This thesis is dedicated to the analysis of the Udayeśvara temple built at Udayapur (Vidisha district, Madhya Pradesh) in the second half of the 11th century. Despite being well-known, in a good state of conservation, connected to a royal figure, being one of the earliest Bhūmija temples surviving in its entirety and displaying an abundance of sculpture, the temple has not been the object of a monograph or detailed study.

The present work aims to reveal the significance of the Udayeśvara temple in the history of the Paramāra dynasty, architecturally and sculpturally. The establishment of the historical backdrop is necessary to understand the place occupied by the temple within the trajectory of the Paramāra dynasty and in the artistic production of the time. The construction of the Udayeśvara temple happened at a troubled time for the dynasty, the downfall of its greatest leader Bhoja (1000-1055) having led the kingdom into chaos. The temple was consecrated under the reign of King Udayāditya (c.1070-1093) who tried to orchestrate the re-establishment of the prestige of the dynasty, and therefore it possibly reflects political aspirations.

The frame established, the analysis of the temple as an artefact/object follows. The analysis of the architecture of the temple aims to provide a comprehensive description of the structure and composition. The Udayeśvara temple belongs to the Bhūmija mode, a mode which is one of the latest major architectural evolutions of the Nāgara architecture. Consequently, in the pursuit of giving a detailed presentation of the Udayeśvara temple, the thesis explores the emergence and the development of the Bhūmija mode across India, with a focus on Bhūmija temples erected in Malwa and the adjoining regions during the 11th and 12th centuries. The deconstruction of these temples, and comparisons leads to an appreciation of the different interpretations of the mode. Each temple is a unique creation; identification of the different influences occurring within a structure allows the Udayeśvara temple to be placed within the Bhūmija network and the architectural evolution. The Udayeśvara temple reveals itself to be particularly interesting for the investigation and appreciation of artistic mutations, displaying some features belonging to a tradition well established at the time of its construction, and others that are innovative, revealing great ingenuity in the renewal of architectural forms.

The sculpture of the Udayeśvara temple has suffered an ever greater lack of attention, probably overshadowed by the singularity of its architecture. This study aims to redress this injustice by demonstrating the complexity of the iconographic programme of the temple. Despite first impressions of conformity to the iconography of the 10th and 11th centuries, the identification of the divine population inhabiting the temple throws light on some interesting iconographic features and on the treatment and importance given to certain forms. Moreover, exploration of the relationship between the figures reveals that the iconographic programme results from a refined elaboration aiming to accompany the devotees in their worship. The analysis of the architecture and the sculpture has led to the consideration of their interaction: both work together to create a favourable place for worship.