Jinamanjari 2000 09 No 22

Author(s): Jinamanjari
Publisher: Canada Bramhi Jain Society Publication

Page 43

caturmukha Jina, positioned at the centre and apex of the samavasarana yet facing the four directions, extends the holy doctrine to pilgrims coming from all corners of the earth.
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Fig. 14 Svetambara samavasarna shrine, Strunjaya, Palitana, Southern Gujarat, 1439 C.E.
Legacies of Early Architectural Forms
The samavasarana elements seen in the Kuşāņa artefacts of Mathurā are reflected in later works of Jaina art. A Svetāmbara samavasaraña in the ceiling of Vimala Vasahī, Mt. Abu inherits much from the design of the 'proto-samavasarana' āyāgapaļas. (fig. 9) Even the Siddhacakra echoes the mandala form of these early plaques. (fig. 10) Two-dimensional Digambara samavasaraņas often make evident the four mānastambhas at each of the four gates. (fig. 11) The caturmukha Jina image in the shrine atop the mānastambha marks the entrance to Digambara Jaina temples throughout India today. Two such examples include the Digambara temple at
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