on, our temple visits became focused on closely observing each item's details, ensuring we could incorporate the finest aspects into the Samavasarana. If you look at the images, you'll notice they are composites—stitched together from various photographs—since we couldn't find a single image that captured all the necessary details. I felt it would be valuable to document the items of each Bhoomi, both for myself and for others, as a reference during the installation process in Hubballi. One of the highlights for me was designing the Chaitya Vriksha and Kalpa Vriksha, as these needed to be both visualized and conceptualized from scratch. We deliberated on how the base for the Arihant Pratimaji should be placed on the Chaitya Vriksha, including considerations of its length and proportions. There are ten Kalpavrikshas, and once I understood their significance, I designed them using images as inspiration. I truly appreciate the artists who have so skillfully replicated these designs in marble, faithfully reflecting the original images..

[Audio] Once the designs were shared, my father suggested that it would be worthwhile to visit and have a face-to-face discussion. So, we visited Makrana to see how it would look on the ground. Kadirji had set up the Samavasarana walls in the open space on top of his workshop for us to visualize the setup. I had a hard copy of the item details with me. In consultation with the experts, the dimensions and the number of items in each sector were discussed and finalized..

[Audio] Experts in each domain regularly visited to fine-tune requirements and monitor the development on the ground..

[Audio] I was not always able to participate in the onsite reviews. During this period, my brother, Col. Pradeep Navalgund, was transferred from Chennai to Sagar, M.P. This proved to be a boon for the project, as he could visit the site and help resolve issues as they arose. My husband joined him for review discussions in Makrana. To facilitate their understanding, the topics to be observed were documented in English. During their onsite visits, I joined remotely via video call to observe the proceedings. After each visit, my brother summarized the clarifications and finalized the requirements in consensus with the artists..

[Audio] "There were corrections in dimensions, shifting from what was discussed to what needed to be changed. All these revisions were documented in English to ensure better understanding for the reviewers. Each page contained requests from me, so I highlighted those requiring mandatory attention..

[Audio] Many online reviews happened as progress was gaining momentum.

[Audio] The scope of the Makrana artists was limited to the marble work for the Bhoomi, Gandhakuti, and the items of the seven Bhoomis. The 12 shabhas, which needed to be populated with respective devas, devis, humans, and animals, required input from other specialists. Consequently, documentation for this phase had to commence. The size of the items was approximated since I could not provide exact measurements. Meanwhile, at Hubballi, the ground floor of the temple was under development..

[Audio] My father wanted to get a feel of how big the samavasarana will look, so with help of Our chief engineer Shri A S Patil sir, we started to draw the each Bhoomi with chalk powder, there were great learning with his on ground execution. His accuracy for the dimension inspired me. This on ground marking helped to lay the electric connection lines below the 6 inch flooring. First the base flooring and then the diameter of samavasarana was done. To give the feel of sky effect the optic fiber laying out on the ceiling was undertaken by Bharath padesur..

[Audio] My father had been studying the specifics of samavasarana alongside fellow sadharmis when he brought up the simha peeta – an element entirely absent from my initial plan. I swiftly modified the design and instructed Makarana's artisans to craft an additional simha peeta featuring a prominently visible simha. Finally the day arrived when the items arrived from Makarana to Hubballi. At Makarana, the skilled labourers could load the items quickly, but at Hubballi we had to scout for the skilled resource for handling the delicate marble items. The progress of installation was continuous. During the subsequent visual inspection of the Gandhkuti, we observed that the tree trunk appeared disproportionately long, while the lotus peeta seemed lower in height. To verify this, we installed the Pratimaji and carefully evaluated its placement. After thorough assessment, we concluded that the height would be perfectly balanced once the chatra was positioned in place..

[Audio] The most remarkable phase of this sacred endeavor was installing the crowning element – the Vata Vriksha (the sacred tree under which Lord Adinath attained Kevalgyan and became Arihant Paramesti). Carved from a solid stone block with intricate leaf detailing, this monumental piece posed a logistical challenge due to its immense weight. To overcome this, we strategically employed a crane to hoist and position it through the temple's window grills, which had been pre-installed within the four walls. The moment the Vata Vriksha triumphantly entered the hall through the grills, marked a breathtaking milestone, merging engineering ingenuity with spiritual symbolism – a spectacle worthy of awe and reverence..

[Audio] The installation of the samavasarana walls (Kot and Veedi) was closely supervised on site by my father. The next pivotal decision came with the installation of the manasthamba. We realized that the original height of the manasthamba would obscure the main Jina bimba beneath the vatavriksha, prompting us to consider two options: either elevate the Jina bimba or reduce the height of the manasthamba. After careful deliberation, we collectively decided to lower the height of the manasthamba. Our revered temple Panditji, Shri Bhahubali Upadyayaji, was saddened that such a beautifully carved section of marble would be left out from the manasthamba..

[Audio] With all the groundwork completed, it was time to place the items in their designated sectors and Bhoomis. Our team took on the challenge of finishing this task within a few hours, as I had a return ticket to Bangalore scheduled. The heavy marble pieces for the 1st to 3rd Bhoomi were handled by the strongest members of our team, while I guided the placement of each item according to its respective Bhoomi and directional requirements—for example, ensuring the Ashoka Vriksha was positioned in the Upavana Bhoomi, starting from the east. I was also responsible for arranging the Baraha Sabha in the Sri Mandapa. Fitting all the items into respective sector with limited space to stand was both challenging and rewarding, as it ultimately led to the successful completion of the installation..

[Audio] The flags in the Dhwaja Bhoomi could not be carved with the intended ten symbolic elements, necessitating painted designs instead. While I was preoccupied with my MS project thesis, I had temporarily set aside plans for the flag paintings. The pristine white marble structures held such unique beauty that I initially preferred to preserve their appearance. However, to clearly distinguish the ten distinct Kalpa Vrkshas (wish-fulfilling trees), it became essential to incorporate visual identifiers. A single Bhoomi with colorful elements would have disrupted the aesthetic harmony, so proceeded to have the paintings executed systematically across all relevant sections to ensure clarity and coherence..

[Audio] The Veedi structures also required painting, prompting me to urgently research existing designs to ensure a harmonious blend of traditional motifs and contemporary techniques. With only two weekends available in Hubballi to oversee the work, I provided guidance and entrusted the remaining execution to the committee, allowing them to finalize the paintings according to their interpretations.

[Audio] The painting artist belonged to distinct groups than the marble artists, but I used the same method of documenting the inputs and feedbacks.

[Audio] The unique sound and light effects for the Samavasarana had to be designed within a tight one-month timeframe as the deadline approached. Finalizing the color scheme for each Bhoomi was critical, as these decisions needed to be locked in before the electrical team could install the required equipment..

[Audio] The development of the audio script for the Samavasarana has been an ongoing process since May 2024. My brother initiated the effort by creating the first draft, which underwent six revisions to achieve the ideal duration and content. My father, being a perfectionist, prioritized precise terminology, which led us to entrust him with scripting responsibilities. He dedicated two months (January 2025) to crafting the script while simultaneously managing travel to invite guests for the Panchakalyanka Mahotsava. The meticulous refinement of the Kannada and Hindi scripts required an additional two weeks of focused effort. His finalized version was reviewed during a train journey back to Hubballi, marking the completion of this critical phase. The meticulous tuning of the Kannada and Hindi scripts required two weeks of intensive work, culminating in his final review during a train journey back to Hubballi. The audio recording process was equally demanding—my brother and father spent two full days in the studio to complete the Kannada and Hindi versions. This project has significantly deepened our understanding of cutting-edge audio technology and script synchronization, while preserving the spiritual and cultural essence of the Samavasarana..

[Audio] This is the from drawing board to on ground the samavasarana items..

[Audio] As the artists in Makarana meticulously shaped each item, I recognized the importance of documenting every element across the Bhoomis, including precise dimensions, for both archival purposes and future replication in alignment with Jain literature. To ensure accessibility, we created a Kannada version of this detailed record alongside the Hindi document, enabling local artisans to reference the specifications with ease..

[Audio] A Kannada version of the document, mirroring the Hindi version, was created to facilitate local reference..

[Audio] Few moments which are close to me.. GLIMPSES OF ACTIVITIES.

[Audio] In the corporate world, we conduct lessons learned and best practice sessions. I felt I should also put that on paper, both for my own record and for others' future reference. Over the phone call as well sometimes the requirements were not getting cleared . Although I am fluent in Hindi, having studied in Delhi when my father was associated with the Special Protection Group for Prime Minister's security, I observed that the artists better understood measurements in their local language rather than formal literary Hindi. So I felt that documenting was essential to get the clarity. Regarding consistency in wording, while drafting the audio recording script, I had used both "Shri Rishabhanatha Thirthankara" and "Shri Aadinatha Thirthankara" in different instances. My father pointed out the need for uniformity, so I ensured consistent usage. The engineering aspects, based on books, were reviewed by experienced artists, whose wisdom helped integrate theoretical knowledge with practical insights. This project not only prompted me to read extensively but also encouraged iterative reviews as questions arose Given our deadlines for item completion in Makarana, I created a backlog report with follow-up dates to monitor progress. While this worked effectively in some cases, in others, completion seemed subject to its own timing. We had instant consultation calls with Pandit Amanji Shastri, a faculty member at the renowned PTST Jaipur Institute. He prioritized our calls and provided numerous PPT reviews This project has empowered me to take calculated risks and remain adaptable to course corrections. Managing unfamiliar domains is no longer daunting. My negotiation skills are now much more refined, and I approach problem-solving with composure rather than panic. My self-confidence has increased tenfold..

[Audio] Beyond the mentioned photos in the acknowledgement, I am privileged to get timely support and encouragement from the temple committee and many members of the family, society, community who have helped me navigate this project. I wish to place on records my sincere thanks to Shri Rameshji Bhandari Uncel from Bangalore who has been available for me to share my dilemma situation and seek his timely inputs. I am privileged to get timely support from every one.

[Audio] Naari Shakti: My mother's unwavering support was a cornerstone of this construction journey. As my father faced numerous obstacles in realizing his dream, she stood by him, providing moral strength and facilitating progress step by step towards completion..

[Audio] She firmly believes that hard work always pays off, so she encourages putting your body to work for a healthy life..

[Audio] As the temple's visionary, I believe it is important to formally introduce my father to everyone, so that they may know who he is, offer him suggestions, or consult with him on relevant matters..

[Audio] He had the honor of being associated with four Indian Prime Ministers and possessed a wealth of anecdotes from his experiences with each. His observations regarding their management skills are truly commendable.

[Audio] He inspired us to discover our potential through his own actions and involvement in numerous activities. My parents consider cleanliness of utmost importance. This was reflected in the fact that he received the annual best-kept quarters award for multiple consecutive years..

[Audio] These accolades are cherished memories that are forever captured in our home..

[Audio] He cherishes the accolades he earned through his hard work during his time at the SPG..

[Audio] He's got a certificate collection that's legendary – We're just trying to fill our own file folders..

[Audio] Chief ministers gold medal was another moment for celebration.

[Audio] Teaching is his passion! He believes it solidifies his own understanding, so he's always eager to share his wisdom with others..

[Audio] Accolades continued to pour in until his retirement..

[Audio] We invite everyone to visit the 1008 Aadinath Thirtankar Samavasarana Temple in Hubballi and enrich themselves with its wisdom. Jai Jinendra..