Shri Chintamani Mahadev Temple is dedicated to Lord Shiva. The names of shivalayas in Varanasi often end with the suffix ‘-ishwar’. Breaking away from the tradition however is this temple that is named after Shiva’s older son, Ganesha, who is also known as Chintamani.
The word Chintamani means ‘wish-fulfilling jewel’, regarded equally in both Brahmanical and Buddhist traditions. Chintamani is one of the many names of Ganesha who is also known as Chintaharan or the Remover of Worries. The north facing Chintamani temple is dedicated to Shiva. The names of shivalayas in Varanasi often end with the suffix ‘-ishwar’, such as Manokameshwar, Vishweshwar, and so on. The epithets are given on the occasion of consecration ceremony of the temple. Breaking away from the tradition however, is the name of this temple after Shiva’s older son, Ganesha, a parivara-devata omnipresent in temples dedicated to Shiva.
There are three Chintamani temples in Varanasi dedicated to Ganesha. One is located at Scindia Ghat, behind the gateway of Vashishthavamadeva temple, another in Jageshwar temple in Ishwargangi and the third near Kedar Ghat.
The temple is fashioned in typical Banaras style with a garbhagriha (sanctum) and mandapa (hall). During late 18th and early 19th centuries, similar type of temples with garbhagrihas and mandapas were erected along the ghats, in the vicinity of pakkamahal or the old city of Vishweshwar khanda and in the proximity of Panchakroshi parikrama. A number of such temples (consisting of garbhagriha and a flat-roofed mandapa) were also erected in early 20th century. Their typical red sandstone veneer makes it difficult to ascertain their actual date of construction. The recurring floral patterns carved on the walls and pillars, culled from textiles, Pratihara and Gahadavala motifs and putlis (celestial musicians and dancers) indicate an approximate date of construction within the last two hundred years. No inscription or date has been found in this temple.
Chintamani temple boasts of relief carvings on the gateway and inner surfaces of the mandapa. The carving appears to be inspired from the wood-carving and brocade-weaving traditions of the ancient city. The influence of miniature and wall paintings can also be discerned.
The grammar of medieval temple style of the region is followed in design and plan of the temple. The sanctum is preceded by a flat-roofed mandapa both of which rest on a low jagati (platform) which is provided with khura, kumbha and kalasa mouldings and a band of patravalli on the uppermost register.
No. 42 on map
The temple is triratha (in three planes) in plan, with blind windows carved with honeycomb pattern; the east and south windows are broken. The windows covering half of the jangha like bhadra niches are framed with four shakhas (jambs). The upper part of the window is embellished with torana-like foliated arch and lotus medallions in the spandrels. The chhajja (eave) is carved with a patravalli and a diamond-shaped pattern, both of which are used repeatedly in the edifice.
The elevation of the temple shows a superstructure with a curvilinear shikhara, the latina over the sanctum and preceded by a flat-roofed mandapa. The shikhara is of the shekhari kind with clustered urahshringas and minor shringas. Mulamanjari or the central spire of the shikhara has arched niches with figures of shaven-headed ascetics sitting in yogic postures. Above the niches are sapaksha vyalas (winged lion) in all four directions including sukanasa. The griva (neck) is not prominently visible on the shikhara which is surmounted by amalaka, kalasa and bijapuraka as the finial.
East Side view
South side view
West side view
North Side view
The mandapa is flat-roofed with four-tiered moulding and has a perforated screen covering all sides as the parapet is mostly broken. It stands on four elaborately carved pillars and houses a beautiful Nandi bull.
Nandi
The sculpture of Nandi is detailed in comparison to sculptures on the panels. Nandi is shown flanked by his attendants. It is an interesting local feature apparent in several examples. He is sitting on a raised pedestal where a series of miniature Nandis are carved encircling the base.
Lintels
The outer faces of the lintels are embellished with relief panels that depict a variety of deities and episodes from Ramayana.
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Pillars
The carved pillars have floral patterns at the base, which are quite akin to the jangla brocade designs of contemporary textiles. The pillar shafts are divided into several sections. The lowest section has carved niches enshrining Vamana (shown with an umbrella), Gaja-Lakshmi, Ganesha, Bhairava, Hanuman and Shiva-Parvati. The next section has miniature shrines similar to the superstructure and more niches with figures of divinities, yogis and ganas. A band of dancing girls in ghagharas is next, followed by ghantamalas. The pillars are topped with purnaghatas, a mangala (auspicious) motif. Petals or leaves carved on the ghatas are similar to the pattern on the base that resembles Mughal buta in Banarasi textiles.
The architraves are supported by bharavahaka figures on both sides. A significant feature of pillars are the crowning figures of winged (sapaksha) putlis or puppets (musicians and dancers) carved on each side. They are a work of remarkable artistry displaying both the musical tradition of Banaras and contemporary fashion. Their pleated garments are detailed with intricate textile patterns common in Banarasi style. Their crowns or headgears reveal European or Islamic influence while their wings suggest celestial affiliation. They are shown standing on an ornate pedestal, dancing and playing musical instruments.
Mandapa, Chintamani Temple
East Side: Left to right
The first panel depicts a crescent moon with a face, which wears a crown and rides a chariot pulled by an antelope.
Second panel displays a figure riding a ram, which appears to be Mangal (Mars). He wears a strange cape similar to Scythians depicted in Kushana art. Mangal is usually portrayed with a mace and ram as his vehicle. However, ram is also associated with Agni. Unlike Mangal, Agni is mostly shown with a shaft.
Two beaked figures are shown flanking Ardhanarishwara, in seating posture and holding a scripture. The left one appears as sage Kakbhushundi of Ramayana. Attended by chamaradharinis, he is shown engaged in preaching. Right one is almost similar except its sitting pose that hints at Garuda, vehicle of Vishnu. Kakbhushundi was an ardent devotee of Rama and he is credited as the first narrator of Ramayana.
Flanked by the celestial beaked figures is an interesting image of Shiva-Parvati. The deity is shown sitting in lalitasana on mount Kailasha, flanked by the respective (Shiva and Parvati) vehicles (vahanas). Their younger son, Ganesha is sitting affectionately on her mother’s lap. River Ganga is depicted in miniature form emerging from jata of Mahadev and its flowing waters abound with beautiful aquatic creatures.
The sixth panel is of six-headed Kartikeya, where the god is shown with twelve hands, each holding an attribute or ayudha. The front right hand is shown feeding the bird while the left one is holding a javelin. The God of war is a highly revered deity of South India known as Vel (javelin) Murugan or Subrahmanya.
The seventh panel depicts Sun god in a form of a medallion with face and incised spikes as his rays. He is shown riding a horse-drawn chariot.
East side
West side: Left to right
These panels are based on the episodes of Ramayana. On the first panel is Indra riding Airavat. He is attended by a flywhisk (chauri) bearer. Indra is mentioned in the Ramayana as father of Bali, who presented his chariot to Rama to defeat Ravana in the battle.
Second panel depicts Brahma, sitting in padmasana on a lotus pedestal, flanked by flywhisk bearers.
In the third panel is a mayura holding a rosary in its beak. An unidentified divinity stands beside the bird with an attendant.
Fourth panel is of Sita Swayamvara, where Rama is shown in action holding the Pinaka (bow) of Shiva to complete the challenge, while Lakshmana and Sita (holding varmala) are shown flanking the bridegroom.
Fifth panel perhaps depicts the coronation ceremony of Sugriva, where Rama is shown handing over the monkey kingdom to the king after Bali’s death.
Sixth panel portrays Rama and Lakshmana with Hanuman. Hanuman is shown bowing down at his lord’s feet.
Seventh panel depicts Ashvamedha horse, which is mentioned in Bal Kanda of the Ramayana. The well-decorated horse with an umbrella is let loose, challenging any king to capture it.
East side
The north-facing temple is entered through a framed door. The door-jamb is of panchashakha (five vertical patterns) kind. The shakhas resemble patterns carved on mandapa pillars. Ganga and Yamuna river deities are often depicted at the bottom of the central jamb of temple garbhagrihas (believed to purify the site).Since, the goddess Ganga is physically present at this site, Hanuman idols are installed in place of river goddesses. Mandukas (frogs) are depicted on the pedestal flanking chandrasila (moonstone). The lalatabimba houses a vermilion-smeared Ganesha framed within a beautiful arch with parrots, lotuses and peacocks carved on spandrels. Garbhagriha enshrines a Shiva linga (with four subsidiary lingas installed in all corners of the altar) at the centre along with a pantheon of deities installed in the niches. The remaining walls of the garbhagriha are plain but for empty niches on the upper parts of the walls. There are several other deities in the garbhagriha of Chintamani temple: Surya, Uma-Maheshwara, Ganesha, Durga, Vishnu, Narasimha, Hanuman.
Manin Shrine of the Temple
