Suswani Mata Temple at Morkhana: A visual walkthrough

By Swapna Joshi

Morkhana village in the Bikaner district of Rajasthan is an old town with temples, which are more than a thousand years old, along with hero stone steles and a few other historical fragments that are strewn in the village. Legend says that Morkhana, a derivation of the name Morkhiyana, formed part of the territory ruled by Raja Mordhwaj (or Mayurdhwaj); however, there is no epigraphical evidence to support this claim. The Suswani Mata Temple in this village is a 10th century CE goddess shrine protected under the Jodhpur Circle of the Archaeological Survey of India (ASI). It is dedicated to Suswani Maa, who is regarded as an incarnation of Parvati. She is regarded as the kuladevi (ancestral or family deity) of the Surana, Dugar, Sankhla, Sandhaliya, and Kothari families from the Oswal community, predominantly belonging to the Jain tradition. The dating of the temple is based on two aspects: one is the inscription on the pillar of the temple mandapa (pillared hall), and the second is the stylistic features of the temple. The old structure has been hampered by the new additions to the complex. The single shrine temple has a new mandapa and a courtyard added to all its sides, which has camouflaged the original fabric. The sandhara (with a parikrama patha or circumambulatory path) temple is covered behind the newly built walls, and the semi-open mandapa is rebuilt to have entire reinforced cement concrete walls.

Even after these additions, the historical details in the extant temple are not lost. The architectural details like the carvings and icons of the walls of the garbhagriha (sanctum sanctorum), a few pillars of the mandapa, and latina nagara (mono-spired) variety shikhara (superstructure) of the temple can be culled out. The creation of the temple and manifestation of Suswani Maa in Morkhana have interesting tales related to them, and the Kera tree in the premises of the temple is one of its significant features. The temple premises also have several hero stone steles that are in a dire state of preservation. The presence of several stories, some with the dates of the 15th or 16th centuries etched on them, reveal that the historical periods of Morkhana have witnessed several wars, probably among the petty chiefs who ruled this region. A few of such steles are also found near a modern Shiva Temple in the village. These small details and fragmentary remains reveal the rich historical past of Morkhana.

The modern gate of the entry to the Suswani Mata Temple through which one enters the temple premises.
The modern gate of the entry to the Suswani Mata Temple through which one enters the temple premises.
View of the modern dharmashala (a charitable public rest house or shelter) rooms added surrounding the verandah (open-air hallway or porch) of the Suswani Mata temple complex. The shikhara (superstructure) of the main temple and the flagstaff of the centrally located old temple are visible from the open ground in front of the main gate.
View of the modern dharmashala (a charitable public rest house or shelter) rooms added surrounding the verandah (open-air hallway or porch) of the Suswani Mata temple complex. The shikhara (superstructure) of the main temple and the flagstaff of the centrally located old temple are visible from the open ground in front of the main gate.
View of the Suswani Mata Temple from the north-western corner of the complex, in which the old shrine is centrally located and is surrounded by open spaces, with the rest house (dharamshala) constructed later. The sacred Kera tree and the latina shikhara (mono-spired north Indian variety of temple superstructure) are also visible in the picture.
View of the Suswani Mata Temple from the north-western corner of the complex, in which the old shrine is centrally located and is surrounded by open spaces, with the rest house (dharamshala) constructed later. The sacred Kera tree and the latina shikhara (mono-spired north Indian variety of temple superstructure) are also visible in the picture.
View from the rear side, west-facing, of the Suswani Mata Temple consisting of the newly added walls surrounding it along with the Kera tree to the south and other trees that are considered sacred by devotees. The original latina shikhara (mono-spired north Indian variety of temple superstructure) can also be seen.
View from the rear side, west-facing, of the Suswani Mata Temple consisting of the newly added walls surrounding it along with the Kera tree to the south and other trees that are considered sacred by devotees. The original latina shikhara (mono-spired north Indian variety of temple superstructure) can also be seen.
Seen here are the modern mandapa (pillared hall) constructions of the Suswani Mata Temple from the south side. It is done keeping in mind the sacred Kera tree, which is believed to be the spot of manifestation of Suswani Ma (the presiding deity of the temple).
Seen here are the modern mandapa (pillared hall) constructions of the Suswani Mata Temple from the south side. It is done keeping in mind the sacred Kera tree, which is believed to be the spot of manifestation of Suswani Ma (the presiding deity of the temple).
View of the Suswani Mata Temple from the north. In these premises are seen loose stone steles, laid out in a row, which stylistically belong to the same period as the original temple.
View of the Suswani Mata Temple from the north. In these premises are seen loose stone steles, laid out in a row, which stylistically belong to the same period as the original temple.
Above image depicts a dozen architectural fragments, mainly consisting of hero stones (memorial stones), along with some pillar and sculptural fragments. The hero stones were installed here after being found scattered in the temple premises and the vicinity of the village. Today, these stones are propitiated as ‘veeron ke pathar’, depicting the journey of the hero (veer) through different panels, in whose memory the steles were installed.
Above image depicts a dozen architectural fragments, mainly consisting of hero stones (memorial stones), along with some pillar and sculptural fragments. The hero stones were installed here after being found scattered in the temple premises and the vicinity of the village. Today, these stones are propitiated as ‘veeron ke pathar’, depicting the journey of the hero (veer) through different panels, in whose memory the steles were installed.
Seen here is an inscribed and sculpted hero stone (memorial stone) in the Suswani Mata temple premises, which is built in memory of the deceased soul. It is approximately five feet in height, and the front face has an inscription at the centre and human figures in the upper part. The stele is capped with a shikhara (superstructure or spire) motif.
Seen here is an inscribed and sculpted hero stone (memorial stone) in the Suswani Mata temple premises, which is built in memory of the deceased soul. It is approximately five feet in height, and the front face has an inscription at the centre and human figures in the upper part. The stele is capped with a shikhara (superstructure or spire) motif.
A pillar fragment with sculptures on its four sides, of which only two have survived. One image is of a seated Ganesha with four hands, and another is a seated male figure. The finial of the pillar fragment is shaped like a phamasana (pyramidical type) of shikhara (superstructure or spire). The spire has gavaksha (dormer window) motifs on the sides.
A pillar fragment with sculptures on its four sides, of which only two have survived. One image is of a seated Ganesha with four hands, and another is a seated male figure. The finial of the pillar fragment is shaped like a phamasana (pyramidical type) of shikhara (superstructure or spire). The spire has gavaksha (dormer window) motifs on the sides.
Seen here is the back, west-facing elevation of the shikara (superstructure) of the Suswani Mata Temple. The shikhara is composed of a main central band flanked by two slender bands on either side. Originally built in stone, it has been painted later.
Seen here is the back, west-facing elevation of the shikara (superstructure) of the Suswani Mata Temple. The shikhara is composed of a main central band flanked by two slender bands on either side. Originally built in stone, it has been painted later.
Seen here is the front side, east-facing, of the shikhara (superstructure) above the main Suswani Mata Temple, which is of a latina nagara (mon-spired) variety. Square on plan, the shikhara is composed of curvilinear bands. A vertical band of aedicules arranged in a descending manner from top to bottom on the corners. The central band is plain.
Seen here is the front side, east-facing, of the shikhara (superstructure) above the main Suswani Mata Temple, which is of a latina nagara (mon-spired) variety. Square on plan, the shikhara is composed of curvilinear bands. A vertical band of aedicules arranged in a descending manner from top to bottom on the corners. The central band is plain.
View of intricately carved details of a medallion of the shikhara (superstructure) of the Suswani Mata Temple, which is at the bottom of the shikhara. The design is composed of the gavaksha (dormer window) designs and diamond motifs.
View of intricately carved details of a medallion of the shikhara (superstructure) of the Suswani Mata Temple, which is at the bottom of the shikhara. The design is composed of the gavaksha (dormer window) designs and diamond motifs.
Details of the latina nagara (mono-spired) shikhara (superstructure) above the main garbhagriha (sanctum sanctorum) of the Suswani Mata Temple. The corner bands, termed as the venukosha, are composed of small aedicules placed in diminishing heights, divided by thin ribbed discus or amalaka. The discus looks like beaded bands. The aedicules have ribbed corners and diamond motifs on the front faces.
Details of the latina nagara (mono-spired) shikhara (superstructure) above the main garbhagriha (sanctum sanctorum) of the Suswani Mata Temple. The corner bands, termed as the venukosha, are composed of small aedicules placed in diminishing heights, divided by thin ribbed discus or amalaka. The discus looks like beaded bands. The aedicules have ribbed corners and diamond motifs on the front faces.
Seen here is the main entrance of the Suswani Mata Temple, which was made from the donation given by Shri Punamchandaji Surana, son of Dhanpatsinha. This mandapa (pillared hall) has been restored several times, the latest one being carried out in the last decade. A plaque providing information of the doner is visible above the main entrance.
Seen here is the main entrance of the Suswani Mata Temple, which was made from the donation given by Shri Punamchandaji Surana, son of Dhanpatsinha. This mandapa (pillared hall) has been restored several times, the latest one being carried out in the last decade. A plaque providing information of the doner is visible above the main entrance.
View of the interiors of the mandapa (pillared hall) of the Suswani Mata Temple. Though the exteriors of the entire mandapa are renovated, the interiors are survived with four pillars which form part of the original plan of the temple. These four pillars are in front of the garbhagriha (sanctum sanctorum) entrance of the temple. The mandapa is also linked to the exterior of the mulaprasada (main shrine). One can see the pradakshina patha (circumambulatory path) that runs along the garbhagriha.
View of the interiors of the mandapa (pillared hall) of the Suswani Mata Temple. Though the exteriors of the entire mandapa are renovated, the interiors are survived with four pillars which form part of the original plan of the temple. These four pillars are in front of the garbhagriha (sanctum sanctorum) entrance of the temple. The mandapa is also linked to the exterior of the mulaprasada (main shrine). One can see the pradakshina patha (circumambulatory path) that runs along the garbhagriha.
The two pillars seen here belong to the original construction of the Suswani Mata Temple. The pillars have fluted shafts, and at the centre are the ghatapallava (vase with foliage) shaped components. The pillar capitals are shaped like a pot. The paint layers on the surface of the pillars make it difficult to understand the original form.
The two pillars seen here belong to the original construction of the Suswani Mata Temple. The pillars have fluted shafts, and at the centre are the ghatapallava (vase with foliage) shaped components. The pillar capitals are shaped like a pot. The paint layers on the surface of the pillars make it difficult to understand the original form.
Seen here is a sculpture of a female on the south-facing (inner) side of the pillar in the northwest corner of the mandapa (pillared hall) of the Suswani Mata Temple. It is said that there used to be an inscription below this sculpture, which is probably not visible now because of the later added paint. This inscription was supposed to be the sole epigraphical evidence dating the construction of the temple in the 10th century CE. A sculpture carved in deep relief (probably a female) is shown seated on a pedestal. The sculpture is two-handed only and is shown wearing a mukuta (crown).
Seen here is a sculpture of a female on the south-facing (inner) side of the pillar in the northwest corner of the mandapa (pillared hall) of the Suswani Mata Temple. It is said that there used to be an inscription below this sculpture, which is probably not visible now because of the later added paint. This inscription was supposed to be the sole epigraphical evidence dating the construction of the temple in the 10th century CE. A sculpture carved in deep relief (probably a female) is shown seated on a pedestal. The sculpture is two-handed only and is shown wearing a mukuta (crown).
Seen here is the exterior wall elevation of the Suswani Mata Temple. Few of the base plinth mouldings are buried; however, the mouldings of the vedibandha (basal mouldings) are visible in the order of khura (hoof), kumbha (pot), kalasha (a pitcher), kapotapalika (cyma recta), followed by the jangha (wall) portion. The part connecting the garbhagriha (sanctum sanctorum) to the mandapa (pillared hall) is abruptly cut during the modern period restorations. Kumbha moulding with motifs, pancharatha (five ratha or projections on each side) plan with bhadra (central offset), pratiratha (intermediary projection or offset) and karna (corner offset) are visible.
Seen here is the exterior wall elevation of the Suswani Mata Temple. Few of the base plinth mouldings are buried; however, the mouldings of the vedibandha (basal mouldings) are visible in the order of khura (hoof), kumbha (pot), kalasha (a pitcher), kapotapalika (cyma recta), followed by the jangha (wall) portion. The part connecting the garbhagriha (sanctum sanctorum) to the mandapa (pillared hall) is abruptly cut during the modern period restorations. Kumbha moulding with motifs, pancharatha (five ratha or projections on each side) plan with bhadra (central offset), pratiratha (intermediary projection or offset) and karna (corner offset) are visible.
Details of the base mouldings of the Suswani Mata Temple. Four mouldings of the vedibandha (basal mouldings) are visible- from bottom to top, khura (hoof), kumbha (pot), kalasha (pitcher) and kapotapalika (cyma recta). There are floral motifs on the front face of the kumbha moulding.
Details of the base mouldings of the Suswani Mata Temple. Four mouldings of the vedibandha (basal mouldings) are visible- from bottom to top, khura (hoof), kumbha (pot), kalasha (pitcher) and kapotapalika (cyma recta). There are floral motifs on the front face of the kumbha moulding.
Seen here is the jangha (wall) of the Suswani Mata Temple facing south. On the bhadra (central offset) is an in situ sculpture of Ganesha framed in deep decorative niches. This image is flanked by two attendants on the intermediary projections and dikapalas (gods of the cardinal directions) on the corner projections of the wall. The devakosthas (niches) on the central and corner projections have small vyala (mythical composite figures) on the brackets.
Seen here is the jangha (wall) of the Suswani Mata Temple facing south. On the bhadra (central offset) is an in situ sculpture of Ganesha framed in deep decorative niches. This image is flanked by two attendants on the intermediary projections and dikapalas (gods of the cardinal directions) on the corner projections of the wall. The devakosthas (niches) on the central and corner projections have small vyala (mythical composite figures) on the brackets.
Ganesha sculpture in the devakoshtha (niche) on the bhadra (principal or central projection) of the south-facing wall of Suswani Mata Temple. Framed in a niche composed of two pilaster motifs surmounted by a pediment of gavasksha (dormer window) designs, the main Ganesha image is supported by another small Ganesha in a small frame right above its head. It is a seated, eight-handed image of Ganesha. Some of the visible attributes of the image are pasha (noose), ankush (bullhook), sarpa (serpent) and bijapuraka (citron, symbolized as ‘seed of universe’).
Ganesha sculpture in the devakoshtha (niche) on the bhadra (principal or central projection) of the south-facing wall of Suswani Mata Temple. Framed in a niche composed of two pilaster motifs surmounted by a pediment of gavasksha (dormer window) designs, the main Ganesha image is supported by another small Ganesha in a small frame right above its head. It is a seated, eight-handed image of Ganesha. Some of the visible attributes of the image are pasha (noose), ankush (bullhook), sarpa (serpent) and bijapuraka (citron, symbolized as ‘seed of universe’).
Seen here is the jangha (wall) of the Suswani Mata Temple on the west and north-facing sides. Each of these walls has five divisions in which the bhadra (central offset) is the most protruding projection, and subsidiary projections are offset to each other. This makes it a pancharatha (five ratha or projections on each side) variety of temple plans.
Seen here is the jangha (wall) of the Suswani Mata Temple on the west and north-facing sides. Each of these walls has five divisions in which the bhadra (central offset) is the most protruding projection, and subsidiary projections are offset to each other. This makes it a pancharatha (five ratha or projections on each side) variety of temple plans.
The image in the principal niche on the south-facing wall of the Suswani Mata Temple wall is covered in drapery, but based on the visible portions, it appears to be Mahishasurmardini mounted on a lion. The left upper hands of the deity are holding a shield and sword. Near the left leg is a lion, the mount (vahana) of the goddess.
The image in the principal niche on the south-facing wall of the Suswani Mata Temple wall is covered in drapery, but based on the visible portions, it appears to be Mahishasurmardini mounted on a lion. The left upper hands of the deity are holding a shield and sword. Near the left leg is a lion, the mount (vahana) of the goddess.
The dvarashakha or main architrave of the garbhagriha (sanctum sanctorum) of the Suswani Mata Temple. This profusely carved architrave consists of two shakhas (divisions on its vertical sides). The main shakha has a row of female figures on vahanas (mounts). Four on each side of the architrave, these female figures are Saptamatrikas (seven mother goddesses, namely Brahmani, Maheswari, Kaumari, Vaishnavi, Varahi, Indrani and Chamunda).
The dvarashakha or main architrave of the garbhagriha (sanctum sanctorum) of the Suswani Mata Temple. This profusely carved architrave consists of two shakhas (divisions on its vertical sides). The main shakha has a row of female figures on vahanas (mounts). Four on each side of the architrave, these female figures are Saptamatrikas (seven mother goddesses, namely Brahmani, Maheswari, Kaumari, Vaishnavi, Varahi, Indrani and Chamunda).
Main shrine image of Suswani Ma inside the garbhagriha (sanctum sanctorum) of the Suswani Mata Temple. The figure, covered in drapery, is shown seated on a rectangular pedestal.
Main shrine image of Suswani Ma inside the garbhagriha (sanctum sanctorum) of the Suswani Mata Temple. The figure, covered in drapery, is shown seated on a rectangular pedestal.
A side shrine of the Bhomiya Maharaja on the premises of the Suswani Mata Temple next to the sacred Kera tree. The Kera tree is believed to be the spot where Suswani Ma manifested herself and eventually stayed at the location of the present-day temple.
A side shrine of the Bhomiya Maharaja on the premises of the Suswani Mata Temple next to the sacred Kera tree. The Kera tree is believed to be the spot where Suswani Ma manifested herself and eventually stayed at the location of the present-day temple.
A row of hero stones (memorial stones) is installed near the Shiva Temple in the Morkhana village. This temple is a little away, to the north of the Suswani Mata Temple. The hero stones have depictions of male figures mounted on horses, sometimes along with a standing male figure in namaskar mudra (gesture of offering and devotion). Some of these are inscribed with dates from the 16th century CE.
A row of hero stones (memorial stones) is installed near the Shiva Temple in the Morkhana village. This temple is a little away, to the north of the Suswani Mata Temple. The hero stones have depictions of male figures mounted on horses, sometimes along with a standing male figure in namaskar mudra (gesture of offering and devotion). Some of these are inscribed with dates from the 16th century CE.
An inscribed hero stone in a row of such steles near the Shiva Temple in Morkhana village. The stele is partially broken and survived with a depiction of a male figure mounted on a horse. Below the depiction is a three-line inscription. It is not entirely legible, but the date of Vikaram Samvat 15__ can be deduced from it. The mounted horse is in a marching position. The stele is approximately a foot in height.
An inscribed hero stone in a row of such steles near the Shiva Temple in Morkhana village. The stele is partially broken and survived with a depiction of a male figure mounted on a horse. Below the depiction is a three-line inscription. It is not entirely legible, but the date of Vikaram Samvat 15__ can be deduced from it. The mounted horse is in a marching position. The stele is approximately a foot in height.