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Description of Plates
145
95.
The central karotaka ceiling of the rangamandapa, as viewed from below, incidentally reveals that the hall is slightly rectangular along its north-south axis.
96.
The Sabhāmandāraka karotaka-ceiling has the usual set of circular courses; but its impact is not as powerful as of the Mahāvīra temple's ceiling.
97.
Yet this view allows us to see the unfolding of the organized integration and rhythmic as well as systematic recession of its constituents.
98.
The kalpavallī or kāmalatā, also called ārmīvallī or 'creeper of foam,' shown here at the north and south soffits outside the circular field of the ceilings, is one of the few earliest instances of its kind. Samatala ceilings filled entirely with this motif look both gorgeous and very impressive as the surviving examples from the 12th to the 15th century demonstrate. Here this motif was invoked to correct the rectangularity of the hall reflected in the schema of roofing for the construction of the central ceiling which must maintain perfect circularity.
99.
The last illustration was the view of the kalpavallī depicted at the southern end. This picture shows the same motif as rendered at the northern end. Slight difference in detail can be discerned between the two otherwise very similar looking designs.
100.
The illustration shows the karotaka ceiling along with the kalpavallī carved at the northern soffit.
101.
This view, besides revealing the gajatālu and kola courses, shows a vidyādhara and two gandharva figures of the rūpakantha, the three figures fairly well-modelled.
102- These two pictures provide a balanced and intimate view of the karotaka 103. ceiling which looks more appealing and more efficient in design from this
angle.
104. The lambana-pendant looks like a highly schematized hibiscus flower
protruding from the centre.
105.
The ceilings covering the pārsvalindas or lateral aisles at the east and west, all of which, as in the Mahāvīra temple, are of Samatala class, but not so fine,
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