Visit to the Badoli (Baroli) Group of Temples located near the town of Rawatbhata in Chittorgarh district of Rajasthan, India.....shared by K J S Chatrath

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.                                                           

 

Shringar Chawri

Lesser known Hindu heritage temples in India- Kakanmath Shiva Temple (11th CE), Morena, Madhya Pradesh, India- by K.J.S.Chatrath

 

 

  Slightly tilted remains of another structure near the main temple. 

                            Quite near the main temple, these ruins indicate how big the site was. 

 

 Enthused by the write up and photos by the multi-faceted personality Mr. Sabya Sachi Ghosh, I visited  in 2024, the ruins of an amazing temple, which is reportedly 150 ft high, and, as the local legend has it, was constructed by ghosts in one night! That may or may not be true, but the remains of this magnificent temple do show that rules of gravity appear to have been challenged by the builders, or, is it some super power that is keeping the precariously placed huge stones from falling down? A visit is surely called for. 

Mr Ghosh has advised that "the name of kakanmath has nothing to do with the kacchapaghata queen who built this temple. It was Cunningham who had read a pilgrim graffiti naming a certain kakan who came to worship here before the temple was completely destroyed by Sikandar lodhi during his relentless campaign against Mansingh Tomar of Gwalior."

This Siva temple known as Kakanmath at Suhaniya (ancient simhapaniya) in District Morena, recorded to have been built by Kachchhapaghata ruler Kirttiraja (A.D. 1015-1035), is a magnificent edifice even in its ruins and is remarkable for its sculptural wealth.

 Standing on a lofty ornate pitha  (a Nāgara temple generally rests on a high platform- jagati over which is constructed a small platform called pitha) and originally surrounded by subsidiary shrines, the temple comprises a sanctum enclosed by an ambulatory (place for walking) with three transepts (the transverse part of any building, which lies across the main body of the building), antarala (a small antechamber or foyer between the garbhagriha (shrine) and the mandapa), hypostyle (an Ancient Greek term denoting a building having rows of columns supporting its roof)  gudhamandapa with lateral transepts, and a mukhamandapa (the small pavilion or porch constructed in front of the doorway of the temple) approached from the east by stairs.

The antarala has a single transverse row of four pillars while the gudhamandapa has four clusters, each of four pillars, arranged in four rows in alignment with those of the antarala.

The sanctum doorway has seven sakhas which include a large number of deities between two mithunasakhas.

The sikhara, shorn of most of its ornamental veneering stones, is about 30 m high, of the mandapa roof only the upper storey of its central part crowned by a bell member has survived. The temple is notable for its precise (C.A.D. 1015-1035) date and grand dimension combined with the rich quality and variety of sculptures.                 

                       I found this dancer in a nook of the Kakanmath Shiva Temple in Morena, India. This temple was constructed in the 11th century and is half dilapidated. I stood fascinated by this dancer frozen in time- a thousand years. She has, perhaps been waiting all these years for someone to come and watch her dance and appreciate it..... 

(Text based on personal visit & details from the Archeological Survey of India. All photos by kjs.chatrath)

 #Kankarmath #ShivaTemple #11thcenturyAD #Morena #India #kjschatrath #builtbyghosts?

Lesser known Hindu heritage temples of India- Gadarmal Devi, 9th CE..............by K J S Chatrath

 

Gadarmal Devi temple is a Hindu and Jain shrine in Badoh of Vidisha distraict of Madhya Pradesh, India that I visited a fortnight back. It is at a distance of 73 kms from Vidisha on road to Sagar. The temple with an oblong main sanctuary is set on an elevated sandstone platform. Seven smaller temples are arranged around it in a clustered layout in multiple architectural styles.

The sanctuary was built during the 9th century under the Gurjara-Pratihara dynasty. The Paramara dynasty later added architectural elements during renovations that reshaped the complex. 

The temple displays niches carved for yogini statues that reveal the worship practices of its time. These figures show how both traditions honored spiritual disciplines in the medieval era. The sanctuary opens daily from sunrise to sunset and is maintained by the Archaeological Survey of India. 

A large sandstone relief sculpture depicts a mother with an infant, kept inside the main shrine. This artwork was documented in 1871 by archaeologist Joseph David Beglar and offers a rare glimpse into how family bonds were portrayed in medieval temple art.

 

      Photos by KJS.Chatrath ...(Text based on personal visit and sourced from internet)

Maladevi Temple, 9th/10th CE, Vidisha, Madhya Pradesh, India.....KJS Chatrath

 I visited the Maladevi Temple, 9th/10th CE, Vidisha, Madhya Pradesh, India about a fortnight back. Photo: kjs.Chatrath

 

Female form of Lord Ganesha t Neelakantheshwara Temple, Viddisha, India. .....by K J S Chatrath

 

I visited Neelakantheswar Temple in Vidisha, Madhya Pradesh, India about 10 days back. I was intrigued to see a statue of what appeared to be Lord Ganesha in female form. I had never come across a female form of Lord Ganesha in any temple or in any book. So I took the help of internet and came cross some fascinating information.

 

It was Vinayaki. Vinayaki is the rare, largely forgotten female form of Lord Ganesha, often referred to as Ganeshani, Ganendree, or Ganesvari. Recognized in Tantric traditions and some Puranas, she is depicted as an elephant-headed goddess, embodying wisdom, power, and the removal of obstacles. Rare, ancient images exist in temples, such as the Chausath Yogini temples. It is seen in some temples in Madhya Pradesh and Odisha.

 

She is represented with an elephant head and a feminine body, often portrayed as a powerful and independent deity. Names include Vighneshvari ("Mistress of Obstacles"), Ganeshani ("Female Ganesha"), and Gajanani.

 

While often linked to Ganesha, the Matsya Purana describes her as one of the Matrikas (mother goddesses) created by Shiva to fight the demon Andhaka. She is sometimes interpreted as a shakti of Shiva, or in Tantric traditions, as a powerful independent entity.

 

Sculptures show her in similar postures to Ganesha, sometimes with a pot-belly and a trunk. Her idols are rarely found in Yogini temples and, in very rare Tantric contexts, she is depicted as the mother of Ganesha, representing the source of his wisdom.

 

In Buddhist texts, she is sometimes referred to as Ganapatihridaya (the heart of Ganesha), demonstrating her role as a distinct divine entity.

 

#Ganesha #Vinayaki #64Yoginis #MadhyaPradesh #Odisha #kjschatrath

 

 

 

 

Visiting Sanchi Stupa in Madhya Pradesh, India..................KJS Chatrath

 

"Many hues of my beloved India- 12".......shared by K J S Chatrath