26

Kadwaha Temples

Arvind K. Singh
Kadwaha Temples

Kadwaha (24º58’; 77º57’, ancient

Kadambaguha - Mattamayura), is located
about 16 km north of Isagadh tehsil and about
40 km north of Chanderi in the Ashoknagar
district of Madhya Pradesh. The village is
famous for its temples, sculptures and
structures such as monasteries, ruined
mosque, wells, tanks and baodi. The temples
of Kadwaha exhibit significant variations in
style and motifs. It is likely that they were not
built by the Kachchhapaghatas, as considered
by most of the scholars;1 for the
Kachchhapaghatas never appear in the
inscriptional record from Kadwaha. In fact,
here neither the Gurjara-Pratiharas nor the
Kachchhapaghatas are directly involved in
architectural activities between the ninth-
eleventh centuries; the last inscription of the
Gurjara-Pratiharas from the region is of 942-
43 CE from Rakhetra.2 Conversely, the later
Pratiharas were particularly active at
Kadwaha and no less than four of their
inscriptions are found near the monastery and
its temple3 besides more than six inscriptions4
from the neighbouring areas. The epithet
nripachakravarti of the later Pratihara king
Hariraja is especially recorded in a
fragmentary Kadwaha inscription; he travelled
to the monastery to seek initiation from the
resident sages and gifted some villages to the
pontiff on receiving diksha.5 The grant of
certain villages to a pontiff of the Kadwaha
monastery suggests that the region was under
the later Pratihara rule at that time. The
association of the later Pratihara with the

Kadwaha temples is further established by a
minor inscription mentioning ‘Pratihara’
engraved on the chandrashila of the
mandapa’s entrance of one of the Akhati
group of temples.
The Chandla matha (monastery) at
Kadwaha, which was affiliated to the
Mattamayura sect of the Shaiva pontiffs, is
placed south of the Shiva temple within a
gadhi. The massive monastery is a sturdy
structure built of huge and small blocks of
dressed sandstone with large slabs being used
for roofing purposes. The double-storied large
monastery building measures 93 ft x 93 ft and
has a central open square courtyard
supported by pillared corridors on all sides
with some meditation cells and halls.6 The
pillars, brackets, lintels, and roof slabs are all
big cut heavy stone pieces. Its exterior walls
are plain with a double row of windows and a
small entrance on the north. This monastery
was part of an expanding monastic network. It
appears that the monastic movement began
with the Shaivite saint Guhavasi or
Kadambaguhadhivasi in 675 CE and later on a
regular monastery was constructed at
Kadwaha by Purandara. After its construction
in the ninth or tenth century, it flourished till
the fifteenth century. Though the monastery is
ruined now, a ‘fortresses’ with surrounding
walls and battlements were built around it at
some point of time while it was still active. The
monastery is impressive as a symbol of the
power and authority of pontiffs, who presided
over it and lived there in opulence and glory.7
The gadhi was constructed round the
monastery sometime in the fifteenth century
during the regime of the Malwa Sultans.
Kadwaha, one of the important temple
towns in medieval Central India, experienced
architectural embellishments between the
ninth and eleventh centuries that resulted in
no less than fifteen temples made of
sandstone.8 Of the existing fifteen temples, the
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Temples
363
temple near the Chandla matha belongs to the
late ninth century, twelve temples are
assignable to the tenth century, and the
Toteshvara Mahadeva as well Marghatiya
temples to the eleventh century. As for their
position, one of the Kadwaha temples is
located near the monastery, the remaining
fourteen are clustered in eight groups that
spread out around the monastery and occupy
the outskirts of the village. The earliest
monument is the Chandla matha, situated to
the far northwest; closer to the west are the
Ekla and the Akhati groups. The Bag, the
Marghatiya, and the Khirna groups are located
to the north while to the east is the Pachhali
Marghat and the Murayata or Talao groups.
The Murayata group represents the well-
known and magnificent Toteshvara Mahadeva
temple. The Shaiva affiliation of at least ten of
the Kadwaha temples as well as of the
monastery demonstrates the prominence of
Shaivism in the region.
The temples at Kadwaha reveal a
progression in vertical and horizontal
enrichment. The early temples are small in
size and have plain vedibandha, jangha,
mandapa, and a central figure on the lintel.
The later temples have more decorative
vedibandha, door lintel, pillars, ceilings and
jangha. The new conventions initiated over
time could be observed in the elevations of
temple base mouldings. The earlier temples
are often built upon a rudimentary
jadyakumbha-padma-pitha, ornamented with
lotus petals, above which is built a fairly
simple vedibandha of khura, kumbha,
kalasha, antarapatra, and kapotali while later
temples exhibit increasingly complex pitha
and a greater compression of the vedibandha.
The formation started in a simple form at the
Chandla temple, graduated into the
mandapika type of temple with raised
platforms, sopanas and highly developed
mandapas, provided with high platforms and
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Fig. 26.1. Chandla temple, front view.


Fig. 26.2. Ekla temple, doorway, north adhishthana
and jangha.
kakshasana, which finally reached its zenith in
the Toteshvara Mahadeva temple. The unique
experimentation is noticed in one of the
Murayata temple with twin garbhagrihas and
Kadwaha
Temples
365
one shikhara. The jangha portion of temples is
elaborately ornamented by various sculptural
details of divinities, apsaras, vyalas,
kinnaras, wrestlers, yogis, Ashtadikpalas, and
floral, animal, and geometrical motifs. The
mandapa ceiling is profusely carved with
lotus medallions and filled by other celestial
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366
mythical figures. The shikhara is missing in
most of the temples but survive in one of the
Khirna temples, both of the Murayata temples,
and somewhat in the Marghatiya temples. The
salient features of the sculptures are round
face, high eye-brows, half-closed eye-lids,
short chin, stunted and round body full of
rhythmic expressions and ornamentations.9
The east facing Chandla Shiva temple has
a garbhagriha and pillared mandapa; it
represents the first stage of Kadwaha temple
architecture (Fig. 26.1). The garbhagriha
enshrines a yoni-pitha at the centre. The plain
door frame is composed of patrashakha and
pushpashakha with river goddess at the
pedyas, dancing Shiva at the lalata, and the
doorsill possesses scrolled mandaraka at the
centre flanked by Udahikumaras holding
purnakalasha and motif of elephant fighting a
lion at either ends. The pitha of a plain
jadyakumbha holds above khura, kumbha
and kalasha mouldings forming the
vedibandha. The wall pilasters show plain
ghatapallava motifs at both the ends and
jangha is adorned with the sculptures of Surya
holding a padma in each of his hands, four-
armed and well-executed Chamunda, and
four-armed standing Ganesha in the shallow
niches of the bhadra surmounted by udgama.
A sloping chhajja has been provided with a
series of grooves above the jangha and the
mandapa. The distinctive feature of the
temple is its pyramidal shikhara with chaitya-
arch motifs, and two circular tiers on the top.
The shukanasika depicts seated Shiva but the
kalasha is lost. The mandapa is supported by
two front octagonal pillars carved with
ghatapallava motif, but devoid of load-
bearers and pilasters at the rear end. The plain
pillars, pilasters, and door jambs reveal that
the temple is in the initial stage of
experimentation.
The Ekla temple, which faces east, can be
approached through a flight of steps. It has a
triratha plan, and stands upon a plain jagati
(Fig. 26.2). The temple is dedicated to Vishnu,
but has a fairly recently planted linga and
yoni-pitha in the sanctum. The temple now
comprises only of a garbhagriha for the
mandapa and shikhara are now lost. The
interior walls of the garbhagriha depict in
bold relief a standing mother carrying a child,
a reclining mother feeding her child, and
above a Sheshasayi Vishnu. It has a samatala
ceiling carved with a large lotus flower in relief
having four circular rows of petals. The
doorway and door sill are as usual while the
lintel shows Garudarudha-Vishnu on the lalata,
Brahma and Shiva at the projecting terminals
and two friezes of Navagrahas and Matrikas in
the recesses. The jadyakumbha-pitha and the
vedibandha consist of khura, kumbha and
kalasha mouldings. The lower jangha of
pratirathas and karnaratha bears apsaras and
Dikpalas. The upper row shows mithunas, while
the salilantaras shelter vyalas and apsaras.
The south kapili is carved with the image of
Brahma. The images of bhadra niches are
missing. All the sides of the varandika have
panels of drummers, dancers and musicians.
The Akhati group of three Vaishnava
temples are of the standard tri-anga design
and all have lost their shikharas. The larger
and best preserved of them, and facing east, is
situated at the western extremity and is the
only one of the group that has its mandapa
intact (Fig. 26.3). The temple stands upon a
low jagati. It has a pitha of jadyakumbha with
lotus petals on the skandha and manibandha.
The pitha supports the vedibandha topped by
a jangha of two rows separated by a
grasapatti. The jangha is surmounted by
bharana and the varandika above comprises
a row of tula-ends embellished by floral
pattern, which is sandwiched between a pair of
kapotapalis, the upper one broader and
serving as roof-slab. The upper row has
smaller figures of vidyadharas; the lower has

Fig. 26.3. Akhati temple incised with inscription
mentioning ‘Pratihara’, south mandapa and jangha.
the customary figures of deities at the bhadra
and kapili-projections, apsaras at the
pratirathas and Dikpalas at the karnas, while
vyalas and apsaras nestle in salilantaras. The
images on the bhadra and kapili-projections
are in niches, which occupy the entire height
of the jangha and of the kapili and are
canopied by makara-toranas flanked by a
decorative design of shikharas. The bhadra
niches are topped by a frieze crowned with an
udgama, and only a mutilated figure of
Narasimha in the north is now preserved. The
kapili niches have Vaikuntha in the south and
Parvati in the north. The garbhagriha has a
plain flat ceiling, the lateral south wall shows
reclining figures of a mother feeding child,
surmounted by Sheshashayi Vishnu, and the
north wall displays a standing figure of mother
carrying a child. The west wall had a
prominent recess flanked by pilasters carved
with a pair of lotus-medallions on the upper
part. In the decorated doorjamb of
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Temples
367
garbhagriha, the lalata is decorated with
Garudarudha-Vishnu and the terminal
projections with standing Brahma and Shiva; a
frieze of Navagrahas is set in the recess; the
architrave has a relief of the Dashavataras;
Udadhikumaras seated over makaras and
holding pots are at doorsill. The doorway is
embellished with panchashakha, the
mithunashakha being flanked here by vyalas.
The river goddesses, Ganga and Yamuna, on
their vahanas, makara and kurma, and
holding water pots are at the pedyas. The
mandapa has a pair of pillars and pilasters of
heavy proportion that rest on kumbhaka-
bases of ghatapallava design. The sixteen-
sided shaft of the pillars is surmounted by a
grasapatti, circular flat ghata, ghatapallava-
sirsha, ribbed bharana, and kumara-brackets.
The brackets support a beam embellished on
the profile by grasamukhas. The pilasters
flanking the doorway show frontally disposed
Vaishnava pratirathas. At the entrance of the
mandapa, a small decorated chandrashila is
engraved with a one-word inscription
mentioning Pratihara.
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Fig. 26.4. Akhati second temple, south adhishthana
and jangha.
The second temple of the group faces
west and stands on an unadorned
jadyakumbha-pitha resting on a plain bhitta
course (Fig. 26.4). The temple is of
pancharatha plan with the usual vedibandha
moulding, which carries the jangha showing
sculptures only in a single register except at
the pratirathas, which has small figures of
seated ascetics also in the upper register. The
bhadra and the kapili-projections are
decorated with deities in niches crowned with
udgamas while the karnas show Dikpalas
canopied by smaller udgamas. The bhadra
niche on the south side is adorned with
Bhuvaraha, the one on the east with Vamana,
and the one on the north with Narasimha. The
garbhagriha is plain; it enshrines a
rectangular pedestal with Garuda image; its
samatala ceiling is carved with full-blown
lotus design. The doorway has three plain
shakhas but the remaining portions are
decorated. The lintel has standing Vishnu on
the lalata, Brahma and Shiva at the terminal
projections, seated Sarasvati and Ganesha in
recesses, and river goddesses on the pedyas.
The third temple of the group facing east
is much damaged. According to Krishna Deva
it is dedicated to Shiva;10 however, the
rectangular pedestal with a Garuda image

Fig. 26.5. Akhati third temple, north adhishthana
and jangha.
inside the garbhagriha indicates its Vaishnava
affiliation. It has a plain jadyakumbha as pitha
surmounted by the usual vedibandha. Most of
the original jangha portion is lost and to some
extent replaced by new slabs during the
restoration of this temple. The sculptures are
shown in two registers of the jangha except on
the karna, which bears a Dikpala in niche
canopied with an udgama. The bhadra niches
on the south projection have sculptures of the
seated Sarasvati in the upper and dancing
Kadwaha
Temples
369
Ganesha in the lower level, and those on the
north are adorned with seated Gaja-Lakshmi in
the upper and standing Parvati in the lower
register (Fig. 26.5). The jangha is topped by
bharana surmounted by varandika
comprising a projecting row of tula-ends with
carvings of vyala faces sandwiched between
two kapotapalis of which the upper one is
broader.
The temple close to the monastery is
dedicated to Shiva and faces west. It has the
tri-anga design and it preserves the mandapa
(Fig. 26.6). It stands on the usual
jadyakumbha-pitha supporting the khura,
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Fig. 26.6. Gadhi temple and monastery, north view.
kumbha mouldings of the vedibandha
adorned with small sculptured niches on each
projection. The jangha is divided into two
registers by a medial pattika of tamalapatras.
The pratirathas and the salilantaras possess
deities, nayikas, and vyalas while the karnas
depict Dikpalas. The kapili walls have deities in
the niches with kutachchhadya whose
crowning udgamas occupy the upper register
of the jangha. The bhadra-niches are like sub
shrines, roofed by phamsakutas overextending
the top of the jangha. The bhadra and the
kapili-projections on the south have figures of
dancing Ganesha and Kshemankari, on the
north there are Chamunda and Parvati while
the bhadras on the east have lost their images.
The upper row of the jangha has divinities,
including dancing Matrikas. The garbhagriha
enshrines a linga, which is planted in a high
yoni-pitha. The doorframe is decorated with
usual panchashakhas. The samatala ceiling is
carved with lotus in relief. The lintel shows
Natesha at the lalata, Uma-Maheshvara and
Lakshmi-Narayana at the terminal projections,
Navagrahas in the recesses, and twelve forms of
Adityas on the architrave. The mandapa has a
pair of heavy pillars and pilasters ornamented
with patravali, kirtimukhas and kumara-
brackets. The pillars are decorated with purna-
ghatapallava on both the ends with square
base having khura, kumbha and karnika
mouldings.
Of the Bag group of two temples, the
larger one facing west is dedicated to Vishnu
(Fig. 26.7). This pancharatha temple is built
on a raised plinth with a flight of steps having a
decorated chandrashila, and consists of a tri-
anga garbhagriha and a short kapili preceded
by a mandapa of the standard plan and design.
The unique feature is its ornate elevated pitha

Fig. 26.7. Bag group of two temples, general view.
of a pair of bhittas supporting a plain
jadyakumbha, manipattika, karnika,
antarapatta embellished with ganas in small
niches, and a grasapatti. The pitha carries the
usual vedibandha and the jangha bears
sculptures in a single register. The bhadra
niches depict Vamana in the east, and
Bhuvaraha in the south; the one on the north
is lost. The kapili-niches show Brahma in the
north and Vishnu in the south. The mandapa
is of the usual type and has an ardhachandra
at the threshold. The garbhagriha’s
panchashakha doorway is decorated with
manibandha, mithunas flanked on both sides
by vyalas, and a bahyashakha of patralata.
The lintel shows Garudasana-Vishnu at the
lalata, standing Shiva and Brahma at the
terminal projections; the recesses depict the
Navagrahas and the Matrikas while the
architrave shows the Dashavataras. The
doorsill is partly damaged but the usual
mandaraka image with Udadhikumaras is
shown along with elephant and lion. The
interior of the garbhagriha enshrines a
pedestal with a broken prabhavali, feet of
Vishnu, and flying Garuda.
Revelation in
Rock: Thal
371
The second temple of the group is
pancharatha in plan, faces south and has a
dvi-anga garbhagriha, but the mandapa has
vanished. It stands on a pair of bhittas; the
pitha consists of plain jadyakumbha and
antarapatta crowned with a manipattika, and
over the usual vedibandha rests the jangha
showing two rows of sculptures, larger below
and smaller above, separated by a pattika. The
bhadra niches show on the north Natesha, on
the east Surya, and on the west Lakshmi-
Narayana, while the kapili niches have Brahma
on the east and Vishnu on the west. The
noteworthy characteristic of this temple is the
replacement of the sculpture of the jangha-
salilantaras with chequer pattern. The
garbhagriha is adorned with a decorated
doorframe of the standard panchashakha
variety composed of patra, musicians,
mithuna, pushpa and ratnashakha design and
shows standing Vishnu at the lalata with
Brahma and Shiva at the terminal projections,
and Navagrahas at the recess. The pedyas are
occupied by river goddesses, Ganga on the
makara and Yamuna on the kurma, with
attendants on either side. The varandika of
the temple is elegantly decorated with
musicians and dancers. According to
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Architecture
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372
Fig. 26.8. Marghatiya temple, adhishthana, jangha
and shikhara.
Lourdusamy, this temple is dedicated to
Vishnu11 while Krishna Deva suggests that the
temple seemingly is of Shaiva affiliation.12
The beautifully built with well finished
sculptures, east-facing Marghatiya Shiva
temple is pancharatha in plan. It has a tri-
anga garbhagriha, and a pillared mandapa.
The garbhagriha enshrines Uma-Maheshvara
in the deep niche on the rear wall and a yoni-
pitha at the centre. The temple has usual door
jamb of panchashakhas, river goddesses at
the pedyas, Shiva at the lalata, Brahma and
Vishnu on the terminal projections, and
Navagrahas and Matrikas in recesses. The
architrave of the doorjamb is missing. The
fluted shaft of the mandapa pillars depicts bell
with chain in cardinal points, and the

Fig. 26.9. Khirna group of two temples, general view.
architrave is decked with vyala-mukhas and
floral design. The temple stands upon a plain
bhitta, high and well-finished double-tiered
vedibandha mouldings having human dancers
and couples in the lower part. The skilfully
Kadwaha
Temples
373
decorated jangha displays in the bhadra
niches Lakulisha and Parvati on the north,
Surya and Natesha on the west, and Sarasvati
and Gajantaka-Shiva on the south respectively
in upper and lower registers. The pratiratha
and the salilantaras are decorated with
deities, Dikpalas, and vyalas. The niches on
Art, Icon and
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three sides above the jangha shelter seated
Shiva in different forms. A projected
shukanasika over the mandapa features a
seated Surya with chariot driven by seven
horses. The curvilinear shikhara possesses
three half amalakas on three sides at the griva
level but the main central amalakas and the
crowning elements are lost (Fig. 26.8).
The Khirna group consists of two Shaiva
temples facing west; the bigger one has its
shikhara intact but has lost the mandapa
whereas the second one lost its shikhara but
the mandapa is intact (Fig. 26.9). The
vedibandha of the temple with shikhara shows
the usual mouldings. The jangha has
sculptures in two registers separated by a
medial grasapatti. The bhadra projections
show in framed niches on the north Uma-
Maheshvara in the upper and Natesha in the
lower row, likewise on the south Uma-
Maheshvara and eight-armed Karttikeya, and
on the east seated Brahma and dancing
Chamunda. Deities such as Uma-Maheshvara,
Lakshmi-Narayana, Ganesha-Vighneshvari
and Brahma-Savitri adorn the kapilis. The
pratiratha-projections possess apsaras in
both rows while the karnas shelter Dikpalas in
the lower and Shaiva figures in the upper, and
the salilantaras feature apsaras and vyalas in
the upper and lower registers. The jangha is
topped by a row of vyala-heads surmounted
by a kantha and a kapotapali that together
constituting the varandika, which is
surmounted by a lofty shikhara, but the
kalasha-finial is missing. The inside of the
shikhara is exposed due to the loss of face-
stones and the shukanasa and one can see
three superposed hollow chambers of
gradually declining sizes. The garbhagriha has
a pranali on the north side; it enshrines a
yoni-pitha, and has a samatala ceiling carved
with a large lotus flower in the relief having
four circular rows of petals. The doorframe is
decorated with a finely carved panchashakha.
In the doorway, the lintel shows seated Shiva
at the lalata, Brahma and Vishnu at the
projecting terminals with two friezes of
Navagrahas and Matrikas in the recesses, and
river goddesses with female attendants at
pedyas. The doorsill has a semi-circular
mandaraka adorned with lotus scrolls
enclosing bird figures flanked on each side by
an Udadhikumara riding karimakara and a
motif of lion fight with an elephant at the
terminal ends.
The second temple of Khirna group is
positioned on the left of the above temple. It
has a pancharatha plan and a tri-anga
garbhagriha. The garbhagriha enshrines a
linga. There is a standing figure of Parvati at
the rear and the ceiling is carved with a full-
blown lotus encircled by a floral square
border. The bhadra niches shelter deities:
Yogasana Surya is shown on the east, seated
Ganesha on the south and Parvati on the north
bhadra niches. The kapili has Natesha in the
north and standing Parvati in the south. The
lattice window motif is shown in the
salilantaras. The mandapa stands on two
heavy pillars and pilasters. The square
kumbhaka of the pillars is carved with square
ghatapallava at the lower end as well as the
capital, with a sixteen-sided fluted shaft with
chain-and-bell design on the cardinal flutings.
The upper part of the shaft has a grasapatti
topped by a flat circular ghata design. The
ghatapallava-capital carries heavy plain
brackets of curved profile. The panchashakha
sanctum doorway shows patra, mithuna,
flanked by gandharvas and apsaras,
bahyashakha with patralata; there are river
goddesses at the pedyas, and Shiva at the
lalata, Brahma and Vishnu at terminals, and
Navagrahas and Matrikas in the recesses. The
architrave profile features the Ekadasa-
Rudras.
The Pachhali Marghat group has two
temples facing west; the bigger one is

Fig. 26.10. Pachhali-Marghata temple, mandapa,
adhishthana and jangha.
dedicated to Vishnu and the smaller one to
Shiva.13 The Vishnu temple, having a
pancharatha plan, consists of a garbhagriha,
an antarala inside and a pillared mandapa in
front, which is supported upon two front
pillars and pilasters (Fig. 26.10). The
garbhagriha is plain with a fairly recently
installed linga inside. In the doorframe, the
lintel shows Garudasana-Vishnu at the lalata,
standing Shiva and Brahma at terminal
projections, Navagrahas and Matrikas in the
recesses topped by a grasapatti, and the
architrave shows Dashavataras. The
panchashakha doorjamb and door-sill are as
usual. The mandapa is approached through a
flight of six steps; the two uppermost bears a
chandrashila. The pillars base is square with
fluted shaft beautified with bell and chain
while the capital has load-bearers on four
sides. The mandapa beams are decorated with
Kadwaha
Temples
375
simhamukhas, diamond-cut designs and
scrolls. The temple stands on an ornate
elevated pitha raised on a pair of plain bhittas,
and comprises plain jadyakumbha, karnika
and pattika carved with manibandha,
karnika, khura, kumbha, plain antarapatti,
crowned with grasapatti having
simhamukhas. The vedibandha bears khura,
kumbha, kapotapali and the jangha depicts
sculptures in two registers with the lower
having larger figures. The bhadra niches
display on the north Bhuvaraha, on the south
Narasimha, the one on the east is empty while
the kapili walls possess on the north Vamana
and on the south Brahma with kutachchhadya
crowned by a tall udgama. The pratirathas of
the jangha are adorned with figures like
wrestlers and nayikas.
The Shiva temple of the group is located
on the north-west of the Vishnu temple. This
dvi-anga temple has been raised on a plain
bhitta, jadyakumbha, and vedibandha; it
consists of a garbhagriha and mandapa
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376
Fig. 26.11. Pachhali-Marghata second temple, north
adhishthana and jangha.
(Fig. 26.11). The panchashakha doorway lintel
depicts Uma-Maheshvara at the lalata,
Brahma-Savitri and Lakshmi-Narayana at the
terminal projections and the customary
friezes of Navagrahas and vidyadharas in the
recesses, and Ekadasa-Rudras in the
architrave. The bhadra projection in two rows
depicts Chamunda and Varuna on the north,
Ganesha and Vighneshvari on the south, and
Hariharahiranyagarbha on the east. The heavy
pillars and pilasters of mukhamandapa are
crowned with curved brackets displaying
grasamukhas.
Of the two temples of Murayata group,
the bigger one known as Toteshvara Mahadeva
is located on the north of the other temple and
on the west of the tank; it faces east and is
dedicated to Shiva. The temple is entered
through a flight of stairs. This is the most
developed temple of Kadwaha that can be seen
in its plan, elevation, components, and
sculptures (Fig. 26.12).The temple has
ornamented pancharatha, mandapa,
antarala, and its garbhagriha enshrining a
linga with yoni-pitha at the centre and a
pranali on the north. The jagati of the temple
is elevated and the jangha has a highly
decorated adhishthana of ten mouldings. The
vedibandha possesses khura, kumbha,
kalasha and kapotapali separated by the
antarapattas. Interestingly, these mouldings
are decorated with miniature chaitya-arch
motifs and ratnapattika. The fabulously
ornamented doorframe with highly polished
and fine finished saptashakhas hold seated
Ganesha on the lalata while the architrave
bears seated Shiva, Brahma and Vishnu with
their consorts. Of the saptashakhas, the
stambhashakha is decked with kumbha and
ghatapallava motifs at the top; its shaft has
miniature amalakas decorated with floral
motifs, the lower shaft has four females and
one male on the extreme ends on both the
sides, the last one being Kubera holding a
mongoose on the shoulder. The unique door-
sill depicts deities instead of usual
Udadhikumaras and the motif of lion fighting
with elephant. The well-decorated mandapa is
provided with a high kakshasana, sloping

Fig. 26.12. Toteshvara Mahadeva temple, general view.
chhajjas supported by decorative dwarf walls
and a pillared roof. The hexagonal shaft of the
pillars support the vitana carved with full-
blown lotus and the beams shelter a series of
panels depicting forms of Shiva. The jangha
portion consists of sculptures in two registers;
Kadwaha
Temples
377
the kapili wall on the south has Uma-
Maheshvara in the upper register while the
sculptures of the lower row and of the north
kapili are missing. The jangha portions are
decked with the sculptures of nayikas, vyalas,
dancers, mithunas, and others.
Another Shiva temple of the group is
distinctive with twin garbhagriha on the east
Art, Icon and
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378

and the west (Fig. 26.13). The east

garbhagriha enshrines linga with yoni-pitha
and exhibits Shiva at the lalata, with Brahma
and Vishnu at the terminal projections. The
doorframe of the west garbhagriha has a
grooved lintel architrave. The shukanasika is
projected from the shikhara but the missing
central stone forms a hollow, which exposes
the inner core construction. In plan, the
pancharatha temple has a pitha with plain
jadyakumbha over which is the karnika
surmounted by vedibandha moulding
comprising khura, kumbha and kapota. On the
whole, vedibandha is more compressed and
precisely cut, the varandika has sharper
mouldings, the spire presents a tighter
organisation of its constituents, and the string-
course runs through the middle of the jangha.
The shallow projection of central bhadra
niche on the north jangha shows a dancing
Shiva in upper register and Parvati in the
lower register, and on the south bhadra
dancing Ganesha is shown in the lower
register. Fig. 26.13. Murayata temple with two garbhagrihas,
Thus, the plan of the Kadwaha temples general view.
follows two distinct patterns that appear
throughout the site regardless of chronology division between the pratiratha and the
or religious affiliation. Both types are bhadra became more prominent as well as
pancharatha and display prominent bhadras the number of sculptures on the surface of
but the differences occur in the treatment of each projection increased and became
salilantaras. In the first form, the necessarily smaller in size. The two-tiered
salilantaras are placed only between the wall often with sculptures in two registers is a
kapili and karnas and between the karnas feature that comes into wide use in the mid-
and pratirathas. Consequently, the tenth century.14 The rhythm of the
appearance is of a clustered unit, with the salilantaras interspersed with the narrower
attendant apsaras in the pratirathas directly projections gave the wall a characteristic
flanking the main divinities in the central sense of lightness and movement that stood
bhadra. In the second form, the salilantaras in contrast to the seeming solidity of the first
are positioned between every projection of type.15 These two forms persist to be in use
the wall, which primarily changed both the concurrently throughout the tenth and
appearance of the wall and the potentiality eleventh centuries, as well as in temples built
for the sculptural programme. As a result, the side by side.
 Kadwaha
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379

GLOSSARY
adhishthana : base of a temple consisting chandrashila : lower step shaped like half-
of various mouldings; moon
vedibandha chandrika : capstone between amalaka
amalaka : prominent ribbed member and amalasarika on a
surmounting the griva of a shikhara
shikhara; the motif used to chhadya, chhajja : eave projection
demarcate the storey of a dashavataras : ten incarnations of Vishnu
shikhara at the karna dikpalas : guardians of the directions
amalasaraka : a small or constricted dvara : doorway, entrance
amalaka placed over the dvarashakha : doorjamb
amalaka dvi-anga : with two panels of offset
anga : principal horizontal or (triratha)
vertical division of the dvi-shakha : doorframe having two
temple plan shakhas
antarala : space in front of the ekadasha-Rudras : eleven Rudras
sanctum door; vestibule gadhi : fortress
antarapatta : recessed face between gana : attendant of Shiva
projecting mouldings gandharva : celestial minstrel
apsara : divine nymph; consort of garuda : Vishnu’s eagle vehicle
gandharva garudarudha : seated on Garuda
ardhachandra : ‘moon-stone’; semi-circular garbhagriha : sanctum sanctorum or
decorative step shrine cell
ashtadikpalas : the guardian of eight ghata : vase, pot; cushion-shaped
quarters – Indra, Agni, pillar-part (above lashuna)
Yama, Nirriti, Varuna, ghatapallava : vase-and-foliage member
Vayu, Kubera and Ishana, grasamukha : gorgon face or head;
guardians of east, south- kirtimukha
east, south, south-west, grasapatti : a frieze of kirtimukhas
west, north-west, north griva : ‘neck’; recess between the
and north-east, shikhara and crowning
respectively amalaka
bahyashakha : outermost jamb of the door- jadyakumbha : lowest moulding of the
frame adhishthana or the pitha
bhadra : central projection of a wall jagati : plinth, platform over
bharana : fluted top-part of pillar which the temple rests
bhitta : plinth, rectangular course jala, jalaka : perforated screen;
below the base gavaksha-web design of a
bhumi : division or storey of a shikhara
shikhara marked by an jangha : wall frieze between
amalaka vedibandha and shikhara
bhumi-amalaka : an amalaka demarcating kakshasana : prominent moulding
the bhumi of a shikhara emulating a sloping seat-
chaitya-arch : dormer window back of a balconied window
(decorative motif) kalasha : torus moulding; pitcher-
chandrashala : dormer window finial
(decorative pattern); kapili : wall portion of the antarala
open pavilion on upper on both the sides of a
storey temple
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kapota : roll-cornice; also panchashakha : with five jambs

overhanging cornice parikarma : niche frame
kapotapali : cyma-eave cornice patra : leaf, foliage
karimakara : hypostatic animal patrashakha : shakha adorned with
combining elephant’s foliage
trunk and dolphin patralata, patravali : frieze depicting creeper
karna : corner wall-division with foliage
karnaka, karnika : knife-edged arris pattika : flat slab-like moulding
moulding; minor karnaka pedya : lower section of door-jamb
karnaratha : corner projection of a (carved with figures of door
temple guardians)
khura : basal moulding of phamsakuta : tiered pyramidal aedicule
vedibandha pitha : moulded base of structure
kinnara : celestial birdman playing prabhavali : nimbus or halo round an
instrument image
kirtimukha : ‘face of glory’; grasamukha prasada : palace, mansion, temple
kumara : stunted figure supporting a pratiratha : wall-offset flanking bhadra
load or superstructure; purnaghata, : vase of plenty
bharaputraka or kichaka purnakalasha (decorative motif)
kumbha : ‘pot’ (inverted); high basal purnakumbha : pot full of water and foliage
moulding with curved symbolic of prosperity;
shoulder purnaghata
kumbhaka : pillar base pushpa : flower
kuta : square aedicule of prasada pushpapatti : floral band
kutachhadya : curved eave projection puspashakha : shakha carved with floral
kurma : tortoise pattern
lalata : central part of door lintel ratha : projection of a temple
linga, Shiva-linga : phallic emblem of Shiva ratnapattika : band of diamond pattern
makara : crocodile-monster ratnashakha : shakha with jewel pattern
mandapa : columnar hall ruchaka : square pillar or pilaster
mandapika : shrine without shikhara rupashakha : shakha with figural
usually of modest ornamentation
dimensions shakha : jamb of a door-frame
mandaraka : central part of doorsill with salilantara : recess between wall-bays
decorative lotus stalk, lotus samatala : flat ceiling-type
flower or other motifs saptashakha : with seven jambs
manibandha : band of jewels alternating shikhara : spire, superstructure or
with rosette (decorative roof of a temple
motif) simhamukha : lion’s head
manipattika : band of jewels (decorative skandha : shoulder
motif) sopana : step
matrika : mother-goddess stambha : pillar
mithuna : auspicious couple shukanasa, : antefix attached to
navagraha : nine planetary divinities shukanasika front face of shikhara of a
padmapatra : motif of lotus petal north Indian temple
padmapitha : lotus pedestal tamalapattra : leaf of
pancharatha : a temple having five Xanthochymuspictorius L.
projections (decorative motif)

torana : ornamented gateway
tri-anga : with three planes of
offsets in plan and
elevation
triratha : plan or wall with three
projections
tula : projecting rafter-end
generally carved with
decorative patterns
Udadhikumara : Eros riding a makara
udgama : pediment of
interconnected chaitya-
dormers usually found as
a crowning decoration of a
niche
vahana : mount; vehicle
NOTES AND REFERENCES
1 . Ahmed Ali, Kachchhapaghata Art and
Architecture, Publication Scheme, Jaipura,
2005 considered almost all the temples of
northern Madhya Pradesh and adjoining
region as the Kachchhapaghata; K.
Lourdusamy, Temples of Kadwaha, Temple
Survey Project (N.R.), Bhopal, 2012, p. 2
regarded the temples of Kadwaha as
Kachchhapaghata temples; Krishna Deva,
Encyclopaedia of Indian Temple Architecture:
North India Beginnings of Medieval Idiom,
Volume II, Part 3, American Institute of
Indian Studies, New Delhi, 1998, p. 21
considered them of the Kachchapaghata
period.
2 . Arvind Kumar Singh, ‘Raketra ki
Shailotkirna Murtikala evam Abhilekha’,
Itihas Darpan, Volume XVII (I), Research
Journal of Akhil Bharatya Itihas Sankalan
Yojana, New Delhi, 2012,
pp. 75-82.
3 . D.R. Patil, The Descriptive and Classified List
of Archaeological Monuments in Madhya
Bharat, The Department of Archaeology
Madhya Bharat Government, Gwalior,
1952, Nos. 746-753; Michael D. Willis,
Inscriptions of Gopaksetra: Material for the
History of Central India, British Museum,
London, 1996, pp. 14, 112-13; Arvind
Kumar Singh, ‘Inscriptions from Kadwaha,
Dist. Guna (M.P.)’, Pragdhara, No. 10,
Kadwaha
Temples
381
varandika : moulded parapet,
elevational member
separating wall frieze from
the superstructure
vedibandha : basal wall mouldings,
consisting primarily of
khura, kumbha, kalasha,
sometimes antarapatta, and
kapotapali
vidyadhara : flying celestial figure;
angel, divinized warrior
vitana : ceiling
vyala : rampant-lion motif
vyala-mukha : rampant-lion face or head
vyalapatti : register of vyalas
yogasana : yogic seated posture
Journal of the U.P. State Archaeology
Department, Lucknow, 2000, pp. 229-39;
A.K. Singh, ‘Kadwaha Stone Inscription of
the Time of Kirtipala’, Studies in Indian
Epigraphy, Vol. XXXIII, Journal of the
Epigraphical Society of India, Mysore, 2007,
pp. 169-76.
4 . A.K. Singh, ‘A Fragmentary Stone
Inscription from Chanderi’, Studies
in Indian Epigraphy, Vol. XXXII, Journal of
the Epigraphical Society of India, Mysore,
2005, pp. 23-27; A.K. Singh, ‘Chanderi
Inscription of the Time of Ranapaladeva, VS
1100’, Bharati: Bulletin of the Department of
Ancient Indian History, Culture &
Archaeology, Banaras Hindu University,
Varanasi, Vol. 29, 2006, pp. 139-44;
Arvind K. Singh, ‘Chanderi Stone
Inscription of Jaitravarma’, Journal of the
Asiatic Society of Mumbai, Vol. 80,
Mumbai, 2006, pp. 127-36; Arvind Kumar
Singh, ‘Paravarti Pratihara Sasaka evam
Unake Abhilekha’, Itihas Darpan, Volume
XV (II), Research Journal of Akhil
Bharatya Itihas Sankalan Yojana, New
Delhi, 2010, pp. 69-81.
5 . V.V. Mirashi and Ajay Mitra Shastri, ‘A
Fragmentary Stone Inscription from
Kadwaha’, Epigraphia Indica, Volume
XXXVII, Archaeological Survey of India,
Delhi, 1968, pp. 117-24.
Art, Icon and
Architecture
in South Asia
382
6 . M.B. Garde, Annual Administration Report of
the Archaeological Department Gwalior State
for Vikram Samvat 1996, Year 1939-40,
Printed at the Alijah Darbar Press, Gwalior,
1942, pp. 6-9; D.R. Patil, The Cultural Heritage
of Madhya Bharat, Gwalior, 1952, p. 91.
7 . R.N. Misra, ‘The Saivite Monasteries,
Pontiffs and Patronage in Central India’,
Journal of the Asiatic Society of Bombay,
Volumes 64-66, Bombay, 1993, pp. 108-
24.
8 . For detail please see Krishna Deva,
Encyclopaedia of Indian Temple Architecture:
North India Beginnings of Medieval Idiom,
Volume II, Part 3, American Institute of
Indian Studies, New Delhi, 1998, pp. 21-27;
K. Lourdusamy, Temples of Kadwaha,
Temple Survey Project (N.R.) Bhopal, 2012;
Ahmed Ali, Kachchhapaghata Art and
Architecture, Publication Scheme, Jaipura,
2005, pp. 27-32.
9. Lourdusamy, op. cit., p. 42.
10. Krishna Deva, op. cit., p. 22.
11. Lourdusamy, op. cit., p. 28.
12. Krishna Deva, op. cit., p. 23.
1 3 . According to Krishna Deva, Ibid., p. 24, this
temple is dedicated to Vishnu.
1 4 . Michael D. Willis, Temple of Gopaksetra: A
Regional History of Architecture and Sculpture
in Central India AD 600-900, British Museum,
London, 1997, p. 80.
1 5 . Tamara I. Sears, ‘Fortified Matha and
Fortress Mosques: The Transformation and
Reuse of Hindu Monastic Sites in the
Thirteenth and Fourteenth Century’,
Archives of Asian Art, Vol. 59, University of
Hawaii Press, 2009, pp. 7-31; Tamara I.
Sears, ‘Mobile Communities and Temple
Towns: Kadwaha at the Turn of the First
Millennium CE’. The draft of the paper
submitted in 2010 for publication in South
Asian Archaeology.