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A Jain temple in the complex is dedicated to Adbhutji, and houses a 9 foot tall murti of their saint Shanti Nath. The Saas-Bahu and Teli-Ka temples are dated to the late 10th century, and while part of the larger Jain complex, are more in the Vaisnava mood, as both are dedicated to Lord Visnu. In fact, this complex is characteristic of Gwalior, which has become known as a center for religious tolerance. Here, the Vaisnavas, Jains and Sikhs live peacefully with the Muslims, Christians and even the Theosophists.
Saas-Bahu Temple The Saas-Bahu Temples The Saas-Bahu is really a twin temple, both replete with architectural splendor. They are intricately carved and ornamented, with many temple sculptures. Known as the temples of the mother-in-law and daughter-in-law, the Sas (mother-in-law) temple is much larger than the Bahu (daughter-in-law). It has an arched torana entranceway, and a murti of Visnu has sometimes been swung from the torana on religious occasions.
The temples are placed on a common raised terrace, facing east towards a tank. 10 smaller shrines surround the temple of Sas, while Bahu is surrounded by four shrines. Both the temples have the same floor plan. Each has a sanctum sanctorum, mandapa (columned prayer hall), and porch. The walls are fairly plain, with beautiful sculptures on the main projections. These sculptures are positioned in two tiers, with Lord Visnu, Brahma, and Shiva, surmounted by Rama, Balarama and Parashurama, respectively.
Lord Brahma, Saas-Bahu Temple Though in ruins, the brick towers have many turrets. The mandapas and porches are highly decorated with sculptures and ornamental motifs, which are beautifully contrasted by the smooth sanctum walls. Other carved images include the Dikpalas, narrative friezes, and scenes from Ramayana. The columns are also richly ornamented. While the Brahma murti here is not the predominant deity, it is so exquisite in form that it serves as a place of worship for devotees.
Teli-ka Mandir
Teli ka Mandir is though by many to be one of the most exquisite temples in all of Madhya Pradesh. Built in the 9th century, the architecture is a unique blend of the Dravidian and North Indian (Nagara) styles. Dedicated to Lord Vishnu, the temple is filled with excellent sculptures of Yamuna and Ganga Devis, Nagas, Devatas, and Garuda. The structure is 100 meters tall, and the 10 meter entrance is crowned with a beautiful Garuda. Located within the confines of the Gwalior Fort, This Rajput temple is thought to have gotten its name during the occupation by Rashtrakuta Govinda III in 794 A.D., when the Telang Brahmins were given supervision of all religious ceremonies in the complex. All around the Teli-ka and Saas-Bahu are many colossal Jain figures, cut into the fine-grained yellow sandstone and elaborately ornamented.
Jain Murtis, Saas-Bahu The Saas-Bahu has a taller moulded plinth than the Teli, and seems to have been more elaborately carved, and most every surface is covered. The work above the lintel is outstanding. There are projected and multi-layered small versions of single-storey pillared shrines along the wings, and these house various murti carvings. One of the most famous of these is a stunning Lord Brahma, commonly known as the "bearded Brahma", in the Bahu temple. The upper apartment is occupied by Vishnu and Laksmi Devi, with Garuda beneath.
Teli-ka Mandir In understanding the convergence of religious influences in this place, it is interesting to read this description of Saas-Bahu by Arun Gaur: "It is fortunate that we have the detailed epigraphical foundation inscription of Mahipala (A.D. 1093) that states many facts, and leaves many questions unanswered. The inscription helps in unravelling the underlying structural and iconographic conceptions. In it, Padamanatha has been named the principal deity, which is apparently derived from the Kachchhapghata prince Padamapala. The two kings had their own preferences and none could have been ignored. These two deities were Vaikuntha and probably Aniruddha.
Saas-Bahu Temple Along with the Vaikuntha, two images of Aniruddha have been referred to in the inscription — one made of pearl and the other of silver. The pearl Aniruddha had grown a little due to the pangs of separation from his consort Usha. Some commentators infer from this reference that female deities were not set up. The images of silver Aniruddha, Achutya and Vamana were, perhaps, installed in the smaller temple and those of pearl Aniruddha and Vaikuntha in the larger. The inscription further tells us that the temple was conceived as a rival to the Kailasha mountain. Was it a kind of Vaishanava challenge to the Shaiva sect in the 10th century? Its pennant, white as the moon, streamed down the summit like the Ganga descending into the thoroughly matted hair of Shankara. May be, an idea like this is responsible for the condensed, thickly set mass of the shikhara — a rising succession of turrets on the inverted bell of superstructure. For rituals Padamapala had appointed eight Brahmins, the number was later increased to 18 or 21 by Mahipala who also made arrangements for the dancers, musicians, lighting, ornaments and vessels."
Lord Brahma, Saas-Bahu Part 2 - Pushkar, Rajasthan Part 3 - Chinch & Asotra, Rajasthan Part 4 - Eklingji, Udaipur, Rajasthan) Part 5 - Vasantgarh, Rajasthan) Part 6 (Rajasthan: Bijoila, Mewar; Chandravati, Sirohi; Kiradu & Sevadi, Jodphur) Part 7 (Khokhan, Himachal Pradesh) Part 8 (Tihri-Uttarsal, Himachal Pradesh) Part 9 (Una, Himachal Pradesh) Part 10 (Dudhahi, Lalitpur, Uttar Pradesh) Part 11 (Gaya, Bihar) Part 12 (Tirupati, Andhra Pradesh) Part 13 (Alampur, Andhra Pradesh) Part 14 (Kaleshwar, Karimnagar, Andhra Pradesh) Part 15 (Sampradaya Acarya - Lingampally, Andhra Pradesh) Part 16 (Manthani, Andhra Pradesh) Part 17 (Gurramguda Village, Andhra Pradesh) Part 18 (Tirusulam, Tamil Nadu) Part 19 (Kanchipuram, Tamil Nadu) Part 20 (Kanchipuram, Tamil Nadu) Part 21 (Kanchipuram, Tamil Nadu) Part 22 (Kanchipuram, Tamil Nadu) Part 23 (Kanchipuram, Tamil Nadu) Part 24 (Syncretistic Forms of Lord Brahma) Part 25 (Thirupachur, Tamil Nadu) Part 26 (Pancheshti/Pancheti, Tamil Nadu) Part 27 (Pallavaram, Tamil Nadu) Part 28 (Chengalpattu, Tamil Nadu) Part 29 (Mandagappattu, Tamil Nadu) Part 30 (Mahabalipuram, Tamil Nadu) Part 31 (Mahabalipuram, Tamil Nadu) Part 32 (Thirumukkoodal, Tamil Nadu) Part 33 (Thiruvannamalai, Tamil Nadu) Part 34 (Thirunaraiyur, Tamil Nadu) Part 35 (Thirunaraiyur, Tamil Nadu) Part 36 (Thiruvengadu, Tamil Nadu) Part 37 (Thiruvelliyankudi, Tamil Nadu) Part 38 (Kuthanoor, Tamil Nadu) Part 39 (Lalgudi, Tamil Nadu) Part 40 (Kulithalai, Tamil Nadu) Part 41 (Tiruchirapalli, Tamil Nadu) Part 42 (Thirupattur, Tamil Nadu) Part 43 (Pullamangai, Tamil Nadu) Part 44 (Kumbakonam, Tamil Nadu) Part 45 (Sri Rangam, Tamil Nadu) Part 46 (Tanjore, Tamil Nadu) Part 47 (Kumbakonam, Tamil Nadu) Part 48 (Kumbakonam, Tamil Nadu) Part 49 (Darasuram, Tamil Nadu) Part 50 (Thirukkannapuram, Tamil Nadu) Part 51 (Malayadipatti, Tamil Nadu) Part 52 (Thiruvadi, Tamil Nadu) Part 53 (Thirukandiyur, Tamil Nadu) Part 54 (Thiruparangundram, Tamil Nadu) Part 55 (Kodumudi, Tamil Nadu) Part 56 (Thottiyam, Tamil Nadu) Part 57 (Nallur, Tamil Nadu) Part 58 (Kanniyakumari, Tamil Nadu) Part 59 (Purusha Sukta - The Hymn of Creation) Part 60 (Kottakkal, Kerala) Part 61 (Thirunavaya, Kerala) Part 62 (Triprayar, Kerala) Part 63 (Kodakkal, Kerala) Part 64 (Chottanikkara, Kerala) Part 65 (Thiruvananthapuram, Kerala) Part 66 (Thiruvallam, Kerala) Part 67 (Tulunadu to Ur - Proliferation of Brahma Cult) Part 68 (Lord Brahma and Abrahamic Cult) Part 69 (Kolar, Karnataka) Part 70 (Mullur, Karnataka) Part 71 (Somnathapur, Halebid & Belur, Karnataka) Part 72 (Sringeri, Karnataka) Part 73 (Palli, Udupi, Karnataka) Part 74 (Brahmalingeswara - Kanajaru, Karnataka) Part 75 (Brahmalingeshwara - Maranakatte, Karnataka) Part 76 (Brahmalingesvara Temples, Karnataka) Part 77 (Brahmalingesvara Temples, Karnataka) Part 78 (Aihole & Badami, Karnataka) Part 79 (Lakkundi, Karnataka) Part 80 (Sravanabelgola, Karnataka) Part 81 (Kambadahalli, Karnataka) Part 82 (Jain Brahma Yaksha Temples, Karnataka) Part 83 (Savadi, Karnataka) Part 84 (Shimoga and Megunda, Karnataka) Part 85 (Lord Brahma in Buddhism, Karnataka) Part 86 (Brahma's Prayers for Creative Energy) Part 87 (Mangalwedha, Maharashtra) Part 88 (Harihareshwar, Maharashtra) Part 89 (Ambarnath, Maharashtra) Part 90 (Sopara, Maharashtra) Part 91 (Mahuli, Maharashtra) Part 92 (Trimbakeswar, Maharashtra) Part 93 (Ellora, Maharashtra) Part 94 (Brahmapuri, Maharashtra) Part 95 (Khedbrahma, Gujarat) Part 96 (Dungari, Gujarat) Part 97 (Gwalior, Madhya Pradesh)
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