Jaina Tirthas in India and Their Architecture

Author(s): Sarabhai Manilal Nawab
Publisher: Sarabhai Manilal Nawab
Catalog link: https://jainqq.org/explore/006717/1

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Jaina Tirthas In India And Their Architecture
Compiled by Sarabhai M. Nawab
MRAS (Lond)
Published by Sarabhai Manilal Nawab
Ahmedabad

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Sri Jaina Kala Sahitya Samsodhak Series 2 English Series V
JAINA TIRTHAS IN INDI AND THEIR ARCHITECTURE

Compiled by
Sarabhai Manilal Nawab, M. R. A. S. (London)
Published by
Sarabhai M. Nawab
Nagji Bhudhar's Pole in Mandvi's Pole Ahmedabad

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Copyright reserved by the Publisher
Can be had from Mr. Sarabhai Manilal Nawab, Nagji Bhudhar's Pole
in Mandvi's Pole, Ahmedabad.
This is the 150h copy of the first edition of 150 copies
Price Rupees Thirty-two
Printed by Bachubhai Rawat at Kumar Printery 1454, Raipur, Ahmedabad. Published by Sarabhai Manilal Nawab, Nagji Bhudar's Pole in Mandvi'. Pole Ahmedabad.
Sole agents : D. B. Tarapotevala Sons & Co. 210 Hornby Road Fort Bon.bay-1.

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Sheth Maneklal Chunilal Shah, J. P.

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Respectfully Dedicated
TO
SHETH MANEKLAL CHUNILAL SHAH, J. P.

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PUBLISHER'S PREFACE THIS publication forms the 2nd volume of the Sri Jaina Kalā
Sāhitya Samsodhak Series which I started in 1943. In this tenth year of my work in the field of literature I am laying before the English knowing public this my second literary work.
No amount of words can fully express my indebtedness to Sheth Maneklal Chunilal Shah, J. P., who fostered my literary activites from time to time and inspired me to bring out more and more attractive and good works. Most of my Gujarāti publications I have humbly dedicated to him, being urged by his good will towards me. Today I am dedicating to him this my second English literary work.
I have always cherished the desire, as mentioned by Jinavijayaji in his foreward, to publish ten volumes illustrating gems of Jaina architecture and sculptures lying in all the corners of India. But due to various reasons, chief among which are the dearness of everything in these days af war and the piling-up of the copies of my publications due the apathy of rich Jainas towards such an undertaking, I have decided to retire from the field of research after the publication of this brochure and to give up the scheme of the publication of the remaining volumes.
Besides as I accepted on 26-6-41 or V. S. 1997 Ashādha Su. 2 the responsible task of compiling a Jaina Directory wnich is to be started on behalf of the firm of Shrimān Seth Anandji Kalyanji, the only Institution representative of the Svetāmbara iconolate Jainas throughout the whole of India, my main activities in the near future would naturally be confined to that work. In connection with that work, I had to visit many cities and villages in the Punjāb, Sind, Cutch, Marwar and other states in the Rajputana. In the course of these visits I have come across such abundance of architectural remains as makes me believe that as long as we take no steps to conserve these architectural and sculptural gems scattered throughout the length and breadth of India, we are simply adding to the responsibilities of the posterity of the Jaina community by constructing new temples. The trustees of the above mentioned pedhi do wish to repair and conserve the (Jaina) temples in India. But the field of work is so vast and scattered that unless every Jaina does his utmost in every way to help the cause, it is impossible to execute it.

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JAINA TIRTHAS IN INDIA
This volume contains Jaina shrines, icons and sculptures from famous holy Jaina places like Satruñjaya, Girnar, Tārangā, Rāṇakpur, Talājā, Kadambagiri, Sametasikhara, Pavapuri, Lucknow, Calcutta, Kshatriyakunda, Rājagṛihi etc. I am greatly indebted to Shriman Anandji Kalyānji's Pedhi, the Young Men's Jaina Society, the Archaeological Survey of India, the State Archaeological Department of Baroda, Editor of the Jaina at Bhavanagar for giving me some of the photographs. My thanks are also due to the Kumar Printery and the Bharata Process Studio for the preparation of the Blocks. To the former my additional thanks are due for the fine printing of the Book work.
My cordial thanks are due to the famous Indologist Sri Jinavijayaji, who has always affectionately encouraged my literary activities, for the foreward he has written to this volume, and to Mr. Ravishankar Rawal who has penned the introduction to this volume in order to introduce lovers of art to it, so also to Mr. A. S. Gadre M. A. Director of Archaeological Deprt. of Baroda state for translating this work in English.
The illustrations in this volume include the images of the Tirthankaras, venerable to the Jainas, of presiding deities, and of holy Jaina monuments. The publisher himself is a Jaina. It is his earnest appeal to all not to use or reproduce these pictures for any purpose without his express permission.
Only one hundred fifty copies of this volume have been struck off, which means that the publisher would not be able to make any profit out of it. Still the volume has been published to enable devout Jainas to see their holy places in one book every morning and in order to give the lovers of art a glimpse into Jaina architecture. Hence I implore every purchaser not to keep it negligently anywhere or to be careless enough to throw it in any place.
Nagaji Bhudhar's Pol, Ahmedabad, 18-12-1944 V. S. 2001 Posa Su. 3.

SARABHAI MANILAL NAWAB

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FOREWORD IN the course of the last two thousand years many Jaina scholars, I devotees of Sarasvati, the goddess of learning, have made a distinct contribution enriching Indian literature by their works written on diverse subjects in many Indian languages like Sanskrit, Prākrit, Apabhrarsa and the like, and have in a peculiar manner incessantly helped to educate the people eager for knowledge. In the same way Jaina millionaires, worshippers of the goddess of Wealth, have constructed in many Indian regions, cities, villages, hills and forests, varieties of stūpas, pillars, temples, monasteries and other religious establishments and have thus left an abundance of architectural relics which form their unique contribution to the field of Indian Architecure and have spared no amount of money in erecting spacious structures which enshrined images for worship for the benefit of the pious Jaina congregation. Though the greater part of the Jaina architecture has been damaged in the course of the Ruthless Time and through the cruel foreign iconoclasts, what little remains of it at present is by itself even in its present form matchless. It is a difficult task to count these Jaina sculptures and monuments and to properly evaluate them. These architectural remains are a thousand times more valuable than the wealth possessed by all the Jainas in India. These Jaina architectural relics are a set of most precious ornaments of the Indian Arts, Culture and Opulence. They constitute a national heritage of the whole of India. It should be the earnest desire of not only the Jainas but of every Indian to study this rich architectural collection.
It is the practice in many occidental countries to publish guides and picture-albums introducing such architectural national heritage, printed with an attractive get-up. Such photo-albums are usually accompanished by descriptive labels. In India such attempts have been sporadic. It is true that illustrated descriptions of such monumental structures are given in books published on such subjects by the Archaeological Survey of India as also in its Annual Reports. Their prohibitive prices and unwieldy size have made them unserviceable to the layman. Many years ago a European Company had published an attractive photo-album about Mt. Shatrunjaya. I am not aware of a similar publication which might have appeared after it.

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JAINA TIRTHAS IN INDIA
From this point of view this publication of Mr. Sarabhai M. Nawab, whose unbounded enthusiasm and untiring exertions in the interest of Jaina Architecture, Painting and Sculpture are well-known, deserves the patronage of all. Mr. Nawab has made a name among the learned by his recent publication entitled Jaina Chitra-kalpadruma through which he has placed before the connoisseurs priceless Jaina paintings which lay hidden in the Jaina libraries or Jñanabhandāras and rendered a laudable service to the Jaina community as a whole. Unique is the zeal and gigantic are the endeavours of Sarabhai. He has been cherishing a desire to bring to light every Jaina shrine and sculpture lying scattered all over India. Indeed this task is beyound the power of an individual who has not got means to achieve it. I congratulate Mr. Nawab on this attempt of his to publish this small brochure at present in pursuance of the axiom 'Subhe yathā-sakti yatanīyam'- (One should exert one's utmost to achieve the auspicious.)
-JINAVIJAYA.

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INTRODUCTION CHE publisher of this volume has indeed rendered an inestimable 1 service to Gujarāt by presenting his collection of the photographs of the Jaina tīrthas and their architecure. His work entitled the Jaina Chitrakalpadruma; which containes photographs from the illustrated manuscripts of the Kalpasūtra and other Jain religious works, has already aquainted us with the patronage given to Fine Arts by the followers of Jainism from times immemorial. Architectural relics, however, by dint of the more durable nature of their material, can be traced to more antique times than paintings.
It is a well-known fact that the Jaina Art of fashioning images is almost conterminous with the Buddhist art. Thus Jaina icons were fashioned in all periods and in all the schools of Indian sculpture.
No one has succeeded in giving a continious history of Indian iconography and architecture every since their inception. But from the descriptions of deities found in the ancient Vedic literature it can be said that icons of those deities did exist in the Vedic period. The images of Indra, Ambikā and other deities have continued even upto the modern times and it makes it possible that sculptors of older Vedic tradition did exist when the Jainas and the Buddhists found it necessary to make images and statues of their deities, Buddhas, Bodhisattvas, Tirthankaras, Yakshas and Yakshinis.
The sculptors of the stones age had erected stones with strange figures in memory of their heroes and forefathers. And it is quite possible that this example may have inspired the erection of pillars near temples in later civilized days. At the same time certain points of difference are observed between divine and human figures. The oldest stone image of historical times is of king Ajātasatru (552 B.C. to525 B.C.) of the Saiśunāga dynasty from Magadha or Bihar. It has now been preserved in the Curzon Museum of Archaeology at Muttra and is contemporaneous with the Buddha. The statue is 8-8" in height. Besides these two statues were found from near Patna-one of them is of Aja-uddiya, grandson of Ajätasatru, (founder of Pațaliputra, died in 467 B.C.) and the other, of his son Nandivardhana (died 418 B. C.). These are now kept in the Indian Museum at Calcutta. All these three statues are carved in the same style and are of more

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JAINA TIRTHAS IN INDIA
than the average human height. We thus see that this style began in about the 6th cen. B. C. These are not simply bhava-murtis and are of persons whose features they try to copy faithfully. A practice prevailed in ancient India whereby statues of kings were fashioned and were kept in shrines for worship. Is it possible that this practice was influenced by the tombs of Egyptian kings who are sleeping an eternal sleep in the Pyramids ?
This inspiration must have given rise to the practice of building monasteries and shrines in places where the Buddha or the Jina resided or preached. Such personages with subdued passions would never require that their images or pictures should be worshipped. But their disciples must have thought it wise to get their-of the Buddha or Jina-statues fashioned and to enshrine them in order to enable the devotees to concentrate their minds on the objects of their worship. This has resulted in the emotional features that we find in the images in place of the anatomic ones.
Another interesting point is that the history of the development of Jaina and Buddhist temples is not bound up with the development of images of the two religions. It would be very interesting to find out how the modern temple architecture can be coordinated with the architecture of the Buddhist stupas, monasteries or other monuments.
Only stupas and caves of the time of Asoka, the great patron of Buddhism exist at present. The erection of a stupa is simply a development of a round mound that was made on a dead body or its ashes in Vedic times. In its early forms, it was given the shape of an inserted bowl and a tree was planted in the centre of its top and a fence was made for its protection. The Jaina scriptures refer to the stupas erected in memory of the Arhats and these were built even before the advent of Buddhism. There was no difference in the stupas of both the religions.
In the days of Emperor Asoka some change was effected in the shape of a stupa. It Consisted of a nicely carved railing in place of the fence and an umbrella instead of the tree. Arched gateways were built in the four directions in the railing. These changes enhanced the grandeur of the stupa without changing its shape.

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AND THEIR ARCHITECTURE
There is no connection between these stupas and the modern Brahmanical temples, because the latter were built for deities and not in commemoration of the deceased as the former.
The construction of a cave may be briefly stated to consist of a spacious hall and small cells round it. In short they provided the same facilities as a hut to the Jaina and Buddhist saints. The big hall was used for religious discourses and the cells for rest and as storerooms. This assumption is supported by the description of the gandha-kuti of the Buddha which we get in the Buddhist literature.
The only common point cave architecture has with temple architecture is that the hall was meant for the devotees who came for paying homage or for listening to religious sermons and the adjoining antechamber was used as the shrine. Still both the types of architecture differ in many points. The caves were the resting places of monks and the stupas were erected over the sacred relics of the great Buddha or on the spots consecrated as the scenes of his acts. Whereas temples enshrine deities and are surmounted by spires indicative of their grandeur. It is known that temple architecture existed prior to the epoc of Emperor Asoka.
The Arthasastra of Chanakya lays down rules for the allocation of sites for temples of various deities and their construction in a town-planning scheme. This shows that temple architecture was in vogue even before the times of Chăņakya. Kộishna worship was preva. lent in the days of Pāṇini (800 B. C.) as also in the days of Chandragupta.
Many things point towards an earlier and independent development of Brahmanical temple architecture. The spire is copied from summits of mountains. Mountains like Meru, Mandāra and Kailāsa were the abodes of gods. Along with them Gandharvas, Kinnaras, Apsarases and other denizens of hills are represented in temple sculptures. Brahmanical scriptures have pointedly laid down that temple architecture should contain sculptures representing Apsarases, Siddhas and various designs. These decorative features were so firmly settled in architecture that architects could not work without them. Thus when the Buddhists and the Jainas started the practice of enshrining holy relics, shrines and mansions without such decorations were not considered holy and religious. This resulted in the construction of

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JAINA TIRTHAS IN INDIA highly decorated and sculptured shrines for the worship of the images of even the self-controlled and all-renouncing Buddhas and Tirthankaras. Thus it would not be proper to class temple architecture as a special school and to discuss its art. The dexterious delineation and the workmanship that we notice in every sculpture and temple is the creation of expert sculptors and artists of their times. The patrons of art may be millionairs, or religious heads or others, but the workmanship is assuredly inspired by the sculptors who even after many centuries have immortalised in mute forms of art the prowess and the emotional greatness of their patrons.
The work of these sculptors scattered all over India. The Bhuvaneśvara and Koņàrak temples from Orissa, the Khajurāho shrines in Bundelkhand, the monuments from Ujjain, Dhāra, Mathurā, Nālanda, Benares, as also the richly carved monuments of southern Chaulukyas, Hoysalas and Cholas, have made India a wonder to the whole world.
Gujarāt architecture and Art are well-developed and rich heir of a variety of political and religious movements. One would commit a great blunder if one identified the cultural boundaries of Gujarat with its present-day political limits. Hence in discussions of art it is said to belong to the Rajasthāna-mandala. Thus we find architecture and art of the same style exist in Gujarāt, Malwa, Mewad, even upto East Khandesh. It will be found that the art of Modhera and Chandrāvati is inherited by Rāṇakpur. The Delwādā temples display a profuse use of marble for architecture. The dancing figures on the ruins of the Rudramahālaya at Siddhapur appear again on the pillars at Delwādā near Mt. Abu. The thousand Siva shrines erected on the banks of the Munasara lake at Viramgam, and the many Jaina figures surrounding the Neminātha temple or Hathibhāi's temple show that the same religious motifs were used by different religious sects. The Rangamandapas, entrance gates, or arches may belong to different sects like the Brahmanical, Jaina or Swāminārāyaṇa, but we can discern the hand of Somapurā sculptors working behind all of them.
This will make it abundantly clear that Mr. Nawah has secured these architectural photographs and has not only illuminated the Jaina culture but has kindled a lamp for the guidance of all the devotees of fine arts. Jainism has saved the chisel of Gujarāt sculptors from rusting and their dexterity from deteriorating. Even before

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AND THEIR ARCHITECTURE
13
the cities of Delhi and Agra were founded, the sculptors who were responsible for the unrivalled architecture of Ahmedabad in the 14th century hailed from Gujarat and especially from the families of artisons who had been building Jaina temples. And are not the Gujarāti masons repairing the shrines at Rāṇakpur and Girnār even at present?
Mr. Nawab has made the collection of the pictures of sculptures and has tried to secure the photos of as many ancient monuments as he could. On comparing this collection with specimens of Buddhist art we find that the majority of the latter are of a uniform pattern inspired by an imperialistic tendency, whereas in the former we find that sculptors of various provinces had been used with a broad mind and that they were patronized by the Jainas. If you see the pillars in the cave at Uparkot (Junagadh), you will find that their workmanship is in no way related to the local Gujarāt Architecture. The Buddhist images also seem to have emanated from and to have been inspired by one central school of sculpture. But Jaina architecture and images of various types emanated from Gujarāt itself.
This Volume contains many illustrations secured and studied independently by Mr. Nawab. Personally I know many difficulties he had to surmount in collecting, coordinating and publishing all his material. I am very eager to see how the very rich community of Gujarāt appreciates in a suitable manner the cultural service rendered to them by one of their own religion. If a worker like Mr. Nawab were backed by competent assistants, photographers, draftsmen and finenciers I am sure he would be much more useful not only to the Jainas of Gujarāt but to all the peoples of India.
"Our art of fashioning images and statues is imbued with cultural and spiritual teachings of every age. It had once developed all over the world but is now an object of neglect. It is our duty to study it properly and to revise it." Bharatiya-Mürtikalā (Sri-Rāmakřishṇadāsa).
RAVISHANKAR RAVAL.

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Plate Figure
1
2
3
4
5
6
7
13 An unidentified deity.
14 Sri Antariksha-Pārsvanatha
15 Sri Manikyaswamiji
16 Sri Pärsvanāthaji 17 A Jina image
18 A broken Jina image 19 A Jina image
9 20 Sri Ajārā-pārsvanāthají
8
TABLE OF CONTENTS
1 Symbols and weapons.
2, 3, 4 Plaques of Ayagapalas of various types from Mathura.
5 Foot-prints
6 Sri Pārsvanathji
from Mathurā. from Mathurā. from Mathurā.
7 Sri Rishabhadevaji
8 Sri Mahāvīrasvāmi 9 Sri Parsvanathaji
10 Sri Pārsvanathaji
11 Sri Pārsvanathaji
12 Sri Pārsvanāthajī
14
21 A Yaksha with his consort
22 Various forms of Hariņaigameshin
23 Srāvaka & Srāvikā
10 24-25 Jina images 26-27 Jina images 12 28 Kausagiyāji
11
29 Sri Rishabhadevaji 13 30 Sri Pārsvanathaji 31 Sri Pārsvanathaji
32 Sri Rishabhadevaji
33 Sri Chakresvari and Ambika

from Kshatridyakunda. from Rājagrihi.

15 34 Sri Chakresvarī
35 Sri Ambikādevī
16 36 Sri Pārsvanathaji (Sarabhai Nawab). 37 Sri Pārsvanathaji (Pūranchandji Nahār). 38 Sri Pārsvanathaji-Godīji temple 39 Back view of Fig. 38.
17
11
77
31
11
from Dhanka. from Ajārā.
37
from Sripura. Kulpakaji.
from Mathurā.
11
71
71
17
17
71
19
37
11
11
33
from Mahudi
""
Ajārā
Mathura
37
37
39
from Wankaner.
from Prabhasa-Pätaņa.
39
from Pindwādā.
23
Bombay.

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AND THEIR ARCHITECTURE
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Plate Figure 18 40 Sri Rishabhadevaji-Godiji temple
Bombay. 41 Back view of Fig. 40. 19 42 A Jina image
from Pātan. 20 43 Sri Pārsvanātha image Chārup. 44 Sri Avanti-Pārsvanāthaji,
Ujjain. 45 Sri Pārsvanāthaji
from Bhānduk. 46 Sri Parsvanāthaji 47 Sri Nemināthaji
from the Satruñjaya Hill. 48 Sri Amijharā Parsvanāthaji 23 49 Sri Mahāvirasvāmiii
50 Sri Pārsvanāthji 51 Sri Santināthaji 52 Sri Adiśvaraji
53 Sri Sahasraphani Pārsvanāthaji 26 54 Sri Adiśvaraji
55 Sri Pundarikasvāmin 56 Sri Abhinandanasvämin 57 Sri Ajitanāthaji
from the Taranga Hill. 58 Sri Chandraprabhasvāmin from the Prabhāsa-Patan. 59 Stone Pancha-tīrthi
from Kadambagiri. 60 Sahasraphaņā-Pārsvanātha
from Jodhpur. 61 Dādāsāheb
from Bhavnagar. 62 Sri Pārsvanāthaji
from Delwādā. 30 63 Samavasarana
from Rāṇakpurji. 64 Sri Pārsvanāthaji 65 Sri Padmāvatidevi
from Patan. 31 66 A Jina image
67 Sri Rishabhadevaji 32 68 A Jina image
from Talājā. 69 Stone Chovisi
from Prabhāsa-Pātan. 33 70 Sahasrakūta
from the Satruñjaya Hill. 71 Sri Nemināthaji & the Yādavas 34 72 Twenty Viharamāņa (present) Tirthankaras From Rāṇakpur. 35 73 Sri Nandisvaradvīpa
from Girnār. 74 Twenty Viharamāņa (present) Jinas
from Girnār. 36 75 Sri Mārüdevā along with Rishabhanatha from Satrunjaya 76 Mārūdevā and king Bharata on elephant back.

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Plate Figure
37 77 Sri Ambikādevi
78 Metal Kāūsagiyā 38 79 Shanmukha Yaksha 80 Vijaya-Yakshiņi 39 81 Sri Pārsvayaksha
41 87 Sri Ambikādevi 88 22 42 89 Sri Sarasvatidevi
""
""
90 43 91 Sri Chakreśvaridevi
92 An unidentified sculpture 44 93 Sri Manibhadraji
22
""
94 45 95 Sri Sarasvatidevi 96 Sri Padmavatīdevī
46 97 Sri Yakshesa-Yaksha
98 Śrī Kālidevī
47 99 Sri Gomukha Yaksha
100 Sri Chakreśvaridevi
48 101 Three Sravikās or lay-sisters 102 Sri Jinaprabhasūri (?)
49 103 Sri Amarachandrasuri
104 Sri Devachandrasūri
105 Vanaraj, the King of Gujarat, 50 106 Motisha Seth & his wife
107 A Sravaka and a Srāvikā 51 108
11

JAINA TIRTHAS IN INDIA
23
82-83 Sri Lakshmidevi
from Diu.
84 A slab representing the mother of the twentyfour Jinas.
40 85 Śrī Pārsvayaksha
Prabhasa-Patan.
86 Sri Padmavatidevi
Prabhasa-Patan. from Girnar.
27

from
17
11
27
109 Dharmaraja
52 110 Inscribed pillar from the Purva-Meghanāda Mandapa of the Jaina temple at Rāṇakpur.
111 Sahadeva, Dharmaraja and Nakula
53 112 Draupadi, Bhima and Acharya 113 Sahasraphaṇā-Pārśvanātha
39
11
17
""
91
27
15
".
37
""
27
27
73
22
from Girnar.
from Diu.
from Prabhasa Pätan.
Diu.
from Satruñjaya.
11
27
27
""
17
77
21
17
22
17
17
11
19
from Satruñjaya.
"2
17
from Pātan.
""
from Satruñjaya.
from Talājā.
"1
from Kadambagiri. from Satruñjaya.
from Satruñjaya.
""
from Ranakpur.

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AND THEIR ARCHITECTURE
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Plate Figure 54 114-115 To stone inscriptions
from Sri Rāṇakpur. 55 116 Inscription from the Pūrva-Meghanādamaņdapa.
from Rāṇakpur. 117 Arjuna, Sri Krishna and Rukmiņi (?)
(Satruñjaya.) 56 118 Dharanavihāra
(Rāṇakpur.) 57 119 58 120 (East view)
from 59 121
(east and south view) 60 122
Dakshiņa-Meghanāda mandapa 61 123
Paschima ,
view of the interior. 62 124
,, of the dome 63 125
Paschima-Meghanāda-mandapa, inner view,
from Rāṇakpur. 64 126
Paschima-Meghanād-maņdapa,
View of the dome, 65 127
inside view of the north-wes
tern corner, 66 128
Paschima-Meghanāda-maņdapa
south eastern corner, 67 129
Main spire. a ceiling from the Dakshina
Meghanāda-maņdapa, 68 131 Sri Pārsvanāth temple,
132 Ceiling of the western Nagárakhānā at 69 133 A view of Sâmarana of West-Meghanāda
mandapa 134 A view of the Nrityamandapa on the west 70 135 Srī Makshīji's temple
Mālwā. 136 Sri Dādāwadi temple,
Lucknow. 71 137 The Jaina temple at
Lachhwād (Bihar). 138 The Jain temple on the hill at
Kshatriyakuņda. 72 139 The Jaina temple at
Kampilā. 140 2 »
Kulpākjī. 73 141 Jagatsheth's temple,
Katgolā (Bengal). 142 A general view of Saptadhārā,
Rājagira.
130

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JAINA TIRTHAS IN INDIA
Plate Figure 74 143 Babu Badridāsa's Temple,
Calcutta. 144 »
» 75 145 A General View of the Bābu Badridāsa's temple, , 146 The Jaina Svetāmbara Temple,
Guņiyāji. 76 147 A general view of the Jala-mandir,
Pāwāpuri. 148 Jalamandir through the main entrance
Pāwāpuri. 77 149 Sītā-Nālā
Sametasikhara. 150 Natural scenery on the
Sametasikhara Hill. 78 151 Bird's-eye view of
Sametasikhara. 152 Main temple, 79 153 The Nirvana-bhūmi of Sri Pārsvanātha. 154 The beautiful scene of Achalagadha with the
Jaina temples. 80 155 Metal Parikara
from Pătan. 156 A miniature metal Jaina temple
from Patan. 81 157 Silver Samavasaraņa
from Baroda. 158 Jaina tower
from Chitodgadh. 82 159 An exquisitely carved wooden pillar
from Surat. 160 A small wooden temple
from Patan. 83 161 Scene of the marriage procession of Neminātha, carved in wood,
from Patan. 162 A beautiful piece of sculpture,
from Chārup. 84 163 Carved wooden ceiling,
from Patan. 164 The Jaina temple at
Chārup. 85 165 Temple of Sri Ajitanātha,
Tárangā. 86 166 Sculptures on the southern wall of Sri Ajita
nātha temple, 167 Back-view of Sri Ajitanātha temple 87 168 Sculptures of the above, 88 169 Another view of wall sculptures, 89 170 Another view of Tārangā-Sculptures. 90 171 More Tăranga-Sculptures. 91 172 Somanātha temple,
Prabhāsa-Pátan. 173 Anotner view of Somanātha temple, 92 174 Third view of Somanātha Patan, 175 General view of Ajārā Pārsvanātha's temple,
Ajärā.
13

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AND THEIR ARCHITECTURE
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Plate Figure 93 176 A richly carved pillar at Ajārā.
177 Another view of the pillar. 94 178 The death place of Sri Hiravijayasuri. 179 Interior of Somanātha temple,
Prabhāsa-Patan. 95 180 Some wall sculptures on the Somanātha temple 181 Ajayapāla's Chorā,
Ajārā. 96 182 Main entrance of the Somanātha temple.
183 General view of the Jaina temples at Prabhāsa-Patan. 97 184 Entrance of Chandraprabha's temple,
185 Carved stone pillars, 98 186 Old carved pillars from Uparkot,
Jünāgadh. 187 Old architecture at Uparkot. 99 188 A Jaina image carved in a wall on the Uparkot-Jūnāgadb. 189 Entrance door of the main temple in the Merakavasi's
Tūk-Girnār. 100 190 Specimen of old sculpture
Uperkot. 191 Rock-cut well 101 192 Entrance to the
Girnār Hill-Jūnāgadh. 193 Sri Neminātha's temple
Girnär. 102 194 Kumārapāla's Tak
195 Ceiling from a temple in Merakavasi's Tuk 103 196 Merakavasi's Tak
197 Another ceiling from a temple on Merakavasi's , 104 198 Another Jina image carved in a wall on the Uperkot jūnagadh. 199 Third ceiling of Merakavasi's
Tūk Girnār. 105 200 Back-portion of Vastupāla's
temple Girnar. 201 The mandovara of Vastupāla's 106 202 A ceiling in the Vastupāla's
203 A ceiling of the Sāntinātha's 107 204 Vastupāla's
Tūk (view from the west) Girnar 205 Back view of the five Pandavas'
temple Girnar 108 206 Tūk of Samprati Mahārāja 207 The exquisite carving of Samprati's
Tūk Girnār. 109 208 West portion of Samprati's
209 View of main Tük from the way to Sahasāvana 110 210 Sri Rahanemi's
Tūk Girnār. 211 Sri Imbika's

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Plate Figure
111 212 A ceiling from Sri Ambika's
213 A ceiling from Kumarapala's
112 214 Jaina temples on the Girnar Hill-general view. 215 Jaina temples on Girnar.
113 216 Jaina temples on Girnar, another view.
17
""
217 Jaina temples on Girnar. 114 218 The Satruñjaya hill and the city of 219 Ceiling of wooden temple
115 220 Sahasamravana
221 Wooden Jaina temple from
116 222 Jaya-taleti,
223 Sri-Pujyaji's Tuk,
117 224 Babu's temple from
99
""
JAINA TIRTHAS IN INDIA
""

another view
234 A portion of Chaumukhaji's Tuk,
123 235 Wall sculpture of the Balabhaí Modi's Tūk, 236 Architectural beauty of the pillars of chaumukhji's temple,
124 237 A pillar of Pandava's small shrine, 238 The small shrine of Pandavas,
125 239 Sri-UjamaPhoï's Tük,
240 Sheth Hemābhai's Tük, 126 241 Sheth Motishah's Tük,
225
118 226 Jayataleti,
227 The way to Nava-Tük, 119 228 The shrine of Padmavati 229 Chaumukhaji's Tük,
120 230 The way to Nava Tūk
231
""
121 232 General plan of the Jaina temples on the Satruñjaya Hill. 122 233 Side view of the Samprati's temple,
242 Main temple of the Motishah's Tuk, 127 243 A portion of the main Tuk,
244 Main temple of Modi's Tuk,
128 245 Jaina temple on the
246 An artistic Architectural piece from the Modi's Tuk,
Tük Girnar.

""
Pālitānā. Pālitānā.
Girnar.
Pālitāṇā.
Satruñjaya.
"
37
77
17
21
32
29
""
""
21
27
""
Satrñjaya
11
37
33
27
**
77
22
23
Satruñjaya Hill.
Satrunjaya

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AND THEIR ARCHITECTURE
Plate Figure 129 247 The niche on the right side of the Modi's Tuk, Satruñjaya.
248 -Do-on the left side, 130 249 Interior of Vimalavasahī,
250 A view of the river Shetrunjee. 131 251 A ceiling from Sri Neminātha's Chori,
252 Exterior of Kumārapăla's Tuk, 132 253 Exterior of Gheti's pāga,
254 The silver ratha, 133 255 Sculptures on the left side of the main temple
256 Foot prints of Rishabhadeva, 134 257 Right wing of the main temple, 258 Sculptures on a par, in the right wing of
the main temple, 135 259 A torāņa on the right side of the main temple 260 Architecture of the right side of the entrance
of the main temple 136 261 The silver shrine in front of the main temple
262 The shrine of the Ghetī's Päga, 137 263 Another view of the Satruñjaya.
264 The temple at the foot of the Kadambagiri. 138 265 The temple at the top of the Kadambagiri.
266 Sri Satrunjayāvatāra, Kadambagiri. 139 267 The Tāladhvajagiri-Talājā (Kathiāwād). 268 The main temple on the Tāladhvajagiri,
Talājā. 140 269 The temple on the top Tuk on the Tāladhvajagiri, 270 Sri Pārsvanāthaji,
Bhavnagar. 271 The temple of Dādāsāheb, 141 272 Chorivālā temple, (front view)
Jamnagar. 273 -Do-(Back view)142 274-75-76 Jaina sculptures preserved in the Jumma Musjid,
Cambay.

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THE JAINA TIRTHAS IN INDIA AND THEIR
ARCHITECTURE
Plate 1 Poses of hands and the symbols and weapons they wield.
Figure 1:-Akshasutra or rosary. 2. A fruit (generally Mātulinga or Citron) 3. A conch. 4 & 5 A lotus. 6. A drum or damaru. 7. The Vajra or thunderbolt. 8. Khadga or a sword. 9. Pāsa or a noose. 10. A spear. 11 & 12 A lotus. 13. A bunch of mangoes. 14. An elephant. 15. A shield. 16. A Kamandalu or gourd. 17. An umbrella or Chhatra. 18. A book. 19. A conch. 20. A bell. 21. A noose. 22. A lute. 23. A child. 24. A bunch of mangoes. 25. A spear. 26. An arrow. 27. A dagger. 28. A bow. 29. A trident. 30. A child. 31. A lotus. 32. A pitcher.
These symbols and poses have been copied for the benefit of students from illustrations in palm-leaf MSS and from Jaina icons.
Plate 2 Figures 2 to 4:-Various types of plaques of AYAGAPATAS excavated from the Kajikāli-țilā, Mathurā, which were worshipped by the Jainas in the 2nd Cen. after Christ. For a description of these illustrations, vide Annual Report of the Archeological Survey of India, Vol. XX. Pls. VII, IX and the explanatory note on Pl. VIII.
Figure 5:-CHARANA-PADUKAS or foot-prints secured from the same locality as above. This furnishes important evidence to prove that the Jainas worshipped padukas even in the 2nd Cen. A. D.
Plate 3 Figure 6 :-PARSVANATHA image from Mathurā. For the correct identification of this headless icon, see my article on the old Jaina images in the Bharatiya-Vidva, (Hindi-Gujarati) Vol. I., Pt. 2. pp. 179 to 194.
Figure 7 :-RISHABHADEVA From Mathurā. For identification of this image, see my article quoted above Pl. 3, Fig. 6.
Both the images (Fig. 6 & 7) were secured from the excavations at Kankāli-tila, Mathurā. The late Dr. Vincent Smith has wrongly identified them as those of Rishabhanātha and Vardhamāna respecti. vely in his work entitled 'The Jaina Stupa and other Antiquities of Maihura', plates 98 and 95, as has been proved by me in my article referred to above.

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AND THEIR ARCHITECTURE
23
Plate 4 Figure 8:-MAHAVIRASVAMIN. This image is enshrined in a Jaina temple on the Kundeghāta Hill of Kshatriya-kuņda, the birth place of Mahāvīrasvāmin. A photo of it, as also of Fig. 9, was supplied to me by the Young Men's Jaina Society of Ahmedabad. I am of opinion that this image is almost contemporaneous with Mahāvīrasvāmin or at the most it may be posterior to him by about a hundred years. It stands testimony to the skill of the architects of the period.
Figure 9:-PARSVANATHA. From Rājagpiha. It is situated in a cave on the Udayagiri Hill near Rājagļiha. Its photograph was supplied to me by the Young Men's Jaina Society, Ahmedabad. Its placid facial expression, the expanded serpentine hoods behind it, its lotus seat and the wonderful and artistically arranged coils of the snake below the lotus seat create admiration in the minds of the visitors for the forceful inspiration of the master artists of those days. Very rare are such sculptures saved from the devastation of time. Both the images are without lanchhanas or emblems.
Plate 5 Figure 10 :-PARSVANATHA, situated outside the cave on the Udayagiri Hill of Rājagriha. The image is a peerless specimen of ancient sculptures. The Jainas have spared no pains to preserve such treasures and greater efforts are needed in the same direction.
Figure 11:-Standing image of PARSVANATHA from a cave near Dhānk near Walā in Kāțhiāwād. A photograph of the image was supplied to me by the secretaries of the Sri Jaina Satysprakāsa Samiti, Ahmedabad. The image has been identified by me in my article referred to under Pl. 3, fig. 6.
(N. B. Dhānk is not near Valā. It is under Gond, about nine miles to the Souti-east of Bhāyāvadar and lies at the South-east corner of the Alech range of hills. Dhānk is in western Kathiāwād, whereas Walá is in eastern Kathia vād. A. S. G.)
Plate 6 Figure 12 :-PARSVANATHA. This is a damaged stone image of about 2nd or 3rd century A. D. It was noticed by me on the outskirt of the village of Ajärā, about 13 miles from Unä Junagadh State, Kāțhiāwād). I had suggested to the secretaries of the Jaina temple at Ajārā to remove the image to the compound of the temple and preserve it. When, however, I visited the place about a couple

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JAINA TIRTHAS IN INDIA
of years ago, I was fortunate to find it standing in the same condition. Though most of it is defaced, it testifies to the wonderful workmanship of the artisans. I hope the trustees of the Ajārā-Pārsvanātha shrine will take early steps to preserve this ancient structure.
Figure 13 :-An unidentified goddess. This image lies covered with thorny bushes near the entrance gate of the Ajārā-Pārsvanātha temple. It holds a bell in one hand and a staff in another. The remaining hands and the weapons held in them are lost and it has made identification rather uncertain. Still from its drapery, the image can be assigned to about the 10th to the 12th Cen. A. D. Besides these two sculptures (Figures 12 & 13) many loose fragments of sculptures are lying strewn all round the village of Ajārā.
Plate 7 Figure 14:-ANTARIKSHA-PARSVANATHA from the cellar of a Jaina shrine at Sripura near Akola. According to an old Jaina tradition which is current even to this day the image was got fashioned by king Rāvana and one full chapter called Sri-Antariksha-Parsvanathakalpa is devoted to its description in the work called Vividhatirthakalpa of Sri Jinaprabhasuri (14th Cen. A. D.). The image is seated in the Ardhapadmasana pose and the serpentine hood behind it is of a different type from those of the other ancient Pārsvanātha images. It appears that the sculptor chiseiled it with great haste. Members of both the Jaina sects-the Svetāmbaras and the Digambaras-worship it with devotion.
Figure 15:-SRI MANIKYASVAMI from the Jaina temple at Kulpākaji a village in the Hyderabad State (Deccan). It is in the Ardhapadmasana pose and according to Jaina tradition the image was got fashioned by Emperor Bharata, the elder brother of the fir: t Tirthankara Rishabhadeva. A detailed description of this image also is given in the chapter entitled Kollapaka-Manikyadeva-tortha-kalba in the Vividhatirthakalpa which is mentioned above. The pedestal of the image bears an inscription dated V. S. 1767 and refers to the repairs done by the Sangha from Bhavnagar. Both the images are very old and besmeared.
Plate 8 Figure 16:-Image of PARSVANATHA excavated at Kankāli-tila, Mathurā, and now preserved in the Provincial Museum at Lucknow. The serpant hood over the head of this image has been very dexter

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AND THEIR ARCHITECTURE ously chiselled. The pedestal is too damaged to allow the deciphering of a single letter of the inscription it bears. However its workmanship would assign the image to a period anterior to the 2nd centuary A.D. The lobes of the ears of this icon do not touch the shoulders as in the case of other images and would suggest that the image belonged perhaps to a period even anterior to Mahāvīra's time.
Figure 17 :-A Jina image from the Kańkāli-țilā, Mathurā, seated in the Utthita-padmasana pose, with curly hair on the head which differentiates it from other images. The Srivatsa mark also is clearly visible on the chest. Hair is seen flowing on the shoulders down to the middle of the collarbone and helps us to identify the image as that of the first Tirthankara Rishabhadeva.
Figure 18:-Fragmentary Jina image from the same locality as the images in Fig. 16 & 17. Its head is lost. Its identification has become very difficult as ancient images had no lanchhanas or emblems. Below its seat are to be seen indistinct Kharoşthi letters which defy decipherment. The pedestal is flanked by a pair of lions and in its middle is engraved a stūpa (?) in place of the Dharmachakra and on each sides of the stupa are four persons extolling it. This is an evidence of the existence of stupa worship among the Jainas of that period.
Plate 8 Figure 19:-This skilfully wrought image also was secured from the Kankāli-țilā at Mathurā. The sculptor has carved the outline of a fine garment on the pedestal and has clearly shown that it belongs to the Svetambara sect of the Jainas. The delineation of the Prabhamandala or abhamandala behind the head of the image as also the lotus petals on the pedestal indicate that the image is of a Tirtharikara. The pedestal is flanked by very fine images of lions, and behind the lion on the left side, the sculptor has drawn the images of the lady who got the image fashioned. It can be assigned to about the lith century after Clirist.
Plate 9 Figure 20 :-Şri Ajara-Parsvanatha. This Pārsvanātha image from the Jaina temple at Ajārā (Kāthiāwād) is, according to the Jaina tradition, very old. As it is covered, it is difficult to assess its workmenship. But the tirtha is situated in such a lonely but lovely place that one feels highly satisfied after visiting it even once. The author

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JAINA TIRTHAS IN INDIA
of this work also had been twice on pilgrimage to this tirth where he tried to derive spiritual happiness.
Figure 21 :-A PAIR OF YAKSHAS from Curzon Museum of Archæology, Mathurā. Mr. Vasudeva Saraṇa Agravala, the Curator of the Curzon Museum of Archaeology at Mathurā has tried to identify this image in an article of his published in the Jaina Satyaprakasa Vol. IV. pt. 12 without success. In the sculpture a man and a woman are seated side by side. The hands and faces of both are damaged. Over the head is a tree in which is carved a Jina image seated in the padmasana-pose. Traces of a child held by the woman in her left hand are distinctly observed. This leads me to identify it as of Ambikadevi. The male must be a two handed Yaksha.
Figure 22:-Sculptures representing the Yaksha HARINAIGAMESHI secured from Kankāli-țilā near Mathnrā. For a discussion of these images see the monthly Jaina Satyaprakasa (Ahmedabad) Vol. IV, 1-2.
Figure 23:-A COULPE OF Devotees. This image secured from the Kankāli-țila, gives a correct idea of the dress put on by the Sravakas and Sravikas of old days. A wreath of flowers has been carved by the sculptor between the folded hands of the male devotee. The serene and devout expression on the face of the male so successfully shown by the sculptor evokes our admiration.
Plates 10 & 11 Figure 24:-A Jaina image. Figure 25:-A Jaina image. Figure 26 :-RISHABHADEVA. Figure 27 :-PARSVANATHA.
All these four images were excavated at Mahudi, a village in the Baroda State and have been identified as Buddhist by Dr. Hirananda Sastri in the Annual Report for 1937-38 of the Archaeology Department, Baroda state. I have however disproved the identification of Dr. Sastri by his own evidence and have shown that the images are Jaina, in my article on very Ancient Jaina images from Gujarāt published in the Bharatiya Vidya Vol. I. pt. 2.
Plate 12 Figure 28:-A Jaina image in the Kayotsarga form, from the Mahā vīrasvāmi's shrine at Pindvādā (Mārwad). A detailed description of this image has been given by Kalyāna-Vijayaji in the Nagaripracharini-patrika N. S. Vol. XVIII pt. 2 pp. 221 to 231. It is

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AND THEIR ARCHITECTURE
27
about a little over four feet in height and its pedestal bears a fivelined Sanskrit inscription which reads as follows:
(1) Om Niragatvadibhavena sarva natvavibhavakam | Jnatva bhagavatam rupam Jinanam=eva pavanam || Dro-Vayaka... (2) Yasodeva.....bhih.... ridam Jainam karitam yuktam uttamam \\\ (3) Bhavasataparampararjita-gurukarmmaras (j) O....ta.... vara darsanaya suddha sajjhana charanalabhaya ||
(4) Samvat 744.
(5) Sakshat pitamahen-eva Visvarupavidhayina | Silpina Sivanagena Kritam-etaj-Jinadvayam ||
The fourth line gives the date as V. S. 744 and the fifth mentions the sculptor Sivanaga.
Figure 29-RISHABHADEVA from the same locality as in figure 28. For a description of this image vide Bharatiyavidya Vol. I. Pt. 2 (Fig. 8).
Plate 13
Figure 30-PARSVANATHA from Piņdavādā (Marwad). The Jina is to be seen in the centre of the sculpture, flanked by two standing Kayotsarga figures. A very fine lotus is engraved below the pedestal. Its petals are engraved below the seat and under them is engraved a richly decorated piece of cloth in front of which is drawn a dharmachakra symbol flanked by a couple of deer. At the end of the pedestals are shown figures of lions. On the right hand side near the lion is seated a Yaksha with a fruit in one hand. Under the Yaksha is his conveyance, the elephant. To the left is the figure of the seated Yakshi with a bunch of mangoes in the right hand and a child in the left. It is the Yakshi Ambikā, riding a lion. Behind both the Yaksha and the Yakshi, stands a female chowri-bearer. In the lowest course of the pedestal, below the Yaksha, the Yakshi and the Dharmachakra, are drawn the figures of the nine grahas. Such exquisitely carved sculptures seem to have been divinely inspired to the sculptor.
Figare 31-PARSVANATHA from Wankaner, (Kathiawad). For a detailed description of this, see my article on old Jaina images in Bharatiyavidya Vol. I. pt. 2 (fig. 9).
This images almost resembles the image in fig. 30. Still both appear to be of different periods and do not seem to be the work of one and the same artist.

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JAINA TIRTHAS IN INDIA
Plate 14 Figure 32 :-RISHABHADEVA. This is a loose metal image standing in the antechamber of the temple of Suvidhinātha at Prabhāsa-pātaņa. Originally it must have stood as a Kayotsarga image belonging to some Jaina scul Cure. Under this standing image there is a seated four-handed image of Chakreśvarī and on her left is the standing image of Ambiká with a child in the left hand and a mango bunch in the right.
Figure 33 :-CHAKRESVARI and AMBIKA. Photo of the lower part of the Kayotsarga image (Fig. 32), taken from the left.
Plate 15 Figure 34 :-CHAKRESVARI, copied from fig. 32. The goddess holds wheels in both of the upper hands. The lower right hand is in the Varada pose and holds a rosary. She holds a conch in the lower left hand and rides Garuda who is shown on a Kamalasana. There is a lotus below Garuda.
Figure 35 :-AMBIKA copied from Fig. 32. above. She holds a bunch of mangoes in her right hand and supports a child on her waist with her left hand.
This image is unique. For it is rare to see two different Yakshis in one and the same Tirthankara image. It presents a new problem to the students of Jaina Iconography.
Plate 16 Figure 36 :-PARSVANATHA from the collection of Mr. Sarabhai Nawab. This has been fully described in my article in the Bharatiyavidya. (Vol. I. pt. 2 Fig. 10). on Rare old Jaina Images. The back of the image bears a short inscription engraved in characters of the 10th century A. D., which reads Sri ChandraKule Madhagachchhe muktisamihaya ! Sravako gochi namai Jina-traya.'
Figure 37 :-PARSVANATHA. (From the collection of the late Babu Puranachandra Nāhar, Calcutta). It is dated V. S. 1077. This image is published by Mr. Mohanlal Dalichand Desai in his book called Jaina Sahityano Şamkshipta Itihasa' (Plate 3, facing page 1), but has been wrongly identified by him as of Adinātha, For its correct identification see my article on 'Ancient metal Images prior to the 12th Cen. A. D.' published in Jain Satyaprakasha.
Plate 17 Figure 38 :-PARSVANATHA. It is kept in the Godi-Pārsvanātha

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temple at Pydhoni, Bombay. Originally the image hailed from Prabhāsa-Päțan along with other metal images. This image is similar to the image from Pindwādā (Fig. 30 above), but it has not been as artistically made as the latter.
Figure 39 :-The back view of the above mentioned image is given here to enable readers to read the date engraved on it. Unfortunately the letters have come out indistinct in the block. Still it gives some idea of this sculptur of the 11th Cen. to the students of Jaina Iconography.
Plate 18 Figure 40 :-RISHABHADEVA. This image also comes from PrabhāsaPāțan and is now kept in the Godīji Pārsvanātha temple mentioned above. The date on its inscribed back is clearly seen in Fig. 41 (see below). The two chowrie-bearers flanking the image, the Yaksha on its right and the Yakshi-Ambikā-on the left, are clearly visible. The prabhavali behind the image is lost. The association of Ambikā with Rishabhadeva also presents new problem to the students of Jaina Iconography.
Figure 41:-The back side of the above mentioned image. It bears a three-lined inscription in which the date. V. S. 1090 is clearly readable. Curls of hair are distinctly visible, flowing over the shoulders on the back. Tbere is ample evidence of Rishabhadeva images with curls of hair flowing on the shoulders. But this is a solitary instance of an image of this Tirthankara with hair flowing behind the head down the neck.
Plate 19 Figure 42 :-A Tirtharkara image from the cellar of Ashțāpadaji temple at Patan. Its expression is pleasing and serene and it seems that it was fashioned by its artist at leisure. The image is without any symbol.
Plate 20 Figure 43 :-PARSVANATHA. This image is known as Chārūpa Pārsvanātha from the village of Chārūpa (4 miles from Patan) from which it comes. The Jainas regard it as very ancient. It is difficult to ascertain its period as it is anointed.
Figure 44 :-AVANTI-PARSVANATHA-from the Avanti-Pārsvanatha temple at Ujjain in Malwa in the cellar of which it is enshrined.
This Avanti-Pārsvanātha temple was constructed in memory of

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JAINA TIRTHAS IN INDIA Avanti-Sukumala by his son. This Avanti-Sukumala was the son of a merchant from Ujjain and was contemporaneous with Aryasuhastisvāmī Siddhasena-Divākara, a learned Jaina, who composed his Kalyana-mandira-Stotra in this temple. The shape of the serpent hood in this image is of a different type. It is of white marble.
Plate 21
Figure 45-PARSVANATHA from the Jaina temple at Bhanduka near Wardha. It is of black marble and was secured from excavations some years ago. The image is anointed now. It is seated in the ardhapadmasana pose.
Figure 46-Parsvanatha. Same as above with the angi or dress and ornaments.
Plate 22
Figure 47:-NEMINATHA. This black marble image is near Pundarikasvāmī in the first pradakshina path on the Moți Tuk on the Satruñjaya Hill and attracts every devout Jaina.
Figure 48-AMIJARA PARSVANATHA image from a temple on a knoll to the right after entering the Waghan Pol on the Satruñjaya Hill. Plate 23
Figure 49:-MAHAVIRASVAMIN. This yellow image is situated in a niche near the door on the left, on entering the temple of the Mula-Nayaka or Adinatha on the Satruñiaya Hill.
Figure 50-PARSVANATHA. On the Satrunjaya Hill near Pālitāṇa, there is the tük of Balabhai Modi. In it there is a temple on the left just when one enters it. Outside the sanctum of the temple there are two nicely carved niches which remind one of the niches called Derani-Jethanina Gokhlas. This image is installed in one of the niches. It belongs to the 18th or 19th the Cen. after Christ and carving of the niches seems to be of the 12th or 13th Cen. A. D. It is possible that the carved stones of these niches are extraneous and have been fixed at a later date.
Plate 24
Figure 51-SANTINATH (Satrunjaya Hill). This image is installed as the Mula-Nayaka or chief image in the temple that is seen on the left just on entering the Waghana Gate. Every pilgrim to the Satrunjaya Hill visits other shrines after making obeisance to this

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31
image. This images is highly placid and attractive and is carved out of a very fine white marble.
Figure 52-ADISVARA. This image is worshipped as the Mulanayaka in the Chaumukhaji tuk, the highest of the nine tuks of the Satrunjaya Hill. This tuk was got built by two Jaina merchants named Sada and Somaji. Its history is very romantic. For want of space it cannot be given here but will be included in my future publication called 'Satrunjaya-Sarvasva.'
Plate 25
Figure 53-This image is installed in a temple that is seen in the right just on entering Balabhai Modi's tūk. Its pedestal is inscribed and is dated V. S. 1921. The serpent hoods over the head of the image are very dexterously chiselled by the sculptor.
Plate 26
Figure 54:-ADISVARA. On the Satrunjaya Hill. The tuk of Motishah Sheth, a merchant from Surat is situated on the left and is seen just after entering the Räma Pol. The image is worshipped as the Mulanayaka in the lofty temple which one sees in front soon on entering the main gate of the tuk. The marble for this image is more pure and crystaline than that used for any other image on the Satrunjaya Hill.
Figure 55-PUNDARIKASVAMIN. This image is installed in the shrine which is just opposite the shrine mentioned above. The marble of this image is equally pure and bright.
Plate 27
Figure 56-ABHINANDANASVAMIN. This image is worshipped as the Mulanayaka in the Kesavaji Nayakanī tūk which is on the right side just after entering the main gate of the Navatukas. It is carved out of very fine and pure white marble.
Figure 57-AJITANATHA. This image is worshipped as the Mulanayaka in the Jaina temple built by the illustrious king of Gujarāt, Kumarapala, on the Taranga Hill.
Plate 28
Figure 58-CHANDRAPRABHA. This is the image of the Mulanayaka in the principal Jaina temple in Prabhasapāṭan which is 11 miles from the Veraval Railway Station (Kathiawād) (Junagadh State). It appears to be of the 12th cen. A.D.
Figure 59-STONE-PANCHTIRTHI or a stone slab with five Tirthan

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JAINA TIRTHAS IN INDIA karas carved on it. This sculpture is of yellow stone and is fixed in the back wall of the principle Jaina temple which is at the foot of the Kadambagiri near Palitāņā in Käthiāwād. There is a pair of a Srāvaka and a Srávikā standing with hands folded below the central image, giving an idea of the male and female costumes in the 15th Cen. A. D.
Plate 29 Figure 60:-SAHASRAPHANA-PARSYANATHA. This is a Mulanayaka image from the Parsvanātha temple of the Gurāmakā talao from Jodhpura. It has been described by me in my article quoted above in the Bharatiyavidya (Fig. 12).
Figure 61 :-DADASAHEB. The image is enshrined in Bhavnagar as the Mulanayaka in the Jaina temple known as the Mota Derasar. The name Dadasaheb is printed under the picture through oversight.
Figure 62 :-SRI-PARSVANATHA. All these three images are worshipped in the Jaina temple at Delwādā about three miles from Unā in Käthiāwād. The middle one is of the Mulanayaka-Sri-Pārsvānatha.
Plate 30 Figure 63 :-SAMAVASARANA DESIGN carved in a mandovara of Dharana-vihära, a Jaina temple at Ranakapura near Sadadi in Märwäd.
Figure 64 :-SRI-PARSVANATHA. A black marble mage from a Jaina teinple situated near the Dharaṇavihāra mentioned above.
Figure 65 :-PADMAVATI. from Patan. This is a white marble image of Padmādevi on the right side in the temple of Sri Sitalanātha, the 10th Tirthankara, in the pada of Khetarapāla in Patas.
Plate 31 Figure 66 :-CHANDRAPRABHA. A fine white marble image with all its paraphernalia from the pada of Khada-Kotadi. The inscription on it reads:(1) Patasha-Sri Mahamadarajye: Samvat 1598 Varshe Vaisakha
Sudi 12 dine Adajya Modhanyati Sri Pattana-vastayyam 1 Thakara gotana
bha: Kau Suta ...... bha. (3) Dahisuta Thakara-asadhara--bharjya (bharyya) Achhabade Sri
Chandraprabha pratishtha Karapita (4) gurusri Anandavimalasuri pati-Sri-Vijayadanasuri-pratishthitam. 5) ..............
Figure 67 :-RISHABHANATHA. A fine white marble image of the
G

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Tirthankara who is worshipped as the Mulanayaka in the Khada-kotadino pado at Patan. The cognizance of the Tirthankara-the bull is seen on pedestal.
Both these images (figs, 66 & 67) provide examples of the exquisite workmanship of sculptors in the 16th Cen. A.D.
Plate 32 Figure 68:-A Jaina image from the Tāladhvaja Hill near Talāja the terminus of the Bhavnagar Talājā Tramway. Standing Jina image of fine white marble like this are on the right and left of the main Jaina temple. The image has human appearance. Both the images have a two-armed Yaksha on the right of the pedestal and on the left Ambika image with a bunch of mangoes in the right hand and a child supported in the left hand. As both the images have no lanchhana or cognizance on the pedestal, they seem to belong to the 11th or 12th cen. A.D. The whole of the Tāladhvaja Hill does not possess a more exquisite icon.
Figure 69:-STONE CHOVISI from Prabhāsapāțan. Just after entering the Chintāmaņi Pārsvanātha temple one sees on the left hand wall three stone slabs containing chovisis of Tirthankars, past, present and future, and one of them is illustrated here. The inscription below it reads:-Samvat 1454 Varshe Vaisakha Sudi 6.
Plate 33 Figure 70:-SAHASRAKUTA. The sculpture of white marble called Sahasrakuta is in a small Jaina temple of the five Pāņdavas on the Satrunjaya Hill. The total number of the Jina icons in it is 1028.
Figure 71 :-Sri Neminātha with the Yādavas. This sculpture of the chori of Sri Neminātha is in the cellar of the Jaina temple called Vimala-vasahi which is seen on the left just after entering the Wāghaņa Pol on the Satrunjaya Hill. In the middle of the figure is a marble image of Neniinātha, the 22nd Tirthankara. The small images are of the Yadavas who espoused Jainism with him after he returned from his party and who obtained salvation. In the upper right hand corner of the figure there is a design of Samavasarana which represents Neminātha's Kaivalya Kalyāṇāka. Elephants and horses are shown in all the corners, symbolical of the marriage proces. sion of Neminátha. The picture can be best appreciated from the original.

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Plate 34 Figure 72 :-Twenty present Jinas (or Visa Viharamana Jinas) from a small shrine in the circumambulatory path of the Dharanavihāra at Rāņakapur.
Plate 35 Figure 73 :-SRI NANDISVAR A-DVIPA of white marble from the circumambulatory path of the main shrine in the Girnār Hill. The sculptor has given a historical touch to it by carving the image of the person who got the slab carved at its bottom right hand corner and of his wife at the bottom left hand corner of it. Below the male figure are engraved the words-Maham Dhandhala and below the female are carved Maham Srimurti.
The inscription on the pedestal reads:(1) Sam. 1287 Faguna va [o] 3 Sukre Tha. Rajaplal Rajapalasuta
Maham. Dhandhalena bandhava Udayanavadya tatha bharya Siri Suta Muma Sobha Simha Asapala tatha Suta Jalha-Nalha
prabhriti nijagotramanusha-Sreyase Nandi-Svarajinabimba(2) -ni karapitani il Brihadgachchhiya-Sri Pradyumna-suri-Sishya
Sri Manadevasuri-pratishthita-Sri Jayananda Suribhih pratishthitam | Subham bhavatu 11 Tha. Kanhada-Suta
Figure 74 :-The twenty Viharamāna Tirthankaras. The white marble slab is fixed in the circumambulatory path on the Girnār Hill. Below this slab is an inscription dated V. S. 1290. The inscription reads:--
Sam [0] 1290 Ashadha Su 0 8 Bhaume Pragvata Tha. Rajapala Tha. Nandamatisuta Maham Dhandhala tasya bharya Maham Sri 11
Plate 36 Figure 75:-MARUDEVA and RISHABHANATHA from a niche outside the shrine of Pundarikasvāmin in front of the temple of the Mulanayaka in the Motisha Sheth's Tuk on the Satruñjaya Hill. It repre. sents Rishabhadeva the first Tirthankara sleeping in the lap of his mother Mārudevā. It is a unique piece of sculpture. The marble is of a shining and fine quality.
Figure 76 :-MARUDEVA and king BHARATA riding an elephant. This beautiful sculpture stands in front of the Mulanayaka of the main temple in the Motishāh Sheth tuk on the Satrunjaya Hill.
Plate 37 Figure 77 :-SRI AMBIKADEVI. This is a small metal image of the

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goddess Ambikā, kept in the Jain temple of Suvidhinātha at Prabhāsapātan. It is illustrated here for the use of the students of Jain Iconography. On its back there is an inscription which reads:
Samvat 1506 varshe Vaisakha-Suda 6 Sukre Osavala-inativa Shatvake-gotre Sa. Nakar bha. gangi Şandadana Ambikainurti kara pitam!
Figure 78:-A standing metal Kāyotsarga image. An artistically fashioned metal parikara is kept in a dark cell in the circumnabulatory passage round the Sri Neminatha temple on the Girnār Hill. It contains two Kayotsarga figures one of which is reproduced here for the benefit of he readers. The parikara bears an inscription which reads:
Samvata (t) 1523 varshe Vaisakha Sudi 13 gurau Sri-Vriddha Tapagachchhe Sri-Gachchana yaka-Bhatt. Sri Ratnsimhasurinam tatha Bhattaraka Udayavallabhasurinam chal upadesena Tha. Sri Sana Sa. Bhava-pramukha Sri-Samghena Sri-vimalanatha parikara karitah pratishthita ....... Sri-Jnanasagarasuribhihil
Plate 38 Figure 79:-SANMUKHA-YAKSHA from Girnär. This is found in the right lower part of the parikara mentioned above.
Figure 80 :-VIJAYA-YAKSHINI. Image of Vijayā 'the Yakshini of Vimalanatha, the thirteenth Tirthankara, carved on the lower left part of the same parikara.
It is difficult to understand why such a unique piece of art has been placed in a dark cell where no lover of art can possibly see it, by the trustees of the Inandji Kalyanji Pedhi. It would not have been possible to take photographs of these sculpures without the complete cooperation of the Manager of the Pedhi at Junagadh, Mr. Sankalchandabhai. I hereby bring to the notice of the said trustees to arrange to place it in a prominent place where lover of art and art critics can easily see it.
Plate 39 Figure 81 :-PARSVA YAKSHA from the main Jaina shrine as Navalakhā Pārsvanātha, at port Diu, a Portuguese possession in Käthiāwād The deity is seated in the padmasana pose with the palms of the hands arranged one above the other in the lap. As can be seen clearly in the photo, a hooded snake is shown on shoulders. This image presents a new evidence in Jaina Iconograpy.
Figure 82-83 :-LAKSHMI. Both these metal images are in the

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temple at Diu mentioned above. The head of each image is flanked by an elephant. The image in figure 82 is seated in the Padmasana pose whereas that in fig. 83 is seated in the Bhadrasana pose. The elephant is shown as the vehicle in fig. 82 whereas no vehicle is shown in fig. 83. But for these minor difference the images are almost identical.
Figure 84:-The slab representing the mothers of the 24 Tirthankaras. This slab is rubbed in many places by its contact with the wall in a Jina temple in the Sagorama Modi's tuk on the Girnar Hill. This slab has been illustrated here in order to show the difference the Jinamātās bear with the image of the Jina-mātā in fig. 75.
Plate 40
Figure 85-PARSVA-YAKSHA. This white marble image is seen on the outside of the left of the antechamber of the temple of DadaPārsvanātha at Prabhāspāṭana. Local people wrongly take it as an image of Sri-Ganesa. For Ganesa has one tusk whereas this image has a pair of them. From this it appears that the sculptor wanted to chisel the image of Parsva-Yaksha.
Figure 86-PADMAVATI-DEVI. This four armed image of yellow stone of the Sasanadevi of Sri-Pārsvanatha, the 23rd Tirthankara, in the Tapagachchhiya Upasara at Prabhāspāṭan.
Plate 41
Figure 87-SRI-AMBIKADEVI. This fine sculpture is situated to the right on the outside of the antechamber of the Dādā-Pārśvanatha temple at Prabhasa-Patan. The right hand of the goddess holds a bunch of mangoes and the left hand a child. Near the right knee of the Goddess stands a boy holding a fruit in one of his hands and under the left lap is seated a lion, the conveyance of the goddess. Over her head is a branch of a mango tree, in the middle of which is a seated Jina, on either side of which is a monkey eating mangoes. The image is unique and hardly is one like it to be seen anywhere else. The pedestal bears an inscription which reads:
(1) Samvata 1365 varshe Vaisakha vadi 5 Budhe Sri-Devapattana -vastavya-Sri-Malajnatiya pitri-Tha.
(2) Somasimhasya-Matri-Guur (gaura)devyas-cha punyaya-Sri-Chandraprabhaswamichaitye pravishta-Goma maye

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115
(3) na Samananiya Ambikavamurter=jirnoddhara khattakadcayalam
kritaya devaku(4) likava jirnoddharah Tha. Suhadasimhena Karitah
Figure 88 :- AMBIKA IMAGE (fine white marble) lying in a niche to the right on the outside of the antechamber of the Neminatha temple at Prabhāsapāțan. The weapons and the conveyance of this image are identical with those of the Fig. 87. Still the two images show different workmanship.
Plate 42 Figure 89:-SARASVATI. This fine marble image is fixed exactly opposite the Ambikā image (fig. 87) in the Dada-Pārsvanātha temple at Prabhāsa-pāțaņ. She holds a lotus in the upper right hand, a rosary in the lower right hand, a lute in the upper left hand, and a book in the lower left hand. To the right of the image is the figure of lady that got the image fashioned and the vahana of the godd the swan, near the left leg. Standing images of Sarasvati are very rare. The pedestal bears an inscription which reads:
Samvat 1323 Vaisakha Sudi 9.
Figure 90:-SARASVATI (white marble; seated). From another Jaina temple in Prabhāsa-ratan. The weapons she holds are similar to those in fig. 89.
Plate 43 Figure 91:-SRI-CHAKRESVARI. This four-handed image is found in a niche on the left of the Vastupāla-Tejahpala tuk on the Girnar Hill. There is a discus in each of the upper hands a rosary in the lower right hand and a conch in the lower left hand.
Figure 92 :-An unidentified sculpture from Diu. It is a loose sculpture from a Jina temple at Diu (Kathiāwād). It appears to be a Hindu image.
Plate 44 Figure 93:-SRI-MANIBHADRAJI. from the Tapagachchha Upasraya at Prabhäsapātana. The devout pilgrims have besmeared it with much oil and red lead.
Figure 94:-SRI-MANIBHADRAJI-white marble image placed in a niche behind the Mulanayaka in the above temple (fig. 92).
Plate 45 Figure 95 :-SRI-SARASVATIDEVI. The four-armed image of the goddess is in a small shrine in a narrow pass which one sees on the right, just while starting to climb the Satruñjaya Hill. As the image

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has received coatings of red colour, it has a dreadful appearance. The complexion of the goddess is white. So I humbly suggest that if in Future the trustees of the temple start colouring it white, I think the inage would look serene and pleasing in appearance.
Figure 96:-SRI-PADMAVATI-DEVI. This four-handled image is found in the tuk of Sri-Pujyaji on a small hill to the right of the resting place called chhala-kunda on the way leading up to the Satruñjaya Hill.
Plate 46 Figures 97 :-SRI-YAKSHESAYAKSHA. This marble image is in a niche on the left side of a Jina temple while entering the tuk of Chomukhaji.
Figure 98 :-SRI-KALI-DEVI. This is a white marble image in the same temple as above.
Plate 47 Figure 99:-GOMUKHA-YAKSHA. This white and shining marble image is found in a small shrine to the right of the steps of the main temple in the tuk of MotiShāh.
Figure 100:-SRI-CHAKRESVARI-DEVI. This is an eight-armed image of Chakresvarī-devi riding Garuda to the left of the steps that lead to the highest point of the Chomukhaji on the Satrunjaya Hill.
Plate 48 Figure 101 :-THREE SRAVIKAS OR LAY-SISTERS. The slab with these three lay-sisters is fixed in the wall on the right hand side on the outside of the main temple of Sri-Adišvara, the Mulanayaka, on the Satrunjaya Hill.
Figure 102:-SRI-JINAPRABHAsuri. This image of a monk is seen in the circumambulatory passage in the tuk of Chomukhaji on the Satruñ. jaya Hill. The inscription on the pedestal of the image looks to be modern, engraved afterwards by some devout follower of the Gachchha, für Jinaprabhasūri had been a great inonk of the 14th Cen. A. D. when even the tuk did not exist.
Plate 49 Figure 103 :-SRI-AMARACHANDRA-SURI. This white marble image of the famous monk dated in V. S. 1349 is found in the Jaina temple in the Tängadiya-wādā at Patan. The monk was the author of many works including Padmananda Maha-kavya, Amurakosa, LughaTirthankaracharita etc. The inscription on its pedestal reads:

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'Sam. 1349 Chaitra vadi 6 sanau Sri-Vayatiyagachchhe Sri-Jinadattasuri-Sishya-pandita-Sri-Amarachandra-murtih Pam. Mahendrasishya-Madanachandrakhya-(e)na Karita Sivam=astu \\
39
Figure 104-SRI-DEVACHANDRA-SURI. This image of Devachandrasuri, the chief disciple of Sri-Silagunasuri, the protector of Vanaraja the illustrious king of Gujarat, is seen in the Pañchāsarā-Pārsvanatha temple at Patan.
Figure 105-VANARAJA, the illustrious king of Gujarat. This fine marble image of the heroic king is seen just after entering the circumambulatory passage of the Jaina temple referred to above at Patan. All these three white marble images are very helpful for the History of Gujarat.
Plate 50
Figure 106-MOTISHAH SHETH AND HIS WIFE. These standing images of Motishah Sheth who caused the tuk, known after him on the Satruñjaya Hill, to be built, who was a resident of Surat and a merchant of Bombay, and of his wife, with folded hands, are placed just opposite the image of Jinesvara in the temple of the Mulanayaka. Both the images are very important for the history of Gujarat, specially of the Jainas.
Figure 107-A LAY-BROTHER AND A LAY-SISTER from Talājā. These two images, bearing an inscription dated 1437, of a lay-brother and a lay-sister of the Pallivala-gachchha are in a niche on the right of the Jina temple on the Talaja Hill.
Plate 51
Figure 108-A LAY-BROTHER AND A LAY-SISTER from Kadambagiri. A yellow stone image of a lay-brother in the circumambulatory passage of the main shrine at the foot of the Kadambagiri provides an excellent example of the costume of the 15th Cen. A. D.
Figure 109-DHARMARAJA. On the righthand outside of the PanchPandava temple, are fixed plaster images of the five brothers by the masons. It appears that the middle image with a rosary in the right hand and an gourd in the left hand is of Dharmarāja. On his left there is a female chowrie-bearer.
Plate 52
Figure 110-INSCRIBED PILLAK in the Purva-meghanada-mandapa of the Jaina temple at Rapakapura. It bears an inscription dated V. S. 1651. Above the inscribed portion is, it appears, the standing

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image of the mason Samala with hands folded. The inscription purports to record that the pavilion was repaired in the presence of the members of his family by the sons of Prowād. Sā. Raymala, a resident of Usmanpurā near Ahmedabad. The inscription reads:
1, 118011 Samvat 1651 Varshe Vaisakha $142. ! di 13 dine- Patasahi-Sri-Akabbara pra3. Il datta-jagadguru-biruda-dharika parama-gil 4. Il rul-Tabagachchhadhiraja-Bhattaraka-Sri 6 Hi5. Il ravijayasurinam=upadesena Sri-Rand6. Il pura-nagare chatu[r]mukha-Sri-Dharanavihara-Sri7. it mad-Amha(hma)dabad-nagara-nikatavarti=Usama8. Il puravastavy'ı-Pragva(a)ta-jnatiya-Sa. Rarama9. 11 la-bharycı Varaju-bharya-Surupa-de talputra Sa'.] 10. | Kheta-Şa. Nayakabhyam Sa[.] Varadhadi Kutum11. 11 bavutabhyam purvadikpratolya Meghanadabhi12. 11 dho mandupa[h]Karitah SvaSreyo'rthe | Sutradha13. il ra-Samala-mandapa-priva (Megha)nada virachilash]
Figure 111 :-SAHADEVA, DHARMARAJA AND NAKULA. A plaster pannel in the temple of the Pancha-Pandavas. See account given under Fig. 109.
Plate 53 Figure 112:-DRAUPADI, BHIMA AND ACHARYA. Third part of the plaster images cast by masons in the Five-Pāņdava's temple on the Satrunjaya hill. The images in order are of a female seated figure (Draupadi), Bhima, wielding a club in the middle and the third seems to be of acharya Dharmaghosha-suri, half veiled.
Figure 113 :-SRI-SAHASRA PHANA-PARSVANATHA. This most elaborately carved sculpture is fixed in a wall in the circumambulatory passage of the Dharaņa-vihara at Rāņakapura. For its description see the Bharatiyavidya Vol. I. pt. 2. p. 193.
Plate 5.4 Figure 114-115 :-Inscriptions ou the right and left in the sabhamandapa of the main shrine at Ränakapura. The inscription in fig. 114 recordis in brief the history of the successors of Dharana Shāh Porwad who got built the main shrine at Ränakapura and of the Ranas of Mewäd. The inscription has been published in the 'Prachina-Lekhasangraha' Vol. 11. pp. 169-171, No. 307 and is dated 1. S. 1496.

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Fig. 115 contains the records of various sangha-patis and acharyas, engraved on various occasions.
Plate 55 Figure 116 :--INSCRIBED SLAB on the eastern Meghanāda-mandapa. The inscription records the expenditure of 4800 golded mohurs, incurred by Srāvaka Sā. Khetā Nayaka etc. of the Porwad community of Usmanpurā near Ahmedabad, who had repaired the said inandapa.
The inscription reads:1. 1801 Samoat 1647 Varshe Sri-Phalgunamase Suklapakshe 2. panchamyam tithan Guruvasare Şri-Tapagachchhadhiraja-pata3. Shal-Sri-Akabara pra] datta-Jagadguru-biruda-dharaka
Bhattari(a)ka-Sri4. Sri-Sri 4 Hiravijayasurinam=upadasena i Chaturmukha
Sri-Dharan5. vihare-Pragvatajuuttiya-Susravaka Sa. Kheta Nayakena 1 6. Varddhaputra-Yasavantadi-kutumbayutena ashtacha
tvarimsat 48 pra7. manani Suvarnanamnakani mukiani purva-dik
saika-pratoli 1 8. nimittam=iti Sri-Ahimadabuda parsve Usama
puralah | Srir=as!!!
The inscriptions recorded in figs. 110 and 116 are both useful for the history of Ahmedabad as they bear testimony to the residence of rich Jainas at Usmānpura in those days.
Figure 117 :-ARJUNA, SRI KRISHNA AND RUKMINI () This is the fourth part of the plaster sculptures on the Satrunjaya Hill. (See figs. 109-111-112) It is generally believed that the figures are of Arjuna (with an arrow and a bow), Krishna and Rukmini from left to right.
Plate 56 Figure 118:-THE DHARANA-VIHARA at kā nakapura. View from the north-west. The photo gives some idea of the extent of this spacious temple, which is surrounded by jungle on all the four sides.
Plate 57 Figure 119:-North-west view of the Dharana-vihāra, Rānakapur It is a closer view of fig. 118.
Plate 58 Figure 120:-Outside eastern view of the Dharana-vihāra. The

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JAINA TIRTHAS IN INDIA Hight of steps at the entrance to this imposing temple at Ranakapur is to be seen in the centre of the picture.
Plate 59 Figure 121 :-South-east view of the Dharana-vihāra at Ränakapur. This picture also gives an idea of the spaciousness of the temple.
Plate 60 Figure 122 :-SOUTHERN MEGHANADA MANDAPA of the Dharanavihāra at Rāņakapur. The picture shows the carving on some of the 1444 pillars of the Jaina temple at Rāņakapur (Mārwad).
Plate 61 Figure 123:-View of the interior of the WESTERN MEGHANADAMANDAPA, of the Dharaņa-vihāra at Rāņakapur which is three-storeyed. The picture gives a view of the interior of one of the storeys.
Plate 62 Figure 124 :-View of the interior of the dome of the western Meghanāda-mandapa, The pillars, arches and post of the carving of the dome are seen clearly in this illustration.
Plate 63 Figure 125:-View of the interior of the western Meghanāda. manda pa of the Dharana-vihāra at Rāņakapur. The photo shows the pendant hanging from the dome as also the bracket figures.
The photo shows that the carving of the famous Delwäda temple has been copied here.
Plate 6+ Figure 126 :-View of the interior of the dome of the western Meghanāda-inandapa of the Dharaṇa vihāra at Rānakapur. The poses of the bracket figures are clearly seen in this picture.
Plate 65 Figure 127 :-View of the interior of the south-west corner of the Dharana-vihāra at Ranakapur. The picture, gives some idea of the speciousness of the interior of the temple
Plate 66 Figure 128 :-View of the interior of the south-east corner of the Dharana-vihāra. The picture includes the nagarakhana inside the temple. The architecture resembles that of the structures of the period of Sultāns of Gujarāt.
Plate 67 Figure 129 :-DHARANA-VIHARA-The main spire. The photo shows

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the central Sikhara of the main temple and gives an idea of its height and its three storeys.
Figure 130:-Part of the ceiling of the southern MEGHANADAMANDAPA. The Kaliyamardana episode is chiselled by the sculptor in the central panel. Around him are seen the eight wives of the Snake, carved by the artist in a wonderful manner. The presence of Hindu subjects in the panels thus carved in the ceiling in this temple as in those of the Delwada-Abu Jaina temple helps to convince us of the great contribution made by Jainism towards Gujarat architecture in a very unconventional or catholic manner.
Plate 68
Figure 131-TEMPLE OF PARSVANATHA to the west of the Dharaṇavihāra at Rāņakapur. For the photo of the Mūlanāyaka-Pārsvanatha, see fig. 64.
On the outside of this temple are carved many amorous Mithuna figures which some person unappreciative of their artistic carving has attempted to whitewash. For fear of digression I am unable to say why such obscene figures found a place in Jaina architecture.
Figure 132:-CEILING IN THE WESTERN VERANDAH OF THE DHARANAVIHARA TEMPLE at Raṇakapur. The ceiling like that of the Shaikh Farid Tomb and of the Vimalavasahi temple on the Satruñjaya Hill. For the former, vide the Architectural Antiquities of Northern Gujarat Plate XVI.
Plate 69
Figure 133A VIEW OF THE SAMARANA of the western Meghanada-mandapa.
Figure 134-View of the western DANCING HALL from Rāņakapur. The architecture resembles that of the period of the Sultāns of Gujarat of Ahmedabed.
This temple is situated on the border of Gujarat and should be visited at least once by the students of Gujarat Architecture. A look at it would give a clear idea of the architecture and art of the sculptors of Gujarat of the 15th Cen. A. D.
Plate 70
Figure 135-SVETAMBARA JAIN TEMPLE AT MAKSHI, a Rly. Station near Ujjain in Malwā. It is dedicated to Sri-Makshiji-Pāršvanātha. It is under the management of the Sheth Anandji Kalyanji Pedhi of Ahmedabad.

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Figure 136 :-THE JAINA TEMPLE OF DADA-WADI at Lucknow. Lucknow has fourteen Jaina temples which contain hundreds of Jina images of the Mughal period. One of them is illustrated here as an example of their architecture.
Plate 71 Figure 137 :-THE JAINA TEMPLE AT LACHHAWAD in Bihar. Mahāvira, the 24th Tirthankara was born in the village of Kshatriyakunda in Bihar, which is now known by the name of Lachha wäd. The place where he was born and the place of his Chyavana and Diksha are located on the hills near it. At the foot of hill is a Dharmasala of iconolate Svetambara Jainas. The temple is inside that Dharmasala. In the centre of the picture is seen a huge temple surrounded by a broad rampart inside which is the Dharmasālā. Every visitor to Bihar should not fail to see this charming site.
Figure 138 :-THE JAINA TEMPLE ON THE HILL AT KSHATRIYAKUNDA. It is built on the birth-spot of Mahāvīra.
. Plate 72 Figure 139:-THE JAINA TEMPLE AT KAMPILLA-Farukkabad, where the thirteenth Tirthankara Sri-Vimalanātha underwent four Kalyāņakas.
Figure 140 :-THE JAINA TFMPLE AT KULPAKAJI, a town in H.E.H, the Nizam's Dominions.
Plate 73 Figure 141 :-JAGAT SHETH'S JAINA TEMPLE at Katgolā (Bengal). This temple was built by the renowned Jagat Sheth on river bank in the village of of Kațgola on the bank opposite to Murshidabad in Bengal.
Figure 142:-A GENERAL VIEW OF SÅPTA-DHARA. A Jaina temple and a Dharmasala exist near the Railway Station of Räjgir in Bihar and are seen in the picture. The modern village of Rājgir was once Rājagrihi the capital of Magadha.
Plate 74 Figure 143 :-Main enterance of Badridāsa Babu's temple at Calcutta. Figure 144 :-BADRIDASA BABU'S TEMPLE at Calcutta.
Plate 75 Figure 145:-A general view, showing the scenery of the Badridāsa Babu's temple at Calcutta.
This glass temple built in Culcutta by the late Rao Bahadur Badridásji Băbu is famous for its grandeur. He spent laks of Rupees

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AND THEIR ARCHITECTURE to built this fine and spacious Jaina temple which attracts every visitor to Calcutta.
Figue 146 :-JAINA TAMPLE AT GUNIYAJI NEAR Patna where SriGautamasvāmi the first disciple of Sri-Mahāvīrasvāmi, the 24th Tirthnkara was born.
Plate 76 Figure 147 :-General view of the Jalamandira at Pāvāpuri.
Figure 148 :-JALAMANDIRA AT PAVAPURI as seen through the main entrance of the colonnade. Mahäviraswāmī, the last Tirthankara, who promulgated the doctrine of ahimsa entered Nirvana at the spot where the Jalamandira is built. The temple is in the centre of a lake, and is reached by a beautiful colonnade built by the Jainas.
Plate 1
Plate 77 Figure 149:-SITA-NALA ON THE SAMETASIKHARA where twenty out of the twenty-four Tirthankaras of the Jainas entered nirvana. This Sira-nālā is at a distance of three miles on the way that takes up to the summit.
Figure 150:-SCENERY ON SAMETASIKHARA, showing the dense forest in the back ground and the pilgrims on their way.
Plate 78 Figure 151 :-Bird's-eye view of the Sametasikhara Hill.
Figure 152:-MAIN TEMPLE (Jalamandira --SAMETASIKHARA. Padukas are established at every spot where each one of the twenty Tirthankaras attained Nirvana. Jina images are enshrined only in this Jalamandira.
Plate 79 Figure 153 :-THE NIRVANA-BHUMI OF PARSVANATHA on the Sametasikhara or the place where Parsvanatha, the 23rd Tirthankara attained Nirvana. The temple is on the highest point of the Hill and can be seen for iniles.
Figure 154 :-ACHALAGADHA with the Jina shrines. Achalagadha is at a distance of a few miles from Delwāda (Abu) and a general view of the Jaina temples is given here.
Plate 80 Figure 155 :-METAL PARIKARA FROM PATAN. This artistically carved Parikara is in the collection of Sri-Muni-Punyavijayaji of Patan. Its back bears an inscription which reads :

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46
JAINA TIRTHAS IN INDIA
18On Samvat 1616 varshei Sake 1482 pravartamane Chaitravadi 12 Some ady-eha Sri-Pattane Dhamdherapatake Sri-Sri-Malajnatiya Dosi Naka bha. Kas(p?)urai-putra Do. Panaputri Samputabakuyutena Dosi Nakakhyena Svasreyortham Sri-Padmaprabhabimba Karita Sri-Purnimapakshe pradhanasakhaya bha. Sri-Bhuvanaprabha Suri-tatpatte bha. Sri-Vidyaprabha-suribhi pratishthita pujyamanam Chiram nandatu Subham bhavatu karaka-pujakayoh mangalam bhavatu
Figure 156: A MINIATURE METAL TEMPLE FROM the collection of Muni-Punyavijayaji of Patan. It is of a fourfold figure of Jina and the inscription on its pedestal reads:
1811 Svasti Sri-Nripa-vikrama-Samvat 1462 Varshe Margr(g)a vadi 8 Ravau haste Sakshaj-jagachchandra-Saårikshas-chaturmukhah prasadah Sri-Sanghena karitah | Sadhu-Dharmmakena Suvarnnarupyair-alamkritahu
Figure 157:-SILVER SAMAVASAKANA (from Baroda). It is kept in a room on the left hand side in the temple of Dada-Pārsvanatha in the Narasimhaji Pol at Baroda. It was exhibited in the ancient Architecture section of the Exhibition that was arranged in connection with the Diamond Jubilee of His late Highness Sir Sayaji Rao Gaekwad of Baroda.
Plate 81
Figure 158-JAINA KIRTISTAMBHA AT CHITODGADH. This Kirtistambha which was built in the fifteenth century bears testimony to the opulence of the Jainas of Chitor of that period. In a central panel of the pillar is seen a standing figure of a Tirhankara on both the hands of which white stripes have been made by some ignorant person. Above the head of this standing figure is anothere figure of Jina sitting in the padmasana pose. Above this portion are hundreds of seated Jina figures on all the four sides.
Besides this Kirtistambha, there are hundreds of dilapidated Jina temples on the Chitorgadh. Repairs of some of them are at present taken up through the advice of the late revered Sri-Vijayanītisūriśvara. Plate 82
Figure 159:-An exquisitely CARVED WOODEN PILLAR from Surat. Hundreds of figures are carved in wood on the walls of the Sri-Chintamani Parsvanatha temple in the Shahpur Moholla of Surat. Many

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AND THEIR ARCHITECTURE pillars of the temple are also exquisitely carved. One of the pillars is shown here.
Figure 160 :-A small WOODEN TEMPLE FROM PATAN in Pandya Abhyāsagriha at Pațan. A similar shrine from Patan has been sold to the Prince of Wales Museum at Bombay by some unscrupulous Merchant.
Plate 83 Figure 161 :-THE MARRIAGE PROCESSION OF NEMINATHA in wood carving from Pāțan. This is one of the exquisitely carved wooden pieces from the Jaina temple in the Maniyāti-pāda at Pāțan.
Figure 162 :-A BEAUTIFUL PIECE OF SCULPTURE FROM CHARUPA. While I was on a tour to Pațan in connection with the Jaina Literary Exhibition held at Ahmedabad, I visited Chārūpa, which is about four miles from Pāțan, where I saw this sculpture among loose stones lying in a compound. The letter-press below the picture has Chanasma printed for Chārūp through mistake.
Plate 84 . Figure 163:-A CEILING OF CARVED WOOD from the rangumandapa of the Jaina temple in the Damkha Mehta's pāda at Pațan. The ironi bars seen in the photo are for hanging handis and Zummars for illumination during Jaina religious festival.
Figure 164 :-THE JAINA TEMPLE AT CHARUPA about four miles to the north of Patan. This temple has been completely rebuilt in place of the old dilapidated one.
Plate 85 Figure 165 :-SRI-AJITANATHA TEMPLE-Tārangā. This lofty temple built by Kumārapāla, the illustrious rular of Gujarāt has been fully described in Architecture Antiquities of Northern Gujarat by Burgess and Cousens pp. 115-16 (Archaeological Survey of India (New Series) Vol. XXXII].
Plate 86 Figure 166 :--Sculptured southern walls of the temple mentioned above.
Figure 167 :-Back view of the Ajitanātha temple at Täranga. The jali work in the picture exactly corresponds with similar work in the monuments of the Gujarat Sultans of Ahmedabad. But these jalis belong to the period of Kumārapal, much earlier then the period of the Gujarāt Sultāns.

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JAINA TIRTHAS IN INDIA
(1 do not agree with the view of Mr. Sarabhai for we know from an inscription in it that it was repaired in the time of Emperor Akbar. This makes it quite possible that the jalis were inserted at the time of the restoration A. S. Gadre).
Plate 87 Figure 168:-Some sculptures from a part of the outside walls of the Ajitanätha temple at Tărangă. All the sculptures are not clear in this photograph supplied by the Baroda Archaeological Department.
Plate 88 Figure 169:- Another view of Taranga sculptures,
Plate 89 Figure 170 :-One more view of Tarangü sculptures.
Plate 90 Figure 171:-Some more sculptures from Taranga.
Plate 91 Figure 172 :-A portion of the SOMANATHA TEMPLE at Prabhasapatan
Figure 173:-Another portion of the somanätha temple at Prabhāsapatan
Plate 92 Figure 174 :-A third view of the Somanätha temple at Prabhasapåtan. Figure 175:-SRI-AJARA--PARSIANATH TEMPLE ar ljära.
Plate 93 Figure 176:-, beautifully CARVED PILLAR AC Ajara.
Figure 177 :-Another view of the same pillar. This pillar has been lying on the outskirt of the village of Ajära for many years.
Plate 94 Figure 178 :-THE DEATH-PLACE OF SKI-HIKAVIJAYAJI near Una.
Figure 179:--The interior of the Somanátha temple at Prabhasapäran.
Plate 93 Figure 180:-Sono sculptures of Sonjanatha temple at Prabhāsa. patan. Figure 181 :-SRI-AJAYAPALANO CHORO, Ajára.
Plate 96 Figure 182 :-The main entrance of the Semanātha temple at Prabhäsapäţaņa.
Figure 183: GENERAL VIEW OF THE AINA TEMPLE at Prabh sapatana.

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AND THEIK AKCHITECTURE
Plate 97 Figure 184:-Entrance to the temple of Chandraprabhu at Prabhāsapātaņa.
Figure 185:-Exquisitely carved pillars in the temple of Chandraprabhu a: Prabhāsapätana. (Cir. 12th cen. A. D.).
Plate 98 Figure 186 :-Old carved pillars from Uparakota Junagadh. Figure 187 :-Old architecture from Uparakota, Junagadh.
Plate Go Figure 188:-Carved image of a Tirthankaru in the Uparakota, Junagadh.
Figure 189:-Entrance door of the mam teraple in the Meraka vasi's 11h-Girna:
Plate 100 Figure 190 : ATED CAPITAL OF A PILLIR-Specimen of old sculpture from Uparakota Junagadh. Figure 191 :-Rock-cut stepped-well Operakota Junagadh.
Plate 101 Figure 192:-Entrance to the Girnär Hill-Junagadh Figure 193:-SRI-NEMINATHA TEMPLE-Girnar.
Plate 102 Figure 194 :-KUMARAPALA'S TUK-Girnar. Figure 195 -Ceiling from a temple on Merakavasis tuk.
Plate 103 Figure 196 :-MERAKAVASIS TUK-Girnar.
Figure 197 :- Another ceiling from a femple: ou Vieraka rasis tuk-Girnar,
Plate 104 Figure 198:-A carved image of a Tirthankara from Uparakota, Figure 199:-A ceiling from a temple on the Merakavasi's Tuk-Girnar.
Plate 105 Figure 200:-Carved panels in the back wall of the Säntinātha's temple-Girnar. This temple is situated in the right hand circumarsabulatory passage in the Merakavasis tuk. Figure 201 :-Outside carved wall of the Vastapaia's temple. Gimär.
Plate 106 Figure 202 :-A ceiling with its pendant in the Vastupala's comple sirnar.

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JAINA TIRTHAS IN INDIA
Figure 203-A ceiling with its pendant of the Santinatha temple. Girnar. This ceiling is of the temple seen in Fig. 200.
222
Plate 107
Figure 204-VASTUPALA'S TUK from the west-Girnar.
Figure 205 :-Back view of the temple of five Pandavas-Satruñjaya. Plate 108
Figure 206-TUK OF EMPEROR SAMPRATI-Girnar.
Figute 207-Latticed work in stone showing beautiful carving from samprati's tuk-Girnar.
Plate 109
Figure 208-SAMPRATI'S TUK from the west-Girnar.
Figure 206-207-208 :-are specimens of the Gujarat Architecture of the 13th Cen. A. D.
Figure 209:-View of the tuk of the Mulanayaka from the way to Sahasamravaṇa-Girnār.
Plate 110 Figure 210-SRI-KAHANEMI'S TUX-Girnar. Figure 211-SRI-AMBIKA'S TUK-Girnar.
Plate 111
Figure 212-A ceiling from Sri-Ambika's tuk Girnar. Figure 213-A ceiling from Kumārapāla's tuk Girnār.
Plate 112
Figure 214-A general view of the Jaina temples-Girnar. Figure 215-JAINA TEMPLES on the Girnar.
Plate 113
Figure 216-JAINA TEMPLES on the Girnar. Figure 217:-Do
Plate 114
Figure 218-THE SATRUNJAYA HILL and the city of Palitana. Figure 219-Ceiling of a wooden temple from Pālitāṇā. Plate 115
Figure 220-SAHASAMRAVANA-Girnar.
Figure 221-The wooden Jaina temple at Palitāṇā. Plate 116
Figure 222-JAYA-TALETI-Satruñjaya. Figure 223-SRI-PUJYAJI'S TUK-Satruñjaya.
Plate 117
Figure 224 :-BABU'S TEMPLE from Satruñjaya.

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AND THEIR ARCHITECTURE
Figure 225 - Do. Do another view.
Plate 118 Figure 226 :-JAYA-TALETI-Satruñjaya. Figure 227 :-The way to Nava-tuk-Satrunjaya
Plate 119 Figure 228 :- The small shrine of Sri-Padmavati-Devi,-Satrunjaya. This charming temple is situated in the tuk of Sri-Pujyaji which is to the right of the resting place at the chhäla-kunda on the Satrun jaya Hill. Figure 229 :-Spires of Sri-Chomukhaji's tuk--Satrunjaya.
Plate 120 Figure 230 :-The way to Navatuk-Satruñjaya. Figure 231 :- Do.
Do.
Plate 121 Figure 232:-General plan of Jaina temples on the Satrunjaya Hill. (Through the courtsey of the Indian Archaeological Survey).
Plate 122 Figure 233 :-A side view of the temple known as Samprati's temple--Satrunjaya. Figure 234 :-Part view of the Chaumukhaji's tuk-Girnar.
Plate 123 Figure 235:-Sculptured panels on the Bālabhai Modi's tuk.
Figure 236:-Exquisitely carved pillars of the Chaumukhaji's temple - Satruñjaya.
Plate 124 Figure 237:-A beautifully carved jamb of the door of the sinall shrine of Pāņdavas-Satruñjaya.
Figure 238:-The finely carved jambs and the lintel of the door (showing the Pāņdavas inside) of the small shrine of PandavasSatrunjaya. This is a photo of the small shrine, known as the temple of Pandavas, which is behind the tuk of Chomukhaji.
Plate 125 Figure 239 :-Sri-Ujama Phoi's tuk-Satrunjaya.
Figure 240 :-Tuk of Sheth Hemābhāi. Both these tuks are included in the Nava Tuks on the Satrunjaya.
Plate 126 Figure 241 :-Tūk of Moti Shāh Sheth-Satrunjaya. Figure 242 :-The main temple of the Moti Shåh's tuk-Satrunjaya.

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Plate 127 Figure 243 :-Carved panels on a mandovara of the main tukSatrunjaya.
Figure 244:-Main temple of Modi's tuk. This temple is one of the main shrines in the nine tuks.
Plate 128 Figure 245 :-General view of the Jaina temples on the Satrunjaya Hill. Figure 246 :-A sculpture from the Modi's tuk.
Plate 129 Figure 247 :-Niche on the right side of Modi's tuk-Satrunjaya.
Figure 248 :-Niche on the left side of Modi's tuk-Satrunjaya, Such beautiful sculptures are rather rarely seen on the Satrunjaya Hill.
Plate 130 Figure 249:-Interior of the Vimalavasahi-Satrunjaya. Figure 250:-A view of the Shetrunjee river-Satrunjaya.
Plate 131 Figure 251 :-Ceiling from Sri-Neminātha's Chori-Satrunjaya. This ceiling is found in the Neminātha's chori inside the Vimalayasahi tuk. The sculptor has depicted all the five kalyanaka incidents from the life of Neminatha.
Figure 252 :-Exterior of Kumārapāla's tuk, Satrunjaya (mediaeval period).
Plate 132 Figure 253 :- EXTERIOR OF THE GHETI'S PAGA-Satrunjaya. This has been recently repaired by the Sheth Anandji Kalyanji Pedhi. All the persons who are seen praying in the picture are members of the family of the editor of this book Mr. S. Nawab.
Figure 254 :-THE SILVER CHARIOT-Satrunjaya. This chariot is used by the Jainas in the procession of Jalayatra and the festival of the Kalyāņakas of the Jinas.
Plate 133 Figure 255 :-Sculptures on the left side of the main templeSatrunjaya. The sculptures show Brahmã fixed in the wall and a woman with a bow and arrows. Both the pictures appeal to the visitors by their artistic carving. A similar figure of a hunting woman is carved in the mandovara of the temple of Santinātha in the fort of Jesalmere.

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AND THEIR ARCHITECTURE
53
Figure 256-FOOT-PRINTS OF RISHABHADEVA, the Mulanayaka, situated in a shrine behind the temple of Mulanayaka, built by Sheth Dalpatrām Bhāgubhai of Ahmedabad.
Plate 134
Figure 257:-Right wing or aisle of the main temple on the Satrunjaya Hill. The arch shown in the centre of the photo is of the type of the arches of the 12th Cen. A. D.
Figure 258-Sculptured panel on the pillar on the right of the main temple. The figures on it appear to be of the 12th Cen. A. D. Plate 135
Figure 259-A TORANA ON the right side of the main templeSatrunjaya.
Figure 260-Architecture of the right side of the entrance of the main temple-Satrunjaya. From both these sculptures the temple seems to belong to the time of the restoration made by Bahada, the minister, in the 12th Cen. A. D.
Plate 135
Figure 261-THE SILVER SHRINE in front of the main templeSatrunjaya. The shrine is placed in the courtyard adjoining the enterance gate to the main temple. Pilgrims enshrine a metal image in it at the time of bath and worship it etc. The glass used in the awning of the mandapa erected in this courtyard is out of proportion and does not match with it. It conceals a great deal of the sculptures in the temple.
Figure 262-The small shrine of Gheti's paga-Satrunjaya (the picture clearly shows the porch etc. of the shrine.).
Plate 137
Figure 263-Another view of the shetrunjee river-Satrunjaya Figure 264-The temple at the foot of Kadambagiri in the circumambulatory path round the Satrunjaya Hill. There is the village of Bodänänesa, near which is the Kadambagiri Hill. This temple as also the temples shown in figs. 265, 266 are modern, built at the command of Sri-Vijayanemi-suri of the Tapagachchha community. The tirtha is under the management of Sheth Jinadasa Dharmadasa's Pedhi,
Plate 138
Figure 265-The temple at the top of the Kadambagiri. Figure 266-Model of the Satrunjaya Hill on the Kadambagiri hill.

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JAINA TIRTHAS IN INDIA
Plate 139 Figure 267 :-SRI-TALADHVAJAGIRI HILL-Talājā. A Tramway joins Bhavnagar with Talajā and near the Railway Station of Talājā are situated the Jaina Dharmaśālā and the hill seen in the picture.
Figure 268 :-The main temple of Tāladhvajagiri-Talājā (Kathiawad). The view is taken from the top tuk.
Plate 140 Figure 269:-The temple on the top tuk on the TaladhvajagiriTalājā. The temples on these hills are also built at inspiration of the Tapāgachhācharya Sri-Vijayanemi-suri. The temples are managed by the Jaina community at Talājā.
Figure 270 :-PARSVANATHA-from the Sri-Godiji Pārsvanātha temple in Bhavnagar.
Figure 271 :-THE TEMPLE OF DADASAHEB, Bhavnagara. This is the most beautiful and spacious of the Bhavnagar temples.
Plate 141 Figure 272 :-Front view of the Chaurivālā temple, Jamnagar. (17th Cen. A. D.).
Figure 273 :-Back view of the same. The artistically symmetrical construction of this temple has been praised by many foreign and Indian architects. For a description of this and other Jaina temples in Jamnagar, see the article entitled 'Jaina drishtie Jamnagar' in the Silver Jubilee Number of the Jaina.
Plate 142 Figures 274, 275, 276 :- Jaina sculptures from the Jumma Musjid at Cambay. All the three pictures were given by Acharya Maharaja Vijayalāvanya-suri for publication.
at Cambay. All the

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चित्र २ श्री आयागपट • मथुरा Fig 2 Sri Āyāgapata. Muttra
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चित्र ४ श्री आयागपट • मथुरा Fig 4 Sri Āyāgapata. Muttra
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चित्र ६ श्री पार्श्वनाथजी मथुरा Fig 6 Śri Pārsvanatha Muttra
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चित्र ८ श्री महावीरस्वामी क्षत्रियकुंड
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Fig 11 Śri Pārsvanatha Dhanka
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' चित्र १२ श्री पार्श्वनाथजी • अजारा Fig 12 Sri Pārsvanātha · Ajārā
चित्र १३ अज्ञात देवी • अजारा Fig 13 An Unknown Goddess : Ajara

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चित्र २० श्री अजाहरा पार्श्वनाथजी __ig.20 Sri Ajahara Parsvanātha - Ajara
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चित्र २८ काउसगीयाजी पिंडवाडा (मारवाड) Fig. 28 Jain image - Pindwārā (Mārwār)
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चित्र ३१ श्री पार्श्वनाथजी • वांकानेर (काठियावाड) Fig. 31 Śri Pārsvanātha - Vānkāner (Kathiāwār)
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चित्र ३२ श्री ऋषभदेवजी • प्रभासपाटण Fig. 32 Sri Rshabhadeva * Prabhāspātan
चित्र ३३ श्री चक्रेश्वरीदेवी अने अंबिका Fig. 33 Goddess Chakreśvari and Ambikā
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Fig. 34 Sri Chakreśvari
चित्र ३५ श्री अंबिकादेवी प्रभासपाटण Fig. 35 Goddess Ambika
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चित्र ३६ श्री पार्श्वनाथजी (साराभाई नवाब) Fig. 36 Sri Pārsvanātha (Sarabhai Nawab)
चित्र ३७ श्री पार्श्वनाथजी (पूरणचंदजी नहार) Fig. 37 Sri Pārsvanātha (Pooranchandji Nahär)

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चित्र ३८ श्री पार्श्वनाथजी • गोडीजी • मुंबाई Fig. 38 Sri Parsvanātha • Godiji Temple, Bombay.
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चित्र ४२ श्री जिनमूर्ति • अष्टापदजी. पाटण Fig. 42 Jain image. Ashtāpadaji temple, Patan
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चित्र ४३ श्री पार्श्वनाथजी • चारूप
Fig.43 Sri Parsvanātha-Charupa near Patan Copyright S.M. Nawab
चित्र ४४ श्री अवंतिपार्श्वनाथ • उज्जैन Fig. 44 Sri Avanti Pārsvanātha - Ujjain

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चित्र ४५ श्री पार्श्वनाथजी • भांडुक
Fig. 45 Sri Pārsvanātha - Bhānduka Copyright S. M. Nawab
चित्र ४६ श्री पार्श्वनाथजी भांडुक Fig. 46 Sri Pārsvanātha - Bhānduka
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चित्र ४७ श्री नेमिनाथजी • शत्रुजय मोटी टक
Fig. 47 Sri Neminātha . Satrunjaya Conuricht SM. Nawab
चित्र ४८ श्री अमीझरा पार्श्वनाथजी • शत्रुजय Fig. 48 Sri Amizara Parsvanātha : Satrurjaya

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चित्र ४९ श्री महावीरस्वामी • शत्रुजय
Fig. 49 Sri Mahaviraswāmi - Satrunjaya Convricht SM Nawah
चित्र ५० श्री पार्श्वनाथजी • बालाभाईनी टूक Fig. 50 Sri Pārsvanātha - Satrunjaya

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चित्र ५१ श्री शांतिनाथजी • शत्रुंजय Fig. 51 Śri Santinātha Satrunjaya
चित्र ५२ श्री आदीश्वरभगवान चौमुखजीनी टूक Fig. 52 Śri Adiśvara Satrunjaya
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चित्र ५३ श्री सहस्रफणा पार्श्वनाथजी • बालाभाईनी ट्रक Fig. 53 Sri Sahasrafanā Pārsvanātha - Satruñjaya
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चित्र ५४ श्री आदीश्वरजी - मोतीशा शेठनी टूक
Fig.54 Sri Adisvaraji - Satrunjaya
चित्र ५५ श्री पुंडरीकस्वामी . मोतीशा शेठनी टूक Fig. 55 Sri Pundarikaswāmi - Satrunjaya

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चित्र ५६ अभिनंदनस्वामी केशवजीनायकनी ट्रक Fig. 56 Sri Abhinandanaswami - Satrunjaya Copyright S. M. Nawab
चित्र ५७ मूलनायक श्री अजितनाथजी तारंगा Fig. 57 Sri Ajitanathaji - Tarangā Hill
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चित्र ५८ श्री चंद्रप्रभुस्वामी • प्रभासपाटण
Fig. 58 Sri Chandraprabhu - Prabhāsapatan Copyright S. M. Nawab
चित्र ५९ पाषाणनी पंचतीर्थी . कदंबगिरि Fig. 59 Panchatirthi of stone - Kadambagiri (Kathiawar)

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चित्र ६० सहस्रफणापार्श्वनाथ • जोधपुर Fig. 60 Sahasrafaņā Pārsvanātha Jodhpur
चित्र ६१ दादासाहेब • भावनगर Fig.61 Dadasaheb • Bhavnagar
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चित्र ६२ श्री पार्श्वनाथजी. देलवाडा (काठियावाड) Fig. 62 Sri Pārsvanātha · Del wārā (Kathiawar)

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चित्र६३ समवसरण • राणकपुरजी Fig.63 Samavasarana - Ranakpur
चित्र ६४ श्री पार्श्वनाथ Fig. 64 Sri Pārsvanātha
चित्र ६५ श्री पद्मावती देवी - पाटण Fig. 65 Goddess Padmavati - Patan
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चित्र ६६ श्री जिनमूर्ति . पाटण Fig. 66 An image of Jina - Patan
चित्र ६७ श्री ऋषभदेवजी. पाटण Fig. 67 Śri Rshabhadeva - Pātan
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Fig. 70 Sahasrakuța - Satrunjaya Copyright Govt. of India
चित्र ७१ यादवो सहित श्री नेमिनाथजी · शत्रुजय
Fig. 71 Sri Neminātha with Yadavas - Satrunjaya Copyright S. M. Nawab
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चित्र ७२ वीश विहरमाण जिन . राणकपुर Fig. 72 Twenty present Tirthankaras. Rānakapur
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चित्र ७३ श्री नंदीश्वरद्वीप · गिरनार Fig. 73 Sri Nandiśvara-dveepa - Girnār
चित्र ७४ वीश विहरमाण तीर्थकर · गिरनार Fig. 74 Twenty present Tirthankaras - Girnār
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चित्र ७५ श्री मारूदेवा ऋषभदेव सहित . शव॑जय Fig. 75 Rshabhadeva in the lap of his mother Mārūdevā - Satruñjaya Copyright S.M. Nawab
चित्र ७६ हस्ति पर मारूदेवा अने भरतराजा • शत्रुजय Fig. 76 Märūdevā and Bharat on Elephant - Satruñjaya

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चित्र ७७ श्री अंबिकादेवी. प्रभासपाटण
Fig. 77 Goddess Ambika - Prabhāsapatan Copyright S. M. Nawab
चित्र ७८ धातुना काउसगीया • गिरनार Fig. 78 A standing metal image - Girnār

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चित्र ७९ षण्मुख यक्ष गिरनार
Fig. 79 Sanmukha Yakṣa - Girnar
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चित्र ८० विजया यक्षिणी. गिरनार
Fig. 80 Vijaya Yakṣiņi - Girnar
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चित्र ८१ पार्श्वयक्ष Fig. 81 Pārśvayaksa
चित्र ८२,८३ श्री लक्ष्मीदेवी · दीव (काठियावाड) Fig. 82,83 Goddess Laksmi-Div (Kathiawar)
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चित्र ८४ चोवीश जिनमातानो पट · गिरनार Fig. 84 The Tablet of twenty-four Jina Mothers. Girnar

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चित्र ८५ श्री पार्श्वयक्ष प्रभासपाटण Fig. 85 Pārśvayakśa Prabhāspātan
चित्र ८६ श्री पद्मावती देवी प्रभासपाटण Fig. 86 Goddess Padmāvatī
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चित्र ८७ श्री अंबिकादेवी · प्रभासपाटण
Fig. 87 Goddess Ambika - Prabhaspatan Copyright S. M. Nawab
चित्र ८८ श्री अंबिकादेवी • प्रभासपाटण Fig. 88 Goddess Ambikā · Prabhāspātan
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चित्र ८९ श्री सरस्वती देवी • प्रभासपाटण
Fig. 89 Goddess Sarasvati - Prabhāspătan Copyright S.M. Nawab
चित्र ९० श्री सरस्वतीदेवी • प्रभासपाटण Fig. 90 Goddess Sarasvati · Prabhāspātan

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चित्र ९१ श्री चक्रेश्वरीदेवी - गिरनार
Fig 91 Śri Chakreśvari - Girnar Copyright S. M. Nawab
चित्र ९२ एक अज्ञात शिल्प · दीव (काठियावाड)
Fig 92 An unknown image - Diva

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चित्र ९३ श्री माणिभद्रजी प्रभासपाटण
Fig. 93 Śri Māņibhadraji - Prabhāspātan Copyright S.M. Nawab
चित्र ९४ श्री माणिभद्रजी - दीव (काठियावाड)
Fig. 94 Śri Māņibhadraji - Diva

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चित्र ९, श्री सरस्वतीदेवी · शत्रुजय Fig. 95 Goddess Sarasvati - Satruñjaya
चित्र ९६ श्री पद्मावतीदेवी • शव॑जय Fig. 96 Goddess Padmāvati. Satruñiava

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चित्र ९७ श्री यक्षेश यक्ष • शत्रुजय
Fig. 97 Yakşeśa Yakşa - Satruñjaya Copyright S. M. Nawab
चित्र ९८ श्री कालीदेवी • शत्रुजय Fig. 98 Goddess Kali - Satruñjaya

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चित्र ९९ श्री गोमुख यक्ष • शत्रुजय
Fig. 99 Gomukh Yakşa - Satruñjaya Copyright S. M. Nawab
चित्र १०० श्री चक्रेश्वरीदेवी • शत्रुजय Fig. 100 Goddess Cakreśvari - Satruñjava

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नारवर टनशाइयनरामय माणगपरत्यय
चित्र १०३ श्री अमरचंद्रसूरी - पाटण Fig. 103 Sri Amarcandrasuri - Patan
चित्र १०४ श्री देवचंद्रसूरी • पाटण Fig. 104 Sri Devacandrasuri - Patan
चित्र १०५ गूर्जरेश्वर वनराज Fig. 105 Vanarāj, the king of Gujarat - Pātaņ

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चित्र १०६ मोतीशा शेठ अने तेओश्रीनां धर्मपत्नी
Fig. 106 Seth Motiśä with his wife - Satruñjaya Copyright S. M. Nawab
चित्र १०७ श्रावक श्राविका - तळाजा Fig. 107 Srāvaka Srāvikā - Talājā (Kathiawar)

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चित्र १०८ श्रावक श्राविका • कदंबगिरि Fig. 108 Sravaka, Sravika - Kadambagiri (Kathiawar) Copyright S.M. Nawab
चित्र १०९ धर्मराजा • शत्रुजय Fig. 109 Dharmaraja - Satrunjaya

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चित्र ११० देरासरना पूर्वमेघनाद मंडपनो स्तंभलेख राणकपुर Fig. 110 Inscription on Pillar Rānakpur
चित्र १११ सहदेव, धर्मराजा, नकुळ
Fig. 111 Sahadeva, Dharmarajā and Nakula
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चित्र ११२ द्रौपदी, भीम, आचार्य · शत्रंजय
Fig. 112 Draupadi, Bhima and Ācārya - Sātruñjaya Copyright S.M. Nawab
चित्र ११३ श्री सहस्रफणा पार्श्वनाथ · राणकपुर Fig. 113 Sri Sahasrafaņā Pārsvanātha
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Fig. 114-115 Inscriptions on the pillars at Ranakpur
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|| मानव श्वार्षीपालनमा लापता पानियोगमयमरापागाधिराजमात सावधाडामना दाजग नुहाइधारनहारिकत्री प्राजापदासयत्री मुबादहनावटमुखश्रीधर बिहारडारवा ज्ञानीयमावक सारशला माया बघा वनाविक वयुनाव कानात मानि वर्णनात कालिमका निपूरिकसकसी तिमिल मतिमी हिमदाबादाबीउसमानरमाश्रारा
चित्र ११६ पूर्वमेघनाथ मंडपना पाट उपरनो शिलालेख Fig. 116 Inscription on a stone at Ranakpur
चित्र ११७ अजुन, श्री कृष्ण, रूकिमणी (?) Fig. 117 Arjuna, Sri Krsna and Rukmini (?)
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चित्र ११८ श्री धरणविहार-उत्तर तथा पश्चिम बाजुनो देखाव Fig. 118 North-west view of Sri Dharanvihār - Rāṇakpur
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चित्र ११९ धरणविहार-उत्तर तथा पश्चिम बाजुनो देखाव Fig. 119 Dharanvihār-North-west view with Dharmaśālā - Ranakpur

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चित्र १२१ घरणविहार-पूर्व तथा दक्षिण बाजुनो देखाव Fig. 121 Dharanihör. A Cruth na
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चित्र १२२ धरणविहार-दक्षिण मेघनाद मंडपनो देखाव राणकपुर (मारवाड)
Maahanāda mandana Ranakpur
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चित्र १२३ धरण विहार-पश्चिम मेघनाद मंडपनी अंदरनो देखाव Fig. 123 Dharanvihar-Interior of west Meghanada mandapa - Ranakpur
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चित्र १२४ धरणविहार-पश्चिम मेघनाद मंडपना घुमटनो देखाव Fig. 124 Dharaṇvihār-Dome of west Meghanāda mandapa

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चित्र १२५ धरणविहार-पश्चिम मेघनाद मंडपनी अंदरनो देखाव Fig. 125 Dharanvihär-An interior of west Meghanāda mandapa - Ranakpur
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चित्र १२६ धरणविहार-पश्चिम मेघनाद मंडपना घुमटनो देखाव
Fig. 126 Dharanvihar-Dome of west Meghanāda mandapa Ranakpur
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चित्र १२७ धरणविहार-नैऋत्य खणानो अंदरनो देखाव Fig. 127 Dharanvihār-Rāṇakpur Interior of the south-west corner

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चित्र १२८ धरणविहार-अग्निखुणानो अंदरनो देखाव Fig. 128 Dharanvihār-Rāṇakpur Interior of the south-east corner
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चित्र १२९ धरणविहार - मुख्य शिखर Fig. 129 Dharanvihar Main spire
Copyright S. M. Nawab
PIFOTO B MAILAL Ca MISTRY
PHOTO
चित्र १३० दक्षिण मेघनाद मंडपनी एक छतनो देखाव Fig. 130 A ceiling of south Meghnād mandap Ranakpur
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चित्र १३१ धरणविहारनी पश्चिमे आवेल श्री पार्श्वनाथ भगवानन देरासर Fig. 131 The Parśvanāth temple on the west side of Dharanvihār - Rāṇakpur
चित्र १३२ पश्चिम बलाणकनी एक छतनो देखाव Fig. 132 A ceiling of west Balanaka

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चित्र १३३ पश्चिम मेघनाद मंडपनां सामरणनो देखाव Fig. 133 A view of Samarana of west Meghņād mandap - Rāṇakpur Copyright S. M. Nawab
चित्र १३४ पश्चिम बाजुना नृत्यमंडपनो देखाव Fig. 134 Aview of dancing mandap on the west - Ranakpur
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चित्र १३५ श्री मक्षीजी- देरासर Fig. 135 The Jain temple of Maksiji (Malwa)
चित्र १३६ श्री दादावाडीनुं देरासर • लखनौ Fig. 136 The Jain temple of Dādāwādi - Lucknow
Copyright S.M. Nawab

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चित्र १३७ श्री लछवाडनुं नीचेन देरासर Fig. 137 The Jain temple at Lachwar (Bihar)
चित्र १३८ श्री क्षत्रियकुंडनु पर्वत पर देरासर Fig. 138 The Jain temple on the hill of Ksatriyakund
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चित्र १३९ श्री कपिलानगरी (फरुक्काबाद)नुं देरासर Fig. 139 The Jain temple at Kampilā - Farukkābād
चित्र १४० श्री कुल्पाकजीन देरासर Fig. 140 The Jain temple of Kulpakji
Copyright S. M. Nawab

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चित्र १४१ जगतशेठन देरासर • कटगोला Fig. 141 Jagatseth's Jain temple - Katgola (Bengal)
चित्र १४२ सप्तधारानु दृश्य • राजगिर Fig. 142 A general view of Saptadhārā - Rājagira
Copyright S. M. Nawab

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चित्र १४३ श्री बद्रीदास बाबुना देरासरना कंपाउन्डनुं मुख्य द्वार कलकत्ता Fig. 143 Main entrance of Babu Badridās temple Calcutta
चित्र १४४ श्री बद्रीदास बाबुनुं देरासर कलकत्ता
Fig. 144 The Jain temple of Badridas Babu - Calcutta

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चित्र १४५ श्री बद्रीदास बाबुना देरासरनी भव्यता दर्शावतुं दृश्य • कलकत्ता Fig. 145 A general view of Babu Badridās temple - Calcutta
चित्र १४६ जैन श्वेतांबर देरासर . गुणीयाजी Fig. 146 The Jain Swetāmbar temple - Guniaji
Copyright S. M. Nawab

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चित्र १४७ श्री जलमंदिरनुं सुंदर दृश्य पावापुरी Fig. 147 A General view of Jalmandir Pāvāpuri
चित्र १४८ मुख्य प्रवेशद्वार सहितनुं जलमंदिरनुं दृश्य
Fig. 148 Jalmandir through main entrance Pāvāpuri
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चित्र १४९ सीतानाळानो देखाव • समेतशिखर
Fig. 149 Sitānālā - Sametśikhar
चित्र १५० समेतशिखर पर्वतन एक कुदरती दृश्य Fig. 150 Scenery on Sametśikhar hill
Copyright S.M. Nawab

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चित्र १५१ समेतशिखर पर्वतनी टोच परनं रम्य दृश्य Fig. 151 Bird's-eye view of Sametśikhar hill
चित्र १५२ मुख्य मंदिर (जलमंदिर) समेतशिखर
Fig. 152 Main temple - Sametśikhar
Copyright S. M. Nawab

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चित्र १५३ श्री पार्श्वनाथ भगवाननी निर्वाणभूमि Fig. 153 The place where Sri Pārsvanāth attained Nirvana
चित्र १५४ जैन देरासरो सहितनं रम्य दृश्य · अचलगढ़
Fig. 154 The beautiful scene of Avachalgadh with Jain temples

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चित्र १५५ धातुनुं परिकर पाटण
Fig. 155 Metal Parikar - Patan
चित्र १५६ धातुनुं नानुं देरासर Fig. 156 A miniature temple
चित्र १५७ चांदीनं समवसरण वडोदरा Fig. 157 Silver Samavasarana ( Baroda)
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चित्र १५८ श्री जैन कीर्तिस्थंभ - चितोडगढ़ Fig. 158 Jain Tower - Chitodgadh
Canuriah Caut afl...

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चित्र १५९ लाकडाना कोतरकामवाळो थांभलो Fig. 159 A wooden pillar with exquisite carving - Surat Conurioht S. M. Nawab
चित्र १६० लाकडानुं नाचें घर देरासर • पाटण Fig. 160 A small wooden temple - Patan

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चित्र १६१ श्री नेमिनाथजीनी जाननु लाकडानुं कोतरकाम · पाटण Fig. 161 Marriage procession of Nemināth in wood carving - Pātan
चित्र १६२ एक सुंदर स्थापत्यकाम• चाणस्मा Fig. 162A beautiful piece of sculpture - Chanasma
Copyright S. M. Nawab

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चित्र १६३ लाकडाना कोतरकामवाळी छत • पाटण Fig. 163 A ceiling in wood carving - Pātan N.......
चित्र १६४ श्री जैन देरासर • धाणस्मा Fig. 164 The Jain temple - Chāṇasmā
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चित्र १६५ श्री अजितनाथनुं देरासर तारंगा Fig. 165 Śri Ajitnath temple - Tarangā

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चित्र १६७ श्री अजितनाथना देरासरनो पाछळनो देखाव Fig. 167 Back view of Ajitnath temple - Taranga
चित्र १६६ दक्षिण बाजुनां स्थापत्यकामोतारंगा Fig. 166 Sculptures on the south side - Tārangā

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चित्र १६८ तारंगाना सुंदर शिल्पस्थापत्यनो नमूनो Fig 168 A view of Tārangā sculptures

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चित्र १६९ तारंगाना शिल्पस्थापत्यनुं बीजु दर्शन Fig. 169 Another view of Tārangā sculptures - Taranga

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चित्र १७० बीजी एक बाजुनां स्थापत्यकामोतारंगा
Fig. 170 One more view of Taranga sculptures
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चित्र १७१ थोडां वधु स्थापत्यकामो . तारंगा Fig. 171 Further Tārangā sculptures

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चित्र १७२ श्री सोमनाथना मंदिरनो एक भाग-प्रभासपाटण
Fig. 172 A portion of Somanāth temple - Prabhāspātan Copyright S.M.Nawab
चित्र १७३ सोमनाथना मंदिरनो बीजो भाग-प्रभासपाटण Fig. 173 Second portion of Somanāth temple - Prabhāspātan

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चित्र १७४ सोमनाथना मंदिरनो त्रीजो भाग. प्रभासपाटण Fig. 174 Third portion of Somnath temple - Prabhāspatan
चित्र १७५ श्री अजारापार्श्वनाथजीन देरासर • अजारा Fig. 175 General viewief Ajarā Parsvanāth's temple - Ajārā

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चित्र १७६ सुंदर कोतरकामवाळो थांभलो. अजारा
Fig. 176 A beautifully carved pillar - Ajārā Copyright S. M. Nawab
चित्र १७७ चित्र १७६ वाळा थांभलानी बीजी बाजु Fig. 177 Another view of the pillar in fig. 176
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चित्र १७८ श्री हीरविजयसूरिनी निर्वाणभूमि • ऊना नजीक Fig. 178 The death place of Sri Hiravijayasuri near Unã
चित्र १७९ सोमनाथना मंदिरनो अंदरनो भाग · प्रभासपाटण Fig. 179 Interiorabf&Somanāthe temple - Prabhāspätan

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चित्र १८० सोमनाथना मंदिरना केटलांक शिल्प
___Fig. 180 Some sculptures of Somanath temple Copyright S.M. Nawab
चित्र १८१ श्री अजयपालनो चोरो • अजारा Fig. 181 Ajayapal's choro - Ajara
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चित्र १८२ सोमनाथना मंदिरनुं प्रवेशद्वार · प्रभासपाटण Fig. 182 Main entrance of Somanath temple - Prabhaspatan
चित्र १८३ श्री प्रभासपाटणनां जैन देरासरोनु सामुदायिक दृश्य Fig. 183 GeneralPview of Jain temples - Prabhāspātan

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મુખડર સ્થા પુત્ર ના પડા.
थी२९०

चित्र १८४ श्री चंद्रप्रभुना देरासरनुं प्रवेशद्वार • प्रभासपाटण Fig. 184 Entrance of Candraprabhu's temple - Prabhaspatan Copyright S. M. Nawab
चित्र १८५ स्थापत्यकामवाळा थांभलाओ Fig. 185 Carved pillars - Prabhaspatan

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चित्र १८६ प्राचीन स्थापत्यवाळा थांभला . उपरकोट जूनागढ़ Tig. 186 Old carved pillars - Uperkot Junagadh
चित्र १८७ प्राचीन स्थापत्यकामो • उपरकोट जूनागढ Fig. 187 Old Architacture at Uperkot Junagadh

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चित्र १८८ कोतरेली जिनमूर्ति · उपरकोट Fig. 188 Carved image of Jina - Uperkot
चित्र १८९ मेरकवशीनी टकना मुख्य देरासरनं प्रवेशद्वार - गिरनार Fig. 189 Entrance door of main temple Merakvasi's Tuk - Girnar
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चित्र १९. प्राचीन शिल्पनो नमूनो . उपरकोट Fig. 190 Specimen of old sculpture - Uperkot
चित्र १९१ शिलाओमाथी कारी काढेली वाव . उपरकोट
Fig. 191 Rock cut well - Uperkot

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चित्र १९२ गिरनार पर्वतनुं प्रवेशद्वार जूनागढ
Fig. 192 Entrance to Mount Girnar Junāgadh Copyright S. M. Nawab
ने योगी
चित्र १९३ श्री नेमीनाथजीनुं देरासर - गिरनार Fig. 193 Sri Neminath's temple Girnar
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चित्र १९४ कुमारपालनी ट्रक गिरनार Fig. 194 Kumārpāl's Tuk - Girnār
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चित्र १९५ मेरकवशीनी ट्रक परना मंदिरमांनी एक छत गिरनार Fig. 195 Ceiling from a temple on Merakvasi's Tuk - Girnar

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चित्र १९६ श्री मेरकवशीनी टूक . गिरनार
Fig. 196Merakvasi's Tuk-Girnar Copyright S M. Nawab
चित्र १९७ मेरकवशीनी ट्रक परना मंदिरमांनी बीजी छत · गिरनार Fig. 197 Another ceiling from a temple on Merakvasi's Tuk - Girnar

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चित्र १९८ बीजी कोतरेली जिनमूर्ति • उपरकोट Fig. 198 Another carved image of Jina - Uperkot
चित्र १९९ मेस्कवशीनी ट्रकनी त्रीजी छत · गिरनार Fig. 199 Third-ceilingpol Merakvasi's Tuk - Girnar

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चित्र २०० शांतिनाथना देरासरनो पाछळनो भाग • गिरनार Fig. 200 Back portion of Santinath's temple - Girnar
चित्र २०१ श्री वस्तुपालना देरासरनो मंडोवर • गिरनार 18:401 The Mandovar Fig. 201 The Mandovar of Vastupal's temple - Girnār

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चित्र २०२ श्री वस्तुपालना देरासरनी छत गिरनार
Fig. 202 Ceiling of Vastupāl's temple Girnar Convright S. M. Nawaba
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चित्र २०३ श्री शांतिनाथजीना देरासरनी छत गिरनार
Fig. 203 Ceiling of Santinath's temple - Girnār
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चित्र २०४ वस्तुपालनीटकनो पश्चिम भाग. गिरनार
Fig. 20+ West view of Vastupal's Tuk.
चित्र २०५ पांच पांडवनी देरीनी पाछळनो भाग • शत्रंजय Fig. 205 Back view of five Pandava's temple-Satrunjaya

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चित्र २०६ श्री संप्रति महाराजनी ट्रक गिरनार Fig. 206 Tuk of Samprati Girnar
चित्र २०७ श्री संप्रतिनी ट्रकनी जाळीओनुं शिल्प गिरनार
Fig. 207 The beautiful Carvings of Samprati's Tuk - Girnār

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चित्र २०८ संप्रतिनी टूकनी पश्चिम बाजुनो देखाव - गिरनार Fig. 208 West portion of Samprati's Tuk Girnar
चित्र २०९ सहसावनना रस्तेथी मूळ नायकनी टूकनो देखाव • गिरनार Fig. 209 View of main Tuk from the way to Sahasāmravana Girnar

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चित्र २१० श्री रहनेमिनी टूक - गिरनार Fig. 210 Sri Rahanemi's Tuk - Girnar
चित्र २११ श्री अंबिकानी टूक . गिरनार Fig. 211 Sri Ambika's Tuk Girnar

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चित्र २१२ श्री अंबिकाजीनी टकमांनी एक छत • गिरनार
Fig. 212 A ceiling from Sri Ambika's Tuk - Girnar Copyright S.M. Nawab
चित्र २१३ कुमारपालनी ट्रकमांनी एक छत • गिरनार Fig. 213 A ceiling from Kumarpal's Tuk - Girnar
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चित्र २१४ श्री गिरनारजीनां जैन मंदिरोनु सामुदायिक दृश्य Fig. 214 General view of Girnar's Jain temples
चित्र २१५ श्री गिरनार पर्वत परनां जैनमंदिरो
Fig. 215 Jain temples at Girnār

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चित्र २१६ श्री गिरनारजीनां जैन मंदिरो Fig. 216 Jain temples at Girnar
चित्र २१७ श्री गिरनार पर्वत परनां जैन देरासरो. गिरनार
Fig. 217 Jain temples at Girnār
Copyright S. M. Nawab

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चित्र २१८ श्री शत्रुंजय पर्वत अने पालीताणा शहेर Fig. 218 Sri Satrunjaya hill and Palitānā City
चित्र २१९ लाकडाना देरासरनी छत पालीताणा गुरुकुल Fig. 219 Ceiling of wooden temple - Palitānā

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चित्र २२० सहसाम्रवन - गिरनार'
Fig. 220 Sahasāmravana-Girpār Copyright S. M. Nawab
चित्र २२१ लाकडान जैन देरासर • पालीताणा Fig. 221 The wooden Jain temple - Palitāņā
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चित्र २२२ जयतलेटी शत्रुंजय Fig. 222 Jayataleti Satrunjaya
चित्र २२३ श्रीपूज्यजीनी टूक शत्रुंजय Fig. 223 Sripujyaji's Tuk Satrunjaya

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चित्र २२४ बाबुनुं देरासर • शत्रुजय परथी Fig. 22+ Babu's temple from Satrunjaya
चित्र २२५ बाबुनुं देरासर • शत्रुजय परथी Fig. 225 Babu's temple from Satrunjaya another view

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चित्र २२६ जयतलेटी • शत्रुजय Fig. 226 Jayataleti - Satrunjaya
चित्र २२७ नवटकना रस्ते . शत्रुजय Fig. 227 The way to Navatuk Satrunjaya

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चित्र २२८ श्री पद्मावतीदेवीनी देरी • शत्रंजय Fig. 228 The small shrine of Goddess Padmavati-Satrunjaya Copyright S. M. Nawab
चित्र २२९ श्री चोमुखजीनी टकनां शिखरो • शत्रुजय Fig. 229 Sri Chaumukhji's Tuk - Satrunjaya
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चित्र २३० नवटूकना रस्ते - शत्रुंजय Fig. 230 The way to Navatuk Satrunjaya
चित्र २३१ नवटूकना रस्ते शत्रुंजय Fig. 231 The way to Navatuk - Satrunjaya

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UBIEN 1111100
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BALL

GENERAL PLAN
JAINA TEMPLES ON MT: SATRUNJAYA
IN PALITANA
Scale, 1500 feet-12 inches.

चित्र २३२ शत्रुजय परनां जैन मंदिरोनो नकशो Fig. 232 General plan of Jaina temples on Mt. Satrunjaya
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चित्र २३३ संप्रतिना देरासरजीनी बाजुनो भाग शत्रुंजय Fig. 233 Side view of Samprati's temple - Satrunjaya
चित्र २३४ चोमुखजीनी टूकनो एक भाग शत्रुंजय Fig. 234 A portion of Chaumukhji's tuk Satrunjaya

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चित्र २३५ बालाभाई मोदीनी ट्रकनं स्थापत्यकाम · शत्रुजय Fig. 235 Sculptures on Balabhai Modi's Tuk - Satrunjaya
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चित्र २३६ चोमुखजीनी टुकना थांभलाओगें स्थापत्यकाम · शत्रुजय Architectural herit a te Persoparse Only,...
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चित्र २३७. पांडवोनी देरीनो थांभलो . शत्रंजय Fig. 237 A pillar of Pandava's small shrine - Satrunjaya ........c m No.nk
चित्र २३८ पांडवोनी देरी • शत्रुजय Fig. 238 The small shrine of Pandavas - Satrunjaya

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चित्र २३९ श्री उजमफोइनी टुक • शत्रुजय Fig. 239 Sri Ujamafoi's tuk - Satrunjaya
चित्र २४० शेठ हेमाभाईनी टक . शत्रुजय Fig. 240 Sheth Hemabhai's tuk: Satrunjaya
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चित्र २४१ मोतीशा शेठनी टक शत्रुजय Fig. 241 Sheth Motisa's tuk - Satrunjaya
चित्र २४२ मोतीशानी टूकनु मुख्य देरासर • शत्रुजय Fig.242 Min templecof Matisadsatoky- Satrunjaya

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चित्र २४३ मूळनायकनी टकनो एक भाग • शत्रंजय Fig. 243A portion of main tuk - Satrunjaya
चित्र २४४ मोदीनी ट्रकनु मुख्य देरासर • शत्रुजय Fig. 24+ Main temple of Modi's tuk - Satrunjaya
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चित्र २४५ शत्रुंजय पर्वत परनां जैन मंदिरो
Fig. 245 A group of Jain temples on Satrunjaya mountain
चित्र २४६ मोदीनी टूकनी एक शिल्पाकृति
Fig. 246 A piece of art from Modi's tuk Satrunjaya
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चित्र २४७ मोदीनी ट्रकनो जमणी बाजनो गोखलो शत्रुजय Fig. 247 The nitch on the right side of Modi's tuk - Satrunjaya Copyright S.M. Nawab
चित्र २४८ मोदीनी ट्रकनो डाबी बाजुनो गोखलो Fig. 248 The nitch on the left side of Modi's tuk - Satrunjaya
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चित्र २४९ श्री विमलवसहीनी टूकनो अंदरनो भाग शत्रुंजय Fig. 249 Interior of Vimalvasahi Satrunjaya
चित्र २५० शेत्रुंजी नदीनो एक देखाव• शत्रुंजय Fig. 250 A view ofativeresetrunjee Satrunjaya

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चित्र २५१ श्री नेमिनाथनी चोरीनी छत . शबंजय Fig. 251 Ceiling of Sri Neminath's Chori - Satruniava
चित्र २५२ श्री कुमारपालनी ट्रकनो बहारनो देखाव • शत्रुजय Fig. 252 Exterior of Kumārpāl's tuk . Satruniava
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चित्र २५३ श्री घेटीनी पागनो बहारनो भाग • शजय Fig. 253 Exterior of Gheti's Paga - Satrunjaya
चित्र २५४ श्री चांदीनो रथ • शत्रुजय Fig. 254 The silver-cart - Satruajaya
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चित्र २५५ मुख्य देरासरनी डाबी बाजुन स्थापत्य Fig. 255 Sculpture on the left side of main temple - Satrunjaya Copyright S. M. Nawab
चित्र २५६ रायण पगलां • शत्रुजय Fig. 256 Footprints of Rşabhadeva - Satrunjaya
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चित्र २५७ मुख्य देरासरनी जमणी बाजुन दृश्य • शत्रुजय Fig. 257 Right wing of the main temple - Satrunjaya
चित्र २५८ मुख्य देरासरनी जमणी बाजुना थांभलानं शिल्प · शत्रुजय Fig. 258 Sculpture on the right wing of the main temple - Satrunjaya

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चित्र २५९ मुख्य देरासरनी जमणी बाजुनु तोरण • शत्रुजय Fig. 259 A torana on the right side of main temple - Satrunjaya
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चित्र २६० मुख्य देरासरना प्रवेशद्वारनी जमणी बाजुन स्थापत्य . शत्रंजय Fig.260 Architecture of the right side of the entrance of main temple. Satrunjaya

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चित्र २६१ मुख्य देरासरनी आगळ५ चांदीनं देरासर • शत्रुजय Fig. 261 The silver temple in front of the main temple - Satrunjaya Copyright S.M. Nawab
चित्र २६२ घेटीनी पागानी देरी . शत्रुजय Fig. 262. The small shrine of Gheti's Päga - Satrunjaya

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चित्र २६३ शेजेजी नदीनो बीजो देखाव • शत्रुजय ___Fig. 263 Another view of river Setrunjee - Satrunjaya
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चित्र २६४ श्री कदंबगिरि नी नीचेन देरासर कदंबगिरि

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चित्र २६५ श्री कदंबगिरिनी उपरनं देरासर Fig. 265 The temple at the top of Kadambagiri
चित्र २६६ श्री शत्रुंजयावतार कवगिरि Fig. 266 Sri Satrunjayāvatār Kadambagiri

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चित्र २६७ श्री तालध्वजगिरि · तलाजा Fig. 267 Sri Taladhvajagiri - Talaja (Kathiawar)
चित्र २६८ श्री तालध्वजगिरीनं मुख्य देरासर • तलाजा Fig. 268 The main temple of Tāladhvajagiri - Talājā

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चित्र २६९ श्री तालध्वजगिरिनी उपरनी टकनुं देरासर Fig. 269 The temple on the top Tuk on the Tāladh wajagiri - Talāja
चित्र २७० श्री पार्श्वनाथजी भावनगर Fig. 270 Śri Pārsvanāth - Bhāvnagar
चित्र २७१ दादासाहेबचें देरासर • भावनगर Fig. 271 The temple of Dadasaheb - Bhavnag

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चित्र २७२ चोरीवाला देरासरनो आगळनो देखाव • जामनगर Fig. 272 Front view of Chauriwala temple - Jamnagar
चित्र २७३ चोरीवाला देरासरना पाछळना भागनो देखाव • जामनगर Fig. 273 Back view of Chauriwala temple - Jamnagar

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नावादवाहरविवारबम मिरा
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चित्र २७४ -२७५-२७६ खंभातनी जुमा मस्जिदमांनां जन शिल्पो Fig. 274-275-276 Jain sculptures preserved in Jumma Masjid at Cambay
Copyright S.M.Nawab

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Introducing the Pictures

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