The temple is built in sandstone, mainly with the jangha (wall) sculptures made in gray schist. As seen here, the temple is a single shrine consisting of a garbhagriha (sanctum sanctorum) and a mandapa (pillared hall). The temple's tiered phamsana shikhara (pyramidical stepped superstructure) has an amalaka (a ribbed discus) at the finial. The use of different materials for the entire temple body and the jangha is peculiar. The stone used for sculptures is polished.
Seen here is the mulaprasada (main shrine) of the Jain Temple. The temple elevation has a vedibandha (basal mouldings) with minimal ornamentation, followed by a jangha (wall) which has figural sculptures and an intricately carved multi-spired shikhara (superstructure).
The east-facing elevation of the Chaunsath Yogini Temple is better preserved than other parts. In elevation, the temple has several basal mouldings. All these mouldings are profusely carved with intricate designs. Above this is the jangha (wall) and the remains of the shikhara (superstructure) of the temple. The kumbha (pot) moulding from the vedibandha (basal mouldings) of this temple is the most ornate, with leafy patterns on its edges and deities within framed niches on the front faces.
Closer view of the shikhara (superstructure) of the Shiva Temple. It is of the shekhari (multi-spire) variety of shikhara where the central spire is complimented with miniature shikharas and half portions emanating from it. All the small and big shikhara aedicules are designed like individual Latina shikhara (mono-spired) with gavaksha (dormer windows) designs. The renovated portions of the shikhara were remade in plain stone blocks. At the centre of the base of the shikhara, there is an image of a seated Lakulisha, who is depicted nude, holding a staff, and flanked by two attendants.
The vedibandha (basal mouldings) of the temple consist of mouldings, including graaspatti (band of kirtimukhas or face of glory), kumbha (pot) with a diamond motif, kalasha (a pitcher), and kapotali (cyma recta). The entirety of the wall projections, built in schist stone, is adorned with imagery of gods, goddesses, apsaras (celestial damsels), and ascetics. These consist of the Shaiva images—Natesha, Andhakasura, Chamunda—inside the principal niches and dikpalas, that is, the cardinal deities—Indra, Agni, Nritti, Vayu, Kubera, and Isana. The walls’ design scheme with deities on the bhadra (central projections), dikpalas on the karna (corner projections), and the salilantaras with apsaras are a commonly occurring pattern in the regional temples.
The main Jain Temple is surrounded by plain raised plinths to its western and eastern side but the superstructures have not survived. On the southern side i.e., the rear of the main temple has a two small ruined shrines that survive on the plinth and wall remains. Based on the remains in the garbhagriha (sanctum sanctorum), these temple remains can be ascribed to Jain worship. The plinth mouldings of the ruined temples are similar to the plinth mouldings of the main Jain temples.
View of the ceiling of the mandapa (pillared hall) in the Someshwar Mahadev Temple. The ceiling consists of concentric circular rings made of cusps or fractals. The innermost ring features brackets adorned with sculptures. All concentric rings of the ceiling are profusely carved with sculptures, floral motifs, and geometric patterns.