View from the rear side, west-facing, of the Suswani Mata Temple consisting of the newly added walls surrounding it along with the Kera tree to the south, and other trees that are considered sacred by devotees. The original Latina shikhara (mono-spired north Indian variety of temple superstructure) can also be seen.
Seen here is another face of the sarvatobhadra (open from all sides), which features a depiction of a Ganesha icon. The four-handed image is depicted in a sitting posture, although the specific attributes of the icon are difficult to identify. The niche containing the Ganesha icon is topped by a pyramidal shikhara (superstructure). The Ganesha icon is characterized by long elongated ears, and the trunk curls up to rest on a bijapuraka (citron fruit).
The hero stone slabs feature depictions of human figures in the upper half, while the lower half shows faint traces of inscriptions. Though illegible, closer examination suggests the inscription were likely written in the Devnagari script. The content of the inscription remains unknown, but typically inscriptions on hero stones detail of the deceased and the time of the craving. Palaeographically, the script can tentatively be placed within a broad timeframe from 12th to 15th centuries CE. However, due to the deteriorated condition of the stone slabs, no definitive conclusions can be drawn.
In the second small panel in the hero stone, positioned just below the row depicting the hero, stand two female figures with folded hands in namaskar mudra (salutation gesture). Their upright posture is emphasized by their drapery consisting of a decorated lower garment. The female figures represent celestial damsels believed to have arrived to escort the hero to heaven.
This is an unidentified fragment in the row of hero stones that are kept in the premises of Suswani Mata Temple. Today, the stone fragment is wrapped in a red paper sheet and revered by some as Ganesha. The original style and composition of the stone fragment are not known. The newly wrapped paper serves as an attempt to make the resemble Ganesha.
A closer view of the shikhara (superstructure) of the sarvatobhadra (open from all sides) reveals it's stylized like a phamsana (pyramidal) shikhara. It consists of three mouldings that decrease in size, with a gavaksha (false window) on the frontal side of these mouldings. The mouldings are capped by a disc at the centre. The shikhara gives the sarvatobhadra the appearance of a miniature shrine.
Seen here what appears to be a sculptural fragment among the row of hero stones. This speculation is drawn from faint traces of a human figure visible on the stone fragment. Given that the collection includes not only hero stones but also other pieces, it is plausible that a broken sculpture is venerated as a hero stone. Unlike other Hero stones, this fragment has a low pedestal.
Seen here is a broken piece of a hero stone, once part of the temple’s architectural structure. Despite its fragmented state, it is now worshipped among the veeron ke pathar (stones of the heroic people). In its current aniconic form, this fragment receives the same reverence and rituals as the other fragments kept alongside.
The west-facing view of the Suswani Mata Temple reveals a structure surrounded by a large courtyard. At the centre stands the old temple structure, painted in white, red, and golden colours. There are a few sculptural fragments to the south side of the temple. A kera tree believed to be auspicious by the devotees of Suswani Mata is situated to the south of the temple.
Typically, the front side of the Hero stones depicts a hero riding on horseback, accompanied by a female figure standing in front of him with her hands folded in namaskar mudra (salutation gesture). The size of this depiction might vary on each stone, but they maintain stylistic similarity. Sometimes, these figures include inscriptions that provide details such as the person honoured by the hero stones and crucially, the date of its creation. The dates from legible inscriptions on the Hero stones are from 1500 VS onwards, placing them in the 15th-16th centuries CE.