32-44-Anish Kundu article-W.pdf

ARCHITECTURE - Time Space & People July 200932

The Hindu Temple is a fusion of

archetypes consciously com-

bined and skillfully crafted into

structures of abstract geometry and

specific numbers. It is a grand synthesis

which solves architectural problems

using concepts from the characteristi-

cally Hindu religious vision of Cosmic

Order. There are a number of symbol-

isms combined in the Hindu temple.

The temple is a visible sign of a

mystery, an access point designed to

solve lifes problems. In the superstruc-

ture of the Hindu Temple, perhaps its

most characteristic feature, the identi-

fication of the temple with the moun-

tain is specific and the superstructure

itself is known as a mountain peak or

crest (shikhara)as shown in Fig no. 1).

The curved contours of a temples

superstructures and its tiered arrange-

ments suggests the visual effect of a

mountain peak.

The architecture of the Hindu

Temple symbolically represents the

quest for moksha (ultimate spiritual lib-

Anish Kundu

HISTORY

Tracing the evolutionary

history of Temple

Architecture in Orissa.

Orissan Temple Architecture:Symbols of Cultural Heritage

Fig No. 1

July 2009 ARCHITECTURE - Time Space & People 33

eration, the realization of oneness) by

setting out to dissolve the boundaries

between man and the divine. For this

purpose, certain notions are associated

with the very forms and materials of the

building. Paramount is the identifica-

tion of the divinity with the form of the

temple or in other words, the identifica-

tion of the form of the universe with

that of the temple. Such an identifica-

tion is achieved through the form and

meaning of those architectural ele-

ments that are considered fundamental

to the temple.

The form of the temple is based

on the core idea of submission with

folded hand. Every out line depict

the form which people believe con-

necting to the God. (Fig no. 2)

The Indian temples, in general are

divided into three categories based on

their geographical location and pecu-

liar features:

- Temples of North India -

Nagara style

- Temples of Deccan - Vesara style

- Temples of South India - Dravidian

style

Orissa has a long history during

which Jainism, Buddhism, and

Hinduism, all flourished for extended

periods. Buddhist and Jain temples and

caves predate Hindu architecture. The

classic period for the Hindu Temple in

Orissa is from perhaps the beginning of

8th century to around the middle of

13th century.

Orissan Temple corresponds to an

altogether different category. Their

unique representations are called

Kalingan style of temple architecture.

Though broadly they come under the

Northern or Nagara style, but they have

certain special features which are

uniquely of their own. Out of the five

different types of architecture, that is:

devotional, memorial, civil, military

and domestic, one mainly come across

the devotional type of architecture in

Orissa. Others have disappeared with

the ravages of time and power.

The Orissan Temple consists of four

structures (as shown in fig 3 & 4) namely:

(a) The Vimana or Bada Deula

(sanctum)

(b) The Jagamohan or Mukhasala

(porch)

(c) The Natamandir (audience hall)

(d) The Bhogamandap (hall for resid-

Fig 2

Fig No: 3 Typical Orissan Temple plan.


uary offerings) built in a row in an

axial alignment

Due to separate regional develop-

ment, some parts of the East Indian

Temple use a different terminology than

what is used elsewhere in India. For

example, the part of the temple that

contains the shrine is called a Deula in

Orissa, but a Vimana everywhere else.

Most of the Orissan Temple consists

of a Vimana or Bada Deula and a

Jagamohana or Mukhasala. The tem-

ples resolve themselves into three

broad orders, known to local terminol-

ogy as Rekha, Pida and Khakhara. In a

typical Orissa Temple, the first two go

almost side by side and form two com-

ponent parts of one architectural

scheme. So, in Orissa the sanctum and

the porch have almost become synony-

mous with the Rekha and Pidha tem-

ples respectively (as shown in Fig 7).

The Deula is the sanctum, con-

taining the principal image of the

temple surmounted by a curvilinear

spire. One approaches the temple

from the front structure, which is a

Fig No: 4 Typical Orissan Temple Elevation

Fig No: 5 Ananta Basudeba Temple.


Fig No: 6 Terminology of Nagar Temple Orissa

Fig No: 7 Mukteswar Temple, Bhubaneswar


prayer hall called pidha deula or jag-

amohana. Behind this structure is the

Vimana, which is comprised of the

sanctum of the temple (called garbha

griha or womb-house) that contains

the idol of the deity surmounted by a

tower. This tower is called a shikhara

and in Orissa, the structure is called

the rekha deula.

The elevation, of the temples

show interesting features. Both

sanctum (Bada/ Rekha Deula) and

porch (Jagamohana) have four-fold

vertical divisions.

The Pitha (pedestal),

The Bada (wall),

The Gandi (trunk) and

The Mastaka (the head).

The architects per-

ceived the temple in the

form of a human male fig-

ure or purusha. From bot-

tom to top each part of the

temple has a special name

corresponding to that of

limbs of the human body.

The temple stands on a

high pedestal known as

Pitha though in many

cases a major portion of it

is buried in the ground.

The visible portion shows

three mouldings, which

are richly carved.

The Bada or the vertical

wall portion of the temple is

divisible into pabhaga, jang-

ha and baranda. This type of

three-fold division of

Trianga bada is found in

early temples. In later tem-

ples bada has five elements

(Panchanga type known) (as

shown in Fig no.9).

i) Pabhaga (foot),

ii) lower Jangha (shin),

iii) Bandhana (bond),

iv) Upper Jangha and

v) Baranda.

The Pabhaga consists of five

mouldings which are connected

with vertical bands in

each Paga of the Bada.

These five mouldings

are Khura, Kumbha,

Pata, Kani and Basanta

in ascending order as

shown in Fig no.10.

The Khura is shaped like

a horse hoof and contains

inverted leaf designs with

dotted borders. The lower

portion of Khura has been decorated

with Vanalata designs and other types

of scroll work. The Kumbha is

designed like a pitcher. The Kani is

plain, but the Pata and the Basanta

are richly carved.

The lower Jangha has Khakhra-

mundis (miniature temples of Khakhra

order) replica of small temple

The Bandhana consists of three

mouldings joined together at differ-

ent places by vertical bands deco-

rated with standing figures of

Kanyas (maidens) joining the lower

jangha and the upper jangha. It

shows 5 divisions: Barani (khura),

noli (kani), pata, noli, basanta.

The upper Jangha depicts Pidha-

mundis (miniature temples of Pidha

order) containing various deities.

There is a close similarity in the dec-

orative plan between lower and

upper Jangha, except in the nature

of the Mundis and of the figures in

the recesses.

Baranda the waist portion, over

the upper Jangha forming the top

most part of the bada has a set of

mouldings, starting with one

moulding in the early phase pro-

gressing into seven and ten

mouldings in the later which are

khura, feni, noli, khura, pata, noli,

pata, noli, basanta.

The Gandi (or the torso) of deula

has a hyperbolic super structure upto

a flat top (as shown Fig. 11) The

Fig no: 8 Terminologies, Rekha Deula

Fig no: 9 Typical Bada detail

Fig no: 9 Typical Bada detail


Orissan Temples are distinguished by

vertical offset projections called

rathas (on plan) or pagas (on eleva-

tion). Depending on the number of

rathas, the temples are classified into

triratha, pancharatha, saptaratha and

navaratha. The kanak rathas are the

corner rathas, the Anuraha rathas are

the intermediate rathas, and Raha

rathas are the central.

The vertical ribs of the tower is

divided into horizontal courses called

bhumi or storeys separated by amalas

which are topped by smaller versions of

the amalaka or amla. In general bhumi

are 3, 5,7,10 in numbers. At the Kanaka

Paga of each Bhumi, there is a Bhumi

Amla connected with Bhumi Barandis

(courses of stone).

The Raha Paga contains niches for

the Parsva-devatas (side God) on differ-

ent sides. The recesses between the

Pagas contain figures of Kanyas in dif-

ferent postures.

In some temples the Anuraha Paga

of each side is filled with

Angasikharas, miniature Rekha repli-

cas with rich carvings. Vajramastaka

seen in Raha Paga is the usual feature

in most of the Orissan Temples. It is

believed that temple is a place where

the union or marriage between the

believer and the divine god whom

one love and believe takes place. It

has been stated that the Rekha temple

is the male and the Bhadra or Pidha is

a female and their union

(Sandhisthala) is called Gainthala, (as

shown in Fig.no.12) which is a knot

tied in the garments of the bride and

bridegroom at the time of marriage

surmounted with a projecting

Gajakranta, i.e., lion-on- elephant.

The mastaka (the head) is con-

nected to Gandi by a recessed cylindri-

cal portion known as beki (neck). Beki

is connected to the mastak by a three

fold member known as Tripati.

Mastaka consists of Amalaka sila

(ribbed circular stone, resembling the

amla fruit an Indian fruit of the same

name a little flattened), or amla,

Khapuri (skull), Kalasa (auspicious pot)

symbolizing a state of plenty or boun-

ty and Ayudha (weapon of the

enshrined deity i.e., Chakra) in succes-

sion. In the Beki, are inserted four fig-

ures of Dopichha lions at each corner,

The interior of the sanctum or

Garbhagriha is generally smaller and

darker than that of the porch. In the

middle of the room there is the

simhasana on which the images of

worship have been installed. It is used

for a glimpse of the sacred image or

Fig no:11 Typical Terminology of Gandi

Fig no: 12 Gainthala /(Sandhisthala)


rituals or individual worship under the

watchful eye of the priest with path for

circumambulating the throne. There is

only one door leading to Jagamohan.

The porch is more public and used for

group celebration, dancing, medita-

tion, or reading.

The Jagamohan or Mukhasala is a

Pidha temple, a structure with pyrami-

dal roof laid in courses called pidha

(also spelled pida). It consists of

Pidhas or horizontal platforms reced-

ing in size as they go up-wards. The

Jagamohana stands on a Pitha or plat-

form like the Vimana, but its traces are

not visible in many temples owing to

later constructions. The Bada is gener-

ally triratha or Pancharatha in plan and

consists of five elements of Vimana,

which are richly carved with Mundis or

miniature temples. The Gandi is made

of pidhas arranged in two potalas or

tiers diminishing in size as these pro-

ceed from bottom to top. The Kanthi

recess inbetween the Potalas is also

known as Para ghara (pigeon nest)

decorated with Pidha-mundis, pilasters

and images of Mandiracharini. The

Mastaka of the Pidha deula has the

same features except for the addition

of ghanta (bell). It consists of the usual

elements of Beki, Ghanta (bell,

named after its shape), Amla Beki,

Amalaka, Kalasa and Ayudha, which is

a disc. The horizontal cross- section of

the Bada and Gandi in both the Rekha

and the Pidha deula are square, while

the Mastaka is circular. Amalaka sila is

supported by Deula charinis or seated

divinities and Dopicha simhas being

set in the beki.

Natamandir appears to be a rela-

tively later structure. It is also a Pidha

deula of pillared structure. Its roof is

flat consisting of layers of stone slabs.

The interior of the hall is well decorat-

ed with different types of stucco

images and paintings. This area was

intended for performing dances by

the debdasis.

The Bhogamandap generally is a

Pidha deula with a high pedestal but

the elements do not conform to the

specifications given in the architectur-

al texts of Orissa. The projections in

the Bada portion are not quite promi-

nent, but its profuse ornamentation

adds to the grandeur of the structure.

The Gandi is of Pidha order with

Potalas. The Potalas consist of Pidhas

figures of projecting lions in each

Potal. The Gandi is like that of

Jagamohana. The Mastaka is com-

posed of the usual elements, except

that a brazen pot is placed on the top

of fit. The structure generally stands

on four pillars and the interior is left

entirely undecorated in contrast to the

exterior decoratations.

As temple is the adobe of God, for

different day to day activity various

interesting elements are seen in the

bigger temple complexes. The temple

enclosure consists of the kitchen, the

Ananda Bazar or the market for the

Mahaprasada, and gardens including

the Koili Vaikuntha, Niladri Vihara along

with few essential structures like

Snana Vedi (bathing platform) and few

subsidiary shrines as well. Devotees

circumambulate the temple and seek

Darsan of the minor deities in a pre-

scribed manner. In case of Jagannath

Temple Puri, a gangway connecting

the kitchen with the Jagamohana via

the Bhogamandap and Natamandir, to

facilitate carrying of food offerings for

the deities.

The Khakhara Deula is altogether

a different style of architecture close-

ly appearing similar to the Dravidian

Gopuram design. The word is derived

from kakharu (pumpkin, gourd) as the

crown looks like a barrel-vaulted

Fig No: 13 Mastaka

Fig No: 14 Jagamohana


elongated roof. The Gouri temple of

Bhubaneswar is a glaring example of

Khakhara temple (Refer Fig no 15).

TRANSFORMATION OF THEORISSAN TEMPLEThe classic period for the Hindu Temple

in Orissa is from the beginning of 8th

century to around the middle of 13th

century .The temples of Orissa portray a

picture of organic evolution from

Parasurameswara to Lingaraj through

Muktesvara and Vaital, which is ulti-

mately culminated in Puri and with the

gigantic Konarak. The evolution can be

classified into four distinctive phases of

temple building, i) Formative phase,

ii) Transitional phase, iii) Mature phase,

iv) Phase of decadence.

i) Formative Phase: (6th century to

the first half of the 9th century)

During this period there were only

two structures of temples, Vimana

or Bada Deula and Jagamohana

or Mukhasala. Parsurameswar (7th

century) is the best preserved

specimen of the early phase.

Vimana of Triratha has a rekha

sikhara. The Jagamohana is a rec-

tangular pillared hall with a ter-

raced roof sloping in two tiers,

with elevation Bada as tribhanga

(with three divisions) Pabhaga

and the foot portion consisting of

three mouldings of khura, kumbha

and pata. Gandi became a gradual

curvature and started from the

sikhara without any angasikhara.

The temples are of small and mod-

erate height. Baranda is terminat-

ing in a recessed kanthi. Hence,

over a period of time, the Oriya

architects began to invent new

forms of structure.

ii) Transitional Phase: (2nd half of the

9th century to the first quarter of the

11th century)

The notable feature of the period

was the introduction of rampant

erotic sculptures due to the influ-

ence of Vajrayana philosophy.

Mukteswar at Bhubaneswar which

is considered as the gem of Orissan

architecture was the last monu-

ment of the period. Mukhasala or

the Jagamohana became an insep-

arable element with a perfect and

natural joining of the Vimana with

Jagamohana without the crude

Fig No: 15 Khakhara Deula, Gauri temple

Fig No: 16 Parsurameswar temple


overlapping of the sanctum deco-

ration conceived as a uniform com-

plex in the original plan. Towards

the end, the plan and elevation of

the Mukhasala transformed from a

rectangular flat roof to a square

hall with a pyramidal superstruc-

ture. Parsvadevata images are

carved out of single stones unlike

the earlier tradition of blocks of

stones that constituted a part of

the temple wall.

iii) Mature Phase: (from middle of the

11th century till the 13th century)

The building activity attained

its maturity during this period

which can be traced through a

series of temples like Rajarani,

Brahmeswar and finally the Lingaraj

that presents the Orissan temple

style at its best. The building tradi-

tion was continued by the Gangas

who are credited with the construc-

tion of the great Jagannath Temple

at Puri and the magnificent Konarak

Temple, Puri.

In this phase Bada is divided

into five segments, Pabhaga has

five mouldings; Gandi is embel-

lished with Angasikharas (miniature

temples) of diminishing size as they

rise upwards. The Pagas projections

are fully developed and prominent-

ly articulated. Amlaka sila is sup-

ported by Deula charinis or seated

divinities and Dopicha simhas

being set in the Beki. Introduction

of the structural motifs like pid-

hamundi, khakharamundi and

vajramundi are in the Jangha por-

tion. The sculptures of this period

are excellent in their plasticity and

even includes non-iconic female

figures. In the iconography of the

cult deities, new elements were

introduced with profusion of

Fig No: 17 Mukteswar Temple

Fig No: 18 Rajarani & Lingaraj Temple


female figures, projected lions

(udyota simha) on the Rahapaga.

Pista and platform became a regu-

lar feature. Natamandap and

Bhogamandap were added to the

Jagamohan. Subsidiary shrines in

front of the Parsvadevata niche

were introduced.

iv) Phase of decadence: (14th to

16th century)

The temple building activities

that started during the 6th century

reached its climax during the Ganga

Period started declining during the

Gajapati.. The great period of

Orissan Temple Architecture came

to halt with the crowning achieve-

ment at Konark. Pidha deula

became the choice for both Vimana

and the Jagamohana. The walls of

the temple are devoid of sculptural

embellishment and decoration.

Such insolvency was also noticed in

the decoration of door jambs,

which also largely remained plain.

The temple building activities

entered into a phase of decadence.

The most important factors for the

decline of temple building activities

was the lack of royal patronage and

decline of Hindu power.

Orissan Temple Architecture

observed several trends that pro-

gressed over the centuries. For

example, on the prayer hall

(Jagamohana), there was a trend

toward an increasing number of

roof layers (Pidhas). Some earlier

temples in the fourth and fifth cen-

turies have a single roof slab. The

Parasurameshwara Temple, perhaps

of the seventh century, has three

roof layers. The Lingaraj Temple

built in the eleventh century there

are 15 pidhas, and finally, 17 pidhas

comprise the roof of the prayer hall

of the Sun temple at Konarak.

Another change was reflect-

ed in the prayer halls crowning

elements. Earlier period the

Jagamohana was crowned only

with a kalasha (or vase of plen-

ty). Near the end of the period,

the disk-shaped Amalaka and the

Kalasha were both present (as on

Fig No: 19 Kotiteertha Temple

Fig No: 20 Transformations of pidhas,Parasurameshwara (2), Lingaraj (15), Konarak (17)


the shikhara). Another trend was

that of the steady increase in the

number of vertical ribs (bhumis)

on the walls of the tower or

shikhara. Although its ground

plan originally was, and remained

basically square, the tower

became augmented with so many

projections that it appeared

increasingly to be circular.

STRUCTURAL SYSTEM OFTEMPLE ARCHITECTURETemple designs are governed by speci-

fications laid down by Silpasastra, the

canon of the ancient codes of town

planning and architecture is concerned

with the natural geometric laws of the

Universe. In Hindu philosophy geome-

try is seen to exist everywhere in cre-

ation. As such, geometry is symbolized

as a sacred language normally hidden

in the Gods own design work of the

natural world.

Looking at Hindu Temples, it is not

very easy to distinguish that they are

composed of one repeating unit - the

square. For Gods own abode, the

form had to be perfect and this limit-

ed the choice of shapes to the circular

form without beginning and end, or

the square - perfect for its symmetry.

The circle was perceived to be too

dynamic a form for the resting place

of the Gods. For the Hindus, their

Gods had to be installed in buildings

symbolizing unity, inertia and perma-

nence. The square, thus, was chosen

for these qualities.

This was the origin of the square

Mandala (the best translation of this in

english is divine chart). The Mandala was

further subdivided into smaller squares in

a grid, those containing 64 or 81 being

the most common. Each of these smaller

squares was then invested with a resident

deity, each with his own special attributes

and powers. The distance of the deities

from the center was according to their

power and perceived importance. Thus

Brahma, the creator, occupied place in

the center and lesser gods were relegat-

ed to the edges. A humanistic facade was

given to the square by showing it to be

able to accommodate an figure in a intri-

cate Yogic posture.

Thus, having acquired magical and

theological properties, the Vastu

Purusha Mandala (Refer Fig No. 22) was fit

to be the basis of temple construction,

with many permutations and combina-

tions being used to achieve the final

form. The central square used for the

Garba-griha, while the surrounding grid

formed the pradakshina-path and so on.

By increasing in complexity this system

of proportion could spawn the most

complex of forms with their basic unit

remaining the square (Refer Fig No. 23). It

was by manipulation of this basic grid

that the Indian architect created the

greatest temples of India.

BUILDING TECHNIQUESThe internal plan of both Deula and

Jagamohana is square. The inside of the

Fig No: 21 Vastu Purusha

Fig No: 22 Vastu Purusha Mandala

Fig No: 23 Basic Unit Remain Square


Deula also has several distinctive fea-

tures. The basic technique of structure is

that of corbelling. Heavy slabs are laid

on top of one another so that they grad-

ually close off the inner space at the top.

But there is an inherent weakness in this

design, which can be seen by the num-

bers of spires that have collapsed inward

over the centuries. To counteract such a

possibility, a system of false ceilings to

span the inner space of the sanctum was

devised. Opposite walls were joined by

massive slabs that formed ceilings.

In all the temples, there is one of

these ceilings directly above the Cella,

known as the Garbha-Munda. Moreover,

in the larger temples, the hollow cham-

ber created by the Garbha-Munda was in

turn roofed off by a second ceiling. The

taller the temple, the more such hollow

chambers were made. They not only

ensured structural stability within the

corbelling system but also provided hid-

den chambers in which the most eso-

teric rites of the temple were performed

and also valuables were stored. Access

to these secret chambers was often

through an opening above the lintel of

the sanctum doorway.

Nearly all the temples were built of

sandstone around and inner core of

laterite, which is also the material gen-

erally, used for compound walls. The

sandstone was quarried in the nearby

Khandagiri and Udayagiri Hills. On the

evidence of contemporary sculpted

panels, it seemed that the stones were

brought to the building by wooden

ramps which were supported on

wooden posts to form an adjustable

type of scaffolding. (Refer Fig No. 24)

The stones were carried slung in

ropes from poles. They were then laid

with great precision into place on top

of one another and kept in position by

their weight and the use of iron dowels

and clamps. The complete structure has

been assembled using these wedge

joints. There is no use of concrete

binder. Stones have been stacked and

joined / held together using such

wedge joints. (Refer Fig No. 25)

From the ground, the Vimana rises

vertically to a height and then

becomes curvilinear at the top. From

the base to the Gandi or trunk por-

tion the rise is perpendicular and

then the temple slowly inclines

inward in a critical manner till the

four reclining walls join together at

the Beki or neck. In a pyramidal Pidha

type of temple, curvilinear Vimana is

not there. The Gandi or trunk rises

from the ground perpendicularly up

to a point and then the pyramidal

roof is constructed on the four walls

that looks much like the shape of a

thatched house from a distance.

The Orissan curvilinear spires

have in-built elements that allow

application of a combination of linear

arithmetic geometry for elevation.

Khapuri amla (Ka) and Bhumi amla

(Ba) are two such elements which are

exclusive to the Kalingiya School.

Using these elements the height can

be estimated in any units without

physically measuring any elevation,

without using any instrument.

Curvilinear spire celebrates ancient

science and may have been used as a

model for instruction of computa-

tional subjects pertaining to eleva-

tion, altitude, etc. Adherence to curvi-

linear type of architecture having

prominent vertical lines in such his-

torical geography makes it as the

home grown school, called as the

Kalingiya Bakrakar Rekha Deula (KBRD)

(Kalingan curvilinear line temples). In

Orissa, high rise structures of all his-

torical periods are KBRD.

PHILOSOPHY BEHIND THEEROTIC SCULPTUREIt is the craft mans expression love for

life in all respect. As the sculptor/ work-

ers of the temple are away from their

home for so many days, even years, to

fulfill their desire to create such figures

on the walls of the temple.

It is believed that erotic

sculptures are helpful in ward-

ing off the anger of natural

calamities and protects the

structure from thunder light-

ing act as earthing. It is also

said that these erotic figures

are regarded as specimens of

perverse taste.

The basic needs of Human

satisfaction are food, sleep andFig No: 25 Wedge joints in stones

Fig No: 24 Method of carrying stones


physical desire. In case of starvation of

any one of the three, he forgets the rest

of two. On top human being forget

everything in search of physical desire,

Divine pleasure of believer is most

important then the rest of three when

one enters the temple. To get define

perfection he has to keep away the car-

nal side of love at the out side of the

temple then only one can achieve the

divine pleasure

It is also described that the obscene

sculptures were meant to rouse in the

minds of the visitors, a sense of what is

sensual, therefore, avoidable and a

sense of what is spiritual therefore

desirable, before he was entitled to

worship the god. It is noticeable that as

one proceeds towards the Garbha griha

of the temple, the walls get bare and

simple. The riot of activity on the outer

wall of the temple is in stark contrast to

the serene inner sanctum, where the

only figure is that of the God. This is to

encourage one-pointedness in the

mind of the devotee as one approach

the constant, the truth (or God) and

move away from what is worldly and

away from the bindings of Maya. In this

there is a conscious attempt to lead us

from the numerous outward activities

to the focused inner spirit; from a fluid

facade to a stable, inner aspect.

CONCLUSION:Temple stands with its varied manner to

feed the scholars of both art and sci-

ence. It is not only a monument of his-

torical or archaeological importance, as

it seems, it has every potential to feed

the scholars of any school such as

Science, Mathematics, Astronomy,

Physics, Chemistry, Biology, Engineering

and also to the Artists, poets, lovers of

folk lore and antiquity. Interpretation of

any scholar fail on the face of the stones

of the temple. Therefore the numerous

questions of the visitors remain unan-

swered even to a small piece of stone. In

the words of Rabindranath Tagore - The

Language of Man is here defeated by

the Language of stone at Konark

Fig No: 26 Sculpture in temple wall

Anish Kundu is an Architect/

Urban Planner working in

Engineers India Ltd., New Delhi.

Photographs: Courtesy theAuthor.

ARCHITECTURE TRIVIA QUIZ

1. Who designed pyramid entrance to the Louvre?

A l exande rT h o m s o n

A l varo S iza R . B u ckmins ter

Ful ler I .M. P i e

2. Who designed La Basilica di Vicenza?

Andrea Pal ladio Anton i Gaudi John Utzo n A l var Aal to

3. Who designed the Falling Water?

Adol f Loos Fra n k O. G e h ry Frank L lyo d W right Phi l ip Johnson

Answers:1.I.M.Pie 2.Andrea Palladio 3.Frank Llyod Wright

THE CALIBRATED VIEW

Documents

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