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The Temples in Kumbhariya
Nābhicchanda class with a central padmakesara (Plate 157). But several are of the Nābhimandāraka class (Plates 158, 159, 161, 162), while that before the bhadra-prāsāda is of the Sabhāmandāraka class, doubtless on a smaller scale, showing dancing and music making figures encircling the padmakesara of its dvi-kolaja lambana (Plate 160). The corresponding ceilings at the pattaśālā's eastern section and the right wing of the northern section, however, are made of simple or leafy karnadardarikās, and of little artistic merit.
The devakulikās of the two wings of the northern section of the cloister are genuine cells and not the apological niche-formed devakulikās.
In front of the northern bhadra of the rangamandapa, on the mukhālinda floor, is carved a rotating svastika symbol (Plate 163) as in the Sāntinātha temple. We may note here the floor-sketches of a temple and another large sketch of the elevation of a śikhara in the western aisle and of the ceiling types, at two places in the eastern aisle.
The balānaka-hall has plain dwarf pillars above the āsanapatta and plain polymorphic columns at its rear end (Plate 164); and, because of its presence, the interior of the Pārsvanātha temple is somewhat better lighted than the preceding two temples.
The exterior elevation of the internally decorated bhadraprāsāda in the western row of the devakulikās is also ornamented. It is illustrated in two Plates (165, 166), one of the period before, and the other after the recent addition of the sikharas for the devakulikās neighbouring the bhadraprāsāda. The bhadraprāsāda pillars bear figural niches on its janghā. The bhadraprāsāda has a sikhara of good form showing also the finely done jāla pattern.
The Neminātha Temple
The temple to Arhat Aristanemi alias Jina Neminātha (Plates 5, 6) is the largest building and by virtue of its central situation and size it is today, as perhaps was in the medieval period also, the main focus as well as from the visiting pilgrims' point of view the most sacred fane of the assemblage of Jaina buildings at the site. Chronologically, however, it is the fifth in sequence, and from the standpoint of art, not the best one even when architecturally it is the more monumental of the group.
About the founding and founder as well as the consecrator of this temple, fairly dependable information is available from two 15th century sources, namely
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