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Faina Temples of Western India
Gujarat, viz. the Sāntinātha temple at Kumbharia Vimalavasahi at Abu, but here it is ornate. In the and the Viralavasahi and the Lūnavasahi at Abu. Lūņavasahi at Abu it is ornate but schematised. It is represented on the mukhamandapa ceilings of Here the model is indented into facets and underthe Santinātha temple and the Vimalavasahi. In lined with a band of leaves. In this temple it is both these instances, particularly in the Sāntinātha frequently shown on the courses of the ceiling. The temple, the model is bold and simple and has very popularity of the motif in the Lūnavasahi is also limited scope. The motif also occurs on a ceiling indicated by its being depicted in bigger forms on of the north portico of the rangamandapa of the the rectangular slabs enclosing the ceiling.
ICONOGRAPHY The images of the Jaina temples consist of stone, for he is known to have been of dark compltwenty-four Jinas (Tirthankaras) and their Yakşis, exion. Such images are preserved in the sanctum sixteen Vidyadevis, eight dikpalas, Sarasvati, of the Lūnavasahi at Abu and the Neminātha Laksmi. Vidyadharas, Naigameşin, Vināyaka, temple at Girnar. Similarly, some of the Kinnaras, mätskās, Pratihäras, and the river godde. goddesses are identifiable by their respective sses Ganga and Yamunā. Besides, we notice the attributes. This is because the attribute or representation of fourteen objects (elephant with attributes they hold is a must in their representfour tusks. bull, lion, Goddess Sri, garland of ation. Thus, Cakresvari holds discs, Vajränkusi flowers, Moon, Sun, banner, full-vase, lake full thunderbolt and goad, Vajrasrnkhala chains, of lotuses etc., ocean of milk, celestial car, jewel Ambikā mangoes and child, Vairotyä snake, Mahaheap and smokeless fire) seen in dream by the ivālā firepot, and Mahakali bell. But it is very Jina mother during conception, eight auspicious hard to make distinction between the images of symbols called astamangalaka (svastika, Srivatsa, Vidyādevis and Yaksis, for the Vidyadevis not nandyavarta, varddhamanaka, bhadrāsana, kalafa, only adopt the names of the Yaksis but also their dar pana and matsya), Samavasarana, Nandi
iconographic features. This is clearly seen in the évaradvipa, and the mountains Sumeru and Astā- images of Cakresvari Yaksi and Apraticakrā pada. In a corridor ceiling of the Vimalavasahi
Vidyadevi. However, when the Yakşis are repreat Abu Nrsimha is represented killing the demon
sented attending upon their respective Jinas, Hiranyakasyapa, and in another Krşņa is depicted
their identification becomes easier. Similar is the subduing the snake Kaliya; both these are
case of the Yaksa images. Except for Sarvānubhūti, purely Brahmanical representations, and their
Gomukha, Brahmaśānti and Matanga, no Yaksa occurrence in the Jaina temple probably indicates
could be identified with a degree of certainty. that the sculptor was so much devoted to his
Below is given an account of only such images faith (Vaişnava) that he could not dispense this
or representations which help us some way or the ternple with some of the Vaişņava themes,
other in tracing the evolution of the style of the The images of the Jaina temples do not show laina temples. uniformity in their attributes. Unless they bear their respective mounts it is very hard to identify
Vidyādevis them. This may be clearly seen in the images
They are the goddesses of learning. They figure of the Jinas. their Yaksis, and Vidyādevis. The both on the exterior and the interior of the temples images of Adinātha and Pärsvanatha, however, and are amongst the most popular depiction of the may be easily identified by the mere presence of Jaina pantheon. Their names, according to the locks of hair on the shoulder and a cobra-canopy Svetämbara tradition, are as follows: Rohini, Prajā over the head of these Jinas respectively, as apti, Vajrasțnkhalā, Vajránkusi, Apraticakrā, Narathese are their special characteristics. Sometimes datta, Kali, Mahäkāli, Gauri, Gandhari, Mahaivālā. the images of Neminātha are also recognizable by Mānavi, Vairotyā, Acchuptā, Mānasi and Mahathe material of which they are made, viz. dark manasi. Generally, the Vidyādevis are represented
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