Temples of Kumbhariya

Author(s): M A Dhaky, U S Moorty
Publisher: L D Indology Ahmedabad
Catalog link: https://jainqq.org/explore/001571/1

Page #1

The Temples in Kumbharya
American Institute of Indian Studies, New Delhi Lalbhai Dalpatbhai Institute of Indology, Ahmedabad

Page #2

Coor
Education International

Page #3
OOOC

Page #4

Page #5

The
Temples in Kumbhāriyā

Page #6

Page #7

Page #8

21
Jain Education Internationa
For Pete & Persenal Use Only
www.jainelibraneig

Page #9

The Temples in Kumbhāriyā
M. A. Dhaky U. S. Moorti
American Institute of Indian Studies, New Delhi Lalbhai Dalpatbhai Institute of Indology, Ahmedabad
2001

Page #10

First published 2001
All rights reserved. No part of this publication may be reproduced or stored in a retrieval system, or transmitted, in any form or by any means, without the prior written permission of the copyright holders.
© 2001 by the American Institute of Indian Studies & Lalbhai Dalpatbhai Institute of Indology
Published jointly by Pradeep Mehendiratta for the American Institute of Indian Studies, New Delhi & Jitendra Shah for the Lalbhai Dalpatbhai Institute of Indology, Ahmedabad, 2001.
Price: Rs. 1200/
ISBN: 81-7304-434-1
Printed in India by Arun K. Mehta at Vakil & Sons Pvt. Ltd., Hague Building, 2nd Floor, 9 Sprott Road, Ballard Estate, Mumbai 400 001.

Page #11

To
The Sacred Memory
of
Sheth Shri Kasturbhai Lalbhai

Page #12

Page #13

Contents
FOREWORD
PREFATORY NOTE
PREFACE
xiii
INTRODUCTORY
XV
List of Figures
List of Plates
xxiii
CHAPTER
PAGE
1.
Jainism in Gujarat : Historical and Socio-Religious Perspective
2. Kumbhāriyā and Contemporary Writings 3. Kumbhāriyā :
Denomination and Historical Background 4. Western Indian Jaina Temple : Generalities 5. Description of Temples 6. Associated Sculptures 7. Inscriptions 8. Description of Plates Reference Glossary: Art & Architectural Terms
Bibliography Plates 1-244

Page #14

Front cover photo: Kumbhāriyā. Neminātha temple from north. Maru-Gurjara style. Founder: Păsila (son of minister Gogāka of Ārāsaņa). C. A.D. 1137-1254.
Frontispiece: Kumbhāriyā. Mahāvīra temple, mūlaprāsāda with gūdhamandapa from southeast. Maru-Gurjara style. Founders: Members of 'Sangha-caitya.' C. A.D. 1062
Back cover photo: Kumbhāriyā. Sāntinātha (Ādinātha Phase II) temple, șațcatuṣkya, frontal pillars from southwest. Maru-Gurjara style. C. A.D. 1082.

Page #15

Foreword
Kumbhariya is one of the more notable among the extant Svetambara Jaina tirthas in western India. It is now becoming famous for the spectacular interiors of its Jaina marble temples. They, in fact, are the sparkling little gems among Indian temples. As such, they occupy a front-ranking position in the 'High Medieval' western Indian temple architecture. A comprehensive and an authentic monograph covering all its aspects-site's and temples' history, inscriptions, buildings and their descriptions supported by relevant drawings including floor-plans and photo-illustrations, the critical estimation and evaluation of the art of its architecture and sculpture, as also the temples' special contributions was a desideratum. To our satisfaction, all these aspects have been given due justice in this monograph. What is more, the opening chapter delineates the detailed historical, socio-religious and cultural perspective of Jainism in Gujarat, from its advent in the Mauryan period to the late Solanki period, as a prelude to the building of the Kumbhāriyā temples in the medieval period. Such a quick but comprehensive historical account never has been given by earlier historians of Gujarat.
For the past eight decades, the administration and maintenance of Kumbhāriya's Jaina ensemble of temples is in the care of Sheth Anandji Kalyanji, Ahmedabad. The clearance of the site and renovation of the temples were initiated by Sheth Kasturbhai Lalbhai, the foundation's former Chairman. Efforts, moreover, are continually made to develop the site. Improved lodging and boarding facilities are now available on the site to the visiting pilgrims.
A systematically prepared and profusely illustrated monograph jointly authored by Prof. M.A. Dhaky and Dr. U.S. Moorti of the American Institute of Indian Studies, New Delhi, on the temples of this relatively less famous site is now before the scholars and students of Indian temple architecture as well as

For Private Personal Use Only

Page #16

X
the interested lay readers. Two years ago, among the several guide books written in Gujarātī by Prof. Dhaky, one entitled 'Arasi Tīrtha Ārāsaṇa', focussed on the Jaina temples at Kumbhariya. The present monograph, appearing in English, understandably is meant for national and international readership and meets with the ideals and standards of, as well as the need for not only an authentic but also an exhaustive publication on the subject. We all here feel grateful to the authors for this scholarly piece of work just as to the American Institute of Indian Studies for collaborating with the L.D. Institute of Indology, Ahmedabad, in the production of this fine monograph.
Ahmedabad 06.04.2000

For Private
The Temples in Kumbhāriyā
Personal Use Only
Shrenik Lalbhai Chairman Sheth Anandji Kalyanji

Page #17

Prefatory Note
Kumbhāriyā is one of the important medieval Jaina temple sites in Gujarat, in fact in all western India. The marble temples that exist there are gradually becoming known for their splendid architecture of the Solankī period. Qualitatively, these can be reckoned as on par, and even for a few aspects excelling the world famous Delvādā temples on Mt. Abu. However, very little has been written on the religious history and not enough on the art of these buildings. Sheth Shri Shrenikbhai had for long time cherished a wish to make good this deficiency. When, therefore, a proposal was mooted and discussed some two years ago by Dr. Pradeep Mehendiratta, the Director-General and Vice-President of the American Institute of Indian Studies, New Delhi, to prepare and publish a comprehensive monograph on the temples in Kumbhāriya in collaboration with the L.D. Institute of Indology, to Sheth Shri Shrenikbhai (who besides being the Chairman of Sheth Anandji Kalyanji is also the Chairman of the Board of Trustees, L.D. Institute of Indology), it was wholeheartedly welcomed. The task of preparing a research-based and comprehensive monograph was entrusted to the well-known specialist on Indian temple architecture, Prof. M.A. Dhaky, the Director (Research, now Emeritus) of the AIIS who for over three decades is associated with the AIIS's prestigious project, the Encyclopaedia of Indian Temple Architecture. Prof. Dhaky, in collaboration with his colleague Dr. U.S. Moorti, the Jt. Director, AIIS, has fulfilled this task, using as he did his earlier field notes as well as the results of their recent joint reëxamination of the recorded data. The monograph incorporates illustrative material drawings and photographs got from the archival holdings of AIIS, supplemented by some more photographs made specially for this monograph by the “Sambodhi Saṁsthāna" Ahmedabad, through the intermediary of the Sharadaben Chimanbhai Educational Research Centre, Ahmedabad. The photo-artist Samir Pathak was assigned the job to which he did full justice. Shri Akhilesh Mishra of the SCERC did the laser

Page #18

xii
printing of the Nāgarī part (inscriptions) and Shri Naranbhai Patel read the proofs. We gratefully acknowledge the coöperation of the aforementioned two institutions as well as the assistance of Samir Pathak. We likewise thank Sheth Anandji Kalyanji for their valuable coöperation in not only permitting to document the temples but also for according all needed facilities to the team working at the site.
We earnestly hope that the present monograph will be useful as much to the historians of Indian temple architecture as to the visitors to these temples, particularly those who are more serious on knowing the accurate, authentic, and complete information on the important aspects connected with the site's exquisite group of temples which may now take an honorable place, like the Delvāḍā temples, in the nation's precious heritage.
Ahmedabad 15.12.2000

The Temples in Kumbhāriyā
For Private
Personal Use Only
Jitendra Shah Director
L.D. Institute of Indology

Page #19

Preface
The American Institute of Indian Studies is proud to cöpublish with the Lalbhai Dalpatbhai Institute of Indology the latest in a series of scholarly works on Indian art and architecture. This most recent volume, The Temples in Kumbhāriyā has been authored by M.A. Dhaky and U.S. Moorti, both of the American Institute of Indian Studies' Center for Art and Archaeology. M.A. Dhaky commenced this project some forty years ago, but due to the time and energy needed to produce the American Institute of Indian Studies' on going massive multi-volume Encyclopaedia of Indian Temple Architecture project, he was not able to complete it fully. Then in 1999 Shrenik Kasturbhai Lalbhai and Jitendra Shah proposed that with the help of the Lalbhai Dalpatbhai Institute of Indology documentation on the temples of Kumbhāriyā might be recommenced, thus giving renewed impetus to the production of this monograph. M.A. Dhaky then invited U.S. Moorti to serve as cöauthor of this text on the important Jaina temples of Kumbhāriyā.
The volume, the very first on the temples of Kumbhāriyā, fills a major lacuna in Indological studies. While the Jaina temples of Mt. Ābu, Rāṇakpur, and Osiāñ are well-known to pilgrims, scholars, and tourists, those of Kumbhāriyā, dating between the 11th and late-13th centuries, barely are known. Yet since some of these temples predate those of Mt. Abu and other sites better established in both popular and scholarly literature, the temples at Kumbhāriyā hold considerable importance for an understanding of the development of the western Indian temple. This is compounded by the fact that so few temples in western India of this period are extant. We thus are grateful to M.A. Dhaky and U.S. Moorti for preparing this important scholarly contribution on the temples at Kumbhāriyā. We also would like to acknowledge the roles of Shrenik Kasturbhai Lalbhai and Jitendra Shah, both of the Lalbhai Dalpatbhai Institute of Indology, as well as that of Dr. Pradeep
Jain Education Interational

Page #20

xiv
The Temples in Kumbhāriyā
Mehendiratta, Vice-President and Director-General of the American Institute of Indian Studies, in realizing the completion of the volume. Without their help and intervention this text never would have seen the light of day. As is made clear in the Introduction to the text, there are many people who have assisted in the production of this monograph. We would like to thank them, without repeating all the names mentioned there, for their fine work and dedication to this major project. Thanks to M.A. Dhaky, U.S. Moorti and all the people who contributed to this project in one way or another, for making such significant contributions to our knowledge of Indian history and culture.
Catherine B. Asher, Chair Committee on Art and Archaeology American Institute of Indian Studies
Frederick M. Asher
President American Institute of Indian Studies
Minnesota 22nd May, 2001

Page #21

Introductory
The first author of this monograph had planned a book on the temples in Kumbhāriyā after his visits to that site in late fifties and early sixties when he was working in the Department of Archaeology, Government of Gujarat. He then had undertaken the survey and photo-documentation as well as got prepared the floor plans of all the temples there and also had taken extensive and detailed notes on the architecture, decoration of the buildings and the relevant iconographical details of the divinity images. The monograph could not, however, come through owing largely to the exigencies generated by the then prevailing circumstances. While working next for long decades at the American Institute of Indian Studies—its Art and Archaeology Center in Varanasi (now moved to Gurgaon in Haryana)—he repeated his earlier endeavours at photo-documentation as also got prepared the floor plans afresh, which are here reproduced: the copies of a couple of minor plans, and in one case the elevation of the samvaranā-roof, were earlier acquired from the collection of the Department of Archaeology, Government of Gujarat, by way of filling in the gaps in reproduction. The photo-documented material was meant on the one hand for the AIIS's photo-archive as also for using it for a relevant chapter by the first author to be included in Vol. II, Part 4 of the Institute's prestigious publication, 'The Encyclopaedia of Indian Temple Architecture.'
As time wore on, it became clear that the revised decision (1991) which envisaged completing the remaining two Parts (4 and 5) of Volume I (South India) on priority basis, the publication of Vol. II, Part 4 (North India: c. 1001-1600) where the Kumbhāriyā temples were to figure may take, as a result, some more years. In the meantime, a fresh policy formulated by the Institute contemplated collaboration with other Indian institutions of standing, on specific projects to be precise. In view of this new direction, on the 11th of April 1999, Dr. Pradeep Mehendiratta, the Director-General and

Page #22

xvi
Vice-President of AIIS, along with the authors of this monograph, met Sheth Shrenikbhai Kasturbhai Lalbhai, the Chairman of the Board of Trustees of the Lalbhai Dalpatbhai Institute of Indology-he is also the Chairman of Sheth Anandji Kalyanji-and Dr. Jitendra Shah, Director of the L.D. Institute of Indology, in Ahmedabad with a proposal for jointly publishing a monograph on the temples in Kumbhāriyā, to which they agreed just as for sharing the cost of publication with the AIIS. Dr. Jitendra Shah, who is also the Honorary Director of the Shardaben Chimanbhai Educational Research Centre, one other institution of standing in Ahmedabad, suggested that a fresh documentation of the Kumbhāriyā temples may also be undertaken-which will be at their end-for complementing what earlier had been done by AIIS and the final selection of the illustrative material for the monograph be done from the combined holdings of the two institutions. This plan, too, was approved.
The Temples in Kumbhāriyā
As a next step, the first author of this monograph, along with the photo-artist Samir Pathak and his companion Neel, both stationed at Ahmedabad, visited Kumbhāriyā in May 1999 for taking a fresh look at the buildings as well as for their photo-documentation for SCERC. A second trip was organized when both the authors of this monograph visited Kumbhāriyā in the month of September 1999 to survey further and study together the architecture of the buildings as also to continue photo-documentation in the company of Samir and this time Vikrant who assisted Samir. A third trip was undertaken in early November by Samir with Vikrant who once more ably assisted him in photography. Went with them, at this occasion, Sarvashri Lakshmanbhai Bhojak and Amrut Patel, the epigraphers of the L.D. Institute of Indology, to read some eight unreported inscriptions spotted during the present authors' previous trip, engraved as they all are on the architectural members.
As per the plan formulated for the publication of the monograph, the text-manuscript together with the accompanying illustrative material was readied for the press by May 2001. The result is this monograph which is intended to be as thorough and authentic as complete in essential and important details as was possible within the limits of authors' experience, knowledge, perceptions, and available resources. As a word of caution, let us warn the readers that it is not written in the style of a guide book meant for pilgrims and tourists, nor is it designed to be a fabulously beautiful coffee-table book cast in a populist style of prose and dazzling pictures, all in colour. By disposition,

For Private Personal Use Only

Page #23

Introductory
intention, and of necessity, the descriptions of the temples given here betray an archaeological bias, using technical 'vāstu' and 'silpa' terms in Sanskrit and diacritical marks used also for personal and place names, keeping, however, in view the eight factors in serious writings, namely accuracy, acuity, authenticity, clarity, brevity, simplicity, communicability, and readability. At the same time, undue sophisticated phrasing has been studiedly avoided. The book is first and the last meant for academics as well as scholars and serious students of Indian temple architecture as a reference book and modestly aspires at being useful for long decades to come. However, in the chapter embodying the descriptions of plates, an attempt has been made, wherever there was scope, to dwell upon the art-interpretative besides art-historical, and hence on the qualitative aspects of the interiors and their significant architectural members and details, in short focusing on the aesthetic essence of the buildings.
xvii
Under the aegis of the Solanki rulers, the medieval times in Gujarat saw the ultimate peak of political power, commerce, opulence, and expansion together with development of the regional culture and its manifestations including art and architecture. In those eventful centuries, along with Śaivism, Jainism, too, passed through its most glorious phase. In Gujarat, then, hundreds of Śvetambara friars and monks belonging to the many different gacchas or orders preached and produced scores of religious literary works including soulful hymns, and many commentaries were written on the ancient as well as then contemporary didactic and doctrinal works. What is more, besides the dedication of innumerable Jina images in stone and in brass as meritorious acts, for housing them, some two hundred temples were built, among them many were large and fully decorated and architecturally complete complexes. The historical vicissitudes which followed after the end of the medieval period, resulted in the devastation of the vast majority of these buildings along with the many repositories in many cities that treasured the palm-leaf manuscripts. The carved pillars and ornamental ceilings that graced the Jaina temples were used in constructing the mosques at Patan (Aṇahillapāṭaka, the capital of Gujarat), Ahmedābād (Āśāpalli-Karṇāvatī), Cambay (Khambhat, Stambha-tirtha), Bharuch (Bhrgukaccha), Dholakā (Dhavalakakka), Mandal (Mandali), Vanthalī (Vānanasthalī), Prabhāsa, Mangaro! (Mangalapura), and some other towns like Kapadavanj

For Private Personal Use Only

Page #24

xviii
(Kārpaṭavānijya). Keeping in view this huge, indeed inestimable and lamentable loss, the temples at Kumbhāriyā, which escaped that fate, though today representing only the smallest remainder of the precious architectural wealth of the past, per se assume importance as very valuable visual documents of Jaina art and architecture of the medieval epoch in Gujarat. As will be demonstrated, like the Delväḍā temples on Mt. Abu, they possess a variety of columns and richly carved ceilings (and at present only a few surviving toranas) in their interiors. In point of fact, the interiors of the four Jaina temples at Kumbhariya are more ancient than those in the Delvāḍā temples. They thus provide on one side the visual links to, and on the other lend insights into the evolutionary development, casting as they also do additional light on the stylistic trends in the Jaina mode of temple planning as well as the nature of associated architectural components and details that preceded the world famous Delvāḍā temples.
The Temples in Kumbhāriyā
In medieval times, Kumbhāriya was not on the main pilgrim route, nor was it eminently famous as a 'tīrtha'. Hence the place, with a few exceptions, remained unalluded to in the 'caitya-paripatī' and 'tīrthamālā' class of the Jaina pilgrimic/psalmic literature, nor any hymn in Sanskrit, Prakrit, or for that matter Apabhramsha, addressed to any particular Jina at this site has so far come to light. The contemporary writings and allusions to the site and its buildings, with a few exceptions, are largely in Gujarātī, one salient reason why they have not attracted the attention of most students of Indian temple architecture. Nor is there any publication so far, in English, on the site's buildings that gives a complete account of the locale, the buildings' and site's history. The present monograph, therefore, is designed to meet with most of these shortcomings as far as it was possible within the ambit of the resources and the time and efforts which could be devoted on it.
Acknowledgments
The authors are grateful on AIIS's side to Dr. Pradeep Mehendiratta for taking initiative on the Project and on the other to Shri Shrenikbhai Kasturbhai Lalbhai for supporting it and for sharing the cost of publication. The authors likewise are beholden to Sheth Ajaybhai Chimanlal, the Chairman of the Shardaben Chimanbhai Educational Research Centre as well as to Dr. Jitendra Shah, the Center's Honorary Director, for providing the vehicular facility and

For Private Personal Use Only

Page #25

Introductory
xix
the assistance of the photo-artist Shri Samir Pathak and his companions. Dr. Jitendra Shah, who is also the Director of the L.D. Institute of Indology, next sent Shri Lakshmanbhai Bhojak and Shri Amrut Patel, both in charge of the manuscripts section of the L.D. Institute and experts on epigraphy, for reading the newly discovered inscriptions. We are grateful to Sarvashri Bhojak and Patel for providing us the relevant transcripts.
We also intend to record our thankful appreciations of Sheth Anandji Kalyanji, the custodian of the Kumbhāriyā temples, for not only granting us the permission to document the temples but also allowing us to use their guest house for camping. Their local managerial staff very cordially had extended all the assistance we had needed.
At the AIIS's level, Shri D.P. Nanda, the Chief Photographer, prepared excellent photo-enlargements, most of which are included in the monograph. Some 59 from the several fine photo-enlargements made by Samir Pathak on behalf of the Shardaben Chimanbhai Educational Research Centre from their recent documentation also find place in the illustrative section. And three photographs long ago acquired from the Department of Archaeology, Government of Gujarat likewise have been included. We are thankful to both the aforenoted Institutions and acknowledge their kind courtesies. Shri A.T.P. Ponnuswamy (former draftsman), Shri S. Pandian, and Shri N. Ravi (both for long years the draftsmen at the AIIS) prepared accurate floor plans and in a few cases also the elevational details of the temples. Figs. 5, 6, and 8 are included here (with some additions of details) by courtesy of the Department of Archaeology, Government of Gujarat: the rest are from AIIS's collection. Our indebtedness to the earlier writers in English as well as Gujarātī of this century, particularly on the historical and epigraphical sides, must also be acknowledged. Shri V.K. Venkata Varadhan dedicatedly and diligently prepared the camera-ready copy of the English text and Shri Akhilesh Mishra of the SCERC, Ahmedabad, did the same with the Nāgarī section that figures as Chapter 7, namely 'Inscriptions'. The last corrections to that section were introduced by AIIS's new Computer Operator, Shri Raju Prasad. The authors wish to express their special thanks to all of them for their neat and accurate laser printing and for meticulously adhering to the stipulated layout. Shri Naranbhai Patel of the SCERC earlier had carefully proof-read the herein printed text of the inscriptions.

Page #26

XX
The Temples in Kumbhariya
The Indian Advisory Committee and the Bi-National Committee of the American Institute of Indian Studies had supported this Project at all stages for which the authors are beholden to them. And finally the authors wish to express their gratitude to Sheth Shri Shrenikbhai for taking keen interest in this Project as well as for writing the Foreword in his capacity as the Chairman of Sheth Anandji Kalyanji, to Dr. Jitendra Shah for writing his Prefatory Note as the Director of the Co-sponsor L.D. Institute of Indology and to Prof. Frederick M. Asher, the President of the American Institute of Indian Studies and Prof. Catherine B. Asher, Chairperson of the AIIS's Art and Archaeology Committee, for not only wholeheartedly supporting the Project but also for jointly writing the Preface of the monograph.
M/s Vakil & Sons Private Limited, Mumbai, nicely printed this monograph, as indeed they earlier had done in the instance of the AIIS's Encyclopaedia volumes. At their level we feel especially thankful to Shri Arun Mehta, Smt. Sudha Mehta, Shri Bimal Mehta, and of course to our friend Ms. Katey Cooper just as to their very competent staff for the care and attention they all bestowed on maintaining the level of quality in production.
M. A. Dhaky U. S. Moorti
Gurgaon 22nd May, 2001

Page #27

List of Figures
PAGE
5.
Location map of Kumbhāriyā. Site plan showing temples in Kumbhāriyā. (Not to the scale.) Floor plan, Mahāvīra temple. Elevations of the pīțhas: a. Mahāvīra temple, mūlaprāsāda; b. Sāntinātha (originally Adinātha) temple, mūlaprāsāda; c. Pārsvanātha temple, mūlaprāsāda; d. Sambhavanātha (originally Śāntinātha) temple, mülaprāsāda. Plan and elevation of the pītha, Samavasaraña, Four-doored devakulikā, Mahāvīra temple. (Not to the scale.) [Courtesy: Department of Archaeology, Government of Gujarat.] Plan and elevation, samvaranā of the Samavasaraņa devakulikā, Mahāvīra temple. (Not to the scale.) [Courtesy: Department of Archaeology, Government of Gujarat.] Floor plan, Sāntinātha (Adinātha Phase II) temple. Floor plan of the Aştāpada, Four-doored devakulikā, sāntinātha (Ādinātha Phase II) temple. (Not to the scale.) (Courtesy: Department of Archaeology, Government of Gujarat.] Floor plan, Pārsvanātha temple. Floor plan, Pārsvanātha temple, mukhamandapa, lower storey level. Floor plan, Neminātha temple. Elevations of the pithas: a. Neminātha temple, mülaprāsāda; b. Kumbheśvara temple, mülaprāsāda. Floor plan, Sambhavanātha (originally Śāntinātha) temple. Floor plan, Kumbheśvara Mahādeva temple.
9.
11.
13. 14.

Page #28

Page #29

List of Plates
1. 2.
3. 4.
Kumbhāriyā. Mahāvīra temple from northwest. Maru-Gurjara style. C. A.D. 1062. Kumbhāriyā. Śântinātha (originally Ādinātha) temple from northwest. Maru-Gurjara style. C. A.D. 1082. Sāntinātha (originally Adinātha) temple from southeast. Kumbhāriyā. Pārsvanātha temple from northwest. Maru-Gurjara 'style. C. A.D. 1100. Kumbhāriyā. Neminātha temple from north. Maru-Gurjara style. C. A.D. 1137-1254.
5.
6. Neminātha temple from east-northeast. 7. Kumbhāriyā. Sambhavanātha (originally Śāntinātha) temple from east.
Maru-Gurjara style. After A.D. 1232. 8. Kumbhāriyā. Kumbheśvara temple from southwest. Maru-Gurjara style. C. A.D.
1207. 9. Kumbhāriyā. Ādinātha Phase I temple, garbhagsha-doorframe. Maru-Gurjara style.
C. A.D. 1031. (Now in śāntinātha i.e., Adinātha Phase II temple.) (Courtesy:
Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 10. Adinātha Phase I temple, doorframe, Gangā. 11. Adinātha Phase I temple, doorframe, Yamunā. 12. Adinātha Phase I temple, doorframe, bāhya- and vallīšākhā detail, proper right. 13. Adinātha Phase I temple, doorframe, bāhya- and vallīšākhā detail, proper left.
[Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 14. Kumbhāriya. Mahāvīra temple, mūlaprāsāda with gūdhamandapa, superstructures
from southeast. Maru-Gurjara style. C. A.D. 1062. 15. Mahāvīra temple, mūlaprāsāda from south. 16. Mahävīra temple, mūlaprāsāda and gūdhamaņdapa, superstructures from
southwest

Page #30

XXiv
The Temples in Kumbhāriyā
19.
17. Mahāvīra temple, mūlaprāsāda, śikhara from west. 18. Mahāvīra temple, mūlaprāsāda with gūdhamandapa, superstructures from
northwest. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Mahāvīra temple, gūdhamandapa, samvaraņā. [Courtesy: Department of
Archaeology, Government of Gujarat.] 20. Mahāvīra temple, mūlaprāsāda, lower structure from northwest. 21. Mahāvīra temple, mūlaprāsāda, praņāla.
Mahāvīra temple, gūdhamandapa, Sabhāmārga vitāna. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Mahāvīra temple, gūdhamandapa, doorjambs and wall-pilaster, proper right.
[Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 24. Mahāvīra temple, gūdhamandapa, doorframe, upper part with uttaranga-lintel. 25. Mahāvīra temple, trika, pītha, east side. 26. Mahāvīra temple, trika, mukhacatuṣki-profile, west. 27. Mahāvīra temple, trika, mukhacatuṣki-profile, east. 28. Mahāvīra temple, trika, general view from northeast.
Mahāvīra temple, trika, general view from northwest. 30. Mahāvīra temple, trika, mukhacatuṣkī, frontal pillars with stairway between. 31. Mahāvīra temple, trika, Padmanābha vitāna above the staircase. 32. Mahāvīra temple, trika, Padmanābha vitāna, view from below.
Mahāvīra temple, trika, Padmaka vitāna, to the right of Padmanābha vitāna.
[Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 34. Mahāvīra temple, trika, Padmaka vitāna, view from below. 35: Mahāvira temple, trika, utkşipta type of the Näbhicchanda vitāna, behind the
Padmanābha vitāna. 36. Mahāvīra temple, trika, utkşipta type of the Nābhicchanda vitāna, view from below.
(Courtesy: Department of Archaeology, Government of Gujarat.]
29.
37. Mahāvīra temple, trika, Nābhicchanda vitāna, to the right of the utkşipta-vitāna.
38. Mahāvīra temple, rangamandapa, view from trika.
39. Mahāvīra temple, rangamandapa, another view from trika. 40. Mahāvīra temple, rangamandapa, front pillars (north side).

Page #31

List of Plates
41.
Mahāvīra temple, rangamandapa, view from southeast. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
42.
Mahāvīra temple, rangamandapa, bhadra-pillars, east, torana.
43. Mahāvīra temple, rangamandapa, front pillar, jangha, gandharva playing drum. Mahāvīra temple, rañgamandapa, front pillar, upper belt showing näyikās/ surasundaris.
44.
45.
46.
52.
47. Mahāvīra temple, rañgamandapa, karoṭaka, left out margin's carved soffit,
northern.
48. Mahāvīra temple, rangamandapa, vikarṇa-vitäna.
49.
Mahāvīra temple, rangamandapa, Sabhämandāraka karoțaka-vitäna.
50.
Mahāvīra temple, rangamaṇḍapa, Sabhämandäraka karotaka-vitāna, central section, closer view.
54.
55.
XXV
56.
Mahāvīra temple, rangamandapa, lintel-soffit, lotus. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
Mahāvīra temple, rañgamandapa, karotaka, left out margin's carved soffit,
southern.
53. Mahāvīra temple, rangamaṇḍapa, Sabhämandāraka karoṭaka-vitāna, rūpakantha with vidyadhara-brackets.
57.

Mahāvīra temple, rangamandapa, Sabhämandāraka karotaka-vitäna, view from below.
Mahāvīra temple, rangamandapa, Sabhämandāraka karoṭaka-vitāna, lambana, view from below.
Mahavira temple, rangamandapa, Sabhämandāraka karoṭaka-vitäna, rūpakantha with vidyadhara-brackets.
Mahāvīra temple, rañgamandapa, Sabhämandāraka karotaka-vitäna, rüpakantha, southern bhadra, a pair of Negameșa figures replacing vidyadharas on bracketfaces.
Mahāvīra temple, rangamandapa, western flank, second bay. Samatala ceiling. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
58.
Mahavira temple, rangamandapa, western flank, third bay, Samatala ceiling. 59. Mahāvīra temple, rangamandapa, western flank, fourth bay, Samatala ceiling. Mahavira temple, rangamandapa, western flank, fifth bay, Samatala ceiling.
60.
Mahāvīra temple, rañgamandapa, western flank between the rangamandapa and the paṭṭaśālā, Samatala ceiling, first bay toward north. (Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]

Page #32

xxvi
61.
62.
63.
64.
65.
66.
67.
68.
Mahavira temple, rangamandapa, eastern flank between the rangamandapa and the pattasälä, first bay toward north, Samatala ceiling.
Mahavira temple, rangamandapa, eastern flank, second bay, Samatala ceiling. Mahāvīra temple, rangamandapa, eastern flank, third bay, Samatala ceiling. Mahāvīra temple, rangamandapa, eastern flank, fourth bay, Samatala ceiling. Mahāvīra temple, rangamandapa, eastern flank, fifth bay, Samatala ceiling. 70. Mahāvīra temple, rangamandapa, eastern flank, sixth bay, Samatala ceiling. Mahāvīra temple, rangamanḍapa, eastern flank, seventh bay, Samatala ceiling. 72. Mahāvīra temple, rangamandapa, paṭṭaśälä, devakulikä, door-frame.
69.
71.
73.
74.
75.
76.
77.
78.
79.
80.
81.
82.
83.
84.
Mahāvīra temple, rangamandapa, western flank, sixth bay, Samatala ceiling. Mahāvīra temple, rangamandapa, western flank, seventh bay, Samatala ceiling. Mahāvīra temple, rangamandapa, western flank, seventh bay, Samatala ceiling. detail.
Mahavira temple, rangamandapa, western flank between the rangamandapa and the paṭṭaśālā, seventh bay, Samatala ceiling, detail.
Mahavira temple, Samavasarana-devakulikä, Samavasaraṇa.
Mahavira temple, Samavasarana-devakulikä, samvaraṇā.
The Temples in Kumbhāriyā
Mahāvīra temple, Padmasarovara symbol(?), mukhälinda-bhadra, carved on the floor, north of rangamandapa's central octagon. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
Mahāvīra temple, mukhamandapa, lateral semi-blind jālas, east.
Kumbhäriyä. Säntinätha temple, sikhara from south. Maru-Gurjara style. C. A.D. 1082.
Santinātha temple, präsäda-sikhara and gūḍhamandapa-samvaraṇā, southwest. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
Santinatha temple, güdhamandapa, Sabhämärga vitäna. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
Säntinātha temple, satcatuski, khattaka.
Sāntinātha temple, șatcatuşki from northwest.
Santinatha temple, șatcatuşki from northeast.
Säntinätha temple, ṣatcatuski, four front pillars.
Säntinätha temple, satcatuski, rear row, Miśraka column.

Page #33

List of Plates
xxvii
85.
śāntinātha temple, satcatuṣkī, stereobate-front, right to the spectator. (Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad. Šāntinātha temple, șatcatuṣki, stereobate-front, left to the spectator. Sāntinātha temple, satcatuski, front row, central Nābhimandāraka ceiling.
86.
91.
22.
Sāntinātha temple, şatcatuskī, rear row, central Nābhimandāraka ceiling. Šāntinātha temple, satcatuski, front row, one of the two identical lateral Nābhimandāraka ceilings. Šāntinātha temple, şatcatuṣkī, rear row, one of the two identical lateral Nābhimandāraka ceiling. Säntinātha temple, rangamandapa from the șațcatuski. Sāntinātha temple, rangamandapa from east. (Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Säntinātha temple, rangamandapa, bhadra-torana, west. Sāntinātha temple, rangamandapa, front four columns, north. śāntinātha temple, rangamandapa, karotaka containing Sabhāmandāraka vitāna, view from the floor. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Santinātha temple, rangamandapa, Sabhämandāraka karotaka-vitāna, detail, view from the floor.
93. 94. 95.
6.
97.
Sāntinātha temple, rangamandapa, Sabhāmandāraka karotaka-vitāna.
98. 99. 100.
śāntinātha temple, rangamandapa, ūrmivalli on the karotaka's soffit, south. Šāntinātha temple, rangamandapa, ūrmivallī on the karotaka's margin-soffit, north. Sāntinātha temple, rangamandapa, ūrmivallī on the karotaka's margin-soffit, detail, north. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Sāntinātha temple, rangamandapa, Sabhāmandāraka karotaka-vitāna, vidyādharabrackets and other details of the ceiling.
101.
102.
103.
Sāntinātha temple, rangamandapa, Sabhāmandāraka karotaka-vitāna, another view. (Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Sāntinātha temple, rangamandapa, Sabhāmandāraka karotaka-vitāna, central part, closer view. (Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.) Šāntinātha temple, rangamandapa, Sabhāmandāraka karotaka-vitāna, kola courses and lambana, closer view.
104.

Page #34

xxviii
The Temples in Kumbhāriya
105.
106. 107.
109.
Sāntinātha temple, rangamandapa, western flank, first bay, Samatala ceiling. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Sāntinātha temple, rangamandapa, western flank, first bay, Samatala ceiling, detail. Sāntinātha temple, rangamandapa, western flank, second bay, Samatala ceiling. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Sāntinātha temple, rangamandapa, western flank, second bay, Samatala ceiling, detail. Sāntinātha temple, rangamandapa, western flank, third bay, Samatala ceiling. Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] śāntinātha temple, rangamandapa, western flank, third bay, Samatala ceiling, detail śāntinātha temple, rangamandapa, western flank, fourth bay, Samatala ceiling. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Sāntinātha temple, rangamandapa, western flank, fourth bay, Samatala ceiling, detail.
111.
113.
Sāntinātha temple, rangamandapa, western flank, fifth bay, Samatala ceiling, [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
114. 115.
śāntinātha temple, rangamandapa, western flank, fifth bay, Samatala ceiling, detail. śāntinātha temple, rangamandapa, western flank, sixth bay, Samatala ceiling. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
116.
Sāntinātha temple, rangamandapa, western flank, sixth bay, Samatala ceiling, detail.
117.
śāntinātha temple, rangamandapa, eastern flank, first bay, Samatala ceiling. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Sāntinātha temple, rangamandapa, eastern flank, first bay, Samatala ceiling, detail. śāntinātha temple, rangamandapa, eastern flank, second bay, Samatala ceiling, detail.
0.
121. 122.
Šāntinātha temple, rangamandapa, eastern flank, third bay, Samatala ceiling. (Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] śāntinātha temple, rangamandapa, eastern flank, third bay, Samatala ceiling, detail. Šāntinātha temple, rangamandapa, eastern flank, fourth bay, Samatala ceiling. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Sāntinātha temple, rangamandapa, eastern flank, fourth bay, Samatala ceiling, detail.
123.

Page #35

List of Plates
XXIX
124.
125.
127.
128. 129.
130.
131.
śāntinātha temple, rangamandapa, eastern flank, fifth bay, Samatala ceiling. (Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Sāntinātha temple, rangamandapa, eastern flank, fifth bay, Samatala ceiling, detail. śāntinātha temple, rangamandapa, eastern flank, sixth bay, Samatala ceiling, detail. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Sāntinātha temple, Astāpada-kulikā, Astāpada. A.D. 1206. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] śāntinātha temple, Aştāpada-kulikā, Astāpada, closer view. Sāntinātha temple, pattaśālā, one of the carved lantern ceilings. (Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Sāntinātha temple, mukhālinda before the rangamandapa, floor, rotating Svastika symbol. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Kumbhāriyā. Pārsvanātha temple, mūlaprāsāda, śikhara from south. Maru-Gurjara style. C. A.D. 1100. Pārsvanātha temple, mülaprāsāda, śikhara from southeast. Pārsvanātha temple, gūdhamandapa, doorframe, lower part with doorsill. Pārsvanātha temple, gūdhamandapa, doorframe, doorlintel and the patta above showing 14 auspicious dreams. Pārsvanātha temple, gūdhamandapa, doorsill, top-view. Pārsvanātha temple, trika's mukhacatuskī, dado, west profile. Pārsvanātha temple, trika, khattaka, proper left. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Pārsvanātha temple, trika, mukhacatuskī, dado, east profile. Pārsvanātha temple, trika from northwest. Pārsvanātha temple, trika, mukhacatuṣki pillars with torana.
132. 133.
134.
135. 136. 137.
138. 139. 140.
141.
Pārsvanātha temple, trika, one of the front-pillars, jangha, Cakreśvarī.
142. 143.
Pārsvanātha temple, rangamandapa, view from trika. Pārsvanātha temple, rangamandapa from west. (Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Pārsvanātha temple, rangamandapa, partial view from west. Pārsvanātha temple, rangamandapa from northwest.
144. 145.
146.
Pārsvanātha temple, rangamandapa from northwest.

Page #36

XXX
The Temples in Kumbhariyā
147.
148. 149.
Pārsvanātha temple, rangamandapa, front row (north) of pillars. Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Pārsvanātha temple, rangamandapa, Miśraka pillar, base and kumbhikā. Pārsvanātha temple, rangamandapa, view from north. Pārsvanātha temple, rangamandapa, central Sabhāmandāraka ceiling, view from below.
150.
151.
Pārsvanātha temple, rangamandapa, central Sabhāmandāraka ceiling, view from below, detail.
152.
Pārsvanātha temple, rangamandapa, central Sabhāmandāraka ceiling, closer view from below.
153.
154. 155.
156. 157. 158.
159.
160. 161.
Pārsvanātha temple, rangamandapa, central Sabhāmandāraka ceiling, closer view of lambana from below. Pārsvanātha temple, pattaśālā, west, view from south. Pārsvanātha temple, bhadraprāsāda, east, doorway view through carved pattaśālā pillars. Pārsvanātha temple, bhadraprāsāda, east, doorframe, lower half, detail. Pārsvanātha temple, pattaśālā, west, Nābhimandāraka ceiling. Pārsvanātha temple, pattaśālā, west, Nābhimandāraka ceiling. Pārsvanātha temple, pattaśālā, west, Nābhimandāraka ceiling, Pārsvanātha temple, pattaśālā, west, bhadraprāsāda front, Sabhāmandāraka ceiling. Pārsvanātha temple, pattaśālā, west, Nābhimandāraka ceiling. Pārsvanātha temple, pattaśālā, west, Nābhimandāraka ceiling. Pārsvanātha temple, rangamandapa, north mukhālinda, floor, rotating Svastika. Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Pārsvanātha temple, pattaśālā with balānaka, view from northwest. Pārsvanātha temple, western bhadraprāsāda, view from west. Pārsvanātha temple, western bhadraprāsāda, closer view from west. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Kumbhāriyā. Neminātha temple, balānaka, torana from south. Maru-Gurjara style. C. late 13th cent. A.D. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Neminātha temple, central pattaśālā ceiling with balānaka ceilings further north. Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
162. 163.
164.
165.
166.
167.
168.

Page #37

List of Plates
Xxxi
169. Neminātha temple, view showing central pattaśālā ceiling with (Meghanāda)
rangamandapa ceiling. [Courtesy: Shardaben Chimanbhai Educational Research
Centre, Ahmedabad.] 170. Neminātha temple, central pattaśālā Nābhimandāraka ceiling. 171. Neminātha temple, Meghanāda-mandapa from north C. A.D. 1137. 172. Neminātha temple, mukhālinda from west. 173. Neminātha temple, Meghanāda-mandapa part from west. 174. Neminātha temple, Meghanāda-mandapa, pillars. 175. Neminātha temple, Meghanāda-mandapa, showing part of the upper storey.
Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 176. Neminātha temple, Meghanāda-mandapa, Sabhāmandāraka karotaka-ceiling, view
from below. 177. Neminātha temple, Meghanāda-mandapa, Sabhāmandāraka karotaka-ceiling. 178. Neminātha temple, Meghanāda-mandapa, Sabhāmandāraka karotaka-ceiling,
detail. 179. Neminātha temple, Meghanāda-mandapa, Sabhāmandāraka karotaka-ceiling,
closer view. [Courtesy: Department of Archaeology, Government of Gujarat.] 180. Neminātha temple, şatcatuski, front pillars from northeast. 181. Neminātha temple, satcatuski, front pillars from northwest. 182. Neminātha temple, satcatuskī, east extension, blind screens C. A.D. 1281. 183. Neminātha temple, satcatuskī, front central Nābhimandāraka ceiling. 184. Neminātha temple, şaţcatuṣkī, rear central Nābhimandāraka ceiling.
[Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 185. Neminātha temple, şatcatuski, one of the lateral Nābhimandāraka ceilings.
[Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 186. Neminātha temple, șațcatuṣkī, one of the lateral Nābhimandāraka ceilings.
(Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 187. Neminātha temple, gūdhamandapa, doorframe, doorsill detail. (Courtesy:
Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 188. Neminātha temple, gūdhamandapa, exterior, later carved udgama-pediment. 189. Neminātha temple, gūdhamandapa, exterior, later carved udgama-pediment. 190. Neminātha temple, mülaprāsāda with güdhamandapa from southeast. A.D. 1137. 191. Neminātha temple, mülaprāsāda, view from southeast.

Page #38

xxxii
192.
Neminatha temple, mūlaprāsāda, south, right side.
193. Neminatha temple, mulaprāsāda, south, left side. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
194.
195.
Neminatha temple, mülapräsäda, east, left side, pitha and vedibandha detail. 196. Neminatha temple, mūlaprāsāda, south, bhadrapītha and vedibandha detail. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
197. Neminatha temple, mūlaprāsāda, vedibandha, kumbha-face, Sarasvati. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
206.
The Temples in Kumbhāriyā
199. Neminatha temple, mülapräsäda with kapili, west, jangha images. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
200. Neminatha temple, bhadrapräsäda, west, doorframe.
201. Neminatha temple, bhadraprāsāda, west, doorframe, lower half, detail.
202.
Neminatha temple, bhadrapräsäda, west, doorsill, top view.
203. Neminatha temple, devakulikā, west paṇṭaśälä, doorframe.
204. Neminatha temple, west bhadraprasada, exterior, view from west. C. A.D. 1137. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
207.
Neminatha temple, mūlaprāsāda, east. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
205. Neminatha temple, west bhadrapräsäda, exterior, closer view from west. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
Neminatha temple, west paṭṭaśālā, southernmost devakulikā, exterior, view from
west.
209.
Neminatha temple, mulaprāsāda, vedibandha, kumbha-face, Nirvānī. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
210.
208. Neminatha temple, śikhara of the same southernmost devakulikā, removed and reĕrected in (theoretical) paṭṭaśälä area, southeast of mulaprasāda. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]

Neminatha temple, west paṭṭaśālā, southernmost devakulikä, superstructure from south.
Sambhavanatha temple, präsāda from west. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
211. Sambhavanatha temple, prāsāda from east.
Kumbhariya. Sambhavanatha temple, präsāda from south. Maru-Gurjara style. C. A.D. 1232.

Page #39

List of Plates
212.
Sambhavanatha temple, präsäda, pitha and vedibandha.
213. Sambhavanatha temple, gūḍhamandapa, northern doorframe within the rangamandapa.
214. Sambhavanatha temple, rangamandapa from southwest.
215.
Kumbhariyä. Kumbheśvara temple, prāsāda from southeast. Maru-Gurjara style. C. A.D. 1207.
216.
Kumbheśvara temple, präsäda, west, left side, pitha and vedibandha detail. Kumbheśvara temple, präsäda, maṇḍovara, janghā from northwest.
217.
218. Kayotsarga Jina in store room, Mahāvīra temple. Maru-Gurjara style.
C. A.D.1031(?).
219.
220.
223.
224.
226.
227.
228.
229.
xxxiii
230

Kayotsarga Jina of the pair, Mahāvīra temple, gudhamandapa. Maru-Gurjara style. A.D. 1062.
Käyotsarga Jina of the pair, Neminatha temple, güdhamandapa. Maru-Gurjara style. A.D. 1158.
225. Parikara and arādhaka couple, Sambhavanatha temple, gūḍhamandapa. MaruGurjara style. C. late 13th cent. A.D. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
Second standing Jina of the pair, Neminatha temple, güdhamandapa, carved pedestal. Maru-Gurjara style. A.D. 1158.
Käyotsarga Jina, Neminätha temple, antarāla, carved pedestal. Maru-Gurjara style.
A.D. 1258.
Second standing Jina of the pair, Neminatha temple, antarāla, carved pedestal. Maru-Gurjara style. A.D. 1258.
Vāsupūjya Jina, Sambhavanatha temple, güdhamandapa. Maru-Gurjara style. C. late 13th century A.D.
Sarvanubhuti Yakṣa, Mahāvīra temple, garbhagṛha. Maru-Gurjara style. C. A.D. 1062.
Yakşi Ambika, Mahāvīra temple, garbhagṛha. Maru-Gurjara style. C. A.D. 1062. Panels in the ceiling in the second bay showing Sarvanubhuti, Ambikä, and Brahmasanti-Yakṣa, Mahāvīra temple, rangamandapa's east flank. Maru-Gurjara style. C. A.D. 1062.
Ambikā, Mahāvīra temple, devakulikā. Maru-Gurjara style. C. 3rd quarter of the 12th cent. A.D. (Originally in Neminatha temple.)
Ambika in niche, Satcatuski's western extension, Neminatha temple. Maru-Gurjara style. C. A.D. 1264. (Restored.) [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]

Page #40

xxxiv
The Temples in Kumbhariya
231.
232. 233.
234.
235.
Torana reërected at east door, caturmukha Samavasaraña-kulikā. Maru-Gurjara style. A.D. 1157. (Originally believed to be before the mūlanāyaka image in the garbhagļha, Mahāvīra temple.) Image-toraņa posts, displaced, Pārsvanātha temple. Maru-Gurjara style. A.D. 1125. Image-torana, Neminātha temple, apparently in front of the main image as originally set up. Maru-Gurjara style. C. 12th or 13th cent. A.D. Image-torana in one of the western row devakulikās, Pārsvanātha temple. Maru-Gurjara style. C. 12th cent. A.D. Image-torana in one of the western row devakulikās, Pārsvanātha temple. Maru-Gurjara style. C. 12th cent. A.D. Samavasarana piece, Pārsvanātha temple. Maru-Gurjara style. C. 12th cent. A.D. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Jina-Mātņkā-patta. Maru-Gurjara style. C. 12th or 13th cent. A.D. (Originally in the Neminātha temple, now placed in the Mahāvīra temple.) Two fragments of Sattarisaya Jina-patta (Saptatiśatabimba). Maru-Gurjara style,
C. A.D. 1254 or later. (Originally in the Neminātha temple, now placed in two consecutive devakulikās of western row in the Mahāvīra temple.)
238
239.
240.
241.
Vis-viharamāna-Jina-patta. Maru-Gurjara style. C. late 13th cent. A.D. or later. (Originally in the Neminātha temple, now in storeroom of the Mahāvīra temple.) Nandīśvara-patta, şațcatuskī, khattaka in the extended eastern part, Neminātha temple. Maru-Gurjara style. A.D. 1267. Sattarisaya-Jina-patta (Saptatiśatayantraka), șațcatuṣkī, extended western part, Neminātha temple. Maru-Gurjara style. A.D. 1254.
243.
eastern
part, Neminātha temple.
Kalyānatraya-patta, şatcatuskī, extended Maru-Gurjara style. A.D. 1287.
244.
Samalikā-vihāra-patta. Maru-Gurjara style. A.D. 1282. (Originally in the Neminātha temple, now in the entry hall of the Mahāvīra temple.)

Page #41

TEXT

Page #42

Page #43

CHAPTER 1
Jainism in Gujarat: Historical and Socio-Religious Perspective
The classical Jainism had developed from early Nirgranthism. It was, in fact, formulated and shaped principally through the progressive integration of the doctrines, dogmas, and early scholastic formulations of the sect of Arhat Pārsva (c. B.C. 6th-5th cent.) and the stern ascetical discipline as well as resolutely uncompromising insistence on the total purification of Self (ātā=ātman) from passions (dosas/kasāyas) of the sect of Arhat Vardhamāna (who a little later was called Jina Mahāvīra, c. B.C. 549-477 or 472-400 ?). The two sects originally thus represented separate Nirgranthist systems. In the context of the present day Gujarat, the Nirgrantha religion apparently was introduced first into its Surāstra or Saurāştra territory, predictably in the time of prince Samprati (c. B.C. 232-210), son of the blinded prince Kuņāla and grandson of the Maurya emperor Asoka. Samprati, who believably was ruling over the western half of Asoka's imperial domains, came under the influence of Nirgranthism by the preachings of Arya Suhasti, the disciple of Arya Sthūlabhadra and junior confrère of Arya Mahāgiri. According to the "Sthavirāvalī" (hagiological list) of the Paryusaņākalpa (Phase III portion, c. A.D. 100), from one of the disciples of Arya Suhastī, namely Arya Rsigupta, emanated a branch of friars called Soratthiyā/Saurāştrikā which would imply that, by early second century B.C., there already were Nirgrantha followers in Gujarat.
According to Jinadāsa gani Mahattara—the āgamic commentator of the last quarter of the seventh century-Arya Kālaka (Arya Syāma I: c. 1st cent. B.C.-A.D.) got his nun-sister Sarasvatī released from the captivity of Gardabhilla, apparently a barbarian/tyrannical ruler of Bhrgukaccha (Bharuch in Lātadeśa or southern Gujarat), with the help of the Sakas of Pārasa kula. He, moreover, composed three major works—the Prathamānuyoga, the Gandikānuyoga, and the Lokānuyoga-as reported in the Pancakalpa-bhāşya (c. mid 6th cent. A.D.) of Sanghadāsa gani. The first of these three works introduced the concept of the 24 Jinas (along with their

Page #44

The Temples in Kumbhariya
legendary lives), the second dwelt upon the lives of the cakravartīs (legendary universal emperors) and related imperial personages, and the third plausibly dealt with the structure and geographic/cosmographic components and divisions of the 'loka' (universe, cosmos) as conceived/visualized in the Nirgrantha-darśana. In addition, he also composed 'samgrahanīs' or the topical versified collections of Prakrit verses. His disciple Arya Samudra had visited Suvarnabhūmi, a part either of Myanmar (Brahmadeśa, Burma), or southern Thailand (Siama), or southern Malaysia, or Sumātrā in Indonesia.
In the meantime, Arya Syāma's contemporary Arya Vajra's disciple Arya Vajrasena and some time after him the friars of the Nāgendra-śākhā which emanated from Vajrasena's disciple Arya Nāgila/Nāgendra, had settled in Lāta, today's mid and southern Gujarat, very plausibly in circa mid first century A.D. According to an anecdote noticed in the Prabhāvakacarita (A.D. 1277), to one notable Nirgrantha poet-friar, Vajrabhūti, had met the consort of Nabhovāhana (Kșatrapa ruler Nahāpāņa) some time in the last quarter of the first century A.D.
The next and the more tangible evidence, now from the archaeological side, is the fragmentary Nirgranthist inscription of the time of the Ksatrapa ruler Rudrasena I (or Dāmjad Śrī) and dateable to c. A.D. 198-199, from Girinagara (present day Junāgadh). The inscription was discovered from one of the rock-cut caves (apsidal and hence caitya-cave) of the so-called Bāvā Pyārā group which apparently was an unpretentious monastic establishment of the Nirgrantha monks as indicated by the ‘mangalas', auspicious symbols, depicted above the doors of a couple of caves there.
Seemingly, the famous Sakunikāvihāra in Bhrgukaccha had been founded during the early centuries of Christian or Common Era. And if the Ratha-vasati at Ankotaka (Akoţā, near Vadodarā/Baroda) mentioned in one of the medieval inscriptions there was named after Arya Ratha (c. 1st-2nd cent. A.D.), that would represent one more early Nirgrantha foundation in Lāta territory. One Arya Khapata, who plausibly lived in the Lāța region in late Ksatrapa or early Gupta period, is addressed as 'vidyābali', proficient in sorcery, in the post-Gupta Jaina literature, especially in early āgamic commentaries of different categories/descriptions. He is accredited to have defeated the Buddhists and retrieved the Sakunikāvihāra of Jina Munisuvrata in Bhrgukaccha from their clutches. It seems that the Svetāmbara sect apparently took its clearer shape during these centuries, particularly those that covered late Kşatrapa and early Gupta epochs.

Page #45

Jainism in Gujarat
Turning to the next events, in Mathurā, a synod (c. V.N.S. 840/A.D. 363), apparently of northern friars, was convened for the redaction of the Nirgrantha canon under the chairmanship of Arya Skandila or Sandila. Contemporaneously, the friars in western India convened a synod at Valabhī in Saurāstra under the leadership of Ārya Nāgārjuna of the Nāgendra sākhā/kula. The differences in the textual readings and the divergencies/discrepancies that happened to be visible between the two versions/recensions—of the Mathurā Synod and the Valabhī Synod—are later reported to have been reconciled by collation during the Valabhi Synod II in V.N.S. 980/993 or A.D. 503/516 under the chairmanship of Devarddhi gani ksamāśramana when the Maitraka chieftain Dhruvasena I was ruling.
In the meantime, in c. late fifth century, Dharasena, a pontiff probably of the Boţika/Kșapanaka rather than of the Digambara sect, who lived in the mountain grotto called Candra-guhā near Girinagara to be precise, is reported to have imparted the knowledge of the Karmapraksti-prābhrta to Puspadanta and Bhūtabali. The available text of the Satkhandāgama, recognized by the Digambara sect as an ‘āgama', apparently is an enlarged, much developed, and neatly organized version of this ancient text that concerned itself with the classification, nature, and operation of ‘karma'. The text-arguably in its primordial form-is believed to be a part of the Pūrva or anterior texts which seemingly had belonged to the sect of Arhat Pārsva.
Ujjayantagiri (Girnār Hills) near Girinagara, from at least the Ksatrapa times onward, had come to be regarded as very sacred because of the creation of a legend involving the 22nd tīrthankara, Jina Aristanemi of the Yādava clan (and supposed in the Nirgrantha tradition to be a cousin of Vāsudeva Śrī Krsna and his stepbrother Balarāma since a member of the collateral branch of the Yādava clan), who is recorded in the āgamas of the late Ksatrapa period as renouncing the worldly ways, attaining omniscience, and finally the salvation, all of these three auspicious events (Kalyāņa-traya) are noted there to have happened on this mountain. Svāmī Samantabhadra (c. A.D. 575-625), the celebrated epistemologist, dialectician, and hymnist of the Digambara sect, apparently had visited this sacred mountain, since in his famous hymn, the Svayambhūstotra, he graphically uses the metaphor ‘kakuda' or bull's hump for its appearance which it does look like in profile. Not too long after the formulation of the Ujjayantagiri legend, the āgama Jñātādharmakathā (present version c. 3rd 4th cent. A.D.) speaks about the five Pandavas attaining release from the bondage of transmigration on Mt. Satruñjaya, one other igneous group of hills, located in south-eastern Saurāstra, which in the centuries to follow gradually rose to

Page #46

6
the status of the holy of the holies of the Svetambara sect, and decidedly so by medieval times. A most distinguished Śvetambara Jaina epistemologist and hymnist of the early fifth century who authored Sanmati-prakaraṇa (Prakrit) as well as the Nayāvatāra and the 32 dvātrimśikās (Sanskrit) was Siddhasena Diväkara (active c. A.D. 400-444). His field of work principally was Mālavadeśa, though there are late biographical references of his connections also with Brgukaccha in Lāṭa.
The Temples in Kumbhāriyā
As the evidence of the Svetambara Jaina metal images from Ākoṭā near Vadodara (Baroda) indicates, the earliest image found therefrom is stylistically dateable to c. A.D. 500. From Khedbrahmā in north Gujarat, came to light a few schistose Jina images, which appear, on the basis of their style, of the 6th century, one now set up in the Digambara Jaina temple in Idar and the other, also in the Digambara temple, located on the nearby granite hill. These two provide the archaeological evidence of the continuality of the Jaina religion in late Gupta/postGupta or what amounts to the same thing, early Maitraka age in Gujarat. An unknown author composed 'niryuktis' on ten different agamas, in c. A.D. 525. Soon after that, the bhāṣyas on the Avaśyaka-sūtra, Pañcakalpa, Niśītha-sūtra, Bṛhadkalpa, Vyavahara-sūtra etcetera and the Tīrthāvakālika-prakīrṇaka were composed.
Two Śvetambara contemporaries of considerable eminence of this period, we now enter into the latter half of the sixth century, were the logician, dialectician, and epistemologist Mallavādī kṣamāśramaņa of Valabhī and of Nagendra kula and the agamic scholiast of high distinction and eminence, Jinabhadra gani kṣamāśramaṇa of Nivṛtti kula, both of whom were caityavāsī/abbatial pontiffs. Mallavādī had defeated the Buddhists in Brgukaccha and had composed a very important work on epistemology, entitled the 'Dvādaśāra-nayacakra', with an autocommentary, as also a commentary in Sanskrit on Siddhasena Divākara's justly famous and profound epistemological work, the above-noted Sanmati-prakaraṇa. Jinabhadra gani's compositions in Prakrit such as the Jītakalpa, the Vises-Avaśyaka-bhāṣya, the Viseṣaṇavati, the Bṛhad-samgrahaṇī etcetera are famous as authoritative works, in sequential order, on Jaina monastic rules, doctrines, dogmas, and cosmography. He also got made two metal images of the Jinas that were set up in the Jaina temple in Ankotaka. While Jinabhadra, according to the hagiographical tradition, had passed away in c. A.D. 594, a copy of his most famous work, the Vises-Avaśyaka-bhāṣya, later had been deposited, in A.D. 609 to be precise, in the Jaina temple at Valabhi as per the colophon of one of its early manuscripts traced from the library of manuscripts in Jaisalmer. Apparently, during the late sixth or early seventh century,

For Private Personal Use Only

Page #47

Jainism in Gujarat
Mānatungācārya composed his incomparable and very famous hymn in Sanskrit, the Bhaktāmara-stotra, addressed to Adinātha and another, the Bhayahara-stotra, in Prakrit, in praise of Jina Pārsvanātha. The cūrņi commentary on the Daśvaikālikasūtra by Agastyasimha also falls in this period, say late sixth century.
By this time the Svetāmbara sect had been firmly established as also very visibly had taken the 'caityavāsī' or abbatial colour, character, and form. In the seventh century, Jainism attained to further ascendence in western India. By then it decisively had spread in Rajasthan: Bhillamāla (Bhinnamāla) in Gurjaradeśa situated to the west of Mt. Abu was one of its principal centres. In north Gujarat, Anandapura, present day Vadanagara, and next Mordheraka (Modherā), Kāśahrda (Käsindrā) etc., already had Jaina establishments in that period. In the earlier half of the seventh century the Avaśyaka-cūrņi was composed. Several other cūrņis were written, including those on the Nandi-sūtra, the Anuyogadvāra-sūtra and the Niśīthasūtra by Jinadāsa gani mahattara and on other āgamas like the Uttarādhyayana, the Daśvaikālika, the Sūtrakstānga, and the Brhadkalpa in the latter half of the seventh century. And an important commentary by Simhaśūra kşamāśramana on Mallavādī's Dvādaśāra-nayacakra was composed in the last quarter of the seventh century. Several Jina and related pantheonic images dateable to the seventh century were noticed in the Ākotā hoard. Some of these report the names of the monks of the 'Candra' and 'Nivrtti' kulas not mentioned in the Sthavirāvalī of the Paryusaņākalpa. Contemporaneous Jina figures in metal have been discovered also from Valabhī. The Jaina rock-cut caves at Dhānk (Dhankatīrtha) in Saurāstra apparently were excavated in c. late sixth or early seventh century. Not far from the northern border of Gujarat and within the ancient Gurjaradeśa at Vatapura (Vasantagadh), to the northeast of Mt. Ābu in Rajasthan, a hoard of Svetāmbara Jaina metal images dating from the seventh to the tenth century had been discovered some decades ago, a larger number of which was enshrined in the Jaina temple at Pindavādā. It includes a pair of fairly large and fine kāyotsarga images, dated A.D. 688.
In late seventh or early eighth century, abbatial pontiff Pālitta or Padalipta sūri II built/consecrated the temples of Jina Rsabha, Ajita, Sānti, and Mahāvīra on Satruñjaya Hills as gleaned from the late medieval but fairly reliable references. His Buddhist friend, alchemist Nāgārjuna, is said to have founded a township near the foot of these Hills in Pālitta's name, Pälittānaka, present day Pālitāņā, according to a medieval source. Pālitta composed a magical hymn in Prakrit addressed to Jina Mahāvīra. His contemporary, Simhaśūra kşamāśramana, composed a further

Page #48

The Temples in Kumbhariya
commentary in Sanskrit (c. A.D. 675-690) on the earlier mentioned Dvādaśāranayacakra of Mallavādī (c. A.D. 550-600) as also wrote an epistemological work in Sanskrit, now lost. The marble image of Jina Mahāvīra in the temple at Nandigrāma (Nandiyā) and a few at present enshrined in the Digambara Jaina temple in Lādanuñ, both in Rajasthan, stylistically belong either to late seventh or early eighth century.
In the decades that followed—now we are in the pre-medieval epochdisciples as well as grand disciples of the abbot Vateśvara (c. early 8th cent. A.D.) of the ecclesiastical lineage of Vācaka Harigupta (c. A.D. 470-529) established their headquarters in Thārāpadra (Tharāda) located in north Gujarat. There, moreover, the pontiff Vateśvara founded a Jaina temple. Next emanated a 'gaccha' or sub-order of monks, the Thārāpadra-gaccha, taking its designation after this place. A few decades posterior to this event, Siddhasena gani, a grand disciple of the aforenoted Simhaśūra and plausibly of the Modha-gaccha, wrote a "Brhad-vstti' (c. A.D. 750-760) on the Sabhāsya-Tattvārthādhigama-sūtra of Umāsvāti (c. A.D. 350). Also, in his times, a temple to Jina Aristanemi existed in Pāšala or Pāțalā-grāma (Pādal) and of Jina Mahāvīra at Modherā, both towns situated in the western territory of north Gujarat. Siddhasena's long-lived and indeed very famous disciple, Bhadrakīrtti alias Bappabhatti, was a dialectician of high calibre and poet of considerable merit and eminence: He composed both in Prakrit and in Sanskrit. A work containing collection of his Prakrit ‘muktaka' or single topical verses, entitled the Tārāgana, was compiled by one Sankuka, apparently a poet at the élite assembly of the Pratīhāra potentate Nāgāvaloka (Nāgabhatta II: A.D. 807-835). In point of fact, Bhadrakirtti earlier was at the court also of the later Maurya king Ama or Amrarāja, son of Yasovarmā of Gopagiri (Gwalior), and next, for some time, also was at the court of the Pāla monarch Dharmapāla of Laksmanāvati (Laknauti) (A.D. 770-810) in Bengal before he moved to the Pratīhāra court in Kānyakubja (Kanauj). He is also accredited with the composition of several elegant hymns in Sanskrit to the Jinas and to the goddess Sarasvati: At least six of these are currently available. He, moreover, had renovated the stupa of Arhat Pārsva in Mathurā in A.D. 770 and, at his instance, Ama built Jaina temples at Gopagiri and Kanyakubja. And he is hailed as a victor in his disputation with the Buddhists at Gopagiri as also with the Botika-Ksapanaka (or Digambara-Kșapanaka) at Ujjayantagiri. He passed away, according to his medieval biographers, in A.D. 839.
Among the archaeological relics of the eighth century are the weather-worn Jaina images from Ajāharā (Ajārā) situated on the western sea-board of Saurastra

Page #49

Jainism in Gujarat
and a now headless seated figure of a Jina, at present in the Government Museum, Junagadh, believed to be from Prabhāsa. A Jaina monastic settlement of Digambara affiliation existed in the eighth century in Nāgasārikā (Navasarī) in Southern Gujarat. And there were contemporaneous Jaina establishments of consequence in the tracts of Rajasthan adjoining Gujarat, for example at Citrakūta (Cittaud) in Medapāța (Mevād) where the great Haribhadra sūri (active c. A.D. 745-785) stayed and wrote his commentaries on five āgamas and composed several works in Prakrit and Sanskrit including a few hymns. And in Jābālipura (Jālor) some abbatial pontiffs of the Nāgendra kula such as Vīrabhadra lived and where his pupil, Uddyotana sūri, composed the famous Kuvalayamālākahā in Prakrit in A.D. 778. In c. A.D. 800, Gunapāla of the same lineage composed a work, the Jambūcariya, in Prakrit. Vīrabhadra had built a temple to Adinātha at Jābālipura. Also, in Satyapura (Sāñcor) was built a temple to Jina Mahāvīra, apparently in early Pratīhāra times and probably by the Pratīhāra potentate Nāgabhatta I, in c. A.D. 750, which became a very famous 'tīrtha' in the medieval period.
In the meantime, Arabs from Sindh attacked Valabhī in A.D. 758, again in 776, and finally in A.D. 787. As a result, Valabhi was completely devastated with its famous Buddhist University, the many Buddhist monasteries and temples, and assuredly also its Brahmanical and Jaina foundations. Thus was terminated the 250 years old Maitraka rule in Valabhī. Before it all happened, at least the ancient sacred Jina images from Valabhi's Jaina temples were transferred to safer havens like Prabhāsa, Vardhamānapura (Vadhavāņa), Kāśahrda (Kāsindrā), Hārija, and Bhillamāla as reported in late medieval writings. In those fateful years, Jinasena of Punnāta samgha, an immigrant branch of monks from Karņātadeśa, composed his famous work, the Harivamśapurāņa, in A.D. 784 in Vardhamānapura in Saurāstra. He refers to the temple of (the Jaina Yakşi) Ambikā, 'śāsanadevatā' of Jina Aristanemi, on the first of the five summits of Ujjayantagiri (Girnār Hills), later called after the goddess as ‘Ambā-śikhara', as also a Jaina temple at Dostaţikā (Dottadī), also located in Saurāṣtra. The existence of an ancient Jaina temple at Anandapura (Vadanagara) in north Gujarat is alluded to by Jayasimha sūri of Krsnarși-gaccha in his Dharmopadeśamālā-vīvaraņa (A.D. 859). Incidentally, a few years earlier, the same author had composed an expository work on the Upadeśamālā of Dharmadāsa gani (c. mid 6th cent. A.D.) In his times, Nāgapura (Nagaur) in Upper Rajasthan, had a flourishing Svetāmbara establishment.

Page #50

10
One of the luminous figures of the Svetambara Church in pre-medieval times and, arguably of the latter half of ninth century in Gujarat, was Jivadeva sūri of Vayața-gaccha, an abbatial offshoot of the Nagendra-kula. He apparently was an abbot at the Śvetämbara abbey-temple in Vayața, present day Vayada in north Gujarat, and was then famous for the literary excellence of his prabandhacompositions in Prakrit, now unavailable but admired by a poet of no mean order, namely Dhanapala (latter half of the tenth and early 11th century) who was at the court in Dhārā of the Paramāra monarch Muñja (between A.D. 972/974-993/998) and next the illustrious Bhojadeva (A.D. 1010-1055) in the Malava country. Jīvadeva sūri also had composed a work on the lustral ceremony of the Jina images, namely the Jina-snätra-vidhi and was known for his proficiency in magic. He had consecrated a Jaina temple built by the local tradesman named Lalla in Vāyata. His contemporary in Lața, Gargasvāmi alias Gargarși, composed a karmagrantha called the Pañcasangraha with an autocommentary. And another famous contemporary, Śilācārya of Nivṛtti kula, composed the Caupanna-mahāpurisacariya in Prakrit (A.D. 869) as well as two agamic commentaries on the first two (and incidentally the earliest) of the 11 anga-agamas, namely the Acaranga (c. last quarter of the 5th to the 3rd cent. B.C. [Book I] and c. 1st cent. A.D. [Book II]) and the Sūtrakṛtānga (Book I, c. 3rd-2nd cent. B.C. and Book II, 2nd cent. B.C.-1st cent. A.D.) in Gambhūtā (Gāmbhū) in north Gujarat. Probably, a Jaina temple existed at that time in Gāmbhū. As for the building activities of the Jainas in Gujarat in this age, not much for these decades is known except for the founding of a temple to Jina Parsvanatha by the Capotkața chieftain Vanaraja (c. A.D. 880-900) at Anahillapāṭaka, the capital of his newly established principality: the ancient image enshrined therein originally was the cult image in an earlier temple in Pañcăsara, the ancestral town of the Chief. To this temple the tradesman Ninnaya, who had migrated from Bhillamāla to Aṇahillapāṭaka, added a hall in c. A.D. 900 or soon after. Incidentally, Vanaraja's minister Jämba was a Svetämbara Jaina. In the adjoining Mahä-Gurjara style-territory in Rajasthan, the remains of a Jaina temple at Brahmana and another at Deśuri-ni-nāla now in a very ruined condition, and both of the third quarter of the ninth century-exist, the first one in a renovated form is still under worship. A Jaina temple was founded by a chief Kakkuka in A.D. 869 at Ghatiyälä in Marumandala.
The Temples in Kumbhariyā
The medieval epoch starts with the dawn of the tenth century. It was in the medieval times that Jainism's field of activity as well as its following progressively

Page #51

Jainism in Gujarat
achieved the greatest expansion which included monastic proliferation, and indeed reached an acme of glory never to be duplicated in posterior times. One of the earliest and the greatest figure at the beginning of the tenth century was Siddhasena alias Siddharși of Nivṛtti kula. He, by then, had moved from the Lata territory in Gujarat to Bhillamāla in Gurjaradeśa in Rajasthan. Siddharṣi had composed the justly famous allegorical work-world's first and hence the earliest-the Upamitibhavaprapañcākatha (A.D. 905) in Sanskrit and a commentarial work on the Upadeśamālā of Dharmadāsa gani (c. A.D. 550). Probably, the Nyāyāvatāra ascribed to Siddhasena Divakara is his compilatory work. In Saurāṣṭra, Hariṣena of the Punnāta samgha composed the Kathākośa in A.D. 933 at Vardhamanapura. And Goggaṭācārya, a caityavāsī monk or abbot, composed a commentary on Samudra sūri's work in Dhavalakakka (Dholakā) in c. A.D. 950. (Apparently, a Jaina temple with monastic establishment had already existed in Dholakā.) Also, Pādalipta sūri (III) of Vidyadhara vamśa (kula) composed his famous ceremonial and iconographical work, the Nirvāṇakalikā, as also the Pundarika-prakīrṇaka olim Sārāvalī-prakīrṇaka (c. latter half of the 10th cent.), the last-noted work being the earliest glorificatory work on the celebrated tīrtha of Śatruñjayagiri. Of the three pontiffs going by the appellation 'Palitta' (whose biographies the medieval Jaina biographers/chroniclers confused), it was he, the third one, who apparently had met the Rāṣṭrakūta emperor Kṛṣṇa (III) at Manyakheṭaka (Malakheḍa), an event recorded in the Prabhavakacarita of Prabhācandra (A.D. 1277). Two more notices concerning the literary activities in this period pertain to some fine compositions, the hymn Jinaśataka (c. mid 10th cent.) and the Manipaticaritra (or more appropriately the Munipaticaritra) (A.D. 959) by Jambu alias Jambūnāga, a monk of Candra kula. On the Jinaśataka, Samba-muni of the Nagendra kula wrote a pañjikā (A.D. 969), an elucidatory work. And Pārśvanāga authored the Atmānusāsana (A.D. 986), a fine work pertaining to selfdiscipline leading to the elevation of soul.
11
While noticing the literary achievements of those fruitful decades, we must add a few more. For instance, one Maheśvara sūri, disciple of Sajjana upadhyāya, composed the Pañcamī-māhātmya in Prakrit. The Saṁyama-mañjarī in Apabhraṁśa by some Maheśvara sūri could have been the work by the aforenoted pontiff. In the later part of the tenth century, Bhadreśvara sūri composed the Kahāvali, a ‘kathā' class of work which also dwells on the biographies of the historical personages like Pālitta (Padalipta) sūri, Siddhasena Divakara, Devarddhi gani, Mallavādī, and Haribhadra sūri which contain important pieces of information for the historians of

For Private Personal Use Only

Page #52

The Temples in Kumbhāriyā
Jainism. A more notable work of the latter half of the tenth century, however, was the monumental commentary, the Tattủabodhavidhāyinī olim Vādamahārņava on the Sanmati-prakarana of Siddhasena Divākara (c. second quarter of the 5th cent. A.D.), by Abhayadeva sūri of Candra kula. Abhayadeva's royal disciple Dhaneśvara sūri (who was prince Kardama of Tribhuvanagiri, today's Tahangadh, in Rajasthan before joining the order of the monks) was held in high esteem by the Paramāra potentate Muñja of Dhārā (last quarter of the 10th cent. A.D.). (After Dhanesvara sūri, who being of the princely pedigree, the hagiological line of his branch of friars got the appellation ‘Rāja-gaccha.') At the fag end of the tenth century, Vardhamāna sūri of Candra kula composed a commentary (A.D. 999) on the Upadeśapada of Haribhadra sūri. He also had written the Upadeśamālā-brhadvrtti. An inscription on the metal Jina image bearing the date A.D. 988 and mentioning his name had been reported from Katigrāma.
Apparently, by late tenth or the beginning of the 11th century, several gacchas that had originated in various towns within Rajasthan, established their seats in Anahillapātaka or Anahillapattana, the capital of the Solankīs of Gujarat. Among them the more prominent were Brhad, Pūrņatallaka, and Harsapurīya of the mendicant friars, and Ukeśa as well as Khandilla-gaccha of the abbatial affiliation. The Thārāpadra-gaccha and the Modha-gaccha, the two that were indigenous to Gujarat, also had established their monastic foundations in this city. Alongside the growth of monastic settlements and the consequent multiplication in the number of monks and friars as well as, correspondingly, the founding of temples, the strength of the Jaina lay community also grew on two counts: First, the Śrīmālīs (from Śrīmāla i.e. Bhillamāla), Prāgvātas (from Abu area), and Ukeśavālas, later called Osvālas (from Ukeśa or Osiāñ) in Rajasthan migrated in large number and apparently in waves (as also discretely as individuals seeking fortunes in) to Gujarat and were soon to become influential by virtue of their opulence got through trade. Several of them came to occupy high positions at the court of the Solanki monarchs: second, these most favourable circumstances ushered in an era of prolific temple-building activity in Gujarat and to some extent in Rajasthan where somewhat analogous conditions prevailed.
As for the temple building activity in the tenth century, Mūlarāja I, the first Caulukya king, built a Jina temple (of Digambara affiliation) at Anahillapātaka. He also honoured the Digambara abbot Lalitakīrtti of Citrakūta. His son and crown prince Cāmundarāja, gave a land grant to the Svetāmbara Jaina temple in

Page #53

Jainism in Gujarat
Varuņaśarmaka (Vadasamā) in A.D. 976. Cāmundarāja also organized the 'praveśamahotsava' (city-entry celebration) of the Svetāmbara pontiff Vīra gani.
While several Jina metal images of the tenth century—among which a fairly large number represent those of Jina Pārsva—are available, the remains of the Jaina temples are exceedingly rare in Gujarat because of the total destruction of all religious buildings in the major cities of Gujarat in A.D. 1025-1026, again in 1217, and next in 1304 by Islamic invaders and subsequent Muslim occupation of Gujarat for several centuries. The tangible remains on the surface, therefore, of the earlier Jaina buildings are next to none, the only small exceptions being the old base and lower section (vedibandha) of the wall of the main shrine of Ādinātha (c. mid 10th cent. A.D.) together with two subsidiary shrines (late 10th cent.) in that complex located in Anandapura (Vadanagara) as also an architecturally inconsequential celllike and porchless shrine of Ambikā at Thān in Saurāstra. In the Medapāta or Mevāda and the adjoining western tract, Jaina temples were of course built, some of consequence such as at Ghānerāv (c. mid 10th century) and at Aghāța (Ahāda) (last quarter of the 10th century), the then capital of the Guhila kings, near Udepur. And in Hastikundi (Hathundi), a Jaina temple was built by the Rāştrakūta chief Vidagdharāja in early tenth century to which his son Mammața gave donations in A.D. 940, while the grandson Dhavalarāja renovated it in A.D. 997. Next, in Candrāvatī, Ker (A.D. 967), and Nandiyā in the Abu area as also in Jābālipura were built Jaina temples that were largely damaged during the invasion periods.
From the 11th century A.D., Jainism noticeably begins to gain greater strength in Gujarat. During the reign of the Solankī monarch Durlabharāja (A.D. 1009-1022), two mendicant friars-Jineśvara and Buddhisāgara of Candra kulafrom lower Rajasthan visited Anahillapātaka and by arguing, on the basis of āgamic injunctions/rules, the authenticity of the mendicant order of friars as against the abbatial of the caityavāsī monks, got permission to settle and found the mendicant establishments there which, under the strong influence of the abbots, were till then denied to the friars. That gave further impetus to Svetāmbara Jainism as a whole when, as its consequence, the strength and prestige of the abbots eventually waned. The aforenoted Jineśvara sūri composed several works: the Pancalingi-prakarana, the Viracaritra, and the Nirvana-Līlāvati-kathā in Aśāpalli, c. A.D. 1027-1035; next the Pramālakṣma with an auto-commentary, the Satsthānaka-prakarana—all of these in Sanskrit—a Kathākośa in Prakrit, and a few hymns in Sanskrit. His disciple Dhaneśvara composed the Surasundarī-kahā in Prakrit in Candrāvatī (A.D. 1035).

Page #54

The Temples in Kumbhāriya
Jineśvara's junior confrère Buddhisāgara composed Pañcagranthī-vyākarana in Jābālipura in A.D. 1024. A few years earlier, Devagupta I of the Ukeśa-gaccha composed the Navapada-vrtti and the Navatattva-prakaraṇa, both in A.D. 1017. And Virabhadrācārya composed some works in Prakrit, of the Prakirņaka class, such as the Arādhanā-patākā (A.D. 1027), the Bhaktaparijñā, the Gacchācāra, and possibly also the Catuḥsarana. Jineśvara's senior contemporary, śānti sūri of Thārāpadragaccha (active c. A.D. 990-1040), composed a commentary in Sanskrit on the Uttarādhyayana-sūtra, probably the Dharmaśāstra, also a work on the lustral ceremony of the Jina image, and a hymn called sānti-stava’ in Sanskrit for the purpose of generating peace by its power. He visited the court of Bhoja in Dhārā at the instance of the Jaina poet Dhanapāla who had composed a Sanskrit Nāmamālā, a Prakrit lexicon, and a famous ākhyāyikā entitled the Tilakamañjarī. He also composed a few hymns like the Rşabha-pañcāśikā and the Mahāvīra-stuti in Sanskrit, the Satyapura-mandana-Mahāvīra-Jinotsāha in Apabhraíśa, and the Śrāvakavidhi in Prakrit. He, moreover, commented on the Stuti-caturviṁsatikā of his younger brother, Sobhana muni, who predeceased him. A few years hence, Vijayasimha sūri, an abbot of the Sakunikāvihāra-caitya in Brgukaccha, composed in c. A.D. 1030-1040 his famous hymn in Sanskrit on Neminātha, believed to be addressed to Jina Aristanemi of Ujjayantagiri. He was honoured at the court of the Śilāhāra king Nāgārjuna of Sthāna (Thāne near Mumbai) and had received the title of *Khadgācārya' from the said king. Another Svetāmbara pontiff-Candanācāryawho had composed a fiction, the Aśokavatī, likewise graced the élite assembly of the Sthāna's king. He was also honoured at the court of Bhoja at Dhārā.
King Bhīmadeva I of Gujarat, in his late years, bequeathed a grant of land to the Jaina temple at Vāyāța-Mahāsthāna near Botād in Saurāstra (c. A.D. 1062). His finance minister Jāhilla was a Svetāmbara Jaina. So was his other minister Nedha, a descendant of Ninnaya, whose younger brother Vimala was appointed dandanāyaka at Candrāvati. Vimala built temples for Jina Rşabha in Arāsaņa (in marble) in or before A.D. 1031 and in Delvādā on Mt. Ābu (in black stone) in A.D. 1032. And Jinaha was Bhimadeva's dandanāyaka stationed at Dhavalakakka in king's late years. Also, Vimala's son or younger brother Cāhilla was either his mahāsandhivigrahaka or had occupied some other high position.
In Aşahillapattana, King Bhīmadeva's maternal uncle and next the Jaina pontiff after he embraced the order of the monks, namely Dronācārya, composed a commentary on the Oghaniryukti. His nephew and disciple Surācārya, a Sanskritist

Page #55

Jainism in Gujarat
of high calibre, composed a dvisandhāna-mahākāvya, the Nemicaritra (A.D. 1034), which also skillfully interwove the Rşabhacaritra within its fabric. He, moreover, composed the Dānādi-prakaraña. At the invitation of Dhanapāla, he visited Dhārā and defeated the panditas of Bhoja's learned assembly in disputation. In A.D. 1062, Abhayadeva sūri, disciple of the earlier mentioned Jineśvara sūri of Candra kula, completed his famous commentaries on the three āgamas of the anga category, the Sthānānga, the Samavāyānga, and the Jñātādharmakathā in A.D. 1064 and thus he began writing his well-known nine āgamic commentaries for which he later earned the title 'Navāngavrttikāra'. He consecrated the exhumed ancient image of Pārsvanātha in Stambhanapura (Thămbhanā) in a new temple in c. A.D. 1054 or 1075 and of another Jina in the Jiņāha-vasati at Dhavalakakka (Dhoļakā), a temple built by the earlier noted dandanāyaka Jiņaha.
In Bhimadeva's successor Karnadeva's time (A.D. 1066-1095), Jainism continued its forward march on all fronts. Karnadeva had several Jaina ministers like Šāntu who built the Sāntu-vasahikā in Anahillapātaka, next Muñjāla, who built Muñjāla-vasatikā in the same city, then minister Pradyumna who embraced the order of the mendicant friars in the Harsapurīya-gaccha, who next was to be known as Hemacandrācārya. Karnadeva gave a grant to the Jaina temple at Tākovāvī (sākodi) in A.D. 1084. Cāhilla, earlier mentioned, was king's mahāsandhivigrahaka.
Abhayadeva sūri continued his work on writing the āgamic commentaries in Karnadeva's time; these were on the Vyākhyāprajñapti (A.D. 1172), the Upāsakadaśā, the Antakrddaśā, the Anuttaropapātika, the Praśnavyākarana, the Vipāka, the Aupapātika, and on the third 'pāda' of the Prajñāpanāsūtra of Arya Śyāma II (c. 3rd cent. A.D.). He also wrote a commentary on the Pañcāśaka of Haribhadra, the Şațsthānaka of his guru Jineśvara sūri, and also authored a work called the Arādhanā-kulaka. He, moreover, composed a few hymns in Prakrit and one of the most famous of all hymns, the Jayatihuana-stotra in praise of the stambhana-Pārsvanātha, in Apabhramśa. There were, in those decades, some other famous figures engaged in the creation of religious literature. For instance, Abhayadeva sūri's senior confrère Jinacandra sūri I composed the Samvegarangaśālā. And Siddhasena sūri, who had assumed a sobriquet 'Sadhārana', composed the Vilāsavatī-kathā in Apabhraíśa in A.D. 1067, besides composing several hymns including the one called the Tirthavandanā-stotra, which is perhaps the first among the extant compositions of that category. In A.D. 1069, Nami sādha of Thārāpadra-gaccha composed the Caityavandana-vrtti as also a tippana'

Page #56

16
containing brief notes on the Kāvyālankāra of Rudrața. In A.D. 1073, the Dharmopadeśamālā-vivaraṇa was composed (by some author) in Prakrit. In the meantime, the illustrious Kāśmirī brahmin poet Bilhana sojourned for some time in Aṇahillapāṭaka, apparently with minister Santu. He composed a play, the Karnasundarī-nāțikā, some time around A.D. 1070 and the Parsvanāthāṣṭaka, an elegant and graphic hymn in Sanskrit. In the last quarter of the 11th century A.D., Devendra muni of Bṛhad-gaccha, afterwards elevated as Nemicandra sūri, composed the Uttaradhyayana-sūtra-vṛtti (c. A.D. 1073), as also two works of the narrative class in Prakrit, namely the Ratnacuḍā-kathā and the Akhyānakamaṇikoṣa, and the Mahāvīracaritra in Anahillapāṭaka, the last one in A.D. 1083 or 1085. Also, Gunacandra sūri wrote the Viracaritra (Prakrit; c. 1185) and Śālibhadra sūri composed a commentary on the Sangrahaṇī. Moreover, between A.D. 1061-1071, Abhayadeva sūri's disciple Candraprabha mahattara authored the Vijayacandracaritra in Prakrit. And Navangavṛttikāra Abhayadeva sūri's disciple Vardhamānācārya wrote the Manorama-kahā in A.D. 1084. (He was to continue his creative work in the next century also.) In A.D. 1090, Devacandra sūri of Pūrṇatallagaccha composed a commentary on his grand preceptor Pradyumna sūri's Mūlaśuddhi-prakaraṇa. In A.D. 1093, Candraprabha sūri of Bṛhad-gaccha founded the Purnima-gaccha. He had composed the Darśanaśuddhi and the Prameyaratnakosa. Also, a Digambara narrative work was composed in the seventies in Anahillapattana.
The Temples in Kumbhāriyā
In the last note on Karnadeva's age must be mentioned the name of Jinavallabha sūri (active c. A.D. 1060-1111), the disciple of Abhayadeva sūri, from whom the Kharatara-gaccha apparently had started. He was the most versatile and prolific writer who composed with equal mastery in Sanskrit and Prakrit. His literary activity is spread between Karnadeva's as well as his son and successor Siddharāja's first decade and a half. Also, his field of activity covered Rajasthan and the Malava country besides Gujarat. He strongly opposed the lax abbatial practices. He consecrated the Jaina temples named the 'vidhi-caityas' as against the abbeytemples, in Citrakūta (Cittaud, two temples), Nagapura (Nagaur: Nemi Jinālaya), Marupura, and Naravarapura. He was honoured at the court of the Paramāra king Naravarmā in Dhārā. He composed about a dozen dogmatic and doctrinal works like the Āgamika-vastu-vicarasāra, the Pindaviśuddhi-prakaraṇa, the Dharmasikṣā etcetera, and authored several soulful hymns addressed to the Jinas in Sanskrit as well as in Prakrit.

For Private Personal Use Only

Page #57

Jainism in Gujarat
One of the most influential pontiffs of the late years of Karṇadeva and early decades of Siddharāja was Maladhārī Abhayadeva sūri of Harṣapurīya-gaccha. At his instance, the Cahamāna monarch Pṛthvīrāja I installed a golden finial on the Jaina temple at Ranathambhora. He, moreover, went to Gopagiri (Gwalior) and got the gates of the Jaina temple there, which for long were closed, opened by invoking the help of king Bhuvanapala (Kacchapaghāta Mahipala). In A.D. 1086, he consecrated the image of Antarīkṣa Pārsvanatha in Śrīpura, to which king Elaca granted the village Śrīpura (Sirpur) itself. By his preaching, a temple to Jina Mahāvīra was built in Meḍatapura (Meḍata) in Rajasthan. At his instance, minister Santu installed golden finials on the Śakunikavihāra in Bṛgukaccha. Also at his instance, Jayasimhadeva Siddharaja forbade the killing of animals on certain auspicious days in his empire.
17
In the time of Siddharaja Jayasimha (A.D. 1095-1144), Jainism touched its first highest peak of glory. The number of works produced by several different erudite pontiffs and munis of various gacchas is much too large and even if succinctly noted here would run into several pages. Only the most famous/salient works and their authors' names, therefore, can be noticed here. This is also true of the many temples, monasteries and related buildings built during this and the subsequent period of Kumārapāla.
Devacandra sūri of Purnatalla-gaccha composed Santinatha-caritra in Prakrit in A.D. 1104. In 1105, Santi sūri of Bṛhad-gaccha composed Pṛthvicandra caritra. He is also known as the founder of the 'Pappala-gaccha'. Continuing his activity on producing literary works, Vardhamana sūri, disciple of Abhayadeva sūri, composed Adinatha-caritra in Khambhata (A.D. 1104) and Dharmaratnakaraṇḍaka with an autocommentary in A.D. 1116.
In A.D. 1113, Āryarakṣita sūri founded Añcala-gaccha and, he and his disciples, as the times demanded, were actively engaged in literary activities and their followers also contributed to the temple-building activity.
Recalling the further literary productions of that age, one must note the several important works authored by Municandra sūri of Bṛhad-gaccha. Also, the Jaina scholar Vägbhața authored a work on poetics, the Vagbhaṭālankāra, and the blind Jaina poet Śrīpāla wrote the Vairocana-parajaya as well as the eulogy for the Sahasralinga taṭāka (which was a reservoir built by Siddharaja in Anahillapāṭaka), and of the Rudramahālaya temple in Siddhapura and the donative eulogy of

Page #58

The Temples in Kumbhariya
Siddharāja which gave account of his donations to Bilpānk's Saiva temple in the Mālava country. Moreover, Devendra sūri of Candra-gaccha, Sricandra sūri, the disciple of Dhaneśvara sūri of Candra-kula, Yaśodeva sūri and Siddha sūri of Ukeśa-gaccha composed many doctrinal and didactic works, and Hemacandra sūri of Harsapuriya-gaccha composed several commentaries including the one on the Višeşāvaśyaka-bhāșya of Jinabhadra gani. Jinavallabha sūri's erudite disciple Jinadatta sūri (Kharatara-gaccha) composed several works including a few fine hymns such as the Ajita-Sānti-stava.
Among the notable temple-building activities of the time, emperor Siddharāja built Rājavihāra in Anahillapāțaka and Siddhavihāra in Siddhapura. Now, several of the members of his large ministerial council were Svetāmbara Jaina. Among them, besides the ministers Sāntu and Muñjāla who were there from Karnadeva's time and had continued, there were Udayana, Āśuka, Aliga, Ambāprasāda, and dandanāyaka Sajjana. A few of them also built temples. Ambāprasāda had authored a work on poetics, the Kāvyakalpalatā, and composed a hymn in honour of Ambikā of Ujjayantagiri and minister Udayana built Udayanavihāra in Karņāvatī with 72 devakulikās. Āśuka built a temple to Jina Neminātha at the lower reaches of Mt. Satruñjaya, and Sajjana replaced the old temple of Neminātha on Mt. Girnār by a new structure in A.D. 1129 (or a few years earlier). And Aliga supervised the construction of the two royal temples at Siddhapura, namely the Rudramahālaya (Śiva temple), and the Siddhavihāra (caturmukha temple for Mahāvīra) for which the king rewarded him with land etcetera.
At the court of Siddharāja, Vādi Deva sūri of Brhad-gaccha defeated the Digambara dialectician Kumudacandra of Karnataka at the court of Siddharāja in Anahillapattana in A.D. 1125. Deva sūri authored an epistemological work, the Pramāņa-naya-tattvālamkāra with a long commentary, the Syādavādaratnākara, and hymns in Sanskrit addressed to the Buddhist goddess Kurukulla and Kalikunda Pārsvanātha. His junior contemporary Acārya Hemacandra of Pūrņatalla-gaccha composed Siddha-Haima-Sabdānuśāsana, a grammar on which he also wrote commentaries, and next the Lingānuśāsana. He also composed the Kāvyānuśāsana (a work on poetics) and Chandānuśāsana (a work on prosody and meters) as well as four lexicons including the Deśīnāmamālā, and the Sanskrit Dvyāśraya-kāvya.
Vādi Deva sūri's junior contemporary, the learned Dharma sūri of Rāja-gaccha was active and influential in Rajasthan. He defeated the Digambara

Page #59

Jainism in Gujarat
19
dialectician Gunacandra at the court of Cāhamāna Arņorāja (A.D. 1133-1153) in
jayameru (Ajmer). He composed the Dharmakalpadruma and a few beautiful hymns in Sanskrit.
As a closing note of Siddharāja's time, it may be mentioned that he honoured Dharmaghoșa and Samudraghoṣa sūris of Pūrņimā-gaccha and Hemacandra sūri of Harsapuriya-gaccha. He had bestowed the title 'Simhaśiśuka' and 'Vyāghraśiśuka' to Ananda sūri and Amaracandra sūri of the Nāgendra-gaccha.
Emperor Kumārapāla's period covering some 30 years (A.D. 1143-1173) was also very productive both for the literary as well as building activity. Kumārapāla came under the influence of Acārya Hemacandra and built many Jaina temples. Most of these were known as 'Kumāravihāra'. He built temples to Pārsvanātha at Anahillapātaka and at Prabhāsa. Also the Tribhuvanapāla-vihāra and the Tri-vihāra at Anahillapātaka and a grand temple of Ajitanātha at Tārangā. Moreover, he built Kumāravihāras at Khambhāta (Stambhatīrtha), Mangalapura (Māngaro!), Tharād (Thārāpadra), Acalagadha (Mt. Ābu), Jālor (Jābālipura) and some other places. He, moreover, got the steps constructed for clambering Mt. Ujjayantagiri under the supervision of his Jaina dandanāyaka Amradeva stationed at Junāgadh.
Among the Jaina members of his ministerial council were such stalwarts as Udayana, his two sons Vāgbhata and Amrabhata, Kaparddi, Ananda and Prthvīpāla (a fourth descendant of Vimala's elder brother Nedha) and a few others. His temple at Tārangā was built under the supervision of dandanāyaka Abhayada. Minister Vāgbhata was a zealous builder. He built the great temple of Ādinātha on Śatruñjayagiri and founded near the foot of the hill a township named Kumārapura (after Kumārapāla) and a temple there named Tribhuvanapālavihāra (after emperor's father's name). In Dholakā he built a large temple with devakulikās, the temple called Udayana-vihāra (c. A.D. 1166). Amrabhata replaced the old Sakunikāvihāra at Bharuca by a large new temple. Minister Prthvīpāla added halls to some preëxisting Jaina temple, such as Vimala temple at Abu, the temple at Sāyanavādpur and at Pattana. We forego mentioning several other temples built during this period and now turn to the literary activities.
Illustrious Hemacandrācārya continued his literary activities which included the Prakrit Dvyāśraya-kāvya, the Trişastiśalākāpuruşa-caritra, the Mahāvīra caritra and some hymns like the Mahādevastotra and a few others which are epistemological-philosophical in nature.

Page #60

The Temples in Kumbhāriyā
Hemacandra's disciples were also very learned. Among them Rāmacandra wrote several plays in Sanskrit on Jaina themes, such as the Nātyadarpana in collaboration with Gunacandra), besides a few other works. The hymns composed by his confrères Bālacandra and Sāgaracandra have also come to light. There were several literary works by the authors of other gacchas, like Jinadatta sūri of Vāyadagaccha etcetera which need not detain us here. However, we may take a brief note on Acārya Malayagiri who flourished in the latter half of the 12th century and was the greatest commentator of that age. He commented on several āgamic works.
As a passing note, it may be mentioned that both Siddharāja and Kumārapāla had visited Satruñjaya-tīrtha: Siddharāja also had bequeathed a grant of 12 villages to the Satruñjaya-tīrtha and had visited Ujjayantagiri. And the Vāghelā regent Vīradhavala gave the grant of village of Ankevāliyā at the request of Vastupāla.
After Kumārapāla, his successor Ajayapāla, who ruled only for three years avenged on those Jainas who had counselled to disinherit him. He, moreover, pulled down several Jaina temples built by Kumārapāla and his supporters. Still some literary activities were going on even in those hard times. Notable among those were the plays Mohaparājaya by Yasacandra and Prabuddha-rohiņeya by Rāmabhadra. And Somaprabhācārya wrote some of his famous works like the Sūktimuktāvali and the Jinadharmapratibodha (A.D. 1184).
The first four decades of the 13th century attested to the decline set in from Ajayapāla's time. While Bhīmadeva II (A.D. 1179-1240) did not patronize Jainism, he was also not against it. It was, next, in the domains of the Vāghelā chief Vīradhavala of Dhavalakakka that the fresh era of glory for Jainism was ushered in, thanks particularly to the munificence of two statesmen, prime minister Vastupāla and his brother, minister Tejapāla. Vastupāla was an erudite connoisseur of Sanskrit literature, himself a poet, as well as patron of poets and builder of many Jaina temples, also some Brahmanical shrines, even mosques in places like Khambhāt, and of course the civic works like stepwells, reservoirs etcetera. He and his brother Tejapāla together had built about 50 Jaina temples, notable among those (built by Vastupāla) were on Mt. Satruñjaya (c. A.D. 1231, all destroyed), Mt. Girnār (Vastupāla-vihāra, A.D. 1232; and Satyapurāvatāra Mahāvīra), Satruñjayāvatāra Adinātha (Dholakā), Astāpada temple (Prabhāsa), Asarāja-vihāra (Anahillapāțaka) and also a temple in Khambhāt, Cittaud (now used as Samiddheśvara temple), and in several other places. Tejapāla founded the Nandīśvara temple and built the reservoir

Page #61

Jainism in Gujarat
Anupama-sarovara, both on Mt. Satruñjaya; also the Kalyāṇatraya temple on Mt. Girnār, Temple of Ujjayantāvatāra at Dholakā, the Nandīśvara fane (in this case 52 Jinālayas) in Karṇāvati temple of Ādinātha at Prabhāsa (c. A.D. 1234) as also the Jaina temples at Pāvāgadh and Godhrā, and his surviving temple, the world famous Luņa-vasahī temple on Mt. Abu. As for the literary activities of the age, Vastupāla wrote the Naranārāyaṇānanda-kāvya and some hymns in Sanskrit referring to Jina Rşabha of Satruñjaya and Jina Aristanemi as well as the śāsanadevī Ambikā of Ujjayantagiri. His preceptor Vijayasena sūri of Nāgendra-gaccha composed Revantagiri-rāsa in Apabhraíba/old Gujarāti and Pralhādanaputra wrote Ābu-rāsa in Apabhraíśa, both works are important from historical viewpoint as well. Vijayasena sūri's disciple Udayaprabha sūri composed the Dharmābhyudaya-kāvya, the Sukstakīrttikallolinī, the play Karuņā-vajrāyudha, an astrological work the Arambhasiddhi, and several commentaries on different works.
There were poets who wrote on Vastupāla, eulogizing his deeds. Someśvara wrote the Kirttīkaumudi; Thakkura Arisimha composed the Sukstasamkirtana; Bālacandra the Vasantavilāsa, and Jayasimha sūri, the Hammiramadamardana. Works of this category are known as composed by Naracandra sūri and Narendra-prabha sūri of the Harsapurīya-gaccha and by Harihara pandita and a few less known poets.
After the glorious period of Vastupāla, the sun of Jainism began to slide down. Only a few luminous figures are now known. From Jagacchandra sūri began the Tapāgaccha. His learned disciple Devendra sūri composed works on the karmapraksti and some hymns, just as his disciple Dharmaghoṣa sūri wrote a large number of hymns, few in Prakrit as well. The tradesman Jagadu Sāha of Kutch was engaged in social as well as temple building activity.
The final note must be taken of minister Prthvīdhara (Pethada Sāha) of Mālavadeśa who is said to have built about 84 temples in central, but most of them were in western India, a territory from which he in fact had hailed.
It is in the background of those great medieval times that the temples in Kumbhāriyā were founded.

Page #62

Page #63

CHAPTER 2
Kumbhāriyā and Contemporary Writings
Though it was rather an out of the way and virtually a less remembered site, Kumbhāriyā was not totally neglected by writers of the modern times as the following résume of the available writings reveals. 1. The earliest, and hence the pioneering notice on the site and the temples in Kumbhāriyā was by Alexander Kinloch Forbes in his famous Râs Mâlâ; or Hindoo Annals of the Province of Goozerat, in Western India, London 1856, New Edition by J.W. Watson, 1878, pp. 327-328. Forbes explains the presence of the calcined marble blocks at the site as the result of the volcanic activity. He also narrates the legend of the 360 temples built by Vimala Sāha through the grace of goddess Ambikā, the wrath of the goddess, and subsequently her burning all the temples save five, and dwells for a while on the Neminātha temple where he refers to a single detail of an inscription there, dated S. 1305/A.D. 1249.
2. Henry Cousens's Revised Lists of Antiquarian Remains in the Bombay Presidency, Vol. VIII (ASI, NIS, Vol. XVI), 1897 (Original lists by James Burgess, 1885), p. 238 succinctly dwells on Kumbhāriyā but it adds nothing to what is recorded in the Râs Mâlâ on which it apparently had depended.
3. D.R. Bhandarkar, in his Progress Report of the Archaeological Survey of India, Western Circle, For the months July 1905 to March 1906, inclusive, Bombay 1906, pp. 40-46, describes the site of Kumbhāriyā and gives the account of its six temples, which is the first publication to lay bare some details of these buildings. He begins with the Neminātha temple and next dwells on the Mahāvīra, the Säntinātha, the Pārsvanātha, the Sambhavanātha and the Kumbheśvara temple. His description allows us to go a century back in the past and visualize the condition of the temples and the site in those years. As he had observed, the temples then were all whitewashed. The removal in later times of the limewash in the interiors with the help of tools also effaced the polish and the ivory-like patina, especially in the main ceilings of the Sāntinātha and the Pārsvanātha temples which, as a result, look very

Page #64

24
dry. The exteriors of the temples in particular, as can be inferred from Bhandarkar's observations, had been periodically repaired/renovated. There are, of course, a few factual errors and inaccuracies in his statements, which here will be pointed out in their proper context.
The Temples in Kumbhāriyā
While describing the Neminatha temple, he rightly mentions that its main shrine is decorated though its sikhara just as its closed hall are later in workmanship. Inside the closed hall, along the walls, he noticed sculptures like the standing Jina images (still in position), that of Gaṇadhara Puṇḍarīka, Meru, Sahasrakūta, Cauvisvat (caturviṁśati-Jina-patta)—all of which no longer traceable-next Aśvāvabodha-Samalikāvihāra-caritra-patta (the subject of which he could not identify since the myth that underlay its portrayal he apparently was unaware of) and at the end of the first list he added the word "and so forth" which perhaps implied and included the pattas like Jinamātā, Vis-viharamāna, Saptatiśata etcetera, some of which are now transferred to the Mahāvīra temple. He, however, errs in equating the 'mukhamandapa' (satcatuskya) of the inscriptions with 'gūdha-maṇḍapa'. And although he notices there the figure of Ambika and the Nandiśvara-paṭṭa, he does not mention the Saptatiśata-patta and the 'Kalyāṇatraya' sculpture also located there. As for the hall's (rangamaṇḍapa's) painted dome, he took it to be modern. It, of course, is original and of c. A.D. 1137: And the painting apparently was of the Mughal period.
Bhandarkar next describes the Mahāvīra temple. He takes the walls of the (main) shrine as modern, a statement not correct. They are devoid of figure sculptures on the jangha but otherwise are original. Likewise, his observation that the sikhara is rebuilt by using original pieces is also not fully accurate. There are minor resettings, reparations and substitution of older decayed stones but no wholesale rebuilding appears to have been undertaken.
He had seen the central ceiling of the rangamaṇḍapa-hall as 'broken' and whitewashed. It has been since then carefully conserved and no lime coating is any longer discernible there. He refers to other ceilings of the rangamaṇḍapa (showing narratives etc.) and compares them with those in the Vimala temple at Mt. Ābu. Actually, these are not located in the rangamaṇḍapa proper: they cover the aisles between the paṭṭaśālā-cloister and the rangamanḍapa. And they are superior to, and earlier than those in the Vimala temple which are six to ten decades posterior in time. He accurately reads the inscriptional date of the mulanayaka's pedestal as A.D. 1061.

For Private Personal Use Only

Page #65

Kumbhariya and Contemporary Writings
He sees sāntinātha temple as similar to Mahāvīra's except for the minor differences. He notices that the ceilings of the hall (he means those above the lateral aisles) are all whitewashed. It is clear that he had read the inscriptions on the pedestals in all the subshrines there and correctly notes that they all are of A.D. 1081. He rightly declares the hall's ceiling as old, and estimates that once there were four toraņas (supported by the bhadra-pillars in each direction.)
Coming next to the Pārsvanātha temple, he remarks that it had three doorways, the two of which are closed and the western one now allows access. He is right in saying that the main shrine and the closed hall have been partly repaired. He also observed that, except the (main) domical ceiling, rest are rebuilt (in fact replaced by plain slabs with the exception in the west wing of the pattaśālā where they are original) and whitewashed, the lime during the subsequent restorations had of course been removed.
As for the Sambhavanātha temple, he dwells on it briefly as it so merits. He felt that the sikhara of the sanctuary is old but rebuilt, with carved lower śľnga-turrets which are original, an observation that is only partially valid: For the mūlamañjarī or central spire is also old. His views next on the Kumbheśvara temple will be briefly alluded to in the Chapter 5.
In the concluding paragraph, Bhandarkar declares the site's all Jaina temples to be of the middle 11th century, by comparing their carving with that of the Mt. Abu's Vimala temple, and the Kumbheśvara temple with the Sun temple, Modherā, an assertion not upheld either by the inscriptional or the stylistic evidence. First, Vimala temple's interior (its marble hall, cloistered corridors) dates from c. A.D. 1144-1189; while the Jaina temples in Kumbhāriyā range in date from C. A.D. 1062 to late 13th century. This observation is based on the inscriptional evidence: Second, the style of the main parts of the Mahāvīra, Santinātha (originally Rşabhadeva), and Pārsvanātha temples is definitely early compared to Vimala temple's marble components. Even the Neminātha temple's older parts are anterior to the marble portions of the Vimala temple's interior by a decade or so, though its devakulikās, except for the two bhadraprāsādas, are posterior to even the Tejapāla temple in Delvādā (A.D. 1232-1252) since several of those (devakulikās) are as late as A.D. 1282. And Modherā temple's dates (c. A.D. 1027 (prāsāda with gūdhamandapa] and 1075 [rangamandapa]) are earlier than Kumbheśvara's by 180 to 130 years.

Page #66

The Temples in Kumbhariyā
Bhandarkar's Report has been extensively used by several subsequent writers in Gujarātī. Henry Cousens' critical remarks in the infra notes on Bhandarkar's observations at a few points in the selfsame Report are both perceptive and pertinent. They will be alluded to at relevant points in the discussions in the body of this text.
4. Next is the Prācīna Jaina Lekha Sangraha (Pt. 2) by Jinavijaya, published in Gujarātī in the Pravartaka Śrī Kāntivijaya Jaina Itihāsamālā, No. 6, Śrī Jaina Atmānanda Sabhā-Bhāvnagar, Bhāvnagar 1921. This work, for the first time, incorporates some 30 inscriptions (there Insc. 277-306) and gives their translation with discussion thereof on pp. 165-185. For the data on the temples, however, the compiler had largely used Bhandarkar's Report.
5. In 1936, Silpi Jagannātha Ambārāma (Somapurā), Amdāvād, wrote his Brhad Silpaśāstra in Gujarātī wherein he incorporated the ground plans of all Jaina temples in Kumbhāriyā (his pp. 107-111), but nowhere does he refer to those in his text, nor did he make even a cursory allusion to those temples. 6. Muni Jayantavijaya's Arbuda-Prācīna-Jaina-lekhasandoha (Abū Pt. 2), was published from Ujjain in V.S. 1994 (A.D. 1938). Therein are five inscriptions from Delvādā (four of A.D. 1189 and one of A.D. 1279) which refer to Arāsana. (Vide there Insc. 124, 129, 141, 144 and 297.) 7. Soon after, Narmadāśankara Mūlajābhāi Somapurā published his Śilparatnākara (Dhrängadhrā 1939) in which he, perhaps for the first time, published some photographs of the details of the Kumbhāriyā temples, captured through some 14 pictures. Most of these relate to the details of the Mahāvīra temple, for instance, the main temple's sikhara, the vedikā of its trika's porch, its rangamandapa's pillars, the Padmanābha vitāna of its trika as well as some four lateral Samatala ceilings: Also included are the rangamandapa's Sabhāmandāraka vitāna of the Sāntinātha (originally dedicated to Rşabhadeva) temple, and the back view of the prāsāda of the Sambhavanātha (originally sāntinātha) temple. However, he nowhere relates those to or even casually refers to them in his exposition of the text proper. 8. In 1947, from Bhāvnagar, Mathuradās Chhaganlāl Seth published a booklet entitled Śrī Kumbhāriyājī Tirtha urfe Arāsana in Gujarāti which gives information in very general terms on the history and buildings at Kumbhariyā, the routes of approach, the local facilities then available, etcetera. 9. Muni Jayantavijaya wrote his Arbudācala Pradaksiņā (Abu Pt. 4) (Guj.) published in Śrī Yaśovijaya Jaina Granthamāļā, Bhāvnagar V.S. 2004 (A.D. 1948) in

Page #67

Kumbhariyā and Contemporary Writings
which the book's pp. 10-29 are devoted to the description of the Kumbhāriyā site and its temples. He also refers to Bhandarkar's Report, but largely records his own observations which are fairly useful. No illustrations, however, are included. 10. Muni Jayantavijaya next published some of the Kumbhāriyā inscriptions recorded by him while visiting the Jaina temples in the sites around Mt. Abu. His important book containing these data was entitled Arbudācala Pradakşiņā Jaina-lekhasandoha (Abu Pt. 5) with an introduction and translation in Gujarātī. It was published in Śrī Yasovijaya Jaina Granthamālā, Bhāvnagar V.S. 2005 (A.D. 1949), where the inscriptions numbered 3-41 from Kumbhāriyā temples appear on pp. 2-15 (trans. on pp. 3-15). Some of these are also found in the earlier publication of Muni Jinavijaya (1921).
11. Muni Nyāyavijaya (Tripuțī group), published his Jaina Tirtho-no Itihāsa (Guj.) in Śrī Cāritrasmāraka Granthamālā, No. 38, Amdāvād 1949, pp. 297-301. It is an uncritical and not a particularly well-organized work but devotes its pp. 291-301 to Kumbhāriyā. A few details that figure there may be compared with those given in other publications. 12. Pt. Ambālāl Premchand Shah's useful compendium, the Jaina Tirtha Sarva Sangraha (Guj.), I.2, was published from Amdāvād in 1953. Here, on pp. 283-287, he dwells on the Kumbhāriyā temples, using earlier published sources, adding as he also did a few observations of his own.
13. Pt. Ambālāl Premchand Shah's Rāņakapura-ni Pañcatirthi published in Śrī Yasovijaya Jaina Granthamālā, Bhāvnagar V.S. 2012 (A.D. 1956), has a limited bearing on Kumbhāriya in that it includes Poet Khīmā's Caityaparipāți as well as “Rāņigapura-caityaparipātī-stavana' of Pt. Meha (c. mid 15th cent. A.D.) which incidentally refers to the Vimala's foundation of Jina Rsabha IĀdinātha temple in Ārāsaņa. 14. Triputi Mahārāja, in their Jaina Paramparā-no Itihāsa, Pt. 2 (Guj.), Śrī Cāritrasmāraka Granthamālā, No. 54, Amdāvād 1960, have spared the book's pp. 298-300 for the Ārāsana-tīrtha but fail to add new information.
15. A more useful work published in Gujarātī is Sri Arāsana Tirtha apara nāma Śrī Kumbhāriyāji Tirtha, by Muni Viśālavijaya published in Śrī Yaśovijaya Jaina Granthamāļā, Bhāvnagar 1961. The book is based on the impressions recorded during Muniji's two visits to Kumbhāriya, one in 1931 with his guru Muni Jayantavijaya, and the second in 1951. For this book Pt. A.P. Shah coördinated

Page #68

The Temples in Kumbhāriya
Muniji's notes and added some 122 inscriptions recorded in early thirties by Muni Jinavijaya but had not appeared in his 1921 publication since read and collected by him later in c. 1931. Our present monograph is largely indebted to this book for the inscriptional and several other incidental Jaina historical notings and some details on archaeological remains, now disappeared. Muniji's book also contains eight pictures, which include a general view of the Mahāvīra temple, three Samatala ceilings and a parikara-toraņa from the same temple, two pictures of the mandovara or wall of the Neminātha temple, and one of the Kumbheśvara temple.
16. The first author of this monograph, in his earlier work, “The Chronology of the Solanki Temples of Gujarat,” Journal of the Madhya Pradesh Itihasa Parishad, No. 3, Bhopal 1961, succinctly dwelt on these temples and mainly, though, briefly, discussed the dates of the site's temples on pp. 34-35, 40-41, 44-45, 49-50, and 67-68 and included the temples' brief descriptions and one photo-illustration, of Mahāvīra temple's śikhara and its closed hall's roof.
17. In 1963, J.M. Nanavati and the first author of the present monograph published a long paper, “The Ceilings in the Temples of Gujarat,” Bulletin of the Baroda Museum and Picture Gallery, Vols. XVI-XVII, Ed. B.L. Mankad, Baroda. In this monographic paper, some ten pictures relating to the Kumbhāriyā temples' ceilings are included, discussed, and described. These are figs. 9, 18, 37, 43, 47, 62 and 63 there-all of them from the Mahāvīra temple, and figs. 21 a & b, 48, 64 (śāntinātha), 65 (Pārsvanātha) and 68 (Neminātha)—some pertain to the main or central' ceiling of the rangamandapa and some to the aisle or trika of each of the three temples.
18. Soon after, Śrī Kanaiyalal Bhāīšankara Dave, in his Ambikā, Koteśvara ane Kumbhāriyā (Guj.) in Srisayājī Sāhityamāļā, No. 334, M.S. University of Baroda, Vadodarā 1963, discussed Kumbhāriyā and its environs in light of its historical perspective, the linguistic explanations of the appellation Arāsāņa etc., besides dwelling on the temples where of course he largely had depended on Bhandarkar as well as Jinavijaya.
19. Stella Kramrisch, in her famous book, The Art of India: Traditions of Indian Sculpture, Painting and Architecture, Third edition, London 1965, included two plates, one relating to the prāsāda of the Mahāvīra temple and the second to the interior of the rangamandapa of Pārsvanātha temple (there Plates 132, 133) and dwelt on their qualitative aspects.

Page #69

Kumbhāriyā and Contemporary Writings
20. In 1971, the first author of the present monograph, with H.P. Shastri of Prabhas Patan Museum, published an article in Gujarātī, entitled “Ārāsaņa-nā be Jaina pratimā lekho-ni višeșa vācanā,” Svādhyāya, Vol. 8, No. 2, V.S. 2027 (A.D. 1971), pp. 189-198. In this article, the inscription on the pedestal of the cult image of the Mahāvīra temple was read afresh and a couple of gaps in phrases could be filled in. Likewise, the inscription on the Astāpada-prāsāda was read again and a few words could be clarified. (Lakshmanbhai Bhojak and Amrut Patel recently further improved upon our reading.)
21. The first author of this monograph, in "The Western Indian Jaina Temple," Aspects of Jaina Art and Architecture, Eds. U.P. Shah and M.A. Dhaky, Ahmedabad 1975, pp. 319-384, Plates 1-28, discussed the formal aspects of these temples, with particular reference to some ceilings of the Mahāvīra temple (there Plates 8, 12, 14-15, and 20) and the bhadraprāsāda and its pillars in the pattaśālā of the Pārsvanātha temple (there Plate 23), and the views of the interior of Sāntinātha and Pārsvanātha temples (Plates 2 & 3).
22. In the above-cited Aspects of Jaina Art and Architecture (1975), also appears a paper by Harihar Singh with the title "The Jaina Temples of Kumbhāriā,” pp. 299-318, in which the author has described the temples and included some 22 illustrations.
23. Harihar Singh subsequently enlarged upon his above-cited earlier paper in a book entitled Jaina Temples of Western India, Parshvanath Vidyashram Series 26, Varanasi 1982. Here his discussion on the different aspects of Kumbhāriā temples is spread out in different sections. Those who are interested in the enumeration/ description of almost each and every moulding involved in the make up of the exterior and interior will be happy with this book. Of about 38 plates dealing with Kumbhāriā, his plates 22-35 show details of the Mahāvīra temple, 36-45 of Sāntinātha temple, 46-52 of Pārsvanātha temple, 59-65 of Neminātha temple and 110-112 of Sambhavanātha temple.
24. The first author of this monograph, in his article, "Sāhitya ane Silpa-māñ ‘Kalyāṇatraya,” (Guj.) Nirgrantha 1, Ahmedabad 1995, pp. 98-110, Plates 1-4, has identified the Kumbhāriya Neminātha temple's patta of A.D. 1287 (there Plate 2) representing ‘Kalyāṇatraya' on the basis of inscriptions and the āgamic and other literary references.

Page #70

The Temples in Kumbhāriya
25. The same author wrote a guidebook in Gujarātī entitled Arasītīrtha Arāsaņa (Kumbhāriyājī), Seth Āņandjī Kalyānjī, Amdāvād 1997, pp. 1-18, Plates 1-32, in which he has discussed the historical perspective of the tīrtha and has given full description of the temples.
Late Medieval Sources The Jaina writers in Gujarātī had used some of the late medieval sources concerning Kumbhāriyā, some of these in Sanskrit and Prakrit, consulted also by the authors of the present monograph.
1. The earliest is what has been called the “Vividhatīrthastutayah” (sundry hymns): The composition is by one 'Jinacandra' who plausibly was Jinacandra sūri III of the Kharatara-gaccha (A.D. 1286-1320). This composition is incorporated in the Jainastotrasandhoha (Pt. 1), Ed. Muni Caturavijaya, Prācīna (Jaina) Sāhityoddāra Granthāvali, No. 1, Amdāvād V.S. 1989 (A.D. 1932), pp. 375-377. Its verse 22 (p. 377) refers to the five temples of 'Arāsananagaratīrtha' by name, those of Nābheyadeva (Rsabha), śāntinātha, Nemi, Pārsva, and Vīra.
2. In S. 1503/A.D. 1447, Somadharma gani, disciple of Cāritraratna gani and grand disciple of Somasundara gani of Tapā-gaccha, composed the Upadeśasaptatikā in Sanskrit which, in its second chapter, eighth lecture, dwells on Päsila and the tale of the building of the Neminātha temple at Ārāsaņa. The text was edited by Muni Caturavijaya as No. 33 of Śrī ātmānanda Grantharatnamālā, Bhāvnagar V.S. 1971/A.D. 1915, pp. 38, 39.
3. The "Ārāsanīya Nemicaityaprabandha," incorporated in the Purātana Prabandha Sangraha, Ed. Muni Jinavijaya, Adhisthātā-Singhī Jaina Jñānapīțha, No. 2, Calcuttā V.S. 1992 (A.D. 1936), pp. 30-31was composed some time before S. 1528/A.D. 1472. It, too, dwells on the anecdote of the building of the Neminātha temple at Arāsana by Pāsila.
4. The Prācīna Tirthamālā-samgraha edited by Vijayadharma sūri includes in the collection the "Pt. Megha-Viracita Tīrthamālā," composed by Pt. Megha (or Meha) in c. mid 15th century A.D. Its verse 24 and 25 describes Ārāsaņa, its mines and mentions the five temples, namely of Adi(nātha), Nemi(nātha), Lodana (Pārsvanātha), Sānti(nātha), and Vīra (i.e. Jina Mahāvīra.)

Page #71

Page #72

The Temples in Kumbhāriyā
ΤΗ
OSIROHE
Nandiya (Nandigrama)
AJAST
Nītodā (Nītodaka)
Vasantagadh (Vatapura)
Haņādrā (Hudāpadra)
Rohida
Pa Sukal
R
Varamān (Brahmāna)
QRA
KHARĀDI (Abu Road Candravati (
mbāji
Bancis
Pośină . Koteśvara Kumbhariya' (Arāsana)
PALANPUR
DANTA
Sabarmar R.
KM 1050
30
40
20 MILES
1. Location map of Kumbhāriyā.

Page #73

CHAPTER 3
Kumbhāriyā: Denomination and Historical Background
Kumbhāriyā/Kumbhāriā, is situated about a mile and a half, or two and a quarter kilometres, to be precise slightly southeast of the famous holy tīrtha-town Ambājī of the Brahmanical goddess Ambā, District Banaskantha, in north Gujarat (see location map, Fig. 1). It is today a hamlet-like habitation, important only because of the existence of six medieval marble temples, five Jaina and one Sivaite, at the site. From about the turn of the century, the pilgrims had started revisiting the temples in progressively larger number just as the architectural splendours of the Jaina temples' interiors, for the past few decades, daily attract scores of tourists, thanks particularly to the improvements in roads and transport services as well as lodging and boarding facilities.
On the basis of later traditions, or maybe as an outcome of sheer speculations, suggestions have been made by contemporary writers for explaining how the site got the present appellation "Kumbhāriyā" or "Kumbhāriā”. It is, for example, said to be after the Guhila monarch Mahārāṇā Kumbhā (Kumbhakarna) of Mevād (Medapāta) (A.D. 1435-1470)' or after some rājaputa named Kumbhā who lived there; or the site was so called after the settlement there of the ‘kumbhāras' (Skt. kumbhakāras), members of the potter community. But the appellations for the settlement that overwhelmingly, indeed without an exception, figure in the medieval inscriptions are neither Kumbhāriyā nor Kumbhāriā: They invariably are Arāsaņa/Ārāsana and Ārāsaņākara/Ārāsanākara," the suffix "ākara' figuring in the second alternative appellation, in each instance, denotes quarry' (or 'metal mine') with reference arguably to the ancient marble quarries in the hills situated north-northeast of the settlement site. Even in an inscriptional reference of a date as late as A.D. 1619 (here Chapter 7, Insc. 145), it is called 'Arāsana-nagara', the denomination Kumbhāriyā clearly, then, is of a much later vogue, whatever its origin may have been. In any case, in the context of the temples, it has no relevance from the historical standpoint.

Page #74

The Temples in Kumbhāriyā
Table 1: Inscriptional notices of 'Ārāsana' and variants
Date
Appellation
Insc.
Location of the Inscription
A.D.
Samvat
No.
Ārāsaņa
+
Adinātha caitya (now sāntinātha) Mahāvīra caitya Neminātha caitya Pārsvanātha caitya
1087 1118 ? 1206 1259 1259 1259 1276 1310 1314 1331 1346
1031 1062 ? 1150 1203 1203 1203 1220 1254 1258 1275 1290
Neminātha caitya
99
On a stray stone Near Kumbheśvara, donative"
144
Ārāsana
Adinātha caitya (now Sāntinātha)
1110 1110
1147 Undated
1054 1054 1091
Ārāsaņākara
1150
86
1206 13 +4
48
Mahāvīra caitya Neminātha caitya Mahāvīra caitya (Pedestal originally in Mahāvīra temple, now in the principal shrine of Sāntinātha temple) On a stray stone (near Neminātha temple) Neminātha caitya Mahāvīra caitya
1313
1257
142
1338
1282
113
Arāsanākara
1145 1147 1153
1089 1091 1097
13 15 136
On the pedestal of Siva image of the ruined Sangameśvara Pārsvanātha caitya Neminātha caitya
1161 1204 1208 1214 1214 1314 1314 1323
1105 1148 1152 1158 1158 1258 1258 1267
98
100
Ārāsaņanagara
1675
1619
145
Mahāvīra caitya

Page #75

Kumbhariyā: Denomination and Historical Background
The term/word 'ārasa' in Gujarātī, which stands for marble, may have derived from the settlement's appellation "Ārāsaṇa". "Arasa' (or rarely 'äräsa') doubtless was the kind of local marble quarried specifically from Ārāsaṇa, the hills around are for long time known as Ārāsur, a nomen in which the memory of the denomination 'Arasana' is preserved." The alternative explanation offered for the formation of the compound 'Ārāsana' is based on the assumption that it is a combination of two words-'ara' meaning metal and 'asana', seat." In the 19th and early 20th century, as reported by Bhandarkar and other writers, fragments of burnt stones were strewn all over the site, which led them to suggesting that there were many more temples as also were there metal mines in the neighbourhood and consequently the furnaces for smelting the ore within the town. However, on Bhandarkar's report, Cousens significantly remarked: "I doubt whether there were many more temples, originally, than are now seen. The amount of calcined marble scattered about points to ordinary houses and palaces rather than temples. Marble requires the aid of wood to calcine it, and had it in the timbers, rafters, doors and windows of the houses. In temples there is practically nothing that will burn of itself: hence these temples escaped the flames, though probably not the iconoclastic hand. - H.C."."
35
When exactly the settlement was established is not known. The earliest temple to be built on the site was in or a little before A.D. 1031. The discovery and exploitation of the marble quarries may have been the raison d'être for this settlement, probably some years in the first quarter of the 11th century. From the older vestiges visible on the surface (brick structures forming low mounds noticeable behind some of the temples and a little beyond), it may be inferred that the old township was of modest dimensions and, predictably in the medieval times, was inhabited predominantly by the Jaina mercantile community, their several families assumably trading in marble and some plausibly may have been money-lenders.
Today, as earlier mentioned, there stand five Jaina temples, the sixth one is sacred to Śiva."2 All of these are built of local marble. These, as will be shown, were founded between early 11th and c. mid-late 13th century, apparently a period of prosperity for the town. While none of the standing buildings was the result of royal patronage, or even due to the munificence of high officials like mantris (ministers, counsellors), dandanayakas (generals), or even bhāṇḍāgārikas (treasurers) of a monarchical or imperial power, as is otherwise known in regard to several Jaina foundations in western India, there is evidence of the epigraphical and literary record that at least one Jaina temple, that of Jina Ṛṣabha/Adinatha (Phase II), was a

Page #76

The Temples in Kumbhariya
'Samgha-caitya' and hence built through the corporate efforts of the members of the Samgha or Fraternity: that of Jina Neminātha was built by a tradesman Pāsila of Ārāsaņa as noted in the reliable anecdotal literary records preserved in the late medieval sources, to be subsequently noticed (Chapter 5), with additions progressively made by other lay adherents as attested by inscriptions.
The temples are located in relatively smaller area, though not too close to each other, in this order: At the extreme southeast is the temple of Arhat Pārsva (known in Khīmā's pilgrim psalm, c. mid 15th cent. A.D., as Lodaņa Pārsvanātha)13 and at a little distance to its northwest stands the temple of Jina Mahāvīra. Further northwest lies the temple originally built for Jina Rsabha but later dedicated, as will be shown, to śāntinātha; and the largest of the whole assemblage, which is a centrally situated building at the site, standing southwest of Sāntinātha's, is the one sacred to Jina Neminātha. The fifth, the one that is regarded today as of Jina Sambhavanātha but, as will be shown, was sacred to Jina sāntinātha, is located at a fair distance, some 600 feet northwest of the last-noted foundation. The temple of Śiva, which currently goes by the name ‘Kumbheśvara’, stands about 100 feet northwest of the Sambhavanātha temple. (See the schematic site plan, Fig. 2). While the Siva temple faces east, all the five Jaina temples are oriented toward north. One more Siva temple there, with a sculpture bearing the date (A.D. 1090) and two very fragmentary inscriptions referring to it as 'Sangameśvara', 14 was built earlier than Kumbheśvara. It was already in a completely devastated condition when first reported. 15
The local folklore and the legend state that minister Vimala had built 360 Jaina fanes at the site with the grace of the (Brahmanical) goddess Ambā. When inquired by Ambā as to by whose grace he built these temples, Vimala's response was: “Through the grace of my guru”. That enraged the goddess who commanded him to run away from the site and burnt down all temples except five 16 The legend was floated apparently on the basis of three factors, two physical, one psychological. The burnt stone fragments strewn over the site in the past, and the buildings' exteriors in part blackened due to weathering and algae action on the lime of the marble were visually too overtly apparent" before the site's clearance and along with it buildings' first cleaning undertaken some eight decades ago. The third reason is the envy of the later days' local Brahmanists, of the Jainas' wealth as also not particularly warm feeling for, or favourable disposition toward, Jainism.18 As had been remarked by some writers (question as they also did the legend on some other grounds)," the building of as many as 360 temples may only be possible in an area
Jain Education Interational

Page #77

Kumbhāriya: Denomination and Historical Background
37
miles larger than the present one, whereas the evidence on the surface is that the settlement was of considerably smaller dimensions. The late 13th century pilgrim, Jinacandra sūri (III), presumably of the Kharatara-gaccha, reports only five temples there, namely those of Rşabha, Mahāvīra, Pārsva, Nemi, and Sānti all of which today stand at the site.20 What is more, with the sole, and plausible, exception of the temple of Adinātha—now no more extant—the rest of the temples, on epigraphical as well as stylistic evidence of architecture, associated sculpture, and no less of decorative art, were built posterior to the time of Vimala. 21
Turning toward the political history of Arāsana related to the 11th, 12th, and the 13th centuries, it was then included within the monarchical, next imperial, domains of the Solankīs of Gujarat. An image-pedestal inscription of A.D. 1031 (here No. 1, Chapter 7) in the śāntinātha (originally Ādinātha) temple refers to "Bhīma-bhūpa' (Caulukya monarch Bhīmadeva I, A.D. 1022-1066) and an inscription on the pedestal of a Jina image in the Neminātha temple, dated A.D. 1150 (No. 85) and another, its date covered up by plaster but probably of the same time and now in the Mahāvīra temple (No. 86), report that the images to which the two inscriptions were connected had been installed at the behest of the Caulukya emperor Kumārapāla (A.D. 1144-1174). In the early 13th century (c. A.D. 1203), however, during the period of Caulukya Bhīmadeva II (A.D. 1175-1235), Arāsaņa apparently was governed by Paramāra Dhārāvarsa of Candrāvatī (Nos. 54, 60, 63, 73),22 a mandalika/māndalika or vassal chieftain ruling under the tutelage of the Solanki emperors, though, an inscription dated V.S. 1263/A.D. 1207 (No. 140) directly mentions (Caulukya) Bhīmadeva II as the ruling monarch. An inscription of (V.)S.1331/A.D. 1275 (No. 143) reports the reign of a local chieftain Mahipāladeva [who is known to be ruling from Trisangamaka (Trisangamapura) in c. A.D. 1313123 and of (V.)S.1346/A.D.1290 (No. 144) clearly mentions Candrāvatī's chief mahārājakula Visaladeva's authority, understandably on Arāsana.24
In early 14th century, when the Jaina temples in Delvādā on Mt. Ābu were desecrated by the Muslim armies, to be precise in c. A.D. 1313 (or at any rate before A.D. 1322, the date of their renovation/reconsecration), the Arāsaņa temples may have escaped since not located on the route of the invaders and, what is more, the inscriptions recording the setting up of images from A.D. 1310 continue there till A.D. 1338 (Nos. 126-133). (Also, unlike Mt. Abu's Delvādā temples, there are no inscriptions reporting replacements/reconsecrations in early 14th century in any of the five Jaina temples.) The temples, however, for some reason and for long centuries

Page #78

The Temples in Kumbhariya
Neminātha temple
Pārsvanātha temple
Mahāvira temple
II
śāntinātha temple
0
: SRT
TH
111 nd:
2. Site plan showing temples in Kumbhāriyā. (Not to the scale.)

Page #79

Kumbhāriya: Denomination and Historical Background
39
Sambhavanātha temple
NOT TO THE SCALE
Kumbheśvara temple

Page #80

40
after that date, were either relatively forsaken or much less frequently visited:25 At least no Jina images (with a single exception of the one in the present day Sambhavanatha temple) or other related objects of worship such as the pattas etc., were set up in the 15th or the 16th century. Could it be that an invasion, hitherto unreported but some date soon after A.D. 1338, was responsible for the destruction of all original images ??? Bhandarkar, however, felt that it was some time after A.D. 1619 that Ārāsana may have been attacked, the town laid to waste, and its temples were desecrated.28 Cousens, in his remark on Bhandarkar's statement, places this happening during the period of one of the Sultans of Gujarat and hence in the 15th century." Whatever may have happened, temple's original cult images and the main images from the subsidiary shrines have all, for certain, disappeared. The tiny Jina images carved on the Aṣṭāpada (A.D. 1210) enshrined in a corner chapel in the Säntinätha (Adinatha) temple complex are all woefully mutilated (Plate 128), just as the Samavasarana in a caturmukha chapel in the Mahāvīra temple complex is in a damaged condition (Plate 73), providing as they both do a further and very palpable evidence on the visit of an iconoclast to the site at some point in late medieval times.
The Temples in Kumbhāriyā
32
According to the 'pattavali' of Dharmasagara of Tapagaccha, in late 16th century, at the instance of Vijayasena sūri, chief disciple of the illustrious jagadguru Hiravijaya süri whom the Mughal emperor Akbar held in high esteem, the temples in Ārāsana were renovated." However, it is not clear as to what was involved in the renovation. At least there is no epigraphical endorsement to that effect known from any of the five temples. Within decades next, however, Vijayadeva süri, chief disciple of the aforenoted pontiff Vijayasena sūri, consecrated the cult images of the main sanctuaries in the Mahāvīra, Pärśvanätha, and Neminatha temples, that was in (V.)S.1675/A.D. 1619 (Insc. 145-148). The administration of the temple was next entrusted to the Fraternity of Posīnā. As years went by, the condition of the temples had deteriorated as apparently the jungle once more began marching and gaining control of the temples' surroundings. In late 19th century, the administration of the temple was taken over by Seth Premacand Raicand of Bombay and next the Jaina mayor of Ahmedabad is reported for some time to be in charge of the temples. They were next taken over by the Samgha of Data. In view, however, of the deplorable state of the temples, in 1921, at the instance of Vijayanemi süri, the temples' charge were transferred to Seth Anandji Kalyānjī, a religious institution which from that date on is their custodian. They soon started the clearance of the site and effected. essential repairs to the temples, as records report, from 1923 onwards. A building

Page #81

Kumbhäriya: Denomination and Historical Background
housing their office was built in c. 1922 on the south end vacant ground between the Pārsvanātha and Mahāvīra temples. And back in A.D. 1901 or 1904,33 a dharmaśālā, with vaulted rooms in Rajasthānī style, was built by Seth Mansukhbhāi Bhagubhāi. Further improvements in the temples' environs and the building of two guest houses and more efficient management in the last three decades have made the visits to the site more facile, educative, and comfortable. (A guidebook in Gujarātī on the site's Jaina temples sponsored by Seth Anandji Kalyānjī and written by the first author of this monograph is available with the site-manager's office.)
Annotations
2.
1. It is, of course, not clear whether Kumbhāriyā was then under the Mevāda rule, though Mt.
Abu certainly was. In any case, Forbes so records: "Near Umbajee (Ambājī), beside a rivulet, and among natural shrubberies of wild jasmine and other scented flowers is a little village founded by Koombha Rânâ (Rāṇā Kumbhā), of Cheetor, and called after his name, Koombhâreeâ (Kumbhäriā)." Vide the Râs Mâlâ, NE, London 1878, p. 327. But Bhandarkar (Progress Report, ASI, WC 1905-1906, p. 45) discredits this legend. See also the refutation of this belief by Kanaiyālāl Bhāiśankara Dave, Ambikā, Koțeśvara ane Kumbhāriyā, Vadodarā 1963, pp. 46-47. Muni Viśālavijaya advanced this conjecture: Cf. Śrī. Ārāsana Tirtha apara nāma Śrī.
Kumbhāriyāji Tirtha, Bhāvnagar 1961, p. 10. 3. This is the guess of Muni Darśanavijaya, vide, Jaina Paramparā-no Itihāsa, Pt. 2, Amdāvād
1960, p. 299. However, Muni Viśālavijaya disagrees with him: see his Śrī. Arāsaņa Tirtha.,
p. 10. 4. See here Table 1 on page 34 and relevant Inscriptions appended at the end of Chapter 7. 5. The point has been discussed by Bhandarkar, Dave, and other scholars.
Or is it because the marble was already known as 'ārasa' and hence the appellation 'Arāsana'? Arasa's cognate Gujarāti word 'ārasī' means 'mirror.' Is it because the marble can receive high mirror-like polish and hence was called ärasa'? But this is a side issue and for the philologists to decide. This is the view of several early writers on Kumbhāriyā . They had thought about and
discussed the origin/etymology of the word Ārāsur. 8. Dave, Ambikā., pp. 34-35. 9. Bhandarkar, p. 40; Dave, pp. 46, 47. 10. Dave, Ibid. 11. Progress Report, ASI, WC (1905-1906), p. 46, infra. 12. There was one more, and earlier, Siva temple of which, as will be discussed, whatever meagre
remains were, by now have completely disappeared. 13. Mentioned in Pt. Megha's "Tīrthamālā.” (Cf. Vijayadharma sūri, Prācīna., vs. 25, p. 50.)
Whether the name has anything to do with 'Loțāņā', a village near Nāndiyā where there was a medieval temple of Pārsvanātha, is a moot point. If it has, then the Kumbhāriyā instance would be a 'tirthāvatāral shrine.

Page #82

The Temples in Kumbhariya
14. See Viśālavijaya, Śrī. Kumbhāriyājī., pp. 150-151. 15. Ibid., p. 151. The inscription cited there, of S.1153/A.D. 1097 on the image of Siva, mentions
'Sangamesvaradeva'. 16. This legend is noted by Forbes, Bhandarkar, and some subsequent writers on Kumbhāriyā. 17. The latter point had been noted by Prabhāśankara O. Somapurā as reported by Jayantavijayaji
in the Arbudācala Pradakşiņā (Abu Pt. 4), Sri Yasovijaya Jaina Granthamālā, Bhāvnagar 1948, p. 28. Prabhāśankara'bhāi, in the fifties, had also mentioned this fact to the first author
of this monograph 18. Even today, some go as far as saying that these were our temples appropriated by the Jainas
who have retooled the original figures and converted them as Jaina divinities as also replaced
the original by inserting Jaina motifs and details in carving. 19. Bhandarkar, Dave, and a few other writers. 20. Nābheyadevam siri Santināham Nemim jiņam Pāsajiņam ca Vīram
anantanāņāi gunāņa țhānaṁ saremi Ārāsaņanayaratitthe
(Cf. Muni Caturavijaya, Jainastotra., p. 377.) 21. This point will be fully clear when the epigraphical and stylistic evidence will be produced
while describing these temples in Chapter 5. 22. After the death of the Solanki king Ajayapāla in A.D. 1177 and soon after the victory near Abu
on the Muslim invaders by the Gujarāt army, Dhārāvarsa apparently had played a significant rôle and, as a result, had become the de facto ruler of the Arbudamandala. Of course, he had
always remained loyal to the Solanki throne. 23. This fact is mentioned in the 'Nābhinandana-jinoddhāraprabandha' of Kakka sūri of Ukeśa
gaccha (A.D. 1337) (Edited by Pt. Bhagavāndās Harakhcanda, 1929) in the context of acquiring a marble piece from Arāsaņa by Samarasimha of Anahillapäțaka for making the
image of Adinātha of Satruñjaya. (See there 4.20-140: pp. 130-139.) 24. Otherwise his name would not have been mentioned in the inscription. 25. In the 15th century, however, a few pilgrim notices based on the visits are of course available
in the 'caityaparipāțīs' 26. Inscriptions pertaining to this period are extremely rare in the temples. 27. There is, of course, and till now, no evidence illuminating this dark corner in the local history. 28. Progress Report., p. 45. 29. Ibid., p. 46, infra. 30. As other instances, the arms and nose of the two kāyotsarga images in the gūdhamandapa of
the Mahāvīra temple were mutilated: the arms, in the past, were rejoined. 31. See the citation, Viśālavijayajī, Śrī. Kumbhāriyājī., p. 80. 32. The image of Ādinātha in the eastern bhadraprāsāda of the Neminātha temple also dates from
that period. 33. Seth Mathuradās gives the date S. 1957/A.D. 1901, while Muni Viśālavijayaji mentions
S. 1960/A.D. 1904 as the date of the Dharmaśālā (Sri. Kumbhariyasi., p.60). Muniji, moreover, mentions the name of the builder as Seth Mansukhbhāi Bhagubhāi (of Amdāvād.)

Page #83

CHAPTER 4
Western Indian Jaina Temple: Generalities
The full-fledged western Indian Jaina temple complex, built according to the tenets of the Maru-Gurjara architectural style, has a typical ground plan/floor plan and, as its consequence, the design involving the presence of specific components and their characteristic internal organization and corresponding external appearance which distinguish it from a contemporaneous Brahmanical temple. It also remains distinguished from the extant medieval Jaina temples of eastern, upper, central, and southern India. This distinction, as evident in several medieval examples in Gujarat as well as in Rajasthan, is also noticeable in the case of the Jaina temples in Kumbhāriyā which, in terms of configuration and characteristic visual appearance, reflect the same type of manifestation. The aspects and features associated with the medieval western Indian Jaina buildings may next be considered, to begin particularly in relation to the typical instances and to notice how far the Jaina temples in Kumbhāriyā correspond with, or conform to the conventionally fixed pattern.
(1) Floor plans
Out of the five Jaina temples in Kumbhāriyā, the earliest three—those of Jina Sānti (Rşabha), Mahāvīra, and Pārsva-are of the 'Caturvimśati-Jinālaya' class, the fourth, that of Jina Neminātha has, excepting for its two large bhadraprāsādas, the surround of linked devakulikās without the usual partitioning cell-walls within and it is only from the number of śikharas, several built in recent decades, seen from outside that the figure of the intended sub-shrines is inferable. The sixth or the Šiva temple follows the standard plan known of a Brahmanical sacred building of relatively smaller size in medieval Gujarat, which comprises the prāsāda linked with a semi-open rangamandapa as met with at the Munibāvā temple at Thān (c. A.D. 975), the Khimel-mātā temple at Dhinoj (c. A.D. 1027-30), the Siva temple at Sander and the main shrine of the pañcāyatana temple at Gavādā, both of the second quarter of the 11th century, the Nīlakantha-Mahādeva temple at Sunak (c. A.D. 1075) all

Page #84

The Temples in Kumbhāriya
situated in north Gujarat—and the Nīlakantha temple at Miyāņi (A.D. 1204) in Saurāstra, to name a few buildings as typical examples.
The structural adjuncts figuring as the Jaina building's major architectural components are first a 'jagatī' on which the whole articulated complex stands. The complex's main focus is the ‘mūlaprāsāda' or shrine proper/main sanctuary joined, at its front, through the kapilī or pair of buffer walls, with a gūdhamandapa (closed hall) which is next followed by a ‘mukhamandapa', more precisely known as 'trika? (three-bayed open colonnaded forehall) or 'satcatuṣkya' (similar to trika but doubled and thus six-bayed forehall with two rows, fore and rear, of four columns each). It is in turn connected with a rangamandapa or a large 12-pillared open hall. The trika or şatcatuskya then functions as a 'raised on' moulded podium and appears as wall-less vestibular antechamber interposing between the closed hall and the open columnar rangamandapa hall. All these components are present here in Kumbhāriyā in the first four temples, the fifth one (originally dedicated to śāntinātha), which is now known as of Sambhavanātha, is without the trika/satcatuskya adjunct.
The rangamandapa, together with the mukhamandapa-antechamber, is surrounded by a pattaśālā-cloister having either two (sopāna-dvaya) or three continuous steps (sopāna-traya) all around; to this is organically articulated an entourage of the 24 (or more number of) devakulikā-subshrines meant to contain the corresponding number of Jina images. The pattaśālā coïncidentally thus becomes a circumambulatory path and hence also known as 'bhramantikā' (bhamatī' in Gujarātī as well as in Rājasthānī) in view of that particular functional feature of this adjunct. The three flanks of the ranga-mandapa are connected with the pattaśālā by carved ceilings. The temples dedicated to Jina Mahāvīra, Sāntinātha (originally Rşabhanātha), and Pārsvanātha, are of the 24-Jinālayas type. Neminātha temple, too, has a cloistered devakulikā-surround, but the Sambhavanātha is devoid of it.
(2) Jagati
The large rectangular, usually solid socle or platform-jagation which the temple complex stands may have projecting offsets punctuated with figure-bearing niches, and a moulded and at times also sparingly decorated elevation, or may be just without these features and, as a result, looking plain, monotonous, and bland. It is this second type, less expensive and facilely constructed, which is encountered in all of the Kumbhāriyā temples.

Page #85

Western Indian Jaina Temple: Generalities
(3) Mūlaprāsāda
Prāsāda or shrine is called 'mūlaprāsāda' or 'principal shrine' by virtue of its being the sanctuary proper in relation to the surrounding devakulikās or subsid shrines. The main cella, moreover, enshrines the 'mūlanāyaka'or the cult image of the Jina which is also called the ‘adhināyaka'— 'Image Superior' or 'Principal Image'-in relation to the images of other Jinas enshrined in the smaller or subsidiary shrines within the complex. In plan and elevation the mūlaprāsāda in no way differs from the Brahmanical building from the standpoint of architectural elevation. It is the associated iconographical program which sets it apart from a Brahmanical sacred edifice. For instance, the narapītha-belt in the base mouldings may show the narrative portrayal of the ‘pañcakalyāṇakas', the five auspicious events in the life of a Jina, in lieu of the Brahmanical puranic and related episodes. Also, the faces of the kumbha moulding of the vedibandha, when it displays miniature niches containing figural carving (in lieu of the usual half diamond and/or half lotus ubiquitously seen on a Maru-Gurjara temple), shows the seated images of Vidyādevīs, Yakşīs, Sarasvatī, and at times a few other Jaina divinities of the Yakṣa category like Brahmaśānti and Gomukha. While the karnas (anglebuttresses) carry framed images of the Dikpālas as is the case with the Brahmanical temples, the neighbouring pratirathas show Yakşīs, Vidyādevīs etc., in lieu of the surasundarī figures invariably met with on the flanking buttresses of the Brahmanical temples. Moreover, the bhadra-niches at the cardinals of the sanctuary walls shelter seated (sometimes standing) Jina figures in lieu of the Brahmanical divinities. This is also true of the bhadra-rathikās (framed niches) applied/inserted at cardinal points of the lower end of the sikhara where either Jina images or, more frequently indeed the attendant Jaina divinity figures— Yaksīs, Vidyādevīs etcetera—are shown. In Kumbhāriyā, only the Neminātha temple has a fully moulded and decorated base and wall for its prāsāda. However, while the śikharas of all other Jaina temples here show the jāla or the so-called 'beehive pattern', the Neminātha temple has a lately done śikhara which is devoid of it. All the śikharas here are of the Anekāndaka or Sekharī (multi-turreted) class, the Latina (monospired) type went out of vogue after early 11th century.
(4) Gūdhamandapa
The closed hall, conjoined with the prāsāda with the help of the 'kapili' or connecting vestibular pair of parallel walls, is the immediate adjunct within which the devotees

Page #86

A6
The Temples in Kumbhariya
stand before the garbhagrha/sanctum for offering worship. In the Maru-Gurjara style it is usually built 1/7th or 1/8th part broader than the prāsāda. And its walls, too, are somewhat less thick than those of the prāsāda. As a result, more space is available within. The elevation of the exterior, in terms of mouldings and decoration, usually follows the pattern of the prāsāda even when the rathas tend to be a little broader than those of the prāsāda. The bhadras, however, may not always have khattaka-niches: Instead, there would be, at each of the two lateral opposite sides, a bhadrāvalokana or window, with or without a perforated screen. However, there can be open-pillared porches in lieu of the bhadrāvalokanas. The roof of the hall, too, is differently treated in that it is never of the 'sikhara' class but usually of 'samvaraņā' (stepped bell roof) (or rarely ‘pharsanā' or tiered pyramidal) class. If the gūdhamandapa is fairly large, then there is scope for introducing columns at the nave. Otherwise, the wall-pilasters would suffice for supporting the central karotaka-ceiling which usually is of the Nābhicchanda category. In the context of the Kumbhāriyā temples, like its prāsāda, it would be logical to expect to see a fully decorated external wall in the case of the Neminātha temple. As it happened, in later times, the portion above its lower-most mouldings was all newly done. The interior, as its consequence, is disappointingly unoriginal.
(5) Mukhamandapa
The main door, usually fully carved, of the gūdhamandapa opens into the trika or mukhamandapa—an open, columnar, short, vestibular hall standing on a stereobate having on the floor three connected quadrants in a row. It can be doubled to form a 'satcatuskya' (or even tripled, rarely though, resulting in a 'navacatuṣkya'). Excepting the Neminātha temple, which has a șațcatuṣkya, the remaining three possess the trika class of mukhamandapa. The front wall of the gūdhamandapa (which falls into the trika) shows no ratha-divisions but is kept straight and plain except for the wall-pilasters figuring as responds to the trika-columns, and the space between the pilasters is occupied by a large khattaka-niche, one each flanking the doorway of the gūdhamandapa. All of its pillars in the trika may be fully decorated, or some partially, or, as in a few cases, all may be sparingly decorated. Only the Neminātha temple shows all of its mukhamandapa columns fully adorned. The ceilings in the trika happen to be among the choicest which the designing architect could conceive and the builder could afford. In Kumbhāriyā, the Mahāvīra and the śāntinātha (originally dedicated to Rsabhadeva) temple possess fine trika-ceilings,

Page #87

Western Indian Jaina Temple: Generalities
the Neminatha has somewhat second rate examples, those of Pārśvanātha had been replaced by plain slabs and there is no question for Sambhavanatha which is not provided with the mukhamandapa.
47
(6) Rangamaṇḍapa
On stepping down from the mukhamaṇḍapa one enters into the next adjunct, the rangamandapa, having a central square nave defined by 12 peripheral pillars. The four pairs of columns at the bhadra-cardinals form an octagon which support a ceiling of the Sabhā-mandāraka or the Sabhā-padma-mandāraka order, with a sequence of receding gajatālu and kola courses leading to a central pendant, usually gorgeous and of considerable intricacy and beauty. The pillars usually are profusely decorated, though in the Kumbhāriya context only the Neminatha temple fully answers to that observation. The lintels, too, as a rule are sumptuously carved with creeper designs, figure-panels, etc. The rangamandapa lends amplitude, dignity, and magnificence to the interior.
(7) Paṭṭaśālā/bhramantikā and devakulikās
The cloistered lobby surrounding the mukhamandapa and the rangamandapa, in case of the 'Caturviṁśati-Jinālaya', or the complete circuit around the prāsāda, the gūḍhamandapa, and the back side in case of the 'bavanna-Jinālaya' (having 52 sub-shrines), discharges a double function, an enclosure that shields the interior from outside viewing as also acts as a graceful girdle around the internal components. The paṭṭaśālā-cloister may be of a single, as in Kumbhāriyā temples, or a doubled file of columns, fore and rear, as in Delvāḍā temples (Mt. Abu). It usually shows a marvellous array of ceilings, each differing in pattern from the other. It was, doubtless, in the Jaina temples that the medieval Indian temple ceilings attained fuller development in terms of design, varieties, and their many possible manipulations. What is seen today in extant temples and in the reused temple material in the early mosques in Gujarat is indeed the smallest remainder of the very vast number of minor ceilings which once graced at least fifty large Jaina temple complexes in medieval Gujarat. The Kumbhāriyā temples are disappointing in that, alone of the four temples, the Pārśvanatha shows well-patterned ceilings in the paṭṭaśālā, and that too restricted to its left wing. The pillars of the paṭṭaśālā are, by way of convention, of the plain Miśraka variety.

For Private Personal Use Only

Page #88

The Temples in Kumbhariya
The devakulikās usually have sparingly decorated, hence unassuming doorframes, the exception being those of the two bhadra-prāsādas of the Pārsvanātha temple. The effect of the devakulikā-surround, from outside, helps direct the attention to the mūlaprāsāda which has a centrality and a larger and taller śikhara, a dominant feature in the elevational appearance of the whole complex.
The rangamandapa is organically united with the pattaśālā cloister which surrounds it on three sides with the help of connecting ceilings. The ceilings are all of the Samatala class in the Kumbhāriyā temples but could be of other categories as evidenced by Delvādā instances. Their inclusion invests the Jaina temple with the completeness and contributes to the singularity of the celestial appearance of its interior, a stunning feeling experienced of course much more strongly in the Delvādā examples than in the Kumbhāriyā instances.
(8) Mukhacatuṣki, Mukhamaņdapa, Balānaka
The entry-point to the complex is provided with a mukhacatuskī or four pillared porch, or a larger structure, an entry-hall which, when possessing an upper floor, becomes a portal with a balānaka. In the latter case, a ‘nāla' or stairway-channel leads to the top of the jagatī and inside an aisle that lies before the ranga-mandapa. In Kumbhāriyā, we encounter all these types, the śāntinātha temple is provided with a mukhacatuṣkī-porch, the Mahāvīra temple with a mukhamandapa, and Pārsvanātha as well as the Neminātha temple with a balānaka.
The concept of Caturvimšati-Jinālaya apparently is in evidence since mid ninth century, as inferable from the indications present within the Jaina temple in Varamān. The earliest literary reference is in a medieval notice concerning Yaśobhadra sūri of Purņatalla-gaccha who, when he was a royal prince before initiation to the order of friars, had built a Caturvimśati-Jinālaya in Denduānaka (Dinduāņā) in Rajasthan, some time in the latter half of the tenth century.
Because of the northerly orientation, the interiors in these Kumbhāriyā buildings languish for light. One other deficiency noticeable here in the design is in the expedient, thanks to which the trika is connected with the pattaśālā by ceilings which further cuts off light. To add to that is another fault, indeed unlike Delvādā temples, of not leaving here the northern end of the lateral aisles between the central core space and pattaśālā free of ceilings and hence closing it up. That renders the

Page #89

Western Indian Jaina Temple: Generalities
49
interior's farther end sombre. And yet the interiors here do possess a charming look of well-finished constructions exuding elegance and peace."
Annotations
The hall, in each case here, is provided with a short walling formed by rājasenaka (a basal moulding), vedikā (a sort of dado) and asanapataka (seat-slab with carved fronton). This walling usually supports a kakṣāsana (back-rest, seat-back) above the āsanapastaka. It apparently began with the largely mythological concept of the 24 Jinas of the present megacycle of time. This configuration for the Jinas (and hence corresponding sub-shrines) was extended further in several ways. By adding 20 Jinas of the mythical Mahāvideha-kşetra and 4 'Eternal Jinas' of the Nandīśvara-dvipa, the figure came to 48. To this must be added one in the principal sanctuary, two in the mukhamandapa-khattakas, and one in the central devakulikā in the back row. This completes the rectangle for the 'bāvanna' or 52 Jinalayas. The number of devakulikās can be more, for instance 72, when the 24 Jinas of the present, past, and future megacycles of time are computed in the summation. In larger caturmukha or four-faced sanctuary, the number of devakulikās can be increased to 84 or even 108. The Kumbhāriyā temples have a truncated look, an appearance of incompleteness, because of the presence in their instances, of only 24 subshrines, and all located in the forepart of the complex. As a result, the remaining peripheral part not covered by the devakulikās had to be enclosed by a 'kota' or 'prākāra' wall with lateral entry-porches inserted at east and west in the case of the Mahāvīra, the Säntinātha, and the Neminātha temples: the Pārsvanātha, the extreme eastern building, does not have an eastern side-porch. In easterly oriented Saiva temples, one usually meets with Andhakavadha (S), Natesa (W), and Cāmundā (N) or, alternatively, the Tripurusa-Vişnu (S), Siva (W), and Brahmā (N) in the case of an east-facing prāsāda's principal or cardinal niches. In Vaisnava temples are met with Nộsimha (S), Nārāyana or Vişnu (w), and Varāha (N). In Sürya temple, Sürya occupies the west niche. In Devī temples, different forms of Candikā/Durgā, Ksemankari etc., came to occupy the cardinal niches. The Jaina temple complex and its components have been discussed by the first author of this monograph in considerable detail quoting actual examples, passages from the vāstuśāstras and other literature including the cultural data contained in the texts in old Gujarātī, in a long paper "The Western Indian Jaina Temple," Aspects of Jaina Art and Architecture, (Eds. U.P. Shah and M.A. Dhaky), Ahmedabad 1975, pp. 319-384, and connected Plates 1-25.

Page #90

Page #91

CHAPTER 5
Description of Temples
The Adinatha Temple (Phase I)
The original temple to Jina Ṛṣabha/Adinatha probably was founded in or before A.D. 1031 as the evidence of the image-pedestal inscription (here Chapter 7, No. 1), now in the Santinātha temple, inferentially indicates but, to all seeming, was completely rebuilt in c. A.D. 1082. Later, apparently during the 17th century reconsecration period, or perhaps a little earlier (because no new cult image in the sanctuary was installed in A.D. 1619 as was in other three temples), it was believed to have been dedicated to Jina Santinatha since an image of that Jina dated in S.13+4 (Insc. 48), plausibly brought from the Mahāvīra temple complex, was installed in the main sanctuary. A late medieval source, the 'caityaparipātī' or pilgrimage-litany of poet Meha (c. mid 15th cent. A.D.), refers to the temples built by Vimala-a daṇḍanayaka of the Solanki monarch Bhimadeva stationed at the Paramāra vassal Dhandhuka's capital Candravati-at Ārāsana and on Mt. Arbuda (Mt. Abu). Pandita Meha, in his 'Ranigapura-caityaparipātī-stavana' (c. mid 15th cent. A.D.), refers to the temple of Jina Rṣabha at Ārāsaṇa. The association of specific attendant divinities related to Jina Rṣabha with the architectural components of the c. A.D. 1082 interior of today's Śantinātha temple, and on the basis of at least two specific pedestal inscriptions there one of A.D. 1092 (No. 45) and the other attributable to the same date (No. 46) inside two sub-shrines-not only can it be ascertained that the renovators in late 11th century knew that the temple was sacred to Jina Rṣabha, but also they may have preserved an oral or written tradition which late medieval writers used when they averred that the said temple was built by mantri (i.e. daṇḍanayaka) Vimala. A 'caityaparipați' in Prakrit by Jinacandra sūri III of Kharatara-gaccha (c. late 13th century), earlier alluded, mentions Jina Rṣabha's temple along with four other temples dedicated to four other Jinas, namely Mahāvīra, Pārśvanātha, Neminātha, and Santinātha, the last-noted temple is now sacred to Sambhavanatha. The allusion in Jinacandra's psalm to the temple of Santinatha is in essence to this temple. Pandita Meha, too, again as noted in Chapter 1, refers to the above-noted five temples.

For Private Personal Use Only

Page #92

The Temples in Kumbhariya
The two image-pedestal inscriptions, both of A.D. 1054 (Nos. 2 & 3) and again encountered in the sāntinātha temple but originally must have been in the disappeared Rşabha temple (Phase I) on the same spot, had supported the images, in order, of the third tirthankara Sambhavanātha and the fourth Jina Abhinandana. It is likely that the Phase I Ādinātha temple was also intended, even planned to be a 'caturvimšati Jinālaya', the two surviving pedestals under reference originally may have been, with their lost images, set up in the devakulikās or sub-shrines connected with the earlier temple of Jina Rsabha. The doorframe of the garbhagrha of the Sāntinātha Jinālaya's main shrine (sanctum sanctorum), which stylistically is of early 11th century (Plates 9-13), apparently had belonged to this Adinātha Phase I foundation and reused. There are, moreover, a couple of kāyotsarga Jina images stacked in the storeroom of the Sāntinātha temple (Plate 218), which perhaps, were stationed on the janghā of the wall, either of the sanctuary or the closed hall of the original temple. (More will be said on the aforenoted doorframe of the lost temple of Jina Rsabha while dwelling on the so-called temple of śāntinātha and once again while describing the relevant illustrations in Chapter 8.)
The Mahāvīra Temple
Though not the earliest to be founded—it is the second in the chronological sequence-it happens to be the oldest extant building at the site. The temple complex (Plate 1) stands on a featureless jagatī-platform supporting a mūlaprāsāda or the main shrine, the gūdhamandapa (closed hall), the 'trika' type of mukhamandapa (open colonnaded three-bayed antechamber or vestibule) followed by the rangamandapa (hall for theatrical purposes) with a surround of a bhramantikā for perambulation in the form of a pattaśālā-cloister along with 16 conjoined devakulikās (subsidiary shrines), eight each at east and west, and six---three to the right and three to left of the entry-passage-large khattaka-niches (as an apology for the devakulikās) at north side. All of these are articulated with the cloister. The principal ingress was from north through a screened mukhamandapa or entry-hall (Fig. 3; Plate 1). Two lateral entrances, one at east and the other at west (the point where in each case the pattaśālā ends) and coaxial with the corresponding porches of the gūdhamandapa, were also provided (Fig. 3).
The mūlaprāsāda or main shrine is about 16 ft. 9 in. in width and is tri-anga or having three main projecting divisions on plan, namely karņa (angle), pratiratha (neighbouring ‘ratha' offset), and bhadra or madhya-ratha as central offset (Fig. 3;

Page #93

Description of Temples
malprisadas
bicellar store room
garblagha
Samarasarana kulik
gudhamandapa
khattaka
devakulikas
papasala
devakulikas
rangamandapa
muk lamazdapa
Z
3.
Floor plan, Mahāvīra temple.

Page #94

The Temples in Kumbhariya
Plates 15, 20) with salilāntara-recesses between. The pratiratha is narrow as is the case with the Ambikā temple at Jagat (c. A.D. 961), the Vişnu temple of the late tenth century in the gorge near the Ekalingji group, and a small Śiva temple of the same date within the Ekalingjī ensemble: the three buildings under reference are situated in Medapāta or Mevād region in Rajasthan. In northern Gujarat, the Latina shrine of today's Jina Sambhavanātha at Tārangā (c. early 11th century) has anga-divisions somewhat similarly proportioned but is earlier than the Kumbhāriyā building, possibly by three decades or a little more.
The mūlaprāsāda has a short, moulded, but very sparingly ornamented pītha or base (Fig. 4a; Plate 20) with ardharatna flanked by half thakāras (notional dormers) applied on the otherwise plain jādyakumbha (inverted cyma recta/doucine) moulding only at the three bhadras, the karņaka (arris) is somewhat thicker than what is noticeable in that age (Fig. 4a), an echo of the convention followed a few decades ago. The vedibandha, on its kumbha-faces, does not bear the figures of Yakṣīs and Vidyādevīs; instead are seen ardharatnas as in several late Mahā-Gurjara in lower Rajasthan and early Maru-Gurjara temples in Gujarat, without in our instance the enrichment of the carved detail. The janghā-rathas as well as the recesses between the rathas are barren of images (Plates 15, 20). In their lieu, there is a medial band of grāsas or grāsapattī, the regular grāsapattī, as per the standardized convention of the Maru-Gurjara style, occurs at the upper end of the janghā section. The bhadras show projecting deep khattaka-niches, their lateral sides formed by screens as in some Rajasthan temples, such as for example at the Siva temple (c. early 11th cent.) on the hillock at Cohtan (or Cottan). The Jina images that occupied these niches are no more, though their parikaras (frames) survive, those in the east and south niches seem original, that in the west, going by its style, a 12th century substitution.
The sikhara (Plate 14) consists of 21 andakas and four (bifacial) tilakas showing panelled diamonds in lieu of figures (Plates 15, 17), and may be identified with the type Nandīša of the series 'Kesaryādi prāsādas' of the medieval western Indian vāstuśāstras. Its tri-sectioned bhadra-rathikās show Jinatrayas—a central seated Jina figure with a flanking pair of standing Jinas—at south and west, at east, however, the niche-complex is vacant. The sikhara shows the typical 11th century jāla-web (Plates 15-18). A finely detailed makara-pranāla is inserted above the pītha in the eastern wall of the prāsāda (Plate 21).
The form of the base together with the wall pattern of the gūdhamandapa generally follows that of the prāsāda; but the divisions here are broader. The

Page #95

Description of Temples
pattikā
karnaka
jādyakumbha
bhitta bhitta
F.llo
4.
Elevations of the pīthas: a. Mahāvīra temple, mūlaprāsāda; b. Sāntinātha (originally Adinātha) temple, mülaprāsāda; c. Pārsvanātha temple, mülaprāsāda; d. Sambhavanātha (originally Šāntinātha) temple, mūlaprāsāda.

Page #96

The Temples in Kumbhariya
gūdhamandapa is roofed by a sarvaranā (Plate 19). The hall's side openings at east and west are provided with pārsva-catuskis or lateral pillared porticos in alignment with the corresponding exterior openings in the kota-wall just adjacent to the end of the pattaśālā. The stone-slab coverings, very lately introduced between these two coaxial openings, partially masked the rathikās of the hall-porches which shelter Jina figures. Inside the closed hall, beyond the antarāla, the garbhagsha-doorframe shows three śākhās or three jambs of which only one, the innermost, shows decoration, of a surging creeper of little artistic pretension. The stambhaśākhā of the broad Bhadraka order is without the usual “rūpa' or figural carving in panels. At the pedyā or lower end are large standing Jina figures in lieu of door-guardians, an unusual feature. At the uttaranga's or door-lintel's face are placed three figures, a Jina in the centre and one each at the two extremities. Such an arrangement involving three figures of deities is noticeable not only in Medapāța but also in a few instances in Jejākabhukti (Khajurāho) and Dāhala or Cedideśa in case of less adorned doorframes of minor shrines, be they Jaina or Brahmanical. Inside the garbhagrha, the cult image of Jina Mahāvīra, as per its inscription, was consecrated in A.D. 1619, the original, at some point of time, is gone. But the pedestal as well as the gorgeous parikara-frame are doubtless old and original. The pedestal-inscription (here No. 4), in small part, is effaced and hence fragmentary; it is dated to S.1118/A.D. 1062. Against the cella's corners of east and west wall, are placed seated marble images of Sarvānubhūti and Ambikā (Plates 226, 227) which stylistically are of the same date as of the parikara and other early sculptures of c. A.D. 1062 within this temple, though it cannot be said with certainty that these originally placed inside the garbhagrha.
The south wall inside the closed hall shelters one kāyotsarga Jina each on either side of the antarāla opening (Plate 219). They are dated, as the original image in the sanctum was, to A.D. 1062, but the rest of the inscriptions' text, in both instances, could not be read since largely obliterated, the effacement being the result of the daily ritual involving application of sandalwood paste, saffron etc., followed by lustral bath and subsequent rubbing with metal wire for cleaning; hence their texts do not figure here in Chapter 7, Inscriptions. The octagon formed by plain wall-pilasters of the hall supports a Sabhāmārga ceiling of the Nābhicchanda pattern; the vitāna being small, the grāsapatti discharges the function of a rūpakantha which bears eight brackets, its overall workmanship, however, has nothing special to comment upon or commend (Plate 22).

Page #97

Description of Temples
The north wall of the closed hall with its doorway opening, by way of its articulation and details, also may be looked upon as a part shared by the trika which is attached to it. The doorframe here is catuhśākhā (Plate 23), comprising valli, rūpa-stambha-, and rūpa-śākhā. The compartmented door-lintel, in the countersunk panel adjoining the central panel, shows Harinegamesa carrying the baby Jina Vardhamāna Mahāvīra (Plate 24) who, in the Svetāmbara sect's biographical account of the Jina, transferred the embryo from the womb of the brahmin lady Devānandā to that of the ksatriyāṇī Triśālā. In the central panel in the lap of a seated figure on a lion throne, sits a child, now headless, in padmāsana posture who apparently is Vardhamāna, the central figure accompanied by an umbrella-holding figure to its right has been suggested as the Jina's mother Triśālā. In the corresponding panel opposite to Negameşa's is a Yaksa holding a vajraghantā but cannot be identified with certainty. At the extremities as well as in the projecting panels between are seated figures of Vidyādevīs just as are in the four superimposed panels on each stambhaśākhā. At the lalāțabimba is shown a small figure, probably of a Yakşa.
The doorframe is flanked by two narrow but handsome wall-pilasters which display three superimposed panels containing, unusually, the dancing dwarfs, perhaps the pramatha or gandharva figures (Plate 23). To the right and left flank of each of this wall-pilaster occurs a large shallow khattaka-niche (Plates 28, 29), each one now empty.
The trika in which the gūdhamandapa's aforenoted main or northern doorway opens, is supported by a pītha-base constituted, in the order of superposition, by a bhitta, jādyakumbha, karņaka, antarapatta, chajjikā and grāsapattī, all polished (Plate 25). The four pillars that stand on this stereobate are relatively plain composite-polygonal with the upper round section carrying a figural belt, a maņibandha (jewel band), and a grāsapattī. In the two lateral bays, pillars between their upper section carry an illikā-torana (Plates 28, 29) which, along with those surviving in the rangamandapa (c. A.D. 1075) of the Sun temple in Modherā, are the earliest extant examples of that class in Gujarat. The trika has a porch or projecting mukhacatuṣkī containing three steps. Its two frontal and profusely carved pillars also function as the rear pillars of the rangamandapa (Plate 30). The profile of the stylobate which supports them, however, has bhitta (plinth), rājasena, vedikā (dado), and āsanapatta (seat) mouldings characteristic of the semi-open rangamandapa type of hall, in lieu of those normally met of a pītha. The vedikā, on either side, displays two niches placed at an interval between the decorated uprights: Those at the east

Page #98

The Temples in Kumbhāriya
রাজাকারবারান্সয়াল্লন্সসসসস্কান্ধলক্সক্সক্সক্সক্সক্সক্স্যবসলষWBক্সক্সক্সচম্বার্মায়শ্লিাক্সসpজলকামান্সন্সরসন্ধির্মাল্লাল্পল্পলায়ন্স।
Plan and elevation of the pītha, Samavasarana, Four-doored devakulikā, Mahāvīra temple. (Not to the scale.) (Courtesy: Department of Archaeology, Government of Gujarat.)

Page #99

Description of Temples
side show Cakreśvarī and Nirvāṇī (Plate 27) and at the west flank Ambikā and Sarasvati (Plate 26). The pair of what normally would have been guardian figures along with their niches at the fronts of the stairway-banisters of the porch, have been replaced by plain marble slabs during the renovations effected early this century or soon after. The mukhacatuṣkī above its stairway supports a very fine vitāna or ceiling which is structurally of the ‘ksiptotkşipta' order and decoratively of the Padmanābha class (Plates 31, 32), the one equally elegant behind it in the trika is of the complex ‘utkşipta' specification (Plates 35, 36). The lintels supporting these two ceilings show on their lower facia the creeper design, their tantraka or the upper facia displays what the silpīs of Gujarat call 'pāl ghāta', a double volute design. The vitānas in the bays flanking the one that carries the Padmanābha type are of the identical 'Mandāraka' class (Plates 33, 34); those that flank the central utkşipta type above the trika's central bay noted above are both of the identical Nābhicchanda class (Plate 37).
The trika's steps going downward lead to the colonnaded rangamandapa-hall (Plates 38-41) which is slightly rectangular along the north-south axis. Of the 12 pillars of the nave, all polished, ten are of the Misraka or composite-polygonal type with one singular feature in that the pair of the central pillars, north side, has dancing and music-making gandharvas set in the square janghā of the shaft (Plate 43) and above it, moreover, occurs an octagonal figural belt (Plate 44) not introduced in the set of pillars at the eastern and western sides. The entire shaft in turn, and in each case, rests over the kumbhikā-base, further having a short pīķha below for lending height to the pillar. The upper end of the shaft shows a round section carrying a figural belt followed by a taller chain-and-belt carrying small lumbikās or corbels at cardinal points; and finally comes the grāsa-kinkanikā belt. The pillars along the eastern and western row forming the square nave do not show figures at the janghā facets nor, as stated in the foregoing, the octagonal figural belt above it. They are thus having plain facets in the lower and middle section, the upper end displays a belt of gandharvas or vidyādharas in file (Plate 41) and rest of the parts above are similar to those of the aforenoted two pillars. There were the 'āndola' or undulant form of (what the Dravidian vāstuśāstras identify as) Citra-toranas inserted between the nave's bhadra-pillars in all four directions: only the one at the eastern side survives (Plate 42).
Each of the lintels supported by the nave's pillars displays a full-blown lotus in the centre of its soffit: one of these shows a touch of strength combined with

Page #100

The Temples in Kumbhariya
liveliness (Plate 45). The lower facia of the lintels forming the central octagon is ornamented with looped vine design with inclosed birds, the tantraka above shows plain ratnas, diamonds. At joining points, where lintels meet, the sandhipālas are concealed by panelled blocks sheltering Vidyādevīs/Yakṣī figures. Since the hall is slightly rectangular, the central circular Sabhāmandāraka vitāna leaves out crescent-shaped soffit-area at the northern and southern end, each of which is filled with nicely executed arabesque design (Plates 46, 47). In the elevation of the vitāna, also metaphorically termed 'karotaka' or (inverted) bowl, which is about 16 ft. 9 in. in diameter, there is first a grāsapattī or a file with large projecting grāsa-heads, indeed in fairly high relief than is usually met with in this situation; next comes the karnadardarikā followed by a rūpakantha bearing 16 brackets for supporting the Vidyādevī figures which, however, have disappeared. While 14 of these brackets are of the usual vidyādhara type showing at their faces well-rendered vidyādhara (and even gandharva) figures in the period-style (Plates 53, 54), the pair at the southern bhadra shows confronting figures of Negamesa, an unusual feature, the presence of which will shortly be explained. The intervals between the brackets are at most places filled by three discretely placed niches bearing divinity figures, the exception being the north and south sides where, depicted in each instance, is the seated figure of Gajānta-Lakşmi or Abhiseka-Lakşmi. Next comes a single gajatālu course followed by a minor ratnapattī, then is a course showing large kolas in series followed by three consecutive and receding but unique three-layered kola courses where the first two recessed and stepped in layers are trilobed, the last one is having a single lobe. While the kolas of the first belt have cipp7-borders showing petal-carving, and their vajraśộnga or the accented junction area—where two semicircular kola-coffers meet-is filled with grāsamukhas (Plates 53-55), the multiple stratified kolas in the next two successive strata mentioned in the foregoing are, however, devoid of this decoration (Plates 50, 51). And finally a huge central lambana-pendant consisting of four succeeding and progressively diminishing kola-layers terminating in a long padmakesara or staminal tube (Plates 49, 50, 52). This vitāna, though not large compared to several other medieval examples known from Gujarat and Rajasthan, creates an impression of vastness and depth. It is, perhaps, the earliest surviving karotaka class of vitānas of the Sabhāmandāraka specification in all western India.
The four triangles left out at four corners of the nave's rectangle by the formation of the central circular vitāna are filled by large grāsamukhas framed within

Page #101

Description of Temples
w
anima
wa
EDIO CDE00000
6.
Plan and elevation, samvaraņā of the Samavasarana devakulikā, Mahāvīra temple. (Not to the scale.) (Courtesy: Department of Archaeology, Government of Gujarat.]

Page #102

The Temples in Kumbhariya
the pattīs ornamented by good quality fanciful creeper design (Plate 48). The nave being rectangular, one of the two lateral sides of the corner triangle is a little longer, the central area, which is filled with a large grāsa-head, is therefore unequally balanced by the lateral broad and short arabesque pieces, otherwise introduced for symmetry's sake (Plate 48). This deformity was unavoidable. At the bhadra-bay in the mukhālinda or aisle between the entry-opening in the pattaśālā and the rangamandapa is carved, on the floor, a padmasarovara (?) symbol (Plate 75), a convention not noticeable elsewhere except in Kumbhāriyā where in an identical situation, one comes across another symbol instead, to be noticed further.
The devakulikās, eight in a row each, occur at the east and west; at the north there are large khattaka-niches instead, a file of three each to the right and left of the mukhamandapa's inner end. For making the complex a Caturvimśati-Jinālaya, the architect arguably had included in the computation the two khattaka-niches in the trika to complete the total of 24 sub-shrines. The devakulikās' dviśākhā doorframes (Plate 72) show unremarkable vallī- and ratnaśākhā.
The ceilings in the pattaśālā are of lantern type and, excepting for the presence of an unassuming central full-blown lotus, they practically are without the decorative detail. The pillars, arranged in a row, support the lintels bearing simple diamond decoration on the faces and all are of plain Miśraka class, indeed of little interest. Their attic members at several places deviate from the centre. The dandacchādya-awning projects from the pattaśālā at all three sides.
As an afterthought, but certainly soon after the rangamandapa and the devakulikās with the pattaśālā were constructed, the open area between them at east and west was covered with carved Samatala ceilings depicting different subjects. (These ceilings render the already present dandacchādyas, in continuous series, of the pattaśālā redundant.) Five out of the seven ceilings at the west side show narratives etc., (Plates 56-59, 62-64). Those at the east are predominantly of the box type (as are the two remaining [Plates 60, 61] on the west side) with inset figures and aesthetically are much superior from the standpoint of composition and execution (Plates 65-71). Apparently, the sculptors who executed these two classes of depiction may have come from separate groups specializing in one or the other mode of designing and rendering.
To the south of the eastern pațțaśālā and in close juxtaposition to the eastern porch is a four-doored devakulikā sheltering a Samavasarana (Fig. 5) in yellow

Page #103

Description of Temples
marble, now damaged (Plate 73). Its fourth door opening at the east is, some decades
go, built up. A marble parikara-torana, dated S.1213/A.D. 1157, believed to have been placed before the cult image in the garbhagrha of the mūlaprāsāda, was some time in the past reërected at this situation (Plate 231). This devakulikā is roofed by a samvaraņā (Fig. 6; Plate 74).
A bicellar vestry/storeroom built against the west wall, was possibly a utilitary adjunct in the originally contemplated plan (Fig. 3).
The last component of the complex is the mukhamandapa or entry-hall located at the north after the point where the pattaśālā is bisected. Between this hall's peripheral pillars are inserted screens displaying geometric designs and auspicious symbols in boxes (Plate 76).
That the temple, from the beginning, was dedicated to Jina Mahāvīra is evident not only from the inscription on the old and original pedestal of the cult image (A.D. 1062) (No. 4) but also by another inscription which refers to the fane as
Vīranātha-sya mandira' (A.D. 1091) (No. 16). The iconological evidenceNegamesa with a child shown on the lintel of the closed hall as also the figures of the same deity on two brackets in the rūpakantha of the karotaka-ceiling of the rangamandapa at its southern bhadra, which arrowwise is in the direction of the main shrine, further support the aforenoted deduction regarding dedication.
The temple was built by the Fraternity since the inscription (No. 15) of A.D. 1091 calls it ‘Sangha-caitya.'
The śāntinātha Temple (Ādinātha Phase II)
The temple complex (Fig. 7; Plates 2, 3) stands on a featureless jagatī supporting the mūlaprāsāda (which is the smallest in the entire ensemble), next the gūdhamandapa directly conjoined with the prāsāda sans the kapilī or buffer wall, then the satcatuski, the rangamandapa, the 24 devakulīkā-surround along with the pattaśālā, and finally the main entry-porch at the north, also a side entry through the western porch, the corresponding opening at the east, though introduced, has otherwise no pillared portico and is usually kept closed (Fig. 7; Plate 3).
The tri-anga mūlaprāsāda, with meagrely differentiated bhadra, karņa, and pratiratha, is only 14 ft. in diameter, the short karņa-pītha has the usual set of unadorned mouldings (Fig. 4b). The mandovara is largely plain except at the three

Page #104

The Temples in Kumbhariya
Assipada kulit
2
LER
wspinavaya
FO 4 TERRA
12
-
7.
Floor plan, śāntinātha (Adinātha Phase II) temple.

Page #105

Description of Temples
bhadras which have shallow niches at the janghā, containing seated Jina figures, mostly retooled. The shapely sikhara above (Plates 77, 78) shows the jāla type with details plausibly of the late 19th century A.D. and, in terms of constitution, has 21 andakas. The three bhadra-rathikās in the lower section of the sikhara shelter Cakreśvarī (E), unidentified goddess (S), and Ambikā (W): this convention, unlike the one followed in the context of the Mahāvīra temple prāsāda, of introducing female divinity figures, is more in agreement with the usual medieval convention.
The dviśākhā doorframe of the garbhagrha has a very thin ratnaśākhā, and a narrow patraśākhā with very finely carved and highly schematized climber (Plates 9-11): below it are graceful attendant figures of Gangā and Yamunā rendered in the early 11th century style. Going by the genre of carving, the doorframe convincingly seems a surviving piece of the preceding Phase I temple. The inconsequential Nābhicchanda ceiling of the hall has three successive courses of karnadardarikās next followed by two strata of kolas.
In the garbhagsha, the original image with its throne and the parikara-frame is gone. At some late point in time was introduced a pedestal bearing an inscription of S.13+4 which, however, purports to be the image of Pārsvanātha set up in the Mahāvīra caitya, contextually thus unrelated to this shrine. The present image, which is late, is said to be of śāntinātha; hence, from some late date, this temple, originally dedicated to Jina Rsabha, began to be called the one of Sāntinātha.
The Nābhicchanda ceiling of the gūdhamandapa shows triple karņadardarikā courses, each bearing an auxiliary manipatřikā, and next are two kola courses. The roof of the gūdhamandapa is of the Samvaraņā class, but without the usual decorative details for its kapotapālikās and the bell members (Plate 79).
The gūdhamandapa's main door opens in the satcatuskī: It has triśākhā doorframe showing patra, narrow convex padma-, and broader patraśākhā. While it does not have the regular panelled uttaranga, a flat patta displaying astamangalas perhaps was intended to serve that purpose. Large female figures with an attendant stand at the pedyā of the right and the left jambs.
The profile of the karmapītha class of the base of the mukhamandapa (which is of the satcatuskī type), has the polished mouldings (Plate 82) as in the Mahāvīra temple which, unlike that of the prāsāda and the gūdhamandapa, has a short but carved grāsapattī in lieu of plain pattikā; but the northern face of the şatcatuski's stereobate has been treated as though it is a semi-open rangamandapa

Page #106

The Temples in Kumbhāriyā
where rājasena, vedīkā, and asanapatta mouldings appear (Plates 85, 86). The vedikā-niches at the left of the stairway display perhaps Nirvāṇī and Brahmaśāntī Yaksa at the right side of the spectator and Sarvānubhūti and Acchuptā on the left side. The front four pillars of this structure are fully carved in the standard Maru-Gurjara style (Plates 81-83), the details need not be dwelt upon except for the janghā-niches at the shafts, which show Vidyādevīs, Sarasvatī, and related figures. Among the four rear pillars, only two belts in the uppermost circular area are carved; they show the grāsakīnkanikā (Plate 84). The central two columns have two more decorative belts below the circular section. A pair of khattakas (Plate 80) flank the wall-pilasters which in turn flank the doorframe and are treated as though they are pañcaśākhā jambs, the rūpastambha with a pair of rūpasākhās on either side (Plate 80).
The more important part of the satcatuski is of course its six fully carved ceilings. The one figuring above the stairway is concentric and of the fine Mandāraka class (Plate 87), its four-kola prominent lambana with pointed or angular kolas anticipates the future increased usage of this 'geometricised kola' type of pendant, as will be in some of the pattaśālā ceilings of the Vimala-vasahi temple at Delvādā, Mt. Ābu. The three out of the four corners left out by the central circular part are filled with the figures of Vidyādevīs-Vairotyā, Rohiņi, Yakşi Cakreśvarī and Sarasvatieach attended by the flanking kinnara figures. The ceiling is supported by the lintels bearing creeper design on the lower facia and plain panelled diamonds on the tantraka above. The sur-lintel, at its profile, shows niches containing dancing goddesses.
The pair of the flanking identical ceilings is also of the Mandāraka class, though displaying smaller dvi-kola lambana with centrally hanging staminal (Plate 89). The vikarņa-corners here are filled with the paired figures of confronting elephants. The space between the pairs of the elephants is filled by a pair or pairs of human figures playing instruments. The lower facia of the lintels of these two ceilings show a beautifully looped and highly finished creeper rendered in fairly high relief, where the loops carry the figures each of an elephant, a bird, a pair of gandharva figures (or just seated dampati-yugala/mithunas) etcetera.
The central ceiling of the rear row (Plate 88) is also of the Mandāraka type. Its four vikarņas are filled with four seated Dikpāla figures—Vaiśravana, Yama, Nirrtti, and Agni. The space between the divinities is occupied by gandharvas playing musical instruments, some also shown in dancing postures.

Page #107

Description of Temples
The pair of identical lateral ceilings (Plate 90) flanking the last-noted one are of the Nabhicchanda class with a central elegantly formed padmakesara showing delicately rendered double layered petals. Each of the four vikarnas, in this instance, are filled with a pair of kinnara figures. The lintels supporting these ceilings show looped birds in series, the tantraka displaying flat diamonds, the faces of the sur-lintel have ardhapadmas in hemicycles.
67
The rangamandapa (Plates 91, 92, 94) uses the two central columns of the şaţcatuşkī as its rear south bhadra columns. The pairs at the eastern and western bhadras are relatively plain polymorphic (Plate 92), those at the eastern bhadra carry an andola-torana (Plate 93), the front (north) bhadra pair of columns is more fully ornamented (Plate 94).
The śālā of the rangamandapa is even more rectangular along its north-south axis than is the case with the Mahāvīra temple parallel; hence the crescent-shaped soffits left out at those two ends, while constructing the central ceiling above, had to be filled with even larger and more prominently rendered urmivelā/kalpavalli (Plates 95, 98, 99, 100). The lintels supporting the central Sabhāmandāraka ceiling, of about 14 ft. 3 in. in diameter, show kalpavalli at the lower section and the tiresomely plain diamonds on the tantraka faces. The ceiling (Plates 96, 97, 101) starts with a belt bearing niched divinity figures followed by a karṇadardarikā, next the rupakantha with plain diamonds in series and at intervals bearing 16 vidyadhara-brackets (Plate 97), and then comes a single gajatālu course. Next in sequence are two consecutive courses of single kolas in series and closely following them are two of quadruple gajatälus. And finally, from the apexial area starts a prolonged three kolaja lambana (Plates 102-104) ending with a thin and long padmakesara showing a surround of dancing figures above the terminal bud.
The six bays which connect the rangamandapa with the paṭṭaśālā on the western, and the same number at the eastern side are covered by Samatala ceilings (Plates 105-116) largely reminiscent of those in the Mahāvīra temple though somewhat inferior in quality. They, as in the previous case, depict narratives related to the lives of the tirthankaras, etc. The sixth one on the west side (Plate 116) is significant in that, in its central rectangular box it depicts Gomukha and Cakreśvarī who are the attendant Yakṣa and Yakṣi of Jina Adideva Rṣabha to whom this temple originally was dedicated.
The eastern side's second bay has a ceiling showing a Kamala-yantra (Plate 119)-magical diagram where the 16 petals of the lotus bear figures of the

Page #108

68
The Temples in Kumbhāriyā
DR2
8.
Floor plan of the Astāpada, Four-doored devakulikā, sāntinātha (Adinātha Phase II) temple. (Not to the scale.) (Courtesy: Department of Archaeology, Government of Gujarat.]

Page #109

Description of Temples
16 Vidyādevīs surrounding a central Jina figure with a figural belt around it. Four ceilings which follow this, show figures set in boxes (Plates 120-126) as in the corresponding ceilings in the Mahāvīra temple. The first ceiling in this eastern series probably depicts Jinas' parents set in panels (Plates 117, 118).
The eight devakulikās each at the east and west side, and four devakulikākhattakas each along the right and left wings of the northern side possess nothing specially interesting. The ceilings of the pattaśālā-cloister are of the lantern type with its deepest square (or rectangle as the case may be) showing a lotus set in a squarish frame decorated with a creeper carving (Plate 129). At the south end of the eastern wing of the pattaśālā, leaving a gap due to the eastern opening in the southern side of the kota-wall, stands a four-doored chapel containing an Astāpada (Fig. 8; Plates 127, 128) dated A.D. 1206 and is one of the very few surviving examples of the concrete representation of this mythical mountain.
While proceeding to leave the temple complex through its rather unremarkable north mukhacatuski opening, one notices a symbolic representation of a rotating Svastika (Plate 130) carved on the floor in the mukhālinda between the rangamandapa's nave and the northern cloister. Also may be mentioned, the sketch engraved on the floor-stone in the western aisle is elevation of the sikhara of the temple. (And somewhere around either in this or the Mahāvīra temple is a sketch of the right side of a parikara design.)
The Pārsvanātha Temple
The temple, with all its adjuncts, is supported by a taller jagati having an open mukhamandapa connected at the south with a nāla or entry-channel containing a stairway leading up through the jagati (Fig. 10), and a balānaka-hall constructed above the mukhamandapa (Fig. 9; Plate 4). Inside are the mūlaprāsāda connected with a gūdhamandapa, the trika, the rangamandapa, and the surround of 24 devakulikās with the pattaśālā-cloister which, in the complex's southern section, as in preceding two temples here, give way to the kota or wall enclosing the three sides (Fig. 9), leaving empty space between as in the case of the earlier two temples.
The mūlaprāsāda is some 16 ft. wide. It has a karnapītha with unadorned mouldings (Fig. 4c). The vedibandha as well as the janghā are also without the figural decoration. The sikhara is without the jāla-beehive and possesses 93 andakas and four tilakas (Plates 131, 132). It may be old (even if perhaps not contem

Page #110

The Temples in Kumbhāriya
bicellar store-room
P
ma a Roma na wana w
bhadraprasada
bhadraprasada
WnL
KA
RU
F.O
salamandapa
Ale
naia (balanaka)
9.
Floor plan, Pārsvanātha temple.

Page #111

Description of Temples
poraneous with the base and wall) since there are no projecting gavākşa-balconies at the bhadras, the presence of which becomes a regular feature from the 15th century onwards. Moreover, the rekhā-contour and the circularity of karņāndakas of the venukośa of the mūlamañjarī indicate medieval, and not late medieval period.
The gūdhamandapa, slightly wider than the mūlaprāsāda, has a pārsva-catuski or lateral porch at the west, there being no corresponding opening at the east, just as no coaxial opening in the kota-wall at the east (Fig. 9). (The east wall of the closed hall, however, seems lately to have been renovated.)
The garbhagrha's dviśākhā doorframe consists of patra- and ratnaśäkhā, and is of little consequence in terms of appearance.
The Sabhāmārga ceiling of the gūdhamandapa is of the usual type with a central Nābhicchanda component without the central lambana. Its originally, eight, now seven, vidyādhara brackets once may have supported the eight nāyikā figures.
The pañcaśākhā doorframe of the gūdhamandapa consists of patra-, rūpa-, rūpastambha, rūpa-, and vallīšākhā. A plain but nicely rendered ardhacandra with sankhāvarta in front of the udumbara or doorsill (Plate 135), the doorsill showing delicately carved central semicircular mandāraka and flanking it the pair of prominently projecting grāsa heads (Plate 135), the pedyās of the jambs on both sides sheltering Vidyādevīs with attendant female figures (Plate 133), and the doorlintel displaying Vidyādevīs in panels with attendant apsarases in dance-postures and gandharvas playing instruments in the countersunk panels (Plate 134) are the features of the dvārabandha. Above the doorframe comes a patta with cyma recta moulding forming its lower section; it shows fine arabesque design and its flat upper profile displays 14 dreams dreamt by Jina's mother during conception.
For its plan and elevation, the trika follows, in terms of detail, the adjunct in the Mahavīra temple. The usual polished, plainly moulded trika-base has a mukhacatuski in front; its profiles show ornamented rājasena, vedī, and āsanapatta customarily noticeable in at least the Jaina temples in this group. The east side has niched figures of some Vidyādevī or Yakṣī and Yaksa Sarvānubhūti and the west side displays two unidentified goddesses (Plates 136, 138). The front pillars of the mukhacatuṣkī are of fully decorated Maru-Gurjara order: They carry an āndola-torana between (Plates 139, 140). A closer view of the details of one of these two pillars showing Cakreśvarī in the janghā provides the estimate of the quality of workmanship (Plate 141). Inside the trika, the wall-pilasters flanking the doorframe

Page #112

The Temples in Kumbhāriya
POSSI
RU At the nāla-level
F.0
4
8
12
16
zt
10.
Floor plan, Pārsvanātha temple, mukhamandapa, lower storey level.

Page #113

Description of Temples
have been treated like a triśākhā doorway. The usual pair of ornate khattakas placed between the wall-pilasters show parikaras with toranas inside (Plate 137); but the once inset images therein are lost. In the renovations carried out in the twenties of this century, the original and carved, but by then darkened and damaged ceilings were replaced, just as were the ceilings covering the bays between the rangamandapa and the pattaśālā, by plain marble slabs, indeed a lamentable loss.
The rangamandapa (Plates 142-147) has a perfectly square śālā with sufficiently tall pillars and is thus the best proportioned hall of all the Jaina temples in Kumbhāriyā. Its two front pillars at the northern bhadra, like the two of the southern bhadra (shared also by the mukhacatuṣkī of the trika) are fully decorated (Plates 147, 149), the rest are of sparsely ornamented polymorphic order with well-chiselled lower members (Plate 148) as well as clean faceted shafts (Plates 143-147). The lintels supporting the central ceiling, some 16 ft. in diameter, show an unusual feature in that their lower facia are left without the usual foliate scroll decoration though the central grāsamukha is shown, the only exception being the lintel of the southern bhadra where ten panelled Vidyādevīs with diamonds in countersunk panels are shown. The tantraka, as in the halls of the preceding two temples, displays flat diamonds. The great ceiling (Plates 150-153) starts with a pattikā showing prominently jutting out grāsa-heads in file, next the karņadardarikā, then rūpakantha with diamonds and 16 vidyādhara-brackets followed by a gajatālu course and, after it, in lieu of a second gajatālu-band, comes a rūpadhārā once more followed by a gajatālu course; next come three consecutive belts of catuskhandā kolas, followed by a mono-kola course, and finally a small three-kolaja lambana.
The pattaśālā pillars here are a little taller than in the two previously built temples and hence their row at the east and west look somewhat impressive (Plate 154). What distinguishes the pattaśālā of this temple from the other two is the elaborate treatment of the pair of pillars facing the two bhadra-prāsādas at east and west (Plate 155) and correspondingly also the similar looking doorframes of those two chapels (Plate 155, 156) which, moreover, strongly resemble that very ornate one of the gūdhamandapa, the pedyā-niches' pediment is here more delicately carved, almost filigree-like in treatment. The 14 dreams' patta is also present above the door-lintel in both the instances.
Unlike the preceding two temples, the pattaśālā's southern side as well as the left wing of the northern side possess decorated ceilings, a few being of the

Page #114

The Temples in Kumbhariya
Nābhicchanda class with a central padmakesara (Plate 157). But several are of the Nābhimandāraka class (Plates 158, 159, 161, 162), while that before the bhadra-prāsāda is of the Sabhāmandāraka class, doubtless on a smaller scale, showing dancing and music making figures encircling the padmakesara of its dvi-kolaja lambana (Plate 160). The corresponding ceilings at the pattaśālā's eastern section and the right wing of the northern section, however, are made of simple or leafy karnadardarikās, and of little artistic merit.
The devakulikās of the two wings of the northern section of the cloister are genuine cells and not the apological niche-formed devakulikās.
In front of the northern bhadra of the rangamandapa, on the mukhālinda floor, is carved a rotating svastika symbol (Plate 163) as in the Sāntinātha temple. We may note here the floor-sketches of a temple and another large sketch of the elevation of a śikhara in the western aisle and of the ceiling types, at two places in the eastern aisle.
The balānaka-hall has plain dwarf pillars above the āsanapatta and plain polymorphic columns at its rear end (Plate 164); and, because of its presence, the interior of the Pārsvanātha temple is somewhat better lighted than the preceding two temples.
The exterior elevation of the internally decorated bhadraprāsāda in the western row of the devakulikās is also ornamented. It is illustrated in two Plates (165, 166), one of the period before, and the other after the recent addition of the sikharas for the devakulikās neighbouring the bhadraprāsāda. The bhadraprāsāda pillars bear figural niches on its janghā. The bhadraprāsāda has a sikhara of good form showing also the finely done jāla pattern.
The Neminātha Temple
The temple to Arhat Aristanemi alias Jina Neminātha (Plates 5, 6) is the largest building and by virtue of its central situation and size it is today, as perhaps was in the medieval period also, the main focus as well as from the visiting pilgrims' point of view the most sacred fane of the assemblage of Jaina buildings at the site. Chronologically, however, it is the fifth in sequence, and from the standpoint of art, not the best one even when architecturally it is the more monumental of the group.
About the founding and founder as well as the consecrator of this temple, fairly dependable information is available from two 15th century sources, namely

Page #115

Description of Temples
75
the Upadeśa-saptati (A.D. 1447) of Somadharma gani of Tapā-gaccha and one
abandha figuring in the manuscript 'P' included within the Purātana Prabandha Samgraha; it seemingly is of the early 15th century. The cryptic accounts of both works agree in regard to the essential facts, though differ in a few details which would imply that both had before them one common and the other a different source. According to Somadharma's account, one Pāsila of Arāsaņagrāma, who was best among the śrāvakas, and was the son of minister Gogā, had lost his wealth. Once he went to Pattana (Anahillapattana) for selling ghee and oil. After finishing the business, he went for paying obeisance to his guru. There he engaged himself in measuring (the dimensions of) the Rājavihāra. At that moment, Hāṁsi, the daughter of the billionaire Chādā who (had in his coffers) 99,00,000 gold coins, laughed (at Pāsila) and asked: "Brother, why are you measuring (the temple); are you planning to build (such a monumental and magnificent) caitya?” Responded Pāsila: "Sister, it professes to be a very difficult job; a child cannot hope to weigh the Suvarṇācala-mountain; however, if I indeed succeed in building a temple (prāsāda), do come (to Arāsaņa) to attend (the consecration ceremony.)” So saying he returned to his village and invoked Ambikā who appeared before him after his fasting for ten days. By her grace, the lead mine (in the neighbourhood) turned into silver mine. (From the income he thus got) he started building the temple sacred to Lord Nemi. While the work was underway, his guru visited the karmasthāya (hut) and inquired about the progress in building). Pāsila replied that, by the grace of god and guru, it is progressing well. Ambikā, who was listening, felt that this person is ungrateful. Within 12 praharas (36 hours) the silver mine turned back into lead mine. The temple proper by then had progressed only up to the sikhara. The source of funding dried up, he met the guru and also the ‘sister' (Hāṁsi) in Pattana and intimated them about his plans (under the circumstances) to proceed now with the installation ceremony. Thereupon the sister demanded a (sacred) garment to be given her and she then declared that a hall to the temple will be added by her. And she built the hall called 'Meghanāda' at the cost of nine hundred thousand (drammas). Other temples (devakulikās ?) were erected by (other) tradesmen. At the end of this account, Somadharma quotes a verse from some (earlier) work, which states: “The well-talented 'faithful', namely Päsila, son of minister Gogāka, built the lofty temple to Lord Nemi: The crest-jewel of the Nirgrantha (sect) and the disciple of the preceptor Municandra sūri, namely Vādīndra Deva sūri the preceptor, consecrated (the cult image of) Nemi."

Page #116

The Temples in Kumbhariya
The prabandha inside the Purātana Prabandha Samgraha thus narrates this episode: 'Once Pāsila, son of the minister Gogā of Ārāsaņapura, on becoming a pauper, went to Pattana on an agricultural errand. There, in the Rājavihāra, he began to take measurement of the (huge cult) image. Noticing him so doing, the daughter of Thakkura Chādā who at that point happened to come to the temple, inquired: "Brother, taking thus the measurement of the image as you do, (may I assume that) you intend to get made such one?" (Thereupon) he replied: “Sister, if I ever can get it made, you must come (to Ārāsaņa) on the occasion of the consecration ceremony." After this happening, he went back to his town. For the purpose of acquiring funding for making the image (as he had ardently desired), he went to the temple of (the Brahmanical goddess ?) Ambikā for fasting. After ten days of fasting, the goddess appeared before him and thus uttered: "Ask for the boon. (I will grant it)." "Let it be that I can build a temple like the one built by the King (Siddharāja Jayasimha)." Goddess indicated to him a site and showed him there the mine. While the work of mining was underway, his guru visited him and inquired whether his wish was fulfilled. Replied he: "with the grace of Lord (Jina) and guru.” Angered thereupon as the goddess was, she commanded him at once to quit (the site). The mine then caved in. What he had in the meanwhile got (by sale of metal ? marble ?) was 45,000 dīnārs. He soon after commenced the work on building the temple (the core of the jagatīs ?) of brick. Next he visited Pattana, met Chādā and his daughter and requested the tradesman's daughter to attend the installation ceremony. Deva sūri and the tradesman's daughter went (to Ārāsaņa). The consecration took place in A.D. 1137. At the expense of nine lacs, the sister (Hāṁsi) built a hall called Meghanāda. After the main narrative account over, the prabandha-writer quotes the same verse as did Somadharma and following it one more which purports to give the date S. 1193/A.D. 1137 of the consecration of the image/temple.
Filtering out the mythical and miraculous, the sum and substance of the anecdotal accounts is that, Pāsila, the meansless son of the late ?) minister Gogāka of Ārāsaņa, was impressed by the magnitude of the Rājavihāra and its monumental cult image at Aşahillapāțaka which, as known from the Prabhāvakacarita and other sources, was built by king Jayasiṁhadeva Siddharāja in A.D. 1127. Then on he had been dreaming of building such a magnificent temple and, when some fund he could master, forthwith had begun with an ambitious plan. Apparently, however, even when he may have made efforts, ultimately the shortage of funds did not allow him to complete the complex. Luckily for him, impressed by his religious zeal, Hāṁsi, the

Page #117

Description of Temples
77
daughter of the billionaire Chādā of Anahillapāțaka, added the Meghanāda mandapa. Excepting for the two large bhadraprāsādas, the rest of the devakulikās, as reported by the inscriptions, were subsequently and progressively added to the temple complex in the latter half of the 13th century.
The temple complex (Plate 6) is situated on a fairly lofty but, as with all other temples at the site, featureless jagatī. It has a balānaka or nāla-mandapa situated above the mukhacatuskī and the nāla-stairway inserted at a central point through the north front of the jagati (Fig. 11; Plate 5) which leads straight up into the rangamandapa (Plate 172) as is also the case at the site with the earlier instance of the temple of Jina Pārsva. The dviśākhā-doorframe of the entrance within the stairway-porch has its carving recently re-executed, seemingly after the earlier one, the doorsill though seems original.
The rangamandapa is of the Meghanāda class (as reported by the 15th century writers, earlier noticed) and thus having an attic storey (Plates 171, 174, 175). At the northern or balānaka end and at the southern or şatcatuṣki end, it is opened up since lintels do not bridge the pillars that stand within these two situations (Plates 168, 169, 171). Unlike the three preceding temples at the site, all of the 12 pillars of the square nave are fully carved according to the conventions of the Maru-Gurjara style (Plates 171, 173, 174), earlier encountered in the rangamandapa of the Sun temple at Modherā (c. A.D. 1070), and still earlier at Osiāñ (torana, A.D. 1018), Kirāļu, Nāgadā, and Ahāda, the last three instances are of the last quarter of the tenth century and all located in Rajasthan. However, unlike Kirādu and Modherā and near at hand in the three preceding temples in Kumbhāriyā itself, no toraņas apparently were intended to be inserted between the pillars even in the original scheme. This hall is surrounded by the colonnaded pattaśālā behind which are articulated the rows collectively of the 24 devakulikās disposed along east, north, and west (Fig. 11). As in the three preceding temples at the site, the peripheral kota-wall begins where the eastern and western rows of the devakulikās end.
The pattaśālā-cloister is devoid of carved ceilings, a regrettable deficiency. The only carved ceiling related to the central location in the east-west pattaśālā alignment, and of some consequence, is the one which is just above the nāla-stairway termination (Plate 170), the three other instances which occur behind it are composed of plain dardarikās (Plate 168); these latter were painted in the Mughal period. The aforenoted fully carved ceiling is of the Mandāraka class with the sunk sub-lintels

Page #118

The Temples in Kumbhariya
mulaprasada
Karna
pratiratha
bhadra-khataka
kapili
Sopana-trayah
Nandisvara-patta
-Ambika
ardhacandra
blind screens
Kalyāsa-traya
extension
bhadraprasada
Adinatha
Pärivanatha
bhadraprasada
ar
balanaka
-oz
Below
Above nála (balanaka)
11.
Floor plan, Neminātha temple.

Page #119

Description of Temples
showing series of full-blown lotuses at their soffit (Plate 170). The pair of the dwarf front pillars of the mukhacatuskī of the balānaka which stand further behind at the extreme north, hold a torana of the andola class (Plate 167), the type introduced at least from c. late tenth century in lower western India and was commonly used in Jaina as well as Brahmanical buildings of the subsequent centuries.
The pillars of the upper storey of the Meghanāda mandapa are dwarf and, unlike the vedī-kaksāsana complex there, largely unornamented (Plates 174, 175). Hall's magnificent central Sabhāmandāraka ceiling (Plates 176, 177) they support is c. 20 ft. 6 in. in diameter. It is thus the largest of all in the Kumbhāriyā temple-halls. Among its receding and stratified courses, after the relatively plain karņadardarikā, comes the rūpakantha bearing 16 vidyadhara-brackets, the space between the brackets is at points filled with Jinas adored on either side by an elephant, a motif which will recur in the ceilings of a couple of subsequent temples in Prabhāsa, Saurāṣtra, the ceilings of which are now to be seen in the town's Djāmi' and Māipurī mosques. In the rūpakantha here are also shown astamangalas and possibly the Kalyānakas of the Jina. Above the rūpakantha is a course of gajatālu followed by a narapattikā depicting the pañcakalyāņakas of the Jina. The inclusion of narapattikā, as in the Pārsvanātha temple here, and aesthetically not very comforting, will be reported within a decade and a half in the great ceiling (23 ft. 6 in.) of the rangamandapa in marble (c. A.D. 1145-50) built by minister Pșthvīpāla, in the Adinātha temple (Vimala-vasahī) at Delvādā on Mt. Ābu. After this belt, once more comes a band of gajatālu, next the three strata of the conjoined catuṣkhandā-kolas in receding order, and finally a well-integrated sapta-kolaja lambana-pendant (Plate 178, 179). The ceiling, by virtue of its larger dimensions, is doubtless impres-sive; but its effect could have been further enhanced by providing a circle of lūmās or pendantives around the central lambana-pendant as in the Vimala temple parallel and in fact many more examples of the ceilings of the 12th and the 13th century Jaina temples. The contours of the mouldings as well as architectural details of the entire ceiling were lightly painted with brown, black, and reddish pigments, apparently in the 17th century (Plates 177, 178) when the temple was reconsecrated in A.D. 1619. Its yellowed marble made the ceiling look like a carved and painted piece of ivory. (Recently, however, the paint has been rubbed out, and gone with it is its charming patina.) The central octagon which leaves four triangular depressions at four corners of the nave, are in each instance, filled with a large grāsa-head.

Page #120

The Temples in Kumbhariya
The next portion, the satcatuski (Plates 180, 181) today shows largely an unmoulded and an undecorated stereobate-front. It had been laterally extended by one columnar bay each involving the front and rear row toward east as well as west (Fig. 11) in c. A.D. 1254 or perhaps some time soon after for accommodating some additional installations to be shortly described. The original portions are the four frontal and the four rear pillars (Plates 180, 181) which are fully carved as in the nave of the great hall, the two khattakas, as usual, flank the doorway that provides entry to the closed hall. The two central ceilings, one behind the other in this vestibular portion and showing almost identical pattern, are of the Mandāraka class (Plates 183, 184) and in detail they resemble the one that figures above the stairway termination earlier noticed here (Plate 170). The lateral ceilings (Plates 185, 186) are generically related, in terms of detail, to the central type. Compared to the rich and handsome ceilings in the trika of the Mahāvīra, and the satcatuski of the Sāntinātha temple, these look somewhat paltry, rather ordinary and less in keeping [as is also the case with Kumārapāla's great temple of Ajitanātha at Tārangā (c. A.D. 1165) where similar ceilings figure in the satcatuskī], with the otherwise grand looking interior.
The lateral extensions at the east and west of the satcatuskī, mentioned in the foregoing, are walled up, each walling divided visually into two divisions whose exterior has a look of two adjacently placed blind screens of the box type filled with geometric and related motifs (Plate 182). The extensions' aspects falling within the șațcatuskī and behind the aforenoted wall-screens show, at the east, a 'Kalyāṇatrayapatta' (with the uppermost third panel bearing the seated third Jina now lost) dated A.D. 1287 (Plate 243) and in the bay next to it are located two niches which show two standing images of Jinas in kāyotsarga posture. All of these images face west: the corresponding extended portion at the west end shows a large patta dated A.D. 1254 which shows 170 Jinas of the 'utkrsta-kāla' or supremely glorious period in the megacycle of time (Plate 242). The patta faces east. The original feature noticeable at the south wall, as earlier noted, is a pair of khattaka-niches, one at the right and the other at the left of the closed hall's lofty doorway. The additional khattaka attached at the eastern side of the extension and facing north shelters a 'Nandīśvara-dvīpa-patta' dated A.D. 1267 (Plate 241): The corresponding one at the opposite end contains an image of Yaksi Ambikā of a late date (Plate 230), a fairly later addition but the pertinence of whose presence is obvious since the temple belongs to Jina Aristanemi, Ambikā being his attendant Yaksi.

Page #121

Description of Temples
The doorway allowing entry inside the gudhamandapa, mentioned in the foregoing passage, is very large and could be so, thanks to the unbridged central pillars of the satcatukṣī. Its śākhās have been recently redone according to its former design, its high doorsill, however, is original, showing as it does large grasamukhas flanking the central semi-circular mandaraka projection whose face is carved with vigorous scroll (Plate 187). The profile of the rectangular stepping stone placed over the ardhacandra or moonstone is likewise nicely carved with similar valli-fragment (Plate 187). The face of the ardhacandra is, as usual, without any decorative carving.
81
The eastern and the western walls of the gūḍhamandapa, together with the interior pilasters, as also the painted and relatively simple domical ceiling above are of the restoration period of the later times. Its mouldings up to the karṇaka of the base, however, look older and are continuous with those of the mulaprāsāda: The hall thus appears to follow the original floor-plan of the preceding structure. The redone portion above the pitha, even when partially moulded, is largely without ornamentation, the exception being its udgama-pediments above the plain jangha which show intricate and indeed elegant arabesque or geometric designs that clearly reflect the late, as well as Islamic, form and idiom for their composition and details (Plates 188, 189).
The 'Samalikavihāra-paṭṭa' (A.D. 1282) (Plate 244), a 'Vis-viharamānaJina-patta' (Plate 240), and the two 'Jinamātṛkā-paṭṭas' (Plate 237)—all of which for some years now have been set up in the different locations within the Mahāvīra-caitya together with the three fragments of what once constituted a 'Saptatiśata-Jina-patta' now placed before the empty image-parikaras inside the first three consecutive devakulikās in the western row in that temple (Plates 238, 239)— were all originally placed in the gūḍhamandapa of the Neminatha temple. A pair of large and handsome kayotsarga Jinas (Plate 220) flanking the antarāla and dated to S. 1214/A.D. 1158 show finely executed valli fragment at their pedestal-face, whose loops inclose elephant figures (Plate 221). One more pair of the standing Jinas but flanking the garbhagṛha-doorframe and dated to S. 1314/A.D. 1258 is also not unimpressive and has a similarly carved pedestal (Plate 222, 223).
The doorframe of the garbhagṛha is in style largely after that of the gūḍhamaṇḍapa. Inside is the later image of the mūlanayaka Jina Ariṣṭanemi, set up in A.D. 1619.
The exterior of the mandovara or wall of the temple proper, unlike other Jaina temples at the site, is fully decorated. The prasāda (Plates 190, 191, 194) is tri-anga

Page #122

82
The Temples in Kumbhariya
1922
narapīpha
gajapītha
NURU VI
Fantarapatta
grāsapatti chadyaki
-antarapatta cippikä karnika
jādyakumbha
bhitta
252
AAAA
F.llo
12.
Elevations of the pīķhas: a. Neminātha temple, mülaprāsāda; b. Kumbheśvara temple, mūlaprāsāda.

Page #123

Description of Temples
on plan showing karma, pratiratha, and bhadra (Fig. 11). It is c. 34 ft. across the east-west bhadra axis. Its base (Fig. 12a), unlike those of the previous three temples, shows gajapītha (elephant figure-belt) and narapītha (belt showing human figures in action). The kumbha-faces of the vedibandha display figures of Vidyādevīs and Yakṣīs (Plates 195-199). The bifacial karņas or the corners, as in all Maru-Gurjara and in a few other contemporaneous regional styles having decorated temples, show Dikpāla figures, the pratirathas display Vidyādevīs and Yakṣīs such as Vairotyā, Acchuptā, Mānavī, Jvālāmālini (or Mahājvālā), Vajrankuśā, Naradattā, Kālī, Mahākālī, Gaurī, and Gāndhārī (Plates 192, 193). The sikhara is of later date. The kapilī-niches on both east and west side carry the remaining four Dikpāla figures according to their directional positions.
Behind the mūlaprāsāda and supported at the southern side of the kota-wall is the very large original torana-frame (Plate 233) which once may have been placed before the earlier and original cult image in the sanctuary, the remainder of the many other pieces that were once discarded (when the gūdhamandapa was rebuilt), exposed to elements and lying there uncared, reported by Muni Jayantavijaya as well as Muni Viśālavijaya, were since then had been shifted to the store-cellars of the Mahāvīra and the Sāntinātha caityas, the better ones were placed at different locations in the Mahāvīra temple. The discarded fragment of the top of a Samavasarana (Plate 236), noticed in the eastern precincts of the Pārsvanātha temple may point out to a second Samavasaraṇa somewhere in the Kumbhāriyā temple complex, perhaps in the Neminātha temple.
The devakulikās attached to the pattaśālā around the Meghanāda hall, with the exception of the two large bhadraprāsādas situated at east and west, largely were built during the latter half of the 13th century. Each of them have a dviśākhā doorframe showing a broad and finely delineated valliśākhā (Plate 203). The bhadraprāsādas stylistically seem contemporaneous with the mūlaprāsāda and by omission of the pattaśālā steps, they could be provided with larger dviśākhā doorframes together with the correspondingly ample moonstones (Plate 200-202). Matching with these generous proportions, inside the cellas, are very large seated Jina images, Jina Adinātha (replacement of the 17th cent.) in the eastern and Pārsvanātha, perhaps original, in the western bhadraprāsāda. Of the two bhadraprāsādas, the mandovara or exterior wall of the western one is fully decorated (Plates 204, 205). Unlike other devakulikās in this complex, the two bhadraprāsādas seem to have been built soon after the main sanctuary. The devakulikās do not have

Page #124

The Temples in Kumbhāriyā
internal walls separating them. Externally, however, each one shows a separate śikhara. While these sikharas are uncarved (some of these have been more recently constructed), at least the one in the western row shows delicate jāla carving characteristic of the late 13th century besides being elegantly formed (Plates 206208). Where the devakulikā-rows terminate, at the eastern and western sides the kota-wall had openings but blocked during one of the later renovations.
The Sambhavanātha Temple (Originally sāntinātha)
This fifth and the last Jinālaya (Plate 7) in the sequence of buildings is the least pretentious as also the least interesting of the buildings even when it apparently was built in the 13th century (Plates 209-211). The temple with its two halls stands on a jagatī supporting a kota-wall running all along its periphery (Fig. 13). The subshrines are absent. The sanctuary, about 14 ft. 8 in. wide, is conjoined to a closed hall and has no trika-vestibule. The rangamandapa is directly bonded with the north wall of the closed hall. While the sikhara shows minute jāla-carving (Plates 209-211) typical of the 13th century examples, the base and the wall, though moulded, are relatively unadorned as in the aforediscussed first three temples. The base mouldings (Fig. 4d) do not include the gajapītha and narapītha. At the bhadra points, the jādyakumbha alone shows the central ardharatna flanked by ardhathakāras as in the earlier three examples. The kumbha-faces of the vedibandha at the bhadra-points and the rear karnas alone have some figures, the Yakṣīs and Vidyādevīs like Cakreśvarī, Vajrasrnkalā and others, and dancing ladies on the flanking sub-facets of the bhadra-kumbhas (Plate 212). The janghā section at the bhadra-offsets has niches, now empty. The sikhara has the usual bhadra-rathikās. They show figures of Vajrasrnkalā (E), Cakreśvarī (S), and Sarasvati (W).
The sikhara of the prāsāda (Plates 209-211) indeed is beautifully formed. It possesses as many as 117 andakas; this is because, as is the case with Pārsvanātha temple, it employs pañcāndaka (Kesari) or panta-turreted karmas' instead of mono-turreted 'śộngas'. Four tilakas of the kakşakūtaka type bearing standing niched figures on their front also occur as constituents of the śikhara.
The exterior of the gūdhamandapa has the moulded surfaces of the same type as the prāsāda but without the figural decoration. In the interior, one of the wall-pilasters bears an inscription of S. 1529/A.D. 1473 (No. 139). There are niches between the pilasters, one of which bears an inscription of S. 1325/A.D. 1269 (No. 126). Apparently of late 13th century but a somewhat ordinary looking

Page #125

Description of Temples

E
-
Floor plan, Sambhavanatha (originally Santinātha) temple.

85

Page #126

The Temples in Kumbhāriya
image of Jina Vāsupūjya is seen in one of the flanking niches of the interior's eastern bhadra (Plate 224). Also noticed is the image of ārādhaka couple (Plate 225) incongruently placed on the pedestal of a Jina with empty parikara. On the shafts of the pair of polygonal pillars at the entry of the antarāla, are noticeable sketches of the Cámara-bearers.
The rangamandapa has relatively plain polygonal pillars of little interest (Plate 214); its ceiling (17 ft. 3 in.) is a plain Jane, save for a rūpakantha bearing a series of half lotuses in hemicycles but without the vidyādhara brackets, the rest of the elevation being made up of a series of plain karņadardarikās. The moulded doorway (Plate 213) leading to the closed hall has a lintel showing sikharikās, three on either side of the central larger one, as done at the Lūņa-vasahi temple's parallel example in Delvādā on Mt. Abu but without its rich, intricate, and delicate carving. Below the lateral śikharikās are panels containing seated Vidyādevīs, the central one displaying the tutelary image of the Jina. The dviśākhā doorframe has a slender stambhaśākhā which is horizontally divided at intervals but carries no carving. The antaraśākhā is of the vallī type. The usual door-guardian figures with their flanking attendant figures are shown at the pedyās. The wall-pilasters, however, are profusely carved, just as they are treated like a rūpastambha flanked by a pair of rūpasākhā.
The temple may be dated some year before A.D. 1264 (the date of the niche inscription) but probably some time after A.D. 1232. Jinacandra sūri III as well as poet Meha refer to a temple sacred to Jina Śāntinātha among the five that then existed and still exist. Apparently, by reductio ad absurdum, this Sambhavanātha building, not referred to by the medieval writers as of Sambhavanātha, was that very temple. Who its founder was, is unclear. A late 13th century literary notice elsewhere refers to the 84 Jaina fanes built at different sacred places by Prthvīdhara (Pethada Saha), a minister in Mālavadeśa, in or before A.D. 1264, the list, however, does not allude to Ārāsana even when he is reported to have visited the town while on a pilgrimage to the holy Jaina sites in Gujarat. The possibility of he having his hands in building, however, cannot altogether be ruled out since he was a prolific builder.
The Sangameśvara and the Kumbheśvara Mahādeva Temples
To the northwest of the Sambhavanātha temple stands this Sivaite marble temple, the only extant Brahmanical shrine. There was one other siva temple at the site, its relics such as the doorframe, the pillars, and a couple of Siva images, had been noticed and

Page #127

Description of Temples
prasada
-
N
rangamandapa
Above asanapataka
Below asanapattaka
14.
Floor plan, Kumbheśvara Mahādeva temple.

Page #128

88
The Temples in Kumbhāriya
reported by Muni Viśālavijaya and on the basis of an associated inscription of A.D. 1090 there, which refers to the Sangameśvara temple, it may be conjectured to have been built in or before that date.
The extant Siva temple, now going by the name of 'Kumbheśvara', has a tri-anga prāsāda with a semi-open rangamandapa, the temple structure standing on a jagati of little consequence (Fig. 14). The basal mouldings, as in the Neminātha temple shows a gajapītha and a narapītha (Fig. 12b). The prāsāda, about 19 ft. wide, is fully decorated with the usual Dikpāla figures at the karma-angles and the surasundarīs at the pratirathas (Plates 215, 217). All are stationed within the parikarma-frames as in the case of the Neminātha temple here and in fact scores of Brahmanical and Jaina temples built before and after this building. The bhadra niches show Bhairava (S), Natesa (W), and Cāmundā (N). Bhandarkar dated this temple to the period of the Sun temple at Modherā (i.e. c. A.D. 1027); but the presence of erotic and other figures flanking the small niched divine figures on the kumbha faces (Plate 216) is a late feature, and the general qualitative inferiority as well as the style of the janghā sculptures indicate an early 13th century date for this building. A stele nearby bearing a long inscription of S.1263/A.D. 1207 mentioning the name of Bhīmadeva II and his minister Ambāka, which purports to gifts of taxes levied etc., may approximately indicate the date of the building of the temple.
The truncated śikhara of the prāsāda (Plate 8) is very badly repaired and the architectural members of the rangamandapa show little carving. Bhandarkar though compares the ornamentation of its pilasters with the Modherā temple's decorative carving, again an untenable equation/comparison.

Page #129

CHAPTER 6
Associated Sculptures
In western India, after A.D. 1030, a progressive decline sets in the quality of images as well as figural, vegetative, and geometric decorative art integral with buildings. The Jina images from that period onwards, whether seated or standing, look stolid and expressionless. (The original images seated in ‘padmāsana' in Kumbhāriyā, however, are mostly lost since, after mutilation by the iconoclasts, removed.) What further adds to that deficiency is insertion of crystal eyes, metal-nipples and similar other external impositions necessitated for saving images from wear and tear due to the application of pūjā-dravya' and consequent intensive lustral ceremony. Moreover, the showing of dhoti and ornaments in carving, in cases specially of the images standing in ‘kāyavyutsarga' posture (Plates 218-220), contribute further toward eliminating the barest of art element present. The accompanying figures of the attendants-cāmara-bearers, adorers etcetera-in sooner cases look a little better, particularly in the instances of the Jina images from the latter half of the 11th century (Plate 219). But the conventional and highly stereotyped parikara-frames or figural surrounds associated with the central Jina figure have very little to commend, from the standpoint of art, after the date c. A.D. 1075.
Likewise, the figures of the Yaksas and Yaksīs such as Sarvānubhūti (a Jaina version of the Brahmanical Vaiśravana-Kubera) and Ambikā [Parvati provided with the mango tree/fruit association by literally interpreting the component 'amba' =āmra (Skt.)], either as icons for worship in their own right (Plates 226-227) or else figuring as 'alamkāra-devatā' divinities employed in the decorative context (Plate 228)—falling within the 11th century can be considered tolerably good examples of art (Plates 226-227). Those hieratic images of the 12th and later centuries, for example the Ambikā icons (Plates 229-230), are useful for the iconographic and ritual-worship purpose alone, not so much for art.
In Kumbhāriyā, the images of Vidyādevīs, Yakṣīs, Cakreśvarī, Sarasvatī, Brahmaśānti Yaksa, and Hari-Negameşa occur fairly frequently in the

Page #130

90
The Temples in Kumbhāriyā
decoration-scheme—some of them in pillar-niches, in ceilings such as those of the trika of the Sāntinātha temple, also in Samatala ceilings covering the space between the pattaśālā and the devakulikās, and of course in the panels of the doorframes as well as in the posts of the torana-parikaras. But in all these cases, they are present as ‘signifiers', declaring the temple unambiguously 'Jaina' besides providing the evidence for the contextual iconological connections.
Then there are figures of lesser deities such as the gandharva-minstrels and the surasundarīs. Their minor presence sometimes enliven the situations where they occur, for instance on pillars and in ceilings: the examples primarily are noticeable in the Mahāvīra temple (Plates 43, 53, 54). They are decorative but also significant accessory figures in some selected cases betraying artistic pretensions.
Among other carved stone pieces meant for worship are the symbolic representations of some cosmographic objects/features or legendary events. This is, of course, a typically medieval phenomenon unknown either in ancient literature or through actual examples. At least two of that class exist in Kumbhāriyā, a Samavasarana (Plate 73) and an Aştāpada (Plate 127, 128).' Then there are the “pattas', or the carved slabs, which virtually are stereotyped representations of themes, of which those of the 24 mothers of the 24 Jinas (Plate 237), the Vis-viharamāna-Jinas (Plate 240), the Saptatiśata-Jinas (Plate 242), the Nandīśvaradvīpa (Plate 241), the Kalyānatraya (Plate 243), and the Samalikā-vihāra/ Aśvāvabodha-caritra-patta (Plate 244) are available here. The pattas bearing figures of the 24-Jinas,' the Sammetaśikhara, 4 the schematic depiction of Mts. Girnār and the Satruñjaya, are not met with here, though an inscription mentioning an [Astā]pada (patta) (Insc. 126) is known.}
Sometime during the 12th century, a convention had begun in regard to placing a sort of parikara-torana before the image, be it in the main sanctuary, or in the bhadraprāsāda enshrining an image, or in a devakulikā. At least five such examples are noticeable in Kumbhāriyā, one connected with the Mahāvīra temple (Plate 231), the other originally before the cult image in the main sanctuary in Pārsvanātha (Plate 232), two more also installed in the devakulikās of Pārsvanātha temple (Plate 234, 235) and an instance that was connected with one of the three very large images, either in the main sanctuary or in one of the two bhadraprāsādas but discarded and removed to the backyard (Plate 233). They look impressive for intricacy of carving: the details, however, are tiresome.

Page #131

Associated Sculptures
But artistically the most interest-abiding are the lively animal figures ranged in file and noticeable on the borders of some of the Samatala ceilings in the Mahāvīra temple (Plates 70, 71). Such spirited and elegant figures rendered in high relief do not occur anywhere in western Indian Jaina art, be they concerning a narrative-depiction or other related theme in the Delvādā ceilings.
Annotations
1. The convention of including the three-dimensioned representations of Nandīśvaradvīpa,
Sammetaśikhara, and Kalyānatraya apparently came in vogue in the 13th century, and as the evidence shows, specifically in the context of the buildings of Vastupāla and Tejapāla. These are, without exception, of the Svetāmbara affiliation, although the representation of the Aştāpada was plausibly in vogue in the Boţika/Ksapanaka sect in central India. The representation of 'Sahasrakūta' in the context of the Svetāmbara tradition is not known before mid 15th century. It was adopted there from the Kşapaņaka tradition of central India where it figures from at least the tenth century both in literature and in fair abundance in concrete representations in the tenth and the 11th
century. 2. The tradition of 'patta' worship in Jainism is ancient. The evidence is available from at
least the Saka period (c. 1st-2nd cent. A.D.) in Mathurā where they occur on the āyāgapattas, where, however, the theme of representation was different, namely the 'mangalas,' auspicious symbols. There is apparently a long hiatus between that age and the medieval period when 'patta' worship reappear but with altogether different themes. Perhaps, in the intervening period, the painted pattas of silk may have served the purpose. The 'Caturvimsati-Jina-patta' occur in two ways: as an image proper, in stone or metal, with a central larger Jina, seated or standing, with a surround of the 23 Jinas: And, as a carved slab bearing tiny figures of the 24 Jinas in panels, arranged in superimposed rows. It is this second type which is relevant here. It is purely of Svetāmbara origin, available elsewhere from several Jaina sites from c. late tenth century onwards. The Sammetaśikhara-pattas are rarely met with, and that too not before the late 12th century. These are unknown in the Boţika/Kșapanaka as well as the Digambara sect. These pattas are peculiar to the Svetāmbara sect and are available in plenty; but none is earlier than the middle of the 15th century and mostly from Rajasthan from the Jaina temples in Ranakpur, Jaisalmer etc. The other types of pattas such as the Nandīśvara, Astāpada, Vis-viharamāna-Jinas (who are the 20 Jinas, preaching in the legendary Mahāvideha continent of the Jambūdvīpa), Kalyānatraya, and Aśvāvabodha with Samalikā-vihāra-caritra are confined to the Svetāmbara sect and there, too, their examples are largely unknown before the 13th century. The earliest examples of the Nandīśvara patta are known from the 12th century. The Astāpada pattas are rather rare to meet with, their three-dimensional representations had begun from at least the 12th century. The 'Kalyāṇatraya' is a concrete representation of a concept of the three kalyānakas of Jina Aristanemi-his Renunciation, attainment of Enlightenment and finally the Salvation—that had

Page #132

92
The Temples in Kumbhāriyā
legendarily happened on Ujjayantagiri or Mt. Girnār. The convention of representing these as tri-dimensional symbols and building temples to enshrine them was started by the minister Tejapāla on Ujjayantagiri in the first instance and next he set it up on Mt. Abu in the hastiśālā of his temple for Jina Neminātha. This representation is so far unknown in the Ksapanaka or for that matter in the Digambara tradition. On the other hand, the pattas bearing a single pair of a Jina's parents which are frequently encountered in the Kşapanaka (and possibly Digambara) religious art of central India are completely unknown in the Svetāmbara tradition. Also, representing the first and the last tīrthankara (Rşabha and Vardhamāna) together as kāyotsarga images and called 'Adyāntanātha', favoured in east India and sometimes seen in central India, is a depiction that is not so far known in the Svetāmbara sources—literary, epigraphical, or concrete.

Page #133

CHAPTER 7
Inscriptions
With the exception of the Sambhavanātha, all other Jaina temples in Kumbhāriyā possess inscriptions in sufficiently large number, though none is of the ‘prasasti'class reporting on its foundation date, the founder and his familial details, and the pontiff who officiated the consecration rites of the main sanctuary, nor is there any of the donative type of major significance. Yet several of them are informative, significant on one hand for some aspects of history of the buildings and on the other for some interesting details they provide on the friars, monks, and pontiffs and their gacchas/sub-orders as well as on the contemporary rulers, high officials, and lay-followers, the latter two of the Svetāmbara affiliation, and thus provide first hand evidence for reconstructing the socio-religious history of the site. They also help determine the probable chronological sequence of the buildings, a firm aid to what can be read through stylistic analysis of their architecture and sculpture. They, moreover, clarify to which particular Jina the temple originally was dedicated. As for those inscriptions which cast clear light on dedication and provide help in dating, they have been referred to while dwelling on the description of the temples. The rest of the interesting/significant aspects will be discussed in this chapter. In all, and indeed as many as 147 epigraphs have been selected from about 161 recorded by Muni Viśālavijaya." And three more have been included from those recently spotted and published by Lakshmanbhai Bhojak. Most of the inscriptions are engraved on the pedestals of the images, a few also occur on the pattas, the pillars, and the walls.
Gacchas, pontiffs, friars, and monks
The inscriptions in several instances mention the 'gacchas' or sub-orders of monks and friars. In some cases they reveal the prominent association of a specific gaccha with a particular temple. One of the three surviving earliest inscriptions which, to all seeming, were related to the original Adinātha temple, mentions ‘Nannācārya-gana' (A.D. 1031) (Insc. 1), the other two record ‘Nannācārya-gaccha'

Page #134

94
The Temples in Kumbhāriyā
(A.D. 1054) (Insc. 2 and 3), the first one even naming Sarvvadeva sūri as the pontiff who consecrated the image in the 'Jinagrha' (probably of Jina Rşabha) at Ārāsaņa. It is likely, though not positively certain, that the pontiffs of this gaccha may have been responsible in consecrating not only the Jina images implied to be inside the subsidiary shrines, but also perhaps the principal sanctuary; and its monks may have been the spiritual guides of the śrāvakas who may have been the adherents to that gaccha. The Nannācārya-gaccha apparently was an off-shoot of the 'caityavāsī' (i.e. abbatial) Ukeśa-gaccha (which took its name after 'Ukeśa', present day Osiāñ) and had come into existence probably in the tenth century. The next interesting notice relates to the 'Vatapāla-gaccha', reported from a single inscription (A.D. 1092, in Sāntinātha i.e., originally the Adinātha temple, Insc. 45) and plausibly took its name after Vatapura, which very probably is the present day village of Vasantagadh, also known in the medieval times as Vatapura, a village that lies some 35 miles to the northeast of Ābu Road. The third, and the more ancient than the preceding two, was the Thārāpadra (variantly Thirāpadra)-gaccha, which had emanated from the line of monks from the abbot Vateśvara (mentioned in Chapter 1) who had established his headquarters in the ancient town of Thārāpadra in north-eastern Gujarat in c. early eighth century. The two earliest inscriptions and of the same year in the Pārsvanātha temple (A.D. 1105, Insc. 49, 50) mention this 'gaccha'. It is possible that the monks of the Thārāpadra-gaccha ecclesiastically were associated either in the founding or consecration of this temple. The pedestal inscription (No. 4) of the cult image in the mūlaprāsāda of the Mahāvīra temple (A.D. 1062) refers to a pontiff (name gone) of “Rā...-gaccha' which may be read as "Rāja-gaccha', a famous medieval order of friars. However, in subsequent inscriptions within this or the other four Jaina temples, this gaccha is not for once mentioned again.
Turning to the Neminātha temple, it is known from the late medieval literary sources, earlier discussed (Chapter 5), that the illustrious Vādi Deva sūri of the Brhad-gaccha had officiated the consecration rites of this temple when founded by the tradesman Pāsila in c. A.D. 1135 or 1137. Now, it is clear from the predominance of the inscriptions involving the pontiffs of the Bșhad-gaccha* as priests consecrating images, devakulikās and other objects of worship within this temple that a large number of śrāvakas and the śrāvikās connected with the setting up of images etc., in this temple, predictably had their spiritual allegiance to the Bșhad-gaccha. The hagiographies of the different groups of friars of the Bșhad-gaccha related to differing decades are specified in the tables to follow. The exact relationships

Page #135

Inscriptions
between these groups of the same gaccha can be ascertained only after comparing the total available data from the other inscriptional and literary sources. The friars of this gaccha as culled out from the inscriptions are specified below:
The Hagiological Tables of the Pontiffs of Bșhad-gaccha
(Śrīcandra / BỊhad-gaccha)
Vardhamāna sūri (I) A.D. 1148 (Insc. 80); A.D. 1152 (Insc. 88); A.D. 1158 (Insc. 51, 89, 90)
Cakreśvara sūri A.D. 1148 (Insc. 80); A.D. 1152 (Insc. 88); A.D. 1158 (Insc. 89, 90); A.D. 1282 (Insc. 113, 116)
Jineśvara sūri A.D. 1158 (Insc. 51)
Paramānanda sūri (I) A.D. 1158 (Insc. 51, 89, 90)
Jayasimha sūri
Somaprabha sūri A.D. 1282. (Insc. 113, 116)
Vardhamāna sūri (II) A.D. 1282 (Insc. 113, 116)
(II)
Ajitadeva sūri
Vijayasimha sūri A.D. 1148 (Insc. 81, 82); A.D. 1150 (Insc. 87); A.D. 1279 (Insc. 105)
Śrī Candra sūri
Vardhamāna sūri A.D. 1279 (Insc. 105)

Page #136

The Temples in Kumbhariya
(III)
Buddhisāgara sūri A.D. 1149 (Insc. 83, 84)
Abhayadeva sūri A.D. 1149 (Insc. 83, 84); A.D. 1180 (Insc. 91); A.D. 1254 (Insc. 94, 95)
Tin
Dhaneśvara sūri A.D. 1180 (Insc. 91)
Jinabhadra sūri A.D. 1149 (Insc. 83, 84); A.D. 1180 (Insc. 91);
A.D. 1254 (Insc. 94, 95)
Sāntiprabha sūri A.D. 1254 (Insc. 94, 95); A.D. 1258 (Insc. 97, 98, 99)
A.D. 1267 (Insc. 100)
Ratnaprabha sūri (I)
A.D. 1219 (Insc. 122); A.D. 1254 (Insc. 95); A.D. 1258 (Insc. 97, 98, 99); A.D. 1267 (Insc. 100); A.D. 1282 (Insc. 115)
Haribhadra sūri A.D. 1254 (Insc. 94, 95); A.D. 1258 (Insc. 97, 98, 99); A.D. 1267 (Insc. 100) A.D. 1279 (Insc. 102, 103, 107, 109); A.D. 1282 (Insc. 115); A.D. 1287 (Insc. 117)
Paramānanda sūri (II) A.D. 1254 (Insc. 94, 95, 96, 122); A.D. 1258 (Insc. 97, 98, 99); A.D. 1267 (Insc. 100);
A.D. 1279 (Insc. 102, 103, 107, 108, 109); A.D. 1282 (Insc. 115, 122); A.D. 1287 (Insc. 117); A.D. 1295 (Insc. 123); A.D. 1299 (Cf. Insc. 124)
Ratnaprabha sūri (II)
A.D. 1254 (Insc. 96)
Vīraprabha sūri A.D. 1295 (Insc. 123)

Page #137

Inscriptions
(IV)
Vijayacandra sūri
Bhāvadeva sūri A.D. 1299 (Insc. 125); A.D. 1335 (Inse. 131)
There is also a notice each for the Pūrņīmā and the Madāhada-gaccha: and, two for the Candra, and five for the Tapā-gaccha.
(V)
(Pūrņima-gaccha)
Padmadeva sūri
.... raja .... sūri
???.... sūri A.D. 1269 (Insc. 135)
(VI)
(Maďāhada-gaccha)
Cakreśvara sūri
Somaprabha sūri
Vardhamāna sūri A.D. 1279 (Insc. 106)
(VII)
[Candra-gaccha]
Navāngavrttikāra Abhayadeva sūri
Śrīcandra sūri Undated (Insc. 119); A.D. 1288 (Insc. 121)

Page #138

98
(VIII)
(Tapa-gaccha)
Bhattaraka Hiravijaya süri
Bhattaraka Vijayasena sūri
Bhattaraka Vijayadeva sūri A.D. 1619 (Insc. 145, 146, 147, 148, 149)
Pandita Kusalasāgara gaṇī A.D. 1619 (Insc. 146, 147, 148, 149)
The earliest inscription in the Neminatha caitya, A.D. 1135 (Insc. 79) mentions Vijayasimhäcärya of Devācārya-gaccha. Probably, the Devācārya of 11th century, the pontiff of the Bṛhad-gaccha, may have been implied here.
And one inscription from the Neminatha temple, of A.D. 1330 (Insc. 128), mentions Jinabhadra süri of the Rudrapalliya-gaccha. (This gaccha was an off-shoot of the Kharatara-gaccha.)
The Temples in Kumbhariyā
Several inscriptions mention the names of the pontiffs/friars who had consecrated the images, but no particulars are recorded in regard to their gacchas, and in most cases not even their hagiology is given.
1.
2.
An inscription of A.D. 1091 (Insc. 15) in the Mahävira temple names. 'Mānatunga sūri' as the pontiff involved, but no other particulars are noted. Aside from the early or post-Gupta Manatungācārya of the 'Bhaktamara-stotra' fame, at least four other pontiffs bearing the same appellation are known but they all belong to the medieval period. Of these four, the earliest figuring in the encomium of a manuscript of the Yogaśastra of Hemacandra-the encomium dated A.D. 1236mentions Padmadeva süri of Candra-gaccha whose sixth predecessor in the hagiological sequence is Manatunga. Now, this Manatunga's date on computation seems to fall in the bracket c. A.D. 1060-1100. Hence it is he who plausibly may be the one involved in Kumbhäriyä context.

The two A.D. 1120 epigraphs (Insc. 17 and 18) in the Mahāvīra temple name 'Padmadeva süri'. Three other medieval pontiffs bearing the same name are known

Page #139

Inscriptions
from literary sources; but they all are later than the one mentioned here. He thus cannot be identified with any one of them.
3. Kakudācārya is mentioned in two inscriptions bearing the same date A.D. 1150, one in the Mahāvīra temple (Insc. 86) and the other in the Neminātha temple (Insc. 85). He also had consecrated several Jina images in the Vimala-vasahī temple at Delvādā, Mt. Abu, in A.D. 1146 but there, too, neither his gaccha nor gurvāvalī is noted. From one later inscription, however, he is known to have been connected with the Ukeśa-gaccha.
4. Devācārya, disciple of Nemicandrācārya, figures in an inscription of A.D. 1160 (Insc. 52) from Pārsvanātha temple. Perhaps he may be of Brhad-gaccha.
5. One 'Sāgaracandra gani’ figures in the inscription of A.D. 1203 (Insc. 92). At least five medieval pontiffs are known to bear that name and, one of them, had a disciple called Māņikyacandra sūri who was a literary figure contemporary of the prime minister Vastupāla (active c. A.D. 1217-1240). Our Sāgaracandra, then, could be the same as the one who was from the Rāja-gaccha.
6. About 22 early 13th century inscriptions [Insc. 53, 54, 55, 56(?), 57(?), 58, 59, 60, 61(?), 62(?), 63, 64, 65(?), 67, 68, 70, 71, 72, 73(?), 74(?), 75] from the Pārsvanātha temple ranging in date from A.D. 1203 to 1220 and the one on the Aștāpada in the Sāntinātha temple (Insc. 47) of A.D. 1210 mention one Dharmaghosa sūri. But his gaccha-affiliation is mentioned in none of these inscriptions, nor is there any allusion to his predecessors of his preceptorial line. Nor can he be identified with any of the four or five medieval sūris bearing the same name.
7. One Jinacandra sūri figures in the record mentioning the consecration of an image in the Under-vasahikā in Pādaparā-grāma (A.D. 1219 (Insc. 122)] as stated in an inscription from the Neminātha caitya. His gaccha affiliation is unknown. He cannot be equated with any one of the four or five till now known sūris having that appellation.
8. An inscription of A.D. 1279 (Insc. 104) in the Neminātha temple refers to one Vinayaprabha without the qualifying term 'sūri'. Since an appellation such as this is known from the later branches of the Nāgendra-gaccha, perhaps he may have been a filiate of that gaccha.

Page #140

100
9. The name of one Devendra süri, disciple of Kanakaprabha sūri, occurs in the inscription of A.D. 1282 (Insc. 112) from the Neminatha-caitya. Now, one Pradyumna süri, disciple of Kanakaprabha süri of Candra-gaccha, had rendered prèci of the Samarāditya-katha (Prakrit) (c. A.D. 775) of Haribhadra süri in A.D. 1260. It is likely that this Kanakaprabha sūri may have been the preceptor also of Devendra suri of the Kumbhäriyä inscription.
10. Ratnakara süri is involved in the consecration of a Jina image in the Neminatha caitya in A.D. 1338 (Insc. 132). One Ratnakara sūri of the first half of the 14th century and of the Brhad-Tapāgaccha is known. Perhaps, he is identical with the one mentioned in the Kumbhäriyä inscription. Alternatively, he may be of Brhad-gaccha proper.
11. One Hemaratna of an unknown gaccha figures in an inscription (No. 150) of A.D. 1473 in the Sambhavanatha temple.
12.
The names of Hīravijaya sūri, his disciple Vijayasena süri and his disciple Vijayadeva suri with Pt. Kusalasāgara gani occur in the inscription of A.D. 1619 in the Parsvanatha temple (Insc. 146) as well as in three others of the same year in the Neminatha temple (Insc. 147, 148, 149). While one that omits the name of Pt. Kusalasägara that occurs in the Mahāvīra temple is, however, of the same date namely A.D. 1619 (Insc. 145).
The Temples in Kumbhäriyä
Rulers
As earlier had been mentioned, royalty is not involved in building any temple in Kumbhäriyā. In seven cases their names are mentioned, but only as contemporary ruling figures.
1.
Bhima bhupa (Bhimadeva I)
An inscription of A.D. 1031 (Insc. 1) in the Säntinätha temple mentions him. He can be confidently identified with Caulukya Bhimadeva I (A.D. 1022-1066) of Anahillapattana.
2.
Kumarapaladeva
Two inscriptions dated A.D. 1150-one in the Neminätha temple and the other in the Mahāvīra temple (Insc. 85, 86)-mention that, at the behest of (äjäyä) Kumarapaladeva, Kakudācārya (of Ukesa-gaccha) consecrated the two Jina images.

Page #141

Inscriptions
101
Inscription 86 qualifies him as ‘Mahārājādhirāja'! These two inscriptions are crucial in that they are the earliest notices on this great monarch's patronage to Jainism.
3. Dhārāvarşadeva
This Paramāra chief of the Candrāvati principality is mentioned in three inscriptions, two of A.D. 1203 (Insc. 54, 60), another of A.D. 1220 (Insc. 73) and in one more of A.D. 1203, but only inferentially (Insc. 63).
4. Bhimadeva (II)
Caulukya monarch Bhīmadeva II's name is mentioned with his titles in an inscription of A.D. 1207 (Insc. 140).
5. Mahipāladeva
'Raja śrī Mahipāladeva' who was, according to the Nābhinandanajinoddhāraprabandha (A.D. 1337) of Kakka sūri of Ukeśa gaccha, the chieftain of Trisangamaka (Trisangamapura) in A.D. 1313, is mentioned in an inscription here of A.D. 1275 (Insc. 143). The particulars on the dynasty to which he belonged are not known. He must have been a long-lived chief.
6. Visaladeva
Visaladeva of 'mahārājakula' ruling from Candrāvati is referred to in the inscription of A.D. 1290 (Insc. 144).
7. Akbar
The Mughal emperor Akbar is referred to in the context of Hīravijaya sūri receiving the 'biruda' of 'jagadguru' from him in the inscription of A.D. 1619 (Insc. 147, 149). The great sūri's disciple Vijayasena sūri's disciple Vijayadeva sūri figures there as a consecrating priest.
8. Jahāṁgir (Djahāngir)
Emperor Akbar's successor Jahāṁgir is mentioned in the inscription of A.D. 1619 (Insc. 149).
High officials
A few inscriptions reveal the names of personages apparently occupying high positions who were involved in the setting up of Jina images and in a few cases other objects of worship. These persons, however, are not known from other

Page #142

102
The Temples in Kumbhariyā
sources literary or epigraphical—nor is there clarity in most instances on the question of the particular political state they served. They will be introduced here in chronological order.
1. Bhāņdāgārika Jindaka
Bhāndāgārika or treasurer Jindaka's name is reported from four inscriptions in the Mahāvīra temple, namely one of S.1140/A.D. 1084 (Insc. 5), and three of S.1142/A.D. 1086 (Insc. 7, 8, 9) from which it can be inferred that the members of the family were actively involved in setting up the images of Yugādideva (Jina Rsabha), Jina Sambhavanātha, Jina Abhinandana, and Jina Supārsvanātha (each one supposedly to be in an individual devakulikā or a devakulikā-khattaka). The following is the family tree that can be constructed from the inscriptional data:
(Nemi?)
Pradyumna = Sajanī
Varanadeva/Saranadeva = Pāhiņā/Pāhini
Thātika
Vanā = d. Pāru
(A.D. 1086)
Sarvvadeva (A.D. 1084)
Bhāņdāgārika Dhāndā Rājila = Jindaka = Jasavai
(Yaśomati)
d. Rambha
Jindaka had two wives, Rājila and Jasavai. From the order of the Jinas' names that can be traced from the inscriptions, it is hinted that the family may originally have set up the images of those beginning from the first (Jina Rşabha) to the seventh, Supārsvanātha, even when inscription of S.1140/A.D. 1084 (Insc. 6) is too fragmentary intended perhaps to refer to the second tīrthankara Ajitanātha?) and two more which, by inference, may have been for Padmaprabha the fifth Jina and Sumati-nātha the sixth Jina are missing. Seemingly, it is this family which initiated the programme of the installation of images in the subsidiary shrines in the Mahāvīra temple soon after A.D. 1080.
2. Mahattama Sā(Santi
An inscription of A.D. 1082 (Insc. 23) in the Sāntinātha temple mentions one Jindaka' as the father of mahattama Sā(Sā)nti. It is not clear whether this Jindaka is

Page #143

Inscriptions
103
the same as the 'bhāndāgārika Jindaka' noted in the foregoing. (In any case, there is no qualifier 'Maham.' for Jindaka.) Another inscription, of A.D. 1089 (Insc. 36), gives further details of that family on the basis of which his short family tree can be worked out as under:
Jindaka
Durlabhadevī = Maham. Šānti = Pāhiņi
(A.D. 1082)
daughters Dehrī
Śīlamati
Sāthī (A.D. 1089)
3. Yaśonāga mahattama
An inscription of A.D. 1091 (Insc. 15) in the Mahāvīra temple refers to him as of Naddula (Nādol) where, at the Cāhamāna court, he assumably may have occupied a ministerial office.
4. Mahas. Risideva
His name appears in the inscription of A.D. 1148 (Insc. 80) in the Neminātha temple.
5. Mahań. Varadeva
His name occurs in two image-epigraphs of A.D. 1158 (Insc. 89, 90), again in the Neminātha temple.
Maham. Bahadā(ka)
He is mentioned in two inscriptions dated S.1259/A.D. 1203 (Insc. 57, 60). He may have been a minister of the Paramāra chief Dhārāvarşadeva of Candrāvatī.
Hei
7. Mahāmātya Ambāka
The inscription of A.D. 1207 (Insc. 140) in the group of sundry donative records mentions this dignitary who apparently was the minister at the Caulukya court.

Page #144

The Temples in Kumbhariya
Maham. Yi(Vī?)ra His name occurs in a sundry record (Insc. 142) of A.D. 1257.
9.
Maham. Jhāñjhana: Mahar. Vijayasimha
They, too, are mentioned in one of the sundry inscriptions (No. 143) of A.D. 1275.
10. Mahaṁ. Yaśodeva
He figures in the Neminātha caitya.
inscription
of A.D. 1279 (Insc. 104) in the
11. Maham. Jhāñjhaņa : Maham. Jagas
The names of these two brothers figure in the inscription of A.D. 1282 (No. 112) in the Neminātha temple.
12.
Maham. Vira He figures in the sundry inscription (No. 144) dated A.D. 1290.
13. Maham. Cācā: Maha. Madana
Maham. Madana is mentioned as Maham. Cācā's son in an inscription of A.D. 1299 (No. 125) in the Neminātha temple.
14. Maham. Līmba
He is mentioned in Inscription 128 of A.D. 1330.
15. Mahaṁ. Pūjā
An inscription (No. 134) of S. 1526/A.D. 1470 from the Neminātha temple mentions Maham. Pūjā. From the appellation, the concerned individual may have been a lady belonging to an office-bearing household.
Cities, Towns, and Villages
The inscriptions are important in one other way as well. They mention contemporaneous towns/villages from which the donors of the image (or in a few cases their ancestors) hailed. The information is tabulated below:

Page #145

Inscriptions
105
Old
Date
Location of Insc.
Modern Placename
Placename
Anahilapāțaka
Patan
A.D. 1207
Stray inscription
Caddāvali
Candrāvati
A.D. 1089
Mahāvīra temple
A.D. 1092
śāntinātha temple
Candrāvati
A.D. 1279
Neminātha temple
A.D. 1290
Stray inscription
Haņādrā
A.D. 1091
Mahāvīra temple
Hudāpadra (Handaudra)
Naddula
Nādol
A.D. 1091
Nāhānākara
Nāņā ?
A.D. 1271
Neminātha temple
Nītodaka
Nītoda
A.D. 1149
Nandigrāma
Nāndiyā
A.D. 1158
A.D. 1158
Pattana
Patan
A.D. 1470
Pādaparāgrāma
Pādarā?
A.D. 1219
Posapura
A.D. 1279
Posīnāgrāma
Pošinā
A.D. 1289
Posīnā
A.D. 1295
Posīnā
A.D. 1333 A.D. 1333
Rohidā
Rohidā
Vațatirtha
Vațapura ?
A.D. 1148
Several of these towns are located around Mt. Ābu, while Naddula is situated to the northeast of Mt. Ābu in Rajasthan and Posinā in north Gujarat within the Idar territory. 'Pattana' of course, was Anahillapātaka, the then capital of Gujarat.

Page #146

106
The Temples in Kumbhāriyā
Castes and Communities
Several inscriptions mention the castes of the 'vanika' or bania communities to which the śrāvakas and śrāvikās—laymen and women followers—who had set up the images etc., in the temples. The earliest, and the only one, of A.D. 1091 (Insc. 15), refers to the 'Dharkkața-vamśa', a caste of tradesmen which had originated in Rajasthan and in a small number eventually had settled also in Gujarat." In most cases, in the Solanki period beginning from A.D. 1091 (Insc. 16) to A.D. 1333 (Insc. 126, 128, 129, 130), it was the Prāgvāta-vamsa which exclusively figures, reported as it is in all in 37 inscriptions. Next, a single inscription of A.D. 1470 (Insc. 134), mentions 'Gurjara jñāti'; while four dated A.D. 1619 (Insc. 145, 146, 147, 149), refer the kārāpakas to 'Ukeśa (Osvāla)' community and only one of the same date, to śrīmāla-jñāti (Insc. 148).
Temple Components
A few inscriptions incidentally refer to a few architectural terms relating to the major components of the temples. Aside from such general terms as the Jinagpha, ālaya, Jinabhavana, caitya, mandira etc., for the temple proper, there are instances where specific components/adjuncts of the temple are mentioned. For instance, the ‘rangamandapa' of the Neminātha temple is referred to in the inscription of A.D. 1219 (Insc. 122). The same inscription refers to 'dādhādhara', seemingly a mason's colloquial term, possibly for column with lintel, for 'dhara' stands for a pillar, An inscription in the Neminātha temple, of A.D. 1254, refers to the construction of a 'stambha' in the temple's 'mandapa' (Insc. 96). Two inscriptions one of A.D. 1148 (Insc. 80) and the other of A.D. 1152 (Insc. 88)refer to the 'mukhamandapa' of the Neminātha temple, the first one also to the 'khattaka' associated with the mukhamandapa (i.e., 'trika' bonded with the forewall of the closed hall).
An Inscription of A.D. 1125 (Insc. 19) from the Mahāvīra temple (originally from the main sanctuary of the Pārsvanātha temple) refers to the setting up of a toraņa. An inscription on a parikara-toraṇa of A.D. 1231 (Insc. 76) in a devakulikā from the Pārsvanātha temple refers to the setting up of a torana. Eive inscriptions from the Neminātha temple refer to the 'devakulikā' sub-shrine: these are dated to A.D. 1279 and 1282 (Insc. 102, 109, 115, 116, 122). Two inscriptions from the Pārsvanātha temple, one of A.D. 1259 (Insc. 77) and the other with date lost (Insc. 78), also refer to devakulikā.

Page #147

Inscriptions
107
As for symbolic representations including pattas, several references are there which are tabulated below:
Object
Date
Placement
Insc. No.
Asvapratibodha
A.D. 1282 ?
Neminātha temple
114
Aśvāvabodha-samalikā-vihāra-patta
A.D. 1282
Aștāpada tīrtha with Samavasarana
A.D. 1210
In a special devakulikā, śāntinātha temple
Astāpada tīrtha
A.D. 1310
Neminātha temple
126
Kalyāṇatraya
A.D. 1287
118
Kalyāṇatraya
Undated
119
Kalyāṇatraya
A.D. 1288
120
Nandiśvara patta
A.D. 1267
In the khattaka of the mukhamandapa, Neminātha temple
100
Sammetaśikhara tīrtha
A.D. 1289
Neminātha temple
122
Sattarisayabimba (Saptatiśatabimba)
A.D. 1254
Sattarīsayayantraka (Saptatiśatayantraka)
A.D. 1254
Saptatiśata tīrtha
A.D. 1254
122
Annotations
1. See Śrī. Ārāsaņa Tirtha apara nāma Śrī. Kumbhāriyājī Tīrtha, Śrī Yaśovijaya Jaina
Granthamāļā, Bhāvnagar 1961. For discussion and identification cf., “Vasantagadha-ni Västu-racanão ane Hrşikeśa-nun
Vaisnavāyatana," (Guj.), Svādhyāya, Vol. 7, No. 3, V.S. 2026 (A.D. 1970), pp. 248-256. 3. See Madhusudan Dhāñki and Harisankar Prabhāśankar Šāstrī, "Ārāsaņa-nā be Jaina pratimā
lekho-nī višeşa vācanā," (Guj.), Svādhyāya, Vol. 8, No. 2, V.S. 2027 (A.D. 1971), pp. 189-198. See in this Chapter the relevant inscriptions which are several in number and which give the hagiology of the many pontiffs involved in the Neminātha temple in consecrating the images, pattas etcetera.

Page #148

108
The Temples in Kumbhariya
5. 6.
See in this Chapter the relevant inscriptions appended in the sequel. The dates for this sūri figuring in the inscriptions cannot be referred to any of the five or six sūris bearing the appellation 'Dharmaghosa.' Minister Sāntu of Karnadeva (A.D. 1066-1095) who had also been in that office in the early decades of Jayasimha Siddharāja (A.D. 1095-1144) belonged to the Dharkkața caste. The earliest reference of A.D. 923 occurs in an inscription from Rājorgadh (Pāranagar). (See Archaeological Survey of India, Annual Report on Indian Epigraphy for 1961-62, Appendix B, Insc. 128, p. 58.

Page #149

Inscriptions
The Adinatha Temple (Phase I)
(१)
ॐ श्रीमद्विक्रमभूभृतः स्वरवसुव्योमेंदुसंख्याख्यया ख्यातेऽब्दे प्रवरे सुसौख्यमवति श्रीभीमभूपैर्भुवं । नन्नाचार्यगणस्य भूषणकरे स्वारासणस्थानके बिंबं पूज्यमकार सूरिभिरिदं श्रीसर्वदेवाभिधैः ॥१॥
अंकतः १०८७ आषाढ सुदि २ ॥
(२)
ॐ संवत् १११० वैशाष सु० ५ आरासनस्थाने श्रीनन्नाचार्य - गच्छे सहदेवसुतेन शलभ ( ? ) श्रावकेन संभवप्रतिमा मोक्षार्थं कारिता ॥
(३)
संवत् १११० वैशाष..........
.... तयसंख्ये श्रीविक्रमाद् वत्सरे याते ।
श्रीनन्नाचार्य सद्गच्छे आरासनजिनगृहे ॥ १ ॥
अत्यंतोदारदानादिधर्मार्जनहेतुना । सकलार्थ.......
.. सोहिजोत्तमः
यथार्थं पुण्यतः प्राप्य नायकाख्यां च सोऽकरोत् । अभिनन्दनजिनं लोक... ...नभिनंदकं ॥३॥
The Mahāvīra Temple
(8)
+ (व) त + ११ (१? २१) ८ फाल्गुन सुदि ९ सोमे आरासणाभिधाने स्थाने तीर्थाधिपस्य वीरस्य प्रतिमा [+]+ राज्ये कारिता + + ++ जरा ( ज )गच्छे श्री ...
+ + +
(4)
ॐ । संवत् १९४० वै० वदि ७ रवौ श्रीयुगादिदेवप्रतिमा सरणदेव पाहिनि सुत धांदा ठातिक जिंदकानुजेन सर्व्वदेवेन कर्मजयार्थं क

(६)
संवत् ११४० चैत्र वदि रवौ सुश्रेष्ठिनेमि..
वरेण्यपुत्रेण..
For Private Personal Use Only
.11
109
(1)
(2)
(3)
(4)
(5)
(6)

Page #150

110
The Temples in Kumbhariya
ॐ श्री । संवत् ११४२ प्रद्युम्न-सजनिसुतया वरणदेवभार्यया जिंदुकभांडागारिकजनन्या पाहिणिश्राविकया शिवसुखसंभ[व]निमित्तं श्रीसंभवनाथप्रतिमा कारिता ॥
(८)
ॐ श्री । संवत् ११४२ वरणदेव-पाहिणिसुतया पारु वना भार्यया जज्जदेवादिजनन्या जिनदेवीश्राविकया सकलत्रैलोक्याभिनंदनश्रीमदभिनंदनजिनप्रतिमा मोक्षार्थं कारिता ॥
ॐ श्री । संवत् ११४२ जिंदक हा भा० राजिल द्वितीयभार्यया रंभजनन्या जसवइश्राविकया धर्मार्थं श्रीसुपार्श्वजिनप्रतिमा कारिता ॥
(१०)
संवत् ११४२, श्रीवच्छसू(सु)संपूर्णापुत्रो धनदेव-नानाकः । श्रेष्ठिजसवइगृहिणी श्रीवच्छसुतजु(युतः) सारनयवित्तः ॥१॥
श्रीमन्नेमिजिनेश्वररुचिरप्रतिमां च कारयामास । नयनाब्रुिवर्षे फाल्गुनसुदि सप्तमी रविणा(?) ॥२॥
(११) संवत् ११४४........अभिनन्दनदेवस्य........
(12)
(१२) ॐ । संवत् ११४५ ज्येष्ठ वदि ८ रवौ ।
(१३)
(13) संवत् ११४५ श्रीचड्डावलीवास्तव्ययशःश्रेष्ठिनाजिणिपुत्रः दुर्लभ-लक्ष्म्योः पुत्रवीरुकः यस्य दुलहीभार्या जयसिरि तदीयपुत्राः अनंतजिनप्रतिमा आरासनाकरसंघचैत्ये मुक्तये कारिता माघ वदि ६ बृहस्पतिदिने प्रतिष्ठिता ॥
(१४)
(14)
संवत् ११४६, आसीत् प्राग्वाटान्वयपूर्णाभार्या गुणशीलसंपूर्णा । तत्पुत्रो धनदेवस्तदीयभार्या यशोमतिस्तनयोः(य:) ॥ समभून्नहिवदेवीजनिसालिनपुत्र............||

Page #151

Inscriptions
(१५) संवत् ११४७
नड्डूलस्थानवास्तव्यो यशोनागमहत्तमः । जासडी(?) भार्यया युक्तो धर्कटवंसो(शो)द्भवश्च सः ॥१॥ तयोः सुतेन पुन्नेन पुण्यप्रेरितचेतसा । कारिता कुंथुनाथस्य प्रतिमा मोक्षकांक्षिणा ॥२॥ आरासनाकरस्थाने संघचैत्ये सुधीकृते । प्रतिष्ठिता वरा मूर्तिः मानतुंगैश्च सूरिभिः ॥३॥ मंगलं महाश्रीः ॥
(१६)
(16)
ॐ । संवत् ११४७,
हुडापदीयवास्तव्य रासि(आसीत् श्रेष्ठिः(ष्ठी) जनाचितः । प्राग्वाटवंशसद्भूतो थोल्लकाख्यो महाधरः ॥१॥
तस्यासीत् गुण................। तयोः प्रधानपुत्रेण योगदेवस(म)हात्मना ॥२॥
भार्या शोभनसार्द्धकं शां............
..........सुलोचना ॥३॥
स चारासने प्रवरे वीरनाथस्य मंदिरे । स्वभजाजितद्रव्येण कारिता मुक्तये सदा ॥४॥
(१७) ॐ। संवत् ११७६ मार्गशीर्ष सुदि १० बृहस्पतिदिने राजलश्राविकया श्रीअजितनाथस्वामिप्रतिमा मुक्त्यर्थं कारिता श्रीपद्मदेवसरिभिः प्रतिष्ठिता जासिगपुत्र नानुयपुत्र्याः साहाय्येन ॥
(१८) संवत् ११७६ मार्गशीर्ष शुदि १० बृहस्पतिदिने राजलश्राविकया जासिगपुत्र नानुयपुत्रीसाहाय्येन श्रीशांतिनाथप्रतिमा कारिता श्रीपद्मदेवसूरिभिः प्रतिष्ठिता ॥
संवत् ११८१ कार्तिक सुदि १५ सु(श)क्रदिने श्रीपारस्व( )नाथदेवस्य सांबा षेढा ना(श्रा)वकेन तोरणं कारापितं ।।

Page #152

112
The Temples in Kumbhāriya
(20)
(२०) ॐ । संवत् १२२३ माघ शुदि ११ गुरौ श्रेष्ठिनेमिभार्या मोहिनिसुतश्रीया वीरदेव श्रीयाभार्या पुनदेवी सुतजसडू ॥ वीरदेवभार्या धणदेवीसुत पासिलभार्या जासुसुत कुलिचंद्र ॥
इत्यं(ति) श्रीजसडूभार्या पोइणिसुत छाहड सेहड द्वितीयभार्या सामणसुत सावदेव अभयकुमार सेहडभार्या सुषमतीसुत सिवदेव बहुदेव सलखणप्रभृतिश्रेयोर्थं ।।
The śāntinātha Temple
(२१) संवत् ११३८ माघ सुदि १३, जनन्योर्मुक्तये भक्त्या श्रीसुवर्ण........
(२२) संवत् ११३८,
वीरको वीरनाथस्य प्रतिमामतिसुंदरां ।
..............वनदेवा-णांगजः ॥
(२३)
संवत् ११३८,
निःश्रेयसाय जनकस्य जिदं(?)कस्य महत्तमः । सांतिः कारयामास शांतिनाथस्य प्रति[मा]कृति ॥१॥
(२४) सं० ११३८,
सहदेवसुतो धीमान् नेदिस्थो मुक्तये जिनं । चंद्रप्रभमचीरकरत् मातृ-पत्नी-सुतैर्युतः ॥१।।
(२५) ॐ संवत् ११३८ माघ सुदि १३, वर्द्धमानस्य मोक्षार्थं धनदेवेन कारिता । प्रतिमा नेमिनाथस्य त्रिदसे(शे)श्वरपूजिता ॥१॥
(२६) ॐ संवत् ११३८......"श्रीपार्श्वनाथप्रतिमा कारिता ।

Page #153

Inscriptions
113
(27)
(२७)
ॐ संवत् ११३८ ब्रह्मजसना सुतेन आम्रदेवेन मुक्तय........। (२८)
(28)
ॐ संवत् ११३८ पूहदेव-मद्दिकासुतेन सहदेव-श्रावकेन सुविधिजिनप्रतिकृतिः कारिता ॥
(29)
(२९) ॐ संवत् ११३८ देदक-धाइणिसुतेन सोमदेवसहोदरयुतेन सहरीकेन (?) श्री....॥
(30)
(३०) श्री ॐ संवत् ११३८ वीरक-सलहिकासुतेन देवांगसहोदरयुतेन जासकश्रावकेन विमलजिनप्रतिमा मुक्तयर्थं कारिता ॥ श्रीः ।।
(३१)
(31)
ॐ ॥ संवत् ११३८ धांग (?) वल्लभदेवीसुतेन वीरकश्रावकेन श्रेयांसजिनप्रतिमा कारिता ॥
(३२)
(32)
ॐ ॥ संवत् ११३८ सोमदेवसहोदरेण सुंदरीसुतेन शीतलजिनप्रतिमा कारिता ॥
(33)
(३३) ॐ ॥ संवत् ११३८ पहदेवमंडकासुतेन सहदेवश्रावकेन सुविधिजिनप्रतिकृतिः कारिता ॥
(34)
(३४) सं० ११३८ वीरकसलहिकासुतेन देवीग (?) सहोदरयुतेन जासकश्रावकेन विमलजिनप्रतिमायु................॥
(35)
(३५) प्राग्वाटवंशसद्भूत[:] श्रावको नाम पाहड: । भार्या वसुवती तस्य सा गता च सुरालयं ॥१॥ मुनिसुव्रतदेवस्य पाहडेन सु(शु) भालयं ।। तद्धिते कारितं बिंबं संधीरणस्य सुतस्य च ॥२॥ संवत् ११४५ वैशाख वदि १ स(श)नौ ॥
(36)
(३६) संवत् ११४५ वैशाख वदि १ स(श)नौ, प्राग्वाटान्वयसंजातः सांतिनाम महत्तमः । भार्याद्वयमभूत् तस्य दुर्लभदेवी पाहिणिः ॥१॥ सुता च देहरी तस्य साथी सीलमतिस्तथा । प्रतिमां कारयामास धनदेव्या च संयुतः ।।२।।

Page #154

114
The Temples in Kumbhariya
(37)
(३७) संवत् ११४५ वैशाष वदि १ स(श)नौ, [?आसीत्] प्राग्वाटसवंशे आहमौ(?) नाम नैगजः । सां(शां)तकरोस्य संजातो भक्तः सर्वज्ञसा(शा)सने ॥१॥ पुन्या(पुण्या)र्थं पितुस्तेन शांतकेन महात्मना । अजितनाथदेवस्य प्रतिमेयं प्रकारिता ॥२॥
(38)
(३८) संवत् ११४५ वैशाष वदि १ स(श)नौ, आसीत् प्राग्वाटसवंसे(शे) श्रावको नाम सिंटकः । पोनकस्तस्य संजातो विख्यातो धरणीतले ॥१॥ ऋषभनाथदेवस्य प्रतिमेयं मनो............। .............पितुः तत्पुण्यहेतवे ॥२॥
(39)
(३९) लाच्छिश्राविकया कारितः ॥
(40)
(४०) संवत् ११४५ वैशाष वद १ स(श)नौ धनदेवस्य सत्पत्नी जासिका मुक्तिमिच्छति । कारयामास सदबिंबं आदिदेवस्य धीमती ॥१॥
(41)
(४१) संवत् ११४६ माघ सुदि ६ सज्जनपरमश्रावकेन मुक्त्यर्थं पद्मप्रभजिनप्रतिमा कारिता ।
(42)
(४२) ॐ ॥ संवत् ११४६ ज्येष्ठ सुदि ९ शुक्रे पूरणदेवभोलिकासुनेन पोहडिश्रावकेन भ्रातृवीरकसंयुतेन श्रीवीरजिनप्रतिमा कारिता ।।
(43)
(४३) ॐ ॥ संवत् ११४६ ज्येष्ठ सु० ९ पूर्णदेवभोलिकासुतेन पोहरिश्रावकेन भ्रातृवीरकसंयुतेन श्रीवीरजिनप्रतिमा कारिता ॥
(44)
(४४) संवत् ११४८ आषाढ सु० ७ बुधे, श्रीचड्डावल्लया बृहत्वैत्ये आसीद् जासडगोष्ठिकः । पुत्रद्वयमभूत् तस्य अजितो(त:) पोचिरथस्तथा ॥१॥ तदवंस्ये(श्ये) समुत्पन्नैः सज्जन-नेमिकुमार-सर्वदेवजासक-दुर्लभैः प्रतिमा २ जिनं ॥

Page #155

Page #156

Page #157

Inscriptions
1
(६२)
स्वस्ति श्रीविक्रमसंवत् १२५९ वर्षे आषाढ शुदि २ शनौ श्रे० गोहडसुत श्रे० श्रीकुमारस्य श्रेयसे तत्पुत्र श्रे० सज्जनेन श्रीसंभवनाथबिंबं कारापितं सूरिभिश्च प्रतिष्ठितं ॥
(६३)
स्वस्तिश्रीविक्रमसंवत् १२५९ वर्षे आषाढ सुदि २ शनौ आरासणमंडले (लि) क शुरशंभु[:] श्री.........कुमारसुत श्रीसज्जनेन स्वश्रेयोर्थं श्रीसुमतिनाथबिंबं कारितं श्रीधर्मघोषसूरिभिः ॥
(६५)
स्वस्तिश्रीविक्रमसंवत् १२५९ [ वर्षे ] आषाढ सुदि २ शनौ श्रेष्ठिगोहडसुत श्रेष्ठकुमारस्य श्रेयसे तत्पुत्रश्रेष्ठिसज्जनेन संभवनाथबिंबं कारितं [ श्रीधर्मघोष ? ] सूरिभिश्च प्रतिष्ठितं ॥
(६४)
(64)
स्वस्ति श्रीविक्रमसंवत् १२५९ वर्षे आषाढसुदि २ शनौ बहुदेवपुत्र्याः श्रे० मणिभद्रसलक्षणायाः श्रेयोर्थं वासुपूज्यबिंबं कारापितं प्रतिष्ठितं श्रीधर्मघोषसूरिभिः ॥
(६६)
सं० १२६५ वर्षे वैशाख शुदि ७ सोमे श्रीसुमतिनाथस्य [ प्रतिमा ] साजणेन कारिता ||
(६७)
सं० १२७६ माघ सुदि १३ रवौ श्रे० आसधरेण पुत्रसिवदेव तत्पुत्र सोभदेवपुण्याय श्रीमहावीरबिंबं कारितं प्रतिष्ठितं श्रीधर्मघोषसूरिभिः ॥
(६८)
सं० १२७६ माघ सुदि १३ रवौ आसधरेण पुत्रमहीधरधांधलपुण्याय श्रीपार्श्वनाथबिंबं कारितं प्रतिष्ठितं श्रीधर्मघोषसूरिभिः ॥
(६९)
सं० १२७६ माघ शुदि १३ खौ श्रे० श्रीनेमिनाथबिंबं कारितं प्रतिष्ठितं ॥
(७०)
सं० १२७६ माघ शुदि १३ खौ श्रे० आसधरेण भार्या मांकुश्रेयसे श्रीनमिबिंबं कारितं प्रतिष्ठितं श्रीधर्मघोषसूरिभिः ॥
(७१)
सं० १२७६ माघ शुदि १३ रवौ श्रे० सलषणसुत श्रे० आसधरेण आत्मश्रेयसे श्रीमुनिसुव्रतस्वामिबिंबं कारापितं प्रतिष्ठितं श्रीधर्मघोषसूरिभिः ॥

117
For Private Personal Use Only
(62)
(63)
(65)
(66)
(67)
(68)
(69)
(70)
(71)

Page #158

118
The Temples in Kumbhāriyā
(७२)
(72)
सं० १२७६ माघ शुदि १३ रवौ श्रे० सलषणपुत्र श्रे० आसधरेण मातरत्नीश्रेयसे श्रीमल्लीबिबं कारितं प्रतिष्ठितं श्रीधर्मघोषसूरिभिः ॥
(७३)
(73) [सं०]१२७६ अ(आ)षाढ सुदि बीज (द्वितीया) शनौ आरासणे मांडलिकसरशंभः श्रीधारावर्षादेवविजय(यि)राज्ये महं बृहत् ग....प्रान्त....अ....श्रीकुमारसुत श्रे० सज्जनेन स्वश्रेयसे श्रीमत्समतिनाथबिंबं कारापितं प्रतिष्ठितं श्रीपा( धर्म )घोषसूरिभिः । मंगलं महाश्रीः ॥
(७४)
(74)
[सं०] १२७६ वर्षे आषाढ सुदि बीज (द्वितीया) आसदेवसुतपुनाकेन....प्रतिष्ठायाम्.. श्रीसुविधिनाथबिंबं कारापितं........सूरिभिश्च प्रतिष्ठितं । मंगलं महाश्रीः ॥
(७५)
(75)
संवत् १२७६ महाग(माघ) शुदि तेरश (त्रयोदश्यां) रवौ श्रेष्ठिसलखणसुतश्रेष्टि(ष्ठि)आसधरेण माता(त)श्रेयसे श्रीमुनिसुव्रतबिंबं कारापितं प्रतिष्ठितं श्रीधर्मघोषसरिभिः ॥
(76)
(७६) सं० १२८७ वर्षे माघ शुदि १० बुधे श्रीनाभिनन्दनदेवस्य मातालक्ष्मीश्रेयो) श्रे० सज्जनेन तोरणं कारितं ॥
(77)
(७७) स० १३१५ ज्येष्ठ वदि ११ रखौ...."देवकलिका कारिता ॥
(७८)
(78)
सं०....वैशाख सुदि १३ शुक्रे श्रे० देवचंद्रभार्या माल्हीपुत्र जयताक....श्रीधर्मनाथबिंबं आत्मश्रेयसे कारितं देवकुलिकासहितं ॥
The Neminātha Temple (७९)
(79) संवत् ११९१ वर्षे फालुग्न(ल्गुन) सुदि २ सोमे श्रीअरिष्टनेमि[:]प्रतिष्ठितो(त:) श्री देवाचा( *र्यगच्छे श्रीविजयसिंहाचार्येन प्रतिष्ठा कृता जिनदेवगुरुभक्तान(नां) भक्तेन सकलगोष्ठीसु(ष) स्थायित्ये(त्वे)न छेहडेन ब्यं(बि)बं कृतं सुतो(त:) श्री............दुल्लहं सुतेन पुनदेव्योदरो... ........ (There is another inscription bearing the same date but is completely mutilated.)

Page #159

Inscriptions
(८०)
(80)
संवत् १२०४ फागुन वदि ११ कुजे श्रीप्राग्वाटवंशीय श्रे० सहदेवपुत्र वटतीर्थवास्तव्यमहं रिसिदेव श्रावकेन स्वपितृव्यसुतभ्रातृ उद्धरण स्वभ्रातृ सरणदेवसुतपूता रिसिदेव (★) भार्या मोहीसुत शुभंकर शालिग बाहर क्रमेण तत्पुत्र धवल घूचू पारसपुत्रपुत्रीप्रभृतिस्वकुटुंबसमेतेन आरासनाकरे श्रीनेमिनाथचैत्ये मुखमंडपखत्तके श्री (★) शांतिनाथबिंबं आत्मश्रेयसे कारितं ॥ श्रीचंद्रबृहद्गच्छे श्रीवर्धमानसूरीयैः श्रीसंविग्नविहारिभिः प्रतिष्ठितमिदं बिंबं श्रीचक्रेश्वरसूरिभिः ॥
(८१)
(81)
संवत् १२०४ ज्येष्ठ सुदि ९ मंगलदिने श्रे० सहजिगसुतेन उद्धा परमश्रावकेण निजानुजभोदा भागिनेय मुमा भगिनी लोली प्रभृति स्वकुटुंब (★) समन्वितेन निजकलत्र सलक्षणश्रेयोनिमित्तं श्रीपार्श्वजिनबिंबं कारापितं प्रतिष्ठितं श्रीअजितदेवसूरिशिष्यैः श्रीविजयसिंहसूरिभिः ||
(८२)
(82)
संवत् १२०४ ज्येष्ठ सुदि ९ मंगलवारे श्रे० पूनासुतेन धाइय परमश्रावकेण निजपुत्र दादूसमन्वितेन बृहद्भ्रातृवोसरिश्रावकस्य कल्याणपरं ( ) परानिमित्तं आत्मश्रेयार्थं च श्रीशांतिनाथ प्रतिमा कारापिता । प्रतिष्ठिता श्री अजितदेवसूरिशिष्यैः श्रीमद्विजयसिंहसूरिपूज्यपादैरिति ॥
119
(८३)
(83)
ॐ ॥ संवत् १२०५ ज्येष्ठ शुदौ ९ भौमे नीतोडकवास्तव्य प्राग्वाटवंशसमुद्भव श्रे० ब्रह्माकसत्क सत्पुत्रेण देवचं (★) द्रेण अंबा वीर तनुजसमन्वितेन श्रेयोमालानिमित्तं आत्मनः श्रीयुगादिदेवप्रतिमा कारिता श्रीबृहद्गच्छे (*) मेरुकल्पतरुकल्पपूज्य श्रीबुद्धिसागरसूरिविनेयानां श्रीअभयदेवसूरीणां शिष्यैः श्रीजिनभद्रसूरिभिः प्रतिष्ठितं ॥
(८४)
(84)
संवत् १२०५ ज्येष्ठ शुदा ९ भौमे प्राग्वाटवंशज ० नींबकसुत श्रे० सोहिकासत्क सत्पुत्र श्रीवच्छेन श्रीधर निजानुजसहितेन (★) स्वकीयसामंततनूजानुगतेन स्वजननी जेइका श्रेयसे आत्मकल्याणपरंपराकृतये च अन्येषां चात्मीयबन्धूनां भाग्यहे (?) () निवहनिमित्तं श्रीमन्नेमिजिनराजचैत्ये श्रीपार्श्वनाथबिंबं कारापितं श्रीबृहद्गच्छ्गगनांगणसोमसमानपू()ज्यपादसुगृहीतनामधेय श्रीबुद्धिसागरसूरिविनेयानां श्रीअभयदेवसूरीणां शिष्यैः श्रीजिनभद्रसूरिभिः प्रतिष्ठितं ॥
(८५)
सं० १२०६ कार्तिक वदि ६ आरासणे श्रीकुमारपालदेवाज्ञया श्रीसं (★) घादेशेन श्रीककुदाचार्यैः श्रीपार्श्वनाथबिंबं प्रतिष्ठितं ॥
(८६)
(Similar inscription, date lost, is in the Mahāvīra temple as well ) संवत् [१२०६] कार्तिक वदि .......भौमे आरासणाकरे महाराजाधिराज श्रीकुमारपालदेवाज्ञया महं० श्रीसंघादेशेन श्रीककुदाचार्यैः श्रीमहावीरप्रतिमा प्रतिष्ठिता ॥

For Private Personal Use Only
(85)
(86)

Page #160

120
The Temples in Kumbhāriya
(87)
(८७) संवत् १२०६ ज्येष्ठ सुदि ९ मंगलदिने श्रे० सहजिगसुतेन उद्घापरमश्रावकेण निजानुजभोदा भागिनेयममा भगिनी लोलीप्रभृतिस्वकुटुंब (*) समन्वितेन निजकलत्रसलक्षणश्रेयोनिमित्तं श्रीपार्श्वजिनबिंबं कारापितं । प्रतिष्ठितं श्रीअजितदेवसूरिशिष्यैः श्रीविजयसिंहसूरिभिः ॥
(८८)
(88) ॐ । संवत् १२०८ फागुण सुदि १० रखौ श्रीबृहद्गच्छीयसंविज्ञविहारी(रि) श्रीवर्धमानसूरिशिष्यैः श्रीचक्रेश्वरसूरि(*)भिः प्रतिष्ठितं प्राग्वाटवंशीय श्रे० पूतिग सुत श्रे० पाहडेन वीरक भा० देझली भार्या पुत्र यशदेव फूल्हण पासू पौत्र(*) पार्श्ववधादिमानुषैश्च समेतेन आत्मश्रेयसे आरासनाकरे श्रीनेमिनाथचैत्यमुखमंडपे श्रीने(*)मिनाथबिंबं कारितं इति मंगलं महाश्री: ॥
(८९)
(89) संवत् १२१४ फागुन वदि ७ शुक्रवारे श्रीबृहद्गच्छोद्भवसंविग्नविहारिश्रीवर्धमानसूरीयश्रीचक्रेश्वरसूरिशिष्य...........श्री परमानंदसूरिसमेतैः........प्रतिष्ठितं ॥ तथा पुरा नंदिग्रामवास्तव्यप्राग्वाटवंशोद्भव महं० वरदेव तत्सुत वनुयतत्सुत बाहड तत्सुत........तद्भार्या दुल्हेवीसुतेन आरासनाकरस्थितेन श्रे० कुलचंद्रेण भ्रातृ रावण वीरूय पुत्र घोसल पोहडि भ्रातृव्य बुहा० चंद्रादि । तथा पुनापुत्र पाहड (?) वीरा पाहडपुत्र जसदेव पूल्हण पासू तत्पुत्र पारस पासदेव शोभनदेव जगदेवादि वीरापुत्र छाहड आमदेवादि सूमासुत साजन तत्पुत्र प्रभृति गोत्रस्वजनसंतुकं फु(?) पुनदेव सावदेवादि दूल्हेवि राजी सलखणी वाल्हेवि आपी रतनी फूदी सिरी साती रूपिणि देवसिरि प्रभृतिकुटुंबसमेतेन श्रेयोर्थं श्रीअरिष्टनेमिचैत्ये श्रीसुपार्श्वजिनबिंबमिदं कारापितमित ॥ (A second identical but fragmentary inscription on the pedestal of the standing Jina image had also been noted in the past.)
(९०)
(90) संवत् १२१४ फागुण वदि ७ शुक्रवारे श्रीबृहद्गच्छोद्भवसंविग्नविहारिश्रीवर्धमानसूरीयश्रीचक्रेश्वरसूरिशिष्य ...............श्रीपरमानंदसूरिसमेतैः .........प्रतिष्ठितं । तथा पुरा नंदिग्रामवास्तव्यप्राग्वाटवंशोद्भवमहं० वरदेव तत्सुत वनुय तत्सुत बाहड तत्सुत............तद्भार्या दुल्हेवीसुतेन आरासनाकरस्थितेन श्रे० कुलचंद्रेण भ्रातृ रावण वीरूयपुत्र घोसल पोहडि भ्रातृव्य बुहा० चन्द्रादि । तथा पुनापुत्र पाहड(?) वीरा पाहडपुत्र जसदेव पुल्हण पासू तत्पुत्र पारस पासदेव शोभनदेव जगदेवादि वीरापुत्र छाहड आमदेवादि सूमासुत साजन तत्पुत्रप्रभृति गोत्रस्वजनसंतुकं फु(?) पुनदेव सावदेवादिदुल्हेवि राजी सलखणी वाल्हेवि आपी रतनी फूदी सिरी साती रूपिणि देवसिरि प्रभृतिकुटुंबसमेतेन श्रेयोर्थं श्रीअरिष्टनेमिचैत्ये श्रीपार्श्वजिनबिंबं कारापितमिति ।।
(९१)
(91) संवत् १२३६ वर्षे फागुण वदि ३ गुरौ श्रे० वोसरि सुत वरश्रावक आसदेवस्य स्वपितुः श्रेयोर्थं लिंबदेवआस....पार्श्वनाथबिंबं कारितं बृहद्गच्छीयश्रीअभयदेवसूरिविनेय श्रीजिनभद्रसूरिश्रीधनेश्वरसूरिभिः श्रीधृतिप्रदं प्रतिष्ठितं मंगलं महाश्रीः ।।

Page #161

Inscriptions
121
(92)
(९२) संवत् १२५९ वर्षे आषाढ सुदि २ शनौ श्रे० यशःपालपुत्रेण पार्श्वचंद्रेण आत्मश्रेयोर्थं(*) पार्श्वनाथप्रतिमा कारिता प्रतिष्ठिता वा० सागरचंद्रगणिना मंगलं महाश्रीः ।।
(९३)
(93)
ॐ । संवत् १३१० वर्षे वैशाख वदि ३........थिरदेव भार्या कडूपुत्र देवकु(*)मारभार्या........द्वि० पुत्र जसा भार्या पातदेव........श्रेयोर्थं बिंबं कारितं ।।
(94)
(९४) संवत् १३१० सत्तरीसययंत्रक(क)बृहद्गच्छी[य] श्रीअभयदेवसूरिशिष्यश्रीजिनभद्रसूरिश्रीशांतिप्रभसूरिशिष्य श्रीहरिभद्रसूरिशिष्यपरमानंदसूरिभिः प्रतिष्ठितं ॥
(९५)
(95) ॐ । संवत् १३१० वर्षे चैत्र वदि २ सोमे प्राग्वाटान्वय श्रे० छाहडभार्या वीरीपुत्र श्रे० ब्रह्मदेवभार्या लषमिणि भ्रातृ श्रे० सरणदेवभार्या सूहवपुत्र श्रे० वीरचंद्रभार्या सुषमिणि भ्रातृ श्रे० पासडभार्या पद्मसिरि भ्रातृ श्रे० आंबडभार्या अभयसिरि भ्रातृ श्रे० राम्बण १ पूनाभार्या सोहगपुत्र आसपालभार्या वस्तिणिपुत्र बीजापुत्र महणसीहपुत्र जयतापुत्र कर्मसीहपुत्र अरसीह लूणसीभार्या हीरूपुत्र पुनासहितेन श्रीनेमिनाथचैत्ये श्रीसत्तरिसयबिंबान् कारापितः ॥ बृहद्गच्छीयश्रीअभयदेवसूरिसि(शि)ष्यः श्रीजिनभद्रसूरिसि(शि)ष्यः श्रीशांतिप्रभसूरिसि(शि)ष्यः श्रीरत्नप्रभसूरिसि(शि)ष्यः श्रीहरिभद्रसूरिसि(शि)ष्यः श्रीपरमाणंदसूरिभिः प्रतिष्ठितं ॥ शुभं भवतु श्रीसंघस्य । कारापकस्य देवगुरुप्रसादात् ॥
(96) ॐ ॥ संवत् १३१० वर्षे वैशाख वदि ५ गुरौ प्राग्वाटज्ञातीय श्रे० बील्हणमातृ(*) रूपिणिश्रेयो) सुतआसपालेन सीधपाल पद्मसीहसहितेन निज(*) विभवानुसारेण आरासणे नगरे श्रीअरिष्टनेमिमंडपे श्रीचंद्रगच्छी(*यश्रीपरमाणंदसूरि शिष्य श्रीरत्नप्रभसूरीणामुपदेशेन स्तंभः कारितः ॥
(९७)
(97) ॐ । सं० १३१४ वर्षे ज्येष्ठ सुदि सोमे आरासनाकरे श्रीनेमिनाथचैत्ये बृहद्गच्छीय श्रीशांतिप्रभशिष्यैः श्रीरत्नप्रभसूरिपट्टे श्रीहरिभद्रसूरिशिष्यैः श्रीपरमानंदसूरिभिः प्रतिष्ठितं प्राग्वाटान्वये श्रे० माणिभद्रभार्या माऊ पु० थिरदेव धामडभार्या कुमारदेविसुत आसचंद्र बा० मोहिणि चाहिणि, सीतू द्वि० भार्या लखमिणी पुत्र कुमरसीहभार्या लाडीपुत्र कडुआ पु० कर्मिणि जगसीहभार्या सहजू पु० आसिणि बाइ आल्हणिकुटुंबसमुदायेन श्रे० कुमारसीह-जगसीहाभ्यां पितृ-मातृश्रेयोर्थं श्रीआदिनाथबिंबं कारितं प्रतिष्ठितं च मंगलमस्तु श्रमणसंघस्य कारापकस्य च ॥ शुभमस्तु ॥

Page #162

122
The Temples in Kumbhariya
(९८)
(98) ॐ ॥ संवत् १३१४ वर्षे ज्येष्ठ सुदि २ सोमे आरासनाकरे श्रीनेमिनाथचैत्ये बृहद्गच्छीय श्रीशांतिप्रभसूरिशिष्य श्रीरत्नप्रभसूरिशिष्य श्रीहरिभद्रसूरिशिष्य श्रीपरमानंदसूरिभिःप्रतिष्ठितं प्राग्वाटान्वय श्रे० माणिभद्रभार्या माऊपुत्र थिरदेव धामड थिरदेवभार्या रूपिणि पुत्र वीरचंद्र भार्या वाल्ही सु० वीदाभार्या सहजूसुत वीरपालभार्या रलिणिसुत आसपाल बाइ पूनिणि सुषमिणि भ्रा० श्रे० आदाभार्या आसमति पुत्र अमृतसीहभार्या राजल लघुभ्रातृ अभयसींह भार्या सोल्हू द्वि० वील्हूपुत्र भीमसीह खीमसीह पु० रयण फू० अमलबाइ वयजू चांदू श्रे० आदासुत अभयसीहेन पितृमातृश्रेयोर्थं आदिनाथजिनयुगलबिबं कारितं ॥ मंगलमस्तु श्रीश्रमणसंघस्य कारापकस्य च ॥
(९९)
(99) संवत् १३१४ वर्षे ज्येष्ठ शुदि बीज (द्वितीया) सोमे आरासणा श्रीनेमिनाथचैत्ये बृहद्गच्छीय श्रीशांतिसूरिशिष्यैः श्रीरत्नप्रभसूरि-श्रीहरिभद्रसूरिशिष्यैः श्रीपरमानंदसूरिभिः पट्टे प्रतिष्ठितं प्राग्वाटान्वय श्रे० माणि............ देवभार्यारूपिणिपुत्रवीरभद्रभार्या विहिन सुविदाभार्या सहजू सुतवी............रत्ननीणि सुपदमिणि भा०(भ्रा०) श्रे० चा(चां)दाभार्या आसमतीपुत्र अमृतसा भार्या राजल लघुभ्रातृ अ............तांगसिंहश्रेयोर्थं अजितनाथजिनयुगल........
(१००)
(100) ॐ ॥ संवत् १३२३ वर्षे माघशुक्लषष्ठयां ६ प्राग्वाटवंशोद्भवनिजसद्गुरुपदपद्मार्चनप्रणामरसिकः श्रे० माणिभद्रभार्या माऊ (*)सुत थिरदेव-निव्यूढसर्वज्ञपदाब्जसेवः श्रे० धामड: भार्या सच्छीलगुणाद्यलंकरणैर्निरवद्याद्या कुमरदेवि पु० आसचंद्र मोहिणी चाहिणि (*) सीतू द्वि० भार्या लाडी पु० कर्मिणि द्वि० जगसिंह: तद्भार्या प्र० सहजू द्वि० अनुपमा सु० पूर्णसिंहः सुहडादेवि बा० माल्हणि समस्तकुटुंबसहिताभ्यां आरासनाकरसरोवर राजहंससमानश्रीमन्नेमिजिनभुवने विमलशरनिशाकराभ्यां श्रे० (*) कुमारसिंहजयसिंहाभ्यां स्वदोर्दण्डोपात्तवित्तेन शिवाय लेखितशासनमिव श्रीनंदीश्वरवरः कारितः ॥ तथा द्रव्यव्ययात् कृतमहामहोत्सव-प्रतिष्ठायां समागता-नेकग्रामनगरसंघसहितेन श्रीचंद्रगच्छगगनांगणभूषणपार्वणशरच्चंद्रसन्निभपूज्य (*) पदपद्मश्रीशांतिप्रभसूरिविनेय श्रीरत्नप्रभसूरितच्छिष्यविद्वच्च क्र] चूडामणि श्रीहरिभद्रसूरिशिष्यैः श्रीपरमानंदसूरिभिः प्रतिष्ठितः । मंगलमस्तु समस्तसंघस्य कारापकस्य च ॥
(१०१)
(101)
संवत् १३२७ वैशाख सुदि बीज (द्वितीया) सोमे श्रीनाहाणाकरवास्तव्य श्रे० वीरचंद श्रीपार्श्वनाथबिंब....
(१०२)
(102) ॐ । सं० १३३५ माघ शुदि"शुक्रे प्राग्वाटज्ञा० श्रे० सोमाभार्या माल्हणिपुत्राः वयर श्रे० अजयसिंह छाडा सोढा भार्या वस्तिणि राज(*)ल छाडु धांधलदेवि सुहडादेविपुत्र वरदेव झांझण आसा कडुया गुणपाल पेथाप्रभृतिसमस्तकुटुंबसहिताभ्यां छा(4)डा-सोढाभ्यां पितृ-मातृ-भ्रात-अजाश्रेयोर्थं श्रीअजितस्वामिबिंबं देवकुलिकासहितं कारितं प्रतिष्ठितं बृह० श्रीहरिभद्रसूरिशिष्यैः परमानंदसूरिभिः ॥ शुभं भवतु ॥

Page #163

Inscriptions
123
(१०३)
(103) ॐ । संवत् १३३५ मार्ग वदि १३ सोमे पोषपुरवास्तव्य प्राग्वाटज्ञातीयठक्कर श्रीदेवसावडसंतानीय श्रे० सोमाभार्या जयतुपुत्र सादाभार्या लखमीपुत्र सालिगभार्या (*) कडूपुत्र खिताभार्या लूणीदेवीसहितेन सुपार्श्वबिंबं कारितं प्रतिष्ठितं बृहद्गच्छीय श्रीहरिभद्रसूरिशिष्यैः श्रीपरमानन्दसूरिभिः श्रेष्ठिसोमासुत प्रा० छाडाकेन कारापितं ॥
(१०४)
(104) सं० १३३५ माघ सु० १३ शुक्रे प्राग्वाटज्ञातीय श्रे० श्रीधरभार्या सोहिणिपत्र गांगदेवेन भार्या श्रीमतिसमन्वितेन महं० भ्रातृ (★) यशोदेवपुत्र लूणधवल तत्पुत्र केल्हणसिंहप्रभृतिकुटुम्बयुतेन श्रीपार्श्वनाथबिंबं कारितं प्रतिष्ठितं च विनयप्रभेण ।
(१०५)
(105) संवत् १३३५ वर्षे माघ सुदि १३ शुक्रे श्रे० अभइभार्या अभयसिरिपुत्र कुलचंद्रभार्या ललतुपुत्र बूटाभार्या सरसर तथा सुमणभार्या सीतूपुत्र सोहड नयणसी लूंण(*)सीह खेतसीह सोढलप्रमुखकुटुंबसमुदायेन श्रीऋषभबिंबं पित्रोः श्रेयो) कारितं प्रतिष्ठितं बृहद्गच्छश्रीविजयसिंहसूरिसंताने श्रीश्रीचन्द्रसूरिशिष्यैः श्रीवर्द्धमानसूरिभिः ॥
(१०६)
(106) ॐ । संवत् १३३५ वर्षे माह सुदि १३ शुक्रे प्राग्वाटज्ञातीय श्रे० आमिगसंताने तु० श्रे० आसदेवभार्या सहजु तत्पुत्राः आसपाल धरणिग ऊदा तु० आसपालभार्या आसिणि तत्पुत्र नोडसीह-हरिपालौ धरणिगभार्या धांधलदेवि द्वि० चांपल ऊदाभार्यापाल्हू इत्यादिकुटुंबसहितेन तु० आसपालेन पितृमातृश्रेयसे श्रीआदिनाथबिंबं कारितं प्रतिष्ठितं श्रीमडाहडगच्छे श्रीचक्रेश्वरसूरिसंताने श्रीसोमप्रभसूरिशिष्यैः श्रीवर्द्धमानसूरिभिः ॥
(१०७)
(107) संवत् १३३५ माघ सुदि १३ शुक्रे प्राग्वाटज्ञातीय श्रे० गोसलसुत साजणभार्या पद्मु तत्पुत्रिकया खेतुश्राविकया स्वश्रेयो) श्रीचंद्रप्रभस्वामिबिंबं कारितं प्रतिष्ठितं बृह० श्रीहरिभद्रसूरिशिष्यैः श्रीपरमाणंदसूरिभिः ॥
(१०८)
(108)
संवत् १३३५ वर्षे माघ शुदि १३ शुक्रे प्राग्वाटज्ञातीय श्रे० वयजाभार्या-लूड तत्पु भार्यया अनुपमश्राविकया स्वश्रेयो) मुनिसुव्रतस्वामिबिंबं कारितं प्रतिष्ठितं ब्रह० श्रीपरमाणंदसरिभिः ॥
(१०९)
(109) ॐ ॥ सं[०] १३३५ माघ शुदि १३ शुक्रे प्राग्वाटज्ञा० श्रे० सोमाभार्या माल्हणपुत्राः वयर श्रे० अजयसिंह छाडा सोडाभार्या वस्तिणिराज(*)ल छाबू धांधलदेवि सुहडादेविपुत्र वरदेव झांझण आसा कडुया गुणपाल पेथा प्रभृति समस्त कुटुंबसहिताभ्यां छा(*)डा-सोढाभ्यां पितृमातृभ्रातृअजाश्रेयो[र्थं] श्रीअजितस्वामिबिंबं देवकुलिकासहितं कारितं प्रतिष्ठितं बृह० श्रीहरिभद्रसूरिशिष्यैः परमानंदसूरिभिः ॥ शुभं भवतु ॥

Page #164

124
The Temples in Kumbhariya
(110)
(११०) संवत् १३३५ वर्षे माघ सुदि १३ चंद्रावत्यां जालणभार्या ......भार्यामोहिनीसुत सोहड भ्रातृसांगाकेन आत्मश्रेयोर्थं श्रीशांतिनाथबिंबं कारापितं प्रतिष्ठितं च श्रीवर्द्धमानसूरिभिः ।
(१११)
(111) संवत् १३३६ वर्षे आसदेवसुत श्रे० आसलेन आसलपुत्र लींबजी तत्सुत सोम जगसीह धव"प्रभृतिभिः कुटुंबसमुदायेन श्रे० सोमाकेन का० प्र० श्रीसोमप्रभसूरिशिष्यश्रीवर्द्धमानसूरिभिः ॥ .
(११२)
(112) संवत् १३३८ वर्षे ज्येष्ठ शुदि १४ शुक्रे बृ० श्रीकनकप्रभसूरिशिष्यैः श्रीदेवेंद्रसूरिभिः श्रीचन्द्रप्रभस्वामिबिंबं प्रतिष्ठितं प्रा(* ग्वाटज्ञातीय श्रे० शुभंकरभार्या संतोसपत्र श्रे० पूर्णदेव पासदेवभार्या धनसिरिपत्र श्रे० कुमरसिंहभार्या सील्हूपुत्र महं झांझणानुजमहं० (*) जगस तथा श्रे० पासदेवभार्या पद्मसिरिपुत्र श्रे० बूटा श्रे० लूगा इति महं झांझणपुत्र काल्हू महं जगसभार्या रूपिणिपुत्र कडूया वयजल अभयसिंह (*) पु० नागल जासल देवलप्रभृतिकुटुंबसमन्वितेन महं जगसाखे(ख्ये)न मातृ-पितृ-भ्रातृश्रेयो) बिंबं कारितं ॥
(११३)
(113) सं० १३३८ वर्षे ज्येष्ठ सुदि १४ शुक्रे श्रीनेमिनाथचैत्ये संविज्ञविहारिश्रीचक्रेश्वरसूरिसंताने श्रीजयसिंहसूरिशिष्यश्रीसोमप्रभसूरिशिष्यैः श्रीवर्धमानसूरिभिः प्रतिष्ठितं । आरसण(णा)करवास्तव प्राग्वाटजातीय श्रे० गोनासंताने श्रे० आमिगभार्या रतनीपत्रतलहारि आसदेव भ्रा० पासड तत्पत्र सिरिपाल तथा आसदेवभार्या सहजू पुत्र तु० आसपालेन भा० धरणि.......सीत्त सिरिमति तथा(*) आसपालभार्या आसिणिपुत्र लिंबदेव हरिपाल तथा धरणिगभार्या.........उदाभार्या पाल्हणदेविप्रभृतिकुटुंबसहितेन श्रीमुनिसुव्रतस्वामिबिंब अश्वावबोधसमलिकाविहारतीर्थोद्धारसहितं कारितं ॥ मंगलमहाश्रीः ॥
(११४)
(114)
(On the above-noted 'patta') सिंघलद्वीपे श्रीसिंघलेश्वरसार्थपति जिनदास श्रीसुदर्शना राजा जितशत्रु अश्वप्रतिबोध श्रीमुनिसुव्रतस्वामी ॥
(११५)
(115) संवत् १३३८ वर्षे ज्येष्ठ सुदि १४ श्रीनेमिनाथचैत्ये बृहद्गच्छीयश्रीरत्नप्रभसूरिशिष्य श्रीहरिभद्रसूरिशिष्यैः श्रीपरमानंदसरिभिः प्रतिष्ठितं प्राग्वाटजातीय श्रे० शरणदेवभार्या सुहडदेवी तत्पुत्र श्रीवीरचंद्रभार्या सुषमिणीपुत्र पुनाभार्या सोहगदेवी आंबडभार्या अभयसिरिपुत्र बीजा खेता रावणभार्या हीरूपुत्र बोडसिंहभार्या जयतलदेवी प्रभृतिस्वकुटुंबसहितैः रावणपुत्रैः स्वकीयसर्वजनानां श्रेयोऽर्थं श्रीवासुपूज्य[देवं] देवकुलिकासहितं प्रतिष्ठापितं च ।।

Page #165

Inscriptions
(११६)
(116) संवत् १३३८ वर्षे ज्येष्ठ सुदि १४ शुक्रे बृहद्गच्छीय श्रीचक्रेश्वरसूरिसंताने पूज्यश्रीसोमप्रभसूरिशिष्यैः श्रीवर्द्धमानसूरिभिः श्रीशांतिनाथबिंबं प्रतिष्ठितं कारितं श्रेष्ठि आसलभार्या मंदोदरी तत्पुत्र श्रेष्ठिगलाभार्या शीलू तत्पुत्र मेहा तदनुजेन साहुखांखणेन निजकुटुंब श्रेयसे स्वकारितदेवकुलिकायां स्थापितं च । मंगलं महाश्रीः । भद्रमस्तु ।
(११७)
(117) सं० १३४३ माघ शुदि १० शनौ बृ० श्रीहरिभद्रसूरिशिष्यैः श्रीपरमानंदसूरिभिः प्रतिष्ठितं प्राग्वाटज्ञा० श्रे० माहिल्लपत्र श्रे० थिरदेव श्रे० धामड थिरदेवभार्या माउ (*) पत्र वीरचंद्र आद्यभार्या आसमतिपत्र श्रे० अभयसिंह भार्या सोढु द्वि० वील्ह[ण]पुत्र भीमसिंह खीमसिंह देवसिंह नरसिंह वील्हणपुत्रिका हीरल प्रथमपुत्र प (*)। ....लिंबिणिपुत्र जयतसिंह द्वि० पुत्र भार्या खेतलदेवि पु० रिणू तृती० भार्या देवसिरिपुत्र सामंतसिंह चतु० भार्या ना.... देवी पंचमभार्या विजयसिरिप्रभृतिकटुंबसहितेन श्रीनेमिनाथबिंब श्रीमदरिष्टनेमिभवने आत्मश्रेयोर्थं श्रेष्ठिवीरचंद्रेन कारितं ॥
(११८)
(118)
ॐ ॥ संवत् १३४३ वर्षे माघ शुदि १० शनौ प्राग्वाटान्वय श्रे० (★) छाहडसुत श्रे० देसलभार्या देल्ही तत्पुत्र लक्षमण [आ](*)सधर देवधर सिरधर मयधर । तथा सिरधरभार्या....(*) पुत्र जसदेव । द्वितीयपुत्रेण श्रे० गांगदेवेन भार्या....(*)....जाथी जयतू तत्पुत्र लूणधवल वाधू कपूरदेवि तत्पुत्र कल्हणसीहप्रभृतिकुटुंबसमुदाये सति आत्मना....(*) पितुः श्रेयोर्थं कल्याणत्रये श्रीअरिष्टनेमिबिंबानि कारितानि । मंगलमस्तु समस्तसंघस्य । (*) श्रे० गांगदेवसुत ऊदलसुता लूणी भगिनि(नी) वयजू सहजू क-गउ....सति गांगीप्रभृति ।।
(११९)
(119) कल्याणत्रये श्रीनेमिनाथबिबानि प्रतिष्ठितानि नवांगवृत्तिकारश्रीमदभयदेवसूरिसंतानीयश्रीचंद्रसूरिभिः श्रे० सुमिग श्रे० वीरदेवश्रेष्ठिगुणदेवस्य भार्या जयतश्री साहुपुत्र वइरा पुना लुणा विक्रम खेता हरपति कर्मट राणा कर्मटपुत्र खीमसिंह तथा वीरदेवसुत अरसिंह प्रभृतिकुटुंबसहितेन गांगदेवेन कारितानि.
(१२०)
(120) ॐ ॥ सवंत् १३४४ वर्षे · आ(*)षाढ सुदि पूर्णिमायां । देवश्रीने ★ मिनाथचैत्ये श्रीकल्याणत्रयस्य पूजार्थं श्रे० सिरधर त(*)त्पुत्र श्रे० गांगदेवेन वीस(*)लप्रीयद्रमा(म्मा)णां १२० श्रीनेमिनाथदेवस्य भांडागारे निक्षि(*)प्तं । वृद्धफलभोग[य] मासं प्रति द्र(*)म ३ चटंति । पूजार्थं । आचंद्र(*)कालं यावत् । शुभं भवतु ॥ श्री ॥

For Private &Personal use-Only

Page #166

126
The Temples in Kumbhariya
(१२१)
(121) ॐ । सं० १३४४ वर्षे ज्येष्ठ शुदि १० बुधे श्रीनेमिनाथचैत्ये प्राग्वाटवंशोद्भवेन श्रे०देशलभार्या देल्ही श्रे० लक्ष्मीधरभार्या लक्ष्मसिरि श्रे० आसधर (*)भार्या आसमति श्रे० देधर श्रे० सिरधरभार्या सोहिणि श्रे० मयधरभार्या उदयमति श्रे० सुमिराभार्या साजिणि श्रे० गुणदेवभार्या साल्हू (*) श्रे० गांगदेवभार्या सिरमति श्रे० वीरदेवभार्या विजयसिरिसुत अरिसिंहभार्या सोहगसुत वस्तपालभार्या वउलसिरि तथा तेजपालभार्या मीणलसुत भीमसीह वस्तपालसुत चाहडभार्या लाछि सु० आल्हडसिंह ताल्हणसीह वस्तपालसुत उदयसिंहभार्या कामल तृतीयसुत पद्मसिंह भा० (*) जला चतु० रत्नसीह पंचम समरसिंह माणिक समस्तकटुंबसमुदायेन श्रे० वस्तपालेन श्रीऋषभदेवबिंबं कारितं प्रतिष्ठितं नवांगवृत्तिकारश्रीअभयदेवसूरिसंताने श्रीश्रीचंद्रसूरिभिः ॥
(१२२)
(122) ॐ ॥ प्राग्वाटवंशे श्रे० वाहडेन श्रीजिन (4)चन्द्रसूरिसदुपदेशेन पादपराग्रामे देरवसहिकाचैत्यं श्रीमहावीरप्रतिमा(*) युतं कारितं । तत्पुत्रौ ब्रह्मदेव-शरणदेवौ । ब्रह्मदेवेन सं० १२७५ अत्रैव श्रीने( ★)मिमंदिरे रंगमंडपे दाढाधरः कारितः ॥ (*) श्रीरत्नप्रभसूरिसदुपदेशेन । तदनुज श्रे० (*) सरणदेवभार्या सूहडदेवि तत्पुत्राः श्रे०(★) वीरभद्र पासड आंबड रावण । यैः श्रीपर★)मानंदसूरीणामुपदशेन सप्ततिशततीर्थं का(*)रितं ॥ सं० १३१० वर्षे । वीरचंद्रभार्या सुषमिणि(★) पुत्र पुनाभार्या सोहगपुत्र लूणा झांझण । आं(*)बडपुत्र वीजा खेता । रावणभार्या हीरूपुत्र बो(*)डाभार्या कामलपुत्र कडुया द्वि० जयताभार्या मूंट(*)यापुत्र देवपाल कुमारपाल तृ० अरिसिंह ना(*)गउरदेविप्रभृतिकुटुबंसमन्वितैः श्रीपरमा(*)नंदसूरीणामुपदशेन सं० १३३८ श्रीवासुपूज्य(*)देवकुलिकां । सं० १३४५ श्रीसमेतशिखर ★ तीर्थे मुख्यप्रतिष्ठां महातीर्थयात्रां विधाप्या(*)त्मजन्म एवं पुण्यपरंपरया सफलीकृत:(तं)। (*) तदद्यापि पोसीनाग्रामे श्रीसंघेन पूज्यग्राम(मान ?)(*)मस्ति ॥ शुभमस्तु श्रीश्रमणसंघप्रसादतः ॥
(१२३)
(123) संवत् १३५१ वैशाष सुदि"पोसीनास्थानीय कोष्ठा० श्रीवन्कुमारसुत कोष्ठा० आसल देल्हण भ्रातृ वाल्हेवीश्रेयोर्थं श्रीचंद्रप्रभस्वामिबिंबं कारितं श्रीपरमानंदसूरिशिष्यैः श्रीवीरप्रभसूरिभिः प्रतिष्ठितं मंगलं महाश्रीः ।।
(१२४)
(124) संवत् १३५५ वर्षे चैत्र शुदि १५ श्रे० गलाभार्या सीलू पुत्र० मेहा महबू केसाणभार्या खेतश्री आदिनाथबिंबं कारापितं प्रतिष्ठितं सोमप्रभसूरिपट्टे श्रीवर्धमानसरि....॥
(A fragmentary inscription of S.1355 on the 'Vis-viharamāna-Jina-patta' kept in the storage room of the sāntinātha temple and consecrated by Paramānanda sūri, seemingly was connected with the Neminātha temple.)
(१२५)
(125) सं० १३५५ वर्षे वैशाष सुदि १२ सोमे प्रा० साखा महं चाचाभार्या राणिपुत्र महं मदन भा० सलखणदेवपुत्रसहितेन भगिनीसंबलश्रेयसे पंचतीर्थसंयुतं श्रीपार्श्वनाथबिंबं कारितं प्रतिष्ठितं श्रीभावदेवसूरिभिः ॥

Page #167

Inscriptions
(१२६)
सं० १३६६ फागण शुदि १० गुरौ प्राग्वाटज्ञा [तीय ]
......हदेव....... [अष्टा] पदतीर्थ कारितं ॥
(१२७)
सं० १३८२ वर्षे वैशाष सुदि ३ रवौ ऊ० श्रे०
श्रे० नागडभार्या साजणिसुत खीमाकेन कर्माभा श्रेयसे आदिनाथबिंबं करतं ॥
"आसपालपुत्र आल्हण पु० थिरपाल पु०
(१२८)
संवत् १३८६ पौष वदि ५ बुधे प्राग्वाट ज्ञा० महं० लींबासुत भीमसीह-अभयसीहाभ्यां पितृमातृश्रेयसे श्रीयुगादि ( ) जिनबिंबं कारितं प्रतिष्ठितं रुद्रपल्लीयश्रीजिनभद्रसूरिभिः ॥
(१३०)
सं० १३८९ वर्षे जे (ज्ये) ष्ठ वदि ११ सोमे श्रीप्राग्वाटज्ञातीयकर्मणभार्या धीरोसुत तेजा मातृपितृश्रेयोर्थं श्रीपार्श्वनाथबिंबं कारितं श्रीसूरि (री) णामुपदेशेन । शुभं भवतु । रोहिडावास्तव्य ||
(१३१)
सं० १३९१ वर्षे प्रा० श्रे० नागडभार्या साऊपुत्र माकन भीमासमुदायेन श्रीशांतिना (★)थबिंबं कारितं प्रतिष्ठितं बृहद्गच्छीय श्रीविजयचंद्रसूरिपट्टे श्रीभावदेवसूरिभिः ॥
(१३२)
सं० १३९४ वर्षे वैशाष सुदि ७ सोमे व्य० चकमभार्या हांसलदेविसुत श्रे० सामतभा (★)र्या बाडू सुत आसाकेन पितामहीश्रि ( ) योर्थं श्रीपार्श्वनाथबिंबं कारी (रि) तं प्रतिष्ठितं श्रीरत्नाकरसूरिभिः ॥
(१२९)
(129)
संवत् १३८९ वर्षे जे (ज्ये) ष्ठ वदि ११ सोमदिने श्रीनेमिनाथचैत्ये सुसाध गुरु भ० वेदौ भार्या राजु श्रे० कर्मणभार्या नेजूः सुत डूडा: भार्या केल्हणदे हेसभभं (?) भवतः । प्राग्वाटज्ञातीय पोसीनावास्तव्यडूडाकेन मातृ-पिता श्रेयोर्थं श्रीनेमिश्वर बिंबं कारितं ॥

(१३४)
संवत् १५२६ वर्षे आषाढ वदि ९ सोमे श्री (★) पत्तनवास्तव्यगूज (र्ज )रज्ञातीय महं० पूजा (★) सुत सीध[ : ] नित्यं प्रणमति ॥
127
(126)
For Private Personal Use Only
(127)
(128)
(130)
(१३३)
(133)
ॐ ॥ अत्रैव आरासनवास्तव्य श्रे० छाडा पु० श्रे० वीरदेव वीरजस बोडा तत्र आद्यभार्या पत्ती पु० आसचंद्रः भार्या रूपी सु० लिंबा द्वि० पु० सोमा (★) भार्या कपूरदेवि तृ० सु० मेलिंग भा० हीरू सु० जयता चतुर्थसुता लषमिणि पंचमा पदीप्रमुखसमस्तमातृवर्गस्य एकैकप्रतिमा (★) पुण्यनिर्माणविभागः तस्यैकस्य मध्यात् श्रे० जयसिंहेन प्रदत्तः ॥
(131)
(132)
(134)

Page #168

128
The Temples in Kumbhariya
The Sambhavanātha Temple
(१३५)
(135) सं० १३२५ वर्षे वैशाख शु ९ गुरु प्राग्वटा (ग्वाट) ज्ञातीय श्रे० पद्मशीकस्य य पद्म कुलपुत्र श्रे० रतनज कर्मासीह कुलज प्रहलादपुत्र २ मया....नड....पौ...य....॥ श्री पूर्णिमापक्षीय चउथशाषायां श्रीपद्मदेवसूरि संतान श्री...राज..सूरि श्री...दासन श्री आदिनाथबिंबं कारितं श्रे०...हेन प्रतिष्ठितं सूरिभिः ॥
Brahmanical and Sundry Inscriptions
(136)
(१३६) संवत् ११५३ कार्तिक सुदि १४ श्री........आरासनाकरे श्रीसंगमेश्वरदेवे श्रीधर्म.......दर्शित सि....जनिजमूर्ति[:] कारिता ॥
(137)
(१३७) धरणीधर सुत सं० बूटा संगमेसरगति........।।
(138)
(१३८) सं० ११८७ फाल्गुन वदि ४........||
(139)
(१३९) संवत् ११९५ वैशाख वदि ३........दिने ।
(१४०)
(140) ॐ स्वस्ति श्रीविक्रमसंवत् १२६३ वर्षे वैशाष व(*)दि..शनौ अद्येह श्रीमदणहिलपाटके समस्त(*)राजावलिसमलंकृतमहाराजाधिराजश्रीमदभीमदेवकल्याणविजयराज्ये तत्पादपद्मोपजी(*)वी महामात्यश्रीआंबाके प्रवर्त्तमाने मत्पाद (?)
(141)
(१४१) सं० १२८३ वर्षे मार्ग सुदि ३ भौमे...........।।
(१४२)
(142)
संवत् १३१३ वर्षे चैत्र वदि १० सोमे अद्येह आरासणाकरे महं श्रीयीस्चप्रतिपत्तौ ॥

Page #169

Inscriptions
129
(१४३)
(143) ॐ संवत् १३३१ वर्षे आषाड सुदि १४ गुरौ अद्येह आरासणे ( ★जश्रीमहिपालदेवेन आत्मीयपितुराजयस तथा मातु(*)बायी श्रीसंगारदेवि तथा पितामह प्रर्ती श्री........(★)पितामही प्रती श्रीसलषणदेवि तथा आत्मीया एवं पंचमूर्तीनां(*) आइ-नं....अलाविक्तिः श्रेवो० आल्हण उ०सूदन तथा अ(*)वो०
तलाषाभ्यां पंचमूतिपूजापनार्थं छाडी प्रति धान्या (4)पाली १ तथा पा० गाडा प्रति लोहडीया २ एत त पूजावणे दा(*)तव्यं तथा मति पंच० न्यैवेद्ये० दिनं प्रति चोषा पाली २ मग पाली(*)१ घतक सेर २ दीवेल पदे तेलकर सु० एततु दिन प्रति त्रां(*)बा मांडवी दातव्या जं कोइ-ली हुअइ तिहने बापदे द्र ५४(★)चतुपंचाशत-त्रांबा मांडवी दातव्या महं झांझण महं विजयसीह........व श्रे० साधूय श्रे० आसदेव श्रे० धामा(*...........नी जगसाप्रभृतिसमस्त महाजने(*) तथा........मासडा सामंत.... धीधल तां(*)ज० डांडा........धायै उपरि लिषितं आइदानं पा(*)लनीय............आइदान अष्टादश प्रसूतीनां(*)..........कोपि लोपयति अव्वालो पाप(*)यंते स उपरि लिषितं.........ाते आचन्द्रार्क यावतु पा(*)लनीयं च । मंगलं महाश्रीः ॥
(१४४)
(144) संवत् १३४६ वर्षे फाल्गुन शुदि १ रखौ अद्येह(*) श्रीचंदावत्यां महाराजकुल श्रीवीसलदेवकल्या(*)ण विजयराज्ये प्रति श्रीजगपालेन आरास( *णे नियुक्त ठक्कुर सांगप्रभृतिपंचकुलप्रतिपत्तौ(*) कणमंडपिकायां व्याप्रियमाण महं० वीर वा सि(4)रपाल लाढा आयपाल प्रती श्रीसोभितसुत श्रीश्री(*) जगपालेन आत्मीयमाता प्रती श्रीधांधलदेव्या श्रेयो(*)\............दानं मुक्त(*) यं कोपि लोपयति स तस्य मातां गर्दभो (+)दयति । श्रीः॥
The Late Medieval Inscriptions
The Mahāvīra Temple (१४५)
(145) संवत् १६७५ वर्षे माघ शुद्ध ४ शनौ श्रीऊकेशवंशीय वृद्धशाखीय सा० अहियाभार्या तेजलदेसुत गावा भा० गोरदे(*)सुत सा० नानिआकेन भा० नामलदेसुत सोमजीयुतेन श्रीमहावीरबिंबं कारितं प्रतिष्ठितं च श्रीतपागच्छे भट्टारकश्रीहीरविजयसूरी(*)श्वर पट्टप्रभाकर भ० श्रीविजयसेनसूरिपट्टालंकारभट्टारक श्रीविजयदेवसूरिभिः ॥ श्रीआरासणनगरे ॥ ० राजपालो दामेन ॥
The Pārsvanātha Temple (१४६)
(146) संवत् १६७५ वर्षे माघधवलेतर ४ शनौ श्रीओ( (ऊ)केशवंशीय वृद्धसज्जनीय सा० जगडुभार्या जमनादेसुत रहिआ भा० चांपलदे (*) सुत नानजाकेन भार्या नवरंगदेयुतेनात्मश्रेयोर्थं श्रीपार्श्वनाथबिंबं कारितं प्रतिष्ठितं श्रीतपागच्छेश्वरभट्टारकश्रीहीरविजयसूरीश्वरपट्टोदय(*) दिनमणिभट्टारक श्रीविजयसेनसूरि पट्टालंकार भट्टारक श्रीविजयदेवसूरिभिः पं० कुशलसागरगणिप्रमुखपरिवारयुतैः ॥बु० राजपालो दामेन ॥

Page #170

130
The Temples in Kumbhariya
The Neminātha Temple
(१४७)
(147) संवत् १६७५ वर्षे माघ सुदि चतुर्थ्यां शनौ श्रीओ(ऊ)केशज्ञातीय वृद्धसज्जनीय श्रीनेमिनाथचैत्ये श्रीनेमिनाथबिंब कारितं प्रतिष्ठितं सकलक्ष्मापालमंडलाखण्डलश्रीअकबरप्रदत्तजगद्गुरुबिरुदभट्टारक श्रीहीरविजयसूरीश्वरपट्टपूर्वाचलमार्तंडमंडलायमानभट्टारकश्रीविजयसेनसूरिशर्वरीसार्वभौमपट्टालंकारनीरधीश्वरसौभाग्यभाग्यादि गुणगणरंजितमहातपाबिरुदधारकभट्टारकश्रीविजयदेवसूरिभिः पंडितश्रीकुशलसागरगणिप्रमुखपरिवारसमन्वितैः बुहरा राजपालो शुभ० सफला० भवतीति शुभम् ॥
(१४८)
(148) संवत् १६७५ वर्षे माघ वदि ४ शनौ श्रीमालज्ञातीयवद्धशाखीय सा० रंगाभार्या कीलारी सुत लहुआ............सुत पनीआ समरसुत हीरजी श्रीआदिनाथबिंबं कारितं प्रतिष्ठितं तपागच्छे गुरुप्रभावकभट्टारक श्रीविजयसेनसूरि पट्टालंकारभरतभूमिभामिनीशृंगारहारभट्टारक श्रीविजयदेवसूरिभिः पण्डितश्रीकुशलसागरगणिप्रमुखपरिवारयुतैः ॥ (१४९)
(149) संवत् १६७५ वर्षे माघ शुद्धचतुर्थ्यां शनौ श्रीऊकेशज्ञातीयवद्धसज्जनीय सा वाच्छाकेन स्वश्रेयसे सफलीकृता द्विसहस्रसंख्यरूप्यनाणकवित्तं श्रीनेमिनाथचैत्ये श्रीनेमिनाथबिंब कारितं प्रतिष्ठितं च.........." वचनरचनारंजितसकलक्ष्मापालमंडलाखंडलपातिसाहिश्रीअकब्बरप्रदत्तजगद्गुरुबिरूदधारकभट्टारकश्रीहीरविजयसूरीश्वरपट्ट[पूर्वा ]चलमार्तंडमंडलायमानभट्टारकश्रीविजयसेनसूरिशर्वरी[श] सार्वभौमपट्टालंकारहारतिलकैः सौभाग्यभाग्यवैराग्यादिगणगणरंजितपातिसाजहांगीरप्रदत्तमहातपाबिरूदधारकभट्टारकश्रीविजयदेवसरिभिः पंडितश्रीकुशलसागरगणिप्रमुखपरिवारसमन्वितैः बुहरा राजपालो नमः सफला भवतीति शुभं ।
The Sambhavanātha Temple
(150)
(१५०) संवत् १५२९ साह्य वर्षे श्रावणवदि ३ श्रीगणेश श्री श्री श्री हेमर नम

Page #171

CHAPTER 8
Description of Plates
1.
The general view of the Mahāvīra temple from the northwest shows the exterior beginning from the mukhamandapa or entry-hall, the girdle of conjoined devakulikās or subsidiary shrines including the western bhadraprāsāda at the hall's transept, the western entry-porch and the connected kota/prākāra or enclosing wall beginning where the row of shrines ends. The appearance of the ensemble is neither imposing nor appealing. The overall view of the so-called śāntinātha temple (Ādinātha Phase II) from northwest. Unlike the Mahāvīra temple, at the main entry passage, it shows a mukhacatuṣkī-porch instead of the mukhamandapa, the rest of the structure, though a little smaller in overall size, in disposition is similar to the Mahāvīra temple.
Another view of the Sāntinātha complex, now from southeast, shows the opening, sans porch, at its eastern aspect.
4. Pārsvanātha temple, from northwest. In terms of its plan and elevation, it
essentially reminds of the preceding two buildings except for the balānaka
hall at the north-end which is provided also with an upper floor. 5. Even with its sikhara of a later date, the site's centrally located temple of
Nemi-nātha with its storied balānaka, as viewed from the north, dominates the
entire group of temples as well as the total panorama by its size and loftiness. 6. The east aspect of the Neminātha temple complex with its bhadraprāsāda
which, despite large size, for its exterior is as austere as the preceding three temples. The crenellated parapet above some devakulikās is a later addition.
1.
The profile view from east, of the so-called Sambhavanātha temple (originally sāntinātha), the fifth and the least elaborate of the Jaina foundations at the site. Its internal arrangement of the halls is exposed to view because of the absence of shielding entourage of the devakulikās.

Page #172

132
The Temples in Kumbhāriyā
8.
The Kumbheśvara temple from southwest reveals that the building has suffered more at the hands of renovators than from the hammers of the iconoclastic invader.
The Adinātha Temple (Phase I)
9.
The doorframe of the sanctum of the main shrine of the so-called śāntinātha temple apparently is a reused relic of the preceding Adinātha (Phase I) temple.
10. Gangā, standing, at her usual location, namely the pedyā or the lowest section
of the central jamb of the selfsame doorframe (on-looker's left side), possesses suavity and poise typical of early 11th century sculptures. Gangā, and correspondingly at the contra-side, Yamunā figure at the doorway is a feature frequently encountered from the fifth to the ninth century but is seen only in relatively earlier medieval centuries, and thus their presence here upholds the suggested earlier date for the doorframe and hence the original temple.
11.
The corresponding Yamunā figure betrays the same quality. It is sheltered under a lotus canopy of the western Indian medieval form noticeable in the tenth and 11th century.
12 Sanctum's same doorframe. The surging creeper crisply delineated in low & relief together with the powerfully rendered lotus petals carving on the 13. neighbouring bahirśākhā or external jamb is in style characteristically of early
11th century. The third, the antaraśākhā or innermost jamb is of the ratnaśākhā specification; it is thin and without the detailed ornamental enrichment.
The Mahāvīra Temple
14. The Mahāvīra temple's well-formed sikhara of the mūlaprāsāda viewed
together with the conventionally accurate saṁvaraņā roof of the closed hall, as viewed from southeast, express the feeling of workmanship of the 11th century.
15. Back view, south, of the mūlaprāsāda or sanctuary proper of the Mahāvīra
temple; its plain janghā shows the medial and the upper grāsapattī as its sole ornamentation. The pratirathas are lean compared to the karnas. The

Page #173

Description of Plates
133
bhadra-khattaka is crowned with a well-rendered staggered udgama. Above the dandacchādya-awning, the rathikā displays niched Jinatraya. The śikhara has a clearly done jāla of the period.
16.
This view of the sikhara of the mūlaprāsāda from southwest shows the samvaraņā roof of the gūdhamandapa together with that of the Samavasaranadevakulikā situated to the right of the mūlaprāsāda.
17.
The śikhara of the mūlaprāsāda and the partial view, now from west, of the sam-varaņā of the gūdhamandapa reveals another aspect of the rhythmic coördination of the two types of superstructures.
18.
The mūlaprāsāda, as seen from northwest, provides one more fine view of the handsome śikhara.
19.
The closer view of the samvaraņā of the gūdhamandapa lucidly shows the minute details of its bell-constituents of progressively larger proportionsghanţikās, ghantās, and urahghantās—with clearly noticeable flutings of the bells and other details of its accessory components.
20.
The mūlaprāsāda's, and partially also the gūdhamandapa's lower section show-ing the pītha-base together also with the vedibandha above not noticeable in the preceding illustrations.
21.
The nicely carved makara-praņāla at the east side, the snout of the makara, at some point in time, had been broken.
The gūdhamandapa's Nābhicchanda or concentric vitāna, made up of the receding courses of gajatālu, kola etcetera, artistically is not of much consequence.
23.
The left of the doorframe (spectator's viewpoint) inside the trika, north wall, has figures which hardly are in the period style or quality. The flanking wall-pilaster displays gandharvas in three superimposed panels topped by a panelled grāsamukha, an unusual occurrence. One of the two round pillarettes of the khattaka is also visible in this picture.
The upper part of the dvārabandha or doorframe with the carved figures in panels and countersunk panels showing Vidyādevīs, a mālādhara, a Yakşa, etc. The central panelled figure sitting on bhadrāsana and with the royal parasol above represents the Jinamātā, Jina's mother, in this instance

Page #174

134
The Temples in Kumbhariya
Trisalādevī the mother of Arhat Vardhamana Mahāvīra, an unusual presence. in the countersunk panel is Negameșa carrying baby Vardhamāna and the corresponding opposite panel possibly shows the Kșetrapāla figure. The central panel below that of the Jina's mother is some Yaksa. The whole doorframe artistically is a disappointing piece of work, its importance is exclusively iconographic and the presence there of the signifier-figures such as Negamesa and Trisalādevī is indicative of the temple's dedication to Jina Mahāvīra.
25.
The pītha or base of the trika has well chiselled as well as finely polished mouldings. Despite the absence of ornamentation (except for the top band bearing the file of grāsa-heads), the look is effective.
26.
The conventional trio of the dado-mouldings—rājasena, vedikā, and the āsanapatta-forming the base of the trika, west side, shows good scroll work in the countersunk part set beside each miniature vase-and-foliage class of pilasters. The two niched panels contain the figures of Ambikā and Sarasvatī.
27.
The corresponding dado-walling of the trika, east side, shows two other Yakṣīs. Their āyudha or emblems are not sufficiently distinct to allow their positive identification.
28.
The trika as seen from the northeast of the rangamandapa reveals all of its components, namely the front porch containing steps and the foreword profusely carved pillars. The four relatively plain rear Miśraka pillars in a row which, while defining the lateral bays, also support a pair of illikā-toranas. A pair of khattaka-niches flanking the doorframe of the closed hall behind are also discernible in the picture. Altogether, the trika looks elegant and effective notwithstanding the relatively restrained decoration of the two columns of the rear row.
29.
The snap taken from northwest similarly provides a glimpse of the view from the opposite direction. It likewise reflects chasteness in rendering of the lucidly disposed components.
30.
The picture shows closer view of the two front pillars of the trika's porch. The quality of carving reflected here strangely anticipates what will be more characteristically noticed in the 12th century.

Page #175

Description of Plates
135
31.
This rectangular ceiling graces the trika's porch and thus is situated just above the steps. The study of the Jaina temples' interiors discloses one singular fact that the choicest of the minor ceilings was reserved just for this location, and this instance is easily one of the finest of its class of that age in all of India, indeed wherever the ceilings form part of the temple hall-bays. Structurally, this ceiling is composite, combining as it does the ‘kşipta' and the ‘utkṣipta’ elements in its make up that render it so arrestingly handsome. It is composite from other standpoint as well, for it judiciously combines the two decorative components, Padmaka and Nābhicchanda, in its composition. It thus becomes the 'Padmanābha' type according to the vāstu work Aparājitaprcchā. The projecting or kşipta lūmās emanating from its five Nābhicchanda sectors transmit a forceful impulse of the bursting life and vitality of the blooming lotuses. The ceiling looks like some formal pond teeming with stylized and geometricised lotuses overhanging upside down in the sky. (The staminal tubes of the lūmās have been largely redone in the 20th century, during the rather uncareful restoration.) The ceiling measures some 4'1" x 5'3” in size.
Same ceiling as viewed from below affords another glimpse of its very impressive and ingenious composition. The designer had drawn from the best of the compositional ideas from his guild's repertoire. (Or does it represent and reflect his own new conception?)
33. A pair of the Padmaka vitāna, showing a large dvi-kolaja lambana (pendant)
in the centre, flanks the aforenoted Padmanābha vitāna. This vitāna is situated to the right side as one climbs the footsteps. The four vikarnas within show grāsa-heads and each of the lateral two strips (introduced here to ensure squarish field for the central part of the otherwise rectangular ceiling) has figural processions more clearly visible in the next illustration.
34.
Same ceiling as viewed from below completely unravels its structural details. The petals of the central padmakesara are delicately rendered. One of the side strips defining the central part shows some narrative in which warriors, cavaliers, elephant-rider and a seated male dignitory participate. The opposite strip repeats a somewhat similar theme, but with a pair of confronting elephants in the middle situation.
35.
The picture shows an ingeniously designed utkşipta type of the Nābhicchanda vitāna. The four major, identical, outer kola-course complexes with three

Page #176

136
36. Same ceiling as is visible from below reveals the layout of its staggered layers more distinctly along with all the details of its graceful ornamentation and overall design.
38.
37.
A pair of identical Nãbhicchanda ceilings flank the last-noted ceiling. It is contained within the two inset lateral strips which are here needed to annul the rectangularity of the total frame, leaving a perfect square field for the central Näbhicchanda element.
40.
receding courses of kola are arranged on a square plan. The cardinals leaving gaps are filled with small strips bearing vallis with grasa-head in the centre. The innermost deeply receding lumā made up of three layered complete circles of kolas is framed at the corner by strips forming right angles and each displaying valli and grasa-head as in the upper cardinal strips.
The Temples in Kumbhariyā
39. The same view with a slightly forward position, the mukhamandapa's door in this instance open.
42.
43.
The rangamandapa, as viewed from within the trika, with the interior of the mukhamandapa (its door closed) at the further end.
41. The picture shows the complete view of the rangamaṇḍapa from southeast and reveals the rhythm of its columnar arrangement with the two rear columns shared by the porch of the trika.
The four front pillars (north side) of the rangamandapa with the paṭṭaśālācloister in the background. These slender Miśraka end-columns fully display the elegance of 'pure shapes" as Kramrisch would have seen them. They betray well-finished and judiciously proportioned facets.
The pair of the eastern bhadra-columns of the rañgamandapa contains the only surviving ändola-torana of the original four. The torana has a nicer form compared to what is noticeable for the same type in the rangamandapa of the Vimala temple at Delväḍā. Behind it, is seen the part of one of the Samatala ceilings of a series of seven that cover the space between the eastern wing of the paṭṭaśālā and rangamandapa's eastern row of columns.
A gandharva-minstrel playing a short drum (paṇava? muraja? mardala?) stationed as the figure is on the western jangha-face of one of the central pair of columns belonging to the north side of the octagon.

Page #177

Description of Plates
137
44. An octagonal belt containing eight panelled figures, largely surasundarīs,
above the janghā section of the northern of the central pair of rangamandapa's front pillars. One of the figures, exhibiting an easy and elegant dvibhanga posture, one often meets within the examples of the 11th century.
45.
The soffit of one of the lintel of the rangamandapa displaying a thick petalled, heavy, but well-formed lotus.
46.
The ūrmivallī or kalpavallī carving at the soffit of the southern extension of the central ceiling of the rangamandapa is one of the earliest of its kind in western India. Later, the entire ceiling, of the Samatala category and filled by this motif, offering a gorgeous view occurs in the trika of the Vimala-vasahi temple (Delvādā, A.D. 1145), Shaykh Farīd's tomb, Pāțan (early 14th century, now in Government Museum, Vadodarā), the Kharatara-vasahī, west porch, on Mt. Satruñjaya (c. A.D. 1320), the Caturmukha Dharaña-vihāra in Rānakpura (c. A.D. 1450), and the Djum'a Masdjid at Campāner (A.D. 1508).
47. Identical theme, carved as a space-filler, occurs on the corresponding soffit, at
the northern extension.
48. The vikarna-vitāna showing a large grāsamukha set in an asymmetrical
triangular frame bearing a beautifully stylized vallī.
The central karotaka ceiling of the rangamandapa is one of the few earliest extant Sabhāmandāraka karotaka-vitāna.
50.
The closer view of the same ceiling more discernibly reveals the four-whorled or catus-kola structure of the imposing central pendant growing from, and emerging out of the rippling bands of the surrounding, multiple, highly relieved kola elements is the only vitāna of its kind for the depth of the kolas and what is more, looks larger than its actual size.
51.
The same vitāna as beheld above from the centre of the floor. It provides the full view of all successive layers and laminae of the standard set of ceiling-mouldings and associated decoration for the Sabhāmandāraka class of vitānas. The disposition of the staggering lobes of each of the multi-lobed kolas in each circular chain is unparalleled as the study of such vitānas in the extant temples and about two dozens or more, now forming the parts of the mosques in Ahmedabad, Khambhāta, Prabhāsa, Pāțan, and other places.

Page #178

138
The Temples in Kumbhariya
52.
The closer view of the central lambana looks like a highly stylized Lakşmī-kamala, a huge flower of the species Victoria regia.
53.
The vidyādhara-brackets inserted in the rūpakantha bear the well-carved figures of vidyādharas. Square marble cubical blocks bearing plain diamond design on their fronts are placed above them. If this insertion was a part of the original design, then it must be inferred that the conventional figures of the 16 Vidyādevīs were not intended to be included in the scheme. This is further supported by the absence of the series of 16 holes for receiving the upper tenons of the slabs bearing Vidyādevī figures.
54. One other pair of the vidyādhara-brackets which, however, bear the figures of
gandharvas, one playing flute, the other drumming some type of percussion instrument like an elongated 'damaru'.
55.
The pair of four-armed figures of the god Hari-Negamesa in the rūpakantha at the southern bhadra replaces the figures of vidyādharas/ gandharvas, as a special iconographic feature, a signifier indicative of the dedication of the temple to Jina Mahāvīra. When Mahāvīra transmigrated from heaven to earth for being born as human, he, by the dint of the particular accrued karma-latency (māna-kaṣāya or vanity) in one of his past existences as a human, descended into the womb of a brahmin lady of the Brāhmaṇa-Kundagrāma, a borough of Vaiśālī, the capital of the Licchavī republic. Hari, that is Indra, sensing this as an anomaly in the happening of that particular event--for a tīrthankara conventionally has to be born as a ksatriya-sent Negamesa to correct it by transferring the embryo into the womb of Trisalā, wife of the ksatriya republican Siddhārtha of the Ksatriya-kundagrāma, another suburb of Vaiśāli. (This legendary episode is noted only in the āgamas inherited by the Śvetāmbara sect.)
56.
The first of the seven ceilings of the Samatala class connecting the western pattaśālā with the rangamandapa, Mahāvīra temple, depicts royal couples, intended to represent the parents of the past and the future 24 Jinas. The lower strip of each panel bears a short label inscription revealing the names of the figures involved. The ceiling is useful more for the Jaina history/mythology than for art proper.

Page #179

Description of Plates
139
57.
The second ceiling, in its central two rows placed one above the other, apparently bears the figures of 24 present Jinas' parents. The surrounding belts carry depiction of the five auspicious events in Arhat Pārsva's life, namely birth (preceded by 14 dreams that Jina's mother conventionally dreams), the lustral ceremony by Indra on Mt. Meru, renunciation, the upasarga-tormentation by Kamathāsura and the Jina standing with the protective canopy of the king of the nāgas, Dharanendra, next attainment of enlightenment, preaching in the Samavasarana, and salvation. The ceiling thus is interesting as a mythological narrative document.
The third ceiling is divided into three sectors, two square with a rectangular section in the middle, the one on the left depicts the life of Jina Aristanemi and central quadrant showing his Samavasarana. The right hand side depicts the main details from the life of Jina śāntinātha and likewise shows a centrally placed Samavasarana motif. The middle section has a framed circular hole which has lost the filler element, possibly a kola course with a central padmakesara. The triple strips above and below show figures in various actions. The quadrants are defined by carved plain ratnapattikā with fine floral buckles.
59.
This Samatala ceiling, in sequence the fourth, depicts the events of the life of Jina Mahāvīra beginning in the outer strip from the scene of the mother dreaming 14 auspicious dreams, followed by the transfer of embryo by HariNegameșa, the lustral ceremony of the baby Jina by Indra, Jina's wedding ceremony etc. In the inner strip are the next events of his renunciation and his practicing of austerities, visitations of afflictions (upasarga) and his attainment of enlightenment. The central rectangle perhaps depicts scenes of worldly enjoyment and consequent sufferings in hell. A round framed part of the centre has a depression due to the loss of the filler which may have been a circular kola with padmakesara. The figures in the ceiling are in fairly good relief and the dramatic tableaux are largely identifiable. A few of the characters bear label inscriptions below their feet on the thin borders.
60.
The fifth ceiling is composed more thoughtfully. The two outer strips and the innermost long and panelled rectangle are framed by thin plain ratnabandha almost regularly punctuated by floral buckles. The two outer strips show files of animals such as elephant, lion, boar, cavalier, and also bird figures, here and there interspersed with humans. The five square panels in the central

Page #180

140
The Temples in Kumbhāriyā
sector show Vidyādevī/Yakşi figures, the sixth rectangular showing an elephant (with a rider?).
61.
The sixth ceiling is designed similar to the preceding instance excepting the inner rectangular bears four panels, the fourth one showing standing figure of Yakṣa or Kșetrapāla, and there is a framed gaping hole, somewhat off the centre.
The seventh and the last ceiling in the row depicts in the two outer strips the events of Jina's life. The central unpanelled rectangular differs from the preceding two ceilings in that it depicts, on either side of the off-centre central framed hole four and three seated divinity figures.
The aforementioned four divinity figures in the last-noted ceiling include Kālidevī (?), Vairotyā, Nirvāni or Laksmi(?), and Sarasvati.
64. Similarly, the right hand side figures represent Gomukha Yaksa, Ambikā, and
Brahmaśānti Yaksa.
65.
Starting from the southern end, the first of the seven rectangular Samatala ceilings over the eastern aisle between the trika and the rangamandapa, shows an example which, from the standpoint of motifs, general composition, and treatment, is allied to those shown on Plates 60 and 61 which are among the seven that cover the western aisle. The difference between them and the one that is present here is that, instead of a double outer frame of animals and animal riders seen there, here a single outer frame is featured and has, moreover, a series of boxes showing adorers etcetera along longer axes and Yakṣīs, Vidyādevīs, and Yakşas in the panels inside the two shorter sides. The inner frame depicts a procession of cavaliers, palanquin-bearers etcetera which appear only in the case of one side, the remaining three sides show lay followers listening to an ācārya's pravacana or sermon. The central-most area shows six panels wherein are seen seated couples each in a pavilion instead of divinity figures that come to view in the former two ceilings, namely those noticeable on Plates 60 and 61. The decorative buckles at the panels, where the corners meet, are richer in detail and jewel like in appearance. These two ceilings which in order follow the preceding one, are very similar among themselves in terms of design. The design in each case consists of five long belts of boxes in linkage. Each one of the boxes in the outermost belt contains male or female attendant in the longer boxes, the shorter,
66

Page #181

Description of Plates
141
intervening, square boxes contain a small elephant figure in each instance. The two inner belts display larger panels that show standing couples with smaller alternating panels displaying a single male or female adorer or attendant. The central belt bearing nine panels exhibits three types of filler-motifs, the rāsamandala, a single attendant figure, or a group of three musicians in alternating order.
68.
This ceiling is largely similar to the preceding two, except that the rāsamandala motif is omitted here and, in the panels, besides the elephant riders, here are also introduced figures of cavaliers set likewise in boxes. The pattīs defining the frame of each box have a carved, plain, flat manibandha pattern as in the previous three ceilings. The jewelled buckles are also present.
69.
This ceiling is narrower and hence has four bands in lieu of five of the preceding three examples. The outermost belts show, as in all previous instances, the attendant/ārādhaka figures. Each of the middle two belts has eight boxes, the seven in each case showing a seated couple in a pavilion as in the central belt in Plate 65, only the two juxtaposed boxes show the Vidyādevī or Yakṣī figures.
70.
This narrow rectangular ceiling has five belts, the outermost showing the ‘pravacana' or lecture scene with the participation of an audience which could be shown only as a gathering of single individuals sitting in a single file all around: the next two belts encompassing the central belt of boxes displays processions dominated by riders, their shorter sides show musical parties, each consisting of five members. The middle belt has six boxes displaying couples sitted in pavilions.
71.
The themes of the previous instance are repeated here except that the figures in the sermon scene as well as the procession (which is shown in a single belt), are larger, more detailed, and no less lively than in the instances noticed before.
Altogether, the set of seven ceilings in this bay—some of them showing slight polish and pale natural hues of the materialis far superior to the Delvādā Samatala ceilings where, in fact, this class of well-organized and sophisticated compositions and fine delineation of animal figures is not paralleled. Only in the rangamandapa (c. A.D. 1075) of the Sun temple (Bakulāditya) at Modherā, the four corners outside the central octagon display

Page #182

142
The Temples in Kumbhariya
72.
panelled class of ceilings; but the variety of belts and the variations in figural groupings and motifs seen here is not encountered. The picture represents what the doorframes of the devakulikās look like. It is a triśākhā type showing valli-, khalva-, and ratnaśākhā with a jar-holding female figures flanked by an adorer, both standing at the lower end of the two inner śākhās. The doorsill shows diamonds in panels. The tutelary figure of Jina needs no comment. The doorframe aesthetically is not significant, though it certainly is a little less austere and less perfunctorily rendered than the Delvādā parallels, particularly of the Tejapāla temple.
73.
The Samavasaraṇa carved in yelslowish marble and placed in a special cell at the south corner in juxtaposition of the eastern doorway of the prākāra is highly damaged and badly restored. Unlike other instances of this symbol, it is provided with a pīthikā-pedestal. It may have been introduced after the completion of the 24 devakulikās, and as an after thought.
74.
The samvaraņā or bell-roof of the Samavasarana-kulikā is an arithmetically perfect and highly articulate ensemble of the apexial mūlaghantā, a set of three descending urahghantās in all four directions, and the tiers in the quadrants between them filled with the staggered sequences of ghantās and ghanţikās, all of them fluted. The rathikās, however, have lost their figures and, instead, unsightly plain slabs are seen there inserted, omitting as they did even the parikarma-frames. On the floor of the mukhālinda or aisle between the north-entry cutting across the pattaśālā and the rangamandapa is carved this symbol. What it represents is difficult to guess, whether a highly stylized padmasarovara (lotus pond) or something else. At any rate, it is not encountered in the extant medieval and late medieval Jaina or Brahmanical temples.
75.
76.
The laterals of the mukhamandapa or entry-hall of the Mahāvīra temple are filled with a pair of the box type jāla-screens. While the boxes show such motifs as chequers, svastika, vajra or diamond, and stylized flowers, their organization and execution are of mediocre standard. Qualitatively, they are on par with those blind screens noticeable on the laterals of the trika-extension in the Neminātha temple (c. A.D. 1281) (Plate 182). It is likely that the open-pillared mukha-mandapa in the Mahāvīra temple was closed with screens about the same date.

Page #183

Description of Plates
143
The śāntinātha Temple (Ādinātha Phase II)
77. Taking leave of the Mahāvīra temple, we enter the chronologically next
building, the sāntinātha temple. The sikhara of the mülaprāsāda here is shapely but the execution of its jāla is not perfect. The portion from the skandha-patta upwards, including the āmalasāraka, belongs to the restoration period.
78.
The corner view of the Anekāndaka sikhara of a western Indian temple is seldom very appealing, and this Šāntinātha instance only endorses that feeling though, in compensation, it lays bare the fuller view of its constitution.
The Nābhicchanda ceiling of the gūdhamandapa of the śāntinātha temple loses its effect by the introduction of the two heavy layers of karnadardarikā and consequent omission of the kola course otherwise vital for a completed appearance, illustrated here for knowing its nature.
80. The devakulikā-khattakas on the gūdhamandapa wall falling in the trika are
slightly more advanced in form in this temple than those in the Mahāvīra temple, but are not so gorgeous as in the Delvādā temples.
81.
The four fully carved pillars of the saţcatuskya here enhances the splendour of this architectural component, although it looks less poetic than the Mahāvīra parallel where the trika has a projecting porch whose pillars dramatically participate in the formation of the rangamandapa's octagon.
32.
The view of the same satcatuskya from the corresponding north-east angle is as delightful as the one seen in the previous plate from the north-western standpoint.
83.
The exclusive view of the file of the four front and fully decorated columns of the șațcatuṣkya is very impressive, although the details leave out the gracefulness of carvings noticeable in the same type of pillars that are earlier by some six to ten decades in western Indian Brahmanical halls.
84.
The rear columns of the saţcatuskya are of the Miśraka class with girdles of carving confined to the upper half. They are effective by way of contrast to the fully decorated columns of the front row.
85.
The carved vedikā at the fronton of the stylobate (right side of the visitor's view) of the satcatuskya shows tolerably good decoration of the stylized

Page #184

144
The Temples in Kumbhariya
87
88.
creepers etc. The seated divinity figures in the two niches are of course much
too formal. 86. The left side of the vedikā, in generalities of ornamentation, largely echoes
what is seen in the preceding illustration. The central Nābhimandāraka ceiling of the front row of the satcatuskya shows a four-whorled lambana of good form. The corners are filled with seated subsidiary divinities. Altogether, the ceiling is impressive, its lambana anticipating the development of that important member as rendered in the latter half of the 12th century in the Vimala temple at Delvādā. The central Nābhimandāraka ceiling of the rear row with three-whorled lambana. The large lateral fields left in this overall rectangular ceiling are
filled with the seated divinity figures in the corner and music parties between. 89. The two almost identical ceilings, flanking the central one, display a
Nābhimandāraka ceiling with a two-whorled lambana having a central padmakesara. The large, lateral, flat fields of the otherwise rectangular ceiling are filled with a pair of confronting elephants at the corner and human figures
between them. 90. One of the pairs of the identical Nābhimandāraka ceilings, one on either side
of the central ceiling of the rear row within the șațcatuskya. Kinnara figures fill the left out corners, the middle concentric part has at its centre a lūmā with
a fine floral padmakesara. 91. The rangamandapa, as seen from the satcatuskya, provides a fuller view of the
inner space as defined by its peripheral columns.
92.
The rangamandapa and the western pattaśālā as seen through the eastern aisle lends the full side-view of the interior.
TL
33
The closer view of the āndola-torana supported by the western bhadra pillars of the rangamaņdapa. Torana's undulating form is slightly better in configuration than those seen in the Vimala-vasahi temple at Delvādā, Mt. Ābu.
94. The front four columns at the north side of the rangamandapa where two
bhadra pillars are almost fully decorated, the pillars at the extremities are Miśraka with segments of differing facets, namely octagonal, 16-sided, and round.

Page #185

Description of Plates
145
95.
The central karotaka ceiling of the rangamandapa, as viewed from below, incidentally reveals that the hall is slightly rectangular along its north-south axis.
96.
The Sabhāmandāraka karotaka-ceiling has the usual set of circular courses; but its impact is not as powerful as of the Mahāvīra temple's ceiling.
97.
Yet this view allows us to see the unfolding of the organized integration and rhythmic as well as systematic recession of its constituents.
98.
The kalpavallī or kāmalatā, also called ārmīvallī or 'creeper of foam,' shown here at the north and south soffits outside the circular field of the ceilings, is one of the few earliest instances of its kind. Samatala ceilings filled entirely with this motif look both gorgeous and very impressive as the surviving examples from the 12th to the 15th century demonstrate. Here this motif was invoked to correct the rectangularity of the hall reflected in the schema of roofing for the construction of the central ceiling which must maintain perfect circularity.
99.
The last illustration was the view of the kalpavallī depicted at the southern end. This picture shows the same motif as rendered at the northern end. Slight difference in detail can be discerned between the two otherwise very similar looking designs.
100.
The illustration shows the karotaka ceiling along with the kalpavallī carved at the northern soffit.
101.
This view, besides revealing the gajatālu and kola courses, shows a vidyādhara and two gandharva figures of the rūpakantha, the three figures fairly well-modelled.
102- These two pictures provide a balanced and intimate view of the karotaka 103. ceiling which looks more appealing and more efficient in design from this
angle.
104. The lambana-pendant looks like a highly schematized hibiscus flower
protruding from the centre.
105.
The ceilings covering the pārsvalindas or lateral aisles at the east and west, all of which, as in the Mahāvīra temple, are of Samatala class, but not so fine,

Page #186

146
The Temples in Kumbhariya
younger as they are by about two decades and a half. Their added misfortune was their whitewashing in the past and the subsequent removal of the lime by chisel which killed its finer details and the patina. The ceilings, therefore, are interesting only from the standpoint of the study of the Jaina narratives and the cultural equipment of that era they portray. The scenes in the first ceiling, counting from the south direction, represents the pañcakalyāṇaka events in the life of a tīrthankara. The new motif here is the row of seated figures of the
upāsakas and upāsikās. All these figures confront the viewer. 106. The picture shows an enlarged view of the details of the last ceiling. There are
label inscriptions, only a few of which are a little clear. 107 The second ceiling represents the same sequence of themes but it has & badly suffered. The central circular part has lost its kola together with its 108. mukulabud or padmakesara. A closer view of a portion, however, clarifies at
least some details of the narration. 109 The third ceiling depicts the life of a Jina: It suffers from the same problems & that plagued the preceding two instances. These views show details of the life 110. of a tīrthankara. The ideas concerning motifs and details are in these ceilings
repeated over and over again. 111 The full and the partial and closer view of one more ceiling once again shows
& the depiction of the pañcakalyānaka scene. The Samavasarana is also there 112. as in the previous ceilings. The central circular hollow is likewise present.
One difference in the depiction is, to the right side of the central gajatālu, the
seated Brahmaśānti Yakșa and perhaps Sarasvati. 113 The two views of the next ceiling of this aisle unravel the same theme but
introduce some variations in details. The Samavasarana here is at the right 114. side of the central circular hole: Whereas the left side has four belts showing
the ‘ratnas' like cakra (divine disc weapon), nava-nidhis (nine treasures) etcetera which are usually associated with an emperor of the 'Cakravarti' class as envisaged and defined in the Jaina mythology. Maybe, the tīrthankara involved here was Šāntinātha who also happened to be a cakravarti.
115 The two pictures, the second showing a closer and a little magnified view of
& a portion of the sixth, which is the last ceiling, show differences between the 116. preceding example in that the central, short, rectangular panel illustrates the
figures of Gomukha Yaksa and Yaksī Cakreśvarī who were the guardians of

Page #187

Description of Plates
147
the 'śāsana' of Jina Rşabha. Their presence further confirms that the temple originally was dedicated to that Jina. The three concentric belts around the central panel demonstrate the 14 dreams and the Kalyāṇaka scenes. The first ceiling in this aisle, in its outer belt, depicts the life of a tīrthankara while the inner two belts contain the figures of the parents of the 24 Jinas, each seated in a pavilion.
117
118.
119.
The eastern aisle has, as its second of its six rectangular ceilings (counted from the trika onwards), three circular belts in the central portion. These together depict a 'yantra' or magical diagram showing in the outermost circle the figures of 16 Vidyādevīs carved on the 16 lotus petals, the second belt has regimented human figures, the central-most contains the figure of Jina seated on lion-throne and within a parikara-frame. The two straight lateral belts show the rows of adorers.
120 The two views of the third ceiling show in the outermost belt adorer and
dancing figures in the rectangular panels, the inner belt displays procession 121. scene on one of the longer sides, the delivery of sermon in the second, and
upāsakas in the shorter sides. The inner four larger boxes have couples in pavilions.
122 The composition of this fourth ceiling is based on figures set in boxes. The
& outermost belt is, as in several ceilings in the eastern aisle in the Mahāvīra 123. temple, the second and the fourth show elephant figures and musicians, and
the central belt, in its two centrally situated boxes, enshrine Brahmaśānti and Gomukha Yaksa.
124. In terms of theme, the fifth ceiling is like the one shown in Plates 122, 123. 125. In the central belt, the couples alternate with seated divinity figures. 126. The ceiling is thematically formed by figures set in boxes throughout its lay.
The figures represent adorers, musicians, dancers, elephant-riders and cavaliers. The workmanship is inferior to that of this type of ceilings met with
in the Mahāvīra temple. 127 Two views of the Aştāpada in the kulikā located at the south-eastern corner & at the back of the mūlaprāsāda of the śāntinātha temple. The Aştāpada or 128. Kailāsa mountain where Ādinātha Rsabha is believed in Jaina mythology to
have attained salvation, began to be depicted in the Svetāmbara tradition from

Page #188

148
The Temples in Kumbhariya
the 12th century onwards as literary references prove. The earliest surviving examples of the actual representations are from the 13th century. They are only a few in number.
In the Kumbhāriyā instance, the pīthikā is also provided and is much cut up in its basal and elevational configuration. The Astāpada shows eight steps leading to two tiers of the Jina figures, three set on each of the four sides. Above this is the miniature Samavasaraña supporting the quadruple image of Adinātha. This is one of the prescribed/conventional ways of representing the Aştāpada.
129.
A typical lantern ceiling in the bhramantikā/pattaśālā of the śāntinātha temple. The middle square shows the vegetal decoration with a centrally placed stylized lotus.
130.
Between the front bhadra pillars and the pattaśālā's entry at the north and thus in the mukhālinda is carved, on the floor, a motif of rotating svastika, a convention to be once again met with only here in Pārsvanātha temple.
The Pārsvanātha Temple
131. Coming next to the Pārsvanātha temple, we may begin with the well-formed
śikhara on the prāsāda. Although it is devoid of the jāla decoration, it is still not without charm, particularly since it has good form. It uses the “karma' or multi-turreted class of śróga above the karņa and pratiratha buttresses. Cakreśvarī graces the bhadra-rathikā of the south. The karņāņdakas of the mūlamañjarī and urahśrngas, as is known in some rare cases, are circular instead of squarish, the skandhapatta- terminal of the sikhara body displays plain diamonds. And there is a dhvajādhara figure below the modern ‘kalābo' in which the flag-staff is inserted. The sikhara in later times has been carefully conserved.
132.
The sikhara, as seen from the south-east corner, lends the full view of its constituent elements—rathikās, karmas, tilakas, uraḥśộngas, pratyangas or quarter spires leaning along the urahśmngas' flanks etcetera.
133 The lower half of the main doorframe of the gūdhamandapa betrays & minuteness and intricacy of carving; but the figures have none of the 135. gracefulness of the examples of the preceding century. The carving on the

Page #189

Description of Plates
149
134.
profile of the central mandāraka projection and the flanking large grāsamukhas are good examples of craftsmanship of that age. The illustration shows the upper section, including the uttarangadoor-lintel-of the gūdhamandapa, where the quality of the figures is as questionable as at the udumbara or doorsill. Still above is a patta showing Jina's mother dreaming the conventional 14 auspicious dreams. The carved vedikā at the west side of the porch of the trika. The quality of carving here is somewhat inferior to what is noticeable in the two earlier temples discussed. The niched figures of divinities are very visibly bad as works of art.
136.
137.
The khattaka in the west wing of the trika, located at the right side of the doorway (spectator's viewpoint). Its shape is tolerably nice from the formal standpoint.
138.
The east side vedikā of the porch of the trika looks somewhat better for its details carving compared to the corresponding one on the opposite side (Plate 136).
139. As in the case of the Mahāvīra temple, the pair of the highly carved pillars of
the trika-porch act as bhadra columns of the rangamandapa. They support an āndola- torana. That way of planning and designing has succeeded in
generating elegance. 140. Same pillars as viewed from the northeast. The toraṇa adds gracefulness to the
elevation.
141.
The image of Apraticakrā carved in the janghā of one of the porch pillars of the trika reflects the quality of hieratic sculptures of the time, strictly formal and rule-bound. The belt of eight figures above the janghā shows Vidyādevīs etcetera.
142.
The rangamandapa as it appears from the trika. Outside the northern limit and beyond the front aisle is seen the opening of the nāla-tunnel concealed in darkness since its opening is closed. Above it lies the balanaka hall, seen in the picture as under strong early afternoon sun light. The view of the rangamandapa from the middle of the western aisle. The foreshortening of space experienced in the previous picture is absent in this one. The full amplitude of the hall is clearly felt from this vantage point.
143.

Page #190

150
The Temples in Kumbhariya
144.
The front half of the rangamandapa with its ornate as well as relatively plain end pillars of the Miśraka class. Their relative positions and harmony are unambiguously discernible.
145.
The aggregate view of the rangamandapa with trika in the background as noticeable from the north-western point in the western aisle reveals the total mass and volume of the interior.
146.
A similar but closer view with a shift of standpoint.
147.
The view of the columns, north side, of the rangamandapa as discernible from the mukhālinda corner emphatically reveals the fine proportionalities of the interior.
148.
The well-chiselled pīthikā and the kumbhikā moulding of a Miśraka pillar of the rangamandapa reveals how plain facets can be truly effective. The introduction of pīthikā was necessitated for adding height to the slender pillars.
149.
The view from the bhadra point of the mukhālinda unravels the combined volume of the rangamandapa and the trika. The loss of figures in the lateral rathikās of the stairway is pinchingly felt, just as its replacement by a stark white marble produces a jarring note in the symphony of organization.
150.
The view of the rangamandapa's central ceiling as it appears from the centre of the floor. The reduction in the number of kola courses here is not to the advantage of its appearance.
151. However, the same ceiling, when viewed from a tilted angle, allows the full 152. impact of the 'wave effect' inherent in its composition.
153.
The kola courses of the ceiling and the central four-kola lambana as well as the long padmakesara with two layers of petals betray elegance together with power of its overall constitution.
154.
The bhramantikā of the west side, though only less than half the length of those splendid parallels from the Delvādā temples, is still impressive and possesses a clear photogenic personality unlike the instances in the two earlier temples here. The pillars here are slightly taller and the proportions and intercolumniation are what is instrumental in producing right effects.
Jain Education Interational

Page #191

Description of Plates
155. The doorframe of the bhadraprāsāda of the eastern paṭṭaśālā, like its almost duplicate in the corresponding situation in the western side, is much similar to that of the gudhamandapa and all the three instances seem contemporaneous in time. Above the uttaranga here (as in the case of the other two doorframes) is a patta showing the 14 dreams and the Jinamätä sleeping on a cot.
156.
157.
158.
151
The doorsill alongwith the lower section of the doorframe shows the typical early 12th century style of carving.
The Parsvanatha temple's western pattaśālā and the left wing of the northern paṭṭaśālā, as reckoned from within, have decorated ceilings. Some of these can be illustrated and discussed here, for they are historically earlier than those of the Abu instances as also on account of their intrinsic merits. The fine Nābhimandāraka ceiling shown in this picture is set within an octagon. A padmakesara relieves the centre with advantage. At the vikarnas are shown large gräsa-heads.

The Näbhimandāraka ceiling has a few interesting features such as the prominent gräsapatti followed by a finely rendered karṇadardarika with pointed leaves, a gajatālu and a kola course, and the central lambana which, lamentably, has lost its padmakesara.
159. A Nabhimandāraka ceiling with three kola courses and a central geometric lambana where, too, the padmakesara is missing.
160. The ceiling is supported by the carved pillars in the paṭṭaśālā part connected with the western bhadraprāsāda. It possesses elements as well as pretension of a small scale Sabhāmandāraka ceiling having a rūpakantha with eight vidyadhara-brackets which once supported the aṣṭanāyikā figures, followed by two courses of gajatālu and a single course of kola, from its centre emerges a fine dvi-kola lambana with pointed kolas, the staminal tube of the padmakesara is surrounded by music making ladies; the petals arranged in two whorls, however, are partly damaged.
161. The Nabhimandāraka ceiling has a rūpapaṭṭī, two layers of karnadardarikā, a single gajatālu as well as a single kola course, and a two-kola lambana of good design. The vikarņas show large gräsa-heads abstractly disgorging stylized creepers at the flanks.

Page #192

152
The Temples in Kumbhariya
162. Set in an octagon, the designer of this ceiling has omitted the gajatālu and
straightaway started with kola courses, three in number, culminated in the centre by a dvi-kola lambana of the type noticed in the preceding example.
The omission of the vital details such as the carving of petals etcetera along the borders of kolas, lūmās, and lambanas, impart a ceiling rather dry appearance. But this became the characteristic style for the ceilings, apparently of the Candrăvati school, which was then fashionable and continued to be in vogue till the 15th century in Abu area and further northeastwards, in fact as far as Jälor, Varkānā, and Rāṇakpur.
163.
The floor of the mukhālinda before the rangamandapa, at its centre, displays this symbol of rotating svastika framed in manipattikā as previously met with in the śāntinātha temple.
164.
At the north end is situated the nāla-tunnel and above it the balānaka-hall, both piercing through the middle section of the northern pattaśālā.
165.
The western bhadraprāsāda, as seen from outside, is a well-formed small temple with almost the full compliment of basic components: mouldings, figures on the janghā, and of course the well-shaped śikhara complete with jāla decoration.
166.
The view of the same bhadraprāsāda after the recent building of the sikharas that were earlier not there on the adjoining and other devakulikās.
The Neminātha Temple
167. Entering now the largest temple, that of Jina Neminātha, and looking into the
mukhacatuṣki part of the balānaka from south, the eyes meet with a nicely formed torana. In Kumbhāriyā, the only type of torana one encounters is of
the āndola or 'wave' category. 168- The collective view of the ceilings of the balānaka area. They are not of much 169. consequence either from the standpoint of typological studies or art proper. 170. The Nābhimandāraka ceiling above the pierced pattaśālā at the north. The
central kola and the lambana part are refined and finicky. The vikarnas show pair of elephants and the soffit of the two surlintels (the latter introduced to ensure square field in the otherwise rectangular area) display a row of full-blown water-nymphs.

Page #193

Description of Plates
153
171. The view of the Meghanāda-mandapa added by lady Hāṁsi in c. A.D. 1137.
In the rear ground is seen the saţcatuṣkya and the doorframe of the gūdhamandapa.
172.
The view of the mukhālinda before the Meghanāda hall is interesting for the rhythm of the carved and plain columns in rows. The interior view through the front part of the hall from the western alinda likewise is arresting, opening as it does into a pleasant vista.
173.
174.
All 12 columns, a little plumpish, of the lower storey of the Meghanāda hall, are fully carved in the style of the medieval Maru-Gurjara order.
175.
176.
The upper storey of the hall is rather stunted and unfunctional. Its usefulness lay in raising the height of the central ceiling. The great karotaka ceiling of the Sabhāmandāraka order, as seen from the centre of the floor, provides an impressive view even when it lacks the circle of lūmās around the central pendant.
177 The same ceiling seen obliquely from near the trika offers a more pleasing to view. Also, its progressively closer views allow to see how delicately the 179. kolas and the lambana, as essential components, have been rendered and how
vibrant its perfectly integrated structure looks. This perfected form for the lambana will have a fuller play and sway in the 13th century, most exemplarily witnessed in the ceilings of the Tejapāla temple on Mt. Ābu.
180.
The carved front columns of the satcatuṣkya match in style and poise with those of the hall.
181.
The rear columns of this vestibular hall, as lucidly seen in this picture, are also in the same style. Though the details, as with the hall-columns, are not refined, the overall impression is one of exuberance and richness of craftsmanship
182.
The thin blind-screened wall of the extended vestibular hall toward east shows motifs such as chequers, diamond, svastika, bird and flower set in plain boxes, done in c. A.D. 1281. The corresponding wall at the western extension has the pair of screens similar in pattern.
183.
The central ceiling in the front row of columns in the satcatuskya is Nābhimandāraka with a four-kola lambana of great refinement. The vikarņas

Page #194

154
The Temples in Kumbhāriya
show pairs of elephants. The soffits of the additional lintels are relieved with flat water-nymphs set in panels and beyond it is a pattikā, showing in each case, finely rendered processions.
184.
The corresponding ceiling in the rear row has a three-kola lambana with a short padmakesara. The vikarņas are filled with pairs of kinnaras. The ceiling, however, is not that refined as the preceding one.
185 The flanks of each of these two ceilings have a pair of identical ceilings; that
in the front row and the other one in the rear row are less elaborate since they 186. employ triple courses of leafy karnadardarikās and the lambana in each
instance is smaller and of dvi-kola type. Altogether they look dry, drab and
devoid of interest. 187. The ornamentation of the doorsill of the lofty and large doorframe of the
gūdhamandapa has less number of sākhās and now partly renovated. But before its entry-point, come to view two unusual elements; the somewhat high and substantial ardhacandra or sankhāvarta type of moonstone; next a rectangular block of marble (with its profile showing valli ornament) placed
over the moonstone as an aid to step over to the udumbara or doorsill proper. 188 It seems that the original walls of the gūdhamandapa were replaced in the
& 17th century and once more repaired in early 20th century. The decorative 189. carving of the udgama or pediment and of the pallavas or stylized leaves of
the bharaṇī of the echinus-abacus complex above it is in style clearly derived from the ornamentation of Sultānate period, ubiquitously seen there in the motifs as well as their embroidery like workmanship. The Sultanate period craftsmanship had survived till the Mughal period.
190 &
The Neminātha temple-Aristanemi-caitya—is not only the largest but also its prāsāda, unlike other Jaina temples at the site, is a fully decorated building on the site for its lower structure. As these views reveal, it has the usual mahāpītha of the Solanki period architecture, indeed commensurate with its size, and with full set of mouldings. Also, the kumbha of the vedibandha as well as the janghā has the usual Jaina divinity figures set in parikarma-frames. The figures themselves being of the date c. A.D. 1134, are of the period when the Maru-Gurjara art of sculpting was past its peak by a century. They thus have no pretension toward ‘art' but are useful for archaeological purposes, especially to the students of Jaina iconography.

Page #195

Description of Plates
192
These views of the south side of the prasāda-the eastern half (including bhadra) and the western half-attest to the building's accurately formal 193. proportions.
&
194.
195. The close up of the mahāpīṭha and the vedibandha gives the estimate of the details figuring in the decoration of those components.
196. The earliest example of the motif of two confronting elephants in the gajapitha at the bhadra and elsewhere is noticeable here in the ornamentation of the Neminatha temple. It is frequently met with in late 12th and the first half of the 13th century Maru-Gurjara buildings: its occurrence in a larger form is noticeable at the Navalakha temple at Ghumli (c. A.D. 1200), at the bhadras of its prāsāda-pīṭha.
155
197. Śrutadevată Sarasvati seen in this picture is among the several Jaina divinities carved on the kumbha-faces of this temple. Useful from the iconographical standpoint.
The total view of the south side gives idea of the breadthwise size of the prāsāda.
198. The niche of this figure, just as the karanda crown of the vidyadevi Nirvānī in this picture, are shapely and elegantly carved.
200
&
201.
199. The pratiratha of the präsāda and the kapili, west side, permit a closer view of the figures, which faithfully reflect the sculptural art of the time of Jayasimha Siddharaja, less suave and a little stolid compared to the figural art of the preceding century.
202.
203.

The doorframes of the western and eastern bhadrapräsädas are similar in size, shape and details. The catuḥśäkhä doorframe of each shrine provides an instance of vegetal and figural carving of the 12th century.
The doorsill with the moonstone, of the bhadraprāsāda, is a tolerably good example of the treatment of that member in the 12th century.
The dviśäkha doorframe of one of the devakulikäs in the west wing illustrates how conservative was the style of late 13th century. The doorframe also resembles those of the devakulikäs in the Pitalhara temple of c. early 14th century in Delvädä, Mt. Abu.

Page #196

156
204
&
The two bhadraprāsādas of the Neminatha temple are not only large; the one at the west side has its exterior having kumbhas with niched figures, the 205. jangha showing the figures of Dikpālas and Vidyādevīs. The janghā also has ardhapadma-patti as a middle band, and gräsapatti in the upper part, and an udgama with carved detail. Also carved is an additional larger udgama on the still upper section.
206
to
The southernmost devakulikā built during late 13th century has a Sikhara with jāla work. It betrays a fine and perfect shape. Recently, for some reason, 208. it was dismantled and reërected in the compound on the open paṭṭaśälä surrounded by präkära wall in the background.
The Sambhavanatha Temple (Originally Santinātha)
209 The back view of the sikhara of Sambhavanatha temple. It has a good form & with minute jāla decoration. The present karmas or multiple śmigas seem to 210. have replaced the original during conservation.
The Temples in Kumbhāriya
211. The view of the sikhara from east confirms what is said for the preceding picture. It is very doubtful whether the śukanäsa cast in the 'balcony form' was in the original design.
212.
214.
The pitha and the vedibandha of the präsāda are well-chiselled but plain: the kumbha alone bears figure-panels but that feature is confined to the karmas and bhadras.
213. The dvi-säkhā doorframe of the gudhamandapa with the stambhaśākhā has a baroque feel of a similarly designed doorframe of the gudhamandapa of the Tejapäla temple, Mt. Abu, but without the exuberance of tiny figural decoration and fine (as well as profuse) undercutting of the stambhaśākhā there. Still it is not without the charm of a new approach, a definite tendency to move away from the time-honoured but hackneyed formal convention, for a medieval Maru-Gurjara doorframe.
In absence of the surround of devakulikās and thanks to it the consequent absence of aisles and their ceilings' covering, the rangamaṇḍapa has enough light within and without but not the pretension of any kind. Neither are the plain Miśraka pillars evocative nor is the ceiling, made up as it is of the rūpakantha showing ardhapadmas in series and a staggered sequence of plain

Page #197

Description of Plates.
dardarikās, have anything appealing. The picture reproduced here is an archaeological document.
The Kumbheśvara Temple
215 The präsāda of the sixth marble temple, of Śiva Kumbheśvara, surpasses the & Jaina temples, even the Neminatha temple, in having almost the fullest 216. repertoire of carved mouldings employed in its elevation. The sanctuary building is vertically highly cut-up: Every one of its several phalana-facets at the kumbha has standing figure, its skandha-shoulders have the typical leaf decoration that first appeared in Karnadeva's times, the kalaśa or torus above it shows the ratnabandha ornament, and so forth.
157
217. The jangha figures provided with the parikarma framing reflect quality, particularly for the surasundari figures on the pratiratha. The Dikpäla figures, as in the case of the Neminatha temple, are iconographically correct but lack in the suavely swaying dvibhanga posture and the serene contemplative faces of the tenth and early 11th century.
219.
The Associated Sculptures & Architectural Components
218. Standing Jina image, originally from the jangha section of a prasada of some temple, perhaps from the original temple of Rṣabha at this site or from other neighbouring site. Stylistically, it seems of c. early 11th century.
One of the two similar, standing, and inscribed Jina images in the gūḍha-maṇḍapa, flanking the antarala of the Mahāvīra temple. The inscriptions on both are largely effaced, but on one of them the date earlier read was S. 1118/A.D. 1062, which, incidentally, is also the date of founding of the temple. The figure of Jina had suffered mutilation; arms, and right hand palm are rejoined and soldered, a new unshapely nose is fixed on the squarish face. The large artificial eyes, painted eyebrows, and the 11 metal 'țilās' take away the remaining elements of art from the image. The dhoti and the kațimekhala-the first was introduced in the images back at the beginning of the sixth, the latter vogue is noticeable from atleast the 11th century-the two being the chief characteristics of the Svetambara images, distinguishing as they do from the Jina images of the Botika/Acela-kṣapaṇaka or later, for that matter, those of the Digambara sect. After the gradual crystallization of the

Page #198

158
The Temples in Kumbhariya
Svetāmbara sect by the fourth century A.D. in southern Gujarat and eastern Saurāṣtra, from the earlier northern Nirgrantha sect which, of course, used to worship nude Jina images as is clear from the Mathurā instances of Saka, Kuşāņa, and Gupta period.
The Kumbhāriyā image is flanked by vyālas, the lower ends show standing camaradharas and the seated figures of an ārādhaka and an ārādhikā, representing perhaps the lay followers who got the image made. The style of the figures accord with the date. The upper part also is carved in conformity with the 11th century conventions. The flying mālādhara class of vidyādharas with their consorts are noticeable near the Jina's head: and above is the triple umbrella flanked by Hiranyendras riding on elephants, next are a pair of celestials flanking the conch-blowing sankhapāla at the apex of the umbrella.
220 By contrast, the parikara details of the image dated S.1214/A.D. 1158 is much
more regimented. The main kāyotsarga figure of Jina Supārsvanātha was 221. mutilated and repaired as in the last case, and whatever is said in that context
is applicable to this instance as well. Besides the standing camaradharas and the seated adorer figures at the flanks of the Jina are carved 16 Vidyādevīs, eight on each of its flanks. The details of the upper part is according to the Maru-Gurjara style and conventions but the figures are accommodated in a more compressed and much too formal manner. However, the semi-circular sub-pedestal below the inscribed flat pedestal shows figures of vyālas and elephants set within the loops of a creeper which are in good relief and interesting from the standpoint of execution. Typologically, the rendering is a continuation of the depiction of the motif on the surlintels of the lateral ceilings in the satcatuṣkya of the sāntinātha temple.
222 A similar sub-pedestal of a standing Jina image (one of the pair) dated
& S. 1314/ A.D. 1258 continues the tradition of carving noticed in the foregoing 223. illustration, the quality within a century, however, has deteriorated. This is
also the case of the corresponding example dated to A.D. 1258.
224.
An image of Jina Vāsupujya in a niche of the gūdhamandapa of the Sambhavanātha seems of the late 13th century date. The images showing Tirthankara Vāsupūjya sitting underneath the campaka tree came into popularity in the latter half of the 13th century as is clear from the examples in

Page #199

Description of Plates
159
Porbandar (A.D. 1259), Khambhāta, and a few other places. The Kumbhāriyā instance possesses no aesthetic pretension.
225.
The image of a donor couple, uninscribed but stylistically of the 13th century is incongruently placed on the pedestal of a Jina with empty parikara. Such figures, all of the medieval period, are known from several Jaina sites in western India.
226 &
The two plates illustrate the marble figures of the Yaksa Sarvānubhūti and Yakṣī Ambikā, kept on the floor of the garbhagpha of the Mahāvīra temple. Both have partially suffered from the algae action due to long neglect and exposure to elements in the past. The style of the Sarvānubhūti figure is close to the camara-bearers of the kāyotsarga image of A.D. 1062. And that of Ambikā on one side possesses some details of the former image as well as the style which is posterior by a few decades to the two images (c. A.D. 1032) in the Vimala temple at Ābu. All of them possess halo. The two images here wear karanda mukuta: the Ambikā images in Delvāļā have dhammilla mukuta. All in all, these two Kumbhāriyā images seem to be of c. A.D. 1062 and probably had belonged to the Mahāvīra temple.
228. While describing the ceiling, the first one in the eastern aisle of the Mahāvīra
temple, it was noted that its boxes at the (western) extremity show figures of three divinities—Sarvānubhūti, Ambikā, and Brahmaśānti. The enlarged photo-illustration of that part of ceiling shows with sufficient detail and clarity the three figures whose style seem to be c. A.D. 1062, the date of the two earlier images discussed in the foregoing plates.
229. The Ambikā, stylistically of Kumārapāla's time, is cast in highly
conventionalised style, of contemporaneous Jaina painting to be precise. It is inscribed but larger portion of the inscription is effaced.
230.
The image of Ambikā in the Neminātha temple could be contemporaneous with the temple's older parts, but it was damaged and likewise has suffered disastrous restoration, the head of one of her sons is a replacement of the 17th century. The insertion of two folkish looking upper hands' arms etcetera speak loudly about what the image suffered at the hands of the iconoclast and the renovators alike. Her torso, the ornaments including keyūra on the right arm etcetera reflect the style of the better figures of the time of Siddharāja.

Page #200

160
The Temples in Kumbhariya
231.
This large and gorgeous torana is said to be before the principal image in the sanctuary of Jina Mahāvīra. Also, it is said to be inscribed, its date being S. 1213/A.D. 1157. However, the inscription is not traceable on the lower uncarved part of its poles, nor is the text of the inscription published.
The style of the torana-posts seems derivative of the sakhās of the elaborate doorframes in the Pārsvanātha temple. Such toranas, set up before the images in the sanctuaries, are known from a couple of devakulikās (west wing) in the Pārsvanātha temple here and in the devakulikā of the Vimala temple (east wing left side), Mt. Abu. None of them, so far cited, is earlier than the latter half of the 12th century.
232.
Two posts of a large marble toraņa that once may have been in the garbhagrha of the Pārsvanātha temple (vide Insc. 19). The toraņa proper, usually supported above the posts, however, is lost. From the style of the figures, it could be of the time of Jayasimha Siddharāja. If this inference is accurate, then this may be looked upon as an instance earlier than all known from Abu and Kumbhāriya.
233.
The large discarded toraṇa which is said to be once before the principal image of Neminātha in his main sanctuary. The style of the Vidyādevī figures seem of the 12th century. As in the doorframes, so also in toraņa posts, the rūpastambha bore the figures of Vidyādevīs. The āndola-torana, in style, somewhat resembles that in the balanaka of this temple.
234 The two toranas, earlier referred to, inside the two devakulikās of the
Pārsvanātha temple. Although the design is not bad, the details and their 235. execution are somewhat poor. In all instances, the torana type used is of the
andola specification.
236.
The discarded yellowish marble fragment of the top of a Samavasarana with quadruple and semicircular parikara tops, now lies in the eastern sector within the precincts of the Pārsvanātha temple. There was thus somewhere a second Samavasarana in Kumbhāriyā, perhaps in the Neminātha temple.
237.
The convention of sculpting the slab bearing the 24 mothers of the Jina had come into vogue from at least the 12th century. The uninscribed patta shown here, once probably in the gūdhamandapa of the Neminātha temple and now in the store room of one of the temples, is carved in four strata, the first one

Page #201

Description of Plates
161
bears seven Jinamätä figures and two pairs of ärädhakas and ärädhikäs at the extremities, one standing to the left and other to the right of the mother. The second stratum contains the same number, the third and the fourth each show five mothers. All of them are set in plain panels. Their faces are largely effaced, and there are label inscriptions for identification of each one of the Jinas' mothers. The apex shows seated figure of a Jina.
238
Of the three fragments of a Saptatiśata-Jina-patta that once was in the & güdhamandapa of the Neminatha temple. More will be said on the concept 239. that underlay and the nature of the patta while discussing Plate 242. 240. The Vis-viharamāna-patța depicts the 20 currently existing Jinas in the mythical Mahavideha-kṣetra of the discoidal continent of Jambhudvipa which is at the centre of the countless number of ring-shaped island continents. alternating with ring oceans. However, no āgama, no agama, including the Samaväyänga-sütra (on its 20th 'sthäna' or location), refers to these Jinas. The concept apparently was formulated in the sixth century when the niryuktis and the bhāṣyas were composed.

This inscribed patta, originally was in the Neminätha temple. Its execution is very mediocre and stylistically it seems not earlier than the late 13th century, maybe even later: It has Jina Sīmandhara, the first of the 20 Jinas, at the apex, the others follow in sequence of 5, 7, and 7, the last image mutilated. The pattas of Vis-viharamāna-Jinas are very rare to meet with. They, too, like the Sammetaśikhara-patta bearing 20 Jinas (with which they sometimes have been confused) seem to have been originated in the 13th century.
241. The Nandiśvaradvipa-paṭṭa placed in a khattaka in the eastward extension of the trika is dated S. 1211/A.D. 1267. Nandiśvaradvipa is the seventh island continent counting from Jambudvipa. No human life exists there; but there are eternal shrines of the 13 Jinas around each of its cardinal Meru mountain, totalling thus to 52. These Jinas include 24 of the present and 24 of the past megacycles of time, plus four eternal Jinas, namely Candranana, Väriṣena, Rṣabha, and Vardhamana.
The patta illustrated here shows the Nandiśvaradvipa encircled by the eighth ocean. Inside are indicated forests through stylized trees surrounding the shrines. Eight figures of Harinegamesa, two on either side of each 13

Page #202

162
The Temples in Kumbhāriya
shrines and a pair of kinnara figures is shown near the top. A torana adorns the upper portion of the patta, otherwise having a circular main field.
The Nandīśvaradvīpa-pattas began to be carved and set up in western India in the Svetāmbara shrines from at least the 12th century. The patta is unknown in the Boţika/Kșapanaka sect which held sway in those days in east Rajasthan, Madhya Pradesh and Uttar Pradesh. It is likewise unknown in the Digambara sect which originated in Tamilnadu, next spread in Karnataka, and slowly travelled upwards where eventually it absorbed Botika sect lock, stock, and barrel. The Botika sect, founded by Arya Sivabhūti sometime in the first half of the second century A.D. fully recognized agamas but seemingly disagreed with the main sect Nirgranthas in matter of 'parigraha' meaning the upakaranas which a friar can keep. The Nirgranthas permitted a bowl and a piece of cloth (katibandhana, katipattaka) to cover or hide the private parts as and when needed, particularly while on tours for begging food in the cities and town. They, unlike the Digambaras, believed in the salvation of feminine gender, house-holders, as well as for the adherents of other religions. Their images of Jina Munisuvrata portray a Jina as a seated nude lady. All Jaina sects otherwise, and of course, believed in the same concept of cosmography which includes Nandīśvara-dvīpa and its 52 Jina temples.
242.
The Saptatiśata-pasta represents an idea of the presence at a time of as many as 170 Jinas, an eventuality believed to have happened countless trillions of aeons ago, in the time of the second Jina Ajitanātha, that period specifically known as the 'utkrsta-käla'. The worship of such pattas, unknown in all Jaina sects except the Svetāmbara, seemingly came into vogue in the latter half of the 13th century. A few examples of such pattas are reported from northern Gujarat: And there is one fine and elaborate patta of c. A.D. 1320-1325 in the Kharatara-vasahī (Bulavaņī temple) on Mt. Satruñjaya.
The Saptatiśata-Jina-patta illustrated in this plate is placed along the western extension wall of the satcatuskya of the Neminātha temple. The middle area, not exactly at the parta's geometric centre, shows a sa-parikara Jina-pañcaka. The Ajita Jina, represented as a larger figure, is placed in its centre. The patta is inscribed and is dated to S. 1310/A.D. 1254. The distribution of the Jina figures to total 170 is ingeniously done.

Page #203

Description of Plates
243. The Kalyāṇatraya-paṭṭa, dated S. 1343/A.D. 1287 is placed in the extended eastern portion of the mukhamandapa or satcatuskya where it faces west. The patta is a rare type of representation, two dimensional (showing one face out of the usual four faces of the tridimensional symbolic representation) theme of the three Kalyāṇakas-renunciation, enlightenment, and salvation of Jina Aristanemi—that are believed to have happened on Mt. Ujjayanta, the vogue which apparently had been started by minister Tejapala in early thirties of the 13th century. In the Neminatha temple example, the upper or third panel is missing.
163
244. The Samalikavihara-carita-paṭṭa is after a Jaina myth of a kite sitting on a tree near Bṛgukaccha which was killed by a hunter. At her dying moments, she heard the sermon from the compassionate Jaina munis who then were passing by, on account of which she was reborn as a princess Sudarsana of Lankā. One day, on suddenly recalling her past existence, she voyaged by ship to Bṛgukaccha and founded there a temple to Jina Munisuvrata. The paṭṭa illustrated here is dated to S. 1338/A.D. 1282. Bhandarkar saw it set up in the closed hall of the Neminatha temple, though now it is placed on a pedestal in the mukhamandapa of the Mahāvīra temple. Bhandarkar, however, could not identify its theme. Cousens quoted a parallel, of a very similarly delineated patta (of S. 1335/A.D. 1279) in the Tejapāla temple at Mt. Ābu. Such pattas so far have been unknown before the latter half of the 13th century. They are likewise unknown from the Kṣapaṇaka, its offshoot the Yapaniya of northern Karnataka, and the Digambara sect.

A corresponding Aśvāvabodha-paṭṭa has been fixed above the south wall bhadra-khattaka of the Neminatha temple, the like of which is also paralleled in the Luna-vasahi temple, Delvāḍā, Mt. Ābu. (Cf. Jayantavijaya, Ābu, Pt. 1, Ujjain 1933, Plate opposite p. 109.)
For Private Personal Use Only

Page #204

Page #205

Reference Glossary: Art & Architectural Terms
Adhināyaka
alamkāra-devatā
principal deity divine figure(s) [including iconologically meaningful pantheonic divinities] generally associated as an exterior decoration, usually on the temple's or hall's wall
alinda
aisle
Anekāņdaka
anga
multi-spired/multi-turreted (Nāgara śikhara) principal horizontal/vertical division of the temple plan such as bhadra, pratiratha, karņa etc.
anda
andaka
antarāla
antarapatta
spirelet in the constitution of Sekharī temple space in front of sanctum door; vestibule recess between major mouldings, generally between kalasa and kapotapālī in pītha; inserted also between two courses of kapotapālī in varandikā/prahāra below the sikhara; often showing kuñjarākṣa pattern as its decoration, especially in Mahā-Gurjara buildings
antaraśākhā
innermost jamb of doorframe
apsaras
apsarā ardhacandra
ardhapadma ardharatna ardhathakāra
divine nymph; surasundarī; devānganā moon-stone; semi-circular step before the sanctum doorway half-lotus (decorative motif) split-diamond (decorative motif) split-gavākṣa (decorative motif)

Page #206

166
aştamangala
aṣṭanayikās
Aṣṭāpada
Aştäpada-kulikā
avalokanaka
āmalaka
āmalasāraka
andola
andola-torana
ārādhaka
ārādhikā
āsanapaṭṭa
ayatana
ayudha
Bahirśäkhä
bakulamālā
balānaka
bahya
bahyaśākhā
bhadra
Bhadraka

eight auspicious symbols
eight damsels showing different moods, gestures, and roles
The Temples in Kumbhāriyā
Kailasa; mountain on which Jina Rṣabha attained nirvāņa, symbolic representation of
chapel enshrining Aṣṭāpada
window-opening in sändhära präsäda or/and güdhamandapa
"myrobalan fruit"; crowning member of the Nāgara (Latina and Sekhari/Anekāṇḍaka) temple
large "cogged wheel" shaped stone crowning the North Indian sikhara-spire; broader and more compressed ämalaka
wave
wavy formed arch
male adorer
female adorer
seat-slab
shrine; alaya, prāsāda
emblematic weapon of a divinity
outer śākhā; bahyaśākhā
garland of "bakula" flowers, generally a thin and auxiliary decorative vertical strip in doorjambs
pillared entry-hall, generally with an upper storey outer
outermost door-jamb
central offset (wall-division); ratha, madhyaratha (Kalinga)
square pillar-type with central projection on plan and in elevation

Page #207

Reference Glossary
167
bhadra-khattaka
niche at the cardinal point of the janghā (upper section of a temple-wall)
bhadraprāsāda
larger devakulikā coaxial with the transept of the rangamandapa
bhadrapīțha
bhadrāsana, generally circular
bhadra-rathikā
niche at the cardinal offset in a śikhara
bhadrāsana
seat
bhadrāvalokana
opening at the central offset of prāsāda and/or closed hall; balcony, window
bharaṇa
fluted or ribbed echinus
bharaņi
bharaṇa with more minute ribbings
bhāravāhaka
atlantid figure
bhitta
bhramantikā
plinth; rectangular course below the base proper cloistered corridor in Jaina temples; bhamati (Gujarātī) superstructure type composed of corner and intermediate pillarettes supporting miniature Latina śikhara and having a vertical jāla-spine at the bhadras
Bhūmija
Cakra
wheel; Vişnu's discus
cakravarti
universal emperor
campaka
flower of Michelia champaca Linn. (decorative motif)
candrāvalokana
screened window
catuhšākha
catuḥśākhā
doorframe having four sākhās
caturmukha
four-faced; four-doored sanctum
caturvimsati-Jina-patta
carved slab depicting 24 Jinas; Jina image, in stone or metal, with a surround of 23 Jinas
caturvimšati-Jinamātā-patta
carved slab showing 24 mothers of the 24 Jinas

Page #208

168
The Temples in Kumbhariya
caturvimsati-Jinālaya
Jaina temple with an entourage of 24 devakulikās enshrining 24 Jinas
catuṣkhaņdā-kola
four-lobed kola, one of the cusped-and-coffered courses of a ceiling
catuskola
pendant formed by four circular kola courses in descending order and sequentially diminishing in size
catuṣkya
catuski
bay of four-pillars; four-pillared structure
cippi
cippika
minor inverted cyma recta
Citra-torana
figural
ornamental toraņa-arch showing decoration on front and back faces
camara
fly-whisk
cāmaradhara
fly-whisk bearing male
cāmaradhārini
fly-whisk bearing female
chajjikā
minor roof; rooflet moulding
Dampati-yugala
human (or divine) couple
dandacchädya
projecting sloping eave showing/simulating a series of minor logs on the upper surface
dardarikā
moulding resembling cyma reversa in ceiling
devakulikā
minor/subsidiary shrine; peripheral shrine
devakulikā-khattaka
large niche used in lieu of a true devakulikā, occurring in the pattaśālā or trika
Dikpālas
eight guardians of the compass directions
dhammilla mukuta
dhammilla form of diadem
dhoti
lower garment, from waist downwards
dhvaja
banner-staff
dhvajādhara
symbolic male figure carved at the end part of the śikhara which feigns to hold the flagstaff

Page #209

Reference Glossary
169
dvāra
door
dvārabandha
doorframe
dvāraśākhā
dvi-anga
doorjamb with two planes of offset (triratha in Eastern India)
dvibhanga
double flexure
dvi-kola
pendant/pendantive composed of two kola courses
damaru
hand-drum
Gagāraka
scout-badge like decorative motif comprising arrow between two contra spirals
gagarapatti
chain of gagārakas carved at the edge of the kapotapālī basal-band showing frontal posture of elephant figures in file
gajapitha
gajatālu
"elephant's palate"; cusped ceiling-course
gandharva
celestial minstrel
garbhagyha
womb-house; sanctum
gavākşa
(decorative motif); candraśālā,
"cow's eye" thakāra
grāsa
gorgon head; kīrttimukha
grāsa-kinkaņikā
decorative motif showing bell with a hanging chain dangling from a grāsa-mask
grāsamukha
gorgon face or head; kīrttimukha
grāsapatti
grāsapattikā
band showing grāsa heads in file
gūdhamandapa
closed hall
ghantā
bell; bell-member of the samvaraņā-roof; crowning bell of Phāṁsanā/samvaranā
ghanţikā
small bell-member

Page #210

170
Hamsa
Hiranyendra
Illika-torana
Jagati
janghä
jadyakumbha
jāla
jälaka
Jinatraya
Jinamätṛkä-patta
Kailasa
kakṣāsana
kalābo
kalasa
kalpavalli
kāmalatā
Kalyanakas
Kalyāṇatraya

goose, gander (decorative motif)
Indra riding on an elephant and shown in Jinal image parikaras
The Temples in Kumbhāriyā
torana, with undulating arch form
plinth, platform socle, stylobate, stereobate; basal moulding of adhisthāna (South Indian)
wall-frieze between vedibandha and Sikhara; kati (older synonym)
"kumbha at the base-root"; inverted cyma recta; lowest pitha moulding
perforated screen; gaväkṣa-web design of a
sikhara
seated Jina flanked by two standing Jina figures
sculpted slab showing 24 mothers of the Jinas, each carrying a baby Jina
Mt. Astăpada in the Himalayas
seat-back; backrest
carved block of stone placed over the śikhara's skandha for holding flagstaff (late vogue)
"pitcher"; torus moulding; jar-shaped pinnacle of sikhara
wish-fulfilling vine; kalpalată
auspicious events in Jina's life
Three auspicious events renunciation, enlightenment and salvation-of Jina Aristanemi happened on Ujjayantagiri (Mt. Gimär), its symbolic representation

Page #211

Reference Glossary
171
Kalyāṇatraya-patta
two dimensional representation of three dimensional symbolic representation of Kalyāṇatraya concept
Kamala-yantra
tantric diagram involving full-blown lotus
kantha
kapili
neck; recess between mouldings; kāņthi, kanti (Oriyā) wall projecting in front of the sanctum connecting it with hall; a vestibule connecting prāsāda with mandapa
kapotapālī, kapotāli
kapotapālikā
cyma-eave/cornice
kapotikā
minor cyma-eave
karanda
literally basket; sort of whorled diadem
karanda mukuta
mitre of the karanda type
karma
karņa
"deed”; complex spirelet with several miniature andaka-spirelets angle, corner; corner wall-division cyma recta moulding with artis in the concentric ceilings
karņadardarikā
karnaka
arris moulding in a base; also with pillar capital
karņakūta
miniature square temple at the corner of superstructure
karņāņdaka
corner āmalaka in veņukosa
karņa-pīțha
base having an arris moulding but without gaja-, aśva-, and narapītha mouldings knife-edged arris moulding; minor karņaka "bowl"; large circular ceiling
karņikā
karotaka
kati
"waist"; wall (early synonym for janghā)
katibandhana
waist-garment
kațimekhalā
waistband
katipaţtaka
same as katibandhana

Page #212

172
käyotsarga kāyavyutsarga
kinkini, kinkiņi kinkanikā
kinnara
Kesaryādi prāsāda
keyūra
kola
kolaja-lambana
kota
kumbha
kumbhaka
kumbhikā
kumuda
Küta
küta
küṭākāra
Kṣipta kṣipta lūmā
Kṣiptotkṣipta
khalvaśākhā
khattaka
khura
khura-kumbha

The Temples in Kumbhäriyä
standing erect posture with downward hanging
arms
miniature bell, generally suspended from chain (decorative motif)
celestial birdman playing musical instrument präsädas of the series beginning with Kesari
armlet
"boar"; decorative, semi-circular coffered component in a ceiling course
pendantive made up of kola courses
rampart; surrounding/enclosure wall
"pot" (inverted); vedibandha's second moulding in the sequence of five
pillar base
base of pillar/pilaster, usually smaller than kumbhaka; basal part of stambhaśākhā in a doorframe
torus moulding of a base
superstructure-type
square aedicule; spirelet; miniature kütägära
miniature küta-shaped decorative motif asanapatta's exterior profile
"thrown"; projected cusped course in a ceiling projected pendantive
ingoing as well as outprojecting course in at ceiling
deeply carved recessed śākhā
ornate niche in a wall with parikarma-frame
basal plain moulding of vedibandha, below
kumbha
complex of khura and kumbha mouldings.

Page #213

Reference Glossary
173
Lakşmi-kamala
huge flower of the species Victoria regia
lalātabimba
bimba
lambana
Latina
crest figure, central (figural, rarely floral) symbol on door lintel, generally indicative of the presiding deity decorative central pendant in larger ceiling North Indian mono-spired śikhara-type with curvilinear vertical bands (latās) usually bearing jāla-pattern minor projecting corbel shaped (ribbed or otherwise) bracket (for supporting nāyikā or citraputrikā figure of a column in a hall)
lumbikā
lūmā
cusped and downward projecting pendantive
Madhyabandha
medial band (wall-pilaster decoration); mediating ornamented (or plain) band of a wall
madhya-ratha
central offset; bhadra
mahāpītha
tall socle with additional set of upper mouldings such as gajapītha, aśvapītha and narapīțha; also sometimes vedibandha (for sāndhāra temples)
makara
crocodile-monster; dolphin; sea-monster
makara-praņāla
makara-torana
makara-shaped gargoyle toraņa-arch disgorged from the jaws of opposed makara-heads
mañca
dais
mañcikā
dais-like moulding supporting figure-bearing niche
mandapa
mandāraka
mandovara
hall, generally columnar projecting central part of ornate doorsill temple's/closed hall's portion above jagati or pītha and below chadya; kați; wall proper band of gems, diamonds alternating with stylized rubies as ornate miniature medallions (decorative motif)
maņibandha
Jain Education Interational

Page #214

174
manipatţi manipattikä
mardala
mañjari
mālādhara
mālā-vidyadhara
Miśraka
mithuna
Meghanäda
mukhacatuşki
mukhālinda
mukhamandapa
mukula
mukulikä
mukuta
muraja
mūlaghanţă
mūlamañjarī
mūlanayaka
mūlaprāsāda
mūlaśṛnga
Nandisvara-dvipa
Nandisvara-dvipa-patta

The Temples in Kumbhāriyā
band of gems/jewels (decorative motif)
type of drum
spirelet
garland-bearing vidyadhara
flying celestial angelic male figure carrying garland
"mixed"; composite pillar-type, vertically combining various geometric sections from square to circular
auspicious couple
storied semi-open or open columnar hall
four-pillared entry porch
front aisle; fore aisle
front hall; entry hall; narthex
floral bud (decorative motif)
crown, tiara
type of drum
principal or topmost/crowning large bell-member of the samvaraṇā or Pharhsana roof
principal spire in Sekhari/Anekändaka sikhara; mülaśmga
main enshrined deity
main shrine; shrine proper in relation subsidiary shrines
central spire in Sekhari/Anekāṇḍaka sikhara; mülamañjarī
seventh ring island continent of Jaina cosmography
slab sculpted as symbolic representation of Nandisvara-dvipa

Page #215

Reference Glossary
175
Nandiśvara-patta
sculptured slab showing the symbolic representation of the 52 shrines of the Nandiśvara-dvīpa
narapattikā
band bearing human figures in procession
narapītha
basal-course showing humans engaged in manifold activities
navacatuṣkya
navacatuski
vestibule with nine bays arranged in three consecutive and linked quadrants
Nava-nidhis
nine mythical treasures
nidhi
mythical treasure
Nābhicchanda
ornate ceiling type with deep concentric cuspedand-coffered courses or bands
Nābhimandāraka
Nābhicchanda ceiling with a central lambanapendant
Nāgara
generic name for North Indian temple type having Latina/Anekāndaka śikhara
nāla
channel
nāla-mandapa
hall of the access-channel
nāyikā
(figure of) female dancer showing various abhinaya-expressions
Negameșa
Hari-Negamesa
goat-faced deity used by Hari or Indra as his executive
Padma
lotus
Padmaka
ceiling made up of lūmās
padmakesara
staminal tube in the ceiling, projecting from the kola, lūmā, and lambana
Padmanābha
Padmašilā
ceiling type bearing lūmā-pendantives Samatala ceiling with full-blown centrally placed lotus
padmāsana
Yogic cross-legged posture

Page #216

176
The Temples in Kumbhāriya
padmasarovara
lotus/lily-bearing pond
pallava
leaf
pancaśākha
pañcaśākhā
having five sākhās
pañcakalyāņaka
Five auspicious events of the Jina's lifetransmigration, birth, renunciation, enlightenment, and salvation
pañcāņdaka (Kesari)
Nāgara sikhara with one spire and four corner spirelets
panava
parikara
type of drum image-frame, often bearing retinue of subsidiary figures panelled or otherwise
parikara-torana
torana placed before the image
parikarma
niche-frame
patra
leaf, foliage
patrašakhā
sākhā adorned with foliage
patta
band, register lobby, cloister
pattaśālā
patti
paţtikā
smaller band; rectilinear fillet
pītha
pedestal; moulded base of structure
pīthikā
image-pedestal
pedyā
lower block of door-jambs (often carved with figures of river-goddesses and door-guardians)
pāl ghāța (Gujarātī)
carved motif formed as a miniature vase-andfoliage
pārsva-catuski
lateral porch of a hall
pārsvālinda
side aisle
Phāṁsanā
Pharsanā
tiered pyramidal roof-type having tiered pyramidal form
phamsākāra

Page #217

Reference Glossary
phālanā
pradakṣiņā
pramatha
praṇāla
pratiratha
pratyanga
prākāra
präsäda
prāsāda-pitha
Rangamandapa
ratha
rathikā
ratna
ratnabandha
ratnapatta
ratnapatți
ratnapattikä
ratnaśākhā
rājasena
rājasenaka
rāsamandala
rekhā
rūpa

minor offset demarcating planes
circumambulation;
passage
goblin; gana, bhūta
water chute; conduit
(sometimes) ambulatory
wall-offset flanking bhadra; anuratha (Eastern India)
177
quarter sikharas flanking the urahśṛnga or halfsikhara at the bhadras
enclosure wall
"palace", "mansion"; temple
temple-base
open-type of pillared hall; nṛtyamandapa; sabhä-mandapa
bhadra
framed niche
diamond or lozenge-shaped decorative motif jewel-band
band of diamond pattern; manipatța, manipaṭṭikā band of jewels
Sakha with jewel pattern
broad ornate fillet as substructure of vedikā fencing (usually decorated with diamond and double volute pattern; also with pramathas and bhäravahakas in several early Mahā-Maru instances)
dancers in circle
curvature of sikhara
figure; figural ornament

Page #218

178
rūpadhārā
rupakantha
rūpapatti rūpapattikā
rūpaśākhā
rūpastambha
Sabhāmandāraka
Sabhämärga
Sahasrakūta
salilāntara
Samalika-vihära-patta
Samatala
Samavasarana
Samavasarana-kulikā
Sammetasikhara
Sammetaśikhara-paṭṭa
Sammetasikhara tirtha
samvaranā
sandhikşetra
sandhipāla
sa-parikara Jina-pañcaka

The Temples in Kumbhariyā
band bearing figures
recess carved with figures, in a ceiling
figure-bearing band; rūpadhārā
śākhā with figural ornamentation
pilaster-formed jamb, usually central in doorframe and carved with figures
cusped-and-coffered ceiling 'Sabhāmārga' with a central lambana-pendant
main ceiling of a hall with cusped-and-coffered courses (of kolas and gajatālus)
temple with 100 turrets, symbolic representation of (Jaina)
recess between wall-bays
sculptured slab depicting the myth of the founding of the Jina Suvrata's temple at Bṛgukaccha
flat, ceiling type
Jina's three ramparted place of preaching. symbolic representation of
chapel enshrining a Samavasarana
Mount called Sammeta (or Sammeda)
carved symbolic slab representing Mt. Sammeta where 20 Jinas including Pārsvanatha attained salvation
holy Mt. Sammeta
tiered pyramidal roof-type with ribbed bellshaped members as decorative motif, placed in rows at all tier-levels
coupling-area
block concealing joints
(figures of) five Jinas set within a parikara-frame

Page #219

Reference Glossary
179
sapta-kolaja
pendant having seven kolas
sapta-kolaja lambana
Saptatiśatabimba
pendant made up of seven kola courses large sculptured slab showing 170 Jinas of the rare and most glorious cycle of time
same as above
Saptatiśatayantraka Sattarisaya-Jina-patta
same as above
step
sopāna sopānamālā sopāna-dvaya
series of steps
two steps of the pattaśālā-cloister
sopāna-traya
surasundari
three steps of the pattaśālā-cloister heavenly damsel; apsaras, devānganä, consort of the gandharva minstrel shoulder moulding; flat upper platform/terminal cyma moulding of sikhara; visama/bisama, kāndhi (Oriya)
skandha
skandha-patta
flat band replacing the carved shoulder moulding of sikhara
stambha
pillar
stambhaśākhā
śākhā in the form of a pillar
svastika
sāndhāra
well-known auspicious symbol temple having an inner ambulatory passage around the sanctum
sankhapāla
celestial blowing conch at the apex of a western Indian Jina-parikara frame
śālā
nave; oblong hall
śākha
decorative door-band; door-jamb
śāsanadevi
śāsanadevata
female presiding or guardian deity of the Jaina church
sankhāvarta
moon-stone with conch-terminals
satadala
hundred-petalled lotus

Page #220

180
The Temples in Kumbhariyā
Sekhari
complex multi-spired superstructure type tower, spire (North India)
śikhara
śikharikā
minor spire
sukanāsa
sukanāsikā
antefix above the roof of the kapilī
śrāvaka
male Jaina lay-adherent
śrávikā
female Jaina lay-adherent
śộnga
spirelet; anga-śikhara (Oriyā)
șațcatuṣkya
şaţcatuṣki
six-bayed vestibular antechamber between the gūdhamandapa and the rangamandapa
Tantraka
upper projecting section of a lintel bell-topped miniature niche or hall-aedicule
tilaka
tirthankara
Arhat, Jina
torana
gateway; arciform gateway-pattern
tri-anga
tryanga
with three planes of offsets in plan and elevation
trika:
mukhamandapa; pillared entry hall between the rangamandapa and the gūdhamandapa
triśākha
triśākhā
doorframe having three jambs
tilās (Gujarātī)
small metal appendages fixed on the body parts of a Jina image, to which pūjā is offered minor caitya-dormer; candraśālikā
thakāra
Udgama
pediment of interconnected gavākşa-dormers
udumbara
threshold; doorsill
upakarana
useful objects in possession of a friar
upāsaka
śrāvaka; male Jaina lay-adherent

Page #221

Reference Glossary
181
upāsikā
śrāvikā; female Jaina lay-adherent
urahghantā
leaning half-bell
uraḥśrnga
leaning half-spire in Anekāndaka śikhara
utkşipta
thrown in
utkrsta-kāla
rare time phase when 170 Jinas are born in lieu of single
uttaranga
architrave of the entablature; lintel, beam
uttānapatta
pavement (in compound or on platform)
ūrmivalli
imaginary creeper of foam; kalpavalli; ürmivelā (Gujarāti)
Vajra
thunderbolt
vajraghaņtā
ghantā with a thunderbolt shaped handle
vajraśộnga
pointed field where two kolas meet in a series
valli
valli
creeper, scroll (decorative motif) sākhā carved with creeper design
valliśākhā
vasati
vasatikā
Jaina temple; vasahi (Prāksta); also monastery
vidyādhara
flying celestial angel; bracket in the rūpakantha of a ceiling
Vidyādevi
Jaina personified magical power, 16 in number
vihāra
Buddhist monastery; medieval Jaina temple; vasati
vikarna
intermediate/sub-cardinal direction
vikarņa-vitāna
triangular decorated ceiling-slab at sub-cardinal position
Vis-viharamāna-Jina-patta
sculptured slab showing 20 Jinas currently preaching in the mythical Mahāvideha-kşetra of the Jaina cosmography
vitāna
ceiling

Page #222

182
The Temples in Kumbhariya
vedi
vedibandha
altar; plank-moulding below the grīvā-śikhara aggregate of five basal wall-mouldings, consisting primarily of khura, kumbha, kalasa, antarapatta, and kapotapālī
vedikā
railing; balustrade
vedi-kaksāsana
vedikā with the seat back above
veņukosa
"bamboo-sheath”; outer nodal sheath of curvilinear spire, usually showing karņāndakas/ bhūmi-āmalakas
vyāla
composite fantastic animal; mythical fabulous creature; varāla; virāla
Yakşa
male demigod with benevolent as well as malevolent aspects; protecting male divinity associated with Jina and guardian deity of Jaina church
Yaksi
female divinity associated with Jina and guardian deity of Jaina church
yantra
magical diagram

Page #223

Bibliography
(Kumbhāriyā Specific)
Archaeological Survey of India, Annual Report on Indian Epigraphy for 1961-62, Appendix B, Insc. 128, p. 58.
Bhandarkar, D.R., Progress Report of the Archaeological Survey of India, Western Circle, For the months July 1905 to March 1906, inclusive, Bombay 1906, pp. 40-46.
Cousens, Henry, Revised Lists of Antiquarian Remains in the Bombay Presidency, Vol. VIII (ASI, NIS, Vol. XVI), 1897 (Original lists by Burgess, J., 1885), p. 238.
Dave, K.B., Ambikā, Koțeśvara ane Kumbhāriyā (Guj.), Śrīsayājī Sāhityamālā, No. 334, M.S. University of Baroda, Vadodara V.S. 2019 (A.D. 1963), pp. 33-35, 40-41.
Deśāi, Mohanlāl Dalīcanda, Jaina Sahitya-no Sankspta Itihās (Guj.), Śrī Jaina Śvetāmbara Conference Office, Mumbai V.S. 1989 (A.D. 1933).
Dhaky, M.A., “The Chronology of the Solanki Temples of Gujarat,” Journal of the Madhya Pradesh Itihasa Parishad, No. 3, Bhopal 1961, 34-35, 40-41, 44-45, 49-50, 67-68; Plate XII.
Dhaky, M.A., “Vasantagadha-ni Vāstu-racanão ane Hrsikeśa-nuñ Vaisnavāyatana," (Guj.), Svādhyāya, Vol. 7, No. 3, V.S. 2026 (A.D. 1970), pp. 248-256.
Dhaky, M.A. and Shastri, H.P., "Ārāsaņa-nā be Jaina pratimā lekho-ni visesa vācanā," (Guj.), Svādhyāya, Vol. 8, No. 2, V.S. 2027 (A.D. 1971), pp. 189-198.
Dhaky, M.A., "The Western Indian Jaina Temple,” Aspects of Jaina Art and Architecture, Eds. U.P. Shah and M.A. Dhaky, Gujarat State Committee for the Celebration of 2500th Anniversary of Bhagavān Mahāvīra Nirvāṇa, Ahmedabad 1975, pp. 319-384, Plates 1-28.

Page #224

184
The Temples in Kumbhāriyā
Dhaky, M.A., "Sāhitya ane Silpa-māñ 'Kalyāṇatraya"" (Guj.), Nirgrantha 1, Ahmedabad 1995, pp. 98-110, Plates 1-4.
Dhaky, M.A., Ārasītīrtha Ārāsaņa (Kumbhāriyājī) (Guj.), Seth Āņandjī Kalyānjī, Amdāvād 1997.
Forbes, Alexander Kinloch, Râs Mâlâ; or Hindoo Annals of the Province of Goozerat, in Western India, New Edition by J.W. Watson, Richardson and Co., London 1878, pp. 327-328, (First Edition 1856).
Jagannātha Ambārāma, Brhad Silpaśāstra, Pt. 3, Amdāvād V.S. 1992 (A.D. 1936), pp. 107-111 (ground plans), Plate opp. 191.
Jayantavijaya Muni, Ābū, Pt. 1, (Guj.), Śrī Vinayadharmasūri Jaina Granthamālā, No. 10, Ujjain V.S. 1990 (A.D. 1933), Plate opp. 109.
Jayantavijaya Muni (Comp., Rev., & Ed.), Arbuda-Prācīna-Jaina-lekhasandoha (Abū Pt. 2), (Guj.), Śrīvijayadharmasūri Jaina Granthamālā, No. 40, Ujjain V.S. 1994 (A.D. 1938).
Jayantavijaya Muni, Afbudācala Pradaksiņā (Ābu Pt. 4) (Guj.), Śrī Yasovijaya Jaina Granthamāļā, Bhāvnagar V.S. 2004 (A.D. 1948), pp. 10-29.
Jayantavijaya Muni (Comp., Trans., & Ed.), Arbudācala Pradaksiņā Jainalekhasandoha (Abu Pt. 5), (Guj.), Śrī Yaśovijaya Jaina Granthamālā, Bhāvnagar V.S. 2005 (A.D. 1949), pp. 2-15, Insc. 3-41; Trans. Guj., pp. 3-15, Insc. 3-41.
Jinavijaya (Comp., & Ed.), Prācīna Jaina Lekha Sangraha (Pt. 2) (Guj.), Pravartaka Śrī Kāntivijaya Jaina Itihāsamālā, No. 6, Śrī Jaina Atmānanda Sabhā-Bhāvnagar, Bhāvnagar V.S. 1978 (A.D. 1921), pp. 160-169 (Insc. 277-306) and Guj. Sec., pp. 165-185.
Kramrisch, Stella, The Art of India : Traditions of Indian Sculpture, Painting and Architecture, Third Edition, The Phaidon Press, London 1965, Plates 132, 133, and relevant descriptions.
Nanavati, J.M. and Dhaky, M.A., "The Ceilings in the Temples of Gujarat," Bulletin of the Baroda Museum and Picture Gallery, Ed. B.L. Mankad, Vols. XVI-XVII, Baroda 1963, Plates. 21, 37, 43, 62-65, 68, and relevant descriptions.
Nyāyavijaya Muni (Triputī], Jaina Tirtho-no Itihäsa (Guj.), Srī Caritrasmāraka Granthamāļā, No. 38, Amdāvād V.S. 2005 (A.D. 1949), pp. 297-301.

Page #225

Bibliography
185
Seth, Mathuradās Chhaganlāl, Śrī Kumbhāriyājī Tīrtha ürfe Ārāsana (Guj.), Bhāvnagar V.S. 2003 (A.D. 1947).
Shah, Pt. Ambālāl Premchand, Jaina Tirtha Sarva Sangraha (Guj.), I. 2, Seth Anandji Kalyanjī, Amdāvād V.S. 2010 (A.D. 1953), pp. 283-287.
Shah, Pt. Ambālāl Premchand, Rõnakapura-nī Pañcatīrthi, Śrī Yaśovijaya Jaina Granthamālā, Bhāvnagar V.S. 2012 (A.D. 1956).
Singh, Harihar, “The Jaina Temples of Kumbhāriā,” Aspects of Jaina Art and Architecture, Eds. U.P. Shah and M.A. Dhaky, Gujarat State Committee for the Celebration of 2500th Anniversary of Bhagavān Mahāvīra Nirvāna, Ahmedabad 1975, pp. 299-318, Pls. 1-22.
Singh, Harihar, Jaina Temples of Western India, Parshvanath Vidyashram Series 26, Parshvanath Vidyashram Research Institute, Varanasi 1982, pp. 34-35, 107-146; Plates 22-52, 59-65, 110-112.
Somapurā, Narmadāśankara Mūlajābhāi, Śilparatnākara, Śilpaśastrī Śrī Narmadāśankara Mūlajībhāi Somapurā, Dhrāngadhrā 1939, Plates opp. 104, 111, 121, 131, 139, 141, 146, 147, 149, 150, 151, 153, 172 and 497, also on p. 119 proper.
Tripuți Mahārāja (Darsanavijaya Muni, Jñānavijaya Muni, & Nyāyavijaya Muni), Jaina Paramparā-no Itihāsa, Pt. 2 (Guj.), Śrī Cāritrasmāraka Granthamālā, No. 54, Amdāvād V.S. 2016 (A.D. 1960), pp. 298-300.
Viśālavijaya Muni, Śrī. Ārāsaņa Tirtha apara nāma Śrī. Kumbhāriyājī Tirtha (Guj.), Śrī Yaśovijaya Jaina Granthamālā, Bhāvnagar V.S. 2017 (A.D. 1961).
(Original Sanskrit and Prakrit Sources)
Caturavijaya Muni (Ed.), Pandita Somadharma gaņi-Viracita Upadeśasaptatikā, Śrī Atmānanda Grantharatnamālā, No. 33, Bhāvnagar V.S. 1971 (A.D. 1915), pp. 38, 39.
Caturavijaya Muni (Ed.), "Śrī Vividhatirthastutayah," Jainastotrasandhoha, Pt. 1, Prācīna (Jaina) Sāhityoddāra Granthāvali, No. 1, Amdāvād V.S. 1989 (A.D. 1932), pp. 375-377.
Harakhcanda, Pt. Bhagavāndās (Ed.), Ukeśagacchiya-Śrī Kakkasūri-Viracita Nābhinandana-jinoddhāraprabandha, Sri Hemacandrācārya Jaina Granthamālā, Amdāvād V.S. 1985 (A.D. 1929), 4.20-140: pp. 130-139.

Page #226

186
The Temples in Kumbhariya
Jinavijaya Muni (Ed.), “Ārāsanīya Nemicaityaprabandha," Purātana Prabandha Sangraha, Adhisthātā-Singhi Jaina Jñānapītha (Singhi Jaina Granthamālā, No. 2), Calcutta V.S. 1992 (A.D. 1936), pp. 30-31.
Vijayadharma sūri (Ed.), "Pt. Megha-Viracita Tīrthamālā," Prācīna Tirthamālāsaṁgraha, Pt. 1, Śrī Yasovijayaji Jaina Granthamālā, Bhāvnagar (V.) S. 1978 (A.D. 1922), pp. 50, 51.

Page #227

NOTES

Page #228

NOTES

Page #229

PLATES

Page #230

Page #231

1. Kumbhāriyā. Mahāvīra temple from northwest. Maru-Gurjara style. C. A.D. 1062.
2. Kumbhāriyā. Šāntinātha (originally Adinātha) temple from northwest. Maru-Gurjara style. C. A.D. 1082.
en Intern
www.jamelibrary.png

Page #232

TD
3. śāntinātha (originally Adinātha) temple from southeast.
4. Kumbhāriyā. Pārsvanātha temple from northwest. Maru-Gurjara style. C. A.D. 1100.
Jain San
For Povale & Personal Use Only
www.jainelibrarea

Page #233

5. Kumbhāriyā. Neminātha temple from north. Maru-Gurjara style. C. A.D. 1137-1254.

Page #234

6. Neminatha temple from east-northeast.

CON

Page #235

7. Kumbhāriyā. Sambhavanātha (originally Śāntinātha) temple from east. Maru-Gurjara style. After A.D. 1232.
8. Kumbhāriyā. Kumbheśvara temple from southwest. Maru-Gurjara style. C. A.D. 1207.
DI
Jáin
dugatioo International
Win
Vaca Personal
only

Page #236

A
9. Kumbhāriyā. Ādinātha Phase I temple, garbhagrha-doorframe. Maru-Gurjara
style. C. A.D. 1031. (Now in Santinātha i.e., Adinātha Phase II temple.) Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
10. Adinātha Phase I
temple, doorframe, Gangā.
11. Ādinātha Phase I
temple, doorframe, Yamunā.

Page #237

13. Adinātha Phase I temple, doorframe, bāhya-and
vallīšākhā detail, proper left. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
12. Adinātha Phase I temple, doorframe,
bāhya- and vallīsākhā detail, proper right.
Jain Education Intemational
For Privals
librai, org

Page #238

14. Kumbhariya. Mahāvīra temple, mülaprāsāda with gudhamandapa, superstructures from southeast. Maru-Gurjara style. C. A.D. 1062.
15. Mahavira temple, mülapräsäda from south.

190
$90
EN
鸡蛋手照
W
e & Persons Only
அ
50

Page #239

PET
16. Mahāvīra temple, mülapräsäda and güḍhamandapa, superstructures from southwest.

17. Mahavira temple, mülapräsäda, sikhara from west.

Page #240

18. Mahāvīra temple,
mūlaprāsāda with gūdhamandapa, superstructures from northwest. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
19. Mahāvīra temple, gūdhamandapa, samvaraņā. [Courtesy: Department of Archaeology,
Government of Gujarat.]
III
Jain Education anglations
Only

Page #241

Sla
20. Mahāvīra temple,
mūlaprāsāda, lower structure from northwest.
21. Mahāvīra temple,
mülaprāsāda, praņāla.

www.jennelibrary.org

Page #242

22. Mahavira temple, güdhamandapa,
Sabhāmārga vitana. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]

23. Mahavira temple, güdhamandapa, doorjambs and wall-pilaster, proper right. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
For Private & Personal Use
199
Jainelibrary.org

Page #243

6
24. Mahāvīra temple, gūdhamandapa, doorframe, upper part with uttaranga-lintel.
25. Mahāvīra temple, trika, pītha, east side.
BUEKEURURK GREY
U

por Private & Personal use only

Page #244

51 81le
1536
26. Mahāvīra temple, trika, mukhacatuski-profile, west.
27. Mahāvīra temple, trika, mukhacatuṣki-profile, east.
US
FOTELE
"
HHI
Jaly Education International
www.janary.org

Page #245

STO
28. Mahāvīra temple, trika, general view from northeast.

Page #246

wwwwwwwww
w
29
KI
17
00
FIBE la wa
2U
29. Mahāvīra temple, trika, general view from northwest.

Page #247

Ove
30. Mahāvīra temple, trika, mukhacatuski, frontal pillars with stairway between.

Page #248

2 LONXOXON LOOXOVO
31. Mahāvīra temple, trika, Padmanābha vitāna above the staircase.
32. Mahāvīra temple, trika, Padmanabha vitāna, view from below.

Page #249

Jain Education Inter
D
33. Mahāvīra temple, trika, Padmaka vitana, to the right of Padmanabha vitana. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
34. Mahāvīra temple, trika, Padmaka vitana, view from below.
51576756
www
M
& Personal Use Only
LY
www.janelibrary.org

Page #250

35. Mahāvīra temple,
trika, utksipta type of the Nābhicchanda vitāna, behind the Padmanabha vitāna.
36. Mahāvīra temple,
trika, utksipta type of the Nābhicchanda vitāna, view from below. [Courtesy: Department of Archaeology, Government of Gujarat.]
Jain Education Intemational

Page #251

37. Mahāvīra temple, trika,
Nābhicchanda vitāna, to the right of the utksipta-vitāna.
BUCH
exe
38. Mahāvīra temple, rangamandapa,
view from trika.

Page #252

EBB
39. Mahāvīra temple, rangamandapa, another view from trika.

Page #253

40. Mahāvīra temple, rangamandapa, front pillars (north side).
matu B3
Jain Education Intematinal

Page #254

41. Mahāvīra temple, rangamandapa, view from southeast. [Courtesy: Shardaben Chimanbhai
Educational Research Centre, Ahmedabad.]
42. Mahāvīra temple, rangamandapa, bhadra-pillars, east, torana.
WWWWWW
MAYUMIVVYMMMM
Jait Education Inter
Private
Elsonarose Only
www.zinelibrary.org

Page #255

43. Mahāvīra temple, rangamandapa, front pillar,
janghā, gandharva playing drum.
44. Mahāvīra temple, rangamandapa, front pillar,
upper belt showing nāyikās/surasundarīs.
45. Mahāvīra temple, rangamandapa, lintel-soffit, lotus. [Courtesy: Shardaben
Chimanbhai Educational Research Centre, Ahmedabad.]

Page #256

KKKKKKKKKKKKKKK
46. Mahāvīra temple, rangamandapa, karotaka, left out margin's carved soffit, southern.
47. Mahāvīra temple, rangamandapa, karotaka, left out margin's carved soffit, northern.
Jain Educatie terminal

Page #257

در زد ۱۱۱۱۱۱۱۱۱۱۱۱۱۱۱۱۱۱۱
(((((((((((5
زارارارارارارا
ورو
و جو
(((((((((((((((((((
48. Mahāvīra temple, rangamandapa, vikarna-vitāna.

Page #258

757
49. Mahāvīra temple, rangamaṇḍapa, Sabhāmandāraka karoṭaka-vitāna.

Page #259

416

wwwww
50. Mahāvīra temple, rangamandapa, Sabhamandāraka karoṭaka-vitāna, central section, closer view.
MENIFALL FOR Rom

FOOD

Page #260

om
ESCOLA
ICIC
T!
AAAAA
51. Mahāvīra temple, rangamandapa, Sabhāmandāraka karotaka-vitāna, view from below.

Page #261

52. Mahāvīra temple, rangamandapa, Sabhāmandāraka karotaka-vitāna, lambana, view from below.

Page #262

53. Mahāvīra temple,
rangamandapa, Sabhāmandāraka karotaka-vitāna, rupakantha with vidyādharabrackets.
33333
54. Mahāvīra temple,
rangamandapa, Sabhāmandāraka karotaka-vitāna, rūpakantha with vidyādhara-brackets.
55. Mahāvīra temple, rangamandapa,
Sabhāmandāraka karotaka-vitāna, rūpakantha, southern bhadra, a pair of Negameşa figures
replacing vidyādharas on bracket-faces. Wawe Pe onal Use Only

Page #263

56. Mahāvīra temple, rangamandapa, western flank between the rangamandapa and the pattaśālā, Samatala ceiling,
first bay toward north. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
57. Mahāvīra temple, rangamandapa, western flank, second bay, Samatala ceiling. [Courtesy: Shardaben
Chimanbhai Educational Research Centre, Ahmedabad.]
CIROCCO
SIZ cafa
t a
1
x

Page #264

BE
9
58. Mahāvīra temple, rangamandapa,
western flank, third bay, Samatala ceiling
**
*
*******
*
R
e som

Page #265

59. Mahāvīra temple,
rangamandapa, western flank, fourth bay, Samatala ceiling.
12:02 (
-
2)
(0) 202)22

For Phvate & Personase O WILL
SI1的没”
。

Page #266

@
e?
O
22:3
O
2
O
TY
0
KX
S
2
K
ON
72
XXX
SA
022713 O 15
XXX
PV
ASSAR
OOM
KULIS X XXXXX
XXXX
XXX282
D2222
****
***
O
***
O
60. Mahāvīra temple, rangamandapa,
western flank, fifth bay, Samatala ceiling
WJain Eadcation International
For Private & Fersonal us

Page #267

O EXXO
TO KIK KI
DORTY
2
KE
33 0 33722277 o
2%
EX
O
XX
KKK
****
*****
****
***
O XXX
Od 2X2
XXXXXXX
OK
OS XXXXXXXXXXX
On
salased For Prive KIKOK
XXXXXXXX
61. Mahāvīra temple,
rangamandapa, western flank, sixth bay, Samatala ceiling.

Page #268

BELKOM
BRUSILICETTE
XXXXX
62. Mahāvīra temple, rangamandapa,
western flank, seventh bay, Samatala ceiling.
IIKK
IYEYE

Page #269

ACARD
6
500
63. Mahāvīra temple, rangamandapa, western flank, seventh bay, Samatala ceiling, detail.
64. Mahāvīra temple, rangamandapa, western flank between the rangamandapa and the paṭṭaśālā, seventh bay, Samatala ceiling, detail.
Jain Education Inter onar
raab Mp
ED
rsonase
nelibrary.org

Page #270

AE
SOLOCOS SECUE
SES
65. Mahāvīra temple, rangamandapa, eastern flank
between the rangamandapa and the pattaśālā, first bay toward north, Samatala ceiling.
Pain Educ
ale & Personal Use Only

Page #271

66. Mahāvīra temple,
rangamandapa, eastern flank, second bay, Samatala ceiling.
ថ្ងៃean ។
1
S
- TV

9
Personali ::::
:

Page #272

و انا انا انا
XXXXXX
21 ALESSA
777
gewe IDOLI ODEB
T6761
(XXXX
USAR
XXXXX
.
22
XXXXX
AL
XXXXX
******
KKK
67. Mahāvīra temple, rangamandapa,
eastern flank, third bay, Samatala ceiling
X
lapca
tela
Ko Pol
&
-sona

Page #273

68. Mahāvīra temple, rangamandapa,
eastern flank, fourth bay, Samatala ceiling
LES
LAPI
000000
3,
HODO
( EET
eses
AR
For Parete Personal use and
இயArg)
Jain Education Intemational

Page #274

:
:
:
70. Mahāvīra temple, rangamandapa, eastern flank,
sixth bay, Samatala ceiling. 2012LES & is x 1 22 文
5mgs
151
ALL ::
.neteas
2016
035
一一一一一一一
u rans。
1
2012
69. Mahāvīra temple, rangamandapa, eastern
flank, fifth bay, Samatala ceiling.

Page #275

ESTE
XXXXXX
bb
20
Data
KEK
71. Mahāvīra temple, rangamandapa,
eastern flank, seventh bay, Samatala ceiling.
Jain Education Interational
For Private & Personale

Page #276

WAYFAR
72. Mahāvīra temple, rangamandapa, paṭṭaśälä, devakulika, door-frame.

For Private
73. Mahāvīra temple, Samavasaraṇa-devakulikā, Samavasarana.
3352
SHAKERRA
Use Only
BLAWNY
www.jaine

Page #277

W
CPAP
74. Mahāvīra temple, Samavasarana-devakulikā, sarvaraņā.
Jain Education Intemational

Page #278

75. Mahāvīra temple,
Padmasarovara symbol(?), mukhālinda-bhadra, carved on the floor, north of rangamandapa's central octagon. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
76. Mahāvīra temple, mukhamandapa, lateral semi-blind jālas, east.
EUVRE 1122
Jal Educa
n
al
& Personale On

Page #279

TA
77. Kumbhāriyā. Sāntinātha temple, sikhara from
south. Maru-Gurjara style. C. A.D. 1082.
78. Sāntinātha temple, prāsāda-Sikhara
and güdhamandapa-samvaraņā, southwest. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
Jain Education Intemational
For Private & Perse
wiljainelibres

Page #280

79. Sāntinātha temple, gūdhamandapa, Sabhāmārga vitāna. [Courtesy: Shardaben
Chimanbhai Educational Research Centre, Ahmedabad.]

Page #281

80. Säntinätha temple, satcatuski, khattaka.

19/201
FLORUR MED HARD
For Private & Personal Use D

Page #282

TIDIG
RONMENU
CLE
ឧបបជាជន
រ
81. Sāntinātha temple, şatcatuski from northwest.
Jain Education Intemational

Page #283

SSSSSSSSSS
82. Sāntinātha temple, şatcatuski from northeast.

Page #284

83. Sāntinātha temple, şatcatuṣki, four front pillars.
CONO

Page #285

84. Śantinätha temple, satcatuski, rear row,
Miśraka column.

0000

SG 50

Page #286

CEBA
85. Šāntinātha temple, șațcatuṣkī, stereobate-front, right to the spectator. [Courtesy:
Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
86. Sāntinātha temple, satcatuskī, stereobate-front, left to the spectator.
M
@OZOA
SVOM
3
.

-

Page #287

87. Säntinātha temple, satcatuski, front row, central Nābhimandāraka ceiling.
88. Santinātha temple, satcatuski, rear row, central Nābhimandāraka ceiling.

5

Page #288

OSOVOOOOOOO 89. Sāntinātha temple, satcatuski, front row, one of the two identical lateral Nābhimandāraka
ceilings.
90. Säntinātha temple, satcatuski, rear row, one of the two identical lateral Nābhimandāraka
ceilings.

Page #289

91. Säntinätha temple, rangamandapa from the satcatuski.
20

Mo@o@o...o0000
M
COOK
However
@eeeexSGOGOL
AAAAAAT
0000000
NOT
*KKI

www.jainbrary.org

Page #290

res
21
92. Sāntinātha temple, rangamandapa from east. [Courtesy: Shardaben Chimanbhai Educational Research
Centre, Ahmedabad.]

Page #291

7127XWWVINININANANINININ
N ITINER
93. Sāntinātha temple, rangamandapa, bhadra-torana, west.

Page #292

94. Säntinätha temple, rangamandapa, front four columns, north.

Joxi
PROX
broton
For Private & Pe
36/8

Page #293

OS
DO
www
www
4444444444444444
Wwwwwww
AWWAMA
MAS
27
95. Sāntinātha temple, rangamandapa, karotaka containing Sabhāmandāraka vitāna, view from the floor. [Courtesy:
Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]

Page #294

33435
P3

96. Santinatha temple, rangamandapa, Sabhamandāraka karoṭaka-vitāna, detail, view from the floor.
74797999

Page #295

(
2
)
>]
WWWWWW
S
ANAAN
WICKOKKRUKKKKKKKONDA
*444344
KIES
97. Sāntinātha temple, rangamandapa, Sabhāmandāraka karotaka-vitāna.
Jain Education Intemational

Page #296

-Y
5
98. Sāntinātha temple, rangamandapa, ūrmivalli on the karotaka's soffit, south.
99. Sāntinātha temple, rangamandapa, ūrmivallī on the karotaka's margin-soffit, north.
212
Jain Education Themational
w
inelibrary or

Page #297

100. śāntinātha temple,
rangamandapa, ūrmivalli on the karotaka's marginsoffit, detail, north. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
101. Santinātha temple, rangamandapa, Sabhāmandāraka karotaka-vitāna, vidyādhara-brackets and other
details of the ceiling
Jain Educator
wate & Be S
HBRO
www.jainle.org

Page #298

DODO
20000
MMMMM
102. Śantinatha temple, rangamandapa, Sabhāmandāraka karoṭaka-vitāna, another view. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
MAWA
Jain Education Internationa
103. Śantinatha temple, rangamandapa, Sabhāmandāraka karoṭaka-vitāna, central part, closer view. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]

Page #299

104. Säntinätha temple, rangamandapa, Sabhämandāraka karotaka-vitäna, kola courses and
lambana, closer view.

of Private

Page #300

ਅi a
105. Sāntinātha temple, rangamandapa, western flank, first bay, Samatala ceiling. [Courtesy: Shardaben
Chimanbhai Educational Research Centre, Ahmedabad.]
106. Sāntinātha temple, rangamandapa, western flank, first bay, Samatala ceiling, detail.
ਤਾ
। ਉਹ
Ja
a tion International
Relate
jar
borg

Page #301

VAVAV
107. Sāntinātha temple, rangamandapa, western flank, second bay, Samatala ceiling. [Courtesy: Shardaben
Chimanbhai Educational Research Centre, Ahmedabad.]
108. Sāntinātha temple, rangamandapa, western flank, second bay, Samatala ceiling, detail.

Related
Senly
www.rainelibrary.org

Page #302

HayDa
טבעת
W
Imber Hortser
109. Santinatha temple, rangamandapa, western flank, third bay, Samatala ceiling. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
110. Śantinātha temple, rangamandapa, western flank, third bay, Samatala ceiling, detail.
jainelibrary.org

Page #303

111. Santinatha temple, rangamaṇḍapa, western flank, fourth bay, Samatala ceiling. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]

112. Santinatha temple, rangamandapa, western flank, fourth bay, Samatala ceiling, detail.

Page #304

113. Sāntinātha temple, rangamandapa, western flank, fifth bay, Samatala ceiling. (Courtesy: Shardaben
Chimanbhai Educational Research Centre, Ahmedabad.]
114. Sāntinātha temple, rangamandapa, western flank, fifth bay, Samatala ceiling, detail.
A halal
.
A
Jain Education Intereupna

Page #305

115. Säntinātha temple, rangamandapa, western flank, sixth bay, Samatala ceiling.
[Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
116. Sāntinātha temple, rangamandapa, western flank, sixth bay, Samatala
ceiling, detail.

Page #306

ELEID
IN M
YK viti
117. Sāntinātha temple, rangamandapa, eastern flank, first bay, Samatala ceiling. [Courtesy: Shardaben
Chimanbhai Educational Research Centre, Ahmedabad.]
18. Seminaba temple, migamapapa, estem bank, fins bay, Sumatala celine
118. Sāntinātha temple, rangamandapa, eastern flank, first bay, Samatala ceiling, detail.

Page #307

119. Santinātha temple, rangamandapa, eastern flank, second bay, Samatala ceiling, detail.

인보
For Private
Personal Use Only

Page #308

121. Säntinātha temple, rangamandapa, eastern flank,
third bay, Samatala ceiling, detail.
120. Säntinātha temple, rangamandapa,
eastern flank, third bay, Samatala ceiling. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
ROX
Jain Education Intemational
For Private
Personal Use Only
www.sain
brary 89

Page #309

122. Sāntinātha temple, rangamandapa, eastern flank, fourth bay, Samatala ceiling. [Courtesy:
Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
123. Sāntinātha temple, rangamandapa, eastern flank, fourth bay, Samatala ceiling, detail.
KAMEREDED
mudah
Jain Education Intematona
A
Focuvale & Hersonal use only

Page #310

SAW
Saa 60
XX
( 6
090
124. śāntinātha temple, rangamandapa,
eastern flank, fifth bay, Samatala ceiling. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
PA
125. Sāntinātha temple, rangamandapa,
eastern flank, fifth bay, Samatala ceiling, detail.

For Private
Personal Use Only
Minelig

Page #311

126. Sāntinātha temple, rangamandapa, eastern flank, sixth bay, Samatala ceiling, detail.
[Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
127. Sāntinātha temple,
Astāpada-kulikā, Astapada. A.D. 1206. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]

Fair Private & Personal Use Only

Page #312

.
128. Sāntinātha temple, Aştāpada-kulikā, Aștāpada, closer view.

Page #313

129. Śäntinätha temple, pattaśala, one of the carved lantern ceilings. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
130. Säntinätha temple, mukhālinda before the rangamandapa, floor, rotating
Swastika symbol.
[Courtesy:
Shardaben
Chimanbhai
Educational
Research Centre. Ahmedabad.]

野
Personal Use Onli

Page #314

CODA HONDA VEDE
132. Pärsvanatha temple, mülapräsäda, sikhara from southeast.
131. Kumbhäriyä. Pärśvanätha temple, mulaprāsāda, sikhara from south. Maru-Gurjara style. C. A.D. 1100.

Attal
ZERANSAN

Page #315

510
HASTORE PIONY
blola
OZONOLONYO
NOVO
Jain Education Inte
25
OROZE
OURETTE TEE BAE
lola
CABORER
134. Pārsvanatha temple, güḍhamandapa, doorframe, doorlintel and the patta above showing 14 auspicious dreams.
133. Pārsvanatha temple, gūḍhamandapa, doorframe, lower part with doorsill.
XX
Progre 144
200000
brary.org

Page #316

135. Pārsvanātha temple, güdhamandapa, doorsill, top-view.
136. Pārsvanātha temple, trika's mukhacatuski, dado, west profile.
Jan Educ
For Private & Personal Use Onty
willinelibrary.org

Page #317

137. Pārsvanātha temple,
trika, khattaka, proper left. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
138. Pārsvanātha temple, trika, mukhacatuski, dado, east profile.
201
AQ
Jain Education Internation
For Palete & Personal Use Only

Page #318

139. Pārsvanātha temple, trika from northwest.

Page #319

vere
140. Pārsvanātha temple, trika, mukhacatuski pillars with toraṇa.

Page #320

141. Pārsvanātha temple, trika, one of the front-pillars, jangha, Cakreśvarī.

Page #321

FERREIRA AUTY SATSISAVIVWXXXIX
0850R
142. Pārsvanātha temple, rangamandapa, view from trika.

Page #322

143. Pārsvanātha temple, rangamandapa from west. [Courtesy: Shardaben Chimanbhai Educational Research
Centre, Ahmedabad.]

Page #323

SUSCE
BOOK
SER
144. Pārsvanātha temple, rangamandapa, partial view from west.

Page #324

145. Pārsvanātha temple, rangamandapa from northwest.

Page #325

146. Pārsvanātha temple, rangamandapa from northwest.

Page #326

147. Pärsvanātha temple, rangamandapa, front row (north) of pillars. [Courtesy:
Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]

Page #327

148. Pārsvanātha temple, rangamandapa,
Misraka pillar, base and kumbhikā.
149. Pārsvanātha temple, rangamandapa, view
from north.

or Povete & Personal Use Only

Page #328

77171717171
M
ESSENTIAL
150. Pārsvanātha temple, rangamandapa, central Sabhāmandāraka ceiling, view from below.
Jain Education Interational

Page #329

4
2013
LAG
ARIETENII IV T
IVIA
151. Pārsvanātha temple, rangamandapa, central Sabhāmandāraka ceiling, view from below, detail.

Page #330

152. Pārsvanātha temple, rangamandapa, central Sabhāmandāraka ceiling, closer view from below.

Page #331

CA
J
153. Pärsvanatha temple, rangamandapa, central Sabhämandäraka ceiling, closer view of lambana from below.

Page #332

XOXOXOXOX®
30060
154. Pārsvanatha temple, paṭṭaśālā, west, view from south.

For Private Personal Use Only

Page #333

155. Pārsvanātha temple, bhadraprāsāda, east, doorway view through carved pattaśālā pillars.
TOY
xo
.
132

Page #334

lice
00
$28782078 NOADIN
San
LIFEDELE PECTER PER

10x8
G730510
156. Pārsvanatha temple, bhadraprāsāda, east, doorframe, lower half, detail.

16348436
DE DOZONEZzekever

Page #335

158. Pärsvanatha temple, paṭṭaśālā, west, Näbhimandāraka ceiling.

157. Pärsvanätha temple, paṭṭaśālā, west, Nabhimandaraka ceiling.
AAAAAA
For Private &ersonas
Tary

Page #336

159. Pārsvanātha temple, pattaśālā, west,
Nābhimandāraka ceiling.
160. Pārsvanātha temple, pattaśālā,
west, bhadraprāsāda front, Sabhāmandāraka ceiling.

sainelibraorg

Page #337

161. Pārsvanātha temple,
pattaśālā, west, Nābhimandāraka ceiling.
162. Pārsvanātha temple,
pattaśālā, west, Nābhimandāraka
ceiling. Jain Education Intemational

Page #338

163. Pārsvanātha temple, rangamandapa, north
mukhālinda, floor, rotating Swastika. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
164. Pārsvanātha temple, pattaśālā
with balānaka, view from
northwest.
Private & Personal Use Only

Page #339

OBTEN BEITOST
គិលានគេជា
166. Pārsvanātha temple, western bhadrapräsāda,
closer view from west. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
165. Pārsvanātha temple, western bhadraprāsāda,
view from west.
RS
TONTONE

For Private & Pers

Page #340

168. Neminātha temple,
central pattaśālā ceiling with balānaka ceilings further north. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
WORDS ARE YOYOX@ memory
OO
SODOUDOUND ONGKONGO DEMO
SIOS
167. Kumbhāriyā. Neminātha temple, balānaka, torana from south. Maru-Gurjara style.
C. late 13th cent. A.D. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]

Page #341

169. Neminātha temple, view showing central pattaśālā ceiling with
(Meghanäda) rangamandapa ceiling. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
170. Neminātha temple, central pattaśālā Nābhimandāraka ceiling.
Jain Educa
t ional
www.lamelibay.org

Page #342

3

Diana
30
BE EXEED
KKNKORDPRORROND
UX.COXIN
171. Neminatha temple, Meghanada-maṇḍapa from north. C. A.D. 1137.

AFFER

Page #343

WWODOWE CONDONOVO CONCKOR
BER
IR
173. Neminātha temple, Meghanāda-mandapa part
from west.
172. Neminātha temple, mukhālinda from west.
KUR
STEEPE SE Cocoke
BER

nelibrary.org

Page #344

174. Neminatha temple, Meghanada-maṇḍapa, pillars.
Cindi
CGBC

ONOTONO CROORG
"
GAB
Private & Personal Use Only
nnnn

Page #345

SO
ON
175. Neminātha temple, Meghanāda-mandapa, showing part of the upper storey. (Courtesy: Shardabe
Chimanbhai Educational Research Centre, Ahmedabad.]

Page #346

பரரரயOe
JUUUUUWS
LLLL
INCUL
DELETE
SA
DUUUUUWW
en
EEL
danas
3
CS
SUUDUBE
SEILS
res
176. Neminātha temple, Meghanāda-mandapa, Sabhāmandāraka karotaka-ceiling, view from below.

Page #347

OR
SUBOG
LASSE
.
D
>>>>>>>>>>>>>>>
2>>
EIN
JONOXONO
BONOK
177. Neminātha temple, Meghanāda-mandapa, Sabhāmandāraka karoțaka-ceiling.

Page #348

CCC
EZESZERET
20.
>
>
AA
>
WILS
SEBELARE
2
SIDADE
000
E
LLUL
TTERE
LISSUU
MTC
CEZAEEEZE
LEGO
202acard
CLOUDBand
SSS
NOSS
178. Neminātha temple, Meghanāda-mandapa, Sabhāmandāraka karotaka-ceiling, detail.

Page #349

EEE3111:12
IZEZETELERE
EZTETETE
WEB
ORTE
179. Neminātha temple, Meghanāda-mandapa, Sabhāmandāraka karotaka-ceiling, closer view. (Courtesy:
Department of Archaeology, Government of Gujarat.]

Page #350

180. Neminatha temple, şaṭcatuski, front pillars from northeast.
on International
TRUEL

exombi.co
CODED
TASY

Page #351

181. Neminatha temple, satcatuṣki, front pillars from northwest.

AVAY
1616 16

Page #352

ES
BIRE
TILL GILLI TELLISET
ESIREE
RE
IS
EL CIELEFONE
1 WORDS
182. Neminātha temple, şatcatuskī, east extension, blind screens. C. A.D. 1281.
183. Neminātha temple, şaţcatuski, front central Nābhimandāraka ceiling.
KE
elibrary.org

Page #353

0001
184. Neminātha temple, satcatuski, rear central Nābhimandāraka ceiling. [Courtesy: Shardaben
Chimanbhai Educational Research Centre, Ahmedabad.]
185. Neminātha temple, satcatuski, one of the lateral Nābhimandāraka ceilings.
[Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
Jain Education Intematid 12

Page #354

186. Neminatha temple, ṣatcatuṣki, one of the lateral Nabhimandāraka ceilings. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
187. Neminatha temple, gudhamandapa, doorframe, doorsill detail. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]

Page #355

188. Neminātha temple, güdhamandapa, exterior, later carved udgama-pediment.
189. Neminātha temple, gūdhamandapa, exterior, later carved udgama-pediment.
NGOT
Jain Education Internati
ate & Personale Only

Page #356

Jain Baba
SCRUBRE DURUMS
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
>
190. Neminātha temple, mülaprāsāda with gūdhamandapa from southeast. A.D. 1137.
303
>>>>>

Page #357

191. Neminātha temple, mülaprāsāda, view from southeast.

Page #358

192. Neminātha temple, mülaprāsāda, south, right side.
9
-
NEN
000
BEBETTETET
LETTE

Page #359

CAT
W
IN
11
WIN
I TOTTENERNYATA
194. Neminātha temple, mūlaprāsāda, east. [Courtesy: Shardaben Chimanbhai Educational
Research Centre, Ahmedabad.]
III
WWW
193. Neminātha temple,
mūlaprāsāda, south, left side. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
Jain Education Intemational

SYERS

Page #360

HREE
FRY
Jain Education Internationa
CULTY
wwwwwww
196. Neminatha temple, mulaprāsāda, south, bhadrapītha and vedibandha detail. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
WESAN
WWW
195. Neminatha temple, mūlaprāsāda, east, left side, pītha and vedibandha detail.

Page #361

197. Neminātha temple, mülaprāsāda,
vedibandha, kumbha-face, Sarasvati. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
198. Neminātha temple, mülaprāsāda,
vedibandha, kumbha-face, Nirvāṇī. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
NOVA
199. Neminātha
temple, mūlaprāsāda with kapīlī, west, janghā images. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]

Page #362

AVA
MONET
201. Neminātha temple, bhadraprāsāda, west, doorframe, lower half, detail.
202. Neminātha temple, bhadraprāsāda, west, doorsill, top view.
in Education interna
vale & Per

Page #363

OCULO
200. Neminātha temple, bhadraprāsāda, west, doorframe.

Page #364

VAN
203. Neminātha temple, devakulikā, west pattaśālā, doorframe.

Page #365

2
12
HO
7.
2.2 PERATOR
.
NY
1010 mar QKUKKIEKT
204. Neminātha temple, west bhadraprāsāda, exterior, view from west. C. A.D. 1137.
[Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
205. Neminātha temple, west bhadraprāsāda, exterior, closer view from west.
[Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
-7.1.
2.32
0
Jain Education Internali

Page #366

206. Neminātha temple, west pattaśālā, southernmost
devakulikā, exterior, view from west.
BE
207. Neminātha temple, west pattaśālā, southernmost
devakulikā, superstructure from south.
For Private & Per
www.jameliorary.one

Page #367

208. Neminātha temple, sikhara of the same southernmost devakulikā,
removed and reërected in theoretical) pattaśālā area, southeast of mülaprāsāda. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]

Page #368

wa
Nie
209. Kumbhāriyā. Sambhavanātha temple, prāsāda from south. Maru-Gurjara style. C. A.D. 1232.

Page #369

210. Sambhavanātha temple, prāsāda from west. [Courtesy: Shardaben Chimanbhai
Educational Research Centre, Ahmedabad.]

Page #370

211. Sambhavanātha temple,
prāsāda from east.
212. Sambhavanātha temple,
prāsāda, pītha and
vedibandha.

Page #371

213. Sambhavanātha temple, gūdhamandapa, northern doorframe within the rangamandapa.

& Personal use Galg
Jain Educato

Page #372

215. Kumbhāriyā. Kumbheśvara temple, prāsāda from
southeast. Maru-Gurjara style. C. A.D. 1207.
214. Sambhavanātha temple, rangamandapa from
southwest.

i
brary.or

Page #373

DMSTEMATID M
216. Kumbheśvara temple,
prāsāda, west, left side, pītha and vedibandha detail.
217. Kumbheśvara temple, prāsāda, mandovara, janghā from northwest.
CA
Jain Education Mie datoria

Page #374

218. Kayotsarga Jina in store room,
Mahavira temple. Maru-Gurjara style. C. A.D. 1031(?).

For Private & Personal Use Or
219. Kayotsarga Jina of the pair, Mahāvīra temple, gudhamandapa. Maru-Gurjara style. A.D. 1062.
lara
374
baiga

Page #375

YA
COM
220. Kāyotsarga Jina of the pair,
Neminātha temple, gūdhamandapa. MaruGurjara style. A.D. 1158.
24
परमाने
प्रायश्लिल
ed
221. Second
standing Jina of the pair, Neminātha temple, gūdhamandapa, carved pedestal. Maru-Gurjara style. A.D. 1158.

Page #376

Souragirmwarimpare
दिमाम सरासस रनामा सरिती
रमनीयमा नि
मारिलिज नप्रतिनि
माहाटानमामि इलाटीवाला
बादामाचा महसुन्द आदायाबामासमीत कमाउलायर्या राठलनमा डासलबाबुधवारी समस्यामा विकाNIRFARHABIANPETARRATONDA
PREGOolipi
सादरकामसपर
HOOL
222. Kāyotsarga Jina, Neminātha temple, antarāla, carved pedestal. Maru-Gurjara style. A.D. 1258.
223. Second standing Jina of the pair, Neminātha temple, antarāla, carved pedestal.
Maru-Gurjara style. A.D. 1258.
C
wadaशिमामधारासमाकला ननिमायानन्य 29य नारिशिध heनश्चिारावासलमानामावरमागरमप्रिनि मानिरिक्षमदनाया रामनयामममा.लिया नारासह आम मानिमयुदायिनी कारितगनिचापितयारसमेगगी माणसमशका
Main सका
CESSAGE
Bargargaमा-517
Jain Education ntematonai

Page #377

225. Parikara and ārādhaka couple, Sambhavanātha
temple, gūdhamandapa. Maru-Gurjara style. C. late 13th cent. A.D. (Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
224. Vāsupujya Jina, Sambhavanātha temple,
gūdhamandapa. Maru-Gurjara style. C. late 13th century A.D.
Jain Education Intemational
"For Private & Personale

Page #378

227. Yaksi Ambikā, Mahāvīra temple, garbhagsha.
Maru-Gurjara style. C. A.D. 1062.
226. Sarvānubhūti Yakşa, Mahāvīra temple,
garbhagsha. Maru-Gurjara style. C. A.D. 1062.

www.ainelibrary.org

Page #379

TOME
TY
228. Panels in the ceiling in the second bay showing Sarvanubhūti, Ambikā, and Brahmasänti-Yakṣa, Mahävira temple, rangamandapa's east flank. Maru-Gurjara style. C. A.D. 1062.
pau Fathom
starwnapeaters
22
229. Ambika, Mahāvīra temple, devakulikā. Maru-Gurjara style. C. 3rd quarter of the 12th cent. A.D. (Originally in Neminatha temple.)

230. Ambika in niche,
Şatcatuski's western extension,
Neminatha temple. Maru-Gurjara style. C. A.D. 1264.
(Restored.)
[Courtesy:
Shardaben
Chimanbhai
Educational
Research Centre, Ahmedabad.]

Page #380

$99.09.00.000000
TI
231. Torana reërected at east door, caturmukha
Samavasarana-kulikā. Maru-Gurjara style. A.D. 1157. (Originally believed to be before the mūlanāyaka image in the garbhagrha, Mahāvīra temple.)
WIN
10
232. Image-torana posts, displaced, Pārsvanātha
temple. Maru-Gurjara style. A.D. 1125.
For Private
Personel Use Only
www.jainelibrary.one

Page #381

als.
.
4
233. Image-torana, Neminātha temple, apparently in front of the main image as originally
set up. Maru-Gurjara style. C. 12th or 13th cent. A.D.
Jain Education Intemational

Page #382

234. Image-torana in one of the western row devakulikäs, Pärśvanätha temple. Maru-Gurjara style. C. 12th cent. A.D.
235. Image-torana in one of the western row devakulikäs, Pärśvanätha temple. Maru-Gurjara style. C. 12th cent. A.D.

TANE
For Pivate & Personal Use On
R
152

Page #383

236. Samavasarana
piece, Pārsvanātha temple. MaruGurjara style. C. 12th cent. A.D. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]
237. Jina-Mātrkā-patta. Maru-Gurjara style. C. 12th or 13th cent. A.D.
(Originally in the Neminātha temple, now placed in the Mahāvīra temple.)

For Private & Tersonal Use Only

Page #384

238 Two fragments of Sattarisaya-Jina-patta (Saptatiśatabimba). Maru-Gurjara style, C. A.D. 1254 or later. & (Originally in the Neminātha temple, now placed in two consecutive devakulikās of western row in the 239 Mahāvīra temple.)
“BidLIAO
些些些些些

Page #385

CODQ0oid
AD30 VAN
Apooo 00A
1000
70
SNyV
ADA
IYVPN
Tig
belo
SLEEPAN
IIATYA IYYII IIYVIIIVILINVILITY)
و اراء ماااش الهكرال (2)
இதை 3
S
SA-30
240. Vis-viharamana-Jina-patta. Maru-Gurjara style. C. late 13th cent. A.D. or
later. (Originally in the Neminātha temple, now in storeroom of the Mahāvīra temple. )|

|

Page #386

241. Nandīśvara-patta, satcatuskī, khattaka in the extended eastern part, Neminātha temple.
Maru-Gurjara style. A.D. 1267.
AANDO

Page #387

242. Sattarisaya-Jina-patta (Saptatisatayantraka), satcatuski, extended western part, Neminatha temple.
Maru-Gurjara style. A.D. 1254.
RADIAN WAWAWWNY
VEN
PUTERVURUJலய
DU
UPLUDEரரர
Wareகததுககதது
ITH
TOUAGராரOUPON ULLHILLS
DHOLU Ar= =
= --
= - - -
- -
>
பாகையாகரரைகர்கர்கர்கரான கால்கது பகை தவம் இருந்தும் இப்பகம், துalai
OUR
*
இது
"
HAALATHAAI
45 தரUTOR
EARN
மொUைTTON
தரUUUUDE
IUI 11
THOUTOUTUE
AH
OUTUAழு
காயம் பட்ட காலம் பாம்பு தும்மனை

Page #388

243. Kalyāṇatraya-patta, satcatuski, extended eastern part, Neminātha temple.
Maru-Gurjara style. A.D. 1287.
.
A
ng isang
SIMBA

Page #389

244. Samalikā-vihära-patta. Maru-Gurjara style. A.D. 1282. (Originally in the Neminātha temple, now in the
entry hall of the Mahāvīra temple.)

Page #390

Page #391

For Privale & Personal Use Only

Page #392

3000

Page #393

Jain Education Intemational

www.jalnelibrary.org

Page #394