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46
MAULIK HAJARNIS
SAMBODHI-PURĀTATTVA
most part of the kumbhaka has amorous couples on the subsidiary offsets. However they are not as prominent as the ones at Khajuraho. The upper corners of each offset of the kumbhaka have vegetal geometrical design.
The most important part of the mandovara is the janha, which is a broad band of sculptures of full length. The janghā of the Mandovara, possesses sculptures throughout the exterior wall of the garbhagrha as well as the antarāla. The bhadra gavāksas contain different forms of Śiva as well as images of Ganeša, kārtikeya and bhairava images. The karna offsets of the garbhagrha possess Apsarās and dancers, in their janghā portion as shown here :
Here, a beautiful Apsarā in a standing position is shown. Her posture is pleasing and delicate. The face and two hands are badly damaged. But her right hand is partially seen, in an uplifted position while the other hand seems to be downwards. The hairs are beautifully tied to form a chignon. She is with a full breast, slim waist. Her genital organ is also profusely carved. The left leg is slightly lifted; seemingly to support her dancing profile. She is decked with ornaments. She is wearing a "Graiveyaka' (necklace). The second necklace has a string suspended between the breasts. She is wearing 'Keyur' in the arms and anklets in her legs.
Janghā portion of the
Karna offset
Full size Vyāla figures are absent at Galateśvara but in a smaller scale they are depicted at several places. Gaja-Makara-Vyāla trio is a continued tradition in Indian art. Vyāla appears in a great variety in medieval times. They differ in few aspects in southern and northern India.
The Vyāla is known in Vāstu texts as Varāla (Ka), Virala and Viralika. The Viralika is referred to in Vrksāranava Vāstu text from Rajasthan in context of Jain parikara. In Gujarat it is rendered with Kirtimukha or Grāsa-face. .
