Dashavatara Temple

DR UDAY DOKRAS
Dashavatara Temple is an early 6th century Vishnu Hindu temple located at Deogarh, Uttar
Pradesh which is 125 kilometers from Jhansi, in the Betwa River valley in northern-
central India. Date
The Dashavatara temple is generally dated between late 5th-century and early 6th-century, or
about 500 CE. Benjamín Preciado-Solís, a professor of Indian History specializing in Hindu
and Buddhist iconography, dates it to the 5th-century. [21] According to George Michell, an art
historian and a professor specializing in Hindu Architecture, it is unclear when exactly the
Dashavatara temple was built but its style suggests the sixth century. [4] Michael Meister,
another art historian and professor of Indian temple architecture, dates the temple to between
500 and 525 CE.

Sanctum door reliefs./1980 sketch of 9-squared Dashavatara temple plan (not to scale, some
parts not shown)

It has a simple, one cell square plan and is one of the earliest Hindu stone temples still
surviving today. Built in the Gupta Period, the Dashavatara Temple at Deogarh shows the
ornate Gupta style architecture. The Hindu treatise Vishnudharmottara Purana describes
several temples including a "Sarvatobhadra temple", which has been compared by
archaeologists and Indologists with the Dashavatara Temple (Vishnu temple) or the Gupta
Mandir of Deogarh. According to Lubotsky, a comparative study suggests that the ideal
temple design and iconography described in the treatise as "Sarvatobhadra temple" was the
same as the Vishnu temple of Deogarh.] This conclusion was based on plan, size,

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iconography and several other norms described for building the Sarvatobhadra style Hindu
temples. Based on this comparison, the structural details of the Deogarh temple have been
inferred. Maps have also been drawn of the temple structure. The probable date of the
temple's construction has been estimated to be between 425 and 525.
The Sarvatobhadra design requires a superstructure with nine sikharas. The Dasavatara
temple at Deogarh shows only one "shikara", and right squares with no remnant structure.
Lubotsky acknowledges that this aspect of the Sarvatobhadra design cannot be fully
established by existing evidence. However, the supporting features of copings and amalakas
(a bulbous stone finial) have been found in the ruins, which supports the theory that more
shikaras existed on eight mandapas, as part of the temple
Four stairways outside the platform provide access to the temple. However, as per excavation
details, combined with the two small shrines with the central shrine seen now, the layout of
the temple has been interpreted to represent a typical Panchayatana style of the temples of
North India.[19] The total height of the shrine based on isometric projections is about 45 feet
(14 m).[43] Provision of porches has not been corroborated but some analogous comparison
with the Varaha temple (boar incarnation of Vishnu) in the fort precincts, which belonged to
the same period, suggests the existence of porticoes even in the Vishnu temple. Further, a
later date Kuriya Bira temple about 2 miles (3.2 km) to the south of the Vishnu temple, has
been cited to substantiate that this temple had a mandapa around a small shikara shrine, as
required in the Sarvatobhadra design.
According to Lubotsky, the Deogarh temple tallied with the description provided for the
Sarvatobhadra temple in the ancient treatise of Vishnudharmottara Purana.
The Vishnu temple's uniqueness has been expressed succinctly by archaeologist Percy
Brown, in these words:
When complete, this building was unquestionably one of rare merit in the correct ordering of
its parts, all alike serving the purpose of practical utility, yet imbued with supreme artistic
feeling. Few monuments can show such a high level of workmanship, combined with a
ripeness and rich refinement in its sculptural effect as the Gupta temple at Deogarh.

The temple at Deogarh is dedicated to Vishnu but includes in its small footprint images of
various deities such as Shiva, Parvati, Kartikeya, Brahma, Indra, River
goddesses Ganga and Yamuna, as well as a panel showing the five Pandavas of the Hindu
epic Mahabharata. The Temple was built out of stone and masonry brick. [8] Legends
associated with Vishnu are sculpted in the interior and exterior walls of the temple. Also
carved are secular scenes and amorous couples in various stages of courtship and intimacy.
According to Alexander Lubotsky, this temple was built according to the third khanda of the
Hindu text Vishnudharmottara Purana, which describes the design and architecture of
the Sarvatobhadra-style temple, thus providing a floruit for the text and likely temple
tradition that existed in ancient India.Though ruined, the temple is preserved in a good
enough condition to be a key temple in the Hindu temple architecture scholarship,
particularly the roots of the North Indian style of temple design.
The Dashavatara temple is locally known as Sagar marh, which literally means "the temple
on the tank", a name it gets from the square water pool cut into the rock in front
The temple site is in Deogarh, also spelled Devgarh (Sanskrit: "fort of gods" [13]), in the Betwa
River valley at the border of Uttar Pradesh and Madhya Pradesh. It is an ancient Hindu
temple below the Deogarh hill, towards the river, about 500 metres (1,600 ft) from a group of

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three dozen Jain temples with dharmashala built a few centuries later, and the Deogarh
Karnali fort built in early 13th-century.
The Dashavatara temple is about 30 kilometres (19 mi) from Lalitpur town in Uttar Pradesh,
220 kilometres (140 mi) west of Khajuraho, 250 kilometres (160 mi) south of Gwalior, 230
kilometres (140 mi) northeast of Bhopal, and about 400 kilometres (250 mi) southwest
of Kanpur. The nearest railway station is located in Lalitpur, while the closest major airport
with daily services is Khajuraho (IATA: HJR) and Bhopal (IATA: DBH)
The site is on the western edge of the Lalitpur range, with rocky Betwa river rapids about 500
metres (1,600 ft) away, amidst a forest. The British India era archaeologist Alexander
Cunningham visited this site in 1875 and called the general location as "singularly
picturesque". The fort has several Jain temples, and the Dashavatara temple is solitary Hindu
monument midway between the fort and the Deogarh village.

Dashavatara Temple on its jagati.// Vishnu sleeping, protected by Shesha

Deogarh is an ancient site. Numerous inscriptions in different languages and scripts have
been found here, as have a series of Hindu, Jain and Buddhist monuments. These suggest that
it was once a significant human settlement, likely a location on an imperial trade route that
brought people from different linguistic backgrounds to it. According to Madho Vats,
Deogarh nestled within picturesque hills in north, west and south along with its abundant
waters was conveniently located between the major ancient economic centers such
as Pataliputra (Patna), Kashi (Varanasi), Sanchi, Udayagiri, Ujjain, Bhilsa and Bagh.
[12]
Cunningham in 1875, noted that the inscriptions he found in Deogarh during his tour were
in Gupta script and few others he could not decipher. The ones his team was able to read
were Hindu Sanskrit inscriptions that started with phrases such as "Om! namah Shivaya!
(...)", and the samvat dates included within the inscriptions meant that the various inscriptions
ranged from 808 CE to 1164 CE, none before the 8th-century or after the 13th-century.
[14]
Cunningham reported about the colossal statues of Tirthankaras in the Jain temples site
and then added an extensive report on the solitary Hindu Deogarh temple which he called the

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"Gupta Temple". the very end of his report, he remarked that the architectural style and
themes displayed in the Dashavatara temple suggest that the temple must have been built
before 700 CE, with his guess being 600 to 700 CE.
Before Cunningham's 1875 report, the temple was visited by Charles Strahan around 1871,
who found it midst the jungle growth. Strahan shared his enthusiasm about the temple with
Cunningham as follows:
The jungle is heaviest in the immediate neighborhood of Deogarh, where the Betwa is
overlooked on either bank by rocky cliffs once sacred to Hindu shrines, whose ruins display
the utmost profusion of the art of sculpture, but which now hardly overtop the surrounding
trees. One temple of great magnificence, with a broad paved causeway leading from the foot
of the hill on which it stands, along the face of the rocks, is of great archaeological interest,
some of the sculptures being well preserved.

– Charles Strahan

In 1899, P.C. Mukerji surveyed the site more comprehensively on the behalf of
Archaeological Survey of India. He noticed the profusion of Vishnu imagery in the reliefs
and accepted the local oral tradition that claimed that the ten avatars of Vishnu were carved
on the temple but are now missing. In his report, he called it the Dashavatara temple and
mentioned the local Sagar Marh name for the temple.
In the decades following the Mukerji's report, excavations in the Deogarh region in early
20th-century such as those by Daya Ram Sahni yielded evidence of more Hindu shrines as
well inscriptions, Jain temples and Buddhist monuments. These include the Naharghati
inscriptions, a monastic cave and the inscribed relief of Saptamatrikas (seven
mothers, Shaktism). In 1918, Sahini also found panels from the temple buried near the
foundation and used by someone to build a wall nearby. These panels narrated scenes from
the Hindu epic Ramayana.[16] According to Bruhn, the Deogarh Naharghati inscriptions, cave
and sculptures are all Hindu monuments and one of richest archaeological findings in
Deogarh area, and they include Gupta era art, several early and late Nagari script inscriptions,
an early Mahishasura-mardini Durga relief, Shiva lingas and various Hindu statues.
In early 20th-century, the missing ten avatars that Sahni knew about but no one else had seen
proof of, led to a debate whether the temple should be called Dashavatara temple or
something else. However, the excavations and subsequent study of reliefs from the Deogarh
temple site by scholars such as Vats yielded the evidence of reliefs
showing Krishna, Narasimha, Vamana, Buddha, Rama, and others. Thereafter the temple has
generally been known as the Dashavatara temple of Deogarh. According to Vats, the
evidence suggests that a large number of reliefs that existed in late 19th century went missing
in the first few decades of the 20th century. Much of the Dashavatara temple, along with Jain
temples nearby, are in ruins and shows signs of damage.
Archaeologists have inferred that it is the earliest known Panchayatana temple in North
India. It was subsequently renamed by Cunningham as Dashavatara Mandir or Dashavatara
Temple (because the temple depicts ten incarnations of Vishnu), and also as Sagar
Marh (meaning: the temple by the well).
The Dashavatara temple has a high plinth (jagati) and is set with a basement porch. The
temple provides steps in the center of all sides of the platform to let the pilgrim enter the
temple from all four directions.

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The temple faces west, with slight deviation to the south that enables the setting sun's rays to
fall on the main idol in the temple. The plinth is square with a 55.5 feet (16.9 m) side, about 9
feet (2.7 m) above the bottom step (called the moon stone) of the shrine. Each corner of the
platform has an 11 feet (3.4 m) square projection with remnants of a shrine. The plinth was
molded in four parallel courses, each molding about 0.95 feet (0.29 m) thick. Above the four
moldings, rectangular panels separated by pilasters ran all along the plinth wi Some of these
friezes are now in museums such as the National Museum in Delhi. These show, for example,
the narratives from the Krishna legend.
On the platform is a nine squares layout. The surviving Vishnu temple is in the middle
square. The sanctum is a square with 18.5 feet (5.6 m) side. Its doorway is intricately carved
with reliefs. The images on the top of the lintel of the sanctum and walls show Vishnu
and Lakshmi, flanked by Shiva, Parvati, Indra, Kartikeya, Ganesha, Brahma and others. The
outer wall of the sanctum on three sides have niches with sculptures of Vishnu
legends: Gajendra-moksha flying in with Garuda, Nara-Narayana seated
in lalitasana position, and Anantasayi Vishnu in reclining position.
On the top of the sanctum is the remnants of sikhara of the Dashavatara temple. According to
Vats, this sikhara is one of the earliest extant lithic illustration in North India along with the
one in Mundeshvari temple in Bihar. The Deogarh temple is built on a square plan, while the
Mundeshvari temple is built on an octagonal plan The Deogarh temple sikhara was pyramidal
of receding tiers (tala), with a straight edge.
The Dashavatara Temple is closely related to the iconic architectural temple structure
described in the Vishnudharmottara Purana, and can be interpreted as an architectural
representation of the Chaturvyuha concept and the Pancaratra doctrine, centering on the
depictions of the four main emanations
of Vishnu: Vāsudeva, Samkarshana, Pradyumna and Aniruddha.
Sculptures

Left: Sheshashayi Vishnu reclining on the serpent-bed of Shesha. Right: Vishnu in sitting
posture under the serpent's hood

Sculpted panels are seen on the terraced basement, with carved figurines of river goddesses
Ganga and Yamuna flanking the doorway to the sanctum sanctorum, standing respectively on
their vahanas: crocodile and tortoise The panels of the stone door have intricate carvings

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showing amorous couples in different stages of courtship and intimacy. On the facade are two
males standing, one holding a flower and the other a garland as if greeting the visitor.
The relief on the doorway lintel of the sanctum shows Vishnu. He is four-armed, holds his
iconic conch shell in his rear left hand, the iconic chakra in his rear right, front right hand is
in abhaya mudra while the left front is on his thigh. Below him, to his right, is a female figure
presumably Lakshmi but her iconic details are missing. To the right, he is flanked by
standing Narasimha (the man-lion avatar of Vishnu) in namaste posture, while on left is a
dwarf who has been interpreted as Vamana (the dwarf avatar),[31] or more often Gana as he
lacks the iconic details of Vamana

A relief at Dasavatara temple (L to R): Kartikeya, Indra, Brahma, Shiva, Parvati, Nandi./
Mahabharata relief (L to R): Arjuna, Bhima, Yudhisthira, Nakula, Sahadeva and Draupadi
On the outer walls of each side of the sanctum are niches. Each niche has an alto-relievo of Vaishnava mythology.

 On the north side is the Gajendra Moksha in a niche that is 3.25 feet by 5 feet (0.65:1
ratio). A symbolic elephant is praying for help with his leg inside a pond and lotus flower
in his trunk, where he is being strangled. Vishnu is shown flying in on Garuda to liberate
the elephant from evil strangulation.
 On the east side is the Nara Narayana alto-relievo. Nara and Narayana are seated in
meditation in lalitasana. Both of them hold a rosary in hand, are shown to be with closed
eyes and calm, as if lost in their meditation. Apsaras are shown flying above with cusped
hands as if showering flowers. Below Nara and Narayana sit lion and deer in peace and
without anxiety. The panel also has four headed Brahma seated on lotus and in lotus
asana.
 In the south side niche is the Anantasayi Vishnu legend as he rests after creating a new
cosmic cycle. He sleeps on Sesha whose 7-headed hood shades him. Lakshmi is sitting
near Vishnu's feet and shown caressing his right leg. Vishnu is wearing an elaborate
crown (kiritamukuta) and neck, ear, arm and body jewelry. A miniature four headed
Brahma is above in center, but he does not emerge from Vishnu navel (a version found in
later-dated Puranas). Brahma also has only two hands, with one holding his iconic
kamandalu (water pot). Others flanking Brahma are Indra and Kartikeya (Skanda) on one
side, Siva and Parvati on Nandi, and a person with a garland. Below the reclining Vishnu
is a panel depicting the five males (Pandavas) and one female (Draupadi) of
the Mahabharata legend.

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 A Deogarh
temple Ramayana relief now in National Museum, Delhi; L to R: Rama, Sita, Lakshmana, in lower right
is demoness Surpanakha caught after harassing Sita and Rama/ Nara Narayana panel on the eastern wall
of the Vishnu temple
According to Lubotsky, it is likely that the entrance is dedicated to the Vāsudeva aspect of
Vishnu; the Anantashayana side is his role as the creator (Aniruddha); the sage form of Nara-
Narayana side symbolizes his preservation and maintainer role in cosmic existence
(Pradyumna); and the Gajendramoksha side represents his role as the destroyer (Samkarsana).
[31]

The Dashavatara temple had numerous plinth panels of about 2.5 feet by 2 feet each, with
friezes related to secular life and themes of Hinduism. Some of these reliefs were found
during excavations at the site, some recovered nearby and identified by their location, the
material of construction and the style. Many are lost. The recovered reliefs are now housed in
major museums. Some of the significant reliefs identified include:

 Ramayana scenes: a panel depicts the Ahalya-uddhara legend where Hindu

god Rama redeems Ahalya. The scene shows Ahalya in a reverential state offering
flowers, Rama and Lakshmana holding their bows, and a rishi monk sitting nearby with a
rosary. Other legends include the departure of Rama, Sita and Lakshmana for their exile;
the three arriving at sage Atri's hermitage; the Surpanakha legend; the Dandaka forest
legend; the abduction of Sita by Ravana; the bullying of Sita by Ravana legend; the
Sugriva victory legend and the Hanuman bringing the herb containing mountain for
Lakshmana legend.
 Mahabharata and Vishnu Purana scenes: a panel narrates the Krishna's birth in a prison
legend; Yashoda and Nanda playing with Baladeva and Krishna; Krishna battling Kamsa
legend; Krishna stealing bathing gopi clothes and two nude women concealing their
breasts; the Sudama legend and a few others. One of the panels shows the Vamana, Bali
and Trivikrama legend; another the Narasimha saving Prahlada legend.
 Secular life scenes: A number of panels show solitary women with various expressions;
small boys playing; girls picking flowers in a field; six girls together of which five are
watching and one is dancing; five girls of which one in center is dancing and the other
four are playing musical instruments; a woman giving a baby to a man so that he can hold
the baby but the man stands indifferent; and others
 Kama and mithuna scenes: lovers are shown as if having a conversation with one of his
hand on her shoulder, the shy woman looking the other way; she sitting in his lap and he

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 fondling her breasts; a man and woman with intertwined bodies, her body reclined on his;
a man turning away while the woman embracing him from behind and clinging to him;
another panel showing a woman declining a man making advances; and others
Another sculpture found in the Vishnu temple depicts the Krishna legend in
which Devaki hands over her new born son Krishna to her husband Vasudeva. This sculpture
is said to be one of the best depictions of Gupta period art, based on the sensuous and
graceful modelling of the figurines, but different in that its clothes are shown draped in an
exclusive fashion. It is now housed at the National Museum in New Delhi.
The panels show the culture and dress of ancient India. The jewelry and clothing
including dhoti, sari, kurta, lahanga, blouse, pleated skirt, dopatta (uttariya), langoti, neck
wear and others.

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