View from the rear side, west-facing, of the Suswani Mata Temple consisting of the newly added walls surrounding it along with the Kera tree to the south, and other trees that are considered sacred by devotees. The original Latina shikhara (mono-spired north Indian variety of temple superstructure) can also be seen.
The fifth oval painting (in clockwise order) in the lower/outer circle in the ceiling of the mandapa (pillared hall) is the episode where Jinadatta Suri saved the life of an unwell child brought to him by two women. The episode takes place outside a haveli, probably near the place where the acharya (those who impart knowledge) is meditating. The acharya is shown blessing the child by placing his palm on the child’s head. The inscription reads, ‘Shri Jinadatta Suriji balak jivayo.’
The first oval painting (in clockwise order) in the lower/outer circle in the ceiling of the mandapa (pillared hall) is the depiction of the meeting between Jain acharya (those who impart knowledge) Shri Jinachadra Suri and the Mughal Emperor Akbar. He was invited to the Mughal court through Akbar’s court official Karamchand Bacchawat, who was from Bikaner. The painting has havelis (mansions) in the background, and the two leaders greet each other at the forefront. It is also said that Karamchand went to receive Jinachandra Suri on the outskirts of the city. The inscription reads, ‘Shri Jinadatta Suriji Akbar Badshah.’
Seen here is another face of the sarvatobhadra (open from all sides), which features a depiction of a Ganesha icon. The four-handed image is depicted in a sitting posture, although the specific attributes of the icon are difficult to identify. The niche containing the Ganesha icon is topped by a pyramidal shikhara (superstructure). The Ganesha icon is characterized by long elongated ears, and the trunk curls up to rest on a bijapuraka (citron fruit).
The hero stone slabs feature depictions of human figures in the upper half, while the lower half shows faint traces of inscriptions. Though illegible, closer examination suggests the inscription were likely written in the Devnagari script. The content of the inscription remains unknown, but typically inscriptions on hero stones detail of the deceased and the time of the craving. Palaeographically, the script can tentatively be placed within a broad timeframe from 12th to 15th centuries CE. However, due to the deteriorated condition of the stone slabs, no definitive conclusions can be drawn.
In the second small panel in the hero stone, positioned just below the row depicting the hero, stand two female figures with folded hands in namaskar mudra (salutation gesture). Their upright posture is emphasized by their drapery consisting of a decorated lower garment. The female figures represent celestial damsels believed to have arrived to escort the hero to heaven.