This shrine is believed to have been established by Shri Bharat Chakravarthy, son of Shri Adinath Prabhu. It is said that when Bharat Chakravarthy intensely attracted by the discourses of Sri Adhishvar Prabhu after first resurrecting the shrine of Sri Siddhachalji, led a congregation of Jains on a pilgrimage, he stationed here for a while on the banks of river Brahmi (Saraswati) before departure. Sri Somyashkumar son of Sri Bahubali who accompanied him saw at that time in the forest round about this area several saints deeply engrossed in profound austerities. On enquiries, he was told that they were “Vidhyadhars” of Vetadhya Giri and that after hearing from Sri Dharnendra Dev (the Guardian Deity of Sri Parshwanath Bhagwan) about the significant of this forest adjacent to holy river Saraswati which cured all ailments, were practicing these austerities for self progress. He was further told that a Samosaran of the future 8th Tirthankar Sri Chandraprabhu Bhagwan will be set up here. Sri Somyashkumar related this information to his brother Bharat Chakravarthy who later, founded this city here and built this temple of Sri Chandraprabhu Bhagwan.There is reference available that thereafter Sagar Chakravathy, Chandrayasha, Chakradhar, king Dashrath, Pandavas, Hastinapur Raja etc., visited this place on a pilgrimage. In a composition entitled “Shatrunjay Mahatmya” (greatness and importance of Shatrunjay) by Sri Dhaneshvarsuriji in Vikram year 370, this shrine has been referred to. In earlier millenniums, the shrine was known as Devpatan, Patan, Somnath, Prabhas, Chandraprabhas etc., In the Jain Agama entitled “Brihat Kalpasutra”, this shrine has been referred to. When vallabhipur city was destroyed during invasions by non-aryans in 4th century, a reference is available stating that the idols of Goddess Ambadevi etc., installed in temples there came here flying through sky. This shrine has been referred to also in “Vividh Tirthkalp” by Sri Jinprabhsurishvarji composed in 14th Vikram century and in “ Sri Prabandh Chintamani” written by Sri Merutungsuriji composed in Vikram year 1361. It is stated that the king of Gujarat Sri Siddharaj Jaysinh, ministers Vastupal Tejpal, Pethadshah Samarshah and Shreshthi Sri Rajasi Sanghvi etc., visited this shrine on a pilgrimage. There is also a reference that on advice from Kalikal Sarvagna Sri Hemchandracharya, king Kumarpal built here several temples. It is stated that during the period of Mohamad Gazni and thereafter during muslim rule, this shrine was heavily damaged.As available inscription reveals that at the instance and in the benign presence of Sri Vijaysensuriji, disciple of Vijayhirsurishvarji, during the period between Posh Sukla 6 to Magh Sukla 6 in Vikram year 1666, five times the ceremonies of “Anjanshalaka” and consecration were performed. In Vikram year 1876 once again renovations to the temple were carried out at the advice of Sri VIjayjitendrasuriji. Again after renovations were carried out, on Magh Sukla 6 in Vikram year 2008, the shrine was ceremonially sanctified and consecrated at the hands of Acharya Sri Chandrasagarsuriji the chief disciple of Agmoddharak Acharya Dev Sri Anand Sagar Surihi. All this information makes the antiquity of this shrine self evident.In Vikram year 1264 Sri Devendrasuriji composed here “Sri Chandraprabh Charitra” of 5325 verses. In Vikram 14th century Sri Dharmaghoshsuriji composed a laudatory poem with full of incantations (Mantras) addressed a religious discourse here to senior Kapardi Yaksha of Sri Mount Shatrunjay.There are seven other temples nearby and in town there is one more. In the basement of this temple there is an Agam Mandir where all Agam written on copper plate are kept and in the temples nearby, there are idols of Dokaria Parshwanath and Sri Mallinath Bhagwan which are ancient, beautiful and miracle working.The sight of this temple located on the banks of river Saraswati in the town on a sea-shore is extremely pleasing. The temple art is mind captivating. The large seating and worshipping hall flanked by nine sanctums is superb and without parallel. The shrine being an ancient one, ancient art is visible even in local mosques. From several artistic creations appearing on the walls, sides and interior of mosques, it becomes evident that old temples may have been converted into mosques.