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Jaina Art of Orissa
rest and is stripped of all raiments. It evidently eccupies the position of mulanayaka. The rest of the figures of Tirthankaras are in yogasana on double petalled lotus pedestals supported by lions beneath the trees under which they attained their kevalajñāna. Above their heads are three tiered umbrellas. They are flanked on either side by an attendant holding a flywhisk. All except Parsvanatha halces behind their heads. Celestial music is indicated by cymbals played by hands of invisible Gandharvas and close to them are flying figures with garlands. The general appearance of all these figures is the same except for their distinctive läñchanas carved below their lotus seats.
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Below the Tirthankaras, in separate compartments are their respective Sasanadevis all of whom excepting Mahāmānasi, who is in yogasana and Bahurupiņi who is reclining on a cot are seated in lalitāsana. Twenty of them are on plain pedestals and four on lotus below which are their mounts. All, except Bahurupiņi and Padmavati, the latter with a canopy of snake, have haloes behind their heads. The images of Chakreśvari and Rohini are also relieved on the inner verandah wall of the same cave. These figures appear to be slightly later than the ones relieved in the Navamuni Cave. The twenty-four figures of Tirthankaras and Sasanadevis in respect of this cave maintained a uniform size, body decoration and artistic finish though their coiffure and decorative ornaments greatly differ in variety and details.
The Tirthankara figures both in standing and seated position of Mahavira-Gumpha represent crude workmanship (Fig. 38 to 48). Stylistically they are much later than their counterparts found in other caves of the place. The figure of Rsabhanatha is the largest in the entire series. All of them have fly-whisk bearers, the standing ones further differentiated by the addition of naga devotees. Over most of them trilinear umbrella is represented in the shape of miniature pidhadeul surmounted by creepers, floral devices, inverted birds and semi-divine figures in various attitudes.
Three reliefs, two of Rṣabhanatha and one of Amra, are carved against the back wall of cave No. 10 of Khandagiri (Fig. 52). Both the Rṣabhanätha figures are robeless and stand in kayotsarga pose on double petalled lotus pedestals supported by lions. their sides are eight grahas and two fly-whisk bearers. At the top of their heads are three tiered umbrellas flanked by cymbals and drums played by hands, below which are flying figures holding garlands. Amra, whose left half is partially destroyed, is standing in captivating tribhanga pose under a mango tree above which her Jina flanked by flying figures. Her mount, the lion is carved below the double-petalled lotus pedestal on which she is standing.
The three chlorite images of Rsabhanatha (Figs. 49, 50 and 51) which are installed on the masonry altar at the rear end of the chamber of Mahavira-Gumpha stand robeless in kayotsarga pose on double petalled lotus below which are their lañchana, bull. On either side of their legs is a standing fly-whisk bearer drapped in a dhoti and decked in ornaments and above, are flying figures holding garlands and hands playing on cymbals and drums. The back-slabs in case of two of them are distinguished for the figures of eight planets having conventional attributes. The largest of the three has a trefoiled arch
