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Faina Temples of Western India
pratyangas, tilakas and balcony models. The rekha the large dome its padmašila and sixteen lūmās are of the mālamasjari is divided into eleven stages of smaller in size. The sixteen bracket figures of bhimi-āmalakas. The rathikäs contain images of Apsarās are not as loaded with ornaments as we eight-armed standing goddesses and are crowned notice them on the wall sculptures and hence look by triple udgama. The caitya-arches forming the handsome. One course of the dome represents lattice ornament of the fikhara are fine but minute. chequer pattern, which is quite rare, The Sikhara is also characterised by some individual features. Firstly, the recesses between the brigas The mukhamandapa consists of only six bays, are filled with sculptures of goddesses and amorous
This is surprising if we observe the grand scheme couples rather than the gajamundas. Secondly, of plan of the other two compartinents. It shares the skandha supports the sculptures of Jaina Munis its pipha with the sanctum and gādhamandapa carved in the round. Thirdly, the bigger frigas
without any innovation, a feature hitherto absent. are but the replica in some total of the whole
The pillars (Fig. 73) and architraves are exactly sikhara. Fourthly, it has a Sukanāsä lodged over
similar to those seen in the gūdhamandapa. In the the buffer wall.
ceilings, belonging to the samatala and sabhamanda
raka (Fig. 80) varieties, the figural representations Like the Neminātha temple at Girnar, its calura
are minimised and the floral designs predominate. niga gūdhamand apa is diagonally articulated to the sanctum (Text Fig. 7 on page 159). Its wall not The Jaina temple at Bhadreshwar is a full-fleonly repeats the mouldings and the decorative dged Jaina temple consisting of a sanctum, a gādhascheme of the sanctum but also continues the mandapa, a mukhamandapa, a rangamandapa, a nalamabottom row of frigas above which comes the ndapa, and a range of forty-eight devakulikās surrosamvaraņā roof. The samparaņā (Fig. 77) is composed unding the whole complex. The pitha of its tryanga of bells only, which are tantalizingly small for its sanctum (Fig. 83) is a developed one, as it displays size. The bells in the cardinal directions, i.e. three bhiffas and all those mouldings we find in the four ridges, gradually become larger at their as. Neminātha temple at Kumbharia, Only that here cent; such a progression in the size of bells is, as the grāsapatti is underlined with carved leaves rightly suggested by Dhaky, far from satisfactory and the narathara is replaced by a ratnapattika. from the aesthetic point of view. The pillars of
The vedibandha shows six popular mouldings
which resemble those seen in the Jaina temple at its lateral entrance porches as well as those in the interior are all of the octagonal type and carry very
Sejakpur. The Sikhara (Fig. 84) reveals all the little ornamentation. They are, in fact, too tall
subsidiary turrets indicative of this phase. There to look nice, especially those that support the
is nothing remarkable in the gūdhamandapa. The dome. The architraves are divided into three
mukhamandapa consists of only three bays. Its fasciae of ornamental bands, unlike the usual two,
pillars are ornate and belong to the octagonal but this is rare. The big lotuses that adorn the
type; they bear a goose-band which is very common ceilings are frequently shown, but their form has
in the temples of this phase. The rarigamandapa, become stereotyped. The saptafakha door frames of
which has been very attractive in the earlier temthe lateral porches do not depict Sarvänubhūti
ples, is of little interest. The devakulikäs are more and Ambikä on the doorsill but some other Yakşa
evolved, as they have ornate walls and are crowned and Yakşi, and their lintel is canopied by a cornice
by Sikharas (Fig. 82). A remarkable feature of the
devakulikas is that in the back row they are approwhich becomes a common characteristic of the later temples. The eastern doorframe of the
ached from the court by three stairways and are güdhamand apa also possesses a hansafakha, a jamb
screened, like many earlier temples, by a double
arcade of pillars. Another thing worth noticing noticed for the first time in this temple and shared
is that the lalata of the doorframes depicts diamond by the later temples. The dome (Fig. 81) of the
rather than the Jina figure. gadhamandapa is of the developed class, as it contains three courses of gajatalus and its kolas are The Bāvanadhvaja Jinalaya at Sarotra is also arranged in coradial regression, but compared to an evolved Jaina temple. The arrangement of its
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