Art and Architecture of Hazareshwar Temple

By Dr Nikita Rathore

In the Bhilwara district of Rajasthan lies Bijolia, a small town renowned for its ancient temples. Within this town, three temples and a kund (water tank) are enclosed in a complex and protected by the Jaipur Circle, Archaeological Survey of India (ASI). Among these, the Mahakal Temple is the oldest and most renowned, situated adjacent to the smaller yet significant Hazareshwar Temple. (Image 1)

Image 1: From the entrance of the Bijolia temple complex, both the Mahakal Temple and the Hazareshwar Temple are visible. The Hazareshwar Temple, facing east, reveals its rear facade, while the Mahakal Temple, oriented westward, presents its entrance to those arriving in the complex.
Image 1: From the entrance of the Bijolia temple complex, both the Mahakal Temple and the Hazareshwar Temple are visible. The Hazareshwar Temple, facing east, reveals its rear facade, while the Mahakal Temple, oriented westward, presents its entrance to those arriving in the complex.

The Hazareshwar Temple, also known as the Hazaralinga or Sahasralinga Temple, is dedicated to Lord Shiva. During the 12th century CE, the temple was known as the Swarnajaleswar Temple. An inscription found in the temple’s mandapa (pillared hall) states ‘Achintyadhvaja Jogi,’[1] indicating its dedication to Pashupata Shaivism, one of the oldest traditions of Shaivism. Pashupata Shaivism traces its origins to Lakulisa, who is believed to be an incarnation of Shiva. Over time, Pashupata Shaivism spread across regions like Gujarat, Malwa, and Rajasthan, with the central tenet being the belief in Shiva as the supreme deity.

According to Pashupata teachings, the soul inherently possesses attributes akin to the supreme deity, Shiva. Liberation from worldly bondage involves purifying the soul from accumulated impurities. By removing these impurities, symbolized as the ‘dirt of the soul,’ the individual soul can attain moksha (liberation) and merge with the divine essence of Shiva. This emphasis on inner purification and realization of the soul’s divine nature underscores the spiritual path advocated by Pashupata Shaivism.

The temple’s sculptural program also affirms its dedication to Pashupata Shaivism. The figure of Lakulisa is visible at the entrance door of the garbhagriha (sanctum sanctorum), which houses a large linga. The linga is embellished with hazar or thousand miniature lingas, bestowing upon the temple its name, Hazareshwar, signifying the presence of a myriad Shiva (Ishwar, meaning God).

Despite its modest size, the Hazareshwar Temple holds profound significance. Its simplicity in both art and architecture, when juxtaposed with the grandeur of the other two temples, offers a glimpse into the diverse array of temples within the complex. The temple houses a collection of exquisite sculptures reflecting the region’s rich artistic heritage, which has often overlooked despite their exceptional craftsmanship and architectural brilliance.

This photo essay delves into the art and architecture of the Hazareshwar Temple, aiming to elucidate its intricate details and unique style. Through careful analysis, it seeks to uncover temple’s historical and cultural significance, inviting readers to appreciate its beauty within its broader context.

Architecturally, the Hazareshwar Temple includes a mandapa, a shallow antarala (vestibule or antechamber), and a garbhagriha on plan. The temple stands on a well-defined vedibandha (basal mouldings), upon which the jangha (wall) is placed, supporting the shikhara (superstructure). (Image 2)

Image 2: The Hazareshwar Temple is a small structure, in contrast to the Mahakal and Undeshwar temples, with a mandapa (pillared hall), antarala (vestibule), and garbhagriha (sanctum sanctorum).
Image 2: The Hazareshwar Temple is a small structure, in contrast to the Mahakal and Undeshwar temples, with a mandapa (pillared hall), antarala (vestibule), and garbhagriha (sanctum sanctorum).

The mandapa (Image 3 and 4), a small square open hall, rests upon a low base. Supported by four pillars at its corners, the mandapa’s pillars are adorned with depictions of deities, each telling a story through their divine presence. Carvings of male deities (Image 5), musicians, dancers, and surasundaris (celestial damsels) adorn the shaft, transitioning from a square base to an octagonal shape, then to 16 facets before culminating in a circular form. Above, the abacus upholds the bharavahaka (load bearers) brackets, which in turn support the lintel, completing the structure. The ceiling of the mandapa features intricate designs (Image 6 and 7), and the flat roof, crowned with a detailed parapet, provides a tranquil refuge beneath the sky. Within this enclosure, Nandi, Shiva’s bull, silently guards the sanctity of the mandapa.

Image 3: The Hazareshwar Temple can be entered from the eastern side through the mandapa (pillared hall), which is a small, square, open hall resting on a low base.
Image 3: The Hazareshwar Temple can be entered from the eastern side through the mandapa (pillared hall), which is a small, square, open hall resting on a low base.
Image 4: The mandapa (pillared hall) of the Hazareshwar Temple shows two frontal pillars and back pilasters, supporting the flat simple roof above.
Image 4: The mandapa (pillared hall) of the Hazareshwar Temple shows two frontal pillars and back pilasters, supporting the flat simple roof above.
Image 5: A closer examination of the front pillar of the mandapa (pillared hall) reveals a male deity adorning its surface. Poised upon a lotus, he stands with a serene countenance and is depicted with two arms. In his right hand, he holds a dagger, while his left-hand lifts a bowl to his lips. Adorned with serpents as jewellery, these creatures coil around his neck, waist, and ankles, adding a mystical allure to his presence.
Image 5: A closer examination of the front pillar of the mandapa (pillared hall) reveals a male deity adorning its surface. Poised upon a lotus, he stands with a serene countenance and is depicted with two arms. In his right hand, he holds a dagger, while his left-hand lifts a bowl to his lips. Adorned with serpents as jewellery, these creatures coil around his neck, waist, and ankles, adding a mystical allure to his presence.
Image 6: The pilasters at the back of the mandapa (pillared hall) are elegantly adorned with bell and chain motifs. At the centre of the mandapa, a stone sculpture of Nandi (Shiva’s bull) is placed, facing towards the garbhagriha (sanctum sanctorum).
Image 6: The pilasters at the back of the mandapa (pillared hall) are elegantly adorned with bell and chain motifs. At the centre of the mandapa, a stone sculpture of Nandi (Shiva’s bull) is placed, facing towards the garbhagriha (sanctum sanctorum).
Image 7: The Hazareshwar Temple is constructed in the trabeate style, which is most evident in its ceiling design. The pillars and pilasters of the mandapa (pillared hall) support four lintels, forming a large square with concentric squares. Each square features a kirtimukha (face of glory) at its corners, and at the centre of the ceiling, there is a beautifully carved lotus bloom.
Image 7: The Hazareshwar Temple is constructed in the trabeate style, which is most evident in its ceiling design. The pillars and pilasters of the mandapa (pillared hall) support four lintels, forming a large square with concentric squares. Each square features a kirtimukha (face of glory) at its corners, and at the centre of the ceiling, there is a beautifully carved lotus bloom.

The mandapa leads to a shallow antarala, which opens into the garbhagriha, adorned with an intricately carved door frame (Image 8). This multi-shakha (vertical bands or branches) doorframe is embellished with floral motifs, stambhas (pillars), and a vyala (composite mythical creatures) band (Image 9). At its base, there are two standing female figures holding a kalasha (pitcher) and a chauri (fly-whisk) (Image 10) Flanking them are four-armed Shaiva dvarapalas (door guardians), each carved within a niche (Image 10)

Image 8: The antarala (vestibule) of the Hazareshwar Temple is shallow and minimalistic, with no decoration except for the floor. Here, a moonstone serves as a stepping stone, leading to the threshold of the garbhagriha (sanctum sanctorum).
Image 8: The antarala (vestibule) of the Hazareshwar Temple is shallow and minimalistic, with no decoration except for the floor. Here, a moonstone serves as a stepping stone, leading to the threshold of the garbhagriha (sanctum sanctorum).
Image 9: The doorframe of the garbhagriha (sanctum sanctorum) has two floral shakhas (vertical bands or branches), a central dominant stambha shakha (pillar-shaped branch) with a purnaghata kalasha (vase and foliage), and an outer shakha adorned with vyalas (composite mythical creatures) arranged in a vertical chain.
Image 9: The doorframe of the garbhagriha (sanctum sanctorum) has two floral shakhas (vertical bands or branches), a central dominant stambha shakha (pillar-shaped branch) with a purnaghata kalasha (vase and foliage), and an outer shakha adorned with vyalas (composite mythical creatures) arranged in a vertical chain.

The dvarapala on the right (Image 10) is depicted holding a damaru (drum) and a sarpa (snake) in his upper hands, while his lower hands grasp a khatavanga (staff) and a bowl containing a fish. The dvarapala on the left, though damaged in places, is shown with a damaru and a trishula (trident), with one lower hand damaged which seems to be held in varada hasta (boon-granting gesture). The final figure is of Kubera, who is portrayed holding a money bag. (Image 10)

Image 10: The doorframe of the garbhagriha (sanctum sanctorum) is adorned with two female figures, while the central positions on either side are occupied by Shaiva dvarapalas (door guardians). Completing the ensemble is the figure of Kubera, the God of wealth.
Image 10: The doorframe of the garbhagriha (sanctum sanctorum) is adorned with two female figures, while the central positions on either side are occupied by Shaiva dvarapalas (door guardians). Completing the ensemble is the figure of Kubera, the God of wealth.

Adorning the lintel of the garbhagriha, Lakulisa’s presence echoes the inscription (Image 11), affirming the temple’s affiliation with Pashupata Shaivism. Lakulisa (Image 12) is depicted seated with an erected phallus, holding a lakuta (staff) and a citron fruit, symbolizing his divine authority. Above the lalatabimba (central symbol on the door lintel), the uttaranga (architrave of the entablature) showcases other male deities (Image 12), their forms adding to the temple’s sacred ambience.

Image 11: The inner pilaster of the mandapa (pillared hall) is engraved with Nagari letters spelling ‘Achintyadhvaja Jogi’.
Image 11: The inner pilaster of the mandapa (pillared hall) is engraved with Nagari letters spelling ‘Achintyadhvaja Jogi’.
Image 12: The lalatabimba (central portion on the door lintel) of the garbhagriha (sanctum sanctorum) doorframe features a seated figure of Lakulisa, while the panel above depicts four-armed male deities, each seated and holding their respective attributes.
Image 12: The lalatabimba (central portion on the door lintel) of the garbhagriha (sanctum sanctorum) doorframe features a seated figure of Lakulisa, while the panel above depicts four-armed male deities, each seated and holding their respective attributes.

The antarala leads to the garbhagriha, a serene sanctuary with simple, unadorned walls. These walls ascend to support the ceiling, transitioning from octagonal to circular, creating a sense of sacred symmetry. At the heart of this chamber lies the Shivalinga, its square yonipatta (womb-shaped base) anchoring it firmly, while the linga itself is adorned with intricate carvings depicting hundreds of lingas. (Image 13)

Image 13: The main deity presides in the form of a linga in the garbhagriha (sanctum sanctorum) of the Hazareshwar Temple. The Shiva linga (aniconic representation of Shiva) is adorned with hazar or hundreds of miniature lingas. As a living temple, it reverberates with daily rituals of worship and offerings.
Image 13: The main deity presides in the form of a linga in the garbhagriha (sanctum sanctorum) of the Hazareshwar Temple. The Shiva linga (aniconic representation of Shiva) is adorned with hazar or hundreds of miniature lingas. As a living temple, it reverberates with daily rituals of worship and offerings.

The exterior of the temple is adorned from bottom to top. On the vertical axis, the temple comprises the vedibandha, jangha, and the vertical shikhara (Image 14). Although diminutive in size, the temple’s exterior embellishments rival those of the other two temples. The intricate carvings on the moulding, the depiction of deities on the jangha, and the meticulously crafted shikhara all contribute to the temple’s ornate beauty.

Image 14: The southwest elevation view of the garbhagriha (sanctum sanctorum) of the Hazareshwar Temple offers a glimpse of the vertical axis, where every detail is meticulously crafted. As one observes this sacred space from behind, a sense of reverence envelops the observer, drawn to the harmonious alignment of architectural elements ascending skyward. Each component of the temple’s adornment, from the intricately carved walls to the tapering shikhara (superstructure), contributes to the overall beauty and structure of the temple.
Image 14: The southwest elevation view of the garbhagriha (sanctum sanctorum) of the Hazareshwar Temple offers a glimpse of the vertical axis, where every detail is meticulously crafted. As one observes this sacred space from behind, a sense of reverence envelops the observer, drawn to the harmonious alignment of architectural elements ascending skyward. Each component of the temple’s adornment, from the intricately carved walls to the tapering shikhara (superstructure), contributes to the overall beauty and structure of the temple.

A closer examination of the vedibandha (Image 14) reveals its intricate elements, including the khura (hoof), kapotapalika (cyma recta), gaggarika (decorative motif comprising arrow between two spirals), karnika (knife-edged arris moulding in base), grassapatta (band of kirtimukhas or face of glory), plain patta (band), kumbha (pot) embellished with deity figures, kalasha with manibandha (band of diamond shapes alternating with rosettes), gaggarika, and kapotapalika. (Image 15). The jangha has bhadra (central projections) on all three sides, and the spaces between the bhadra are comprised of stambhas. (Image 16)

Image 15: The kumbha (pot) moulding of the vedibandha (basal mouldings) of the Hazareshwar Temple is notable for its depiction of divine figures in the niches, showcasing various gods and goddesses. In the provided image, one can observe Kubera, depicted seated and with four arms. He holds a money bag in his upper arms and a kamandalu (water pot) in his lower left. The top of the kumbha features a carved chaitya (dormer window) arch, a motif commonly found on the moulding of kapotapalika (cyma recta).
Image 15: The kumbha (pot) moulding of the vedibandha (basal mouldings) of the Hazareshwar Temple is notable for its depiction of divine figures in the niches, showcasing various gods and goddesses. In the provided image, one can observe Kubera, depicted seated and with four arms. He holds a money bag in his upper arms and a kamandalu (water pot) in his lower left. The top of the kumbha features a carved chaitya (dormer window) arch, a motif commonly found on the moulding of kapotapalika (cyma recta).
Image 16: The exterior wall of the garbhagriha (sanctum sanctorum) of the Hazareshwar Temple presents a blend of bhadras (central projections) and stambhas (pillars), creating a captivating visual tapestry. The bhadras, intricately carved on the cardinal directions, serve as focal points of the structure’s architectural elegance, while the stambhas fill the spaces in between.
Image 16: The exterior wall of the garbhagriha (sanctum sanctorum) of the Hazareshwar Temple presents a blend of bhadras (central projections) and stambhas (pillars), creating a captivating visual tapestry. The bhadras, intricately carved on the cardinal directions, serve as focal points of the structure’s architectural elegance, while the stambhas fill the spaces in between.

A detailed examination of the stambhas (Image 17) adorning the external walls unveils ornamentation of the peepal leaf motif, a hallmark of Bhumija temple architecture. This distinctive motif is reminiscent of the renowned Bhumija temples of Malwa, such as the Chaubar Dera, Neelkantheshwar, and Mahakaleshawar temples, built during the 11th-12th centuries CE in the village of Un.

The jangha of both the garbhagriha and antarala features meticulously carved sculptures of divinities. As a devotee performs the ritual of parikrama (circumambulation), they encounter Chamunda (Image 18) on the lateral wall of the antarala. Continuing, they see Nataraja (Image 19), the cosmic dancer, on the lateral wall of the garbhagriha, Vishnu (Image 20) on the bhadra of the rear wall, Brahma (Image 21) on the opposite lateral wall of the garbhagriha, and Bhairava (Image 22) at the culmination of the circumambulation. Each sculpture, with its beauty and symbolism, invites the devotee into a realm of spiritual awakening.

Image 18: Chamunda, with twelve arms and standing atop a human body, is depicted on the bhadra (central projection) of the antarala (vestibule) of the Hazareshwar Temple. Her visage is characterized by skeletal features, dried saggy breasts, and a sunken belly adorned with a scorpion. She is draped in a triangular loin cloth and wears a jatamukuta (crown of matted hair) with a skull motif. Rounded earrings adorn her large earlobes, and serpents coil around her neck and ankles. In her right hand, she holds a trishula (trident), damaru (drum), arrow, a broken staff, and a ghanta (bell). Her left hands clasp a sarpa (snake) and a broken weapon. She holds a bowl in front. Below her, a seated human figure is depicted, drinking blood trickling from a severed head into a bowl.
Image 18: Chamunda, with twelve arms and standing atop a human body, is depicted on the bhadra (central projection) of the antarala (vestibule) of the Hazareshwar Temple. Her visage is characterized by skeletal features, dried saggy breasts, and a sunken belly adorned with a scorpion. She is draped in a triangular loin cloth and wears a jatamukuta (crown of matted hair) with a skull motif. Rounded earrings adorn her large earlobes, and serpents coil around her neck and ankles. In her right hand, she holds a trishula (trident), damaru (drum), arrow, a broken staff, and a ghanta (bell). Her left hands clasp a sarpa (snake) and a broken weapon. She holds a bowl in front. Below her, a seated human figure is depicted, drinking blood trickling from a severed head into a bowl.
Image 19: Nataraja dances to the rhythm of celestial drummers. He is poised in the urdhvajanu posture, his left foot firmly grounded while his right leg is raised and folded inward. He is depicted with multiple arms adorned with various weapons and attributes. In his upper hands, Nataraja holds a sarpa (snake), a damaru (drum), and a pointed weapon, possibly a shula (spear) or a trishula (trident), symbolizing his mastery over cosmic forces. His frontal right hand is raised near his face in a gesture epitomizing the essence of his divine dance. Despite his broken left hand, Nataraja’s pose continues as he extends his front left hand in the gajahasta gesture, reminiscent of an elephant’s trunk. He is adorned with a jatamukuta (crown of matted hair) and ornaments, including circular earrings, broad necklaces, bangles, and anklets. His lower body is draped in a translucent dhoti with a sash hanging between his legs. Two drummers are carved at the bottom on both sides, adding a touch of celestial rhythm to this tableau.
Image 19: Nataraja dances to the rhythm of celestial drummers. He is poised in the urdhvajanu posture, his left foot firmly grounded while his right leg is raised and folded inward. He is depicted with multiple arms adorned with various weapons and attributes. In his upper hands, Nataraja holds a sarpa (snake), a damaru (drum), and a pointed weapon, possibly a shula (spear) or a trishula (trident), symbolizing his mastery over cosmic forces. His frontal right hand is raised near his face in a gesture epitomizing the essence of his divine dance. Despite his broken left hand, Nataraja’s pose continues as he extends his front left hand in the gajahasta gesture, reminiscent of an elephant’s trunk. He is adorned with a jatamukuta (crown of matted hair) and ornaments, including circular earrings, broad necklaces, bangles, and anklets. His lower body is draped in a translucent dhoti with a sash hanging between his legs. Two drummers are carved at the bottom on both sides, adding a touch of celestial rhythm to this tableau.
Image 20: Seated on a pedestal, Vishnu is depicted on the bhadra (central projection) of the rear wall of the garbhagriha (sanctum sanctorum). He possesses four arms and carries his divine attributes: a gada (mace) and a chakra (discus) in his upper hands, and a shankha (conch shell) in his lower left hand. His lower right hand extends in the varada hasta (boon-giving gesture), bestowing blessings to devotees. Vishnu is adorned with a kiritamukuta (cylindrical crown associated with Vaishnava iconography) upon his head, complemented by large earrings. A broad necklace rests on his chest, while a heavy girdle accentuates his waist. His wrists are adorned with bangles, and his feet with anklets.
Image 20: Seated on a pedestal, Vishnu is depicted on the bhadra (central projection) of the rear wall of the garbhagriha (sanctum sanctorum). He possesses four arms and carries his divine attributes: a gada (mace) and a chakra (discus) in his upper hands, and a shankha (conch shell) in his lower left hand. His lower right hand extends in the varada hasta (boon-giving gesture), bestowing blessings to devotees. Vishnu is adorned with a kiritamukuta (cylindrical crown associated with Vaishnava iconography) upon his head, complemented by large earrings. A broad necklace rests on his chest, while a heavy girdle accentuates his waist. His wrists are adorned with bangles, and his feet with anklets.

The jangha, supporting the shikhara, presents a blend of architectural styles, suggesting restoration of the original structure. While the vedibandha and jangha exhibit features of Bhumija temple architecture, the shikhara deviates from the typical style, showcasing a Mishraka shikhara (mixed style) (Images 23 and 24). At its core, mulamanjari (a tall vertical spire) rises, adorned with uruh shringas (half spires) and kutas (miniature shikharas), contributing to the temple's distinctive skyline. Divine figures adorn the pediments above both, the antarala and garbhagriha, including Brahmani (Image 25), Brahma (Image 26) and Shiva. The surasenaka (pediment made of chaitya dormer) stands adorned with the figure of Natesha (Image 27), epitomizing the divine dance of creation and destruction.

Image 23: The frontal face of the shikhara (superstructure) reveals the placement of two half spires flanking the principal spire. At the base of the spire, a surasenaka (pediment made of chaitya dormer) adorns the structure, while a sculpture depicts a simha (lion) pouncing upon an elephant, adding a touch of regal splendour to the architectural composition.
Image 23: The frontal face of the shikhara (superstructure) reveals the placement of two half spires flanking the principal spire. At the base of the spire, a surasenaka (pediment made of chaitya dormer) adorns the structure, while a sculpture depicts a simha (lion) pouncing upon an elephant, adding a touch of regal splendour to the architectural composition.
Image 24: The shikhara (superstructure) stands as a fusion of architectural elements, where a towering vertical spire intertwines with the half spires and the miniature spires. The central offset is embellished with the surasenaka (pediment made of chaitya dormer), crowned by a kirtimukha (face of glory) at its zenith.
Image 24: The shikhara (superstructure) stands as a fusion of architectural elements, where a towering vertical spire intertwines with the half spires and the miniature spires. The central offset is embellished with the surasenaka (pediment made of chaitya dormer), crowned by a kirtimukha (face of glory) at its zenith.
Image 25: Adorning the lateral side of the antarala’s (vestibule) shikhara (superstructure), Brahmani is depicted seated upon a pedestal with four arms, each bearing attributes. In her upper right hand, she holds a shruka (sacrificial ladle), and her upper left hand holds a pustaka (sacred text). Her lower left hand holds a phala (fruit), signifying abundance and nourishment, while her lower right hand is held in the varada hasta gesture, adorned with an akshamala (rosary).
Image 25: Adorning the lateral side of the antarala’s (vestibule) shikhara (superstructure), Brahmani is depicted seated upon a pedestal with four arms, each bearing attributes. In her upper right hand, she holds a shruka (sacrificial ladle), and her upper left hand holds a pustaka (sacred text). Her lower left hand holds a phala (fruit), signifying abundance and nourishment, while her lower right hand is held in the varada hasta gesture, adorned with an akshamala (rosary).
Image 26: On one facet of the shikhara (superstructure), Brahma sits in divine contemplation. Portrayed with three faces and four arms, Brahma holds a shruka (sacrificial ladle) in his upper left hand, while his upper left hand holds a pustaka (sacred text). His lower right hand is in the varada hasta gesture, while his lower left hand clasps a kamandalu (water pot), representing purity and sustenance. He is adorned with a jatamukuta (crown of matted hair) and jewellery. His long eyes, straight nose, and full lips convey a sense of timeless grace, while his long beard adds to his aura. Bare-chested, Brahma wears a broad yajnopavita (sacred thread), symbolizing his connection to spiritual and ritualistic wisdom.
Image 26: On one facet of the shikhara (superstructure), Brahma sits in divine contemplation. Portrayed with three faces and four arms, Brahma holds a shruka (sacrificial ladle) in his upper left hand, while his upper left hand holds a pustaka (sacred text). His lower right hand is in the varada hasta gesture, while his lower left hand clasps a kamandalu (water pot), representing purity and sustenance. He is adorned with a jatamukuta (crown of matted hair) and jewellery. His long eyes, straight nose, and full lips convey a sense of timeless grace, while his long beard adds to his aura. Bare-chested, Brahma wears a broad yajnopavita (sacred thread), symbolizing his connection to spiritual and ritualistic wisdom.
Image 27: One of the surasenakas (pediment made of chaitya dormer) features a sculpture capturing the divine dance of Shiva. From the rear, Shiva’s upper body twists towards the front, conveying dynamic movement and cosmic rhythm. Though some of his arms are now broken, remnants of divine attributes are visible, including a damru (drum) symbolizing the rhythm of creation and other sacred objects. One of his arms extends in the gajahasta gesture, resembling an elephant trunk. He has a jatamukuta (crown of matted hair), a moustache and a beard, and he is surrounded by celestial gandharvas (celestial musicians). This sculpture captures the timeless essence of Shiva’s cosmic dance, embodying the eternal flow of creation, preservation and destruction.
Image 27: One of the surasenakas (pediment made of chaitya dormer) features a sculpture capturing the divine dance of Shiva. From the rear, Shiva’s upper body twists towards the front, conveying dynamic movement and cosmic rhythm. Though some of his arms are now broken, remnants of divine attributes are visible, including a damru (drum) symbolizing the rhythm of creation and other sacred objects. One of his arms extends in the gajahasta gesture, resembling an elephant trunk. He has a jatamukuta (crown of matted hair), a moustache and a beard, and he is surrounded by celestial gandharvas (celestial musicians). This sculpture captures the timeless essence of Shiva’s cosmic dance, embodying the eternal flow of creation, preservation and destruction.

The Hazareshwar Temple reflects a blend of architectural styles, predominantly following the Bhumija style, evident in its intricately carved mouldings and jangha adorned with stambhas featuring peepal leaf motifs and kirtimukha. Its shikhara incorporates elements of the Mishra style, particularly in its shekhari style shikhara, with a tall spire, half spires, and a cluster of miniature spires.

The architectural simplicity and minimal ornamentation of the Hazareshwar Temple are similar to another orthogonal 12th century CE Bhumija temple in Malwa, the Jamleshwar Temple located in Jamli Dhar. Both temples share many similarities in their overall structure, the main distinction lies in the shikhara, with the Jamleshwar Temple exhibiting the typical Bhumija style. Stylistically, the Hazareshwar Temple can be dated between the 11th and 12th centuries CE. Closer examination reveals that the temple underwent restoration, possibly involving the repositioning of some sculptures. However, the current sculptures found at the temple include depictions of Shiva and his various forms like Natesha and Bhairava, alongside other deities such as Chamunda, Vishnu, Brahma and Brahmani.

Footnotes:

[1] Joshi and Deva, Inventory of Monuments and Sites of National Importance, 63.

Bibliography:

Joshi, J. P., and Krishna Deva. Inventory of Monuments and Sites of National Importance. Volume II, Part I, Jaipur Circle. New Delhi: Archaeological Survey of India: 2006. https://ignca.gov.in/Asi_data/88329.pdf

Sehgal, K. K., ed. Rajasthan District Gazetteers, Bhilwara. Jaipur, 1975.

Somani, R. V. Temples of Rajasthan. Jaipur: Publication Scheme, 2012.