________________
the inscription. Unfortunately part of the beauty of
a work of superior workmanship, full of life and vigour and beautiful modelling,
glass eyes, and studded metal pieces on different parts of the body of Pundarikagiri and the two smaller figures. This is a practice which has undermined the beauty of many a Jaina sculpture, old or new. The inscription reads as under
Narayana in the anjalimudra (with folded hands) in the lalita-posture, ie, with his right-foot hanging and the left fucked up. He wears ornaments like armlets, bracelets, anklets, an ornamental broad girdle, necklaces and big circular ear-rings. He has a long beard, whether or not he had moustaches in the original is difficult to ascertain on account of the modern black paint, but it is probable that the paint is on the original moustaches. His hair are tied into a small top-knot on the head, on each side of which is a divine garland-bearer. This is unusual. since a lay. worshipper is not known to have been accompanied by heavenly attendant maladharas. The marble sculpture is a beautiful specimen of secular sculpture of the eleventh century AD.
In her right hands, the goddess shows the sword, the disc, the trident, the arrow and the varada-mudra, while in the left ones she holds the shield, the vajra-ghanta, while in the left ones she holds the shield, the vajraghanta, (combination of thunderbolt and bell), the mace, the conch, the bow and the head of the personified demon (placed on the buffalo-demon)
(१) श्रीमयुगादिरेवस्य पंडरीकस्य च क्रमौ।
ध्यात्वा शत्रुजय शुद्धयन् सल्लेखाध्यानसंयमैः।।१।। श्रीसंगमसिद्धमुनिर्विद्याय )रकलनभस्तलमृगांकः। दिवसैतभिरधिकं मासमपोष्याचलितसत्त्वः।।२।। वर्षे सहस्त्रे षष्टयां चतन्वितयाधि के दिवमगच्छत। (-)सोमदिने आग्रहायणमासे कृष्णाद्वितीयायां।३। अम्मेयक: शभ तस्य श्रेष्ठिरोधेयकात्मजः। पंडरीकपदासंगि चैत्यमेतदचीकरत।।४।। चतर्भिः कलापकं।।
The ornaments and the modelling deserve comparsion with the famous Sarsvati from Pallu in old Bikaner State, now preserved in the National Museum, New Delhi. The sculpture must be assigned to a period c. 1000-1050 AD
The Two-line inscription on the pedestal reads as follows: (2) W om f ortere frafrater
थे. नारायणम्य मूर्ति (6) निवेमि (शि) ता मिद्ध-वीरंम्या सं. 9938
According to the inscription, Muni Sangamasiddha, moon of the firmament of the VidyadharaKula, meditated on mount Satrunjaya, before Yogadideva (Adinatha) and Pundarika. Having purified himself by the practice of austerities and sallekhana, observing dauntlessly his fast for a month and four days, attained to Heaven on Monday the second day of the dark half of the month of Margairsa in V.S. 1064 Sresthi Ammeyaka, son of Rodheyaka, caused to build this shrine and consercrate) the image for his own merit.
The small figure of a female worshipper on the lower end of the left pillar deserves notice as a fine specimen of miniature figure and on account of the mode of representing the scarf or odhani covering the head and the back.
According to the inscription, this statue of Sresthi Narayana, the younger brother of Jajanaga, and father of Kapardi, was set up by Siddha and vira in (Vikrama) Samvat 1131 (e. 1075 A.D.)
The inscription on the pedestal reads as follows
This Muni Sangamasiddha is probably the grandteacher of Padalipta, the author of Nirvanakalika.
Fig. 3 represents a twelve-armed Goddess who is well-known as Mahisa-mardini in Hindu traditions and as Saccikadevi in Jaina traditions.
This is the earliest known inscribed and dated image available at Satrunjaya. It is important also as a fine specimen of art.
(३)संवत् १३७१ वर्षे माहसदि १४ सोमे श्रीमदकेशवंशे बेसटगोत्रीय सा०सलषणपत्र सा०आजडतनय सागोसल भा०गुणमतकुक्षिसंभवने संघपति सा०आशाधरानुजेन सा० लूणसिहाग्रजेन संघपतिसाधुदेसलेन पुत्र सा०सहजपाल मा०साहणपाल सा०सामंत सासमरा सा०सांगणप्रमुखकुटंबसमदायोपेतेन निजकुलदेवीश्रीसच्चिकामूर्ति कारिता।
यावेद व्योम्नि चन्द्राकों यावद् मेरुमहीधरः। तावत धीमच्चिकामतिः
Fig. 2, preserved in a cell on the right side of the northern part of the circumambulatory passage of the main shrine, represents a householder, i.e. a Sravaka, a Jaina lay worshipper. The inscription on its pedestal shows that this is a statue (a portrait Sculpture?) of Sresthi Narayana
It is a beautiful marble sculpture of the goddess in bold relief, the back showing a trefoil-like arch surmounting two pillars and thus suggesting that the Goddess is placed in a miniature shrine. On top of the sculpture, in the central part of the arch, is a miniature shrine with a Jina sitting in it.
The Mahisa-demon is an excellent specimen of animal-sculpture. The figure of the goodess, with her one foot trampling on the buffalo-demon pierced by her long trident, is
The inscription shows that this image of Saccikadevi was set up by Samghapati Sadu Desala, the elder brother of Lunasimha, and younger brother of Asadhara. He was son of Ajada and grandson of Salaksana and belonged to Vesata-gotra of Ukesa lineage He, along with other members of the family
on a raised cushion, surmounted by a design looking like petals of a full-blown lotus, sits
