Shiva Temple, Belpan, Takhatpur Tehsil, Bilaspur District, Chhattisgarh
The 16th century Shiva Temple also known as Narmadeshwar Mahadev Temple in Belpan is believed to be the origin of the sacrosanct Chhoti Narmada River. According to the locals, Chhoti Narmada emanates from the nearby Sita Kund and joins the Maniyari River.
This place has been mentioned in several important Hindu texts and commentaries and has been the tapo sthala of yogis, saints, tapasvis and literary giants. Devotees from far – flung places throng this sacred kshetra in the auspicious months of Sravan and Kartik and on Maha Shivaratri.
This east – facing temple is built on a high platform and is largely simple in terms of decoration. The entrance door is decorated with floral motifs. A majestic Shiva Linga has been consecrated in the garbha griha that is revered by all.
It is said that the ancient Sita Kund has been blessed by the entire gamut of creation and a dip in the Chhoti Narmada relieves you of sorrow and bad thoughts and habits.
There are smaller temples dedicated to various gods and goddesses around this temple. An annual fair is conducted here in the month of Sawan.
There are several broken sculptures and Shiva Lingas of great antiquity placed within the compound. Unfortunately, this divine temple is in shambles and in dire need of renovation.
Written by Lakshmi Subramanian
Siddheshwar Temple, Palari, Balodabazar District, Chhattisgarh
Siddeshwar Temple by the ancient Balsamund Talab in Palari is a lesser – known brick temple of the 7th – 8th century. This west – facing temple strictly adheres to the tenets of the Shilpa Shastra and has been widely appreciated by historians, architects and artisans for its extraordinary sculptures, carved panels and structural ingenuity.
The temple on plan has the typical oblique projections seen in the stellar layout. The external facades and shikhara are richly embellished with beautiful carvings of elephants, lions, medallions inset with gods and goddesses like Bhagawan Ganesha, Bhagawan Kartikeya and Gajalakshmi, miniature niches, repetitive floral and foliage motifs, geometric patterns in harmony and auspicious Hindu iconography that are incredibly difficult to carve on brick!
A considerable number of these sculptures have been severely damaged and are beyond repair. Locals say that the temple has been renovated in parts over the years.
The temple has been constructed using a unique technique known thousands of years ago wherein the garbha griha remains cool even in the hottest summers.
The entrance doorway exhibits unparalleled architectural and artistic mastery. Life – size figures of the river goddesses Ganga and Yamuna in dvibhaṅga on their respective vahanas along with their attendants that adorn the main entrance exude delicacy, elegance and charm. The sculptural lines, garments, ornaments, diadems, hair and facial expressions of Ganga and Yamuna are breathtaking to say the least!
The most elaborate panel depicting the divine marriage of Bhagawan Shiva with Parvati and the accompanying procession comprising of Bhagawan Vishnu, Bhagawan Brahma, musicians, dancers, sages and gods and goddesses above the lintel of the main door is truly captivating and one of a kind. Bhagawan Ganesha has been carved to the left of the door while Bhagawan Kartikeya sits on the right.
A Shiva Linga of great antiquity has been consecrated in the garbha griha. Thousands of people come to have darshan in the important months of Sravan and Kartik and on Maha Shivaratri.
There is an old Peepul tree within the premises where recently excavated idols have been placed.
Written by Lakshmi Subramanian
Vishnu Mandir, Janjgir, Janjgir – Champa District, Chhattisgarh
One of the most mysterious temples of the late 11th century – early 12th century in the former kingdom of Haihaiyavanshi commissioned by Raja Jajjalladeva I of the Kalachuris of Ratnapura is the incomplete Vishnu Mandir at Janjgir. Locals say that this temple was actually constructed in two parts but the temple remained unfinished as the assembly could not be done.
This temple located by Bhima Talab is known locally as Nakata Mandir or Nakta Mandir. This east – facing temple sits on a high platform whose sides are adorned with intricately carved panels depicting stories from the Ramayana.
The most noteworthy are the hunt for the golden deer by Prabhu Sri Rama along with Sita Mata and Lakshmana and the piercing of seven trees with a single arrow by Prabhu Sri Rama. Stories from Srimad Bhagavatha Mahapurana like Vasudeva carrying baby Krishna from prison and others have been carved to perfection.
The temple is built of locally sourced red sandstone. The temple on plan has a few steps leading to the antarala and the garbha griha that is designed as a pancharatha. The presence of short pillars at the antarala suggests that a mukha mandapa was also planned but not executed.
The entrance doorway is truly an artistic and architectural masterpiece exuding grandeur, charm and elegance. The door frame has three bands, three toranas and two tall and broad pillars on the sides. Each and every inch of this door jamb is a visual spectacle with embellishments, decorative motifs and patterns, carvings and sculptures.
The harmonious composition of life – size figures of Ganga and Yamuna and the dwarapalakas, bands of snakes, manibandha, patravali and miniature niches inset with gods and goddesses and forms of Bhagawan Vishnu is stunning to look at. Bhagawan Brahma and Bhagawan Shiva are seen on either side of Chaturbhuja Vishnu on the lintel along with the Navagrahas.
Elephants, swans and figures are seen in the bottom panel of the entrance doorway. The pilasters seen inside support a receding roof panel of an eight – petalled lotus.
The external facades and shikhara are profusely decorated with floral, foliage and geometrical patterns, repetitive elements, auspicious Hindu iconography, miniature niches inset with gods and goddesses like Bhagawan Surya, Bhagawan Brahma, dancing Ganesha and forms of Bhagawan Vishnu like Varaha, Vamana and Narasimha, musicians, apsaras, Ashtadikpalakas, mithunas, sages and others.
It is unclear why this temple has been abandoned for centuries and relegated to obscurity. Stories about a competition between Vishwakarma and Bhima and Bhagawan Vishnu choosing between this temple and the Sheorinarayana Temple will keep you enthralled.
Written by Lakshmi Subramanian
Ancient Site, Nagari Village, Chittorgarh Tehsil, Chittorgarh District, Rajasthan
Nagari or Nagri, once a splendid city during the Mauryan and Gupta Periods and an important seat of learning, philosophy, literature and economics is now nothing more than a forgotten chapter in the history of Akhanda Bharat. This city has been mentioned in the Mahabharat as one of the regions conquered by Nakula in the legendary Digvijaya Parva of the Sabha Parva wherein, Nakula was sent to the west to expand the Pandava Empire following which the Rajasuya Yagna was held in the presence of Bhagawan Krishna and others at Indraprastha.
In fact, this ancient site called locally as Madhyamika Nagari (which is its original name) is a repository of information about the religious and social practices, cultural traditions and customs and art and architecture of the people and land since the early Vedic Period.
Historical records claim that this prosperous city had an abundant supply of silver drawing the attention of the Greek invaders. People moved from the north west borders to this place which later became a part of the Shunga Empire under Maharaja Pushyamitra who succeeded in chasing away the Greeks.
Ancient inscriptions in Brahmi script and Sanskrit language found in Ghosundi dating back to 200 BCE – 150 BCE have revealed that a Ashwamedha Yagna was performed by a king named Sarvatat of Parasara Gotra who also commissioned the temple of Sankarshana and Vasudeva in Narayana Vatika. This inscription is said to be the oldest of its kind found in Rajasthan that makes a clear reference to the Vaishnava influence in this region at that period.
Fragments of broken pillars found on either side of the Berach River mention the Vajapeya Yagna and the erection of a Yupa and the construction of a Vishnu Temple in the 5th century.
The entire city called as Narayana Vatika became a fortress under Sarvatat Gajayana and remained impregnable when the Muslim barbarian Akbar attempted to attack it. His elephants were held captive in this place that came to be known as Hathi Bada.
The temple designed for the worship of Bhagawan Sankarshana and Bhagawan Vasudeva is enclosed by a stone wall and covers a large area. It is highly likely that the idols were consecrated on a high platform. The traditional pillar or Garuda Sthambha in front of the temple was later removed by Akbar who also used the massive stones from the outer walls of the city to build a lighthouse.
Archaeological excavations conducted over the years have uncovered copper coins, seals, fragments of pottery, stones, sculptures and figures of great antiquity, two carved pillars of the Gupta Period with the lion and bull capital respectively, stupas of moulded bricks and terracotta adorned with animal, human and floral motifs, fluted pillars, red and grey ware, fortifications of moulded bricks and clay plaques, limestone and stone, terracotta seals, human figurines and others and an ivory seal with swastika and taurine symbols and copper antimony rods and rings.
Written by Lakshmi Subramanian
Andal Deul or Indal Deul, Kharod, Janjgir – Champa District, Chhattisgarh
Kharod, known as the Kasi of Chhattisgarh is dotted with stunning brick temples dating back to the Vedic Period. Of these, only four remain today namely Shavari Devi Temple, Andal Deul, Lakshmaneshwar (also known as Lakhneshwar) Temple and Eeshaaneshwar Temple.
The most famous temple of Kharod is Indal Deul also known as Andal Deul, a 7th century brick and stucco temple built by perhaps Maharaja Indrabala of the Panduvamshis of Dakshina Kosala. This west – facing temple located to the north of the village has been widely appreciated by artists and architects for its richly embellished entrance doorway.
The temple sits on a 4 feet high platform and on plan originally had a pillared mandapa, a kapili and a garbha griha. However, only the garbha griha has managed to survive while the curvilinear shikhara of five tiers is in a state of disrepair.
The platform and entrance doorway are built in stone while the rest of the temple is of brick. The temple attempts to adhere to the stellar (star) form though the oblique projections do not render it into a complete stellar.
The temple appears to have been designed as a saptharatha with a square garbha griha. The external facades are adorned with sculptures and carvings in stuccowork that though have largely eroded, still manage to exude subtle elegance and grandeur.
The external facades are divided into five tiers and are decorated with mouldings, riders on lions, dancing Ganesha, Gajalakshmi Devi, Bhagawan Shiva, Bhagawan Narasimha, Bhagawan Indra seated on Airavata, ten – armed Durga Devi, Bhagawan Vishnu on Garuda, Bhagawan Kubera, Mahishasuramardini and others (many are too defaced to recognize), miniature niches inset with figures, musicians, dancers and apsaras, repetitive floral and geometrical patterns and auspicious Hindu iconography. A considerable number of these sculptures have been severely damaged and are beyond repair.
The entrance doorway has three prominent bands, the innermost of patravali, the middle of manibandha and the outermost of life – size figures of the river goddesses Ganga and Yamuna with pitchers in their hand in slight dvibhaṅga on their respective vahanas. It is believed that the Archaeological Survey of India (ASI) placed these sculptures in the present position during renovation.
Shiva – Parvati sit majestically on the Lalata Bimba along with Bhagawan Brahma and Bhagawan Vishnu, Garuda and a couple of Naga and Nagis. Remains of stuccowork is clearly visible here. The delicate lines of the sculptures of particularly Ganga and Yamuna and their garments and ornaments are very similar to the sculptural art of the Gupta Period.
Written by Lakshmi Subramanian
Vaishnava Temple, Konark Temple Complex, Konark, Puri District, Odisha
The spectacular Konark Temple complex is an excellent example to understand the science of Hindu philosophy and tenets of Shilpa Shastra. This complex is full of architectural and artistic gems that will leave you spellbound.
The magnificent Konark Sun Temple in particular is a wonderous architectural and structural feat, a true testimony to one’s faith in the Supreme Brahman. The main temple is surrounded by edifices built over different periods.
One such structure is the Vaishnava Temple, a small brick temple dating back to 10th – 11th century. This temple had remained forgotten for centuries under a sand pile and was actually discovered quite by accident in 1956.
This east – facing temple sits to the south – west of the main temple and is also referred to as Temple No. 3 by the Archaeological Survey of India (ASI). This temple on plan originally had a pancharatha garbha griha and a jagmohana that have long disappeared.
The temple is largely simple in decoration with only carvings of Balarama and the Parsvadevatas Varaha, Vamana and Trivikrama. The main deity is missing.
Written by Lakshmi Subramanian
Bhim ki Chauri, Dara, Mukundara Hills National Park, Kota District, Rajasthan
Bhim ki Chauri (marriage pavilion of Bhima), a mid – late 5th century edifice of possibly the Guptas or their feudatory, the Aulikaras presents a lonely picture in the midst of stunning natural beauty. This temple located in the lush green Mukundara Hills National Park is believed to be the only surviving structure of that period in this area that was once a part of the princely region of Hadoti.
The temple (or whatever is left of it) sits on a low platform accessed by two lateral flight of steps. This east – facing temple on plan originally had a pillared Nandi mandapa of which only fragments are seen today and a garbha griha.
The sanctum is clearly marked by four columns and was placed at the centre of a square bay. There were walls on the south, west and north of the shrine with decorated pilasters and columns. A narrow pradikshina path can be seen around the open pillared sanctum sanctorum.
The lintels are simplistically embellished with floral and foliage motifs, bead like work and concentric linear patterns while the capitals of the pillars are adorned with intricately carved floral and geometrical designs. The ceiling of the mandapa has a beautiful panel of a full – bloomed lotus in the centre with four smaller lotuses at the four sides.
The walls most likely made of brick have disappeared altogether. Parts of the pillars, lintels, ceiling panels and other architectural elements are seen and have also been preserved by the Archaeological Survey of India (ASI). A gana and a drummer (Jhallari Vadak) from this site are on display at the Government Museum at Kota.
This flat – roofed temple also has the traditional makara pranalas that are of great antiquity. It is most unfortunate that a considerable portion of this ancient temple was broken and used to build a mansion in the 17th century by the local ruler as well as a Shiva Temple behind the mansion and the deserted temple at Jhamra.
However, the search is still on for the missing walls, doorways, architectural details and ceiling panels of this old temple.
Written by Lakshmi Subramanian
Gandharadi Chari Sambhu Temple, Gandharadi, Boudh District, Odisha
The ancient city of Boudh, formerly a part of the Khinjali Mandala of the Bhanja dynasty is dotted with stunning temples of the late 8th – 9th century built by Maharaja Ranabhanja. The discovery of plates makes mention of grants made by the Bhanjas of Khinjali Mandala to a village of Gandatapati (known later as Gandharadi) close to the Mahanadi River.
The remains of an old fort, mounds and brick structures gives credence to the theory that this medieval town was once an important seat of learning, art, architecture and philosophy. The most famous temple complex of Gandharadi is the twin temples of Nilamadhava dedicated to Bhagawan Vishnu and Siddeshwara dedicated to Bhagawan Shiva that was originally located on the bank of the Mahanadi but now stands at a little distance away owing to the altered course of the river.
Though visually identical, the Nilamadhava Temple on the left has a chlorite Sudarshana Chakra as the crowning element while a chlorite akasa Shiva Linga sits atop the Siddeshwara Temple on the right! This unique architectural feature has never been found in any other temple built in the same period.
The east – facing temples sit next to each other on a high platform and are interestingly designed as a panchayatana with the twin temples marked as one and four smaller shrines on each corner of the platform. The four shrines however have collapsed over the years and only a few fragments are visible today.
The temples are designed in the typical rekha deul style of architecture with a flat – roofed jagmohana (assembly hall) and pancharatha garbha griha. The temple is built with locally sourced sandstone and chlorite.
The rectangular jagmohana has a two – tiered roof which was perhaps originally supported by twelve pillars with four pillars on all the four sides with a central opening. The lintels appear to have given way under the weight of the roof and the jagmohana was later redesigned to fill the gaps between the pillars and lintels thereby closing the sides and leaving only the central openings untouched.
The side openings now have jali work in blue chlorite at the bottom and miniature temple shikharas over it. There are carvings of Mahishasura Mardini, Durga Mata and Bhagawan Vishnu as Matsya, Kurma and Varaha among others.
The intricately carved Nagas on the doors and windows of the jagmohana are truly captivating. A Shiva Linga is consecrated on a square Shakti peetha in the sanctum sanctorum of Siddeshwara Temple while Bhagawan Vishnu is seen with four arms along with Sridevi and Bhudevi.
The temple is called Chari Sambhu as it houses four Shiva Lingas within the Siddeshwara Temple (Jogeshwara, Kapileshwara and Somnatha are the other three).
There are sculptures and carved panels within the premises that are of great antiquity. This little – known architectural gem has a fine blend of early Kalinga style of architecture and 9th – 10th century Bhanja dynasty imprint.
Written by Lakshmi Subramanian
Brick Temple of Shavari, Kharod, Janjgir – Champa District, Chhattisgarh
Kharod, a relatively sleepy town is a lesser – known treasure trove of ancient brick temples. This town of immense religious and spiritual potency is said to derive its name from Khara and Dushana, the younger brothers of Ravana. The great war between Khara and Dushana and Bhagawan Rama is said to have taken place here.
Historical records state that countless brick temples were built in this area of which only four remain today namely Shavari Devi Temple, Andal Deul, Lakshmaneshwar (also known as Lakhneshwar) Temple and Eeshaaneshwar Temple.
The Shavari Devi Temple (known locally as Shabari Devi or Shabarinarayana Temple) is located in the southern part of the village on the west bank of an old tank. This east – facing temple sits on a high stone platform and on plan has a pillared mandapa, an antarala and a square garbha griha.
The sanctum sanctorum interestingly has been designed as a saptaratha representing a stellar (star) though it hasn’t been completed in entirety and therefore, appears to be only a semi – stellar.
The external facades are relatively simple in terms of decoration with mouldings, niches that are empty, repetitive linear elements and auspicious Hindu iconography.
The entrance door to the shrine has the river goddesses Ganga and Yamuna of very small size, dwarapalakas and prominent carvings of the Nagas. Garuda sits on the lintel holding the tails of serpents.
The mandapa has two rows of six pillars each. The sculptures adorning the pillared mandapa though defaced are classical in their ornamentation, size and proportion. There are sculptures of other temples placed here as well.
The temple was dedicated to Bhagawan Vishnu originally but later seated the local goddess Savari Devi. This temple was built in the mid – 7th – early 8th century by the Panduvamshis of Dakshina Kosala and the mandapa was an addition by the rulers of this region in the late 12th century.
Written by Lakshmi Subramanian
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