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JAINISM IN SOUTH INDIA the great disputant Akalanka, a native of this place. We have no means at our disposal to verify if the latter tradition has any independent locus standi of its own or to determine if it merely echoes the statements of such literary works as the Kathākośa and the Akalanka-charita. It is not again unlikely that this tradition might have derived its inspiration from yet another source of information which establishes the relationship of Akalanka with the Dēva Saṁgha of Mānyakhēța. While examining the antiquities of Aland we have noted the tradition asserting the foundation at Malkhēd of a pontifical seat of the Jaina teachers by Jinasēna Bhattāraka,” the reputed preceptor of the Rāshtrakūţa emperor Nřipatunga Amõghavarsha ( 9th century A. D.).
Now we may concentrate our attention on the antiquities proper of the place. Leaving aside stray fragments of architectural structures of the bygone age, such as door jambs, lintels, etc., which are found here and there in a small number, since they lead us to no definite results in our quest, we shall proceed to the Nēminātha Jinālaya, the only surviving relic of the Jaina faith. The edifice is neither stately nor conspicuous in dimensions. Still it creates an impression of solid and decent specimen of good architecture. The temple seems to have undergone more than one renovation. Parts of the structure and most of the images deposited herein bear the stamp of archaic style. Taking all aspects into account we may broadly ascribe the period of the 10th to the 13th century as the age of the temple.
Apart from the main image of Nēminātha Tirthakara in the sanctum, the temple is a repositary of a large number of sculptures. These consist of the Tirthakaras, their Sāsanadēvatās and other divinities. They are deposited in the central hall and in the verandah of the temple. Most of them are of fairly big size and nicely executed. I was not able to examine them in detail on account of insufficiency of light and other difficulties. So I shall mention some of them here in a general way. The huge image of Pārsvanātha placed in the verandah is handsomely imposing. It is attended by the Yaksha pair on its two sides, Dharaņēndra and Padmãvati. Inside the central hall were found among others the following sculptures: Chauvisa Tirthakara and Nandiśvara; a twoarmed Yakshiņi which may be identified either with Ambikā, the Sāsanadēvatā of Nēminātha or with Siddhāyikā, that of Mahāvīra; Sarasvati or Śrutadēvi and Bhairava or Kshētrapāla. A representation of the Gañadhara-valayayantra was also noticed here.
Even these cursory details are enough to show that all these sculptures representing several deities of the Jaina pantheon could not have originally
1 S. R. Sharma: Jainism and Karnatak Culture, p. 30. 2 This Jinasēna appears to have belonged to the Sēna gapa. He is to be distinguished
from his namesake author of Harivaṁsapurána, who was his contemporary and belonged to the Pannāta Samgha; Ind. Ant., Vol. XV, p. 142.
