Separated from the group of Brahminical temple, both in terms of time and space, this Jaina temple (locally called as the Jaina Narayana) was built in the c. 9^th century CE, probably in the reign of the Rashtrakuta king Krishna II. This three storeyed temple with the two lower storeys being functional, is the last in the temple series at Pattadakal. Certain features exhibited in this temple became in the course of time essential elements of the temples of the Kalyani Chalukyas. This temple has on plan a square sanctum (garbhagriha) with a circumambulatory path (Pradakshinapatha) whose walls are collapsed, an antechamber (antarala), a hall (mandapa) and a porch (mukha-mandapa). It stands on a plinth of triple moulding having projections and recesses. The garbhagriha walls (now exposed to view) show slight central projections (bhadras) and a range of thin tetragonal pilasters. The north and south walls of the mandapa are divided into seven bays. The recesses between these bays contain narrow niches adorned with projected arched openings (nasika) containing the seated Jinaas and other figures at places. These walls are crowned by a string of architectural elements called kuta (square), Sala (oblong) and Panjara (miniature shrine models). Water chutes (paranals) to drain the roof are provided in the recesses (salilantaras) just below the roof level. Walls of the upper shrine reflect the arrangement of the walls of the ground floor on a diminished scale. Its antarala front is covered by the basal part of the shukanasa projection, while the parapet on the other three sides carries karnakutas and salas. The third storey of lesser width is relieved on its sides except on the front side. The bays contain kandu-like arches and half-arches as in northern style temples. The subdued griva recess over this storey supports a beautifully carved square sikhara.The open porch has peripheral rows of pillars connected by balcony seating (kakshasana). All these pillars except the two abutting on the hall as well as the four central ones, through of sand stones, are partially lathe-turned. The exterior of the kakshasana is adorned with bas-relief figures of purna-ghata, nidhis, vyalas, dancers, etc., which are partially finished. On the wall of the hall, inside the porch to the either side of the doorway, are large elephant figures with a rider. The doorframe of the hall is decorated with six bands (sakha) with Sankhanidhi, Padmanidhi and Purnaghatas below. There are massive pillars in the hall and antarala. The doorframe of the sanctum has five bands, of which a handsome pillaret on either side supports an elegant crocodile (makara) with a very florid tail. The kudu motifs on the kapota tier of the plinth and on the kapota of the wall have lost their original shape and have become flat triangular reliefs. The pillars capitals too have lost their original shape and robustness and are transformed into mere conventional shapes. Likewise, the square sikhara with its offsets takes the shape of a twelve – ribbed member. All these modifications are characteristic of Later Chalukyan temples that came into being in the subsequent centuries. Excavation by the Archaeological Survey of India in the premises of the temple has brought to light the remains of a large temple complex built in bricks and also a beautiful image of Tirthankara standing in samabhanga indicating the existence of a temple.

ARCHAEOLOGICAL SURVEY OF INDIA

Dharwad Circle

The Jain temple included in the mission area about ¼ of a mile from the village on the west

Verified Listing

The Jain temple included in the mission area about ¼ of a mile from the village on the west

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