Menal Shiva Temples and Mathas: A visual walkthrough

By Swapna Joshi

The image gallery provides us with a visual walkthrough of the temples at Menal, situated in the Chittorgarh district of Rajasthan. The Archaeological Survey of India (ASI) lists the monument as 'Mahanal temple and Math'. A small road in the Menal village, opposite the Hanuman Temple, leads to the temple complex. It is located near the highway that connects Kota and Chittorgarh. ASI later built lawns to beautify the road leading to the complex. This site is a huge complex consisting of over a dozen temples built around a gorge, forested areas, and a seasonal water stream. This stream separates the Mahanaleshwar temple complex and the Suhaveshwar temple complex. First complex is bounded by an enclosure wall built around the same time as some temple buildings. An entrance gateway on the north side leads to this complex. Upon entering this gateway, there is a triple-shrine temple and another dilapidated temple structure to the left of the viewer. On the right is a row of many small shrines, some partially preserved while others are in ruinous condition. Extensive architectural fragments surround these, likely forming several structures within the complex. The Mahanaleshwar Temple is in the center of the complex, and there is a monastic/residential building in the southeastern corner of the complex. A little further away from this complex is the Menali stream, beyond which is the Suhaveshwar Temple and a residential building. Visitors to the Mahanaleshwar group approach the complex from the northern entrance, then visit the smaller shrines, followed by the Mahanaleshwar Temple. During the rainy seasons and the months following it, the Suhaveshwar Temple becomes inaccessible because of the dramatic waterfall of the enormous cleft. The monastic building, or matha, in the Mahanaleshwar Temple remains closed to visitors.

Pictured here is a view of the two-story entrance gateway to the Mahanaleshwar temple complex. The gateway is part of an enclosure wall that demarcates the boundaries of the complex on all four sides. Inside the enclosure walls are several temples, among which the Mahanaleshwar Temple's shikhara (superstructure) is visible from the outside.
Pictured here is a view of the two-story entrance gateway to the Mahanaleshwar temple complex. The gateway is part of an enclosure wall that demarcates the boundaries of the complex on all four sides. Inside the enclosure walls are several temples, among which the Mahanaleshwar Temple's shikhara (superstructure) is visible from the outside.
The north-facing view of the two-story entrance gateway to the Mahanaleshwar temple complex is depicted here. It is a semi-open space with a porch on the ground floor, a plain balcony with dwarf walls on the first floor, and a canopy with a pyramidical spire on top.
The north-facing view of the two-story entrance gateway to the Mahanaleshwar temple complex is depicted here. It is a semi-open space with a porch on the ground floor, a plain balcony with dwarf walls on the first floor, and a canopy with a pyramidical spire on top.
The right-side wall of the entrance gateway to the Mahanaleshwar complex features a sculpture of a six-handed Bhairava in a devakoshtha (niche). The attributes that Bhairava holds include a kapala (human skull), a khatvanga (staff with a human skull), a damru (hourglass-shaped drum), a khadga (dagger), a dhal (shield), and a talwar (a type of sword). A dog and a skeletal figure flank the Bhairava sculpture.
The right-side wall of the entrance gateway to the Mahanaleshwar complex features a sculpture of a six-handed Bhairava in a devakoshtha (niche). The attributes that Bhairava holds include a kapala (human skull), a khatvanga (staff with a human skull), a damru (hourglass-shaped drum), a khadga (dagger), a dhal (shield), and a talwar (a type of sword). A dog and a skeletal figure flank the Bhairava sculpture.
A visitor may enter the gateway's elaborate doorframe/architrave (pratoli). It has intricate designs on the shakkhas (vertical bands), a sculpture at the bottom, and an image of a seated Lakuslisa in the center of the latatabimba (lintel). The Lakuslisa figure is holding a club in hand. On both sides of the doorframe, there are depictions of Shaiva dvarapalas (door guardians).
A visitor may enter the gateway's elaborate doorframe/architrave (pratoli). It has intricate designs on the shakkhas (vertical bands), a sculpture at the bottom, and an image of a seated Lakuslisa in the center of the latatabimba (lintel). The Lakuslisa figure is holding a club in hand. On both sides of the doorframe, there are depictions of Shaiva dvarapalas (door guardians).
Three sculptures, one attendant and two river goddess figures, adorn the lower portion of the doorframe of the Mahanaleshwar temple complex. Below these sculptures is the ratnapatta (plinth with diamond motif).
Three sculptures, one attendant and two river goddess figures, adorn the lower portion of the doorframe of the Mahanaleshwar temple complex. Below these sculptures is the ratnapatta (plinth with diamond motif).
This is a view of the interiors of the semi-open pratoli of the Mahanaleshwar temple complex. Verandahs with square-shafted ruchaka pillars flank the central passage on both sides. The pillar bases are carved with divine figures.
This is a view of the interiors of the semi-open pratoli of the Mahanaleshwar temple complex. Verandahs with square-shafted ruchaka pillars flank the central passage on both sides. The pillar bases are carved with divine figures.
Here, you can see the enclosure wall of the Mahanaleshwar temple complex, which begins at the pratoli (entrance gateway) on both sides. A pyramidal canopy roof adorns the two-story gateway.
Here, you can see the enclosure wall of the Mahanaleshwar temple complex, which begins at the pratoli (entrance gateway) on both sides. A pyramidal canopy roof adorns the two-story gateway.
In the premises of the Mahanaleshwar temple complex, a loose sculpture of Brahma lies next to the pratoli (entrance gateway). The sculpture depicts a three-faced, four-handed, seated figure of Brahma, holding a pustaka (book) in the upper left hand and a kamandalu (sacrificial pot) in the lower left, with the attributes in the right hand missing. A niche houses a bearded potbellied figure with a jatamukuta (crown of mattered hair).
In the premises of the Mahanaleshwar temple complex, a loose sculpture of Brahma lies next to the pratoli (entrance gateway). The sculpture depicts a three-faced, four-handed, seated figure of Brahma, holding a pustaka (book) in the upper left hand and a kamandalu (sacrificial pot) in the lower left, with the attributes in the right hand missing. A niche houses a bearded potbellied figure with a jatamukuta (crown of mattered hair).
The Mahanaleshwar temple complex's premises host various architectural fragments scattered next to the pratoli (entrance gateway). Seen here are fragments of a pillar capital, part of the samvarna shikhara (pyramidical superstructure) of the mandapa (pillared hall), and a pillar fragment. The round shaft remnant of the pillar bears minute carvings.
The Mahanaleshwar temple complex's premises host various architectural fragments scattered next to the pratoli (entrance gateway). Seen here are fragments of a pillar capital, part of the samvarna shikhara (pyramidical superstructure) of the mandapa (pillared hall), and a pillar fragment. The round shaft remnant of the pillar bears minute carvings.
This is a view of the north elevations of three small and two large temples in the Mahanaleshwar temple complex, most of which are in ruinous condition. Two large temples are visible here, with only one retaining the shekhari variety of shikhara (superstructure). The smaller shrines have pyramidical shikharas. The exterior of the temple walls is devoid of sculptural ornamentation, but geometric patterns, diamond motifs, and pillar motifs are present.
This is a view of the north elevations of three small and two large temples in the Mahanaleshwar temple complex, most of which are in ruinous condition. Two large temples are visible here, with only one retaining the shekhari variety of shikhara (superstructure). The smaller shrines have pyramidical shikharas. The exterior of the temple walls is devoid of sculptural ornamentation, but geometric patterns, diamond motifs, and pillar motifs are present.
The Mahanaleshwar temple complex features three small shrines in its southwestern quadrant. One of these is a single-shrine latina-nagara (mon-spire) variety temple consisting of a garbhagriha (sanctum sanctorum) and a mandapa (pillared hall), and two are just square single-cell temples with a phamsana shikhara (pyramidical superstructure). The walls are bereft of any ornamentation.
The Mahanaleshwar temple complex features three small shrines in its southwestern quadrant. One of these is a single-shrine latina-nagara (mon-spire) variety temple consisting of a garbhagriha (sanctum sanctorum) and a mandapa (pillared hall), and two are just square single-cell temples with a phamsana shikhara (pyramidical superstructure). The walls are bereft of any ornamentation.
This is a view of the west-facing elevations of the two shrines that stand in front of the Mahanaleshwar Temple. These temples are built in red sandstone, consisting of plain plinth mouldings, geometric motifs on the wall subsidiary projections, and deep niches in the principal projections. The shrines have a shekhari variety of shikharas (superstructures). The walls are bereft of any icons.
This is a view of the west-facing elevations of the two shrines that stand in front of the Mahanaleshwar Temple. These temples are built in red sandstone, consisting of plain plinth mouldings, geometric motifs on the wall subsidiary projections, and deep niches in the principal projections. The shrines have a shekhari variety of shikharas (superstructures). The walls are bereft of any icons.
Details of the shikhara (superstructure) of the temple along the western boundary of the Mahanaleshwar temple complex can be seen here. Though the temple is in ruins, the remains provide insight into the shekhari shikhara. Seen here is also the internal arrangement of stone blocks around the mulashringa (main aedicule).
Details of the shikhara (superstructure) of the temple along the western boundary of the Mahanaleshwar temple complex can be seen here. Though the temple is in ruins, the remains provide insight into the shekhari shikhara. Seen here is also the internal arrangement of stone blocks around the mulashringa (main aedicule).
This is the front elevation of the temple with the shekhari shikhara in the Mahanaleshwar temple complex. The temple is in ruinous condition. The architectural fragments of the temple can be seen here, lying in the vicinity of the temple. The mandapa (pillared hall) of the temple has fallen, leaving behind only the outer stone frame.
This is the front elevation of the temple with the shekhari shikhara in the Mahanaleshwar temple complex. The temple is in ruinous condition. The architectural fragments of the temple can be seen here, lying in the vicinity of the temple. The mandapa (pillared hall) of the temple has fallen, leaving behind only the outer stone frame.
A seated image of Lakulisa is seen here on the latatabimba (lintel) of the shrine along the western boundary of the Mahanaleshwar temple complex. The deity carries a lakut (staff) in his hand. Lakulisa is a form of Shiva that is central to the Pashupata Shaivism tradition.
A seated image of Lakulisa is seen here on the latatabimba (lintel) of the shrine along the western boundary of the Mahanaleshwar temple complex. The deity carries a lakut (staff) in his hand. Lakulisa is a form of Shiva that is central to the Pashupata Shaivism tradition.
A small square shrine is located near the pratoli (entrance gateway) on the western boundary of the Mahanaleshwar temple complex. The structure has a phamsana shikhara (pyramidical superstructure) on a square plan. Donations from pilgrims or the memory of a deceased soul likely contributed to its construction. The temple complex contains several such small temples.
A small square shrine is located near the pratoli (entrance gateway) on the western boundary of the Mahanaleshwar temple complex. The structure has a phamsana shikhara (pyramidical superstructure) on a square plan. Donations from pilgrims or the memory of a deceased soul likely contributed to its construction. The temple complex contains several such small temples.
This is a single-shrine temple with a latina-nagara shikhara (mono-spire superstructure) next to the pratoli (entrance gateway), in the row of temples that are along the western boundary of the Mahanaleshwar temple complex. The central band of the shikhara (superstructure) is broader than the rest. The corner bands have karna amalakas (aedicules made of gavaksha or dormer window designs, separated by slender fruit-like ribbed discs). The temple is a simple construction, not austere in appearance, and has lost the topmost portion of its shikhara. The latina shikhara features a central band of the shikhara (superstructure) that is wider than the others. The corner bands have karna amalakas (aedicules made of gavaksha or dormer window designs, separated by slender fruit-like ribbed discs).
This is a single-shrine temple with a latina-nagara shikhara (mono-spire superstructure) next to the pratoli (entrance gateway), in the row of temples that are along the western boundary of the Mahanaleshwar temple complex. The central band of the shikhara (superstructure) is broader than the rest. The corner bands have karna amalakas (aedicules made of gavaksha or dormer window designs, separated by slender fruit-like ribbed discs). The temple is a simple construction, not austere in appearance, and has lost the topmost portion of its shikhara. The latina shikhara features a central band of the shikhara (superstructure) that is wider than the others. The corner bands have karna amalakas (aedicules made of gavaksha or dormer window designs, separated by slender fruit-like ribbed discs).
Seen here is a fragment of a torana (decorative gateway or archway) consisting of three bays made out of four pillars. One of the bays has the makara (crocodile-like mythical creature) torana intact. The octagonal pillars have kirtimukha (face of glory) bands and floral motifs. Figures appear on the pillar bases. The plinth, consisting of four mouldings, supports the structure. The pillar features framed divinity figures. The remnant portion of this torana indicates that there was probably a gateway attached to it.
Seen here is a fragment of a torana (decorative gateway or archway) consisting of three bays made out of four pillars. One of the bays has the makara (crocodile-like mythical creature) torana intact. The octagonal pillars have kirtimukha (face of glory) bands and floral motifs. Figures appear on the pillar bases. The plinth, consisting of four mouldings, supports the structure. The pillar features framed divinity figures. The remnant portion of this torana indicates that there was probably a gateway attached to it.
The Mahanaleshwar temple complex houses the matha, a monastery/religious building. The two-story structure was built by a sage named Bhava Brahma, of the Mattamyura tradition, during the reign of Cahamana King Prithviraja II in the 12th century CE. Matha is one of Central India's finest examples of residential buildings.
The Mahanaleshwar temple complex houses the matha, a monastery/religious building. The two-story structure was built by a sage named Bhava Brahma, of the Mattamyura tradition, during the reign of Cahamana King Prithviraja II in the 12th century CE. Matha is one of Central India's finest examples of residential buildings.
The Mahanaleshwar temple matha consists of a central open-air courtyard with colonnades on all sides on the ground floor and a row of cells for the ascetics to rest, meditate, or reside in the southern part of the upper storey. The ground floor's open courtyard features pillars repurposed from previous construction at the site. Michael Meister has proposed the reuse of the pillars from the ruins of the Triple Shrine Temple, situated in front of the Mahanaleshwar Temple.
The Mahanaleshwar temple matha consists of a central open-air courtyard with colonnades on all sides on the ground floor and a row of cells for the ascetics to rest, meditate, or reside in the southern part of the upper storey. The ground floor's open courtyard features pillars repurposed from previous construction at the site. Michael Meister has proposed the reuse of the pillars from the ruins of the Triple Shrine Temple, situated in front of the Mahanaleshwar Temple.
This is a broken sculpture of Surya with two lotuses in his upper hands. There are several loose sculptures placed on pedestals on the ground floor of the Mahanaleshwar temple complex's matha (monastic or residential building). The Archaeological Survey of India (ASI) collected these fragments within the Mahanaleshwar temple complex.
This is a broken sculpture of Surya with two lotuses in his upper hands. There are several loose sculptures placed on pedestals on the ground floor of the Mahanaleshwar temple complex's matha (monastic or residential building). The Archaeological Survey of India (ASI) collected these fragments within the Mahanaleshwar temple complex.
This is the Nandi mandapa (pillared hall), which faces the Mahanaleshwar Temple. It is an open mandapa consisting of a plinth with four pillars on its corners that support a canopy shikhara (superstructure). Nandi is facing the temple's garbhagriha (sanctum sanctorum). The sculpture is decked with jewels.
This is the Nandi mandapa (pillared hall), which faces the Mahanaleshwar Temple. It is an open mandapa consisting of a plinth with four pillars on its corners that support a canopy shikhara (superstructure). Nandi is facing the temple's garbhagriha (sanctum sanctorum). The sculpture is decked with jewels.
The Mahanaleshwar Temple can be seen from its eastern side, which is the temple's principal ingress. In front of it, there is a Nandi mandapa (pillared hall). The temple's imposing shikhara (superstructure) is visible on the skyline. The temple has a sabhamandapa (big pillared hall), which is a semi-open variety having dwarf walls to the north and south sides.
The Mahanaleshwar Temple can be seen from its eastern side, which is the temple's principal ingress. In front of it, there is a Nandi mandapa (pillared hall). The temple's imposing shikhara (superstructure) is visible on the skyline. The temple has a sabhamandapa (big pillared hall), which is a semi-open variety having dwarf walls to the north and south sides.
These are the plinth details of the east-facing elevation of the Mahanaleshwar Temple. Starting from the bottom to the top, there are four mouldings in the plinth, which consist of a plain kani moulding, graaspatti (a band of kirtimukha, or face of glory), gajathara (band of elephants), and narathara (moulding containing human figures). The narathara depicts mithuna (amorous couples), maithuna, and deities.
These are the plinth details of the east-facing elevation of the Mahanaleshwar Temple. Starting from the bottom to the top, there are four mouldings in the plinth, which consist of a plain kani moulding, graaspatti (a band of kirtimukha, or face of glory), gajathara (band of elephants), and narathara (moulding containing human figures). The narathara depicts mithuna (amorous couples), maithuna, and deities.
The kakshasana (seat backs) follow the plinth moulding bands, such as the gajathara (elephant band) and narathara (human figure moulding). These have vertical walls, called the vedika (railing), consisting of rectangular, slender geometric patterns that are separated by sculptures. Above the vedika is a slender dwarf wall, which acts as the resting backrest from the inside. These slender walls feature pilaster motifs on the exterior, interspersed with figures framed by circular niches. The kakshasana serves as the base of the temple's semi-open mandapa (pillared hall).
The kakshasana (seat backs) follow the plinth moulding bands, such as the gajathara (elephant band) and narathara (human figure moulding). These have vertical walls, called the vedika (railing), consisting of rectangular, slender geometric patterns that are separated by sculptures. Above the vedika is a slender dwarf wall, which acts as the resting backrest from the inside. These slender walls feature pilaster motifs on the exterior, interspersed with figures framed by circular niches. The kakshasana serves as the base of the temple's semi-open mandapa (pillared hall).
Here are the details of the east-facing mandapa (pillared hall) of the Mahanaleshwar Temple walls. The mandapa's walls, which are connected to the mukhamandapa (front porch), have jalavatayanas (perforated windows). On the north and south sides of the mandapa, there are lateral transepts with dwarf walls. Kakshasana (seatbacks) runs all along the mandapa's transepts. This kakshasana has dwarf pillars on its corners. Just below the pillars are niches containing images of deities. The east-facing mandapa walls have images of dikapala (gods of the cardinal directions) and river goddesses.
Here are the details of the east-facing mandapa (pillared hall) of the Mahanaleshwar Temple walls. The mandapa's walls, which are connected to the mukhamandapa (front porch), have jalavatayanas (perforated windows). On the north and south sides of the mandapa, there are lateral transepts with dwarf walls. Kakshasana (seatbacks) runs all along the mandapa's transepts. This kakshasana has dwarf pillars on its corners. Just below the pillars are niches containing images of deities. The east-facing mandapa walls have images of dikapala (gods of the cardinal directions) and river goddesses.
Closer view of the jalavatayanas (perforated windows) above the vedika (railing) of the kakshasana (seat backs) of the mandapa (pillared hall) of the Mahanaleshwar Temple. This mandapa's corner pillars support a protruding chajja (balcony). The walls that correspond to the pillars have devakoshthas (niches) with divine figures and dikapalas (gods of cardinal directions). The pillar capitals have bharavahakas (dwarf-like icons that represent the temple's weight).
Closer view of the jalavatayanas (perforated windows) above the vedika (railing) of the kakshasana (seat backs) of the mandapa (pillared hall) of the Mahanaleshwar Temple. This mandapa's corner pillars support a protruding chajja (balcony). The walls that correspond to the pillars have devakoshthas (niches) with divine figures and dikapalas (gods of cardinal directions). The pillar capitals have bharavahakas (dwarf-like icons that represent the temple's weight).
Seen here are the details of the base plinth and kakshasana (seat backs) vedika (railing) of the lateral transepts of the Mahanaleshwar Temple mandapa (pillared hall). The corner plinth has a devakoshtha (niche) with a sculpture that is likely of Ganga. It is identifiable with the depiction of the makara (crocodile-like creature), which is at the bottom left of the deity. The identification of sculpture of Ganga is identified based on the depiction of the makara (crocodile-like creature), which is at the bottom left of the deity. It is noteworthy that this sculpture was added to the vedika (railing), which otherwise has the icons of dikapalas (gods of cardinal directions).
Seen here are the details of the base plinth and kakshasana (seat backs) vedika (railing) of the lateral transepts of the Mahanaleshwar Temple mandapa (pillared hall). The corner plinth has a devakoshtha (niche) with a sculpture that is likely of Ganga. It is identifiable with the depiction of the makara (crocodile-like creature), which is at the bottom left of the deity. The identification of sculpture of Ganga is identified based on the depiction of the makara (crocodile-like creature), which is at the bottom left of the deity. It is noteworthy that this sculpture was added to the vedika (railing), which otherwise has the icons of dikapalas (gods of cardinal directions).
The Mahanaleshwar Temple's north-facing lateral transept features three devakoshthas (niches), with the two on the right visible here. Among them are the devakoshthas at the center of the dwarf pillars, which house an icon of Vishnu and, on the right, an image of Gajalakshmi. The goddess has two elephants above her bust, while Vishnu has a Garuda near his feet. The wall frieze that separates the devakoshthas consists of a pilaster motif interlaced with icons of surasundaris (celestial damsels). The plinth's mouldings match the temple's mandapa.
The Mahanaleshwar Temple's north-facing lateral transept features three devakoshthas (niches), with the two on the right visible here. Among them are the devakoshthas at the center of the dwarf pillars, which house an icon of Vishnu and, on the right, an image of Gajalakshmi. The goddess has two elephants above her bust, while Vishnu has a Garuda near his feet. The wall frieze that separates the devakoshthas consists of a pilaster motif interlaced with icons of surasundaris (celestial damsels). The plinth's mouldings match the temple's mandapa.
The Mahanaleshwar Temple's north-facing lateral transept features three devakoshthas (niches), with the two on the right visible here. The devakoshthas at the centres of the dwarf pillars house an icon of Vishnu and, on the left, an image of Chamunda. The depiction of the goddess features a skeletal body, sagging breasts, fangs, and matted hair. Her two attendants are shown similarly. She has a kapala (human skull) and a dagger as attributes.
The Mahanaleshwar Temple's north-facing lateral transept features three devakoshthas (niches), with the two on the right visible here. The devakoshthas at the centres of the dwarf pillars house an icon of Vishnu and, on the left, an image of Chamunda. The depiction of the goddess features a skeletal body, sagging breasts, fangs, and matted hair. Her two attendants are shown similarly. She has a kapala (human skull) and a dagger as attributes.
The northern side lateral transept attached to the mandapa (pillared hall) of the Mahanleshwar Temple has devakoshthas (niches) on all sides containing deities. There is probably a broken sculpture of a river goddess in one of the niches, flanked by a row of pilaster motifs and dancing figures. The dwarf wall of the transept has kakshasana (seat backs) containing designs of balustrades separating the sculptural depictions formed in circles.
The northern side lateral transept attached to the mandapa (pillared hall) of the Mahanleshwar Temple has devakoshthas (niches) on all sides containing deities. There is probably a broken sculpture of a river goddess in one of the niches, flanked by a row of pilaster motifs and dancing figures. The dwarf wall of the transept has kakshasana (seat backs) containing designs of balustrades separating the sculptural depictions formed in circles.
The Mahanaleshwar Temple's dwarf walls offer a close-up view of Kubera, one of the dikapala (gods of the cardinal directions), in the devakoshtha (niche). Kubera corresponds to the northern direction. One of Kubera's distinctive attributes is the broken lower two hands of the deity, while the upper two hands hold a nakula (money) bag. A miniature samvarna (pyramid-shaped) variety of shikhara (superstructure) surmounts two slender pilasters to form the devakoshtha. A udgama (gavaksha, or dormer window design) fronts the ghantas (bells) of the shikhara. It rests on a low pedestal made up of multiple mouldings.
The Mahanaleshwar Temple's dwarf walls offer a close-up view of Kubera, one of the dikapala (gods of the cardinal directions), in the devakoshtha (niche). Kubera corresponds to the northern direction. One of Kubera's distinctive attributes is the broken lower two hands of the deity, while the upper two hands hold a nakula (money) bag. A miniature samvarna (pyramid-shaped) variety of shikhara (superstructure) surmounts two slender pilasters to form the devakoshtha. A udgama (gavaksha, or dormer window design) fronts the ghantas (bells) of the shikhara. It rests on a low pedestal made up of multiple mouldings.
The corners of the dwarf walls of the mandapa (pillared hall) of the Mahanaleshwar Temple have icons at their joining juncture. Most of these images depict dikapalas, the directional deities, but their mutilation makes their identification challenging. The west-facing devakoshtha (niche) seen here probably had the icon of Ishan, the god of the northeast direction. The base of the dwarf walls with devakoshthas (niches) has two sets of pillars at their edges. One of these is a half-pillar that rests over the kakshasana (seat backs) from the temple's interiors, and the other is a pilaster that connects to the perforated windows of the mandapas.
The corners of the dwarf walls of the mandapa (pillared hall) of the Mahanaleshwar Temple have icons at their joining juncture. Most of these images depict dikapalas, the directional deities, but their mutilation makes their identification challenging. The west-facing devakoshtha (niche) seen here probably had the icon of Ishan, the god of the northeast direction. The base of the dwarf walls with devakoshthas (niches) has two sets of pillars at their edges. One of these is a half-pillar that rests over the kakshasana (seat backs) from the temple's interiors, and the other is a pilaster that connects to the perforated windows of the mandapas.
The Mahanaleshwar Temple features a pancharatha, which comprises five projections: a central broad projection, flanked by intermediate and corner projections. The temple consists of two main components in elevation: the vedibandha (basal mouldings) and the jangha (wall). The vedibandha is primarily a set of horizontally running mouldings in various shapes. The jangha is the temple's primary wall. At the vedibandha level, the projections of the temple are not separated by recesses called the salilantaras. But the jangha has recesses. Also, the jangha has icons in all the projections and recesses, but the vedibandha is sparsely ornamented. Only the vedibandha's kumbha (pot) moulding has framed images of deities.
The Mahanaleshwar Temple features a pancharatha, which comprises five projections: a central broad projection, flanked by intermediate and corner projections. The temple consists of two main components in elevation: the vedibandha (basal mouldings) and the jangha (wall). The vedibandha is primarily a set of horizontally running mouldings in various shapes. The jangha is the temple's primary wall. At the vedibandha level, the projections of the temple are not separated by recesses called the salilantaras. But the jangha has recesses. Also, the jangha has icons in all the projections and recesses, but the vedibandha is sparsely ornamented. Only the vedibandha's kumbha (pot) moulding has framed images of deities.
This plan also divides the vedibandha (basal mouldings) of the Mahanaleshwar Temple. In elevation, the mouldings consist of a jadyakumbha, gajathara, narathara, and a plain band followed by a broad kumbha moulding, kalasha, and kapotali. All these form the vedibandha section of the temple. The jadyakumbha (lotus-shaped moulding) has decorative motifs called the padma (lotus) and ardharatna (half diamond motifs). A pranala, a water chute, punctures the mouldings just below the central kumbha (pot), facilitating the passage of water from the inside of the garbhagriha (sanctum sanctorum).
This plan also divides the vedibandha (basal mouldings) of the Mahanaleshwar Temple. In elevation, the mouldings consist of a jadyakumbha, gajathara, narathara, and a plain band followed by a broad kumbha moulding, kalasha, and kapotali. All these form the vedibandha section of the temple. The jadyakumbha (lotus-shaped moulding) has decorative motifs called the padma (lotus) and ardharatna (half diamond motifs). A pranala, a water chute, punctures the mouldings just below the central kumbha (pot), facilitating the passage of water from the inside of the garbhagriha (sanctum sanctorum).
Pictured here are the details of the bhadra (central projection) from the north-facing elevation of the Mahanaleshwar Temple. The devakoshtha (niche) on the central bhadra projection is a deep niche with an image of eight armed Chamunda inside. Two ornate pilasters, adorned with icons at their bases, form the devakoshtha. These pilasters stand on a pedestal, which is fashioned like a kapotali (cyma recta) and supports an udgama (pediment) above. The udgama comprises a pyramid-shaped mesh of gavakshas, also known as chaitya or dormer window arches. The east and west-facing sides of the devakoshthas have attendants. Chamunda has a skeletal body, stands on a dead human body, and holds a kapaal (human skull), khatvanga (staff with a skull), trishula (trident), naag (serpent), damru (hourglass-shaped drum), and other attributes. She's biting the finger on her upper left hand.
Pictured here are the details of the bhadra (central projection) from the north-facing elevation of the Mahanaleshwar Temple. The devakoshtha (niche) on the central bhadra projection is a deep niche with an image of eight armed Chamunda inside. Two ornate pilasters, adorned with icons at their bases, form the devakoshtha. These pilasters stand on a pedestal, which is fashioned like a kapotali (cyma recta) and supports an udgama (pediment) above. The udgama comprises a pyramid-shaped mesh of gavakshas, also known as chaitya or dormer window arches. The east and west-facing sides of the devakoshthas have attendants. Chamunda has a skeletal body, stands on a dead human body, and holds a kapaal (human skull), khatvanga (staff with a skull), trishula (trident), naag (serpent), damru (hourglass-shaped drum), and other attributes. She's biting the finger on her upper left hand.
The east-facing jangha (wall) of the Mahanaleshwar Temple has a similar scheme to the details on the north-facing one. The bhadra (central projection) has a Natesha icon; the slender intermediary projections have surasundaris (celestial damsels); and the corner projections have dikapalas (gods of cardinal directions). Each of these projections of the jangha has four kapotali (cyma recta)-like mouldings above them and similar slender horizontal mouldings below. The difference is that the stone material of the intermediary and corner projections is noteworthy.
The east-facing jangha (wall) of the Mahanaleshwar Temple has a similar scheme to the details on the north-facing one. The bhadra (central projection) has a Natesha icon; the slender intermediary projections have surasundaris (celestial damsels); and the corner projections have dikapalas (gods of cardinal directions). Each of these projections of the jangha has four kapotali (cyma recta)-like mouldings above them and similar slender horizontal mouldings below. The difference is that the stone material of the intermediary and corner projections is noteworthy.
The central bhadra of the east-facing jangha of the temple has a Natesha icon. The devakoshtha that frames the Natesha is similar in style to the one on the east-facing jangha. The eight-handed Natesha is depicted in a dancing pose, holding a snake, kapala, khatvanga, trishula, and damaru attributes. Natesha has a jata mukuta (matted hair) and a halo behind his head. At Natesha's feet, there are two dancing figures who are likely attendants.
The central bhadra of the east-facing jangha of the temple has a Natesha icon. The devakoshtha that frames the Natesha is similar in style to the one on the east-facing jangha. The eight-handed Natesha is depicted in a dancing pose, holding a snake, kapala, khatvanga, trishula, and damaru attributes. Natesha has a jata mukuta (matted hair) and a halo behind his head. At Natesha's feet, there are two dancing figures who are likely attendants.
The south-facing jangha (wall) of the Mahanaleshwar Temple is similar in scheme to that of the north and west-facing janghas. The bhadra (central projection) depicts Shiva's Tripurantaka form; the slender intermediary projections have surasundaris (celestial damsels); and the corner projections have dikapalas. On its left, the jangha connects to the kapili (the exterior wall portion that corresponds to the internal antarala, or temple vestibule).
The south-facing jangha (wall) of the Mahanaleshwar Temple is similar in scheme to that of the north and west-facing janghas. The bhadra (central projection) depicts Shiva's Tripurantaka form; the slender intermediary projections have surasundaris (celestial damsels); and the corner projections have dikapalas. On its left, the jangha connects to the kapili (the exterior wall portion that corresponds to the internal antarala, or temple vestibule).
The Mahanlashwar Temple's south-facing bhadra (central projection) features an image of Tripurantaka Shiva. The deity lifts his left foot to crush the demon. The deity holds a raised trishula (trident), kapala (skull), sword, and snake among other attributes. The other two bhadras of the temple compliment this depiction of Tripurantaka with Natesha and Chamunda, indicating the temple's affiliation with Shaivism.
The Mahanlashwar Temple's south-facing bhadra (central projection) features an image of Tripurantaka Shiva. The deity lifts his left foot to crush the demon. The deity holds a raised trishula (trident), kapala (skull), sword, and snake among other attributes. The other two bhadras of the temple compliment this depiction of Tripurantaka with Natesha and Chamunda, indicating the temple's affiliation with Shaivism.
The south-facing transept of the mandapa (pillared hall) in the Mahanaleshwar Temple is identical to the north elevation. There are three devakoshthas (niches) on the mandapa's dwarf wall. The central devakoshtha has a figure of Brahma holding a pustaka (book) and kamandalu (water carrier or pot), and the two flanking devakoshthas have consorts of Brahma; one of them is depicted with three faces. Pilaster motifs and surasundaris (celestial damsels) intersperse the wall between these devakoshthas.
The south-facing transept of the mandapa (pillared hall) in the Mahanaleshwar Temple is identical to the north elevation. There are three devakoshthas (niches) on the mandapa's dwarf wall. The central devakoshtha has a figure of Brahma holding a pustaka (book) and kamandalu (water carrier or pot), and the two flanking devakoshthas have consorts of Brahma; one of them is depicted with three faces. Pilaster motifs and surasundaris (celestial damsels) intersperse the wall between these devakoshthas.
The main entrance (facing west) to the Mahanaleshwar Temple is seen here. The mukhamandapa (front porch) has a square design and is semi-open. The two front pillars support the cantilevered projection. Dwarf walls, adorned with kakshasanas (seat backs), surround the pillars on both sides.
The main entrance (facing west) to the Mahanaleshwar Temple is seen here. The mukhamandapa (front porch) has a square design and is semi-open. The two front pillars support the cantilevered projection. Dwarf walls, adorned with kakshasanas (seat backs), surround the pillars on both sides.
This is the south-facing elevation of the Mahanaleshwar Temple's shikhara (superstructure). The front side of the shikhara has an elaborate shukanasa (an ornamented projection over the entrance of the sanctum), with a lion sculpture on top. The shukanasa has a niche at its centre, and above it is a chaitya (horseshoe-shaped) medallion. The shukanasa mouldings are similar to the temple's plinth mouldings. The three bhumija aedicules on each side of the shikhara are a notable feature.
This is the south-facing elevation of the Mahanaleshwar Temple's shikhara (superstructure). The front side of the shikhara has an elaborate shukanasa (an ornamented projection over the entrance of the sanctum), with a lion sculpture on top. The shukanasa has a niche at its centre, and above it is a chaitya (horseshoe-shaped) medallion. The shukanasa mouldings are similar to the temple's plinth mouldings. The three bhumija aedicules on each side of the shikhara are a notable feature.
This is the rear or east-facing elevation of the Mahanaleshwar Temple, reflecting the bhumija temple shikhara (superstructure). All four sides of the shikhara have cardinal bands, called lata, at the centre. Rows of miniature shikharas, or bhumis, fill the four quadrants that form in between these. These motifs depict the details of the main shikhara. The lata's base has an ornamental window and a chaitya dormer with a miniature kutastambha motif.
This is the rear or east-facing elevation of the Mahanaleshwar Temple, reflecting the bhumija temple shikhara (superstructure). All four sides of the shikhara have cardinal bands, called lata, at the centre. Rows of miniature shikharas, or bhumis, fill the four quadrants that form in between these. These motifs depict the details of the main shikhara. The lata's base has an ornamental window and a chaitya dormer with a miniature kutastambha motif.
Seen here is the samvarna variety of pyramidal shikhara of the Mahanaleshwar temple. Each of the small aedicules is composed of small discs that descend like a pyramid. Since the aedicules have bell-like finials, the type of shikhara is known as ghanta samvarna.
Seen here is the samvarna variety of pyramidal shikhara of the Mahanaleshwar temple. Each of the small aedicules is composed of small discs that descend like a pyramid. Since the aedicules have bell-like finials, the type of shikhara is known as ghanta samvarna.
The Mahanaleshwar Temple features a row of pillars and dwarf walls flanking its principal entrance. The temple's mukhamandapa (front porch) connects to the closed mandapa (pillared hall). The dwarf walls of the kakshasana (seat backs) have small pillar posts.
The Mahanaleshwar Temple features a row of pillars and dwarf walls flanking its principal entrance. The temple's mukhamandapa (front porch) connects to the closed mandapa (pillared hall). The dwarf walls of the kakshasana (seat backs) have small pillar posts.
This is the closer view of the pillars of the Mahanaleshwar Temple's mukhamandapa (front porch). The four pillars, two on either side of the entrance, support the rectangular ceiling. The pillars of the mukhamandapa are square and of the ghatpallava variety, meaning one block is decorated with vases and foliage motifs.
This is the closer view of the pillars of the Mahanaleshwar Temple's mukhamandapa (front porch). The four pillars, two on either side of the entrance, support the rectangular ceiling. The pillars of the mukhamandapa are square and of the ghatpallava variety, meaning one block is decorated with vases and foliage motifs.
The Mahanaleshwar Temple's mandapa (pillared hall) attaches to this north-facing lateral transept. The plinth of this transept contained a chamber with a narrow opening. This plinth had four pillars that supported the transept's cantilevered roof. Perforated jalis (latticed windows) flank the inner pillars on the plinth. The use of these chambers in the basement cannot be ascertained. However, temples in this region and time period commonly contain these chambers. These possibly served as spaces for meditation.
The Mahanaleshwar Temple's mandapa (pillared hall) attaches to this north-facing lateral transept. The plinth of this transept contained a chamber with a narrow opening. This plinth had four pillars that supported the transept's cantilevered roof. Perforated jalis (latticed windows) flank the inner pillars on the plinth. The use of these chambers in the basement cannot be ascertained. However, temples in this region and time period commonly contain these chambers. These possibly served as spaces for meditation.
The interiors of the Mahanaleshwar Temple's mandapa (pillared hall) are shown here. The mandapa's center has a slightly raised platform on which six pillars will eventually support the temple's circular ceiling. The central pillars are of a fluted variety. The four corners of the mandapa, which join the transepts to the antarala (vestibule or antechamber) and the mukhamandapa (front porch) to the transepts, have ornamented jali (lattice) patterns.
The interiors of the Mahanaleshwar Temple's mandapa (pillared hall) are shown here. The mandapa's center has a slightly raised platform on which six pillars will eventually support the temple's circular ceiling. The central pillars are of a fluted variety. The four corners of the mandapa, which join the transepts to the antarala (vestibule or antechamber) and the mukhamandapa (front porch) to the transepts, have ornamented jali (lattice) patterns.
An ornate dvarashakha (architrave or vertical band) decorates the entrance to the garbhagriha (sanctum sanctorum). It consists of panchashakhas, meaning five vertical divisions on either side of the dvarashakha. Floral motifs decorate the threshold at the centre bottom. Above the lintel beam is a row of miniature niches, called rathikas, that have engravings of divinities. All the vertical divisions of the dvarashakha have figures carved. These consist of depictions of river goddesses, apsaras (celestial damsels), and Shaiva attendants. The attendants are carved on the most protruding shakha called the stambha shakha. The lalatabimba (centre of the lintel) has an image of Lakulisa, indicating that the temple was affiliated with the Pashupata Shaiva tradition.
An ornate dvarashakha (architrave or vertical band) decorates the entrance to the garbhagriha (sanctum sanctorum). It consists of panchashakhas, meaning five vertical divisions on either side of the dvarashakha. Floral motifs decorate the threshold at the centre bottom. Above the lintel beam is a row of miniature niches, called rathikas, that have engravings of divinities. All the vertical divisions of the dvarashakha have figures carved. These consist of depictions of river goddesses, apsaras (celestial damsels), and Shaiva attendants. The attendants are carved on the most protruding shakha called the stambha shakha. The lalatabimba (centre of the lintel) has an image of Lakulisa, indicating that the temple was affiliated with the Pashupata Shaiva tradition.
A triple-shrine temple cluster, facing east, stands near the Mahanaleshwar Temple. According to Michael W. Meister, this cluster is one of the earliest temples in the Mahanaleshwar temple complex. Based on style, the north and south shrines from this triple shrine belong to the 8th century CE. Meister argues that the central shrine in the triple shrine was a later period addition. The construction material for the older two shrines is completely different from that of the central shrine. The red sandstone of the central shrine is similar to other monuments in the Mahanaleshwar temple complex. The Archaeological Survey of India (ASI) has reassembled the older shrines as part of its restoration work.
A triple-shrine temple cluster, facing east, stands near the Mahanaleshwar Temple. According to Michael W. Meister, this cluster is one of the earliest temples in the Mahanaleshwar temple complex. Based on style, the north and south shrines from this triple shrine belong to the 8th century CE. Meister argues that the central shrine in the triple shrine was a later period addition. The construction material for the older two shrines is completely different from that of the central shrine. The red sandstone of the central shrine is similar to other monuments in the Mahanaleshwar temple complex. The Archaeological Survey of India (ASI) has reassembled the older shrines as part of its restoration work.
This is the west-facing back elevation of the southern shrine from the Triple Shrine Temple in the Mahanaleshwar temple cluster. This is a single-shrine temple built in the latina (mono-spire) style of temple architecture. Only two levels of the shikhara (superstructure) are in situ. The vicinity contains other architectural fragments of the temple. Except for the bhadra projection, the temple does not have any sculptures on the exterior wall surfaces. The ornamentation of the temple mainly consists of geometric patterns, floral motifs, and architectural decorations.
This is the west-facing back elevation of the southern shrine from the Triple Shrine Temple in the Mahanaleshwar temple cluster. This is a single-shrine temple built in the latina (mono-spire) style of temple architecture. Only two levels of the shikhara (superstructure) are in situ. The vicinity contains other architectural fragments of the temple. Except for the bhadra projection, the temple does not have any sculptures on the exterior wall surfaces. The ornamentation of the temple mainly consists of geometric patterns, floral motifs, and architectural decorations.
The plinth of the southern shrine in the Triple-shrine Temple to the northwest of Mahanaleshwar Temple is visible only from the jadya kumbha moulding, which is followed by the kalasha moulding. Above this, there are the kapotali mouldings with gavaksha designs at regular intervals. The design is pancharatha, which consists of five projections. The central projection, bhadra, is flanked by two slender pratiratha (intermediary projections) and karnas (corner projections). There are recesses between all these projections. These recesses are devoid of any ornamentation. The pratirathas feature vase and foliage motifs, as well as medallions with mithuna (amorous couples).
The plinth of the southern shrine in the Triple-shrine Temple to the northwest of Mahanaleshwar Temple is visible only from the jadya kumbha moulding, which is followed by the kalasha moulding. Above this, there are the kapotali mouldings with gavaksha designs at regular intervals. The design is pancharatha, which consists of five projections. The central projection, bhadra, is flanked by two slender pratiratha (intermediary projections) and karnas (corner projections). There are recesses between all these projections. These recesses are devoid of any ornamentation. The pratirathas feature vase and foliage motifs, as well as medallions with mithuna (amorous couples).
The temple's bhadra (central projection), located within the Triple-shrine Temple to the northwest of Mahanaleshwar Temple, has ornamental features. The jangha (wall) portion of the bhadra has a Natesha image framed in a decorative niche. Two pilasters form the niche, supporting a pediment. Gavaksha (dormer window) motifs compose the pediment. The pediment depicts the four-handed Natesha icon holding attributes such as a trishula (trident) and a damru (hourglass-shaped drum). The icon's jatamukuta (matted hairdo) is very unusual.
The temple's bhadra (central projection), located within the Triple-shrine Temple to the northwest of Mahanaleshwar Temple, has ornamental features. The jangha (wall) portion of the bhadra has a Natesha image framed in a decorative niche. Two pilasters form the niche, supporting a pediment. Gavaksha (dormer window) motifs compose the pediment. The pediment depicts the four-handed Natesha icon holding attributes such as a trishula (trident) and a damru (hourglass-shaped drum). The icon's jatamukuta (matted hairdo) is very unusual.
The details of one of the shrines from the Triple Shrine to the northwest of Mahanaleshwar Temple are noteworthy. The vedibandha's base moldings are plain and devoid of ornamentation. At the jangha (wall) level, the intermediate and corner projections have different designs. They also vary in size. Proportionately, the corner projection is one-third of the central wide projection, while the intermediate projections are half of the central projection.
The details of one of the shrines from the Triple Shrine to the northwest of Mahanaleshwar Temple are noteworthy. The vedibandha's base moldings are plain and devoid of ornamentation. At the jangha (wall) level, the intermediate and corner projections have different designs. They also vary in size. Proportionately, the corner projection is one-third of the central wide projection, while the intermediate projections are half of the central projection.
Seen here are the details of the latina shikhara (mono-spire superstructure) of the side shrine from the Triple-shrine Temple. The madhyalata (central band), a broad band, comprises a mesh of gavaksha (chaitya dormer motifs) arranged in ascending order. As the shikhara tapers upwards, the chaitya dormer motifs diminish in size. Protruding moulding and a decorative recess also form the base of the shikhara. The bands flanking the madhyalata are thinner and made up of half the designs of the chaitya dormer.
Seen here are the details of the latina shikhara (mono-spire superstructure) of the side shrine from the Triple-shrine Temple. The madhyalata (central band), a broad band, comprises a mesh of gavaksha (chaitya dormer motifs) arranged in ascending order. As the shikhara tapers upwards, the chaitya dormer motifs diminish in size. Protruding moulding and a decorative recess also form the base of the shikhara. The bands flanking the madhyalata are thinner and made up of half the designs of the chaitya dormer.
The latina shikhara (monospire superstructure) of the side shrine of the Triple-shrine Temple still has two bhumi khandas (tiers) on its south-facing elevation. Combinations of gavaksha (dormer window) designs compose all the latas (bands) of the shikhara. The east-facing side of the temple has a protruding shukanasa (projection over the entrance of the sanctum), which is connected to the main shikhara and acts as the superstructure of the mandapa (pillared hall) of the temple. The corner bands of a latina shikhara are called venukosha. Tiers of diminishing sizes comprise this structure. Each of these tiers is separated by a flat, ribbed disc known as the amalaka.
The latina shikhara (monospire superstructure) of the side shrine of the Triple-shrine Temple still has two bhumi khandas (tiers) on its south-facing elevation. Combinations of gavaksha (dormer window) designs compose all the latas (bands) of the shikhara. The east-facing side of the temple has a protruding shukanasa (projection over the entrance of the sanctum), which is connected to the main shikhara and acts as the superstructure of the mandapa (pillared hall) of the temple. The corner bands of a latina shikhara are called venukosha. Tiers of diminishing sizes comprise this structure. Each of these tiers is separated by a flat, ribbed disc known as the amalaka.
The kapili wall of the side shrine of the Triple-Shrine Temple has a small low-relief devakoshtha (niche) with the depiction of the couple. This wall portion features small aedicules, resembling the tiers of the main shikhara in the shikhara (superstructure). The ceiling wall connects to the kapili, cantilevering to its east side. Two slender pillars, featuring a ghatapallava (vase with foliage) motif, support this structure.
The kapili wall of the side shrine of the Triple-Shrine Temple has a small low-relief devakoshtha (niche) with the depiction of the couple. This wall portion features small aedicules, resembling the tiers of the main shikhara in the shikhara (superstructure). The ceiling wall connects to the kapili, cantilevering to its east side. Two slender pillars, featuring a ghatapallava (vase with foliage) motif, support this structure.
This is an east-facing view of the side shrine from the Triple Shrine in the Mahanaleshwar temple complex. Bricks form the core of the temple's shikhara (superstructure).
This is an east-facing view of the side shrine from the Triple Shrine in the Mahanaleshwar temple complex. Bricks form the core of the temple's shikhara (superstructure).
The dvarashakha (architrave) of the garbhagriha (sanctum sanctorum) of the side shrine in the Triple-shrine Temple is an ornamental feature. It is a trishakha (three vertical bands) variety, where the innermost shakha (band or branch) depicts ganas (celestial beings), followed by the mithuna shakha (band of amorous couples), and the outermost is a patra shakha (foliage band). This dvarashakha's threshold features foliage motifs flanked by vyalas (composite mythical animal creatures). The lower portion of the dvarshakha has a depiction of attendants and river goddesses. The lintel of the dvarashakha depicts Vishnu on his mount Garuda.
The dvarashakha (architrave) of the garbhagriha (sanctum sanctorum) of the side shrine in the Triple-shrine Temple is an ornamental feature. It is a trishakha (three vertical bands) variety, where the innermost shakha (band or branch) depicts ganas (celestial beings), followed by the mithuna shakha (band of amorous couples), and the outermost is a patra shakha (foliage band). This dvarashakha's threshold features foliage motifs flanked by vyalas (composite mythical animal creatures). The lower portion of the dvarshakha has a depiction of attendants and river goddesses. The lintel of the dvarashakha depicts Vishnu on his mount Garuda.
The dvarashakha (architrave) of the central shrine within the Triple-shrine Temple is visible here. This shrine's dvarashakha has minimal ornamentation compared to the identical shrines flanking it, the dvarashakha of this shrine has minimal ornamentation. The dvarashakha's vertical divisions are plain, except for the lower portion known as the udumbara, which features attendants carved inside niches with toranas (decorative archways or gateways). The lintel beam featured a depiction of three goddesses and a threshold. From left to right, the three goddesses on the lintel are Bramhani, Maheshvari, and Vaishnavi.
The dvarashakha (architrave) of the central shrine within the Triple-shrine Temple is visible here. This shrine's dvarashakha has minimal ornamentation compared to the identical shrines flanking it, the dvarashakha of this shrine has minimal ornamentation. The dvarashakha's vertical divisions are plain, except for the lower portion known as the udumbara, which features attendants carved inside niches with toranas (decorative archways or gateways). The lintel beam featured a depiction of three goddesses and a threshold. From left to right, the three goddesses on the lintel are Bramhani, Maheshvari, and Vaishnavi.
The Triple Shrine's central shrine is a later addition to the edifice. Built in red sandstone, this single-shrine temple is also adorned with a shikhara (superstructure) of the latina (mono-spire) variety. This shrine's base mouldings and wall feature a pancharatha design, which consists of five divisions to the plan and elevation. The shikhara's finial has an amalaka (ribbed disc). The temple exterior does not have any sculptures or ornamentation. The latina shikhara has small aedicules on the corners and a mulashringa (main spire) consisting of five bands. The shikhara's corner bands are made up of seven blocks separated by flat ribbed discs.
The Triple Shrine's central shrine is a later addition to the edifice. Built in red sandstone, this single-shrine temple is also adorned with a shikhara (superstructure) of the latina (mono-spire) variety. This shrine's base mouldings and wall feature a pancharatha design, which consists of five divisions to the plan and elevation. The shikhara's finial has an amalaka (ribbed disc). The temple exterior does not have any sculptures or ornamentation. The latina shikhara has small aedicules on the corners and a mulashringa (main spire) consisting of five bands. The shikhara's corner bands are made up of seven blocks separated by flat ribbed discs.
The central shrine in the Triple Shrine Temple shares the porch with its adjacent shrines. The central shrine's construction differs from the other two shrines. The shikhara (superstructure) of the mandapa (pillared hall) has collapsed. Only the basal mouldings, made up of three stone blocks with diamond motifs, have survived.
The central shrine in the Triple Shrine Temple shares the porch with its adjacent shrines. The central shrine's construction differs from the other two shrines. The shikhara (superstructure) of the mandapa (pillared hall) has collapsed. Only the basal mouldings, made up of three stone blocks with diamond motifs, have survived.
The entrance porch of the Triple-shrine Temple is adorned with pillars. A rectangular porch connects the three shrines, featuring two types of pillars: one with a fluted shaft and the other with a square shaft. The square shaft variety is similar to the reused pillars in the mandapa (pillared hall) of the matha (monastic or residential building) in the Mahanaleshwar temple complex.
The entrance porch of the Triple-shrine Temple is adorned with pillars. A rectangular porch connects the three shrines, featuring two types of pillars: one with a fluted shaft and the other with a square shaft. The square shaft variety is similar to the reused pillars in the mandapa (pillared hall) of the matha (monastic or residential building) in the Mahanaleshwar temple complex.
Similar to the western boundary of the Mahanaleshvar temple complex, the northern side also has two temples that stand close to the Mahanaleshwar Temple. One of these temples, whose superstructure has vanished, is visible here. The temple's plinth and walls have undergone partial reconstruction. The original temple's design included a garbhagriha (sanctum sanctorum), an antarala (vestibule or antechamber), and a mandapa (pillared hall). Based on the remains scattered in the vicinity of the temple, the temple might have had a shikhara of the shekhari (multi-spired) variety. The design of the main shrine was pancharatha, consisting of five projections.
Similar to the western boundary of the Mahanaleshvar temple complex, the northern side also has two temples that stand close to the Mahanaleshwar Temple. One of these temples, whose superstructure has vanished, is visible here. The temple's plinth and walls have undergone partial reconstruction. The original temple's design included a garbhagriha (sanctum sanctorum), an antarala (vestibule or antechamber), and a mandapa (pillared hall). Based on the remains scattered in the vicinity of the temple, the temple might have had a shikhara of the shekhari (multi-spired) variety. The design of the main shrine was pancharatha, consisting of five projections.
Similar to the western boundary of the Mahanaleshvar temple complex, the northern side also has two temples that stand close to the main temple. A ruinous shrine is visible here, devoid of ornamentation. Its superstructure has not survived. A colonnade fronts a row of small cells that make up its superstructure. The colonnade's pillars have plain shafts.
Similar to the western boundary of the Mahanaleshvar temple complex, the northern side also has two temples that stand close to the main temple. A ruinous shrine is visible here, devoid of ornamentation. Its superstructure has not survived. A colonnade fronts a row of small cells that make up its superstructure. The colonnade's pillars have plain shafts.
The Suhaveshwar temple complex, located to the west of the Menali stream and slightly away from the Mahanaleshwar temple complex, is part of the group of temples in Menal. It is smaller in comparison to the Mahanaleshwar temple complex. It consists of a matha, or monastic establishment; the Suhaveshwar Temple; and a Nandi mandapa (pillared hall). A partially preserved prakara (compound) encloses all these structures.
The Suhaveshwar temple complex, located to the west of the Menali stream and slightly away from the Mahanaleshwar temple complex, is part of the group of temples in Menal. It is smaller in comparison to the Mahanaleshwar temple complex. It consists of a matha, or monastic establishment; the Suhaveshwar Temple; and a Nandi mandapa (pillared hall). A partially preserved prakara (compound) encloses all these structures.
Situated to the west of the Menali stream, the Suhaveshwar temple complex sits slightly apart from the Mahanaleshvar temple complex. An entrance gateway, located to the east of the complex, provides access to the complex. This entrance gateway's superstructure has not survived. Two broad walls flank the main entrance opening. There is minimal ornamentation on this entrance gateway. The front, east-facing walls of the entrance gateway have empty niches.
Situated to the west of the Menali stream, the Suhaveshwar temple complex sits slightly apart from the Mahanaleshvar temple complex. An entrance gateway, located to the east of the complex, provides access to the complex. This entrance gateway's superstructure has not survived. Two broad walls flank the main entrance opening. There is minimal ornamentation on this entrance gateway. The front, east-facing walls of the entrance gateway have empty niches.
The Suhaveshwar Temple features an east-facing elevation and a principal entrance. A Nandi sculpture on a pedestal fronts the Suhveshwar Temple, but the superstructure of the mandapa (pillared hall) has collapsed.
The Suhaveshwar Temple features an east-facing elevation and a principal entrance. A Nandi sculpture on a pedestal fronts the Suhveshwar Temple, but the superstructure of the mandapa (pillared hall) has collapsed.
The Suhaveshwar Temple's mukhamandapa (front porch) and mandapa (pillared hall) are visible from both the east and southeast sides. The semi-open mandapa is entered from the eastern side. The mandapa has dwarf walls running all along its north and south sides. On the dwarf walls, there are kakshasanas (seat backs). The temple exterior is austere and sparsely ornamented.
The Suhaveshwar Temple's mukhamandapa (front porch) and mandapa (pillared hall) are visible from both the east and southeast sides. The semi-open mandapa is entered from the eastern side. The mandapa has dwarf walls running all along its north and south sides. On the dwarf walls, there are kakshasanas (seat backs). The temple exterior is austere and sparsely ornamented.
This is a view of the south elevation of the Suhaveshwar Temple's mandapa (pillared hall). The mandapa has two lateral transepts on the north and south sides. Both the mukhamandapa (front porch) and the mandapa have pyramidical shikharas atop them. The shikhara (superstructure) on the mandapa is of the samvarana (pyramid-shaped) variety. The juncture of the pillars of the mandapa and the shikhara are marked by a protruding chajja (balcony).
This is a view of the south elevation of the Suhaveshwar Temple's mandapa (pillared hall). The mandapa has two lateral transepts on the north and south sides. Both the mukhamandapa (front porch) and the mandapa have pyramidical shikharas atop them. The shikhara (superstructure) on the mandapa is of the samvarana (pyramid-shaped) variety. The juncture of the pillars of the mandapa and the shikhara are marked by a protruding chajja (balcony).
A view of the south elevation of the Suhaveshwar Temple's mandapa (pillared hall) is shown here. The mandapa has two lateral transepts on the north and south sides. The exterior of the transepts has plinth mouldings that support a plain wall that is ornamented with pilaster motifs. The dwarf walls are adorned with slender and slanting kakshasana (seat backs) featuring balustrade designs. Both the vedika (wall) and the kakshasana's slanting seat back are devoid of ornamentation patterns.
A view of the south elevation of the Suhaveshwar Temple's mandapa (pillared hall) is shown here. The mandapa has two lateral transepts on the north and south sides. The exterior of the transepts has plinth mouldings that support a plain wall that is ornamented with pilaster motifs. The dwarf walls are adorned with slender and slanting kakshasana (seat backs) featuring balustrade designs. Both the vedika (wall) and the kakshasana's slanting seat back are devoid of ornamentation patterns.
This is the south-facing elevation of the Suhaveshwar Temple's mulaprasada (main shrine). The juncture where the mandapa (pillared hall) meets the main shrine has a plain wall with only one band of ornamentation at the centre. This forms the kapili, which corresponds to the temple's antarala (vestibule or antechamber). The temple's jangha (wall) is flat, divided into two parts by a plain band.
This is the south-facing elevation of the Suhaveshwar Temple's mulaprasada (main shrine). The juncture where the mandapa (pillared hall) meets the main shrine has a plain wall with only one band of ornamentation at the centre. This forms the kapili, which corresponds to the temple's antarala (vestibule or antechamber). The temple's jangha (wall) is flat, divided into two parts by a plain band.
This is the west-facing elevation of the Suhaveshwar Temple. The main shrine has a vedibandha (basal mouldings), followed by a jangha (wall). The temple has a shekhari (multi-spired) variety of shikhara (superstructure). The shikhara is composed of a row of small aedicules, with a shukanasa (the front of the shikhara) of diamond motifs at its center. Emanating from these is the mulashringa (main shikhara) of the temple. The temple also comprises various divisions, known as angas and pratyangas. The entire shikhara has minimal ornamentation.
This is the west-facing elevation of the Suhaveshwar Temple. The main shrine has a vedibandha (basal mouldings), followed by a jangha (wall). The temple has a shekhari (multi-spired) variety of shikhara (superstructure). The shikhara is composed of a row of small aedicules, with a shukanasa (the front of the shikhara) of diamond motifs at its center. Emanating from these is the mulashringa (main shikhara) of the temple. The temple also comprises various divisions, known as angas and pratyangas. The entire shikhara has minimal ornamentation.
The north-facing elevation of the Suhaveshwar Temple is identical to the south-facing side. The protruding shukanasa, the front of the shikhara (superstructure), is visible here. It is a semi-circular opening. The topmost portion of the main shikhara is missing. The mandapa (pillared hall) shikhara, along the temple's elevation, has a row of large ghantikas (aedicules) that cascade from the center. A gavaksha (dromer window) design tops a square block with diamond motifs at the base of the mandapa shikhara.
The north-facing elevation of the Suhaveshwar Temple is identical to the south-facing side. The protruding shukanasa, the front of the shikhara (superstructure), is visible here. It is a semi-circular opening. The topmost portion of the main shikhara is missing. The mandapa (pillared hall) shikhara, along the temple's elevation, has a row of large ghantikas (aedicules) that cascade from the center. A gavaksha (dromer window) design tops a square block with diamond motifs at the base of the mandapa shikhara.
The Nandi mandapa (pillared hall), or vahana mandapa, stands in front of the Suhaveshwar Temple's main entrance. There is a flight of stairs to the east. It must have had four pillars supporting a shikhara (superstructure) at one point. This Nandi mandapa’s remains are similar to the one in front of the Mahanaleshwar Temple.
The Nandi mandapa (pillared hall), or vahana mandapa, stands in front of the Suhaveshwar Temple's main entrance. There is a flight of stairs to the east. It must have had four pillars supporting a shikhara (superstructure) at one point. This Nandi mandapa’s remains are similar to the one in front of the Mahanaleshwar Temple.
The Suhaveshwar Temple's mandapa (pillared hall) is visible from its mukhamandapa (front porch). The mukhamandapa is composed of two dwarf walls facing each other. The mukhamandapa pillars have cylindrical shafts in the upper half.
The Suhaveshwar Temple's mandapa (pillared hall) is visible from its mukhamandapa (front porch). The mukhamandapa is composed of two dwarf walls facing each other. The mukhamandapa pillars have cylindrical shafts in the upper half.
The mukhamandapa (front porch) of the Suhaveshwar Temple is built on a trabeated system. The mukhamandapa beams connect to the ceiling's concentric circles. Concentric circles of cusps form the circular ceiling. A hanging floral medallion decorates the center, which diminishes in size.
The mukhamandapa (front porch) of the Suhaveshwar Temple is built on a trabeated system. The mukhamandapa beams connect to the ceiling's concentric circles. Concentric circles of cusps form the circular ceiling. A hanging floral medallion decorates the center, which diminishes in size.
The Suhaveshwar Temple's mandapa (pillared hall) is square in design, with lateral transepts to the north and south sides. The pillars are located along the mandapa's exterior dwarf walls, which support the circular dome ceiling. The mandapa lacks pillars in its center, indicating that it is of the astylar variety.
The Suhaveshwar Temple's mandapa (pillared hall) is square in design, with lateral transepts to the north and south sides. The pillars are located along the mandapa's exterior dwarf walls, which support the circular dome ceiling. The mandapa lacks pillars in its center, indicating that it is of the astylar variety.
The domical ceiling in the Suhaveshwar Temple's mandapa (pillared hall) is seen here. The ceiling consists of concentric circles composed of small cusps. Each inner circle has a slight offset from the outer circle. The ceiling's center is adorned with a suspended lotus medallion. The ceiling rests on eight pillars. Just above the pillar capitals, the circular portion of the ceiling has small square brackets with sculptures.
The domical ceiling in the Suhaveshwar Temple's mandapa (pillared hall) is seen here. The ceiling consists of concentric circles composed of small cusps. Each inner circle has a slight offset from the outer circle. The ceiling's center is adorned with a suspended lotus medallion. The ceiling rests on eight pillars. Just above the pillar capitals, the circular portion of the ceiling has small square brackets with sculptures.
Pictured here are the moulding details and ornamentation of the concentric circles of the ceiling of the Suhaveshwar Temple. The lowermost moulding has bharvahakas (load bearers) and sculptures on brackets, depicting that they bear the load. Semi-circular fractals make up each individual circle of the ceiling.
Pictured here are the moulding details and ornamentation of the concentric circles of the ceiling of the Suhaveshwar Temple. The lowermost moulding has bharvahakas (load bearers) and sculptures on brackets, depicting that they bear the load. Semi-circular fractals make up each individual circle of the ceiling.
This is a view of the south-lateral transept inside the Suhaveshwar Temple's mandapa (pillared hall). The transept's dwarf wall has an opening in the center, which leads to a small room. This style of lateral wing, or transept, is similar to the mandapa of the Mahanaleshwar temple. The lower shafts of the pilasters embedded in these walls have elephant sculptures.
This is a view of the south-lateral transept inside the Suhaveshwar Temple's mandapa (pillared hall). The transept's dwarf wall has an opening in the center, which leads to a small room. This style of lateral wing, or transept, is similar to the mandapa of the Mahanaleshwar temple. The lower shafts of the pilasters embedded in these walls have elephant sculptures.
In the Suhaveshwar Temple, an inscription on the pilaster on the right side of the antarala (vestibule or antechamber) is seen. The inscription is written in Sanskrit using Devanagari script. According to the inscriptions, Suhavadevi, queen of Prithviraja II, the Chahamana King in 1168 CE, provided donations for the temple's construction.
In the Suhaveshwar Temple, an inscription on the pilaster on the right side of the antarala (vestibule or antechamber) is seen. The inscription is written in Sanskrit using Devanagari script. According to the inscriptions, Suhavadevi, queen of Prithviraja II, the Chahamana King in 1168 CE, provided donations for the temple's construction.
Here, you can view the details of the Suhaveshwar Temple's garbhagriha (sanctum sanctorum). The entrance is defined by an ornate dvarashakha (architrave). The pilasters flanking the entrance opening, as well as the dvarashakha's vertical and horizontal members, are all plain. Someone has painted the stone. The lintel has an icon of Lakulisa. The seated image is two-handed, holding a staff in its left hand. It is shown as nude. This sculpture on the lintel indicates that the temple was affiliated with the Pashupata tradition.
Here, you can view the details of the Suhaveshwar Temple's garbhagriha (sanctum sanctorum). The entrance is defined by an ornate dvarashakha (architrave). The pilasters flanking the entrance opening, as well as the dvarashakha's vertical and horizontal members, are all plain. Someone has painted the stone. The lintel has an icon of Lakulisa. The seated image is two-handed, holding a staff in its left hand. It is shown as nude. This sculpture on the lintel indicates that the temple was affiliated with the Pashupata tradition.
You can see the interiors of the garbhagriha (sanctum sanctorum) of the Suhaveshwar Temple here. It is square in plan and has a Shiva linga (aniconic representation of Shiva) at its centre as the object of worship. A high pedestal with ornate mouldings holds the Shiva linga.
You can see the interiors of the garbhagriha (sanctum sanctorum) of the Suhaveshwar Temple here. It is square in plan and has a Shiva linga (aniconic representation of Shiva) at its centre as the object of worship. A high pedestal with ornate mouldings holds the Shiva linga.
The north-facing façade of the residential building, a Shaiva matha from the Suhaveshwar temple complex, can be seen here. It is a two-story structure with several rooms on both floors. The matha is in ruinous condition. There are several breaks in the exterior stone of the matha.
The north-facing façade of the residential building, a Shaiva matha from the Suhaveshwar temple complex, can be seen here. It is a two-story structure with several rooms on both floors. The matha is in ruinous condition. There are several breaks in the exterior stone of the matha.
The principal entrance of the Suhaveshwar Temple's matha (monastic or residential building) is seen here, facing north. There is a protruding mukhamandapa (front porch) in the center of the façade, with a balcony above it. Both floors of the matha are semi-open. The north-facing wall is composed of dwarf walls with pillars at regular intervals. The matha's dwarf walls were once home to kakshasanas, or seat backs, but they have now lost several of these slender ones.
The principal entrance of the Suhaveshwar Temple's matha (monastic or residential building) is seen here, facing north. There is a protruding mukhamandapa (front porch) in the center of the façade, with a balcony above it. Both floors of the matha are semi-open. The north-facing wall is composed of dwarf walls with pillars at regular intervals. The matha's dwarf walls were once home to kakshasanas, or seat backs, but they have now lost several of these slender ones.
Here are the details of the Suhaveshwar Temple's mukhamandapa (front porch) matha (monastic or residential building). Two walls flank the entrance of the mukhamandapa, which must have had kakshasanas (seat backs) above them. The corners are marked by pillars. An enclosed space, possibly serving as a matha shrine, stands in front of the mukhamandapa. The matha's pillars are plain, consisting of rectangular stone slats with minimal ornamentation.
Here are the details of the Suhaveshwar Temple's mukhamandapa (front porch) matha (monastic or residential building). Two walls flank the entrance of the mukhamandapa, which must have had kakshasanas (seat backs) above them. The corners are marked by pillars. An enclosed space, possibly serving as a matha shrine, stands in front of the mukhamandapa. The matha's pillars are plain, consisting of rectangular stone slats with minimal ornamentation.
The ground floor of the Suhaveshwar Temple's matha (monastic or residential building) has a long colonnade on its front side. There are four pillars in the colonnade that flank the main entrance. These pillars are equidistant from one another. At the end of the colonnade there is a small cell.
The ground floor of the Suhaveshwar Temple's matha (monastic or residential building) has a long colonnade on its front side. There are four pillars in the colonnade that flank the main entrance. These pillars are equidistant from one another. At the end of the colonnade there is a small cell.
Here is a view of the colonnade on the left side of the main entrance of the Suhaveshwar Temple's matha (monastic or residential building). A row of pillars divides the space into horizontal bays. The front bay leads into two small rooms, one each at the end of the hall. The second connects to various enclosed spaces, each placed equidistantly and connected to the matha's back wall. An ornate dvarashakha (architrave) connects the enclosed rooms to the front bay.
Here is a view of the colonnade on the left side of the main entrance of the Suhaveshwar Temple's matha (monastic or residential building). A row of pillars divides the space into horizontal bays. The front bay leads into two small rooms, one each at the end of the hall. The second connects to various enclosed spaces, each placed equidistantly and connected to the matha's back wall. An ornate dvarashakha (architrave) connects the enclosed rooms to the front bay.
View the colonnade on the upper floor of the matha (monastic or residential) in the Suhaveshwar temple complex. Both its east and west ends connect the colonnade. There are a few rooms on the south side of the floor. This floor is reachable via a staircase, now dilapidated, which is in the eastern corner of the matha.
View the colonnade on the upper floor of the matha (monastic or residential) in the Suhaveshwar temple complex. Both its east and west ends connect the colonnade. There are a few rooms on the south side of the floor. This floor is reachable via a staircase, now dilapidated, which is in the eastern corner of the matha.
The upper floor of the matha (monastic or residential) in the Suhaveshwar temple complex has a balcony that is right above the mukhamandapa (front porch) on the ground floor. Four pillars support a flat ceiling on this balcony. The balcony's base has an opening that leads to a small room. The layout and style of this balcony are similar to the transepts in the mandapas (pillared halls) of the Suhaveshwar and Mahanaleshwar temples.
The upper floor of the matha (monastic or residential) in the Suhaveshwar temple complex has a balcony that is right above the mukhamandapa (front porch) on the ground floor. Four pillars support a flat ceiling on this balcony. The balcony's base has an opening that leads to a small room. The layout and style of this balcony are similar to the transepts in the mandapas (pillared halls) of the Suhaveshwar and Mahanaleshwar temples.
This is a view of the matha (monastic or residential) on the eastern side of the Suhaveshwar temple complex. The matha consists of two long rectangular blocks, with the block on the back side slightly offset from the front. The upper storey of the matha has windows and balconies. The upper storey's side walls have undergone restoration.
This is a view of the matha (monastic or residential) on the eastern side of the Suhaveshwar temple complex. The matha consists of two long rectangular blocks, with the block on the back side slightly offset from the front. The upper storey of the matha has windows and balconies. The upper storey's side walls have undergone restoration.