Temples of Kumbhariya

SR No.: 001571
Original Sutra Author: N/A
Author: M A Dhaky, U S Moorty
Publisher: L D Indology Ahmedabad
Publication Year: 2001
Total Pages: 394
Language: English
Classification: Book_English & Art
File Size: 34 MB

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