Bijolia: A Visual Symphony—Mahakal Temple, Hazareshwar Temple and Undeshwar Temple
Bijolia is a small town situated on the Uparmal plateau in the Bhilwara district of Rajasthan, near Bundi and Kota. In ancient times, Bijolia was known by the name Vindhyavali [1], and it was also known as Morakuro and Ahaichpur. [2] The Huna princes are believed to have been the first founders of Bijolia and the paramount lords of the region in Rajasthan, stretching from near the Kota border to the precincts of Bundi. The Hunas were conquered by the Chahamanas or Chauhans and the Gehlots of Mewar. Subsequently, the region of Bijolia was held by vassals of the Ranas of Mewar (present-day Udaipur), who bore the title of Rao. The Raos are an offshoot of the Paramaras, whose ancestors migrated from Jagner to Mewar in 1610 CE.
A fortified settlement with two gates, one on the north and another on the south, Bijolia is renowned for its impressive Brahmanical and Jain temples. The town has also unearthed significant epigraphical records that shed light on the political and religious landscape during the early medieval period. In the same record, approximately 25 Brahmanical temples [3] are mentioned, but only a few remain today. The remaining Brahmanical temples include the Bijolia group of temples comprising the Mahakal Temple, Hazareshwar Temple, and Undeshwar Temple, all of which are situated in a complex featuring a well-known reservoir called Mandakini Kund. All these temples and the kund (tank) are protected monuments under the care of the Archaeological Survey of India (ASI), Jaipur Circle (Image 1).
The Jain temples of Bijolia were constructed in the panchayatan (main shrine with four subsidiary shrines) style with a kund. At present, the complex also features modern structures and facilities. The epigraphical records of Bijolia include two large rock inscriptions. The first documents the construction or restoration of a Jain temple dedicated to Parshvanatha. This extensive inscription provides the genealogy of the Chahmanas of Shakambari and details about the donor and his family.[4] The second inscription is the Jain poem Unnata Shikhara Purana. [5] The module and this overview article focus on the Brahmanical temple complex known as the Bijolia group of temples, Mahakal, Hazareshwar, and Undeshwar temples, each representing distinct architectural styles.
The Bijolia temples have long captivated scholars and antiquarians. Col. James Tod first described them in his Annals and Antiquities of Rajasthan. Subsequently, the archaeologist A. C. L. Carlleyle, under the supervision of the archaeological surveyor Maj Gen Alexander Cunningham, visited the site and provided an exhaustive account of the three Brahmanical temples in the Report of the Archaeological Survey of India. Carlleyle's report also examined the inscriptions at Mandakini Kund and the rock inscriptions. Later, D.R. Bhandarkar detailed the Bijolia temples in the Progress Report of the Archaeological Survey of Western India. [6]
Mahakal Temple:
The Mahakal Temple (Image 2) is a twin temple known as Mahakal (eastern shrine) and Baijnath (southern shrine). [7] The temples are dedicated to Shiva and house Shiva linga in both sanctums. It faces west and has a mukhamandapa (front porch), mandapa (pillared hall), antarala (vestibule), a garbhagriha (sanctum sanctorum) in the south and another garbhagriha in the east (Image 3).
The temple has a vedibandha (basal mouldings), which is comprised of khura (hoof shaped base moulding), kapotapalika (cyma recta), kumbha (high basal moulding with pot shaped curved shoulder) and kalasha (pitcher). The southern garbhagriha (Image 4) has carvings of a few motifs, but the eastern garbhagriha (Image 4) is entirely plain. Similarly, the jangha (wall) of the southern garbhagriha is adorned with carved stambhas (pillars), jali (lattice) windows and divine figures, but the jangha of the main garbhagriha is plain and comprised of plain stambhas. The shikhara (spire) of the mandapa is carved of the samvarna (pyramidical) type. However, the shikhara of the southern garbhagriha is built in the latina (mono-spired) style, and the shikhara of the eastern garbhagriha is carved in the shekhari (multi-spired) style.
The entrance to the mukhamandapa (Image 5) is flanked by two large sculptures of Ganesha and Bhairava. The mukhamandapa is a small passage with kakshasana (seat backs) on its lateral sides and four pillars standing on it, supporting the flat roof. The design of the ceiling of the mukhamandapa transitions from a square into an octagon that then turns into a circle.
The pillars of the mukhamandapa are carved in two different styles (Image 6). The front pillars have square bases with purnaghata kalasha (vase of plenty) that support the octagonal middle portion with Matrikas installed in niches. The rear pillars have square bases that are carved with the figures of divinity on all four sides. The upper portion is octagonal and adorned with miniature niches on all sides. Within the niches are figures of seated goddesses, topped with a band ornamented with various figures and kirtimukha (face of glory).
The mukhamandapa leads to the mandapa, which has two loose busts of Sadashiva on its entrance. The mandapa (Image 7) is a closed, square hall with plain stone walls with a pair of pillars in cardinal directions and pilasters in the corners. It has a platform at the centre, which has a Nandi at its centre. The ceiling of the mandapa is a large square structure that transitions into an octagon and then finally turns into a concentric circular ceiling. The mandapa of this temple is unique because of the addition of two features. It has a small shrine on the left dedicated to Shiva. On the right, there is a small underground water channel. The wall of this side is beautifully adorned with the jali work, which is rare in North Indian temples.
The lateral side of the mandapa leads to a small passage that proceeds to the small shrine (Image 8). The shrine has an intricately carved, multi-shakha (branch) doorframe. The central shakha of the doorframe is installed with niches carved with the figures seated Shiva and his forms. The lalatabimba (central symbol on the door lintel) of the door is damaged and painted white, and as a result, the details cannot be seen. Flanking the central figure are the Matrikas and Ganesha. The entablature above the lalatabimba is carved with sculptures of the trimurti with Shiva at the centre, Brahma on his right and Vishnu on his left. The Trinity is flanked by female attendants on both sides.
The garbhagriha is a small square structure with plain walls. The lateral walls have windows carved with jali work. The shrine ceiling has concentric squares that culminate in a blooming flower. At the centre of the garbhagriha is a Shiva linga with a square yonipatta (womb shaped base on which the Shiva linga is placed). The mandapa leads to the antarala, marked by two pillars supporting the lintel. There are nine niches carved into the lintel with a deity in each. These deities are flanked by dancers and musicians. The details of the deities have eroded over time, and, therefore, the deities cannot be identified.
The antarala leads to the garbhagriha (Image 9), which has a carved doorframe. The doorframe is carved with multiple shakhas, dvarapalas (door guardians) and women holding kalasha (pitcher). The lintel of the doorframe shows a seated figure, but it is not in a good state of preservation. The entablature above the lintel depicts Natesha at the centre. The garbhagriha is a square, plain, dark chamber with the Shivalinga at the centre.
The external walls of the temple have only simple carved sculptures. The mukhamandapa and the mandapa have sculptures on the kakshasana and the jangha. The mukhamandapa has a kakshasana with niches with divine figures installed within them. The divine figures include gods such as Brahma and goddesses such as Kaumari. In between the figures of divinities, one can notice the representation of ascetics, musicians, and surasundaris (celestial damsels).
The exterior wall of the mandapa is carved with the minor deities. On the north side, beautiful jali work adorns the projected bhadra (central offset). The corner of the mandapa on the same side is adorned with depictions of Kubera and Ishana. The tall standing figure of Kubera (Image 10) has four arms. He is holding a money bag in his upper hands, a kamandalu (water pot) in his lower left hand, and a gada (mace) in his lower right hand. At the bottom of the niche, Kubera’s vahana (mount) Airavat is carved.
On the other side of Kubera, Ishana is carved, holding a trishula (trident) in his upper right hand, which is now broken (Image 10). His upper left hand holds a sarpa (snake) while his lower left holds a kamandalu. His lower left hand holds a rosary and is placed in varada hasta (boon-giving gesture). A bull was also carved at the bottom but is now broken.
The jangha of the southern garbhagriha has bhadraratha (central projection) carved with the niche on the south, and the east and west sides of the jangha have jali windows. The bhadra in the south shows a headless seated figure with a mark on his chest, suggesting that this might be a figure of Jina. The jangha of the eastern garbhagriha is entirely plain and devoid of sculptural art, but the shikhara of the garbhagriha depicts icons of Vishnu, Shiva, and Brahma on three sides (Image 11). On the north side, Brahma is portrayed with three faces and four arms and seated on a pedestal. He holds a shruka (ladle) in his upper right hand, a pustaka (book) in his upper left hand, and a kamandalu in his lower left hand. His lower right hand is in the varada hasta position.
On the east side of the shikhara, Shiva is depicted seated on a pedestal. His upper right attribute is broken, but he holds a sarpa in his upper left hand. Like Brahma, Shiva also carries a kamandalu in his left hand, while his right hand is in the varada hasta gesture. On the southern side of the shikhara, there is a depiction of Vishnu, now defaced. He holds a gada in his upper right hand and a chakra (discus) in his upper left. His lower left hand holds a shankha (conch), and his lower right hand is in varada hasta. There is an auspicious mark on his right hand.
Hazareshwar Temple:
The Hazareshwar temple (Image 12) is situated close to the Mahakal temple. The temple was known as Svarnajaleshwar earlier. The temple is dedicated to Shiva and faces the east. The garbhagriha has a large linga at the centre that is carved with one thousand (hazar) miniature lingas (aniconic representation of Shiva), giving the temple its name, Hazareshwar. According to the ASI, the temple is built in the Bhumija style of architecture. An inscription on the mandapa of the temple suggests that the temple was dedicated to Pashupata Shaivism.
The Hazareshwar temple is modest in size, designed to have a mandapa, a shallow antarala, and a garbhagriha (Image 13). The temple stands on a well profound vedibandha on which the jangha is placed, which supports the shikhara. The mandapa is a small square open hall on a low base with four pillars at the corners supporting the mandapa's ceiling. The pillars have square bases with the depiction of deities on them. The shaft is carved with the figures of male deities, musicians, dancers, and surasundaris. The shaft turns into an octagonal shape, further turning into a sixteen-faceted one, and finally a circular one. Above the shaft is the abacus that supports the bharavahakas (load bearers) brackets, which, in turn, supports the lintel. The ceiling of the mandapa is square and carved beautifully. The roof of the mandapa is flat and has a parapet. There is an idol of Nandi in the mandapa.
The mandapa leads to the antarala, which is very shallow. The antarala leads to the garbhagriha, which has an intricately carved doorframe (Image 14). The doorframe is multi-shakha, adorned with floral motifs, stambha, and vyala (composite mythical creatures) bands. At the bottom portion of the doorframe, two female figures can be seen holding a kalasha and a chauri (fly whisk). The third figure is four-armed Shaiva dvarapalas, which are carved in niches. The last figure is of Kubera, who is shown holding a money bag.
The presence of Lakulisa on the lintel of the garbhagriha suggests that the temple is dedicated to Pashupata Shaivism. Lakulisha is shown seated, holding a lakuta (staff) and a citron fruit. The uttaranga (door architrave) above the lalatabimba also depicts male deities. The garbhagriha is a small square chamber with plain walls that support the octagonal ceiling, which transforms into a circular shape. At the centre of the chamber is the Shiva linga, carved with hundreds of lingas (Image 15).
The temple exterior is beautifully adorned with the figures of deities (Image 16). The vedibandha includes the khura, kapotapalika, garggarika (decorative motif comprising of the arrow between two spirals), karnika (knife-edged arris moulding), grassapatta (band of kirtimukhas or face of glory motif), plain patta (band), kumbha with the figures of deities, kalasha with manibandha (band of diamonds alternating with rosettes), gaggarika, and kapotapalika. The kumbha moulding of the vedibandha is noteworthy as divine figures are depicted in its niches.
The jangha (Image 16) has Bhadra on all three sides, and the space in between is comprised of stambhas adorned with a peepal leaf motif and grassapatta. In the bhadra of the jangha, one can find the sculptures of Nataraja, Vishnu, and Brahma (Image 17). The lateral walls of the antarala depict Chamunda and Bhairava (Image 18).
The shikhara is built in a mixed style. The cardinal direction has a tall mulamanjari (vertical spire) added with uruhshringas (half-spires) and kutas (miniature spires). There are pediments on all three sides, and above these pediments, there are surasenaka (pediments made up of chaitya dormer). The pediments above the antarala and garbhagriha depict Brahmani, Brahma, and Shiva. The surasenaka is installed with a beautiful figure of Natesha. At the top of the shikhara, there is an amalaka (crowning member of the spire that looks like a myrobolan fruit) and a stupi (finial).
Undeshwar Temple:
Located within the Mahakal temple complex, adjacent to Mandakini Kund and behind the Mahakal temple, stands the Undeshwar temple, built in the Bhumija style (Image 19). The name stems from the fact that the sanctum sanctorum of this temple is positioned approximately 2.4 meters lower than the floor level of the assembly hall. [8] Distinguishing itself from the Mahakal and Hazareshwar temples, the Undeshwar temple has intricate external wall carvings adorned with sculptures.
The temple, dedicated to Shiva, faces west and has a stellate plan, a typical feature of the Bhumija style feature (Image 20). It is saptaratha (having seven segmented wall divisions) on plan and comprised of a mukhamandapa, sabhamandapa (open type of pillared hall) with projections on the north and south, an antarala and a garbhagriha. The temple stands on profusely carved, tall vedibandha that provides the base for the jangha and has a Bhumija style shikhara with nine bhumis (storey).
The mukhamandapa (Image 21) serves as a small entrance hall with short walls on its sides. Positioned atop these walls are four pillars placed at each corner, supporting the flat roof overhead. The entrance to the mukhamandapa has a large standing figure of Kartikeya on the right and a flight of steps that leads to the mukhamandapa. The pillars have a square base with purnakalasha that supports the short circular shaft and mouldings. The bharavahakas above support the carved lintels that, in turn, bear the weight of the circular ceiling comprised of concentric circles marked by cusped arches. There are brackets on this circular ceiling that house depictions of beautiful figures.
The mukhamandapa leads to the sabhamandapa, which has tall pillars (Image 22). The pillars have square bases and octagonal shafts that turn faceted and circular. The square base is carved with various figures, including dikpalas (guardians of directions), sursundaris, female dancers, and musicians. One of the distinguishing features of this temple is that the central four pillars of the mandapa are topped by intricately carved makara toranas (Image 22). The four central pillars with toranas (gateways) support the concentric cusped arch circular ceiling. This intricately carved ceiling depicts flying gods and goddesses holding their respective attributes.
The mandapa leads to the antarala, which is a shallow passage marked by the pillars on the lateral side. The antarala leads to the garbhagriha, which has an ornately carved doorframe. The doorframe (Image 23) is multi-shakha, and each shakha is carved with floral designs. One of the distinct shakhas is the second shakha from the gate, as it is a band of nagas (serpents) with human bodies and snake hoods over their head, depicted with folded hands. Also notable is the stambhashakha (pillar branch), which is carved with intricate designs. The lower portion of the doorframe has four female figures, two of whom hold kalasha while the other two hold chauri. The next figure is of four-armed dvarapalas holding their respective attributes, and the last figure is of Kubera, who is shown holding the money bag. The entablature above the lalatabimba shows Nataraja at the centre, flanked by seated goddesses, and at the end, there are depictions of Brahma and Vishnu.
The garbhagriha is a small square chamber situated 2.4 meters lower than the floor level of the sabhamandapa. A flight of steps is provided to reach the garbhagriha. At the centre of the garbhagriha, there is a Shiva linga. The walls of the garbhagriha are plain and completely devoid of any ornamentation and figural representation. The square ceiling transforms into a circular one carved with concentric circles with cusped arches.
Exterior of the Temple:
The temple stands on a tall, carved vedibandha (Image 24). The basal moulding is comprised of bhittas, karnika, kapotapalika, grassapatta, and gajathara (moulding carved with elephant figures). The mukhamandapa and mandapa have kakshasana carved with niches that have figures of deities installed within them. The spaces between the niches represent the ascetics, surasundaris, dancers, and musicians. The gods include avatars of Vishnu, dancing Shiva, syncretic figures of Harihara and Ardhanarishwar, and dikapalas (deities of cardinal directions). On the antarala, there are depictions of Chamunda.
The jangha of the garbhagriha has bhadra at the centre on all three sides, and the space between these bhadras is occupied by the projected stambhas (Image 24). The bhadras depict Vishnu, Brahma, and one unidentified deity. The stambhas are carved with depictions of ashta dikapalas, surasundaris, apsaras (celestial damsels), musicians, and dancers. These bhadra have panels at the base, one above the other depicting various divine figures. Above the panels, there are sukanasas that depicts a dancing Shiva. This part has been carved with an impressive web of chaitya arches. The space between the bhadras is filled with the five rows of vertically aligned kutas (square aedicule) topped by an amalaka and a stupi. The shikhara of the garbhagriha (Image 24) has a bhadraratha projecting toward the cardinal direction.
Mandakini Kund:
The Mandakini Kund (Image 25) is a sacred water reservoir situated within the Bijolia temple complex. The reservoir has historical inscriptions that date back to the medieval period and suggest that the kund was a popular architectural feature during that time. It is still in use today, and the devotees regularly take ritual baths in it.
The kund has an enclosure wall with entrances on three sides. On the fourth side of the kund is a flat-roofed structure supported by pillars. The walls have a few sculptures of gods and goddesses. There are two small pavilions at the corners of the kund that have Shiva lingas. On the steps of the Mandakini Kund, there are a few inscriptions in varying states of preservation. These inscriptions are written in Devnagari script and Sanskrit language. The inscription mentions that the name of the kund is Mandakini and provides the date of a devotee’s visit and the community they were affiliated with.
The Mahakal Temple complex in Bijolia offers exquisite examples for examining the diversity of Nagara architectural style. While the Mahakal Temple represents latina architecture, the Hazareshwar temple complex embodies the shekhari style, and the Undeshwar temple showcases the typical Bhumija style. These temples exhibit distinctive and remarkable sculptures. These temples serve not only as religious sites but also as invaluable historical and artistic treasures, offering insight into the cultural heritage of the Bhilwara region of Rajasthan.
Footnotes:
[1] Joshi and Deva. Inventory of Monuments, 63.
[2] Cunningham, Archaeological Survey of India, 234.
[3] Progress Report Archaeological Survey of Western India, 54.
[4] Chakravarti, Epigraphia Indica, 87–88.
[5] Progress Report Archaeological Survey of Western India, 52.
[6] Ibid.
[7] Somani, Temples of Rajasthan, 114.
[8] Joshi and Deva. Inventory of Monuments, 63.
Bibliography:
Archaeological Survey of India, Jaipur Circle. Bijolia Group of Temples. Archaeological Survey of India. n.d. https://asijaipurcircle.nic.in/Bijolia%20%20mahakal%20&%20other%20temples.html
Chakravarti, N. P. Epigraphia Indica Vol XXVI, Calcutta: Government of India Press.
Cunningham, A. Report of a Tour in Eastern Rajputana in 1871-72 And 1872-73, Volume VI. Varanasi: Indological Book House, 1966.
Deva, Krishna. ‘Bhumija Temple’ In Studies in Indian Temple Architecture, edited by Pramod Chandra. Varanasi: American Institute of Studies, 1975.
Joshi, J. P. and Krishna Deva. Inventory of Monuments and Sites of National Importance Volume II, Part I, Jaipur Circle. New Delhi: Archaeological Survey of India: 2006, 63. https://ignca.gov.in/Asi_data/88329.pdf
Sehgal, K. K. (ed.) Rajasthan District Gazetteers, Bhilwara. Jaipur, 1975.
Progress Report Archaeological Survey of Western India, Government of Bombay, 1905.
Somani, R. V. Temples of Rajasthan. Jaipur: Publication Scheme, 2012.