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[Holy Abu
(22) The second bay in front of cell 11 is especially interesting as it contains a ceiling plaque representing the renunciation of Neminatha (fig. 40). The whole patta is divided in seven panels. The first one from the lower end shows dancers and musicians which possibly led the marriage procession of Neminatha, the second panel shows a scene of the battle between Kṛṣhna and Jarasandha; and Neminatha in a chariot; the third with reliefs of musicians, army, and clansmen of Neminatha represents his marriage procession. The fourth one shows Neminatha in a chariot, animals for slaughter enclosed in a pen, the marriage pandal or chori, three horses and elephant stables in front of the palace of Rajimati. Rājimati is sitting on a terrace with her female attendants and watches the marriage procession. At the other end is possibly king Ugrasena (the father of Rajimati) sitting in his palace. The fifth panel shows gods and men carrying Neminatha in a palanquin to the mount Raivataka, then Neminatha standing in the Kayotsarga pose, on one end of the scene. The sixth section or panel shows the ashva-shālā (horsestable), the hasti-shālā, then Nemikumāra sitting on a simhasana in front of a heap of riches apparently representing a scene of Neminatha giving gifts (daily) for a year before renunciation (called Varshika-dana). This is followed by a procession of Neminatha starting for renunciation. The seventh panel shows the Lord Neminatha plucking out his hair with people standing by and watching him becoming a Jaina monk. The last two panels should precede the fifth one, according to the order of events in the life of Neminatha.
(23) The second ceiling in front of cell 14 again contains a beautiful paṭṭa representing possibly the life-story of Shantinatha (fig. 41). This is inferred from the fact that the mulanayaka of the cell 14 (in front of which this ceiling
