Jinamanjari 2000 09 No 22

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

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along with the mānastambha at Humcha, under the spiritual guidance of ācārya Vijaya Bhattāraka who has been extolled in the inscriptions as Pandiata Parijāta. A number of inscriptions from the region make references to this temple and glorify it as Urvitilaka Jinalaya.
Of the many art architectural monuments of the Sāntara times, manastambha of the panchakuta basadi is a testimony to the Sāntara passion for art and architecture. The pillar is a forty feet tall structure and is erected over two tiers of decorated stone platform.
The Mānastambha
It is a monolithic pillar and most interesting piece of work in the region. It has square shape to a certain height, and then it becomes octagonal and finally it is circular at the top. There is a niche surmounting the pillar with seated figure each facing one of the four directions. The images enshrined in the niche are the images of yaksas, seated in the ardhaparyānkāsana, holding padmas and phalas. The Mahāpūrāņa gives the description and notes that four images of the Jinas or caaturmukha Jinas are to be placed in the niches. Particularly in Karnataka, these instances are found where the images of yakśas either single or caturmukha are placed in the niches. The system thus signifies the popular yakśa worship in the Jain socio-religious practice.
The lower tier of the platform has a view of a throne supported by eight carved elephants - four in the corners and the other four at the cardinal points. In between these elephants, there are on all four sides relievos of lions in different postures. (Fig.1)
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Fig. 1. Plate of the mānastambha. Astadikpalakas moving in procession.
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