The south-facing central projection on the Mandaleshwar Mahadev Temple has an icon of Tripurantaka Shiva. The six-handed deity has lost several of its attributes but is shown attacking a demon with his foot. The jata mukuta (matted hairdo) is peculiar.
The shikhara (superstructure) of the Mandaleshwar Mahadev Temple is built in brick. It is in the shekhari (multi-spire) variety of Latina shikhara where the mulashringa (main spire) is complimented by many small shringas (spires) emanating from it. These half and miniature shringas provide a cascading effect to the shikhara. The mulashringa is styled as a Latina sikhara. It is made up of five bands, in which the central band is broad, flanked by two bands each on either side. These side bands are of equal size. The brick shikhara is likely to be a later addition to the temple.
Details of the mouldings of the vedibandha (basal mouldings) of the temple. The broad kumbha (pot) moulding consists of a diamond motif band at its centre and a kirtimukha (face of glory) moulding at its base. Most of the plinth’s mouldings are plain.
View of the mandapa (hall) of the Mandaleshwar Mahadev Temple as seen from the mukhamandapa (front porch) of the temple. The mandapa is astylar, which means that it does not have any pillars in the centre of the hall. The pilasters are arranged along the sides to support the entire structure. The pilasters and pillar types are simple, plain shafts with minimal ornamentation of foliage motifs.
The entrance of the garbhagriha (sanctum sanctorum) of the Mandaleshwar Mahadev Temple is marked by an ornate dvarashakha (door jamb). Seen here is the view of the garbhagriha entrance from the mandapa of the temple. The dvarashakha is of the trishakha (with three vertical bands) variety, profusely carved with sculptures and geometric designs. The lalatabimba (lintel) has a sculpture of Ganesha. The three shakhas (vertical bands) of the dvarashakha are a patri (foliage) shakha, a shakha of maladharas (garland bearers) and one shakha with deities and ghatpallava (pot with foliage) motif.
Seen here is the south-facing elevation of the Mandaleshwar Mahadev Temple. The temple’s plan consists of a mukhamandapa (front porch) followed by a mandapa (pillared hall), an antarala (antechamber), and a garbhagriha (sanctum sanctorum). The mandapa is semi-open, that is, having lateral wings or transepts on the south and north sides. The original shikhara (superstructure) of the temple is probably lost. Presently, the temple has a shekhari (multi-spired) variety of shikhara built in brick.
West-facing elevation of the main Mandaleshwar Mahadev Temple is seen here. The mulaprasada (main shrine) of the temple is saptaratha (consisting of seven projections). The intermediate and corner projections of the temple are slender and narrow, devoid of any sculptures. Only the central projection has a sculpture inside a niche.
The west-facing central projection on the Mandaleshwar Mahadev Temple has an icon of Natesha. The image is framed in a decorative niche which has a pediment above it. The right side of the six-handed sculpture is broken. The lower left and upper left hands of the sculpture are shown holding a khatvanga (staff with a skull).
West-facing elevation of the main Mandaleshwar Mahadev Temple is seen here. Details of the mouldings of the jangha (wall) and vedibandha (basal mouldings) of the temple. The intermediate and corner projections of the temple are slender and narrow, devoid of any sculptures. Only the central projection has a sculpture inside a niche.
In the frieze of the drumming and dancing gods are Indra, seated on his elephant Airavata; a warrior holding a sword and shield, and an Apsara. Stella Kramrisch, in her work Hindu Temples (vol-2, plate LXVIII, p. 402-403) describes the spirit of the image in the following manner: 'the movement sways and surges to either side of a standing god who holds a long lance and seems to have ushered in before Indra the warrior so that he becomes one of the dancers. Indra, enthroned in a posture of ease, the right hand raised in Abhaya-mudra, grants fearlessness; his left-hand holds the Vajra. Small shapes surround him, Matali, his mahout, and companion spirits, Marut-like.' The elephant's trunk and the warrior's legs are interlaced; the warrior's is the largest movement; across the depth of the relief, he steps forward into the line of the celestials. Their dance vibrates, to the stamping of the feet, a suave tremor free from tension.” This image resonates with verse 7 of the Harsha stone inscription of Vigraharaja which mentions that the lord Harsha (Shiva) is worshipped on the hill by the joyous divine host, Indra.