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towards Krşna in rhythmic postures. The Luņa Vasahi [CE 1250] contains depictions of Krşna's birth [janma), under close vigil, his bāla-lā and the killing of demons by him.
The second ceiling (no. 49] of Vimala Vasahi exhibits a remarkable figure of a 16 - armed sthauna Narasimha (man- lion incarnation of Vişnu) killing the demon Hiranyakasyapu. The entire representation is so effective and dynamic that it makes the work, undoubtedly, one of the best illustrations of Narasimha in Indian Art.
Apart from these epical characters, several other deities were assimilated directly in Jaina worship with identical iconographic features. The concept and the names of such deities are found in the early Jaina works datable between c.3rd and 7th century CE, but their detailed iconographic features are enunciated mainly in the works assignable between c. 8th and 14th century CE. [PI.8). The list of such deities comprises Gaņeśa (Jaina devakulikās at Osian, Khandagiri cave, and Neminātha temple at Kumbharia, c. 11th - 12th century CE], Kșetrapāla [Deogarh and Khajuraho), Lakşmi, Sarasvati, [Mathura, Deogarh, Khajuraho, Pallu, Vimal Vasahi, Lūņavasahi, Kumbharia, Humcha - Kuşāna, to 12th century CE). Other than these examples, Aştadikpālas (sometimes their number being 10, including Nāgarāja Dharanendra and Brahmā), navagrahas, Aştavasus (carved on the Jaina temples of Khajuraho), 64 yoginis [enunciated in the Ācāradinakara of 1412], Indra and several other deities were also included. In concurrence with the Brahmanical tradition, the Aştadikpālas and the Navagrahas are carved on almost all the Jaina temples. Navagrahas are carved on the pedestals of the Jina images also. Gaņeśa, as bestower of success, was incorporated in to the Jaina pantheon during the early medieval times. According to the Ācāradinakara of Vardhamāna Sūri (CE 1412], Ganesa is even adored by the gods in order to fulfill their worldly desires. On the basis of the available instances, Ganesha is shown mounting a rat and carrying a lotus goad, tusk, axe, spear and modaka or modakpatra, 19 the bearing of Brahmanical Sarasvatī, their proximity being ascertained by the presence of the vahana [swan or peacock), manuscripts, vina, rosary, water vessel, goad and noose. In one of the images carved in the ceiling of Vimala Vasahi [CE 1150), Sarasvatī is joined by the figures of Sūtradhāra Loyana and Kela, the chief architect and sculptures of the temple. Thus, Sarasvati is visualized here as the Goddess of fine arts as well.
19 M.N. Tiwari & K. Giri: Images of Ganeswa in Jainism, Ganesh - Studies of an Asian God, [ED] R.I. Brown, Newyork, 1991, pp. 101-14; M.N. Tiwari & K. Giri: Sarasvati in Jaina Tantric Worship, Archaeology and Art - Krishnadeva Felicitation Volume [ED] C.R.P. Sinha, Pt. II, Delhi, 1990, pp. 311-25.
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