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Images and Temples of Parsva in Central India
the cushion. The camara-bearers are generally shown standing in the tribhangaposture, turning and looking toward the Jina. In the images of the Paramara zone, Jina's back is shown fully covered with the coils of the snake and the camarabearing attendants are depicted looking frontwise. The images of the Candellä and the Kacchapaghata territory appear to be highly influenced by, or show the same details as in the Paramāra Art of the Mälava country.
NOTES AND REFERENCES
1. U.P. Shah, Studies in Jaina Art, Banaras 1955, pp. 77-78, plate IV, fig. 12.
2. Ibid., pp. 14-15.
3. B.N. Sharma, "Art-objects in Museums: Victoria and Albert Museum, London", Jaina Art and Architecture, Vol. III, New Delhi 1975, p. 544.
4. Niraj Jain, Anekanta (Hindi), Delhi, XV, 19, pp. 222-223; also U.P. Shah, Jaina Art, Vol. I, Bhartiya Jnanpith, New Delhi 1974, p. 129, plate 64.
5. R.C. Majumdar and A.D. Pusalkar, The Age of Imperial Kanauj (History and Culture of the Indian People 4), Bombay 1955, p. 289.
6. Michael W. Meister, "Ama, Amrol and Jainism in Gwalior Fort", Journal of the Oriental Institute, Baroda, XXII (No. 3, March 1973), pp. 354-58.
93
7. Ibid.
8. Marutinandan Prasad Tiwari, Khajuraho ka Jaina Puratattva (Hindi), Khajuraho 1987, p. 48. 9. Niraj Jain, "Chapter 38: Collections at Khajuraho", Jaina Art and Architecture, Vol. III, Bharatiya Jnanpith, New Delhi 1975, p. 594, plate 376 B.
10. Ibid., plate 377 A.
11. S.D. Trivedi, Sculptures in the Jhansi Museum, Jhansi 1983, p. 87, fig. 84.
12. Krishna Deva, "Chapter 16: Central India: Examples of Early Medieval Art in Central India", Jaina Art and Architecture, Vol. I, Bharatiya Jnanpith, New Delhi 1974, p. 168, plate 94 B.
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