Tablet-like plaques are placed on the adhisthana (facing east). These plaques depict various types of flora and fauna as well as hybrid creatures like kinnara, vyala, and makara. The plaques are tightly arranged, richly detailed, and deeply carved, creating contrasting shadows that make the artwork look three-dimensional in sunlight. The central artwork of the plaque is in the form of a circular medallion surrounded by a foliage motif. In this medallion, a bird (likely a peacock) with its head bent downwards is integrated with a creeper motif. The rest of the plaque is covered with ardha padma (half lotus) and kalpa lata (creeper) motifs.
Broken fragments and debris from the original temple assembled on the north face of the adhisthana. Most fragments assembled here were once part of the shikhara of the original temple, other subsidiary structures, and associated parts like the urushringa (subsidiary tower projecting from the sides of the main shikhara). The original shikhara was destroyed and replaced by a circular dome at a later period.
Tablet-like plaques are placed on the adhisthana (facing east). These plaques depict various types of flora and fauna as well as hybrid creatures like kinnara, vyala, and makara. The plaques are tightly arranged, richly detailed, and deeply carved, creating contrasting shadows that make the artwork look three-dimensional in sunlight. U-shaped rounded stones are assembled on the parapet, but their position or purpose in the original temple is unknown. The central artwork of the plaque is in the form of a circular medallion surrounded by a foliage motif. The plaques are separated by squat pillars which have a square base, an octagonal shaft, and a square capital. The pillars are decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
Broken fragments and debris from the original temple assembled on the north face of the adhisthana. The fragments assembled here were once part of the original temple, and other subsidiary structures of the Panchayatana plan.
Sculptural panel depicting a couple (likely royal, based on their size and posture) seated on a circular throne and surrounded by female attendants. The scene depicts the couple admiring each other, in a moment of shringar rasa (romantic love). The central figure of the man is seated in the lalitasana posture. He is caressing his partner’s chin with his left hand while holding a flower in his right hand, offering it to her. The lady is resting her right hand on the left thigh of the man and her head is tilted upwards, as he looks into her face. One of the female attendants is seated on the right thigh of the central male figure.
Tablet-like plaques are placed on the adhisthana (facing east). These plaques depict various types of flora and fauna as well as hybrid creatures like kinnara, vyala, and makara. The plaques are tightly arranged, richly detailed, and deeply carved, creating contrasting shadows that make the artwork look three-dimensional in sunlight. The central artwork of the plaque is in the form of a circular medallion surrounded by a foliage motif. In this plaque, a human figure (acrobat/dancer) is doing an acrobatic/dance pose that merges with a creeper motif. Ardha padma (half lotus) and kalpa lata (creeper) motifs are carved on the rest of the plaque surface. The plaques are separated by squat pillars which have a square base, an octagonal shaft, and a square capital. The pillars are decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
Tablet-like plaques are placed on the adhisthana (facing east). These plaques depict various types of flora and fauna as well as hybrid creatures like kinnara, vyala, and makara. The plaques are tightly arranged, richly detailed, and deeply carved, creating contrasting shadows that make the artwork look three-dimensional in sunlight. The central artwork of the plaque is in the form of a circular medallion surrounded by a foliage motif. This plaque features two birds, likely hamsas (swans), with their necks entwined. The plaques are separated by squat pillars which have a square base, an octagonal shaft, and a square capital. The pillars are decorated with ardha padma (half lotus) and kalpa lata (creeper) motifs.
Broken fragments and debris from the original temple assembled on the north face of the adhisthana. The carving features a kinnari holding a purna ghata (a symbol of abundance, prosperity, and fertility). The upper body of the kinnari is depicted with a female human figure and the lower body consists of a bird which forms a floral motif at the rear.
Sculptural panel depicting a couple (likely royal, based on their size and posture) seated on a circular throne and surrounded by female attendants. The scene depicts the couple admiring each other, in a moment of shringar rasa (romantic love). The central figure of the man is seated in the lalitasana posture. He is caressing his partner’s chin with his left hand while holding a flower in his right hand, offering it to her. The lady is resting her right hand on the left thigh of the man and her head is tilted upwards, as he looks into her face. One of the female attendants is seated on the right thigh of the central male figure.