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Jaina Temples of Western India
underside is carved in low relief a lotus medallion having two rows of petals.
The balcony, in the interior, has a carved samatala ceiling supported on a rectangular frame of architraves. The ceiling is raised up by a frame of sur-architraves which are carved with rosettemarked diamonds. The ceiling is divided into three panels, the central being square and the sides ones, rectangular. Each of the side panels is relieved with three full-blown lotus flowers, each comprising two rows of petals. The central panel depicts a stylised lotus comprising two rows of petals-the outer having petals of blue lotus, and the inner, those of red lotus-and a quatrefoil accommodat- ing an open lotus in each foil as well as in the centre. The corners of the square panel are occupied by kirttimukhas.
The upper balcony is very similar to the lower one. It is enclosed by a short balustrade which consists of rājasenaka, vedika, asanapatta and kaksā. sana. The rājasenaka and kaksāsana are similar to those seen in the lower balcony, but the vedika is divided into upright posts alternating with recessed slabs. The posts carry representations as we find on the side planes of the offsets of the lower balcony, while the slabs are decorated with foliate scrolls or creepers. The vedika also carries five projecting sculptured niches, three appearing on the front and two on the sides. Each of these niches contains an image of four-armed lalitāsana goddess, capped on the asanapata proper by an udgama, while below each niche, on the rājasenaka, is a smaller niche containing an image of standing goddess. On the asanapatta, at corners, are placed two squat pillars supporting similar architraves, eave-cornice and kapota as we find in the lower balcony. The perforated stone grilles fitted between the pillars, through which diffused light enters the interior of the upper storey, are also pierced by geometrical patterns. The pillars have only two members, viz. shaft and capital, both being similar to those of the lower balcony, with this difference that the shaft has only the circular section. The balcony is crowned by a bell roof, the front facade of which carries a sculptured niche supported by a saptaratha
e supported by a saptaratha pedestal and flanked on each side by a balcony model. The pedestal represents a Jina seated in
dhyānamudra in the centre and musicians and dancers flanking him on the two sides. The niche contains an image of lalitāsana goddess accompanied on each side by a female attendant. On either side of the niche are tilaka and kita. The tilaka shelters a standing goddess with attendant figures, while the kata is inset with rosette-marked diamonds.
The Sikhara (Fig. 72) is the most complicated one. It rises above the eave-cornice of the mandovara from a pranata vara from a prahāra which consists of a recessed fillet, a karrika and a maicika. The mafcika is similar to that seen in the vedibandha, only that the lambanas are absent here. The composition of the Sikhara displays a caturariga malamafjari marked by eleven bhümi-āmalakas; four uromafjaris and a rathika along each bhadra; a minor friga, tilaka and balcony model flanking on each side of the rathika; three tilakas and a balcony model over each nandika and konika; three frigas over each karna and pratiratha; and a pratyanga atop koạika and leaning upon the uppermost uromañjari. The angas of the mālamasjari terminate at the skandha which is indicated by a band carved with diamonds, but the bhadra offset extends to the griva which is crowned by a large āmalaka clasped by a band of diamonds, a candrika, a smaller amalaka, a kalafa and a bijapäraka. A dhuajadhara is depicted below the skandha on the west facade of the Sikhara; he is shown carrying the dhvajabataka which is of recent date. Supported by the skandha and topping the karna and the accompanying buttresses are sculptures of Jaina Munis, carved in the round and seated on stool in the lalita posture. One of the hands of the Munis is in the jñānamudra, and the other is held in the bhimispartamudra. The uppermost uromafiljari is similar to the malamasjari but is divided only into nine stages of bhūmi-amalakas. The other uromanljaris and the bratyaigas are also similar to the malamanjari, but these are of the tryanga type and are marked by seven bhiimi-ämalakas. The tilakas are inset with images of four-armed standing goddesses accompanied by female attendants. The frågas on the karnas and pratirathas are but the replica in some total of the whole Sikhara. The frigas of the upper row are flanked on their two sides by seated amorous-couples, while those of the middle and lower rows are flanked by sculptured niches containing
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