Rajesh K Singh

The idyllic town steeped in history, houses a medieval fort and a complex of Jain temples. The exquisite carving and exemplary architecture have set trends for later developments in Bundelkhand and is a must see for the intellectually inclined despite the inadequate infrastructure and lack of upkeep.

Deogarh is a small town in district Lalitpur, Uttar Pradesh, about 120 km from Jhansi. It falls in what is known as the Bundelkhand region, which spreads across many districts of both Uttar Pradesh and Madhya Pradesh. With placid Betwa, a tame tributary of the river Yamuna, forming the backdrop, Deogarh houses many temples of early medieval and medieval period from 5th to 13th century AD and continues to be an important pilgrim centre for Jains. Betwa also forms the backdrop of several other historic cities one being the better known Orchha and has been revered since time immemorial. The River, which finds mention in the epic Mahabharata as ‘Vetravati’, approaches Deogarh hill from the south and turns westwards–a picturesque setting which attracted many patronising rulers and merchants to built temples along the profile of the hill and the nearby area.

Historical background
Deogarh experienced the control of many rulers, being strategically located on the main trade route connecting central India to the Deccan. However, the relatively longer period of the rule of Gupta, Gurjara-Pratihara and Chandella provided stability for the development of architectural and sculptural art in Deogarh. The temples here are of immense antiquarian and archaeological value and showcase the evolution of temple architecture in central India in the early medieval period. The town became an important seat of administration, trade and art during the reign of Chandellas. Deogarh fort was one of the eight prominent forts built by the Chandella rulers in the Bundelkhand region. With the defeat of Chandella rulers by the Chauhanas of Delhi in the 12th century, Deogarh lost its prominence as a seat of power.

Dasahavatara temple
Built during the Gupta period (320-550 A.D.), which is also known as the ‘golden age’ in the Indian art history for its achievements in architectural and sculptural art, Dasahavatara Temple, also known as the Vishnu Temple is the most prominent construct of Deogarh. Built with dressed sandstone it occupies a unique place in the evolution of temple architecture in India for being the first north Indian temple with a spire (sikhara). This pattern was later emulated and improvised in different parts of the country and developed into a distinct style of Indian architecture to be known as the ‘Nagara’.
A temple of low height, square base on a raised platform, Dasahavatara has a row of superbly sculpted panels depicting mithuna (couples) adorning walls of the platform, some panels of which (from Ramayana and Mahabharata) are lost. From all four cardinal directions, stone steps lead to the base of the garbha-griha (sanctum-sanctorum). Four smaller shrines around the main temple highlight one of the unique features of the Indian temple architecture–‘panchayatana’ (five dimensions). A rock cut baoli (step well) located nearby is one of the earliest examples of the rock cut step wells which later on led to a large numbers of elaborate step wells in central and western India.

Carvings of Dasahavatara temple
The praveshdvara (gateway) to the Dasahavatara is richly carved and depicts the rivers Ganga and Yamuna as goddesses on their respective mounts on its either side. This representation is a unique feature in the sense that from this period onwards these two rivers started being depicted and worshipped as a part of Indian temples. Other carvings on the gateway include mithuna, ganas (dwarfs) and a variety floral motif. A miniature image of the preserver–lord Vishnu in the middle of the band at the lintel of the door, shown sitting on the coils of serpent ‘Sheshnaag’, confirms that the Temple was dedicated to him. The Temple also depicts exquisitely carved panels on three of the exterior walls of the garbha-griha which remain the best examples of the Brahamanical plastic art of Gupta period.
The theme of Anantshyai-Vishnu is depicted on the southern wall of the temple-Lord Vishnu is shown reclining on the tight coils of Sheshnaag with Goddess Lakshmi at his feet. Depiction of Anantshayi-Vishnu was very popular in the ancient Indian art and its manifestations could be seen in different parts of the country. But none can match the perfection of the Deogarh panel. Nara-Naryana (the twin-brother incarnation of Vishnu on earth) in deep meditation, has been depicted on the back wall of the temple. Simultaneous depiction of deer and lion, on either side of Nara-Narayana highlights the peaceful environment of the hermitage in the precincts of the Temple. Third panel on the northern exterior wall depicts the story of Gajendra-Moksha–the liberation of an elephant by Vishnu, the obliged elephant is shown offering flowers to the Lord. The carvings of the Dasahavatara Temple showcase the distinct characteristics of sculptural style of Gupta period like soft modelling, gliding outline, inward look, diaphanous clothing etc.

Deogarh fort and Jain temples
The Deogarh Fort is about 100 meters away from Dasahavatara. Built by the Chandella to protect their kingdom from Deccan rulers, the Fort also houses 31 Jain temples of varying sizes, constructed during the reign of Pratihara and the Chandella during 8th to 13th century AD. Large numbers of panels depicting scenes from Jain mythology, images of tirthankaras and ayagpattas (votive tablets) are on the exterior walls of the temples and enclosures. Bada-Jinayalaya is the largest with the highest spire and the garbha-griha of the temple contains a huge standing statue of Lord Mahavira, the 24th tirthankara.
A huge mandapa (assembly hall) rests on thirty six pillars in front of the temple with a detached entrance gateway erected in front of the assembly hall with beautifully carved idols and floral designs. Most striking of the carved idols is the statue of Vaishnavi, a Jain protector-goddess. Situated north to this temple is yet another architecturally valuable temple having three shrines with a unique common pillared hall. The temple is dated to the later part of the 8th century and was built during the Gurjara-Pratihara reign. The main shrine of the temple houses one of the finest Jain images. All the three shrines have niches on their exterior walls, with images of tirthankaras carved into them. The enclosing wall has carved images of the Jain tirthankaras in standing and sitting postures. The free standing pillars have three distinct parts, i.e., top, middle and base. Top portion portrays the tirthankaras whereas middle portion displays varied themes ranging from human forms to geometrical patterns to decorative motifs. Base of the pillars displays various Jain goddesses. Despite being a heritage site, Deogarh has yet to get recognition as a viewers delight and a vibrant tourist destination largely because of its inadequate infrastructure.

The author is Deputy Secretary, National Disaster Management Authority, New Delhi, email: singhkrajesh@hotmail.com