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CANONS & SYMBOLISM
[PART 1X
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FIG. XXVIII. Vastu-purusa-cakra. (Aster Bhagwandas Jain.) 1, Caraki, a Räksasi: 2, Pilipicha; 3&4, Isa; 5, Parjanya; 6, Jaya; 7, Indra; 8, Sürya; 9, Satya; 10, Bbssa; 11, Akāśa; 12, Vidärikā; 13, Savitā; 14, Jarghā; 15, Agni; 16, Pūşan; 17, Vitatha; 18, Gphakşata; 19, Yama; 20, Gandharva; 21, Bhsnga: 22, Mrga; 23, Pūtanā; 24, Skandā; 25, Jaya; 26, Pits; 27, Nandin; 28, Sugriva; 29, Puspadanta; 30, Varuna; 31, Asura; 32, Sesa; 33, Pápa-yakşman; 34, Pāpā; 35, Pāpa-yakşman; 36, Aryaman; 37, Roga; 38. Nāga; 39, Mukhya; 40, Bhallāta; 41, Kubera; 42, Saila; 43, Aditi; 44, Diti; 45, Apa and Apavatsa; 46. Aryaman; 47, Savitra and Savită; 48, Prthvidhara; 49,
Brahman; 50, Vaivasvata; 51, Rudra and Rudradāsa; 52, Maitra: 53, lodra
RESIDENTIAL BUILDINGS AND PALACES
The Jaina texts give comprehensive accounts of residential houses, palaces and even towns like Campā, Rājagsha, Srävasti, etc., in mythology and Kacchā and numerous pătăla-nagaris in cosmography, but they all are mostly stereotyped and the elements of the art of construction or architecture appearing there have seldom any value. What is remarkable there is the architectural and sculptural terms which can be taken for consideration in the study of the gradual development and application of the canons of art and architecture in various parts of the country. This very fact leads us to think
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