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.’
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.’
The thirteenth oval painting (in clockwise order) in the lower/outer circle in the ceiling of the mandapa (pillared hall) is the episode from Jinadatta Suri's life that took place in Ajmer. Once, an ominous stroke of lightning in the evening threatened the fellow monks and followers of Dada Jin Dutt Suri while they were performing pratikraman with him. Dada Jin Dutt Suri captured the lightning under his alms bowl and instructed everyone to continue with the pratikraman without fear. Lightning is shown as yellow strokes in the sky that the acharya (those who impart knowledge) collected in the bowl. Jinadatta Suri is shown sitting on a mat. The inscription reads, ‘shri jinadatta suri ji Bijali dabi.’
The ninth oval painting (in clockwise order) in the lower/outer circle in the ceiling of the mandapa (pillared hall) is difficult to decipher. It appears to depict a sleeping couple, with a snake near the leg of the man. Outside the haveli (mansion) which houses this couple, there is an armed figure that looks like a soldier or guard in uniform.
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.