Details of the base mouldings of the Suswani Mata Temple. Four mouldings of the vedibandha (basal mouldings) are visible- from bottom to top khura (hoof), kumbha (pot), kalasha (pitcher), kapotali (cyma recta). There are floral motifs on the front face of the kumbha moulding.
Seen here is an inscribed and sculpted hero stone (memorial stone) in the Suswani Mata temple premises, which is built in memory of the deceased soul. It is approximately five feet in height and the front face has an inscription at the centre and human figures in the upper part. The stele is capped with a shikhara (superstructure or spire) motif.
Details of the Latina Nagara (mono-spired) shikhara (superstructure) above the main garbhagriha (sanctum sanctorum) of the Suswani Mata Temple. The corner bands termed as the venukosha are composed of small aedicules placed in diminishing heights, divided by thin ribbed discus or amalaka. The discus looks like beaded bands. The aedicules have ribbed corners and diamond motifs on the front faces.
View of the modern dharmashala (a charitable public rest house or shelter) rooms added surrounding the verandah (open-air hallway or porch) of the Suswani Mata temple complex. The shikhara (superstructure) of the main temple and the flagstaff of the centrally located old temple are visible from the open ground in front of the main gate.
Seen here is the front side, east-facing, of the shikhara (superstructure) above the main Suswani Mata Temple which is of a Latina Nagara (mon-spired) variety. Square on plan, the shikhara is composed of curvilinear bands. A vertical band of aedicules arranged in a descending manner from top to bottom on the corners. The central band is plain.
View of intricately carved details of a medallion, of the shikhara (superstructure) of the Suswani Mata Temple, which is at the bottom of the shikhara. The design is composed of the gavaksha (dormer window) designs and diamond motifs.
The Shikhara (superstructure) of the Adinatha Temple is built in the Nagara style, albeit an abbreviated one. The mulshringa of the shikhara has a pratyangas or prati shikharas emanating from it. These are complemented by miniature shikharas at the base of the main shikhara. The shikhara is painted in white and the ornamentation details are defined with gold paint. The base of the cardinal faces of the shikhara has deep empty niches, similar to the shikhara of the Bhandasar Temple.
The Adinatha or Rishabnatha Temple in the Bhandasar Temple Complex. It is a subsidiary shrine situated to the south of the complex. It is relatively smaller in size than the Bhandasar Temple. The temple is not austere in treatment. It is a simple structure with planned walls and one entrance facing the east.
This painting in the inner/upper circle in the ceiling of the mandapa (pillared hall) depicts the 23rd Jain Tirthankara, Parshvanath, standing on a multi-headed naga (serpant), with the hood crown positioned above the head of the lord. A naga couple in anthropomorphic form stands flanking the Tirthankara and bows down to him. Parshvanath wears a crown and is adorned with jewellery. There are two gandharvas (celestial beings) in the sky above him. The inscription reads, ‘Parasnath Shvami.’