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Comparative and Evolutionary Study
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the narratives the pañcakalyanakas are only briefly secondly, the buffer wall consists of the frontal karna shown (Fig. 17); instead, some auspicious events and pratiratha of the sanctum and the rear karņa such as war between Bharata and Bahubali, of the gadhamandapa, so that it has become unplea. Nșsimhāvatāra of Vişnu (Fig. 21), Kaliyadamana santly long. The pitha is shorter in comparision scene, etc., are predominantly shown. Except for to the high wall, as it lacks the complete the scene depicting the fight between Bharata set of mouldings. The vedibandha carries all and Bāhubali in one of the front bays of the ranga- the seven mouldings of the Adinātha temple at mandapa, the legends below the narratives go out of Shatrunjaya, but is more ornate than that in vogue. The Vidyādevis in a set of sixteen also the latter. Being a two-storeyed building occur in the corridor ceilings. Besides four and the wall consists of two janghäs, the lower six-armed images, here are found eight, ten (ranga being higher than the upper one. The lower mandapa), sixteen and twenty-armed images jargha carries the usual four-armed dikpala images (Fig. 18), the last being the maximum in the Jaina in their correct position on the karmas and the temples of Gujarat. Though the images are rich figures of Apsarās on the salilantaras and konikās, in iconography, they are weak in sculptural quality. but it shows eight-armed dancing goddesses on the Their angular modelling, excess jewellery and other buttresses. The lower jangha is supported by slender form almost give a petrified effect (Figs. a narapatika, which is very rare on this part of 18-21).
the wall. Unlike the lower janghā, the upper one The elephants of
has a mancika support and carries large, elongated, the hastitala are stocky and wear very little jewellery.
carved half diamonds on the side planes and hollo
wed out similar but full diamonds on the konikās, The Adinātha temple at Shatrunjaya is a grand salilāntaras and nandikās. Similar half diamonds edifice with a tryaniga sanctum and a gūdhamandapa. may also be seen in the Neminätha temple at It shows all the characteristics of the developed Kumbharia and the Adinātha temple at Shatruntemples. The jad yakumbha of its pitha is decora- jaya, but the representation of full diamonds is a ted with lotus leaves (Fig. 70), an ornament also special characteristic of this temple. The square found on this member in the Jaina temple at fluted bharani above the jangha lacks in relief and Sejakpur. The vedibandha consists of seven courses, is unpleasant. The eave-cornice also consists of the additional moulding being the ratnapattika two varandikās, each comprising a kapota, a fillet above the mancika (Fig. 68). The bhadra-niches carved with lotus scrolls, and a ribbed awning. are enclosed by a balustrade, a feature hitherto un- What is noteworthy here is that it consists of only known. The salilantaras of the jangha bear figures cne kapota instead of the usual two. A remarkable of ascetics besides those of the Apsarās. Above feature of the eave-cornice is that it carries on its the jarghā occurs a square bharani unlike the usual extrados the images of Vidyādharas carved in the round one. The gadhamandapa doorframe is of the round. Like the two janghās, the bhadra above the saptašākha variety; this is maximum in the Jaina pitha also carries two balconies, each consisting of temples of Gujarat.
four traditional component parts (rajasenaka, vedikā, The devakulikās (Fig. 58) in the Neminätha
āsanapatta and kaksā sana), except that the longer
lower balcony has in addition a broad fillet adortemple at Girnar are severely plain. They are of
ned with rosette-marked diamonds. But these no interest, except that their number has increased
balconies excel all those seen in the earlier temples to seventy-two, which is the maximum in the entire
in showing sculptures of gods and goddesses, musiJaina series.
cians and dancers, mithuna scenes, etc. From the The Ajitanatha temple at Taranga (Fig. 72) is architectural point of view the lower balcony is the loftiest Jaina temple of our period. It is a sān- very wide, and while the stone grilles that shut dhāra-prasada consisting of only a sanctum, a gūdha- them are beautifully carved, they allow very diffumandapa and a mukhamandapa. The plan of its catu- sed light to pass into the inner ambulatory. Tanga sanctum reveals two unusual features ; firstly. The fikhara (Fig. 72) is elegant and reaches its the koņikās gradually diminish in the pitha; maturity. Besides frrigas and urahirigas it shows
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