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[ Vol. I
resembling each, and looking weird and unearthly in the gloom of the adytum as the light through the opening doors falls upon them. A like triad stands within each of the other three entrances."1
58
JAINA ANTIQUARY.
Details of the interiors of other Jaina temples also reveal an almost confusing variety of figures, decorations, and symbols. To give but one illustration, in the Markuli temple, already referred to, the main image of Adisvara is seated in Yogamudra, palm on palm crossed legs in the front. Behind him is a prabhavali built against the wall. On either side are standing figures of Bahubali and Parsvanatha with a serpent of five hoods over the heads of the latter, Bahubali is flanked by two small figures one with six hands and another only with two. Of the six hands and another only with two. Of the six hands of the former, three hold respectively an ankusa a kalasa, and a trident; the rest hold fruit. Another seated male figure has four hands holding an ankuća, akshamālā, and fruit in the three with the fourth hand in Paradahasta pose. There is also a female figure with twelve hands: Four on the right hand four on the left holding each a chakra or disc; two with a thunderbolt, and the remaining, with a lotus and varada-hasta. On the ceiling are lotuses and other flowers. 2
Often on the pillars of Jaina temples are curious figures like that of the giraffe or the interlaced basket work of which Fergusson finds parallels in Irish manuscripts and crosses, as well as in America and the valley of the Danube in Europe.3 The number of pillars also is sometimes far in excess of mere architectural needs, as in the case of the Thousand Pillar Basti of Mudbidrê. "It is very extensive, magnificient, containing on and about a thousand pillars and no two alike. In the prophylaeum are several of great size, the lower halves square, the upper round and lessening, recalling Egyptian forms, and all covered with a wondrous wealth of sculptured gods, monsters, leaf and flower-work and astonishing arabesque interlacement cut with admirable clearness. One quadrangular face bears a hymn graven curiously in twenty
1. Cf. Sturrock, op. cit., p. 90.
2. Cf. Mysore Archæological Report, 1925, p. 2.
3. Cf. Fergusson, op. cit., p. 82.
