Bijolia Group of Temples: A visual walkthrough
The art and architecture of the Bijolia group of temples showcase remarkable examples of early medieval Indian temple architecture from the 11th to 13th century CE, particularly in the region of Rajasthan. The temples exhibit various architectural styles including Nagara, Bhumija, a variety of Nagara styles and Mishraka.
The Bijolia group of temples include Mahakal Temple, Hazareshwar Temple, Undeshwar Temple and Mandakini Kund (water tank). The temples have a garbhagriha (sanctum sanctorum), antarala (vestibule or antechamber) and mandapa (pillared hall). The Hazareshwar and Undeshwar temples also have a mukhamandapa (front porch). These temples are adorned with intricate carvings and sculptures depicting Hindu deities, mythological scenes, celestial beings, and apsaras and surasundaris (celestial damsels). These sculptures reflect the artistic excellence and religious fervour of the artisans of that era. The water tank has many inscriptions all over its platform, probably from worshippers visiting the temple complex.
The doorframes of the temples are elaborately carved with multi-shakha (vertical band or architrave) designs, floral motifs, and depictions of deities. The ceilings of the temples often feature elaborate designs. The mandapa ceilings, in particular, are known for their large size and intricate artwork of cusped arches and figures of flying gods and goddesses.
Each temple within the Bijolia group boasts unique characteristics that distinguish them from one another. The Mahakal Temple, for instance, is a twin temple featuring two sanctums, one situated to the east and the other to the south. Notably, it includes an underground water tank and intricate jali (lattice) work, adding to its architectural charm. The Hazareshwar Temple, also known as the Swarnajaleshwar Temple, may be modest in size, yet it houses a Shiva linga (aniconic representation of Shiva) adorned with numerous miniature lingas. It is this unique feature of the linga, adorned with hundreds and thousands of lingas, that lends the temple its name, the Hazareshwar Temple. With its Bhumija architecture and mishraka shikhara, it exudes a distinctive appeal. In contrast, the Undeshwar Temple is a Bhumija masterpiece, showcasing the evolved phase of this architectural style with its stellate plan and nine-storied bhumija shikhara. Its external walls are lavishly adorned with depictions both divine and mundane.
The Bijolia Temple complex is comprised of three temples which are known as Hazareshwar, Mahakal and Undeshwar temple. In the temple complex, a kund is also situated which is known as Mandakini Kund. In the given image Mahakal Temple and Hazareshwar can be seen.
The Mahakal Temple comprises twin structures referred to as Mahakal and Baijnath. Dedicated to Lord Shiva, this temple features Shivalingas in both sanctuaries. Facing west, the Mahakal Temple consists of a mukhamandapa, mandapa, antarala and a garbhagriha in the southern direction, along with another garbhagriha in the eastern direction.
The front view of the Mahakal Temple shows that the temple can be reached from the west. It has a small mukhamandapa (front porch) with a flat roof. The entrance to the mukhamandapa is adorned by sculptures of Ganesha and Bhairava on either side.
To the left of the mukhamandapa (front porch) of the Mahakal Temple, one can observe a standing statue of Ganesha. This depiction shows him with four arms, carrying a kamandalu (water pot), akshmala (rosary), another object and a bowl filled with modaks (a form of sweet with stuffing).
To the right of the mukhamandapa (front porch), of the Mahakal Temple, entrance stands another male deity statue. This deity, depicted in a standing posture, has several arms, now damaged. Adorned with a jatamukuta (a crown of matted hair) and sporting a beard, he is accompanied by an attendant depicted at the base, while gandharvas (celestial beings) are carved at the top corners.
The mukhamandapa (front porch) of the Mahakal Temple serves as a narrow corridor flanked by kakshasanas (seat backs) on either side, with four pillars supporting its flat roof. These pillars have square bases intricately carved with divine figures on all four sides. The upper section adopts an octagonal shape, embellished with miniature niches on all sides housing seated goddess figures. Crowning this, there's a band adorned with various figures and a kirtimukha (face of glory) motif.
The passage from the mukhamandapa (front porch) leads to the mandapa (pillared hall), marked by two detached busts of Sadashiva at both sides of the entrance. Each bust portrays Sadashiva with three faces.
The mandapa (pillared hall) of the Mahakal Temple is a square, enclosed hall with simple stone walls, featuring pairs of pillars at the cardinal points and pilasters at the corners. In the centre lies a platform with a Nandi statue. Adjacent to this, on the right-hand side, there is a small underground water passage. Above this passage, a raised platform can be accessed via a flight of steps. Notably, there is jali (lattice) work adorning this side of the mandapa.
To the south of the mandapa (pillared hall) lies a shrine with an intricately carved, multi-shakha (vertical bands or architraves) doorframe. The doorframe contains niches adorned with Shiva and his manifestations, Matrikas and Ganesh. The lalatabimba (lintel) is covered in white paint, obscuring its details. In the garbhagriha (sanctum), a Shiva linga is placed.
To the east, there is the main garbhagriha (sanctum sanctorum) accessible via the antarala (vestibule or antechamber). The dvarashakha (doorframe) of this sanctum is crafted by featuring multiple sections and adorned with sculptures of davarapalas (door guardians) and women holding kalashas (pitchers). Although the lalatabimba (lintel) of the doorframe displays a seated figure, its condition is not well preserved. Positioned above the lintel, the entablature showcases Natesha at the centre.
The garbhagriha (sanctum sanctorum) of the Mahakal Temple on the east is a square, simple, dimly lit chamber, which has a Shiva linga at the center. The Mahakal Temple is a living temple where people come to worship the Shiva lingas, regularly, in both the garbhagrihas (east and south).
The mukhamandapa (front porch) of the Mahakal Temple features a kakshasana (seat backs) adorned with niches housing divine figures, including deities like Brahma and Kaumari. Interwoven among these divine figures are depictions of ascetics, musicians, and surasundaris (celestial damsels).
The exterior of the southern garbhagriha (sanctum sanctorum) of the Mahakal Temple has a vedibandha (basal mouldings), jangha (wall) and shikhara (superstructure). The vedibandha mouldings are adorned and the jangha showcases bhadraratha (central vertical projection), intricately carved stambhas (buttresses) and jali (lattice) work. The shikhara of the temple is built in shekhari style i.e., the central latina spires with rows of half spires added on either side.
The details of the vedibandha (basal mouldings) of the southern garbhagriha (sanctum sanctorum) of the Mahakal Temple show that it consists of khura (hoof), kapotapalika (cyma recta), kumbha (pot) and kalasha (pitcher) mouldings. The stambhas (buttresses) filling the space between bhadras (central offset) of the jangha (wall) is also ornamented.
The western side of the southern garbhagriha (sanctum sanctorum) of the Mahakal Temple features a bhadra (central offset) adorned with a jali (lattice) window. The rectangular frame of this window is embellished with a motif resembling a four-petaled flower.
The superstructure of the southern garbhagriha (sanctum sanctorum) is shekhari in style i.e., the central latina spires with rows of half spires added on either side. It comprises a mulamanjari (principal spire), uruh shringas (subsidiary spires leaning against the main spire) and shringas (miniature shrines). Divine figures adorn the shikhara's surface.
The eastern side offers a view of the backside of the Mahakal Temple and the front of the Hazareshwar Temple. On the rear side of the Mahakal Temple, the eastern or main garbhagriha (sanctum sanctorum) is visible.
Similar to the southern garbhagriha (sanctum sanctorum) of the Mahakal Temple, the eastern garbhagriha also features a vedibandha (basal mouldings), jangha (wall) and shikhara (superstructure) in shekhari style. The vedibandha includes khura (hoof), kapotapalika (cyma recta), kumbha (pot) and kalasha (pitcher) mouldings. While the jangha remains entirely plain without any sculptural embellishments, the shikhara of the garbhagriha displays divine figures.
The Mahakal Temple mandapa (pillared hall) has depictions of dikapalas (deities for cardinal directions). Kubera is one of them who is portrayed with four arms. He holds a money bag in his upper hand, a kamandalu (water pot) in his lower left hand and a gada (mace) in his lower right hand. At the base of the niche, Kubera’s Mount Airavat is carved.
On the opposite side of Kubera, Ishana is depicted, holding a trishula (trident) in his upper right hand, albeit now damaged. His upper left hand grasps a sarpa (serpant), while his lower left hand holds a kamandalu (water pot). Positioned in varada hasta (hand gesture of conferring a boon), his lower right hand carries a rosary. At the bottom, a bull was originally carved, though it's now broken.
The Hazareshwar Temple is comparatively a small temple in the Bijolia temple complex, which comprises a mandapa (pillared hall), a shallow antarala (vestibule or antechamber) and a garbhagriha (sanctorum). It rests upon a deeply set vedibandha (basal mouldings), upon which the jangha (wall) is situated, supporting the shikhara (superstructure). Dedicated to Shiva, the Hazareshwar Temple is noted by the Archaeological Survey of India (ASI) for its architectural style resembling Bhumija (earth-born) architecture. An inscription discovered within the temple's mandapa indicates its dedication to Pashupata Shaivism.
The exterior of the Hazareshwar Temple is embellished with depictions of deities. The vedibandha (basal mouldings) has various ornamental elements including khura (hoof), kapotapalika (cyma recta), garggarika, karnika, grassapatta (a band of kirtimukhas or face of glory), plain patta, kumbha (pot), kalasha (pitcher) and kapotapalika. On the jangha are bhadras (central offsets) on all three sides, with the space between them adorned with stambhas (buttresses) featuring motifs of peepal leaves and grassapatta. Rising above the jangha is the majestic shikhara (superstructure).
The kumbha (pot) moulding of the vedibandha (basal mouldings) stands out for the depiction of divine figures within the niches, featuring gods and goddesses like Kubera, the deity associated with wealth. Notably, the top of the kumbha is adorned with a chaitya arch, a feature commonly found on kapotapalika (cyma recta) mouldings. Below the kumbha is a band showcasing kirtimukha (face of glory) motifs, while above the kumbha, the moulding of kalasha (pitcher) is intricately carved with ratnapatta motifs.
The jangha (wall) of the garbhagriha (sanctum sanctorum) of the Hazareshwar Temple is adorned with sculptures depicting the trinity within bhadra (central offset) niches. On the southern bhadra of the jangha, Nataraja is depicted. Nataraja is portrayed in an urdhvajanu (with raised knees) posture, holding various weapons and attributes, including a sarpa (serpant), a damru (double-headed drum), and a pointed weapon, possibly a shula or a trishula (trident). His frontal right hand is raised near his face, while in his left hand, he holds a khatvanga (staff with a skull), with the other left hand being damaged. Using his front left hand, he makes the gajahasta (elephant trunk gesture).
On the western bhadra (central offset) of the garbhagriha (sanctum sanctorum) of the Hazareshwar Temple, there is a depiction of Vishnu seated on a pedestal. Vishnu is portrayed with four arms, holding a gada (mace) and a chakra (discus) in his upper hands, and a shankha (conch shell) in his lower left hand, while his lower right hand is in the Varada hasta (hand gesture of conferring a boon) posture. He is adorned with elaborate accessories, including a kiritamukuta (conical cylinder-shaped crown generally attributed to Vishnu iconography), large earrings, a broad necklace, a chest band, a heavy girdle, bangles and anklets enhancing his divine appearance.
A depiction of the goddess Chamunda is there on the southern wall of the antarala (vestibule or antechamber) of the Hazareshwar Temple. Chamunda, portrayed with twelve arms, stands upon a human body. Skeletal depiction with desiccated breasts and a sunken belly containing a scorpion. She wears a triangular loin cloth to cover her lower body. She has a jatamukuta (crown of matted hair) adorned with a skull at the front. Large earrings dangle from her elongated earlobes, and a snake wraps around her neck and ankles. In her right hand, she holds a trishula (trident), damru (double-sided drum), arrow, a broken weapon with a staff and a bell (ghanta). In her left hand, she carries a snake and a broken weapon with a staff. Her left frontal hand holds a bowl, while her right frontal hand touches it. At the bottom left, a human figure is depicted seated, drinking blood dripping from a severed head into a bowl.
According to the Archaeological Survey of India (ASI), the Hazareshwar Temple is classified as being constructed in the Bhumija style. However, upon closer examination of the shikhara (superstructure), it is evident that it does not adhere strictly to the typical Bhumija style but rather exhibits a mixed style. The mulamanjari (principal spire), uruhshringas (subsidiary spires leaning against the principal spire), and kutas (miniature shrines) represent a feature of shekhari shikhara style, i.e., the central latina spires with rows of half spires added on either side. Pediments are present on all three sides, with surasenakas situated above them. Divinities such as Brahmani, Brahma and Shiva are carved on the pediments above the antarala and garbhagriha. Notably, the surasenaka features a stunning depiction of Natesha.
The mandapa (pillared hall) of the Hazareshwar Temple is a small square open hall which stands on a low base, supported by four pillars positioned at its corners. These pillars feature square bases adorned with depictions of deities. The shaft of the pillars is intricately carved with male deities, musicians, dancers and surasundaris (celestial damsels). Transitioning into an octagonal shape, then into sixteen facets and circular, the shaft culminates with an abacus supporting bharavahaka (load bearers) brackets, which in turn uphold the lintel. The mandapa's ceiling, square in shape, is exquisitely carved. There is an idol of Nandi housed at the centre of the mandapa.
The garbhagriha (sanctum sanctorum) of the Hazareshwar Temple has an exquisitely crafted doorframe with lalatabimba (lintel) depicting Lakulisha. The representation of Lakulisha aligns with the inscription in the mandapa that confirms the affiliation of the temple with Pashupata Shaivism. Lakulisha is portrayed seated, holding a lakuta (staff) and a citron fruit. Additionally, the uttaranga (top) above the lalatabimba has depictions of male deities.
The Hazareshwar Temple, also known as the Swarnajaleshwar Temple, houses a Shiva linga in the garbhagriha (sanctum sanctorum). This linga is positioned on a square yonipatta (womb-shaped base) and intricately carved with numerous smaller lingas. It is this unique feature of the linga, adorned with hundreds and thousands of lingas, that lends the temple its name, the Hazareshwar Temple.
The temple complex features a tranquil reservoir known as the Mandakini kund (water tank), positioned behind the Mahakal Temple and in the left front of the Undeshwar Temple. Alongside the three temples within the complex, the Mandakini Kund is safeguarded as a protected monument under the jurisdiction of the Jaipur Circle of the Archaeological Survey of India (ASI). Serving as a sacred water body within the Bijolia temple compound, the Mandakini Kund is a site where devotees frequently engage in ceremonial bathing rituals.
The Mandakini Kund is a square-shaped reservoir of sacred water with entrances on three sides. Flights of steps are provided on each side, facilitating access for people to descend into the holy water. On the fourth side of the reservoir, there is a visible flat-roofed structure supported by pillars. Moreover, there are two petite pavilions located at the corners of the reservoir.
Inside the enclosure walls, numerous sculptures are displayed, including depictions of goddesses, deities such as Brahma, Vishnu, and Mahesha, dikapalas (deities for cardinal directions), surasundaris (celestial damsels) and vyalas (mythical composite creatures). They are arranged sporadically, lacking a clear order or sequence, indicating that they were not initially intended to decorate the reservoir.
On the steps and platform of the Mandakini Kund, several inscriptions are discovered in various states of preservation. These inscriptions are written in the Sanskrit language using the Devanagari script. A thorough examination of these inscriptions reveals valuable information, including the name of the temple, Mahakal, and the designation of the reservoir as Mandakini. Additionally, they provide details such as the date of the devotees' visit and their community affiliation. The inscriptions mention the worshipers' practice of visiting the Mahakal Temple and bathing in the Mandakini Kund. Dating from the 13th to the 15th centuries CE, some of these inscriptions specifically mention members of the Kayastha Mathur community.
Situated within the Bijolia temple complex, right next to the Mandakini Kund and behind the Mahakal Temple, stands the remarkable Undeshwar Temple. It is one of the mature examples of the Bhumija variety of temples. It has a central projection on each of the four faces, the quadrants so formed filled with miniature spires in vertical and horizontal rows right up to the top. The name Undeshwar originates from the fact that the inner sanctum of this temple is located about 2.4 meters below the floor level of the assembly hall.
The Undeshwar Temple follows a saptaratha (seven projections on all four sides) architectural plan and consists of a mukhamandapa (front porch), mandapa (pillared hall) with extensions on the north and south sides, an antarala (vestibule or antechamber) and garbhagriha (sanctum sanctorum).
The Undeshwar Temple, devoted to Shiva, is oriented towards the west. It adopts a stellate layout, characteristic of the Bhumija architectural style. Resting upon elaborately carved, tall vedibandha (basal mouldings) serving as the foundation for the intricately carved jangha (wall), the temple features a Bhumija shikhara adorned with nine bhumis (storeys).
The Undeshwar Temple is supported by a tall vedibandha (basal mouldings), intricately carved and featuring multiple mouldings. The jangha (wall) of the garbhagriha (sanctum sanctorum) has bhadra (central offset) on each of its three sides. The space between these bhadras is occupied by projected stambhas (buttresses). With carvings of deities, these bhadras enhance the temple's aesthetic. The shikhara (superstructure) of the garbhagriha follows the Bhumija architectural style.
The stellate plan of the garbhagriha (sanctum sanctorum) of the Undeshwar Temple makes this distinct from the other two temples of the Bijolia temple complex. The beauty of this stellate temple is further enhanced by the carving of the base mouldings, which consist of bhittas, karnika, kapotapalika, grassapatta, gajathara, kumbha and kalasha.
The closer view of the vedibandha (basal mouldings) of the Undeshwar Temple shows the gajathara moulding (elephants in the band). This moulding is commonly found in grand Bhumija temples. The kumbha (pot) moulding is adorned with miniature niches containing figures of deities. The kalasha (pitcher) moulding is also intricately carved with a band featuring a diamond motif.
The jangha (wall) surrounding the garbhagriha (sanctum sanctorum) of the Undeshwar Temple is extensively adorned with sculptures. The bhadras (central offsets) display divine figures, while the stambhas (buttresses) are carved with representations of ashta dikapalas (deities representing eight cardinal directions), surasundaris and apsaras (celestial damsels), musicians and dancers.
One of the bhadras (central offsets) of the garbhagriha (sanctum sanctorum) of the Undeshwar Temple features a seated Vishnu depicted with four arms. Adorned with a crown, Vishnu holds a gada (mace) and a chakra (discus) in his upper hands. In his lower right hand, he bears an akshamala (rosary) while also displaying the Varada hasta (hand gesture of conferring a boon). Unfortunately, his lower left hand is damaged. The figure is adorned with elaborate jewellery, including large circular earrings, a broad beaded necklace, a breast band, a girdle, bangles and anklets.
The bhadra (central offset) positioned on the rear (east) wall of the garbhagriha (sanctum sanctorum) of the Undeshwar Temple features an image of Brahma. The deity, albeit significantly damaged, is depicted seated on a pedestal. He is portrayed with three faces and four arms, although his upper arms are broken. In his lower left hand, he holds a kamandalu (water pot) while displaying the varada hasta (hand gesture of conferring a boon) with his lower right hand. Brahma is adorned with a jatamukuta (crown of matted hair), a moustache and a beard.
A closer view of the jangha (wall) of the Undeshwar Temple exhibits carved stambhas (buttresses) positioned between the bhadras (central offsets). Each side features five buttresses, with the central one depicting the dikapalas (deities of cardinal directions), while the others portray female dancers, musicians, surasundaris (celestial damsels) and alasa kanya (a form of indolent female or maiden).
The depicted image is of the jangha (wall), and garbhagriha (sanctum sanctorum) of the Undeshwar Temple features a dancer and a cymbal player, both shown from the rear with their upper bodies twisted towards the viewer. One of their arms is raised while the other is lowered. The dancer is making classical dance gestures, while the cymbal player holds cymbals in both hands. They possess voluptuous figures, and their beauty is accentuated by their ornate jewellery.
Chamunda is depicted on the exterior wall of the antarala (vestibule or antechamber) of the Undeshwar Temple, serving as the first figure encountered by devotees during the parikrama (circumambulation). Standing atop a human body, she is accompanied by two attendants and an animal. Although she possesses multiple arms, many of them are damaged. In her upper hands, she holds a sarpa (serpant), partially obscured by her jatamukuta (crown of matted hair). Her intact right arms hold a damru (double-headed drum) and a trishula (trident), while her left intact hands grasp a khatvanga (staff with a skull) and a bowl. She touches her lips with the finger of her left hand. At the bottom left, a seated figure is depicted holding a bowl, suggesting he is drinking from it. It is conceivable that one of the broken left hands of the goddess was carrying a munda (severed human head). The presence of the seated figure with a bowl implies she is drinking blood dripping from the severed head. Chamunda is portrayed with a skeletal body, and her belly cavity contains a scorpion. Her lower body is covered with a loin cloth.
The mandapa (pillared hall) and mukhamandapa (front porch) of the Undeshwar feature elaborate mouldings and low walls that uphold intricately carved kakshasana (seat back). Niches on the walls of the mukhamandapa and mandapa are adorned with carvings depicting deities such as Kartikeya, avatars (manifestations) of Vishnu and the ashta dikapalas (deities representing eight cardinal directions).
Varuna is depicted on the kakshasasna (seat back) of the Undeshwar Temple alongside his vehicle, the makara (crocodile). He holds a pasha (noose) in his upper right hand and a pushpa (flower) in his upper left hand. In his lower left hand, he carries a kamandalu (water pot), while his lower right hand is extended in the varada hasta (hand gesture of conferring a boon).
The opposite side of the niche, of the kakshasana (seat back) of the Undeshwar Temple, portraying Varuna features Vayu. Vayu is depicted as a tall, smiling figure with four arms, shown standing. He holds a staff in his upper hands, while a kamandalu (water pot) and a gesture of varadaksha (of blessing) are depicted in his lower hands. At the bottom of the niche, Vayu's vehicle, the antelope, is depicted in motion.
Kubera, accompanied by his elephant vehicle, is depicted with four arms on the kakshasana (seat back) wall of the Undeshwar Temple. He holds a money bag in his upper arms. Although his lower arms are damaged, it appears that he was initially holding a mace and a water pot in his lower right and left hand, respectively.
Ishana is portrayed on the kakshasana (seat back) of the Undeshwar Temple with four arms, carrying a trishula (trident) and a sarpa (snake) in his upper hands. In his lower hands, he holds a kamandalu (water pot) and extends a varadaksha (giving blessing) gesture. Adorned with a jatamukuta (crown of matted hair) and jewellery, his vehicle, the bull is depicted at the bottom right.
Agni, the deity of the southeast direction, is also portrayed on the kakshasana (seat back) of the Undeshwar Temple. He holds a pointed spoon and a flower in his upper hands. Unfortunately, his lower hands are damaged, as is the face of his vehicle. Agni is adorned with a jatamukuta (crown of matted hair) and has a beard.
Yama is portrayed on the kakshasana (seat back) wall of the Undeshwar Temple. The guardian of justice and ruler of the south direction is portrayed holding a staff and a kamandalu (water pot), while one of his hands makes a varada hasta gesture (of granting boons). He is adorned with jewellery and wears an extensive garland. At the bottom left, a buffalo is depicted.
A depiction of Nirutti is also present on the same kakshasana (seat back) wall of the Undeshwar Temple. He is depicted standing with an erect phallus, holding a damru (double-headed drum), a khetaka (shield) and a musala (pestle) in his hands. One of his hands is damaged. A broken animal can be observed at the bottom left. Nirutti's distinctive high-raised hairstyle is notable, and he is adorned with jewellery while wearing a lengthy garland.
Access to the temple is through the mukhamandapa (front porch) of the Undeshwar Temple, with steps bordered by depictions of deities. The mukhamandapa is a small hall with low walls along its sides. Atop these walls, four pillars stand at each corner, supporting the flat roof above.
The mukhamandapa (front porch) serves as an entryway to the mandapa (pillared hall) of the Undeshwar Temple, which features lateral extensions. In the mandapa, tall pillars with square bases support an octagonal shaft that transitions into faceted and circular sections. The square bases of the pillars are adorned with carvings depicting various deities, including dikapalas (deities of cardinal directions), surasundaris (celestial damsels), female dancers, and musicians. There is a square shallow platform at the centre on which a Nandi is placed.
A notable characteristic of this temple is the intricate carving of makara toranas (ornamental gateways/arches crafted with mythical crocodile creatures flanking on both ends) crowning the central four pillars of the mandapa (pillared hall) of the Undeshwar Temple. These toranas significantly enhance the beauty of the mandapa.
The mandapa (pillared hall) of the Undeshwar Temple has a large circular ceiling, while the toranas (ornamental gateways/arches) atop the central four pillars support an additional smaller concentric cusped arch circular ceiling. This intricately adorned ceiling portrays flying gods and goddesses holding their distinctive attributes.
The mandapa (pillared hall) leads to the antarala (vestibule or antechamber), a shallow passage distinguished by pillars along its sides. From there, one proceeds to the garbhagriha (sanctum sanctorum) of the Undeshwar Temple, featuring a meticulously carved doorframe. This doorframe exhibits a multi-shakha (vertical band or architrave) design, with each shakha adorned with various floral patterns, naga (serpant) figures and stambha (buttress). At the lower part of the doorframe, there are four female figures, two of whom hold kalashas (pitchers) while the other two hold chauris (fly whisks). Following them are four-armed dvarapalas (door guardians), each depicted with their respective attributes. Lastly, there is a figure of Kubera holding a money bag. Above the lalatabimba (lintels) on the doorframe's entablature, Nataraja is positioned at the centre, flanked by seated goddesses, with Brahma and Vishnu depicted at the ends.
The garbhagriha (sanctum sanctorum) of the Undeshwar Temple is a compact square chamber positioned 2.4 meters below the floor level of the mandapa (pillared hall). Access to the garbhagriha is facilitated by a flight of steps. Positioned at the center of the garbhagriha is a Shiva linga (aniconic representation of Shiva). The walls of the garbhagriha are unadorned and lack any ornamentation or figurative representation.