Some Early Jaina Temples in Western India

Author(s): M A Dhaky
Publisher: Z_Mahavir_Jain_Vidyalay_Suvarna_Mahotsav_Granth_Part_1_012002.pdf and Mahavir_Jain_Vidyalay_Suvarna_

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334 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME
ardharatna alternated with thakārikā, a feature fairly common with the Western Indian temples of that age and earlier.
On the janghā of the wall, the three principal niches are today found vacant. Each pratiratha face, and that which is on the same directional plane as the bhadra niche, shows a standing figure of a Kāyotsarga Jina with mālādharas hovering above; whilst the face on a plane at the right angle shows an apsaras in each case. The Dikpalas, as usual, take their position on the karnas. The salilāntaras are filled with vyāla figures, those of gaja- and simha- are clearly discernible. Above each vyāla is carved a bold visage of a grāsa. The bistriated varandikā above the janghå is simply treated. The rathikā above each bhadra harbours a Jina image.
The Gūdhamandapa has a featureless exterior. The large, fluted vase-and-foliage pillars of the octagon are doubtless original, though, the great ceiling they support is a substitution of a later date. The kola courses in the four vikarna (corner) vitānas are, however, original.
The patraśākhā of the saptaśākha doorframe of the sanctum has suffered from the recent mirror inlay. Next follow in sequence the vyalaśâkhā, gandharvaśäkhā, rūpastambha with Jina mātṣkā figures in panels, gandharvasākhā yet again, followed by vyālasākhā, the bāhyaśākhā (disfigured now with mirror setting) and the eighth adventitious mālādharaśākha. The entire Gūdhamandapa inclusive of pillars, ceilings and the doorframe is under thick coating of paints. The Mūlaprāsāda, on the other hand, has suffered both from plaster-coating and gaudy paints. The temple, though preserving old fabric, has lamentably lost its photogenic qualities.
Commenting on this temple, BHANDARKAR wrote: “The temple of Naulakhā is in plan like many Jain temples, and there is nothing particular here that calls for any notice. It is doubtless an old building that has undergone repairs. The most ancient part of the temple is the gudha-mandapa or closed hall, the pillars of which cannot be later than the 10th century. They are, however, vulgarly bedaubed with different paints.... and are thus deprived of their original beauty."62 As observed in the foregoing, only the interior of the Güdhamandapa (save its central ceiling) is original. Although BHANDARKAR is silent on the doorframe of the sanctum, it, too, is original. At the same time BHANDARKAR's utter non-reference to the Mūlaprāsāda is difficult to
62 BHANDARKAR (1908), p. 45.