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Rañgamandapa -- it is one of the greatest Jain contribution to Indian architecture. It is also the most impressive part of a Jain temple. In form it is an open structure standing directly over the jagati's floor, or a lowly raised single course of plinth. On plan it usually is square but sometimes a little stretched along one or the other axis, to a rectangular form. Its columns generally are profusely carved. The lintels supported by the columns are in most cases richly carved, and between the columns are the toranas.
Sabhamandapa -- this is the place of the pavilion which is axially aligned towards the east of the sanctum.
Sahasrakūța -- pyramidal shrine-model with a thousand figures of Jinas.
Samavasarana Sarvatobhadra, Sarvatobhadrika -- a four sided squarish structure, sometimes with conical superstructure on the top.
Siddhāsana -- posture adopted by seated Tirthankara.
Toranas -- they are the additional grace-ornaments, arches, like inverted festoons thrown between the columns of the hall. Of the three types of torana-arches, the double twisted madalo-tilaka variety is the innovation of the architects as seen in the Jaina Liūņa-Vasahi temple in Western India. It is also noted that the toraņas are more frequently employed in Jain temple than the non-Jaina ones.
Trikamandpa -- maņdapa with three catuṣkis or bays of a medieval Jain temple.
Trikūta -- three vimāna erected on a common basement or placed round a common mandapa, in the Cālukya style.
Tritirthika -- an image with three Jina figures. A panel which represents three cauvimsis, three times representation of the twentyfour Tirthankaras
Tunk -- a fortified enclosing wall containing Jaina shrine.
Udgama -- pediment of caitya-arches, usually employed as a crowning decoration of a niche.
Urņā -- a small circular protuberance seen on the forehead of the Jina.
Uttarānga -- lintel of a doorway.
Vajradvāra -- the basal segment of the mānastambha. Vaidūrya -- the top of the mānastambha.
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