English: The Maniyan group consist of nine Hindu temples from the 11th to 12th century in Dwarahat, Almora district. This group too consist of stone temples. Three temples share structural elements and a mandapa – these are dedicated to Brahma, Vishnu and Shiva. Another cluster is dedicated to the Hindu goddess tradition. One temple has a yogi on the lalitabimba lintel, which a few speculated may be a Jain Tirthankara, but later careful studies suggest is a Lakulisa temple given the details and other artwork. Ganesha is prominent icon on several lintels. The Maniyan complex shows some signs of earthquake or ground settling damage, given the displacement of some stones and a few cracks in walls on one side.

Dwarahat is a historic site in Uttarakhand that served as a hub for pilgrims going to Panch Kedars, Panch Badris, Panch Prayags and other Hindu pilgrimage routes. The town has many groups of Hindu temples built and restored between the 8th and the 16th century. These temples are attributed to various Hindu kings and queens from different dynasties, particularly those from the Katyuri dynasty. Totaling about 55 Hindu temples, they are notable as central Himalayan temples with architecture from different parts of India. For example, the Gujjar Deva group of Dwarahat shows the Maru-Gurjara architecture found in and near Gujarat – another testament to the flow of ideas across long distances in medieval India. The Dwarahat temples were reduced to ruins by Delhi Sultanate and later the Mughals. Dwarahat was again subject to pillage and desecration by Hafiz Khan and Bakshi Khan in mid 18th-century. Some were restored after the 15th century, and more recently in the 21st century by regional Hindu community and the ASI.

For scholarly sources on Dwarahat temples, see (1) Nachiket Chanchani (2019), Mountain Temples and Temple Mountains: Architecture, Religion, and Nature in the Central Himalayas, University of Washington Press (2) Omacanda Handa and Madhu Jain (2009), Art and Architecture of Uttaranchal, Pentagon Press (3) Nachiket Chanchani (2014), From Asoda to Almora, The Roads Less Taken: Māru-Gurjara Architecture in the Central Himalayas, Arts Asiatiques, Tome 69, pp. 3-16