[Pramāṇa](https://indike.org/pramana/) › [Studies](https://indike.org/pramana/ins) › [Architecture and art](https://indike.org/pramana/ins.art) › [Jain Miniature Paintings from Western India](https://indike.org/pramana/ins.art.chandra-1949) › c6.415 # Jain Miniature Paintings from Western India c6.415 Jain Miniature Paintings from Western India c6.415 - **Language:** English ### [c6.415](https://indike.org/pramana/ins.art.chandra-1949.c6.415) (3) After a blank space of twenty-six inches, the third picture, measuring 4′ 9″, in length, commences. The \*śikhara\*, measuring 2 ft. with the flag, is decorated profusely with floral scrolls and other designs. At the top, there is a panel on red ground, representing seven human figures, five men and two women. They are yellow-coloured and wear white garments. Mr. Sarabhai Nawab identifies these figures as those of the five Pāṇḍavas, their wife Draupadī and their mother Kuntī, and, on the strength of his identification, recognises in the drawing the representation of Śatruñjaya, the famous place of Jain pilgrimage. It is related in Jain literature⁹ that the five Pāṇḍava brothers, together with their wife and mother and crores of Jain monks, attained salvation on Śatruñjaya. A temple at Śatruñjaya contains their marble images. Below the above mentioned panel is depicted Indra, but the rest of the scene is to obliterated that identification is not possible. There is an yellow flag attached to the spire, and the principal and subsidiary śikharas are mounted with kalaśas and are beautifully decorated. On the left side of the śikhara, there are two scenes, one of which is entirely defaced, while in the second, only a part of a cobra is seen. On the strength of this, Mr. Sarabhai identifies it with the temple of Rāyanpaglā which exists even to-day at the back of the main temple of Ṛṣabhanātha at Śatruñjaya, and which has nearby a panel representing a peacock and snake. In the next panel, there is the representation of a tank, near which stands a man; probably this is the representation of the Sūryakuṇḍa on Śatruñjaya. Then, there is the temple of Ṛṣabhadeva decorated with the figures of attendants, gods, navagraha, etc. To the left of this temple is the temple of Vāsupūjyasvāmī, the twelfth Tīrthamkara. His colour is red, and his symbol, the buffalo, is also represented on the pedestal. Even to-day, in the principal temple of Ṛṣabhadeva at Śatruñjaya, the image of Vāsupūjyasvāmī exists. Below the navagraha panel is situated the entrance to the temple on whose steps is shown a worshipper with folded hands. Even to-day, from the steps leading to the sanctum of Ṛṣabhadeva, a worshipper is able to see the image. From these details, it is evident that the painter had an intimate knowledge of the principal temple of Śatruñjaya. The maṇḍapa in front of the temple is paved with square slabs, and, immediately below, the merlons indicate the defence wall of the fort. - [Previous: c6.414](https://indike.org/pramana/ins.art.chandra-1949.c6.414) - [Next: c6.416](https://indike.org/pramana/ins.art.chandra-1949.c6.416) - [Up: c6](https://indike.org/pramana/ins.art.chandra-1949.c6) ## Cites (2) - [Nāyādhammakahāo](https://indike.org/pramana/in.jaina.sveta.anga.6) — Sudharman, Ardhamāgadhī Prakrit - [Vividhatīrthakalpa](https://indike.org/pramana/in.jaina.post.prabandha.tirtha.vividhatirthakalpa) — Jinaprabhasūri, Sanskrit --- Source: [https://indike.org/pramana/ins.art.chandra-1949.c6.415](https://indike.org/pramana/ins.art.chandra-1949.c6.415) · Pramāṇa