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On the middle of the stepwise pedestal it is carved a squire in squire design in which a small figure of lotus flower is seen. This design is probably a symbol of the school of art or the region or an emblem of the master sculptor.
On the front upper portion of the pedestal there is an inscription in Kannada script. It has been translated in English by Dr. Uma Kanth P. Shah, and published in SIM Bi-Annual Research Journal, 1970-71 (Vol. I & II, p.11-14):
The inscription states the fact that the Jaina image of chaurisa Tirthankara was carved to be made by Bopana, resident of the holy town Kopana and dedicated on the occasion of consumation of religious vows to a Jaina temple erected by Madana Dandanayaka of Mulasanga.
This standing Mahavira as kayotsarga pose, is seen with a halo under a richly carved umbrella, in the centre of the basalt (black) stone slab, and is in a cut-in-relief with high polish. The image is surrounded by a circular ring (see plate 3.). Four small and seated Tirthankaras, two in the upper portion near the shoulders and two in the lower portion near the feet of the main image with chatri on top are carved prominently. These four figures are seen in meditation posture in padmasana. A symbolical fly- whisk on either side is seen clearly between the head of Mahavira and the circular ring.
The Svetambara sect calls this five Jina sculpture pancatirthy pratima where as the image the Digambaras adorned them with the name pancha-parameshthins. The pedestal of this sculpture too designed as the Museum No. 72/XLII. It has also an inscription in Kannada script that has been translated by Dr. Shah as:
The inscription states that the image of Panchaparmesthi was sanctified on the occasion of the completion of vows by Devana, the senabova (Revenue Officer) of the capital Eramborage and a disciple of the preceptor Madhava Chandra; who belonged to Mulasangha desigana Pustaka gachha and Ingalea varabhi.
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