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ओक्टोबर-२०१६
१८३
उपर्युक्त त्रण आकृतिओ केटलीक वार अपसव्यक्रमथी (एटले के ऊलटा क्रमथी) पण आलेखवामां आवे छे.
Unlike svastika, what so far, and doubtless erroneously, is called the 'nandyāvarta,' has been mentioned by almost all works and, in the texts, is noted both as a motif for jāla as well as the specific jāla type. But the nandyāvarta, as a motif, till now has remained unidentified. Most texts, even when they mention nandyāvarta, append no elucidatory definition of its shape. Those which say a little more, leave us no better informed. The only aid in visualizing its form is the clue in shape of the barest constructional method they give; but its brevity is as intense as the method of its delineation suggested there is dense, though some guess will be made on the latter's meaning in the proper context. On the basis of the discussions later to be done here, I take the nandyāvarta, of the pre-medieval and medieval perception in south, as a svastika with arms extended with the aid of perpendiculars added to its normal terminals to form 'corresponding angles' (plates 12-16). For all practical purposes, the nandyāvarta, at least from late Gupta times onwards, is svastika with short appendages of perpendicular lines attached at the terminal points, or right angles of the angled arms in all the four directions. The svastika with extended arms, however, has been termed ‘aksaya-svastika' (“akhaya soththiya' or unending svastika) in the Jaina āgama Jivājivābhigam-sūtra (c.lst-3rd cent. AD.). The original form of the nandyāvarta, as understood in ancient times, was different: It was a tetraskeles with four curved arms emanating from a central small roundel as shown in the accompanying drawing on p. 56. This ancient form, indeed
