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Description of Plates
149
134.
profile of the central mandāraka projection and the flanking large grāsamukhas are good examples of craftsmanship of that age. The illustration shows the upper section, including the uttarangadoor-lintel-of the gūdhamandapa, where the quality of the figures is as questionable as at the udumbara or doorsill. Still above is a patta showing Jina's mother dreaming the conventional 14 auspicious dreams. The carved vedikā at the west side of the porch of the trika. The quality of carving here is somewhat inferior to what is noticeable in the two earlier temples discussed. The niched figures of divinities are very visibly bad as works of art.
136.
137.
The khattaka in the west wing of the trika, located at the right side of the doorway (spectator's viewpoint). Its shape is tolerably nice from the formal standpoint.
138.
The east side vedikā of the porch of the trika looks somewhat better for its details carving compared to the corresponding one on the opposite side (Plate 136).
139. As in the case of the Mahāvīra temple, the pair of the highly carved pillars of
the trika-porch act as bhadra columns of the rangamandapa. They support an āndola- torana. That way of planning and designing has succeeded in
generating elegance. 140. Same pillars as viewed from the northeast. The toraṇa adds gracefulness to the
elevation.
141.
The image of Apraticakrā carved in the janghā of one of the porch pillars of the trika reflects the quality of hieratic sculptures of the time, strictly formal and rule-bound. The belt of eight figures above the janghā shows Vidyādevīs etcetera.
142.
The rangamandapa as it appears from the trika. Outside the northern limit and beyond the front aisle is seen the opening of the nāla-tunnel concealed in darkness since its opening is closed. Above it lies the balanaka hall, seen in the picture as under strong early afternoon sun light. The view of the rangamandapa from the middle of the western aisle. The foreshortening of space experienced in the previous picture is absent in this one. The full amplitude of the hall is clearly felt from this vantage point.
143.
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