The Spiritual and Sensual Art of Kaner-ki-Putli Temple

By Dr Nikita Rathore

Kaner-ki-Putli, a Bhumija-style temple dedicated to Shiva, is located in the Bhilwara district of Rajasthan. The temple faces west and consists of a garbhagriha (sanctum sanctorum) and an antarala (vestibule). Earlier, a mandapa (pillared hall) was also attached to the temple, which collapsed completely. Stylistically, the temple dates back to the 12th century CE and is affiliated with the Pashupata Shaivism, a tradition that integrates the elements of ritualistic worship, philosophical inquiry and metaphysical speculation. The temple elegantly presents the Shaivite theme through its sculptural programming.

With its roots in the reverence of Shiva as ‘Pashupati’, the supreme deity and protector of all beings, the formalization of Pashupata Shaivism as a distinct sect occurred during the early centuries of the Common Era, particularly under the influence of Lakulisha, who is regarded as the founder of the Pashupata tradition. The emergence of the Pashupata Sutras, attributed to Lakulisha, provided a systematic framework for the worship of Shiva, emphasizing asceticism, yoga, and ritualistic practices as pathways to spiritual realization. Also known as Srikantha, belonging to a Brahmin family from Gujarat, Lakulisha is a historical figure who was believed to be an incarnation of Shiva. It is believed that Lakulisha visited Ujjain and delivered his first sermon.

The tradition posits (propounds) five fundamental principles (panchasharatattva): Lord Shiva (Pashupati), his consort Shakti (the divine energy), the soul (pashu), the bond (pasha) that ties the soul to worldly existence, and liberation (apashu) from this bond through spiritual practice. It incorporates elements of monism (advaita), positing the essential unity of the individual soul (atman) with the universal consciousness (Brahman), which is identified with Shiva. The tradition also emphasizes the efficacy of ritualistic worship (puja), meditation (dhyana), and yogic practices (sadhana) as means to attain spiritual enlightenment and liberation (moksha). The goal of moksha is attained through an understanding of five essential concepts: the cause, the effect, spiritual practices, religious rituals, and the cessation of suffering. [1]

The tradition gained prominence during the Gupta period (4th to 6th centuries CE) and started flourishing during subsequent centuries, up till the 12th-13th centuries CE, influencing religious practices and temple architecture across various regions of India, including Rajasthan. This is also evident with the consolidation of the philosophy in various texts, including the Pashupata Sutra, Kundinya's Pancharthabhasya, the Vayaviyasamhita of the Shiva Purana, Haradatta's Ganakarika and its commentary Ratnatika by Bhasarvajna, and Madhavacharya's Sarvadarsanasamgraha. [2]

From the lingas (aniconic representation of Shiva) unearthed from several archaeological sites to the temple architecture, Pashupata Shaivism flourished in western India, where the development of several centres of Pashupata Shaivism, including Menal, Harshnath, Bijoliya, Eklingji, among others in Rajasthan can be seen. These centres attracted many Shaiva ascetics from the 8th to 13th centuries CE. Various inscriptions, such as the Harsha inscription from Vikram Samvat (VS) 1030 and the Ekling inscription of VS 1028, mention the names of Pashupata Acharyas. Shaiva ascetics are also depicted on the walls of various temples.

The Kaner-ki-Putli Temple frequently portrays Shaiva ascetics, offering a glimpse into the flourishing of Pashupata Shaivism in this region and providing insight into their lifestyle. The ascetics lead a life of renunciation, dedicating themselves to spiritual practices, meditation and the pursuit of self-realization. Shaiva ascetics are revered for their dedication towards spirituality, their wisdom, and their role as spiritual guides and mentors for those seeking a deeper understanding of Shaivism.

It is noteworthy that at Kaner-ki-Putli, where the images of ascetics are carved, surasundaris (celestial damsels) are also positioned nearby, renowned for their exceptional beauty, grace, and charm. They are often described as enchanting and alluring, captivating both gods and humans alike with their ethereal qualities. They are depicted with delicate features and graceful postures and are adorned in elegant attire and jewellery. These surasundaris are symbols of sensuality and worldly pleasures. According to Silpa Prakash, a temple without female beauty is considered to lack artistic quality and lose its power and efficacy. As a spiritual powerhouse, a temple dispenses divine energy, and it is through the depictions of the surasundaris that this power radiates as grace and beauty, drawing the soul towards the creator. [3]

As the temple architecture is a journey from mundane to supramundane, the Kaner-ki-Putli Temple offers a remarkable illustration that blends two contrasting elements, spiritual and sensuality, on the same walls. The Shaiva ascetics symbolize spirituality, while the surasundaris represent the sensual and feminine aspects. This artistic choice underscores the cultural emphasis on harmonizing these seemingly paradoxical elements. These visual narratives not only illustrate religious devotion but also suggest a broader cultural appreciation for achieving equilibrium between ascetic practices and worldly pleasures.

The Kaner-ki-Putli Temple is situated near a water stream in the locality known as Kharen, with a boundary wall and a pathway guiding visitors to the temple.
The Kaner-ki-Putli Temple is situated near a water stream in the locality known as Kharen, with a boundary wall and a pathway guiding visitors to the temple.
The antarala (vestibule or antechamber) of the Kaner-ki-Putli Temple leads to its garbhagriha (sanctum sanctorum), which features an intricately decorated multi-shakha (vertical bands or architraves) doorframe. It is a saptashakha (seven vertical bands) doorframe. The lower section of the doorframe depicts figures, and the upper part is embellished with a variety of decorative patterns.
The antarala (vestibule or antechamber) of the Kaner-ki-Putli Temple leads to its garbhagriha (sanctum sanctorum), which features an intricately decorated multi-shakha (vertical bands or architraves) doorframe. It is a saptashakha (seven vertical bands) doorframe. The lower section of the doorframe depicts figures, and the upper part is embellished with a variety of decorative patterns.
The jangha (wall) of the Kaner-ki-Putli Temple has central offsets flanked by projections and recesses. The niches of the central offsets on all three sides of the garbhagriha (sanctum sanctorum) are presently empty. These niches may have originally been adorned with depictions of deities. The remaining projected and recessed sections are intricately carved with depictions of minor deities, including dikapalas (deities of cardinal directions), Shaiva ascetics and female figures.
The jangha (wall) of the Kaner-ki-Putli Temple has central offsets flanked by projections and recesses. The niches of the central offsets on all three sides of the garbhagriha (sanctum sanctorum) are presently empty. These niches may have originally been adorned with depictions of deities. The remaining projected and recessed sections are intricately carved with depictions of minor deities, including dikapalas (deities of cardinal directions), Shaiva ascetics and female figures.
The eastern wall of the garbhagriha (sanctum sanctorum) depicts the juxtaposition of the ascetic and the surasundari (celestial damsels). The ascetic is portrayed with a substantial jatabhara (matted hairdo) atop his head, along with a lengthy beard and moustache. His elongated earlobes signify a Mahapurusha lakshana (attributes), indicating him as a great individual. He is depicted with a bare upper body adorned with a broad yajnopavita (sacrificial thread), while his lower body is covered with a langot (loincloth). His right hand appears damaged and raised, and he holds an unidentified object in his left hand.
The eastern wall of the garbhagriha (sanctum sanctorum) depicts the juxtaposition of the ascetic and the surasundari (celestial damsels). The ascetic is portrayed with a substantial jatabhara (matted hairdo) atop his head, along with a lengthy beard and moustache. His elongated earlobes signify a Mahapurusha lakshana (attributes), indicating him as a great individual. He is depicted with a bare upper body adorned with a broad yajnopavita (sacrificial thread), while his lower body is covered with a langot (loincloth). His right hand appears damaged and raised, and he holds an unidentified object in his left hand.
The surasundari (celestial damsel), presently faceless, stands gracefully with her voluptuous body adorned with exquisite ornaments on the eastern wall of the garbhagriha (sanctum sanctorum). Although her right hand is raised and damaged, she holds a fine scarf in her left hand near her belly, wrapping it around her arms. Her lower body is veiled by a fine translucent garment. A small creature is depicted moving upward on her left leg. The surasundari vividly embodies sensual beauty, in stark contrast to the tranquil and composed posture of the ascetic. There is a kalasha (water pot) placed at the bottom near her feet with foliage, symbolizing abundance and growth, as does the female body.
The surasundari (celestial damsel), presently faceless, stands gracefully with her voluptuous body adorned with exquisite ornaments on the eastern wall of the garbhagriha (sanctum sanctorum). Although her right hand is raised and damaged, she holds a fine scarf in her left hand near her belly, wrapping it around her arms. Her lower body is veiled by a fine translucent garment. A small creature is depicted moving upward on her left leg. The surasundari vividly embodies sensual beauty, in stark contrast to the tranquil and composed posture of the ascetic. There is a kalasha (water pot) placed at the bottom near her feet with foliage, symbolizing abundance and growth, as does the female body.
There is another instance where an ascetic and a surasundari (celestial damsels) are shown next to each other. On the northern wall, the ascetic, now bereft of intricate details, reflects the simplicity and lack of materialistic wealth when juxtaposed with the jewellery-adorned surasundari. Though headless, she gleams with jewels. A slight flex of her posture graces her form with delicacy. Her full bosom is draped in lavish necklaces, one of which hangs down in between her breasts. A heavy girdle ornaments her slim waist, it's loops descend gracefully down her legs. In her hand, she holds a kalasha (water pot) with flourishing tendrils, a testament to abundance and growth.
There is another instance where an ascetic and a surasundari (celestial damsels) are shown next to each other. On the northern wall, the ascetic, now bereft of intricate details, reflects the simplicity and lack of materialistic wealth when juxtaposed with the jewellery-adorned surasundari. Though headless, she gleams with jewels. A slight flex of her posture graces her form with delicacy. Her full bosom is draped in lavish necklaces, one of which hangs down in between her breasts. A heavy girdle ornaments her slim waist, it's loops descend gracefully down her legs. In her hand, she holds a kalasha (water pot) with flourishing tendrils, a testament to abundance and growth.
In an alternative portrayal of the ascetic, he is depicted standing, facing slightly to his left. He has a jatabhara (matted hairdo) atop his head and a lengthy moustache. The features of his face have eroded, but two notable ones are his elongated earlobes and the rudraksha (dried stones or seeds of the Elaeocarpus ganitrus associated with Shiva iconography) armband. One of his hands clasps a pot while his fingers are delicately positioned atop it. Notably, his phallus is exposed in this depiction.
In an alternative portrayal of the ascetic, he is depicted standing, facing slightly to his left. He has a jatabhara (matted hairdo) atop his head and a lengthy moustache. The features of his face have eroded, but two notable ones are his elongated earlobes and the rudraksha (dried stones or seeds of the Elaeocarpus ganitrus associated with Shiva iconography) armband. One of his hands clasps a pot while his fingers are delicately positioned atop it. Notably, his phallus is exposed in this depiction.
On the northern wall, there is a depiction of a surasundari (celestial damsel) with an elaborate hairdo fashioned into a bun. She stands tall and slender, bedecked with substantial jewellery. One of her hands is fractured, while the other rests near her exposed reproductive organ. It is worth noticing that both ascetic and surasundari are shown with their revealed genitalia, both representing different natures and standing for opposite symbolism.
On the northern wall, there is a depiction of a surasundari (celestial damsel) with an elaborate hairdo fashioned into a bun. She stands tall and slender, bedecked with substantial jewellery. One of her hands is fractured, while the other rests near her exposed reproductive organ. It is worth noticing that both ascetic and surasundari are shown with their revealed genitalia, both representing different natures and standing for opposite symbolism.
One of the ascetics is adorned with a sacred rudraksha mala and a rudraksha armband. The rudraksha (dried stones or seeds of the Elaeocarpus ganitrus associated with Shiva iconography) holds special significance as the sacred symbol of Lord Shiva. It means ‘tears of Shiva.’ According to a legend, once when Shiva was performing penance, tears shed from his eyes and fell to the ground. Eventually, these transformed into seeds that sprouted into a tree. Thus, this visual depiction of a Shaiva ascetic forms a profound association between the devotee and their lord.
One of the ascetics is adorned with a sacred rudraksha mala and a rudraksha armband. The rudraksha (dried stones or seeds of the Elaeocarpus ganitrus associated with Shiva iconography) holds special significance as the sacred symbol of Lord Shiva. It means ‘tears of Shiva.’ According to a legend, once when Shiva was performing penance, tears shed from his eyes and fell to the ground. Eventually, these transformed into seeds that sprouted into a tree. Thus, this visual depiction of a Shaiva ascetic forms a profound association between the devotee and their lord.
The portrayal of this surasundari (celestial damsel) on the northern wall encapsulates the nurturing essence of femininity. Standing gracefully, she cradles a baby in her arms, although the faces of both mother and child are obscured. The mother has a voluptuous figure adorned with elaborate ornaments. The child is depicted holding her breast, symbolizing the bond of maternal care and sustenance.
The portrayal of this surasundari (celestial damsel) on the northern wall encapsulates the nurturing essence of femininity. Standing gracefully, she cradles a baby in her arms, although the faces of both mother and child are obscured. The mother has a voluptuous figure adorned with elaborate ornaments. The child is depicted holding her breast, symbolizing the bond of maternal care and sustenance.

Footnotes:

[1] Pande. The Udayesvara Temple: Art, Architecture and Philosophy of the Saiva Siddahanta, 103.

[2] Ibid.

[3] Bhattaraka. Silpa Prakasa, 38.

Bibliography:

Pande, Anupa. The Udayesvara Temple: Art, Architecture and Philosophy of the Saiva Siddahanta. New Delhi: Aryan Books International, 2018.

Bhattaraka, Ramacandra Mahapatra Kaula. Silpa Prakasa. Edited by B. Baumer, R. P. Das, S. Das. Translated by A. Boner, and S. R. Sarma. New Delhi: Indra Gandhi National Centre for the Arts; Motilal Banarsidass Publishers, 2005.