The wooden temples are located in the heart of the village compound known as Chaurasi. At this place Raja Sahilla Verman the founder of Chamba had spent the evening of his life in the company of saint Charpat Nath and other eighty four Siddhas. These eighty four siddhas perform austerities and under took tapes and were custodian to Samadhi lingas which can still be pointed out in the small green and in which also stand almost all the temples of Bharmour and which for this reason is known as CHAURASI.

Right at the centre Chaurasi like a jewel in the crown stands the monumental temple of `Mani Mahesh' in whose sanctum `garbha grihya' a huge monolithic ` Shiva Linga' is enshrined. Though the temple is believed to have been commissioned by Raja Sahilla Verman in the 10th cent. A. D. the small entrance door of the shrine indicates the early existence of Linga around which was built later the present as one lithic stone structure. At a little distance away facing the shrine is the brass image of Nandi bull who in conformity with the ancient texts stand in all tours indicating the solidity and stability of dharma ( Varsbh hi bhagwan dharma) and is intent on gazing at the splendor of his master Devavi Kshana tatpara). and is the one with fatty ( pin kapol kaya ) script of 7th century record the name of the patron King Meru Verman and the master craft man Gugga. The insription goes on to state that the raja erected the temple in the likeness of mount Meru OM PRASADAM MERU SADRISHAM and equipped it with various mandopa Rangshallas and Chaitya dormers of special mention in the compound of Chaurasi, is the people of Lakshma Devi which gives the appearance of a simple wooden hut from a distance it is the sole temple in Bharmour which reveals several features of ancient wooden shrines in its exquisitely carved massive entrance door way and rich ornamentation of the interior in wood. While the mesons all over India had already resorted to dressed stone as building material in this remote and secluded valley the craftsmen still dreamt their dreams in wood producing charming and lasting effect.

Once in side the viewer is heed transfixed by the Devi looking straight at him ( Sam ) with sense and detached expression (samya) and when the viewers eyes travel down he notices that the four armed Goddess is standing in warrior like posture (pratya-alidha) with her right foot planted firmly on the head of the killed bufallo demon while with her left hand she catches the buffalo's tail and lift her whole body vertically . Her standing posture corresponds exactly to the description of Devi Mahatamya.
 

EVAMUKVA SAMPUTPAYA SARUDHA TAMA MAHASURAM PANEN KRAMYA KANTHE CASUHENAITAM AVADAYAT
      
The physiognomy of the Devi confirms to the eanous of ideal beauty as prescribed in the ancient texts her face is broad like a full moon the nose has the high delicately arched bridge like a parrots bill her lips are curved like the `sesamum flowers' her brows are arched like fish or willow leaf.

Another brass image of Ganesha is cast by the same pair of the artist and the donor Ganesha wears a Gandhara crown and holds his usual attributes. Only his trunk is turned towards the right instead of the usual lefty. The missing leg of the image allude to some past invasion which has taken its toll not only from the rsan but also from the deity.

The visit to Chaurasi will be deemed incomplete without paying homage to the deity Narsimha whose modest shrine finds place in one corner of Chaurasi. The temple had suffered a serious damage in the earth quake of 1905. In this temple of Narsimha the life size brass image shown seated on a high pedestal in European fashion. The awe inspiring deity true to his attributes has rolling eyes, flaming mouth and seems quite ready to pounce upon and tear apart the belly of Hariva Kashyp whose image finds no depiction in metal but is left to the imagination of the viewers.