Jaina Art and Architecture Vol 02

SR No.: 011013
Original Sutra Author: N/A
Author: A Ghosh
Publisher: Bharatiya Gyanpith
Publication Year: 1975
Total Pages: 326
Language: English
Classification: Book_English
File Size: 19 MB

Page 128

CHAPTER 22)
CENTRAL INDIA
surmounted by a register of cut triangles, As this lintel is decorated in the section coming between the pilasters leaving the ends (made of different stones) plain, the side-catuskis were intended to be covered up by walls. This is also attested by the absolutely plain pilasters at the ends, which are made of sandstone of a pale-yellow shade. These stand on ornate bases and carry uccălaka section, capital and brackets which are identical in design with those of the pilasters carrying dvāra-pāla figures.
The pilasters behind the doorway are made of granite but they rest on sandstone bases. In one case, however, the upapitha is also of granite. As the design of the two granite pilasters is slightly different, it is likely that these are late additions.
The doorway is of seven sākhās. The first säkhā is decorated with rosettes, the second and sixth with vyälas, the third and fifth with ganas dancing or playing on musical instruments, and the fourth, which is treated as a stambha-śākhā, carries a capital consisting of karnikā and padma. The seventh sakhā forming the bevelled surround of the doorway is decorated with wavy scrolls and is flanked by a vertical frieze showing ganas dancing or playing on musical instruments. The first three säkhās are carried up, and the fourth or the stambha-sākhă supports a lintel showing centrally an image of eight-armed Cakreśvari scated on Garuda. Cakreśvari carries fruit, arrow, four cakras, bow and sarkha. The niches on the proper right and left ends show scated Jina figures. The intervening space on the lintel shows seated representations of the Nava-grahas on the proper right and eight identical figures of two-armed bull-headed seated gods, carrying abhaya and water-vessel on the proper left, who appear to be the Aştä-Vasus.
The upper frieze of the lintel shows the sixteen auspicious symbols seen in the dream by Jina's mother at the time of conception. The symbols are placed on lotus-leaves and consist of (1) Airāvata elephant, (2) bull, (3) rampant lion, (4) Sri-devi, (5) garland enclosing a kirttimukha, (6) the full moon with hare shown in the middle, (7) the rising sun representing the Sun-god in the middle, (8) a pair of fish, (9) a pair of jars, (10) a tank with tortoise, (11) agitated sea, (12) a lion-throne, (13) vimāna, (14) Näga couple seated in a pavilion (Nagendra-bhavana), (15) heaps of jewels, and (16) seated Agni with flames issuing from his shoulders. Above the seventh sakhā occurs a band represented in the middle. The three niches of the lintels are surmou udgamas or pediments of caitya-arches addorsed to a tri-ratha pyramidal śikhara crowned by candrika and amalaka. The base of the doorway shows
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