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A century later, the Adinath temple was built immediately to the
north of the Parsvasnatha Temple. It is a small Nirandhara temple
of which only the sanctum and vestibule have survived. The shikhar
of the tempale is plain and simple with an elegant and graceful
Kalash (auspicious pitcher) on the top. It may be compared with
any of the invincible peaks of he sacred Mount Kailash which has
the privilege of being the seat of Lord Shiva. The sanctum of the
temple is quite simple and the Vedika (alter) seems to have been
built at some later stage. The roof has been built with a
Padmashila (lotus like stone giving much beauty to the sanctum.
To the sculpture of this temple, the craftsmen have been
marvelously successful in imparting expression to various emotions
in stone. On the southern wall, there is a figure of a women, who
has received a letter with sad news. The letter received is
clearly visible in one f her hands and the grief caused by the
message finds expression in her face and the other hand. On the
outer wall of the temple, near about the starting point of
Parikrama (circumambulation) in themiddle row of figures, there
exists a remarkable Apsara image of a female dancer.
The smartness of her body and te restlessness of her feet, the
vigorous, dynamic movement all have been so aptly carved out. The
figure is so attractive that one is reminded of the famous dancer
Nilanjana in the court of Lord Adinath. Among these charming
figures of Apsaras, the figures of Shashan devis, Yakshines and
Vidyadevis at their appropriate places add much charm, meaning and
symbolism. Of these Apsara figures, the one looking into the
mirror and applying collyrium in the eyes and the other that of a
mother kissing her child are remarkable for their exquisite finish
and artistic merits. Nayikas, Kaminis, Bhaminis, the various
categories of women are depicted in a very dignified and graceful
manner and their workmanship is very good
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