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Holy Abu
Mahants of this site. Vālinātha, a spirit obstructing Vimala in the erection of the shrine (according to the legend given by Prabandha works), is possibly a Pashupata or a Kāpālika monk of this site, Vālinātha by name, putting all sorts of obstructions even after the regular sale of land at fabulous costs. That the story has historical basis is proved by the fact that in the Vishnu shrine noted above there are post-Gupta sculptures of three Mātṛkās, and a fourth of Surya; a sculpture of Vishnu lying on the serpent Shesha is of a still earlier age. In the Kanya-kumārī or Shrīmātā shrine there is another Matṛka of the same age and a figure of standing Parvati assignable to the ninth or tenth century A. D.
A somewhat worn-out figure of a three-headed form of Durgā with two lions as her vahana, placed beside the sculpture of Rasio Vālama, is assignable to c. early 7th century A. D. The Matṛkā sculptures of roughly the same age (or slightly earlier), are typical specimens of the art of Western India in the 6th-7th centuries, while the Sheshashāyī image is a rare early specimen of Vishnu images in Gujarat, of a much better style than that of the Mātṛkās, maintaining Gupta traditions and assignable to the Gupta period. The typical creeper design on the pedestal is reminiscent of the early Gupta style; the fine modelling, or the crown of Vihṣṇu cannot be later than the Gupta age. Sheṣhashayin sculptures of the Gupta age are not unknown. Unfortunately, the sculpture is partly mutilated and spoiled by the application of oil and leadoxide powder (sindur) by local worshippers. The photograph published here (fig. 62) was taken by me after removing most of this coating but the sculpture needs careful rewash and better preservation. The modelling of the Vishnu figure may be compared with that of the Virabhadra image and some other sculptures from Shāmalā