Jignasa Journal Of History Of Ideas And Culture Part 02

SR No.: 022813
Original Sutra Author: N/A
Author: Vibha Upadhyaya and Others
Publisher: University of Rajasthan
Publication Year: 2011
Total Pages: 236
Language: English
Classification: Book_English
File Size: 11 MB

Page 41

Jain Temples of Caita
257
The largest temple 5 of Caita is built in Nāgara style which has two basic components: garbhagrha and a mandapa (figure 6). The Garbha-grha or sanctum sanctorum or central cella has only one door, the image of the main deity is placed inside the sanctum. The mandapa or porch was made in front of the garbha-grha for the worshippers to stand under shade to have darśana or view the deity and offer prayers while looking at the image and experiencing his spiritual presence. Its elevation is marked by four-sided neck or grīvā and a tall tapering śikhara. It is the spire, a tall structure that tapers to a point above followed by janghā, vedībandha, adhisthāna, pītha, and jagati. Sikhara is depicted with pratiratha, anuratha and bhadra, grīvā, āmalaka, kalaśa, bijapuraka and other components.
This temple is erected on a high plinth and facing north. The dimension of the temple is 12.5 x 7.0 meters externally. In plan, it includes a sanctum sanctorum or garbha-grha and a sabhāmandapa. The sabhāmandapa is square in shape measures 7 x 7 meters. However, it is not in its unusual form, was renovated later on with the original stones. The doorway is plain but decorated with male deities, one on the either side, which seems to be a later addition. The sabhämandapa is designed with a gallery resting on pillars on both the sides divided by a passage in the middle. There is provision of ventilation and light through the roof. The inner and external walls of the sabhāmandapa are plain, and covered with lime paint. The galleries stock up plentiful mutilated Jina images and architectural fragments which are kept here after collecting from the adjoining areas (figure 7).
The garbha-grha measures 4.0 x 3.3 meters, is presently enshrined with a sarvatobhadrikā image, which is not associated with this temple. The temple was originally enshrined with a magnificent 18 feet high image of tirthaikara Säntinātha that was shifted in 1969 C.E. to Sonāgir. On the other hand, the uppermost trichatra portion flanked with mutilated anointing gaja-kalasa motif and the pedestal of the huge Sāntinātha image is still present on its original place in the temple (figure 8). Later on, a sarvatobhadrikā image was put on the pedestal. The inner and outer walls of the sanctum are plain while the ceiling is of kşipta type and decorated with floral pattern. There is a provision of flight of steps on both the side walls of the sanctum for the convenience of anointment of the huge image of Sāntinātha. The garbha-grha contains some more art fragments. The adhisthāna of the garbha-grha consists of khura, kumbha and kapotikā mouldings. The middle of the janghā portion is provided with the elevated fringe of stone decorated with geometric design of a circle and a rafter subsequently. The varandikā resting on the walls of garbha-grha, consists of two patrikās, the upper one is decorated with tulā-patra design, and a plain kapotikā. The garbha-grha is crowned with rekha śikhara of nāgara style. It is panca-ratha in plan and topped with a conical projection resting on an amalaka. At the base touch to varandikā, it is carved with caitya mesh design.
The doorway of the garbha-grha is heavily decorated, though it is now damaged and filled with thick layer of lime paint. It comprises sapta-śākhā, all are embellished with foliage patterns excluding the middle stambha-śākhā which is decorated with rajju pattern having four mutilated human figures in different postures, might be in dancing form. The stambha-śākhā is extended upwards and marked with ghata-pallava motif that is surmounted with floral circles and finally with the projections holding the upper lintel. The lower part of the stambha-śākhā consist a niche with the depiction of yaksi figures and their attendants. The four armed yakși bears some objects in the hands but it is not easy to recognize them. They are depicted in tribhanga posture. The yakși of the left niche might be identified as Padmāvati who is canopied with seven serpent hoods over the head. The badly damaged condition and lime incrustation make the identification of the yakși of the right niche quite impossible.