The dome above the mandapa (pillared hall) of the Bhandasar Temple has two circles consisting of sixteen oval-shaped designs fashioned like mirrors. The outer or lower row has miraculous deeds from the life of Jain Acharyas, Dada guru Jinadatt Suri and Dada Guru Jinachandra Suri. The inner or upper row has stories from the lives of Rishabnatha Mahavir, Parshvanata and Neminath Tirthankaras.
Closer view of the doorway along the northern wall of the mandapa (pillared hall) of Bhandasar Temple. The rectangular frame that holds the door has paintings, however, the arch and the doorway are in a different style. The painting of the musician couple has been added to the wooden doorway in the last decade or so. The addition of stained glass type of glass mosaic to the semi-circular arch is a colonial period influence. The glass arch is added to the doorway only from the inside. The exterior side of the same arches is closed.
A closer view of the west-facing elevation of the Bhandasar Temple. The wall is marked by pillars at the two corner ends and the bays of the wall are separated by pilasters. The walls have long windows from the base level, which can also be called doorways. These open from the inside of the mandapa (pillared hall). The pillars and pilasters are identical in design. They have a wider base and slender and relatively plain surfaces but slight vertical offsets on the corners of the shaft. These are ornamented with floral capitals and brackets.
Just above the beams of the antarala (antechamber), there is a strip or band that runs across the entire rectangular ceiling. This band has the depiction of twenty-four Tirthankara with their vahanas (rides). The Tirthankaras are drawn in their order, from viewers left to right all along the ceiling of the antechamber, starting with Rishabnath.
Paintings above the doorway in the exterior walls of the Bhandasar Temple. There are two sets of paintings, each consisting of a central rectangular block flanked by square blocks. The lower set has the painting of Murlidhara Krishna at the centre with two attendants in the flanking squares. Similarly, the upper set is a painting of Hanuman at the centre, carrying the mountain of Sanjeevani. Murlidhara Krishna is shown as blue-skinned wearing a pitambar (yellow lower garment).
Details of the carving and ornamentation of the pilaster base, which is in the west, south and north-facing elevations of the temple. The pilasters are identical in design. They have a wider base, slender and are relatively plain. The pilaster base has an elongated vertical floral motif with a horizontal band of diamond-like motifs.
Closer view of the painted pillars in the mandapa (pillared hall) of the Bhandasar Temple. Between the two central pillars near the antarala (antechamber), there is a low pedestal where devotees perform their daily rituals.
Details of the south-facing side of the shikhara (superstructure). The cardinal bands of the shikhara have their simulations, known as the urah shringas (miniature shikharas) cascading the mulashrinaga or the main shikhara. The urah shringas have ribbed edges, similar to the mulashringas. Since they diminish in height and emanate out of each other they present a conical cascading effect.
Seen here is the west-facing elevation of the Bhandasar Temple. The exterior walls of the temple are divided into five bays, of which the central bay is wider than the two bays flanking it on either side. The doorways of these walls when open, make the interiors of the temple semi-open and light up the interiors. The blind foliated arches of each bay have rectangular patterns that might have had paintings at some point but at present, only the outlines of these rectangles survive. At the centre of the plinth, there is a small chhatri (memorial) which was probably added to the temple later.
A closer view of the small chhatri which is attached to the plinth of the temple. This chhatri is probably a memorial which was built here at a later date. It is made of marble stone and the steps connected to its pedestal are painted in the same manner as the main temple plinth.