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started in V.E. 1450 by thc Khurataragachchliu-Sangh under the instructions of Jinraj Suri. An old icon of Parshwanath, salvaged from some other shrine, was set up in the temple. On its completion in V.E. 1473, a grand festivity was arranged under the auspices of Jinvardhan Suri of Kharatar-gachchha, who is famous for undertaking Sangh-Yatras towards Jonpur (U.P.) and other parts of eastern India and remained a controversial figure.
There are two important inscriptions of V.E. 1473 recording the activities concerning to construction work with genealogical details of the Bhati rulers, from Jaitra singh to Laxman and also of the Ranka family responsible for erecting the shrine. Jaitra singh's son Mulraj and Ratan singh are said to have righteously protected the town against the invasion of Alauddin. Ratansingh's son Ghat singh recaptured the same acting like a lion teared up the elephants in the shape of Mlechchhas." Mulraj's grand son was Kehar, whose son Laxman was then a reigning prince. Manifold details of the Ranka family about undertaking pilgrimages5 and performance of other religious rites, during the years V.E, 1425, 1427, 1436, 1449, 1473, etc. have been recorded. It is curious that after the completion of the temple in V.E. 1473 we do not find any mention of this prosperous family except a fragmentary inscription of V.E. 1513, which tends us to believe that some misfortune fell upon it.
The temple looks quite simple from outside, but on beholding its inner part, a fascinating and charming scene appears. It is planned, quite resembling to other coeval Shvetambar temples having a Toran, Garbh-Griha, Ranga-Mandap. Navachauki, Mukh-Chatushkika, Bhramati, Balanak, Devakulikas etc. It is decorated with many nicely executed figures and other charming ornamentation. The pillars of Mandaps, and other inner parts of temple have been exquisitely chiselled with rich carving, thick tracery and deep inlaids. By looking this prestigious work of art, together with other temples of Jaisalmer and Ranakpur we may say that the western Indian art tradition was still surviving.
5. Ibid Nahar III No. 2113
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