Encyclopaedia of Jaina Studies Vol 01 Jaina Art and Architecture

Author(s): Sagarmal Jain, Others
Publisher: Parshwanath Vidyapith

Page 119

Jaina Temple Architecture : North India
97
shows the main concentration of Khajuraho temples like the Brahmanical Kandariā Mahādeva etc. and has on its southern flank remains of three old tanks. One of these tanks, now known as Nisioi Tāl, shows on its embankment the remains of a ruined shrine with its architectural fragments and sculptures identifiable with Pārsvanātha, Ambikā, Jaina teachers etc. The Eastern Group reveals no remains of Jaina affiliation. The Southern Group possesses a ruined Jaina shrine with a large image of Jina. The South-eastern Group exclusively consists of Jaina temples including the Ghantai and a group of Jaina temples enclosed by a modern wall. This group has four old temples and many new ones built partly with old material and enshrining mostly old images. The Parávanātha temple among these is the largest and best preserved. Immediately to its north is the old temple of Adinātha. In the north- east corner of the Parsvanātha is a small temple, which seems to have been one of the subsidiary shrines of Pārsvanatha, the other three being irretrievably lost. There is yet another temple called the Säntinātha which enshrines a colossal image of Adinātha dated A.D. 1027. The Säntinātha temple, which is the main shrine of modern worship, has been thoroughly renovated and has a rectangular enclosure of shrine-cells, a typical feature of the early medieval Jaina temples. The Ghantai temple is located in the nearby village of Khajuraho and is in a very ruinous condition. Below is given a brief account of the Pārsvanatha, Adinātha and Ghantai temples as they alone retain old structures.
Pārsvanātha Temple - It is oblong on plan (Figs. 59-60; PL. 25) with an axial projection on each of the two shorter sides. The projection on the east is occupied by the entrance porch, while that on the west contains a shrine attached to the back wall of the sanctum which is a very unique feature. The temple consists of a sanctum, antarāla and mahāmandapa provided with a doorway from the ardhamandapa (porch). All the three compartments have a common ambulatory enclosed by a solid wall which is relived internally by
pilasters and externally by three sculptural bands and twelve perforated windows admitting diffused light into the ambulatory. It is very surprising that this temple does not possess balconied windows which are a characteristic feature of the temples of Khajuraho.
Though the temple is oblong up to the wall, its sides are indented to produce a navaratha (nine offsets) sanctum and a pañcaratha (five offsets) mahāmandapa. This is wrought by a series of projections separated by recesses. The projections being continuous in disposition one larger central offset (bhadra) is formed on the longer side of each compartment and one smaller offset on either side of the central projection of the shorter side.
The temple stands on a four feet high jagati, the original mouldings of which are all lost. On the jagati rests the pitha which consists of a plain bhitta, jādyakumbha decorated with caitya-gavāksas, karņikä bearing a band of gagärakas (frill like ornament) below, pattikā decorated with heart-shaped flowers and a band of gagārakas below, antarapata adorned with diamonds, and kapota decorated with caitya-gavākşas above and gagärakas below. The vedibandha above the pitha shows khura, kumbha, kalasa, antarapatta decorated with caityagavākşas above and rafter ends below, and a projecting pattikā decorated with stencilled scrolls. The janghawall shows three rows of fine sculptures, each being smaller than the one below; they are separated from one another by two ornamental bands. The lower row carries standing figures of gods, goddesses and apsarases on the projections and vyālas in the recesses. The middle shows divine couples on the projections as well as the recesses. The third or top row shows Vidyadhara couples, ascetic couples and single Vidyadhara, both on projections and recesses. The divine figures of Brahmanical affinity are identifiable with Siva, SivaPārvati, Vişnu, Lakşmi-Nārāyaṇa, Krsna, Balarama, SitāRāma, Parasurama, Kāma-Rati, Brahmä, Kubera, Sankhapurusa and eight Dikpalas. Besides these there are figures of seated Jina, standing Padmaprabha and four-armed standing Jaina goddesses, each with two
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