The Goddess’s Abode: Suswani Mata Temple in Morkhana

By Swapna Joshi

Morkhana is a village known for its Suswani Mata Temple, located in the Bikaner district of Rajasthan. According to legend, Morkhana, once known as Morkhiyana, was blessed by Shiva and Parvati and founded by a transformed peacock. About 20 kilometres away lies Deshnoke, home to the Karni Mata shrine, indicating the region’s devotion to goddess worship. Suswani Mata is the kuladevi (family/ancestral deity) of mainly the Surana clan within the Sankhla Jain community. This community traces its lineage to Suro of the Paramaras, or Pavara Rajputs, who adopted the Jain religion during the reign of Jai Singh Siddharaja of Gujarat in the late 11th century CE.[1] In addition to members of this community, many Hindu devotees also visit the Morkhana Temple. Suswani is regarded as an incarnation of the Jain Goddess Ambika, worshipped as a mother goddess who fulfils the wishes of her devotees.

Suswani Mata is also revered as an incarnation of Parvati. It is believed that she appeared in Morkhana to escape the Badshah of Nagaur, who sought to marry her against her family’s wishes. The goddess was saved by Shiva, who threw a chimta (tongs) at a location where a Kera tree split, thereby creating a space for the goddess to be accepted within its embrace. A temple was subsequently built at this location in her honour, and Suswani Mata became a significant divine figure in the region. People believe that the holy tree is situated to the south elevation of the present-day temple.

Suswani Mata, regarded as an incarnation of Ambika, Padma, and Parvati and revered for her strong feminine power, is considered a protector of women. According to K.C. Jain in his book Ancient Cities and Towns of Rajasthan, the ancient name of Morkhana was Morkhiyana. [2] The actual date of the construction of the Suswani Mata Temple is not known. Scholars like K.C. Jain, G.H. Ojha, and Hermann Goetz have reported inscriptions from the Suswani Mata Temple, which are currently concealed under layers of paint. The oldest reported inscription is from the pillar of the temple mandapa (pillared hall) and dates the temple to 1172 CE. (Image 1) Although the inscription records the donation of a certain Sonideva, it does not provide any other information regarding the temple’s construction. As seen in the photograph provided by Hermann Goetz, a figure is depicted above the inscription, probably a portrait of the temple’s donor. [3] Another inscription detailing restoration work carried out in the temple was present in the mandapa of the temple. [4] According to these inscriptions, in the early 16th century CE, Hemaraja, the son of Shivaraja, was instrumental in making the temple of Gotra Devi, and the consecration of the idol was performed by Nandivardhansuri, the successor of Padmanandasuri. [5] Today, this inscription is not traceable.

Image 1: 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 sitting on a pedestal. The sculpture is two-handed only and is shown wearing a mukuta (crown).
Image 1: 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 sitting on a pedestal. The sculpture is two-handed only and is shown wearing a mukuta (crown).

In the absence of inscriptional references, stylistic data aids in determining the period for the construction of the temple. An analysis of the architectural details of the surviving components of the temple will help understand the temporal context of the Suswani Mata Temple.

Architectural Description of the Suswani Mata Temple

Exterior of the temple

The temple is a single shrine, originally consisting of a garbhagriha (sanctum sanctorum), antarala (antechamber), and a mandapa on plan. Gaurishankar Ojha, in his book, History of the Bikaner State, noted that these components of the temple were in their original form and style. [6] Presently, barring the garbhagriha and partially the antarala, all other spaces have changed due to recent restoration work. The mulaprasada (main shrine) is orthogonal in plan and of a pancharatha (consisting of five projections) variety. The base mouldings of the temple plinth are buried under modern flooring that has been added. The remaining portion of the vedibandha (basal mouldings) begins from a simple bhitta (bottommost unornamented moulding) course followed by four classical mouldings: khura (hoof), kumbha (pot), kalasha (a pitcher) and kapotapalika (cyma recta). The kumbha moulding has a curved offset at its bottom, acting like the khura (hoof) moulding. These kumbha mouldings are adorned with ardhachandra (half-moon), ardharatna (half-diamond), and udgama (medallion) motifs on the corner, intermediate, and central projections, respectively. This peculiar combination of motifs on the kumbha moulding, devoid of any iconographic depictions, is commonly found in temples of Gujarat and Rajasthan during the 10th-11th century CE. For instance, the Vishnu Temple at Sander, Muleshwar Mahadev Temple at Padan and Agiya Vetal Temple at Bhankar in Gujarat, the Adinatha Temple at Nadalai and the Adinath Temple at Nadol in Rajasthan exhibit this combination of ornamentation on the kumbha moulding. Although the forms of these motifs are not discernible in the Suswani Mata Temple, the shallow carved lines indicate a probable similarity to the 12th-century CE temples mentioned earlier.

The kumbha moulding is followed by a kalasha moulding, cylindrical in shape and without ornamentation. This is topped by a kapotali, which also acts as the base moulding for the temple walls with images on it. The jangha (wall) is profusely carved with figural sculptures on the projections and recesses. (Image 2) The three principal projections facing cardinal directions depict the goddess mounted on a lion in the north-facing bhadra (principal or central projection), Shiva or a goddess in the south-facing bhadra, and Ganesha in the western bhadra. Hermann Goetz identified the image in the northern bhadra as Ambika, while the image in the southern bhadra remains difficult to identify. The paint and drapery on the icons were added much later and are misleading. Goetz also suggested that the temple was most likely built as a Shiva temple and was later converted into a Jain shrine. [7]

Image 2: 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.
Image 2: 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 subsidiary projections display celestial damsels and dikapalas (gods of the cardinal direction). The recesses separating the wall projections are filled with vyala (composite mythical creature) figures. All the icons are framed in a relief niche, crowned by an arch and supported by pilasters on either side. It is likely similar to the ‘flaming niche’ commonly found in temples of this period, such as the Chausanth Yogini Temple at Arthuna. All the icons on the wall projections are topped by an elaborate udgama pediment formed of several interlaced gavakshas (dormer window) motifs. This pediment design is similar to the shukanasa (an ornamental projection over the sanctum of the temple) of the shikhara (superstructure). (Image 3) The topmost moulding of the wall has perforated motifs called kunjaraksha.

Image 3: Seen here is the front side, east-facing, of the shikhara (superstructure) above the main Suswani Mata Temple, which is of a Latina Nagara (mono-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.
Image 3: Seen here is the front side, east-facing, of the shikhara (superstructure) above the main Suswani Mata Temple, which is of a Latina Nagara (mono-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.

As mentioned earlier, the mandapa of the temple is a modern construction. Originally, the outer walls of the mandapa enveloped the exterior of the main shrine, creating a circumambulatory passage around the mulaprasada. G.H. Ojha opined that the walls surrounding the mulaprasada were originally dwarf walls. [8] In this setting, the main temple walls must have been visible from the outer periphery of the temple. The interior of the mandapa has four original pillars of the ghatpallava variety (pillars with vase and foliage motifs). (Image 4)

Image 4: The two pillars seen here belong to the original construction of the Suswani Mata Temple. The pillars have fluted shafts accompanied by ghatapallava (vase with foliage) shaped components at the centre, and 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.
Image 4: The two pillars seen here belong to the original construction of the Suswani Mata Temple. The pillars have fluted shafts accompanied by ghatapallava (vase with foliage) shaped components at the centre, and 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.

Atop the garbhagriha is the shikhara of the temple. It is of the latina nagara (mono-spired) variety and is accessible from the southern side of the modern mandapa. The shikhara consists of a central spine embellished with gavaksha designs and flanked by bhumi khanda (storey division) courses. These are vertical moulded blocks of diminishing size adorned with dormer motifs and separated by thin layers of amalaka (ribbed discs). The front of the shikhara has an intricate pediment formed of a combination of the chaitya dormer motifs.

Interior of the temple

The garbhagriha enshrines the main deity, Suswani, on a rectangular pedestal covered with a metal encasing. (Image 5) The entrance to this garbhagriha is through an ornate doorframe with various shakhas (divisions). The sthambha shakha includes images of the saptamatrikas (seven goddesses representing Shakti) along with Ganesha. The goddesses are likely Bramhani and Kaumari on the left flank and Chamunda, Indrani, and Varahi on the right. However, the images have eroded and painted over, making identification very difficult.

Image 5: Main shrine image of Suswani Ma inside the garbhagriha (sanctum sanctorum) of the Suswani Mata Temple. The image, covered in drapery, is shown sitting on a rectangular pedestal.
Image 5: Main shrine image of Suswani Ma inside the garbhagriha (sanctum sanctorum) of the Suswani Mata Temple. The image, covered in drapery, is shown sitting on a rectangular pedestal.

Sculptural Fragments in the Temple Premises

In addition to the main temple, several historical fragments are found in the courtyard. These fragments are mainly hero stones, large rectangular stone slabs with engravings on one side. Currently placed to the north of the main temple, these fragments are worshipped by devotees as ‘viron ke pathar’, meaning ‘stones of the heroic people’. Continuous worship has resulted in their poor condition, as offerings like oil, grains, and sweets have damaged the engravings on their surfaces. Among the 12 stones, one is a four-sided post with sculptures on all sides. In History of the Bikaner State, G.H. Ojha mentions the presence of nine ‘devaliyan’, one Govardhan or kirtistambha (pillar of glory), and one sculpture of a deity. Ojha shows particular interest in the kirtistambha,[9] which is likely the fragmented four-sided post found in the temple premises today. Most of the sculptures on this post are ruined, except for the depiction of Ganesha on one side, identifiable by his trunk and large ears. Another side probably depicts a Jina, shown sitting in a meditative posture with a chhatra (parasol) above its head. The remaining two sides are eroded beyond identification. The post has a replica of a miniature phamasana shikhara (pyramidical superstructure) as its finial. Although eroded, small half-moon motifs can be seen on the tiered finial.

Among the carvings of the hero stones, likely the devaliyan referred to by Ojha, are traces of a few men mounted on horses and human figures standing with hands folded in namaskar mudra. A hero-stone is a carved stone slab, with or without inscription, dedicated to the memory of a deceased hero who lost his life on the battlefield while protecting his clan. The depictions on the hero-stone steles in the Suswani Mata Temple are similar. At the time of Ojha’s reading in the early 20th century CE, all these fragments were damaged, making the engravings and the inscriptions illegible. He opines that the devaliyan are datable to the 13th century CE of the Vikrama Samvata, placing them in the period of Rajput rulers. Ojha’s conjecture is based on the stylistic features and an inscription found on one of the slabs, which, according to him, indicates the date of 1174 CE.

Present Condition of the temple

The Suswani Mata Temple Trust of Bikaner currently oversees the management of the temple. Over the years, the temple has undergone several changes, additions, and alterations. In the past two decades, the old temple has been encased within newly built courtyards, surrounded by dharmashalas (rest houses), dining halls, and restrooms. These developments have been made possible through generous donations from community members dedicated to the construction projects and temple upkeep. While the temple grounds are well-maintained, the application of unwanted paint layers on the temple walls has resulted in the erosion of intricate carvings. Additionally, the mandapa of the temple has been rebuilt, losing its original architectural character. Furthermore, scattered architectural and sculptural fragments within the temple premises, regarded as objects of worship, have suffered damage, leading to a loss of their historical value. This loss of historical data presents challenges in accurately dating the temple’s construction and understanding the broader history of Morkhana.

Despite these challenges, the temple remains a significant pilgrimage site, particularly during the Navaratri festival, attracting devotees who participate in elaborate rituals, including offerings and wearing red sarees. The temple trust continues to manage pilgrim facilities and relies on community contributions to uphold the temple’s historical and cultural significance.

Footnotes:

[1] Goetz, The Art and Architecture of Bikaner State, 58.

[2] Jain, Ancient Cities and Towns of Rajasthan, 423.

[3] Goetz, 146.

[4] Nahta and Nahta, eds., Bikaner Jain Lekh Sangraha, 363.

[5] Ojha, History of the Bikaner State, 59.

[6] Ibid., 1-58.

[7] Goetz, 31.

[8] Ojha, 1-58.

[9] Ojha, History of the Bikaner State.

Bibliography:

Goetz, Hermann. The Art and Architecture of Bikaner State. Oxford: Government of Bikaner State and the Royal India and Pakistan Society by Bruno Cassirer, 1950.

Jain, K. C. Ancient Cities and Towns of Rajasthan: A Study of Culture and Civilization. Delhi: Motilal Banarsidass, 1972.

Nahta, Agarchand, and Bhanwarlal Nahta, eds. Bikaner Jain Lekh Sangraha. Shri Abhay Jain Granthamala 15. Calcutta: Nahta Brothers, 1936.

Ojha, Gaurishankar Hirachand. History of the Bikaner State (Hindi). Vol. 1. 1st ed. 2 vols. Ajmer: Vedic Yantralaya, 1939.