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OCTOBER, 1991
voluminous capitals are trapizoidal in shape and are provided with the wavy design (taranga) bound by a paṭṭa in the centre. The front wall of the shrine is adorned with pilaster motifs having circular lotus medallious on the square parts. The basement mouldings of the shrine are rather simple and exhibit architectural style of the 7th century A. D.
The shrine has a row of three Tirthankaras carved almost identically on the rear wall. They are shown seated in padmāsana and are crowned by triple umbrellas. These images are said to represent Rṣabhanatha, Neminatha and Mahavira, eventhough their cognaisances are conspicuously absent in them.4
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The lateral walls of the mandapa contain two niches accomodating bold reliefs of Parsvanatha and the other probably of a preceptor. The image of Parsvanatha is majestically shown seated in dhyana, but depicted with a single umbrella above the head. The nearby label inscription refers to it as 'Śri Tiruvasiriyan's which means a great Acarya. (figs. 1 and 2)
Sittannavasal became a prolific Jaina centre in the subsequent centuries also. Monks like Śri Pritivinachan, vitivali (?), Śri Ankala etc., came to be associated with this Jaina organisation in the 8th century A.D. The natural cavern in the neighbouring hill continued to serve as the abode of the monks in the 8th century A.D. as is evidenced by stone beds and names of resident monks."
The mandapa of the rock-cut temple seems to have dilapidated in the middle of the 9th century A.D. Hence, Ilangautaman, a teacher from Madurai, repaired the inner manḍapa of the same Arhat temple during the regin of Śrimara Śri Vallabha (815-862 A.D.) It was at that time, paintings were also executed on the ceiling of the shrine, maṇḍapa and on the massive pillars infront. We also hear of yet another renovation of a structure by one Ennarunji vallal in the 9th century
4 ARE, 326/1960-61
5 Ibid., 325/1960-61
6 Ibid., 331, 324/1960-61
7 Ibid., 388/1914
8 South Indian Inscriptions (SII), Vol. XIV, No. 45
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