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specifically visible in the terracottas of Ganganagar area. Elaborately carved figures on the Toranas of Mandor, the Vishnu icons of Pali and Bhinmal etc. also evince this influence to some extent. However, after the seventh century A.D., with the rise of Pratibars, indigenous art developed in Rajasthan and a number of master pieces were executed with seductive charm and passionate feryour. Lama Taranath3 remarks that king Shil of Maru country, who can be identified4 with king Shilluck of Mandor, gave patronage to an artist Shringdhar, who was responsible for introducing a distinct individual style of art.
Several names of the Sutradhars (master architects) are noticed from an early period. The Nagar (Distt. Tonk) inscriptions of V.E. 743 (686 AD) names four Sutradhars all of whom came from Bhinmal. The Vasantgarh inscription of V.E. 744 records the name of Sutradhar Shivnag, who had carved a bronze image of the Tirthankar. The Kuvalayamala speaks of massive Jain temples at Bhinmal and Jalore. The Jain temples of Nagaur are mentioned in the Dharmopadesh Mala.
Ghatiyala
The village of Ghatiyala is situated at a distance of 35 kms. north-west of Jodhpur. On the basis of Prakrit8 inscription dated V.E. 918 (861 A.D.) five Sanskrit inscriptions of the same date and a recently discovered inscription of Kakkuka dated V.E. 939
3.
1. A. Vol. IV p. 101/U. P. Shah--The Sculptures of Samalaji and Rhoda (Baroda) pp. 4-5. In my History of Mewar, I have tried to identify Shil mentioned by Taranath with Siladitya of Mewar. But in fact the rulers of Mewar did not rule directly over Maru country. Therefore, it would be more reasonable to identify Silluck of Mandor with Shil. The Bharat-Kaumudi Vol. II pp. 267-276. Abu V No. 365. The colophon of the Kuvalaya-mala (SJGM) verses 5 to 20. The colophon of the Dharmopadesh mala (SJGM) verse 14. Journal, Royal Asiatic Society 1895 p. 524/E.I, VIII p. 87.
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