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 All the plinth and wall portions of the temple must have been originally made out of stone which was later painted.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).
The painting of ‘Dadaji ka pagaliya’ depicts a semi-upon chhatri, which is usually built as a memorial of the deceased. It is painted on the ceiling of the mandapa (pillared hall) of the Bhandasar Temple. There is a chhatri (memorial) painted in white, likely to resemble the marble construction. A water body surrounds it. On the open pedestal of the chhatri, there are two footprints. Dadaji in this painting could be a reference to one of the four Dada Gurus of the Jain tradition, namely, Jinadatta Suri (1075-1154 CE), Jinachandra Suri Manidhari (1140-1166 CE), Jinakushala Suri (1280-1332 CE) and Jinachandra Suri II (1541-1613 CE). Their memorials are often found next to Jain temples.
View of the east-facing mandapa (pillared hall) of the Bhandasar Temple. The mandapa has eight main pillars that support the central dome. Beyond this intercolumniation lies the main garbhagriha (sanctum sanctorum) which enshrines Sumatinatha Tirthankara. All the wall and pillar surfaces are painted.
View of the Bhandasar Jain Temple as seen from the northeast corner of the complex. Built in the shekhari style of temple, the temple has an imposing shekhari shikhara (multi-spired superstructure). The plan of the temple consists of a garbhagriha (sanctum sanctorum), mandapa (pillared hall) and a mukhamandapa (front porch). Domes roof the mandapa and shekhari shikhara is atop the garbhagriha.
Seen here are the pilaster and bracket details of the garbhagriha (sanctum sanctorum) entrance. The inner face of the pilaster has a painting of a doorkeeper, and the original surface, probably in stone, is covered entirely in meenakari (enamel) goldwork. The lalatbimba (lintel) has a figure of Jain Tirthankara. The use of gold embossing on the doorway is remarkable. It sets apart the garbhagriha from other parts of the temple interior.
The enshrined image of Sumatinath, the fifth Jain Tirthankara. The sarvatobhadra (open from all four cardinal sides) sculpture of Sumatinath is placed on a high pedestal. The sculpture sits on a low platform which has a motif of a Krauncha (bird), which is lanchan (emblem) of the Tirthankara carved at the centre. The pedestal of the sculpture is adorned with gold embossing meenakari (enamel) artwork. On the front side of this pedestal is another sculpture, probably of another Tirthankara. The enshrined object is under a canopy supported by four pillars. All the sculptures are made of marble with ornamentation in red and gold colour. There are also some small portable sculptures of Tirthankara in the garbhagriha, probably donated as votive images.
Closer view of the arches in the mandapa (pillared hall) of the Adinatha Temple. The multi-colour arches have cartouche designs on the flanking pillars and the beams above the archway. The beams also have iron round rings. These might be used to attach temporary curtains or dividers.