The Edifices of Arthuna: A Visual walkthrough

By Swapna Joshi

Along the serene banks of the Gamela Talav, in the small village of Arthuna, several temples cover the entire landscape. The majority of these temples honor Shiva, while a few others devote themselves to goddess worship, Hanuman, and some remnants of Jain temples. Over time, the rugged beauties have deteriorated, but what remains is evidence of a time when the dynasty called the Paramaras of Vagadaa ruled this region. Arthuna, a small town in Rajasthan's Banswara district, is the modern settlement. A gate leads to the Hanuman Garhi temple complex to the southeast of this settlement, just a short walk from the residential areas. Moreover, this entrance connects to various temple clusters in Arthuna, with the exception of the Mandaleshwar Mahadev Temple, which stands slightly apart from the other temples. Pilgrims, tourists, and the people of Arthuna frequently visit the Hanuman Garhi temple complex. The Hanuman Temple's life-size Hanuman statue represents one of the complex's presiding deities, while the huge Shiva linga, an iconic representation of Shiva, stands in front of it. People regularly visit the Neelkanth Mahadev Temple, another significant temple, to offer their prayers. The temple also features a pious water tank where people perform rituals.

Several other temples are located only two kilometers away from the Hanuman Garhi temple complex. Walking from the Hanuman Garhi temple complex through the Kumbheshwar Mahadev Temple, the Shiva Temple, the Chaunsath Yogini Temple, the Jain temple, and the ruined remains of several other temples provides a glimpse of the major parts of Arthuna's heritage. Architectural pieces surround the partially damaged temples. In addition to the Hanuman Garhi temple complex, tourists or pilgrims do not frequently visit the other temples. Agricultural fields surround these structures. The Archaeological Survey of India (ASI) placed a fence wall around each temple complex individually.

Mandaleshwar Mahadev Temple's south-facing elevation can be seen here. The temple’s plan consists of a mukhamandapa (front porch) followed by a mandapa (pillared hall), an antarala (antechamber), and a garbhagriha (sanctum sanctorum). The mandapa is semi-open, meaning that it has lateral wings or transepts on the south and north sides. The original shikhara (superstructure) of the temple is probably lost. Presently, the temple has a shekhari (multi-spired) variety of shikhara built in brick.
Mandaleshwar Mahadev Temple's south-facing elevation can be seen here. The temple’s plan consists of a mukhamandapa (front porch) followed by a mandapa (pillared hall), an antarala (antechamber), and a garbhagriha (sanctum sanctorum). The mandapa is semi-open, meaning that it has lateral wings or transepts on the south and north sides. The original shikhara (superstructure) of the temple is probably lost. Presently, the temple has a shekhari (multi-spired) variety of shikhara built in brick.
This is the west-facing elevation of the main Mandaleshwar Mahadev Temple. The temple's mulaprasada (main shrine) is saptaratha (consisting of seven projections). The intermediate and corner projections of the temple are slender and narrow, devoid of any sculptures. Only the central projection has a sculpture in a niche.
This is the west-facing elevation of the main Mandaleshwar Mahadev Temple. The temple's mulaprasada (main shrine) is saptaratha (consisting of seven projections). The intermediate and corner projections of the temple are slender and narrow, devoid of any sculptures. Only the central projection has a sculpture in a niche.
This is the west-facing elevation of the main Mandaleshwar Mahadev Temple. The temple's jangha (wall) and vedibandha (basal mouldings) exhibit intricate details. The intermediate and corner projections of the temple are slender and narrow, devoid of any sculptures. Only the central projection has a sculpture in a niche.
This is the west-facing elevation of the main Mandaleshwar Mahadev Temple. The temple's jangha (wall) and vedibandha (basal mouldings) exhibit intricate details. The intermediate and corner projections of the temple are slender and narrow, devoid of any sculptures. Only the central projection has a sculpture in a niche.
The Mandaleshwar Mahadev Temple's west-facing central projection features an icon of Natesha. A decorative niche with a pediment above frames the image. The six-handed sculpture has a broken right side. The sculpture shows the lower left and upper left hands holding a khatvanga (staff with a skull).
The Mandaleshwar Mahadev Temple's west-facing central projection features an icon of Natesha. A decorative niche with a pediment above frames the image. The six-handed sculpture has a broken right side. The sculpture shows the lower left and upper left hands holding a khatvanga (staff with a skull).
The Mandaleshwar Mahadev Temple's south-facing central projection features an icon of Tripurantaka Shiva. Despite losing several attributes, the icon depicts the six-handed deity attacking a demon with his foot. The jata mukuta (matted hairdo) is peculiar.
The Mandaleshwar Mahadev Temple's south-facing central projection features an icon of Tripurantaka Shiva. Despite losing several attributes, the icon depicts the six-handed deity attacking a demon with his foot. The jata mukuta (matted hairdo) is peculiar.
The temple's vedibandha (basal mouldings) feature intricate details. The broad kumbha (pot) moulding consists of a diamond motif band at its centre and a kirtimukha (face of glory) moulding at its base. Most of the plinth’s mouldings are plain.
The temple's vedibandha (basal mouldings) feature intricate details. The broad kumbha (pot) moulding consists of a diamond motif band at its centre and a kirtimukha (face of glory) moulding at its base. Most of the plinth’s mouldings are plain.
The Mandaleshwar Mahadev Temple constructs its shikhara (superstructure) from brick. The shekhari (multi-spire) variety of Latina shikhara features numerous small shringas (spires) that complement the mulashringa (main spire). These half and miniature shringas provide a cascading effect to the shikhara. The mulashringa mimics the style of a Latina sikhara. The mulashringa consists of five bands, with a broad central band and two bands on each side. These side bands are of equal size. The brick shikhara is likely a later addition to the temple.
The Mandaleshwar Mahadev Temple constructs its shikhara (superstructure) from brick. The shekhari (multi-spire) variety of Latina shikhara features numerous small shringas (spires) that complement the mulashringa (main spire). These half and miniature shringas provide a cascading effect to the shikhara. The mulashringa mimics the style of a Latina sikhara. The mulashringa consists of five bands, with a broad central band and two bands on each side. These side bands are of equal size. The brick shikhara is likely a later addition to the temple.
The Mandaleshwar Mahadev Temple's mandapa (pillared hall) is square in plan. It has lateral wings on its south and north sides. The exterior of the mandapa, the south-facing lateral wing, is shown here. This wing is a semi-open space. Its two front pillars support a protruding roof. The mandapa's exterior walls do not have any sculptures. At the jangha (wall) level, there are two decorative bands: the first is a foliage motif, and the second is a band of kirtimukhas (faces of glory).
The Mandaleshwar Mahadev Temple's mandapa (pillared hall) is square in plan. It has lateral wings on its south and north sides. The exterior of the mandapa, the south-facing lateral wing, is shown here. This wing is a semi-open space. Its two front pillars support a protruding roof. The mandapa's exterior walls do not have any sculptures. At the jangha (wall) level, there are two decorative bands: the first is a foliage motif, and the second is a band of kirtimukhas (faces of glory).
A mukhamandapa (front porch) leads to the Mandaleshwar Mahadev Temple. This is a view of the interior of the mukhamandapa. The main entrance is flanked by two dwarf walls, with two pillars on the outer side and two pilasters on the inner side. There are traces of kakshasanas (seat backs) on the mukhamandapa side walls. All these seatbacks are lost.
A mukhamandapa (front porch) leads to the Mandaleshwar Mahadev Temple. This is a view of the interior of the mukhamandapa. The main entrance is flanked by two dwarf walls, with two pillars on the outer side and two pilasters on the inner side. There are traces of kakshasanas (seat backs) on the mukhamandapa side walls. All these seatbacks are lost.
The Mandaleshwar Mahadev Temple's mandapa, or hall, is visible from the temple's mukhamandapa, or front porch. Ashtylar mandapa halls have no central pillars. The pilasters are arranged along the sides to support the entire structure. The pilasters and pillar types are simple, plain shafts with minimal ornamentation of foliage motifs.
The Mandaleshwar Mahadev Temple's mandapa, or hall, is visible from the temple's mukhamandapa, or front porch. Ashtylar mandapa halls have no central pillars. The pilasters are arranged along the sides to support the entire structure. The pilasters and pillar types are simple, plain shafts with minimal ornamentation of foliage motifs.
Seen here is a sculpture of a Sutradhara from the pilaster in the mandapa of the Mandaleshwar Mahadev Temple. The sculpture depicts him standing, holding a yardstick in his left hand. The Sutradharas were architects who designed and instructed the making of a temple. Sculptures of Sutradhara are rare.
Seen here is a sculpture of a Sutradhara from the pilaster in the mandapa of the Mandaleshwar Mahadev Temple. The sculpture depicts him standing, holding a yardstick in his left hand. The Sutradharas were architects who designed and instructed the making of a temple. Sculptures of Sutradhara are rare.
An ornate dvarashakha (door jamb) marks the entrance of the garbhagriha (sanctum sanctorum) of the Mandaleshwar Mahadev Temple. Here is a view of the garbhagriha entrance from the temple's mandapa. The dvarashakha is of the trishakha (with three vertical bands) variety, profusely carved with sculptures and geometric designs. The lalatabimba (lintel) has a sculpture of Ganesha. The three shakhas (vertical bands) of the dvarashakha are a patri (foliage) shakha, a shakha of maladharas (garland bearers), and one shakha with deities and a ghatpallava (pot with foliage) motif.
An ornate dvarashakha (door jamb) marks the entrance of the garbhagriha (sanctum sanctorum) of the Mandaleshwar Mahadev Temple. Here is a view of the garbhagriha entrance from the temple's mandapa. The dvarashakha is of the trishakha (with three vertical bands) variety, profusely carved with sculptures and geometric designs. The lalatabimba (lintel) has a sculpture of Ganesha. The three shakhas (vertical bands) of the dvarashakha are a patri (foliage) shakha, a shakha of maladharas (garland bearers), and one shakha with deities and a ghatpallava (pot with foliage) motif.
An ornate dvarashakha (door jamb) marks the entrance of the garbhagriha (sanctum sanctorum) of the Mandaleshwar Mahadev Temple. The pedya (lower section of the dvarashakha) has depictions of dvarapalas (door guardians) and river goddesses. The dvarashakha has an attached chandrashila (moon stone) motif on the floor.
An ornate dvarashakha (door jamb) marks the entrance of the garbhagriha (sanctum sanctorum) of the Mandaleshwar Mahadev Temple. The pedya (lower section of the dvarashakha) has depictions of dvarapalas (door guardians) and river goddesses. The dvarashakha has an attached chandrashila (moon stone) motif on the floor.
The domical (vitana) ceiling of the Mandaleshwar Mahadev Temple is intricately carved. Concentric circular rings made of cusps or fractals form the ceiling. The lowermost ring has sculptured brackets. The first rings of the ceiling have kirtimukha (face of glory) motifs and a row of small sculptures. Semi-circular floral fractals make up the inner rings.
The domical (vitana) ceiling of the Mandaleshwar Mahadev Temple is intricately carved. Concentric circular rings made of cusps or fractals form the ceiling. The lowermost ring has sculptured brackets. The first rings of the ceiling have kirtimukha (face of glory) motifs and a row of small sculptures. Semi-circular floral fractals make up the inner rings.
To the southwest of the Mandaleshwar Mahadev Temple, there are the remains of a triratha (three ratha or vertical projections on each side) single-shrine temple. In its plan, the ruined temple consists only of a garbhagriha (sanctum sanctorum) and a mandapa (pillared hall). Only the plinth of the temple ruins has survived. The temple has a vedibandha (basal mouldings) consisting of mouldings like khura, kani, and kumbha.
To the southwest of the Mandaleshwar Mahadev Temple, there are the remains of a triratha (three ratha or vertical projections on each side) single-shrine temple. In its plan, the ruined temple consists only of a garbhagriha (sanctum sanctorum) and a mandapa (pillared hall). Only the plinth of the temple ruins has survived. The temple has a vedibandha (basal mouldings) consisting of mouldings like khura, kani, and kumbha.
These memorial stones are found in an open space in front of the Mandaleshwar Mahadev Temple. Below the depiction of the human figure, there are a few inscription lines. The inscription is in the Sanskrit language and Devanagari script.
These memorial stones are found in an open space in front of the Mandaleshwar Mahadev Temple. Below the depiction of the human figure, there are a few inscription lines. The inscription is in the Sanskrit language and Devanagari script.
The Hanuman Garhi temple complex is the largest of the structures at Arthuna. It consists of two main temples: the Neelkanth Mahadev and the Hanuman temples. Both are living shrines, along with over a dozen smaller temples. There are also memorial stones and small shrines in this complex. The complex originally had an entrance from the eastern side. Neelkanth Mahadev temple has a shekhari (multi-spire) style shikhara (superstructure), and Shiva temple with Phamsana (stepped pyramidical) shikhara has sculptures on its walls.
The Hanuman Garhi temple complex is the largest of the structures at Arthuna. It consists of two main temples: the Neelkanth Mahadev and the Hanuman temples. Both are living shrines, along with over a dozen smaller temples. There are also memorial stones and small shrines in this complex. The complex originally had an entrance from the eastern side. Neelkanth Mahadev temple has a shekhari (multi-spire) style shikhara (superstructure), and Shiva temple with Phamsana (stepped pyramidical) shikhara has sculptures on its walls.
All of the extant structures from the Hanuman Garhi temple complex can be seen here. Starting from the left, one can see the gateway that must have been the original entrance of this temple complex, followed by several small shrines. The seventh shrine, seen towards the center, has a brick shikhara (superstructure), likely added at a later date than the original construction. Three important structures from the complex follow: a ruined Shiva Temple, a Devi Temple, locally known as Chaunsath Yogini Temple, and the Neelkanth Mahadev Temple. The kunda (water tank) is located in the foreground of all of these structures. The Neelkanth Mahadev Temple is the largest in this complex. Lakulisha worship is likely to be the focus of this temple.
All of the extant structures from the Hanuman Garhi temple complex can be seen here. Starting from the left, one can see the gateway that must have been the original entrance of this temple complex, followed by several small shrines. The seventh shrine, seen towards the center, has a brick shikhara (superstructure), likely added at a later date than the original construction. Three important structures from the complex follow: a ruined Shiva Temple, a Devi Temple, locally known as Chaunsath Yogini Temple, and the Neelkanth Mahadev Temple. The kunda (water tank) is located in the foreground of all of these structures. The Neelkanth Mahadev Temple is the largest in this complex. Lakulisha worship is likely to be the focus of this temple.
This is a gateway to the Hanuman Garhi temple complex. Behind this complex, the remains of an old fortification wall were found. This gateway is a semi-open space, with smaller niches on its exterior and interior walls. This gateway was probably a later addition to the temple complex, built entirely of stone.
This is a gateway to the Hanuman Garhi temple complex. Behind this complex, the remains of an old fortification wall were found. This gateway is a semi-open space, with smaller niches on its exterior and interior walls. This gateway was probably a later addition to the temple complex, built entirely of stone.
The four small temples are among the few well-preserved structures. All are single shrine structures, simple in form, and adorned with phamsana (pyramidical stepped) types of shikharas (superstructures). The smallest of these is probably a samadhi shrine (a commemorative shrine built in memory of a pious deceased individual). In the foreground is another temple's plinth, which is now in ruinous condition. The phamsana shikharas of these shrines are peculiar, as there are very few of this style of shikharas in Arthuna.
The four small temples are among the few well-preserved structures. All are single shrine structures, simple in form, and adorned with phamsana (pyramidical stepped) types of shikharas (superstructures). The smallest of these is probably a samadhi shrine (a commemorative shrine built in memory of a pious deceased individual). In the foreground is another temple's plinth, which is now in ruinous condition. The phamsana shikharas of these shrines are peculiar, as there are very few of this style of shikharas in Arthuna.
The temple is built in sandstone, mainly with the jangha (wall) sculptures made in gray schist. As seen here, the temple is a single shrine consisting of a garbhagriha (sanctum sanctorum) and a mandapa (pillared hall). The temple's tiered phamsana shikhara (pyramidical stepped superstructure) has an amalaka (a ribbed discus) at the finial. The use of different materials for the entire temple body and the jangha is peculiar. The sculptures use polished stone.
The temple is built in sandstone, mainly with the jangha (wall) sculptures made in gray schist. As seen here, the temple is a single shrine consisting of a garbhagriha (sanctum sanctorum) and a mandapa (pillared hall). The temple's tiered phamsana shikhara (pyramidical stepped superstructure) has an amalaka (a ribbed discus) at the finial. The use of different materials for the entire temple body and the jangha is peculiar. The sculptures use polished stone.
The three sides of this small shrine's main garbhagriha (sanctum sanctorum) each have five sculptures. Here is the figural frieze on the temple's back side wall. The intermediary projections feature dikpalas (deities for cardinal directions), offsets, apsaras, and surasundaris (celestial damsels). The three principal projections on three sides contain images of Chamunda, Natesha, or dancing Shiva, and Lakulisha. The style of sculptures matches with other Paramara period icons. This pattern of carving dikpalas, apsaras, and deities from the Shaiva pantheon is unique and can be found at several structures within Arthuna.
The three sides of this small shrine's main garbhagriha (sanctum sanctorum) each have five sculptures. Here is the figural frieze on the temple's back side wall. The intermediary projections feature dikpalas (deities for cardinal directions), offsets, apsaras, and surasundaris (celestial damsels). The three principal projections on three sides contain images of Chamunda, Natesha, or dancing Shiva, and Lakulisha. The style of sculptures matches with other Paramara period icons. This pattern of carving dikpalas, apsaras, and deities from the Shaiva pantheon is unique and can be found at several structures within Arthuna.
The Shiva linga (an aniconic representation of Shiva) is placed on a temple's ruined plinth. This makeshift shrine in the Hanuman Garhi temple complex, open to the sky, is highly revered. People are especially seen here performing rituals on a day-to-day basis. The Shiva linga is large and has its own pedestal.
The Shiva linga (an aniconic representation of Shiva) is placed on a temple's ruined plinth. This makeshift shrine in the Hanuman Garhi temple complex, open to the sky, is highly revered. People are especially seen here performing rituals on a day-to-day basis. The Shiva linga is large and has its own pedestal.
This is a renovated structure, in which the sandstone pillars of the semi-open porch and the architrave of the garbhagriha of the temple are from the medieval period. The figure of Hanuman enshrined in the temple also belongs to the 12th century CE, as per the inscription found on its pedestal. This temple complex gets its name from the life-size figure of Hanuman in the temple.
This is a renovated structure, in which the sandstone pillars of the semi-open porch and the architrave of the garbhagriha of the temple are from the medieval period. The figure of Hanuman enshrined in the temple also belongs to the 12th century CE, as per the inscription found on its pedestal. This temple complex gets its name from the life-size figure of Hanuman in the temple.
The Hanuman Garhi temple complex features the entrance of the garbhagriha (sanctum sanctorum) and the enshrined Hanuman figure. This temple complex gets its name from the life-size figure of Hanuman in the temple. The temple repurposes the doorframe from an earlier shrine.
The Hanuman Garhi temple complex features the entrance of the garbhagriha (sanctum sanctorum) and the enshrined Hanuman figure. This temple complex gets its name from the life-size figure of Hanuman in the temple. The temple repurposes the doorframe from an earlier shrine.
This is the largest temple and one of the few remaining shrines in the Hanuman Garhi temple complex. Dedicated to Shiva, the temple consists of a garbhagriha (sanctum sanctorum) and a semi-open mandapa (pillared hall) connected via an antarala (vestibule or antechamber). The shikharas (superstructure) of both the garbhagriha and the mandapa are shekhari (multi-spired) shikhara and samavarna (bell roof) shikhara, respectively. The temple has undergone restoration, especially its superstructure.
This is the largest temple and one of the few remaining shrines in the Hanuman Garhi temple complex. Dedicated to Shiva, the temple consists of a garbhagriha (sanctum sanctorum) and a semi-open mandapa (pillared hall) connected via an antarala (vestibule or antechamber). The shikharas (superstructure) of both the garbhagriha and the mandapa are shekhari (multi-spired) shikhara and samavarna (bell roof) shikhara, respectively. The temple has undergone restoration, especially its superstructure.
Formed on multiple miniatures of shikharas arranged in diminishing heights, the shikhara is of the shekhari (multi-spired) variety of the Latina (mono-spired) style of temple architecture. On the front side of the shikhara, there are niches containing deities. The shikhara has been partially rebuilt or renovated.
Formed on multiple miniatures of shikharas arranged in diminishing heights, the shikhara is of the shekhari (multi-spired) variety of the Latina (mono-spired) style of temple architecture. On the front side of the shikhara, there are niches containing deities. The shikhara has been partially rebuilt or renovated.
The Neelkanth Mahadev Temple has a semi-open mandapa (pillared hall). It has four pillars at its center, as well as dwarf walls all along its sides. There is a Nandi sculpture on a pedestal at the center of the mandapa, facing the garbhagriha (sanctum sanctorum). The mandapa's pillars and interior walls are simple.
The Neelkanth Mahadev Temple has a semi-open mandapa (pillared hall). It has four pillars at its center, as well as dwarf walls all along its sides. There is a Nandi sculpture on a pedestal at the center of the mandapa, facing the garbhagriha (sanctum sanctorum). The mandapa's pillars and interior walls are simple.
Someshwar Mahadeva Temple is a panchayatana (main shrine with four subsidiary shrines). A high plinth elevates it. The central shrine is dedicated to Shiva. Four minor shrines surround the central shrine in the four corners of the plinth, with only two Shiva shrines serving as its primary focus. For the two other minor shrines, only the plinth's remnants remain intact. The entire complex is reached by a series of steps. At one point in time, a torana (arched gateway) might have stood at the entranceway, as indicated by the remains of the two pillar bases. In addition, there is another fully preserved pillar to the right of the central shrine.
Someshwar Mahadeva Temple is a panchayatana (main shrine with four subsidiary shrines). A high plinth elevates it. The central shrine is dedicated to Shiva. Four minor shrines surround the central shrine in the four corners of the plinth, with only two Shiva shrines serving as its primary focus. For the two other minor shrines, only the plinth's remnants remain intact. The entire complex is reached by a series of steps. At one point in time, a torana (arched gateway) might have stood at the entranceway, as indicated by the remains of the two pillar bases. In addition, there is another fully preserved pillar to the right of the central shrine.
The central shrine consists of garbhagriha (sanctum sanctorum), antarala (vestibule or antechamber), and mukhamandapa (front porch). Only a partial portion of the shrine's shikhara (superstructure) remains intact. Icons and sculptures adorn the jangha (wall) of the garbhagriha, while geometric, floral patterns and kirtimukhas (faces of glory) adorn the mandapa. The temple's broken shikhara is a shekhari (multi-spire) variety. The shikharas' aedicules have gavaksha (dormer windows) designs on their surfaces.
The central shrine consists of garbhagriha (sanctum sanctorum), antarala (vestibule or antechamber), and mukhamandapa (front porch). Only a partial portion of the shrine's shikhara (superstructure) remains intact. Icons and sculptures adorn the jangha (wall) of the garbhagriha, while geometric, floral patterns and kirtimukhas (faces of glory) adorn the mandapa. The temple's broken shikhara is a shekhari (multi-spire) variety. The shikharas' aedicules have gavaksha (dormer windows) designs on their surfaces.
The temple's vedibandha (basal mouldings) include graaspatti (band of kirtimukhas or face of glory), kumbha (pot) with a diamond motif, kalasha (a pitcher), and kapotali (cyma recta). Images of gods, goddesses, apsaras (celestial damsels), and ascetics adorn the entirety of the wall projections, built in schist stone. These consist of the Shaiva images—Natesha, Andhakasura, and Chamunda—inside the principal niches and dikpalas, i.e., the cardinal deities—Indra, Agni, Nritti, Vayu, Kubera, and Isana. The wall design scheme with deities on the bhadra (central projections), dikpalas on the karna (corner projections), and salilantaras with apsaras is a common pattern in the regional temples.
The temple's vedibandha (basal mouldings) include graaspatti (band of kirtimukhas or face of glory), kumbha (pot) with a diamond motif, kalasha (a pitcher), and kapotali (cyma recta). Images of gods, goddesses, apsaras (celestial damsels), and ascetics adorn the entirety of the wall projections, built in schist stone. These consist of the Shaiva images—Natesha, Andhakasura, and Chamunda—inside the principal niches and dikpalas, i.e., the cardinal deities—Indra, Agni, Nritti, Vayu, Kubera, and Isana. The wall design scheme with deities on the bhadra (central projections), dikpalas on the karna (corner projections), and salilantaras with apsaras is a common pattern in the regional temples.
This is a closer look at the partially preserved structure of the central shrine of the Someshwar Mahadev Temple. The remnants of the shikhara (superstructure) are ornate. At the base of the centre of the shikhara there is a rectangular block that acts as the surasenaka of the shikhara. Although partially preserved, it is evident that the garbhagriha (sanctum sanctorum) superstructure of the central shrine was of the shekhari (multi-spire) variety. The shikhara's mulashringa (main spire), pratyangas (minor limbs), and angas (major limbs) are ornamented with intricate gavaksha (dormer windows).
This is a closer look at the partially preserved structure of the central shrine of the Someshwar Mahadev Temple. The remnants of the shikhara (superstructure) are ornate. At the base of the centre of the shikhara there is a rectangular block that acts as the surasenaka of the shikhara. Although partially preserved, it is evident that the garbhagriha (sanctum sanctorum) superstructure of the central shrine was of the shekhari (multi-spire) variety. The shikhara's mulashringa (main spire), pratyangas (minor limbs), and angas (major limbs) are ornamented with intricate gavaksha (dormer windows).
Someshwar Mahadev temple's mandapa is astylar, i.e., bereft of pillars in the center. It has half-open lateral transepts on either side that allow light to enter the interior.
Someshwar Mahadev temple's mandapa is astylar, i.e., bereft of pillars in the center. It has half-open lateral transepts on either side that allow light to enter the interior.
This is a view of the ceiling of the mandapa (pillared hall) in the Someshwar Mahadev Temple. The ceiling consists of concentric circular rings made of cusps or fractals. The innermost ring is adorned with sculptured brackets. Sculptures, floral motifs, and geometric patterns profusely adorn all concentric rings of the ceiling.
This is a view of the ceiling of the mandapa (pillared hall) in the Someshwar Mahadev Temple. The ceiling consists of concentric circular rings made of cusps or fractals. The innermost ring is adorned with sculptured brackets. Sculptures, floral motifs, and geometric patterns profusely adorn all concentric rings of the ceiling.
An ornate dvarashakha (door jamb) marks the entrance to the garbhagriha (sanctum sanctorum) of the Someshwar Mahadev Temple. The uttaranga (top band) of the dvarashakha and the vertical divisions flanking the opening have depictions of deities like Shiva, Mahesh, Brahma, and goddesses.
An ornate dvarashakha (door jamb) marks the entrance to the garbhagriha (sanctum sanctorum) of the Someshwar Mahadev Temple. The uttaranga (top band) of the dvarashakha and the vertical divisions flanking the opening have depictions of deities like Shiva, Mahesh, Brahma, and goddesses.
View of the garbhagriha (sanctum sanctorum) interior of the Someshwar Mahadev Temple. The walls and ceiling are plain. Presently, the object of worship in the garbhagriha is a Shiva linga (aniconic representation of Shiva), which appears to have been kept here at a later date. The back wall of the garbhagriha has a low-relief empty niche.
View of the garbhagriha (sanctum sanctorum) interior of the Someshwar Mahadev Temple. The walls and ceiling are plain. Presently, the object of worship in the garbhagriha is a Shiva linga (aniconic representation of Shiva), which appears to have been kept here at a later date. The back wall of the garbhagriha has a low-relief empty niche.
A view of the subsidiary shrine from the panchayatana (main shrine with four subsidiary shrines in all four directions) setup of the Someshwar Mahadev Temple is presented. Not all of these shrines have survived, except for the ones to the northwest and southeast of the main temple. This is the shrine located northwest of the main temple. The four side shrines in the complex are single shrines dedicated to different deities, probably Vishnu, Ganesha, goddess, and Surya. Of the shikhara on these shrines, only a few aedicules of the base have survived.
A view of the subsidiary shrine from the panchayatana (main shrine with four subsidiary shrines in all four directions) setup of the Someshwar Mahadev Temple is presented. Not all of these shrines have survived, except for the ones to the northwest and southeast of the main temple. This is the shrine located northwest of the main temple. The four side shrines in the complex are single shrines dedicated to different deities, probably Vishnu, Ganesha, goddess, and Surya. Of the shikhara on these shrines, only a few aedicules of the base have survived.
This is a closer view of the subsidiary shrine's jangha (wall) in the northwestern corner of the Someshwar Mahadev temple complex. The pancharatha shrine's wall is very ornate, with five vertical projections on each side. The central bhadra (central projection) that faces west depicts the Trivikrama form of Vishnu. The other projections have depictions of dancers, apsaras (celestial damsels), and dikpalas (deities for cardinal directions). The exterior wall's orientation of Vishnu imagery suggests that Vishnu must have been the shrine's patron.
This is a closer view of the subsidiary shrine's jangha (wall) in the northwestern corner of the Someshwar Mahadev temple complex. The pancharatha shrine's wall is very ornate, with five vertical projections on each side. The central bhadra (central projection) that faces west depicts the Trivikrama form of Vishnu. The other projections have depictions of dancers, apsaras (celestial damsels), and dikpalas (deities for cardinal directions). The exterior wall's orientation of Vishnu imagery suggests that Vishnu must have been the shrine's patron.
The Someshwar Mahadev Temple offers a view of the side shrine from the panchayatana, which is the main shrine surrounded by four cardinal subsidiary shrines. Not all of these shrines have survived, except for the ones to the northwest and southeast of the main temple. This is the shrine southeast of the main temple. The four side shrines in the complex are single shrines dedicated to different deities, probably Vishnu, Ganesha, goddess, and Surya. Of the shikhara (superstructure) on these shrines, only a few aedicules of the base have survived.
The Someshwar Mahadev Temple offers a view of the side shrine from the panchayatana, which is the main shrine surrounded by four cardinal subsidiary shrines. Not all of these shrines have survived, except for the ones to the northwest and southeast of the main temple. This is the shrine southeast of the main temple. The four side shrines in the complex are single shrines dedicated to different deities, probably Vishnu, Ganesha, goddess, and Surya. Of the shikhara (superstructure) on these shrines, only a few aedicules of the base have survived.
This is a closer view of the north-facing jangha (wall) of the subsidiary shrine in the southeastern corner of the Someshwar Mahadev temple complex. The pancharatha shrine's wall is very ornate (five vertical projections on each side). The bhadra (central projection) that faces west is depicted as Surya. The other projections have depictions of dancers, apsaras (celestial damsels), and dikpalas (deities for cardinal directions). The exterior wall features an image of Surya holding lotuses in her upper hands, indicating the shrine's dedication to Surya.
This is a closer view of the north-facing jangha (wall) of the subsidiary shrine in the southeastern corner of the Someshwar Mahadev temple complex. The pancharatha shrine's wall is very ornate (five vertical projections on each side). The bhadra (central projection) that faces west is depicted as Surya. The other projections have depictions of dancers, apsaras (celestial damsels), and dikpalas (deities for cardinal directions). The exterior wall features an image of Surya holding lotuses in her upper hands, indicating the shrine's dedication to Surya.
These are the remains of pillars at the east-facing entrance of the Someshwar Mahadev Temple. The two broken pillar bases must have formed the torana (decorative arch) as an entrance gateway to the complex. The complex had two toranas, one east of the temple and one north.
These are the remains of pillars at the east-facing entrance of the Someshwar Mahadev Temple. The two broken pillar bases must have formed the torana (decorative arch) as an entrance gateway to the complex. The complex had two toranas, one east of the temple and one north.
The existing pillar likely originated from a torana (decorative arch), which was a component of the archway on the northern side of the temple. The intricate carving of the pillar is based on a multi-moulding plinth, the base of which features a row of elephants known as the gajathara (elephant band). The lower shaft of the pillar has three sets of sculptures, and the topmost part has two brackets. Attaching the torana to the bracket that remains on the pillar is essential.
The existing pillar likely originated from a torana (decorative arch), which was a component of the archway on the northern side of the temple. The intricate carving of the pillar is based on a multi-moulding plinth, the base of which features a row of elephants known as the gajathara (elephant band). The lower shaft of the pillar has three sets of sculptures, and the topmost part has two brackets. Attaching the torana to the bracket that remains on the pillar is essential.
There are numerous architectural elements, such as pillar remains, shikhara (superstructure) portions, and plinth mouldings, that were found near the panchayatana (main shrine with four subsidiary shrines in each cardinal direction) Someshwar Mahadev temple complex. All these elements must have formed part of the original temple structure but fell apart later. These remains have accumulated on a platform west of the temple complex. The several shikhara remains indicate that the mandapa (pillared hall) of the temple must have had a ghanta samavarna (bell roof) variety of shikhara. These remains also contain broken parts of the shekhari (multi-spire) shikhara of the mulaprasada (main shrine).
There are numerous architectural elements, such as pillar remains, shikhara (superstructure) portions, and plinth mouldings, that were found near the panchayatana (main shrine with four subsidiary shrines in each cardinal direction) Someshwar Mahadev temple complex. All these elements must have formed part of the original temple structure but fell apart later. These remains have accumulated on a platform west of the temple complex. The several shikhara remains indicate that the mandapa (pillared hall) of the temple must have had a ghanta samavarna (bell roof) variety of shikhara. These remains also contain broken parts of the shekhari (multi-spire) shikhara of the mulaprasada (main shrine).
This is the south-facing elevation of the main central shrine of the Kumbheshwar Mahadev Temple complex. According to its plan, the temple consists of a mukhamandapa (front porch), a mandapa (pillared hall), antarala (vestibule and antechamber), and a garbhagriha (sanctum sanctorum). The mukhamandapa facing east-west has not survived, barring its plinth. A row of kutas (aedicules) is visible above the main shrine, which indicates that the temple must have been adorned with a shekahri shikhara (multi-spired superstructure). On the south elevation's bhadra (central projection), there was a sculpture of Tripurantaka Shiva.
This is the south-facing elevation of the main central shrine of the Kumbheshwar Mahadev Temple complex. According to its plan, the temple consists of a mukhamandapa (front porch), a mandapa (pillared hall), antarala (vestibule and antechamber), and a garbhagriha (sanctum sanctorum). The mukhamandapa facing east-west has not survived, barring its plinth. A row of kutas (aedicules) is visible above the main shrine, which indicates that the temple must have been adorned with a shekahri shikhara (multi-spired superstructure). On the south elevation's bhadra (central projection), there was a sculpture of Tripurantaka Shiva.
A closer view of the south elevation of the Kumbheshwar Mahadev Temple shows that it has profusely carved exterior walls. The basal mouldings, such as the kani, graaspatti (band of kirtimukhas, or face of glory motif), kumbha (pot), and kalasha (a pitcher), are relatively plain. The kumbha moulding has a band of diamond designs. The kapili (cyma recta) portion of the wall that connects the exterior of the garbhagriha (sanctum sanctorum) to the mandapa (pillared hall) has the same wall and plinth designs as the garbhagriha exterior walls.
A closer view of the south elevation of the Kumbheshwar Mahadev Temple shows that it has profusely carved exterior walls. The basal mouldings, such as the kani, graaspatti (band of kirtimukhas, or face of glory motif), kumbha (pot), and kalasha (a pitcher), are relatively plain. The kumbha moulding has a band of diamond designs. The kapili (cyma recta) portion of the wall that connects the exterior of the garbhagriha (sanctum sanctorum) to the mandapa (pillared hall) has the same wall and plinth designs as the garbhagriha exterior walls.
This is a closer view of the east jangha (wall) of the Kumbheshwar Mahadev Temple. The wall scheme is similar to the south elevation of the temple, depicting apsaras (celestial damsels), ascetics, and dancers on the intermediate and corner projections. The bhadra (central projection) has an image of Natesha. The image of Natesha in the dancing posture shown here is six-handed, holding attributes like khatvanga (staff with a skull) and Naga. At the bottom, there are two musicians.
This is a closer view of the east jangha (wall) of the Kumbheshwar Mahadev Temple. The wall scheme is similar to the south elevation of the temple, depicting apsaras (celestial damsels), ascetics, and dancers on the intermediate and corner projections. The bhadra (central projection) has an image of Natesha. The image of Natesha in the dancing posture shown here is six-handed, holding attributes like khatvanga (staff with a skull) and Naga. At the bottom, there are two musicians.
This is a closer view of the east jangha (wall) of the Kumbheshwar Mahadev Temple. The wall scheme is similar to the two north and south sides of the temple, with depictions of apsaras (celestial damsels), ascetics, and dancers on the intermediate and corner projections. The bhadra (central projection) features an image of Chamunda. Here, the depiction of Chamunda features a skeletal body, six hands, and a scorpion resting on her stomach. A supine human figure appears below the image. The goddess's other attributes, including a damaru (a small two-headed drum) and a khatvanga (a staff with a skull), are missing.
This is a closer view of the east jangha (wall) of the Kumbheshwar Mahadev Temple. The wall scheme is similar to the two north and south sides of the temple, with depictions of apsaras (celestial damsels), ascetics, and dancers on the intermediate and corner projections. The bhadra (central projection) features an image of Chamunda. Here, the depiction of Chamunda features a skeletal body, six hands, and a scorpion resting on her stomach. A supine human figure appears below the image. The goddess's other attributes, including a damaru (a small two-headed drum) and a khatvanga (a staff with a skull), are missing.
The Kumbheshwar Mahadev Temple's mandapa, or pillared hall, is square in plan. Its main entrance is to the west, and the south and north sides have lateral wings protruding. These wings are semi-open, like balconies. The mandapa's exterior walls have minimal ornamentation. A band of kirtimukhas (face of glory) and peepal leaf motifs are the only ornamentation patterns on the wall.
The Kumbheshwar Mahadev Temple's mandapa, or pillared hall, is square in plan. Its main entrance is to the west, and the south and north sides have lateral wings protruding. These wings are semi-open, like balconies. The mandapa's exterior walls have minimal ornamentation. A band of kirtimukhas (face of glory) and peepal leaf motifs are the only ornamentation patterns on the wall.
This is the main mandapa (pillared hall) entrance to the Kumbheshwar Mahadev Temple. The mandapa's outer walls have undergone restoration.
This is the main mandapa (pillared hall) entrance to the Kumbheshwar Mahadev Temple. The mandapa's outer walls have undergone restoration.
This is the main mandapa (pillared hall) entrance to the Kumbheshwar Mahadev Temple. The mandapa's outer walls have undergone restoration.
This is the main mandapa (pillared hall) entrance to the Kumbheshwar Mahadev Temple. The mandapa's outer walls have undergone restoration.
The Kumbheshvar Mahadev temple features a ceiling in its mandapa, a pillared hall. The ceiling consists of concentric rings forming a dome. Floral cusps design the inner circles of the ceiling, while figural ornamentation adorns the outer rings. Bat infestation on the stone fabric partially obscures the ornamentation and details of the sculptures.
The Kumbheshvar Mahadev temple features a ceiling in its mandapa, a pillared hall. The ceiling consists of concentric rings forming a dome. Floral cusps design the inner circles of the ceiling, while figural ornamentation adorns the outer rings. Bat infestation on the stone fabric partially obscures the ornamentation and details of the sculptures.
The interiors of the Kumbheshwar Mahadev Temple are austere, barring a few sculptures. One of the devakoshthas (niches) in the wall of the mandapa (pillared hall) has a deity with his consort, probably Uma Maheshwar.
The interiors of the Kumbheshwar Mahadev Temple are austere, barring a few sculptures. One of the devakoshthas (niches) in the wall of the mandapa (pillared hall) has a deity with his consort, probably Uma Maheshwar.
There are several architectural remains east of the Kumbheshwar Mahadev Temple complex. These were retrieved from the temple premises. The remains consist of pillars, lintels, plinth mouldings, shikhara (superstructure remains), pranala (water chute), among several others.
There are several architectural remains east of the Kumbheshwar Mahadev Temple complex. These were retrieved from the temple premises. The remains consist of pillars, lintels, plinth mouldings, shikhara (superstructure remains), pranala (water chute), among several others.
This is the south-facing elevation of the Shiva Temple, from the Arthuna group of temples. According to its plan, the temple consists of a mukhamandapa (front porch), a mandapa (pillared hall), an antarala (vestibule or antechamber), and a garbhagriha (sanctum sanctorum). Above the garbhagriha rises a lofty shekhari (multi-spire) shikhara. This is the only temple with a complete, renovated shikhara. The exterior temple structure has undergone several restorations. They have reassembled many of the fallen architectural elements.
This is the south-facing elevation of the Shiva Temple, from the Arthuna group of temples. According to its plan, the temple consists of a mukhamandapa (front porch), a mandapa (pillared hall), an antarala (vestibule or antechamber), and a garbhagriha (sanctum sanctorum). Above the garbhagriha rises a lofty shekhari (multi-spire) shikhara. This is the only temple with a complete, renovated shikhara. The exterior temple structure has undergone several restorations. They have reassembled many of the fallen architectural elements.
The Shiva Temple's shikhara (superstructure) can be seen up close. The Shiva Temple features the shekhari (multi-spire) variety of shikhara, where miniature shikharas and half portions emanate from the central spire. All the small and big shikhara aedicules are designed like individual Latina shikhara (mono-spired) with gavaksha (dormer windows) designs. The renovated portions of the shikhara were remade in plain stone blocks. The shikhara's base features an image of a seated Lakulisha, depicted nude, holding a staff, and flanked by two attendants.
The Shiva Temple's shikhara (superstructure) can be seen up close. The Shiva Temple features the shekhari (multi-spire) variety of shikhara, where miniature shikharas and half portions emanate from the central spire. All the small and big shikhara aedicules are designed like individual Latina shikhara (mono-spired) with gavaksha (dormer windows) designs. The renovated portions of the shikhara were remade in plain stone blocks. The shikhara's base features an image of a seated Lakulisha, depicted nude, holding a staff, and flanked by two attendants.
The Shiva temple's mandapa (pillared hall) features a close-up view of its shikhara (superstructure). This shikhara is of the ghantasamvarna (bell roof) variety, which is pyramidal in nature. The shikhara comprises several small ghantikas (bells) adorned with chaitya dormer motifs on their pedestals. The arrangement of these aedicules creates a cascading effect from top to bottom.
The Shiva temple's mandapa (pillared hall) features a close-up view of its shikhara (superstructure). This shikhara is of the ghantasamvarna (bell roof) variety, which is pyramidal in nature. The shikhara comprises several small ghantikas (bells) adorned with chaitya dormer motifs on their pedestals. The arrangement of these aedicules creates a cascading effect from top to bottom.
This is the south-facing exterior wall of the Shiva Temple. Sculptures adorn all the wall projections. The bhadra (central projection) has a sculpture of Tripurantaka Shiva, the intermediate projections have surasundaris (celestial damsels), and the corner projections have dikpalas (deities for cardinal directions). The jangha (wall) portion of the temple is made of a different stone than the rest of the temple. Except for one recess between the wall of the shrine and the mandapa (pillared hall), recesses separate the projections from each other.
This is the south-facing exterior wall of the Shiva Temple. Sculptures adorn all the wall projections. The bhadra (central projection) has a sculpture of Tripurantaka Shiva, the intermediate projections have surasundaris (celestial damsels), and the corner projections have dikpalas (deities for cardinal directions). The jangha (wall) portion of the temple is made of a different stone than the rest of the temple. Except for one recess between the wall of the shrine and the mandapa (pillared hall), recesses separate the projections from each other.
The east-facing exterior wall of the Shiva Temple can be seen here. Sculptures adorn all the wall projections. The bhadra (central projection) has a sculpture of Natesha; the intermediate projections have surasundaris (celestials); and the corner projections have dikpalas (deities for cardinal directions). The devakoshtha (niches) on the central bhadra is an ornate niche. There are no recesses to separate the wall projections.
The east-facing exterior wall of the Shiva Temple can be seen here. Sculptures adorn all the wall projections. The bhadra (central projection) has a sculpture of Natesha; the intermediate projections have surasundaris (celestials); and the corner projections have dikpalas (deities for cardinal directions). The devakoshtha (niches) on the central bhadra is an ornate niche. There are no recesses to separate the wall projections.
The east-facing exterior wall of the Shiva Temple can be seen here. Sculptures adorn all the wall projections. The bhadra (central projection) has a sculpture of Chamunda; the intermediate projections have surasundaris (celestial damsels); and the corner projections have dikpalas (deities for cardinal directions). Chamunda is shown in skeletal form. There is a recess separating the main shrine wall and the mandapa (pillared hall), which has a kutastambha motif (a pilaster with miniature shikhara or superstructure).
The east-facing exterior wall of the Shiva Temple can be seen here. Sculptures adorn all the wall projections. The bhadra (central projection) has a sculpture of Chamunda; the intermediate projections have surasundaris (celestial damsels); and the corner projections have dikpalas (deities for cardinal directions). Chamunda is shown in skeletal form. There is a recess separating the main shrine wall and the mandapa (pillared hall), which has a kutastambha motif (a pilaster with miniature shikhara or superstructure).
The mandapa (pillared hall) of the Shiva temple is visible from the northwestern side. There is a mukhmandapa (front porch) at the western principal entrance of the temple, which further connects to the mandapa. The mandapa is of a semi-open type, wherein the corner walls have peepal leaf motifs as surface decorations.
The mandapa (pillared hall) of the Shiva temple is visible from the northwestern side. There is a mukhmandapa (front porch) at the western principal entrance of the temple, which further connects to the mandapa. The mandapa is of a semi-open type, wherein the corner walls have peepal leaf motifs as surface decorations.
This is a view of the Shiva temple's interiors from its mukhamandapa (front porch). The pillars and walls of the temple interiors are plain.
This is a view of the Shiva temple's interiors from its mukhamandapa (front porch). The pillars and walls of the temple interiors are plain.
Plain concentric circular rings offset from each other make up the ceiling of the Shiva Temple's mandapa (pillared hall). A small lotus medallion is located in the center of the dome. There are eight pillars that support this dome ceiling. These pillar brackets feature bharavahaka (load bearers) sculptures.
Plain concentric circular rings offset from each other make up the ceiling of the Shiva Temple's mandapa (pillared hall). A small lotus medallion is located in the center of the dome. There are eight pillars that support this dome ceiling. These pillar brackets feature bharavahaka (load bearers) sculptures.
The Chaunsath Yogini Temple stands between the Shiva Temple and the Jain Temple. Perched on a lofty platform, the temple has clearly sustained considerable harm, leading to the loss of its mandapa. The temple's architectural patterns are different from most other temples in the Arthuna group.
The Chaunsath Yogini Temple stands between the Shiva Temple and the Jain Temple. Perched on a lofty platform, the temple has clearly sustained considerable harm, leading to the loss of its mandapa. The temple's architectural patterns are different from most other temples in the Arthuna group.
Here is a closer view of the high plinth of the Chaunsath Yogini Temple. The plinth consists of a pitha (base) that supports large, kumbha (pot-shaped) wide projections, each featuring a devakoshtha (niche) on its surface. This plinth's mouldings are similar to those of temple base plinths. The plinth features a kapotali (cyma recta) moulding, followed by kumbha, kalasha (a pitcher), and kani.
Here is a closer view of the high plinth of the Chaunsath Yogini Temple. The plinth consists of a pitha (base) that supports large, kumbha (pot-shaped) wide projections, each featuring a devakoshtha (niche) on its surface. This plinth's mouldings are similar to those of temple base plinths. The plinth features a kapotali (cyma recta) moulding, followed by kumbha, kalasha (a pitcher), and kani.
This is a devakoshtha (niche) on the surface of the kumbha (pot-shaped) moulding, which is part of the Chaunsath Yogini Temple's high plinth. Two slender pilasters, adorned with a ghatapallava (vase and foliage) motif, form each of these devakoshthas. A gavaksha (dormer window) design crowns the niche. The devakoshtha has lost most of its sculptures, but the few that remain depict goddesses. These goddesses' presence reinforces the temple's Shakta affiliation.
This is a devakoshtha (niche) on the surface of the kumbha (pot-shaped) moulding, which is part of the Chaunsath Yogini Temple's high plinth. Two slender pilasters, adorned with a ghatapallava (vase and foliage) motif, form each of these devakoshthas. A gavaksha (dormer window) design crowns the niche. The devakoshtha has lost most of its sculptures, but the few that remain depict goddesses. These goddesses' presence reinforces the temple's Shakta affiliation.
Seen here is the north-facing elevation of the Chaunsath Yogini Temple. At the centre of a high plinth, there is a single shrine temple of which only the garbhagriha (sanctum sanctorum) has partially survived. Originally, the temple must have had a garbhagriha, an antarala (vestibule and antechamber), and a mandapa (pillared hall) with attached mukhamandapas (front porch). This temple was constructed with two varieties of sandstone.
Seen here is the north-facing elevation of the Chaunsath Yogini Temple. At the centre of a high plinth, there is a single shrine temple of which only the garbhagriha (sanctum sanctorum) has partially survived. Originally, the temple must have had a garbhagriha, an antarala (vestibule and antechamber), and a mandapa (pillared hall) with attached mukhamandapas (front porch). This temple was constructed with two varieties of sandstone.
The east-facing elevation of the Chaunsath Yogini Temple is better preserved than other parts. In elevation, the temple has several basal mouldings. The intricate designs adorn all these mouldings with profuse carvings. Above this are the jangha (wall) and the remnants of the temple's shikhara (superstructure). The kumbha (pot) moulding from this temple's vedibandha (basal mouldings) is the most ornate, with leafy patterns on its edges and deities within framed niches on the front faces.
The east-facing elevation of the Chaunsath Yogini Temple is better preserved than other parts. In elevation, the temple has several basal mouldings. The intricate designs adorn all these mouldings with profuse carvings. Above this are the jangha (wall) and the remnants of the temple's shikhara (superstructure). The kumbha (pot) moulding from this temple's vedibandha (basal mouldings) is the most ornate, with leafy patterns on its edges and deities within framed niches on the front faces.
The temple's corner projection provides a closer view of the jangha (wall). The garbhagriha (sanctum sanctorum) boasts profusely carved projections and recesses, each containing various sculptures of ascetics, surasundaris (celestial damsels), and deities. Chaitya dormer pediments cap the sculptures on the jangha.
The temple's corner projection provides a closer view of the jangha (wall). The garbhagriha (sanctum sanctorum) boasts profusely carved projections and recesses, each containing various sculptures of ascetics, surasundaris (celestial damsels), and deities. Chaitya dormer pediments cap the sculptures on the jangha.
Closer view of the vedibandha (basal mouldings) of the Chaunsath Yogini Temple that are made up of a graaspatti (band of kirtimukhas or face of glory), gajathara (a band of elephants), narathara (a band of human figures), narathara, kumbha (pot) moulding, kalasaha (a pitcher), and kapotali (cyma recta). The most ornate moulding in the entire plinth is the kumbha, which has one central deity, usually a depiction of a goddess, flanked by mithuna (amorous couples) figures or ascetics.
Closer view of the vedibandha (basal mouldings) of the Chaunsath Yogini Temple that are made up of a graaspatti (band of kirtimukhas or face of glory), gajathara (a band of elephants), narathara (a band of human figures), narathara, kumbha (pot) moulding, kalasaha (a pitcher), and kapotali (cyma recta). The most ornate moulding in the entire plinth is the kumbha, which has one central deity, usually a depiction of a goddess, flanked by mithuna (amorous couples) figures or ascetics.
The Chaunsath Yogini Temple's fallen mandapa (pillared hall) and the entrance to the garbhagriha (sanctum sanctorum) are visible. The hewn foundation stones of the exterior walls and the pillar positions reveal the layout of the mandapa. It must have been a semi-open type of mandapa, with openings on the west, south, and north sides. The remnant portions of the mandapa's interior walls indicate that they must have been plain in comparison to its interior.
The Chaunsath Yogini Temple's fallen mandapa (pillared hall) and the entrance to the garbhagriha (sanctum sanctorum) are visible. The hewn foundation stones of the exterior walls and the pillar positions reveal the layout of the mandapa. It must have been a semi-open type of mandapa, with openings on the west, south, and north sides. The remnant portions of the mandapa's interior walls indicate that they must have been plain in comparison to its interior.
The image provides a closer view of the opening that leads into the garbhagriha (sanctum sanctorum) of the Chaunsath Yogini Temple. A simple doorframe/architrave, lacking many vertical divisions, marks this entrance. On either side of the lower portion of the architrave, there are dvarapalas (door attendants) and river goddesses. The threshold has an ornate mandaraka. Similarly, the doorframe's lintel has three divinities in framed niches. The empty space above the doorframe constitutes a part of the interiors of the shikhara (superstructure).
The image provides a closer view of the opening that leads into the garbhagriha (sanctum sanctorum) of the Chaunsath Yogini Temple. A simple doorframe/architrave, lacking many vertical divisions, marks this entrance. On either side of the lower portion of the architrave, there are dvarapalas (door attendants) and river goddesses. The threshold has an ornate mandaraka. Similarly, the doorframe's lintel has three divinities in framed niches. The empty space above the doorframe constitutes a part of the interiors of the shikhara (superstructure).
The interiors of the garbhagriha (sanctum sanctorum) of the Chaunsath Yogini Temple are plain and minimally ornamented. It is square in plan and has a trabeated ceiling. Currently, worshippers do not actively use the temple. But originally, it must have been dedicated to goddess worship, which can be speculated based on the pedestal, which has the depiction of a goddess sculpture on its front side.
The interiors of the garbhagriha (sanctum sanctorum) of the Chaunsath Yogini Temple are plain and minimally ornamented. It is square in plan and has a trabeated ceiling. Currently, worshippers do not actively use the temple. But originally, it must have been dedicated to goddess worship, which can be speculated based on the pedestal, which has the depiction of a goddess sculpture on its front side.
Several architectural and sculptural remains that must have been part of the original Chaunsath Yogini Temple are scattered nearby. The ghantasamvarna shikhara (bell-roofed superstructure), which would have been part of the mandapa (pillared hall) shikhara, makes up a large portion of these remains.
Several architectural and sculptural remains that must have been part of the original Chaunsath Yogini Temple are scattered nearby. The ghantasamvarna shikhara (bell-roofed superstructure), which would have been part of the mandapa (pillared hall) shikhara, makes up a large portion of these remains.
The road that leads to the Jain Temple is situated amidst agricultural fields.
The road that leads to the Jain Temple is situated amidst agricultural fields.
Seen here is the north-facing principal entrance of the Jain temple complex. A flight of steps leads to the temple's elevated platform. The entrance is marked by pillar remains on four corners, which must have supported a semi-opena pavilion connected to the temple complex's raised platform.
Seen here is the north-facing principal entrance of the Jain temple complex. A flight of steps leads to the temple's elevated platform. The entrance is marked by pillar remains on four corners, which must have supported a semi-opena pavilion connected to the temple complex's raised platform.
Seen here is the north-facing principal entrance of the Jain temple complex. A flight of steps leads to the temple's elevated platform. The entrance is marked by pillar remains on four corners, which must have supported a semi-open pavilion connected to the temple complex's raised platform.
Seen here is the north-facing principal entrance of the Jain temple complex. A flight of steps leads to the temple's elevated platform. The entrance is marked by pillar remains on four corners, which must have supported a semi-open pavilion connected to the temple complex's raised platform.
The Jain Temple's mulaprasada (main shrine) is visible here. The temple elevation has a vedibandha (basal mouldings) with minimal ornamentation, followed by a jangha (wall), which has figural sculptures and an intricately carved multi-spired shikhara (superstructure).
The Jain Temple's mulaprasada (main shrine) is visible here. The temple elevation has a vedibandha (basal mouldings) with minimal ornamentation, followed by a jangha (wall), which has figural sculptures and an intricately carved multi-spired shikhara (superstructure).
Cascading down a central mulashringa (main spire), there are several small miniatures of shikharas (spires), also sometimes called shikharikas, all of which together form the multi-spired shekhari shikhara. Each elevation's bottom features a depiction of Jain deities. The surface of the shikhara aedicules has intricate carvings made up of chaitya (dormers) mesh. Small ribbed discs, known as amalakas, top each aedicule, regardless of its size.
Cascading down a central mulashringa (main spire), there are several small miniatures of shikharas (spires), also sometimes called shikharikas, all of which together form the multi-spired shekhari shikhara. Each elevation's bottom features a depiction of Jain deities. The surface of the shikhara aedicules has intricate carvings made up of chaitya (dormers) mesh. Small ribbed discs, known as amalakas, top each aedicule, regardless of its size.
This is a view of the west-facing jangha (wall) of the Jain Temple, where the bhadra (central projection) niche is empty, but the intermediate and corner projections feature sculptures on both sides. The intermediate projections have depictions of dikpalas (deities of the cardinal directions). The recesses have depictions of ascetic figures.
This is a view of the west-facing jangha (wall) of the Jain Temple, where the bhadra (central projection) niche is empty, but the intermediate and corner projections feature sculptures on both sides. The intermediate projections have depictions of dikpalas (deities of the cardinal directions). The recesses have depictions of ascetic figures.
A closer view reveals the basal mouldings of the Jain Temple, which consist of a plain moulding at the bottom, a curved moulding, a slender kani moulding, a band of kirtimukhas (face of glory) known as graaspatti, a kumbha (pot-shaped) moulding, a kalasha (a pitcher) moulding, and finally two kapotali (cyma recta) mouldings. All these mouldings are beautifully crafted but do not have much surface ornamentation. The kumbha is adorned with a band of diamonds that runs throughout the temple.
A closer view reveals the basal mouldings of the Jain Temple, which consist of a plain moulding at the bottom, a curved moulding, a slender kani moulding, a band of kirtimukhas (face of glory) known as graaspatti, a kumbha (pot-shaped) moulding, a kalasha (a pitcher) moulding, and finally two kapotali (cyma recta) mouldings. All these mouldings are beautifully crafted but do not have much surface ornamentation. The kumbha is adorned with a band of diamonds that runs throughout the temple.
The Jain Temple has a rectangular porch, or mukhamandapa (front porch), along its north-facing principal entrance. Four temples adorn the front side, while four pilasters complement the back wall. The porch's pillars have slender columns, a square plan, and bharavahaka (load-bearing) brackets.
The Jain Temple has a rectangular porch, or mukhamandapa (front porch), along its north-facing principal entrance. Four temples adorn the front side, while four pilasters complement the back wall. The porch's pillars have slender columns, a square plan, and bharavahaka (load-bearing) brackets.
A beautiful dvarashakha (architrave or door jamb) frames the main entrance into the Jain Temple's interiors. The lower portion of this dvarashakha has attendants flanking the entrance opening, while the upper portion has a row of deities depicted in relief niches. The main entrance's flooring features an ornate chandrashila, a halfmoon motif or moonstone, adorned with floral buds.
A beautiful dvarashakha (architrave or door jamb) frames the main entrance into the Jain Temple's interiors. The lower portion of this dvarashakha has attendants flanking the entrance opening, while the upper portion has a row of deities depicted in relief niches. The main entrance's flooring features an ornate chandrashila, a halfmoon motif or moonstone, adorned with floral buds.
Here is the interior of the Jain Temple's mandapa (pillared hall). The mandapa is astylar in plan, meaning that the central portion does not contain any pillars. The corners of the mandapa line up with the pillars. The garbhagriha entrance (sanctum sanctorum) is right in front of the main north-facing entrance to the temple. The mandapa's west and east sides have relief transepts. A bat infestation has severely damaged the temple's stone interiors.
Here is the interior of the Jain Temple's mandapa (pillared hall). The mandapa is astylar in plan, meaning that the central portion does not contain any pillars. The corners of the mandapa line up with the pillars. The garbhagriha entrance (sanctum sanctorum) is right in front of the main north-facing entrance to the temple. The mandapa's west and east sides have relief transepts. A bat infestation has severely damaged the temple's stone interiors.
A simple brick-renovated dvarashakha (door jamb) defines the entrance into the Jain Temple's garbhagriha (sanctum sanctorum). The temple's garbhagriha is currently empty. The original object of worship is not known, and currently too, the temple is not under worship.
A simple brick-renovated dvarashakha (door jamb) defines the entrance into the Jain Temple's garbhagriha (sanctum sanctorum). The temple's garbhagriha is currently empty. The original object of worship is not known, and currently too, the temple is not under worship.
The Jain Temple's square-plan mandapa (pillared hall) has a domical ceiling made up of concentric circles that diminish in size up to the center. In the center is a suspended lotus medallion. The ceiling is composed of simple concentric rings. This type of ceiling is common in the Arthuna group of temples.
The Jain Temple's square-plan mandapa (pillared hall) has a domical ceiling made up of concentric circles that diminish in size up to the center. In the center is a suspended lotus medallion. The ceiling is composed of simple concentric rings. This type of ceiling is common in the Arthuna group of temples.
Plain raised plinths surround the main Jain temple on its western and eastern sides, but the superstructures have not survived. On the southern side, i.e., the rear of the main temple, there are two small ruined shrines that survive on the plinth and wall remains. Based on the remains in the garbhagriha (sanctum sanctorum), these temple remains can be ascribed to Jain worship. The plinth mouldings of the ruined temples are similar to those of the main Jain temples.
Plain raised plinths surround the main Jain temple on its western and eastern sides, but the superstructures have not survived. On the southern side, i.e., the rear of the main temple, there are two small ruined shrines that survive on the plinth and wall remains. Based on the remains in the garbhagriha (sanctum sanctorum), these temple remains can be ascribed to Jain worship. The plinth mouldings of the ruined temples are similar to those of the main Jain temples.
To the west of the main temple, there are remains of many other shrines that might have been part of a larger Jain complex. The majority of these shrines' superstructures are dilapidated. The temple's vicinity is home to these dismantled portions. Colossal images of Jina damage the only noteworthy remnants. The temple plan comprises a mandapa, which is a pillared hall, and a garbhagriha, which is a sanctum sanctorum.
To the west of the main temple, there are remains of many other shrines that might have been part of a larger Jain complex. The majority of these shrines' superstructures are dilapidated. The temple's vicinity is home to these dismantled portions. Colossal images of Jina damage the only noteworthy remnants. The temple plan comprises a mandapa, which is a pillared hall, and a garbhagriha, which is a sanctum sanctorum.
This is a colossal sculpture of a Jain Tirthankara standing in kayotsarga (dismissing the body) posture, found in the ruined shrine to the west of the central temple. The inscriptions at the base of the free-standing statues date from the 16th century CE. Black stone, primarily granite, forms the sculpture's carving.
This is a colossal sculpture of a Jain Tirthankara standing in kayotsarga (dismissing the body) posture, found in the ruined shrine to the west of the central temple. The inscriptions at the base of the free-standing statues date from the 16th century CE. Black stone, primarily granite, forms the sculpture's carving.
This is a colossal sculpture of a Jain Tirthankara standing in kayotsarga (dismissing the body) posture, found in the ruined shrine. 16th-century inscriptions adorn the pedestal of the Jina Tirthankara sculpture, located in the ruined shrines to the west of the main Jain Temple. A cursory glance at the orthography and script of the inscriptions indicates that they belong to the 16th century, probably recording the sculpture's consecration. To the west of the central temple, the pedestal divides the inscription into four parts. The inscriptions at the base of the free-standing statues date from the 16th century CE. Black stone, primarily granite, forms the sculpture's carving.
This is a colossal sculpture of a Jain Tirthankara standing in kayotsarga (dismissing the body) posture, found in the ruined shrine. 16th-century inscriptions adorn the pedestal of the Jina Tirthankara sculpture, located in the ruined shrines to the west of the main Jain Temple. A cursory glance at the orthography and script of the inscriptions indicates that they belong to the 16th century, probably recording the sculpture's consecration. To the west of the central temple, the pedestal divides the inscription into four parts. The inscriptions at the base of the free-standing statues date from the 16th century CE. Black stone, primarily granite, forms the sculpture's carving.
The scattered architectural fragments in the Jain temple complex, consisting of several architectural members along with a Jina sculpture seated in padmasana (lotus pedestal), are seen here. It is likely that all these architectural and sculptural remains originally formed part of the Jain temple complex. Because the Jain temple's central shrine is well preserved, the fragments of the wall with floral ornamentation might have been part of the side shrines in this complex.
The scattered architectural fragments in the Jain temple complex, consisting of several architectural members along with a Jina sculpture seated in padmasana (lotus pedestal), are seen here. It is likely that all these architectural and sculptural remains originally formed part of the Jain temple complex. Because the Jain temple's central shrine is well preserved, the fragments of the wall with floral ornamentation might have been part of the side shrines in this complex.