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148
The Temples in Kumbhariya
the 12th century onwards as literary references prove. The earliest surviving examples of the actual representations are from the 13th century. They are only a few in number.
In the Kumbhāriyā instance, the pīthikā is also provided and is much cut up in its basal and elevational configuration. The Astāpada shows eight steps leading to two tiers of the Jina figures, three set on each of the four sides. Above this is the miniature Samavasaraña supporting the quadruple image of Adinātha. This is one of the prescribed/conventional ways of representing the Aştāpada.
129.
A typical lantern ceiling in the bhramantikā/pattaśālā of the śāntinātha temple. The middle square shows the vegetal decoration with a centrally placed stylized lotus.
130.
Between the front bhadra pillars and the pattaśālā's entry at the north and thus in the mukhālinda is carved, on the floor, a motif of rotating svastika, a convention to be once again met with only here in Pārsvanātha temple.
The Pārsvanātha Temple
131. Coming next to the Pārsvanātha temple, we may begin with the well-formed
śikhara on the prāsāda. Although it is devoid of the jāla decoration, it is still not without charm, particularly since it has good form. It uses the “karma' or multi-turreted class of śróga above the karņa and pratiratha buttresses. Cakreśvarī graces the bhadra-rathikā of the south. The karņāņdakas of the mūlamañjarī and urahśrngas, as is known in some rare cases, are circular instead of squarish, the skandhapatta- terminal of the sikhara body displays plain diamonds. And there is a dhvajādhara figure below the modern ‘kalābo' in which the flag-staff is inserted. The sikhara in later times has been carefully conserved.
132.
The sikhara, as seen from the south-east corner, lends the full view of its constituent elements—rathikās, karmas, tilakas, uraḥśộngas, pratyangas or quarter spires leaning along the urahśmngas' flanks etcetera.
133 The lower half of the main doorframe of the gūdhamandapa betrays & minuteness and intricacy of carving; but the figures have none of the 135. gracefulness of the examples of the preceding century. The carving on the
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