________________
5.3 THE RITUAL INSTRUMENT
Despite their unmistakable cosmologies and incredible stories, based on Tirthankars, the Jains have built similar to a specific type of personalized temple. This is based on its strategy for the management of discrete blessed images and the proximity of different religious figures, remaining as often as possible in a number of rooms arranged in various levels sacred places of the floor. Impeccability considerations are of great value for the association with the hallowed symbols of Jain and especially for the mulnayaka.
In its general sense, the term is used to insinuate the seat placed above the custom supports next to it. Despite everything, it is associated with greater frequency to the entire three-level structure. Such a custom three-layer stage is found in most of the Jain temples each time. Most simhasana are arranged in the main mandapa on the front of the garbhagriha, which houses the focal photograph of a Jain temple, but in the same way, they can be arranged in front of the side cells.
It is evident from the description that the personalized post-simhasana are in a general sense solidly identified with the following three-level structures, meru and samosaran, previously discussed. Above all basic is so capable; they seem to represent an association between the other two things.
5.3.1 The Concept
The sacred statues of Jain must be formally presented and purified through the execution of a complex development of services that recalls a specific goal of working in a ritual way and of being solid religious things. In a Jain environment, these traditions of constitution and refinement are consistently suggested as panchkalyanaka-pratistha.
167
