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Jalna Temples of Western India
Mülaprasada
The udumbara is a later addition. The doorframe Tryanga on plan it consists of a bhadra, pratiratha has been painted during recent years, so that all its and karna,1 the bhadra being the longest and the grandeur is vanished. pratiratha the shortest. Between the karşas and pratirathas are saliläntaras,
Gadhamandapa The pitha comprises a short jadyakumbha ador
Articulated at the frontal karya of the sanctum, ned with fine caitya-arch pattern, an antarapatra
the gudhamandapa shows intact only two rear buttand a grāsapti. The grāsapatti depicts bold and
old and resses. Its pitha and vedibandha, which are but the vigorous grasamukhas (kirttimukhas) spewing pearl
continuum of those of the sanctum, are intact only festoons tied in loops; its upper surface is treated
Treated upto the lateral entrances. Inside the gâdhamaydapa
pro like a cippikā ornamented with usual caitya-arches.
are now preserved two saparikara images in white The wedibandha consists of five members, namely
marble of kāyotsarga Jinas (Fig. 3) unearthed from khura, kumbha, kalata, antarapatra and kapota.
the nearby debris during recent years. Both these
The khura is divided into two belts, the lower showing
images are very much alike and bear an inscription diamond-shaped rosettes, and the upper being
of V. S. 1312 (1255 A. D.).2 plain. The antarapatra is decorated with stepped diamonds. The kapota shows incision of lotus Devakulikās petals on the underside and the decoration of usual caitya-arch enrichment on the upper side.
Tryanga on plan the devakulikas have old remains
in the pitha, vedibandha and jangha. The pitha is The original door of the sanctum, now preser- made up of a bhitta, a jādyakumbha decorated with ved in the subterranean cella beneath the sanctum, usual caitya-arch device and a plain fillet with is of the catussakha type, consisting of patra, tipa, cippikā above. The vedibandha consists of a khura, Tāpastambha and räpa. At the base of the patrafakha a kumbha bearing caitya-arch ornament on the stands a female figure carrying water pot. The bhadras, a kalata, an antarapatra decorated with rabatakhas bear figures of musicians and dancers. stepped diamonds and a kapota carved with caityaBelow, the stambhasakhā displays a standing female arch motif. The jarigha is plain but for the sculpfigure carrying water vessel: above, it successi- tured niches on the bhadras and a gräsapatti on the vely carries four images of two-armed lalitāsana top. Each of these niches contains an image of goddesses. The goddesses hold varadamudrā and four-armed lalitasana god or goddess framed betpitcher in their hands, but in one instance she ween two segmented circular pilasters and sure bears sword and fruit. The stambhafakha is topped mounted by a caitya-arch pediment. The image by a ribbed round capital consisting of torus and on the south wall of the southern devakulika is padma. The uttarariga continues the decorations identifiable with goddess Cakreśvari, while that on of the patrašākha and the inner räpasakha, but above the east may be identified with Ambiká. The imthem it bears a sculptural panel depicting five age on the east wall of the northern devakulika is of images of padmāsana Jinas in projecting niches and Yakşa Brahmasänti, while that on the north is four images of käyotsarga Jinas in alternate recesses. mutilated.
THAN
JAINA TEMPLE
This is a small ruined temple with the sanctum alone having survived (Fig. 2). It faces north. From the remains of a few foundation layers it appears that originally the temple had a mandapa in its front.
About 7ft. high the sanctum is square on plan and is built of hewn blocks of rectangular ashlars. Its cubical wall has no ratha-projection.
In elevation it shows pitha, vedibandha, jangha, varandika and pharisanā. The pitha consists of only two plain bhittas. The vedibandha has a khura, a
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