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sides of the sanctum sanctorum of the temple there is bhamati or the path for circumambulation. There are six recesses each on the eastern and the western side of the structure and twelve more of recesses at the back of it. Each of the recesses houses one beautifully painted figure of a Tirthankar. The portico at the front is entirely made of wood every inch of which is exquisitely carved. Beautifully carved lower panels have been adorned with figures of different kinds of birds and animals and of human beings. Small pillars with arches are also delicately carved. The original paintings on the wooden ceiling over the entire bhamati or pradakshina path were eventually disfigured or completely lost in the course of time. Then the ceiling was repainted at some later stage by some lesser artists. On the ceiling over the western side of the bhamati are painted in bold and dynamic lines the figures of 96 Dikkumarikas or the celestial virgins presiding over different directions and of 40 divinities as also those of musicians, gods sitting in their celestial chariots, monks and nuns, birds and Jain devotees both male and female.
The sculpted figures on the three doors and on the pillars of the sanctum sanctorum are of the highest order of excellence. Similarly the carved figures of human beings adorn the recesses here. Colours like red and golden are amply used. On one side of the main door there are figures of Jain monks and male devotees and on the other side those of Jain nuns and female devotees. A figure of Indra sitting on airavat, a mythological elephant having seven trunks, is painted at the bottom.
The temple is facing the north. After entering through the main door, we have yet to cross another door and pass through a narrow passage leading us to the third door. On the right hand side of the third door, there is an idol of the goddess Mahalakshmi and in the corner, the well now fully covered from which the idol of Chintamani Parshwanath, the Mul nayak or the presiding deity of the temple was recovered centuries ago. We have absolutely no idea of where we are going or what is in store for us before crossing the third door. But once we cross it, we enter into an etherial world of celestial beauty, magnificance and divine serenity. It is enough to say that no words describing the matchless grandeur one sees all around can match with the enthralling experience one actually has at the time.
On entering the rang mandap or highly ornamented pendal in the front of the garbh gruh one sees extremely beautiful glass lamps and chandeliars hanging from above the ceiling. There are as many as forty beautifully carved wooden pillars resting on wooden bases carved with equal deftness. One also sees exquisitely painted figures of musicians with their several instruments and dancers in different
Jain Kashthapat Chitra : 39
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