A heavily adorned royal figure, depicted in the tribhanga pose, exhibits damaged hands. Whether this represents the patron, King Vigraharaja IV, remains a matter of pure speculation.
The jamb of the doorway is carved with sculptures of Ganga and Yamuna, along with a Shaiva dvarapala (door guardian). The lintel of the sanctum doorway features a two-armed depiction of Lakulisa seated in padmasana (lotus pedestal pose) in dhyana mudra (meditative hand gesture), carrying a lakuta (club) in his left hand and fruit in his right hand, inside a niche on the lalatabimba (lintel). Flanking Lakulisa, there are depictions of a four-armed Brahma and Vishnu on the right and the left hand of the lintel, respectively.
The lintel of the sanctum-doorway features a depiction of Lakulisa in padmasana (lotus pose) with two arms, displaying dhyanmudra (the hand seal gesture for mediation). In his left hand, he holds a lakuta (club), while his right-hand grasps a fruit, as per his standard iconography. The image is housed inside a niche on the lalatabimba (lintel). On either side of the lintel, there are depictions of four-armed Brahma on the left and four-armed Vishnu on the right. This substitution of Shiva’s image with Lakulisa at the lintel niches of the sanctum doorway was once a common feature of the Pashupata tradition.
The ceiling of the mahamandapa (pillared hall) is supported by eight elaborately carved tall pillars. Each pillar begins with a square base, transitioning into a shaft that is square in the lower portion, octagonal in the middle portion, and circular in the upper portion. Above these sections are architectural mouldings, a shaft that supports the capital, and carved bharvahakas (mythical flying load-bearing figures).
Inside the mahamandapa (pillared hall), in its northeastern corner, rests a black Shiva linga (aniconic representation of Shiva) on a yonipatta (womb-shaped base slab) dating from a later period. A loose sculpture of a seated Nandi is also kept inside the mahamandapa, near the antarala (vestibule or antechamber), and features a prominent hump.
The mahamandapa (pillared hall) features lateral protrusions on either side providing asanapatta and kakshasana (elevated sitting area or seat backs), above which are five dwarf pillars. It is connected to the ardhamandapa (partially closed hall), which also has dwarf pillars. The mouldings of the mahamandapa and ardhamandapa differ from those of the sanctum.
The pillar in the mahamandapa (pillared hall) features an octagonal design in the middle portion, adorned with intricate carvings of foliage, hanging bells, and spoked wheels.
The ceiling of the mukhamandapa (front porch) is of the nabhichchhanda variety, featuring five bands of concentric overlapping circles carved with lotus petals.
Each lateral transept of the mahamandapa (pillared hall) contains a cell with a flat ceiling, currently vacant. The cells feature a flat roof and a doorway.
The Gokarneshwara or Bisaldeo Temple is situated in a courtyard near the Bisalpur dam, on the banks of the Banas River. The temple’s architectural layout includes a garbhagriha (sanctum sanctorum), an antarala (vestibule or antechamber), a mahamandapa (pillared hall) with lateral transepts and an ardhamandapa (partially enclosed hall). It is a nirandhara prasada, meaning it lacks the pradakshina path or circumambulatory path. The sanctum is pancharatha (consisting of five projections on each side) on plan, and its walls are plain in design.