The temple complex is enclosed within a compound
about 261 m by 164 m. At the eastern entrance is an isolated pillared
hall (bhoga mandira) built on a richly decorated platform, some
believing it to be a nata mandira (dance hall). To its West is an open
space leading to the porch (jagamohana) which from the base to the top
stands to about 39 m. The lower section of the original deul (sanctuary)
to its East, once over 60 m tall, dominates the landscape for many kms.
To the southeast of the deul are the remains of the Mahagayatri Temple
while behind this structure is Vaishnava Temple and many a foundations
of other structures.
The entire temple was conceived as the celestial chariot of Surya, the
Sun-god. Drawn by seven galloping horses (only one is still intact),
which represent the days of the week, while the twelve wheels ranged
along the base stand for the twelve months. The eight spokes in the each
wheel symbolise the eight prahars of the day. The platform (3.9 m high)
rests on a low upana (the plinth) with three broad flight of steps,
facing North, South and East doors of the porch leadingto its top.
Running right round the base of the temple, the facade of the upana has
extraordinary friezes featuring military processions, hunting scenes,
elephants uprooting trees, feeding young ones, men attempting to capture
elephants, journeys, rows of athletes, lady cooking and more secular
scenes of every day life. Among the animals carved, the presence of a
giraffe on the southern side, significantly points to the trade links
with Africa during the 13th century.
The facade of the platform is richly carved bearing a well moulded base.
The platform is divided into the same five horizontal layers that
characterize the temple itself. These are richly ornamented with
creepers and scrolls, and end with tiny motifs of chaitya windows. The
lower jangha of the bada is spaced with upright slabs containing
miniature representations of temples with 'khakhara-mundis'
(wagon-vaulted roofs), which contain niches. Set into these niches are
mainly figures of women-a lady leaving for pilgrimage, washing hair,
playing the veena, caressing a bird. The slabs between are boldly
relieved with various motifs, erotic couples and voluptuous young women
flaunting their beauty in various inviting postures, some are of nagas
or nagins depicted with a human bust, a multhooded canopy and the tail
of a snake. Above the middle of the platform, the upper jangha are large
pancha ratha pilasters, elaborately sculpted, sometimes with religious
scenes such as images of Mahishasuramardini (Shakti cult), Jagannatha
(Vaishnava cult) and a linga (Shiva cult) enshrined in a temple,
indicative of a religious tolerance prevailing at that time for
different sects. Other sculptures show a king seated on an elephant, a
hermitage delivering discourse to a group of nobles or princes whose
mounts (elephants and horses) are shown standing below the pavilion and
the simple family scenes. The top moulding of the platform though
severely damaged, separated by a narrow recess are decorated with motifs
of marching armies, hordes of elephants and the royal court.
The intricately carved wheel (2.9 m in diameter) of the chariot on the
face of the jagamohana is shown with its axle, a decorated hub and even
an axle pin. The hub of the wheel is decorated with beaded rings and a
few of lotus-petals. In the centre of spokes are richly carved
medallions with gods such as Surya and Vishnu, erotic and amorous
figures, kanyas in various mudras (poses), noblemen and animals.
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