Kharod, known as the Kasi of Chhattisgarh is dotted with stunning brick temples dating back to the Vedic Period. Of these, only four remain today namely Shavari Devi Temple, Andal Deul, Lakshmaneshwar (also known as Lakhneshwar) Temple and Eeshaaneshwar Temple.
The most famous temple of Kharod is Indal Deul also known as Andal Deul, a 7th century brick and stucco temple built by perhaps Maharaja Indrabala of the Panduvamshis of Dakshina Kosala. This west – facing temple located to the north of the village has been widely appreciated by artists and architects for its richly embellished entrance doorway.
The temple sits on a 4 feet high platform and on plan originally had a pillared mandapa, a kapili and a garbha griha. However, only the garbha griha has managed to survive while the curvilinear shikhara of five tiers is in a state of disrepair.
The platform and entrance doorway are built in stone while the rest of the temple is of brick. The temple attempts to adhere to the stellar (star) form though the oblique projections do not render it into a complete stellar.
The temple appears to have been designed as a saptharatha with a square garbha griha. The external facades are adorned with sculptures and carvings in stuccowork that though have largely eroded, still manage to exude subtle elegance and grandeur.
The external facades are divided into five tiers and are decorated with mouldings, riders on lions, dancing Ganesha, Gajalakshmi Devi, Bhagawan Shiva, Bhagawan Narasimha, Bhagawan Indra seated on Airavata, ten – armed Durga Devi, Bhagawan Vishnu on Garuda, Bhagawan Kubera, Mahishasuramardini and others (many are too defaced to recognize), miniature niches inset with figures, musicians, dancers and apsaras, repetitive floral and geometrical patterns and auspicious Hindu iconography. A considerable number of these sculptures have been severely damaged and are beyond repair.
The entrance doorway has three prominent bands, the innermost of patravali, the middle of manibandha and the outermost of life – size figures of the river goddesses Ganga and Yamuna with pitchers in their hand in slight dvibhaṅga on their respective vahanas. It is believed that the Archaeological Survey of India (ASI) placed these sculptures in the present position during renovation.
Shiva – Parvati sit majestically on the Lalata Bimba along with Bhagawan Brahma and Bhagawan Vishnu, Garuda and a couple of Naga and Nagis. Remains of stuccowork is clearly visible here. The delicate lines of the sculptures of particularly Ganga and Yamuna and their garments and ornaments are very similar to the sculptural art of the Gupta Period.
Written by Lakshmi Subramanian
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