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selves, although their stiffness is mitigated by the profuse ornamentation, none the less, angularities lateralism and idealisation seems to have started showing up in them now. Some typical examples of this 'sort are known from Jabalpur (the Aranatha image in the Jaina temple), Sohagpur (the Thakur's collection), Lakhanadaun, Narsingpur and Bilhari. In these we have variations of the same style but the angularities are always present in them.
proliferate and have such motifs as elephants, attendants, Jinagroups standing or seated and fly-whisk bearers. Below the Jina images we usually have a couch from which in the middle, hangs an astaraka which is sometimes decorated with festoons and carries the cognizance of Jinas. Pedastals indicate balusters with the inset figures of devotees or the lions or such symbols. The garland bearing vidyadharas and the attendants flanking Jina figures are sometimes striking similar in almost all the details to those found on the images of other deities including the Brahmanical ones. This similarity seems to suggest that same artists or their guilds brought out images as required and where iconograhic considerations could be relaxed, they took liberty in experimenting with details irrespective of the secterian plurality.
We may conclude by some remarks on the parikaras of the Jaina images from Dahala region. The early images of 9th century lack in details except for the garland bearers at the top of stele and an attendant or attendants on the either side of the Jinas. In the 10th century images, the details of parikara tend to
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