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Description of Temples
115
the centre of the lower fascia. The underside of the architraves shows lotus medallions, which are similar to those seen in the mukhamandapa.
Each of the side aisles of the rangamandapa is covered with seven samatala ceilings, each supported on a rectangular frame of architraves placed across the pillars of the targamandapa and the mukhamand apa on the one side and squat pilasters placed right above the corridor pillars of the devakulikas on the other. The architraves are similar to those seen at the basal corners of the dome. The ceilings are skilfully relieved with various narratives selected from Jaina mythology, figures in boxes, and images of gods and goddesses. Beginning from the southern end the seven ceilings in the west aisle represent the following scenes : 1. Parents of 24 Tirthankaras of the past and
future ages. 2. Parents of 24 Tirthańkaras of the present Avasa
rpiņi. Pancakalyāṇaka events (Cyavana, Janma, Diksa, Kevalajñana and Nirvana) and other incidents of the life of Tirthankara Pärsvanātha
(Fig. 34). 3. Pafcakalyāyaka scenes of Tirthankara Santinātha
and Tirthankara Neminātha. A circular depre
sssion in the centre. 4. A procession scene with figures of Gajarāja,
Atinandana, Vidyadhara, etc. In the centre of the ceiling are five sculptured niches, each cont. aining a figure of four-armed lalitäsana goddess carrying lotuses in the upper hands, and varadamudrä and fruit in the lower ones. They may
be identified with Lakşmi. 5. This ceiling is similar to the preceding one, but
here the central niche is replaced by a circular depression. Besides, one niche depicts Yakşa Mātanga (?) standing in tribhanga posture, in
stead of goddess Lakşmi. 6. Pañcakalyāņakas of Tirthankara Mahāvira; the
story of Candanabāla and her severe penance; Candakausika as a poisonous serpent and his being killed by ants; and some other events con
nected with the life of Mahāvira. 7. Pañcakalyanaka events of Tirthānkara Rşabha
deva. In the centre of the ceiling is a circular
depression. On one side of the depression are Kali, Vairotyä and Lakşmi, and on the other side are Gomukha, Ambikā and Yaksa Brahma. sänti, all having four arms and sitting in Lalitasana.
Starting from the southern end the seven ceilings in the east aisle show the following representations : 1. In one scene is seen an Acarya preaching in
front of the monks and the caturvidhasamgha. At the other place he is shown with sthapana in front. In another scene he is seated on a pedestal and a disciple is lying down in his front in the act of obeisance. The central space of the ceiling is occupied by six human-couples,
the male wearing a beard. 2. In square or rectangular boxes are shown cauri
bearers, elephants with drivers, musicians and human-couples, but in one instance we find an image of four-armed lalitasana goddess Sarasvati and in another, that of Lakşmi. The boxes are edged with lotus petals and are set up in border of diamonds and beads. At the four corners the border is interrupted by concavesided lozenges edged with beads. In each quarter of the lozenge is depicted a lotus flower. The figures in boxes are stationed on
pedestals carved with lotus stem. 3. In one panel are represented cauri-bearers.
female carrying water vessel, male standing with folded hands, female standing with one of her hands raised in adoration, and trumpeters. On one side of these are depicted three images of Lakşmi, each having four arms and sitting in lalita sana; while on the other we find a fourarmed lalita sana image of Ambika accompanied by Sarvänubhūti. Another panel depicts an Acārya preaching in front of the caturvidhasamgha; at the other place he is delivering religious discourse to the monks. In the centre of the ceiling are shown five human-couples, the male having a beard.
4-6. Figures in boxes (Fig. 35). They depict horse.
riders, elephants with drivers, pitcher-bearers, dancers and musicians. The fourth and fifth ceilings show, in addition, figures of cauri-bearers and seven male dancers in a circle.
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