03 Content
03 Content
CHAPTER 1: 1-43
HISTORY OF ARCHAEOLOGICAL RESEARCH
1.1 History of archaeological research in Rajasthan
1.1.1 Pre-Independence Era
1.1.2 Post-Independence Era
1.2 History of archaeological research in Shekhawati area
1.2.1 Pre-Independence Era
1.2.2 Post-Independence Era
CHAPTER 2: 44-87
SHEKHAWATI: AN INTRODUCTION
2.1 Shekhawati: An Introduction
2.1.1 Geography
2.1.2 Rivers
2.1.3 Lakes and Tanks
2.1.4 Geological Antiquity
2.1.5 Geological Formation
2.1.6 Flora
2.1.7 Fauna
2.1.8 Reptiles
2.2 Ancient history
2.3 Historical background of the study area
2.3.1 Prehistory
2.3.2 Protohistory
2.3.3 Historical Archaeology (From 3rd Century B.C to
12th Century A.D.)
CHAPTER 3: 88-116
ORIGIN AND DEVELOPMENT OF SCULPTURAL
ART IN RAJASTHAN
3.1 Decorating the art: origin and Development of sculpture
in Indian art
3.2 Sculptural Tradition and Spatial Distribution of Early Cult
Centers, Images and Sculptures in Rajasthan (from 6th to
12th Century AD)
CHAPTER 4: 117-160
AN INTRODUCTION OF TEMPLE ARCHITECTURE
IN RAJASTHAN
4.1 Plan and Essentials
4.1.1 Layout
4.1.2 Exceptions to the square grid principle
4.1.3 Superstructures typology
4.2 Temple Architectural activities in Rajasthan
4.2.1 Gupta and late Gupta period Temples
4.2.2 Maru-Gurjara style of Temple Architecture
4.2.3 Bhumija Style Temple Architecture
4.3 Early Medieval temples of Rajasthan
4.3.1 Marwar
4.3.2 Mewar
4.3.3 Hadoti
4.3.4 Shekhawati
4.3.5 Other areas
4.4 Emergence and Medieval Period Temples
CHAPTER 5: 161-242
HARSHNATH TEMPLE: GLORY OF
ARCHITEC-TURE AND SCULPTURAL ART
5.1 Inscriptional Evidence
5.2 Architecture
5.2.1 Layout and Over view
5.2.2 Outer walls of Sanctum
5.2.3 Doorway
5.2.4 Mandapa and Adjoins
5.3 Sculptural Art
5.3.1 Lingodbhav Murti
5.3.2 Dancing Panels and Friezes
5.3.3 Aghor and Corpse eating Images (Shav Sadhna)
5.3.4 Ganesha Images
5.3.5 Lakulish Images
5.3.6 Dikpalas
5.3.7 Nayikas or Sundaris on outer wall of Temple
5.3.8 Navgrahas
5.3.9 Miscellaneous Images
5.3.10 Images inside the Sanctum
CHAPTER 6: 243-270
ARCHITECTURE AND SCULPTURAL ART OF
OMAL SOMAL DEVI TEMPLE
6.1 Architecture
6.1.1 Offering Platform
6.1.2 Jagti and Dwar Mandap
6.1.3 Mandap
6.1.4 Womb Chamber and Shikhara
6.2 Sculptural Art
6.2.1 Saptmatrikas
6.2.2.1 Mythology
6.2.2 Dikpalas
6.2.3 Celestial nymphs
6.2.4 Navgrah Panel
6.2.5 Female Deities
6.2.6 Other Images
CHAPTER 7: 271-317
ART AND ARCHAEOLOGY OF SHAKAMBHARI
TEMPLE AT SAKRAI
7.1 Shakambhari Devi in Literature
7.2 Story of the Shakambhari Devi
7.3 Shakambhari in earlier mythological records
7.4 Historicity of the Sakambhari Temple
7.5 Sculptural remains at Sakambhari
7.6 Architecture of Shakambhari Temple , Sakari
7.7 Inscriptional Evidences at Sakambhari
7.7.1 First Inscription
7.7.2 Second Inscription
7.7.3 Third Insription
CHAPTER 8: 318-337
ART AND ARCHITECTURE OF SHAKTI TEMPLE
AT SANDAN
8.1 Location and record of the temple
8.2 Temple Architecture of the Kalka Mata Mandir
8.2.1 Sanctum
8.2.2 Doorway and Vestibule
8.2.3 Mandap
8.3 Sculptural art of the temple
CHAPTER 9: 338-431
SOME LESSER KNOWN TEMPLES OF
SHEKHAWATI REGION
9.1 Barosani Mata (Shakti) Temple at Shyamgarh
9.2 Incriptional evidence at Khandela, District Sikar
9.3 Lohargal
9.4 Jeenmata Temple
9.5 Raghunathgarh
9.6 Rewasa
9.7 Surjal Mata temple at Sudrasan
9.7.1 Temple architecture of Surjal Mata
9.7.2 Sculptural Art of Surjal Mata temple
9.8 Sculptural and temple remains of Surya Temple at
Sudrasan and Kayamsar
9.9 Didwana
9.10 Narhad
9.11 Sculptural remains at Birla Public School, Pilani
9.12 Sculptural remains at Panna Shah ka Talab, Khetri
BIBLIOGRAPHY 445-458