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Encyclopaedia of Jaina Studies
built on the principle of co-radial regression, consists right and of Ambikā on extreme left. The door-lintel of six courses of sixteen-foil kola each and one course depicts a Jina as crest image. The devakulikās have no of eight-foil kola. Each of the basal corners depicts a partition walls and the enshrined images have all gone, kirttimukha in alto-relievo. The entire ceiling was painted but the moulded pedestal, which is saptaratha in each during restoration in the 17th century A.D. Except for devakulikā and runs without break from one end to the four, all other ceilings of the rangamandapa are flat and other, is well preserved. The exterior wall of each uncarved. One flat ceiling in the west wing, however, devakulikā is also tri-anga and shows three horizontal is carved with an oval-shaped lotus flower. Two ceilings divisions on the wall, but the portion above that is in in front of the central devakulikā (15th from south) are the form of parapet provided with battlements, all modern domical, each now plastered up with lime. The one over and plastered up. The southern-most cell in the west the opening on north is also domical, but it is rectangular wing also carries an anekāndaka śikhara with its central on plan and its space is reduced to a square by a frame tower divided into five stages of bhūmi-amalakas and of four rectangular slabs bearing decorations of crowned by two āmalakas, a kalasa and bijapüraka. The intersecting garlands on the inner face and four lotus sikhara is wholly covered with a lattice of delicately medallions on each of the two shorter undersides. The carved caitya-gavāksa pattern. The two central dome consists of four courses and a circular padmašilā devakulikās are relatively more ornate as they have a of eight-foil kola. The first course of the dome is door of four ornate jambs, their ceilings are domical octagonal showing a band of geese on the inner face with incisions of lotus petals, and they carry an uncarved and two elephants lustrating a lotus plant on the soffit śikhara. The exterior wall of the central devakulikā on on its each corner. The other three show karņadardarikā, the west also shows images of Dikpālas on the corner gajatālu and four-lobed kola.
offsets and Jaina goddesses on the other. Inside the The devakulikās are laid out on a platform built central devakulikā on the east is a colossal seated image all around the temple and provided with three or four of Adinatha dated in A.D. 1618 and that in the west steps for landing. Each devakulikā is approached from is of Pārsvanātha, also perhaps of late date. the platform by two small steps. The central devakulikā The entrance porch consists of two pillars and two on each side (the fifth from south) is larger in size and pilasters and carries a lantern ceiling made by cutting is approached from the rangamandapa by two steps off the corners. It is enclosed on two sides by a short only. The devakulikās are screened by one arcade of balustraded wall and approached from the ground by pillars on the front and by a double colonnade on the a double flight of steps. lateral sides. Except for two terminal pillars near The nālamandapa built over the entrance porch nalamandapa which are square and ornate, all the pillars and a stair of five steps leading up from the porch to are of the octagonal order and less ornate. The five- the floor of the rangamandapa is a square pillared hall, faceted pilasters flanking their doors, however, are more if the bay right above the porch is excluded. It is laid ornate. Each bay contains an uncarved flat ceiling out on a floor higher than that of the devakulikās and Barring those of the two central devakulikās, the door is approachable from the latter by a lone step. On the of each cell consists of two jambs decorated with foliate exterior it is enclosed by a short balustraded wall scrolls and broad creepers respectively. At the basal part consisting of a rājasenaka decorated with diamonds, a of jambs on either side stands a female divinity with vedikā inset with alternate upright posts and recessed female attendants, one carrying a pitcher. The usually slabs, all richly carved, an āsanapatta and a kaksāsana, wrought sill carries an image of Sarvānubhūti on extreme the last two carrying similar decorations as are found
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