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associates of the main Tirthankaras are incorporated in this.
Besides, behind the image, a number of secular scenes are sculptured. These include mithunas, kings and ordinary people.
Most spectacular of the scenes are the standing figures of Indra and Indrani towards the left side of the Tirthankara. Indra is seen with a faceted crown, seated over the back of an elephant the trunk of which is raised towards the left.
On the other side of the dvara, i.e. to the right of the Tirthankara, there might have been the representation of Upendra; similarly sculptured over the elephant above his consort, But this is not seen in this temple.
Even the sabhamandapa contains the upper chamber. This lies above by the ceiling slab placed 2.5 m. above the ground floor. It is projected all along the northern wall. The Tirthankara at the dvara goes beyond the level of the first ceiling. This also suggests that the walls of the upper chamber of the sabhamandapa have also secular scenes in temples.
Towards the end of the eastern wall of the dvara in the north-eastern corner, there is a continuation of sculptures on the northern wall. But this wall shows mostly the religious scenes. The wall space is divided into several panels with standing and sitting Tirthankaras. In between, much below smaller figures of Tirthankaras standing to a height of 2 m. are depicted near the ceiling of the sabhamandapa. Even these, are shown with divinely associates.
Most spectacular of the secular scenes are the dancing figures, ladies playing music, male and females in raptuous embrace while in some are shown paying homage and gazing at the stature of the Tirthankaras. (Plate 27) Another speciality is the representation of elephant, to witness the divinity even as it emerges from waters along with the divinities and other human beings moving vigorously. The sculptural tradition here recalls the Ravana nugraha murti panels, of Ellora caves.
The religious scenes witnessed among the divine beings, are yaksas and yaksis to witness the birth of Mahavira. Here the child Mahavira is shown with mother Trishala while she fondles him. This is rejoiced even by monkeys and children.
All the above scenes depicted on the wall of the sabhamandapa appear to be the sculptures with special emphasis, on different aspects of both secular and religious life.
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