A Visual Walkthrough of the Seth Bhandasar Jain Temple

By Swapna Joshi

Seth Bhandasar Jain Temple in Bikaner, Rajasthan, is one of the famous Jain temples in the city. It is situated in the Bada Bazaar area, next to another famous temple of Bikaner, the Lakshminath Temple. Bhandasar Jain Temple is dedicated to the fifth Tirthankara Sumatinath. Hence, it is also well known as Shri Sumatinath ji ka Mandir. It is believed that a wealthy merchant named Seth Bhanda Shah patronised the construction of this temple; hence, it is also fondly called the Bhanda Shah ka Jain Mandir. The construction of this temple took place in the 16th century CE during the rule of Rao Lunkaran, the contemporary ruler of Bikaner, as per an inscription upon one of the pillars of the antechamber. Bhandasar is a three-storey structure, and from the topmost floor of the temple, the entire city skyline is visible. It is a temple complex comprising the main Bhandasar Temple and a subsidiary shrine of Adinatha, demarcated within an enclosure wall fronted by an imposing gateway. The temple has undergone several restorations with the help of generous donations received from the Jain community.

The primary material used for the construction of the temple is sandstone, which has been painted over in red and white colours. The temple is constructed in the shekhari style of temple architecture, i.e., a tall multi-spired shikhara (superstructure) made up of small and large replicas of the same shikhara. The interiors of the temple are quite in contrast to the bi-chrome exterior. Almost every wall surface is painted with scenes from the Jain traditions, the life of Tirthankaras, deeds of acharyas (who impart knowledge), cityscapes of Bikaner, places of interest from Rajasthan and significant Jain pilgrimage places from Rajasthan. Floral motifs accompany all these paintings. The paintings have been retouched from time to time by skilled Usta Kala artists who reside in Bikaner. Recently, the artist instrumental in retouching the Bhandasar Temple paintings is M. Altaf. The techniques and the themes that he uses for paintings are traditional, but the type of paints has changed over time. This Usta Art also makes use of pure gold in their paintings.

One of the most famous attractions of the city, the temple has multiple historical layers, a testimonial to the several restorations that have made their way into the temple fabric. It is a structure to appreciate the beauty and legacy of Jain traditions and understand the history of the city of Bikaner.

The enclosure wall and the main entrance gateway are designed like Nagarkhana. This is the sole entrance to the Bhandasar Temple Complex, which can be reached via a flight of steps. The mulaprasada (main temple) is towering inside the enclosure wall.
The enclosure wall and the main entrance gateway are designed like Nagarkhana. This is the sole entrance to the Bhandasar Temple Complex, which can be reached via a flight of steps. The mulaprasada (main temple) is towering inside the enclosure wall.
The foliated archway with fluted pilaster column motifs on either side leads into the temple. Beyond the archway are two transepts puncturing the inner walls of the entrance gateway.
The foliated archway with fluted pilaster column motifs on either side leads into the temple. Beyond the archway are two transepts puncturing the inner walls of the entrance gateway.
This is the main entrance opening of the gateway with an elaborate dwarashakha (architrave or doorjamb). The lintel of this entrance has an image of a Jina and floral motifs on the band above the lintel. Inside the foliated arch design that frames the gateway, there is an inscription which provides the date of the temple's construction. The inscription on the entrance gate, above the lintel, states that in 1464/1514 CE (VS 1521/71), the Bhandaprasada was built during the reign of Rao Lunkaran. The date is not clear. The inscription is copied here from the inscription in the antarala (antechamber) of the temple.
This is the main entrance opening of the gateway with an elaborate dwarashakha (architrave or doorjamb). The lintel of this entrance has an image of a Jina and floral motifs on the band above the lintel. Inside the foliated arch design that frames the gateway, there is an inscription which provides the date of the temple's construction. The inscription on the entrance gate, above the lintel, states that in 1464/1514 CE (VS 1521/71), the Bhandaprasada was built during the reign of Rao Lunkaran. The date is not clear. The inscription is copied here from the inscription in the antarala (antechamber) of the temple.
Close-up of the inscription on the entrance gate above the lintel. The inscription states that in 1464/1514 CE (VS 1521/71), the Bhandaprasada was built during the reign of Rao Lunkaran. The date is not clear. The inscription is copied here from the inscription in the antarala (antechamber) of the temple.
Close-up of the inscription on the entrance gate above the lintel. The inscription states that in 1464/1514 CE (VS 1521/71), the Bhandaprasada was built during the reign of Rao Lunkaran. The date is not clear. The inscription is copied here from the inscription in the antarala (antechamber) of the temple.
Seen here is the balcony atop the entrance gateway of the Bhandasar Temple. This balcony is semi-open with slender pilasters and a Bengal arch roofing. The ornamental cartouches on the small walls of the balcony are a feature of Rajput architecture.
Seen here is the balcony atop the entrance gateway of the Bhandasar Temple. This balcony is semi-open with slender pilasters and a Bengal arch roofing. The ornamental cartouches on the small walls of the balcony are a feature of Rajput architecture.
The entrance gateway of the Bhandasar Temple, on the inside, connects to the enclosure wall of the temple complex. The enclosure wall has merlons on its edge and diminishes in height from the gateway.
The entrance gateway of the Bhandasar Temple, on the inside, connects to the enclosure wall of the temple complex. The enclosure wall has merlons on its edge and diminishes in height from the gateway.
Details of the enclosure wall of the Bhandasar Temple Complex. The floral pattern merlons are only found on the east-facing enclosure wall. These are painted red to resemble brickwork, probably.
Details of the enclosure wall of the Bhandasar Temple Complex. The floral pattern merlons are only found on the east-facing enclosure wall. These are painted red to resemble brickwork, probably.
A ruined platform stands south of the main Bhandasar Temple, in front of the Adinatha Temple. The south-facing side of the platform has a staircase. The purpose of this platform is not known.
A ruined platform stands south of the main Bhandasar Temple, in front of the Adinatha Temple. The south-facing side of the platform has a staircase. The purpose of this platform is not known.
View of the Bhandasar Jain Temple as seen from the northeast corner of the complex. Built in the shekhari style of temple architecture, 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.
View of the Bhandasar Jain Temple as seen from the northeast corner of the complex. Built in the shekhari style of temple architecture, 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.
The Bhandasar Temple has a shekhari type (multi-spired) shikhara (superstructure). The bands on the cardinal directions of the shikhara have three rows of aedicules, which are miniatures of the actual shikhara. At the bottom of these miniature shikharas are motifs of elephants and vyala (mythical composite figures). At the topmost level, all these vertical bands are capped by a ribbed disc known as the amalaka.
The Bhandasar Temple has a shekhari type (multi-spired) shikhara (superstructure). The bands on the cardinal directions of the shikhara have three rows of aedicules, which are miniatures of the actual shikhara. At the bottom of these miniature shikharas are motifs of elephants and vyala (mythical composite figures). At the topmost level, all these vertical bands are capped by a ribbed disc known as the amalaka.
The image provides 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 mulashringa 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.
The image provides 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 mulashringa 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.
Details of the dome, which is atop the mandapa (pillared hall) of the Bhandasar Temple. The central large dome is complemented by four small domes on small diagonal sides and the mukhamandapa (front porch) of the temple has an individual dome. The base of the main domes has windows on all sides, and the side domes have painted ornamented bands.
Details of the dome, which is atop the mandapa (pillared hall) of the Bhandasar Temple. The central large dome is complemented by four small domes on small diagonal sides and the mukhamandapa (front porch) of the temple has an individual dome. The base of the main domes has windows on all sides, and the side domes have painted ornamented bands.
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.
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.
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.
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.
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.
View of the south side elevation of the exterior walls of the Bhandasar Temple and the side shrine from the temple complex. A high plinth supports the exterior walls of the temple. The plinth details of slender fluted pilasters on the corner are characteristic of Mughal period architecture.
View of the south side elevation of the exterior walls of the Bhandasar Temple and the side shrine from the temple complex. A high plinth supports the exterior walls of the temple. The plinth details of slender fluted pilasters on the corner are characteristic of Mughal period architecture.
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.
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.
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.
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.
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 multicoloured floral motifs.
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 multicoloured floral motifs.
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).
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).
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.
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.
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.
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.
The ceiling of the mukhamandapa (front porch) of the Bhandasar Temple. The innermost circle has 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.
The ceiling of the mukhamandapa (front porch) of the Bhandasar Temple. The innermost circle has 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.
The main doorway that leads to the Bhandasar Temple is decked with various paintings. The pillars are painted white, while the Bengal arch roof is painted blue. There is a painting of a Jain Tirthankara on the rectangular slab above the doorway.
The main doorway that leads to the Bhandasar Temple is decked with various paintings. The pillars are painted white, while the Bengal arch roof is painted blue. There is a painting of a Jain Tirthankara on the rectangular slab above the doorway.
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.
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 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 Sumatinath Tirthankara. All the wall and pillar surfaces are painted.
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 Sumatinath Tirthankara. All the wall and pillar surfaces are painted.
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 sidebands of the ceiling were painted based on various themes.
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 sidebands of the ceiling were painted based on various themes.
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.
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 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.
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.
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, Mahavira, Parshvanatha and Neminath Tirthankaras.
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, Mahavira, Parshvanatha and Neminath Tirthankaras.
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 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.
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 Mahavira 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 and 19th centuries CE.
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 Mahavira 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 and 19th centuries CE.
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 many ovals depicting different stories. The lower set has stories of miracles of Jinadatta Suri, like saving a child’s life, procuring the sacred scriptures hidden inside a pillar, and capturing the lightning in his alms bowl. The upper circle has Jain monks and auspicious symbols for Jain tradition, like Chaude Rajlok and Mokhs Parinirvana, enunciating the worldly life. 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.
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 many ovals depicting different stories. The lower set has stories of miracles of Jinadatta Suri, like saving a child’s life, procuring the sacred scriptures hidden inside a pillar, and capturing the lightning in his alms bowl. The upper circle has Jain monks and auspicious symbols for Jain tradition, like Chaude Rajlok and Mokhs Parinirvana, enunciating the worldly life. 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.
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’.
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’.
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.
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.
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.
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.
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.
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 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 2D. The face of the pillar capital in the image has a Shrivatsa symbol, one of the eight auspicious Jain symbols.
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 2D. The face of the pillar capital in the image has a Shrivatsa symbol, one of the eight auspicious Jain symbols.
The pillar capital in the picture has a Swastika symbol, one of the eight auspicious symbols of Jainism. It is surrounded by floral motif bands. The band flanking the Capital has a depiction of scenes from the city of Bikaner where people are seen going to the market, travelling on elephant back, shops in marketplaces, etc.
The pillar capital in the picture has a Swastika symbol, one of the eight auspicious symbols of Jainism. It is surrounded by floral motif bands. The band flanking the Capital has a depiction of scenes from the city of Bikaner where people are seen going to the market, travelling on elephant back, shops in marketplaces, etc.
This is a painting panel on the beams of the mandapa (pillared hall) of the Bhandasar Temple. It is a set of five paintings drawn for the purpose of informing the people about the wrongdoings that should be avoided. In every painting, a demonic figure is shown punishing the person who has violated moral laws. The five paintings have inscriptions of the acts that Jainism condemns. These are, ‘Kamchesta ka phal, Manushya ko maarne ka phal, chor ko saahaj dene ka phal, Biswas ghat ka phal’ (punishments for indulging in wrong sexual activities, killing a human being, supporting a thief and betrayal).
This is a painting panel on the beams of the mandapa (pillared hall) of the Bhandasar Temple. It is a set of five paintings drawn for the purpose of informing the people about the wrongdoings that should be avoided. In every painting, a demonic figure is shown punishing the person who has violated moral laws. The five paintings have inscriptions of the acts that Jainism condemns. These are, ‘Kamchesta ka phal, Manushya ko maarne ka phal, chor ko saahaj dene ka phal, Biswas ghat ka phal’ (punishments for indulging in wrong sexual activities, killing a human being, supporting a thief and betrayal).
The doorways/long windows punctuating the walls of the mandapa (pillared hall) in the Bhandasar Temple are seen here. The wooden doors have paintings of musicians. The arch above the doorway has paintings of Tirthankara Rishabnatha’s life. A band above the arch depicts stories about forbidden things in Jain traditions.
The doorways/long windows punctuating the walls of the mandapa (pillared hall) in the Bhandasar Temple are seen here. The wooden doors have paintings of musicians. The arch above the doorway has paintings of Tirthankara Rishabnatha’s life. A band above the arch depicts stories about forbidden things in Jain traditions.
The aisles of the mandapa (pillared hall) of the Bhandasar Temple have a curved arch ceiling with bands of floral motifs on the corner, and the rectangular portion is filled with blue cloud-like designs. In contrast to the multicoloured dome at the centre of the mandapa, this blue rectangular ceiling stands out.
The aisles of the mandapa (pillared hall) of the Bhandasar Temple have a curved arch ceiling with bands of floral motifs on the corner, and the rectangular portion is filled with blue cloud-like designs. In contrast to the multicoloured dome at the centre of the mandapa, this blue rectangular ceiling stands out.
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.
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.
Closer view of the elevation of the garbhagriha (sanctum sanctorum) of the Bhandasar Temple. The two projections visible in the picture, show few basal mouldings of the plinth are covered in the later added flooring. From the remaining portions, from bottom to top, the mouldings are kumbha (pot), kalasha (a pitcher) and kapotali (cyma recta) of the vedibandha (basal mouldings). This is followed by the jangha (wall) that further connects to the cornice of the temple.
Closer view of the elevation of the garbhagriha (sanctum sanctorum) of the Bhandasar Temple. The two projections visible in the picture, show few basal mouldings of the plinth are covered in the later added flooring. From the remaining portions, from bottom to top, the mouldings are kumbha (pot), kalasha (a pitcher) and kapotali (cyma recta) of the vedibandha (basal mouldings). This is followed by the jangha (wall) that further connects to the cornice of the temple.
The northern side of the mandapa (pillared hall) of the Bhandasar Temple has two lateral transepts instead of the doorways on the south side. One of these is used as the priest’s room. Another one has a miniature shrine added to it. Since the Bhandasar Temple has been renovated several times, the interior spaces have undergone significant changes. Upto the level of the antarala (antechamber), the temple portions are of the earlier period, however, the mandapa (pillared hall) has undergone timely reconstructions. The intermediate projection of the temple has icons of celestial damsels and the corner projections have ashtadikpalas (eight cardinal deities).
The northern side of the mandapa (pillared hall) of the Bhandasar Temple has two lateral transepts instead of the doorways on the south side. One of these is used as the priest’s room. Another one has a miniature shrine added to it. Since the Bhandasar Temple has been renovated several times, the interior spaces have undergone significant changes. Upto the level of the antarala (antechamber), the temple portions are of the earlier period, however, the mandapa (pillared hall) has undergone timely reconstructions. The intermediate projection of the temple has icons of celestial damsels and the corner projections have ashtadikpalas (eight cardinal deities).
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.
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.
Closer view of one of the paintings that frame the side doorways on the mandapa (pillared hall) of the Bhandasar Temple. Seen here is the painting of Vishnu sitting on an elephant. A mahut (charioteer of the elephant) is shown riding it in the city. The elephant has multiple trunks. The jewellery worn by Vishnu, the elephant and the canopy, in which Vishnu is shown sitting on the elephant's back, are embossed with gold.
Closer view of one of the paintings that frame the side doorways on the mandapa (pillared hall) of the Bhandasar Temple. Seen here is the painting of Vishnu sitting on an elephant. A mahut (charioteer of the elephant) is shown riding it in the city. The elephant has multiple trunks. The jewellery worn by Vishnu, the elephant and the canopy, in which Vishnu is shown sitting on the elephant's back, are embossed with gold.
Painting of Parshvanatha Tirthankara on the wall flanking the side entrance doorways of the mandapa (pillared hall) of the Bhandasar Temple. Standing on a hooded snake, Parshvanatha is shown emerging from the mouth of the snake amidst water. He has four attendants on either side. The inscription reads– ‘megh malinapa sarga parshvanathji’.
Painting of Parshvanatha Tirthankara on the wall flanking the side entrance doorways of the mandapa (pillared hall) of the Bhandasar Temple. Standing on a hooded snake, Parshvanatha is shown emerging from the mouth of the snake amidst water. He has four attendants on either side. The inscription reads– ‘megh malinapa sarga parshvanathji’.
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 Tirthankaras 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 Rishabnatha.
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 Tirthankaras 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 Rishabnatha.
Seen here is the principal east-facing entrance to the garbhagriha (sanctum sanctorum) of the Bhandasar Temple. The original fabric of this entrance has been enveloped in golden embossing. The pilasters, doorway and dvarashakha (architrave) are adorned with golden meenakari (enamel) work. Intricate details of the floral motifs cover the entire surface of the entrance. The wooden doorway has attendants painting on it.
Seen here is the principal east-facing entrance to the garbhagriha (sanctum sanctorum) of the Bhandasar Temple. The original fabric of this entrance has been enveloped in golden embossing. The pilasters, doorway and dvarashakha (architrave) are adorned with golden meenakari (enamel) work. Intricate details of the floral motifs cover the entire surface of the entrance. The wooden doorway has attendants painting on it.
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.
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.
Details of the garbhagriha (sanctum sanctorum) entrance of the Bhandasar Temple. The beam, pilasters and brackets are covered with meenakari (enamel) gold work. The walls flanking the entrance opening have the same floral paintings found on the walls and ceiling of the temple.
Details of the garbhagriha (sanctum sanctorum) entrance of the Bhandasar Temple. The beam, pilasters and brackets are covered with meenakari (enamel) gold work. The walls flanking the entrance opening have the same floral paintings found on the walls and ceiling of the temple.
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 having 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.
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 having 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.
The Adinatha or Rishabnatha Temple in the Bhandasar Temple Complex. It is a subsidiary shrine situated to the south of the complex. It is relatively smaller in size than the Bhandasar Temple. The temple is not austere in treatment. It is a simple structure with planned walls and one entrance facing the east.
The Adinatha or Rishabnatha Temple in the Bhandasar Temple Complex. It is a subsidiary shrine situated to the south of the complex. It is relatively smaller in size than the Bhandasar Temple. The temple is not austere in treatment. It is a simple structure with planned walls and one entrance facing the east.
The entrance porch of the Adinatha or Rishabhnatha Temple, which is a subsidiary shrine in the Bhandasar Temple Complex. The porch has a small dome roof that rests on four pillars. The proch is painted red and is ornamented with niches, floral motifs and geometric designs. The merlons on the exterior wall of this temple are similar to the merlons on the enclosure wall of the temple complex. The building of this porch follows the Rajput style of architecture.
The entrance porch of the Adinatha or Rishabhnatha Temple, which is a subsidiary shrine in the Bhandasar Temple Complex. The porch has a small dome roof that rests on four pillars. The proch is painted red and is ornamented with niches, floral motifs and geometric designs. The merlons on the exterior wall of this temple are similar to the merlons on the enclosure wall of the temple complex. The building of this porch follows the Rajput style of architecture.
The Shikhara (superstructure) of the Adinatha Temple is built in the Nagara style, albeit an abbreviated one. The mulshringa of the shikhara has a pratyangas or prati shikharas emanating from it. These are complemented by miniature shikharas at the base of the main shikhara. The shikhara is painted in white, and the ornamentation details are defined with gold paint. The base of the cardinal faces of the shikhara has deep empty niches, similar to the shikhara of the Bhandasar Temple.
The Shikhara (superstructure) of the Adinatha Temple is built in the Nagara style, albeit an abbreviated one. The mulshringa of the shikhara has a pratyangas or prati shikharas emanating from it. These are complemented by miniature shikharas at the base of the main shikhara. The shikhara is painted in white, and the ornamentation details are defined with gold paint. The base of the cardinal faces of the shikhara has deep empty niches, similar to the shikhara of the Bhandasar Temple.
This is the mandapa (pillared hall) of the Adinatha Temple, which has a quadrangle at the centre surrounded by rectangular archways on its northern and southern sides. To the west, the mandapa is connected to the garbhagriha (sanctum sanctorum) via an antarala (antechamber). The tripartite division of the arches is the same on all sides. The arches are supported by piers on the corners of the row. The base colour of the interiors of the mandapa is white, on which it has beautiful paintings done using multiple colours.
This is the mandapa (pillared hall) of the Adinatha Temple, which has a quadrangle at the centre surrounded by rectangular archways on its northern and southern sides. To the west, the mandapa is connected to the garbhagriha (sanctum sanctorum) via an antarala (antechamber). The tripartite division of the arches is the same on all sides. The arches are supported by piers on the corners of the row. The base colour of the interiors of the mandapa is white, on which it has beautiful paintings done using multiple colours.
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.
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.
Closer view of the arches in the mandapa (pillared hall) of the Adinatha Temple. The multi-coloured 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.
Closer view of the arches in the mandapa (pillared hall) of the Adinatha Temple. The multi-coloured 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.
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.
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.
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.
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 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 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.
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.
Sculpture of Parshvanatha 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.
Sculpture of Parshvanatha 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.
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).
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).
A verse is written in Devanagari script above the lalatbimba (lintel) of garbhagriha (sanctum sanctorum) entrance to the Parshvanatha shrine, in the Adinatha Temple.
A verse is written in Devanagari script above the lalatbimba (lintel) of garbhagriha (sanctum sanctorum) entrance to the Parshvanatha shrine, in the Adinatha Temple.