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JAINA BIBLIOGRAPHY
representing Tirthankaras---each under his respective tree. Other panels elaborately worked : Yakshas and Yakshis Dharanendra raksha and Padmāvati. The flexions in the case of these figures are indeed so charming that they add to the rhythimic poise to the whole composition. The panel of Pārsvanātha with the snakehood over his head is a gem of early Pandya art (Pl. 16).
There are long rows of seated Tirthankara figures repeating the complete hierachy of Tirthankaras three times over.
554
V. S. AGRAWALA. A Survey of Gupta Art and some sculptures from Nachna Kuthara and Khoh, (Lalila Kalā No. 9, 1961. New Delhi).
P. 21. In the Punjab, Gupta relics have not yet been systematically surveyed. But it is important to mention the Jaina temple at Murti, near Choa Suidan Shah in the Salt Range which was visited by Sir Aurel Stein in the old town of Simhapura, the remaining antiquities are prescribed in the Lahore museum.
P. 22. The depth and purpose of Gupta art can be perceived in the religious and philosophical literature of the Jains and others.
555
Raymond BURNIER. Visages de L'Inde Medievale. Paris Sculptures Du Temple Jaina De Parshvanatha.
Khajuraho, Onzieme Siecle 15 plates. Temple facade; Vishnou, Brahma, Agni, Pārvati, Vishnou, Sarasvati, Bhairava, Apsara, Lakshmi.
556
H. D. SANKALIA.
Indian Archaeology Today, Bombay, 1962.
Pp. 26 & 72. The historical period in India begins from the 6th century B. C., the period of the Buddha and Mahāvira.
557
Y. D. SHARMA. Remains of early Historical cities (Archaeological Remains, Monuments and Museums, published on the occasion of XXVI International Congress of Orientalists, New Delhi, 1964). Part. I.
P. 57. Rājghat--ancient town of Varanasi, was one of the sixteen mahajanapadas or Major States and a great city from the earliest historical times.
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