INTRODUCTION

(TEMPLE ARCHITECTURE OF INDIA)

The most outstanding feature of the ancient texts on Hindu, architecture, the

Shastras, in their classificatin oof the Temple into different 'orders'. The terms

Nagara, Dravida and Vesara which are found in these texts do not function as all

embracing stylistic categories, but indicate a general impulse to classify temples

according to their typological features. Or, this nomenclature should certainly not

be taken as all embracing but only as a handy modus-operandi of division of the

temple groups. These terms in actuality, stands for temples which employ

primarily the square, octagon and apse in their plan and which however might be

resticted to any or all vertical parts of the profile of the temple conceived.

Obviously these three shapes together with two more, namely, ellipse and

rectangle derive their origin from the five basic shapes enumarated in Brihat

Samhita and later ramifying into 20 and 45 of Vishnudharmottara and Agni

Purana.

Nagara & Dravida temples are mostly identified with the Northern & Southern

temple style, respectively. The other fundamental connotation of the Silpa &

Vastu textsin the distinction that is discerningly made between Prasada &

Vimana, the former being adopted essentially for the norther temple and the later

for the sourther. Each temple style has its own distinct technical language,

though some term are common but applied to different parts of the buildings in

each style. This is based on the fundamental differences between the forms of

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these two and germane to this in the Varying import of the word ''Sikhara' itself in

the northern & southern parlance.

This stylistic terminology is accompanied by distinct systems of proportionate

measurement. In the description of the southern temple the Shastras take into '

account such variants as building whose elevation are based upon a single unit

or a number of units vertically superimposed, temples with unlimited and

progressive series of units are also described. For northern temple the Shastras

list the horizontal divisions of the vertical profile of the buildings from the lease to

the superstructure and its finial and classify temples according to these divisions,

elaborated in the later texts into many subparts.

Thus we can make profitalete use of the preferred usages employed by the

textual data in dealing with norther, southern and central (versara style) religion

and get a clear picture of the rationale behind textual classification, which

doubtless was leased on physical (though also on geographical & other)

features.

The Nagara variety mostly belong to the North India. But this type of identification

can not be given on a strict geographical basis since the northern or Magara

order is found further south as well. The chief characteristic of this north Indian

temple lie in their plan and elevation. In the interior the shrine is always square

but on the outside projections adorn each of the four sides. The forerunner of

such an outline may be traced back to the panels not tho center of each side of

the cella wall in the Dasavatara temple at Deogarh, with a row of stupis (finials)

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along it ridge. Another part of the south Indian temple is the prakara or

enclosure wall. Sometimes simple but frequently with a series of colls attached

to it : At times there are several of these prakaras -the shrine of Srirangam has

seven. They enclose not only the main shrine but other smaller ones as weII as

bathing pools mid shaded porticoes, not necessary in north but common in the

hot climate of the south. In the classification of southern temples the text resort to

the alpa, Jati and Mukhya grouping based on a single basic unit, a limited series,

and an unlimited and progressive series.

Thus ail temple which has four storeys are to be classfied as Jati (genre) nirmana

but not Mukhya Vimanas. More than four storeys would entitle a temple to

become a Mukhya type and it usually goes upto a limit of 12, although very few

temples reach that limit. We have however an interesting tally of the maximum

limit of 12 storeys (if the basal double unit or additional storey under the sikhara

is not taken into account) and the limiting height of less than 200 feet in the case

of great temple at Thanjavur, which is clearly one of the very very few Mukhya

nirmanas of the south. The southern temple has usually the sixfold division of its

profile into the Adhisthana. Pada, Prastara, Griva, Sikhara and Stupi.

Rather than these two types of Hindu temple architecture we have another more

temple type, called Vesara. According to Shastras the plan of this temple type is

apsidal in plan. Apse of course include the circle also. In this way we can say that

the Versara temple should be related to the apsidal and circular shrines. Actually

wo can much more say that Vorsara stylo is the hybrid style of Nagara and

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Dravida style of architecture. The famous temple of Vijayalayacholisvaram at

Narttamalai (Madras) which is circular in section from top to bottom in its main

edifice is obviously an ideal Vesara temple. This style consist of a simple cella in

an open construction - a sort of verandah. Gradually developed into the mature

Prasada and Vimana forms of temple, having a Mukha Mandpa, a closed Saleha

Mandapa, an Antarala (antechamber) and a Pradakshina path. Sikhar can Me

found both pyramidal and curvilinar and the height in proportionately shorter than

Dravida or Nagara style.

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CHAPTER-1

Orissan Temples

Orissan temples consitute one of the most distinctive regional styles of religious

architecture in South Asia. Like Christian churches or Muslim mosques, Hindu

temples are not simply place of worship but are objects of worship in themselves

- recreation of the "Divine cosmic creator - being" or the particular deity

enshrined within them. For a Hindu to move through a temple is akin to entering

the very body of the God to be glimpsed in the shrine room during the moment of

darsana, or ritual viewing of the deity the culmination of an act of worship. In

Orissa, this concept also finds expression in the technical terms used in the

Sastras to designate the different parts of the structure, the foot (Pa bhaga), Shin

(Jangha), torsa (gandi) neck (kantha) head (mastaka) and so forth. Different

parts of the body of a man resembles different parts of the temple to provide the

temple a look of the human

body. In this context to have a darsana means to see and realise one's own soul

within himself. It that hoppens the man will never get rebirth again as has been

described in Sastras "Rathe Tu Bamanam Drstva PunarJanma Na bidyate".

The temple is considered as a Ratha so also the human body. The meaning is, if

one sees the Brahman (soul) in his own body (realises his soul) he will not

appear again in this world or take a body in the world.

Parts of Man Parts of theTemple

1. Foot with fingers Padapitha

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2. Lower part of keens Nimna Jangha

3. Knee Bandhana

4. Upper part of knee Upper Jangha

5. Waist Badanta

6. Belly Can/a

7. Heart fta/ia

8. Shoulder Visama

9. Neck Kantha

10. Mouth Amalaka

11. Forehead Khapuri

12. Upper part of the head Kalasa

13. Brahma randra Ayudha

The figure shows the different parts of the body related to different parts of the

temples. Most temples are made up of two main sections. The first and most

impressive of these is the Deul, or sanctuary tower. A soaring curvilinear spire

with a square base and rounded up, the Deul symbolies the Divine mountain

from which the sacred Ganga flows into the World. Its intricately ribbed sides,

which in later buildings were divided in to rectangular projections known as

"Rathas" usually house images of the accessory deities, while its top supports a

lotus shaped spherical amala (a motif derived from an auspicious fruit used in

Ayurvedic medicine as a purifying agent). Above that the vessel of immortality,

the kalasa, is crowned by the presiding deity's sacred weapon, a (visnu cakra) or

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trident (Siva's Trisula), The actual deity occupies a chamber in side the deul

known in Oriya as the Grabha

Grha or the inner sanctum, the shrine is shrouded in a womb-like dankness

intended to focus the mind of the worshipper on the image of God.

In Puri the temples scattered around the main temple are, Siva temples, Sakti

temples, Nrsimha temples and Hanumana temples. Besides these there are also

other temples which are not connected with the temple rituals.

As per the Skanda purana the geography of Nitacala, Sriksetra is just like a

conch. (Dakhinabarta snakha) The head of this sankiia is towords the west. In

the upperend of this ksetra, Nilakantha Mahadeva is seated, in the second

(abarta) round of this Ksetra Kapatamocan Siva is seated. Lord Siva prayed

Jagannatha to be in Nilacala, hence Lord Jagannatha allowed Siva to surround

the temple being divided in to eight fold. They are (1) Kapalamocana, (2) Kama,

(3) Khetrapala, (4) Yamesvara, (5) Markandesvara (6) Bisvesvara, (7)

Nilakantha, (8) Batesvara temple.

To protect the antarvedi (the Ratnasimhasana) gouri (Paravati, who is created

from the tea of Mahafaksmf) divided herself in to eight saktis (as instructed by

Mahalakshmt) seats in different direction of the temple. They are Mangala in side

the temple (near Kalpabata), in Agnicorner, in west Bimala, Sarba manga la In

Vayu corner, Ardhasini in North, Lambha in Aisanya corner, Kataratri in South,

Maiicika in East, Canda rupa in Nairuta corner. The Simhasana (antarvedi) is

protected by these furious Goddess of Sriksetra.

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Further Skanda Purana wirtes that God originally appeared in the form of

Nrsimha at Sriksetra, Although Vasu Sabarwas worshipping the Lord in the form

of Nila Madhavalhe deity vanished long before the King Indradyumna entered in

to this place. Indradyumna could hear this from the King of Utkal and was

disappointed. But Sage Narada who was all along with him console him and both

of them ride to the top of Nilacala and could see the God in the form of Nrsimha.

Number of times the temple was attacked by muslims during the period of

muslim rule in India. It was an urgent need on the part of the King.of Orissa as

well as hlndu Saints to protect -the Temple from Muslim invasion. As a result of

which a group of young boys were trained in Yaga Aakhads (a place where

training was imparted to protect the temple) They worship Hanumans as a

symbo' (grea* Hero Mhavirs) before they start their training, and also in course of

training. More over Ramananda, Saint of Ramanuja order come to Puri and

established PancaAkhada in four directions of the temple to impart training to

Young boys with a vow to protect the temple. He was a worshipper of Rama and

Hanumana. Hanumana is placed as the symbol of Hero Worship from his days at

Puri. Hanumana Temples are also placed in four directions of Snksetrale. Bedi

Hanumana- east, Bargi Hanumana - west, Kanapata Hanumana - South, Siddha

Hanuman • north to protect the place from attack of Bergies, Bergles were

devotees of Lord Hanumana. Therefore they used to leave the place where

Hanumana is installed. There fore a good number of Hanumana temples are

seen at Puri.

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Due to inflence of Sri Caitanya many Goudiya temples worshipping Krsna and

Radharaniare also installed at Puri.

Hence one can see Siva Temples, Siva Temples, NrsimhaTemples, Hanumana

Temples and Radha Krsna Temples arround Puri.

Another intersting feature is that unlike four gate ways of the temple one also can

see Siva, Hanumana and Nrshima, temples in ail the four directions (gate ways)

of Ksetra. The temples seen in diff rent directions are as follows.

East Visvasvaror Bedi Hanumana Cakra

Vilesvara Nrsimha

West Lokanatha Bargi Hanumana Nrsimha

(near Bank)

South Kapalamocana Kanapata Pandu

Yamesara Hanumana Nrsimha

North Nilakantha Siddha Yajna

Hanumana Nrsimha

Siva Temple

Kapala Mocana

Skanda Parana writes, on one occasion Mahadeva (Siva) became very angry on

Brahma and he gave a slap to him as a result of which one head of Brahma was

behaded and was linked with his hand. Mahadeva wondered different Lokasand

worshipped Demi Gods to free him from this sin. But it was all invain. At last he

reached Sriksetra. At Sriksetra the head fell down from his hand. The place at

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which the head touched the earth Siva sat there and worshipped Lord

Jagannatha. He became famous in the name of Brahma Kapala Mocana Siva or

Kapala Mocana Siva. That place becomes a tirtha knwon as Manikamika tirtha.

Now it remains in the from of a well. Skanda Purana also writes the place where

Kapalamocana Siva sat, is in the second round circle of the conch. Devotees

who worships Kapalamocana are made free from Brahmahatya sin. This temple

is situated in the south side of Jagannatha Temple. It is situated at the bottom of

60 feet from the ground level. 1 2 steps are there to go inside the temple. In side

the temple Kartikeya, Haraparvati, GangaDevi, Mahavira, Ramesvaraand Kalis'A

as side deities (Parva devata). Rice Preparations are offered to the Lord

everyday.The temple has connection with certain rituals of Sri Jagannatha

Temple such as Candan Yatra, Sita! Sasti ( the next day of marriage of Siva and

Pravatij. The temple is managed by a Committee.

Markandesvara

This Siva temple is situated in the north side of Jagannatha Temple in Ihe

Markandesvara street of Puri. Skanda Purana writes during pralaya when Rsi

Markandeya was floating in water, he could see a banian tree in Sriksetra.

Immediately he rushed in to the place for help. At that time he could hear the

voice of a boy who invited him to come to his side for rest. Markandeya reached

the place where sound was comming and saw Bala Mukunda ( child Krsna)

sleeping in a leaf of the Banian tree. He rushed in to the mouth of Balamukunda

and could see 1 4 loka inside his body. Being released from his mouth he

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requested Balamukunda to stay at Sriksetra inorderto worship him. God

instructed him to stay at Vayu corner of Kalpabata. He excavated there a hole

(Which is known as Markandeya Tank) and remain in the side of the tank in the

form of Siva linga to worship Lord Jagannatha. From that day he is known as

Markandeya Siva. Devotee by taking bath in the hoiy tank and worshipping

Markandeya Siva would get the fruit of Asvameda Yajna.

The Temple is connected with the rituals of Candan Yatra. Calabhadra Janma,

Asram Bije of Laksmion the day of Rsi Pancami, Sitaa sasti, Kalia Dalaha rituals

of Sri Jagannatha Temple. This temple is managed by a committee.

There are ancient stone inscriptions in the temple preaching the glory of Ganga

dynasty. In the gate way of Markandeya tank stone image of Sapta Matrka are

there

Yamesvara

This temple is situated in the South of Sri Jagannatha Temple in Haracandi Sahi

As per the description of Skanda Purana, Brahma, while worshipping

Nilamadhaba at Sriksetra could see two wonderful incident. A crow flying in a

distant sky became thirsty drowned in the holy water of Rohinikunda while

drinking water in side. By that bath the crow took the form of four armed Visnu

and sat near the Lord. Again he could see Varna, the God of Death reached

Sriksetra and prayed Lord Jagannatha to relinquish his role as the God of Death

as, he could not be able to perfrom the same in Sriksetra. Satisfired with his

peayer lord instructed Mahalakshmi reveal the glory of Sriksetra to Yama and

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leave the place for devotees and rule in other places. Vamaraa being instructed

by Mahaiaksmi prayed Lord to stay at Sriksetra to worship him. Being satisfied

with his prayer Sri Jagannatha allowed him to stay and from that day he

remained at Sriksetra in the name of Yamesvara at a place close to sea-shore.

Devotees worshipping Lord Yamesvara could achive the fruit of worshipping

crores of Siva Linga's in many places.

This temple is at 100 feet below the ground level. In side the temple both Garuda

and Brsaba (Bull) are seated side by side representating a synthesis of Har and

Hara Cult. One can see eight Siva images inside the temple. They are

Kapalamocana, Markandesvara, Nvakantha, Visvesvara, Lokanatha,

Sovakesvara, and Angesvara and Yamesvara himsetf.There are some

similarities between rituals of Lingaraj Temple of Bhubanesvara and Yamesvara

Temple of Puri. Here Tulasi leaves and Beta leavs are used for Puja like that of

Lingaraj Temple. Anna Prasada is also offered here like LingarajTemple. Car

Festival is also observed here on the eve of Sital sasti (day following the mirrage

of Siva & Parvati).

This temple is connected with the rituals of Jagannatha Temple, Bije Pratima

(Representive) of Lord Yamesvara takes part in Candana Yatra. Sudarsana deity

from Sri Jagannatha Temple visits Lord Yamesvara on the day of Balabhadra

Janma. He also calculates the income and expenditure of the temple at this palce

by coming three times to this plane in a year.

There is a big Mahavira idol in the steps of this temple. The temple is managed

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by a Committee.

Nilakantha Temple

This temple is situated in the back side of Gundica Temple. Skanda Parana

writes that in the upper side of Sankha (conch) Nilakantha Mahadeva is situated.

Siva took poison to protect the worid which arose from the churning of the sea by

both Devata and Asura. From that day his name has become Nilakantha.

The height of the temple is 1 2feet It has a Mukhasala of 1 5 feet and

Natamandira of 20 feet hight. In the Natamandira an image of Kali (the height of

which is 3 feet) is sitting in front of Siva. The representative deity of this temple

remains at another Nilakantha Temple situated at Labnikhia Chaka. Anna Bhoga

is offered in this temple. The temple is connected with Candana Yatra and Sital

Sasti rituals of Jagannatha Temple.

The temple is Managed by a committee.

Lokanatha Temple

The Lokanatha temple is at a distance of about 2Krn to the west of the

Jagannatha Temple. This is a Siva Temple and ranked next to Sri

JagannathaTemple.

Legend says that Lord Rama on his way to Srilanka for searching Site reached

Sriksetra and seated with a vow to see Siva there. At that time there was a

Sabarpali nearby. Sabars presented him a lau (one type of vegetable) looking

like a Siva Linga. As lau looked like Sivalinga,' Rama put that as a replica of

Sivalinga at this place and prayed Siva to fulfil his desire. From that day Sivalinga

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placed by Lord Rama was called Lokanatha and in course of time the name has

been Lokanatha.

The Linga of Lokanatha is submerged in water throughout the year and visible

only on the night of Pankoddhar Ekadasi (3 days before Sivaratl) when the water

is cleared for the purpose of cleaning. This enables the devotees to see the

Linga of Lokanatha.

Sri Lokanatha is the guardian deity of Ratnabhandara (treasure house) of Sri

Jagannatha Temple. He is known as Bhandara Lokanatha: Lord Lokanatha's Bije

Pratima accompany the Lord at the time of Candana Yatra. On Mahasivaratri lot

of devotee arrive near the temple to offer their prayer to Lord Lokanatha.

On that-day a meet is arranged between Lokanatha (Hara) and Jagannatha

(Hari).Jhe union seems to be an assimilation of Vaisnaba and Saiba cult which at

some time felt as enemy to each other.

Large number of devotees also gather here on the last-monday of Baisakha to

worship the lord.

Anna Bhoga is offered in Lokanatha temple. The temple is managed by a trust

board under the control of State Endowment Commissioner.

The main temple is a rekha order which is around 30 feet high. The porch in front

of the temple is built in a pidha order.

Lokanatha, Markandesvara, Kapalamocana, Yamesvara and Nilakantha are

known as a Panca Pandaba in the temple Language of Puri. The temple of

Panca Pandab are also there in side of the temple in front of Batamagala.The

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representative deities of these five Siva temple accompany Madanamohana and

Rama Krsna during Candana Yatra festival of Jagannatha Temple.

Madanmohana with Sridevi and Bhudevisti in a Capa (boat) and Rama Krsna

and Panca Pandava sit in another Capa (boat) for the purpose of Candana

sports in Narendra Tank. These five Siva temples including the temple of

Esanesvara and Patalesvara inside Jagannatha temple are near about 20 to 30

feet deep from the ground level. Because of this situation sometimes it is also

argued that Puri was Saiva Ksetra. More over it is also said that in Sriksetra there

lies one crore of Sivalinga. A Ksetra to be Sriksetra should have one crores of

Sivalinga so that the Lord Visnu can sit tnere. One thing is very clear from this

discussion is that Sriksetra has become a synthesis of Saiba Cult and Vasnaba

cuit.

Sakti Temples at Puri

Sriksetra is commonly known as a Saktipitha. According to Devi Bhagavata the

naval portion of Salt has fallen at this place when she was carried by Siva. Hence

this place is known as Navipitha. Some people identify this place as Padapitha.

More over Skanda Purana writes that Vimala resides in the 3rd circle of the

conch. Vimala is known as Vairabi. Kalika Purana writes "Vimala. Vairabi yatra

Jagannathstu Vairsva". The Udradesa later on which was identified as Orissa

has been a sit of tantrics all along the olden days. Skanda Purana also writes

that that Mahavedi is circumscribed by eight godesses who are engaged to

protect it. Skanda Purana also makes a reference of Ardhasini or Ardhasosini

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who is commonly known as Mausima, Whose work is to sallow the water

(Karanavari) in the begining of the Srsti (creation). All these things prove that.

Sriksetra is a Saktipitha (seat of Sakti).

There are good number of Sakti Temples at Puri. The descriptions of these are

given below.

Batamangala

This temple is situated in the PuriBhubansvar road near about 3 Km. away from

Puri towords Bhubanesvar. Legend says that Brahma while coming to Sriksetra

to consecrate deities in Srimandira could not find the way to Ksetra. Batamangals

at that time had shown the path. From that day she has been engaged to show

path to the devotees to Sriksetra. Ma Magala sits on a Lotus. She has four

hands. In the upper right hand she holds Sankha and upper left hand Trisula, in

lower hands she has Abhaya and Varada pose. Devotee while coming to

Sriksetra offer their prayer to Batamangala and while leaving keep her as witness

of their visit to Sriksetra.

Alama Candi

This goddes temple is at Atharanala gate of Sriksetra. Alamacandi is four handed

Durga image. During the time of Navakalevara Daru Brahma coming from diffrent

places for construction of deities are placed here and entered with a procession.

The procession is accompanied by Ganapati Maharaja, Saints, Mohantas of

Mathas, sevayata of the temple. Catra are placed on the Darubrahma and Camra

are used in the procession. The temple is conected with Saptapuri Puja of

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Jagannatha Temple. On the day of Sapatapuri Amabasya Saptapuri Is sent to

this temple from Jagannatha Temple for bhoga. It is reported that in good old

days Raja and Maharajas and other distinguished guest, stay here for obtaining

permission to enter in to Sriksetra Skanda Parana also has made a reference of

Alamacandi staying in north side of the temple to protect Ratna Vedi.

Ardhasitii

This temple is situated on all most mid ways of Srimandira and Gundica temple

in the Grand Road. Skanda Purana says goddess Ardhasosini or Ardhaslni

allows the PralayaVari (Water) in the beginning of creation. She is also called

Mausima (aunt) of Lord Jagannatha. The legend says that when Jagannatha and

Balabhadara left Srimandira being banished by Laksmi, Subhadra left Srimandira

and stayed with Mausima. On the return Car Festival day Jagannatha triad halt at

this place for Podapitha bhoga (One kind of Cake) as a sense of love of their

Mausi to them. Ardhasinion Mausima is also one of the eight Sakii engaged in

the protection of Sriksetra. The idol of Mausima is just like the idol of Subhadra.

The temple is managed by a committee.

Carcika

This temple is situated near Jaganntha Temple office, where Cars for Lord

Jagannatha, Balabhadara. and Subhadra are constructed every year. Carcika is

the superintending deity of the construction of Nandighosa Ralha of Jagannatha.

She is aiso worshipped by Gajapati Maharaja of Puri. Carpenters and Bhoi

Sevaka engaged in the construction of cars also pray goddess Carcika at the

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time of construction of Chariots. She was usually worshipped by Gajapati Kings

at the beginning of war performance. At present the temple administration bears

the expenses of the daily rituals of ihe temple. Every year on the day of return

Car Festival goddess Mahalaksimi usually meet Jagannatha at this place which

is commonly described as "Laksmi Naryana Bheta".

Maricika

it is situated near Maricikota Chaka in Grand Road. Skanda Purana has made a

reference of Maricika as a goddess who is in charge of guarding Ratnavediby

sitting in the east side of the temple.

Kanaka Durga

It is situated. in the premise of the present Srinahar (palace) of Maharaja of Puri

which is in front of the Sri Jagannatha temple office. Kanak Durga is the house

deity of Gajapati Maharaja. Certain materials for preparation of bhoga for the

deity of this temple are supplied by Sri JagannathaTemple administration.

Narayani

It is situated in the Dolamandap Sahi of Puri. This street is in front of the

Lion'sgate. During Durgapuj'a (Puja for 1 6 days in the month of Oct.) the images

of Durga and Madhava after sitting eightdays in Vimala Temple, sit in this place

for the next 8 days. This is commonly described as Sakta Gundica.

Dakhinakali Temple

The temple of Goddess Dakhinakali is situated in the southside of Jagannatha

temple towords the sea in Kalikadevi Sahi. She is the protector of the evils of-

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kitchen of Sri Jagannatha Temple. Supakars (cooks) enter in to the kitchen with

her (sindura) in forehead. In Tantra literature Sri Jagannatha is also termed as

Dakhinakaiika. Goddess Dakhinakali plays an important role in the rituals of

Saptapuri Amabasya.

Skanda Parana has made a reference of Dakhinakaika who is incharge of

protecting the Ratnavediby sitting in the southside of the temple. Skanda Purana

refers her as Kalaratri, as she is Black in colour having a kharpara (sword) in her

hand to kill the demons.

Syamakali

Syamakali Temple is situated in the Balisahioi Puri which is in the southernside

of the temple. Goddess Symakaliwas the presiding deity of old Raja Navara (old

Palace of the king of Puri).The present palace in front of the Office of Temple

Administration is a new one which was built only in 1 9th century.

Haracandi

The Haracandi temple is situated in the Haracandi Sahi of Puri which lies in the

southern westernside of the temple. Skanda Purana made a reference of

Haracandi as one of the Sakti (Goddess) among eight Sakties who are

engaged'to protect Rantavedi. Skanda Purana writes a Sakti named Candarupa

sitting in sourthern-west corner (Nairuta corner) of the temple is engaged to

protect the Ratnavedi. Here canda rupa can be identified as Haracandi as she is

in the south - western corner of the temple.

Besides these Goddess temple there are also other Goddess temples in Puri.

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The list of these are given below.

Name of the Goddess Where situated

1 . Varshi, Gachakali - Bali Sahi

2. Baseli - Baseli Sahi

3. Vana Durga - Manikamica Sahi

4. Ramacandi - Near Railway station and

Ramacandi Sahi

5. Smasana Candi - Near Svargadvara (in the

coast of Bay of Bengal)

6. Jaduani - Kundeibenta Sahi

7. Jhadesvari - Station Road

8. Uttarkali - Matimandap Sahi

9. Mangala - Vimanabadu Sahi

1 0. Jayadurga temple of

Bharati kotha - Near Narendra Tank

Goddess Varahi, Baseli and Haracandi get daily Khei (Prasada) from the Kotha

Bhoga (Bhoga of the temple administration). The expenses for the daily and

periodical Bhoga of the Goddess Jayadurga of Bharati Kotha is borne entirely by

Sri Jagannatha Temple administraion.

Nrsimha Temples at Puri

Nrsimha is considered as adideva of Sriksetra. When Nilamadhava vanished

Nrsimha appeared in Sriksetra and was seen in the bottom of Krusnaguru

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vriksaya (Black sandal paste tree). More over Nrsimha temples are seen in

different directions of Sriksetra. In the North side Adi Nrsimha (near Gundica

temple), in south Pandu Nrsimha, in the east Cakra Nrsimha and in the west side

Nisa Nrsimha are placed in Sriksetra.

Yajna Nrsimha

Yanja Nrsimha temple is situated in the east side of Gundica temple- The height

of this deity is five feet. He is four armed. In upper two arms he holds (Sankha)

conch and Sphere, (Cakra) and other two hands are placed on two laps. He is

sitting on a lotus by holding Laksmi in his left lap. The Chariot Garuda sits in the

feet of the deity. Skanda Purana writes that king Indradyumna started his fire

sacrifice (Yajna) at this place to seek permission to place Jagannatha triad in

Sriksetra. During Gundica Yatra the Chariot of Jagannatha rests front to front of

this Nrsimha image. This Nrsimha Is related to the rituals of Jagannatha Temple,

During festivals flower garlands (anjamala) are taken from Jagannatha and are

kept here.

It is said that Acarya Sridhara Svami, who has written commentary on Srimada

Bahagabata (Bhabartha dipika) was blessed by Yajna Nrsimha to write such

commentary.

The temple is managed by a committee.

Pandu Nrsimha

Pandu Nrsimha temple is situated in the Kandu hermit of Gaurabada Sahi.

Pandu Nrsimha is eight armed. In two hands he holds sankha (conch) and cakra

21

(sphere) other two hands are enaged in tearing the body of Hiranyakasipu, and

other four hands are also engaged in this process. In upper hand he is drawing

the attery of Hiranyakasipu and place it as his upabita (sacred thread) and rest

two hands one is placed on the head of the demon and other one he draws his

leg. Moreover Nrsimha in other places tears Hiranyakasipu putting him in his lap,

but here he places the demon on the head of his charioteer (Garuda) and is

engaged in tearing the demon. Garuda is sitting on the feet of the deity with

folding hands.

Vtsnu Purana writes that the sage Kandu while meditating at the bank of river

Gomatffell on love with Pumeca as a result of which he came to Purvsottama

Ksetra and worshipped Nrsimha at this place. On the Fullmoon day of Margasira

he could see Nrsimha at Purusottama Ksetra.

There is a belief that if dead body passes by the side of the temple of Pandu

Nrsimha the dead man directly goes to the abode of Visnu.

Cakra Nrsimha

Cakra Nrsimha temple is situated at the sea shore in the east side of Puri at

Cakratiriha (Penthakata). At this place three deities, such as Cakra Narayana Adi

Narayana and Laksminaryanalntheform of Nrsimha are worshipped. As per Indra

Nilamanipurana the log of wood (Mahadafu) in which Jagannatha Triad carved

was sailing at this Place on the 12th fullmoon day of Phalguna (Gobinda

Dvadasi). At the time of collecting the log of wood (Mahadani) from BanklMuhana

(where river malini flows in to the sea) the King Indrudyamna could see the

22

image of the Nrsimha inside a sphere mark on the log of wood. As a result of

which the deity bacame famous in the name of Cakra Nrsimha from that-day.

Ev.ery year on Gobinda Dvadasi day holy people take a bath in the sea at Puri in

order to mark the occasion of the collection of daru.

This tempJe is also related to Jagannatha temple. On the birth day of Nrsimha

flower garland (A/na mala) comes from this place and is placed at the Nrsimha

temple to observe the birthday celebration of Nrsimha.

Singhada Nrsimha

The king Anangabhima dev(\ 3th Century) has installed an image of Nrsimha in

the Singhada tola (at Haracandi Sahi) who is now worshipped by Khuntia Nijoga,

a types of sevaka engaged in watching, decorating the deities inside the temple.

Cudanga Nrsimha

Cudanga Nrsimha was installed by King Codaganga deva (12th century) at

Cudanga Sahi, Bira Surendra Sai, an Oriya general of Sambalpur who fought

against Britisher, was worspping this deity at Puri. Therefore Cudanga Nrsimha is

aiso called Sai Nrsimha.

Barabati Nrsimha

This deity has been installed by Samartha Rama Das, the Guru of Chatrapati

Sivaji at Barabati Jaga of Puri at the fag end of his life. He got siddhi (full benefit

of miditation) by worshipping Nrsimha here.

Dinanatha Nrsimha

Dinanatha Nrsimha has been installed by Somaja Matr Dinanatha, the Svamiot

23

Dakhinaparva Matha, of Puri. .

Jejerama Nrsimha

This deity has been installed by Nimnkaribaba Jejeram Punjab during the time of

Raja Ranjit Singh at Grand Road Puri near Dodovalla Dharmasala. later on the

deity was removed near to Jaduaniliabraryof Kundeibenta Sahi as the place was

destoryed in course of time.

Arka Nrsimha

Arka Nrsimha is installed at Mahiprakasa Matha of Puri, by Mahipraksh

Brahmacari. Nrsimha is the presiding deity of Mahiprakasa Matha.

Rendha Nrsimha

Rendha Nrsimha has been installed by King Kapilendra Dev(\ 4th Century) at a

place called Rendhain Puri. BrahmagiriRoadas perthe instruction of a Saint.

Hanuman Temple

Dana Mahavira or Bedi Hanuman

This temple on the sea-shore of Cakra-tirtha area (Balukhanda) is connected

with Pana Samkranti(Maha Visuva Samkranti, April 13th or 14th) ritual of the

Jagannatha Temple. Legend says that during grand old days the sea used to

wash away the town. People of Puri brought this to the notice of Lord

Jagannatha. The lord ordered Hanuman lo prefect the sea from going through

the town. As Hanumanis a devotee of Sri Rama once he left for Aiodhya. In his

absence the Sea again washed away the town. Lord Jagannatha from that day

tied up Hanuman in a chain so that he cannot leave the place further and

24

continue to watch the sea (not to flow through the town), Hanuman tied at this

place is known as Bedi Hanuman (Bedi means tied with a chain).

Siddha Mahavira Temple

This temple is situated at a little distance behind the Gundica Temple. It is said

that Saint Tulasldas during his visit to Sriksetra sat in a meditation to see Lord

Rama in this place. Because of his firm devotion Lord Rama appeared and

blessed him to preach his glory. Rama Carita Manas is the result of such

blessing.

Kanapata Hanumana

Kanapata Hanumana temple is situated in the southern gate way of the

Jagannatha temple. It is believed that he absorbs the raoring sound of the sea

facing towords south as a result of which the sound of the soa is not audible in

the temple compound.

Bargi Hanumana

This Hanumana temple is situated in Lokanatha Road (Road from Srimandira

leading to Lokanatha Temple). Bargi Hanumana is the protector of Sriksetra.

History reveals that Bargies (the Marattha soldires) were oppressing the people.

They were also a positive threat to Sriksetra. They are worshipper of Hanumana.

They used to leave the place where Hanumana is seated. To protect the Ksetra

from the oppression of Bargies a Hanumana image was placed in the gate way

of Puri near Lokanatha temple. Because of this, the temple was saved from the

attack of Bargies. Hanumana placed in this place was named as Bargi

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Hanumana.

Makardvaja Hanuman

This Hanumana temple is situated in another gate way of Puri, (i.e.) Atharanala

gate to protec' the place from Bargies attack.

Gundica Temple

Next to the great Jagannatha Temple, the most Important sanctuary of the

Jagannatha is the Gundica Temple. The distance between the gate "of

Jagannatha temple and Gundica temple is exactly 8327 feet (2688.0696 meters)

This is also known as Yajnavedi, the birth place of Lord Jagannatha. Every year

during Ratha Yatra God , used to go to this temple from Badadeula and stays

there for seven days, expect these few days it is unoccupied.

The temple is constructed in the style of Jagannatha Temple having for sections

i.e Vimana, Jagamohana, Nata Mandira, and Bhoga Mandapa connected with

kitchen room by a narrow passage.The tower , a construction of pidha type is 75

feet high with a base of 55 feet by 46 feet out side and 36 feet 8 inches by 27

feet inside.There is a plain raised seat, 4 feet high and 19 feet long made of

chlorite and this is also called Ratna Vedi. This is the throne on which the images

are placed when brought to this temple. There is a temple kitchen at Srigundica

temple like that of Badadeul. During Ratha Yatra when deties are placed in

Gundica temple bhogas are prepared in this kitchen.The kitchen style and Bhoga

prepared are same as they are done in' Srimandira.

The Temple is surrounded by a wall and stands in the middle of the garden.

26

There is a strong belief that one will never have rebirth if he will see the Lord

once in Srigundica temple. Moreover one devotee can get the result of

witnessing the Lord by hundered years for in Srimandira by just once seeing the

Lord in Gundica temple (Niladro Sata Varsani Gundica Mandape dine).

Saradha Bali

This is the place on the gate way of Gundica temple (Nakacanadvara) where

cars start towords Srimandira on the day of Return Car Festival (Bahuda Yatra).

In good old days it is said that there was an intervening river named

Mattnibetween Srimandira and Gundica temple. It was a branch river of

Sankhua. King Narasimha deva (13 th Century) built a bridge over the river

Sankhua. Before the bridge was built 6 cars were used to carry the Lord from

Badadeula to Gundica temple. Three cars were earring the deities from

Badadeulaio the side of river Maini, then another 3 cars from the beach of river

Malini to Gundica temples. Due to construction of the bridge 3 cars were used.

After the construction of the bridge the river was filled up with sands.The sandy

beach where lord passes at the time of Ratha Yatra has been renamed as

Saradha ball, after the name of Nrsimha Dev's Queen Saradha Devi. Now this

place is commonly known as Saradha Bali, allthough there is no sand here.

Svargadvara

This is in the south side of the temple at sea-shore, This place is known as the

gate way to heaven. In Darubrahmagita Santha Jagannatha Dasa writes, Sage

Kandu after wondering different noli places of India came to Purusotiarna Ksetra

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by following the advice of demigods. Standing at the sea-shore when he looked

above he could see Vaikuntha from that place. He could also see a path from

Svrgadvara of puri to Vaikantha. He sat on a meditation and could hear the voice

of demi Gods in that place. By that he came to the conclusion that this place

cannot be compared with other holy place of the world. He named this place as

Svargadvara and from that day it is so named.

This is also the place where Brahma at the invitation of King Indradyumna got

down to consecrate the image of Jagannatha Triad. '

Parana support that Pandavas cremated the body of Sr/Arsnaat this place. They

heard the voice of the heaven not to engage themselves futile in this work as the

soul (pinda) of the Lord can neither be destoryed by wind nor burnt by fire. From

that day this has become a holy burrial ground. It is believed that if a Hindu is

cremated at this place, he directly goes to haven and all his sin are brunt by the

effect of tnis holy place. Hence it has been selected as the cremation or burning-

Ghat for the dead.

A dip in the sea near it is belived to secure heavenli bliss. The beach near

Svargadvara is always crowded in the morning and evening. On the auspicious

days and also on fullmoon day of Kartika ( Oct-Nov.) thousands of .people come

here to bathe.

Siddha Bakula

This Asrama of Javan Hari Dasa is situated near Balisahi. Legend says that Sri

Caitanya has planted a Bakula tooth brush of Lord Jagannatha near Sadhak

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Hadi Dasa to protect him from the mid day sun hit. Sidha Bakula tree surprises

the devotees as it stands without its inner trunk.

Tota Gopinatha

Tota Gopinatha temple is situated in the back of Jamesvara Mahadeva temple

(Goudabada Sahi). It is a pitha (seat) of Goudiya Vaisnaba's. One marvallous

deity of Krsna with Radha is worshipped here. Leged says that Sri Caitanya was

submerged here in the body of Srikrsna.

Sunar Gouranga

This temple is situated in Cakratirtha near Cakra NarayanaTemple, This is a

pitha of vaisnabas ; Images of Lord Krsna and Caitanya made of gold are

worshipped here.

Mangala Temple

It is situated in the Village Kakatpur in the district of Puri. At the out set of the

Navakalevar Festival, the Daitas, Patimohapatra, Deuia Karana, Bisvakarma and

other Sevakas with Brahmin Pundits set out in search of Daru and proceed to

this place. There they implore the mercy of the Goddess Mangala so that they

would be able to spot out the trees for making the new bodies of the Lord.

Bali Haracandi

It is a beautiful place near Brahmagiri. This temple has relation with Sri

Jagannatha temple in respect of a ritual on the Mahanavami day in the month at

Asvina.

Maninaga Thakurani (Ranpur Area)

29

Special Puja is offered to this Goddess before cutting of green timbers from the

Ranpur forest area for construction of the cars for Raffia Yafras by Sri

Jagannatha Temple Administration.

Bada Raulai Thakurani (Baramula - Gania - Nayagarh)

Before transportation of the timbers to Puri for construction of the Chariot, special

puja is offered tothe deity, Bada Rautei.

Lingaraja Temple in Bhubanesvar

The Administartion of Sri Jagannatha Temple, spares some car ropes for the

Ashokastami car festival of Lord Lingaraja. The Rajaguru of Sri Jagannatha

Temple praticipate in the Astaprahara a Pu/a in the Lingaraja Temple on the day

of Sivaratri.

Bharati Kotha Matha (in Cuttack)

Situated near the High Court Square, It is under the management and control of

the Sri Jagannatha Temple Administration.

AlarnathaTempIe of Brahmagiri

It is situated at Brahmagiri, 20 Km. away towards the west of the Jagannatha

Temple. The lord is named as Alarnatha or the natha (resting place) of Devotees.

This is a Visnu image-. During Anavasara (Repair of the Deities before Ratha

Yatra) Devotees visit Alaranatha as the replica of Lord Jagannatfia.The Alarnatha

Temple was built by the King Madan Mahadeva (The 4th king of the Ganga

dynasty) in the year 1128.

Balesvar Mahadeva Temple

30

It is situated in east of the Jagannatha Temple near seashore about 10 Km away

from Sriksefra.This temple is situated in the top of Sriksetra (Sankha Ksetra)

Puri. S.K Purana says that Lord Srikrsra by putting a Bela fruit (a type of Indian

fruit used as drink) in this place worshipped Lord Siva and prayed lord to protect

the mankind from the attack of demons of pafa/a who enter through this gate way

to the world and kill men.

PancaTtrtha

There are Five tirthas (Sacred Water) at Sriksetra, The Sacred Indradyumna tank

near the Gundica temple. Manikamika in the Manikamika street. Markanda

towards the north of the Jagannatha Temple at Markandesvar Sahi, Svetaganga

towards the south of the Jagannatha temple in Balisahi together with the sea

make the group Pancatirtha or Five sacred water at Puri in which piligrims are

solemnly enjoined to take bath. All these tirthas are placed covering four direction

of Sriksetra.

Direction Name of Deity Established by

The Tirtha

East- North Indradyumna Niiakantha Siva Indradyumna

West Markanda Siva Markandeya Sage Markanda

South Manikamika Kapalamochana Kapalamochan

Sveta Ganga Sveta Madhaba Svata Madhab King

Matsya Madhaba,

Nabagraha

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South East Mohadadhi Cakra Narayana Sage kandu

(the Sea)

Indradyumna

This tank is situated to the north-east of Gundica Temple. This tank is associated

with the name of the King Indradyumna who has constructed the temple for Lord

Jagannatha.

Skanda Parana writes that at the time of consecration of lord JagannsthaTemple,

the King Indradyumna donated countless cows to Brahmins. A hole was formed

by the leg of the countless cows those were brought by the King for offerings.

The hole was filled up with sacred water poured to the hands of Brahamins by

the king while donating the cows. Because of this, it is considered as most

sacred tirtha of Puri. The Indradyumna tank is 396 feet in wide and 485 feet long.

It covers an area of four and a half acres. On the South west bank of the tank

there is temple of Nilakanthesvara'. After taking holy bath at Indradyumna lank,

devotees, worship Nilakanthesvara in the 5th bright fort nigbt of Asadha if it falls

on Magha naksatra. Devotees perform water sacrifice, Sraddha sacrifice for

liberation of their forefathers at the bank of Indrudymna tank on this day.

Skanda Parana writes that devotees by offering pinda (food) to their forefathers

after taking bath at this tirtha benefit get the of Asvamedha Sacrifice.10

Markanda Tank

Markanda tank is situated in the west side of the Jagannatha temple. Skanda

Parana writes, Sage Markandeya after digging a hole near Kalpabata stays there

32

to worship the Lord at Sriksetra.

Markanda tank lined throughout wrth stones is covering an areas of nearly 1

Acre. It is irregular in shape. It has several ghatas (steps to enter the tank)

around it with a Siva temple (Markandesvara Siva) on the south side and is

largely resorted to by pilgrims. Its side measures north' 350 fuel, onst 508 foci,

South 385 foot, find West 5-12 fool. All the northern ghat under a fig tree are

placed eight stone images each four feet high representing the Astamatrkgs (the

eight sacred mothers). The figures are executed in a superior style in Chlorite

and represent four handed females, seated on thrones and having each a child

on her lap. This tank is also associated with the festival of Lord Jagannatha. The

Kalia Dalan Ceremony is organised in this tank.

Svetaganga

Svetaganga is a small tank, to the south of Jagannatha Temple. On its bank

there are two small temples, one dedicated to Sveta Madhava and the otherto

Matsya Madhaba, both forms of Visnu. There is also Alabapraftaimage.The

Skanda Purana says that Svetewasa king of Tretaya Yuga. He was a devotee of

Lord Jagannatha. He made a lot of Tapasya to see the Lord. As a mank of his

worship the tank is named as Svetaganga."

It is also said that this tank is connected with the holy river Ganga. Skanda

Parana writes devotees after taking bath and seeing Sveta Madhaba it they die,

they will be liberated.

It is also mentioned in Skanda Purana that God has given a boon to the King

33

Sveta Madhaba that the devotees who take Mahaprasada in his kingdom will

never face immature death.

There is a belief that devotees after coming from Srimandira if they will wash

their feet in Svetaganga they will be free from the sin of tread on Mahaprasada.

Manikarnica

Manikarnika tirtha (Well) is situated near Kapalamocana Siva Temple.

Rohini Kunda

Skanda Purana includes, Rohini Kunda as a tirtha in place of Manikarnika. This

is inside the temple, it is said that this kunda is filled with pralaya bari (Pralaya

water). Water at the time of Pralaya (destruction) flows from this place and

covers the entire world. During the time-of new creation water gets absorbed in

this place. Hence this water is most sacred one. Just touching the holy water a

devotee car be liberated. Skanda Purana also writes that Brahma when first

visited Sriksetra saw two wonderfull things. One. of this is, a crow sitting or the

branch on a tree above Rohinikunda felldown on the water of Rohinikunda and

by virtue of this holy water it took the shape of four armed Vishnu.

Rohini Kunda is included in five holy warter (Tirthas) of Puri.The Sea in Purils

considered as the Sarvatirtha Maya, the assimilation of all the tirthas. In other

places of India rivers are consdiered as tirthas, such as Ganga, Yamuna,

Sarasvati, Krisna, Kaberi, Godabari etc. since all these rivers flow to (he Sea,

Sea is considered as "Sarvathirtha mays" (tirtha of all tirthas) Skanda Purana

gives much importance on Sea bath and the darsan of Mahaprabhu near Aksaya

34

bata, Wore over Mahadamon which images are carved was first collected from

the sea on the 12th bright fort night of Phalguna (Govinda dvadasi). For all these

reasons sea is considered as most important tirtha at Puri.

On the day of Panca tirtha (5th day of dark fort night of Margasira) devotees go

round the tirthas starting from the Jagannatha Temple. The Pancha tirthas Yatra

becomes complete after seeing Jagannatha in the temple.

Narendra

Besides all these tirthas another tank is also considered a sacred tirtha of Puri

allthough reference are not available in literature. This tank is known as Narendra

tank after the name of Raja Narendra Dev, the son of the Kapilendra Dev, It is

said that the foundation of the Great Jagannatha Temple was led from the

NarendraTank. Maharaja Narendra Dev has innovated the Narendra tank by

spending all his means what he earned during his life time. At the fag end of his

career he also lived at the bank of this tank.

The Narendra tank is situated about three quarters of a mile north east of the

Jagannatha Temple and covers an area of over 3.240 hectares (8 acres). It is

834 feet by 873 feet in size. The tank has an island in its middle bearing a small

temple connected'wilh the south bank with a bridge, to which Madanamohana the

representive deity of Jagannatha with Bhudevi Sridevi brought during Candana

Yatra (Apr.-May.) and sit for Candana bath. Five Sivas also sit in another place of

the small temple for a water sports at this tank. Deities after bath in sandal water

are dressed and decorated with garland. Two boats are prepared for water

35

sports. In one bath Madanamohana sits with Bhudevi and Sridevi and In another

both Rama Krsna sit with five Sivas. They go round the tank for two times, One in

the day time, another in the night. On the concluding day of Candana Yatra they

go round the tank for 21 times. Allthough Warendra tank is not included in tirtha,

the tank has become sacred because of the water sports of deities, Devotees

took their bath at Narendra tank during Candana and other day considering it as

a tirtha.

Four Hermitages

Besides these tirthas there are four hermits of four important sages at Puri. They

are at four directions of Sriksetra.These asramas are considered as old as the

Ksetra. These asramas are

1. Angira Asrama after Name of the Sage Angira

It is situated in the East side of the temple at Dolamandap Sahi.

2. Vhrgu Asrama (after the name of the sage Vrgu) it is in the south side of the

temple at Balisaht.

3. Kandu Asrama (after the name of sage Kandu)

!t is in the south west side of the temple at Haracandi Sahi

4. Markandeya Asrama (after the name of sages Markandeya}. It is in the West-

North side of the temple at Markandesvra sahi,

Among them two sages (Angira, Vrgu) belong to Vedic period and two others

(Kanduand Markandeya) belong to Puranicperiod. Angira group is known as

founder of Agni (fire). They first discovered Agni. For that Agni is also known as

36

Angira. As per Satapatha Brahmana the word Angira is evolved from the

meditation of Varuna while he was meditating upon. Vrgu is also the son of sage

Varuna. He is otherwise known as Vrgu Baruni. Fiamayana has made a

reference of sage Kandu. Skanda Purana also writes that the sage Markandeya

has come to this place to see the Lord. As per his instruction he staged

here.There fore the Asramas of these great sages glorify the importance of

Sriksetra.

Wore overthese asramas are also related to the rituals of the temple. Nrsimha

(Commonly known as BadiNrsimha) goes round these four asramas on the 9th

day of the dark fort night of Sravana and 11th day of the bright fort night to Caitra

to protect the devotees from the effect of cholera. Mahaiaksmi visits Kandu

Asrama on the 5th day of dark fort night of Bhadraba to observe Rtsipancamt

Vrata. Sudarsana moves round three Ashrams (excect Kandu Asrama which he

visits on the day of RadhaAstami) on thefullmoon day of Sravana (Gamha

Pumirna) and Kumar Purnima (full mood day of Asvina).

37

Chapter-2

The Architecture of Shri Jagannatha Temple

The majestic temple of Lord Jagannatha at Puri is said to have been built by

emperor Anangabhimadeva, historically identified as Angangabhima III belonging

to Ganga dynasty. Some historians arc of opinion that the construction was

commenced during the reign of emperor Chodagangadeva, the founder of the

dynastic rule in Orissa. It is described in Madala Panji, the temple chronicle of

Puri that Anangabhima contemplated to construct a temple of Srivatsa

khandasala type with 100 cubits in height. But on the advice of the ministers and

royal priests, the height was reduced to 90 cubits. Accordingly the temple was

built, as it stands today. Babu Manamohan Ganguly has measured the height of

the present temple by theodolite method and has concluded that it is 214 feet 8

inches.

The temple consists of four structures called (a) the Vimana or Bada Deula

(sanctum sanctorum) (b) the Jagamohan or Mukhasala (the porch), (c) the

Natamandir (the audience hall) and (d) the Bhogamandap (the hall for residuary

offerings) built in a row in an axial alignment in east-west direction. The temple

faces the east. The Vimana is constructed in Pancharatha (temple containing five

Pagas or segments) Rckha order. Rekha is the name given to a type of temple

with a curvilinear spire. Out of the five Pagas or segments, the middle one in

known as Raha, the two flanking pagas as Anuraha and the two corners ad

Kanika. Like a full-fledged Orissan temple, it has four-fold vertical divisions, i.e.

38

the Pitha (pedestal), the Bada (wall), the Gandi (trunk) and the Mastaka (the

head).

The temple stands on a high pedestal though a major portion of it is buried in the

ground. The' visible portion shows three mouldings, which are richly carved.

Similarly the Bada is Panchanga type i.e. consisting of five elements -known

respectively as Pabhaga (foot), lower .Tangha (shin), Bandhana (bond),

upper .Tangha and Baranda. The Pabhaga consists of five usual mouldings and

these mouldings are connected with vertical bands in each Paga of the Bada.

These five mouldings are known in the architectural texts as Khura, Kumbha,

Pata, Kani and Basanta in ascending order. The Khura is shaped like a horse

hoof and contains inverted leaf designs with dotted borders. In each Paga it has

a Kirita design and figures of royal personnel, The lower portion of Khura has

been decorated with Vanalata designs and other types of scroll work. The

Kumbha is designed like pitcher. The Kani is plain, but the Pata and the Basanta

are richly carved. The sculptured friezes of the Pata depict procession of various

animals, mostly war-animals intervened by procession of foot soldiers with the

general sitting on a palanquin and giving certain directions. The Pata also

displays a sculptured panel containing episodes from Gopallla of the Bhagavata

Purana. The vertical band, as aforesaid contains rich scroll-work and two female

figures one above the other.

The lower Jangha has Khakhra-mundis (miniature temples of Khakhra order) in

the Kanika and Anuraha Pagas. The Khakhra-mundis of Kanika Pagas contain

39

seated figures of eight Dikpalas (guardian deities), while those of the Anuraha

depict seated Acharyas (teachers) teaching their pupils and disciples. The

recesses between the Pagas are occupied by different types of Vidalas (figures

of lion-on-elephant and lion with elephant trunk rampant on a warrior). The

Bandhana consists of three mouldings joined together at different places by

vertical bands decorated with standing figures of Kanyas (maidens). The upper

Jangha depicts Pidha-mundis (miniature temples of Pidha order) containing

various deities mostly Vaisnavite in character including the ten incarnations of

Visnu, The recesses between the Pagas contain figures of Kanyas in different

postures. It is interesting to note that all the sixteen Kanyas in such places are

shown in the sixteen postures as prescribed in Silpaprakasa, an architectural text

of Orissa. There is a close similarity in the decorative plan between lower and

upper Jangha, except in the nature of the Mundis and of the figures in the

recesses. The size and decorative programme of the Mundis and the figures of

Virala and Kanyas are almost equal. The Baranda over the upper Jangha is

made to ten carved mouldings of almost equal size.

The programme of the Raha Paga is different. It contains large niches for the

Parsva-devatas on different sides. The southern niche contains the Varaha

incarnation, the northern niche houses the Trivikrama image and the western

niche shows the Nrsimha form of Visnu. These three images are made of

chloride and are very exquisitely carved. While Varaha holds the goddess earth

in his upraised left arm and a club in his right hand, Nrsimha is depicted in a

40

ferocious form. The latter is seen as taking out the entrails of Hiranyakasipu, the

demon king, with two of this hands, while his other two hands show his usual

attributes. In the image of Trivikrama of Vamana, the god is seen as placing one

of His feet set firmly on the ground, while the other stretches upwards. All the

three images have trefoil-shaped designs in the hack- the ground.

In front of each of the three images of side deities, small covered halls with a

Sikhara (tower) of Pidha order have been constructed, which are called Nisa

temples. These structures are plain and sometimes cover the; sculptural beauty

of the temple. The upper portions of the Parsva-devata niches depict Dopichha

lions (lions with one front and two hind portions), Naga-nagi: pilasters, Kanyas

and one central image on each side, which is difficult to recognise due to

existence of the Nisa structure. The Gandi or the body of the temple proper,

consists ; of ten Bhumis or storeys. At the Kanika Paga of each ' Bhumi, there is

a Bhumi Amla connected with six Bhumi Barandis (courses of stone) and Chaitya

medallions are seen carved on them at intervals. The Anuraha Paga of each side

is filled with three Angasikharas, i.e., miniature Rekha replicas with rich carvings.

In the Raha Paga, however, there is a large Vajramastaka at the base, which is a

usual feature with most of the Orissan temples. Above the Vajramastaka up to

the height of the Gandi. rows of Chaitya medallions with intermittent spaces

appear with five such medallions in each row. In the frontal Raha Paga (eastern

side) there is a bigger Angasikhara at the Sandhisthala (joint of Vimana and

Jagamohana) surmounted with a projecting Gajakranta, i.e, lion-on-elcphant.

41

Such Gajakrantas also appear on three other sides in the Raha above the

Vajramastaka. A smaller projecting lion also appears on each side of the base of

the Gandj.

The Mastaka consists of the usual elements of Beki (neck), Amalaka (an Indian

fruit of the same name a little flattened), Khapuri (skull), Kalasa (jar) and Ayudha

(weapon, i.e. Cakra). In the Beki are inserted four figures of Dopichha lions at

each corner, while on the front sides there are images of Garuda. There is

nothing specific regarding the other elements of Mastaka, except that the

weapon is called Nilachakra, the shape of which is peculiar in Orissa as well as

its name.

The interior of the Vimana is entirely plain. It is called sanctum sanctorum or

Garbhagruha and in the middle of the room there is Ratnasimhasana on which

the images of worship have been installed. The throne is about four feet high and

there is a path for circumambulating the throne. There is only one door leading to

Jagamohan.

The temple was plastered with a thick coat of lime sometime in the I6 lh century

A.D. to protect its surface from decay caused by saline wind. Quoting some

temple records, Rajendralal Mitra says that the application of lime plaster was

done for the first time during the reign of Prataparudra Oeva on both the Vimana

and Jagamohana. Madala Panji records such plastering to have been done in

1647 A.D. Thereafter successive plasters had been applied in 18 th century for

which, the temple looked like 'an ugly mass of stone and plaster' as observed by

42

A. Sterling. The famous exponent on Indian architecture James Fergusson, being

unable to find detailed carvings on the body of the temple assumed that the art of

Orissa had received a' total downward impetus' which Rajendralal Mitra has

refuted with very strong arguments.

But after the conservation of the temple has been handed over to the.

Archaeological Survey of India in .. ] 975, removal of the plaster has been taken

up and so far deplastering the Vimana is almost completed, for which the above

detailed description of (ho .sculptural art of Vimana could be made possible.

Deplastering of Jagamohana is yet to be taken up.

The Jagamohan or Mukhasala is a Pidha temple, i.e., . a structure with pyramidal

roof. It consists of Pidhas or horizontal platforms receding in size as they go up-

wards. The Jagamohana seems to have stood on a Pitha or platform like the

Vimana, but its (races are not visible owing to later constructions. The Bada is

Pancharatha in plan and consists of five usual elements. But the details of

carving on the Mundis or miniature temples and the niches of the Mundis

including the images therein can not be seen due to application of plaster on

them. It is also not possible to know the decorative motifs, the sculptural arts, the

mouldings in different elements and even the architectural design due to such

heavy pleastering. But the Gandi is made of thirteen Pidhas arranged in two

Potalas or tiers of seven in the lower and six in the upper diminishing in size as

these proceed''from bottom to top. The Kanthi recess in between the Potalas is

decorated with Pidha-mundis, pilasters and images of Mandiracharini.- In each

43

side and in each of the two Potalas there arc miniature Pidha Mastakas

surmounted by Udyata lions, the lion in the upper tier being larger that of the

lower. The Maslaka consists of the usual elements of Beki, Ghania, Amla Beki,

Amalaka, Kalasa and Ayudha, which is a disc.

The roof of Jagamohan stands on foursquare pillars.

It has two gates, one leading to the south and the other to Natamandir. The latter

is considered as the main entrance, It is known as Jaya Vtjaya gate, but the

images of the Dvarapalas Jaya and Vijaya are conspicuous in their absence. The

door frames of both the gates are. ornately dejorated with different kinds of floral

designs and Naga-Nagi figures. Navagraha figures adorn the upper architraves.

Figures of Brahma and Siva on the southern gate are more prominent. Scholars

are tempted to believe that the Jaya-Vijaya gate (main gate of Jagamohan) was

reconstructed at the time of the construction of the present Natamandir.

The Bhogamandap (earlier Natamandir), is a Pidha deula with a high pedestal.

The pedestal consists of five divisions. But the elements do not confirm to the

specifications given in the architectural texts of Orissa, though these arc richly

carved. Rather there is a similarity between this structure and the Natamandir of

Konarka temple in Orissa. Depiction of Krusna's entire life-story at the top of the

pedestal in a row i.s quite striking. The projections in the Bada portion arc not

quite prominent, but the profuse ornamentation of Bada adds to the grandeur of

the structure. There are figures of Rama Abhiseka, rowing of boats, Jagannatha-

Mahisamardini-Sivalinga worship, Siva jn Tandava dance posture etc., carved on

44

separate chlorite slabs. Besides there are several more chlorite figures in

different places of the Bada.

The Gandi shows a Pidha order with three Potalas, The Potalas consist of five,

four and three Pidhas as we count from the bottom. Huge figures of projecting

lions appear in each Potala. The Gandi is Pancharalha in plan like that of

Jagamohana. The Mastaka is composed of the usual elements, except that a

brazen pot is placed on the top of fit.

The structure stands on four pillars and the interior is left entirely undecorated in

contrast to the exterior decoratations. It has a flight of steps to the north. It is

believed that a similar flight existed in south side too, but due to construction of

the gangway from the kitchen to the Jagamohana, the steps had to be removed

at a subsequent period.

The present Notamandir appears to he a relatively later structure standing on

sixteen pillars. Rajendralal Mitra feels thai, il was originally a structure on eight

pillars and subsequently it has been expanded with addition of eight more pillars.

Its roof is flat consisting of four layers of stone slabs. The hall is presently used

for offering of prayers. A monolithic pillar with the image of Garuda at the

top .stands towards the eastern part of the hall. The interior of the hall is well

decorated with different types of stucco images and paintings. Scenes depicting

the Kanchi-Kaveri expedition of Jagannath and Balabhadra and the ten

incarnations of Visnu, with an image of Jagannath as the ninth incarnation are

more striking. The hall has two main gates, leading towards the north and the

45

south besides two subsidiary openings.

Scholars say that the Vimana and the Jagamohan of the temple were originally

constructed by Anantavarma Chodaganga Deva and the other two halls were

added later. Rajendralal Mitra says that the Bhogamahdap was constructed

during the Maratha rule of Orissa (18th century) by an architect named Bhaskar

Pandit with an expenditure of about 40 lakh rupees in a period of 12 vears, wiih

the malci ialx brought from the Sun-temple of Konark. He goes the extent of

informing that the entire structure was dismantled at Konark, brought to Puri and

reassembled in the present site. But Madala Panji ascribes construction of

Bhogamandap to Purusottama Deva. Donaldson opines that the Natamandir was

constructed in the 13th century while the Bhogamandap in the 15th century A.D. by

Purusottama Deva. The view is not acceptable, as Bhogamandap appears to

have been constructed first, though there may not be a great difference in the

period between the construction of these two structures.

In fact, a standard Orissan temple consists of a Vimana and a Jagamohana. In

the words of Dr. Debala Mitra - "Architecturally, the temples resolve themselves

into three broad orders, known to local terminology as Rekha, Pida and

Khakhara. In a typical Orissa temple, the first two go almost side by side and

form two component parts of one architectural scheme. So in Orissa the sanctum

and the porch have almost become synon'ymous with the Rekha and Pidha

temples respectively, although originally these names were meant to denote the

particular type of the structure. Orissan architectural texts also recognise such

46

identification as pointed out by N.K. Bose on the.basis of some such texts

prevalent in Orissa. It has been stated that the Rekha temple is the male and the

Bhadra or Pidha, a female and the joint (Sandhisthala) is called Gainthala, a knot

tied in the garments of the bride and bridegroom at the time of marriage.

Several additions and alterations have been carried out in the temple and works

of such modification seem to have commenced not too far from the dates of

original

a Gtritrrre construction of the temple. To the original twin structure of the Vimana

and Jagamohana, the first addition seems to have been the present

Bhogamandap, a little away from the temple and the hall was intended

originally as Natamandir, i.e, the hall meant for dance and music. Addition of

the hail, presently known as Natamandir was done subsequently by joining the

Jagamohan with the present Bhogamandap. Interestingly, the Natamandir is

popularly culled .lagamohan, because in this hall the devotees assemble 10

offer prayers Lo Jagannath and no dance and music are performed at present

and it is used as audience hall, in addition to the original one. It is presumed

that at the time of the construction of the present Natamandir, the original

Jagamohan underwent a lot of changes (a) the balustraded windows on the

south and north were removed, (b) on the north on extra-room (presently Ratna

Bhandar, i.e., the slore of jewels) was built and (c) the southern window was

completely demolished to convert it into a door.

Another notable addition is the gangway connecting the kitchen with the

47

Jagamohana via the present Bhogamandap and Natamandir, to facilitate carrying

of food offerings for the deities. The gangway entirely — covers up the southern

side of the Bhogamandap, Lhe original carvings of which are still visible through

its southern door. This gangway is stated to have been constructed by Gajapati

Harekrusna Deva (1716-1720 A. ID.) of Khuvda. Besides, a number of subsidiary

shrines have been constructed within the premises of the temple over the years

and some such shrines and other minor structures partly cover up ihe northern

side of Bhogamandap. Such modifications and additions may also be seen on

both sides of Natamandir and Jagamohan as well, without any planning. Some of

the modifications appear to have arisen out of necessity in connection with the

performance of certain rituals within the precincts of the temple. Donaldson

informs that such additions and alterations have been carried out down to the

Maratha period in the 18'h century A.D.

The temple is enclosed by two compound walls, thus forming two enclosures, the

inner and the outer. The outer compound wall is called Meghanada Prachira,

since the sound of the waves of the ocean do not enter the temple premises by

penetrating the walls. The inner compound wall is known as Kurma Prachira,

named after a tortoise owing to its shape. There are four juntos on all four sides

in both the walls. The main gate is called the Simha Dvara or the lions gate,

because of the two huge statues of lions in front. There is a propykm at the

eastern gate from which start a flight of twenty two steps to reach the inner

compound wall. The outer enclosure consists of the kilchen (south-east), ihe

48

Ananda Bazar or the market for the Mahaprasada (north-east), and gardens

including the Koili Vaikuntha, Niladri Vihara, besides .a few essential structures

like Snana Vcdi and a few subsidiary shrines as well. The inner enclosure is filled

with a number of subsidiary shrines and various other structures utilised in

connection with the observance of various rites and festivals. Devotees

circumambulate the temple within the inner enclosure and seek 'Darsan of the

minor deities in a prescribed manner, after which they enter the main temple

through the northern entrance of the Natamandir.

49

CHAPTER-3

Temple style

Indian temples are divided in to two kinds as per the Sipli Sastra. Dravida and

Nagara

(a) Dravida type is seen in South India.

(b) Nagaratype is seen in North India.

The Temples of Orissa are a synthesis of Dravida of South and Nagara style of

North.

Dravida Saili (Style)

In Dravida style the base is a square, they followed the old pyramid style of

Egypt. (Bhubanesvervaitala Temple is an example of this style).

3.2. Nagara Saili (Style)

in the Nagara style the temple is erected in circular vertical style.

AnOrissaTemple is a combination of Dravidan Nagara style. The pidha (base) is

of Dravida style and the rest is of Nagara style (circular). The temple has four

parts.

(1) Vimana, BadaDeula, Garva guha, (Main temple)

(2) Jagamohana (Hall of vistors)

(3) Nata Mandapa ( Hall of Dance)

(4) Bhoga Mandapa (Hall of offerings)

The base of Viman and Jagamohana is square but the erected part of Vimana is

cirular up to Kalasor Cuda (the (top) of the temple.

50

The Jagamohana is like a pyramid structure in which the base is a square and it

is erected step by step.

The temple of Puri was rebuilt on a huge sand dune, resembling a dark or blue

hillock (Nilasaila or Nilagiri), about 20 feet above the Level of the surrounding

area, by Ananta varman Chodaganga Dev (1078- 1147 AD) of the illustrious

Ganga dynasty. The main temple consists of four distinct buildings viz- (i)

Vimana or the great temple. (ii) Jagamohana or the hall of Audience (Audience

hall in front of the sanctum), (iii) Natamandira (Dancing Hall), (iv) Bhoga

Mandapa (Refectory).

The Vimana \s a three tier rekha temple with Curvilinear superstructure on a

panca ratha plan. It has four fold vertical division (i) Pitha (ii) Bada (vertical

portion below the bada) (iii) Gandi (iv) Mastak.

The Vimana of Jagannatha Temple is constructed in a panca ratha plan, Both in

horizontal and vertical direction the temple is divided in to 5 parts (panca ratha).

In horizontal order five parts are (1 ) Bhumi (2) Bada (3) Gandi (4) Mastaka (5)

Dvaja. Each part is vertically divided in to five portions such as ;

1 . Bhumi (Pabhaga) Khura & Kumbha frPata & Kani & Basanta

2. Bada Pabhaga -J-Tatajangha &Bandhana&UperJangha

& Varanda

3. Gandi Konika & Anuratha a Raha paga fr Anuratha

& Konika

4. Mastaka Beki a Amalaka sila & Khapuri & Kalasa

51

5. Dvaja

The Vimana is constructed in Rekha order. Rekha is the name given to a type of

temple with a curvilinear super structure. The Rekha (gandi)is also divided in to

five parts (pagajvertically.The middle one is known as Raha paga (Raha part).

Both the sides of Raha paga is known as Anuraha paga and two corners as

konika.

The height of the temple is 214 feet 8 inches from the surround ring road level 1.

The Deu! surface is 20 feet high from the road level. Hence the height of the

main temple is 194 feet 8 inches. The Bhumi Bhag'is. in side the soil.

3.2.1. Bada

The main components of the Bada are the pabhaga (Base corresponding to

foot), Jangha and Baranda (a set of moulding demarcating the Bada from the

gandi.The Jangha is Divided in to two, lower Jangha and upper by a set of

moulding known as bandhana. The temple as the momenclature of some of its

component parts shows, is linked to human body.

3.2.2. Pabhaga

The pabhaga consists of five mouldings namely khura, kumbha, pata, kani, and

basanta. These mouldings being continuous add to the strength and diginty of

the entire scheme.

The Khura is shaped like a horse roof and contains inverted leaf design with

dotted borders. The khumba is designed like a pitcher.The kani is plain but pata

and Vasanta are richly carved. The sculptured friezes of the pata depict

52

procession of various animals, mostly war animals intervened by processions of

foot soldiers with a general, sitting on a Palanquin and giving certain directions.

Vasanta is carved with the mythological stories of Srikrsna legends, like kaliya

daman, (killing of snake demon - kaliya), Giri goverdhana, Bakasura badha,

Rasaiita, Krsna. in the company of Gopis, Krsna's fight with Kamsa, Krsnas

departure from Mathurasic.

The lower Janga has Khakaramundi (miniature temples of Khakara order) in the

konika and Anuraha pagas.The Khakaramundi o\ Kanika pagas contain seated

figures of eight Dikapalas (guardian deities). While those of Anuraha depicts

seated Acaryas (teachers) teaching their pupils and disciples. The recesses

between the papas (rathas) are occupied by different types of vidalas. (Figures of

lion-on-eiephant and lion with elephant trunk rampant on warrior). The Bandhana

Consists of three mouldings joined together at different places by vertical bands

decorated with standing figures of Kanyas (maidens). The upper Jangha has

pidhamundis (minature temples of pidha order) even within lord Jagannatha

temple complex, the temples dedicated to Siva, Sakti, Ganapati, Surya also

justify its cosmopolitan character, containing various deities including ten

Avataras of Visnu such as Mafsya, Kurma, Varaha Vaman etc.The recesses

between the pagas contain figures of Kanyas in different postures. It is

interesting to note that the sixteen Kanyas in such places are shown in sixteen

postures as described in Silpa Prakasa, an architectural text of orissa.There is a

close similarity in the decorative plan between Lower and Upper Jangha, except

53

in the nature of the Mundis and the figures in the recesses. The size and

decorative programme of the Mundis and the figures of Vidalas Kanyas are

almost equal. The Varanda over the Upper Janghals made often carved

mouldings of almost equal size.

Up to the Varanda there is hardly any distinction between the rekhadeol and the

pidha deulexcept in the matter of relative proportions, but with the Gandi, the two

orders assume their individual peculiarities. The interior plans of both the rekha

and pidha are square, though externally they are broken by low offset-

projections. Both the deuland Jagamohana may be divided in to four principal

parts along with the vertical plane viz (1) the pista (platform) (2) Bada

(perpendicular wall) (3) Gandi (trunk) and (4) the mastaka (head, crowning

elements).

But in the pidha deul the gandi is made up of a number of pidhas diminishing in a

pyramidal shape till the topmost pidha is reduced to about a halt of the lowest

one. The pidha in this temple is usually grouped in to tiers called potalss,

separated from one another by recessed vertical walls called Kanti.

The gandi of the rekha deul inclines inwards in a convex curve this being more

pronounced towords the top. It is divided in to several pagas by the continuation

of the projections of the bada, the corner papa, known as Konika, are further

subdivided into a number of horizontal sections or storeys (bhumi) by the

miniature amala( ribbed disc resembling as amaiaka fruit) called bhumi-amala.

The central projection is known as anuratha.The gandi ends with the bisama, the

54

topmost course with or with out paga division, sealing the spire.

After complete deplastering of the Sikhara (spire, Tower), 24 miniature sikharss

popularly known as angasikharas. (miniature representation of rekha on the spire

of a temple) are exposed. The important aspects of these shrines are that within

the niche a sculpture is also incorporated.The most important among them are

Caneslson the topmost angasikhara of south-west corner of southern face and

Brahma incorporated on the middle shrine of south-east of southernface. On the

western side on the south west corner upper angasikhara goddesss Kalris

enshrined. On the eastern side on north-east corner top and the middle miniature

shrines Anurage and Surya are incorporated. On the northen face of the Sikhara,

Siva is carved inside the niche of central angasikara of north eastern corner.The

remaining niches are mostly occupied by Visnu, with the exception that Yama

Kuvera and Sukra or Agniioo have been repeated .

The eastern side within the outerwail of the Central largest miniature shrines,

Durarapalas are shown along with their consorts. Even on the southern face, the

Siva Ajaekapada Bhairava is incorporated. All these incorporations of principal

Hindu deities speak of novel composition of cosmopolition Hinduism. These

inconographic representations not only connected with Vaisnavism but also

those of Hindu or cosmopolitan Hinduism as images of Siva, Ganesa, Goddess

Kali, Brahma and composite icons of Brahma Siva are incorporated within niches

of miniature sikharas that are added on outer wall Anurahapagas.

Three miniature shrines meant for parsva Devata i.e Varaha on south, Nrsimha

55

on West and Trivikrama of north are placed in small covered halls with a sikhara

(tower) of pidha order (wihch are also called Nisa temple),-These temples are in

the bottom of the Pahapagas of the spire. In course of depiastering of the front

vertical walls of all the three miniature shrines, It is seen that images of the

representatives of the popular 24 forms of Visnu are carved one above the other

on both sides of the walls. On the southern side (Varaha side) out of 8 forms

seven of them are indented as Madhava, Samkarsana, Damodar, Trivikrama,

Kesava, Visnu, Madhusudana and one badly mutilated.

On the western side (Shrine dedicated to Nrsimha) out of 8 sculptures only two of

them are identified as Sridhara and Hrsikesa, since -other six are badly mutilated

covered within the the wall constructed on later date or completely obliterated.

Similarly on the northen side (Shrine dedicated to Trivakarma form of Visnu) out

of 8 sculptures six of them are identified as Padmanabha,

Acyuta, Janardana, Krsna, Pradyumna and Vamana, as two of them are

completely hidden within wall. One image shown in tribhanga pose on northern

side but cannot be identified since hands including Ayudhas are completely

damaged.

Each jmage is shown standing on double petal lotus very artistically carved on

the front part of the pedestal. Visnu is shown standing in Samapada pose

(attention attitude). He is depicted with usual four arms, having usual ornaments

like Nupura, Katibandha, armlets, necklace, earrings, Yajnapavita, bedecked with

jewels, artistic representation of Dhoti coming up to knees, Vanamala etc., trace

56

foil prabhabaliat back, Kirita mukuta on head of both sides. On the comer above

shoulder of Visnu Gandharva couple is shown in flying postures carrying

garlands. Just above the Mukuta the figure of kirti mukha is carved. In some

cases on both sides of the figure of Visnu on a comparatively smaller lotus

pedestal springing out from the main lotus pedestal of Visnu figures of Bhudevi,

Sridevi or Ayudha Purusa like Cakra Purusa and Gada Dew or devotee in

kneeling pose in Anjali mudra are carved.

The importance of the discovery at Puri is that for the first time all the 24 forms of

Visnu are depicted together in the form of sculptures on both sides of doorjambs

speaks of the deep sense of the architects builders quality. In daily rituals fo

Samdhya it is customary to recite the 24 names of Visnu. Their sculptural

depiction in Jagannatha temple is seen which is incarnation of Lord Visnu.

The names the twenty four forms are-idently selected out of the thousands

names of Visnu given If 'Anusasanaparva of the Mahabarata.The method

adpoted in distingushing one from other of the twenty four forms is that .of skilful

alternation of the four chief attributes of Visnu i.e. Sarnkha, Cakra, Gada and

Padma held in the four hands. The weapons symbolize the universal processes

relevant to the divinity. Lotus symbolizes creation (Srsti Bijam tatha Padmam),

discuss preservation (CakramSihitinibandhanam), mace -dissolution (Gada

samhara –Bijam) and conch emancipation of the soul from bondage (Samkha

mukii- nibandhanam).

It is believed that each of the letters of the celebrated Gayatri hymn (consisting of

57

24 letters) is represented by one of the twenty four forms of Visnu and while

performing the daily rituals of samdhyas, It is the customary to recite the names

of the twenty four forms and cansecrate the twenty four spots on the body

(Tantra - Sara).

The order of the twenty four form including their attributes of Ayudhas are as

follwos :

SI,No.

form Upper Right

Upper Left Lowerleft

Lower - Right

1. Kesava Samkha Cakra Gada Padma

2. Narayana Padma Gada Cakra Samkha

3, Madhava Cakra Samkha Padma Gada

4. Govinda Gada Padma Samkha Cakra

5. Visnu Padma Samkha Cakra Gada

6. Madhusudana Samkha Padma Gada Cakra

7. Trivikrama Gada Cakra Samkha Padma

8. Vamana Cakra Gada Padma Samkha

9. Sridhara Cakra Gada Samkha Padma

10. Hrsikesa Cakra Padma Samkha Gada

11. Padmanabha

Padma Cakra Gada Samkha

12. Damodara Samkha Gada Cakra Padma

13. Samkarsana Samkha Padma Cakra Gada

14. Vasudeva Samkha Cakra Padma Gada

15. Pradyumna Samkha Gada Padma Cakra

16. Aniruddha Gada Samkha Padma Cakra

17. Adhoksaj'a Gada Samkha Cakra Padma

18. Purusoltama Padma Samkha Gada Cakra

19. Narasimha Padma Gada Samkha Cakra

20. Acyuta Padma Cakra Sankha Gada

21* Upendra Cakra Samkha Gada Padma

&. Janardana Gada Cakra Padma Samkha

23. Han Cakra Padma Gada Samkha

24. Krsna Gada Padma Cakra Samkha

It is worthy of note that the number of possible formulations of four Ayudhas

58

taken over at a time is exactly twenty four.

Moreover in case of south India while the lotus is held in lower hands, they are

shown down ward position but in case of Jagannatha temple, the lotus is held in

up right position even in the lower hand also. The Hupamandana text is teken by

T.A. Gopinath Rao as the basis to explain the forms. In this text the order of

disposition of attributes starts from the upper right hands onward clockwise

fashion.

The different varieties of Visnu images are primarily associated with the

pancaratra doctrine of the Vyuhas. In between 7th and 9th century A D the

twenty four forms had already been evolved and were gradually finding their way

in to iconographical texts and sculptura! representations.

Among the texts giving the iconographical details of 24 form of Visnu, the oldest

is the Abhtlasitarthacintamani (or manasollass) attributed to the western Calukya

king somesvara Ill (A D 1126-38). The others are the Vrddhaharita Smrti, the

Agnipurana, caturvargacintamanol Hemadn, Devatamurti-prakarana,

Dharmasindhu, Nimayasindhu,padmapurana, Rupamandana, Siiparatna,

Sritattvanidhi and Tantra Sara, a veritable list of Late mediaeval'and

comparatively modern works - Though in some cases the order may differ, the

descriptions are identical in general.

It is to be noted hare that the famous Chennakesava temple of the Hoyasala at

Belurand i.e., Temple at Dola gada valley, on the outer walls of tho temple some

of these forms are incorporated but not all the 24 foims as prominently carved in

59

Lord Jagannatha temple walls. The discovery is unique of its kind in the context

of Visnu iconography in eastern India as so far no where in India all the 24 forms

of Visnu are depicted within any known temples neither in south nor in north

India.

3.2.3. The Mastaka

The Mastaka of the rekha deulls successively composed of the beki, (recessed

cylindrical portion above bisama, also known as kantha or neck,) the amalasil a-

ahuge stone on the deulto keep the stones joints of the roofs of the deulfirmty.

The shape of this stone is just like amala (Indian fruit of the same name little

flattened).The amalaka slla is supported by dopicha lions at the corners and

figures of Garuda in between them.

Khapuri - Is above the amalaka siia where the deul is closed up. (usually gold,

paddy and various kinds of treasures are kept here before the roof of the deul is

sealed).

Kalasa Paga - A part of the Kalasa which is digged inside khapuri.

Kaissa dora - A- rope like construction in kalasa which adds to its beauty, kalasa

or waterpot.

Kalasa Ghadi- A hole is created in a stone placed on the Kalasa to hold up the

ayudha.

Ayudha - Sacred weapon of the deity to whom the temple is dedicated. Ayudha

of Sri Jagannatha temple is a Sphere. The name of the sphere is Nila Cakra

(Blue wheel).

60

Dhvaja (Pataka) - In all Orissan temple the pataka is triangular. In grand old days

the warriors used this triangular Dhvaja as the insignia of the nation. Since

temple is constructed like a fort the Dhvaja is placed on the temple symboiises

the glory of the nation.

The Bada and Gandi in both the rekha and the pidha orders are square all

through in horizontal sections, the mastaka, however is circular. In a full - fledged

pidha deul The lower most member of the mastaka is the beki, above which the

ghanta (an enormous bell - shaped member, some times ribbed) is crowned by a

succession of bekiamala, Khapuri, Kalasa and Ayudha as in the rekha deul.

The interior of the vimana is entirely plain, it is three-tier in structure. The ground

floor, is 30feet x 30feet x 48 feet (high), the first floor is also 30 feet x 30 feet x 33 feet

(high), but the second floor is 28 feet x 28 feet x 30 feet (high) it is called sanctom

sanctorum or garbha grha and in the middle of the room there is

Ratnasimhasana on which the images of the lords have been installed. The

throne is about four feet high and there is a path for circumambulating the throne.

The deul has only one door leading to Jagamohana.This door is known as

Kalahata duar (door).

3.2.4. Jagamohana

The Jagamohana or Mukhasala is a pidha deul. It consists of pidhas or horizontal

platforms receding in size as they go upwards. The Jagamohana seems to have

stood on a pitha or platform like the vimana, but its traces are not visible. The

bada consists of the usual five divisions of pabhaga, fa/a Jangha, Bandhana,

61

upper Jangha and baranda. But the gandi is made of thirteen pidhas arranged in

two pofa/as or tires of seven in the lower and six in the upper diminishing in size

as these proceed from bottom to top.

The Kanthi recess in between the potalas is decorated with pidha-mundl. The

Mastaka consists of the usual elements of Beki, above which is the ghanta an

enormous bell-shaped member, sometimes ribbed) crowned by a succession of

beki, amala, khapuri, kalasa, and Ayudha as in the rekha deal.

The roof of Jagamohana stands on four square pillars.

The Jangha of the bada shows projections representating miniautre rekha

temple, the bandhanadoes not show any moulding. It presents a plain plastered

apperance. The varandas too have representations of dauls.The recesses

between the pagas contain erotic figuers, galasimha motifs and indolent damsels

playing with various kinds of musical instruments.

It has two gates, one leading to south and other to Natamandira. The latter is

considered as the main entrance. It is known as Jaya vijaya gate. The door

frames of both the gates are ornately decorated with different kinds of floral

designs and Naga – Napi figures. Navagraha figures adorn the upper

architraves. Figures of Brahma and Siva as the southern gate are more

prominent.

From architectural point of view the main shrine and the porch appearto have

been costructed simultaneously.

3.2.5 Natamandapa

62

The Natamandapa or the dancing hall is believed to be a later addition, Its roof is

supported by horizontal anches springing each of the four rows of four pillars

(total sixteen pillars). The pillars are square and devoid of decorative

ornamentation.

A Monolithic pillar with the image of Garuda at the top stands towards the

eastern part of the Hall. The interior of the hall is well decorated with different

types of images and paintings, Close by, on the east wall, there is a relief painted

in Orissan Patta style representating two mounted cavaliers, with a milk maid

standing before them holding tray in her head. This represents the

KanciAbhijanao lord Jagannatha and Balabhadra.The ten incarnations of Vishnu

on the east side (close to south) of the wall is more striking. ,

The Hall has two main gates, leading towards the north and the south besides

few subsidiary openings. Four small rooms attached to the sides are meant for

worship some deities and the orchestra.

63

CHAPTER-4

Conservation of Jagannatha Temple

Unlike other temples in Orissa, Jagannatha temple of Puri and other subsidiary

shrines are covered with plaster. The plain plastered surface led scholars to form

various opinions that the Temple art was deteriorating and as a result superior

workmanship is not achieved, hence they are covered with plaster to achieve

smooth surface applied with colour wash. In the past blocks of stones and

chunks of plasters ilad fallen many a times as would be evident from the

available records. On the 9th July 1875, three large blocks of stone felldown from

the inner of the 'garbhagrha'.Onlhe 14th december 1903, another stone slab fell

before the Ratna vedi. Repair work was carried out by the Rajas of Orissa and

Puri.

Up to 1974 the temple was looked after by the committee appointed by the

Government of Orissa under Jagannatha Temple Act of 1954.

The structural weakness and the problems of profused leakages of most of the

temples and inability of the above committee to tackle it leads-the State

Government to refer the matter to the Ministry of Culture Government of India.

On behalf of the Government of India Archaeological Survey of India was

directed to examine the whole matter.

In 1973 an expert committee was constituted on Sri Jagannath Temple at Puri

with SriM.M Desh Pandey, the then Director general of Archaeological survey of

India as Chairman, Secretary Culture, Government Orissa, Collector Puri, Chief

64

Archaeological Chemist, Chief archaelogical Engineer, Suprintendent of

archaeofoagica! Survey of India Eastern circle, Calcutta and Pundit Sadasiva

Hath Sharma were members. The meeting was held on 24th/25th September 73

and different aspects of problems on damages, leakages etc were discussed.

Since that time it was not a protected monument of Archaeological survey of

India, the Collector Puri raised the question of protection of the Temple and felt

that In the larger interest of the monument it would be desirable to have the

monument protected by the Archaeological Survey of India. As recommended by

the committee, the Lord Jagannatha Temple complex Puri was declared as

acentrally protected monument in 1975 by Archaeological Survey of India and it

took up the conservation and repair work by an agreement dated 22. 8. 79. The

ASI formed an expert committee headed by its Dirceter General.

During the first meeting the members minutely checked the stability of the

Temple. In 1/3 places test checkings were made by removing the piaster and it

was detected that underneath the thick coat of the lime plaster the beautiful

carvings of the; Temple are existing. Experts unanimously agreed that the

present thick coat of plaster, which has become spongy and porous failed its very

purpose of controlling leakage. On the other hand the plaster had put heavy

pressure and weight on the Temple. It may be the reason for profused leakage,

Hence removal of plaster is absolutely necessary. Since beautiful original carved

architectural pieces are hidden underneath the plaster, it was decided that only

skilled Mahararasor Sthapatisare to be employed for removal of the piaster and

65

the work of deplastering and preservation has to be under taken with meticulous

care and in slow process, which ensures that the concealed part of masonry

containing sculptural surface is not damaged.

As a measure of experiment Achaelogical Survey of India in 1975 took up the

deplastering work of Lakshmi Temple existing in the north most corner of

Jagannatha Temple. After complete deplastering , the original beauty of the

Temple with delicate carvings were brought to light. It was properiy conserved by

way of changing the missing or damaged architectural pieces, by grouting the

voids, by underpinning etc. It is felt that the iron dowels used to keep the stone

blocks in their proper position have been rusted and increased in volume as a

result chunk of stones are reported coming out of different parts of theTemple. As

per the recommendation of the 1st expert committee, all the exposed iron dowels

were removed and replaced by copper or stainless steel dowels. Besides

changing of dowels, the experts also suggested to use epoxy resion in case of

conservation of Jagannatha Temple. Even epoxy pointing and epoxy grouting is

als'o recommended by the experts.

After completion of the work of Lakshmi Temple, Archaeological survey of India

took up the deplastering work of Lord Jagannatha temple. The external wall face

of the Jagannattia temple was found to have been plastered having nine distinct

layers. Since the temple is of a huge dimension, it will not be possible to

deplaster the whole temple of Lord Jagannatha within one or two years. It will

take a longtime, since after removal of plaster all around the Temple as per

66

prescribed limit, the exposed surface is to be properly conserved by way of

grouting underpinning, changing of dowels, replacing of the damaged or womout

architectural members by new stone blocks. No sculptural portion should be

reproduced but only floral patterns and other geometric details may be copied in

out line before fixing them. Accordingly, the work started from the ground level of

the temple.

The hostilities of the Pandas and Public resentment on depiastering work and

court cases compelled A.S.I to suspend its work many times and up to a height

of 40' area all around the Temple wasdeplastered touching varanda or springing

level.

As per the direction of the Orissa High court a Technical Expert Committee was

constituted in 1985. The committee there upon recommended depiastering of the

St'khara to a height of 3.00 metre from the springing level ai! around at a time

and repeate it further year wise. Detailed documentation, Phato documentation

and detailed drawing were made. Accordingly in the end of year 1985 the

injunction of the High court was vacated and Archaeological survey of India,

Bhubanesvar facilitated to resume the' depiastering work.

In the subsequent meeting of the Expert Committee, it was decided that besides

depiastering of Jagannatha temple, one or two subsidiary shrines also to be

taken up simulteneously for depiastering purpose. Accordingly, priority was fixed

and after Laksmt Temple, Nrsimha Temple, Surya Temple and then Vimata

Temple were decided to be taken up one after another

67

In 1985, Bhubanesvar circle took up the depiastering work of Lord Jagannatha

Temple above the varanda levei i.e above 40 feet, simultaneously the

depiastering of Nrsimha temple is also taken up and completed by

attending .both structural and conservation and chemical preservation by

plugging the leakgae, resetting the dislodged masonry with epoxy resin,

replacing the wornout and missing architectural members by newly carved stone

blocks, removing the impregnated salts from the exposed stones and

strengthening them with preservative coat.

The depiastering work of Surya Temple situated in the north west corner of

Jagannatha Temple is taken up and the conservation work completed in all

respects within 1 986-88.

The deplastering and simultaneous conservation work of Vimala Temple is taken

up from January 90 and it was completed in the same year. The missing

artitectural members of the Temple were got restored by new khondaiite stones.

The vertical Gods were attended by dismantling the architectural members

refixing them in proper plumb or grouted with combination mortar. TheTemple

has been chemically treated after its conservation work. Some more Temples on

the westen side such as Khiracora Gopinatha, Ganesa, Sarasvatf and

Nilamadhaba Temple have been depiasted and conservation work is also done.

in course of repair severe structural defects was detected in all the above

referred Temples. The amalakas are shain shattered and suffering from

depression. The south-west corner part of Surya Temple is found completely

68

missing but filled up with small rubbles and piasters added over it to retain the

original apperance.The whole Kanikapaga of Surya Temple is got restored by

new khondaiite stone. The vertical gaps are attended by gently dismantling the

architectural members and refixing them in its proper plumbs. The whole Amala

of Surya temple was dismantled and restored again as per original, using new

carved stones and replacing the worn out and damaged pieces. The Ganesa

Temple conservation work also completed removing the wornout and damaged

pieces by new carved stones.

So far as Jagannatha Temple is concerned, after deplaslen'ng on the southern

side, major structural weaknesses were detected in the form of multiple

damages, cracks and missing of architectural members. One by one the

underpinning work with newly carved stones are taken up and the work is

completed.

The Jalakrida Mandapa existing in between Nrsimha and Ganesa temple on the

southern side of Jagannatha Temple is also deplastered and chemically treated.

The conservation work of the Vimana of Saragharls also attended by replacing

the damaged asbestos roof with R.C.C. one and plastering flooring, rectifying the

damaged doors and windows etc. The northernside damaged roof of the

southern Burmibedha is taken up and relaying of fresh lime concrete, after

removal of old one.

The damaged ornamental grill of Snana Mandapa (Bathing platfrom) existing on

the northeast corner of the Ananda Bajara complex is also replaced by newly

69

fabricated one as per original.

The Aruna stambha is existing just infront of eastern gate-way i.e. Simhadvara

having an iron grill cordoning. The damaged grill work are replaced fabricating

new oranamental grill work.

On the northernside of Jagannathu Temple, two kundas (water storage space)

are existing where the used water om JagannthaTemple got stored. Many times

over flow used to occur making the courty and floor between Laksmi Temple and

Surya Temple dirty. Besides giving bad smells in the complex. An underground

drain to allow this water to flow gently underneath the floor to save this complex

from prevailing dirtiness is constructed and it is functioning well.

On 14th June, 1990 a piece of amala weighing about six tonnes has fallen from

the western side of Jagannatha Temple. After close examination by engineers

and experts it is observed that hair crack devetped horizontally over the piece

due to expansion of rusted iron dowels and weathering process in due course led

it to become wide and loss of strength of the iron clip resulted in such a fall. This

remained unnoticed due to covering of thick coat of cement plaster all around

Amalaka. in July 1990 IX Expert Committee was convened and the experts

unanimously recommended to refix the fallen piece by procuring a good quality

khondalite black stone and after attending needful dressing/sizing and grooving

the carved piece to be taken up and refixed. • Accordingly a new piece is

procured from Tapang quarry and after proper dressing and carving as per the

original, the new piece was taken inside the Temple complex. A strong tali

70

scaffolding tower as high as the Temple was wade on the north west corner.

Heavy capacity lifting machine, quality iron ropes, jacks were also procured for

the purpose. it was lifted to a height about 1 80 feet and placed in the original

position infebruary 1991.

On 13th Augest 1992, two pieces of corbel stones sveighing about one tonne

collapsed from its south west corner in side the 'Garbha Grha'. On examination

by the experts, it was revealed that about 10 pieces of corbel stones were found

missing on account of expansion of iron dowels and cracks. Experts from

different parts of the country were invited to Puri to examine the structural

stability and other connected problems. A joint venture of Centre and State

Government helped in formation of a cordination committee with the secretary to

Govt of Orissa in works department, Collecter Puri, Directer General A.S.I,

Directer, Conservation, A.S.I Directer Science, A.S.I, as members for

determining the future course of action to be taken for conservation. Experts from

SERC, Gaziabad, CBRI Roorkee. NGR1 Hyderabad, I.I.T. Khragapur, RRL

Bhubariesvarwere also invited.

For repair and conservation of Garbha Grha, the deities from the pedestal (Ratna

vedi) were shifted to a temporary pedestal erected in a place in between the first

wooden bar and the Jay-Vijaya door. The shifting was done on the 29th

November 1992. A task force was formed to complete the Garbha Grha work by

the end of May 1993. The repair and conservation work was taken upon a war

footing under the close supervision of the Secretary to Government of Orissa,

71

Works department and Directer General A.S.I. The missing corbels were

replaced by newly carved ones. The surface of the inner wall was consolidated

by drilling holes, grouting with P.M.C. (polymer modified cement), liquid mortar.

Corbels were anchored with strainless steel rods by drilling 1.5 to 2mts. hole and

sealing with epoxy mortar.

The vertical cracks found on both side wails inside the 'Garbha Grha, were

tightened by strainless steel right angles by making grove and pinning them with

the super structure. As second line of defence, a strainless steel truss below the

corbel to support the corbelled ceiling of 'Garbha Grha was erected. Its design

was done by prof A.R. Gupta of I.I.T Kharagpur. It was fabricated by the Orissa

Small Industries Corpration ltd. It was detected that there are three floors, one

above the other within the Jagannatha Temple. The ground floor and 1st floor are

connected with a flight of steps and each floor is resting on carbel archs. There

was no passage to approach the second floor through the first floor. One has to

enter the second floor through the wind vents provided on 4 cardinal directions

below the Beki from outside only. In two places of the second floor, four feet dia

hole was made by puncturing the floor slap to provide pipe connection within the

first and second floor for ventilation purpose. Temporary support by tubular

scaffoldings in the first and second floors ceilings were made as precautionary

measures. In the ground floor 9 corbels and 139 stone blocks have been

replaced to strengthen the inner walls of 'Garbha Grha' which were found out of

plumb due to cracks caused by the pressure of rusted dowels. Two reputed

72

farms of Calcutta namely Caltech and CICO did the grouting work. Some broken

corbel stones found laying on the second floor were removed and the

surrounding walls were consolidated by grouting the core of the stone masonry.

Alter the conservation work of 'Garbha Grha' was over, the A.S.I handed over it

to the Temple Administration. The Deities shifted back to the original 'Ratna

Vadi'on 2.7.1993. It is known that the expenditure borne by the A.S.I, towords

conservation work of 'Garbha Grha'is about Rs1.72 crores.

Though the 'Garbha Grha 'work has been completed but substantial work of

conservation of outer walls remain unattended. The piaster on upper part of the

'Sikhara' has not yet been completely removed. The 'Amalaka' which shows

signs of distress has to be strengthened. In a report of the A.S.I released in

november 1993, it was mentioned that the deplastering and conservation works

of the main 'Sikhara' ot Lord Jagannatha temple would be completed within a

couple of years.

The Honorable Chief Minister of Orissa reviewed progress of the Temple works

in the Secretariat on 25.4.1995. The meeting was attened by the State Law

Minister, Chief Secretary, Law Secretery, Director of Conservation, A.S.I.

Superintending Archaeologist, A.S.I Orissa. Engineering - in - chief -cum

secretary to Government, works department and other officials.

The Director, conservation confirmed in the meeting that by February 1996, all

the renovation work of the main Temple would be completed. The damaged

stones up to 'Beki' level will be replaced. A system of pillsaters to support the

73

'Amla' will be introduced and the damaged portion of the Amala will be replaced.

Timber supports in the triangular, pockets of Jagamohana, Nata Mandapa and

Bhoga Mandapa will be fixed and pinning and grouting of stones in the passage

to kitchen (Rosaghara) would be completed by 31.5.1995. But all these works

have not been completed to date.

74

CONCLUSION

Indian temple architecture, on the Hindu side, is formal monumental and

canonical. In was the direct outcome of the growth of personal and social religion

and is indeed part of unique system wherein, personal religion did not come in

the way of congregational from. Since its main motivation is based upon the

magnificent character of the temple for the whole village or town or region, it vias

the common pool of the Goodwill, genius and economic resources of the entire

community or citizen. Indian temple architecture is specifically renowned for its

unique forms and varieties and also for its experimentation". forms. For these

varieties and for its vernacularly, the temple architecture _ points out the position

of INDIA in the world map.

The temple architecture is the process of making a construction for the living

place of God. Here the ceremony, worship of that God is done. But sculpture is

an object, which has an aesthetical value and personal concept explore with

through this object. In no way it is related with the social purpose except

conveying message and giving enjoyment of mind.

So at the time of relating those two, we have to forget the purposiveness and

have to think about the external formal character of these two.

Indian temple architecture evolved from the basic Buddhist architecture - Stupa.

Subsequently Chaitya, Vihara and Mahavihara grows up as times goes on. Hindu

temple architecture started around 6-7th century AD. Actually from this period as

specifically Gupta period showed the proper-representation of the temple

75

architecture.

As the temple construction was based on supernatural power and its worship so

in most of the places temple is called as the 'abode' of God or the ruler of the

universe. Temple construction is fully related with the mountain and cave form

as it started from this conception in the primary phase. Again a significant

feature of a temple architecture that thought it is steeped in philosophical

symbolism, it is primarily extrovert and inclusive. Though temples were made in

a static material and show the stability but still it has a dynamics which was

shown through the ornamentation or execution of the various comics & pillars.

Temple is nothing but a 'tirtha' (source of release) in a concrete, tangible form

created by the human mind, Again from the view of structure, it is highly related

with human form. Dozens of Shilpa and vastu text were compiled in order to

bring into a well ordered layout of the temple. The silpa texts consider the

physics , geographical geological and even pedilogical and astronomical aspects

of the effort. The five elements of the universe and the vastu purva mandapa

fully relate with each other to give the proper structure of the ground plan as well

as the construction of the temple. The way between the temple construction is

treated as the 'way to the world' to the 'way of God;. The cosmology shows the

space arrangement of the temple plan also.

Temple form is the most stable form. According to the religioustic background of

the temple structure the form shows the upliftment of the sensation.

Philosophicaliy this form is perfect to show the upliftment from earthy to non-

76

earthy situation. Space is also an important consideration as structure or

architecture were made in open air. Open space or moreover universal spaco

is being related with the architectural space, as this will be in an open air

environment, Space, form mass, illusion and the light effect - all the sculptural

terms can, easily relate with this architecture. The dynamic relationship and the

transi-; tion of natural force - in the relation of form and space can be found when

the space and form factors of the architecture is analysed.

The Indian temple architectural form been classified in 3 specific types - Nagara

(specific in North India), Dravida (South India) & Vesara (Deccan & Central

India). Though these regional specification are not the proper style classifications

but its a general categorization. Separation or classification were done, of these

three types - according to the outer formal structure of different parts of temple.

Depending on specific parts -like - Sikhara, Elevation, manasutra, gateway,

division of various parts of vimana or superstructure, sukanasa, prakara, temple

tank, amalakasila, garbhagriha etc. I have discussed the specific characteristics

of the 3 types of temples. But in the specific examples of these three types, for

the sake of my discussion I have taken the temples which are, either the highest

maturity of the style or the highly experimental type. Experimentation were never

done, without keeping the stylistic grammar of the style.

Lingaraja temple was taken to prove the nagara style. As it is the typical orissan

matured phase, but still it shows the proper basic Nagara type like the sukanase

curvilinear sikhara, mature vimana with jagamohana, square cella, projection or

77

vimana, crowning element on 'sikhara etc. Obviously it shows the four parts like

Bhog mandapa, Nata mandapa, Jagamohana and vimana (Nirandhra).

According to the shape, form textural quality on the temple plane, illusionistic

movement through the formation - specifically the temple complex as an whole

shows the overall arrangement of sculptural form. Basically it is an arrange-rrent

of sculptures or installation like work of art as a whole.

Similarly in the case of Kailasa temple, the root of Dravidian temple architectural

form, we can see the basic not the proper nature style, But in this rock cut

temple architecture the use of wall (here the mountain in the side) as well as the

gopuram ike gateway construction is there. Again the shape of vimana part and

other specific character shows the proper mature dravidian. style. The multi

storoyed viman, pillared hall, nandi mandapa and gopurarn or doorway. shows

the touch of the proper dravidian style. The spatial composition through the

scooping off the stone in three side made this temple unique and highly

sculptural according to its form - space relationship. Again the playfulness of

light & shadow, obviously the sense of mass volume and space volume and the

proper utilization of solid & void space made this - an overall sculptural quality.

The 3 hill sided area with comparatively smooth texture contradict with the

isolated mass rock which is highly decorative like the unique technique of carving

it is also unique of the monolithic rock cut architecture and also unique in treating

as a sculpture. Visun izing all we can not say il only an architecture 'from my

sculptural point of view it is obviously a sculpture. -

78

The most experimental temple, keeping the basic stylistic grammar properly of

the vesara type,is During temple of Aihole. The psidal planning of the temple with

a circumbulalory path rounded with pillar-portico like formation makes it different

with other vesara temples. A curvilinear short height sikhara on there of of the

lower shrine is much more interesting. Playfulness of light on the verandha pillars

shows the effect of mass & void, it situating on a high platform and these type of

light effects gives it an airy effect of this architecture. Here is' a great spatial

function of the architectural form. Inner space and • outer space is a prominent

mixing up in this architecture. Convex outer pro-jected form and concave inner

form make the proper sculptural form.

The influence of these typical Indian Hindu temple architectural form showed the

pathway of my own sculpture. The religioustic approach and the mandala

described ground plan formation gives the basic of my ideas. Specifically, the

germ-chamber or womb house of the temple with its idol image inspired me

much more rather than any other. The Hindu religioustic approach' or philosophy

was explored through these architectures. To get the zist of this philosophy and

to give the form of it; 1 have gone through these, thoroughly. The basic

geometrical structure of the temple and the form of the God was merged up to

establish the philosophy - the temple is the sacred abode of God in this

materialistic world i.e., temple itself is an image of holistic philosophy.

The basic of all the discussion in, how these temple architecture are being

treated as a sculptural form.' As architecture and art never separated in two

79

parts, it was inherently in the mind of the earlier architects, in architecture space

is an important factor to be considered. In the same way, sculpture also based

on the various spatial relationship. The sculptural space, the universal space

and the synthesis of space volume and mass-volume will show the proper

sculptural value of an object. I have just showed this analytical discussion to

prove that an architecture also consist all the general characteristics of sculpture

- visually and aesthetically. As sculpture based on forrnai character and visual

satisfaction - architecture on this point being similar to the sculpture. Most of all,

architecture is a part of visual art (plastic). The art is always: hiding in it.

Architecture is highly acceptable environmental sculptuie. A sculpture -

monumental and also highly related with environment. Sculptural form-can be

seen in any object - only the aesthetics sense should be there. I have tried to

evolve that aesthetical value which is hidden in the architecture. Most of all in this

contemporary period any form in our surroundings, with aesthetical value - can,

be treated as sculpture, according to my concept.

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5. Konark

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