Temples of Kumbhariya

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

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

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Coor Education International

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OOOC

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The Temples in Kumbhariya

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

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

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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. (c) 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.

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To The Sacred Memory of Sheth Shri Kasturbhai Lalbhai

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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. Kumbhariya and Contemporary Writings 3. Kumbhariya : 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

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Front cover photo: Kumbhariya. Neminatha temple from north. Maru-Gurjara style. Founder: Pasila (son of minister Gogaka of Arasana). C. A.D. 1137-1254. Frontispiece: Kumbhariya. Mahavira temple, mulaprasada with gudhamandapa from southeast. Maru-Gurjara style. Founders: Members of 'Sangha-caitya.' C. A.D. 1062 Back cover photo: Kumbhariya. Santinatha (Adinatha Phase II) temple, satcatuskya, frontal pillars from southwest. Maru-Gurjara style. C. A.D. 1082.

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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 Kumbhariya 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 Kumbhariya'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

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X the interested lay readers. Two years ago, among the several guide books written in Gujarati by Prof. Dhaky, one entitled 'Arasi Tirtha Arasana', 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 Kumbhariya Personal Use Only Shrenik Lalbhai Chairman Sheth Anandji Kalyanji

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Prefatory Note Kumbhariya 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 Solanki period. Qualitatively, these can be reckoned as on par, and even for a few aspects excelling the world famous Delvada 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 Kumbhariya 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 reexamination 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 Samsthana" 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

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xii printing of the Nagari part (inscriptions) and Shri Naranbhai Patel read the proofs. We gratefully acknowledge the cooperation of the aforementioned two institutions as well as the assistance of Samir Pathak. We likewise thank Sheth Anandji Kalyanji for their valuable cooperation 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 Delvada temples, in the nation's precious heritage. Ahmedabad 15.12.2000 The Temples in Kumbhariya For Private Personal Use Only Jitendra Shah Director L.D. Institute of Indology

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Preface The American Institute of Indian Studies is proud to copublish 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 Kumbhariya 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 Kumbhariya might be recommenced, thus giving renewed impetus to the production of this monograph. M.A. Dhaky then invited U.S. Moorti to serve as coauthor of this text on the important Jaina temples of Kumbhariya. The volume, the very first on the temples of Kumbhariya, fills a major lacuna in Indological studies. While the Jaina temples of Mt. Abu, Ranakpur, and Osian are well-known to pilgrims, scholars, and tourists, those of Kumbhariya, 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 Kumbhariya 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 Kumbhariya. 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

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xiv The Temples in Kumbhariya 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

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Introductory The first author of this monograph had planned a book on the temples in Kumbhariya 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 samvarana-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 Kumbhariya 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

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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 Kumbhariya, 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 Kumbhariya 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 Kumbhariya 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 Kumbhariya 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 Kumbhariya 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

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Introductory intention, and of necessity, the descriptions of the temples given here betray an archaeological bias, using technical 'vastu' 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 Saivism, Jainism, too, passed through its most glorious phase. In Gujarat, then, hundreds of Svetambara 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 (Anahillapataka, the capital of Gujarat), Ahmedabad (Asapalli-Karnavati), Cambay (Khambhat, Stambha-tirtha), Bharuch (Bhrgukaccha), Dholaka (Dhavalakakka), Mandal (Mandali), Vanthali (Vananasthali), Prabhasa, Mangaro! (Mangalapura), and some other towns like Kapadavanj For Private Personal Use Only

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xviii (Karpatavanijya). Keeping in view this huge, indeed inestimable and lamentable loss, the temples at Kumbhariya, 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 Delvada 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 Delvada 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 Delvada temples. The Temples in Kumbhariya In medieval times, Kumbhariya was not on the main pilgrim route, nor was it eminently famous as a 'tirtha'. Hence the place, with a few exceptions, remained unalluded to in the 'caitya-paripati' and 'tirthamala' 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 Gujarati, 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

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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 Kumbhariya 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 Gujarati 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 Nagari 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.

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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

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List of Figures PAGE 5. Location map of Kumbhariya. Site plan showing temples in Kumbhariya. (Not to the scale.) Floor plan, Mahavira temple. Elevations of the pithas: a. Mahavira temple, mulaprasada; b. Santinatha (originally Adinatha) temple, mulaprasada; c. Parsvanatha temple, mulaprasada; d. Sambhavanatha (originally Santinatha) temple, mulaprasada. Plan and elevation of the pitha, Samavasarana, Four-doored devakulika, Mahavira temple. (Not to the scale.) [Courtesy: Department of Archaeology, Government of Gujarat.] Plan and elevation, samvarana of the Samavasarana devakulika, Mahavira temple. (Not to the scale.) [Courtesy: Department of Archaeology, Government of Gujarat.] Floor plan, Santinatha (Adinatha Phase II) temple. Floor plan of the Astapada, Four-doored devakulika, santinatha (Adinatha Phase II) temple. (Not to the scale.) (Courtesy: Department of Archaeology, Government of Gujarat.] Floor plan, Parsvanatha temple. Floor plan, Parsvanatha temple, mukhamandapa, lower storey level. Floor plan, Neminatha temple. Elevations of the pithas: a. Neminatha temple, mulaprasada; b. Kumbhesvara temple, mulaprasada. Floor plan, Sambhavanatha (originally Santinatha) temple. Floor plan, Kumbhesvara Mahadeva temple. 9. 11. 13. 14.

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List of Plates 1. 2. 3. 4. Kumbhariya. Mahavira temple from northwest. Maru-Gurjara style. C. A.D. 1062. Kumbhariya. Santinatha (originally Adinatha) temple from northwest. Maru-Gurjara style. C. A.D. 1082. Santinatha (originally Adinatha) temple from southeast. Kumbhariya. Parsvanatha temple from northwest. Maru-Gurjara 'style. C. A.D. 1100. Kumbhariya. Neminatha temple from north. Maru-Gurjara style. C. A.D. 1137-1254. 5. 6. Neminatha temple from east-northeast. 7. Kumbhariya. Sambhavanatha (originally Santinatha) temple from east. Maru-Gurjara style. After A.D. 1232. 8. Kumbhariya. Kumbhesvara temple from southwest. Maru-Gurjara style. C. A.D. 1207. 9. Kumbhariya. Adinatha Phase I temple, garbhagsha-doorframe. Maru-Gurjara style. C. A.D. 1031. (Now in santinatha i.e., Adinatha Phase II temple.) (Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 10. Adinatha Phase I temple, doorframe, Ganga. 11. Adinatha Phase I temple, doorframe, Yamuna. 12. Adinatha Phase I temple, doorframe, bahya- and vallisakha detail, proper right. 13. Adinatha Phase I temple, doorframe, bahya- and vallisakha detail, proper left. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 14. Kumbhariya. Mahavira temple, mulaprasada with gudhamandapa, superstructures from southeast. Maru-Gurjara style. C. A.D. 1062. 15. Mahavira temple, mulaprasada from south. 16. Mahavira temple, mulaprasada and gudhamandapa, superstructures from southwest

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XXiv The Temples in Kumbhariya 19. 17. Mahavira temple, mulaprasada, sikhara from west. 18. Mahavira temple, mulaprasada with gudhamandapa, superstructures from northwest. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Mahavira temple, gudhamandapa, samvarana. [Courtesy: Department of Archaeology, Government of Gujarat.] 20. Mahavira temple, mulaprasada, lower structure from northwest. 21. Mahavira temple, mulaprasada, pranala. Mahavira temple, gudhamandapa, Sabhamarga vitana. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Mahavira temple, gudhamandapa, doorjambs and wall-pilaster, proper right. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 24. Mahavira temple, gudhamandapa, doorframe, upper part with uttaranga-lintel. 25. Mahavira temple, trika, pitha, east side. 26. Mahavira temple, trika, mukhacatuski-profile, west. 27. Mahavira temple, trika, mukhacatuski-profile, east. 28. Mahavira temple, trika, general view from northeast. Mahavira temple, trika, general view from northwest. 30. Mahavira temple, trika, mukhacatuski, frontal pillars with stairway between. 31. Mahavira temple, trika, Padmanabha vitana above the staircase. 32. Mahavira temple, trika, Padmanabha vitana, view from below. Mahavira temple, trika, Padmaka vitana, to the right of Padmanabha vitana. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 34. Mahavira temple, trika, Padmaka vitana, view from below. 35: Mahavira temple, trika, utksipta type of the Nabhicchanda vitana, behind the Padmanabha vitana. 36. Mahavira temple, trika, utksipta type of the Nabhicchanda vitana, view from below. (Courtesy: Department of Archaeology, Government of Gujarat.] 29. 37. Mahavira temple, trika, Nabhicchanda vitana, to the right of the utksipta-vitana. 38. Mahavira temple, rangamandapa, view from trika. 39. Mahavira temple, rangamandapa, another view from trika. 40. Mahavira temple, rangamandapa, front pillars (north side).

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List of Plates 41. Mahavira temple, rangamandapa, view from southeast. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 42. Mahavira temple, rangamandapa, bhadra-pillars, east, torana. 43. Mahavira temple, rangamandapa, front pillar, jangha, gandharva playing drum. Mahavira temple, rangamandapa, front pillar, upper belt showing nayikas/ surasundaris. 44. 45. 46. 52. 47. Mahavira temple, rangamandapa, karotaka, left out margin's carved soffit, northern. 48. Mahavira temple, rangamandapa, vikarna-vitana. 49. Mahavira temple, rangamandapa, Sabhamandaraka karotaka-vitana. 50. Mahavira temple, rangamandapa, Sabhamandaraka karotaka-vitana, central section, closer view. 54. 55. XXV 56. Mahavira temple, rangamandapa, lintel-soffit, lotus. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Mahavira temple, rangamandapa, karotaka, left out margin's carved soffit, southern. 53. Mahavira temple, rangamandapa, Sabhamandaraka karotaka-vitana, rupakantha with vidyadhara-brackets. 57. Mahavira temple, rangamandapa, Sabhamandaraka karotaka-vitana, view from below. Mahavira temple, rangamandapa, Sabhamandaraka karotaka-vitana, lambana, view from below. Mahavira temple, rangamandapa, Sabhamandaraka karotaka-vitana, rupakantha with vidyadhara-brackets. Mahavira temple, rangamandapa, Sabhamandaraka karotaka-vitana, rupakantha, southern bhadra, a pair of Negamesa figures replacing vidyadharas on bracketfaces. Mahavira 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. Mahavira temple, rangamandapa, western flank, fourth bay, Samatala ceiling. Mahavira temple, rangamandapa, western flank, fifth bay, Samatala ceiling. 60. Mahavira temple, rangamandapa, western flank between the rangamandapa and the pattasala, Samatala ceiling, first bay toward north. (Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]

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xxvi 61. 62. 63. 64. 65. 66. 67. 68. Mahavira temple, rangamandapa, eastern flank between the rangamandapa and the pattasala, first bay toward north, Samatala ceiling. Mahavira temple, rangamandapa, eastern flank, second bay, Samatala ceiling. Mahavira temple, rangamandapa, eastern flank, third bay, Samatala ceiling. Mahavira temple, rangamandapa, eastern flank, fourth bay, Samatala ceiling. Mahavira temple, rangamandapa, eastern flank, fifth bay, Samatala ceiling. 70. Mahavira temple, rangamandapa, eastern flank, sixth bay, Samatala ceiling. Mahavira temple, rangamandapa, eastern flank, seventh bay, Samatala ceiling. 72. Mahavira temple, rangamandapa, pattasala, devakulika, door-frame. 69. 71. 73. 74. 75. 76. 77. 78. 79. 80. 81. 82. 83. 84. Mahavira temple, rangamandapa, western flank, sixth bay, Samatala ceiling. Mahavira temple, rangamandapa, western flank, seventh bay, Samatala ceiling. Mahavira temple, rangamandapa, western flank, seventh bay, Samatala ceiling. detail. Mahavira temple, rangamandapa, western flank between the rangamandapa and the pattasala, seventh bay, Samatala ceiling, detail. Mahavira temple, Samavasarana-devakulika, Samavasarana. Mahavira temple, Samavasarana-devakulika, samvarana. The Temples in Kumbhariya Mahavira temple, Padmasarovara symbol(?), mukhalinda-bhadra, carved on the floor, north of rangamandapa's central octagon. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Mahavira temple, mukhamandapa, lateral semi-blind jalas, east. Kumbhariya. Santinatha temple, sikhara from south. Maru-Gurjara style. C. A.D. 1082. Santinatha temple, prasada-sikhara and gudhamandapa-samvarana, southwest. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Santinatha temple, gudhamandapa, Sabhamarga vitana. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Santinatha temple, satcatuski, khattaka. Santinatha temple, satcatuski from northwest. Santinatha temple, satcatuski from northeast. Santinatha temple, satcatuski, four front pillars. Santinatha temple, satcatuski, rear row, Misraka column.

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List of Plates xxvii 85. santinatha temple, satcatuski, stereobate-front, right to the spectator. (Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad. Santinatha temple, satcatuski, stereobate-front, left to the spectator. Santinatha temple, satcatuski, front row, central Nabhimandaraka ceiling. 86. 91. 22. Santinatha temple, satcatuski, rear row, central Nabhimandaraka ceiling. Santinatha temple, satcatuski, front row, one of the two identical lateral Nabhimandaraka ceilings. Santinatha temple, satcatuski, rear row, one of the two identical lateral Nabhimandaraka ceiling. Santinatha temple, rangamandapa from the satcatuski. Santinatha temple, rangamandapa from east. (Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Santinatha temple, rangamandapa, bhadra-torana, west. Santinatha temple, rangamandapa, front four columns, north. santinatha temple, rangamandapa, karotaka containing Sabhamandaraka vitana, view from the floor. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Santinatha temple, rangamandapa, Sabhamandaraka karotaka-vitana, detail, view from the floor. 93. 94. 95. 6. 97. Santinatha temple, rangamandapa, Sabhamandaraka karotaka-vitana. 98. 99. 100. santinatha temple, rangamandapa, urmivalli on the karotaka's soffit, south. Santinatha temple, rangamandapa, urmivalli on the karotaka's margin-soffit, north. Santinatha temple, rangamandapa, urmivalli on the karotaka's margin-soffit, detail, north. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Santinatha temple, rangamandapa, Sabhamandaraka karotaka-vitana, vidyadharabrackets and other details of the ceiling. 101. 102. 103. Santinatha temple, rangamandapa, Sabhamandaraka karotaka-vitana, another view. (Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Santinatha temple, rangamandapa, Sabhamandaraka karotaka-vitana, central part, closer view. (Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.) Santinatha temple, rangamandapa, Sabhamandaraka karotaka-vitana, kola courses and lambana, closer view. 104.

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

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List of Plates XXIX 124. 125. 127. 128. 129. 130. 131. santinatha temple, rangamandapa, eastern flank, fifth bay, Samatala ceiling. (Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Santinatha temple, rangamandapa, eastern flank, fifth bay, Samatala ceiling, detail. santinatha temple, rangamandapa, eastern flank, sixth bay, Samatala ceiling, detail. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Santinatha temple, Astapada-kulika, Astapada. A.D. 1206. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] santinatha temple, Astapada-kulika, Astapada, closer view. Santinatha temple, pattasala, one of the carved lantern ceilings. (Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Santinatha temple, mukhalinda before the rangamandapa, floor, rotating Svastika symbol. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Kumbhariya. Parsvanatha temple, mulaprasada, sikhara from south. Maru-Gurjara style. C. A.D. 1100. Parsvanatha temple, mulaprasada, sikhara from southeast. Parsvanatha temple, gudhamandapa, doorframe, lower part with doorsill. Parsvanatha temple, gudhamandapa, doorframe, doorlintel and the patta above showing 14 auspicious dreams. Parsvanatha temple, gudhamandapa, doorsill, top-view. Parsvanatha temple, trika's mukhacatuski, dado, west profile. Parsvanatha temple, trika, khattaka, proper left. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Parsvanatha temple, trika, mukhacatuski, dado, east profile. Parsvanatha temple, trika from northwest. Parsvanatha temple, trika, mukhacatuski pillars with torana. 132. 133. 134. 135. 136. 137. 138. 139. 140. 141. Parsvanatha temple, trika, one of the front-pillars, jangha, Cakresvari. 142. 143. Parsvanatha temple, rangamandapa, view from trika. Parsvanatha temple, rangamandapa from west. (Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Parsvanatha temple, rangamandapa, partial view from west. Parsvanatha temple, rangamandapa from northwest. 144. 145. 146. Parsvanatha temple, rangamandapa from northwest.

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XXX The Temples in Kumbhariya 147. 148. 149. Parsvanatha temple, rangamandapa, front row (north) of pillars. Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Parsvanatha temple, rangamandapa, Misraka pillar, base and kumbhika. Parsvanatha temple, rangamandapa, view from north. Parsvanatha temple, rangamandapa, central Sabhamandaraka ceiling, view from below. 150. 151. Parsvanatha temple, rangamandapa, central Sabhamandaraka ceiling, view from below, detail. 152. Parsvanatha temple, rangamandapa, central Sabhamandaraka ceiling, closer view from below. 153. 154. 155. 156. 157. 158. 159. 160. 161. Parsvanatha temple, rangamandapa, central Sabhamandaraka ceiling, closer view of lambana from below. Parsvanatha temple, pattasala, west, view from south. Parsvanatha temple, bhadraprasada, east, doorway view through carved pattasala pillars. Parsvanatha temple, bhadraprasada, east, doorframe, lower half, detail. Parsvanatha temple, pattasala, west, Nabhimandaraka ceiling. Parsvanatha temple, pattasala, west, Nabhimandaraka ceiling. Parsvanatha temple, pattasala, west, Nabhimandaraka ceiling, Parsvanatha temple, pattasala, west, bhadraprasada front, Sabhamandaraka ceiling. Parsvanatha temple, pattasala, west, Nabhimandaraka ceiling. Parsvanatha temple, pattasala, west, Nabhimandaraka ceiling. Parsvanatha temple, rangamandapa, north mukhalinda, floor, rotating Svastika. Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Parsvanatha temple, pattasala with balanaka, view from northwest. Parsvanatha temple, western bhadraprasada, view from west. Parsvanatha temple, western bhadraprasada, closer view from west. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Kumbhariya. Neminatha temple, balanaka, torana from south. Maru-Gurjara style. C. late 13th cent. A.D. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Neminatha temple, central pattasala ceiling with balanaka ceilings further north. Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 162. 163. 164. 165. 166. 167. 168.

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

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xxxii 192. Neminatha temple, mulaprasada, south, right side. 193. Neminatha temple, mulaprasada, south, left side. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 194. 195. Neminatha temple, mulaprasada, east, left side, pitha and vedibandha detail. 196. Neminatha temple, mulaprasada, south, bhadrapitha and vedibandha detail. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 197. Neminatha temple, mulaprasada, vedibandha, kumbha-face, Sarasvati. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 206. The Temples in Kumbhariya 199. Neminatha temple, mulaprasada with kapili, west, jangha images. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 200. Neminatha temple, bhadraprasada, west, doorframe. 201. Neminatha temple, bhadraprasada, west, doorframe, lower half, detail. 202. Neminatha temple, bhadraprasada, west, doorsill, top view. 203. Neminatha temple, devakulika, west pantasala, doorframe. 204. Neminatha temple, west bhadraprasada, exterior, view from west. C. A.D. 1137. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 207. Neminatha temple, mulaprasada, east. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 205. Neminatha temple, west bhadraprasada, exterior, closer view from west. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Neminatha temple, west pattasala, southernmost devakulika, exterior, view from west. 209. Neminatha temple, mulaprasada, vedibandha, kumbha-face, Nirvani. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 210. 208. Neminatha temple, sikhara of the same southernmost devakulika, removed and reerected in (theoretical) pattasala area, southeast of mulaprasada. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Neminatha temple, west pattasala, southernmost devakulika, superstructure from south. Sambhavanatha temple, prasada from west. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 211. Sambhavanatha temple, prasada from east. Kumbhariya. Sambhavanatha temple, prasada from south. Maru-Gurjara style. C. A.D. 1232.

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List of Plates 212. Sambhavanatha temple, prasada, pitha and vedibandha. 213. Sambhavanatha temple, gudhamandapa, northern doorframe within the rangamandapa. 214. Sambhavanatha temple, rangamandapa from southwest. 215. Kumbhariya. Kumbhesvara temple, prasada from southeast. Maru-Gurjara style. C. A.D. 1207. 216. Kumbhesvara temple, prasada, west, left side, pitha and vedibandha detail. Kumbhesvara temple, prasada, mandovara, jangha from northwest. 217. 218. Kayotsarga Jina in store room, Mahavira temple. Maru-Gurjara style. C. A.D.1031(?). 219. 220. 223. 224. 226. 227. 228. 229. xxxiii 230 Kayotsarga Jina of the pair, Mahavira temple, gudhamandapa. Maru-Gurjara style. A.D. 1062. Kayotsarga Jina of the pair, Neminatha temple, gudhamandapa. Maru-Gurjara style. A.D. 1158. 225. Parikara and aradhaka couple, Sambhavanatha temple, gudhamandapa. MaruGurjara style. C. late 13th cent. A.D. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Second standing Jina of the pair, Neminatha temple, gudhamandapa, carved pedestal. Maru-Gurjara style. A.D. 1158. Kayotsarga Jina, Neminatha temple, antarala, carved pedestal. Maru-Gurjara style. A.D. 1258. Second standing Jina of the pair, Neminatha temple, antarala, carved pedestal. Maru-Gurjara style. A.D. 1258. Vasupujya Jina, Sambhavanatha temple, gudhamandapa. Maru-Gurjara style. C. late 13th century A.D. Sarvanubhuti Yaksa, Mahavira temple, garbhagrha. Maru-Gurjara style. C. A.D. 1062. Yaksi Ambika, Mahavira temple, garbhagrha. Maru-Gurjara style. C. A.D. 1062. Panels in the ceiling in the second bay showing Sarvanubhuti, Ambika, and Brahmasanti-Yaksa, Mahavira temple, rangamandapa's east flank. Maru-Gurjara style. C. A.D. 1062. Ambika, Mahavira temple, devakulika. 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.]

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xxxiv The Temples in Kumbhariya 231. 232. 233. 234. 235. Torana reerected at east door, caturmukha Samavasarana-kulika. Maru-Gurjara style. A.D. 1157. (Originally believed to be before the mulanayaka image in the garbhaglha, Mahavira temple.) Image-torana posts, displaced, Parsvanatha temple. Maru-Gurjara style. A.D. 1125. Image-torana, Neminatha 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 devakulikas, Parsvanatha temple. Maru-Gurjara style. C. 12th cent. A.D. Image-torana in one of the western row devakulikas, Parsvanatha temple. Maru-Gurjara style. C. 12th cent. A.D. Samavasarana piece, Parsvanatha temple. Maru-Gurjara style. C. 12th cent. A.D. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Jina-Matnka-patta. Maru-Gurjara style. C. 12th or 13th cent. A.D. (Originally in the Neminatha temple, now placed in the Mahavira temple.) Two fragments of Sattarisaya Jina-patta (Saptatisatabimba). Maru-Gurjara style, C. A.D. 1254 or later. (Originally in the Neminatha temple, now placed in two consecutive devakulikas of western row in the Mahavira temple.) 238 239. 240. 241. Vis-viharamana-Jina-patta. Maru-Gurjara style. C. late 13th cent. A.D. or later. (Originally in the Neminatha temple, now in storeroom of the Mahavira temple.) Nandisvara-patta, satcatuski, khattaka in the extended eastern part, Neminatha temple. Maru-Gurjara style. A.D. 1267. Sattarisaya-Jina-patta (Saptatisatayantraka), satcatuski, extended western part, Neminatha temple. Maru-Gurjara style. A.D. 1254. 243. eastern part, Neminatha temple. Kalyanatraya-patta, satcatuski, extended Maru-Gurjara style. A.D. 1287. 244. Samalika-vihara-patta. Maru-Gurjara style. A.D. 1282. (Originally in the Neminatha temple, now in the entry hall of the Mahavira temple.)

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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 Parsva (c. B.C. 6th-5th cent.) and the stern ascetical discipline as well as resolutely uncompromising insistence on the total purification of Self (ata=atman) from passions (dosas/kasayas) of the sect of Arhat Vardhamana (who a little later was called Jina Mahavira, 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 Surastra or Saurastra territory, predictably in the time of prince Samprati (c. B.C. 232-210), son of the blinded prince Kunala 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 Sthulabhadra and junior confrere of Arya Mahagiri. According to the "Sthaviravali" (hagiological list) of the Paryusanakalpa (Phase III portion, c. A.D. 100), from one of the disciples of Arya Suhasti, namely Arya Rsigupta, emanated a branch of friars called Soratthiya/Saurastrika which would imply that, by early second century B.C., there already were Nirgrantha followers in Gujarat. According to Jinadasa gani Mahattara--the agamic commentator of the last quarter of the seventh century-Arya Kalaka (Arya Syama I: c. 1st cent. B.C.-A.D.) got his nun-sister Sarasvati released from the captivity of Gardabhilla, apparently a barbarian/tyrannical ruler of Bhrgukaccha (Bharuch in Latadesa or southern Gujarat), with the help of the Sakas of Parasa kula. He, moreover, composed three major works--the Prathamanuyoga, the Gandikanuyoga, and the Lokanuyoga-as reported in the Pancakalpa-bhasya (c. mid 6th cent. A.D.) of Sanghadasa gani. The first of these three works introduced the concept of the 24 Jinas (along with their

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The Temples in Kumbhariya legendary lives), the second dwelt upon the lives of the cakravartis (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-darsana. In addition, he also composed 'samgrahanis' or the topical versified collections of Prakrit verses. His disciple Arya Samudra had visited Suvarnabhumi, a part either of Myanmar (Brahmadesa, Burma), or southern Thailand (Siama), or southern Malaysia, or Sumatra in Indonesia. In the meantime, Arya Syama's contemporary Arya Vajra's disciple Arya Vajrasena and some time after him the friars of the Nagendra-sakha which emanated from Vajrasena's disciple Arya Nagila/Nagendra, had settled in Lata, today's mid and southern Gujarat, very plausibly in circa mid first century A.D. According to an anecdote noticed in the Prabhavakacarita (A.D. 1277), to one notable Nirgrantha poet-friar, Vajrabhuti, had met the consort of Nabhovahana (Ksatrapa ruler Nahapana) 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 Damjad Sri) and dateable to c. A.D. 198-199, from Girinagara (present day Junagadh). The inscription was discovered from one of the rock-cut caves (apsidal and hence caitya-cave) of the so-called Bava Pyara 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 Sakunikavihara in Bhrgukaccha had been founded during the early centuries of Christian or Common Era. And if the Ratha-vasati at Ankotaka (Akota, near Vadodara/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 Lata territory. One Arya Khapata, who plausibly lived in the Lata region in late Ksatrapa or early Gupta period, is addressed as 'vidyabali', proficient in sorcery, in the post-Gupta Jaina literature, especially in early agamic commentaries of different categories/descriptions. He is accredited to have defeated the Buddhists and retrieved the Sakunikavihara of Jina Munisuvrata in Bhrgukaccha from their clutches. It seems that the Svetambara sect apparently took its clearer shape during these centuries, particularly those that covered late Ksatrapa and early Gupta epochs.

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Jainism in Gujarat Turning to the next events, in Mathura, 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 Valabhi in Saurastra under the leadership of Arya Nagarjuna of the Nagendra sakha/kula. The differences in the textual readings and the divergencies/discrepancies that happened to be visible between the two versions/recensions--of the Mathura Synod and the Valabhi 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 ksamasramana when the Maitraka chieftain Dhruvasena I was ruling. In the meantime, in c. late fifth century, Dharasena, a pontiff probably of the Botika/Ksapanaka rather than of the Digambara sect, who lived in the mountain grotto called Candra-guha near Girinagara to be precise, is reported to have imparted the knowledge of the Karmapraksti-prabhrta to Puspadanta and Bhutabali. The available text of the Satkhandagama, recognized by the Digambara sect as an 'agama', 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 Purva or anterior texts which seemingly had belonged to the sect of Arhat Parsva. Ujjayantagiri (Girnar 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 tirthankara, Jina Aristanemi of the Yadava clan (and supposed in the Nirgrantha tradition to be a cousin of Vasudeva Sri Krsna and his stepbrother Balarama since a member of the collateral branch of the Yadava clan), who is recorded in the agamas of the late Ksatrapa period as renouncing the worldly ways, attaining omniscience, and finally the salvation, all of these three auspicious events (Kalyana-traya) are noted there to have happened on this mountain. Svami 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 Svayambhustotra, 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 agama Jnatadharmakatha (present version c. 3rd 4th cent. A.D.) speaks about the five Pandavas attaining release from the bondage of transmigration on Mt. Satrunjaya, one other igneous group of hills, located in south-eastern Saurastra, which in the centuries to follow gradually rose to

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6 the status of the holy of the holies of the Svetambara sect, and decidedly so by medieval times. A most distinguished Svetambara Jaina epistemologist and hymnist of the early fifth century who authored Sanmati-prakarana (Prakrit) as well as the Nayavatara and the 32 dvatrimsikas (Sanskrit) was Siddhasena Divakara (active c. A.D. 400-444). His field of work principally was Malavadesa, though there are late biographical references of his connections also with Brgukaccha in Lata. The Temples in Kumbhariya As the evidence of the Svetambara Jaina metal images from Akota near Vadodara (Baroda) indicates, the earliest image found therefrom is stylistically dateable to c. A.D. 500. From Khedbrahma 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 bhasyas on the Avasyaka-sutra, Pancakalpa, Nisitha-sutra, Brhadkalpa, Vyavahara-sutra etcetera and the Tirthavakalika-prakirnaka were composed. Two Svetambara contemporaries of considerable eminence of this period, we now enter into the latter half of the sixth century, were the logician, dialectician, and epistemologist Mallavadi ksamasramana of Valabhi and of Nagendra kula and the agamic scholiast of high distinction and eminence, Jinabhadra gani ksamasramana of Nivrtti kula, both of whom were caityavasi/abbatial pontiffs. Mallavadi had defeated the Buddhists in Brgukaccha and had composed a very important work on epistemology, entitled the 'Dvadasara-nayacakra', with an autocommentary, as also a commentary in Sanskrit on Siddhasena Divakara's justly famous and profound epistemological work, the above-noted Sanmati-prakarana. Jinabhadra gani's compositions in Prakrit such as the Jitakalpa, the Vises-Avasyaka-bhasya, the Visesanavati, the Brhad-samgrahani 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-Avasyaka-bhasya, 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

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Jainism in Gujarat Manatungacarya composed his incomparable and very famous hymn in Sanskrit, the Bhaktamara-stotra, addressed to Adinatha and another, the Bhayahara-stotra, in Prakrit, in praise of Jina Parsvanatha. The curni commentary on the Dasvaikalikasutra by Agastyasimha also falls in this period, say late sixth century. By this time the Svetambara sect had been firmly established as also very visibly had taken the 'caityavasi' 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: Bhillamala (Bhinnamala) in Gurjaradesa situated to the west of Mt. Abu was one of its principal centres. In north Gujarat, Anandapura, present day Vadanagara, and next Mordheraka (Modhera), Kasahrda (Kasindra) etc., already had Jaina establishments in that period. In the earlier half of the seventh century the Avasyaka-curni was composed. Several other curnis were written, including those on the Nandi-sutra, the Anuyogadvara-sutra and the Nisithasutra by Jinadasa gani mahattara and on other agamas like the Uttaradhyayana, the Dasvaikalika, the Sutrakstanga, and the Brhadkalpa in the latter half of the seventh century. And an important commentary by Simhasura ksamasramana on Mallavadi's Dvadasara-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 Akota hoard. Some of these report the names of the monks of the 'Candra' and 'Nivrtti' kulas not mentioned in the Sthaviravali of the Paryusanakalpa. Contemporaneous Jina figures in metal have been discovered also from Valabhi. The Jaina rock-cut caves at Dhank (Dhankatirtha) in Saurastra apparently were excavated in c. late sixth or early seventh century. Not far from the northern border of Gujarat and within the ancient Gurjaradesa at Vatapura (Vasantagadh), to the northeast of Mt. Abu in Rajasthan, a hoard of Svetambara 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 Pindavada. It includes a pair of fairly large and fine kayotsarga images, dated A.D. 688. In late seventh or early eighth century, abbatial pontiff Palitta or Padalipta suri II built/consecrated the temples of Jina Rsabha, Ajita, Santi, and Mahavira on Satrunjaya Hills as gleaned from the late medieval but fairly reliable references. His Buddhist friend, alchemist Nagarjuna, is said to have founded a township near the foot of these Hills in Palitta's name, Palittanaka, present day Palitana, according to a medieval source. Palitta composed a magical hymn in Prakrit addressed to Jina Mahavira. His contemporary, Simhasura ksamasramana, composed a further

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The Temples in Kumbhariya commentary in Sanskrit (c. A.D. 675-690) on the earlier mentioned Dvadasaranayacakra of Mallavadi (c. A.D. 550-600) as also wrote an epistemological work in Sanskrit, now lost. The marble image of Jina Mahavira in the temple at Nandigrama (Nandiya) and a few at present enshrined in the Digambara Jaina temple in Ladanun, 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 Vatesvara (c. early 8th cent. A.D.) of the ecclesiastical lineage of Vacaka Harigupta (c. A.D. 470-529) established their headquarters in Tharapadra (Tharada) located in north Gujarat. There, moreover, the pontiff Vatesvara founded a Jaina temple. Next emanated a 'gaccha' or sub-order of monks, the Tharapadra-gaccha, taking its designation after this place. A few decades posterior to this event, Siddhasena gani, a grand disciple of the aforenoted Simhasura and plausibly of the Modha-gaccha, wrote a "Brhad-vstti' (c. A.D. 750-760) on the Sabhasya-Tattvarthadhigama-sutra of Umasvati (c. A.D. 350). Also, in his times, a temple to Jina Aristanemi existed in Pasala or Patala-grama (Padal) and of Jina Mahavira at Modhera, both towns situated in the western territory of north Gujarat. Siddhasena's long-lived and indeed very famous disciple, Bhadrakirtti 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 Taragana, was compiled by one Sankuka, apparently a poet at the elite assembly of the Pratihara potentate Nagavaloka (Nagabhatta II: A.D. 807-835). In point of fact, Bhadrakirtti earlier was at the court also of the later Maurya king Ama or Amraraja, son of Yasovarma of Gopagiri (Gwalior), and next, for some time, also was at the court of the Pala monarch Dharmapala of Laksmanavati (Laknauti) (A.D. 770-810) in Bengal before he moved to the Pratihara court in Kanyakubja (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 Parsva in Mathura 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-Ksapanaka) 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 Ajahara (Ajara) situated on the western sea-board of Saurastra

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Jainism in Gujarat and a now headless seated figure of a Jina, at present in the Government Museum, Junagadh, believed to be from Prabhasa. A Jaina monastic settlement of Digambara affiliation existed in the eighth century in Nagasarika (Navasari) in Southern Gujarat. And there were contemporaneous Jaina establishments of consequence in the tracts of Rajasthan adjoining Gujarat, for example at Citrakuta (Cittaud) in Medapata (Mevad) where the great Haribhadra suri (active c. A.D. 745-785) stayed and wrote his commentaries on five agamas and composed several works in Prakrit and Sanskrit including a few hymns. And in Jabalipura (Jalor) some abbatial pontiffs of the Nagendra kula such as Virabhadra lived and where his pupil, Uddyotana suri, composed the famous Kuvalayamalakaha in Prakrit in A.D. 778. In c. A.D. 800, Gunapala of the same lineage composed a work, the Jambucariya, in Prakrit. Virabhadra had built a temple to Adinatha at Jabalipura. Also, in Satyapura (Sancor) was built a temple to Jina Mahavira, apparently in early Pratihara times and probably by the Pratihara potentate Nagabhatta I, in c. A.D. 750, which became a very famous 'tirtha' in the medieval period. In the meantime, Arabs from Sindh attacked Valabhi 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 Valabhi. Before it all happened, at least the ancient sacred Jina images from Valabhi's Jaina temples were transferred to safer havens like Prabhasa, Vardhamanapura (Vadhavana), Kasahrda (Kasindra), Harija, and Bhillamala as reported in late medieval writings. In those fateful years, Jinasena of Punnata samgha, an immigrant branch of monks from Karnatadesa, composed his famous work, the Harivamsapurana, in A.D. 784 in Vardhamanapura in Saurastra. He refers to the temple of (the Jaina Yaksi) Ambika, 'sasanadevata' of Jina Aristanemi, on the first of the five summits of Ujjayantagiri (Girnar Hills), later called after the goddess as 'Amba-sikhara', as also a Jaina temple at Dostatika (Dottadi), also located in Saurastra. The existence of an ancient Jaina temple at Anandapura (Vadanagara) in north Gujarat is alluded to by Jayasimha suri of Krsnarsi-gaccha in his Dharmopadesamala-vivarana (A.D. 859). Incidentally, a few years earlier, the same author had composed an expository work on the Upadesamala of Dharmadasa gani (c. mid 6th cent. A.D.) In his times, Nagapura (Nagaur) in Upper Rajasthan, had a flourishing Svetambara establishment.

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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 suri of Vayata-gaccha, an abbatial offshoot of the Nagendra-kula. He apparently was an abbot at the Svetambara abbey-temple in Vayata, 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 Dhara of the Paramara monarch Munja (between A.D. 972/974-993/998) and next the illustrious Bhojadeva (A.D. 1010-1055) in the Malava country. Jivadeva suri also had composed a work on the lustral ceremony of the Jina images, namely the Jina-snatra-vidhi and was known for his proficiency in magic. He had consecrated a Jaina temple built by the local tradesman named Lalla in Vayata. His contemporary in Lata, Gargasvami alias Gargarsi, composed a karmagrantha called the Pancasangraha with an autocommentary. And another famous contemporary, Silacarya of Nivrtti kula, composed the Caupanna-mahapurisacariya 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 Sutrakrtanga (Book I, c. 3rd-2nd cent. B.C. and Book II, 2nd cent. B.C.-1st cent. A.D.) in Gambhuta (Gambhu) in north Gujarat. Probably, a Jaina temple existed at that time in Gambhu. 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 Capotkata chieftain Vanaraja (c. A.D. 880-900) at Anahillapataka, the capital of his newly established principality: the ancient image enshrined therein originally was the cult image in an earlier temple in Pancasara, the ancestral town of the Chief. To this temple the tradesman Ninnaya, who had migrated from Bhillamala to Anahillapataka, added a hall in c. A.D. 900 or soon after. Incidentally, Vanaraja's minister Jamba was a Svetambara Jaina. In the adjoining Maha-Gurjara style-territory in Rajasthan, the remains of a Jaina temple at Brahmana and another at Desuri-ni-nala 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 Ghatiyala in Marumandala. The Temples in Kumbhariya 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

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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 Siddharsi of Nivrtti kula. He, by then, had moved from the Lata territory in Gujarat to Bhillamala in Gurjaradesa in Rajasthan. Siddharsi had composed the justly famous allegorical work-world's first and hence the earliest-the Upamitibhavaprapancakatha (A.D. 905) in Sanskrit and a commentarial work on the Upadesamala of Dharmadasa gani (c. A.D. 550). Probably, the Nyayavatara ascribed to Siddhasena Divakara is his compilatory work. In Saurastra, Harisena of the Punnata samgha composed the Kathakosa in A.D. 933 at Vardhamanapura. And Goggatacarya, a caityavasi monk or abbot, composed a commentary on Samudra suri's work in Dhavalakakka (Dholaka) in c. A.D. 950. (Apparently, a Jaina temple with monastic establishment had already existed in Dholaka.) Also, Padalipta suri (III) of Vidyadhara vamsa (kula) composed his famous ceremonial and iconographical work, the Nirvanakalika, as also the Pundarika-prakirnaka olim Saravali-prakirnaka (c. latter half of the 10th cent.), the last-noted work being the earliest glorificatory work on the celebrated tirtha of Satrunjayagiri. 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 Rastrakuta emperor Krsna (III) at Manyakhetaka (Malakheda), an event recorded in the Prabhavakacarita of Prabhacandra (A.D. 1277). Two more notices concerning the literary activities in this period pertain to some fine compositions, the hymn Jinasataka (c. mid 10th cent.) and the Manipaticaritra (or more appropriately the Munipaticaritra) (A.D. 959) by Jambu alias Jambunaga, a monk of Candra kula. On the Jinasataka, Samba-muni of the Nagendra kula wrote a panjika (A.D. 969), an elucidatory work. And Parsvanaga authored the Atmanusasana (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 Mahesvara suri, disciple of Sajjana upadhyaya, composed the Pancami-mahatmya in Prakrit. The Samyama-manjari in Apabhramsa by some Mahesvara suri could have been the work by the aforenoted pontiff. In the later part of the tenth century, Bhadresvara suri composed the Kahavali, a 'katha' class of work which also dwells on the biographies of the historical personages like Palitta (Padalipta) suri, Siddhasena Divakara, Devarddhi gani, Mallavadi, and Haribhadra suri which contain important pieces of information for the historians of For Private Personal Use Only

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The Temples in Kumbhariya Jainism. A more notable work of the latter half of the tenth century, however, was the monumental commentary, the Tattuabodhavidhayini olim Vadamaharnava on the Sanmati-prakarana of Siddhasena Divakara (c. second quarter of the 5th cent. A.D.), by Abhayadeva suri of Candra kula. Abhayadeva's royal disciple Dhanesvara suri (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 Paramara potentate Munja of Dhara (last quarter of the 10th cent. A.D.). (After Dhanesvara suri, who being of the princely pedigree, the hagiological line of his branch of friars got the appellation 'Raja-gaccha.') At the fag end of the tenth century, Vardhamana suri of Candra kula composed a commentary (A.D. 999) on the Upadesapada of Haribhadra suri. He also had written the Upadesamala-brhadvrtti. An inscription on the metal Jina image bearing the date A.D. 988 and mentioning his name had been reported from Katigrama. 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 Anahillapataka or Anahillapattana, the capital of the Solankis of Gujarat. Among them the more prominent were Brhad, Purnatallaka, and Harsapuriya of the mendicant friars, and Ukesa as well as Khandilla-gaccha of the abbatial affiliation. The Tharapadra-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 Srimalis (from Srimala i.e. Bhillamala), Pragvatas (from Abu area), and Ukesavalas, later called Osvalas (from Ukesa or Osian) 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, Mularaja I, the first Caulukya king, built a Jina temple (of Digambara affiliation) at Anahillapataka. He also honoured the Digambara abbot Lalitakirtti of Citrakuta. His son and crown prince Camundaraja, gave a land grant to the Svetambara Jaina temple in

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Jainism in Gujarat Varunasarmaka (Vadasama) in A.D. 976. Camundaraja also organized the 'pravesamahotsava' (city-entry celebration) of the Svetambara pontiff Vira gani. While several Jina metal images of the tenth century--among which a fairly large number represent those of Jina Parsva--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 Adinatha (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 Ambika at Than in Saurastra. In the Medapata or Mevada and the adjoining western tract, Jaina temples were of course built, some of consequence such as at Ghanerav (c. mid 10th century) and at Aghata (Ahada) (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 Rastrakuta chief Vidagdharaja in early tenth century to which his son Mammata gave donations in A.D. 940, while the grandson Dhavalaraja renovated it in A.D. 997. Next, in Candravati, Ker (A.D. 967), and Nandiya in the Abu area as also in Jabalipura 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 Solanki monarch Durlabharaja (A.D. 1009-1022), two mendicant friars-Jinesvara and Buddhisagara of Candra kulafrom lower Rajasthan visited Anahillapataka and by arguing, on the basis of agamic injunctions/rules, the authenticity of the mendicant order of friars as against the abbatial of the caityavasi 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 Svetambara Jainism as a whole when, as its consequence, the strength and prestige of the abbots eventually waned. The aforenoted Jinesvara suri composed several works: the Pancalingi-prakarana, the Viracaritra, and the Nirvana-Lilavati-katha in Asapalli, c. A.D. 1027-1035; next the Pramalaksma with an auto-commentary, the Satsthanaka-prakarana--all of these in Sanskrit--a Kathakosa in Prakrit, and a few hymns in Sanskrit. His disciple Dhanesvara composed the Surasundari-kaha in Prakrit in Candravati (A.D. 1035).

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The Temples in Kumbhariya Jinesvara's junior confrere Buddhisagara composed Pancagranthi-vyakarana in Jabalipura in A.D. 1024. A few years earlier, Devagupta I of the Ukesa-gaccha composed the Navapada-vrtti and the Navatattva-prakarana, both in A.D. 1017. And Virabhadracarya composed some works in Prakrit, of the Prakirnaka class, such as the Aradhana-pataka (A.D. 1027), the Bhaktaparijna, the Gacchacara, and possibly also the Catuhsarana. Jinesvara's senior contemporary, santi suri of Tharapadragaccha (active c. A.D. 990-1040), composed a commentary in Sanskrit on the Uttaradhyayana-sutra, probably the Dharmasastra, also a work on the lustral ceremony of the Jina image, and a hymn called santi-stava' in Sanskrit for the purpose of generating peace by its power. He visited the court of Bhoja in Dhara at the instance of the Jaina poet Dhanapala who had composed a Sanskrit Namamala, a Prakrit lexicon, and a famous akhyayika entitled the Tilakamanjari. He also composed a few hymns like the Rsabha-pancasika and the Mahavira-stuti in Sanskrit, the Satyapura-mandana-Mahavira-Jinotsaha in Apabhraisa, and the Sravakavidhi in Prakrit. He, moreover, commented on the Stuti-caturvimsatika of his younger brother, Sobhana muni, who predeceased him. A few years hence, Vijayasimha suri, an abbot of the Sakunikavihara-caitya in Brgukaccha, composed in c. A.D. 1030-1040 his famous hymn in Sanskrit on Neminatha, believed to be addressed to Jina Aristanemi of Ujjayantagiri. He was honoured at the court of the Silahara king Nagarjuna of Sthana (Thane near Mumbai) and had received the title of *Khadgacarya' from the said king. Another Svetambara pontiff-Candanacaryawho had composed a fiction, the Asokavati, likewise graced the elite assembly of the Sthana's king. He was also honoured at the court of Bhoja at Dhara. King Bhimadeva I of Gujarat, in his late years, bequeathed a grant of land to the Jaina temple at Vayata-Mahasthana near Botad in Saurastra (c. A.D. 1062). His finance minister Jahilla was a Svetambara Jaina. So was his other minister Nedha, a descendant of Ninnaya, whose younger brother Vimala was appointed dandanayaka at Candravati. Vimala built temples for Jina Rsabha in Arasana (in marble) in or before A.D. 1031 and in Delvada on Mt. Abu (in black stone) in A.D. 1032. And Jinaha was Bhimadeva's dandanayaka stationed at Dhavalakakka in king's late years. Also, Vimala's son or younger brother Cahilla was either his mahasandhivigrahaka or had occupied some other high position. In Asahillapattana, King Bhimadeva's maternal uncle and next the Jaina pontiff after he embraced the order of the monks, namely Dronacarya, composed a commentary on the Oghaniryukti. His nephew and disciple Suracarya, a Sanskritist

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Jainism in Gujarat of high calibre, composed a dvisandhana-mahakavya, the Nemicaritra (A.D. 1034), which also skillfully interwove the Rsabhacaritra within its fabric. He, moreover, composed the Danadi-prakarana. At the invitation of Dhanapala, he visited Dhara and defeated the panditas of Bhoja's learned assembly in disputation. In A.D. 1062, Abhayadeva suri, disciple of the earlier mentioned Jinesvara suri of Candra kula, completed his famous commentaries on the three agamas of the anga category, the Sthananga, the Samavayanga, and the Jnatadharmakatha in A.D. 1064 and thus he began writing his well-known nine agamic commentaries for which he later earned the title 'Navangavrttikara'. He consecrated the exhumed ancient image of Parsvanatha in Stambhanapura (Thambhana) in a new temple in c. A.D. 1054 or 1075 and of another Jina in the Jinaha-vasati at Dhavalakakka (Dholaka), a temple built by the earlier noted dandanayaka Jinaha. 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 Santu who built the Santu-vasahika in Anahillapataka, next Munjala, who built Munjala-vasatika in the same city, then minister Pradyumna who embraced the order of the mendicant friars in the Harsapuriya-gaccha, who next was to be known as Hemacandracarya. Karnadeva gave a grant to the Jaina temple at Takovavi (sakodi) in A.D. 1084. Cahilla, earlier mentioned, was king's mahasandhivigrahaka. Abhayadeva suri continued his work on writing the agamic commentaries in Karnadeva's time; these were on the Vyakhyaprajnapti (A.D. 1172), the Upasakadasa, the Antakrddasa, the Anuttaropapatika, the Prasnavyakarana, the Vipaka, the Aupapatika, and on the third 'pada' of the Prajnapanasutra of Arya Syama II (c. 3rd cent. A.D.). He also wrote a commentary on the Pancasaka of Haribhadra, the Satsthanaka of his guru Jinesvara suri, and also authored a work called the Aradhana-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-Parsvanatha, in Apabhramsa. There were, in those decades, some other famous figures engaged in the creation of religious literature. For instance, Abhayadeva suri's senior confrere Jinacandra suri I composed the Samvegarangasala. And Siddhasena suri, who had assumed a sobriquet 'Sadharana', composed the Vilasavati-katha in Apabhraisa in A.D. 1067, besides composing several hymns including the one called the Tirthavandana-stotra, which is perhaps the first among the extant compositions of that category. In A.D. 1069, Nami sadha of Tharapadra-gaccha composed the Caityavandana-vrtti as also a tippana'

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16 containing brief notes on the Kavyalankara of Rudrata. In A.D. 1073, the Dharmopadesamala-vivarana was composed (by some author) in Prakrit. In the meantime, the illustrious Kasmiri brahmin poet Bilhana sojourned for some time in Anahillapataka, apparently with minister Santu. He composed a play, the Karnasundari-natika, some time around A.D. 1070 and the Parsvanathastaka, an elegant and graphic hymn in Sanskrit. In the last quarter of the 11th century A.D., Devendra muni of Brhad-gaccha, afterwards elevated as Nemicandra suri, composed the Uttaradhyayana-sutra-vrtti (c. A.D. 1073), as also two works of the narrative class in Prakrit, namely the Ratnacuda-katha and the Akhyanakamanikosa, and the Mahaviracaritra in Anahillapataka, the last one in A.D. 1083 or 1085. Also, Gunacandra suri wrote the Viracaritra (Prakrit; c. 1185) and Salibhadra suri composed a commentary on the Sangrahani. Moreover, between A.D. 1061-1071, Abhayadeva suri's disciple Candraprabha mahattara authored the Vijayacandracaritra in Prakrit. And Navangavrttikara Abhayadeva suri's disciple Vardhamanacarya wrote the Manorama-kaha in A.D. 1084. (He was to continue his creative work in the next century also.) In A.D. 1090, Devacandra suri of Purnatallagaccha composed a commentary on his grand preceptor Pradyumna suri's Mulasuddhi-prakarana. In A.D. 1093, Candraprabha suri of Brhad-gaccha founded the Purnima-gaccha. He had composed the Darsanasuddhi and the Prameyaratnakosa. Also, a Digambara narrative work was composed in the seventies in Anahillapattana. The Temples in Kumbhariya In the last note on Karnadeva's age must be mentioned the name of Jinavallabha suri (active c. A.D. 1060-1111), the disciple of Abhayadeva suri, 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 Siddharaja'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 Citrakuta (Cittaud, two temples), Nagapura (Nagaur: Nemi Jinalaya), Marupura, and Naravarapura. He was honoured at the court of the Paramara king Naravarma in Dhara. He composed about a dozen dogmatic and doctrinal works like the Agamika-vastu-vicarasara, the Pindavisuddhi-prakarana, the Dharmasiksa etcetera, and authored several soulful hymns addressed to the Jinas in Sanskrit as well as in Prakrit. For Private Personal Use Only

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Jainism in Gujarat One of the most influential pontiffs of the late years of Karnadeva and early decades of Siddharaja was Maladhari Abhayadeva suri of Harsapuriya-gaccha. At his instance, the Cahamana monarch Prthviraja 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 (Kacchapaghata Mahipala). In A.D. 1086, he consecrated the image of Antariksa Parsvanatha in Sripura, to which king Elaca granted the village Sripura (Sirpur) itself. By his preaching, a temple to Jina Mahavira was built in Medatapura (Medata) in Rajasthan. At his instance, minister Santu installed golden finials on the Sakunikavihara in Brgukaccha. 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 Kumarapala. Devacandra suri of Purnatalla-gaccha composed Santinatha-caritra in Prakrit in A.D. 1104. In 1105, Santi suri of Brhad-gaccha composed Prthvicandra caritra. He is also known as the founder of the 'Pappala-gaccha'. Continuing his activity on producing literary works, Vardhamana suri, disciple of Abhayadeva suri, composed Adinatha-caritra in Khambhata (A.D. 1104) and Dharmaratnakarandaka with an autocommentary in A.D. 1116. In A.D. 1113, Aryaraksita suri founded Ancala-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 suri of Brhad-gaccha. Also, the Jaina scholar Vagbhata authored a work on poetics, the Vagbhatalankara, and the blind Jaina poet Sripala wrote the Vairocana-parajaya as well as the eulogy for the Sahasralinga tataka (which was a reservoir built by Siddharaja in Anahillapataka), and of the Rudramahalaya temple in Siddhapura and the donative eulogy of

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The Temples in Kumbhariya Siddharaja which gave account of his donations to Bilpank's Saiva temple in the Malava country. Moreover, Devendra suri of Candra-gaccha, Sricandra suri, the disciple of Dhanesvara suri of Candra-kula, Yasodeva suri and Siddha suri of Ukesa-gaccha composed many doctrinal and didactic works, and Hemacandra suri of Harsapuriya-gaccha composed several commentaries including the one on the Visesavasyaka-bhasya of Jinabhadra gani. Jinavallabha suri's erudite disciple Jinadatta suri (Kharatara-gaccha) composed several works including a few fine hymns such as the Ajita-Santi-stava. Among the notable temple-building activities of the time, emperor Siddharaja built Rajavihara in Anahillapataka and Siddhavihara in Siddhapura. Now, several of the members of his large ministerial council were Svetambara Jaina. Among them, besides the ministers Santu and Munjala who were there from Karnadeva's time and had continued, there were Udayana, Asuka, Aliga, Ambaprasada, and dandanayaka Sajjana. A few of them also built temples. Ambaprasada had authored a work on poetics, the Kavyakalpalata, and composed a hymn in honour of Ambika of Ujjayantagiri and minister Udayana built Udayanavihara in Karnavati with 72 devakulikas. Asuka built a temple to Jina Neminatha at the lower reaches of Mt. Satrunjaya, and Sajjana replaced the old temple of Neminatha on Mt. Girnar 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 Rudramahalaya (Siva temple), and the Siddhavihara (caturmukha temple for Mahavira) for which the king rewarded him with land etcetera. At the court of Siddharaja, Vadi Deva suri of Brhad-gaccha defeated the Digambara dialectician Kumudacandra of Karnataka at the court of Siddharaja in Anahillapattana in A.D. 1125. Deva suri authored an epistemological work, the Pramana-naya-tattvalamkara with a long commentary, the Syadavadaratnakara, and hymns in Sanskrit addressed to the Buddhist goddess Kurukulla and Kalikunda Parsvanatha. His junior contemporary Acarya Hemacandra of Purnatalla-gaccha composed Siddha-Haima-Sabdanusasana, a grammar on which he also wrote commentaries, and next the Linganusasana. He also composed the Kavyanusasana (a work on poetics) and Chandanusasana (a work on prosody and meters) as well as four lexicons including the Desinamamala, and the Sanskrit Dvyasraya-kavya. Vadi Deva suri's junior contemporary, the learned Dharma suri of Raja-gaccha was active and influential in Rajasthan. He defeated the Digambara

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Jainism in Gujarat 19 dialectician Gunacandra at the court of Cahamana Arnoraja (A.D. 1133-1153) in jayameru (Ajmer). He composed the Dharmakalpadruma and a few beautiful hymns in Sanskrit. As a closing note of Siddharaja's time, it may be mentioned that he honoured Dharmaghosa and Samudraghosa suris of Purnima-gaccha and Hemacandra suri of Harsapuriya-gaccha. He had bestowed the title 'Simhasisuka' and 'Vyaghrasisuka' to Ananda suri and Amaracandra suri of the Nagendra-gaccha. Emperor Kumarapala's period covering some 30 years (A.D. 1143-1173) was also very productive both for the literary as well as building activity. Kumarapala came under the influence of Acarya Hemacandra and built many Jaina temples. Most of these were known as 'Kumaravihara'. He built temples to Parsvanatha at Anahillapataka and at Prabhasa. Also the Tribhuvanapala-vihara and the Tri-vihara at Anahillapataka and a grand temple of Ajitanatha at Taranga. Moreover, he built Kumaraviharas at Khambhata (Stambhatirtha), Mangalapura (Mangaro!), Tharad (Tharapadra), Acalagadha (Mt. Abu), Jalor (Jabalipura) and some other places. He, moreover, got the steps constructed for clambering Mt. Ujjayantagiri under the supervision of his Jaina dandanayaka Amradeva stationed at Junagadh. Among the Jaina members of his ministerial council were such stalwarts as Udayana, his two sons Vagbhata and Amrabhata, Kaparddi, Ananda and Prthvipala (a fourth descendant of Vimala's elder brother Nedha) and a few others. His temple at Taranga was built under the supervision of dandanayaka Abhayada. Minister Vagbhata was a zealous builder. He built the great temple of Adinatha on Satrunjayagiri and founded near the foot of the hill a township named Kumarapura (after Kumarapala) and a temple there named Tribhuvanapalavihara (after emperor's father's name). In Dholaka he built a large temple with devakulikas, the temple called Udayana-vihara (c. A.D. 1166). Amrabhata replaced the old Sakunikavihara at Bharuca by a large new temple. Minister Prthvipala added halls to some preexisting Jaina temple, such as Vimala temple at Abu, the temple at Sayanavadpur and at Pattana. We forego mentioning several other temples built during this period and now turn to the literary activities. Illustrious Hemacandracarya continued his literary activities which included the Prakrit Dvyasraya-kavya, the Trisastisalakapurusa-caritra, the Mahavira caritra and some hymns like the Mahadevastotra and a few others which are epistemological-philosophical in nature.

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The Temples in Kumbhariya Hemacandra's disciples were also very learned. Among them Ramacandra wrote several plays in Sanskrit on Jaina themes, such as the Natyadarpana in collaboration with Gunacandra), besides a few other works. The hymns composed by his confreres Balacandra and Sagaracandra have also come to light. There were several literary works by the authors of other gacchas, like Jinadatta suri of Vayadagaccha etcetera which need not detain us here. However, we may take a brief note on Acarya Malayagiri who flourished in the latter half of the 12th century and was the greatest commentator of that age. He commented on several agamic works. As a passing note, it may be mentioned that both Siddharaja and Kumarapala had visited Satrunjaya-tirtha: Siddharaja also had bequeathed a grant of 12 villages to the Satrunjaya-tirtha and had visited Ujjayantagiri. And the Vaghela regent Viradhavala gave the grant of village of Ankevaliya at the request of Vastupala. After Kumarapala, his successor Ajayapala, 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 Kumarapala and his supporters. Still some literary activities were going on even in those hard times. Notable among those were the plays Mohaparajaya by Yasacandra and Prabuddha-rohineya by Ramabhadra. And Somaprabhacarya wrote some of his famous works like the Suktimuktavali and the Jinadharmapratibodha (A.D. 1184). The first four decades of the 13th century attested to the decline set in from Ajayapala's time. While Bhimadeva II (A.D. 1179-1240) did not patronize Jainism, he was also not against it. It was, next, in the domains of the Vaghela chief Viradhavala of Dhavalakakka that the fresh era of glory for Jainism was ushered in, thanks particularly to the munificence of two statesmen, prime minister Vastupala and his brother, minister Tejapala. Vastupala 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 Khambhat, and of course the civic works like stepwells, reservoirs etcetera. He and his brother Tejapala together had built about 50 Jaina temples, notable among those (built by Vastupala) were on Mt. Satrunjaya (c. A.D. 1231, all destroyed), Mt. Girnar (Vastupala-vihara, A.D. 1232; and Satyapuravatara Mahavira), Satrunjayavatara Adinatha (Dholaka), Astapada temple (Prabhasa), Asaraja-vihara (Anahillapataka) and also a temple in Khambhat, Cittaud (now used as Samiddhesvara temple), and in several other places. Tejapala founded the Nandisvara temple and built the reservoir

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Jainism in Gujarat Anupama-sarovara, both on Mt. Satrunjaya; also the Kalyanatraya temple on Mt. Girnar, Temple of Ujjayantavatara at Dholaka, the Nandisvara fane (in this case 52 Jinalayas) in Karnavati temple of Adinatha at Prabhasa (c. A.D. 1234) as also the Jaina temples at Pavagadh and Godhra, and his surviving temple, the world famous Luna-vasahi temple on Mt. Abu. As for the literary activities of the age, Vastupala wrote the Naranarayanananda-kavya and some hymns in Sanskrit referring to Jina Rsabha of Satrunjaya and Jina Aristanemi as well as the sasanadevi Ambika of Ujjayantagiri. His preceptor Vijayasena suri of Nagendra-gaccha composed Revantagiri-rasa in Apabhraiba/old Gujarati and Pralhadanaputra wrote Abu-rasa in Apabhraisa, both works are important from historical viewpoint as well. Vijayasena suri's disciple Udayaprabha suri composed the Dharmabhyudaya-kavya, the Sukstakirttikallolini, the play Karuna-vajrayudha, an astrological work the Arambhasiddhi, and several commentaries on different works. There were poets who wrote on Vastupala, eulogizing his deeds. Somesvara wrote the Kirttikaumudi; Thakkura Arisimha composed the Sukstasamkirtana; Balacandra the Vasantavilasa, and Jayasimha suri, the Hammiramadamardana. Works of this category are known as composed by Naracandra suri and Narendra-prabha suri of the Harsapuriya-gaccha and by Harihara pandita and a few less known poets. After the glorious period of Vastupala, the sun of Jainism began to slide down. Only a few luminous figures are now known. From Jagacchandra suri began the Tapagaccha. His learned disciple Devendra suri composed works on the karmapraksti and some hymns, just as his disciple Dharmaghosa suri wrote a large number of hymns, few in Prakrit as well. The tradesman Jagadu Saha of Kutch was engaged in social as well as temple building activity. The final note must be taken of minister Prthvidhara (Pethada Saha) of Malavadesa 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 Kumbhariya were founded.

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CHAPTER 2 Kumbhariya and Contemporary Writings Though it was rather an out of the way and virtually a less remembered site, Kumbhariya was not totally neglected by writers of the modern times as the following resume of the available writings reveals. 1. The earliest, and hence the pioneering notice on the site and the temples in Kumbhariya was by Alexander Kinloch Forbes in his famous Ras Mala; 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 Saha through the grace of goddess Ambika, the wrath of the goddess, and subsequently her burning all the temples save five, and dwells for a while on the Neminatha 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 Kumbhariya but it adds nothing to what is recorded in the Ras Mala 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 Kumbhariya 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 Neminatha temple and next dwells on the Mahavira, the Santinatha, the Parsvanatha, the Sambhavanatha and the Kumbhesvara 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 Santinatha and the Parsvanatha temples which, as a result, look very

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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 Kumbhariya 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 Ganadhara Pundarika, Meru, Sahasrakuta, Cauvisvat (caturvimsati-Jina-patta)--all of which no longer traceable-next Asvavabodha-Samalikavihara-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 Jinamata, Vis-viharamana, Saptatisata etcetera, some of which are now transferred to the Mahavira temple. He, however, errs in equating the 'mukhamandapa' (satcatuskya) of the inscriptions with 'gudha-mandapa'. And although he notices there the figure of Ambika and the Nandisvara-patta, he does not mention the Saptatisata-patta and the 'Kalyanatraya' sculpture also located there. As for the hall's (rangamandapa'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 Mahavira 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 rangamandapa-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 rangamandapa (showing narratives etc.) and compares them with those in the Vimala temple at Mt. Abu. Actually, these are not located in the rangamandapa proper: they cover the aisles between the pattasala-cloister and the rangamandapa. 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

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Kumbhariya and Contemporary Writings He sees santinatha temple as similar to Mahavira'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 toranas (supported by the bhadra-pillars in each direction.) Coming next to the Parsvanatha 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 pattasala where they are original) and whitewashed, the lime during the subsequent restorations had of course been removed. As for the Sambhavanatha 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 slnga-turrets which are original, an observation that is only partially valid: For the mulamanjari or central spire is also old. His views next on the Kumbhesvara 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 Kumbhesvara temple with the Sun temple, Modhera, 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 Kumbhariya 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 Mahavira, Santinatha (originally Rsabhadeva), and Parsvanatha temples is definitely early compared to Vimala temple's marble components. Even the Neminatha temple's older parts are anterior to the marble portions of the Vimala temple's interior by a decade or so, though its devakulikas, except for the two bhadraprasadas, are posterior to even the Tejapala temple in Delvada (A.D. 1232-1252) since several of those (devakulikas) are as late as A.D. 1282. And Modhera temple's dates (c. A.D. 1027 (prasada with gudhamandapa] and 1075 [rangamandapa]) are earlier than Kumbhesvara's by 180 to 130 years.

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The Temples in Kumbhariya Bhandarkar's Report has been extensively used by several subsequent writers in Gujarati. 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 Pracina Jaina Lekha Sangraha (Pt. 2) by Jinavijaya, published in Gujarati in the Pravartaka Sri Kantivijaya Jaina Itihasamala, No. 6, Sri Jaina Atmananda Sabha-Bhavnagar, Bhavnagar 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 Jagannatha Ambarama (Somapura), Amdavad, wrote his Brhad Silpasastra in Gujarati wherein he incorporated the ground plans of all Jaina temples in Kumbhariya (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-Pracina-Jaina-lekhasandoha (Abu Pt. 2), was published from Ujjain in V.S. 1994 (A.D. 1938). Therein are five inscriptions from Delvada (four of A.D. 1189 and one of A.D. 1279) which refer to Arasana. (Vide there Insc. 124, 129, 141, 144 and 297.) 7. Soon after, Narmadasankara Mulajabhai Somapura published his Silparatnakara (Dhrangadhra 1939) in which he, perhaps for the first time, published some photographs of the details of the Kumbhariya temples, captured through some 14 pictures. Most of these relate to the details of the Mahavira temple, for instance, the main temple's sikhara, the vedika of its trika's porch, its rangamandapa's pillars, the Padmanabha vitana of its trika as well as some four lateral Samatala ceilings: Also included are the rangamandapa's Sabhamandaraka vitana of the Santinatha (originally dedicated to Rsabhadeva) temple, and the back view of the prasada of the Sambhavanatha (originally santinatha) temple. However, he nowhere relates those to or even casually refers to them in his exposition of the text proper. 8. In 1947, from Bhavnagar, Mathuradas Chhaganlal Seth published a booklet entitled Sri Kumbhariyaji Tirtha urfe Arasana in Gujarati which gives information in very general terms on the history and buildings at Kumbhariya, the routes of approach, the local facilities then available, etcetera. 9. Muni Jayantavijaya wrote his Arbudacala Pradaksina (Abu Pt. 4) (Guj.) published in Sri Yasovijaya Jaina Granthamala, Bhavnagar V.S. 2004 (A.D. 1948) in

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Kumbhariya and Contemporary Writings which the book's pp. 10-29 are devoted to the description of the Kumbhariya 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 Kumbhariya inscriptions recorded by him while visiting the Jaina temples in the sites around Mt. Abu. His important book containing these data was entitled Arbudacala Pradaksina Jaina-lekhasandoha (Abu Pt. 5) with an introduction and translation in Gujarati. It was published in Sri Yasovijaya Jaina Granthamala, Bhavnagar V.S. 2005 (A.D. 1949), where the inscriptions numbered 3-41 from Kumbhariya 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 Nyayavijaya (Triputi group), published his Jaina Tirtho-no Itihasa (Guj.) in Sri Caritrasmaraka Granthamala, No. 38, Amdavad 1949, pp. 297-301. It is an uncritical and not a particularly well-organized work but devotes its pp. 291-301 to Kumbhariya. A few details that figure there may be compared with those given in other publications. 12. Pt. Ambalal Premchand Shah's useful compendium, the Jaina Tirtha Sarva Sangraha (Guj.), I.2, was published from Amdavad in 1953. Here, on pp. 283-287, he dwells on the Kumbhariya temples, using earlier published sources, adding as he also did a few observations of his own. 13. Pt. Ambalal Premchand Shah's Ranakapura-ni Pancatirthi published in Sri Yasovijaya Jaina Granthamala, Bhavnagar V.S. 2012 (A.D. 1956), has a limited bearing on Kumbhariya in that it includes Poet Khima's Caityaparipati as well as "Ranigapura-caityaparipati-stavana' of Pt. Meha (c. mid 15th cent. A.D.) which incidentally refers to the Vimala's foundation of Jina Rsabha IAdinatha temple in Arasana. 14. Triputi Maharaja, in their Jaina Parampara-no Itihasa, Pt. 2 (Guj.), Sri Caritrasmaraka Granthamala, No. 54, Amdavad 1960, have spared the book's pp. 298-300 for the Arasana-tirtha but fail to add new information. 15. A more useful work published in Gujarati is Sri Arasana Tirtha apara nama Sri Kumbhariyaji Tirtha, by Muni Visalavijaya published in Sri Yasovijaya Jaina Granthamala, Bhavnagar 1961. The book is based on the impressions recorded during Muniji's two visits to Kumbhariya, one in 1931 with his guru Muni Jayantavijaya, and the second in 1951. For this book Pt. A.P. Shah coordinated

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The Temples in Kumbhariya 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 Mahavira temple, three Samatala ceilings and a parikara-torana from the same temple, two pictures of the mandovara or wall of the Neminatha temple, and one of the Kumbhesvara 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 Mahavira temple's sikhara 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 Kumbhariya temples' ceilings are included, discussed, and described. These are figs. 9, 18, 37, 43, 47, 62 and 63 there-all of them from the Mahavira temple, and figs. 21 a & b, 48, 64 (santinatha), 65 (Parsvanatha) and 68 (Neminatha)--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, Sri Kanaiyalal Bhaisankara Dave, in his Ambika, Kotesvara ane Kumbhariya (Guj.) in Srisayaji Sahityamala, No. 334, M.S. University of Baroda, Vadodara 1963, discussed Kumbhariya and its environs in light of its historical perspective, the linguistic explanations of the appellation Arasana 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 prasada of the Mahavira temple and the second to the interior of the rangamandapa of Parsvanatha temple (there Plates 132, 133) and dwelt on their qualitative aspects.

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Kumbhariya 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 Gujarati, entitled "Arasana-na be Jaina pratima lekho-ni visesa vacana," Svadhyaya, 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 Mahavira temple was read afresh and a couple of gaps in phrases could be filled in. Likewise, the inscription on the Astapada-prasada 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 Mahavira temple (there Plates 8, 12, 14-15, and 20) and the bhadraprasada and its pillars in the pattasala of the Parsvanatha temple (there Plate 23), and the views of the interior of Santinatha and Parsvanatha 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 Kumbharia," 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 Kumbharia 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 Kumbharia, his plates 22-35 show details of the Mahavira temple, 36-45 of Santinatha temple, 46-52 of Parsvanatha temple, 59-65 of Neminatha temple and 110-112 of Sambhavanatha temple. 24. The first author of this monograph, in his article, "Sahitya ane Silpa-man 'Kalyanatraya," (Guj.) Nirgrantha 1, Ahmedabad 1995, pp. 98-110, Plates 1-4, has identified the Kumbhariya Neminatha temple's patta of A.D. 1287 (there Plate 2) representing 'Kalyanatraya' on the basis of inscriptions and the agamic and other literary references.

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The Temples in Kumbhariya 25. The same author wrote a guidebook in Gujarati entitled Arasitirtha Arasana (Kumbhariyaji), Seth Anandji Kalyanji, Amdavad 1997, pp. 1-18, Plates 1-32, in which he has discussed the historical perspective of the tirtha and has given full description of the temples. Late Medieval Sources The Jaina writers in Gujarati had used some of the late medieval sources concerning Kumbhariya, 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 "Vividhatirthastutayah" (sundry hymns): The composition is by one 'Jinacandra' who plausibly was Jinacandra suri III of the Kharatara-gaccha (A.D. 1286-1320). This composition is incorporated in the Jainastotrasandhoha (Pt. 1), Ed. Muni Caturavijaya, Pracina (Jaina) Sahityoddara Granthavali, No. 1, Amdavad V.S. 1989 (A.D. 1932), pp. 375-377. Its verse 22 (p. 377) refers to the five temples of 'Arasananagaratirtha' by name, those of Nabheyadeva (Rsabha), santinatha, Nemi, Parsva, and Vira. 2. In S. 1503/A.D. 1447, Somadharma gani, disciple of Caritraratna gani and grand disciple of Somasundara gani of Tapa-gaccha, composed the Upadesasaptatika in Sanskrit which, in its second chapter, eighth lecture, dwells on Pasila and the tale of the building of the Neminatha temple at Arasana. The text was edited by Muni Caturavijaya as No. 33 of Sri atmananda Grantharatnamala, Bhavnagar V.S. 1971/A.D. 1915, pp. 38, 39. 3. The "Arasaniya Nemicaityaprabandha," incorporated in the Puratana Prabandha Sangraha, Ed. Muni Jinavijaya, Adhisthata-Singhi Jaina Jnanapitha, No. 2, Calcutta 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 Neminatha temple at Arasana by Pasila. 4. The Pracina Tirthamala-samgraha edited by Vijayadharma suri includes in the collection the "Pt. Megha-Viracita Tirthamala," composed by Pt. Megha (or Meha) in c. mid 15th century A.D. Its verse 24 and 25 describes Arasana, its mines and mentions the five temples, namely of Adi(natha), Nemi(natha), Lodana (Parsvanatha), Santi(natha), and Vira (i.e. Jina Mahavira.)

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The Temples in Kumbhariya TE OSIROHE Nandiya (Nandigrama) AJAST Nitoda (Nitodaka) Vasantagadh (Vatapura) Hanadra (Hudapadra) Rohida Pa Sukal R Varaman (Brahmana) QRA KHARADI (Abu Road Candravati ( mbaji Bancis Posina . Kotesvara Kumbhariya' (Arasana) PALANPUR DANTA Sabarmar R. KM 1050 30 40 20 MILES 1. Location map of Kumbhariya.

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CHAPTER 3 Kumbhariya: Denomination and Historical Background Kumbhariya/Kumbharia, is situated about a mile and a half, or two and a quarter kilometres, to be precise slightly southeast of the famous holy tirtha-town Ambaji of the Brahmanical goddess Amba, 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 "Kumbhariya" or "Kumbharia". It is, for example, said to be after the Guhila monarch Maharana Kumbha (Kumbhakarna) of Mevad (Medapata) (A.D. 1435-1470)' or after some rajaputa named Kumbha who lived there; or the site was so called after the settlement there of the 'kumbharas' (Skt. kumbhakaras), members of the potter community. But the appellations for the settlement that overwhelmingly, indeed without an exception, figure in the medieval inscriptions are neither Kumbhariya nor Kumbharia: They invariably are Arasana/Arasana and Arasanakara/Arasanakara," the suffix "akara' 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 'Arasana-nagara', the denomination Kumbhariya 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.

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The Temples in Kumbhariya Table 1: Inscriptional notices of 'Arasana' and variants Date Appellation Insc. Location of the Inscription A.D. Samvat No. Arasana + Adinatha caitya (now santinatha) Mahavira caitya Neminatha caitya Parsvanatha caitya 1087 1118 ? 1206 1259 1259 1259 1276 1310 1314 1331 1346 1031 1062 ? 1150 1203 1203 1203 1220 1254 1258 1275 1290 Neminatha caitya 99 On a stray stone Near Kumbhesvara, donative" 144 Arasana Adinatha caitya (now Santinatha) 1110 1110 1147 Undated 1054 1054 1091 Arasanakara 1150 86 1206 13 +4 48 Mahavira caitya Neminatha caitya Mahavira caitya (Pedestal originally in Mahavira temple, now in the principal shrine of Santinatha temple) On a stray stone (near Neminatha temple) Neminatha caitya Mahavira caitya 1313 1257 142 1338 1282 113 Arasanakara 1145 1147 1153 1089 1091 1097 13 15 136 On the pedestal of Siva image of the ruined Sangamesvara Parsvanatha caitya Neminatha caitya 1161 1204 1208 1214 1214 1314 1314 1323 1105 1148 1152 1158 1158 1258 1258 1267 98 100 Arasananagara 1675 1619 145 Mahavira caitya

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Kumbhariya: Denomination and Historical Background The term/word 'arasa' in Gujarati, which stands for marble, may have derived from the settlement's appellation "Arasana". "Arasa' (or rarely 'arasa') doubtless was the kind of local marble quarried specifically from Arasana, the hills around are for long time known as Arasur, a nomen in which the memory of the denomination 'Arasana' is preserved." The alternative explanation offered for the formation of the compound 'Arasana' 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'etre 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 Siva."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 bhandagarikas (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 Rsabha/Adinatha (Phase II), was a

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The Temples in Kumbhariya 'Samgha-caitya' and hence built through the corporate efforts of the members of the Samgha or Fraternity: that of Jina Neminatha was built by a tradesman Pasila of Arasana 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 Parsva (known in Khima's pilgrim psalm, c. mid 15th cent. A.D., as Lodana Parsvanatha)13 and at a little distance to its northwest stands the temple of Jina Mahavira. Further northwest lies the temple originally built for Jina Rsabha but later dedicated, as will be shown, to santinatha; and the largest of the whole assemblage, which is a centrally situated building at the site, standing southwest of Santinatha's, is the one sacred to Jina Neminatha. The fifth, the one that is regarded today as of Jina Sambhavanatha but, as will be shown, was sacred to Jina santinatha, is located at a fair distance, some 600 feet northwest of the last-noted foundation. The temple of Siva, which currently goes by the name 'Kumbhesvara', stands about 100 feet northwest of the Sambhavanatha 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 'Sangamesvara', 14 was built earlier than Kumbhesvara. 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 Amba. When inquired by Amba 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

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Kumbhariya: 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 suri (III), presumably of the Kharatara-gaccha, reports only five temples there, namely those of Rsabha, Mahavira, Parsva, Nemi, and Santi all of which today stand at the site.20 What is more, with the sole, and plausible, exception of the temple of Adinatha--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 Arasana related to the 11th, 12th, and the 13th centuries, it was then included within the monarchical, next imperial, domains of the Solankis of Gujarat. An image-pedestal inscription of A.D. 1031 (here No. 1, Chapter 7) in the santinatha (originally Adinatha) temple refers to "Bhima-bhupa' (Caulukya monarch Bhimadeva I, A.D. 1022-1066) and an inscription on the pedestal of a Jina image in the Neminatha 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 Mahavira temple (No. 86), report that the images to which the two inscriptions were connected had been installed at the behest of the Caulukya emperor Kumarapala (A.D. 1144-1174). In the early 13th century (c. A.D. 1203), however, during the period of Caulukya Bhimadeva II (A.D. 1175-1235), Arasana apparently was governed by Paramara Dharavarsa of Candravati (Nos. 54, 60, 63, 73),22 a mandalika/mandalika 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) Bhimadeva II as the ruling monarch. An inscription of (V.)S.1331/A.D. 1275 (No. 143) reports the reign of a local chieftain Mahipaladeva [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 Candravati's chief maharajakula Visaladeva's authority, understandably on Arasana.24 In early 14th century, when the Jaina temples in Delvada on Mt. Abu 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 Arasana 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 Delvada 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

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The Temples in Kumbhariya Neminatha temple Parsvanatha temple Mahavira temple II santinatha temple 0 : SRT TH 111 nd: 2. Site plan showing temples in Kumbhariya. (Not to the scale.)

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Kumbhariya: Denomination and Historical Background 39 Sambhavanatha temple NOT TO THE SCALE Kumbhesvara temple

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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 Arasana 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 Astapada (A.D. 1210) enshrined in a corner chapel in the Santinatha (Adinatha) temple complex are all woefully mutilated (Plate 128), just as the Samavasarana in a caturmukha chapel in the Mahavira 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 Kumbhariya 32 According to the 'pattavali' of Dharmasagara of Tapagaccha, in late 16th century, at the instance of Vijayasena suri, chief disciple of the illustrious jagadguru Hiravijaya suri whom the Mughal emperor Akbar held in high esteem, the temples in Arasana 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 suri, chief disciple of the aforenoted pontiff Vijayasena suri, consecrated the cult images of the main sanctuaries in the Mahavira, Parsvanatha, 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 Posina. 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 suri, the temples' charge were transferred to Seth Anandji Kalyanji, 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

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Kumbhariya: Denomination and Historical Background housing their office was built in c. 1922 on the south end vacant ground between the Parsvanatha and Mahavira temples. And back in A.D. 1901 or 1904,33 a dharmasala, with vaulted rooms in Rajasthani style, was built by Seth Mansukhbhai Bhagubhai. 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 Gujarati on the site's Jaina temples sponsored by Seth Anandji Kalyanji 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 Kumbhariya was then under the Mevada rule, though Mt. Abu certainly was. In any case, Forbes so records: "Near Umbajee (Ambaji), beside a rivulet, and among natural shrubberies of wild jasmine and other scented flowers is a little village founded by Koombha Rana (Rana Kumbha), of Cheetor, and called after his name, Koombhareea (Kumbharia)." Vide the Ras Mala, 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 Kanaiyalal Bhaisankara Dave, Ambika, Kotesvara ane Kumbhariya, Vadodara 1963, pp. 46-47. Muni Visalavijaya advanced this conjecture: Cf. Sri. Arasana Tirtha apara nama Sri. Kumbhariyaji Tirtha, Bhavnagar 1961, p. 10. 3. This is the guess of Muni Darsanavijaya, vide, Jaina Parampara-no Itihasa, Pt. 2, Amdavad 1960, p. 299. However, Muni Visalavijaya disagrees with him: see his Sri. Arasana 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 'arasa' and hence the appellation 'Arasana'? Arasa's cognate Gujarati word 'arasi' means 'mirror.' Is it because the marble can receive high mirror-like polish and hence was called arasa'? But this is a side issue and for the philologists to decide. This is the view of several early writers on Kumbhariya . They had thought about and discussed the origin/etymology of the word Arasur. 8. Dave, Ambika., 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 "Tirthamala." (Cf. Vijayadharma suri, Pracina., vs. 25, p. 50.) Whether the name has anything to do with 'Lotana', a village near Nandiya where there was a medieval temple of Parsvanatha, is a moot point. If it has, then the Kumbhariya instance would be a 'tirthavataral shrine.

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The Temples in Kumbhariya 14. See Visalavijaya, Sri. Kumbhariyaji., 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 Kumbhariya. 17. The latter point had been noted by Prabhasankara O. Somapura as reported by Jayantavijayaji in the Arbudacala Pradaksina (Abu Pt. 4), Sri Yasovijaya Jaina Granthamala, Bhavnagar 1948, p. 28. Prabhasankara'bhai, 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. Nabheyadevam siri Santinaham Nemim jinam Pasajinam ca Viram anantananai gunana thanam saremi Arasananayaratitthe (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 Ajayapala in A.D. 1177 and soon after the victory near Abu on the Muslim invaders by the Gujarat army, Dharavarsa apparently had played a significant role 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 'Nabhinandana-jinoddharaprabandha' of Kakka suri of Ukesa gaccha (A.D. 1337) (Edited by Pt. Bhagavandas Harakhcanda, 1929) in the context of acquiring a marble piece from Arasana by Samarasimha of Anahillapataka for making the image of Adinatha of Satrunjaya. (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 'caityaparipatis' 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 kayotsarga images in the gudhamandapa of the Mahavira temple were mutilated: the arms, in the past, were rejoined. 31. See the citation, Visalavijayaji, Sri. Kumbhariyaji., p. 80. 32. The image of Adinatha in the eastern bhadraprasada of the Neminatha temple also dates from that period. 33. Seth Mathuradas gives the date S. 1957/A.D. 1901, while Muni Visalavijayaji mentions S. 1960/A.D. 1904 as the date of the Dharmasala (Sri. Kumbhariyasi., p.60). Muniji, moreover, mentions the name of the builder as Seth Mansukhbhai Bhagubhai (of Amdavad.)

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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 Kumbhariya 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 Kumbhariya correspond with, or conform to the conventionally fixed pattern. (1) Floor plans Out of the five Jaina temples in Kumbhariya, the earliest three--those of Jina Santi (Rsabha), Mahavira, and Parsva-are of the 'Caturvimsati-Jinalaya' class, the fourth, that of Jina Neminatha has, excepting for its two large bhadraprasadas, the surround of linked devakulikas without the usual partitioning cell-walls within and it is only from the number of sikharas, several built in recent decades, seen from outside that the figure of the intended sub-shrines is inferable. The sixth or the Siva temple follows the standard plan known of a Brahmanical sacred building of relatively smaller size in medieval Gujarat, which comprises the prasada linked with a semi-open rangamandapa as met with at the Munibava temple at Than (c. A.D. 975), the Khimel-mata temple at Dhinoj (c. A.D. 1027-30), the Siva temple at Sander and the main shrine of the pancayatana temple at Gavada, both of the second quarter of the 11th century, the Nilakantha-Mahadeva temple at Sunak (c. A.D. 1075) all

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The Temples in Kumbhariya situated in north Gujarat--and the Nilakantha temple at Miyani (A.D. 1204) in Saurastra, to name a few buildings as typical examples. The structural adjuncts figuring as the Jaina building's major architectural components are first a 'jagati' on which the whole articulated complex stands. The complex's main focus is the 'mulaprasada' or shrine proper/main sanctuary joined, at its front, through the kapili or pair of buffer walls, with a gudhamandapa (closed hall) which is next followed by a 'mukhamandapa', more precisely known as 'trika? (three-bayed open colonnaded forehall) or 'satcatuskya' (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 satcatuskya 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 Kumbhariya in the first four temples, the fifth one (originally dedicated to santinatha), which is now known as of Sambhavanatha, is without the trika/satcatuskya adjunct. The rangamandapa, together with the mukhamandapa-antechamber, is surrounded by a pattasala-cloister having either two (sopana-dvaya) or three continuous steps (sopana-traya) all around; to this is organically articulated an entourage of the 24 (or more number of) devakulika-subshrines meant to contain the corresponding number of Jina images. The pattasala coincidentally thus becomes a circumambulatory path and hence also known as 'bhramantika' (bhamati' in Gujarati as well as in Rajasthani) in view of that particular functional feature of this adjunct. The three flanks of the ranga-mandapa are connected with the pattasala by carved ceilings. The temples dedicated to Jina Mahavira, Santinatha (originally Rsabhanatha), and Parsvanatha, are of the 24-Jinalayas type. Neminatha temple, too, has a cloistered devakulika-surround, but the Sambhavanatha 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 Kumbhariya temples.

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Western Indian Jaina Temple: Generalities (3) Mulaprasada Prasada or shrine is called 'mulaprasada' or 'principal shrine' by virtue of its being the sanctuary proper in relation to the surrounding devakulikas or subsid shrines. The main cella, moreover, enshrines the 'mulanayaka'or the cult image of the Jina which is also called the 'adhinayaka'-- '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 mulaprasada 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 narapitha-belt in the base mouldings may show the narrative portrayal of the 'pancakalyanakas', 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 Vidyadevis, Yaksis, Sarasvati, and at times a few other Jaina divinities of the Yaksa category like Brahmasanti and Gomukha. While the karnas (anglebuttresses) carry framed images of the Dikpalas as is the case with the Brahmanical temples, the neighbouring pratirathas show Yaksis, Vidyadevis etc., in lieu of the surasundari 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-rathikas (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-- Yaksis, Vidyadevis etcetera--are shown. In Kumbhariya, only the Neminatha temple has a fully moulded and decorated base and wall for its prasada. However, while the sikharas of all other Jaina temples here show the jala or the so-called 'beehive pattern', the Neminatha temple has a lately done sikhara which is devoid of it. All the sikharas here are of the Anekandaka or Sekhari (multi-turreted) class, the Latina (monospired) type went out of vogue after early 11th century. (4) Gudhamandapa The closed hall, conjoined with the prasada with the help of the 'kapili' or connecting vestibular pair of parallel walls, is the immediate adjunct within which the devotees

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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 prasada. And its walls, too, are somewhat less thick than those of the prasada. 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 prasada even when the rathas tend to be a little broader than those of the prasada. The bhadras, however, may not always have khattaka-niches: Instead, there would be, at each of the two lateral opposite sides, a bhadravalokana or window, with or without a perforated screen. However, there can be open-pillared porches in lieu of the bhadravalokanas. The roof of the hall, too, is differently treated in that it is never of the 'sikhara' class but usually of 'samvarana' (stepped bell roof) (or rarely 'pharsana' or tiered pyramidal) class. If the gudhamandapa 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 Nabhicchanda category. In the context of the Kumbhariya temples, like its prasada, it would be logical to expect to see a fully decorated external wall in the case of the Neminatha 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 gudhamandapa 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 'navacatuskya'). Excepting the Neminatha temple, which has a satcatuskya, the remaining three possess the trika class of mukhamandapa. The front wall of the gudhamandapa (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 gudhamandapa. 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 Neminatha 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 Kumbhariya, the Mahavira and the santinatha (originally dedicated to Rsabhadeva) temple possess fine trika-ceilings,

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Western Indian Jaina Temple: Generalities the Neminatha has somewhat second rate examples, those of Parsvanatha had been replaced by plain slabs and there is no question for Sambhavanatha which is not provided with the mukhamandapa. 47 (6) Rangamandapa On stepping down from the mukhamandapa 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 Sabha-mandaraka or the Sabha-padma-mandaraka order, with a sequence of receding gajatalu 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 Kumbhariya 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) Pattasala/bhramantika and devakulikas The cloistered lobby surrounding the mukhamandapa and the rangamandapa, in case of the 'Caturvimsati-Jinalaya', or the complete circuit around the prasada, the gudhamandapa, and the back side in case of the 'bavanna-Jinalaya' (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 pattasala-cloister may be of a single, as in Kumbhariya temples, or a doubled file of columns, fore and rear, as in Delvada 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 Kumbhariya temples are disappointing in that, alone of the four temples, the Parsvanatha shows well-patterned ceilings in the pattasala, and that too restricted to its left wing. The pillars of the pattasala are, by way of convention, of the plain Misraka variety. For Private Personal Use Only

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The Temples in Kumbhariya The devakulikas usually have sparingly decorated, hence unassuming doorframes, the exception being those of the two bhadra-prasadas of the Parsvanatha temple. The effect of the devakulika-surround, from outside, helps direct the attention to the mulaprasada which has a centrality and a larger and taller sikhara, a dominant feature in the elevational appearance of the whole complex. The rangamandapa is organically united with the pattasala cloister which surrounds it on three sides with the help of connecting ceilings. The ceilings are all of the Samatala class in the Kumbhariya temples but could be of other categories as evidenced by Delvada 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 Delvada examples than in the Kumbhariya instances. (8) Mukhacatuski, Mukhamandapa, Balanaka The entry-point to the complex is provided with a mukhacatuski or four pillared porch, or a larger structure, an entry-hall which, when possessing an upper floor, becomes a portal with a balanaka. In the latter case, a 'nala' or stairway-channel leads to the top of the jagati and inside an aisle that lies before the ranga-mandapa. In Kumbhariya, we encounter all these types, the santinatha temple is provided with a mukhacatuski-porch, the Mahavira temple with a mukhamandapa, and Parsvanatha as well as the Neminatha temple with a balanaka. The concept of Caturvimsati-Jinalaya apparently is in evidence since mid ninth century, as inferable from the indications present within the Jaina temple in Varaman. The earliest literary reference is in a medieval notice concerning Yasobhadra suri of Purnatalla-gaccha who, when he was a royal prince before initiation to the order of friars, had built a Caturvimsati-Jinalaya in Denduanaka (Dinduana) in Rajasthan, some time in the latter half of the tenth century. Because of the northerly orientation, the interiors in these Kumbhariya 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 pattasala by ceilings which further cuts off light. To add to that is another fault, indeed unlike Delvada temples, of not leaving here the northern end of the lateral aisles between the central core space and pattasala free of ceilings and hence closing it up. That renders the

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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 rajasenaka (a basal moulding), vedika (a sort of dado) and asanapataka (seat-slab with carved fronton). This walling usually supports a kaksasana (back-rest, seat-back) above the asanapastaka. 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 Mahavideha-ksetra and 4 'Eternal Jinas' of the Nandisvara-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 devakulika in the back row. This completes the rectangle for the 'bavanna' or 52 Jinalayas. The number of devakulikas 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 devakulikas can be increased to 84 or even 108. The Kumbhariya 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 devakulikas had to be enclosed by a 'kota' or 'prakara' wall with lateral entry-porches inserted at east and west in the case of the Mahavira, the Santinatha, and the Neminatha temples: the Parsvanatha, 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 Camunda (N) or, alternatively, the Tripurusa-Visnu (S), Siva (W), and Brahma (N) in the case of an east-facing prasada's principal or cardinal niches. In Vaisnava temples are met with Nosimha (S), Narayana or Visnu (w), and Varaha (N). In Surya temple, Surya occupies the west niche. In Devi temples, different forms of Candika/Durga, 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 vastusastras and other literature including the cultural data contained in the texts in old Gujarati, 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.

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CHAPTER 5 Description of Temples The Adinatha Temple (Phase I) The original temple to Jina Rsabha/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 Santinatha 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 Mahavira temple complex, was installed in the main sanctuary. A late medieval source, the 'caityaparipati' or pilgrimage-litany of poet Meha (c. mid 15th cent. A.D.), refers to the temples built by Vimala-a dandanayaka of the Solanki monarch Bhimadeva stationed at the Paramara vassal Dhandhuka's capital Candravati-at Arasana and on Mt. Arbuda (Mt. Abu). Pandita Meha, in his 'Ranigapura-caityaparipati-stavana' (c. mid 15th cent. A.D.), refers to the temple of Jina Rsabha at Arasana. The association of specific attendant divinities related to Jina Rsabha with the architectural components of the c. A.D. 1082 interior of today's Santinatha 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 Rsabha, 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. dandanayaka) Vimala. A 'caityaparipati' in Prakrit by Jinacandra suri III of Kharatara-gaccha (c. late 13th century), earlier alluded, mentions Jina Rsabha's temple along with four other temples dedicated to four other Jinas, namely Mahavira, Parsvanatha, Neminatha, and Santinatha, 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

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The Temples in Kumbhariya The two image-pedestal inscriptions, both of A.D. 1054 (Nos. 2 & 3) and again encountered in the santinatha temple but originally must have been in the disappeared Rsabha temple (Phase I) on the same spot, had supported the images, in order, of the third tirthankara Sambhavanatha and the fourth Jina Abhinandana. It is likely that the Phase I Adinatha temple was also intended, even planned to be a 'caturvimsati Jinalaya', the two surviving pedestals under reference originally may have been, with their lost images, set up in the devakulikas or sub-shrines connected with the earlier temple of Jina Rsabha. The doorframe of the garbhagrha of the Santinatha Jinalaya's main shrine (sanctum sanctorum), which stylistically is of early 11th century (Plates 9-13), apparently had belonged to this Adinatha Phase I foundation and reused. There are, moreover, a couple of kayotsarga Jina images stacked in the storeroom of the Santinatha temple (Plate 218), which perhaps, were stationed on the jangha 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 santinatha and once again while describing the relevant illustrations in Chapter 8.) The Mahavira 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 jagati-platform supporting a mulaprasada or the main shrine, the gudhamandapa (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 bhramantika for perambulation in the form of a pattasala-cloister along with 16 conjoined devakulikas (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 devakulikas) 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 pattasala ends) and coaxial with the corresponding porches of the gudhamandapa, were also provided (Fig. 3). The mulaprasada or main shrine is about 16 ft. 9 in. in width and is tri-anga or having three main projecting divisions on plan, namely karna (angle), pratiratha (neighbouring 'ratha' offset), and bhadra or madhya-ratha as central offset (Fig. 3;

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

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The Temples in Kumbhariya Plates 15, 20) with salilantara-recesses between. The pratiratha is narrow as is the case with the Ambika temple at Jagat (c. A.D. 961), the Visnu temple of the late tenth century in the gorge near the Ekalingji group, and a small Siva temple of the same date within the Ekalingji ensemble: the three buildings under reference are situated in Medapata or Mevad region in Rajasthan. In northern Gujarat, the Latina shrine of today's Jina Sambhavanatha at Taranga (c. early 11th century) has anga-divisions somewhat similarly proportioned but is earlier than the Kumbhariya building, possibly by three decades or a little more. The mulaprasada has a short, moulded, but very sparingly ornamented pitha or base (Fig. 4a; Plate 20) with ardharatna flanked by half thakaras (notional dormers) applied on the otherwise plain jadyakumbha (inverted cyma recta/doucine) moulding only at the three bhadras, the karnaka (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 Yaksis and Vidyadevis; instead are seen ardharatnas as in several late Maha-Gurjara in lower Rajasthan and early Maru-Gurjara temples in Gujarat, without in our instance the enrichment of the carved detail. The jangha-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 grasas or grasapatti, the regular grasapatti, as per the standardized convention of the Maru-Gurjara style, occurs at the upper end of the jangha 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 Nandisa of the series 'Kesaryadi prasadas' of the medieval western Indian vastusastras. Its tri-sectioned bhadra-rathikas 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 jala-web (Plates 15-18). A finely detailed makara-pranala is inserted above the pitha in the eastern wall of the prasada (Plate 21). The form of the base together with the wall pattern of the gudhamandapa generally follows that of the prasada; but the divisions here are broader. The

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Description of Temples pattika karnaka jadyakumbha bhitta bhitta F.llo 4. Elevations of the pithas: a. Mahavira temple, mulaprasada; b. Santinatha (originally Adinatha) temple, mulaprasada; c. Parsvanatha temple, mulaprasada; d. Sambhavanatha (originally Santinatha) temple, mulaprasada.

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The Temples in Kumbhariya gudhamandapa is roofed by a sarvarana (Plate 19). The hall's side openings at east and west are provided with parsva-catuskis or lateral pillared porticos in alignment with the corresponding exterior openings in the kota-wall just adjacent to the end of the pattasala. The stone-slab coverings, very lately introduced between these two coaxial openings, partially masked the rathikas of the hall-porches which shelter Jina figures. Inside the closed hall, beyond the antarala, the garbhagsha-doorframe shows three sakhas or three jambs of which only one, the innermost, shows decoration, of a surging creeper of little artistic pretension. The stambhasakha of the broad Bhadraka order is without the usual "rupa' or figural carving in panels. At the pedya 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 Medapata but also in a few instances in Jejakabhukti (Khajuraho) and Dahala or Cedidesa in case of less adorned doorframes of minor shrines, be they Jaina or Brahmanical. Inside the garbhagrha, the cult image of Jina Mahavira, 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 Sarvanubhuti and Ambika (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 kayotsarga Jina each on either side of the antarala 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 Sabhamarga ceiling of the Nabhicchanda pattern; the vitana being small, the grasapatti discharges the function of a rupakantha which bears eight brackets, its overall workmanship, however, has nothing special to comment upon or commend (Plate 22).

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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 catuhsakha (Plate 23), comprising valli, rupa-stambha-, and rupa-sakha. The compartmented door-lintel, in the countersunk panel adjoining the central panel, shows Harinegamesa carrying the baby Jina Vardhamana Mahavira (Plate 24) who, in the Svetambara sect's biographical account of the Jina, transferred the embryo from the womb of the brahmin lady Devananda to that of the ksatriyani Trisala. In the central panel in the lap of a seated figure on a lion throne, sits a child, now headless, in padmasana posture who apparently is Vardhamana, the central figure accompanied by an umbrella-holding figure to its right has been suggested as the Jina's mother Trisala. In the corresponding panel opposite to Negamesa's is a Yaksa holding a vajraghanta but cannot be identified with certainty. At the extremities as well as in the projecting panels between are seated figures of Vidyadevis just as are in the four superimposed panels on each stambhasakha. At the lalatabimba is shown a small figure, probably of a Yaksa. 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 gudhamandapa's aforenoted main or northern doorway opens, is supported by a pitha-base constituted, in the order of superposition, by a bhitta, jadyakumbha, karnaka, antarapatta, chajjika and grasapatti, 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 manibandha (jewel band), and a grasapatti. In the two lateral bays, pillars between their upper section carry an illika-torana (Plates 28, 29) which, along with those surviving in the rangamandapa (c. A.D. 1075) of the Sun temple in Modhera, are the earliest extant examples of that class in Gujarat. The trika has a porch or projecting mukhacatuski 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), rajasena, vedika (dado), and asanapatta (seat) mouldings characteristic of the semi-open rangamandapa type of hall, in lieu of those normally met of a pitha. The vedika, on either side, displays two niches placed at an interval between the decorated uprights: Those at the east

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The Temples in Kumbhariya raajaakaarbaaraansy'aallnssssskaandhlksksksksksksksybslssWBkskskscmbaarmaay'shliaaksspjlkaamaansnsrsndhirmaallaalplplaay'ns| Plan and elevation of the pitha, Samavasarana, Four-doored devakulika, Mahavira temple. (Not to the scale.) (Courtesy: Department of Archaeology, Government of Gujarat.)

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Description of Temples side show Cakresvari and Nirvani (Plate 27) and at the west flank Ambika 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 mukhacatuski above its stairway supports a very fine vitana or ceiling which is structurally of the 'ksiptotksipta' order and decoratively of the Padmanabha class (Plates 31, 32), the one equally elegant behind it in the trika is of the complex 'utksipta' 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 silpis of Gujarat call 'pal ghata', a double volute design. The vitanas in the bays flanking the one that carries the Padmanabha type are of the identical 'Mandaraka' class (Plates 33, 34); those that flank the central utksipta type above the trika's central bay noted above are both of the identical Nabhicchanda 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 jangha 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 kumbhika-base, further having a short pikha 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 lumbikas or corbels at cardinal points; and finally comes the grasa-kinkanika belt. The pillars along the eastern and western row forming the square nave do not show figures at the jangha 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 vidyadharas in file (Plate 41) and rest of the parts above are similar to those of the aforenoted two pillars. There were the 'andola' or undulant form of (what the Dravidian vastusastras 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

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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 sandhipalas are concealed by panelled blocks sheltering Vidyadevis/Yaksi figures. Since the hall is slightly rectangular, the central circular Sabhamandaraka vitana 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 vitana, also metaphorically termed 'karotaka' or (inverted) bowl, which is about 16 ft. 9 in. in diameter, there is first a grasapatti or a file with large projecting grasa-heads, indeed in fairly high relief than is usually met with in this situation; next comes the karnadardarika followed by a rupakantha bearing 16 brackets for supporting the Vidyadevi figures which, however, have disappeared. While 14 of these brackets are of the usual vidyadhara type showing at their faces well-rendered vidyadhara (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 Gajanta-Laksmi or Abhiseka-Laksmi. Next comes a single gajatalu course followed by a minor ratnapatti, 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 vajrasonga or the accented junction area--where two semicircular kola-coffers meet-is filled with grasamukhas (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 vitana, 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 vitanas of the Sabhamandaraka 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 vitana are filled by large grasamukhas framed within

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

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The Temples in Kumbhariya the pattis 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 grasa-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 mukhalinda or aisle between the entry-opening in the pattasala and the rangamandapa is carved, on the floor, a padmasarovara (?) symbol (Plate 75), a convention not noticeable elsewhere except in Kumbhariya where in an identical situation, one comes across another symbol instead, to be noticed further. The devakulikas, 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 Caturvimsati-Jinalaya, the architect arguably had included in the computation the two khattaka-niches in the trika to complete the total of 24 sub-shrines. The devakulikas' dvisakha doorframes (Plate 72) show unremarkable valli- and ratnasakha. The ceilings in the pattasala 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 Misraka class, indeed of little interest. Their attic members at several places deviate from the centre. The dandacchadya-awning projects from the pattasala at all three sides. As an afterthought, but certainly soon after the rangamandapa and the devakulikas with the pattasala 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 dandacchadyas, in continuous series, of the pattasala 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 pattasala and in close juxtaposition to the eastern porch is a four-doored devakulika sheltering a Samavasarana (Fig. 5) in yellow

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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 mulaprasada, was some time in the past reerected at this situation (Plate 231). This devakulika is roofed by a samvarana (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 pattasala 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 Mahavira 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 Viranatha-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 rupakantha 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 santinatha Temple (Adinatha Phase II) The temple complex (Fig. 7; Plates 2, 3) stands on a featureless jagati supporting the mulaprasada (which is the smallest in the entire ensemble), next the gudhamandapa directly conjoined with the prasada sans the kapili or buffer wall, then the satcatuski, the rangamandapa, the 24 devakulika-surround along with the pattasala, 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 mulaprasada, with meagrely differentiated bhadra, karna, and pratiratha, is only 14 ft. in diameter, the short karna-pitha has the usual set of unadorned mouldings (Fig. 4b). The mandovara is largely plain except at the three

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

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Description of Temples bhadras which have shallow niches at the jangha, containing seated Jina figures, mostly retooled. The shapely sikhara above (Plates 77, 78) shows the jala type with details plausibly of the late 19th century A.D. and, in terms of constitution, has 21 andakas. The three bhadra-rathikas in the lower section of the sikhara shelter Cakresvari (E), unidentified goddess (S), and Ambika (W): this convention, unlike the one followed in the context of the Mahavira temple prasada, of introducing female divinity figures, is more in agreement with the usual medieval convention. The dvisakha doorframe of the garbhagrha has a very thin ratnasakha, and a narrow patrasakha with very finely carved and highly schematized climber (Plates 9-11): below it are graceful attendant figures of Ganga and Yamuna 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 Nabhicchanda ceiling of the hall has three successive courses of karnadardarikas 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 Parsvanatha set up in the Mahavira caitya, contextually thus unrelated to this shrine. The present image, which is late, is said to be of santinatha; hence, from some late date, this temple, originally dedicated to Jina Rsabha, began to be called the one of Santinatha. The Nabhicchanda ceiling of the gudhamandapa shows triple karnadardarika courses, each bearing an auxiliary manipatrika, and next are two kola courses. The roof of the gudhamandapa is of the Samvarana class, but without the usual decorative details for its kapotapalikas and the bell members (Plate 79). The gudhamandapa's main door opens in the satcatuski: It has trisakha doorframe showing patra, narrow convex padma-, and broader patrasakha. 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 pedya of the right and the left jambs. The profile of the karmapitha class of the base of the mukhamandapa (which is of the satcatuski type), has the polished mouldings (Plate 82) as in the Mahavira temple which, unlike that of the prasada and the gudhamandapa, has a short but carved grasapatti in lieu of plain pattika; but the northern face of the satcatuski's stereobate has been treated as though it is a semi-open rangamandapa

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The Temples in Kumbhariya where rajasena, vedika, and asanapatta mouldings appear (Plates 85, 86). The vedika-niches at the left of the stairway display perhaps Nirvani and Brahmasanti Yaksa at the right side of the spectator and Sarvanubhuti and Acchupta 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 jangha-niches at the shafts, which show Vidyadevis, Sarasvati, and related figures. Among the four rear pillars, only two belts in the uppermost circular area are carved; they show the grasakinkanika (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 pancasakha jambs, the rupastambha with a pair of rupasakhas 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 Mandaraka 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 pattasala ceilings of the Vimala-vasahi temple at Delvada, Mt. Abu. The three out of the four corners left out by the central circular part are filled with the figures of Vidyadevis-Vairotya, Rohini, Yaksi Cakresvari 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 Mandaraka class, though displaying smaller dvi-kola lambana with centrally hanging staminal (Plate 89). The vikarna-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 Mandaraka type. Its four vikarnas are filled with four seated Dikpala figures--Vaisravana, Yama, Nirrtti, and Agni. The space between the divinities is occupied by gandharvas playing musical instruments, some also shown in dancing postures.

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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 satcatuski 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 sala of the rangamandapa is even more rectangular along its north-south axis than is the case with the Mahavira 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 urmivela/kalpavalli (Plates 95, 98, 99, 100). The lintels supporting the central Sabhamandaraka 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 karnadardarika, next the rupakantha with plain diamonds in series and at intervals bearing 16 vidyadhara-brackets (Plate 97), and then comes a single gajatalu course. Next in sequence are two consecutive courses of single kolas in series and closely following them are two of quadruple gajatalus. 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 pattasala 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 Mahavira 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 Cakresvari who are the attendant Yaksa and Yaksi of Jina Adideva Rsabha 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

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68 The Temples in Kumbhariya DR2 8. Floor plan of the Astapada, Four-doored devakulika, santinatha (Adinatha Phase II) temple. (Not to the scale.) (Courtesy: Department of Archaeology, Government of Gujarat.]

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Description of Temples 16 Vidyadevis 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 Mahavira temple. The first ceiling in this eastern series probably depicts Jinas' parents set in panels (Plates 117, 118). The eight devakulikas each at the east and west side, and four devakulikakhattakas each along the right and left wings of the northern side possess nothing specially interesting. The ceilings of the pattasala-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 pattasala, leaving a gap due to the eastern opening in the southern side of the kota-wall, stands a four-doored chapel containing an Astapada (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 mukhalinda 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 Mahavira temple is a sketch of the right side of a parikara design.) The Parsvanatha Temple The temple, with all its adjuncts, is supported by a taller jagati having an open mukhamandapa connected at the south with a nala or entry-channel containing a stairway leading up through the jagati (Fig. 10), and a balanaka-hall constructed above the mukhamandapa (Fig. 9; Plate 4). Inside are the mulaprasada connected with a gudhamandapa, the trika, the rangamandapa, and the surround of 24 devakulikas with the pattasala-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 mulaprasada is some 16 ft. wide. It has a karnapitha with unadorned mouldings (Fig. 4c). The vedibandha as well as the jangha are also without the figural decoration. The sikhara is without the jala-beehive and possesses 93 andakas and four tilakas (Plates 131, 132). It may be old (even if perhaps not contem

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

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Description of Temples poraneous with the base and wall) since there are no projecting gavaksa-balconies at the bhadras, the presence of which becomes a regular feature from the 15th century onwards. Moreover, the rekha-contour and the circularity of karnandakas of the venukosa of the mulamanjari indicate medieval, and not late medieval period. The gudhamandapa, slightly wider than the mulaprasada, has a parsva-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 dvisakha doorframe consists of patra- and ratnasakha, and is of little consequence in terms of appearance. The Sabhamarga ceiling of the gudhamandapa is of the usual type with a central Nabhicchanda component without the central lambana. Its originally, eight, now seven, vidyadhara brackets once may have supported the eight nayika figures. The pancasakha doorframe of the gudhamandapa consists of patra-, rupa-, rupastambha, rupa-, and vallisakha. A plain but nicely rendered ardhacandra with sankhavarta in front of the udumbara or doorsill (Plate 135), the doorsill showing delicately carved central semicircular mandaraka and flanking it the pair of prominently projecting grasa heads (Plate 135), the pedyas of the jambs on both sides sheltering Vidyadevis with attendant female figures (Plate 133), and the doorlintel displaying Vidyadevis in panels with attendant apsarases in dance-postures and gandharvas playing instruments in the countersunk panels (Plate 134) are the features of the dvarabandha. 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 Mahavira temple. The usual polished, plainly moulded trika-base has a mukhacatuski in front; its profiles show ornamented rajasena, vedi, and asanapatta customarily noticeable in at least the Jaina temples in this group. The east side has niched figures of some Vidyadevi or Yaksi and Yaksa Sarvanubhuti and the west side displays two unidentified goddesses (Plates 136, 138). The front pillars of the mukhacatuski are of fully decorated Maru-Gurjara order: They carry an andola-torana between (Plates 139, 140). A closer view of the details of one of these two pillars showing Cakresvari in the jangha provides the estimate of the quality of workmanship (Plate 141). Inside the trika, the wall-pilasters flanking the doorframe

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

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Description of Temples have been treated like a trisakha 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 pattasala, by plain marble slabs, indeed a lamentable loss. The rangamandapa (Plates 142-147) has a perfectly square sala with sufficiently tall pillars and is thus the best proportioned hall of all the Jaina temples in Kumbhariya. Its two front pillars at the northern bhadra, like the two of the southern bhadra (shared also by the mukhacatuski 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 grasamukha is shown, the only exception being the lintel of the southern bhadra where ten panelled Vidyadevis 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 pattika showing prominently jutting out grasa-heads in file, next the karnadardarika, then rupakantha with diamonds and 16 vidyadhara-brackets followed by a gajatalu course and, after it, in lieu of a second gajatalu-band, comes a rupadhara once more followed by a gajatalu course; next come three consecutive belts of catuskhanda kolas, followed by a mono-kola course, and finally a small three-kolaja lambana. The pattasala 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 pattasala of this temple from the other two is the elaborate treatment of the pair of pillars facing the two bhadra-prasadas 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 gudhamandapa, the pedya-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 pattasala's southern side as well as the left wing of the northern side possess decorated ceilings, a few being of the

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The Temples in Kumbhariya Nabhicchanda class with a central padmakesara (Plate 157). But several are of the Nabhimandaraka class (Plates 158, 159, 161, 162), while that before the bhadra-prasada is of the Sabhamandaraka 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 pattasala's eastern section and the right wing of the northern section, however, are made of simple or leafy karnadardarikas, and of little artistic merit. The devakulikas of the two wings of the northern section of the cloister are genuine cells and not the apological niche-formed devakulikas. In front of the northern bhadra of the rangamandapa, on the mukhalinda floor, is carved a rotating svastika symbol (Plate 163) as in the Santinatha temple. We may note here the floor-sketches of a temple and another large sketch of the elevation of a sikhara in the western aisle and of the ceiling types, at two places in the eastern aisle. The balanaka-hall has plain dwarf pillars above the asanapatta and plain polymorphic columns at its rear end (Plate 164); and, because of its presence, the interior of the Parsvanatha temple is somewhat better lighted than the preceding two temples. The exterior elevation of the internally decorated bhadraprasada in the western row of the devakulikas 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 devakulikas neighbouring the bhadraprasada. The bhadraprasada pillars bear figural niches on its jangha. The bhadraprasada has a sikhara of good form showing also the finely done jala pattern. The Neminatha Temple The temple to Arhat Aristanemi alias Jina Neminatha (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

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Description of Temples 75 the Upadesa-saptati (A.D. 1447) of Somadharma gani of Tapa-gaccha and one abandha figuring in the manuscript 'P' included within the Puratana 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 Pasila of Arasanagrama, who was best among the sravakas, and was the son of minister Goga, 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 Rajavihara. At that moment, Hamsi, the daughter of the billionaire Chada who (had in his coffers) 99,00,000 gold coins, laughed (at Pasila) and asked: "Brother, why are you measuring (the temple); are you planning to build (such a monumental and magnificent) caitya?" Responded Pasila: "Sister, it professes to be a very difficult job; a child cannot hope to weigh the Suvarnacala-mountain; however, if I indeed succeed in building a temple (prasada), do come (to Arasana) to attend (the consecration ceremony.)" So saying he returned to his village and invoked Ambika 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 karmasthaya (hut) and inquired about the progress in building). Pasila replied that, by the grace of god and guru, it is progressing well. Ambika, 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' (Hamsi) 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 'Meghanada' at the cost of nine hundred thousand (drammas). Other temples (devakulikas ?) 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 Pasila, son of minister Gogaka, built the lofty temple to Lord Nemi: The crest-jewel of the Nirgrantha (sect) and the disciple of the preceptor Municandra suri, namely Vadindra Deva suri the preceptor, consecrated (the cult image of) Nemi."

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The Temples in Kumbhariya The prabandha inside the Puratana Prabandha Samgraha thus narrates this episode: 'Once Pasila, son of the minister Goga of Arasanapura, on becoming a pauper, went to Pattana on an agricultural errand. There, in the Rajavihara, he began to take measurement of the (huge cult) image. Noticing him so doing, the daughter of Thakkura Chada 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 Arasana) 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 ?) Ambika 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 (Siddharaja 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 dinars. He soon after commenced the work on building the temple (the core of the jagatis ?) of brick. Next he visited Pattana, met Chada and his daughter and requested the tradesman's daughter to attend the installation ceremony. Deva suri and the tradesman's daughter went (to Arasana). The consecration took place in A.D. 1137. At the expense of nine lacs, the sister (Hamsi) built a hall called Meghanada. 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, Pasila, the meansless son of the late ?) minister Gogaka of Arasana, was impressed by the magnitude of the Rajavihara and its monumental cult image at Asahillapataka which, as known from the Prabhavakacarita and other sources, was built by king Jayasimhadeva Siddharaja 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, Hamsi, the

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Description of Temples 77 daughter of the billionaire Chada of Anahillapataka, added the Meghanada mandapa. Excepting for the two large bhadraprasadas, the rest of the devakulikas, 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 jagati. It has a balanaka or nala-mandapa situated above the mukhacatuski and the nala-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 Parsva. The dvisakha-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 Meghanada class (as reported by the 15th century writers, earlier noticed) and thus having an attic storey (Plates 171, 174, 175). At the northern or balanaka end and at the southern or satcatuski 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 Modhera (c. A.D. 1070), and still earlier at Osian (torana, A.D. 1018), Kiralu, Nagada, and Ahada, the last three instances are of the last quarter of the tenth century and all located in Rajasthan. However, unlike Kiradu and Modhera and near at hand in the three preceding temples in Kumbhariya itself, no toranas apparently were intended to be inserted between the pillars even in the original scheme. This hall is surrounded by the colonnaded pattasala behind which are articulated the rows collectively of the 24 devakulikas 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 devakulikas end. The pattasala-cloister is devoid of carved ceilings, a regrettable deficiency. The only carved ceiling related to the central location in the east-west pattasala alignment, and of some consequence, is the one which is just above the nala-stairway termination (Plate 170), the three other instances which occur behind it are composed of plain dardarikas (Plate 168); these latter were painted in the Mughal period. The aforenoted fully carved ceiling is of the Mandaraka class with the sunk sub-lintels

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

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Description of Temples showing series of full-blown lotuses at their soffit (Plate 170). The pair of the dwarf front pillars of the mukhacatuski of the balanaka 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 Meghanada mandapa are dwarf and, unlike the vedi-kaksasana complex there, largely unornamented (Plates 174, 175). Hall's magnificent central Sabhamandaraka ceiling (Plates 176, 177) they support is c. 20 ft. 6 in. in diameter. It is thus the largest of all in the Kumbhariya temple-halls. Among its receding and stratified courses, after the relatively plain karnadardarika, comes the rupakantha 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 Prabhasa, Saurastra, the ceilings of which are now to be seen in the town's Djami' and Maipuri mosques. In the rupakantha here are also shown astamangalas and possibly the Kalyanakas of the Jina. Above the rupakantha is a course of gajatalu followed by a narapattika depicting the pancakalyanakas of the Jina. The inclusion of narapattika, as in the Parsvanatha 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 Psthvipala, in the Adinatha temple (Vimala-vasahi) at Delvada on Mt. Abu. After this belt, once more comes a band of gajatalu, next the three strata of the conjoined catuskhanda-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 lumas 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 grasa-head.

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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 Mandaraka 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 Mahavira, and the satcatuski of the Santinatha temple, these look somewhat paltry, rather ordinary and less in keeping [as is also the case with Kumarapala's great temple of Ajitanatha at Taranga (c. A.D. 1165) where similar ceilings figure in the satcatuski], with the otherwise grand looking interior. The lateral extensions at the east and west of the satcatuski, 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 satcatuski and behind the aforenoted wall-screens show, at the east, a 'Kalyanatrayapatta' (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 kayotsarga 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-kala' 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 'Nandisvara-dvipa-patta' dated A.D. 1267 (Plate 241): The corresponding one at the opposite end contains an image of Yaksi Ambika 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, Ambika being his attendant Yaksi.

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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 satcatuksi. Its sakhas 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 gudhamandapa, 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 karnaka of the base, however, look older and are continuous with those of the mulaprasada: 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 'Samalikavihara-patta' (A.D. 1282) (Plate 244), a 'Vis-viharamanaJina-patta' (Plate 240), and the two 'Jinamatrka-pattas' (Plate 237)--all of which for some years now have been set up in the different locations within the Mahavira-caitya together with the three fragments of what once constituted a 'Saptatisata-Jina-patta' now placed before the empty image-parikaras inside the first three consecutive devakulikas in the western row in that temple (Plates 238, 239)-- were all originally placed in the gudhamandapa of the Neminatha temple. A pair of large and handsome kayotsarga Jinas (Plate 220) flanking the antarala 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 garbhagrha-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 garbhagrha is in style largely after that of the gudhamandapa. Inside is the later image of the mulanayaka Jina Aristanemi, 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 prasada (Plates 190, 191, 194) is tri-anga

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82 The Temples in Kumbhariya 1922 narapipha gajapitha NURU VI Fantarapatta grasapatti chadyaki -antarapatta cippika karnika jadyakumbha bhitta 252 AAAA F.llo 12. Elevations of the pikhas: a. Neminatha temple, mulaprasada; b. Kumbhesvara temple, mulaprasada.

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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 gajapitha (elephant figure-belt) and narapitha (belt showing human figures in action). The kumbha-faces of the vedibandha display figures of Vidyadevis and Yaksis (Plates 195-199). The bifacial karnas or the corners, as in all Maru-Gurjara and in a few other contemporaneous regional styles having decorated temples, show Dikpala figures, the pratirathas display Vidyadevis and Yaksis such as Vairotya, Acchupta, Manavi, Jvalamalini (or Mahajvala), Vajrankusa, Naradatta, Kali, Mahakali, Gauri, and Gandhari (Plates 192, 193). The sikhara is of later date. The kapili-niches on both east and west side carry the remaining four Dikpala figures according to their directional positions. Behind the mulaprasada 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 gudhamandapa was rebuilt), exposed to elements and lying there uncared, reported by Muni Jayantavijaya as well as Muni Visalavijaya, were since then had been shifted to the store-cellars of the Mahavira and the Santinatha caityas, the better ones were placed at different locations in the Mahavira temple. The discarded fragment of the top of a Samavasarana (Plate 236), noticed in the eastern precincts of the Parsvanatha temple may point out to a second Samavasarana somewhere in the Kumbhariya temple complex, perhaps in the Neminatha temple. The devakulikas attached to the pattasala around the Meghanada hall, with the exception of the two large bhadraprasadas situated at east and west, largely were built during the latter half of the 13th century. Each of them have a dvisakha doorframe showing a broad and finely delineated vallisakha (Plate 203). The bhadraprasadas stylistically seem contemporaneous with the mulaprasada and by omission of the pattasala steps, they could be provided with larger dvisakha 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 Adinatha (replacement of the 17th cent.) in the eastern and Parsvanatha, perhaps original, in the western bhadraprasada. Of the two bhadraprasadas, the mandovara or exterior wall of the western one is fully decorated (Plates 204, 205). Unlike other devakulikas in this complex, the two bhadraprasadas seem to have been built soon after the main sanctuary. The devakulikas do not have

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The Temples in Kumbhariya internal walls separating them. Externally, however, each one shows a separate sikhara. While these sikharas are uncarved (some of these have been more recently constructed), at least the one in the western row shows delicate jala carving characteristic of the late 13th century besides being elegantly formed (Plates 206208). Where the devakulika-rows terminate, at the eastern and western sides the kota-wall had openings but blocked during one of the later renovations. The Sambhavanatha Temple (Originally santinatha) This fifth and the last Jinalaya (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 jagati 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 jala-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 gajapitha and narapitha. At the bhadra points, the jadyakumbha alone shows the central ardharatna flanked by ardhathakaras 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 Yaksis and Vidyadevis like Cakresvari, Vajrasrnkala and others, and dancing ladies on the flanking sub-facets of the bhadra-kumbhas (Plate 212). The jangha section at the bhadra-offsets has niches, now empty. The sikhara has the usual bhadra-rathikas. They show figures of Vajrasrnkala (E), Cakresvari (S), and Sarasvati (W). The sikhara of the prasada (Plates 209-211) indeed is beautifully formed. It possesses as many as 117 andakas; this is because, as is the case with Parsvanatha temple, it employs pancandaka (Kesari) or panta-turreted karmas' instead of mono-turreted 'songas'. Four tilakas of the kaksakutaka type bearing standing niched figures on their front also occur as constituents of the sikhara. The exterior of the gudhamandapa has the moulded surfaces of the same type as the prasada 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

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Description of Temples E - Floor plan, Sambhavanatha (originally Santinatha) temple. 85

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The Temples in Kumbhariya image of Jina Vasupujya is seen in one of the flanking niches of the interior's eastern bhadra (Plate 224). Also noticed is the image of aradhaka 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 antarala, are noticeable sketches of the Camara-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 rupakantha bearing a series of half lotuses in hemicycles but without the vidyadhara brackets, the rest of the elevation being made up of a series of plain karnadardarikas. The moulded doorway (Plate 213) leading to the closed hall has a lintel showing sikharikas, three on either side of the central larger one, as done at the Luna-vasahi temple's parallel example in Delvada on Mt. Abu but without its rich, intricate, and delicate carving. Below the lateral sikharikas are panels containing seated Vidyadevis, the central one displaying the tutelary image of the Jina. The dvisakha doorframe has a slender stambhasakha which is horizontally divided at intervals but carries no carving. The antarasakha is of the valli type. The usual door-guardian figures with their flanking attendant figures are shown at the pedyas. The wall-pilasters, however, are profusely carved, just as they are treated like a rupastambha flanked by a pair of rupasakha. 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 suri III as well as poet Meha refer to a temple sacred to Jina Santinatha among the five that then existed and still exist. Apparently, by reductio ad absurdum, this Sambhavanatha building, not referred to by the medieval writers as of Sambhavanatha, 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 Prthvidhara (Pethada Saha), a minister in Malavadesa, in or before A.D. 1264, the list, however, does not allude to Arasana 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 Sangamesvara and the Kumbhesvara Mahadeva Temples To the northwest of the Sambhavanatha 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

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

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88 The Temples in Kumbhariya reported by Muni Visalavijaya and on the basis of an associated inscription of A.D. 1090 there, which refers to the Sangamesvara temple, it may be conjectured to have been built in or before that date. The extant Siva temple, now going by the name of 'Kumbhesvara', has a tri-anga prasada with a semi-open rangamandapa, the temple structure standing on a jagati of little consequence (Fig. 14). The basal mouldings, as in the Neminatha temple shows a gajapitha and a narapitha (Fig. 12b). The prasada, about 19 ft. wide, is fully decorated with the usual Dikpala figures at the karma-angles and the surasundaris at the pratirathas (Plates 215, 217). All are stationed within the parikarma-frames as in the case of the Neminatha 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 Camunda (N). Bhandarkar dated this temple to the period of the Sun temple at Modhera (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 jangha 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 Bhimadeva II and his minister Ambaka, which purports to gifts of taxes levied etc., may approximately indicate the date of the building of the temple. The truncated sikhara of the prasada (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 Modhera temple's decorative carving, again an untenable equation/comparison.

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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 'padmasana' in Kumbhariya, 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 puja-dravya' and consequent intensive lustral ceremony. Moreover, the showing of dhoti and ornaments in carving, in cases specially of the images standing in 'kayavyutsarga' posture (Plates 218-220), contribute further toward eliminating the barest of art element present. The accompanying figures of the attendants-camara-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 Yaksis such as Sarvanubhuti (a Jaina version of the Brahmanical Vaisravana-Kubera) and Ambika [Parvati provided with the mango tree/fruit association by literally interpreting the component 'amba' =amra (Skt.)], either as icons for worship in their own right (Plates 226-227) or else figuring as 'alamkara-devata' 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 Ambika icons (Plates 229-230), are useful for the iconographic and ritual-worship purpose alone, not so much for art. In Kumbhariya, the images of Vidyadevis, Yaksis, Cakresvari, Sarasvati, Brahmasanti Yaksa, and Hari-Negamesa occur fairly frequently in the

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90 The Temples in Kumbhariya decoration-scheme--some of them in pillar-niches, in ceilings such as those of the trika of the Santinatha temple, also in Samatala ceilings covering the space between the pattasala and the devakulikas, 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 surasundaris. Their minor presence sometimes enliven the situations where they occur, for instance on pillars and in ceilings: the examples primarily are noticeable in the Mahavira 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 Kumbhariya, a Samavasarana (Plate 73) and an Astapada (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-viharamana-Jinas (Plate 240), the Saptatisata-Jinas (Plate 242), the Nandisvaradvipa (Plate 241), the Kalyanatraya (Plate 243), and the Samalika-vihara/ Asvavabodha-caritra-patta (Plate 244) are available here. The pattas bearing figures of the 24-Jinas,' the Sammetasikhara, 4 the schematic depiction of Mts. Girnar and the Satrunjaya, are not met with here, though an inscription mentioning an [Asta]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 bhadraprasada enshrining an image, or in a devakulika. At least five such examples are noticeable in Kumbhariya, one connected with the Mahavira temple (Plate 231), the other originally before the cult image in the main sanctuary in Parsvanatha (Plate 232), two more also installed in the devakulikas of Parsvanatha 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 bhadraprasadas but discarded and removed to the backyard (Plate 233). They look impressive for intricacy of carving: the details, however, are tiresome.

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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 Mahavira 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 Delvada ceilings. Annotations 1. The convention of including the three-dimensioned representations of Nandisvaradvipa, Sammetasikhara, and Kalyanatraya apparently came in vogue in the 13th century, and as the evidence shows, specifically in the context of the buildings of Vastupala and Tejapala. These are, without exception, of the Svetambara affiliation, although the representation of the Astapada was plausibly in vogue in the Botika/Ksapanaka sect in central India. The representation of 'Sahasrakuta' in the context of the Svetambara tradition is not known before mid 15th century. It was adopted there from the Ksapanaka 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 Mathura where they occur on the ayagapattas, 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 Svetambara origin, available elsewhere from several Jaina sites from c. late tenth century onwards. The Sammetasikhara-pattas are rarely met with, and that too not before the late 12th century. These are unknown in the Botika/Ksapanaka as well as the Digambara sect. These pattas are peculiar to the Svetambara 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 Nandisvara, Astapada, Vis-viharamana-Jinas (who are the 20 Jinas, preaching in the legendary Mahavideha continent of the Jambudvipa), Kalyanatraya, and Asvavabodha with Samalika-vihara-caritra are confined to the Svetambara sect and there, too, their examples are largely unknown before the 13th century. The earliest examples of the Nandisvara patta are known from the 12th century. The Astapada pattas are rather rare to meet with, their three-dimensional representations had begun from at least the 12th century. The 'Kalyanatraya' is a concrete representation of a concept of the three kalyanakas of Jina Aristanemi-his Renunciation, attainment of Enlightenment and finally the Salvation--that had

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92 The Temples in Kumbhariya legendarily happened on Ujjayantagiri or Mt. Girnar. The convention of representing these as tri-dimensional symbols and building temples to enshrine them was started by the minister Tejapala on Ujjayantagiri in the first instance and next he set it up on Mt. Abu in the hastisala of his temple for Jina Neminatha. 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 Ksapanaka (and possibly Digambara) religious art of central India are completely unknown in the Svetambara tradition. Also, representing the first and the last tirthankara (Rsabha and Vardhamana) together as kayotsarga images and called 'Adyantanatha', favoured in east India and sometimes seen in central India, is a depiction that is not so far known in the Svetambara sources--literary, epigraphical, or concrete.

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CHAPTER 7 Inscriptions With the exception of the Sambhavanatha, all other Jaina temples in Kumbhariya 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 Svetambara 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 Visalavijaya." 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 Adinatha temple, mentions 'Nannacarya-gana' (A.D. 1031) (Insc. 1), the other two record 'Nannacarya-gaccha'

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94 The Temples in Kumbhariya (A.D. 1054) (Insc. 2 and 3), the first one even naming Sarvvadeva suri as the pontiff who consecrated the image in the 'Jinagrha' (probably of Jina Rsabha) at Arasana. 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 sravakas who may have been the adherents to that gaccha. The Nannacarya-gaccha apparently was an off-shoot of the 'caityavasi' (i.e. abbatial) Ukesa-gaccha (which took its name after 'Ukesa', present day Osian) and had come into existence probably in the tenth century. The next interesting notice relates to the 'Vatapala-gaccha', reported from a single inscription (A.D. 1092, in Santinatha i.e., originally the Adinatha 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 Abu Road. The third, and the more ancient than the preceding two, was the Tharapadra (variantly Thirapadra)-gaccha, which had emanated from the line of monks from the abbot Vatesvara (mentioned in Chapter 1) who had established his headquarters in the ancient town of Tharapadra in north-eastern Gujarat in c. early eighth century. The two earliest inscriptions and of the same year in the Parsvanatha temple (A.D. 1105, Insc. 49, 50) mention this 'gaccha'. It is possible that the monks of the Tharapadra-gaccha ecclesiastically were associated either in the founding or consecration of this temple. The pedestal inscription (No. 4) of the cult image in the mulaprasada of the Mahavira temple (A.D. 1062) refers to a pontiff (name gone) of "Ra...-gaccha' which may be read as "Raja-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 Neminatha temple, it is known from the late medieval literary sources, earlier discussed (Chapter 5), that the illustrious Vadi Deva suri of the Brhad-gaccha had officiated the consecration rites of this temple when founded by the tradesman Pasila in c. A.D. 1135 or 1137. Now, it is clear from the predominance of the inscriptions involving the pontiffs of the Bshad-gaccha* as priests consecrating images, devakulikas and other objects of worship within this temple that a large number of sravakas and the sravikas connected with the setting up of images etc., in this temple, predictably had their spiritual allegiance to the Bshad-gaccha. The hagiographies of the different groups of friars of the Bshad-gaccha related to differing decades are specified in the tables to follow. The exact relationships

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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 Bshad-gaccha (Sricandra / BIhad-gaccha) Vardhamana suri (I) A.D. 1148 (Insc. 80); A.D. 1152 (Insc. 88); A.D. 1158 (Insc. 51, 89, 90) Cakresvara suri A.D. 1148 (Insc. 80); A.D. 1152 (Insc. 88); A.D. 1158 (Insc. 89, 90); A.D. 1282 (Insc. 113, 116) Jinesvara suri A.D. 1158 (Insc. 51) Paramananda suri (I) A.D. 1158 (Insc. 51, 89, 90) Jayasimha suri Somaprabha suri A.D. 1282. (Insc. 113, 116) Vardhamana suri (II) A.D. 1282 (Insc. 113, 116) (II) Ajitadeva suri Vijayasimha suri A.D. 1148 (Insc. 81, 82); A.D. 1150 (Insc. 87); A.D. 1279 (Insc. 105) Sri Candra suri Vardhamana suri A.D. 1279 (Insc. 105)

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The Temples in Kumbhariya (III) Buddhisagara suri A.D. 1149 (Insc. 83, 84) Abhayadeva suri A.D. 1149 (Insc. 83, 84); A.D. 1180 (Insc. 91); A.D. 1254 (Insc. 94, 95) Tin Dhanesvara suri A.D. 1180 (Insc. 91) Jinabhadra suri A.D. 1149 (Insc. 83, 84); A.D. 1180 (Insc. 91); A.D. 1254 (Insc. 94, 95) Santiprabha suri A.D. 1254 (Insc. 94, 95); A.D. 1258 (Insc. 97, 98, 99) A.D. 1267 (Insc. 100) Ratnaprabha suri (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 suri 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) Paramananda suri (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 suri (II) A.D. 1254 (Insc. 96) Viraprabha suri A.D. 1295 (Insc. 123)

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Inscriptions (IV) Vijayacandra suri Bhavadeva suri A.D. 1299 (Insc. 125); A.D. 1335 (Inse. 131) There is also a notice each for the Purnima and the Madahada-gaccha: and, two for the Candra, and five for the Tapa-gaccha. (V) (Purnima-gaccha) Padmadeva suri .... raja .... suri ???.... suri A.D. 1269 (Insc. 135) (VI) (Madahada-gaccha) Cakresvara suri Somaprabha suri Vardhamana suri A.D. 1279 (Insc. 106) (VII) [Candra-gaccha] Navangavrttikara Abhayadeva suri Sricandra suri Undated (Insc. 119); A.D. 1288 (Insc. 121)

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98 (VIII) (Tapa-gaccha) Bhattaraka Hiravijaya suri Bhattaraka Vijayasena suri Bhattaraka Vijayadeva suri A.D. 1619 (Insc. 145, 146, 147, 148, 149) Pandita Kusalasagara gani A.D. 1619 (Insc. 146, 147, 148, 149) The earliest inscription in the Neminatha caitya, A.D. 1135 (Insc. 79) mentions Vijayasimhacarya of Devacarya-gaccha. Probably, the Devacarya of 11th century, the pontiff of the Brhad-gaccha, may have been implied here. And one inscription from the Neminatha temple, of A.D. 1330 (Insc. 128), mentions Jinabhadra suri of the Rudrapalliya-gaccha. (This gaccha was an off-shoot of the Kharatara-gaccha.) The Temples in Kumbhariya 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 Mahavira temple names. 'Manatunga suri' as the pontiff involved, but no other particulars are noted. Aside from the early or post-Gupta Manatungacarya 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 Yogasastra of Hemacandra-the encomium dated A.D. 1236mentions Padmadeva suri 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 Kumbhariya context. The two A.D. 1120 epigraphs (Insc. 17 and 18) in the Mahavira temple name 'Padmadeva suri'. Three other medieval pontiffs bearing the same name are known

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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. Kakudacarya is mentioned in two inscriptions bearing the same date A.D. 1150, one in the Mahavira temple (Insc. 86) and the other in the Neminatha temple (Insc. 85). He also had consecrated several Jina images in the Vimala-vasahi temple at Delvada, Mt. Abu, in A.D. 1146 but there, too, neither his gaccha nor gurvavali is noted. From one later inscription, however, he is known to have been connected with the Ukesa-gaccha. 4. Devacarya, disciple of Nemicandracarya, figures in an inscription of A.D. 1160 (Insc. 52) from Parsvanatha temple. Perhaps he may be of Brhad-gaccha. 5. One 'Sagaracandra 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 Manikyacandra suri who was a literary figure contemporary of the prime minister Vastupala (active c. A.D. 1217-1240). Our Sagaracandra, then, could be the same as the one who was from the Raja-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 Parsvanatha temple ranging in date from A.D. 1203 to 1220 and the one on the Astapada in the Santinatha temple (Insc. 47) of A.D. 1210 mention one Dharmaghosa suri. 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 suris bearing the same name. 7. One Jinacandra suri figures in the record mentioning the consecration of an image in the Under-vasahika in Padapara-grama (A.D. 1219 (Insc. 122)] as stated in an inscription from the Neminatha caitya. His gaccha affiliation is unknown. He cannot be equated with any one of the four or five till now known suris having that appellation. 8. An inscription of A.D. 1279 (Insc. 104) in the Neminatha temple refers to one Vinayaprabha without the qualifying term 'suri'. Since an appellation such as this is known from the later branches of the Nagendra-gaccha, perhaps he may have been a filiate of that gaccha.

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100 9. The name of one Devendra suri, disciple of Kanakaprabha suri, occurs in the inscription of A.D. 1282 (Insc. 112) from the Neminatha-caitya. Now, one Pradyumna suri, disciple of Kanakaprabha suri of Candra-gaccha, had rendered preci of the Samaraditya-katha (Prakrit) (c. A.D. 775) of Haribhadra suri in A.D. 1260. It is likely that this Kanakaprabha suri may have been the preceptor also of Devendra suri of the Kumbhariya inscription. 10. Ratnakara suri is involved in the consecration of a Jina image in the Neminatha caitya in A.D. 1338 (Insc. 132). One Ratnakara suri of the first half of the 14th century and of the Brhad-Tapagaccha is known. Perhaps, he is identical with the one mentioned in the Kumbhariya 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 Hiravijaya suri, his disciple Vijayasena suri and his disciple Vijayadeva suri with Pt. Kusalasagara 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. Kusalasagara that occurs in the Mahavira temple is, however, of the same date namely A.D. 1619 (Insc. 145). The Temples in Kumbhariya Rulers As earlier had been mentioned, royalty is not involved in building any temple in Kumbhariya. 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 Santinatha 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 Neminatha temple and the other in the Mahavira temple (Insc. 85, 86)-mention that, at the behest of (ajaya) Kumarapaladeva, Kakudacarya (of Ukesa-gaccha) consecrated the two Jina images.

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Inscriptions 101 Inscription 86 qualifies him as 'Maharajadhiraja'! These two inscriptions are crucial in that they are the earliest notices on this great monarch's patronage to Jainism. 3. Dharavarsadeva This Paramara chief of the Candravati 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 Bhimadeva II's name is mentioned with his titles in an inscription of A.D. 1207 (Insc. 140). 5. Mahipaladeva 'Raja sri Mahipaladeva' who was, according to the Nabhinandanajinoddharaprabandha (A.D. 1337) of Kakka suri of Ukesa 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 'maharajakula' ruling from Candravati 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 Hiravijaya suri receiving the 'biruda' of 'jagadguru' from him in the inscription of A.D. 1619 (Insc. 147, 149). The great suri's disciple Vijayasena suri's disciple Vijayadeva suri figures there as a consecrating priest. 8. Jahamgir (Djahangir) Emperor Akbar's successor Jahamgir 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

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102 The Temples in Kumbhariya 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. Bhandagarika Jindaka Bhandagarika or treasurer Jindaka's name is reported from four inscriptions in the Mahavira 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 Yugadideva (Jina Rsabha), Jina Sambhavanatha, Jina Abhinandana, and Jina Suparsvanatha (each one supposedly to be in an individual devakulika or a devakulika-khattaka). The following is the family tree that can be constructed from the inscriptional data: (Nemi?) Pradyumna = Sajani Varanadeva/Saranadeva = Pahina/Pahini Thatika Vana = d. Paru (A.D. 1086) Sarvvadeva (A.D. 1084) Bhandagarika Dhanda Rajila = Jindaka = Jasavai (Yasomati) d. Rambha Jindaka had two wives, Rajila 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 Rsabha) to the seventh, Suparsvanatha, even when inscription of S.1140/A.D. 1084 (Insc. 6) is too fragmentary intended perhaps to refer to the second tirthankara Ajitanatha?) and two more which, by inference, may have been for Padmaprabha the fifth Jina and Sumati-natha 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 Mahavira temple soon after A.D. 1080. 2. Mahattama Sa(Santi An inscription of A.D. 1082 (Insc. 23) in the Santinatha temple mentions one Jindaka' as the father of mahattama Sa(Sa)nti. It is not clear whether this Jindaka is

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Inscriptions 103 the same as the 'bhandagarika 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 Durlabhadevi = Maham. Santi = Pahini (A.D. 1082) daughters Dehri Silamati Sathi (A.D. 1089) 3. Yasonaga mahattama An inscription of A.D. 1091 (Insc. 15) in the Mahavira temple refers to him as of Naddula (Nadol) where, at the Cahamana 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 Neminatha temple. 5. Mahan. Varadeva His name occurs in two image-epigraphs of A.D. 1158 (Insc. 89, 90), again in the Neminatha temple. Maham. Bahada(ka) He is mentioned in two inscriptions dated S.1259/A.D. 1203 (Insc. 57, 60). He may have been a minister of the Paramara chief Dharavarsadeva of Candravati. Hei 7. Mahamatya Ambaka 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.

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The Temples in Kumbhariya Maham. Yi(Vi?)ra His name occurs in a sundry record (Insc. 142) of A.D. 1257. 9. Maham. Jhanjhana: Mahar. Vijayasimha They, too, are mentioned in one of the sundry inscriptions (No. 143) of A.D. 1275. 10. Maham. Yasodeva He figures in the Neminatha caitya. inscription of A.D. 1279 (Insc. 104) in the 11. Maham. Jhanjhana : Maham. Jagas The names of these two brothers figure in the inscription of A.D. 1282 (No. 112) in the Neminatha temple. 12. Maham. Vira He figures in the sundry inscription (No. 144) dated A.D. 1290. 13. Maham. Caca: Maha. Madana Maham. Madana is mentioned as Maham. Caca's son in an inscription of A.D. 1299 (No. 125) in the Neminatha temple. 14. Maham. Limba He is mentioned in Inscription 128 of A.D. 1330. 15. Maham. Puja An inscription (No. 134) of S. 1526/A.D. 1470 from the Neminatha temple mentions Maham. Puja. 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:

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Inscriptions 105 Old Date Location of Insc. Modern Placename Placename Anahilapataka Patan A.D. 1207 Stray inscription Caddavali Candravati A.D. 1089 Mahavira temple A.D. 1092 santinatha temple Candravati A.D. 1279 Neminatha temple A.D. 1290 Stray inscription Hanadra A.D. 1091 Mahavira temple Hudapadra (Handaudra) Naddula Nadol A.D. 1091 Nahanakara Nana ? A.D. 1271 Neminatha temple Nitodaka Nitoda A.D. 1149 Nandigrama Nandiya A.D. 1158 A.D. 1158 Pattana Patan A.D. 1470 Padaparagrama Padara? A.D. 1219 Posapura A.D. 1279 Posinagrama Posina A.D. 1289 Posina A.D. 1295 Posina A.D. 1333 A.D. 1333 Rohida Rohida Vatatirtha Vatapura ? A.D. 1148 Several of these towns are located around Mt. Abu, while Naddula is situated to the northeast of Mt. Abu in Rajasthan and Posina in north Gujarat within the Idar territory. 'Pattana' of course, was Anahillapataka, the then capital of Gujarat.

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106 The Temples in Kumbhariya Castes and Communities Several inscriptions mention the castes of the 'vanika' or bania communities to which the sravakas and sravikas--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 'Dharkkata-vamsa', 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 Pragvata-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 jnati'; while four dated A.D. 1619 (Insc. 145, 146, 147, 149), refer the karapakas to 'Ukesa (Osvala)' community and only one of the same date, to srimala-jnati (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, alaya, 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 Neminatha temple is referred to in the inscription of A.D. 1219 (Insc. 122). The same inscription refers to 'dadhadhara', seemingly a mason's colloquial term, possibly for column with lintel, for 'dhara' stands for a pillar, An inscription in the Neminatha 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 Neminatha 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 Mahavira temple (originally from the main sanctuary of the Parsvanatha temple) refers to the setting up of a torana. An inscription on a parikara-torana of A.D. 1231 (Insc. 76) in a devakulika from the Parsvanatha temple refers to the setting up of a torana. Eive inscriptions from the Neminatha temple refer to the 'devakulika' sub-shrine: these are dated to A.D. 1279 and 1282 (Insc. 102, 109, 115, 116, 122). Two inscriptions from the Parsvanatha temple, one of A.D. 1259 (Insc. 77) and the other with date lost (Insc. 78), also refer to devakulika.

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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 ? Neminatha temple 114 Asvavabodha-samalika-vihara-patta A.D. 1282 Astapada tirtha with Samavasarana A.D. 1210 In a special devakulika, santinatha temple Astapada tirtha A.D. 1310 Neminatha temple 126 Kalyanatraya A.D. 1287 118 Kalyanatraya Undated 119 Kalyanatraya A.D. 1288 120 Nandisvara patta A.D. 1267 In the khattaka of the mukhamandapa, Neminatha temple 100 Sammetasikhara tirtha A.D. 1289 Neminatha temple 122 Sattarisayabimba (Saptatisatabimba) A.D. 1254 Sattarisayayantraka (Saptatisatayantraka) A.D. 1254 Saptatisata tirtha A.D. 1254 122 Annotations 1. See Sri. Arasana Tirtha apara nama Sri. Kumbhariyaji Tirtha, Sri Yasovijaya Jaina Granthamala, Bhavnagar 1961. For discussion and identification cf., "Vasantagadha-ni Vastu-racanao ane Hrsikesa-nun Vaisnavayatana," (Guj.), Svadhyaya, Vol. 7, No. 3, V.S. 2026 (A.D. 1970), pp. 248-256. 3. See Madhusudan Dhanki and Harisankar Prabhasankar Sastri, "Arasana-na be Jaina pratima lekho-ni visesa vacana," (Guj.), Svadhyaya, 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 Neminatha temple in consecrating the images, pattas etcetera.

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

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Inscriptions The Adinatha Temple (Phase I) (1) OM zrImadvikramabhUbhRtaH svaravasuvyomeMdusaMkhyAkhyayA khyAte'bde pravare susaukhyamavati zrIbhImabhUpairbhuvaM / nannAcAryagaNasya bhUSaNakare svArAsaNasthAnake biMbaM pUjyamakAra sUribhiridaM zrIsarvadevAbhidhaiH // 1 // aMkataH 1087 ASADha sudi 2 // (2) OM saMvat 1110 vaizASa su0 5 ArAsanasthAne zrInannAcArya - gacche sahadevasutena zalabha ( ? ) zrAvakena saMbhavapratimA mokSArthaM kAritA // (3) saMvat 1110 vaizASa.......... .... tayasaMkhye zrIvikramAd vatsare yAte / zrInannAcArya sadgacche ArAsanajinagRhe // 1 // atyaMtodAradAnAdidharmArjanahetunA / sakalArtha....... .. sohijottamaH yathArthaM puNyataH prApya nAyakAkhyAM ca so'karot / abhinandanajinaM loka... ...nabhinaMdakaM // 3 // The Mahavira Temple (8) + (va) ta + 11 (1? 21) 8 phAlguna sudi 9 some ArAsaNAbhidhAne sthAne tIrthAdhipasya vIrasya pratimA [+]+ rAjye kAritA + + ++ jarA ( ja )gacche zrI ... + + + (4) OM / saMvat 1940 vai0 vadi 7 ravau zrIyugAdidevapratimA saraNadeva pAhini suta dhAMdA ThAtika jiMdakAnujena sarvvadevena karmajayArthaM ka (6) saMvat 1140 caitra vadi ravau suzreSThinemi.. vareNyaputreNa.. For Private Personal Use Only .11 109 (1) (2) (3) (4) (5) (6)

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110 The Temples in Kumbhariya OM zrI / saMvat 1142 pradyumna-sajanisutayA varaNadevabhAryayA jiMdukabhAMDAgArikajananyA pAhiNizrAvikayA zivasukhasaMbha[va]nimittaM zrIsaMbhavanAthapratimA kAritA // (8) OM zrI / saMvat 1142 varaNadeva-pAhiNisutayA pAru vanA bhAryayA jajjadevAdijananyA jinadevIzrAvikayA sakalatrailokyAbhinaMdanazrImadabhinaMdanajinapratimA mokSArthaM kAritA // OM zrI / saMvat 1142 jiMdaka hA bhA0 rAjila dvitIyabhAryayA raMbhajananyA jasavaizrAvikayA dharmArthaM zrIsupArzvajinapratimA kAritA // (10) saMvat 1142, zrIvacchasU(su)saMpUrNAputro dhanadeva-nAnAkaH / zreSThijasavaigRhiNI zrIvacchasutaju(yutaH) sAranayavittaH // 1 // zrImannemijinezvararucirapratimAM ca kArayAmAsa / nayanAbruivarSe phAlgunasudi saptamI raviNA(?) // 2 // (11) saMvat 1144........abhinandanadevasya........ (12) (12) OM / saMvat 1145 jyeSTha vadi 8 ravau / (13) (13) saMvat 1145 zrIcaDDAvalIvAstavyayazaHzreSThinAjiNiputraH durlabha-lakSmyoH putravIrukaH yasya dulahIbhAryA jayasiri tadIyaputrAH anaMtajinapratimA ArAsanAkarasaMghacaitye muktaye kAritA mAgha vadi 6 bRhaspatidine pratiSThitA // (14) (14) saMvat 1146, AsIt prAgvATAnvayapUrNAbhAryA guNazIlasaMpUrNA / tatputro dhanadevastadIyabhAryA yazomatistanayoH(ya:) // samabhUnnahivadevIjanisAlinaputra............||

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Inscriptions (15) saMvat 1147 naDDUlasthAnavAstavyo yazonAgamahattamaH / jAsaDI(?) bhAryayA yukto dharkaTavaMso(zo)dbhavazca saH // 1 // tayoH sutena punnena puNyapreritacetasA / kAritA kuMthunAthasya pratimA mokSakAMkSiNA // 2 // ArAsanAkarasthAne saMghacaitye sudhIkRte / pratiSThitA varA mUrtiH mAnatuMgaizca sUribhiH // 3 // maMgalaM mahAzrIH // (16) (16) OM / saMvat 1147, huDApadIyavAstavya rAsi(AsIt zreSThiH(SThI) janAcitaH / prAgvATavaMzasadbhUto thollakAkhyo mahAdharaH // 1 // tasyAsIt gunn................| tayoH pradhAnaputreNa yogadevasa(ma)hAtmanA // 2 // bhAryA zobhanasArddhakaM zAM............ ..........sulocanA // 3 // sa cArAsane pravare vIranAthasya maMdire / svabhajAjitadravyeNa kAritA muktaye sadA // 4 // (17) AUM| saMvat 1176 mArgazIrSa sudi 10 bRhaspatidine rAjalazrAvikayA zrIajitanAthasvAmipratimA muktyarthaM kAritA zrIpadmadevasaribhiH pratiSThitA jAsigaputra nAnuyaputryAH sAhAyyena // (18) saMvat 1176 mArgazIrSa zudi 10 bRhaspatidine rAjalazrAvikayA jAsigaputra nAnuyaputrIsAhAyyena zrIzAMtinAthapratimA kAritA zrIpadmadevasUribhiH pratiSThitA // saMvat 1181 kArtika sudi 15 su(za)kradine zrIpArasva( )nAthadevasya sAMbA SeDhA nA(zrA)vakena toraNaM kArApitaM / /

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112 The Temples in Kumbhariya (20) (20) OM / saMvat 1223 mAgha zudi 11 gurau zreSThinemibhAryA mohinisutazrIyA vIradeva zrIyAbhAryA punadevI sutajasaDU // vIradevabhAryA dhaNadevIsuta pAsilabhAryA jAsusuta kulicaMdra // ityaM(ti) zrIjasaDUbhAryA poiNisuta chAhaDa sehaDa dvitIyabhAryA sAmaNasuta sAvadeva abhayakumAra sehaDabhAryA suSamatIsuta sivadeva bahudeva salakhaNaprabhRtizreyorthaM / / The santinatha Temple (21) saMvat 1138 mAgha sudi 13, jananyormuktaye bhaktyA zrIsuvarNa........ (22) saMvat 1138, vIrako vIranAthasya pratimAmatisuMdarAM / ..............vanadevA-NAMgajaH // (23) saMvat 1138, niHzreyasAya janakasya jidaM(?)kasya mahattamaH / sAMtiH kArayAmAsa zAMtinAthasya prati[mA]kRti // 1 // (24) saM0 1138, sahadevasuto dhImAn nedistho muktaye jinaM / caMdraprabhamacIrakarat mAtR-patnI-sutairyutaH // 1 / / (25) OM saMvat 1138 mAgha sudi 13, varddhamAnasya mokSArthaM dhanadevena kAritA / pratimA neminAthasya tridase(ze)zvarapUjitA // 1 // (26) OM saMvat 1138......"zrIpArzvanAthapratimA kAritA /

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Inscriptions 113 (27) (27) OM saMvat 1138 brahmajasanA sutena Amradevena mukty........| (28) (28) OM saMvat 1138 pUhadeva-maddikAsutena sahadeva-zrAvakena suvidhijinapratikRtiH kAritA // (29) (29) OM saMvat 1138 dedaka-dhAiNisutena somadevasahodarayutena saharIkena (?) shrii....|| (30) (30) zrI OM saMvat 1138 vIraka-salahikAsutena devAMgasahodarayutena jAsakazrAvakena vimalajinapratimA muktayarthaM kAritA // zrIH / / (31) (31) OM // saMvat 1138 dhAMga (?) vallabhadevIsutena vIrakazrAvakena zreyAMsajinapratimA kAritA // (32) (32) OM // saMvat 1138 somadevasahodareNa suMdarIsutena zItalajinapratimA kAritA // (33) (33) OM // saMvat 1138 pahadevamaMDakAsutena sahadevazrAvakena suvidhijinapratikRtiH kAritA // (34) (34) saM0 1138 vIrakasalahikAsutena devIga (?) sahodarayutena jAsakazrAvakena vimljinprtimaayu................|| (35) (35) prAgvATavaMzasadbhUta[:] zrAvako nAma pAhaDa: / bhAryA vasuvatI tasya sA gatA ca surAlayaM // 1 // munisuvratadevasya pAhaDena su(zu) bhAlayaM / / taddhite kAritaM biMbaM saMdhIraNasya sutasya ca // 2 // saMvat 1145 vaizAkha vadi 1 sa(za)nau // (36) (36) saMvat 1145 vaizAkha vadi 1 sa(za)nau, prAgvATAnvayasaMjAtaH sAMtinAma mahattamaH / bhAryAdvayamabhUt tasya durlabhadevI pAhiNiH // 1 // sutA ca deharI tasya sAthI sIlamatistathA / pratimAM kArayAmAsa dhanadevyA ca saMyutaH / / 2 / /

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114 The Temples in Kumbhariya (37) (37) saMvat 1145 vaizASa vadi 1 sa(za)nau, [?AsIt] prAgvATasavaMze Ahamau(?) nAma naigajaH / sAM(zAM)takarosya saMjAto bhaktaH sarvajJasA(zA)sane // 1 // punyA(puNyA)rthaM pitustena zAMtakena mahAtmanA / ajitanAthadevasya pratimeyaM prakAritA // 2 // (38) (38) saMvat 1145 vaizASa vadi 1 sa(za)nau, AsIt prAgvATasavaMse(ze) zrAvako nAma siMTakaH / ponakastasya saMjAto vikhyAto dharaNItale // 1 // RSabhanAthadevasya pratimeyaM mno............| .............pituH tatpuNyahetave // 2 // (39) (39) lAcchizrAvikayA kAritaH // (40) (40) saMvat 1145 vaizASa vada 1 sa(za)nau dhanadevasya satpatnI jAsikA muktimicchati / kArayAmAsa sadabiMbaM Adidevasya dhImatI // 1 // (41) (41) saMvat 1146 mAgha sudi 6 sajjanaparamazrAvakena muktyarthaM padmaprabhajinapratimA kAritA / (42) (42) OM // saMvat 1146 jyeSTha sudi 9 zukre pUraNadevabholikAsunena pohaDizrAvakena bhrAtRvIrakasaMyutena zrIvIrajinapratimA kAritA / / (43) (43) OM // saMvat 1146 jyeSTha su0 9 pUrNadevabholikAsutena poharizrAvakena bhrAtRvIrakasaMyutena zrIvIrajinapratimA kAritA // (44) (44) saMvat 1148 ASADha su0 7 budhe, zrIcaDDAvallayA bRhatvaitye AsId jAsaDagoSThikaH / putradvayamabhUt tasya ajito(ta:) pocirathastathA // 1 // tadavaMsye(zye) samutpannaiH sajjana-nemikumAra-sarvadevajAsaka-durlabhaiH pratimA 2 jinaM //

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Inscriptions 1 (62) svasti zrIvikramasaMvat 1259 varSe ASADha zudi 2 zanau zre0 gohaDasuta zre0 zrIkumArasya zreyase tatputra zre0 sajjanena zrIsaMbhavanAthabiMbaM kArApitaM sUribhizca pratiSThitaM // (63) svastizrIvikramasaMvat 1259 varSe ASADha sudi 2 zanau ArAsaNamaMDale (li) ka zurazaMbhu[:] zrI.........kumArasuta zrIsajjanena svazreyorthaM zrIsumatinAthabiMbaM kAritaM zrIdharmaghoSasUribhiH // (65) svastizrIvikramasaMvat 1259 [ varSe ] ASADha sudi 2 zanau zreSThigohaDasuta zreSThakumArasya zreyase tatputrazreSThisajjanena saMbhavanAthabiMbaM kAritaM [ zrIdharmaghoSa ? ] sUribhizca pratiSThitaM // (64) (64) svasti zrIvikramasaMvat 1259 varSe ASADhasudi 2 zanau bahudevaputryAH zre0 maNibhadrasalakSaNAyAH zreyorthaM vAsupUjyabiMbaM kArApitaM pratiSThitaM zrIdharmaghoSasUribhiH // (66) saM0 1265 varSe vaizAkha zudi 7 some zrIsumatinAthasya [ pratimA ] sAjaNena kAritA || (67) saM0 1276 mAgha sudi 13 ravau zre0 AsadhareNa putrasivadeva tatputra sobhadevapuNyAya zrImahAvIrabiMbaM kAritaM pratiSThitaM zrIdharmaghoSasUribhiH // (68) saM0 1276 mAgha sudi 13 ravau AsadhareNa putramahIdharadhAMdhalapuNyAya zrIpArzvanAthabiMbaM kAritaM pratiSThitaM zrIdharmaghoSasUribhiH // (69) saM0 1276 mAgha zudi 13 khau zre0 zrIneminAthabiMbaM kAritaM pratiSThitaM // (70) saM0 1276 mAgha zudi 13 khau zre0 AsadhareNa bhAryA mAMkuzreyase zrInamibiMbaM kAritaM pratiSThitaM zrIdharmaghoSasUribhiH // (71) saM0 1276 mAgha zudi 13 ravau zre0 salaSaNasuta zre0 AsadhareNa Atmazreyase zrImunisuvratasvAmibiMbaM kArApitaM pratiSThitaM zrIdharmaghoSasUribhiH // 117 For Private Personal Use Only (62) (63) (65) (66) (67) (68) (69) (70) (71)

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118 The Temples in Kumbhariya (72) (72) saM0 1276 mAgha zudi 13 ravau zre0 salaSaNaputra zre0 AsadhareNa mAtaratnIzreyase zrImallIbibaM kAritaM pratiSThitaM zrIdharmaghoSasUribhiH // (73) (73) [saM0]1276 a(A)SADha sudi bIja (dvitIyA) zanau ArAsaNe mAMDalikasarazaMbhaH zrIdhArAvarSAdevavijaya(yi)rAjye mahaM bRhat ga....prAnta....a....zrIkumArasuta zre0 sajjanena svazreyase zrImatsamatinAthabiMbaM kArApitaM pratiSThitaM zrIpA( dharma )ghoSasUribhiH / maMgalaM mahAzrIH // (74) (74) [saM0] 1276 varSe ASADha sudi bIja (dvitIyA) AsadevasutapunAkena....pratiSThAyAm.. zrIsuvidhinAthabiMbaM kArApitaM........sUribhizca pratiSThitaM / maMgalaM mahAzrIH // (75) (75) saMvat 1276 mahAga(mAgha) zudi teraza (trayodazyAM) ravau zreSThisalakhaNasutazreSTi(SThi)AsadhareNa mAtA(ta)zreyase zrImunisuvratabiMbaM kArApitaM pratiSThitaM zrIdharmaghoSasaribhiH // (76) (76) saM0 1287 varSe mAgha zudi 10 budhe zrInAbhinandanadevasya mAtAlakSmIzreyo) zre0 sajjanena toraNaM kAritaM // (77) (77) sa0 1315 jyeSTha vadi 11 rakhau...."devakalikA kAritA // (78) (78) saM0....vaizAkha sudi 13 zukre zre0 devacaMdrabhAryA mAlhIputra jayatAka....zrIdharmanAthabiMbaM Atmazreyase kAritaM devakulikAsahitaM // The Neminatha Temple (79) (79) saMvat 1191 varSe phAlugna(lguna) sudi 2 some zrIariSTanemi[:]pratiSThito(ta:) zrI devAcA( *ryagacche zrIvijayasiMhAcAryena pratiSThA kRtA jinadevagurubhaktAna(nAM) bhaktena sakalagoSThIsu(Sa) sthAyitye(tve)na chehaDena byaM(bi)baM kRtaM suto(ta:) zrI............dullahaM sutena punadevyodaro... ........ (There is another inscription bearing the same date but is completely mutilated.)

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Inscriptions (80) (80) saMvat 1204 phAguna vadi 11 kuje zrIprAgvATavaMzIya zre0 sahadevaputra vaTatIrthavAstavyamahaM risideva zrAvakena svapitRvyasutabhrAtR uddharaNa svabhrAtR saraNadevasutapUtA risideva () bhAryA mohIsuta zubhaMkara zAliga bAhara krameNa tatputra dhavala ghUcU pArasaputraputrIprabhRtisvakuTuMbasametena ArAsanAkare zrIneminAthacaitye mukhamaMDapakhattake zrI () zAMtinAthabiMbaM Atmazreyase kAritaM // zrIcaMdrabRhadgacche zrIvardhamAnasUrIyaiH zrIsaMvignavihAribhiH pratiSThitamidaM biMbaM zrIcakrezvarasUribhiH // (81) (81) saMvat 1204 jyeSTha sudi 9 maMgaladine zre0 sahajigasutena uddhA paramazrAvakeNa nijAnujabhodA bhAgineya mumA bhaginI lolI prabhRti svakuTuMba () samanvitena nijakalatra salakSaNazreyonimittaM zrIpArzvajinabiMbaM kArApitaM pratiSThitaM zrIajitadevasUriziSyaiH zrIvijayasiMhasUribhiH || (82) (82) saMvat 1204 jyeSTha sudi 9 maMgalavAre zre0 pUnAsutena dhAiya paramazrAvakeNa nijaputra dAdUsamanvitena bRhadbhrAtRvosarizrAvakasya kalyANaparaM ( ) parAnimittaM AtmazreyArthaM ca zrIzAMtinAtha pratimA kArApitA / pratiSThitA zrI ajitadevasUriziSyaiH zrImadvijayasiMhasUripUjyapAdairiti // 119 (83) (83) OM // saMvat 1205 jyeSTha zudau 9 bhaume nItoDakavAstavya prAgvATavaMzasamudbhava zre0 brahmAkasatka satputreNa devacaM () dreNa aMbA vIra tanujasamanvitena zreyomAlAnimittaM AtmanaH zrIyugAdidevapratimA kAritA zrIbRhadgacche (*) merukalpatarukalpapUjya zrIbuddhisAgarasUrivineyAnAM zrIabhayadevasUrINAM ziSyaiH zrIjinabhadrasUribhiH pratiSThitaM // (84) (84) saMvat 1205 jyeSTha zudA 9 bhaume prAgvATavaMzaja 0 nIMbakasuta zre0 sohikAsatka satputra zrIvacchena zrIdhara nijAnujasahitena () svakIyasAmaMtatanUjAnugatena svajananI jeikA zreyase AtmakalyANaparaMparAkRtaye ca anyeSAM cAtmIyabandhUnAM bhAgyahe (?) () nivahanimittaM zrImannemijinarAjacaitye zrIpArzvanAthabiMbaM kArApitaM zrIbRhadgacchgaganAMgaNasomasamAnapU()jyapAdasugRhItanAmadheya zrIbuddhisAgarasUrivineyAnAM zrIabhayadevasUrINAM ziSyaiH zrIjinabhadrasUribhiH pratiSThitaM // (85) saM0 1206 kArtika vadi 6 ArAsaNe zrIkumArapAladevAjJayA zrIsaM () ghAdezena zrIkakudAcAryaiH zrIpArzvanAthabiMbaM pratiSThitaM // (86) (Similar inscription, date lost, is in the Mahavira temple as well ) saMvat [1206] kArtika vadi .......bhaume ArAsaNAkare mahArAjAdhirAja zrIkumArapAladevAjJayA mahaM0 zrIsaMghAdezena zrIkakudAcAryaiH zrImahAvIrapratimA pratiSThitA // For Private Personal Use Only (85) (86)

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120 The Temples in Kumbhariya (87) (87) saMvat 1206 jyeSTha sudi 9 maMgaladine zre0 sahajigasutena udghAparamazrAvakeNa nijAnujabhodA bhAgineyamamA bhaginI lolIprabhRtisvakuTuMba (*) samanvitena nijakalatrasalakSaNazreyonimittaM zrIpArzvajinabiMbaM kArApitaM / pratiSThitaM zrIajitadevasUriziSyaiH zrIvijayasiMhasUribhiH // (88) (88) OM / saMvat 1208 phAguNa sudi 10 rakhau zrIbRhadgacchIyasaMvijJavihArI(ri) zrIvardhamAnasUriziSyaiH zrIcakrezvarasUri(*)bhiH pratiSThitaM prAgvATavaMzIya zre0 pUtiga suta zre0 pAhaDena vIraka bhA0 dejhalI bhAryA putra yazadeva phUlhaNa pAsU pautra(*) pArzvavadhAdimAnuSaizca sametena Atmazreyase ArAsanAkare zrIneminAthacaityamukhamaMDape zrIne(*)minAthabiMbaM kAritaM iti maMgalaM mahAzrI: // (89) (89) saMvat 1214 phAguna vadi 7 zukravAre zrIbRhadgacchodbhavasaMvignavihArizrIvardhamAnasUrIyazrIcakrezvarasUriziSya...........zrI paramAnaMdasUrisametaiH........pratiSThitaM // tathA purA naMdigrAmavAstavyaprAgvATavaMzodbhava mahaM0 varadeva tatsuta vanuyatatsuta bAhaDa tatsuta........tadbhAryA dulhevIsutena ArAsanAkarasthitena zre0 kulacaMdreNa bhrAtR rAvaNa vIrUya putra ghosala pohaDi bhrAtRvya buhA0 caMdrAdi / tathA punAputra pAhaDa (?) vIrA pAhaDaputra jasadeva pUlhaNa pAsU tatputra pArasa pAsadeva zobhanadeva jagadevAdi vIrAputra chAhaDa AmadevAdi sUmAsuta sAjana tatputra prabhRti gotrasvajanasaMtukaM phu(?) punadeva sAvadevAdi dUlhevi rAjI salakhaNI vAlhevi ApI ratanI phUdI sirI sAtI rUpiNi devasiri prabhRtikuTuMbasametena zreyorthaM zrIariSTanemicaitye zrIsupArzvajinabiMbamidaM kArApitamita // (A second identical but fragmentary inscription on the pedestal of the standing Jina image had also been noted in the past.) (90) (90) saMvat 1214 phAguNa vadi 7 zukravAre zrIbRhadgacchodbhavasaMvignavihArizrIvardhamAnasUrIyazrIcakrezvarasUriziSya ...............zrIparamAnaMdasUrisametaiH .........pratiSThitaM / tathA purA naMdigrAmavAstavyaprAgvATavaMzodbhavamahaM0 varadeva tatsuta vanuya tatsuta bAhaDa tatsuta............tadbhAryA dulhevIsutena ArAsanAkarasthitena zre0 kulacaMdreNa bhrAtR rAvaNa vIrUyaputra ghosala pohaDi bhrAtRvya buhA0 candrAdi / tathA punAputra pAhaDa(?) vIrA pAhaDaputra jasadeva pulhaNa pAsU tatputra pArasa pAsadeva zobhanadeva jagadevAdi vIrAputra chAhaDa AmadevAdi sUmAsuta sAjana tatputraprabhRti gotrasvajanasaMtukaM phu(?) punadeva sAvadevAdidulhevi rAjI salakhaNI vAlhevi ApI ratanI phUdI sirI sAtI rUpiNi devasiri prabhRtikuTuMbasametena zreyorthaM zrIariSTanemicaitye zrIpArzvajinabiMbaM kArApitamiti / / (91) (91) saMvat 1236 varSe phAguNa vadi 3 gurau zre0 vosari suta varazrAvaka Asadevasya svapituH zreyorthaM liMbadevaAsa....pArzvanAthabiMbaM kAritaM bRhadgacchIyazrIabhayadevasUrivineya zrIjinabhadrasUrizrIdhanezvarasUribhiH zrIdhRtipradaM pratiSThitaM maMgalaM mahAzrIH / /

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Inscriptions 121 (92) (92) saMvat 1259 varSe ASADha sudi 2 zanau zre0 yazaHpAlaputreNa pArzvacaMdreNa AtmazreyorthaM(*) pArzvanAthapratimA kAritA pratiSThitA vA0 sAgaracaMdragaNinA maMgalaM mahAzrIH / / (93) (93) OM / saMvat 1310 varSe vaizAkha vadi 3........thiradeva bhAryA kaDUputra devaku(*)mArabhAryA........dvi0 putra jasA bhAryA pAtadeva........zreyorthaM biMbaM kAritaM / / (94) (94) saMvat 1310 sattarIsayayaMtraka(ka)bRhadgacchI[ya] zrIabhayadevasUriziSyazrIjinabhadrasUrizrIzAMtiprabhasUriziSya zrIharibhadrasUriziSyaparamAnaMdasUribhiH pratiSThitaM // (95) (95) OM / saMvat 1310 varSe caitra vadi 2 some prAgvATAnvaya zre0 chAhaDabhAryA vIrIputra zre0 brahmadevabhAryA laSamiNi bhrAtR zre0 saraNadevabhAryA sUhavaputra zre0 vIracaMdrabhAryA suSamiNi bhrAtR zre0 pAsaDabhAryA padmasiri bhrAtR zre0 AMbaDabhAryA abhayasiri bhrAtR zre0 rAmbaNa 1 pUnAbhAryA sohagaputra AsapAlabhAryA vastiNiputra bIjAputra mahaNasIhaputra jayatAputra karmasIhaputra arasIha lUNasIbhAryA hIrUputra punAsahitena zrIneminAthacaitye zrIsattarisayabiMbAn kArApitaH // bRhadgacchIyazrIabhayadevasUrisi(zi)SyaH zrIjinabhadrasUrisi(zi)SyaH zrIzAMtiprabhasUrisi(zi)SyaH zrIratnaprabhasUrisi(zi)SyaH zrIharibhadrasUrisi(zi)SyaH zrIparamANaMdasUribhiH pratiSThitaM // zubhaM bhavatu zrIsaMghasya / kArApakasya devaguruprasAdAt // (96) OM // saMvat 1310 varSe vaizAkha vadi 5 gurau prAgvATajJAtIya zre0 bIlhaNamAtR(*) rUpiNizreyo) sutaAsapAlena sIdhapAla padmasIhasahitena nija(*) vibhavAnusAreNa ArAsaNe nagare zrIariSTanemimaMDape zrIcaMdragacchI(*yazrIparamANaMdasUri ziSya zrIratnaprabhasUrINAmupadezena staMbhaH kAritaH // (97) (97) OM / saM0 1314 varSe jyeSTha sudi some ArAsanAkare zrIneminAthacaitye bRhadgacchIya zrIzAMtiprabhaziSyaiH zrIratnaprabhasUripaTTe zrIharibhadrasUriziSyaiH zrIparamAnaMdasUribhiH pratiSThitaM prAgvATAnvaye zre0 mANibhadrabhAryA mAU pu0 thiradeva dhAmaDabhAryA kumAradevisuta AsacaMdra bA0 mohiNi cAhiNi, sItU dvi0 bhAryA lakhamiNI putra kumarasIhabhAryA lADIputra kaDuA pu0 karmiNi jagasIhabhAryA sahajU pu0 AsiNi bAi AlhaNikuTuMbasamudAyena zre0 kumArasIha-jagasIhAbhyAM pitR-mAtRzreyorthaM zrIAdinAthabiMbaM kAritaM pratiSThitaM ca maMgalamastu zramaNasaMghasya kArApakasya ca // zubhamastu //

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122 The Temples in Kumbhariya (98) (98) OM // saMvat 1314 varSe jyeSTha sudi 2 some ArAsanAkare zrIneminAthacaitye bRhadgacchIya zrIzAMtiprabhasUriziSya zrIratnaprabhasUriziSya zrIharibhadrasUriziSya zrIparamAnaMdasUribhiHpratiSThitaM prAgvATAnvaya zre0 mANibhadrabhAryA mAUputra thiradeva dhAmaDa thiradevabhAryA rUpiNi putra vIracaMdra bhAryA vAlhI su0 vIdAbhAryA sahajUsuta vIrapAlabhAryA raliNisuta AsapAla bAi pUniNi suSamiNi bhrA0 zre0 AdAbhAryA Asamati putra amRtasIhabhAryA rAjala laghubhrAtR abhayasIMha bhAryA solhU dvi0 vIlhUputra bhImasIha khImasIha pu0 rayaNa phU0 amalabAi vayajU cAMdU zre0 AdAsuta abhayasIhena pitRmAtRzreyorthaM AdinAthajinayugalabibaM kAritaM // maMgalamastu zrIzramaNasaMghasya kArApakasya ca // (99) (99) saMvat 1314 varSe jyeSTha zudi bIja (dvitIyA) some ArAsaNA zrIneminAthacaitye bRhadgacchIya zrIzAMtisUriziSyaiH zrIratnaprabhasUri-zrIharibhadrasUriziSyaiH zrIparamAnaMdasUribhiH paTTe pratiSThitaM prAgvATAnvaya zre0 mANi............ devabhAryArUpiNiputravIrabhadrabhAryA vihina suvidAbhAryA sahajU sutavI............ratnanINi supadamiNi bhA0(bhrA0) zre0 cA(cAM)dAbhAryA AsamatIputra amRtasA bhAryA rAjala laghubhrAtR a............tAMgasiMhazreyorthaM ajitanAthajinayugala........ (100) (100) OM // saMvat 1323 varSe mAghazuklaSaSThayAM 6 prAgvATavaMzodbhavanijasadgurupadapadmArcanapraNAmarasikaH zre0 mANibhadrabhAryA mAU (*)suta thiradeva-nivyUDhasarvajJapadAbjasevaH zre0 dhAmaDa: bhAryA sacchIlaguNAdyalaMkaraNairniravadyAdyA kumaradevi pu0 AsacaMdra mohiNI cAhiNi (*) sItU dvi0 bhAryA lADI pu0 karmiNi dvi0 jagasiMha: tadbhAryA pra0 sahajU dvi0 anupamA su0 pUrNasiMhaH suhaDAdevi bA0 mAlhaNi samastakuTuMbasahitAbhyAM ArAsanAkarasarovara rAjahaMsasamAnazrImannemijinabhuvane vimalazaranizAkarAbhyAM zre0 (*) kumArasiMhajayasiMhAbhyAM svadordaNDopAttavittena zivAya lekhitazAsanamiva zrInaMdIzvaravaraH kAritaH // tathA dravyavyayAt kRtamahAmahotsava-pratiSThAyAM samAgatA-nekagrAmanagarasaMghasahitena zrIcaMdragacchagaganAMgaNabhUSaNapArvaNazaraccaMdrasannibhapUjya (*) padapadmazrIzAMtiprabhasUrivineya zrIratnaprabhasUritacchiSyavidvacca kra] cUDAmaNi zrIharibhadrasUriziSyaiH zrIparamAnaMdasUribhiH pratiSThitaH / maMgalamastu samastasaMghasya kArApakasya ca // (101) (101) saMvat 1327 vaizAkha sudi bIja (dvitIyA) some zrInAhANAkaravAstavya zre0 vIracaMda zrIpArzvanAthabiMba.... (102) (102) OM / saM0 1335 mAgha zudi"zukre prAgvATajJA0 zre0 somAbhAryA mAlhaNiputrAH vayara zre0 ajayasiMha chADA soDhA bhAryA vastiNi rAja(*)la chADu dhAMdhaladevi suhaDAdeviputra varadeva jhAMjhaNa AsA kaDuyA guNapAla pethAprabhRtisamastakuTuMbasahitAbhyAM chA(4)DA-soDhAbhyAM pitR-mAtR-bhrAta-ajAzreyorthaM zrIajitasvAmibiMbaM devakulikAsahitaM kAritaM pratiSThitaM bRha0 zrIharibhadrasUriziSyaiH paramAnaMdasUribhiH // zubhaM bhavatu //

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Inscriptions 123 (103) (103) OM / saMvat 1335 mArga vadi 13 some poSapuravAstavya prAgvATajJAtIyaThakkara zrIdevasAvaDasaMtAnIya zre0 somAbhAryA jayatuputra sAdAbhAryA lakhamIputra sAligabhAryA (*) kaDUputra khitAbhAryA lUNIdevIsahitena supArzvabiMbaM kAritaM pratiSThitaM bRhadgacchIya zrIharibhadrasUriziSyaiH zrIparamAnandasUribhiH zreSThisomAsuta prA0 chADAkena kArApitaM // (104) (104) saM0 1335 mAgha su0 13 zukre prAgvATajJAtIya zre0 zrIdharabhAryA sohiNipatra gAMgadevena bhAryA zrImatisamanvitena mahaM0 bhrAtR () yazodevaputra lUNadhavala tatputra kelhaNasiMhaprabhRtikuTumbayutena zrIpArzvanAthabiMbaM kAritaM pratiSThitaM ca vinayaprabheNa / (105) (105) saMvat 1335 varSe mAgha sudi 13 zukre zre0 abhaibhAryA abhayasiriputra kulacaMdrabhAryA lalatuputra bUTAbhAryA sarasara tathA sumaNabhAryA sItUputra sohaDa nayaNasI lUMNa(*)sIha khetasIha soDhalapramukhakuTuMbasamudAyena zrIRSabhabiMbaM pitroH zreyo) kAritaM pratiSThitaM bRhadgacchazrIvijayasiMhasUrisaMtAne zrIzrIcandrasUriziSyaiH zrIvarddhamAnasUribhiH // (106) (106) OM / saMvat 1335 varSe mAha sudi 13 zukre prAgvATajJAtIya zre0 AmigasaMtAne tu0 zre0 AsadevabhAryA sahaju tatputrAH AsapAla dharaNiga UdA tu0 AsapAlabhAryA AsiNi tatputra noDasIha-haripAlau dharaNigabhAryA dhAMdhaladevi dvi0 cAMpala UdAbhAryApAlhU ityAdikuTuMbasahitena tu0 AsapAlena pitRmAtRzreyase zrIAdinAthabiMbaM kAritaM pratiSThitaM zrImaDAhaDagacche zrIcakrezvarasUrisaMtAne zrIsomaprabhasUriziSyaiH zrIvarddhamAnasUribhiH // (107) (107) saMvat 1335 mAgha sudi 13 zukre prAgvATajJAtIya zre0 gosalasuta sAjaNabhAryA padmu tatputrikayA khetuzrAvikayA svazreyo) zrIcaMdraprabhasvAmibiMbaM kAritaM pratiSThitaM bRha0 zrIharibhadrasUriziSyaiH zrIparamANaMdasUribhiH // (108) (108) saMvat 1335 varSe mAgha zudi 13 zukre prAgvATajJAtIya zre0 vayajAbhAryA-lUDa tatpu bhAryayA anupamazrAvikayA svazreyo) munisuvratasvAmibiMbaM kAritaM pratiSThitaM braha0 zrIparamANaMdasaribhiH // (109) (109) OM // saM[0] 1335 mAgha zudi 13 zukre prAgvATajJA0 zre0 somAbhAryA mAlhaNaputrAH vayara zre0 ajayasiMha chADA soDAbhAryA vastiNirAja(*)la chAbU dhAMdhaladevi suhaDAdeviputra varadeva jhAMjhaNa AsA kaDuyA guNapAla pethA prabhRti samasta kuTuMbasahitAbhyAM chA(*)DA-soDhAbhyAM pitRmAtRbhrAtRajAzreyo[rthaM] zrIajitasvAmibiMbaM devakulikAsahitaM kAritaM pratiSThitaM bRha0 zrIharibhadrasUriziSyaiH paramAnaMdasUribhiH // zubhaM bhavatu //

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124 The Temples in Kumbhariya (110) (110) saMvat 1335 varSe mAgha sudi 13 caMdrAvatyAM jAlaNabhAryA ......bhAryAmohinIsuta sohaDa bhrAtRsAMgAkena AtmazreyorthaM zrIzAMtinAthabiMbaM kArApitaM pratiSThitaM ca zrIvarddhamAnasUribhiH / (111) (111) saMvat 1336 varSe Asadevasuta zre0 Asalena Asalaputra lIMbajI tatsuta soma jagasIha dhava"prabhRtibhiH kuTuMbasamudAyena zre0 somAkena kA0 pra0 zrIsomaprabhasUriziSyazrIvarddhamAnasUribhiH // . (112) (112) saMvat 1338 varSe jyeSTha zudi 14 zukre bR0 zrIkanakaprabhasUriziSyaiH zrIdeveMdrasUribhiH zrIcandraprabhasvAmibiMbaM pratiSThitaM prA(* gvATajJAtIya zre0 zubhaMkarabhAryA saMtosapatra zre0 pUrNadeva pAsadevabhAryA dhanasiripatra zre0 kumarasiMhabhAryA sIlhUputra mahaM jhAMjhaNAnujamahaM0 (*) jagasa tathA zre0 pAsadevabhAryA padmasiriputra zre0 bUTA zre0 lUgA iti mahaM jhAMjhaNaputra kAlhU mahaM jagasabhAryA rUpiNiputra kaDUyA vayajala abhayasiMha (*) pu0 nAgala jAsala devalaprabhRtikuTuMbasamanvitena mahaM jagasAkhe(khye)na mAtR-pitR-bhrAtRzreyo) biMbaM kAritaM // (113) (113) saM0 1338 varSe jyeSTha sudi 14 zukre zrIneminAthacaitye saMvijJavihArizrIcakrezvarasUrisaMtAne zrIjayasiMhasUriziSyazrIsomaprabhasUriziSyaiH zrIvardhamAnasUribhiH pratiSThitaM / ArasaNa(NA)karavAstava prAgvATajAtIya zre0 gonAsaMtAne zre0 AmigabhAryA ratanIpatratalahAri Asadeva bhrA0 pAsaDa tatpatra siripAla tathA AsadevabhAryA sahajU putra tu0 AsapAlena bhA0 dharaNi.......sItta sirimati tathA(*) AsapAlabhAryA AsiNiputra liMbadeva haripAla tathA dharaNigabhAryA.........udAbhAryA pAlhaNadeviprabhRtikuTuMbasahitena zrImunisuvratasvAmibiMba azvAvabodhasamalikAvihAratIrthoddhArasahitaM kAritaM // maMgalamahAzrIH // (114) (114) (On the above-noted 'patta') siMghaladvIpe zrIsiMghalezvarasArthapati jinadAsa zrIsudarzanA rAjA jitazatru azvapratibodha zrImunisuvratasvAmI // (115) (115) saMvat 1338 varSe jyeSTha sudi 14 zrIneminAthacaitye bRhadgacchIyazrIratnaprabhasUriziSya zrIharibhadrasUriziSyaiH zrIparamAnaMdasaribhiH pratiSThitaM prAgvATajAtIya zre0 zaraNadevabhAryA suhaDadevI tatputra zrIvIracaMdrabhAryA suSamiNIputra punAbhAryA sohagadevI AMbaDabhAryA abhayasiriputra bIjA khetA rAvaNabhAryA hIrUputra boDasiMhabhAryA jayataladevI prabhRtisvakuTuMbasahitaiH rAvaNaputraiH svakIyasarvajanAnAM zreyo'rthaM zrIvAsupUjya[devaM] devakulikAsahitaM pratiSThApitaM ca / /

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Inscriptions (116) (116) saMvat 1338 varSe jyeSTha sudi 14 zukre bRhadgacchIya zrIcakrezvarasUrisaMtAne pUjyazrIsomaprabhasUriziSyaiH zrIvarddhamAnasUribhiH zrIzAMtinAthabiMbaM pratiSThitaM kAritaM zreSThi AsalabhAryA maMdodarI tatputra zreSThigalAbhAryA zIlU tatputra mehA tadanujena sAhukhAMkhaNena nijakuTuMba zreyase svakAritadevakulikAyAM sthApitaM ca / maMgalaM mahAzrIH / bhadramastu / (117) (117) saM0 1343 mAgha zudi 10 zanau bR0 zrIharibhadrasUriziSyaiH zrIparamAnaMdasUribhiH pratiSThitaM prAgvATajJA0 zre0 mAhillapatra zre0 thiradeva zre0 dhAmaDa thiradevabhAryA mAu (*) patra vIracaMdra AdyabhAryA Asamatipatra zre0 abhayasiMha bhAryA soDhu dvi0 vIlha[Na]putra bhImasiMha khImasiMha devasiMha narasiMha vIlhaNaputrikA hIrala prathamaputra pa (*) / ....liMbiNiputra jayatasiMha dvi0 putra bhAryA khetaladevi pu0 riNU tRtI0 bhAryA devasiriputra sAmaMtasiMha catu0 bhAryA nA.... devI paMcamabhAryA vijayasiriprabhRtikaTuMbasahitena zrIneminAthabiMba zrImadariSTanemibhavane AtmazreyorthaM zreSThivIracaMdrena kAritaM // (118) (118) OM // saMvat 1343 varSe mAgha zudi 10 zanau prAgvATAnvaya zre0 () chAhaDasuta zre0 desalabhAryA delhI tatputra lakSamaNa [A](*)sadhara devadhara siradhara mayadhara / tathA siradharabhAryA....(*) putra jasadeva / dvitIyaputreNa zre0 gAMgadevena bhAryA....(*)....jAthI jayatU tatputra lUNadhavala vAdhU kapUradevi tatputra kalhaNasIhaprabhRtikuTuMbasamudAye sati AtmanA....(*) pituH zreyorthaM kalyANatraye zrIariSTanemibiMbAni kAritAni / maMgalamastu samastasaMghasya / (*) zre0 gAMgadevasuta UdalasutA lUNI bhagini(nI) vayajU sahajU ka-gau....sati gAMgIprabhRti / / (119) (119) kalyANatraye zrIneminAthabibAni pratiSThitAni navAMgavRttikArazrImadabhayadevasUrisaMtAnIyazrIcaMdrasUribhiH zre0 sumiga zre0 vIradevazreSThiguNadevasya bhAryA jayatazrI sAhuputra vairA punA luNA vikrama khetA harapati karmaTa rANA karmaTaputra khImasiMha tathA vIradevasuta arasiMha prabhRtikuTuMbasahitena gAMgadevena kAritAni. (120) (120) OM // savaMt 1344 varSe * A(*)SADha sudi pUrNimAyAM / devazrIne minAthacaitye zrIkalyANatrayasya pUjArthaM zre0 siradhara ta(*)tputra zre0 gAMgadevena vIsa(*)laprIyadramA(mmA)NAM 120 zrIneminAthadevasya bhAMDAgAre nikSi(*)ptaM / vRddhaphalabhoga[ya] mAsaM prati dra(*)ma 3 caTaMti / pUjArthaM / AcaMdra(*)kAlaM yAvat / zubhaM bhavatu // zrI // For Private &Personal use-Only

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126 The Temples in Kumbhariya (121) (121) OM / saM0 1344 varSe jyeSTha zudi 10 budhe zrIneminAthacaitye prAgvATavaMzodbhavena zre0dezalabhAryA delhI zre0 lakSmIdharabhAryA lakSmasiri zre0 Asadhara (*)bhAryA Asamati zre0 dedhara zre0 siradharabhAryA sohiNi zre0 mayadharabhAryA udayamati zre0 sumirAbhAryA sAjiNi zre0 guNadevabhAryA sAlhU (*) zre0 gAMgadevabhAryA siramati zre0 vIradevabhAryA vijayasirisuta arisiMhabhAryA sohagasuta vastapAlabhAryA vaulasiri tathA tejapAlabhAryA mINalasuta bhImasIha vastapAlasuta cAhaDabhAryA lAchi su0 AlhaDasiMha tAlhaNasIha vastapAlasuta udayasiMhabhAryA kAmala tRtIyasuta padmasiMha bhA0 (*) jalA catu0 ratnasIha paMcama samarasiMha mANika samastakaTuMbasamudAyena zre0 vastapAlena zrIRSabhadevabiMbaM kAritaM pratiSThitaM navAMgavRttikArazrIabhayadevasUrisaMtAne zrIzrIcaMdrasUribhiH // (122) (122) OM // prAgvATavaMze zre0 vAhaDena zrIjina (4)candrasUrisadupadezena pAdaparAgrAme deravasahikAcaityaM zrImahAvIrapratimA(*) yutaM kAritaM / tatputrau brahmadeva-zaraNadevau / brahmadevena saM0 1275 atraiva zrIne( )mimaMdire raMgamaMDape dADhAdharaH kAritaH // (*) zrIratnaprabhasUrisadupadezena / tadanuja zre0 (*) saraNadevabhAryA sUhaDadevi tatputrAH zre0() vIrabhadra pAsaDa AMbaDa rAvaNa / yaiH zrIpara)mAnaMdasUrINAmupadazena saptatizatatIrthaM kA(*)ritaM // saM0 1310 varSe / vIracaMdrabhAryA suSamiNi() putra punAbhAryA sohagaputra lUNA jhAMjhaNa / AM(*)baDaputra vIjA khetA / rAvaNabhAryA hIrUputra bo(*)DAbhAryA kAmalaputra kaDuyA dvi0 jayatAbhAryA mUMTa(*)yAputra devapAla kumArapAla tR0 arisiMha nA(*)gauradeviprabhRtikuTubaMsamanvitaiH zrIparamA(*)naMdasUrINAmupadazena saM0 1338 zrIvAsupUjya(*)devakulikAM / saM0 1345 zrIsametazikhara tIrthe mukhyapratiSThAM mahAtIrthayAtrAM vidhApyA(*)tmajanma evaM puNyaparaMparayA sphliikRt:(tN)| (*) tadadyApi posInAgrAme zrIsaMghena pUjyagrAma(mAna ?)(*)masti // zubhamastu zrIzramaNasaMghaprasAdataH // (123) (123) saMvat 1351 vaizASa sudi"posInAsthAnIya koSThA0 zrIvankumArasuta koSThA0 Asala delhaNa bhrAtR vAlhevIzreyorthaM zrIcaMdraprabhasvAmibiMbaM kAritaM zrIparamAnaMdasUriziSyaiH zrIvIraprabhasUribhiH pratiSThitaM maMgalaM mahAzrIH / / (124) (124) saMvat 1355 varSe caitra zudi 15 zre0 galAbhAryA sIlU putra0 mehA mahabU kesANabhAryA khetazrI AdinAthabiMbaM kArApitaM pratiSThitaM somaprabhasUripaTTe shriivrdhmaansri....|| (A fragmentary inscription of S.1355 on the 'Vis-viharamana-Jina-patta' kept in the storage room of the santinatha temple and consecrated by Paramananda suri, seemingly was connected with the Neminatha temple.) (125) (125) saM0 1355 varSe vaizASa sudi 12 some prA0 sAkhA mahaM cAcAbhAryA rANiputra mahaM madana bhA0 salakhaNadevaputrasahitena bhaginIsaMbalazreyase paMcatIrthasaMyutaM zrIpArzvanAthabiMbaM kAritaM pratiSThitaM zrIbhAvadevasUribhiH //

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Inscriptions (126) saM0 1366 phAgaNa zudi 10 gurau prAgvATajJA [tIya ] ......hadeva....... [aSTA] padatIrtha kAritaM // (127) saM0 1382 varSe vaizASa sudi 3 ravau U0 zre0 zre0 nAgaDabhAryA sAjaNisuta khImAkena karmAbhA zreyase AdinAthabiMbaM karataM // "AsapAlaputra AlhaNa pu0 thirapAla pu0 (128) saMvat 1386 pauSa vadi 5 budhe prAgvATa jJA0 mahaM0 lIMbAsuta bhImasIha-abhayasIhAbhyAM pitRmAtRzreyase zrIyugAdi ( ) jinabiMbaM kAritaM pratiSThitaM rudrapallIyazrIjinabhadrasUribhiH // (130) saM0 1389 varSe je (jye) STha vadi 11 some zrIprAgvATajJAtIyakarmaNabhAryA dhIrosuta tejA mAtRpitRzreyorthaM zrIpArzvanAthabiMbaM kAritaM zrIsUri (rI) NAmupadezena / zubhaM bhavatu / rohiDAvAstavya || (131) saM0 1391 varSe prA0 zre0 nAgaDabhAryA sAUputra mAkana bhImAsamudAyena zrIzAMtinA ()thabiMbaM kAritaM pratiSThitaM bRhadgacchIya zrIvijayacaMdrasUripaTTe zrIbhAvadevasUribhiH // (132) saM0 1394 varSe vaizASa sudi 7 some vya0 cakamabhAryA hAMsaladevisuta zre0 sAmatabhA ()ryA bADU suta AsAkena pitAmahIzri ( ) yorthaM zrIpArzvanAthabiMbaM kArI (ri) taM pratiSThitaM zrIratnAkarasUribhiH // (129) (129) saMvat 1389 varSe je (jye) STha vadi 11 somadine zrIneminAthacaitye susAdha guru bha0 vedau bhAryA rAju zre0 karmaNabhAryA nejUH suta DUDA: bhAryA kelhaNade hesabhabhaM (?) bhavataH / prAgvATajJAtIya posInAvAstavyaDUDAkena mAtR-pitA zreyorthaM zrInemizvara biMbaM kAritaM // (134) saMvat 1526 varSe ASADha vadi 9 some zrI () pattanavAstavyagUja (rja )rajJAtIya mahaM0 pUjA () suta sIdha[ : ] nityaM praNamati // 127 (126) For Private Personal Use Only (127) (128) (130) (133) (133) OM // atraiva ArAsanavAstavya zre0 chADA pu0 zre0 vIradeva vIrajasa boDA tatra AdyabhAryA pattI pu0 AsacaMdraH bhAryA rUpI su0 liMbA dvi0 pu0 somA () bhAryA kapUradevi tR0 su0 meliMga bhA0 hIrU su0 jayatA caturthasutA laSamiNi paMcamA padIpramukhasamastamAtRvargasya ekaikapratimA () puNyanirmANavibhAgaH tasyaikasya madhyAt zre0 jayasiMhena pradattaH // (131) (132) (134)

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128 The Temples in Kumbhariya The Sambhavanatha Temple (135) (135) saM0 1325 varSe vaizAkha zu 9 guru prAgvaTA (gvATa) jJAtIya zre0 padmazIkasya ya padma kulaputra zre0 ratanaja karmAsIha kulaja prahalAdaputra 2 myaa....ndd....pau...y....|| zrI pUrNimApakSIya cauthazASAyAM zrIpadmadevasUri saMtAna zrI...rAja..sUri zrI...dAsana zrI AdinAthabiMbaM kAritaM zre0...hena pratiSThitaM sUribhiH // Brahmanical and Sundry Inscriptions (136) (136) saMvat 1153 kArtika sudi 14 zrI........ArAsanAkare zrIsaMgamezvaradeve zrIdharma.......darzita si....janijamUrti[:] kAritA // (137) (137) dharaNIdhara suta saM0 bUTA sNgmesrgti........|| (138) (138) saM0 1187 phAlguna vadi 4........|| (139) (139) saMvat 1195 vaizAkha vadi 3........dine / (140) (140) OM svasti zrIvikramasaMvat 1263 varSe vaizASa va(*)di..zanau adyeha zrImadaNahilapATake samasta(*)rAjAvalisamalaMkRtamahArAjAdhirAjazrImadabhImadevakalyANavijayarAjye tatpAdapadmopajI(*)vI mahAmAtyazrIAMbAke pravarttamAne matpAda (?) (141) (141) saM0 1283 varSe mArga sudi 3 bhaume...........|| (142) (142) saMvat 1313 varSe caitra vadi 10 some adyeha ArAsaNAkare mahaM zrIyIscapratipattau //

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Inscriptions 129 (143) (143) OM saMvat 1331 varSe ASADa sudi 14 gurau adyeha ArAsaNe ( jazrImahipAladevena AtmIyapiturAjayasa tathA mAtu(*)bAyI zrIsaMgAradevi tathA pitAmaha prartI zrI........()pitAmahI pratI zrIsalaSaNadevi tathA AtmIyA evaM paMcamUrtInAM(*) Ai-naM....alAviktiH zrevo0 AlhaNa u0sUdana tathA a(*)vo0 talASAbhyAM paMcamUtipUjApanArthaM chADI prati dhAnyA (4)pAlI 1 tathA pA0 gADA prati lohaDIyA 2 eta ta pUjAvaNe dA(*)tavyaM tathA mati paMca0 nyaivedye0 dinaM prati coSA pAlI 2 maga pAlI(*)1 ghataka sera 2 dIvela pade telakara su0 etatu dina prati trAM(*)bA mAMDavI dAtavyA jaM koi-lI huai tihane bApade dra 54()catupaMcAzata-trAMbA mAMDavI dAtavyA mahaM jhAMjhaNa mahaM vijayasIha........va zre0 sAdhUya zre0 Asadeva zre0 dhAmA(*...........nI jagasAprabhRtisamasta mahAjane(*) tathA........mAsaDA sAmaMta.... dhIdhala tAM(*)ja0 DAMDA........dhAyai upari liSitaM AidAnaM pA(*)lanIya............AidAna aSTAdaza prasUtInAM(*)..........kopi lopayati avvAlo pApa(*)yaMte sa upari liSitaM.........Ate AcandrArka yAvatu pA(*)lanIyaM ca / maMgalaM mahAzrIH // (144) (144) saMvat 1346 varSe phAlguna zudi 1 rakhau adyeha(*) zrIcaMdAvatyAM mahArAjakula zrIvIsaladevakalyA(*)Na vijayarAjye prati zrIjagapAlena ArAsa( *Ne niyukta Thakkura sAMgaprabhRtipaMcakulapratipattau(*) kaNamaMDapikAyAM vyApriyamANa mahaM0 vIra vA si(4)rapAla lADhA AyapAla pratI zrIsobhitasuta zrIzrI(*) jagapAlena AtmIyamAtA pratI zrIdhAMdhaladevyA zreyo(*)\............dAnaM mukta(*) yaM kopi lopayati sa tasya mAtAM gardabho (+)dayati / shriiH|| The Late Medieval Inscriptions The Mahavira Temple (145) (145) saMvat 1675 varSe mAgha zuddha 4 zanau zrIUkezavaMzIya vRddhazAkhIya sA0 ahiyAbhAryA tejaladesuta gAvA bhA0 gorade(*)suta sA0 nAniAkena bhA0 nAmaladesuta somajIyutena zrImahAvIrabiMbaM kAritaM pratiSThitaM ca zrItapAgacche bhaTTArakazrIhIravijayasUrI(*)zvara paTTaprabhAkara bha0 zrIvijayasenasUripaTTAlaMkArabhaTTAraka zrIvijayadevasUribhiH // zrIArAsaNanagare // 0 rAjapAlo dAmena // The Parsvanatha Temple (146) (146) saMvat 1675 varSe mAghadhavaletara 4 zanau zrIo( (U)kezavaMzIya vRddhasajjanIya sA0 jagaDubhAryA jamanAdesuta rahiA bhA0 cAMpalade (*) suta nAnajAkena bhAryA navaraMgadeyutenAtmazreyorthaM zrIpArzvanAthabiMbaM kAritaM pratiSThitaM zrItapAgacchezvarabhaTTArakazrIhIravijayasUrIzvarapaTTodaya(*) dinamaNibhaTTAraka zrIvijayasenasUri paTTAlaMkAra bhaTTAraka zrIvijayadevasUribhiH paM0 kuzalasAgaragaNipramukhaparivArayutaiH ||bu0 rAjapAlo dAmena //

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130 The Temples in Kumbhariya The Neminatha Temple (147) (147) saMvat 1675 varSe mAgha sudi caturthyAM zanau zrIo(U)kezajJAtIya vRddhasajjanIya zrIneminAthacaitye zrIneminAthabiMba kAritaM pratiSThitaM sakalakSmApAlamaMDalAkhaNDalazrIakabarapradattajagadgurubirudabhaTTAraka zrIhIravijayasUrIzvarapaTTapUrvAcalamArtaMDamaMDalAyamAnabhaTTArakazrIvijayasenasUrizarvarIsArvabhaumapaTTAlaMkAranIradhIzvarasaubhAgyabhAgyAdi guNagaNaraMjitamahAtapAbirudadhArakabhaTTArakazrIvijayadevasUribhiH paMDitazrIkuzalasAgaragaNipramukhaparivArasamanvitaiH buharA rAjapAlo zubha0 saphalA0 bhavatIti zubham // (148) (148) saMvat 1675 varSe mAgha vadi 4 zanau zrImAlajJAtIyavaddhazAkhIya sA0 raMgAbhAryA kIlArI suta lahuA............suta panIA samarasuta hIrajI zrIAdinAthabiMbaM kAritaM pratiSThitaM tapAgacche guruprabhAvakabhaTTAraka zrIvijayasenasUri paTTAlaMkArabharatabhUmibhAminIzRMgArahArabhaTTAraka zrIvijayadevasUribhiH paNDitazrIkuzalasAgaragaNipramukhaparivArayutaiH // (149) (149) saMvat 1675 varSe mAgha zuddhacaturthyAM zanau zrIUkezajJAtIyavaddhasajjanIya sA vAcchAkena svazreyase saphalIkRtA dvisahasrasaMkhyarUpyanANakavittaM zrIneminAthacaitye zrIneminAthabiMba kAritaM pratiSThitaM ca.........." vacanaracanAraMjitasakalakSmApAlamaMDalAkhaMDalapAtisAhizrIakabbarapradattajagadgurubirUdadhArakabhaTTArakazrIhIravijayasUrIzvarapaTTa[pUrvA ]calamArtaMDamaMDalAyamAnabhaTTArakazrIvijayasenasUrizarvarI[za] sArvabhaumapaTTAlaMkArahAratilakaiH saubhAgyabhAgyavairAgyAdigaNagaNaraMjitapAtisAjahAMgIrapradattamahAtapAbirUdadhArakabhaTTArakazrIvijayadevasaribhiH paMDitazrIkuzalasAgaragaNipramukhaparivArasamanvitaiH buharA rAjapAlo namaH saphalA bhavatIti zubhaM / The Sambhavanatha Temple (150) (150) saMvat 1529 sAhya varSe zrAvaNavadi 3 zrIgaNeza zrI zrI zrI hemara nama

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CHAPTER 8 Description of Plates 1. The general view of the Mahavira temple from the northwest shows the exterior beginning from the mukhamandapa or entry-hall, the girdle of conjoined devakulikas or subsidiary shrines including the western bhadraprasada at the hall's transept, the western entry-porch and the connected kota/prakara 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 santinatha temple (Adinatha Phase II) from northwest. Unlike the Mahavira temple, at the main entry passage, it shows a mukhacatuski-porch instead of the mukhamandapa, the rest of the structure, though a little smaller in overall size, in disposition is similar to the Mahavira temple. Another view of the Santinatha complex, now from southeast, shows the opening, sans porch, at its eastern aspect. 4. Parsvanatha temple, from northwest. In terms of its plan and elevation, it essentially reminds of the preceding two buildings except for the balanaka 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-natha with its storied balanaka, 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 Neminatha temple complex with its bhadraprasada which, despite large size, for its exterior is as austere as the preceding three temples. The crenellated parapet above some devakulikas is a later addition. 1. The profile view from east, of the so-called Sambhavanatha temple (originally santinatha), 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 devakulikas.

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132 The Temples in Kumbhariya 8. The Kumbhesvara temple from southwest reveals that the building has suffered more at the hands of renovators than from the hammers of the iconoclastic invader. The Adinatha Temple (Phase I) 9. The doorframe of the sanctum of the main shrine of the so-called santinatha temple apparently is a reused relic of the preceding Adinatha (Phase I) temple. 10. Ganga, standing, at her usual location, namely the pedya 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. Ganga, and correspondingly at the contra-side, Yamuna 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 Yamuna 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 bahirsakha or external jamb is in style characteristically of early 11th century. The third, the antarasakha or innermost jamb is of the ratnasakha specification; it is thin and without the detailed ornamental enrichment. The Mahavira Temple 14. The Mahavira temple's well-formed sikhara of the mulaprasada viewed together with the conventionally accurate samvarana roof of the closed hall, as viewed from southeast, express the feeling of workmanship of the 11th century. 15. Back view, south, of the mulaprasada or sanctuary proper of the Mahavira temple; its plain jangha shows the medial and the upper grasapatti as its sole ornamentation. The pratirathas are lean compared to the karnas. The

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Description of Plates 133 bhadra-khattaka is crowned with a well-rendered staggered udgama. Above the dandacchadya-awning, the rathika displays niched Jinatraya. The sikhara has a clearly done jala of the period. 16. This view of the sikhara of the mulaprasada from southwest shows the samvarana roof of the gudhamandapa together with that of the Samavasaranadevakulika situated to the right of the mulaprasada. 17. The sikhara of the mulaprasada and the partial view, now from west, of the sam-varana of the gudhamandapa reveals another aspect of the rhythmic coordination of the two types of superstructures. 18. The mulaprasada, as seen from northwest, provides one more fine view of the handsome sikhara. 19. The closer view of the samvarana of the gudhamandapa lucidly shows the minute details of its bell-constituents of progressively larger proportionsghantikas, ghantas, and urahghantas--with clearly noticeable flutings of the bells and other details of its accessory components. 20. The mulaprasada's, and partially also the gudhamandapa's lower section show-ing the pitha-base together also with the vedibandha above not noticeable in the preceding illustrations. 21. The nicely carved makara-pranala at the east side, the snout of the makara, at some point in time, had been broken. The gudhamandapa's Nabhicchanda or concentric vitana, made up of the receding courses of gajatalu, 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 grasamukha, an unusual occurrence. One of the two round pillarettes of the khattaka is also visible in this picture. The upper part of the dvarabandha or doorframe with the carved figures in panels and countersunk panels showing Vidyadevis, a maladhara, a Yaksa, etc. The central panelled figure sitting on bhadrasana and with the royal parasol above represents the Jinamata, Jina's mother, in this instance

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134 The Temples in Kumbhariya Trisaladevi the mother of Arhat Vardhamana Mahavira, an unusual presence. in the countersunk panel is Negamesa carrying baby Vardhamana and the corresponding opposite panel possibly shows the Ksetrapala 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 Trisaladevi is indicative of the temple's dedication to Jina Mahavira. 25. The pitha 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 grasa-heads), the look is effective. 26. The conventional trio of the dado-mouldings--rajasena, vedika, and the asanapatta-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 Ambika and Sarasvati. 27. The corresponding dado-walling of the trika, east side, shows two other Yaksis. Their ayudha 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 Misraka pillars in a row which, while defining the lateral bays, also support a pair of illika-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.

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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 'ksipta' and the 'utksipta' 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 Nabhicchanda, in its composition. It thus becomes the 'Padmanabha' type according to the vastu work Aparajitaprccha. The projecting or ksipta lumas emanating from its five Nabhicchanda 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 lumas 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 vitana, showing a large dvi-kolaja lambana (pendant) in the centre, flanks the aforenoted Padmanabha vitana. This vitana is situated to the right side as one climbs the footsteps. The four vikarnas within show grasa-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 utksipta type of the Nabhicchanda vitana. The four major, identical, outer kola-course complexes with three

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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 Nabhicchanda 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 Nabhicchanda 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 luma 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 Kumbhariya 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 rangamandapa 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 pattasalacloister in the background. These slender Misraka 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 rangamandapa contains the only surviving andola-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 Delvada. 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 pattasala and rangamandapa's eastern row of columns. A gandharva-minstrel playing a short drum (panava? 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.

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Description of Plates 137 44. An octagonal belt containing eight panelled figures, largely surasundaris, above the jangha 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 urmivalli or kalpavalli 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 (Delvada, A.D. 1145), Shaykh Farid's tomb, Patan (early 14th century, now in Government Museum, Vadodara), the Kharatara-vasahi, west porch, on Mt. Satrunjaya (c. A.D. 1320), the Caturmukha Dharana-vihara in Ranakpura (c. A.D. 1450), and the Djum'a Masdjid at Campaner (A.D. 1508). 47. Identical theme, carved as a space-filler, occurs on the corresponding soffit, at the northern extension. 48. The vikarna-vitana showing a large grasamukha set in an asymmetrical triangular frame bearing a beautifully stylized valli. The central karotaka ceiling of the rangamandapa is one of the few earliest extant Sabhamandaraka karotaka-vitana. 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 vitana of its kind for the depth of the kolas and what is more, looks larger than its actual size. 51. The same vitana 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 Sabhamandaraka class of vitanas. The disposition of the staggering lobes of each of the multi-lobed kolas in each circular chain is unparalleled as the study of such vitanas in the extant temples and about two dozens or more, now forming the parts of the mosques in Ahmedabad, Khambhata, Prabhasa, Patan, and other places.

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138 The Temples in Kumbhariya 52. The closer view of the central lambana looks like a highly stylized Laksmi-kamala, a huge flower of the species Victoria regia. 53. The vidyadhara-brackets inserted in the rupakantha bear the well-carved figures of vidyadharas. 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 Vidyadevis 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 Vidyadevi figures. 54. One other pair of the vidyadhara-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 rupakantha at the southern bhadra replaces the figures of vidyadharas/ gandharvas, as a special iconographic feature, a signifier indicative of the dedication of the temple to Jina Mahavira. When Mahavira transmigrated from heaven to earth for being born as human, he, by the dint of the particular accrued karma-latency (mana-kasaya or vanity) in one of his past existences as a human, descended into the womb of a brahmin lady of the Brahmana-Kundagrama, a borough of Vaisali, the capital of the Licchavi republic. Hari, that is Indra, sensing this as an anomaly in the happening of that particular event--for a tirthankara conventionally has to be born as a ksatriya-sent Negamesa to correct it by transferring the embryo into the womb of Trisala, wife of the ksatriya republican Siddhartha of the Ksatriya-kundagrama, another suburb of Vaisali. (This legendary episode is noted only in the agamas inherited by the Svetambara sect.) 56. The first of the seven ceilings of the Samatala class connecting the western pattasala with the rangamandapa, Mahavira 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.

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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 Parsva'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 Kamathasura and the Jina standing with the protective canopy of the king of the nagas, 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 santinatha 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 ratnapattika with fine floral buckles. 59. This Samatala ceiling, in sequence the fourth, depicts the events of the life of Jina Mahavira beginning in the outer strip from the scene of the mother dreaming 14 auspicious dreams, followed by the transfer of embryo by HariNegamesa, 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

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140 The Temples in Kumbhariya sector show Vidyadevi/Yaksi 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 Yaksa or Ksetrapala, 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 Kalidevi (?), Vairotya, Nirvani or Laksmi(?), and Sarasvati. 64. Similarly, the right hand side figures represent Gomukha Yaksa, Ambika, and Brahmasanti 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 Yaksis, Vidyadevis, and Yaksas 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 acarya'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

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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 rasamandala, 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 rasamandala motif is omitted here and, in the panels, besides the elephant riders, here are also introduced figures of cavaliers set likewise in boxes. The pattis 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/aradhaka 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 Vidyadevi or Yaksi 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 Delvada 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 (Bakuladitya) at Modhera, the four corners outside the central octagon display

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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 devakulikas look like. It is a trisakha type showing valli-, khalva-, and ratnasakha with a jar-holding female figures flanked by an adorer, both standing at the lower end of the two inner sakhas. 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 Delvada parallels, particularly of the Tejapala temple. 73. The Samavasarana carved in yelslowish marble and placed in a special cell at the south corner in juxtaposition of the eastern doorway of the prakara is highly damaged and badly restored. Unlike other instances of this symbol, it is provided with a pithika-pedestal. It may have been introduced after the completion of the 24 devakulikas, and as an after thought. 74. The samvarana or bell-roof of the Samavasarana-kulika is an arithmetically perfect and highly articulate ensemble of the apexial mulaghanta, a set of three descending urahghantas in all four directions, and the tiers in the quadrants between them filled with the staggered sequences of ghantas and ghantikas, all of them fluted. The rathikas, 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 mukhalinda or aisle between the north-entry cutting across the pattasala 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 Mahavira temple are filled with a pair of the box type jala-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 Neminatha temple (c. A.D. 1281) (Plate 182). It is likely that the open-pillared mukha-mandapa in the Mahavira temple was closed with screens about the same date.

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Description of Plates 143 The santinatha Temple (Adinatha Phase II) 77. Taking leave of the Mahavira temple, we enter the chronologically next building, the santinatha temple. The sikhara of the mulaprasada here is shapely but the execution of its jala is not perfect. The portion from the skandha-patta upwards, including the amalasaraka, belongs to the restoration period. 78. The corner view of the Anekandaka sikhara of a western Indian temple is seldom very appealing, and this Santinatha instance only endorses that feeling though, in compensation, it lays bare the fuller view of its constitution. The Nabhicchanda ceiling of the gudhamandapa of the santinatha temple loses its effect by the introduction of the two heavy layers of karnadardarika and consequent omission of the kola course otherwise vital for a completed appearance, illustrated here for knowing its nature. 80. The devakulika-khattakas on the gudhamandapa wall falling in the trika are slightly more advanced in form in this temple than those in the Mahavira temple, but are not so gorgeous as in the Delvada temples. 81. The four fully carved pillars of the satcatuskya here enhances the splendour of this architectural component, although it looks less poetic than the Mahavira 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 satcatuskya 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 satcatuskya are of the Misraka 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 vedika at the fronton of the stylobate (right side of the visitor's view) of the satcatuskya shows tolerably good decoration of the stylized

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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 vedika, in generalities of ornamentation, largely echoes what is seen in the preceding illustration. The central Nabhimandaraka 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 Delvada. The central Nabhimandaraka 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 Nabhimandaraka 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 Nabhimandaraka ceilings, one on either side of the central ceiling of the rear row within the satcatuskya. Kinnara figures fill the left out corners, the middle concentric part has at its centre a luma 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 pattasala as seen through the eastern aisle lends the full side-view of the interior. TL 33 The closer view of the andola-torana supported by the western bhadra pillars of the rangamandapa. Torana's undulating form is slightly better in configuration than those seen in the Vimala-vasahi temple at Delvada, Mt. Abu. 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 Misraka with segments of differing facets, namely octagonal, 16-sided, and round.

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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 Sabhamandaraka karotaka-ceiling has the usual set of circular courses; but its impact is not as powerful as of the Mahavira 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 kalpavalli or kamalata, also called armivalli 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 kalpavalli 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 kalpavalli carved at the northern soffit. 101. This view, besides revealing the gajatalu and kola courses, shows a vidyadhara and two gandharva figures of the rupakantha, 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 parsvalindas or lateral aisles at the east and west, all of which, as in the Mahavira temple, are of Samatala class, but not so fine,

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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 pancakalyanaka events in the life of a tirthankara. The new motif here is the row of seated figures of the upasakas and upasikas. 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 tirthankara. 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 pancakalyanaka 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 gajatalu, the seated Brahmasanti Yaksa 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 tirthankara involved here was Santinatha 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 Yaksi Cakresvari who were the guardians of

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Description of Plates 147 the 'sasana' of Jina Rsabha. 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 Kalyanaka scenes. The first ceiling in this aisle, in its outer belt, depicts the life of a tirthankara 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 Vidyadevis 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 upasakas 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 Mahavira 123. temple, the second and the fourth show elephant figures and musicians, and the central belt, in its two centrally situated boxes, enshrine Brahmasanti 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 Mahavira temple. 127 Two views of the Astapada in the kulika located at the south-eastern corner & at the back of the mulaprasada of the santinatha temple. The Astapada or 128. Kailasa mountain where Adinatha Rsabha is believed in Jaina mythology to have attained salvation, began to be depicted in the Svetambara tradition from

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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 Kumbhariya instance, the pithika is also provided and is much cut up in its basal and elevational configuration. The Astapada shows eight steps leading to two tiers of the Jina figures, three set on each of the four sides. Above this is the miniature Samavasarana supporting the quadruple image of Adinatha. This is one of the prescribed/conventional ways of representing the Astapada. 129. A typical lantern ceiling in the bhramantika/pattasala of the santinatha temple. The middle square shows the vegetal decoration with a centrally placed stylized lotus. 130. Between the front bhadra pillars and the pattasala's entry at the north and thus in the mukhalinda is carved, on the floor, a motif of rotating svastika, a convention to be once again met with only here in Parsvanatha temple. The Parsvanatha Temple 131. Coming next to the Parsvanatha temple, we may begin with the well-formed sikhara on the prasada. Although it is devoid of the jala decoration, it is still not without charm, particularly since it has good form. It uses the "karma' or multi-turreted class of sroga above the karna and pratiratha buttresses. Cakresvari graces the bhadra-rathika of the south. The karnandakas of the mulamanjari and urahsrngas, 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 dhvajadhara figure below the modern 'kalabo' 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--rathikas, karmas, tilakas, urahsongas, pratyangas or quarter spires leaning along the urahsmngas' flanks etcetera. 133 The lower half of the main doorframe of the gudhamandapa 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

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Description of Plates 149 134. profile of the central mandaraka projection and the flanking large grasamukhas are good examples of craftsmanship of that age. The illustration shows the upper section, including the uttarangadoor-lintel-of the gudhamandapa, 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 vedika 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 vedika 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 Mahavira temple, the pair of the highly carved pillars of the trika-porch act as bhadra columns of the rangamandapa. They support an andola- torana. That way of planning and designing has succeeded in generating elegance. 140. Same pillars as viewed from the northeast. The torana adds gracefulness to the elevation. 141. The image of Apraticakra carved in the jangha 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 jangha shows Vidyadevis 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 nala-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.

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150 The Temples in Kumbhariya 144. The front half of the rangamandapa with its ornate as well as relatively plain end pillars of the Misraka 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 mukhalinda corner emphatically reveals the fine proportionalities of the interior. 148. The well-chiselled pithika and the kumbhika moulding of a Misraka pillar of the rangamandapa reveals how plain facets can be truly effective. The introduction of pithika was necessitated for adding height to the slender pillars. 149. The view from the bhadra point of the mukhalinda unravels the combined volume of the rangamandapa and the trika. The loss of figures in the lateral rathikas 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 bhramantika of the west side, though only less than half the length of those splendid parallels from the Delvada 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

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Description of Plates 155. The doorframe of the bhadraprasada of the eastern pattasala, 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 Jinamata 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 pattasala and the left wing of the northern pattasala, 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 Nabhimandaraka ceiling shown in this picture is set within an octagon. A padmakesara relieves the centre with advantage. At the vikarnas are shown large grasa-heads. The Nabhimandaraka ceiling has a few interesting features such as the prominent grasapatti followed by a finely rendered karnadardarika with pointed leaves, a gajatalu and a kola course, and the central lambana which, lamentably, has lost its padmakesara. 159. A Nabhimandaraka 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 pattasala part connected with the western bhadraprasada. It possesses elements as well as pretension of a small scale Sabhamandaraka ceiling having a rupakantha with eight vidyadhara-brackets which once supported the astanayika figures, followed by two courses of gajatalu 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 Nabhimandaraka ceiling has a rupapatti, two layers of karnadardarika, a single gajatalu as well as a single kola course, and a two-kola lambana of good design. The vikarnas show large grasa-heads abstractly disgorging stylized creepers at the flanks.

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152 The Temples in Kumbhariya 162. Set in an octagon, the designer of this ceiling has omitted the gajatalu 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, lumas, and lambanas, impart a ceiling rather dry appearance. But this became the characteristic style for the ceilings, apparently of the Candravati 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 Jalor, Varkana, and Ranakpur. 163. The floor of the mukhalinda before the rangamandapa, at its centre, displays this symbol of rotating svastika framed in manipattika as previously met with in the santinatha temple. 164. At the north end is situated the nala-tunnel and above it the balanaka-hall, both piercing through the middle section of the northern pattasala. 165. The western bhadraprasada, as seen from outside, is a well-formed small temple with almost the full compliment of basic components: mouldings, figures on the jangha, and of course the well-shaped sikhara complete with jala decoration. 166. The view of the same bhadraprasada after the recent building of the sikharas that were earlier not there on the adjoining and other devakulikas. The Neminatha Temple 167. Entering now the largest temple, that of Jina Neminatha, and looking into the mukhacatuski part of the balanaka from south, the eyes meet with a nicely formed torana. In Kumbhariya, the only type of torana one encounters is of the andola or 'wave' category. 168- The collective view of the ceilings of the balanaka area. They are not of much 169. consequence either from the standpoint of typological studies or art proper. 170. The Nabhimandaraka ceiling above the pierced pattasala 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.

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Description of Plates 153 171. The view of the Meghanada-mandapa added by lady Hamsi in c. A.D. 1137. In the rear ground is seen the satcatuskya and the doorframe of the gudhamandapa. 172. The view of the mukhalinda before the Meghanada 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 Meghanada 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 Sabhamandaraka order, as seen from the centre of the floor, provides an impressive view even when it lacks the circle of lumas 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 Tejapala temple on Mt. Abu. 180. The carved front columns of the satcatuskya 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 Nabhimandaraka with a four-kola lambana of great refinement. The vikarnas

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154 The Temples in Kumbhariya show pairs of elephants. The soffits of the additional lintels are relieved with flat water-nymphs set in panels and beyond it is a pattika, 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 vikarnas 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 karnadardarikas 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 gudhamandapa has less number of sakhas and now partly renovated. But before its entry-point, come to view two unusual elements; the somewhat high and substantial ardhacandra or sankhavarta 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 gudhamandapa 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 bharani of the echinus-abacus complex above it is in style clearly derived from the ornamentation of Sultanate 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 Neminatha temple-Aristanemi-caitya--is not only the largest but also its prasada, 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 mahapitha 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 jangha 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.

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Description of Plates 192 These views of the south side of the prasada-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 mahapitha 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 prasada-pitha. 155 197. Srutadevata 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 prasada. 198. The niche of this figure, just as the karanda crown of the vidyadevi Nirvani in this picture, are shapely and elegantly carved. 200 & 201. 199. The pratiratha of the prasada 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 bhadraprasadas are similar in size, shape and details. The catuhsakha doorframe of each shrine provides an instance of vegetal and figural carving of the 12th century. The doorsill with the moonstone, of the bhadraprasada, is a tolerably good example of the treatment of that member in the 12th century. The dvisakha doorframe of one of the devakulikas in the west wing illustrates how conservative was the style of late 13th century. The doorframe also resembles those of the devakulikas in the Pitalhara temple of c. early 14th century in Delvada, Mt. Abu.

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156 204 & The two bhadraprasadas 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 Dikpalas and Vidyadevis. The jangha also has ardhapadma-patti as a middle band, and grasapatti 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 devakulika built during late 13th century has a Sikhara with jala work. It betrays a fine and perfect shape. Recently, for some reason, 208. it was dismantled and reerected in the compound on the open pattasala surrounded by prakara wall in the background. The Sambhavanatha Temple (Originally Santinatha) 209 The back view of the sikhara of Sambhavanatha temple. It has a good form & with minute jala decoration. The present karmas or multiple smigas seem to 210. have replaced the original during conservation. The Temples in Kumbhariya 211. The view of the sikhara from east confirms what is said for the preceding picture. It is very doubtful whether the sukanasa cast in the 'balcony form' was in the original design. 212. 214. The pitha and the vedibandha of the prasada are well-chiselled but plain: the kumbha alone bears figure-panels but that feature is confined to the karmas and bhadras. 213. The dvi-sakha doorframe of the gudhamandapa with the stambhasakha has a baroque feel of a similarly designed doorframe of the gudhamandapa of the Tejapala temple, Mt. Abu, but without the exuberance of tiny figural decoration and fine (as well as profuse) undercutting of the stambhasakha 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 devakulikas and thanks to it the consequent absence of aisles and their ceilings' covering, the rangamandapa has enough light within and without but not the pretension of any kind. Neither are the plain Misraka pillars evocative nor is the ceiling, made up as it is of the rupakantha showing ardhapadmas in series and a staggered sequence of plain

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Description of Plates. dardarikas, have anything appealing. The picture reproduced here is an archaeological document. The Kumbhesvara Temple 215 The prasada of the sixth marble temple, of Siva Kumbhesvara, 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 kalasa 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 Dikpala 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 Rsabha 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 gudha-mandapa, flanking the antarala of the Mahavira 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 'tilas' take away the remaining elements of art from the image. The dhoti and the katimekhala-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-ksapanaka or later, for that matter, those of the Digambara sect. After the gradual crystallization of the

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158 The Temples in Kumbhariya Svetambara sect by the fourth century A.D. in southern Gujarat and eastern Saurastra, from the earlier northern Nirgrantha sect which, of course, used to worship nude Jina images as is clear from the Mathura instances of Saka, Kusana, and Gupta period. The Kumbhariya image is flanked by vyalas, the lower ends show standing camaradharas and the seated figures of an aradhaka and an aradhika, 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 maladhara class of vidyadharas 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 sankhapala 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 kayotsarga figure of Jina Suparsvanatha 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 Vidyadevis, 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 vyalas 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 satcatuskya of the santinatha 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 Vasupujya in a niche of the gudhamandapa of the Sambhavanatha seems of the late 13th century date. The images showing Tirthankara Vasupujya sitting underneath the campaka tree came into popularity in the latter half of the 13th century as is clear from the examples in

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Description of Plates 159 Porbandar (A.D. 1259), Khambhata, and a few other places. The Kumbhariya 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 Sarvanubhuti and Yaksi Ambika, kept on the floor of the garbhagpha of the Mahavira temple. Both have partially suffered from the algae action due to long neglect and exposure to elements in the past. The style of the Sarvanubhuti figure is close to the camara-bearers of the kayotsarga image of A.D. 1062. And that of Ambika 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 Abu. All of them possess halo. The two images here wear karanda mukuta: the Ambika images in Delvala have dhammilla mukuta. All in all, these two Kumbhariya images seem to be of c. A.D. 1062 and probably had belonged to the Mahavira temple. 228. While describing the ceiling, the first one in the eastern aisle of the Mahavira temple, it was noted that its boxes at the (western) extremity show figures of three divinities--Sarvanubhuti, Ambika, and Brahmasanti. 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 Ambika, stylistically of Kumarapala'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 Ambika in the Neminatha 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 keyura on the right arm etcetera reflect the style of the better figures of the time of Siddharaja.

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160 The Temples in Kumbhariya 231. This large and gorgeous torana is said to be before the principal image in the sanctuary of Jina Mahavira. 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 sakhas of the elaborate doorframes in the Parsvanatha temple. Such toranas, set up before the images in the sanctuaries, are known from a couple of devakulikas (west wing) in the Parsvanatha temple here and in the devakulika 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 torana that once may have been in the garbhagrha of the Parsvanatha temple (vide Insc. 19). The torana proper, usually supported above the posts, however, is lost. From the style of the figures, it could be of the time of Jayasimha Siddharaja. If this inference is accurate, then this may be looked upon as an instance earlier than all known from Abu and Kumbhariya. 233. The large discarded torana which is said to be once before the principal image of Neminatha in his main sanctuary. The style of the Vidyadevi figures seem of the 12th century. As in the doorframes, so also in torana posts, the rupastambha bore the figures of Vidyadevis. The andola-torana, in style, somewhat resembles that in the balanaka of this temple. 234 The two toranas, earlier referred to, inside the two devakulikas of the Parsvanatha 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 Parsvanatha temple. There was thus somewhere a second Samavasarana in Kumbhariya, perhaps in the Neminatha 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 gudhamandapa of the Neminatha temple and now in the store room of one of the temples, is carved in four strata, the first one

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Description of Plates 161 bears seven Jinamata figures and two pairs of aradhakas and aradhikas 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 Saptatisata-Jina-patta that once was in the & gudhamandapa 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-viharamana-patta depicts the 20 currently existing Jinas in the mythical Mahavideha-ksetra 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 agama, no agama, including the Samavayanga-sutra (on its 20th 'sthana' or location), refers to these Jinas. The concept apparently was formulated in the sixth century when the niryuktis and the bhasyas were composed. This inscribed patta, originally was in the Neminatha temple. Its execution is very mediocre and stylistically it seems not earlier than the late 13th century, maybe even later: It has Jina Simandhara, 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-viharamana-Jinas are very rare to meet with. They, too, like the Sammetasikhara-patta bearing 20 Jinas (with which they sometimes have been confused) seem to have been originated in the 13th century. 241. The Nandisvaradvipa-patta placed in a khattaka in the eastward extension of the trika is dated S. 1211/A.D. 1267. Nandisvaradvipa 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, Varisena, Rsabha, and Vardhamana. The patta illustrated here shows the Nandisvaradvipa 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

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162 The Temples in Kumbhariya 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 Nandisvaradvipa-pattas began to be carved and set up in western India in the Svetambara shrines from at least the 12th century. The patta is unknown in the Botika/Ksapanaka 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 Sivabhuti 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 Nandisvara-dvipa and its 52 Jina temples. 242. The Saptatisata-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 Ajitanatha, that period specifically known as the 'utkrsta-kala'. The worship of such pattas, unknown in all Jaina sects except the Svetambara, 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-vasahi (Bulavani temple) on Mt. Satrunjaya. The Saptatisata-Jina-patta illustrated in this plate is placed along the western extension wall of the satcatuskya of the Neminatha temple. The middle area, not exactly at the parta's geometric centre, shows a sa-parikara Jina-pancaka. 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.

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Description of Plates 243. The Kalyanatraya-patta, 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 Kalyanakas-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-patta is after a Jaina myth of a kite sitting on a tree near Brgukaccha 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 Lanka. One day, on suddenly recalling her past existence, she voyaged by ship to Brgukaccha and founded there a temple to Jina Munisuvrata. The patta 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 Mahavira 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 Tejapala temple at Mt. Abu. Such pattas so far have been unknown before the latter half of the 13th century. They are likewise unknown from the Ksapanaka, its offshoot the Yapaniya of northern Karnataka, and the Digambara sect. A corresponding Asvavabodha-patta 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, Delvada, Mt. Abu. (Cf. Jayantavijaya, Abu, Pt. 1, Ujjain 1933, Plate opposite p. 109.) For Private Personal Use Only

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Reference Glossary: Art & Architectural Terms Adhinayaka alamkara-devata 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 Anekandaka anga multi-spired/multi-turreted (Nagara sikhara) principal horizontal/vertical division of the temple plan such as bhadra, pratiratha, karna etc. anda andaka antarala antarapatta spirelet in the constitution of Sekhari temple space in front of sanctum door; vestibule recess between major mouldings, generally between kalasa and kapotapali in pitha; inserted also between two courses of kapotapali in varandika/prahara below the sikhara; often showing kunjaraksa pattern as its decoration, especially in Maha-Gurjara buildings antarasakha innermost jamb of doorframe apsaras apsara ardhacandra ardhapadma ardharatna ardhathakara divine nymph; surasundari; devangana moon-stone; semi-circular step before the sanctum doorway half-lotus (decorative motif) split-diamond (decorative motif) split-gavaksa (decorative motif)

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166 astamangala astanayikas Astapada Astapada-kulika avalokanaka amalaka amalasaraka andola andola-torana aradhaka aradhika asanapatta ayatana ayudha Bahirsakha bakulamala balanaka bahya bahyasakha bhadra Bhadraka eight auspicious symbols eight damsels showing different moods, gestures, and roles The Temples in Kumbhariya Kailasa; mountain on which Jina Rsabha attained nirvana, symbolic representation of chapel enshrining Astapada window-opening in sandhara prasada or/and gudhamandapa "myrobalan fruit"; crowning member of the Nagara (Latina and Sekhari/Anekandaka) temple large "cogged wheel" shaped stone crowning the North Indian sikhara-spire; broader and more compressed amalaka wave wavy formed arch male adorer female adorer seat-slab shrine; alaya, prasada emblematic weapon of a divinity outer sakha; bahyasakha 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

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Reference Glossary 167 bhadra-khattaka niche at the cardinal point of the jangha (upper section of a temple-wall) bhadraprasada larger devakulika coaxial with the transept of the rangamandapa bhadrapitha bhadrasana, generally circular bhadra-rathika niche at the cardinal offset in a sikhara bhadrasana seat bhadravalokana opening at the central offset of prasada and/or closed hall; balcony, window bharana fluted or ribbed echinus bharani bharana with more minute ribbings bharavahaka atlantid figure bhitta bhramantika plinth; rectangular course below the base proper cloistered corridor in Jaina temples; bhamati (Gujarati) superstructure type composed of corner and intermediate pillarettes supporting miniature Latina sikhara and having a vertical jala-spine at the bhadras Bhumija Cakra wheel; Visnu's discus cakravarti universal emperor campaka flower of Michelia champaca Linn. (decorative motif) candravalokana screened window catuhsakha catuhsakha doorframe having four sakhas 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 caturvimsati-Jinamata-patta carved slab showing 24 mothers of the 24 Jinas

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168 The Temples in Kumbhariya caturvimsati-Jinalaya Jaina temple with an entourage of 24 devakulikas enshrining 24 Jinas catuskhanda-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 catuskya catuski bay of four-pillars; four-pillared structure cippi cippika minor inverted cyma recta Citra-torana figural ornamental torana-arch showing decoration on front and back faces camara fly-whisk camaradhara fly-whisk bearing male camaradharini fly-whisk bearing female chajjika minor roof; rooflet moulding Dampati-yugala human (or divine) couple dandacchadya projecting sloping eave showing/simulating a series of minor logs on the upper surface dardarika moulding resembling cyma reversa in ceiling devakulika minor/subsidiary shrine; peripheral shrine devakulika-khattaka large niche used in lieu of a true devakulika, occurring in the pattasala or trika Dikpalas eight guardians of the compass directions dhammilla mukuta dhammilla form of diadem dhoti lower garment, from waist downwards dhvaja banner-staff dhvajadhara symbolic male figure carved at the end part of the sikhara which feigns to hold the flagstaff

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Reference Glossary 169 dvara door dvarabandha doorframe dvarasakha 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 Gagaraka scout-badge like decorative motif comprising arrow between two contra spirals gagarapatti chain of gagarakas carved at the edge of the kapotapali basal-band showing frontal posture of elephant figures in file gajapitha gajatalu "elephant's palate"; cusped ceiling-course gandharva celestial minstrel garbhagyha womb-house; sanctum gavaksa (decorative motif); candrasala, "cow's eye" thakara grasa gorgon head; kirttimukha grasa-kinkanika decorative motif showing bell with a hanging chain dangling from a grasa-mask grasamukha gorgon face or head; kirttimukha grasapatti grasapattika band showing grasa heads in file gudhamandapa closed hall ghanta bell; bell-member of the samvarana-roof; crowning bell of Phamsana/samvarana ghantika small bell-member

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170 Hamsa Hiranyendra Illika-torana Jagati jangha jadyakumbha jala jalaka Jinatraya Jinamatrka-patta Kailasa kaksasana kalabo kalasa kalpavalli kamalata Kalyanakas Kalyanatraya goose, gander (decorative motif) Indra riding on an elephant and shown in Jinal image parikaras The Temples in Kumbhariya torana, with undulating arch form plinth, platform socle, stylobate, stereobate; basal moulding of adhisthana (South Indian) wall-frieze between vedibandha and Sikhara; kati (older synonym) "kumbha at the base-root"; inverted cyma recta; lowest pitha moulding perforated screen; gavaksa-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. Astapada in the Himalayas seat-back; backrest carved block of stone placed over the sikhara's skandha for holding flagstaff (late vogue) "pitcher"; torus moulding; jar-shaped pinnacle of sikhara wish-fulfilling vine; kalpalata auspicious events in Jina's life Three auspicious events renunciation, enlightenment and salvation-of Jina Aristanemi happened on Ujjayantagiri (Mt. Gimar), its symbolic representation

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Reference Glossary 171 Kalyanatraya-patta two dimensional representation of three dimensional symbolic representation of Kalyanatraya concept Kamala-yantra tantric diagram involving full-blown lotus kantha kapili neck; recess between mouldings; kanthi, kanti (Oriya) wall projecting in front of the sanctum connecting it with hall; a vestibule connecting prasada with mandapa kapotapali, kapotali kapotapalika cyma-eave/cornice kapotika minor cyma-eave karanda literally basket; sort of whorled diadem karanda mukuta mitre of the karanda type karma karna "deed"; complex spirelet with several miniature andaka-spirelets angle, corner; corner wall-division cyma recta moulding with artis in the concentric ceilings karnadardarika karnaka arris moulding in a base; also with pillar capital karnakuta miniature square temple at the corner of superstructure karnandaka corner amalaka in venukosa karna-pitha base having an arris moulding but without gaja-, asva-, and narapitha mouldings knife-edged arris moulding; minor karnaka "bowl"; large circular ceiling karnika karotaka kati "waist"; wall (early synonym for jangha) katibandhana waist-garment katimekhala waistband katipattaka same as katibandhana

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172 kayotsarga kayavyutsarga kinkini, kinkini kinkanika kinnara Kesaryadi prasada keyura kola kolaja-lambana kota kumbha kumbhaka kumbhika kumuda Kuta kuta kutakara Ksipta ksipta luma Ksiptotksipta khalvasakha khattaka khura khura-kumbha The Temples in Kumbhariya standing erect posture with downward hanging arms miniature bell, generally suspended from chain (decorative motif) celestial birdman playing musical instrument prasadas 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 stambhasakha in a doorframe torus moulding of a base superstructure-type square aedicule; spirelet; miniature kutagara miniature kuta-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 sakha ornate niche in a wall with parikarma-frame basal plain moulding of vedibandha, below kumbha complex of khura and kumbha mouldings.

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Reference Glossary 173 Laksmi-kamala huge flower of the species Victoria regia lalatabimba 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 sikhara-type with curvilinear vertical bands (latas) usually bearing jala-pattern minor projecting corbel shaped (ribbed or otherwise) bracket (for supporting nayika or citraputrika figure of a column in a hall) lumbika luma cusped and downward projecting pendantive Madhyabandha medial band (wall-pilaster decoration); mediating ornamented (or plain) band of a wall madhya-ratha central offset; bhadra mahapitha tall socle with additional set of upper mouldings such as gajapitha, asvapitha and narapitha; also sometimes vedibandha (for sandhara temples) makara crocodile-monster; dolphin; sea-monster makara-pranala makara-torana makara-shaped gargoyle torana-arch disgorged from the jaws of opposed makara-heads manca dais mancika dais-like moulding supporting figure-bearing niche mandapa mandaraka mandovara hall, generally columnar projecting central part of ornate doorsill temple's/closed hall's portion above jagati or pitha and below chadya; kati; wall proper band of gems, diamonds alternating with stylized rubies as ornate miniature medallions (decorative motif) manibandha Jain Education Interational

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174 manipatti manipattika mardala manjari maladhara mala-vidyadhara Misraka mithuna Meghanada mukhacatuski mukhalinda mukhamandapa mukula mukulika mukuta muraja mulaghanta mulamanjari mulanayaka mulaprasada mulasrnga Nandisvara-dvipa Nandisvara-dvipa-patta The Temples in Kumbhariya 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 samvarana or Pharhsana roof principal spire in Sekhari/Anekandaka sikhara; mulasmga main enshrined deity main shrine; shrine proper in relation subsidiary shrines central spire in Sekhari/Anekandaka sikhara; mulamanjari seventh ring island continent of Jaina cosmography slab sculpted as symbolic representation of Nandisvara-dvipa

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Reference Glossary 175 Nandisvara-patta sculptured slab showing the symbolic representation of the 52 shrines of the Nandisvara-dvipa narapattika band bearing human figures in procession narapitha basal-course showing humans engaged in manifold activities navacatuskya navacatuski vestibule with nine bays arranged in three consecutive and linked quadrants Nava-nidhis nine mythical treasures nidhi mythical treasure Nabhicchanda ornate ceiling type with deep concentric cuspedand-coffered courses or bands Nabhimandaraka Nabhicchanda ceiling with a central lambanapendant Nagara generic name for North Indian temple type having Latina/Anekandaka sikhara nala channel nala-mandapa hall of the access-channel nayika (figure of) female dancer showing various abhinaya-expressions Negamesa Hari-Negamesa goat-faced deity used by Hari or Indra as his executive Padma lotus Padmaka ceiling made up of lumas padmakesara staminal tube in the ceiling, projecting from the kola, luma, and lambana Padmanabha Padmasila ceiling type bearing luma-pendantives Samatala ceiling with full-blown centrally placed lotus padmasana Yogic cross-legged posture

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176 The Temples in Kumbhariya padmasarovara lotus/lily-bearing pond pallava leaf pancasakha pancasakha having five sakhas pancakalyanaka Five auspicious events of the Jina's lifetransmigration, birth, renunciation, enlightenment, and salvation pancandaka (Kesari) Nagara 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 patrasakha sakha adorned with foliage patta band, register lobby, cloister pattasala patti pattika smaller band; rectilinear fillet pitha pedestal; moulded base of structure pithika image-pedestal pedya lower block of door-jambs (often carved with figures of river-goddesses and door-guardians) pal ghata (Gujarati) carved motif formed as a miniature vase-andfoliage parsva-catuski lateral porch of a hall parsvalinda side aisle Phamsana Pharsana tiered pyramidal roof-type having tiered pyramidal form phamsakara

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Reference Glossary phalana pradaksina pramatha pranala pratiratha pratyanga prakara prasada prasada-pitha Rangamandapa ratha rathika ratna ratnabandha ratnapatta ratnapatti ratnapattika ratnasakha rajasena rajasenaka rasamandala rekha rupa minor offset demarcating planes circumambulation; passage goblin; gana, bhuta water chute; conduit (sometimes) ambulatory wall-offset flanking bhadra; anuratha (Eastern India) 177 quarter sikharas flanking the urahsrnga or halfsikhara at the bhadras enclosure wall "palace", "mansion"; temple temple-base open-type of pillared hall; nrtyamandapa; sabha-mandapa bhadra framed niche diamond or lozenge-shaped decorative motif jewel-band band of diamond pattern; manipatta, manipattika band of jewels Sakha with jewel pattern broad ornate fillet as substructure of vedika fencing (usually decorated with diamond and double volute pattern; also with pramathas and bharavahakas in several early Maha-Maru instances) dancers in circle curvature of sikhara figure; figural ornament

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178 rupadhara rupakantha rupapatti rupapattika rupasakha rupastambha Sabhamandaraka Sabhamarga Sahasrakuta salilantara Samalika-vihara-patta Samatala Samavasarana Samavasarana-kulika Sammetasikhara Sammetasikhara-patta Sammetasikhara tirtha samvarana sandhiksetra sandhipala sa-parikara Jina-pancaka The Temples in Kumbhariya band bearing figures recess carved with figures, in a ceiling figure-bearing band; rupadhara sakha with figural ornamentation pilaster-formed jamb, usually central in doorframe and carved with figures cusped-and-coffered ceiling 'Sabhamarga' with a central lambana-pendant main ceiling of a hall with cusped-and-coffered courses (of kolas and gajatalus) 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 Brgukaccha 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 Parsvanatha 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

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Reference Glossary 179 sapta-kolaja pendant having seven kolas sapta-kolaja lambana Saptatisatabimba 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 Saptatisatayantraka Sattarisaya-Jina-patta same as above step sopana sopanamala sopana-dvaya series of steps two steps of the pattasala-cloister sopana-traya surasundari three steps of the pattasala-cloister heavenly damsel; apsaras, devangana, consort of the gandharva minstrel shoulder moulding; flat upper platform/terminal cyma moulding of sikhara; visama/bisama, kandhi (Oriya) skandha skandha-patta flat band replacing the carved shoulder moulding of sikhara stambha pillar stambhasakha sakha in the form of a pillar svastika sandhara well-known auspicious symbol temple having an inner ambulatory passage around the sanctum sankhapala celestial blowing conch at the apex of a western Indian Jina-parikara frame sala nave; oblong hall sakha decorative door-band; door-jamb sasanadevi sasanadevata female presiding or guardian deity of the Jaina church sankhavarta moon-stone with conch-terminals satadala hundred-petalled lotus

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180 The Temples in Kumbhariya Sekhari complex multi-spired superstructure type tower, spire (North India) sikhara sikharika minor spire sukanasa sukanasika antefix above the roof of the kapili sravaka male Jaina lay-adherent sravika female Jaina lay-adherent songa spirelet; anga-sikhara (Oriya) satcatuskya satcatuski six-bayed vestibular antechamber between the gudhamandapa 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 gudhamandapa trisakha trisakha doorframe having three jambs tilas (Gujarati) small metal appendages fixed on the body parts of a Jina image, to which puja is offered minor caitya-dormer; candrasalika thakara Udgama pediment of interconnected gavaksa-dormers udumbara threshold; doorsill upakarana useful objects in possession of a friar upasaka sravaka; male Jaina lay-adherent

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Reference Glossary 181 upasika sravika; female Jaina lay-adherent urahghanta leaning half-bell urahsrnga leaning half-spire in Anekandaka sikhara utksipta thrown in utkrsta-kala rare time phase when 170 Jinas are born in lieu of single uttaranga architrave of the entablature; lintel, beam uttanapatta pavement (in compound or on platform) urmivalli imaginary creeper of foam; kalpavalli; urmivela (Gujarati) Vajra thunderbolt vajraghanta ghanta with a thunderbolt shaped handle vajrasonga pointed field where two kolas meet in a series valli valli creeper, scroll (decorative motif) sakha carved with creeper design vallisakha vasati vasatika Jaina temple; vasahi (Praksta); also monastery vidyadhara flying celestial angel; bracket in the rupakantha of a ceiling Vidyadevi Jaina personified magical power, 16 in number vihara Buddhist monastery; medieval Jaina temple; vasati vikarna intermediate/sub-cardinal direction vikarna-vitana triangular decorated ceiling-slab at sub-cardinal position Vis-viharamana-Jina-patta sculptured slab showing 20 Jinas currently preaching in the mythical Mahavideha-ksetra of the Jaina cosmography vitana ceiling

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182 The Temples in Kumbhariya vedi vedibandha altar; plank-moulding below the griva-sikhara aggregate of five basal wall-mouldings, consisting primarily of khura, kumbha, kalasa, antarapatta, and kapotapali vedika railing; balustrade vedi-kaksasana vedika with the seat back above venukosa "bamboo-sheath"; outer nodal sheath of curvilinear spire, usually showing karnandakas/ bhumi-amalakas vyala composite fantastic animal; mythical fabulous creature; varala; virala Yaksa 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

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Bibliography (Kumbhariya 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., Ambika, Kotesvara ane Kumbhariya (Guj.), Srisayaji Sahityamala, No. 334, M.S. University of Baroda, Vadodara V.S. 2019 (A.D. 1963), pp. 33-35, 40-41. Desai, Mohanlal Dalicanda, Jaina Sahitya-no Sankspta Itihas (Guj.), Sri Jaina Svetambara 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 Vastu-racanao ane Hrsikesa-nun Vaisnavayatana," (Guj.), Svadhyaya, Vol. 7, No. 3, V.S. 2026 (A.D. 1970), pp. 248-256. Dhaky, M.A. and Shastri, H.P., "Arasana-na be Jaina pratima lekho-ni visesa vacana," (Guj.), Svadhyaya, 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 Bhagavan Mahavira Nirvana, Ahmedabad 1975, pp. 319-384, Plates 1-28.

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184 The Temples in Kumbhariya Dhaky, M.A., "Sahitya ane Silpa-man 'Kalyanatraya"" (Guj.), Nirgrantha 1, Ahmedabad 1995, pp. 98-110, Plates 1-4. Dhaky, M.A., Arasitirtha Arasana (Kumbhariyaji) (Guj.), Seth Anandji Kalyanji, Amdavad 1997. Forbes, Alexander Kinloch, Ras Mala; 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). Jagannatha Ambarama, Brhad Silpasastra, Pt. 3, Amdavad V.S. 1992 (A.D. 1936), pp. 107-111 (ground plans), Plate opp. 191. Jayantavijaya Muni, Abu, Pt. 1, (Guj.), Sri Vinayadharmasuri Jaina Granthamala, No. 10, Ujjain V.S. 1990 (A.D. 1933), Plate opp. 109. Jayantavijaya Muni (Comp., Rev., & Ed.), Arbuda-Pracina-Jaina-lekhasandoha (Abu Pt. 2), (Guj.), Srivijayadharmasuri Jaina Granthamala, No. 40, Ujjain V.S. 1994 (A.D. 1938). Jayantavijaya Muni, Afbudacala Pradaksina (Abu Pt. 4) (Guj.), Sri Yasovijaya Jaina Granthamala, Bhavnagar V.S. 2004 (A.D. 1948), pp. 10-29. Jayantavijaya Muni (Comp., Trans., & Ed.), Arbudacala Pradaksina Jainalekhasandoha (Abu Pt. 5), (Guj.), Sri Yasovijaya Jaina Granthamala, Bhavnagar V.S. 2005 (A.D. 1949), pp. 2-15, Insc. 3-41; Trans. Guj., pp. 3-15, Insc. 3-41. Jinavijaya (Comp., & Ed.), Pracina Jaina Lekha Sangraha (Pt. 2) (Guj.), Pravartaka Sri Kantivijaya Jaina Itihasamala, No. 6, Sri Jaina Atmananda Sabha-Bhavnagar, Bhavnagar 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. Nyayavijaya Muni (Triputi], Jaina Tirtho-no Itihasa (Guj.), Sri Caritrasmaraka Granthamala, No. 38, Amdavad V.S. 2005 (A.D. 1949), pp. 297-301.

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Bibliography 185 Seth, Mathuradas Chhaganlal, Sri Kumbhariyaji Tirtha urfe Arasana (Guj.), Bhavnagar V.S. 2003 (A.D. 1947). Shah, Pt. Ambalal Premchand, Jaina Tirtha Sarva Sangraha (Guj.), I. 2, Seth Anandji Kalyanji, Amdavad V.S. 2010 (A.D. 1953), pp. 283-287. Shah, Pt. Ambalal Premchand, Ronakapura-ni Pancatirthi, Sri Yasovijaya Jaina Granthamala, Bhavnagar V.S. 2012 (A.D. 1956). Singh, Harihar, "The Jaina Temples of Kumbharia," Aspects of Jaina Art and Architecture, Eds. U.P. Shah and M.A. Dhaky, Gujarat State Committee for the Celebration of 2500th Anniversary of Bhagavan Mahavira Nirvana, 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. Somapura, Narmadasankara Mulajabhai, Silparatnakara, Silpasastri Sri Narmadasankara Mulajibhai Somapura, Dhrangadhra 1939, Plates opp. 104, 111, 121, 131, 139, 141, 146, 147, 149, 150, 151, 153, 172 and 497, also on p. 119 proper. Triputi Maharaja (Darsanavijaya Muni, Jnanavijaya Muni, & Nyayavijaya Muni), Jaina Parampara-no Itihasa, Pt. 2 (Guj.), Sri Caritrasmaraka Granthamala, No. 54, Amdavad V.S. 2016 (A.D. 1960), pp. 298-300. Visalavijaya Muni, Sri. Arasana Tirtha apara nama Sri. Kumbhariyaji Tirtha (Guj.), Sri Yasovijaya Jaina Granthamala, Bhavnagar V.S. 2017 (A.D. 1961). (Original Sanskrit and Prakrit Sources) Caturavijaya Muni (Ed.), Pandita Somadharma gani-Viracita Upadesasaptatika, Sri Atmananda Grantharatnamala, No. 33, Bhavnagar V.S. 1971 (A.D. 1915), pp. 38, 39. Caturavijaya Muni (Ed.), "Sri Vividhatirthastutayah," Jainastotrasandhoha, Pt. 1, Pracina (Jaina) Sahityoddara Granthavali, No. 1, Amdavad V.S. 1989 (A.D. 1932), pp. 375-377. Harakhcanda, Pt. Bhagavandas (Ed.), Ukesagacchiya-Sri Kakkasuri-Viracita Nabhinandana-jinoddharaprabandha, Sri Hemacandracarya Jaina Granthamala, Amdavad V.S. 1985 (A.D. 1929), 4.20-140: pp. 130-139.

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186 The Temples in Kumbhariya Jinavijaya Muni (Ed.), "Arasaniya Nemicaityaprabandha," Puratana Prabandha Sangraha, Adhisthata-Singhi Jaina Jnanapitha (Singhi Jaina Granthamala, No. 2), Calcutta V.S. 1992 (A.D. 1936), pp. 30-31. Vijayadharma suri (Ed.), "Pt. Megha-Viracita Tirthamala," Pracina Tirthamalasamgraha, Pt. 1, Sri Yasovijayaji Jaina Granthamala, Bhavnagar (V.) S. 1978 (A.D. 1922), pp. 50, 51.

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NOTES

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NOTES

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PLATES

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1. Kumbhariya. Mahavira temple from northwest. Maru-Gurjara style. C. A.D. 1062. 2. Kumbhariya. Santinatha (originally Adinatha) temple from northwest. Maru-Gurjara style. C. A.D. 1082. en Intern www.jamelibrary.png

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TD 3. santinatha (originally Adinatha) temple from southeast. 4. Kumbhariya. Parsvanatha temple from northwest. Maru-Gurjara style. C. A.D. 1100. Jain San For Povale & Personal Use Only www.jainelibrarea

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5. Kumbhariya. Neminatha temple from north. Maru-Gurjara style. C. A.D. 1137-1254.

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6. Neminatha temple from east-northeast. CON

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7. Kumbhariya. Sambhavanatha (originally Santinatha) temple from east. Maru-Gurjara style. After A.D. 1232. 8. Kumbhariya. Kumbhesvara temple from southwest. Maru-Gurjara style. C. A.D. 1207. DI Jain dugatioo International Win Vaca Personal only

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A 9. Kumbhariya. Adinatha Phase I temple, garbhagrha-doorframe. Maru-Gurjara style. C. A.D. 1031. (Now in Santinatha i.e., Adinatha Phase II temple.) Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 10. Adinatha Phase I temple, doorframe, Ganga. 11. Adinatha Phase I temple, doorframe, Yamuna.

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

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14. Kumbhariya. Mahavira temple, mulaprasada with gudhamandapa, superstructures from southeast. Maru-Gurjara style. C. A.D. 1062. 15. Mahavira temple, mulaprasada from south. 190 $90 EN Ji Dan Shou Zhao W e & Persons Only a 50

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PET 16. Mahavira temple, mulaprasada and gudhamandapa, superstructures from southwest. 17. Mahavira temple, mulaprasada, sikhara from west.

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18. Mahavira temple, mulaprasada with gudhamandapa, superstructures from northwest. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 19. Mahavira temple, gudhamandapa, samvarana. [Courtesy: Department of Archaeology, Government of Gujarat.] III Jain Education anglations Only

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Sla 20. Mahavira temple, mulaprasada, lower structure from northwest. 21. Mahavira temple, mulaprasada, pranala. www.jennelibrary.org

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

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6 24. Mahavira temple, gudhamandapa, doorframe, upper part with uttaranga-lintel. 25. Mahavira temple, trika, pitha, east side. BUEKEURURK GREY U por Private & Personal use only

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

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

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

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

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2 LONXOXON LOOXOVO 31. Mahavira temple, trika, Padmanabha vitana above the staircase. 32. Mahavira temple, trika, Padmanabha vitana, view from below.

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

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

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37. Mahavira temple, trika, Nabhicchanda vitana, to the right of the utksipta-vitana. BUCH exe 38. Mahavira temple, rangamandapa, view from trika. For Private & Personal use only

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

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

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

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43. Mahavira temple, rangamandapa, front pillar, jangha, gandharva playing drum. 44. Mahavira temple, rangamandapa, front pillar, upper belt showing nayikas/surasundaris. 45. Mahavira temple, rangamandapa, lintel-soffit, lotus. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] For Private & Personal use only

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

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dr zd 1111111111111111111 (((((((((((5 zrrrrrr wrw w jw ((((((((((((((((((( 48. Mahavira temple, rangamandapa, vikarna-vitana.

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757 49. Mahavira temple, rangamandapa, Sabhamandaraka karotaka-vitana.

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416 wwwww 50. Mahavira temple, rangamandapa, Sabhamandaraka karotaka-vitana, central section, closer view. MENIFALL FOR Rom FOOD

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om ESCOLA ICIC T! AAAAA 51. Mahavira temple, rangamandapa, Sabhamandaraka karotaka-vitana, view from below.

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52. Mahavira temple, rangamandapa, Sabhamandaraka karotaka-vitana, lambana, view from below.

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53. Mahavira temple, rangamandapa, Sabhamandaraka karotaka-vitana, rupakantha with vidyadharabrackets. 33333 54. Mahavira temple, rangamandapa, Sabhamandaraka karotaka-vitana, rupakantha with vidyadhara-brackets. 55. Mahavira temple, rangamandapa, Sabhamandaraka karotaka-vitana, rupakantha, southern bhadra, a pair of Negamesa figures replacing vidyadharas on bracket-faces. Wawe Pe onal Use Only

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

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

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59. Mahavira temple, rangamandapa, western flank, fourth bay, Samatala ceiling. 12:02 ( - 2) (0) 202)22 For Phvate & Personase O WILL SI1De Mei " .

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@ 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. Mahavira temple, rangamandapa, western flank, fifth bay, Samatala ceiling WJain Eadcation International For Private & Fersonal us

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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. Mahavira temple, rangamandapa, western flank, sixth bay, Samatala ceiling.

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

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

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

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66. Mahavira temple, rangamandapa, eastern flank, second bay, Samatala ceiling. thngaiean . 1 S - TV 9 Personali :::: :

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

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

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

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

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WAYFAR 72. Mahavira temple, rangamandapa, pattasala, devakulika, door-frame. For Private 73. Mahavira temple, Samavasarana-devakulika, Samavasarana. 3352 SHAKERRA Use Only BLAWNY www.jaine

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W CPAP 74. Mahavira temple, Samavasarana-devakulika, sarvarana. Jain Education Intemational

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

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TA 77. Kumbhariya. Santinatha temple, sikhara from south. Maru-Gurjara style. C. A.D. 1082. 78. Santinatha temple, prasada-Sikhara and gudhamandapa-samvarana, southwest. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Jain Education Intemational For Private & Perse wiljainelibres

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79. Santinatha temple, gudhamandapa, Sabhamarga vitana. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]

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80. Santinatha temple, satcatuski, khattaka. 19/201 FLORUR MED HARD For Private & Personal Use D

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TIDIG RONMENU CLE uppjaajn r 81. Santinatha temple, satcatuski from northwest. Jain Education Intemational

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SSSSSSSSSS 82. Santinatha temple, satcatuski from northeast.

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83. Santinatha temple, satcatuski, four front pillars. CONO

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84. Santinatha temple, satcatuski, rear row, Misraka column. 0000 SG 50

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

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87. Santinatha temple, satcatuski, front row, central Nabhimandaraka ceiling. 88. Santinatha temple, satcatuski, rear row, central Nabhimandaraka ceiling. 5

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OSOVOOOOOOO 89. Santinatha temple, satcatuski, front row, one of the two identical lateral Nabhimandaraka ceilings. 90. Santinatha temple, satcatuski, rear row, one of the two identical lateral Nabhimandaraka ceilings.

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91. Santinatha temple, rangamandapa from the satcatuski. 20 Mo@o@o...o0000 M COOK However @eeeexSGOGOL AAAAAAT 0000000 NOT *KKI www.jainbrary.org

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

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

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94. Santinatha temple, rangamandapa, front four columns, north. Joxi PROX broton For Private & Pe 36/8

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

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33435 P3 96. Santinatha temple, rangamandapa, Sabhamandaraka karotaka-vitana, detail, view from the floor. 74797999

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( 2 ) >] WWWWWW S ANAAN WICKOKKRUKKKKKKKONDA *444344 KIES 97. Santinatha temple, rangamandapa, Sabhamandaraka karotaka-vitana. Jain Education Intemational

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

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100. santinatha temple, rangamandapa, urmivalli on the karotaka's marginsoffit, detail, north. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 101. Santinatha temple, rangamandapa, Sabhamandaraka karotaka-vitana, vidyadhara-brackets and other details of the ceiling Jain Educator wate & Be S HBRO www.jainle.org

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DODO 20000 MMMMM 102. Santinatha temple, rangamandapa, Sabhamandaraka karotaka-vitana, another view. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] MAWA Jain Education Internationa 103. Santinatha temple, rangamandapa, Sabhamandaraka karotaka-vitana, central part, closer view. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]

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104. Santinatha temple, rangamandapa, Sabhamandaraka karotaka-vitana, kola courses and lambana, closer view. of Private

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ai a 105. Santinatha temple, rangamandapa, western flank, first bay, Samatala ceiling. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 106. Santinatha temple, rangamandapa, western flank, first bay, Samatala ceiling, detail. taa / uh Ja a tion International Relate jar borg

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VAVAV 107. Santinatha temple, rangamandapa, western flank, second bay, Samatala ceiling. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 108. Santinatha temple, rangamandapa, western flank, second bay, Samatala ceiling, detail. Related Senly www.rainelibrary.org

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HayDa Tb`t Jain Education international W Imber Hortser 109. Santinatha temple, rangamandapa, western flank, third bay, Samatala ceiling. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 110. Santinatha temple, rangamandapa, western flank, third bay, Samatala ceiling, detail. jainelibrary.org

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111. Santinatha temple, rangamandapa, western flank, fourth bay, Samatala ceiling. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 112. Santinatha temple, rangamandapa, western flank, fourth bay, Samatala ceiling, detail.

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

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

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ELEID IN M YK viti 117. Santinatha 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. Santinatha temple, rangamandapa, eastern flank, first bay, Samatala ceiling, detail.

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119. Santinatha temple, rangamandapa, eastern flank, second bay, Samatala ceiling, detail. inbo For Private Personal Use Only

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121. Santinatha temple, rangamandapa, eastern flank, third bay, Samatala ceiling, detail. 120. Santinatha 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

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

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SAW Saa 60 XX ( 6 090 124. santinatha temple, rangamandapa, eastern flank, fifth bay, Samatala ceiling. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] PA 125. Santinatha temple, rangamandapa, eastern flank, fifth bay, Samatala ceiling, detail. For Private Personal Use Only Minelig

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126. Santinatha temple, rangamandapa, eastern flank, sixth bay, Samatala ceiling, detail. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 127. Santinatha temple, Astapada-kulika, Astapada. A.D. 1206. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] Fair Private & Personal Use Only

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. 128. Santinatha temple, Astapada-kulika, Astapada, closer view.

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129. Santinatha temple, pattasala, one of the carved lantern ceilings. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 130. Santinatha temple, mukhalinda before the rangamandapa, floor, rotating Swastika symbol. [Courtesy: Shardaben Chimanbhai Educational Research Centre. Ahmedabad.] Ye Personal Use Onli

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CODA HONDA VEDE 132. Parsvanatha temple, mulaprasada, sikhara from southeast. 131. Kumbhariya. Parsvanatha temple, mulaprasada, sikhara from south. Maru-Gurjara style. C. A.D. 1100. Attal ZERANSAN

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

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

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

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139. Parsvanatha temple, trika from northwest.

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vere 140. Parsvanatha temple, trika, mukhacatuski pillars with torana.

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141. Parsvanatha temple, trika, one of the front-pillars, jangha, Cakresvari.

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

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

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

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145. Parsvanatha temple, rangamandapa from northwest.

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146. Parsvanatha temple, rangamandapa from northwest.

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

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148. Parsvanatha temple, rangamandapa, Misraka pillar, base and kumbhika. 149. Parsvanatha temple, rangamandapa, view from north. or Povete & Personal Use Only

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

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

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152. Parsvanatha temple, rangamandapa, central Sabhamandaraka ceiling, closer view from below.

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CA J 153. Parsvanatha temple, rangamandapa, central Sabhamandaraka ceiling, closer view of lambana from below.

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XOXOXOXOX(r) 30060 154. Parsvanatha temple, pattasala, west, view from south. For Private Personal Use Only

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155. Parsvanatha temple, bhadraprasada, east, doorway view through carved pattasala pillars. TOY xo . 132

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lice 00 $28782078 NOADIN San LIFEDELE PECTER PER 10x8 G730510 156. Parsvanatha temple, bhadraprasada, east, doorframe, lower half, detail. 16348436 DE DOZONEZzekever

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158. Parsvanatha temple, pattasala, west, Nabhimandaraka ceiling. 157. Parsvanatha temple, pattasala, west, Nabhimandaraka ceiling. AAAAAA For Private &ersonas Tary

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159. Parsvanatha temple, pattasala, west, Nabhimandaraka ceiling. 160. Parsvanatha temple, pattasala, west, bhadraprasada front, Sabhamandaraka ceiling. For Private & Personal use only sainelibraorg

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161. Parsvanatha temple, pattasala, west, Nabhimandaraka ceiling. 162. Parsvanatha temple, pattasala, west, Nabhimandaraka ceiling. Jain Education Intemational

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163. Parsvanatha temple, rangamandapa, north mukhalinda, floor, rotating Swastika. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 164. Parsvanatha temple, pattasala with balanaka, view from northwest. Private & Personal Use Only

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OBTEN BEITOST gilaangejaa 166. Parsvanatha temple, western bhadraprasada, closer view from west. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 165. Parsvanatha temple, western bhadraprasada, view from west. RS TONTONE For Private & Pers

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

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169. Neminatha temple, view showing central pattasala ceiling with (Meghanada) rangamandapa ceiling. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 170. Neminatha temple, central pattasala Nabhimandaraka ceiling. Jain Educa t ional www.lamelibay.org

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

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WWODOWE CONDONOVO CONCKOR BER IR 173. Neminatha temple, Meghanada-mandapa part from west. 172. Neminatha temple, mukhalinda from west. KUR STEEPE SE Cocoke BER For Private & Personal use only nelibrary.org

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174. Neminatha temple, Meghanada-mandapa, pillars. Cindi CGBC ONOTONO CROORG " GAB Private & Personal Use Only nnnn

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

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prrryOe JUUUUUWS LLLL INCUL DELETE SA DUUUUUWW en EEL danas 3 CS SUUDUBE SEILS res 176. Neminatha temple, Meghanada-mandapa, Sabhamandaraka karotaka-ceiling, view from below.

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OR SUBOG LASSE . D >>>>>>>>>>>>>>> 2>> EIN JONOXONO BONOK 177. Neminatha temple, Meghanada-mandapa, Sabhamandaraka karotaka-ceiling.

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

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

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180. Neminatha temple, satcatuski, front pillars from northeast. on International TRUEL exombi.co CODED TASY

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181. Neminatha temple, satcatuski, front pillars from northwest. AVAY 1616 16

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

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

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

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188. Neminatha temple, gudhamandapa, exterior, later carved udgama-pediment. 189. Neminatha temple, gudhamandapa, exterior, later carved udgama-pediment. NGOT Jain Education Internati ate & Personale Only

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Jain Baba SCRUBRE DURUMS >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > 190. Neminatha temple, mulaprasada with gudhamandapa from southeast. A.D. 1137. 303 >>>>>

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191. Neminatha temple, mulaprasada, view from southeast.

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192. Neminatha temple, mulaprasada, south, right side. 9 - NEN 000 BEBETTETET LETTE

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

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

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197. Neminatha temple, mulaprasada, vedibandha, kumbha-face, Sarasvati. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 198. Neminatha temple, mulaprasada, vedibandha, kumbha-face, Nirvani. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] NOVA 199. Neminatha temple, mulaprasada with kapili, west, jangha images. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]

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

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OCULO 200. Neminatha temple, bhadraprasada, west, doorframe.

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VAN 203. Neminatha temple, devakulika, west pattasala, doorframe.

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

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206. Neminatha temple, west pattasala, southernmost devakulika, exterior, view from west. BE 207. Neminatha temple, west pattasala, southernmost devakulika, superstructure from south. For Private & Per www.jameliorary.one

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208. Neminatha temple, sikhara of the same southernmost devakulika, removed and reerected in theoretical) pattasala area, southeast of mulaprasada. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]

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wa Nie 209. Kumbhariya. Sambhavanatha temple, prasada from south. Maru-Gurjara style. C. A.D. 1232.

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

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211. Sambhavanatha temple, prasada from east. 212. Sambhavanatha temple, prasada, pitha and vedibandha.

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213. Sambhavanatha temple, gudhamandapa, northern doorframe within the rangamandapa. & Personal use Galg Jain Educato

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215. Kumbhariya. Kumbhesvara temple, prasada from southeast. Maru-Gurjara style. C. A.D. 1207. 214. Sambhavanatha temple, rangamandapa from southwest. For Private & Personal use only i brary.or

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DMSTEMATID M 216. Kumbhesvara temple, prasada, west, left side, pitha and vedibandha detail. 217. Kumbhesvara temple, prasada, mandovara, jangha from northwest. CA Jain Education Mie datoria For Private & Personal use only

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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, Mahavira temple, gudhamandapa. Maru-Gurjara style. A.D. 1062. lara 374 baiga

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YA COM 220. Kayotsarga Jina of the pair, Neminatha temple, gudhamandapa. MaruGurjara style. A.D. 1158. 24 paramAne prAyazlila ed 221. Second standing Jina of the pair, Neminatha temple, gudhamandapa, carved pedestal. Maru-Gurjara style. A.D. 1158.

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Souragirmwarimpare dimAma sarAsasa ranAmA saritI ramanIyamA ni mArilija napratini mAhATAnamAmi ilATIvAlA bAdAmAcA mahasunda AdAyAbAmAsamIta kamAulAyaryA rAThalanamA DAsalabAbudhavArI samasyAmA vikANIRFARHABIANPETARRATONDA PREGOolipi sAdarakAmasapara HOOL 222. Kayotsarga Jina, Neminatha temple, antarala, carved pedestal. Maru-Gurjara style. A.D. 1258. 223. Second standing Jina of the pair, Neminatha temple, antarala, carved pedestal. Maru-Gurjara style. A.D. 1258. C wadazimAmadhArAsamAkalA nanimAyAnanya 29ya nArizidha henazciArAvAsalamAnAmAvaramAgaramaprini mAnirikSamadanAyA rAmanayAmamamA.liyA nArAsaha Ama mAnimayudAyinI kAritaganicApitayArasamegagI mANasamazakA Main sakA CESSAGE BargargamA-517 Jain Education ntematonai

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

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227. Yaksi Ambika, Mahavira temple, garbhagsha. Maru-Gurjara style. C. A.D. 1062. 226. Sarvanubhuti Yaksa, Mahavira temple, garbhagsha. Maru-Gurjara style. C. A.D. 1062. www.ainelibrary.org

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TOME TY 228. Panels in the ceiling in the second bay showing Sarvanubhuti, Ambika, and Brahmasanti-Yaksa, Mahavira temple, rangamandapa's east flank. Maru-Gurjara style. C. A.D. 1062. pau Fathom starwnapeaters 22 229. Ambika, Mahavira temple, devakulika. Maru-Gurjara style. C. 3rd quarter of the 12th cent. A.D. (Originally in Neminatha temple.) 230. Ambika in niche, Satcatuski's western extension, Neminatha temple. Maru-Gurjara style. C. A.D. 1264. (Restored.) [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.]

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

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als. . 4 233. Image-torana, Neminatha 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

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234. Image-torana in one of the western row devakulikas, Parsvanatha temple. Maru-Gurjara style. C. 12th cent. A.D. 235. Image-torana in one of the western row devakulikas, Parsvanatha temple. Maru-Gurjara style. C. 12th cent. A.D. TANE For Pivate & Personal Use On R 152

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236. Samavasarana piece, Parsvanatha temple. MaruGurjara style. C. 12th cent. A.D. [Courtesy: Shardaben Chimanbhai Educational Research Centre, Ahmedabad.] 237. Jina-Matrka-patta. Maru-Gurjara style. C. 12th or 13th cent. A.D. (Originally in the Neminatha temple, now placed in the Mahavira temple.) For Private & Tersonal Use Only

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238 Two fragments of Sattarisaya-Jina-patta (Saptatisatabimba). Maru-Gurjara style, C. A.D. 1254 or later. & (Originally in the Neminatha temple, now placed in two consecutive devakulikas of western row in the 239 Mahavira temple.) "BidLIAO Xie Xie Xie Xie Xie

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CODQ0oid AD30 VAN Apooo 00A 1000 70 SNyV ADA IYVPN Tig belo SLEEPAN IIATYA IYYII IIYVIIIVILINVILITY) w r msh lhkrl (2) itai 3 S SA-30 240. Vis-viharamana-Jina-patta. Maru-Gurjara style. C. late 13th cent. A.D. or later. (Originally in the Neminatha temple, now in storeroom of the Mahavira temple. )| |

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241. Nandisvara-patta, satcatuski, khattaka in the extended eastern part, Neminatha temple. Maru-Gurjara style. A.D. 1267. AANDO

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242. Sattarisaya-Jina-patta (Saptatisatayantraka), satcatuski, extended western part, Neminatha temple. Maru-Gurjara style. A.D. 1254. RADIAN WAWAWWNY VEN PUTERVURUJly DU UPLUDErrr Warekttukkttu ITH TOUAGraarOUPON ULLHILLS DHOLU Ar= = = -- = - - - - - > paakaiyaakrraikrkrkrkraannn kaalktu pkai tvm iruntum ippkm, tualai OUR * itu " HAALATHAAI 45 trUTOR EARN moUaiTTON trUUUUDE IUI 11 THOUTOUTUE AH OUTUAlllu kaaym ptttt kaalm paampu tummnnnai

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

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244. Samalika-vihara-patta. Maru-Gurjara style. A.D. 1282. (Originally in the Neminatha temple, now in the entry hall of the Mahavira temple.)

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For Privale & Personal Use Only

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3000

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Jain Education Intemational www.jalnelibrary.org

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