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eighth century A D) show the goddess both with two and four arms and riding either a peacock or a swan The two-armed goddess holds a lotus and a manuscript, while the four-armed goddess (Mukhamandapa on west) shown a sruk, a lotus and a manuscript The figures of five Jajna Devalulikas at Osian (10th-11th century A D) invariably show the four-armed goddess riding a swan and as holding a manuscript and a lotus in two hands, and the remaining two showing Abhayamudra and a water-Vessel or Varadaksa and a book
The figures on Mahavira, Santinatha, Parsvanatha, Neminatha and Sambhavanatha temples at Kumbharia (Bansakantha, Gujarat), datable between mid 11tb and early 13th century A D, invariably show the four-armed goddess in Lalitasana and riding a swan She shows the Varada (or Abhaya-mudra or Varadakasa), a lotus, a manuscript (sometimes the two attributes being juxtaposed) and a water-vessel (or a fruit) In one of the instances from Santinatha temple (Navacaukı ceiling), the goddess is flanked by two beautiful dancers as well The figures on Mahavira temple at Nadol (11th century AD), both in Pali district of Rajasthan, show Sarasvati as seated either in Lalitasana or in Dhyana-mudra but without Vahana She bears Varada or Abhaya-mudra, a manuscript, a Vina and a watcr-Vessel (or a fruit)
The figures from Vimala Vasahi (latter half of 12th century AD) and Luna Vasahi (13th century AD) Mt Abu, Rajasthan and Ajitanatha temple at Taranga (Mahesana, Gujarat, 12th century AD) are particularly interesting since they exhibit the goddess with two, four, six, eight and even sixteen arms Besides the usual four-armed figures of Sarasvatı with swan as mount and Varada (or Abhaya-mudra), a lotus, a manuscript (sometimes sruk or Vina replacing lotus or manuscript) and a fruit (or a water-Vessel) in hands, Vimala Vasahi has two other such figures which deserve attention In one case, carved in southern bay ceiling, Sarasvati seated in Lalitasana on a Bhadra Pitha and holding Varadaksa, a spiral lotus, a manuscript and a water-Vessel, is accompanied by two male figures, standing close to her with folded hands These figures bear inscriptions, according to which the bearded figure to her right is Sutradhara Loyana, while the figure to left with a measuring rod is Sutradhara Kela The first seems to be the chief architect of the Rangamandapa, while the other was possibly the chief sculptor The present figure apparently suggests that Sarasvati here has been visualized as the goddess of fine arts The figure of 16-armed goddess, carved in a Bharamika ceiling, depicts her as sitting on a Bhadrasana in Lalita pose with swan and holding Varadamudra, a conch (suggesting her Vaisnavite character), a Vina (in two hands), a noose, keratri-mudra, a small stick (possibly measuring rod in two hands), a chain (in uppermost pair of hands), an indistinct object, a goad, the Abhayaksa, a fruit, a manuscript and a water--Vessel The goddess is joined by a six-armed dancing male figure on each side, thus suggesting command over musical power
