This article by Ram Nivas reconstructs the scheme organisations of sculptures in the Mahanalesvara temple complex at Menal in southeastern Rajasthan, an important Saiva centre of the eleventh-twelfth centuries associated with the Lakulisa-Pashupata tradition. Instead of treating the sculptures as isolated images, the study reads the complex as a unified visual and institutional ensemble by mapping fixed and displaced sculptures to their architectural zones, including the sanctum exterior, door-lintels, mandapa and kakshasana areas, gateways, and matha facades. The analysis shows that Menal was designed according to a graded spatial logic. Around the sanctum, major images such as Nataraja, Gajantak Shiva, and Ardhanarisvara, which articulate Siva’s cosmic, protective, and integrative forms. At thresholds, repeated Lakulisa lintels, linga-puja panels, and images of ascetics and acharyas declare sectarian lineage and monastic authority. At the outer and transitional zones, Ganesa, Bhairava, and Nandi regulate entry, movement, and devotion within a sacred landscape. Taken together, architecture, sculptures, and inscriptions indicate that Menal was conceived not as an isolated temple, but as an integrated temple-matha complex in which doctrine, ritual, and institutional identity were made visible in stone. Menal therefore occupies an important place in the study of medieval Saivism and sacred topography in Rajasthan.