View of the subsidiary shrine from the panchayatana (main shrine with four subsidiary shrines in all four directions) setup of the Someshwar Mahadev Temple. Not all these shrines have survived, except for the shrines to the northwest and southeast of the main temple. This is the shrine to the northwest of the main temple. The four side shrines in the complex are single shrines dedicated to different deities, probably Vishnu, Ganesha, goddess, and Surya. Of the shikhara on these shrines, only a few aedicules of the base have survived.
The central shrine consists of garbhagriha (sanctum sanctorum), antarala (vestibule or antechamber) and mukhamandapa (front porch). The shikhara (superstructure) of the shrine is only partially preserved. While the jangha (wall) of the garbhagriha is decorated with icons and sculptures, the mandapa is decorated with geometric, floral patterns and kirtimukhas (face of glory). The broken shikhara of the temple is of the shekhari (multi-spire) variety. The aedicules of the shikharas have gavaksha (dormer windows) designs on their surface.
The entrance of the garbhagriha (sanctum sanctorum) of the Hanuman Garhi temple complex and the enshrined Hanuman figure. This temple complex gets its name from the life-size figure of Hanuman in the temple. The doorframe of the temple is repurposed from an earlier shrine.
The Neelkanth Mahadev Temple has a semi-open mandapa (pillared hall). It has four pillars at its centre and dwarf walls all along its sides. Facing the garbhagriha (sanctum sanctorum), there is a Nandi sculpture on a pedestal at the centre of the mandapa. The pillars and the interior walls of the mandapa are plain.
This is the biggest temple and one of the few living shrines of the Hanuman Garhi temple complex. Dedicated to Shiva, the temple consists of a garbhagriha (sanctum sanctorum) and a semi-open mandapa (pillared hall) connected via an antarala (vestibule or antechamber). The shikharas (superstructure) of both the garbhagriha and the mandapa are shekhari (multi-spired) shikhara and samavarna (bell roof) shikhara, respectively. The temple has undergone restoration, especially its superstructure.
Formed on multiple miniatures of shikharas arranged in diminishing heights, the shikhara is of the shekhari (multi-spired) variety of the Latina (mono-spired) style of temple architecture. On the front side of the shikhara, there are niches containing deities. The shikhara has been partially rebuilt/renovated.
Seen here is the south-facing elevation of the main central shrine of the Kumbheshwar Mahadev Temple complex. According to its plan, the temple consists of a mukhamandapa (front porch), mandapa (pillared hall), antarala (vestibule and antechamber) and a garbhagriha (sanctum sanctorum). The mukhamandapa facing east-west has not survived, barring its plinth. A row of kutas (aedicules) is visible above the main shrine which indicates that the temple must have been adorned with a shekahri shikhara (multi-spired superstructure). The bhadra (central projection) on the south elevation had a sculpture of Tripurantaka Shiva.
A closer view of the south elevation of the Kumbheshwar Mahadev Temple shows that it has profusely carved exterior walls. The basal mouldings, such as the kani, graaspatti (band of kirtimukhas or face of glory motif), kumbha (pot), and kalasha (a pitcher), are relatively plain. The kumbha moulding has a band of diamond designs. The kapili (cyma recta) portion of the wall that connects the exterior of the garbhagriha (sanctum sanctorum) to the mandapa (pillared hall) has the same wall and plinth designs as the garbhagriha exterior walls.
The three sides of the main garbhagriha (sanctum sanctorum) of this small shrine have five sculptures each. Seen here is the figural frieze on the back side wall of the temple. Here are dikpalas (deities for cardinal directions) on the corner of offsets, apsaras or surasundaris (celestial damsels) in the intermediary projections. The three principal projections on three sides contain images of Chamunda, Natesha or dancing Shiva and Lakulisha. The style of sculptures matches with other Paramara period icons. This pattern of carving dikpalas, apsaras and deities from the Shaiva pantheon is unique and found at several structures within Arthuna.
The interiors of the garbhagriha (sanctum sanctorum) of the Chaunsath Yogini Temple are plain and minimally ornamented. It is square on plan with a trabeated ceiling. The temple is not actively used for worship now. But originally, it must have been dedicated to Goddess worship which can be speculated based on the pedestal which has the depiction of a goddess sculpture on its front side.