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236/The Rāṣṭrakūtas and Jainism
corpulent, and seated-at-ease Sarvänubhuti's ornaments are some what schematic, going well with relaxed vigour of the body at rest' [Dhaky: 1998: 41]. The pretty Kuṣmaṇḍi figure reposed in ardhapadmāsana, with neck ornaments, ringshaped larger earrings. The dhammilla-circlets of the hairdo, pushed at the back of her head, is not stout when compared to the similar Kuṣmaṇḍī sculpture at Āland, Bankür, and Malkhed, all from the same Gulbarga Dt. Harsur yakṣi has a slender body than the yakṣis of the places mentioned above. The bonny figures of Karandamakuta Sarvahna and Kuṣmaṇḍi can be assigned to the early quarter of tenth century. These two sculptures resemble Sarvāhṇa and Ambika of Indrasabha cave in west side of court, lower level, north corner, to left of shrine and to right of shrine at Ellōrā, illustrating both the stylistic continuity and the tendency toward schematization, in the development of yakṣa-yaksi art. The artist had sculptural prototypes.
8.5.1.1. The most charming image of Tirthankara, assiged to the later period of Amoghavarṣa-I, now in Gulbarga Museum, is singular for its composition: "The central Jina figure, impassively sits in faintly contemplated expression reflecting total control on body and self, the head in this instance is graced by a bhāmaṇḍala halo behind and the triple unbrella above. The simhasana is lost but in the original setting it could have been there. The somewhat smaller figures of the Camara - bearers are a little slantingly shown in relief but on the whole succeed in balancing the composition. An andola class of torana which, as a type and to all seeming was invented in the Rāṣṭrakūṭa times, defines the upper periphery of the throne-back. The throne possesses the pillarettes flanked at each side by a vyāla figure and topped by a makara". [Dhaky: 1998: 43].
8.5.2. A striking Jaina sanctuary, situated on gently rising ground to the north of the village Hallur, about 12KM
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