Mahakal Temple of Dhoti

By Dr Nikita Rathore

About 10 kilometers ahead of the Charchoma Shiva Temple, an Archaeological Survey of India (ASI) protected site, lies the dilapidated Mahakal Temple in the village of Dhoti, Kota district, Rajasthan. It is dedicated to Shiva and has two entry points: one from the front, which is currently not in use, and the other from the left side, serving as the main entrance to the temple complex. A cremation ground near the front entrance adds significance to its name, as Mahakal translates to ‘the great kala’ or ‘the kala of kala’; the one beyond time and death.

The present structure is part of a larger temple complex enclosed by a boundary wall, according to what remains visible today. The complex includes the main shrine, or Mahakal Temple, as well as the foundations of two shrines—subsidiary shrine I and subsidiary shrine II. Looking at the architectural remains, it seems that the Mahakal Temple originally had a mandapa (pillared hall), antarala (vestibule or antechamber), and a garbhagriha (sanctum sanctorum). However, presently only the garbhagriha survives, while the rest of the structure, including the shikhara (spire or superstructure), has collapsed. The temple's vertical axis features a vedibandha (basal mouldings), a jangha (wall), and a varandika (the beam or architrave that denotes the end of the garbhagriha walls and the beginning of the spire). The vedibandha and jangha depict beautiful figures of gods, goddesses, sursundaris (celestial damsels), mithunas (auspicious couples), and maithunas (amourous couples). As mentioned, the original shikhara has collapsed, and the present shikhara is a renovated structure. The temple has a unique sculpture of Hari-Hara Hiranyagarbha on the jangha, which is a syncretic form of Vishnu, Shiva, and Surya, widely worshipped in the early medieval period in Rajasthan and Madhya Pradesh. Another important sculpture on the jangha is that of the Goddess Chamunda, a prominent deity in the region. In the absence of any inscription, it is difficult to date the temple precisely, but comparing its surviving features and sculptures with those of other temples suggests that it belongs to the early mediaeval period.

Near the foundation of the subsidiary shrine II, a stone stele depicting a Linga and a devotee is found next to it. Another stone stele outside the temple complex, near the front (west) entrance gate, depicts two figures.

The villagers have repainted the surviving mulaprasada (main shrine) and put together architectural remnants of the complex in different sections. The present central shrine is covered with a metal sheet roof for shade. The image gallery offers a visual walk-through of this lesser-known early medieval Mahakal Temple, which is located near a cremation ground.

The entrance gate to the Mahakal Temple, which is currently enclosed within a boundary wall and thickly surrounded by flora, is now accessible through a metal gate followed by stairs leading to the surviving temple structures. It is likely that this gate once served as the main entrance, given its alignment with the garbhagriha.
The entrance gate to the Mahakal Temple, which is currently enclosed within a boundary wall and thickly surrounded by flora, is now accessible through a metal gate followed by stairs leading to the surviving temple structures. It is likely that this gate once served as the main entrance, given its alignment with the garbhagriha.
The remnants of a boundary wall surrounding the temple complex are visible. Heavy, plain stones make up the base of the wall, scattered with broken pieces and fragments of the vedibandha. These broken pieces and fragments include pieces of kumbha moulding carved with the figures of deities and apsaras.
The remnants of a boundary wall surrounding the temple complex are visible. Heavy, plain stones make up the base of the wall, scattered with broken pieces and fragments of the vedibandha. These broken pieces and fragments include pieces of kumbha moulding carved with the figures of deities and apsaras.
A closer view of an entrance on the north side of the temple premises. This entrance might not be the original entrance, as there is a high possibility that the main entrance was located at the front and not to the side of the temple. However, this entrance currently serves as the main entrance, with a metal gate flanked by two carved pillars.
A closer view of an entrance on the north side of the temple premises. This entrance might not be the original entrance, as there is a high possibility that the main entrance was located at the front and not to the side of the temple. However, this entrance currently serves as the main entrance, with a metal gate flanked by two carved pillars.
The temple's rear side faces the road. The garbhagriha's rear portion has a jangha and a shikhara. It is noticeable that the shikhara is plain and simple, unlike the jangha, indicating that the shikhara is likely a later renovated structure. A boundary wall of broken parts and fragments surrounds the temple. The present temple complex is home to a variety of trees and plants, echoing ancient descriptions of temples often nestled in groves, reflecting the belief that gods preferred to dwell in nature (groves).
The temple's rear side faces the road. The garbhagriha's rear portion has a jangha and a shikhara. It is noticeable that the shikhara is plain and simple, unlike the jangha, indicating that the shikhara is likely a later renovated structure. A boundary wall of broken parts and fragments surrounds the temple. The present temple complex is home to a variety of trees and plants, echoing ancient descriptions of temples often nestled in groves, reflecting the belief that gods preferred to dwell in nature (groves).
The temple's broken fragments, including the vedibandha mouldings, form a boundary wall around the temple by placing them close to each other. Figures of deities, females, and couples adorn some of the mouldings. Also visible are fragments of pillars.
The temple's broken fragments, including the vedibandha mouldings, form a boundary wall around the temple by placing them close to each other. Figures of deities, females, and couples adorn some of the mouldings. Also visible are fragments of pillars.
Staircases through the present entrance (from the south) lead to the temple complex. Pillars, one on each side, flank the stairs, carved with purnaghata kalasha (vase of plenty) and kirtimukha (face of glory). Tight-fitted bricks make up the present floor of the temple complex.
Staircases through the present entrance (from the south) lead to the temple complex. Pillars, one on each side, flank the stairs, carved with purnaghata kalasha (vase of plenty) and kirtimukha (face of glory). Tight-fitted bricks make up the present floor of the temple complex.
Details of the pillar (from within the temple) flanking the staircase leading to the temple are presented. Regardless of regional stylistic variations, temples typically depict the auspicious purnaghata kalasha on their pillars. The carvings above this kalasha feature a manibandha, topped by a kirtimukha, and a triangular leaf motif at the apex.
Details of the pillar (from within the temple) flanking the staircase leading to the temple are presented. Regardless of regional stylistic variations, temples typically depict the auspicious purnaghata kalasha on their pillars. The carvings above this kalasha feature a manibandha, topped by a kirtimukha, and a triangular leaf motif at the apex.
The surviving shrine, known as the Mahakal Temple, presently consists of an open mandapa with modern steel railing, situated in front of the original garbhagriha. Steps flanked by carved pillars lead to the temple. The old vedibandha, refloored with modern tiles, reveals the old base of the mandapa. There is a nandi (the bull vehicle of Shiva) in the mandapa, facing the main sanctum.
The surviving shrine, known as the Mahakal Temple, presently consists of an open mandapa with modern steel railing, situated in front of the original garbhagriha. Steps flanked by carved pillars lead to the temple. The old vedibandha, refloored with modern tiles, reveals the old base of the mandapa. There is a nandi (the bull vehicle of Shiva) in the mandapa, facing the main sanctum.
Bricks tightly pave the complex where the present temple stands, while modern tiles refloor the mandapa in front of the main sanctum. A metal sheet roof provides shade for the temple. A series of steps leads up to the mandapa. A closer look at the steps reveals remnants of the original temple placed as decorations on the stairs. There is a small steel gate, which leads further to the temple's mandapa.
Bricks tightly pave the complex where the present temple stands, while modern tiles refloor the mandapa in front of the main sanctum. A metal sheet roof provides shade for the temple. A series of steps leads up to the mandapa. A closer look at the steps reveals remnants of the original temple placed as decorations on the stairs. There is a small steel gate, which leads further to the temple's mandapa.
Upon closer inspection, the stairs leading to the mandapa resemble the chandrashila (moon stone) found in ancient temples, despite the lack of carvings on the bottom stair. During the renovation, the original broken parts of the temple decorated the top two stairs. Both sides of the steps feature pillars resembling those at the temple complex's entrance.
Upon closer inspection, the stairs leading to the mandapa resemble the chandrashila (moon stone) found in ancient temples, despite the lack of carvings on the bottom stair. During the renovation, the original broken parts of the temple decorated the top two stairs. Both sides of the steps feature pillars resembling those at the temple complex's entrance.
The temple's mandapa is open and contains only base mouldings from the old structure. It now has a smooth tile floor, and there are two broad stairs at the end that lead to the main sanctum. On one of the stairs stands a black stone figure of Nandi facing the sanctum. The front wall of the main sanctum is also a new structure with a metal gate to enter. The udumbar (threshold) of the sanctum houses the original part of the temple, which is now the only remaining decorative element of the entire façade.
The temple's mandapa is open and contains only base mouldings from the old structure. It now has a smooth tile floor, and there are two broad stairs at the end that lead to the main sanctum. On one of the stairs stands a black stone figure of Nandi facing the sanctum. The front wall of the main sanctum is also a new structure with a metal gate to enter. The udumbar (threshold) of the sanctum houses the original part of the temple, which is now the only remaining decorative element of the entire façade.
One of the broad stairs leading to the garbhagriha holds a black stone figure of Nandi. A Shiva Linga sits at the center of the sanctum, while the nandi sits on a raised platform facing it. A neck belt of bells adorns the well-defined horns and humps of the nandi sculpture. An ornately carved saddle is also visible on his back.
One of the broad stairs leading to the garbhagriha holds a black stone figure of Nandi. A Shiva Linga sits at the center of the sanctum, while the nandi sits on a raised platform facing it. A neck belt of bells adorns the well-defined horns and humps of the nandi sculpture. An ornately carved saddle is also visible on his back.
The garbhagriha, currently in its elevation, consists of the original vedibandha and jangha. The vedibandha is made up of various mouldings, while the jangha has a bhadra (central offset) and karna (corner projections). The image shows that the jangha on the temple's right lacks any sculpture on the bhadra niche, while the other two sides feature deity figures.
The garbhagriha, currently in its elevation, consists of the original vedibandha and jangha. The vedibandha is made up of various mouldings, while the jangha has a bhadra (central offset) and karna (corner projections). The image shows that the jangha on the temple's right lacks any sculpture on the bhadra niche, while the other two sides feature deity figures.
The garbhagriha shows the vedibandha and jangha on its vertical axis. The vedibandha is made up of various mouldings, such as pitha, kapotapailka, karnika, grassapatta, manibandha, gaggarika, kumbha, and kalasha. The jangha has a bhadra and karna, and a horizontal band at the centre runs across the wall.
The garbhagriha shows the vedibandha and jangha on its vertical axis. The vedibandha is made up of various mouldings, such as pitha, kapotapailka, karnika, grassapatta, manibandha, gaggarika, kumbha, and kalasha. The jangha has a bhadra and karna, and a horizontal band at the centre runs across the wall.
The kumbha, a moulding on the vedibandha of the garbhagriha, features figures of deities, apsaras, mithunas, and maithunas. Both the mithuna and maithuna imagery are visible here. Mithuna represents a couple embracing each other, where the male figure is softly pressing his partner’s breast. The maithuna, next to the couple, depicts four figures engaged in amorous activities.
The kumbha, a moulding on the vedibandha of the garbhagriha, features figures of deities, apsaras, mithunas, and maithunas. Both the mithuna and maithuna imagery are visible here. Mithuna represents a couple embracing each other, where the male figure is softly pressing his partner’s breast. The maithuna, next to the couple, depicts four figures engaged in amorous activities.
The garbhagriha's jangha depicts a bhadra, carved with deity figures. Apart from that, the only decorative motif visible on the walls is a horizontal band of kirtimukha. Above the jangha, a varandika (shoulder) is carved, which is made of mouldings including gaggarika and kapotapalika with a chaitya arch motif.
The garbhagriha's jangha depicts a bhadra, carved with deity figures. Apart from that, the only decorative motif visible on the walls is a horizontal band of kirtimukha. Above the jangha, a varandika (shoulder) is carved, which is made of mouldings including gaggarika and kapotapalika with a chaitya arch motif.
The garbhagriha's rear wall features a projection depicting a syncretic image. This image depicts Surya, Vishnu, and Shiva coming together to form a deity called Hari-Hara Hiranyagarbha. The image depicts the deity with three heads and six arms, standing alongside his attendants Dandaka and Pingala. Adorned with a beautiful crown and jewellery, the deity is wearing knee-length boots, which confirms that the frontal face and body represent Surya, who is shown holding flowers in both his hands. In his upper hands, one can notice sarpa (snakes), an attribute of Shiva, while his lower arms hold a shankha (conch shell) and chakra (discus), symbols associated with Vishnu.
The garbhagriha's rear wall features a projection depicting a syncretic image. This image depicts Surya, Vishnu, and Shiva coming together to form a deity called Hari-Hara Hiranyagarbha. The image depicts the deity with three heads and six arms, standing alongside his attendants Dandaka and Pingala. Adorned with a beautiful crown and jewellery, the deity is wearing knee-length boots, which confirms that the frontal face and body represent Surya, who is shown holding flowers in both his hands. In his upper hands, one can notice sarpa (snakes), an attribute of Shiva, while his lower arms hold a shankha (conch shell) and chakra (discus), symbols associated with Vishnu.
The jangha on the south wall of the garbhagriha depicts Chamunda in the bhadra. The depiction shows the six-armed goddess standing on a human body. She is holding a knife, trishula (trident), and damaru (hourglass-shaped drum) in her right hand. In her left hand, she is holding a bowl and a khatwang (staff with a skull at the top), and in her middle hand, she is touching her lip. Her body appears emaciated, her breasts dry and saggy, and her belly sunken. She sports a jatamukuta and adorns herself with ornaments. It is worth noticing that she is wearing a snake as her waist belt.
The jangha on the south wall of the garbhagriha depicts Chamunda in the bhadra. The depiction shows the six-armed goddess standing on a human body. She is holding a knife, trishula (trident), and damaru (hourglass-shaped drum) in her right hand. In her left hand, she is holding a bowl and a khatwang (staff with a skull at the top), and in her middle hand, she is touching her lip. Her body appears emaciated, her breasts dry and saggy, and her belly sunken. She sports a jatamukuta and adorns herself with ornaments. It is worth noticing that she is wearing a snake as her waist belt.
One can notice the Chamunda imagery on the south wall of the garbhagriha, with an emaciated body, dried and saggy breasts, and a sunken belly. She wears a jatamukuta and adorns herself with ornaments. It's important to note that she wears a snake as her waist belt and carries various astras and a bowl. The depiction of a deity, seated on a pedestal and covered in vermilion, beneath the bhadra on the vedibandha indicates regular worship of the deity.
One can notice the Chamunda imagery on the south wall of the garbhagriha, with an emaciated body, dried and saggy breasts, and a sunken belly. She wears a jatamukuta and adorns herself with ornaments. It's important to note that she wears a snake as her waist belt and carries various astras and a bowl. The depiction of a deity, seated on a pedestal and covered in vermilion, beneath the bhadra on the vedibandha indicates regular worship of the deity.
The old foundations of another temple or subsidiary shrine (I) are visible within the larger temple premises. This foundation, diagonally located at the right corner of the Mahakal shrine's entrance, suggests the presence of a shallow mandapa, anatarala, and a small garbhagriha in plan. Currently, only the temple's base survives, and the rest of the structure collapses. It appears that the broken fragments in the boundary wall also belong to this temple. Currently, a Shiva Linga rests on the foundation's floor.
The old foundations of another temple or subsidiary shrine (I) are visible within the larger temple premises. This foundation, diagonally located at the right corner of the Mahakal shrine's entrance, suggests the presence of a shallow mandapa, anatarala, and a small garbhagriha in plan. Currently, only the temple's base survives, and the rest of the structure collapses. It appears that the broken fragments in the boundary wall also belong to this temple. Currently, a Shiva Linga rests on the foundation's floor.
The surviving foundation of the subsidiary shrine features a flight of steps leading to the Shiva Linga placed at the center. Adjacent to the steps lies a pillar fragment, resembling those found at the southern entrance of the temple premises and at the beginning of the stairs leading to the Mahakal Temple’s mandapa. The pillar depicts a standing human figure. The temple's base is covered in vegetation.
The surviving foundation of the subsidiary shrine features a flight of steps leading to the Shiva Linga placed at the center. Adjacent to the steps lies a pillar fragment, resembling those found at the southern entrance of the temple premises and at the beginning of the stairs leading to the Mahakal Temple’s mandapa. The pillar depicts a standing human figure. The temple's base is covered in vegetation.
On the left side corner, directly in front of the entrance of the Mahakal shrine, lies the foundation of another temple or subsidiary shrine. Similar to the foundation in the right corner, this one also has a few surviving stairs. Adjacent to these steps, one can observe a stone stele.
On the left side corner, directly in front of the entrance of the Mahakal shrine, lies the foundation of another temple or subsidiary shrine. Similar to the foundation in the right corner, this one also has a few surviving stairs. Adjacent to these steps, one can observe a stone stele.
The foundation of this temple, also known as subsidiary shrine (II) within the temple complex, indicates that the temple's plan included a mandapa, a shallow antarala, and a garbhagriha. Only the base mouldings of the temple survive.
The foundation of this temple, also known as subsidiary shrine (II) within the temple complex, indicates that the temple's plan included a mandapa, a shallow antarala, and a garbhagriha. Only the base mouldings of the temple survive.
Near the foundation of the subsidiary shrine (II), in the left side corner near the entrance of the Mahakal shrine, lies a stone stele. The stele portrays a Shiva Linga and a seated devotee who is worshipping the Linga. The Linga is held on a pedestal called yoni bhaga. The surface of the stele is quite weathered, so the details are not clear.
Near the foundation of the subsidiary shrine (II), in the left side corner near the entrance of the Mahakal shrine, lies a stone stele. The stele portrays a Shiva Linga and a seated devotee who is worshipping the Linga. The Linga is held on a pedestal called yoni bhaga. The surface of the stele is quite weathered, so the details are not clear.
A sculpture of Vaishnavi, seated on a garuda, is visible on the left side corner of the subsidiary shrine (II) in front of the Mahakal shrine. With one of her upper hands damaged, the four-armed Vaishnavi holds a shankha, gada, and chakra in her hands.
A sculpture of Vaishnavi, seated on a garuda, is visible on the left side corner of the subsidiary shrine (II) in front of the Mahakal shrine. With one of her upper hands damaged, the four-armed Vaishnavi holds a shankha, gada, and chakra in her hands.
The front entrance (towards the west), possibly the original entry point in earlier times, is now locked with a metal gate, which seems to have not been in regular use. There is a flight of steps that leads to the temple complex. Currently, a water tank sits on one side of the entrance to cater to the temple's and devotees' needs, while a broken fragment of a pillar bracket occupies the other side.
The front entrance (towards the west), possibly the original entry point in earlier times, is now locked with a metal gate, which seems to have not been in regular use. There is a flight of steps that leads to the temple complex. Currently, a water tank sits on one side of the entrance to cater to the temple's and devotees' needs, while a broken fragment of a pillar bracket occupies the other side.
Near the frontal entry point, there is a fragment of a heavy pillar. The fragment is a pillar bracket, which depicts four bharavahakas (load bearers) on each side. These bharavahakas are four-armed and adorned with beautiful jewellery.
Near the frontal entry point, there is a fragment of a heavy pillar. The fragment is a pillar bracket, which depicts four bharavahakas (load bearers) on each side. These bharavahakas are four-armed and adorned with beautiful jewellery.
Inside the temple complex, there are a few loose sculptures. One such sculpture shows a male torso (headless) standing, bejewelled, holding an object that looks like a staff. There is an attendant next to it (right), who is shown as small in stature, with one arm raised up.
Inside the temple complex, there are a few loose sculptures. One such sculpture shows a male torso (headless) standing, bejewelled, holding an object that looks like a staff. There is an attendant next to it (right), who is shown as small in stature, with one arm raised up.
Near the Mahakal Temple, a memorial stone stands in front of the temple's west entrance. The stone features two vermilion-covered figures.
Near the Mahakal Temple, a memorial stone stands in front of the temple's west entrance. The stone features two vermilion-covered figures.
A cremation ground is located close to the temple's frontal entrance (west).
A cremation ground is located close to the temple's frontal entrance (west).