The Temple Named after the Oleander Flower: An Image Gallery

By Dr Nikita Rathore

Nestled in the Khadirpur area of Bijolia in the Bhilwara district of Rajasthan, Kaner-ki-Putli is a temple dedicated to Shiva. Tracing its stylistic roots back to the 12th century, the temple cradled in a valley near a stone quarry, is named ‘Kaner-ki-Putli,’ inspired by the flower buds of the Kaner or Oleander flower known for its evergreen leaves and fragrant blossoms. Putli refers to the small, unopened flower clusters of the plant in Hindi. Facing west, presently, this Bhumija temple comprises a garbhagriha (sanctum sanctorum) and an antarala (vestibule or antechamber). It also has a mandapa (pillared hall), which has now collapsed.

The temple's artistic narrative beautifully unfolds the Shaivite theme through intricate sculptural designs. In particular, the frequent depiction of Shaiva ascetics on the external walls underscores the influence of flourishing Pashupata Shaivism in the region. The image gallery provides a virtual tour of this small yet significant temple structure.

Kaner-ki-Putli Temple is located in the Khadirpur area of Bijolia, in the Bhilwara district of Rajasthan. It resides within a valley formed by water eroding the rocks within the Vindhya range. The temple is located in a secluded area close to stone quarries.
Kaner-ki-Putli Temple is located in the Khadirpur area of Bijolia, in the Bhilwara district of Rajasthan. It resides within a valley formed by water eroding the rocks within the Vindhya range. The temple is located in a secluded area close to stone quarries.
The Kaner-ki-Putli Temple is named after the flower buds of the Kaner or Oleander plant. The temple is dedicated to Shiva. The present structure was in a ruinous state and has been restored by the Archaeological Survey of India with a boundary wall and a pathway guiding visitors to the temple.
The Kaner-ki-Putli Temple is named after the flower buds of the Kaner or Oleander plant. The temple is dedicated to Shiva. The present structure was in a ruinous state and has been restored by the Archaeological Survey of India with a boundary wall and a pathway guiding visitors to the temple.
The present bridge and pathway leading to the Kaner-ki-Putli Temple was reconstructed by the Jaipur Circle, Archaeological Survey of India (ASI). The bed of the fountain stream is visible below the bridge.
The present bridge and pathway leading to the Kaner-ki-Putli Temple was reconstructed by the Jaipur Circle, Archaeological Survey of India (ASI). The bed of the fountain stream is visible below the bridge.
The west-facing Shiva temple now consists of a garbhagriha (sanctum sanctorum) and an antarala (vestibule or antechamber), with the mandapa (pillared hall) having fallen into disrepair. The upper part of the shikhara (superstructure) has been affected by damage. Stylistically, the temple dates back to the 12th century CE.
The west-facing Shiva temple now consists of a garbhagriha (sanctum sanctorum) and an antarala (vestibule or antechamber), with the mandapa (pillared hall) having fallen into disrepair. The upper part of the shikhara (superstructure) has been affected by damage. Stylistically, the temple dates back to the 12th century CE.
The southwest vertical axis of the Kaner-ki-Pulti Temple has vedibandha (basal mouldings), an elaborately carved jangha (wall) and surviving portions of the shikhara (superstructure). As visible, the shikhara of the temple is damaged, but the surviving portion indicates that it was constructed in the Bhumija style.
The southwest vertical axis of the Kaner-ki-Pulti Temple has vedibandha (basal mouldings), an elaborately carved jangha (wall) and surviving portions of the shikhara (superstructure). As visible, the shikhara of the temple is damaged, but the surviving portion indicates that it was constructed in the Bhumija style.
The entrance to the Kaner-ki-Putli Temple is through the antarala (vestibule or antechamber), which has two square-shaped pilasters. These pilasters feature carvings of dvarapalas (door guardians) at the base, with decorative ornamentation on the upper portion.
The entrance to the Kaner-ki-Putli Temple is through the antarala (vestibule or antechamber), which has two square-shaped pilasters. These pilasters feature carvings of dvarapalas (door guardians) at the base, with decorative ornamentation on the upper portion.
The antarala (vestibule or antechamber) of the Kaner-ki-Putli Temple is a shallow space. Its floor is entirely adorned with a chandrashila (moonstone) carving outside the door of the garbhagriha (sanctum sanctorum). The side walls of the antarala lack niches or any other decoration. However, on the left side, one can observe an extended holder piece (probably for lighting diyas or oil lamps) on the wall.
The antarala (vestibule or antechamber) of the Kaner-ki-Putli Temple is a shallow space. Its floor is entirely adorned with a chandrashila (moonstone) carving outside the door of the garbhagriha (sanctum sanctorum). The side walls of the antarala lack niches or any other decoration. However, on the left side, one can observe an extended holder piece (probably for lighting diyas or oil lamps) on the wall.
The pilaster on the left side of the antarala (vestibule or antechamber) of the Kaner-ki-Putli Temple depicts a standing ascetic with folded hands. He has thick, matted hair locks, a long beard, and a moustache. His upper body is bare, while his lower body is clad in a langot (loincloth).
The pilaster on the left side of the antarala (vestibule or antechamber) of the Kaner-ki-Putli Temple depicts a standing ascetic with folded hands. He has thick, matted hair locks, a long beard, and a moustache. His upper body is bare, while his lower body is clad in a langot (loincloth).
At the upper part of both pilasters, bharavahakas (load bearers) are depicted. Interestingly, the bharavahaka on the right pilaster is shown playing the flute.
At the upper part of both pilasters, bharavahakas (load bearers) are depicted. Interestingly, the bharavahaka on the right pilaster is shown playing the flute.
A four-armed bharavahaka (load bearer) is depicted on the left pilaster of the antarala (vestibule or antechamber) of the Kaner-ki-Putli Temple. It is shown bearing the weight of the roof with its upper hands while using its lower hands to play the cymbals.
A four-armed bharavahaka (load bearer) is depicted on the left pilaster of the antarala (vestibule or antechamber) of the Kaner-ki-Putli Temple. It is shown bearing the weight of the roof with its upper hands while using its lower hands to play the cymbals.
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 lower section of the doorframe of the garbhagriha (sanctum sanctorum) of the Kaner-ki-Putli Temple portrays the river goddesses Ganga and Yamuna. In this picture, on the right side, Ganga is represented, identifiable by the broken makara (crocodile-like mythical creature) at the base. The figures next to the river goddesses depict Shiva as a four-armed figure. He holds a khatvanga (staff with a skull) and a sarpa (snake) in his upper hands. His lower right hand, holding an akshmala (rosary), is in the varada hasta (boon-giving gesture). In his lower left hand, he holds a bowl. He wears a jatamukuta (a crown of matted hair) and is adorned with heavy jewellery. At the bottom left, there is a Nandi that is now damaged. The figure beside Shiva depicts female attendants, while the figure at the end represents Kubera, who is portrayed with two arms and a money bag.
The lower section of the doorframe of the garbhagriha (sanctum sanctorum) of the Kaner-ki-Putli Temple portrays the river goddesses Ganga and Yamuna. In this picture, on the right side, Ganga is represented, identifiable by the broken makara (crocodile-like mythical creature) at the base. The figures next to the river goddesses depict Shiva as a four-armed figure. He holds a khatvanga (staff with a skull) and a sarpa (snake) in his upper hands. His lower right hand, holding an akshmala (rosary), is in the varada hasta (boon-giving gesture). In his lower left hand, he holds a bowl. He wears a jatamukuta (a crown of matted hair) and is adorned with heavy jewellery. At the bottom left, there is a Nandi that is now damaged. The figure beside Shiva depicts female attendants, while the figure at the end represents Kubera, who is portrayed with two arms and a money bag.
The depiction of Shiva on the left side dvarashakha (vertical band) of the garbhagriha (sanctum sanctorum) in the Kaner-ki-Putli Temple is depicted with four arms. He holds a trishula (trident) and damru (hourglass-shaped drum) in his upper hands. In the lower left hand, he holds a beejapurak (fruit), while his lower right hand is in the varada hasta (boon-granting) gesture. He wears a jatamukuta (a crown of matted hair) adorned with a crescent moon at the centre. Seated at the bottom right is a depiction of Nandi.
The depiction of Shiva on the left side dvarashakha (vertical band) of the garbhagriha (sanctum sanctorum) in the Kaner-ki-Putli Temple is depicted with four arms. He holds a trishula (trident) and damru (hourglass-shaped drum) in his upper hands. In the lower left hand, he holds a beejapurak (fruit), while his lower right hand is in the varada hasta (boon-granting) gesture. He wears a jatamukuta (a crown of matted hair) adorned with a crescent moon at the centre. Seated at the bottom right is a depiction of Nandi.
The middle section of the saptashakha (seven vertical bands or architraves) of the garbhagriha (sanctum sanctorum) has five different patterns. The first, third, and fifth branches are decorated with floral designs. The second branch features carvings of nagas (serpents) arranged vertically, while the fourth branch, known as the stambha shakha, is a hexagonal pillar that transitions into a faceted shape before becoming circular. The sixth branch is adorned with sinuous floral patterns, while the final branch is also carved with a floral band.
The middle section of the saptashakha (seven vertical bands or architraves) of the garbhagriha (sanctum sanctorum) has five different patterns. The first, third, and fifth branches are decorated with floral designs. The second branch features carvings of nagas (serpents) arranged vertically, while the fourth branch, known as the stambha shakha, is a hexagonal pillar that transitions into a faceted shape before becoming circular. The sixth branch is adorned with sinuous floral patterns, while the final branch is also carved with a floral band.
The second shakha (vertical band) of the doorframe of the garbhagriha (sanctum sanctorum) is carved with naga (serpent) figures. These nagas are depicted with human faces and bodies, each adorned with three hoods over their heads, all shown with hands folded in reverence.
The second shakha (vertical band) of the doorframe of the garbhagriha (sanctum sanctorum) is carved with naga (serpent) figures. These nagas are depicted with human faces and bodies, each adorned with three hoods over their heads, all shown with hands folded in reverence.
The lalatabimba (lintel) of the garbhagriha (sanctum sanctorum) has an image of Lakulisha—a preceptor of the doctrine of the Pashupata tradition of Shaivism—seated in padmasana (lotus pedestal pose). He is shown with an erect phallus, holding a lakuta (staff) in his left hand and a beejapurak or phala (fruit) in his right hand.
The lalatabimba (lintel) of the garbhagriha (sanctum sanctorum) has an image of Lakulisha—a preceptor of the doctrine of the Pashupata tradition of Shaivism—seated in padmasana (lotus pedestal pose). He is shown with an erect phallus, holding a lakuta (staff) in his left hand and a beejapurak or phala (fruit) in his right hand.
Above the lintel of the garbhagriha (sanctum sanctorum), there is a uttaranga (entablature) depicting divine figures. In the centre, there is a depiction of Nataraja with Brahma positioned on the far right and Vishnu on the far left. Between Shiva and Brahma, there is a depiction of Ganesha, and another (unidentifiable) deity is situated between Shiva and Vishnu. These figures are accompanied by female chauri (fly whisk) bearers on either side.
Above the lintel of the garbhagriha (sanctum sanctorum), there is a uttaranga (entablature) depicting divine figures. In the centre, there is a depiction of Nataraja with Brahma positioned on the far right and Vishnu on the far left. Between Shiva and Brahma, there is a depiction of Ganesha, and another (unidentifiable) deity is situated between Shiva and Vishnu. These figures are accompanied by female chauri (fly whisk) bearers on either side.
The captivating portrayal of Shiva as Natesha or Nataraja stands out on the uttaranga (entablature) above the lintel of the garbhagriha (sanctum sanctorum). It is one of the most exquisite sculptures in the temple. The depiction captures Shiva engaged in a dance to the rhythm of a drum skillfully played by the drummer depicted at the base. Shiva is not alone; Nandi accompanies him, seated at the lower left. Shiva's stance features his left foot on the ground while his right foot is elevated and pointed inward. In his upper arms, he holds a sarpa (snake), while his other arms grasp a damru (hourglass-shaped drum), khatvanga (staff with a skull), a bowl, a trishula (trident) and a kamandalu (water carrier or pot).
The captivating portrayal of Shiva as Natesha or Nataraja stands out on the uttaranga (entablature) above the lintel of the garbhagriha (sanctum sanctorum). It is one of the most exquisite sculptures in the temple. The depiction captures Shiva engaged in a dance to the rhythm of a drum skillfully played by the drummer depicted at the base. Shiva is not alone; Nandi accompanies him, seated at the lower left. Shiva's stance features his left foot on the ground while his right foot is elevated and pointed inward. In his upper arms, he holds a sarpa (snake), while his other arms grasp a damru (hourglass-shaped drum), khatvanga (staff with a skull), a bowl, a trishula (trident) and a kamandalu (water carrier or pot).
On the left of the uttaranga (entablature) above the lintel of the garbhagriha (sanctum sanctorum), Brahma is depicted with three faces and four arms. His upper hands carry a shruka (a sacrificial spoon) and a pustaka (manuscript), while his lower hands hold a kamandalu (water carrier or pot) and display varadaksha (a hand held in the boon-giving gesture, with a rosary in it).
On the left of the uttaranga (entablature) above the lintel of the garbhagriha (sanctum sanctorum), Brahma is depicted with three faces and four arms. His upper hands carry a shruka (a sacrificial spoon) and a pustaka (manuscript), while his lower hands hold a kamandalu (water carrier or pot) and display varadaksha (a hand held in the boon-giving gesture, with a rosary in it).
Vishnu is positioned at the far left end of the uttaranga (entablature) above the lintel of the garbhagriha (sanctum sanctorum). He is depicted holding a gada (mace), a shankha (conch shell), and a chakra (discus). One of his lower hands is in the varada hasta (boon-giving gesture). He is adorned with a kiritamukuta (a cylindrical crown associated with Vaishnava iconography) and various pieces of jewellery.
Vishnu is positioned at the far left end of the uttaranga (entablature) above the lintel of the garbhagriha (sanctum sanctorum). He is depicted holding a gada (mace), a shankha (conch shell), and a chakra (discus). One of his lower hands is in the varada hasta (boon-giving gesture). He is adorned with a kiritamukuta (a cylindrical crown associated with Vaishnava iconography) and various pieces of jewellery.
The garbhagriha (sanctum sanctorum) is a small square chamber with entirely plain walls from the inside. It housed a stone Shiva linga (aniconic representation of Shiva). One of the sides of the garbhagriha has a stone slab designed for placing worship-related objects, while the opposite side is equipped with a pranala (water drainage).
The garbhagriha (sanctum sanctorum) is a small square chamber with entirely plain walls from the inside. It housed a stone Shiva linga (aniconic representation of Shiva). One of the sides of the garbhagriha has a stone slab designed for placing worship-related objects, while the opposite side is equipped with a pranala (water drainage).
A Shiva linga (aniconic representation of Shiva) is there at the centre of the garbhagriha (sanctum sanctorum) of the Kaner-ki-Putli Temple. Notably, the yonipatta (womb-shaped base) of the Shiva linga is square, deviating from the typical circular shape.
A Shiva linga (aniconic representation of Shiva) is there at the centre of the garbhagriha (sanctum sanctorum) of the Kaner-ki-Putli Temple. Notably, the yonipatta (womb-shaped base) of the Shiva linga is square, deviating from the typical circular shape.
The ceiling of the garbhagriha (sanctum sanctorum) of the Kaner-ki-Putli Temple is square and consists of concentric square designs. It is adorned with a fully bloomed flower in the centre.
The ceiling of the garbhagriha (sanctum sanctorum) of the Kaner-ki-Putli Temple is square and consists of concentric square designs. It is adorned with a fully bloomed flower in the centre.
The southeast profile of the Kaner-ki-Putli Temple exhibits the elevation with the vedibandha (basal mouldings) and jangha (wall). The latter displays the projected and recessed sections embellished with figurative decorations. The shikhara (superstructure), in dilapidated condition, is of the Bhumija style.
The southeast profile of the Kaner-ki-Putli Temple exhibits the elevation with the vedibandha (basal mouldings) and jangha (wall). The latter displays the projected and recessed sections embellished with figurative decorations. The shikhara (superstructure), in dilapidated condition, is of the Bhumija style.
The Kaner-ki-Putli Temple is elevated on a tall vedibandha (basal mouldings). Some of the base mouldings are partially obscured at the ground due to the restoration carried out recently. These mouldings comprise kapotapalika (cyma recta), kalasha (a pitcher), grassapatta (a band of kirtimukha or face of glory), and patta (band), adorned with jala (checkered) carvings, from the bottom to the top. Positioned above these mouldings is a kumbha (pot), intricately carved with deities and a ratnapatta (diamond band). Beyond the kumbha, there are carvings of kalasha, antarapatta (recesses between mouldings), and kapotapalika.
The Kaner-ki-Putli Temple is elevated on a tall vedibandha (basal mouldings). Some of the base mouldings are partially obscured at the ground due to the restoration carried out recently. These mouldings comprise kapotapalika (cyma recta), kalasha (a pitcher), grassapatta (a band of kirtimukha or face of glory), and patta (band), adorned with jala (checkered) carvings, from the bottom to the top. Positioned above these mouldings is a kumbha (pot), intricately carved with deities and a ratnapatta (diamond band). Beyond the kumbha, there are carvings of kalasha, antarapatta (recesses between mouldings), and kapotapalika.
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.
There is a depiction of Nirutti (one of the deities of cardinal directions) with four arms in a niche on the southern wall of the garbhagriha (sanctum sanctorum) of the Kaner-ki-Putli Temple. The four-armed deity stands with a shield in his upper left hand and a human skull in his lower left hand. Unfortunately, his right arms and face are damaged. Nirutti is depicted nude with a damaged, erect phallus, and he sports a distinctive high-raised hairstyle. Notably, he is adorned with jewellery made from a snake. At the bottom of the niche, there is a figure (possibly a devotee) with their legs raised backward in the air and folded hands.
There is a depiction of Nirutti (one of the deities of cardinal directions) with four arms in a niche on the southern wall of the garbhagriha (sanctum sanctorum) of the Kaner-ki-Putli Temple. The four-armed deity stands with a shield in his upper left hand and a human skull in his lower left hand. Unfortunately, his right arms and face are damaged. Nirutti is depicted nude with a damaged, erect phallus, and he sports a distinctive high-raised hairstyle. Notably, he is adorned with jewellery made from a snake. At the bottom of the niche, there is a figure (possibly a devotee) with their legs raised backward in the air and folded hands.
On the southern wall of the garbhagriha (sanctum sanctorum) of the Kaner-ki-Putli Temple, there is a male figure (on the left) with an intricate hairstyle, a lengthy beard and a moustache. He wears a short dhoti (a loose piece of clothing to cover the lower half of the body) and is adorned with various pieces of jewellery. The figure is playing a small drum fastened with a belt that can be seen on his shoulder. Adjacent to him stands a bejeweled deity whose face and arms are damaged. Additionally, a bull is depicted at the bottom.
On the southern wall of the garbhagriha (sanctum sanctorum) of the Kaner-ki-Putli Temple, there is a male figure (on the left) with an intricate hairstyle, a lengthy beard and a moustache. He wears a short dhoti (a loose piece of clothing to cover the lower half of the body) and is adorned with various pieces of jewellery. The figure is playing a small drum fastened with a belt that can be seen on his shoulder. Adjacent to him stands a bejeweled deity whose face and arms are damaged. Additionally, a bull is depicted at the bottom.
In a niche on the southern wall of the garbhagriha (sanctum sanctorum) of the Kaner-ki-Putli Temple, a male figure is depicted. Unfortunately, the figure is damaged, with the head entirely missing. Both upper arms are broken, while the figure holds a kamandalu (water carrier or pot) in the left hand and makes a varada hasta (boon-giving gesture) with the right hand. At the base of the niche, a broken ram-like animal with horns is visible. Based on the vahana (mount), attributes, and gestures, this figure can be recognized as Agni (one of the deities of cardinal directions). Adjacent to Agni, there is a male figure that stands out from the others. This figure features curly, raised hair and a beard, but unfortunately, the face has been eroded. The upper body is bare and adorned with jewellery, while the lower body is covered by a distinctive triangular loin cloth. An antaravastra (inner garment) is visible beneath the loin cloth. The figure is draped with a scarf wrapped around the arms, and although the broken object held in his two hands is now incomplete, the visible middle part resembles a stick. Notably, this figure is unique because of the distinctive dressing style and footwear, suggesting him to be a foreigner.
In a niche on the southern wall of the garbhagriha (sanctum sanctorum) of the Kaner-ki-Putli Temple, a male figure is depicted. Unfortunately, the figure is damaged, with the head entirely missing. Both upper arms are broken, while the figure holds a kamandalu (water carrier or pot) in the left hand and makes a varada hasta (boon-giving gesture) with the right hand. At the base of the niche, a broken ram-like animal with horns is visible. Based on the vahana (mount), attributes, and gestures, this figure can be recognized as Agni (one of the deities of cardinal directions). Adjacent to Agni, there is a male figure that stands out from the others. This figure features curly, raised hair and a beard, but unfortunately, the face has been eroded. The upper body is bare and adorned with jewellery, while the lower body is covered by a distinctive triangular loin cloth. An antaravastra (inner garment) is visible beneath the loin cloth. The figure is draped with a scarf wrapped around the arms, and although the broken object held in his two hands is now incomplete, the visible middle part resembles a stick. Notably, this figure is unique because of the distinctive dressing style and footwear, suggesting him to be a foreigner.
On the rear (eastern) wall of the garbhagriha (sanctum sanctorum) of the Kaner-ki-Putli Temple, one can observe an empty central niche, surrounded by the dikapalas (deities of the cardinal directions), Indra and Ishana in graceful poses, along with Shaiva ascetics and the surasundari (celestial damsels) standing in elegant poses.
On the rear (eastern) wall of the garbhagriha (sanctum sanctorum) of the Kaner-ki-Putli Temple, one can observe an empty central niche, surrounded by the dikapalas (deities of the cardinal directions), Indra and Ishana in graceful poses, along with Shaiva ascetics and the surasundari (celestial damsels) standing in elegant poses.
In one corner of the rear or eastern wall of the garbhagriha (sanctum sanctorum), there is a depiction of Indra, but his face and right arms have been damaged. In his upper left hand, he holds an ankusha (bullhook), while in his lower left hand, he is holding a kamandalu (water carrier or pot). The deity is accompanied by an animal. Despite the broken face, a closer examination of the animal's leg and foot confirms it to be an elephant—his mount Airavata.
In one corner of the rear or eastern wall of the garbhagriha (sanctum sanctorum), there is a depiction of Indra, but his face and right arms have been damaged. In his upper left hand, he holds an ankusha (bullhook), while in his lower left hand, he is holding a kamandalu (water carrier or pot). The deity is accompanied by an animal. Despite the broken face, a closer examination of the animal's leg and foot confirms it to be an elephant—his mount Airavata.
The details of the rear or eastern wall of the garbhagriha (sanctum sanctorum) illustrate the contrast between the ascetic and the surasundari (celestial damsel). The ascetic (on the left) is characterized by a substantial jatabhara (braided hairdo) atop his head, a lengthy beard, and a moustache. His elongated earlobes signify the mahapurusha lakshana (markers of a great individual). His bare upper body is adorned with a broad yajnopavita (sacred thread), with a langot (loincloth) covering his lower body. Despite the apparent damage and raised position of his right hand, his left-hand holds an unidentified object. The damaged surasundari figure, on his right, stands gracefully with a voluptuous body adorned with exquisite ornaments. Though her raised right hand is damaged, she holds a fine scarf in her left hand near her belly, draping it around her arms. Her lower body is covered by a translucent garment so delicate that her body underneath is visible. A small creature is depicted climbing her left leg. In stark contrast to the tranquil and composed posture of the ascetic, the surasundari vividly embodies sensual beauty. Notably, there is a kalasha (pitcher) placed at the bottom near her feet, surrounded by foliage symbolizing abundance and growth, mirroring the symbolism of the female body.
The details of the rear or eastern wall of the garbhagriha (sanctum sanctorum) illustrate the contrast between the ascetic and the surasundari (celestial damsel). The ascetic (on the left) is characterized by a substantial jatabhara (braided hairdo) atop his head, a lengthy beard, and a moustache. His elongated earlobes signify the mahapurusha lakshana (markers of a great individual). His bare upper body is adorned with a broad yajnopavita (sacred thread), with a langot (loincloth) covering his lower body. Despite the apparent damage and raised position of his right hand, his left-hand holds an unidentified object. The damaged surasundari figure, on his right, stands gracefully with a voluptuous body adorned with exquisite ornaments. Though her raised right hand is damaged, she holds a fine scarf in her left hand near her belly, draping it around her arms. Her lower body is covered by a translucent garment so delicate that her body underneath is visible. A small creature is depicted climbing her left leg. In stark contrast to the tranquil and composed posture of the ascetic, the surasundari vividly embodies sensual beauty. Notably, there is a kalasha (pitcher) placed at the bottom near her feet, surrounded by foliage symbolizing abundance and growth, mirroring the symbolism of the female body.
On the right corner of the rear or eastern wall of the garbhagriha (sanctum sanctorum), there is another male deity identifiable as a dikapala (deity of the cardinal directions). The four-armed deity, like others, has been subject to damages, with his face entirely erased and three of his arms broken. The well-adorned dikapala is depicted holding a trishula (trident) in his upper right hand. Seated at the bottom is a bull, indicating that this figure may be Ishana, often portrayed holding a trishula with a bull as his vahana (mount).
On the right corner of the rear or eastern wall of the garbhagriha (sanctum sanctorum), there is another male deity identifiable as a dikapala (deity of the cardinal directions). The four-armed deity, like others, has been subject to damages, with his face entirely erased and three of his arms broken. The well-adorned dikapala is depicted holding a trishula (trident) in his upper right hand. Seated at the bottom is a bull, indicating that this figure may be Ishana, often portrayed holding a trishula with a bull as his vahana (mount).
At the corner of the northern wall of the garbhagriha (sanctum sanctorum), there is a depiction of Kubera. The damaged depiction portrays Kubera wearing a karand mukuta (tiered crown) and other ornaments. In his lower left hand, he holds a kamandalu (water carrier or pot), and in his upper left hand, he clutches a money bag extending behind his head. It is worth noting that in this representation, Kubera is not accompanied by his vahana (mount). Instead, a pot is placed at the bottom of the niche, symbolizing wealth and prosperity.
At the corner of the northern wall of the garbhagriha (sanctum sanctorum), there is a depiction of Kubera. The damaged depiction portrays Kubera wearing a karand mukuta (tiered crown) and other ornaments. In his lower left hand, he holds a kamandalu (water carrier or pot), and in his upper left hand, he clutches a money bag extending behind his head. It is worth noting that in this representation, Kubera is not accompanied by his vahana (mount). Instead, a pot is placed at the bottom of the niche, symbolizing wealth and prosperity.
On the northern wall of the garbhagriha (sanctum sanctorum), there is a finely carved depiction of a surasundari (celestial damsel). She wears an intricate bun as her hairstyle and stands tall and slender, adorned with jewellery. One of her hands is damaged, while the other rests on her thigh. Alongside her, there is a portrayal of an ascetic on the same wall. He stands slightly turned to his left, sporting a jatabhara (braided hairdo) on his head and a lengthy moustache. Although erosion has obscured the features of his face, the elongated earlobes and a rudraksha (dried stones or seeds of Elaeocarpus ganitrus) armband are noticeable. One of his hands grasps a pot, and the other delicately positions fingers atop it. Notably, his phallus is exposed in this depiction. It is worth observing that both the ascetic and the surasundari are depicted nude, symbolizing different natures and representing opposing symbolism of mundane and spiritual.
On the northern wall of the garbhagriha (sanctum sanctorum), there is a finely carved depiction of a surasundari (celestial damsel). She wears an intricate bun as her hairstyle and stands tall and slender, adorned with jewellery. One of her hands is damaged, while the other rests on her thigh. Alongside her, there is a portrayal of an ascetic on the same wall. He stands slightly turned to his left, sporting a jatabhara (braided hairdo) on his head and a lengthy moustache. Although erosion has obscured the features of his face, the elongated earlobes and a rudraksha (dried stones or seeds of Elaeocarpus ganitrus) armband are noticeable. One of his hands grasps a pot, and the other delicately positions fingers atop it. Notably, his phallus is exposed in this depiction. It is worth observing that both the ascetic and the surasundari are depicted nude, symbolizing different natures and representing opposing symbolism of mundane and spiritual.
On the opposite end of the northern wall of the garbhagriha (sanctum sanctorum), there is a representation of Vayu (one of the deities of the cardinal directions). Although the head and arms of the figure are damaged, he is identifiable from the remaining parts of the image. Vayu, portrayed as a beautiful and youthful figure, is depicted holding a staff with a banner in his upper right hand. The banner extends behind his head. His lower right hand is in the varada hasta (boon-giving) gesture, holding akshamala (rosary). At the bottom, an antelope is depicted.
On the opposite end of the northern wall of the garbhagriha (sanctum sanctorum), there is a representation of Vayu (one of the deities of the cardinal directions). Although the head and arms of the figure are damaged, he is identifiable from the remaining parts of the image. Vayu, portrayed as a beautiful and youthful figure, is depicted holding a staff with a banner in his upper right hand. The banner extends behind his head. His lower right hand is in the varada hasta (boon-giving) gesture, holding akshamala (rosary). At the bottom, an antelope is depicted.
Adjacent to the representation of Vayu on the northern wall of the garbhagriha (sanctum sanctorum), there is a portrayal of a male deity depicted with three heads wearing jatamukutas (crowns of matted hair). Originally having four arms, only three are currently preserved. In his foremost hand, he holds a bowl close to his chest, and with another hand, he touches the bowl. His third hand is positioned in the varada hasta (boon-giving) gesture.
Adjacent to the representation of Vayu on the northern wall of the garbhagriha (sanctum sanctorum), there is a portrayal of a male deity depicted with three heads wearing jatamukutas (crowns of matted hair). Originally having four arms, only three are currently preserved. In his foremost hand, he holds a bowl close to his chest, and with another hand, he touches the bowl. His third hand is positioned in the varada hasta (boon-giving) gesture.
The shikhara (superstructure) of the Kaner-ki-Pulti Temple is severely damaged. While the lower part remains intact, the upper section has completely collapsed. A detailed examination of the shikhara reveals that it is of the Bhumija style, featuring latas (central offsets) in the cardinal directions. Between these latas, rows of kutas (miniature shikharas) are arranged. The central offset is plain at its base and adorned with a decorated pediment above. The remaining portion of the lata is intricately carved with chaitya arch (dormer window) jali. The spaces between the latas are filled with two rows of kutastambhas (vertical rows of miniature shikharas).
The shikhara (superstructure) of the Kaner-ki-Pulti Temple is severely damaged. While the lower part remains intact, the upper section has completely collapsed. A detailed examination of the shikhara reveals that it is of the Bhumija style, featuring latas (central offsets) in the cardinal directions. Between these latas, rows of kutas (miniature shikharas) are arranged. The central offset is plain at its base and adorned with a decorated pediment above. The remaining portion of the lata is intricately carved with chaitya arch (dormer window) jali. The spaces between the latas are filled with two rows of kutastambhas (vertical rows of miniature shikharas).
The kutastambhas (vertical rows of miniature shikharas or spires) on the surviving sections of the shikhara (superstructure) have square-shaped stambhas (pillars) with decorative motifs. Positioned above these stambhas are the kutas (miniature shikharas), with the lower ones featuring intricately carved chaitya arch (dormer window) jali, while the upper ones remain plain. These kutastambhas are distinctive elements of the Bhumija shikhara.
The kutastambhas (vertical rows of miniature shikharas or spires) on the surviving sections of the shikhara (superstructure) have square-shaped stambhas (pillars) with decorative motifs. Positioned above these stambhas are the kutas (miniature shikharas), with the lower ones featuring intricately carved chaitya arch (dormer window) jali, while the upper ones remain plain. These kutastambhas are distinctive elements of the Bhumija shikhara.