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Description of Plates
139
57.
The second ceiling, in its central two rows placed one above the other, apparently bears the figures of 24 present Jinas' parents. The surrounding belts carry depiction of the five auspicious events in Arhat Pārsva's life, namely birth (preceded by 14 dreams that Jina's mother conventionally dreams), the lustral ceremony by Indra on Mt. Meru, renunciation, the upasarga-tormentation by Kamathāsura and the Jina standing with the protective canopy of the king of the nāgas, Dharanendra, next attainment of enlightenment, preaching in the Samavasarana, and salvation. The ceiling thus is interesting as a mythological narrative document.
The third ceiling is divided into three sectors, two square with a rectangular section in the middle, the one on the left depicts the life of Jina Aristanemi and central quadrant showing his Samavasarana. The right hand side depicts the main details from the life of Jina śāntinātha and likewise shows a centrally placed Samavasarana motif. The middle section has a framed circular hole which has lost the filler element, possibly a kola course with a central padmakesara. The triple strips above and below show figures in various actions. The quadrants are defined by carved plain ratnapattikā with fine floral buckles.
59.
This Samatala ceiling, in sequence the fourth, depicts the events of the life of Jina Mahāvīra beginning in the outer strip from the scene of the mother dreaming 14 auspicious dreams, followed by the transfer of embryo by HariNegameșa, the lustral ceremony of the baby Jina by Indra, Jina's wedding ceremony etc. In the inner strip are the next events of his renunciation and his practicing of austerities, visitations of afflictions (upasarga) and his attainment of enlightenment. The central rectangle perhaps depicts scenes of worldly enjoyment and consequent sufferings in hell. A round framed part of the centre has a depression due to the loss of the filler which may have been a circular kola with padmakesara. The figures in the ceiling are in fairly good relief and the dramatic tableaux are largely identifiable. A few of the characters bear label inscriptions below their feet on the thin borders.
60.
The fifth ceiling is composed more thoughtfully. The two outer strips and the innermost long and panelled rectangle are framed by thin plain ratnabandha almost regularly punctuated by floral buckles. The two outer strips show files of animals such as elephant, lion, boar, cavalier, and also bird figures, here and there interspersed with humans. The five square panels in the central
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