One of the most well-known stories of the miracles of Jinadatta Suri, the eleventh oval painting (in clockwise order) in the lower/outer circle in the ceiling of the mandapa (pillared hall) depicts this episode of the story of sixty-four yoginis. The story takes place in Ujjain. Once, Jinadatta Suri was amidst a religious discourse when he foresaw that sixty-four yoginis were coming his way to disturb the gathering. The yoginis arrived disguised as laywomen. Jinadatta Suri asked his disciples to spread sixty-four mats for the yoginis, and using his powers, the acharya (those who impart knowledge) glued the yoginis to the mat. This way, the yoginis were compelled to attend the religious discourse and eventually became disciples of Jinadatta Suri. According to Lawrence Babb, this episode depicts the Jain attempt to tame the tantric goddesses. The inscription reads, ‘Shri Jinadatta Suriji 64 joganiya saji.’
Painting of Parshvanath Tirthankara on the wall flanking the side entrance doorways of the mandapa (pillared hall) of the Bhandasar Temple. Standing on a hooded snake, Parshvanath is shown emerging from the mouth of the snake amidst water. He has four attendants on either side The inscription reads– ‘megh malinapa sarga parshvanathji’.
Closer view of one of the paintings that frame the side doorways on the mandapa (pillared hall) of the Bhandasar Temple. Seen here is the painting of Vishnu sitting on an elephant. A mahut (charioteer of the elephant) is shown riding it in the city. The elephant has multiple trunks. The jewellery worn by Vishnu, the elephant and the canopy, in which Vishnu is shown sitting on the elephant's back, are embossed with gold.
The pillar capital in the picture has a Swastika symbol, one of the eight auspicious symbols of Jainism. It is surrounded by floral motif bands. The band flanking the Capital has a depiction of scenes from the city of Bikaner where people are seen going to the market, travelling on elephant back, shops in marketplaces, etc.
Details of the dome, which is atop the mandapa (pillared hall) of the Bhandasar Temple. The central large dome is complemented by four small domes on small diagonal sides and the mukhamandapa (front porch) of the temple has an individual dome. The base of the main domes has windows on all sides, and the side domes have painted ornamented bands.
A closer view of the paintings in the oval cartouches in the ceiling of the mandapa (pillared hall) of the Bhandasar Temple. Seen here are many ovals depicting different stories. The lower set has stories of miracles of Jinadatta Suri, like saving a child’s life, procuring the sacred scriptures hidden inside a pillar, and capturing the lightning in his alms bowl. The upper circle has Jain monks and auspicious symbols for Jain tradition like Chaude Rajlok and Mokhs Parinirvana, enunciating the worldly life. The oval shapes of the paintings are designed like mirror frames. This style is influenced by European paintings, especially the Company style paintings produced during the 18th – 19th centuries CE.
The garbhagriha (sanctum sanctorum) of the Bhandasar Temple is pancharatha (consisting of five projections) in plan. The central projection is a broad opening on three sides, that leads into the garbhagriha. The subsidiary projections have sculptures on the jangha (wall). All the plinth and wall portions of the temple must have been originally made out of stone which was later painted. Many of the ornaments that the sculptures are shown wearing are mostly done in paint on the original stone carving.
View of the pilaster from the east-facing elevation of the temple. These pilasters are slightly different from the pillars on the other side of the temple. Though the base and the shaft of the pillar are the same, the brackets are different. Also, these pillars are painted in white with multicolour floral motifs.
Ceiling of the mukhamandapa (front porch) of the Bhandasar Temple. The innermost circle eight paintings of Jain monks and other parts of the ceiling are adorned with floral motifs. The figure in these paintings is shown wearing a white loin cloth and upper garment, sitting in a yogic posture.
Within the Adinatha Temple, there is a side shrine that enshrines images of Tirthankaras. This small subsidiary shrine is on the southern side of the main garbhagriha (sanctum sanctorum). A triumphal arch with three divisions, this small temple has three icons on a high pedestal, all sitting in padmasana (lotus pose).