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PAINTINGS AND WOOD-CARVINGS
[PART VII carvings, specially seen in the elephant with riders with typical pagri (turban) on its four outer corners, which are carved in the round (plates 286 and 287). Like all other mandapas, this is of several pieces joined together. Two of the four other sides of the main beams show seven seated Tirthankaras (plate 286). The perforated jali as well as the curved niche show Muslim influence, The elephant, covered with a nicely-decorated jhula and howdah, has ghanta, headgear, necklace and anklets and has a natural air about it.
The ceiling of the octagonal mandapa reminds us of the famous Mount Abu temples (plate 288). Sixteen apsarases adorn the dome. From its centre hangs a piece with a decorated floral pattern. The lowermost bearer of the dome shows a continuous procession which terminates at a Tirthankara shrine (plate 289). The procession gives a glimpse of the contemporary social life. The apsarases, other figures, the elephants with riders, etc., point to a sixteenth-seventeenth century date and a provenance around Baroda. Another example of interest in the National Museum is a door-frame (caukhat) of some Jaina household-shrine (accession no. 60-1153), evident from a seated Tirthankara figure in the centre of the top panel (plate 290). The flywhiskbearers, one on each, flank him and nine garland-bearers on each side are seen carrying garlands forming an interesting pattern. The two side-posts, besides showing the four-armed figures of dvara-palas, one on each side, show four niched figures attending the Tirthankara. Creeper-motifs run through the whole door-frame. Although badly damaged, the figures point out to a seventeenth-century date and an Ahmedabad provenance.
Yet another example in the National Museum is a small door (accession no. 47-111/1; size 100x60 cm.) of a household-shrine (plate 291). Though smaller in size, it has all the details which a large door usually has. It has a two-leaf doorway which can be opened and closed. Both the leaves are carved with beautiful floral patterns set in big and small squares. The top lintel shows fourteen auspicious dreams (plate 292), a typical feature of the Jaina carvings. Below this panel is seen a four-armed seated Laksmi flanked by standing female cauri-bearers. The bottom panel shows two elephants and the two side-posts show a dvara-päla flanking the shrine on each side. Above the dvara-päla are seen peeping human heads from niches giving the impression of a multistoreyed building. A similar miniature doorway exists in the Baroda Museum: it shows intricate and minute carvings
1 H. Goetz, 'The post-medieval sculptures of Gujarat', Bulletin of Baroda Museum and Picture Gallery, Baroda, 1947-48, V, parts I-II, fig. 2.
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