________________ SOME FARLY JAINA TEMPLES IN WESTERN INDIA : 339 bear affinities to those known from Ambika temple at Jagat and Arunesvara temple (mid tenth cent.) at Kasindra near Abu Road. The Trika is provided with lateral staircases, a feature unknown with any other Jaina temple with trika in Western India. The ceilings of the Trika are all plain. But the two niches carved on either side of the doorframe of the Gudhamandapa are little masterpieces of khattaka carving. On their round pilasters are shown gracefully swaying kalasa-dharinis, a feature also paralleled Somanatha Phase II temple (1027-30) at Prabhasa. The pediments in the shape of udgamas in series are both rich for the patterning and bold in delineation. The tri-sakha doorframe of the Gudhamandapa comprises a patrasakhi with undulating creeper, rupastambha with Yaksis and Vidyadevis, and lastly the bahyasakha with bold lotus leaves. On the rupastambha, such figures as of Padmavati, Nirvani and Cakresvari can be culled out; the attributes of the rest have become indistinct under the thick coating of painting. In the uttaranga panels are found: the figure of Jina Mahavira in the centre flanked on either side by a figure of the goat-headed god Harinegamesi and two goddesses on the left and right side. The Gudhamangapa from within is plain. Its pillars, out of the normal axes, are not unlike those in the Trika. The lintels resting above show a vigorously carved diamond motif on their faces as is known with the temples in Nadol. The ceilings are flat and undecorated. The trisakha doorframe of the garbhaglha is almost similar in form to that of the Gudhamandapa. The rupastambha is likewise graced with the figures of Vidyadevis and Yaksis. Rohini, Vajrankusa, Gandhari, Vairotya, Acchupta, Prajnapti, and Mahamanasi can be easily identi. fied. On the uttaranga is seen Jina figure in the centre flanked by goddesses in panels on either side. Purusadatta, Cakresvari, and Kali can be recognized without difficulty; for the rest, although attributes and vehicles are more or less clear, their textual parallels are wanting to permit correct identification.68 The Rangamandapa is too simple to deserve much notice over and above the fact that, to all seeming, it is an addition of the fifteenth century. The Devakulikas seem to reveal two different phases of 68 A Yaksi with pustaka, pustaka, and naravahana; another with naga as mount and patra and danda in hands; a third one with ram as a vehicle and sword and shield in hands. Jain Education International For Private & Personal Use Only www.jainelibrary.org