Harshatmata Temple: A visual walkthrough

By Ayan Ghosh, Kirtipal Singh Parmar and Srija Sahay

Abhaneri is known for its exquisitely carved sculptures that dot the Harshatmata Temple premises and the Chand Baori stepwell. Despite their current dilapidated state, the structures unfailingly attract viewers, prompting contemplation about the rulers, builders, and visitors of antiquity. The site includes the 9th-century CE Harshatmata Temple and the Chand Baori. Today, the temple worships a modern marble statue of Harshat Mata, also known as Harasiddhi Devi. Despite its ruined state, the site preserves magnificent examples of post-Gupta art development, along with sculptures of Shakta, Shaiva, and Vaishnava orientation. The Shakambhari Chahamanas, the feudatories of the Gurjara-Pratiharas, patronized the construction of the temple in the Maha-Maru style in the 9th century CE. The Archaeological Survey of India (ASI) restored the temple to its modern appearance in the 1940s. Various museums and private collections house the few sculptures that survive in situ. The adjacent Chand Baori also houses a collection of loose sculptures recovered from the site. The premises of the Harshatmata Temple have yielded an abundance of depictions of Parvati, Chamunda, Kshemankari, Durga Mahishasuramardini, Saptamatrika panels, Ganesha, and Karttikeya. Furthermore, the presence of Pradyumna, Aniruddha, and Sankarshana Balarama on the vedibandha (decorative band) suggests Pancharatra worship of Vaikuntha Vishnu. However, the loose shurasenas (warriors) with depictions of Shiva and Durga also indicate a Shakta orientation. Many of these Shakta sculptures, such as Chamunda and Kshemankari, bear stylistic similarities to those seen at the 10th century Ambika Temple in Jagat. Notably, the site has also provided two Jaina images. One of these is a life-sized fragmentary sculpture of Parshvanatha, which closely resembles the Deogarh-Gupta tradition. The other is a smaller architectural fragment depicting a Jina in the Kayotsarga pose.

Apart from the loose sculptures, many are still present at the mancha level (raised platform) and in the gudhamandapa (inner sanctum) of the temple. The mancha boasts elegant representations of courtly pleasure, along with a possible depiction of Kamadeva. The gudhamandapa also depicts scenes of Linga worship and episodes from Krishna’s life, such as Kaliyamardana (an episode from Hindu mythology where Lord Krishna subdues the serpent Kaliya) as well as Keshinisudana (an episode where Lord Krishna defeats the demon Keshi). Other sculptures from the gudhamandapa also include Trivikrama Vishnu, Narasimha, Varaha, Aniruddha, Surya, and Shiva Natesha, as well as musicians and dancers. The lalatabimba (central lintel) did not survive; however, other lintels from the temple include depictions of Trideva and Shiva-Gauri.

The iconography of Abhaneri's sculptures positions this temple at a nexus, connecting it to the worship patterns and developments of the time under the patronage of the Gurjara-Pratihara. The Harshatmata Temple is a remarkable example not only of stylistic developments during this time, but also of connected worship patterns in the region.

Moonstone and steps leading up to the first level of the Harshatmata Temple are visible from the approach, specifically from the east side coming from the Chand Baori.
Moonstone and steps leading up to the first level of the Harshatmata Temple are visible from the approach, specifically from the east side coming from the Chand Baori.
The front view of the Harshatmata Temple features steps that lead to the temple from ground level. Also seen is the smaller Nandi shrine in front of the main temple.
The front view of the Harshatmata Temple features steps that lead to the temple from ground level. Also seen is the smaller Nandi shrine in front of the main temple.
The Archaeological Survey of India (ASI) installed an information board in the temple premises, which is written in both Hindi and English. The board provides information about the Harshat Mata Temple site and gives a basic introduction to the style of temple construction.
The Archaeological Survey of India (ASI) installed an information board in the temple premises, which is written in both Hindi and English. The board provides information about the Harshat Mata Temple site and gives a basic introduction to the style of temple construction.
Moonstone and steps leading up to the first level are visible from the approach, specifically from the east side coming from the Chand Baori.
Moonstone and steps leading up to the first level are visible from the approach, specifically from the east side coming from the Chand Baori.
Broken fragments and debris from the original temple assembled on the adhisthana on the southeast side.
Broken fragments and debris from the original temple assembled on the adhisthana on the southeast side.
All around the adhisthana are relief carvings of geometric floriated patterns.
All around the adhisthana are relief carvings of geometric floriated patterns.
Broken debris from the original temple assembled on the southeast face of the adhisthana.
Broken debris from the original temple assembled on the southeast face of the adhisthana.
All around the adhisthana are relief carvings of geometric, flora, and fauna motifs. On the left, there is a pranala (water spout) for drainage.
All around the adhisthana are relief carvings of geometric, flora, and fauna motifs. On the left, there is a pranala (water spout) for drainage.
The adhisthana features relief carvings of hybrid creatures such as kinnaras, vyalas, and makara. Here is a carving of a gaja vyala (elephant with wings).
The adhisthana features relief carvings of hybrid creatures such as kinnaras, vyalas, and makara. Here is a carving of a gaja vyala (elephant with wings).
Damaged amalaka fragments are now kept along the south boundary wall, along with other broken fragments recovered from the original temple's debris.
Damaged amalaka fragments are now kept along the south boundary wall, along with other broken fragments recovered from the original temple's debris.
Broken debris from the original temple assembled on the south face of the adhisthana. Around the adhisthana, relief carvings of geometric, flora, and fauna motifs are visible.
Broken debris from the original temple assembled on the south face of the adhisthana. Around the adhisthana, relief carvings of geometric, flora, and fauna motifs are visible.
All around the adhisthana are relief carvings of geometric, flora, and fauna motifs. A relief carving of a peacock is shown here.
All around the adhisthana are relief carvings of geometric, flora, and fauna motifs. A relief carving of a peacock is shown here.
U-shaped rounded stones are assembled on the parapet, but their position or purpose in the original temple is unknown. The projected space attached to the adhisthana (centre) appears contemporary to the original temple and was likely used as a small shrine for the Panchayatan plan. The Archaeological Survey of India (ASI) has paved the pradakshina with stone to the east of the adhisthana.
U-shaped rounded stones are assembled on the parapet, but their position or purpose in the original temple is unknown. The projected space attached to the adhisthana (centre) appears contemporary to the original temple and was likely used as a small shrine for the Panchayatan plan. The Archaeological Survey of India (ASI) has paved the pradakshina with stone to the east of the adhisthana.
On the third step of the adhisthana, there is a chandrashila (moonstone). Hindu temples place the moonstone, a hemispherical stone in the shape of the moon, at their entrances, designed to resemble a lotus flower.
On the third step of the adhisthana, there is a chandrashila (moonstone). Hindu temples place the moonstone, a hemispherical stone in the shape of the moon, at their entrances, designed to resemble a lotus flower.
The view is captured from the steps on the first level of the adhisthana. The adhisthana has a chandrashila (moonstone) on the landing (seen in the foreground) of the first set of steps and the beginning (seen in the centre) of the second set of steps. Hindu temples often place the moonstone, a hemispherical stone in the shape of the moon, at their entrances, designed to resemble a lotus flower.
The view is captured from the steps on the first level of the adhisthana. The adhisthana has a chandrashila (moonstone) on the landing (seen in the foreground) of the first set of steps and the beginning (seen in the centre) of the second set of steps. Hindu temples often place the moonstone, a hemispherical stone in the shape of the moon, at their entrances, designed to resemble a lotus flower.
Broken debris from the original temple was assembled on the adhisthana landing of the first set of steps. The temple repeats the split gavaksha motif throughout. Hindu temples frequently display this motif.
Broken debris from the original temple was assembled on the adhisthana landing of the first set of steps. The temple repeats the split gavaksha motif throughout. Hindu temples frequently display this motif.
On the adhisthana (facing east), there are tablet-like plaques. These plaques depict a variety of flora and fauna, as well as hybrid creatures like kinnara, vyala, and makara. The artwork appears three-dimensional in sunlight due to the tightly arranged, richly detailed, and deeply carved plaques.
On the adhisthana (facing east), there are tablet-like plaques. These plaques depict a variety of flora and fauna, as well as hybrid creatures like kinnara, vyala, and makara. The artwork appears three-dimensional in sunlight due to the tightly arranged, richly detailed, and deeply carved plaques.
The plaque's central artwork consists of a circular medallion surrounded by a foliage motif. A floriated makara is shown here, with its neck stretched around the medallion and the rear part integrated with flowing creeper motifs. The rest of the plaque is decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
The plaque's central artwork consists of a circular medallion surrounded by a foliage motif. A floriated makara is shown here, with its neck stretched around the medallion and the rear part integrated with flowing creeper motifs. The rest of the plaque is decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
The plaque (on the left) depicts a simha (lion) vyala, complemented by creeper motifs that fill the rest of the medallion. The plaque, on the right, features the ashtadal kamal (lotus with eight petals). Squat pillars, featuring a square base, an octagonal shaft, and a square capital, separate the plaques. The pillars are decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
The plaque (on the left) depicts a simha (lion) vyala, complemented by creeper motifs that fill the rest of the medallion. The plaque, on the right, features the ashtadal kamal (lotus with eight petals). Squat pillars, featuring a square base, an octagonal shaft, and a square capital, separate the plaques. The pillars are decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
The ashtadal kamal (lotus with eight petals) is featured on the plaque. Squat pillars, characterized by a square base, an octagonal shaft, and a square capital, divide the plaques. The pillars are decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
The ashtadal kamal (lotus with eight petals) is featured on the plaque. Squat pillars, characterized by a square base, an octagonal shaft, and a square capital, divide the plaques. The pillars are decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
The plaque's central artwork takes the form of a circular medallion, encircled by a foliage motif. On this plaque, Simha (lion), and Gaja (elephant) Vyala are seen fighting. The rest of the plaque is decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
The plaque's central artwork takes the form of a circular medallion, encircled by a foliage motif. On this plaque, Simha (lion), and Gaja (elephant) Vyala are seen fighting. The rest of the plaque is decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
The plaque's central artwork consists of a circular medallion surrounded by a foliage motif. The left plaque features simha (lion) vyala and gaja (elephant) vyala engaged in a fight. The right plaque features a stylised makara. Squat pillars, characterized by a square base, an octagonal shaft, and a square capital, divide the plaques. The pillars are decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
The plaque's central artwork consists of a circular medallion surrounded by a foliage motif. The left plaque features simha (lion) vyala and gaja (elephant) vyala engaged in a fight. The right plaque features a stylised makara. Squat pillars, characterized by a square base, an octagonal shaft, and a square capital, divide the plaques. The pillars are decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
U-shaped rounded stones are assembled on the parapet, but their position or purpose in the original temple is unknown. The plaque's central artwork consists of a circular medallion surrounded by a foliage motif. Squat pillars, each featuring a square base, an octagonal shaft, and a square capital, divide the plaques.
U-shaped rounded stones are assembled on the parapet, but their position or purpose in the original temple is unknown. The plaque's central artwork consists of a circular medallion surrounded by a foliage motif. Squat pillars, each featuring a square base, an octagonal shaft, and a square capital, divide the plaques.
The plaque's central artwork consists of a circular medallion surrounded by a foliage motif. A bird, likely a peacock, with its head bent downward, integrates with a creeper motif in this medallion. The rest of the plaque is covered with ardha padma (half lotus) and kalpa lata (creeper) motifs.
The plaque's central artwork consists of a circular medallion surrounded by a foliage motif. A bird, likely a peacock, with its head bent downward, integrates with a creeper motif in this medallion. The rest of the plaque is covered with ardha padma (half lotus) and kalpa lata (creeper) motifs.
The plaque's central artwork consists of a circular medallion surrounded by a foliage motif. A bird, likely a peacock, with its head bent downward, integrates with a creeper motif in this medallion. Squat pillars, featuring a square base, an octagonal shaft, and a square capital, separate the plaques. The pillars are decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
The plaque's central artwork consists of a circular medallion surrounded by a foliage motif. A bird, likely a peacock, with its head bent downward, integrates with a creeper motif in this medallion. Squat pillars, featuring a square base, an octagonal shaft, and a square capital, separate the plaques. The pillars are decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
The plaque's central artwork consists of a circular medallion surrounded by a foliage motif. This plaque features a kirtimukha (face of glory) with ardha padma (half lotus) and kalpa lata (creeper) motifs covering the rest of the plaque surface.
The plaque's central artwork consists of a circular medallion surrounded by a foliage motif. This plaque features a kirtimukha (face of glory) with ardha padma (half lotus) and kalpa lata (creeper) motifs covering the rest of the plaque surface.
This plaque features two birds, likely hamsas (swans), with their necks entwined. Squat pillars, boasting a square base, an octagonal shaft, and a square capital, divide the plaques. The pillars are decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
This plaque features two birds, likely hamsas (swans), with their necks entwined. Squat pillars, boasting a square base, an octagonal shaft, and a square capital, divide the plaques. The pillars are decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
In this plaque, a human figure (acrobat/dancer) is doing an acrobatic/dance pose that merges with a creeper motif. Ardha padma (half lotus) and kalpa lata (creeper) motifs are carved on the rest of the plaque surface. The plaques are separated by squat pillars, which have a square base, an octagonal shaft, and a square capital. The pillars are decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
In this plaque, a human figure (acrobat/dancer) is doing an acrobatic/dance pose that merges with a creeper motif. Ardha padma (half lotus) and kalpa lata (creeper) motifs are carved on the rest of the plaque surface. The plaques are separated by squat pillars, which have a square base, an octagonal shaft, and a square capital. The pillars are decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
Broken debris from the original temple assembled on the southeast face of the adhisthana. Unknown is the position or purpose of the U-shaped rounded stones on the parapet in the original temple.
Broken debris from the original temple assembled on the southeast face of the adhisthana. Unknown is the position or purpose of the U-shaped rounded stones on the parapet in the original temple.
The medallion in the centre of the plaque has a kirtimukha (face of glory). The rest of the plaque surface is decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
The medallion in the centre of the plaque has a kirtimukha (face of glory). The rest of the plaque surface is decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
The medallion shows a kinnara (which has the upper body of a human male and the lower body of a bird), with its tail forming a creeper motif. Kinnaras and kinnaris (having the upper body of a human female) are divine musicians who are skilled in dance, music, and poetry. The rest of the plaque surface is decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
The medallion shows a kinnara (which has the upper body of a human male and the lower body of a bird), with its tail forming a creeper motif. Kinnaras and kinnaris (having the upper body of a human female) are divine musicians who are skilled in dance, music, and poetry. The rest of the plaque surface is decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
Broken debris from the original temple assembled on the northeast face of the adhisthana. The split gavaksha motifs in the carvings are visible.
Broken debris from the original temple assembled on the northeast face of the adhisthana. The split gavaksha motifs in the carvings are visible.
Broken fragments and debris from the original temple assembled on the north face of the adhisthana. The fragments assembled here were once part of the original temple, and other subsidiary structures of the Panchayatana plan.
Broken fragments and debris from the original temple assembled on the north face of the adhisthana. The fragments assembled here were once part of the original temple, and other subsidiary structures of the Panchayatana plan.
The carving features a kinnari holding a purna ghata (a symbol of abundance, prosperity, and fertility). The upper body of the kinnari is depicted with a female human figure, and the lower body consists of a bird, which forms a floral motif at the rear.
The carving features a kinnari holding a purna ghata (a symbol of abundance, prosperity, and fertility). The upper body of the kinnari is depicted with a female human figure, and the lower body consists of a bird, which forms a floral motif at the rear.
Most fragments assembled here were once part of the shikhara of the original temple, other subsidiary structures, and associated parts like the urushringa (subsidiary tower projecting from the sides of the main shikhara). During the restoration, a circular dome replaced the original shikhara, which did not survive.
Most fragments assembled here were once part of the shikhara of the original temple, other subsidiary structures, and associated parts like the urushringa (subsidiary tower projecting from the sides of the main shikhara). During the restoration, a circular dome replaced the original shikhara, which did not survive.
Most fragments assembled here were once part of the shikhara of the original temple, other subsidiary structures, and associated parts like the urushringa (subsidiary tower projecting from the sides of the main shikhara). A circular dome later replaced the destroyed original shikhara.
Most fragments assembled here were once part of the shikhara of the original temple, other subsidiary structures, and associated parts like the urushringa (subsidiary tower projecting from the sides of the main shikhara). A circular dome later replaced the destroyed original shikhara.
Most fragments assembled here were once part of the shikhara of the original temple, other subsidiary structures, and associated parts like the urushringa (subsidiary tower projecting from the sides of the main shikhara).
Most fragments assembled here were once part of the shikhara of the original temple, other subsidiary structures, and associated parts like the urushringa (subsidiary tower projecting from the sides of the main shikhara).
Most fragments assembled here were once part of the shikhara of the original temple, other subsidiary structures, and associated parts like the urushringa (subsidiary tower projecting from the sides of the main shikhara). During the restoration, a circular dome replaced the original shikhara, which did not survive.
Most fragments assembled here were once part of the shikhara of the original temple, other subsidiary structures, and associated parts like the urushringa (subsidiary tower projecting from the sides of the main shikhara). During the restoration, a circular dome replaced the original shikhara, which did not survive.
Most fragments assembled here were once part of the shikhara of the original temple, other subsidiary structures, and associated parts like the amalaka (notched disc), as seen here.
Most fragments assembled here were once part of the shikhara of the original temple, other subsidiary structures, and associated parts like the amalaka (notched disc), as seen here.
The east-facing steps on the adhisthana have a chandrashila (moonstone) on the third step. Hindu temples often place the chandrashila (moonstone), a hemispherical stone in the shape of the moon, at their entrances, designed to resemble a lotus flower.
The east-facing steps on the adhisthana have a chandrashila (moonstone) on the third step. Hindu temples often place the chandrashila (moonstone), a hemispherical stone in the shape of the moon, at their entrances, designed to resemble a lotus flower.
The Harshat Mata Temple and Nandi shrine can be seen from the front (east). During the temple's reconstruction, the circular domed structure replaced the destroyed original stone temple in the Mahameru style.
The Harshat Mata Temple and Nandi shrine can be seen from the front (east). During the temple's reconstruction, the circular domed structure replaced the destroyed original stone temple in the Mahameru style.
Broken fragments and debris from the original temple assembled on the east face of the adhisthana.
Broken fragments and debris from the original temple assembled on the east face of the adhisthana.
The scene depicts the couple admiring each other in a moment of shringar rasa (romantic love). The man sits in the lalitasana posture at the center of the scene. He caresses his partner's chin with his left hand while holding a flower in his right hand, offering it to her. The woman rests her right hand on the man's left thigh, her head tilted upwards as he gazes into her face.
The scene depicts the couple admiring each other in a moment of shringar rasa (romantic love). The man sits in the lalitasana posture at the center of the scene. He caresses his partner's chin with his left hand while holding a flower in his right hand, offering it to her. The woman rests her right hand on the man's left thigh, her head tilted upwards as he gazes into her face.
The sculpture panel depicts a couple, likely royal in nature due to their size and posture, seated on a circular throne and surrounded by female attendants. The scene depicts the couple admiring each other in a moment of shringar rasa (romantic love).
The sculpture panel depicts a couple, likely royal in nature due to their size and posture, seated on a circular throne and surrounded by female attendants. The scene depicts the couple admiring each other in a moment of shringar rasa (romantic love).
The stones are tightly arranged, richly detailed, and deeply carved, creating contrasting shadows that make the artwork look three-dimensional in sunlight. The carvings depict a variety of flora and fauna, as well as hybrid creatures like kinnaras, vyalas, and makara.
The stones are tightly arranged, richly detailed, and deeply carved, creating contrasting shadows that make the artwork look three-dimensional in sunlight. The carvings depict a variety of flora and fauna, as well as hybrid creatures like kinnaras, vyalas, and makara.
Panels with pillars and tiered shikhara featuring gavaksha (horseshoe) motifs frame couples invoking shringara rasa, which is associated with romance, love, and attractiveness between lovers. Unlike other parts of the temple, the faces remain intact, and their heavy jewellery, elaborate headgear, and garments indicate their royalty or high social class affiliation.
Panels with pillars and tiered shikhara featuring gavaksha (horseshoe) motifs frame couples invoking shringara rasa, which is associated with romance, love, and attractiveness between lovers. Unlike other parts of the temple, the faces remain intact, and their heavy jewellery, elaborate headgear, and garments indicate their royalty or high social class affiliation.
The base consists of an ardha padma (half lotus) surrounded by geometric patterns. The panel in the middle has an ornate bird, probably a mayura (peacock), bordered by a creeping vine motif. The next two levels are mouldings depicting floral and vine patterns.
The base consists of an ardha padma (half lotus) surrounded by geometric patterns. The panel in the middle has an ornate bird, probably a mayura (peacock), bordered by a creeping vine motif. The next two levels are mouldings depicting floral and vine patterns.
The bas relief depicts a peacock gathering food from the ground. The bird wears a ring around its neck.
The bas relief depicts a peacock gathering food from the ground. The bird wears a ring around its neck.
Sukanasa (or sukanasi) was part of the shikhara, located above the entrance to the garbhagriha, or inner shrine. The sukanasa (or sukanasi) is usually featured above the entrance to the garbhagriha, or inner shrine, and often contains the figure of the presiding deity to which the temple is dedicated (missing in this sukanasa). The arch's corners feature inverted conch motifs. The arch's top features an elaborate kalapavriksha (tree of life) motif.
Sukanasa (or sukanasi) was part of the shikhara, located above the entrance to the garbhagriha, or inner shrine. The sukanasa (or sukanasi) is usually featured above the entrance to the garbhagriha, or inner shrine, and often contains the figure of the presiding deity to which the temple is dedicated (missing in this sukanasa). The arch's corners feature inverted conch motifs. The arch's top features an elaborate kalapavriksha (tree of life) motif.
Panels with pillars and tiered shikhara featuring gavaksha (horseshoe) motifs frame couples invoking shringara rasa, which is associated with romance, love, and attractiveness between lovers. The central male figure is seated in the lalitasana pose on a raised seat. The central female figure sits on his left thigh, her head turned towards the man. The man is admiring the beauty of the woman, placing his left hand on her coiffure and inspecting her face with his missing left hand.
Panels with pillars and tiered shikhara featuring gavaksha (horseshoe) motifs frame couples invoking shringara rasa, which is associated with romance, love, and attractiveness between lovers. The central male figure is seated in the lalitasana pose on a raised seat. The central female figure sits on his left thigh, her head turned towards the man. The man is admiring the beauty of the woman, placing his left hand on her coiffure and inspecting her face with his missing left hand.
Seated on his thigh, the central female figure turns her head to face the man. Both rest their right feet on blooming lotus flowers. The man holds a flower in his right hand, while the woman gently rests her right hand on his left foot. The trees in the background indicate that they are in a grove. Four male and female attendants surround the couple.
Seated on his thigh, the central female figure turns her head to face the man. Both rest their right feet on blooming lotus flowers. The man holds a flower in his right hand, while the woman gently rests her right hand on his left foot. The trees in the background indicate that they are in a grove. Four male and female attendants surround the couple.
The man is admiring the beauty of the woman, placing his left hand on her coiffure and inspecting her face with his absent left hand. Chauri dharini (fly whiskers) stand on either side of the couple, looking towards them. A small female figure appears at the bottom right, most likely an attendant or servant.
The man is admiring the beauty of the woman, placing his left hand on her coiffure and inspecting her face with his absent left hand. Chauri dharini (fly whiskers) stand on either side of the couple, looking towards them. A small female figure appears at the bottom right, most likely an attendant or servant.
The temple's jagati or adhisthana features half-floral motifs and step-like figures in its architectural pattern.
The temple's jagati or adhisthana features half-floral motifs and step-like figures in its architectural pattern.
The maha mandapa, located in front of the garbhagriha (sanctum sanctorum), serves as a space for congregation and ritual conduct. Concrete domes over the garbhagriha and the maha mandapa replaced the traditional shikhara over the garbhagriha in the reconstruction of the temple.
The maha mandapa, located in front of the garbhagriha (sanctum sanctorum), serves as a space for congregation and ritual conduct. Concrete domes over the garbhagriha and the maha mandapa replaced the traditional shikhara over the garbhagriha in the reconstruction of the temple.
A broken section of the block consists of two pillars that are divided vertically into three sections. The kalpa lata (creeper) motif is at the base, and the purna kalasha (pot of prosperity) is in the center. The top part is damaged, and blooming lotuses separate the three parts. The central part features a detailed carving of a flowing kalpavrisksha (tree of life) motif.
A broken section of the block consists of two pillars that are divided vertically into three sections. The kalpa lata (creeper) motif is at the base, and the purna kalasha (pot of prosperity) is in the center. The top part is damaged, and blooming lotuses separate the three parts. The central part features a detailed carving of a flowing kalpavrisksha (tree of life) motif.
The space in front of the garbhagriha (sanctum sanctorum) is the maha mandapa, which is used as a congregation space and for conducting rituals. A pradakshina (circumambulation path) goes around the garbhagriha and the mahamadapa. The Archaeology Department of the erstwhile Jaipur State reconstructed the temple with a dome in the 1940s, replacing the traditional shikhara.
The space in front of the garbhagriha (sanctum sanctorum) is the maha mandapa, which is used as a congregation space and for conducting rituals. A pradakshina (circumambulation path) goes around the garbhagriha and the mahamadapa. The Archaeology Department of the erstwhile Jaipur State reconstructed the temple with a dome in the 1940s, replacing the traditional shikhara.
This panel depicts a warrior invoking raudram rasa (fury/rage) by aggressively wielding a drawn sword. The central figure, a warrior king, is aggressively stepping forward, wielding a naked sword in his right hand. He tucks a dagger into his kamarbandha (waist belt). The central female figure (seen on the left) may be a queen, who is trying to stop the man by pulling him behind.
This panel depicts a warrior invoking raudram rasa (fury/rage) by aggressively wielding a drawn sword. The central figure, a warrior king, is aggressively stepping forward, wielding a naked sword in his right hand. He tucks a dagger into his kamarbandha (waist belt). The central female figure (seen on the left) may be a queen, who is trying to stop the man by pulling him behind.
Different coloured stones are assembled here, some in pink sandstone and the rest in grey sandstone. The pink sandstone has floral designs with Stupa (dome-shaped memorials, made on the holy relics of the Buddha) motifs. The grey sandstone has the padma (lotus), the purna ghata (overflowing pot of prosperity), and the kalpa lata (creeper) motifs.
Different coloured stones are assembled here, some in pink sandstone and the rest in grey sandstone. The pink sandstone has floral designs with Stupa (dome-shaped memorials, made on the holy relics of the Buddha) motifs. The grey sandstone has the padma (lotus), the purna ghata (overflowing pot of prosperity), and the kalpa lata (creeper) motifs.
The jagati has two projected niches on the south and north sides, as well as a single projected niche on the west side. Concrete, not stone, like the rest of the temple structure, forms the dome pedestal, the domes atop the mandapa (pillared hall), and the garbhagriha (sanctum). The adhisthana's pradakshina path (circumambulation path) is the open space surrounding the jagati.
The jagati has two projected niches on the south and north sides, as well as a single projected niche on the west side. Concrete, not stone, like the rest of the temple structure, forms the dome pedestal, the domes atop the mandapa (pillared hall), and the garbhagriha (sanctum). The adhisthana's pradakshina path (circumambulation path) is the open space surrounding the jagati.
The male figure in the center holds a flower in his right hand, while his left hand rests on his leg. The central female figure carries a round fruit (or sweet) in her left hand and holds the man's left hand with her right hand, showing affection. On either side, two attendants flank the couple. In the background, flowering trees droop.
The male figure in the center holds a flower in his right hand, while his left hand rests on his leg. The central female figure carries a round fruit (or sweet) in her left hand and holds the man's left hand with her right hand, showing affection. On either side, two attendants flank the couple. In the background, flowering trees droop.
The upper block has the kalpavrisksha (tree of life) motif running along a central band. Damaged panels on either side display prominent features such as the kalpa lata (creeper) motif (bottom left), the purna ghata (overflowing pot of prosperity) motif (mid-sections), and the kirtimukha motif (bottom right). The block in the middle has the ardha padma (half lotus) motif.
The upper block has the kalpavrisksha (tree of life) motif running along a central band. Damaged panels on either side display prominent features such as the kalpa lata (creeper) motif (bottom left), the purna ghata (overflowing pot of prosperity) motif (mid-sections), and the kirtimukha motif (bottom right). The block in the middle has the ardha padma (half lotus) motif.
The central male figure and female figures are enjoying a musical concert in a grove. The male figure sits in the lalitasana pose on circular raised seats. The female figure leans towards the male and plays a stringed musical instrument (likely a veena). Four smaller figures surround them. A male soldier is holding a sword and shield (on the left). One musician is sitting between the seats, playing the flute (bottom).
The central male figure and female figures are enjoying a musical concert in a grove. The male figure sits in the lalitasana pose on circular raised seats. The female figure leans towards the male and plays a stringed musical instrument (likely a veena). Four smaller figures surround them. A male soldier is holding a sword and shield (on the left). One musician is sitting between the seats, playing the flute (bottom).
A male figure, surrounded by dancers and musicians, is framed in panels with pillars and tiered shikhara with gavaksha (horseshoe) motifs. Two female dancers are balancing themselves on big drums. The drums are held by small figures of musicians. The person on the left is playing the flute. Four small figures, two on either side of the male figure, appear at the top, playing cymbals.
A male figure, surrounded by dancers and musicians, is framed in panels with pillars and tiered shikhara with gavaksha (horseshoe) motifs. Two female dancers are balancing themselves on big drums. The drums are held by small figures of musicians. The person on the left is playing the flute. Four small figures, two on either side of the male figure, appear at the top, playing cymbals.
The man is facing the woman, caressing her chin with his left hand and holding a flower in his right hand. The female has her right hand placed over the man’s right shoulder, while her left hand rests upon the head of a female attendant seated on the ground. The man is resting his right foot on a lotus next to a flute-playing musician (bottom left). Three more attendants appear on the left, with the largest one holding a fan.
The man is facing the woman, caressing her chin with his left hand and holding a flower in his right hand. The female has her right hand placed over the man’s right shoulder, while her left hand rests upon the head of a female attendant seated on the ground. The man is resting his right foot on a lotus next to a flute-playing musician (bottom left). Three more attendants appear on the left, with the largest one holding a fan.
The central male figure is seated in the rajalilasana pose (both legs raised on the seat, palms of the feet together) on a raised seat. In the malasana (squat) pose, the central female figure is seated on the left of the man, in a separate seat. Male and female attendants flank the central figure from the left and right, respectively. All the figures are watching a performance (not in the frame) and looking in unison towards the left.
The central male figure is seated in the rajalilasana pose (both legs raised on the seat, palms of the feet together) on a raised seat. In the malasana (squat) pose, the central female figure is seated on the left of the man, in a separate seat. Male and female attendants flank the central figure from the left and right, respectively. All the figures are watching a performance (not in the frame) and looking in unison towards the left.
The central male figure and female figures are enjoying a musical concert in a grove. The male figure sits in the lalitasana pose on raised circular seats. The female figure leans towards the male and plays a stringed musical instrument (likely a veena). Four smaller figures surround them.
The central male figure and female figures are enjoying a musical concert in a grove. The male figure sits in the lalitasana pose on raised circular seats. The female figure leans towards the male and plays a stringed musical instrument (likely a veena). Four smaller figures surround them.
The central male figure and female figures are enjoying a musical concert in a grove. The female figure leans towards the male and plays a stringed musical instrument (likely a veena). Four smaller figures surround them. A male soldier is holding a sword and shield (on the left). One musician is sitting between the seats, playing the flute (bottom).
The central male figure and female figures are enjoying a musical concert in a grove. The female figure leans towards the male and plays a stringed musical instrument (likely a veena). Four smaller figures surround them. A male soldier is holding a sword and shield (on the left). One musician is sitting between the seats, playing the flute (bottom).
On a raised seat, a central male figure sits in the lalitasana pose, gazing towards the central female figure on his left thigh, who is playing a stringed musical instrument. The female figure is also in the lalitasana pose, and her right foot is resting on a footrest. With his right hand, the central male figure forcefully pulls a female attendant (holding a hand fan) towards him. Behind the fan-holding woman is a figure (face missing) wielding a sword.
On a raised seat, a central male figure sits in the lalitasana pose, gazing towards the central female figure on his left thigh, who is playing a stringed musical instrument. The female figure is also in the lalitasana pose, and her right foot is resting on a footrest. With his right hand, the central male figure forcefully pulls a female attendant (holding a hand fan) towards him. Behind the fan-holding woman is a figure (face missing) wielding a sword.
Seated on a raised circular seat in the lalitasana pose, the central male figure fires an arrow from a bow. Standing on his left are two female figures (faces defaced), looking towards him. The female on his immediate left is holding a flower in her right hand. The female to his far left is holding a floral scroll. The female figure on his right has sustained damage. A bunch of mangoes hang above them.
Seated on a raised circular seat in the lalitasana pose, the central male figure fires an arrow from a bow. Standing on his left are two female figures (faces defaced), looking towards him. The female on his immediate left is holding a flower in her right hand. The female to his far left is holding a floral scroll. The female figure on his right has sustained damage. A bunch of mangoes hang above them.
Off-centred to the right, facing the garbhagriha, sits a small shrine, possibly of recent construction. On a projected platform, further steps lead to the third level. The upper part made of concrete is a later addition. The structure has arched openings on the west, east, and north sides, as well as a rectangular entrance inside an arched niche (shown here) on the south side.
Off-centred to the right, facing the garbhagriha, sits a small shrine, possibly of recent construction. On a projected platform, further steps lead to the third level. The upper part made of concrete is a later addition. The structure has arched openings on the west, east, and north sides, as well as a rectangular entrance inside an arched niche (shown here) on the south side.
Off-centred to the right, facing the garbhagriha, sits a small shrine, possibly of recent construction. The subsidiary shrine has arched openings on the west, east, and north sides, as well as a rectangular entrance inside an arched niche on the south side. Inside, a black stone Shiva lingam stands with a Nandi figure beside it. A tripod holds an earthen pot that drips water over the Shiva lingam.
Off-centred to the right, facing the garbhagriha, sits a small shrine, possibly of recent construction. The subsidiary shrine has arched openings on the west, east, and north sides, as well as a rectangular entrance inside an arched niche on the south side. Inside, a black stone Shiva lingam stands with a Nandi figure beside it. A tripod holds an earthen pot that drips water over the Shiva lingam.
Three vertical sections make up the broken stone. The section on the left has a purna kalasha (overflowing pot of prosperity) motif on the upper half, as well as a makara (hybrid sea creature) inside a circular medallion at the bottom half. The mid-section has an intricate carving of the kalpa vrisksha (tree of life) motif, with figures of birds and kinnaras (hybrid human-bird creatures) camouflaged within the foliage. The section on the right has a purna kalasha motif on the top half, as well as an eight-petal lotus blooming inside a circular medallion at the bottom half.
Three vertical sections make up the broken stone. The section on the left has a purna kalasha (overflowing pot of prosperity) motif on the upper half, as well as a makara (hybrid sea creature) inside a circular medallion at the bottom half. The mid-section has an intricate carving of the kalpa vrisksha (tree of life) motif, with figures of birds and kinnaras (hybrid human-bird creatures) camouflaged within the foliage. The section on the right has a purna kalasha motif on the top half, as well as an eight-petal lotus blooming inside a circular medallion at the bottom half.
Small shrine, possibly a newer construction, is placed off-centred to the right facing the garbhagriha. On a projected platform, further steps lead to the third level. Pieces from the temple have been repurposed in this shrine. The structure has arched openings on the west, east, and north sides, as well as a rectangular entrance inside an arched niche (shown here) on the south side.
Small shrine, possibly a newer construction, is placed off-centred to the right facing the garbhagriha. On a projected platform, further steps lead to the third level. Pieces from the temple have been repurposed in this shrine. The structure has arched openings on the west, east, and north sides, as well as a rectangular entrance inside an arched niche (shown here) on the south side.
Off-centred to the right, facing the garbhagriha, sits a small shrine, possibly of recent construction. On a projected platform, further steps lead to the third level. Inside, they install a black stone Shiva lingam and place a Nandi figure next to it. A tripod holds an earthen pot that drips water over the Shiva lingam.
Off-centred to the right, facing the garbhagriha, sits a small shrine, possibly of recent construction. On a projected platform, further steps lead to the third level. Inside, they install a black stone Shiva lingam and place a Nandi figure next to it. A tripod holds an earthen pot that drips water over the Shiva lingam.