A century later, the Adinath temple was built immediately to the north of the Parsvasnatha Temple. It is a small Nirandhara temple of which only the sanctum and vestibule have survived. The shikhar of the tempale is plain and simple with an elegant and graceful Kalash (auspicious pitcher) on the top. It may be compared with any of the invincible peaks of he sacred Mount Kailash which has the privilege of being the seat of Lord Shiva. The sanctum of the temple is quite simple and the Vedika (alter) seems to have been built at some later stage. The roof has been built with a Padmashila (lotus like stone giving much beauty to the sanctum.
To the sculpture of this temple, the craftsmen have been marvelously successful in imparting expression to various emotions in stone. On the southern wall, there is a figure of a women, who has received a letter with sad news. The letter received is clearly visible in one f her hands and the grief caused by the message finds expression in her face and the other hand. On the outer wall of the temple, near about the starting point of Parikrama (circumambulation) in themiddle row of figures, there exists a remarkable Apsara image of a female dancer.
The smartness of her body and te restlessness of her feet, the vigorous, dynamic movement all have been so aptly carved out. The figure is so attractive that one is reminded of the famous dancer Nilanjana in the court of Lord Adinath. Among these charming figures of Apsaras, the figures of Shashan devis, Yakshines and Vidyadevis at their appropriate places add much charm, meaning and symbolism. Of these Apsara figures, the one looking into the mirror and applying collyrium in the eyes and the other that of a mother kissing her child are remarkable for their exquisite finish and artistic merits. Nayikas, Kaminis, Bhaminis, the various categories of women are depicted in a very dignified and graceful manner and their workmanship is very good