[2] The terracotta plaques on the front arches of the temple depict the battle between the army of Rama and Ravana, which are now damaged or destroyed.

At that time, the facade decorations served as visual illustrations of the popular religious texts Ramayana and Mahabharata.

[1] This temple stands on a slightly curved plinth with niches at the bottom in the middle of an open space surrounded by houses.

Also, the emergence of Gaudiya Vaishnavism as a result of Chaitanya's propagation of the concept of Bhakti devotion to lord (Krishna) combined with a stream of vernacular literature in the form of prose and poetry created a favorable environment for temple construction.

Secondly, by presenting himself as a pious and religious person (a devotee of Radhakrishna), he sought a familiar way of legitimizing his wealth and finding recognition and identity in the contemporary social order.

[10] Due to the absence of any authentic record, there are various differences and inconsistency in determining the period of establishment and construction of the temple through other sources.

From the information and description provided by Radharman Saha, it appears that the patron of the temple (Brajmohan Krori) earned his wealth quickly, but not by inheritance basis like the zamindars during Nawabi regime.

According to the Pabana Jelara Itihasa (Pistory of Pabna District) written by Radharaman Saha, the temple had an murti of Gopinath and was regularly worshipped.

According to images taken by the Archaeological Survey of India in the 1930s, the terracotta plaques set in the central arch depicts Ravana as Dashanan shooting arrows at Rama's army.

[18] The lowest level (base frieze) of temple facade depicts secular scenes through terracotta artwork.

A hunting scene is depicted on the left side of the lowest level, with a team led by dogs followed by men on horseback; at the end of the path musicians are playing drums.

These sculptures show Garuda kneeling with folded hands, a sign of respect to the presiding deity (Vishnu).