The Vimana of Samavedeswara shrine is dvitala misra vimana; nagara talas with dravida sikhara. The vimana is raised on a upapitha, however partially inhumed due to the floor pavement of the prakara. The padas in the gala complex of upapitha in the north, south and west are adorned with miniatures of Ramayana series.
The vimana has adhishthana, bhitti, prastara forming the aditala of the vimana, besides, segmented as karna-bhadra-karna divisions, each segment is cantoned by a pair of pilasters. The recession formed between the segments are adorned with panjara.The adhishthana of the vimana is padabandha type with octagonal kumuda, the padas in the gala complex of adhishthana is also adorned with miniatures. Above the adhishthana is vedika complex however, the padas of vedika complex are plain without miniatures.
The bhitti that raise above the adhishthana is cantoned by six pilasters on each sides, two for each segments. The pilasters are vishnukantha type for the karna divisions, indrakantha in type for bhadra divisions, besides, have oma and the shafts are ornamented with capital elements. The oma of the pilasters are adorned with miniatures, miniatures are also seen in some of the pilasters in the mala and sthana sections. Kalasa, kumbha and pali are decorated with embossed leafy ornamentation.
The potikas resting above the pilasters are angular and ornamented as taranga with kuzhavu and median patta. The limbs of the potikas bear the uttira. The uttira is followed by vajana, valabhi and the valabhi is decked with bhuta frieze. The kapota is decked with a pair of kudu arches for each segments corresponding to the pilasters, the corners are adorned with konapattas and the ridges with chandra mandalas. The kudus in the arches are adorned with gandharva heads, flower patterns but some are shallow and remain plain. On the roof of the tala is shown the bhumidesa, denoting the end of the tala. The hara, second tala, griva and sikhara are fully refurbished with cement plastering and painting. Nevertheless, the refurbished structure carries all the elements of the original structure. The pranala is shown on the northern side of the vimana above the kumuda.
The bhadra of north, south and west are adorned with koshthas. The koshthas have a pair of rudrakantha split pilasters and carry all the same features of the pilasters of the mother wall, in addition, the padas of the pilasters are adorned with miniatures of dvarapalas. It is quite interesting to see potikas shown for koshthas. The koshthas are crowned with beautiful makara thoranas. Brahma, Sankaranarayana, Dakshinamurthi are housed in the koshthas of north, west and south respectively. As like, the recessions in between the karna and bhadra are adorned with panjaras, the panjaras are shrines embossed on the wall, find both in the vimana and mukha mandapa.
As like the vimana, the mukha mandapa is also raised on the upapitha and has padhabandha adhishthana, bhitti cantoned by four vishnukantha pilasters, potikas and prastara elements. However, it is quite interesting to see potikas of mukha mandapa are plain angular whereas that of the vimana are taranga-kuzhavu. A koshtha is shown on the northern and southern side of the mukha mandapa, Goddess Durga and Lord Bikshadana adorn the koshthas respectively. The koshthas are crowned with beautiful makara thorana.
The maha mandapa is also raised on the upaitha, it has padabandha adhishthana, bhitti cantoned by four brahmakantha pilasters and prastara, however, the potikas are vettu type, denotes its period later to the vimana and mukha mandapa. The maha mandapa also has a doorway on the southern side. The space in between the maha mandapa and the second gopura is covered, forming the open mandapa adorned with huge pillars.
The most remarkable feature of Samavedeswara temple is the miniatures, different themes in different sizes are depicted in the padas of upapitha, gala complex and pilasters. The Ramayana series in the upapitha is important to mention, both in size and execution. Comparing to Pullamangai and Thiruchchennampundi, here very limited scenes are shown, in that Aranyakanda and Kishkinthakanda highlighted more than the other kandas. Gods and Goddess, puranic themes, musical and dancing troupes forms the major depiction in the padas of other sections. The legend of Chandeswara as a series is seen on the southern side in the padas of the pilasters. Sculptures in the vimana koshthas are also remarkable to mention, particularly Bikshadana known for his tranquil beauty.
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