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four are referred to as 'sāla', or walls. 20
In the Kuşāņa period Jaina stūpa renditions in the outermost vedikā had decorated makara-beamed toranas, one probably meant to stand at each of the four directions. Dancing girls, similar to those at Sānchi, perform at either side of the gate. The Digambara samavasaraņa, it is stated, has on either side of the gates along the four roads, "theatres....where dances and music were a permanent feature." 21
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Fig. 8. Svetambara samavasarana of Santinatha, detail of ceiling panel in front of cell #12 at Vimala Vasahi, Mt. Abu. southern Rjasthan, 10th-12th century. (Photo by A.W. Norton).
There is some indication from inscriptions that there were both Digambaras and Svetāmbaras at Mathurā as late as the 11th century C.E.. 22 There seems to be enough archaeological evidence to show that both traditions were also active in the Mathurā region during the Kusana period. There are Kuşāņa plaques from Mathurā that show Svetāmbara elements, such as crowned Jinas, a monk wearing a loincloth, and Hariñegameşin, the antelope-headed god involved in the 'embryo-exchange story in every Tirthankara's biography. An important Digambara aspect found in other Kuşāņa works is the sky-clad Jina figure.
The 'proto-samavasaraṇa' āyāgapatas, while exhibiting
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