Female representation adds to the aesthetic quality of a structure and provides it curvature and softeness. Female sculptures make or mark the quality of temple architecture to a great extent. For many centuries they have been the talk of scholars and are rated by them as the jewels of temple architecture. Here in this paper I will talk about female representation at the site of Neelkanth in the Alwar district of Rajasthan in India. This site boasts of the remains of nearly 18 to 20 temples. The earliest inscription from this place is of VS 979 or 922 AD. Thus the site is a dated 10th century site and it displays Saiva, Jaina Brahmanic and even Buddhist sculptures in the same cultural compound. The place is all the more noteworthy because the antiquity of the surrounding area goes back to stone age and continuous to show activity in pre Harappan Mauryan, Shungan and even Kushana times. At present the temple of Nilkantha Mahadeva at the site is still under worship though the other temples are in a dilapidated condition.  Nearby villagers walk up to the site and still go to the temple of Nilkantha Mahadeva to worship the Siva linga. I have attempted a comprehensive study of the site studying the sculptures, architecture, epigraphs and the social economic life of the times. In this paper I aim to bring out the significant position of female sculptures at Nilakantha.

___________________________________________________________________________________

Keywords: Nilakantha Mahdeva Temple, Paranagar, Rajoragarh, Bairat, Bhandarej, Bhurhut, Abaneri.