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ACĀRYA VIJAYAVALLABHASŰRI COMMEMORATION VOLUME
different character. In rare cases the figures of the second relief reflect conceptions of the third relief just as the third relief contains some figures similar to those on the two lower panels. The sculptures of the superstructure could not be studied because they were inaccessible. -The maximum height of the lower figures (1st relief) is about 35 in., the maximum height of the upper ones (2nd relief) about 25 in. The figures on the walls of the back-shrine (sections VI and VIII in plan 3) are slightly smaller in the lower row and considerably smaller (height about 15 in.) in the upper row.--All figures in the two lower panels are standing. Whereas the women engaged in particular actions (removing of a thorn etc.) are seen in different attitudes, all the other figures show a more or less pronounced tribhanga. The subsidiary yaksinis on slab III 4u and XI 18u are seated in lalitäsana. The dwarf IV 104 stands with crooked legs, and the three musicians VIII 3u sit. The tīrthařkaras are either standing or sitting-All the sculptures of the temple are in a very good state of preservation.
In the big plan (1) with distorted proportions the different figures are marked by Tirthamkara), D (ikpāla), M (ale), F (emale), V(yāla). W denotes a window, and special niches are indicated by a frame. Over the figures in the recesses there appears a (-), whereas a (+) is put over the figures on the projections. Since combinations (MF, FM, MMM, MFM, FMF) are very common, we have separated by an oblique (M/F) figures which are grouped together in the same recess or on the same projection, but are not connected with each other. The Roman number always refers to the section (see plan 3), the Arabic number to the place within the section, the letters u and I to the upper and lower reliefs. The reading of the figures goes from right to left (even if different sculptures are arranged on one and the same panel), but from left to right in the case of combined figures as couples etc. The reading of the attributes goes from left to right and from top to bottom.
The sculptures on the outer walls of the garbhagyha are marked in the same way as those on the walls of the mandapa and pradakşiņapatha, but for reasons of the context the eight single male figures have been specified as S (Siva, see plan 2 for garbhagȚha).
In the 'Description and Interpretation given below the sculptures are defined by a name, a Roman number, a question mark, or 'O' (zero). In the last case the figure has no 'iconographical value and, accordingly, no
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