[3][4][5] The temple is a classic example of a design based on "musical harmonics" in architecture,[6] one that Hermann Goetz called as a masterpiece of late Gupta era Indian art.

They exemplify various variations in the Nagara style of Hindu architecture as well as the application of vastu mandala symmetry principles in novel ways.

[14] The Telika Mandir is generally dated to between 8th and 9th century based on paleography, art-style, architectural design and small inscriptions found within the temple premises.

[2] According to Allen, some local literature states it to be from the 11th century, but the evidence suggests that this late chronology is inaccurate.

[2] It was badly damaged in the plunder raids by Muslim army of Qutb-ud-din Aibak and his successor Iltutmish in 1232 CE along with other temples in the fort following a jauhar, parts of the ruins were then used to apparently build a mosque nearby.

[17] The temple was restored by the Hindus after the desecration by Iltutmish forces, which speculated Cunningham, may explain some of the features that appear from a later era.

[12] The temple has icons and inscriptions related to all three major traditions of Hinduism: Shaivism, Vaishnavism and Shaktism.

Between 1881 and 1883, repairs to the temple were initiated by Major Keith, an officer of the Royal Scots Regiment stationed in Gwalior.

Above it is a barrel vault shaped cap of 30 feet (9.1 m), its length perpendicular to that of the sanctum, that reminds one of South Indian gopuram.

[2] The temple is approached through a flight of stairs leading to a banded doorway containing sculptures of river goddesses Ganga and Yamuna with their waists leaning towards the center, each with a boy and a girl on the lower part.

There are male and female dvarapalas along the outer and inner doorways, both genders carrying weapons and a kind expression of welcome, and possibly symbolizing the theology in Shaiva and Shakta traditions.

[16][7] Above the river goddess flanked eastern doorway are piled up chaitya-hall style gavaksha ornamentation, which reminds one of the Buddhist designs.

Proposals range from it being influenced by Buddhist architecture,[2] or by South Indian temples, or it being an independent masterpiece innovation of the late Gupta era Hindu artists.

Post-colonial era studies have identified similar ruined barrel-vault capped historic temples in many places in north and east India, including those in Odisha.

According to Michael Meister this innovation is carried across the temple deliberately in its Bhadra, Pratibhadra, Karna, Kapota, Kumbha, Bhitta and other elements,[6]