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JANUARY, 1973
parasol and the hands of Vidyadharas playing drums. Risabhanatha is seated above seven horizontal-terraces or ledges with rows of Tirthankaras standing in kayotsarga pose. Below the first terrace at the bottom of the stele is carved out a kneeling devotee. The representation of the devotee is very small and has achieved a linear quality. The figure of Risabhanatha who is divested of all worldly attire is 6.4 cms in height while the other Tirthankaras reveal a varying height from 3 cms to 4.1 cms. The seven terraces below the eighth one envisaging Risabhanatha visualised the following numbers of Tirthankaras from the lowest plane upwards :
Nos. of Terraces Nos. of Tirthankaras
I
II
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III
IV
V
VI
VII
19
23
21
21
21
21
22
131
Thus, it will be noticed that a total number of 148 Tirthankaras have been carved on the stone slab epitomising the shrine of Adinatha (Risabhanatha). The rigid discipline of style and arrangement of the Jinas or Tirthankaras in contrast to the lyrical depiction of the grace of Risabhanatha and his attendants in the uppermost register not only recalls the famous image of Risabhanatha from Surohor in Dinajpur but will also suggest a symbolic height and dimension. Stylistically, the sculptured stele from Sat Deuliya may be assigned to the latter half of the 10th century A.D.
As regards the significance of the stele from Sat Deuliya one may recall certain Jaina traditions as referred to by Umakant P. Shah in his book entitled "Studies in Jaina Art" (Banaras, 1955). While studying on Stupa, Samavasarana and Ziggurat the scholar has noted as follows :
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