View of the entire elevation of the Bhandasar Temple from the southwest corner of the complex. The temple proper is painted in bi-chrome, red ochre and white, but the shikhara (superstructure) of the temple is only in white. The plinth of the temple looks like it was built in brick. However, the entire structural core is built in stone. The base of the shikhara has balconies on two terrace levels of the temple. These can be accessed from inside the temple. It is said that one can see the entire Bikaner city from these balconies.
This is the main entrance to the Bhandasar Temple. The staircase leads to a porch of the temple through which one enters the main temple. Though the temple has a staircase flanking the main entrance, this entrance seen in the picture is the principal ingress to the temple. Only the pillars of the front porch are painted in white and decorated in floral motifs.
Details of the pillars, pilaster and the small strip of wall flanking the principal entrance of the Bhandasar Temple. The small vertical wall space, flanking the entrance, depicts paintings of doorkeepers.
View of the west-facing main entrance and side entrance to the Bhandasar Temple. The entrances have semi-circular coloured glass windows, one of the essential influences of the British era period on the paintings in the temples. The eighteen and sixteen side bands of the ceiling were painted based on various themes.
Details of the southern aisles in the Bhandasar Temple, which separates the exterior walls of the mandapa (pillared hall) and the central dome of the temple. The windows/doorway puncture the exterior wall equidistantly. Wooden planks used as doorways are beautified with frames of paintings. The paintings are from various themes like the depiction of twenty Tirthankaras, the work of Jain monks, important places of pilgrimage, and teachings of the Jain traditions, among several others.
Seen here are five paintings in the oval cartouches, in the ceiling of the mandapa (pillared hall) of the Bhandasar Temple. 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 lower row depicts stories of Jinadatta Suri’s miracles when he made a dead cow, which was in front of the Jain temple, alive and put it in front of a Hindu temple. The left oval has a painting of Jinadatta Suri miraculously saving the Mughal prince. In the upper row are paintings of (left to right of the viewer) the sacred Meru mountain, Bahubali and Rishabnatha.
Seen here is the story of Vijay Seth and Vijay Sethani, a couple who maintained the vow of celibacy throughout their life. The painting, on the ceiling of the mandapa (pillared hall) of the Bhandasar Temple, depicts a grandiose haveli with an enclosure where the couple resides. The painting has an inscription that reads, ‘Sethajidas Vijayseth Sethani ko Parna karata hai’.
Paintings above the doorway in the exterior walls of the Bhandasar Temple. The horizontal block at the centre of the upper set also has a painting of Krishna in seating posture, flanked by gopis (female cowherd). Krishna is shown blue-skinned and holds two lotuses in the upper two hands.
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.