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Encyclopaedia of Jaina Studies
were rich merchants and had philanthropic outlook, and many Jainas occupied key positions in the court of the ruling chiefs. Of the two sects, Digambara and Svetāmbara, the latter predominated the scene and, except for a Digambara Jaina temple at Nagda, all the known extant Jaina temples of this period located at Lodrava, Phalodhi, Nadol, Nadlai, Sadri, Sewadi, Ahar, Abu, Nandia, Nana, Pali, Mungthala, Jhalrapatan and Jhalodi indeed belong to the Svetämbara sect. OSIAN
Osian, ancient Ukeśa, is situated in north-northwest of the district town of Jodhpur in Rajasthan. It is an old town owning a group of thirteen temples of the Pratīhāra age. This is thus the largest group of temples of that age at one place in western India. The place is well-known for the Jainas and Jainism since it is the native place of Ukeśavāla (Osavāla) Jaina community and Ukeśaválagaccha of the Svetambara Jaina Church. Of all the Jaina temples at Osian the Mahävīra temple is the oldest one. Built of sandstone and facing north this Jaina temple as it now stands is not a work of one period but of several periods retaining of course old remains alongwith later renovations and additions.
Mahāvira Temple - The temple complex, standing on a large jagati and entered through a two-storeyed nālamandapa from the north, consists of a sanctum enclosed by an ambulatory, an antarala, a gudhamandapa, and a mukhamandapa provided with a porch (Fig. 65). At some distance in front of the porch is a gateway and in the open spaces between them on each lateral side is a pair of devakulikās, while on either side and the back side of the sanctum runs a cloistered corridor. Another devakulikā is attached to the east wall of the nālamhandapa. The temple is surrounded by a compound wall which has entrances on the east and west as well, the eastern one having a double porch. The outer wall of the jagati on the east has been reset and carries some decorative bands and mouldings.
The sanctum is tri-anga on plan and shows three
divisions in the elevation, viz. pītha, wall and sikhara (Pls. 31 and 33). The pitha consists of four bold mouldings of kumbha like bhitta, wide recessed fillet decorated with heavy swirls of scrolls, kapota adorned with caitya-gavāksas interspersed with half lotuses, and a broad pattikā embellished with acanthus like scrolls. The vedībandha of the wall shows khura, kumbha, kalaśa and kapota, the last decorated with caitya-gavākşas above and a frieze of lotus buds in suspension below. The kumbha on the karmas is inset with sculptured niches. The jangha-wall carries standing figures of twoarmed Dikpālas (Indra, Agni, Yama and Nirsti) on bifacial two karnas in framed niches, each topped by three-tiered udgama-pediment. Above the pitha the janghä prominently projects out on the three bhadras and shows screen wall fitted between the square vaseand-foliage pillars. The screen wall is composed of rājasanaka decorated with perforated stepped diamonds and grooves, vedikā enriched with vine creepers alternating with vase-and-foliage pillarettes, asanapatta with rooflets, and stone grilles cut out with squares, stepped diamonds, floral and figural ornaments. The screen wall is shaded by an overhanging corrugated eave-cornice. The wall above this shows a band of half lotuses alternated by grooved half diamonds. The varandikä atop the jangha consists of two usual kapotas with an intervening antarapatta decorated with palmettes.
The pañcaratha śikhara of the sanctum is of the anekāndaka class with its central tower marked by six bhūmi-amalakas. The Sikhara shows three urah-śmigas and a projected balcony over each bhadra, two śmigas over each karna, two quarter śrngas flanking the uppermost urah-śmiga, one śmga over each pratiratha, and two small śmigas flanking the balcony. The crowning members comprising two āmalakas with an intervening candrika, kalaśa and bijapūraka are all modern. The front facade of the Sikhara carries a sukanäsa with crowning lion. The whole of the sikhara is covered with a lattice of minute caitya-gavākşas. The sikhara is heavily repaired from old and new materials, and its
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