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The Structural Temples of Gujarat in a compartment parties of musicians, dancers etc. come to view, as for instances in one of the ceilings of Sitalāmātā at Vadnagar (Here fig. 209), at the old temple of Punarogadh 104 and at the Trinetreśvara temple at Than. 105
The Nāgadamana scene is depicted in the ceiling at Odadar (small Vişņu temple ) (Here fig. 213), Mul Madhevapur (SMTK. plt. LXXVII ), Prabhas Patan, 106 Abu (Vimalavasahi)107 and in Bhairava shrine near Kasangadh (Dist. Sabarkantha ). 108 In the examples from Manund (Manod) and Ahmedabad 109 Křisņa is replaced by Vişnu.
The scene of Nřisimhāvatāra is depicted in one of the ceilings of the corridor in Vimalavasahi temple at Abu.110 The Rasamandala scene depicted in the ceiling is met in Mangrol111 and on a large slab from Madhavpur.113 The highly ornate depiction of vidyādevis and yakşiņis in the ceilings are found in the Jain temples of Vimala and Tejapāla at Abu.
II. The second variety Kșipta-otaksipta and the third variety Udita ceilings follow the several order or rhythm (chandas ).,113 such as, Nābhichanda, Padmaka, Padmanabha, Kamalodabhava (i. e. Padmamandāraka ), Sabhamandaraka, Sabhāmārga etc.
104. CTG. fig. 8.
105. Ibid. fig 6. 106. A lower half of it is now preserved in Prabhas Patan Museum. 107. Tirtharāja Abu, pit. 29. 108. AFIS. plt. XX., fig. 43. 109. The slab depicting Nāgadamana scene is at present in the collection of B. J. Institute of Research & Learning. Ahmedabad. ( Here fig. 213), 110. CTG. fig. 13. 112. Now preserved in Junagadh Museum. 111. SMTK. plt. XCII. 113. Aparājitapracchā has narrated classification according to the rhythm (chhanda ) or order that the ceiling follows. The rhythm (Chhanda ) found in ceilings is of four types (1) Padmaka (2) Nābhichanda (3) Sabhāmārga and (4) Mandāraka (APPR chpt. CXCII). From the
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