LESSER KNOWN HINDU HERITAGE TEMPLES IN INDIA
Ghanteshwara Mahadev Temple
I recently visited the Badoli (Baroli) Group of Temples located in the village of Badoli, near the town of Rawatbhata in Chittorgarh district of Rajasthan, India. Rawalbhata is around 10 kms from the site of the temples. These are around 50 kms from Kota. From the district headquarter of Chittorgarh it lies at a distance of 90 kms. They lie close to the Chambal River valley and are one of the finest examples of early medieval temple architecture (mainly 9th–10th century CE). From Kota, continue by road (taxi or bus toward Rawatbhata). The nearest major railway station is Kota Junction. From Kota, continue by road (taxi or bus toward Rawatbhata). Nearest airport: Jaipur International Airport is about 300 kms from the site of these temples.
From Rawatbhata, the temples are a short drive (around 10 km). The last stretch passes through a quiet rural landscape.
The Badoli temples are a cluster of nine shrines, the most prominent being the Ghateshwara Mahadeva Temple, known for its refined carvings and early Nagara-style architecture. The setting—near a water tank and surrounded by low hills—enhances their aesthetic and historical appeal.
Let us focus on actual sculptural features and motifs seen in the Badoli Group of Temples, especially the Ghateshwara Mahadeva temple.
One of the most important carvings here is of Lakulisha, a form of Shiva associated with the Pashupata sect. He is shown seated in padmasana (lotus posture). He holds a lakuta (club/staff) in one hand, has a calm, yogic expression. He is sometimes shown with disciples around him. This carving is important because it shows that the temple was linked ….to
Carvings of Shiva as Nataraja appear in dynamic poses. Shiva is shown with multiple arms in rhythmic movement. The body forms a tribhanga (three-bend posture) and he is surrounded by attendant figures and musicians. The carving captures movement and energy, not stillness. These are not flat images—the sculptor deeply undercut the stone to create a sense of motion.
At the entrance of the sanctum (garbhagriha), one often sees River Goddesses on door frames- Ganga standing on a makara (mythical crocodile) and Yamuna standing on a tortoise. Both are placed on either side of the doorway (dvarashakha). This is highly symbolic as devotees are considered purified when entering the temple, just like bathing in sacred rivers.
The outer walls include carvings of directional deities called dikpalas or the guardians of directions. These include Indra (east) riding an elephant, Agni (southeast) with flames and Varuna (west) with a noose
These are placed in specific cardinal positions, showing that the temple follows a planned cosmological layout.
Mithuna Figures (Loving Couples): On the outer walls, one finds mithuna (couple) sculptures - male and female figures in intimate or affectionate poses. Highly detailed jewelry and body curves are high- lighted in these sculptures. These are generally positioned near junctions of walls or projections. These are not random—they symbolize -fertility and prosperity and the idea of life energy (shakti) supporting the temple
Kirtimukha Motif is a recurring carving above niches and arches is the Kirtimukha. It depicts a fierce face with wide mouth, often swallowing foliage - No lower body—just a face emerging from decoration. It is supposed to act as a protective symbol, believed to ward off evil.
Coming to the sculptures inside of the mandapa ceilings, one notices large circular lotus medallions carved in deep relief, layers of petals arranged geometrically and symmetrically , and, sometimes, with pendant-like central bosses . These represent the cosmic universe, with the lotus as a symbol of creation.
On the brackets, pillars and corners there are female figures leaning against trees or pillars with one hand often touching a branch (tree-spirit idea) and the body shown in elegant S-shaped curves. These are called salabhanjikas and represent beauty, fertility, and nature spirits.
There are narrative Friezes (Miniature Panels) at the base (adhisthana) and wall bands. These are in the form of small horizontal panels showing processions, musicians, and warriors. The figures so depicted are compact but very detailed. These scenes arranged in continuous storytelling bands and are like visual storytelling strips from temple life and mythology.
What makes Badoli carvings special are deep carving (high relief) giving strong shadows and depth, balanced proportions making the figures look natural, not rigid and lastly depiction of a combination of religion and daily life.
