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figure of Neminātha is flanked by the figures of four-armed Balarama and Krşna-Vāsudeva [State Museum, Lucknow, acc. no. J47]. Balarāma holds an mūsala and a hala, while Krşna bears a mace. Another image of the later Kuşāņa period shows Krishna with a mace and cakra, explaining distinctly the process of adoption and transformation of Brahmanical deities in Jaina worship. Subsequent illustrations of such images are known from Bateshvara (Agra, U.P.) and Deogarh (temple no. 2, Lalitpur, U.P.). Owing to the explained kinship of the two, Krşna and Balarāma were also carved in different narrative panels at Kumbharia and Vimala Vasahi (11th-12th century CE] showing the life of Neminātha. These scenes project the water sports and trial of strength between Neminātha and Krsna [Vimala Vasahi ceiling of cell no. 10].
According to the Jaina belief, and also in visual expression, Neminātha has been portrayed as victor in a trial of strength with Krşna, which was intended at establishing the superiority of Jainism. The second circular band of the Vimala Vasahi relief demonstrates the strength of Neminātha in the Ayudhaśālā (armory] of Krşna. In the scene, Krşna is shown sitting on a throne as Neminātha enters, and both are greeting each other with folded hands. Ahead is engraved the scene of trial between the two, wherein the outstretched hand of Krsna is shown bent to suggest Neminātha's victory over Krşna.
Vimala Vasahi and Lūņa Vasahi (c. CE1150-1250] exhibit some very interesting renderings of Krsna-n, and other Vaişnava themes including Kāliyadamana [Vimala Vasahi cell 33], [pl.4] Krsna playing Holi (sprinkling coloured water on each other) with Kanakśrngakośa (as found in Harşacarita) with gopas and gopikās, the episode of Bali and Vamāna, samudramanthana and vivid carvings pertaining to Krsna's birth and his bala-lilas. 18 The scene of Holi, carved on the ceiling of the bhramikā (corridor) at the devakulikā 41 of the Vimala Vasahi [c. CE 1150], is a singular such instance in plastic art. It becomes all the more important in view of its Jaina context on one hand, and its total absence from the plastic art at Brahmanical sites on the other hand. The ceiling accommodates nine figures of gopas and gopikās with Krşna, the later in the center playing Holi in a joyful mood, with two Kanakśrngakośas [cowhorn-shaped golden sprinklers] in his hands. [P1.5] Krşna is dressed in a small kirita-mukuta and a long flowing uttarīga (pitambar). All other figures are leaning
18 M.N.P. Tiwari & K. Giri: Vaişnava Themes in Dilwara Jaina Temples, Vajpeya (Prof. K.D. Bajpai Felicitation Volume], [ED.] A.M. Shastri et al., New Delhi, 1987, pp. 195-202.
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