Coordinates: 23°35′1.7″N 72°7′57.

67″E

Sun Temple, Modhera

The Sun Temple is a Hindu temple dedicated to the solar deity
Surya located at Modhera village of Mehsana district, Gujarat,
Modhera Sun Temple
India. It is situated on the bank of the river Pushpavati. It was
built after 1026-27 CE during the reign of Bhima I of the
Chaulukya dynasty. No worship is offered now and is
protected monument maintained by Archaeological Survey of
India. The temple complex has three components:
Gudhamandapa, the shrine hall; Sabhamandapa, the assembly
hall and Kunda, the reservoir. The halls have intricately carved
exterior and pillars. The reservoir has steps to reach the bottom
and numerous small shrines.

Suryamandapa of temple

Contents
History Sun Temple,
Modhera
Architecture
Gudhamandapa and Garbhagriha
Garbhagriha
Gudhamandapa
Sabhamandapa
Pillars
Iconography Location in Gujarat
Kirti-torana Alternative Modhera Surya Mandir
Kunda names
Stepwell General information
Modhera dance festival Status Destroyed
Location Location Modhera, Mehsana
In Literature district, Gujarat
Gallery Country India
See also Coordinates 23°35′1.7″N
Notes and references 72°7′57.67″E
Notes Technical details
References Material Sandstone
Further reading Designations ASI Monument of
External links National Importance (N-
GJ-158)

Sun Temple, Modhera

History
The shrine proper of the Sun Temple was built during the reign
of Bhima I of Chaulukya dynasty.[A][1][2][3][4] Earlier, during
1024-25, Mahmud of Ghazni had invaded Bhima's kingdom,
and a force of around 20,000 soldiers had unsuccessfully tried
to check his advance at Modhera. Historian A. K. Majumdar
theorizes that the Sun Temple might have been built to
commemorate this defense.[5] On a block in western wall of
cella, there is an inscription "Vikram Samvat 1083" upside
down carelessly incised in Devnagari script which correspond
to 1026-1027 CE. No other date is found. As the inscription is
upside down, it evidences the destruction and reconstruction of
the cella. Due to the position of the inscription, it is not firmly
considered as the date of construction. On the stylistic ground,
it is known that the Kunda with its corner shrines was built
earlier at the beginning of the 11th century. The inscription is
rather considered as the date of destruction by Ghazni instead
of the construction. Soon after Bhima had returned to the
power. So the temple proper, the miniature and the niche
shrines in the tank were built shortly after 1026 CE. The Plan of temple complex: (from top to
dancing hall was added much later in the third quarter of the bottom) Gudhamandapa, the shrine hall;
12th century along with the gateways, the porch of the temple Sabhamandapa, the assembly hall and
proper and the doorframes of the temple and the cella during Kunda, the reservoir
the reign of the Karna.[6] Religion
Affiliation Hinduism
The temple is built on 23.6° latitude (approximately near
Deity Surya
Tropic of Cancer).[B][8][9][10][11] The place was later known
as Sita ni Chauri and Ramkund locally.[C][12] No worship is Festivals Modhera Dance Festival

offered here now.[3] The temple is the Monument of National Features Tower: Ruined
Importance and is maintained by the Archeological Survey of Temple tank: Suryakund
India.
Architecture
Type Māru-Gurjara
Architecture architecture (Chaulukya)
Creator Bhima I
The temple complex is built in Māru-Gurjara style (Chaulukya Completed after 1026-27 CE (shrine
style). The temple complex has three axially aligned proper)
components; the shrine proper (garbhagriha) in a hall
Specifications
(gudhamandapa), the outer or assembly hall (sabhamandapa
Direction of East-facing
or rangamandapa) and a sacred reservoir (kunda).[1][13]
façade
The Sabhamandapa is not in continuation with Monument(s) 3
Gudhamandapa but is placed little away as a separate Inscriptions Yes
structure. Both are built on a paved platform.[1] Their roofs
have collapsed long ago leaving behind a few lower-most
courses. Both roofs are 15' 9" in diameter but are constructed differently.[14] The platform or plinth is
inverted lotus-shaped.

Gudhamandapa and Garbhagriha

The Gudhamandapa measures 51 feet 9 inches by 25 feet 8 inches. It is almost equally divided into
Gudhamandapa, the hall and Garbhgriha, the shrine proper. Both are rectangular in plan with one
projection on each of the smaller sides and two projections on each of the longer sides. These projections
on the smaller sides form the entrance and the back of the shrine.
The three projections of the outer wall of Gudhamandapa had
windows on each side and the east projection had the doorway.
These windows had perforated stone screens; the northern is in
ruins and the southern is missing. Pradakshinamarga is formed by
the passage between the walls of Garbhgriha and the outer walls
of Gudhamandapa. The roof of passage has stones slabs carved
with rosettes. The Shikhara of it no longer exists.[1]

Garbhagriha

The Garbhagriha, the shrine proper or sanctum sanctorum is

square measuring 11 feet from inside.[1]

The shrine had two cells; a cell below the level of the upper cell.
The floor of the upper cell is now fallen which once housed the
image of a deity. The seat of the image is now in a pit. The lower Sun Temple, Modhera, Gujarat
cell was probably used for storage.[1]

The walls inside the shrine are plain and the outer wall is
decorated. The doorway has carved figures of seated Surya in
panels surrounded by dancers and amorous couples. All figures are
mutilated and the images on the door-lintel are completely
destroyed.[D][1]

The sanctum sanctorum is designed in a way that the first rays of

rising sun lit up the image of Surya during solar equinox
days[13][3][15][10] and on summer solstice day, the sun shines
Gudhamandapa
directly above the temple at noon casting no shadow.[8]

Gudhamandapa

Base moldings

The outer walls of the shrine is highly decorated.[1] The base and walls of the shrine and hall are divided
into several stretches with unique carvings. the Pitha or adhisthana, the base has the two square members
called Bhat followed by a cyma recta carving (lower part convex and upper part concave). It is followed by
padma or padmaka, the molding in form of an inverted lotus. The next is antarita, a fillet or an astragal
with a sharp edge between two recesses. Above this is patta having thin molding called chhaja at its lower
edge. The next is another chhaja separated by neck, alinga. The next broad band, patti, is gajathara carved
with elephants. The following band narathara has figures of men in different attitudes.[1]

Mandovara or wall moldings

Mandovara, the wall moldings start with kumbha, a pitcher. It has a broad undecorated band at the lower
part while the middle part is decorated with oval discs. It is followed by kalasha, a pitcher. The next is a
broad band with chaitya-windows called kevala followed by similar called manchi. These two bands are
separated by a deep band. There is a thin fillet above which the major paneled face of the wall called
jangha exist. These panels are decorated with figures of gods but the figures of Surya are placed
prominently than others as the temple is dedicated to him. Other panels are decorated with dancers and
other figures.[1]

Gudhamandapa with annotation of
exterior moldings (click to enlarge)
The Mandapa, a hall was roofed by a dome which probably rose in a concentric manner. It is supported by
eight principal pillars below arranged in an octagon, four pillars in front of shrine proper and two each in
the recesses of windows and door.[1]
Sabhamandapa
Sabhamandapa with annotation of
exterior mouldings (click to enlarge)
and construction.[14]
Base moldings
The pitha is almost similar to the Gudhamandapa but smaller as two courses of fillets are omitted. The
padma is carved richly here with floral ornamentation.[1]
Wall moldings
The figures of Surya are prominently carved on three niches of
shrine proper as well as on each side of three windows in the outer
wall of Gudhamandapa. The figures of Surya is in standing
position with two arms holding lotuses and driven by seven
horses.[1] It has some Persian influences.[3] The walls have 12
niches showing the different aspects of Surya in each month. Other
figures include eight Dikpals, Vishwakarma, Varuna, Agni,
Ganesha, Saraswati.
Every figure in the panel has a small cornice over it surmounted
with a triangular pediment consisting of chaitya-a window which
is called udgam. The next projecting band with chaitya-window
and kirtimukha is called malakval. The topmost is the major
cornice called chhajli.[1]
This is followed by shikhara which no longer exist.[1] The Vimana
had horizontal geometrical and figurative bands which rising to
create the Mount Meru-like shikhara. The central spire had
Urushringa, the miniature shrines. It is judged by the shrines on
the steps of Kunda.[3]
Mandapa
Sabhamandapa or
Rangamandapa, the
assembly hall or dancing
hall is parallelogram in
plan with rows of pillars
opening entrance on each
side diagonally. The
extensively carved
exterior has a series of Sabhamandapa with ornately carved
recessed corners giving an pillars and exterior
impression of the star-like
plan of it.[1] There are 52
intricately carved pillars. Madhusudan Dhaky has suggested that
the sabhamandapa may have been later addition based on style
Above the Narathara, there is a band with figures of dancers and
gods known as rajasena. The next is vedi which correspond to
jangha of mandovara decorated with large panels of gods,
goddesses, and floral designs. The next is cornice called asinot. It
followed by kakshasana which slopes outwards and forms the
back-rests of the bench, asana which runs around the hall. There
are erotic figures on it interrupted by rail-patterns.[1]

Ceiling and torana

The roof was in shape of the stepped pyramid but it no longer ceiling of Sabhamandapa
exists. Inside, the walnut-shaped ceiling rises in tiers which has
numerous floral girdles. It is 23 feet high.[3] It is supported by
pillars arranged in an octagon. These pillars have stilts that support the lintels. Torana or the decorated
cusped arches arise from the lower brackets of the pillars and touch the lintels in middle. There are two
types; semicircular and triangular. The semicircular arches have cusped arches with tips while triangular
arches have a round apex and wavy sides. Both types have a broad band decorated with figures and tips
which are now defaced and damaged. The lower brackets has Makara which gives the name of Makara-
Torana while decoration gives name of chitra-torana.[1]

Pillars

The pillars of Sabhamandapa and Gudhamandapa are of two

types; short and tall. The short pillars rest on the walls and support
the roof. The tall pillars rise from the floor.[1]

Short pillars

The shaft is square in shape to half of its height followed by the

vase and then followed by an octagonal shaft. It is surmounted by
a capital and a bracket. The square part has a floral design in a
circle on each side of the face. The vase is decorated similarly on
its corners. The octagonal part has four bands; the topmost has
kirtimukha. The capital has three annulets.[1]

Tall pillars

They arise from square or octagonal base, kumbhi, with triangular

ornamentation on each face. Above it is kalasha. It is followed by Long and short pillars, semicircular
a deep band and the next is kevala decorated with chaitya- and triangular arches
windows. the next is kirtimukha. The next is triangular pediment
with chaitya-windows.[1]

The next is the beginning of the shaft. It is first decorated with standing figures, mostly dancers, on all eight
faces enclosed in ringed pilasters. The next band with scenes of men and beasts is separated from it by the
round pillow-like band. It is followed by a still smaller band with sixteen standing human figures separated
by small annulet below. The next is a band of leaves. Then the shaft becomes circular and had three or four
bands having a row of male warriors, lozenges, circles and kirtimukha at last. The kirtimukhas are
separated by chain and bell ornamentation.[1]
It follows capital similar to small pillars crowned with makara
brackets if eight stilted pillar and dwarfs in the rests. the eight
stilted pillars have one more shaft and similar type of capital which
is crowned with brackets of volutes and pendant leaves.[1]

Iconography

The panels on the Gudhamandapa is decorated with Surya

centrally which indicates that the temple is dedicated to Surya.
Pillars of Kirti-Torana and steps
These images wears peculiar West Asian (Persian) boots and
leading to Kunda
belt.[10][3] The other corners and niches are decorated with figures
of Shiva and Vishnu in various forms, Brahma, Nāga and
goddesses. The depicted scenes on small flat ceilings and lintels of
sabhamandapa are from epics like Ramayana.[1]

Kirti-torana

There was a kirti-torana, the triumphant arch, in front of sabhamandapa. The pediment and torana no
longer exists but two pillars remains. The moulding and decoration is similar to that of walls of
sabhamandapa and pillars.[1] There were two more kirti-torana on each side of the kunda of which only
one exists without upper part.

Kunda

Panoramic view of the Kunda

Kunda, a tank or reservoir is known as Ramakunda or Suryakunda. The flight of steps through kirti-torana
leads to the reservoir. It is rectangular. It measures 176 feet from north to south and 120 feet from east to
west. It is paved with stones all around. There are four terraces and recessed steps to descend to reach the
bottom of the tank. The main entrance lies on west. There are steps to reach from one terrace to another on
right angle to terrace. These steps are rectangular or square except the first step of each flight of steps which
is semicircular. Several miniature shrines and niches in front of terrace-wall have images of gods including
many Vaishnavite deities and goddesses such as Shitala.[16][1][10][3]

Stepwell
The stepwell on the west of Kunda has one entrance and two pavilion-towers. It is moderately ornamented.
The door-frame has lotus and leaves and the ruchaka type pilasters indicate it belongs to 11th century. The
small mandapa above the ground level and located on the second kuta of stepwell may belong to 10th
century.[17]

Modhera dance festival

The Tourism Corporation of Gujarat organises an annual three-day
dance festival known as 'Uttarardha Mahotsav' at the temple
during the third week of January, following the festival of
Uttarayan. The objective is to present classical dance forms in an
atmosphere similar to that in which they were originally
presented.[3]

Kathak danseuse Namrata Rai at

Location Modhera Dance Festival

It is located in Modhera village which is 25 km from Mehsana and

106 km from Ahmedabad in Gujarat India.[18]

In Literature
Letitia Elizabeth Landon's poetical illustration Hindoo and Mahommedan Buildings refers to an illustration
of "a splendid sculptured Portico of a Temple dedicated to Mahadeo, at Moondheyra in Guzerat" and in it
she meditates upon the vastness of this structure.

Gallery
Back Side of Side View A Massive pillars
SunTemple sanctuary leading to the
on the stepped tank outside
Surya the temple.
Kund.

Two This is one of many sculptures Reliefs on Guda

pillars present at the temple. Mandap.
standing
alone
near the
temple.
 Sun Temple Modhera Sun Uttarardh Mahotsav at Indian
Plaque in Hindi Temple Modhera Sun Temple Classical
Modhera Dancer at
Plaque Sun
Temple,
Modhera

Execution by
elephant carved on a
pillar

See also
Becharaji
Patan, Gujarat

Notes and references

Notes
A. The decoration of Torana and columns resembles that of Vimala Vasahi Adinath temple of
Dilwara Temples built-in 1031-32 which confirms its period.
B. The Tropic of Cancer position is not fixed, but varies in a complicated manner over time. It
drifts south almost half an arcsecond (0.47″) of latitude per year (it was at exactly 23° 27′ in
year 1917 and will be at 23° 26' in 2045).[7] See axial tilt and circles of latitude for further
information.
C. In 1887, Alexander Kinloch Forbes described in his book Rasmala that the place was
known by locals as Sita ni Chauri and Ramkund associated with Rama and Sita of
Ramayana.[12]
D. It may have had Ganesha as in other Surya or Vishnu temples.

References
 1. Hasmukh Dhirajlal Sankalia (1941). The Archaeology of Gujarat: Including Kathiawar (http://
www.dli.ernet.in/handle/2015/51876). Natwarlal & Company. pp. 70, 84–91. Archived from
the original (https://books.google.com/books?id=fvAdAAAAMAA) on 2015.
2. "Sun-Temple at Modhera (Gujarat)" (https://web.archive.org/web/20160429110946/http://ign
ca.nic.in/nl002206.htm). Archived from the original (http://ignca.nic.in/nl002206.htm) on 29
April 2016. Retrieved 9 April 2016.
3. Subodh Kapoor (2002). The Indian Encyclopaedia: Meya-National Congress (https://books.
google.com/books?id=ncL8Ve9FqNwC&pg=PA4871). Cosmo Publications. pp. 4871–4872.
ISBN 978-81-7755-273-7.
4. Sastri, Hirananda (November 1936). Annual Report of the Director of Archaeology, Baroda
State, 1934-35 (https://archive.org/details/annualreportofth014526mbp). Baroda: Oriental
Research Institute. pp. 8 (https://archive.org/details/annualreportofth014526mbp/page/n19)–
9.
5. Asoke Kumar Majumdar (1956). Chaulukyas of Gujarat (https://books.google.com/books?id=
ffAdAAAAMAAJ). Bharatiya Vidya Bhavan. p. 45. OCLC 4413150 (https://www.worldcat.org/
oclc/4413150).
6. Lobo, Wibke (1982). The Sun Temple at Modhera: A Monograph on Architecture and
Iconography (https://books.google.com/books?id=89EjAAAAMAAJ). Verlag C.H. Beck.
p. 32. ISBN 978-3-406-08732-5.
7. Montana State University: Milankovitch Cycles & Glaciation (http://www.homepage.montana.
edu/~geol445/hyperglac/time1/milankov.htm) Archived (https://web.archive.org/web/201108
06021244/http://www.homepage.montana.edu/~geol445/hyperglac/time1/milankov.htm) 6
August 2011 at the Wayback Machine
8. Arvind Bhatnagar; William Livingston (7 April 2005). Fundamentals of Solar Astronomy (http
s://books.google.com/books?id=PLfUCgAAQBAJ&pg=PA29). World Scientific. pp. 28–29.
ISBN 978-981-4486-91-0.
9. Brajesh Kumar (2003). Pilgrimage Centres of India (https://books.google.com/books?id=Qqe
i_Wo1qXwC&pg=PA163). Diamond Pocket Books (P) Ltd. p. 163. ISBN 978-81-7182-185-3.
10. Rajiv Rastogi; Sanjiv Rastogi (1 January 2009). Surya Namaskar (https://books.google.com/
books?id=ziJIwTfPtzoC&pg=PT17). Prabhat Prakashan. pp. 13–14. ISBN 978-81-8430-
027-7.
11. S. B. Bhattacherje (1 May 2009). Encyclopaedia of Indian Events & Dates (https://books.goo
gle.com/books?id=oGVSvXuCsyUC&pg=SL1-PA24). Sterling Publishers Pvt. Ltd. p. A24.
ISBN 978-81-207-4074-7.
12. Wibke Lobo (1982). The Sun Temple at Modhera: A Monograph on Architecture and
Iconography (https://books.google.com/books?id=89EjAAAAMAAJ). C.H. Beck. p. 2.
ISBN 978-3-406-08732-5.
13. Ward (1 January 1998). Gujarat–Daman–Diu: A Travel Guide (https://books.google.com/boo
ks?id=P7EHTBl_pyQC&pg=PA153). Orient Longman Limited. pp. 153–155. ISBN 978-81-
250-1383-9.
14. Dhaky, M. A. (1963). "The Date of The Dancing Hall of The Sun Temple, Modhera" (http://vm
is.in/Resources/digital_publication_popup?id=38#page/2). Journal of Asiatic Society of
Bombay. Asiatic Society of Bombay. 38: 211–222. Retrieved 31 December 2016.
15. "21st March brings special sunrise to Modhera Sun temple(Video)" (http://deshgujarat.com/2
007/03/25/21st-march-brings-special-sunrise-to-modhera-sun-templevideo/). DeshGujarat.
25 March 2007. Retrieved 9 August 2016.
16. Fabrizio M. Ferrari (20 November 2014). Religion, Devotion and Medicine in North India:
The Healing Power of Sitala (https://books.google.com/books?id=EHweBQAAQBAJ&pg=P
A202). Bloomsbury Publishing. p. 61. ISBN 978-1-4725-9871-4.
17. Jutta Jain-Neubauer (1 January 1981). The Stepwells of Gujarat: In Art-historical
Perspective (https://books.google.com/books?id=61fSwBF4bbYC&pg=PA89). Abhinav
Publications. p. 20. ISBN 978-0-391-02284-3.
18. "Modhera Sun Temple" (http://www.gujarattourism.com/destination/details/10/58). Retrieved
9 April 2016.

Further reading
Wibke Lobo (1982). The Sun Temple at Modhera: A Monograph on Architecture and
Iconography (Forschungen zur allgemeinen und vergleichenden Archäologie) (https://books.
google.com/books?id=89EjAAAAMAAJ). C.H. Beck. ISBN 978-3-406-08732-5.
Surya: The God and His Abode, Parijat, 2010, ISBN 81-903561-7-8
Burgess, Jas & Cousens, Henry, The Architectural Antiquities of Northern Gujarat, Bharatiya
Publishing House, Varanasi, 1975
Brown Percy, Indian Architecture (Buddhist and Hindu Periods), D.B. Taraporewala Sons &
Co. Ltd. Bombay, 1975
Sankalia, Hasmukh. D., The Archaeology of Gujarat (Including Katiawar), Natwarlal & Co.
Publishers, Bombay, 1941
Majumdar, Ashok Kumar, Chaulukyas of Gujarat, Bharatiya Vidya Bhawan, 1956.

External links
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