The Deliverance of the Lord of Elephants by Krishna depicted in a sunken panel or niche of Deogarh temple

Rowland, pp, 135-6, says that the cella was originally surrounded by four porticoes, one leading to the sanctuary, the other three serving to set off and protect the reliefs of Brahmanic subjects set in the walls, These panels are deeply sunk in an elaborate framework of pilasters of the Indian order and a frieze of foliate scrolls and lion heads, The carving of the frame complements the richness of the reliefs, Their baroque depth in their box-like settings gives the effect of a spectacle on a stage and seems to prophesy the dynamic chiaroscuro of later Hindu sculpture, Reminiscent of Buddhist Gupta sculpture at Sarnath, But the richness and dramatic conception of relief are far more moving than anything to be found in Buddhist art of the 5th and sixth centuries, and are an unmistakable indication of the real renaissance that was taking place in the art of the Hindu Church