Sculpture of Parshvanath Tirthankara in the garbhagriha (sanctum sanctorum) of the Adinatha Temple. Carved in marble, the Tirthankara is shown seated in padmasana (lotus pose) and dhyan mudra (meditation posture). The pedestal has a carving of a snake.
Painted floral medallion on the ceiling of the mandapa (pillared hall) of the Adinatha Temple. Compared to other paintings on the ceiling, this is a different pattern of a large medallion. Small floral ornamentation patterns are plenty but large medallions are uncommon.
The main central shrine of the garbhagriha (sanctum sanctorum) has a high pedestal having a cupola (a rounded dome with a ceiling) like design. This pedestal has three sculptures, of which the central one is shown sitting on a lotus pedestal. Unlike the side shrine, the roof here is highly ornamented with meenakari (enamel) art that includes plenty of golden embossing.
The horizontal lowest band, of the ceiling of the mandapa (pillared hall) of Bhandasar Temple, is a painting of the famous Chintamani Temple of Bikaner. Drawn as a two-dimensional object, the painting portrays the temple structure as two 2D. The face of the pillar capital in the image has a Shrivatsa symbol, one of the eight auspicious Jain symbols.
A painitng of Samavasarana on the ceiling of the mandapa (pillared hall) of the Bhandasar Temple. Samavasarana is a divine preaching hall of the Jains which is designed in the form of four circular passages, each having four entrances. At the centre of the innermost circle sits the Tirthankara followed by other monks of the tradition, laypersons and ascetics. The circle next to this is populated with animals. The outermost circle depicts a procession of elephants. The size of the preaching hall depends upon the enthroned Tirthankara.
The enshrined white marble image, is probably of Rishabhnatha in the garbhagriha (sanctum sanctorum) of the Adinatha Temple. The Tirthankara, with a crown and elongated earlobes, is seated in padmasana (lotus pose) on a lotus pedestal. The base of the sculpture has an inscription incised with red colour.
Seen here is the southern rectangular section of the mandapa (pillared hall) of the Adinatha Temple. It is separated from the central square via a tripartite archway. The arches have floral motifs, whereas the back wall of the southern wing has paintings of empty niches in low relief.
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 five such ovals. The lower set has two paintings, one is the story of Jinadatta Suri subduing the five pairs of the five waters and the other is the story of Jinachandra Suri who converted the no moon day to a full moon day. The upper set has stories from the life of Mahavir Swami, the Tirthankara. 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 elongated rectangular Bengal arch kind of roof for the antarala (antechamber). The flat ceiling has a blue floral pattern similar to the cusps of the arches and the curved edges have multi-colour ornamentation. The circular motifs on the curved sides of the arch resemble mirrors which are usually found in colonial period architecture and paintings.
This painting on the ceiling of the mandapa (pillared hall) of the Bhandasar Temple depicts the story of the Jain monk Saalbhadra or Shalibhadra, who was a wealthy merchant earlier but gave up all his material life and accepted the vows of being a monk, as per the Shvetambara Jain tradition. The haveli (mansion) in the painting has characteristics of Rajput architecture.