Serial nomination of Gupta Temples in North India

Among many cultural contributions of the Gupta dynasty, one of the most prominent was the construction of structural temples. Gupta temples in India are distinctive in their form and design. The uniqueness lies in the temple form of architectural expression that started taking shape with the development of the deity’s chamber, the garbhagriha, a small mandapa^[1] and the mukhamandapa^[2]. These temples exhibit architectural features influenced by both Buddhist and Hindu traditions. It represents an early stage in the development of temple architecture in India. The structure combines elements of the Nagar (North Indian) and Dravida (South Indian) architectural styles.

The document provides details of the temples put up for serial nomination. 

Temple No. 17, Gupta Temple in Sanchi
Temple No. 17 known as the Gupta temple is an ancient structure which is situated within the premises of Buddhist Monuments at Sanchi in Madhya Pradesh, India. Dating back to the early 5th century CE, it represents an early stage in the development of temple architecture in India. With its amalgamation of Buddhist and Hindu architectural elements, intricate carvings, and historical significance, Temple No. 17 is a remarkable heritage site deserving of UNESCO recognition. It has a striking simplicity in its architecture.

Cave No. 1, Udayagiri
Cave No. 1, known as the Vidisha Cave, is an ancient rock-cut cave situated in the Udayagiri Caves complex in Madhya Pradesh, India. It represents an exceptional example of rock-cut architecture from the Gupta period. The temple showcases the skills and expertise of ancient Indian craftsmen in carving exquisite structures out of solid rocks.

Cave 1, which is partly rock-cut and partly structural, repeats the plan and design of the Gupta temple at Sanchi but since its pillars show an early form of vase-and-foliage capital, it is to be placed in the early fifth century A.D. between the temples at Sanchi and Tigawa.

Nachna temple, Panna
The Nachna Temple, located in the Panna district of Madhya Pradesh, India, dates back to the 5th-6th century CE, with its rich sculptural heritage and historical significance. The temple faces west and is dedicated to Shiva. However, the temple is popularly known as Parvati temple.

It sits on a raised platform and consists of a garbhagriha^[3] and a pradakshina-path^[4]. There are mentions of the existence of a roof over the path and a porch which no longer exist.

The Nachna Temple complex consists of several shrines dedicated to different forms of the Goddess. The main temple is dedicated to Devi Durga, while other smaller shrines within the complex are dedicated to various Hindu deities.

Gupta temple of brick, Bhitargaon
The temple at Bhitargaon in Kanpur district of Uttar Pradesh is an east facing terraced brick temple which has been assigned to the middle of the 5th century, based upon its architectural and sculptural style. The temple is one of the oldest Gupta temples with a high shikhara or spire, decorated with terracotta panels inscribed with sculptures of gods, goddesses and dev.

The temple is square in plan and has an ardhamandapa^[5], antarala and garbhagriha. The roof over garbhagriha and ardhamandapa has collapsed leaving them open to the sky. It is unclear whether the temple is dedicated to Vishnu or Shiva.

Gupta temple, Deogarh
The Gupta temple at Deogarh in Uttar Pradesh is locally known as the Dashavatara temple and is situated at the bank of Betwa river which encircles it from three sides. The temple belongs to the beginning of the 6th century and is one of the most accomplished examples of Gupta architecture with elaborate carvings.

The temple gets its name from the ten incarnations of Lord Vishnu depicted on the temple and a rock cut well nearby. However, many archaeologists and experts refer to it as the Gupta temple. It is one of the few surviving earliest Gupta temples with a shikhara, which has partially collapsed. The decorative ornaments as well as the figures on this temple mark the apogee of the opulent Gupta style.

Kankali Devi temple, Tigawa
The Kankali Devi temple at Tigawa belonging to the 5th century CE is notable for defining the essential architectural scheme of the North Indian temples. In the absence of a foundation inscription, the dating of the temple is attempted on the basis of its architectural style and sculpture.

It’s an illustration of the formative stages of Hindu sacred architecture. It is the only surviving temple in the complex of around 36 temples. The rest had been demolished and materials were used for railway construction. The temple faces east and is built over a low-rising jagati (platform). It is composed of a garbhagriha and a mukhamandapa, the latter is an open mandapa supported on four pillars.

Siva temple, Bhumara
The Siva temple at Bhumara is entirely made of red sandstone. The temple has a raised platform with a circulation area around the garbhagriha. While the temple is overall plain, the typical T-shaped Gupta entrance doorway is adorned with ornate shakhas having lotus, geometrical shapes and figurines of gods and goddesses. The garbhagriha has a 6 ft long linga with the face in the front.

The fragments found near the temple suggest that there once stood a mandapa and a covered circumambulatory path around the garbhagriha. In spite of its poor preservation, this temple has a larger and more developed ornamental and figural repertoire than the Nachna temple and is assignable towards the close of the 5th century.

Siva temple, Sakor
The Siva temple at Sakor is made of sandstone and the advanced iconography of the temple indicates that the temple may date back to the close of the 5th century CE. The temple has a mandapa and a garbhagriha. As per the experts, there initially was a shikhara over the garbhagriha but as of now there are no remains of such. The temple is overall plain with a T-shaped doorway in the mandapa and an elaborate doorway to the garbhagriha.

Originally, it was constructed using well-dressed stones set together without the use of any mortar. No shikhara or mandapa ceiling has survived and therefore no reconstruction has ever been attempted.

Vamana temple, Deori
The Vamana temple (locally known as Madhia), situated on the river Ken in District Jabalpur, faces east and stands on a raised platform. The temple walls are plain but capped with diminishing tiers embellished with floral carvings and images of Lord Vishnu and anthropomorphic figures. The structure is in a dilapidated state, nevertheless all its constituents, despite being damaged and tottering, are somehow holding together.

It is clear from the torso of a large Vamana image found at the site, that the temple was dedicated to Vamana form of Vishnu.

Essentially similar to the Bhumara temple in elevational aspect, this temple is more austere in ornamentation and somewhat folkish in the quality of carving. It is thus little later than the Bhumara temple and is assignable to 6th century CE.

Bhim-ki-chauri, Dara
The Gupta period Shiva temple is situated on the lush green Mukundara hills in Dara (Rajasthan) locally known as Bhima-ki-chauri or Bhim Mandap. Facing east, the temple has a unique plan comprising a sanctum enclosed by heavy pillars and pilasters, preceded by a pillared nandimandapa of which only traces remain. The temple shows unusual freshness and simplicity of design.

On account of its exceptional plan and design it is not easy to place this in the sequence of known Gupta temples. Its similarity with the Udaygiri Caves 4-7 in regard to ornamental designs would, however, indicate the first quarter of the fifth century as its probable date.

Terraced Vishnu temple (Padmavati Brick Temple), Pawaya
One of the earliest terraced brick temples of the Gupta period dedicated to Brahmanical worship was excavated at the site of Pawaya (ancient Padmavati), situated to the south of Gwalior (M.P.) at the confluence of the Sindh and Parvati rivers. No remains except the three base platforms of this brick temple have survived, over which it was built.

Brick walling was found in excavations at several places and the ruins served as quarries for brick for a long time. The material was also utilised in the building of a fort during the Ismalic rule.

Based on the excavation reports and assessment, the original shrine as constructed by the Nagas might be dedicated to Shiva dating back to 3rd-4th century CE; however when the city came under the  Guptas, the shrine got converted into a Vishnu temple (as a sculpture of him has been found in the excavations), which indicates a date during the first quarter of the 5th century CE.

Terraced brick temple, Lauriya, Nandangarh
Lauriya-Nandangarh in north Bihar is a well-known Buddhist site with the best-preserved Asokan pillar, numerous stupas and the earliest specimen of a multi-terraced brick stupa shrine of 25m height.

It is surrounded on all sides by low mounds and a large tank to the south. The whole area is enclosed by a rampart, wall traces of which have been found in the excavations. Several antiquities excavated on site include beads, terracotta figures, pottery vessels, coins, metal objects like knives, daggers, celts, arrow heads, and other objects.

Based on a Brahmi script found on site, the monument is assignable to a date not later than the 5th century CE. Its early date is also suggested by the absence of any cult images indicating its Hinayana affiliation.

Terraced brick temple, Ahichhatra
Ahichhatra is a small village in Bareilly district of Uttar Pradesh. In ancient times, it was the celebrated capital of the North Panchala. The city, which finds mention in the Mahabharata, is a rich archaeological site. The ruins in Ahichhatra today consist of two large terraced brick temples.

In his report on Ahichchhatra, Sir Alexander Cunningham, the founder of Indian Archaeology, says that Buddha is said to have visited the city and preached the Law of Dhamma in Ahichhatra for seven days, near a naga-hrada or a serpent tank. This serpent tank was discovered by Hiuen Tsang, when he visited the city in the 7th CE. The same spot was later marked by a stupa built by Mauryan King Ashoka (269 – 232 BCE). On the basis mainly of sculptural style, the temple is assignable to the later half of the sixth century.

Maniyar Math, Rajgir
The Maniyar Math, a brick-and-stucco structure, is the earliest surviving temple in ancient Magadha. It is located in the old city of Rajgir in Nalanda district, Bihar.

The unique structure of this site reveals two segments with one cylindrical well-like structure at the center and a walled platform structure built around it. The badly damaged stucco images on the wall space have become difficult to recognize properly. It appears from the excavated remains that through the passage of time, different religious sects like the Nagas, Hindus, Buddhists and Jains have made this a significant place of worship. The cylindrical stupa now serves as a wishing well for the locals where they throw money and offerings to the  Snake god and wish for their happy life. Stylistically the temple is dated to the last quarter of the 6th century.

5th Period temple, Site 3 (Mahavihara), Nalanda
The massive 5th period pyramidal Gupta temple constructed in brick masonry is a part of the archaeological site of Nalanda Mahavihara which is located in the North-eastern state of Bihar, India. The temple is surrounded by several votive stupas which are studded with big and small statues of Lord Buddha. The site includes stupas, shrines, viharas (residential and educational buildings) and important art works in stucco, stone and metal.

On grounds of sculptural and architectural style, the temple is thus assignable to the last quarter of the sixth century.

Mahabodhi temple, Bodhgaya
The Mahabodhi temple, Bodh Gaya lies 115 km south of the state capital of Bihar, Patna and 16 km from the district headquarters at Gaya, in Eastern India. It is one of the four holy sites related to the life of the Lord Buddha, and particularly to the attainment of enlightenment.

The original temple was built by Emperor Asoka in the 3rd century B.C.E., which formed the nucleus of many later additions and restorations through the centuries, some documented and many left undocumented. The present temple dates between the 5th-6th centuries. It is one of the earliest Buddhist temples built entirely in brick, still standing in India, from the late Gupta period.

Stone temple no 2, Nalanda
The stone temple no.2 is a part of the archaeological site of Nalanda Mahavihara which is located in the North-eastern state of Bihar, India.

This temple has many exceptional features. It is made of sandstone and one completely bereft of Buddhist images at the Buddhist monastic site of Nalanda. This temple is also laid out at an awkward angle to the meticulously aligned row of monastic buildings here. It is assigned to the mid 7th century CE.

Aphsad Vishnu temple
A terraced brick-and-stucco temple of five moulded terraces with the sanctum placed atop the highest terrace at Aphsad has been identified as a Vishnu temple recorded to have been constructed by the Later Gupta king Adityasena who ruled in the year 672 CE, known from one of his inscriptions.

The temple was excavated in a field next to the village of Aphsaḍ in Nalanda district, Bihar, by the Archaeological Survey of India (ASI) between 1973 and 1983. On stylistic grounds this temple is assignable to 656-675 CE.

Mundeshwari temple, Ramgarh
Mundeshwari temple is situated atop a 600 ft. high hill at Ramgarh, located in Kaimur district of Bihar. Built of sandstone, the temple is remarkable for its octagonal plan, bold masonry and crisp carving. Though exceptional in plan (octagonal with four doorways), this temple marks a development of the jangha and rekha-shikhara design in solid, well-articulated stone masonry.

According to its foundation inscription, the temple was built in the reign of Maharaja Udayasena, which if referred to the Harsha Era would yield a date of 636 CE when Harshavardhana was the overlord of practically the whole of North India including Bihar.

Bhitari temple, Bhitari
Bhitari temple is an important historical site dating back to the Gupta period (approximately 4th to 6th centuries CE) which is situated about 32 km. from Ghazipur near Saidpur town in Uttar Pradesh.. It is a place of Great antiquity & contains many remains of great archaeological value. It is probable that Bhitari was at one time in hands of Buddhist but it probably attained its chief importance during Gupta Era.

The Bhitari Temple is believed to have been a place of worship, possibly dedicated to Vishnu, a deity widely revered by the Gupta kings. Though much of the original structure is now in ruins, it is thought that the temple played an essential role in the religious and cultural life of the region during the Gupta period.

Description of the component part(s):

The temples are simple stone load bearing structures with modest carvings on the main temple structure.

Temple No. 17, Gupta Temple in Sanchi
The temple follows a square plan, featuring a sanctum (garbhagriha) with a circumambulatory path (pradakshina) around it. It is built on a raised platform and has a pillared mandapa (hall) in front of the sanctum. The temple is adorned with simple yet symbolic mouldings and decorative elements in the interior and on column capitals.

The temple is a simple yet strong load bearing structure built of sandstone masonry. It has a flat roof sanctum and a pillared porch at the entrance. The flat stone slab roof of the sanctum is slightly higher than the porch with sufficient slope for rainwater drainage. There is a lot of restraint in its embellishment. There are no carvings on the interior of the temple but only on the exterior. The four columns and two pilasters are compact with carvings of inverted lotuses on the shaft. The capitals of the columns are carved with seated lions.

Cave No. 1, Udayagiri
The cave follows a rectangular plan and consists of a central hall (mandapa) supported by carved pillars. The hall leads to a small shrine (garbhagriha) at the rear end. The exterior of the cave features a richly adorned facade with intricately carved figures, motifs, and decorative elements.

The cave roof is made out of the existing rock canopy that extends outwards. The front portion of the cave has four columns. The cave porch is semi-open. The natural niche of the rock serves as the sanctum. The walls of the central hall are adorned with intricately carved reliefs depicting various mythological scenes, deities, celestial beings, and royal processions. The carvings reflect artistic excellence and attention to detail during the Gupta period.

Nachna temple, Panna
The Nachna temple has a perfect square layout with a sanctum (garbhagriha), mandapa, and an elaborate entrance porch (ardha-mandapa). The square plan of the temple has a dimension of 8 feet on the inside. It stands on a platform which is 4.5 feet above the ground. The sanctum is surrounded by a 5 feet wide circumambulatory path. The plinth is constructed in dressed stone masonry while the wall above it (on the platform) is constructed using irregular stones creating an image of natural rock formation.

The garbhagriha of the temple is a two-storey structure with a raised roof on the upper structure that has collapsed. The upper-story is relatively plain. The roof of the temple would have been flat based on the existing structure.  The interior walls of the sanctum are plain with a small window on each wall. The window frames have niches at the sill-level with images of shiva-ganas^[6]. The outer walls have perforated stone window jalis^[7] to allow natural light in.

The door to the garbhagriha is flanked by intricately carved jambs and lintel with sculptures of various deities. The base of the door jamb is adorned with images of Ganga and Yamuna beside the dwarapalas^[8]. The outer walls of the temple are adorned with beautifully carved figures, including deities, celestial beings, animals, and mythological scenes. The carvings reflect the skill and artistic expression of the craftsmen of that era.

Several intricately carved stone panels and sculptures have been found in and around the site that have been kept in the site museum.

Gupta temple of brick, Bhitargaon
The Gupta temple at Bhitargaon, situated in the heart of the Gangetic plain, is known for its lofty (c.70 ft. high) pyramidal shikhara. Built of brick and terracotta, the temple is triratha in plan with a prominent bhadra (central projection) on three of its sides and consists of a sanctum and anteroom (15 ft. and 7 ft. 4 in. square internally) connected by an oblong passage. While the sanctum and the anteroom had ceilings representing domical vaults, the passage and the entrance steps, now lost, were covered by a vault with neat corbelling. The temple stands on a cellular foundation of brick-walls packed with mud and has a bold vedibandha (podium), composed of the mouldings of kumbha, antarapatra (recessed course), and kapotali, raised on a tall plain course. The jangha (wall) is embellished with ornamental pilasters and large sculptured niches, three on the central projection (bhadra) and one each on the corner offsets (karnas) on each side. The terracotta sculptures on the central projection of the jangha show figures of divinities representing Shiva as Gajantaka, standing Ganesha, and seated Uma-Maheshvara on the south, Vishnu killing Madhu and Kaitabha, Durga killing Shumbha and Nish umbha. and four-armed god seated with a serpent-hooded deity (perhaps Vasudeva-Krishna with Balarama) on the north, and Varaha, Ashtabhuja Vishnu, and an empty niche on the west. The corner niches harbour figures of Vishnu and Yamuna on the southeast and Gajalakshmi and Ganga on the northeast, thus placing Ganga and Yamuna on the flanks of the entrance to the east. The jangha terminates in a recessed register of smaller terracotta panels between two kapota-cornices, largely depicting swirling scrolls and fabulous birds and animals with scroll tails, besides a few narrative friezes like Vishnu as Sheshashayi and Ganesha running away with sweets pursued by baby Skanda.

Though the shikhara is damaged at the top, enough survives to indicate its stepped pyramidal design and embellishment, with two types of niches, larger rectilinear ones with crescentic tops and smaller semicircular ones, all containing either full terracotta figures or busts or heads and some narrative friezes like the penance of Nara-Narayana, Ravana begging alms of Sita, and Krishna-lila scenes of the killing of Kuvalayapida (elephant) and of the bull-demon.

Gupta temple, Deogarh
The Gupta temple at Deogarh stands on an extensive (55.5 ft. square and 9 ft. high) platform, approached by a flight of steps in the centre of each side. The temple is a Panchayatana (a five-shrined complex) with a subsidiary shrine projecting from each corner of the platform. The moulded platform is richly embellished with sculptured panels between pilasters representing scenes from the legends of Rama and Krishna and miscellaneous decorative elements.

The main temple, facing west and measuring 10 ft. square internally and 18.5 ft. square externally, is erected in the middle of the platform terrace and is triratha^[9] on plan with a sumptuous doorway on the west and central projections on the remaining three sides. The three projection wall faces are relieved with imposing recessed panels, each carved with figures depicting cosmic scenes of Vishnu in a reclining form known as Sheshashayana with Lord Brahma emerging from his naval, Gajendramoksha, and penance of Nara and Narayana within a framework of ornate pilasters and architraves. The doorframe has five shakhas^[10], all richly carved with yakshas^[11] and entwining ganas, rosettes, mithunas^[12] alternating with pairs of load-bearing kumaras (dwarfs), ornate pilasters with figurines, and a T-shaped extension above the lintel, harbouring figures of Ganga and Yamuna in the extended flanks. The lalatabimba (central panel on the lintel) depicts Vishnu seated on the coils of Adishesha^[13]. The lower parts of the shakhas bear supple figures of Vaishnava door-guardians and surasundaris (nymphs).

The upper part of the jangha (wall) has a kapota^[14] cornice and a prominent recess embellished with floral panels alternating with sunk "keyhole" niches. The ornamented recess is capped by a cantilevered canopy (now quite damaged), which separates the jangha from the shikhara. Of the triratha shikhara only four base courses are preserved of which the two lower ones are plain and those higher up are carved. The lower one of the carved courses is embellished with various patterns on the bhadra and karnas (corner offsets), while the upper course, which is the most significant, shows proto-Nagara square units carved with bold chandrashalas or gavaksha^[15] and a bala- panjara^[16] design, preserved only on the east face. As only the core has survived denuded of facestones above the level, one cannot be certain about the exact design of the shikhara above this level. From the architectural fragments lying loose at the site one may infer that the shikhara had a stepped pyramidal design.

Kankali Devi temple, Tigawa
The garbhagriha of the temple is 12.75 feet square externally and 8 feet square internally. It is covered with a flat roof. The pillars of the mukha-mandapa are heavy in appearance as their bottom part is plain octagonal. Above it is an octagonal section succeeded by a sixteen-sided section and then a circular section. Over the circular sections rests a purna-ghata (overflowing vase). Above it is a square abacus supporting a square capital. Each face of the capital is carved with two lions with a tree in the middle. In one instance the tree is a mango tree but the tree in the rest cannot be satisfactorily identified. The base of the capital has a design of two chaitya arches with a human head inside. The pillars are crowned by brackets carved with figures of seated lions, a practice discontinued subsequently. The temple at Tigawa has more ornate pillars than the Temple No. 17 at Sanchi, exhibiting a fluted vase-and-foliage member united with the capital, a characteristic of the Gupta order. At some later point in time, the lateral open spaces of the mandapa were covered with a wall, and sculptures were installed inside.

The doorway of the garbhagriha has five shakhas (bands). Two shakhas have floral decorations and two are left plain, while the fifth shakha is in the form of a pilaster. The side pilasters are of the same pattern as found in the mukhamandapa. On the top of the pilasters are placed the river goddesses Ganga and Yamuna on either side. Ganga stands over a makara under a custard apple tree, and Yamuna stands over a tortoise under a mango tree. Both the river goddesses are shown plucking the fruits, thus they are a reminiscence of the earlier shala-bhanjika motif being merged with the river goddesses’ iconography. The lintel is plain and the architrave above it has thirteen plain square projections. Inside the garbhagriha is an image of Narasimha which belongs to the same period as that of the temple. However, it does not appear to be the main idol of the temple.

The original temple would have been significantly larger than the Kankali Devi temple as the doorway is more than a foot higher than the doorway of the Kankali Devi temple.

Siva temple, Bhumara
The Siva temple at Bhumara is set at 6 ft. 9 in. high jagati platform and comprises a square sanctum (15 ft. 2 in. square externally), a pillared mandapa which is ruined, and a flight of steps, originally flanked by two subsidiary shrines of which mere traces of plinth have survived. The jagati standing on standard basal mouldings has a plain face and supports a parapet crowned by a heavy rounded course. The sanctum rises from basal mouldings, similar to the jagati while its plain wall seemingly terminates with a kapota cornice at the waist level. The sanctum enshrines an impressive Ekamukhalinga and has an ornate door frame with the usual overdoor design and three shakhas. Of its three carved bands the middle one is embellished with charming female figures alternating with standing yakshas while the outer band shows shrivriksha design. The outermost shakha has a design of interconnected lotuses while the innermost shakha is decorated with geometrical figures. The lintel bears a large bust of Shiva in the centre with Vidyadhara figures hovering towards it from both sides while the lower parts of the door jambs bear figures of Ganga and Yamuna with their mounts and attendants.

The fallen fragments scattered around this temple comprise two varieties of long stretches of friezes carved with playful figures of ganas alternating with miscellaneous floral and other designs and three varieties of chandrashalas containing figurines of Brahmanical gods, goddess, and demigods which could well have adorned the roofs of the sanctum and the ruined mandapa. The fragments also included besides some pillars and pilasters, two smaller door frames and images of gods including Ganesha, pertaining perhaps to the ruined subsidiary shrines.

Siva temple, Sakor
The Siva temple at Sakor is a west facing temple which stands on a large, 3ft. high platform and comprises a sanctum (10.5 ft. square internally and 16.5 ft. square externally) preceded by an oblong and astylar closed mandapa. Its podium replicates the mouldings of the Bhumara temple while its door frame too is largely similar with three shakhas but replaces the outer shakha by a twisted garland in the places of shrivriksha motif. The only decoration available over the temple is found on the doorway of its garbhagriha. The innermost band has a meandering pattern that emerges above the heads of the river goddesses, from a geometrical design that resembles makara heads. There are various floral designs, primarily lotus, enclosed within semi-circular or half-square frames in the band. The middle band or rupashakha has seven figures on each side. The outermost band has a twisted garland emerging from a vase held above the head of a gana at the base of the band. This motif is very similar to what we find in the Nachna temple.

The central figure on the lintel is surmounted by a row of lion heads which henceforth appears surmounted by a row of headsets showing advanced iconography. This temple has lost the top courses of the jangha and a portion of the mandapa.

Vamana temple, Deori
The temple stands on a plain, 4 ft. high platform and consists of a sanctum, 7 ft. 4 in. square internally and 12 ft. 7 in. square externally. The sanctum has a kumbha moulding on its podium and a plain jangha which is capped by two diminishing structural tiers crowned by a flat roof. The lower tier consists of a broad recess sandwiched between a pair of prominent kapota cornices. The recess is embellished with a running frieze of niches containing mithunas and other anthropomorphic figures like ganas and vidyadharas cavorting or playing music, alternating with sunk panels showing floral designs and fabulous birds and animals. A stylized row of lion head dentils is carved beneath both upper and lower kapota cornices. On three sides, this recess is interrupted in the middle by figures of Vaishnava incarnations, of which Narasimha appears on the south and Hayagriva on the east. The upper tier, which partakes of rudimentary superstructure, shows a recessed frieze of smaller niches containing frolicsome ganas alternating with sunk designs of plain key-hole niches. Each of its corners is articulated by a slightly larger row of projecting niches. Each niche, containing a gana figure, is crowned by a chandrashala carved in relief on the cornice. The cornice is surmounted by a course of plain roof slabs, a few chased with drains and those on the edges supporting coping stones.

The doorframe has two shakhas, a broad inner one carved with lotus creepers issuing from a pair of sankhas (conch) and an outer one with shrivriksha motif issuing from vase-and-foliage. The base of the outer shakha is embellished with a Vaishnava door-guardian on each side. The lintel centrally bears an impressive relief of Vishnu riding on Garuda whose outspread plumes serve as an aureole for the god.

Bhim-ki-Chauri, Dara
The temple stands on a low platform approached by two lateral flights of steps. It was built in brick masonry with sandstone pilasters. A considerable portion of the temple is damaged. The temple consists of a sanctum (garbhagriha) with four heavy square pillars enclosed by ten peripheral pilasters, constituting an ambulatory, which is preceded by a nandimandapa resting on a bay of four pillars. The pillars of the sanctum are planted in a square box-shaped base (a relic of timber tradition), and ornamented in the upper part with bud-like projections and a pair of incised circles on either side of an octagonal construction and bear massive cruciform brackets carved with scrolls. The central bay of the sanctum is roofed by a flat ceiling carved with a large lotus flower with four smaller ones in the corners. The missing superstructure perhaps consisted of kapota-tiers ornamented with chandrashalas and amalakas, which are recovered from the site in fair number. There also existed makara pranalas^[17] on the exterior of the sanctum wall.

Originally, the temple had a series of eight bays, each roofed with flat stone slabs, along with a mandapa. The fragments of door jambs and a figure of Ganga found on site might belong to the front door. The surviving lotus ceilings are more elaborate than those of Udayagiri or Tigawa which means that this belonged to a later period. The superstructure remains conjectural and is based on archeological evidence.

Terraced Vishnu temple (Padmavati Brick Temple), Pawaya
The present excavated temple comprises three terraced brick platforms constructed using large size bricks laid in clay mortar. The lowest (about 140 ft. square) one is fairly plain and the two upper ones measuring 93 ft. and 53 ft. square respectively, are decorated with a series of pilasters at regular intervals showing a ghata member in the lower and upper parts and a broad voluted bracket, capped by a row of gavaksha-arches of an early semi-circular form. The bottom most platform is in fact the base of the original temple. The overall height of the present structure is about 31 feet.

The garbhagriha or sanctum on the top terrace is now lost. Stone sculptures representing Vishnu and an architrave depicting Vamana and Trivikrama forms of Vishnu in a luxurious palace setting are the principal cult objects found associated with the monument indicating its Vaishanava affiliation. The architectural features of the monument are consistent with the design of pillars and the modelling of figures, particularly females depicted on the carved architrave.

Remains of a fan palm capital, Manibhadra yaksha, Surya/Vishnu capital and a stone lintel which is partially broken, have been found near the site. The lintel was once part of a doorway that stood at the entrance. It has three different sections each of which narrates the story of the yajna^[18] of King Bali, Vishnu taking Vamana form and asking Bali for land equal to his three strides, and a musical assembly with a woman dancing, and others playing various musical instruments such as veena, flute, violin, drums, respectively.  A torana^[19] found in the debris on the east side of the platform suggests that the temple had an east entrance.

Terraced brick temple, Lauriya, Nandangarh
The multi-terraced stupa-shrine measures more than 80 ft. high and about 500 ft. across, with three polygonal terraces surmounted by three circular ones, all severely plain. The stupa is made of mud or mud bricks with baked brick revetments. The lowest terrace has fourteen re-entrant and thirteen outer angles in each quadrant. The monument underwent later restorations, one of which enveloped the upper polygonal terrace with a circular wall.

The excavation of the mound yielded coins and inscribed sealings of first century B.C. and terracotta figurines of the Sunga and Kushana styles, dating from second century B.C. to c. third century A.D. In the centre of the stupa mound at a depth of 14 ft. was found a 'truncated brick altar' and at a depth of 35 ft., a 12 ft. high stupa of polygonal plan complete with umbrella. Beside it, loose in the soil lay a tiny copper vessel containing a Buddhist manuscript of birch bark written in the Brahmi script of 5th century CE.

Terraced brick temple, Ahichhatra
Ahicchatra has two terraced brick temples, designated as AC I and AC II. Both comprise five square terraces with the sanctum atop the highest one. Both show bhadra-projections on the lower terraces and corner projections on the lowest terrace. AC I, which is the loftiest (75 ft. high) temple of the terraced type, faces west and enshrines a colossal shivalinga which is more than 7 ft. 10 in. high. The temple was originally approached from the west by a grand flight of steps, though some of the terraces were also interconnected by lateral stairs on the east side.

Answering to the description of the Eduka type of Shaiva shrines discussed in the Vishnudharmottara-purana, this temple was adorned with terracotta images and narrative panels known for their distinctive style and aesthetic merit. Thus, the ground landing of the main stairway was appropriately flanked by large-sized images of Ganga and Yamuna, while the uppermost terrace was embellished with panels depicting Saiva myths. In one of the earliest excavations, a terracotta plaque was found on the Shiva temple site, which shows two warriors, wearing armors and a channa-vira, mounted over their respective chariots, holding strung bows aimed at each other. Experts speculate that it is inspired by Mahabharata.

Maniyar Math, Rajgir
It is a cylindrical structure with bhadra projections at the cardinals and a circular well-like interior (dia.11 ft.). The temple stands on early basal mouldings with a tall kumbha and is adorned with 13 niches framed by pilasters with ghata-bases. The niches contained fine stucco images of which traces have now survived only of a seated Ganesha in the South bhadra. Old records and photographs testify to the presence of images of five nagas and one nagi, besides a shivalinga, a four-armed Vishnu (on east bhadra) and a six-armed Natesa.

Standing on the ruins of previous structures, this temple underwent several reconstructions and modifications. The upper parts of the niches were replaced by a plain circular wall, which constituted the first restoration. Subsequently its northern segment was blocked and an entrance provided on that side through the thickness of the wall to give access to its well-like interior. Several concrete pavements indicate successive floor levels. At a still later date the monument was surrounded by a large oblong structure approached by an imposing stairway from the north. The latest restoration was again circular on plan and comprised a thick enclosing wall, concentric with the original temple.

The stucco figures of the temple are delicately modelled and exude warm sensuousness. Though the wet drapery of the figures echoes Sarnath, their delicate modelling and tender expression are traits peculiar to the Eastern School. A short kirtimukuta worn by Vishnu is also characteristic of the school.

The predominance of the naga images indicates that the temple was dedicated to the naga cult which, however, did not exclude the worship of Vishnu, Shiva and Ganesha. The traditional name of the monument Maniyar Math, is significantly derived from Mani-naga which is mentioned as a tutelary deity of Rajagriha in the Mahabharata. Mani-naga is also inscribed on a Kushana image of a serpent deity found in a minor shrine at the site, which has also yielded in its lower levels brick platforms, strewn with pots decorated with multiple serpent hoods and lamps, the like of which are still used for the ritual worship of nagas in modern Bengal.

5th Period temple, Site 3 (Mahavihara), Nalanda
Site 3 at the Buddhist site of Nalanda is a tangled structural mass of seven successive stupa shrines with an 80 ft. high brick tower. The earliest stupa was 5 ft. 8 in. square and even the fourth hardly measured 12.5 ft. square. The fifth enlargement altered the character of the structure which was raised on a 50 ft. square and 20 ft. high terrace with four tall cylindrical stupas at the corners. Though the superstructure above the terrace is lost, the entire facades of the terrace and the corner towers are plastered with stucco and embellished with multiple registers of niched stucco figures of the Buddha and the Bodhisattvas in various poses. The structure was approached by a grand and lofty flight of steps, the side-walls of which continued the same scheme of ornamentation. The parapet of the stairway displayed impressive figures in the round of couchant lions.

Each corner tower is a square edifice of four storeys capped by a prominent cylindrical drum with the crowning dome now lost.

The corner towers on the northeast and southeast, and the northeast facade of the main terrace provide the best views of the original design. The entire structure shares a common podium of three bold mouldings, capped by three registers of diminishing sizes. The lowest register, which is the tallest, shows standing figures in rectangular niches or seated figures in niches with arched tops. The niches are framed by pilasters which have a ghata-base resting on a stylized lotus pedestal (typical of the early Magadhan architecture), a shaft with square, octagonal and short square sections with a circular ghata-capital and a cruciform bracket of plain curved profile.

The middle register shows seated figures in niches on the main facade but on the corner towers the figures appear within large gavaksha-dormers. The third register is devoid of figures and shows oblong windows with lateral extensions at the base and lintel, as seen on the Parvati temple at Nachna and the stupa at Mirpurkhas. The east face of the northeast corner tower displays blind latticed windows of design replicated at Mirpurkhas.

The corner towers still have a short fourth register which shows highly compressed pilasters capped by a heavy kapota-cornice. The surmounting cylindrical drum displays a prominent niche-shrine containing a seated Buddha image, crowned by a gavaksha-dormer in each cardinal face.

The temple was surrounded by numerous votive stupas, some of which were twice or even three times built one over the other. Two of these votive stupas are noteworthy for their interesting design. One of them with the usual rectangular base has an octagonal plan at the drum level showing various types of shrine models. The other shows niched shrines at the cardinal points containing Buddhist deities (including Tara) crowned by chandrashalas. Adjoining this stupa is a small Valabhi Shrine, adorned with Buddha figures in the gavaksha-dormers at the two ends of the oblong roof. Some votive stupas contained bricks inscribed with Buddhist sutras in the sixth century script, one of them dated A.D. 517.

Mahabodhi temple, Bodhgaya
The present temple at Bodhgaya represents the last such restoration by Alexander Cunningham who conducted in 1880 extensive repairs and reconstructions without deviating from the surviving model. The restored edifice well accords with the detailed description of the temple recorded by the Chinese traveller Yuan Chwang in 637 CE.

The brick-and-stucco temple is reared on an enormous (88 ft. x 66 ft. x 40 ft. high) platform terrace, standing on a podium of three bold mouldings (as at Maniyar Math and Nalanda Site 3) and embellished with two broad bands of sculptured niches with a row of grasamukhas spewing pearl chains between, the whole crowned by a register of shallow niches framed by pilasters. Centrally over the platform terrace rises 160 ft. high shikhara as a straight-edged pyramidal tower of seven storeys, each storey marked by a corner amalaka. The faces of the shikhara are relieved by bold designs of chandrashalas and pilaster-framed niches. Four smaller shikharas of identical design are built on the corners of the platform terrace.

The sanctum (49 ft. x 47 ft. externally and 20 ft. x 13 ft. internally) is two-storeyed and connected by a narrow passage to a porch. All the inner compartments have vaulted roofs, like those at Bhitargaon.

Marking the most magnificent monument of early Mahayana in North India, this temple replicates the figural and decorative ornaments of the fifth-period temple of Nalanda Site 3 a fact explicitly recorded by Yuan Chwang. The historical and stylistic evidence thus converge to assign this temple to the early seventh century, the time of Yuan Chwang.

Stone temple no 2, Nalanda
Like other Nalanda temples, this stone temple was reared on a moulded platform. It was a rectangular structure, externally measuring 118 ft. x 102 ft., with minor projections on all sides and a flight of steps projecting centrally on the east. After the stone building fell down, its remains were reconstructed partly with old pieces and partly with new brickwork which too has survived in patches. There are indications at the site to show that the original stone temple had a curvilinear Nagara shikhara with bhumi-amalakas and that its sanctum (52 ft. square externally and 18 ft. internally) was connected through an oblong passage to a mandapa (30 x 25 ft.), preceded by a porch.

Of the original temple only the moulded stone plinth has survived to an uneven height of four to six feet, subsequently overbuilt by a plain brick wall. Of the mouldings, the lowest one (kumbha) is surmounted by a wide recess relieved by a running row of about 220 sculptured niches framed by ornate pilasters, which constitute the main attraction of the monument. The row of niches is capped by a pair of kapota-cornices ornamented with chandrashalas flanked by geese or suparnas (harpies).

The niches bear reliefs of Brahmanical gods and goddesses, flying vidyadharas, gandharvas, harpies, scenes from the Ramayana and miscellaneous secular themes like amorous couples, dancers and musicians, cock-fight and animal fables, besides various decorative and geometrical designs. The gods and goddesses are all two-armed and represent Shiva, Parvati, Karttikeya, Kubera, Agni, Balarama, and Gajalakshmi.

These relief carvings as also the treatment of the mouldings and the pilasters lack depth and precision and seem to be the handiwork not of stone-masons but of those used to working in the brick medium.

The temple has quite a few graffiti including pilgrim records engraved in the script of mid-seventh century to which period the monument is assignable also on grounds of architectural and sculptural style.

Aphsad Vishnu temple
A fifteen metre high, five-story, rectangular pyramidal brick structure was unearthed, with remnants of a shrine on the uppermost terrace. The lower three platforms had niches which contained stucco plaques flanked by stucco pilasters. The majority of niches were found empty and alternated between rectangular and keyhole-shaped. The plaques extant at the time of excavation belonged to the lowest tier and depicted scenes from the Rāmāyaṇa positioned in chronological order. Importantly, some of the panels constitute the earliest discovered scenes depicting Bharata’s arrival with his entourage at Chitrakut.

Part of the ground terrace of the temple was excavated and revealed eight stucco panels of Ramayana scenes in pilaster- framed niches resting on a plinth of three bold mouldings, as seen at Maniyar Math and Mahabodhi temple.

Mundeshwari temple, Ramgarh
The temple comprises an octagonal sanctum (diameter 40 ft. externally and 20 ft. internally) preceded by traces of rectangular mandapa. The sanctum has four doorways at the cardinals and four sets of niches in the intermediate directions, each set composed of a large niche with two smaller flanking niches, all crowned by a pent roof faced by udgama (pediment of chandrashalas). This is the earliest temple to articulate a complete set of vedibandha (plinth) mouldings consisting of khura-kumbha (large cyma recta), kalasa (torus) and kapotapali (cornice resembling cyma recta). These mouldings are partly interrupted at the cardinals by door frames while in the intermediate directions they occur below the niches, with the torus moulding replaced by plain square rafter-ends.

The door frames are all large and show three shakhas, the first and second adorned by scrolls and lotus vines and the third by palmettes. The southern doorway, which forms the main entrance, has on the middle shakha a row of ganas, cavorting or playing music. Each doorway shows a different pair of door-guardians at the base. Thus, the south has door-guardians of Saura or Vaishnava affiliation, the western of Shaiva sect, the northern female door-guardians of Sakta persuasion and the eastern one Ganga and Yamuna. The last doorway was blocked at a later date.

The upper part of the jangha and the superstructure are missing. From the fallen architectural members lying at the site it is clear that the temple had a curvilinear Nagara shikhara adorned with a design of bold chandrashalas on the body and amalakas at the corners with a large crowning amalasaraka. The loose chandrashalas harbouring figures of Kartikeya, Ganesha and Andhakari Shiva besides two heads of Shiva might well have adorned the base of the sikhara.

The sanctum interior supported on four pillars and four pairs of pilasters, all of square section and plain and tall, has lost the ceiling but enshrines an image pedestal, besides, several planted images of Brahmanical deities of dates varying between seventh and 11th centuries. The main worship is offered to an image of Mahishasuramardini locally known as "Mundeshwari" as well as to a very late Chaturmukha linga which has recently been removed from the temple.

Scores of loose Brahmanical images of the seventh century were found at the site, some of them now deposited in Patna Museum. These include figures of Surya, Harihara. Vishnu, Parvati, Shiva, Nandi, Karttikeya, Kubera, Agni, Ganesha and Chaturmukha shivalinga. The presence at the site of all the important Brahmanical deities represents pancha-devopasana or a mixed worship which is also indicated by the foundation inscription which says that a Shaiva Matha designated "Vinitesvara" was attached to an old established temple of "Narayana" called Mandalesvarasvamin which had its management committee and stores.

Bhitari temple, Bhitari
Though the original temple structure is not fully intact, the archaeological remains provide insight into the architectural style of the Gupta period. The pillar and ruins discovered at Bhitari exemplify the use of brick construction and ornamental carvings that were characteristic of Gupta architecture. Many of the carvings and inscriptions discovered at the site point to the flourishing of Hinduism during the Gupta dynasty. The Bhitari inscription of Skandagupta was found on site which dates back to the middle of the 5th century CE.

The discovery of coins and seals at the site provides valuable historical information about the lineage of the Gupta kings. These items depict nine generations of Gupta rulers, helping historians reconstruct the genealogy of the dynasty.

One of the most notable features of the site is a red sandstone pillar with inscriptions referring to Skandagupta’s reign. The pillar serves as a critical historical document, mentioning Skandagupta's victory over the Hunas, a nomadic tribe that frequently invaded northern India during the Gupta period. The inscription also refers to Skandagupta's succession to his father, Kumaragupta I.

Excavations conducted at Bhitari in the late 19th century revealed numerous significant artifacts, including brick structures, seals, coins, and a silver plate inscribed with Kumaragupta’s name. These finds indicate that Bhitari may have been one of the royal residences or an administrative center during the Gupta era.

The Bhitari Temple today stands largely in ruins, with only the pillar and scattered remnants of the original structure remaining. Despite this, the site remains an important location for historians and archaeologists studying the Gupta Empire. The pillar with its inscription is particularly valuable for understanding the administrative and military achievements of Skandagupta.

[1] Pillared hall

[2] Entrance pillared hall before mandapa

[3] Sanctum

[4] Circum-abulatory

[5] A semi open hall at the entrance to mandapa

[6] Disciples/attendants of Lord Shiva

[7] Trellis

[8] Gatekeeper

[9] Three outward projections in plan

[10] Vertical bands or divisions in a doorway

[11] Nature spirits who are custodians of treasures

[12] A couple

[13] Serpentine demigod

[14] Curved projection in a temple that serves as a drip mould

[15] A decorative arch shaped like a horseshoe

[16] A pavilion sculpted on the parapet of a temple, apsidal in plan

[17] A water discharge outlet in garbhagriha

[18] Ritual for offering done in front of sacred fire

[19] A freestanding arched gateway

The temples are remarkable for their distinct style of architecture, marked by a harmonious blend of religious symbolism, refined design, and intricate craftsmanship. The temples had a basic square plan and flat roof with a circumambulatory path and a low height shikhara. The doorways were mainly T-shaped with decorative bands along the opening, images of dwarapalas, ganas, river goddesses, lion heads, lotus buds, etc.

Most of the Gupta temples are made of sun-dried bricks and terracotta, with some made in sandstone. The Udayagiri cave's rock-cut architecture is one of the exceptions that showcases exceptional rock-cut precision and artistry. The layout, sculpted pillars, and detailed carvings reflect the innovative spirit and creative genius of ancient Indian craftsmen during the Gupta period. The natural form of rock has been creatively used along with additions to create functional spaces.

Historical Significance: Gupta temples portray the golden period in Indian art, architecture, and culture. The series of temples are a reflection of the evolution of the temple architecture through development of the deity’s chamber, the garbhagriha, a small mandapa, and the mukhamandapa that later became essential in Indian temple design.

Temple No. 17 holds historical significance as one of the earliest examples of freestanding Hindu temples in India. It reflects the architectural transition from Buddhist stupas to temple structures, providing insights into the cultural, religious, and artistic developments of the Gupta era. Cave No. 1 holds historical significance as it provides insights into the cultural and religious practices during the Gupta period. The sculptures, reliefs, and motifs within the cave depict mythological stories, deities, and royal processions, contributing to our understanding of Gupta-era art, religion, and society. The Nachna temple provides insights into the cultural exchange visible through the temple mix of Nagar and Dravida architectural elements in the temple. It enriches our knowledge of the socio-cultural history of ancient India. The Dasavatara Temple at Deogarh (Uttar Pradesh) is one of the earliest examples of a temple with an existing shikhara. It is notable for intricate carvings of Vishnu’s ten avatars (dasavatara), reflecting the rich iconographic tradition that evolved during this period. The Bhitargaon Temple, located near Kanpur, is an early Gupta brick temple with a tall pyramidal tower and a pillared porch.

Cultural Legacy: The Gupta period is known not just for its architectural achievements but for its contributions to art, literature, mathematics, and science.

The Sanchi temple's combination of Buddhist and Hindu architectural elements signifies the cultural exchanges and religious syncretism that took place during the Gupta period. It represents an important phase in the history of Indian architecture, showcasing the intermingling of diverse religious and cultural influences.

All these temples are one of the early prototypes of the Hindu temples and are significant cultural resources that provide insight into the technological advancements in ancient India.

Criterion (i): The importance of Gupta temple lies in its experimental value that led to formation and standardisation of temple form in coming centuries.
The temples are known for their logical proportions, structural propriety and symmetry. The fusion of Buddhist and Hindu architectural styles, intricate carvings, and innovative design elements highlight the creative genius of ancient Indian craftsmen during the Gupta period. They showcase exceptional creative genius in rock-cut architecture. The intricate sculptures, well-executed carvings, and structural design highlight the exceptional craftsmanship and artistic abilities of ancient Indian artisans during the Gupta period 

Criterion (iii): The temples serve as a unique testimony to the transition in architectural styles, cultural and religious practices during the Gupta period. The Sanchi temple reflects the synthesis of Buddhist and Hindu influences, signifying the cultural exchanges and religious transformations that occurred during the Gupta era. It is one of the oldest temples found in India. The Gupta temples are an example of proportionate and symmetrical style of construction with elaborate carvings on doorways that were developed in the 5th and 6th centuries during the Gupta period. Many Gupta temples, particularly those that are still in active use for worship, have maintained their original purpose and function. This continued religious significance ensures that the intangible aspects of their cultural heritage, including rituals, festivals, and pilgrimages, are preserved alongside the physical structures.

Justification of the selection of the component part(s) in relation to the future nomination as a whole:

The Gupta temples across India are under the protection and management of the Archaeological Survey of India (ASI). Conservation efforts have been undertaken to safeguard the temple's architectural integrity, historical significance, and artistic heritage. Regular monitoring, preservation measures, and awareness programs ensure the long-term protection and management of the sites. The temples are protected under the provisions of the Ancient Monuments and Archaeological Sites, and Remains Act.

The Gupta temples are a testament to India's architectural, cultural, and religious contributions to world heritage. Their selection as a World Heritage site would bring global recognition to these historical marvels, fostering deeper appreciation for the roots of Indian temple architecture.

These temples offer unique insights into ancient Indian architecture, art, and religion. They serve as open-air museums, providing valuable educational opportunities for visitors, scholars, and students interested in ancient history, archaeology, and architecture.

The selection of Gupta temples for future nomination as a World Heritage site is fully justified based on their outstanding universal value, their pioneering role in the development of temple architecture, and their lasting influence on subsequent religious and cultural traditions. The preservation of their authenticity and integrity further strengthens their case, ensuring that these ancient structures continue to be appreciated as treasures of world heritage.

There is a need for a detailed conservation management plan for the sites in order to prevent further damage and to keep a record of the condition. The management plan must involve regular monitoring of the temple's structural stability, preservation of the stone carvings, and protection against environmental factors. It should also emphasize on community engagement, educational programs, and raising awareness about the historical and cultural significance of the temple to increase footfall.

The temples from Gupta period have stood the test of time showcasing the architectural genius of the Gupta period. The proposed temples contain all the attributes necessary to convey their outstanding universal value. The temples bear evidence to the simple yet proportionate and symmetrical style of construction with elaborate carvings on doorways, original form and design, and materials, which adds to their overall authenticity. Brick temples like Bhitargaon and stone temples like the Dashavatara Temple at Deogarh exemplify the diverse materiality of Gupta architecture. Despite centuries of natural wear and tear, many Gupta temples have retained their core structural elements, including the sanctum, mandapa, and shikhara. Apart from the necessary restoration works for the preservation of temples in Sanchi, Stone temple No. 2 in Nalanda, terraced brick temple in Lauriya and Maniyar Math in Rajgir, no interventions have been made to modify the existing temple structure in any of the temples.

The location of the Gupta temples within the broader cultural landscape is critical to their integrity. Most of these temples are situated within a complex in harmony with the surrounding Buddhist monuments and remains in terms of the location and setting. The temple in the Buddhist Monuments complex at Sanchi, archaeological site of Nalanda Mahavihara and Mahabodhi temple complex in Gaya are a part of the UNESCO World Heritage Site. This context further supports the integrity of the temples.