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166 : SHRI MAHAVIRA JAINA VIDYALAYA GOLDEN JUBILEE VOLUME
in the National Museum, New Delhi. The sculpture must be assigned to a period c. 1000-1050 A.D.
The small figure of a female worshipper on the lower end of the left pillar deserves notice as a fine specimen of miniature figure and on account of the mode of representing the scarf or odhani covering the head and the back.'
The inscription on the pedestal reads as follows:
(३) संवत् १३७१ वर्षे माहसुदि १४ सोमे श्रीमदूकेशवंशे वेसटगोत्रीय सा०सलषणपुत्र सा०आजडतनय सागोसल भागुणमतकुक्षिसंभवेन संघपति सा आशाधरानुजेन सान्लूणसिंहाग्रजेन संघपतिसाधुदेसलेन पुत्र सा०सहजपाल सा०साहणपाल सा०सामंत सा०समरा सा०सांगणप्रमुखकुटुंबसमुदायोपेतेन निजकुलदेवीश्रीसच्चिकामूर्तिः कारिता ।
यावद् व्योम्नि चन्द्राकौं यावद् मेरुमहीधरः ।
aren sftararata: 11
The inscription shows that this image of Saccikādevi was set up by Samghapati Sādu Desala, the elder brother of Luñasimha, and younger brother of Aśādhara. He was son of Ajada and grandson of Salaksana and belonged to Vesața-gotra of Ukeśa lineage. He, along with other members of the family and his sons Sahajapāla, Sāhanapăla, Samanta, and Sāngana, set up this image of the family deity Saccikādevī, in the year 1371 V. S. (= 1314 A.D.)
There is a shrine of Saccikādevi at Osia in Rajasthan. The Ukeśa lineage is named after this ancient town which was known as Ukeśa or Upakeśa-pura. The Oswala baniās are named after this Osia and are supposed to have hailed from this town.
At Osia also, the Saccikādevi image represents the form of Mahisamardini.
Fig. 4 represents statues of Minister Samarasimha and his wife Gugān. This is an important sculpture of the famous “Samarā-saha" who renovated, in V. S. 1371, the various shrines at satruñjaya. A detailed account of this minister, his lineage and his family is available in Nābhinandana-jinoddhāra-prabandha.
The minister stands with folded hands, while his wife carries a purse (money-bag) in her right hand and a cup or bowl containing sandal-wood and saffron-paste for worship is held in her left hand.
The dress and ornaments of both the figures deserve notice.
Desala, referred to in the inscription on fig. 3 above, is the father of this Samarasimha, The inscription on fig. 4 runs as follows:
