The Chandravti Temples: Image Gallery

By Dr Nikita Rathore

The Archaeological Survey of India (ASI) protects a group of historical temples on the banks of the Chandrabhaga River in the Jhalawar district of Rajasthan. They trace their roots back to the 7th century, when it was known as Chandravati. Five historical temples and a separate mandapa, or pillared hall, make up the Chandrabhaga Temple complex. It is in varying states of preservation. The Sitaleshwar Temple is the most prominent of the complex's structural remnants. Despite its name, the temple honors Lord Shiva and features a 26-pillared mandapa, a later addition to the existing temple structure. The complex houses two other Shiva temples, one Vishnu temple, and one goddess temple known as the Kalika Devi or Navdurga Temple. The open mandapa in the complex has a Ganesha shrine at its center. The presence of these temples exemplifies the era's diverse spiritual tapestry.

In addition to these temple structures, there are several chhatris (curved open-roof structures). These structures are a later addition to the complex and reflect how the complex has been relevant as part of the sacred landscape during the later periods. To the south of the Sitaleshwar Temple is a ghat (riverbank) flanking the Chandrabhaga River. Later-constructed remnants of ancient sculptures and architectural remains adorn a few more temples. The image gallery provides a visual narrative of the timeless heritage of the Chandravati Temples.

Five temples, a Ganesha mandapa (pillared porch), several chhatris (memorials), a ghata (river bank), and numerous scattered sculptures make up the compound that houses the ancient Chandrabhaga temples. Chandrabhaga is also considered a tirtha (sacred pilgrimage site), where worshippers perform rituals and take baths. The entire complex falls under the Jaipur Circle of the Archaeological Survey of India's protected monuments.
Five temples, a Ganesha mandapa (pillared porch), several chhatris (memorials), a ghata (river bank), and numerous scattered sculptures make up the compound that houses the ancient Chandrabhaga temples. Chandrabhaga is also considered a tirtha (sacred pilgrimage site), where worshippers perform rituals and take baths. The entire complex falls under the Jaipur Circle of the Archaeological Survey of India's protected monuments.
In Chandrabhaga, the Sitaleshwar Temple is the most famous artistic temple. It's an east-facing temple. The temples, damaged during an invasion, underwent restoration and repair efforts. The surviving portion of the Sitaleshwar Temple holds considerable importance, featuring a square garbhagriha (sanctum sanctorum), antarala (vestibule or antechamber), and a mandapa (pillared hall).
In Chandrabhaga, the Sitaleshwar Temple is the most famous artistic temple. It's an east-facing temple. The temples, damaged during an invasion, underwent restoration and repair efforts. The surviving portion of the Sitaleshwar Temple holds considerable importance, featuring a square garbhagriha (sanctum sanctorum), antarala (vestibule or antechamber), and a mandapa (pillared hall).
The Sitaleshwar Temple's plinth has basal mouldings and a jangha (wall) carved with bhadra (central offsets). The shikhara (superstructure) has collapsed, and it currently has a flat roof with a small dome added later at the center.
The Sitaleshwar Temple's plinth has basal mouldings and a jangha (wall) carved with bhadra (central offsets). The shikhara (superstructure) has collapsed, and it currently has a flat roof with a small dome added later at the center.
This is a rear view of the Sitaleshwar Temple in the Chandrabhaga temple complex. The temple's jangha (wall) has bhadra (central projections or offsets) on all three sides, which are comparatively larger than other temples of that period. Currently, the sculptures of deities that once occupied these spaces remain empty.
This is a rear view of the Sitaleshwar Temple in the Chandrabhaga temple complex. The temple's jangha (wall) has bhadra (central projections or offsets) on all three sides, which are comparatively larger than other temples of that period. Currently, the sculptures of deities that once occupied these spaces remain empty.
The mandapa (pillared hall) of the Sitaleshwar Temple is square in design with a large number of pillars—26 in total, according to the Archaeological Survey of India (ASI). The pillars are adorned with Purnaghata kalasha, an auspicious motif symbolizing abundance, growth, and prosperity. Grassamukha (kirtimukha, or face of glory) and chain motifs adorn the shafts of the pillars.
The mandapa (pillared hall) of the Sitaleshwar Temple is square in design with a large number of pillars—26 in total, according to the Archaeological Survey of India (ASI). The pillars are adorned with Purnaghata kalasha, an auspicious motif symbolizing abundance, growth, and prosperity. Grassamukha (kirtimukha, or face of glory) and chain motifs adorn the shafts of the pillars.
The columns in the mandapa (pillared hall) of the Sitaleshwar Temple, a subsequent addition, feature various figures, including women, Shaiva ascetics, and dikapalas (gods of cardinal directions). Occasionally adorned with a substantial jatabhara (braided hairdo), the Shaiva ascetics display their moustaches and long beards. The upper bodies of the Shaiva ascetics remain bare, while a langot, a type of underclothes or loincloth, covers their lower bodies.
The columns in the mandapa (pillared hall) of the Sitaleshwar Temple, a subsequent addition, feature various figures, including women, Shaiva ascetics, and dikapalas (gods of cardinal directions). Occasionally adorned with a substantial jatabhara (braided hairdo), the Shaiva ascetics display their moustaches and long beards. The upper bodies of the Shaiva ascetics remain bare, while a langot, a type of underclothes or loincloth, covers their lower bodies.
Some of the depictions on the pillars of the mandapa (pillared hall) of the Sitaleshwar Temple also feature worshippers and devotees. In one instance, there is a male figure standing with hands folded in reverence.
Some of the depictions on the pillars of the mandapa (pillared hall) of the Sitaleshwar Temple also feature worshippers and devotees. In one instance, there is a male figure standing with hands folded in reverence.
The Sitaleshwar Temple's mandapa (pillared hall) features a Nandi facing the garbhagriha (sanctum sanctorum). In front of the Nandi, before the antarala (vestibule or antechamber), there is a Shiva linga (aniconic representation of Shiva) placed on a cemented pedestal.
The Sitaleshwar Temple's mandapa (pillared hall) features a Nandi facing the garbhagriha (sanctum sanctorum). In front of the Nandi, before the antarala (vestibule or antechamber), there is a Shiva linga (aniconic representation of Shiva) placed on a cemented pedestal.
The carvings on the four pillars of the Sitaleshwar Temple's antarala (vestibule or antechamber) entrance significantly differ from those on the mandapa (pillared hall), a later addition. The decorative patterns and carving style bear a resemblance to the artistic style seen in Ajanta paintings. These pillars showcase intricate carvings of the purnaghata kalasha, from which beautiful foliage emerges, an auspicious motif that symbolizes abundance, growth, and prosperity.
The carvings on the four pillars of the Sitaleshwar Temple's antarala (vestibule or antechamber) entrance significantly differ from those on the mandapa (pillared hall), a later addition. The decorative patterns and carving style bear a resemblance to the artistic style seen in Ajanta paintings. These pillars showcase intricate carvings of the purnaghata kalasha, from which beautiful foliage emerges, an auspicious motif that symbolizes abundance, growth, and prosperity.
The mandapa (pillared hall) of the Sitaleshwar Temple's pillars reveal a few inscriptions. One of the mandapa's inscriptions is a small, two-line inscription.
The mandapa (pillared hall) of the Sitaleshwar Temple's pillars reveal a few inscriptions. One of the mandapa's inscriptions is a small, two-line inscription.
The pillars in the antarala (vestibule or antechamber) feature kirtimukhas (face of glory) motifs that emit festoons. Placed above these kirtimukhas are half medallions, which are skilfully carved, depicting geese, kinnaras (composite half-bird, half-woman creatures), and fully bloomed flowers. Here, the representation of the goose is also notable.
The pillars in the antarala (vestibule or antechamber) feature kirtimukhas (face of glory) motifs that emit festoons. Placed above these kirtimukhas are half medallions, which are skilfully carved, depicting geese, kinnaras (composite half-bird, half-woman creatures), and fully bloomed flowers. Here, the representation of the goose is also notable.
The antarala (vestibule or antechamber) of the Sitaleshwar Temple provides access to the garbhagriha (sanctum sanctorum) through an intricate panchashakha (five vertical bands) entrance. These shakhas, or vertical bands, display floral patterns and foliage. The lower sections depict images of Shiva on both sides, as well as representations of river goddesses, Ganga, and Yamuna.
The antarala (vestibule or antechamber) of the Sitaleshwar Temple provides access to the garbhagriha (sanctum sanctorum) through an intricate panchashakha (five vertical bands) entrance. These shakhas, or vertical bands, display floral patterns and foliage. The lower sections depict images of Shiva on both sides, as well as representations of river goddesses, Ganga, and Yamuna.
Inside a niche on the lalatabimba (lintel) is a depiction of Lakulisa, a preceptor of the doctrine of the Pashupata tradition of Shaivism. He is seated in padmasana (lotus pedestal pose), holds a danda (staff), phala (fruit), and wears a yajnopavita (sacred thread).
Inside a niche on the lalatabimba (lintel) is a depiction of Lakulisa, a preceptor of the doctrine of the Pashupata tradition of Shaivism. He is seated in padmasana (lotus pedestal pose), holds a danda (staff), phala (fruit), and wears a yajnopavita (sacred thread).
The Sitaleshwar Temple's walls have undergone renovation, resulting in the loss of much artistic work on the external wall. However, the surviving section reveals the early artistic and aesthetic traditions. The decoration on the jangha (wall) looks like the pillars of the antarala (vestibule or antechamber). It shows a purnaghata kalasha (a lucky pattern that stands for plenty, growth, and prosperity) with long leaves and wavy, curvy creepers topped with a grassamukha (kirtimukha, or face of glory).
The Sitaleshwar Temple's walls have undergone renovation, resulting in the loss of much artistic work on the external wall. However, the surviving section reveals the early artistic and aesthetic traditions. The decoration on the jangha (wall) looks like the pillars of the antarala (vestibule or antechamber). It shows a purnaghata kalasha (a lucky pattern that stands for plenty, growth, and prosperity) with long leaves and wavy, curvy creepers topped with a grassamukha (kirtimukha, or face of glory).
The portrayal of animals and birds on the pillars of the Sitaleshwar Temple is remarkable. The half-medallion decoration on one of the pillars captures the image of a tranquil and innocent lion, sitting and relaxing.
The portrayal of animals and birds on the pillars of the Sitaleshwar Temple is remarkable. The half-medallion decoration on one of the pillars captures the image of a tranquil and innocent lion, sitting and relaxing.
Beautiful sculptures of deities decorate the external walls of the antarala (vestibule or antechamber) of the Sitaleshwar Temple. The rear (west) wall depicts Lord Vishnu seated on a pedestal in lalitasana, also known as the royal position or position of royal ease. The image presents Lord Vishnu with four arms, each holding a gada (mace), a chakra (discus), and a shankha (conch shell). He holds his front right hand in the abhayahasta hand pose, symbolizing reassurance or protection from fear. He is depicted wearing a crown with a halo around his head.
Beautiful sculptures of deities decorate the external walls of the antarala (vestibule or antechamber) of the Sitaleshwar Temple. The rear (west) wall depicts Lord Vishnu seated on a pedestal in lalitasana, also known as the royal position or position of royal ease. The image presents Lord Vishnu with four arms, each holding a gada (mace), a chakra (discus), and a shankha (conch shell). He holds his front right hand in the abhayahasta hand pose, symbolizing reassurance or protection from fear. He is depicted wearing a crown with a halo around his head.
Carved on the northern wall of the antarala (vestibule or antechamber) of the Sitaleshwar Temple is the figure of Shiva seated in lalitasana (the royal position or position of royal ease) on a lotus pedestal. Nandi stands to Shiva's right. Shiva is shown with four arms, holding a trishula (trident) in his upper right hand and a sarpa (snake) in his upper left hand. In his lower right hand, he grasps a pushpa (flower), while his left hand holds a kamandalu (water carrier or pot). Shiva, adorned with jewelry and flowing locks, has a halo behind his head.
Carved on the northern wall of the antarala (vestibule or antechamber) of the Sitaleshwar Temple is the figure of Shiva seated in lalitasana (the royal position or position of royal ease) on a lotus pedestal. Nandi stands to Shiva's right. Shiva is shown with four arms, holding a trishula (trident) in his upper right hand and a sarpa (snake) in his upper left hand. In his lower right hand, he grasps a pushpa (flower), while his left hand holds a kamandalu (water carrier or pot). Shiva, adorned with jewelry and flowing locks, has a halo behind his head.
The walls of the antarala (vestibule or antechamber) of the Sitaleshwar Temple also depict dikapalas (gods of cardinal directions). Varuna, one of the dikapalas, is depicted alongside his vahana (mount), Makara (a crocodile-like sea creature). The ocean god is portrayed with two arms, holding a noose in his right hand and a water pitcher in his left.
The walls of the antarala (vestibule or antechamber) of the Sitaleshwar Temple also depict dikapalas (gods of cardinal directions). Varuna, one of the dikapalas, is depicted alongside his vahana (mount), Makara (a crocodile-like sea creature). The ocean god is portrayed with two arms, holding a noose in his right hand and a water pitcher in his left.
Devotees revere an ancient Banyan tree within the Chandrabhaga temple complex, alongside the Shiva lingas, which are iconic representations of Shiva on the premises. Because banyan trees are believed to be wish-fulfilling and associated with fertility in Hindu mythology, married couples worship them in hopes of bearing children.
Devotees revere an ancient Banyan tree within the Chandrabhaga temple complex, alongside the Shiva lingas, which are iconic representations of Shiva on the premises. Because banyan trees are believed to be wish-fulfilling and associated with fertility in Hindu mythology, married couples worship them in hopes of bearing children.
Shiva Temple 1 is located close to the revered Banyan tree. The temple is a small structure with an antarala (vestibule or antechamber) and a garbhagriha (sanctum sanctorum). The shikhara (superstructure) of the temple is in ruins.
Shiva Temple 1 is located close to the revered Banyan tree. The temple is a small structure with an antarala (vestibule or antechamber) and a garbhagriha (sanctum sanctorum). The shikhara (superstructure) of the temple is in ruins.
The rear view of Shiva Temple 1 showcases the vedibandha (basal mouldings), incorporating the khura (hoof), the kumbha (pot), the kalasha (a pitcher), and the kapotapalika (cyma recta). The kumbha has intermittent niches housing sculptures of females, couples, and dwarfs. Above the moulding, the jangha (wall) exhibits central projected niches flanked by slightly narrower projected niches.
The rear view of Shiva Temple 1 showcases the vedibandha (basal mouldings), incorporating the khura (hoof), the kumbha (pot), the kalasha (a pitcher), and the kapotapalika (cyma recta). The kumbha has intermittent niches housing sculptures of females, couples, and dwarfs. Above the moulding, the jangha (wall) exhibits central projected niches flanked by slightly narrower projected niches.
The east face of Shiva Temple 1 features a carving of Indra, the guardian deity of the east. The carving depicts him with two arms, his left hand holding a vajra, the thunderbolt weapon associated with Indra, and his right hand resting on his thigh. He also displays his vahana (mount), Airavat, at the bottom of his left arm.
The east face of Shiva Temple 1 features a carving of Indra, the guardian deity of the east. The carving depicts him with two arms, his left hand holding a vajra, the thunderbolt weapon associated with Indra, and his right hand resting on his thigh. He also displays his vahana (mount), Airavat, at the bottom of his left arm.
At the rear of Shiva Temple 1, depictions of surasundaris (celestial damsels) adorn the walls of the garbhagriha (sanctum sanctorum). Standing gracefully, they hold a flower stalk in one hand and grasp the scarf's edge with the other. The flexed postures, flowing scarves, and curved flower stalks achieve the rhythmic composition.
At the rear of Shiva Temple 1, depictions of surasundaris (celestial damsels) adorn the walls of the garbhagriha (sanctum sanctorum). Standing gracefully, they hold a flower stalk in one hand and grasp the scarf's edge with the other. The flexed postures, flowing scarves, and curved flower stalks achieve the rhythmic composition.
The corner projection of Shiva Temple 1 depicts a dikapala, or the deities of the cardinal directions, on its western wall. The corner projection depicts this two-armed deity holding a khadga (sword) in his right hand, while his left hand rests on his thigh. The base depicts the deity's vahana (mount), adorned with a crown and jewellery.
The corner projection of Shiva Temple 1 depicts a dikapala, or the deities of the cardinal directions, on its western wall. The corner projection depicts this two-armed deity holding a khadga (sword) in his right hand, while his left hand rests on his thigh. The base depicts the deity's vahana (mount), adorned with a crown and jewellery.
The main central niche of Shiva Temple 1 features a carved Surasundari (celestial damsel) on the west wall of the garbhagriha (sanctum sanctorum). The surasundari stands with grace, her body exuding vitality as she grasps a flower stem in one hand and the edge of a scarf in the other.
The main central niche of Shiva Temple 1 features a carved Surasundari (celestial damsel) on the west wall of the garbhagriha (sanctum sanctorum). The surasundari stands with grace, her body exuding vitality as she grasps a flower stem in one hand and the edge of a scarf in the other.
All of the niches on the north elevation of Shiva Temple 1's garbhagriha (sanctum sanctorum) are currently empty. The shikhara (superstructure) of the temple has collapsed with time, and only remnants of stone blocks can be seen.
All of the niches on the north elevation of Shiva Temple 1's garbhagriha (sanctum sanctorum) are currently empty. The shikhara (superstructure) of the temple has collapsed with time, and only remnants of stone blocks can be seen.
The antarala (vestibule or antechamber) of Shiva Temple 1 is completely plain and simple. On the lateral side, there are two niches. The antarala leads to the garbhagriha (sanctum sanctorum). The garbhagriha's door is plain, and the lalatabimba (lintel) has no figure.
The antarala (vestibule or antechamber) of Shiva Temple 1 is completely plain and simple. On the lateral side, there are two niches. The antarala leads to the garbhagriha (sanctum sanctorum). The garbhagriha's door is plain, and the lalatabimba (lintel) has no figure.
The garbhagriha (sanctum sanctorum) of Shiva Temple 1 is a square dark chamber that houses a Shiva linga (an aniconic representation of Shiva), with four sides showing four standing deities. All four sides display the deities standing and holding their respective attributes.
The garbhagriha (sanctum sanctorum) of Shiva Temple 1 is a square dark chamber that houses a Shiva linga (an aniconic representation of Shiva), with four sides showing four standing deities. All four sides display the deities standing and holding their respective attributes.
The Chandrabhaga temple complex has two temples, a Vishnu Temple (left) and a Shiva Temple (right), situated on their respective platforms behind the Sitaleshwar Temple. A set of steps leads to the garbhagriha (sanctum sanctorum) of both temples.
The Chandrabhaga temple complex has two temples, a Vishnu Temple (left) and a Shiva Temple (right), situated on their respective platforms behind the Sitaleshwar Temple. A set of steps leads to the garbhagriha (sanctum sanctorum) of both temples.
The rear view (northwest) of the Vishnu and Shiva temples behind the Sitaleshwar Temple shows that the temples are in disrepair. Both temples retain their ornately carved base mouldings, but their jangha (wall) and shikhara (superstructure) suffer severe damage.
The rear view (northwest) of the Vishnu and Shiva temples behind the Sitaleshwar Temple shows that the temples are in disrepair. Both temples retain their ornately carved base mouldings, but their jangha (wall) and shikhara (superstructure) suffer severe damage.
The front view (east) of the Vishnu Temple behind the Sitaleshwar Temple shows it standing on a platform. The doorframe of the garbhagriha (sanctum sanctorum) is panchashakha (five vertical bands). The threshold depicts figures of river goddesses, dvarapalas (door guardians), and Kubera. A variety of motifs and designs intricately sculpt the upper portions of the shakhas (vertical bands).
The front view (east) of the Vishnu Temple behind the Sitaleshwar Temple shows it standing on a platform. The doorframe of the garbhagriha (sanctum sanctorum) is panchashakha (five vertical bands). The threshold depicts figures of river goddesses, dvarapalas (door guardians), and Kubera. A variety of motifs and designs intricately sculpt the upper portions of the shakhas (vertical bands).
The severely damaged lateral walls of the garbhagriha (sanctum sanctorum) are visible in the west view of the Vishnu Temple behind the Sitaleshwar Temple. There are only two sculptures of the dikapalas (gods of the cardinal directions) that remain intact.
The severely damaged lateral walls of the garbhagriha (sanctum sanctorum) are visible in the west view of the Vishnu Temple behind the Sitaleshwar Temple. There are only two sculptures of the dikapalas (gods of the cardinal directions) that remain intact.
The lower section of the garbhagriha (sanctum sanctorum) entrance to the Vishnu Temple displays the river goddesses, Ganga and Yamuna, followed by a chauri (fly whisk) bearer, and then the Vaishnava dvarapalas (door guardians). The depiction shows these four-armed dvarapalas holding a gada (mace), a shankha (conch shell), and a chakra (discus), with one hand in the abhayahasta (a hand pose indicating reassurance or protection from fear) position. A karand mukuta (tiered crown), long garlands, and elaborate jewellery adorn them.
The lower section of the garbhagriha (sanctum sanctorum) entrance to the Vishnu Temple displays the river goddesses, Ganga and Yamuna, followed by a chauri (fly whisk) bearer, and then the Vaishnava dvarapalas (door guardians). The depiction shows these four-armed dvarapalas holding a gada (mace), a shankha (conch shell), and a chakra (discus), with one hand in the abhayahasta (a hand pose indicating reassurance or protection from fear) position. A karand mukuta (tiered crown), long garlands, and elaborate jewellery adorn them.
The details of the garbhagriha (sanctum sanctorum) are seen here at the bottom of the entrance of the Vishnu Temple. Flanking the chandrashila (moonstone) at the garbhagriha entrance is a band that shows vyalas (composite mythical creatures) pouncing upon and biting elephants from behind, then tearing them apart with their claws.
The details of the garbhagriha (sanctum sanctorum) are seen here at the bottom of the entrance of the Vishnu Temple. Flanking the chandrashila (moonstone) at the garbhagriha entrance is a band that shows vyalas (composite mythical creatures) pouncing upon and biting elephants from behind, then tearing them apart with their claws.
The Vishnu Temple depicts Kubera at the bottommost external shakha (vertical band) of the garbhagriha (sanctum sanctorum) entrance. Kubera stands with two arms, clutching a bag of money, while a pot of nidhi (wealth) rests at the bottom. Kubera is also wearing a crown and jewellery.
The Vishnu Temple depicts Kubera at the bottommost external shakha (vertical band) of the garbhagriha (sanctum sanctorum) entrance. Kubera stands with two arms, clutching a bag of money, while a pot of nidhi (wealth) rests at the bottom. Kubera is also wearing a crown and jewellery.
The front view (east) of the Shiva Temple (Shiva Temple 2 in the Chandrabhaga temple complex), behind the Sitaleshwar Temple, shows the temple standing on a platform. The temple has depictions of the figures and deities that are associated with Shaivism. The temple has a square and plain garbhagriha (sanctum sanctorum), presently housing a Shiva linga.
The front view (east) of the Shiva Temple (Shiva Temple 2 in the Chandrabhaga temple complex), behind the Sitaleshwar Temple, shows the temple standing on a platform. The temple has depictions of the figures and deities that are associated with Shaivism. The temple has a square and plain garbhagriha (sanctum sanctorum), presently housing a Shiva linga.
The lalatabimba (lintel) on the garbhagriha (sanctum sanctorum) entrance of the Shiva Temple (Shiva Temple 2) features a seated Lakulisa within a small niche. The lalatabimba (lintel) depicts Lakulisa in padmasana (lotus pedestal pose), holding a phala (fruit) and a danda (staff) in her two arms. On either side, Gandharva (celestial musicians) couples are illustrated holding garlands. The temple's uttaranga (top horizontal band of the architrave) showcases depictions of Matrikas, Veerabhadra, Ganesha, and Brahma.
The lalatabimba (lintel) on the garbhagriha (sanctum sanctorum) entrance of the Shiva Temple (Shiva Temple 2) features a seated Lakulisa within a small niche. The lalatabimba (lintel) depicts Lakulisa in padmasana (lotus pedestal pose), holding a phala (fruit) and a danda (staff) in her two arms. On either side, Gandharva (celestial musicians) couples are illustrated holding garlands. The temple's uttaranga (top horizontal band of the architrave) showcases depictions of Matrikas, Veerabhadra, Ganesha, and Brahma.
The south view of the Jangha (wall) of the Shiva Temple (Shiva Temple 2), behind the Sitaleshwar Temple, has a depiction of Indrani with six arms on the kumbha (pot) moulding. In her upper hands, she holds a broken weapon and vajra (a thunderbolt weapon associated with Indra), while her middle hands hold unidentified attributes. In her lower hands, she holds a kamandalu, a water carrier or pot, and a varadaksha, a gesture that grants blessings while holding a rosary. At the base of her pedestal, there is an illustration of an elephant.
The south view of the Jangha (wall) of the Shiva Temple (Shiva Temple 2), behind the Sitaleshwar Temple, has a depiction of Indrani with six arms on the kumbha (pot) moulding. In her upper hands, she holds a broken weapon and vajra (a thunderbolt weapon associated with Indra), while her middle hands hold unidentified attributes. In her lower hands, she holds a kamandalu, a water carrier or pot, and a varadaksha, a gesture that grants blessings while holding a rosary. At the base of her pedestal, there is an illustration of an elephant.
There is a small mandapa (pillared hall) at the north entrance of the Chandrabhaga temple complex that houses Ganesha. The mandapa is a four-pillared open structure with a flat roof. It is a stone platform with a low plinth base.
There is a small mandapa (pillared hall) at the north entrance of the Chandrabhaga temple complex that houses Ganesha. The mandapa is a four-pillared open structure with a flat roof. It is a stone platform with a low plinth base.
The pillars of the Ganesha mandapa (pillared hall) have a square base with purnaghata kalasha (vase and foliage motif), which is a symbol of prosperity and abundance. The faceted and carved middle part of the shaft features standing female figures in varying states of preservation. At the top portion, each face of the shaft shows grassmukha (kirtimukha, or face of glory), topped by a floral motif abacus. Brackets support the flat roof above the abacus.
The pillars of the Ganesha mandapa (pillared hall) have a square base with purnaghata kalasha (vase and foliage motif), which is a symbol of prosperity and abundance. The faceted and carved middle part of the shaft features standing female figures in varying states of preservation. At the top portion, each face of the shaft shows grassmukha (kirtimukha, or face of glory), topped by a floral motif abacus. Brackets support the flat roof above the abacus.
Within this open mandapa (pillared hall), there is a stele that depicts a figure of Ganesha and his consorts. The curved roof pavilion depicts Ganesha standing inside. This depiction of Ganesha features four arms, with his back hands holding his consorts on either side, and his front hand holding an akshamala (rosary). He extends his front right hand, pointing towards the ground. The depiction shows one of his consorts holding a modak (stuffed sweet), while the other is holding Ganesha's hand.
Within this open mandapa (pillared hall), there is a stele that depicts a figure of Ganesha and his consorts. The curved roof pavilion depicts Ganesha standing inside. This depiction of Ganesha features four arms, with his back hands holding his consorts on either side, and his front hand holding an akshamala (rosary). He extends his front right hand, pointing towards the ground. The depiction shows one of his consorts holding a modak (stuffed sweet), while the other is holding Ganesha's hand.
Near the north entrance of the Chandrabhaga temple complex is a flat-roofed structure known as the Kalika Devi Temple. It is commonly referred to as the Navadurga shrine. The temple has an antarala (vestibule, or antechamber) and a garbhagriha (sanctum sanctorum). It is used as the storehouse for the site by the Archaeological Survey of India.
Near the north entrance of the Chandrabhaga temple complex is a flat-roofed structure known as the Kalika Devi Temple. It is commonly referred to as the Navadurga shrine. The temple has an antarala (vestibule, or antechamber) and a garbhagriha (sanctum sanctorum). It is used as the storehouse for the site by the Archaeological Survey of India.
The exterior walls of the Kalika Devi Temple's garbhagriha (sanctum sanctorum) are plain and devoid of decoration or sculptures. The temple features carved pillars at the entrance of the antarala (vestibule or antechamber), accompanied by a few loose sculptures.
The exterior walls of the Kalika Devi Temple's garbhagriha (sanctum sanctorum) are plain and devoid of decoration or sculptures. The temple features carved pillars at the entrance of the antarala (vestibule or antechamber), accompanied by a few loose sculptures.
The Kalika Devi or the Navdurga Temple has an inscription in its antarala (vestibule or antechamber). Palaeographic evidence suggests that the engraved letters date to a later period.
The Kalika Devi or the Navdurga Temple has an inscription in its antarala (vestibule or antechamber). Palaeographic evidence suggests that the engraved letters date to a later period.
On the southern end of the Chandrabhaga temple complex, there is a ghat (bank) that has a few chhatris (memorial structures) and a few loose sculptures flanking the Chandrabhaga River. The devotees take a dip in the river, especially in the auspicious month of Kartik (October–November), and light diyas (oil lamps) in the temple and under the banyan tree.
On the southern end of the Chandrabhaga temple complex, there is a ghat (bank) that has a few chhatris (memorial structures) and a few loose sculptures flanking the Chandrabhaga River. The devotees take a dip in the river, especially in the auspicious month of Kartik (October–November), and light diyas (oil lamps) in the temple and under the banyan tree.