Sacred and Serene: The Artistry of Charchoma Shiva Temple

By Dr Nikita Rathore

The Charchoma Shiva Temple, situated in the village of Charchoma Maliya in Rajasthan’s Kota district, falls under the Jaipur Circle of the Archaeological Survey of India (ASI). This living temple, dedicated to Shiva, reflects its historicity through its regional Gupta architectural style and two inscriptions found in the temple. The inscriptions, in Gupta Brahmi script, are located outside the temple's mandapa (pillared hall) and pillar of the antarala (vestibule or antechamber). This suggests that the temple likely belongs to the late Gupta period.

On its plan, the east-facing temple has a mandapa, antarala, and garbhagriha (sanctum sanctorum). The temple's vertical elevation consists of base mouldings, a jangha (wall), and a latina type of shikhara (spire).

Although the garbhagriha houses a sculpture of Parvati, also known locally as Adi Shakti, the temple does not primarily dedicate itself to the goddess. The locals revere a linga in the mandapa as the main deity. The lalatabimba (lintel) also depicts a linga, albeit in poor condition. Only the frontal face is visible, flanked and worshipped by gandharvas (celestial musicians), while the side faces are unclear, making it uncertain whether it's a Chaturmukha linga (linga with four faces).

The image gallery is a visual walk-through of this Gupta period temple, which is one of the oldest temples in Rajasthan. Over time, the temple underwent modifications, including alterations in the 19th century, resulting in the present form, which may not appear ancient to a casual observer.

In front of the temple lies a water tank, seemingly a later addition, as indicated by the presence of chhatris installed at its corners. Steps lead down to the water level. There is a raised platform on one side. The locals regularly use the tank for various purposes.
In front of the temple lies a water tank, seemingly a later addition, as indicated by the presence of chhatris installed at its corners. Steps lead down to the water level. There is a raised platform on one side. The locals regularly use the tank for various purposes.
The temple provides a view of the water tank, featuring chhattris at its corners. The sandstone chhatris, a square platform with four pillars topped by a cupola, is a later addition.
The temple provides a view of the water tank, featuring chhattris at its corners. The sandstone chhatris, a square platform with four pillars topped by a cupola, is a later addition.
There are stairs that lead to the temple, which is situated on an elevated area. To provide a sitting place for the devotees, stone platforms or benches are placed on both sides of the steps.
There are stairs that lead to the temple, which is situated on an elevated area. To provide a sitting place for the devotees, stone platforms or benches are placed on both sides of the steps.
The stone platform on the left side of the stairs leading to the temple has a group of five sculptures. A Nandi sculpture precedes the central Shiva linga, adorned with a metal naga image.
The stone platform on the left side of the stairs leading to the temple has a group of five sculptures. A Nandi sculpture precedes the central Shiva linga, adorned with a metal naga image.
On the left side after reaching the top is another small shrine situated on a stone platform beneath a thick tree. Devotees regularly worship the vermilion-covered deity known as Hanuman.
On the left side after reaching the top is another small shrine situated on a stone platform beneath a thick tree. Devotees regularly worship the vermilion-covered deity known as Hanuman.
Another stone platform is around a tree in front of the entrance of the main temple, where ancient sculptures of Ganesha, covered in vermilion, a goddess, and a Nandi are kept. Another stone platform, around a tree, is located in front of the entrance of the main temple, where ancient sculptures of Ganesha, covered in vermilion, a goddess, and a Nandi are kept.
Another stone platform is around a tree in front of the entrance of the main temple, where ancient sculptures of Ganesha, covered in vermilion, a goddess, and a Nandi are kept. Another stone platform, around a tree, is located in front of the entrance of the main temple, where ancient sculptures of Ganesha, covered in vermilion, a goddess, and a Nandi are kept.
The magnificently decorated sculpture of Nandi, positioned in front of the platform and orientated towards the mulaprasada (main temple), is truly impressive. Particularly notable is the hump of Nandi, which is adorned with an intricately coiled serpent that gracefully encircles the hump, adding to the sculpture's beauty.
The magnificently decorated sculpture of Nandi, positioned in front of the platform and orientated towards the mulaprasada (main temple), is truly impressive. Particularly notable is the hump of Nandi, which is adorned with an intricately coiled serpent that gracefully encircles the hump, adding to the sculpture's beauty.
The mulaprasada (main temple) is visible from the southeast. Comprising a mandapa (hall), antarala (vestibule or antechamber), and garbhagriha (sanctum sanctorum) on its plan, the temple has a simple elevation with minimal decoration. Outside the main temple, there is a yajnakund for performing yajna and havan (fire rituals).
The mulaprasada (main temple) is visible from the southeast. Comprising a mandapa (hall), antarala (vestibule or antechamber), and garbhagriha (sanctum sanctorum) on its plan, the temple has a simple elevation with minimal decoration. Outside the main temple, there is a yajnakund for performing yajna and havan (fire rituals).
The east-facing entrance leading to the mulaprasada has a plain and simple base, with a few steps paving the entrance, and a single decorative band at the top. The front façade is plain, with a flanking chhajja supporting the roof.
The east-facing entrance leading to the mulaprasada has a plain and simple base, with a few steps paving the entrance, and a single decorative band at the top. The front façade is plain, with a flanking chhajja supporting the roof.
The current temple structure's east-facing entrance is visible. Only close inspection reveals the carved figures at the bottom of the doorframe, which have faded over time. The upper section of the doorframe, known as the uttaranga, bears a resemblance to a carved wooden roof.
The current temple structure's east-facing entrance is visible. Only close inspection reveals the carved figures at the bottom of the doorframe, which have faded over time. The upper section of the doorframe, known as the uttaranga, bears a resemblance to a carved wooden roof.
The Charchoma Shiva Temple has two Brahmi inscriptions of Gupta letters. The entrance, located outside the main temple structure, displays one of the inscriptions. This inscription employs Sanskrit as its language.
The Charchoma Shiva Temple has two Brahmi inscriptions of Gupta letters. The entrance, located outside the main temple structure, displays one of the inscriptions. This inscription employs Sanskrit as its language.
The mandapa (pillared hall) in the Shiva Temple of Charchoma is a rectangular hall featuring a stone platform at its centre. Four pillars stand at each corner of the platform, which is currently covered with decorated cloth pieces.
The mandapa (pillared hall) in the Shiva Temple of Charchoma is a rectangular hall featuring a stone platform at its centre. Four pillars stand at each corner of the platform, which is currently covered with decorated cloth pieces.
On top of the stone platform in the mandapa sits a Chaturmukha linga. According to the term Chaturmukha's literal meaning, the linga has four faces, each facing a cardinal direction. The locals worship the black stone linga as their primary deity. According to popular lore, the Chaturmukha linga represents Shiva, Parvati, Brahma, and Vishnu.
On top of the stone platform in the mandapa sits a Chaturmukha linga. According to the term Chaturmukha's literal meaning, the linga has four faces, each facing a cardinal direction. The locals worship the black stone linga as their primary deity. According to popular lore, the Chaturmukha linga represents Shiva, Parvati, Brahma, and Vishnu.
On the south side of the linga, one can observe the deity's face and bust. The deity has a heavy jatamukuta (matted crown) on its head, as well as hairlocks coming down to the shoulders. The sringara (attributes) of all four faces of the Chaturmukha linga are distinct, highlighting the iconographic features.
On the south side of the linga, one can observe the deity's face and bust. The deity has a heavy jatamukuta (matted crown) on its head, as well as hairlocks coming down to the shoulders. The sringara (attributes) of all four faces of the Chaturmukha linga are distinct, highlighting the iconographic features.
The north face of the Chaturmukha linga has a jatamukuta (matted crown), but it is different from the other faces. The carvings above the forehead feature snail-shaped curls, and hairlocks extend down to the shoulders. A beautiful necklace adorns the deity.
The north face of the Chaturmukha linga has a jatamukuta (matted crown), but it is different from the other faces. The carvings above the forehead feature snail-shaped curls, and hairlocks extend down to the shoulders. A beautiful necklace adorns the deity.
The temple's antarala (vestibule) is made up of four pillars. It is a rectangular, plain passage that connects the mandapa (pillared hall) and the garbhagriha (sanctum sanctorum). This section of the temple structure dates to the Gupta period, as evidenced by the Gupta Brahmi inscription engraved on one of the pillars (on the right). The antarala leads to the garbhagriha, which has a beautifully carved T-shaped door frame, one of the characteristics of Gupta-period temples. The garbhagriha's doorframe features multiple shakhas, adorned with river goddess figures at the bottom, dwarf figures, and floral decorations above.
The temple's antarala (vestibule) is made up of four pillars. It is a rectangular, plain passage that connects the mandapa (pillared hall) and the garbhagriha (sanctum sanctorum). This section of the temple structure dates to the Gupta period, as evidenced by the Gupta Brahmi inscription engraved on one of the pillars (on the right). The antarala leads to the garbhagriha, which has a beautifully carved T-shaped door frame, one of the characteristics of Gupta-period temples. The garbhagriha's doorframe features multiple shakhas, adorned with river goddess figures at the bottom, dwarf figures, and floral decorations above.
The antarala's pillars are supported by a square base. The half lotus medallion sculpts the middle square shaft. Above this medallion, the shaft turns circular, topped with an amalaka and a plain square abacus.
The antarala's pillars are supported by a square base. The half lotus medallion sculpts the middle square shaft. Above this medallion, the shaft turns circular, topped with an amalaka and a plain square abacus.
The pillar on the north end of the antarala has an inscription in Brahmi script, with Gupta letters playing an important role in dating the temple's foundation. A full-blown lotus sits beneath the inscription. However, the pillar's surface has deteriorated, and the letters are not clear, making it difficult to discern the meaning of the inscription. Nevertheless, one can observe that the inscription comprises twelve lines. The last three lines appear distinct in their letters and style compared to the upper part of the inscription. The inscription's first three lines discuss the Shiva linga and the temple.
The pillar on the north end of the antarala has an inscription in Brahmi script, with Gupta letters playing an important role in dating the temple's foundation. A full-blown lotus sits beneath the inscription. However, the pillar's surface has deteriorated, and the letters are not clear, making it difficult to discern the meaning of the inscription. Nevertheless, one can observe that the inscription comprises twelve lines. The last three lines appear distinct in their letters and style compared to the upper part of the inscription. The inscription's first three lines discuss the Shiva linga and the temple.
The garbhagriha's doorframe features multiple shakhas, each adorned with a unique pattern. The bottom of the shakha depicts river goddesses Ganga on Makara and Yamuna on Kachhappa, with their attendants. Beautiful undulating creepers appear above them. The shakha next to it shows standing dvarapalas, on each side, holding a weapon and flanked with dwarf figures performing different activities such as dancing, singing, and playing musical instruments.
The garbhagriha's doorframe features multiple shakhas, each adorned with a unique pattern. The bottom of the shakha depicts river goddesses Ganga on Makara and Yamuna on Kachhappa, with their attendants. Beautiful undulating creepers appear above them. The shakha next to it shows standing dvarapalas, on each side, holding a weapon and flanked with dwarf figures performing different activities such as dancing, singing, and playing musical instruments.
The last shakha, depicting standing dvarapalas on each side, also showcases dwarf figures above. The depiction shows these dwarfs playing musical instruments, with one dwarf figure playing the drum.
The last shakha, depicting standing dvarapalas on each side, also showcases dwarf figures above. The depiction shows these dwarfs playing musical instruments, with one dwarf figure playing the drum.
The lalatabimba (lintel) of the doorframe probably shows a Chaturmukha Linga, flanked and worshipped by devotees and maladharas on each side. The depiction of the devotees displays their folded hands, signifying their homage and respect. The carvings next to these devotees depict maladharas holding garlands for the deity. Due to withering and the presence of heavy hairlocks, the other faces of the linga besides the frontal one are not clearly visible in the image. Nonetheless, the withered part of the linga resembles the other faces, hinting at the possibility of it being a Chaturmukha linga.
The lalatabimba (lintel) of the doorframe probably shows a Chaturmukha Linga, flanked and worshipped by devotees and maladharas on each side. The depiction of the devotees displays their folded hands, signifying their homage and respect. The carvings next to these devotees depict maladharas holding garlands for the deity. Due to withering and the presence of heavy hairlocks, the other faces of the linga besides the frontal one are not clearly visible in the image. Nonetheless, the withered part of the linga resembles the other faces, hinting at the possibility of it being a Chaturmukha linga.
The garbhagriha of the Charchoma Shiva Temple currently houses a goddess image, probably Parvati, who is locally revered as Adi Shakti. The statue's dress obscures its attributes and iconography. A metal tripod stands near the sculpture. Upon closer inspection, one can see carvings of figures on the goddess's sides. However, the damage has rubbed off the details of the figures.
The garbhagriha of the Charchoma Shiva Temple currently houses a goddess image, probably Parvati, who is locally revered as Adi Shakti. The statue's dress obscures its attributes and iconography. A metal tripod stands near the sculpture. Upon closer inspection, one can see carvings of figures on the goddess's sides. However, the damage has rubbed off the details of the figures.
The temple's mandapa is a rectangular hall with simple, plain outer walls. It has a flat roof. There are no decorative elements on the walls, except for the flanking chhajja supporting the roof.
The temple's mandapa is a rectangular hall with simple, plain outer walls. It has a flat roof. There are no decorative elements on the walls, except for the flanking chhajja supporting the roof.
The main temple structure is visible from the southwest direction. The garbhagriha, unlike the mandapa exterior, shows some decoration on its façade. The garbhagriha stands on base mouldings with jaali (checkered) windows and chaitya arches. It has a simple latina-type shikhara (spire) with niches topped by udgama pediments (pediments with interconnected chaitya dormers), which look like miniature shikaras. Bijapuraka (citron fruit) sits atop an amalaka at the apex.
The main temple structure is visible from the southwest direction. The garbhagriha, unlike the mandapa exterior, shows some decoration on its façade. The garbhagriha stands on base mouldings with jaali (checkered) windows and chaitya arches. It has a simple latina-type shikhara (spire) with niches topped by udgama pediments (pediments with interconnected chaitya dormers), which look like miniature shikaras. Bijapuraka (citron fruit) sits atop an amalaka at the apex.
The jangha (wall) of the garbhagriha (sanctum sanctorum) has a broad floral scroll that runs across all three walls and divides the wall into upper and lower parts. The side walls (north and south) feature jaali, or checkered windows, crowned by double chaitya arches. The garbhagriha's rear has no windows, but it depicts chaitya arches.
The jangha (wall) of the garbhagriha (sanctum sanctorum) has a broad floral scroll that runs across all three walls and divides the wall into upper and lower parts. The side walls (north and south) feature jaali, or checkered windows, crowned by double chaitya arches. The garbhagriha's rear has no windows, but it depicts chaitya arches.
The jangha (wall) of the garbhagriha (sanctum sanctorum) has a broad floral scroll that runs across all three walls and divides the wall into upper and lower parts. Two beautiful Chaitya arch motifs adorn this band on the rear wall. A grassamukha at the arch's apex emits the flowers that decorate the chaitya arch.
The jangha (wall) of the garbhagriha (sanctum sanctorum) has a broad floral scroll that runs across all three walls and divides the wall into upper and lower parts. Two beautiful Chaitya arch motifs adorn this band on the rear wall. A grassamukha at the arch's apex emits the flowers that decorate the chaitya arch.
Double chaitya arches top the windows on the side walls of the garbhagriha. The lower chaitya arch depicts the bust of a deity flanked by two celestial beings. The upper chaitya arch shows a grassamukha.
Double chaitya arches top the windows on the side walls of the garbhagriha. The lower chaitya arch depicts the bust of a deity flanked by two celestial beings. The upper chaitya arch shows a grassamukha.
The double Chaitya arch on the southern side shows Kartikeya in the lower arch. Seated on a peacock, he holds a spear.
The double Chaitya arch on the southern side shows Kartikeya in the lower arch. Seated on a peacock, he holds a spear.