[6][7] The temple at Deogarh is dedicated to Vishnu, but includes in it small footprint images of various deities such as Shiva, Parvati, Kartikeya, Brahma, Indra, the river goddesses Ganga and Yamuna, as well as a panel showing the five Pandavas of the Hindu epic Mahabharata.

[15] The site is on the western edge of the Lalitpur range, with rocky Betwa river rapids about 500 metres (1,600 ft) away, amidst a forest.

The British India era archaeologist Alexander Cunningham visited this site in 1875 and called the general location as "singularly picturesque".

These suggest that it was once a significant human settlement, likely a location on an imperial trade route that brought people from different linguistic backgrounds to it.

According to Madho Vats, Deogarh nestled within picturesque hills in north, west and south along with its abundant waters was conveniently located between the major ancient economic centers such as Pataliputra (Patna), Kashi (Varanasi), Sanchi, Udayagiri, Ujjain, Bhilsa and Bagh.

Strahan shared his enthusiasm about the temple with Cunningham as follows:[14] The jungle is heaviest in the immediate neighborhood of Deogarh, where the Betwa is overlooked on either bank by rocky cliffs once sacred to Hindu shrines, whose ruins display the utmost profusion of the art of sculpture, but which now hardly overtop the surrounding trees.

[12] In the decades following the Mukerji's report, excavations in the Deogarh region in early 20th-century such as those by Daya Ram Sahni yielded evidence of more Hindu shrines as well inscriptions, Jain temples and Buddhist monuments.

[16] According to Bruhn, the Deogarh Naharghati inscriptions, cave and sculptures are all Hindu monuments and one of richest archaeological findings in Deogarh area, and they include Gupta era art, several early and late Nagari script inscriptions, an early Mahishasura-mardini Durga relief, Shiva lingas and various Hindu statues.

[21] According to George Michell, an art historian and a professor specializing in Hindu Architecture, it is unclear when exactly the Dashavatara temple was built but its style suggests the sixth century.

Above the four moldings, rectangular panels separated by pilasters ran all along the plinth with friezes narrating Hindu texts such as the Ramayana and the Mahabharata.

The images on the top of the lintel of the sanctum and walls show Vishnu and Lakshmi, flanked by Shiva, Parvati, Indra, Kartikeya, Ganesha, Brahma and others.

According to Vats, this sikhara is one of the earliest extant lithic illustration in North India along with the one in Mundeshvari temple in Bihar.

The Dashavatara Temple is closely related to the iconic architectural temple structure described in the Vishnudharmottara Purana, and can be interpreted as an architectural representation of the Chaturvyuha concept and the Pancaratra doctrine, centering on the depictions of the four main emanations of Vishnu: Vāsudeva, Samkarshana, Pradyumna and Aniruddha.

[29] Sculpted panels are seen on the terraced basement, with carved figurines of river goddesses Ganga and Yamuna flanking the doorway to the sanctum sanctorum, standing respectively on their vahanas: crocodile and tortoise.

Some of these reliefs were found during excavations at the site, some recovered nearby and identified by their location, the material of construction and the style.

This sculpture is said to be one of the best depictions of Gupta period art, based on the sensuous and graceful modelling of the figurines, but different in that its clothes are shown draped in an exclusive fashion.

The jewelry and clothing including dhoti, sari, kurta, lahanga, blouse, pleated skirt, dopatta (uttariya), langoti, neck wear and others.

This conclusion was based on plan, size, iconography and several other norms described for building the Sarvatobhadra style Hindu temples.

The Vishnu temple's uniqueness has been expressed succinctly by archaeologist Percy Brown, in these words: When complete, this building was unquestionably one of rare merit in the correct ordering of its parts, all alike serving the purpose of practical utility, yet imbued with supreme artistic feeling.

Few monuments can show such a high level of workmanship, combined with a ripeness and rich refinement in its sculptural effect as the Gupta temple at Deogarh.

[45] Cunningham had originally proposed a reconstruction of the temple with four columns on each side supporting a portico and a shikhara topped by an amalaka.