Jaina Monuments and Places First Class Importance

Author(s): T N Ramchandran
Publisher: Veer Shasan Sangh Calcutta

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TIRUMALAI
kundalas in both the cars. While we agree with Mr. Mehta's clescription of the figure as "an impressive study.... showing the strength of delineation and directness of treatment which belonged to the palmy days of. Ajantā and Bāgh" we are unable to accept his identification of the figure as Ardhanārīśvara or Mahādeva. The figure is surely that of a king accompanied by his wise whoin he probably leads into the shrine. Such is the purpose in relegating this painting on the inner side of the pillar as if the persons are heading towards the interior of the shrine. The patra-kundalas and the ordinary coronet (not jaļāmukutu as Mehta described it to be show that Siva was not intended. And Siva has no place in a Jaina shrine. We are unable to see in the figure any divinity of expression that should go as a monopoly to Siva alone. Such dignity, if any, can go to the king of the land also, who in this case may be the royal attist Mahēndravarman I. That thc figure behind him is that of his wife and that he is in the act of going with her to the shrine can be easily inferred if we bear in mind that the Varaha cave at Mahabalipuram contains a portrait of Mahēndravarman heading towards the shrine, accompanied by two of his queens, the nearer of whom he appcars to be leading by her right hand, while his halfra'sed right hand points towards the shrine. He was probably similarly engaged here, though only the head of the king remains with the outline of what looks like a feminine face, which we have assumed to be that of his queen. Prof. A Chakravarti suggests that as the Samavasarana forms the central theme of the paintings, the king may be taken to be Indra leading his wife Sachi lo the Samarasarana.
14. TIRUMALAI-Next in time and importance come paintings at Tirumalai, North Arcot District ascribed on the evidence of inscription to the itth Century A.D. (EI. vol. IX. P. 229: