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of the pat. Men and women have come here to offer their prayers. Slightly above, a man with royal visage is standing with folded hands before Tirthnkars. A temple of Lord Shiva is in the lower part. A woman lying in the pendal is seen trying to tell something to her maid by raising her hand. A man on a horse is seen before a royal personage seated on an elephant. The entire pat is interspersed with a number lush green trees and peacocks. The pat is framed in with a narrow strip filled in with floral designs. The Sametshikharji pat in the Chintamani Parshwanath temple is perhaps the oldest and the rarest of its kind. It seems that a lesser artist has tried to touch some of the parts of the pat at some later date. Neverthless, the essential vibrancy of the original pat has remained undiminished. The line-work that is neat and bold, beautifully drawn figures of both human beings and divinities, charming women laiden with ornaments and the designs on their clothes are especially remarkable. The composition of the pat, exquisite delineation of forms and the use of a few colours make it an excellent specimen of the tradition of Jain paintings.
CA
LeRRERO
JUPON
Shri Chandraprabhu Swami Temple Shri Chandraprabhu Swami Temple is unique in the sense of being both grand and unostentatious. It is situated in the Shravak street of an area called Saiyedpura in Surat. It is said to have been built by a devotee called Sakalchand in Vikram Samvat 1604, 1660. The temple is also known as the temple of Nandishwar Dwip because it has an intricately constructed composition of specially prepared wooden pieces. As one enters through the main door, there is an airy open space on the western side on the left of which is a small shrine or Samadhi and the foot-marks of Shri Gnanvimalsuruji. There is in inscription
42 : Jain Kashthapar Chitra
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