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- Descrição:
- View of the interiors of the mandapa (pillared hall) of the Suswani Mata Temple. Though the exteriors of the entire mandapa are renovated, the interiors are survived with four pillars which form part of the original plan of the temple. These four pillars are in front of the garbhagriha (sanctum sanctorum) entrance of the temple. The mandapa is also linked to the exterior of the mulaprasada (main shrine). One can see the pradakshina path (circumambulatory path) that runs along the garbhagriha.
- Palavra-chave:
- Jodhpur Circle, Raja Mayurdhwaj, Latina Nagara , Morkhana, Temple, Parvati, Temples of India Project, Suswani Mata Temple, Bikaner, Architecture, Maru Gurjara, 10th century CE, Suswani Mata , Archaeological Survey of India (ASI), Rajasthan, and Suswani Maa
- O Criador:
- Temples of India Project Team
- Contribuinte:
- Swapna Joshi
- Owner:
- tushar1.ayyar@jioinstitute.edu.in
- Editor:
- Jio Institute
- Localização:
- Bikaner
- Data carregada:
- 01-06-2024
- Data modificada:
- 01-06-2024
- Rights Statement Tesim:
- In Copyright
- Resource Type:
- Image
-
- Descrição:
- Seen here is a sculpture of a female on the south-facing (inner) side of the pillar in the northwest corner of the mandapa (pillared hall) of the Suswani Mata Temple. It is said that there used to be an inscription below this sculpture which is probably not visible now because of the later added paint. This inscription was supposed to be the sole epigraphical evidence dating the construction of the temple in the 10th century CE. A sculpture carved in deep relief (probably a female) is shown sitting on a pedestal. The sculpture is two-handed only and is shown wearing a mukuta (crown).
- Palavra-chave:
- Jodhpur Circle, Suswani Mata , Latina Nagara , Morkhana, Temple, Parvati, Temples of India Project, Suswani Mata Temple, Bikaner, Architecture, Maru Gurjara, 10th century CE, Raja Mayurdhwaj, Archaeological Survey of India (ASI), Rajasthan, and Suswani Maa
- O Criador:
- Temples of India Project Team
- Contribuinte:
- Swapna Joshi
- Owner:
- tushar1.ayyar@jioinstitute.edu.in
- Editor:
- Jio Institute
- Localização:
- Bikaner
- Data carregada:
- 01-06-2024
- Data modificada:
- 01-06-2024
- Rights Statement Tesim:
- In Copyright
- Resource Type:
- Image
-
- Descrição:
- A dozen architectural fragments, mainly consisting of hero stones (memorial stones), along with some pillar and sculptural fragments. The hero stones were installed here after being found scattered in the temple premises and the vicinity of the village. Today these are propitiated as ‘veeron ke pathar’, depicting the journey of the hero (veer), through different panels, in whose memory the steles were installed.
- Palavra-chave:
- Latina Nagara , Temple, Raja Mayurdhwaj, Jodhpur Circle, Morkhana, Rajasthan, 10th century CE, Parvati, Bikaner, Architecture, Archaeological Survey of India (ASI), Maru Gurjara, Suswani Mata Temple, Suswani Mata , Suswani Maa, and Temples of India Project
- O Criador:
- Temples of India Project Team
- Contribuinte:
- Swapna Joshi
- Owner:
- tushar1.ayyar@jioinstitute.edu.in
- Editor:
- Jio Institute
- Localização:
- Bikaner
- Data carregada:
- 01-06-2024
- Data modificada:
- 01-06-2024
- Rights Statement Tesim:
- In Copyright
- Resource Type:
- Image
-
- Descrição:
- Seen here is the back, west-facing elevation of the shikara (superstructure) of the Suswani Mata Temple. The shikhara is composed of a main central band flanked by two slender bands on either side. Originally built in stone, it has been painted later.
- Palavra-chave:
- Latina Nagara , Temple, Raja Mayurdhwaj, Jodhpur Circle, Morkhana, Rajasthan, 10th century CE, Parvati, Bikaner, Architecture, Archaeological Survey of India (ASI), Maru Gurjara, Suswani Mata Temple, Suswani Mata , Suswani Maa, and Temples of India Project
- O Criador:
- Temples of India Project Team
- Contribuinte:
- Swapna Joshi
- Owner:
- tushar1.ayyar@jioinstitute.edu.in
- Editor:
- Jio Institute
- Localização:
- Bikaner
- Data carregada:
- 01-06-2024
- Data modificada:
- 01-06-2024
- Rights Statement Tesim:
- In Copyright
- Resource Type:
- Image
-
- Descrição:
- The painting in the inner/upper circle in the ceiling of the mandapa (pillared hall) likely depicts the story of Chandakaushika Nag and Mahavir. According to the tale, as Mahavir travelled through a forest, a snake named Chandak blocked his path. However, Mahavir instead of being scared of him stood at the place firmly. Chandak bit the Tirthankara, yet the latter remained calm, intending no harm to the snake. This story intends to teach everyone the importance of controlling anger and cultivating compassion. Mahavir has a divine halo behind his head, painted in golden colour. A temple dedicated to the snake is shown at the background of the painting. The inscription from this painting is not entirely legible, but it certainly includes the name of Mahavir Swami.
- Palavra-chave:
- Rao Lunkaran, Bikaner, Rajasthan, Seth Bhandasar Jain Temple, Rathore Dynasty, Temple, Bada Bazaar, 16th century CE, Bhanda Shah ka Jain Mandir, Tirthankara, Raos of Bikaner, Sumatinatha, Shekhari Style of Temple Architecture, Architecture, and Jain
- O Criador:
- Temples of India Project Team
- Contribuinte:
- Swapna Joshi
- Owner:
- tushar1.ayyar@jioinstitute.edu.in
- Editor:
- Jio Institute
- Localização:
- Bikaner
- Data carregada:
- 31-05-2024
- Data modificada:
- 31-05-2024
- Rights Statement Tesim:
- In Copyright
- Resource Type:
- Image
-
- Descrição:
- The fourteenth oval painting (in clockwise order) in the lower/outer circle in the ceiling of the mandapa (pillared hall) is another story about the miracle of Jinadatta Suri. Once, somewhere in Gujarat, with the evil intent of troubling the Jains, some people placed a cow in front of the Jain Temple. Jinadatta Suri, using his powers, placed the cow in front of the Shiva Temple. Interestingly, the Hindu temple, with a Shiva linga inside, is shown with a domical spire, while the Jain Temple is shown with a Tirthankara enshrined in it, featuring a multi-spired roof. The painting includes two cows, one sitting in front of the Jain Temple, and the other standing in front of Jinadatta Suri. Jinadatta presumably also restored life to the cows. A disciple accompanies him. The inscription reads, ‘Shri Jinadatta Suri ji Gavu ji la hi.’
- Palavra-chave:
- Rao Lunkaran, Bikaner, Rajasthan, Seth Bhandasar Jain Temple, Rathore Dynasty, Temple, Bada Bazaar, Architecture, Bhanda Shah ka Jain Mandir, Tirthankara, Raos of Bikaner, Sumatinatha, Shekhari Style of Temple Architecture, 16th century CE, and Jain
- O Criador:
- Temples of India Project Team
- Contribuinte:
- Swapna Joshi
- Owner:
- tushar1.ayyar@jioinstitute.edu.in
- Editor:
- Jio Institute
- Localização:
- Bikaner
- Data carregada:
- 31-05-2024
- Data modificada:
- 31-05-2024
- Rights Statement Tesim:
- In Copyright
- Resource Type:
- Image
-
- Descrição:
- The sixth oval painting (in clockwise order) is in the lower/outer circle in the ceiling of the mandapa (pillared hall) of the Bhandasar Temple. Here is another episode depicting the acharya’s (those who impart knowledge) miraculous powers in saving lives. Two disciples are shown seeking help from the acharya, who is then depicted granting them the necessary assistance. The inscription reads, ‘Shri Jinadatta Suriji anas ro ji vayo.’
- Palavra-chave:
- Rao Lunkaran, Bikaner, Rajasthan, Seth Bhandasar Jain Temple, Rathore Dynasty, Temple, Bada Bazaar, Architecture, Bhanda Shah ka Jain Mandir, Tirthankara, Raos of Bikaner, Sumatinatha, Jain, 16th century CE, and Shekhari Style of Temple Architecture
- O Criador:
- Temples of India Project Team
- Contribuinte:
- Swapna Joshi
- Owner:
- tushar1.ayyar@jioinstitute.edu.in
- Editor:
- Jio Institute
- Localização:
- Bikaner
- Data carregada:
- 31-05-2024
- Data modificada:
- 31-05-2024
- Rights Statement Tesim:
- In Copyright
- Resource Type:
- Image
-
- Descrição:
- The story of the painting in the inner/upper circle in the ceiling of the mandapa (pillared hall) revolves around Mahavir Swami's stringent fasting conditions, which required specific circumstances for accepting food. Chandanbala, formerly known as Princess Vasumati, fulfilled these conditions despite enduring hardships as a slave after being separated from her royal family. The haveli (mansion) in which the princess is depicted sitting reflects significant European architectural influence. Mistreated by a merchant’s wife, Chandanbala’s compassionate nature led her to offer lentils to Mahavir Swami, breaking his prolonged fast. This act of devotion resulted in her liberation from chains and being adorned with celestial riches. Recognized as Princess Vasumati, she was warmly received back into royalty by King Shaitanik and Queen Mrugavati, eventually receiving spiritual initiation from Mahavir Swami. The inscription reads, ‘Chandanbal Mahavir Shwami.’
- Palavra-chave:
- Raos of Bikaner, Jain, Shekhari Style of Temple Architecture, Tirthankara, Architecture, Bhanda Shah ka Jain Mandir, Rathore Dynasty, Sumatinatha, Rao Lunkaran, 16th century CE, Rajasthan, Temple, Bikaner, Seth Bhandasar Jain Temple, and Bada Bazaar
- O Criador:
- Temples of India Project Team
- Contribuinte:
- Swapna Joshi
- Owner:
- tushar1.ayyar@jioinstitute.edu.in
- Editor:
- Jio Institute
- Localização:
- Bikaner
- Data carregada:
- 31-05-2024
- Data modificada:
- 31-05-2024
- Rights Statement Tesim:
- In Copyright
- Resource Type:
- Image
-
- Descrição:
- The painting in the inner/upper circle in the ceiling of the mandapa (pillared hall) represents Chaude Rajlok, a concept in Jain traditions and cosmology that signifies four celestial realms or heavenly abodes. These realms are regarded as higher spiritual dimensions in Jainism, representing stages of spiritual evolution and attainment of purity, leading to liberation from the cycle of birth and death. The painting has a pyramid with a Tirthankara positioned at its apex. The inscription reads, ‘Chaude Rajlok.’
- Palavra-chave:
- Raos of Bikaner, Jain, Shekhari Style of Temple Architecture, Tirthankara, Architecture, Bhanda Shah ka Jain Mandir, Rathore Dynasty, Sumatinatha, Rao Lunkaran, 16th century CE, Rajasthan, Temple, Bikaner, Seth Bhandasar Jain Temple, and Bada Bazaar
- O Criador:
- Temples of India Project Team
- Contribuinte:
- Swapna Joshi
- Owner:
- tushar1.ayyar@jioinstitute.edu.in
- Editor:
- Jio Institute
- Localização:
- Bikaner
- Data carregada:
- 31-05-2024
- Data modificada:
- 31-05-2024
- Rights Statement Tesim:
- In Copyright
- Resource Type:
- Image
-
- Descrição:
- The tenth oval painting (in clockwise order) in the lower/outer circle in the ceiling of the mandapa (pillared hall) is an episode from the life of Jinadatta Suri. It is said that he subdued the bavan (fifty-two) Bhairava pirs (spiritual guides), who eventually became his servants. Jinadatta Suri is shown sitting in a van (forested area), and the four pirs representing the fifty-two Bhairav pirs are dressed like Hindu deities. As suggested by Lawrence Babb, this is indicative of the tussle between two religious factions, the Jains and the Shaivas. The inscription reads, ‘Shri Jinadatta Suri Ji 52 bir bulaye.’
- Palavra-chave:
- Rao Lunkaran, Bikaner, Rajasthan, Seth Bhandasar Jain Temple, Rathore Dynasty, Temple, Bada Bazaar, 16th century CE, Bhanda Shah ka Jain Mandir, Tirthankara, Raos of Bikaner, Sumatinatha, Jain, Architecture, and Shekhari Style of Temple Architecture
- O Criador:
- Temples of India Project Team
- Contribuinte:
- Swapna Joshi
- Owner:
- tushar1.ayyar@jioinstitute.edu.in
- Editor:
- Jio Institute
- Localização:
- Bikaner
- Data carregada:
- 31-05-2024
- Data modificada:
- 31-05-2024
- Rights Statement Tesim:
- In Copyright
- Resource Type:
- Image