In spite of this threefold combination the later Jaina texts3 use the words parikara as connoting the entire piece surrounding an image toravN referring to the arch-like portion of the parikara and kalaga meaning the ornament surmounting the torana. [...] I a2 2 Pedestal of the image of a standing Jina together with a portion of the parkara and remains of the feet of the Jina. [...] The parikara and the position of four Jinas as in I b2 21 except that there are no musicians by the side of the seated Jinas and there is a figure of Cakre§vari on the pedestal. [...] Silver inlay on the kala'sa on the eyes and chest cushion; and the cognizance of the central Jina ; and on the chest of the seated Jinas and to their right and left on the frame and on the chest of standing Jinas. [...] Drops of silver inlay on the headress eyes hdra and mead of the devi and the eyes of the lion.
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Segment | Pages | Author | Actions |
---|---|---|---|
Frontmatter
|
i-i | unknown | view |
Jaina Iconography
|
497-520 | H.D. Sankalia | view |
Career of Jalaluddin Firuz Khalji
|
521-550 | N.B. Ray | view |
A Note on Teleology and Linguistics
|
551-553 | C.R. Sankaran | view |
The Direction Of The Mohenjo-Daro Script
|
554-558 | Alan Ross | view |
The Formation of My Child’s Language
|
559-565 | Siddheshwar Varma | view |
Notes on an Old Pashto Manuscript Containing the Khair-Ul-Bayān of Bayāzīd Ansarī
|
566-574 | G. Morgenstierne | view |