Hindu Temple Art of Orissa 1

1-IINDU Tfi i\IPJ_JE 1\R T
OF
ORISS £\
BY
THOMASE. DONALDSON
--:::-
VOLUME ONE
\'(11th S ~laps . 1z Charis, 8 D iag ram~ . 40 Groundplans, :and 1:5 7 f 1~u r cs o n Pl:a1cs
LEIDEN
l .. J.BR IJ I.
1981
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STUDIES
IN
SOUTH ASIAN CULTURE
EDITED BY
JANICE STARGARDT
VOLUME XII
THOMASE.DONALDSON
HINDU TEMPLE ART OF ORISSA
VOLUME ONE
LEIDEN
E. J. BRILL
1981
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The publication of this work was made possible by grants from National Endowment
for the Humanities and the Millard Meiss Fund. Field research was panially funded by a
Bingham Fellowship from Case-Western Reserve University in 1970 and by grants from
Cleveland Stare University awarded in 1976, 1978 and 1983.
ISBN ?O 0 4 0111J '

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UNIVERSITY OF MICHIGAN
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EDITOR'S PREFACE
It is a sad duty to begin this preface with the death of the late Professor
J. E. van Lohuizcn-de Leeuw, sometime Di rector of the Institute of South Asian
Archaeology, Univers ity of Amsterdam, which occurred suddenly in December 1981.
Pro fessor van l ohuizen's numerous services to the study o f the art history and archaeolog)'
of South and South East Asia arc well known; not the least of them was her work as
founder and first editor of the present series, S 111dit1 in So11th Asian C11//11rt. This volume is
the twelfth to appear since the series began in 1969. The coverage is wide, as befits the
series title, and has included volumes o n the prehistoric archaeology of India and Indonesia
alongside those devoted to the architectural and art history of India and Sri Lanka. As well
as serving as indispensable sources for scholars work ing in t hose fields, the volumes are
regularly consulted b y those in the cognate fields o f hi storical archaeology, ep igraphy,
ancient and mediaeval history and cultural anthropology.
In accepting the invitation extended to me by E. J. Brill to assume the editorship of
this st ries, togothcr with the Archaeology and Art H istory stries of the Handb11rh der
Orirntali11ile, I am sensible of the hono ur and the responsibility involved, and o f the
ineluctable fact that to continue it in the creari,•c sense means, not to repeat. but to rcnc~·
the series by looking at manuscripts from the whole range of disciplines mentioned above,
all of which belong to South Asian cult ural studies, in addition to the areas of the series'
traditional strengths .
Dr Thomas Donaldson's exhaustive study of Hind11 Temple Art of Oriua, will appear in
three volumes which together form Volume XII of the series. In Volume I, presented here,
he undertakes an illuminating analysis of the temple architecture of O rissa, drawing into his
scrutiny many structures that have not prC\•iously received systematic study and at the same
time using a set of organizing principles that arc solidly based on the evidence presented by
the temples themselves. This procedure attemprs to reduce the ch ro nolog ical uncertainties
surrounding inscriptions, rcgnal dares and the associations <)f monuments with rulers.
Instead, he looks at the internal evidence of the monuments to trace an Orissan stylistic
vocabulary whose significant changes have chronological as well as reg ional connotat ions.
Though beginning as early as the s ixth century, the study is principally concerned - in this
volume-w ith temples of the e ighth and ninth century and the tenth and eleventh century.
Furthe r development is followed up to the twelfth century in this volume and post-twelfth
century in Volume II. Dr Donald son 's monographs had already been accepted for
publicat ion in this series b y Professor van Lo hu izen before her death. It is therefo re
appropri ate to conclude with her evaluation of them :
"F rom what I have read, I was deeply impressed by the high quality of th is piece of
research . To say that it is a good book wou ld be a monumental understatement, fur it
is in every w ay exemplary and one would wish that s imilar books were available for
the other styles of Ind ian an, which unfortunately is not the case. If this manuscript
cou ld be published, it would be the first real handbook on anr style of Indian
architeeturc and would serve as an example for others to follow" .
Original from
01gitized by Google UNIVERSITY OF MICHIGAN
\ '111 l~ l >rrclR'S PR.l ~f :\< : I~
I am glad to be associa1ed with the publication of Dr Donaldson's studies, albeit at a late

s<age of the production of the first volume. I should like to take this opponunit)' to express
my gratitude and that of the publishers to the following foundations for the financial
suppon needed for the production of a work like this: The National Endowment for the
Humanities; the Millard Meiss Fund.
J.,~1c:1.~ ST,\R<;;\ Rl'lT
Dirrctor,
Cambridge Project on Ancient Civ ili zation
Cambridge, Winter 1981 in South East Asia
Original from
CONTENTS
VOLUME ONE
Editor's Preface, by Janice Stari:ardt . \ ·11

Index of Maps, Charts, G roundplans . • •
x,.,,
Preface . XIX
Introduction . • • • •
A) Dating . • • • • I
B) Architectural Features • • 7
C) Decorative Program . 13
D) Format Adopted for this Siudv • 16
P ,1RT 0:-;1.,
CHRONOLOG ICAL DEVELOPMENT OF TEMPLES
I. The Earliest Surviving Temples of Orissa . ZJ

A) Laksmaodvara, Bharatesvara, Satrughnesvara Temples JO
B) Svaroajildvara Temple . 43
C) Parasuramesvara Temple. \ l
D) Additional Shrines and Detached Sculpture 63
II. 8th and 9th Century Temples at Bhubaneswar 69
A) Early Temples (Uttaresvara, Pascimd1·ara, llfohini) • 74
B) Buddhist Art of the Assia Hills 77
q !liiirkaodeyesvara Temple 8I
D) Sisiresvara Temple 88
E) Vaitiil Deul 91
F) Additional Shrines and Detached Sculpture • 10)
1. TilcSvara • 104
z. Temple north of the Maoibhadresvara 10\
3. Bhavini· Sankara Temple . • 106
4. Detached Images . • 108
III. 8th and 9th Century Temples Ourside Bhubaneswar 11 I
A) Bajrakot: Bhrngesvara Mahiideva Temple 11 l
B) Kualo: Kanakesvara Siva Temple . 118
C) Suklesvara: Manikesvara Siva Temple ll6
DJ Baitkiida: Siva Temple • IJZ
E) Badgaon: Siva Temple • 136
F) Mukhalingam: Madhukesva ra Temple • 14 I
G) Paikapal,la: !11allikesvara and Patiilesvara Temples. • 119
H) Sirilhaniitha Island : Sirilhanatha Temple 166
Original from
x T ·\Kl .I-. t >F <:<)~ 'l'l ·. =' T!-1
I) Padmapur : Mallikesvara Temple 176

J) Additional S hrines and Detached Sculpture 180
t. Khanderpur (Amangai Island): Pascimdvara Temple 180
2. Baides-... r: Du rgii Temple • 182
3. Ra!)ipur-Jharial: Somesvara and Liyahari-mandir temples 184
4. J iijpur: Detached Images . • 186
IV. Temples of the 10th and 11th Centuries of Interior Orissa . • 188
A) Pillared Ma!'/apas . • 198
t. Rectang ular Pillared Halls: Kupiiri, Khiching . 199
2 . Narsinghnath: Nrsimhaniitha Temple: Interior Pillars 200
3. Patnagarh: Kosal~svara Temple . 201
4. Baidyanath: Kosalesvara Temple . 203
I· Belkhandi: Detached Images . 207
6. Chard a: K apildvara Siva Temple 209
B) Brick Temples of the Upper Mahiinadi Valley 212
1. Budhikomna, K ausuli: Stell ate Brick Temples 212
2. Rii!)ipur-Jhariiil : lndralath Temple 21 j
q Gandhara<,li: Siddhesvara and Nilamiidhava Temples . 217
D) Baudh: Bhubanesvara, Kapilesvara and Siddhesvara Temples 224
E) Khiching: Kutii itu!)Qi Temple 229
F) Khiching/Benusagar Detached Images • 2 3I
G) Mukhalingam: Somesvara Temple • 247
H) Andhra Temples . 253
t. Sarapalli: Dibbesvara Temple . 214
2. Jayati: Riijariijesva ri and Mallikarjin Temples 256
I) Chau5a1 Yogini Pi/has • 260
t. Hiupur . • 261
2. Rii!)ipur-Jhariiil. • 263
J) Additional Shrines and Detached Sculptures 264
1. Sainrala . 264
2. N arsinghnarh: Nrsimhaniitha Temple; doorframes . • 266
3. Baidyanath: Kalesvara Temple 267
4. Mukhaliitgam: Bhimesvara Temple . • 268
s. Nagrikatakam: Si,•a Temple . 269
V. Temples of the 10th and 1 Hh Centuries in E astern Orissa • 27 1
A) Caurasi: Viiriihi Temple . • 274
B) Ga!)eswarpur: Paiica-Pa!)<)ava Temple 281
C) Tinhesvara Temple 286
D) Gauri Temple . • 291
E) Muktesvara Temple 297
F) R iijarao.i Temple . • • 308
G) Brahmdvara Temple . 3 19
H) Liitgaraja Temple . • 328
I) Additional Shrines and Detached Sculpture 342
1. Kishorpor/Shergarh/ Av an a: Khtikharti Temples • 343
Original from
XI
2. Pec;liigac;li, Bac;lasiihi, Koinsarigarh !41

l· Kaupur, Agarapatha, Gandibcda, Charampa l47
4. Chaudar. j48
1. J2jpur/ Puri: MtitrleJs . l49
6. Sathalapura/ Kur:ic;lesvara JP
7. Ratnagiri • 31 3
8. Vyomakesvara Temple • H4
9. Dakra-Bhimesvara Temple • HI
co. Ekiimbaresvara Temple n6
11. Valukesvara Temple 317
12. Mar:iibhadresvara Temple • 318
1l · Pratiiprudrapur: Akhar:ic;lalesvara Temple 360
Vl. Temples of the Late 111h and the 11th Century. 364
A) Ghorodia: Somaniitha Temple . 368
B) Algum: Gancsvara Temple . 370
C) Bhillideuli: Pun:idvara Siva Temple • 371
D) Kiilarahanga: Jiilc5vara Temple . 376
E) Khilor: Khilesv2r2 Temple . 383
F) Beraboi: Brahmesvara Temple 387
G) Golobai: Jiilesvara Temple 390
H) Temples at Bhubaneswar. 390
1. K o1itinhdvara Temple • 390
1. Temple near the Tirthesvara Temple. 392
3. Temple near the Tiilesvara Temple 392
4. Siddhesv2ra Temple 393
I · Kedaresvara Temple • 396
6. R2mesvara Temple. 398
7. Bhaskaresvara Temple. 400
8. Temple in the Makaresvara Compound 401
9. Temples in the Lingaraja Compound. 402
I) Puri: J agannatha Temple 403
J) Kor:iilr2k: Mah:ig:iyatrl Temple 407
K) Tangi: C2r:ic;lesvau Temple . 416
L) Meghesv2ra Temple . 422
M) N iali: Sobhanc5vara Siva Temple 428
N) Additional Shrines and Detached Sculpture • 4 31
1. Champcswar: Champaniitha Compound . • 4ll
1. Maginagesvara Temple • 43 7
3. Somesvara (Kaka1pur): Some5vara Temple • 438
4. Lataharar:ia: Gramesvara Temple . 439
I· Dharmasill:i: Detached Sculptures • 440
6. Chaudar: Kapiilesvara Temple 442
Catalogue of lllus1r2tions 443
Figures 1-1137
Original from
XII T .\llLJ: <>F <:<>!'\TJ:l'TS
VOLUME TWO
VII. Temples of the 13th Century

A) Kisenpur: Caiesvara Temple
B) PiirvatI Temple
C) Miidhava: Miidhavananda T emple
D) Garudipailcana: Buddhaniitha Siva Temple
E) Kor:iarak: Surya Deul
F) Beyiil isbati: Gangesvarr Temple
G) Banpur: Dak$aprajiipati Siva Temple
H) Kakudiii: Gopiniitha Temple
I) Ananta ·Viisudeva Temple
J) Yamesvara Temp le
K) Sari Deul
L) CitrakarinI Temple
l\f) Budhapada: Somanitha Temple
N) Sadansa: Trilocanesvara T emple
0) Praci Valley Temples
1. Moria (Nuiisatanga): Durga Temple
1. Pitapara: Angesvara Temple
J· Kr$naprasadgarh : Visvaniirha Temple
4 . Amaresv ara, Chaha1ii
S· Caurasi: Lak~mi·Na riiyai;ia Temple
6. Kend u!i : Candi Temple, Jayadeva l\luscum
7. Adasapur: Svapnesvara, Durgii and Variiha-Nrsimha Temples
8. Kapila !\!u ni Asram: Kapilesvara Temple
9. J amu-Goradi: Gokamesvara Temple
10. Kakaipur : l\l ang alii Temple
11. l\ludgala l\ladhava : Nilamiidhava Temple
12. Nuapatna : Lak ~mi·Nrsimha Temple
P) Additional Shrines and Detached Sculpture
1. V21esvara : BhagavarI Compound
2. AmariivatI: lndrasthiina Shrine
l· Patia: Birailci-N ariiyaJJa Temple
4. Gai;i.Swarpur: T arakesvara Siva Temple
I- Birpratappur: Gramc5vara Temple
6. Kalupiida: Vanivakresvara T emple
7. Chandi Khole : l\1ahiiviQiiyaka Temple
8. Puri: Nrsimha Temple
9. Daraba: Pancapai;ii;lesv ara Compound
10. Parahat : BhagavatI Compound
11. Berhumpur (Cunack D is1ric1): Gramdvara Compo und
11. Bhubaneswar T emples
VIII. Later Temples
A) Varur:iesvara Cognate Gro up
1. Varuoesvara Temple

T A Bl.I'. <W CONTE!>:TS XIII
1. t\fitrcivara Temple
l· Makaresvara Temple
4. Bakcivara Temple
B) Vi~l)upur: Somaniitha Temple
C) Additional Shrines and Detached Sculpture
1. t.iahcndragiri: Kunti (Gokan:iesvara) and Yudhi~!hira Temples
1 . Kapiliis Hill: Candrasekhara Temple
l· Kosalesvara: Kosalesvara Temple

4 . Nuiisomesvarpur: Goplniltha Temple
!· Jira: Dhakinesvara Temple
6. Sonepur: Saiva, Vaisl)ava and Sikta Temples
7. Narsinghnath: Nrsimhaniitha Temple
8. PipaniisinJ Temple
9. Kapilesvara Temple
10. Miintri: Kakhirui Baidyanitha Temple
11. Haripur: Rasika Raya Temple
11. Palur: Jaganniitha Temple
1 J. Sochanpurchona: Cal)c;ll Temple
14. Bil)eswamiisl: Padmesvara Temple
PART T wo
STYLISTIC EVOLUTION AND ICONOGRAPHIC PECULIARITIES
OF SELECT FEATURES AND MOTIFS
IX. Dt11/
A) Ga!f4i (Re.tho Dt111)
B) Gan4i (Khakharli Dt111)
q Bara114a
D ) Varja-Maslaka
E) B#a
1.Raha-Paga
1. Subsidiary Ptiga1 and A n11rtihti Recesses
l· Pabhaga
F) Sandhi-Slhala
X. Jaga111ohana
A) Paga Designs
B) Pabhaga
C) Bara114a
D) Gavtiiqa
1 . Gavti/f.!a-Ma!f4ana
1. Tala-Garbhilui
l· Window Grill<s, Balusters
Original from
XIV Ti\81.E OF CONTENTS
XI. Shared Fr2rures :and Additional Structures

A) Pillars/Pilasters/St""'bha1 :and Tor11(1111
1 . Niga/Ntigi-Sta•bh"1
i. Tora(lal
B) Ni/"-M""'1ira/Bhoga·Ma(l{iaJ>4
C) Pith"
1. G2rgoyles
D) Dhavaja·Sta• bhds, YiJ>41
XII. Doorfr2mr
A) Lintel
1 . Gr..ha1
1. D•ira-lalti/a·hi111ba Panel
B) D•ir"ptilas
C) Rivrr Goddesses
D) J2mb Decot2tion
C2t2logue of Illustrations
Figures 1118- 191 I
VOLUME THREE
XIII. S2ivite Ptirl..-Deuattis

A) Gal)esa
1 . Seated G0-0esa (iJatt"·"'irti)
•· Standing Gas;1da (1tlMfltllu·•iirt1)
l · D:ancing G2r:ida (Nrtta·•iirti)
B) Klmikeya
1. Kilnlikeya Se21ed on a Thronr (ti1a11a-111irti)
1 . Kilntikeya Riding on His Mount
l · Kintikcya in 2 St2nding Pose (1thti11"ka-111irti)
C) Plrv21l/Standing Dcvl
D) Mahi$m2rdinl
1 . Demon with 2 Hum:an Body and Buffalo· Hc2d
• · Demon in Hum2n Form Iss uing From Buff2lo-C2rc2ss
l · Demon in Buffalo Form
XIV. Sti.l:ta lm2ges
A) Sc2tcd Dcvr
B) Sapta/Ana Miitrlt41
C) Virlhl{Nrsimh!
D) Cilmur:idii
E) Astik2jat2tklru
XV. Siva
A) Lilig"/ Liliga·Piijti
B) Mahc$amilni
onginal frori
Ti\81.1\ OF CONTEr<TS X\'
CJ Siva in a ~ated Pose (i11a1J11-.wirti)

1. Daka1i(limilni/ M ahiyogi/Vlrabhadra
• · Lakullsa
D J Siva in a Standing Pose (11hina"'1-.wirtiJ
1 . Bhik1i1anamilni
2 . Gangidharamilni
E) Composiie Forms
1 . Ardhanirlivara
• · Hari-H ara
J · Aja-Ekapida
F) Bhairava
G ) Andhakisura-v adha-milni/Gajisura-vadha-milni
HJ RivlU)lnugraha-milni
IJ Nr11a-•ir1i1
J) Hara-Pirvatl/ Kalyil)asundaramilni
X\'I. Visnu
A) Vi11)u Anantasayana
BJ Vi11)u in a Standing Pose (11hilfa"'1-.wlir1i)
CJ Vi11,1u in a Seated Pose (i1alfa-.wirtiJ
D) Lak1ml-Niriya(la
E) Daiivatiras
1. Variha
• · Nrsimha/ Lak1mr-Nrsimha
J· Trivikrama/Vimana
4. Rima/H anumin/Balarima
F) K 111J a/Goplnitha
G) Jagannitha Trinity
HJ Garu<;l a
X\"JI. Brahmi/Sarasv atl, Surya, Dile.pi/as
A) Brahmi/Sarasvatl
BJ Surya
1. Sury a in a Standing or ~ated Pose w ithout a Chariot
• · Surya Riding in a Chari0t
J · Sury a Riding a H o rse
q Dile.pi/JU
1. Indra
2 . Agni
l · Yama
4. Nirriti
! · Varul)a
6. Viyu
7. K ubera
a. lsina
X\'111. Figure and Decorative Motifs
AJ Female Figures
01g1t1zed by Google Original from

X \ 'I
B) Erotic Motifs
1. Kama
1. Propitious/ Apotropaic Exhibitionism
J· Tantric Rituals
4. Mfrh11no/ /'.foith11no
C) Narrative Frieze !'.fotifs
D) Sik;odono Motifs/ Royal Figures{Warriors/ R1i1
E) Lesser Figure and Animal J\fotifs
1. Atlantid Go~o (Bhororok;oil:o)
1. Noga/ Nagi
l· Lion Motifs
F) Scrollwork
Glossary
Bibliography
Inscriptions
Photographic Index
A) Site/Temple
B) Deities
General Index
Catalogue of Illustrations
Figures 1916-4381
Original from
INDEX OF MAPS, CHARTS AND GROUNDPLANS
A) Maps
1. Administrative Map of Modem Orissa facing p. 1
1. Map of Orissa wi1h Major Temple Sites •
l· :llap of the Mahiinadl Delta with Major Sites l
4. Map with Temple Sites of the 71h-9th Centuries 19
I· !\lap of Bhubancswar with Major Temples io
6. !\lap of the Upper Mahiinadi V2lley 198
7. !\lap of Southern Orissa and Nonhem Andhra Pradesh •14
8. :11 ap of Nonheastem Oriss• l41
B) Gmealogital Charis of Kings
1. :lliithara Kings 24
1. Vigraha Kings 11
l· Sailodbhava Kings 28
4 . Bhauma-Kara K ings 71
l. Sulk I, N2ndobh2va and Tuilga Kings "l
6. Eastern Gang• Kings of K2Jiilga •4l
7. Nala Kings 177
8. Sarabh2puriya and Piil)c;luvarhsl Kings of Dak~il)a-Kosala 198
9. Kii'ljali-Bhailja Kings 118
10 . Khijjiiiga-Bhai\ja Kings 131
11. Somavarhsl-Kesarf Kings 171
11 . Imperial Ganga Kings i67
C) A"hi1u111al Charis anti Diagrams
1. Diagram of the Principle Elements of the Rtkhti-D111/ 10

1. Diagram of the P rinciple Elements of the Pii/ha-De11/ 11
I· Diagram of the Principle Elements of the Khakhara·Dt11/ 12
4. Bai/a Decoration of a Paiita-Ra1ha Design • l
l· Chans Showing the Largest Extant Temples 17
6. Chronological Chan of Temple Construction 19, 10
7. Diagram of a Stcllate Point of the Temples at Baudh 11 1
8. Ceiling Design of the jaga,,,ohana of the Muktesvara Temple io1
1. Satrughnesvara Temple 31
1. Parasuriim.Svara Temple 12
l · Miirkal)c;leyesvara Temple 8 3
4. Sisiresvara Temple 89
\. \'a it iii Deul 98
Original from
X\' 111 1·,, t,1 . •~ cll~ <:< lK1·1.. :"1·rrs
6. Bajrakot: Bhrngesvara Mahiideva Temple 114

7. Kualo: Kanakesvara Siva Temple 120
8. Suklesvara: Mar:iikesvara Siva Temple 128
9. Barikiic,la: Siva Temple 134
10. Badgaon: Siva Temple 138
11. l\Iukhalirigam: ll<ladhukesvara Temple 141
12. Simhaniitha Island: Simhaniitha Temple 169
13. Rar:iipur-Jhariiil: Somesvara Tempel 186
14. Patnagarh: Kosalesvara Temple 102
q. Baidyanath: Kosalesvara Temple (jagamoha"a) 104
16. Charda : Kapilesvara Temple 210
17. Budhikomna/Kausuli: Brick Stellate Temples 114
18. Rai;iipur-Jhariiil: Indralath Brick Temple 117
19. Gandhariir,lr: Siddhesvara Temple 221
20. Baudh: S1ella1e Temples 221
21. Khiching: Kutiiitur:ic,li Temple 2J J
22. Mukhalirigam: Somesvara Temple 218
2J. Caurasi: Viiriihi Temple 178
24. Gai;ieswarpur: Paiica-Par:ic,lava Temple z8i
21. TI"hesvara Temple 288
26. Gauri Temple 192
27. Muktesvara Temple 299
28. Riijarii(li Temple 312
z9. Brahmesvara Temple J 20
JO. Liilgariija Temple 3 34
JL Bhillideuli: Pumesvara Siva Temple 372
32. Kiilarahariga: Jiilesvara Temple 378
33. Khilor: Khilesvara Temple 384
J4· Siddhesvara Temple J94
JI· Kedaresvara Temple J9!
36. Riimesvara Temple 398
37. Kor:iiirak: Mahiigiiyatri Temple 412
38. Tangi: Car:i<,lesvara Temple 418
39. Meghesvara Temple 413
40. Niali: Sobhanesvara Siva Temple 431
Original from
PREFACE
The study of the Orissan temple, one of the most d istinct variations of the iYa11.ara sty le
of temple construction, is particularly rewarding in that there exists a continu<>US series
of monuments spanning nearly a thousand years of architectural activit)'· l\·fany of these
monuments arc situated in a single city (Bhubancswar) which thus allows one not on ly to
trace the evo lut ion of this style and its ico nographic peculiarities but also to differentiate
p ro,·incial variations within the style itself. Panicularly distinctive, and enticing to the
Student of Indian temple art , is the overall clarity of both architectural design and
iconographic program. Each a rchitectural unit or figure sculpture, though harmoniously
1ntq~ ratcd into the overall program, is conceived as an independent feature or motif,
lending itself for analytic study or comparative analysis.
..\!though there have been numerous books on the art of Orissa, limitations of space
meant th at only a few photographs of some of the more important, or easily accessible,
temples could be included . Even fewer illustrations o f the sculpture o f Orissa have been
published. A more comprehensive treatment . of the temples and sculptu re of Orissa, for
interested scholars as well as students, has long been overdue. I hope that my cffons,
the rc>ults of fifteen years o f research and seven trips to Orissa, will fill this need. Even
so, there arc, I am sure, sites which I have not visited so that, though encyclopedic in
•ppcarancc, this undcnaking is not totally comprehensive and can at best serve as a
sourccbook which may inspire others to study and refine upon the framewo rk which I have
de,·cloped, just as I have been inspired by, and have attempted to broaden and reline upon,
the work of my predecessors. Once in Orissa, the scholar will find that the beauty of the
an. the picturesque setting, and the congenial attitude and curiosity of the Orissan people
outu·cigh an)' inconveniences met in carrying o ut his research.
The monograph has been divided into two parts, the first of which, contained in
'·olume I and the first half of volume II, treats individual temples in a broad chronological
se<juence. Historical background, (>utl incd in greater detail in the books of my predecessors,
ts kept to a minimum so that more space can be devoted co photographic documentation .
In part cwo, which fills the last half of volume II and all of volume Ill, the stylistic
e,·olution and changing iconograph ic program o f selected individual components, mo tifs
and sculptures arc analyzed in detail. This book is published in th ree volumes, the first
ti.''<> of "·h ich arc concerned primarily with architecture, while volume Ill is devoted to
sculpture, decorative motifs as well as cult images, in respect co photographic documen·
tatinn, and contains the Glossary, Bibliography, List of Inscriptions and Indexes. T he
archiiectural terms listed in the glossary, which I have employed throughout the mono-
graph, arc based on the most common usage in other books o n Orissan architecture and
may deviate fro m the terms current when the temples were being constructed o r employed
by the ii/pins wo rk ing today. I have refrained from including inscriptions of the Gailgas
and la1cr ruling dynasties in this list as they arc coo numerous and generally add little co the
ohicctivcs of this study. The photographic indexes a rc divided into two sections , one for
temple and :or site and the other for cult images or sculptu ral motifs.
Original from
xx
In respect to field research, I particularly want to express my gratitude and appreciation

to S. K. Mohanty who helped me to reach even the most inaccessible sites and once there
provided invaluable assistance. I am equally indebted to Professors K. S. Behera and
Manmath Das of Utkal University for their aid, encouragement and hospitality; to
H. C. Das and the siaf of the Orissa State Museum for allowing photographic
documentation of museum works; and to P. K. Ray and B. K. Rath of the Orissa
State Archaeology Department for directing my attention to various sites throughout
Orissa. I would like to thank Dr. David Miller who first aroused my interest in O rissa;
Dr. Sherman Lee for his patience and suggestions in directing and advising my dissertation
research which served as the germinal seed for this present undertaking; and Dr. Hermann
Kulke for his scholarly interest and collegiality .
My work in Orissa was initially facilitated by a Bingham Fellowship grant from Case·
Western Reserve University and subsequently by three research grants from the Office of
Research Services at Cleveland State University. Publication of such a large work would
not have been possible without funding from the National Endowment of the Humanities
and a generous grant from the Millard Meiss Foundation.
Except where indicated in the captions beneath the plates and text figures, the phnto·
graphs, illustrations and groundplans arc by the author.
Original from
Original from
oig1tized by Gol,gle UNIVERSITY OF MICHIGAN
MAt>llYA PAA O£SU
"
A:O:Dlll<A
.-RA iJt:SU
•• 0
~l a p c,( Oris:sa sho\\:1ng modern dist ricts and dist rict headquancrs.
Original from
INTRODUCTION
The state of Orissa, situated on the northeast coast of India, has an extremely rich
cultural heritage. Though known as Kalinga in ancient times, the country was generally
di"idcd into numerous territorial divisions which bore different names throughout its long
history. After the conquest of Kali!lga by Asoka this area appears to have been divided into
t"'O major parts, northern and southern Kalinga. When Hiucn Tsang (Yuan Chwang)
" isited Orissa in the 7th century, however, it was divided into three distinct regions with
the name Kalinga being applied to the southern-most area which apparently extended from
the southern portions of modem Ganjam district to the river Godiivari in Andhra Pradesh.
The area north of Kalinga, extending up to Chilka Lake, was known as Kongoda while the
northern portion of Orissa was refcred to as ~ra. From other sources, however, it is
apparent that Kotigoda formed part of South To$iili, the latter extending to the Mahanadl
river while the area north of this centrally located river was called North To~iili and
extended up to the Vaiurai:ii river. The area north of the Vaitarai:ii, extending into the
southern districts of Bengal, was known as Utkala while the western portion of modern
Orissa, along with the eastern extremes of Madhya Pradesh, was called Dak$ii:ia Kosala.
The hilly country lying between Dak$ii:ia Kosala and the coastal area was generally known
as Oc;lra 11;hilc the hill area in the southwest part of Orissa was known as Mahiikantara.
Politically these broad territories were seldom unified and their boundaries fluctuated
continuously .
The modem state of Orissa, separated from Bihar in A.O . 19i6, extends from 17•49' N
to ••"34 ' N latitude and from 81•29' E to 87u29' E longitude on the eastern coast of India.
It CO\'Crs an area of 6o, 13 s square miles and is divided into thirteen districts. According to
the 197 t census it had approximately 11 million people and a population density of t4t
people per square km. Oriya is spoken by 76 '\~ of the population while the remaining 14'}'0
speak various tribal languages. Morphologically Orissa can be divided into five parts: 1)
the coastal plains, 1) the middle mountain country, l) the rolling uplands, 4) the river
valleys, and s) the subdued plateaus. The coast extends approximately ioo miles and is an
2Jluvial belt which contains most of the major towns and the largest concentration of
temples, most of which arc situated along the rivers draining into the Bay of Bengal. The
entire coastal area is in essence the gift of six major rivers and the ir silt deposits, the largest
and most important being the Mahiinadi river. Beginning in the north the rivers arc the
Subamarc khii, the Budhabalatiga, the Vaicarai:ii, the Briihmai:il. the Mahiinadl and the
Rushikulya, with the Briihmai:ii and Vaitarai:il joining as they enter the delta of the
\lahanadi. At Cuttack the Mahiinadi branches into two main estuaries, the second being the
Devi. These two branch out into numerous smaller estuaries so that the channels become
smaller as they reach the sea. It is along these small estuaries that we have the largest
concentration of temples, such as the Citrotpalii, Praci and Daya, with the remains of close
to one hundr<d temples in the Praci valley alone. Due to the preponderance of small
estuaries, along with numerous canals, and the lack of adequate roads or bridges, many of
the temples arc difficult of access. As the jungle area gives way to rice paddies, more and
more temples are coming to the attention of scholars.
Original from
1 INTROOl.'CTION
eo o !o .&o
e£ ~o'!'o "Tc:
ko lumet•~ •
f\fap of O riss a w ith major ttmplt s ites .
Despite the richness of its religious and cultural heritage, the an of Orissa has been sadly
neglected. There has been no major excavation carried out in Orissa except for the brief
work conducted at the Ratnagiri Monastery in the Assia Hills nonh of Cuttack.' Nor has
there been any all-inclusive study of the stylistic evolution of Orissan an. This neglect is
panicularly unfortunate considering that there arc so many examples of extant temples
located within the environs of one city-Bhubaneswar. For the most part Bhubaneswar
today, for the Westerner, is known primarily as a jumping-off point for tourists travelling
to Ko 0 arak or Puri to visit the famous temples in these two cities, the Black Pagoda (Surya
Deul) and the Jaganniitha, both of which arc popular for non-aesthetic reasons: Kol)iirak
for its erotic sculpture and overwhelming size and the Jaganniitha as. a pilgrimage site for
devout Hindus. The dozens of temples at Bhubaneswar arc thus accorded only cursory
inspection, if indeed any at all, though part of this neglect stems from the fact that the
largest and most important temple at Bhubancswar, the Lingariija, is inaccessible to non-
Hindus.
The importance of Bhubaneswar from an archaeological standpoint has long been
known. In contrast to Khiijuraho, where the temples all date from a relatively shon time, at
Bhubaneswar there arc extant temples covering nearly a thousand years of sustained
1 Cha·rlcs l.ouis F:abr1. fl11t q9 of th< .·1rt

1 of Ori11a (f'jc:w Delhi, 1974) , p. xx1.
Original from
INTRODUCTION
r, rv... t• vP" ~
~K,,,,.• t &lt.
1-'U 11.t
m• I ~•
• 10 l(I
•• ••
Map of thC' Mahanadi Delta.
architectural activity. This fact alone, as suggested by numerous cnucs, should be •

lucrative inducement for scholarly study: "So many fine examples persisting over such a
period of time, make it possible to trace the gradual evolution of this panicular movement
without difficulty, an opponunity from various causes not presented in anything like the
same continuity clscwhcrc 11 .2
Unfonunaicly, however, very tilde in the way of scholarly interest has as yet been
directed to the study of Orissan an. The majority of the an books on Orissa have confined
their study to the temples of Bhubaneswar and, as their tides affirm, have generally
approached the subject from a purely archaeological standpoint rather than stylistic
analysis,' the recent posthumously published book of Fabri and a small book by Vidya
1 Percy Brown. J,.Jillfl Ar,hilttl•rt: 8-/JhiJt •lfli HiNi• p,rioJs (Bombay, 1961 ), p. 10 1.
-' Rajendralala Mitra, TIH A lftipiti.ts o/Ori1111 (Calcutta, 1961 reprint o( 181) edition) ; ~f. ~t . Gangu1y, Orissa
111111 H" R.t. .iJU (Calcutta, 1911); Krishna Panigrahi, Arrhatologi'ol R11Ni11s 111 Bh•bdnt1M·or (Catcucra, 19(11).
Original from
4 IN 1'R< >Ol '(T l< ) ~
Dehejia being exceptions.• In general, as pointed out by Panigrahi, Chanda and others, 1he
architectural features of the temples have received the bulk of study while the wealth of
sculpture which they possess has been almost unanimously neglee1ed. Pan of this neglect is
due to the face chat the writers have not looked at the works wi1h an appreciative eye.
Chanda, for example, seated that the "sculptures that adorn the well-known 1emples of
Bhubaneswar, Puri and Kol)iirak are, wi1h few exceptions, of li1tle independent anistic
value."5 Al1hough numerous small anicles on Orissan an have been published in recent
years, they appear mainly in the small journal published by the Orissa State Museum and
arc, out of necessity, small in scope .6 If interest in the temple an of Orissa is to be kindled a
more ambitious undenaking is needed. In survey books on Indian an the an of Orissa
is almost universally overlooked except for occasional reproductions of the three most
famous temples typifying different phases of the Orissan style ai Bhubaneswar, i.e., the
Parasuriimcsvara, Muktcsvara and Lir\garaja temples, and the Surya Dcul at Kol)arak. The
sculpture, except for occasional erotic reproductions, is completely ignored.
Lack of financial funds, or interest, on the pan of the government, bo1h state and
national, has also contribu1ed to the ove rall neglect of Orissan an though in recent years
the State Archaeological depanment has been qui1e ae1ivc in surveying previously little
known areas replete with temples and in res1oring crumbling s1ructures. Even wi1hin 1he
immediate environs of Bhubaneswar, however, 1here arc s1ill numerous half-buried temples,
including a small 7th century temple in the Yame5vara compound, an 8th century temple in
the Bhav:ini-Sankara compound, the 10th century Vyomakesvara temple in the market area
at the southeast corner of the Bindusarovara, the 11th century Valukesvara temple next to
the police station opposite the entrance to the Lir\garaja, and a 1~th century temple next to
the Sari Dcul. There are in addition many temples in a ruinous state near collapse or
overgrown with foliage and roots. In many cases the ruinous condition is due to the neglect
of prics1s anachcd to the temples who allow roots to grow unimpeded on the structure
where they eventually dislodge the stones and lead to total collapse as in the case of the
J\fal)ikesvara Siva temple al Suklesvara. Unfonunately at the state level there has been a
lack of trained personnel to carry out major restoration work and in cases where local
authorities are active the primary concern is generally on renovation rather than restoration
so that the end result bears li1tlc resemblance to the original design, an example being the
pillarcd-ma!J!l'apa at Baidyanath (figs. 4p-4j z).
Although it has been frequently pointed out that the Indo-Aryan or Nagara style of
architecture as manifested in the temples of Orissa allows of less modification in its long
history than other regional manifestations, thus presenting a more pure form of the Niigara
style,' ii is possible to discern regional variations within the style as well as outside
arch itectural inAuencc. Ai times these non-Orissan fea1ures arc easil y identifiable but in
most cases they are adapted to, or synthesized with, 1he evolving indigenous architectural
traditions and appear rather inconspicuous in the overall decorative program . It is
generally individual decoraiive motifs that undergo modification due to external influences
and not the general plan or shape of the temple itself; it is for this reason that such
modifications arc not immediately recognizable. The major research in regards to styli.ric
' Vidya Dchcjia, Ear{y .f 10 11t TtMplts of Ori11a (New Delhi, 1979).
~ Ramapr-as:.ad Chanda, "Explor.i11ons in Oris.sa." l1 f .~ .f/ , No. 4--4 ( •9}0). p. 1.
' This journal has rcccn1 I~· st2ncd up :1gain af1cr 2 lapse of $C\'cral rears.
' S. K, Saraswati, "Temples of Orissa", 01/Rj . I (<91 1). p. ' II ·
Original from
IN'FRODl'CTIO N j
evolution has focused primarily on the temples at Bhubaneswar. Panigrahi and Dcbala
Mitra8 have developed the general lines of this evolution at Bhubaneswar, though Mitra's
book is quite small and serves primarily as a tourist's general introduction to the temples.
Although Panigrahi's book is the most comprehensive treatment of the monuments at
Bhubaneswar, much of his space is devoted to historical and epigraphical material which,
though extremely imponant in any attempt to establish chronological development,
necessarily limits the amount of space available adequately to treat anistic and stylistic
problems. In regards to the sculpture of these temples, he restricts himself almost
exclusively to reproducing cult deities which generally arc the most conservative type of
image attached to a religious edifice. Little if any space or reproductions arc devoted to
decorative motifs or subsidiary images, as Panigrahi himself admits,• which generally
provide much better indices for stylistic development. If these works by Mitra and
Panigrahi arc too restrictive in scope, the work by Fabri is too all-inclusive, attempting to
treat Buddhist, Jain, Hindu and folk an, as well as painting, from the earliest beginnings to
modern times, a vinually impossible task as he points out.IO The author is also too intent
on applying overly generalized Western terminology, such as classical, mannerist and
baroque, in describing stylistic evolution and frequently ignores epigraphical evidence
altogether.
A) DATING
In respect to chronology, Sanskrit works, e.g., the E/etimra PNra~a. Svar~Jdrimahodf9'11,

E/eamra-Candrilt.d and Kapila-1amhi1a, professing to deal with the origin and history of the
notable temples at Bhubaneswar, are of little use in developing a stylistic evolution for they
anribute the origin and construction of most of the temples to gods and supernatural
beings, though they arc helpful in furnishing names of the temples together with their
approximate locacion. None of these words is earlier than the third-quaner of the 13th
century as they all mention the Anania Vasudeva temple which was erected in A.D. 1178."
Another source, the !t1odala Paiiji, the temple chronicle of the J aganniitha temple at Puri, is
even later in date. The most reliable source is epigraphical records though, unfonunately,
few of these are commemorative in nature. The majority of the inscriptions appearing on
temples are much later in date than their construction and are silent about who built them.
Copper-plate grants arc also silent about the temple construction and concern themselves
primarily with gifts of villages or land for the maintenance of existing temples.
Epigraphical records are also rare on Brahmanical sculptures which, unlike the Buddhist
images, bear no inscriptions recording the names of donors or rulers. ll
Only a handful of inscrip1ions exist which allow us to date panicular temples
wi1h ptecision, the most imponant being the commemorative inscriptions on 1he
Brahm.Svara, Mcghesvara, Ananta-V iisudeva and Papaniisini at Bhubaneswar and on the
Sobhane5vara Siva at Niali, the Ciitesvara at Kisenpur and the Candrasekhara at Kapil:is
' Oebala ~litra. Bh1t'11111tsw11r ( New Delhi, 1961).

• p.in1g ra h'1, op. t it.,
. p. 11 ~ ·
10 Fibri, op. <ii ., p. xx 1.
11Shri P. Acharya, ''The: Conlmcmorativc lnscrip1ion o( th..- Antnt'3.\·asudcva Tcn1ple at Bhubanc:r.,1:ar",
OHR), 1 (191J), p. 180.
" pan1g rah'1. op. '''··
. p. , .
Original from
6
Hill. Inscriptions appearing on the Kediiresvara and Piirvatl temples at Bhubanesu•ar,

on the Gartcsvara temple at Algum and on the Khilesvara temple at Khilor, though not
mentioning the date of construction, are helpful in establishing the lrr,,,in111 ante
q11em for these shrines. Inscriptions on other temples, including the Lak~mal)csvara,
Parasuram<Svara, Vaitiil Deul, Pascimesvara (Amangai Island), Mallikesvara (Paikapacja)
and Somdvara (Ril)ipur-Jhariiil) can be dated less precisely on palaeographical com-
parisons. From other cpigraphic records we can also date, with some degree of precision,
the Surya Dcul at Kol)iirak and the Jaganniitha at Puri. Epigraphic evidence thus affords us
at least a tentative framework for working out a chronological development for the
evolution of the Orissan temple.
The major objective of this study will be to focus on the overall architectural features
and decorative program of temples throughout Orissa in an attempt to refine and improve
upon the general trends and chronological sequence established by earlier writers for the
temples at Bhubancswar. In so doing historical and epigraphical evidence will be kept to a
minimum so that more space can be devoted to the temples and their decorative program .
In contrast to earlier writers, such as Panigrahi, the classification of the temples into two or
three broad groups, early, middle and late, will be eliminated in favo r of a more precise
stylistic chronology. In that the actual dates of ruling kings or dynasties is still a matter of
controversy I have avoided, for the most part, grouping temples according to historical
periods, though there are obvious decorative motifs which can be associated with specific
historical periods. The paucity of inscriptional evidence crediting kings with building
specific temples seems to imply, as pointed out by Panigrahi, that "the temples were
considered as state property rather than the property of the kings during whose reigns they
were built." H Whether a temple should be classified as belonging to the late Bhauma or
early Somavarilsi periods is of little concern to this study. For the most part it is the
prevailing architectural traditions, and religious practices, operative at the specific locale
that determines the decorative program rather than a particular ruler or individual.
Although Narasimha I is credited with building the temples at Simhiichalam (Andhra
Pradesh) and Kol)iirak, for example, thc<c structures exhibit features peculiar to the local
traditions rather than espousing a style favored by the king. Thus a change in ruling power
does not immediately, nor even necessarily, mean a change in artistic conventions. In
studying the evolving decorative program the prevailing architectural traditions in
particular locales must be continually kept in mind, particularly in the more provincial
areas, as there is frequently a certain degree of archaism present and a reluctance to adapt
new features or motifs appearing on more progressive temples elsewhere.
In refining the chronological evolution of temple construction emphasis will be focused
on individual architectural features and decorative components of each temple as it is only
by looking at these individual clements that we can adequately plot the stylistic
development of Orissan temple art. Past techniques utilized for dating temples, such as the
addition of Ketu on the graho sl•b or the change in the silhouette of the gol'l{ii as it inclines
inward near the top, 14 may suggest rough stylistic trends but arc too general to indicate
sequential placement with any exactitude. Nor can we rely upon the inclusion of a
jogamohana with the dtul as an adequate indicator of date as many late temples, such as the
11 Ibid.• pp. i' ~ - ~ 4 .

I• Sec R. D. Banerji, l-li11ory ef Orisu, II (C;alcutla, 19, 1), p. ~ 1 4·

7
Kur:iirui:i~i at Khiching or the criple temples at Baudh, never had ajagomohono. The lack of
an adc4uate bonding between the jogomohono and the sanctuary likewise cannot be relied
upon as rhe S<)lc criterion f<>r daring as one critic has rcccnrly arrcmpred.1S In man)' cases
rhe.10.(amoho•a may be a later addition as there was a tendency in Orissa to add structures to
ex"ring shrines, a predilection continuing throughout its long history. For the most part,
ho,.. c,-cr, as pointed out by Panigrahi, it is the actual method of construction that led to the
dr<crcpanc~· nored in the joining of the j ogo111ohono with the dr11I, '• whether this method
consisted of earthen ramps o r inclined wooden planes or a combination of both methods. n
PcrhJps rhe most puzzling aspect encountered by scholars studring Indian architecture
h•s been rhe veritable lack of any progressive _!'VOlution leading up to the extant specimens
oi rcmple construction. In almost all cases, as pointed out by V. Smith,
each style, u·hcn it first comes to our knowledge, is full ~rc->v.·n and complete. The earliest
specimens betray no si~ns of tentative effort and in no case is it possible to trace the
pr(•~Tt'!iSl\'C: c\·olution of a gi\•e-n style from rude bcginninKs. 18
Recent studies have increased our kno wledge in regard 10 the evolution of temples
>r >pccitic sires, such as Aihole '~ and Alampur, 20 pointing out experimentation and
progrc;sive development, though not without controvers)' in regard to dating. At
Hhuhancsu·ar, ho'1'C\•cr, the earliest extant tcmplc:-s alrc:ady c:\•incc a mature concc:ption and
exhibit fcu· signs of any c:\·olurionar}' progress. aside: from elaboratio n and increasing
comperence on the pan of the anisans, thus suggesting that their o rigins must lie further
h•ck .11 Th is is panicularly true in regard to the decorative program of the dr11I in contrast
10 the recrangular jogamohono which was still in an evolving state. The remains of early
Gupta architecture are too few, and as yet not systematically studied, to shed much light on
anv developing progress in nonh or central India which directly affecrs the evolu tion of the
On55an t~mple, though obviously the Orissan artists borrowed numerous motifs from
Guptl sources. The other most likely source of direct inAuence v.•ould seem to be the
C:iluk'a temples at Aihole and Alampur. \\'e know from the Mah:iku1a pillar inscriprion of
\lln!(alda (dated A.O. 601) that Kirtivarman I (A.O. 166-191) is credired wirh the
suh1u!(a11on of hostile rulers of Kalisiga 22 and thar Pulakcsin II (A.O. 6to-641) had
probably occupied southern Kosala and Kaliriga. There rhus was obvious conract between
the ru·c> culture!'. Their rcspccti\'C temple st rles. hou·c,·er, arc extremely cli ffcrcnt and the
•~ \ ·. 8. :\tya. .. <;hr<1nol1'g>· <>f the Tc:mplc:s c>( the: $Qn'a Drnas1r". OHR), XI { 19C11) , pp. 44·4\ ,
tr. P.1n1~r:ah1, fl/'. ,· 11.• p. 66.
1· P:a n 1 ~t a h 1 1,1rc\!>t''.\ the canhc:n ramp nu:1h11c.I \\•hd c Dc.·b:ala ~ln ra ht·l 1t'\'<="!'i rh.at lhc 01rti!>ts c•1nstructC'd
rncltnt·J u.·tx)(lcn pl.1nr ... r;upp<)rtcd c>n rx1s1s t1\•er v.·h1ch the st\)nt'5 v.·crt carrit·d tu.:J to a pl>lt.
' ' \'1nccnt .<\. !'>muh, .·I Jl11tory41./ f:,,,, .·lrt ,,, J,,Jia and C~,·/(NI {( )xfc>rd. 19,0), p. 11 ~ .
t• R.1m<.· <..h S. ( ; up1c, 1'h< .·lrt """ .-lrrh1tr<t11rr o,f ,.liholr (l:l"'mt,:ay, 1c)b'?). S. R. Rio, "A l"\111t> c1n 1hc.·
<:hr(1nc1l•,gy .,; E.1rlr <:h01lukyan Temple:!>". l.dltt 1\11/a, X\' (19;1). 9 -18; (;ary Tarr, .·lrrl111trt11rr (Jf 1)11 1-...ir{l'
U' <ll'"' ( ,11/N/r.7111. l.:.C..l .. J\ . Jc1CCor2I d 1~$c·r1a 1 "1n , 19C19.
:.,, ( >Jilc ()1\'2karan. "J .c,. Temple:!> J'Atampur Cl de!><.'!> ( ~ n \' ift)O!'i :llU t<.'mp!> deli c:\lluky01 Jc ttatlanu ... .· Iris
.. 111.i1rq11H1. '.\X I\ ' ( 19;1), '1-1 0 1; ~I . Rahakr1)hna S01rma, 'J'rMplr1 o,f ·1·rh1,a,,111 ( I lydcr01h\ld, 19.,1).
:1 Pa.01Jit rah1, op. <11., p. 1.a(1.
:: R.imc~ h S. c;up1e. op. <11.• pp. t ·J .
01gitized by Google Original from

8 J{'<.:'l'R<>Ol'CTI< >1'
basic plan of the Orissan dt11! was already established by this time whereas the Cii!uk yan
temple was still in the process of evolution. It is not until the 8th century, in fact, that a few
sporadic Ca!ukyan features are introduced on Orissan temples. In contrast to the intimacy
of the earliest Orissan shrines, consisting only of a sanctum surmounted by a curvilinea r
spire, the earliest Ca!ukyan temples, as pointed out by numerous scholars,') are
characterized by cave-like features including an overwhelming massiveness in conception
and simplicity of construction. The groundplan likewise exhibits cave features with the
shrine housed in a pillared hall (mo'!rfapa) divided into nave and side aisles. In the earliest
temples at Aihole, such as the Gaudar, the central nave of the pillared mo'!t/opa is converted
into a sanctum while in slightly later temples, such as the Liic;I Khan, the sanctum is
attached to the back wall while a portico (m11khamo'!t/opo) is added to the front of the
manrfapa.2• On still later temples the sanctum becomes detached from the "'"'!t/opo, with or
without an anlarala, to give an increased axial development to the overall design. A still
late r development is the addition of a fikhoro or spire of the northern rrkhii-niigara type as
noticed on the Huchhimalli and Durga temples and on the temples at Alampur, the spire
appearing more as an appendage than an integral part of the structute .
In contrast to this pillared hall arrangement of Ca!u kyan temples, the Orissan temple
begins with the dt11! or sanctum itself which is based essentially on primitive four-door
shrines, the riihii niches cutting through the base mouldings simulating doorways, rather
than on cave architecture. The earlier prototypes most likely were constructed out of "·ood
and probably had a thatched roof. This appears to be substantiated in the Canont of Oriu1in
Arthi1ttl11rt compiled by N.K. Bose which consists of material extracted from seven
manuscripts of which two deal with the erection of thatched huts, while the 01hcr five
recensions of the Bh11vanapr11dipa, describe three types of temples.2s The axial de,•elopment of
the Orissan temple begins with the de11/ rather than wi1h a hall. The hall, or j11gamoha11a
(ma'!r/opa}, is added in front of the de11/ and is not always necessary as numero us temples,
early and late, were never provided with such a struc1u rc. It is not until the late 12th century
and la1er than the axial development of the Orissan temple is increased with the addition of
two other struc1ures in front of the jogo111oh11n11, first a nii/o· mandira which was separa1ed by a
short distance from the jagomohono and at a la1er daie a bhoga-mont/opo wh ich was inserted
between the nii/o-mondira and the j ogomohono, though the name and function of these two
additions was reversed in the last half of the Ganga period . The interior o f the Orissan
temple is extremely dark and generally devoid of decoration . There is usually no antarala
leading to the sanctum on the early temples and no pradokfinii passage as interior
circumambulation was seldom a concern with the Orissan ii/pin. The ptibhiigo or base
mouldings arc low on the earliest temples, the dtul rising d irectly from the ground, so that
the major sculptures arc at eye level which greatly increases the intimacy of 1hc shrine. In
general, then , there are few similarities in the overall design o r conception of Orissan and
Ca!ukyan temples. If there is any direct influence it appears to be Orissan influence exerted
on the Ca!ukya temples. The northern type file.hara noticed on the later temples and on the
temples at Alampur, for example, seemingly suggest influence from Orissa and DaksiQa-
Kosala.
lJ Henry Cousens. <:h.il"J;r11n ,,lrthiltt/Mrt of Jht Ka11arfSf {)istrirts (C2lcutta, 1916) and S. R. Ralasubr:ahma·
n)'2m, "Th<' 0;11tc of 1hc I.ad J..:han (Surya·Narayana) i·en1plc t t 1\1holc," La/11 /\:ala, X ( 19C. 1), p. 41 .
z4 $. R. Rao, op. ril., pp. 10· 11.
1-> N. I\: , Bose. Canon1 ~/ Orissa,, .·irth1ttrt11rr ((:alcutta, t ? Jt ) .
Original from
INTR< ll)l ·c:TI< \N 9
The three architectural orders described in the Bhuvanapradipa- the rekhii, bhadra (pirfha)
and khiikharii-are all employed in various periods in Orissa for the drul of the temple
complex 1hough in 1he ma1ure plan, achieved by 1he lauer pan of 1he 10th century, i1 is the
rekba order 1ha1 becomes the standard plan for this most sanctified pan of the shrine which
houses the image, or symbol, of the presiding deity while the pir/ha order becomes the
standard plan for the jagamohana. There are only a few surviving examples from the early
phase of temple construction in which the pirfha order was employed for the deu/, including
the Nilakanthesvara temple on top of the Jogamunda hill at Padmapur in Korapu1 disirict
and the CanQT temple at Sikharacandi (Paiia) near Bhubaneswar,2• though this order is
employed again in the laner pan of the Ganga period and later and was frequently used to
replace the crumbling ga!frfi (iikhara) of earlier temples as a1 Sadansa. The earliest surviving
jaga111ohana1 are rec1angular in shape and have a sloping 1erraced-roof, Aa1 on top, an order
no1 meniioned in the architec1ural texts. While the rekha and pir/ha orders are employed for
s1ructures of all religious sects, including the Siikta, 1he khakhara order was employed for
temples dedicated only to Sakti worship.
Architecturally the rekha and pirfha, or deul andjagamohana on the 1ypical maiure Orissan
plan, can be divided in10 three principal pans along the venical p lane above the pifha
(platform). the latter standard only on later temples, i.e., the biirfa (perpendicular wall). go!frii
(curvilinear spire or pyramidal roof) and the maJlaka (crowning elements). The biirfa is
divided in10 three main components-the pabhiiga (base mouldings).jtingha (vert ical ponion
or wall) and baranrfa (set of upper mouldings demarcating 1he biir/a from 1he ga!1ri1)-though
on laier temples, beginning in the 10th-11th cen1uries, thejtingha is subdivided in10 upper
and lower stories by a madhya-bandhana or siringcourse. The surface of 1he bti1/a is further
demarcated by projecting piers, or ptiga1 (ratha1). which run venically up 1he structure. On
the earl)' temples there are three such paga1 on each wall with the larger center piiga, or rtihti,
running continuously up the height of the deul whereas the Aanking subsidiary pti,gas
terminate beneath the bara!frfa. This tri-ralha plan is standard on early 1emples. In the course
of evolution the general trend is towards elaboration and 1his tri-ratha p lan slo\\·ly evolves
into a panra-ralha design with the subsidiary piiga1 likewise running continuously up the
height of the deul. The corner piiga is called kanika whereas the intermediary pti,(a is known
as the anarlha. The recesses between these projecting pfi,gas, generally called anuriihti, arc
likewise filled with decora1ion. In the t zth century this potira-ralha plan is frcquenrly
superseded by a 1opta-ratha design with the addition of a thin praliratha. In two cases the
design approximates a na11a-ratha plan with 1wo pratiralhaf. This elabo ra1ion a lso 1akes place
in the ptibhiiga, where the number of mouldings is increased from 1hrec to five, and in the
bara!'r/a where the number of mouldings is grearly increased, in some cases to 1en. T he biiila
of the jagamohana is similarly decorated though the cen1<r paga, known as 1he gaviikfa,
becomes more pronounced and completely dominaies the decorative program. Elaboration
is also noticeable in 1he anNrtihii recesses of 1he jagamohana which are frequenrly tri-rathn in
design.
It is in the go!fpi that these 1wo orders assume 1heir individual peculiariiies. In the rekha-drul
the ga~di assumes the shape of a curvilinear spire. In the earliest 1emples the silhoueue of
this spire is rather squat and truncated whereas in later temples, much g reater in height, 1hc
26 Both temples arc s.ntall. C<>ns1~ting ttf a d111/ t>nly, anti can be daccd t<> tht 1th·81h ct1\tur1cs tht>u.:h rhl·
Candi rcmplc ha$ recc:nrlr bt-cn rchuilt.
Original from
10 INTRODUCTION
,,,.,,.,.., -- -----r
-----,-
--- -+
bb..,n'>l
.......u... - •
Diagram of the Principa.l Elements of the Rtb.IU· Dt11!
silhouette curves in rapidly at the top to p roduce a more soaring effect. Even on the earliest
exant O rissan temple the decorative program of the galJ(ii evinces a mature conception
being paiita·ratha in design in contrast to the tri-ralha design of the bii(ia. Only the center or
riiha is a venical extension of the lower design, the kanika and anarlha begin above the
bara!l<ia and are completely independent in alignment from the subsidiary pagas of the bQ{la.
It is not until the development of a full-Aedged paiita-ratha design for the bii(ia, in the 10th
century, that the piigas of these two architectural components are harmoniously aligned.
The recessed chase or 11n11riihii separating the kanika from the anartha is even decorated on
these earliest temples, being filled with superimposed miniature shrines. The Itani/ea is
subdivided venically into live bhi,,,is (tiers or stories) by bhiMi-amliis or ribbed discs with
each bhi,,,i funhcr subdivided into four bhimi-baralJ(lis (horizontal mouldings) in addition to
the ribbed am/ii. The upper two baralJ(lis arc thin and joined together at the center by a
tairya-medallion. The anarlha, on the other hand, consists of horizontal mouldings of equal
size superimposed one above the other continuously up to the bisaMa. The bisa11fa is the
topmost course which seals the spire and may or may not panakc of the paga divisions. The
number of bhiMis on later temples is increased first to seven and eventually to ten along
with the increased height of the structure. The riiha is divided into horizontal divisions like
the all4rlha but additionally has at the base a projecting vajra-Mas/a/(11 motif which panially
Original from
INTR00l'CTION II
~~~i~ =
-=!;:-~..--- - -ih-,~·:11
- ---····T
'
''
11"1•~·
'
::::::::::::::i=::::::::::==::i - - J -r
t.•:•M•
------ !·
'
.~w1tJ,-,.l:
' 1• ....
-- --- '~ -
' pab hi r •
J_- - - - O'il-1J,,f_ J • '!1-J.Li - - - - - L
• .,. rl~ ._.:

•'•:--·· --11.• ••k! • · - _.;'
'
-
--1
.
:_. """rlhi. r.,••••
.
-dt.&f>I..& -
Diagram of che Pri:nc:ipt.I Elements of the Pi./htt-Dt#l
obfuscates these horizonral divisions. The •as/11/ea of the rtlU>i-dt11/ consists of a btlt.i
(recessed cylindrical ponion above the bi111•a), an a•alllle. (large ribbed disc flattened in
appearance), lehap11ri (flat bell-shaped member) and surmounting "4/aia or water jar on
..·hich is placed the tiyllliha (sacred weapon) of the presiding deity of the temple. On many of
1hcsc early temples the Joalaia is replaced by an aiialillga finial which serves as the crowning
mcmber.2"1
The gaf!li of the pi#ha·dt11I consists of a number of pi9'ha-mouldings (projecting member
"''ith downward curving edge) diminishing in a pyramidal shape with the pi#Jas of later
temples generally grouped into tiers (po/alas) separated from one another by a recessed
•·c nical wall or k.hiNli. V ajra·•aslau motifs crowned by an "4Jala lion arc generally placed
abo"e the gaPift/a projections on the nonh and south sides and over the entrance ponal on
later temples. The •astak.a of the fully -fledged pi(iha·dt11I consists of a btlt.i, gha(lfa (large bell·
shaped member), a second btlt.i, a•alllk.a, lehapm, Joal11ill and ayllliha.
In contrast to the square plan of the rtlU>i and mature pi#Ja, the /ehalehara is invariably
oblong in plan with one of the longer sides having a door which faces the deity placed
against the opposite wall. The oblong shape of the dt11I, no doubt, was dictated by the type,
or number, of deities to be installed within the sanctum. Of the three varieties of lehalehara
temples described in the 8h1111anapr4"ipa the Valabhi type, characterized by a semi·
cyclindrical roof resting on a framework of rafters, is oblong in plan and, as we know from
the I 'i1~111ihar1110/lara (chapter LXXXVl),ll is designed to contain either a group of deities
1~ Ste ~f. A. Ohaky, "The 'Aklialihga· fi:nial," .4,1ibM1 A1idt, XXXVI (19'74), JO'?· Jt\ .
:• t ·,11J•1"'6a,•olldrd P11r11M, ed. Pri)•ab ala Sh2h, I (Bar(lda; 19s \), pp. 1, 1- 1. J 1.

Original from
12 I NTR()0l1C.:TJ()N
l
11 \ ol f t • io ... ""';.')\&,i
---·l--
pi kh& ., •
-
.., . L_
__i_ e·· \" l. -
Diagram of the Principa.1 Elcmc:nts of the Kh4J:h4rti·D1•I

(baS<'d on a drawing made of the: Durgi Ttmplc a1
8aidt$war by Kittoc in A.O. 18~8)
or singly a Durgii, Lak~mi or reclining Vi~r:iu. In comrast to other areas of India, /ehii/eharti
temples in Orissit, its mentioned, arc dedicated only to some form or other of Sak.Ji, the
female aspect of the godhead, suggesting that the temples of this order in Orissa belonged
to the Siiku cult. The most distinguishing feature of this type of temple is its barrel-vaulted
elongated roof which faintly resembles a variety of pumpkin known as kalchiirN in Oriya.
The form of roof, as Debala Mitra has suggested, is a modified survival of primitive halls
with a semi-cylindrical roof resting on a framework o f timber or bent split bamboo, a
popular type of structure appearing in many early sculpture reliefs throughout India, rather
than being of South Indian inspi rat ion .29
The dark interior of the square cella of the sanctum is generally small, due to the
thickness of the walls, and is devoid of decoration. The hollow interior above the cella
(.garbha·grha) is in the shape of a pyramid tapering upwards to form a solid block at the top,
though this space is hidden by a ceiling (.garbhamlf(/a) consisting of lithic beams and rafters
which reinforce the stability of the structure b y tying the walls together. The number of
such ceilings increases on later temples in keeping with the increased height of the dtN/.Y> A
corbelled arch is provided over the limel to help reduce the load on this slab. This arch is
19 OC'bala t-titra, .. Four l..1ttle·Known Kh:ikhar:i Temples of Orissa," j ?f5'8, JI (1 1)60), pp. l•J.
Sec also Pan II of this study, chapter IX.
JO O. ~fitra, 8JJ11bonft 111or, p. 18.

Original from
generally covered up by the projecting vajra-mastaka of the raha bur is visible on the
Lak5ma1.1esvara and Bhararesvara temples at Bhubaneswar, where only the core of the spire
remains, as well as at Gandhara~i.
The interior of the pi(lha-d•11I (jagamohana) is likewise plain on most temples and is covered
by a corbelled ceiling. In the largest temples four pillars, forming a square in the center of
the Aoor, were often added 10 help support the massive weight of the roof while huge iron
beams were utilized to give added support 10 the architraves. Of the few ceilings which
were decorated the most beautiful is that of the l\fuktdvara which is cusped and coffered
with images of the Saptamatr.lui1 carved in a center lotus medallion. In other temples, such
as the Brahmesvara at Bhubaneswar, the Jalesvara temple at Kalarahaliga, the Ca1esvara
temple at K isenpur and the Gangesvari temple at Beyiilisba1i the ceiling is shaped like an
inverted full-blown lotus. A large lotus-medallion found at Kol)iirak also suggests that the
ceiling of the na/a-mandira of the Surya Deul was similarly decorated.
In the mature Orissan temple both the nkhii and pirfha orders are thus employed, the
rtkha for the dt11/, consisting of a square sanctum surmounted by a curvilinear spire, and the
ptrfha for the jagamohana or frontal hall, consisting of a square astylar structure covered by a
pyramidal roof of receding steps. The balance of these rwo contrasting superstructures, of a
low pirfha-dtul subordinate to the higher rtkha-dt11/, is peculiar to Orissa and greatly
enhances the grandeur of che soaring curvilinear spire or ga~tfi ( iikhara), even when modes<
in size. This contrasts wich other regional variations of the Nagara {northern) style where
che superstructures of the ma~tfapa1 (frontal halls) prepare and defer the climax of the spire
surmounting the sanctum. Even in areas where the spire is closely related to the Orissan
type, as at Osia in Rajasthan as Stella Kramrisch points our, the logic of che temple
complex is lost as open pillared halls, which serve as an airy prelude, detract from the
grandeur of the closed mass achieved in the Orissan temple.)•
C) DECORAT l\"E PK<><~RA~I
One of the mos< distinctive features of the Orissan temple, as has been noted by
Kramrisch, is the overall clarity of the total design in plan and elevation. Each individual
architectural unit is clearly defined as a self-containing element in the overall decorative
program. Each sculptural image is well contained within its pillar boundaries, adhering
closely to the surface, "each panel to its place, each image 10 its ground."12 The pagas
which project from the exterior walls are generally designed as miniature shrines (m11~tfi1) or
replicas of the temple itself complete with niche and superstructure. These mu~dis function
as ornament to beautify the structure and at the same time act as a frame to house or
exhibit numerous sculptures of the various gods and goddesses. Their niches, offsets and
recesses cast shadows which interacc with the rounded contours of figure sculpture and the
metallic precision of scrollwork to produce an enmeshed framework of light and dark
accents. As miniature replicas they perpetuate the image of the temple, both the terrestial
dwelling place of the deity and literally a design of the cosmos, while their niches serve as
windows or exits through which the divinity of the enshrined deity shines forth." The
' ' S1('1la f\. ramr1s<h, 1'1tt H1r:JM 1'1111p/,, I (C1lcutta, 1946). p . .t 17.
ti Stella Kramrisch, "The \X'alls of ()ris!)an Temples", Jl..\'0.·1, X\' ( 194 7), pp. 186 - 1 9~ .
J) J...'.ramr1,.ch, 'l'lx l{lndw 1'<,,,plr, p. so4.
Original from
14 l~'rR<J Ol' C:Tlt >N
decorative motifs, in addition to beautifying the structure, serve symbolically as auspicious

images to protect the temple from real or imagined evils. None of the carvings, in fact, is
merely decorative, each "has its meaning at its proper place and is an image or symbol." J.<
There are four basic types of m11ni/is carved on the temple walls, the crowning vimanihi
above the niche determining its order, three of which are replicas of the major architectural
orders- the rek.ha, pii/ha and k.hak.hara. The fourth type, which is most popular on the
earliest temples, is the vajra·m111Ji/i whose crowning clements consist of a miniature vajra·
mastak.a of two superimposed <aitya motifs with diminutive figures generally Aanking the
smaller upper <airya-medallion. On these early temples the subsidiary paga1 are designed as
vajra-m11ndis which terminate beneath the barant/a. Smaller vajra-m11ni/is appear on the gani/i
where they are superimposed one above the other in the an11raha recesses. The ba(ia portion
of the raha, on the other hand, is designed as a miniature rek.ha-dt11l truncated above
the first bhiimi. The raha division continues up the height of the gani/i, however, so that
the large vajra·mastak.a immed iately above the barani/a serves visually as the ctowning
member of the ba(la design thus transforming it into a vajra-m11ni/i.JS On two temples, the
Vaitiil Deul at Bhubaneswar and the f\1adhukesvara at Mukhalingam, datable on stylistic
g rounds to the 8th and 9th centuries respectively, there is a small rek.ha-dt11/ on each of the
four corners of the jagamohana.
Gradually, as the decorative program evolves, the vimanik.O or crowning members of the
vajra-m11ni/i design of the subsidiary pagas become elongated, by the addition of horizontal
mouldings, and are eventually transformed into k.hak.hara-m11n(lis. The vajra-mastak.a motif is
frequently retained, however, and is either superimposed over the horizontal mouldings of
an elongated k.bak.hara-m11ni/i or serves as its crowning member, though greatly reduced in
size. In many cases, particularly during a transitional period, it is difficult to classify the
paga design as either a vajra·m11n¢i or a k.hak.hara·1111111(ii.
With the development of a two-story plan for the jarigha the k.hak.hara-m11f1¢i becomes the
standard design for the lower story of the subsidiary pagas while the piefha· m11ni/i becomes
standard for the upper story. During a transitional period, covering the late 11th and early
t zth centuries, there arc numerous experimentations with the placement of these m111Jefi
designs. On the Jiilesvara temple at Kalarahanga, for example, three dilferent designs arc
employed. The lower-story pagas arc alternately carved with k.hak.hara· and pi(iha-mJl!lefis
while the upper-story is decorated with vajra-m11ni/i1. On the Khilcsvara temple at Khilor
k.hak.hara-m11nefis are employed on both stories of thejangha while on 1he Cii!esvara temple at
Kiscnpur only the niches are designed a.s m11n¢is, the pagas be ing conceived as pilaste rs.
In the two-story plan of the jarigha the raha design is transformed into a pi{lha-mJl!lefi by
two large pi(iha·cavcs which project out above the large niche of the lower .story. Jn the
11th century miniature rtkhti~de11/1, or ariga·iilehara1, are introduced as a decorative feature on
the ga1J{ii. In the earliest examples, as on the Riijaral)i temple, they appear as exotic elements
which disrupt the upward thrust of the silhoucue of the gan(ii, appearing like turrets. The)'
)I t.:.ramr i~h . j/.r().· I, X\' , p. 18 0.

)) This t141r11·mh~1,P; dc:~i~n o; the rfihi and i:Otrancc purtal Cll!n a l~o be vit"''l:d a ~ a lorona prc>i l·c t in~ (>Ut frc1m
the temple walls. pan icularly o n the'~ t'arly tcmplc:s u·hcre the niches cur throu~h the: pJhhJ.;;a mouldinJt!S
simulating door......·ays. This IOrtJ~ll d('~ i~nis also cvident on rhc nr,rth and S('luth rOhti1 ()(the \ :airil Ocul "''ht:t(.'
the •·~1r11•/flf111tak.ti on the ,t,a!u/.i is su ppt)rtcd (visuallr) hy pilasters which fram e the rJhti. ()n chc later BiraOci
N i riyaf.'la temple at Pail ii the r<illi1 art tutoeJ into J<-.ors cro\l'llc:d b~· a lorana \Vhilc: 21 " <)1l ~r2 k 2nd l~C)' i lisba~ i
/()rana/ frame 1he r4'1ti1 and entrance P', r1:als o f 1 h~ ./".l!•t111()/iar111.
Original from
INTRODUCTION I j
''
'I'· ·-·~· __ '"''
...._
____,' I
I •"•rU.• ''
'I '
·~"t6ti l
'
1i1... , ...
&i(ld Decoration of a P11ir11-R4tlM Design (wtsl side of the Gaurl Ttmplt)
are rapidly synthesized with the O rissan decorative program, however, and are Rattened-
out and confined within the piiga divisions, aligned in a horizo ntal row at the base o f the
1,a/fli o r superimposed one above the othe r in diminishing size up the height of the anartha.
The niche o f the riihii of the O rissan temple houses a ptiriva-tltvatii, a deity connected in
docrrine with the main divinity of the tcmple.J6 On the early temples, dedicated mainly to
Siva. the deities would be G..,esa on the south, Kantikeya on the west or b2ck and either
Piirvatl o r Mahi~amardini on the nonh . On Vai~r:iava shrines the piiriva-tltvtitiis arc usuall)'
Varah2, Nr~imha and Trivikrama, three of the ten avalars o f Vi~r:iu while on Sakta temples
there are generally housed three different forms of the ensh rined deity. This iconographic
prog ram is quite co nsistent throughout the long history of temple construction in Orissa.
The iconographic program of images housed in the niche.s o f the subsid iary piigos, o n the
other hand, varies from period to period and evinces mo re regional manif!'.stations. In the
earlie.t temples, tri-ralha in plan, the niches generally house various aspects of Siva o r
image. of re.lated Brahmanic deities while on Sakta shrines these niches are fi lled with alasii-
"4nJaJ o r 11tithMna1. With the development of a fu ll -ff edged poii<o-rotho plan, beginning in the
10th century, ala1a·"411Ja1 carved in high -relief become popular on the kanika or corner pago
v.•hich is designed as a pilaster. The introduction of an #rtlhva-gorbhika in the upper pan o f
the niche, popular during the 10th cen1ury, reduces the size of the image enshrined with in
these niches."
\X1ith the development of a two·story jiingha in the 11th century tlikpii/01 make their initi2l
appearance in their respective locat ions o n the kanika1 o f the lo wer j arigha where they
• In 1 (cw namples. such as on the 81h-91h cc-ntur)' temple in tht" BhavlnT Sankara compound. the rihd
n1cht'S were filled wnh Lm:agci of Hara·Plrv:a1l. l "hc existence of three almost idcn1ic:r.I H11.r-a-P2in•ati 1m:r.gcs no~·
i fiixcd to a modern Jl:r.numin shrine in 1ht" G :r.uri compound :and on :a modem brick i1ruc1ure at K:1upur
$U~C'~t that they may likcwiJC have !ltrvcd as pirka·dtt''1fli1.
, , ..\Jm~1 111 of thtsc niches of the tolh ccn1ury arc now cmp1y, except for a few on the P:1.iica, Pi(l<;lav:1
rc-mplc at Gaoci w1rpur, 1 \ 121$1,1ava shrine, so thu1 the or1g1nal 1conogrllph1c profer-am 1s ,Jite:ncrally unlc no.,.•n,
Original from
INTRl>DLtCTl<lN
remain as standard decoration on most later temples.JS Also introduced at this time are
viriila motifs in the an11riihii recess of the lower jiingha, replacing the niiga-11a111bhas popular in
the 10th century, and a/asii-lta11Jiil and 111ith11nas in the same recess of the upper jiingha,
iconographic features which become standard on all later temples and gradually increase in
size to become the largest figure motifs on the jiirlgha outside of the piiriva-devatiis. Alasii-
lta11Jii and mithNnas also become popular decorative motifs filling the anartha niches of the
lower story and both piiga niches of the upper story. For a brief period in the late 11th and
the 11th centuries, however, these niches arc generally filled with various Brahmanic deities
or newly introduced motifs such as the fi/qiidana in which a g11r11 is depicted dispensing
instructions to disciples.
With the introduction of the iaktis of the dikpalas in the mid-11th century, occupying the
upper Itani/ta niches above their male couoterpans where they become standard decoration,
the Brahmanic deities gradually disappear from the decorative program. On later temples
the niches of the anartha and praliratha arc usually filled with alasii-ltanya, mith11na/111aith1ma or
iilqiidiina motifs rather than deities. In the temples of the 14th century and later, by which
time the creative force of the Orissan anist becomes rapidly exhausted, the niches of the
1llJl!lpis of the subsidiary pagas were never completed so that the only sculptures appearing
on the jallgha, excluding the pariva-tkvatiis, arc the viriila motifs in the an11rahii recesses of the
lower story and the mith11nt1/maith11na or alasa-ltanya motifs in the same recesses of the upper
story.
D) FoR~tAT AoorTED FOR T HIS STUDY
In that the Orissan temples arc primarily astylar, the tower and frontal hall generally
consisting of four equal sides with a corbelled ceiling diminishing in size, and with the
interiors of the structures dark and normally undecorated, emphasis in this monograph is
placed on the exterior decorative program rather than on architectural problems concerning
stress or suppon. The dimensions, except where noted, arc thus of the exterior decorative
program, from Itani/ta to Itani/ta on each wal.1, rather than on the total space encompassed
by each structure on a projected square from entrance ponal to the riihii projection, so that
my measurements will differ slightly from those frequently found in other publications. In
general all of the constituent elements of the decorative program are interrelated, i.e., there
is no single pan that has not a direct connection or correspondence with all other pans. For
the most pan the construction of the temples appears to be based on one fundamental
measurement, as outlined in the .filpasari~i (an unpublished Orissan treatise dealing
exclusively with the technicalities of temple architecturc),-thc 111iilasiitra or miilabhaga,
according to which all pans of the structure have to be drawn. According to the Silpasari~i
there arc three kinds of miilasiitras: the highest, based on the height of the temple; the
midling, based on the 11111//i (cubit taken of the list) of the siitradhiira or the yajamiina; and the
lowest, based on the plinth of the temple.J<l
Though the grids and diagrams outlined in the architectural manuals relate to many of
the later temples, they appear to have little correlation to the earliest temples, particularly
In some of the 1apt11·1'11tha temples the dil:p.:i/111 :actu:ally ()Ccupy niches on the """'''ha rather than 1he Jw11ikiJ.
)II
J9Ahcc: Boner, ••Extracts from the ~ilpaslru;ii", J'111d1rs i11 lnJio11 Trmp/1 A rthitrt/Nrr, ed. by Pramocl Chandra
(Bcnucs: 1971), pp. !7-J8.
Original from
IN.rR.< >l)l'C'r l<>N 17
1. J:agannitha• 960 inches I I. Banka<)a 170 inches

1. Siit'}'a DcuJ•• 791 inches 11. Vi~t:tupur 170 inches
l· Litigarija•• 614 inches 'l · Tangi 164 inches
4 · ~!ahagayatri JJ8 inches 14. RamcSvara 1s8 inchc-s
I· Suklc-Svara JJJ inches l j . Kiscnpur 111 inches
6. Madhukcsvara }24 inches 16. Khilor 146 inches
7· Pirvati } 12 inches 17. YameSvara 142 inches
8. Kualo J04 inches 18. Siiri Deul 141 inches
9. BhaskareSvara 176 inches 19. Niali 140 inches

10. GaruQipancana 176 inches 10. !ndralaih 140 inches
20 L ,1RGEST TE~11>1.1;s 0;1sr-:o oN TH i; H m c; HT 01' T l·1E J. f.-.:(, H.·1
; ti1igha pahhagP rlibd niche
1. Jagannarha ? ?
1. Surya Dcul ? 166 inches 142 inches
I· Lingarija
,
164 inches 111 inches 1 11 inches
4.
!.
Mahigayatri
SukleSvara
, 81 inches
71 inches
,71 inches
6. ~1adhukc$vara
7- Kualo 144 inchc~ 18 inches 6 8 inchc'S
8. !ndralaih 1 J6 inches 69 inches 41 inches
9· Tangi 118 inches 66 inches 61 inches
10. Khilor 116 inches 16 inches s7 inches
11. RameSvara 11} inches 61 inches 18 inches
11. Bhaskarc-Svara 111 inches 64 inches 61 inches
1J. Garu<;lipailcana 111 inches 61 inches 7 1 inches
14. Rijaraol 1 r9 inches 18 inches 16 inches
11- BrahmcSvara 1 11 inches 16 inches 18 inches
16. Kedare$vara 1 11 inches 1J inchc--S 16 inches
17. Niali 107 inches 14 inches 16 inches
18. Banpur 101 inches 11 inches s1 inches
19. YameSvara 100 inches 10 inches 1z inches
10. Kisenpur 99 inches s 1 inches } } inches
• DimC"nsions as givC"n by Raicndralala ~li t r 1, 7'J"' .1l11tiqHiti' ' ~! Ori11a. 11 (N ev.· Delhi, 19'•r rt<print). p. 194.
•• D imensions as given by Deva Pra5ad (jhosh, N . K. litn;c and ''· Shatmi , D111t.1tJ ,/;.o,,, Or111a" .,., ,,,p/11
(C:alcut1a, 19so).
in respect to elevation. In actual practice the most favored 111tila1titra appears to Ix: the
lo,..·est kind outlined in the Silpa11iri~i: that based on the height of the plinth (actually the
piibhiiga on early temples), though its height may be determined by the mN/fi of the sthapati.
There are. in fact, no two temples which have the exact same measurements. There is,
however, consistency in laws of proponion evident in all of the temples. As a general rule-
of-thumb, though with numerous exceptions, the jiirigha is approximately twice the height of
the ptibhiiga while the riihii niche is of the same approximate height. Thus, if only the ptibha1.a
of a temple has survived, from any of the various periods of arch itectural activity, the
approximate height of the biitfa can be determined, excluding the baraptfa. The height of the
!,P•t/i, on the o ther hand, cannot be so easily determined due to the gradual increase in
Original from
18 INTR< •Ol '<:TI< >N
height of this part on later temples, the number of bhitmis increasing from live to seven and
eventually ten. The piibhiiga on the Brahmesvara temple, for example, is only 6 inches higher -
than that on the Parasuriimesvara temple yet its ga~4i is approximately 10 feet higher even
though the base of the JeNI for both temples is about the sa.mc size. O nce the number of -
bhitmis becomes standardized at ten, the height of the ga~fii can no doubt be determined, to a ....:
certain degree of accuracy, by the height of the pahhaga. The actual height of the ga~4i is ·:
difficult to determine with exactitude, however, as on-the-spot measurement is usually
impossible.
In developing a chronological evolution and stylistic analysis of the Orissan temple and
its decorative program I have divided the monograph into two parts . I have deliberately
refrained from separating the study into sections on architecture and sculpture along strict ..
lines, however, as these two disciplines arc intimately interrelated: in fact, as Kramrisch has
noted, "nowhere else in India are the walls of the temple as intimately connected with their
...
sculpture."'° In Part I the temples arc treated individually in a broad chronological and
regional sequence with a brief historical introduction at the beginning of each chapter. A
select number of sculptures arc included with each temple for the purpose of stylistic
analysis, the cult deities generally being the Jilt.pa/as. In Part II the stylistic evo lution and
changing iconographic program of select individual features, motifs and sculptures are
analyzed, emphasizing continuity and change as well as regional variations and external
influences filtering into Orissa. Groundplans arc at the top of the pahhaga so that an11riiha
recesses, which do not extend through these mouldings on later temples, arc included.
Except where indicated, north is at the top of each page.
.....
..

INTROOl 'CTI< >N
C11RO!':Ol.OCICAI. (HART OF ORISSAN TE,IPl.ES I
Dair Bh11/111nr111111r 01111idt Bh11hantsa•ar Upptr Alahtinadi [,.'all~y
c. s'' Lak$ma('le5vara group Tai a

c. 600 Svan:'laiilcSvara Jiijpur: dctichcd images
c. 6 , o ParaSurimeSvara Pidmapur: Nnikinthdva ri
PaScimdv2ra Sirpur
c. 100 UttareSvara Kharod: Indal Dcul
Moh ini Pal:iri
TiltS\•ara Ratnagiri : doorframcs
c. 7 , 0 ~lirkaf)c;leyeS\·ara Jiijpur: dcuchcd images
SiSirrivara Rijim : Rijiv alocana
\'iitil Dcul Bijrakot/Biidcswar Kharod: Sabarl
llhivini-Sarikara Dhamcari
c. 800 Kualo{Baiikiida{Punjiyama Narsinghnath: incerior pillars
Benu.s:igar Pu jiripali
{ ~adgaon
Suklc$vara/ Madh ukdvara Dhobini
Khandcrpur/Kupiri Budhikomna
Simhanitha RiQipur·Jharial : Somdvara
Padmapur Kausuli
Paikapada{Shcrgarh Baidyanath, Pamagarh : Kosa·
lcsvara temples
G at)ei wa rpu r{Caurisi Gandhari<)i/Charda
\ ' \'omakc;Svara Hirapur: 64 Yoginl pi1ha/ Rat)ipur-Jhariiil: brick temple
Ratnagiri Baudh
TirtheSvara Mukhalirigam: Some$vara RiiQipur-J hariiil : 64 Yogini
pi1ha
Gauri Sarapalli/J ayati Khiching : Kutiitut)c;li
c. 9, 0 ~fukteSvara Jiijpur, Puri Mitrkis Narsinghnath, Saintala doc>r·
frames
KuQ<;lc5vara/Sathalapura Baidyanath: Kilcsvara
Pc<;ligadi/ Kaupur
Original from
10 INTR<)Ot:CTl<>N
C HRONOJ.OG ICAI. CHART OF ORJSSAN TE~IPl.ES II
Datt Bh11hantsw11r 01111idt Bh11banr1vrar
c. 1000 Dikri-BhimeS\·ara Khiching

Rijarioi
Ek:imbareSvara
f\·f a(libhadreS\'ara Pratilprudrapur
c. 1060 BrahmeSvara
Lingarija Lauharaqa/KuQ<).Svua
Valukc:Svara Ghorodi2/ Algum/M2J)in:igcsvau/Kak aipu r: Somesvara
c. 1100 Bh ill id cu Ii/ K h il lo r/Beraboi/Gol ob ai
Kot itirthe$ vara/Siddhesv 2ra K ila rahanga/Champcswa r/Ch aud2r
c. I 11 S KedireSvara/RimeSvara Dharm1$iilii
Bh:lskucsv2ra Puri: J2ganniith1
c. 11j0 Koniirak: Miihiigiy•iri
Tangi
c. 1180 Mcghcsvua Niali
c. 1110 Kiscnpur
Pin•ati Midhava
GaruQipaiicana
KoQirak: Surya Deul
Beyilisbiiti/Vares var>
c. 1z.7S YamcSvara/CitrakiiriQi Banpur: Dakiaprojap2ti/K2kudii/Gaoe5warpur
Ananta-Visudcva/Siri Dcul Budhapild2/SadanS2/Pracl river temples
c. 1)00 Birpratippur/Kilupa<)a/Mahiivioiiyaka
VaruoeSvara Puri: Nrsirilha tcmplc/Daraba/Parahat
BakeSvara/f\f it reSY2ra
Mak2reSvara Kapilis Hill/ Kosalcivara
c. l}lO Visoupur
Soncpur
c. 1400
P:ipani.~ini l\.f intri
Kapileivara
Original from
PART ONE
CHRONOLOGICAL DEVELOPMENT OF TEMPLES
Original from
..
..
.•
Ongmal from
0191t1zed by Goe.. gle UNIVERSITY OF MICHIGAN
CHAPTER ONE
THE EARLIEST SU RVIVING TEMPLES

OF ORISSA
The dated history of Kalinga begins with the famous Kaling a War waged by Aso ka in
about 161 B.C., though it appears that the country regained its independence soon after the
death of Asoka. During the reign of Kharavel2 (c. 1st Century B.C.) a successful strugg le
was waged ag2inst Magadha to recover the s2cred seat of Jina, which had been c2rried
2way to M2gadh2 by • Nanda king. It was 2f1er the recovery of this s2cred symbol that
excavation of cave temples for the J•ina 2scetics was undertaken by Khiiravela on the hill
of Udayagiri near Bhubaneswar. Though little is known of the history of Kaliriga from the
end of Kharavela's reign to the invasion of Samudragupta in the mid-4th century, the
discovery of • large number of Ku$:il)a coins, as well as imitation Kusiil)• coins, from
numerous sites throughout Orissa suggests that the are• w2s under control of the Kusal)as
at some time.I From Samudragupta's All2habad pillar inscription 2 we know that Kaliriga
w2s divided into numerous small principalities, ruled by petty chieftains, in the first half of the
4th century. Although Samudragupta defeated these lesser kings in his southern campaign,
there is no direct evidence ro suggest that any part of Kaliriga was 2nnexed to the Gupta
empire at this time.
Soon after the expedition of Samudragupta the 1"fa1haras gradually amalgamated mosr of
these small principalities into a united kingdom in the region around the J\lahend ra
mountain. Though their capital was Simhapura they issued copper-plate grants from at
least seven different places, all within a range of 60 miles from Srikaku!am. In the
Vrhatprostha grant of Umavarman, issued during his ioth rcgnal ye ar, the king assumed
the title of "Kalingiidhipati", as did later kings of the dynasty, suggesting that the
kingdom was expanding.l By the time of Saktivarman, as recorded in the Ningo l)Qi
copper-plate grant of his son, Nandaprabhanjanavarman,• the kingdom extended from
the Kf$1)a river in the south to the Mahanadi in the north. In this same grant ,
Nandaprabhanjanavarman introduced the title of "Sakala-Kalingadhipati", suggesting that
this extensive domain was named Sakala-Kalinga, or the greater Kalinga.s By the middle of
the 6th century, however, the Mii1haras were defeated by one Prthvi !'.laharaja of the
Srirama-Kiisyapa gotra. In his attempt to annex the country north of the Mahanadi,
however, Prthvl Mahilriija was apparently defeated by the Vigrahas 2nd retreated to
Pi$tapura where his successors continued to rule until they were over-powered by the
Ca!ukyas of Biidiimi during the first quarter of the 7th century.• It is also at about this ti me
1Set> D1lip K . Ganguly, Historirdl Cto1.rapk1 and py,,a1tit History of Oriss.o (Calcucta, 197 1 ) , pp. 1 ~0- 1 \ \.
1 J <>hn Flccc,l 'crp•s lntt r1p1ion11111 lnJitarM#I, Ill ( 1970}, p. 7.
J Sity anaJayan Rajaguru, ln1tript101t1 ojOrissa, \ ' ol. I, Pan i i ( 1918), pp. 10-11, G1.
' lbtJ., PP· 44-4 7.
~ /h1d., p. 61 .
• /h1J., p. 6 1.
Original from
24 THE EARLIEST SURVIVING T EMPI.ES OF O RISSA
MATHARAS
t. ViSikh2varman
1. Umavarman
}· Sankar2varman
I
4. Saktivarman (c. 1io-16i A.O.)
I· Anamasaktivarman (c. 16i-194 A.0.1 7. Prabhaftjanav2rman

I
6. Aca0 <;1avarman (c. 194-400 A.O.)
I
8. Nanda Prabhanjanavarman (q years)
Adopted from N. K. S~hu. 7'/x Utkol Un;rtrsil.J l-Jistory of Orissa, I, p. 41• ·
MATHARAS
1. Sankaravarman
I
2. f\.fahirl ja Saktivarman
}· Anantavannan 4. Mahirija Prabhanjanavarman

I
S· ~{a.hirija Ananta Saktivarman
The Pilrbh•/u•s
1. ~tahlrija Umavarman 1. Mahiriija Gunavarman (c. 4 10-410 A.O.)
I I
1. Mahirija Acandavarman
I
,. Mahirija Nanda Prabhaiijanavarm2n
1.
I
Mahirija Prabhailjanavarman
(c. 410-460 A.O.)
}· PiramtSvara Anantavarm:an (c. 46o·48J A.O.)
Adopled from Oilip Kumar Gangu ly, Historiral C10,gr4ph__1 a,,J IJ.y1101tir Hist"'.1 of Or;114 (Calcurra, 197s).
that the Gangas migrated to Kalinga and set up a small independent kingdom in
Trikalillga.
The country north of the Mahiinadi, extending as far nonh as Tramralipti (modern
Midnapur), was divided into two sections in the mid-6th century which were known as
Dak$i(la Tosali and Uttara Tosiili, ruled over by the Vigrahas and Mudgalas respectively,
with both divisions bifurcated by the river Vaitaraa:il.' In that several of the copper-plate
grants of these rulers arc recorded in the Gupta Era it is likely that they served initially as
fcudatories under the Imperial Guptas. This is funher corroborated by the Suma(l<,lala
l Sec A. K. Ralh, .. A Note on the Vigr2ha O ynast>"'. OHR), \ 'ol. XI {196 1), pp. l4•19.
Original from
TllE J·::\Rl.ll·:ST Sl' R\'J\' JN (; Tf~ ~IPIJ~ S <>F <) RI SSA ll
t.IATHARAS
King Proboblt Ptriod of Rti,(n
1. \ '· iSikha,•arn1an }14·lJO A.O.

z. U ma\'arma.n JJ0-;6 1 A.O.
}· AnantaSaktivarman i60-391 A.D.
4. Sakti\rarman I 391 ·416 A.D .
1· Chai:ic,iavarman 426·441 A.O .
6. Gui;>avarman 441 ·416 A.O.
7. Prabhaiijan:ivarman I 416-471 A.O.
8. Ananta\•arman 471-.86 A.O.
9. Nand:aprabhar\janavarman 481-101 A.O.
10. Sankaravarman 101 - 116 A.D.
t 1. Saktivarman II 116-111 A.D.
1 z.. Prabhail.jana\'arman II p 1 ·1j6 A.D.
VIGRAHAS
Owrlord Datt of Grant
1. Prth\•i\•igraha Dharmarija 169 A.D .

2. Sri Lokavigraha 600 A.O.
}· ~agnyayana or SambhUyaSa S ivarija 60 3 A.O.
4 . SaSankarija Somadatta
Subhaklrti
l\fidhavaraja 610 A.D.
copper-plate grant of Oharmariija, issued in the Gupta Era 110 (A.O. 169),8 staring that
Oharmariija is a subordinate king under Prthvlvigraha, the ruler of the Kalir\ga· rti1/ra
which formed a pan of the Gupta kingdom. The area controlled by Lokavi~raha, successor
to Prthvivigraha, appears to have been greatly expanded as he is mentioned as the overlord
of 18 Tosiilis, in his Kat)asa copper-plate dated to A.O. 600,9 rather than just Oaksi1.1a
Tosiili. His polirical expansion was probably the outcome of the rivalry between the royal
houses of the Vigrahas and the l\ludgalas. In the Soro copper-plate of l\·lahiiraja
Sambhuyasa of the Mudgala family, dated to A.O. 180, 10 it is revealed that the king '''as
involved in a war with Lokavigraha which probably continued up to the death of
Lokavigraha sometime between A.O. 600-602 as in the Patiakella copper-plate of Sivariija,
a subordinate ruler of Sarilbhuya5a, it is evident that the Mudgalas had ousted the Vigrahas
from Oaksil)a Toiali by this date."
Within a few years, however, the l\!udgalas were defeated by king Sasar\ka of Gaucja who
remained in control of this area at least up to A.O. 619 as we know fro m the Ga nj am
11 o/Ori1sa, \ 'ol. I, P:ari ii ( 19\8). pp. l lJ· 116.

/111fr1p1iu11J
'> ,,,,,,. pp. 110· I 1 J.
10 /ft1J.. pp. 1 17· 1 19.
11 11111.. pp. 114• 117.
Original from
THE E.>\RLJEST SlJR\' IVING TF.~IP l.F.S <>F C)RISSA
copper-plate grant of the Sailodbhava king Miidhavarilja II issued in the year 300 of the
Gupta Era in which it is evident that the Sailodbhavas were fcudatorics under Sasanka.'2
This newly conquered territory was apparently divided into two pans by Sasanka
for administrative purposes, the southern half (Kongoda) under the viceroyalty of
Mildhavariija II and the nonhem division (Utkala with Dal)c;labukti) governed b y
Somadana of the Datta family as indicated by the laner's Midnapur copper-plate grant.u
Sasiinka, known for his anti-Buddhist activities,•• was a devout follower of Siva and
probably played a major role in eastern India in the revival of Hinduism. According to
traditions recorded in the Ekamr4 P11ra!f4 and other Sanskrit works dealing with the history
of Bhubaneswar, Sasiinka built a Saiva temple in the shrine of Tribhuvancsvara. Although
Saiva temples existed at Bhubaneswar before the 7th century, it is from the period of
Sasiinka that the shrine of Tribhuvancsvara became dominant and its supremacy has not
since been questioned.IS The temple built by Sasiinka no longer exists, probably having
been replaced by the present Lingariija temple, though there arc numerous sculptures
within the compound which may have belonged to the original temple.
With the submission of S.Siir\ka by Har$avardhana and Bhaskaravarman, sometime
between A.O. 619 and 624, his sovereignty apparently confined to Gauc;la, the feudatory
Sailodbhava and Datta families appear to have assencd their indcpendcncy. Sasiir\ka, for
example, is not mentioned in the Soro copper-plate grant of Somadatta. •6 or in the Balasore
and Soro copper-plate grants of his apparent successor, Bhiinudatta.'7 It is also apparent in
Hiuen Tsang's narrative upon visiting Odra in about A.O. 638 that the contemporary king
of the country, possibly Bhiinudatta, was an independent rulcr.18 That Kongoda was
likewise no longer under the suzaintry of Sasiinka is evident in the Puri copper-plate grant
of Miidhavariija II where it is recorded that he performed the Asvamedha sacrifice after
reducing the sovereign influence of his enemies over his own statal circle of kings.' 9 It is
also clear that Miidhavariija II temporarily succeeded in possessing the entire kingdom of
greater Kalinga as recorded in his Khurda copper-plate grant where he assumes the title of
"Sakala-Kalingiidhipati" 20 though in his later inscriptions this title is dropped, suggesting
that Kalinga was most likely under the control of the Gangas.21 From the accounts of
Hiucn Tsang we know that the fon of the Sailodbhavas was naturally strong, that they
maintained a powerful army which kept the neighboring countries in awe and that they had
no powerful enemy.22
Orissa at this time, as described by Huien Tsang, was thus divided into three distinct
pans: Odra, Kor\goda and Kalinga. Oc;lra, making up the nonhcm pan of the country,
consisted of the modem districts of Midnapur, Balasorc, Cuttack, and Puri nonh of the
marshes along the nonhern fringe of Chilka lake whereas Kongoda began south of these
12 JbiJ., pp. 111·161 : EpiirrJphit1 /1tJi,11, Vol. VI, pp. 143-146.

IJ /111tripti0#10/0ri110, Vol. I, part ii, pp. 141 · 1 4 3. JA.~'8, Vol. XI (194~).
pp. 7•8.
'4 Sec 8 . N . Srivastava, ··sasanka, King of Gauda". 8i'llr1in of tht (J. P. llisttffita! SiNitl). \·' ol. X, No. 3
(1961), pp. 4 1'41·
IS Panigrahi, Arthatologital Rt,,,ainJ al 8h11bontJt'1or. p. : 19.
16 llfJfrip1i01'1 of Ori11a, \.'ol. I, pan ii. pp. 1)6-140 . Epif.raphia Indira, \ '0 1. XXl ll, pp. :01-10 J.
11 /1t.1trip1ions •/ Orisso. Vol. t, part ii, pp. 118· 1 J1·

18 Thomas ~'attcrs, On YM11 Ch• an1.'1 Trt1t>Y/1 in India. 11 {Lo ndon, 1904) , pp. 193- 10 8.
1
• 0 J,,1tr-ip1ion1 efOri1111, \ 1ol. l, pare ii, pp. 178· 181 .

20 Ibid., pp. 161-16i .
21 S. N. R21j2guru. ln11rip1ion1 ojOristo, \ !ol. II (1 9('10), p. ))1.
u W2ttcrs, op. til. , pp. t9}·10 8.
Original from
TllF. f.ARl.IEST Sl"RYl\'ING TE"Pl.ES OF ORISSA •7
marshes. Though the exact boundaries of Kalinga are not given it probably exr<nded from
1he southern border of Kongoda (Ganjam and Vizagapatam) to the banks of the
Godii\.. ri.lJ The majority of the inhabitants of Odra, accordingly, were Buddhists while in
Korigoda it ...·as Hindus and Jains who predominated. In Kaliliga there were adherents of
numerous different sects but few Buddhists. At Bhubaneswar, located in the Puri disrrict at
the southern extremes of Oc,lra, as surviving archaeological evidence testifies, Saivism was
dominant with the Pasupata sect being panicularly influential." To the west, in Daksi!)a
Kosala, ruled by the Pa!)cjuvamsI kings, Vai$!)avism was the dominant form of religion
u·hcrcas in the forest kingdom of Mahikintira the royal family were devout worshippers
of the goddess Stambhesvarl. The religious makeup of Orissa at the time of Huien Tsan g's
"isit thus consisted of a mixture of all the major sects. There is also evidence at this early
d11e of religious synthesism, a peculiar Orissan trait which culminates in the cult of
Jai:annitha in which there is an amalgamation of all religious cults, including primitive
cults and beliefs, inro one form of religion. By the 7th century the Buddhists, for example,
seem to have embraced Saivism and adopted Unga worship, attempting to assimilate the
phallic emblem of Siva as being identical to and inseparable from the Buddha.2s
In the early 7th century India was dominated by three great powers, Har5vardhana of
Kanauj in the nonh, the CaJukyan king Pulakesin II in the south and west, and Sasirika in
1hc east. With the death of Sasarika, Orissa apparently became a center of conflict between
Harsvardhana, who made two prolonged campaigns into Orissa, and the Cilukyan king
Puhk<Sin II. Toward the end of the second decade of the 7th century the Ca!ukyans
apparently conquered Verigi and, at a slightl)' later date, invaded Kaliliga and Korigoda,
though they returned to the south after leaving the area in a chaotic condition.u. In A.O.
643 Hars\·ardhana led an expedition as far as Kongoda though he docs not seem to have
annexed this territory but rather reinstated the defeated king !'.lidhavariija II in his own
k ingdom.21
;\lidhavarija II was the 4th king of the Sailodbhava dynasty and apparently ruled for a
period of at least 10 years if the salilral io in his Orissa Museum copper-plate grant refers to a
regnal year.2' He was succeeded by his son Ayasobhlta alia1 Madhyamar:Ija I who reigned for
ar least 16 years as proved by his Parikud copper-plate granr.29 Upon the death of
Madhyamaraja I the throne was initially seized b y his second son, Midhava, who ignored
the claim of his elder brother Dharmarija alia1 Manabhl12. In the ensuing battle for the
throne, at Phisika in the Koc,lala /a/Ilk in Ganjam, Oharmariija, as recorded in his Puri
copper-plate grant, defeated Madhava and banished him from the counrry . .IO It was at
about this time, as recorded in the Adhabhara copper-plate grant of Mahiinannariija of
Oak~ina Ko$ala, son of Tivararija,31 that Tivarariija extended his reign over l!tkala and
: 1 R.tnC"ri1. Jof11tory ~{Ori1u, I, p. 1.1 .

~· ~< P.Jn1~rah1, .· lrrl!tJrolo1Jrol Rr11111ins of 8h11ha1t.rJ•'or, pp. 114·1.t8.
<:.
1.. ...:.. '.\t1~hr:a, 1'ht ( ;1111 of Jo1.0111totho (Calcu1ra, 1911). P· 11; s~c also S.<:. De . ....... Siva l~IOJ(a ln!>Cfl~d
v.·11h 8uddh1~ 1 Oharan1 from Sore>.'' 01-IRJ. Vol. 1, no. 4 (191J), 271· .t7 J•
i. S S . Ra1aRuru, I /1 11ory of tht C""l."'· I (Bhubancs1i1:-ar, 1968). p. 61.
1
• 0 . K. Gao~ul~', op. tit. , p. 191.
z,. J,, 1rr:p1t01tl ojOr11l11, \ 'ol. I, par1 ii. pp. 186- 191.
1") /ft1d.• pp. 199· 1ot.
IO /i>1J, pp. l l9· l l 4 ·
> / ;p1,r,r11ph111 /,,d1t11. \'ol. XXXI, pp. z1 9·1.t1. Sc:c also S. N.
1 R aj:11~uru, ln1rr1pt1M1 o,fl)ri11.t, \·,,1. I\' ( 19<•<•),
PP· \9 · 41.
Original from
Tt l E. l~:\Rl . I ES1" Sl 1R\'l\'IN<; T f.,\IPl.F.S ()F <1RISSA
SAILODBHAVAS
1. Pulindasc-na
1.
, I
Sailodbhava
I
l · AraQabhiia (c. A.O. l7S)
. I
4. MaJhavariia I alias Sri Sainvabhita I (c. A .O . 190)
I .
\. Ayaiobhita I (c. A.O. 601)
. I
6. Midhavariia II alia1 Sri Sainyabhita II (c. A.O. 610-670)
I
7. Ayaiobhita II alia1 Madhyamariia I (c. A.O. 670-700)
9. Dharmar2ja alias ~f'3nabhita

(c. A.O . 701-1ii)
10. Madhyamaraia II 11. Allavar-ija

I
12 . Yu\'arija Tailap:anibha
(ended in or before A.O. 1 i 6)
1\d<>ptcd frc>m $:;i 1~·an2r:;i yan Ra1a!(uru, /n1t rip1ion1 of ()r11111, \ 101. I, part ii ( BC'rh:ampur, 19s8).
was threatening the northern gate of Kongoda. He was foiled in his attempt to occupy
Kongoda, however, by espousing the cause of Miidhava against his brother. Dharmariija
succeeded in defeating the combined strength of l\1iidhava and Tivararaja in a second battle
with Tivarariija subsequently retreating even from Utkala ..12 It was probabty after this
crushing victory over Tivarariija of Daksioa Kosala that Dharmaraja claimed the proud
titles of "Mahiiriijadhiriija" and "Paramabhanaraka" as stated in his Nivina copper-plate
grant." Though he was a devout worshipper of Siva he followed the practice of religious
tolerance typical of this period by endorsing the grant of a piece of land in Thorana·viJ~ya
in favor of the Jaina monk Prabuddhacandra as evidenced in his Banpur copper-plates.3'
Dharmariija was the last great ruler of the Sailodbhava dynasty. Very little is known
about the later rulers of the dynasty, except for their names, and it is uncertain whether
they were all independent rulers or releg21ed to the rank of feudatories by a paramount
power.ls In the Banatumva copper-plate of Nenabhailja, issued from V ar:l<,l<,lii, it is evident
that a branch of the Bhaiijas were in control of pans of Cuttack, Dhenkaniil and Ganjam
districts in the mid-8th century.l<> T he most plausible reason for the demise of the
JJ Sc-.mC' authors SU):!gc!'r 1ha1 this n\·:;irariia "'''3S 2 d istant successor c>f the famous Pai)<J u\•-arii~J k in~ . St'C D.
" · G:ang\lly. op. tit., pp. 18•· 186.
>> S. N. Rajaguru, /1111rip1iofls of ()rissa, \ 'ol. I, p are ii ( 19,8), pp. 106 ·111.
>' lb1tl.. pp. Jl J•ll8.
» D. ,. ~.
G angu Iy. op. tll.,. p. 1 9~ .
)6. l ;p1~raph1il /nd1t11, \ 'ot. X X\'lll ( 1 949 · ~ 0), p. :,8.
Original from
THE EARLIEST Sl'R\'l\'INC; T~~fPl.E.S <)F <>RISSA
·-
0 '::' .. . ....... .
,
Sh e • ......
/
~
.
...
......, • I
'
A a., 1?Y" •J ll ;a ri ;a!

0 1• , \ lol! ;a"l>l l
0 0:-,1 .,.. .. .. ~,.,
~·fap of Orissa, 71h·9th t:entury Ttmplc Sit('S
Sailodbhavas, however, is the emergence of the Bhauma-kara dynasty under K$emailkara-

deva in A.O. 7~6. the Bh aumas apparently migrating from Assam during Har5avarman's
invasion of Gau<;ia, Oc;lra, Kalinga and Kosala recorded in the Pasupati temple inscription
in Nepal ."
The late 6th and early 7th centuries constitute an important epoch in the cultural history
of Orissa. As a bone of contention between clashing armies from north and south India.
both of whom made inroads into and actually occupied portions of Orissa, it served as a
buffer zone separating distinct cultural traditions. It is during this period that the Orissan
temple first emerges, the earliest extant examples of which arc at Bhubaneswar. Despite the
ravages of war and conquests, the Orissan temple evolves into a peculiar type apart from
other architectural styles with little apparent external inAuence. Although the Sailodbhavas
of Koilgoda annexed the area around Bhubaneswar there is no evidence whatsoever th3l
any of the Sailodbhava rulers were responsible for the construction of any temple at
Bhubaneswar, though it is evident that many t<mplcs were being constructed at this time.
All that can be said with certainty, as Panigrahi points out, is that the earliest surviving
S! l\ri~hnJ Panljr.!tlllhi, <:hr011olog1 o/ tht 8'N11m11· Kar11 s and tht Sofltdl'1Jl'1Sll ~f ()r11111 { ~fad r as, 1•)6 1), pp. .tO• .i.t .
Some scholar5, o n the o ther hand, place the beginning of the lihauma· kllira dynai>t~· 1n the 9th c<.·niury. $ee
0 . K . G anguly, op. ttl ., pp. 196· 1:0 1.
Original from
}O THE EARUEST SURVIVING TEMPLES O F O RISSh
.................
• l • •o• UO'f • f o
,.,....,..,..... ~.
SCA LE
<, OO 0 ~00
.
11!(10 1,00 ! !)00
l e •I
""" · ~· · • • t •
•
.~• •'-·~· · ·
»
0
> i l>d t ptC''• """• !hi. •""- n.
Map o ( Bhubancswar
temples belong to their period of rule." The lack of commemorative inscriptions on

Orissan temples is a peculiar trait which extends throughout most of the long history of
temple construction. When inscriptions do occur they generally a rc in the form of a grant
to the presiding deity, rather than commemorating the construction of the temple, and arc
not necessarily contemporary with its construction. More often than not these inscriptions
were made by a lesser member of the ruling dynasty rather than the king.
A) LA>:$MA~f.S\'AR A. BHAR ATF.S\'ARA AND S ATRliGHNESVAR A T EMPLES
The earliest extant temples of Bhubaneswar arc the three ruined temples grouped in a
line and enclosed within a loosely constructed wall composed of debris and fallen
sculptures. The three temples all face west and are situated near the later temple of
Ramesvara in the nonhem extremes of the ancient city. The region around these shrines
has a far greater antiquity as we know from the presence of a huge bell-capital of the
Asokan type in the tank, known as Asoka Jhara, behind the Ramesvara temple. The plinth
of the Ramesvara is made up of stones from an earlier temple which most likely stood on
this spot. The sanctity of this site is still celebrated today by a festive visit once a year on
the day of AsokaHami in the month of Caitra (?\of arch-April) by the movable images of the

TJ.IE F.:\Rl.IF.ST Sl.R\' J\' I N(; Tl : ~IPl.l~S <>F ()RISS:\ )I
lord Tribhuvancs\'ara (Lingaraja) and his family membe~s. a ritual suggesting the deiry of a
larcr shrine paying homage to the deity of an earlier shrine.>'>
These three extant early temples, known locally from north to south as the Lak~mar:ies
vara, BharatCS\'ara and Satrughnesvara,'° arc squat and simple structures of the rtkhii order
in '''hich the sanctum is surmounted by a curvilinear spire. They already evince the basic
dcments of the later temples in rudimentary form suggesting that there must have been
earlier prototypes. Numerous detached sculptures have been found which, as Panigrahi has
suggesrcd, probably belonged to a type of temple of which no specimen has survived,
1hough some may yet be found as there arc numerous mounds formed of ancient ruined
temples which have not been excavated." The ruinous character of the Lak~mar:icsvara
group of temples and the fact that many of their fallen sculptures arc intermixed in the
enclosing u·all dictate that they be treated as a group rather thao as separate temples. As a
~roup the)' arc still earlier than any other temples still extant in Bhubaneswar and thus
form the beginning of our study. Although two distinct sculptural styles arc evident it is due
primarily to uneven quality resulting from workshop participation. The second, rather
crude and au·kward style, for example, occurs generally on the back or sides of the temples
rarhcr than on the front, suggesting it is the product of the workshop rather than the
master-carver.
The northern-most temple of the group, the Lak~manesvara, provides epigraphical
cddencc on its southern cave, originally auachcd to the niche but now housed in the Orissa
Sure l\luseum, consisting of inscribed names of the planets, which enables us to tentatively
date the temple to the laucr half of the 6th century, c. A.O. 171.•2 Only the core of the
original spire or ga~~i remains, now partially reconstructed, with the corbelled arch above
1hc doorframe revealed as a chasm. The tower above the roof of the garbha-grha (cella) is a
hollow pyramid tapering upwards to form a solid block at the top. The inner face of the
core is smooth whereas the outer face, before reconstruction, showed indentations which
togerher with iron clamps were used for interlocking the sculptured stones forming the
outer face of the temple." The existence of a jagamohana is evident by the remains of a
rectangular plinth. A sing!< pillar, found lying inside the sanctum, suggests it was a pillared
hall like the jagamohana of the Parasuriimes,•ara though the pillars were octagonal in shape
wirh lotus designs at intervals and lorus capitals at the top.44 It is impossible to know the
decorati"c program of the structure or to determine whether it was contemporary with the
tf,Nf due to the prevailing practice in Orissa of continuously adding structures to the
original shrine. The most interesting sculptures still adhering to the bii(ia of the titN/ arc the
rectangular projecting blocks, resembling wooden beam ends and decorated primarily with
animal motifs, which form a lower stringcourse (lala-ba"dhanii) just above the piihhtit.a
mouldings on the projecting subsidiary piigas and the portal jambs which arc decorated wirh
" lbrJ.. p. 190. It ""'as on this day, accordinR to the Hindu calendar o( EknRal, that Siti, \l•hcn confined by
Ri,·ana, 1s said to ha,·c oft"C'tC'd some Aio.A:ta Ao\l•ers to a god whik praying (or reunion "'·uh her lord. Ste R. ~titra,
op. 111., II, p. •.tS ·
• 1 P:an1~rllh1 li~ts 1hcm as SatrvJ.thnc;vara, 1.ak$manC'i vara and BharatC'~\·a ra rc!ipt<ti,·clr frnm nor1h 11>
~nu,h . Sec Pan1J1;rthi, ArthtHolog11ol Rtm111111 •I &11hontJ••or, fi~s . 16· 18. Ocba1a 1\lura (khub1,1nr/ ••a r, nl:ip) li!'tS
them 1n the same order is I do.
• 1 S<C' Pan 1 icrahi, Ar11M10/o;.1r11/ Rt•ains di Hh1tb11n11•·ar, p. 11.
-i lr\.r1!>hn a C. P<in1~rahi, '"l)atc o( 1hc Par a~uramc ~\'a r P~n 1~rahi. . ·lr1ha10/0~11al Rt11t11111s ul 8/luhan11• ·. ir, p. S4·
.. JhrJ.• p. 148.
Original from
T l·IE E:\ RLJEST SllR\rl\.'ING T E~IPl.I~ ( >F <">RISS:\
dviirapiilas and ornamental scroll motifs. A milhsma is carved at the base of the jambs of the
riihii niche on the east or back side while a detached image of Surya rests above the piibhiiga
mouldings. A detached lintel, carved with ornate scrollwork, lies on the ground near the
riihii niche on the nonh side.
The middle temple of the group, the Bharatesvara, has even less sculpture remaining on
its walls than the Lak~manesvara. The only sculpture of importance appears on the western
portal where the jambs are decorated with ornate scrollwork and dviirapiilas. The lintel
above the doorway is decorated with a frieze depicting the capture of wild elephants, a
popular motif on the early temples of Orissa.
The southern-most temple of the group, the Satrughneivara, is the most complete,
though greatly restored with modern mate rials, and gives us some idea of the original
decorative program of these earliest temples. It thus will be used as the model in discussing
the decorative features of these temples as a group.
1. Bii(ia Duoralion
The three temples face west and arc /ri-ratha in plan with three piigas projecting out from
the wall on each side of the dt11/. The larger center piiga, or riihii, is designed as a miniature
rtkhii-shrinc truncated above the fitst bhsimi with its niche cutting through the piibhiiga on
the back and sides similar to the door on the front, suggesting the origin of the plan is
based on a simple four-door shrine. These riihii projections continue vertically up the height
of the temple whereas the subsidiary J>ii..~as, placed mid-way between the riihii and the
comer, terminate at the lower edge of the baraf!!fa. The subsidiary piigas arc designed as a
vajra-mJl!l!ii with the niche p laced above the piibhiiga simulating a window. The niche is
crowned by a vajra-maslako consisting of two superimposed rairya-mcdallions. The riihii .,
niches arc now empty whereas several of the niches of the subsidiary piigas still retain their
original sculpture. The lintels above each niche arc decorated with narrative scenes though
those on the subsidiary piigas arc rather crudely carved.
Along the vcnical plane the bii(!a is divided into three principal patts, the piibhiiga,jiiligha
and baraf!(/a. The piibhiiga (base corresponding to the foot) consists of three horizontal
mouldings and measures 41 inches in height, generally half the height of the j iingha on these
early temples. The lowest moulding, the hoof-shaped kh11ra, and the middle no/i (lor11s) with
a semi-circular profile, are devoid of decoration. The top moulding, in the shape of a kh11ra,
is decorated with ornamental scrollwork on its m11hii'!/i (projecting edge at the base) and
lotus designs, rai!)•a-medallions, animals and human figures, often engaged in battle, on its
sloping upper face.
Thejiirigha (wall ponion corresponding to the shin) is 82 '/ 2 inches in height and consists
of six courses of stone. Projecting out from the lowest course, beneath the niche of the
subsidiary piigas, is a lala-bandhanii or stringcourse consisting of a row of metope-like blocks.
These projecting blocks arc carved with lions, elephants, monkeys, human figures and
mi1h11na motifs. Some of the blocks were left unfinished with merely the outlines of the
motifs indicated. In these early examples at Bhubaneswar both animal and human motifs
intermingle whereas on later temples they become standardized with only elephants and
lions represented. The motif itself most likely derives from the dentil cornice appearing on
the architrave of early Gupta temples and Buddhist caves, carved with lion-heads at
Dcogarh , Marhiii and in the shape of lt.irtim11kha masks at Ajanta. The top course of the
Original from
THE EARLIE.ST SU RVl\'ING TE~1PtES ()f O RISSA jj
! -- - - ... ' - -- j
--ti•. , .. __, -, r- !(I'
Bhubancswar: Sacrughnc-5vara Tc-mple
jingha, just below the bararl(/a, is decorated with an ornate scroll motif of swirling foliage
and vines in which human figures often appear. In one detail oo the north side a figure
appears in a swing amidst a whirlpool-like configuration of foliage.
The bara!Ji/4, the uppermost horizontal mouldings which demarcate the biii/a from the
gatJi/i, consists of three mouldings. The top and bottom mou ldings project out from the
facade while the middle moulding is recessed. The lower moulding is decorated simila r to
the top moulding of the pibhiga with lotus designs, roit)'o· medallions and human figures
frequently engaged in combat silhouetted against an otherwise plain background. The
upper projecting moulding is decorated in a simila"r manner and forms the first bara11i/i of
the lowest bhi111i of the garl(ii. The recessed area sandwiched between these projecting
mouldings is decorated with mythological narrative scenes, including the M arriagc of Siva
on the south, badly damaged, and the Marriage Procession on the north side. Although the
figures in these na"rrative scenes are slightly squat in body proportions, with heads overly
large, they exude a certain charm and are remarkably articulate considering the narrow
space in which they arc confined.
2. Ga11i/i Dtfora1io11
The g1111i/i (spire) of the Satrughoesvara rises to a height of approximately 30 feet above
ground level. Particularly unique is its paii<o·ratho p lan with five projecting pigos on each
side in contrast to the lri-ralho plan of the bii/o, a combination unique to early Oriss•n
temples. Only the center or rihi is a vertical extension of the lower design, the ka11ika
(comer) and anarlha (intermedi2te) pigns beginning above the bora11i/a and completely
independent in alignment from the subsidiary pigo1 of the bii/a which tcrmin•te beneath che
bara!li/a, a feature which re-enforces the truncated appearance of the ga11i/i. The ka11ika is
divided into live bhii111iJ (horizon12I tiers or stories) by bhii111i-amli1 (ribbed discs) with each
bhiflfi being subdivided into fou r bhimi-baratJpiJ in addition co the ribbed aflfla. The upper
two bara/lilis arc thin and joined together at the center by a cailjo·mcdallion which serves as
the upper part of a small vajra-11101/aka motif, the lower roiljo·mcdallion appearing on the
bara!fpi immediately below. These railja·medallions fr<:quendy hous<: various deities,
Original from
)4 THE F.ARl.I EST Sl: R\'1\'ING T EMPl.F.S OF ()R ISSA
mith11nas or lion motifs. The lowest bara11(ii, on the first bhiimi serving as the top moulding of
the bara/llfa division, is decorated with frieze designs on its ,,,uha11/i (projecting lower edge)
and animal, floral or rait;·a designs on its sloping upper surface, all lightly carved, as on the
bara11(ia and top pabhaga mouldings.
The anartha consists of bara11(iis superimposed one above the other continuously to the
bisaffla rather than being subdivided into bhiimis, though four such bara11(iiI correspond to a
bh,;,,,; division on the /eani/ea. Each baran/i is decorated with an ornate triple raitya motif
(11dgama) consisting of a center keyhole or trefoil-shaped niche with extended wings or
flanking half-medallions. As on the rait;·a designs on the bara11(iis of the /eani/ea, strings of
pearls frame the motif, an ornate feature peculiar to early Orissan temples. The thin
recessed an11raha separating the /eani/ea from the anartha is decorated with superimposed
•ajra-m1111(iis (miniature shrines with crowning vajra-fflasla/ea), one for each bh,;,,,; division.
These vajra-m11f!(iis arc complete with pabhaga, tala-bandhana (dcntil frieze), sill with lotus-
pctals, niche and crowning vajra-masta/ea of two superimposed raitya motifs. The niches arc
filled with 111ith11na motifs or Brahmanical deities, including various aspects of Siva, Ganesa,
Kiintikeya, Surya and others. The upper cait;·11 is frequently flanked by yale1i or ialabhaijitea
figures.
The center paga or raha consists of bara11(iis (horizontal mouldings) superimposed one
above the other continuously up to the bisama as in the anartha and likewise decorated with
triple raitya-mcdallions. These medallions arc more widely spaced, with the increased width
of the raha, and the center medallion generally houses a figure or bust of a deity.
Superimposed in front of these mouldings of the first two bhiimi divisions are large vajra-
fflasta/ea motifs. On the front facade, above the entrance to the sanctum, the motif is even
larger and consists of two superimposed taitya-medallions crowned by a leirti11111/eh11 mask
and a surmounting image of LakuliSa. The upper pan of this motif does not extend the
width of the raha so that the ends of the underlying horizontal barari(iis are visible, forming a
p11riraha. The medallions are framed by strings of pearls dripping from the mouth of the
/eirti•11/eha. The circular upper medallion houses a Na1ariija image while the larger lower
medallion, keyhole in shape, houses a Riivaniinugraha-vadha-muni. Visually this large
vajra·fflasta/ea motif, projecting slightly from the underlying horizontal bara11(iis, serves as the
crowning clement to the truncated rtleha design framing the entrance to the sanctum,
transforming it into a vajra-11111n(ii or tora11a, and unifies the ba(ia and ga11(ii by vinually
obfuscating the divisive function of the bara11(ia at the raha.
The outline of the ga!'(ii inclines gradually inward in a convex curve at the top where it is
crowned by the mastalea which is composed of a be/ei (neck), afflala/ea (ribbed disc), /ehap11ri
(skull, flat bell-shaped member), and /ea/ala (water jar) with surmounting iileaialinga finial.
l · Portal Dftora/ian
Some of the most bcau1iful carving on these earliest temples appears on the doorframes.
In that the doorframe is one of the most conspicuous features of the temple, i.e., it is at eye
level and confronts anyone wishing to perform pija within, it's only appropriate that its
decoration be ornate and exquisitely carved. The decoration not only beautifies the entrance
into the garbha·grha but acts as a frame for the enshrined deity as well. At the same time the
doorframe functio ns as a magical barrior around the doorway, the most vu lneroble pan of
the temple "where perils must be warded otT and co ntamination with the impurities of the
Original from
-
THf. EA Ri.iF.ST SL'RVIVING TEMPl.F.S <JI' llRISSA
,.·orld prevented."" It is thus only oatural that its decoration contain complementary dual
Ai:ni-Soma characteristics. The decorative program on these earliest temples consists of
tirJraptilas at the base of the jambs, ornamental scroll work, and a tivJra-la/afa-bimba panel on
the lintel over the doorway. Except for the conspicuous absence of mith11na images,.. the
decoration of the jambs follows closely the injunction made by Varihamihira in the Brhat
Salilhifti (16. t•·• s) that one quaner of the jamb contain a tlviiraptila (pratihiiri) while the rest
of the decoration consists of auspicious birds, irivrlua, svastilea, pi'(la·gha/a, mith11na, foliated
scrollwork and dwarfish figures." For rhe most pan it is decorative scrollwork which
dominates rather than figure sculpture as on doorframes elsewhere in India at this time.
Although there arc cenain motifs consistent with Gupta traditions, such as the overall "T"
shape of the frame, Gupta influence is most noticeable on the later Parasurimcivara temple
and numerous temples from the Bhauma period. The overall decorative program of the
doorframc on these earliest temples thus appears as a variant interpretation peculiar to
Orissa. The program is not standardized as yet, suggesting the experimental nature of the
temples, though the changes that will appear on later temples will be subtle rather than
drastic; the basic decorative program is essentialty established at the very beginning. The
dccorati,·e program of the rJhJ niches, which cut through the ptibhJga mouldings simulating
a doorway, is vinually the same as the entrance ponal, with lintel, scrollwork and
tirorapJku, though on a reduced scale and not as exquisite in workmanship. It is panicularly
on these niche frames, in fact, that the quality of carving is uneven, suggesting workshop
panicipation. Being away from the entrance to the sanctum they were less likely to be
noticed and accordingly were the product of workshop apprentices rather than master
carvers. The extreme disparity in quality noticed on these temples suggests that the
,.-orkshops were not as yet firmly established, that there were in fact few master carvers and
little in the way of an established tradition upon which to draw.
The door is framed on all three temples by four bands of decorative scrollwork on each
side with the outside band extending outward at the top and crossing horizon12lly to
enclose the lintel within the overall "T" design of the doorframe. The two tivtiraptilas arc
placed at the base of the two inside jambs of the entrance, or the inside three jambs of the
rJhJ niches, occupying exactly one-founh of the total height of the door-opening. The
scrollwork is extremely varied though generally the outside band is either the jalapatra
molif of superimposed water-plants or a rope-like design consisting of diagonal ribbons.
The inside band is consistently ornamented with the ha,;,sa-latJ scroll. Other motifs include
geometric designs, squatting atlantid dwarfs, lotus rosettes, plif'!llZ·gha/as, rairya·medallions,
the lirlga and one example of the gtlaba scroll (#limon/elll1) of diminutive figures climbing a
meandering vine. The scrollwork on the entrance ponal is extremely refined in contrast to
the rather crude workmanship exhibited on many of the jambs of the rJho niches.
The tlvJraptilas (door guardians) at the base of the inside jambs combine a dual
compl<mentary symbolism implying apotropaic/propitious aspects. The guardian on the
proper left is a Bhairava or frightening aspect of Siva, the tlvorapola Nandl. He is generally
represented with a mustache, thin beard and open mouth with bared teeth.•• The guard on
' \ l\ramri~ch, Tht Hi11"11 Tt•plt, pp. ) 1)· )1 6.

• The only •1th•N1 on a doorframe app<:ars on chc ca~1 ri1'i niche t )f chc l.aksmanei.,·ar1 temple "''here it is
p1i ccd 11 rhc h as.c of 1hc jambs.
41 \'arlham1h1r2. 8nho1 .1·t1,;,hiti, ed. h}· Sudhakara 0.,·ivedi (lknarc!I, 1Ac)s ·91).
41 R.amacandr:a K aulacara, $1/po ProJ:Aio, l , s1c>ka$ 169·1 7 1, 1ran$. by A h cc Boner and SadiS.iva R:11h Sarmi
Original from
TH E J ~:\kl.Jl-:.ST SL.R\' J\' ll'G T F.~ IPJ .ES <>F ()RISSA
the right is Mahakala and represents the benevolent aspect of Siva, as is evident by the
pleasant countenance of his face. The guards arc generally four-armed and hold a trident,
rosary and vija-piiraka (ball of meal) in three hands while placing the other hand on the hip
in ka(ytivalambita. Diminutive attendants frequently appear in the lower comers of the niche
with one occasionally representing a personified trident (triiiila-p11"'1a). The hair is neatly
matted on top of the head of the dvtiroptilaI and they are richly ornamented. A Iarpa-kk~rfala
(circular earring with a serpent) hangs from their right ear and they wear exquisitely carved
oval-buckled girdles. The figures arc rather squat in body proponions but are finely carved.
They usually stand in a slightly flexed pose with both feet firmly planted on the ground. An
exception to the above appears on the doorframe of the Bharatesvara where the dvtiraptilaI
arc two-armed, stand with one leg crossed behind the other, lack attendants, and are less
refined in overall treatment though not as awkward and crude as the workshop images
appearing at the base of the rtihti niche jambs. The dvtiraptilaI on these earliest temples arc
also not uniformly housed within niches as on later temples. When placed in niches the
ceilings arc crudely arched over their heads and they appear rather cramped.
The horizontal lintel over the doorway or rtihti niches on these temples is dominated by a
rectangular panel invariably carved with a narrative scene, animal procession or mith11na
images which appear above the standard dvtira-la/afa-bimba panel. In one example, originally
attached to the southern rtihti niche of the Lak$mat)esvara temple and now housed in the
Orissa State Museum, the panel is decorated with graha images which funhcr testifies to the
door-like character of these niches. In the example in Iit11 on the Sat,,",ghndvara temple the
dominant theme is the conjunction of opposi<es, i.e., the union of male and female principles.
The central companmcnt is divided into two uneven sections with an image of Hara-Parvati
occupying the larger upper area. In the lower section arc the respective mounts of the two
deities. This central companment is flanked on either side by a miniature tora114 housing a
female figure. On each end is a miniature shrine housing the lingo on the proper right and the
face of Siva on the left. The carving is not as neat or crisp as on the major images of the
temples and the figure types, panicularly the facial features, arc different, suggesting the
panicipat.ion of a different master-carver. This panicular style becomes the dominant style on
the slightly later SvarQajalesvara temple though there the carving is more competent and
refined. This panel represents, perhaps, one of the earliest works of this master-carver.
Among the detached architraves originally attached 10 the rtihti niches is a Hara-Parvati
panel piled among the debris arranged as a compound wall around 1hc «mples. The
workmanship is crude, however, and obviously 1he work of an assistan1. Two 01hcr
examples among 1hc debris arc decorated with maith11na images. Smaller panels were placed
above 1he niches of the subsidiary ptigaI one of which is in ,;,,, on the nonh side and is
decorated wi1h a Hara-Parvati image crudely carved.
The dvtira-la/iifa-bimba motif on these earliest doorframes is badly damaged on both the
Bhara1esvara and Satrughnesvara temples, only fragments being visible.• so it is impossible
to determine if they were decorated with the Gaja-Lak$mi motif or not. The lintel of the
Lak$mat)esvara temple, now in the Orissa Staie Museum, is decorated with an image of
GaQesa on the dviira-/a/iifa-bimba panel sea1ed in ardhaparyalilea and flanked by devotees, in
various anitudes of adoration, or by garland-bearing vitlytidharaI.
(l .tidtn, 1c)66}. pr('~Cril\C!: that the (ur1ous N andi lihairava should ha\·t (our arms and "h a\'t a ttrrif~·inj.t ,
drc:adful face and be adt>rncd wi1h a ma..'s of matted hair."
Original from
Ti il:. EARLIEST Sl .R\' l\'ING TP,;\fPlt.-:S (lt= <>RISSA )7
4. C11/1 lma,~tJ
There arc, unfortunately, no surviving piirivo-devata images in si111 on these three temples
though there arc fragmented images among the debris, as well as broken images in some of
the subsidiary niches and smaller images in <ailj'o· medallions of the deities normally
assigned to the riihii niches. Jn one example, which may have served as a parfva·devotii, all
that remains is the fragmented head of GaQda and his upper two hands along with Rying
vidhyadhoras in the upper comers. Much ~tter preserved, though smaller in scale, is the
image on the Lak~mal)eSvara lintel and one housed in a <airya-mcdallion of a vajr11-1111117(ii on
the south wall of the Satrughnesvara temple. That the iconographic program is not as yet
standardized is evident by the fact that in two of these three images one of the objects held
by GaQcsa is a lotus rather than the rosary standard on most later examples. Held in the
other three hands arc the /ul/hiira (hatchet), mi/o,l,,,nda (radish) and mada,1,,,-piitra (bowl of
sweets) standard on most GaQesa images.
There is only one surviving example of the DcvI from these temples and it is but a
fragment which is piled among the fallen debris. As such, however, it is the earliest known
image of J\iahisamardini from Orissa. Only the upper torso and upper two right arms of
Durga have been preserved, the hands holding a sword above her head and the shaft of a
trident. Her hair is neatly piled on her head and a it.N[l(iala hangs from her right car. Her
body ornamentation consists of an arm-band, necklace and it.N<ha-bandha (breast-band). The
carving is crisp and neat.
Karttikeya appears not 10 have been enshrined as a piiriva-devatii as there arc several
images, and fragments, wh ich obviously lilied subsidiary paga niches, some of which are
still in 1i111. One such image 61ls the southern niche of the east or back side of the
Sa1rughnesvara temple. Karttikeya is seated cross-legged on his peacock-mount, the legs
crossed ~hind the head of the bird. His hair is arranged in the filehantfalea coiffure with
tresses spreading evenly down to the shoulders. He wears large /ul17(i11/111 on the cars and a
1yaghra17aleh11 (tiger-claw necklace) with a tortoise around the neck. The faleti (spear) is held
in his left hand. Similar early examples appear on the Sva<Qajilesvara and Parasurimesvara
temples, though on the latter the legs are crossed in front of the peacock's head. A smaller
example appears on the northern wall of the Satrughncsvara placed in a <ailj'a· medallion,
the peacock represented in profile. In another fragment within a subsidiary piiga niche only
the head of Karttikeya and the tip of the fakti have survived. Unusual is the coiffure of
Karnikcya in which the center mesh of hair is arranged in a /ear1117tfa-m11/ul/11 (terraced
crown) while the side meshes Rare out and down 10 the shoulders in the more typical
manner.
There is in addition an image of a standing Kirttikeya, his head now missing, among the
debris stacked up forming the compound wall. The deity has extremely broad shoulders
and rather crude body proportions. Jn contrast to other early examples he holds the fakti in
his right hand which is awkwardly held against the right hip. His peacock -mount,
represented frontally, and a female r1111ri-~arcr occupy the lower corners. The fact that
Karttikeya is attached to the jambs of the niche, rather than being carved separately in the
tradition of early piirfva·devalii images, and the type of scroll motifs on the jambs, suggest
that he probably lilled a subsidiary piiga niche.
Among the images housed in the subsidiary piiga niches of the Satrughesvara is a ten
armed Na1araja on the west corner of the north side. He is depicted go ing through the
Original from
THF. EARi.JEST SUR\1 1\'INC) TE~tPLf:S <>F <>RISSA
calculated motions of a slow and pacific dance while playing the vi11i held in two of his
front hands. His face is calm and sublime yet he is represented as irdhvaretas, i.e., with erect
linga. The two uppermost hands hold a serpent over his head while the lowest right hand
rests on his thigh. Most of his other arms arc broken-of!" though vestiges of a rosary and
trident are visible. In the lower right comer K:intikeya assumes a dance pose astride his
peacock. The bull Nandl appears behind the left leg of Siva while fragments of a garia are
visible in the lower left comer.
A six-armed dancing Ardhaniirisvara fills the western niche on the south side. The gait of
the dancer is much quicker and the knees arc lifted higher. The face is no longer calm but
seems somewhat intoxicated with the rhythm of the dance . Unfonunately the central pan of
the image, containing the female breast and erect li11ga, is missing. The arms, though badly
damaged, are panially visible and most of the attributes are recognizable. The upper right
hand holds a trident, the lower one a rosary while the middle hand is held in a dance pose.
A mirror and 11i/otpala are visible on the left side. The hair is matted in a bun on top of the
head and a 1arpa-ltx11Jala hangs from the right ear. A diminutive bull and lion, the
respective mounts of the god and his conson, occupy the lower comers.
A third dancing Siva is enshrined in the upper 'airya-medallion of the vajra-mastaka on
the front facade of the ga11Ji. In this example Naiariija is 11-armed and holds the serpent
above his head with his upper two hands. A diminutive Nandl appears below Siva's right
knee.
A more solemn and hieratic image of Siva as Hari-Hara fills the nonhem niche of the
west facade. He stands in a rigid frontal pose with both feet firmly planted on the ground.
He holds a trident in the upper right hand and vestiges of a 1arpa-/tx11Jala are visible behind
his right shoulder. The other attributes are too damaged to be identified. A ga1111 appears in
the lower right and a female, looking up at the deity, occupies the lower left corner.
One of the most popular cult images appearing on these earliest temples is that of Siva
and ParvatT seated together (Hara-Parvatl). The largest and most impressive example
appears on the lintel of the Satrughncsvara. Both figures arc seated with their nearest leg
represented in profile stretched across their frontally depicted body in mirror-i.magc fashion
pointing in opposite directions. Although P:irvati turns her head slightly towards Siva the
two figures appear more separated than united, a separation funhcr emphasized by the
trident placed between them. Parvatl assumes a similar pose on a second lintel, now
detached and piled among debris, though Siva is seated in the ardhaparyanka pose with one
leg uplifted so that the figures arc not as separated. In the Rivai;ianugraha-vadha-milni of
the vajra-maslaka, on the other hand, the frightened P:irvatl emphatically clings to Siva. In
this motif the couple arc Ranked by their sons, Gal)csa and Kiintikcya, who hold their
weapons ready to strike, while the ga11111 make faces or obscene gestures at RiivaQa. The tcn-
armcd Raval)a is depicted with live heads aligned in a horizontal row.
Another popular image on these earliest temples is that of Lakullsa, suggesting that these
shrines were in some way connected with the Piisupata sect founded by Lakulrsa around the
first century A.0. 49 Numerous other early images, as in the Bharat! Ma1ha, in the Paiica·
Pil.Q~ava caves, on the Parasuramesvara, and on many temples of the 8th and 9th centuries,
attest to the great popularity of this sect at this time in Orissa. Futthcr evidence lies in the
fact that one of the four Sanskrit texts professing to deal with the history of Bhubancswar
t.'9 P:anigr:ahi, A rrhatDlogiral RtMai tt1 al 8hN-hafft/M'af', p. 1.r.4.
Original from
THE EARi.iF.ST S\;R\'l\'ING Tl\MPLUS OF O RISSA 39
is as.ociated wirh a famous Piisupata teacher, i.e., the Kapila-1amhifa, while several of the
earl)· remplcs were named after such teachers - the Pariisasvara (Parasuriimesvara),
Kapilesvara and l\iitrcsvara. In addition the oldest 111afha at Bhubancswar, the Bhararl
~fa1ha, still follows the tradition, observed by followers of the Pasupata sect, of setting up
a /in1.a111 to represent a dead teacher and erecting a temple for it .50 On the Satrughncsvara
an image of Lakulisa appears surmounting the crowning ltirti11111kha of the vajra-1"aJlalt.4 on
the front side of the ga1Ji/i, as on the later Parasuriimcsvara temple. A second example, also
badly fragmented, is among the debris forming the compound wall. In this example
Lakulisa is shown in the traditional dharmaralt.ra-pravarlla11a-mlltira with the lalt.llfa (srafl)
held in the croo k of his left arm. He is housed in a railja-medallion with the head of Siva
en<hrined in the medallion above.
Of the images of Surya the most interesting is a detached sculpture resting on top of the
pabha1.a mouldings on the back side of the Lak~mai;iesvara temple. Surya is standing in a
frontal position holding two long-stemmed lotus Rowers in standard fashion. He is rather
squat in body proponions and probably the product of workshop assistants. A standing
figure is carved on the Rank of the stone block so it is difficult to determine the position this
image " 'ould have in the decorative program of the temple as the image of Surya on the
front of the block is encased within a niche. Smaller images of Surya, generally in a seated
po se, appear on the bararr(ii1 of the garrfli.
In general the iconography of the decorative program on these earliest temples is still in
an experimental stage. Images of Gai;iesa, K:irttikcya and Mahi~amardinl, for example,
" ·ere placed in the niches of subsidiary paga1S• whereas on later Orissan temples they arc
almost always enshrined as par/va-devala1 in the raha niches. Also suggesting this
cxperimcnt•I stage is the lack of standardiz2tion for the guardian figures placed at the base
of the jambs of the raha niches, some of whom arc <aNri-bcarcrs and one of whom is the
popular motif of a woman standing in a half-opened doorw2y. It is this lack of
standardiz2tion, as well as the disp2rity in anistic quality, which suggests an early date for
these temples.
J. Erotir I 11tagtry
O ne of the most common motifs appearing on Orissan temples is th2t of the mith,,na o r
amorous coup le. With few exceptions, erotic image ry appears on all Orissan temples,
including those which arc poorest in decoration, even when other deco rative motifs arc
omitted . This is as true today in Orissa as in the ancient past. Like the pariva-devata1,
dl'arapa/111 and vajra-ma1talt.a, erotic imagery appears to be an obligatory decorative device
"·hich had the sanction of the sacred texts. At Bhubancswar, contrary to popular opinio n,
the 111ithM11a motif becomes extremel y intimate, or obscene depending on one's frame of
reference, at a very early date. It was Panigrahi's contention that the earliest "intimate"
examples, i.e., examples in which sexual congress is represented (maithJ1na), make their
initial appearance on temples of the Bhauma period, such as the Sisiresvara and Va ital
Dcul. He thus concluded that their origin was due to the spread ing of a "debased" fo rm
of religion combining clements from Mahayana Buddhism, Tantrism and Pasupatism
\0 IJ,,J.. pp. 114- 111.

" The 1maj{c:'S t) f Ki n11kcya and Gar:ic:~a al"o tpf)C'ar in the: niches o( subsidiary pJgas on 1he la1c r
S1mh1n2.1ha 1cmplc.
Original from
THE E ARLI EST Sl' R\'J VJNG TEMPI.ES OF ORISSA
emanating from the Tan<ric-Buddhis< Puspagiri-•ihara nonh of Bhubancswar.S2 Maith1mo

scenes, however, arc present on these earlies< temples which da<c wcU before the ascendency
of the Bhauma-karas. The origin of these erotic images thus must lie elsewhere and should
not be tied to the emergence of Tantrism, though this form of religion docs inAuencc the
position and changing tenor of erotic motifs on later temples. The most plausible
interpretation for the origin of erotic imagery, backed by religious sanctions and the images
themselves, is that, like any other motif, they are auspicious and function in an
apotropaic/propitious manner to both protect and beautify the tcmplc.'J In this respect
erotic imagery is pan of the overall decorative program and in most cases analogous to and
interchangeable with other decorative motifs which likewise serve both to protect and
beautify.
Probably the motif where the apotropaic/propitious function is most obvious, and best
understood by Western scholars because analogous imagery appears on Western structures,
is that of auspicious exhibitionism. An example of this motif appears above the niche of a
subsidiary pago on the western (front) facade of the Satrughnesvara temple. The motif is
that of a female 6gurc spreading her legs to expose her genital.ia, a ritual act embodying the
apotropaic/propitious power of the female principle. In contrast to analogous Western
images, such as the Gorgon, Bes or Shttlo-110-gig where terrifying aspects arc stressed
suggesting horror to aven horror, the Indian displayed female is beautiful and all of her
feminine characteristics arc emphasized so that beauty and the life-giving principle serve
here to repel evil. The d.isplaycd motif thus combines fenility, long life and rebirth
(propitious qualities) with death, destruction, repulsion (apo<ropaic qualities) to both repel
evil and insure long life. In many examples of this motif on Orissan temples the displayed
female is associated with a male counterpart and, as such, arc prototypes for the later motif
of a displayed female straddling a /iliga. On the Satrughnesvara example this association is
more implied than explicit as immediately above the displayed female is the representation
of the male principle symbolized by the head of Siva. This image of Siva is housed in the
lower rairya-mcdallion of the •ajra-masta/ea crowning the paga design. In the upper medallion
is a lefrli11111/eha with projecting tongue. The •ajra·masta/ea is the most powerful apotropaic
motif on a tcmplcS4 and the gesture of sticking out the tongue serves a similar function of
warding off evil. Male exhibitionism is also popular on these early Orissan temples. In most
ca•~s the exhibiting male is a dwarf yal'!a and is generally represented in a squatting
po~ition with hands resting on his feet or in a displayed position as a bhararale1alea
simulating a supponive function.
Among the explicit 111aith11110 motifs is that of a female mounting her standing male
partner, clinging to him like a vine, while he suppons her with his hands around her
ankles. This motif appears on the south Aank of the projecting •ojro-ma1ta/ea on the west
facade of the Satrughncsvara. Other 111aith1111a scenes appear on two detached lintels piled
among the debris forming the compound wall. ln the first example there arc three
111i1h1111afmaith1111a scenes enshrined within niches and a fourth scene of two hamsa1 face to
face with beaks touching. On the second lintel there are four 111i1h11no/111ai1h11na scenes with
one depicting penetration from the rear. On a fragmented third slab, also piled among the
SJ Panigrahi, .4rthatolo1.irt1/ R t mai111111 8611hont111'11r, pp. 1oz.· 106.

" For a mo~ dC",ailcd discus ~ ion sec below, chapter X\1lll.
S4 Sec Vasudcva Agrawala, j '1Mdir1 in /11dia11 Ari (\ 'ara.nasi, 196s}, pp. 1Js·140.
Original from
1·111·: EARl.l ..:ST SUR\' l\,.ING T Ef\IPl.l~S ()f. tlRl$S.\
debris, the scene depicts a male figure seated astride a reclining female, gently cupping her
head with his hands, with a standing male nearby holding his erect linga"' with his left
hand. Afaith111111 images arc also carved on the projecting tala-bandhanti blocks.
,\lith11na/ 111ailh11114 images ar< thus prevalent on these earliest Orissan temples and play a
role in the overall decorative program. In general the tenor of these erotic images is one of
ext rcmc tenderness and compassion in contrast to the more hieratic and acrobatic
atmosphere dominating later temples.
6. Dtrorati1•r Alotij1
Of the figure motifs appearing on the temple, other than those discussed, one of the most
popular is that of a bust housed within a tai!Ya-medallion (htd11). In many cases the bust is
that of Siva as evidenced by the third eye and the sarpa-hn.t(iala hanging from the right ear.
Occ2sionall)' a linga appears above his head and Pit!Jtidhara1 are represented within the tai!Ya
or Ranking it. Also popular is the motif of a seated male holding a lotus Rower in his right
h2nd which generally rests on an uplifted knee. In some cases a third eye is visible and •
1arpa-lutni/ala hangs from the right e2r. Other figure motifs include seated ta11ri-bearing
attend2n1s 2nd atlantid-dwarfs. l\1any of these 2tlantid figures assume acrobatic postures
"·ith limbs projecting in all directions.
Also popular, though diminutive in size, 2re w2rriors fighting various animals, such as
the !lfakAra, or engaged in combat. These scenes generally appear on the top moulding of
the ptibhaga or on the mouldings of the bara11i/a and ga11{ii. Only a few examples of female
im2ges h2vc survived and they generally were associated with the vf1ira-mastaJ,,, motif,
either on the ga11{ii or on subsidiary paga1. In one fr2gment containing a itilabhaiijil<4 there is
2 dancing male figure within the venical extension of the tai!Y•· Similar examples appear on
the slightly later Svan:iajiilesvara temple.
Of the animal motifs appearing on these temples the most popular are the lion, elephant,
111aJ,,,ra and hamJa. The lion and elephant are panicularly popular as decorative motifs on
the projecting tala-bandhanti blocks. Generally the elephants 2re depicted in profile while
only the head and shoulders of the lion arc rendered, either frontally or in profile. Absent,
ho"-ever, is the popular motif of a lion attacking an elephant (,gaja-/uanta). The frontally
depicted ltirti,,,11/tha mask is most prevalent on the bhliffli-baranfliJ where it is normally
housed within a tai!Ya-medallion. Its face is highly stylized and often includes holes drilled
into the stone in the area of its elaborately combed mustache. Consistent with the iilpaiti1lra
descriptions, as in the Aparajitapriuha (ch. 119),ss the lion mask is characterized by
projecting horns, fangs. frowning eyebrows, bulging eyes and fan-shaped ears. Its tongue is
oitcn protruding and a medallion is placed between the eyes.
The aquatic 111aJ,,,ra is generally represented in profile with a shon body but with a tail
ofrcn assuming fantastic arabesque designs with tendrils curling back towards the head.
The ham1a receives the most fantastic treatment, in many cases serving as a fountainhead
for decorative scrollwork. In some instances its neck is stretched out to exaggerated lengths
as it pecks for food or twists its head back towards its tail. Occasionally two b irds face one
another in the act of kissing or with festoons of pearls dripping from their beaks.
'' For furihcr htcrat)' dcscr1pt1ons sc:c \ '.S. 1\ji:tawala. op; rit,. p. 158.
Original from
THF. f.,\Rl.IF~ST Sl!R\!l\' INC T fi l\IPl.l-'.S t)F f )RISSA
The most popular non-figurative decorative motifs, other than scrollwork, arc raitya·
medallions and the piiNJa-gha/a (vase of plenty). The cailJa is generally represented with bead
or pearl borders and may house figure or floral motifs. It most often appears on the top
moulding of the piibhiiga or on the bara!llis of the gafldi. On the anartha of the ga{ldi it assumes
a triple medallion design and serves as a prototype for the later multiple caitya scroll with
interlacing ribbons popular during the 10th century. On these earliest temples the carving is
quite crude and irregular in con1ras1 to the more refined examples carved on the larcr
Parasuriimesvara temple. T he piiNJa-gha/a motif appears most often at the base and top of
jambs framing rhe portal or piiga niches.
Decorative scrollwork appears both on horizontal mouldings and vertical jambs. In
general the scrollwork is exuberant and extremely varied in design with little attempt at
symmetrical balance, almost chaotic in nature in contrast to the more uniform treatment on
later temples. T he motifs may be either geometric or organic, or a combination of both as
in rhe mali ph1tla phadilea scroll. Horizonral scroll work is confined to the top moulding of the
piibhiiga, a frieze at rhc top of the jiingha, and on the bara11dis of the ga11¢i 2nd bara11efa.
Gener2lly the scroll is associated with ornamental designs such as the torus or with anim2ls.
The lotus frequently appears with a stylized taitya as 2n isolated motif rather than a
continuous scroll on the upper sloping face of the moulding. As a rosctre the lotus often
occurs alternately on either side of a meandering vine or framed within small squares
(rangani) or lozenges, a motif particularly popular on the 11111hii11/i of horizontal mouldings.
The leaf of the lotus also appears as a scroll with the leaves arranged next to each other
forming a geometric pattern (padma pr11ha) which generally decorates the lower edge of the
niche sill on the subsidiary piigas. Also geomcrric in design arc rhc diaper patterns, rows of
water-jars (/eJ1111bhitea-bandha) and alternating circlc-and·squarc designs. These inanimate
motifs arc generally confined to the 11111hii{l/i of horizontal mouldings or decorate the narrow
fillets (pa!!•) between mouldings.
In direct contrast to the rather geometric treatment of the lotus is the wildly exubcranr
arabesques of foliage forming the tail of the hamsa (hamsa-latii) or that of the ,,,afeara. Great
masses of rendrils ofren form meandering patterns which may extend the length of rhe
moulding as a continuous scroll. The most fantastic horizontal scroll, rhough badly
damaged, is th•t decorating the top course of thejiingha on rhe Sarrughnesvara remple. T he
scroll consisrs of swirling whirlpool-like arabesques entangling animals, human figures and
fruit. On the slightly later SvarQajiilesvara remplc this band of scrollwork is less chaotic and
consists primarily of uniform medallions housing various animal motifs while on later
temples it is climinared altogerhcr.
Vertical scrollwork appears primarily on rhc jambs of the piiga niches and rhe entrance
portal. The jambs of the subsidiary piiga niches arc decorated with piir!Ja·gha/as and panels
relieved with various motifs such as halitsa1, lotus Rowers, geometric designs and taNri--
bearcrs with litdc attempt at symmetrical balance. The niche jambs of rhc riihii, however,
arc decorated simi.l ar to those of rhc cnrrance portal and consist of multiple bands of
scrollwork. The outside jamb on each side cxrcnds outward and frames rhc lintel in a
similar "T" format. The decoration consists primarily of hamsa-lati, a meandering sralk
with circular foliage (ltN/ila'), the jalapatra scroll of superimposed water-plants, lorus-lcaves,
a rope-like band of diagonal ribbons and superimposed panels with various organic and
geometric motifs. In general the carving is not as crisp or refined as the carving on the
portal jambs and in many cases is the work of assisranrs rather than the masrer-carver. The
Original from
THE EARl.IEST St:RVIVl"'G TE~fPl. ES OF ORISSA 4)
scrollwork on the ponal jambs, on the other hand, is exquisite and represents some of the
most beautiful carving on these early temples. In addition to the motifs appearing on the
riihii jambs is a single example of the gtlaba motif of diminutive figures climbing a
meandering vine, a motif standard on later temple doorframcs. There is also only a single
/eirtim11JdJa motif, one example of addorsed atlantid figures and a /iriga enshrined in a
shallow niche. The thin fillets between the jambs arc decorated with beads l.g1111i/ihT), dentils,
lotus-leaves, lozenges and rarigani motifs.
The carving techniques vary from rather shallow engraving to deep perpendicular
cutting, suggesting the use of a drill, which results in a lacelike play of light and dark
rhythms. Shallow cutting is usually employed for geometric motifs whereas deeper cutting
occurs most frequcndy with organic motifs such as the halitsa-latii. Though characteristically
archaic in execution the scrolJwork is marked by exuberance and variety in design
unsurpassed by anything appearing on later temples. Even in these earliest examples the
motifs adhere close to the surface forming a Aoating incrustation, a peculiar Orissan
approach to decoration which will prevail throughout the long history of Orissan an.
In summary, though the earliest extant temples evince the basic clements of the later
temples in rudimentary form, suggesting a ccnain maturity, there is a lack of uniformity
and symmetry in the overall decorative program and individual motifs, as well as
inconsistency in iconography, suggesting the experimental narurc of these temples. There is
l.ikewisc a glaring disparity in quality of execution suggesting that the workshops have not
been in existence for a long time and that there is a scarcity of master carvers. !'.luch of the
work was assigned to workshop assistants, particularly minor decorative motifs or motifs
placed in positions on the temple not immediately visible. The three temples were probably
all erected within a relatively brief time period spanning only about a generation. If the
earliest of the temples, possibly the Lak5mal)CS\•ara, can be assigned to about A.O. ! 71, the
latest of the temples, most likely the Satrughnesvara, can be assigned to c. A.O. 600 at the
latest. It is evident, on stylistic analysis, that some of the sculptors working on the
Satrughnesvara also worked on the slightly later Svarl)ajalcsvara and Par.Suramesvara
temples, though their work on these later temples is more refined.
The next temple chronologically is the Svafl)ajalcsvara, siruatcd some 10 yards or so

south of the Parasuramesvara temple and just north of the Kotitirtha tank. Stylistically it
forms an intermediate link between the earlier Satrughnesvara and the slightly later
Parasuramesvara shrines. All three temples are tri-ratha in groundplan and have a similar
decorative arrangement of ptibhaga, jarigha, bara11"4 and ga'.'r/i. Close scrutiny, however,
reveals many subtle differences in decorative motifs as well as figure and facial types which
enable us to place the structures in chronological sequence. The time separation is rather
shon as stylistic evidence suggests that one panicular master-carver, or his atelier, was
active on all three temples, though his style changes during this period. We can, in fact,
follow the stylistic evolution of this master from incipiency to maturity on these three
temples.I<> On the Satrughn.Svara temple the number of works ascribable to this master are
» Sec Thomas Donaldson, "Individual S'ylc:s and \X'orkshop P2nicipa1ion in the: t·:arly Tcn1plc:s o(
Bhub2neswar", Chhor1 JI, ( ttanaras , 1981) , pp. 80-97.

44 THE E.,Rl.IEST SUR\'1\'ING TcMPLES OI' ORISSA
limited, the most accomplished being the Hara-Parvatl panel on the lintel of the western
ponal, suggesting he was most likely an assistant at this time under the direction of the
master-carver responsible for the overall decorative program. On the Svan;iajiilesvara he is
now the master-carver in charge of the sculptural program, his work more mature and
assured, as his style completely dominates the decoration. On the later Parasuramesvara he
is responsible for the major images in the niches though his style undergoes a change due to
inAuencc exerted on his a1elicr by the emergence of another master. This second master,
assigned minor work on the SvarQajalesvara, works in a more monumental and three-
dimensional sty le and is mainly responsible for the decoration of the gaflli and images on
the upper pan of the bai/a of the dt11/, though there arc a few examples, less competent and
probably by his apprentices, on the jagamohana. If the Satrughncsvara was erected in cirra
A.O. 600, as suggested above, then the SvanJajiilesvara can be dated to the first decade of
the 7th century and the Parasuriimcsvara slightly later.
1. Bida Dttoration
In contrast to the Lak~mar:iesvara group of temples and the Parasuriimesvara, which all
face west, the Svan;iajalesvara faces east. At present there is no evidence to indicate there
was ever a jagamohana attached to the sanctum.S7 The temple has recently been torn down
and is now being reconstructed so that it is possible that excavation may lead to the
remains of a plinth to indicate there was originally a frontal hall. The biiefa measures 19 feet
8 inches at the base and is thus the same size as that of the Parasuramesvara. The pabhaga,
49 1/ 2 inches in height, consists of three horizontal mouldings as on the Lak~mar:icsvara
group of temples with the top moulding similarly ornamented with diminutive figures,
hamsas, raitya motifs and lotus rosettes though here the images are larger and more three-
dimcnsional in concept. The figures arc also less narrative and more hieratic in nature, the
most popular motif being standing couples Ranking a raitya-medallion.
The decoration of the jarigha is similar to that of the Satrughnc5vara with the subsidiary
pagas designed as vajra·m119efis. The tala·bandhana again consists of projecting blocks
decorated with elephants, lions and sporadic examples of human figures including one
scene of /iriga·piija. The blocks arc either four or five in number and arc placed closer
together than those on the Lak~mal)<Svara group of temples. Unique to this temple is the
border of beads or pearls framing the blocks on three sides. The manes of the lions are
highly stylized, appearing like cascading pine-cones as on the earliest temples while on the
slightly later Parasuriimcsvara they arc depicted more as diagonal rows of wavy curls.
There arc also examples of ga)a·kranta motifs which were conspicuously absent on the
Lak~mal)esvara group of temples.
The riiha niche cuts through the pabhaga mouldings as on the earlier temples simulating a
doorway though the pedestal of the parlva-devata is slightly higher, extending up the height
of the first moulding. The truncated rtkha design is again tri-ratha in plan but a second set
of bhii111i-a111/as are placed above the barapefa where they serve as supponing members for the
large vajra-masta/ea on the base of the ga(ll/i so that the overall design of the raha and
projecting entrance is again transformed into a large vajra-mt1(1(/i. The vajra-m11(1(/is filling the
S7 Sec Sushi! Chand ra De, "Svarn:aj:alc&\'ar2, ()ne of th<: )";.:arl)· TC"mplcs of Bhubancsu:ar'', OJ-JR). X ( 196:),
p. 19.
Original from
TJIE F.:\Rl.11·'.ST Sl 1R\'l \' ING TE t\tP tl ~S <>P (lRIS.SA 4l
on11raha recesses of this truncated rtkha over the entrance ponal house within their niches a
S<aicd Vi~nu and a three-headed Brahma holding a rosary and a water jar.
The subsidiary pago1 arc again designed as small vojro·11t~(fi1 which terminate beneath the
bur•~(io. The niche is framed by a broad jamb on each side decorated with a pir~o-gha/o at
the base and top as on the Satrughnesvara temple. The shaft of these jambs, however,
;s decorated generally with coNrf-bcarers as on the Parasuramesvara whereas on the
Satrughnci.vara they were normally decorated with hom101. The ta11rf-bcarcrs on these niche
jambs of the Svan;iajiilcsvara arc treated in a rather flat manner consistent with the scroll
motifs above and thus do not so completely dominate the jamb decoration as on the
Parasuramei.vara where they occupy a proponionatcly larger area and arc conceived more
in the round so as to appear to project out from their background. The Parasurimcsvara
figures arc also more varied in pose, in some cases twisting into space with great
vehemence, whereas these on the Svan;iajiile5vara stand rather flat-footed with one hand
rcstini: on a shon shaft resembling a sword. The figure types arc also quite different, the
Parasurimcsvara females exhibiting large globular breasts held together with a hitbo-bofldbo
and more pronounced hips. The drapery treatment is also different, the legs on the
Para~u ramesvara figures being rendered in a smooth manner as if nude whereas the surface
of the lower garments on the Svan;tajalesvara females is broken-up by diagonal ripples. The
female lif.\ures on the Parasuriimesvara arc in the more monumental style of the second
master-carver, characterized by a fleshiness in the jowls or checks and a projecting
"bee-stung" lower lip in facial features, which contrasts greatly with the dominant style on
the Svarnajiilci.vara where the figures are flatter in treatment and evince a doll-like naivete
in facial features. There is generally no attempt at symmetrical balance in the scroll
motifs above these figures on the niche jambs on the Svan;tajalei.vara whereas on the
Parasuriimei.vara there is complete balance and standardization. The decorative program
for the niche jambs on the Svan;tajiilei.vara thus exhibits a lack of standardization and
refinement suggesting their experimental nature.
The transitional nature of the Svan;tajiilci.vara is also evident on the vojro-mo1toleA motifs
cro wning the subsidiary pagas. As on the Satrughnesvara the motif consists of two
supe rimposed toilj'a-mcdallions, each carved on a separate horizontal moulding. On the
Sv•rn2jiile5vara this design is more developed though it is less refined and sophisticated
than on the later Parasuriimesvara temple. Whereas the medallions on the Satrughnesvara
and Svarnajiilesvara temples only enshrine single figures, or lion masks, on the later
Para~uriimesvara the figures are more varied in pose and multiple figures are introduced.
Th<rc is also more variety in the poses assumed by the flanking figures on the external
u·ings of the upper tailj'a on the Parai.uriimei.vara, including ialobhatijilea1, females with a
parrot and even a figure holding a child. T he motif is more standardized; however, in that
all of the figures arc female. On the Svarl)ajiilei.vara the female figures all assume the
identical pose of resting one hand on the head of a dwarf or a shaft. In some cases the
females arc replaced byjagrata motifs of a rider on the back of a leaping lion. Crowning this
1·•1ra·mastaleA motif is a lotus half-rosette on all examples of 1hc Parasuriimesvara whereas
on the Svarnajalesvara this is occasionally replaced by a dancing figure as on the
Satrughncsvara group.
The top stone cou rse of thejarigha on the Svar1Jajalesvara is also decorated similar to the
Satrughnci.vara wi1h a band of scroll work just below 1hc boro11ria mouldings. In contrast to
the Satrughnci.vara, where 1he scrollwork consists of arabesque creepers arranj(ed in a
Original from
THE EARLIEST Sl' RVl\'ING T E MPI.ES OF 01\ISSA
chaotic swirling movement, here the decoration consists of neatly arranged beaded-
mcdallions framing lotus rosettes, hybrid creatures with foliated tails and hamsas. On the
Parasuriimesvara this decorative band is eliminated though an ornate scroll motif docs
appear in the riihii division of the bara{l(ia.
The bara11ifa of the Svarr:iajiilcsvara consists of two projecting mouldings separated by a
recessed lehiindi relieved with mythological scenes as on the Satrughnesvara temple. In
addition to scenes from the Rii111i!Ja!fa and Mah4bhdrata there is also the popular motif of
catching wild elephants.
1. Ga{li/i Dtroralion
The ga11i/i of the Svan:iajalesvara is pailra-ratha in design similar to the Satrughncsvara

with only the riihii continuing the vcnical division of the bii(la. The /eani/ea is likewise
divided into live bhli111is by bhli111i·a111/iis which arc decorated in a similar manner. The anartha
again is decorated with stylized triple <ai!Jla· medallions and the a1111riihii recess likewise filled
with miniature vajra-1111111ifi1. Among the images housed within the niches of these 1111111i/is are
Surya, Kiintikeya, Gai:iesa, various aspects of Siva, the Varaha avatar of Vi$QU and, most
popular, 111ith1111a images.
The uajra-111astau decorating the riihii on the east above the entrance is badly fragmented.
When intact it consisted of two superimposed raitya-mcdallions crowned by a lt.ir1i111111eha
mask as on the Satrughncsvara temple. Although the upper caitya housed a Na1araja, as on
the earlier temple, the lower caitya was filled with an image of Hara·Parvatl rather than the
Riivai:tanugraha·vadha·milni motif. The riih4 decoration on the other thrtt sides has not survived
though possibly fragments of it arc now piled up with the other stones now that the g~i is
dismantled and the debris at the base has been removed . Prior to being dismantled the ga'.'(ii
was completely overgrown with foliage and badly dilapidated. Originally it must have
reached to a height of about 40 feet as its base is the same size as that of the Parasuriimesvara.
The 111astalt.a or crowning members were mostly intact with the topmost clement being an
tilt.iilaliliga. st
~- Portal Duoration
The doorframe consists of three jambs on each side, rather than four as on the
Lak$mai:iesvara group of temples, with the outside jamb extending outward and across the
top to frame the lintel. Missing among the scroll motifs is the jalapatra consisting of
superimposed water plants popular on the corlicr temples. Panicularly ornate is the carving
on the inside band where sprays of foliage and lotus buds spread out in circular directions
from a meandering central sralk. In contrast to the decorative program on the jambs of the
earliest temples there is here a more conscious effon to symmetrically baloncc the motifs,
those on the left mirroring those on the right. The dviirapiilas arc not placed in niches but
project slightly from the wide inside band. The decorative program of the lintel is
obliterated except for vestiges of a Gaja-Laft.p,,; image in the center. On the architrave
above the lintel is the remains of a graba slab with five of the grahas panially intact. Each
graha is enshrined within a shallow niche and hos a halo behind its head.
"' Sec Ohaky. op. rit,. Pl. 1.
Original from
TH E EARi.JEST Sl.'RVl\'ING TEMPI.ES OF ORISSA 47
The architrave above the riihii niche on the nonh side consists of three horizontal panels
with the bottom composition, badly mutilated, containing a pair of Rying vitlJiidharas at
each corner Ranking the remains of a Hara-PiirvatT image. The second panel is decorated
,.·ith a 1adh11 worshipping a li!iga in the center Ranked by dancing ngures and musicians on
each side. The frieze at the top, better preserved, depicts the Marriage of Siva. A near
replica of this scene appears on the lintel over the cast riihii niche of the Parasuriimcsvara
while an earlier version is carved in the barO!fi/a recess on the Satrughnesvara. Each of these
three versions is carved by the master-carver responsible for much of the major decoration
on these respective temples and, in addition to evincing the peculiarities characteristic of
each sculptor, exhibit a progressive evolution in regards to composition and overall anistic
competence, each succeeding work being an improvement on its predecessor. There is also
a detached image of Siva and Parvati playing chess (dice). ·
The riihii niches arc framed by three bands of decoration simulating the decorative
program of the doorframc. The inside band of foliage is replaced, however, by superimposed
attendant ngurcs facing inwards towards the enshrined piirfwz-dtvalii. On the nonh the base of
the jambs arc decorated with a lion on each side facing the DcvT while the top moulding of
the piibhiiga is relieved with a Rying vit!Jiidhara on each side of the riihii niche. A niiga appears in
the upper comers of the riihii Ranking the lower two sculptural compositions of the
architrave.
All three of the piirfva-dtvatiis arc ;,, 1i111 on the temple, G~nesa on the south, Kantikeya
on the west and Pirvatl on the nonh. Now that the debris is cleaned away from around the
base of the temple the images arc in full view. The image of GaJ)esa is badly damaged with
all facial features and hands now missing. He is seated in ardhaparyanlea with his right leg
uplifted and supponing his lower right hand which appears to hold a lotus. The upper
eight hand holds a hithiira while the upper left most likely held the 111ilaleanda or radish. The
proboscis is taking sweets from the 111odalea-patra held in the lower left hand. His scat is
supponed by lions at the comers while underneath, in the center, is a dish of fruit placed on
a tripod. The oval-shaped halo has a beaded border and a narrow band of scrollwork. The
G;u:tesa on the Par.Surimesvara is similar in pose, with slight iconographic changes, but is
a more monumental and accomplished work.
The Kiintikcya image is also badly damaged, the head completely missing, and likewise
differs iconographically from its countcrpan on the Parasuriimesvara even though they
assume an identical lalitasa/14 pose with right leg hanging pendant over their throne. Both
images hold a vija-piralea (ball of meal) in the right hand. The Parasuramesvara image
holds the 14/eli in his left hand in the traditional manner whereas the Svan:iajalesvara image
holds a lotus, the fa/eli being conspicuous by its absence. While the Parasuramesvara
Kiintike)·a is seated on a throne supponcd at the comers by jars, on the Svarl)aj:ilesvara
image the scat is supponed by lion figures at the comers with the peacock loo king up at the
deity in the center. On the Parasurimcsvara image the peacock is carved on the pedestal
and is in the act of killing a serpent. In physical build and facial features, however, the
Para.suriimcsvara image is stylisticly similar to the major images on the Svafl)ajalesvara and
it is quite likely that the master-carver in charge of the decorative program of the earlier
temple was responsible for the Kiintikeya image on the Parasu ramesvara, though his style
has become more mature and accomplished.
Original from
THE f ,,\Rl .JF.ST SU R\.' J\' 11'G TE;\IPl.l~:s ( ) F <>RISS:\
The image of Piirvatf is also badly worn. The facial features are completely obliterated
and three of the four hands are missing or fragmented. The deity is depicted in a rigid
frontal pose standing on a lotus pedestal in a hieratic manner popular throughout the
history of Orissan temple construction. The goddess holds ajapimila (rosary) in her upper
right hand and a /ula/ea Rower in her upper left hand. The lower right hand was in the
varada pose, exhibiting a lotus mark on the palm, while the lower left hand held a /eama/J4ahl
(water jar). The deity is Ranked on each side by a small female holding a basket of Rowers
or offerings over her head. A beaded oval-shaped halo appears behind the goddess and her
hair is piled in a bun on top of the head with cascading saw-tooth curls Raring down to the
shoulders on both sides. A deer is carved on each comer of the pedestal while at the base of
the inside jambs of the niche arc placed lions, one on each side. This iconographic program
for the goddess, standing in the samabhaliga pose and Ranked by basket-carrying female
figures, appears in numerous other images at this time though in some cases the /ula/ea is
replaced by a leha(lga (short, curved sword) while in other examples the flower baskets are
eliminated.
The subsidiary piga niches of the Svamajiilesvara are empty but probably housed various
aspects of Siva or related Brahmanical deities as on the earlier Satrughncivara temple.
According to Panigrahi an image of Vi5r;iu, badly damaged and now in the Orissa State
Museum, originated from one of these niches. It is not clear, however, if this is an image of
Vi5r;iu in that he compares it to an image on the south facade of the Parasuriimesvara
jagamohana which is not of Vi~r;iu but of Hari-Hara.s• In addition to the images of Brahma
and Vi5r;iu seated in miniature niches above the architrave of the entrance portal there are
small images of Gal)csa and Kiirttikeya forming part of the Hara-PiirvatJ motif of the lower
taitya of the vqjra-masla/ea immediately above. Kiirttikcya is depicted riding his peacock-
mount and holds the faleli and lotus in his two hands. He is seated in padmisana with his
legs behind the head of the peacock in contrast to the example on the Parasuriimesvara
where the legs arc crossed in front of the peacock's head.
Included among the various images housed in the tairya-medallions of the crowning
members of the vqjra-m111J4i1 forming the subsidiary piga designs are figures of a seated
Durgii and a Hara-PiirvatT. Durgii is seated in padmisana with her lower right hand in varada
and holds, in her other three hands, a rosary, water jar and luta/ea Rower. In the Hara-
Piirvad image, originally on the south side of the temple, Siva sits with his left leg uplifted
and crossing the body away from Piirvati as on the lintel image on the Satrughnesvara
temple though the goddess assumes a more intimate pose, her right hand resting on his
shoulder, rather than mirroring his pose. The images housed in the small vajra-m11/lefis filling
the an11rihi recesses of the ga/lefi arc mostly broken and scattered about the adjoining field
with the other remains from the dismantled ga~(li. In one fragment, consisting of only the
upper torso and arms, in addition to the head, the figure holds the trident, lotus Rower and
posibly a mirror so that it could represent Ardhaniitlsvara though the hair is not divided in
the standard manner.
l · Deroralive Motifs
Among the most popular figure motifs appearing on the temple, and common o n other
temples of this early period, is the ubiquitous seated male holding a lotus Rower. The figure
S9 Panigrahi, .-lr1h11tolo1.itol Rt11'Qin1 ol 8h11bonr111··or, p. , , ,
Original from
TH E E.,Rl.I EST Sl"RVl\' ING T EMPl.F.S OF ORISSA 49
is generally seated in the ardhaparyatl/ca posr with the uplifted knee supponing the hand
holding the lotus. In some of these examples the figure wears a Iarpa·/un:l<fala in the right car
and bears a third eye on the forehead to suggest his Saiva association. The lotus at this time
seems to be the major emblem, or attribute, signifying sanctity as most of the deities, male
and female, have it in one of their hands. Very shonly, however, it will generally be
replaced by the rosary in male deities such as Kiintikeya and Ganesa.
Also popular, though generally confined to the niches of the vajra-11111~(!i1 filling the
a•11raha recesses of the gaii(!i, is the mith11na motif. For the most pan the interaction between
the t'l>'O panners is rather innocent, or tame, the male embracing the female and frequently
lifting up her chin so that their eyes meet. The most popular female motifs arc the ta11ri-
bearcr and the siilabhatljiki which most often appear on the jambs of the subsidiary paga
niches or the external wings of the upper taitya crowning the vajra· m111J<fi design. One
fragment exhibiting a standing couple, uncovered among the debris when restoration of the
temple was initiated, is panicularly interesting. The figures each have a flowered-halo
behind their heads and stand in the rigid samabhaliga pose with the left hand clutching their
garment at the hip (lcatyavalambita). T his pose, and the manner in which the trident in the
right hand of the male stands between the two figures, suggests they may be dvarapiila
figures. Seldom in Orissan an, however, arc there two guardian figures of the same size,
except on doorframes of Buddhist structures or when the second figure is a niiga. Also of
imcr<st is the fact that the male figure exhibits #rdhva/iliga, a feature not normally associated
" ·ith guardian images. Stylistically the figures, in respect to body proponions, facial
featu res, ornamentation and decorative halo arc different from thosr on the Svan;iajalesvara
and suggests they may have belonged to a different temple.
As on other early temples narrative scenes play an imponant role in the overall
deco rative program. The most interesting scenes on the Svan;iajilesvara arc those in the
bara~(!a recess illustrating stories from the Mahiibhiirala and Riimt!Ja114 and the Marriage
frieze decorating the lintel above the. nonh riiha niche. Equally interesting, though badly
fragmented, is a panel piled among the fallen debris, possibly a lintel, depicting Siva and
Pirvatl playing chess. The scene is quite small in contrast to the large frieze of this motif
appearing on the lintel over the south doorway on the jaganrohana of the Madhukesvara
temple at Mukhalingam and aptly described by Masthanaiah."' The figure of Siva is badly
damaged so that only two of his four arms arc represented. He is seated in 111/e.hiisana as at
:\lukhalingam and likewise has his upper left hand upraised and his lower right with the
palm upturned ready to play another game. The oblong chess board is tilted up so that it
separates the two players in a similar manner. The four-armed Piirvati assumes an identical
pose with one hand resting firmly on the scat for suppon. In her upper left hand she holds
a lotus while her two right hands hold chess pieces. Some of the weapons and ornaments
lost by Siva in the game arc likewisr exhibited at the top of the panel. There is a female
figure to the left of Piirvati but it is not possible to discern if she is carrying away the
remaining weapons and ornaments as on the Mukhalingam panel, the Svan;iajilesvara
panel being broken at this point.
Of the animal motifs the most numerous arc monkeys, most of whom arc associated '"'ith
"~ncs from the Ramt!Ja114 depicted on the nonh facade. Jn one example a monkey is housed
in a tailJa· mcdallion where he is seated and holds a citrus in his hands. There are also
- - - - --
,.,. B. ~l:a !0 th2na 1 ah , Tb, Tr111plr1 ef ,\f11k/)11/i11ga11t ( N ew {)C"lh i, 1978), p. 79.
Original from
jO THE F.ARtlcST SUR\' l\'ING TEMPLf.S OF ORISSA
numerous hybrid animals and figures, one of whom is most likely Gomukha, the bull-faced
yalt:/a. As on the Satrughncsvara there arc diminutive images of centaurs and hunters on
horseback, including one, carrying a second figure, being attacked by a spotted tiger. There
arc also many hybrid figures, such as ltinnar111, housed in the medallions of the decorative
band on the top stone-course of the jiirlgha. Motifs not noticed on the Satrughndvara
temple arc the gaja·luiin/111 (lion pouncing on a crouching elephant) and jiigra/111 (leaping
horse with rider).
The most monumental non-human figure is a niiga, fragmented, holding a foliated piif'!la·
gha/a against the chest with both hands which was positioned in front of the entrance to the
sanctum. In all likelihood, as Dcbala Mitra has suggested, it was originally fixed to the side
of the doorway.61 Numerous examples of similar niigas arc now placed near still extant
temples, or housed in later shrines, and testify to the popularity of the Noga cult in
Bhubaneswar at a very early date, some of the figures possibly daring back to the 1st
century A.D.62 Many such early finds of both lldga and yalt:/a figures, panicularly from rhc
area between Sisulpiilagarh and Dhauligiri where no extant temples remain, led Panigrahi
to surmise that they belonged to a type of temple of which no examples have survived.63
On the proper right jamb of the nonh roho niche, however, evidence exists which shows
how these niiga figures were affixed to the temples, though here on a smaller scale. The niig111
most likely were attached to both sides of the entrance ponal and rohii niches where they
functioned as additional guardian figures. The association of nog111 with the entrance to a
shrine was also popular on Buddhist monuments as evidenced by examples, also holding
vessels in front of the chest, still in iii" at Ratnagiri. During the 81h-91h centuries these noga
figures were frequently reduced in size and carved as attendant figures standing in niches at
the base of door jambs next to the tlviirapiila. On later temples, beginning at Gandhara<;li,
niigas arc re-introduced at the sides of the entrance ponal and gavo/qa projection where they
arc carved as 1111111bh111. Stylistically, in respect to facial features and coiffure, the noga in
front of the Svan:iajiilesvara is contemporary with the temple.
Other decorative motifs popular on the Svan:iajillcsvara, as on the Satrughncsvara,
arc the ltirli111NJ:ha mask and cairya-mcdallions. Of the scroll motifs the ha,;ua-lato is
likewise popular. A motif not noticed on the earlier temples but used frequently on the
Svan:iajiilcsvara, panicularly as ornamentation in the recessed J:hiintli1, is the checkerboard
jii/i which also appears in abundance on the Parasuramcsvara temple.
In general the overall quality of the motifs on the Svan:iajiilesvara is more consistent
than on the earlier temples, suggesting that the workshops are more firmly established and
that there arc more competent sculptors at work on the temple. Some of the carving is still
rather crude, however, and the motifs arc not as refined or sophisticated as on the later
Parasu riimesvara temple and more closely related to those on the earlier temples of the
Lak~mal)csvara group. Chronologically, then, the temple can be placed between the earliest
group and the later Parasuriimesvara.
01 O. J\iitra. 8/J11ho11t-1war, p. JO.

6l S. C. De, "Three Naga Images from BhubanCS\\'ar and N aga (.ult in Oris~a", OH R), Ill (1 9s4), p. J·
<>J Panij(rahi, A rthatolog 1t11/ Rtmai1t.1 at BbMbd11t111'11r, pp. 19· i 1.
Original from
THI: f.1\Rl.JE.ST Sl'R\'l\'ING TE~IPl.P.S (JI! (>RISSA I I
C} T11f. P.~RASL'RA~I ESVAR;\ TEMl'l.E
The best preserved specimen from this early phase is the Parasuriimesvara temple."'
Though small in size like the other early temples, its dtNI rising 10 a height of only 41 feet, it
is one of the most lavishly decorated temples at Bhubancswar. In contrast to the wealth of
ornamentation appearing on later temples, such as the Muktesvara, where the dazzling
effect is achieved by the constant repetition of a limited number of decorative motifs, the
decorative program of the Parasur:lmesvara is more varied and inventive. From an
iconographical standpoint is is the most imponant of all early temples and includes within
its program dikpiilas and Sap10111iitrkas, the earliest surviving examples, and also has the
earliest survivingjagamohana.
Although there arc three sets of inscriptions on the temple of varying dates none of them
provides the actual date of construction. The earliest set consists of the names of the eight
grohas carved on the lintel over the sanctum door. Palaeographically the letters, according
to Panigrahi, closely resemble those of the copper-plate grant of .Miidhavariija II, dating
from A.O. 619, suggesting that the temple probably belongs to the same period,6 ' a date
which corresponds with the general stylistic development as outlined in this study. A
second set of inscriptions, later in date, arc carved on the east wall of the temple and
consists of small labels. The third set appears over the south door of the jagamohana and
records an offering 10 Pariisasvara Bhanaka, possibly a corruption for Piirasaresvara,
sugg<sting that the temple was originally named after the Piisupata teacher Piirasara who
was a successor of Kusika, one of the four disciples of Lakul!.66 Numero us images of
Lakulisa on the temple lend suppon to the supposition and funher testify 10 the popularity
of the Piisupata sect in Orissa at this time. The name of the donor in the inscription,
according to SrT Satyanarayan Rajaguru, is Pramathiiciirya (Pramiittiiciirya)67 and is most
likely the same Pramathiiciirya mentioned as the g""' of the donee Sulapiil)i in the Lodhia
Plates of Mahasivagupta Biiliirjuna issued in his 17th regnal year.68 This suggests that the
inscription was probably carved in the late 8th or early 9th century.
There arc two distinct sculptural styles on the temple, in addition to workshop
variations, corresponding to the two master-carvers at work on the Svarl)ajiilesvara. The
majority of the major images of the jagamohana are typical of the more established master
responsible for the overall decorative program of the Svarl)ajiilc$vara whereas most of the
sculptural decoration of the dtN/ is in the more throe-dimensional style of the younger
master-carver. This discrepancy in style has led to speculation on the pan of numerous
scholars that the two structures are not contemporary.•? Some of the sculptures on the de,,/,
.,. The temple was thoroughly rcpair«I b)• the Public: ~'orks Or:partmcnt in A .O. 190).
6~ Pa.nigrahi, JR A.\·B, XV. pp. 109-118 •
.. Panigrah i, A ,.thatolotitol Rt11tailfJ al BIJa;balf~J• •ar. pp. 114·ltj.
6T A. Ghosh reads the name as Prapittricirya, corrc:ctinj:!; it to Pavittracirra Ot Pramittricirya (i:p~t,rdphia
/11.difa, XX\11, pp. 1178), while Panigrahi reads it as Pramadacarya. ( ..tlrtJhl.rolot,ifal Rt,,,ain1 at &kflan11• '" '•
p. 111) .
.. Ste S. RaJaguru, ln1rrip1i"1 of O,.issa, Vol. IV. pp. 86·90. ) lC>-) s1.
•• Fabri (op. tit. , p. It)) suggested that the tltMI, bccau~ o f its mo re unified de"sititn. is a later 'adtli1 ic>n. S. K.
Sara.s..,,··a.11 (op. tit., p. 1J8) a.nd Ot-bala ~titra (Bb11b1111.r1..,a,., p. 16) arc of the orunion that the ;at.amohiina is a l:iter
addition. Some of the confusion is due to the lack of bonding bet~·«:n the t~'<> structures with pan of the
tarvcd face of the dtM/bc:ing covered up. A$ suggtstcd earlier, however, this is due to the praeti('c on the pan o f
the iilp1ff1 of conceiving the structures as separate entities, rarhcr than as a unihcd dc:s1fi{n. ":nh each being
completely decorated.
Original from
jl TH E EARLIEST SURVIVING TEMPI. ES OF ORISSA
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Shubancswar: Para$urimcSvara Temple
however, including the pariva·devalti!, arc in the style of the ea rlier master while some of the
decoration of the jaga,,,ohana is in the sty le of the emerging master-carver. It thus appears
that the decoration of the Parasuram.Svara was a joint effort with the major cult images
being assigned to the established master-carver, previously in charge of the decorative
program of the Svamajiilesvara, though before the structure was completed much of the
work, including the decoration of 1hega11{1, was taken over by the younger master. Many of
the minor decorative motifs, particularly on the walls of the jagamohana above the enshrined
images at the base, are rather c.lumsy in execution and obviously the work of assistants
rather than the master-carvers. It is because of the folk-like cliaracter of these minor motifs
that Percy Brown suggested that thejaga,,,ohana must have been built at an earlier date than
the dt11/,10 These workshop carvings, however, exhibit characteristics peculiar to both
master-carvers and further testify to the joint effort of the decorotion.
The temple faces west and is enclosed within a compound wall. The dt11I, as on other
temples o f this period, has a squattish thickset ga11{ii and its ba{la rises direcdy from the
pavement. A corbelled arcli, visible only from inside, is provided over the sanctum door to
reduce the load on the lintel as on the Satrughoesvara group of temples. Thejagamohana is a
rectangular hall with a terraced roof that slopes in two stages with a clerestory in between.
A /iliga projects from the pavement near the northwest comer of the jagamohana.
1. Btii/a Duign
The dt11/ is identical in size at the base to the Svamajalesvara, measuring 19 feet 8 inches
square, though 6 inches on the north and south arc overlapped b y the walls of the
jaga,,,ohana. The piibhiiga is 10 inches in height 2nd consists of three horizontal mouldings as
iO P. Brown, op. ril., p. 10).

TJ.IE E:\RLIJ:ST SL.R\tl\'il"G 1· 11 ~1Pl. f:S <>F <>R JSSA I}
on the earlier temples with only the top moulding being decorated. The jangha, measuring
98 inches in height, is approximately twice the height of the pabhiiga and consists of six
courses of stone. The ba(la is 1ri-r111ha in design with the riiha, 78 inches wide at the base,
designed as a truncated rtlt/Jii terminated above the first bhiimi. The riihii niche cuts through
the pabhaga mouldings as on the other temples and is approximately 48 inches in height.
The lintel above the niches on the cast and nonh sides is relieved with narrative scenes, the
'.\larriagc of Siva and the Hunting of Wild Elephants respectively, while on the south the
decoration consists of an ornate Rora! motif. The niches arc framed, beginning above the
pJbha11.a mouldings, with an additional decorative band which continues horizontally above
the lintel to produce an overall "T" shape to the niches, again simulating a doorframe. The
"cnical bands arc decorated with lalabhailjile.a and ,,,;1h1111a motifs housed in shallow niches.
The horizontal band above is decorated with atlantid figures Ranking an image of the bust
o f Siva, each housed in a shallow niche simulating the design of a graha slab. Only on the
ca", or back, has this decorative program survived intact. The bhiimi division above the
niche is again lri-ralho in design with miniature vajra·lflll{lpit appearing in the a1111riihii
t(CCSSCS.
The subsidiary pagat, measuring 41 inches across, arc designed as miniature vajra-m11~{1is
terminating beneath the bara{l(ia. The decoration above the pabhaga begins with the lala-
ba11dhana consisting of six projecting blocks, rather than five as on the earlier temples, with
chc blocks being placed closer together. These blocks arc decorated primarily with
elephants or lions, only occasionally human figures, so that the decorative program is
becoming more standardized. The niche, 11 inches in height, is framed by a pilaster on each
side. The pilasters arc more uniform in decoration than on the earlier temples with a piir!fa·
gbata at the top and bottom and a ta.vri-bearcr on the shaft on all but one niche. The
projecting cave above the niche consists of two pi{lha·shaped mouldings, joined at the
center by a <aitya, in contrast to the single moulding on the earlier temples. The vajra·
fllastalt.a crowning the paga design consists of two <aitya-mcdallions housing various aspects
of Si"a, Ourga, Vi$QU, Hara-Parvatl or the lion vehicle of the goddess. Female figures in
,·•rious poses arc carved on the extended wings of the upper <aitya. These figures are all
female in contrast to the Svamajalcsvara where jagrala motifs occasionally appear.
Cro-.·ning the vajra-maJ/alt.a is a lotus half-rosette. The overall decorative program is thus
more sophisticated and unified than those on earlier temples, with the iconographic
program more complex and demanding, suggesting its later chronological date.
The bara{lt/a again consists of three mouldings with the two projecting mouldings
Jccorated with haJiuas, ma/taros and raitya motifs similar to the top pabhaga moulding.
Human figures, such as wrestlers, or Rying vit!Jadharat, so popular on the earliest temples,
appear less frequent. The bara~ recess is decorated with mithN11as alternating with panels
of checkcrboardja/i and a lion motif at the corners. This contrasts wich the program on the
earlier temples where this recess was filled with narrative scenes of mythological nature. On
che raha division this recess is decorated with ornate scrollwork issuing from a centrally
placed squatting figure while the comers arc occupied by an atlantid dwarf (bhararak/alt.a).
:. CJ~{ii Dtroralion
The ga~{ii is pailra-ralha in plan as on the earlier temples with only the center pti_~a or raha
concinuing the venical division of the bii{la. The lt.anilt.a is likewise d ivided into fi"c bhumit
Original from
14 THE EARLIEST SU RVI VING T EMPLES Of O RISSA
by amlii1 with each bh#111i subdivided into four mouldings in addition to the ribbed am/a.
The lowest moulding is again decorated in the manner of a bara11i/a or piibhiiga moulding
while the three mouldings above arc ornamented with a minor vajra-maslal:.a motif of two
superimposed <airya-mcdallions. The a11arlha consists of superimposed bara11efis of equal size
continuing up the height of the ga11<ii and decorated with the standard triple &airya motif.
The an11riihii recess is filled with superimposed min.iaturc vajra-~is with various aspec!S of
Siva, Surya, GaQe5a, Durgii, Vi$(1U, Variiha and •ilhtma motifs in the niches.
For the first time the ga11efi decoration remains intact so that its decorative program can
be studied in detail. The vajra-mastaJ:.a motifs at the base of the riihi on the south, cast and
nonh sides arc smaller than that over the entrance ponal on the front and extend up the
height of two bh#lfli divisions. The motif consists of two superimposed vajra-mastaJ:.as. The
lower vajra-ma1111J:.a contains two cairya-mcdallions with the keyhole-shaped lower medallion
housing a Bhik$iitanamllni on the south, Lakul!sa on the cast and Mahi$amardini on the
nonh. The circular upper medallion, much smaller in size, enshrines the bust of Siva with
flanking garland-bearers filling circular medallions at the comers of this moulding . This
upper medallion is crowned by a small /t.irli,,,,,Jt.ha or lotus half-rosette. The second, or
upper vajra-mastaJ:.a consists of a single <airya· mcdallion, housing an image of Naiariija, with
its beaded borders formed by pearls dripping from the mouth of a large lt.irli,,,,,Jt.ha at its
apex. This lt.irlim111t.ha serves as a pedestal for the crowning clement of the vajra·masta/ea-a
seated image of Siva on the nonh and a seated figure holding a garland or scroll on the
south and east, each of these seated figures being flanked by addorsed lions. The decorative
program above this complex vajra·•astaJ:.a motif on the riihii consists of triple cairya motifs,
more widely spaced than on the anarlha, with the center medallion generally housing the
face of Siva or images of seated figures. The separation between the vajra-lflaslal:.a motif and
these upper <airya-mcdallions is not as pronounced as on the front facade.
The vajra-maslal:.a on the front facade, above the roof of the jagalflohana, extends up three
bh#mi divisions and consists of two large cairya-mcdallions formed from pearls dripping
from the mouth of a lt.irlim11/t.ha. The medallions arc filled with the Ravai:iiinugraha-miini
below and Natariija above as on the Satrughne5vara temple though the motifs on the
Parasuriimcsvara arc more three-dimensional and monumental in concept. The lt.irtim111t.ha
at the apex is surmounted by seated Lakulisa who is flanked by a fiilabhaijilt.i and large
seated atlantes on each side. The remaining rahii decoration above the vajra-mastaJ:.a is
decorated with triple <airya-medallions with images of Siva in the center and attendants or
garland-bearers in the outside medallions. One of the Siva images is his Maheiamiini
aspect, a motif also appearing on the jagalflohana twice, one being a small workshop
production. On the ga11efi the Mahcsamiini is in the monumental style of the emerging
master whereas the major image on the jagamohana is in the style of the more established
master responsible for most of the work on the Svari:iajiilcsvara temple.
The silhouette of the ga11(ii inclines inward in a gradual convex curve ending with the
bisama, the topmost course, which docs not panakc of the piga divisions. The crowning
maslal:.a consists of a btlt.i (neck), amalaJ:.a, lt.hap11ri (skull), J:.alaia and i.Jlkiha (trident) of Siva.
The dopithha-1imhas in the belt.i were supposedly placed there when the temple was restored
and may not have been pan of the original decoration."
'' Sec O. ~(u ra, 81J11bont1• ·11r, p. 16.
Original from
THE E ARLIEST SURVIVING TEMPI.ES OF ORISSA Il
l · Jagamohana
The j aga•oha1111, or hall in front of the sanctum, is rectangular in shape with a terraced
roof that slopes in two stages, the stages being separated by a clerestory that was blocked
up during repairs. The roof is supponcd within by two parallel rows of three pillars which
were originally monolithic. The structure is 19 feet 4 inches long and 11 feet 6 inches wide.
It has two doors, one on the west and the other on the south. There arc also four windows
though rwo appear not to have been pan of the original design. The window on the south
side is awkwardly cut into the wall midway between the door and west comer. The
v.·indow is recessed above the f'dbhig11 and measures i• inches wide by sS'/, inches high. It
is filled with simple checkerboard jili. The two tiil!.f'dlas originally occupying this space were
removed to the south comer of the western end of the structure when the window was added.
The window on t.hc nonh side, 40 inches wide by J6 inches high, is placed in the exact middle
of the j11g11•oha1111 and is likewise filled with chcckctboardji/i. In both cases the stone courses
above the recessed windows have been reworked to fill the remaining space and arc of a
different size than the original stones. The windows on the west end, one on either side of the
door, arc J • inches wide and arc filled with dancing figures rather than jili perforations.
The pibhiga, only 10 inches high, consists of three horizontal mouldings with the top
moulding ornately decorated with ttutya motifs, ha,;,1a1, mal!.ar111 and arabesque scrollwork.
The jingh11 is 64 inches high with the lower third recessed and filled with figure sculpture
enshrined in shallow niches aligned one next to the other. The upper two thirds, divided
into two horizontal registers, is decorated primarily with superimposed taitya medallions
ca"·cd in low-relief with much of the work being assigned to workshop assistants. The
general effect is that of an incrustation Aoating on the surface and contrasts greatly with the
row of cult deities carved in high-relief in the niches at the base. Though the decorative
program appears haphazard in arrangement, as numerous scholars have remarked, some of
1he confusion is probably due to restoration when the structure was repaired. Close scrunity
reveals that the niches at the base form pan of •ajra-mll!lrlif with the t11ity11 designs serving as
the .;,,,;,,ill.is. The •ajra-•11#i1 arc alternately projecting and recessed with the projecting
•11#i1 wider. This experimental program appears again on the Madhukesvara temple at
l\fukhalingam though the rajra-••1Jrli1 arc clearly discernible as they project more
strongly from a plain wall and arc separated from each other. This arrangement is
abandoned at Bhubancswar for a more simplified design with a center window or ga•ik1a.
A panicularly interesting iconographic grouping appears on the south side of the
jag11111oha1111, between the door and the cast comer. Enshrined within niches arc
Ardhanarisvara, Hara-Parvatl and Hari-Hara, a unique series combining male with female,
juxtaposing male with female and combining Siva with Vi$t)U. The images 10 the west of
the door originally contained the eight dikpilas aligned in a row, though two of them were
removed when the window was cut into the wall at a slightly later date, probably in the 8th
or 9th century when gavik,ia windows were being developed, and inscned into the west wall
as mentioned earlier. Staning at the proper left, next to the door, arc Indra, Yama and
Varul)a, each seated and holding their various attributes. Yama, in addition, is seated on
his buffalo mount while a haJi1111 is carved on the pedestal below Varul)a. Unfonunatcly the
pedestals of the remaining dikpi/111 have been replaced by plain stones during subsequent
repairs and the identifying symbols or mounts have been lost. The last three figures on the
south side probably represent Vayu, Kubera and possibly Agni, though most of this last
.image .is now mtsstng.
Original from
The west end of the jagamohana has panicularly been disrupted by repairs and
renovations, both ancient and modern. On the south corner is one of the dikpalas •2
removed from the south side. The remaining dikpala, either Isana or Nirriti, was probably
placed at the opposite comer at this time but has not survived. Next to the dikpala on the
south comer is a Saivite guardian seated in ardhaparyarika with his right knee uplifted and
holding a lotus and trident. He wears a 1arpa-kN~l/ala in his right ear and a skull medallion
in his coiffure. He has a mustache and thin beard indicating he is Nandi, the terrifying
aspect of Siva.'J On the opposite side of this west end is the benevolent l\fahiikiila scared in
an identical pose holding the same attributes and likewise "'caring a sarpa·kN~cfala. His
smiling countenance indicates his benevolent aspect. This is a rare example of Saivitc
guardians appearing near the corners of the structure where they function as a second set of
protective images on this end of the jagamohana. 14 Also unique is the seared position as
guardians are generally represented in a standing pose, exceptions being Virabhadra and
Gar:iesa when serving this function with the Saptamatr/eOs. Between these guardian figures
and the windows arc panels deco rated with the river goddesses, Ganga and Yamunii,
facing towards the door and accompanied by attendants. This placement of the river
goddesses in panels flanking the doorframe, rather than at the base of the door jambs a.
dscwhere in India, becomes standard practice on most later temples.
Between the river goddesses and the door are lattice windows framed by recessed jambs
decorated with scrollwork. The grille, or lattice work, is decorated with two registers of
musicians and dancers which have elicited admiration from all critics who have written
about them, one of whom has even compared them to the terra-cotta reliefs of the della
Robbia.'S Although remarkable for their ingenuity of conception, beauty of design, and
rhythmic vigor," they arc perhaps even excelled by another stone grille, originally
belonging to a similar type of temple no longer extant, now affixed to the laterite wall of
the much later Kapilesvara temple. Jn contrast to the Parasu riimesvara grilles, which have
rwo registers each, there are three registers on the Kapilesv ara grille, the top register
decorated with three seated figures. An interesting feature, pointed out by Fabri,77 is that
the figures all wear masks, those in the middle register wit h fangs, suggesting an ancient
dance ritual. The popularity of dance panels extended even to the Buddhist an at Ratnagiri
where an example appears at the base of the jambs of a detached doorframc, though the
figures arc placed in shallow niches rather than on a grille. The remains of another grille,
datable to roughly the same period as the Parasuriimesvara, is now housed in a small shrine
in the Muktesvara compound. It is decorated with a single dancing figure-Na1ariija-
which is much larger than those carved on the Kapilesvara and Parasuriimesvara grilles.
The nonh side of the jagamohana contains two groups of deities housed in niches at the
base of the jarigha, one group on each side of the window and extending to the corners of
the structure. The group on the east end, beginning at the juncture with the dtul, consists of
six figures. The first figure is Surya who is depicted standing in a rigid fro ntal po«
n P<1nigr2hi ( .·lrth11tol¢,.t,ital R1,.,,a1n1 al Rh11l1anr11,.11!, p. 70) iJ1.:-nt 1lics the.- h~urc as t'-: 1 r~ui .
i> Pan1~rah1 (/hid.• p. 70) idc:nl1tlc:. th<: tij.!u rc as J~ina.
'~ There arc aJso tu·o SC'tS of gu:at<l1ans iram1nA the doorframc (>fa small 10th C'l'n1ury 1cmplC' \lt:uhin chc.·
c<>mpc,und.
~ ( u k1c$ \·a ra
1s P. ttrown, op. tit., p. 1 0~ .
14 Ste D. ~litra, Rh11ba,,rsa•ar, p. Gj.
"· Fab r1.. op. 111.,
. p. 171.
Original from
1·11 1~ l·:,.\RLI E.ST Sl' R\' l\' l~C ; Tl; ~IPl.1 ~$ ()F C>RISSA 17
(1amabhanga) holding two long-stemmed lotus Rowers in the standard manner. His niche is
\'try narrow in contrast 10 those of the remaining figures who are all depicted seated.
Be!(inning next 10 Siirya the images a.re of Candra, Durga, an unidentifiable male deity,
l.akulisa and Siva. The second group of figures, extending to the west comer of the
;a_~a,,,ohana, consists of the Sap1a,,,atrlt41 and their two associates, one at each end of the
series. The group begins, next 10 the window, with the guardian Virabhadra, his head
unfonunatcly missing. The •atrlt4s, staning from Virabhadra, arc Brahmi, Sivani,
t>:aumari,Vai~navl, Indriinl, Varahl and Ciimur:ic;la. The series concludes with the image of
GaneSa.
The jaga,,,ohaM thus exhibits an extremely interesting display of deities many of whom
will become standard decorative motifs on later temples, though in different locations from
this experimental arrangement. The facial features of most of these figures, as well as the
d1orapala1 and the image of Kan1ikeya from the riiha niche of the deul, are identical in style
to those appearing on the Svari:iajalesvara temple, characterized by doll-like expressions,
though the sculptural treatment of the bodies is more three-dimensional. This three-
dimcnsional aspect is panicularly noticeable in the row of Saptamatrlt4s. Their breasts, for
example, arc large and globular in shape, so large that they have 10 be harnessed by a
/r.Mrha·bandha. The earrings, however, are generally represented as circles viewed frontally
v•irh no attempt at perspective or foreshonening. This contrasts with the more monumental
•pproach of the sculptor responsible for most of the im•ges on the ga11cli and the female
figures on 1hc subsidiary piigas. It appears that the more established master-carver,
responsible for the decorative program on the Svarnajale$vara, was assigned the major cult
images on the Parasuramesvara. In carrying out his work, however, he became increasingly
influenced by the work of his more innovative junior, panicularly in the treatment of three-
dimensional volume. In that the decoration of the ga11(ii wa.s probably the last pan of the
temple to be completed, it may be that the older master died and the entire decorative
program was tu med over to the younger master-carver. The decoration of the jangha of 1hc
J•!i.•"'ohana above the images at the base, consisting primarily of decorative motifs in low
relief, was the joint effon of workshop assistants and exhibits stylistic peculiarities
characteristic of both master-carvers.
4. Porlal Dttoration
The decorative program for the doorframe of 1he sanctum and that of the entrance
ponal on the south side of the jaga,,,ohana deviates from that on the earlier temples and
moro closely approximates the programs standard on Gupta temples of nonhern India. On
the sanctum door only the jambs on the proper left side have survived. There arc four
venical bands with the inside band decorated with an ornate version of the JeNtilo scroll
'"hereby a meandering vine, of "S" shape design, alternately sends off circular sprays to the
left and right. The outside band is ornamented with the rope-pattern of diagonal ribbons.
The middle two bands, on the ocher hand, are ornamented with figure motifs encased
within shallow superimposed niches up the height of the frame. The first niche on both
bands houses a warrior with shield and sword, each facing the other as if in confrontation.
The inside middle band is decorated with dancing ga11a1, uidJiidharaJ and the woman-in-a-
doo rway motif above the warrior while the outside middle band is relieved with a
iala/Jha")ile.ii motif and mithNM aligned alternately up the height of the jamb. The d1•arapiila is
Original from
THE E..\Rl.IEST Sl. R\I J\.lt-;(~ T E ~IPl.t~S U f <>RISSA
carved at the base of the inside jamb, rather than being placed in a niche, and is 18 inches
in height. The door-opening measures 19 inches wide by 61 •/ 2 inches high. The lintel has
not survived and is replaced by a plain slab. The graba1 carved on the architrave above arc
housed in shallow niches, each grah11 measuring 6 inches in height.
The doorframe on the south side of the )11g11mob11n11 is framed by a projecting pilaster on
each side which extends up to the projecting cave of the roof. Only pan of the decoration
remains on these pilasters. At the base and capital they arc decorated with the piir1'11-gh11/11
motif while the shaft between consists of panels relieved with the woman-in-a-doorway, a
warrior with sword and kir1im11kh11 masks. The doorframe consists of two bands beginning
above the dvarapiila niche. The narrow inside band is decorated with the l<Nfila scroU with a
b11m1a at the base and is slightly recessed. The outside band bas two superimposed niches on
each side with those on the proper right being filled with mi1h11na motifs of identical pose
similar to examples appearing at Sirpur, the male, with one leg crossed behind the other,
standing slightly behind the female. The lower niche on the left side is filled with a 111ilh11n11
with the figures facing one another and the female staning to lift up one leg as if to climb
on the male. The upper niche contains the popular motif of a female removing her
garments. Immediately above the top niche on both sides is a /eir1im11/d;11 mask carved in
low relief. While the recessed band retains its decorative scroll design on the lintel the
outside band changes into a frieze of devotees and vidyiidh11r111 bearing gifts for GaQesa who
is carved on the dviir11-l11/a/11 bimb11 at rhe center of the lintel. The dvarapala1 housed in niches
at the base arc broken off at the knees. They arc four-armed and assume complementary
postures with hips swaying out away from the door while their lower inside hand clasps the
lower edge of their garment. The dviir11piil11 Nandl on the left has a thin beard and bares his
teeth, suggesting his wrathful aspect, while the facial features on the other dvar11piila are
badly worn.
The entrance on the west is framed by a single pilaster on each side which extends up
only to the lintel. These pilasters arc decorated with a piif1!a-gh11/11 at the base and capital, a
dviir11piil11 and panels of geometric and organic motifs on the shaft . The only surviving
bands of scrollwork ·arc those framing the adjoining windows and fragments o( an
additional band, wider than the others, abutting the pilasters. It is difficult to determine the
original decorative program due to the displacement of the motifs in subsequent renova-
tions and repairs. The dvarapii/01 near the base of the pilasters, measuring 16 inches in
height, exhibit the traditional benevolent and terrifying aspects of Siva. The images arc not
as well executed as those on the other doors and are overly squat in proponions from the
knees down. The lintel over the door is decorated with a Gaja-Lak~ml motif which is more
narrative in treatment than the standard hieratic pose assumed on most later temples. Only
one of the elephants rears up to bathe her with water, the other just returning from the
lotus pond. The scene is flanked at the comers by scared figures. The lintel continues
horizontally above the windows flanking the door where it is decorated with a linga-ptijii
scene and the Capture of Wild Elephants.
l · C11/t lmagn
Two of the piiriva-devatiis housed within the riihii niches arc still in 1it11, Ganesa on the
south and Karuikeya on the east. The pot-bellied Ganesa is scared on a simbiisana (scat with
legs carved in rhe shape of lions) with his right knee raised in the ardhaparyali/ea pose. His
Original from
Tl·ll:. EARl.IEST Sl' R\'1\.-1!\IG TE~tPl.l~S <>F ()RISS.\ 19
proboscis is turned to the left lifting sweets from the bowl held in his lower left hand. His
upper left hand holds the hi/hara (hatchet). His right hands arc broken but probably held
the rosary and radish. The iconography of the seated Gar:iesa becomes established at this
time and changes very little over the next several hundred years aside from the substitution
of a broken tusk for the radish and the addition of a mouse on the pedestal. The most
noticeable change on these early images appears in the dccoracion of the pedestal which
becomes increasingly ornate. The pedestal here is similar to that on the Svart;1ajalesvara
with a basket of fruit centered between the lion legs of the seat.
Kirttikcya is seated in la/i/asana with his right leg hanging pendant over a throne
supported at the comers by jars. He holds a vija-piira/ea (b•ll of meal) in his right hand and
the fakli (spear) in his left. His hair is neatly arranged in the iileha~r/alea coiffure with three
locks, the outside two curling down to his shoulders. A beaded halo appears behind his
head along with a tha/lri (canopy) supported by flying vidyadharas. The peacock is rendered
in profile on the pedestal in the act of killing a serpent. Although his facial features arc
badly worn enough remains to suggest the style of the Svamajalesvara master-carver,
though the work is more three-dimensional and accomplished than his work on the earlier
temple.
The image of the goddess is missing from the riihii niche on the north but most likely was
a standing Pirvati as on the Svaroajalesvara temple. Although there is a Mahisamardini in
the lower tail.Jo of the vajra-11rasta/ea at the base of the ga~rfi immediately above the empty
niche this form of the Devi is not adopted as a pariva-dtvata until the 8th century.
Mahisamardini is six-armed and lifts a sword over her head with her upper right hand
while bending back the buffalo-head of the demon with her major left hand. She pierces the
neck of the demon with a trident while her remaining hands hold a vajra, a bow and a
circular shield. There is a smaller Mahisamardini in one of the vajra-mM~rfi niches in the
anxraha recess higher up on this north side of the ga~rfi. She is four-armed and lifts the
buffalo by its tail while plunging the trident into its back. Her upli fted right hand wields a
sword while the left hand holds a shield. A third example appears even higher up on the
ga~rfi in which the demon is again depicted in human form with a buffalo-head and the
goddess has four arms.
The most frequently reproduced deity, as to be expected, is Siva and he appears in many
forms. Unfortunately all of the avara~a-dtvatas originally enshrined in the subsidiary paga
niches a.re missing. There arc, however, many images on the ga~rfi and the jagamohana
including three of Mahcsamurti as mentioned earlier. The re arc in addition many examples
wherein only his head or bust in represented, normally housed in a circular cailj•a -mcdallion.
Also num<rous arc images of Naiarija. In these imag<s th< number of arms varies as do<s
the position of the serpent held in one or two of his hands. Th< larg.st and the most
impressive Na1arija is the one housed in the upper rai(Ya-mcdaillion of the vajra-maf/a/ea on
the front fac2dc of the ga~rfi. Siva is ten-armed 2nd holds the serpent in one of his right
hands away from his body in contrast to his counterpart on the earlier Satrughndvara
where it is held with two hands directly above his head. The lower part of the torso is
damaged and the legs arc missing. The facial features are characterized by puffy cheeks and
• projecting lower lip typical of the works of the younger m2stcr-c2rver. In two other
examples on the ga~rfi, one four-armed and the other eight-armed, Siva holds the serpent
above his head and again in one right hand respectively. The eight-armed dancing
Original from
60 ·r1 II·, 1::\R 1.1l ;S'f st · R\'l \' l~(j ·r1 ~ :-. 1 P l .l ~S ( )r {>R ISS:\
Ardhanarisvara on the jagamohana is badly damaged with the lower poruon of the legs
m1ss1ng.
There are numerous Hara-Parvati images, including one on the south side of the
jagamohana, one in a <ai!J·a-medallion of the vajra-mastaka design crowning a subsidi ary pii,~a
on the south side of the dtN/ and the one forming part of the Raval)iinugraha-murti in the
vajra-mastaka on the front facade of the gantfi. In the image on the jagamohana Siva is four-
armed and is seated in ardbaparyalilea with his right knee raised to support his major right
hand holding a lotus. His m ajor left arm embraces PiirvatI around the shou lders. She is
seated in ardhaparyanlea with her left knee raised and her right elbow resting on Siva's
shoulder. The respective mounts and a diminutive Gal)esa are on the pedestal. In the
example of the Riival)iinugraha-murti motif Siva holds his right hand in ahha1•a and
embraces PiirvatI around the waist with his left arm. In the third image, on the subsidiary
paga of the deNI, Siva holds the vina in his two major hands while Piirvati turns her head
back towards him to listen to the music. In the Bhik~ii1anamurti motif on the south facade
of the gantfi the iconography incorporates aspects from the related Kar\kiiJamiirti motif.
There arc two major images of Lak ulisa on the temple, one on the north side of the
jagamohana in the style of the established master and one in a tairya-medallion at the base of
the gantfi on the east side in the more three-dimensional style of the emerging master. In the
example on the jagamohana, Lakulisa is seated in padmasana displaying the dharmarakra-
pravarl/ana-mNdra with the lakN(a held against h is body on the left side. There arc no
disciples represented. In the example on the gant/i, on the other hand, there are four
disciples, two on each side, seated on lotus flowers emanating from the lotus seat of
Lakulisa, thus indicating their common o rigin. Each disciple hold a book in their hands
indicating that they are preachers .18
Although the image of rhe goddess as parsi·a-dt1•ato is mi'5ing the re are numerous o ther
smaller images of the Devi on the temple, most of them depicted in a seared position
though there is a standing four-armed image in the niche of a vajra-mNnt/i of the anNraha-
recess high up on the gandi. Of the seated images two of them, occupying tairya-mcdallions
on subsid iary pagas, represent the goddess seated on her lion veh icle (Simhavahini Ourgii). In
the fi rst example she is seared in lali(osana with her left leg pendant while in the second
example she is seated with legs crossed. In both cases her four arms arc ident ical, the lower
right hand held in varada-mNdro displaying a lows rosette on the palm, the upper right
holding a lotus, the upper left a ketaka-Rower and the lower left a kamant/a/N. There is also a
Durga carved on the north wall of thejagamohana though she is seated on a lotus cushion
rather than her lion-mount. Her hands are held in the same position and hold the same
attributes though that in the upper left is broken off and may be a tanka rather than a
kttaka flower.
Of the dikpalat the most unusual in respect to iconography is that of Indra. In contrast 10
later versions, w here he is associated with his elephant mount, Indra here is seared on a low
couch with legs pendant and he holds a dantfa on his lap similar 10 the example at
Bhumara.'9 The .l'aptamatrktis arc all seared with their legs cro5'cd whereas their associates,
Virabhadra and Gal)eSa, are seared in ardhapa9•anka. The image of Gai:ic~a is particularly
interesting in that the proboscis appears transparent, a mouth being \'isib lc underneath .
' P:.an1grah i, .·1rrh.1ttJl1Jj.!.i,·d/ Rf"1.ii111 nl J~ h11l11.1tttJ 11·,1r, p. 7 , ,

11
,,. R. l). H:.anc:r11. '/'ht ·r, 111p/1 oj .\11•11 "' Bhum.ira, '.\l:\SI. X\'I ( 191:4), PL XI\' (c).
Original from
T lil·: l·:.\Rl.l l ·.S1' St ' R \' l\' I ~(~ 'fl~.'.\ I Pl.l·.S (lF c. >R l ~ :-0 :\ (>1
6. Erotir Ima_grry
The mith11na motif appears o n almost every part of the temple, the most conspicuous
examples occupying the recessed khiindi of the barari/a alternating with panels of checker·
board jiili. B)' far the most popular scene, and one of the most tender, is that o f the male
gently lifting up the chin of his female partner so that their eyes meet, a recurring mot if
appearing o n a ll of these early Orissan t<mplos. The ovorall tr<atment o f the erotic themes
<)n tht ParaSur3mcSvara is again one o f tenderness and compassion, even in the more
intimate mai1h11na scenes. One of the best illustrations of th is compassion appears on the
south Aank of the projocting riihii o n th< fro nt of the ga~ifi. The scene depicts a man
appr<>aching his wife fro m the rear, gcntl)' holding her arms, while she bends forward borh
to r<ceive her mate and suckle her young child standing in front of her. Athough the
proport ions of the figures, and their execution, are less than refined, the emotional impacr is
o ne of ext reme tenderness and thoug htfulness.
Jn addirion to mith11nafmaith1ma motifs there are examples of ausp icio us cxhibitioni~m
including one example which is a nea r duplicate of an earlier one appea ring on the
Sat rughnesvara temple, that of a displayed female. Squaning figures also flan k 1he empty
niche on the north riihii, o ne of whom has a "to uch-hole" at the yoni resulting from constant
"touching" w ith fi ngers made wet by licking, a habitual praet ice sy mbolizing ritual
interco urse with the goddess which ensures good luck to the visitor to the temple.80 A
related mot if is that o f a female removing her g arments such as appears on the doorframe
o f the south portal. Male exhibitionism also is evident in a scene on the Aank of the r,iha
proieetion, next to the vajra-mallait.o, where a male holds his erect lingam and points it
inward a seductive Jiilahhaiijikd.
7. Dnoratit<t /\fotifs
O f decorath•e figu re motifs the most numerous are the female ta11ri·bearers appearing on
the niche jambs of the subsidiary piigas and the yakfi or iiilabhaiijikd figures decorating the
extended -.•ings of the upper taitya of the 1•ajra-ma11akA mot if crowning these pti,~a designs.
As indicated earlier, the female figures are more animated in pose than their earlier
counterpans and treated in a more three-dimensional manner. In contrast to later examples,
however, they are rather squat in proportions and are dimin ut ive in s ize so that they play a
less impo rtant role in the overall decorative program. Other popula r figu re mot ifs include
the ubiquitou s seated male holding • lotus flower, generally placed within a rai!ra·
medallion, and the face o r bust in a tairya-motif. The largest decorative figures are the
squatting atlantidyak/as carved on the.~a~i/i Aanking the upper rai!J'D of the rajra-n1a11alw on
rhe fro nt facade. Atlantid figures also appe•r on the corners of the riihu in the barot1¢a recess
and abo"e the lintel of the rahii niche.
T he most popular animal motif is the lion, represented frontally as a kir1i11111kha mas~ . in
profi le pouncing on a c rouching elephant or prostrate warrior. or as the mount of D u rgii
enshrined with in a tai!)•a-medallion. In many cases ornate fol iage flows out from the ma'k
of the Jdrtimukha in tentacle fashion producing an overa ll effect of a creeping squid-like
creature. The largest lions, apan from the dopirhhii-1imha1 added to the br/ei du ring repairs.
Original from
62 THE E ARLI EST Sl! R\'J\'JNG TEMPI.ES OF ORISSA
arc the addorscd lions Ranking the seated images at the apex of the vajra-1WaJ/alta1 on the
rtihiJ. They function here as guardian motifs and serve as prototypes for the lldyatti lions
appearing on later temples. On the projecting blocks of the lala-bantihallli the lion is
represented both in profile and frontally, as a full lion or merely a head.
Hallisas and 1Waltara1 arc again in abundance, particularly on the top moulding of the
ptibhtiga or on the bhumi mouldings of the ga!l{li. The 1"altara in particular is decorated with
great masses of arabesque tendrils which frequently tum into ornamental scrolls extending
the length of the moulding. In other cases, particularly when carved within the uajra·
1Wa11alta motif, a warrior is depicted with one leg in the mouth of the 1"altara. The ha11i1a is
also frequently associated with arabesque scrollwork and caitya motifs. They frequently arc
represented facing one another sharing a garland hanging from their beaks or they extend
their necks 10 peck for food.
The scroll motifs arc frequently enmeshed with figure or animal motifs, such as squatting
yaJ.,a1 or Jdnnara1, particularly on the top ptibhtiga moulding, bh#,,,i mouldings of the ga11fii or
in the bara11fia recess on the rtihti. The squatting figures placed in the center of the bara~(ia
recess hold a meandering vine in each hand and arc a horizontal variation of the motif of a
ya/qa pulling a vine from his navel or mouth found on earlier structures throughout India.
In other cases tail-like appendages issue from kinnara1 to form sweeping foliage of an
arabesque nature. In some cases even the arms become metamorphosed into ornate creeper-
likc foliage which seems 10 entangle the whole body in a web of clinging tentacles.
The scrollwork is characteristically archaic in execution, cut perpendicular to the surface
as on earlier temples, but marked by an exuberance and variety in design surpassing
anything appearing on later temples. Although later scrollwork is more refined and Auid in
execution it is more stereotyped in conception. As on the earlier temples the geometric
motifs arc lightly carved whereas the organic motifs arc deeply cut, suggesting the use of a
drill, creating a rhythmic interplay of light and d ark accents. Perhaps the most unique
decorative program, yet the one most severely criticized by scholars,•1 is the decoration of
the wall of the jagamohana above the row of deities at the base where there is a profuse use
of honeycomb Joli patterns combined with raitya designs. Virtually every square inch of the
walls arc carved with these decorative motifs producing an overall incrustation which
contrasts greatly with the fully rounded images of the deities encased within niches. The
intense Indian sun shimmers across the surface to produce a lace-like macramc pattern
which animates the walls without disintegrating or visually weakening them. The Aatncss
of the carving and the use of perforated Joli play a major role in achieving this " Aoating"
effect while the raitya motifs, through repetition, help to unite and harmonize the decorative
program. Although the execution of the individual motifs is often crude, much of the work
being assigned to workshop assistants, the overall vigor and asymmetrical character of
these individual motifs within the overall design is quite refreshing. The overall program is
not chaotic, as mentioned earlier, though numerous repairs and restorations has partially
diminished, or obfuscated, the delicate interplay of projecting and recessed areas of the
original design.
11 Fabri (op. ril., pp. I l J · 1.t4), for example, refers ro the1in.1,ha as an ill·organtzed, untidr SC\11pturcd "''all and
that the f><l\'Crty ,,f ide as exhibited is the rc"ult o f Buddhist sculptors, trained primaril~· to carve
SU)'.l;~ests
individual image", not yn able to carry out a complt:tc, .,.,.cu organ izC'd sculpturC'd wall madC' entirely of stone and
incendcd to be"' co ve red \L'ith rc:lic:vt>$ from c:nd co end.
Original from
THE EARi.if.ST Sl'R\'JVJNG TEMPLES OF ORISSA 6;
In summary, though these early temples of Bhubaneswar are architecturally similar there
arc enough dissimilarities, panicularly noticeable in individual motifs, to suggest an
evolving decorative program. There arc two major trends noticeable in these minor
decorative motifs. The first is a unifying trend whereby the basic components of the various
motifs become s1andardizcd. The second trend is towards increased refinement within the
basic components and this is achieved primarily through variety of pose and complexity of
design. Both trends suggest the experimental nature of the decorative program and reflect a
growing maturity and competence on the pan of the sculptor. Although the figures
decorating these temples arc basically similar it is possible to identify three major sculptural
styles in addition to less competent works resulting from workshop panicipation. The
general trend in figure sculpture is from a linear to a more three-dimensional approach and
from a limited rcpenoire of static poses to more dynamic and animated poses. Each of the
three sculptural styles also favors a panicular facial type which, in itself, constitutes one of
the most distinguishing characteristics of the styles. Even the figures produced by
workshop assistants exhibit these same facial characteristics. Each temple, on the other
hand, shows evidence of an overlapping of styles suggesting that the temples were
constructed over a rather limited period of time, with the Parasurimcsvara temple being a
joint cfl'on of two master-carvers. The overall quality on the Parasurimesvara, the latest of
the temples, is more uniform, excluding some of the minor motifs on the jagamohaflll, with
all sides being treated equal, suggesting that there arc more competent carvers at work and
that the workshops arc more firmly established.
0) ADDITIONAL SHRINES AND D ETACHED S CULPTURE
Aside from the five major temples discussed the only other extant temple at Bhubancswar
which may date from this early period is the buried shrine in the southeast comer of the
Yamesvara compound. Only pan of the ga~i is visible above ground, however, so it is
difficult to date it with any degree of precision. The image of Pirvatl, though conforming
stylistically and iconographically to similar images on the temples discussed, is a minor
figure appearing in a tai!)'a·medallion and thus not comparable to pariN-dt11ala images.
The plan of the g~ is tri-ratha, in contrast to the paita-ratha design of the other temples,
and there is no recessed afUlraha. Whether this is a rudimentary form of the ga~i in its
incipiency or merely an expedient adaptation of the mature form to miniature scale is
difficult to discern until the entire structure is excavated. Its placement in the comer of the
compound, in addition to numerous architectural fragments scattered in other comers of
the compound, suggest that this may be one of the comer shrines for a large pailttiyala~a
temple which has not survived, its center shrine being replaced in the 1 ;th century by the
present Y amc5vara temple. Numerous detached images, some affixed to small new shrines,
within the immediate precincts of the compound and across the street in the Bharat! Ma1ha
compound, attest to the great sanctity of this site at a very early date.
Among the early images within the Yamesvara compound is that of Kiintikeya depicted
in a rigid 111mabhatiga pose with the left hand resting on the hip in lea{Jtivalambita rather than
holding the ul:ti.12 The right hand holds a •ifapiiralea while the peacock occupies the lower
right comer, depicted in profile, with its tail behind Kintikcya. Now affixed to the south
Original from
compound wall is 2n im2ge of Gal)esa, ics head missing, depicted in a sc2nding lribhaliga pose.
lconogr2phic2lly, however, with the mouse 2ppearing in the lower right comer and the
lt.N/hara placed upside down rather than being held in one of the upper hands, the image
seems to be later in date. A more impressive image of Gal)esa is the example housed within
a small shrine next to the entrance gate just outside of the compound. Gal)esa is seated in
ardhaparyalika and holds the rosary, radish, lt.N/htiro and modoka-ptitra in his four hands. The
proboscis is curled-up in the act of placing a sweet in the mouth rather than reaching for
one from the bowl. The center tripod on the pedestal is flanked by a smaller one on each
side. A similar image is found affixed to the compound wall of the V2rui:icsv2ra temple a
little distance to the east of the Yamesvara temple while additional examples arc to be
found within the compound of the Bharati Ma1ha along with numerous images of Lakullsa
and Hara-Piirvati, most of which date to the 7th-8th centuries.
Nothing remajns, as suggested earlier, of the shrine of Tribhuvanesvara supposedly
erected by Sasiiilka to house the Svayombhii-lingo which, once established, came to be
known as Krittiviisa.u Within the compound of the Liilgaraja, the original site of the
Tribhuvane5vara shrine, there are numerous sculptures attached to later shrines which may
have belonged to the temple erected by Sasiiilka. The most impressive early image is a
standing Gal)eSa. The proboscis is again curled-up rather than reaching for a sweet from
the modoka-ptilro which is held quite low in the major left hand. The upper left hand holds a
radish while the right hands hold a rosary and /eMfharo, the latter partially hidden behind the
car. The coiffure is rather plain, as on most early images, and a beaded-halo appears behind
the head. A feature rare on early images is the addition of a rat stealing sweets from a bowl
held by an ancndant in the lower right corner. A second sculpture, likewise attached to a
later shrine, is of Kiirttikeya. The deity sits astride his peacock-mount with its tail
spreading behind similar to early images on the Satrughnesvara and Svarl)ajalesvara
temples. The right hand is broken while the left holds the ialr.li. Kantikey2 is flanked by
Brahma on his right and another deity on his left. The pedestal contains three shallow
niches with the center one occupied by a squatting mandira(ari~i simil2r to one 2ppcaring on
the pedestal of the mtitrk4 Viirahi on the Parasuriimesvara, while the corner niches arc 611ed
with acrobatic atlantid 6gures. Stylistically the facial features of Kiirttikeya, along with
the linear deployment of Brahma's three heads, arc identical to the work on the
Svarl)ajiilesvara temple so that this panicular image can be dated to the beginning of the
7th century, a date corresponding to the hegemony of S.Siinka in Orissa. A third early
sculpture within the Liilgaraja compound is that of Piirvatl. lconographically the image is
similar to that on the Svarl)ajiilcivara with the goddess standing in a 10111obhongo pose
displaying a lotus-mark on her lower right hand extended in the voroda-11111drti. ln her other
hands she holds a rosary, kttaka flower and a vase. A fourth early image is of Surya. He is
depicted standing in a rigid 1a111abhonga pose holding a long-stemmed lotus in each hand as
in the examples from the Lak5mal)esvara compound and on the Parasuramesvara. Added,
however, arc flanking attendant 6gurcs.
It seems highly unlikely that Ha~avardhana, being primarily in favor of Buddhism, was
responsible for the erection of any Saiva shrines at Bhubancswar during his sojourn in
Orissa. It is possible, however, that his ally, king Bhaskaravarman of Assam, who carried
on the struggle against the Cii!ukyan king Pulakesin II after Sasiinka's departure from
.., JhiJ.. p. 1 19 .
Original from
61
Orissa, was responsible for the erection of the shrine of Gokarl)esvara at Bhubaneswar.
Although the names of individuals relating to the origin of the shrine, as recorded in the
Eloimra P11rti!la (ch. 48}, are fanciful, the place names of the story indicate that the light
described was between a king of Assam and a king of the Vindhya mountain.&! The
original temple no longer stands and was replaced at a later date by the present small shrine
on the bank of the river Gangua near Sisupalaga rh. Thar there was reciprocal influence
operative between Orissa and Assam at this time seems evident in respect to iconographic
features appearing on numerous images. The Ganga and Yamuna panels on the west end
of the jaga111oha11a of the Parasuramesvara. for example, are iconographically similar to
examples carved on the door jambs o f the temple of Dah Parbatiya at Tezpur in Assam and
within niches of the ruined temple at Paharpur.8S Even more similar in respect to
iconographic details arc the Bhik$a1anamiirti images carved on the Parasurimdvara and
on the brick temple at Pahilrpur.e. The image of the Parasurimdvara is placed within a
railj<a-medallion so that the grouping at the extreme left was not included.
Although numerous scholars, including Ganguly87 and Panigrahi, 8'I have suggested
strong reciprocal influence between the Ca!ukyas and Orissa, their respective arguments are
difficult to validate because of discrepancies in dating. Although the attributes, hand
positions, pose and body ornamentation of the Nafaraja from Cave No. 1 at Badami are
similar to a detached Na1araja housed in a small shrine in the l\lluktesvara compound this
docs not necessarily mean that direct influence is being exerted in one direction or the
other. Cult images such as Na1ariija are generally quite conservative in nature and based on
Silpaitistrir proscriptions stemming from a common heritage so th at strong similarities from
region to region are to be expected. The Badami image can be approximately dared by the
inscription appearing in Cave No. III corresponding to A.O. 178 whereas the Bhubaneswar
Na1ariija, stylistically related to the Svarr.iajiilesvara temple, must be assigned to the
opening of the 7th century. Whereas the Badami Na1araja is carved on the facade of a cave,
the Naiariija in the l\IIuktesvara compound is carved on a grille suggesting it lilled a
window on the jaga111ohana of a temple no longer ex1an1, probably on the site o f the present
Siddhesvara which contains fragments from an earlier temple in its foundation and ptihhaga
mouldings. The l\fuktesvara Na1araja is much Ratter in treatment, in keeping with Orissan
traditions, and has only ten arms in contrast to the 16 at Badami. The dance pose, with one
foot raised rapping cadence 10 the music and one arm swinging horizontally across the
body, arc reversed in these images.89 In a later Ca!ukyan wo rk, from the Sangamdvara
temple at Kii<laveli (Mahabubnagar, A.P.}, the dance is more energetic and the body more
dynamically posed with the right leg lifted higher. In the Orissan work Siva is rendered in
tirdhva/inga whereas this aspect is not stressed in these two Ca! ukyan versions. Although the
face has been recur on the image from the l\luktesvara compound enough remains to
indicate it is in the style of the Svart)ajiilesvara master-carver, characterized by flattened
cheeks which produce an overall ligurc "8" silhouette.
,.. //;iJ., pp. i io - 22 1 .

ti Sec: ( )dc:trc \.' ienn<)t, l ,fs J)irin1/ (J l :fllt'illrJ (,an,t,a t i ) '11m1111a ""·'· P orltl dt1 .\"11r.if1'a1rfr J r l.'i1:1J" ( Paris. 196 4) .
pl. 21d.
8c. !)(( S. K . Sara ~'-\-·1.t i , f:11r (y .\'tN/p111rt of lkn.(lll (C:alcutta, l'J\J) , ti~ . 11 .
.., ~I. Ganjl;ul~', op. 111., p. J: '1 J:.
M Pan 1~rah1 • •4 rt1Jat1JIQ.~11al Htmains 11/ [JJ11th11nt1a·a r, pp. J:J: S· J:Z4 .
.. /b1J., tig. 11 j.
Original from
66 THE f.ARLll~ST Sl1R\: l\11NC TE~IPLES ( )f ()RISSA
That there was an earlier temple erected on the site of the present Kapil.Svara temple is
evident from numerous surviving images within the compound or affixed to the inside
compound wall. As indicated earlier the temple owes its origin to the Pisupata sect, being
named after Kapila who was one of the successors of Kusika, a disciple of Lakul!.90 Among
the surviving images from the earlier shrine arc those of Sllrya, Parvatl and Kiirttikcya. The
most impressive work, however, is a large grille decorated with dancing figures and
musicians similar to the grilles decorating the western end of the jaga,,,ohallll of the
Parasuriimcsvara temple as mentioned earlier.
In addition to the images housed within later shrines or affixed to compound walls there
arc numerous early images found at Bhubaneswar and its immediate environs which arc
now placed within the Orissa State Museum. Two of the most interesting were attached to
a later miniature temple standing behind the Doodwalla Dharmasiili. The first is an image
of Kirttikcya seated on a throne in la/ifisallll with his left leg pendant and his right hand
planted firmly on his thigh for support. The left hand holds a vija-piralea while the iakti
stands on the pedestal behind Kirttikcya. The peacock is depicted in profile between the
jar-shaped legs of the throne. The second image is of Gal).Sa. He is seated in artihaparyali/ea
with his right knee upraised and his head turned to the left. His proboscis is curled-up
rather than reaching for another sweet. He holds the standard attributes and his hair is
arranged in the terraced learap(ia-,,,11/tMfa, a more elaborate style of coiffure introduced
during the latter phase of this early period. A jack-fruit appears in the lower left comer of
the niche and the mouse in the opposite comer. ln another image housed within the Orissa
State Museum datable stylistically to the closing years of the 7th century Gal)csa is seated in
anihaparyatilea with a yoga-pafla tied to his raised knee for added support, a feature also
present on the image from the Varul)csvara compound. A tripod filled with leaves and fruit
is carved in the center of the pedestal with Aanking jack-fruit at the comers.
In addition to pirfva-tkvalii, or cult images there arc other detached sculptures more
narrative or decorative in nature, including three horizontal panels now in the Orissa State
Museum. The first is a rare example of Agni receiving the seed of Siva, a motif from the
K11,,,irasatitbhava (:.1) pertaining to the birth of Kiimikcya. The second panel, found near
the Svarl)ajilesvara temple, represents K~l)a defeating the snake-demon Kiili ya, one of the
few surviving Vai~l)ava images from this early period. The third panel has a seated couple
performing a ritual, labeled as Yak/a and Yak/i, Aankcd by an attendant and a warrior. On
the comer is a large squatting figure.
1. Ear(y Re,,,ains 01111itit of Bh11banuwar

One of the most sacred religious sites in Orissa during this early phase of temple
construction was M ahcndra mountain situated in the extreme south of Ganjim district, a
site of great importance even during the rule of the Mii1haras whose territory extended all
around the mountain. 91 Both the Gailgas of Kaliilga and the Sailodbhavas of Kollgoda
held the mountain in great veneration and regarded it as a K11/agiri. The Sailodbhava kings,
in fact, regarded Mahcndra mountain as the sacred scat of their progenitor. From the
Buguda plates of Midhavavarman it is recorded that Pulindascna, a leader of the Kalinga·
QI) /hitf., p. 21 1.
" S« 8 . K. Raih, '"T he Histo')· of Mount Mahcndra'". OHR], XXll ( 1977), pp. 80·98.
Original from
THE E:\RLJ ..:ST $l l A.\' l\' JNG Tl·:.\ IPl.f·:S (>f ClRI SS:\
J anata, worshipped the god Svayambhii on top of this mounuin where he received a boon
from Brahma that a stalwan youth would come out of a rock after it had been split. He
was called Sailodbhava after whom the family was named.92 The Gangas, on the other
hand, most likely installed an image of Gokan:iesvara on the mountain as their family
dcity.•s Although there arc three temples in existence near the top of Mahcndra mountain
none of them, unfonunately, can be dated on stylistic grounds to the 6th or 7th century.
The small Bhlma temple at the highest point on the mountain, though generally ascribed to
the Gupta period, is a crudely constructed pi(iha-dt11/ bereft of decoration which could have
been constructed from debris of an earlier temple at a much later date by the local
populace.'>< Even the Gokan:ic5vara (Kuntl) temple appears to have been constructed from
stones belonging to an earlier temple.
Although numerous stone inscriptions tentatively ascribed to the 7th century have been
found in Mahikiintara (Koraput-Kalahandi districts), as at Mohanagiri and Ocypur,•s the
existing ruins at these sites appear to be later in date or arc modem reconstructions. An
exception may be the Nilakanthc5vara temple on top of Jogamunda hill at Padmapur in the
Gunupur subdivision of Koraput district. The temple contains an incription, assigned to
the 7th century, which preserves a small genealogy of three Buddhist tiraryas-Candralekha,
Bhaddhakhan and Dharmakini-suggesting that the monastery of the famous a(arya
Dharmakini was located in this hill ... The temple, however, is a plain pi(iha-dt11/ only 11 feet
6 inches in height built of single blocks of sandstone. The pyramidal roof has only two tiers
and is crowned by an amala!ea.•'
Another imponant site during this early phase of temple construction is Sitiibhii\ji in
Kconjhar district, an area under the hegemony of a line of Bhai\ja rulers. In addition to the
famous fresco painted on the underside of a huge boulder serving as a roof for a rock-
shcltcr, illustrating a royal procession of the Bhai\ja king Disabhai\ja,98 there arc numerous
other rock-shelters, stone inscriptions, crumbling bricks and a rat11rm11/eha-linga to suggest
that the site was a Aourishing Saiva shrine, most likely of the Pasupata sect, during the 6th-
7th centuries 2nd later.99 The most imponant early sculptural find in Kconjhar is the
Na1ariija image discovered in the small village of Asanapat. Beneath the image of Na1ariija
arc 1 j lines of Brahmi script extolling the glory of Satrubhaiija for constructing a temple.too
tJnfonunately the inscription docs not include a date. On palaeographic evidence the script
has been assigned to the 6th or 7th century. In that Satrubhaiija is described as the son of
l\liinabhaiija of a Niiga d ynasty, it is not possible to link him with later Bhaiija rulers who
claim descent from the solar d ynasty. The eight-armed Viniidhara holds the vi!'Ji in his two
front hands. He is iirdhva/itiga and is nude except for a thin waist-belt. He is Ranked in the
lower comers by Bhrkiiti and the bull Nandi.
'1 $. N . Rajaguru. /111<,rpti()lls ofO,issa. \ re.>!. 1, p:an ii, pp. 1(,6-171.

1/J K. t . ~t1shra, Thi < .:"11 of Ja~a1111411Ja (Calcutta. 1971), pp. 6·7.
!).I JbrJ., pl. 1. Both 8. f..:: . Rath and K. C. ~-f ish ra date it t() 1he Gup1a pcri1)d.
en. S. Tripathy, ••Jn Search of Epigraph1cal Antiquities," Ntw Dilfllt1'sions of To11rism ;,, ()rissa {Cuttack, 1977),
p. 71.
°"" Nil:amani Scnap:ati and N. K. Sahu. Ko,uplilt Disl,i<I C attllttr (C.u1tack, 196(1), p. 411 .
.- S(c ln41alf A r<hato/()gJ. 1966·67. A RtvtrJll' {Nc-w Delhi, 197)), p. 19 a.nd pl. X\'l ll a.
Qll Xe T. N. Ramachandran. A,1ih111 A1iat, XIV, pp. ) · l J.
90 Shr1 A. Jo~h i, '"Ant1qu11io ofSitabh 1nji," OHR}, \ 1 ol. XIII ( 196, ), 11 ·18.
'"' Anirudha o... ""Aunap,.."" OHKJ. Vol. XIII (19(>!), pp. 1-$.
Original from
1·111:: J·: :\Rl.ll~ST Sl.R\'l \' l~C~ TE~IPl.11S Cl fo <>RI$$:\
Although no early temples have survived there arc numerous detached images scattered
throughout Jajpur to suggest that it also was a thriving Saiva center during the 7th
century. One of the earliest temples must have been located near the Atharaniila bridge as
many detached images are now affixed to it chough generally hidden from view by chick
foliage. Two of the most interesting images, and besc preserved, are of ArdhaniiriSvara and
Ekapada Siva, each enshrined in a niche adjacent to the ocher. Ardhaniirisvara sunds in a
slightly flexed lribhanga pose flanked on either side by an attendant. The major righc hand is
broken at the wrist while the left hand is placed on the shoulder of the auendant on the left.
The uplifted hands hold a trident and a mirror. The respective mounis peer out from
behind the legs of the deity. Ekapada is two-armed and is also flanked by attendancs. He
holds a rosary and an offering in his two hands. Also attached to the bridge is an early
image of Kiintikeya. He is two-armed and stands in a slightly flexed pose wich che left hand
on his thigh . The right hand holds a vi)a-piiraka. His lakli is placed in the left corner of the
niche while the peacock stands behind him. A second Ardhaniirisvara, broken below the
knees, appears to be slightly later in date. The uplifted right hand holds a rosary rather
than a trident. In addition to numerous architectural fragments, such as railj'a-medallions,
there arc frieze motifs which probably formed pan of a bara/l{fa recess. The most imcrcsting
frieze, though only a fragment, possibly represents the Marriage Procession of Siva. Siva is
riding on his mount as in the example on the Satrughne5vara temple. Behind him is the
head of a ram on which Agni was probably riding while in front of Nandi is a figure
walking with a club over his shoulder. Over the head of rhis figure is a canopy of scrpcm
hoods to suggest he may represent Vi~r;iu. Other fragments attached to the bridge include
scenes of musicians and dancers.
There are also numerous sculptural fragmems scarcered throughout Balasore districc
which date from this early phase of temple construction. One of chc earliest is the Surya
image leaning against the platform of the Panamangalii temple at Chhatrapiida. He siands
in the conventional samabhanga pose and wears a heavy nonhc rn tunic which hangs almost
to his ankles and heavy boots. His arms arc broken off. He is flanked at the lower left b y
Pingala who holds a tall pen. The lower right ponion of the image and the pedestal are
missing.
Original from
CHAPTER TWO
TEMPLES OF THE 8th AND 9th CENTURIES

AT BHUBANESWAR
Very little is known about the history of Orissa during the 7th and 8th centuries but it
seems plausible that the break-up of the Sailodbhava kingdom, being pressed by the
Cangas to the south and Oak~ii:ia-Kosala in the west, was primarily due to the emergence
of the Bhauma-karas in northern Tosiili. It is quite possible that Ha~avardhana's Orissan
expedition in rirra A.O. 641 led to a period of turmoil that gave the Bhauma-karas the
opportunity to establish an independent kingdom in To~ali with their capital at
Guhadevapa1aka or Viraja (identified with Guhira Tikra about ! miles from Viraja or
Jaipur on the Vaitarai:ir river in Cuttack district). The Bhaumas apparently were an ab-
original tribe, generally taken to be the Bhuyans, inhabiting the northern hilly tracts of
O rissa, who supposedly migrated from Assam where a branch of their dynasty existed from
earlier times.' The earliest three members of the dynasty were Mahayana Buddhists while
the later rulers were Hindus. The earlier rulers seem to have ruled in the north (Tosili)
contemporaneously with the Sailodbhavas in the south (Kongoda), but from copper-plate
grants of later members it becomes evident that they eventually extended their rule to the
region once occupied by the Sailodbhavas.2 The hegemony of the Bhauma-karas over the
area around Bhubaneswar is proved by inscriptions in the Gai:ic5a-gumphii cave on
t:dayagiri hill and in an artificial cave in the Ohauligiri hill, both just outside of
Bhubaneswar, which refer to the reign of the Bhauma-kara king Sintikara.J The
foundation of their dynasty, according to astronomical calculations worked out by Pandit
S.N. Rajaguru,• commenced in A.O. 1i6 and their rule lasted for nearly two hundred years
though the latter part of the dynasty is characterized by political turmoil and disunity and
much of the area appears to have been divided into a number of small principalities.s
Although Ksemankaradeva appears to have been the founder of the kingdom nothing is
known of his other achievements. The boundaries of the kingdom were greatly expanded
by his son and successor, Sivakaradeva I alias Unma!!asimha, who, according to the
Ganjam copper-plate grant of the GaJiga king Jayavarmadeva of Svetaka, conquered
Kongoda and the northern part of Kalinga.6 In the Talcher copper-plate grant of
Sivakaradeva Ill, dated in the Bhauma year 149 (A.O. 881), Unmanasimha is given credit
for defeating the Ril.i;lha (southwest Bengal) king in battle and forcing him to give his
' "r1~hna Pan i~rah i, "Bhauma Art and Architecture of0ris$a," .4rtJ / 11iatiq11fs, J\' (1917). p. l"11· t\$ v.·ith
Jlar~a. the Bh2uma$ likewise claim their descent fr<>m Bhagadatta. Sec Pandit 8ina)·ak f\t1sra, Orisu ""dtr 1ht
Bi\J""'" J.;,".(I (C:alcutta, 1934), p. 36.
l P.an1x rahi, .· lrthllrolo1.ir11J Rtlllllilf.I at 8h11ba,,t1•·11r, p. 11,
) lit1d., P· l JO.
• S.S. R"Jja~uru. "The Oas:1palla Coppc-r Plate Grant of Ri~aka Satrbhalija Deva, Samva1. 198", ()JfR],
\'nl I ( 19 s1), pp. 10 8·1•J,
,. S(tmt Mholars h:1vc placed 1hc beginning of the Bhauma·kara d~·nasry in the 91h C. See D . K. Gan~uly, op.
'''··pp. 1?('1· 10 1.
• f,,J,"" ll1s1or1rol Q1111r1rrfy, \ 'of. XJI ( 19\6), pp. 489 ·49~ . /nsrriptions o,(C)riss11, \' <>L II {11)f10), pp. as8· t6J.
Original from
70 TEMPLES OF THE sTH ANO 9TH CENTURIES AT BHUBANESWAR
daughter in marriage.' It is likely, as Panigrahi suggests, that Unmanasirilha ruled until

about A.O. 7')0 which would make him a contemporary of the Chinese emperor Te-tsong
and responsible for the gift of an autographed manuscript of the Buddhist work Ga(ll4iyilha
received by the Chinese emperor in A.O. 79l .1 Sivakara I was succeeded by his son
Subhikara I who, according to his Neulpur copper-plate grant, quelled a revolt of his
kinsmen who wrongfully claimed the throne. He married Midhavadevf, who was a devotee
of Siva, indicating that the king and his queen belonged to different religious faiths as the
king was a Buddhist.9 Subhikara I was succeeded by his eldest son, Sivakara II, who is
described in his Cauriisi copper-plate grant as lord of both Uttara and DaksiJ:ia Tosiili and
given the epithets of "Paramabhaniiraka", Mahiirijadhirija" and "Paramesvara".to
Subhikara I and Sivakara II thus ruled between A.O. 790 and 819. It is during this
period that the Ris1rakii1as of the Deccan and the Palas of Bengal claim in their
inscriptions to have invaded Orissa. In the Sanjin Plates of Amoghavaqa it is recorded
that the Riistrakiita king Govinda III (A.O. 79}-814) conquered Kosala, Kaliriga, Verigi,
Diihala and O<;lraka. 11 This invasion thus occurred during the reign of Subhikara I and
may possibly be the so-called " Raktavihu" invasion referred to in the MaJa/4 Ptiilji.
According to this version, when the invaders approached Puri, Subhikara fled the city with
the images of J aganniitha, Subhadri and Balabhadra and proceeded to a place called
Gopiili, near Sonepur, where they were buried. The images remained buried for 146 years
until dug up by Yayiiti I Kesarl who made new images and built a new temple at Puri and
enshrined them there. That a calamity overcame Subhiikara I is substantiated in the Hindol
plate of Subhiikara III dated in the Bhauma year IOJ (A.O. 8J9).t2 During the reign of
Sivakara 11 the Pila emperor Dcvapila (c. A.O. 810-8io) invaded Orissa and appears to
have succeeded in bringing it under his political hegemony. The loss of prestige and power,
as well as the resulting distress and disorder, caused by the Ristrakilta and Pila invasions
appear to be rcfleaed in the Dhcrikanil plate of Tribhuvana Mahidevf I, dated in the
Bhauma year 110 (A.O. 846), where the sad plight of Orissa prior to her accession is
described. u
Sivakara II was succeeded by his younger brother Siintikara I, 11/i111 Lalitahara, whose
descen<;lants continued to rule the Bhauma kingdom up till the end of the dynasty. The
Elder branch represented by Sivakara 11 terminated with Subhiikara II, suggesting that
their claims to the throne were set aside because of submission to outside aggression and
domination.14 Siintikara I married Tribhuvana Mahiidevf, the daughter of Riijamalla I of
the Western Ganga dynasty of Mysore, who ruled from A.O. 817-8Jl. According to
statements recorded in the Dherikanil plate of his daughter, it was Rijamalla who put an
end to the Rastrakiiia and Pila domination in Orissa. The marriage of Siintikara I with the
daughter of Riijamalla was not only a turning point in the political history of the Bhauma-
karas but also a turning point in the history of their religious faith as Tribhuvana
MahiidevJ was a great devotee of Visnu. The accession of Tribhuvana MahiidevJ I to the
' B. M'1sra, op. '''··
. p. 47.
' K. Panigrahi. Chr011oloo o/ tht Bh411111a-Kar11.1 and tht J'oMJtM11tsi1 of Ori11• . pp. 8·9.
' 0 . K . Ganguly, op. ri1., p. 101 .
10 ]BORS, Vol. XIV, pp. 191 ff.
" Epit,r•pbi• 1•.u,., Vol. XVIII, p . •H·

" B, M'1srt.. op. NI.,
. pp. 14-17.
IJ lbiJ., p. 19 and Panigrt.hi, Chr011ology of tlH Bh4•11111·K11r4.J tmJ lht .f01W4WJ•sis of Oris111, pp. 17-18.
• Pa.nigr-ahi, Chro,,0/01.7 of tht Bh111111111-K11r•1 aAJ tht So•11N1111i1 of Ori1111, p. 19.
1
Original from
TEMPLES OF T f~E 8T H AND 9rH CENT l' RIP.S AT Bl lL'BANESIX'A R 71
BHAUMA-KARAS
1. K5cmankat2dcv2 (736 A.O.)

. I
1. Sivakaradcva I alia1 Unmanasimha (n6 or 786 A.O.)
I
) · Subhikaradcva I (790 A.O.)
4. Sivakaradcva II (809 A.O.) I. Sintikoradcva I alia1
I
6. Subhikaradcva 11 (8)6 A .O .)
Lalitahara I (819 A .O .) = = 8. Trib hu vana
Mahodcvl I
(846 A.O.)
7. Subhikaradeva Ill
alias Kusumahara I
(819 A.O.)
. I
9. Sintikaradcva II aliaJ Lonabhira I
10. Subhikaradcva IV a/iaJ 11.Siv2k2radcva Ill alias Laliiahara II

Kusumahira 11 (881 A.O.) (881 A.O.)
== 11. Tribhuvana-llfahidevl II
(894 A.O.)
1 !· Sintikaradcva Ill 14. Subhikaradcva V II· Gaurl-Mahidcvl

alias Lava.Q.abhira II
I
= = 17. Vakula-Mahidcvi 16. OanQl-Mahidc••I
(940 A .O .) (916, 91) A .O.)
18. Oharma-Mahidcvl
(949 A.O.)
Adopted from Krishna C. Panigrahi, ChronololJ of tht Bh111111to-Karas 11M 1/N .fo11t11W11#si1 of Ori11a (~laJr1s., 1961 ) .
throne in about A.O. 846, after shon reigns by Subhakara II and Subhikara Ill, thus
marked the revival of the Bhauma kingdom after a period of external domination.I!
Tribhuvana Mahiidevl I was succeeded by her grandson Siniikara II, alias Loi;iabhira,
apparently abdicating 1he 1hrone when 1he !airer became of age as indicated in one of her
Tiilcher granis.•• Siintikara II had 1wo sons, Subhilkara IV who married Prthvi Mahidevl,
aliat Tribhuvana Mahiidevl II, and Sivakara Ill, who ruled in succession. Both bro1hers
were Saivas.
The dea1h of Sivakara Ill was followed by a s1ruggle for succession to the 1hrone.
Th9ugh Sivakara Ill had two sons, Santikara Ill and Subhakara V, 1he 1hrone was usurped
by Tribhuvana Mahidcvl II wi1h 1he aid of her fa1her, the Somavamsl king Janamejaya
1
' /brJ. , p. ) 1 .
'' 0 . K. GanRuly, op. t i l ., p. 10 .i .
Original from
7z TF. ~IPIJ·:S C>I: T ll F. 81.H :\N O •JTI~ C:J ~ NTt' RIES t\T 8HL' B :\Nl~S\~:AR
Svabhiivatutiga, who probably killed Sivakara JII.17 In the Baudh plate of Tribhuvana
Mahiidevi II, dated in the Bhauma year 'l 8 (A.O. 894), it is recorded that Subhakaradeva
JV and his brother Sivakara Ill died without issue,•8 a deliberare attempt to suppress the
truth and to ignore the claims of Sivakara Ill's sons who probably set up parallel
governments in some pans of the same kingdom. The reign of Tribhuvana Mahadevi II is
not mentioned in later Bhauma-kara records, a fact indicating the larer members of rhe
Bhauma ruling family never recognized her succession which was secured wirh the help of
an external power.•• Tribhuvana Mahiidevi II was eventually ovenhrown by Sivakara Ill's
eldest son Siintikara Ill, the husband of Oharma Mahiidevi. Santikara Ill was succeeded on·
the throne by his younger brother Subhiikara V who married Gauri Mah:idevi and Vakula
t>iahiidevi. Gauri Mahiidevi succeeded her husband on the throne and she was followed by
her daughter Oal)c;li Mahiidevi. Oal)c;li t>iah:idevfs known dates are the Bhauma years 180
and 187 (A.O. 916 and 9z3). Her Santirigrama copper-plate grant, dated in the Bhauma
year 180, alludes to her supremacy over Yamagarna-ma11i/a/a where her feudatory Riil)aka
Apsarodeva was ruling20 while her Ganjam21 and Kumurangzz plates testify to her hold
over Oaksil)a Tosiili. From the Taltali copper-plate grant of Oharma t>iah:idevi2' ir is
recorded that Oal)c;li Mahiidevi was succeeded by her step-mother Vakula t>iahiidevi though
the circumstances of this succession arc not known. It is possible that Vakula secured help
from her paternal family in dethroning Oal)c;li.24 Vakula Mahadevl was succeeded by
Oharma Mah:idevl, the wife of Siintikara Ill, and was probably the last ruler of the
dynasty. The last four rulers were thus female, a fact suggesting the non-existence of male
heirs.
The dominant form of religion of the early Bhauma-karas appears to have been Tantric
Buddhism, though they were tolerant of all sects. Although the Puspagiri-vihiira monasrcry
complex, visired by Hiuen T sang in A.O. 638, was in existence during rhe Sailodbhava
hegemony in Orissa, ir is nor until the mid-8th cenrury that Buddhist images and motifs, as
well as terrifying aspects of Saktism, appear on temples at Bhubaneswar. In contr>st to the
precceding period of temple construction, in which no images of the Sakti cult appear as
presiding deities, numerous temples built in the 8th century house the rerrific form of the
goddess with sunken bell)', emaciated body garlanded with skulls, attended by jackals,
and seated on a dead body. The temples of Vaital, Uttaresvara, and Mohini all contain
images of this description while numerous other detached examples from this period are
enshrined in modem temples .25 Also popular during this period was the image of Ourgii
t>iahisamardini, the goddess as warrior in the act of killing the Buffalo-demon (Mahisa),
generally enshrined as the piirfva-dtvatii on rhe nonh side of the dtNI replacing the image of
Piirvatl standard on earlier temples.
Saivism, Saktism and Tantrism seem to have been inseparably mixed together at this
time with the K:ipiilikas being one of the most extreme sects emerging from this
1' Panigrahi, G..hronol".( Y of 1},, Bha11•11·K11rt1s 1111d tht .\'omiJt'n111sis o.f ()rissa. p. 1.
1• l11tli a11 Hi11ori<1JI Q111Jrttr!1. VOI... XXIX, p. 1~ ' ·
19 Panigrahi, Chr<J1tology of 1hr 81)a111111a•l<llro1 and tl>r .'io111111·11,,,sis of Ori1111, p. 7 .
10 F.p(t,rapbio lndir4, Vol. XXIX. pp. 79ff.
11 Ep1graphh1 /11Jit a, \ •ot. \ JI, pp. IJJ·•41.
11 j BO RS, V o l. V, pp. 164-1 77.
lJ /ndilin Hi1torital Q141r/1tf;, \ ' ol. XX I, pp. 11 } ff.
" D . ," . · c·1:angu Iy. op. '''"
. p. 104,
2~ Pan1gr·ahi, .· 1r1/J11 rol~(1tal Remains al HJ111fldffts• ·ar, p. 1}.t.
Original from
7J
•malgamation. Their inAuence is noticed on many temples, beginning with 1hc Vai1:il Ocul,
and terrifying images come 10 be one of the more popular motifs dccor2ting Orissan
temples. The area bordering the Prad river cast of Bhubaneswar is dotted with Tantric
shrines daiing from 1he 9th to the 14th centuries and even today is very strongly permea1ed
by 1he Sakti cult.u. The name "Vai1iil", as Panigrahi suggests, probably derives from the
word "vctala" or spirit with the help of which the Kap:ilikas and the Tantrikas wanted to
attain their siddhis. Though the Kapalikas were followers of Siva, very often the dei1y of
their worship was Ciimul)c;la with her garland of skulls. The Kiipiilikas, as we know from
literary evidence, sacrificed human beings to this goddess. The lower ponion of the stone
pillar still extant in front of the Va ital is probably the remnants of a yiipa utilized for such
sacrifices. 27
Even though many of the practices of the Tantrics, panicularly those of the extreme sects
such as the K:ip:ilikas, ate revolting-including the wearing of skulls, the sacrifice of
human beings, the eating of food from human skulls, and the use of human lungs and
brains as fuel for the sacrificial fire-it is essentially a religion of the indigenous people, of
those living close to nature, and its origins can be traced as far back as the Atharva Vtda.
The emergence of Saktism and Tantrism at this time, in essence, signifies a return to the
indigenous spirituality, to the belief in fenility worship and the magic of formulas and
initia1ion rites, to sacrifices, and, above all, a re1urn to the worship of the female principle.
It is not only in Orissa but through all India at this time that there is a religious re·
discovery of the mystery of woman.28 For both the Tantrikas and 1he Saktas, woman is 1he
altar, she is the Brahman. The goddess incarnates herself in every female and it is the very
act of being a woman that becomes sanctified, for to worship woman is to worship the
Great Goddess herself.29
This religious rediscovery of the mystery of woman, and her sanctification, is beautifully
recorded on the temples of Bhubaneswar during the 8th century. The image of woman
usurps the position on the temple previously accorded to the gods. The first example of 1his
sanctification appears on the Markal)c;leyesvara temple where her image occupies a paga
niche on the nonheast corner of the dt11/. She is represented standing in a doorway. This is
the first large-scale representation of woman, other than a panicular goddess, decorating
the walls of Orissan temples. On the slightly later Sisiresvara temple, female images occupy
all of the niches on the corner pagas, pushing the image of male deities, generally aspects of
Siva, to subsidiary pilasters abutting the raha-paga. On the jarigha of the neighboring Vait:il
Ocul the image of woman completely dominates 1he sculptural decoration. The only male
figures enshrined wi1hin niches arc represented in conjunction with woman as 111ith11na
images except for Ardhanarisvara who is half-man and half-woman. The decoration of the
jangha is thus a beautiful testimony tO the apotheosis of woman. Homage is paid to woman
as an a/asa-lt:anya; her attribu1es arc her feminine grace and charm which she enticingly
exhibits throughout her daily activities. That she is deified is evident no1 only by her
position and dominance on the walls, but also by 1he inclusion of a halo behind her head .
This plcntitude of female beauty on the walls of the Vaital Deul seems almost to echo the
16 Boner 2nd S21rm2, ,f i/P-1 Pr11"-4Jt1, p. :\XJ.

Z' Pan1~r2hi, .· lrrh11tolo.e,1rdl Rtm1J1111 tJI Bh11b1111rs11·tJr, pp. 1 'J · l J4·
111 ~lircc:a EliaJc:, ).OJ:a: lmmqrloli!J' and 1:rtrdu111 ( Princeton, 19fu)), p. 164.
29 Ibid., pp. 101-toJ .
Original from
74 TE~tPl.ES or THE •TH At-:0 ?TH CENTURrnS AT BHL.SANESWAR
uttcrlll1cc of the Buddha as given in the Tantric Mahiitilli-kraMiiriira: "Women arc the gods,
women arc life, women arc adornment. Be ever among women in thought."JO From this
period on the walls of the Orissan temple arc, in essence, a hymn to woman, a glorification
of the female form, of its beauty and auspicious nature.
In addition to iconoguphic changes there arc also ccnain architectural peculiarities
which these temples share with one another. One peculiarity is the common practice of
building the images of the piirirla-dtvatii1 in sections as pan of the wall surface rather than
carving them from one block of stone and then fixing them in the niches as was the practice
on earlier temples. They were thus made pan of the walls lll1d were not easily removable, a
technique also peculiar to the colossal Buddhist images from the Assia hills suggesting that
this practice was introduced into Bhubaneswar by the Bhauma·kara sculptors.l• The style
lll1d execution of the sculpture is also more naturalistic, more plastic lll1d sensitive thlll1 that
of the preceding period. There arc also various new motifs introduced. The scrollwork,
though more elegant and relined, is less vigorous due to its repetitive nature and
symmetrical patterning. It is also a period of incessant experimentation, primarily due to
inAucnccs filtering into Orissa, panicularly in the design and arrangement of the paga1
which arc conceived as engaged pillars. The pabhaga is increased to four mouldings and the
bara!li/a division is not as clearly defined so that the demarcation between the biii/a lll1d the
ga!liii is not as emphatic.
There arc two sub-groups of temples which Clll1 be stylistically dated to the 8th century.
The earliest group consists of the Pascimcsvara, MohinI, Uttarcsvara lll1d the GaurI·
Sailkara-Gal)csa temples, most of which were only partially decorated. The second sub·
group, which is more relined and elaborate, includes the Tiilcsvara, Miirkai:ic;lcycsvara,
Sisircsvara and Vaital Dcul.
A) E A Rl.Y TEMPI.ES
The earliest group of temples continue the tradition established in the preceding period,
though characterized by a rather bald appearlll1cc mainly due to a lack of decoration. In
some cases a more elaborate decorative program was originally planned but for some
reason construction was interrupted and never completed. This lack of decoration led
Panigrahi to postulate that they probably belong to a later period of decadence, possibly
the 9th century during the decline of power of the Bhauma-karas.$2 Enough architectural
evidence remains, however, to indicate that some of the temples belong to the beginning of
the 8th century or the declining years of the Sailodbhava period in that they are more
aligned to the Parasuramesvara thlll1 the later Sisiresvara-Va ital Deul tradition. The
temples arc tri-ratha in plan and their piibhiiga generally consists of three mouldings as in the
earlier tradition. Their ga11i/i is pailra-ratha in plan but subtle variations distinguish them
from their 7th century prototypes, including the change in the number of bhliMi-bara11ifiJ and
the organization of the paga1. We can also see the nascent beginnings of a new type of
scrollwork, the ratihra, which finds its full fruition in the second sub-group of temples.
The Pascimesvara Temple, which may have been one of the earliest of this sub-group,
was demolished quite recently so all that remains is its plinth, measuring only twelve feet
'° Ibid., p. 164.
)tPanigrahi. A rrhatologiral Rtmai11.1 at 8h11hontsa•11r, p. 4 0.
" /Md.• p. q6.

Tl~ '.\1Pl.l·:S (ll: Tlt F. tTll A~D 9TH <'. l~ l"Tl'Rll ·:S 1\T B~t l'B:\'.\IES\\'.' :\R 71
square. This is the earliest example of a pi/ha on a temple ar Bhubaneswar and may have
been necessirated by irs location at the foot of the southwest comer of the Bindusarovara.
The temple was tri-ratha in plan with a bara~{ia consisting of three mouldings as on the
earlier temples. The ga/lifi is divided into live bhiimis at the J:anika but there were only two
bara~i/is in each division rather than the standard four. Though the ga~i/i was panra·ratha in
design there were no recessed a1111rahtis separating the J:aniJ:a and anartha as on earlier
temples. The crowning element above the aflfalaJ:a appears to have been a lingo as on the
Svaroajiilesvara remple.JJ Thejangha, like thcga~i/i, was left undecorated with only rhe large
planes of the subsidiary pagas blocked out. The ptibhaga consisted of rhree horizontal
mouldings. A tala-balUihana of projecting blocks bcnearh the subsidiary niches was planned
as on earlier temples. The only figures appearing on the temple were the enshrined parsi•a·
d1vattis, all of which have survived and are now arranged in a row near rhe foundarion. A
major change is rhe elevation of the raha niche above the pabhaga rarher rhan curring
rhrough these mouldings to simulate a portal as on earlier remples. The only surviving
scrollwork appears on rhe jambs framing the detached image of Gaoesa. The scroll consists
of a meandering vine with foliage branching our alremately on either side in circular
sprays. This is the ratihra scroll which is peculiar to the rcmplcs of rhc 8th and 9th
centuries, though here we sec it in its incipiency rather than its refined maturity as on the
larcr Vairil Deul.
In architccrural features the Mohini is very similar ro rhc Parasu riimesvara, rhough
smaller in size with each side of the dt11/ measuring only 1s feet 8 inches at the base. It is situa.red
on the south bank of the Bindusarovara a short distance cast of the Pascimcsvara. The
ptibhtiga consists of rhree mouldings of standard design and rhc btii/a is tri-ratha in plan. The
tala-bandhanti consists of five projecting blocks. The vajra-flfastaJ:a designs crowning the
subsidiary pagas were left unfinished. The raha is designed as a truncated rtlehti bur irs niche
cuts only partially through the piibhiiga. The galJl/i, rising to a height of about 31 feet, is panta·
ratha in plan with the piiga divisions merely blocked-out. The center projection of the riihii
becomes progressively narrower towards the top so thar a grcarcr amount of rhe underlying
horizonral mouldings (J>aririiha) is visible. The dominant vajra·mastaJ:a extends up the first
two bhii,,,is as on the Parasuriimesvara bur it receives greater importance on the other three
sides due to the diminishing width of the motifs above. These last two interrelated fc21ures
become more pronounced on the later Miirkal)<,leyesvara and Sisiresvara temples. The
rather squat jagamohana, 16 feet 6 inches long by 17 feet 4 inches wide, has been recent!)'
rcs1orcd. It is divided into three angas or sections by engaged pilasters but is otherwise
undeeora1ed. The original garbha-ml«la, above 1he present wooden ceiling of the sanctum, is
decorated with a. lotus carved on the topmost stone capping the corbds ..1<
The piirfva-devatiis, stylistically related to those on the J\!iirkao<,lcyesvara, arc badly
damaged as arc the iivara{la·dtvaliis. Only three of the latter were completed, or have
survived, with the niche on the west comer of the south side containing two Saivire
attendants. The niches on the north arc filled with Gailgiidharamuni and possibly Siva
standing on Dak~a . The presiding deity within the sanctum is a ten-armed Ciimu 0 da
standing above a prostrate corpse. On the floor within the jaga111ohona is a six-armed
J\lahi~amardini measuring sl by 2 s inches.
» Sec R. D . Banerji, f-listory of Oriss4. II, plate I\' bet\\·een pp. 410·411 .
,,.. O. ~l1tri, BhNl1oflrJ• •or, p. ~' ·
Original from
·r· ~ ~1Pl.l ~S t >r 1·1-11~ 8Tl-t ANO 9TJ-t: c r~N l'tl R J l~S .:\T Rl-ll'8:\ N ES\t':\R
The Uttaresvara temple, located on the nonhem bank of the Bindusarovara along with
numerous lesser shrines, has been rebuilt. The superstructure has been plastered above the
first bhiimi and small porches were added to the riihii niches on the nonh and south as well
as one of the subsidiary niches on the south. The piibhiiga consists of three mouldings of
standard design while the tala-bandhanii is a simple moulding extending the length of the
walls rather than carved as projecting blocks. The bii{ia is lri-ratha in plan, measuring only 9
feet to inches square, but with an engaged pilaster at each corner above the piibhiiga. This
added pilaster is an innovation, funhe r developed on the later temples, which suggests
influence from outside Orissa, probably from Telingana where this is a standard decorative
motif. The subsidiary pagas are extremely squat, as is thcjiingha, and their decoration merely
blocked-out. An exception is the piiga on the southeast comer which was changed at a later
date into a large niche similar to the riihii next to it, both niches enshrining images of
Gai;icsa. The riihii niches cut pan way through the piibhiiga mouldings as on the Mohini and
the piiriva-dtvatiis arc all in sit11.
Thejagamohana, 19 feet wide by 14 feet• inches wide, has a terraced roof that slopes in
two stages with a clerestory between similar to that of the Parasuriimesvara. It is tri-atiga
in design with engaged pilasters separating the units and at the comers. This tri-atit,a
design becomes standard on later temples with the central unit (j,avak/a) becoming more
pronounced. The perforated window extends only half-way up the wall of the center unit
and obviously was not pan of the original design. It was most likely insened into the wall
at the same time as the perforated windows on the Parasuriimesvara. Niches are likewise
crudely inscncd into the flanking units. Among the more interesting images in these
makcshhift niches is a Nisimha and a depiction of Kama leaning on Rati and Priti. The
dviirapiilas on the cast wall of the jagamohana arc likewise haphazardly inscned into
makeshift niches flanking the plain doorframc rather than occupying the lower pan of the
door jambs. Within the jagamohana, loose!)' placed against the south and north walls, is an
image of Ciimui;i<;lii (• l x 131/ 2 inches) and a Bhairava standing on a corpse (•8 by 16 inches)
of the 8th century. Leaning against the cast wall near the entrance is a Nrsimha (48 by •J
inches) dating to the 11th century.
Panigrahi believes that none o f the extant sculptures belonged to the temple because of
their differing color and the size of the slabs containing them. The style of the sculptures,
"marked by massive forms, broad chests and flat treatment of the faces", led him to relate
the works to the sculpture of the Karli and Kanheri caves and suggest a date much earlier
than the 8th century. To suppon this hypothesis he cites the absence of the peacock in the
representation of Kiintikeya and relates this to a cenain class of Yaudheya coins, datable to
the second or third century, on which the peacock is not an iconographic featurc.>S The
lribhanga pose assumed by Kiintikeya, with one hip pushed out in a stiff manner, is typical
of the 8th and 9th centuries, however, and similar to the pose assumed by Kiintikeya from
the Lak~mai;icsvara group of temples. The sculptural style, characterized by long cylinder-
likc legs, is also consistent with contemporary images from Laliragiri in the Assia hills as
well as later images on the Simhaniitha temple. The Aattened faces, particularly evident on
the dviirapiilas, arc mainly due to later rccutting. The iconography of the seated Gal)esa on
the south wall is consistent with similar images from other temples of the 8th century.
Original from
77
B) B~ OOMl>T ART Of' TIU·. ASSI.• H ILLS
Although outside the major concern of this study, mention should be made here of the
Buddhist remains in the Assia Hills nonh of Bhubaneswar in the Cuuack district in that the
greatest works of this Buddhist community were produced during the 8<h· 9th centuries and
many of their anistic motifs are related to those appearing on the Hindu temples at
Bhubaneswar. ~fost imponant for this study are the hill sites of Udayag iri, Lalitagiri and
Ratnagiri. Although Panigrahi refers to the entire complex as "Puspagiri-vihara",36 after
the P11-1it-po-lr.i-li (restored by Julien as "Pu5pagiri") monastery described by H iuen Tsang
on his visit to Orissa in the early 7th century, it is more likely, as Chanda suggested,37 that
"Puspagiri" refers to either Udayagiri or Lalitagiri (Nalatigiri).JS If so, then Ratnagiri
would be the hill-monastery mentioned by H iuen Tsang as being nonheast of the
Puspagiri.~9 We know from numerous scalings bearing the legend fri-Ratnagiri-111aha1!ihiir[J•-
;;ryabhihh11-1arighasya that this monastery complex was known by this name from the Gupta
period on so it could not have been the Puspagiri-vihara mentioned by Hiuen Tsang. It is
still referred to as Ratnagiri in late Tibetan texts, including Tiiraniitha's Hi1tory of Buddhi1m
in India (completed in A.D. t6o8) and the Pag Sa111 Jon Zang (A.D. t747).40
Unfonunately Hiuen Tsang's descriptions are meager and this is particularly true in
respect of images. We know from his accounts that Hinayana Buddhism was strong in
Orissa at this time which may panly explain this tacuna . According to his accounts the
priests "all study the Little Vehicle and do not believe in the Great Vehicle. They say it is a
system of the sky· Aower heretics and was not delivered by Buddha."41 Although the
Sarviistivada school was panicularly popular in Orissa from the post-Asoka period, it was
apparently superseded by the Sammatiya sect sometime before the visit of Hiuen Tsang.
Praji\agupta, who probably lived in the late 6th century, was a great champion of this faith
and it was his treatise, composed in 700 sloltas against the ~lahayiina system, that was
presented to k ing Har5vardhana as a boastful challenge.•2 That ~{ahayana was also popular
is evident from Hiuen Tsang's siatement that there were above too Buddhist monasteries
and a myriad Brethern all ~!ahiiyanists." Though both sects were thus popular it appears
that there were no great philosophers at the time to champion the cause of the r.tahiiyanists
against the vigorous activities of the Hinayana priests. It was for this reason that
Har5avardhana attempted to lure the philosopher Jayasena to reside in Orissa, assigning
him the revenue of 80 large towns, but to no avail. 44 It was also in answer to their
challenge that he sent a messenger to a<iirya Silabhadn, the Chancellor of the Nalanda
convent, requesung four priests of eminent ability, well acquainted with o ne and the
• lln·a.• p. J J·
'' Chanda, op. tit., p. 6.
ll Fabri (op. tit ., p. 4 7). on rhe other hand, su~,e.<.·$tS that Pu~pa~ir1 may b(' a ~ite near tht anc1('nt ruined cuy
o( Si15ibhii\ji in Keonjhar d 1str-ict. N.K. Sahu, on ~c:f>f,!taph1c cc.>n"u.lerat1ons, b('liC\'CS it $hould IX' located in the
Phulban1 ~Ghumsur region. Sec N. K. Sahu, &JJh1tl# i11 ()riJsa (C..:ur1acl<, 1918), pp. 48·1 1.
,., \l:·'attC'rs, op. rit., pp. 19)·•94 .
., Sec Otbala ~f i 1ra , 811tfJ6i11 ,\.fon11!1ffnt1 (Calcutta, 1971), p. 2:6.
41
S. Beal, Tht Lift ~f 14i11rn Tsan1. ( l_ond<>n, 191 t ), p. 1 s9.
42 l\ .K. Sahu, .. Hinay2na Buddhism 1n l~is 1ern Ind ia in rhe 1th Century A.O.", 01/Rj, \ ',>J. I\' ( 1911).
pp. 18-19.
•.t \,;·artcn, op. rit.. pp. 19J· 194,
" Bc:ril, op. tit., p. 1 S4·
Original from
TE~iPl.ES OF THF. ITH ANO 9TH CcNTURIES AT 8 BLl8AN ESWAR
other school, to come to Orissa. Snabhadra deputed four great scholars-Sagaramati,

Praji\arasmi, Sirilharsmi, and Hiuen T sang-to go to Orissa in order to contest the
Hinayiinists. Only Hiuen Tsang accepted the challenge, the others expressing an unusual
fear aod nervousness about the result.4S
This diffidence of the Nalandii philosophers to face the Hlnayiinists of Orissa, as Sahu
suggests, reveals the sign of decay that had staned within Mahayana by the 7th century,
though this decay was not so much due to its clash with the Hlnayiinic principles as to the
stroog florescence of Brahmanism and the emerging popularity of Tantrayiina ... A
reference to the latter is evident in the challenge of the Hinayana priests that the Niland:!
priests advocating the "sky flower" (Sunyatii) doctrine were not different from the
Kiipiilika sect.47 As early as the Sailodbhava dynasty, as suggested, the Buddhists embraced
Saivism and adopted Unga worship as is evident on a linga,,, discovered in the Balasote district
inscribed with their sacred verse "Yo Dharma hetu pravabhii hetutjasya Tathiigatah."48
This synthesism continues in the Bhauma dynasty as we know from the Neulpur copper-
plate grant of Mahiirja Subhiikaradeva•9 in which the first king of the dynasty,
K~emailkaradeva, is depicted as being both a Hindu and a Buddhist. That Mahiiyiina was
still popular at the end of the 8th century, however, is evident from a passage in a Chinese
Buddhist text stating that in A.O. 79! the Chinese emperor Te-tsong received an
autographed manuscript of the Mahayana text Gaf!latryiiha, a pan of the AvatalitialtA, from a
Buddhist king of Orissa through the monk Praji\:i as mentioned earlier. The Orissan king,
identified by Sylvain Levi as Subhiikaradeva, is described as having a deep faith in Sovereign
Law and as following the practice of the Sovereign Mahiiyiina.!O The fact that the monk
Praji\ii, a native of Kapisi (Afghanistan) who had already spent 18 years of study in nonhem
India and resided in Nalandii, came to Orissa to studyyoga funher testifies to the imponance
of the Pu$pagiri-•ihara as a gteat learning center and rival to Niilandii.
This religious synthesism, no doubt, played a major role in the emergence of Tant rayana
or Vajrayiina. The contribution of Orissa to Vajrayiina and its offshoot Kalakacakrayiina
and their varied iconography is overwhelming, as Debala Mitra points out, and many
scholars even attribute its origin to Orissa. It is now believed, by some, that one of the four
traditional Tantric centers, as named by heterodox Hindu and Buddhist Tantra1, was
located in Orissa. According to one viewpoint, U<;l<;liyiina, one of the four pi/ha1 named in
the Sadhana,,,ahi, is to be identified with Udayagiri. There is so much evidence of Tantrism
in Orissa, from the earliest times, that "there can be no doubt that the original pi/ha of
U<;l<;liyina can definitely be located there. "S• Another view suggests that the Pun;iagiri of the
text, also one of the four pifha1 named in the Sadhana111ala, may be a mistake of the copyist
for Pu$pagiri.S2 The antiquity of the Tantric tradition in Orissa is collaborated by the
•i Ibid., pp. 160·161.
" Sahu, OHR], IV, p. H ·
" U'!;:a.I, op. tll.,
D- . p. J '9•
41 ?iifishra, op. til., p. 11, and S.C. De, OHR). \ 'ol. I. nc), 4 (19sl), pp. 171-17) .
., R.D. Banerji, "Nculpur Grant ofSubhakara : rhc 81h Year." Epij,raphia lndito. Vol. X\' (191C)-10). pp. 1-6.
'° Sylvain Levi, "King Subhakara of Orissa", l:.'pit,raphia /ndito, X\' ( 1919·10), pp. )6}· JG4,
P:anigrahi, on the other hand, suggests that the king is Sivakara Unma~lasirilha. Sec P:anigrahi, Chrowology of
1/x 8>ni1111J11-Kards 111fd !ht J'ollll45'11111tis of Oriss11, pp. 1s·16.
D .K . Ganguly (op. tit., p. 197), follo'l·ing a suggestion of D.C. Sircar UJH, XXXJ\1, p. )01), declares 1h21 it
w:as a oon-Bh.auma king named Subh:ikara·sirhha.
s1 N ik Douglas. Tanlr4 Yo.(a (N<'w Delhi : 1971), pp. 6·7.
"1 Panigrahi, ArtlNirolflf,ital Rr11Jt1i1'1 01 Bh11bt1ff!s• •or, p. 106.
Original from
TEMPLES OF THE ! TH AND 9TH CENTURI F.S AT BHlJBANESIX' AR 79
discovery of a fragmentary stone inscription, most likely containing a Buddhist Tantra,

which, on palaeographic grounds, can be dated to at least the sixth ccntury.Sl In the 7th
century its imponance as a center of Vajrayina was considerable enough to attract
Sarahapiida (Riihulabhadra), the high priest of Nilandii, who became one of the 6rst g11rtt1
to proclaim the Tantra d0ctrine openly to the laity." From Orissa Mahasiddha Saraha
traveled to Maharashtra and is given credit for introducing Tantrayiina to Ellora and
\1t1estem India.SS In the eighth century, according to tradition, it was Padmasarilbha, the
adopted son of the Orissan king lndrabbilti (himself a famous Tantric g11r11), who
introduced Tantric Buddhism to Tibet, defeated the Shaman-Bons at magic, and founded
the "Red-Hat" Nying•aptz order of Lamas.Sol The imponance of Ratnagiri as a center for
spiritual inspir21ion and lively pursuit of the Kilarakra-Ta11tra in the latter part of the tenth
century is documented in the Tibetan Pag Sa• j1J11 Za11g where it is stated that i<irya Bitoba
went through magic to Sa.mbhala where he obtained the Kilaralt.ra-Tantra, brought it 10
Rarnagiri and explained the d0ctrinc to Abodhutipa, BodhiSri and N iiropa.S7 The mere
presence of celebrated savants like Bodhisri and Niiropa at Ratnagiri for the purpose of
studying yoga indicates the great importance of this monastery.
The Pu~pagiri-•ihiro and Ratnagiri-•ahi•ihira were not the only important Buddhisr
centers in Orissa. In the S""'1har•o-P11!fiiarilt.a, for example, is recorded a prophecy in which
the Lord assures Saripuua that he would, in a distant future, be a Buddha under rhc name
of Padma-prabha and that his place of enlightenment would be Virajii.sa The great sanctity
of Virajii (J ijpur) is attested to by its inclusion in the Mahibharata (Ill, 81) as a great place
of pilgrimagc.14 Though there arc few surviving Buddhist remains in Jiijpur, the town
apparently receiving the full brunt of the Muslim invasion,'° there are extensive remains
opposite the river at Solampur, as yet unexcavated, which probably represent the ancient
Salo1.1apura-•ahi•ihira mentioned in the Ratnagiri copper-plate of the Somavarilsi king
Kat'l)a.61 The number of Buddhist sites scattered throughout Orissa, as numerous scholars
have suggested, is staggering. Except for Ratnagiri, however, none of these sites have been
excavated. Among the more important sites containing extensive remains of Buddhist
csrablishments are Laliu.giri, Udayagiri, Ku1.1desvara, Vajragiri, Bii1.1eswamiisi, Solampur,
Ajodhyii, Balasore, Baripida, Chaudar, Ganipalli, Khadlpadii, Sltiibhiilji, Khiching,
Ma)'Urbhanj, Baudh, and Patn•garh. Among the denuded sites the most important recent
chance discovery occurcd at Achutrajpur, near Banpur, of 91 bronze 6gurcs, 71 of which
arc Buddhist. Among the Buddhist images many arc Tantric to suggest that the Vajrayiina
form of Buddhism flourished in this establishment from the ninth to eleventh century.•2 The
most recent monastery complex discovered is at Kuruma, near Kol)iirak, while the most
recently discovered sculptures arc those rescued from the Citrotpalii river.
~J Chanda, op. tit,. p. 5 and pl. II, fig. 1.

,_.. Sec N .K . Sahu, &4Jhi1111 ilf Ori11• (Cuttack, 19,8), p. 16J .
'' Ramesh S. Guptc, TIN ltMograpb;J o/ tht Bwldht'11 St11lpt11n1 (C1v(l) of l.:.llora (Aurangabad, 1964), pp. 146·
I l I .
,. Douglas, op. tit.• p. 7.
~1 O. ~f itra. &JJhi11 Alo"•"""''· p. 116.
\I Pan 1gr~hi,
Arth.to!t1J.it 4/ RtMai111 al Bh"ba11t1war, p. 1o6.
Sot Chanda, op. rit., p . t.
" /biJ., P· • ·
•• 0 . Mitra, a.Jdhi11 A:IM1111H11l1, p. 114.
Ol fb1tl., P· 11t.
Original from
80 TE ~IPl.f-:S ()f THE 8TH ANO 9T~f Cf.~Tl'. Rl ~S :\ i Slll' BANJ·:S\\':\R
The excavation at Ratnagiri (1960-61), the only major excavation carried out in Orissa so
far, laid bare the remains of an imposing sttipa, two quadrangular monasteries, a single-
winged monastery, eight temples, a large number of small sttipas, sculptures and
architectural pieces indicative of an establishment that can be compared with Nalanda. In
the overwhelming number of ponable monolirhic sttipas, according to Debala !>iitra,
"Ratnagiri can compete even with Bodh-Gaya."•l The nucleus of the complex dates from
about the fifth century and it witnessed a phenomenal growth until the twelfth century,
though it continued to be an important center unril about the sixteenth century. The
comparative immunity from Muslim inroads, in fact, made Orissa a refuge for Buddhist
monks Reeing from nonhcrn and eastern India. As late as the reign of Mukundadeva (A.O.
q i9-68), according to Tiranatha, a few Buddhist temples and monasteries were still being
constructed.6' Although the vihara at Ratnagiri supposedly was built during the reign of
Buddhapak$a (identified as the Gupta Emperor Narasimhagupta), the major architectural
remains of Monastery I, the most imponant structure for our study, stylistically date to the
seventh and eighth centuries, though there are numerous later additions and renovarions.
The basic plan consists of a stone-paved counyard, 88 feet 8 inches square, surrounded
by a pillared verandah and then 14 cells, a shrine fronted by a pillared antechamber,
and an impressive entrance-complex consisting of a front and rear porch. The overall
measurements of the monastery arc 180 feet by 181 feer 6 inches with an additional paiita-
ratha projection at the front for the entrance-complex and a projection at the back of the
shrine.•S Paniculatly beautiful and lavish is the decoration of the back wall and doorframe
of the front porch which Debala Mitra describes, in regards to the exuberance of sculptured
figures and decorative patterns, as being unparalleled in the structural monasteries in
India ... Of panicular interest to our srudy is the design of the doorframe with its stepped
jambs and multiple figures in the niche at the base of these jambs. The carving of the
scrollwork is extremely refined and stylistically related to the Sisiresvara and Vaital temples
at Bhubaneswar, especially the ratiktra and gtlaba motifs. Also of interest arc the attendant
female figures with a ta11ri hanging diagonally across the body appearing on Ranking
pilasters and the standing naga figures at the base of pilasters outside the paga niches
enshrining Buddhist deities. The doorframe of the shrine at the back of the counyard is
also lavishly carved, though not as well preserved, with multiple figures at the base of the
jambs housed in separate niches. Of interest here is the pose of the tlvtirapala, with club
extending diagonally across the body, the inclusion of ntiga figures as attendants on the
tlvarapalas, and the design of the ptibhtiga, consisting of four mouldings with the middle two
joined by a stylized ptin;ta·ghafa, on the Ranking walls. Among the architectural fragments
scattered within the courtyard is the lower portion of a doorframe with a dance panel
sandwiched between the tlvtirapala and a naga. Also of inrcrest arc the fragmcn<s consis<ing
of ptin;ta-ghafas, squatting arlantid dwarfs, andjali patterns reminescent of morifs appearing
on the !>iiirkal)deycsvara and Sisircsvara temples which probably served as decorarion for
rhe roof of the verandah .
., l l>id., P· "1·
6o4 /hit/., p. 114.
·~ Ibid.. p. 119.
_. Ibid., p. 119.
Original from
Tl~ ;\I Pl .l~S ( )}' ·r•tE 8Tl-i ;\ND 9'rH <.: l~ NTl' Rll:S AT BHl 'BAf\l:S\\' J\R 81
Although the Buddhist remains at Udayagiri and Lalitagiri arc quite extensive they are
still buried beneath accumulations of debris. Among the surface finds peninent to our studr
is a fragmented doorframc at Lalitagiri and a doorframe and images of the river goddesses
from Udayagiri hill. The Udayagiri sculptures, removed to Cuttack in the nineteenth
century by John Beams,•' are now in the Patna Museum. The doorframe consists of five
b•nds of decoration, rather than three or four as on the Saiva temples at Bhubaneswar,
including one band of superimposed panels of mith1111as, a rare example of this Gupta motif
in Orissa aside from the previously mentioned doorframes on the Parasuriimcsvara. Except
for the slightly recessed inside /eJJ(i/ii band all of the bands of decoration arc flush with one
another so that the overall design is rather flat in keeping with Orissan tradition. The
outside jalapatra band extends outward to frame the architrave above to give the overall
design of the doorframe a "T" shape in typical Gupta fashion. The architrave is designed
as a miniature ga/14i, tri-ratha in plan, with rail.Ja windows on the outside bhimi-bara{l(iis
similar to the design crowning the riihii-piiga niches on temples of the Sailodbhava period.
The Buddhist nature of the doorframe is evident from the two mutilated Avalokitcsvara
images appearing in the recessed an11riihii-piigas separating the projecting piigas.
In general these Buddhist figures of the Assia Hills assume relaxed and rather motionless
po~s with downcast eyes creating a placid aura which contrasts greatly with the more
animated and energetic figures on the Sailodbhava temples at Bhubaneswar. The figures
seem pleasingly content with their confinement and make no attempt to burst the
boundaries of their niches. In terms of body proponion, ornamentation and coiffure,
panicularly at Ratnagiri, they are nearly identical 10 their Saiva counterpans at
Bhubaneswar and stylistically date to the second half of the eighth century. An exception
are some of the detached images from Lalitagiri which are characteri~cd by long cylindrical
legs similar to the figures on the Uttarcsvara temple at Bhubancswar and some of the
figures on the Sirilhaniitha temple at Baidcswar/Baramba on the Mahiinadi river.
C) TH E Mi.RKANOEYES\.,\R A T EMPLE
The earliest of the three major temples of the second sub-group is the ~fiirkai:H,leyesvara,
situated on the southwest comer of the Bindusarovara a few yards west of the ruined plinth
of the Paicimesvara. The tlt11l rises to a height of approximately J 1 feet and is in good
condition though the jagamohana is a recent reconstruction, supposedly after the original
one. The M:irkal)<,leyesvara is the first temple to exhibit major changes in the arrangement
and design of the projecting piigas of the biir/a, changes which pave the way for the
development of a pailra-ratha plan. In most cases, however, the innovations arc exotic,
sugges1ing influences filtering into Bhubaneswar from Telirigana, Dak~il)a-Kosala and the
Buddhist tradition operative in the Assia hills, and must be viewed as temporary
experimentations which did not extend beyond the 9th century. A major exception is the
introduction of female figures carved on a large scale and placed within the niches of the
subsidiary pii1,as, an innovation which sets a precedent followed by vinually all later
temples.
•7 (.handa. op. t 11. , pp. 10·11. The image <>f Y2muni, h:a<ll)' V.'«)rn, i!' hou!'cd \1:11h1n a sma.11 m(,dcm shrine at
th(' SU(' .
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81 T E MPI.ES O F THE 8TH AND 9TH CENTl!RIES AT BHLJBANESWAR
1. Bai/a Duoration
The pabhaga mouldings, measuring s1 inches in height, arc increased to four with the
narrow top moulding replacing the lower stringcourse (tala-baNlhana) of projecting blocks
standard on earlier temples. The middle two mouldings arc joined together by an ornately
carved projecting slab in the design of a stylized piinµ -gha/a, a motif appearing on the
earlier Laksmai;ta temple at Sirpur in Daksii;ta-Kosala though not as elaborate as here. The
bottom kh11ra moulding is still plain as on the earlier temples.
The ba(ia, measuring 16' 4" square at the base, is still tri-ratha in plan though the design
is more complex than on earlier temples and, in this experimental stage, slightly confused,
the individual architectural components not being as clearly demarcated. The subsidiary
pagas are pushed out to the comers, becoming kanika-pagas, and are provided flanking
offsets so that they become tri-ratha in design. These offsets arc decorated with nrali ph11/a
phat;/ika scrollwork and serve as the shaft to the overall design of the piiga which simulates a
ltllmbha-stanrbha. This shaft is decorated with a vajra-11111(1(ii design on its projecting center
facet and is crowned by a projecting piinµ-gha/a capital. This capital, echoing the piif(la-
gh"/" design of the piibhiig" which serves as its base, is surmounted by two projecting
mouldings, separated by a recess, which form a lower bdrd!l(ia. The lowest moulding is
decorated with addorsed lions which panly obfuscate the recess. The Orissan Ji/pin thus
combines on the kanika the •a)r4-lllJl!lt;/i design standard on earlier temples with a ltllmbha-
sf411rbh,, surmounted by addorscd lions. The influence of DaksiQa-Kosala is obvious as
similar designs decorate the biit;/4 of the Laksmai;ta temple at Sirpur. The overall effect on
the Milrkal)dcyesvara tends to obfuscate the clarity of the decorative program as the
projecting capitals and lower bdralfl/a make it difficult to distinguish the individual
architectural components, a confusion also present on the temples of Dak5il)a-Kosala.
The •a)r4·1trll!lt;/i design carved on the shaft of the center facet of the kanika consists of
two superimposed tailj'd-mcdallions crowning the niche as on paga designs of earlier
temples. The extended wings of the upper tairya are decorated with atlantid figures rather
thanyak,ris, however, so that this small •afra-nrastaka serves as an incipient prototype for the
ornate bho motif standard on the gartt;/i of later temples. The niches of these vajra-nr111fl/is
house various aspects of Siva as on the earlier temples except on the cast or front side
where the enshrined image is an alasii-kallJa. This is the first appearance of these female
figures in major niches. On temples outside of Bhubaneswar at this time these niches on the
front normally house images of the river goddesses.
The tri-ratha design introduced on the kanika is transformed into a p";;"'"'"tha design on
the rahii with the addition of a second and larger offset on either side. The riihii is no longer
designed as a truncated reMii but rather simulates a tora(ld with the vajra· mdSlalta at the base
of the galfl/i serving as its crowning member. The niche is elevated by the introduction of a
tala·garbbiltui consisting of two projecting mouldings separated by a recessed Mandi, a
rudimentary design simulating a bara(l(ia. The Mandi is filled with banka Joli (diamond
perforated mesh) interrupted by a bhardrak,raka at the center and a lion at each comer. The
riihii niche is framed by a flat pilaster on either side with a rounded piirrta-gba/a capital. The
upper part of the niche is designed as an iirdb•a-garbhiltui consisting of a series of horizontal
mouldings. It is crowned by a thhajja (projecting cave) supporting a small •a)ra-nrastaka.
The entablaturc above the niche is designed as a bara(li/a, aligned with the lower bard(li/a of
Original from
TEMPLES OF TH E ITH AND 9TH CENTURIES AT BHUBANESWAR
.___ _ _ 1-.s" - - ---..!,

I
''- " --l'I ~ Ii'

I
I I
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t'f
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Bhubaneswar: ltiirlt10<.lcyciv1ra Temple
the lu11ilu, with a surmounting recess filled with bhirarak!alus in the center and lions at the
comers. The ujra-11ra1talu of the ga{l(li begins immediately above this recess and obfuscates
the major bara/114 division visible on the lulii/us. The recessed offsets of the rihi arc
decorated with ratilura scrollwork and likewise have a lower bara/114 design. Only the thin
inside offset is supplied a pirpa-ghata capital.
The major bara/114 consists of two projecting mouldings separated by a recess as on
earlier temples though it docs not effectively demarcate the bif/a from the gattfii. being
elim.inated on the rihi and combined with a false or lower bara/l{fa on the lu11i/u1. The
recess is filled with various figure motifs which arc encased in shallow niches and arc thus
separated from one another by a thin pilaster rather than panels of jili as on the
Parasuramcsvara temple. Beginning on the southeast comer the motifs consist of a scene of
Brahma and Vi$(1U paying homage to Siva followed by a series of 11rith1lfla themes, li!iga-piji,
figures leaning on a staff and inebriate men leaning on girls for suppon, motifs likely
associated with rituals being performed by the Pasupata type of Saivism dominating Orissa
at th.is time.
1. Ga/l{fi Duoratio11
The decoration of the ga/lefi likewise deviates substantially from earlier temples. The
design is tri-ratha, rather than paika·ratha, and thus continues the vcnical alignment of the
bii/4. The lu11i/u1 arc divided into five bhi11ri1 by bhi11ri-a11rli1 in the standard fashion though
each bhi11ri has only three baril/1#1 (mouldings) rather than four. The mouldings arc again
decorated with small 11ajra-11rastalu motifs. The dominating rihi is supplied offsets as on the
biif,i with the center facet tapering rapidly above the major tJajra·lf/astalu. The vajra-lf/astalu
extends up the height of two bhi11ri1 on the nonh, west and south sides. It consists of two
rairya·mcdallions crowned by a lu"rti11rMAd>a. The large lower rairya is horseshoe in shape to
produce a vcnical emphasis in contrast to the hocizontal emphasis produced by the
keyhole-shaped rairya on earlier temples. The niche is also much larger and appears like a
window at the base of the ga!Jpi. The upper rairya is oval in shape. This center face of the
Original from
1·1 ~ '.\IPl.ES <.>F TliE 81.H :\NO 9l·H <~f.~TL. Rll-:S AT 6lt l 1)j,.\N E$\'(':\R
riihii above the vajra•masla/t.a is decorated with superimposed minor vajra· maslalt.a motifs,
progressively smaller in size, which extend up the remaining height of the ga11¢i.
With the flanking offsets the overall design of the riihii is paiira·ratha in plan. T hese
offsets, replacing the a11artha division on earlier temples, do not consist of mouldings of
identical size superimposed continuously up the ga11/ii but arc divided into bhiimis or tiers.
These bhiimis consist of two horizontal mouldings at the base, decorated with a small vajra·
1Wa1talt.a, a small niche and a crowning thin moulding serving as a roof. The niches are filled
with figure motifs or jiili while the adjacent recess separating the niche from the lt.a11ilt.a is
filled with jiili. There is thus no a11Nriibii recess running venically up the ga11/ii as on the
earlier temples. The thin pilasters framing the niches are decorated with a piir11a-gha/a. The
manner in which these offsets are decorated with jii/i, piir11a-gha/a1 and figure motifs is
similar to fragments of the collapsed roof or ga!fi/i of the monastery complexes at Ratnagiri
suggesting that influences were filtering into Bhubaneswar from the Assia hills at this time.
The major vajra-maJtalt.a on the east or front facade extends up to the top of the third
bhtimi and ptojects out a much greater distance as it serves as the roof for the ponico or
1a11dhi-11ahala framing rhe cnrrancc ponal. The lower taitya is horizonral in shape, in
contrast 10 the venical ho rseshoe design on the orhcr three sides, though its niche is now
empty as arc the others. The upper oval raitya is filled with a Na1araja, as on earlier
temples, while on the nonh side it is occupied by Mahisamardini and on the south by a
seared Hari-Hara. The upper raitya on the back or west side is obliterated. The toof above
this projecting vajra-mastalt.a on the east is surmounred by an amalalt.a motif.
3. ]agamohana
The jagamohana is completely modem though supposedly built after the original design .
The roof slopes slightly though it consisrs of a single terrace above a clcrcsrory rarhcr than
two as on the Parasurimesvara. The walls arc plain cxcepr fo r a gavii/qa window filled with
baluster$. In that balusters did not replaccjii/i designs as window deco ration until the 11th
century at Bhubancswar it is obvious that this decorative feature is not contemporary with
the tk11/. From the only photograph I have showing pan of thc jagamohana before its modem
reconstruction it appear$ that this structure was not part of the original design but a larcr
addition. Its walls were plain, consisting of large blocks of rough kondalite, and there was
a slight gaviikfa projection as evident on the cornice of the roof. Either the original
jagamohana collapsed long ago and was replaced by this plain looking structure or, most
likely, there was no jagamobana to begin with and this was added much later. This seems
substantiated by the manner in which the entrance ponal projects out some three feet from
the bii(ia with the vajra-maslalt.a above being supponcd by two massive round pillars so that
the overall design is that of an entrance porch or ponico.
4. Portal Duora1io11
The doorframe of the sancrum, unfonunatcly hard to phorograph due to darkness

creared by the addition of the jagamoha11a and to rhc position o f the pillars supporting rhc
porch roof, has unique features found on no other Orissan temple which strengthen the
suggestion that a jagamohana did not form pan of the original design. The decorative
program, beginning from the ourside.• consisrs of progressively recessed surfaces in contrasr

TJ-.:r>.tPtf.$ <>r 'f'J.IE 9·rH ANO 9·ri.1 C E N T l. R l l~ S AT BHl .B:\ N l:S\'f ..\R
to the typically flat arrangement standard on most Orissan doorframes and, as in the
introduction of multiple facets on the exterior walls of the dt11/, suggests outside influence.
The inner frame of the door consists of two bands decorated with lozenge-shaped designs
and r,ztilttra scroll work. At the base of the inside band is a female '""ri-bcarer measuring 16
inches in height. This inside band continues horizontally above the door to form a lower
lintel. The dviira-lala/a-bimba panel in the center of this linrel has a four-armed Parvatl
seated in pad,,,ii1a11a rather than the standard Gaja-Laksml motif. A second lintel, slightly
projecting, appears above with a small figure in aiijali pose carved in the center with ratilt.tra
scrollwork issuing from his body which forms the decoration of the second band. Flanking
this inner doorframc on each side are two progressively projecting pilasters, each with a
dviirapiila at the base. Counting the '""'i-bearer at the base of the inner frame, we thus have
three guardian figures on each side of the door, suggesting influence from Buddhist
traditions current in the Assia hills. On the ~farkal)<;leyc5vara, however, these figures are in
stepped recession rather than flush with one another and are progressively elevated in
height as one enters the sanctum. These laner features suggest influence from Daksil)a-
Kosala or Central India.
The inside pilaster on each side is divided into three superimposed niches of diminishing
size. The bottom niche, housing the dviirapiila, is 24 inches in height. The niche above the
dviirapiila Mahakala on the proper right side is 16 1/ 2 inches in height and contains an image
of Brahma seated in pad,,,iita111J on a lotus cushion. The corresponding image above the
dviirapiila Nandl on the left side is too badly damaged to identify. The top niche, above
Brahma oo the right side, is filled with an image of Agni, 14 niches in height, while the
corresponding image on the left side is Varul)a. Immediately above the top niches, forming
the architrave, is the a1/agraha panel. The graha1 arc housed in shallow niches, to inches in
height, which are separated from one another by a thin pilaster.
The outside projecting pilaster on each side, serving as the exterior frame, is decorated
with various scroll motifs on its shaft, including the mali ph11/a pha(!ilta while the dviirapiila at
the base is represented leaning on a staff with his legs crossed in a relaxed pose. The stall"
extends diagonally from the chest across the lower pan of the body as on examples from
Ratnagiri. The inside edge of the pilaster is decorated with the rope-like scroll of diagonal
strands which continues horizontally above to frame the architrave above the alfragraha.
l · CM// lmagt1
The parfva-dtvatiiJ are all i11 1i111, though badly damaged, and are built in sections rather
than from one block of stone so that they form pan of the wall itself, a technique
apparently introduced at this time from Buddhist traditions current in the Assia hills.
lconographically and stylistically they are closely related to their counterparts on the
~fohinl and Pascimesvara temples. Gal)esa is seated in ardhaparyafilta with his uplifted right
leg tied to his stomach with a yoga-pa/fa formed of a serpent. He holds the traditional
attributes with the modalta-piitra held in the lower left hand. His proboscis is curled-up and
placing a sweet in his mouth. The facial features arc completely obliterated. The pedestal is
more ornately decorated than on earlier images and the throne is raised higher to allow the
introduction of more motifs beneath. The ma11diraciiri(li beneath the tripod holds a small
jack-fruit in each hand. Additional jack-fruits arc positioned between him and the
elongated throne legs at the comers.
Original from
86 TEMPLES OF T HE ! T H AND 9TH CEN TURIES AT BH UBANESWAR
Kirttikcya assumes a slightly flexed pose as on the Mohini temple with his left hand
placed on the hip and his right hand holds a •ija-pliraJ:a. He is flanked in the lower comers
by a female ancndant and the peacock. Pirvatl is four-armed and stands in a 1a111abhaliga
pose. She is Ranked by female attendants along with the lion and deer in the lower comers
of the niche. Due to the addition of the iirdhtla-gar/JhiJt.4 design above, the riihii niches arc
slightly reduced in size in contrast to the earliest temples and average only J6 inc.hes in
height, some 11 inches less than the piibhiiga.
The iivara{la-tlt11atiis in the J:a11iJ:a niches arc stylistically related to their counterparts on
the Tilesvara and slightly later Sisircsvara. Beginning on the southeast the images are of a
standing Siva, Hari-Hara, Gailgiidharamilrti, Bhik$iitanamilrti, Ardhaniirisvara and Aja-
Ekapida. Hari-Hara stands in a pronounced tribhaliga pose with his lower left hand resting
on the shoulder of a female attendant. The hands arc mutilated and the attributes missing
though a sarpa-hl{l(iala is visible hanging from the right ear. The Gangidhara image is even
more mutilated and barely recognizable by the kneeling Bhaglratha in the lower right
comer of the niche and a fragmented Gangi above the extended )a/ii in the upper left
comer. Equally mutilated is the Bhik$itanamiirti, also on the west side, though identifiable
by the staff surmounted by peacock feathers, the female offering alms and the angry rri.
Ardhanirisvara, on the west comer of the north side, stands in a pronounced tribhaliga pose
and is Ranked by attendants with the one in the left comer being a youthful Kirttikeya.
Aja-Ekapida assumes his conventional sa111abhaliga pose and is Ranked by the kneeling
Bhagiratha in the lower right comer and an attendant embracing the trident in the left
comer.
There arc also numerous cult images in the rairya-mcdallions of the vajr11-111a1taJ:a designs
on the ga/f;i. The 1~-armcd Natarija on the cast side is dcpieted in the rall1r11 mode with his
left leg raised, the toes touching the ground. As on examples from the Sisiresvara and
Vaitil Dcul the serpent is held near the right hip rather than over the head as on the earlier
Satrughnesvara. The Hari-Hara image on the south side is scared in paryaliJ:a with his right
leg resting on his left thigh similar to the image appearing in the north •a)r11-111111taJ:a of the
V aitil Dcul, though the iconography of the MirkaQdeycivara is not as clear due to the
missing attribute (conch) in the upper left hand and the elimination of the iirtllwaliliga state.
The image on the west side is missing. On the north side the image is of Mahi$amardinl.
She is four-armed and holds the buffalo-demon by the tail while thrusting the trident into
its back. Her other two hands hold a sword and shield as on the small image of the
Parasurimcsvara though the sword is held to her right rather than above her head. This
thcriomorphic form of the demon is employed only sporadically in Orissan art. Among
the cult images in the smaller medallions of upper •a)r11-111a11aJ:a designs or those on the
J:a11iJ:a arc examples of Parvatl and Gar.icsa. There arc also numerous representations of the
head of Siva as on earlier temples.
6. Duorative Motifs
With the development of a projceting portico, or anrarala, and the placement of the
subsidiary piigas on the comer of the strueture, the way is paved to have the images housed
in the niches on the front facade visible outside the j11g11111oha11a, though this front hall was
most likely a later addition on the Miirkandeycsvara as mentioned above. The niche on the
north comer of the front facade here is filled with the popular motif of a female standing in
Original from
TEMPI.ES OF THE ITH AND 9TH CENTU RIES AT BHUBANESIX' AR
a doorway. This is the first extant example of a female figure, other than a panicular
goddess, appearing in a major niche on thejiligha. Numerous other female figures appear in
the "rirya-mcdallions of small WJjra-•astaluz motifs on the ga/lli.
Among the figure motifs the most interesting arc those appearing in the bara!f(/a recess
and include •ith""'1 figures, drinking scenes, female figures, /itiga·piiji and homage to Siva.
The drinking scenes often depict an inebriated male leaning on the shoulders of flanking
female figures. The .ntlnmas arc panicularly tender and compassionate in keeping with early
Orissan tradition. Near the top of the ga/fli on the west side appears the motif of a displayed
female noticed on the Satrughncsvara and Parasurlmc$vara temples. The female here
assumes a standing pose, however, and is accompanied by a male companion in a nearby
niche who points his erect lillga111 in her direction. In the Homage scene Siva is approached by
Brahma from his right and Vi$(1U from the left both of whom have their major hands in
a!ljali.
Other popular figure motifs include bharara.lt./aluzs, some of whom assume acrobatic
postures. They arc frequently placed in the recessed areas forming a lower bara!f(/a on the
riha. They also appear, as mentioned above, flanking the upper tairya·mcdallion of the
WJjra·•11st11/t;a motifs crowning the niches of the subsidiary pig111 where they replace the
t11Mri-bcarcrs or filabha!lji/Us on earlier temples. They arc quite appropriate here with the
introduction of a projecting capital above so that they visually serve to suppon these
capitals and their surmounting motifs. Another popular figure motif is that of a male
leaning on a stalf, a motif probably introduced from Buddhist traditions in the Assia hills.
Popular animal motifs include the J:irti•111tha mask, the •aluzra with a warrior in its open
mouth and the jigr11t11 motif of a rampant lion with a rider on its back. These motifs arc
primarily associated with WJjr11·•111ta/t;a designs rather than appearing as independent
motifs. The most innovative use of animals is the positioning of addorscd lions
surmounting the p~·gha/a capitals of the subsidiary pigas, a design obviously influenced
by pillars where lions arc standard decorative features. The most direct influence, as
mentioned, comes from Dak$il)a-Kosala where similar lions, as well as elephants, appear as
crowning clements to the piga designs. On the Mlrkandeyesvara, however, the elephants
arc confined to the background, or olfsets, and the motif is larger in scale. On the later
Sisiresvara and Vaitll Dcul these addorscd lions will be gradually transformed into gaja·
k.rtilrta motifs.
The most dominant scroll motif is the rati/ura, a scroll motif peculiar to temples of the
Bhauma period, which makes its initial appearance on the door jambs and on the wide
offsets of the rihi on the jitigha. It is an ornate but restrained motif characterized by long
swaying stalks with tightly-curled discs of foliage spraying out alternately to the left and
right. The motif is more rcnncd than the chaotic patterns of earlier Orissan scrollwork
though the design becomes overly predictable and repetitious. Although the execution and
craftsmanship is elegant and crisp, it lacks the imaginative vitality and animation of earlier
scrollwork. The patterns arc more fluid and unifying, on the other hand, and the scrollwork
becomes less imponant as an individual component in the o verall decorative program,
functioning more as a decorative background, or foil, which sets off the curves and thrcc-
dimcnsional volume of the figure motifs rather than competing with them for dominance.
This preference for a more calculated and repetitive type of scrollwork is echoed in the
increased use of perforatcdji/i patterns, used sparingly on earlier temples, which produce a
screen-like background etfect. Other popular scroll motifs, all restrained in pattern and

88 TEMPLE S O F THE 8T H ANO ?TH CENTl l R!t;S AT 8Hl' 8.-\NES\\:' AR
geometric in nature, arc the 11fali ph11/a phai/ik.a, dha1111 ganthi, padl1fa pr1/ha and raligani. The
,,,a/i phllla phai/ik.a, consisting of flowers placed inside triangles of beads or lines, is carved
on the offsets of the subsidiary pagas and on the top moulding of the pabhaga. The dhan11
ganthi, made of bow-like arches enclosing floral motifs and divided into two halves tied
together, appc.a rs on the narrow inside offsets of the raha. The padl1fa Prlfha, of lotus leaves
aligned horizontally, is most popular on the sloping underside of phe11i mouldings while the
raligani scroll, of flowers placed in squares, is used primarily on the 11111ha11/i or projecting
edge of mouldings.
D) TH E S1 s1 RF.SV.~RA TE~1P1.i;
The innovations introduced on the Markal)Qeycsvara arc further developed on the

slightly later Sisiresvara, datable stylistically to drra A.O. 771· The de11/ is a near duplicate
of the Markan\leyesvara, though smaller in size as it measures only 13 feet square at the
base. The design of the jaga,,,ohana is contemporary with the de11/ and fully decorated. It
has recently been restored and a new roof added. Unfortunately the west facade of the de11/
and the east end of thcjagamohana arc abutted by modem structures which prevent a good
overall view. A small modern structure in front of the north facade of the de11/ has recently
been removed so a better view of this side is now available. The temple shares its
compound with the Vaital Dcul which was constructed adjacent to it on the south. Both
temples have a low pi/ha of a single moulding.
1. &ila Duoration
The dt11/ is tri-ratha in plan, as on the Miirkal)c:)eyesvara, with the raha provided offsets.
An innovation is the addition of niches on the outside offset, decorated with ratilura
scrollwork on the Miirkal)c:)cyesvara, so that for the first time there are five niches on each
side of the dt11/ except on the east or front with its entrance portal, a feature which has led
numerous scholars to classify the temple as being pailca-ratha in plan. As on the
Mlirka.r;ic;lcyesvara, however, the offsets abut the raha and arc not conceived as independent
pagas. The pabhaga measures 40 1/ 4 inches in height and likewise consists of four mouldings
with the middle two joined together by a projecting piiT11a-gha/a. On top of these piir!llJ-gha/a
motifs are diminutive atlantid figures which link the middle mouldings to the top
moulding. The top moulding is decorated with various scroll motifs while the /t.h11ra
moulding at the bottom is plain.
The k.anik.a is tri-ratha in design, as on the Miirkar;ic;leyesvara, though the ratiletra scroll
has replaced the ma/i phN/a phai/ik.a motif. The overall shape of the k.anik.a is also that of a
/ell,,,hha·slambha surmounted by addorsed lions and with a vajra-m1111i/i decorating the center
facet of its shaft. The niche of this vajra-m1111i/i is now slightly elevated above the top pabhaga
moulding with the addition of a thin moulding decorated with the rangani motif beneath the
niche sill, a featuce simulating the lala-bandhana of projecting blocks standa rd on earlier
temples. The vajra·111aslak.a crowning the niche consists of two superimposed cai!Ja-
mcdallions with atlantid figures flanking the upper caitya as on the Markar;i\leycsvara. The
projecting piir11a-gha/a capital is similarly surmounted by a set of mouldings separated by a
recess which simulates a lower bara11i/a with addorscd lions carved on the lower moulding.
The recess of this lower bara11i/a is filled with panels of jali perforations and condnues
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TEMP~ES OF THE ··ru AND 9TH CENT URIES AT BHUBANESWAR
..___ ,., >-- --tl:i. _ _ _ ___,
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uninterruptedly around the ba/a whereas the upper bara11i/a, which demarcates the bii(ia from
the v!li!i, is not continuous but interrupted by the vajra-maslalea design of the riihii. The
addition of this second bara11i/a again tends to obfuscate the clarity of the overall design,
particularly since this lo wer bara11(ia is more pronounced and better articulated .
The center facet of the riihii is likewise designed as an elongated lora11a with the vajra·
IJfastalea serving as its crowning members. The tala-garbhil<a is identical in design and
consisis of two projecting mouldings separated by a recess, as on the bara11(ia, with lions at
the comers of the recess and a squatting atlantes in the center. The niche is framed by a
.U11tbha-staMbha on each side with the piif'/111-ghafa capital being rounded. The shaft of these
s/a1ttbhas is decorated with ratilura scrollwork and, near the top, addorsed jagrala motifs as
on the l\1arka 0<,leyesvara, though the j agrala motifs are mostly obl iterated on the earlier
temple. The pedestal at the base of the niche is more ornate than on the Markan<,lcycsvara
and has in the center, sandwiched between two horizontal mouldings of patlma pr11ha
design, a 1ala·ba11Jhana o f projecting blocks, eight on the north and nine o n the south,
decorated with lion and elephant motifs. This is the first appearance of this motif on the
raha as on the earlier temples it appeared o nly above the pabhaga o f the subsidiary pagas. The
overall design of the raha niche, gradually elevated, is thus slowly being transformed from a
door to a window. The jambs of the niche arc relieved with piif/la-gha/as at the base and rop
and decorated with scrollwork on the shaft. A vit(Jadhara appears at the top of each jamb, or
corner of the lintel. The iirdhva·garbhiltti above the lintel consists of three thin horizon12l
mouldings crowned by a Rat panel of mali ph11/a pha(iilta scrollwork and a surmounting
kh11ra·shaped moulding relieved with padma Pflfha and • eaitya design in the center. The
cntablature above is deco rated with a lower bara11i/a with a raitya·medallion in the center. Ar
the comers above the top moulding arc acrobatic atlantids who visually serve 10 suppon
the large vajra-1ttaslalea immediately above.
The experimental nature of the design is evident in the treatment of the wide, outside
offsets. They arc conceived as pil2s1crs as on the l\1arka 0<,leyesvara but provided a niche.
The niche is crowned by two superimposed uajra-1ttaS1alta motifs, rather than one as on the
Itani/ta, which extend up 10 the lower bara{li/a. There is thus no projecting piif'!la·gha/a capi12l
as on the lta11ilta or the thin, inside offset of the raha. The piif'!la·gha/a on the latter, in fact,
overlaps and panly obscu res the upper vajra-111111/a.U crowning this wide, o utside o ffset. On
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T EMPLES OF THE BTH AND 9TH C:ENTl' RIF.S AT 8HU8ANES11''AR
a full-ffedged paika·rafha plan this offset becomes disengaged from the riihii to form an
intermediary (anartha) piiga, though here this five-fold plan is in its incipiency and not yet
fully realiud. A similar transition can be noted in the Hari-Hara temples at Osia in
Rajasthan with temple No. 1 having offsets with niches joined to the rihii.
The lower bara/14a is continuous and decorated with panels of }iii separated by thin
pilasters in its recess. The upper baralJi/a, eliminated on the riihii, likewise consists of two
projecting mouldings separated by a recess. The recess, as on tbc Markanc;lcycsvara, is filled
with figure motifs housed in shallow niches. The motifs arc similar and consist of mith11na
figures, drinking scenes and an image of Kama with bis consons Rati and Prlti.
2. Ca1J!ii Duorafion
The ga1J!ii is decorated similar to that of tbc Markanc;leyesvara though tbe crowning
maitaka is missing. The kanika is divided into five bhii111i1 by bhiimi·am/ii1 with each bhiimi
being subdivided into three bara1J!iii. The bara1J!ii1 are joined together by a vajra·maJfaka
motif. The offsets of the riihii are likewise decorated with small niches housing standing,
seated and mith11na figures. The jiili patterns filling the recessed areas between these niches
and the kanika on the Markanc;leycsvara arc here replaced by diminutive pilasters. The
center facet of the riihii is dominated by the vajra·ma1taka which extends up the height of the
first two bhiimi1 on the south, west and nonh facades. The large lower rail.Jo is rectangular
in shape in contrast to the horseshoe design on the Markan<;lcycsvara so that the enclosed
niche is square. On the south side this niche is filled with a mith11na couple while on the
nonh it is now empty. The circular raitya above is filled with the head of Siva on both
nonh and south sides. At the apex of the motif is the l<irtim11Jr.ha with pearls dripping from
its mouth to form the borders of the raitya1. The riihii above the major vajra·maJfaka is
decorated with minor vajra·ma1taka1 of diminishing size up the height of the ga1J!ii.
The vajra·nra1faka on the cast or front side extends up the height of three bhimi1 and
projects out a greater distance from the walls as it functions as the roof for the tanahi-Jfhala
or juncture which connects the dt11/ with the jaganrohana. The lower rectangular niche is
empty though the comer ponions of the raitya arc filled with a seated figure on each side. The
circular upper medallion is filled with an eight-armed Nataraja. The walls of the saMhi-1thala arc
plain though the overall design is an improvement on the Parasuriimc5vara where there is
no 1andhi-1thala or connecting wall, the front facade of the dt11/ serving as the back wall of
the jagamohana. The kanika niches of the east face of the dt11/ are thus visible and not
contained within the interior of the jagamohana. Though visible they arc barely accessible,
however, due to the narrow space provided by the underdeveloped 1andhi·Jfhala which 1s
based essentially on a slightly projecting entrance portal.
3. Jagamohana
The }agamohana is rectangular in shape, approximately 19 feet long by 16 feet wide, and
has a terraced roof sloping in two stages with a clerestory as on the Parasuramesvara. The
venical face of the sloping eaves is decorated with narrative scenes, including the battle
between Arjuna and Kiriita from the Mahiibhiirafa, and animal processions. The roof, as on
the twin temples at Gandharac;li, is built on the cantilever principle and thus represents an
advancement on the earlier technique of free-standing pillars used on temples such as the
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TEMPI.ES OF THE 8TH .~ N D ?TH Cl'.NTL'RIES A T BHL' BAKES\\:'A R 91
Parasuriimcsvara.68 The decorative program for the baJa is also more uniform and clearly
aniculatcd. There is only one door, on the cast, and there arc no perforated windows. The
pabhaga is undeveloped, however, and consists of a single kh11ra moulding beneath the
niches. The base of the .l!Nmbha-stambhas, on the other hand, measures 171/ 4 inches in height
and duplicates the pabhaga design of the tk11/. The jaligha is tri-aliga in plan with the center
projection, or gavak/a, simulating a ponal or raha niche. The gavak/a is framed at the sides
by a .l!Nmbha-1/ambha and a thin pilaster ornamented with ratihra scrollwork. The niche on
the south side is occupied by Lakullsa while the one on the nonh is now empty.
The side pagas Ranking the ga,,,U,,a arc designed as vajra-m11riefis. The base consists of a
.th11ra-moulding, a tal11-ba11dhallli of eight projecting blocks ornamented with elephant and
lion motifs, and the niche sill which is relieved with padma-pr11ha on its sloping underside
and the raliga11i scroll on its projecting upper edge. The wijr11-111a1ta/ea crowning the niche
consists of two tait.Ja- motifs with the smaller, lower tait.Ja assuming a keyhole shape. The
circular upper tait.Ja is punctured by a vcnical niche in the center and has bhararak/alea
figures on the external wings. The rait.Jas house various Brahmanical deities. The vfljra-
111111,1Ji niches on the nonh side of the jagamoha11a house images of Kama and a standing Siva.
The niches on the south side contain images of Kubera and a naga, the latter mistakenly
identified as Amoghasiddhi by Panigrahi.•• The Sar1111atha design beneath the image of
LakuUsa and numerous other images, however, do suggest the influence of Buddhist anistic
traditions filtering into Bhubancswar from the Assia hills nonh of Cuttack. The comers of
the jaga111oha1111 arc decorated with a .l!N111bha-1ta111bha.
4. Portal Dttoratio11
The entrance to the sanctum is Ranked on either side by a large projecting .l!Nmbha-
1111111bh11 with ratihra scrollwork on its shaft, a feature also appearing on the Bhrngcsvara
Mahiidcva temple at Bajrakot. These Aat 1ta111bha1 form pan of the doorframc and arc not
free-standing pillars such as utilized on the Miirkai:i(lcyesvara temple where they served to
suppon the roof of the projecting ponico. The cntablaturc resting on these stambhas is
ornately decorated with rait.Ja motifs, hatitsas, lotus rosettes and geometric scroll motifs
rather than a graha slab. The doorframc proper consists of three bands of scrollwork on
each side of the door, the outer two decorated with jalapatra and ratihra scrollwork
respectively while the inside band is devoid of decoration. Each of the bands is successively
recessed and continues horizontally across the door above to form the lintel. The dvara-
la/a/a bi111ba panel is decorated with an image of Gaja-Lak~mI.
The dvarapala niche appears at the base of the two inside bands on each side. The
dvarapalas arc four-armed and stand in a slightly-flexed pose. They both hold the trident
with their lower left hand rather than the right hand as on the MarkaQ.(lcyesvara. The
terrifying Nandl is represented with a thin beard and open mouth in standard fashion and
has a skull-medallion in the jato piled on top of his head. The outside jamb of the
doorframc projects out sharply and houses a 11aga in its niche at the base which faces out at
., Panigrahi, A rtbdtolo&ital Rt• 11in1111 Bh11bants#'4T, pp. s?-60. A single pillar remains Crom the ; og4•oJM1111 of
chC' Lalt$ma1)C'Svara ( ?) while several detached pillars arc still within t h t: jo~a11toha"'1 of the ~foh 1ni which is a
modem rccons1ruction .
.. Panigrahi, Arfhtttalqgltol R1111ai11s 4/ 8hM/Jan1111'ar, pp. ~ 7-~ 9. A simi1:ar lfif,4 figure appe:ars in a niche within
the $anctum of the adj:accnt Vaitil Dcul.
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91
a 4l degree anglc.'O The niche ceiling above the head of the nliga1 is crudely arched, as on
the niche of the dviirapii/01, to accomodate the halo and matted hair of the occupant. The
niiga1 stand erect in 1amabhaliga with a vase held by both hands in front of their chest as on
the doorframes at Ratnagiri. Their hair is similarly tied on top of the head and a canopy of
serpent hoods appears behind to serve as a halo. The jalapatra scroll above the niiga is
exquisitely carved and has pineapple-like fruits among its foliage.
Female raNri-bearers, 10 inches in height, occupy niches flanking the doorway of the
jagamohana. They stand with legs crossed with the <aNri hanging diagonally akimbo to the
crossing leg with the inside hand placed on the thigh in mirror-image fashion. In contrast
to the placid atmosphere of their counterpans on doorframes at Ratnagiri, however, these
female figures, functioning as door guardians, appear energetic and animated, pushing
against the narrow walls of their confining niche. In all probability niiga figures were
originally positioned adjacent to these female figures as exterior guards. Numerous
examples of fragmented niiga1 have survived including one now placed within the
jagamohana of the neighboring Vaitiil Dcul.
l · C11/1 Images
The piiriva-devaliis arc all in silN and arc better preserved than those on the
MarkaQ<jcyesvara. They are built in sections and form pan of the wall itself as on the latter
temple. Gar:ie5a is seated in ardhaparyali/ea with his raised right knee tied to his stomach by a
1arpa-pa//a. He holds the rosary, radish, leN/hiira and modalea-piitra in the conventional
manner and his curled-up proboscis is lifting a sweet to his mouth. The pedestal is
undecorated. The image of Kantikeya is difficult to sec due to modem structures erected
next to the west side. He is in a graceful lribhaliga pose holding a vija-pira/ea in front of his
chest with his right hand while placing his left hand on his hip. The image in the nonhcrn
riihii niche is Mahisamardini, as on the Uttaresvara, rather than Parvati as on early temples.
She is eight-armed and presses back the buffalo-head of the demon with her major left hand
while stepping on its shoulder with her right foot. Her right hands hold a sword, plunge a
trident into the neck of the demon, hold a vajra and an arrow. In her remaining left hands
she holds a shield, bow and a serpent. The demon is represented in human form, except for
the buffalo-head, and is viewed from the rear. This iconographic program is standard on
most early images at Bhubaneswar. A second image of Mahisamardini, ten-armed, is
resting against the interior wall of the jagamohana.
J\iost of the images of the subsidiary niches arc in si111 though many of them arc badly
damaged. The /eani/ea niches arc now occupied by female figures known as alasii-lea'!Jiil. The
iivara~a-dtvaliis, representing various aspects of Siva, arc here shifted to the niches of the
offsets of the rahii. Beginning on the southeast the images arc Ardhanirisvara, Hari-Hara,
Gangadharamuni, Aja-Ekap:ida, Bhik~a1anamuni and Bhairava. The Bhik~aianamuni is
an abbreviated motif, wrongly identified as Avalokitesvara by Panigrahi.'' with Siva
holding the staff crowned with peacock-feathers over his left shoulder. The lower corners
of the niche arc now empty. The placement of Aja-Ekap:ida on the west side is unusual.
f\1igos carved at an angle" also appear on a doorframe at Kirvin in Gujurat thou~h they are in high-relief
10
and the figure on the inside jamb is not a d1 0ropil11 but a river goddess ; 1hc J1•Jrapila appears on an cxrerior
1
jamb and is Jar~tr in sizt.

71 Pan igrahi. Arts Asiufl'{lltl , I\', p. 189.
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TE>IPl.ES ()I' THE RT H AKO 9TH C!;NT l° RIF.S AT BHCBANF.SIX-AR 9J
Of the cult images on the jaga•oha11a the most interesting is Lakullsa in the center niche
on the south side. He is four-armed and is seated in pad111isa11tJ on a •ilvapadma cushion. His
major hands arc in tlhar•araJua-pra>arlla11tJ-11tlldri with the laht/a cradled aga.inst his right
rather than left shoulder. His back hands hold a rosary and a lotus. Six disciples arc in
shallow niches Ranking Lakulisa, three on either side. On the pedestal is a triralfltJ and lotus
Ranked by a deer and a llliga on either side, a decorative device similar to the Buddhist
Siirafllitbd symbol with the lotus replacing the wheel. The corresponding niche on the south
side is now convened into a door. The image of Kiima on the nonh is iconographically
similar to the one on the Uttaresvara temple. The eastern niche on the nonh is filled with a
standing Siva. He is Ranked by the bull Nandr and a male attendant. The trident is
standing in the left comer of the niche.
The image of Na1ariija in the upper taitya of the vajra·1'11J1talta on the front facade of the
ga~(ii is stylistically related to similar images on the Miirkar:idcyesvara and Vaitiil Ocul.
lconographic2lly, however, it is different. The images on the Miirkar:idcycsvara and V2itiil
Dcul both have 11 •rms whereas this one h2s only eight arms. Siva is depicted in the rat11ra
mode with his left leg slightly raised. His major left arm swings across his body in gaja-ht.1/a
"·bile his right hand is raised in /tafa/ta. His uplifted back hands arc placed above h is head
and prob2bly hold castanets. His lowest right hand is placed on the hip and the other holds
the serpent. His remaining left h2nds hold a ltapiila 2nd caress the chin of a seated Piirvad.
He is irdh•alinga and the bull N2ndi peers up at him from between his legs. There 2rc
numerous other small images of various deities on both the dt11/ and jagamohana, generally
housed in taitya-mcdallions of minor vajra·mallalta designs, including Ardhaniirisv•ro,
Lakulisa and several images of the face of Siva.
As indicated, female figures, or ala1ii-lta<ryis, rather than panicular deities, fill the comer
niches and become a dominant factor in the overall decorative program. The image of
woman, as woman, is thus elevated to the s•mc status as the gods. In some cases she is
represented standing without any pretext of •ction while in other cases she assumes a more
animated pose which exhibits her female charms to the fullest. These arc the first large-scale
examples of woman 2s an alasi-ltanyi, an indolent woman in poses which accentuate her
femininity and beauty, a woman represented in everyday activities. That she is deified is
evident by her halo as well as by her prominent position on the temple. She even serves as a
guardian figure Ranking the entrance ponal of the jagamohana. She is an 2uspicious being
"·ho both beautifies and protects the structure. Her images form a protective ring around
the structure as do the piirfva·dt11aliis, di.It.pi/as and iivararra-drvaliis.
6. Duorativt Motifs
In addition to the large cult-like images of woman housed in the /ta11ilta niches there are
many other images of female figures everywhere on the temple. The miniature niches on the
rihi offsets of the galfli often house female figures. In addition to popular motifs, such as
that of a woman-in-a-doorway, there arc numerous new motifs including one example, on
the nonh side of the dt11/, of a woman lying down in a horizontal niche with one 2rm under
her head serving •s • pillow. Of the m2le figure motifs the most populor one is that of a
m•n seated in ardhaparyali/ta with his uplifted knee supponing an outstretched 2rm, an
obvious variation of the motif of• sc2tcd figure holding a lotus popular on earlier temples.
There arc also images of figures seated in mcdit2tion with their knees tied together with a
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orgitized by Google UNIVERSITY OF MICHIGAN
94 TEMPI.ES OF THE ITH ANO 9TH CENTU RIES AT BHUBANESWAR
yoga·J>afla. Other popular motifs include the guardian-type 6gurc leaning on a staff, flying
vidyiidbaras, atlantid dwarfs and lllith1mas.
The most innovative use of atlantids is their placement on the extended wings of faitya·
medallions crowning vajra-1""'.lli designs, a motif introduced on the M iirkai:i(lcyc5vara. The
dwarfs generally lift their inside arm up to simulate suppon for the cntablature above and
lift their inside leg up onto the medallion for leverage. The outside arm generally rests on
the hip though in a few cases both arms arc uplifted. The motif of 6gurcs flanking the
vi1"ii11ilt.ti or spire of a structure is ancient with one of the most popular variations being that
of flying vidyiidharas, bearing garlands, flanking a Buddhist stiipa. This motif was also
popular on Ci!ukyan temples at Alampur, though they arc attached to the wall and are not
fully integrated with the caitya designs. On earlier Orissan temples female 6gurcs, generally
ra11ri-bearcrs or iiilabhailjilt.tis, or occasionally jiigrata motifs appeared as flanking motifs
while garland-bearers were generally restricted to minor faitya motifs housing a head or
bust of Siva on the bhiimi-bara~(/is, frequently housed within the medallion with Siva. That
the motif of atlantids flanking a raitya is still experimental is evident in that not all of these
6gurcs assume a supponing function. In some cases, for example, they arc garland-bearers.
In other cases they arc female 6gurcs. On the slightly later Vaitiil Ocul, on the other hand,
the motif is standardized and all arc atlantids. On later temples these flanking figures
become more prominent and the motif, elevated to the major vajra·1"astakas on the ga!'<fi,
becomes known as the bho. Their atlantid funi:tion is gradually eliminated, however, and
they generally hold a chain or club and flank the lt.irti,,,11A:ha mask at the apex of the motif.
Along with the increasing imponancc of woman in the decorative program of the
temple, suggesting the influence of Saktism, is an increasing popularity of erotic imagery.
Just as we have the 6rst examples of large-scale images of woman occupying major niches
we also have the 6rst examples of large-scale ,,,ithNlla images enshrined within niches. The
large niche of the lower faitya of the vajra-1"astaka on the south facade of the ga11i/i is filled
with a mith111111 in wh.ich the female assumes an extremely seductive, twisting pose with her
hands clasped over her head, a pose copied on the slightly later Vaitil Ocul. Other ,,,;1h111111
images, smaller in scale, appear in the recess of the upper bara/l(/a and in the niches of the
riihii offsets of the ga11(ii. On the nonh facade of the ga{l(ii some of these niches, and faitya·
medallions, house explicit 1"aith1111a scenes illustrating sexual congress between men and
animals, including a horse and a bovine. There is also a scene of a displayed female.
The most conspicuous animal motif is the heraldic addorsed I.ions surmounting the piiriia·
gha/a capitals of the kanika. They appear on top of a bara/l(/a moulding decorated with a pair
of confronting elephants. The elephants arc smaller in scale and do not appear integrated
with the lions as on the Vaital Oeul where this motif is transformed into a gaja·lt.rii111a.
Another heraldic motif, appearing on the shaft of /t.Nmbha·slambhas, is that of addorscd
jiigratas in which riders, back to back, mount lion monsters leaping on their hind legs with
strings of pearls dripping from the mouth of the animals, a motif which becomes more
elaborate on the Vaitil Oeul.
The decorative scrollwork on the Sisiresvara, as on the Mirkai;idcyesvara, is character·
ized by restraint and rote-like precision in contrast to the chaotic exuberance of earlier
scrollwork. This is true even on scroll motifs, such as the hamsa·lalii, which were popular on
the earlier temples. The trailing arabesque plumage is more controlled and characterized by
comma-shaped foliage neatly spraying out to the right or left in symmetrical precision.
The most popular scroll is the ratilt.tra, more crisp and refined even than on the
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TEMPI.ES OF THE ITH AND 9TH CENTU RIES AT BHUBANESIX'AR 91
Mirk:u:u;leycivara, which appears panicularly on the shaft of the lul11tbha·sla11tbhas. The

most interesting scrollwork is that decorating the shafts of the lul,,,bha·slambhas Ranking the
entrance to the sanctum. Within lozenge-shaped spandrels formed by curving vines arc two
figures sitting in swings, one figure above the other. This association of a swing with
scrollwork on the entrance ponal is popular during the 8th and 9th centuries. Other
examples, with figures swinging from the meandering vine in the gelaba scroll on door
jambs, appear at Mukha.lingam, Suklesvara, Bajrakot and Ratnagiri.
In summary, stylistically and iconographically, the Sisirc$vara temple stands midway
between the Mirka1:11;leycsvara temple and Vaitil Dcul. The figures and decorative motifs
introduced on the Mlrka1:11Jcycivara arc funhcr developed and refined though without
achieving the perfection or sophistication exhibited on the Vaitil Dcul.
E) T HE VAITAl. D EUl.
Work on the Vaitil Dcul, situated within the same compound as the Sisircsvara,
probably commenced soon after the completion of the latter temple and most likely was
constructed by the same workshop. Many of the motifs and architectural features of the
Sisircsvara arc repeated on the Vaitil Dcul though generally they arc more refined in
craftsmanship and more developed in their iconographic program. Whereas the Sisiresvara
decorative program is strongly permeated with inffuence from the Pasupata sect, the VaitiJ
Dcul., a "1Hilt.hari temple, i$ dedicated to the female principle. The Sakta nature of the
temple is evident from the A/fa11titrlt4 images enshrined within the sanctum as well as by
the inclusion of Mahisamardinl and Parvatl as pirirla·tlevalis in the exterior decorative
program and the vinuaJ exclusion of male deities in the major subsidiary piga niches. The
remains of a yipa in front of the jagamohaM, at the same time, and the placement of the
terrifying KipilinJ as the presiding deity, testilies to the Tantric nature of the temple. The
name "Vaitil", as suggested earlier, probably derives from the word "vetila" or spirit with
the help of which the Kipllikas and Tantrikas wanted to attain their sitldhis.12
Even though the decorative program of the jaga,,,ohafl4 is only roughly sketched, having
never been completed, the temple is one of the most beautiful of all Orissan structures.
Stylistically it can be dated to the closing years of the 8th century. Palaeographical
evidence, in the form of a shon inscription incised on the outer face of the wall of the
jaga,,,ohafl4, on the cast side near the right door jamb, likewise suggests a late 8th century
date.n The unfinished nature of thejaga11tohaM, with many of the decorative motifs merely
blocked-out, suggests that something happened to prevent the carvers from carrying out
the initial design, panicularly since these same anisans had only recently completed the
jaga1'toha114 of the Sisircsvara. This interruption may have been the result of a foreign
invasion, such as referred to in the Mitlali Piiiji which Panigrahi interprets as the
Ri$1raku1a invasion under Govinda Ill recorded in the Sanjan Plates of Amoghavarsa"
'2 Panigrahi, Art!Jdtol#f.i'"' Rt•11itf1 "' B/J11b11MJWdr, pp. J.JJ •l4· Debala Mitra (Bh•b111't1rar. p. JJ). on the
OthC"r hand, suggests that the name"Vajtil" vc:ry likely dcrivct from ttoifd.lf.llJ:hirw, alJ.O called roiti/11 or v11itilo in
the dittricts of Mtyurbhanj 1.nd 81Juorc.
l J The inscription consists of t single line which reads "Orh Srl Chari'lndr·i Udah". Sec Panigrahi.
A,th.tolo~it.J Rt•t1i111 "' BhMb11fft1Wtt,, pp. }1 · J J.
1~ t!.f>'t.""f>hi" llllli.tt1, Vol. XVII, p. t SJ· K.C. Mishrt (op. til ., p. Jl ), on the o'her hand, suggests that the
invasion rd'erttd to in the MU.Ii Piiji may have been made by the Bihu fam ily of Ceylon or by som('one from
Original from
T EMPLliS OJ' T H E 81'H AND 9'rH CENT U RIES AT 8Hl'BANESWAR
thot took place during the reign of Subhiikara I between A.O. 801 and 814 as mentioned
earlier, or the ensuing invasion by the Pala emperor Dcvapiila who appears to have
included portions of Orissa under his political hegemony. One of the kings whom Govinda
III defeated was Niigabhana who, if this was the Pratihiira king Niigabhana II, is also
credited with defeating the king of Kalinga as recorded in the Sagar-Tai (Gwalior)
inscription of king Mihira Bhoja.75 In the beginning of the 9th century Orissa, and Kalinga,
thus appear to have sufl'ered numerous invasions and military setbacks. Although
Tribhuvana Mahadevi I, with the aid of her father Riijamalla,76 was able to rid Orissa of
foreign domination in the middle of the 9th century, the ensuing years of Bhauma-kara rule
was characterized by continuous internal struggle for succession to the throne. During this
period of political chaos and disunity very little in the way of architectural construction
took place at Bhubaneswar except for rather small and generally undecorated temples
scattered throughout the city. Although architectural construction virtually ceased in
Bhubaneswar for a period of about one hundred years, it is during this period that temples
were being constructed on a large scale in the more provincial areas, some of the temples
greatly exceeding in size anything at1emp1ed at Bhubaneswar until the 111h century.
1. &ii/a Duoraliofl
The Vai1al Oeul, like 1he Sisiresvara, is erected on a low pi/ha measuring 8 inches in
height. The bai/a measures q · 4" at the base on the short north and south sides and 19' 4"
on the longer west side. The pabhaga, measuring l • inches in height, consists of four
mouldings similar to 1hose on the Sisiresvara with the middle 1wo joined by a piirt:ta-gha/a
motif. The bai/a is lri-ralha in plan on the north and south sides with the ltaniltas designed as
kN111bha·1/a111bha1 with a vajra· mll(lpi carved on the center facet of the shaft as on the
Sisiresvara. The entablature above the piif'!la·gha/a capital is changed, however, and no
longer simulates a lower bara11i/a, a change which represents an improvement in that the
resulting design docs not visually disrupt the demarcation of the basic architectural
divisions. The size of the elephants on the moulding immediately above the capital is
increased and they become integrated with the surmounting lions ro form an addorsed gaja·
It.ran/a. The lower bara1'i/a recess of the Sisiresvara is here replaced by an elephant frieze
carved on the jarigha and aligned with the lions. The lions arc crowned by a thin moulding
decorated with a rail.Jo design in the center of i1s sloping upper surface. The vajra-11111111'i
design on 1he shaft is similar to those on the Sisircsvara though the iconography of the
crowning vajra-matlalta is standardized. The ofl'sets are likewise decorated with raliktra
scrollwork.
The raha is also lri-ratha in design but again represents an improvement on the
experiments on 1he Miirkal)c;leyesvara and Sisiresvara temples. The offsets arc eliminated
and replaced by Rat leN111bha·slambha1 which frame the niche and more clearly delineate the
ovcrall tora(Ja design of the raha. There arc no offsets to these leNmbha·slambhas, as appear on
the ltaniltas, and there arc no vajra-m111'1'i designs on their shafts. The decorative program
Java. S.N. Rijaguru (/111trij>1io1J1 ofOri11a, Vol. J\' , p. 354) dismisses the srory, as rcc;ordcd in the i\ ·ftido/O Piil,ji,
considcr-ing it to be unreliable.
1~ l:."'pi1,r11p/Ji11 /11Ji111, \ 1ol. X\1111, p. 10 7tT.
16
Some scholars identify Rij2malla with fhe Naga,•ari'lSis, 1hc Pallavas or as one o( the- predecessors of
lrmadi Ricamalla. Sec O.K. Gangul)·, op. t ir.• p. 1 0 1 and (n. 109.
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TF.:\fPl.l~S O F Tflf·: BT H ANO ')TH Cl ~NTL; RJf:S AT Bll llS ANF.S\\'.•\R 97
consists of the pin,la-ghata base (j>Jbhtiga), plain niche housing a ,,,;1h1111a, shallow niche
containing a heraldic triple-lion motif, a panel of 1'1ali ph11/a pha(lika, and lotus half-rosette.
The piin.ra-gha/a capital, higher up than those on the kanika, is rounded and surmounted by
addorscd lions and a thin horizontal pir/ha-moulding at the level of the upper bara!fi/a recess.
There is no tala-garbhikti beneath the rtihti niche on these shoncr sides as on the Sisircsvara
and t>firkai:idcycsvara even though the niche is now elevated so that it rests on top of the
pabhiiga rather than cutting through these mouldings. This is the lirst example at
Bhubancswar where the niche is so treated, appearing as a window rather than a door. The
pabhiiga division beneath the niche, however, is indented and there is no pin,la-gha/a design.
This indented feature serves as a precedent followed on many other temples of the 9th and
early 10th centuries. The niche is covered with a projecting cave ornamented with the mali
ph11la phar/ika as on the Sisircsvara but the entablaturc above is decorated with a shallow
niche, Aankcd by the piin.ra-ghata capitals with surmounting lions, rather than a lower
bara!'ria design. The major vajra-ma1ta*4 of the ga!'rii springs directly from the framing
lu11wbha-1ta,,,bha1 and serves to unite the rtihti design, functioning visually as the crowning
member of the overall tora!lfl design.
On the wrstcm or longer side of the tk11/ we have for the lirst time live independent
venical segments projecting from the wall. There is no dominating rtihti, however, as all att
the same size and drsigncd as 1u1,,,bha-1tambha1 with surmounting addorsed gaja-lertinta
motifs duplicating the design of the kanika on the short sides . The overall design thus
simulates a pillared Mat:tr/apa, though the intervals between the pillars arc filled with stone.
As the 1/ambhas att all the same height and the barat:tr/a extends continuously the width of
the biir/a, not being interrupted by a vajra-mastaka, the decorative program is more
harmonious than on the shoncr sides.
The bara!fi/a consists of two projecting mouldings separated by a recess and filled with
various figure motifs, mundane and divine, each scene separated from one another by thin
pilasters as on the upper bara!fi/a ttcess on the Sisiresvara. Included among the scenes are
,,,;1h11na1, figures leaning on a staff, Kama, standing female ligurrs, inebriated men
supponed by females, Kipilikas, /ingaptijti and one scene representing Siva begging alms
which combines aspects of the Bhiksi1anamiirti and Katlkilamiini stories.
The front or cast facade of the t/111/ was designed in the manner of an entrance ponal
with Aanking lul111bha-1tallfbha1 similar to the shon sides though projecting out about 20
inches. When the jaga,,,ohana was joined to the t/111/ some of this decoration was covered-up
but most of the major motifs arc visible above thejaga,,,oha11a roof. The bonding walls (1andhi-
1thala) are plain.
i. Gat:tr/i Dtroration
The lower portion of the ga!'rii is in the shape of a truncated rtlehti, though rectangular
rather than square, terminated at the level of the second bhiimi. On the north and south
sides this portion of the gat:t(li is tri-ratha in plan and dominated by the large vajra-nrallaka
crowning the rtihti-paga and its Aan king engaged 1tambha1. The vajra-nrallaka consists of two
rairya-medallions with the lower one in the shape of a rectangular niche. The smaller upper
medallion is circular and crowned by a leirtim111eha with strings of pearls dripping from its
mouth to form the borders of the medallions. This circular medallion houses an image of
Lakullsa on the south side and Hari-Hara on the nonh. On the longer west side this lower
Original from
TEMPl.ES OF THE 8TH /\NO 9TH CENTURI ES /\T BH UB/\NESW/\R
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Bhubt..neswar: VajrlJ lkuJ
ga!fli is pail<a-ratha in plan continuing the division of the jaligha with each pilaster o f equal
size. The lack of venical motifs, such as a vajra-,,,astaJe,,, and the baralf{/a arrangement, lends
a strong horizontal emphasis 10 the gat:t~i on this back side. The cast side, however, is
treated differently. It is lri-ralha in design and completely dominated by the large projecting
11ajra-lflaslaie4, appearing above the jaga,,,ohana, which extends above the ga!lli into the
crowning members of the titNI. This vajra-1ttaslaie4 consists of two cairya·medallions as on the
SiSircsvara with the upper circular one housing a Siva Na1ariija. The lower, rectangular one
is filled with an image of Surya in his chariot. The comer pagas arc arranged in two bhii,,,is
as on the other three sides of the ga!fli.
Above the second bhiilfli is a large semi-circular member forming the top of the ga{lfii. It is
mostly undecorated on the longer cast and west sides except for the lower edge which is
relieved wirh a frieze of battle and hunting scenes. On the nonh and south sides this
member is carved like a rairya window, its rectangular niche now empty, with 1Waie4ra1 on
the wings and 111i1h1111a1 and Rying vitiyatlharas inside the double beaded-borders.
Above this large semi-circular member is a small recessed be/ei and the crowning 1Waslaie4
in the shape of a large JehaJehara. The belei is decorated with piirrra·gha/as,jali patterns, and
acrobatic atlantid ya~a figures. The JehaJehara·1ttastaie4 is undecorated. The ridge-line along
its crest has a row of finials, each co nsisting of an alfllti, Jehap11ri and Je,,laia with
surmounting triiiila as a finial. On the cast or from facade of this semi-ci rcular member a
small projecting llliya.l a lion has been added immedi ately above a similar lion surmounting
the ltirtilflNJeha crowning the major vajra-111astaie4. It is doubtful that ·these lions formed pan
of the original design and most likely were added much later when these became standard
decorative motifs surmounting the vajra-111a11aie4 designs.
Thcjagamohana measures l l feet by <9 feet l inches. An unusual feature is the addition of
a miniature reJeha..Je11/ at each of the four comers, a feature copied on the J\1adhukcsvara
temple at MukhaliJigam and probably inspired by the pancayatana (five-shrine) plan whereby
Original from
TEMPLES OF THE lTH ANO 9TH CENTU RIES AT BHUBANESWAR 99
smaller shrines are erected at the four comers of a temple compound. The pabhaga measures
only 14 inches in height and consists of three plain mouldings. The jaliga is tri-aliga is design
between the comer nJdkis with the central gaua/f.ia projection framed by thin pilasters which
extend up the height of the walls. On the south side it is decorated with a window filled
with checkerboardja/i perforations while on the nonh this window is filled with stone. The
Ranking aligas are decorated with a uajra-~i. as on the Sisiresvara, placed midway
between the ga.0/f.ia and the nJdki-b11/ at the comers. The designs of these miniature shrines
were only sketched out and left uncompleted. The roof is built on the cantilever principle in
the manner of that of the Sisircsvara and has a clerestory between the upper terrace and the
sloping eaves.
4. Portal DuoratilJfl
The doorframc of the sanctum consists of two bands of scrollwork, the scroll motifs
being the /t.Jltila and the gt'4ba. A single niche is provided at the base of the jambs on each
side for the tluarapa'4. Being a lthalthara temple dedicated to the goddess, the tluarapalas arc
female. They stand in a mirror-image pose with one leg crossed behind the other and the
<a11ri hanging diagonally across the body similar to those on the jagamohana of the
Sisircsvara. This pose with the ,,,,,,;hanging down, rather than placed over the shoulder as
sundard on most early examples, was popular at Sirpur and at Ratnagiri. In contrast to
those examples, however, these female figures at Bhubaneswar are more dynamic. Though
their eyes arc downcast and the pose seemingly placid, they appear taut with energy as if
ready to burst the confines of their narrow niche. These images on the Vaitiil Dcul arc
better aniculatcd in respect to body proponions and more refined in details than their
countcrpans on the Sisiresvara and this is true of most of the imagery and decorative
details to suggest that these sculptors are now more competent and accomplished. The
doorframe is flanked on each side by a projecting /t.Jlmbha-stambha decorated with ratiJ:tra
scrollwork on its shaft.
The narrow door-opening on the cast end of the jagamohana is framed at the sides by a
thin pilaster incised with plirrw-gha/111 at the base and top and ratil:tra scrollwork on its
shaft. Due to the sloping cave projecting over the doorway only a thin lintel was possible
and its decoration is mostly obliterated. An unusual fact of the decorative program is that
there is no room for tl•arapalas. It is possible, however, that the niches of the unfinished
vajra·•lf!'Jis Ranking the door were intended to house the dvarapala1 or river goddesses.
Another possibility is that free-standing 1taga1, such as the one now placed inside the
jaga11rohana, were affixed to the pilasters framing the door.
The remains of a yipa, as mentioned, is situated in front of the entrance to the jagamoha11a,
slightly nonh of the east·west axis. Carved on the surface facing the door are two images
superimposed one above the other, each housed in a shallow niche. They arc each seated in
dhjalfli1ana with both legs firmly locked and hold their hands in front of the chest. They arc
too badly worn to determine the exact llnlllra, possibly ailjali or JharmataJ:ra, or they may be
holding a rosary. Sometime toward the end of the 10th century a small pi(iha shrine, its roof
supponcd by four shon pillars, was added in front of the door, a few feet east of the ylipa
and directly aligned with the cast·wcst axis. Within this shrine is a small tat11rmMkha pillar,
designed as a miniature rtltha-deM/ with a niche on each side. Enshrined within the niches
arc Piirvati, Gancsa, Aja-Ekapiida and SarasvatJ.
Original from
100
j. C11/1 Images
The ptiriva·dtvattis housed in the rtihti niches on the nonh and south sides of the de11/ arc
Mahi~amardini and Piirvatl respectively while the central niche on the longer west side
houses an image of Ardhaniirisvara. Mahi~amardini is eight-armed and is iconographically
similar to her counterpan on the Sisiresvara temple. She holds a shield, bow and serpent in
her left hands while her right hands hold a sword, pajra, arrow and trident, the latter
plunged into the left should of the demon. Her major left hand forces b2ck the buffalo-head
of the demon while her uplifted right leg is planted on the shoulder near the trident. A
simil2r image, now detached but intended for • niche, is placed against the wall inside the
jagamohana. Piirv2tl stands in a slightly flexed tribhatiga pose holding a water pot, trident,
rosary and kartri (chopper) in her four hands. The niches on the cntablaturc immediately
above these ptiriva·dtPaltis arc filled with Hara-PiirvatT on the south and a seated Piirvati on
the nonh. In this scared version Piirvari holds a rosary and kartri in her upper hands and a
vija·piiraka in the lower left while the lower right is extended in Parada displaying 2 lotus
mark on the palm. The lower comers of the niche are occupied by a lion and deer.
Ardhaniirlsvara is depicted standing in a graceful tribhariga pose and is one of the most
beautiful images on the temple. The deity is four-armed and holds a vija·piiraka, rosary and
either a flower or mirror in three hands while the lower left hand hangs gracefully by the
side.
Included among the culr images on the ga{lpi arc those of Hari-Hara and Lakulisa filling
the circular fai(la-medallions of the vajra-mastaka motif on the north and south sides. Hari·
Hara is seated with legs crossed and holds a rosary and conch in his upper hands. His lower
right is extended in Parada, displaying a lotus mark on the palm, while the lower left holds
what looks like a Pija-piiraka. He is represented in lirdhvaliliga as is Lakulisa. The latter is
represented in dharmarakr11-pravarllana-11111drti with the lahi/a held against the body with his
right arm. He is flanked by four disciples seared on lotus cushions. In rhc circular rai(la-
medallion of the Pajra-mastaka on the front facade of the ga{lpi is a 11-armcd Na!arija
similar to the one appearing on the Miirkar:ic;lcycsvara temple. Nandi again appears between
his legs and he holds the serpent near his right hip. The lower, rectangular niche of the
vajr11·111111laka houses an image of Surya. He is depicted from the mid-thighs up riding in his
chariot and holds two long-stemmed lotus rosettes in the traditional manner. He is flanked
by U~ii and Pratyii~ii in the act of shooting arrows. A diminutive Arur:ia is seated in front
ho lding the reins of the seven horses.
The extremely dark interior of the sanctum contains fifteen images housed in shallow
niches along the base of the wall. Starting from the eastern wall, on the south, is a group of
mtitr/etis. The series begins with Virabh2dra and ends with Gal)esa. The seventh mtitrleti,
Ciimul)<;lii, occupies a niche in the center of the western wall. She is larger than the other
images and is the presiding deity of the sanctum. The eighth miitr!eti has been tentatively
identified as Sivaduti who is invoked in association with the mti/r/etis in the Mtirkanifrya
Ca{l(!i. 77 This series of eight mtitr/eti1 deviates from the more convention2l grouping where
there are only seven mothers. The second group of images begins with a terrifying
Bhairava, to the left of Gal)eSa, who is depicted with sunken belly and wearing a garland o f
Original from
·r1 ., ~1 Pl.l·:S ( )F Tl-IF. ilTH t \ N [) 9 l 'H C'.E'.'\Tl ' Rll ~S !\ 1· BH l · B:\NES \X' ;-\R I0 I
skulls. He is seated in an agressive posture, resting the weight of his body on the left knee,
holding a large cleaver in the right hand and a 1:4pila in his uplifted left hand. The next
niche contains a male figure seated in ardhaparyalll:4 with his uplifted right knee supponing
his right hand which holds a lotus. The left hand, resting on the thigh, holds a vase. He has
a slight pouch and could possibly represent Kubera. The thineenth niche is filled with a
boar-headed male deity, the male counterpan of Viiriihi, holding a /ell/hara and a 1:4pila.
The last two niches arc occupied by a seated figure with a canopy of seven serpent hoods,
identified by Panigrahi as Amoghasiddhi78 but more likely a 11aga king, and Gajiisura-
sarilh:ira-muni. In the latter Siva is represented with a sunken belly and is killing Gaj:isura
with a knife. Aside from these images around the base of the wall there is also a vajra·
•a1tal:4 design on the back wall above Camui;i<f:i. It is decorated with an image of Gaja-
Lak~ml on the lintel while the 'ai!)'a-medallion is filled with an image of Hara-Piirvati with
Siva playing on the Pi(la.
The images to the left of Gai:t<Sa arc, for the most pan, quite terrifying and thus testify
to the Tantric nature of the shrine. The association of Sakti with Bhairava, the terrific
aspect of Siva, is '\uite old and the pitha idea narrated in the story of Dak~a's sacrifice is
Tantric in nature. Siva, accordingly, assumed the forms of many Bhairavas who settled in
the vicinity where the severed body pans of SatI were scattered (ial<.tipithat) to keep watch
over thcm.19 That human sacrifices formed a pan of the ritual in the Vaitiil Oeul, as
suggested by the frequent representations of uplifted knives and skull bowls (J:4pila1), is
funhcr evident by the remains of a.Jiipa in front of the jagamohana as mentioned above. The
Tantric nature of the SaptaMitrk41 is evident as early as the sth century A.O. as indicated
from an inscription found in the village of Gangdhiir (Jhalwar, Madhya Pradesh), where
mention is made of the erection of the terrible abode of the Divine Mothers in which {lih11iJ
utter loud and tremendous shouts in carrying out the magic (Tantric) rites of their
rclig ion .llO
6. F rmalt FigNrtl
In contrast to the eerie atmosphere of the dark interior, most likely required for the
rituals taking place, the exterior walls of the sanctum arc one of resplendent beauty, a lush
paradise peopled by beautiful females and meandering creepers. The decoration of the
jirigha, in fact, seems intended as an homage to Woman. The western facade in panicular is
one of the greatest testimonies to the sanctification and apotheosis of Woman created by
the Indian sculptor. Four female figures arc enshrined in niches Ranking the central image
of Ardhaniirlsvara, an image itself extremely feminine in its graceful curves and sensuous
pose. The female figures, enticing and seductive in pose, arc represented in the daily
activiries associated with woman and, being women, ever conscious of rhcir charms, lost in
self-absorption. All of the figures are graceful in their movements and relaxed in pose,
generally crossing the left leg behind the right. They arc all bejewelled in a manner which
tends to emphasize their ample charms by contrasting the softness and warmth of Resh with
the metallic hardness and precision of jewellery. This softness is further emphasized b y the
" //,;J•• p. lo.

J
""> ScC' ntndra N arh B2nerjC'a, ·1·ht Dt1vlop111tnl of I lindN /tQ1'().f.'"P~Y (<:alcu11 a, 19t 6}, pp. 494"'49 J.
to j1Jhn Flccc, Co,p11s /11strip1i¢1'1111" lnd1t11'""'· 111 ( 1910). pp. 71·19.
Original from
101 TEMPLES OF THE ITH AND 9TH CENT URIES AT BHUBANESWAR
warm hue of the reddish-white sandstone and by the lush creepers, crisply etched,
decorating the jambs and offsets framing the niches which act as a foil to the curves of the
female form. These females arc not specific goddesses but 11/alli-"4tlylis; that they arc deified,
however, is evident by their haloes and their exalted position on the walls.
In terms of execution the figures arc characterized by a "soft plasticity of modelling,
delicacy of fearures and perfect cquiposc, strongly remincscent of the classical tradition."II
In respect to body proponions, they are perhaps as perfect, from a classical standpoint, as
any created by the Orissan sculptor. They achieve a harmony of body pans unrealized by
the rather squat figures of the earlier temples and are lithe in contrast to the canhincss of
the female figures on the later Muktcsvara temple. They also avoid the attenuation and
dramatic dchanchcmcnt frequently noticed on even later sculptures. In terms of threc-
dimcnsional volumes they arc slightly flat, a treatment funhcr stressed by their confinement
within niches in the Orissan tradition, and arc remincsccnt of the early figure sculpture at
Aiholc. Though somewhat aloof, betraying no signs of emotion and isolated within their
niche, they yet seem self-content and seldom expand beyond the boundaries of thcit frames.
Only in suavity of body aniculation and suppleness of body texture arc they surpassed by
later Orissan images. In regards to sensitivity of modeling tbcy far surpass the best
examples on the Sisiresvara and represent the high point of the Bhauma period at
Bhubancswar.
7. Duor11ti11< Motifs
Mi1h111111 images for the first time arc enshrined in niches on the jiiigba formerly reserved
for Brahmanical deities. Thus the only examples of male figures appearing on thcjiiigba arc
those in the company of Woman, as intimate panners in love, or in the case of
Ardhaniirlsvara as half-man and half-woman and in the Hara-Piirvati image as the conson
of the goddess. The •ithlllfll images arc enshrined in the niches of the ltll•bba-slll•bhas
framing the rihi. In contrast to the bacchanalian themes appearing in the b11r11!f(/ll recess,
however, these larger images are rather tame in nature. Generally the panncrs stand next to
each other with arms embracing the waist or shoulders. In some cases the male gently
caresses the chin of the female in a display of tender affcetion. The •ithlllfll/•11ithllll4 images
elsewhere on the temple arc more intimate and the panncrs become more active. The females
often take the initiative, suggesting their i11J<ti narure, rather than coyly attempting to entice
the male into action. In numerous cases the male seems almost indifferent to the advances of
his female cohon. She frcquent.ly is depicted untying his garments or mounting him in
restless anticipation, pinning him against the wall, her limbs entangling his statuesque form
like a vine clinging to a tree. She is also very active in the drinking scenes and is likewise
represented inebriated. In addition to the standing •11ilh11111U there arc also scenes with
reclining figures with the panicipants on a couch or bed.
Of the animal motifs the most numerous arc scenes depicting elephants. They often are
arranged in a frieze, as on the top course of the jiligba or on the lower edge of the crowning
semi-circular member of the ga1,1(ii, and arc popular in hunting and battle scenes. The largest
motifs, however, arc heraldic in nature rather than narrative. One of the most interesting of
these heraldic images is the triple-lion motif appearing in shallow niches above the •ith111111
11 D . Mitrt.. Bh11ba1'r1111ar, p. )) ·
Original from
TEMPI.ES OF THE ITH AND 9TH CENTU RIES AT BHUBANESWAR 10 ;
figures on the h11,,bha-sla111bhas framing the raha. The motif consists of addorscdjagrata1 and
a kirti11111JdJa mask frontally arranged in the center so that all three lion-heads arc aligned at
the top of the panel. This is a more developed iconographic program than the motif on the
Sisircsvara where only addorscdjagratas appear. Also more developed is the heraldic motif
above the pirtµ-ghafa capital of the lt.Jl111bha-11a111bha1. On the Miirkal)c,leyesvara the motif
consisted of addorscd lions only while on the Sisiresvara a panel was added below with a
pair of diminutive elephants facing one another. These small elephants do not form an
integrated motif with the large addorsed lions above. On the Vaitiil Deul, on the other
hand, these elephants arc increased in size and represented addorsed so that they form pan
of the motif with the lions above, the motif of lions leaping on crouching elephants known
in Orissa as gaja-lutinta. Though appearing above the capital of the sta111bha in these 8th
century temples, obviously inspired by free-standing pillars of earlier structures and most
likely inAuenccd by lion and elephant motifs crowning the paga designs on temples of
Daksii:ia-Kosala, this motif is moved to the base of s/a111bhas on temples of the 10th century.
The most popular scroll motif is again the ratilura which decorates the offsets of the
paga niches and the pilasters Aanking the entrance ponal of the sanctum. It acts as a
marvelous foil to set off the graceful curves of the female forms enshrined within the
niches. The foliage generally issues from pilf1!14·gha/a motifs or the tail of a halilsa. Also
popular is the tlha"" ga11thi scroll which appears on a panel above the addorscdjagrala motif
and the halilsa-lata scroll popular on earlier temples but now more refined and less chaotic.
The carving of scrollwork in general is panicularly neat and crisp, the perpendicular
cutting being shallow and the designs adhering close to the surface in typical Orissan
fashion.
f) ADDITIONAL SHRINES AND 0 £TACH ED SCULPTU RJ!
Included among the extant small shrines within the immediate environs of Bhubaneswar
is the Sikharacai:ic;IJ temple on top of a hill near Pa1ia, five miles nonh of Bhubaneswar,
and the temple of Vahiralige5vara on top of Dhauli hill south of the city. The
Sikharacandl temple, recently reconstructed along originaJ lines, is a small pif/ha shrine
devoid of decoration similar to the Nflakanthcsvara temple at Padmapur. The image of
MahisamardinJ within is stylistically and iconographically similar to the eight-armed images
of the Sisiresvara and Vaitil Dcul, though most of its features arc badly worn. The temple
of V ahiraligesvara is badly ruined and devoid of sculptural decoration except for the pariva-
dtt1ala images of Gan.Sa and Kiintikeya which arc likewise similar to their counterpans of
the 8th century at Bhubaneswar. An inscription in an anificial cave of Dhauli hill is
evidence that this area was once again a center of religious activities during the reign of the
Bhauma king Siintikaradeva.12 Situated within the city of Bhubancswar is another small
temple which can also be dated to the 8th century. This is the Gaurl-Salikara-Gai:icsa. The
temple is now buried under an accumulation of debris which has raised the level of the road
to the top of its bai/4. A narrow Aight of steps arc now added to give access to its sanctum.
The temple consists of a dt11/ only and its decorative program was left incomplete, many of
the designs being merely blockcd·out. The ga~di is paiila·ratha in plan but the bhiimi
'2 The inscription, ~·hich credits Bhimata (of Viraj:i) with the cons1ruction of a monastery. i$ dated in the
year 9j of an uns~cificd era. Sec Epigropbi11 /Nlit11, Vol. XIX. pp. iGJ-164,
Original from
10~ TF..\IPl.ES Of' T HF. 8TH AJ';O 9TH c;E1'1T RIES AT Bll l'BA1'liSllCIR
divisions contain only three bara{lt/is, as on the Sisiresvara and Vaitiil Deul, and there is no
am1raha recess. The crowning 111a11aka consists of a btlei, amalaka, khap11ri and an ahiialitiga
finial.
1. T aleit1ara Temple
There are in addition numerous small temples in Bhubaneswar which have a more
complete decorative program. The earliest of these temples is the half-ruined Tiilcsvara
which is situated in the paddy-fields near the Parasuriimc5vara. The temple, built on a high
pi/ha similar to the Pascime5vara, exhibits decorative features characteristic of both sub·
groups to suggest it was probably built during a transitional period when some of the new
features were first introduced. The jagamohana is completely destroyed and only a ponion of
the bai/a and inner core of the superstructure remain intact. The ba(ia measures only 9 feet 7
inches square at the base and is lri·ralha in design similar to the Mohini temple. The
pabhaga, measuring 2 l inches in height, consists of three mouldings as on the earliest
temples. The subsidiary pagas are designed as vajra·11111{1t/iJ with the first element above the
pabhaga being a lala·bandhana of projecting blocks as on the Parasuriimesvara. The number
of blocks varies between six and seven except on the front facade where there are only four
due to the smaller size of the 1111t{l{ii1 with the entrance ponal being wider than the rahas.
The jambs of the niche are decorated with rectangular panels of various scroll motifs and
floral designs, rather than the ralileera scroll as on the later temples of this group, along
with piirrta·ghafas at the base and capital. The vajra· maslaka crowning the niche consists of
two superimposed cailj'a· medallions with flanking atlantids on the extended wings as on the
Sisiresvara and Vaitiil Deul. The raha designs have completely crumbled.
The doorfnmc is in remarkably good condition except for the proper left jambs and
dvarapala which are now missing. The decoration consists of an outside pilaster on each side
which suppons the architrave and an inside jamb which is recessed and continues across
the top as the lintel. The outside pilaster is decorated with a piirria-ghafa at the base and
capital and rati/etra scrollwork on its shaft above a niche at the bottom. This niche, aligned
with the dvarapala niche on the inside jamb, is filled with the river goddesses, Yamunii on
the right and Ganga on the left, each measuring 20 inches in height with their respective
vehicles. Although river goddesses are standard decorative motifs on the doorframes of
most Gupta and post-Gupta temples elsewhere in India, this is their first appearance at
Bhubaneswar as attendant figures flanking the dvarapalas. Even in the Buddhist structures
of the Assia hills the river goddesses do not appear on the doorframe but rather as panels
flanking the entrance ponal as on the Parasuriimesvara. The most likely source for the
addition of river goddesses on the doorframe would seem to be Tclingal)a or Dak~il)a·
Kosala. In contrast to the large images at Sirpur or Rajim, where they arc over live feet
high, at Kharod where they extend up the height of the jambs, or at Alampur where they
arc frequently dwarfed by monumental dvarapalas, the river goddesses on the Tiilesvan
doorframe are the ~ame size as the dvarapalas. They are thus depicted accompanying the
dvarapalas and are not the dvaraptilas as at Bhiimarii, Jagc5war, Kha rod, Tezpur (Assam)
and elsewhere. They arc housed in niches like the dvtiraptila1, rather than being carved in
high relief, and stand almost erect rather than in a strongly flexed pose, with one hand
placed on the hip and the other uplifted holding • lotus and not the traditional jar.
Original from
TE~IPl.l :S C-: l~N Tl' R lf.S 8t ll ' f\ :\~ ES \X :\R
0
t>F 1'11E 111'1-I A!':D 91'11 AT I OI
The 11"irapil11 Mahiikiila is represented four-anncd and holds the rosary, trident, lotus-
bud, and vija-pliraka in typical Orissan fashion. He wears a sarpa·lt.Jt1.1(iala in his right car and
his hair is maned on top of his head. The dvira-la/i/a-bi,,,ba panel over the door contains an
image of Gaja-Laksml seated in pad,,,isa11a with both legs finnly locked on a •iivapad,,,a. Her
right hand is extended in v11r111/a displaying a lotus-mark while her left hand holds a lorus in
full bloom. The Aanking elephants stand on their hind legs holding water jars in their
trunks above the seated goddess. Her hair is neatly piled in a bun, in typical Bhauma
fashion, with braids meticulously delineated. The architrave above the lintel is decorated
with an a1/agraha slab. Except for Ravi (sun) and Riihu (ascending node) at the corners they
arc all seated with legs crossed holding a rosary in the right hand and a vase in the left.
Ravi is likewise seated in p11d,,,isa11a and holds a full-blown lotus in each hand. The image
of Rahu is badly damaged but enough remains to show he is represented from the chest up
with his hands extended to his right. Although his shoulders arc in three-quarter view, in
standard fashion on early Orissan temples, his face is depicted frontally .
The extant deities originally housed in the subsidiary niches arc built in sections to form
pan of the wall as with other images of the 8th century. The only image in sit11 is that of
Aja-Ekapida on the north side. In pose, body ornaments and iconographic details the
image is similar to counterparts appearing on the Mohinl, Mirka(l<;leyesvara and Sisircsvara
temples. There arc also several images housed in the Orissa State Museum which belong to
the temple. One of these is of Lakulisa with the niche jambs and tala-bandhani still intact.
He is seated in dl/Jinisana and displays the dharmarakra·pravarttana 11111dri with the lalt.Jt/a held
against the left shoulder. There is a disciple in each upper corner scared in ardhaparyarika on
a lotus which issues from the center lotus supporting Lakulisa. On the pedestal beneath
Lakullsa arc two figures seated in 11rdhapary111Jka and holding a trident and kha/variga
respectively. A second image in the museum is of ArdhaniiriSvara. The deity stands in a
pronounced tribhanga pose similar to the example on the Miirkat)dcy.Svara. The lower right
hand is placed on the thigh while the lower left hand hangs down at the side holding one
end of rhc ganncnt. The upper hands hold a rosary and mirror. A sarpa-lt.Jt1.1(1ala hangs from
rhc right car. The bull Nandi is placed in the lower right comer and a diminutive seated
figure with hair arranged in the iikha11(1ala coiffure, possibly Kantikcya, is in the opposite
comer as on the image from the Sisircsvara temple.
1. Dilapidattd Ttmplt 11tar Ma11ibhadrtivara Templt
There is a miniature temple in the compound of rhc family of the Paramagurus next ro
rhc Sisire5vara which shares many of the decorative features of its larger neighbor.8j The
temple, situated just north of the small Mat)ibhadresvara temp le, is in a dilapidated
condition and hcmncd-in on the north side by the compound wall and fallen debris. The
temple is tri-ratha in design with niches carved in the pilasters framing the rihi as on the
Sisircsvara. The pibhiga is mostly buried or broken and the only images remaining in si111,
other than those of the doorframc and cast facade of the ga11{1i, arc on rhc north side and
barely accessible due to rhc adjoining compound wall. The kanikas are designed as va1ra-
• J Acc<>rding 10 P:an i~rah i 1hcrc ~·:a s anc.1thcr similar tcn,plc 1i1:ithin the c•11np<,und rcccn1ly r ullcd th11.1,:n , Sec
P:an1grah1, ,•frfh1Jrq/f11.'<t1I R.t.,ai11s 11/ 8h11'1011tS•'llf, p. IS~ · \ '1dya Oc-hc1ja (op. r1t., p. 89) refers 10 1hc temple a$ Che
Pt11~c1m~ !.v ara .
Original from
106 TI::MPLl!S OF THF. lTH ANO 9TH CENTURI ES AT BHIJBANESWAR
-~is and house alasti-lt.all.Jtis in their niche. These niches arc disponionatcly large in
relation to their "'*II;; and nearly as large as the raha. The crowning vajra-lftaslalt.a designs
arc Ranked by atlantids on the extended wings of the upper tail.Ja. The niches of the
pilasters framing the raha were filled with various aspects of Siva.
The ga~i, which rises 10 a height of only about 1 5 feet, consists of two bhilfli divisions
rather than the standard five. The decorarion of the bh#mis was left incomplete and
consisted of only two barat1<l,is. The only decoration on the gat1!1,i is the vajra·mastalt.a over the
doorframc on the cast side. It begins immediately above the architrave, there being no
bararr(i,a division, and consists of two tail,Ja-mcdallions with the large lower medallion being
filled with a lotus motif. The upper circular medallion, only panially finished, is filled with
a six-armed Naiariija.
The doorframe consists of a single jamb on each side which runs horizontally across 1hc
top 10 form the lintel. The dvarapalas arc housed in a niche at the base but arc badly
fragmented. The jambs above arc decorated with ratilura scrollwork which continues
across the lintel. The d1•ara·lala/a· bi11rba contains an image of Lakulisa broken-off at the
knees . He displays the dharmaca/era-pravarllana·11r11dra and holds the /ahi/a against his right
shoulder.
The only pariva-dtvata surviving is 1ha1 of Mahi~amardini in the raha niche on the nonh
side. lconographically the eight-armed Durgi is ~imilar 10 her counterpans on the
Sisir.Svara and Vai1al Deul. Except for her face, which is completely obliterated, the image
is well preserved, probably because it is well protected and mostly hidden by the compound
wall adjacent to this nonh side. The only other major cult deity is that of Hari-Hara in a
niche next 10 Mahi~amardini. The image is badly fragmented with most of the Vai~r;iava
side missing. The only other surviving cult image is a small Gar;i.Sa housed in the tail.Ja·
medallion of a vajra-mastalt.a.
Only one of the ala1i-lt.a11.Jis originally filling the Jr.anilt.a niches is i11 si/11. She stands rather
awkwardly with her left hand on her thigh and the right hand near her breast, possibly
holding something. The face is obliterated. The body proponions arc rather squat and the
body ornamentations poorly executed. There is also a seated male figure, in a <ail.Ja·
medallion of a vajra-maslalt.a on the nonh side, holding a long-stemmed 101us in his left
hand which appears to be of Buddhist inspiration .
Although the temple appears to be contemporary with the Sisircsvara the workmanship
is crude by contrast and appears to be the product of workshop assistants rather than
master-carvers. The small size of the temple, with only two bhimi divisions, and unfinished
state of its decorative program, suggests that it was probably created for minor members of
a royal family or possibly even created as a shrine of worship for the workers engaged in
constructing the neighboring Sisircsvara and Vaita.l Deul. Its distance from the Sisiresvara
seems to rule out the possibility that it served as a comer shrine for a panttiyatana complex
with the Vaitiil Deul and Sisiresvara in the center as twin shrines as would the erection in
the t 1th century of the small Manibhadresvara between this temple and the larger shrines.
l· Bhavani·Sanlt.ara Ttmplt
Another small temple which shows affinities with this second group of temples is the
Bhavani Sankara situated in the vicinity of the Sari Deul midway between the Litigarija
compound and the Bindusarovara. The temple has been buried, with a later shrine bui.lt
Original from
TF.MPl.ES OF TllE 8TH ANO 9TH CENT U RIES AT BllUS,\NESll(' AR 107
above it, and only rcccotly discovered. It stiU remains mostly buried, with only one side of
the structure panially revealed, though a few of its sculptures have been removed to the
Orissa State Museum. Enough is visible, however, to suggest that the decorative program
combines clements from both sub-groups of temples as in the case of the Tillcsvara. The
temple consists of a dt11/ and jaga1'1oha114 which, as on the Parasurilmcsvara, arc directly
joined without a salldbi-sthala, the front facade of the d111/ serving as the back wall for the
jaga,,,ohana.
The dr11/ is tri-ratha in plan with the subsidiary pigas designed as vujra-1'1wMiJ. The pibbiga
consists of three mouldings, as on the Tilcsvara, and the first clement of the "'"'!<Ii design
above these base mouldings is likewise a tala-balldhani of projecting blocks. The jambs fram·
ing the niche arc decorated with panels of scroll motifs with a pin:ia-gha/a at the base and
capital. The vujra·1'1asta"4 above consists of two superimposed <airya-medallions as on
earlier temples. There arc no surviving images in the niches visible and it appears that
possibly these were left unfinished. The piriva-tkvatis were i11 si/11 whco the temple was
discovered and apparently were images of Hara-Piirvati rather than the standard Saivitc
images. Fragmcots from other sites, as in the GaurJ compound or at Kaupur, suggest that
this is not an isolated case. In the one rihi niche visible the frame is decorated with the
rangani and pad"'" Pfl/ha scroll motifs while the lintel has a center lotus design which forms
pan of a ratilura scroll decoration.
Thcjaga,,,oha114 appears rather squat from what is visible and the decorative program was
left unfinished as on the Vaitiil Deul. As on the latter temple the gavik,fa projects out and is
framed with the recessed window being filled with similar checkerboard jili. In gcocral the
gavak,fa design, though unfinished and only panially visible, appears slightly more advanced
than that of the Vaitiil Deul. The subsidiary pigas of the jaga,,,oha11a, one on either side of
the gawik,fa, were only blocked-out but the overall design was a h111tbha-sla1'1bha rather than
a vajra·•wMi as on the d111/. As on the Sisiresvara and Vaitiil, a small vajra-•ltl!<li design was
planned for the shaft of the sta111bha. Thus, despite the lack of bonding and the archaic
manner in which the jaga11tohall4 is attached to the d111/, the overall decorative program
relates the temple to the second sub-group of temples and suggests a late 8th century date,
provided the dt11/ andjaga11tohall4 arc contemporary and the latter is not a later addition.
Included among the surviving images arc four Hara-Pirvatl images in various stages of
preservation. In each the couple arc seated in ardhaparyan"4 with one knee raised with
Pirvatl either embracing Siva or resting her folded arms on his shoulder. In the example ;,,
si111 the four-armed Siva holds his lower right hand in abhaya while his upper right hand
holds a rosary. His left hands embrace Pirvatl and hold a trident. In general the carving is
not as accomplished as in the three images in the Orissa State Museum. In the best
preserved of the latter three images Pirvatl has her hands folded and resting on the left
shoulder of Siva similar to examples on the Svart)ajilcsvara and Parasurilmcsvara temples.
Siva's back left arm embraces her around the shoulders while his lower left hand is placed
on her th igh for suppon. In the fragmented image the pose is similar though the figures arc
broken above the chest. In another fragment, labeled as "A Happy Couple," the pose is
again similar though all of the arms and the pedestal arc missing. Available evidence thus
suggests that the tk11/ may have been erected in the 7th century while the jagamoha114 was
added in the 8th century.
There arc in addition numerous other sculptures piled within the compound, dating from
1hc 7th to 1hc 11th century, which have recently been rc1ricvcd from the Bindusarovara.
Original from
108 TE ~IPl. ES OF T HE 8T H AND 9T ll CF.NT ll RlllS AT BHlJBANES\X'AR
Among the images dating to the 8th century arc two cafllrlft111dJa-liliga1 which arc well
preserved. Panicularly interesting is an image of Lakulisa, datable to the 9th century,
surrounded by eighteen bearded figures, possibly representing t.hc 1ir1biia1, carved on the
pedestal and back-slab, LakuliSa is four-armed but, as on numerous later images, the lalell/a
is absent. Other images include three early examples of Kiintikcya, two 10th-century
images of Hara-Piirvati, an 11th century Surya and a 11th-13th century Nr.;imha.
4. Dttafhtti lmagn
There are numerous detached images, mostly of piirwa-titvaliis, which arc now housed in
later shrines or arc in various museums which can tentatively be assigned to the 8th century
on stylistic and iconographic evidence. In the Orissa State l\-iuscum there arc two such
images of Gai;iesa which originally belonged to the Ganga· Yamunii temple no longer
extant, In 1he example illustrated here, Gai;iesa is seated in artihaparyalika and is stylistically
similar to the image on the Sisiresvara though the radish is in the lower tight hand and the
rosary is in the upper right hand. An addition is the diminutive rat-like attendant in the
lower right comer of the niche. A 111a11tiirafiiri11i appears in the center of the pedestal,
juxtaposed in front of the tripod holding offerings, as on the Pascimesvara and
MiirkaQdeyesvara temples. Other early examples of Gai;icsa appear attached to the
Cintamai;iisvara temple situated by the side of the road to Balianta, within the LiJ\gariija
compound, inside the compound of the Bharati Maiha and an image carved on the inner
wall of the GaQcsa Gumpha of Udayagiri hill. This latter image has been referred to as
gajiisya in an inscription engraved nearby, also recording the name of the Bhauma king
Santikaradcva, which gives us chronological data regarding its date.84
There arc also numerous detached images of Kantikeya including two affixed to a
laterite enclosure in the village of Bac;lagai;la8S as well as examples in the Lingaraja
compound. Two of the most interesting, though, are examples housed in the Orissa State
Museum . In the best preserved of the two images Kantikcya is seated in lali1ii1a11a on his
peacock mount, represented frontally, and holds a vija-pliral!.a in his left hand and the ialeti
in his right, The second image is similar except that Karttikcya is seated in bbatirii1a11a with
both legs pendant.
Detached images of Mahi~amardinl arc scattered throughout Bhubancswar and its
immediate environs, either housed within modem shrines or affixed to exterior walls.
Among the images which can be assigned 10 the 8th century, other than those already
mentioned in connection with the Vai1iil Deul, Sisiresvara and SikharacaQdi temples, arc
examples housed in the CharanarayaQa temple on the west side of Khandagiti hill near the
ancient quarry site, in a miniature modern shrine near the ruined plinth of the Pa5cimcsvara
temple on the west bank of the Bindusarovara and affixed to a dilapidated latcritc structure
on the eastern bank. While the image on the west bank of the Bindusarovara is eight-armed
and nearly identical 10 those of the Vaital Deul and Sisircsvara, the image on the cast bank
has only six arms. Otherwise the ico nog raphy is similar as she holds a sword, a trident and
an arrow in her right hands. Her major left hand pushes down on the buffalo-head of the
demon while the other hands hold a bow and a shield. The only major change is that the
14 f.pi/_raphia /ndi<a, \ 'ol. XIII, p. 167.

•~ Panigrahi. A ,.<hartJ1oi1<al Rrmi.Jins "' Bh11h11nts11·ar, p. 16.
Original from
10 9
shield is rectangular and worn on the forearm rather than being circular and held uplifted.
There arc also 8th century images of Mahi~amardinf with a similar iconographic program
in the British Museum and in the Philadelphia Museum of An.
Othe r images which can be assigned to the 8th century on stylistic grounds include two
now in the Indian Museum at Calcutta. The first is a standing image of Siva which most
likely filled one of the subsidiary piiga niches of a temple. It is housed in a niche with the
jambs panially intact and decorated with pin:ia·gha/a motifs and a panel relieved with floral
designs typical on 8th century temples such as the Tilesvara. Siva is four-armed and stands
in a slightly flexed pose with his lower right hand placed in front of the hip holding an
unidentifiable object, possibly a bowl, and the uplifted back right hand holding a rosary.
Both left hands arc badly fragmented though the remains of a shaft, belonging to a trident
or a lt.hafviinga, arc visible next to one of the arms. The placement of diminutive figures in
the lower comers of the niche arc unusual in that Nandl appca~ on the left while on the
right is a female fa1tri-bearcr. The upper pan of the image is now missing though a halo is
visible behind Siva's head. The second image is of Hara-Piirvati and pan of the moulding
above the niche is intact to again suggest that the image was made of blocks and formed
pan of the wall itself. Siva plays the •i~ii held in his two front hands. His back two hands
hold a rosary and trident. He is scared in lalitii1ana while his conson is seated with one leg
uplifted. She places her right hand on his thigh and holds a lotus in her left hand. Their
respective mounts appear on the pedestal below.
There are also several images inside the Bhariiti Matha which can be dated tentatively to
the late 7th or 8th century including a Hara-Piirvati similar to the one in the Indian
Museum though made of a single slab of stone rather than in sections, this technique
suggesting that it is a slightly earlier work or that it was intended to be placed within a
shrine rather than a niche. Siva again plays the •i~ but with his back hand caresses the chin
of Piirvati. Piirvati's body faces Siva rather than away from him and she places her right
hand on his shoulder. The respective mounts are again represented on the pedestal. There is
also another fragmented Hara-Parvatf affixed to the same latcrite wall but it is badly
defaced. There are two Lakul!Sa images on the same wall which likewise can be dated to
the 7th or 8th century. They arc similar in iconographic details though stylistically one
appears to be slightly later. In both images Lakullsa is seated in pati111iisana and displays the
Jhar111afalera-pra•arl/ana·m1tdrii with the laleM/a held against his left shoulder. He is flanked by
two disciples on each side seated on lotus cushions which issue from the lotus supponing
Lakulisa.
In contrast to the wealth of extant temples and detached images dating from the 8th
ccnrury there arc only a few sculptures which can be dated on stylistic grounds to the 9th
century. Two particularly interesting images, both fragmented, arc eight-armed and
represent Ourgii, one standing and the other seated. The first, now in the Indian Museum
at Calcutta, represents Durgii in a hieratic samabhatiga pose though now broken olf just
above the knees. The flying •itlytUiharas in the upper comers are also broken olf. Durgii
holds her lower right hand in varaJa exhibiting a lotus mark on her palm while holding a
rosary and sword in two other right hands. The upper right arm has been obliterated. In
her left hands she holds a water jar, leMthiira, <alera and shield. The second image, now
placed in a small shrine within the ~fuktesvara compound, represents the Dev! seated in
paJ1t1ii1ana with both legs firmly locked. The upper part of the image, including the face, is
now missing. Her lower right hand holds a rosary while the other attributes are missing.
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110 TtMPLF.S Of T H E 8T H AND 9TH CENTURIES AT BH UBANESIX' AR
She holds a vessel and stringed-bow in two of her left hands, the other attributes again
missing. Her lion-mount appears on the pedestal. The form of the Devi is rather Rat in
technique and individual features are rather hard so that the image Jacks some of the
warmth and animation typical of the best examples from the 8th century. One other image
which can be assigned to the 9th century, originally from Cuttack and now in the Orissa
State Museum, is of a female holding a long-stemmed lotus which begins in the lower
comer of the niche and crosses diagonally across her body so that the Rower is near her
head. This motif of an alata-lt.allya smelling the fragrance of a lotus, locally known as
pad111agandha, becomes panicularly popular as a decorative motif on temples of the early
10th century. The ha!itta-lata and pirria-gha/a motifs carved on the jambs, as well as the
6gurc and facial characteristics, arc typical of the late 8th and 9th century.
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CHAPTER THREE
TEMPLES OF THE 8th-9th CENTURIES

OUTSIDE OF BHUBANESWAR
Although the extant temples dating from the 6th-7th centuries arc confined almost
exclusively to Bhubaneswar,• architectural remains from the 8th-9th centuries appear
scattered throughout vinually all of the modem districts of Orissa, suggesting an
unprecedented expansion of architectural activity due, in pan, to an increase in the number
of competent workshops as well as developing local patronage. Except for Viraji () ijpur),
the capital city of the Bhauma-kara rulers, few of these sites have more than one major
temple dating from this period. Unfonunatcly, due to the continued prominence of Jijpur
as a political center, as wcU as its imponancc as a holy lirlha, even into the Gajapati period
(16th century), Orissa itself even being referred to as the kingdom of Jijnagar in Muslim
accounts, the city became the greatest victim of Muslim iconoclasm and vandalism so that,
except for detached sculptures embedded into later structUres, very little survives at J ijpur
from the 8th-9th centuries.2 The majority of the surviving temples elsewhere in Orissa,
being situated in more provincial centers, arc difficult to pinpoint with exactitude in regards
to stylistic chronology due to the fact that they arc isolated structures. This difficulty is
compounded by the predilection towards archaizing and the natural tendency to
incorporate regional manifestations, often influenced by neighboring architectural tradi-
tions, into the evolving parent style. Many of the temples, in fact, date from the period of
disunity following the Ri~1raku1a and Pila invasions when the country was divided into
numerous small principalities ruled over by minor dynasties. It is during this decline of
Bhauma sovereignty, and the growing independence of minor dynasties such as the
Khiiljili Bhailjas,> that regional manifestations would most likely emerge. On the other
hand, due to the loosely constructed administrative policy generally followed by the ruling
families in Orissa, a ccnain amount of autonomy was normally allowed to the minor ruling
dynasties which in itself fostered the development of local tradirions. This is panicularly
true of the Bhauma period. In many cases the temples arc larger than those at
Bhubaneswar, as indicated previously, and suggest the development of local pride.
Unfonunately there arc no commemorative inscriptions indicating the person responsible
for the construction of these temples.
Among the surviving temples dating from this period outside of Bhubaneswar, in
addition to the ruined temples and detached sculpture at Jijpur, are the Bhrngcsvara
Mahideva temple at Bajrakot and the Kanakesvara Siva temple at Kualo in Dhcrikanil
district; the M:u;i.ikcsvara Siva temple at Suklc5vara, the Pascimc5vara temple on Amangai
1 We know from literary evidence, u suggcttcd c-arlicr, that temples or shrines were crcc:ted on Mahcnd ra
mountain and elsewhere buc not.hing appears to have survived from the 6th •7th ttnturics. ThC'rc arc scattered
ruins throughout Kalahandi distria with early insc:riptions, as at Dcypur or Mohanagiri, 15 well as 11
Padmapur in Koraput district, though little: in the: way of architc:ct ural remains have survivCd.
1 See K . N . Mahapatra. "Puranic Literature of Oris!ia", OHR], Vol. XI ( 196i), pp. 17-11.
J Stt Krishna Panigrahi, "Orissa MuKum PlatC$ of Nettabhanja", OHR), Vo1. XI ( 1961), p. 1}·
Original from
II Z
Island near Khanderpur, the small Du rga temple at Baideswar and the nearby Simhanatha
temple on an island in the MahiinadI in Cuttack district; Siva temples at Baiikiic;la{
Punjiyama and Badgaon in Ganjam district; the Madhukesvara temple at Mukhaliilgam
(now situated in the Srikiiku!am district of Andhra Pradesh); the Piitiilesvara and
Mallikesvara temples at Paikapac;la and the Mallikcivara temple at Padmapu r in Koraput
district; and the Somesvara temple at Ranipur-Jhariiil in Bolangi r district. All of these
temples can be assigned to the 8th or 9th century. The temples at Bajrakot, Suklcsvara,
Badgaon, Paikapac;la and Simhaniitha are of the paiiciyala/14 class with subsidiary shrines at
the four comers of their co mpound while those at Kualo, at Bai\kiida[Punjiyama and the
Madhukesvara temple have three additional shrines, one on the south, nonh and back, in
addition to an ornate gateway at the entrance. Additional sculpture finds datcablc on
stylistic grounds to this period appear scattered throughout the various districts of Orissa
as far nonh as Khiching in Mayurbhanj district and the neighboring site of Bcnusagar now
situated in the Singhbhum district of Bihar.
The temple most closely aligned to those at Bhubaneswar and the Buddhist doorframes
at Ratnagiri in the Assia hills is the Bhrogcsvara Mahadcva temple at Bajrakot near the
BriihmiinI river nonhwest of Tiilcher in Dhenkanal district. The Dhenkaniil region was
under the direct administration of feudal chiefs paying allegience to the Bhauma-karas and
was divided into different ma11rfals under the political control of various ruling dynasties
during this period. One of the earliest ruling dynasties in this area appears to have been a
branch of the Bhaiijas who had their headquarters at Angulaka-Pittana, as recorded in the
Baudh copperplate grant of king Nenabhaiija,• though the genealogy and dates for these
rulers has not been worked out with any degree of cenainty. Towards the end of the 8th
century they appear to have been driven towards Baudh by the Sulkis who thereafter
occupied the Angul area and ruled over an extensive territory known as Kodiilaka-ma111'a/a
with their capital located at Kualo which is about five miles cast of Talchcr. Although the
Sulkis were an ancient family, mentioned in the Haraha inscriptio n of samvat 611 as having
been defeated by the MaukharT king Isiinavarman,~ this present ruling dynasty, as known
from nine copper-plate inscriptions, was probably staned by Kiii\canastambha who ruled at
the end of the 8th century and was most likely a feudatory of the Bhauma king Sivakara
11.6 Stylistically the Bhrog.Svara Mahadcva temple is most closely related to the Sisircsvara
temple and can tentatively be assigned to the late 8th century though it is impossible to
discern whether the Bhai\jas or Sulkis were responsible for its construction. The temple is
of the paiittiyatana class though thcjagamohana and corner shrines arc now missing. The only
remains of the jagamohana are the six pillars which supponed its roof suggesting it did not
follow the cantilever principle utilized in the construction of the Sisiresvara. A thatched
roof is now placed above these two rows of pillars.
• ]BORS, Vol. XVII, pp. 10 4 " 08.

S Epigr4phia /,,Jira, Vol. XIV, pp. 1 10- 1 11 .
6 N1Jam'lni St-napa1i and Ptemananda Tr1pa.1hy. D ht11kat1al Distrift ( ;t1z.tllttr (Cut1ack, 1971). pp. 49·so.
Original from
Tt .. ~lfll. l~S Clf 1· 11•~ 3•r 11.9T ..l CE:'\'r'l ' Rlf·,!) C >l'TSll) f ~ <>r ttl ll'B \ ~l ..S\\',\R I I ~
SULKT KINGS OF KOOALAKA-MAt-JOALA
Kancanastambha
I
Kulastambha I
I
Ranasramhha alia1 Kulasrambha II ( A.O . 839)
alias Alinastambha
I
Javasumbha
. I
Kulasumbh a Ill
NANDOBHAV A KINGS OF AIRAV ATT A-Jl,,IANOALA
J avananda
.I
Paramananda
. I
Sivanand2
I
Oev:lnanda I
I
Vil:isatuilKa
I
Ocviinanda II (A.O. 910)
I
Dhruvananda (A.D. 929)
T UNG A KINGS OF YAMAGAR TTA-Jl,,IA]'ll)ALA
IJayasimha (A.O. 864)1

1
Jag attulig a \ init2turig a I
I I
Salan2tufllga Kh adatuilga
I I
Gaya du1unga Vinitaiuliga II ( A.O . 881)
AJopl<'d from Nilanlani Scnapa1i and Ptemananda T tipathr. [)Jt<nlr.sinal Dis1ri,1 Ca z.tlltlr (<:uttack. 1971),
1. &ii/a Duoration
The temple is modest in size, measuring only 16 feet 6 inches square at the base, and is
tri-ratha in plan with the rtihii designed as a truncated rrkhii similar to the 7th century
temples at Bhubancswar. The subsidiary piigas arc likewise designed as vajra-mH~(iis
terminating beneath the bara~i/a division. A thin /cNmbha-stambha is added ar the corners, as
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I 14 T EMPLES O F THE STH·9TH CENTURIES OUT SIDE OF BHUBANESWAR
------ ,,... ____,

r--••·
I
__.I
I
Sajrakot : BhrflgeS\•ara ~fahideva Temple
on the Uttaresvara temple, and is probably inspired by examples from Teliilgana, such as
the Sangamesvara temple at Kui;laveli, where these pilasters were standard decoration. The
pabhiiga, partially buried, consists of four mouldings with the middle two joined by a
projecting pii'!fa-ghafa as on the Sisiresvara and Vaitiil Deul. The niche jambs of the vajra-
"'"fllis are decorated with the ratiJura scroll which issues from a small hamsa at the base
except for one niche where the scroll consists of a center stalk with sprays issuing
symmetrically on both sides. The vajra-1'tastale4 consists of two cai!)•a-medallions with the
lower medallion housing various Brahmanical deities or 111ai1h11110 images. The upper caitJa
is crowned by a J:irli111111:ha and flanked by atlantid-typc figures. The niches of these "'"Mis
house various aspects of Siva, as on early temples, and an ak11ii-*4ttya and a 11tilhtma as on
the Vaid.I Deul.
The niche of the riihii cuts part way through the pabhaga as on the Miirk:u:ii;leyesvara and
Sisi resvara and there is a lala-garbhiJ:a design beneath though it is mostly buried except fo r
three projecting blocks ornamented with lions and an elephant visible beneath Karttikcya
on the west. The niche has two framing jambs with the inside band being recessed and
decorated with scrollwork and, on the lintel portion, a tlviira-/a/iifa-bimba panel. The outside
band is decorated with scrollwork issuing from a pti'!fa-ghafa at the base and either
scrollwork or an elephant frie.ze on the lintel portion. The single bhiimi division above the
niche is lri-ralha in plan as on 7th century temples but without the a1111riihii recess. The
barafl{/a consists of two projecting mouldings and a separating recess as on 7th century
temples but its decorative program appears not to have been completed except o n the south
side where the recess is filled with a frieze.
The A:ll111bha-sla11tbha, added at the corner arc decorated with scrollwork issu ing from a
small pii'!fo-ghata at the base. The projecting pii'!fa-gha/a capital is rounded as on the
#a11tbhas framing the riihii on the Vaital Dcul. The overall decorative program of the b;;Ja
thus exhibits a curious blending of architectural features from both the 7th and 8th
centuries. T ypical of these 8th-9th century temples outside of Bhubaneswar is the absence
of the experimental features introduced on the temples of Bhubaneswar which tended to
obfuscate the clarity of architectural divisions standard on earlier temples. These provincial
Original from
TEMPLES OF Tlic 8TH·9TH CcNTURIES Ot:TSIDE OF BHl!BANESll.A R I I \
iilpi111 apparently preferred the simple clarity of the earliest designs and only borrowed
clements from the later temples which could be integrated harmoniously with the overall
decorative program.
•· Galfl(ii Duoralion
The ga.IJ(ii is extremely squat is proponions and heavily plastered so that it is impossible
to discern whether its decorative program was completed. It most likely is panta-ralha in
plan similar to the temples of the 7th century. The lt.tmilt.a is divided into live bhi111i1 by
bhi111i-a111/,;1 with each bhi111i subdivided into baralJ(ii1 in standard fashion. The major vajra-
111aJ1alt.a1 at the base of the riihii consist of two superimposed '"il.Ja designs with
surmounting A:irliM•.tha as on 7th century temples. Most of the ligurc motifs within these
tail.Jo designs arc covered with plaster except for a Gar;icsa on the south and Nataraja in the
upper medallion on the cast. The riihii above these gajra-f11111/alt.a1 upcrs radidly as on the
MohinT and Markll)r,jcycsvara temples. These riihii1 arc now decorated with rather crudely
carved figures of recent vintage which arc mostly erotic in nature. The bi1a•a crowning
the ga~ docs not panakc of•thc piiga divisions. Dopi,hhii-1ilitba1 arc placed in the btJ:i above
the lt.a11ilt.a1 as well as a few modem ligurc motifs and even a large horse. The crowning
members of the MaJ/a/ea arc intact and include an ii~ialitiga surmounted by a trident.
l· Portal Duoratio11
The entrance ponal projects out strongly and its exterior decorative program extends
above the biii{a, eliminating the baralfl(ia division on the front facade, so that the vajra-
111a1talt.a motif appears above the roof level of thcjagaMohaM. The doorframc of the sanctum
is flanked on each side by a large projecting pilaster relieved with scrollwork as on the
Sisircsvara and Vaital Dcul. The doorframc consists of four bands of varying size on each
side. The outside two bands arc narrow in width and decorated with ja'4palra and Mali
ph11/a phalilt.a scrollwork respectively. The wider inside bands begin above the tlviirapiila
niche at the base and arc decorated with the gt'4ba and raliktra scrollwork. Included among
the figures climbing the vine of the gt'4ba scroll is one in a swing, a motif which also
appears at Ratnagiri, on the Sisircsvara, at Suklcsvara and Mukhalirlgam. The gtlaba scroll,
1hough popular on the doorframcs of Buddhist structures in the Assia hills, appears only
sporadically on the early temples at Bhubancswar, the only 8th century example appearing
on the sanctum doorframc of the Vaitil Dcul. The inside band is slightly recessed above the
niche, as at Ratnagiri, and continues horizontally across the door to form the lintel. The
overall arrangement of the jambs, presenting an indented design of successively recessed
bands similar to the Markanr,Jcyesvara doorframe, contrasts with the flat arrangement
typical of most early Orissan frames and suggests outside influence, possibly from Dak~iQa
Kosala where this design, as well as the gtlaba scroll, were standard.
The lintel is badly damaged and only the coiffure of Lak~mr and a lotus remain of the
tlviira-'4/ii/a-bi11rba panel. The a1/agraba is ;,, 1it• and the grahas arc housed in shallow niches
in typical Orissan fashion. The half-bust image of Rahu is depicted in thrcc-quaner profile
with hands extended similar to its countcrpan on the Markar;ir,JeycSvara. The tlviirapiila
niche, extending the width of the inside two bands, is divided into two companmcnts by
the trident held by the tlviirapiila. Both tlviirapiilas arc represented in identical fashion with
Original from
T E ~IPl.E S OF THE ITH·9T H CENTl 'RIF.S Ol"fSIOR tll' BllL. ttANES\C-\R
the lower right hand extended and the lower left placed on the hip. Their slightly Aexed
standing pose, coiffure arrangement and body ornamentation are nearly identical to their
counterparts on the sanctum doorframe of the Sisiresvara. The figures arc heavily coated
with numerous applications of whitewash so that the crispness of the carving is lost, as arc
the facial features. The attendant figure in the adjoining compartment is a female ca11ri-
bcarcr rather than a niigo as on the Sisiresvara. In pose, however, it closely approximates
the caNri-bcarcrs on thejagamohana door of the latter temple o r those on the sanctum door of
the Vaitiil Deul with the ct1J1ri hanging down and one leg crossed. The overall decorative
program of the doorframe thus most closely relates to those of the M:irkar;u;leyesvara and
Sisiresvara temples but with perhaps a little more outside inAuence exerted.
Related to the decorative program of the doorframe, though not actually pan of the
frame, is the positioning of the river goddesses in the vajra-m11I1(/i niches on the cast facade
Aanking the entrance portal. A precedent for this placement appears on the Parasura-
mc5vara temple where they flank the west entrance of thejagomohono. This placement of the
river goddesses in niches Aanking the door rather than on the frame itself is peculiar to
Orissa. In contrast to the example appearing on the Talesvara, where the goddess stands in
a Iomabhaligo pose, the figures here stand in a strongly flexed tribholigo pose. The pose thus
approximates that of images elsewhere in India, such as at Palari, except that here the figure
crosses her legs and rests one elbow on an attendant figure, subtle changes which tend to
stabilize the goddess and eliminate the swaying effect produced elsewhere. The goddess is
accompanied by an attendant holding a parasol above her head and a Aower-g irl holding a
basket of garlands in the lower comers and a Aying vitf;·tidhoro in one of the upper corners
holding a bowl of offerings.
4. C11/t I magu
The parfva-dtvolaI, though badly wom, are all in 1i111. GaQesa is seated in ardhaporyonka
and holds the traditional attributes in his four hands. His uplifted right knee is tied to his
stomach with a serpent and his proboscis is curling up to place a sweet in his mouth as on
the Sisiresvara image. The other two images differ from their earlier counterparts. The
image of Kantikeya is covered with plaster and partially restored. He is represented sitting
on his peacock-mount in lolitiiiana rather than on a throne or standing as at Bhubaneswar.
He holds a fakti or staff in each hand in symmetrical fashion rather than a single fokti as
standard on most representations. His coiffure is also quite unusual with long braids
hanging down to the shoulders rather than being arranged in the conventional iikho~(/aka
mode with three chignons piled on top of the head. The facial features are modem
restorations. In the MahisamardinT image the demon Mahisa is represented in human form
issuing from the decapitated carcass of a buffalo. This contrasts with the standard form at
Bhubancswar where the demon is represented with a human body and buffalo-head. This
new iconographic form was popular elsewhere in India, including Daksina-Kosala, and
again suggests outside inAuence. The goddess has her uplifted right foot on the hind-
quarters of the carcass and plunges a trident into its back. Her major left hand pushes
down on the diminutive human figure attempting to escape. The deity is eight-armed and
holds the traditional attributes in her remaining hands.
The vajra-11111~(/iI house various aspects of Siva on the south and west sides, the river
goddesses on the east, and a 111ith11na and alosa-kanJ•ti on the north Aanking !'.lahisamardinT.

TE~IP l .ES OF T HE 8TH·9TH CENTl' RIF.S Ul!TSIOE OF BH l' BANESIX'AR 11 7
The aspects on the west arc the Gangiidharamiini and Hari-Hara, both images being badly
worn. In the former motif Siva assumes a slightly flexed lrihhaliga pose and holds one of his
tresses out in his upper left hand. The diving figure in this upper comer is too badly worn
to recognize as is Ganga in the lower left comer though her •aura-vehicle is visible. In the
opposite lower comer only the lower pan of the kneeling Bhaglratha remains intact. In the
Hari-Hara image the figure of the deity assumes a similarly flexed pose and is flanked in the
lower comers by a ga!Jtl and Garu<;la. The images in the niches on the south side represent
Lakullsa and Ardhaniirfsvara. Lakullsa is seated with legs crossed but not locked as in the
standard Jhyi"4sa114 pose. He displays the dbar•atakra-pravarllana-•lllirii and holds the /a/eM/a
against his left shoulder. He is flanked by two disciples on each side. Ardhaniirisvara
assumes a pose similar to its counterpan on the Miirka!)<;leyesvara and Sisircsvara temples
though the upper left hand holds a mirror and not a lorus as in the last named temple. The
baby Kiin1ikcya in the lower left comer is seated rather than standing. NandI occupies the
opposite comer.
Aside from Na1ariija and G:u:icsa appearing in the Njra-•aslau motifs of the ga11{ii the
only other cult images are those housed in the small vajra-111111111.U motifs crowning the
""}ra-•lf!l{iis. Among the images housed in these tail.Jo designs is a female deity, probably
Durgii, seated with legs crossed and holding a vase and rosary in her two hands. There is
the popular motif of a male figure seated in lalilisa114 with one hand resting on a knee and
posibly holding a lotus. There is also a small image of Aja-Ekapiida in the vajra-maslau
drsign above Lakul!sa.
! . Duoralivt Motifs
A peculiar aspect of the overall decorative program of the hi{la is the erotic nature of the
nonh side. The vajra-•lf!l(ii niches, as mentioned, house a ,,,;1h11114 and an alasi-k.111.Ji, rather
than aspects of Siva, while the crowning tairya-medallions above these niches arc filled with
111aith11na motifs rather than deities as on the other sides of the temple. It is most likely that
this iconographic program was related to the Devi (Mahi$amardinl) enshrined in the rihi
on this side and possibly associated with the type of rituals performed. Mi1h11na images first
appear enshrined within these major niches on the Vaitil Deul, a Sak/a shrine, and there's
no doubt that the popularity of Saktism was spreading throughout Orissa at this time.
Ah hough the enshrined •ith11114 here is quite innocent, as on the V aitiil Dcul, the maith11n111
in 1hc tairyas arc very explicit and represent the panncrs in a semi-reclining pose. In one of
the scenes a second female is represented though she is looking away from the activity
rather than taking an active pan. There arc also a few erotic touches in the gtlaba scroll
dccora1ing the doorframc, including one figure who bends his head between his legs to bare
his backsidrs to us, and a bestiality scene on the ga11i/i.
In terms of body proponions, facial features and pose the ftmale figu res, including the
river goddesses and ,,,,,,;-bearing attendants on the doorframc, correspond most closely to
those at Ratnagiri and on the Sisiresvara temple. The most interesting female figure is the
alasii-kallJii enshrined in the ""jra-11111/lili niche. She is depicted in the padmagandhi mode of
smelling the fragrance of a long-stemmed lotus mentioned previously. The stalk of the lotus
begins in the lower comer on the left side and bends diagonally across her body so that the
full bloom is opposite her face on the right. There is a small stand supponing a vase in the
lower right comer. Most interesting is that there is something other than the lotus stalk in
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118 TEMPLES OF THE 8TH-9T H CENTURIES OUTSIDE OF BH UBANESWAR
the lower left comer, possibly an attendant figure though it is badly defaced or plastered
over, suggesting that the ala1li-"'411Jii may have represented a specific goddess. On later
images this docs not appear as the figures become purely decorative. As on the image from
Cuttack mentioned earlier there is a halo behind the head of the female. In addition there is
a flying gjtiyiiJhara in the upper left comer of the niche.
The most popular scroU motif, as on late 8th century temples at Bhubaneswar, is the
ralihra which generally issues from a pit'fl<l-t,hafa or the tail of a ballisa. The foliage, carved
perpendicular to the surface, is overly neat and almost mechanically conceived as on the
Sisirc$vara and V aitiil Deul. Other popular scroll motifs include the ,,,a/i pint/a phalilt.4 and
tihatu1 1,a111hi. There arc also several variations on the raJilur11 scroll not present at
Bhubaneswar. In these examples it is the foliage of the motif that is stressed and not the
circular sprays spreading alternately to the left and right. The foliage spreads evenly to
create an all-over pattern with no center of focus, the leaves swaying upward, which
becomes on later temples the va1111-la1ii motif though it is characterized by oblique
cutting techniques rather than perpendicular cutting as here. In another variation, most
pronounced on the pilasters flanking the doorframe, a tree-of-life motif runs vertically up
the center of the design. A similar scroll appears on these same pilasters on the Sisiresvara
though the tree or stalk motif is replaced by two superimposed figures in swings.
B) K UAtO : K.~NAKESVARA TEMPLE
In contrast to the squat and rather modest size of the Bh¢gesvara Mahadcva temple at
Bajrakot, the Kanakc5vara temple at Kualo is one of the largest of all 9th century temples
in Orissa. Kualo is today a small village in the Parjang police station of Kimakhyanagar
subdivision of Dherlkanil district, near the banks of the Brihmanl river about five miles
cast of Tilchcr. The name Kualo is most likely a corruption of KO<;lalaka, as mentioned
earlier, which was the headquarters for the Stambha or Sulki kings who were fcudatories of
the Bhauma-karas during the 9th century. Although Kailcanastambha is the earliest known
king of the SulkI family it was his son and successor, Kulastambha I who greatly enlarged
the territory under Sulki rule by subduing the Savara tribes. After defeating the Savara
chief Dhekata, Kulastambha assumed the proud title of "Vikramiiditya." Whereas
Kulastambha I called himself R~aka, however, his son and successor, Ral)astambha styled
himself as " Maha-S:imant:idhipati" as we know from his Tiilcher copper-plate grant dated
in Bhauma Era 103, which would correspond to A.O. 839 7 and make him a contemporary
of the Bhauma king Subhiikaradeva Ill. Ranastambha was also known as Alinasiambha,
Nidayastambha and possibly Kulastambha ll. He is known to have built a number of
temples for the worship of Siva and the Kanakesvara temple complex at Kualo was
probably constructed during his reign.• After his death his brother Jayastambha succeeded
to the throne and assumed the high-sounding titles of " Mahiirijiidhiriija" and " Lord of all
Gondramas", though the meaning of the latter is not clear. Apparently Jayastambha
challenged the suzerainty of the Bhauma-kara kings, an action which led to the downfall
of the rule of the Sulkis. During the time of his successor, Kulastambha Ill, they were
ousted from power and their territory was divided between two ruling families, the
' Epigrophi11 /11dito, Vol. XII, pp. 1j6 1s8.
4
• X napati and Tripathy, Dhtlfk.A.lfdl Di11ritt G11z.ttlttr. p. s 1 .
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Tl'~IPLES OF THE ! T H 9TH CllNTl!RIF.S OUTSIDE OF BHl,;BANliSWAR
0
119
Nandodbhavas, who took possession of the southern portions, and the Tungas, who took
possession of the northern areas.9 With the downfall of the Sulkis the town of Kualo
(Kodilaka) soon lost its importance.
The Kanakesvara temple is of the paik;;_,11111114 class with a subsidiary shrine at the four
comers of the compound. The temples in the back comers, northwest and southwest, arc
known as Baidyanitha and P.Scirncsvara while those in front, northeast and southeast
comers, are the Kapilcsvara and Balukesvara. To the cast of these last temples arc three
more Siva-/;,1g111, called Ban.Svara, Svapnesvara and Siddhesvara, the latter two housed in a
single temple, suggesting that the compound was dedicated to the worship of A1/11 S11,,,bhii1
(eight forms of Siva). A modem structure is erected in front of the compound and houses
an image of Mahisamardinr locally worshipped as Kanakadurga. The Kanak.Svara temple,
once soaring to a height of over 100 feet and thus larger than any temple at Bhubaneswar
unril the construction of the Liitgariija in the last half of the 11th century, was in ruins and
near collapse but is now being dismantled for conservation purposes. The j11gaffloha1111 is
completely missing except for traces of its plinth. Of the comer shrines the northwest
temple is in the best state of preservation while all that remains of the southwest shrine is
its pabhtig11 and enshrined liliga. These comer shrines consisted of a tk•I only as did the
BancSvar2.
1. Btida Deror11tio11
The bti/11 of the tlt11/ measures •I feet 4 inches square at the base. Although the temple is
extremely large it has a simple 1ri-r111ha plan based essentially on those of 7th century
temples at Bhubancswar so that its decorative program is composed primarily of
archaizing clements. Its pabhtig11 consists of three mouldings with only the top moulding
receiving decoration. Despite its huge scale, being nearly three times the height of the
Parasurimcsvara, the ptibhtig11, measuring 17'/ 2 inches in height, is only about seven inches
higher than on the earlier temple. The additional height is achieved by increasing the height
of the j tingh11 so that the design no longer conforms to the standard formula of two-to-one
prevalent on most temples. This is one of two temples, the other being the Mai:iik.Svara
Siva temple at Suklcsvara, built during the 9th century that deviates from this standard
plan. These base mouldings thus must have looked rather puny in proportion to the overall
design of the temple when intact.
The subsidiary paga1 arc designed as elongated •ll}ra-ffltt1,1~iJ which terminate beneath the
b11r11!'14. The first clement above the pabhtiga, as on 7th century temples, is a 111/a-b11Nih11nti of
projecting blocks decorated with lion and elephant motifs. The number of blocks is six, as
on the Parasurimcsvara, though they arc placed further apart. On the cast side the number
is reduced to five due to the increased size of the entrance portal in contrast to the rtihti as
on most temples. The niche jambs arc decorated with r111i"8r11 scrollwork as on 8th century
temples. The niches arc filled with various aspects of Siva. These images arc made of
numerous blocks so that they form part of the wall as on 8th century temples. With the
increased height of the jtiligha, measuring 144 inches high, and the fact that it is a single
story design, these niches measure 4l inches in height. They arc thus larger than subsidiary
pag11 niches on any other extant temple, including the Surya Deul at Kooarak, as on later
• lhul.• pp. , 1·12.
Original from
l?O T EMPLES OF THE STH-9TH CEN TURIES O UTSID E OF 8HU8ANC.SWAR
'---------···
- ---11t1 --4
.'- ''
Kualo : Kanakcivara Siva Temple
1emples 1he jiiligha is divided into two stories, a feature which reduces the size of the piiga
niches . The •imiini/fJi or spire which crowns the niche is likewise elongated by 1he addition
of four mouldings, consis1ing of two sets linked 1oge1her by a tripk raitya moiif, insencd
between 1he niche and •ajra-111a1taka moiif. The extended wings of the upper raitya arc
decorated wi1h a dancing figure on one of the few examples that has survived iniact rather
than atlantids, as on 8th century 1emples, or female figures as on most 7th century temples.
This elongated plan of the vimiini/fJi is one tha< becomes popular during the 9th and 10th
centuries and eventually is transformed into a /eDiildkzrii-m111J{ii.
In that none of the riihiis has survived intact the exact decorative program can only be
speculative. The best surviving riihii is on the south. The niche cuts through the top 1wo
piibhiiga mouldings and has a diminutive tala-garbhi/fJi design consisting of a shon base
moulding and a tala-bandhanii of s<vcn projecting blocks. The subsidiary pagas and riihp each
have a tala-bandhanii. This differs from the practice at Bhubancswar where on 7th century
temples only the subsidiary piigas have a tala-bandhanii while on late 8th century temples only
the riihii has a tala-bandhanii. The niche is framed by two bands of scroll work with a niche
on the bottom on each side for a dviirapiila. Dviirapiilas appeared on the riihii only on the
early Satrughnesva ra temple and 1hen were eliminated from this niche as the decorative
program was slowly changed from a door to a window. The addition of these rwo bands of
scrollwork in effect reduces the actual size of the niche in proponion to the overaJJ design
of 1he riihii. The niche is Ranked on each side by a large pilaster, beginning above the
pabhiiga, decorated with a pir11a-ghata at the base and ratileera scrollwork on its shaft similar
to the offsets on the l\{ark:u:u,lcycsvara though here these 1tambha1 arc flush wi1h the niche
frame and not the offsets. The intact design, along with the great height of the jiiligha,
Original from
1'Ei\ I PL ES ()J! ·r11 c 111'1-1·9TH <:f. NTL.Rll ~S <>L.TSl l)F. ()F Hill 'f:l.·\NES\'<':\R ll I
suggests that the overall plan was probably not that of a truncated rtlehiz, as on 7th century
temples, but most likely an elongated lora{la as on the late 8th century temples at
Bhubaneswar.
The bara!lifa, measuring l' inches in height, consists of two projecting mouldings with a
recess between as on 7th century temples. This recess was filled with narrative scenes or
animal processions though little of the decoration now remains intact.
z. Ga11di Duoration
The ga11di had a simple paiita-ratha plan as on the 71h century temples with an an11riihii
recess separating the ;,,,,,;;,,, and anartha piigas. This recess was filled with miniature vajra-
11111!1ifi designs, one mll{ldi for each bhiimi. The uniu was subdivided into bhiimis by bhtimi-
amliis with each bhii111i having five bara{lpis rather than four so that the height of each bhtimi
was increased to keep pace with the overall plan. It is likely that there were more than five
bhtimi divisions, otherwise the gafldi would have been too squat in contrast to the increased
htight of th< jiiligha. Prior to dismantling th< spire soared to a height of approximately 80
fret even though bertft of its crowning m<mbers. Except for a small ponion of the first two
bhti111i divisions on the cast side all of the decoration had fallen to the ground so that only
the core remained. The anartha consisted of superimposed mouldings of equal size
extending the height of the ga11di decorated with triplc-tairya motifs in the standard manner.
The decoration of the riihiis, with their dominating vajra-111astau designs, has not survived.
l · Portal Duoration
The doorframe on the cast consists of five bands of scrollwork with the inside three
bands decorated, above the dviirapiila niche at their base, with the dhan11 ganthi, ralileera and
gt!aba scrolls r<spcctively. These three bands continue horizontally above to form the lintd.
The dviira-lalii/a·bi111ba panel has not survived. Included among the motifs in the gtlaba scro ll
arc figures in swings, as at Bajrakot and Ratnagiri, and, in the upper corners, figures
playing on a Rute. The founh band, which begins at the base next to the dviirapiilas, is
designed as a thin leNmbha-stambha which suppons the . architrave above rather than
continuing horizontally as a lintel. Its decoration consists of a piiT(la-gha/a at the base from
which issues a ratiletra scroll. The shaft above this scroll is divided into rectangu lar panels
decorated with various motifs such as addorsed gaja-leriintas with a leir1i11111/eha mask similar
to motifs appearing on the Vaitiil Dcul, Sisiresvara, at Bajrakot, Suklc5vara, Baiika<,la, and
Mukh alir\gam, and lotus rosettes. The architrave resting on these thin slambhas consists of a
/eh11ra-shapcd moulding ornamented with cairya designs surmounted b y two bhti111i-bara11dis.
The decoration above this has not survived. The outside band is decorated with the
jalapatra motif and it extends up beyond the bhtimi-bara/ldis and most likely continued
horizontally across to frame the architrave.
The dviirapiila niche at the base of the inside three jambs is des igned as a tairya and as
such is more elaborate than the plain rectangular niches, frequently with a crudely cut arch
above the head of the occupant, standard on most earlier temples. The dviirapiilas assume an
identical pose, with the right hip strongly Rcxed and the major left hand placed on the left
thigh in AIA!Jiivalambita, rather than mirror image poses. The upper left hand holds a trident
,.·bile the lower right hand holds a vija·ptirau. The only iconographic difference is the

111 TEMPLES OF THE 8TH ·9TH CENTt;RIES OUTSIDE OF BHUBANESIX'AR
attribute held in the upper right hand, Nandl holds a lotus bud whereas Mahiikiila holds a
rosary. A sarpa·/ulnr/4/a hangs from the right car and a halo appears behind both guards.
The lower corners of their niche are occupied by diminutive ancndants. The dviirapiilas at the
base of the riihii niche occupy a similar arched niche and arc iconographically identical
though their pose is more rigid.
The vajra-m11(1{ii niches on the cast, flanking the entrance ponal, arc occupied by Ganga
and Yarpunii as on the Bhrngesvara Mah:i.dcva temple at Bajrakot. They have one leg
crossed behind the other and a diminutive attendant holds a parasol above their head.
Flying garland-bearers appear in the upper comers.
Although thcjaga111ohana has not survived the image of Nandi originally placed within is
now situated on the floor of the collapsed structure. In addition there arc fragments of large
niiga figures which most likely flanked the entrance ponal. The best surviving image,
though badly worn, depicts the niiga in human form with a canopy of hoods forming a halo.
He holds a vase in both hands in front of the chest as on numerous examples at
Bhubaneswar.
4. Corner Shrints
The shrines at the four comers of the compound consist of a dt11/ only and face each
other, i.e., nonh and south, rather than cast and west. The Pascimesvara shrine, situated on
the southwest comer, consists of the piibhiiga and enshrined /iliga while the Kapilc5vara
shrine in the southeast comer has only fragments of the original biiifa standing, along with
the core of the spire, and the decoration of its doorframc is badly encrusted with fungus.
The Biilukcsvara shrine, in the nonhcast comer, is panially reconstructed up to the height
of the top course of the jiipgha. The best preserved of the shrines is the Baidyan:i.tha on the
nonhwcst comer. The compound is surrounded by a makeshift wall consisting of fallen
sculptures and architectural fragments from the temple complex.
The bar/4 of these comer shrines is 1 3 feet square at the base, roughly half the size of the
main shrine, but the elongated plan of the jaligha is eliminated as the ii/pins here return to
the standard formula whereby the jaligha is approximately twice the height of the pabhiiga.
The piibhaga, consisting of three mouldings as on 7th century temples, measures 36 inches in
height while the jiiligha is 7z inches high. The bar/4 has a simple tri·ratha plan with the
subsidiary pagas designed as vajra·lllll!li/is terminating beneath the bara{fi/a. The niches of
these 1111111i/is arc filled with various aspects of Siva except on the front facade where they arc
occupied by the river goddesses as on the major shrine. The rahas arc designed as miniature
nle.ha·dt11/s terminated at the first bhti111i. The riiha niches arc filled with the standard pariva·
dtvalas of the 8th-9th century, Kantikcya, Gancsa and Mahi~amardini.
The entrance ponal, measuring 78 inches in width or half the width of the biir/4, deviates
from the truncated nle.hii design of the riihii, only s1 inches wide_, as it is flanked on each side
by a /ulmbha·tla111bha which begins above the piibhiiga mouldings and extends up to the lintel
where it serves to suppon the architrave. On the nonhwest shrine, the best preserved, the
shaft of these /ulmbhas is decorated with a shallow niche housing a 111ith11na. The doorframe
consists of three bands of conventional scrollwork beginning above the dvarapala niche. The
niche is designed as a 'aitya as on the major shrine. The lone surviving dvarapala stands in a
sa111abhariga pose similar to his counterpan on the south riiha of the major shrine. On the
nonheast and southeast shrines, however, the dviirapiilas have one leg crossed and lean on
Original from
their weapon. The Jvara-lala/a-bi,,,ba is carved with an image of Gaja-Laksml while
immediately above is a lintel frieic of linga-p#ji. The large size of the Siva-lirlga in the center
of the frieze suggests that it probably represents the large linga enshrined within the main
shrine which reaches a height of nearly live feet of!" the floor including its yonipalfa. The
architrave above the lintel consists of a double bara~i/a design with the recesses being filled
with a battle scene below and elephant procession above. The architrave on the southeast
shrine contains an 111/agraha slab while fragments of other 1111ragraha slabs arc scattered in
the compound.
The only surviving garq/i details arc those on the northwest shrine. The ga~Ji is pa!1r11-ralha
in plan with an 1111Mrahi recess separating the Itani/ea and 111111rlha. The Itani/ea is divided into
four bhii,,,is, rather than live, with each bhii"'i having four bar1111Ji1 in addition to the bhii111i-
11111la1. The 1111ar1h11 consists of mouldings of equal size superimposed the height of the garq/i
and decorated with the conventional triplc-tairya motifs. Only fragments of the vajra·
"'as/a/ea on the cast facade has survived. On the south or front facade this major motif has
survived intact. It consists of two superimposed rairy11·medallions with a surmounting
kir1i111Kleh11. The lower rairy11 is filled with a Na1arija, normally housed in the upper
medallion, while the upper rairya contains a Mahesamurti. Only a portion of the crowning
1111111/alea is intact.
)· CMll lmagt1
The piriv11-Jtvala1 and other niche images arc carved out of several blocks and thus form
part of the wall itself. The rahi is completely missing on the west while only the lower
portion of the niche on the north is intact. The north niche originally housed an image of
.Mahisamardini though only fragments of the demon Mahisa remain. The Gai:icsa image on
the south is well prcs<rvcd except for the proboscis and lower right hand. Gai:icsa is seated
in the conventional 11rJhap11ryarl/ea pos< with his uplifted right knee supporting his lower
right hand which held a rosary. There is no yoga-pa!f11 but rather a 111rpa-yajilopavi111. The
,,,oJalea-pilr11 is held low so that the proboscis was curled-up placing a sweet in the mouth.
The upper right hand holds the radish while the upper left holds a ltN/hira. The blade of the
hatchet is held down in contrast to most early images where it is held up. The lear11!fJa·
MM/tN/11 is ornately carved and the vidyiJharas in the upper corners arc placed on clouds. A
similar Gai:icsa, with the hatchet placed down, appears in the rihi niche of the southeast
comer shrine though only the upper portions of the image have su rvived. There arc also
detached fragments of Gai:i.Sa in a seated pose scattered throughout the compound. On the
northeast shrine, in contrast, Gai:icsa is represented in a standing pos< with the proboscis
curled up and the modalea-pi1r11 held low in the lower left hand. Herc the blade of the
ltN/har11 is facing up rather than down. The other attributes and lower portion of the image
arc now missing.
Although the back rahi is completely missing there arc numerous fragments of
Kiirttikcya in the compound where he is represented seated on his peacock. There arc in
addition images of him in a standing pose including one on the northeast shrine sorving as
a piriva-tkvali. He is standing in a Jvibh11nga pose with the fakli in his left hand. The right
hand is broken of!'. A diminutive Ocvascni stands in the lower left comer and a small male
figure is in the opposite comer. The peacock is missing though the niche is fragmented. In
the cast niche on the south side of the main shrine is a standing Kintikeya similar to the
Original from
TE~IPl.L·:S ()(~ T t l E irrt l·9Tf.J. <:r·:K·rt'Rlf·:S <)l'TSIO£ ()F 8HL18:\NE$\'(':\R
piiri•a-dt•atiit on the Markal)c;leyesvara and Mohini temples. He is in a tribhariga pose with

his left hand on the hip and his right hand in •arada, possibly holding a •ifa-pliralta. A
female attendant appears in the lower left comer.
Three fragmented images of Mahi$amardini are in n/11 on the comer shrines and the
lower portion of one is in the north riihii of the main shrine. In all examples the demon is
represented in human form with a buffalo-head as on the earlier temples rather than as a
human form issuing from a decapitated carcass as at Bajrakot. In the large image of the
main shrine, however, the demon is represented in profile, as on the Uttarcsvara, rather
than from the rear as on the piiri•a-dtvalas from the comer shrines. The serpent held in the
lowest left hand appears to be around the neck of the demon, forming a noose, rather than
merely snapping at Mahi$a as in earlier examples. This iconographic feature becomes
standard on later images. The most impressive image is the one housed in a modern
structure in front of the compound. It is made of one stone, rather than sections, and thus
was conceived to be placed inside, either in a small separate shrine or within the jagamohana,
rather than filling an exterior niche. The image is badly worn due to continuous pJija rituals
over hundreds of years. The deity is t 2-armed and the demon is represented in human form
with a buffalo-head as on earlier images.
In addition to the images of Mahi$amardini as piirh:a-dtvatii there is an image of Parvati
housed in one of the vajra-111Nnili niches on the north side of the major shrine. She is
depicted in the conventional samabhariga pose with the lower right hand in •arada exhibiting
a lotus mark on the palm. The other hands hold a vase, rosary and leetalta Aowcr or tali/ta.
A lion is visible in the lower right corner next to a female attendant while a second
attendant occupies the opposite corner. This is a rare example of the goddess occupying
one of the niches of the side piigas.
The other image housed in a vajra-mNl'fii niche on the north side is of Siva. Unfortunately
the image is badly fragmented and only the upper attributes, a rosary and parafN, arc intact.
The parafN, or battle-axe, occurs very seldom in images at Bhubaneswar though it is
popular in temples constructed in the outlying districts. The lone intact vajra-m11ttifi on the
west side houses an image of Ardhaniirisvara. The deity stands in a strongly Aexed pose
and conforms iconographically to other early images with the upper left hand holding a
mirror, as at Bajrakot, rather than a Aower as in most cases. An image of Ardhanarisvara
also appears enshrined in a side niche on the northwest shrine and a fragment of at least
one other is piled among debris within the compound.
Among the images enshrined within the vajra-mNnifis ,.of the corner shrines, many of
which arc fragmented and scattered within the compound, arc Hari-Hara, Aja-Ekapiida
(now placed within the sanctum of the northwest corner shrine), several fragments of
Gangadharamiirti and a fragment, possibly of the Bhik~a1anamiitti, where Siva holds a
ltapiila in his lower left hand. There is also a fragment, possibly belonging to a Hara-
Piirvati image, where Siva is playing the vino. The Na1ariija image in the vajra-mastalta of
the gap{ii on the northwest shrine is badly worn, the stone being of poor quality, though it is
possible to recognize 12 arms. His uplifted right foot may be tapping on the back of Nandi.
The vertical extension of the faitya is filled with a mNleha-liriga Ranked by garland-bearers.
The l\fahesamiirti image above is likewise poorly preserved and the attributes impossible to
identifv• .
Original from
Tf.~IPLF.S <>F THE 11TH ·9TH CENTCRIES Ol'.TSIOF. <>F BHlJHANES\l/ AR 1Z I
6. Duorative l'>folifs
Due ro the fact that rhe shrines all have a simple tri-ralha plan, with all of the niches
being filled with deities, there arc no large decorative figure motifs. A'41ii-J:mryii1 arc thus
conspicuous by their absence and the few surviving 111ith111111 images, such as appear on the
pilasters Ranking the doorframc of the northwest shrine, arc small in scale. The best
preserved example represents the couple embracing and about to kiss. The female holds a
rallri over her shoulder to suggest she is an attendant. Female figures were enshrined in
some of the small vajra-~i shrines filling the a1111riihii rco:sses of the gal'P but were placed
so high up so as to play a very subordinate role in the overall decorative program.
The most interesting animal motif is that of the addorscd gaja·krii11/1JJ carved on the
fourth band of the doorframc of the main shrine. This is a variation on the addorscd jiigrala
motifs popular on late 8th century temples at Bhubaneswar and also noticed at Bajrakot. A
Jdrli11111Jeha mask is placed in the center as on the Vaitil Deul. An addorsed go/a-A:rii11/a motif
appears at Sukldvara but there arc riders on the lions and no A:fr1i,,,11A:ha mask. The motif
closest to this one on the Kanakcsvara appears on a pilaster from Bankic;la in Ganjam
district near Banpur.
The two most popular scroll motifs arc the lush raliA:tra and the more geometric tlhatt11
ga111hi, scroll motifs popular on late 8th century temples at Bhubaneswar. There arc in
addition certain motifs borrowed from 7th century temples, such as appear on the top
moulding of the piibhiiga, including squatting dwarfs, halitsa-latii, maA:aras and A:i11111Jras. The
overall decorative program is thus essentially archaistic except for the clongarcdjiiligha and
the increased height of the major shrine which makes it one of the largest of all 9th century
temples erected in Orissa.
7. Addiliona/ Sbrints
The Banesvara and Svapnesvara/Siddhdvara temples in the northeast area of the

compound arc most likely later constructions and not part of the original J><Uitt!Jalana
plan. The Bancsvara is mostly collapsed and now devoid of decoration. The Svapnesvara/
Siddhc$vara temple is likewise dilapidated and devoid of ornamentation except for portions
of the doorframe. The temple faces south and is abutted by the plinth of a jaga111ohana
completely destroyed except for a few free-standing pillars. The fact that the plinth of the
jaga111ohana is much higher than the dt11/ suggests it was probably not part of the original
shrine but a later addition. The most unusual aspect of the dt11/ of the Svapncsvara/
Siddhc$vara temple is the decorative program of the partially preserved doorframc. The
badly preserved dviirapiilas at the base are not the standard Saivite guards but rather dance-
like figures who appear to hold a A:apiila in one of their hands. The lintel over the door
contains a series of nine figures housed in shallow niches. The first five on the proper left
arc male figures, seated in ardhaparyanA:a, each with a beard and fat stomach. The four
figures on the right, all females, arc scared in ardhaparyarlA:a though the images arc so
clumsily carved that they almost appear as if dancing. Whereas the niches of the male
figures have a triangular ceiling while the niches of the female figures arc rectangular, it is
most likely that these arc fragments from two different slabs.
Within the sanctum, and near the door outside, are numerous sculpture fragments which
most likely belonged to the temple. One is the upper torso of a Durga image though it is
Original from
ll6 TEMPLES OF TH E I TH ·9TH CENTU RI ES Ol:TSIOE OF 8HU8ANl£.511t.AR
impossible to tell if she was seated, as most likely, or standing. Two of the three left hands
intact hold a circular shield and possibly a ltartri or shon knife. The right hands arc all
missing. She wears a ;,,,,ha-btJllilha around the breasts, an ornament not worn by the female
figures found on the Kanakcsvara temple. A second image is of a DevJ seated in laliti1au
with numerous diminutive devotees carved on the pedestal. The right hand is extended in
tJOrada whereas the left is broken off at the elbow but may have held a long-stemmed lotus.
A halo appears behind her head and vi4Jidhara1 are carved in the upper comers of the slab.
Her hair is tied in a chignon to one side and her face is illumined by a sweet smile, both
features typical of the 10th century. It also is carved of a single block of stone rather than
from sections, suggesting it was intended for a shrine rather than a niche. Iconographically
the image is probably of Buddhist inspiration.
There arc three other images carved of a single block of stone, a darker and harder stone
than that employed for the Kanakesvara temple, in addition to the two niga images
mentioned earlier. The first is of G:u;iesa seated in ardhaporyalilta and holding the traditional
attributes with his proboscis turned-up. Though carved of a single block it is badly cracked
on the right side. The other two images arc of Kiintikcya. The first is broken with the
upper half missing. Kiintikcya is seated in lalitisau on a throne with the peacock depicted
in profile on the pedestal trampling a serpent. Only pan of the hand of the lower left arm
remains but it is clear that he is holding a rooster-cock, a late iconographic feature not
found on early images. The second image is more complete but the stone is badly worn so
that the crisp body ornamentation evident on the first image is missing. Kiintikcya is seated
in /a/itisau on his peacock-mount. Though the peacock is represented frontally it stretches
its neck to the right in an unusual manner so it can look at Kiimikcya. Kantikcya holds the
ialf.fi in his right hand and the rooster-cock in his left. Stylistically it is related to the seated
Devi image.
Stylistically these images appear to belong to the 10th century and it is most likely at this
time that these additional shrines were added to the temple complex, probably long after
the decline of SulkT rule. That the Sulkis fell into disgrace following their ovenhrow is
evident from the fact that the Kanakcsvara temple owns no propeny. The liligas in the
temple complex arc worshipped by a non-Brahmin priest who has in his possession a small
extent of land recorded in the name of "Svapnesvara Ogera", suggesting that whatever
propeny the original deity had was lost with the ovenhrow of the Sulk! kings.to
C) S u t-:tES\' ARA: T H!l MANIK£SVARA SIVA TEMPLE
One of the most impressive of all 9th century temples must have been the Manikesvara
Siva temple erected in the small village of Suklesvara near the Virupa river in Cunack
district, some 10 km. south of Ratnagiri and thus near the administrative center of the
Bhauma-kara kingdom. The temple was originally of the paiiriyalau class though the entire
complex, except for a few modem shrines, is in complete ruins, the d111/ having collapsed
from the growth of a banyan tree which infiltrated, it from above. Architectural fragments
from the temple, and its subsidiary shrines, arc piled-up on both sides of the road leading to
and away from the site. There arc numerous fragmented inscriptions among the debris
though they have not as yet been studied. The soft stone used in its construction is similar
IO /bfr/., pp. 4 l7· J8.
Original from
TEMPl, ES OF T H E 8'rH-9T H CENT URIES Ol!TSJOE OF BHUBANESWAR ll7
to that used at Ratnagiri. The dt11/ has been rcstotcd only up to the top of the pibhiga and
this pottion is now protected by a tin roof. The subsidiary shrines a-re mostly collapsed
though two doorframes arc in sitM. In regards to style and decorative motifs the dt11/ and its
comer shrines arc most closely related to the Buddhist work at Ratnagiri and the
Siiircsvara temple at Bhubaneswar and it is likely that many of the sculptors employed at
Ratnagiri also worked at Suklc5vara. The j11g11.oroha1111, on the other hand, is a later addition
and in a different style, possibly added in the 11th century, though whether it replaced an
earlier structure or not is diJlicult to determine. There most likely was continuous activity at
the site, as evidenced by the different sculpture styles, which spread over several hundred
years. The foundations of a large .orll!liapa, composed in patt of earlier fragments, was
erected some distance in front of the Jagamohana and possibly served as a 11i/11·1Ulfliir11. In
a later shrine at the nottheast comer of the compound is a huge, and beautifully carved,
image of Mahi$amardinJ. The image, measuring 7 feet 6 inches in height, is the largest
sculpture of Mahi$amardinJ yet discovcted in Orissa.
In its day it must have been the largest temple constructed outside of Jijpur, larger even
than the Kanakesvara temple at Kualo, and even now, in respect to the measurements of
the base of the btiJa, it is the 1th largest of all extant temples in Orissa, being surpassed only
by the Surya Dcul, J agannitha, Lingariija and Mahiigiiyatrl temples.II Although the temple
is dedicated to Siva there arc numerous Vai$i:iava themes and iconographic peculiarities
which suggest the growing popularity of Visi:iu. It most likely dates from the middle of the
9th century and possibly reflects the influence of the adoption of Visi:iu as the family deity
by several rulers of the Bhauma dynasty.
1. &ii/4 Duor11tio11
The b#4 of the deM/ measures 17 feet 9 inches square at the base and is a ful.1-flcdgcd p11!1t11
design, one of the earliest surviving examples, and as such is an advancement on the
Sisircsvara and Mirkai:ideyc5vara plan where the intermediary paga formed patt of the rtihi
design, conceived as an offset. On the Mai:iikesvara temple each paga is independent and
separated from one another by a recess as on the west end of the Vaitiil Deul, though on
the latter there was no dominant rihi. The pabhiga, measuring 71 inches in height, consists
of four mouldings duplicating the design on the Sisircsvara and the v aitll temples with the
middle rwo being joined together by a stylized pii'!fll·gha/11. Although the )irigha is
completely dismantled it appears that the pigas above the pabhiga were designed as vajra-
~is, though, given the huge size of the pabhiga, probably not elongated as at Kualo,
rather than lullllhha-st11111bhas as on late 8th century temples at Bhubancswar. Fragments of
"'ilJa motifs forming the crowning v11jra·• 11st11>.a arc scattered among the debris. The upper
raitya apparently was flanked byyak/is or iilabhailjilui motifs rather than atlantid ligurcs, one
of numerous archaizing features noticed on the decorative plan. There arc in addition
numerous fragmented t11/11-b11nJhani blocks to futther testify to the original design of these
side pagas. Many of these blocks arc carved with human figures, rather than elephant and
lion motifs standard on late 8th century temples at Bhubaneswar or at Kualo, and likewise
suggest an archai:ting aspect or even influence from Ciilukyan temples, as at Alampur,
where figures other than these animals were popular.
11 lt is possible that the great Siva templt at Khiching -.•as larger though no rC"11ablc mcasu rcmcn1s of the
temple: have survived.
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ll8 T EMPLES OF T H E ITH-9TH CENTURIES OUTSIDE OF BHUBANESWAR
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~11141
I
~uklcivara : Ma.l)ikcivara Siva Temple
The raha projects out sharply as on the Sisircsvara with a similar large pilaster at each
side framing the niche. The niche likewise cuts through the upper portion of the piihhaga
and is supplied a low Ja/a-garbhilt4 of similar design. There arc eight projecting blocks on its
tala-handha11ii and each is decorated with lion or elephant motifs. This motif appears as part
of the garbhilt4 design, as at Kualo, rather than a separate clement. It is flanked at each side
by an attendant or guardian-type figure. Some of these figures hold their hands in ailjali
while others seemingly rest one arm on a staff. Each of these figures is treated differently
though the exact iconographic plan is difficult to determine. ln one case the coiffure is
closely cropped, if not shaven, while in another there is a top-knot and elongated cars
similar to features associated with Lakullsa. A third has an elaboratej a/ii-1t1ak.M/a and wears
two different types of earrings suggestive of Siva. The piirfva-dtvalii niche is framed by three
bands of scrollwork and there arc figures carved at the base of these, though not a single
large niche housing a dviirapiila as at Kualo. The largest of these figures arc on the
inside bands and they appear to be attendant figures closely associated to the iconography
of the enshrined deity.
Despite the large size of the piibhiiga, the parfva-dtvatii niches arc suprisingly smal.1 and
barely reach the height of the top moulding though they most likely had a developed lintel
and architrave above. This would seem to suggest that the jii!lgha deviated from the
standard two-to-one formula and was not twice the height of the piibhiiga so that the overall
design of the ba~ may have been somewhat truncated. Even so, howeve r, the height of the
ga(l~i must have soared at least to a hundred feet above gro und level so that the ove rall
height of the temple probably slightly exceeded that at Kualo.
Original from
>. Jaga111ohana
Although more of thcjaga,,,ohana is still standing in contrast to the dtMI it is mostly devoid
of sculptural decoration and is a later addition as mentioned above. It is approximately 30
feet square on the exterior while within it measures 21 feet 7 inches by 21 feet 3 inches. A
square plan was not adopted for thcjaga,,,ohana at Bhubancswar until the 11th century and
this structure probably dates from the latter pan of the 11th century or later. The ptibhtiga
measures 491/2 inches in height and consists of four mouldings though they arc different in
design, approximating those on the Akhai;ic;lalcivara temple at Pratiiprudrapur though
devoid of ornamentation, with a vertical bar running up the center of each ptiga division.
The bti/4 is pailca-ralha in plan though the ptiga designs were left incomplete. A madhya·
banJhanti, consisting of a p'2in moulding, divides the jtirigha into two stories, likewise a late
feature. The gavtik/a division projects out in a pronounced manner and its window is filled
with three undecorated balusters. The tala-garbhihi beneath the window is fashioned as a
miniature shrine though likewise left unfinished. There is an undecorated lintel above the
window surmounted by two plain pi¢ha-mouldings. This last feature suggests that the
gavak;a may have been designed as a miniature pir/,ha though it is doubtful if there was
any gavtik/a-mafllana panel. The interior of the jagamohana is lined with sculpture and
architectural fragments piled up haphazardly.
3. Portal Dtcoration
The sanctum doorframe consists of three bands of scrollwork though only the lower
portions have survived and the flanking pilasters arc covered by the addition of an antarala
connceting the dtMI to the jaga,,,ohana. The base of the inside two bands arc decorated with
the river goddesses Ganga and Yamunli, a rare example of these goddesses functioning as
dtitiraptilas on Orissan temples. They arc attended by a diminutive attendant holding a
parasol and, superimposed above this attendant, the upper half of a llowcr girl. The outside
band is decorated with superimposed panels of standing or dancing figures, beginning
above a pirrta-gba/a motif, a motif also rare on Orissan doorframes.
In better condition, though on a smaller scale, is the doorframc on the comer shrine at
the southwest comer of the compound. This doorframe is llankcd by a large pilaster on
each side decorated with panels of scrollwork and lt.ir1i111M/eha motifs on its shaft and a
p#rJra-gha/a at the top. The frame consists of three bands of scrollwork while a Saiva
dvtiraptila is enshrined in a niche at the base on each side. The dvtira-laltita-bimba panel of the
lintel is decorated with an image of Karttikeya riding his peacock-mount. The architrave
above is relieved with a neatly carved mali phMla phar/,ilt.a scroll. The doorframe on the
southeast shrine is only partly intaet and is similarly decorated. The lintel is missing and the
dvaraptilas arc partly buried in the soil.
4. CMll lmagu
Two of the ptiriva-dtva/01 remain in silM while the western niche is now empty. The image
in the north rtihti niche is of Piirvatl, a deviation from most temples of this period where the
image is of Mahisamardinl. She stands in a rigid samabharlga pose similar to 7th century
examples at Bhubancswar. Diminutive female attendants appear in the lower comers
Original from
130 TEMPI.ES OF THE 1TH· 9TH CENTU RI ES Ot'TSID E (If 8 HU8 ANESIX.A R
standing on lotus cushions while beneath them appear a lion, on the right, and a deer. The
head and arms of Parvatl arc missing. A better preserved image, enshrined in a small,
detached niche, exhibits a tall tiara on top of the head. She holds the japa111ili (rosary) and
J:ltaJ..,z flower in her upper hands and a vase in her lower left hand. Her lower right hand is
extended in varada with a lotus m:uk on the palm.
Numerous images of Mahisamardinr arc scattered about the compound which were
installed as piriva-dtvatis on the subsidiary shrines at the comers of the compound. They
correspond iconographically to the standard images of the 8th century at Bhubancswar
with the demon represented in human form save for its buffalo-head. Durga pushes back its ·
head with her major left hand while plunging a trident into its neck with her major right
hand. She has eight arms and additionally holds a sword, stringed-bow, shield, serpent,
arrow and vajra or ral:ra. The large image housed in a small later shrine is ten-armed and
the demon is represented in human form attempting to escape from the decapitated carcass.
A similar large image is housed in the sanctum of a modem temple at Vaicsvara.
The image housed in the south rihi niche is not Gar:icsa, in the standard iconographic
program, but rather an image of the Bhiksa1anamiirti of Siva. A similar image, though not
as complete in iconographic program, appears in a niche on the jaga111ohaflll of the
Simhanatha temple while the south rihi niche contains an image of the Gangadharamiirti
of Siva so the standard piriva-dtvati program was not followed on all 9th century temples.
Siva in this case stands in a graceful tribhanga pose and holds a shaft in his right hand next
to his thigh. As the shaft is broken it is impossible to determine if it is a /eha/vinga, J..,znki/a·
daflf/a or merely a trident. The right hand, which would have held the J..,zpila, is broken off.
Though rendered in iirtlhvalinga the tiger-skin garment is clearly delineated around his
thighs. A large round halo appears behind his head while the upper comers of the niche are
filled with a satlh11 in ailjali, on the right, and an unidentified young male figure on the left
holding an offering in his extended right hand. The li!!ure of Annapiim.a appears in the
lower left comer of the niche. She stands looking up at Siva, in measurement reaching only
to his waist band, and holds a bowl in her left hand and an offering in her right. Jn the
lower right comer of the niche is a diminutive bhiita holding a basket on his head. The
figures at the base of the inside band framing the niche represent a female, obviously
excited by the presence of Siva, allowing her garments to fall while on the opposite side is a
r1i shaking his uplifted right hand in a threatening gesture. As on the earlier scene on the
Parasuril.mesvara the image appears to combine clements from the Bhiksil.1anamilrti and
Kankilamiirti motifs.
Unfortunately, as at Kualo and Simhan~tha, one of the piriva·dtvatis is missing so that
the complete iconographic program on these temples is unknown. Suprisingly there arc no
surviving Karttikeya or Gar:iesa images which can even be ascribed to the comer shrines.
There is one surviving Gar:iesa image but stylistically and iconographically it is of a later
date. There is a small image of Gar:icsa housed in a small rairya-mcdallion which probably
formed part of a vajra-111astaJ..,z design crowning one of the side pigas. Gar:icsa is seated in
ardhaparyanJ..,z and holds the traditional objects in his four hands though the objects in the
uplifted hands arc reversed. He is flanked by a garra at the right and possibly a monkey at
the left, each holding a citrus in their hands.
A particularly beautiful and well-preserved image is the eight-armed Durga housed in
the northeast comer shrine. She is seated in lalitisana with the right leg pendant similar to
other Salt.ti images of this period, as at f.tukhalingam, Simhanatha and Paikapac,la. Her

TEMPLES O F THE 1TH·9TH C~NTL' R IF. S O~TSIDE OF BHl:BAN£S"'' AR I J1
major right hand, resting on her knee, displays a lotus mark while her left hand holds a
small water jar. Her other right hands hold a '""""· a sword and a rosary while her
remaining left hands hold a trident, a conch and possibly a small circular shield. Missing is
the bow which appears on the other images but replaced here by the conch. The lion is •
beneath her lotus scat along with a kneeling female devotee and a standing ta.ori-bcarcr at
each comer.
Other cult images scattered around the compound include a Hara-Piirvatl, a Surya and a
possible Vi$nU. Surya is represented from the waist up riding in his chariot similar to
images on the Vaitil Dcul, at Mukhalingam and Sirithanitha though without rhc flanking
goddesses dispensing arrows. A smaller image of a standing Surya, forming pan of a niche
or a lintel, was used as 6llcr in the foundation of a structure in front of the j11ga•oha1111
which is now completely destroyed. The image possibly representing Visou depicts the
deity in a ti•ibhatiga pose with female attendants in the lower comers. His head and arms arc
missing so it is difficult to make a positive identilication. In the Hara-Pirvatl image both
6gurcs arc seated in /11/itis11n11 with Piirvatl on the left thigh of Siva.
There arc also numerous cult images in r11i!111-mcdallions, including a Mahcsamuni and
three Natadja images, which formed pan of small •ajra-• 11Jtak.a designs. The Mahcsamuni
is similar to examples appearing on the gaf.l(/i of the Parasurilmcsvara, Kanakcsvara and
Madhukcsvara temples except that the terrifying aspect appears on the proper left side.
Two of the Na1arija images arc well preserved, one with ten arms and the other with eight
arms. The ten-armed Siva assumes a dynamic pose in the '4/it11 mode similar to a 14-armcd
image on the Madhukc5vara temple though the right arm is in gaJa·ha1t11 rather than the left
arm as at the latter site. In the eight-armed image the lower comers of the medallion
contain a dancing Bhrngl and a seated Pirvatl.
In addition to these cult images there arc numerous frieze fragments of scenes from the
Ri.0)'11!111, such as Rima, Lak$mana and Hanumin conversing, one of which is now in the
Orissa State Museum. There is also a fragmented Kiliya-damana scene with the young
K!'$na dancing on the serpent demon which is similar to a panel from Bhubancswar (in the
Orissa State Museum) though the action is reversed. Other inrcrcsting fragments include
one of Siva and Pirvatl playing chess which, again reversed, is similar to another scene
belonging to the Sval'l)ajilcsvara temple at Bhubancswar and to a long frieze over the
south door of the Madhukcsvara temple. It is most likely that these frieze fragments 611cd
the b11r11!f"4 recess or formed pan of a lintel over a niche.
I. Duor11/i11t Motifs
The majority of the surv1v111g female 6gurcs arc small filabhatljil:i morifs which
originally Ranked the upper <ai!Ya·mcdallion of •aJra· ,,,astaka designs crowning the
subsidiary pagas, suggesting that female imagery did not play as prominent a role as on 8th
ccnrury temples at Bhubancswar where some were enshrined within piga niches. The hair is
generally piled in a large bun on top of the head in typical Bhauma fashion and the facial
features arc sharply delineated. There arc a few examples, however, where the hair is
arranged in a chignon on one side of the head and the face is illumined by a soft smile
which tends to dissipate hard edges. These features arc typical on images dating from the
Somavarilsl period and these 6gurcs, some nearly identical to larc images at Rarnagiri, can
be placed in the late 10th century.
Original from
I Jl
Erotic imagery likewise played only a minor role in the overall decorative program. A
fragmentary slab carved with 111ilh11na figures alternating with jiili patterns plus several
111ilh1111a scenes with multiple figures were most likely inserted into t he bara!Jiia recess as on
the Parasurimesvara temple. Popular male figure mot ifs include the guardian-type figures
leaning on a staff, the figure seated in ardhaparyan/ea holding a lotus, squatting ga!Jtll with
legs displayed and dancing garias. The squatting garias frequently function as atlantids or
bhiirarak/aleas and occasionally arc supplied wings. The dancing ga1.1as appear on the door
jambs or on the projecting dentils of the tala-bandha,,ii. Other motifs on these projecting
<lentils, aside from the conventional lion and elephant, arc ki"""'"s entwined in the foliage
issuing from their lower extremities, leaping Jiigralas, and an unusual scene of donkey-
headed figures engaged in conversation.
Other animal motifs include the hamsa and 111aleara, generally on piibhiiga mouldings, and
monkey warriors represented in various activities including combat. There arc many
J:.irli11111/eha designs, frequently flanked on either side by a lion, and a heraldic motif of
addorscd gaja-J:.ran/as with riders on the lions holding a club over their heads, a motif
similar to examples on the Vaitiil Dcul and Sisiresvara and at Kualo, Mukhaliilgam and
Baiikiic;la. Other fragments within the compound include elephant processions and one
large lion, sculptured in the round, which may have been placed in the btki.
The most popular scrollwork, as on 8th century temples at Bhubancswar, is the raliktra
which appears on the pilasters flanking the riihii and on the doorframcs. Also popular arc
the 111ali ph11/a phai{ilea, ranga,,i, jalapolra and hamsa-lalii scrolls. In a single example of the
gtlaba motif, on the south riihii, there is a figure seated in a swing among the foliage, a
feature also found at Bajrakot, Kualo, Ratnagiri and Mukhaliilgam. The padma-pr11ha scroll
continues to be popular on the sloping under-surface of niche sills while the dha1'11 ga1'1hi is
used only sparingly.
Stylistically related to the temples at Kualo and Suklesvara is the recently excavated Siva
temple situated between the villages of Baiik:ic;la and Punjiyama in Ganjam district, a site
which some have identified with the capital town of Koilgoda.'2 The site is located along
the Salfma (Salia) river some forty km. by road from Banpur where copper-plate grants of
the Sailodbhava kings have been discovcrcd .ll An inscription mentioning "Ral)abhfta" has
been found at the site and it is hoped that further excavations will be carried out in this
area in the near future. The temple was of the pand!Jata1'a class with shrines at the four
comers. Three additional shrines were erected on the south, east and north sides of the
compound along with a large entrance gate on the west side. Only fragments of the
compound wall survive and debris from the temples is scattered over a wide area . The
piibhiiga of the entrance gate has survived and consists of three mouldings similar to the
main temple. An unusual feature, suggesting Cii!ukya influence, is the placement of t he lala-
bandha1'ii on the middle moulding of the piibhiiga rather than above these mouldings in
conventional Orissan fashion . There arc six projecting blocks and they arc decorated with
$ , Patn aik. "l~oc-at100 of lhe (apical of che Kong<>da !\f-anJal," Pr()(ttdi11g1 of tht T11-·eljrh Stssicm ~f tht Indian
12
HiJtory Con_t,rtss, Cttttari: (1949). pp. 10 1-04.
1) S. N. Raia.Jturu. ln s<rip1io11s oJOri1111. I, pan ii, pp. 19 1-98, z1s· 18.
Original from
seated male figures in addition ro the standard lion and elephant motifs. A small fragment
of the wall above the pabhaga of the compound wall has survived next to the entrance gate
on the west and it is decorated with a series of niches housing 111i1h111111s. Included among the
fragments piled up within the compound arc sections of round pillars which most likely
formed pan of a lorana. Two of the largest sculptures situated within the compound arc
11aga1 who were probably placed on either side of the entrance to the jagamoha11a as at Kualo
and elsewhere. There arc also two kirli111111eha water spouts for drainage and a large 1aha1ra·
linga now placed inside the jagamoha1111. In contrast to the linga inside the compound of the
Parasuriimesvara, however, the thousand emblems arc arranged in ten bands rather than
twenty. The corner shrines have mostly collapsed except for the first moulding of the
p,;bhaga. They had a simple 1ri-ra1ha plan for the bai/a which measures 9 feet 4 inches square.
Two pillars in front of the nonhwest comer shrine suggest they probably had a projecting
pon1co.
1. &i(ia Duoralion
The temple faces west and measures approximately •• feet 6 inches square. It has a full-
Aedged paiita-ralha plan, as at Suklesvara, rather than a 1ri-ra1ha plan which suggests a later
date than the early temples at Bhubaneswar. The pabhaga is 11 inches high but consists of
three mouldings, as on early temples, rather than four which may be an archaizing feature.
The /eh11ra, for example, is more developed than on the early temples while the 110/i is almost
a lu11wbha. The most advanced feature, however, is the use of multiple facets for each paga
which gives them a more rounded contour. These facets even appear on either side of the
raha as on the Miirkal)c;leyesvara temple.
Although nothing of the jarigha survives intact there arc numerous architectural
fragmems to indicate that the subsidiary pagas were designed as vajra-m"111'iJ in the
conventional fashion. Judging from the numerous detached avara!fa·dtvalas within the
compound, the niches must have measured approximately 24 by 12 inches. The rahti niche
cuts through the top two mouldings of the p,;bhaga as on early temples. It measures 10 by 24
inches and is surrounded by three bands of scrollwork. As at Kualo and Suklcsvara there
arc attendant figures at the base of the jambs. On the east raha, Ranking the image of
Kiintikcya, the figures arc Brahma and Vi~Qu, a most unusual iconographic feature. The
niches arc additionally framed by a pilaster on either side with a niche at the base housing a
female 'a11ri-bearer. The sanctum measures 137 1/2 inches square. The Siva-/iriga is rather
small and barely projects above the large argha-pa//a.
1. Jaga111ohana
The jagamohana dirccily abuts the dt11/, as on the Parasuriimesvara, and measures
approximately 42 feet 8 inches by 19 feet. The pabhaga is 18 inches high and consists of three
mouldings similar to those on the dt11/, again an advanced feature. The comers of the
jagamohana were designed as miniature rtleha-dt11/1, as on the Vaital Deul and Madhukcsvara
temples, while thc jangha between these shrines was decorated with a series of vajra· ,,,11f:t4is as
on the latter temple. The interior of the jagamohana measures i<> feet 8 inches by 20 feet 4
inches. Nothing has survived of the entrance ponal on the west. The interior contains eight
pillars arranged in two rows. These pillars, measuring •J'/2 inches square at the base and
Original from
T EMPLES OF THE 8TH-9TH CENTU RIES OUTSIDE OF BHUBANESWAR
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BaAkicja: Siva Tempi<
1071/
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inches in height, arc the most spectacular feature of the temple. They arc the most
ornately carved pillars on any Oris.san temple. They arc designed as lu1111bho-st1urrbhos with a
pti,.,,,,·gho/o at the base and capital. The shaft at the base is decorated with a miniature 110jra·
or J:htiJ:horti·1t1~i with 1t1ith1111a figures or Saiva guard ians housed in the niche. Above this is
a projecting band decorated with a J..irti- J:ho mask Banked on either side by a leaping lion
and a second band decorated with hunting and wrestling scenes. The shaft above each of
these projecting bands contains small scenes of dancers, wrestlers or animals.
3. Porto/ Dt<orotion
The sanctum doorframc projects 18 inches into the joga1t1oha110 and consists of four
ornately carved jambs on either side of the door. The outs.ide band is decorated with the
rope-pattern of diagonal bands while the second jamb is ornamented with a piir/lo-gha/o at
the base, an elongated 110jra·1t11tMi housing a ca11rf-bearer, a J..irti1t1111:ho, a panel of scrollwork
issuing from a lotus, a panel of dha1111-ga11thi scrollwork, a lotus half-rosette, hanging
garlands and a 8oral frieze. The third band has a seated yolt./o holding a lotus at the base
surmounted by four superimposed shallow niches housing lti'4bhoiljil:ti motifs. The inside
jamb is slightly recessed and edged with a thin fillet decorated with pod1t111·pr11ho. At the
base of the jamb arc the tktiraptilas. Above each guard is the bust of a •id.Jtidharo11i bearing a
garland. The upper half of the jamb is decorated with a small seated Kimikcya (north) or
Gavcsa (south) surmounted by a stylized, meandering stalk.
The d.draptilas measure 21 inches in height and assume mirror image poses with the
inside leg crossed behind the outside one. They arc four-armed with two hands placed on

TEMPLES OF THE 8Tli ·9T H CENTURIES O UTSIDE OF BHUBANESWAR I 3I
the hip or lower edge of the garment. The uplifted hands hold a lotus and a rosary. The
elbow of the inside arm rests on the head of a small triliki·J»mtl11. The proper left J•irap,;ki
displays the conventional terrifying features. Both guards have a halo with a beaded-edge.
The lower edge of the lintel has broken olr but probably contained the conventional Gaja-
Lak$ml motif in the center. The lowest decoration which has survived consists of the
ptu/•a·Prlfhil design, 611ets with bead decorations and a band of •iJ.Jitihllras. The architrave
above is decorated with a triple caitya design in the center and a single caitya on each end.
The center medallion of the triple caitya contains ·an image of Hara-Plrvatr while the small
Ranking c11itya1 contain a scared attendant. This design is separated from the end caity11
motifs by a small niche housing a standing attendant, male on the proper right and female
on the left. The caity11 medallions on the ends each house a •ith111111. The curving upper edge
of the slab is decorated with spaced blt,;,1111 carved in low-relief.
4. CM// l•11gt1
The plirlwz..Jt"'1tis arc ;,, 1it11 but badly damaged. Gancsa is seated in 11rtihllp.ryllli/ea in the
conventional manner, plucking sweets from a bowl held in his major left hand, but appears
overly cramped in his niche. The hlthir11 held in the uplifted left hand is mostly broken olr.
The pedestal is uncarved. Only the feet of Kirttikeya and the legs of his mount have
survived. The deity is seated in bhaJri1111111 with both legs hanging pendant, the feet
touching the ground. Pirvatr stands in a 111•11bbltllga pose with her major right hand in
''"""" and her left hand holding a vase. Her uplifted hands hold a rosary and a /u/11/ea
flower. She wears a heavy lower garment which hangs to her ankles while a small deer-skin
is draped over her left shoulder. Her facial features arc obliterated. Her hair cascades
symmetrically in long curls on either side of her head. She is Ranked in the lower comers of
the niche by attendants, one resting her hand on a sword and the other holding a vessel.
The attendants standing at the base of the inside jambs of the niche each hold a t11Mri and
stand above a deer.
There is also a second large Ganeia image but it deviates slightly from conventional
iconography as the •odalea-patra is placed in a tripod rather than being held in the major
left hand, the hand being placed on the stomach. He wears a garland of skulls around his
ankles and has a third eye in the forehead. His stomach is tied to his knee by a yog11-p.11a
and the tip of his hlthir11 is decorated with a •11/ear11. There arc two other Gancia images
which most likely served as piri"'1..Jt"'1tit in comer shrines. There is also a well-preserved
image of Klntikeya in which he is again seated in bhtulrit11/l4 on his peacock-mount, only
the right hand missing. He holds the i11ft.ti in his left hand and the tail of the peacock forms a
decorative background behind the deity. Other images which may have served as p,;riv11-
tkwltu on the comer shrines include a fragmented PlrvatJ and one of Mahi$amardinr.
The subsidiary p,;g11 niches most likely held various aspects of Siva and other
Brahmanical deities. Among the Siva images arc two examples of him standing on a
crawling demon, both badly damaged. There arc also several fragments of seated female
deities including one of Sirilhavihinr Durgi. ln another fragment the Devi is seated in
ptu/•illl1fd with a bull carved on her pedestal. Only the pedestal with the chariot and horses
survive from a Surya image. ln addition to these ivar11!14·tiev111i1 there arc numerous
examples of Brahmanical deities housed in caitya-medallions which formed pan of vajr11-
,.,,,,o/ea motifs, including images of Surya, Brahmi and various aspects of Siva such as
Na1arija.
Original from
I. Duoralive l\1otifs
The most popular decorati\•c figure motif is the mithuna which appears in niches at the
base of the pillars and on the section of wall surviving next to the entrance gate on the
west. Panicularly popular is the motif of the male gently lifting the chin of his female
panncr. Most interesting is the exaggerated pose of the female with one hip pushed way
out and one arm draped around the shoulders of the male. In some cases she almost bends
over backwards. She has panicularly large breasts and generally wears large circular
earrings. The coiffure of the male is frequently identical to that of the female. Both male
and female bodies arc somewhat squat in proponion . In many ca.scs the lovers arc standing
in front of trees. Among other figure motifs is that of a female standing in a doorway so
popular on early temples throughout Orissa. There arc also numerous examples of
diminutive squatting figures, panicularly on the top pabhaga moulding as on early temples.
The scroll motifs arc generally carved on small panels, as on early r<mplcs, and the
ratilura motif so popular on 8th and 9th century temples is conspicuous by its absence. The
hamsa·lata motif appears quite frequently, as on early temples, but a more oblique cutting
technique is employed which is an advanced feature. The motif of ialabhaiijilt.Os appearing in
foliage on the doorframc most closely relates to the decoration on the r.ladhukcsvara
temple at Mukhalingam. Other popular scroll motifs include padma-po/ha, dhanu-ganthi,
rangani and /t.N/ila. Employed only sporadically arc the gt!aba and jalapatra scrolls.
In general the temple combines advanced and archaic features in respect to style and
carving techniques. The quality of the carving varies greatly to suggest either the lack of an
established workshop or that construction took place over a long period of time. Although
the style and iconography is primarily Orissan there arc numerous features which suggest
Cii!ukyan influence from Andhra Pradesh. The ornately carved pillars, as indicated, arc
unique in Orissan temple construction as is the pronounced dehanchemcnt of the female
figures in 111ith1111a motifs. The ambitious plan of the temple complex, with every structure
ornately decorated, indicates patronage on a large scale and suggests the existence of a
ruling dynasty in the area. Although it has been postulated that the Ranabhita mentioned in
the inscription is an early Sailodbhava king, it is more likely that the temple was erected by
a feudatory ruler under the hegemony of the Bhauma-karas.
E) B ADGA01': SI\'.~ Tf.~IPl.E
A temple stylistically related to the Bhplgcsvara r.fahadeva temple at Bajrakot is the Siva
temple at Badgaon, situated near a tributary of the Rush ikulyii river, only a few miles from
Bhanjanagar (Russellkonda) in the nonhern pan of Ganjam district. In that copper-plate
grants issued by a branch of the Bhaiija kings have been found in the immediate vicinity,
including one dated to the 16th regnal year of a Ne1tabhaiija issued from the royal camp of
Varac,lc,la, identified with Bardc,lii near Bhaiijanagar,14 it is possible that this temple was con -
structed by a member of this Drmariijakula d ynasty. In the general outline and decoration of
the gat!rii and the tri-ratha plan of the ba¢a, the temple likewise resembles 7th century temples
•• S. N . R2j:a~uru, "The Bi1Jatumva c:opper Pl:atc Gran1 o f Nclt2hh2ilj2 Deva o f Drmarij2-Kula", <>I.JR),
Vol. 1 (191 1). pp. 261 · 70.

I )• 1.
at Bhubaneswar, a fact which has led some scholars to ascribe its erection to the early phase
of temple construction in Orissa. As at Bajrakot, however, the decorative program, though
showing a strong predilection for archaizing, exhibits cenain architectural features and
sculptural motifs which point to a much later date. Among these later features is the
elevation of the pariva-dtvata niche so that it penetrates only the top moulding of the
pabhaga, a more developed tala-garbhiu beneath this niche, a different type of pabhaga design
with an indentation beneath the niches of the subsidiary ptig111, the addition of a thin pilaster
on either side of the raha, the placement of river goddesses in niches on either side of the
entrancc ponal, thc iconography of cult images and thc introduction of the v1111a·lata
scrollwork with its obliquc cutting tcchniqucs. As at Kualo, Suklcsvara and Bankic;la the
tcmplc is of the paikiiyatana class with subsidiary shrincs at the four comcrs. According to
the priests the shrine at thc nonheast comcr was moved to the west, where thcre arc now
three shrines, though it is possible that there were originally cight shrines in thc complcx as
in thc cxamplcs at Bajrakot, Bai\kic;la and on thc Madhukcsvara tcmplc at J\1ukhalingam.
Thc originaljagamoha1111 has rcccntly been replaced by a modcm structure with a pi(iha roof
and front porch. Stylistically thc temple can be ascribed to the last half of the 9th century .
1. &i(ia Dtroration
The dtM/ is of the rtleha class with a squat curvilinear spire surmounting thc sanctum. The
bd(la is tri·ratha in plan and measures only 12 fcct 9 inches squarc at the base. The pabhaga is
i•'/z inches high and consists of four mouldings though they arc differcnt in dcsign than
thosc on thc 8th century tcmples at Bhubaneswar, thc stylized plirrra·gha/a joining the middle
two mouldings being eliminatcd. Thc bottom two mouldings, a /e.h11ra and leMmbha, arc plain
whilc thc upper rwo mouldings, designed as pi(ihas, arc decoratcd with a leM111bhik4-ba11dha on
their m11ha!ffi and a lotus or 'aitya design in the center of thcir sloping upper facc which is
occasionally flanked by a hamsa or diminutive squatting figure on cach sidc. Thc mouldings
beneath the niche of the subsidiary ptigas have an indented plan, probably influcnced by a
similar design beneath thc raha niches on the nonh and south sidcs of thc Vaitil Deul
which were too narrow to include a tala-garbhikli design, and this indentation becomes
standard on most 9th and 10th century temples though eventually it will be filled, for a
brief period, by a tala-garbhikli simulating the design of the raha. The pi/ha beneath the
pabhaga consists of three courses of stone but is mostly buried.
The subsidiary pagas of the jangha, mcasuri.n g 64 inches in height, arc designed as vaj ra-
"'"1'1'is which terminate beneath the bara/11'a as on 7th century temples. There is no lala-
bandhana beneath the niches, however, as these projecting blocks arc eliminated from the
decorative program as on most later temples. The vajra·mastalt.a crowning the niche consists
of two superimposed (aitya-mcdallions, as on earlier temples, but wiih a pht{li moulding
added at the top. There arc no female figures or atlantids flanking the upper (aitya-
medallion. A thin pilaster, decorated with scrollwork, is added next to the raha rather than
at the comers as on the Bhrligcsvara Mahidcva temple at Bajrakot.
The raha is designed as a truncated rtle.ha terminating above the first bhlimi. The niche
cuts only through the top moulding of the piibhiiga and is provided with a 111/11-garbhile4
below consisting of five horizontal mouldings. This is the most developed 111/11-g11rbhik4 yet
noticed though it has not as yet assumed the plan of a miniature shrine as it will on later
temples. The pabhag11 division of the p ilasters framing the niche also contains five

138 TEMPI.ES OF THE 8TH-<JTH CENTU RIES O UTSIDE OF BHU BANES\'C' AR
Badgaoo: Siva Temple
mouldings. The bhiimi crowning the niche is tri·ratha in plan as on earlier temples. The
pirlva·titvaltis arc all in si/11 though a rather plain niia-shrine was construc1ed in fron1 of the
goddess on the nonh side at a much later date.
The santihi·slhala, or walls of the projecting portico if no jagamohana was planned, is the
most developed of any of these 9th century temples. It measures 16 inches from the cas1
wall of 1he tit11! to the back wall of the jaga1t1ohana and is decorated with a framed niche,
approximaiely the size of those on the side ptigas, and may originally have had a crowning
iwjra-mallaiea rather than plain s1ones overhead as now. These niches house a seated Durgii
on the north and, surprisingly, an image of Vi$nU on the south. Several of the Bhauma·
kara rulers, as mentioned earlier, had adopted Vai~Qavism as their family religion and it
appears that its popularity was spreading.
The bara11(ia consists of two projecting mouldings separated by a recess as on 7th century
temples. The projecting mouldings arc decorated with fairya-mcdallions, hawilsas, or
diminutive figures on their upper sloping surface and Aoral or geometric bands on the
mllha11fi. The top moulding serves as the first baraJJili on the gai:ti/i. The continuous recess
between these mouldings is filled with narrative scenes of warriors engaged in combat or
animal processions and, at the comers, Jopirhha lions.
1. Ga1.1i/i DuoraliDn
The ga11ili is a squat, thick-set curvilinear spire similar in design to temples of the 7th
century. It is likewise palifa-ralha in plan with the Jeanika divided in10 five bhiimis by bhiimi·
a1t1/ti1, each bhiimi further subdivided into bhiimi·bara(li/is. The decoration of these bara11ifi1
consists primarily of s.mall vajra-mallaka designs which house diminutive figures or locus
motifs. The anarlha consists of mouldings of equal size superimposed continuously up the
height of the 1,a(li/i with each moulding ornamented with triple fairya· medallions. The
an11rtihti recess is extremely narrow and filled with standing figures alternating with jtili
patterns, a variation on the vajra-m1111i/i1 filling this recess on earlier temples. The projecting
rahti is lri-ralha in plan with the comer divisions divided into bhiimis by am/as duplicating the
design on the Jeanika, though not as wide. The center vertical division is decorated with
vajra·maslaieas on the lower three bhii•i divisions and triple faitya designs on the mouldings
of the top two bhiimis. The vajra·•astaka on the front facade is much larger though
Original from
TEMPLES OF THE ITH·9TH CENTl.!RJ CS OIJTSIDE Of BHL:BANESWAR 139
.
obscured by the p~-roof of the later j11g11111ohat111. On the south, west and nonh sides the
•11Jr11-111asl11"41 arc not as pronouncd. The lower r11ity11 of the v11jr11-111a1111"4 on the south side
houses an image of Variiha, the earliest extant example of a VaisQava motif occupying such
an imponant place in the decorative program of the gtttJ#i. The bi11111111 at the top of the spire
is ornately decorated with scroll motifs though it docs not panake of the piga divisions.
There arc dopirhha lions at the comers of the beA:i to help suppon the crowning a11111/11ittl. The
finial consists of an a/Uialitlga with sunnounting trident.
The comer shrines, consisting of a dtMI only, arc similar in design to the major temple
though the decorative program is not as complete. The bii/4 is tri-ratha in design, measuring
6 feet 6 inches square, but the added pilaster is eliminated. The g~i is divided into only
three bhii111i1 rather than five as on the major shrine.
l · Portal Dtror11lio11
The entrance ponal of the sanctum was panicularly beautiful though numerous coats of
whitewash have not been completely removed so that the refinement of the original carving
is obscured. The doorframe is flanked on each side by a projecting lut111bha-stalltbha, as on
the SiSirci.vara, which suppons the architrave above. A detached image of Ganci.a and a
seated Durga arc now at rhe base of these 11a111bha1 though they most likely fonned pan of
rhe decorative program of the jaga111ohall4. The upper pan of the 1111,,,bhas, and the
architrave, arc panially obscured by the walls and supponing beam added when the present
jaga•oha1111 was erected. Immediately above each lut111bha-s1a,,,/Jh11 is at atlantid dwarf housed
in a niche. These serve ro frame the a1/agrahas. This is the earliest example of this motif
which becomes standard on most later architraves though the atlantid figures arc frequently
replaced by 111i1h111111 images. Also unique is the fact that the graha representations arc
reversed, one of only several examples, others appearing at Shergarh, Khiching and on the
temple at ViSQupur. The image on the proper right is thus Rihu while Ravi appears on the
left of the series. Rihu is depicted frontally rather than in thrcc-quancr view as on earlier
examples. The most unusual treatment is accorded Ravi (Silrya) who is depicted from the
waist up riding in his chariot with his charioteer AruQa and seven horses rather than seated
in pati111iisa1111 in the standard manner.
The doorframe consists of four bands of scrollwork with the outside band carved at an
angle so as to link up with the flanking lut111bh11-s111,,,bhas. The three inside bands begin
above the "'1arapala niches. Beginning from the outside the bands arc decorated with the
pati11111 pr11ha, rangat1i, gelaba and lut/ila motifs respectively, with each continuing horizontally
across the lintel. Gaja-LaksmJ is carved in the center of the lintel though the lower pan of
the image is defaced. There are two niches at the base of the inside three bands on each side
of the door. The inside larger niche, with an arched ceiling, houses the standard Saiva
dvarapiuu. They arc four-anned and assume mirror-image posc.s with the outside major ann
placed on the thigh in "'1(Jiva'4111bita and the inside hand extended in varatia. The back
hands hold the trident and rosary. Diminutive attendants appear in the comers. The second
niche on each side houses a naga with hands folded in front of the chest and a canopy of
seven serpent hoods fonning the ceiling of the niche. This combination of dvarapila and
t1Jga also appears on the Sii.irei.vara doorframc.
The vajra-~i niches on the cast side of the dtMI, flanking the entrance ponal, contain
the river goddesses as at Bajrakot and Kualo. They arc represented in mirror-image poses
Original from
qo
resting one arm around the neck of a female attendant . The goddesses arc in a strongly
pronounded tribhanga pose with one leg crossed behind the other. The free hand holds a
lotus Aowcr, as on other early images, rather than the water jar standard on later images.
The coiffure of the goddess, and her attendant, is arranged in a shell-like chignon to one
side of the face. Diminutive figures appear in the lower comers of the niche, one holding a
parasol over the goddess and the other sprinkling flowers. A second pair of river goddesses,
detached but originally decorating the east side of the first jaga,,,ohona, are now sitting on
the porch of the jagamohana erected to replace the original. They are nearly identical to those
of the du1/ though the attendants in the lower corners arc larger in size and a Aying vidyii-
dhara carrying garlands is added in each upper comer.
4. C11/1 lmagu
The parfva-det'aliis are all in sit11 though Gal)cia and Karttikeya are continuously coated
with whitewash while Mahi~amardini is difficult to view due to the erection of a niia shrine
in front of her niche. Gal)esa is seated in ardhaparyarika with the right knee uplifted. His face
is turned to his left and he is plucking sweets from a modoka·patra held in the lower left
hand. His right hands hold the radish and rosa ry while his upper left hand holds a /ell/hara.
His hair is nearly arranged in a karar(la-11111/cll/a with tiers of tightly-coiled curls. A. tripod
appears on the pedestal flanked by jack-fruit being carried by diminutive attendants. A
Gal)csa image is also in sit11 as a pariva-det•atii on one of the corner shrines though the
proboscis is curled to the right in the act of placing sweets into the mouth. Another Gal)esa
image appears in a <airya-medallion on the south face of the go11di above the image of
Varaha.
Kantikeya is seated in lalitasono with his right leg pendant and his left crossed behind the
neck of his peacock-mount. He holds the fokti in his left hand and a vija·piiroka in his
uplifted right hand. His hair is neatly arranged in the iikar(laka coiffure consisting of three
Jocks in the conventional fashion. A serpent appears beneath the talons of the peacock.
There are two detached images, situated near the south door of the jagamohana, which arc
similar though smaller in size and less ornate. In both cases the left hand holding the iakti
is placed by the leg rather than being uplifted. These images originally served as parfva-
devatiis on the corner shrines.
The image of Mahi~amardini enshrined on the nonh side is iconographically similar to
the one at Bajrakot with the demon assuming a human form as he attempts to escape from
the decapitated buffalo-carcass. The goddess has her uplifted right foot placed on the back
of the buffalo while plunging a trident into it. Her major left hand is placed on the chest of
the human form of the demon. She is eight-armed though all of the attriburcs held in the
hands arc not clearly visible. In her right hands she holds a sword, the trident, <okra and
possibly a vojra. Jn the remaining left hands she holds a stringed-bow, serpent and possibly
a shield. Iconographically the image represents an incipient form of the later ten-armed
image in which the shield is rectangular and strapped to her major left arm pressing down
on the demon in contrast to earlier images where the shield is circular and held in the
upper-most left hand. Similar incipent forms appear at Simhanatha.
The 1•ajra-1111111(1is of the side piigas of the dt11/ are filled with Lakulisa and Hara-Parvati on
the south, Ardhanarisvara and Hari-Hara on the west, Siva holding a poraf11 and Aja-
E kap:lda on the nonh, Ganga and Yamun:l on the east, and Visl)u and a seated Durg:l on
Original from
141
the 111111ihi-1thala. Unfonunatcly many of the images arc partially covered by fragments of
plaster or accumulated debris and crisply-carved details of body ornamentation, facial
features and attributes are not always clear. lconographically the Saiva images arc similar
to images on other temples oi this period. The figure holding the paraf11 as his major
weapon and with his lower right hand extended in vara"4 becomes standard on the north
side, along with Aja-Ekapiida, but is a benevolent aspect. Visnu is represented standing in a
rigid Jllllfabhaliga pose, possibly inRucnccd by early Hari-Hara images, and is one of the
earliest surviving examples of this deity, along with the fragment at Suklcsvara. To the best
of my knowledge there arc no surviving examples of Visnu images at Bhubaneswar which
filled these side niches, though the image of Hari-Hara was standard in the decorative
program. His upper hands hold the <akra and conch while his lower hands arc placed on
the heads of Garuc;la and a female figure, possibly Bhudcvi, who occupy the lower comers
of the niche.
Of the cult images housed in the <airya-medallions on the gap/ii the most interesting is the
Var2ha appearing in the lower vajra-fllastalea on the south side, a rather prominent location
for an avatar of Visnu on a Saivitc temple. On earlier temples this incarnation was generally
confined to the small vajra·•Jl!liii niches decorating the an11rihi recesses. The image, almost
folk-like in conception, is two armed and holds the eanh goddess on his left albow, the
hands being tightly clasped in front of the chest. The other images housed in the <airya·
medallions of the vajra·llfastaleas arc generally of seated figures, male and female, in addition
10 the Gancsa mentioned earlier. The vajra-mastahl on the front side most likely contains a
Na1ariija though its view is blocked by the piiiha roof of the later jagafllohana. It is thus
probable that the original jagafllohaM was covered by a terraced roof similar to those at
Bhubaneswar and not a fully developed pi/Iha.
I · Duorativt Motifs
Aside from the cult deities there are very few figure motifs in the overall decorative
program of the temple. The most frequent figure motif is that of the alasi-leall.)'i though
these figures arc small in size and generally confined to the an11riihi recesses of the gap/ii. The
motifs housed in the small vajra·fllaJtaleas crowning the piga niches include the popular
motif of a male seated in ardhaparyaitka with his raised knee supporting a hand holding a
Rower, 111ith1111a images as at Bajrakot, and the head of a lion as well as Rora! motifs. The
warrior figures filling the narrow baraflii,t recess arc generally obscured by shadows so it is
difficult to determine if they represent any specific theme.
The most popular scroll motifs include the halitsa-latii, raligani, padflla pr11ha, ratilura and
vana·lati. The latter scroll, characterized by rich foliage in a garbled arrangement without
any stalk or center of focus, evolves from the ratilura scroll, as first noticed at Bajrakot, and
eventually becomes the most popular scroll motif on temples of the 10th and 111h centuries
and again testifies to the late date of the temple.
Probably the southern most Orissan style temple built during the 9th century is the
l\ladhukesvara erected at l\lukhalirigam, a village on the left bank of the VamS.dhiira river
Original from
T el\tPLES OF TH E t TH·c,T'H CENTLI RIE.S (JUTSJDE ( )f BHUBA NESWA R
in SrikikuJam distriet of Andhra Pradesh, approximately twenry miles south of the present
Orissan border near Parlakimcdi. At the time of its construetion Mukhalingam was the
capital ciry of the Eastern Ganga dynasty which ruled over the region known as Kalinga.
The origin of this Eastern Ganga dynasty is still shrouded in mystery and scholars arc not
in complete agreement as to the date from which their saMtlat commenced, the most
probable dates varying from A.O. 49~ is to A.O. 616/17.16 The dynasry apparently begins
with lndravarman I who assumes the title of "Trikalingiidhipati" in his copper-plate grants
to suggest that he conquered Kalinga and established his rule over this area. It was during
the reign of Ocvendravarman that the capital was transferred from Oantapura to
Kalinganagara (Mukhalingam). In the early years of the dynasty Kalinga appears to have
been a bone of contention between many neighboring powers, including the Sailodbhavas,
Visr:iukur:idins and the Cilukyas, so it is difficult to determine how much area the Ganga
kings had under their hegemony. They generally were Saivitc in religious belief and
worshipped Lord Gokarr:iasvami of the M ahendra mountain.
Although there arc more than a hundred records surviving on the temple there arc none
which refer to its date of construetion. The earliest inscription apparently dates from A.O .
1018 17 and most of them date from the reign of Anantavarman Codaganga or later. In the
Komi copper-plate grant of Anantavarman Coo;laganga, dated to A.O. 111 i, it is recorded
that Kiimiirr:iava II built a temple for Siva in the form of Madhuke$a 11 though we have no
surviving records of this king.•• On stylistic grounds the temple can be placed to the 6rst
half of the 9th century. The temple faces cast and is surrounded by a high wall with two
gateways, one on the south and the main entrance on the cast. This outer entrance gate on
the cast is in the shape of a lthiA:hari-tkNI with three a81a'4Jtas on the ridge of its roof. The
roof is supponcd by two plain pillars, with bracket capitals, which frame the entrance on
the cast and west sides. The niche of the •ajra-,,,#IJli projceting from the roof on the front
houses a male and female seated and eating from bowls or Jtapilas, a scene possibly alluding
to human sacrifice and the eating of flesh of which there arc other examples within the
compound. In the large <ai!Ja-medallion on the south face of the gaJ:l(ii is an image of Siva,
seated in artihaparyanlta on a low couch, receiving alms from six female figures, three on
each side. His left hand rests on the couch, supponing his body, while his right holds a
Jtapila in front of his chest.
Inside the gate is a son of vestibule, or rectangular counyard, which contains a small
Nandl shrine. This shrine, obviously influence by architeetural traditions of South India as
Nandl is normally placed in thej aga,,,ohau or in front of the shrine, frequently on a sta,,,bha,
is of pi~a design complete with crowning members. The decorative program of the comer
pillars and doorframe arc only panially visible due to the heavy coats of plaster which have
only panly been removed.
1s $('c 8. Masthanaiah, Tht 1't111plt1 of A1NJ:h4/i,,g11• ( New Delhi, r9 78), p. 109. Prafulla Kumar Nayak ( Eras
<Jnd Datt 1 in Ori11a11 Epigr11ph1, unpublished disscn ac•on, Sambalpu r University, 19 81} fi xes the co mmencement o f
tht 1111inrat on Cait ra Sukla Pratipadi in A.O. 49 8.
'' S. N . Rajaguru, Hi111ry of G""l"'• J Vols. (Bhub-antswar, 1 ~8).
11 So111h /ndit1ft l111rripti0111, Vol. V, No. 11 z}·
11 JAHRS, Vol. I. pp. 1o6•1z4. The regnaJ years as given in the g rant arc A.O. S.0}·8j }·
19 ContC'mporary reco rds issued by other kings of the dyo aSt)' do no1 corroborl11tc this accounl g i\•en in t he
Korni coppcr·platcs. There arc. two kings by this name but they are fro m a later date. See B. ~fasrhanaiah, op.
rit .• p. 10 1.
Original from
TF. ~lf' l. ES C>F THE 8TH ·9TH CENT\i RIES <>VTSIDE (lF BHl.SANf.S\l' AR 14l
EASTERN GANGAS OF KALINGA
1. Indrav•nnan I (A.O. 49J · !J2}

I
1. An2nravarm•n I (A.O. i;1· 1J1)
I
J· Ocvcndravannan I (A.O. SJ1 · 144)
I
4. Satyavarman (A.O. 144•117)
I
I· Simanravarman (A.O. 117· 171)
6. Hastivarman 7. Indravarman 11 (A.O. 580·6o1)

(A.O . 171· 180) I
8. Oiiniirnava (A.O. 601 ·611)
I
9. Indravarman III (A.O. 611·647)
I
10. Gunin:iava I (A.O. 648-676)
I
11. Ocvcndravannan II (A.O. 676-697)
11. Ananravarman II •J · Jayavarman II (A.O. 7 10-7 14)
14. Nandavarman (A.O. 714•747) 15. Ocvcndrav2rman II (A.O. 747-770)

I
16. Rajcndravarman I (A.O. 770-777)
17. Anamavarman III (A.O. 777·797) 18. Ocvcndravarman IV

I ( A.O. 798-807)
19. Rajcndravannan II (A.O. 8o8·8J1}
I
10. Vajri (Vajrahasta I: A.O. 8J1·840)
I
11 . Mirasimha alia1 Bupttidravarman (A.O. 840·810)
z1. Anantavannan Vajrahasta JI 1J. Ocvcndravarman V (A.O. 876-891)

(A.O. 810·876) I
14. Gunimava II (A.O. 891)
I
11 . Vajrahasta III (A.O. 891·91 9)
16. Gundama I 17. Kimin:iava I (A.O. 941-977) 18. Vinayiditya

(A.O. 9J9·941) I (A.O. 977·980}
19. Aniyarikabhima Vajrahasra IV
(A.O. 980· 1011)
JO. Kimimava II (A.O. 1011) 11. Gund•ma II Jl. Madhukimir0 ava

I (A.O. 1016-1019) (A.O. 1019·1018)
Jl· Anamavarman Vajrahasta V (A.O. 1018·1070)
I
l4· Ocvcndravannan VII Riijariija (A.O. 1070-1077)
I
JI· Ananravannan C~agarig• (A.O. 1077· 1147)
Adopted from B. ri.tastha.na1ih. Tix Tt,,,plt/ of Af11Jt,halingo111 {Nev.• Delhi, 1978).
Original from
144 Tl~ ~11>1.cs (_)(•' 1'H E i 'f }-t .j)rH C l--:N T l. R.ll~S ()lfTSIJ)E C)F BHVBANE.S\t.AR
1. Suond Ea11 Galt•'".J
The second gateway on the cast, which affords entrance into the compound proper, is
fashioned as a pi(iha·dtNI abutted on the north and south by the inner compound wall on
this cast end of the complex. The gate has been reconstructed, partly with modem
materials, so that the decorative program originally on the north and south walls is
missing. The east face of the gateway consists of four jambs, each with a lintel, which are
progressively recessed and richly ornamented. The outer jamb on each side is designed as a
pilaster beginning above an abbreviated piibhiiga consisting of three mouldings. The
decoration consists primarily of scrollwork etched on rectangular panels or sculptural
images housed in shallow niches. The narrow lintel above is decorated with battle scenes
involving calvary, war elephants and infantry. The second jamb is recessed and decorated
with the gt!aba scroll, the figures generally dominating the meandering vine. The lintel of
this second jamb is ornamented with an image of Siva in the center flanked by a frieze of
standing warriors on each side. The third jamb is deeply recessed and decorated with
ornate scrollwork issuing from a piif"!la·gha/a on the inner surrounds as well as the face.
Above the piif"!la·gha/a is a seated yak,ra pulling the vine from his navel. The gelaba scroll is
transformed into a frieze of flying vidyiidhara1 on the lintel. The inside jamb has female
dviirapiilas at the base and superimposed panels above relieved with kneeling r1is. The lintel
contains a seated figure in the center holding the stalks of ornate ralilura scrollwork as
on the sanctum doorframc of the ~farka0 deyesvara or in the bara~(ia recess of the
Parasuriime5vara temple.
The west face of this gateway is decorated in a similar manner with the outside pilasters
beginning above an abbreviated piibhiiga. Only portions of the shaft have been cleaned from
the heavy coats of plaster while the lintel is still completely covered. The recessed second
jamb has an elaborate gtlaba scroll carved on the proper right and mithNnas housed in
superimposed niches on the left. The lintel is covered with plaster except for the dviira-/a/iifa·
bimba panel which is carved with a ten-armed D urgii seated on her lion. The third jamb is
relieved with <a11ri-bearing female figures in superimposed niches, three on one side and
four on the other, which begin above a piir{la-gha/a at the base. The lintel is o rnamented
with a group of seated figures on the proper right and standing warriors on the left. A
figure crawling on hands and knees, with curved sword in his right hand, is placed in the
center. The inside jamb is still completely covered with plaster.
The overall decorative program, with progressively recessed jambs and the predomi-
nance of figure sculpture, is not typically Orissan and suggests outside influence. The most
closely allied doorframes arc those in Dak~ii:ia-Kosala, particularly at Sirpur and Rajim.
The use of female dviirapiilas is also quite rare as generally they arc confined to temples
dedicated to the goddess, a rare exception being the female ca11ri-bearers flanking the
jagamohana door of the Sisiresvara, and, along with the iconographic program, suggests
strong Tantric influences.
2. DtNI
The temple is of the pailcii_yalana class with a small shrine at each of the four corners of
the compound in addition to the main shrine which consists of a de11/ and jagamohana. There

1'l~ ~1Pl..ES ()J• THE ITH-9TH C:ENTL! Rlf~S Ol'TSIOE <.>F BHL'B.>\NF..S\l'.-\ R 141
• ·' ' ''• • t.4' \.1,,.,1 • l\r,.. .,
~.~: .,
•
..... , ., .oh r•"'~
•·
D
$.\\' . , ,.,... .. , . .. , !'I.-'
! - - - - - ~7)" - - - . . . ;' f--- S. E. ' " ' " '" '
• h r i..,. ..
• 16-• " •
l_ __
'
Mukhalingam : Madhukcivara Compound
(Adapted from 8 . Masthanaiah, Tix Tt•plu •/ M•kboli•g••)
arc three leJNilthara shrines, one on the south, west and nonh sides of the compound which
abut the wall. Several more structures were added at a later date, two near the nonhcast
comer of rhc j11g11•olMll4 and one just west of the nonh leh4/thara shrine. The inner counyard
measures approximately 116 by 8 ! feet. In addition to the sculptures decorating the walls of
the structures, or placed within the shrines, there arc loose images placed against the wall
and several now insencd into the wall. There arc also a few fragments outside the
compound as well as many scattered throughout the village to suggest that there were at
one time more than the three major temples now in existence.
The Jt11/ measures approximately 17 feet square at the base though at the cast end the
walls arc partly contained within the j11g11111ohtl11t1, the cast face of the sanctum serving as the
west waU of the j11g111t1ohti11t1. The pabbag11 consists of three mouldings which arc arranged
dilrcrcntly from the typical Orissan design and more akin to those in Dak$il)a-Kosala,
particularly in respect to the recessed lthtiNli which separates the wo/i (second moulding)
from the JHl/111 or top moulding. The llhllfa at the base is very squat and the only decoration
surviving appears on the f'd/111. Its ltftt.bqfi or lower edge is relieved with continuous floral
motifs while its sloping upper surface is decorated with spaced rairya designs or diminutive
figures.
1bc btilti ponion above the pabbag11 is a simple tri-r11tho plan as it exists today, made of
plain blocks, and most likely is a reconstruction as the blocks appear to be joined by
monar. The original decorative program is thus lost bur most likely consisted of Njra-
tlllllfllis as in the design of the comer shrines. The g11/JJi rises to a height of only 60 fccr from
the ground and is extremely squat considering the large size of the btilti. It is also a
"'construction except for the •ajra-•asta/ea designs at the base of the riiha, rhough even here
Original from
TEMPLES OF THE &TH·9TH CENTURIES OUTSIDE OF BHUBANESWAR
many of the images arc crudely carved and obviously later replacements, and the crowning
,,,aslalta members. In its present design it consists of 20 pi'1ho· mouldings, each moulding
separated by a narrow recess, which form a truncated curvilinear silhouette. There is not
even a bara11i/a division. The ,,,as/a/ta consists of a btlti, filled with dopithha-timhas at the
comers and a seated figure over the riiha, an 11,,,11/11/ta, a second btlti surmounted by an
a1"al11lta, J:hap11ri, ltalai11 and a trident finial. This double a1"al11lta arrangement is unusual in
Orissa though there arc examples on the 111/ga-iiJ:haras of the later Riijaris;if temple. The
bulls placed in the second btlti suggest South Indian influence.
The •ajr11·1"111/11ltas at the base of the rahii consist of two superimposed <aitya designs in
standard fashion though without the J..irli-J:ha at the apex or •altaraJ at the sides. The
images housed within the <aitya-medallions arc Gar:icsa below and Lakulrsa above on the
south; Kirttikcya below and Hari-Hara above on the west; two images of Mahi$amardinr
on the north; and Nafaraja below and a Bhik$afanamllrti above on the cast. The placement
of Na1ariija in the lower medallion on the cast is unusual. He is crudely carved, however,
and probably a replacement so it is not clear if this alignment is original. The riiha above the
•ajra-,,,as/11/ta designs is ornamented with triple <aitya motifs, each extending up two
mouldings, though they arc partly obscured by plaster.
J. ]aga111oha114
The rectangular jagamoh11fl4, measuring 40 feet I inches by 4 7 feet 9 inches, stands on a

low pi/ha which is mostly buried by stones added to form the courtyard floor at a later date
which completely cover this platform beneath the dt11/. The roof is flat but slopes gently
towards the sides where it assumes the shape of a large J:h11ra with ttiiga gargoyles projecting
out at spaced intervals. The four comers of the jaga,,,oha114 arc designed as miniature nJ:ha-
dtN/1, as on the Vaitiil Dcul though more ornately decorated, which measure 9 feet square at
the base. The biii/a of these nJ:ha shrines is lri-r11tha in plan while the ga(l/i is paR<a-ratha,
though without an 11tt11riiha recess, and subdivided into three bhittris. Their pabbiiga consists
of three mouldings. In general, then, these nJ:ha shrines at the four comers exhibit an
archaizing program based essentially on the design of 7th century temples at Bhubancswar,
though their raha niche is elevated above the pabhiiga and the vimattiltA crowning the side
pag111 assumes a slightly different plan.
The biii/a design between these comer nJ:ha shrines consists of a pabhaga, jaligha and
b11ra1;ti/a. The pabhaga, measuring j8 inches in height, consists of three mouldings similar in
design to the 7th century temples at Bhubancswar with only the top piit'ha-shaped moulding
being decorated. Thc j aligha on the south side is decorated with a series of six •ajrll·-fllis, a
doorway, and then one more •ajra·1"11(1/ii. The niches of these miniature shrines house
various Brahmanical deities, beginning on the cast with Kiintikcya, standing Durgii,
Variiha, Gangiidharamuni, Siva, Nr$irilha and N a1ariija. The ,;,,,,;,,iltJi1 crowning these
niches arc elongated and consist of four mouldings crowned by a •ajra·mastalta. Over this
south doorway is a large •ajra·m111talta design, serving as a pediment, which contains the
Andhakiisura-vadha-miirti in the lower <11itya and Nafariija in the upper medallion. On the
north side there is no doorway so that the jaligha is decorated with a series of ten •ajr11-
•111f/iiJ, three of them having a window design in their niche rather than sculpture. Starting
from the cast the images arc of Siva holding a ""rg", Aja-Ekapiida, window with a baluster,
Hari-Hara, window with 11"tlstilta, standing male deity with iiJ:htl1;ti/alta coiffure, Indra,
Original from
T E"PLES OF THE aTH·9TH CF.NTl.RIF.S Ol' TSIOE OF BH l'B<\Nf.S\X.AR 147
window with circular perforations, Candri and a standing Garui;la. On the roof near the
center of the nonh side is a vajra·•~ design housing a seated Siva in its rectangular niche.
On the shoncr cast side there is a single vajra-1111111/ii on the jiiligha on each side of the door
and they hous<: the river goddesses within their niche.
The b11ra/l{/4 consists of two projecting mouldings separated by a narrow recess. The
recess is devoid of decoration while the face of the lower moulding is relieved with
narrative scenes, primarily dealing with combat, and the upper moulding is decorated with
the rlllig1111i motif on its mtihii!l/i and spaced caitya designs and hamsas alternating on its upper
surface. The interior of the jaga111oha11a has two rows of three pillars each, four counting the
pillars flanking the sanctum door, which divide the space into nave and side aisles. The
pillars arc square with voluted bracket capitals as on the Parasudmcsvara. There arc in
addition engaged pilasters on the walls which correspond to the alignment of the pillars.
The pillars rest on a raised dais which produces a pratlale/i!lii path within the interior, an
exotic feature suggesting outside influence. At present there arc numerous dttachcd
sculptures scattered within with the largest being a standing VisQu.
4. S11bsitiiary 1hri11n
The subsidiary shrines at the four comers of the compound arc designed as rtlehii-tit11/1
with squat curvilinear spires similar to 7th century temples at Bhubaneswar and again
exhibit archaizing features similar to those on the jaga•oha1111. The b~, measuring 13 fctt 9
inches square at the base, is tri·ratha in plan with the riihii designed as a miniature relehii
truncated at the first bhi1'1i and the side piigas as vajra- -f.llis terminating· beneath the
bara/114. The piibhiiga, measuring l 5 inches in height, consists of three m.ouldings with only
the top moulding decorated. The first clement of the vajra·-11/ii design above the piibhiiga is
a ta'4-b1111tihallii of five projecting blocks, four on the front side, decorated with elephants,
lions and a few figure motifs. The ,;,,,;;,,;;,,; above the niche is again elongated and consists
of four mouldings crowned by a vajra·•astair.11. The riihii niche cuts panly through the
piibhiiga mouldings and is framed by a broad band of scrollwork. The bhi111i division above
the niche is lri·ratha in design though it lacks an a1111riihii recess and is not provided bhi11ri·
11•/iis at the top. The bar1111i/ll consists of two projecting mouldings separated by a recess.
The ga11'i is patlt11-r11tha in design though there is no recessed a11xriihii. The ir.1111iir.ll is
divided into five bhi,,,is by bhi,,,i-11,,,/iis with each bhi,,,i having four bdraf.l(iis with the top
two joined by a taitya. Curiously, however, the first bhimi has only three baraf.l(lis, including
the top moulding of the bara/114, and thus is shoncr than the other bhii111i divisions. The
a1111rtha is decorated with triple tairya-mcdallions in standard fashion as is the riihii above the
W1jrtt-•111t11ir.ll. The vajra·11ra1tair.ll consists of two tairya·medallions but again there is no
lt.irti-1:.ha or •akllra motifs as on temples at Bhubaneswar. The bi1a11ra docs not panake of
the piiga divisions and there are no bth figures to help suppon the amalair.11. The lehap11ri is
very pronounced and there is an iikAlaliliga on top of the lt:alaia. The height of these shrines
is approximately 30 feet. Each shrine houses a polished Miinusa-/iliga.
The three lehiileharii shrines were also ornately decorated though most of the decoration
on the west shrine is still covered with plaster. Their base mouldings, along with those of
the comer shrines abutting the west compound wall, arc mostly buried by the stone floor of
the compound. Houstd in the nonh lehiikharii shrine is a seated Durgii, in the west shrine a
Kintikeya image and in the south shrine two images of Ganesa now attached to a single
slab.
Original from
TE.i\IPl.E.S (lf ·rl·lt~ 8TH ·9TH CJ:f'l'l "RJ..:s t ) l lTSIOE ()F Blll'8 ..\Nl':..$\'(.;\R
)· Portal Duoration
As on the temples at Bhubaneswar or elsewhere in Orissa the most exquisite carving of

the temple complex appears on the doorframc and, with the addition of three lehtileharti
shrines and two entrance gates along with the four comer shrines and two doorways of the
jaga111ohana, rhcrc arc more entrance ponals here than on any other individual temple. The
east doorframe of thcjaga111ohana, which Barrett calls "the loveliest entrance to a temple in the
whole of India."2'> is similar in design to the second entrance gate on the cast. It consists of
four jambs and lintels progressively recessed with the outside jamb fashioned as a pilaster
above an abbreviated ptibhtiga and decorated with a piif'f,la·gha(a at its base and capital. The
shaft of this flattened kN111bha·sla111bha is ornamented with a dvtiraptila and superimposed
panels of scrollwork, .lr.lrli111111eha masks and on one side a running figure in a small niche.
The lintel is relieved with a long frieze depicting Krsna and Balar:l.ma at Kamsa's coun.21
The second jamb is decorated with ornate scrollwork with 111ith11na images or itilabhafljilt.4
motifs entangled within the foliage or creepers at spaced intervals. The lintel decoration is
either covered with plaster or missing. The rhird jamb is decorated with ratilura scrollwork
which continues across the lintel. The founh or inside jamb is likewise decorated with
ratihra scrollwork which begins above the dvtiraptila niche at the base. As the decorative
program now exists there is thus no dvtira·lalti/a·bi111ba panel on the frame though it may
have been on the second lintel which is missing. The projecting roof above the doorframe
consists of two caves and a surmounting leh11ra moulding which form a truncated pi(iha
design. The face of the eaves is relieved with battle scenes and animal processions. Three
a111alaluu with surmounting Jr.ala/as appear on the crest of the leh11ra moulding as on the first
gate on the cast. The doorframc, with four jambs on each side, thus extends to 17 feet in
width and completely dominates the cast end of the jagamohana. The two vajra-m1111dis, one
on each side, appear overly cramped between the doorframc and the comer relehii. The
niches of these 1111111dis house the river goddesses.
The doorframc on the south is not as ornate and consists of a projecting .lr.N111bha·sta111bha
at the sides and three narrow bands flush with one another rather rhan progressively
recessed. The shaft of the .lr.N111bha·sla111bhas is decorated with rali/etra scrollwork at the base,
a heraldic lion motif, 111ali ph11la phadi.lr.a and dhan11 ganthi scroll work and a lotus half-rosette.
The architrave above contains a long frieze of Siva and Parvati playing chess and most
likely was influenced by a similar panel from the Svamajalesvara which has only survived
in fragments. The bands of the doorframc proper arc decorated, beginning on the outside,
with the pad111a Pfl/ha, gtlaba and ratiktra scrolls respectively which continue across the
lintel. The gtlaba scroll on the lintel appears rather awkward, however, as it is best suited
for a vcnical treatment and generally becomes transformed into a frieze of flying
vidyiidharas. A Gaja-Laksmi image is carved in the center of the lower band. The dviirapiilas
at the base of the inside band, carved in high-relief rather than housed in a niche, arc
female figures rather than the standard Saiva guards. The pediment above the door is
carved with a vajra·masla.lr.a which houses the Andhakasura-vadha-miirti in its lower faitya
20 D ou ~l as Barrett, ,\f11kho/iTigo,,, Tt mplts ( B omba~., 1960), p. 9. This '4' :11~ even before the plasttr had btcn
removed completely f rom the second east gate.
21 ~f:asthanaiah (op. ,;1.• p. s2) states it is a wres1ling scene ac co un but the inclu~ion o( 1'. ot;ia defeating the
elephant demo n Ku\..alayipi<Ja lca\•es no dc>ubt 1ha1 the frieze represent!. Kr$1)a and BaJarima.
Original from
and Na1ar2ja in the upper <aitya as mentioned earlier. The design of the vajra·,,,astau, with
gaJa·kni11ta, Jagrata and ,,,aura motifs carved on the wings and a kirti-Ma at the apex is
more in keeping with the designs at Bhubancswar than the other examples on the temple.
The doorframcs on the comer shrines arc similar in design to the south door of the
j aga,,,oha11a, though each has an individual iconographic program. Each frame is Ranked by
a projecting pilaster and three of the four have female dvarapalas. Whereas the southeast
and southwest shrines have three bands of scrollwork forming the frame the nonhcast and
nonhwcst shrines have one wide band edged with thin fillets. Although these bands arc all
decorated with scrollwork above the dvarapalas, or piirrra-gha/a motif on the nonhcast shrine,
the projecting pilasters arc ornamented with figure motifs or elephants housed in niches,
except for the southeast shrine which contains only scrollwork. The most interesting aspect
on these doorframes is the decorative program of the lintel and architrave above. The
dvara·lalD/a-bi,,,ba panels of the lintel are carved with Surya on the southeast shrine,
Hara-Parvatf on the southwest, a pair of confronting elephants on the nonhwcst and
Nrsimha on the nonhcast. The lintel on the southeast is decorated with the dha1111 ganthi
scroll, on the southeast there arc seated r1is, on the nonhwest a frieze of elephants while on
the nonhcast it is still covered with plaster. The architrave on the southeast shrine is
decorated with a frieze of warriors riding elephants and horses, a second frieze of similar
design but with infantry included and a recessed J:hafllii relieved with piirrra-gha/a motifs
alternating with panels of banu Joli. On the southwest shrine the architrave contains an
alfagraha panel, a frieze of Rying vidyadharas and a recessed Mandi decorated with squatting
atlantids alternating with banu jali. The architrave on the nonhwcst shrine is decorated
with a frieze of warriors and elephants, panels with haliuas and figure scenes with royal
couples seated on couches and a recessed J:hiindi with lotus rosettes alternating with banu
Joli. The architrave on the nonheast shrine is still covered with plaster.
Even more interesting arc the doorframes of the J:hakhara shrines, though that on the
west shrine is still covered with plaster. The entrance ponal on the south shrine is framed
by a pilaster on each side decorated with female figures, ,,,i1h1111111 and an atlantid figure on
the shaft and a frieze of Rying vid.Jadharas on the lintel. The rccess<d inner frame is
decorat<d with a standing •ith1ma at the base, a seated musician and a seated ,,,;1h111111
housed in niches on each side and a frieze of seated r1is on the lintel Ranking the dvar11·
lalafa-bi•ba panel which is covered with plaster. An additional band, decorated with gtlaba
scroll, is embedded in the Jaligha on the outside of the framing pilaster.
The doorframc on the nonh shrine is likewise Ranked by a pilaster though it is
undecorated or covered with plaster. The recessed inside jamb is divided into three niches
on each side with Saivite female dvarapala1 occupying the lowest niche. The top two niches,
along with four niches on the lintel, house the Sapta•atrleti1 and Ga(lcsa. Beginning with
the first niche on the right and working clockwise the images arc Brahmr, Sivanr, Kaumirf,
Vai~t)avl, a projecting dvara-la/Ofa-bimba panel with Gaja-Lak~mi, Variihl, lndriil)f, Camul)Qii
and Gal)csa. Each ,,,,;,,;,,; except Varihi and Camul)Qi arc seated in lalita1a11a, the
exceptions being seated in ardhaparyaliko. Gal)csa and Lak~mi arc also seated in lalitasana
rather than their standard poses of ardhaparyaliu and pad111asa1111 respectively on early
temples. The respective mounts arc placed beneath the scats of the 1Jtatrletis and Gal)csa.
This is one of only two surviving examples of ,,,,;,,;,,;, appearing on the doorframe of
Orissan temples, the other being the slightly later Simhaniitha temple, though on the 13th
century Buddhanatha Siva temple at GaruQipailcana a detached matrleti slab may have
decorated the lintel of the collapsed jaga,,,ohana doorframc.
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11 0 T EMPLES OF THE 8TH-9TH CENTURIES OUTSID E OF BHL' BAN ESIX"A R
6. C11/1 I•at,ts
The Madhukcsvara temple complex, with its two eastern gates, four comer shrines, three
A:haA:hara shrines, nA:ha-tit11ls at the comers of the jaga•ohall4, detached images in the
counyard and embedded in the wall as well as loosely placed within the shrines, is a
veritable iconographic treasure-house of Brabmanical deities despite the fact that the jatigha
of the tit11/ is now devoid of decoration. Though there arc no parlr!a-titvalas on the jallgha of
the tit11/ they do appear, as mentioned, in the lower <airya-mcdallions of the vajra·•aslaJ:a of
the gfllJ;i. The image of Gar:iesa on the south facade of the ga11;i is seated in artihaparyati"4
eating sweets from a ,,,oJa,1,,,-patra held in the lower left hand. The upper left hand holds the
lul/hara and the lower right hand holds the radish in standard fashion. The upper right
hand holds a serpent rather than the rosary and thus represents a deviation from standard
iconography. There is also a seated image of G:u;icsa in the upper <airya of the vajra-•asla"4
on the west face of the ga11;i on the southeast comer shrine though it is partially covered
with plaster. Another image is housed in a makeshift niche of the compound wall on the
south near the southeast comer shrine. G:u;iesa is seated in lalitasall4 with the rat carved on
the pedestal as in the example on the doorframc of the north A:hOA:hara shrine. In the south
A:haA:hara shrine there arc two images of Gar:icsa placed side by side on the same backslab.
The image on the proper right is six-armed while that on the left has only two arms, both
deviations from the standard iconographic form. There is also an image of a standing
G:u;icsa housed in the south raha niche of the rtA:ha on the southwest comer of the
j4g4,,,ohafl4. He holds the standard attributes in his four hands and is flanked in the lower
comers of the niche by a galf4 and a boyish figure of Kantikeya both of whom hold either a
jar or a fruit in both hands placed in front of the chest. A final image, representing G:u;icsa
in a dance pose, appears on the doorframe of the northwest comer shrine. The natural right
hand is held in "4/11"4-hasla and the left in gaj4·has/a. The back left hand hangs stra.ight
down while the other right hand is uplifted and holds an object, possibly a radish. The
proboscis is upturned to his left and blows on a conch shell.
The image of Kiirttikcya in the vajra-1"aS14ka on the west face of the ga11;i is still panially
covered with plaster. He is two-armed and riding on his peacock-mount. He holds the f4ftli
in his right hand and possibly a vija-pir4ka in his left which is extended down. He is flanked
by a Saivite attendant on each side while the bust of Siva is housed in the vertical extension
of the medallion above Kamikeya. A small image of Kiimikeya in a similar pose appears
on the left pilaster framing the door on the northwest comer shrine, opposite an image of
dancing G:u;icsa. The right hand is extended down, holding a long trident, while the
uplifted left hand holds a lulkhl/4 (roster-cock). The htle.hl/4 docs not become a standard
iconographic feature until the 10th century, when it is held in the lower left hand, so this is
one of the earliest appearances of this attribute in Orissa. The manner in which it is held,
similar to a •rga, suggests influence from South India. There arc also two images of
Kiirttikcya seated on a throne in lalitasa114 with the peacock carved beneath his scat, one
now housed in the west A:haA:hara shrine and 1he other loosely placed within thcjaga111oha114.
In both images Kiirttikcya holds the ialeli in the uplifted left hand while the right, resting
on the leg, holds a vija-pira,l,a.
In addition to these mounted and seated forms of Karttikeya there arc three examples of
standing images housed in niches on thejaga,,,oha11a. In the example on the south wall of the
jaga1"oha114 the deity stands in a slightly flexed pose with his left hand holding the tassels of
his waist cloth. The right hand appears to hold a vija·pira,l,a. The peacock appears behind
Original from
I <I
Karttikcya while the upper left comer of the niche is occupied by a kneeling figure with
hands folded in anjali looking towards the deity. The second example appears in the north
riihii niche of the rekhii on the northwest comer of the j11g11mohall4 and is partially damaged
with the right arm missing . The deity stands with the left leg slightly bent and the left hand
resting on a staff. The peacock looks up at Karttikeya from the lower right comer of the
niche. The third standing image is bereft of all the standard attributes except for the
iikhat1"4ka coiffure and the tiger-claw necklace (ryiighr11t1akha). The left hand holds the tassels
of his waist cloth while the right hand holds a fruit in front of the chest. Vidyiidharas appear
in the upper comers of the niche while in the lower comers arc male attendants, the one at
the right holds a conch against his chest while the left figure holds a fruit and club. The
addition of male anendants holding V aisi:iavite attributes is quite unusual.
The vajra·111allaka on the north face of the ga!'(ii houses two images of Mahi$amardini. In
the oval-shaped lower medallion the goddess is four-armed. With her major right hand she
plunges the trident into the carcass of the buffalo while her left hand holds the human
shape of the demon. Her upper left hand holds a vajra while the lower right hand holds a
severed head by its hair. In the upper tear-shaped medallion the goddess is six-armed while
the demon is represented in human form virtually crawling at her feet, an unusual
iconographic treatment. Durgii plunges the trident into the back of the demon while her
major left hand pushes down on its head. The image housed in the cast riiha niche of the
rekha on the northeast comer of the jaga111ohana conforms more closely to the images at
Bhubancswar. Durgii is eight-armed and plunges the trident into the back of the demon
with her major right hand while her major left hand pushes back its head. Her other right
hands hold an arrow, vajra and sword while her remaining left hands hold a bell, stringed·
bow and circular shield. Her uplifted right foot is placed on the back of the demon while a
lion attacks its h ind-quarters. The demon is represented crawling and is in human form
except for its buffalo-head. In respect to the pose of the demon it most closely relates to the
examples on the Uttarcsvara in contrast to the standard images whereby the demon is
viewed from the rear rather than in profile. It is possible that the corresponding niche on
the rekhii at the southeast comer of the jaga,,,ohall4 also contained a l\fahi$amardinl image
though the sculpture is completely plastered except for a faint outline of the figure within.
There is also a detached image of a ten-armed Mahi5amardinl now loosely placed in the
nonhcast area of the compound. The demon here is represented as a human attempting to
escape the decapitated carcass of the buffalo.
In addition to the Mahisamardinr theme there arc several other forms of Durgii. On the
lintel of the west side of the second cast gate she appears in her Simhavdhini aspect seated in
'4/i1d1a11a on her lion-mount. She is ten-armed with her major right hand extended in varada
displaying a lotus-mark while her major left hand holds a vase. Her other left hands hold a
bell, an unidentifiable object, a <a/era and vajra while her remaining right hands hold a
trident, ribbed-mace, rosary and an indistinct object in countcrclock order. In the sanctum
of the nonh khiikharii shrine is an eight-armed image of Durgii. seated in lali1a1ana on a
viivapad"'a scat. Beneath her scat is her lion mount and a diminutive four-armed goddess
seated in l11/i/d1ana. A standing eight-armed image of Durgii. appears in a vajra· mll!'(ii niche
on the south wall of the jaga,,,ohana. She stands in a rigid sa,,,abhariga pose on a vilvapadma
cushion next to her lion-mount and is flanked by a female <aNri-bearer on each side. In her
hands, beginning with the lower right and running clockwise, she holds a vajra, unidentified
weapon (possibly a larika or a karllrka}, a sword, gat/4, trident, fa/era, bell and a conch.
Original from
11 Z TEMPl.F.$ O F T HE 3'rll-91·u Cl\N.n'RIES O l.TSIDE OF BH L"BANc SIX.AR
The lower medallion of the vajra·1'taslalta on the cast face of the ga11(ii houses a six-armed
Na1ariija dancing in the cat11ra mode with his upper two hands holding a serpent over his
head. The major right hand is in lta/alta·haJ/a while the left arm is in ga)a·hasta. The middle
set of hands hold the edge of a scarf hanging from his shoulders. He is irdhvalinga and
wears a 1arJ>4·lul11(iala in his right ear. An attendant is in the lower right comer and Nandr
occupies the opposite comer of the niche. The image is crudely carved and is either a later
replacement or a reworking of the original image.22 Na1ariija images also appear in other
vajra·1'tastalta designs, including a two-armed example in the upper medallion of the east
face of the ga!lfii on the southwest comer shrine, a ten-armed image in the upper medallion
on the west face of the ga/f(ii of the rtkhii at the southwcs1 comer of the jaga,,,ohafla and a
14·armed example in the upper medallion over the south door of thejaga111oha11a. In the last
image Nandr appears behind Siva while ParvatI is seated in ardhaporyanlta in the lower left
comer. Images of Ganesa and Bhp'lgl assuming a similar dance pose appear in the borders
of the taitya. The best example, however, is the 11-armcd Na1araja in the western-most
vajra·1't"ll(ii on the south wall of the joga,,,oha11a. Iconographically this image is similar to the
image on the Miirkat;1deycsvara temple though here the serpent is held horizontally over his
head and a dancing BhrngI is added in the lower right comer.
Among the other Siva images housed in medallions or niches of the vajra-mastal<a designs
are numerous examples where he is seated in ardhaJ>4ryanlta with his right hand resting on
his knee and holding a lotus, a motif popular on the early temples at Bhubaneswar. The
largest of these is the example in the niche of the vojro·,,,1111(ii projecting from the roof of the
jaga•ohana on the nonh side. Siva is flanked by a standing female toNri· bearer at the left
while in the upper right comer is a figure, seemingly emerging from a lotus or standing in
clouds, represented from the knees up with hands folded in aiija/i. The pedestal beneath
Siva is mostly damaged though a prancing horse is visible at the center and a seated male
at the extreme left . A similar seated Siva is in the vajra·mastalta on the west face of the ga!lfii
on the southeast comer shrine while another appears on the nkha at the nonhwcst comer
of the jaga1'tohana. In the example on the south face of the rtkhii at the southeast comer the
pose is similar though the figure has a slight pot-belly. In the scene on the south face of the
first entrance gate, where Siva is receiving alms from female figures standing on either side,
he is also depicted in ardhaparyalilta though he holds a ltapiila. lo the Bhik$iitanamuni motif
of the upper medallion on the cast face of the dtN!, Siva is represented in the conventional
standing pose with his left knee bent. He holds a staff with peacock-feathers over his right
shoulder and holds the ltapiila in his extended left hand while Annapilrni offers alms. He is
surrounded by numerous female figures and an amorous couple siands in the background.
As in the case of the Na1araja image below the work is crudely carved.
There are also numerous busts of Siva housed in the medallions of the vajra-,,,astalta
designs, including one on the west face of the rekhii a1 the south-west comer of the
jaga•ohana. The most impressive image, however, is that in the lower medallion on the east
face of the rtkha at the nonheast comer of the jaga111oha11a which represents Mahesamuni.
The image is represented from the shoulders up as on examples from the Parasuramesvara
temple, panicularly the example on the ga/f(ii, and the terrifying and benign aspects arc
clearly illustnted. The oghora aspect on the proper right has a beard, mustache, fangs and
22 Set /Md., pp. 71-74.
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Tf: ~tPJ. E S ( l F TJIE 1Tl-l ·9T l l Cl-:NTl. Rl l:S <>L'TSIOE <>F Bt tl·ts ..'\:"ES\'f;\R II J
holds a serpent while Umii, on the proper left, has slightly downcast eyes, feminine features
and holds /utaka Rowers in her hand.
The lower medallion of the vajra-111111111"4 over the south door of the jog11111oh111111 contains
an image of the Andhakiisura-vadha-miini of Siva. As in numerous other Orissan examples
the motif here combines the Andhakiisura motif with that of Gajasurasamhiira. Siva is six-
armcd and holds the elephant skin over his head with his two upper hands while piercing
the demon Andhaka with a trident held in two lower hands. His lowest two hands hold a
rosary and a J.apti/11. Siva is itrJhvalinga and wears a long garland of skulls. Other figures in
the scene include Nandr, Yogcsvari, Piirvat! and numerous gairo1.
An image of Lakulisa is housed in the lower toirya-mcdallion of the vajra-1110110"4 on the
cast face of the southwest comer shrine. Lakulisa is seated with his legs lirmly locked and
holds the lakM/11 against his left shoulder. The hands, however, appear to be clumsy
restorations and do not exhibit the standard Jh11r111atakro-provar//0110·111lllira. He is seated on
a 1iivapaJ11111 scat with lush lotus arabesques beneath and Ranked by two disciples on each
side who sit on a lotus cushion which issues from the central design. The disciples each
hold a book in one hand.
In the lower medallion of the vajr11·111asla"4 on the cast side of the nonh-wcst comer
shrine, overlooking the images of Kiintikcya and Gancsa on the upper comers of the
doorframc, is an image of Hara-Piirvatf riding on the bull Nandr. Siva rums back toward
Piirvatl and aJfcctionatcly embraces her with his right' arm. There appear to be images in
the lower comers of the medallion but they arc mostly defaced. There is also an image of
Hara-PiirvatI on the lintel of the southwest comer shrine though it is panially wom. They
arc seated oo a low scat with their respective mounts carved underneath. There arc also
two large Hara-PiirvatI images, of approximately the same size, which most likely served as
ptirfv11-Jtv11la images in the comer shrines. The first is now housed in a makeshift niche in
the compound wall near the nonhwcst comer. Siva is seated in /11/i1as111111 with Piirvatl on
his left thigh. He is four-armed and embraces Piirvatl with his major left arm, his hand
gently touching her breast, while his major right hand is held in abh<!J"· His upper right
hand holds a trident and his upper left a rosary. Piirvatl drapes her right arm around the
shoulders of Siva while her uplifted left hand holds a mirror. In the upper comers of the
niche arc diminutive images of Gancsa and Kiintikcya. The mounts of Siva and Piirvatl arc
carved beneath their scat along with a kneeling couple at the left, the male bearded, and a
young male at the right, all facing the divine couple with hands folded in aiijali suggesting
they could be the donors of the work. The second image is now loosely placed within the
jaga111oh111111 and is similar but not as well preserved. Although Siva assumes the same pose,
Piirvatl is slightly altered and is likewise seated in /11/ita1a1111. Their respective mounts are
carved beneath their scat.
There arc also numerous standing images of Siva, housed in the vajr11-,,,11!14i niches on the
jatigh11 of thcjag11111oh111111, on the rrl<ha1 at the four comers and on the corner shrines, some of
which assume aspects not appearing at Bhubancswar. There arc numerous images, for
example, where he holds the paroi11 or battle axe as his major weapon , a feature appearing
only rarely at Bhubaneswar. In one unusual image on the south wall of the joga111ohan11 Siva
is depicted standing on the back of a crawling demon identified as Oak$a.2l He assumes a
rather erect pose and is four-armed. He holds a rosary and vessel in his major hands while
J:.) Ibid., p. 61 .
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114 TE ~IPl. ES OF THE 1TH·9TH CENTlJRIF.S Ol:TSIDE <>F 811\"IMN ESIX"AR
his uplifted back hands hold a trident and the parai11. He is flanked on either side by an
attendant who stand on the tail and head of the demon. The helpless, homed demon, being
crushed by the weight of Siva and his attendants, looks up at Siva as if begging for mercy.
ln another unusual aspect, on the nonh wall of the jaga•oha11a, Siva assumes a similar
rigid pose and extends his lower right hand in varada while holding a rosary, water jar and
mrga (miniature stag} in his other hands. The mrga also is not a standard attribute for early
images at Bhubaneswar and suggests influence from South lndia where it is popular. Siva is
flanked by a female attendant on either side, rather than ga11a1 as at Bhubaneswar, and his
garment hangs to his ankles in an atypical manner. There is also an image of a two-armed
Candra, a relatively rare motif though there is a seated example on the Parasuramesvara.
Candra stands in a slightly flexed pose holding a rosary and a water jar. His coiJl'ure and
facial features arc badly damaged though the crescent moon is clearly visible behind his
head. A male and a female attendant are in the lower comers of the niche. On the south
wall of the nonhwcst comer shrine is an image of a three-legged Bhri\glsvara, also a rare
motif. He is four-armed and places his major hands on flanking attendants while holding a
parafll and a trident in his uplifted back hands.
Of the more standard representations of Siva one of the most interesting, as the early
examples on temples already discussed are poorly preserved, is the Gangadharamiini in a
niche on the south wall of the jaga,,,oha11a. Siva is four-armed and stands in a slightly flexed
pose. His major hands arc in varada and hold a vase while the uplifted right hand has a
rosary. The back left hand stretches out a lock of hair to release Ganga who was tangled in
his locks. Ganga is depicted descending above the lock of hair and is represented again in
the lower left comer standing on her mount. Bhagiratha kneels in the opposite comer with
his hands folded in aiijali.
The image of Aja-Ekapada on the nonh side of the jaga•oha11t1 is similar to early
examples at Bhubaneswar except the water vase is replaced by a mrga which again suggests
South lndian influence. There arc two images of Hari-Hara, one on the nonh side of the
jaga• oha11a and the other on the southwest comer shrine. Jn the latter image the deity holds
a rosary, vase, <alt.ra and conch while in the former the lower right hand is in varada and the
uplifted hand holds a serpent. The lower left hand, placed against the thigh, holds a conch
while the uplifted hand holds a gadli. The respective vehicles of Siva and Visnu appear
beneath the pedestal while ayllilhap11,.,,1a1 Bank the deity. An image of Ardhaniirisvara
appears on the south side of the rtlehii on the southwest comer of the jagamoha11a. The right
hands hold a vase and a rosary while the uplifted left hand has a mirror. The lower left
hand is resting on the thigh.
In addition to these Saiva images there arc a surprising number of Vaisnava motifs. The
largest image, a detached sculpture of Visi:iu now placed in the jagamohana, is carved of
chloritc and is slightly later in date than the temple. Stylistically and iconographically it is
closely related to images in the Nilamadhava temple at Gandhara<;li which dates to the
opening years of the 10th century. Visnu stands in a rigid samabhatiga pose with his lower
right hand in varada displaying a lotus-mark on the palm. The lower left hand rests on a
mace while the uplifted back hands hold a taltra and a conch. He is flanked by Sridevi and
Bhiidcvl. A second image within the jagamoha11a represents Visnu in the Garu<,liisana-miini,
a rare example of this motif in Orissan an. Visi:iu is seated on his mount with his lower
hands in varada and holding a gatla while his uplifted hands carry a talua and a conch.
Garu<;la is represented holding the legs of Visr:iu.
Original from
TF.~IPl.ES OF THF. 1TH·9TH <:EN Tl :RJES <>l!TSIOF. ()f 8H l1BANF..S ~'A R 11 1
There: arc also numerous representations of a•alars of Vi$QU, including two examples of
Nrsimha with one on the lintel of the northeast comer shrine and the other on the south
wall of thc j aga,,,ohalfll. There: arc also two images of Variiha, one on the south wall of the
jaga• ohana and another within thcjagaMohana. Also within thcjagaMohana is a partly broken
image of Trivikrama. Although there arc numerous avatar images on the early temples at
Bhubancswar they arc small in size and arc generally confined to the a1111rihi recesses of the
gaHi. These images arc quite large, on the other hand, and obviously filled major niches
with some still i11 si/11.
In a makeshift niche in the compound wall in the northwest comer is an interesting
image of the Yamalarjuna motif of Kni:ia uprooting the twin trees. The young Kn1:1a is
standing in a sa,,,abhaliga pose holding the trunk of a tree in each hand. Immediately above
each hand is the head of the yak,ra brothers, Nalakubera and Mai:iigriva, while above their
heads arc: visible the upper branches of the trees. A similar image appears on the early 10th
century Pailca-Piii:i<,lava temple at Gai:ieswarpur though the image is badly worn.
There is also a unique image of Garu<,la represented in anthropormorphic form in a niche
on the north wall of thejaga,,,oha114. He is standing with his left leg crossed behind the right
and leans on a staff with his left hand. His right hand holds a rosary in front of his chest.
He wears a 1arpa·kMM4/a in his right ear and his armlets, necklace, waist-band and anklets
are formed of serpents. Wings are visible behind his shoulders.
There arc: at least five images of Siirya on the temple complex with four of them
rc:presenting the deity standing alone holding the stalk of a full-blown lotus in either hand,
though in one example on the rtkhi at the northwest comer of the jaga,,,ohalfll he has four
arms with the added lower hands holding his waist cloth. The most interesting image is the
one on the lintel of the southeast comer shrine which is a near duplicate of the one on the
east facade of the gaHi of the Vaitiil D<:ul. Siirya is represented from the thighs up riding in
his chariot pulled by seven horses. Arui:ia is seated in pad,,,isa11a holding the reins while Usii
and Pratyilsi flank the deity, their bodies gracefully bending outward, though they are not
shooting arrows.
Other cult images housed within vajra·1"11Hi niches include Indra on the north wall of the
j aga,,,ohana. He stands in a slightly flexed pose holding the vajra in his right hand while his
left hand holds the tassels of his waist-band. The elephant appears behind Indra. There is
also an image of Sarasvati within thcjaga,,,ohalfll. She is seated in ardhaparyalilta holding the
,;~,; diagonally in front of her body with her major set of hands while her uplifted back
hands hold a manuscript and a lotus. Placed within the north rihi niche of the rtlt.hi on the
northeast comer of the jaga,,,ohana, thus being elevated to a cult status, is an image of a
Nigi11i. She stands in a rigid saMabhaliga pose holding a rosary in her right hand and a water
jar in her left hand. She wears a heavy garment that hangs to the ankles and her hair is
arranged in a ltaraM4·,,,11"'11/a. A canopy of seven serpent hoods appears behind her head
while a diminutive attendant occupies each lower comer of the niche. There arc in addition
numerous other deities, both male and female, which arc unidentified, housed in the •ajra·
•'".'iii niches. There is also a detached image of the Buddha loosely placed near the
southeast comer of the compound. Placed outside the entrance to the compound on the cast
is a fragmented slab with a displayed male with hands placed on his head. He is flanked on
either side by an attendant holding a parasol above his head to suggest he is either a deity
or a royal figure.
Original from
7. Fig11rt Motifs
Despite the multitude of deities enshrined within the temple complex non-cult images
still play a major role in the overall decorative program, probably even more so than on the
early temples at Bhubancswar. Most of these images fall into two main categories. The
first, and most dominant, of these categories consists of images of female figures and
mi1h1111as which, along with the predominance of female dvarapalas, testify to the strong
Tantric nature of the decorative program. The female figures often assume the lalabhaifiileti
or allied roles. In addition to appearing on the multitude of jambs of the many doorframcs,
both motifs also occupy the major niches on the rtle.has at the comers of the jagamoha"" and
on the shrines at the comers of the compound. Their placement in these major niches
follows the practice established at Bhubaneswar as cxcmplicd on the Vaitiil Deul. A
peculiar aspect of the female figures on the Madhukesvara, however, is that they generally
hold a (allri in one hand and lean on a staff, a pose standard on 7th century temples at
Bhubaneswar which testifies again to the strong predilection for archaizing prevalent in the
overall decorative program. As on the Vaital Deul there is generally a halo behind their
heads. Their hair is usually arranged in a large chignon on one side of the head which
frequently resembles a large shell though in one example this chignon is arranged in tiers of
snail-shell curls. This coiffure differs from 8th century examples at Bhubaneswar where the
hair is tied, or rolled-up, on top of the head. The lower garment is also heavier on the
female figures at Mu khalingam in contrast to the transparent treatment dominating at
Bhubancswar. They assume a variety of poses, holding a 'a11rf, a lotus or a weapon, and
often exude a naivite and charm reminiscent of the figures on the 7th century temples at
Bhubaneswar rather than the classic solemnity and inner contentment typical of 8th century
images. In numerous cases the ca11rf extends outside the niche whereas at Bhubaneswar the
images arc always self-contained within the boundaries of their niche.
The milh11fta images generally exude tenderness and compassion in keeping with their
counterpans at Bhubaneswar. The panners exhibit an infinite variety of poses relating to
couning etiquette, from coquettish modesty to clinging embracement. In some of the most
tender scenes the male affectionately places his hand on top of his panncr's head or gently
lifts her chin . The male coiffure is also quite distinct and generally consists of pine-cone
curls cascading down to the shoulders with a small lotus d iadem placed at the top of the
head. In some cases these mi1h1111as arc placed in the raha niche on the shrines, a position
normally reserved for parfva-dtvalas, which testifies to their great sanctity. In addition to
these tender "'ilhllftas there arc also numerous mai1h11fta images in which sexual congress is
cxplicity illustrated. The most prominent of these mai1h1111a images appears in the lower
medallion of the vajra· mallalta on the rtle.ha at the nonhwest corner of thejaga111oha11a. In this
scene the male approaches the female from the rear. She bends forward and leans on a long
staff surmounted by a ralera. A basket hangs from her left arm.
In addition to these milh11na/ mai1h11fta motifs there are also numerous scenes of human and
animal sacrifices which funher testify to the Tantric nature of the temple. In one scene on a
loose slab a woman holds a balance which contains a man on one side, his limbs and head
drooping, while on the other scale is a headless human body. Jn another scene a wo man is
bound and hanging from a tree, about to be sacrificed, while in a third scene a six-armed
goddess is about to behead a man held in one of her hands.2• In the niche of a miniature
l• I/Iii.. P· IOS .
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rrlt:hi-Jt,,f, placed just outside of the first entrance gate on the cast, is a kneeling warrior
who grasps his hair with his left hand while appearing to sever his own head with a knife
held in his right hand.
The second major category consists of warriors, hunters and wrestlers. On the lintel of
the cast door of the jaga111oha111J, as mentioned earlier, is a long panel depicting Krsi;>a and
Balarama at Kamsa's coun while on the projecting caves above arc frieze motifs of hunters
attacking various animals, some of the animals being carried away afrcr the kill. On the
lintel of the southeast comer shrine arc panels depicting warriors, infantry and calvary,
vigorously engaged in combat. Similar scenes of warriors appear on the lintel of the
nonhwcst comer shrine while on the cast lintel of the second cast gate is a panel of
standing warriors below and a frieze of two armies confronting each other above.
Although a few such scenes appear at Bhubaneswar they are generally small in scale,
confined mostly to the bara~(ia recess or the projecting cave of the jagamohaM, and illustrate
either the hunt of wild elephants or specific scenes from the epics. Herc, however, the
scenes appear to glorify the military might and skill of the Ganga army.
Warriors also appear enshrined in the vajra-111,,~(!i niches of the comer shrines. In the cast
niche on the nonh side of the southeast comer shrine, for example, is a warrior who holds
a long stringed-bow in his left hand and an arrow in his right hand against his chest. A
quiver of arrows appears above his right shoulder and a dagger appears on his waist belt.
A diminutive female stands in the lower right comer of the niche. In another niche the
warrior holds a curved sword in his right hand while his left hand rests on a rectangular
shield. In contrast to the cascading locks on other male figures the coiffure of the warriors
is tightly tied into a bowl-shape near the top of the head. There is also a carving of a
warrior elephant on a loose slab placed against the south compound wall near the southeast
comer shrine. The elephant is crushing one enemy warrior with an uplifted front foot while
lifting another up with his proboscis. On the back of the elephant behind the driver is a
warrior shooting an arrow from a stringed-bow. A second figure is behind him and a
parasol above though badly fragmented. Above the elephant is a row of three figures while
on the surface of the slab in front arc many arrows flying towards the animal. There is also
a group of warriors on the lintel of the second cast gate with their leader crawling before a
scared figure and a stand with offerings. The warrior has a sword in his right hand.
According to local tradition the frieze illustrates the story of the origin of the name of the
temple.
Of the other figure motifs the most inrcrcsring are seated ,,;,. The most concentrated
group appear on the inside jambs on the east side of the second cast gate. Some of the r1is
arc emaciated and a few have beards. The groups in the lower two panels on the proper
left side arc kneeling with their hands in aiijali while the group in the upper panel are
standing with one holding a trident. There are also three panels on the proper right side,
also with three r1is in each panel, and they arc all seated or kneeling. l\iost of them hold a
rosary in one hand and a small mace-like staff with a vcnical projection at the top. The
squatting atlantids, decorating the upper raitya of vajra·111"111'is at Bhubancswar, arc
primarily confined to the architrave over the doorframc of the comer shrines. Their place
on the vajra-1111111(!is is sometimes occupied by vitlyidharas which is more in keeping wirh
Cii!ukyan traditions. Vidyidharas arc quire abundant and even appear arranged as a frieze
above the graha panel on the southwest comer shrine.
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Tc~IPLf.$ OF THE RTH·9TH CENTURIJ;S Ol! TSll)E OF BHL:8ANES\X.AR
8. Duoratiw Motifs
In addition to the ,.,;g;,.; housed within a •ajra-11t111Ji/i niche, thus elevated to the status of a
sanctified deity, there arc ten naga figures serving as gargoyles on the roof of thcjaga11tohana,
four equally spaced on the north and south sides and two on the cast, one on each side of
the entrance portal. Except for one who is seated in pad11ta1alfa they arc represented from
the waist up in human form with a canopy of five or seven serpent hoods over their head.
They each hold a vase in front of their chest, as on numerous examples from Bhubancswar
where they were generally associated with the entrance portal rather than serving as
gargoyles, with the vase serving as a spout to drain off the water from the flat roof of the
jaga11tohalfa. At the base of the dtN/ on the nonh side, projecting out from the pabhaga and
resting on the pi/ha, now buried, is a Nagariija likewise serving as a gargoyle to drain off
water from within the garbha-grha. His tiara is formed of coiled locks arranged in tiers and
he is richly bejewelled. On later temples this drainage spout is carved in various motifs,
human and animal, with the 11taleara being particularly popular.
In contrast to the naturalistic treatment of the elephant and horses already discussed,
serving primarily for military or hunting scenes, the lion is generally treated in a heraldic
manner and frequently associated with •aJra-1'tasla/ea designs. In some cases, as on the rtleha
at the southwest comer of the jaga,,,ohana, they flank the upper raitya crowning the
•ajra-11t111Ji/i designs, replacing the atlantid dwarfs standard on 8th century temples at
Bhubaneswar. As the emblem of the DcvI it frequently fills the rairya-mcdallions of the
vajra-1'tastalea designs where it is generally represented as a mask. The lion also appears,
along with elephants, on the tala-bandhana blocks of the comer shrines. There is also a pair
of lions flanking the stairs leading up to the entrance into the compound on the cast. The
most interesting examples arc the hybrid monsters represented in addorsed fashion
following motifs carved on temples at Bhubancswar. In one, duplicating a design on the
Parasuramcsvara, a kirti1'1Nkha mask is carved in the center of the addorscd lion-monsters
and garlands of pearls drip from the mouth of all three creatures. In a second design,
duplicating one on the Sisircsvara temple, they arc represented as addorscd jagratas with
riders on their back.
Of the inanimate motifs the most popular, aside from raitya-mcdallions, is the piirria·gha/a.
It is most often carved at the base of the scrollwork on doorframcs, as at Bhubancswar,
though it is more prominent on the Madhukcsvara and in some cases not as squat in
proportions but rather like a vase. It is also carved as the pedestal and capital of pilasters as
on 8th century temples at Bhubancswar, thus simulating a flattened k#nrbha-stambha. On the
architrave over the doorframc of the southeast comer shrine the piirria-gha/a appears as an
independent motif carved on panels alternating with perforated ja/i.
The scrollwork on the Madhukesvara temple complex is probably the most varied Of!
any Orissan temple even though it is confined almost exclusively to the doorframcs.
Though many of the jambs arc dominated by figure motifs the multitude of doorframcs still
offers plenty of scope for decorative scrollwork. The most popular scroll motifs arc the
ratiktra and gtlaba with each given varied and individual treatment. The ratiktra, as
indicated earlier, even includes figure motifs within its foliage, one of the most charming
examples being that of a ialabbaiijikii embracing a stalk with her right hand while placing
her right foot against its trunk. In some examples the scrollwork issues from a squatting
yak/a at the base of the jamb or from a squatting figure on the lintel. In other cases the
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TicMPLES OF THE &TH·9TH CEN Tl'RI F.S OUTSIDE OF BH UBAN ESIX' AR
scroU is transformed into the JHitra-latti with circular sprays being arranged in symmetrical
fashion rather than altcmatcly spreading to the left or right. In the gtlaba scroU the figures
climbing the meandering vine arc frequently arranged in pairs as at Kualo. In other cases
the figures arc deeply undercut and more clearly separated from the vine and its foliage. In
addition to the swing motif, noticed on many 8th-9th century temples, some of the figures
play musical instruments. In some examples the meandering vine is ornately carved and
even given a textural effect through minute cross-hatching. On the lintel of the south
doorframe of the jaga•oh""'1 the gclaba scroll continues horizontally, rather than being
transformed into viJytitiharas in the standard fashion, so that the figures arc alternately
crawling or reclining on their back.
Also popular is the •ali ph11/a phali"4 scroll, consisting of flowers placed within triangles,
which even appears on the lintel of the southeast comer shrine. Other scroll motifs include
the related tiha1111 ga111hi, """"'" pr!lho, holilsa-lati, •a"4ra-latti,)alapatra and u/ili. The 1111na-
latti, characterized by lush foliage and oblique cutting techniques, is absent.
As is to be expected in such a large complex with a multitude of figure and decorative
motifs there is inconsistency in quality most of which is the result of workshop
panicipation. In numerous images, for example, the feet and hands arc clumsily executed. It
is also evident that different workshops, or master-carvers, were engaged in the decoration
as some of the images arc stylistically dissimilar. The fact that there is no decoration on the
present walls of the tin/ make it difficult to dcttrminc the peculiar style of the most
imponant master-carver. It is also difficult to determine if al.I of the major shrines arc
contemporaneous due to the elevation of the compound floor which buries the pi/ho
beneath the tk11/. The Na1arija and Bhik$i1anamiini motifs of the vajra·Masla"4 on the
cast facade of the tlt11/, placed above the roof of the )agaMohalltl, either rccarvcd or
replacements for the originals, arc different in plasticity and carving technique, being rather
crudely executed and overly crowded, and closely related to images from Eastern Cilukya
temples at Biccavolu and Madugula." Although there arc scattered stylistic motifs and
iconographic features obviously borrowed from Cilukya traditions the majority of the
figures and architectural motifs follow established Orissan tradition.
G) PAIKAPAOA: MALl.IKESVARA AND PATA LESVARA T EMPI.ES
Closely related to the Madhukcsvara temple, in respect to iconographic and stylistic

aspects of the cult images, and possibly the work of the Ganga kings, is the temple complex
near the village of Paikapa4a in Koraput district, nonh of Riyagada and a few miles cast
of the railroad junction at Thcrubali. It is thus situated in the region known as Trikaliilga
which was of strategic imponancc at this time and famous for its elephants and tribal
warriors.U Though most likely under the hegemony of the Ganga rulers this territory was
continually a bone of contention among the Cangas, Eastern Ci)ukyas, Somavari'lsls and
Ccdls and was apparently ruled over by each at various times as numerous rulers assumed
the title of "Trikalingidhipati" after having annexed it to their territories. 27 The complex
consists of numerous temples, extending over a considerable period of architectural
" /biJ., p. 46.

" Sec S. N. Rai2guru, Hisl•ry •/ th< Gan~as. II, pp. 8·9.
n P. Ach2rya, "TriJ1nga, Trikalinga, Kalinga, Odra & U•kala''. OHR] . \ 'ol. 1 ( 191:), pp. 7}·9J .
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160 TJ;MPLF.S OF T il e 8T IJ .9TH C:ENTl'. RIES <>l'TSIDf> O F SHl' BANcS\l.AR
activity, which arc situated at the base of a hill next to a small lake. There arc numerous
undcciphcrcd early inscriptions in addition to a later Ganga inscription found at the site.
The most interesting aspect of the complex is the iconographic features of some of the cult
images, including various forms of Siva seated in padmisana, which are the earliest such
examples in Orissa.
1. Ma/liluivara Co111po1md
The southernmost temple of the group is the Mallikcsvara which is of the patlri.Jalana
class with small subsidiary shrines at the four comers. Except for the southwest corner
these small shrines arc intact but arc devoid of sculptural decoration. The main shrine faces
cast and consists of a small rtlehi·dt11/ directly fronted by ajagamohana with a flat roof now
collapsed. The shrine has been panially reconstructed with modern materials. The dt11/ is a
simple tri· ralha structure with the side pagas designed as miniature Pajra-1111111(1.is though
nothing of the decorative program has survived except for the pariPa-dtvatas. As
reconstructed the ga{l(i.i, crowned by an amalaka with surmounting kalaia, is extremely squat
and barely reaches t ! feet in height. The j11g11mo11a1111, rectangular in plan, has a center
gava/qa projection flanked by two vajra-m11{1(1.is on each side and thus is similar in design to
that of the Sisircsvara though the decoration has not survived except for images housed in
simple niches. The gavik,ra window is designed as a ralera, rather than simplcja/i patterns as
standard on Orissan temples of this period, and thus betrays South Indian influence. The
interior of the jagamohana was lined with two rows of four pillars each though only four arc
in si/11, one of which has a small inscription. The roof originally sloped in two stages.
The piriva·dtvatas arc ;,, si/11 and consist of G:u:icsa on the south, Kantikcya on the west
and Mahisamardinl on the nonh. Gal)esa is seated in ardha-paryanka eating sweets from the ·
modaka-pitra held in his lower left hand and holds the /ell/hara in the upper left. The right
bands hold a radish and rosary. A rat is carved on his pedestal eating sweets from a bowl
placed on a tripod. Kantikeya is seated in lalitasana on a throne holding the ialeli in his
uplifted right hand aod a vija-piiraka in his left hand resting on his knee. The peacock
appears on his pedestal. MahisamardinI is eight-armed and the demon is represented in
human form attempting to escape from the decapitated carcass of the buffalo. She holds the
trident with her front right hand while the same left hand has a rectangular shield on its
arm and is pressing down on the demon. This placement of the shield becomes standard on
later images whereas on earlier examples the shield is generally circular and held near the
upper left comer of the niche.
The most interesting images are those housed in the niches of the jagamohana, though
their placement may have been changed during reconstruction. On the nonh, beginning on
the west, the images are of Lakullsa (usually placed on the south), ArdhanariSvara, Aja-
Ekapada and Yoga-Daksil)amuni. LakuliSa is seated with his legs crossed and bound by a
yoga-pal/a. He is four-armed with his back hands holding a rosary and indistinct object. The
four comers of the niche arc filled with a disciple seated in padmasana holding a manuscript
horizontally in front of their body. ArdhanariSvara is seated in padmasana with legs firmly
interlocked, a rare example of this form of the deity assuming a seated pose. The right
hands ho ld a kapiila and trident while the left hands hold an indistinct object, possibly a
vase, and a mirror. The respective mounts of Siva and Parvati arc placed beneath the scat.
Aja-Ekapada is represented in the standard manner and holds a rosary, trident, serpent and
vessel in his four hands. The bull Nandi appears behind him while attendant figures occupy
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TE~IPl.f.S O F T HF. •Tlf.9Tlt CENl.L' RIES OL.TSIDf. O F BHL.Bc\NES\C'R 16 1
the lower comers of the niche. Jn the Yoga-Dak~iQiimiini image Siva is seated in Jlall• a1a1111
on a •ilapad• a with his lower two hands resting on his lap in dhy'ana or yoga-•l«lrii while
his upper hands hold a rosary and trident.
The images now housed in niches on the south side of thcjaga•ohana, beginning from the
west, arc of Siva seated in pad!lfasana, Gangiidharamilni, Siva again seated in paJ,,,01111111 and
Hara-Parvatf. In the first image of Siva seated in padmiisana his major hands arc extended in
varada and raised in abhaya while the uplifted back hands hold a trident and a ltapiila. He is
irdhva/iliga and a crescent moon is in his jafa·llfM/ulfa. In the second image his major hands
arc in varada and hold a para/11 while his uplifted back hands hold a rosary and a trident.
The bull Nandr is placed on the face of the viivapadllfa scat. In the Gangadharamilni image,
Siva stands in a slightly Acxcd pose with his lower right hand in varada while the left hand
is now broken. The upper right hand extends a jafa from his coi&'urc while the left hand
holds a trident. A badly damaged image of Ganga appears above the jafa and she appears
again in the lower left comer though all that remains is her head. In the Hara-Piirvatf image
Siva is seated in lalitiisa1111 with Piirvati, her body turned away from him, seated on his left
thigh. Siva embraces her with his lower left arm while his right hand, now missing, was
raised in abhaya. His uplifted back hands hold a rosary and a trident. Piirvati, her upper
torso turned back towards Siva, embraces his neck with her right arm and holds a mirror in
her left hand. The pedestal is badly damaged though the respective mounts arc panially
visible.
In a niche on the cast side of the jagallfohana Siirya is depicted riding in his chariot
holding a full-blown lotus in either hand. He is Aankcd by Usii and Pratyiisii. Arut;1a is
seated on the center horse rather than on the chariot in the conventional manner. Vi~l)U, on
this cast end, stands in a sa!lfabhaliga pose with his lower right hand in varada and the left
hand resting on a mace. His upper hands hold a conch and a rah-a. The lower comers of
the niche arc occupied by Srldcvl and Garuc;la.
In front of the jaga,,,ohana is a small N andT shrine which, as at Mukhalingam, betrays
South Indian inAucncc as NandT is generally not housed in a special shrine in the Orissan
temple complex. On the porch of the Riime5vara temple in front of the Nandr shrine is a
detached image of Surya. Surya is represented in full view standing in his chariot. He holds
a full-blown lotus in each hand. Usa and Pratyilsii Aank Surya and arc in the act of
shooting arrows. Dal)c;lf and Pillgala stand behind these goddesses while Aruna is placed
immediately above the center horse rather than seated on the chariot.
The Birai\ci Narayan• temple, just nonh of the Ramesvara temple, faces cast and is
approached by a Aight of steps from the small lake at the eastern boundary of the complex.
Mahisamardini and Gal)esa arc in the nonh and south riihii niches respectively. Gai;icsa is
eight-armed and depicted in a dance pose. His right hands hold a radish, hithiira, rosary
and se rpent, the latter being held horizontally above his head with its tail held in his upper
left hand. The other left hands arc broken. The original image in the west riihii niche is
missing and is now replaced by a scene of /iliga·plijii, a standing couple and Nandr
appearing on a pedestal. Within the sanctum is an image of Vi~11u standing in a
u 111abhaliga pose. He holds a rakra and a conch in his upper hands while his lower right
hand holds an indistinct object and the left hand rests on a mace. Another image of
Gancsa, similar to the piiriva·dtVatii of the Mallikcsvara temple, is inscncd into a makeshift
niche of the exterior face of the Piitii)esvara compound wall near the Birai\ci Niiriiyai;ia
temple.
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TEMPLES OF THE ITH·9TH CENTURIES OL!TSIDF. OF BHllBANESIX'AR
1. Piti/efvara Co•pollllli
The Patilcsvara temple faces west and is framed on three sides by a compound wall
while on the back rhc dt11/ is carved into a huge boulder. The compound wall has two
entrance gates, as at Mukhalidgam, with the main gate on rhc west designed as a rekhi,
rather rhan a khikhari, while the smaller gate on the south is designed as a pii/ha. The
temple is of the paiiti.Jatana plan with a miniature rekhi-shrinc at each of the four comers of
the compound. There is in addition a NandT shrine in front of the jaga•ohana, a rekhi·dt11/
housing the Sapta11titrlt41 fixed to the compound wall oo the south, a small rtkhi-dt11/ in the
nonh-wcst comer, a pi1'/Ja·dt11/ on both the nonhwest and southwest comers of the
jaga11tohana, two truncated rtkhi-dt11/1 anachcd to the nonh side of rhc jaga11tohana and several
modem structures scattered on both rhc nonh and south sides of the compound. There arc
also numerous detached images lying within the compound with some of them being more
recent works and folk-like in character.
The dt11/, as mentioned, is carved into a huge boulder so that there is no bi# on the
south or cast sides. On the nonh, however, the bi/la is structural and is decorated with a
large, empty niche in tbe center. The roof is of the pi(iha order with three pi1'/Ja-mouldings
of diminishing size crowned by an a11tala"'4 with a surmounting "'4/afa. The sanctum is
carved deep into the boulder and is extremely dark.
a) Jaga•ohana
The jaga11tohana is rectangular in plan, measuring 11 feet wide and 31 feet 8 inches in
length, but is unfonunately covered with layers of plaster and whitewash so that the
decorative details arc obscured except for the basic outline of the pigas and the images
housed within their niches. The pibhaga, 17 inches in height, consists of four mouldings
similar in design to rhosc at Badgaon but with a venical bar added in the center of each
piga, a late decorative feature which helps to date the temple chronologically. Thcjangha is
391/ 2 inches in height and appears to be crowned by a heavy bara(lfla, t6 1/ 2 inches high,
which apparently replaces the vi11tit1i"'4 designs crowning the pigas. The long sides of the
jaga111ohana arc decorated with a center gava/t.ia, turned into a door on the south, Aankcd on
cirhcr side by three pigas plus a rhin pilaster at each comer. On the shoncr west side there
arc only two pigas plus a pilaster added on each side of rhe entrance ponal. Borh this west
door and that on the sourh arc framed by progressively recessed bands as at Mukhalidgam
rhough rhc decorative program is hidden by plaster. On rhe nonh side the gavi/t.ia window
is filled with lattice consisting of interlacing circles rather than jili perforations as
conventional on early Orissan temples.
The roof of the jaga11tohana, in its present form, is a truncated pii/ha consisting of six pii/ha
mouldings of diminishing size which terminate in a Aat surface without any crowning
"'"''""-"· The edge of each p4/ha is decorated with spaced tililuls or semi-circular projections.
On the Aat crowning pii/ha the tililuls abut one another and appear like merlons. The design
of the roof, seemingly a transition stage between the early sloped roofs and the later
pyramidal designs, is most likely a later renovation based on similar designs popular
throughout Andra Pradesh, such as at Tekkali in Srrkakulam district. The projections
above the gavi/t.ia and doorways consist of three pii/ha mouldings with surmounting lion.
Above these motifs over the doors is an additional masla"'4 consisting of an a,,,a/alta,
khap11ri, double gha~/i, a11rala"'4 and a large surmounting "'4/afa which extends well above
Original from
the roof of 1hcjaga• oha1Ja. The interior of 1hcjaga•oha1Ja contains 11 plain pillars arranged
1n two rows.
On the nonhwcst and southwest comers of the j aga,,,oha1J0 a pii/ha shrine was added at a
later date, possibly necessitating a change in the design of the original roof, and seemingly
inftucnced by the design of the Madhukesvara and Vaitiil Ocul. These arc actual shrines,
rather than mere ornament, and have a door leading within where the image housed in the
niche of the western-most paga of the jagamohafJO serves as the presiding deity, a seated
Durgii on the south and l\1ahisamardini on the nonh. These pii/ha shrines, rather than
nJ:ha-tit11h as on the two earlier temples, arc crowned by a huge gha11/ii and surmounting
a111a'41tA above a po/ala of five pii/ha mouldings of diminishing size. The niches on the west
side of both shrines arc filled by an image of Garuda while the cast side of the nonh shrine
houses an image of Kubera and that of the south shrine contains an image of a male seated
in paJ111a1a1J0 with hands folded in a;/ja/i.
While the last two piigas on the cast end of the south side of the jagamoha"a arc panially
missing due to the boulder which forms the wall of the du1/, on the nonh side all of the
niches cast of the ga•ak/a arc eliminated from view by the addition of a hall which projects
out to connect with a truncated nJ:ha-shrine. The roof of this connecting hall consists of
four pii/ha1 with a large ltA/afa in the center. There is a door on both the cast and west sides
of the hall to facilitate passage around the temple. The last two paga niches of the
jaga111oha1J0, both filled with an image of Siva seated in paJ111a1a1J0, arc in view from within
the hall. The shrine which connects with the hall is tri-ratha in plan but there arc no images
within its niches. A thin pilaster appears between the ltA1JiltA and raha. The roof consists of a
bb;;,,,; division above the bara11i/4 and then two large ..th11ra-shapcd mouldings surmounted
by a heavy amalaltA supponcd by lions and seated figures within the btki. It thus assumes a
truncated appearance which probably was not its original design. This shrine appears to be
contemporary with the main temple and was probably connected to it by the hall at a later
date. The presiding deity within the shrine is a Ourgii seated in '4/i1a1ana, similar to the one
in the pii/ha shrine on the southwest comer of the jaga,,,oba1Ja, though her face is covered by
a large modem mask.
b) Corntr Shri1Jt1
The comer shrines, though dilapidated and missing many of their enshrined images, arc
not covered by plaster and arc more helpful in placing the temple within the stylistic
evolution of the Orissan temple. The bat/a, measuring 7 feet square at the base, has a simple
lri-ratha plan with all of the niches beginning above the pabhaga mouldings. The piibhiiga, 11
inches in height, consists of four mouldings identical to those on the jaga,,,oha1J0 with a
venical bar added at each paga. The mouldings assume an indented plan beneath the niches
of the side piigas, as at Badgaon, while the lala-garbhilta beneath the rahii niche is in the
design of a -!f{li, lri-ratha in plan, similar to that on the Simhanatha temple. The ,;,,,;;,,;JtA
crowning the piiga niches consists of a single bhiimi of horizontal mouldings, rather than two
as at Simhanitha, which is tri-ratha in design and thus represents a transitional stage in
which the earlier vajra-maslaltA designs for side piigas becomes gradually transformed into a
J:haJ:hara-mll{lt/i. The raha niche is surmounted by a large pii/ha-shapcd moulding serving as
an cave (rhhajjQ) from which the vajra-,,,aitalta of the ga11tfi springs. This is again a
transitional feature replacing the earlier truncated rti:ha design which eventually becomes
transformed into a truncated piifha design.
Original from
The ga~Ji is paiita-ralha in design though there arc no a1111rtihii recesses. The lt.anilt.a is
divided into five bhtimis by bhtimi-am/as with each bhtimi having three bara!JJis. The anarlha
mouldings are decorated with a single tail.Jo rather than multiple medallions. The uajra-
maslaka at the base of the riihii consists of two tail.Jo-medallions though most of the
decoration has not survived. T he biJama is undecorated and the crowning 111aslaka1 arc only
panially preserved. In general the decorative program of these comer shrines was not as
ornate as on the corner shrines at l>iukhaliilgam. There is no surviving scrollwork and
none of the dviirapiilas have survived, provided they were ever finished. Of the few
surviving piiriua-devaliis, such as GaQesa, they arc less derailed and not as plastic in
aniculacion as the images on the jagamohana.
c) C11/1 Images
With the dt11! being formed by the huge bou lder on the east there are thus no piir1va·
deualii1 on this pan of the temple. Thc jagamohana, as at Mukhaliilgam and on the adjacent
Mallikesvara temple, is lined with images enshrined within the piiga niches. On the wesr rhc
river goddesses occupy the niches on either side of the entrance ponal. In contrast to other
examples on 9th century temples, as at Bajrakot or Badgaon where they lean on one of
their attendants and cross one leg in a relaxed pose, Ganga and Yamunii here assume a
more hieratic samabhanga pose wirh one hand placed on the thigh. The uplifted hand now
holds a water jar, in contrast 10 the lotus standard on earlier images, and testifies to the
larer date for rhe temple. The outside niches on this west end house Kiirttikeya on the south
and Hari-Hara on the nonh. Kiintikeya also exhibits iconographic features typical of a
transitional period. He stands in a samabhanga pose in front of his peacock mount and is
four-armed. His major right hand holds a trident while the left hand is placed on the
peacock. His uplifted back hands hold the iakti and a serpent. His hair is in the ii/ehalJJalt.a
mode and a halo is behind his head. Hari-Hara stands in a similar pose with his lower right
hand in uarada and the left hand resting on a mace. His upper hands hold a trident and a
conch while the lower comers of the niche contain Nandi and Garuc;la.
The first niche on the south side, housed w ithin the piJha-shrine added at the comer,
has an eight-armed Durgii similar to the one in the Madhukcsvara compound. The
second niche houses an eight-armed Na1ariija while the third niche has an eight-armed
Andhakiisura-vadha-muni. As at Mukhalirigam this last image incorporates the Gajiisura-
sarilhara-muni of Siva wherein he holds the skin of the elephant-demon over his head with
his uplifted back hands. The fi rst niche cast of the south door houses an image of Hara·
Piirvatl while the last two piiga1 disappear into the boulder.
The images filling niches on the nonh side indudc a Mahi5amardini, Aja-Ekapiida,
Gangiidharamuni, and two images of Siva seated in padmiiJana as on the Mallikesvara. Also
appearing on rhe nonh side, loosely placed in a rtlehii shrine opposite the dt11!, is an image
of Ba1uka Bhairava. The figure, badly eroded, stands with knees bent and holds a {iamani,
trident, lt.apiila and possibly a lehaJga in his four hands. A dog appears behind his left leg
while an emaciated figure follows him. In the truncated rek.hii on the nonh s ide, as indicated
earlier, is a seated Durgii.
In the rtlehii-shrine on the south s ide of the compound arc placed the images of the
Saptamiitritii1 along with Virabhadra and Gar:iesa. The miitritiis, badly eroded, consist of
Briihmi, Siv:i.ni, Kaum:iri, Vai5r:iavi, Viiriihi, lndriiQi and Ciimur:i<;la. They are seated in

Tf.~IPl.f~S C.)F T•tt ~ 81"H ·9TH CF.NTt' R l l~S <>l"l'Sll)fi (>f lllll' R ,.\NF,$\~':\R
la/i1asa1111 and each hold a child on the left thigh except for Ciimur:u;lii who is seated in
11rdhap11ryatik4 and without a child. The addition of a child is also a late iconographic
frarurc as children do not accompany the 111a1rkas on earlier images. The respective vehicle
is carved on the pedestal of each 111atrka with an owl serving as the vehicle of Ciimur:ic;lii.
Included among the many detached images within the compound arc two other images
of a female figure in /11/itiisa1111 with a small figure on her left thigh. The small figures arc not
babies, however, but young boys and on the pedestal of one image there arc three kneeling
figures holding offerings in front of their chest with both hands. Behind the seated female
of the second image arc the coils of a serpent. These two images thus appear to be early
examples of the Astikajaratkiiru motif which becomes popular throughout coastal Orissa
during the early Ganga period, though on the later images the figure of Astika is
transformed into a dead warrior and a tree generally appears behind Manasii while a
serpent is added to the pedestal. There is also a dancing Camur:ic;lii placed near the west
entrance. She is in the caruika attitude of chewing on the little finger of her major left hand.
She is emaciated and a corpse is beneath her feet.
There arc also numerous other images scattered around the compound or housed in
niches, including several examples of Gar:iesa, originally serving as pariva·dtVatas in the
comer shrines, Surya, Hara-Parvatl, Siva Mahayogi, Na1ariija, Garuc;la, Vi~r:iu, Kubera and
numerous secular figures in kneeling positions with hands folded in alijali or holding a vase.
One of the largest of these is a bearded male figure seated in padmiisa1111 with his hands in
d~a1111-11111dra on his lap. He is flanked by a female ra11ri-bcarcr on either side and kneeling
figures arc carved on the pedestal. He is worshipped as Miirkar:ic;la ni. In a makeshift niche
on the south compound wall is an image of Hari-Hara while in the nonh raha of the
southwest comer shrine there is a badly-worn image of a three-headed Bhairava seated in
lalitasana. Panicularly interesting is the image of a royal figure seated in pad111asa1111 with his
hands in front of his chest holding a miniature rt.tho-shrine who possibly could represent
the donor.
On stylistic and iconographic evidence the Piitiilc5vara temple can be dated to the closing
years of the 9th century or the very beginning of the 10th century. Although there arc
numerous affinities with the Madhukesvara temple there arc also innovative features which
suggest a transitional stage with numerous influences filtering in from outside of Orissa.
This is panicularly evident in the decorative program of the j11g11111ohi1na with the
arrangement of pagas and a corner pilaster, with the design of the la/11-garbhi/eti beneath the
riha niche on the comer shrines and with the vimani/eti crowning the side pagas on these
corner shrines. Also suggesting a transitional stage arc numerous iconographic features on
many of the cult deities, such as Kiintikeya, as well as the introduction of children on the
laps of the matrletis. Unfonunatcly many decorative details, such as scrollwotk or dvarapalas,
arc covered with plaster or missing (if ever completed) which makes it difficult to pinpoint
with precision the date of construction. Although the Mallikesvara temple is probably
earlier, it shares many iconographical and stylistic affinities and obviously is the work of the
same group of sculptors so it must also date from the closing years of the 9th century.
Many of the shrines within the compound, as indicated, arc slightly later in date and it is
likely that numerous modifications were made in the original design of the Piitiilesvara
temple complex.
Original from
TEMPI.ES OF THE RTH 9TH CF.NTl' RIF.S OUTSIDE OF BHl ' BANESWAR
0
H) SIMHAN ATHA ISi.AN D: SIMHANATHA Tl: MPLE
One of the most beautiful of these late 9th century temples, and one of the best
preserved, is the Simhanatha Siva situated on an island in the Mahanadi river near
Baideswar (south bank) and Baramba (nonh bank) in Cuttack district. konographically it
is panicularly interesting as it displays imagery of both the Saiva and Vai$1,1ava cults, the
former dominating the decorative program of the dt11I and the latter dominating the
program of the Jagamohana, and synthesizes the lion aspects of Siva and Vi$1,lU into a unique
image known as Simhanatha. There arc also Sapta111atrkA1 carved on the doorframc of the
jaga•ohana and illustrations of explicit sexual rituals testifying to the strong S:ikta and Tantric
nature of the temple. The temple is of the paiir.i)•alana class though only the southeast corner
shrine has survived. Several pi;ha shrines have been added in the compound at a later date
and now house sculpture from the collapsed comer shrines. The floor of the compound has
been built up so that the pi/ha beneath the original shrines is no longer visible. The ground
outside the compound has also increased, reaching the height of the walls, so that entrance
into the compound is reached by descending srcps on both the cast and south sides. Although
there arc some stylistic and iconographic affinities with the Madhukesvara and Pat:ilc5vara
temples, the major outside influences operarivc in the decorative program appear to be from
Central India rather than South India. As at Suklcsvara and Kualo the iconographic
program of the pariva·dtvalas deviates from the standard program though the original image
on the south side has not survived.
1. Bai/a Duoralion
The bai/a of the dtxl, measuring 17 feet square at the base, is tri-ratha in plan with a thin
11a,,,bha added on either side of the subs idiary p;;ga. This is an elaboration on the plans at
Bajrakot and Badgaon where a single 1/ambha was added, either on the comer or between
the raba and the paga. The pabhaga, 44 1/ 2 inches in height, consists of four mouldings similar
in design to those at Badgaon and without the vcnical bar noticed at Paikapa<;la. Only the
top two mouldings arc decorated. The mouldings beneath the subsidiary paga niches arc
likewise indented while the tala-garbhikA design beneath the raha niche is tri-ratha in plan but
docs not yet simulate a m1111(1i.
The jaligha measures 891/ 2 inches in height. The thin slambhas arc decorated with
scrollwork, a triple lion motif, and a niche housing a standing figure near the top of the
shaft. Their capital consists of a projecting plif'11a·ghafa surmounted by a panel relieved with
erotic motifs. The niches of the subsidiary paga1 begin immediately above the top moulding
of the p;;bhaga so that the tala-ballllhami of projecting blocks standard on earlier temples is
eliminated. The vi111011i/e4 crowning the niche is no longer designed as a vajra-111a1taltA but
rather consists of two bhtlmi divisions in contrast to one as on the P:it:ilesvara corner
shrines. Each bhtl•i has four bara11(1iJ and is crowned by a phtni moulding relieved with
pad111a-pr1/ha scrollwork. The design thus simulates a rtlehi-mx11(1i and suggests a transitional
stage as at Pa.ikapa<;la. On later temples these paga1 arc designed as elongated /eha/ehara-
,,,,,n(lis. A residual carry-over from earlier conventions is evident in the placement of a small
vajra-1'1a11altA design in the center of each bhtimi division. These bara11(1i1 have offsets at the
comers so that the vimanikA assumes a slightly rounded shape. The niches arc flanked by a
pilaster of scrollwork on each side with a projec1ing capital. There is in addition a thin
inner frame ornamented with scrollwork and an anendant ntiga at the base.
Original from
Tl~~IPLES C>F THF. 8TH·9TH c:ENTLTRJES <)U TSIDF. C>F SHUBANES\l'..\R
The raha projects out a full 24 inches and thus is giv<n greater prominence than on
earlier temples. The niche cuts only through the top pabhaga moulding and is framed at the
sides by an inner band of scrollwork with attendant figures at the base as on the side niches.
It is likewise flanked by a 1111,,,bha at each side with a projecting p#11Ja·gha/a capital similar
to the design on the Sisircsvara temple. The lintel between these projecting capitals is
omam<ntcd with frieze work. The •i,,,anile4 crowning the niche consists of a single bb,;,,,;
division, tri-ratha in design with a1111raha recesses, as on early Orissan temples.
The raha projection on the cast, or 111Nlhi-11hala, measures J• inches and thus effectively
connects the dt11/ with the jaga,,,ohana without the noticeable ove rlapping, or lack of
jointing, typical on most early temples. The exterior walls of this juncture arc decorated
with a ,,,llfll; dupl.icating the design of the side paga1 of the dt11/. This is the first example of
such a decorative treatment of these walls, continuing the program of the dt11/, though the
original design at Badgaon may have been similar. That the iaNlhi-11hala was originally
conceived as a connecting hall, and not merely an entrance portico transformed at a later
date, is cvid<nt by the placement of the river goddesses within their niches rather than on
the paga1 of the cast face of the dt11/ flanking the entrance.
The barallf/a consists of three mouldings with the middle one recessed as on 7th century
temples. This recess is filled with narrative scenes from the Ra,,,aya~a and animal
processions, the latter generally appearing on the raha portion which is not as wide due to
the •ajra-1'ta1talu design above. The upper projecting moulding serves as the bottom barallf/i
for the first bh;;,,,; of the gaMi as on earlier temples.
2. Ga~(ii Duoration
The gallf/i is pa11<a-ralha in plan with the /uni/ea divided into five bh#111i1 with each bh#111i
subdivided into four bara~(iis plus its crowning am/a as on 7th century temples. These
baraMis arc decorated with small •ajra-maslalu designs with the bottom <airya generally
housing figure motifs. The 111111raha recess is filled with miniature vajra·m1111(ii motifs with the
niche at the base generally housing a standing female figure. The afltlrlha is decorated in the
manner of the /uni/ea, its am/4 being replaced by a pad"'" pr1!ha moulding, rather than
consisting of equal-sized mouldings continuing up the height of the ga!lf/i and decorated
with triple <airya designs on each moulding as on earlier temples. The •ajra·maslalu at the
base of the raha extends up the height of two bh#mi divisions on the north, west and south
sides and three divisions on the cast side where it is crowned by an 1111111/alu. The motif
consists of two <airya-mcdallions with the large lower one assuming a keyhole shape, the
upper one being circular, as on 7th century temples. The design emanates from a lt.irli11111kha
mask at its apex and is decorated with jagrala and 11111/ura motifs at the sides. On the cast
Na1ariija is in the upper medallion while Siva and Piirvatl playing chess arc in the lower
one (viewed from the dark interior of thcjagamohaflll); on the north the upper <airya houses
an image of Parvatl standing between two attendants while the larger lower medallion
contains an image of Durgii seated in lalitasafltl; the medallions on the west house a seated
Kama above and Lakullsa below; on the south the upper medallion contains an image of
Yama riding on his mount while the lower <airya is filled with the Andhakasura-vadha-
muni of Siva. The projecting flanks of the cast vajra·maslalu arc decorated with two panels
on each side with those on the south illustrating the BhiksiiJanamiirti of Siva and 111ith1111a
scenes while on the north, obviously related, arc scenes of a male figure being surrounded,
and seduced, by female figures, some of the episodes taking place in a forest. The raha
Original from
168
above the vajra-1'1aflalt.a is decorated with triple rai!Ja-medallions in the standard manner.
The bisa"'a terminating the ga11tfi is undecorated and does not partake of the piiga divisions.
The mas/alt.a members are intact though there arc no btki figures.
3. Jaga,,,ohana
The jagamohana measures approximately 19 feet by 11 feet with the comers designed
as miniature rtkhiis and obviously inAuenced by the plan on the Vaitiil Deul and
Madhukcsvara temples. The rekhii is terminated above the first bhimi, however, and docs
not project above the roof so that it is conceived as part of the wall decoration and not as a
separate unit. The walls on the long sides of the jagamohana between these comer rekhas arc
divided into live nearly equal arigas or units by six thin slambhas. These stambhas arc similar
in design 10 those on the dud though they cut through the pabhiiga mouldings and the niches
near the top of the shaft are filled with mith11nas rather than single standing figures. The
overall design of these thin stambhas is similar to examples appearing on later temples in
Central India, such as on the Ambika temple at Jagat near Udaipur.
The pabhaga, measuring 11 inches in height, consists of three mouldings similar in design
to those on 7th century temples rather than four as on the dt11/. The central aliga, or gavak/a,
projects slightly and is divided into three registers by horizontal mouldings with the
registers being filled with short balusters forming lattice work, a deviation from the jali
perforation standard on earlier temples and most likely suggests inAuence from Central
India where similar balusters often appear on the projecting balconies of ma11(iapas. This
window has an inner frame of scroll work with dvarapalas at the base and friezcwork on the
lintel. The architrave above, supported by the slambhas which separate the arigas, is likewise
decorated with frieze work. The second and fourth arigas, Ranking the gavak/a, are also
divided into three registers though only the bottom two arc decorated with short balusters
which here al1ema1e withja/i perforations. The upper register, larger than on the ga1,ak/a as
there arc no lintels or inner frame, is divided into three niches which contain cult images.
On the north side these niches arc filled with Siva, Vi$nu and Brahma on the cast and with
Kf$1)a defeating the demons Ariga, Kesi and Aghasura on the west. On the south side of
the jagamohana the images at the west arc avatars of Vi$1)U, including Balarama and Rama,
while the images o n the north, seated in lalitasana, arc badly fragmented.
The first and fifth arigas both have a large niche immediately above the pahhaga, which has
an indented plan, that is framed by several bands of scrollwork at the sides and a frieze on
the lintel above. The vimanikti crowning the niche consists of four mouldings, simulating a
bhimi division, crowned by three padma-prf!ha capitals aligned with the amalaka on the
corner rtkha. The niches of these wide 1111111tfi1 arc filled with Nrsimha and Varaha on the
north while on the south they contain Bhik~ii1anamiirti and Agni. The rekha designs on the
comers have a simple niche crowned by a projecting eave and a single bhimi division. On
the north side these niches house images of Hara-Parvati riding on the bull Nandi at the
cast comer and Trivikrama on the west while the north niche on the west end has a Putanii-
vadha image. On the south side the niches contain Siva Lingodbhavamurti and Kiiliya-
damana. On the shorter east end of the jagamohana the niches house images of Siva and
Simhanatha. In addition to these rtkha designs at the corners there is only one m1111tfi design
on either side of the entrance and they duplicate the design of the first and fifth arigas on the
longer sides. The niches of these m1111(ii1 house the river goddesses, Yamunii on the south
and Ganga on the north.
Original from
TEMPI.ES OF THE 8TH-9TH CENTURIES Ucl"SIDE OF Bll UBAN ES\<'AR
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SirhhanAtha Temple
The terraced roof of the jagamohana slopes in three stages, rather than two as on earlier
temples, and thus suggests a transition towards the development of a pi</ho roof. The
venical face of the lowest cave is decorated with a frieze running continuously around the
structure depicting scenes from the epics, panicularly the Romt!Ja~o. There is also a frieze
on the top course of the jongha, aligned with the pands surmounting the 1tombho1, though in
many places it is covered with whi1cwash. In the center of the roof is a large kolaio. The
int<rior of the jagamohana has two rows of pillars which have been greatly modified to
divide: the arc:a inro two sections.
4. PorJa/ Dtroration.
The doorframc of the j ogamohano is particularly bcau1iful and consists of two recessed
jambs on either side framed by a large projecting pilaster. The pilasters are divided into
four niches superimposed one above the other which house Virnbhadra and the
Saptamotrk.01. This alignment differs from that on the doorframe of the nonh leholeharo
shrine in the Makhukesvara compound where four of the matrk.01 arc placed on the linrel
and they arc accompanied by Gal)csa. The borders of the pilasters a rc ornamenred with the
rangani scroll of small flowers placed in squares. The inside jamb is the widest of the two
framing the door and is decorated with garbled leaf foliage rather than the rotile.tra scroll
popular on the doorframes at Bhubaneswar. The dvarapolas arc housed in arched niches at
the base of this jamb. They assume identical rather than mirror-image poses with their
lower right hand extended just above a diminutive attendant and the left h•nd resting o n
1he head of the attendant in the opposite corner. They stand in a relaxing tribbang(I pose and
hold a ros•ry and a trident in their upper hands. The n2rrow ourside jamb is relieved with
thejalapatra scroll above a standing noga carved in high-relief at the base. The naga faces out
at a 4 l degree angle similar to his counterpart on the doorframe of the Sisi resvara temple.
He holds his hands in front of his body and has a single serpent-hood forming a canopy
above his jar-like coiffure. Gaja-Lak$mi appears in the ccnrer of the limel seated i.n
padmasana. Beneath the lotus cushions supporting the eleph2ms arc 2uend2nt figures, a
Original from
170 Tl : ~ IPl. l~S ()F Tl il~ tl'H. 9TH CE ~Tl 1 Rll~S Cll'TSJOC ()f~ lllll'il:\NES\X.,\R
feature popular in Daksina Kosala but rare in Orissa. In a small niche above this dvara-
laltifa-bimba panel is a /inga-plijo scene flanked on either side by a frieze of vitfyadharas which
extends across the entablaturc. The doorframc of the sanctum is less ambitious in its
decorative program though there is an 111/agraha carved on the architrave.
There arc two sets of river goddesses on the temple as at Badgaon, one set flanking the
entrance portal of the jagamohana and the other placed on the exterior walls of the sandhi-
sthala. Jn both cases the goddesses assume mirror-image tribhanga poses holding a lorus in their
uplifted hand while draping the opposite arm around the neck, or resting it on the
shoulder, of an attendant figure. A second attendant holds a basket of flowers or is lifting a
garland up to the goddess. The goddesses have their hair tied to one side in a large shell-
like chignon. In both sets the iconography of Yamunii is more complex. Jn the example on
the sandhi-llhala the upper corners of the niche arc filled with vitfyadharas while in the
example on the jagamohana these comers arc filled with hamsas dripping garlands of pearls .
In the latter example there is a third attendant, diminutive in size, who holds the parasol
above the goddess, a function performed by one of the flanking attendants in the other
images. Each of the three attendants in this Yamunii image of the jagamohana arc standing
on a tortoise while in the other examples o nly the goddess is provided a vehicle.
l · C11/1 I magu
The iconographic program of the porfva-dtt•atos and ovara{la-dtt•a/01 on the dt11/ deviates
from the standard program as indicated above. Kiirttikeya and Ganesa, for example, are
each housed as ovara{la-dtva/01 on the south side and thus do not serve as poriva-dtvalos. The
poriva-drvato in the north roho niche, now isolated by a niia-shrine erected at a later date, is a
ten-armed Mahi5amardini in contrast to the eight-armed images standard on earlier
temples. The goddess presses down with her major left hand on the chest of the human
form of the demon attempting to escape from the decapitated buffalo-carcass while her
major right hand thrusts a trident into its head. Her upper right hand is pulling an arrow
from a quiver on her back while the upper left hand holds a stringed-bow. The other right
hands hold a sword, vajra and ralt.ra while her remaining left hands ho ld an elephant goad,
circular shield and ntiga·paia. This is one of the earliest ten-armed images displaying this
particular form and serves as a transition to the standard images on later temples where the
shield is rectangular in shape and strapped to her forearm so that it strikes the demon.
There is a female attendant on either side at the base in addition to the lion who is
attacking the buffalo-carcass.
The pariva-dtvato on the west is Gangiidharamiirti. Siva is standing in a slightly flexed
pose with his major right hand in varada and his left hand holding a kapala. His uplifted
right hand holds a rosary while the left hand pulls aja/o fro m h is coiffure. Ganga is rep·
resented in a descending pose at the top and is standing on her vehicle in the lower left
comer. Bhagiratha is depicted kneeling in the lower right comer. The image in the south
roho niche is a cruddy carved replacement for the missing poriva·drvato. Thus, as at
Suklesvara and Kualo, the exact iconographic program is unknown due to the missing
third poriva·dtvala.
Gar\gii and Kiirttikeya, as mentioned, are the oi•ara{la·drva/01 on the south side. Gancsa is
in a standing pose with his proboscis curled up in the act of placing sweets in his mouth.
He holds the traditional att ributes in his four hands. lllore interesting is the image of
Original from
TE~IP l.F.S O F T ..I B 8T t-t .91'H CF.N 'fl lRJ f.S Cl l 'TSIO ..: O f 81-ll ' B :\!\:f ~:'l\\..\R
Kiintikey• who has twelve 2rms. He is seated in lalitasana on his peacock-mount which is
moving tow2rds the right. He holds the ialeti in his major right hand while the left hand,
resting on his hip, probably has a vija·piiralea. The image is panially covered with
accumulations of whitew2sh which makes it difficult to identify all of the attributes held in
his other hands. Included among the attributes are a sword, alik.Nfa, k.N/ek.N/a (>), arrow,
club, ploughshare, shield, bow, dart and display varada. A canopy of peacock -feathers
appears above his head while a figure carrying a vessel is in each upper comer.
The other avara11a-devatas include Hari-H2ra and Ardhaniirisvara on the west, Aja-
Ekapiida and a six-armed Siva on the north, Surya and a two-armed Siv2 on the east. The
im2ges 2re again partially covered by pl2ster or whitewash so that surface d etails and
2ttributes 2re sometimes indistinct. The S2iv2 images 2rc 211 iirdhvalinga, excluding the two-
2rmcd im2ge on the east, and st2nd in 2 slightly Aexed pose save for Aja-Ekapada who
assumes his standard sa,,,abhanga pose. In the six-armed image on the nonh, Siva holds a
parai11, noose and water jar in his left hands while the only identifiable object in his right
hands is a rosary. Surya is represented from the hips up riding in his chariot and holds the
traditional long-stemmed lotus in either hand. In the other image on the east Siva places his
left hand on his hip and extends his right hand in varada, the hand possibly holding an
offeri.n g. A male attendant stands beneath this extended hand.
Lakullsa, in the vajra·mastalea of the ga114i on the west, is seated with legs crossed and held
in place by a yogapa11a. He displays the dharmaralera-pravarllana·miidra with the lak.N/a held
against his left shoulder. He is Aanked by two disciples on either side seated on lotus
cushions issuing from the lotus supporting him. In the image of the vajra-mastalea on the
east, obscured by the darkness of the interior of thc j agamohana, Siva and Piirvati arc seated
in ardhaparyanlea facing one another with the oblong chess board, represenr<d as if seen
from 2bovc, pl2ced between them as on earlier examples. In contrast to these earlier
images, of the Sv2n:iajiilesv2ra, l\1aQikesvara and Madhukesvara temples, where the scene is
carved on a long panel or lintel, it is here placed in a large niche with the attendants
carrying the various ornaments carved on the pedestal. An image of Siva seated in
padmasana is in the vcnical extension of the niche above Siva and Parvatl. The image of
Ourga seated in lalitasa"4 in the vajra-mastalea on the north is again obscured by accretions
of whitewash so that her attributes arc partly indistinct. She has eight arms and is Aanked
by a female attendant on each side. The Andhakasura-vadha-miirti in the south vajra·
mas/a/ea is combined with the Gajiisurasamhara-miini with the elephant skin held with the
uplifted two hands. A small image of Gal)csa is inserted in the vcnical extension of the
med21lion.
Of the Saiv2 images on the j agamohana the Bhik~a1anamuni on the south side is similar to
its counterpan at Suklesvara though not as complete in its iconographic prog ram. Siva
assumes a tribhanga pose, the right foot planted on the grounJ and the left leg slightly bent
to suggest walk ing, though it is the reverse of the Suk lesvara image. He holds the /eha/»anga
in his right hand, the serpent of his sarpa·k.N11<fala coiling around the upper pan of the shaft,
while his left hand holds the leapala. He is iirdhvalinga and a tiger-skin is wrapped around his
loins. The female figure holding a vessel of food is in the lower right corner while the angry
r1i with uplifted hand is in the opposite comer, the reverse of the scene at Suklcsvara. In
the Lingodbhavamiini at the cast co rner on the south side of the j agamohana the lirig a is
surrounded by Aames and crowned by a tiara held by Aying vit(yadharat. Brahma is depicted
Aying up on the left while Vi~QU is diving down on the right. The im2ge of Hara-Piirvati
Original from
172 T EMPl.f'-5 ()I' TllE 8Tli-9TH CEl'TL'R IES Ol.TSIDF. OF Blll.llANES\<"AR
riding on Nandi at the east corner of the norrh side is badly mutilated with only the outline
of the motif surviving. In the niche on the south comer of the east side Siva is two-armed
and stands in a tribhatiga pose. His right hand, in varada, holds a small offering while his left
hand rests on the head of the trifiila-p11r111a attendant. The head of Siva is flanked on either
side by a bell, the bells possibly alluding to his low caste and expiatory wandering, an
aspect given prominence by the numerous Bhik$ii(anamiirri motifs on the temple. The
image in the nonh niche on the same side is the most unusual and represents the presiding
deity, Simhaniitha (Lion Lord). Siva is represented in a human body with a lion head and
holds the trident in his left hand. The image thus incorporates the Nrsimha aspect of Vi~l)u
and testifies to the oneness of the two gods though demonstrating the superiority of Siva.28
The Vai~l)ava images on the jagamohana begin, on the south side, with Kf$1)a quelling the
demon Kaliya. Kr~l)a stands on the tail of the serpent with his left foot while placing his
left hand above its head. He holds a gada in his right hand. On the nonh side is an image of
Nrsimha depicted in the conventional pose of tearing the entrails from the demon
Hiral)yakasipu. The demon is supponed on the uplifted leg of Nrsimha with the foot
planted on the back of a crawling demon. In the opposite comer is a reclining figure,
probably Prahliida, the son of the demon, supponing his fallen weight with his right hand
while holding a sword with his left. The lion-headed Nrsimha holds a <a/era and a conch in
his uplifted hands. In the lower left corner of the niche is a broken pillar, a lion head visible
at the top, from which Nrsimha burst out to defeat the demon. In the Variiha avatar of
Visl)u, also on the nonh side, the boar-headed deity holds the earth goddess (Prthvi) on the
elbow of his upper left arm with the hand firmly locked with his major right hand for
added suppon. His back hands hold a ta/era and a conch. His uplifted left foot is planted on
the coils of the serpent while a second naga, perhaps the queen, appears in the opposite
comer. The image of Trivikrama is placed in the niche at the west comer of the south side.
He assumes his standard pose with the left leg lifted high taking the three steps. The area
above the foot is obscured so it is not clear if Brahma is seated there or not. Trivikrama
holds a lotus in his lower left hand and a mace in the lower right hand. The objects held in
the upper hands, probably a ta/era and a conch, are indistinct. Beneath the uplifted leg of
the deity is a small scene representing Vamana, holding an umbrella, receiving the gift from
a seated Bali with a second seated figure at the left.
The images of Varaha, Nrsimha and Trivikrama become standard parfva·dtvatas on later
Vai~l)ava temples but were popular motifs on these early Saiva temples though generally
small in size and inconspicuous in placement, exceptions being the Uuaresvara and
~1adhukesvara temples. The Kalira-damana motif was also popular on early Saiva temples.
There are other motifs on the Simhanatha associated with Krsl)a which arc very rare, aside
from the frieze mentioned below depicting Krsl)a and Balarama at Kamsa's coun, and
suggest possible influence from Oak~il)a·Kosala where these motifs were popular. The first
motif is the Piitana-vadha scene housed in the north niche on the west end of the
jagamohana. The emaciated Piitana is seated in ardhaparyanlea with the young Krsl)a sucking
on her right breast. In contrast to the motif at Pujaripali or Ral)ipur-Jhariiil, where the
demoness lifts up her arms in agony, here her thin arms still affectionately cradle the child
211 See .o\nncharJott Eschmann, "The \ 'aisnav\1. Typt>IOJ?Y of ftii,dui7.aric>n and the Origins c1f J a~annirha , " in
TIN C"lt of }O.(""nath otrd 1/J, R(~i~11al TraJit1()11 ef Or1ssa, c:d. br Annch :arln11 l~schmann, Hcrrn.ann ~ulkt and
C;2ya Charan 'fripathi (N c\l: D elhi, 1978) , pp. 10 }·106 .
Original from
despite the fact she is near death. Other Kni:ia-lilii scenes include the three placed in
adjacent niches on the nonh side. In the Kesivadha motif the horse-demon is standing on
its hind legs biting the elbow of Krsi:ia who, with his uplifted right hand, is about to kill
him. In the AriHasura-vadha scene Krsl)a has right foot firmly p lanted on the back of
the bull-demon while violently twisting its head similar to the example appearing on the
Lak5mal)a temple at Khajuraho.29 The third scene possibly represents Kaliya-damana or
Aghiisura-vadha though the details of the demon arc not clear except for an adjacent upper
torso of a figure with hands folded in aii)ali. Krsl)a holds the demon by the tail(?) with bis
left hand while lifting his right hand to strike as in the scene with KesL
Of the other trinity scenes on thejaga11tahana, the three figures in the Hari-Hara Pitiimaha
grouping on the nonh are all seated in lalitiisana but arc each provided with a separate
niche. The group begins at the proper right with Siva while Vi51)u is in the center and
Brahma is on the left. Each is four-armed and their respective mount is carved on their
pedestal. In the group on the west end of the south side of the jagamahana the center figure
is Balarima while the figure at the left is Riima. Balarama stands in a tribhanga pose with his
left hand in katJiivalambita holding a ploughshare. The object held in his right hand is
plastered over. Rama stands in a similar pose though his head is completely plastered. He
holds the bow in his left hand and an arrow in his right. The image in the right niche
assumes a similar pose though again the head is plastered and the arms arc broken off so
his identity cannot be established, though it could have been Parasuriima. The trinity on
the eastern end of the south side is less preserved and the identities of the deities mostly
obscur<d. They arc each seated in lalitiisana though the left figure is completely missing and
the upper half of the right image is broken off.
6. Corner Shrint and Dttadud 1magu

The southeast corner shrine is the only surviving corner shrine but it is well preserved
and duplicates, for the most pan, the design of the dt11/ of the major shrine. It measures
9 feet square at the base and has a lri-ralha plan with thin slambhas Aanking the side piigas
except at the front where there arc only stambhas at the comers due to the larger size of the
entrance ponal. The piibhaga consists of four mou ldings of similar design though the lt.h11ra
is buried by the added stones of the Aoor of the compound. The vimani/ea crowning the
niche of the side piigas consists of only a single bhtimi crowned by a padma pr;/ha, as on the
temple at Badgaon, rather than a two bhiimi design as on the main shrine. The go~~; is panta·
ratha in plan but without the an11riihii recess. The kanika is divided into five bhiimis and the
crowning members of the mas/aka arc all intact. The vajra-mastakas house various images
including Na1ariija on the west, above the entrance, a seated Durgii on the nonh and
Andhakiisura-vadha-muni on the south.
The entrance ponal is framed by three bands of scrollwork, two of which arc decorated
with the garbled vana-latti while the middle displays the rangani scroll. The dviirapalas at the
base arc housed in niches with a rounded ceiling and they assume mirror-image dvibhanga
poses with the inside lower hand extended in varada while the outside lower hand holds a
trident. The upper hands hold a lotus and rosary. Gaja-Lak5mi appears on the lintel and an
a1/agraha panel is on the architrave with the grahos being Aanked at the ends by a dwarf
1'1 Sec Kr15hna Deva, "Kri!ihna·lila Scenes in the l .ak ~h mana Temple, Khajur:aho ," LI /it Kala, l'\o . 7 ( c960).
Pl. XXXI\', tig. 10.
Original from
174 TEMPI.ES OF THE STH·?T H C:ENTI"RIES ()\lTSIOE OF BHt: BANESIX' AR
atlantes. The viminika crowning the cn1rancc consis1s of a single bhiimi division with a
tri-ratha design. River goddesses 611 thc piga niches flanking the portal.
The pirf1•a-dtvalis are the standard Saivitc images with Gar;iesa on the south, Karttikcya
on the east and Mahi$amardini on 1hc north. Gancsa is seated in ardhaparyanlta eating
sweets from a modalta-pitra held in his lower left hand while his other hands hold the
standard attributes. His hair is neatly arranged in a Jtara~/fa-11111htfa. Kiirttikeya is seated in
'4/itisana riding on his frontally depicted mount similar to the image at Badgaon. He holds
a vija-piiralta in his extended right hand and the fakli in his left hand. A serpent appears
beneath the ralons of the peacock. Mahisamardini is ten-armed and a near duplicate of the
image on the dt11/ of the main shrine. The ivara~a-dtvalis in the side niches represent various
aspects of Siva and include Aja-Ekapiida, Hari-Hara, Ardhaniirisvara and Hara-Piirvati
with Siva playing on the vi~i.
There arc in addition numerous images scattered within the compound which belonged
10 the missing other comer shrines, most of them being pirfva-dtvalis, housed either in
makeshift niches cut into the compound wall or in small shrines. In rhc Mahisamardini
motifs the demon is represented both in human form with a buffalo-head and as a human
attempting 10 escape from the decapitated buffalo-carcass. Kiirttikeya is also represented in
various ways, seated either on a 1hronc or on his peacock-moun1. In the la11cr he is seated
in the standard lalilisana mode or with both legs hanging pendant in bhadrisana. There arc
also images of Surya and Lakulisa. The image of Surya is broken at the base though the
upper part is well-preserved and depicts Surya, from the thighs up, riding in his chariot in
the conventional manner with Usii and Pratyusii dispensing arrows on either side. Lakullsa
has ayogapaf!a binding his crossed legs as in the example on the ga/lefi and he is flanked by
two superimposed disciples on either side.
There arc also two images of Durgii seated in lalitisana on a throne with one probably
serving as a pirfva-dtvali in one of the comer shrines, suggesting that the iconographic
program was slightly varied and not identical on all four of these shrines. Durgii has eight
arms but most of the hands and attributes are missing. A lion is carved on her pedestal
along with a seated devotee at each corner. The larger image was probably housed in a
special shrine, though not necessarily the small shrine she is housed in at present, where she
served as the Sak ti of the presiding deity o r was placed wiihin the jagamohana. Durgii is
eight-armed and also seated in lalitisana. Her right hands are in varada or hold a rosary,
rakra and Janka(?) while the left hands hold a vase, vajra, bow and a shield. The lion
appears on the left half of the pedestal while a kneeling devotee is in the right comer. Also
in small shrines are two images of Visi;iu. He assumes his conventional samabhatiga pose and
is flanked in the lower comers by Garuc,la and Laksmi.
7. Duoratiw A1otifs
The overall decorative program of the temple is replete with narrative scenes, many of
which illustrate scenes from the Rimiya~a or battle scenes. The bara~4a recess of the dt11/
and the vertical face of the lower eave of the jagamohana roof are decorated with continuous
scenes running around the structures. In addition 10 these frieze motifs there arc also long
panels over the gavik/a windows and above the niches on the 6rst and 6fth piga1 on the
long sides of the jagamohana and over the rihi niches of the dr11/. Above the image of Variiha
on the north side of thejagamohana, for example, is an illustration of the Bhiksa1anamurti of
Siva, the 1hird such representation. Above the im3ge of Agni is a Krsna-lilii scene of KrH>a

and Balarima wrestling in the arena at Mathurii and killing Karilsa. Over the image of
Nrsirilha arc scenes of the young K!'$1)a and Balarima pummeling a demon with their fists
and tearing the arms from an ogress. Over the image of Bhik$ii1anamiirti is a scene with
Manasii receiving female figures carrying serpents. Above the image of Gangiidhara on the
dt11/ is a frieze depicting the battle between Sugrfva and Bali. Other lintels arc decorated
with frieze designs of a linga Ranked by •itiyiidharas.
Erotic themes also play a major role in the decorative program of the temple and, as
mentioned, an image of Kima is enshrined in the upper medallion of the •ajra-maJla/t.a on
the west face of the ga~di, immediately above Lakulisa. Kiima is seated in lalitiisana with his
left hand placed on his thigh for support while his right hand affcctionarcly lifrs rhc chin of
Rati seated to his right. Behind Rati is displayed the stringed -bow of Kama while on the
left, behind Prlti, is a malt.ara· banncr. In addition to the mith1ma images on the projecting
Ranks of the cast vajra-mastalt.a, above the sanJhi-sthala and possibly associated with the
Bhik$ii1anamiirti motif of Siva, the shafts of the engaged slambhas separating the walls of
the jagamohana into aligas or piiga divisions arc decorated with 111i1h1ma images housed in
niches. The most erotic motifs, however, arc those carved on the panels above the capitals
of these sla,,,bhas, on both the dt11I and jagamohana, many of which depict group maith11na1
and seemingly illustrate specific Tantric rituals. Unfortunately most of those on the
jaga111oha11a arc covered with whitewash splashed on them when the local artisans paint the
roof, which is quite often. In addition to these explicit maith1111a motifs there are also
numerous examples of auspicious exhibition ism on these panels, the figures displaying their
sex organs generally being dwarf atlantids. On the shafts of these J/ambha1 of the dt11/ there
arc also similar scenes including one male figure who appears to be weighing his liliga"'
with scales, a motif which becomes popular during the Ganga period. Placed high up on
the west face of the ga~di, in the a1111riihii recess, is a motif of a displayed female similar to
those appearing on the early temples at Bhubaneswar. There arc also numero us erotic
scenes in the small raitya medallions of the bhiimi-bara!fdil of the ga!f4i as well as of the side
piiga1.
Other figure motifs recurring throughout the decorative program are dwarf:J'ak,ra1 or
ga~a1. In addition to appearing on the panels above the 1/ambhas they also decorate the short
balusters of the gaviik,ra and Ranking a1iga1, frequently represented dancing, and occasionally
appear in the rairya-medallions of the bhiimi-bara~i/il above the piiga niches and on the ga~i/i.
Also popular arc niigas who not only attend the dviirapiilas on the doorframc but generally
appear at the base of niche frames on the dt11/. Aside from the monkeys associated with the
Rii,,,i!Ja~ epic, the most recurring animal motif is the heraldic triple-lion design carved on
the shafts of the engaged 1/a111bha1 of the dt11/. The lions are depicted standing on their hind
legs with strings of pearls dripping from their mouth but arc not provided riders as on the
8th-9th century motifs in eastern Orissa where the center motif is a mask and not a full
animal as here.
The most popular scroll motifs are the ralihra and the •ana-lata. The ratiktra appears
most often on the shafts of engaged 1/ambhas and on some of the niche frames. The vana-latii
scroll of garbled foliage, first noticed at Bajrakot and Badgaon, also appears on the shaft of
the 11a,,,bh01 on the dt11/ but is particularly dom inant on the wider pilasters framing the riihii
niches and on the doorframc. On the one remaining corner shrine the vana·lata virtually
supplants the ratihra altogether. The carving of this scroll is more oblique than on the
earlier temples so that there is not the stro ng play of light and shade, ofrcn producing a
Original from
near stencil effect on the ratikera where the cutting is perpendicular, as the contours of the
foliage arc rounded and softened. Other popular scroll motifs include the raligani, padma
Pf!/ha and the gtlaba. The grlaba docs not appear on the doorframe, however, but on the
niche jambs of several -!'di designs on thejagamohana. Thejalapatra and hamsa-lata motifs
arc used only sporadically throughout the decorative program. The mali ph,,/a phoefika scroll
is confined primarily to the 11tNha11/i of horizontal mouldings.
On stylistic and iconographic grounds the Sirhhaniitha temple represents a transitional
phase in the evolution of the Orissan temple, combining traditional features and motifs
with innovative experiments, and can be dated to the closing years of the 9th century. Some
of the innovations arc in an incipient form found on no other temple whereas others serve
as harbingers for funher development. The elongated vimtinika crowning the ptiga n iches,
for example, represents a transition between the earlier vajra-mll!'Pi design and the later
khakhara-mM!'di which becomes a standard decorative feature. The placing of a panel above
the capital of the engaged J/ambha, relieved frequently with bhararak/akaJ, becomes popular
on later temples while the placement of thin engaged 1/a111bha1 on either side of the m11!'efi
leads to the practice of alternating 1/ambha1 with "'"!'diJ in the decorative program. The
oblique cutting technique employed for the vana-lata scroll soon becomes standard practice
and this garbled scroll supplants the ratiktra as the most dominant motif. The addition of a
third terrace on the roof of the jagamohana represents the first step in the development of a
piefha design for this structure. Included among the new motifs introduced, though on a
diminutive scale and inconspicuous in placement, is that of a female figure supponing a
child on her uplifted leg which becomes popular on later temples. There is also a small and
abbreviated ii/qtidana motif of a gNr11 instructing disciples and numerous erotic motifs
illustrating specific Tantric rituals which become popular on 10th century temples. Some
innovations, such as the use of shon balusters for lattice work in the gaviik/a window,
suggest influence from Daksina-Kosala, as do the numerous Krsna-lilii scenes. In that it
was at this time that the Somavarhsls were setting up a small independent kingdom near
Soncpur in the upper Mahinadl valley it is quite lickly that some of their architectural
traditions were filtering into eastern Orissa along the river.
I) PAD~IAPCR: ~f.~1.1.1>: E$\'A RA TE~1P1.c
In addition to the small Nilakanthesvara temple, a small piefha temple situated at the top
of Jogamunc,la hill mentioned in Chapter I, there is a second early temple at Padmapur
which is situ3!cd at the eastern base of the hill which is a rtkhti temple. The village of
Padmapur, located in the Gunupur subdivision of Koraput district, was most likely within
the suzerainty of the Nalas during its earliest period. By the ith century the po litical
supremacy of the Nalas, who had their headquarters at Puskar! in the Umarkot tah1il
of Koraput, extended over Koraput and the Bastar region of ~ladhya Pradesh and they
v.·ere continually encroaching on the territories under the hegemony of the Viika1akas.
They were eventually defeated by the CaJuki•a king Kirtivarman, however, and appear to
have shifted to Daksina-Kosala where they ruled for sometime as we know from the
Rajivalocana inscription at Rajim.JO Though little is heard from them after this they were
'° Epi.1.rophia Indira, \ 'ol. XXVJ. pp. 49.,a. A 6th century in~c-ript ion on a ruined ttmplt at ~lohanaJti ri in
Kalah:in<li d 1 ~1r1ct , containing the n:imc of CitrachanJ2, suAACSts chat the ~ l ud~a l a~ "''ere ruling O\'Cf portions
of ~1ah <i k<tn1ir2 <tt 1ha1 time. Sec S. Rajaguru, ln1£ript1(JlfJ of Ori1111, \ 101. 1, part 11, pp . 106, ''4·
Original from
177
NALA GENEALOGY
Vn2bh2dhvaia (c. A.O. 400}
Varahor:lia (u~to c. A.O. 440)

. I
Bhava112varman ahas Bhavada11a (c. A.O. 440 -461)
Arthapati (c. A.O. 461 -47) ) Skandav2rman (c. A.O. 4 71· 100)
Pnhviraia
V .• 1 -
1rupara1a
I
Vilisatuliga
Ai:lopr<'d from Dilip Kumar Gangul)', Historir41/ C1ograpJ9 ""d Dy1111s1ir llis1ory o/OrisstJ (C;aJcurta, 197s).
not completely ousted from the Bastar-Koraput regions as we know from a copper-plate
grant found at Pai:i<,liyapathara, near Ask a, which reveals that even as late as the 1oth
century a Nala king was ruling over portions of Ganjam and Koraput.' 1 Portions of
southeastern Koraput, as indicated earlier, were also included within the small principality
known as Trikalitiga established by the Eastern Gatigas. Although the Gatigas, under
Jndravarman I, defeated the Vi~i:iukui:i<,lin king of Vetigi,l2 their rising political power was
eclipsed by the invasion of the Ca!ukyan king Pulakesin II in the 7th century. After
Pulakesin II, Trikalinga appears to have been a bone of contention between the Eastern
Gatigas and the Eastern Cii!ukyas until the end of the 9th century when the Somavamsi
king Mahibhavagupta Janamejaya I extended his authority over this territory and declared
himself as "Trikalingiidhipati".l'
The temple situated at the base of the hill, known as the Mallikesvara, though
resembling the 7th century temples from a distance, is one of the last temples constructed
during the 9th century and was probably built after the region came under the hegemony of
the Somavamsl-kesarfs. Stylistically the temple shows some affinities with the Simhaniitha
and Paikapii<,la temples but the introduction of new motifs and iconographic features
suggests a slightly later date. Tentatively the temple can be ascribed to the end of the 9th or
the beginning of the 10th century. The temple consists of a dt11/ and jagamohana, the latter
being recently reconstructed, and is surrounded by architectural ruins and sculptural
fragments from various temples of differing dates. It is situated in a large compound, with
a later temple to its south, and may originally have been of the paiictiyalana class with
subsidiary shrines at the four corners."
" OHR), Vol. VJ . pp. 97°101.

12 Sec N . K . Sahu. "Chrono1og)' of the Earl)· Ganga Kings of Kalinga," 01-IRJ. Vol. \ 'I ( 1918), pp. 11 1· 14.
'' Sec Nilama.ni Scnapati 21nd N. K. Sahu, (d., Kor11p111 Di11rir1 CtJt,ttlrrr (C:uttack, 19(>6). pp. 49·~0 .
,_ There arc in all five temples clustered around jf)jl;amar:ida hill. In addition to the l"TlakanthcSvara and
~lal hitcivara arc 1hc Dhavalrivara, ~ft.-0ikcivar2 and Podu k~Sv ara temples.
Original from
TE~ll'l.ES OF TllE STH·9TH CENTL'RIES OL'TSIOE 0 1' Bll L"BANESWAR
I. DtNI
The dtNI, rising to a height of 27 feet l inches from ground level,lS is of the rekha order
with a squat curvilinear spire surmounting the sanctum. The ba(la, measuring 11 feet 4
inches square at the base, is tri-ratha in plan. The pabhaga, 36 inches in height, consists of
four mouldings as at Simhanatha though the top moulding, shaped as an invened /ehNra,
almost serves as a tala-bandhana. There is an indentation beneath the side niches though it is
more pronounced than on the Simhanatha due to the stepped facet design of the piiga.
There is a rampaka leaf carved on the hlmbha moulding, at Paikapiida there was a vertical
bar, but otherwise the piibhaga is devoid of ornamentation. This rampaka-diila, inAuenced by
architectural traditions of Dak~ioa-Kosala, becomes a standard feature on later temples and
helps to establish a late date for the construction of the temple.
The jiingha is rather truncated in plan and measures only io'f2 inches in height. The
subsidiary pagaJ arc designed as a nkhii-m11!f(li framed by a stambha on each side. In contrast
to the design on the Simhanatha, however, these stambhas begin above the pabhaga and form
part of the piiga rather than being conceived as independent elements. They have multiple
offsets but are otherwise devoid of ornamentation. T heir projecting capital was likewise left
plain. The niche of the nkhii-mu!f(li has a broad frame which runs up the sides and across
the top. The vimanik.i crowning the niche consists of live horizontal mouldings of tri-ratha
design with a surmounting amalaka. This contrasts with the vajra-mM(t(ii design standard on
early temples and, with the framing stambhas, again points to the late date of the temple.
The rahii is designed as a truncated rtleha, as on early temples, though the bhiimi division
extends above the bara(tefa division as on the front facade of the southeast shrine at
Simhaniitha. The niche of the riihii is framed b y a projecting pilaster on each side which
suppon a large pi(iha-shaped cave extending across the width of the niche as on the
Patiilesvara temple at Paikapac;la. This eave tends to divided the riihii into two stories with
the area above designed as a miniature ba(la and the bhiimi section as its crown. The piibhaga
of the niche consists of only three mouldings, thus beginning below the mouldings of the
side p.igas, and is indented in plan. At the base of the indentation is an abbreviated tala-
garbhik.i designed as a diminutive relehii.
The bara(t(ia consists of two projecting mouldings with a separating recess as on early
temples though it docs not continue across the rahii. It measures 18 inches in height, half
the height of the piibhiiga, but its decoration is missing. The top moulding serves as the
bo ttom bara!f(li of the first bhiimi of the ga(t(ii.
The ga!f(li is paiira-ratha in plan but lacks the recessed an11raha standard on early temples.
The number of bhiimis on the kanika is increased to seven, again testifying to the late dare of
construction, but each bhiimi has only three bara!fefis, wih the top one thin and linked to the
middle moulding by a raitya, which explains the truncated silhouette of the gan(li despite two
addit ional bhiimis. The anartha consists of identical mouldings decorated with triple rail.Ja
medall ions superimposed up the height of the ga!f(li as on early temples though the
medall ions arc more intricate in design and have ribbons which link up with those o f the
moulding above. Though little of the decoration survives this is one of the earliest
examples of this reticulated rail.Jo scroll, known locally as phand granthi, which becomes
popular on 10th century temples and achieves its finest expression on the Muktesvara
temple . T he vajra-mastaka designs at the base of the raha have not survh,ed except for the
>) Th is measurement is irom /11Jin" .4rrltoeolog>', 19G6·G7- A R, ,..;,.,._ p. 30.
Original from
TEMPLES OF THE 8TH ...,TH CENTURIES O l!TSIDE OF BHUBANESlt'AR 179
lower medallion on the cast, or front, facade which, as at Sirilhaniitha, is contained within
the interior of the jaga•ohatt4 due to the increased height of the roof of the latter structure.
The medallion houses an image of Na1ariija, a motif generally appearing in the upper
medallion of this dominating design. The crowning •astaiA of the gal/Iii is intact though
there are no btlti figures to help suppon the a•alaiA.
The safflihi·slhala connecting the tltMI with the jaga•oha1111 is well developed, measuring
•j'/ 4 inches, but is undecorated in its present state except for the piibhiiga and, above the
barll{l(ia corresponding to the lower medallion of the Pajra-•astaiA, a miniature rtlt.hii-dtMI.
This is the first example of this motif, later transformed into an aliga-iilt.hara, appearing on
the 14fflihi-11hala. On the Simhanitha temple this projecting Aank of the vajra-mastaiA was
decorated with panels of figure sculpture.
• · ]agamoha1111
The jagamoha1111, currently being reconstructed, is extremely short, measuring only 17 feet
! inches in length, and is covered by a roof with three terraces as at Sirithaniitha. The
piibhiiga, 1 j inches in height, likewise consists of only three mouldings in contrast to the
four of the dtM/. The bii~ on the nonh and south is lri-aliga in plan with the piibhiiga beneath
each niche being indented. The center aliga, or gavii!.,a, projects out slightly and its niche has
two inner bands in addition to its framing pilaster. The slightly smaller side niches have
only one inner band in addition to their framing pilaster. A dviira-/a/,;/a-bi• ba panel appears
on the lintel of each niche but was left uncarved as were the frames. The design of the
vi•iit1il:ii1 crowning the niches has not survived and now consists of a broad band as at
Paikapai;la. It is not known if the gaviil.,a niches housed images or were designed as
windows filled with lattice work. The side niches on the south side arc filled with a female
deity and an image of Aja-Ekapida. The interior of the jagamoha1111 has four monolithic
pillars which help suppon the roof. A small Nandi is placed on the Aoor facing the sanctum
door. The doorframc is devoid of decoration except for the division into three bands above
the unfinished dviirapiila niche and a Aanking pilaster on each side. The lintel likewise was
left unfinished.
;. S'"'P'""
The piirilla·dtvatiis arc ;,, si/M and arc the standard Saiva deities. Ganes• is seated in
11rdhapary11JiiA eating sweets from a bowl held in his lower left hand. His lower right hand
holds a broken tusk rather than a radish and a mouse appears on his pedestal, iconographic
features not popular on early images but standard on later works. Kintikcya is seated in
lalitiisllllll on his throne with the peacock carved beneath. The head of the peacock extends
above the scat. Kirttikeya holds the rooster-cock in his right hand, also a late iconographic
feature, and the iahi in his left hand. In later works of standing images the rooster-cock
will normally be held in one of the left hands. Mahi~amardini is eight-armed and wears the
shield stuppcd to the forearm of her major left arm as on later images while her major
right hand thru.sts a trident into the head of the demon attempting to escape from the
decapitated buffalo<arcass. Her other hands hold a niiga-piifa, bow, kN/hiira, talua, sword
and pluck an arrow from a quiver.
There arc no surviving iivaralJll·tltvatiis in the side piigas and, given the partially
incomplete decorative program of the temple, they may never have been carved. The two
Original from
180 TE~tPl. ES O F THE 8Tll-9TH Clil'Tl.RIES Ol.TSIOE OF BHL:BANES\\.AR
images housed in the side niches of the jagamohana arc not as accomplished as the pii.riva-
dtvattiJ and arc either by less competent sculptors or possibly later in date. The first is of a
female figure holding a kapii.la in her left hand and a shon, curved khatlga in her right. T he
second image is of Aja-Ekapada. He holds a kapii.la, trident, rosary and a Jamari in his four
hands, the kapii.la and (lamari replacing the water jar and snake, or varada pose, popular on
early images. He is tirdhvalinga and wears a 1arpa-/ulft(la/a in his right car. There arc also two
female figures loosely housed in the reconstructed niches at the front of the jagamohana.
Each has one hand placed on the hip and the other holding a water jar. Both figures are
characterized by stout body proponions and rather crude craftsmanship suggesting they arc
much later works and not pan of the original decorative program. The pii.riva-dtvatii.s in the
nearby Dhavalesvara temple arc in a similar crude style.
Among the numerous sculptures scattered among the debris within the compound are
two which arc contemporary with the Mallikesvara temple. The first is an image of Durgii
seated in lalitii.1ana on a viivapadma seat with her lion-mount carved on the pedestal. She is
four-armed and is Aankcd by a vid.)·ii.dhara in each upper corner of her slab. Her upper right
hand holds a rosary while her lower right is extended in varada displaying a lotus-mark. Her
upper left hand holds a lotus bud while the lower left, probably with a vase, is broken . A
border of lorus petals frames her halo. The second image is a fragmented slab with three
matrl!.ii.1 seated in lalitJJana with their right leg hanging pendent. Unfonunatcly they arc
badly damaged and their facial features obliterated. As at Paikapada there were babies
seated on their thighs but only traces of these remain.
The image of a ten-armed Naiaraja in the lower medallion of the vajra-mastak.; on the
front facade is difficult to sec due to the dark interior of the jagamohana. His upper two
hands hold the serpent horizontally above his head while his major right arm is bent
diagonally across the body in a modified gaja-ha1ta pose and the major left hand holds a
kapii.la near the chest. The remaining right hands hold a trident, (iamarti and possibly a
khag(ia. One of his left hands holds a rosary while another touches the chin of Piirvati
standing in the lower left comer. Nandi appears behind the feet of Siva, looking up at the
right, while another female figure appears at the lower right, possibly YogesvarT though
she cannot clearly be seen. Siva is tirdhvalinga and wears a long garland, possibly of skulls,
which drapes around his shoulders and hangs to his knees.
j) ADDITIONAi. SllRINES AND OF.TACl-IED SCL:LPTL: RE
1. Khand1rp11r (Amangai Island) Pakimtivara Temple

Among the smaller surviving temples datable to the 8th-9th centuries is the Pascimcsvara
temple on Amangai Island in the Mahiinadi river reached from the village of Khandcrpur
in the Athgarh subdivision of Cuttack district. The dt11f is the only original structure,
however, as the jagamohana is a later addition, possibly replacing an earlier hall which had
collapsed, as is the nii.fa· mandira which is elevated much higher than the other structures.
The dt11f faces west and measures only 11 feet 10 inches square at the base. The pii.bhoga,
31 '/2 inches in height, consists of only three mouldings which are similar in design to those
of 7th century temples. The bti(ia is tri· ralha in design with the side pii.gas fashioned as vajra·
m11~(iis terminating beneath the baram/a. The first clement of this mJl!li/i design above the
pii.bhii.ga is a tala-bandhanii. consisting of five projecting blocks as on earlier temples. The sill
Original from
Tl i ~IPl. t-:S C>f T ltl ~ 11'11·9Tl l C l~NTt'RJl "S <>l'TSll)E ( lF Klll· K,.\ Nl·:-S\X .\R l~I
of the niche is decorat<d with the pad111a-pr11ha scroll while the thin sfambhas framing the
niche are ornamented with ptirria·ghafas at the base and capital and various spaced designs
on their shaft , including a diminutive "'"!'tfi withjali, heraldic addorscdjagra/as, hamsas and
lotus motifs. The niche is covered above by a heavy pi{iha moulding with a center <aitya
design. The crowning vajra·fltastale.a, which begins above a recessed lehandi, consists of two
superimposed <aitya·medaUions. Although the jaligha measures 61 inches in height, thus
conforming to the two-to-one ratio standard on early Orissan temples, the "'"fltfi is thin
and, with the added khandi above its cave, appears elongated. The raha is also designed as a
i•ajra· m"!ftfi, rather than a truncated releha, with its niche and large padflta·pr1/ha sill
beginning above the pabhaga rather than cutting through these mouldings. The niche is
framed by thin slambhas as on the side pagas and a similar pit/ha-shaped cave appears above.
The crowning vajra-mastak.a design begins at the level of the bara{lt;la and thus obfuscates its
demarcating function.
The bara{lt;la consists of two projecting mouldings with a separating recess with the top
moulding serving as the bottom bara1ttfi of the first bhiimi of the gafltfi in the standard
manner. The k.anile.a of the gafltfi is divided into five bhtimi divisions by bhtimi-am/Os. These
am/Os arc rather bu lbous, however, and there arc only two bara{lt;lis in each bhtimi so that the
gafltfi is overly squat. These bara/llis arc decorated with a center rairya-mcdallion which
houses various diminutive deities or lotus motifs. There is no an11raha recess and the anarlha
consists of horizontal mouldings of equal size superimposed one above the other up the
height of the gafltfi, each moulding ornamented with a triple caitya design as on early
temples. The vajra-mastak.a at the base of the raha, which serves as the crowning design for
the pariva·dtvala niche, consists of two superimposed raitya·mcdallions which lack the
lt.irlim111eha, jagralas or mak.ara motifs on their borders typical on 7th century designs. The
lower keyhole-shaped medallion houses an image of Gancsa on the south, Surya on the cast
and Hara-Piirvatl on the west above the sanctum door. The raha above the vajra·maslak.a
consists of horizontal mouldings decorated with triple <aitya designs as on the anarlha. The
crowning members of the ga{lr/i arc missing.
The jagamohana, probably dating from the t ~th century, is a pit;lha structure bereft of
sculptural decoration. The roof has panially collapsed. The pabhiiga consists of live
mouldings and the jarigha is divided into two stories by a madhya·bandhanii of two mouldings.
A bara!Jtfa of four mouldings appears at the top. There arc no piiga designs or niches on the
exterior walls. The niifa-mandira consists of a high pi/ha with two rows of pillars on its floo r.
None of the piiriva-drvaliis or iivara!fa·drvaliis of the dt11/ have survived and the only
sculptures dating from its construction arc those on the gaflrfi. The image of Gal)csa on the
south side is depicted in ardhaparyalik.a eating sweets from a modak.a-piilra held in his left
hand. His right hand, resting on his uplifted knee, is broken. Surya in the medallion o n the
east side stands in a samabhariga pose and probably holds a lotus in each hand though these
have broken off. He wears a heavy garment which falls to his ankles but is otherwise
devoid of ornamentation. The upper medallion houses a bust of Siva. The image of Hara·
Piirvatf on the west side is housed within the jagamohana and o bscured by darkness. There
are two small images, broken and smeared with paste, loosely placed in the rahii niches on
the nonh and cast sides which arc later in date. One image is of Nrsimha while the other is
a female figure seated in la/iliisana on a throne with a bull carved on the pedestal. She has
four arms with the lower right extended and holding a rosary whi le the lower left holds
"·hat may be a trident. T he upper right hand is bro ken while the major left hand, possibly
resrored, is held in abhaya.
Original from
TEMPI.ES OF THE t 'rH.9TH CENTL!RIES Ol'TSIDE OF BHLIBANESWAR
There arc two better preserved images, also later in date, loosely placed within the
jagamohana near the sanctum door. One is of Lak$mf-Nrsirilha with the lion-avatar seated
with legs crossed and bound by a yoga-palfa. A diminutive Laksml is seated on his left thigh
looking up at him. The second image, originally belonging to the Gramcsvara temple on
the nonh bank of the river near Rautrapur and sketched by K ittoc on his visit in A.O.
t 8 J 8,.l6 is of Siva dancing on the back of Nandl. According to tradition this temple was
constructed by Puru$ottama-dcva (A.O. 1467-1497) and stylistically the image corresponds
to this date.
There arc two inscriptions on the temple, one consisting of two lines cut high up on the
cast face of the ga!'(l.i" and a second, consisting of a single line, placed above the doorframc
of the sanctum. Stylistically the dt11/, showing a predilection for archaizing clements, can be
ascribed to the mid-9th century.
i. Baiduwar: D11rga Temple

One of the earliest temples of the khakhara order is the small Durga temple near the
village of Baidcswar on the south bank of the Mahanadl in Cuttack district. T he temple,
resting on a low pi/ha, is lri-ratha in plan and faces west. It measures 6 feet 10 inches by 4
feet 11 •/2 inches at the base and is only 11 feet i inches in height.JI The piibhiiga consists of
three mouldings as on the earliest temples but is devoid of ornamentation. The side pagas
arc designed as vajra-m11,,(l.is. The first c.lcmcnt above the piibhiiga is a tala-bandhana of six
projecting blocks on the larger side and five on the shoncr sides though they have been left
uncarvc.d . The crowning vajra-111111/ako consists of two raitya designs. The raha niche begins
above the pabhaga and is crowned by a large cave which extends to the bara,,(l.a.
The barafl(l.a consists of a single projecting pi(l.ha moulding capped by a recess. The
moulding is decorated with a band of raligani scrollwork on its 111"'1ii!'fi and spaced 'aitya
designs on its sloping face flanked by hamsa1 or diminutive figures on the longer sides. The
ga!'(l.i is tri-ratha in design on the shon sides and pa;;ra-ratha on the longer cast side. The
west side, with a wider riihii due to the entrance ponal, is also tri-ratha in plan. The ga!'<i.i
consists of a single bhiimi with three bara!'<i.is crowned by an 11111/ii on the corners. These
bara,,(l.i1, on both the koniko and anartha, arc decorated with a small vajra-mastako motif. The
lower medallion, keyhole in shape, is carved on the lowest bara,,(l.i and houses various figure
motifs, including a standing Devi, warrior on a horse, or ham1a1. The . circular upper
medallion links together the top two bara,,(l.i1 and houses a lotus rosette. The raha of this
bhiimi, continuing the vcnical alignment of the b,;efa, begins above the niche cave and
obfuscates the bara,,(l.a division. It projects out from the bara!'<i.is of the flanking piigas and
consists of large horizontal mou ldings decorated with a vajra-mastako at the base and 'aitya
designs on the mouldings above. This large medallion at the base, aligned with the barap(l.a,
houses an image of the lion mount of the Devi, either its face or a profile view. On the west
this design, beginning above the entrance, projects up beyond the bhiimi division though its
ornamentation has not survived. On the nonh the lower medallion houses two confronting
warrior figures.
,. OHR], Vol. II ( •?!J). appendix, Pl. 4 , fig. r.
l" The inscription rtads "The divine Lo rd o( bcaufious vartCcy" 2nd "The varJcgaccd ornament''. See /biJ.•
p. '1 of append ix I.
"' ~ieasurcments as ~i\•cn br Dcbal:a ~fitra. ''Four Lictlc·Kno''"" Khakhara T<"mpl<"s o f Orissa'', JASB, \'ol.
II ( 1960), pp. •· •!·
Original from
TF.~IP~f.S OF THI; 8TH ·9T H CENTURIES OUTSIDE OF BHVBANESl!:.AR
Above this bbi111i division is a large .thiora-shaped member which does not panakc of the
piga divisions. The long sides of this member arc plain except for the 11111ha11/i which is
ornamented with a l:llltlbhiltti-blllllih4 and raligani scroll. The shoncr nonh and south sides arc
decorated with a large faitya which functions as the lower medallion of a vajra-mastalea
design. On the nonh side this medallion houses an image of Andhakiisura-vadha-miini
while on the south side it contains an image of Aja-Ekapiida. The 111a1talea above this Jeh11ra-
shaped member, separated by a narrow recess, is semi-cylindrical and flattened at the top.
The -hii~/i on the longer sides is decorated with a l:ll111bhiltti-bandha and rangani frieze as on
rhc lower member and is otherwise plain except for a center ridge along the crest. The
shoncr sides arc decorated with a faitya which forms the upper medallion of the vajra-
111a1talea design below. This medallion on the south houses an image of Gancsa while on the
nonh it contains an image of Nafariija. Naiariija is eight-armed and represented irdhvalinga.
The upper pan of the image is missing while the lower comers of the medallion arc
occupied by BhrngT on the right and a drummer on the left. The left border of the faitya is
decorated with an erotic scene in contrast to the lotus rosette appearing in 211 of the other
comers of these medallions.
The raha niches are all empty and the side piga niches on the west, flanking the door,
were left uncarvcd. Beginning on the south these piga niches contain images of Gar;iesa and
an eight-•rmed Mahi$amardinl with the demon represented in animal form; on the east the
enshrined images arc Kintikcya and Aja-Ekapiida while on the nonh they arc Piirv21i and
• second image of Mahi$amardinl. Kiintikeya is depicted in a standing pose with a
mat11/11nga in his right hand and his left hand placed on his thigh. To his right is the fakti
while the peacock, with a serpent in its mouth, occupies the lower left comer. The second
Mahi$amardinl is six-armed and pierces the buffalo-headed demon with a trident. The
images arc all rather archaic in execution and squat in body proponions, panly due to their
sm:dl scale, suggesting that the workshop responsible fo r the work was not well es-
tablished. Stylistically the temple can be dated to the 8th century.
The thin doorframc on the west side has lost most of its decoration except for the lintel
which has a meandering vine framing lotus petals and a small falt.ra in the center flanked by
a halitsa on each side. The projecting cave over the door is decorared wirh a raligani frieze on
irs 111"'10~/i and spaced faityas alternating with balitsat on its sloping upper face. In front of
rhe door arc the remains of a plinth, measuring 11 feet 10 inches by 11 feet l inches, made
of khondalitc slabs suggesting the existence of a jagamohana wh ich w2s probably a slighrly
later addition.l• An image of Mahi$amardini is loosely placed within the s2nctum on a
pedestal for which it w2s not designed. The image measures 141{ 2 inches by 17 inches and is
eight-armed. She has in her right hands a trident, which pierces the head of the demon
attempting to escape from the decapitated carcass of the buffalo, a <alt.ra, plucks an arrow
from a quiver and lifts a sword above her head. The major left hand pushes down on the
head of the demon while the remaining ones ho ld a serpcnr, shield and bow. Srylistically
the image is more accomplished rhan those of the cxrcrior walls and probably dates from
the latter pan of the 9th century, possibly when the jagamohana was added. There arc in
addition six loose sculptures leaning against rhc cxrerior walls. Four of the images, badly
worn, arc of Vi$1)U and two are of MahiiamardinT. The Vi$1)U images suggesr influence
from the nearby Simhaniirha temple where Vai$nava images actually dominate rhe
"lbt'J .,p. 11 .
Original from
decorative program of the jagamohana and it is possible that these images were made at the
same time. The best preserved of these images is a ten-armed Mahi$amardinf who plants
her uplifted right foot on the carcass of the decapiuted buffalo-carcass while plunging a
trident into the chest of the demon in human shape attempting to escape. Her remaining
right hands hold a takra, vajra, sword and pluck an arrow from a quiver on her back. Her
major left hand grasps the throat of the demon while the remaining hands hold a kar1trkti,
serpent, bow and circular shield. Stylistically the image can be ascribed to the last half of
the 9th century. In front of what would have been the entrance of thejagamohana is a buried
pillar which probably served as a yiipa.
l · Ra11ip,,r-jhariaf
A particularly interesting and Aourish ing site during the latter part of the 9th century is
that of the twin villages of Ranipur-Jhariiil in the T itlagarh subdivision of Bolangir district
in the heart of the Sambalpur tract of Daksina-Kosala, a tract frequently under the
hegemony of the Piin<;luvarhsi rule rs. The villages are situated on the two sides of an
enormous outcrop of Aatrock which forms a gently rising elevation about a half-mile long
and less than a quarter mile wide. Although originally there were some 120 temples
clustered around the outcrop there arc only about 17 still standing,'° most of which arc
small rekha temples devoid of sculptural decoration. The majority of these rekha-drNfs have a
short projecting portico at the entrance rather than ajagamohana. On top of the outcrop is
the Chausa! Yoginl pi/ha while to the north, below the outcrop, is the brick temple known
as Indralath, both datable to the early 10th century. Recent excavations of brick structural
remains near the Indralath reveal the existence of an earlier stone temple underneath
possibly datable to the 8th century to suggest that the site was in existence at least this
early."
There arc also two temples of the khakhara order at the site, one on top of the outcrop
near the Chau$•! Yogini pi/ha and the second situated on the south-west side of the outcrop
near the bank of a large tank. The one at the top of the outcrop is the smallest and is in a
dilapidated state. The larger temple is likewise mostly devoid of dccorati\•e motifs and is
known as the Lii•ahari-mandir. The temple measures 20 feet 8 inches by 17 feet l inches at
the base and rises to a height of approximately 22 feet. 42 The ba(ia is tri-ratha in plan but
severely plain with no suggestion of pogo designs. There is a simple pabhaga, 22 inches high,
bereft of facing stones. The jangha, l l inches in height, is crowned by a bara11{ia of three
plain mouldings. The center projection of the bara11(ia at the sides and back is crowned by a
rairya design which extends into the ga11(1i. The ga11<1i docs not panakc of the tri-ratha plan
but is designed as a large rail.Jo with traces of its center medallion visible. The crowning
khakhara member is separated from the ga11<1i by a thin khtindi or recess. On its front and
back sides is a cairya design. The cairya design on the ga11(ii ab<>ve the entrance is more
pronounced though only traces of its interior decoration arc visible. The entrance ponal is
extremely wide and has three openings wit h two pillars and rwo pilasters with the
40 F<)r :a picturc-sque de-scripiion of 1hc sire made by Bc:-gl:ar in 18 '14 ·1s sec A. Cu nn i n~ham, .·I.fl, \ 1ol. XIII,
pp. 118 - l)l .
• 1 Sec P. K. Ray, "Some Recent Excavations", f\'r•• DimfnJ1on1 of 'f0Hri1m i11 Orissa (llhub:anc!-\1.'ar, 1916), pp.
1 • ·11 .
" D. ~litr2. J.·IJ8, \'ol. II. pp. 16-17.
Original from
doorframe fixed in the center opening. A similar treatment appears on the Nava-Durga
temple at Jageswar (district Almora), as Debala Mitra points out,O while the porch of the
Bajramatha temple at Gyraspur, a nkha temple, has an alignment of three doors. The
ponal is crowned by a large projecting eave (<hhajja) which is aligned with the bara~i/a.
The largest temple of the group situated near the tank (Somatinha) a few yards below
the Liyahiiri-mandir is the Somesvara Siva. It is a rtkha-shrine with a tiered-roofjagamohana.
The dt11/, measuring 11 feet 6 inches square, is 1ri-ra1h11 in plan but is devoid of sculptural
decoration. The most interesting aspect of the temple is thejagamohana. It is 17 feet square
and, suggesting Piinc;luvamsi inffuence, much larger than the de11/ which appears almost like
an appendage. The gava/f!a projections are strongly pronounced and were originally
designed as balconies or small porches as is evident on the nonh side where the balusters
are still in si/11 though the open area above is filled with lattice work, in the Orissan
tradition, forming three windows. The projection is covered by an eave which begins above
a thin bara~i/11 of a single stone course that runs continuously around the structure. The
entrance ponal has a similar eave though it begins at the roof level and is supported by a
slambha at each corner. Two other slambhas are evenly spaced between these outside pillars,
though set flush with the east wall, so that the portal is supplied three openings as on the
Liyahiiri-mandir, an arrangement more in keeping with pillared-ma~apas of Chattisgarh than
with the conventional closedjagamohana of Orissan traditions. The two side openings were
apparently filled in with bricks at a later date, probably when the balconies were convened
into windows. The interior of the jagamohana contains four pillars arranged in a nine-foot
square, again suggesting Pal)c;luvamsi conventions and interior prada/f!i~a. and aligned with
the two Slambhas forming the entrance to the sanctum. Between the entrance and the
sanctum is a small anurala which likewise is foreign to Orissan traditions. It is thus clear
that the original design was a pillared-ma~i/apa and it was transformed into ajagamohana at a
later date. The upper tier of the roof was eliminated during recent repair work.
Within thejagamohana is an image of Ourgii, placed against the nonh wall, while near the
sanctum door is a nagi, both images being detached. The image of Gaja-Lak5mi is on the
sanctum lintel while a Buddha figure is inserted into a niche in the passage between the
antarala and the sanctum. There is an inscription on the architrave which records that the
temple was constructed by the famous Saiva ascetic Gaganasiviiciirya . It also states that the
temple contained images of four different deities, i.e., Somcsvara, Kantikeya, Buddha and
Laksmi.44 That the temple had attained great importance in Oaksit:ia-Kosala is attested by
its mention in verse 6: of the Bilhari inscription where it is recorded that it was visi1ed by
the Ccdi king Lak5mal)araja.•S The importance of the si1e as a famous Hrlha is evident not
only by an inscription on top of a nearby rocky elevation, record ing the name
"Siddhacarya" next to a pair of foot-prints, but also by its mention in the Vamana P11ra~a.
as quoted in the 1inhakiinc;la of Krtyakalpa1aru, along with Virajii, Puru5onama and
J\{ahendra. 46 If the dates of Gaganasiviiciirya (tirta A.O. 810-880) as suggested by K. N.
J\fahapatra arc accepted, then the temple was constructed just before the establishment of
the kingdom by J anamejaya, a date which accords with the stylistic analysis of the temple
•l Jb1J., p. 16.
.. K. N. ~tahapatra, •• Ga~ an-as 1v·achat)' :I and chc Date.: of the t\lonumc:nt$ 2t Ran1pur-Jhar1al," ()llRJ, \ 'ol.
Ill ( •914). PP· 70-70.
'~ 1-:.pigrophio ll'Uiir11. Vol. I, pp. 160, z68 .
66 K. N . ~lahapatra, op. <ii., pp. 7 1 ·7 ) ·
Original from
186 TEMPLES OF THE t TH 9TH CENTU RIES OUTSIDE OF BHUBANESWAR
0
- -- - ) i · ·· - --
~-- I J C. " I- !~"
I
I
,___ _ I SO"'- -'"'
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• .- .J
•-rl .
II ~;
-.-
.
I
~0,0 . )l" .,, "
'I
• • _J
- ---- - - T
Ri9ipur-jhariil : Somci vara Temple
which shows affinities with the Sirilhanitha and Piltilesvara (Paikapac;la) temples in respect
to the three-window alignment of the gawi/t;fa and the decoration of the slaMbha bases
respectively.
4· Jt1jp11r
One of the most imponant sites of the 8th-9th centuries was J ijpur, or Virajl, the capital
city of the Bhauma-karas, situated on the V aitaraQI river in Cuttack district. Due to its
continued prominence as both a political center and holy lirtba well into the Gajapati
period, as mentioned earlier, the city became the greatest victim of Muslim iconoclasm so
that today there is not a single existing temple which can be dated to the Bhauma period.
There arc, however, numerous architectural ruins and sculptural fragments scattered
throughout the city and surrounding area to attest to its past glory and importance during
the hegemony of the Bhauma-kara rulers. Among the compounds which include fragments
from the 8th and 9th centuries, in addition to the early sculptures on the A1hiranili bridge
already mentioned, arc the AkhaQc;lalesvara temple, the Siddhesvara temple, the Variha
temple, the Viraji temple, the Trilocanesvara temple and the Brahma Kunc;la tank. In some
cases the images are affixed to the walls of later structures while in other cases they arc
lying detached within the compound along with other images from various periods.
Included among the numerous sculptures in the compound of the Akhanc;lalcsvara
temple are examples of Jain Tirthankaras, seated images of Durgi and Pirvati, Surya, Siva,
Ganesa and Mahi~amardini. Surya is represented from the hips up riding in his chariot
pulled by seven horses. He is Ranked by Danc;ll and Piilgala.
Original from
T E ~IPl.ES OF THf. 1TH·9TH CEN'f'l' RIES OllTSIOE Of' BH t:BANF.5\X'A R
The Siddhesvara temple, situated a shon distance outside the city on the bank of the
river, has an inscription referring itself to the reign of the Ganga king Narasimhadeva JV. 47
Among the earlier images within the compound are examples of Surya, Ganc5a, Lakullsa,
Hara-Pirvad, Vi$nu, llliga1 and ,,,;1h1111a images. There is also a vajra-,,,a1talt.a fragment
insencd into the compound wall which includes images of Lakulisa and Na1araja. Also
within the compound is a Siva-/iliga with its argha·paf!a in an eight-pointed star similar to
those in the temples at Baudh. Other interesting images of a later date include Camundi,
Astikajaratk:iru and, in front of the Nandi shrine, a fragmented pillar with a beautifully
carved pedestal. A shon distance from the Siddhc5vara is a small shrine with two images of
standing Vi$nU and a badly wom Ekapada Siva.
The Var:iha temple, situated across the river from the Dasasvamedha ghat, according to
tradition was erected by Prataparudradeva. There are numerous shrines within the
compound with sculptures from dift'erent periods affixed to their walls. One of the earliest
images is of Bhik$ifanamuni. There is also an early image of Surya, depicted from the hips
up, riding in his chariot. Aruna is carved on the body of Silrya rather than being seated on
the chariot. Jn a small shrine there is an t/t.a1'tllleha·liliga while in another there is a four·
armed Bhairava. Dating to the 10th-11th century is a standing Ganesa. Later images
include two examples of Garuda, Trivikrama; Nrsimha, three images of Variha, Astika·
jaratkiru, Vai$navl, seated Durgii, Goplnatha, Kf$na Govardhana, Vi$1)U, driirapaku and
terrifying figures such as Gadardar. There is also an image of Lak$ml-Nrsimha in which a
canopy of seven serpent hoods is placed above the head of the god.
Affixed to the compound wall of the Viraji temple, next to the main entrance, are early
images of Gangidharamuni, Y amuni and Sarasvatl while within the compound are images
of K:intikeya, Ardhanirisvara, Ekap:ida Siva, Parvati, Mahi$amardinl, Hara-P:irvali,
Lakulisa, C:imund:i, and miniature shrines. The image of Viraj:i, the presiding deity, also is
early in date though I have not seen any photographs of it. Of the later images one of the
most interesting is a memorial stone with a long inscription at the base.
In the compound of the Trilocanesvara temple there are two early linga1, one an
tft.a,,,11Ma-liliga and the other a ra/11r,,,11Ma-liliga. There is also an early standing Vi$nU while
affixed to the walls of the j aga,,,oha11a are images of Bhik$iifanamuni, Ravana, seated Pirvatl
and numerous dance frieze fragments. The most impressive images are the three sculptures
of C:imu(ld:i. Panicularly gruesome is the seated ten-armed image leaning against the
jaga,,,oha114. The largest of the three is the eighteen-armed example housed in a small shrine
on the southwest comer of the compound. There is also a seated Bhairava placed near the
entrance of the compound, generally identified as Ciimundii, with an eighth-century
inscription in dtva11igari on its pedestal, the inscription recording the name of Vatsidevi
who was probably a Bhauma queen."
The walls of the Brahmi-ku1:1e;la tank, near the Viraj:i temple, also have numerous 8th
century sculptural fragments affixed to them, including an example of the Bhik$i!anamilni,
an Ardhaniirlsvara, a jamb fragment with a figure in a swing, a lala-bandha11i fragment,
•ith1111a images, female figures and a niche fragment containing the pedestal of a Lakullsa
image.
1
' f;p1J.r11phio lttdito. Vol. XXIX, pp. 10, SS ·
"' tp11,raph10 /"'11to, XXVIJI, pp. 184·8J .
Original from
CHAPTER FOUR
TEMPLES OF THE 10th-11th CENTURIES

OF INTERIOR ORISSA
The extreme western ponion of Orissa known as the Sambalpur tract, extending from
Sambalpur in the nonh to Koraput and Kalahandi in the south, was often included within
the hegemony of the Piit)duvarilsl rulers of Daksit)a-Kosala (Chauisgarh). T he
Piit)c;luvarilsls were probably vassals of the Sarabhapurlyas who had their capital at
Sarabhapura. 1 Sometime in the late 7th century, possibly due to the weakened conditions
following the attack of the Cii!ukya king Pulakesin, the Piit)cjuvarilsls gained their
independence under l\lahiisiva Tivaradeva. According to the Rajim and Baloda copper-
plate grants, issued from the capital city of Srlpura (Sirpur) in his 7th and 9th regnal years,
Tivaradeva used the glorious title of "Sak ala Kosaladipati" and declared himself a devout
worshipper of Vist)U ("Paramavaigiava").2 Jn the Adhabhara copper-plate grant of his son
l\lahiinannariija mentioned earlier, Tivaradeva extended his conquests eastward and took
temporary possession of Utkala (nonhem Orissa bordering l\lidnapur) but funher expan-
sion into Kongoda was foiled by the Sailodbhava king Dharmariija. The dates of
Tivaradeva and other PiiQ<)uvarilsl kings are greatly disputed and some scholars, including
V. V. Mirashi, L. P. Pandeya, D. Stadtner and D. K. Ganguly, place him in the first half of
the 6th century while D. C. Sircar places him in the second half of the 6th century.
According to them the Tivaradeva mentioned in the Sailodbhava copper-plates may have
been a remote descendant of the famous l\lahasiva Tivaradeva. In the genealogy of the
Piit)<)uvarilsls only one Tivara is known to us, however, and no other king bearing that
name is found in the history of this period.' Tivara is called a "great king" in these
inscriptions of Dharmariija and he gave shelter to the defeated Madhava at Vindyapiida,
identified as the fon of Kalai\jar in J.l,fadhya Pradesh on the southwest frontier of Daksit)a-
Kosala, a fon occupied at an earlier date by Udayana, the great-grandfather of Tivara.
Additional evidence suggesting a synchronism of Tivaradeva with Dharmaraja in the
Adhabhara p lates is supplied by the title of "Kosaladhlpati" for l\lahiinannar:ija, rather
than "Sakala Kosaliidhipati", indicating the territory of Utkala was occupied for only a
brief period and that Mah:inannaraja was only the lord of Kosala.•
In assigning Tivaradeva to the 6th century these scho lars rely primarily on epigraphical
and palaeographic evidence which is open to disput and interpreted differently by various
scholars. The "Trlvara nagara" of the Polumburu copper-plates of l\ladhavavarman, dated
in an unspecified era, is not conclusive proof that Tivara was a contemporary of this
Vi5Qukul)<)in king and possibly refers to a city called Trivara and not the city of Tivara.
• Some scht>lao. h-.vc C'\'C'n 1dent1tlcd Sarabhapura 1,1,·ith Samhalpur bu t it most likc:ly "'''1S l0<atC"d 04:ar Sirpur.
Sec R.C. 1\f:ajumd:ar and A. S. Al1c.·kar, 1'ht 1- 'ak.ota (;Npto Agr (Delhi, 1960), p. 86.
2 J. Fleet, (.:orp111 i1'Jfrip1ionfi111 lnditdflillt, Ill. p. 294. and J-luhzsch, 1-:.pi1,raphi1J /nd;ra, \' II, pp. 101-07.
l S. C. Bchc:ta, "S>·nchronism i>f Ti"•ara '1>irh Dharmaraia," OHR], \ 11>1. XI ( 11)6z), p. 94.
4 S. Raja~uru, ln1fr1p11(J.,,.1 ~f ()rissa, \ 1ol. I\', pp. jZ9·jjO.
Original from
Ta:.'.\1Pl .l ~S ()F Tiii·: 101·11 . • 1·r1-t < : 1:: !'1·l ·R11 ~s ( )J • l !''l'ti Rl< >R <>RISS:\
SARABHAPURIY AN KINGS
Sarabharija
Narcndra Dau~h1cr
I
Pra!'lanna1tlat ra
I
Goparaja
Mah:ijayarija r..lahidurgarija alias ~1anamatra
Pra\.·ararija I \ 'yaghrarija Pravarar3ja II
PANOUV Ar;<sl KINGS
lndrabala
I
) ) > llha\'adc"a (Ra0 akcsarin I)
Nannadeva TSlnac:leva alias Chintadurga
~lahiSiva Tivaradeva Candragupta

I
Harsagupia
I
DauJ.!hlt'r
(m. \ 'asata)
I
(m. 1'anna) I I
~fahiSi"·agupta RaQakcSarin ti
Bilirjuna
Tivara did not establish any city of his own and Sripura was the capital city during his
reign.s In res~ct to palaeography, the box-head characters used in the Riijim and Baloda
copperplates arc also used in the Lodhia copper-plate issued in the J 7th regnal year of
l\lahasivagupta Biiliirjuna, some two generations after Tivaradeva. It is thus not warranted
for l\1irashi to change the Gupta era z8z' of the Ararig copper-plates of Mahiiraja
Bhimasena II to Gupta era 182 on the basis of box-head characters.• The box-head letters
and angular style used in Piii;c;luvarilsi copper-plate grants was peculiar to all of Central
India and was not restricted only to Vaka1aka inscriptions. It apparently was an earlier
s According 10 \ 1 • " · l~:11k$hm2n Rao "Triva ra na~ar-.a .. is a 1ou·n b~· that narnc \\'hich may be tdl'n1 1tic:d v.·uh
Tt'v. ar. Sec S. <.:. fkhc:ra, op. rir., p. 86.
1
°' l.;p11,r11phi11 J,,J1ta, \.'ol. XX\'(, p. 118.
Original from
TEl\.tPLE-S (lf THE 10TH·11TH CF. ~ ill R IES ()F I N TERlt) R <>RISS ..\
style of script now reserved for princely chancrs on copper-plates. All of the copper-plate
inscriptions of Biiliirjuna, for example, arc of the box-head type while inscriptions incised
on stone are in the hiti/a type of later medieval character.' According to V. Ochejia the
stone inscriptions give us a truer indication of the development of letters. In comparing the
inscriptions of Biiliirjuna with those of Janamcjaya, she states that the earliest Somavarhsl
letters show a slight advance over those of Biiliirjuna but "nothing so major as to
necessitate a century between the records" of these respective rulcrs.8 It is thus possible that
Biiliirjuna reigned in the late 8th or early 9th century though there is no direct evidence to
indicate that he was the father of Janamcjaya as suggested by J. K. Sahu.9
The earliest and most impressive surviving monument at Sirpur is the brick Lak$mana
temple. From an inscription originally on the temple, edited by Hiralal and dated by him to
the 8th or 9th ccntury,10 we know that it was built by Queen Viisatii, the wife of
Har~agupta and mother of Biiliirjuna. According to the inscription Viisatii was the daughter
of Siiryavarman, king of Magadha. H. Rayachaudhuri and Mirashi suggest that this
Suryavarman may be identified with the Maukhirl prince Suryavarman mentioned in the
Haraha inscription dated in samvat 611. The samval is in dispute, however, with H. Sastri
interpreting it as the Vikrama 1amva1 corresponding to A.O. 114 11 whereas S. Rajaguru
suggests the Saka 1amval which would place it to A.O. 689.12 The identification of
Siiryavarman is equally open to question. According to A. Ghosh there is no evidence that
the Maukhiiri prince ever came to the throne and he states that the MaukhiirI line of
Harivarman was never a characteristically Magadhan dynasty, their hcadquancrs being at
Kanauj, whereas the Suryavarman of the Sirpur inscription is called a king of Magadha.ll
On palaeographic evidence the Lak~mana temple thus could just as easily be dated to the
8th century as to the beginning of the 7th century as postulated by 0. Scadtner.' 4
Funhcr evidence for a later date for the Piii;i<Juvarhsi kings appears in the Sai\jii.n plates
of the Ri$fraku1a king Amoghavar~a mentioned earlier which record Govinda Ill's
expedition of conquest in the nonh. According to the inscription Govinda defeated two
kings, named Nigabhana and Candragupta, who have been identified as the Pratihiira
king Niigabhana II and the Piii;i<Juvarhsi kmg Candragupta respectively.is If these identili·
cations are correct they prove that Candragupta, the father of Har$agupta, was reigning
around A.O. 800 and place the reign of Biiliirjuna in the 9th century. The Samangada plates
of the Riistraku1a king Oiintidurga, on the other hand, dated to Saka samvdl 671 (A.O.
71 J), record the defeat of Har~agupta, father of Biiliirjuna, which suggest that Biiliirjuna
must have began his rule in the last quaner of the 8th ccntury.'6 In either case pan or all of
Biilirjuna's reign extends into the 9th century. If Pramathiiciirya, the gMnt of the donor
Sulapiini mentioned in the Lodhia copper-plates of Biiliirjuna, is the same Pramathiiciirya
1 S. Raja.guru, ln1rrip1ions o/Oriss11, Vol. 1\1, p. ,10.
• V. Oehcjia, 1p. ti/., p. 161.
9 J. K. Sahu, "Nc:w Light on ~fahasiva~upta Balarjuna,'-' ()JIRJ, \ 1ol. XXllJ (1978), pp. 117· 1.1:1. Sahu
plac« the reign of Bilirjuna to c. J\ .D. 78,·845 .
10 Epigr11phi11 /ndir11, Vol. XI ( 19 11·11), pp. 184· .1:01 .
11 Ep1gr4ph1'1 /Miro , Vol. Xl\1, p. 110.
11 S. Raja~uru. /n1r,.1p1iot11 0/0ri1111, Vol. JV, p. jjl.
ll EphiJ.,.aph1il /,,dito, Vol. XX V. pp. 167-169.
14 Donald Stadtner, "The: Siddhes,·ara Temple At Palari and 1hc An of Kosala du ring rhc Sc:vc:nth and
Eighth Centuries,'' Ars Oritnlolis, Vol. 11 (1981), p. 49 ·
1s S. RajaguN, ln1rr1p1io,,1 efOri110, Vol. IV, pp. }}l ·J~j.
16 Sc:c: J. 1'. Sahu, op. til., p. 1 17.
Original from
TEMPLES OF TH E •oTH . .,TH c;ENTIJRl l;'.S OF INTERJO R ORISSA 191
appearing in the inscription above the south door of the Jaga111ohdll4 of the Parasurlmesvara
temple, mentioned earlier, then we have further evidence that BiUiirjuna reigned in the 9th
century as Oehejia tentatively dates the Par.Surimcsvara inscription to A.O. Sio.17 Rajaguru
suggests that Pramathiiciirya probably belonged to the Mattamayllra sect of Saivism which
was gaining popularity during rhe reign of B:ilirjuna.11 Previous Pii1:11;luvamsJ kings styled
themselves as "Paramavai~r;iava" whereas Billirjuna adopted the title of
"Paramamahc$vara". Funher evidence of his suppon for the Mattamayura sect appears in
his Scnakapat stone inscription where he granted land to two ascetics, Siviiciirya and
Sadiisiviicilrya, who probably belonged to this scct.19 Evidence for the spread of Matta-
mayura Saivism into Orissa at this time appears in the Somc5vara temple inscription at
Rar;iipur-Jhariil which records that the temple was consu-uctcd by the famous Saiva ascetic
Gaganasiviicirya, identified by K. N. Mahapatra as a Mattamayura ascctic.20 The inscription,
mentioned earlier, has been dated to rirt11 A.O. Sio-880 and it is possible that the site was
under the hegemony of the Pil;lo;luvarilsJ kings at this time. The villages of Vaidyapadraka
and Khadirapadraka mentioned in the Lodhia copper-plates of Bilirjuna, for example, have
been identified with villages in the Bargarh subdivision of Sambalpur by Pandeya Sharma"
and with villages in Kalahandi by K. N. Mahapatra.22
Mirashi, Stadtner 11 al place the demise of the Pil;l<;iuvarilsis in tirra A.O. 6io though they
fail to explain the reason for the collapse of the dynasty or the deanh of inscriptions in the
area until the rise of the Kalacuris in the late 9th century. The only major inscription in this
interval is that of the Nala king Viliisatunga appearing on a slab insened into the M4/l(/4pa
wall of the Riijivalocana temple at Riijim which suggests that the Nalas apparently ruled
for a brief period in Chattisgarh. Mirashi, on the basis of palaeography and the political
hiatus in Oak~ir:ia-Kosala after the demise of the Piir:iduvamsI dynasty, proposed a date of
<irra A.D. 700.2J Rajaguru, on the other hand, suggests that the engraver of the inscription,
Durgahastin, may be the same Durggahastin mentioned as the father of the engraver of the
inscription in the Gandhesvara temple at Sirpur dating from the reign of Billilrjuna, which
would place Vilasatunga to the same period as Billiirjuna and Ha~agupta. The style of the
composition composed by Biiliirjuna's coun pocr in the Gandhesvara inscription, consisting
of an ornate usage of vocabulary with a11•prna, comes to prominence, according to
Rajaguru, towards the close of the 8th or the beginning of the 9th century.ZA
According to Orissan scholars, including Rajaguru, Panigrahi and J. K. Sahu, the
Pini;luvarilsl rule was first weakened by the invasion of the RiHraku1a king Govinda III
(A.D. 794-814) and then subdued by the Binas or the Kalacuris. Rajaguru suggests, as
indicated earlier, that Govinda III defeated Candragupta during this invasion whereas J. K .
Sahu is of the opinion that Biillirjuna, due to the absence of chaners between his 9th and
zznd regnal years, must have served as a subordinate under the RiiHraku1as. Upon the
death of Govinda, Blililrjuna, with the assistance of his heroic brother Rar;iakesarin, re-
11
V. Oehejia, op. tit ., p. 168.
•• S. N . RajaguN, lttstripti¢111 ef Orissa, Vol. JV, pp. J49·Jj 1.
•• /hiJ., PP· • ?·J4 .
., K. N. Mahapaira. OHR]. Vol. Ill, pp. 68·70.
" f:'.p;&r.pl>ia l•Ji1a, Vol. XXVll ( •947-48), pp. P9·J2 1·
Z2 K. N. Mahap1tra, OHR}, Vol. Ill, p. 7J· Mirashi idcntif1C$ Khadirapadraka \l 1th Khar<)d.
1
2, E.piJ.r11phi4 Jn4it11, XX VJJ (1941), pp. 49·, 7· N . K. Sahu. on the other hand, su~gcsts the Nalas were dr1..·en
out by Tivaradeva in c.A.D. 700. S<c "The Nala.s," OHR). Vol. Xl ( 196J:), p. 101.
1• S. N. Rajaguru, J,,striptr()ll/ of Ori1111, Vol. I\', p. }S4·

192
gained the lost glory of his family and conquered some neighboring lands. With the
emergence of the Kalacuris in the latter part of the 9th century, however, the Pal)cjuvamsis
were forced tO abandon Srlpura and moved tO Suvarl)apura (Sonepur) where they changed
their family name to Somavamsi.2S
In respect to archaeological evidence a later date is also more convincing for the
Piil)cjuvamsis, particularly when compared with Orissan art. D. Stadtner has plotted the
development of temple construction in Daksir:ia-Kosala and has arrived at th ree distinct
phases-26 The earliest phase consists of brick temples: the Lak5mal)a and Rama temples at
Sirpur (c. A.D. 19i-6oi); the Indal Deul at Kharod (c. A.D. 650-60); the Siddhesvara
temple at Palari (c. A.D. 67i-686); and sculptural remains incorporated into the modern
Rilmacandra and Kulcsvara temples at Rajim (end of the 7th century). The second phase,
associated with the Na las moving into Daksil)a-Kosala from the Koraput district of Orissa,
includes the Riijivalocana temple at Rajim (c. A.D. 700-710); the Sabari temple at Kharod
(c. A.D. 700-710); isolated sculpture at Sirpur, Mallar, and Turturiya; and isolated remains
including a doorframe at Dhamtari which probably date to the second-half of the 8th
century. The third phase, dati.n g to the 9th-10th centuries, consists of the brick temples at
Pujaripali, a brick temple at Dhobini, and the ruins at Adhabhara.
Although I agree with the general evolution of the temples as outlined, the dating is
based almost entirely on epigraphical evidence which is disputed as indicated above. The
brick temples constituting the first phase arc dated on the basis of the inscription from the
Lak5ma1Ja temple at Sirpur which may date to the early 8th century rather than c. A.D.
19!· In that there are no surviving early brick temples in Orissa comparative analysis is
difficult. The only comparative evidence is the tampaka-leaf appearing on the k.Nmbha
moulding of the pabhaga, a motif that is introduced in the 9th century on Orissan temples.
The earliest temples of Orissa, in fact, show no influence from DaksiQa-Kosala. In respect
to sculpture, the river goddesses, in pose, coiffure and ornamentation, arc more closely
related to 8th and 9th century Orissan images than to Gupta examples, an exception being
the Yamuna from the Kulesvara temple which closely approximates the pose assu med b y
the images at Bhumara. The pronounced and langu id tribhanga pose of the goddesses on the
Siddhesvara temple at Palari are closely related to examples at Gyraspur or on 8th-9th
century images in Orissa though in Orissan images one arm rests on an attendant figure.
Even mo re decisive is the manner in which one arm is draped around the neck of an
attendant, nearly choking her, on a detached image in the Sirpur Museum, a pose which
appears on numerous 8th and 9th century images in Orissa while the body proportions and
facial features of the goddesses from the Indal Deul at Kharod are closely related to the
female figures on the late 8th century Vaital Deul a t Bhubaneswar. The water jar held in
the uplifted hand of the goddesses is also a late iconographic feature which is introduced on
late 9th century images in Orissa. Despite the close stylistic affinities between the Indal
Deul and Siddhesvara temples and the Laksmal)a temple, Stadtner, by accepting a c. A.O.
610 date fo r the demise of Pal)cjuvamsi rule, has to assign the construction of the Indal
Deul and the Siddhesvara temple to unknown former feudatories of the Pal)cjuvamsis or to
smaller dynasties about which there is no informarion.21 Srylistically, from our poinr of
view, all of these temp les could d2te from the 8th century.
" fb;J,, PP· JS! · ll?·

iit> Donald St2Jtncr, "Ancient Ko!\ala and thl· Stcllate Plan," K.i/(JdarstJnJJ, ed. by Jc-,anna \'('tlhams ( ~cw
D e1hi, 1981), pp. 137 141.
4
n Stadtncr, .4rs Or1t1rt11/is, p. 49 .

Tl ~ :'tilPl. f.S ()F ·rHE 1e>l.H· 11Tff C ENTL.Rll ~S ( ) f ll"TERl <>R <>RJSS:\ 193
The dating for the second phase of temple construction is based on the undated Nala
inscription in the Rajivalocana temple at Rajim which, as indicated, could date from the
late 8th or early 9th century rather than c. A.O. 700, the Nalas possibly assuming
temporary control after the demise of Riis1raku1a rule. According to Stadtner the sculptural
style introduced at Rajim by the Nalas may have originated in the Koraput region. There
arc, however, no archaeological remains from this period in Koraput to validate such an
2ssumption. The only surviving temple is the Nil2kanthcsvara at Padmapur and it is a
small pidha-shrinc bereft of sculptural decoration. The employment of pillars decorated with
figures carved in high-relief is foreign to indigenous Orissan architectural traditions and no
doubt represents a further evolution of PiiQc;luvamsi traditions as evidenced on the
Siddhcsvara temple 2t Palari. The female figures on these pillars again closely parallel the
female figures on the Vaitiil Oeul which, though carved on exterior piigas, simulate free·
standing pillars in design. Although one of the female figures from the Rajivalocana again
embuces 2n 211endant similar to the river goddesses mentioned above, in general the river
goddesses assume a rather rigid pose which associates them more closely to late 9th or early
10th century images in Orissa. Even when figures arc in a pronounced tribhanga pose ther
lack the suppleness noticed on the images of the first phas<. The exaggerated elasticity
noted by St2dtner on the 11iiga in the Trivikrama panel may be misleading as it probably
belonged to a Variiha panel and was inserted here at a later date, the overall defect now
being rather crowded.211 The /a/itiisana pose assumed by Gaja· Laksmi carved on an interior
pillar is also a late iconographic feature which makes its appearance in the 10th century on
Orissan temples. The progressively stepped doorframe with multiple figure motifs on the
jambs, though obviously evolving from the earlier examples at Sirpur, is closely related to
the doorframes of the mid-9th cenrury Madhukesvara temple at Mukhalingam. The gelaba
scroll of figures climbing a meandering vine also includes a figure in a swing similar to
numerous late 8th and 9th century temples in Orissa. The ratileera scroll on the lateral face
of the door jambs of the Rajivalocana shows the motif in its most ornate phase and is
similar to examples at Suklesvara, Kualo and on the Madhukesvara, all dating to the 9th
century. Stylistically, then, the temples from this second phase seem to date from the early
9th century and represent a further evolution of earlier traditions, though the carving is
somewhat drier, ornamentation less profuse and figure poses more rigid.
After the construction of the Rajivalocana temple, according to Stadtner, there is a long
interval before the next extant temple in OaksiQa· Kosala. The brick temples of the third
phase, however, show close stylistic affinities and nearly identical decorative motifs to the
brick temples of the first phase, as he admits, and certainly do not suggest an interval of
over two hundred years. The stellate plan of the Dhobini temple, with an oblique pilaster
adjacent to the riihii, is very similar to the plan of the Sabarl temple at Kharod, as he points
out, and the two-story design at Pujiiripali is already presaged on the Siddhesvara temple at
Palari. Closely related to these 1emples are numerous brick temples in western Orissa, some
likewise displaying a stellate design, as well as pillared-..,andapas similar to examples 31
Riijim of the second phase of temple construction. Due to the supposed political hiatus,
resulting from the early daiing of the PiiQc;luvamsi kings, Stadtner is unable 10 explain the
connections between these Orissan temples and the late brick temples in OaksiQa· Kosala,
though admitting the innovations introduced into Chattisgarh from Koraput district by the
Original from
TEMPLES OF THE •oTH· • •TH CENTURIES (lF INTERIOR ORISSA
Nalas may now have filtered back into western Orissa. If, however, we accept a later date
for Pat:iduvarilsi rule, there is no hiatus and we have a continuous evolution of temple
construction with the style being transplanted in Orissa when the Pat:iduvarilsis were forced
out of their homeland.
The Pai:i<;luvarilsis were probably forced to leave their homeland when the Kalacuri king
Sar\karagana conquered Pali and "uprooted the dwellings of enemies one after another" as
recorded in the Bilhari inscription.29 The Pai:i<;luvamsis apparently took refuge in the
Sambalpur tract where, under Janamejaya I Mahabhavagupta (c. A.O. 882-922) they
established an independent kingdom, with the capital at Suvamapura (Sonepur), changed
the name of their dynasty to SomavarilsTlO and adopted the title of "Trikalirlgadhipati."
Although a Sivagupta is named as the predecessor in the grants of J anamejaya their
relationship is not known and his name docs not appear in the records of any other
SomavarilsT ruler, suggesting an attempt to erase from memory the name of the ruler who
was forced to leave their ancient homeland. This desire to sever all ties with their ancestral
rulers seems validated in later grants where Janamejaya is listed as the founder of the
dynasty and that he became king by his own manliness rather than inheriting it from a
predecessor.
Janamcjaya, also known as Svabhiivaturlga, ruled for 34 years and it was during his
reign that matrimonial relationship with the Bhauma-kara dynasty was established. In the
Baudh copper-plate grant of the Bhauma queen Prthvl Mahadevl, alias Tribhuvana
MahidevT II, dated in the year t s8 of the Bhauma-kara era (A.O. 894), it is stated that she is
the daughter of the Somavarilsi king Svabhavaturiga. It is funher stated that her accession
to the throne was the result of the death of her husband Kusumahara (Subhakaradeva IV)
and his brother Lalitahara (Sivakaradeva Ill) without leaving any heir.JI Later records of
the Bhauma-kara dynasty, however, reveal that at least two sons of Sivakaradeva III
Lalitahara actually became kings. As indicated above, Prthvi Mah:idevi and her followers
ignored the claim of the sons of her husband's younger brother, suggesting that there was a
struggle for the throne after the death of Sivakaradeva III and that the queen succeeded in
occupying the throne for a shon period after which she was dethroned by these sons.
Prthvi Mahadevi's success in gaining accession was probably due to the active help she
received from her father J anamejaya.l2 As recorded in the Brahmesvara temple inscription
of Uddyota-kcsarl Mahabhavag upta, now lost, it was Janamcjaya, the founder of the
SomavarilS! dynasty, who killed the reigning king of O<;lra.JJ Probably, as has been
suggested by numerous scholars, J anamcjaya intervened in the dispute and successfully
championed the cause of his daughter, an act which may have paved the way for the
occupation of Utkala by the Somavarilsis..14 The three female members of the Bhauma
dynasty succeeding Prthvl MahadcvI must have been nominal queens at best and probably
had to vie with the sons of Sivakara Ill for supremacy, enlisting the help of smaller
" Epi&raphi• I.Ji'". Vol. I, p. :16.

JJ Even in the time o( Bilirjuna, as recorded in his Bardu1a and Mallir plates, cheir fami ly epithet \l.'1 $
conventionally mentioned as "SomavarilSa ·Sarilbhavah." Sec: Rajaguru, lnstriptions of Ori11a, Vol. IV, pp. 147,
l! I ·
.ll Epi1r11phit1 lntlita, Vol. XXIX, p. 110.
"2 0 . C. Sirc2r, "The Later Soma"•amsis," OHR], Vol. I (19s J}, p. 291 .
"}ASB, Vol. VII (•Ip), pp. 111· 16:. l•"ripti..s ojOriss•, Vol. IV, pp. ••4"1"
J4 Panigrahi, Chr(J110l"IJ of tbt Bh(lflllllfl ·hr4J & t/Jr Son10110Msis of On'ssa, pp. 7·8.
Original from
TEMPLES OF THE 10TH· .,TH CENTURIES OF INTERIOR ORISSA '9!
principalities in the struggle. It is during this period of turmoil that the Khiiljali Bhailjas,
ruling over territories between Oak~ll)a-Kosala and Utkala, assumed a sort of independent
starus and possibly played a role in delaying the Somavarilsl occupation of Utkala by
supporting the last two female rulers, Vakula Mahidevl and Dharma Mahidevi.JI
Although Janamcjaya, in a grant issued during his third regnal year from Sonepur, assumes
the title "Trikalingidhipati",l6 suggesting he may have annexed portions of Trikalinga to
his kingdom, there is no evidence to show that he had control over any part of Utkala, his
suzerainty being confined primarily to the Sambalpur tract. In all probability he was more
concerned with the Ccdls or Kalacuris to the west who obviously posed more of a threat to
him than the weakened Bhauma-kara dynasty of Utkala. It was probably during this
internal struggle for power that the Ced! king Lak~mal)arija made inroads into Oc;lra and
caprured some wealth, including women and a valuable Kii!Jya image, as recorded in his
Bilhari stone inscription,'' with Tribhuvana MahidevJ taking shelter in her father's
kingdom. Subsequently a clash between the Ced! king and Janamejaya resulted with
Janamcjaya being defeated. Somewhat later Janamejaya, with the aid of petty chiefs of
Oc;lra, avenged this defeat and rescued the captured women . Hostility between the Ccdls and
Somavarilsis continued for some time until Yayiti I MahiSivagupta (A.O. 911-911). the son
and successor of Janamcjaya, defeated the Ced! ruler without any difficulty and burnt the
Oihala country until it had become uninhabited, as stated in his Patna copper-plate grant
issued in his 8th regnal year.lt
It was Yayiti I who founded a new capital, named Yayiltinagara, on the bank of the
MahinadJ river near Baudh.J9 In the 9th year of his reign he granted the village of
Chindgrima in the Marac;la-vi~aya of Dak$il)a·TO$ili.'° This is the first inscription of this
dynasty which refers to a place in Orissa proper and establishes the fact that in A.O. 9l 1 he
had obtained possession of a portion of the flat plains of Orissa, a date which we accept as
the inauguration of the Somavarilsl dynasty in Orissa.•• Before occupying the coastal tract,
however, he must have subdued the Bhailjas and reduced them again to their feudatory
starus. This supposition is born out by the fact that Satrubhanja III has styled himself in his
charters as R.;,..r.e.., rather than Mllhirtija which was used by his immediate predecessors,
which is definitely indicative of his feudatory status.•2 Y ayiti, in one of his copper-plate
grants, donates a village in the 1'tll!fr/a/11 of Gandha1apa1i (Gandharic;ll) in his 1 jth rcgnal
year," which suggests that the Bhailjas were ousted before the grant of this village in their
territories. It is also about this time that the Cilukya king Kollabhigal)Qa· Vijayiditya of
Vengi invaded To$ili, as recorded in the Nanduru plates of Velanil)fi Rajendracoc;la,44
though he apparently died immediately after his victory at Viraji so that his success must
» Krishna Panigrahi, "Orissa Mu,sc-um Platc-s of Nc-ttabhanja'', OHR] Vol. XI (1961), p. 13.
" Epig,•phi• l•iitd, Vol. XXIII, pp. 148-•ll ·
P Epi1,•f'hi• /Nii111, Vol. I, p. 1t6.
• Satyanorayan Raiaguni, "Chronology of rhc Somavamsi Kings of Ori»a," OHR/, Vol. VII (1919), pp.
IOJ·I04.
" Some scholars fciel that Yayltinagara "" merely a new name given by Ya)·lti to Vinlcapura which is
identifu:d w ith modem Binkl. in the Sonepur area. Sec. D . C. Sircar, op. tit. , p. 189. Rajaguru, on the ocher
hand, suggests a site ne-ar Kal)tilo in the Khaodapara subdivision. Sec /tutriptiMr of Oriss•, Vol. IV, p. } 7} .
., Epigr•pbi11 /Nit11, Vol. Ill, p. JS'·
' 1 S<c P1n1gr1hi, Cht'Moiw ef tbt BIMMM4'*4'ir111 C So• t1N111.1i1 of Ori1111, pp. 9-10.
" Panigrahi, OHR/, Vol. XI, p. 1 l ·

" Ep;,_,.p11;. 1.;;,., Vol. XI (1911-11), pp. 96·97.
" EpigT•p/!i• /Ui,., Vol. XXIX, pp. 141 tr.
Original from
1' C ~IPl. F.$ (JI-" ·rH E 10T H · 11TH c1 :.~1·l ' R ll~S ()f INT ERl <>R <) RI SS:\
have been shon-livcd.•S The amalgamation of Kosala with Koilgoda and Utkala must have
taken place sometimes after the death of Vakula whose last recorded inscription is dated to
samval 204 (A .D. 940).~
Yayiiti I is credited with building another capital, known as Abhinava Yayiitinagara,
which is identified with modem Jajpur in Utkala, where he performed ten Aivamedha
sacrifices to which ten thousand Brahmins were invited from Kanauj, probably to celebrate
his conquest of Utkala. 47 From the evidence of their copper-plate grants it appears that the
Somavamsi kings during this early period ruled their vast kingdom from Yayiitinagara in
the upper MahiinadT valley while Abhinava Yayiitinagara in Utkala was their second
headquaners. We also know from these grants that they settled a number of Brahmin
families in the upper Mahanadi valley, an action which must have induced the other caste
Hindus to migrate to that region from the coastal strip of Orissa. These hill regions of Orissa,
which were primarly tribal areas, thus gradually came under the cultural inRuence of
Orissa.48
Although it was Janamejaya who established an independent kingdom in western Orissa,
ir was during the reign of his successors that Kosala, Utkala, Korigoda and pans of
Kaliriga gradually came to be united by cultural and linguistic bonds. In a sense, as
Panigrahi points out, the Somavamsi-kesaris were the makers of modem Orissa, whereby
"several regions with distinctive cultures and languages came to be collectively known later
on. The process of fusion of diverse cultures seems to have begun during the Bhauma
period, but it is this memorable dynasty that gave final shape to what came to be known as
the distinetive Orissan culture."49 Although the official faith of the Somavamsi-kesaris was
Saivism they were cosmopol itan in their religious outlook and re!ained the conventions
that had acquired religious sanction during the preceding centuries. They appear to have
been tolerant of all sects as they revived the Vai~l)ava shrine of Jagannatha at Puri and
even had Jaina images carved in the Lalii!endu Kesar! and Navamuni caves of Khandagiri
hill outside of Bhubaneswar. They were also ardent supporters of Saktism and Tantrism
and it is during the early pan of their rule that two Chau~a1-Yogini pi/has were constructed.
The illustrations of specific erotic rituals emerging in the late 9th century are increased in
size and importance and secularized motifs, including the iik/iidiina theme of a g NTti
instructing disciples, are introduced on the temples, both suggesting the emergence of the
Kaula sect of Tantrism popular in Central India. The earlier iconographic program,
associated primarily with the Pii.Supata sect, changes and the images of Lakulisa,
Bhik~ii1anamuni, Hari-Hara, Garigadharamuni, Ardhaniirisvara and E kapada are gradu-
ally eliminated as ii1•arat1a·dtvaliis and replaced by dikpiilas, erotic images and secular motifs
in addition to syncretic Saiva deities. Although the image of 1'1ahi~amardini is replaced by
Parvati as a poriva-dn•alii at Bhubaneswar the earlier conventions continue to dominate in
outlying areas. This iconographic change, strongly inRuenced b y the Kaula sect of
Tantrism,so obviously reffects the religious beliefs of the Somavamsis who extol the pursuit
•s Rajagu ru s uggests that he may ha\·e be-en killed b)' '{ayi ti II. Sec /n1rrip1ion1 oj. ()ri11a, \ rol. I\', pp. ' 79·
J80 .
.. lbU .. p. J 19.
' ; Thi!> t radit ion is st ill cu rre-nt 1n ()risi a, particularly at Jl ipur : see J>an igrahi, (.~hrOJrQftJI,) of 11N Bha11ma· kar11s
C"' JIN .\'omtJt··omsi1 of Ori11a, p. 1 j .
'8 Pan1jtr·ahi, A rrhatolot,irt1/ Rtmai111 al BhNh111111••ar, p. z 11 .
.., Ibid.. p. z s1 .
~ 1"hc 1,11r11 o( UJdyota-kcSari bc=l<>nged to a \ ,.at.sa·gt>rri-Brihn1ar:ia family a.nd i.s crc(li1cd 'A'irh 1,1,: rit 1n ~ a
Original from
c>f lo \'e in che <>pcning \'Cr!'ics <>f their cc>ppcr· platc grants and t:\'en prai~e the kin~ as the
,·cry god K amadcva.
In the early part o f their rule in western O rissa the St>ma\.·aritSi rulers. as \\·ou ld be:
expected, favored the build ing techn iques o f rhc PiiQc,luvam,is established by their pre-
decessors in Chanisgarh, such as the use of brick and construction of pillared-111011,iapas
which hou sed large-scale figures carved in high-relief while exterior figure mot ifs were
eliminated o r reduced in importance . Su r\riving brick temples in Chattisgarh exist at Si rpu r,
Kharod, Palari, Puja ripali and Ohob ini while the best extant pilla red-ma~,iapas arc at Rajim.
Examples of brick temples in western O rissa, based on p rototypes in Cha11isgarh, exist at
RaQipu r-J hari :il, Kausuli, Budhikomna, Bclkhandi and Baidyan ath.S• Pilla rcd-ma~,f,1pas
exist at Baidyanath, Parnagarh, Charda, Bclkhandi and Narsinghnath. For the most part,
hc>u.·c,rer. these temples represent the swan.. song o f a o nce great tradition transplanted on
O rissan soil rather than se rving as harbingers for future development. Some of the
architectural fearu rc:s and decorati\·e mo tifs appearing o n these temples, alc>ng wirh
innovations filtering into Orissa fro m Central India, become assimilated with established
indigenous traditions 10 forge rhe beginnings of a revitalized style of temple architecture.
Among rhc new features and innovations introduced at this rime is the addition of a fifth
mou lding on the pa/Jha/1.a with a rampaka-lcaf added 10 rhc /r.Jlmhha and decorative /eiri/a or
rai(>·a design on the khura; a more om are treatment of rhc pitha or platform beneath rhe
pJhhaga ; the division o f theja~~ha into rwo stories and the use of multiple offsets to produce
a more rounded effect to the pagas; the use of engaged slamhhas with atlantid dwarfs on rhe
capital in place of pagos at the corners which eventually alternate with mu~,ii designs ; the
further development of gorbhile.d designs beneath all of the niches and the addition of simila r
designs at rhe top of these niches; the placement of large ntiga-slamhhas on rhe jti1i_~ha or
Aan king the entrance portal and /1.avalqa pro jections; rhe use o f balusters as lattice-wo rk for
the gat.td/e;a windows; the introductio n of virO/a and ga.Ja·lerinta motifs as majf>r decorati,·e
images; the carv ing o f figures in high-relief and the use of oblique cutting techni ques ; rhe
development of new scroll mot ifs ; the transformation o f a rectangular j agamohana v.·ith a
relatively Aat roof to a squa re structure with a pyramidal roof of receding pi,ihas; the
increase in the heig ht o f the gop,ii with a resulting change in its si lhouette and the gradual
elimination of the human figure as a decora1ive motif on the spire; and the addition o f a
small portico on temples not supplied a j agamohana. It is also at this time that a full-fledged
paiira-ratha plan for the ba,ia is finalized, with the pagas being aligned w i1h those of the ga11,1i
to form a continuous vertical th rust, th ough this is more the result of rhe evol vin~
indigenous tradition than outside influence.
Included among the iconograph ic changes, 0 1her 1han 1hose mentioned, is the addi1ion of
Ke!U on the planet slab over the doorway to make it a na1·agroha; a change in the pose of
Laksmi on the d1•iira-laM/a-biml>a panel of the lintel from the hieratic padmtisana pose with
legs crossed to the more relaxed lalitasana pose with one leg pendant; a similar change in
po~e appears v.•ith 1he S"ptonuitrkas along with the addition of a child on their lap; the
Tan1r1(' tcxc cn111ltd T11nrrdrndra v:h1h: lat('r Kaula texts include •he .1·a11dh1il,e,11111a, K.:11/c1;it.lfd111ani ·runlro and .filpa
Pr.i~i4.
'1 It 1s pc,:c.!>iblc 1h:at some: of th<:~t struc-tu rcs "'ere built durin~ the Pir)Ju\'am ~l rult a~ the: $amhalpur tract
14·-ai; frcqul'ndy 1nclutlcd \l.'1thtn rhc boundar1c·s of 1hC'ir Oak ~ir:i:i. - Kc ~ala lc.inJ.,tdvn\. Sec R. C. ,\ t1tumdar,
··~1a t an1 a ..\f:.ta <:har1cr of :-.1:.ha S1,·a Gupta tJlias , .ayat1.'' JH<>R.\·, ll ( 1916). p. 4 7, and :\ . c:unnin):ham,
"Rep•>n f>f a ·r,>ur in rhe <.:cnt ral Pr•>vincc!\ 2.nd l.<>wcr G2ngetic Dn2b 1n 18ll1·8.t," .•I.\/, \ 'c•L X\.11. p. 68.
Original from
T EMPI.ES OF T HE 00TH-11TH CENT URI ES OF INTERIOR O RISSA
ll• h••pu r 0
ORI .SSA
0>.4.11• •
R IVE A.
o Dhobu••
,.,,_ ,.~
j
.$&1 1tt&l a
•
o •o Z:o JO 40 \0 Ra" •P" r .. Jh a r l • I
0
( C\111• •• ,1\
!
Upper Mthanadi Valley
frequent addition of river goddesses as attendants to the dvir11pal1u of the doorframc; the
introduction of new female figures such as dancers and musicians reflecting the adoption of
the dtv11"41i system of presenting dancing girls to the presiding deity of the temple; the
development of a tall )11/i-11111kM/a for the coiffure of cult deities; and the adoption of the
rooster-cock as an attribute of Kiitttikcya and the mouse or rat as the vehicle for Gal)csa.
A) PJLLARED- MANDAPAS
The best surviving examples of pillarcd-,,..~pas in the Chattisgarh area, as mentioned,

arc the Riimacandra and Rajivalocana temples at Rajim. Both temples have numerous
additions and renovations and the Riimacandra was probably constructed in modem times
with materials from collapsed temples. The Riijivalocana, built by the Nalas as indicated
earlier, probably dates to the end of the 8th century as stylistically the figure sculpture
closely resembles the sculpture on the Vaitil Deul at Bhubaneswar. It is of the pailriiyal11u
class with a subsidiary shrine at each of the four comers of the compound. The main
temple stands on a high platform facing west and overlooking the Mahiinadi river. It
consists of a square sanctum, an antarala and a pillared-,,..alleftJpa. The fikhara is a square
pyramid, in contrast to the curvilinear spires on Orissan temples, with tapering tail_Ja-
Original from
199
medallions in five tiers forming the raha. h is tri-ratha in plan with squat am!Os crowning the
bhlimi divisions on the kanikas. The heavy conical amalaka is pr(>bably a later addition. The
entire spire is covered with modem accretions of plaster and whitewash. The doorframe
leading 10 the sanctum consists of four progressively recessed jambs with the largest jamb
on the outside decorated with superimposed nagas with hands folded in front of their chest
while the second jamb has superimposed 111ith11nas above a small <auri-bearer at the base. In
the center of the lintel is an image of Vi~i;iu seated on Garuc;la.
The flat-roofed 11ta1J<iapa, according to Dikshit, may originally have been open on all
three sides and supported by two rows of six pillars in the center and possibly by similar
ones at the sides.s2 The existing center pillars consist of square stone columns which arc
plain at the base but profusely decorated with rich ornaments and scrollwork at the top. At
a slightly later date side walls were added and pilasters were introduced in place of the old
square columns at the sides. These pilasters are adorned with large sculptures of deities and
anendant figures following Pi(lduvamsi traditions as displayed at Sirpur. The interior of
the malJ(fapa, with figures decorating pilasters at set intervals in the wall, thus resembles the
exterior west wall of the Vaital Deul, though at Rajim the figures are carved in high-relief
rather than being housed in niches and face inward, pradakfilJa taking place with in rather
than outside as on Orissan temples. In terms of plastic articulation, body proportions and
placid dehanchement the figures likewise correspond to their counierparts on the Vairal
Deul. The spoked-halo, tall coiffure and body ornamentation, however, are of a different
artistic tradition though closer to Orissan styles than to earlier Gupta fashions.
The major entrance into the compound is a large gate facing the 11101Jt/t1pa on the west, a
feature which may have served as a prototype for the second east gate of the Madhukesvara
temple at t.fukhalingam. The doorframe consists of multiple jambs progressively recessed
as on the sanctum doorframe though the figure decoration is even more dominant. The
gelaba scrollwork, as at Mukhalingam, is dominated by the figures in contrast to the t ypical
Orissan approach where the meandering vine is more pronounced and the clinging figures
arc diminutive in scale. Included among the figures is one in a swing, a motif that also
appears on numerous 8th-9th century Orissan temples. In keeping with traditions curreni in
Chattisgarh , going back as early as the Jithani and DevaraQi rcmples at Tala daring to the
late 6th century, the inner surrounds of the doorway are decorated with scrollwork and
ornamental designs. This contrasts with the Orissan doorframe \\ here these surrounds are
1
always plain. The scrollwork on these surrounds is the ratikera motif standard on the 8th
and 9th century temples of Orissa. The scroll is in its most florid phase, however, and
suggests a late date whereas in Orissa we can see the gradual evolution of the scroll from
its earliest beginnings in the mid-8th centurr.
t. Rertangular Pillared Halls

Before looking at the pillarcd-malJfioP•' in the upper t.fahanadi valley influenced by
architectural traditions from Chattisgarh there are two isolated pi.llared halls which arc
rectangular and thus deviate from the standard square plan. lo each case there is no
suggestion of projecting porches and no trace of an attached sanctum. The first example is
at Kupari in the southwest corner of Balasorc district. Though the structure has been
~ ~1orc:sh\.\•:ar D iksh1t, TJH Trmplr1 of Ra;im ( Bomba~', 19Go). p. z8.
Original from
200 1· 1 ·:~fP l.E.S (lF T iii.:. 101·H· 11l·H ('.EST l ' RIES <JF 1~ ·r1 ~ Rf<lR <)R ISS:\
described as a Buddhist hall there are no sculptural remains co suggest any Buddhist
association." In its present condition the structure consists of a flight of steps on the east
leading to a small hall or propj•laeum , its floor forming the top course of the platform
which is formed of four courses of stone arranged in receding steps, with pillars at the four
comers. The hall measures approximately 82 inches S<Juare. Attached to this is a larger hall
with a row of four pillars on each side. T hough this hall now measures 122 inches in width
by 113 inches in length, it originally extended much funher according ro the local p riest<.
The pillars measure 17 1/ 2 inches s<juare at the base and arc 79 inches in height. They arc
consrrucred of po rous stone and are badly weathered. Some vestiges of decoration arc
faintly visible on the base. The octagonal shafts appear to have been left plain. The only
scu lptural remains at the site consist of a fragmented Visnu and a three-headed female deity
holding a bow in one of her many left h ands, the other attributes now missing. An image
of Durg a is placed a shon distance away. In respect to body ornamentation, coiffure and
pose the image can be dated to the late 9th century. The same is true for the two broken
images placed on the pillared hall though there is no way o f determining if they arc
contemporary with the structu re.
The second rectangular pillared hall, known locally as the J\Jti/a-Alandira, is at Khiching,
a shon distance south of the K inca kesvari compound. The platform remains buried so only
the pillars are visible. The peristylar a lignment co ns ists of a ro w of fou r pillars on the
outside o f the long sides and a singk p illa r in the center of the shun sides, the exterio r
dimensions being 38 feet 6 inches by 28 feet 6 inches. The interior has a raised dais,
measuring 14 feet s inches by 14 feet s inches, with a p illar at each corner. The pi llars a rc
101/ inches S<JU are at the b ase . The interior pillars are 9 feet high while the exterior pillars
2
are s feet 4 inches in height. Though refered to as a nti/a-mandira, the raised dais of the
interior is more suited to pradak1i110 than to dancing. With a pillar in the center of each of
the shon ends it would appear that entrance to the hall would have to be on the longer
ends. Noth ing survives of the roof, if there was one, though there arc scattered
architectural fragments in the su rrounding field wh ich arc decorated w ith Brahmanic
imagery. The overall des ign of the hall, combining features of a pilla red-ma11efapa, such a s a
raised dais, "''ith those of a nti/a-mandira, including the peristylar arrangement of pillars, is
un i<Jue and its function remains enigmatic.
" l\'ar1ingJmalh: Nr1;,ilhaniilha Templr: /n1erior Pillars

Although the present N rsirhhanatha temple at Narsinghnoth in Sambalpu r dist rict, bu ilt
at the source of the Piipaharini rh•er, was constructed in the 11th century, rhe site is an
ancient one and the exiMence of four p illars within the jngamohana suggest that there "'as
originally a pillared ma11{1apa erected here . T h is original structure has undergone many
changes, however, w ith rwo ornate doc)rframes being added in the 111h centu ry and the
structure c<)mpletely renc>vated when the pre~ent shrine was co nst ructed. l\.fc>dcrnizarjon is
still raking place as contemporary rcrrazzo·wo rk appears a ro und the b ase of the p illa rs and
S.\ J()hn Beams v1s.ued the snc 1n 187 1 and refers to ccnain Bud<lhist m<>numcnts anli i ma~C!- ; 5~<' J.·l.\·H. \ 'c)I.
X (. ( 187 1) . p. z4 7. c:. F:tbri, op. fit., pp. 4 0 -41. also ~U~J:!C S1S. th:at the s.tructurc is Buddhii:t th(•Uj?h his opinion is
based on tht iaC1 th:at it is a pill ared hall. Acc(>rd1ng to R. ~iitra. op. 111., p. z6~. the Br2hm:anical srulptu r«."s
were brc>ught to the site from (ave tcnlplcs. a1 the frw:>! <>I neath)' hills., thl!S.t 1c.:mple!> be1nA J«;(lic:itcd (() liha1r:1.va
,nd ti:tsukt.
Original from
Tf. ~11'1.ES ()f 1·HE 10Tll· 11TH ('.El'\Tl'RIF.S <lF ll'TERl()R ()RISS:\ 20 1
the floor is covered with modem colored tiles. The pillars arc arranged in a square in the
center of thcjagamohana as on pillared ma(l(iapas in the upper Mahiinadi valley. The shaft of
the pillars is square and decorated with lotus half-rosettes separated by vertical bands of
scrollwork as on examples from Chattisgarh, including the inner surrounds of the
doorframc on temples such as at Sirpur or Adbhar. The shaft becomes octagonal near the
top with squatting garland-bearers placed at the four corners terminating the square
portion. The capital is designed as a piir(la-gha/a while above this is a panel relieved with
p,,d111a-pr1tha. The carving is exquisite and the details are well preserved. In that the
Sambalpur tract was frequently under the hegemony of the Piil)<)uvarilsi rulers it is quite
likely that the pillared ma(l(iapa at Narsinghnath was constructed bi• sculptors from
Chattisgarh. Stylistically these four surviving pillars appear to date from the 9th centun·
and arc possibly the earliest extant examples in Orissa of this transplanted style.
l · Patnag,,rh: Kosaftil'ara Ttmpfr
Among the pillared-ma(l(iopa structures still extant in the Sonepur area where Janamejaya
established his kingdom in the late 9th century one of the least known is the Kosalesvara
temple at Patnagarh in Bolangir district, a once fl ourishing city popular!)' known as Kaun ri
Patna or Kumari Patna suggesting it was an early Tantric site.'4 In the 12th century, when
the Telcgu Co<)as had control of this area, Patnaga rh was the headquarters of an
administrative division known as Patna Dal)c)apata while under Chauhan rule, beginning in
the mid-14th century, it was the capital of the kingdom of Patna and remained so until
A.O. 1872 when Bolangir became the scat of the Durbar Government. It has many n otable
temples though most of them date from after the 121h century.
As at Narsinghnath the K osalesvara temple has undergone many renovations and the
" 'alls of the ma(l(iapa are heavily plastered, obscuring the original decorative program,
though some brick work is visible where the plaster has crumbled. The dtNf, measuring 14
feet 8 inches square, is also heavily plastered and is devoid of ornamentation. In front of
the entrance to the man(iapa is a small Nandi shrine consisting of four pillars supporting a
flat roof. The ma(l(iapa is 27 feet 6 inches square and has a projecting porch on the north
and south sides. The porches project )4 inches and th us are more developed than those of
the Somesvara temple at Ral)ipur-Jharial discussed in the last chapter. As in the case of the
latter trmplc the porches have been transformed and are no longer open-aired but rather
resemble miniature shrines or chapels. The entrance portal of the ma!'<iapa is partially
covered with plaster though an image of Hara-Parvati is visible on the architrave. The
inner surrounds of the door opening arc decorated with lotus rosettes and scrollwork as on
temples from Chattisgarh. The roof of the ma~(lapa has not survived while the floor within
is lined with two rows of four pi lla rs each rather than four pillars arranged in a square as at
Rii;iipur-Jhariil and other sites. The pillars have a square base above a lo w pedestal which
is crowned by standing lions at the corners. Between each lion is a niche which houses
various tigure motifs including Kirttikeya, Gai;>esa, Lakulisa, Kr~l)a-lila themes, niigas and
mithMna couples. Above these niches and lion motifs is a Aat band relieved wi1h lio n heads
and scroll motifs. The shaft above this band is decorated with the alamba motif of
S4 Shri 1' il1n2ni Senapati and Nabin Kum:ir Sahu, ed., &l"".J!.ir D1stritl G.tJ\,/ '('',. (C.u(l:IC'k . 19(1$), p. 4~9.
There ar<' p<>pular t<l.le~ and t ralf1tif)ns ~u r-round i ng the SC\'c:n T2n1ric m:a1dc:ns oi Kum2ri Pa1n1 th.•p1c11nj: (h('ir
C"S(lfC:fl C Jlt('S :and pr:a(ll(("!i,
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101 TEMPLES OF THE •oTH· uTH CENTURIES OF INTERIOR ORISSA
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P:atnagarh : Kosaleivt.ra Temple
/cirli11t11kha m2sks dripping festoons of pc2rls. A simil2r iilamba motif appcus on the square
capital. The overall design of the pillars is closely related to those at Piijiiripali and is
probably later in date than those at Narsinghnath.
The four comers of the interior have a pronounced tha!fri near the top with pidyiiJhara
couples carved on the underside, suggesting that life-size images must h2vc been pl2ccd
under them. Only • few such sculptures remain, however, including 2n alatii-"'1".Jii, placed
2t the entrance to the south porch or balcony, depicted in the act of removing her
garments. A parro1 is perched on a small st2nd next to her similar to an ex2mplc •ppcaring
2t Baidyan2th. Le2ning 2g2inst the nonh w2ll of the mll{l(/apa is 2n im2gc of
ArdhaniirTSvara. The lower ponion of the image is missing and the 2rms •re broken off but
the vcnic2I division into m2'e 2nd fem2lc is clearly demarc2ted. The top of the b2ck-sl2b
has three Aying vidyiitlharas with the one in the center depicted front2lly from the waist up,
an iconographic form popular in Chattisgarh but r2re in Oriss2n an. Le2ning against the
exterior south wall is an image of tapasvini-PirvatI standing on one foot. Her he2d, upper
arms and left leg 2rc broken off. The major arms are pl2ced in front of her body but the
hands arc missing. A fem2Jc a11cnd2nt 2ppcars in c2ch lower comer. An ov2' h2lo behind
the missing head is Aankcd by a liliga on the right and 2 damaged Agni or G2J)e5a on the
left. At the top of the back-slab is • row of nine hc2ds. There is also 2 d2m2gcd dviirapiila
pl2ccd within the nra{l{lapo with the right leg 20d both b2ck 2rms missing. He originally h2d
his missing leg u.ised 20d resting on his weapon while crossing his 2rms in front of his
body, • rare iconographic form in Orissa. The only other figure is 2 seated G2J)es2 insened
into a makeshift niche on the back wall south of the sanctum door. On stylistic grounds
Original from
TEf\.tPl.ES C)F THt 10TH· 11TH C F.NTU RIES OF INTt-:Rl<>R ()RISSA l Oj
these images, and the temple, can be ascribed to the end of the 9th or the beginning of the
10th century.
4. &it!Janalh: Kosaltfvara Tt,,,plt
The most impressive of these surv1v1ng pillared-,,,a11Japas in western Orissa is the

Kosalesvara temple at Baidyanath, a village on the banks of the Tel river about nine miles
from Sonepur in Bolangir district and thus very near the administrative center of the newly
established kingdom of the Somavamsis. Like the Rijlvalocana and Rlmacandra temples
the Kosalesvara is a conglomeration of successive renovations some of which arc still
taking place. The original titNI was destroyed, along with an antarala, and has been
replaced by a small modem shrine. The gradually ascending sequence of the floors of the
111a~(1'apa, antarala and sanctum suggests Central Indian influence as the sanctum floor is
usually lower on Orissan temples. The 1110/llapa has a stone doorframe at the entrance,
projecting balconies on the north and south, an ornately carved doorframe on the west
leading to the sanctum, twelve engaged stone pillars forming the square interior and a
raised platform in the center of the floor, measuring 14 feet square, with a pillar on each
corner. The exterior walls, however, arc of brick. This employment of a stone frame with
brick walls is consistent with architectural conventions in western Orissa at this time as
evident at Riir:iipur-Jhari:il, Kausuli, Patnagarh and Budhikomna. The engaged pillars
forming the square interior are rather plain in treatment in contrast to the ornate
decoration of the four pillars of the raised dais. Inserted between the pillar capitals and the
architrave are iron beams which help to support the stone ceiling, the architraves forming a
checkerboard pattern of square and rectangular frames spanned by overlapping courses of
masonry scaled by stone slabs." Affixed to the brick walls arc images of various aspects of
Siva, alasti-lr.anytis and lftithrmas carved in high-relief on stone slabs. Two new pillars have
been recently added at the eastern entrance from modem masonry along with sculpture
fragments from the slightly later Kiilcsvara originally situated a short distance to the
southeast on the ban k of the river.
The doorframc on the cast.• which projects out sharply from the brick walls, consists of
three bands of scrollwork which begin above the tii•tiraptila niche at the base. The Jvtira·
la/ti/a-bi,,,ba panel on the lintel contains a Gaja-Lak$ml image with Lak$mi seated in
lali1iisa11tt with her right leg pendant rather than the earlier pose with legs crossed and firmly
locked which was standard on most doorframes. As at Patnagarh the inner surrounds of
the frame arc decorated with lotus rosettes and scrollwork. The architrave over the portico,
at the level of the brick walls, was decorated with miniature shrines alternating with two
figures. These two figures, one male and one female, arc represented displaying their sex
organs. This area is now completely walled up by the latest renovations which have only
recently been finished. The doorframc at the west, leading to the sanctum, is flanked at the
base by Jvtiraptilas (40 inches in height) and attendant river goddesses (41 inches in height,
64 inches with rhalfn). The large size of these guardian figures is in keeping with the
decorative program of Piir:iduvamsl temples, as at Kharod, Palari, Dhamtarl and Adbhar
and contrasts with the standard treatment on Orisson temples where the dvtiraptilas arc
small in size, averaging about t I inches in height, and generally housed in niches. It is also
'' Sec 0 . R. Das., "KosaJcsvart Temple at Baid)·anath," Ar11b111 A''"'· Vol. XXX\!IJI (19]6), p. t9S and fig. )·
Original from
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Baid)•anath : Kos a.le~vara Te-mple
rare for the river goddess to be as large as the dviirapala, as she is normally a diminutive
attendant when carved on the frame, and to be placed on the inside of the dvarapiila. The
jamb above the river goddess is decorated with a niiga figure with intertwining tails in
typical Piil)<;luvamsi fashion while at the base o f the jamb above the dvarapiila is the bust of
a diminutive naga, the jamb above this motif being divided into facets. This motif of a
diminutive naga bust , popular in Central India, becomes a standard motif on numerous
Orissan temples of the 10th and 11th centuries, placed on the inside jamb above the
duiirapiila. The dviirapiilas and river goddesses are not placed on the inside jambs of the
doorframe, as would be expected, but rather on projecting jambs which frame the inner
bands which arc decorated with scrollwork though the decoration on their base has not
survived. The lintel of this inner frame has on its top band a graha slab in which Ketu is
added to make nine graha representations rather than eight as on earlier temples. The d11iira-
/a/afa-bi111ba panel has not survived. The architrave above this inner frame is decorated with
a large image of Visl)u Anantasayana, as on the west gate of the Rajivalocana temple at
Rajim, a most unusual motif to dominate the doorframe of a Saiva temple. The overall
icon ographic program of the doorframe, and the manner in which the guardians arc placed
Original from
Tl '. ~1 Pl.1-.S <>F Tl Il~ 1o'ff 1,. 1TH ( .l~l'\ 'fl ' Rll:S <IF l ~Tl :. R I < >R <>R.I S$:\ ZOI
on a projecting frame rather than on the inside jamb, suggests that it may ha"e undergone
•Iterations and that the present design was not the original plan, the projecting frame and
architra,·e possibly being later additions. The Right of steps gh•ing access to the elevated
Roor of the original sanctum is intact but the decoration remains on only one riser.
The four pillars on the raised dais in the center of the floor have a square, undecorated
base resting on a pif'1.'a·ghafa pedestal. The shaft of the pillar above the base is octagonal
and decorated with standing lions alternating with leirtim111eha masks with pearls dripping
from the mouths of all eight figures. Above these lion motif. arc two bands of dhan11 ganthi
and mali ph11/a pha/ilea scrollwork, lightly carved, and, at the top of the shaft, an tilamba
motif of Jeirti11111kha masks with one mask on each of the eight facets. The base of rhc capital
is also decorated with an alamba motif beneath the crowning bracket.
The north and south balconied porches are provided with a raised scat which is fenced
by a balusrcred railing. Set at intervals between the short balusters arc small slabs
containing various scenes of Krsr:ia, female figures or 111ith11nas. The comer pillars support·
ing the Rat roof of the porch are decorated with kirtim11kha motifs and ornamental designs
while the inside pillars display ala1ti-lea11J•a1 carved in high-relief. Similar female figures, or
mith11na1, Rank the interior entrances to the porches as at Pamagarh. Plain pilasters,
beginning at ground level, have recently been added to help support the cave and
projecting roof.
Although little remains of the original decorative program of the exterior brick "'alls
rhcre is enough to reconstruct the original design. The ptibhag,, consists of four mouldings
identical in design to those on the brick Lak~mar;ia temple at Sirpur with a rampalea-leaf
carved on the face of the /eNmbha. The top moulding is aligned with the porch railing. The
jtingha is divided into two unequal stories by a simple moulding on the leani/ea and an4rlha.
The leanilea of both stories is a simple pilaster with a projecting center facet. The lo"•cr
story of the 4nartha is designed as a diminutive niche framed by short pilasters which serve
as a ba5c f<>r a tall, narrc>w niche cr<>wned by the stringc<)ursc which acts as a pr<>jecting
ca\·e. Both niches are too small to house images and arc merely <>rnamental as on numer<>us
early brick temples in Chattisgarh. The upper story, though not as rail, is designed as a
wide niche framed by thin pilasters with the niche ho using various images moulded in
brick. The recesses Ranking the anartha on either side do not partake of this two-story
di,·ision and are filled with a ni{~a-stam/Jh,, with the serpent hoods at the top in an ascendin~
mode. In contrast ro other ni{~a-slambhas, however, these are completely serpentine and do
nor ha\·e human heads. With the renovation of the temple, the walls being reconstructed
with modern brick s, the decorative program is no longer visible. The bara9rfa now consists
of plain mouldings separated by recesses and the original roof, which was probably
terraced, is fore\'er lost and replaced by a Rat roof so 1hat except for rhc projecting
balconies the cxr<rior has an overall box-like shape devoid of aesthetic interest. The original
decorative plan "'as more closely related to the brick temples at Pujaripali, likewise di,·ided
into 1wo unequal stories, than to 1he earlier Lak~ma!)a temple at Sirpur.
The method of carving figures in h igh-relief on a stone slab, the figures being finished
with a veneer of stucco allowing the sculptor to render delicate lines and refined derails,
follows brick conventions in Chatt isgarh. Although the original dt11/ no longer exists there
is an image of Mahi~amardini, housed in a small shrine on the norrh side of the temple,
wh ich may have functioned as one of the piirftoa-dt1:attis. Unforrunarcly, due to the small size
of 1hc cell in which she is confined and the facr rhar most of her body is co,·ered with
Original from
Tf.r>-IPl.l~S ()F THE 10TH· 11TH CENTU RIES ()f INTERl()ft OR. JSSA
garments, it is diflicult to photograph. Stylistically and iconographically the image can be

dated to the late-9th century. O f the images within the ma!frfapa there is a Kintikcya and
GaQcsa placed on the nonh and south walls of the projecting cast entrance. The image of
Kantikcya is unique in that the lower body is rendered in profile astride the peacock
mount, moving from right to left, rather than frontally depicted in the standard manner.
Kirttikcya is two-armed and holds the Jakli in his right hand. His damaged left hand
appears to rest on the head of his mount. His hair is arranged in corkscrew-locks fanning
out on both sides of his head rather than in the standard ii/eha!f{falt.a mode with three tiered
locks. Gaoesa, though his left leg is missing. assumes a dance pose. Many of his arms arc
broken off. It appears that he had either eight or ten. His front left hand crosses his body in
gaja-halla while his top two hands hold a serpent over his head. Though GaQc5a seldom
assumes a dance pose elsewhere in Orissa on the earlier temples it docs appear at Raj im
where there is an image similar to this one.
Other large images carved in high-relief on slabs include a Hari-Hara depicted in
tamabhariga Aanked by smaller images of the bull Nandi and a female attendant. He is four-
armcd and holds the trident and <alt.ra in the upper right and left hands respectively. His
lower right hand is extended in varada while his corresponding left hand is broken off.
There is an image of Naiarija, broken into two pieces, which now lies on the ground in
front of the ma11~pa. Many of his ten arms are badly damaged or missing. The upper two
hands hold a serpent horizontally above his head while other visible attributes include a
rosary, lt.apiila and rfamari. An oval spoked-halo appears behind his hea'd. A diminu tive
image of Apasmara appears beneath his feet. Attendants appear in the lower left corner, a
seated Parvati in the right comer and the bull Nandi behind his legs.
There arc additional cult images, smaller in size and probably intended for niches in
exterior walls, scattered about the compound. One of these, placed under a tree at the east
end of the compound, is of Karttikcya. He is seated in an abbreviated ardhaparyalilt.a pose
on his peacock-mount which is depicted frontally. Kiirttikeya is two-armed and holds the
ialt.li in his uplifted right hand. In his left hand he holds the rooster-cock, a late
iconographic feature which is missing on most early images but becomes standard in later
images. The legs and head of the peacock are missing. There is also another image of
Gar:icsa. He is seated in rhc conventional ardhapary·arilt.a pose with the right knee raised. His
right hands hold a rosary and /t.N/hiira while his lower left hand holds the modalt.a-piitra. The
upper left hand is missing and the facial features and body omamcnrs arc badly worn. It is
possible that these two images, along with the Mahi5amardini, served as the piiriva-dtvaliit
for the original dt11/.
Included among the motifs carved on the shon slabs of the balconies fencing the porches
arc rhemcs of Kr~r:ia defcaring rhc demons Kesi and Kuvalayapii;la, probably an image of
Kf$1)a playing the Autc and one which likely reprcscnrs Rima. Some of rhcsc rhemcs, as
shown earlier, appear at Simhanatha rhough they arc generally quite rare on early Orissan
temples. They arc common morifs in Chattisg arh, ho wever, and the inspiration for such
themes most likely comes from there. That the local anisans were unfamiliar with plastic
images of these episodes is cvidenr in borh the Kuvalayiipi<)a-vadha and Kesi-vadha motifs.
The elephant demon, for example, is standing on its hind legs biting the elbow of Krsoa in
the standard manner generally assumed by Kesi, as on the Simhaniitha, at Pujaripali,
Turturiya, Pahiirpur and elsewhere. In the Kesi-v adha scene, on the other hand, the horse-
demon is standing on all four legs and Krsl)a appears to be gra•ping its head as in the
Original from
Tf.MPl.t;S OF TH E •oTft . ,.T H CENTURIES Of INTF.RIOR O RISSA 207
Arigiisura-vadha motif though one of K!11)a's hands is broken off and, due to the
technique of adding a veneer of stucco for surface modelling, the details arc badly worn.
Some of the most enchanting images arc the numerous female figures carved on slabs
within the 11111ri(iap11 and on the porch pillars. In many cases they represent 11/11sii-kllnyiis
engaged in everyday activities such as looking into a mirror or removing their garments. In
some cases the female assumes the iii/11bhafijil<a pose beneath a tree. Several examples
represent the female holding a child, a motif that becomes increasingly popular from here
on. In another example, possibly representing a goddess, the woman places her left hand on
her thigh and raises her right hand in abhay11-lfl11Jrii. In general the figures appear very
tranquil in pose and exhibit a slight smile suggesting inner contentment. In body
proponions, ornamentation and pose the figures closely resemble their counterpans at
Riijim. Also relating them to their Chattisgarh prototypes is the canopied parasol over their
heads. So pronounced is their projection that the underside of the parasol is decorated with
a Rying vit!yiiJh11r11 couple. In one example, on the other hand, the canopy is formed by a
creeper bending around the head of the female, a motif which becomes standard on later
temples at Bhubaneswar and elsewhere, replacing the halo conventional on images of the
8th and 9th centuries. There arc also spoked-haloes behind some of the female figures as
well as behind the male figure in a 111ith11u scene. The female panner in this latter motif
clings to the neck of the male and lifts her left leg as she pins him against the wall. Though
the female appears near ecstasy in her embrace the male seems static and unmoved.
There arc two inscriptions at Baidyanath but they shed no light on the date of
construction or later alterations. The first inscription, not yet edited, appears on one of the
porches while the second one, referring to one Rll)aka-Vaimvika, is inscribed on a piece of
stone used at present by the priest to prepare sandal paste.S6 On stylistic and iconographic
grounds, as indicated earlier, the basic design of the pillared m1111(iapa, including the large
images carved on stone slabs and projecting balconied porches, appears to date from the
last half of the 9th century.
l · Btlkhantii
One of the southern-most sites of these pillared f1rll/11'apas must have been at Bclkhandi
near the conRuence of the Utai and the Tel rivers in Kalahandi district. Except for a few
pillar fragments and numerous large sculptures carved on stone slabs, however, very little
remains. These fragments, the sculptures finished with stucco and often crowned by a
covered canopy, were housed in a modem museum at Belkhandi erected near a cluster of
temples. Unfonunatcly this museum was completely demolished by a large Rood in the
early fall of 1977 and the sculptures, though salvaged from the debris, have suffered even
more so that very little of their original details remain. The images arc lined up in a large
rectangle and intermixed with images from other nearby sites, including miitrl<as from a
Cal)<;li temple excavated by K. N . Mahapatra, Brahmanical images from a brick temple
complex noted by Bcglar in 1875 and the adjacent pillarcd-1110114apa excavated by Mahapatra
in 1946.57
>o N ilaman i Scnaptti and N . K. Sahu, &t-'11,,gir D i11ri11 G11r_1llt1r, p. 40.

~' Sec ~1ahc sh P. Dash, ''\'('orship of S2pta Matrkas and Their Rcprcscnt at1on in ()rissan Temples'', 01/Rj,
Vol. XI (1 961), p. 118.
Original from
20 8 TE~JPl.ES ()J: Tl-IE 10 Tll· 1 i ·rH < :1.:.NTl ? Rl~.s { )f: I NTl ~ Rl(IR <>RISS;\
The p illar frag ments arc octagonal in shape and decorated with an alomba frieze of
kirlib111Je.ha masks dripping garlands of pearls similar to examples in D aksil)a-Kosala. There
are also several fragmented pii'!fa·gha/a capitals. The remains of a large canopy (cha!!rt),
with loop s of pearl strings on its curving upper surface and a flying 11itfyadhara couple on its
under su rface, is s imilar to those appearing above images at Baidyanath . There is also a
milh1mo/moilhNno similar to one at Baidyanath with the female pinning the male against the
wall and lifting her left leg up to mount him, the male supporting her leg with his right
hand.
T he most impressive su rviving cult image, nearly 7 feet high, is o f Siva Andhakiisura-
vadha-murti though unfortunately most of the surface details arc obliterated. As on other
early examples of this motif, such as at Mukhalingam, Paikapa<la and Baidcswar, the motif
is combined with that of Gajiisurasamhiiramurti with Siva holding the skin o f rhe elephant
over his head. Two other large images, which may have served as compan ion pieces ro this
image, are p ossibly of Siva standing in a lribhanga pose and a fragment of what may h ave
been Ciimuo<lii. In rhe laner image, of which only the lower half has survived, the figure is
seated in lolilasana on a crouching demon who holds a sword.
Included among the numerous cult images are several examples of Hara-Piirvati, in
various stages of prcservarion , and a rare example o f Lak5ml-N iirayal) a. In the latter motif
Visl)u is seated in /a/i/asana with his right leg pendant and Lak5mi is seated o n his left thigh
with her left leg pendant and her rig ht leg folded under her thigh as in the example inside
the Lingariija temple. Visou's major left arm embraces his consort while his main right
hand is held in obhoyo. He holds a ta/era in his upper right hand and an indistinct object in
h is upper left. Lak5mi drapes her right arm around Visl)u's neck and holds a long-sremmcd
lotus with her left. His hair is arranged in a tall tiara while her hair is tied in a chignon to
the left of her head at rhe back. The elephanr appears on the pedestal beneath Laksml
though the image of Garu<la on the opposite side is no longer visible. The Hara-Piirvatl
images arc similarly posed with the respective mounts of the rwo deities carved on their
pedestal.
There is also an image o f Gal)eSa, seated in ardhoparyorika, earing sweets from a modaka-
palra similar to the example at Baidyanath. The mouse appears on the pedestal beneath
Gal)esa. There is an image of ~1ahi5amardini bur it is bereft of all surface details. A
fragmenred ~1ah isamardinl appears on the Aoor of the temple next to the museum but only
the head and sword are visible. Better preserved is an image of Piirvatl. She srands in a
samabhanga pose with her lower right hand in Parado and her lower left probably holding a
vase. Her upper hands possibly hold a rosary and let/aka Aower (?). Female attendants
appear in the lower corners and vid.J·tidharas in the upper corners. A large circular halo with
floral motifs in the borders is carved behind her head •nd similar Aoral designs appear on
the borders of a throne behind rhe goddess. This is one of rhe earliest examples of a throne
appearing on the back-slab. It is rather plain in contrasr to later images where it combines
" 'ith the halo to form an ornate background for rhe enshrined deity. In respect to pose,
body ornamentation and proportions this image corresponds closely "· ith one from
Piijiiripali.
T he ma1r.leas, attended by \lirabhad ra, found in rhe Ciil)<)l remp le are likewise bad ly
fragmented and some are broken into rwo secr ions. Each is seared in la/i/Osana wirh a child
on the left rhigh except for Camuo<,lii. Altho ugh babies were not associated with the malr.leas
on the earliest Orissan temples they were standard att ributes in D aksioa-KoS.la and thei r
Original from
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introduction at this time, also noticed at Paikapa<;la, is most likely due tc> influence from
Chat1isgarh. Their rcspccrive mounts arc carved on the pedestal and a halo lined with
petals appears behind their head. Cimul)c)i is seated in ardhaparyanlea with a corpse on her
pedestal. Jackals and vultures are eating the corpse. Included among the other cult images
is a badly-worn three-headed K:lntikeya standing on his mount.
Of the decorative figure motifs one of the most interesting is a vit(yadhara couple, holding
ornate garlands, carved on the corner of a slab with the female on one side and the male on
the other, suggesting they formed pan of • large niche or wall opening. Stylistically and
iconographically most of the images can be ascribed to the late 9th or earlr 10th century.
6. Charda: Kapilesi•ara Ttmplt

One of the last of these pillared-nu1~(1'apas erected in the Sambalpur iracr is the
Kapildvara temple at Charda in the northern part of Bolangir district. It is about three
miles west of Binki which is identified as Vinltapura, a site on the l\lahinadi river where
many of the early copper-plate grants of Yayiti I t.1ahisivagupta (A.D. 911-911) were
issued prior to the establishment of Yayatinagara as the capital. As at Baidyanath the temple
has undergone numerous renovations bur is more complete as the de11/ remains intact,
though disfigured by later changes. Both the dt11/ and the ma1u}opa are covered b y accretions
of whitewash and plaster. There are also numerous modern erotic images carved on the
exterior. The temple is traditionally ascribed to Anangabhima Deva II (t\.D. t 21 t-12;8),
probably due to his fame as the one who liberated the area from the Kalacuris of
Tummiil)a. Supposedly, 2fter defeating the Kalacuris, t\nangabhima, suffering from an
incurable disease resuhing from the sins of killing some Brahmin generals, took a
prescribed ritual bath at a famous ghat in the t.iahanadi near Charda and was cured of his
sins and his disease. This ghat, two miles south of Binki, is popularly known as the
Papak~aya Ghat or Papani5inT Ghat. The Kapildvara temple was then built by the king in
commemoration of his ceremonial bath .'" Stylistically, however, the temple can be placed
in the early 10th century, making it somewhat later than the Kosalcsvara temple at
Baidyanath.
The de11/ is paiira-ratha in plan and measures approximately ten feet square at the base. Its
small size makes it appear almost as an appendage to the large pillared-mar(iapa. A platform
added at a later date obscures the lower portion of the piibh,~~a. only the upper two
mouldings clearly visible, as well as the pi/ha. The pabhaga of the leanilea probably consisted
of four mouldings, as on the pahhaga of the mar(iapa, whereas that of the anartha may ha\'e
had live mouldings. Thejangha measures 60 inches in height. The leanika is fash ioned as an
engaged 1tambha, or pilaster, decorated with hanging festoons at the top of the shaft and a
tala-bandhana at the base. The anartha is designed as an elongaged khtilehara·m11r(1'i with a
ltJrtim11/eha carved on the khalehara or crowning moulding. The niche o f the anartha is
reduced in size by the addition of an iirdhva-garbhi/eti immediately above, a feature common
on 10th century temples in Orissa. A tala-garbhileti is inserted in the pahhJ_~a indentation
beneath the niche. The decorative program of these subsidiary pagas is thus a close copy of
that on the temples of Siddhesvara and Nilamadhava at Gandhariidi and helps us to
stylistically dare the temple to rhe 101h century. The bara11(ia likewise consists of a large
kh11ra-shaped moulding with surmounting recess. The ,,;ha nkhe is framed bv a large
Original from
210 TEMPI.ES OF THE •oTH· ooTH CENTURIES OF INTERIOR ORISSA
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Chard•: Kapileivara Temple
pilaster on each side ornamented with hanging garlands. There is a tala-garbbiu design
beneath the niche but the irtilwa-garbbiu above the niche is now covered by a large panel
plastered with a modem leirliff111Jeha design.
The design of the lower part of the ga(l(ii has been altered to suggest a second-story
design for the b0'4 below crowned by a second set of bara(l(ia mouldings. The area of the
a1111r1ba is decorated with large erotic images of a later date. Though the design of the 11ajra-
lflt11/a,/ea above the projecting eave crowning the rahii niche is reasonably close to the
original, its details arc mostly covered by plaster. The upper part of the ga(l(ii has retained
its basic plan with the Jea11iJea divided into bbilflis and the aurtba decorated with the
reticulated tai(Ya-motif as at GandhariqI. The 1tllllihi-11ha/a, measuring i6 inches across, is
decorated with an elongated Jehiikharii-lflll(l(ii duplicating the design of the 11ur1ha of the J111/
though the i rtilwa-garbhiu at the top of the niche was replaced at a later date by a cusped
arch.
The exterior cruciform plan of the lfl11(1(/apa, 14 feet 10 inches at its widest, is more
pronounced than on previous temples due to the addition of a projection oo the west,
possibly counterbalancing the now missing entrance portal on the east, which connects it
with the 1alldhi-11hala to produce a double-chamber leading to the sanctum within. The
north and south gaviilt.{11 projections, originally balconied-porches as at Baidyanath but
walled-up and plascercd, are pierced by two cusped windows. The piibhiiga, measuring io
inches in height, consists of four mouldings similar in design to those at GandhariqI with a
thin tala-garbhiu 6Uing the indentation beneath the lflll(l(/i niches. The jiiligha is 61 1/ 2 inches
in height and is decorated with engaged slalflbha1 alternating with Jehiikharii-lflM(l(/is as oo the
Original from
TE:\IPLF.S OF THE 10TH. 11TH CENTURll-:S <>F INTERl<>R ORI S$,\ 21 I
de11/. There was originally a thin baraJJi/a running above the jingha but this was altered when
the height of the walls were increased and the roof design was changed, possibly due to the
collapse of the original roof which most likely was terraced. The barat,ti/a area now consists
of two Rat bands with large recessed panels below and cusped niches above, delicately
etched, with the niches filled primarily with modem erotic motifs on the cast. A cornice
above the projecting cave is ornamented with a continuous frieze of diminutive canouchc
designs while the Rat roof is edged with a series of mcrlon-likc projections. These changes
most likely were undertaken at the same time the ga11i/i design was altered.
The interior walls have engaged pilasters, four on each side, with those Ranking the
entrance 10 the porches now replaced by images of deities carved in high-relief on stone
slabs. Female figures carved in high-relief arc placed against the side walls of the porches
while others are affixed to the pilasters framing the entrance of the chambers leading to the
sanctUm. The chaflris above the figures arc highly pronounced but arc covered with plaster.
The pillars at the four comers of the raised platform in the center of the Roor arc similar to
those at Baidyanath except for the decoration of the bracket-capitals which have bhirarale.-
1ale.a1, <a11ri-bcarcrs and vidyidhara couples rather than le.ir1i111111e.ha masks. The doorframc
leading to the sanctum consists of four narrow bands of scrollwork with Saivitc dvirapilas
at the base and an image of Gaja-Lak~mi on the lintel. The frame is Ranked on either side
by a large pilaster decorated with intertwining nigas at the top. These pilasters support a
second lintel which is decorated with a reclining Vi$nU Anantasayana as at Baidyanath and
is also probably a later renovation.SS Additional bands of scrollwork, possibly from the
entrance portal of the jagamohana, arc inserted above this second lintel along with a frieze
depicting Siva and Pii.rvatl playing chess. These additional motifs were probably placed
above the lintels when the height of the jagamohana was increased. The frame, as well as the
interior waUs, is covered with numerous coats of whitewash or plaster so that the quality of
the carving and the surface details are obscured.
The piriva-devatis, overly small and most likely later replacements, arc likewise obscured
by whitewash or arc badly worn. The deities arc four-armed and display unusual icono-
graphic peculiarities. Ganesa, for example, is depicted riding on the back of his mount, a rare
iconographic motif in Orissan an, rather than assuming the standard seated or standing
pose. The rat is oversize and rums its head back towards Ga(lesa. Kiintikeya is represented
riding his mount in a rather awkward manner with the right leg slightly uplifted. The
major right hand holds a trident while the left is placed next to the head of the peacock.
The upper hands hold a iale.ti and an indistinct object, possibly a le.Mle.le.Nta (roster-cock).
Parvatl is seated in a rigid pose with legs crossed rather than assuming her conventional
samabharlga pose, one of only a few examples of a seated Pii.rvati serving as a piriva-dtvali.
There is a second image of Gan.Sa, placed within the ma11r/apa, where he assumes a
standing pose eating sweets from a • odale.a-pitra. Included among the various images of
Siva arc Na1arija, Ardhaniirlsvara and Hari-Hara. There is also a standing image of
Parvatl who is Ranked at the base by a lion and a deer. As at Baidyanath the images arc
finished with a thin coat of stucco which, in many cases, has chipped-off from the
underlying stone core. In general the images arc not as impressive as those at Baidyanath,
the pose of the figures appearing more rigid and body articulation not as plastic, though
part of this may be due to numerous applications of paint. There arc also a few fragmented
~ Fo r a phot<>~raph of «ht" 8aidyanath doorframt" sec O. R. Das, op. tit. , Mg. 1 0 .
Original from
TcM Pl.ES Of TH<. •• TH·.,TH CENTl°RltS 01' INTERIOR ORISSA
images scattered about the compound including one of Agni. There are several fragments
of miitrle.as on the south side of the compound in front of whom chickens are sacrificed.
Only a few of the female figures have survived and they likewise exhibit a lack of
refinement in contrast to their counterpans at Baidyanath. The most impressive example is
the one in a seductive pose with legs crossed and arms uplifted behind her head. There arc
remnants of a creeper growing beside her next to a diminutive attendant. There is the same
radiant smile on her lips as on her counterpans at Baidyanath. The other female figures arc
rather stiffly posed and lack the warmth and exuberance of this image.
B) BR1ci; TE~IPl.ES tN THE l.PPER 1'1AllANAnT \'At.LEY
Although the practice of building religious structures in brick was not unknown in
earlier periods in Orissa, the majority of these structures are too badly deteriorated to
throw much light on their role in the stylistic evolution of the Orissan tcmplc.5? Many of
these sites, in fact, were Buddhist and thus are of little concern for this study."° In cases
where the temples have survived in a fair state of preservation, as in the Prad vallcy,61
there is no way of dating the st ructures with any degree of precision due to the lack of
decorative motifs or sculpture. The brick temples constructed in the Sambalpur tract of
western Orissa after prototypes in Chattisgarh where construction in brick was standard
practice, on the other hand, help us to understand the stylistic evolution of the Orissan
temple even though these temples, as well as the building technique, represent the swan-
song of a transplanted architectural tradition. In addition to the brick temples already
discussed, where emphasis was placed on the pillared 111011/apas, there arc three brick
temples, mostly devoid of later renovations or additions, which establish a direct link
between the architectural traditions of the Piinc;luvarilsis in Chattisgarh and the evolving
indigenous architectural traditions of Orissa proper. The three temples are the Piitiilesvara
at Budhikomna, the Chhelia temple at Kausuli and the lndralath temple at Riinipur-Jhariiil.
1. B11dhile.0111na, Ka11s11/i: S /ti/alt Brkle Temples

The brick temple of Piitiilesvara is situated in the village of Budhikomna in the
Nawapara tahti/ of Kalahandi district approximately 40 kms. from Khariar on the way
towards Raipur. The temple faces east and originally consisted of a pillared-111a11efapa,
antarala and dt11/. The original ma11{iapa collapsed long ago and was replaced by a second
structure made of stone at the base and bricks above while the roof was tiled. This later
structure has recently been removed so all that now exists is the antarala and the de11/. T he
upper pan of the antarala has been restored. The removal of the ma11{iapa has brought to
light an inscription on the proper right side of the sanctum doorframe. The inscription has
not as yet been edited but most likely is later than the construct ion of the temple which can
be dated to the closing years of the 9th century .
~ Such a!> at Sir:ibh10ji ,1.-herc there is an abundance of bricks scattered thrt)ugh()Ut the area.
00 1\n example would be at Gani:apa11i in the Bargarh subdi"ision of S:ambalpur district. Ste Fabri, op. tit. ,
PP· Jl·H· _ .
6 1 Sec P. K. R.- ~.. op. tit. According to this rtpon some of the temple$, such as the 1$var;i;dc:\'a S1"a at Jiunti,
can be datt:J 10 {he 91h c1:n1ury.
Original from
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The tb11/ rises abruptly from the ground to a height of about 4! fect.62 The temple has a
stellatc groundplan formed by two intersecting squares measu ring 13 feet on each side, the
eastern point being obfuscated by the projecting antarala. The stellate design is most
closely related to the temple at Dhobini which is a funher development on the earlier
stcllatc plans at Kharod and Paliiri in Chattisgarh where the points are truncated so that the
pago faces arc parallel with the major axis and the riihii is much wider than the subsidiary
piigo1. The piibhiiga, 40 inches high, consists of only three mouldings rather than four as
standard on other temples of this period or on the brick temples in Chattisgarh. The jiingho
is divided into two stories of equal height, each 42 and '/4 inches high, by a madh.Ja-bandhanii
consisting of a single moulding 6 and 1/ 2 inches in height. This is a funhcr development on
the brick temples at Kharod, Pal:iri and Piijiiripali where the upper story is not as fully
developed as the lower story and not clearly demarcated from the bara11(ia. Due to the star-
shaped plan of the dt11I there is no riihii as such but only leanilea and anarlho piigiis. The
/ea11ilea1, which form the points of the star, are designed as miniature vajra-1111111(1i1 on the
lower story. As in the Chattisgarh temples it is the crowning cai!ya design that is
emphasized and not the diminutive niche whereas in the typical Orissan decorative
program it is just the opposite. There are thus no images placed in the diminutive niches of
these m111Jlil. Within the crowning toi(Yo-medallions, however, there are various sculptural
motifs in brick, such as displayed female figures, squattingyak,<01 or niiga1 as at Pujiiripali.
There are no images of deities as appear at Palari. The design of the upper story of the
leanilea consists of a p•ir of flat pilasters framing a narrow 11ajra-1111111(1i. The niche of the
vajra·1"111Jli is too thin to contain any images. This upper story design is presaged 21 Kharod
and Paliiri b y a design of split mouldings with a thin recess and on the single-story plan at
Sirpur where a pair of pilasters forms the design of the /eanilea. The small cai(Ya-medallion of
the vajra-m1111<li on the Piitiilcsvara is filled with a tear-shaped pendant. The anartho, which is
set at an angle and appears somewhat crowded between the leanileas, is designed as a plain
pilaster on both stories.
The bara11(ia consists of a kh11ra-shaped moulding surmounted by a recess. The ga!Jli is
divided into six bbiimiJ rather than five as st2ndard on most early Orissan temples. At the
base of the larger first bhii111i is • roi!Ja med21lion overlaying the horizontal mouldings as on
the brick temples at Kharod 2nd Pa.liiri. The bhii111i-a111/iis effectively terminate each bhiimi
division in typic•I Orissan fashion, however, whereas in Chattisgarh these 0111/01 appear to
be placed at the base of each riihii division rather than being in alignment. An unusual feature
on the P:itiilesvara is the manner in which the 0111/,;1 fail 10 extend the width of the leanilea,
terminating abruptly, a feature also present on the brick lndralath temple. Also peculiar is
the manner in which the top bhii111i projects straight up like a turret rather than continuing the
silhouette of the gan(l.i, being crowned by a diminutive 11101/alea rather than merely a flat 11111/ii,
a feature which funhcr emphasizes the star-shape plan. Except for the 0111/ii1 demarcating the
bhiimi divisions there arc no decorative motifs on the go111fi above the roi(Yo-medallion at the
base of each /eani/ea. The onorlho is merely divided into horizontal mouldings. There are no
1·ojro-111011a/ea motifs. There are also no figures in the btki to suppon the crowning 1110110/ea.
The 1ondhi-J1holo is decorated in the same manner as the leanilea while the anurala, as it is
now reconstructed, consists of simple horizontal mouldings extending up the height of the
"1 Sec B. 1'.. Rath, "The Unique Brick Temple at BuJhik<>n1na," i\ .tr lJ11fftlfJI011J ef 1'q11ri1,,, '" ()n's1'1
(lih ubant ~ "'·:.r. 197(,), pp. s1 · 18.
Original from
J
T EMPLES OF THE •oTH·,,TH CENTU RIES O F INTERIOR ORISSA
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8udh1komna : Pitilcivar2 Temple
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ba(la. The antarala continues the firsr bhiimi division of the ga~(ii which serves as a base for
1wo superimposed anga-iikharas, lri-ralha in design on the cast, which extend up 1he heigh•
of the fourth bhiimi. These anga-iikharas are mostly reconstructed from modern bricks and
monar so it is impossible to tell if there was any deco ration on rhem. If there was a vajra-
111a11akP this is where it would have been placed.
The doorframe of the anurala is carved of stone and is mostly intact. As on temples in
Chattisgarh the door jambs are decorated with large images of the river goddesses on the
jambs, measuring 42 and 1/ 2 inches in height, rather than the di.m inudve Saivite dvarapala1
standard on Orissan 1cmples. The decora<ion o n the lower lintel has not survive.cl . On the
upper lin1el there is an image of Gaja- Lak~mi in the center flanked by grahas, a rare Orissan
example whereby the dvara-la/O/a-bimba is combined with the no1wgroha slab. Lak~mi is
seated with legs crossed and is flanked by two elephants on each side rather than one in the
standard fashion, the second pair of elephants filling their trunks with water. The inner
surrounds of the frame are decorated with creepers on the sides and lotus medallions with
scroll motifs on 1he ceiling as on Chattisgarh temples. Kir1im11kJJa motifs likewise appear on
the underside o f brackets placed in 1hc upper corners of the doorway.
Original from
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As there arc no raha niches on the dtNI there arc thus no ptiriva·dt•attis. The only figur<
images which may be associated with the temple are four mutilated figures carved in stone
and placed next to a small Nandi shrine placed in front of the original location of the
ma~dapa. The best preserved image is o f a male seated with one knee upraised and holding
flowers. There arc also several stone slabs with elephants, narrative scenes and riders on
horseback which most likely served as a dado design for projecting porches on the ma~(lapa.
A similar brick temple composed of intersecting squares producing an eight-pointed
stcllatc groundplan existed at Kausuli near Ral)ipur-Jhari:il though only the foundation of
the dt11/ and antarala has survived along with the pl{ha, the jagamohana being completely
destroyed. The temple faces cast and the intersecting squares measure t4 feet on each side.
The antarala has a large pillar on either side of its door opening but nothing of the frame
has survived whereas the jambs of the sanctum door, also of stone, arc panly intact but
relatively plain. A stone slab, 41 inches square, is decorated with a lotus roscuc and
probably served as a ceiling ornament for the antarala. The sanctum, seven feet square, has
a stone pillar set into the brick foundation at each comer. A water spout pierces the nonh
wall. Only the lower two mouldings of the pabhaga of the exterior have survived, a /eh11ra a<
the base 2nd • lt.llmbha above. The outlines of a hrt/a arc visible on the /eh11ra moulding
while three tampalta-leavcs h2ng down from the lt.llmbha. There arc no surviving sculptures.
Stylistically the temple is closely aligned 10 the Pitalcsvara temple and can likewise be dated
10 the late 9th or early 10th century.
z. Ra~ip11r·Jharial: /ndralath Trmplt

The third brick temple displaying obvious influence from Piinc,luvamsi traditions is the
Visl)u temple at Ral)ipur-Jhari:il, the only survivor of six brick temples built in a line just
north of the huge rockbed mentioned in connection with the Somesvara. In dimensions the
groundplan of the bd(la of the dtul, :o feet square, closely approximates that of the
Laksmal)a temple at Sirpur. In elevation, however, panicularly in the division of thcjdri.~ha
into two stories, it more closely resembles the later brick tempks at Kharod, Paliiri and
Pujiiripali, though the upper story is more developed. The decorative program is more
developed than that of the P:itillesvara temple at Budhikomna and its square groundplan
affords more space for larger niches so that sculptures of deities arc included.
The temple, popularly known as the Indralath, stands on a pi/ha measuring ! 1 inches in
height. The pi/ha is 90 feet long by 37 feet wide. The j agamohana has not survived so that all
that remains today is the dt11/ and antarala, both of which have recently been repaired. The
cast face of the anurala is carved of stone and serves as a doorframc to the sanctum, its
jambs being progressively recessed but left uncarved. The />aria is paiita-ratha in plan. The
pabhaga, 69 inches high, consists of four mouldings similar in design to those on the brick
rcmple at Sirpur though not as ornately decorated. Thcjarigha is divided into two unequal
stories by a madhya·bandhana consisting of a single moulding. The lower story is 81 inches in
height while the upper story is approximately half as high. The raha is framed at the corners
by naga-1tambha1, the rail of the serpent coiling around the stambha on the lower sto ry and
the torso carved on the upper story. The lower story of the raha is designed as a vajra·ntHptfi
"'ith a single large taitya cro"·n ing the niche. The niche is framed at the sides by flat
pilasters similar 10 the design at Sirpur. The niches arc empty on all three sides of the tltul
to suggest the images "·ere carved of stone rather than forming pan of rhc hrick wall as they
do in thc rai!ya-mcdallion or on the kanilta. The upper story of the rJha consisrs of a
Original from
Z I(,
narrow, ornamental niche panially filled with a set of miniature pilasters, the design being
similar to the Itani/ea at Sirpur. The Itani/ea of the lndralath is a duplicate, though smaller, of
the riihii while the onortho is a plain Slombho or engaged pilaster with be\'eled edges and a
square base. The base was probably decorated with a small coil.Jo which has not survi\'ed.
At the top of the slambho, just below the baran¢a, is a diminutive kirtim1tJeha mask. The
overall design of the lo wer story thus consists of vajro·m11n¢is alternating with engaged
slombhos while the upper story decoration consists of engaged s/ombhos separared by
recesses. All of these decorative motifs, except for the niiga·stombhos, appear on the single·
srory design at Sirpur. The architect at Ra!)ipur·Jharial has merely altered their position on
the walls and added an upper story. The rather sparse decorative program of the upper
story resrifies 10 rhe limired imaginarion of the anist and his heavy dependence o n
Chattisgarh prototypes for inspirarion.
The baranefo, consisting of a few thin horizontal mouldings, is not sufficiently developed
so that the gan¢i appears to rise directly from the )iingho. The ganefi is panro·rolha in design
with the piigos aligned with those on the )iiligha so that there is a continuous vcnical thrust
from the base of the temple to the top of the spire. This is an improvement on earlier
Orissan temples where the jiin1.ho is tri-rolho in plan and the gonrf,i is ponco-rolha so that the
piigos, effectively separared by the horizontal recess of rhe boroprf,o, are not aligned. T he
gan¢i, rising to a height of 71 feet, is taller than that of the Laksma!)a temple at Sirpur and
is more influenced by Orissan tradirions than was the barf,o. The kanika is divided into nine
bhiimis, as reconstructed, in contrast to the five bhiimi di"ision standard on earlier Orissan
temples, though the number of bara11¢i1 is reduced to one between each bhiimi·om/O except
on the first bhiimi. The first bhiimi has two baron4is which arc linked by a raitya that visually
serves as a crowning vo)ro· mastoka for the narrow niche of the upper jan1.ho. The bhiimi-omltis
arc flattened as on Orissan remples rather rhan being bulbous in the con\'entional sryle in
Chattisgarh. The decoration of the boron¢i1 consists primarily of thin horizontal pat!i or
fillets and a small caityo motif, though the latter is often unfinished. The onorlha is decorated
with miniature va)ra·m11114is, superimposed one above the orher, as at Sirpur, a feature
confined to rhc on11rahii recesses on Orissan temples. The raitya crowning the niche of each
11111n¢i is aligned with the bhiimi-0111/ii, in the Orissan tradition, rather than below the am/a as
in Chanisgarh, so that there is a greater clarity in the bhiimi divisions. The riiha consists of
barap@is decorated with raitya·medallions in the center -..•h ile the offsers, aligned with the
niiga·slonbhas of the jiiligho, arc divided into /Jhiimi div isions by shon omliis, an arrangement
also n oted at Badgaon. Except for the few faces appearing in taitya· medallions there is no
figure sculpture on the gan@i, its decorative program consisting entirely of architectural
units repeated endlessly.
The lower story of the sandhi·slhala is decorated with a miniature replica of a rekhii·deul,
complete with piibhiigo, jiitigha, gon@i and crowning omaloka. The upper story on the norrh
side has an image of a standing, four-armed Devi, probably Vaisi:iavl, while the decoration
on the sou th side has not survived.
Although the piirivo-devotos arc missing from the riihii niches, the figures in the cro11.•ning
caitya·medallions are in silM. On the south side the coilJ·o contains an image of Varaha while
the image on the north side is N rsimha, the conventional piirf,,o-de,,otiis on a Vi~i:iu temple.
The image on the west side, however, is Hanuman carrying the Gandhamadan hill rather
than Trivikrama. Although the images in the m11n¢i niches of the kanika are in si/11 they are
difficult to identify d ue to the crumbling nature of the brick. Beginning on the southeast

TE~IPL ES OF 1'f-IE 10TH· 11Tf<I CE!\.11"URI E.S ()I: I N1'E R1ClR ClRI SSA 111
- - 11«· -
' '
:.-o"
Rinipur·jhariil : lndral:ri1h Tempi(
corner the figures arc Lakulisa, Purnna-vadha, a figure riding on the shoulders of anorher
which may r<prcscm Balariima defeating Pralamba, a figure in iili(lho pose with uplifted
right arm who may be Kr~\\• in Kaliya-damana or even Siva Andhakasu ra-vadha-muni,
Na1araja, and a standing four-armed Voi~l)avi. !\·lost of the images in the rai!)·a-medallions
above these corne r niches are a lso in silN and include a standing figure and a fig ure seated in
ardhaparyalika on rhe south,• stand ing Nrsirtrha and a disphyed male exhibing his lingom o n
the west, and a standing fou r-armed Vi~l)U on the north, the image in the northwest corner
missing. The iconographic p rog ram thus combines Vai~l)ava and Siva images rather than
adhering to a strict sectarian program .
Placed again st the antarala are numerous detached sculptures fro m destroyed 1emples in
the area, including a seated Buddha , a stand ing two-armed Kiirrtikcya and the upper half
of • Hara-Piirvatf. A un ique feature o f the lane r image is 1he p laccmem at the top of the
back -slab o f a trinity of Brahma, Vi~(IU and Siva with each deity scared above his mounr.
S1ylis1ically the image, carved of sto ne wi1h a thin veneer o f stucco, can be dared to 1hc
early 101h century.
q G ANDHARAOl : S1001-11iS\1ARA 1\NO NT1.1\l\1ADHA\' A i · cl\1P1... :s
The cons1ruction of brick temples 1>•i1h pill ared ma11(iapas in western Orissa fashioned on
prototypes from Chattisgarh was short-lived, as memioncd earlier, though some of 1hc
newly imroduced architectural featu res and decorative mo tifs, alo ng with innovations
filtering in from Ccmral India, arc assimilated with the indigenous traditions to forge a
revitalized architectural style which sets the cou rse fo r the fun her cvolurion o f the O rissan
temple. Two of the carlics1 temples const ructed in this rc\' italized style, which becomes the
mainstream of development, arc the twin temples o f Siddhdv•ra and Nilamadhava at
Gandhanidi, a village some ten or twe lve miles west of Baudh in Phulbani distric1.
Gandhar:idf is situated in the ancient Khin jali ·ma12(ia/a of the upper l\l ahanadi which was
Original from
lC~lP l,ES ()f T ti E 10TH 11TH CENTURJ ES <.>F INTF.Rl<>R <>RISS ..\
0
KHINJALI-BHANJAS
DhrtipNra (capital),
1. Silibha/ija I alia1 Aflga<,li
2. Satrubhaiija alias Gandha1a
l· Yathiiukhadcva alia1 Ral)abhailja I (ruled for 18 years)
4. Pallagamb hiradcva alias Digbhailja or Oi$ibhanja
I 'lj•.Javaii;N/va/ea (capital)
l · Sililbhaiija II alias Tribhuvanakalasa I
6. Mangalarija alia1 Satrubhailja II

I
8. Ra0 abh anja II
I
7. Vidyidharabhailja alia1 Amoghakalaia
(A.O. 910?)
I I
10. Nenabhaiija II
. I
Siliibhaiija Ill
9. Nenabhailja I 11.
Kalyiil)akala;a K:alyiJ)akalaSa or I
(A.O. 91 l ?) Prthvikalah 12. Satrubhanja Ill alias
( A.O. 9H?) Tribhuvanakalaia II
(A.O . 914)
I
IJ · Prthvibh ailja
I
14. Riiyabhaiija
I
1 l· Nenab haiija 111
Tribhuvanakalasa Ill
(A.O. 949)
LATER BHANJAS
Kolaefa·Ka/a/ea KNmiirapNra (Ganjam)
Oevabhaiija MahimandalcSvar-a NctJabhaiija I

I I
Riyabhaiija I Ral)abhailja
I
Virabhaiij a
I
Mah imandaleivara Negabhailja II
!Queen Santosa Midha\'l
RiyabJ aiija II
I Yuvariija Riyabhanja
Y asabhaiija
I
Jayabhailja
( •ith century)
;\dop1ed from Srima1i Snigdha Trip2th)', fnJr,.ip11qn1 of OriJJd, \ 'o l. VI (Bhub:aneswar, 1974).
under the sovereignty of the Bhaiijas and was p robably the ancient capital of
Gandhamardana, a king ruling sometime in the early 9th century. This Gandha mardana is
identified with Gandha)a Satrubhai\ja after who m the village was named (Gandha1apa1i) as
we kno w from the Baudh plates of RaQabhailja I issued at Ohrtipura.•l The Bhaiijas were
') K. C. Panigrahi and ~f:ahesh P. Oas. *'Orissa Plates o f Rar:iabh aOj adeva~'. OHR), \ 1ol. XI (1961), pp. 1ss ·
1S9 and R. D . Banerji, "Antiquities of the Baudh State", ]BOR.\·, Vol. X\1 ( 1919). pp. 64-86.
Original from
Tl ~ ~IPl.l ~S <>F Tl.JI:. 101·t-1 . 11'f t-I < : l~ NTt' R IES <)I: IN1' 1~ Rl<>R <>RISS,.\
fcudatorics who owed allegiance to the Bhauma-karas. Their capital at this time was
Dhrtipura which has not as yet been identified . During the period of turmoil in the closing
years of the Bhauma supremacy the Khiiljali Bhailjas appear tO have achieved an
independent status as evidenced by the title l\laharaja assumed by both Vidyadarabhafija
and his son Nenabhailja II in their copper-plate grants, rhc latter using this title as !arc as
A.O. 933 .... It is probable that the Bhafijas at this time played a role in supponing the last
two female rulers of the Bhauma-kara dynasty. From rhe Taltali copper-plate of Dharma
l\lahadevi•' it is recorded that Vakula Mahadevi was born in the Bhatija family. Although
their relationship with the Somavarilsi rulers at this time is not clear,66 evidence seems to
suggest that Yayati I Mahasivagupta reduced them again to their feudatory status in his
quest to annex Utkala. This is evident in the Dasapalla and Ganjam plates of Satrubhatija
III, nephew and successor of Nenabhailja II, issued in the Bhauma Era 198 (A.O. 9;4),
where he assumes the title of Ranaka which is definitely indicative of his feudatory sratus.•7
In a copper-plate grant issued during his Ijth regnal year (A .O. 93 l), Yayati donated a
village in the mar4ala of Gandha1apari (Gandharac,li) which suggests that the Bhailjas had
been subdued by that time.68 The Bhailjas appear to have been driven out of the upper
l\·l ahanadi valley at this rime into Ganjam where they established their capital at
Vijayavafijulvaka. Mose of the later charters of this line o f Bhatija kings were issued at
Vijayavailjulvaka and refer to villages in the Ganjam district.
The area near the twin temples shows signs of other ruins, one of which may have been a
fort, testifying to the importance of the site in ancient times. The twin temples of
Siddhesvara and Nllamadhava, dedicated to Siva and Visl)u respectively, are erected side
by side on a large platform, or pi/ha, and testify to the continued dual worship of these two
seers as noticed at Sirilhanatha, Baidyanath and Charda, in the latter two temples noticeable
primarily on the sanctum doorframe. The sides of the pi/ha are o rnamented with a set of
pabhtiga mouldings and a jarigha. The jarigha is decorated wirh miniature 11111r(ii designs, minus
crowning members, alternating with pilasters and thus simulating the decorative program
of the walls of the temple proper. Though only portions of the decoration remain this is the
earliest surviving example whereby the sides of the supporting pi/ha or platform were
accorded a decorative program, or where the pi/ha was high enough to add such
decoration. The temples are exact duplicates, except for the tiyNdba crowning the amalaka,
and were surrounded at the four comers of the platform by a small shrine so that as a unit
the temples formed the center sh rine of a paiitii.J•alana plan. All that remains of the corner
shrines, however, is scattered debris. The temples are of the rtleha order with a flat-roofed
j agamohana. From a distance their general appearance is similar to earlie.r Orissan temples
but closer scruniry reveals innovative features which appear for rhe first time and become
standard decoration on temples of the toth-1tth centuries in eastern Orissa. Stylisrically rhe
temples can be ascribed to the opening years of the 10th century, probably just prior to the
.,. J.:. C. Pana~r1hi, "C'lrissa r-.t u,.eum l)latt"s of NC"~~abharlja". OHR], \.'ol. XI ( 19<>1). Pr · 9· 16. The d21(' of
1h1s grant 1s in doubt. P2nigrah1 ('Qrrccfs 1he number 9 17 to 197 to arri ve at A.O. 9, J. The s~·mbol 1s n()I
assoc1a1cd with 1111ir1•0J and may refer ro a rt'gn2) )'Car, pQS~ ibly :4 or 34.
" lllQ. Vol. XXJ (1941). pp . .,g.,,. .
66 RajaJ(uru, for example, ~uji:gc5tS tha1 the Bhafljas es1ablishtd ma1r1rnon1o11I rtlat i•>nsh1p ~:ith 1he
$(>ma\•arh~is . Sec /1111rip1iq1rs of OriJtd, \.'ol. J\' , p. }JI .

7
11 Panigrahi, 01/Rj, Vol. XI. p. t).
61 l;p~t,raplJ111 lndita, \ 'c)I. XI, pp. ¢ ·97.
Original from
l.l.O TE~1Pl.ES ()F 1'HE 1o'rf-l· I l TH (:ENTl' R ll ~S ( >1: IN'J"l!RIOR ()RISS:\
construction of the Kapilesvara temple at Charda where the decorati\•e program of the drul
is a near duplicate of that on these twin temples.
1. Bar/a Duoration
The btiefa of the dtul, measuring 'l feet square at the base, is a full-fledged pailra-ratha
plan with a recess separating each projecting pogo. The ptibhaga is 36 inches high and
consists of four mouldings- a kh11ra, kstmbha, pa/fa (fillet-like moulding, here with crowning
pii/ha) and 11aianla (horizontal band, here as an inverted piefha). A diminutive caitya or /eirifa
is carved in the center of the /ehNra, above its m11hii11/i, and is aligned with the campaka-lcaf
on the le.umbha above. This vertical alignment is continued by a bar which extends from the
lower face of the pa//a to the upper face of the vasanta, the bar decorated with jiili panerns
or a standing female figure.•9 The indentacion beneath the anartha niche is filled with a tala-
garbhileii designed as an elongated lehiileharamun!fi with a "'zjra-mallaka carved on its
crowning member. This is the earliest example of tala-garbhi/etiI appearing beneath the
niches of subsidiary pagaI. A similar design, though wider and more ornate, is placed
beneath the riihii niche. The decorative program of the pabhiiga chus consists of standard
horizontal mouldings alternating with vertically oriented lehiileharii-m1111¢i1, an arrangement
which becomes standard on temples of the early Somavarilsi period at Bhubaneswar.
The kanika design on che jangha, measuring 76 inches in height, consists of an engaged
pilaster decorated with a diminutive vajra-m1111¢i at its base and hanging garlands at the top.
Consistent with pratices noticed on the temples based on Chattisgarh prototypes, where the
major sculptures were placed within the ma11r/apa, the niches of these diminutive m~rfis are
extremely small and perhaps were not intended co house permanent sculpture. The anartha
design on chejiingha is in the shape of a slender miniature s hrine with its crowning vimiinileti
or spire consisring of multiple horizoncal mouldings as on the Simhanatha but with the
addition of a small vajra-maf/aka at the top. The miniature shrine is tri-ratha in plan with a
vertical segment, in the form of a tala-garbhileti beneath the niche and an iirdht•a-garbhileti at
the top of the niche, running up the center and partly obfuscacing the horizontal mou ldings
of its vimiinileti. The iirdhva-garbhilea at the top of the niche both restricts the size of the niche
and casts a strong shadow on the image housed "'ithin, again playing down the importance
of sculpture in che overall decorative program of the exterior.
The riihii is designed as a large vajra-m11n¢i Ranked on either side by an o ffset pilaster
crowned at the level of the bara11i/a by a kalafa. The vajra-m1111rfi is also tri-ratha in plan with
a lala-garbhileti inserted beneath the niche and a small iirdh11a·garbhileti at the top, both
garbhiletis also tri-ralha in plan. The pilasters framing the niche are relieved with scrollwork
on their shaft while at che base of the Ranking offset pilasters is a small kirl/a. The niche is
capped by a projecting pi"¢ha moulding and crowning vajra-maslaka though the surface
details of the latter are obliterated. Surmounting the 1•ajra-maslaka is a small mu11rfi which
extends above the bara~(ia and pierces the large vajra-maslaka design at the base of the ga11{ii.
This is one of the first examples of two superimposed major vajra-maitakas appearing on
each face of the de11/. On later temples this lower l'ajra-mastalea is elevated to the baranrla and
is reduced in size, becoming subordinate to and dom inated by the larger vajra-maslalea
.. :\ similar \•en1cal bar, though not as conlpletC' in dccor..at i\·e pro~ram, appeaN: on the PitJlcS\'ara temple
at Paik~pada. Thct(' arc: :also n«> tofa·~tJ,hhikat henC'ath tht' on11,1ha niches 2s 21 Gandhar2idi, or (harda, and tht
()OCS beneath rhc rJhti nichc:-i; of the ~u hs1d 1 ary shrines are not as dcvclopl·d as here.
Original from
T E ~IP l.ES {JF 1· ~· E 1o·r ...l· 111"H CENTl: RIES ( )F INTE RICl R ORISSA lll
1-- - - - - - - l ! O
I
-1110 - -
__, ~ r- ' r- - 1 1 0 --1
--'to -
I
I
I
I
I
I
I
I I
-i t- It
Gandh:irlc.li: SiddhcS\•ara Temple
above. The major vajra-mastalea here extends the width of the rabo so that it unifies the
offset pilasters into its design as on the Vaiuil Deul.
2. Ga!lifi Duoratio"
The barap{ia co nsists of a large mou lding. curving inward at the top. and a recess above.
The ga~(ii is panra·ratha in design continuing the 6vcfold arrangement of the bii(ia so that the
piiga divisions extend uninterruptedly up the height of the de11f giving an overall venical
fluidity to the design. The lea"ilea-pogas are divided into seven bhiimis b y amfos with each
bhiimi subdivided into four addition al bara11(iis. Little in the way of decoration on these
bhiimi-bara11ifis has survived thoug h their arrangement, with the top two joined by <aitya
motifs, is similar to the design on earlier Orissan temples. The anarlba-piigas are divided into
horizontal mouldings decorated with triple r.aitya motifs repeated ad i"/foi111m to the top, as
on earlier temples, but with the addition of venical bars o r ribbons which join the rail)·a
motifs. The raha-poga above the now missing vajra-mastaka designs is decorated in a similar
manner though there a rc five raitya mot ifs aligned o n each bara11(ii rather than three. Little
o f the su rface decoration o n these bhiimi-bara11(iis ha., survived or was actu ally completed.
On the front facade o f the ga(J{ii, immediately above the rt>Of of the j agamoha"a, is a
triangular opening which leads into the interior of the garbha·grha so that the sanctum is
better lighted than those of most Orissan temples. That this opening was not part of the
original design is evident in the manner in which the lower ponion of the central facer was
removed, leaving the p lain sto nes under the facing visible. The ponion removed would
have contained the major vajra·mastaka motif, the most auspicious motif appearing on the
ga!lefi. As the temples now exist none of the 11oj ra-masla/eas have survived, a rather curious
fact co nsidering the impo rtance o f 1his dcco rati\rc motif. There are also no an11rOhO recesses
as on earlier Orissan temples. Surmounting the crowning amalalea on the Siddhesvara
temple is an ok.Ofa/iriga while on the ilam iidhava there is a ralt.ra, rhe emblems o f Siva and
Vi$1)U respectively. An innovation is the placement o f seated figu res on the bisama above che
roho which serves as a harbinger fo r btlei figures o n later temples.
Original from
222 TJ·: .\CP l .J~.S <>F THE 10T H 11TH CEN1'l tRIF,S <JF 11\:T ER I C)R ()R ISSA
0
}. Jagamohana
The jagamohana is rectangular in shape and measures 26 feet 8 inches by 20 feet 4 inches.
The roof is sloped in two tiers as on the Parasuramesvara though there are no ventilarors
between the tiers and it is built on the cantilever principle similar to the Sisiresvara
temple.m An additional covering slab appears at the top. The projecting caves of these tiers
and the crowning slab arc progressively stepped, or receding, on both the east and west
ends so that the silhouette, for the first time, assumes a triangular shape, though Aattened.
At Simhanatha and Padmapur, where an additional slab was likewise added, the roof was
not stepped at the west end but abutted the gan(ii of the de11/ so that the lower medallion of
the vajra-mastaka was housed within the jagamohana. This is avoided here, and probably on
the original roof of the manr/apa at Charda, and this Aattcncd triangular shape serves as a
harbinger to the development of a pi(iha design. Originally there may have been four pillars
arranged as a square in the center of the interior to help suppon the roof but these have not
surv ived.71 The pilasters set at intervals against the interior walls are devoid of decoration
except for a small raitya design at the base and a single hcan-shaped leaf on the capitals.
The sandhi-sthala is very small, measuring only t 7 1/ 2 inches, so that its exterior walls above
the piibbiiga arc p lain in contrast to Charda where an elongated khiik.harii-m11ntfi is carved
duplicating the design of the anartha. The doorframe leading to the sanctum is devoid of
decoration except for a piibhiiga design at the base of two framing p ilasters and the outline
of a dviira·la/iifa-bimba panel on its lintel.
On the exterio r the jagamohana is tri·ariga in design with the center projection, or gaviilqa,
given added emphasis by niiga/niigi stambhas placed at the corners and Aanking the entrance
ponal on the cast. The piibhiiga consists of four mouldings as on the dt11/ though measuring
only 29 inches in height. The Aanking units of the long sides of the j agamohano are decorated
with three piigas designed as elongated m11ntfis crowned by a vajra·mastaka as on the anartha
of the dt11/ alternating with thin pilasters similar in design to the kanika of the dt11I though
lacking the diminutive vajra·munrli at the base. The m11ntfis abutting the niigo/niig i stambhas of
the gaviik1a and entrance portal arc sliced in half suggesting that these stambhas were added
after the decoration of the walls was completed. This alignmenr of m119tfis alternating with
pilasters becomes popular on later temples at Bhubaneswar as docs the addition of niiga·
slambhas at the corners of the gavii/qa or Aanking the entrance pottal.
The base of the niiga/niigi stambbas is decorated with a double goja-kriinlo motif of lions
springing on the backs of crouching elephants. The torso of the serpents, male on the
proper right and female on the left, appears near the top of the stambha with the coils
winding below to suggest an ascending movement. The gavii/qa window between the
slombhas occupies only the lower half of the wall and is framed by three pla in mouldings.
Dviiro-lalii/a-bimba panels appear in the center of the mouldings on all four sides but were
left uncarved. The j iili filling the window consists of thin diagonal strips of lattice, in a
crisscross pattern, forming diamond -shape perfo rations (bankajii/1). The area above the
window (govii/qo-mo{1t}ano) is filled with three miniature rtkhii-de11/s separated from one
another by a thin pilaster.
The shoncr cast end of the jagamobana is similar in design though there are only two piiga1
and pilasters on each side o f the portal. The decoration of the doorframe no longer
'° Banerji, JBOR.\', Vol. X\', p. 1 1.
Original from
TE~IPl.F.S <>F THF. 10TH· 11TH <:F..NTl'Rlf!.S ( ) f lf'.:'Tl ~ R l <>R <>RISSA
remains. A bara~{ia, 141/ 2 inches in height and consisting of• single moulding, appears at
the top of the jaligha.
The consistency of design and decorative motifs of the jangha, identical in style and form
with those on the dt11/, would seem to rule out the possibility that the jogamohano was
originally open on all sides and filled in with walls at a later date as has been suggestcd. 72
The overall design of the jangha, repeating the decorative motifs of the dt11/, is more
sophisticated and harmonious than earlier jaga111ohana1 and the windows of the govak/a
appear to be contemporary with the walls rather than convened doorways.
4. Sc11lpt11re and Duorolivt A101if1

There is very little in the way of sculptural imagery remaining on the exterior of the
temples. None of the parlvo-dtvola1 arc in 1i111 and most of the niches of the subsidiary paga1
arc empty. An exception is the niche south of the entrance of the Siddhcsvara temple which
is filled with a badly-worn image of Gaja-Laksml, a motif generally appearing on the lintel.
Lak$ml is sc21cd in pad111a1a11a holding a long-stemmed lotus in each hand, though her
hands arc now broken off. Within the sanctum of the Nil2madh2v2 temple is an image of
Nllamiidhava (Visnu) carved in chloritc and measuring 6•/2 feet in height. He stands in a
sanrabhanga pose holding a cakra and conch in his uplifted hands. His lower left hand rests
on a mace while the lower right arm, extended in varado, is broken off at the elbow. He is
flanked in the lower comers by Srldcvl and Bhiidcvl. He wears • kirifa-nr11k11/a and has a
plain halo with a vidyadhara in each upper comer. The carving is exquisite and gives us an
idea of what the missing sculptures may have looked like. A second image of Vi$1)U,
measuring only 4 feet in height, is placed against the back wall of the jaganrohana. The
image is nearly identical in srylc and iconography though less well preserved as all of the
arms arc broken-off at the elbows. A third image of Visl)U, broken off just above the knees,
is placed along with scattered fragments within the interior of the jagamohana. The
iconography was slightly different, however, as the back arms were not uplifted but rather
extend outward while the halo behind the head is rimmed with flames.
Numerous other sculptural images, mostly fragments carved in sandstone and smaller in
size, appear loosely placed inside the jaga111ohana1 of both temples and obviously were
originally placed within exterior niches. Included among these images arc various avaloTJ of
Visl)u (Matsya, Kiirma, Varaha and Vamana fragments recognizable), M2hisam2rdinr and
Surya. In one fragment of Surya all that survives is the charioteer Arul)a and the seven
horses standing on their hind legs. There arc two images of !Viahisamardini which arc
broken and badly worn. The size of one of these images, slightly larger than the raba niches
even in its broken state, suggests that it was housed elsewhere, possibly in its own shrine.
There arc also groups of broken images in the area to the east of the temples among which
arc to be found a ten-armed Mahisamardini and an eight-armed Bhairava, both badl)"
worn.
Of the decorative motifs in 1i111 the largest are the naga/nagi 1tambha1. Other figure motifs,
including standing female figures and 111ith11na1, are small in size and generally appear on the
pabhaga mouldings. Though very little of the decorative scrollwork has survived it is mostly
the garbled vana-lala mo tif of foliage unrelated to any stalk which becomes the dominant
'1 62ncrji. f.litlb'J ef Ori1111, 11, p. )4f·

12 ll11J., p. J'4S ·
Original from
T E,\IPl.J:s C>F THE 10TH· 11TH c •: 1'Tl1 Rlf .S ()f 11'.:TERl<>R ()RISS,\
scroll motif on 10th and 11th century temples. The me<hod of carving is oblique rather than
perpendicular. A reticulated caitya scroll, with interlacing ribbons, was planned for the
mouldings on the anarlha and upper rahii of the gaptji but appears not to have been completely
carved. The motif of a /eirlim11kha mask dripping festoons of pearls carved on the pilasters
framing the niches, with the strands of pearls overlaying the scrollwork, is one of the first
examples of this motif which likewise becomes popular on later temples.
D) BACDH ; BHl •BA1'ES\. ARA, K A Pl l.ES\ .A RA & StDDHES\'ARA T EM PI.ES
A funhcr development of this rejuvenated style, in which newly introduced motifs are
synthesized with indigenous traditions, appears on the triple temples of Bhubanesvara,
Kapilesvara and Siddhesvara in the neighboring city of Baudh. T he temples are located
inside the compound of the later Ramesvara temple along with numerous other shrines and
sculptural fragments. The triple temples are arranged on three corners of a rectangle, the
fi rst two facing cast and the other facing west, while vestiges of a founh temple were
discovered in the remaining corner to suggest that they were possibly subsidiary shrines
though nothing of a center shrine survives except for several images which are too large for
the extant temples. The temples have an eight-pointed stdlate plan formed by two
intersecting squares measuring 1 t feet each. They arc thus slightly smaller than the brick
stellate temples at Budhikomna and Kausuli. They arc each erected on a pilha, 49 inches
high, which duplicates their stellate plan. Both the sanctum or garbha-grha and the argha-
palfa of the Siva-/ingas within have this stellate design which led Panigrahi to suggest that
both the temples and the deities "were made in the form of map(ialas or mystic figures, with
the help of which the Tantrikas wanted to attain their siddhis.'"' The Tantric nature of the
shrines is additionally suggested by small images of erotic rituals placed in the baraptfa
recesses though only a few examples survive. The shrines each have a small projecting
ponico and the silhouette of their gantfi curves in sharply near the top in contrast to the
gradual curvature typical on earlier Orissan temples. Though small in scale the temples arc
richly decorated. Stylistically they can be ascribed to the second quaner of the 10th century.
1. Bat/a Duoralion
Very little of the decoratio n of the pi/ha survives as the facing stones have mostly broken
off. Enough remains, however, to suggest it was richly ornamented and assumed the eight·
pointed groundplan of the temples. The piibhaga is 21 inches high and consists of five
mouldings. the first such example on an Orissan temple. The mouldings, from the base up,
consist of a kh11ra, leNmbha, pa//i (with thin crowning pi(iha), /eapi and va1anla. A campalea-lcaf
hanging from the leNmbha links up with a cail)a or /eiri/a design on the kh11ra as at
Gandharii<;li. The top three mouldings are linked together by venical bars, decorated with
diminutive standing figures, separated by the thin band of scrollwork forming the Aat edge
of the leani. Except for the lea~i, which has not as yet assumed its pointed shape, the piibhiiga
thus assumes the fully developed plan which will become standard on virtually all later
temples. The only noticeable changes will be in the form of elaboration, such as the
addition of a ridge on the leNmbha o r more o rnate decorative motifs on the kh11ra.

TE~IPLES Of T H E 101·H· 11TH CJ!.NTU RIES OF IN.rE RIOR O RISSh
''I
;:i••lJ•• t . ...
1.1.... \,
16"
I
. l _ - '"-=o==t ..... ,.h• ...
., ;~
1·-- ~ 6.Si.ov • .l.!.-'
t ata
l!r.......th.a..fll pr•tir• th.• '"' h•
7,2 5 '7y .t '"th~•
_j __ E3~~~
\.a•!IU . ... nJ,. p r• ur.atha

1, 7S" 11. ~O 1, 111S"
B2udh : Diagram of a Srcllatt Point
1---·"
Baudh: Slcllatc G roundplan
The jiiligha is so inches in height and thus conforms to the standard O rissan plan whereby
it is twice the heigh• o f 1he ptibhiiga. Each point in rhe star-shaped plan is l ' inches wide
and consisrs of two muhi-faceted J:hiiJ:harii-m1111(1is and a p ilaster. The niche of the m1111(1is
resu directly on top of the ptihhiiga and has a small irdhva-gnrbhiltti at 1he top though there is
no corresponding lala·garbhiltti in the piibhiiga below. Ahhough the vimiiniltti crowning the
niche consists of multiple horizontal mouldings forming a bhimi division as at Gandhariii,li
and S imhan:ltha, the number is reduced and 1he crowning member is in 1hc shape of a
Original from
z26 Tl~ ~IPl.ES <>F T•I E 10Tll· 11TH cr:l\:TL' Rll·:S ()f I NTERJ<>R <>RISSA
/ehi/ehari rather than a vajra·mailaka or pht~i as on these earlier temples. This is the first
example of an elongated /ehi/ehara·11111~(ii design forming the piga on Orissan temples. On
later temples it will become the standard piga design for the lower jangha, though no longer
elongated, while the pi(iha-m11n(ii becomes the standard design for the upper jangha. Both
motifs actually evolve from the miniature truncated relehi·de11/ design above the rihi niche
and the vajra·ma1laka crowning the subsidiary niches on earlier temples and arc thus an
indigenous development. 74 Surmounting the /ehilehari moulding is a kalaia Ranked b)' a
jagrala motif of a rider on a springing lion-monster on each side. Although jagrala motifs
appear occasionally Ranking the crowning vajra·m111taka1 on early Orissan temples, such as
on the Svan:iajiilesvara, its re-introduction at this time is most likely due to inRuence from
Chattisgarh where this was a standard motif, particularly since this motif appears only for a
brief period corresponding to the early reign of the Somavarilsi rulers.
The pilasters forming the tips of the star-shaped design, on the other hand, seemingly are
inRucnccd more by Central Indian traditions, the overall design, though Rattencd in
keeping with Orissan traditions, based essentially on free-standing pillars with dwarfs
carved on the capitals. The first element above the pibhaga is a lala·bandhana or lower
stringcourse consisting of multiple mouldings which extend up Rush with the top of the
niche on the neighboring m1111(iis. Above this is a standing female figu re carved in high
relief, the first example on an Orissan temple whereby the major figure on a piga projects
out from the surface rather than being encased within a niche. Th is technique may have
been dictated by necessity at Baudh as as it would have been difficult to sink niches into
pilasters meeting at such sharp angles. These figures actually appear on blocks which
project sharply out from the pilaster in a rather awkward manner, almost like an
appendage, an aspect which suggests the experimental nature of the decorative program.
The remainder of the pilaster, above the figure carved in high relief, is decorated with
scrollwork and a kir1im11/eha at the top dripping festoons of pearls, a motif also appearing at
Gandhariic;li. The capitals crowning these pilasters are decorated with an otlantid dwarf
housed in a shallow niche.
The major figures on the walls, those in the niches (now all missing) and the figures
carved in high-relief on the pilasters, arc thus staggered in the overall decorative program
rather than appearing on the same g round line, an arrangement presaging the development
of a two-storied jtirigha. Unfortunately some of the projecting blocks with the figures in
high-relief have been crudely knocked-off from the pilasters and carted away. There arc
several detached images of deities, including one of Brahma and one of a four-armed
Naiaraja in the bhNjangalrasila pose above Apasmiira, a rare example of this panicular dance
mode in Orissan art. There are also images of Ganesa, Camunc;lii and possibly Vi$J)U .
1. Ga~(ii Duoralion
The baran(ia consists of two projecting roll-mouldings and a recess o r /ehtindi above
relieved with figures on panels andjtili decoration. T he silhouette of thegancli bends inward
sharply at the top near the btki. The decoration continues the vertical alignment of the bti(ia
14 D ue t<> th~ elo n.1.tatt d ,.;,,,Q11ilcd (l>pire) o ( the mu(l{liJ at this ,;me. and on lat( 9 1h century temples. 1hcre is
lntle d i~t in ct ion bc1 u.•ccn a ra1r11·m11wfii :11nd klhikhafi·1r111!f{l1 o r pidha· mNwdi. The d i:;.cincc ion be-comes even le ~$
pr<lnounccd on S<.lme later temples \1:ith the J:.hJk.horti-11tN1Jefi bci n~ d l'co ra1ed \\•i1h a 1·01r11·111111ta/t.,ll o n ics cr('l\1:n i n~
member.
Original from
TEMPLES OF THE 10TH· uTH CENTURIES OF INTERIOR ORISSA 117
with three p.igas on each side of the points in the star-shaped plan. The comer p.igos are
divided into five bbii11ris by bbi11ri-d11rlti.s in typical fashion with each bbii11ri subdivided into
four barll{l(lis. The b11rll{l(lis arc decorated primarily with rail,Jd or Rora! motifs as on earlitt
temples. The middle p.iga consists of superimposed mouldings continuing up to the bis1111r11
in the manner of 111111rtbo-ptigos. The decoration, as at Gandharldl, consists of triple tairya-
mcdallions with interlacing ribbons connecting each eairya with the one above. In contrut
to Gandharidl, however, where much of the decoration is missing or left incomplete so
that only the framework survives, the decoration on the Baudh temples is extremely ornate
and produces an almost lace-like incrustation. The jewel-like delicacy of this repeating
motif, with its intricate ribbon construction, stresses the vertical or ascending aspecr of the
gat!l#i and almost obliterates the horizontal divisions of the bbi11ri-btlra#is. The trend from
here on is to replace the earlier decorative motifs based essentially on Rora! arabesques and
human figures with more architecronJc ornamentations which stress the verticality of the
struaure, a change in keeping with the increasing desire to erect higher and higher
strucrures. In later temples the harmony and Ruidity of decorative motifs based on
uniformity, achieved by sacrificing intimacy and imagination of sculptural motifs based on
organic nature, slowly degenerate into overly monotonous and mechanically repetitious
patterns devoid of human interest. The inside p.iga is divided into uneven btlr11#is
simulating the comer or lu11.ilu but with a p!NtU decorated with petals replacing the bbii11ri-
1111r/4, a design more consistent with traditions in Chattisgarh, as at Kharod or Paliri, where
the bbii,,,;-1111r/4 is fashioned as a p/wrti with petals rather than a ribbed disc.
The ""jra-11r11st11/u design above the entrance portal continues a development introduced
at Gandharidl which deviates from the standard motif appearing on earlier Orissan
temples. Though none of the motifs have survived intacr they arc better preserved, and
more ornate, than those at GandharidJ. The lower part of the motif consists of a triple
niche motif with the upper area of the larger center niche containing a diminutive iirtlbwz-
&11rilbi/U. This center niche is surmounted by an elongated JdN1""4ri-lftlltlli which extends
into the <ail,Jd-mcdallion formed by festoons of pearls dripping from a /Urli-""4 at its
apex. The wings of the tail,Jd arc supported by the Ranking niches and their framing
pilastcn. Though there is only one ""jr11-11r11sllllu rather than two as at GandharidT, the
space restricted by the projccring cave over the portico, the introduction of a triple niche at
its buc becomes incorporated into the standard 11t1jr11-11raslalu motif on many later temples
and also serves as a prototype for the development of an upper rihi niche. The lateral
Ranks of this projecting motif arc decorated with large images of kneeling dwarfs or
standing female figures.
) . Porto/ Dtror11ti011
The temples, as indicated, are built on a high pifbo consisting of five counes of stone
with steps leading up to the sancrum doorway inside the projcaing portico. The roof of the
portico is aupponcd by two octagonal pillan in front and a projecting pilaster on each side.
The pilastcn are decorated with a figure carved in high relief above the pibbigo and
scroUwork. The pillan have a large lut11rbbo near their base while the shaft is decorated with
scrollwork. Near the top is a frieze of /Urti-""4 masks with festoons of pearls dripping
from their mouths to form looping garlands (illl,,,.,,). The doorframc has three bands of
scrollwork on each side which continue across the lintel above. The t"1irap4"'1 are housed in
Original from
TE ~IPl . ES OF Tll E •oTH. ,,TH CENTU RIES OF INTERIOR ORISSA
arched niches at the base of the jarnbs. They are four-arrned and their hair is piled-up in a
tall jafii-mu/eNfa on top of their head. They stand in a tribhanga pose and are not provided
attendants. Gaja-Lak$rnl appears on the dviira-la/iifa-bimba panel over the doorway. Lak~rnl
is seated in lalifiisana with the right leg hanging pendant over her pedestal. This pose
becomes standardized on later temples and replaces the rnore rigid padmiisana pose popular
on earlier Orissan temples. Also new is the introduction of the ninth figure-Ketu-on the
planet slab above the lintel. From this time on all of the planet slabs will be navagraha.
Peculiar to these temples at Baudh, and temples of the early Somavarhsl period at
Bhubaneswar, is the manner in which Rahu is represented by a head only in contrast to the
usual motif of a half-bust figure. Ketu is represented seated with legs crossed in the rnanncr
of the other planet representations rather than as a figure with serpent coils as on later
temples.
4. Dtcorativt 1\-lotifs
There are no surviving cult-images in the niches of the temples, suggesting that, as at
Gandhara<;ll, the figures must have been carved separately and then placed in the niches in
contrast to the Bhauma technique whereby the figures were pan of the wall itself. The most
dominant figures decorating the temple walls are the female figures carved in high-relief on
the projecting panels of the pilasters at the points. Though badly mutilated most of them
are depicted in a graceful tribhatiga pose with one hip pushed out. T hey wear a strand of
jewels which hugs the lower contour of their globular breasts rather than crossing at the
waist as in the figures on the Vaitiil Deul. T heir girdle generally consists of three chains and
a tassel hangs between their legs. The hair is normally arranged in a large chignon on one
side of the head though in one case, on a female figure standing in a hieratic pose on the
lateral side of the vajra-masfale.a panel over the portico, the coiffure in piled in a tall tiara
arrangement as on the dviirapiilas. Frequently, as on the Mu ktesvara temple, a meandering
vine grows behind the female and forms a canopy with a large flower above her head.
Another popular figure motif is the bhiirarakfale.a decorating the capitals of the comer
pilasters, a motif peculiar to the temples of the early Somavarhsl period. Characteristic of
these atlantid figures is the large pot-belly and the manner in which the limbs assume a
similar shape. Often the fingers arc very stiff and resemble foliage emerging from pots. In
some cases the erotic nature of the bhiirarakfaka is stressed, as when holding his enlarged
lingam. There are also examples of erot ic rituals, including purafrara/fa, in the bara/frla recess
which stress the Tantric nature of the temples. Other erotic motifs include a maithuna with
the female seated on the lap of the male and a frtigiira11a scene with a male pointing his
lirlgam at a female figure. Among the deities within the recess is an image of Gal)esa.
Diminutive images carved on the sloping face of the bara/fpis of the ga111'i include dancers
and liliga-ptijii. There are also numerous fragments and detached images scattered within the
compound, including Buddhist and Jain images which rnost likely belonged to other
temples no longer extant.
Of the decorative motifs one of the most interesting is the large le.ala/a with flanking
jiigratas which surmounts the khokharii moulding crowning the piiga designs. Simi.l ar water
jars, though minus the leaping lions, also appear on toth century temples in eastern Orissa.
As suggested, the inspiration for che motif most likely comes from Dak$il)a-Kosala though
it does not appear there in this exact manner. Except for a few examples on the earliest

temples the motif of addorsed lions o n O rissan temples w as gcnerall~· confined to door
jambs or to the shaft of engaged pilasters and was concei,·ed as a hcraklic motif flatl y
carved. The gaj a-1!.riinta motifs carved in the barap(io of 8th century Ori'5an tempks arc abo
Aat in appearance and the lions arc not represented leaping nor do the,· ha,·e ride". At
Baudh, in addit ion to their appearance as crown ing motifs to the m1111di designs of thc;,i1i~h11
they are also carved on the pi/ha though without the k.olaia. Bei.:inning with the
Muktesvara, the viriila becomes a major motif on the wall bet"·cen project ing p,(~a dc>ii-:1»
though it is a single lion with rider and not an addorsed mot if.
The dominant scroll motif on rhe ba(ia of the temples is the garbled 1"1na-/111a which
generally decorates the shafrs of the pilasrers and is accompanied at rhe top b~· a k.lrti1JJ11k.h11
mask with dripping festoons of pearls. On the ga~(ii the most dominant scroll is the
reticulated caitya with inrerlacing ribbons, known in O rissa as phand gra11thi. Ah houg h triple
cairya-mcdallions aligned on horizontal mouldings appear on earlier Orissan rcmpks,
panicularly on rhe anarlha of the ga~(ii as here, they arc rarhcr crude in design and lack the
interlacing ribbons which run vcnically up the structure to intcrconnccr the designs on each
moulding. The overall design of this motif on the triple remples ar Baudh, in fact, is more
closely aligned to similar scrollwork appearing on temples from Central India and
Rajasthan, though lacking rhe interlacing ribbons. On Orissan remples, however, the motif
appears more to Roat on rhe surface like an incrustation, as if suspended from above rathe r
than puncturing the wall surfaces, while rhe designs ar Osia, for ex ample, are dominated b,·
the deeply carved circular medallions. The richesr manifest ation of this lace- like mot if
appears on the Panca-PaJ)c;la,•a remples at Gar:ies"'•arpur and the Mukte5,· ara remplc ai
Bhubaneswar, though on the former, as on the temples at Baudh, much of the crispnc5' and
detail of the carving is oblirerated by the accretion of innumerable applicat ions of
whitewash, or vajralepa,7 S a kind o f hard mo r1ar or cement supcr~rit iously applic:d t<J pr<>1cct
the structure from lighrning, i.e ., to make ir diamond-hard.
E} K111<.111:-;c; : K L"TA tTl'~f)l TE.\ tPl.E
In addirion ro the transplanted Pa 0 cjuvarhsi style of brick remples "'·irh pillared m<111,l.ip11.r
con structed in the Sambalpur tract of western Orissa and the rc,·iralized mainMream o f
development emerging along the upper ?vlahanadi river, there are other rempks bei ng
erected at this time which adhere more closely to established indigenous tradit ions. In mo>t
cases this conservatism, often mingled with archaism, is due to the prevailing taste of the
respective ruling dynasties in the area. As would be expected, the areas "'·here these tempk s
emerge arc generally far rcmo\rcd from the mainsrrcam o f devcl<>pmcnl and. c<>rrc!'p,,nc.I~
ingly, are more susceptible to influence from architectural traditions in adjacent arc:ts.
Perhaps the nonhem-most example of this conservative trend exists at Khiching situa1cd 1n
the Punchpir subdivision of Mayurbhanj some five miles fro m rhc site of Benus:\gar in the
Singhbhum district of Bihar. T he anriquity of Khiching, or Khijjiilgakona as it was
known, is evident from the hoards of Ku~a 0 a co ins fo und in irs neighbo rhood and the
many important relics darablc to as early as the 71h or 8th ccnru ry which ha.·e been

l JO TEMPl.t.;S O P THE ooTH· nTH CENTURIF.S UF INTERIO R ORISSA
uneanhed at the site. It has even been suggested, by Beglar 7• and N. K. Sahu, 77 that
Kan;iasuvan;ia, the capital of king Sasanka, was located at Khiching·Bcnusigar. In addition
to two fonilied palaces and numerous Hindu temples, there a rc remains of a Buddhist
monastery and remnants of several Buddhist temples as well as innumerable Jain relics to
suggest that Khiching was indeed a prosperous site where Brahmanism, Buddhism and
Jainism Rourishcd side by sidc.11
Khijjiilgakona was the capital of Khijjiilga·•atri/ala, an a rea comprising most of the
modem districts of Keonjhar and Mayurbhanj in Orissa and ponions of Singhbhum district
in Bihar, and was ruled over by another branch of the Bhanjas. Their genealogy is not
worked out to any degree of cenainty as their chronology depends upon a limited amount
of inscriptions and the dates provided have been interpreted differently. The most generally
accepted era in which the inscriptions were issued, and the one which most closely
corresponds to archaeological evidence, is the Bhauma era, suggesting that the Khijjinga·
Bhanjas were feudatories of the Bhauma· karas. From the Biimangha1i copper-plate grant of
Ra0 abhanja, issued in the year 188 (A.O. 914),"' it appears that the dynasty was founded by
Konabhanja sometime in the 9th century. 80 Ko11abhanja was succeeded by his son
Oigbhanja (Ourjayabhanja). Oigbhai\ja was succeeded by his eldest son, Narendrabhanja,
who apparently died prematurely and without a heir as he was succeeded by nis younger
brother, Ra0 abnanja. Ra0 abhanja also recorded donations in the two Adipur copper-plate
grants issued by Narendrabhanja, one of which was recorded in tne year 193 (A.O. 919)."
Ranabhai\ja thus appears to have been ruling over Khijjinga·.,a~(ia/a during the period
A.O. 914·919. He had two sons who followed him in succession. The eldest son,
Riijabhanja, is probably the Rayabhai\ja referred to on the pedestal belonging to an image
of Avalokitesvara preserved in the museum at Khiching.12 The younger son, Prthv!bhai\ja
alias Satrubhai\ja, was succeeded by his son, Durjayabhanja who, in his Adipur copper-
plate grant, assumes the tittle "Mahlr:Ijadhiraja". This Adipur grant is the last available
copper-plate record of the family and little is known of the kings after Durjayabhanja.u
Although Siva is invoked at the beginning of all their records, Buddhism was also
patronised by the Bhanja kings as evident in Riijabhanja's inscription. Saktism and
Tantrism were also popular, as evidenced by the number of related images fou nd here, and
Khijjingesvari, or her modem name of Kincakesvari (Cimui:idi), is still the patron goddess
of the Bhanja descendants at Baripiida in spite of the fact that they adopted Vai$ 0 avism in
the 17th century under Mahiir~ja Baidyanath Bhanja.14
Of the temples still standing the earliest in date is the small temple of Nilakanthcivara,
populatly known as Kutaitu0 c;li, situated abour soo yards to the nonh of the Thakurai:ii
'< AS/, Vol. XIII, p. 70.

" N2bin K. Sahu, "Loc2don of Kama-Suv2tna"', OHR], Vol. X (191'2), p. •l·
" AS/AR (19•)·•4), p. 17.
"According co 8 .C. Mazumdar (On'su ;,, tht }.14Je.in1.. pp. 117-118) 1hc year is read as 188 and refers to the
little-kno wn Ganga era and is equivalent to A.O. 1o66. Banerji appc·ars to agr« with him (History o/ Oris111, I, p.
179) while 11. Jo•hi ("The Origins of 1he Bh2nju of Khijjing2koua'', OHR], Vol. XVI, pp. •• · B ) applies the
date of 188 to the Bhauma Era to arrive at A.O. 10 14.
to N il:1mani Scn:apati and N. K. Sahu, Alo111rbha11J Di1tr1(1 Coz.ttlttr (Cu112cJr., 1967). p. 6,.
11 Epi1.rophia lntlir11, Vol. XXV. pp. 147 - 16 1.
'2 Sec ASJAR ( 191.1- 1 J) whC"re this inscription i.s rtcorded as belonging 10 the pedestal of a broken image of
Hara-Gaurl, p. 118.
,, EpigroplJig lnJirg, Vol. XXV, p. 171.
" AJIAR ( 19t J·•4), p. SJ .
Original from
TE~fPl.ES C)F THE 10TH· 11TH CF.NTl 'RIF.S <>F I NTF.Rl()R ()RfSS;\ 2 }1
KHIJJINGA-BHANJAS
GaoadaQt;la Virabhadra (mythical)
Konabhlnja I - - - - - - - - -- - - Brother (not named)

I I
Oigbhailja alias Ourjayabhailja I Ourjayabhailja
alias Vibhramatur\ga I I
Mahirilja Rai:iabhaiija Narendrabhanja I

( A.O. 824) I (A.O. 819)
. I
Satrubhat'\ja alias Rijabhat'\ja
I
Pnhvibhailja
I
M ah:lnmadahavabhanja
Vibhramatur\ga JI I
Narcndrabhailja JI
(adopted son of Sarrubhailja)
.--'------~,
Narendrabhanja II Ourjayabhanja II
(adopted} I
Konabhailja JI
DEOGA~I COPPER-PLATE GENEALOGY

I
Gai:iadaot;lal Virabhadra
Kon abhanja
Rai:iaJ hailja
I
Vibhr:am:atuflga
I
Durjayabhanja
I
Raoabhaiija
Adopted from Srimati Snigdha Tripathy, /,,1,1-ip1io111 oj()rissa, Vol. \ ' I (BhubanC'S\l.'ar). 1974.
compound conta1n1ng the recently constructed Kii\cakesvarl temple. As with the triple
temples at Baudh, t-he temples at Khiching consist of a d111/ only, though they lack the small
pillared ponico. Stylistically the Kutaitundi temple evinces cenain archaizing features, as
well as anistic conventions borrowed from traditions nonh of Orissa, along with a few
innovations, and can be dated tentatively to the closing years of the 9th or the opening
years of the 10th centuries. Though the temple is not very imposing in size, its archi1ectural
clements arc well proponioned and dearly demarcated to crea1e a feeling of disciplined
elegance often lacking on larger temples.
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, ..
_,_ ·r1:.'.\l ll 1.1:s (IF 1·111:. 101'1I· ' 11'1·1 <; 1 :.is·rl'Rll ~ S ( )F l?'\Tl:Rt<) R ()RISS:\
1. 13.i<la Otroration
T he Ku1 ai1ua:ic,li temple faces west and is small in size, measuring only 10 feet 8 inches by
11 feet at the base. The bti{la is a simple tri-ratba design reminiscent of the early temples at
Bhubancswar. The piibhiiga, measuring ll'/2 inches in height, consists of four mouldings
and is indented beneath the riihii niche rather than the subsidiary niches as o n numerous 9th
cenrur)' temples. The top two mouldings arc ornately decorated with scrollwork while the
bouom two are severely plain. The piibhtiga rests on a plain pi/ha with a drain-spout on the
north side. The temple was thoroughly repaired in the early pan of this century utilizing
the green 1111iguni stone from the original quarry at Kesra.
T he jii1igha measures 67 inches in height and is thus twice the height of the piibhiiga in the
standard pratice. The subs idiary pii,ga1 are designed as vajra-11111n/i1, terminating beneath the
baru11{iu, with thei r niche resting directly on the top moulding of the piihhiiga as in the
te mples of the 7th century. The niches are framed by a broad pilaster on each side with two
recessed offsets facing inward, an arrangement which continues across the lintel above. At
the base of the framing pilasters and offsets are shallow niches filled with figures or piirria-
gh11fa motifs. The shafts o f the pilasters arc richly ornamented with scrollwork . In the center
of the lintel is a panel containing images of various deities though only a few of these ha,·e
survived. The lintel is crowned by a projecting eave. The vajra-111a11aka above the eave
co nsists of two superimposed rai{)'a-medallions which begin above a shallow frieze. The
larger bottom medallion is keyhole in shape and houses a deity while the top circular
medallion generally enshrines a face or mask. There arc no figure motifs Ranking the
medallions.
The riihii is similar in design, though larger and indented at the piibhiiga, except for the
crov.·ning vi111iini/ed which is in the shape of a truncated rtkhii with its single bhiimi division
extending above the haralJ{ia rather than terminating beneath it as on 7th century temples. A
th in pilaster abuts the raha on each side extending the height of the jiingha. The capital of
this thin pilaster is decorated with a pot-bellied dwarf-atlantes, a motif noticed on the triple
temples at Raudh and on the pillar capitals at Charda, and is one of the few progressive
features appearing on the temple. The shaft of these pilasters is decorated with scrollwork
while at the base there a re guardian-type figures or erotic motifs.
The htJrap{ia consists of two projecting mouldings separated by a recess as on 7th century
temples. though the top moulding no longer serves as the bottom baralfli of the first bhii111i
of the J!.np{ii. The projecting mould ings arc relieved with a band of scrollwork on the
m11/J<i11fi and cailja-medallions and ham1a1 on the sloping upper face. The recess is filled with
a frieze depicting erotic rituals pertaining to Tant rism.
T he silhouette of the gap{ii bends in gradually as on early temples. The gap{ii is pan<a-ratha
in plan tho ugh there is no an11rtihii recess se.parating the kanika from the anartha. The kanika
is d ivided into five bhlimi1 by amlii1 with each bhii111i having on ly three barap{iii. The barap{iii
a rc decorated with rai(J'a-medallions and scrollwork though little o f the decoration remains.
The anarthn is ornamented with winged rail)'a-medallions in standard fashion. The vajra-
ma1taka of the riihii duplicates the design of the •imiini/ed crowning the subsid iary piiga1 of
the }'il!~hn. The mouldings above this motif arc decorated with " ·iddy spaced triple cai(ya
mot ifs while the offsets ha,·c single rairya-medallions. The biiama is plain and does not
pa n :1ke o f the pii,~a di\' isiu ns. An iik,ifalil(~a appears on to p of the amalaka.
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T El\IPLES OF THE 10TH· 11T H CENTU RIES OF JNTERIO R O RISSt\ l)j
~--l)l' --~
~·· ·--
1
Khiching: K u1iitui:i4i Temple
3. Portal Duoration
The entrance ponal is similar in design to the rtihii except that the doorfra mc cuts
th ro ugh the ptibhtiga mo uldings. The door is framed by three bands of scrollwork which
continue across the lintel. A peculiar feature of the gelaba scro ll is that the figures are
arranged in pairs, superimposed one above the other as if cast in a mold, rather than
depicted alternately on either side climbing a meandering vin<. Gaja-Lak smf appears o n the
lintel seated in lalitiisana while the architrave above consists o f a b road pand o f rana·lalii
scrollwork with a panel in the center decorated with a figure riding what looks like an
elephant. The tlviirapiilas are accompanied by a female figure enshrined within a niche next
to their o wn. The niches are su rmounted b}' a miniature vimOnikti consisting o f th ree
mouldings which simulate a small shrine, the most o rnate niche program yet encountered
on a doorframc and again a prog ressive feature. The tlvtirapiilas are four-a rmed and assume
identical poses, holding the trident and .ltapiila in their left hands. The upper right hand
holds a rosary while rhe lower right is extended in varatla. The fema le figures, of the same
height as the tlviirapiilas, likewise assume ident ical poses holding a Jtapiila in the left hand
and a sword in the right. A diminutive female attendant appears beneath the lwf><ila. The
doorframc is Ranked at the sides by a projecting pilaster deco rated with • pirpa-gha/a at the
base and vana-latii scrollwork on the shaft which suppons the arch itrave.
4. Ero/it I magtry
Unfonunatcly all of the major n iches on the temple arc empty so that there •re no
surviving cult images in silN though there may be some housed in the local museum. The
overall decorative program of the temple, as o n numerous other temples constructed at this
time, is permeated with erotic themes which, along with the iconographic program of the
doorframc that includes female figures holding a sword and lwptila. suggests the T ancric
nature of the temple and the popularity of the e xtreme sects of this cult among the
indigenous people of Orissa. Some of the more explicit themes make their first appea rance
on the slightly earlier Sirhhanatha temple where they arc generally confined to the capitals
of the thin p ilasters or Jfambhas on the exterio r walls o f the j agamohana. O n the Kutaitui:u;li,
though the imagery is still small in size, erot ic themes appear in more prominant posi1ions
and in g reater numbers. Curiously, as at Sirhhanatha, 1'>1ukhaling am and on the earlier
Vaitil Deul, the erotic imagery appears associated with the Bhik~ii1anamiirti of Siva. In
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lJ4 TE.MPLES OF THE ooTH-o oTH CENTURIES OF INTERIOR OIUSSA
that these temples appear to be associated with the Kipilika sect, it is possible that this
aspect of Siva, synthesized with the Kankl)amllrti, played a central role in their ideology,
his conduct, particularly his ability to arouse sexual longing in women as well as his disdain
for the orthodox VtJ,,1 and Sutras, serving as an ideal model. On the KutiitUl)<;li temple
the Bhik4i1anamurti motif appears in a small niche on the lintel of the rtibti niche on the
cast or back of the temple. Siva stands with his weight resting on his right leg and his left
leg slightly bent as if about to take a step. He holds the "1lafvitl1,a over his right shoulder
and the ltapila in his uplifted left hand. A diminutive female offering alms is on his left and
the angry r1i is on the right.
The most interesting erotic imagery appears in the baraHil recess though unfortunately
only segments of the original program have survived and these arc all on the north side.
The program consists of a frieze-like arrangement of various sexual activities and
initiations which possibly illustrate specific T antric rituals such as a1faA:411tt1!taltiprayo1,a as
described in an unpublished Oriya manuscript called the Ka11/a&#Ji11ta~i. examples of which
have been identified by J. N. Bancrjca on the near contemporary VirihI temple at
Caurisi.M Each scene on the Kutiitui;i<;li temple is separated from one another by a thin
slalltbha. Particularly prevalent arc scenes of oral congress, in some cases the male clearly
identifiable as an ascetic. In numerous scenes more than two participants arc depicted and
in at least one scene one of the figures is drinking from a ltapila. One scene depicts a female
straddling a lili1,a seated in a .J°"ipaffa. There arc also several scenes with a figure holding
the head of a kneeling figure, in one case with his other arm uplifted in a threatening
gesture, possibly illustrating human sacrifice or the sacrifice of hair.
Numerous erotic scenes also appear at the base of the jambs framing the pi1,a niches,
some obviously illustrating Tantric rituals. One scene, depicting a displayed female being
approached by a male with figures in the background including one with arms upraised as
if in despair, is a near duplicate of a scene appearing at Caurisi. Scenes of oral congress
also appear in these niches with a third figure generally present to suggest the ritualistic
nature of the activity, again duplicating scenes at Caurisi. One of the most animated of the
1""itb1111t1 scenes depicts a male wrapping one leg around his female cohort and gripping her
.J°"i with his right hand as he embraces her from behind. Her left arm hangs limp, as if
giving up the struggle, though her right arm appears to hold something over his head. Her
knees arc together to suggest that she is still resisting. There is also a hcraldically displayed
female enshrined in a railya of the 11t1jra-11tqfli crowning a side pi1,a on the south facade. The
female has her hands placed on her thighs for support and is Ranked on her right by a
dancing figure with arms uplifted. The lower part of the image is damaged.
f · Dttoratiw Mo/ifs
Other figure motifs in the jamb niches framing the pi1,a include yale/is, often assuming a
iilabbaijiJ:,i pose, with huge stalks bending around their head serving as a canopy, a motif
which becomes increasingly popular at this time and gradually replaces the halo standard
with female figures during the 8th and 9th centuries. They arc generally Ranked by a pot·
bellied attendant and a diminutive figure, possibly a child. ln one scene the female balances
a small child on her uplifted knee which is supported by a small atlantid figure. Most of the
I) J. N. Bancrtea. "The Va.rt.hi Temple at Chaurasi", Ftli1it111io11 Vo/J111tt pn1t11t1J to M11"'1••"'1/>"Jh:J9• Dr. V .
V. M;,.,J,; (Nagpur. 1961). PP· 111·11-
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TEMPLES Of THE 10TH-11TH CENTURIES OF INTERIOR ORISSA 231
figures arc badly :worn due to the soft nature of the stone, a fact which increases their
animation so that they appear almost wire-thin and taut with nervous energy.
Panicularly interesting arc the bbtir11r11A:,olu figures carved on the capitals of the thin
pilasters flanking the ribti. Some of them arc quite animated though none of them assume
acrobatic poses. No two are alike in respect to pose and though they have a pot-belly their
limbs arc naturalistically rendered in contrast to the jar-like limbs on many of these figures
at Baudh and slightly later temples at Bhubaneswar. Other popular motifs include the male
figure seated in 11rJIMp.ryot1Jea holding a lotus. In most cases these figures show no variation
and arc duplicated almost mechanically, as in the bbi•i division over the ribti niches on all
three sides where they appear in three toi!7o-medallions spaced on the second boro#i. They
also appear in toi!70-medallions on the btlro#is of the JealliJ:a of the go#i. Also mechanically
reproduced with little variation is the motif of a face in a medallion.
More imaginative and varied in treatment than these minor figure motifs is the
scrollwork which is extremely rich and luxuriant. The carving is neat and oblique cutting
techniques predominate so that there is a continuing play of soft concave and convex
curves. The most popular motif is the garbled ..,,,.../,,ti or p./111.., scroll in which the leaves
dominate to produce an all--0ver design resembling wood-shavings. There arc numerous
variations of the motif including one in which a stalk is visible running venically through
the foliage. There arc also variations on the J>itro-lllli scroll where foliage circles out
symmetrically from a center stalk. In addition to the !,1""'4 scroll appearing on the door
jambs, where the figures arc arranged in pairs, there arc examples on the niche jambs where
the figures arc placed alternately to either side of the meandering vine in the conventional
manner. Of the horizontal scroll motifs the most elegant is the J>tul•o p(l/h. which appears
on the sloping surfaces of the top two mouldings of the J>ibbtig11. Other horizontal motifs
include the rlllig1111i and lul•bhilti-billlllbo which appear on the -"i!l/i of the borO!f(/11 or bhi•i
bor11..,;is. There arc also several animal frieze motifs with elephants and stags. Conspicuously
absent arc roti/ur11 and j11lop.tr11 scrolls while l:irti-l:h. motifs arc sparingly employed, the
largest decorating the 11bhi1tJ:a spout on the pithll-
F) KHICHING·BENUSAGAR
The largest number of ruined temples and sculptural fragments at Khiching exist within
the perimeter of the Thikuri(ll compound. In addition to the Candra5ckhara, the only
ancient temple still standing, and the recently constructed Kii\cakcsvari temple, there arc
scattered ruins of at least four other temples dating from the toth-ttth centuries-a large
Siva temple, the Ja1csvara Mahidcva, Dhavalesvara, and Siddhesvara Mahideva. Outside
the compound, some two hundred yards to the nonh, is the site of a temple dedicated to
Hara-Gauri while about two hundred yards southeast of the compound is the mound of
l1imu1;1dii which conta.ins the remains of a Buddhist brick monastery consisting of three
small rooms and a verandah. The last site was panially excavated in 1908 and yidded
inscribed images of Mirld and Avalokitesvara in addition to a large seated Buddha.86 The
doorframe still panially standing was constructed from stones belonging to an earlier
Hindu temple as an image of Mahi$amardinl is still visible on one of the jambs. A pillared
" AS/AR (191i-i4), p. 17.
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•Jo :.S
TE~IPL ... ()f THE 10TH· 11T H CJ!.S:TU RIF.S ()f INTE Rl ( )R ORISSA
111a~<iapais situated near these Buddhist ruins, as mentioned earlier, along with fragments
from a Hindu temple, including a small "'"~<ii with niches ·on three sides housing Saivite
pariva-tltvatas. Numerous Hindu and Buddhist sculptures have also been recently discovered
from a pond on the outskins of the general area.
The large Siva temple most likely was of the pa;;(iiyatana class with four smaller shrines
occupying the comers of the compound. Its presiding image may have been the one
referred to in copper-plate grants of Rar:iabhaiija and Rajabhaiija.B7 The temple was
destroyed sometime in the late medieval period, probably during the invasion of Firoz Shah
in the mid-14th century, though Khijjiilgakona was also ravaged by the Kalacuri king
Ratnadeva II in the early 11th century. All that remained when the site was excavated in
1913-24 was the plinth and pans of the retaining wall. Sometime in the 1ith or 16th
century another temple, the Khandiya Deul (unfinished temple), was erected behind the
ruins of the Siva temple which was used as a quarry. The door jambs and lintel of the Siva
temple were utilized in the construction of the Khandiya Deul while other sculptures, from
the entire complex, were used to serve as fillings to the walls of the temple. The Khandiya
Deul was pa;;(a-ratha in plan and housed images of Siviini, Vai~r:iavi and Piirvati in its
parfva-tllvalii niches, these images obv iously belonging to a matrkii shrine which has not
survived. The presiding deity of the Khandiya Dcul most ccnainly was Kiiicakesvarl
though her image was removed and installed in a modem brick shrine built on a mound
over the foundation of the large Siva temple. This image was removed to Baripiida during
the construction of the modem Kiiicakesvari temple and enshrined in a small temple in the
palace of the Mahiiraja, its place in the new temple being filled by an image of Ciimur:ida.
Only the bii<fa of the Khandiya Deul was completed, the capital of the principality evidently
being transferred from Khiching to Haripur and work on the temple ceased.BB
Judging from the dimensions given by R. P. Chanda during the excavations of the site,
the Siva temple, with its plinth (pi/ha) measuring approximately J l feet square at the base,
must h ave been one of the largest temples of its day and continued the practice initiated
during the 9th century by the rulers of subordinate dynasties of eclipsing in size the temples
at Bhubaneswar or Jaipur, the monumentality of the temples perhaps symbolizing a newly
won independent status. Despite its large size the temple was tri-fatha in plan, suggesting its
conservative nature, and thus represents a funher elaboration on similar temples such as
the Kanakesvara Siva at Kualo. Judging from the abundance of niiga/niigi slambhas found at
the site, on the other hand, it is likely that such slambhas appeared in the recesses separating
the pagas and there may have been thin pilasters at the corners as on numerous 9th century
temples.
Due to the ruined condition of the site, most of the images being badly fragmented and
plundered from their original position, already in ruins, during the construction of the
Khandiya Deul, it is difficult to determine the exact iconographic program of the Siva
temple and the other shrines within the compound. Many of them arc now incorporated
into the decorative program of the modem Kiiicakesvari temple while the remaining are
housed in the site museum along with images from many o ther temples. The largest image
found at the site, pieced together from fragments, is of Siva and measures 98 1/ 2 inches in
height with its pedestal. It is carved of mNgimi stone and depicts Siva in a tribhariga pose and
' ' ...-1,\"/~.-'I R (1911·13). p. 134.

• For a photograph o( the Khandi)·a Dcul sec A .\ '/ .·1R ( 1911 ·1 ~). Pl. Xl.1 1.
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•
T l ·'. ~IP l .ES <>F 'fl ll~ 10TH· 11TH c nN ·r t ' RIHS ()f~ I NTl ~ R.IClR <>RISS.-\ Zj 7
iirdhvalitiga. Curiously Siva is Ranked by a female standing under a creeper on each side
rather than ga~as as was customary, a feature which may suggest Tantric inRucncc. It is
likely that the image was housed within the sanctum as the presiding deity, though this
deviates from the standard practice whereby it is the liriga that is enshrined. There arc also
two additional large images of Siva in a standing pose, measuring 74 and 78 inches in
height respectively, who arc thought to have functioned as piiiva-dtvaliis along with an
image of PiirvatT. In that there were decorative programs utilizing images of Siva as piiri11a-
dtvaliis on some of the larger 9th century temples, rather than the standard Saivitc parfva-
dtt•aliis, it is possible that these images functioned in this manner. On the other hand,
considering the strong Buddhist inRuencc at Khiching, it is also possible that these two
images were placed within the sanctum Ranking the main image as they are now arranged
in the site museum, labeled as "Cai;i(,la" and "Pracai;i(,la", following the Buddhist custom of
Ranking the Buddha image with Bodhisauvas. This possibility is further substantiated by
the iconography of the two images as they represent the 11gra (terrifying) and 1011111.Ja
(peaceful) aspects of Siva which are normally carved on the doorframe as dvarapalas where
they thus Rank the enshrined image (litiga). These two images, in fact, duplicate the
iconographic program of the dvarapalas on the doorframc of the Candrasekhara temple and
likewise arc not represented iirdhvaliriga as is the main image. These two large Siva images
thus may have function as Nandi and r.fahiikiila within the sanctum rather than on the
doorframe. This receives further corroboration from the doorframc itself which has
survived, having been utilized in the Khandiya Ocul, with the river goddesses Gatlga and
Yamuna housed at the base of the jambs rather than the standard Saivitc dviirapiilas, a rare
iconographic program for a Siva temple. If the)' were housed within the sanctum there
would be no need to duplicate them on the doorframe. Although the doorframe has
survived intact the Ranking pilasters and surmounting architrave have not. In that
individual grahas were inserted into niches, as on the r.fahagayatri, they may not have been
carved as a series on the architrave.
There arc many surviving cult images which could have served as piirii·a-dtvaliis for the
Siva temple providing the standing images just discussed were not so utilized as I have
suggested. In addition there arc three female attendant figures in the site museum which are
of the same approximate height as those on the standing Siva images and seemingly belong
10 the back-slab of a large image, suggesting that there may have been two more large ... . ...'
'
images. These female attendants each hold a lotus-vase in one of their hands and wear a
. ...
;·ajriopavr1a. Among the large images within the site museum which probably served as
piiriva-drvaliis to some of these extinct temples arc examples of Piirvati (68 inches), Gar:iesa
(64 inches) and A rdhaniiriSvara (64 inches). The pariva-dtvaliis now housed in the riiha
-
. , . ..
••
niches of the Kincakesvari temple, measuring approximately l; inches in height, must also
have served a similar function in one of the compound temples. The images of Na1araja ·' ."'
and Nrtta-Gar:iapati now installed in the vajra-maslaka niches of the Kincakcsvari temple
a
most likely occupied similar position on the Siva temple. The manner in which the back-
slab of these large images is perforated, making the image lighter yet providing balance, is
a new technique that was probably influenced by images cast in metal.
In addition to the major shrines it appears that there was a miitrkii temple, probablr ..
erected on the north side, with Ciimur:idii as the presiding deity. Little has survived of the
other shrines in the compound, except for detached images and several doorframes, though
the Ja1csvara temple, situated some 22 yards north of the Siva temple, was apparently of
..
••
Original from
TEMPI.ES OF THE •oTH-,,TH CENTURl£S OF INTERIOR ORISSA
the same type as the latter temple though smaller in sizc.119 Unfortunately no dimensions
were given nor were any specific sculptures mentioned as having been found among its
debris in the reports of the excavation. Even less is known of the Dhavalesvara and
Siddhcsvara temples. There arc three Hara-Pirvati images within the site museum which
most likely belonged to the Hara-Gaud temple, the largest, approximately 68 inches in
height, probably serving as the presiding deity.
The large size of these surviving images, datable stylistically to the 1oth-111h centuries.
testifies to the prestige and lavish patronage of the Bhanja rulers even while serving as
feudatories to the Somavarilsl-kesarrs. In addition to the monuments at Khiching there is
also evidence of their activity at Adipur, three miles from Khiching and on the bank of the
Vaitaril)T river, though most of the surviving images have been removed to the Khiching
Museum, and at Bcnusiigar, now situated in the Singhbhum district of Bihar, about five
miles distance from Khiching. At the latter site there were originally numerous temples on
an island in the southeast comer of a tank to the north of the village which were in ruins
and abandoned. Many of the surviving images, some datable to the 7th century and of a
different tradition, have been removed to the Patna Museum."' There arc still numerous
images, including a lintel, which are stylistically related to the Khiching images and datable
to the 9th-11th centuries. They are made of the same 11r11g1111i stone, probably deriving from
the same quarries, and exhibit many of the same iconographic peculiarities of the Orissan
works. Orissan influence is also evident at many sites in Bengal, panicularly in the Puruliii
district and adjacent areas, such as Tclkupi, Barikar and Biinda.9•
1. Kiikaktivari Tt111plt
Construction of the Kiilcakcsvari temple commenced in March, 1911 under the direction
of Paramananda Aciirya of the State Archaeological Department. Like the Kutiitur;i(li and
Candra5ckhara temples, the shrine consists of a tln1/ only. The overall arrangement of
decorative motifs is obviously influenced by later temples, such as the Pirvati temple at
Bhubancswar, and tells us little about the original design of the Siva temple. It is paiira-
ratha in design, for example, while the Siva temple and others were tri-ratha in plan. In that
the Khandiya Dcul, the only surviving temple at the time of excavation in the immediate
area of the Siva shrine, was a late construction and bereft of decoration except for the
doorframe and enshrined tkvatiis plucked from ruins, not even having a piibhaga, it is evident
that the builders of the Kiiicakesvari temple had to vi nu ally start from scratch as far as the
arrangement of decorative motifs was concerned. These decorative motifs, though not
appearing as originally intended, arc important stylistic indices and help us to tentatively
date the Siva and other ruined temples within the compound to the 10th and 1 uh centuries.
Certain motifs, such as the scrollwork with overhanging lt.irtimKkha, irtlhva·garbhiJe,i designs,
and naga·1la111bha1, absent on the Kutiiitu1;11;1i, along with squatting atlantid dwarfs, arc
peculiar to temples of this period.
Although the general arrangement of pabhiiga mouldings and tala·garbhik4 designs are
probably close to an original plan, as many of these mouldings have survived partially
" AS/AR (<911-14), p. 81 .

f.11> Sec Sheila \ltcincr, "From Gup1a ro Pala Sculpiure''. .·lrtibNJ ,,11iat X>:.'Jl " ( 19G1). pp. 167·181.
'' Sec Adr1s Banerji, "An Unfinished Rtkha Dt11/ o( Puruha," J.·tf8, \'II (1!)6s). 16J·166.
Original from
T EMPI.ES OF THE oo TH" oT H CENTURIES OF INTERIOR URJSSA ZJ9
intact and arc similar in design to those on 10th century temples at Bhubancswar, some of
the sculptural panels, such as those on the leh11ra moulding, probably appeared elsewhere on
the original temples, perhaps flanking the niches as on the KutiituQdi. The height of the
pabhiiga as reconstructed, measuring io1/2 inches, is consistent with the riihii niches and
pariva-tltvalii1 of this shrine but could not have formed pan of the decoration of the Siva
temple where the parlva-dtvalii1 were much larger and there is generally a close correspon-
dence in size with the pabhliga. The pabhiigo has five mouldings and, being J>aHta-ratha in
plan, most likely is made of fragments from one of the other temples in the compound
rather than the Siva temple.
The jiiligha, which measures approximately 118 inches in height, is thus slightly elongated
in ratio to the pabhiiga. Tht bii(ia consists of a pilaster at the comer and an elongated
lehiileharii-"""'9i for the allllrlha, a program similar to 10th century temples such as the Gaud
or Muktesvara, though there is a 11iiga-11a,,,bha on each side of the allllrlha as on the later
PirvatJ temple. The riihii niche is flanked by a single pilaster on each side and as such is a
more simplified plan than that decorating 10th and early 11th century temples elsewhere in
Orissa and, as on the KutiituQdi, suggests an archaizing aspect. The irtihva-garbhi/eii in the
upper area of the niche seems overly large in contrllSt to those of the anartha.
While the baraf.l<ia conforms generally to designs current during the 1oth-11 th centuries,
the fanciful arrangement of three superimposed niches on the front facade of the gaHi,
made possible by the abundant supply of niche fragments from ruined temples, suggests
influence from Bengal, as docs the elongated silhouette of the ga~i. Although the ltAniltA is
divided into ten bhi,,,i1, a late feature which docs not appear at Bhubancswar until the late
11th century, there arc only two bara[l{/i1 in each b/Ji,,,; rather than three or four which
would have been the case. There arc two at111riihii recesses, continuing the vertical alignment
of the llliga-1/a•bhas, rather than one as on most Orissan temples and again suggests
influence of the PirvatJ temple on the .iilpi11s who constructed the KiilcakcsvarJ temple.
The most intact architectural feature, and possibly the only one actUally belonging to t~
original Siva temple, is the doorframc. The frame consists of three bands of scrollwork
flush with each other in typical Orissan fashion rather than being recessed. The gtlaba scroll
appears on the outside band, however, rather than in the middle suggesting that there may
originally have been at least one more band, panicularly in respect to the large size of the
temple and the river goddesses at the base. The figures on the gtlaba scroll arc arranged in
pairs, as on the Kutiitui;idi, rather than placed alternately on either size of the meandering
vine in conventional fashion and thus suggests a regional variation. The river goddesses arc
housed in miniature shrines, rather than a plain niche, surmounted by a ldrlilft111eha mask at
the apex and •altAras at the ends supporting warriors in their open mouth. The river
goddesses arc JO inches in height and thus nearly twice the size of standard dPiirapiilas. In
facial features, body ornamentation and coiffure they exemplify the peculiar style of
sculpture evolving at Khiching which is a blend of Orissan and Pila characteristics. The
architectural features, however, arc overwhelmingly Orissan in character.
The small Kii\cakesvarl temple, measuring only about 18 feet 6 inches square, though
utilizing architectural clements gleaned from temple ruins, is thus more of a modem
reorganization than a faithful reconstruction of any specific temple at the site.
Original from
TE~1Pl.F'.S <>F TH E 10TH · 11TH CF.NTURll:S (.)F INTl~ Rl (JR C>RISSA
.... .........
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There arc many Hindu cult images, mostly of the Saivite or Sakti cult, housed within the
museum at Khiching in addition to those insened into the niches of the Kiiicakesvari
temple. Unfonunately, despite the fact that the images arc generally carved in m11g1mi o r
chloritc, most of the surviving figures are badly fragmented, suggesting that they may have
been deliberately mutilated rather than merely buried by debris from a collapsing temple.
The images arc generally attached to a back slab, rather plain on the earliest figures, for
better balance and stability when placed in a niche or on a pedestal for the sanctum. This is
a change from the Bhauma tradition where the niche images were carved from the
sandstone blocks forming pan of the wall rather than being made from a separate stone. It
is most likely that the preference for carving images in a more durable stone, possibly
inspired by artistic traditions in Bihar and Bengal, instigated this change in technique. This
is substantiated by the fact that the earliest surviving niche images carved in chloritc arc
found in the nonhern areas of Orissa, panicularly in Balasorc and eastern Mayurbhanj
where there is an abundant supply of this stone, the major source being the quarries of
Nilgiri. The quarries utilized for constructing the images at Khiching arc situated at the
villages of Kcsra and Adipur,92 about two miles to the southwest, so that an abundant
supply of stone was available in the immediate vicinity.
Of the cult images inscned into the Kiiicakesvari temple one of the most impressive,
though badly damaged , is the Siva Naiaraja housed in the lower niche on the front face of
the ga!f{fi. His hair is arranged in a tall jatii-m11/ulta and his facial features arc extremely
refined and pleasant, illumined by a smi.le of inner contentment typical of 1 oth and 1 1th
century images throughout Orissa. The bull Nandi looks up at him from beneath his feet in
typical fashion while musicians appear on the pedestal. It appears that Na1araja has eight
arms but all arc damaged or missing except for the back right hand which holds the (iamarii.
He is represented irdhvalinga and accompanied by a dancing Bhft\gi and a female figure in
the lower corners of the niche. His body ornamentation is exquisitely carved in keeping
with the finest examples at Khiching.
Equally impressive is the dancing GaJ)esa housed in the rahii niche on the south. The
Nrtta-Gal)apati form of GaJ)esa is rare at Bhubancswar but popular elsewhere in Orissa,
panieularly in the coastal areas of Puri, Cuttack and Balasore districts as well as the interior
nonh of the l\fahanadi. His hair is arranged in a )a/ii· m11/ul/a and he has eight arms. The
two upper-most hands hold a snake over his head and his trunk is eating sweets from a
bowl in his front left hand. His remaining right hands hold a tusk, rosary and the front one
crosses his body in ga)a-hasla. A smaller Nrua-Gai:iapati, in a less animated dance pose,
appears in the upper niche on the same south side. There are also numerous images of
standing Gai:icsa in the museum.
There arc also two images of Durgii Mahisamardini in the corresponding niches on the
nonh side of the temple. Stylistically, however, the images are quite different with the
smaller one in the upper niche earlier in date and most likely from a different temple. The
goddess, in standard fash io n, plants her heavy-skincd uplifted right leg on the rump of the
buffalo-carcass with her major right hand plunging a trident into the head of the demon
while her major left hand pushes back its head. The body pose, forceful bend of the major
~
P\Jdmasri Achary1. "\'aricttes of Srones Used in Build inf!: Templef. and ~tak i ng Images in Or15.sa.. , ()HRJ,
. Vol. XIII (1961). p. 1!·
•

Tl;. ~tPl .ES <)F THF. 10TJ-f. , 11'1-1 Cf.NTl ' RI ES ()f INTl·.Rl< JR <lRI SS:\
left arm, coilfurc and body ornamentation, including two types of earrings and a kwha-
bandha, arc all typical of 8th and 9th century images. In one of her left hands she holds a
severed head, suggesting Tantric influence, a feature which relates her to a similar image at
Shergarh in Balasore district.
The Mahi~amardinI in the lower niche, though badly fragmented and incorrectly
restored, is one of the most beautiful of all such Oris.an images. The major right hand
originally held a trident to the head of the struggling demon, the prongs still visible, but as
now reconstructed brandishes a sword above her head . Most of her ten arms are badly
fragmMted or missing. The niiga-piiia held in her lower left hand is depicted choking the
neck of the demon rather than merely snipping at it as in early images. The goddess
assumes a graceful tribhanga pose with her right foot planted on the rump of the decapitated
bulfalo-carcass and her left foot on the back of her lion-mount. Her face is illumined by a
typically sweet smile, as on Naiaraja, in contrast to the aloof and stoical countenance
standard on 8th and 9th century images. She is ornately bejewelled and wears, for the first
time, a .Jajiiopavita which winds between the breasts and loops around the right thigh.
Stylistically she corresponds to the Na1ariija image and likewise can be dated to the last half
of the 10th century and thus contemporary with the construction of the Siva temple. There
arc additional images of Mahi$amardini in the museum, smaller in size, which most likely
appeared in the riihii niches of the subsidiary shrines.
The image of Kantikc ya in the riihii niche on the west side of the temple is completely
destroyed except for the feet and pan of the head. There is in addition only one surviving
image of this deity in the museum. Two other images, though smaller in size, have recently
been rescued from a pond that was dr:<ined on the outskins of the village, one now
headless and both badly damaged. In both examples Kiintikeya stands in a tribhanga pose
and is four-armed with the lower left hand holding the rooster-cock, an attribute missing
on most early images. There apparently were no dilepiilas housed in niches on the Siva
temple, as would be expected if the shrine were tri-ratha in plan. It is not until the
beginning of the 11th century that these deities become standard in the deco rative program
of the Orissan temple. The /eani/ea niches on the Kincakcsvari temple, the standard position
for dilepiilas, arc generally filled with graha images, the earliest surviving example of grahas
being carved to fill niches.
There arc three surviving Hara-Piirvati images housed in the museum, the largest
measuring 68 by 33J{, inches and obviously intended as a major image in a sanctum. The
images arc all stylistically and iconographically similar and represent Piirvati seated on the
left thigh of Siva, both figures represented in the lalitiisana pose. Siva embraces Piirvati with
his major left arm, the hand gently cupping her breast, while lifting her chin gently with his
major right hand. Parvatrs right arm embraces Siva, resting on his right shoulder, while
her left hand holds a mirro r. Siva's other two hands hold a lotus and the trident . The
figures arc placed in fro nt of a trefoil-shaped niche with a leirtimN!eha at the apex. The
upper comers of the rectangular back -slab arc deco rated with flying vidyiidharas. The
respective mounts appear on the pedestal.
Oosely related to the large images of Si,•a is an image of ArdhanariS\'ara placed against
a similar pla in, rectangular back-slab with the niche cut away behind the body only and the
halo edged with flames. The deity is flanked by a pot-bellied ga!fa and female taNri-bearer in
the lower comers. The respective vehicles arc carved on the pedestal beneath the
attendants. The image is badly fragmented with the a rms bro ken o lf and the left side of the
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TEMPLES O F THE 10TH-nTH CENTURIES OF INTERIOR ORJSSA
back-slab missing. Similar stylistically is the large image of PirvatJ likewise placed on a
back-slab cut away only behind the body and with a Ramed halo behind the head. It is
equally fragmented with the arms and lower legs missing. The Ranking attendants arc
badly damaged and the top of the back slab is broken. The scrollwork on the sides of the
back-slab is identical to that appearing on the two smallest standing Siva images whereas
the back-slabs on the Ardhanirlsvara and largest Siva arc plain. There is a slightly smaller
image of PirvatJ in the site museum, the head broken off, plus a later image, possibly
dating to the 11th century, where the niche is trefoil in shape replacing the Ramed halo.
Other images within the museum include numerous examples of Sllrya, in both standing
and seated modes, and several examples of seated Dt11fJ, some representing Durgi while
others arc of Tiri. In addition to the Cimu1;1e;li enshrined within the KiilcakcsvarJ temple
there arc three 111itrlui images, each seated in '41itiuu with a child placed on the left thigh
and the lower right hand placed in ablhtytz. Curiously the image of Brihm! is carved of
sandstone while SivinJ and Vai,i;iavJ arc of the typical chlorite or 11111g#lli.
J. Duor11tit1t Motif1
The major theme of the smaller sculptures now placed on the ptibbtiga mouldings is erotic
and many of the scenes illustrate Tantric rituals as on the Kutiitui:ic;li temple. Some of the
motifs, in fact, arc identical to ones appearing at Mukhalil'lgam, Caurisi and on the
Rijaril)I temple at Bhubancswar. The Tantric nature of the decorative program is also
evident in numerous images of female 6gures carrying severed heads.
The images of female 6gurcs arc often accompanied by a creeper which bends over her
head to form a canopy, a motif appearing at Baudh which becomes popular throughout the
10th and 11th centuries in Orissa. In addition to standard motifs, such as the Jti/4bhlliljilui or
the ubiquitous female standing in a doorway, there arc new motifs which appear
throughout Orissa at this time such as that of a monkey attempting to pull the garments
from the female who is holding on to a creeper or of a woman holding a child in her
uplifted hands. In one example of the latter motif the child is plucking fruit or Rowers from
a creeper above the head of the female. In other cases the woman holds the child on the
hip. In general the poses arc extremely varied, with little in the way of repetition, and quite
dynamic. In respect of body ornamentation and physical build, the female 6gurcs arc
closely aligned to images appearing on 10th cenrury temples, such as the Muktesvara,
which arc slightly heavy and earthy, rather than 11th century images where the 6gurcs
become more lithe and svelte in build.
The most popular male 6gurcs arc the squatting bhir11ra/eµllt41 which generally appear at
the top of pilasters. They arc characteristized by pot-like limbs as on the triple temples at
Baudh and 10th century temples at Bhubaneswar. Other motifs include seated rfi1 with one,
seated in arJhaj>tlry41ilt4, holding a book in his left hand. He is emaciated and has a long
beard. There arc also a few examples of warriors. In the best preserved example, on a
memorial stone, the warrior is in a running pose holding a shield in front of his body with his
left hand and wielding a sword above his head with his right hand.
Some of the most beautiful images arc the lltiga/lftigi 6gures coiling around 1ta111b"41 placed
in the 11fl#rihi recesses Ranking the aurthll. As on the later PirvatJ temple they arc placed
near the top of the 1/11111bba with their tails coiling beneath their human torso and its canopy
of serpent hoods. They arc richly bejewelled and their faces arc illumined by a typically soft
Original from
TEMPLES <>F TH E •oTH -uT H CENT t; RIES OF INTERIOR ORISSA
and warm smile. The male (naga) figures generally hold an elaborate garland in front of their
body and have a canopy of seven serpent hoods. Their coiffure is arranged in various
manners, sometimes in a .11.aral.f{ia-IJfllhi/a with serpent coils in tiers and in other cases in a
lt.iri/a-11r11A:M/a, and their broad necklace has multiple strands with the bottom strand
frequently decorated with bells. A double-stringed yajnopavila hangs from the left shoulder .
The female (nagi) figures arc more varied in treatment and hold various objects in their
hands, including a <a11ri, vessel, or Rowers. Sometimes the coiffure is tied in a large chignon
to one side of the head while in other cases it is coiled on top of the head. Some of the 11agi1
also wear a yajnopavila. The gaja-lt:ranta motif carved at the base of the 1/a11rbha1 consists of a
single lion pouncing on a crouching elephant, rather than the double motif standard on
most 10th-11th century temples, as on the later Pii.rvatr temple. A single gaj a-J:ranla also
appears on the Virihl temple at Cauriisi with the animals represented both frontally and in
profile though in the latter they arc not provided with a female rider as at Khiching. There
arc also several examples with an elephant at the base of the 1/ambha, carrying a king and
his queen on its back, replacing the standard gaja-J:ranta though it is not ccttain if this
forms patt of an original design or is merely a fanciful arrangement on the patt of the 10th
century anisan.
There arc also a few surviving virala motifs of a warrior, male or female, riding on a
leaping lion-monster with a crouching demon below and it is quite possible that the gaja-
lt:ranta motifs represented in profile with a rider on the back of the lion at the base of the
naga-1/ambha were likewise intended as an independent motif and not patt of the 1ta11rbha
design. These motifs make their first appearance at Bhubaneswar on the Muktesvara temple
where they appear on the 1andhi-1thala or Ranks of the rahii and, beginning in the 11th
century, become standard decoration in the a1111rahii recesses replacing the niiga-1/ambha1.
There arc also riders on horseback placed in niches at the base of the pilasters framing the
riihii niche, a unique theme, providing it forms patt of the original design, not encountered
on any other temple. There arc also a few narrative scenes placed within niches at the base
of the piibhiiga mouldings.
The dominant scroll motif is the garbled vana-lalii which appears most frequently on the
pilaster shafts and is overlaid at the top with leirlim11J:ha masks dripping festoons of pearls,
a motif introduced on the temples at Gandharidl and Baudh. There arc also numerous
other scroll motifs including variations on the patra-/ala where foliage sprays out symmetri-
cally from a center stalk. In one example of this scroll there arc animals symmetrically
placed beneath the spraying foliage, including elephants, buffalo, boars and ham1a1. There
are also examples of human figures dispersed among foliage, including a female figure
playing a vi!lii. In another example there arc four or live figures entangled at the base of the
scrollwo rk. The reticulated <aitya scroll <.phantl gra111h1), introduced at Gandharidl and
Baudh, appears on the bh#mi mouldings of the ga~Ji though most of the carving is modem.
4. Cantlraitkharo Ttmplt-
The Candra5ckhara temple is located a shott distance south of the KiilcakesvarT temple, a
position suggesting it could have been intended as one of the comer shrines Ranking the
Siva temple though its decorative program is quite different. Like the other temples at
Khiching it is built on a pi/ha and consists of a tlt11/ only. The temple has been pattially
restored as its a111ala.l!.a was missing and the structure was tilting when excavations were
Original from
1·E~IP Ll~S <>F THF. 10TH·1 1·rH CENTURIES (>F INTERIC)R ClRISSA
begun in 1922. Except for the doorframc the decorative program is only roughed out and it
is not cenain if the structure as it now exists conforms to its original design or was rebuilt
in the 1 sth-16th centuries along with the Khandiya Dcul.
The piibhiiga consists of four mouldings, only blocked-out, with the third moulding
assuming the shape of the k/J11ra at the base, and sits on a sci of two lower mouldings so
that the overall design is quite confusing. The jiingha is lri-anga in design with the riihii
projecting out slightly. The riihii niche is covered by a large pi(l'ha-shaped cave surmounted
by several horizontal mouldings. The riihii niches arc empty but probably contained the
standard Saivite piirilla-devaliis. The jiingha Ranking the riihii is not decorated with 11t"!l¢i
designs in conventional Orissan fashion but rather consists of a series of thin pilasters
alternating with thin slambha1, four on each side. This alignment is not Orissan in origin
but rather derives from architectural traditions current in Bengal such as at Tclkupi or
Barilkar. At Tclkupi, for example, the jiiligha Ranking the riihii is decorated with simple
pilasters while at Barakar, on the Siva temples decorated in the indigenous style but not on
the Orissan inspired Siddhesvara temple, thejiiligha Ranking the riihii is ornamented with an
alignment of niiga-slambhas. The only niches on the walls of these temples arc thus those of
the riihii. In that the other temples or surviving architectural fragments at Khiching show
no such decorative features, it is quite likely that the Candrasckhara temple was erected at a
later date though incorporating fragments from earlier temples, such as the doorframc and
probably the piiriva-dtvalas. The ga11(ii is undecorated except for a niche on the front facade.
The only architectural feature which can definitely be dated to the late toth century,
making it roughly contemporary with the Siva temple, is the doorframe. The frame consists
of three bands of scrollwork with the gt!aba in the center, changing to a frieze of vidyadharas
on the lintel, /ell/i/Q on the inside and the raligani on the outside. Gaja-Lak$mf appears on the
lintel and fragments of a 11avagraha arc visible on the projecting cave, the latter being a
makeshift arrangement as they generally appear on an architrave. The dviirapalas Mahiikiila
and Nandi arc housed in a simple rectangular niche at the base of the jambs. Pot-bellied
ga~as appear in the lower corners Ranking the dvarapalas. The dvarapiilas assume mirror-
image poses though in both cases the trident is held in the front right hand.
A similar doorframc is now housed in the site museum. The scroll motifs are slightly
different and the carving is not as animated or assured. The graha representations arc carved
in the middle band of the lintel Ranking Gaja-Lak~mi, replacing the standard vidyadharas as
at Budhikomna, rather than on the architrave and arc reversed in alignment. Each graha
holds his respective weapon, as in the case of those originally on the Siva temple but now
housed in the corner niches, rather than merely holding a vessel as standard on most
Orissan temples. The ceiling of the dvarapala niches is arched. Mahiikiila and Nandf hold
the trident in the crook of their left arm and hold a lt.apala in front of their chest. They arc
Ranked by a small river goddess and attendant in the lower corners of the niche. Fragments
of other door jambs were incorporated into the Khandiya Deul in a haphazzard manner,
some actually facing inward so that their back was exposed and formed pan of the outer
wall.9 J
Original from
I· Btnusagor
The adjacent sire of Bcnus:igar, as indicated earlier, still his numerous sculptural images
which have been removed from the temple ruins and arc now arranged in a small forested
area where they can be more easily protected. Srylisrically these remaining images can be
dar<d 10 the 91h-101h centuries and evince the same facial features, body proportions and
ornamentation as those at Khiching which exhibit a blend of O rissan and Pala charac-
teristics. The only architectural fragment is a partially decorated lintel, carved our of the
same type of m11g11ni stone as utilized at Khiching, which can be ascribed to the late 9th
century. The only figure motifs completed on the lintel include the Gaja- Lak~mi panel and
the flanking frieze of flying vidyadhoro couples . Lak~mi is scared with her legs crossed as on
early images and holds a lotus in her left hand. The male vidyadhoros arc much larger than
their female consorts, who arc seated on the thigh of the male or fly above his outstretched
leg, and this contrasts with the early Orissan tradition where rhc figures generally arc equal
in size and arc arranged alternately rather than as couples. The male figures carry a garland
in both hands and a sword in the lowest hand. The vertical bands of the frame appear not
to have been decorated. The architrave above was intended to have a bhiimi division, lri-
rotho in plan as on early Orissan temples, though the rail.Jo designs were only blocked out.
There arc two images stylistically similar to this lintel and most likely from the same
temple. The first image is of Yamun:i. She stands in a tribhonga pose with her left leg
crossed behind her right and her left arm resting on the shoulder of an attendant holding a
parasol above the deity's head. The turtle is carved beneath the feet of Yamun:i while the
attendant, and a fragmented flower girl on rhc opposite side, stand on aquatic animals,
either fish or crocodiles, and each arc accompanied by a diminutive atrcndant. A small
figure holding a garland appears opposite rhc left shoulder of Yamun:i. The upper portion
of the slab is damaged and a section on the right side is missing. Stylistically and
iconographically the image is closely related to 9th century examples in Orissa proper, such
as at Bajrakor, though her hair is arranged ro one side rather than on top of the head. The
second image is of Mahi~amardini. She is eight-armed and presses down the buffalo-head of
the demon, represented from the rear, with her major left arm while her major right arm,
uplifted, plunges a trident into its neck. Her left leg is planted firmly on the ground while
her uplifted right foot is on the shoulder of the demon. Her other right hands hold a rakro,
pluck an arrow from a quiver over her right shoulder and brandish a sword horizontally
over her head. The remaining left hands hold a naga-poio, stringed-bow and a circular
shield. She is ornately bejewelled, with a kucha-bandha binding her breasts, and her hair is
arranged on top of her head wirh a crescent moon visible 10 the right of a center diadem.
She wears two types of earrings and her facial features arc similar 10 those of Laksmi on
the detached lintel. Although she corresponds closely to late 8th century images at
Bhubancswar the aspect of pulling an arrow from a quiver, rather than holding it in one of
her hands, is a feature introduced in the 9th century.
There arc also two Gat)csa images still at the site. The smaller image, probably earlier in
dare, is characterized by a rather distended stomach and plain torso. T he figure is seated in
ardhaparyanka and looks straight ahead with irs proboscis curling 10 the left. The four arms
arc broken off. Stylistically the image differs from most Orissan images. The larger image is
more impressive and better preserved except for its uplifted right knee and the broken
l<uthara held in rhc uplifted left hand. T he lower left hand holds a motlaka-palra while the
Original from
TEr>.IPl.ES t)F T HE 1c>TH. 11TH CENTllRll"..S ()F INTERl<>R <)RJSSA
upper right holds a rosary. The lower right, resting on the knee, is missing. The proboscis
is curled up in the act of placing a sweet in the mouth. Two figures appear on the pedestal
facing one another. The one on the left holds a basket of sweets while the figure on the
right, a monkey, holds a citrus in its uplifted hands. Gal)esa is ornately bejewelled and has
his hair arranged in a kAra~{iti-m11kM/a with a kirlim11kba decorating the center diadem.
Kirtim11kba masks with festoons dripping from the mouth also decorate his arm bands.
Stylistically the image, with its ornate body ornamentation, can be ascribed to the late 9th
century.
The largest and most beautiful image at Bcnusiigar is of Hanumiin. He is represented
standing on a reclining demon with his right leg uplifted, as in the pose assumed by
Mahi$amardini, rather than in a running pose as in other Orissan images from the
approximate same date, and thus shows more affinity with images from northern lndia.94
The left hand is placed in front of the chest in larjani-m11dri while the right hand is uplifted
though it is broken off and the object held is indistinct. His hair is arranged in a tall /eirifa·
m11kMfa and he is richly bejewelled with necklace, earrings, waist-girdle, armlets, anklets,
yajnopavita and a vanamili which hangs around his shoulders and down to his knees. His eye
brows are deeply furled and his open mouth displays his upper row of teeth. Beneath his
legs, hovering above the reclining demon below, is a female figure who possibly symbolizes
Lanka. A similar female figure is on the image housed in the GaurT compound at
Bhubaneswar. Her facial features, including the typical soft, warm smile, body proportions
and ornamentation are similar to examples at Khiching and elsewhere in Orissa at this time
and help to date the image to the mid-10th century. Fortunately the image is not in active
worship and thus is not smeared with paste or red paint as in most surviving images of
Hanumiin.
There arc also scattered images of dilepolat which arc carved in sandstone but are
stylistically similar and of the same date. Three of the images can be identified, Agni,
Kubera and V:iyu, while a fourth, possibly representing Yama, is badly damaged. The
figures stand in a slightly Rexed pose and are Ranked on one side by their animal mount, an
exception being Kubera where the slab is decorated with an upturned jar at each of the four
comers. The best preserved of the images is Agni. He holds a rosary in his right hand and a
water vessel in his left, both hands being uplifted so that the objects appear next to his
chest. He is ringed by Rames and a small ram is in the lower left comer of the niche. Viiyu
is accompanied by a small stag in the lower left corner and holds a staff with a banner in
his left hand . His right arm is broken at the elbow. His head, slightly small for his body, is
tilted to the right. He wears a /eirifa-m11kMta and his face is softly illumined by a warm smile
typical on 1oth-11th century images throughout Orissa. Kubera, more stocky in build,
likewise tilts his head to the right. His left hand holds a stalk or Rower that is broken while
his right hand is missing below the elbow. Stylistically and iconographically, with the
placement of a diminutive mount in one of the lower corners of the niche, these images are
similar to the dilepila1 at Caurasi and Gal)eswarpur, the earliest examples appearing in their
respective locat ions.
There are also two fragmented images, including one of Lakulisa with the lower half and
right side of the image missing. He is seated with his legs crossed and held in place by a
yogapa!fa while the lakMfa is leaning against his left shoulder. Stylistically the image is
.,,. See Shco B:1h2dur Singh, Brahma11ic11.l /ton 1 in 1\Jqr/htrn India (Neu.• D elhi, 19;7), lig. 44.
Original from
Tt::>.IPLF.S <>F TJ-tE 10T~t · 11 TH CF.NTl"Rlt-'.S <>F l~ TF.R I Cl R <>RISS:\
similar 10 the Yamunii and Mahi$amardinl and can be placed in the 9th ccontury. The
second fragment, even smaller, is of Camur:i\la with only the head and emaciated upper
torso surviving. Her mouth is open and a third eye is visible on her forehead. A kapiila is
held in front of her sagging breasts and portions of an elephant skin arc discernible above
her.
There arc also numerous temples in this conservative trend in the southe rn extremes of
Orissa, particularly in Kaliilga which was under the hegemony of the Gailgas of
Kaliilganagara (Mukhaliilgam), where the prevailing style and iconography of the decorat-
ive program exhibits inAucnccs from Cii!ukyan traditions, as would be expected due 10 the
close proximity 10 Veilgimar:i\lalam and the fact that the Ca!ukyans were frequently in
control of large p'onions of Kalinga at various rimes. The temple which shows the
strongest affinity with temples built during the lauer part of Bhauma rule within Orissa
proper, such as at Paikapa\la or Simhanatha, is the Somesvara temple at Mukhalingam.
There arc certain features, both architectural and iconographic, on the other hand, which
relate the temple to the Kutaitur:i\li at Khiching and suggest a later date. In that there arc
no inscriptions on the temple it must be tentatively dated on the basis of style alone. As in
cases of other temples d istant from the mainstream of development there is a predilection
for archaizing, an aspect which is even more pronounced on the Somesvara due to the
great sanctity of the Madhukcsvara temple and the antiquity of the site itself. From stylistic
considerations the temple is most closely related 10 the Patiilesvara temple at Paikapa<;la,
possibly even constructed by artisans from the same workshop, with the imagery being
slightly more refined and the decorative details more ornate. Tentatively its construction
can be placed at the beginning of the 10th century which makes it roughly contemporary
wi1h the Ku1iii1ur:ic;li temple at Khiching.9S
1. BOifa Duoralion
The temple, facing west, rests on a high pi/ha with a small Nandi placed on a pedestal at
ground level in front of the steps leading up the platform. The temple consists of a dt11! only
and measures 17 feet by 17 feet 4 inches from kanika 10 kanika. The bii{ia is lri-ralha in plan
with the riihii niche cutting through the upper mouldings of the piibhaga, archaizing features
recalling the decorative program on temples of the 7th century. The pabhaga measures 41
inches in height and consists of four mouldings similar in design to those on the Kutiiitur:ic;li
temple. Except for a diminut ive <ampaka· leaf etched on the kxmbha the bo uom two
mouldings arc similarly plain. Only the vertical face of the top two mouldings arc
decorated though they arc linked together by a small <airya. The mould ings beneath the
subsidiary paga niches assume an indented plan, a fca1urc common on many temples of the
9th century, including those at Bajrakot, Badgaon, Padmapur, Simhaniitha and Pa ikapada.
The rahii is designed as a miniature shrine with its single bhiimi terminating at the bara~r/a.
Curiously, however, there arc no bhimi-11mla1 at the upper comers. The niche is Aankcd by a
large, Aat pilaster on each side relieved with ornate scrollwork. The base and to p of 1hesc
~> Fo r a suggcl'tcd late r da1c f1>r it~ con ~truct io n s.ce B. 1'f01sthana1ah, op. t iJ., pp. 107- 108.
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TEMPLES OF T HE 10TM- HTli CENTURIES OF INTERIO R O RISSA
>-- - - - < •
.. - •
.-- ~7· __.;~ .... 8"
: :I I :
''
~1ulch21liligam: Somc:Svarai Tt'mple
pilasters are provided a shallow niche filled with figure motifs. A frie.;e is carved across the
pedestal beneath the niche and on the lintel above. The dvara·lala/a·himba panel on the lintel
contains an image of Hara· Piirvati on the east, Sarasvali on the south , a seated Durg2 on
the nonh and Gaja-Lak~mi over the encrancc o n the wes1. T he inside of the niche is lined
with two thin jambs relieved with scrollwork. A la rge pi(lha-shapcd eave projects o ut above
the niche.
The subsidiary pagas arc designed os a rtleha-m11!f(li, consisting of a single bhiimi division as
at Paikapada rather than t wo as on the Simhanatha temple, and likewise suggests a
transitional stage prior to the adoption of a lehiileharii-m11{1(ii as the standard design. On the
west, Ranking the entrance, the design is crowned by an amalako, as at Padmapur, whereas
on the other three sides the crowning member, though su rmounted by a simpk pi(lha
moulding, is a padma-pntha as at Simhanatha. The niche begins above the piibhiiga
mould ings and is framed b y a large, Rat pila.ster on each side. The pilasters are relieved
with o rnate scrollwork on the shaft and shallow niches housing figure motifs at the base
and top as on the raha. The lintel is likewise decorated with a dviira-la/ii/a-bimba panel in the
center of a frieze-like arrangement of figure motifs. There is no co rresponding frieze
be.neath the enshrined image but merely a thin band of scrollwork decorating the top
moulding o f the pahhiiga. Various aspcccs of Siva arc enshrined within the niches while
different deities appear on the dvira-lo/ii/a·bimba pane.I above. The figure motifs on the lintel
generally consist of r1is while those in the niches at the base and top of the pilasters arc
erotic in nature. The ornate treatment of the niche frames, decorated with scrollwork and
figure scenes, is similar to that at Simhanatha and on the Kutiiitui;i<)i rcmplc at Khiching.
•· Gap(li Duoralion
The bara{l(ia consists of two projecting mouldings sepa rated by a recess os o n early
O rissan temples. T he gari(ii is paiifa·ratha in design but without the an11rihi recess separating
the /eanilea and anartha. It rises to a height of about 46 feet above ground level. The koniko
is divided into seven bhiimis, as o n the twin temples at Gandhariidl, though each bhimi has
only three bara~(lis rather than four as o n ea rlier O rissan temples. The anartha is a.Jso divided
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1'f. ~I P l.I~ ( ) f THC 10Tfl· 11TH t:EN T l 'RIF.S () F I N TJ:RJ<J R <>RISSA 24?
into bhlimi divisions, a deviation from the standard program consisting of identical
mouldings superimposed one above the other up the height of the gandi, though the
crowning 11111/41 are replaced by a moulding of padma pu/ha. The vajra· ma1laka designs at the
base of the riihii are identical on all four sides though the motif on the west or front extends
up four bhlimiI rather than three. They consist of a large rectangular window at the base
crowned by a rai(Ja·medallion with surmounting kirlim11kha. Jiigrata motifs of leaping lions
appear flanking the medallion as on the Pailca·Pai:idava temple at Gai:idwarpur. The
medallion is filled with a small image of a deity, a seared Durgii on both the east and south.
The large rectangular niche, framed by a broad band of decorative scrollwork, houses an
image of Naiariija on the west or front, Surya on the east, a Siva l\fahiiyogi on the south
and a seated four-armed Durgii on the nonh. The bi1ama is plain and does nor panake of
the paga divisions. The bull Nandr appears in the btki, at the comers, rather than the
standard lion motif which suggests South Indian influence.
! . Portal Duoration
The entrance ponal is framed at the sides by a projecting pilaster which visually serves 10
suppon the •ajra· ma1laka at the base of the ga!'i/i, the overall design, as on the riihii
projections, thus simulating a lora!JO as on early Orissan temples. The pilasters are relieved
with ornate scrollwork issuing from a pli'!fa·gha/a at the base above the piibhiiga division.
The doorframe consists of three bands of scrollwork which continue across the lintel. The
dviirapii/111 at the base arc housed in niches with an ogce-shaped roof. The dviirapiila1,
Mahiikiila on the right and Nandi on the left, assume mirror-image poses with the outside
leg resting on the blade of an axe, their outside lower arm resting on its handle. This pose
with one leg uplifted and the inclusion of an axe as a weapon arc iconographic features
typical of South India rather than Orissa. The trident is held in the upper left hand by both
guards while the other hands hold a rosary and possibly a lotus. Nandi has a shon beard
and a dagger is visible on his right hip. A diminutive ga!fa appears in the lower left corner
of each niche. The outside band of scroll work is the gtlaba motif which normally appears on
the middle band. The middle band is relieved with the dhan11 ganthi scroll while the inside
band contains the standard /t.N/ilii scroll. Gaja-Lak~mi appears on the dviira-lalii/a-bimba
panel of the lintel. Lak~mi is seared in padmii111na and flanked by a raNri·bearer on each side.
Ketu appears on the planet slab of the architrave above the lintel, increasing the number of
graha1 to nine. He is seated in bhadrti1ana with his hands folded in aijali in front of his chest.
He is nude and the flames issuing from his body form a prabhiivali around his head. His
iconographic features represent a transitional phase, as at Baudh, before he is transformed
into a half-serpentine figure as becomes standard on later temples. The architrave above the
navagraha slab is decorated with three miniature spires crowned by amalaka1 and a broad
band ornamented with the ma/i phN/a phai/ika scroll of floral ornaments placed within
triangles.
The niches of the subsidiary piiga1 flanking the entrance porra.l arc occupied by the ri,·er
goddesses Ganga and Yamunii as on most 9th century temples. They stand on their
respective vchK:les and arc flanked by an attendant holding a parasol and by a flower g irl.
They hold a water jar in their uplifted inside hand, as at Paikapac;la rather than a 101us as
on early images, and assume mirror-im2ge poses with the outside hand placed on the thigh
in ka!Jiivalambita. Their hair is arranged in a shell-like coiffure to one side of the head
Original from
210 Tl: ~IPl. ES ()J~ THI::. 10TH- 11TH CF.l''l'l.RIES o~· INT l ~ Rl ( )R (lRISS.\
similar to their counterparts on the Madhukcsvara temple. They do not rest one arm on the
shoulder of an attendant, typical on 9th century images, and the attendants arc diminutive
in size so that the motif becomes more hieratic in nature. Ducks bearing garlands appear in
the upper comers of the niche except for the left comer above Ganga where there is a
figure, represented from the waist up in water and possibly representing the king of the
oceans welcoming Ganga.96
4. C11/1 lmagu
Virtually all of the cult images, including the piiriva-tltvaliis, iivarana-tlti•a/as and vajra-
mastai-.4 images, arc in si/11 and well preserved so that we have intaet one of the most
complete iconographic programs of any early O rissan temple. Gar:iesa, the piirii·a·tltvalii on
the south side, is seated in 111/t.hiisana on a vifvapatlma, his right leg partially dangling over
the cushion, in the aet of plucking sweets from a motlai-.4-piitra held in his lower left hand.
He holds the lul/hiira and radish in his upper hands while the lower right hand is in varatla
and holds a rosary. A mouse is carved below the scat moving towards a bowl of
sweetmeats. Ga9csa wears a ja/ii·mM!ul/a, yajnopavila of serpents, bells on his necklace and
anklets. On the lintel over the niche is an image of Sarasvati, playing the vi(lii, Aankcd by
uis. At the base of the niche is a frieze depicting dancers and musicians.
Kiirttikeya on the back wall is seated in lalilasana with his right leg hanging over the scat
of his throne. He holds a •iJa-pirai-.4 in his right hand, resting on his knee, while the fa/eli,
originally held in the left hand, is broken off. His hair is arranged in the traditional
filt.ha(l{iai-A mode and he wears his traditional body ornamentation, including the v ·aghran-
alt.ha {tiger-claw necklace). His back slab is cut away behind his shoulders and torso, one of
the earliest examples of what will become a standard technique, though more ornate, on
later images of niche figures. This carving of the image from a single stone, being placed in
the niche after completion, differs from the Bhauma tradition where the image is carved
from several stones which form part of the temple wall. A halo appears behind his head
and a vitiyatlhara is carved in each upper comer. The peacock is represented in profile
beneath his scat. The panel on the lintel over the niche contains an image of Hara-Piirvati
seated with their respeetive mounts carved below. The frieze flanking the panel is decorated
with images of Kirttikeya and Gar:icsa along with seated disciples. The frieze at the base of
the niche again contains a dance scene.
The parfva-tltvalii on the north side is a ten-armed Mahi$amardini. Durgii places her
uplifted right foot on the back of the buffalo-carcass while her lion-mount gnaws on a leg
of Mahi$a attempting to escape. The image is a near duplicate of a detached sculpture
placed within the Madhukesvara compound with the right hands holding a takra, fakli,
trident, sword and pull arrows from a quiver behind her right shoulder. The niiga-pafa held
in her lower left hand is around the neck of the demon rather than snipping at him as on
earlier images. The other left hands hold a st ringed-bow (broken), rectangular shield
strapped to the forearm, conch and a gadii or elephant goad. Her hair is tied in a buid
which follows the contour of her head on the right side down to the car, an unusual fashion
not encountered on other Mahisamardini images in Orissa. Her backslab is partially cut
away as on the Kiirttikcya image. On the lintel over the niche is a four-armed Durgii seated

TF.~IPLF.S <>r: TliE 10T H·1 11·H CENTt..:Rll~S <>F INTE Rl<>R <>RISS.\ l \ I
with her right leg panially uplifted. The frieze at the base of the niche depicts the
Saplalftalrhis hauling the demon Nirrita.~ The demon is represented on his knees in the
center looking back at Ciimui;id:i who is piercing his back with a trident. Camul)cjii is six-
armcd and wears a long garland of skulls. Behind Ciimul)dii, advancing towards Nirrita,
arc Briihmi, Siviini and Kaumiirf while on the opposite side of the frieze ate Vaisl)avI,
Viiriihi and lndriil)f likewise advancing towards the demon with their weapons held above
their heads. The respective mounts of the lftalrJeas appear on a narrow band below the
scene, each mount carved in a shallow niche.
The avara114-tlevalifr, in addition to the river goddesses occupying the side niches on the
front side, include Gang:idharamuni and Lakulisa on the south, Atdhaniirisvara and Hari-
Hara on the back or east, and Siva with a para/11 and Aja-Ekapiida on the nonh. In the
Gangiidharamuni motif Siva is four-armed and iirdhvalinga. He stands in a slightly Rcxed
pose with his lower right hand in varatla, his lower left holding a vase and his upper left
holding a trident. His upper right hand pulls a lock from his }a/a to release Ganga as at
Paikapacja. Gangii is seated with hands in ailjali above theJo/a in the right upper comer and
again represented standing on her vehicle in the lower left comer. The lower right comer is
occupied by Bhaglratha who is kneeling with hands folded in ailjali. The back-slab is
framed by a projecting band of lftali ph11/a pho(iilt:a scrollwork as on the other avara11a-dtvaliis.
Lakullsa is seated with legs interlocked in padlftasau with his front hands displaying the
Jharlftacalua-pravarllana lftlltira in the conventional manner. The la/ex/a is held against his left
shoulder. His back hands hold the trident and rosary. He is represented in iirdhvalitiga and
has a third eye on his forehead. His Saivitc character is funhcr stressed by the tridents held
by two of his disciples on the pedestal, the other two apparently holding a book.
Ardhaniirisvara stands in a tribhatiga pose and is Ranked in the lower corners by the bull
Nandi and the lion. The right lower hand is in varatla while the upper holds a trident. The
upper left hand holds a mirror and the lower holds a Rower. The distinguishing
male/female body ornamentations, coiffure, garments and sexual characteristics are present.
Hari-Hara stands in a slightly Rexcd tribhatiga pose and is Ranked in the lower comers by
the bull NandI and Garuda. The lower right hand is extended in varada wh ile the upper
hand holds a rosary. The upper left hand holds a conch while the lower left rests on a
mace. The distinguishing body ornamentations, coiffure and garments arc clearly
demarcated.
The image of Siva holding a parai11 in his maj or left hand on the nonh side is Ranked in
the lower corners by ga11as. His back left hand hcllds a rosary while his lower right is in
varada and his upper right holds a trident. His hair is arranged in coils and he wears a
yajnopavfta. This motif of Siva holding a parai11 as his major weapon is the standard a11ara11a·
dtvala on the nonh side on most Orissan temples of the 8th and 9th centuries along with
Aja-Ekapiida. In the Aja-Ekapiida motif the deity stands in sa111abhango on his sing le leg and
ho lds a rosary and water jar in his t1>•0 front hands. His uplifted back hands ho ld a trident
and serpent. He is iirdhvalinga and fangs arc visible in his open mouth. His ornaments,
includingy<ifnopa1,ila, arc formed of serpents. A crescent moon is visible in his ja/0·11111/ex/a
and, curiously, he is the only avara11a-J1Pola to be provided a halo. The lower corners of the
niche arc occupied by Bhagiratha and Ganga. The bull Nandi is absent.
In addition to the parfva-dtvolas and a1•ara11a-dt11a1a1 filling the niches on the pt~~as there is a

TE ~1P1 .es ()F THE 10TH·1 1TH <:EN1'LI RIES <>F INTF.Rl<>R <>RJSSA
deity placed on the dvara·lala/a·bimba panel above each niche, those on the west above the
river goddesses now missing and replaced by plain stones. Beginning on the south these
images are of a Bhairava form of Siva, badly damaged but with possibly six arms and
holding something over his head with his upper two hands, above Garigiidharamurti;
Sarasvatf playing a vi~a above Ga!).esa and Ardhaniirisvara over the image of Lakulisa. On
the cast the image above Ardhaniirlsvara is of Agni; over Kiirttikcya the image is of Hara-
Piirvatl while a seated Piirvati appears above Hari-Hara. On the north side the image of a
standing Kiirttikcya appears over the image of Siva; the image above Mahi$amardinf is a
seated Ourgii while that above Aja-Ekapiida is of Ciimu!).<;la seated on a corpse.
In the major vajra·ma1talta niche on the west, or front, Naiariija is represented with ten
arms and holds a serpent horizontally above his head with his upper two hands. His major
hands are held in the 1amdamia and gaja-halfa dance pose. His lower left hand touches the
chin of Piirvati while the emaciated Bhrrigf (?) is dancing in the opposite comer. His
remaining right hands arc in varada, hold a rosary and r/amarii. His additional left hands
hold a ltapala and trident. The bull Nandi, his head broken, appears between the legs of
Siva. In body proportion the figure is rather squat and lacks the refinement of articulation
noticed on the earlier image ?f the Madhukcsvara temple. In the niche on the south Siva is
seated in padma1ana with his lower right hand in varada and his upper right hand holding a
ltapala. His upper left hand holds a trident while his lower left is in abhaya. lconographically
the image is closely related to similar examples at Paikapa<;la. The image in the vajra·
111a1talta niche on the east or back is of Surya. He is represented standing in 1amabhanga,
from the hip up, in his chariot with a long-stemmed lot us in each hand. Usii and Pratyiisii
flank the deity while vidyadharas appear in the upper comers. On the north side the image is
of Ourgii. She is seated in lalita1ana with her lower right hand in varada and the lower left
holding a vase. Her upper hands hold a rosary and trident. Her lion mount is on the
pedestal and vidyadharas occupy the upper corners.
l · Duoratiw A1otifs
The decorative program of the temple is dominated by the figure motifs carved at the
base and top of the niche frames on the jaligha. These motifs, as on the Simhaniitha, at
Khiching and Cauriisi arc T antric in nature and seem to illustrate various rituals and
activ ities of the Kapiilika sect. Beginning on the west corner of the south side, on the upper
frame of the Gangiidharamurti image, is a Bhik$iitanamilrti motif with a Saivitc figure,
though not necessarily Siva, receiving alms from a female figure. The male figure is
standing in a tribhaliga pose holding a trident over his right shoulder and a ltapala in his
uplifted left hand. The figure is nude, though not in iirdhvaliliga, except for a string of bells
around his right calf and one for a waist band. He is bearded and wears a skull in his j a/a·
mM/eN/a. A diminutive bhiita holding a basket over his head appears between the two figures
while a small female stands behind the woman giving alms. In the panel next to this scene
is a Kii.palika seated on a low dais being approached by a kneeling Saivite, a scene which
also appears above the niche housing Siva holding a paraiM. The Kiipiilika holds an
indistinct object in his right hand and a /eha/valiga in his left hand. He is bearded and a small
purse is on his dais next to him. The kneeling Saivite figure is clean-shaven and holds a
purse in his left hand along with a trident decorated with a hanging bell. The bottom
panels of this frame contain mith1ma scenes with the male depicted as a warrior. Thus, as on
the Vaitiil Deul, the Bhiksii1anamuni motif appears central to the ritualistic activities being
Original from
TE ~IP LF.S <)F TJIE 10TH- 111'fl (;E!':TU RI ES <>F lt-.:Tl ~ Rl<>R <)RISS:\ Z\~
expounded by the Kiipiilika sect though it appears now that soldiers arc also engaging in
the riruals so thar their erotic behavior is spreading throughout society and is taking on a
hedonistic aspect.
The iikfiidiina motif of a g""' dispensing instructions to disciples appears numerous times
suggesting the imponance of the g,,,.,,
and the oral transmission of their beliefs. In another
scene there are two K:ipilikas accompanying a small girl holding her hands in aiijali,
suggesting she may have been procured for human sacrifice. There arc also examples of
P:isupata disciples which appear at the base of the niche jambs housing Lakulisa. The
111ith1111a scenes, as indicated, generally depict the male as a warrior and represent various
stages of couning etiquette or seduction with a second male watching or waiting his tum.
The more explicit maithNna scenes appear primarily on the niche frames housing
ArdhaniiriSvara and Siva holding a para/N and most likely illustrate specific stages in
Tantric rituals, including pNrakara11a and fellatio similar to examples at Khiching and
Caur:isi of the same appro><imatc date. There is also an example of .l!.iikila (reciprocal oral
congress). Musicians arc added in the background of several of the scenes and funhcr
testify to the incorporation of hedonistic aspects into the rituals.
As at Sirithan:itha there arc two major types of scrollwork on the broad pilasters
suggesting the transitional nature of the temple. The first is the refined ratileera scroll which
was the dominant motif on temples of the 8th and 9th centuries. It appears on one of the
pilasters framing the entrance ponal and on the frame of the back riiha niche. The carving
is very crisp and neat, cut perpendicular to the surface, and the design adheres closely to the
wall surface. The second major scroll, appearing on the other pilaster Ranking the entrance
ponal and the remaining niche frames, is the garbled va11tJ-/ata morif introduced during the
larter pan of the 9th century. In contrast to later exa.mples, where there is no stalk
associated with the foliage, here there is frequently a meandering stalk which forms broad
circling frames for the foliage designs. The cuning technique is more oblique than on the
ratileera scroll, resulting in a soft play of concave and convex curves, though the design still
adheres closely to the surface and is not as rcperitivc in nature as later versions. Other scroll
motifs include the padma·Pfl/ha, generally appearing on the curving inner band of niche
frames, the gtlaba and the "11/ilii which arc on the doorframc, the ,,,a/i ph,,/a pha~iiea and the
dhanN ganthi. Conspicuous by its absence is the overlaying ti/a111ba motif (lefrti111Nlt.ha with
festoons) popular on temples funher ncnh in Orissa and the jalapatra scroll. The pin:ra·gha/a
motifs at the base of scrollwork arc more ornate than conventional Orissan designs.
H) TE~IPl.ES AT SARAPAl.f.f .\l<D JAYATI (Andhra Pradesh)
There arc also numerous temples in the Orissan style in the nonhern pan of Andhra
Pradesh, panicularly in the Vizianagaram district, an area within the boundaries of Kalinga
and under the hegemony of the Gangas of Kalitiganagara (Mukhalit\gam) at this time. As
in the case of the Somesvara temple at Mukhalitigam, the style of these temples, though
prcdomincntly Orissan, shows strong C:ilukyan inRuencc, panicularly in respect to iconog·
raphic details and minor decorative motifs. As in the case of the Somesvara, and the
Kut:iitur;idi temple at Khiching, the general decorative program is archaizing in nature and
the overall plan simple though ornate in details. Only two sites arc included in this study as
this provincial variation plays no role in rhc evolving mainstream·of development .
Original from
z 14 TE ~tPl.ES C)F THE 10TH·t 1TH CENTURIES C>F JNTERJC)R ORlSSA
"·"~···
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O S tok lltu• • n •
~fap of Southern Orissa and Nonhern Andra Pradesh
1. Sarapalli: Dibbtivara Temple

The first site is Sarapalli, a small village approximately five miles from Vizianagaram.
The temple, known as the Dibbesvara, is situated outside the village in a lightly wooded
area completely isol~ted. The temple consisu of a dt11/ only and stands on a low pifha mostly
buried. The ba(ia is 1ri-ratha in design, as on the Somesvara and Kutiiitui:ic;li temples, and
measures only 10 feet 8 inches square at the base. The pabhiiga, 29 inches high, consists of
only three mouldings with an indented plan beneath the side niches. The niches of the side
piiga1 begin immediately above the piibhiit,a and are framed by a wide band of scrollwork
with figure motifs at the base and top. The vimiinikii crowning the niche is lri-ratha in plan
and consists of a single bhtimi of th ree mouldings with no crowning member. The riibii niche
cuts panially through the piibhiiga design of the side piigas and has a pabhaga of its own
consisting of three mouldings but without an indented plan. The niche is framed at the
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TEMPLES <>F THE ooTH- n Tfl CENTl:RIF.S <>F INTERIOR ORI SSA 1jj
sides and above by a similar broad band of scrollwork with figure motifs at the base and
top. The niche is crowned by a projecting cave while the bh;;,,,; division above consists of a
single broad moulding divided into three panels of figure sculpture. The riiha design, as
well as that of the side piigas, terminates beneath the baranifa.
The barairiia consists of a projecting pi(lha-moulding surmounted by a recess but is devoid
of decorative details. The ga/lli is paiirtJ-rtJ/htJ in plan with the kanika divided into five bh;;,,,;,
by amliis. Each bh;;,,,; has three bartJ!f(iis which arc undecorated except for an outline of a
planned w:jra-1'tasla"'1 design uniting all three mouldings. The an11rtha is identical in design
with an a1"1ii crowning each bh;;,,,;, a rare example of a,,,/iis appearing on this paga. Each
raha has a large 1Jajra-1'talla"'1 design at the base consisting of two superimposed <ailytJ·
medallions though the designs were left incomplete except on the front where a badly
damaged image of Naiarija is visible. The crowning members of the spire arc absent except
for the bisaMa which is plain.
The doorframc consists of two flat bands of scrollwork with the inside band recessed and
decorated with the gel11ba scroll above the Jviirapala niche, the Jvarapalas now missing. The
outside band is decorated with a nagi bust inside a shallow panel at the base on each side, a
piirrio-gha/a, scrollwork and a figure panel at the top. The lintel supponcd by these outside
pilasters is decorated with Gaja-Lak$mI in the center, her panel extending down to the
lower lintel, flanked by graha representations with five being visible on the right while the
left half of the lintel is missing.
Most of the cult images arc ;,, si/11 though the stone utilized in the construction of the
temple and its sculprurc is extremely soft and badly weathered. Gai:icia is seated in
ardhaparytJrlka eating sweets from a ,,,oJaJ:a-patrtJ held in his lower left hand. His other three
hands hold the traditional attributes though the lower right arm, and supporting leg, is
missing. Kimikcya is seated in /4/itastJna with his right leg pendant and the peacock carved
beneath his scat. He holds the iaJ:ti in his uplifted right hand while his left hand, resting on
his knee, holds a large fruit. As at Paikapac,la 111akartJ1 appear on his back-slab, above the
sides of his throne, though he is not provided a halo. Vidyadharas appear in the upper
comers. Mahi$amardinl is eight-armed and plants her right foot on the decapitated carcass
of the buffalo. Her major right hand plunges a trident into the head of the demon
attempting to escape from the carcass while her major left hand, with a shield strapped to
the forearm, pushes down on his shoulder. The remaining right hands hold a ttJlt.ra, sword
and pull arrows from a quiver. The other left hands hold a naga-ptiitJ, stringed-bow and
paraitl, the latter weapon only sporadically represented on early images from Utkala or
nonhcm Orissa.
The river goddesses were placed in the side niches on the cast side flanking the
doorframc, though only one badly damaged image remains. While the remaining avara11a-
dtvala1 represent various aspects of Siva some of the images arc too badly damaged to
identify with ccnainry. On the nonh side the images are of Aja-Ekapiida and Siva holding
a paraftt. Aja-Ekapiida holds the rosary and water jar in his lower hands while his upper
right hand holds a serpent and his upper left a trident. He is flanked by a bearded go!fa in
each of the lower comers. In the Siva image the partJi1t is held in the major right hand
rather than the left as on the Somcsvara. The major left hand holds a kapala while the back
left hand holds a trident and the back right is in varadtJ. A kneeling attcndcnt appears in
each lower comer. There is only one image remaining on the west side and it most likely
represents Hari-Hara. The lower right hand is extended in varadtJ above the bull Nandi. The
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TE~IPJ.£S <lF THE 10Tl-l·11TH CEN TU RIES <>F INTF.Rl<>R ORISSA
other arms, the head and the left side of the niche arc damaged beyond recognition. The
image of Ardhanarrsvara in the other niche is missing. On the south side only a damaged
image of Gangadhara-miini remains recognizable. Siva stands in a samabha!iga pose with his
lower right hand in •arada and his lower left holding a vase or water jar. The upper right
hand holds the trident while the upper left holds aja/i from his coiffure. The lower comer
on the right is occupied by the bull Nandi, rather than Bhagiratha, while Ganga is
represented in the opposite comer in a squatting pose. Ganga also appears in the upper left
comer, above the extended ja/i, but this area is badly damaged. Only faint traces of the
image remains in the other niche but it appears to have been a standing image rather than
Lakulisa as on the Somcsvara temple. There is a loosely placed detached image of Siva on
the back wall of the sanctum, behind the li!iga, though it is badly damaged. Siva stands in a
samabhariga pose with his major right hand holding a J:ha(iga with a shon blade and his left
possibly a lt.apala. The object in the upper right hand is indistinct but it could be a (iamari
while the upper left hand is broken off. He is Ranked by the bull Nandi on the lefi and what
looks like a standing Gancsa on the right. The image measures ~ 1 inches by t6 inches and
thus is approximately the size of the parwa-de.atis.
Due to the porous nature of the stone the figure motifs decorating the frames of the piga
niches arc badly eroded and mostly beyond recognition. Although some of them arc erotic,
as on the Kutiiitundi and Somcsvara, others represent battle scenes or hunting. Many of
them include animals and some, panicularly tho~..with monkeys, seemingly suggest
Vai$nava inAuencc. One scene in panicular, though ·o nly the top ponion remains, seems to
represent a Krsna-lila theme, probably Pralamba-vadha. It represents a large bearded figure
holding a young child in each uplifted hand, a theme which appears on the near
contemporary Paiica-Pandava temple at Gancswarpur dedicated to Vi$!)U. In addition to
scenes with monkeys there are also numerous friezes with elephants and on the frame of the
niche housing Kamikeya there is a rearing elephant with a rider on each pilaster. In a motif
with a lion the animal has a human face with a long beard, a decidedly un-Orissan motif.
The scrollwork is similar to that on the Somesvara though in the gelaba scroll on the
doorframe the figures are more pronounced than on typical Orissan frames, the figures
playing musical instruments rather than climbing the vine. The pii,.,,,a-gha/as at the base arc
taller than the squat examples standard on Orissan temples.
Stylistically and iconographically the Dibbesvara temple is closely related to the
Somesvara temple at Mukhalingam and likewise can be ascribed to the opening years of the
10th century. Generally the figures are squat in body propottions and assume a stiff
samabha!iga pose.
z. Jayati: Rijarijtfuarl and Mallilt.atjin Ttmplts

Closely related 10 the Dibbesvara are three temples situated in the village of Jayati in
Vizianagaram d istrict, about 14 miles west of Gajapatinagaram and near the town of
Andra. The largest of the temples, the l'v!allikari.jn, has been reconstructed with modern
materials and, except for seve ral detached images lying in front of the structure, is of little
concern to this study. The most ornately decorated of the two smaller temples is the
Riijarajesvari temple. The temple faces east and is badly d ilapidated with the southwest
comer of the structure panially collapsed. The pl/ha of ajagamohana is visible in front of the
du1/ but nothing of 1his structure remains. A makeshift thatched roof supponed by bamboo
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TF.~IPl.ES C>I; Tl-fE 10Tl l · 11TH CENTl 1R1ES <>P I NT fiR.J(>R <>R ISSA l\1
sticks has been erected in front of the entrance. The dt11/ appears to have sunk so that the
lower mouldings of the pahhaga arc panially buried. The hi'4 has a lri-ratha design as on the
Dibbesvara but with an indented plan for the pibhaga beneath the rahi niche as well as the
side niches. The pabhiga decoration was left incomplete. All of the niches begin above the
pahhiga and arc framed by a wide band of ornately carved scrollwork. The ngure motifs
noticed on the Dibbesvara have mostly been eliminated. The •imaniu above the niches of
the side pigas is tri-ratha in design but consists of four rather than three mouldings. The
decoration has only been blocked-out and left incomplete. The lintel over the larger rihi
niche is more developed while its crowning hhlimi division has two mouldings. All of the
piga designs terminate beneath the hara!l"1·
The haraf.lla consists of a pilha moulding crowned by a recess as on the Dibbesvara
temple. The gair(ii is similarly palita-ralha in design with the "411i"4 divided into nvc bhlimis
by amli1, each hhiimi having three bara11¢is. The anartha has a similar decorative program
though without the ribbed am/i1. The decoration of these bara{l(iis was left incomplete, the
vajra-111asla"4 designs merely blocked-out. The major •aJra-masla"4 designs at the base of the
rihi also appear not to have been nnished. They consisted of two superimposed u1itya-
mcdallions in the standard manner. On the south side the lower medallion is nllcd with a
miniature nkhi-de11/. The crowning 111asta"4 appears intact though mostly obscured by
foliage from surrounding trees.
The sanctum doorframe is intact though the base is panially buried and the left side
obfuscated by a detached Mahi$amardini attached to a large slab leaning against the jambs.
The frame is Ranked by a Aat pilaster on each side which suppons the architrave above.
The shaft of the pilasters is decorated with ratiktra scrollwork with a piirna-gha/a near the
base. The architrave is decorated with a na•agraha slab with Ketu seated in bhadrisana as on
the Somcsvara temple. The frame consists of three bands of scrollwork, the 11111/i ph11/a
pha(ii"4, gtlaba and diagonal rope strands also as on the Somesvara. The dvira-lala/a-bimba
panel on the lintel is carved with an image of Gaja-Lak$mi though it is covered with coats
of yellow paint. The ti•irapala at the base is housed in a niche with an ogce-shaped roof.
The lower pan of the ti•arapila is buried but he most likely is resting one arm oo a ribbed
mace which suggests South Indian inftucnce. The upper hands hold a trident and serpent
while the lower left holds a kapila.
Two pirhla-dtvatis arc in sit11 and similar to those on the Dibbcsvara temple. Ga.i:icsa is
seated in ardhaparyalilw eating sweets from a moda"4-patra held in the lower left hand and
holds the radish, rosary and it.II/hara in his other hands. A mouse appears on the pedestal
approaching a bowl of sweets. The viivapadma scat is supponcd by a jack-fruit at each
comer. Kiintikeya is missing from the back side which is completely collapsed except for a
side piga niche. The image of Mahi$amardini is badly damaged. She appears to have been
eight-armed though the only weapons now visible include a niga-pifa, stringed-bow, shield
on her major left forearm, trident and ta/era. The demon is in human form attempting to
escape from the buffalo-carcass. The detached image leaning against the sanctum door-
framc is similar in design though likewise badly damaged and in addition heavily smeared
with green paint.
The iconographic program of the ivara{lll-titvatas housed in the side niches is identical to
that of the Somesvara temple. On the south side the images arc of LakuliSa and
Gangiidharamuni though the latter is badly damaged and barely recognizable. Lakulisa is
seated in pad111isa11a with his lower hands in the dharmaralcra-pravarllana-m11dri and the lalcM/a
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TS:. ~IPJ.J :s <>F THJ~ 10TH , 11TH c; ENTl~ R I ES (.JF INTERIO R ()RJSS..\
held against the left shoulder. He holds a trident and book in the upper two hands and is
flanked by a standing bearded disciple on each side. His face and torso arc badly damaged.
An unusual feature is the depiction of flying vidytidharaJ holding a crown over his head. On
the north side the images arc of Aja-Ekapiida and Siva holding a parai11. The Aja-Ekapida
image is badly damaged but similar to that on the Dibbcsvara with the upper hands
holding a serpent and trident. A standing figure with hands folded in afljali, possibly
Bhaglratha, appears in the lower right comer while the image in the opposite comer is
missing. In the other niche Siva stands in a samabhariga pose holding the parai11 in his major
right hand while his major left hand rests on what is probably a ribbed mace that is badly
damaged. His lower right hand is in varada while his back left hand holds a trident. A
kneeling rfi with hands folded in afljali occupies the lower right comer. The only image
remaining on the back side is a badly damaged Hari-Hara. The deity stands in a rigid sama-
bhaliga pose with his lower right hand in varada and the lower left resting on a ribbed mace.
The upper hands hold a trident and conch. The facial features and body ornamentation are
missing. The bull Nandl and Garui;la occupy the lower right and left comers respectively.
The ptiga niches on the front facade, opposite the entrance and now empty, probably held
the river goddesses. The images most likely were removed when the jagamohana was added.
The only decorative motifs arc those carved on the frames of the ptiga niches. The
dominant scroll motif appears to be a variation on the ratilura motif with a meandering
vine being particularly marked and issuing from a piirt:ra-gha/a at the base. The vase is tall,
as on the Dibbesvara, in contrast to the squat vessel standard on Orissan temples. There
arc only a few figure motifs on the side frames, including a mith11na on the north side,
though there arc squatting dwarfs flanking the lintel on several of the ptigas, the atlantid
figures stylistically similar to those appearing on 10th century temples in Orissa. The most
ornate decorative motifs appear on the lintels of the niches, one of the most beautiful being
a lcirti11111kha mask with foliage above Mahisamardinl. A similar elaborate design, with
interlacing vines ending in the tail of hamsas at the sides, appears above Gar:iesa.
The small temple near the reconstructed Mallikarjin temple is not as elaborate in
decoration as the Riijariijesvar! temple but the images are better preserved. The btii/a is tri-
ratha in design and the ptibhtiga consists of three mouldings with an indentation below each
niche. T he niches all begin above the ptibhtiga and arc framed by a broad band though it has
bec.n left undecorated. The bhiinri crowning the niches consists of only two mouldings and
all of the ptiga designs terminate beneath the bara11efa. The bara111'a consists of a projecting
pit/ha crowned by a recess. The ga'!t/i is palita-ratha in design with the kanika divided into
only three bhiimis by bhtimi-amltis. Each bhiimi has three bara11t;liJ. Only the outlines of the
basic decorative motifs arc indicated. The crowning mas/aka is partially intact. The
doorframc consists of three bands and a flanking pilaster on each side as on the
Riijariijesvarl temple but the decoration was left incomplete.
The cult images arc all in 1it11 and follow the iconographic program on the Somesvara
temple at Mukhalingam. Gar:iesa is seated in ardhaparyanka eating sweets from a modaka·
ptitra and holds the traditional weapons in his four hands. A mouse appears on the pedestal
though it is badly worn. Kiirttikeya is badly damaged but differs from the other images of
this time in that he is seated in bhadrtisana on the back of his peacock mount. He holds the
/alt.ti in his uplifted right hand while his left hand is placed on his thigh. The head is mostly
missing though a halo is visible. Mahi5amardini is eight-armed and plants her uplifted right
foot on the decapitated buffalo-carcass. Her major right hand plunges the trident into the
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TE~tPLES OF THC 10TH· 11TH CENTt!Rlf.S ( lf INTERll>R ( >RISS,'\ z 19
head of the demon while the shield worn on her major left hand pushes down on his chest.
Her other left arms are broken while her remaining right hands hold a <alt.ra, sword and
pluck arrows from a quiver. She wears a particularly high tiara but otherwise is relatively
devoid of body ornamentation, a feature which allows her well-rounded breasts to be
prominently displayed.
The ii•ara/14-Jtvalii1 are all in 1it11 except for the front side Aanking the entrance portal. On
the south side the deities are Lakulisa and Gangiidharamurti. As on the Rajariijdvari temple
flying •id.Jiiliharas hold a tiara above the head of Lakulisa. He is seated with legs crossed and
his lower hands display the Jharmaralt.ra-pra•arllana-mlllirii while his back hands hold a
trident and book. Two kneeling disciples appear on the pedestal. In the Gangiidharamtlrti
moiif Siva stands in a rigid 1a111ahha1iga pose and is represented irJh•aliliga. His lower right
hand is in Nratla while his lower left hand holds a water jar. His upper right hand holds the
trident while the upper left hand pulls a }a/ii from his matted hair. Bhagiratha is depicted
kneeling in the lower right comer while Gangi stands with her left leg crossed behind her
right in the opposite comer. The images on the west side are Hari-Hara and
ArdhanirTsvara. In the former the deity assumes a rigid 1amabha1iga pose with his lower
right hand in Nratla and the lower left resting on a mace. The upper hands are broken off.
Fragments of the bull Nand! and Garuda appear in the lower right and left comers
respectively. Ardhaniirlsvara stands in a slightly flexed pose with the lower hands holding a
lotus and extended in •aratla. The upper hands hold a trident and a mirror. The respective
mounts appear in the lower comers with Nandi mostly missing. On the north side the
images are of Aja-Ekapiida and Siva holding a parai11. Aja-Ekapiida holds rhe srandard
attributes in his four hands and is Aanked by a bearded r1i in each corner. In the other
image Siva holds a para/11 in his uplifted right hand while his left hand rests on a mace. His
lower right hand is in •arada while his upper right holds the trident. A kneeling bearded ni
appears in the lower right corner as on the R ajarijesvarl temple.
In general the figures on this temple arc rather stiffly posed and '2ck the animation and
vitality associated with the best images of this period. The small attendant figures,
characterized by a large head and pointed beards, are squat in body proportions and poorly
executed.
The large Mallikarjin temple was probably the most ornate of these temples at Jayati bur
all that survives arc several images and fragments placed in the compound in front of the
newly constructed temple. The best preserved of these images is an eighr-armed
Mahi~amardini stylistically similar to the images on the Somcsvara and Oibbcsvara
temples. She has her uplifted right foot planted on the back of the buffalo-carcass and her
right hand plunges a trident into rhe head of the demon attempring 10 escape in the
standard manner. The shield strapped to the forearm of her major left arm pushes down on
the chest of the demon while a niiga-piiia in a second left hand coils around its neck. The
other left hands hold a stringed-bow and para/11. The remaining right hands hold a ralt.ra,
sword and pull arrows from a quiver behind her right shoulder. There is also a quiver
behind her left shoulder and her hair is coiled close to the top of her head similar to the
coiJfure of the Somesvara image. Diminutive female attendants appear in the lower comers
while her lion mount gnaws on the left leg of the demon. A second detached image, carved
on a perforated back-slab, is of a ten-armed Naiariija with his major left arm crossing the
body in gaja-hasla and the major right hand in /ea/alt.a-ha1/a. The upper two hands hold a
serpent horizontally above his head. The lowest right hand is broken off while rhe
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TEMPI.ES OF THF. 10TH·,,TH CENTURIES OF INTERIOR ORISSA
remaining two hold a (14,,,arii and possibly a spear or club. The lowest left hand touches the
chin of PiirvatI while the others hold a up,;la and trident. A crescent moon appears in his
jafii--htfa and a beaded halo appears behind his head. Nandl is visible between his legs
while the lower right comer of the slab is missing. Both of his legs arc bent in a similar
manner so that the dance seems rather static. There is also a fragment of a doorframe with
a Jviirap<ila and three bands of scrollwork. The Jviirap<ila is housed in a niche with an ogce-
shaped roof. He is in a tribhanga pose with his lower right arm resting on a ribbed mace and
his main right hand holding a upiila. His upper hands hold a serpent and trident.
Stylistically and iconographically these temples at Jayati arc similar to the Dibbesvara
and Somesvara temples and can be ascribed to the early years of the 10th centu ry.
I) CHAllSAT YOGINT PITHAS
The terrifying aspects of Saktism, introduced on temples throughout Orissa during the
8th-9th centuries, seemingly culminate in the early 10th century in the worship of the Yogini
cult as evidenced by the construction of two hypacthral Chau$a! YoginI pi/ha1, one at
Hirapur in Puri district and the other at Rai:iipur· Jhariiil in Bolangir district. The pi/ha at
Hirapur, a small village about four miles east of Bhubaneswar near the Bhiirgavi river, just
beyond the ruins of Sisupalgarh, is one of the most beautiful and intimate, yet awesome,
testimonies to the worship of the female principle in India. In contrast to the lehiileharii
temples likewise dedicated to Siiktism, which arc rectangular in shape and extremely dark
within, these Orissan Chau$af YoginI pi!h1u, like the one at Bheraghat near Jabalpur in
Madhya Pradesh, arc round and open to the sky. In contrast to the pi/ha at Bheraghat,
however, there are no inscriptions on these Orissan pi/ha1 to inform us of the names of the
64 yogini1. Nor is there a reliable list of the names of th.c yoginis with their iconographic
peculiarities which can help us to identify with precision the images. None of the lists as
given in the Suntia P11riitta, Kiililta P11rii11a, Mauya P11rii11a, Brhannarati!Ja, Pi/horivrata-uthii or
Bhavi[Jolfara P11rii11a arc identical nor is the number standardized at 64. There are, in fact, at
least 110 names for the 64 .JOginis.98 That they arc associated with the Saptamiitrltas is
evident, as several of the mii1rlt01 appear among thcyogini1, though none of the lists contain
all of the miitrltas. This association is also evident, as mentioned in connection with the
Vaitiil Deul, in the inscription from Gangdhar (Jhalwar, Madhya Pradesh) where mention
is made of the terrible abode of the Divine l\fothcrs, filled with Jii/einil who "stir up the
very oceans with the mighty wind rising from the Tantric rites of their rcligion."99 The
association of thcyogini cult with Sahajayiina or Tantric Buddhism, where the female Sakli
is clearly identified with yogini, is likewise evident in addition to their association with
Saivitc Tantrism, cults in which sexo-yogic practices play a major role in their rituals. The
idea of a pi/ha, as mal)ifested in the story of Dak$a's sacrifice in the Mahiibhiirala, whereby
ialeli-pifha1 sprang from the ground where the seve red limbs of Satrs body were scattered,
is based on the Tantric concept of the intimate association of Sakti with Bhairava, the
terrible aspect of Siva. •oo That revolting practices, such as human sacrifice and the eating of
" F ab r1,. . pp. 79·8,, 197-104.

op. r1/.,
9'>Corp•s l111rriptionM"' /ntlit11n111J, Vol. Ill, p. 18.
100 Bancrjea, op. tit., pp. 494·9). At Badasihi, in Mayu rbh2nj. human $2Crificcs were made daily tQ the
gc>ddcss PaSa-Cai:idi. In the Tanl,111 the goddess is tailed "Rudra-Hhairavi". Sec N. \ 1asu, op. tit.• pp. lxxv-lxX\'I.
For Bhairava sec G. Rao. op. til ., Vol. II, Pan I. pp. z.7. z.9.
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TF.~tPl .ES ()f: THE 10TH · 11TH c;ENTt' RIES <>F 1 N ·r1~R 1< >k ()!\JS.Si\ 161
human flesh, played a pan in their ritual is documented by the images themselves. There is
very little literary documentation as 10 the exact nature of their rituals, an exception being
the story of Kiilaratri from Somadeva's Kalhasarilsagara as pointed out by Fabri,•Ot though
it appears obvious that they were secretive. What seems incongruous, however, when
comparing these pi/has with the gloomy and dark atmosphere prevail ing inside the Ir.hair.hara
temples, is that they arc roofless and thus open 10 the sk)', a fact which would seem to
lessen their secretive nature. It is also rather curious that these pi/has were erected at the
time children were introduced on the laps of the Malrkas and Mahisamardini was being
replaced by Piirvatl as the parwa-dtvala on the temple walls.
1. Hirap11r
The Chau5a1 Yoginl pi/ha at Hirapur is picturesquely situation at the edge of a clearing
of a wooded area near a large lotus pond. There is a projection of four feet on the east
which serves as the entrance and gives an overall keyhole oryoni shape 10 the structure. The
outer circumference of the circular wall is nearly 90 feet around while the height from
ground level measures between 8 and 9 feet. The projecting pobhaga consists of two courses
of stone left undecorated. The ja!igha contains five courses of stone and is crowned by a
projecting cave and coping. The only decoration on the exterior are the nine pa.gas placed at
regular intervals which arc mostly plain except for the images housed within their niche.
The female images within the niches, called Kalyayinis by the local pcoplc, 102 arc represented
standing in various poses above a severed head carved on the pedestal. The images arc
carved of standstonc and measure from JO to l l inches in height. An a11cndan1 figure in the
lower comer of the niche holds an umbrella over their head. The coiffure of these Kalyayinis
is arranged in a chignon on one side of the head rather than on top, a fashion introduced at
the end of the Bhauma period. The first and ninth Kalyayinis, flanking the entrance
projection, assume a dance pose and hold a curved sword above their head in their uplifted
right hand and a ltapala in front of their body with the left hand which cradles a long shaft,
possibly a trident, against the left shoulder.
The entrance ponal has dvarapalas carved in high-relief, rather than placed in niches,
which measure l4 inches in height. Their facial features and body ornamentation arc badly
wom. The entrance is very small so 1ha1 you have 10 bend down to enter the pi/ha. On the
inside of the passageway arc emaciated awe-inspiring Bhairava figures, one on each side,
wearing a long garland of skulls around the neck and serpent hoods on the ankles. One of
the figures holds a ltapiila while the other holds a severed head in their lower hand while the
upper hand probably held a curved sword. Aucndant figures, some emaciated, appear on
the pedestals.
The diameter of the interior is only about 1 l feet and thus much smaller than the other
Chau5a1 Yogini pi/has, a fact which adds 10 the intimacy of the enclosed space. The floor is
paved with large slabs of stone. The height of the wall from the floor is only about 6 feet 6
inches. The walls arc built of coarse sandstone and have 60 niches carved into the lo wer
half beneath a projecting cave which runs uninterruptedly aro und the enclosure. The upper
"'Fh a r1,. op. 111.,

. pp. 1:01 • .tuu.
-'
101 Kt"darna1h ~fahapatra, "A t\tltt" o n the J-lypac1hral Temple <lf S1x1y-J:our 'i'•>gini5 at l lir'lpur", ()/IRJ,
Vol. II ( •91!). P· 14·
Original from
TE.\ IPl.E.S <>f. THE 10.TH · 11 TH CENTVRlli-S OF INT~Rl<>R <>RISSA
half of the circuJar wall is carved with miniature tailya motifs which have only been
outlined, one above each niche to simulate a vajra-m11(1ji design. The niches are filled with
60 yoginis carved in dark chlorite or ,,,11g11ni. The females are all represented in a standing
pose and measure from 16 to 11 inches in height, the exception beingyogini number 31
located in the center of the back wall facing the entrance who measures 16 inches in height.
This larger yogini is the presiding deity of the pi/ha and is worshipped as Mahiimiiya.101 She
is represented with ten arms while the remainingyogi11i1 have either two or four arms. The
pedestal beneath each yogini is carved with animal or other motifs.
In the center of the circular enclosure is a recently constructed rectangular structure built
from smaller and better finished blocks of stone than used on the enclosing wall. It is 9 feet
6 inches in length, 8 feet in breadth and 9 feet high from the floor. It is called the DevI-
mani/apa and has a door cur into each side designed as an arch with voussoirs. Flanking
each door is a pif{ha-,,,ll[lf{i housing an image carved of chlorite in its niche. There are thus
eight niches on the outer walls. Except for the niche on the south comer of the west wall all
of the images arc in sit11. This empty niche originally contained ayogini. Three of the other
niches house yoginis which, along with those on the circular enclosing wall, make a total of
64. The other four niches of the ma!l{iapa house images of Siva, three of whom are ten-
armcd Bhairavas seated in lalilasana. In two of the images a corpse is carved beneath the
viivapadma seat. The founh figure is Aja-Ekapiida. Fragments of pillars suggest that
originally this inner structure was a pillared-.,a!l{iapa similar to the one appearing in the
Chau~af Yogini pi/ha at Ral)ipur-Jharial.
In all there were a total of 81 images of which 80 are still in 1i111, including 64yogi11is, fou r
images of Siva on the ma~i/apa, two Bhairava guards in the passage, two dvarapalas at the
entrance, and nine l<alytiyinis on the exterior of the enclosing wall. All of the figures assume
a standing pose except for the three Bhairava figures on the ma(ljapa. The images of the
yoginis are superbly carved and the ample charms of the female body arc displayed to their
fullest advantage. Even the most rcpugnant-lookingyoginis, such as those with bared teeth
or animal-heads, are beautifully proportioned; they are terrifying yet seductive. They are
scantily clad in a diaphanous garment which falls from the hips to the middle of the thigh.
This contrasts with the female figures on the Vaitiil Deul where the garment hangs down to
the ankles. The thin girdle consists of three chains which are fastened with a buckle in
front, the loose ends hanging down between the thighs to the knees. The breasts are tightly
encircled by a strand of pearls from the necklace whereas on the Vaitiil Dcul these strands
encircle the upper waist. The standing poses assumed by theyoginis are extremely varied and
inventive and, in general, more animated and vigorous than the female figures on the
Vaid! Dcul which arc characterized by restraint and cquiposc. In terms of body proponion
thcyoginis are not as lithe as the figures on the Vaital Deul and correspond more closely to
those on the Muktesvara which arc fuller and heavier. Stylistically, in regards to body
proponion, ornamentation, coiffure and pose the yogini1 arc closely related to figure
sculpture of the early 10th century , the last years of the Bhauma-kara hegemony in eastern
Orissa, when new motifs and influences were filtering into the area along the upper
l'>lahiinadi river, and the construction of the pl{ha can be ascribed to this date. Religiously
the pi/ha testifies to the continued worship of the female principle which was popular
toJ /b1tl., p. i8. ~lahapatra g i,·e$ descript icJns and exact mcasurcmcn1s of cach ) ·ogi,.,.i.

1"EMPl.ES OF THE ooTH. ,,TH CENT ~ RIES OF INTERIOR ()RISSA
throughout Orissa during the 8th-9th centuries and continues to dominate the decorative
program of Saivite temples of the 10th century in eastern Orissa.
1 . Ra~ip11r-Jharial
The hypaethral Chau~a1 Yogini pi/ha at R:inipur-Jhari:il in Bolangir district, near the
administrative center of the independent kingdom established by Janamejaya at the end of
the 9th century, is situated on the top of the enormous outcrop of rock around which
numerous temples were constructed. The pi"/ha is circular, as at Hirapur, though without
exterior images or a projecting entrance. The exterior walls consist of five courses of stone,
larger than those at Hirapur, crowned by a projecting cave and large semi-circular coping.
The entrance on the east is not developed, being merely an opening in the wall, and it is
possible, as Bcglar suggested, that the original entrance was·on the south but later walled
°'
up and replaced by a niche housing.Jogi11i fl= 14. 1 The interior diameter is approximately
48 feet, almost twice as large as the pi/ha at Hirapur. All of the 64 y·ogini1 were housed in
niches around the circular wall whereas at Hirapur there were only 60 niches on the interior
wall, the remaining appearing on the ma11t/apa in the ccntcr.'0' The niches begin above a
pabhaga consisting of three courses of stone, of different size than those on the exterior, and
extend up to the projecting eave so that there is no room for crowning <aitya designs as at
Hirapur.
Only 48 of the original 64 Jogi11it have survived. They are carved from a soft, grainy
sandstone which is rough and badly weathered. Traces of plaster suggest they were
probably painted with a thin veneer. They average about 34 inches in height and assume
near identical dancing or displayed postures with heels together and knees wide apart. Most
of the figures have either four or six arms, some only two, and wield identical attributes. Jn
one case, on.Jogi11i fl=4j, there is a child on her left thigh while in another example,yogini
fF6o, the female looks into a mirror while applying sandal paste to her forehead. In
several cases thcyogini1 arc placing something in their mouth. They generally wear a conical
headdress and many arc endowed with animal heads. Only a few of the pedestals have
animal mounts carved on them, including yogini fl= 14 who is much larger than the other
figures. She had either six or eight arms, with two of her hands pulling open her mouth,
and dances above a prostrate corpse.106 She probably represents C:imun<,l:i and was either
the presiding deity or was affixed to the ma~4apa with Na1araja in the centet, both images
being about the same size. Yogini fl= i, now missing, was probably the iakti of Surya as she
held a lotus in each hand and rode in a chariot drawn by seven horses. Two of the images,
yogi11i fF 1 and yogi11i fl= 11, have three heads. As at Hirapur none of the images arc
inscribed so that individual identification is difficult, a task complicated by the relative lack
of animal vehicles and the weathered facial features caused by the poor quality of stone. In
general the yogini1, partly due to the repetition of pose, appear monotonous and lifeless
despite their dancing posture and contrast greatly with the seductive and energetic figures
at Hirapur. In terms of style the figures arc more lithe in body proportion but their
'°' AS/AR, Vol. XIII (oh..16), p. '16.

•<l~ Ar Bhcr1gha1 all 81 ima_Rcs were houstd in niches on the enc1os 1n~ 1ia.·2ll.
111r1 The upper hat( is now missing but is described by lkg l~r. &c .·1.\'/ _,f R, \ 'ol. X 111, pp. 1 Jl· 1 ~, , and pl.
XIII.
Original from
TF.r..IPl,ES <.->r 'l"J.tC 10Tl-l·11TH CENT l!' Rlf~S ()f' INTERJ<>R <>RISS:\
execution is less refined and in some cases even clumsy. The work can be tentatively
ascribed to the mid- 10th century, somewhat later than the pi/ha at Hirapur.
In the center of the enclosure is a small four-pillared ma~t;lapa enshrining an image of
Naiaraja. He has three heads. eight arms and dances on the back of Nandi while Gal)esa is
beneath his right foot. He holds the serpent horizontally above his head with his upper two
hands while his major right arm crosses the body in gaja-halla. A trident, t;lamarii, rosary and
kapala arc objects discernible in his remaining hands. Other figures were probably placed in
the ma~t;lapa but only fragments remain including a seven-headed male in a standing pose
which Beglar noticed nearyogini IF }Z .
The Sak ta nature of the area is funher exemplified by several series of Saptamatrkas at the
site. One is carved on a huge boulder southwest of the outcrop. Though badly worn it is
possible to see that the matrkas hold a child on their left thigh. The matrlt4s arc attended by
Aja-Ekapada, rather than Virabhadra, and Gal)csa. On the back of the boulder is a large
image of Camul)dii seated in ardhaparyalika above a prostrate corpse. A second set of
Saptamatrltas is carved on the edge of the projecting outcrop just nonheast of the Chau~a!
Yogini pi/ha. The images arc badly eroded but again hold a child on their thigh and are
attended by Aja-Ekapilda and Gal)esa. Additional images carved near the matr/t4s include
another Gai:iesa and a Mahi~amardinT. In a third set housed in a hut, broken in several
places but better preserved, the matrlt4s are not auended by Aja-Ekapada or Gai:iesa. They
arc seated in ardhapa9•alika above their mount and except for Cilmul)c)ii and Kaumiiri hold a
child on their left thigh.
j) ADDIT!<lN:lf. SHR!NF.S AND DETACHED SCl'l.PTURES
t. Sainta/a
Of the numerous scattered ruins in the upper Mahiinadi valley one of the most
interesting sites is Saintala, a village midway between Bolangir and Titlagarh in Bolangir
district, where sculptural fragments are scattered around a large mound on which is
situated a CaQdi temple recently reconstructed from ruins. The mound itself most likely
contains funher ruins of an ancient temple. Unfonunately most of the figure sculpture has
been deliberately mutilated, the faces hacked off. so that dating on stylistic grounds is
difficult. There arc jambs from two different doorframcs which are affixed to the porch of
the reconstructed Cal)Qi temple which deviate from the standard Orissan decorative
program.101 In the jambs Ranking the porch entrance the bottom niche on each side is filled
with a female figure placing one hand on the thigh in lea(Javalambita and holding a water
vessel in the uplifted hand, a pose suggestive of river goddesses though there are no
attendant figures included . The jamb above this niche is divided into three panels filled with
figure motifs including /iliga-p#ja, bestowing alms, two panels of three standing females,
addorsed female figures with a monkey pulling their garments and a panel with two female
figures and two children. The scroll motif of a meandering vine throwing off broad leaves
alternately to either side is different from typical Orissan examples. In general the carving is
somewhat weak and body ornamentation sparse while the aniculation of body pans is less
io:o \X'hc-n pho1ographcd br f'abri the '"''0 S<"ts of jambs

were joined togt-thtr to form a s1nglt ccnnpositit>n
ihclugh nou• they arc sc-par;iitcd . Sec F2bri, op. tit., pl. C l.\ ' IJ.

Tl1 ~1Pl .ES ()F T l-If. 10TH · 11TH CENTUR IF.S <>F I NTl~ Rl< > R <>RISSA
than fluid. A subtle smile softly illumines the faces of the females, in two examples whcr<
the features arc not obliterated, in a manner related to 1oth-t tth century images. The
second set of jambs, placed on the comers of the porch with fragments lying on the
ground, has a large female figure at the base on each jamb in a pose similar to the examples
on the first jamb though twice as large and crowned by a parasol to suggest that they
probably represent Ganga and Y amuna. The jamb above these river goddesses is carved
with a crowded composition consisting of numerous figure scenes including many episodes
of the young Krsi;ia, such as stealing curds and defeating the horse demon Kesr, as well as
dancers, wrestlers and ,,,;1h1111as. Many of the scenes, though charged with energy, arc
damaged beyond recognition. On the stair-riser of the porch door is a slab carved with
animals and a "'ai1h1111a. A similar fragmented slab, perhaps originally pan of a lintel, is
lying on the ground behind the temple though its images are too badly mutilated to
identify.
Included among the scattered images loosely placed on one side of the temple arc two
female figures who assume identical poses to those represented on the panel above one of
the river goddesses on the first door jamb, one holding a child on her hip and the o ther
embracing a you th with her left arm around his neck. A long scarf is draped around the
shoulders of each female and their hair is arranged in a chignon to one side of the head.
There arc also two fragmented images of Vi5i:iu, one of which consists of the perfo rated
back-slab and pedestal only. In the first example the head and upper portion of the back-
slab, as well as the arms, arc missing. Vi5i;iu stands in a samabbanga pose and is omateli•
bejewelled with necklace, girdle with hanging festoons, yajnopavita and vanamalti. He is
flanked at the base by a female on each side, the one on his right holding a lotus in her left
hand while the one on his left holds the lotus in the right hand with her arm circling the
remains of the gad4, suggesting the figures probably represent Sridcvi and Bhudcvi. 101 The
pedestal decoration is obliterated except for a fragmented image of Garuda beneath Sridevi.
On the right edge of the back-slab arc images of V araha and Nrsirilha. On the left edge,
also beginning at the bonom, arc images of Kalki, Buddha and Balarama. Although the
image of Visi:iu is missing in the second fragment, except fo r his feet, the back-slab and its
iconographic program is more complete. On the left side of the pedestal, o pposite Garuda,
is a kneeling sage, bearded and with hands folded in arljali, who probably represents
Narada. Between these two kneeling figures arc three diminutive devotees along with
Kurma and Matsya carved above their heads. The avatars carved on the right edge,
beginning at the bottom, arc Varaha, Nrsirilha, Yamana and Parasurama, while on the left
edge the series consists of Kalki, Buddha, Balarama and Rama . The scene on the lintel of
the back -slab apparently represents the churning of the ocean with images of gods on one
side of the lotus-halo and images of demons on the other sidc.109 These two works o f Visi:iu
with the ten avatars carved on the back-slab, datable stylistically to the 10th century, arc
unique in Orissa though there is a later example of Visr:iu· Krsr:ia with a sim ilar placement
of the Daiavataras.
toe Ste K. N. :i.tah2patra, ··Puran1c Slories in 1hc l~ arl y Records and Sculptu res of O rissa," ()l/ Rj, \ '(11. X
( ' 9~•). P· 7'·
1J,, p. 7J•
IU'J J/1
Original from
TEMPI.ES OF THI; 10TH-10 T H CENTL:RIES OF INTERIOR ()RISSA
1. Nar1i11gh11ath Doorframu
Although the present N rsirilhanitha temple at Narsinghnath in Sambalpur district,
situated at the source of the Piipaharini river, was repaired in A.O. t41 ~ by Vaijiiladeva, as
we know from an inscription on a slab of black s1onc in the tcmplc, 110 it incorporated
architccrural fragments from earlier structures at the site. In addition to the four interior
pillars carved in the style of the Pai:ic;luvarilsis and datable to the 9th century, there arc two
doorframcs incorporated into the jagamohana which arc stylistically related to examples at
Khiching and datable to the late 10th century or early 1 tth century. The doorframc on the
north side consists of three bands of scroll work of the hi/ilii, gelaba and jalapatra motifs.
The galaba scroll is particularly refined and includes specific scenes, such as dancing or liliga-
piijii, within the foliage rather than acrobatic ga!fOJ clinging to the meandering vine. In most
cases the figures arc arranged in pairs, as at Khiching, and the figures arc treated with
individual features even though carved in a miniature scale. Thcjalllpatra scroll has small
citrus among its plants while the ufilii, with a diminutive elephant at its base, is obliquely
carved and resembles the vana-latii design. Gaja-Lak5mi appears on the lintel with Lak5mi
seated in lalitii1ana and flanked by a small attendant on each side beneath the elephants. The
dviirapiila1 Mahikala and NandT appear at the base of the jambs housed in a plain niche and
arc accompanied by the river goddesses Ganga and Yamuna housed in adjacent niches. The
four-armed dviirapiilas arc flanked by diminutive ga!faS in the lower corners of the niche.
Their hair is arranged in a tall ja/ii-m11/eMfa and they wear a 1arpa-!eM111"'la in the right car.
The major right hand is in varada and the upper right hand holds a rosary while the main
left hand carries a trident in both images. Mahiikiila holds a lotus in his upper left hand,
however, while NandT holds a leapiila and wears his characteristic short beard. The river
goddesses stand in mirror-image poses with their outside hand on the thigh in /ea{Jiivalam-
bita while the uplifted inside hand holds a water vessel. They stand on their respective
vehicles and a small attendant holds a parasol over their heads. Their hair is arranged in a
large bun to one side of their head. They arc ornately bejewelled and wear a yajiiopavita.
Their head, however, appears slightly small in proportion to their body and the hand
placed on the thigh is clumsily executed.
The doorframc on the cast side is similar in design though the dviirapiila1 arc treated
differently and they arc accompanied by faNri-bearing female figures rather than river
goddesses. In contrast to the standard Saivitc guardians these dviirapiila1 have only two
hands and do not exhibit complementary aspects. They both stand in a slightly flexed pose
with the right hand in front of the chest, possibly in abhaya-m11drii. The left hand is placed
on the thigh, on the proper left dviirapiila, or on a ribbed mace, on the proper right
dviirapiila, while a mace stands next to the left guard. This substitution of the mace, a
Vaisi:iava attribute, for the Saivitc trident as the major weapon is an unusual iconographic
feature which suggests outside influence. Their hair is arranged in two tiers of coils on top
of the head with cascading jafii1 reaching to the shoulders, also an unusual iconographic
treatment. There arc no attendant figures for the dviirapala1. The female figures stand in a
graceful tribha1iga pose with their outside hand hanging straight down while their uplifted
inside hand holds a ca11ri over the shoulder. Gaja-Lak5mT appears on the lintel as on the
north door and a navagraha is carved on the architrave above . Kctu is depicted serpentine
110
Binaraka t\t1!'ra, ''N arasimhanath Sto nt lnscriprion of \ 'aijaladC'\'a'', India" Hislorito! QN11rt1r!J, Vol. XII
(1 916), pp. 481,.86.
Original from
Tl·:~tPl.f.S <>F TJIE 10Tli· 11TH C£NT l:RIES C.)F INTERJ<>R <>RISSA
from the waist down, rather than seated with legs hanging over his scat in the earliest
examples, a late iconographic feature which becomes standard from about the mid-10th
century. Rihu is represented as a head with two hands.
3. Baid:fanath: Kalnvara Temple

In addition to the Kosalcsvara temple, a pillarcd-.wa!'i/apa strucrure, there was a second
early temple at Baidyanath, situated a short distance to the east on the bank of the river Tel
and dedicated to Mahikalcsvara Siva which was slightly later in date and more progressive
in decoration. Due to its precarious situation on the bank of the river, with the bank
gradually eroding from continuous Aooding during the monsoons, a stone embankment
was constructed during the Durbar administration to give added protection to the temple
but even this was not sufficient and the temple collapsed on August 17, 1967. All that
remains today arc traces of its foundation though a few sculptural fragments arc scattered
in front of the Kosalesvara compound and part of the a114rtha decoration has been
incorporated into a modem pillar inserted into the interior of its •O!'<iapa as mentioned
earlier. Stylistically the temple can be ascribed to the mid-10th century.
The temple consisted of a dt11/ only and was originally without any door though one was
cut into the walls sometime after A.O. 1911, an action which probably hastened its eventual
collapse, and a lingo was installed within.Ill The ba(la was paii<a-ratha in plan with its
decorative program stylistically related to those at Gandhariic;lI and Baudh. The "'111i"'1 was
designed as an engaged pilaster though apparently left mostly undecorated. The a114rlha was
decorated with an elongated, thin .w111,1(ii, with a small niche at its base, framed by a naga/nagi
sta.wbha on each side, a transitional design obviously inAuenced by that on the walls of the
adjacent Kosalcsvara temple though the upper half of the serpents arc in human form in
the standard fashion rather than completely serpentine. The raha niche was framed by an
elongated .w111,1(ii crowned by a "'1/aia on each side with a tall irtlhva-garbhi/e4 above the
niche.
The bara!l<ia was of an unusual design and consisted of a recess surmounted by live
mouldings and a second recess though only the lower recess continued on the raha. The
raha above this lower recess was designed as an upper niche, only slightly smaller than the
major niche of thej aligha, which extends up to the middle of the first bhi.wi of the ga!'rii· This
upper niche is crowned by a &aitya design so that the ensemble served as the vajra-11ra1ta"'1.
The "411i"'1 is divided into seven bbi,,,is by a.wlas with each bhi.wi having six bara!lriis of
varying size. The a!l4rtha consists of equal-sized mouldings superimposed continuously up
the height of the gatt(ii, the mouldings decorated with the reticulated taitya motif. The bisama
did not partake of the paga divisions and was left undecorated. T he increased height of the
bar4!1ifa, along with the added bara!l(iis in each bhimi, produced a tall silhouette for the ga!l{li
though it curved in gradually rather than sharply as at Gandharic;li or Baudh.
Unfortunately little of the deco rative program or figure sculpture has survived.
Originally there were ala1a-"411JaJ housed in shallow niches surmounted by a smaller niche
filled with an atlantid dwarf at the top of the pilasters framing the upper niche of the raha.
The best preserved of the decorative motifs is the irtlhva-garbhile4 fragment with framing
naga/..Ogi s/ambhas from the anartha now affixed to a modem pillar within the Kosalcsvara
111 For a ph<)t<,1~r2ph of the temple pr ior to t he 2dtlit 1on of a d<lor see B. C:. f\tazumdar, Orisso ;,, tht t\ft1lti11.K_
(C:alcu11a, 19z J), pp. 7.t •7}·
Original from
268 TE~tPl.F.S <>F THE 10TH· 11TH CENTL' RIES <>r: INTF.Rl<>R ORISSA
temple. The serpent figures each hold a water jar in their left hand, their right hand
missing, and have a canopy of seven hoods over their heads.
4. M11kholiligo111: Bhimtfvora Ttmplt
Situated a shon distance southeast of the Madhukcsvara temple at M ukhalingam is the

Bhfmcsvara temple which consists of a square dt11/, antarala and rectangular jogo1t1ohafl4.
The ba~ of the dt11/ is tri-rotho in plan and measures approximately 21 feet square at the
base."' The piibhago consists of three mouldings with a recessed khiillili separating the top
two mouldings. The top moulding is decorated with raitya designs and small figure motifs,
some of which arc erotic. The jiirlgho i.s undecorated except for a plain niche cut into the
riihii. A similar niche appears on the walls of the 11mdhi-stholo. The bara/lla is not
differentiated from the goJJJi. The latter has twenty piJho mouldings superimposed up the
height of the spire as on the present design of the M adhukcsvara temple with the
mouldings left undecorated. A vajra-mastaka with two rairyo-medallions is carved at the base
of the riihii while the mouldings above are decorated with a triplc-rairya design. Images of
the bull N andI appear at the comers in the btlei and the crowning mostaka is intact. The
ga11di reaches a height of approximately l' feet and its silhouette bends in gradually from
the middle rather than sharply near the top so that it lacks the typical grace and grandur of
the Orissan spire.
The rectangular jaga,,,ohono, measuring 43 feet by Jl feet, is generally devoid of
decoration except for a slightly projecting gavak/a with a small window on the nonh. The
main entrance on the cast and a second door on the south, near the western end, arc plain.
The interior has two rows of four pillars each with the west pillar in each row seated on the
ffoor while the others arc seated on a slightly raised dais so that a pradalt.fi11ii passage is
formed within. Engaged pilasters corresponding to the pillars arc set into the walls. In
front of the cast door arc two crouching Nandf images placed side by side on a high
platform.
The cult images placed within the major niches on the jiingho do not conform to standard
practice and probably arc not in their original position. The images of Gai:iesa and
MahisamardinI, for example, arc housed within niches on the sandhi-sthala while the piiriva-
dtvatii niches arc occupied by Brahma, Nrsiritha and Vyakhyana Daksinamiini. Gancsa is
seated in ardhaparyalika eating sweets from a modoka-patra while his remaining hands hold a
radish (broken), rosary and kli/hiiro in the conventional manner. A mouse is carved on the
pedestal approaching a bowl of sweets. A kirti11111kha mask with dripping festoons decorates
his coiffure. Mahisamardini is eight-armed and stands in a hieratic pose with her left leg on
the back of her lion-mount, rather than on the ground as standard on early Orissan
examples, and her uplifted right leg on the back of the decapitated buffalo-carcass. Her
major right hand plunges a trident into the head of the demon while the shidd strapped to
the forearm of her major left arm pushes down on its face. Her remaining hands hold a
ca/era (?), arrow, sword, parai11, bow and niiga-piiia. She wears a conical crown and looks
straight ahead, showing no effort in engaging the demon in battle. A smaller image of
MahisamardinI, similar in style though the arrow is being removed from the quiver rather
than held in the hand, is affixed to the top moulding of the piibhiiga in front of the nonh riihii
niche.
1•2 ~leasurcments are t<lken fr< )m t\la$1han2iah, op. t iJ., p. J1 ·
Original from
Brahma, housed in the raha niche on the north side, stands in a samabhariga pose and has
three heads. He holds a vase in his lower left hand and a noose in his upper left hand . His
major right hand is broken at the dhow while the back right hand holds a rosary. He wears
a heavy garment which hangs nearly to the ankles. Each of his three heads wears a crown.
The niche on the wesr side is filled with an image of Nrsimha standing with his left foot
planted on the back of a crouching demon and with Hiranyakasipu bent over backwards
on his thigh. His lower hands are tearing out the entrails of Hiranyakasipu while his
uplifted upper hands, held in /eartari-hasla,1u hold a cakra with svastilea and a conch. The
lion-head of the deity is fierce-looking w ith bulging eyes, bared teeth , wide-opened mouth
and protruding tongue. Carved in low-relief on the pedestal is a pillar in the center with
Hiranyakasipu striking it with a sword while at the left N rsimha appears from the broken
pillar. At the right is the broken pillar with Nrsimha lifting the demon on either side of it.
There is a smaller Nrsimha image in the lower caitya of the vajra-mastalea on the ga11rfi of th is
same side thoug h there is no demon beneath the feet of the deity and no panel illustrating
him coming from the pillar carved below.
The image in the south raha niche is Vyakhyana Oak~inamurti. Siva is fou r-armed and is
seated in lalitasana with his right leg pendant. The uplifted back hands hold a rosary and a
lotus-bud. The front arms are broken off at the dhows. The right hand was probably in
jilana or vyakhyana·mNdra while the left rested on his thigh.II• The coiffure consisrs ofja/as
arranged in conical fashion, Raring out on the halo behind, while foliage appears above.
Beneath his scat arc two figures . They pro bably represent Piirvatl waiting as Siva
undergoes austerities. They are duplicated still lower with Siva now wearing a garland,
suggesring Pirvati placed it around his neck after he completed his austerities.
The images w ithin the vajra-mastaka medallions of the ga11rfi are in sitN and include
Lakulisa and a four-armed Siva seated in padmasana on the south; Mahisamardini and a
male figure seated in lalitiisana on the north; and an image of Nrsimha in the lower
medallion on the west.
Stylistically the images of the Bhimesvara appear more strongly inAuenced by Ca)ukyan
traditions than the other examples at Mukhalingam and arc later in date. All except one of
the inscriptions found within the temple refer to the central deity as Aniyanka
Bhimesvara.1 1s In that Aniyankabhima was another name of Vajrahasu IV (A.O. 980-101 i)
it is most likely that the temple was constructed during his reign and it can thus be ascribed
to the beginning of the 11th century.
I · Nagrikatakam : Siva Temple
Situated near the village of Nagrikatakam, a few miles east of Mukhalir\gam, is a small
brick Siva temple, mostly in ruins, which has several 10th-11 th century stone images
inserted into niches plus a large detached image leaning against its front wall. The images
within niches include a seated male figure with a pot-belly supported by a y ogapa(fa,
possibly reproscnting K ubera, an image of Ganesa and one of T rivikrama. Ganesa is seated
in ardhaparyali/ea eating sweets from a modolea-piitra in the conventional manner. Trivikrama
11) According co ~1 as t h a.n aiah this- m:tnnC'r o( holding the \li.'t apons $Ujt~C S l!I $.()uth Indian inAucncc:. Sec
~f1sthan1 iah, op. tit., p. 80.
11• /btd., p. 19,
11~ ,\'0111h lm/11111 l111fr1p1ion1, Vol. \ 1 , N(>S. 1 13 ~ · 1 144, 1146· 1 148.
Original from
170 TEMPLES OF THE ooTH . .,Tfl CENTU RI ES OF INTERIOR ORISSA
is depicted taking his last step while beneath his uplifted foot is the scene of Ball being
approached by Yamana. The large detached image is panially damaged and difficult to
identify. It represents a male standing with the right leg slightly raised and his hands placed
in front of his body where they hold an indistinct object, possibly a bow. He is flanked on
either side by a female figure who hangs onto his arm, suggesting he may be Kama and the
female figures would thus be Rati and Prlti. A halo decorated with petals is behind his head
while the sides of the backslab contain many arrows.
Original from
CHAPTER FIVE
TEMPLES OF THE 1oth-11th CENTURIES
IN EASTERN ORISSA
Although the early Somavarilsi kings were primarily the kings of Oak$ina-Kosala, with
their capital in the upper MahinadJ valley, they were also quite active in eastern Orissa.
Janamejaya, according to tradition, performed an Asvamedha sacrifice at Ka1aka
(Chaudar) near modem Cuttack as well as constructing the Siva Uttarc5vara temple in the
same city;' Yayiti I is credited with building the capital of Abhinava Yayitinagara,
performing ten Asvamedha sacrifices to which he invited ten thousand Brahmins from
Kanauj, constructing the Muktesvara temple at Bhubaneswar and reviving the shrine of
Jagannitha at Puri;2 while Bhfmaratha Mahibhavagupta II (c. A.O. 9!1-980) installed the
S11pt11•itrle41 on the bank of the Mirkai;ic;lcsvara tank at Puri. In the Khandapara plates of
his son, Oharmaratha, Bhlmaratha defeated a king named Ajipila from whom he received
3• war-elephants and his achievementS were of such fame as to be appreciated by a king
called Rudra of the East, the latter most likely king Rudra from Boram (Manbhum
district).l The latest known date of Bhfmaratha is the Kudopali copper-plate grant of his
13th regnal year which was issued by his feudatory Mlf}iara chief Puilja who ruled over
Biima.Qc;liipa1i (modem Bamragarh in the Samra subdivision of Sambalpur district).• It is
probable that Bhimaratha, like his father and grandfather before him, came into conflict
with the Kalacuris and that the latter successfully checked the northwest expansion of the
Somavarilsi kingdom.
After Bhimaratha his first son, Dharmaratha Mahiisivagupta 11 (c. A.O. 980-1001)
ascended the throne. Though we have only one surviving copper-plate chaner issued by
him he is eulogized in the inscriptions of Uddyota-kesari as being a great hero among the
Somavarilsi kings due to his aggressive action against Gauc;la, burning the city and
defeating the king, and against Andhra.~ He apparently died without leaving a son and was
succeeded by his younger brother, Nahu$a Mahibhavagupta III (c. A.O. 1oos-1011). No
inscription of his has yet come to light though in ccnain epigraphs of succeeding kings he
is regarded as a hero of the family.6 On the other hand it was during the latter pan of his
rule that the kingdom was invaded by the Paramiiras, the Co!as and the Kalacuris. There
was in addition a subordinate ruler at Abhinava Yayiitinagara, named Indraratha, probably
another brother of Oharmaratha, who was appointed as viceroy to rule from this area of
the kingdom. lndraratha, according to the Tirumalai inscription of the Cola king Rijendra,
' R. Chanda, MASI. XLIV, pp. u·u.

The Mi"4Ui Pili;i a ppa~ntly confuse$ Yayi 1i I with Yayiti 11, raking them both 10 be the same king, and
2
ucrib« the construction o( the JagannAtht to Yayiti 11, the same king who began construction on rhc
Lui.garija. Sec K . C. Panigrahi, Art!Mrolotiral Rt•11i,,.1 ol Blntbdflt/fllflf, p. 1<49· Sec also K . C. ~fishta, op. ril. , pp. JO·
H·
J /,,1<rif>li0111 o/Orisu, Vol. JV, pp. J 74"}7J·
• lbiJ., pp. 13 7·1•1 .
' lbiJ., pp. J76· J7•·
• /biJ., p. 181.
Original from
'7' T EMPLES OF T HE 10TH-11TH CEN1'l.'R IES IN E ASTERN URISSA
SOMA VAMSI-KESARIS
1. J211•mcjaya I M•hibhavagupta I o/ias Sv2bhiitut\g•

c. A.O. 881-911
1. Y ayiiti I M•hiiSivagupta I Vichitravira

(c. A.O. 911-9Jl)
I
J· Bhimaratha M2hi1bhav2gupta II
I
Abhimanyu
(c. A.O. 9!!·980)
4 . Oharmaratha Mahasivagupta II l· N•hu$a Mahabhavagupta Ill

(c. A.O. 980·1ooj) (c. A .O. 1ooj · 1011)
6. Yayati II ChaQ\lihara, Mahilsivagupu Ill

(c. A.O. 102j·40).
7. Uddyota-kcsari Mahabh av•gup1a IV

I
(c. A.O. 1040°1065)
I
8. J anamcjay• II M•hasiv2gupu IV
(c. A.O . 106j·1085)
9. Purai\j•y• M•hiibhavagupu V 10. KanJadcva Ma.h:i.Sivagupca \ 1

(c. A .O . t o 85 · 1100) (c. A.O. 1100-1110)
Adopted fro m Krishna C. Panigrahi, C'hronologJ of lht 8/Jo11mo· K11raJ anti lht So111aJ1tJ ,,,JiJ of OriskJ {~f adras, 196 1).
was defeated and captured by the generals of the Cola monarch at Abhinava Yayiitinagara
shonly before A.O. 101i during the latter's victorious march up to the Ganges.' That a
calamity ovenook the Somavarilsi family after Dharmaratha is substantiated by the
elimination of Nahusa and Indraratha in the Brahmesvara inscription of Uddyota-kdari
(now lost).• It appears, as Panigrahi suggests, that the prala11i"4ra intended to pass over
this period of distress with only a casual reference and thought fit not to mention the names
of the monarchs who fell victim to outside aggression. 9
These invasions may have resulted in the death or dethronement of both Nahusa and
Indraratha and apparently caused chaotic conditions in the Somavarilsi kingdom. To save
the kingdom from anarchical conditions the ministers of the state chose Cai;ii;lihara-Y ayiiti
Mahasivagupta 111, referred to as Yayiiti II, as king. Yayiiti II was a younger cousin of
Nahusa and a lineal descendant of Janamejaya.10 That Yayiiti II was a strong and efficient
ruler is evident from the Brahmesvara inscription of Uddyota-kesarT where it is recorded
' Ni1akanta Sa$tri. Tht Cbolas, Vol. I, pp. 248-149 .

• JRASB, Vol. XIII (1947), pp. 68·71.
t Panigrahi, Artbat11!~1,.tfal Rtmoins tJ.I Bh11bo11t1•·•r, p. 4 7.
10According to Sri Rajaguru, Yayiti 11 was a )'oungcr brcxhcr <>( Dh·:armaratha. See f11.J(r1pt1()1f/ ~{ Orissa.
Vol. JV. p. !77. 180.
Original from
TF.l\IPl.ES ( )f T lif-: 10Tli - 11T fi <:E NTl. Rll ~S IN 1~ 1\STl~ RN ( )R.ISSA 17!
that he freed both the rti/tras (i.e., Kosala and Utkala) from enemy chiefs. This success is
funhcr confirmed by Uddyota-kcsarrs Balijhari (Narsinghpur) copper-plates where it is
stated that the two arms of Yayiiti II "accomplished their objectives by completely
rendering free of enemies the two kingdoms, Utkala and Kosala, besieged by the
combatant kings."" In driving out the foreign enemies, Yayiti II (c. A.O. 1011-1040)
restored internal peace and order in his vast territories roughly comprising the whole of
modem Orissa. That Yayiti was a very powerful ruler is also evident from his Mirai\ja-
Muri chancr where it is stated, though obviously exaggerated, that he fought against the
kings of Kan)i\a, Lita, Gujara, Kiii\ci, Gauc;la and Ric;lha." The chancr, which proclaims
the king to be the "lord of Trikali.nga'', dates from the third year of his rcign.u It is also
likely, as Panigrahi suggests, that construction on the Lingarija temple at Bhubaneswar
was begun by Yayiiti 1114 and that the capital was transferred to Abhinava Yayiitinagara
with viceroys being assigned to rule from the old capital.
Yayiiti II was succeeded by his son Uddyota-kesari (c. A.O. 1040-1061) who was the last
great monarch of the Somavarhsl dynasty. It was during his 1th and 18th regnal years that
the J aina images were carved in the Lalii1cndu-kesarl and Navamuni caves of Khandagiri
hill.ts It was also in his 18th year that his mother, Kolivatldevl, built the Brahmesvara
temple at Bhubancswar.•6 During his reign the Kalacuris invaded western Orissa and to
effectively resist their advance he apparently assigned the kingdom of Kosala to
Abhimanyu who belonged to the collateral branch of the family. Abhimanyu ruled from his
hcadquancrs ar Suvan)apura (Soncpur) with the surrounding territory referred to as
Pascima-Lailki as we know from the Kclgi plates of his successor Kumiira Somcsvara.17
The disintegration of the Somavarhsi kingdom began from the time of Janamcjaya II (c.
A.O. 1061-1081), the son and successor of Uddyota-kdar!. Janamcjaya II fought against a
Niiga king, according to the Ratnagiri plates of Kan)adeva, 11 and was probably defeated.
This king was most likely the Chindaka-Niga ruler Somesvara I of Bastar who, in
occupying Kosala, may have been helped by the Telugu-Coda family. Both Somesvara and
Yasoriija, the latter belonging to the Tclugu-Co<;la fa.mily, claim to have conquered
Kosala." It appears that the Tclugu-Coc;las eventually won out, however, as in the Mahada
copper-plate grant of the Tclugu-Coc;la ruler Somdvara II, issued in his 1nd regnal year (c.
A.O. 1090), he declares himself as the king of Western Lailki ruling from the capital of
Suvarnapura.20 Somdvara Ill, ruling at the close of the 11th and beginning of the 11th
centuries, was the last Tclugu-Co<;la king of Suvarnapura. According to the Ratanpur
inscription of the Kalacuri king Jijalladeva I, this king defeated a ruler named Somesvara2•
while in the Kharod inscription of Ratnadeva II it is stated that Jiijalladeva I defeated a
11 lntliaA Historiral Qurter!J, Vol. XXXV, p. 106.

12 There may have existed a political alliance between Ya)'iti II and Kf$1)l Ill of the RisJrakUfa dyn a~t)· as
they both make the same claim$ in rhcir respective praio1ti1. Sec ln1trip1io111 of ON110, Vo1. IV, p. J89.
11 8 . C. Mazumdar, "Maranja.f\tura Chancr of f\fahJ. Siva Gupta o/ios )'a)·ati," ]BOK.\', 11 ( 1916), pp. 44·s9.
t• Panigrahi. ArthotOl(J/,itol R1111ain1 ol 8b11h11Atswor, pp. 16,·166.

1~ Epigr11phi11 /nJ/~o. Vol. XIII, pp. 166· 169.
16 Sec ]RASB,Vol. XIII (1947). pp. 68·71.
11 f:.pigrop/Jio l11tlif11, Vol. XII, p. 2}9·
tt EpiJ.r•pbi11 l11Jir11, Vol. XX XIJI, p. 166.
"DC . . s·1rcar. op. 111.,. p. z99.
20 f;piJ_ropbi11 /11Jiro, Vol. XX VJII, pp. 181 ·z92.
J1 J;p11,rop/Ji11 /11Ji10, Vol. I, p. }l·
Original from
174 TF.r.IPLES <lF THE 10TH-1 1TH (:ENTL'RIF.S IN EASTERN ( l RIS.$ ..\
king named Bhujabala of Suvan,apura.22 These two names apparently refer to one king,
Somesvara Ill (Bhujabala), the last Telugu-Coda ruler of Kosala, and his defeat must have
occurred by A.O. 1114 as this is the date of the Ratanpur inscription. The Kalacuris of
Ratanpur thus occupied much of the Soncpur-Sambalpur region for about 100 years until
their eventual defeat by the Gangas in the early 13th century. At the same time a branch of
the Riis1rakii1a family took possession of the Bargarh region where they apparently ruled as
feudatories of the Kalacuris.2J
A) (A llRASI: VAR.~Hf TEM PLE
One of the earliest temples in eastern Orissa 10 incorporate the new architectural features
filtering into Orissa via the MahiinadI valley is the ViinihI temple in the village of Cauriisi
on the bank of the Prad river about nine miles from Gop on the road to Kaka1pur.2• The
temple is of the lehtileharti type and dedicated to Varahr, one of the 111titrktis, though it is not
likely, as suggested by Mitra, that it is the sole surviving temple among seven erected in the
region dedicated to the Sap1a111titrktis.2s Though small in size in comparison to the major
rivers of Orissa, the Prad was evidently a majo r religio us site from the 8th through the
I! th century for Jains, Buddhists, and Hindus alike.2• Particularly prevalent were the Siikta
and T antric cults with their worship of the female principle. Among the more popular
goddesses worshipped were Durgii Mahi~amardini, Mangalii and C:imundii. Even today the
region is strongly permeated by the Siikta cult and all along the ri ver there are Tantric
shrincs.27 Two palm leaf manuscripts of the Si/pa Praktiia, a medieval Orissan Tantric text
on temple architecture, were found at Nimapiida and near Kaka1pur in this area testifying
to the importance of the Kauliicilra sect. The author of the text, Rilmacandra Bha11ilraka,
was an Orissan architect living in a Tantric village on the banks of the Musali river in Puri
Sadar. The text itself probably dates from the 13th century but is largely based on the much
earlier StJ11dhiktiga111a, an unpublished Tantric text on archi1ec1ure.28
The temple consists of a rectangular lehtileharti-type dtM/ and an oblongjaga111oha11a with a
roof made up of two sloping terraces as on the twin temples at Gandhar:idi with which it is
stylistically aligned. The overall decorative program is more lavish, however, and the
temple probably is slightly later in date. Tentatively the V:iriihi temple can be dated to the
first quarter of the 10th century.
1. Bai/a Duoration
The dtMI measures approximately 18 feet by 12 feet 6 inches and is paiira-ralha in plan.
The temple rests on a plain pi/ha 1 feet 4 inches high. T he ptibhtiga is 32 inches high and
contains only three mouldings. The lehMra moulding at the base is plain while a campalea-lcaf
is carved on the face of the /eMmbha mou lding. The ,,,,,hQ~fi o r lower edge of the top
Corp111 /,,1triptiOlf /n.Jito r11111, Vol. IV, Pan JI, p. J40.
21
So11tb<JlpKr Di11n·r1 C11zr111rr, p. S9·
u
2• This villagt t lso yielded a cop~r-plate o( Sivakara of the Bhauma dynasty. S<'e Narayana Tripathi,
"Chaurasi Grant of Sivakara Deva", ]BORS. XIV, pt. II, pp. •9•· 1o6.
l~ D . M irra, j0Nn111/ of tht A sioti' S()(it~7. 11, p. J·
"' P. K. Ray. op. tit ., p. • ·
11 Boner and Sarma, Silpa Pr-okOio, p. XXI .
21 l/JiJ. , p. XX.
Original from
'l'E ~1Pl . ES <>P Ti i i~ 10TJ.t.1 1T t-I CF. ~ Tl' RIJ~ I~ E:\ STl.:RN <>RISSt\ 171
moulding is relieved with scrollwork while its sloping upper area is ornamented with a
small raitya medallion. The paga designs on the shorter north and south sides arc similar to
those on the longer west side though the anartha and raha arc not as wide. The raha-piiga on
the north and south sides is designed as a le.hale.hara·11111{1(ii with its niche resting on the top
moulding of the pabhaga. The upper half of the niche is lilled with an #rdhva·garbhika also
designed as a le.hiile.hara·11111{1(ii, an architectural feature peculiar to the Somavamsi period
which actually restriets the size of the piiriva·dtvatii enshrined within. A thin tala-garbhilta
appears beneath the niche. The niche is framed on each side by a pilaster relieved on its
central facet with scrollwork. A large projecting cave crowns the niche. The raha·piiga on
the longer west side is much wider and its upper portion lilled with an #rdhva·garbhilta
consisting of three le.hale.hara·11111!f(iiJ. A band of decorative scrollwork frames the inside of
the niche, relieved with a dvara·lala/a·bimba panel above, and the scrollwork on the Ranking
pilasters begins above a tala·bandhana motif.
The /eanilea·piiga is the same on all sides and consists of a central vertical facet relieved
with ornate scroll work above a tala-bandhanii. The upper portion of the facet has a shallow
niche lilled with 111ith11na-111#rtis and a crowning #rdbva·bandhanii which turns into a rother
ineffective bara{l(ia. The anarlha-piigas on the longer west side arc similar in design though
the niche is slightly elevated so that there is more scrollwork beneath. There is also an
additional offset so that the piiga appears multi-faceted. The anarlha·piigas on the north and
south sides, though multi-faceted, arc narrower and lack the shallow niche. The recess
between the leani/ea and anartha is lillcd with a niiga·slambha. This is the lirst example of this
motif appearing in the a1111raha rcccss.29 The coils of the naga appear beneath the torso so
that the ligurc appears to be ascending. At the base of the slambha is a gaja·lt.riinla motif of a
lion pouncing on a crouching c:lephant. Both animals arc depicted in prolilc and the design
obviously derives from earlier motifs appearing on the projecting lala-bandhanii or dentil
frieze standard on early Orissan temples. A similar profile design appears on a broken
fragment from the Paiica-Pal)c;lava temple at Gar:ieswarpur and on examples at Khiching
whereas on later ccmples the mocif turns into a double gaja-lt.riinla with all animals depicted
frontally. There arc in addition examples represented frontally here to suggest the
transitional nature of th.e motif and the temple. These slambhas begin above the piibhiiga
mouldings, rather than extending through them as on later 10th century temples, and
continue into the ga!liii where they arc surmounted by iiilabhanjilta ligures. The recess
between the anartha and riihii on the long west side is lillcd with a thin pilaste r relieved with
scroll work extending up the height of the jiingha.
The overall decorative program of the bii(ia, consisting of a le.hiile.harii·11111{1(ii design for the
riihii Ranked by pilasters of varying size with niches staggered in elevation and a trunca1ed
piibhiiga, suggests the experimental nature of the temple. Although the design exhibits many
of the new features introduced into Orissa at this time they are not completely fused with
the indigenous traditions and appear somewhat exotic.
2'>l\1tit.a·tlam.11fMJ al$O appc2r on the c2rli(r Kos2lt'S\·ara temple: at Baidy.inath ..1:hcrc th<'}' arc in the nature <>f
projecting pila$1Crs and on the brick temple at Rir,upur·Jh;i,r•il ~'here rhc)' function a-!i offscrs ro rhe ttih.i ·pri~a
rathtr than 6U1ng a recess.
Original from
1. Ga(l(ii Duoration
The experimental nature of the temple is panicularly evident in the design of the barop(io
and the gop(ii. The barapi/o, in face, can be conceived as the firs! bhimi of 1he go(l(ii or as 1he
crowning members of the bai{a. ii consis1s of a row of lehalehorii-m11(1(ii designs aligned wi1h
the pagas of the bii(la and decorated wi1h a small vajra-maJta/ea on ics cop moulding. On 1hc
north and south sides these m11(1(1is crowning the /eanika and anartho arc surmoun1cd by a
kalofa while on the longer west side only the /eani/ea has this surmounting motif. On the raha
1hese m1111(ii designs have a small niche at the base immediately above the projecting eave
crowning the parfva-devata niche. The recesses separating the leani/ea from the onortha arc
filled with 1he iiilobhaiijiktis crowning the naga-stambhas. On the nonh and south sides the
recesses separating the raha from the anartha arc decorated with panels relieved with mith11no
couples.
The bhimi division above this bara11i/o design is identical, and as such can be considered
as a second bhimi, except that 1hcrc is a recess at the base which is decorated with niches on
1he anartha and /eani/ea on 1he west and on the /eani/ea of the shoncr sides, 1he niches
containing mith11nas. The recess between the /eanika and onartha is likewise filled with a
stombha surmounted by a ialabhoiijikti. On the nonh and south sides the onartho is climinaicd
and replaced by 1hc vajra-masto/ea design of the raha with becomes extended and tri-ralha in
plan. ii consists of a large cairya-medallion formed by strings of pearls dripping from a
small kirtim11!tha mask projec1ing at its apex. The medallion is filled wi1h a !thiiltharii-mll!l(ii
design as at Gandhariidf and Baudh. On the longer cast and wcs1 sides the vajra·maslaka of
chis bhiimi is no1 as pronounced and duplicates the designs crowning the /eanika and anartho.
The bisama crowning the go11(1i consists of a splayed phe11i decorated with podma pr11ha
scrollwork while 1hc surmoundng btki or recess is relieved with panels of jali. The mas/a/ea
is in the shape of a large lthalthorii which is lri-aliga in design. The m11ha11/i or lower edge of
the lthaltharii is decorated wi1h mi1h11na-mirtis. The cen1cr projection or m11!tha/ii con1ains a
large vajra-masta/ea consis1ing of a cairya-mcdallion formed by strings of pearls dripping
from 1hc mouth of a kirtim11/tha projecting from the crest of the lthalthara. The medallion is
filled with a lthiiltharii-m11(1(ii as on the ga!f(li. On the longer cast and wcs1 sides this medallion
is Ranked by a large dwarf::lakfa sianding on the wings with one leg· uplifted and holding a
club in one hand while 1he other hand is placed on the check. This is the first example of
chis bho-typc vajra-mastoka appearing on 1hc ga(l(li though it appears on the piiga designs of
the bii(la of 81h cen1ury 1cmplcs al Bhubancswar and small Ranking dwarfs appear on the
vajro-maslaka on the nonh and south sides of the Vaital Deul. On later temples it becomes
1he standard apoiropaic motif on 1hc ga(l(ii though 1hc dwarf:Jok/a will move closer 10 1hc
center and Rank 1hc kirtim11/tho mask. On the nonh and south sides the kirtim11!tha mask is
replaced by a large lld.Jala lion. On later temples this 11dJata lion will be placed direcdy
above the kirtim11!tha crowning the vajro-mastoka of reltha temples and project sharply out
from the silhouette of ihega!f(ii. We thus sec numerous new motifs in-their incipiency on the
Vara.hr temple which will become standard decoration on later temples though their design
will become modified and more ornate.
3. Jogomohona
The jogamohono measures approximately l' feet by • i feet and is lri-origo in design. Its
decorative program is similar to that of the twin temples at Gandhariic;lf though more lavish
Original from
177
and most of the sculptures have survived. The ptibhaga measures 16 inches in height and
consists of four mouldings, rather than three as on the dt11/, with kiri/a designs carved on
the A!h11ra though their details were not completed. A tampaka-leaf carved on the /cJlmbha
links up with the third moulding which is designed as a piPha and decorated with a small
taitya on its sloping upper surface. The top moulding is in the shape of an invcncd pi<l,ha
with its projecting upper surface relieved with scrollwork.
The side or flanking aligas of the jagamohana arc decorated with A!haA!hara-11111111',i designs
alternating with thin pilasters as on the twin temples at Gandharic;IT, three on each side of
the center gavti.l!;a projection. There arc no lala-garbhiktis beneath the 11111!f{li niches, however,
so that the ptibhtiga appears indented. The •i111ti11ikti above the niche is not as elongated as at
Gandhar2c;li and consists of a single bhiimi capped by a splayed pht11i decorated with padma·
pr1/ha scrollwork and surmounted by a •q/ra-maslaka. The •q/ra·mastaka is flanked by
bhtirarakfakas as on the 8th century temples at Bhubancswar though the design is more
ornate and there is a small kirli11111A!ha at the apex. The thin pilasters alternating with the
1111111pis arc relieved with scrollwork above a pii111a·gha/a at the base and crowned by a
squatting atlantes at the top. On the corners the pilasters arc wider and crowned by a
11tith1111a rather than an atlantes while the pii111a·gha/a at the base is replaced by a set of
mouldings or lala-ba11dha11ti. All of the pilasters extend through the ptibhtiga mouldings rather
than beginning above them as on the dt11/. On the shoncr cast end there arc only two
k.htik.harti·mlf!lpi designs and three pilasters on each side of the entrance ponal.
The ga11tik/a projection on the nonh and south sides is framed at the sides by 11tigi·1/a111bhas
as at Gandharic;li though the gqja·krtinla motif at the base is replaced by horizontal
mouldings and the serpents a rc both female. There is also a capital added above the ntigi
decorated with a center figure flanked by squatting atlantids. The gavti/f.la between the ntigi-
1/ambhas is much wider on the Varihl and a k.htik.harti·1'111npi is added on each side of the
window, its niche being filled with a four-armed female guard. The window is filled with
crisscrossing bars of lattice to produce diamond-shape perforations (banka-jtili). The three
bands framing the window arc ornately carved with scrollwork. There are four insets, one
at the center of each side, decorated with a figure motif. On the top the motif is Gaja-
Laksmi, on the sides arc vidytidharas and at the bottom is a pot-bellied ga11a. The gavtik/a·
11ta11P,,11a above the window is decorated with three tall vajra-11111{tpi1 separated from one
another by a thin pilaster of similar design.
Thc j tiligha measures 48 inches in height and is crowned at the top by a bara11ila consisting
of a slightly projecting pipha·moulding with surmounting recess which is t6 inches in
height. The 11111ha11/i of the moulding is relieved with scrollwork while its sloping upper face
contains miniature dancing figures and animals widely spaced against a plain background.
The recess is filled withjti/i panels alternating with atlantid dwarfs. The terraced roof slopes
in two stages with the vertical face of the projecting caves carved with stylized lotus petals.
The recess separating the two stages is decorated with shallow niches alternating with large
pii111a·ghafas. The niches contain figure motifs most of which arc erotic in nature. The
cornices beneath the two projecting caves arc decorated with scenes from the Rti111i!Ja11a,
hunting scenes and animal processions. On the crown of the flat roof is a monolithic kalaia
placed on a square pedestal. On the interior there arc twelve engaged pilasters, four on
each the nonh and south walls and two flanking the entrance ponals on the cast and west
ends.
Original from
TEMPLES OP THE 00TH-11TH CENTU RIES JN EASTERN ORJSSA
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Caurisi: Virihi Temple
4. Portal Duoration
The entrance portal of the jagamohana, as at Gandhariic;IT, is framed at the sides by a

ntiga/ntigi stambha, the serpent on the proper right being male and the one on the left female
rather than both being female as at the gavii,lqa. The doorframc consists of three mouldings
decorated with the Jui/ilti, gelaba and jalapatra scroll motifs, an alignment which becomes
standard on most later temples. The center gtlaba motif changes into flying vidytidharat on
the lintel. At the base of the Jui/ilii scroll, on the inside jamb above the roof of the dviirapiila
niche, is carved a diminutive ntiga figure in the act of descending the jamb. Although this is
a popular decorative motif on temples in Central and Western India, as at Gwalior,
Khiijuriiho or Osia, this is its first appearance in eastern Orissa.» Its diminutive siu, and
lack of coils on rhe jamb above it, suggest it is an archaic residue from the earlier practice,
popular on temple doorframes in Chattisgarh, of carving large niigo figures, or super-
imposed niigas, with their entwining rails forming a scroll framing the doorway. The Gaja·
Laksmi panel on the lintel is partly covered with multiple coats of whitewash though it is
possible to discern that LaksmI is seated in the standard earl)' pose with legs crossed rather
than in lalittisano.
The dviiropti/01 are housed in an arched niche at the base of the two inside jambs. They
arc both four-armed female guards though they arc badly damaged so that all of their
attributes cannot be identified. They each hold a rosary, however, and the one on the
proper left holds a trident. They arc lithe in body proportions and assume a slightly Aexed
standing pose. At the base of the outside jamb adjacent co the dvtirapiilo is a standing ntiga
attendant housed in a plain niche. The niiga on rhc pt<)pcr right holds a garland while the
» This motif appcan earlier at Alampur though only $poradtc-ally. It ill carved on thC' doorframc: o( the BaJa
Brahmi temple wi1h its coils running up 1he j11mb as a narro~· (illt:t or pat/I bet-ween the major mouldings. On
Orissa_n doorfr2mes the tail disa.ppcars into tht foliage of the k.M/1/i scroll. At Tczpur the trca1men1 i.s the s11me
as a1 Alampur. The c2rlit"St Oriss2n e-xample appears 21 B:1idy2nath.
Original from
TF. ~tP l.ES <>f Tii t:: 10Tf~ . 1 1i ll CE~Tl ' Rll~S 11': J-::\STl~ R ~ <>RISS:\ :79
one on the left holds a vase in front of its body with both hands. Both f.g ures have a
canopy of serpent hoods. As on the Sisiresvara doorframe the nigar are carved at an •ngle
facing inward. A similar juxtaposition of niga with female dvirapila appears at Osia though
the female is a river goddess and the n4ga is placed next to her rather than in a separate
niche. Niga aucndants also appear on a doorframe at Karviin, near Baroda in Gujurar,
though they arc placed between a dvirapila and a river goddess.
The doorframe of the sanctum is similar in decoration though the female dvirapilar are
two-armed and have a pot-belly. Their hair is arunged in spiral coils so that, except for
their face, they closely resemble the image of V:irahi enshrined within. They both hold a
cup in their left hand while their right hand holds a mace or noose respectively. Diminutive
attendant female figures appear in the lower comers of the niches. The adjacent n4ga figures
each hold a garland in front of their body.
In front of the entrance portal of the jagamohana is a yiipa which further suggests the
Tantric nature of the temple.
l· C11/1 lmagu
Two of the piriva-devalir have survived, Gai;iesa on the south and Surya on the west or
back side of the temple. The niche on the north side is empty. According ro the Kaula
doctrine observed in this temple, consecrated ro Variihi who represents the jiiina-aspecr of
the Devi, it should have contained an image of Bhairava, the male counterpart of the
Jr'iiinasakti.ll The presence of GaQesa suggests that he may be invoked to help remove the
veil of ignorance that obstructs the light of jiiina. Surya, as the principle of light or
illumination, is obviously a complementary aspect of the Jr'iiina-devi.J2 Surya is seated in
padmirana on his chariot which is drawn by seven horses rearing up on thei r hind legs in
tip-toe fashion. He holds the sul k of a full-blown lotus in each hand. His hair is arranged
in a tall m11.l:M/a and the ends of his scarf billow up behind to give the impression of swift
movement. His body ornamentation is neatly carved. The charioteer Arui:ia is shown do wn
to the waist. Diminutive images of Dai:ic,li and Pingala appear at rhe co rners of the chariot
and again at the base of the jambs framing the niche. A mi1h11na-miirli is carved on the inset
above Surya attached to the base of the iirdhva-garhhikti. The four-a rmed Ganesa is depicted
in a standing pose eating sweets from a bowl held in his upper left hand. His lower left
hand rests on the handle of a hatchet with its blade on the ground. His lower right hand
holds a rosary while his upper right has a broken rusk rather than a radish as was
customary on earlier images. His pot-belly overhangs his girdle. A trefoil n iche appears
behind his head. He is flanked by flying vidy·idharar above and by ga~ar in the lower corners.
A mouse appears near his right foot.
The niches of the co mer 11111~di1 house the dikpilar wh ile those of the second m1111di
contain their ialr.ti though several of them have nor survived and a few have been wrongly
placed during recent repairs. This is their earliest appearance in their respective positions
on a surviving Orissan temple. As at Benusagar they arc depicted standing with their
)1 f·I~ 1~ 21 1·~~;,,,
2 n21kcd 2$C:cric "''ith m;titt<"d h2ir, c:ovc:tcd 1,1o·uh ;ti);hcs. He: cmbi.1<l 1c: ~ rc:nunc1at11)0,
withdrawal (rom 211! wordly tics and attachments, and thus represents tht· flr:-c Slep t('l\\·ards 1Uum1na11o n . $(c
Bontt and S:.arma, Silpo Prolt.4io, p. xli1i.
» Ibid., p. ~l i1 i. His arc the rays chat d i5pcll darknc:-s5, just :as \ 'ir:ihi is o nt of 1hc ray5 (li ~1ah:i tr 1pu ra!>UntlJ.ri.
the supreme: .\"oJt.11.
Original from
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mount in one of the lower comers of the niche. A diminutive ga/14 is frequently added in the
opposite comer. Their iconog raphy has not been standardized as yet. Nirriti, fo r example,
is aitended by a dancing figure rather than a prostrate corpse. The niches of the third mN(1Ji
on the long nonh and south sides contain a Saivite deity with the surviving images being
Gal)esa, Kantikeya and a four-armed Durga. The niches on either side of the gaviik/a
window house four-armed Mahiividyiis or iivara11a-Saletis.ll As Mahiividyiis they represent the
various stages and aspects of spiritual knowledge and funher emphasize the jniina aspect of
Varahi who is the 14th anga of Tripurasundari..14 The niches on the nonh and south flanks
of the entrance projection house the river goddesses Ganga and Yamuna. Altogether there
arc thus sixteen iivara11a·Salelis, counting the eight dilepiila·patnis, four gaviik/a guards, two
river goddesses and the two Devis from the third lflNl'Ji, in addition to the two female
guards on both the cast entrance and sanctum doorframc, which form a protective ring
around the jagamohana.
Within the jogamohano arc two detached images of pot-bellied Viirahl, both S<ated in
ordhoporyan/ea. One has two arms while the other has four. The two·armed figure holds a
leopdla in the left hand, a fish in the right. Her hair rises in spiral curls against a background
of an oval halo flanked at the top by vidytidharas. The pedestal is decorated "''ith two
kneeling devotees and two tripods heaped with offerings. The four·armed Variihi holds a
leoptifo and a rosary in her left hands while her lower right has a watcr·pot. The upper right
hand and the back -slab are missing. The buffalo-mount and two devotees arc carved on the
pedestal. The most impressive image of Viiriihi is the one in the sanctum. She is seated in
fofittisana on a cushion placed on a plain seat with her right foot resting on her buffalo-
mount carved on the pedestal. She holds a fish in her right hand and a leopdfo in her left . A
third eye is lightly etched into her forehead and her hair rises in spiral coils. A plain halo is
behind her head and vidytidharas arc on the upper comers of her back·slab. The image is
panially fixed into the wall . The sculpture, approximately six feet one inch high, is bold in
execution and monumental in conception.
6. Erotic lmaguy
As on other temples dating from the c.l osing years of the Bhauma period and opening
years of the Somavarilsi period, including the Simhaniitha temple, the Kutiiitul)c;li temple at
Khiching, the Somcsvara temple at Mukhalingam, at Baudh and on the Panca-Pai:idava
temple at Gal)eswarpur, erotic imagery penaining to specific Tantric rituals plays a role in
the overall decorative program. For the first time, however, this imagery appears in the
major niches. They arc in all of the leanilea niches and in the two anarlha niches on the Jong
west side. Six of these images have been identified by J. N. Banerjea as illustrating stages of
ritual love-making, or letimaleoltipr~yogo, as described in the unpublished Oriya manuscript
called the KaNfarutftima11i.l' The theme which he identifies as rojaptina (drinking female
d ischarge) is actually a scene of fellatio, however, and in many cases the male figure has a
JJ According to 1hc Kt.i,,,11h/ti,.ild1a the ti1'ar11"" .foJ:JiJ are like the Jirnbs of the supren1< .fakti. 'll:hC"n $hC
chan~cs into 1he roi!ro, o r like her ray:r., \l.'hcn her cffu l~c ncc ~oc~ into ma~ ifcs1a1 i o n . ''$he is 1hcn rcprcsent('d 2s
the .\.rirai!r11, 1hc .1""''" <>(n ine tr1anJ!1cs. But it 2ls<, s'l.ys that 1hc ti1'drt1'.fll J·•hi1 2rc Ilk~ a patch()( cloud, "'·hich,
altht>utith sm aller than tht ~un. pr1:vtnt' it from being seen." Sec Boner and Sarma. j'ifpo Prilk.iit'o, p. xii\•.
:M Ibid., p. "h\"
>~ J. N. B-ancrjc 2. '"The \ .'2r2hi Tc-mplc at C;h2ur2shi," in the /Jr. ,\lira1hi r ·1/iri1a1io,, I 'o/11mt {l"ag pur, 19C.s).
PP· J IL· !l·
Original from
TE ~IPl.l ~ S <>F ·r •ll·'. 101.f-l· t tTH <; F.NTl. R 1 £~S IN E.,<\$'1.ER.N <>RISSA z81
Vla/uinga, suggesting he may be a Kap:ilika, so it is apparent that the scenes do not

illustrate the rituals as described in this particular text. Some of the illustrations are nearly
identical to smaller examples appearing at Khiching and Mukhalir\gam and testify to the
widespread popularity of these rituals in the 10th century. As at the other sites there is also
an image of the Bhik~:itanamiirti. It is placed on the northeast comer of the jagamohana. In
addition to these ritualistic scenes there are also numerous milh11na images appearing on the
gaf.'Pi and in the recess separating the terraces of the jagamohana roof. For the most part these
mild scenes represent courting etiquette with the male attempting to win the affection of the
female. There is also an image of a displayed female carved on a pilaster capital of the
jagamoha11a where she is Aanked on either side by a bhirarak/al<a.
7. Duoralivr Motifs
Aside from cult images and mi1h11na-miir1is the most popular figure motifs arc the
lalabhailjiJ:as appearing on the ga!fdi and the bhirarak/al<as appearing on the capitals of the
pilasters and Aanking the poga vajra-111111111/<as of the jagamohana. In terms of body pro -
portions and ornamentation the female figures closely approximate those on early
Somavarhsi temples at Bhubaneswar, such as the Muktesvara. Generally the creeper bends
around the head of the figures to serve as a canopy. The hair is normally tied in a circular
bun to one side of the head, as at Mukhalir\gam, rather than on top of the head as in the
Bhauma period. The squatting bhorarak/al<as arc characterized by pot-like limbs as well as
bellies similar to those appearing on the triple temples at Baudh. Other figure motifs
include the hunting and battle scenes from the Rimtija!fa on the bara!f(ia and roof of the
jagamohana. There are, in addition, occasional scenes depicting menial tasks such as carrying
water jugs.
Of animal motifs the most conspicuous arc the 11aga-slambhas framing the entrance portal
and gauik/a-projection and filling the an11riha-poga recess on the dt11/. The gaja-kranla motif
of a lion springing on a crouching elephant appearing at the base of the slambha is more
closely aligned to those appearing on the lala-bandhani of earlier temples than the double
and triple arrangements typical on later temples such as the R:ijar:il)i. The 114J•alo lions also
make their initial appearance on the roof above the vajra-maslal<a and the /eir1im11kha mask
crowning the latter motif becomes more prominent due to its increased projection from the
wall. A leirlim11Vla frieze with hanging festoons of pearls dripping from open mouths
(alamba) is carved near the top of the niga-slambhas.
Aside from the scrollwork on the doorframe the most popular motif is the uana-/alo
which appears generally on the pigas beneath the niches and on the pilasters. In some cases
there is a central stalk which runs vertically through the lush foliage suggesting a tree-of-
life motif. The oblique carving technique is employed but generally the scrollwork is
encased by a frame so that the overall design adheres closely to the wall surface. The
carving is extremely refined and the motifs subtly varied to avoid monotony.
B) GA~ESWA Rl'l"R: PA:':CA-PA~OA\".~ Tl·.~11'1.E
One of the most beautiful of these early 10th century temples is the little-known Vi~l)u
1emple, locally called Panca-Pal)c;lava, situa1ed at the foot of Jalauka hill, on the bank of the
Birupa river, on the outskirts of the village of Gal)eswarpur in Cunack di <trict.
Original from
1·F. ~!Pl .ES t>r T ll E 101·tt- 11TH CENTl' RJES IN C:\STf.RN ()RJSSA
Ganeswarpur is loca1ed about five miles eaSI of Chhatia of£ the main road leading from
Cuttack 10 Bhadrak and about eleven miles southwest of Lalitagiri. The temple is built on
a low quadrangular platform and is of the panttiyatana dass with subsidiary shrines at the
four comers of the compound. The facade of the pla1form is relieved with carvings as at
Gandhariidi. At the entrance to the compound on the cast, Aanking the low steps leading
up the platform, is the remains of a 11aga·slambha. The base of the pillar is beautifully carved
with lotus leaves and pii'!'a·gha/a while the shaft has naga figures carved on three sides.
Fragments of a gaja-kranla motif, which would have been positioned beneath the nagas,
appear discarded next to the pillar.
The main shrine has been partially reconstructed from its previously ruined state so that
the general arrangement of the baria of the dtM/, up to the top of thejtingha, is visible. We can
only assume that the design of the ga(l{li was similar to that of the subsidiary shrines. Only
the pabhaga of the jagamohana remains standing and this likewise has been reconstructed
recently from fragments according to the original design. Three of the subsidiary shrines
are in a good state of preservation and attest to the original sumptuousness of the
decorative program of the temple complex. In contrast to most panttiyalana programs,
where the corner shrines are only modestly decorated in contrast to the major shrine, here
these temples arc lavishly decorated. T here is a very close affinity between the Pai\ca-
Pino;lava temple and the Mukte5vara temple at Bhubaneswar, as Debala Mitra points out,
in the selection of motifs and the luxurious treatment of the exterior walls, "though the
effect is more captivating and the treatment more sensitive in the Muktesvara temple,
mostly due to the superior skill of the artist and partly due to the fine-grained sandstone of
reddish variety, a most suitable medium for finjshed expression, to which khondalite stands
in poor comparison." J6 Also obscuring some of the crispness of the original carving is the
accretion of numerous coats of wh itewash, only partially peeled of£, as on the triple temples
at Baudh. In overall design and decoration, however, the temple is even more closely
aligned with the twin temples at Gandhara(li. The absence of certain motifs, such as naga·
slambhas on the jangha or figures carved in high-relief, suggest that the temple may be
slightly earlier in date than the Muktesvara. Stylistically the temple thus may be placed in
the second quarter of the 10th century.
1. &ii/a Dttoralion
T he bai/a is panta-ratha in plan and measures approximately t ! feet square at the base and
thus is slightly larger in the size than the Muktcsvara temple. The ptibhaga is 38 ' / 2 inches
high and consists of four mouldings identical in shape and decoration to that of the twin
temples at Gandharac;li with a vertical bar linking the top two mouldings and a tampaka leaf
hanging from the /eMmbha. The /eani/ea is carved as a multi-faceted pilaster relieved with
scrollwork on its major facet above a tala-bandhana and with a le.irlim11kha with garlands of
pearls near the top as at Gandharac;li. The anartha is likewise designed as a miniature shrine
or m1111i/i with a lala·garbhile.Q filling the indentation beneath its nicpe. The lala-garbhile.a is
designed as a thin m1111ifi with a standing figure housed in its small niche near the base . The
vimanile.a crowning 1he anarlha niche is not as elongated as at Gandharac;li and consists of a
single bhiimi division capped by a pheni relieved with padma pr11ha and surmounted by a
~ Ocb:i.J:a J\·fitr:a, "Panch:a-Panda\'a Temple: of Ganc:swarpur". J. J"\1• &int'}t4 l 'ol11"1t (C:alcutta, 1960), p. 296.
Original from
TEMPLF.S UP T H E toT H- ooTH CENT U RIES IN E ASTERN O RISSA
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Gand "'·arpur: Pailca·PIQ(lava T~mplc
khakhara moulding decorated with a uajra-mallako. The rairya-medallion of this motif has a
diminutive female figure on the wings rather than atlantid gapa1 as on the "'"l'rfi designs of
rhc j aga111ohana at Cauriisi. The jambs of the niche a rc decorated with scrollwork with a
kirtinrNkha dripping festoons of pearls at the top d uplicating the design of the koniko.
The raha docs not have the Aanking offset pilasters noted at Gandharii(li and its n iche is
simply framed by a multi-faceted pilaster on each side relieved with scrollwork on its center
facet and a lt.irti111Nkha with festoons of pearls ne2r the top. There is an additional thin
frame within the niche, however, relieved with scrollwork and a diminutive figure or
attendant at the base on each side. The tala-garbhilt.li beneath the niche is designed as a
khalehara-1111111ifi with a figure motif within its niche near the b2sc. There is a small irdhva-
garbhilt.li at the top of the raha niche while the area above its crowning cave appears to have
been designed as a bhi111i rather than having a large vtijra-111a1tako as at Gandharii(li. T he
baral'ifa and gal'ifi have not survived but presumably were similar to those on the comer
shrines.
•- Jaganrohana
Although only the pibhaga of the jaga111ohana is still standing there is enough to indicate
that the plan was lri-anga and th2t the overall decorative program was similar to those at
Gandharii(li and Caurasi. The angas Aanking the gaualt./a were simi larly decorated with
Jehalehara-11tN1,1(1i1 alternating with engaged pilasters though there were only rwo 11111prfit on
each side of the gauak/a rather than three. As at Cauriisi there arc no /a/a-garbhilt.li designs
beneath the m111,1i/i niches but merely an indentation. This contrasts with the dt11! where these
designs arc inserted beneath the niches whereas at Gandharadi 1ala-garbhilt.01 appear beneath
the 111N!'iii niches on both the d111/ and jaga111ohana. The pahhaga beneath these niches consists
of four mouldings simila r in design to those of the dt11! whereas the design beneath the
pilasters consists of only three mouldings. Only the base of the pillar.; Aanking the gauafe/a
Original from
1· 1::~1Pt t:S ()(7 THf. 1o·rH · 11Tlt C E~Tl.Rll':S II'; f .t\$Tf.RN ( )RJSSJ\
at the sides is ;,, tit11 and it is impossible to discern if there were naga/nagis coiling around its
shaft or oot. The ovcraU dimensions of the jaga111ohana are 24 feet 4 inches by 20 feet l
inches.
! . Corntr Shrinu
Three of the comer shrines have survived in a good state of preservation and arc
duplicate copies of one another. They rise to a height of about 16 feet and are miniature
versions of the major shrine though without the jagamohana. The biif{a of each is likewise
pailca-ratha in plan and measures 7 feet 6 inches square at the base, half the size of the major
shrine. The kanika is similarly designed as an engaged pilaster and the anarlha as a lehiileharii-
11111{1f{i. The piibhiiga consists of four mouldings with tala-garbhilei designs beneath the 11111{1(ii
niches. The rahii is designed as a truncated rtleha-dt11/ terminating at the height of the lirst
bhiimi as on early temples. The bhiimi is tri-ratha in design with the side piigas terminated by
an am/ii: The center piiga, however, is designed as a lehaleharii-11111/ftfi and there are no an11riibii
recesses separating the pagas. The tala-garhhik.ii beneath the niche is likewise designed as a
lehiileharii-11111/fdi.
The bara{l(ia consists of a large leh11ra-shape moulding surmounted by a recess which
extends continuously around the temple to efl'ectively demarcate the bada from the ga!'di.
The moulding is decorated with bands of scrollwork, most frequently mali ph11/a phadika, on
its 11111hii11/i and a cailja design on the sloping upper surface in the center of each piiga
division. The recess is lilled with ligure motifs, such as 111ith11111u, drinking scenes, hunting,
or fik.1iidiina motifs. The recess on the riihii, however, is treated more heraldically with a center
niche housing a deity flanked on each side by two niches containing a standing female
attendant and scrollwork in the end niche. This is an incipient design for an upper raha
niche which will become standard on later temples with a two-story jiiligha.
The ga11di is panca-ratha in plan and continues the vertical alignment of the bii(ia. There is
thus no an11riihii recess separating the side piigas. The kanika is divided into live bhiimis with
each bhii111i having four bara11(iis in addition to the crowning am/a. The hara{ldis are
ornamented with scrollwork on their 11111hatt/i and cailja-medallions on the sloping upper
surface of the second and third moulding, a slight variation from the decorative program
on early Orissan temples where the top two bara{l{iis were joined by a single caitya. The
anartha consists of identical mouldings superimposed up the height of the ga11(ii decorated
with the reticulated railja scroll with interlacing ribbons as on the triple temples at Baudh.
The base of the rahii is designed as a vajra-11111/fefi with a crowning vajra-111aslaka consisting of
a single cairya-medallion formed by pearls dripping from a projecting k.irti111111eha at the
apex. On the north side of the southwest comer shrine, above the entrance, the motif is
flanked on either side by ajti.grala while the kir1i111111eha supports a large, seated Saivite ligure
holding a trident, an unusual feature for a VaisQava temple. The riihii above the vajra·
111aslaka is decorated with the reticulated phand granthi scroll. The bisama partakes of the piiga
divisions and is ornamented with scrollwork and spaced designs. On the raha portion is a
large seated ga!Ja, as at Gandhara<,li, which serves as a harbinger for the insertion of seated
ligures in the btki of later temples. On the southeast and northwest corner shrines the
amalaka is intact though the surmounting finials arc missing.
Original from
4. C11/t lmagu
None of the piirfva·drvatiis on any of the shrines have survived and most of the a11artha
niches of the main shrine arc empty. On the southeast and southwest corner shrines the
anartha niches arc filled with the dikpiila1. They arc accompanied in the lower corners by
their mount and frequently a ga(la as at Caurasi. The iconography again is not completely
worked out and Indra is attended by a seated Ga1,1esa rather than an elephant. The program
differs on the nonhwest corner shrine, however, with the niches being filled with K rs1,1a· lilii
scenes. The motifs include Pralamba· vadha, Kuvalayiipida· vadha, Dhenukiisura·vadha,
Yamalarjuna, KcSinisu ra-vadha, Plitani-vadha, Ari~tisura .. vadha and, in the niche on the
west side of the door, a standing male figure holding a dub in his right hand, possibly a
dviirapala. In the Pralamba motif, as in the earlier example at Sirhhanatha, both boys are
pounding the demon but now arc riding on his shoulders. The same motif appears again in
the anartha niche on the proper left side of the door of the main shrine, the only image in
sit11, to suggest that Kr$1)a-lilii scenes also filled these niches. There arc also Kf$1)a-lila
scenes carved on the face of the pi/ha, alternating with or Aanked by erotic imagery, as well
as detached images scattered among the debris. Included among the scenes is one of
Yasoda holding the young Krsr:ia. one of Nanda and the infant Kr$1,1a and one of cwo
wrestlers locked in combat. An image of Buddha seated in padma1ana was found in one of
the anartha niches on the south side of the main shrine though it is not likely that this was
its original position or that these niches contained avatars considering one of them is
occupied by a K rsr:ia-lila motif37.
Within the sanctum of the main shrine, panly fixed to the back wall and resting on a
spouted pedestal, is a chlorite image of a four-armed Vi$1)U standing in samabharlga on a
viivapadma cushion. The image is l feet l inches in height and is similar to the images
within the Nllamiidhava temple at Gandhariidl. The upper right hand holds a takra while
the lower hand is in varada. The left arms arc broken off at the elbow. There is a plain halo
behind his head and he is attended by Sridcvl and Bhudevi in the lower corners.
I· Drrorativt Motifs
Scattered about the debris in the compound and carved on the pi/ha along with Krsr:ia-
lilii scenes arc numerous erotic motifs including examples of Tanrric rituals as at Cauriisi.•
Khich ing and Mukhalingam, testifying to the widespread popularity of this form of
religious practice which is illustrated on Vai$1)ava, Saiva and Siikta sh rines alike. As at
Sirhhaniitha there is even a scene of bestiality, the animal this time being bovine. E\•cn
though this is a Vai$ 0 ava shrine the erotic rituals again appear to be associated "'ith
Lakulisa and the Bhik$iilanamuni of Siva as these images appear in the bara(lr/a recess of the
comer shrines along with scenes of li!iga·plija. There are also numerous examples of erotic
exhibitionism, both male and female. In one example the displayed female is Aanked by
another female on either side while in another case a pot-bell ied ascetic is standing next ro
her. In a third example the female stradles a /ingam with her yqni actually making contact as
in an example at Khiching. There are also mild mithuna images with the figures appearing
in niches. In addition to erotic imagery there are frieze fragments illustrating episodes from
the Rame!Ja~a which probably formed the cornice of the jagomohona roof as at Caurasi. At
" Ibid., fig. , .
Original from
186 TC~tP l.tiS ()f THF. 10TH 11TH CEN11.'Rl f.S IN
0 tAS1l~ RN <>RJSSA
the entrance to the compound on the cast arc two large 11tiga{11tigi-1/ambha1 with have
serpents carved on three sides to suggest they were free-standing pillars which probably
served as the posts for a tora11a or entrance gate.
The most popular scrollwork on the bti(ia is the garbled i·ana-latti scroll which decorates
the engaged J/ambhas and the m11hti11/i of horizontal mouldings. On the ga11(ii the dominant
scroll motif is the phand granthi consisting of multiple fairya-medallions with interlacing
ribbons. There are three faitya1 on the anartha mouldings while on the rtihti there arc five.
The carving is crisp and neat, despite the soft khondalitc stone and accumulations of
whitewash, to produce an incrustation which resembles filigree ornamentation suspended in
front of the walls.
C. TIRTHE~l'ARA TE~IPLE
Contrary to the continuous activity taking place in other parts of Orissa during the latter
part of the Bhauma period, temple construction langu ished at Bhubancswar after the
interruption of work on the Vaital Dcul. The story recorded in the i\ftidalti Ptiiiji that the
images of Jagannatha, Subhadra and Balabhadra were removed during the so-called
Raktaviihu invasion in the reign of Subhanadcva and buried at Gopali near Sonepur and
that Yayiiti-kesari, after a lapse of 146 years, installed new images of the deities in a new
temple built for thcm,l8 appears to confirm this long period of relative inactivity along the
eastern coast of Orissa. It is not until the opening years of the 10th century, with the
introduction of new architectural features and decorative motifs from the upper Mahanadi
valley, that temple construction commenced again at Bhubaneswar. One of the earliest
temples to exhibited this revitalized style, assimilating the new features and motifs with
indigenous building traditions, is the small and dilapidated temple of Tirthesvara situated
on the bank of a small siream near the Ko1itirthcsvara tank. Stylistically the temple is
closely related to the Viiriihl temple at Cauriisi and the triple temples at Baudh and dates to
the opening years of the 10th century. Though unpretentious in scale, and only partially
finished, it serves as a harbinger for the more developed decorative program appearing on
the slightly later Gauri and Mu ktesvara temples.
t. Bai/a Duoratio11
Like the triple temples at Baudh the Tirthesvara is bu ilt on a high pi/ha or plinth of
raised platforms though it is now mostly overgrown with foliage or covered up by an
accumulation of debris. The ptibhiiga consists o f four mouldings similar in design to that on
the t\l.·in temples at Gandhariii;li with a fampale.a-lcaf carved on the face of the kNmbha and
faitya or le.iri/a designs on the le.h11ra. A vertical bar likewise connects the top two mouldings
and is here relieved with a standing female figu re. The overall height of the ptibhtiga is 31
inches.
The bii(ia is appro ximately 10 feet 10 inches square and has a paiira-ralha design , the first
full-fledged example at Bhubaneswar. The le.anile.a-piiga is designed as a pilaster, as at
JI! S<.·c: i'2n1j:t.rah1, ·' ''"bat1Jf0;~,ir11/ Re11tain1 111 Hf_.1tb11n<1a·Qr, f'P· i .i J• 246.
to\., C.. :O.l i'.'lhra. ()n the: other hanJ,
su~~es t s 1hat the Rakc:ab:ihu 1 nva s1~>n men11onc:-d 1n the .\tJtftJlip1i1J;i may refer to an 21 tack by 1hc: Bihu family of
Ccrlon or perhaps an in\'a!J1on from Java. See I\: . C. ~fi ~hra, op. tit ., p. ~z .
Original from
Gandhariidi, though wider and the small niche appearing on the latter is here replaced by a
female figure carved in high relief as on the triple temples at Baudh. The female figure is
placed above a small lala-baJtdhani consisting of two mouldings. The shaft of the pilaster
above the female figure is relieved with scrollwork and an overlaying kirli111111e.ha with
festoons of pearls at the top. It is crowned by an iirdhva-bandhana consisting of a single
moulding and a panel carved with a squatting bhararak/aka as at Baudh. The anarlha-paga is
likewise similar to that on the triple temples at Baudh with its niche resting directly on the
top moulding of the pabhaga and its upper area filled with a small iirdhva-garbhiltti. The
vinraniltti above the niche is also designed as an elongated le.hale.hara-m1111li consisting of six
mouldings though it is not crowned by a kalaia as at Baudh. A vcnical bar relieved with
scrollwork likewise runs up the center of the vimaniltti. An innovation not appearing at
Gandhariii;IT or Baudh is the naga-Slanrbha which fills the an11raha-paga recess between the
ltAnika and anarlha. In contrast to the treatment at Caurasi, whe re this slambha begins above
the pabhaga mouldings, on the nnhcsvara the s1a111bha cuts through the mouldings as an
independent clement. The design of the pabhaga ponion of the stambha differs from the
kalfika and anarlha and consists of a diminutive arrangement of le.h11ra, .Wmbha and vasanla
mouldings reaching up only to the height of the le.h11ra on the ptibhaga of the adjacent pagas.
The next clement is a rectangular panel relieved with a female figure which corresponds to
the height of the adjacent l<Nmbhas. The crowning clement consists of four mouldings. The
base of the shaft of the slanrbha resting on the ptibhaga is carved as a double gaja-lutinla,
depicted frontally, rather than the single gaja-kranla depicted in profile appearing at Caurasi.
The naga is carved near the base with its tail coiling above, suggesting it is descending, in
contrast to Caur:isi where the naga is carved near the top with its tail coiling below to
suggest an ascending movement. Near the top of the shaft is a kir1i111111e.ha while its capital is
relieved with a <ailya motif.
The rahti projects some 14 inches beyond the adjacent paga thus allowing its lateral Aanks
to be decorated. The design of the raha-ptiga consists of a niche Aankcd on each side by a
large pilaster. The pilasters arc decorated with female figures carved in high-relief,
scrollwork, kirlim111e.ha frieze and squatdng bhararak/aka in the same manner as the kanika.
The niche has an tirdhva-garbhiltti in its upper area and a 111/11-garbhiltti below, both designed
as le.htile.hara-m1111lis. The lala-garbhiltti, corresponding to the ptibhaga, has its own niche which
is filled with a dwarf:Jak/a in the center panel andjagrala motifs on each side. A projecting
cave appears above the raha niche.
1. Ga/Iii Duoralio11
The height of the jangha is 61 inches.• twice the height of the pabhaga as on earlier Orissan
temples. The bara11{ia consists of a prnjecting moulding relieved with scrollwork and a
recess. The recess is decorated with jali work alternating with panels carved with elephants.
The ga11(ii is pali<a-ralha in plan, continuing the vcnical divisions of the ba{ia, and bends
inward sharply near the top as on the triple temples at Baudh. Except for the vajra-maslakas
on the raha-ptigas, which arc only panly finished, the ga11{ii is devoid of decoration. On the
nonh, west and south sides the vajra-nra11aka begins immediately above the projecting cave
over the par/va-tkvalii niche, the rahti not pan a king of the bara11(ia division. The vajra-mastaka
consists of a large <ailya-mcdallion formed from pearls dripping from a kirlim11/eha mask.
The kir1inr111eha projects out a great distance from the wall surface, as at Gai;ieswarpur and
Original from
288 TEMPLES OF THE 10TH-11TH CENTU RIES IN EAS'f ERN O RISSA
r- - - 1 1 0 ' ._...,,
l- .. .. 1
•• ·- I- I .
''I
Bhubancswar: Tin.hei \'ara Temple
Cauriisi, while the rail.Jo motif is lightly carved. A bell hangs from the mouth of the
kirJi11r111<.ba into the rail.Jo. We thus see a change developing in the design of the vajra·
11ra11aka motif. On earlier temples this motif consisted of two superimposed railya motifs,
the smaller upper medall ion being circular and the larger lower medallion keyhole shaped
or rectangular. These medallions were filled with figure sculpture, such as Na1araja and
Ravar:ianugraha-vadha-miirti. The design as it exists on the Tirthesvara is incipient and
serves as a ha rbinger for chc bh1>-type vajra· mastaka standard o n later temples. All that is
missing are the Aanking dwarf:1ak/a1. The design on the front riihii, over the entrance
portal, is somewhat different and adhe res more closely to earlier traditions. Immediately
above the roof of the portico is a l<.biil<.barii-m1111(ii with a triple niche at its base similar to
motifs at Baudh, Gandhara<;II, Gar:ieswarpur and Caurasi. Above this arc two superimposed
circu lar rail_Ja· medallions formed from pearls d ripping from the mouth of the projecting
kir1im111<.ba. The lower medallion is filled with a face while the upper medallion houses a
Nataraja, the latter a vestigal carry-over from earlier vajra· ma1taka1. This is perhaps the last
example of Nata raja appearing within the design of a vajra-mastaka. On the slightly later
Mu ktesvara temple a Na1araja appears on the ga{l(li above each vajra·ma1taka but docs not
actually form part of the motif itself.
l · Portal Decoration
The portico attached in front of the entrance to the sanctum is a makeshift construction
built from the fallen debris of the original jagamohana. f\1ost of the pi/ha supporting the
original structure has been washed away by the stream Aowing next to the temple. The
1a11dhi-sthala has a mi1h1111a carved in high-relief on the first course of stone above the piibhiiga
but is otherwise plain. The doorframc has three bands of scrollwork above the dviirapiila
niche, including the jalapalra, an incipient form of vart11/a and the /eN/ila. The dviira-la/a/a·
bimbo panel on the lintel is decorated with Gaja- Lak~mi. Lak~mT is seated in lalitiisana as at
Baudh rather than in padmiisana as standard on early images. The lotus Aowers supporting the
Hanking elephants arc represented as Hat cushions in the early tradition whereas on later
temples they will be represented as circular discs. The makeshift arrangement of the
portico, with stone slabs fi lling in the area between the Hanking pilasters and the
doorframe, partly obscures the navagraha slab of the architrave, the grahas at the extreme
ends being covered from view (Ravi and Kctu). The remaining grahas, except for Rahu, arc
each seated in padmiisana with a vessel in their left hand and a rosary in the right. Rahu is
Original from
·r E ~IPl.l~ S C>F T HC 10Ttl•11Tl.f <~ EN'J'l' Rl l ~S lN l•.:\S'f'l~ Rf'.: () RI~~.-\
represented as a head and hands only as at Baudh rather than a half-bust figure in profile in
the earlier tradition. Ketu is represented kneeling on his knees in contrast to the later
tradition where he is serpentine from the waist down. This is the earliest surviving
navagraha slab at Bhubaneswar as earlier slabs contained only eight grahas.
The dvarapalas arc housed in unfinished niches at the base of the two outside jambs, the
niches arched at the top to resemble miniature shrines. The narrow area beneath the inside
jamb, left plain, probably would have been designed as a pillar as on the Muk1e5vara
doorframe with a diminutive naga bust on its roof. The panels beneath the dvarapalas, left
unfinished, similarly would have contained lion monsters. T he dviirapiilas arc somewhat
squat in body proponions and stiff in pose. The benign l\1ahakala is represented with his
right hand extended in varada and the left hand holding the trident. The terrifying Nandi
has four arms though the left two are badly damaged. His upper right hand holds a rosar)'
while the lower right is in varada. Both dviirapiilas wear a sarpa-kJ,p(iala in the right ear and
have their hair arranged in a tall jafii-m11kN/a. This is the first example of this coiffure
appearing at Bhubaneswar. Nandi has a skull-medallion at the base of his coiffure and
wears a shon beard. The feet of both dviirapiila1 are poorly defined and too small to
adequately suppon their weight.
~· Funalt Fig11res
None of the niche images have survived, their theft or destruction apparently made easy
by the practice, re-introduced at this time, of carving the figures from a single stone rather
than from the temple wall as was popular during the Bhauma period. The surviving
decorative program is dominated by the image of woman, continuing the iconographic
program noticed on the temples of the 8th century at Bhubaneswar, though they are now
carved in high-relief rather than placed in niches. These figures carved in high-relief, a
technique introduced on the temples of the upper l\lahinadi valley towards the end of the
9th century, appear on the kanikas. Additional female figures appear in niches of the
piibhaga, the largest being those at the base of the naga-J/ambhat. The majority of these
figures are ala1ii-leaf1J•ii1 or indolent females in various poses of every day life. Ther
invariably stand on a lotus cushion wirh a creeper bending over their head to form a
canopy as at Baudh, the canopy replacing the haloes standard on 8th century images of a
similar nature. They sometimes hang onto a branch, look into a mirror, adjust a sandal or
smell a flower.
There arc in addition several female images which are mo re erotic than these merely
seductive ala1ii-kanyii1. On the southwcsr kanika, for example, the female assumes a
squatting position with legs spread wide to ritually display her yoni, a variarion of rhc
displayed female morif appearing on the earlier Sarrughnesvara, Parasurimcsvara,
Mirkaodeycsvara and Simhan:itha temples. This is rhc firsr time, however, that this
panicular motif appears on such a large scale and placed in a position normally reserved
for cult images. Immediately beneath her yoni, which has been deepened by rhe habicual
practice of "touching" with lingers made wet by licking, is the remains of a dwarf
attendant preparing the yoni for ritual consccrarion (yoniiibhi1tka}, a ritual forming one of the
a11a-le.iimakalii-prayoga stages described in the Ka11/aair/Omapi and suggesring the Tantric
nature of the decorative program. Anocher version of this motif appears on the west Aank
of the raha projection on the sourh side. The female no longer assumes a hieratic squaning
Original from
T E MPI.ES OF T HE •0TH· 11 T H <:F.l'TL' RIES JN F.ASTF.RN O RJSSA
pose but rather places one leg on a stool to exhibit her yoni in a more casual manner. Her
left arm is badly damaged but probably held a mirror as her head is turned in that
direction. The diminutive attendant between her legs appears to be applying cosmetics to
her yoni. Almost identical versions of this motif of yoniiibhi!tka appear on the Gauri,
Riijariil)l and Brahmcsvara temples.
Of the numerous images of woman appearing in the pabhiiga one of the most interesting
is the popular padmagandhii motif of smelling a lotus flower. In the numerous examples of
this motif the long-stemmed lotus emerges from the lower left comer of the niche and
crosses the female body in a diagonal curve to the upper right. The female dynamically
crosses her right leg so that her foot is firmly planted next to the root of the stem. Her torso
thus forms a diagonal thrust in the opposite direction of the long stalk. She bends the stalk
with her left hand, near the hip, and with her uplifted right hand holds the stem near the
flower. Similar examples of this motif appear at Bajrakot, on a detached sculpture from
Cuttack in the Orissa State Museum, on the l\.iuktesvara and Rajariil)i temples. In the
l\.iuktesvara example the upper torso is less frontally depicted, one breast being placed
slightly lower, and the legs arc more natural and organic. A similar advancement in
conception and body aniculation is evident in the ubiquitous motif of a woman standing in
a doorway with a parro t perched on top of the half-opened door. In the Tirthesvara
example, appearing in a niche in the piibhiit,a, the woman is again rendered in a stiff and
awkward frontal pose with her arm cutting horizontally across her body just below the
waist. The head is overly large for her body and the fingers of her rig ht hand arc poorly
aniculatcd. In the Muktesvara image the body is again better aniculated and more relaxed
in pose with the arm crossing the body just below the breasts. The head is better
proponioned to her body and the door is more ornately deta iled. On the later Brahmesvara
temple the pose is even more animated with the body twisting in a sensuous manner and
the head turned back so that a tribhanga posture results. The general trend in these examples
moves from a rather static and awkward pose to a more naturalistic and animated pose
which better stresses the ample charms of the female form. Jn terms of body proportions
the figures become more lithe, the legs longer and more supple, the curves of the female
body more graceful. It is thus o bvious that the Tinhesvara temple represents an early
experimentation with the new motifs filtering into Bhubaneswar at this time and that the
local sculptors, after a long lapse of relative inactivity, were inexperienced and ra ther
unskillful in handling individual motifs as well as the overall decorative program.
4 . Duorative Motifs
The most dominant figure motif, aside from the a/asii-kan)'ii, is the bhiirarak/aka which
appears primarily on the capital of pilaster designs and is a motif peculiar to temples of the
10th century. It first appears on temples in the upper Mahiinadi valley to suggest a
derivation from Central India. This pilaster design of the kanika, consist ing of base
mouldings, figure carved in hig h-relief, scrollwork, ii/amba motif with kirtim11/eha and
crowning atlantes, is obviou sly an Orissan adaptation of interior pillar decoration such as
appear in mart{lapas of Central Indian temples. Jn contrast to the atlantid t,a~as at Khajuraho,
Gyraspur, Udayapur and elsewhere, where the dwarfs radiate out like spokes from the
capital, the Orissan atlantids are carved in sh2llow relief and contained within the pilaster
boundaries. They appear quite crowded within their shallow niche, their elbows resting on
Original from
Tf.~IPl.l ~S ()F Tl-IE 10TH· 11T H CE N'fl' RIJ~S IN ·~,,s·rf~ RN ORISSA
their knees, and frequently assume acrobatic positions. As at Baudh the gonos arc pot-bellied
and their limbs arc pot-shaped while the fingers arc stiff and resemble folliage. In some
examples they have a pointed beard, in other cases they hold on to their /itlgam to stress
their erotic nature. This last feature is panicularly noticeable with the gonos housed in the
center niche of the lala-garbhi/e,i beneath the riihii niches where they are represented
irdhvoliliga and Ranked by jiigrala motifs of warriors riding leaping leonine monsters.
The niigas carved on the slambhas arc near the base so that their tails coil around the shaft
above them, suggesting a descending aspect. They generally hold a lotus in one hand and a
vase. The serpent in the recess on the proper right is normally male while the one on the
left is female so that a union of opposites is visually represented on each side of the temple.
The double gaja-kriinla motif at the base of the Ila•bha, immediately above the piibhaga,
represents the lions with thei.r inside paw uplifted as if to strike the crouching elephant
beneath. Aside from the jagrala motifs on the lala-garbhikii designs the only other animals
are the elephants carved in the hara/Ila recess which generally are represented in pairs
alternating with panels of jii/i.
The scroll motifs arc similar to those at Caurasi with the voNJ-latii scroll of garbled
foliage being the most popular and usually decorated with the iilaMba motif of festoons
hanging from a kirli-kha when carved on the pilasters. Conspicuous by its absence is the
multiple caitya scroll with interlacing ribbons noticed at Baudh and Ga(lc5warpur. Among
the motifs appearing on the kh11ra moulding of the piibhiiga is the nandikii-m11kha (latii vajra-
m11n(i.a) of a female head housed within a cairyo-medallion while her breasts arc depicted
outside. Like other vojro-man(i.ala motifs it is thought to have apotropaic power to protect
the structure from lightning and other forms of destruction.l• This more elaborate
treatment of the kh11ra moulding sets the trend for later temples where m11nrf.i designs with
niches eventually house multiple figure scenes.
Many of the details of the original carving on the temple arc obliterated by countless
coats of whitewash still panially adhering to the surface, a habitual practice based on the
superstitious belief that coats of vojroltpa will help protect the structure from calamities or
destruction. A similar incrustation appears on the triple temples at Baudh, at Gandhara\li,
Gan.Swarpur and Cauriisi.
The Damano Bhailjikii Yiilrii fesrival testifies to the sanctity of the site where, on the 14th
day of the waxing moon in Caitra, the proxy of Bhuvanesvara is brought to the temple and,
amidst general rejoicing, receives presents of ornaments made of thyme sprigs.'°
D) GAt:Ri TE~IPl.E
The small GaurT temple, of the khiikharii order dedicated to the Devi, is situated in the
same compound as the Kedaresvara temple. Due to its proximity to and affinity with the
famous Muktesvara it has mostly been neglected by an historians. In the /l.1Jdolii Pailji it is
star<d that Indra-kesarl (lndraratha) worshipped Kedaresvara which led Panigrahi to
suggest, since the Kediresvara is a later temple, that the Gauri, being in the same
compound, may have been built b y Indraratha.•• This would place the temple in the 1 1th
,. Sec K aulicira, Silpo p,.11~1d, I. 146· 111. pp. 14· .ts.

«> Stt R. L. ~i itra, op. tit., II, p. •SS ·
•1 Sec Panigrah1, ArthMol~itt1! Rrmt1tn1 11t Bh"bant1•·11r, pp. 148·:49.
Original from
TE~IP l.. ES OF Tl lf. 1 0TH · 11T~• CF.NTU-RlES IN l! ASTERN O RISSA
> -- - Ill
---\l
:
IDO'
l_____ _
Bhubane!;war: Gauri Temple
century, ho"•ever, and stylistically it belongs to the second quaner of the toth century. Its
exqu isite decorative program is closely related to that of the J'.fuktesvara though possibly
slightly earlier in date. Its presentjagamohana was reconstrucred some fifty years ago, along
with the crowning members of the dt11I, and it is difficult to ascer12in how closely the
architects adhered to the original design. These reconstructions are bereft of decoration and
plastered with whitewash which contrasts with the purplish-red body of the original
structure.42 There are also numerous recarved o r replacement images which are crude in
execution in contrast to the beauty o f the o riginal images. Other replacement images
appearing in the niches on the 1.a11(ii include the fish, turtle and lion ai•olars of Vi~i;iu along
with a scene of a royal couple embracing on a bed.
1. &i(ia Duoration
The temple is built on a low pi/ha, tri-ratha in plan, decorated with bhirara/qakas o r
gattas, many of whom assume erotic or acrobatic postures, on its vertical face. The bic/a
measures I} feet 4 inches b y 11 feet and has a pailra-ratha plan. Due to the staggered
projection of the pigas, possibly inAuenced by stellate designs from the upper Mahanadi
valley, the plan assumes a lozenge shape. The pibhiga is 27 inches high and consists of live
mouldings on the rihi and anarlha but has on ly fou r on the /eanika, a transitional feature
also appearing on the J'\fuktesvara. There is a tala-garbhilea beneath the anartha niche so that
the pibhiga of this piga has a tri·partite design . The tala·garbhilea is designed as a lehileDnra·
m1111¢i with a diminutive niche at its base. A kiri/a design appears on the M11ra moulding
and all of the mouldings arc richly o rnamented as o n the nnhesvara.
The kanika is sim ilar in design to that o n the Tirthesvara. 1t is an engaged stambha with a
square capital housing a bhiraraJqaka in its shallow niche. The shaft is decorated with a
tala-bandhana, figure motif carved in high-relief and scrollwork with an overlaying alamba
motif oi a kirtim11/dJa dripping festoons of pearls. The figure motifs are either alasa·ka'!]•tis o r
a mith11na. The anartha is fashioned as an elongated /dJti/dJari-m1111ifi, as o n the Tinhesvara,
The: rc:dnc:!;s is due more

42 ro :applied CQ<l.rli o( paint than 'o the natural color of the stone. Sec O. ?-.l itr2 ,
Bh"b""~t•ttzr. p. 4 s.
Original from
1·1 ~ ~IPl.l~S ()f- illl ~ 1o·r1 1.1 1'fH Cf. NTl'Rll~S IN ..:..,s·rl·:RN <>RJSSA '9l
though the crowning .th.ikhar.i·moulding is replaced by a leolaia flanked on either side by a

j.igrala as at Baudh. The vertical panel overlaying the horizontal mouldings of the vi111.inilt4
is relieved with ornate scrollwork. A diminutive iirdhva·garbhilt4 is placed above the niche.
The n.iga/n.igi-1tambha1 appear only on the longer west side where they are inserted into the
an•rah.i recess between the r.ih.i and anartha. On the Tinhesvara they appear between the
aNJrtha and leoni/eo. The serpent is represented descending above a double gaja·le.ronta. The
pobh.iga of the recess is f;lled with a J.ilabhatijilt4. The capital of the 1/ambha has a
bh.irarale;aleo in its shallow niche.
The r.ih.i projects out a greater distance than the anartha and has a panta·ratha design
consisting of a niche flanked on either side by a pair of pilasters. The outside pilasters
duplicate the engaged 1tambha design of the leonileo while the decoration of the inside
pilaster deviates slightly with the tala-bandhan.i being eliminated, thereby lowering the
position of the ala1.i-leo11.Jii. while the square capital is replaced by a second ala1ii-leony.i. The
staggered alignment of the ala1ii-leo11.Jii1 at the base of these 1tambha designs is changed on
the l\fuktesvara where all four f;gures are at the same level. On the inside pilasters on the
north side the ala1ii·leonyii1 are replaced by the river goddesses whereas on the Muktesvara
they appear on all three sides. The iirdhva·garbhilt4, designed as a rt.thii·111•11di with crowning
amalaleo, is greatly enlarged, thereby reducing the size of the niche. The tala-garbhilt4 is
designed as a .th.i.thar.i-1111111(1i. This paiila·ratha design of the riihii is covered completely by a
projecting thhajjii or cave which has a diminutive erotic scene on its sloping upper surface.
The vajra-ma1taleo of the ga"i springs dircetly from this thhajjii and visually converts the
overall design of the r.ihii into a colossal vajra-11111"i which extends up the height of the de11/.
The 1andhi-1thala measures j8 inches and is decorated with a thin pilaster next to the dt11/
and an ala1ii·leo11J.i oryoni.ibhi;tleo motif on the wall portion next to thejagamohana. The shaft
of the pilaster is relieved with scrollwork and an .ilamba motif near the top beneath the
capital ornamented with a bh.irarak/aleo.
i. Ga11di Duoration
The bara/lda consists of three horizontal mouldings linked together by a <aitya on the
anartha and a leaf design on the leonileo. Rather than effectively separating the bii{la from the
ga"i as on earlier temples with a continuous recess, however, these mouldings, as at
Cauriisi, tend to extend the vertical division of the bii(la into the gafldi in one continuous
thrust. There is more clarity than at Cauriisi as the mouldings arc aligned w ith the thhajj.i
covering the riih.i design.
On the longer west side the ga11di has a 1apta·ratha plan produced by the extension of the
11iiga/n.igi·1lambha which creates an additional piiga. The ga11(ii is div ided into two bblimi
divisions which arc designed as .thaleharii-1'1#/fdiJ. The designs of the lower bhiimi arc aligned with
the piiga1 of the b.i(la and continue their vertical thrust. The .th.i.tharii designs of the second
bhiimi have a niche at their base and are set back so as to begin a new vertical thrust. The
riih.i consists of two large vajra-maJta/eo designs with the lower one provided a small niche
flanked on either side by a female f;gure and a short pilaster. At Gancswarpur this motif
formed pan of the bara"a but here it is conceived more as an upper riihii niche which serves
as a harbinger for the eventual development of a two-story design. The vajra-ma1taleo
designs consist of a large taitya with a projecting /eirtim11.tha at the apex. A bell hangs down
into the outer borders at the top of the <aitya while the center is hlled with lotus rosettes
Original from
TE~IP L ES <>!=- l'Jt l~ 101·H· 1 1TH CE"''rl· RtES IN f.,<\STJ:RN <) RISSA
except for the lower motif on the west which contains a mask with projecting tongue. Its
association with Kubera is suggested by the alignment of seven jars over its head. The
wings of the <airya-medallion are decorated with a ga~a or alaui-le.all.Ja while surmounting the
le.irlim11/eJJa of the top vujra-maslale.a is a seated ga~a holding his litigam with his left hand.
Female figures also Rank the upper motif on the nonh side where they are represented as
ialabhaliji/e.i1 similar to those on the lora~a of the Muktesvara. An image of Agni appears
above the /e.irlim11/eJJa.
These 1•ajra-mas1ale.a designs thus are early examples of the bho-rype designs which become
the standard apotropaic motif decorating the ga~t/i of later temples. T he lack of standardiz-
ation in the designs suggests their experimental aspect. Beginning with the .t.tuktesvara
temple the projecting le.irlim11/eJJa is gradually lowered to become aligned with the head of
the flanking ga~aJ. The Ranking ga~as will all be male and will generally hold either a chain
or weapon such as a sword o r club, their original atlantid function apparently forgotten.
The motif here, though more developed than at C1urasi, is in a transitional stage and helps
to tentatively date the temple.
The biJama terminating the ga~t/i consists of a bold pht~i moulding decorated with padma-
Prt!ha scrollwork, as at Caurasi, wh ile the btle.i recess is similarly filled with perforated Joli.
The original shape of the mas/ale.a crowning the deNI is not known with cenainty, having
been completely plastered some one hundred years ago after lying in ruins for a long
period. Pans of it were again "restored" and treated with plaster at the beginning of the
20th century so that "we are less cenain of its original features today than we were half a
century ago."O As reconstructed now, resembling an invened bowl, it consists of two
le.hale.haras, separated by a recess, with a surmounting le.a/ala and finial. The projecting 11dyala
lions, four crowning the lower le.hale.hara and two on the top le.hale.hara, were added to the
temple at the time of its last restoration ... It is thought that originally the m~lale.a was
composed of only one le.hale.hara as standard on most le.hale.hara temples.
l · jagamohana
The original j agamohana has also disappeared and was r<placed at the beginning of the
20th century with a new construction which is now heavily plastered and whitewashed. The
manner in which the pi/ha of the dt11/ follows closely the shape of the structure yet is missing
beneath the jagamohana suggests that even the collapsed structure was probably not pan of
the original design but a later addition. The jaligha of the present structure is divided into
two stories by a madhya-bandhana or stringcourse, a development introduced at
Bhubaneswar in the early 1 uh century. The only decorations are the pit/ha and le.hale.hara
"'"~di designs of the pdgas. The orig inal roof was probably of the pit/ha type with the roof
consisting of horizontal mouldings or pi{lhas diminishing in size to form a pyramidal shape
as on the l\fuktesvara. As now reconstructed the roof contains live pi{lha mouldings
crowned by a gha~/d, ama/ale.a and le.a/ala surmounted b y a trident. These crowning elements
appear only toward the latter pan of the 11th century. The only scnilptural decoration arc
the btle.i-bhairat•as and dopi<hha-simhas supponing the gha~/a and the 11dya1a lions which project
out above a platform at the level of the third pit/ha.
4J O. C. Gang<>lr and ;\ . Go$v.:am•. 6 r i11a11 .\.t11lp111rt 1111d / lrth11tt l11rt (Calcu11a, 19~6), p. 7,
44
/hid., p. 8.

TE~IPL E.S ()F THE toTH·1 1Ttl c:ENTl.RIE.S IN f. :\STl~ R N (lR ISSA
The structure, excluding a projecting porch in front, is almost square, measuring 13 feet
9 inches by 13 feet 6 inches. There is an entrance ponal on the nonh and south sides in
addition to the main entrance on the cast. There is a pediment on the roof above the
entrances which would have contained a •o/ra-ma11aka motif.. The dviirapola niches at the
base of the jambs on the nonh and south sides are fashioned as piJha-m11~JiJ, a development
occuring during the Ganga period. On the south side the doorframc is painted with modem
images. Inside a small shrine near the nonh door of the jagamohana is a ral11rm11Jr.ha Siva-
linga.
4. CMll /magu
Although all of the niches arc empty there arc numerous scattered sculptures within the
compound which may have formed pan of the decorative program. One of these,
approximately the same size of the piiriva-devalii niches, is a Karttikeya affixed to the
compound wall on the south. Although the image is badly weathered, the facial features
nearly obliterated, stylistically and iconographically the image can be dated to the
approximate same date as the construction of the temple. Kiintikeya siands in a slightly
Aexcd pose holding the falui in his uplifted front right hand while his back right hand is
extended in varada. Both left hands hold the rooster-cock which is additionally supponed by
a small image of Dcvascnii standing in the lower left corner. The peacock occupies the
opposite comer while a small, badly damaged figure is carved on the vi/1,apadma pedestal
beneath the mount.
ln the nonhcast comer of the compound is a small temple housing a large image of
Hanumiin. The image of Hanumin within the shrine is continuously coated with red pain1
so that its surface details arc generally obscured. He stands in the iilirfha pose on a
prostrate demon with a seated female, as at Bcnusiigar, between his legs. His arms are
uplifted and hold indistinct objects. A long vanamiild is draped over his shoulders and hangs
to his knees. There arc also three Hara-Piirvati images, all nearly identical in style and size,
fixed into the walls of the temple which may have formed pan of the original decorative
program while nearby is a detached image of Bhairava standing on a corpse.
S· Ftmale Fig'""
Except for the bhiirara}t.faka motifs or male figures on the capitals or 1hc male parmcrs in
milh11na figures, all of the images on the biiJa arc female, as is to be expected in that it is a
Jr.hiiJr.harii temple dedicated to the female principle. In general the female figures, though
badly mutilated, arc characterized by a masterly treatment of plastic form and body
aniculation. Stylistically, and in regards to body omamcmation, the figures arc very closely
aligned to those appearing on the triple temples at Baudh. They arc ala1ii-kanyii1 in various
seductive poses. They stand on loius cushions and frequently, as at Baudh and on the
Tinhcsvara, a lotus creeper forms a canopy over their head. In addition to the s1anda1d
motifs of a woman looking into a mirror, removing her sandal , or embracing a tree, new
themes arc introduced. One of the most intcres1ing is that of a woman clinging to a tree
with one hand while clutching her slipping garment which a mischievo us monkey anempts
to wrestle from her. This motif, which is also popular in Central India and was noiiced a1
Khiching, offers the sculptor a wonderful opponunity to exh ibit a delightfully candid view
o f a twisting female form which displays bo1h frontal and profile charms. The twisting
Original from
'f~.\tPl.l!.S ( )f. 1·r1a 10Tl·l ·11 TH Cl: NTl 1RIF.S IN 1; ,\S T l~ R N (>R ISS1\
form in this early example is quite restrained in contrast to later images where the
ronlrapposlo becomes increasingly dynamic and the g arments increasingly few.
As at Baudh the necklace hugs the lower contour of the breasts and the tasseled girdle is
fastened with a multipetalled buckle. The hair is tied in a large bun to one side of the head.
Unfonunatcly most of the facial features of the female figures have been deliberately
mutilated. A weU preserved face is intact on the nagi coiled around the slambha in the
an11raha recess on the western side. The face is rather broad and the lips full. There is a
lanquid warmth and hint of self-contentment similar to that expressed by the female images
on the !'.iuktesvara. Also well preserved arc the female figu res flanking the vajra· maslakas on
the ga(l(li. Two of the most beautiful images, though small in scale, appear on the ganefi. T he
first is a d ancing figure forming pan o f the vajra-mastaka motif. She gracefully balances
herself on one foot with both arms uplifted and the other foot delicately tapping the
rhythm of the dance. The second image is of an alasa·ka'!Ja holding a mirror close co her
face which appears as a space filler flanking the top of the lr.halr.hara-m11(1r/i1 of the lower
bhJimi in a manner similar to those carved o n the Variihi temple at Caurasi.
6. Dtforativt !vfotifs
Mithuna images, as indicated, are also carved in high-relief on the nonh and west corners
of the dt11/. In contrast to earlier 111i1h11nas occupying major positions on the jaligha, such as
the Vaital Dcul, the panncrs here arc more active and become intcnwincd like creepers. In
one example the panners, p regnant with latent energy, appear like combatants ready to
square off in a life-and-death struggle. Ocher milhuna images, smaller in size, appear in the
niches at the base of the lr.halr.hara-11111(1(ii1 of the second bhJimi of the ga11r/i. These images,
though not overly explicit as in examples at Cauriisi or Kh ich ing, appear to be associated
with T antric rituals as in several examples the male figure holds a club over h is shoulder. In
one case, where peacock feathers decorate the end of the club or trident, it possibly
represents a Bhik~ii1anamuni scene with the female giving a lms to the male. In other
examples the female appears to be holding a severed head suggesting human sacrifice. In
one scene the male holds a sword. T here arc also mailh1ma themes, though diminutive in
scale, on the sloping roof of the cave covering the parsi1a-drvala niches in which the co uples
arc actively engaged in sexu al congress. On the sandhi-slhala on the south side is a
yoniabhi1tka scene with a dwarf attendant preparing the female for a Tantric ritual similar to
the examples on the Tinhcsvara. There arc also two displayed female figures, with legs
widespread to exhibit theiryoni, appearing in the lower vajra-mastaka on the western face of
the ga11(ii.
Whereas auspicious exhibitionism with the female in a displayed pose generally exudes
an aura of awesome sanctity, the motif when associated with the male, most often a gana or
dwarf:rak;a, frequently appears frivolous or even humorous. This is particularly evident in
th e acrobatic postu res often assumed by the ganas, even when simulating an atlantid or
supponive function. On the Gauri temple the best illustrat ion of th is frivolous attitude
appears on the vert ical face of the pt/ha where frolicking adantid-ga/faS assume acrobatic,
even ludicrous, poses such as standing on their heads while looking at their erections or
even fellating themselves. Though Lhe pi/ha is only 16 1{ 2 inches in height, and the frieze of
ga~as only about half as high, the images are all quite lively and energetic, re minding one of
similar images, though not as erotic, car,,ed on th< dado of rho cave facados at Badami. One
Original from
2 97
of the few motifs in which the humorous is associated with female nudity is that of the
mischievous monkey tugging at the garments of a woman clinging to a tree or branch
though in this motif the yoni is generally not visible.
The atlantid-garras carved in shallow niches on the square capitals of the pilasters, of the
lt.anilt.a and roho, are pot-like in nature as at Baudh and on the Tirthesvara, and in some
cases form an almost geometric pattern of jars formed by the belly and limbs. In some cases
they have a beard and generally their mouth is partially open suggesting a grin or, in a
couple of examples, a terrifying cry. Other figure motifs include the nandikO-mNk.ha on the
khNra-moulding of the pobhaga and diminutive standing female figures in caitya designs on
the same moulding or in the vertical bars linking the top two mouldings.
Included among the many lion motifs in the decorative program are the k.irtim11k.ha
masks at the apex of the vajra-mastalt.a motifs. In addition to the double ga;a-leranlas on the
stambhas there arc also addorscd jagratas separated by a k.alaia at the top of the m1111rfi
designs, a motif introduced on the triple temples at Baudh. Diminutive makaras frequently
appear on the ends of scrollwork on horizontal mouldings. The largest mak.ara, however, is
the gargoyle on the pi/ha in front of the roha on the north side. There are also many
diminutive animals, such as pigs o r deer, carved on the sloping upper surface of the bararrr/is
of the garr(li though they arc so small as to go virtually unnoticed.
The most popular scroll motifs arc of the vana-lata type where exuberant foliage, minus
any stalks, forms an all-over pattern and, when on vertical pilasters, has an alamba design
near the top. There are also a few examples of the ratileera scroll, generally on the vertical
panel overlaying the horizontal mouldings of the vimanikO crowning the m1111r!i design of the
anartha, which was the dominant scroll of the 8th-9th centuries.
The temple that best integrates these new architectural features and decorative motifs
filtering into eastern Orissa via the upper l'vlahiinadi valley with the indigenous tradition is
the Muktesvara. Although small, the de11/ rising only to a height of ~l feet, it has been aptly
described as "the gem of Orissan architecture."•S as a dream realized in sandstone,46 a
monument in which sculpture and architecture arc in complete harmony with each other.
The temple is surrounded by a low wall and situated in a compound along with numerous
small shrines, a large tank, a small well and a tora(la. It is the earliest surviving example of
"'·hat will become the standard temple plan, a rtk.ha type de11/ with curvilinear spire and a
pjdha type jagamohana with a stepped pyramidal roof. We also have, for the first time at
Bhubaneswar, a perfect and natural joining of the de11/ wirh the jagamohana "'·itho ut the
crude ove rlapping of the sanctum decoration by the jagamohana roof noticed on so many of
the temples, suggesting that th< two structures were conceived as a uniform complex in the
original plan. The fact that uniform bond ing is not achieved on the Lirigariija temple has
led one author to ascribe a much later date for the l\luktesvara. 47 T he lack of adequate
bonding b<tween the )a)!.amohana and sanctuary is probably related to the actual method of
4S Jame!> Ft.•rgusson, .4 I listor:r of lnd1(11J 11ttd l:.asttr" .·lrrhit<tfNrf, \ 'ol. II. ( f.(>OJ••n. 19 10). p. 91 .
..,. ~I . tl.f. G-angul~-. op. tit., p. 1 7j .
4•
· \ '
, ,.,.tya.
.f.
op. tit.
•
, p. 4J ·
Original from
TE ~IPJ.ES c>J: TH~ 10TH. 11Tl•I C l~ N 1'l' R JP.S I ~ R1\ STf~ RN (lRISSA
construction, as Panigrahi suggests,48 and cannot be relied upon as the sole criterion for
chronological development. Stylistically the Muktcsvara represents a culmination of the
incessant experimentation exhibited on earlier temples of the period, such as the
Gandhariic,li temples, the Gar;icswarpur temple, the Viiriihi temple at Caurasi, the
Tinhesvara and Gauri temples at Bhubaneswar, in which extraneous architectural features
and decorative motifs are assimilated with indigenous traditions. Rather than serving as an
examplar for funhcr architectural development, as might be expected with the new rulers
firmly entrenched, the Muktesvara serves instead as the culmination of an anistic epoch.
Except for a few features, such as the continuing evolution of the pi(iha roof, the general
conception of the temple complex and its decorative program takes a dramatic change on
later temples of the Somavarhsi period.
According to tradition current in Bhubaneswar the Muktesvara temple was built by
Yayiiti-kesarl. If this Yayiiti-kesari refers to Yayiiti I Mahiisivagupta (c. A.O. 911-91 s) then
it could be based on fact as stylistically the temple dates to c. A.O . 910. In a palm-leaf
manuscript, preserved in the Palace Library of the defunct Kconjhar State, is recorded a
verse stating that Lalatcndu-kesari built the temple of Krittivasa in the Salt.a year 888,
which corresponds to A.O. 966.•9 The name of Lalaiendu-kesari is otherwise unknown
while the Krittiviisa is generally identified as the Lingariija temple. The Lingariija dates
from the 1 tth century, however, so that if the recorded verse is accurate it must refer to
another temple. In that Krittiviisa is a gene ral epithet of the god Siva, and any temple of
Siva might be designated by that name, Panigrahi suggested that the temple refered to in
the verse was the Muktesvara, though if the date of A.O. 966 is correct this would place its
construction during the reign of Bhimaratha rather than Yayiiti.!O All that we can say for
sure, then, is that a temple of Krittiviisa was built in A.O. 966 .
1. &i(ia Duoratio11
The dt11/ is paiita-ralha in design and measures 13 feet square from corner to corner. The
a11ar1ha projects o ut an additional 8 inches and the riihii 14 inches on each side. The piibhiiga
consists of four mouldings on the /t.a11i/t.a and five on the a11artha and riihii as on the Gauri
and likewise suggests a transitional stage in development. There is no tala-garbhikii beneath
the niche of the a11ar1ha, however, but just an indentation or recess which splits the piibhiiga
into two vcnical segments. The four mou ldings of the lt.a11ika are identical in decoration to
those on the Gauri as arc the five mouldings on the a11ar1ha and the inside pilasters of the
riihii except for the fourth moulding which is en riched with an animal frieze. The la/a-
garbhikii design of the riihii is also fashioned as a /ehiileharii-1111111efi, Jri-ralha in plan, with
niches at the base. The piibhiiga division of the 11iiga-1/a111bha is identical to that of the
Tirthesvara, with a f<malc figure sandwiched between upper and lower mouldings . The
piibhiiga is ll'/ 2 inches high.
48 See Pani~rahi. .4 rthatolo1.itol Ktmo1n1 al l:JJ111hafl-tl1''t1r, p. 66.
'9 The 1\IJdali Pii~ti adoprs fhe date of JlaA:a i 88, \\.'ithout quoting the ... ecsc. and furrhcr add~ rhar 1hc temple
srructu re was bc~un by \' :ay2ir i -ke~ari, c t>ntinued by Ananra-keS:ari and completed by Lal i~end u · kcS\lri. 11 "'·as
o nce believed that the verse "''a.S enj(raved on a st<>ne ne\lr the summit of the spire of the LiOgariJa. Sec
Pan1g rahi, Arthat()/()g1t11/ Rt1'ftti11s 41/ 8h11bo11tsw41r, pp. 1J9· 16o.
~ The v~r~ containin~ 1he t r'1clitio nal date in the j 'aU year must da1e f r<>m the Ganga ptru:xl or later a~ the
use of the .\·au era is not found in. Bhauma or Somavamsr inscriptions. ~ ·hen Pan 1~r ah1 5u~~C'S t td rhat this
" rittf\'lsa m1)' be the ~lu k 1~\!2ra he assumed char Ya~· 2itt's date-s "''ere c. 9J0·97 S so that rhc c;latt of ;\ .O. 9(1(•
fell \l.'ithin hi.s realm. See Panigr'1h1, .~l rthotol()f.ittJI Rtmoins tJI 8hNbont1• ·ar, pp. 1 ~9 · 1 60.

TEMPI.ES 01' TH E 10TH-11TH CENTURIES IN EASTERN ORISSA '99
.--------!···
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. - io ~
'
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•
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Bhuban~wa r : ~lu ktciva ra Temple
The jangha portion of the kanile.a-paga is fashioned as a pilaster as o n the Tirthesvara and
Gaurl temples, complete with ala1ii·ka11.Ja carved in high -relief above a short lala·bondhanii,
scrollwo rk with o verlaying kirtim11/e1Ja with festoons of pearls and an atlantid-ga11a carved
abo ve a short lirdh•o-bandhanii, the total height being 68'/ • inches. The jiiligha is cro wned by a
projecting /eJJ11ra-shaped moulding, decorated with scroll work on its m11ha11/i and diminutive
figures carved against a plain background on its sloping upper su rface, which, though
forming the lower moulding of the bara11i/a, serves visually as the crown for each piiga
design on the biii/o. The anarlha is designed as an elongated khiileharii-m1111i/i with its niche
framed by pilasters decorated with scrollwork and an atlantid-ga11a. The lirdhvo·garbhikii
filling the upper half of the niche is more developed than o n the earlier temples of this
period with the niche itself thus being reduced in siz<. The projecting cave crowning the
niche is pii/ha·shaped and effectively separates 1he niche fro m the vimiinikii above. The
vimanikii contains eleven pii/ha· mouldings, identical in size, decorated with overlaying
multiple rairya-medallions with interlacing ribbons which unifies the horizontal mo uldings
and creates a beautiful incrustatio n o r tracery effect. This is the first use o f this phond granthi
scroll on the jaligho of a temple. At Baudh and Gal)eswarpur the scro ll was confined 10 the
ga11i/i. The an11riihii recess separates the kanika and anarlha as on the Varahl and Tirthesvara
temples and is filled with a niiga/niigi 1tambha. The atlantes carved on the upper part of the
1/amhha o n the GaurT temple is here replaced b y a female figure in a rectangular panel and a
crowning vajra·maJla/e.a of two rai!)'a-medallions at the top aligned with the lowe r mou lding
o f the bara(li/a.
The rahii is sim ilar in design to that of the Gauri temple with two pilasters on each side
of the niche. The o utside pilasters are decorated with a female figure carved in high-relief
above a tala-bandhanii, scrollwork with an overlaying kirti11111/e}Ja with festoons of pearls, a
short lirdh..a-bandhana and a bhi111i division consisting of four mou ldings rather than an
atlantid dwarf. The inside pilasters are similar in design tho ug h the female figu res arc river
goddesses and the hhii111i division is replaced by a female figu re carved in high-rel ief. The
Original from
J OO Tl'.: '.\1PlJ'.:S (lF Tl t l: 101'11 · 111'1 1 C:t ~Nl'l ' R IJ ~S IS" J-+::\STl ·'.R:\I <>RISS1\
iirdhva·garbhileii above the niche is fashioned as an elongated rekhii-m11nt}i, as on the Gaurr,

which is now even taller than the niche itself. The riihii is crowned by a pit/ha-moulding with
a large kalaia seated above the outside pilasters. The lateral projections of the riihii arc
carved with rampant jagrata motifs in addition to the comer pilaster designs. This jiigrata
motif of a rider, either a warrior or amazon, on the back of a leaping lion-monster also
appears on the !andhi·!thala connecting the dr11/ with thejagamohana. This is the first example,
on a large scale, of this motif appearing on the jiingha of a temple. On later temples it
becomes standard decoration on the lower story of the Iandhi·!thala while the related ''iriila
motif replaces the niiga·!tambha! in the am1riihii recesses of the same story.
In general the overall assimilation of new motifs is more successfull on the ~iuktesvara
than the earlier temples of the period. The alignment of pilaster, niiga-!fambha and m1111di is
successfully integrated with each element being elegantly proponioned. Every inch of the
su rface is o rnately carved; the carvings arc delicate and distinct bur at the same 11mc
integrally linked with each other to produce an overall harmonious design.
:. Captfi Deroration
The barartda consists of a recess which runs uninterruptedly around the dud and
dfectively separates the biida from the ga11(ii. The recess is relieved with various scenes
housed in shallow niches of the piiga divisions including litiga·piijii, ascetics counting the
beads of their rosary, the Bhik~aranamiini of Siva, dancing ascetics, and figures carrying
jars on poles. In the recess above the riihii are bhiirarak1akos Aanking a central panel housing
a female figure. The area above the an11riihii recesses is decoraced with pairs of elephancs
who generally face one another.
The ga11tfi is likewise paiira-ratha in plan wich the ptiga! continuing che venical alignment
of the ba(la to display a fluid vertical thrust lacking on earlier temples ar Bhubaneswar. The
kanika is divided into live bhtimi! by bhtimi·amlii! as on rhe temples o f the Sailodbhava period
and the barandiI arc decorated in a similar manner. The anartha is likewise divided into
simple bara11di! of equal size extending up the height of rhc gan(li The mulciplc raif)·a-
medallions are more ornate, however, and include interlacing ribbons (phand granth1) as at
Baudh and Ga(leswarpur. The an11riihii recess is decorated with superimposed miniature
shrines, one for each bhiimi, as on earlier temples though the figures housed in the niches are
all identical, the motif being a woman standing in a doorway, in contrast to earlier temples
where various deities and figu re motifs were included.
The riihii is dominated by ics bho-rype vajra-ma!taka which begins above the first bhtimi, the
latter being tri-ratha in design. The vajra-ma!taka consists of a single rai!1a-motif formed by
pearls dripping from the mouth of a prc)jecring leirti11111kha, the latter flanked by dwarfs
standing o n the wings of the raif)·a. The central facet of the bhiimi division extends into the
raif)·a-medallion where it is crowned by a diminutive kiri/a housing a face or a Siva
Naiariija which panially obscures rhe locus design o f the major medallion. The niche of this
miniature shrine houses a iile;adana motif aligned with a decorative frieze on each side
which forms the lower edge of the vajra-mastaka motif. This fric:ie consists of hunting
scenes or animal processions. A bell hangs into che outer ring of the major medallion where
it is flanked by flying vit!Jadharas as o n the Gaurr cemple. The flanking dwarfs all assume
identical poses, with the inside leg uplifted as if climbing, and hold a chain in their two
hands. They wear a serpent hood on their fo rehead, suggesting their Saivire character, and
Original from
n :r.1r1.ES ()F TH E- to"rH-1 1TH CENTl_:RIES IN ·~ !\s ·rr~R!'\ ()RISS;\ JO I
have beards. The projecting Jr.irtim11kha is lowered so 1hat ii is aligned wi1h 1hc heads of 1hc
dwarfs. The Jr.irtim11kha serves as a base for an 11dyatti lion which forms a projecting
silhouette at the top of the second bhiimi. The lions on the nonh and east sides arc missing.
Immediately above the lion is a Siva Na1ariija overlaying the bara11(iis which are super·
imposed up 1hc height of the ga11(ii. There arc five tairya·medallions aligned horizontallr on
each bara11(ii rather 1han three as on the anartha·ptigas. The bisama crowning 1hc ga11(ii has a
plain inset in the center of the rtihti. The members of the mastaka are all intact and there arc
no btlr.i-bbairavas or dopithhti lions supponing the amalaka. The decorative program is more
harmonious than on earlier temples wi1h the individual motifs more siandardized, though
the re is s1ill enough varie1y in the motifs 10 avoid 1hc monotony dominating la1cr spires
where repetition becomes excessive. The richness and delicacy of 1he decoration crea1es an
incrustation which appears to be suspended in front of the walls.
J· Jagamohana
Thejagamohana measures 11 feet 4 inches by 19 feet 4 inches from comer 10 comer with
the gaviilt/a projecting ou1 an additional J feet on each side. The bii(ia is tri-anga in design
and decorated similar 10 1hc twin 1emples at Gandharac;li and the Varahi temple at Caurasi.
The number of mlllJpiJ on each side of the gaviilt/a is reduced to two, however, though they
arc wider as arc the pilasters at the comers, and the 1hin pilasters separating each 1111111(ii arc
carved as naga·Jfa111bhaJ.
The comer piigas arc d~igncd as pilasicrs and decorated with female figures in high
relief, scrollwork with an overlaying Jr.irtim11kha wi1h festoons of pearls and an arlantid
dwarf as on the Jr.anilr.a·piigaJ of the dt11/. The piibhiiga likewise contains four mouldings on
the comers and five on the m111Jili divisions. The khiikharti·1111111(iiJ arc similar to those on the
dt11/, though shoncr as the jiingha is not as high, with the arlantid dwarfs eliminated from
the niche jambs and the bara11(iis reduced to seven or eight on the vi111ti11ilr.ti. The crowning
bara/lili is slightly wider than the others and is not decorated with the multiple taitya motif
with interlacing ribbons. The naga-sta111bhas arc identical in design except that the female
figure near the 1op is climinaicd. A bara11ifa, consisting of a single moulding, is added at the
top of the jtingha and docs not panakc of the 1111111ifi or pilaster divisions. It is relieved wi1h
scrollwork on its lower edge and lotus pe1als on its upper sloping surface.
The gavti/qa projection, measuring eigh1 fee1 across, is Aankcd at the sides by a pilaster
rather than a naga·stambha as at Gandharac;li and Caurasi. The p ilasters are identical in
decoration to those at the corners of the jaga111ohana. The gaviikfa window is framed by three
mouldings of scrollwork with a small panel in the center of all four sides as on the Varahi
temple. An innovation is the larger moulding, beginning above a pabhiiga division, which
runs up the sides and across the top and is relieved with a meandering vine filled with
frolicking monkeys. Another band runs across the top decorated with a kirti11111kha at the
center and makaras at the comers. Garlands from the open mouths o f these monsters form a
meandering scroll filled with vidyiidhara couples. The jiili patterns of the window arc in the
design of diagonally arranged squares and perforations which produce diamond-shaped
(banlr.a-jalt) positive and negative spaces of equal size rather than crisscrossing bars as at
Gandharac;li and Caurasi. The gaviik;a-ma11ifana above the window, squat in nature d ue to
the additio nal bands of scrollwork , is decorated wit h three miniature shrines, tri-ratha in
design, scparaicd from one another by the female in a half-o pened doorway motif. The
Original from
301 TEMPL.ES OJ' THE ,.·rn. oo T H CENTURIES IN EASTERN ORJSSA
Cc.1llng Design of the }"//'1t1ohtino

(Adopted from R:ajcndr'll l~ala ~·f itra, Tix A lfliq•ilit1 ef
Oriss•. Vol. II. pl. JI )
lateral projections of the Aan king pilasters o f the gaviik/a arc carved with rampant jiigrala
motifs as o n the riihii of the dt11/.
A completely new feature is the pediment which crowns the ga11iik/a projection and
extends pan way above the pirfhas of the roof, a motif obviously influenced by architectural
troditions from Central India where this is a common feature. The pediment is decoroted
with an ornate stylized railya motif with interlacing ribbons, similar to examples appearing
at Khajuriiho and Jagat, surmounted by a lion. The gavii/ela design of the Muktesvara
represents a culmination of an evolving indigenous tradition on the one hand, being one of
the last temples to exhibitjii/i perforatio ns in the window, while serving as a harbinger for
later development with its newly introduced crowning pediment and venical extension of
the gaviik/a into the pir/ha mo uldings of the roof.
The roof of the jagamohana is of the pir/ha orde r consisting of horizontal mouldings or
pirfhas of diminishing length forming a stepped p)'ramid. There are twel ve mouldings with
the top two overly short so that the pyramidal shape is slightly truncated . The roof is
crowned by a kalafa in the center but the o ther crowning membe~. such as the amalaka and
gha11/ii, are not included. This earliest surviving example o f a pirfha roof thus suggests an
experimental stage and it is not until the adoption of a square plan for the jagamohana that
the roof achieves its mature form.

T E ~tPl.ES OF 1·HE 10TH·11TH < : EKT l.R lt~s IN E:\S·rt:RN <>RISS:\ JOJ
A unique aspect of the jagamohaflll, suggesting Central Indian inRuencc, is the beautifully
carved and coffered ceiling, a rare feature on Orissan temples which arc extremely dark
within so that sculptural decoration is generally omitted except for the doorframc of the
sanctum. The eight-petalled lotus-medallion in the center has a mitrltA carved on each petal
with the last petal containing an image of Virabhadra. The mitr.lt.as are seated in laliti1111111
and have a child on their thigh except for C2mur:id2 who holds a severed head in one hand.
The truncated end panels of the coffer arc filled with Kiintikcya and a dancing Gai;icsa. The
comer panels arc filled with seated figures, male and female, Ranked by virila motifs. In
addition to dancing and narrative scenes on the outer borders there arc decorative nigas,
vitlytiJharas, lldyati lions, female figures and scrollwork so that every inch of the ceiling is
ornately carved though, unfonunately, vinually hidden by the darkness within.
4 . Portal Duoratio11
The doorframe of thej11g11111oh1111a is similar to that of the Virahi temple at Caurisi with
the three bands exhibiting ht/iii, gtlaba and j alapatra scroll motifs respectively. The dvira-
lalifa-bimba panel on the lintel, however, contains a badly mutilated four-armed male deity
Ranked by an emaciated ascetic in each lower comer rather than the standard Gaja-Laksmi.
The niga attendant at the base of the jambs of the Varahi temple is here replaced by a
female raMri-bearcr who is housed in the same niche as the dviirapiila. The roof of the niche
is crowned by an amalau giving it the appearance of a miniature shrine, a semblance
funhcr suggested by the pillar design of the inside border of the niche. Resting on top of
the roof, at the base of the inside ht/ilii band as on the Varahi doorframc, is a diminutive
niga with its tail coiling up behind to merge with the scrollwork, a motif again borrowed
from Central India. The dviirapiilas, measuring t 1 inches in height, arc both depicted with
four arms. Their hafr is arranged in a tall )afii-mNht/a while the hair of the female
attendants is tied in a bun at the back of the head. Beneath the dviirapiila niche, Ranking the
flaltdivarta or circular step, is a large lion-monster with demonic facial features, a motif
likewise popular in Central India and appearing as far west as Osia. The area above the
lintel is now bate but probably was decorated with a 11avagraha slab. The doorframe is
Ranked on each side by a large pilaster decorated in identical fashion to those Ranking the
gavi/qa.
The doorframc of the sanctum is similar in decoration though the dvirapila niche is
rectangular and the raMri-bearing attendant is housed in a separate niche. The image of
Gaja-Laksmf appears on the lintel. She is seated with legs crossed in the earlier tradition
rather than in lalitiisafla as in the image carved on the gavi/qa window. A standing attendant
appears beneath the Rancncd lotus cushion of each elephant. On the navagraha slab above,
Rihu is depicted as a large head with hands while a canopy of a three-hooded snake
appears behind the head of Ketu.
On the south side of the j agamohana, just beyond the low compound wall, is a well,
known locally as l\iaricikui:ic;la, " the water of which is believed to cure barrenness of
women."•• The doorframe leading to the well is deco rated with three bands of scrollwork
including the circular •artN/i mot if, on the outside band, which changes on the lintel above
to a frieze of seated tapasvins reading books. A seated Lakuli$a is carved on the lintel. He is
)I O. ~f itra, Bh11htJJ'lfJJPar, p. 41.
Original from
Tl·.~fPl .~.s ()F T~iE 10.fH· 11TH <:J:l'\Tl ·R11:s JN l~ ;\ STJ ·: RN (>RISS.<\
flanked by four disciples, two on each side superimposed one above the other, seated on
lotus cushions issuing from the central lotus scat of Lakulisa. Lakulisa is seated with legs
crossed displaying the dharmacalera-pravarlla11a-11111dra with the lalell/a or club held in the
crook of his left arm. The dvarapala niches at the base of the jambs arc filled with Ganga
and Yamunii, a rare example of river goddesses functioning as door guardians on Orissao
doorframcs but quite appropriate here due to the nature of the structure. The goddesses arc
represented in mirror-image poses with the outside hand resting on the hip and the uplifted
inside hand holding a water jar in the same manner as their counterparts carved on rhc
jambs framing the raha-paga niches on the dt11I of the Muktcsvara. The doorframc itself is
framed by a large projecting 11aga-J/ambha on each side, the female serpent appearing on the
proper left and the male on the right.
There is also a doorframe carved on one of the small shrines on the west bank of the
tank, just south of the dt11!. The design of rhc 11andavarta and flanking lion-monsters is the
same as on the />.fukrcsvara. The dvarapalas have only two arms, however, and are not
provided attendants. They arc flanked by a second pair of guardians carved at the base of
projecting pilasters which frame the doorway. These outside d1·arapala1 are much la rger in
size and hold attributes not standard for Orissan door guardians, including a stringed-bow,
arrows, staff with banner and leapala.
l · C11!1 l mages
All of the images arc now missing from the niches on both the dt11/ and the jagamohana,
suggesting they were carved from a single stone and inserted into the niches rather than
carved from the stone courses forming the wall as on 8th and 9th century temples. The raha
niches of the de11/ measure approximately 27l/4 inches by 14 'fi inches while the anartha niches
arc 9 1/ 2 inches by i '/ 4 inches, the available space being reduced by the increased height of
the lirdhva-garbhi/ea designs. The niches of the jagamohantt measure approximately 8 1/ 4 inches
by 43/ 4 inches so that all of these images were quite small. Of the few cult images left on the
temple the most important arc the Na1arajas above the vttjra-maJ/a/ea designs on the ga11di
though the one on the west facade is not readily visible due to the roof of the jagamohana.
The images have either six or eight arms and hold the serpent horizontally over their head.
They arc rendered lirdhvalitig11 with the bull Nandi, diminutive in scale, loo king up at the
dancing deity from beneath his legs. On the north facade Siva gently caresses the chin of a
diminutive Parvati with his lowest left hand while on the south facade the deity is depicted
as ArdhaniiriSvara.
Of the images on the jagamohana ceiling Karttikeya is seated in ardhapa9•ali/ea holding a
ialeti in his left hand while his right hand rests on his knee in varada. A peacock appears on
his right and a rooster-cock ro the left. There arc two male attendants on his left and one
on the right, each holding a ia/eli and having their hair arranged in the ii/ehaflr/11/ea mode as
docs Kartrikeya. Ga~esa is eight-armed and represented dancing. His upper two hands hold
a serpent horizontally above his head. His two major hands, held in a dance m11dra, arc
missing while his remaining hands hold a modalea-patra, kll/h9ra, broken tusk and rosary. He
is flanked by a dancing ga17a on each side and, immediately below rhc ga11a1, attendants with
one playing cymbals and the orher an alilga-mrdaliga. Virabhadra, in attendance of the
Saplamatrktis on rhe lorus petals, is seated in la/ilasana holding a vi17a in his lower two hands
while his upper right holds a lotus and the upper left is no r visible.

1·n~f P 1.1 :.s <>F TJ l l ~ to 'l'~l · 11Tl1 c:1--:N1'l'Rlt--:s 11' l~ :\STl~R~ ()RISS:\ JOI
There are also numerous cult images in <he niches carved on the oute< face of 1he low
compound wall surrounding <he <emple. The <op course of the wall is decorated with petal-
shaped merlons while the jangha portion is carved with a series of vajra-mNttrfis housing lotus
rosettes in 1heir niches and faces or masks in the crowning <airya-medallions. The wall is not
rectangular but tri-ralha in design on the north and south while the east and west sides are
paiira-ratha in plan. In the niches on the corners of these projections the lotus rosettes arc
generally replaced by cult images. In addition to standard Brahmanical deities, such as
Gancsa, Karttikcya, Durgii, Lakulisa, Surya and Sarasvati, there are also Jain and Buddhist
images. Other motifs include seated ascetics, iiktiidana images and decorative themes such as
enigmatic figures with rwo heads and four bodies. Included among the Brahmanical deities
is a small image of Camui:u;li. She is emaciated and sits in ardhapa9·anka on a tiger-skin. She
cradles a trident in her left arm with the hand being placed by her chin, the little finger
placed in her mouth. Her other hands hold a kapala, kartri and a severed-head. The
elephant skin is placed behind her head while a jackal is in the lower left comer of the
niche.
6. Ftmalt Fi;!,Nre;
Almost all of the figures carved on the exterior walls of the f.luktesvara temple ate
female. Only on some of the lateral flanks of the raha do we find an occasional male
warrior, though most likely the anartha niches were filled with male deities, possibly dikpalas
as on the comer shrines at Ga.r:ieswarpur or, less likely, various aspects of Siva as on earlier
temples at Bhubaneswar. The female figures on the inside pilasters of the rtiha, facing the
niche, arc the river goddesses Garlgii and Yamunii. They assume a mirror-image pose with
their outside hand placed on the thigh in Jt.ao•avalambita while the uplifted inside hand holds
a vase rather than a lotus as on earlier images. D iminutive attendants hold a parasol over
the head of the goddesses. The latter have their hair arranged in a shell-like chignon on one
side of their head and they wear a jewelled tiara. Their facial features have been mutilated.
The respective mounts are placed beneath their feet.
The majority of the female figures are alasti·kaltJtis, indolent females assuming relaxed or
provocative poses, rather than specific goddesses and continue the trend introduced in the
8th century. Among the more standard motifs are the itilabhaiiji.lt.a, the mischievous monkey
tugging on the lower garments of a female clinging to a tree, the woman standing in a
doorway, and the padmagandhti motif of enjoying the fragrance of a lotus. In some cases the
females appear almost languishing in the shade, escaping from the intense heat of the
Indian sun, with one leg braced against a tree. In other examples they arc lifting up a foot
to remove a thorn or adjust a sandal, or in other cases reach down for cosmetics from a
palette held by an attendant. Jn addition to these rather languid poses there are also more
vigorous poses with the female crossing her legs and twisting her torso, including one
example where she is depicted from the rear. In many cases, as at Baudh or on the
Tirthesvara and Gauri temples, the tree or creeper bends over the head of the figure to
serve as a canopy (!Jalamtilika). Among the new motifs is that of suckling a young child at
the breast, holding a parrot on the elbow or playing musical instruments. These female
musicians arc the first examples of such a motif appearing on the jarigha of a temple at
Bhubaneswar. Previously musicians were always male and generally an aspect of Siva. In
all of these female images the figures are extremely g raceful and conscious of their charms.
Original from
; 06
They are more rounded and heavier rhan rhe earlier figures, as on the Vaital Deul, and
exude a warmth and charm despite their murilated faces. The body proponions and
ornamentation arc the same as on rhe triple temples at Baudh. The carving is masrcrful and
in typical Indian fashion the softness and warmth of the female form is enhanced by the
constricring tightness of the mcrallic girdle and the provocative manner in which the
necklace clings to the lower contour of the globular breasts setting them off as individual
unirs. The coiffure is generally arranged in a large chignon to one side of the head, rather
than coiled on top of the head as on 8th-9th century images, while a jewelled tiara
decorates the front of her hair above the forehead. The images arc more graceful and beuer
executed than their slightly earlier prototypes of the Tinhesvara and Gaurl temples,
suggesting that the sculptors are more competent and experienced in handling the new
motifs and techniques, such as carving in high-relief, being introduced into Bhubaneswar.
7. Duoralivt Mo1if1
Some of the most interesting decorarive figure motifs, though diminutive in size, are
those 'arved on the sloping upper face of the large .khNra moulding terminating the paga
designs of the ba(ia and in the bara11ifa recess immediately above. The most repeated motifs
arc liriga-ptija and seated ascetics counting the beads of their rosary. A particularly animated
scene is that of an emaciated ascetic dancing between two drummers. There is also a
Bhiksa1anamuni with a female giving alms to Siva while a scene on the adjacent moulding
depicts a female reaching behind her back to grasp the /irigam of an approaching ascetic,
one of the few erotic motifs on the temple. In another scene three figures carry vessels
hanging from a bamboo pole resting on their shoulders. All of these scenes arc lively and
full of charm despite their small size. Similar scenes depicting the hunt appear on the base
of the vajra·mastaka on the ga11di flanking a iik1ada11a motif of a gNrll dispensing instructions
to his disciples or a royal figure with attendants. This latter motif, introduced for the first
time at Bhubancswar, becomes increasingly popular and eventually is housed in major
niches as the decorative program becomes more secularized.
The most repeated figure motif is that of the bharara/qaka which decorates the capitals of
the pilasters. As on other early temples of the period rhe ga11a is characterized by a pot-belly
and jar-like limbs. He is overly crowded in his shallow niche and generally rcsrs his elbows
on his knees or assumes an acrobatic pose. The larger ga11as flanking the leirtim111eha in the
11t1jra-mastaka designs of the ga11iii, on the other hand, though stout in body arc not
characterized by a pot-belly. Their hair is arranged in neatly coiled curls in two riers, rather
than being dishevelled as on the Gauri temple, and they wear a serpent hood on their
forehead. They have bulging eyes, wrinkled brow and wear a shon cropped beard.
The most innovative animal motif is rhc jagrata which appears on the lateral projections
of the gava/qa, entrance portal and raha as well as the 1andhi-11hala. These leaping monsters,
ridden by an amazon or warrior, appear ready to crush an elephanr or demon crouching
below. Festoons of pearls drip from their open mouth and rheir face has all of the features
of a leirtimNleha, including bulging eyes, mustache and horns. In some cases the monster has
a proboscis though not the head of an elephant. His body is ornamented with bridle, reins
and tasseled garlands. Although jagrala motifs appear on earlier temples they arc generally
small and usually appear as addorsed motifs flanking a central image or design. Th is is the
first time they appear in large scale and occupy a prominent position as an independent
motif.
Original from
TE~iPl.ES <>F Tl-IE 10TH- 11TH Cf.NTl .Rlr:S IN EASTl~ RN <>RISS.\ J0 7
The naga/nagi figures on the sta,,,bhas filling the an11raha recesses arc rcprcscntcd dcsccnd·
ing with thcir tail coilcd around thc shaft above. Thcy gcncrally arc altcmatcly male and
female and both have a canopy of five serpent hoods. They arc richly bejewelled and
extremely sensuous, male and female alike. The gaja·leranta motif at the base of the 1/a,,,bha
is similar to those on the GaurI temple with the lions seated with three legs on the
crouching elephants and one paw uplifted ready to strike. The animals arc arranged in pairs
and depicted frontally.
The scrollwork on the Muktcsvara is extremely rich and varied. In addition to the
reticulated taitya scroll with interlacing ribbons (,phand granth1) the most popular scroll is the
J)Qflll-'4ta which generally has an a/a,,,ba motif at the top when decorating a pilaster. On
horizontal mouldings there arc often ,,,a/eara1 terminating the scroll while similar masks
frequently appear scattered among the foliage. Enigmatic figures also appear entangled in
the mass of foliage. In one example a single human head serves four bodies, each body
radiating out from the head at a ninety-degree angle. Between each body is the mask of a
111aleara. There arc also examples of the patra·lata in which circular blossoms spray out
symmetrically from a central venical sulk. Circular motifs are also introduced on the
Muktcsvara, the most noticeable examples framing the gavak;a windows of the j agamohana.
The top band consists of three circular medallions on c2ch side of a centrally placed
/eirti11111/eha mask, the medallions formed by a meandering vine issuing from the mouth of
the mask. The medallions arc filled with flying vii!Jidhara couples with the female seated on
the thigh of the trailing leg of the male. At the comers of the band are ,,,a/eara heads. The
lower band, just above the lintel, extends vcnically down the sides of the frame to the
pabhaga and consists of a series of oval-shaped medallions formcd by interlacing vines. Thc
medallions arc filled with delightful scenes of frolicking monkeys playing among themsel·
vcs or with a crab and crocodile, possibly illustrating a story from the Pailtalanlra.sz This
&""'Phana scroll is free and imaginative in contrast to latcr examples where the motif
generally consists of single animals constricted within small circular medallions repeated
mechanically with little variation.
In general the carving of the scrollwork consists of oblique cutting techniques resulting
in concave as well as convex curves which reduces the strong contrast of light and dark
typical when employing perpcndicular cutting techniques. The variety and exuberance of
earlier decorative motifs is staning to be sacrificed in favor of a more unified and fluid
design consisting of fewer motifs which are cndlcssly repeated. This is panicularly
noticeable in the use of the phand granthi motif of interlacing taitya designs. The scrollwork
framing the entrance ponals is now standardized, the motifs being the lelltila, gdaba and
jalapatra respect ively.
8. Tora11a
In front of the entrance to the temple, free of the compound wall, is a lora11a, the only
surviving example at Bhubancswar which forms pan of an original temple complex, the
example on the south side of the Vaitiil Dcul being a late construction. Fragments of an
earlier tora~a. however, have been found in the paddy fields near the Brahmesvara temple,
from the mound known as Do/Q·ma!f{iapa, which may have served as a prototype for the
u Panigrahi, A rth.to/01,ital Rt•ai111 al Bh•ba1tt1wa.r, p. 1 17. There is also another st<>ry from the Palitota11tra of
the tono1SC' being carried in the Sk)' by t~· o swans, which appears on the eastern facade of the dt11/.
Original from
TE ~IP l . ES ( )I; T H E 10TH · 11Tl-I C::i--:N Tt:RICS IN F.1\ ST CRN t )RJSS."-
Muktesvara onc.sl For the most pan it appears that a free-standing tora11a did not form an
essential pan of the Orissan temple complex though the rahti on early temples, and the
entrance ponal on numerous later temples, including the Surya Ocul and Gangesvari
temples, were frequently designed as engaged lora{IQs. It was imponant for cenain rituals,
such as the Dola-ytitrti ceremony of swinging the proxy of the deity.s. During the swing
festival at the Muktesvara, according to tradition, a chair was hung by two iron rings fixed
to the arch of the lora{la upon which the image was placed and kept swinging.ss It is most
probable, however, that a wood lora(fa with swing was used for these ceremonies rather
than a permanent stone tora(fa except for a few temples such as the Muktesvara. Such a
temporary structure could even be transponable and used in car festivals. King Narasimha
I of the Ganga period and the Raja of Puri !4 are each depicted riding in such a swing. In
other cases, as with the Liilgarii.ja, swinging took place within the llti/a·mandira.
The base of the lora{IQ pillars is square and decorated with a miniature rtVla·m1q1pi, tri-
ratha in design, on each side. The niches of the m1111#i arc filled with a female Ranked by a
jtigrala motif on each side similar to those appearing on the tala-garbhikti beneath the rahti
niches on the tk11/. The comers of the base have gaja-lt.rti11fa motifs at the top. The shaft of
the pillars is 16 sided and made with four courses of stone. The top course is relieved with a
frieze of lt.irlit•11Vla masks with festoons of hanging pearls (tilamba). The pillar is crowned
by a vtdilt.a, a111alalt.a and spreading lotus capital. The arch is built in transverse sections with
a ridge at top surmounted in the center by a lt.alaia. Malt.aras project out at the sides. The
decoration of each side of the arch is identical and consists of female figures springing from
tairya-mcdallions with their uplifted inside arm reaching towards another caitya placed in the
center of the arch, a design similar to the bho-motif carved on the ga(f{ii of the Gauri temple.
Each medallion is filled with a face. Above the wings of the outside medallions is a seated
ascetic with ayoga·pa/fa tied around his knees. The figure originally placed above the center
medallion is now missing. Frolicking monkeys are carved on the lower course of the arch.
The top of the arch, on either side of the ridge, is relieved with an exquisite scroll motif.
The scroll, which Banerji considered one of the most wonderful product.ions ever conceived
by the Oriya anist,S7 consists of large sweeping arabesque vines with tightly curled foliage.
F) R AJA RA~i TEMPLE
On the Muktcsvara temple the new features filtering into eastern Orissa from the upper
Mahii.nadi valley arc thus completely integrated with the indigenous conventions so that, as
Stella Kramrisch points out, there is unification in each major pan and an enhanced clarity
of the total design in plan and clcvation.S8 The p<iga divisions arc clearly aniculated from
the base of the bti(ia to the bisama yet the bara11da recess effectively demarcates the bti(ia from
the gaJJdi. Rising to a height of only about 3 l feet, however, it is the last major temple
intimate in scale. New motifs arc now introduced and the general conception of the temple
3J P2nigrahi, Arthotologitol Rtmoins al Rh11ba1rts• ·ar. p. 89.

~ N . K. BO$C, op. til ., p. 174.
S.\R. l\1 itra, op. t il . , II, p. 1 t 7•
,. S<e K . C. Mishra, op. tit., pl. ll·
~? R. 0 . Bancrii, Hislory of ()risso, 11, p. }49·
,. S. K ramrisch, }ISO.A, XV. p. ' 94-
Original from
T E '.\1Pl.l ~S ()I~ THE 1 0Tf~ · 11Tll C l! ~il' Rll ;S IN ti ;\~·rt! RN c>H.ISS;\
complex changes. The new trend is towards increased height and monumentality. Pago
designs become increasingly standardized and omamental richness is produced primarily
through the constant repetition of nearly identical decorative units.
For a brief period following the completion of the Muktesvara temple these new motifs
and architectural features introduced primarily from Central India were employed in a bold
and dramatic way which, though assimilated with indigenous traditions, lend an exotic
look to the temples. Many of these experimental features are strongly rcminescent of the
architectural traditions at Khajuriiho. Yayiiti I, as mentioned earlier, invited ten thousand
Brahmins from Kanauj for the performance of a great sacrifice so it is evident that the
Orissan Ii/pins were cognizant of Candella architectural traditions.Y> Other changes,
however, result from the continuing evolution of the indigenous idiom. Included among the
numerous changes is the final standardization of the pabhaga to five mouldings; the
increased height of the temple resulting from the added pi/ha beneath the temple; the
division of the jangha into two stories; a change in the design of the bora11¢a which now
consists of multiple mouldings without a sharply demarcating recess; and an increase in the
number of bhii111i divisions of the ganefi to ten. Other changes include the inscnion of virala
motifs and alasa·lt.anyiis in the an11raha recesses of the lower and upper story respectively and
the addition of a second an11raha so that there is such a recess separating each paga; the
development of a full·fledged pir/ha order for the jaga,,,ohana with the adoption of a square
groundplan; and the introduction of balusters in the govak,ro window. It is also at this time
that male cult images arc reintroduced on the major pagas and dilr.palas occupy their
respective comers on the dt11/ and jagamohana. The body proponions of the figures arc also
increased so that the figures arc more tithe than those of the 10th century. With the division
of the jangha into two stories the major images, being housed in niches, become pro·
ponionatcly smaller in size so that the sculptural decoration becomes progressively
secondary to the architectural program. On the ga11iii, for example, except for the projecting
lldyata lions, figure sculpture is almost totally eliminated.
The most conspicuous innovation, though shon·livcd, and the one which most suggests
Candella influence, is the addition of a cluster of anga-lilr.haras on the ganefi which project
sharply from the silhouette. Along with this is the addition of offsets to the pagas so that the
groundplan assumes a more circular plan and the elimination of anartha niches so that all of
the piiga figures, except for the parlva-dtvatas, arc carved in high-relief. The experimental use
of these exotic features is panicularly noticeable on three temples at Bhubaneswar-thc
Ekiimbarcsvara, Dakrii-Bhimesvara and Riijarii1.1i- all datcablc to the end of the 10th
century or opening years of the t 1th century. On each temple the anga·iilr.haras arc confined
primarily to the lowest bhiimi divisions except for the riiha and the roof of the sandhi-sthala, a
fact which, despite the increased height of the garidi, produces a rather truncated silhouette.
It is on the Riijariil)i temple that the anga-filr.haras are best integrated into the overall
design of the ga1Jdi. The dt11I is more complete in its decorative program and, in terms of
grace and omamcntation has been aptly described as one of the most original masterpieces
of Indian an,'° and its magnificent sculptures unparalleled in the history of plastic an in
Orissa.•1 The temple is situated in an open field several hundred yards cast of the
)t !\fo~t of chc: Brahmin5 in Orissa still cracc chcir ori~in to these ccn thou~and Brahmins. S<.'(.' Pani~ rahi,
.·1rf6otQ/QJ,ir11/ RtJJ1t1i111 at Bh11bt111tw11r, p. 1 JO .
'° Fabrt,. op. tit.,
. p. 149.
6 1 Panigrah1, ,-frthatofQj,itt1I R,•oin1 di 8/J11ho11r1•·"'· p. 161..
Original from
l '0 Tl! 7'1PJ.CS () J ~ TJll·: 1o'fH·1 1Tf.J. C:l·'.NTl' RIES IN Cr\S.rERN <>R JSSA
Muktesvara. Although its relative isolation adds to its picturesque beauty it has also
benefited antique hunters in plundering the temple of many of its sculptures.62 The temple
was in complete ruins when visited by R. l\litra in the late 19th century and the image of
the presiding deity was thought 10 have been removed when the jagamohafla collapsed,
blocking passage to the sanctum. It was completely repaired in A.D. 1901.6J
In contrast to the Saiva temples at Bhubaneswar, whose names all end with ifvara, or
non-Saiva temples where the names have been derived from their presiding deities, the
Rajarii(li bears a peculiar name which has provoked various interpretations as to its origin.
According to popular tradition current in the 19th century it was a pleasure reson of an
Orissan king (rija) and his queen (ra11i) or was dedicated by a queen and hence interpreted
as "temple of the royal queen. "64 M. Ganguly offered the explanation that the present name
derived from a patticular type of fine-grained yellowish sandstone, called rijara11ia, with
which the temple was built.•S As Panigrahi has convincingly shown, on the other hand, the
original name of the temple was probably lndresvara, a name repeatedly mentioned in
Sanskrit texts for a temple east of the Siddhesvara.66 In that the temple stylistically dates
from the opening years of the 11th century it is quite possible, as suggested by Panigrahi,
that the temple was constructed by lndraratha and named after him.
1. &ii/a Duoration
The Rajariil)i faces cast and stands on a pi/ha of three mouldings which is 33 inches in
height. The top moulding of the pi/ha is relieved with scrollwork on its venical face and
incised lotus petals on its sloping upper surface. The pi/ha closely follows the contour of the
temple. The pabhaga is ! 71/ 2 inches high and consists of five mouldings in the form which
will become standard on most later temples. From the bottom to the top the mouldings are
a kh11ra, /ulmbha, pa//a, lt.a(li and vasanta. The leh11ra has a vajra-1111111i/i with various figure
motifs, including cult deities, within its niche and thus is more ornate than earlier examples
which had only a small kiri/a or raitya design generally filled with a face or mask. The
/ulmbha is decorated with a rampalt.a-leaf while the pointed lt.a11i is mostly devoid of
ornamentation. The venical faces of the paf!a and va1anta mouldings are relieved with
scrollwork while the slo ping areas are decorated with padma-po/ha below and a diminutive
figure above.
The bai/a measures approximately 20 feet square from lt.anilt.a to lt.anift.a.6 1 It is panta-ratha
in plan though appearing to be tapta-ratha due to the increased projection of the paga1 with
the lateral Rank of the anartha being decorated. The number of offsets for each paga is
increased so that the groundplan is lozenge-shaped with serrated edges suggesting influence
from stellate designs of the upper l\lahiinadi valley. There is an an11raha recess between each
paga plus one behind the lateral Rank of the anartha so that an additional pilaster, set at an
angle between the two side paga1, is created though not visible from a perpendicular view.
'2 Acct)rding to R. ~litra {op. til ., p. 11 j), (icncral Stc....·an 2nd Culoncl ~fack(n;r,ic "''ere guihy of carrying
a1i1.•ar the lar~c~l numbtr of starucs.
•.J Panagrahi, / lrthafolo~1to/ R1,,,n1A/ at 8JJM/Jonr1a:ar, p. 97.
~ ~(. Gan~ul)', op. tit., p. ~ 1 ~·
6~ /hid.
66 Pan i~ ra hi. ,•lrthor()/()J!i(a/ Rrmain1 ol BIJM/Jqnts• •or, pp. 9 4·9 $·
67 If th<" ptiJ.a projccc1ons 2r(' 1nclud('J, ~8 inches tor the anortbo anJ iz for the rihti. thC' dimC"n!>iOns \\'l>uld be
approll:1matC"l)' JO fL·<:t squ01rC" f rom rihO ro rd}J.i.
Original from
TCt\tPl.F.S ()f THE 10TH. 11T H CENTl1RIES 1r-; E.>\STl~RN <>RISS:\ } II
A Matihya-bafltihana of two mouldings, 1; inches in height, divides the jtirigha into two uneven
stories, the lower story 191/ 2 inches high and the upper story 47 inches high. On later
temples these stories will be equal in height so it is evident that the two-story plan is in its
infancy here as on the Jndralath temple at Ra(lipur-Jhariiil. The Itani/ta and anarlha arc
designed as multi-faceted pilasters with figures carved in high-relief on the center facet
while the offsets are relieved with lush scrollwork. The dilt.ptilas arc carved on the lower
story of the lt.mlilta while the lower story of the anarlha is decorated with an alasti-ltafl.Jti, the
damsels standing on a lotus cushion floaring on a base carved with exuberant foliage. The
upper story of both ptigas is decorated with alasti-ltaf1.Jtis or Milhlina1. The a/IMraha recesses
begin above the pabhtiga, rather than extending through these mouldings as on the
Tinhcsvara, GaurI and Muktesvara, and arc filled with a virala motif in the lower story 2nd
•ilhliM or ak11ii-lta11.Jii motifs on the upper story. These recess figures are 2pproxim2tely the
s2mc size as the figures carved in high-relief on the projecting ptigas but due to the circular
groundplan, the pronounced projection of the pagas and their multiple offsets, the figures
are generally obscured by shadows unless in direct sunlight and thus play a subordinate
role in the ovcull decorative program. On later temples with the return to • square
groundplan these recess figures become the dominant figure motif as they arc increased in
size and no longer hidden by shadows.
The rabti also has a two·story design with the parlva-dtvala niche framed on e2ch side by •
pil2ster and crowned by • projecting e2ve aligned with the mad'!Ja-bandhana. There is • lala-
gar/lhilt.O benc2th the niche consisting of an clong2ted lt.halt.harti-mMflli fl2nkcd by • naga{11agi-
1/ambha on each side. This is the first 2ppe2rancc of naga1 in the pabhaga. These slambha1 arc
coiled by • pair of serpents superimposed one above the other, the serpents altcmatdy male
and female so that 2n auspicious couple is formed both horizontally and vcnically. The
lt.halt.harti· Mll{ldi is multi-faceted and crowned by • /ta/ala with flanking jagrala motifs.
Jagralas also flank the niche at the b2se of the "'"fldi as on the 10th century temples •t
Bhub2ncswar. The center niche at the base of this 11111flli houses various scenes including the
M2rriagc of Siva on the west, Siva and Parvati seated on • couch on the south and a
d2magcd figure holding • sword in an uplifted arm on the nonh. A square p2nd decorated
with • se2ted gafla projects out below this niche to the edge of the pi/ha and serves visually
to crown a vajra-mll{ldi decorating the venical face of the pi/ha. The niche of this 11111flli on
the pi/ha is filled with iifeltitltina scenes or linga-piija while its crowning vajra-maslalta is of the
bho type with flanking figures on the 'ailJa wings. The ptibhaga division of the pil2sters
flanking the lala-gar/lhilt.O beneath the rahti niche has seven mouldings, rather than live as on
the side ptigas, while the shaft of these pilasters framing the niche is octagonal in design
with the back facets engaged with the frame. At the base of the shaft a small female figure
is carved in high-relief on each facet to produce a frieze alignment. The shaft 2bovc these
figures is relieved with rich scrollwork and crowned by a piirrta·gha/a capital. The iirdht,a-
garbhilt.O filling the upper area of the niche on the 10th century temples is eliminated . The
projecting cave crowning the pariva-tkvatti niche is a pidha decorated with scrollwork on its
11111htip/i and a diminutive animal in the center of the sloping upper surface.
The upper story of the rtiha is designed as a vajra-m"fldi which is separated from the lower
story by a thin lta{li moulding above the pidha crowning the lower niche. The niche of this
upper design is small and framed by a shon pilaster on each side and ajiigrala motif at the
comers. The narrow projecting cave covering the niche serves as the base for the crowning
vajra·maslalta which consists of a stylized (airya, the motif aligned with the baraflda of the
Original from
J 11 1·e~IPl.l~S O F TH E 10T ..l . 11TH CENTVRI ES IN EASTERN ()RISS.!\
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Bhub1nc:swar: Rljarl.oJ Temple
side pagas which is eliminated on the rtihti. With the elimination of this horizontal division
the design of the upper story of the rtihii serves visually as the bii(la for the large anga-iilehara
carved •t the b2se of the rtihii on the ga{t(ii.
2. Ga11(ii Dttoralion
The bara/11'a consists of a series of seven mouldings which serve 2s a transition to the
ga/11'i, rather than clearly demarcating it from the bii(la as on earlier temples, and visually
functions as a ptibhtiga design for the anga-iileharas decorating the base of the ga11(ii. As on the
Dakra-Bhrmesvaro and Ekiimbaresvara temples these aliga-iileharas, aligned horizontally
above the bara/11'a, continue the vcnical thrust of rhe bti(la and serve as the crowning
clements for its piiga divisions. There is a more staggered arrangement than on the other
two temples, however, with the anga-iileharas more varied in size, those of the anarlha being
the smallest while those of the offset pilaster angled within the outside a1111riihii recess are the
tallest of the side piigas. The ariga-filehara at rhe base of the riihii, springing directly from the
cave covering the upper niche, extends two bhimi divisions above those crowning the
lt.ani/t.a. All of these anga-iileharas h2ve a double amalalt.a in their mas/a/ea except the smaller
ones on the anarlha where there is only a single amalalea. The anga-iilehara 2t the base of the
riihii is superimposed in front of an even larger aliga-iilehara which extends up three
additional bhimi divisions and is wider than the rtihti and helps to continue the upward
thrust of the anarlha. The overoll solution is thus more graceful and harmonious than on
the other two temples with the staggered arrangement successfully 2voiding the abrupt
Original from
TE ~tPl.f~S <>F THE 10TH· 11TH C:ENTt:Rl l,iS IN f.A S'ff ~ R N C>RISSA
interruptions of the silhouette. There arc additional aliga-li/eharas over the sandhi-sthala. The
allga-fileharas are all pan,a·ralba in plan and thus duplicate the design of the de11/. The ga11{ii
above this cluster of aliga·fileharas aligned at its base is bereft of a1111riihi recesses so that the
piga divisions, except for the riihi, are not venically aligned with rhese ariga·lileharas or the
pigas of the bii{i4. The J:aniJ:a above the allga-filehara is divided into seven bhi111is, whereas on
the other two temples there arc only five bhimis including the anga-lileharas, and this added
height avoids the truncated silhouette of the Diikrii-Bhlmesvara and Ekiimbaresvara. The
bisama terminating the ga11{ii partakes of the piga divisions but is otherwise undecorated.
The 01110/aJ:a is given added suppon by beki-bhairavas (squatting go/fas) who arc placed in the
belei above the rihii rather than being carved on rhc bisama as at Gar:ieswarpur and as planned
on rhe r.fukrcsvara. The dopi,hhii-simhas at the corners have nor survived or were never placed
there. A J:alafa surmounts the a111alaJ:a as the crowning finial.
The ga!'{ii of the Rajariinl rises to a height of nearly 60 feet above ground level and thus
initiates a new phase of temple construction at Bhubaneswar whereby emphasis is
increasingly placed on monumentality. Except for a diminutive figure placed between the
aliga-lileharas of the J:aniJ:a and a1111riihii there arc no figure motifs on the ga!'{ii proper. Its
decorative program is completely dominated by architectural motifs. There is not even a
vajra-mastaJ:a, traditionally the most auspicious decoration on the ga11{ii, though there is a
small stylized 'ail.Jo design (11dga111a) crowning the upper riihi niche which could ostensibly
perform this function.68 Even the reticulated 'ail.Jo scroll (.phand gra11th1) on the a110rlha above
the aliga-iileharas is too high up ro be effectively appreciated. The figures carved in high -
relief on rhe jiiligha arc also above eye level so that the intimacy between spectator and
image characteristic of earlier temples is lost. Although the solution of carving anga-iileharas
on the gal!'fli is gracefully achieved and the temple is one of rhe most beautiful in all ·of
India, its consrruction culminates a brief transitional phase of temple building dominated
by experimentation with exotic architectural features which will soon be modified to
harmonize more fully with the evolving indigenous tradition, or will be eliminated
altogether. Some of the innovations will be retained, such as the placement of the diltpiilas
at their proper comers, the insenion of virila motifs in the lower a11J1raba recess and the
addition of naga/nigi J1a111bha1 to the tala-garbhilta design. The pilaster design of the pagas,
with figures carved in high-relief, will be replaced by m111J4i designs with figures encased in
niches and the nearly circular groundplan will revert back to a square plan though there
will continue to be offsets. The aliga-lileharas will be Rattened out and retained within the
piiga boundaries rather than projecting out like turrets.
~· Jagamohana
In contrast to the ornate decoration of the dt11/, the JagamohaflO is severely plain though a
decorative program was originally intended but left incomplete. The plan of the )agamohana
is squate, measuring approximately 29 feet on each side, in contrast to the rectangular
designs of earlier temples. The pabhiiga, 42 inches in height, consisrs of five mou ldings but,
like the pi/ha, is devoid of decoration. The ba"4 is panfa·ratba in p lan but the piiga designs
were not carved. The jirigha is 71 inches high and surmounted by a barani/a of a single
oa This i.s similar to. thou~h smaller than, the di::si~n car\•cd (lO 1hc:- pcdimtnt!i crov.·ninll. the: .t."rJJ:.,a
projcetion$ of the ~fukteSvara and is Ob\'iously influencc<l by Central Indian co n\·cnti(ln5 \lo'hcrc thc:-sc Ntfy,111110
mo tifs \l'l!'rc standard decorative features.
Original from
j 14 Tl::-.1tlJ,f S ()f THE 10TJ-l · 11TH <: E~Tl,; R ll1S IN li:\ STJ:RN <>RISSA
undecorated moulding 1 8 inches high. The only decoration appearing on the nonh and
south sides is the gavti}f.!a projection and they arc only panially completed. The gavti/f.!a
window is Aankcd at the sides by large ntiga/ntigi-stambhas which suppon the projecting cave
above. Only the base of the 1/a111bha1 has been finished and it is decorated with a triple gaja-
krtinta motif in contrast to the double motif at Gandhara\!I. The window is framed by three
bands of scrollwork though only ponions of the scrolls were completed. The gavti/f.!a·
111a11(iana above the window was left plain. An innovation is the use of balusters in the
window rather than perforated jtili standard on earlier temples at Bhubancswar, a feature
most likely inAucnccd by similar designs appearing on porch balconies of temples in Central
India, as at Udayapur or Jagat, and adumbrated on several temples in the upper Mahanadl
valley as discussed earlier. The decoration of the balusters was only panially completed.
The center baluster in each window is Aat whereas the other four arc round. Each baluster
is divided into three pans with the base carved as a ptihhtiga. The shafts arc ornamented
with .+.irtiflf#kba masks with festoons of pearls dripping from their mouth (tila111ba) . The
capitals of the corner balusters arc decorated with atlantid-ga11a1 while those of the
intermediate balusters arc only roughly blocked-out.
The pediment above the projecting cave extends straight up and is a funher development
of that on the Muktcsvara with its design, only sketched out, being that of a vajra-masta.+.a
consisting of two superimposed fairya-medallions. An 11dyatti lion stands guard on top of the
design. The roof is of the pi(iho order, composed of thineen pi(iha mouldings of diminishing
size, and is somewhat truncated at the top and crowned only by a Al.a/ala as on the
Muktesvara. The top piifha1 appear to be modern restorations. On the west side the pi(iha
mouldings arc also truncated as they abut the sondhi-sthala, despite the increased size of this
connecting wall, and there is no projecting pediment or surmounting lion as the anga·
ii.+.haras covering the sandhi-sthalo panially overlap the pi{ihas. This suggests the experi-
mental nature of the bonding between thejagamohana, with its pi(iha roof, and the de11/. The
sandhi-sthala appears even wider than it is because of the nearly circular groundplan, the
projecting anarlho forming pan of the wall. The walls of the sandhi-sthola proper arc
decorated with a standard ptihhtiga division and a jtigrala motif carved in high-relief in front
of jtili perforations. The roof of the sandhi-1tholo has an alignment of three ali1,a-ii.+.haros at its
base on all three sides with the center one on the cast much larger as on the rtihti designs on
the facades of the ga11(ii.
4. Portal Duorotion
The entrance ponal of the jagomohano is Aanked on either side by a large ntigo/ntigi-stombho
as on the govtii:/a projections though here the decoration is more complete. The serpents,
male on the proper right and female on the left, arc carved near the top of the slombha with
their tails coiling below to suggest as ascending movement. T he base of the slombha is again
decorated with a triple goja-krtinta motif on the front and a jtigrato on the Aank. The
architrave, resting on the stamhhas, is decorated with a nouagraho, each graha housed in a
shallow arched niche. Rahu is represented as a head and hands only while the lower body
of Ketu is serpentine and his hands arc uplifted.
Flanking the nandtivorlo or semi-circu lar steps in front of the door, at the base of the
jambs, arc miniature shrines, tri-ratha in plan, which house in their niche a diminutive
figure displaying his erect lin1,a111. An elaborate lotus motif is carved on the stair-riser above

TJ , ;>.IPl. i~S (lf THE 1ol 'H· 11Tlt c : J~l\: Tl'R IF.S IK l ~:\s·r1~ R!\i <.lRISSA
the lower 11a11davarla. The dL"arapalas are housed in a 11ajra-m1111tfi design ai the base of the
jambs, the first such example of this type of 1111111(ii to appear on the doorframc. The member
crowning the niche is an ornate kiri/a similar to examples appearing on Central Indian
temples and again suggests outside inAucncc. The dvarapalas arc housed in a rectangular
niche and assume identical poses, each holding a trident in their right hand. Their faces arc
badly mutilated though the terrifying Nandi is recognizable by a garland of skulls which
hangs nearly to his knees. The door is framed by three bands of scrollwork- kN/i/a, gt!aba,
kN/i/ii-with the jalapatra scroll conspicuously absent. The dvara-la/a/a-bimba panel on the
lintel is carved as a pit/ha-11111111/i with Laku llsa within its niche. LakuliSa is seated in
padmasa11a and displays the dharmacakra-pravarl/a11a-111Ndra with the /akN/a held against his left
shoulder. He is Ranked by four emaciated disciples, one in each comer of the niche, seated
on lotus cushions.
The decoration of the sanctum door was not finished, the motifs only blocked-out,
testifying that thc jagamoha11a was constructed at the same time as the d111/ and that the laucr
was not completed first and the jagamohana added afterwards. The interior of the sanctum
has an additional recess in the center of the conventional recess on each wall to produce a
stepped plan duplicating somewhat the exterior plan of the dt11!.
s. C11/1 I magn
The raha niches arc empty so that the only cult images appearing on the jarigha arc the
a1/a-dikpalas. As a group they arc perhaps the best preserved and most handsome of any
surviving set in Orissa. The images arc shifted one position in contrast to the earlier groups
at Cauriisi and Ganeswarpur so that Indra and lsiina, the beginning and completion of
prad4k,i11a, arc both on the east. The dikpalas are carved on the center facet of the ka11ika
and arc beautifully framed by lush scrollwork ornamenting the offsets. Each is depicted in a
standing pose with his mount or attribute carved on the pedestal below. The vajra and
ankNia held by Indra, as well as his head, are modem replacements. One of the most
beautiful images is the pot-bell ied Agni on the south-cast. He stands in a tribhariga pose
surrounded by a flaming prabhavali. His vehicle, the ram, is well preserved except for the
muzzle. As with the other dikptilas he is Ranked by attendants below and Aying 11id.Jtidharas
are on the upper comers. Yama is represented in a similar pose. He holds a ribbed da11c/a
and noose. He has a shon beard and terrifying facial features. His buffalo-mount is on the
pedestal. Nirriti on the south-west comer has a sword in his right hand and a severed-head
in his left. A prostrate corpse is on his pedestal. The best preserved and most handsome of
the dikptilas is Varuna. He appears on the west holding a noose in his uplifted left hand
while his right hand is extended in varad4-mNdra. Immediately below his right hand, peering
up at him from the lush foliage carved on the pedestal, is a 111akar11. The body ornamen-
tation, coiffure and facial features of Varuna are exquisite. Vayu is on the nonhwcst corner
holding a staff with banner in his uplifted left hand. His right hand is extended in varad11-
m11dra above an indistinct mount. A female ta11ri-bearcr appears in the lower left corner.
The pedestal is carved with lush foliage. Kubera is on the north corner holding a bag in his
left hand. His right hand is broken off. Eight jars, symbolizing the 111/11-11idhi1, and a
kalpavrkfa or wish -fulfilling tree arc carved on his pedestal. Tsana occupies the northeast
comer though all of his auributes arc now missing. In contrast to the other dikpalas he has
four arms, a halo behind his head and a lotus canopy above. He is irdh1,11/inga and an
cmaciared ascc1ic is ar his righr s ide.
Original from
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Numerous cult deities, small in size, are housed in niches carved on the leh11ro moulding
of the piibhiigo. Panicularly interesting are the many dance scenes of Siva or his female
counterpan. Nataraja normally holds the snake over his head and is flanked by attendants
and musicians. The bull Nandl peers up at him from between his legs. His female
counterpan, though two-armed, generally a°'umes a more dynamic pose with the bend in
the legs more pronounced. There are numerous female deities represented though they are
difficult to identify. On the south sondbi-Jlbolo is an image of Parvati. She is four-armed and
holds a snake twisted into a noose in her upper right hand, an anleNia in her upper left, a
long-stem lotus in her lower left while her lower right is held in vorodo-11111drii with a lotus
mark on the palm. A scene of the l\iarriage of Siva is housed in a niche on the pi/ha in front
of the riihii on the western side. Siva is seated in a relaxed pose with one leg uplifted and a
pillow behind his back. He extends his right hand to receive the hand of Piirvati who stands
in front of him. A vi{tii player sits on the couch in front of Siva while a ro11ri-bearing
attendant is in the background.
6. Female Fig11rt1
Much of the fame of the Rajariit;ii stems from the beautifully carved female figures
gracing the walls of the dtNI, panicularly those on the onortho-piigo of the lower jiingho. In
terms of body proponions these olosti-leanyiis are taller than their counterpans on the
1'tuktesvara and more graceful in pose, their supple bodies softly bending like meandering
vines. Though carved in high-relief they adhere closely to the surface and are well
contained within the boundaries of the pilasters in typical Orissan fashion. In general the
figures ar< more animated though their action is controlled and pleasingly seductive rather
than violent or provocative. Though they are indolent damsels, going about their daily
activities, they are at the same time sophisticated and ever conscious of their charms. In
addition to the traditional fiilobhoiiji/eii motifs, or those of looking into a mirror o r adjusting
a sandal, there are new motifs such as that of a peacock stealing pearls from the coiffure of
a woman clinging to a tree. The motif of a vine bending above the head to form a canopy
is still popular, though used with less frequency than on the Muktesvara and the foliage is
more profuse. The body ornamentation is also similar, the necklace hugging the contours
of the breasts, though the girdles are more ornate with festoons of pearls hanging from the
bottom strand.
Due to their higher placement on the j iingba, stemming from the greater height of the
piibhago and the addition of a pi/ho, and the manner in which they are isolated and set-off
against the busy scrollwork of the multiple offsets acting as a frame, the figures take on an
almost heroic aspect which belies the mundane activities in which they are engaged. In
addition to these heroic female figures carved in high relief on the pagas there are many
other female figures housed in the n iches carved on the leh11ra moulding of the ptibhtigo.
Included among the various motifs is the ever-popular woman in the doorway, the
mischievous monkey pulling the garments from a woman, a woman adjusting her sandal,
and the fiilobhanji/eii. One of the most beautiful scenes is that of a woman looking into a
mirror while appl ying paste to the pan in her hair. Equally beautiful, at the same time
terrifying, is the lovely dancer holding a drum in her uplifted right hand and a skull-cup in
her left along with a trident. There is also a tender scene of a woman nursing a child, the
child seated on the thigh of her uplifted leg. Also new is the motif of a female holding a
Original from
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young child in her uplifted hands, the child reaching out to touch an ornament in her hair.
There is also a rare image of a nude man carrying a child on his shoulders and holding a
vessel in one of his hands.
7. Erotic 1magery
The mith1111a images carved in high-relief on the projecting piigas of the upper jiingha are
rather mild depictions of amorous couples placing an arm around the waist or shoulders of
their panncr. In the a11J1riihii recesses of the upper jiiligha, however, the activity is more
intimate and explicit maith1111a themes arc included. Their activity is panially hidden from
view, except when in direct sunlight, due to the depth of the recesses and the multiple facets
carved on the projecting piiga1. One of the more popular themes is that of a male removing
the garments of his female panncr. The yoniiibhi1ekha motif of preparing the yoni for ritual
intercourse is also represented. There is also a scene of ail emaciated ascetic embracing a
young female from behind which probably alludes to the magical efficacy of sex and the
auspicious nature of woman. That this motif of an ascetic and woman was accepted as a
powerful charm seems evident by its mention in numerous Ii/pa texts with Tantric
leanings.•• Other motifs probably inffuenced by Tantrism include cunnilingus and fellatio.
Many erotic themes are also carved on the piihhaga mouldings, both in the "'"l'Pi niches of
the kh11ra mouldings and on the sloping surfaces of the pa/fa and vasanta mouldings. Some
of these motifs arc playful and even humorous, such as garras standing on their head and
looking up at their erection. Others, however, arc more solemn and pcnain to Tantric
rituals, some duplicating scenes appearing at Khiching, Mukhalingam and Cauriisi. The
diminutive scale of many of these images, generally overlooked by most observers so
obviously not intended to stimulate prurient interests, suggests their magical or auspicious
nature. That they were not completely overlooked is evident by the large touch-hole often
worn into the yoni of the female by devout pilgrims or visitors who touch this area with
the ir fingers. The placement of figures exhibiting their sex organs on the doorframc also
suggests the auspicious nature of erotic imagery. Some of the large garras placed in front of
the tala-garbhikii likewise are represented in auspicious exhibitionism as on the Tinhcsvara
temple.
8. Duorative Motifs
Even though male cult deities arc re-introduced on the temple, i.e., the dikpalas at the
comers, the genera.I trend of the figure motifs is becoming more secularized. The dwarf
garras, so popular on the temples of the 10th century, appear only sporadically on the
RajariigT, the largest examples being those on top of the pi/ha in front of the tala-garhhikii of
the riiha. The most popular figures represented, aside from the auspicious alasii-kall.Jtis, arc
ascetics and warriors, i.e., individuals from everyday life. In numerous cases these figures
arc the male panncrs in mith11na/maith1ma scenes. In some cases the warrior is depicted as a
single motif on the projecting piiga, standing with a swo rd in one hand and a shield in the
other. In other cases, panicularly on the kh11ra moulding, the warrior is standing in the
presence of two women, some of these possibly representing domestic scenes as one of the
women is accompanied by a young child. In addition to panicipating in amorous scenes the
Original from
318
ascetics also arc represented in other activities, such as begging alms or performing /inga-
pijii. Other popular motifs include the slle,iitfana with a g11"' dispensing instructions or a
royal figure surrounded by members of his coun.
The most popular animal motifs arc the viriila, jiigrala and gaja-kriinta, all of which
involve lion-monsters. The viriila motif of a leonine monster standing on its hind legs above
an elephant or demon is a new motif, most likely influenced by Central Indian conventions,
and is confined to the narrow an11riihii recesses of the lower jiingha. Due 10 its narrow
confines the animal is standing almost straight up and turns its head completely around to
face the rear, the head fashioned as a lion-mask or elephant head with proboscis, and is
generally riderless. The motif thus is ideally suited to fill narrow recesses. The related
jagrala motif of a leaping lion with a rider, in some cases trampling a crouching elephant or
demon beneath its upl ifted front legs, is more diagonally composed and does not turn its
head backwards. The motif appears on some of the earliest Orissan temples and is popular
as a heraldic motif with addorscd lions flanking a caitya, /t.,,/afa or niche. It also appears on
the sandhi·slhala of the Muktc5vara as well as the Rajarar,ti. Its face is usually that of a
kirli11111kha and festoons of pearls drip from its mouth. In the gaja-lt.riinta motif the animals
arc more naturalistic in appearance. On the piibhiiga moulding it is represented as an
addorsed heraldic motif with the lion sunding on its hind legs in front of the crouching
elephant. Its position on the founh moulding obviously derives from the tala-bandhana
standard on early temples. It appears on the roof of the sandhi-sthala in its more standard
form whereby the lion rests three legs on the back of the elephant, its founh paw upraised
in front of the chest ready to strike. It appears here as a double motif while at the base of
the ntiga/niigi-stambhas at the entrance it is a triple motif. The other leonine motif appearing
on the Riijariir,ti is the 11tfyatii lion which is placed above the £'ajra-mastakas of thc jagamohana.
It generally rises up on its hind legs from a platform as if ready to leap and as such 5ervcs
an apotropaic function.
Although there arc no vajra-masta/t.,, motifs on the gan{ii they do appear in abundance on
the piibhiiga mouldings, generally as a bho with flanking female figures, or lions, or as an
omate lt.iri/a. They serve as crowning clements of the 11111n{ii designs of the lt.h11ra mouldings,
on the pi/ha or above the dviirapiila niches. Their medallions are filled with faces, demonic
masks, seated figures, animals or birds.
The most dominant scroll motif is the vana-latii which consists o f lush foliage in-
dependent of any stalk or vine. This all-over pattcm, resembling wood shav ings, is
panicularly clfcctivc on the multiple olfsets of the projecting pilasters where it frames the
figures carved in high-relief and functions as a foil or background heightening the softness
and swelling convex curves of the figures. It is deeply cut and also functions to break up
the solid surfaces of the walls into a glimmering play of light and shade. Diminutive
figures, such as the halitsa, ma/t.,,ra, gaja-lr.riinta or s11parna (half-man and half-bird), arc
frequently insened at the base of the foliage. As an independent motif this scroll is rather
monotonous in contrast to scrollwork on earlier temples and is best when used in
conjunction with figure sculpture. In contrast to its use on the vertical olfsets, where it
rema ins confined within the boundaries of the pilasters, ir is more exuberant when
decorating the horizontal mouldings of the pabhiiga and appears about to overflow its
boundaries. The fr.11/ilii scroll also appears as a background to some of the figures carved in
high-relief. Other scroll motifs sporadically used include the circular var/11/ii, carved on the
octagonal pilasters of the raha niche, on some of the olfscts and on the gan{ii ; the phand
Original from
TF.'.\IPl.ES ()f TlfJ--: 10Tll· 11TH (:f~ STl . R l l:S JS E :\~Tl~ R:"\ (lRJSS.\ l 19
granthi scroll of interlacing raitya motifs which appears high up on the gantfi; and the podmo
Pr!lha which appears primarily on the sloping surfaces of p1ibhaga mouldings.
It is on the Brahmcsvara temple that the innovations introduced on the Ek:imba resvara,
Oikr:i. Bhimc5vara and Rijarii.J:ii temples arc modified and completely assimilared u·irh
indigenous traditions to set the course for the ensuing evolution of the Orissan temple. The
temple is located on the outskirts of Bhubaneswar midu·ay between the Rajariinl and
l\lcghesvara temples. It is of the panrayalana class with subsidiary shrines erected at the four
comers of the compound. An inscribed slab originally attached to the temple was rcmo\·ed
to Calcutta in the 19th century and subsequently lost. A r<duced facsim ile produced by Mr.
Prinsep, the first editor of the epigraph, is the only surviving record of the insc ription.'0
The inscription has been re-edited and commented upon by P. Acharya and 0. C. Sircar."
According to the inscription, as recorded in verses 1 2 and 13, the temple, along with fou r
Char11-iata temples, was built by Kol:i.vatl, mother of the Somavamsl king Uddrota-kdari,
in the latter's eighteenth regnal year at a place known as Siddha-tlrtha in Ek:imra
(Bhubaneswar).'2 This would place the date of construction in about A.O. 1oi 8. \X'it h the
Brahmdva ra the Orissan temple reaches its mature form. The architectural activities in
later periods were more concerned with elaboration than with innovation. The pii/ho roof of
the jogamohona is crowned by a complete ma1taka, rather than just a kaloia, and iron beams
have been used as joiSts above the corbelled arches to help support the flag stones and the
increasing weight of the gon(ii. The ceiling of the j ogomoha•a is also embellished with
sculptural decoration though not as ornate as on the l\luktcsvara.
t. Ba(io Duoration
The de11/ rises abruptly from the ground level, without a pitho or platform, to a height of
about 60 feet. The ba(ia is paiira-ralha in design and mcasu res 20 feet from comer to comer
with the rtihtis each projecting out an additional J4 inches. The pabhaga is i6 inches high and
consists of five mouldings of the standard design. A vertical bar, divided into two tiers b y
the pointed ka~i moulding and relieved with single figures superimposed one above the
other, joins the paf!a with the crowning vasonlo moulding. The vasanla is flat on top, as on
the l\luktcsvara, rather than being capped with a sloping crown as on the Raja r:ini. The
rompaka-leaf on the k.Nmbha continues this vertical line and joins with a bell-shaped leirila on
the kh11ro mou lding. The tala-gorbhikti beneath the rriha-pago niche duplicates the ptibhaga
design with the center division flanked by narrow 1/ambha1. The slambhas arc flat and
relieved with the circular var111/ti scroll motif crowned by a female figure at the top. The
overall design is very flat and contrasts greatly with the khtikharti-11111~(ii with multiple offsets
and ntigo-Jlambhas carved on the Rajariii:>i.
The jangha is divided into two stories by a madk)'a-bandhanti consisting of a bro ad, kh11ra-
shaped moulding relieved with scrollwork on its vertical face and a diminutive figure on
10 }ASB. \'ol. VII (1 8.J8), p. JJ7· pl. XXI\·. The inKription is -alst) repro ducc:J, as orig1nall~· cdi1cd, br R.
~f i tra . op. rit. , II, pp. 1'0·11.t.
" JR .4S8, Vol. XIII (1941). pp. 6! · 71·
71 Sec Pani~rah i , ..-lrthJrolo1,it1J! Rtmains at 8h11ha11r1a·ar, pp. 4t·47.
Original from
jlO TE:i.IPLES 0 1~ Tl lE 10TH· 11TJI CENTURll!S IN EASTERN O RISSA
the center facet of its sloping upper surface. The two stories arc now equal in height in
contrast 10 the Riijariini where 1he upper story was smaller. The J:Ani.#:A and anartha pagas arc
idcn1ical in design. The lower story of boih pagas is designed as a .lehaJehara-m11f1di and the
upper story as a pir/ha·lllllfldi, an arrangemcni wh ich becomes standard on most later temples
though the crown ing •illfaniltti, panicularly in the Wlt.hara-llf11(1r/i, will vary in design. Herc
the •illfaniltti of the JehaJehara•Mllfldi consists of five mouldings, diminishing in size, with an
elaborate vajra-Mastai:A carved on the center facet of the lower four mouldings. This •ajra-
masta.#:A, generally of the bh1>-typc with Ranking figures, is a residual carry-over from the
standard •aJra·mllfldi designs o n earlier temples now being transformed into .lehalthara-m11f1rfis.
The •imanilttis of the pir/ha-mllflrlis of the upper story consist of three pir/ha-mouldings of
diminishing size crowned by an a111ala.#:A. The 11111!'r/is arc all tri-ratha in plan with the niches
of 1hc pir/ha-11111f1rfis housing primarily alasa-J:Anyas, female musicians, or 1t1ith11na images. The
niches arc framed by scrollwork. On the Jehalthara-1t111t:tr!i1 of the lower story, however, this
niche is Ranked by a smaller niche on each side rather than being framed by scrollwork, the
side niches being filled with female attendants. This alignment of three figures on the paga
deviates from the standard practice of isolating figures by scrollwork and suggcSts Central
Indian inRucnce, 1hough the Orissan images arc housed in niches and not carved in high-
relief one next to the other. The center niches on the J:AniJ:As house the dil!.palas while those
on the anartha house various aspects of Siva. The lateral projections facing outward on
these m1111rfis also contain a narrow niche which houses generally a female figure, either an
alasa-J:Anya o r in a few examples a deity.
i---------~-- }~-"-~~--~
- - 119'' _ . . ,
I
Bhubancswar: Brahmcivara Temple
Original from
The a/Ulrahi recesses begin above the pibhiga and arc not cloaked in semi-darkness as on
the Riijariioi, where the multiple projections cast them in shadows, so that figures now play
a more pronounced role in the overall decorative program. On the lower story these
recesses arc filled with •irila motifs and on the upper story with ala1i-l<anyi1. In size these
figures arc now larger than those housed in the m1111di1 of the projecting pigas and set the
trend whereby they will soon dominate the figure decoration of the temple walls.
The rihi is now designed as a pfdha-m1111(ii truncated at the level of the second pi(iha in
contrast to the truncated n/ehi design oo the earliest temples. The niche is flanked by a flat
pilaster on either side which support the pi(iha roof above. The shaft of the pilasters is
relieved with scrollwork and an overlaying i/amba design near the top. The capitals arc
decorated with two superimposed shallow niches filled with 111ith1111as, warriors or secular
themes. The niche, measuring j 8 by ~o inches, is framed by three narrow bands left plain
except for a small inset on the lintel decorated with a small image of Sarasvatl on the west
while on both the north and south sides the figure is a seated Gaoesa. A rectangular panel
appears above the lintel, aligned with the top panels of the pilaster capitals, and is
decorated with a fi/qiidana motif of a g11r11 instructing his disciples or the related motif of a
royal figure surrounded by attendants. Similar scenes appear on the pilaster capitals of the
lateral flanks. The roof consists of two pi(iha mouldings which extend to the height of the
lowest bara!l{ia moulding. The top pi(!ha serves as the base for the large aliga-iilehara which
dominates the riihii of the ga11tfi and obfuscates the bara11tfa division on this piiga. The overall
design of the rihii on the b~a is thus single-storied in contrast to the two-story design of
the side piigas. As with the side pigas there is a return to a flat treatment in keeping with
indigenous traditions.
1. G1111r/i Dtcoratio11
The bara11(ia is very large and effectively demarcates the ga11i/i from the biii/a on the anartha
and l<anil<a piigas. It consists of three mouldings, a /eh11ra relieved with scrollwork on its
• 11hi11fi or lower projecting edge and diminutive figures on the center facet of its sloping
upper surface; a plain /<alfi or pointed middle moulding; and a modified kJlmbha decorated
with scrollwork. There is no bara11r/a division on the rihii as its anga·iilehara springs d irectly
from the roof of the projecting pir/ha covering the piirlva-dtvatii niche.
The ga11i/i is panro-ratha in design and aligned with the piigas of the biir/a even though the
an11rihii-rcccsses have been eliminated. This vertical alignment is achieved by extending the
width of the l<anil<a so that it incorporates the space assumed by the recess on the bii(!a. The
l<anil<a is divided into live bhiimis as on the earliest Orissan temples though there is an
additional bara11i/i or moulding to c.ach bhiimi which increases the overall height of the garti/i
so that the squatness characteristic of these earlier temples is eliminated. The first bhiimi of
the anartho and /<anil<a is decorated with an anga-ii/ehoro which is flattened and completely
assimilated with the indigenous decorative program and the continuous contour of the
ga11i/i. The ariga-fi/eharos arc aligned with the piigos and effectively separated from the bii(!o by
the bar1111(ia so they do not visu ally serve as the terminus for the lower paga divisions as on
the Ekambarcsvara, Diikra-Bhimesvara and Rajariii;ii temples. The anga-iileharas arc also
panra-ratha in design and complete with niches at the base and a crowning amalal<a at the
top. The horizontal emphasis of the wider leanilea is partially obfuscated on the upper four
bhiimit by a vertical band, relieved with •artu/ii scrollwork, which runs up the center of the
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piiga. The decoration of the top four bhiimis on the anarlha consists of an alignment of vajra·
m1111(iis, one for each bhiimi, housing a mi1h11na in their niche and crowned by a bho. This
alignment o bviously derives from the earlier convention of inserting such "'"ll<iis in the
an11riihii recess. With the elimination of these recesses their original decorative program is
here being transferred to the anarlha.
The anga·iilt.hara carved on the base of the riihii, as indicated, springs directly from the
pi(!ha roof of the biila design, thus obfuscating the bara11<fa, and extends half-way up the
second bhiimi. It is thus larger than those on the side piigas and is more ornate in decoration.
It is likewise paflta·ralha in plan and houses a diminutive piiriva·dwalii in the niche of its
jiingha. Above the pi(!ha roof of the piiriva-dtvalii is a small vajra-maslalt.a. The ga/lli of this
anga-lilt.hara is divided into five hhii,,,is and crowned by an amalalt.a with surmounting It.a/ala.
Immediately above this anga-iilt.hara, replacing the second anga·itkhara on the Riijarii(li, is a
vajra·,,,asla/t.a motif. The tailya of the motif is bell-shaped and flanked by ga11as. The
Jdrlinr111t.ha mask at the apex serves as a platform which projects out sharply to interrupt the
silhouette of the ga11(ii. This projecting motif of k.ir1i111111t.ha mask with surmounting lion
completely dominates the bho which is carved in low-relief and seems almost like a separate
motif. A broad vertical band relieved with sc rollwork runs up the center of the riihii above
the projecting lion, the riihii consisting of simple bara11<iis repeated to the top of the ga11(ii.
The bisanra terminating the ga11<fi partakes of the piiga divisions but is undecorated. &k.i·
bhairavas are set above the riihii to help support the crowning amalalt.a and its It.a/ala finial.
Near the top of the riihii on the cast side is a Na1ariija.
The o verall design of the ga11(ii, with a row of flattened ariga-fik.haras aligned horizontally
at its base but contained within the vertical piiga divisions, serves as a harbinger for one of
the two major solutions for integrating anga-lilt.haras into the overall plan without
disrupting the ve rtical thrust of the individual piigas from the base of the dr11/ to the bisoma.
Also setting the trend for later temples is the wider lt.anilt.a, the increased size of the
projecting 114Ja1ii lions and the placement of two vajra-maslalt.a designs on each face of the
ga11<fi. The increased height in the ga11(ii, with the silhouette bending in sharply near the top,
also serves as a model for later temples. Though the temple rises 10 a height of 60 feet,
nearly 10 feet higher than thega11<fi of the Parasuriimesvara, the measurements at the base of
the de11/ are nearly identical, the Brahmesvara being only 6 inches larger 'than the earlier
temple.
The sandhi-Jlhala, though smaller in size than on the Rajarii(li, measuring 36 inches,
functions better to link the dt11/ with the jagamohana as there are not as many anga·fik.haras
crowning its roof and thus abutting the pi<fhas of the )agamohana. There is, in fact , a vajra-
maSlalea projection with surmounting lion on the west end of the j agamohana, fronting the
de11/, which was not possible on the Riijarii(li. The bii(ia of the sandhi·slhala is decorated with
a piibhiiga, aligned with that of the dt11/, and a single story )iingba ornamented with ajiigrata
motif.
3. jagamohana
The j agamohana is panra-ralha in design and measures approximately 19 feet square at the
base. The piibhii1.a is 4 l inches high and consists of five mouldings as on the dtul though
they are generally devoid of decoration. The lt.anilt.a and anar1ha are identical in design and
co nsist of k.hiik.harii·m1111{iis with a bho motif carved on the 1•imiinileii abo ve the niche as on the
Original from
1 ·f. ~1Pl .f~S <>F Tl lE 10T l l · 11TH Cf·:!'-:Tt ' RIF.S IN E.r\ S'J"l ~ R N l>RISSA
Jowerjtirigha of the dtt;/. Dikpalas likewise appear on the kanikas though they are not flanked
by attendant figures, the framing elements of the niche being left plain. Various deities,
including Siva Ardhaniirisvara, appear in the few anarlha niches remaining intact. The
recesses between the "'"tt<1is arc filled with a virala motif surmounted by female figures or a
111i1h,,na, the two-storied design of the recesses on the deNI being reduced to a single story
similar to examples on temples from Central India. The bara11{1a consists of a single broad
moulding relieved with an animal frieze on its lower edge and lotus petals on its sloping
upper surface.
The gavtik,ra projections on the north and south sides arc flanked at the corners by a large
pilaster only partly decorated. The outlines of a kirlimNkha with dripping festoons of pearls
arc visible on the upper shaft while the base duplicates the pabhaga design with a small
tala-bandhana added above the top moulding. At the top atlantid figures were planned but
only one was finished . The overall design, had it been completed, would thus have been
similar to pilasters of the early Somavarilsi period but without the figure carved in high
rel ief. The pilasters support a lintel above, flush with the atlantid figures, decorated with a
sculptural frieze wh ich was only partially finished. The window is framed by three
mouldings which likewise have only been partially carved with scrollwork, the completed
part appearing on the south side above the window with a Gaja-Laksmi panel carved in the
center. A lala-garbhika in the shape of a khakhara-111Ntt<1i is visible beneath the window, the
first appearance of this motif on the gavak,ra. The window is filled with five balusters as on
the Riijarii(li though here they arc more finished in design and fashioned as female figures,
an innovation appearing for the first time at Bhubaneswar. The center figure is a nagi wh ile
the flanking figures are alasa-ka1t.JaS or Jak,ri1. The pedestals of the balusters are carved with
mouldings and scroll motifs. The gavak1a-111a!1(iana above the window is decorated by a large
sculpture panel in the center flanked by two vertical slabs on each side. Only the outside
slabs on each side of the temple have been completed and arc carved with milhNna images
standing underneath a lorus canopy . The inside two slabs probably would have been
decorated in a similar manner. The cenrcr panel on the south contains a royal figure with
his ministers while on the north it has a dancing female figure, accompanied by musicians,
holding a pi(lha-rype temple with her uplifted left hand, identified by Panigrahi as Koliivati,
the builder of the temple.n If the identification is correct it obviously is not a portrait bur
an ideal form as rhe temple was built during the 18th year of her son's reign when she
must have been quite old. The crowning pediment, extending above the lower pi{lhas of the
roof as on the Rajarii1;1i, consists of a large vajra-muttli design flanked on either side by a
small pir/ha-mNtt{li. The vajra-mNttli niche on the south gavak,ra contains a 111i1h11na. The lower
portion of a vajra-mallaka is visible above the niche. A mi1h11na flanked by a female figure on
each side also appears on the base of one of the flanking pi(lha-m11tt<1is. The 114Jata lions
orig inally crowning the vajra-111Ntt(ii designs are now missing except fo r the one on the west
facing the dti;/. The projecting pediment on this side abuts thega!f{ii so thar its decoration is
obscured.
The pi{lha mouldings of the roof arc arranged in a continuous succession wirhour a break
as ori rhe Mukresvara and Riijarii(li. The crowning mallaka contains all of the components
of a full-fledged design- a btki, ghatt/a, amla-beki, amalaka, khapNri and kalafa. Although
there are no beki-bhairavas, as on rhe Litigariija, there is an 11dyata lion scared on the top pir/ha
,,. Ibid.. p. 11 8.
Original from
above the entrance on the east. The ceiling of the jagamohana is decorated but not as
elaborately as the ceiling of the J'.fuktesvara. T he top slab scaling the interior is shaped like
an invcned lotus with naga figures at the comers. The lowest course of the ceiling is
relieved with a procession of armed infantry, calvary and elephants while the middle one is
decorated with numerous scenes of processions and various motifs such as linga-piijti. The
upper of the three courses is relieved with broad lotus petals barely visible in the dark
interior.
The entrance ponal on the cast projects out i 6 inches from the wall, some ~o inches
more than the gaviiJ.,a designs and 10 inches more than the sandhi-sthala, and is covered by a
pirfha roof of five mouldings with crowning amala/ea that obscures the lower 11ajra· mastalea
design of the east pediment which is flanked on either side by a miniature rtkhti-dr11/ rather
than a pir/ha-m1111di. The design is surmounted by a small pir/ha roof with an uncarved panel
overlaying its mouldings and a seated lion above its amala/ea at the level of the beki.
4 . Portal Duoration
The 11a11agraha slab over the entrance ponal on the j agamoha11a is more ornately carved
than on the Rajariil)f with each graha housed in a miniature pirfha-m1111rfi rather than a simple
arched niche. The grahas are Ranked at the ends by an additional niche which enshrines a
mith11na. T he pilasters supponing the 11a11agraha arc left plain. The door is framed by three
jambs decorated with the standard klifilii,gdaba andjalapatra scroll motifs. Gaja-Lak$mi is
carved on the d11tira-la/ii/a·bimba panel over the door. T he elephants arc highly stylized and
stand on lotus roundels rather than flattened cushions. A 11art11/ti scroll motif is added at the
top of the lintel above a padma-phe11i. A 11a11diivarla appears beneath the door flanked on
each side by a milh1111a carved above an abbreviated piibhtiga design. The panel beneath the
dvarapala niches is decorated with a double goja-kra11/a motif depicted frontally, reminding
one of the triple motif carved on the base of the flanking 11iiga·llambha1 on the Rajarii0 i,
rather than a single lion monster as on temples from the early Somavarilsf period. The
dvtiraptilas arc two armed and hold the trident in their right hand as on the Rajarii:ti. The
roof of the niche is likewise surmounted by an ornate kiri/a design though its tailya is bell-
shaped and Ranked by female figures duplicating the vajra-maslalea designs on the ga11/i.
The decoration of the sanctum doorframe is similar though the padma-phe11i and var111/ti
scrollwork continue down the sides to the floor making five bands in all framing the door.
The double gaja-krti111a motif beneath the dt·tiraptila niche is replaced by a single motif
carved in profile. Flanking atlantid dwarfs are carved on the sides of the 11a11dti1•ar1a. A
Nandi is placed in the jagamoha11a facing the enshrined liriga.
l · C11// I mogn
Although the rtihti niches arc now empty there arc diminutive ptiriva·dt11aliis in the niche
of the ariga-iikhara1 at the base of thega11rfi. Karttikeya and Parvati are both four-armed and
assume a standing pose whereas Ga0 esa is represented dancing, one of the earliest
surviving examples of Ga0 csa in this mode at Bhubaneswar though it was popular
elsewhere in Orissa. All of the dikpiilas on the de11/ arc in si/11, forming pan of the wall itself
rather than being carved from a single blcx:k as probably were the piiri11a-tk11aliis, each
seated in lali101011a on their respective vehicles. Their hair is piled up in a tall tiara and a
trefoil-shaped arch appears on the back-slab of several of the figures. Except for Isana the
Original from
TEMPI.ES OF THF. ooTH· .,TH C:ENTURICS IN E ASTE RN O RISSA
niches flanking the dikpiila arc filled with female attendants, those flanking Isana being filled
with scrollwork. On the jaga111oha111J six of the dikpiilas have survived intact so that for the
first time two sets of dikpiilas have survived from a single temple. Indra is missing from the
jaga111oha11a while only the lower po"ion of Varuoa, seated on his 111akara, remains ;,, sit11.
These dikpiilas are also seated in lalitii1a11a on their respective mounts though they do not
have flanking niches and because of their larger size, the jiingha being only a single story,
appear more monumental. Diminutive flying vidyiidharat appear in the upper comers of the
niche and a trefoil-shaped arch appears behind all of the dikpiilas except for Agni who is
surrounded by a mandorla of flames.
With the added niches due to the two-story design of the jaligha on the de11/, and the
added a1111rahi recesses, there is a return to the earlier practice, never abandoned in many of
the outlying areas, of housing various aspects of Siva within the a11artha niches. The
iconographic program is slightly altered, however, and some of the forms popular on early
temples, possibly associated with the Pasupata form of Saivism predominant, arc missing,
including Lakulisa, Hari-Hara, Gangadhara-mii"i and Bhiksii1ana-mii"i. There arc also no
river goddesses though the fact that the anartha-piigat on the east are replaced by the thick
walls of the 1a11dhi-1thala could explain their absence. The images housed in the six a11artha
niches of the lover story are Andhakisura-vadha-mii"i and Aja-Ekapada on the south;
Ardhaniirisvara and dancing Bhairava on the west; and Na1ariija and a female figure with
uplifted arms on the no"h- There is also an image of a dancing ViQiidhara in the upper
ka11ika niche on the west side, the first example of a deity appearing on the upper jangha,
and several female deities in the niches on the lateral flanks on the mll?fdi designs, including
a dancing Ciimul)dii and Durgii SimhaviihinT. Only a few of these ivara~a-dtvafat have
survived on the jaga111oha11a, the other niches being filled with modem stone slabs, and
include two images of Ourgii seated and a damaged ArdhaniirTsvara.
6. Ftmalt FigMrts
Although the alasii-ka11.Jiis arc replaced on the lower a111Jrtha by specific deities, primarily
various aspects of Siva, the image of woman still plays a major role in the overall
decorative program of the temple. The most prominent female images arc the alasii-kanyiis
in the a1111riha recesses of the upper jaligha, on the lateral projections of the piga designs and
on the balusters filling the gaviiJ,,a windows of thcjaga111oha111J. In addition she appears in the
a1111riiha recesses of the jaga111oha11a, in the niches flanking the dikpilas and deities of the lower
jangha, as pa"ncrs in 111ith1111a motifs uf the upper jangha, and flanking the kiri/a designs of
bbo motifs and in the tala-garbhiki and kh11ra mouldings of the piibhiiga. Included among the
standard motifs is the ubiquitous woman in a doorway, the darpa~a motif of looking into a
mirror, the motif of a monkey tugging at her garments, the woman nursing a child seated
on hct thigh, the <ialamaliki motif of garlanding herself with a branch, fii/abhaiijiki motifs of
embracing a tree and the illkasariki motif of playing with a parrot or maina bird. There arc
also numerous motifs of Tantric inspiration such as drinking from a kapila or holding a
severed head.
Jn addition to these motifs there arc also many c.xamples of female musicians and dancers
in prominent positions on the temple. Except for a few examples introduced on the
Muktcsvara, previously scenes of music or dance were limited almost exclusively to Siva-
as dancing Ardhanar!Svara, Na1ariija, or Vil)adhara-mii"i, as Hara serenading Parvati, or
Original from
as Virabhadra when accompanying the S"P'""'iilrktis--or in sporadic images of Sarasvati or
Ga1.1esa. On the Brahmesvara, however, there arc many female figures who hold or play
musical instruments such as the vi(lii or flute. Similar musicians, as well as female dancers,
appear for the first time on the balusters filling the gRlliik/R windows. The introduction of
female dancers and musicians suggests the increasing popularity of the DtvRdii1i custom of
presenting dancing girls to the temple and a corresponding change in religious rituals and
the status of the presiding deity. This is corroborated by the commemorative inscription of
the temple where it is recorded (verse 1 s) that Queen Kolavatl presented beautiful women
to the temple." Although it does not mention in the inscription if the girls actually danced
before the deity the image on the gRviik/R-1'1'1/1"'1114 of the jagamohana, of a female dancer
holding a pi(lha roof with her uplifted left hand, suggests that such performances probably
did take place. Though it could possibly represent KolavatT, as Panigrahi suggested, it
more likely represents the dancers presented to the temple or a dancer performing within
the temple as the roof she holds, being of the pi{lha order, simulates ajagamohana where such
performances most likely took place and not a rekhii which would represent the dt11/ or
sanctum, i.e., the temple proper. That dancing probably took place within thejagamohana is
funher evident in the pl acement of female musicians and dancers on the balu sters of the
gaviik/a window, where they become standard decoration on most later temples, while a
dancer also appears in the frieze of the ceiling.
In terms of body proponions the female figures of the Brahmesvara are lithe and slender
in contrast to the heavier and more eanhy figures on the Muktesvara. In pose the figures,
continuing the trend noticed on the Rajara(li, are more animated. Seldom arc they content
to stand still . They twist and bend their bodies in all directions, though gracefully and ever
conscious of their feminine charm. The trees under which they invariably stand have
become so stylized that they resemble creepers which arc as pliant as the female forms
themselves. In addition to the attentuated form and animated pose there arc also new facial
features emerging, the most prominent being a sharp and pointed nose.
7. Erolir I magt1y
Mi1h1111" motifs appear on the upper jiingh" of the dt11/, in the recesses on the j"g"moh"""•
Ranking the MvRgraha, on the lateral Ranks of the projecting 11111/IPi designs and in the PRjrR-
m11(1(iiJ superimposed up the height of the """''h" on the g"11(ii. For the most pan these
images arc quite chaste, the panncrs generally placing an arm around their panncr in a
show of gentle affection or in some cases the female plays a musical instrument in the
presence of an enraptured male. There arc less innocent themes, however, including a
rather curious scene in which a nearly prostrate female figure bows before a standing male
figure fondling his erect ling""'· Also present is theyo11iabhi1tka motif of a female at her toilet
preparing herself for a Tantric ritual with the help of a diminutive attendant who is
grooming her yoni. The pabhaga is replete with erotic imagery, though diminutive in scale,
including numerous scenes of auspicious exhibitionism. Generally there is an obvious
attempt to ju xtapose male and female figures, as on the vertical panels joining the pa/I" and
""'""'" mouldings, so that an auspicious "pair" is represented.
The most explicit erotic imagery appears on the walls of the four minor shrines at the
corners of the compound. In contrast to the intimacy and 1enderness exhibited by 1he
14 J.~tj 8, \ 'ol. V JI (18,s). p. SS 7 and Rajendral2la ~ticra, op . rit., 11, pp. 1so· 1l.
Original from
Tl~ ~IPtr~s ( )f T H fl 1o"rH.11T,.I C l~~ ·rt' R 11 .:s IN f~/\ $Tl~ R N ( )Rl:-OS:\
panners in earlier mithuna/maithuna scenes, the tenor here is more aggressive with the figures
seemingly engaged in combat. In numerous examples there is an obvious suggestion of
dominance, the male lifting up his right arm in a threatening gesture while forcing the
kneeling female to submit, his left hand ho lding her head down. The phcement of erotic
imagery in the major niches of these small shrines, virtually elevating their activity to a cult
status, reflects the religious beliefs of the SomavarilSis who extol the pursuit of love in their
copper-plate grants as mentioned earlier and in addition testifies to the increasing ly
secularized nature of the dccorari\•c pr<)gram.
8. Duoraliiv !lfotijs
This secularization is also evident in the elevation of the iik,adana motif of a 8""'
dispensing instructions to his disciples to a more dominant position on the temple. On the
l'>tuktesvara and Riijariini temples the motif was small in scale and placed in subordinate
positions, generally on the pabhaga or high up on the ga{ti/i where it was difficult to perceive.
On the Brahmesvara, however, the motif appears above the parfva-dt,.ata niches and in the
gavafe/a-ma{t{lana, two of the most conspicuous positions on the temple. The!.""' is generally
seated on a low couch with one knee upraised and a cushion behind his back. He is bearded
and accompanied by attendants in addition to the disciples facing him. On later temples
this motif, representing the jnana· marga or path of knowledge,7S becomes standa rd decor-
ation for the gaviik/a·mapi/ana though it is frequently replaced by the related motif of a Raja
wirh his army or minisrcrs. Also popular, as on rhc R3jar31;1i. arc images of warriors which
appear both on the exterior of the temple and on the friezes running around the interior of
the jagamohana.
The most conspicuous animal motifs are the viriifas, insened into the anuraha recesses, and
the udyatJ lions projecting above the vajra-mastaka designs on the gonr/i and jogamohana. The
jagrata motif is confined to the walls of the 1ondhi-11hofa while the gaja-kriinta appears only
on the panels beneath the dviirapiifa niches on the doorframes. Animal frie>.es are also
popular with the largest examples carved on the bara[ti/a of the jogamohana. Among the
animals represented in procession are deer, hamtat and monkers, the latter being the most
varied and successful in treatment.
The most interesting decorative motif which appears almost everywhere on the temple is
the stylized bho-type vajra-maslaka. The most favored placement for the motif is on the
vimiinikii of the khiikhara-m1111r/i1, on the roof of the dvarapiifa niches of the doorframcs and
on the ga11r/i. The motif is extremely varied in treatment and the rail)·as may be bell-shaped
or consist of two superimposed medallions. The wings arc arabe<que in design and
suppon Ranking female figures some of whom hold stringed-bows. The morif is generally
surmounted by a kirtim11kha mask or lotus design. A related motif is the k iri/a carved o n the
kh11ra moulding of the piibhtiga beneath the rampaka-lcaf. It is generallr a bell-shaped crest
with a bell hanging from above and houses a standing female figure.
The most popular scroll motifs arc the vana-fatJ with overlaying alamba designs and the
circular var111fa motif. The vnna-fatJ is deeply undercut with convex and concave curves and
normally appears on the horizontal mouldings of the pabha1,a and o n the pilasters Ranking
the rahii niche. It also appears on the bas< of the ariga-fik.hara aho,·e the riihii niche where it
:-~ See Bc)ner ~nd Sarmi, .filpa PraA:.R1it, pp. LJ. JJI and 44«4 1·
Original from
completely frames the diminutive piirfva-dtvalii images. The circular sprays of the var111/ii arc
filled with various animals. The scroll appears over the gavak,ra window, above the lintel of
the entrance ponal, on the lala-garbhiu beneath the riihii niche and on the vertical band
overlaying the horizontal mouldings of the kanika on the ga11i/i.
9. Subsidiary Shrint1
The subsidiary shrines at the four corners of the compound arc small duplicates of the
major shrine though without a jagamoha11a. In general the stone employed is of an inferior
quality and most of the imagery is badly eroded. The ba(la is panca-ralha in plan and
measures 9 feet 4 inches square. The ptibhtiga, 17 inches high, consists of five mouldings
which are mostly devoid of ornamentation except for the rampaka-leaf. The jiingha is divided
into two stories, each 19 inches high, by a s ingle broad moulding. The pagas arc designed as
lehaleharti-m11!fdis on the lower story and as pii/ha-m11(1(iis on the upper story. The dikpiilas arc
housed in the m1111di niches of the lower kanika while the anarlha niches contain various
deities including an example of the Dadhi-manthana motif of Kr~r:ia stealing curds. The
niches of the upper jiingha arc filled primarily with mi1h11nas, warriors or (!is. The a1111riibti
recesses contain the viriila and alasii-kanya motifs as on the main shrine. A jJgrala is placed
on the sides of the entrance as on the 1'!uktesvara temple. The raha is similar to that on the
major shrine though there is only one crowning pi(lha above the niche. The second pi(lba is
replaced by a small upper niche to produce a two-story design.
The ga!fdi is devoid of decoration except for the vajra-maslaka motifs which spring directly
from the top of the upper niche of the rtihti and thus obfuscate the bara(1(ia division of the
side pagas. The motif consists of a stylized rail.Jo Ranked by a female figure on either side.
The projecting 114Ja1a lions above the design are mostly missing. The design ove r the roof
of the entrance is more ornate and duplicates the pediment designs crowning the gaviik,ra
projections on the jagamohana though the Ranking miniature shrines arc lehtilehara-m11(1(iis.
The center niche is crowned by a bho and a springing 114Jala lion. On one of the shrines the
niche contains a Nrtta-Gar;iapati. The doorframcs duplicate the design of the sanct um door
with a single gaja-lertinla carved in profile beneath the dvarapala niches.
The compound wall is pierced by two gates, one on the east and one on the north. T he
exterior walls arc divided into pabhaga, jatigha and baran(ia but are otherwise devoid of
ornamentation. The only completed decoration appears on the cast entrance where the
dvarapalas are housed in vajra-mll(1(iis and an image of Gaja-Lak~mi is carved on the lintel.
Th is entrance, little used today, leads to a tank, known as Brahmii-kur:ic;la, which is mostly
dried up. North of the temple, just beyond the northern gate, are two rt!ehii-temples devoid
of decoration except for their vajra·maslaka and projecting 11dayalti lion.
The largest temple at Bhubaneswar, and one of the most magnificent in India, is the
Lirigariija. Its elegant and graceful ga11{ii, soaring to a height of about 1 io feet,76 completely
7~l ~stima1es of the height of chc- tlr11/ ,•ary from 14-<4 co 180 fee l. A.ccord 1n ~ to R. ~titra (op . 1i1.. II. p. t ; o).
v:ho had a n1an chmb tc> the: 1c1p v.•tth a r<)pe and measu rinK rape, the he 1~h t f ro m rht· cou n ~ :ir.;l 10 rhc tt.:ip ()(
the: k.dlai'1 w as 100 feet.
Original from
Tl~ ~fP Ll :.S Of Tl~ E. 10TH· 11·1·1.1 Cl ~NT'U RI CS IN F.;\ STl~ Rl': <>RISS:\ l29
dominates the surrounding countryside. It stands in a spacious compound, measuring ! 20

by 461 feet, and is inaccessible to close inspection by non-Hindus. Within the compound
are about one hundred other shrines of various size which date from different periods.
Except for a handful, however, most of these other shrines are of little aesthetic interest and
for the most part obstruct the view of the Li.ilgaraja. The temple complex is a combination
of four structures on an cast-west axial alignment- the dt11/, jagamohana, na/a-mandira and
bhoga-ma!l{lapa. The last two structures arc later additions and artistically much inferior to
the dt11/ andjaganrohana. Ni/a-shrines were also added at a later date in front of the pariva-
dtvalas enshrined in the raha niches and the south gavakfa window was transformed into a
door.
Although there is no reliable record of its date of construction an inscription on the wall
of thejagamohana, recording the grant of a village for the maintenance of a perpetual lamp,
corresponds to A.O. 11 t4-q in the reign of the Ganga king Anantavarman Coc;laganga
and sets the upper limit for the date of the temple.n According to tradition as recorded in
the Mada/a Pali.Ji the temple of Kriuivasa, as the Lingaraja was known, was completed in
three generations. Its construction was begun by Yayati-kesarT II, continued by Ananta-
kesar! and completed by Lalatendu-kesar!.'8 Panigrahi suggests that Ananta and Lalii1endu
may be two other names for Uddyota-kcsarl, the successor of Yayiiti II, thus correlating the
ltfada/a Pali.Ji version with tradition current at Bhubaneswar which credits Yayiiti-kesari II
and Lalatcndu-kesari with the building of the temple.» This would place its construction to
tirra A.D. tO}O-to61 and make it roughly contemporary with the Brahmesvara temple. It is
also stated in the Mada/a Pali.Ji that the eastern part of the Lingaraja temple had started to
tilt and that TuliivatT Ra(li had it dismantled and rebuilt. According to Panigrahi this Ra(li
was Kolavati, the builder of the Brahmesvara, and that she was probably responsible for
the construction of the jagamohana.'1¥! As there arc many temples within the compound,
however, it is difficult to know which structure is being talked about, particularly since the
site had been occupied b y structures for at least four hundred years prior to the
construction of the Lingariija. It is also difficult to believe that part of the temple was
starting to tilt as it was most likely not even finished at this time. Stylistically the temple is
similar to the Brahmesvara, though larger in size and more ornate in decoration. Some of
the individual sculptures, in fact, are almost exact duplicates and seem to be by the same
workshop. There are innovations, both stylistically and iconographically, which suggest
that the temple is slightly later, or at least its sculptural decoration, so that I would
tentatively place its construction, or completion, to the third quarter of the 11th century,
the sculptors working on the Brahmesvara probably being employed on the Lirigaraja after
completing work on the earlier temple. Jn general the sculptural embellishment of the dr11/
andjagamohana are of exquisite workmanship, as on the Rajara(li and Brahmesvara temples,
and acts as a perfect accompaniment to the architecture. With all of the features fully
evolved it is the culmination, after a long evolutionary process, of the architectural
" Ep;,_,.p/Ji• /,;;,.,Vol. XXX (•?ll· !•). p. •9·

rs Afd"41ti Pan;; (Pr:achi F.dition), pp. 6·8.
19 P:a.nigr:ahi, Arrhoto/01,iral Rtmoi11s at Bh11b11nt1111or, pp. 16s · 166. There is t cavt in Khanda~1ri hill \1th1ch is
known locally as Lalitcndu·keSari Gumphi, which bc2rs an inscription of Uddyota·kc-Sari, \lifhil(' a mc1und
50u1h of the l iligarij:a is s:aid to represent the remains o( Lali~C"ndu·ke~arr·s palace.
'" Ibid., p. z48.
Original from
T ..:~tP l .l·:s <>1: T HF. 10Tl'i· 11Tli CEN TURIES IN F.:\STERN <>RISS:\
movement at Bhubaneswar8• and, along with the Brahmesvara, sets the norm for the later
temples.
Whereas the arlga-fikhara1 arc aligned horizontally at the base of the gartdi on the
Brahmcsvara, on the Lingariija temple they arc superimposed one above the other in a
venical alignment on the anartha-ptigas, diminishing in size progressively to the top, and
greatly enhance the soaring thrust of the gartdi without breaking up its continuous contour
and represents the second solution for assimilating anga-iikhara1 into the overall decorative
program without disturbing the indigenous framework. Other imponant innovations
include the development of a two-story design for the jagamohana, both for its bar/a and
gartr/i, and the proliferation of male deities in the decorative program of the temple walls. A
feature peculiar to the Lir\gariija and the contemporary Valukesvara situated a shon
d istance east of the main entrance to the compound is the manner in which many of the
figures housed with in the lfl"!'di niches actually project beyond the frames, rather than being
encased, the figures being carved in high-relief on a panel flush with the frames. That not
all of the figures arc carved in this manner suggests the experimental nature of the
decoration.
1. Bar/a Dtroration
The bar/a of the de11I is pailca-ratha in plan and measures approximately sz ftet square at
the base.82 The pabhaga consists of five mou ldings similar in design to those of the
Brahmcsvara though more ornate in detail and greatly enlarged, measuring approximately
t21 inches in height. The kh1tra moulding is decorated with a vajra-m11rtrfi as on the Riijariil)i,
rather than a simple kiri/a as on the Mu ktcsvara and Brahmcsvara, with its niche housing
multiple figure scenes in the center and Ranking female attendants. The niche is crowned by
an ornate vajra-ma1talt.a design. The campalt.a-leaf carved on the surface of the Jt.,,mbha is
ornately carved with swirling scrollwork rather than a few veins while the vcnical bar
joining the pal/a, lt.arti and vasanta mouldings is filled with two female figures, one above the
other, or an occasional mith11na.
The jangha is divided into two stories by a madhJa-bandhana with the lower story
measuring 116 inches in height. On the lower jangha the paga1 arc designed as lehakhara-
m11rtefi1 and on the upper jangha as pir/ha· mt1rtdis. In contrast to the vi111anilt.a of the lehaleharti-
"'"rtPi on the Brahmesvara and earlier temples, where it consisted of multiple horizontal
mouldings suggesting its derivation from a rtleha design, it now consists of a single large
lehakhara moulding. This becomes the standard design on most later temples and thus
culminates a long evolutionary process which had begun in the late 9th century. The
m11ha{l/i of the lehalehara is relieved with scrollwork while its sloping upper surface is
decorated with an ornate vajra-ma1talt.a design, a residual carryover from early conventions
when the paga was designed as a vajra· m1111rfi. The medallions of the vajra· ma1talt.a arc
generally circular or tear-shaped. The niches of the mll(fdi designs on ~oth stories are framed
with various scroll motifs on the sides, particularly the vana-lata or the increasingly popular
var/111.i which houses human or animal figures within its circular sprays. This deviates from
the program on the Brahmesvara where the niches are lri-ratha in design and khakhara-
m11rtrfiI housed female attendants in the Ranking niches. There arc also no niches on the
'' 0. l\titra, B611bont1•·111', pp. 11 · i1.

12 D imension as given b~· (;angoly and Gos"•am1, op. rit.. p. 13.
Original from
Tf.~IPLl :S (.) F TJ.11; 10Tf-l•11'Fll CF.~TC R I ES IN l~ ASTl ~ RK <>RJSSA
lateral flanks of the m1111rfis, as on the Brahmcsvara, but only small ngurc scenes carved in
high relief near the base. The lintel of the niches of the lehalehara·m1111rfir is relieved with
diminutive images of figures or deities, such as Gat;1csa or Sarasvati, flanked by atlantid
ga11as at the comers. The a11J1raha recesses are nllcd with virala motifs on the lower story and
alasa-leanyas in various seductive poses and activities on the upper story. The mad/rya·
ba,,dhanti consists of three horizontal mouldings with an overlaying vajra-masla/ea on the
aMrlha and an abbreviated pir/ha·m1111rfi on the /eanilea, the latter housing a milh1111a.
The decorative program of the raha is mostly obscured by the niia-shrines added in front
of the parfva-dtvalas at a later date. It has a two-story design with the pilasters framing the
parwa-dtvala niche decorated with females, mi1h1111as or diminutive parfva-dtvaliU in high·
relief at the base and a lt.irlim111eha with overlaying alamba motif near the top. The square
capital is ornamented with an atlantid gaf!a. The smaller upper story, beginning above the
two projecting mouldings forming the roof of the lower story, is lri-ralha in plan with an
an11rabti recess separating each paga. The center paga consists of a niche framed by
scrollwork and housing a deity hidden from view by the niia·shrine. The side piigas arc
decorated with a female ngure in a niche, a naga, and a dopkhha-jagrata at the corner with
the design repeated on the lateral flank.
,_ Ga{l{li Duoralio1'
The bara11r/a consists of ten mouldings, of various design, richly ornamented with
scrollwork and animal friezes. Rather than clearly demarcating the ga11rli from the bar/a it
appears more like a pabhaga division for the soaring paga elements of the gair(li and is barely
distinguishable from the bhiimi divisions. It docs continue completely around the de11/,
however, and is not eliminated on the riiha. The raha design differs slightly in that it
continues the lri-ralha arrangement of the upper story of the j angha with a large rectangular
panel placed in the center above the fourth moulding. This panel is decorated with a vajra·
mas/a/ea motif which extends up the rest of the bara11r/a where it is crowned by a projecting
kir1im11/eha mask with surmounting lldyala lion. Though adumbrated on the Riijara1,1i and
Brahmcsvara temples, this is the nrst clear-cut example of a lower vajra-masla/ea motif
carved on the bara11(1a and sets a precedent for most later temples.
The ga11(ii is paiira-ralha in plan with the pagas aligned with those of the bar/a though as on
the Brahmcsvara the an11raha recesses arc eliminated and the /eani/ea extended to the edge of
the aMrlha. T he /eani/ea is nut only wider but disposed on two planes with the corner
projecting and rounded. A small kiri/a design is placed at the base o f the Aat portion of the
first bhiimi. T he leanilea is divided into ten bhti111is by ribbed am/tis with nvc bara11{1is in each
bhtimi, the bara11(/is ornamented with spaced roil)•as diminutive in size. The anarlha is
decorated with a series of four anga-fileharas superimposed one above the other up the
height of the ga11(/i, each diminishing in size progressively to the top. This vertical
alignment of anga-iileharas greatly enhances the soaring quality of the ga11rfi without breaking
up its continuous contour as did the experimental clustering of these motifs on temples of
the early 1 tth century, such as the Ekambarc:Svara and Dakrii-Bhimcsvara. Superimposed
anga-lileharas arc presaged on the Brahmc:Svara whe re vajra-m1111{1is, inserted into the an11raha
recesses on earlier temples, are placed one above the other on the anarlha. These anga·
iileharas arc conceived as miniature rtkha-dt11/s complete with a pariva-dtvala in the riiha
niche. They arc relatively Aat, as on the Brahmcsvara, and arc contained within the
boundaries of the piiga where they overlay the horizontal mouldings.
Original from
lJ2 Tl·:i\tPl.ES ()17 T i ii: 10TH· 11Tf-t CE1'1'l! RIES IN EA STf~ R N <>RI SSA
The base of the riihii is dominated by a large uajra-maslalea design which begins
immediately above the smaller design on the bara{l(ia. The design consisis of two super-
imposed tear-shaped medallions with the lower one much smaller. Each medallion is
Ranked on either side by a gaflO with those of the smaller bottom design being contained
within the borders of the upper design. In the center of each tear-shaped medallion is a
smaller circular medallion which houses a lotus in the lower motif and in the upper motif
an image of Ganesa, Kiintikeya and dancing Bhairava on the south, west and nonh sides
respectively. The borders of the top design arc filled with attendant figures Ranking a bell
which hangs down into the center. At the apex of the vajra-mastalea is a lotus canopy rather
than a lt.irtim11lt.ha. Immediately above the lotus is a large projecting gaja-lt.riinla motif of a
lion springing on the back of a crouching elephant rather than an lldyatii motif as on the
smaller motif of the baraft{fa. On the nonh side the f,aflat Ranking the top medallion hold a
long spear with which they seem to be trying to prod the lion into jumping. On the east
facade, due to the roof of the jaga111ohana, the vajra-matlalea is elevated higher up on the
gaft{fi, above a large anga-likhara crowning the sandhi-sthala, and is much larger in size. This
contrasts with the program of the Brahmesvara or Muktcsvara where the motifs arc all at
the same elevation and arc of the same size, the Lirlgariija program thus setting a precedent
followed on most later temples. The decoration of the riihii above the gaja-leriinla consists of
five spaced railJa-mcdallions aligned horizontally on each baraf1{ii. The baraft{fis arc linked
vcnically by a band on either end which runs up to the top of the gan{ii. On the cast side,
immediately above the gaja-leriinla, is a small niche housing an image of Parvati seated in
padmii1ana. In the center of the riihii at the level of the top bhiimi on all four sides is a small
window. The biJama terminating the gafl{ii panakes of the piiga divisions and is decorated
with a small rail.Jo above the riihii. The huge a111alalea and crowning members arc supponcd
by dopirhhii lions at the comers and a seated Siva above each rahii rather than a squatting
btlt.i-bhairava as on earlier temples. These images of the deity seated in padmiisana represent
four aspects of Siva, beginning with Hara/Surya on the east, so that the spire itself can be
thought of as a rat11rm11kha-linga.
The interior of the sanctum is a hollow pyramid composed of several superimposed
chambers with Rat roofs, access to which is obtained by a suircase built within the
thickness of the walls,8> a new technique which reduced the weight of the gan{ii and which
was probably necessitated by the extreme height of the tower which could not be sustained
by a single roof as in the smaller tcmples.84 The entrance to the sanctum, according to R.
Banerji, contains two different doorframcs which arc o f different size, an unusual feature
which led him to conclude that the dr11/ and jagamohana were not built at the same time.•;
l · Jagamohana
The jagamohana is not quite square and measures approximately 10 feet by l I feet at the
base."" T he pabht~~a consists of live mouldings as on the dt11/ though they arc not as ornately
1.) R. Banerji, l•liJtory· of Ori11a, II, p. ; 60.

8" Pani[(r2.h1, ,•lrth11<oloJ,iral R,,,,11ins 11/ 1Jh11/1,1nr1a·ar, p. 99.
f) R. Banerji, 1'li1tory o/ Ori11a, II, p. ~ ~ 9 ·
lltl These d imc.'1ls1ons at(' take n (r,1m GanJtr,ly aod (;1J$v.·am1, op . ri1., p. 1 i · Acco td 1n ~ 10 R. ~11t t .a (()p. 1·11••
p. 1z1) the .l"l.<JmtJJ.1a11a me.asures Cts fc:c:1 h)' 41 fc:<."t \\'h cr~a ~ Pl·rcr l\rov.•n ~ l\'c::t the m c:a!lu rcmcnts as 7 1 fi:ct br
iCi f~c t.
Original from
TE~IPl.J~S t)F Tii i :. 10Tt-l· 11Tl-I <: Et-:Tl!RI ES I N f, ;\ $Tl ~ R:-V <>RI $$:\ HJ
decorated and are smaller, measuring Si inches in height. The btida is p11ilr11·r111ba in plan and
thejiingha is divided into two stories by a madh:Ja-ba111lhanii consisting of multiple horizontal
mouldings. This is the first two·story jiingha design for a jagamohana. The anartha and kanika
arc identical in design and consist of a le.hiile.harii· 1111111di and pii/ha·mw•di on the lower and
upper stories rcspeetively, duplicating the design on the de11I. An innovation is the addition
of a shon pilaster on each side of the m11ndi, a variation on the earlier decorative program
of m11ndis alternating with pilasters popular during the 9th and 10th centuries. The pilasters,
extending up the height of each 11111ndi, arc lri-ralha in design and have an abbreviated
piibhiiga division at their base. The shaft is decorated with scrollwork and an iilamba motif at
the top while the capital consists of numerous mouldings of various designs relieved with
scroll motifs. The le.hiile.hara-11111n!fis are similar in design to those on the de11I with a bho motif
carved on the center facet of the le.hale.hara-moulding. The niches are filled with various
deities and figure motifs though there are no dikpalas and the lintels do not have frieze
motifs. The figures frequently projeet beyond the frames rather than being encased in a
deep niche. The an11rahii recesses are filled with the standard virala and mi1h11na/mai1h11na or
alasa·kanyii motifs as on the de11I. The recess next to the gaviik,ta is separated from the anarlha
by a thin le.hale.harii· m11ndi and alasa-kanya on the lower and upper stories respectively insened
next to the slambha. The niche of the le.hale.hara·m11ndi is filled with a mi1h11na while a
diminutive figure motif is carved at the base of the kh1ikbara beneath the bho design .
Although this thin addition presages a pratiralha it produces a slightly crowded effect next
to the gavaf</a. The total height of the lower jangha is 76 inches. The pi!fha-11111ri/is of the
upper story are also filled with various deities or figure motifs and have a roof consisting of
three pii/ha-mouldings crowned by an amalaka. The Ranking J/ambhas are similar to those on
the lower story. The bara11da consists of ten horizontal mouldings which partake of the paxa
divisions and their multiple offsets to present rounded surfaces, the an11raha recesses being
eliminated.
The gava/e/a projections on the north and south sides are divided into two stories by a
large projecting rhhajja which crowns the window of the lower story. The ga1•ak,ta window is
Ranked on either side by a large pilaster decorated with a figure in high-relief above its
pabhaga division. The square capital is relieved with an atlantid ga11a. The upper lintel,
Ranked by these ganas, contains a sculptural frieze, that on the south side depicting the
Marriage of Siva. The window is set in a frame of scrollwork, measuring 117 inches by 108
inches, with a dvara-laliifa-bimba panel on its lintel. The windows are filled with six
balusters, each bearing an alasa-ka'!)·ii carved in high-relief, though three of them were
removed on the south side when it was convened into a doorway at a later period. The
projecting eave over the window is a pi(iha moulding which is surmounted by a second
moulding to give an adumbrated pit/ha-m11!1f!i design to the lower story though this design is
panially obfuscated by the manner in which the large pilasters framing the upper story
extend down to the top of the longer lower moulding. The gaviif</a·ma11r/ana of the upper
story, aligned with the barapcfa mouldings of the Ranking pagas, consists of three miniature
rekba-dn1l1, each separated from the o ther by an alasa·kanya and with a male figure at each
end. A similar design appears over the doorway of the much later bhoga· manclapa though the
figures, including maithunas, are much cruder in style.
The pyramidal roof, rising to a height of about 9! feet from the ground, consists of two
tiers (po/alas) of pii/ha-mouldings separated by a large recess or lehtindi, the recess decorated
with kbiikbara-m11!'ifis alternating with standing alasa-kanyas. The lower po/ala consists of
Original from
l'l:.~tPt~S C.1F THE 10T ..l · 11 Tti CENTU RIES IN f.t\STERN O RIS$1\
2' , ..
DEUl.. J AGAMOHA N A
Bhub:an«"'::ar : l.irig:arija TC'mple (:ad:ap1ed from Dcbal:a l\li1r2. B/JNb11ntJMar, ~C\I.' De1hi. 196 1)
nine mouldings of diminish ing size while the upper po/ala has seven. The vertical faces of
the mouldings of the lower po/ala are relieved with friezes of infantry, calvary, and animal
processions while the mouldings of the upper po/ala arc plain. The mo uldings partake of the
paga divisions and have a projecting JiinleN at each comer and center of these di,•isions.
Above the gaV1ik/a, beginning at the levd of the fourth moulding, is a pediment deco rated
with a niche, Jri·ralha in design with a projecting cave over the center niche, flanked on
each side by a pi(lha· mH11(ii. Above the niche design is a large va;ra-ma1/a/ea of the bho-type
with Aank ing ga11as for both medallions as on the dtNI. At the apex o f the top medallion is a
projecting leirlimNkha suppo rting an NdJ•t1/a lion . At che top of the panel concaining the
1•11jra-ma!ln/ea, at the level of the khandi o r recess, is a large lion with uplifted paw. Above
the third moulding o f the upper po/ala is a second vajra-ma1lolea, not as ornate and minus
the niche design at the base, surmounted by a lion inserted into the btlei. There arc thus rwo
11ajrn-maslaletls o n each side of the jagamohana. There arc also lions p laced above the corners
in the btlei to help support the massive mostoletl. The mos/a/ea consists of a huge double
gha11/ti, an 0111/U-h•lei filled at intervals with squatting btlei-hhairat•as, a ribbed amolo/ea, khapNri
and surmounting /ealaia. To help support the massive weight o f the roof fo ur square pillars,
30 feet high, " •ere e rected within the structure, clividing the interior into a nave and two
side aisles. 87
111 R. i'olitr..:i., 'P· tit .. II, pp. 1~7· 1z8.
Original from
TE l\IPJ. l~S <>f THf. 10Tli•11T..l (; J~ NTl.Rll!S IN E..\S11:R~ ()RISSA
4 . C11// I 111oges
The larger than life-size images of the pariva·dtvotiis are all in 1i111 though badly mutilated .
They arc exquisitely carved in chlorite, rather than sandstone, with minute decorative
details delicately etched on their garments. Unfonunately the images arc panially obscured
by the niia-shrincs erected in front of their nichos at a later period. The best preserved of
the images is Gai:iesa. He is in a slightly 0exed standing pose earing sweets from a modole.a-
patro held in his major left hand. His lower left hand rests on a kM/hiira standing on the
lotus pedestal. His major right hand holds a broken tusk while the back hand holds a
rosary. A trefoil-shaped arch is carved behind his head with a kirtim11kho at the apex and
vid.Jiidharas in the upper comers. At the base of the arch is a small image of Kiintikeya on
the right and a dancing figure at the left. The arch, or torarra, is supponed at the sides of the
slab by viriila motifs while at the base are sianding attendants. On rhe lower right pan of
the pedestal is a mouse which peers up at Gai:iesa. Kintikeya in the niche on the west side
stands in a similar lribhanga pose though his four arms arc all broken-off at the elbows. His
hair is neatly arranged in a iikha11"'1.le.a coiffure and a similar ornate torarra is carved on his
back-slab. The peacock is visible at the base of the slab on the right with a diminutive
attendant in front of it. Oevaseoii occupies the base of the slab on the left. Piirvati, on the
nonh side, stands in a tribhanga pose on a lotus cushion with her lion-mount peering up at
her from the lower right comer. Her arms arc also broken off at the elbows and the only
remaining attribute is a lotus. Her tall kiri/a-m11hi/a, jewellery and garments are particularly
relined, the lower garment i.nciscd with delicate patterns. A kirtim11kho is carved at the apex
of the tor11rr11 of the backslab and vid.Jiidhoras at the corners. The female attendants at the
base of the backslab stand in front of a khiikharii·m11npi. Included in the upper riihii niches is
an image of a live-headed Andhakiisura-vadha-muni on the south side of the dt11/.
The dikpiilas arc seated in lalitiisana on their mounts at their respective corners in the
le.anika nichos of the tk11/. An innovative feature is carving of small duplicates of the dikpii/11,
two on each side, frequently in a standing pose. Except for Agni they each have a trefoil-
shaped tora{lll behind their heads. Agni has a flaming halo with a kirtim11kha at the apex.
Vid.Jiidhara couples are placed in the upper comers while diminutive attendants occup)' the
lower comers of the niche.
As indicated there is a proliferation of Brahmanical deities on the dt11/ where they occupy
the niches of the upper jiiligha. The iconographic program of iivararra·dtvaliis deviates from
the standard Saivite decoration on early temples and there arc new forms, some of them
being composite figures, which arc introduced for the first time at Bhubaneswar and rcsrify
to changing religious rcncrs. Included in the iconographic program of the upper story,
beginning on rhe south, arc images of Ardhaniirisvara, Gai:icsa, a seated Kaumiiri and a
dancing Bhairava {Viimadeva); on the west the figures arc Brahma, Siva Mahiiyogi,
Lakulisa/Oak~ii:iamu ni, and a standing two-armed male deity; while on the notth they are
a standing Bhairava, standing Piirvati, Kama and a standing Kiintikeya. Two of the niches
on the cast apparently house Surya and Lakul!Sa.'18 The iconographic program of the
jagamohana is different from that of the dtNI, the dikpiilas being eliminated, though due to the
lack of photographs I am unable to reconstruct it completely. In that Ketu, Rihu and
Brshaspati appear in niches of the upperj iiligha on the nonh side I presume that other grahas
• P:anigrah i, Artharoloiiral RrMai1's at Bb11ba1'tlM-"tJr, lig. i 17.
Original from
TE~( P l.JlS (_)f 1'H R 101'H·11TH c:t::N·r t.:kl ES IN •~A STER N C>RJSSA
are represented. Included among the other images are examples of ~iahisamardini and
pailragni-tapasya Piirvati as well as various aspects of Siva. In addition to these images of
Brahmanical deities in the m1'[1(1i niches there is a long frieze over the gavak;a window (door)
on the south illustrating Siva's Marriage. Siva is nude except for the crown of a
bridegroom and is seated in the center of the frieze. Kneeling before him is a figure with
matted hair, identified as Bhrkuti by Panigrahi,89 while in the left part of the scene is
Brahma pouring libations on a fire altar with Agni represented behind. There arc numerous
other figures and deities within the scene including Indra on his elephant at the far left and
musicians on the far right. A similar scene appears on the CitrakiirioJ temple.
The most unexpected aspect of the decorative program is the placement of secular
themes in the ana.rtha niches of the lower jarigha, n.iches normally reserved for cult deities or
auspicious images such as alasii-lt.anyas or 11tith11na1. Except for a litiga-plfia scene and one of a
royal marriage, most of these niches house variations of the iik;tidana motif or of a royal
figure surrounded by his disciples. On the Brahmesvara there were examples of this theme
on the lintel of the pariva-dtvatii niches and one on the gaviilo;a-ma11{1a11a. Now, however, the
motif becomes virtually elevated to a cult status and obviously rcffects the changing
religious concepts of the period and the importance of individual instruction in Tantric
ideology. In most cases the guru, or royal figure, is seated on a low couch with a cushion
behind his, or her, back facing a group of disciples while additional followers, or
attendants, fill a sepaute niche below the main scene.
The growing popularity of the Vai$nava cult is evident in a small scene carved on the
south facade of the dt11/ depicting Yasodii churning curds with the child Sri-K!ll)a
disturbing her, a scene almost identical to one appearing on one of the comer shrines of the
Brahmesvara compound.9C> During the Ganga period, under the inffuence of the emerging
cult of Jaganniitha, notable changes were introduced that strongly affected the overall
architectural program and religious rituals which continue even today. It is during this
period that the 1lii/a·11ta11dira and bhoga-ma11(1apa were added to the cast-west axis, nila-shrines
added in front of the pariva-dtvatas and the temple of Piirvati erected to house his consort.
The inffucnces of the Jaganniitha cult can be discerned in the daily worship of the deity, in
the ma11/ra1 with which he is invoked, in the surroundings in which he is worshipped and
the offerings given to him as well as the festivals held in· his honor.•• To the priests the
Lingaraja is a combination of both Vi$nU and Siva. The vr1a-1/a111bha erected in front of the
bhoga-111a11(1apa is surmounted by bo th a vr1a (bull) and Garw;la, the mounts of Siva and
Visnu respectively. In remodelling the temple the Ganga kings replaced the original triiila
surmounting the 111a1talt.a of the garr(ii by an iiy11dha (weapon) consisting of half a disc and a
trident as well as introducing numerous Vaisl)avitc features not found on a Saiva shrine.
The dviirapiila1 on the southern doo rframc of the 110/a· mandira arc Jaya and Vijaya, Vaisl)ava
guardians, while the images of J aganniitha and Laksmi-Niiriiyana were enshrined in the
western side of the main temple and on the northern side of the bhoga·marr{lapa respectively,
so that a devotee while making a circumambulation will nect these Vaisnavite deities
before entering the sanctum to pay homage to the Svayambhi lirigam. The /itigam itself, which
has a natural line runni.n g vertically along the surface, is invoked as Hari-Hara by the
" Ibid.. p. 10 1.
" /b;d., fig. 8 Jb.
91 Fo r a Jt.>scr1pt1vt list of the festivals and dally ritual stc R. ~ l n ra, op. ,;,., II, pp. I J 1 +141 ,
Original from
ll7
priests. Hemlock and its leaves which arc generally given to a Siva·linga are not allowed in
the temple. The leaves of Vi/va and T11/asi, the favorites respectively of Siva and Visnu, arc
used in daily worship. The interior of the na/a-mandira originally contained arrangements
for the jh11/afl4 festival of swinging moveable images of deities though it has been
discontinued. On the day the Lord Tribhuvanesvara (Lingaraja) returns to the temple after
completing the car festival of Aio/ealfa111i, a mock quarrel is staged between priests of the
Lingaraja and adjacent Parvati temples because d uring the car festival Lingaraja takes with
him Lak$mi, consort of Vi$!,IU, and not Piirvatl. The cumulative .effects of the influences of
the Jaganniitha cult on the Liilgaraja arc such that it has lost its distinctive character of a
Saiva temple and adopted the cosmopolitanism of the Jaganniitha at Puri .'12
The image of Lak$mi-Nariiyana enshrined within the bhoga-ma(fr/apa is typical of the
Ganga period and lacks the refinement and articulation of the best images on the dt11/ and
jaga111ohana. Both deities arc seated in lalitasana, Laksmi on the left thigh of Nariiyai;ia v.·ith
her major right arm around his neck, and g aze into each other's eyes. Niiriiyai;ia has his
lower left arm around her waist and holds a takra in his uplifted back right hand. Garuc;la
and an elephant appear on the pedestal. Even more impressive, and stylistically datable to
the early 11th century and thus earlier in date than the temple, is an image of Hari-Hara
inserted into the wall of the platform on the north side of the Mun isvara Mahiideva temple.
He stands in a slightly flexed pose flanked by a small Bhpigi on the right and Lak$mi on
the left. Only his upper right hand survives intact and it holds a rosary. He is ornately
bejewelled with the ornaments of Siva on his right side and V isi:iu on his left. The bull
Nandi appears at the right base of the pedestal. Except for the rather thick legs the image is
exquisitely carved .
)· Female Fig11rts
With the cult images and iile/iidna motifs occupying all of the m1111rfi niches on the temple
the image of woman does not dominate the overall decorative program as on the
Brahmcsvara, Muktc5vara and Va ital Ocul temples, the largest images being those of the
an11raha recesses of the upper jangha and those carved on the balusters decorating the gavak;a
windows. The images in the upper recesses are much larger than the fii,rures in the niches,
however, and appear to float in front of their dark recess and add a warm and graceful
contrast to the predominently geometrical design of the walls with their projecting m1111rfi1.
There arc also numerous examples of a/asa-kanyiis on the pilasters of the riiha, on the lateral
flanks of the m1111r/i1 and on the vertical bars connecting the pal/a and vasanta mouldings of
the piibhiiga and on the gaviik1a-ma11rfana of the jagamohana. T he kanyiit assume the popular
activities noted on the Brahmesvara, such as the {lala111ali/ea mot if of garlanding herself with
a creeper, the darpa11ti motif of looking into a mirror, the alasti pose of holding her hands
above her head, the i11kastirilea mode of playing with a parro t, the motif of a monkey
undressing a kaff)·ti, the niip11rapadilea motif of adjusting ankle-bells or the related pose of
removing a thorn from the foot, and the motif of holding a child on o ne hip. Missing,
however, are the numerous dancingyogini figures found on the Brahmesvara or the female
musicians. There are a few {liikini images, including seve ral examples o f one motif, also
found on the Brahmesvara, of a rftikini, mostly nude, standing under a tree and offering
Original from
i l1i\ll>J. ...:.S <>F T i ii~ 1 0Tl l + 1 11'f~I <:F.r-.;Tl ' RIES IN E:\ S'fl~ R N t >RJSS.o\
alms, or a severed-head, to a diminutive figure or an animal in the lower comer. One of the
most graceful of the figures is the kanyi in the act of removing her garments, her head tilted
slightly as she looks down at us from her perch high up on the temple wall.
In general the figures arc more attenuated than their countcrpans on the BrahmeSvara
and not as elegant or suave as their younger sisters on the Riijariioi. With their thin hips
and twisted poses they appear more agitated than relaxed and their arms arc often bent too
sharply. Their facial features also lack the seductive serenity of the Riijara11i ka'!)'iiS, their
eyebrows sharply joining the bridge of the nose and their lips too sharply defined. Their
body ornamentation is more abundant with festoons hanging lower from their girdle,
additional pearls hanging from their neck, a calf ornament added to their leg and a scarf
billowing behind the shoulders. In some cases the additional jewellery detracts from their
pleasing curves by breaking the body into segments rather than enhancing the pliant
aniculation of graceful forms.
6. Decorative Motif1
A-fith11na images arc generally confined to the panels of the mad'1;>·a-bandhani, though
smaller examples appear on the lateral Aanks of the projecting "'"n1'ii, most of which are
mild in nature. Included among the motifs is that of an emaciated ascetic approaching a
young damsel noticed on the Brahmesvara, the ascetic wearing a braided turban. In general
the panners arc affectionately embracing or holding hands, in a few cases the male is
disrobing the female. There arc also numerous examples on the bhoga-mandapa which arc
more animated, though these, as well as more explicit examples on the underlying pi/ha,
date from the 15th century. The unabashed maith1111a images on the nti/a-mandira are much
later in date and crude in style.
In addition to the fik;idina motifs enshrined in the anartha niches there arc numerous
related motifs of royal figures carved primarily on the lateral Aanks of the projecting m1111(iiJ
and much smaller in size. Included among niche motifs is that of a royal figure holding a
sword in his right hand while reading a copper-plate inscription held in his left hand. Two
attendants hold parasols over his head, indicating his royalty, while an officer stands facing
the dignitary, perhaps awaiting orders from him. On the southern facade of the j agamohana
is an elaborate scene of a darbar held by a king which the priests of the temple identify as
the Indra sabhi or the coun of lndra.9J Other popular figure motifs include the bhtiraralt.-
1akas which appear on the capital of pilasters though they are rather inconspicuous in the
overall decorative program due to their relatively small size and the fact that they arc
panially obscured by shadows cast by the projecting eaves ove rhead.
The most dominant animal forms are the •irila1 filling the an11rtihi recesses of the lower
jarigha, the largest sculptures on the jirigha, and the projecting Ntf,yali lio ns and gaja-lt.rinta1
crowning the •ajra-mastaka motifs of the gair(ii of the dtNI and jagamohana. The virala
frequently has the head of an elephant (g'!)a-•irala) and stands above a crouching demon. Of
the heraldic designs the most interesting arc the bho-type vajra-ma1taka1 which appear on the
/t.hNra of the pabhiiga, the mad'1;>·a-bandhanti, lt.halt.harti-m1111(iiJ of the lower jarigha and the major
motifs of the gair(ii of both the deN/ and jagamohana. Su rprisingly the largest motifs do not
have a Jt.ir1im11/eha at the apex but rather a lotus canopy. The motifs arc extremel y varied in
?> Ibid., p. 1 19.
Original from
TE~IPl .F.S ( >F Tll C 10Tf'i 0 11TH <; 1·:N'r l 1RIES If' EASTERN <lRISS:\ ll9
design, panicularly the smaller examples, with no two exactly alike. Most interesting is the
treatment of the 6gures flanking the medallion, generally ga!fas but occasionally female
6gures, who often hold weapons, such as sword and shield or spears, and who may face
inward or outward. On the gart</i, on the other hand, the increased size and projection of the
lion motif above overshadows the bho designs.
The most dominant scroll motifs arc the garbled vana·latii and the circular vart11/ti, the
latter staning to be more widespread in use. Whereas the vana-latii is rich foliage without a
stalk the var/11/ii scroll is almost all stalk with little foliage, the circular sprays housing
human or animal forms. When used on pilasters the vana-latii generally has an overlaying
iilamba motif of kirtim11kha masks with festoons dripping from the mouths. Jn a few cases
this iilamba appears in conjunction with the vart11/ti scroll. Whereas the vana-latii dominates
the decoration of horizontal mouldings the vartulii is more popular on the frames of the
mll!fpi niches, the first time this motif has been employed here. Both motifs are employed on
the large cushion supponing the figures and viriilas in the an11riihii recesses. On the venical
face of the pii/ha mouldings of the roof of thcjagamobana, as indicated earlier, the decoration
consists of animal processions, calvary and infantry, though they are too high up to be
effectively appreciated as figure motifs though as a frieze they make an elegant ornamental
design.
7. Bhoga· Ma!fi/apa, Nii/a·Mandira and Niia-shrints
Sometime around the mid-1ith century a nii/a·mandira was added to the cast-west axis of
the Lingaraja a shon distance in front of the jagamohana. Although the dtvadii1i custom of
presenting dancing girls to the temple was in vogue in the mid-11th century, as evidenced
by the commemorative inscription of the Brahmesvara temple, it was not until the end of
the century that separate structures for dance performances, and other ritual festivities,
were first constructed. The earliest examples were constructed a short distance in front of
the jagamohana and were based on the pillared-mart</apa plan. The nii/a-mandira of the
Lingaraja was thus constructed according to established tradition and was possibly
influenced by, or served as a prototype for, the more famous structure at Koi:iarak which
dates to about the same period. According to M. M. Ganguly an inscription credits the
<Onstruction of the structure to Analigabhima II(?)" though this has not been con6rmed
by any later scholar nor is it ce n ain which structure is being referred to as this original
nii/a·mandira was convened into a bhoga-ma!fi/apa at a later date and a new nii/a· mandira was
insened between the original one and the jagamohana.
This original nii/a· mandira is erected on a pi/ha, approximately 60 feet square and l feet
high,9S with the sides divided into a piibhiiga, j aligha and bara!fpa or cornice. The piibhiiga o f
this pi/ ha consists of two mouldings, joined together at intervals by vajra·ma1tai!a or kiri/a
designs, resting on a thin 11pana or base. The jiitigha is decorated with pii/ha-m11!fpi1, khiikharii·
fltll!'i/is, pilasters and figure motifs, the pilasters flanking the "'"!Ii/is and separated by the
figures. The figure motifs within the m11!f¢i niches are mostly erotic while the larger figure
motifs separating the pilasters are mith11na1, animals or hybrid creatures. The bara!fpa
consists of a simple flat moulding crowned by a projecting band of ornamented frieze "'Ork
°" :i.1 . ~f . Gan~ulr.op. tit. , p. J68.

"~ D i mc:n~ u)n! :l!> g 1v('n b)' R. .\l1tra, op. ril ., 11, p . 1.14 .
Original from
TJ-.: i\I P l.l ~S ()F 1·111~ 1o·r H- 11TH ( :J~ N 'rt • R lf ~S 11' l:i:\ ST l~ RN (>RISS."-
of various animals interspersed with a few figures. Jn places this ornamental band was left
plain.
The nii/a-mandira, or bhoga-ma11ciapa as it is now known, is erected on top of the pi/ha and
measures approximately 56 feet square on the exterior and 42 feet square on the interior.
Originally, as pointed out by R. l'wiitra, the structure was a pillared ma{l(iapa"" and in this
respect follows established tradition. There were originally five openings on each side with
the center opening spanned by a five-cusped torana or arch springing from a pilaster on
each side. On each side of the center entrance were two openings formed by a line of three
pillars spanned by a stone architrave. Each side of the structure thus consisted of two
projecting pilaste rs and ten pillars, each 13 feet l inches high. Jn the center of the interior
were placed four piers, each formed of four richly carved columns, to help support the
massive roof. Within a short period after its construction, due to excessive stress which
cracked some of the architraves, the four side openings on each side were walled up and the
central groups of columns were strengthened by building them into solid square pillars.
The width of the center openings on each side were reduced by side piers and iron beams
were inserted to help support the cusped-arches. The original open pavilion was thus
converted into a closed dark room.?7
The pilasters framing the original openings are multi-faceted and have a piibhiiga of six
mouldings rather than the standard five. The shaft is divided into two stories b y a madhy·a-
bandhana of three mouldings. The center facet on each story is decorated with an ala1a·kanya
or mith11na carved in high-relief though most of these figures arc badly mutilated. The
bara11cia at the top consists of seven mouldings with the larger top one decorated with an
atlantid ga(la. The pabhaga of the walls filling the original openings is decorated with an
alignment of three rectangular panels and two /ehakhara·mll{l(iit inserted alternately beneath
a horizontal band at the top originally decorated with animal and calvary processions. The
three panels arc ornamented with a figure of an ala1a·kanya placed within a tora11a· niche.
The jiitigha of this wall-filling is divided into two stories like the pilasters by a madh;·a·
bandhana of three mouldings. The lower jtiligha has an alignment of three rectangular panels
decorated with ala1ti-ka11J•tis in high-relief and two lr..hakhara-m1111ciit, arranged alternately,
with a naga/ntigi·1tambha inserted between each. The mu(l(ii niches house various figure
motifs, including deities and dikpalas as well as female figures. The upper jatigha duplicates
this alignment though the /ehtileharti-1111111tfis are replaced by pit}ha-1111111/is and the a/aJa-kanyiis
by mithunas. The bara11(ia consists of seven mouldings as on the pilasters with the broad top
moulding deco rated with a long huncing scene or animal procession. The roof is of the
pidha order with two po/ala1 or tiers, the first containing four pi(ihas and the second three
pitfha1, though the angle of slope is too slight. The pi(iha1 arc plain except for the projecting
tiiliklu. An Mdyata lion is placed at the top of the first po/ala above the center on each side
while additional lions are inserted into the bele.i to help support the crowning masta/ea.
So metime near the end of the 1 ith century, or beginning of the 14th century, a second
pi/ha or platform was constructed between the original nti/a-mandira and the jagamohana, thus
jo ining these two structures and presenting a Rat surface on which various festivities could
take place. The platform is approximately 12 feet square and its sides are divided into
~ Ibid., pp. 114· 1 1 ~ . Accc>rtling ro '-fu r:a the or1.c.in:al putpn!><" o i che strucrurt ._.: as a chauh ry for the rc:aJ1ng
of :1crip1urcs and dcliverr '->f lcctu r~·s and scrm1>ns by learned pandits, hC'nCC' us opcnner.s .
<J1 //J1d., p. 12 1 .
Original from
Tl ~ :\I Pl .f'.S <>I: '1'11E 10'1'1I · 11'1'11 < :l ~ :-\ 'fl ' R I l ~S I :"\ l~ :\!'>'J'l ·. Rl\'. <JR IS:S:\
piibhiigo,pitigha and bara11da as on the pi/ha of the orig inal nii.ta·mandira. The decoration is not
as ornate, ho,.•ever, with the piibhiiga and b11ra11d11 each cons isting of three plain mou ldings.
The )iitigha is decorated with kJ1ii/eharii·m1111(ii1 alternating with pidh11-m1111di1 and an occasional
a/01ii·k.a1!Jii. The m1111(ii niches are filled with seated figures, either ala1ii-k.anyii1 or 111aith11na1.
At a much later date a new nii.ta-mandira was constructed on this open platform and the
original nii/a·mondira was converted into a bhog11·ma11i/ap11,?S the dance perfo rmances thus
being moved closer to the presiding deity as it was essential that dressed rice be served at a
distance from the sanctuaty to obv iate the necessity of cont inuously washing the latter.'l'l
The base of this new structure measures appro ximately 12 feet long by 48 feet wide, there
being no berm on the cast and west ,.•here it abuts the bhog11-m1111i/opa and jagamohana
respectively. There arc three doors on the west, north and south s ides of the structure with
the larger center one being 14 feet high and the s ide ones 10 feet in height. On the east
there is on li• the center door which leads into the bhoga-mo11rlapa. The doorframes are
relati\'ely plain except for the /ehiileharii-m1111(ii1 at the base which house the dviirapiilas and the
dt•iira-lalii/a·bimba panel on the lintel. Above the center door on the north and south sides is
a navagroha slab crowned by a pi(iha moulding and, over this, a center niche Ranked by
mu11(ii1 and figure motifs, 1hese designs replacing the bara11(ia mouldings on the Ranking
walls. Above the smaller side doors is an alignment of three miniature re/ehii-de11/1 separated
by maith11na1, an arrangement simila r 10 the motif over 1hc gavtikla on the jagamohana. The
pabhaga consists of five mouldings devoid of o rnamentation except for a small niche in the
center of each pogo of 1he va1anta moulding, 1he niches housing erotic imagery. Thejatigha is
divided into two stories by a madh;·a-bandhana of five mouldings. The paga1 arc designed as
khalehara-mu11(ii1 on 1he lower s1ory and pi(iha-mup(ii1 on the upper story, each mup(ii Ranked
by a thin stambha on each side. D ue 10 the arrangement of three doorways, however, some
of the paga1 are cramped. Only a few of the mu11{ii1 have figures wi1hin 1heir niche, most of
chem being plain and devoid of ornamentation. The bara17(ia consis1s of 1en mouldings with
the 1op one much larger. There are no examples of scrollwork on the s1ruc1ure and 1he
figu re sculpture is very crude. The roof is sloping and formed of four tiers devoid of
decorat ion except for 1he projecting tatihs on the edges. The 1op lier is Aat and decora1ed
with closely spaced larihs resembling banlements and mcrlons. Tentatively chis new nii/a·
?Jandira can be placed in the late 1jth century or even lacer.
The ni/o-shrines in front of the pariva-devata1 were probably added in the 1 }lh century
when these became popula r, in some cases forming part of the original design of che
temples. They arc erected on a platform and stand slightly away from the walls o f the rahti
rather chan abutting it. They are designed as a small pi(iha-deul with their pyramidal roof
having two po/alas of pi(iha1 and extend up to the middle o f the bara11i/a. The roof is
supported by a large pilaster at each corner which is relatively plain. The base o r platfo rm
o f the shrine is more ornately decorated and complete with pahhaga, two ·storied jtirigha and
bara11(ia along u•i1h an entrance so that it fo rms a second sanctum beneath the parJia-dtvatti.
Acco rd ing 1<J t\I . t\I . (;anKUl)· (op. <it.• p. )68} an in~crip1 1on \L'1th1n c-re(li1~ it~ con~1ructi<>n to N ara!-irhha I
<JI!
(hc)u~h the s1ruc1ure j_,. oh\' tou ~ly lacer.
'» R. J\f itra, op. ril ,, I I, p. 1 .1) .
Original from
34' T EMPLES 01' THE 10TH·l1TH CENTURIES IN E ASTERN ORISSA
)
0 •• .. JO
M&.,i"••••v•"&o
Sh~r 1a rl>•
• AY
or
A tNCAL
0 ('1. amp• • w•t>

0 a . .... w ...... . .
Mip of Nonh·Eastcrn Orissa
I. ADDITIONAL SHRINES AND OETACHF.D SCULPTURE
In addition to these major shrines in the immediate vicinity of Bhubancswar there arc
many other shrines scattered throughout eastern Orissa which can be ascribed to the 1oth-
11th centuries, many of which exhibit strong Siikta or Tantric influence. Bhimaratha
Mahiibhavagupta II (c. A.O. 911 -980), as mentioned earlier, installed the Sapta,,,itrl.as on
the bank of the Mirkat:1dcsvara tank at Puri and there arc similar flritrl.as at Jiijpur as well
as scattered fragments at numerous other sites in Cuttack, Balasorc and eastern
Mayurbhanj. Unfortunately, probably due to the inferior quality 'of stone used in the
construction, very few of the temples have survived and those that have arc mostly in ruins.
On the other hand the major sculptures were frequently carved in chlorite, a stone plentiful
in northeast Orissa, and have survived. In many cases they arc now detached images and
Original from
Tl~ ~JPl.f~S ()f THf:: te>T ~l· t 1TH CE!'>JTL1RJE.S IN F.ASTl~ R N ORISSA J4J
placed in later shrines, however, which makes it difficult to date them with precision on
purely stylistic grounds. This is compounded by the inAuencc of outside artistic traditions
at many of the sites, forging a mixed regional style, so that comparison with the more
indigenous tradition as exhibited at Bhubancswar is not always conclusive. In some cases,
as at Ku1ing, Badasiihi or I;>hu<;lhuii, the sites arc virtually plundered of all of their
sculptures . Until more temples or sculptures come to light, allowing a more systematic
study of the remaining works, dating has to be problematic and highly tenuous.
t. Kishorpor/Shtrgarh/ Ava11a: Khakhara Te,,,plu

Included among the multitude of shrines in the northeast corner of Orissa arc three
khtikhara shrines dedicated to Siikta worship. The first one is at Kishorpor in the Sadar
subdivision of Mayurbhanj district within Betnoti police station, approximately 16 miles
southeast of Baripiida. The Cai:idI temple, built of soft laterite, is situated within a
compound with subsidiary shrines at the four comers, all of the khakharii order, and thus is
of the pailrii.Jatana class. The main shrine is pailra-ratha in plan and reaches a height of only
about 11 feet 6 inches. It is fronted by ajaga,,,ohana with a terraced roof that slopes in two
stages. Except for the image of CiimuQdii enshrined within the sanctum, and a badly
damaged image of a male counterpart in worship in a house within the village, the site is
devoid of sculpture. 11 '°
Even more interesting is the site at Shergarh in the Sadar subdivision of Balasore
district, situated about 8 miles southwest of Balasorc near the junction leading from the
main hiway to Nilgiri. The khiikharii shrine, dedicated to l\fahi5amardinl, is situated in a
compound along with four small rtkha temples, all of which arc built of coarse latcrite
except for their doorframes constructed of chloritc, and a modem temple of Khcju rdvara.
The Mahisamardinl temple consists of a dt11I only and rests on a low pi/ha of three courses
of lateritc. The bii(ia is palita·ratha in plan though only the raha was carved, the remaining
wall being plain, and it is a pi{/ha·m"!'i/i. The pabhiiga, 11 inches high, consists of three
mouldings-kh11ra, noli and vasanta--joined at the center of each priga by a vertical band but
otherwise devoid of ornamentation. The jiingha is ls inches high while the bar11111'a consists
of two plain mouldings crowned by a recess. Only the lower portion of the ga11di remains
intact, the total height of the structure as it now exists reaching only about 11 feet.101
The temple at the base measures approximately 9 feet 4 inches by 7 feet 4 inches and
faces west. The doorframe of chlorite is carved with two bands of scrollwork, vana-latii and
rarigani, with the dviirapii/aJ housed in niches at the base, the ceiling of the niche having a
pentafoil design. The dviirapii/111 assume a mirror image pose with the uplifted inside hand
holding a kapiila and the outside hand resting on a staff. The facial features and body
ornamentation are badly worn though the hair appears to be piled high on the head in
serpent-like coils. Gaja-LaksmI is carved on the lintel with the goddess seated in padmiisana
and holding a lotus in her left hand, her right hand extended in varada, as on earlier
temples. The most unusual feature of the decorative program is the architrave, now
detached and leading against the piibhiiga next to the door. It consists of a taitya design with
an image of Hara-Piirvatl within its medallion. Siva is four-armed and seated in laliliisana
on a low couch next to his consort. His upper hands hold a rosary and trident while his
100 Sec: Dcbala Mi,ra, ] / i.fB. Vol . Jl (1 960), pp. 10·11.
IOI JhiJ., PP· 11·1j.
Original from
J44
lower right hand is in t:JiikJtyona-,,,11(/ro. H is major left hand gently lifts the chin of Parvati.
Parvati is likewise seated in /a/itosana with her right hand placed on Siva's thigh. The bull
and lion mounts appear beneath the couch. The uzitya surmounts a horizontal moulding
which is decorated with a series of the SaptamotrleOs attended by Virabhadra and Gar:iesa,
each figure housed in a niche. l\iost unusual is that Virabhadra occupies a niche in the
center of the series rather than at the end. From the proper right the series consists of
Camur:ic,la, Varihi, Kaumari, Sivani, Virabhadra, Brahmi, Vai~r:iavi, lndriiQi and Ga1;1esa.
Within the sanctum are two loosel)' placed images of t.lahi~amardini, neither of which
apparently was the presiding deity, and a fragmented nat•agraha slab. The o rder of grabas is
reversed, as at Badgaon, with Ravi on the proper left in his chariot in back of Arul)a the
charioteer. The grahas are each represented slightly different, rather than posed identically,
and hold various weapons and attributes as in the detached examples at Khiching.
The nkho temples are badly dilapidated and devoid of decoration except for rhe larger
shrine on the south which has an ornately carved doorframe of chlorire. T he jambs are
carved with exuberant vana-lato scrollwork u·ith a hamsa at the base abo,•c the dl'oraptilas and
an inside band of rarigani with extends to the Aoor. The d1•arapolas arc housed in niches
similar to those of the /ehti/ehara shrine. They assu me mirro r image poses with their body
facing away from the door and their head turned back. The front leg is uplifted and placed
on the blade of an axe while their arms arc crossed in a relaxed pose. This is an unusu:il
pose which contrasts with the standard fronral poses on most early Orissan temples and
suggests outside inAucncc. Other examples of this pose appear on the Somesvara temple at
l\iukhalitigam and on one set of guards at Palia. The lintel is detached and now resting on
one of the ruined rt/eho shrines on the cast side of the khti/ehara temple. A Gaja-Laksmi is
ca rved in the center with Laksmi in a pose identical to the example on the khti/eharo temple.
There are many loose sculptures leaning against these temples which suggests the sire
and its immediate environs was a Ao urish ing center of Buddhism, Jainism, Vaisr:iavism,
Saivism, Saktism and the Saura cult. The most numerous images are the pJrka·det•,11Js
Gal)esa, Karttikeya and l\lahisamardini. l\fany of these detached images are in serted into
makeshift niches on the Kheju resvara Siva temple, a modern shrine erected a few yards
north of the khJ/eharo complex. The d1·Jrapdla1 inserted into the doorframe stand in a
tribhatiga pose and are four-armed. They hold a trident and Awpola in the left hands and a
rosary in the upper right. The lower right is in varada d isplaring a lotus-mark on the palm .
A sarpa-,l,,z,11(iala hangs from the right ear. l\lahakala has his hair arranged in a tall jnfo-
m11,l,,z,/a while the bearded Nandi has his hair arranged in two tiers of serpent -coils. Of the
images inserted into its exterior walls the most impressive is the Mahisamardini on the
north side. She is ten-armed and has her uplifted right foot planted on the rump of the
decapitated buffalo-carcass. Her major left hand rather awkwardly reaches to choke the
demon issuing from the carcass while her major right hand plunges a trident into its head.
Her other right hands hold possibly a (akra, vajra, sword and pull an arrow from a qui,·cr
behind her right shoulder. Her remaining left hands hold a circular shield , stringed-bow,
severed head and nogn-pola which winds around the throat of the demon. Her lion -mount
gnaws on the right leg of the demon. The other niches house the ri,•er goddesses, three
images of Surya, two images of Durga seared in lalitJsana and, on the west wall enclosed by
the jaga,,,ohana, an image of Visl)u and one of Varaha, the latter Aatly carved and badly
worn. Stylistically and iconographically most of these images, as well as the doorframes,
can be ascribed to the 9th-toth centuries.
Original from
Tl·.'.\IPl.l ~S <>F ' l'flf ~ 101'f-1·11TH (:l ~ ~Tl.Rll~S 1:0.: 1 ::\S'J'F. R~ ()RI SS:\ }4!
The third lr.hiilr.harii shrine is the Ca1:11;li temple at Avana in Balasore district, about 11 km.
southeast of Bahanaga near Soro. The temple, only recently excavated, is small and devoid
of decoration except for a plain srringcourse which divides the jiirigha into two stories.
Within the sanctum is a three-headed, eight-armed, emaciated Camur;ida seated in padmii1ana
whom the local people worship as Brahmi. The image is in active worship and the heads
arc plastered with red paste. Her major lcfr hand is placed near the chin of the center head,
the little finger possibly in the mouth, and the arm probably cradles a lr.ho11·iiriga. The right
hand is also placed near the chin and possibly held a leapiila. The lower right hand is in
varada while the left hand, also placed at the knee, holds a small fruit or offering. The third
set of hands are extended near this lower pair but the objects held are indistinct. The
objeets held in the uplifted back hands arc indistinet or missing. The upper part of the
back-slab is damaged while the pedestal is mostly buried.
Many stone sculptures were uncovered near the temple and include Buddhist and Jain
images as well as Brahmanical deities. In addition a hoard of terracotta plaques and small
sculptures were unearthed and some of them have been transferred to the Orissa State
l\;luseum. Stylistically the images seem to d21e from the 10th through the 11th centuries.
1. Ptt/iigat/i, Ba(la1iihi, Koiniiiri

Among the numerous ancient sites in the Kaptipada subdivision of eastern 1'.layurbhanj
district one of the most interesting is Pe<lagadi, situated four miles from Udala. Although
the s ite today is best known for several later temples there are numerous scattered images
from earlier shrines, including several inserted into the sanctum walls of the
Lokanathesvara . The largest of these is one of Nrtta-Gar:i.Sa. He is eight-armed and holds
the serpent horizontally above his head with his upper two hands. His major right hand is
in lea/a/ea wh ile the left arm is in gaja-hasta. Other images in the wall include two squatting
bhiirarak!aleas, a seatod go/fa displaying a greatly enlarged litigam, and an image of a standing
Brahm! with one hand in varado and the others holding a water vessel, ;,,,;,. and rosary.
The most important early temple at the site must have been the Bhimdvari '"hich today
is a pile of rubble. Recent excavations by students from a nearby college have rescued
numerous images from the ruins which arc now contained in a small compound at the site.
Included among the sculptures is a lattice window from the gavii/t.fa of the jagamohana, a
reclining Nandi, and the large pedestal of the presiding deity. There are also images of
Ga(lesa and Karttikeya. Gar:iesa is depicted in a dance pose similar to the example in the
Lokanathesvara temple. Diminutive dancing go~aJ occupy the lower corners wh ile the
mouse and several seated devotees arc carved on the pedestal. Karrtikeya stands in a
samabhariga pose holding the iakti in his right hand and the k.Klelell!a or rooste r-cock in his
left hand, the latter being supported additionally by a male attendant. The peacock stands
awkwardly on the right looking up at Karttikeya. There is also a fragmented image, o nly
the feet of Kantikeya surviving, where the peacock stands in a vertical pose and the
attendant supporting the k.Klelell!a is male rather than female as con,-entional on later
images. Other images include a fragmented 1'vlahi$amardini with only the upper tor<o, head
and portions of the right arms surviving.
The largest and most impressive image, though unfo rtunately broken into <evcral
fragments, is Camul)<)ii, the presiding deity. She is seated in ardhapa')·an/ea on a prostraic
figure. Her emaciared arms are complc1cly missing 1hough a leap1ila is intact on her chest.
Original from
Her face, with eyes bulging from sunken sockets and open mouth, is terrifying . The
elephant-skin is visible on the back-slab and a panther-skin decorates her right thigh. When
intact this must have been one of the largest and most impressive of all Camu(loa images in
Orissa. There are also three terrifying female figures, one only a fragment of the pedestal,
which may have served as piiriva·dt1•atii1. Each is seated with legs crossed in paryarika on a
prostrate demon with hands folded in aiijali. These prostrate figures have animal heads, one
being serpentine and the other bovine. The female figures arc four-armed and hold a
kha/i·iiriga in their major left hand while their right has a kapiila, attributes further
suggesting their Tantric nature. The lower left hand is in varada while the right hand,
possibly holding a trident, is broken off. They are ornately bejewelled and have a halo.
There arc also fragmented images of three 111iitrJ!J1 seated in lalitiisana on a throne with a
child on the left thigh. Of these the best preserved is V ai~l)avi. She is richly ornamented
and her face is illumined by a sweet smile typical of 10th century images. Her hair is
arranged in an ornate kiri/a·m11/eN/a and a beaded halo is behind her head. Garu<.la is placed
on the pedestal. The other identifiable miitrJ!J is Brahmf with the halitsa carved beneath her
seat. There is also an image of Varihi though she does not support a child and appears not
to have been part of the miitrJ!J set in that she differs bo th stylistically and iconographically.
She does not, for example, wear a yajiiopavita and her body ornamentation is different. She
is seated on a low throne with her buffalo-mount below. Her major right hand holds a fish
while her left hand holds a vase or a kapiila. Her upper left hand has a noose while the right
hand is broken. Her facial features arc badly worn and she has no halo. More impressive is
a standing image of Varahi. She is in a slightly Rexcd pose holding a sword and a kapiila in
her major hands. Her lower left hand is in varada while the remaining left hands hold a
curved-knife and an oval shield. T wo of the remaining righ t hands arc missing while the
other holds a rosary. Her hair is arranged in two tiers of coils and a plain halo is carved
behind her head. Some of the body ornamentation, her feet and the Rank ing attendants a re
unfinished. Stylistically these images at Pec,lagadi can be placed at the end of the 1 oth
centu ry or the opening years of the 1 tth century.
Another site showing strong Tantric inffuence is Badasahi, situated six miles south of
Pratiippu r and approximately t 7 miles from Baripada in the Udalii tabsil of Mayurbhanj
district. According to N.N. Vasu it was a center of Tantrism where men were sacrificed
daily in the temple of Piisa-Cal)(if, a fact which led to the place being known as "Bali-
mul)c)ali" .102 The Pasa-Cal)df temple, o riginally 11 feet square at the base and 11 feet 6
inches high, has totally collapsed and its presiding deity, Piisa-Car:odi (Ciimur:o\la), was
removed long ago to Baripada and in its place was installed an image of Nrs imhi.'Ol The
image of Pasa·Cai;idi, now personal property of the Mahiiraja, is in acti\•e worship in a
small shrine next to the Kiiicakcsvari temple in the Palace compound and is exceptionally
well-preserved and beautiful. The image of Nrsimhi is still at Badasiihi and is stylistically
similar to the Varahl at Pedagadi . She is eight-armed and stands in a slightly-Rexed pose
holding a sword in her major right hand while eating from a kapiila held in her left hand.
Her lower rig ht hand is in abhaya while the remaining hands hold a bell and two arrows(?).
Her other left hands arc in varada, hold a shield and possibly a bow. There is also an imaite
101,.. ~ N . \' :1su,

, ..... · p. I ll.x \' ,
op. 111.,
tUJ /Ind., hg. )7· Sec also N . Sc:napat1 and N . K. Sahu, ed., ,\f'!t11rhhd'!t Di1trit1 (;11'{ttlttr (Currack, 1967) , pp.
4 ~ 8·46 1.
Original from
Tl.i:'of Pl .t~S (IF 1' 111~ 1o'f ~l - 1 1'l'H c;J~ l'\1'l.1 R 11=
.s 1:-.: t-::\S1'1·.R:..i ( IRISS.\ )41
of Nrsirilha from the site, smaller in size, now in the Baripada Museum. He is four-armed
v.•ith the lower two hands tearing the entrails from the demon lying prostrate on his raised
left knee, the foot being planted on the back of a crawling figure. His upper two hands
hold the rakra and a gada. There are numerous other images scattered around the four
villages and numerous tanks which make up the site, including a large image of
Parsvan:itha under a tree on the outskirts of the village Kosal i, north of the Ko1ibrahmi
tank, along with a fragmented image o(Vi$1)U.
Another site in the Kaptipada subdivision of l\layurbhanj which was an important Saiva
center is Koins:iri, situated at the juncture of the DevanacJi and Sone rivers, at one time
known as Bir:i.1pur as it was the capital of the Bir:i!a kings."'' Little remains at the village
of the early Siva temple though there are three images from the site now in the Barip:ida
l\luseum, two of Hara-Parvati and one of Aja-Ekap:ida. In the largest Hara-Parvati image,
approximateJy 48 inches in height, Siva is seated in /alitasana with P:irvati seated on his left
thigh draping her right arm over his shoulder as she looks directly at him. Her left hand
holds a mirror. The four-armed Siva embraces Parvati with his lower left arm, the hand
appearing on her breast , while his lower right hand is in abhl!J·a. His upper hands hold a
rosary and trident, both partially missing. The two figures are seated on a high vifvapadH1a
with their respective mounts carved below . A decorative halo appears behind their heads
and music-playing kinnaras are perched on the top of the throne carved behind the deities.
l/ itfyadharas occupy the upper corners of the slab. Although the sculpture is badly worn, the
facial features mostly missing, traces of meticulous detail in body ornamentation and on the
viivapadma seat suggest that the images were exquisitely carved. The image of Aja-Ekapada
is approximately the same size and thus one of the largest surviving examples of this form
of Siva in Orissa, though unfortunate!)' badly worn. He is four-armed and represented
lirdh1•0/i1(~0. His upper hands hold a (lamorli and serpent while his lower right holds a kaptila.
His back-slab has a trefoil tora110 with a kirtimNkho at the apex. He is Ranked by Yogisvari
and a male figure at the base.
J · Ko11p11r, Agoropatha, Gandibtda, Chorompo

One of the most interesting sites in the southern part of Balasorc district is Kaupur, a
village about eight miles northwest of Bhadrak on the bank of the river Salandi. There are
many sculptures scattered in the village and immediate environs. The greatest concent-
ration of images arc inserted into niches o f the Biranci-Narayal)a temple, a dilapidated
modem brick structure on the river bank. There are seven images and include three
sculptures of Hara-Parvati, two of Surya and one each of Garut;la and Gaoesa. In the best
preserved image of Hara-P:irvati, measu ring zi•/2 inches by 16'/, inches, Siva is seated in
/alitasona with his right foot resting on the back of his mount carved beneath the thin seat.
He is lirdhvoliliga and has four arms. His major right hand is in ahhaya while his left gently
lifts the chin of his consort. He holds the trident in his upper right hand and his back left
arm is draped around the shoulders of Piirvati. Piirvati is seated to the kft of Siva with her
right leg pendant and resting on the back of her lion -mount. Her left leg is uplifted and her
lower body faces away from her consort. Her torso twists back towards Siva, however, and
her eyes arc focu.ed on him . Her right hand rests on his thigh and her left hangs over her
l(M $.i:napali :and Sahu. ,\l1~JMrl1h1111.1 J)istrirl c;az.ttlttr. p. 41'1.
Original from
Tl~~IPl.l :S <>F Tiil:. 1o'rH . 11 '1'l•I <: 1~~'J't" k l l-:.S I~ E:\STf: RN <.>R ISS.-\
uplifted knee. A single large halo su rrounds the heads of both figures. !OS In the other two
images, less well preserved, Siva is playing the vi~a while Parvati listens attentively. They
are seated on a viivapadma with their respective mounts carved beneath. The)' each have a
separate halo with the trident placed between them.
The images of Surya arc housed in niches next to one another in the back wall of the
sanctum. They are approximately the same size and are nearly identical with Surya standing
in his chariot, his legs being eliminated, and Ranked by DaQdi and Pingala. The chariot, or
pedestal, is tri-ralha in design with th ree horses in the center and two on either side. Placed
in the center of the Roor is a stone block carved with an image of Garuda on either side.'°"
The images arc beautifully carved and probably date to the 9th century. Garuc)a is seated in
padmtisana with his hands folded in front of his chest. His eyes are downcast, suggesting
meditation, and his hair is neatly arranged in karan{ia· m11/ulfa with several tiers of tightly-
coiled curls, a few locks spreading on his shoulders.
The image of Gai:ie$a is insened into one of the side walls of the sanctum. He is seated in
ardhaparyari/e4 eating sweets from a modaka-patra held in his lower left hand. His remaining
hands hold the /ulfhara, radish and rosary. Stylistically the image corresponds closely to the
example at Bcnusiigar. In the small Bankesvara temple a shon distance away is an image of
a standing Kiintikeya while leaning aga inst the entrance are images of E kapiida Siva and a
rakra with a small Visi:iu in its pcricarp. Other images scattered in the village include
examples of Nrsirhha, Gangiidharamuni and a standing Tiira.101 In a small shrine near the
road leading into Kaupur is an image of Hanumiin trampling a demon. A squatting figure
appears between his legs rather than the seated female noticed on the images from
Benusiigar and in the Gauri compound. In the nearby J iigulei shrine is a seated image of
Ourgii along with the image of the presiding deity ~fanasii.
At Agarapatha, on the road towards Soro, arc two images placed on a modem shrine,
one of an eight-armed seated Durgii and the other of a royal fig ure riding a horse.
There arc also numero us sculptures placed in the Lankcsbarju temple at Gandibcda,
funher along on the same road, including examples of paiiragni-lapasya Piirvati,
Astikajaratkaru, Vi~i:iu, Surya, Gatiesa and Kiintikeya. In the pailragni-tapa~·ti of Piirvati
the Devi is Ranked by fou r pots of fire as in the examples o n the Lingariija and ~{eghcsvara
temples.
At Charampa, just north of the Bhadrak railroad station in Balasore district, there arc
several large Jain images housed in a modern double temple. Lying beneath a tree nearby is
a fragmented Mahi~amardini im age which can be ascribed to the t tth century on stylistic
evidence. There arc also four images of Kiintikeya and one of Surya kept in a small brick
house where they arc still in worsh ip. Among numerous Buddhist images in another pan of
the village is a figure o f Hariri with a ch ild on her lap.108
4 . Chaudar
One of the most imponant sites of this period must have been Chaudar, no w an
industrial city o n the no nh bank of the Birupa river nonh of Cuttack. According to
~ Sec S. .<
111
:. De, "So?'c An1 i~ui~ic-s o( ~outh Balasor~"· OHR.J, \~ol. I ( 19s J), p. 1,(, and plate 4 7, fi~. 4 .
°"
1
1\ l'Jm1lar d c>uhlc ·1mas.tt ot (1aru~a 1s prc!>Cr\•t•J 1n 1hc Raj~ah1 ~luscum. Sec R. D. B:anerj1, " Eastc m
School of ~l cdie\·3J Sculpture", A ,\'/, \ 'ol. Xl.\ ' 11, pJ. XC:J. ligs. a & c.
'" Sec S. C. De. 01/Hj. I. pp. • 17·!?·
lot! /htd., pp. l C>o·G I .
Original from
l49
cradition, as recorded in palm-leaf manuscripts, Janameiaya made Chaudar his eastern

capi<al, performed an Asvamedha sacrifice here and constructed 1he Siva Uttar<Svara
<emplc.10? h was particularly important, along wi<h Cunack, situa<ed on the JI-I ah iinadi, and
Sarangarh, five miles southwest of Cunack on the Ka<juri river, as a fo nified town and the
walls of its fon were supposedly two miles long on each side. Its present name possibly
derives fro m the four gates of these walls of which fragmentary pillars still survive. That it
was also an important Saiva center is evident from the ruins of eight Saiva temples, called
A~!a Sambhu, which surround the city. There are in addition many la rge Buddhist images
which have been found at the site, including examples of Prajiiaparamita, standing Tara,
Avalokites,•ara, a Tantric Devi standing in J/itfha, identified as Vairadir:ihi by N. K . Sahu, ""
and a bronze head of Buddha. 111
JI-lost o f the Hindu temples are in ru ins and generally devoid o f sculptu ral decoration.
Among the scauered detached images which can be dated to the 111h century is an image
of Parvati preserved in the Orissa State Museum. She stands in a ra,,m/tha1~~a pose on a
11ii11apad111a cushion. Her arms are broken off though her face is Aanked on either side by a
lotus which she must have been holding in her hands. Her facial features and body
ornamentation are exquisitely carved and she wears a tiara at the base of her ornate )a/ti-
muk.Nfa. Her back-slab is carved our behind her and decorated with a mak.ara-lora~a at the
top. She is Aanked by a female anendant on either side at the base. A lion is carved on the
right side of the pedestal and a kneeling devotee appears on the left. There is also a
beautiful image of Hara-Parva<i, originally fo und in a neighbouring village, presen·cd in
the Rierberg l\fuseum at Zurich. Siva is four-armed and is seared in lali1Jrana on a
visi•apadma seat with his right foot resting on his mount. H is major rif\ht hand is in ahhara
while his left arrn embraces the goddess. His back arms are broken off. He is urdhn1/iri1,a and
wears a tiger-skin . H is facial features are well -preserved and his hai r is in a ulljafti-mu/e,i1fa.
Parvati is seared in a relaxed pose on the left thigh of Siva with her left leg pendant. Her
right arm is draped around the shoulder of Siva while her left hand ho lds a mirro r. The
back-slab is broken off. Kneeling devotees appear on the right corner of the pedc~tal.
s. ) Jjp11r/ Puri !llJ1rk.Js

Although J ijpur may ha\'e lost some of its po litical prestige with the capitol being
transferred to Chaudar, it still remained an important religious center and pilgrimage site.
Jn the AfahJbhJrala (13ook Ill, chapter 81), in fact, Virajii (Jaipur) is considered to be the
first k!tlra or holy place in Orissa that attracted pilgrims from upper Jndia.112 It was
particularly kno \\'n as a center of Saktism, as its name implies, and according to legend
Yarati-kcsari, who worshipped Viraja (Durgii) as his patron goddess, bu ilt a palace at
Jiijpur on the dry bed of the Mandakini near the modern temple of Virajii. That Jajpur was
an impo nant Siikta center is equally obvious by the remains of two large sets of miitr/etis.
The largest set of these mJ1rk.Js, of which only three images survive, are now placed within
the compound of the Sub-Divisional Officer along with a colossal image of P2dmapaQi,
lying on its back in a special ~tructurc: to offer pr<>tecti(>n. \\•hich measu re~ O\·er 16 feet in
'°" R. Chanda. ,\l.·f.\'I, No. 44 . PF"· t1 · 11..

11(1 N . )..:. Sahu , &ddb11"' 1n ()ri1111, p. 2 0 (>, fi~. '9·
,,, ,,., p.
111 R. C;hand:t, ,\f.·t\'/, l'\o. 44 , p. 1.1 :rinJ pl. \ ' Ill.
11a•• 1.
Original from
JIO TE ~1Pl ,tiS l>F l 'll E to'J't4·• tTH <:Ei'Tl :R1ES IN E..-\S'Tl ~ RN l >RISSA
length even without its feet or pedestal which are missing. The three "'titrkti images,
measuring nearly nine feet in height and thus the largest surviving examples in Orissa, are
likewise each housed in a special structure with a corrugated roof to protect them from the
clements. Unfonunatcly, however, when these shrines arc periodically painted the paint is
carelessly splashed onto the images. The images were originally found by Stirling at the
back of a high terrace supponing the cenotaph of the Muslim saint Saiyid Bukhari, lying
upside down on a heap of rubbish where they apparently fell when tumbled from their
thrones above, 1 u eventually being removed to their present location in A.O. 1866. The
high terrace on which they were originally placed, known as the lvf11/t;tima11{iapa or the
assembly hall of the learned Brahmins, measures approximately 100 feet square and varies
in height from 9 feet 6 inches on the front to 7 feet 6 inches on the back. In the middle of
rhe front or nonh side is a projection measuring lJ feet 7 inches by 19 feet which probably
supponed the porch for the original structure. There is a stairway on both sides of the
projection above which were entrance ponals more than 13 feet in breadth. In front of this
projection is the tomb of Ali Bukhari, a lieutenant of Kaliipiihiir. According to legend the
images of the mtitrktis were placed on this platform and the Muslims broke down five of
them to make balls and shots for their guns and threw the three surviving images down
from their original position where they remained until moved to their present location. 114
Though these three surviving images are panially mud.lated they are still impressive and
overpowering. The best preserved image is of Variihi. She is seated in lalittisana with a child
on her left thigh. Her right leg rests on her buffalo-mount carved beneath her scat. In
addition to her colossal size she is monumental in treatment with her swelling stomach and
massi,·e boar's head. Of her four arms only the lower left, gently placed on the back of the
child, survives intact. Her hair consists of disheveled curls coiling upwards in tiers. She has
a plain back -slab, rounded at the upper comers, cut-away in a simple square behind her
torso. The image of Indral)i is similar with all four arms broken off and the child missing.
She wears ayqjiiopavila and her hair is neatly arranged in a tall leiri/a-m11/ellfa. Her elephant-
mount is carved beneath her seat on the right side a.s her left leg is pendant rather than the
right as in the case of Varahi. Ciimul)dii is also seated in /alitasana with her left leg pendant
though she did not have a child. Her body is emaciated and she wears a garland of skulls
which hangs to her waist. Her hair is disheveled, her mouth open and eyes sunk. A
prostrate figure with hands folded in atijali and hair in spiraling coils is carved beneath
Ciimul)dii. A similar figure, though depicted frontally, with identical stylistic features but
with an added yajilopavila, is loosely lying near the Padmaparii image and probably
represents Garuda.
A second set of miitrktis is now housed in a modem shrine on the Dasiisvamedha-ghat of the
Vairaral)i river, being recovered from the sand of the river where they apparently were
tossed by the Muslims when their shrine was destroyed. 111 Though smaller in size than the
images in the SDO compound they still measure approximately 6 feet in height. The image
of Gal)esa originally attendant on the matrleiis is housed in a small temple nonh of the
shrine housing the matrleiis. The surviving matrleiis of the set include Sivani, Kaumari,
II) :\. S tirlin)l, .. ;\n ;\ccounr, c; l'(l~r:aphi ca l . St:a1is1ic2l and Histf)rlca1 f)f ()rissa Proper ()r c:uttack", .·IJi.ift(
Rt1tt1rtht1, \'c.>1. X\. (1 81~). p. ~~' ·
11 4 R. (ha1,da, ,\l.·l.~· 1, No. 44. pp. l ·}·
11~ /hid., p. J. l"ht name oi the 1,btit prc,hably dt'r1\·t's from the t r:atliti<ln, still current, ch:at \ ' ayit 1 ·k e~ ari
pcrfclrmcd ten tJJi··tJ111tdha sacrifices.
Original from
T l ~~fPLl ~S OF Tiff. 10Tl·l· 11 Tlf C:ENTl' RIES 11' f::\STl·:RN C>RISSA 311
Vai$(1avT, lndriii:iT, Viiriihi and Ciimu(l.;lii. Although each is seated in lalitiisana, as in the
colossal group they do not all have the same leg pendant. Except for Ciimu1.1dii they have a
child on the left thigh. Their respeaive mounts are carved on their pedes1al and their back-
slabs arc plain. Each ,,,;;1r1ta has four arms and hold their respective weapons or attributes,
the lower right hand being in abhaya. Ciimui:ic;la is seated on a prostrate figure with its hands
folded in aiijali in front of the chest. Her body is emaciated and she cradles a /eha/"inga wi1h
her upper left arm while her main right hand holds a kapila. Her upper right hand holds a
/earlri while the lower left has a severed head. Her mouth is open though 1he presiding
priest normally stuffs it with a banana. A seventh image appears between the images of
Vai$1.1avl and Kaumarl and is of a hideous old woman seated on her haunches in a pose
often assumed by btlei-bhairavas. The local priests refer to her as Chiiyii, the conson of
Siirya, or Yama-,,,ilr, the mother of Yama, while Chanda believed it represented
Sivadiiti. 11 • According 10 Banerjea, however, the 6gure depicts the Dan1uri form of
Ciimu1.1c;li as charaaerizcd by her emaciated form, long distended ears, lean pendulous
breasts with projcaing ribs, and evil smile lurking in her broad bare face.111 That this is not
an isolated case of Dantur:i appearing with ,,,,;1rltas is evident at Pujiiripali where a similar
image appears in the Boraseni temple. An eighth image closes out the series at J iijpur,
arranged at the opposite end from Ciimu1.1c;li, and worshipped as Brihm!. It is aaually an
image of LaksmT-Nrsimha, of a later date with an ornate back-slab, though the manner in
which the diminutive Laksml is seated on his yogapal/a, now missing, suggests a small child.
Stylistically these two sets of 111i1rltas at Jijpur, with their plain back-slab, can be dated
to the toth century. Slightly later in date is the set of mitrltas on 1he cast bank of the
Mirka1.1ddvara-sarovara at Puri attributed in the Miidali Piiiji to the Somavarilsi king
Bhimaratha as mentioned earlier.I'S Though the back-slab is also plain it is panially cut
away and this cut-out section in some cases assumes a trefoil design in contrast to the
simple square on the colossal Jiijpur images. As presently displayed in the dark interior of a
modern shed the arrangement consists of VTrabhadra, Sivan!, Brihm!, Kaumari, Vai~(lavi,
Variihi, Indrii1.1T, Ciimu(ldii and Ga1.1esa.'"
6. Salhalap11ra/K11t1/i,tivara
There was also a miilrga{ta temple in the village of Sa1halapura, adjacent to Kuo<,iesv ara,
on the Alaka river near Jagatsinghpur in Cuttack district. Only the lower ponion of 1hc
temple has survived and it is buried by the shifting sand of the river so that it now appears
as an underground basement. The images arc loosely lined up against the back wall and are
flanked by V!rabhadra and Ga(le5a. Two additional images arc now placed wi1hin the
shrine. The first is a dancing Viimadeva (Bhairava) while the second is possibly i siina. The
latter is seated in /alitiisana on his mount with the right hand extended and displaying a
lotus mark. Its missing head is now replaced by a small emaciated head resting on its
shoulders. There arc presently six miitrltas. Each arc seated in la/itiisana on a throne similar
10 that at Puri. Exccp1 for Indriioi it is the right leg that is pendant. Each miitrlta suppons a
11, Ibid., p. )·
• 1' J. Bancriea, 1·ht DtJ•,/op,,,1111 of Hintl11 lto11()1.r11pkr. p. so1.
111 /i,li"4.li Pili;i ( Pr-achi Edition), p. 19.
11 •In the late 191h cen1u rr thC)' -..:ere locaccd under a fl~ crcc anJ, acc11 r~l 1 n~ co ~ l 1t1a . there \l·crc c1~h1
•itrk.41, the: addition bC'ing <:at;idiki . Sec R. ~t ur·::a. op. ,;, ., JI, pp. 1J1.,, 1.
Original from
311
child on the left thigh and has her lower right hand in abhaya while cradling the child with
the lower left hand. The upper hands ho ld the respective attributes. The mounts are carved
beneath rhe sear while the back-slab is plain except for a lorus rosette in the upper corners.
A small section, generally square, sometimes rounded, is cut away behind the figure. The
matrleDs are richly bejewelled and exhibit a soft smile along with refined details of carving.
The images probably dare to rhe late 10th century.
Virabhadra is also four-armed and is seated in la/ittisana with his mount carved beneath
his seat. His major rwo hands hold the vipti diagonally across his body while his upper
hands ho ld a lotus and trident. He is represented lirdh1,alinga and is richly bejewelled. H is
hair is piled in a tall ja/a-mNleN/a. Gal)esa is likewise seated in lalittisana with his mouse-
mount carved beneath his seat. He is earing sweets from a modaka-ptitra held in his upper
left hand while his lower left hand rests on the u/hara with its head extending to the base
of the pedestal. H is lo wer right hand is in varada and holds a rosary while the upper right
hand is broken.
In a similar sunken shrine opposite the mtitrkds is housed a large image of Siva Aja-
Ekapiida, measuring 49 inches in height and thus the largest surviving image of this form
of Siva in Orissa. He is represented lirdhvaliriga and is four-armed. Except for the damarli,
however, the attributes and hands are all missing, though remnants of a trident held in rhe
lower right hand arc visible. His back-slab is ornately decorated with a trefoil torana with a
JeJrtimNle.ha at the apex and ma/earas at the base. He is Ranked at the b ase by attendant
figures holding a /eartri o r curved sword and a /eaptila suggesting the'Tantric nature of the
image, as does the long garland of skulls worn by Aja-Ekapiida. The attendants stand in
front of a pidhti-m1117di while above on each side is a female <a11ri-bcarer. Beneath the
vifvapadma on which the deity stands is a prostrate corpse Ranked at the comers by
diminutive kneeling devoices. The ornateness of rhc back-slab suggests a later date for the
image, probably the second half of rhc 111h century.
There a re also two images insened into the major niches on the lacer Siddhesvara temple
at the site, its sanctum deeply buried to suggest the existence of an ea rlier temple, which
stylistically can be dated co the 11 ch century. The first is an image of dancing Gao:icsa caring
sweets from a modaka-ptitra held in his major left hand. His major right hand is in gaja-hasta
while his upper two hands hold a serpent over his head. His other hands are broken. He is
Ranked by a small dancing ga11a on either side while his mount is beneath his lotus pedestal.
The second im•ge is Siva Andh•kiisura -vadh•-muni. Siva assumes rhe tilidha pose and
holds the trident diagonally in front of his body with his m•jor 1wo hands. His lower left
hand is in varada while his upper right, originally holding a kaptila, is broken. He is bearded
and wea rs a long garland of skulls. He is Ranked b)' Yogesvari and a male counccrpan who
arc drinking from a kaptila.
The site of Kuo:idesvara, across a canal from Sachalapura, is likewise rich in antiquities
dating from the 8th through the 12th centuries. The largest structure is a Siva temple,
recently rebuilt, which can be dated 10 the lace c 1 ch or early uch century. The dt11/ has a
paiira-ratha plan with rhejangha divided into r-.·o stories by a madhya-bandhanti consisting of a
single moulding. The pti/Jhtiga contains five mouldings of conventional design. The rtihti
niche is capped by a pi{iha and pointed /ea17i surmounted by a vajra-mastaka aligned wich the
barapda which contains four mouldings. T he decoration of the kanika and anortha has been
el iminated in the reconstruction. The gavdi is bereft of decoration except for a small t'a)ra-
mastaka at the base of each ptiga and the projecting lion mot if above the major 11ajra-111astaleo
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T E ~IPl.F.S ()1: Tf lF. 10Tt1 -11 Tf·I (;J ~ !'\Tl. RI ES IN l~:\STl ~ RN C>R ISS:\ JI J
on each riiha. A belei-bhairava is inserted above each riihii. The jaga111ohana has a similar panra·
ralha plan though the piibhiiga has only four mouldings. As reconstructed the gavii/qa
window is filled with three plain balusters. The bara11da contains four mouldings and the
pyramidal roof has live large pidhtJr of diminishing size crowned by a conventional 1111Jrla/ea.
The sanctum doorframe is intact and has three bands of scrollwork. The dviirtJpa!tJJ are
accompanied by the river goddesses and .their niche is surmounted by a kiri/tJ design with
Banking ga11as blowing a conch. The navagraha slab is intact above the lintel. Within the
jaga111oha11a are two large images of Siva (10 inches in height), one terrifying and the other
benign, who may have served as dviirapiilas for the missing doorframe.
The piiritJa-dtvalas are in 1i111 and are exquisitely carved as are the few surviving dikpalas
who arc stacked against the piibhaga of the temple. The latter are seated in lalitarana on their
respective mount and are characterized by a particularly large ja/ii-11111/t.ll/tJ. Included among
the other images leaning against the temple, some earlier in date, are two l\1ahisamardini
images, two of Hara-Piirvati, a.· Surya, Astikajaratkiiru, Andhakiisura-vadha-murti,
Bhairava, Ciimuf.ldl, a seated Durgii, and a Riivar)iinugraha-vadha-murti. The
Mahisamardinl images stylistically and iconographically can be ascribed to the 8th-9th
century. The demon is represented in human form with a buffalo-head. The pedestal of the
Astikajaratkaru image has an inscription on the base. In the Riivai;iiinugraha-vadha-murti
image Siva and Piirvati are depicted playing chess on top of the mountain. There is a
beautifully carved Nand! facing the j agamohana while inside is a standing Visf.lu placed in a
niche.
Among the rubble on the south side of the temple arc numerous fragmented earlier
images which possibly date to the 8th-9th century, including one of Kiirttikcya riding on
his peacock. The foundation of a na/a-mandira is visible in front of the jaga111ohana while in
the northeast area of the compound are three rekha shrines which date to the 10th century.
Stylistically these temples are closely related to the corner shrines of the Panca-Piir;u;lava
temple at Ga(leswarpur. The pabhiiga contains four mouldings of similar design though
there is an indentation under the rahii niche only. The jiingha has a similar panra-ralha plan
with the leanilea designed as a pilaster relieved with scrollwork. The pariva·drvaliis are in 1i111
while the anartha niches contain various aspects of Siva or Brahmanical deities such as
Surya.
The remains of another temple arc buried a short distance south of the Siva temple, onlr
portions of the foundation being visible. Housed in a makeshift shack on top of the rubble
are images of Hara-Piirvatl and a particularly beautiful Ciimuf.ldii seated on a corpse.
7. Ratnagiri
Among the renovations undertaken in the 10th century on the Buddhist complex at
Ratnagiri was the erection of a stone wall at the north end of the courtyard in front of the
sanctum of Monastery I, though at present the wall has been reconstructed along the west
side of the courtyard. The wall consists of a center door flanked by three elongated vajra·
1111111di designs on each side. The niche of the 1111111di is flanked by a thin pilaster on each side
with a pabhiigtJ consisting of four mouldings similar to those on temples of the 9th-10th
centuries with a campalea-leaf carved on the !t.11111bha. The niche is covered by a projecting
eave while the vimanikii design abo ve consists of a bhiimi division of four horizontal
mouldings crowned by a member aligned with live miniature niches and a 1·ajra-mtJilalea.
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l 14
The <ailya of the vajra-maslaka is formed from pearls dripping from a kirtim11kl>a at the apex,
the mask being Ranked by an llliy•alii lion on each side. Above the center door the wall is
designed as a large upper niche Ranked on each side by four superimposed niches placed
one above the other. The architrave over the design has an alignment of five miniature
niches but the crowning mas/aka of this center or riihii design of the wall is missing.
The "'"!'(ii designs arc separated from one another by a recess which is filled with a niiga-
slambha which begins above the indented plan of the ptibhtiga. The torso of the naga is placed
at the base of the slambha with the coils entwining the shaft above suggesting a descending
movement. At the top of the slambha is an atlantid-ga11a, generally erotic in nature, as on
101h century temples. The overall decorative program of the front of the wall thus presents
an arrangement of seven closely aligned niches at the base with the center niche being a
door and slightly larger.
On the lateral Ranks of the wall there is a single lthtiltharii-m1111¢i design with the niche
framed at the sides by a thin pilaster decorated with vana-lalii scrollwork and an overlaying
iilamba motif at the top. The niche begins above the piibhiiga which has an indented plan. In
contrast to the deeply cut niches on the front facade, conceived to house free-standing
Buddha images, the single niche on the side is shallow and filled with an elongated
khiikharii-1111111(ii wirh its own shallow niche at the base. The niche houses a 111i1h11na while the
vimtinilt.4 of this m1111(ii within a niche consists of horizontal mouldings decorated with
multiple <ail.Jo designs and crowned by a large <aitya.
The overall decorative program, including the pabhaga design, naga-slambhas, atlantid-
ga!'as, scrollwork and "'"Mi design, is thus consistent with 10th century decorative
programs of Hindu temples. One of the small figures at the base of the thin jamb framing a
niche is a female playing a Rute. This introduction of female musicians in the decorarive
program was noted on rhe Muktcsvara and Brahmc5vara temples and most likely reAects
the growing popularity of the devadiisi custom. There is also an image of a female dancer
among the numerous sculptural and architectural fragments lining the sides of the
eounyard which stylistically can be ascribed to the 10th century. That devadiisis were also
attached to Buddhist temples is evident in an inscription at Gaya which mentions Rambhii-
like bhavinis and <ht/is as dancing and singing in the temple 120 or from Chau Ju Kua's
testimony of the 13th century whereby dancing girls, attached to Cambodian Bud<lhist
temples, offered food to the Buddha and danced before Him.121 That this custom was also
present in Orissa is evident in the Ratnagiri copper-plate grant of the Somavamsi king
Karl)adeva who granted a rent-free village to Karpurasri, a devadiisi who was attached 10
the Buddhist monastery at Salonapura on the Vairaral)i near Jajpur.122 T here are also a few
erotic images among the scattered debris which can be ascribed to rhe 10th century,
including a mailh1111a scene in which an attendant is cutting the hair of the male panncr.'H
8. l".Jomaletivara Temple
The recently discovered small temple of Vyomakesvara, situ ated in the market area
opposite the Lingariija entrace o n the main road on 1he east side of the Bindusa rova ra , can
1ro P.piJ_f'aphia /1tdira, \:ol. XX X \". pp. 97-98.

msec op
. ·op..
csat. t it. , pp. ' (>i ·
1v1: · 1
1u S. !\;, Ra j a~uru. /nstript1on1 '?f ()ri JJd, I\:, pp. 1: 1 j · l \?·
lt) For the s1~r11ficanct o( ha1r-cutt1ng ~ct' D . O~s-a. 1 , qp, tit .. pp. 140 • 14 1.
Original from
1·E ~IPl.l~S <>F THF. 10TH• 11Tli CEN1·t· R.1C.S 11' l: ASTERN <>RISSA Jll
also be ascribed to the 10th century. Except for ponions of the entrance ponal and base of
the gart/ii, the temple is completely buried and hemmed-in by later structures. Even the
dvtiraptilas arc completely buried except for their head. The most interesting aspect of the
exposed pan of the temple is the architrave surmounting the lintel. The architrave is carved
with the navagrahas with Kcru depicted as a full figure on his knees as on the Tinhcsvara
temple. Flanking the navagraha slab, in niches at the top of the framing pilasters, are the
river goddesses, the only such example I know of in Orissa where they appear associated
with the upper pan of the doorframe. Ganga and Yamunii stand on their respective vehicle
with their outside hand on the thigh and the uplifted inside hand holding a vase as in the
examples in the Muktesvara compound. Their hair is similarly tied in a large chignon to
one side and their face is illumined by an identical soft and warm smile. A small attendant
figure holds a parasol over the head of the goddess. The top of the pilaster beneath the
river goddess is decorated with the tilamba motif of leirtimNleha masks dripping festoons of
pearls. The architrave is covered by a projecting cave which serves as the base for the vajra·
11101/a/ea design at the base of the ga!l/ii. The vajr11-111a1ta/ea has an alignment of a lehtileharti·
,,,,,~; Aanked by a rtlehti·mNrtdi on each side. The fairya designs above these 11111p(!i1 have not
survived.
Among the numerous other lesser shrines belonging to the 11th century are the
Tapancsvara, situated to the west of the Lingaraja and consisting of a dt11/ and damaged
jagamohana and the Gai:iesa temple situated at the foot of Dhauli hill. Though the latter
shrine has been reconstructed its presiding deity is stylistically similar to the Gai:iesa in the
southern rtihti niche of the Lingar:ija temple.'2•
9. Dtilerti-Bhi111tfvar11 Ttmplt
A temple showing srylistic alinities with the Riijariir;ii, as mentioned earlier, is the Diikrii·
Bhimcsvara which is situated a shon distance cast of the Lingaraja compound. The bti(ia is
paiifa·ratba in plan and nearly circular with the multiple offsets of the ptigas. The jtingha is
divided into two stories by a madhya·bandhanti of three mouldings. The /eani/ea and anartha
arc identical in design and consist of a multi-faceted pilaster with a figure carved in high·
relief on each story. The lower story of the /ea11i/ea is decorated with a dikptila while the
upper story has a mith111111. The 1111artha is generally decorated with an alaui·leanyti on each
story. In contrast to the lush scrollwork decorating the Aanking offsets on the Riijaraoi
these arc left plain on the Dakra-Bhimesvara. The a1111rtibti recesses are filled with virtila
motifs below and alasti-leanyti or mithN11a motifs on the upper story though few of these
sculptures remain ;,, 1it11. The barartda panakcs of the ptiga divisions and consists of live
horizontal mouldings nearly round in shape due to the multiple offsets. The raha has a two·
story design with the shoncr upper story consisting of multiple niches left unfilled. An
elongated anga-lilehara begins immediately above its projecting eave thus obfuscating the
barartiia division of the rtihti.
As on the R:ijara1.1i, aliga-iileharas, extending up approximately two bhiimi divisions, spring
directly from the barartiia mouldings and serve visually as crowning clements to the ptiga
designs of the bti(ia. An aliga-lilehara likewise appears above the a1111rtiha recess separating the
/ea11i/ea from the anartha, best viewed at an angle, so that there are three such turrets, of
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Tl ~ ~IPJJ: s ()): THI: 1ol ·H· 11Tl·I <:El'n · RIES IN l~:\S 'l' l ~ RN ()RJSSA
slightly staggered heights, aligned on each side of the riihii. The aliga-fikhara on the riihii,
serving as a background for the smaller one carved above the upper niche, is much larger
than the others and extends up nearly live bhiimi divisions and is aligned with the rtihti
design of the btii/a. The leanilea and anartha piigas above these aliga-fikharas arc again not
vertically aligned, with these turrets terminating the upward thrust of the bii(ia designs, due
to the elimination of the an11riihii recesses on the upper ga!ldi, and seemingly represent a new
and independent upward thrust, though truncated. The leanilea above the aliga-iikhara is
divided into live bhiimis with live bara!l<iis in each bhiimi. The anartha consists of super-
imposed horizontal mouldings extending the height of the ga/l<ii with a vertical bar running
up the center, the mouldings otherwise undecorated. The bisama partakes of the piiga
divisions and consists of two horizontal slabs. Dopichhii-simhas appear in the btlt.i above the
leanileas to help support the amalalea. The crowning members above the amalalea are missing.
The aliga-iikharas in general are not well integrated into the decorative program and seem
independent of the design of the ga/f(ii, the large turret of the rtihti projecting out strongly
and disrupting the silhouette of the spire. The ga/l<ii above the arlga-fikharas appears
truncated as its vertical thrust only begins above these turrets and not from the base of the
dt11/. It is thus obvious that the Diikrii-Bhimesvara represents one of several temples erected
during an experimental phase when exotic clements introduced from outside architectural
traditions were grafted onto the indigenous architcetural structure without being success-
fully assimilated into the decorative program.
10. Elt.timbareivara Ttmplt

It is on the little-known Ekiimbaresvara temple, situated within the compound of the
LiJ\gariija temple, that the exotic nature of these projecting arlgo-iikharas is most pro-
nounced . The temple is paiica-ratha in design with a two-story jiingha but virtually devoid of
decorative details except for the ptiga divisions. As on the Dakrii-Bhimesvara and Rajariil)i
temples the aliga-iikharas at the base of the gatt<ii serve as crowning members for the leanilea
and anartha-piiga designs of the bti(ia. Although there are no crowning turrets above the
anKriihii recesses there arc aliga-iikharas crowning the flanking pilasters of the riihii to produce
a cluster of three such projecting turrets, the center one slightly taller. On each side of the
ga(l(ii there is thus an alignment of seven aliga-fikharas. In that all of these arlga-fikharas arc of
approximately the same height there is virtually no ascending thrust suggested whatsoever,
the turrets serving only to terminate the upward thrust of the bti(ia. Although there is an
underlying large aliga-iikhara on the riihii, extending up two bhiimis higher than the turrets
clustered at the base on all sides except the front, it is flattened out and completely
assimilated with the upper rtihti and does not disrupt the silhouette of the gart<ii as on the
Diikrii Bhimesvara. The piiga divisions above the cluster of aliga-iikharas arc again not in
alignment with the bii(ia divisions, d ue to the elimination of the anKriihii recesses, and appear
to erupt abruptly and indepently from these turrets. The leanilea above , these turrets is
divided into on ly four bhiimis so that the silhouette is again truncated. Udyatii lions, much
larger than those on the Muktesvara, project out sharply from the flattened anga-iifo.hara on
the upper ga!l<ii though kirtimJJkha masks or crouching lions have not been carved on their
pedestals. On the west or front facade, above the entrance, there is only one anga-fikhara on
the rtihti, rather than two, to allow ample room for the projecting lion motif which is much
larger than those on the other sides. This is possibly the earliest surviving example whereby
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Tl ~ ~I Pl.l·:S ()I~ 1'J lti 1ol 'll·1 1'1''fl c; J ~N1'l' R IES IN F'.:\ST l·'.RN ()RISS ;\ !17
this lion motif on the front facade is much larger than those on the other sides. The ga/fefi is
terminaccd by a plain bisama which partakes of the paga divisions. Dopichhii-simhas are placed
in the bt/ei above the lt.anilt.as and btlei-bhairavas above the riihii, the first example whereby
lions and squatting figures arc both inserted into the brlei. The crowning mastaka members
are intact.
Although the row of aliga-lileharas at the base of the ga/fefi appear to be grafted onto the
indigenous framework in contrast to the harmony achieved on the Riijariini where their
staggered arrangement lead to a gradual upward thrust, th is horizontal alignmcm serves as
a harbinger to the solution employed on the later Brahm.Svara where a similar alignment
appears though the turrets arc Ranened out and superimposed in front of the piiga designs
rather than eliminating them.
1 t. Va/11hivara Trmplt
A temple which shows the closest stylistic and iconographic affinities with the Lingarii.ja
temple, though on a small scale, is the little-known Valukesvara temple which likewise can
be dated to the approximate same date in the second half of the 11th century. The temple,
which consists of a tk11/ only, is situated just cast of the entrance to the Lingariija
compound, behind numerous shops and modern structures fronting the road and adjacent
to the police station. Unfortunately the temple, which faces north, is buried in earth up to
the level of the upper jiingha so that the lower story, including the parfva-devaliis, are no
longer visible. Makeshift steps have been constructed leading down to the entrance into the
sanctum which is mostly a haven for bats. The alasii-lt.anyas originally filling the upper
an11riihii recesses are mostly plundered, easily accessible due to the buried nature of the
temple. The images in the pi{lha-m11/fpis of the upper story project out from their frames as
on some of the m1111{iis on the Lingarii.ja rather than being encased in deep niches in the
standard manner. This is obviously an indigenous modification of the imported technique
of carving figures in high-relief as employed on the Rajariini and other early 11th ccmury
temples.
The b;;Ja is pailta-ratha in plan and measures 17 feet square at the level of the upper
jangha. The jiingha is divided into two stories by a madhya-bandhanii consisting of three
mouldings as on the Lingariija. The upper jiingha is 4 l inches in height and decorated with
pi{lha-11111/fpis on the lt.anilt.a and anarlha. The niche frames arc decorated primarily with
meandering vines or Rora! medallions rather than the ornate var/11/ii or exuberant vana-latii
scroll motifs. The alasii-lt.an;·iis filling the aft11riihii recesses stand on a double lotus cushion
supported by lush foliage. As on the Lingariija they arc larger than the figures carved on
the projecting 11111/f{lis. The upper story of the riihii is tri-ralha in plan as on the Lingaraja
with a similar alignment of jiigrala, niiga{nagi stambha, alasii-lt.anya and viriila on each side of
the niche though the alignment is more harmonious as the alasii-lt.alf)'ii is not isolated in a
shallow niche and the virala is not inserted into a recess, the figures thus being all Rush with
one another. The niche is framed by scrollwork and crowned by a projecting cave which is
Rush with the lower moulding of the bara/fpa.
The bara/f{la and ga/IPi arc likewise miniature duplicates of the Lingariija. The baran{la
consists of ten mouldings relieved with scrollwork and a small 1•ajra·mastalt.a on the riiha.
The wide lt.anilt.a is similarly disposed on two planes with the corner projecti.ng and
rounded. It is divided into ten bhiimis with a small leiri/a on the Rat portion of the first
Original from
bhii111i. The anartha is also decorated with a succession of four aliga·fileharas progressively
diminishing in size to the top. The larger vajra-mastalta at the base of the rJhJ is similar in
design, with a projecting gaja-ltronla at the apex, though the bho-motif is not as boldly
carved but rather etched into the surface. The coiffure of the Aan king ga11as is arranged in
serpent-like coils as on the lliuktcsvara. The rJhJ above the vajra·maslalta is decorated with
spaced <airya· mcdallions on each bara11di and vcnical bands of scrollwork at the ends which
run continuously to the top. Dopi<hhJ-simhas are placed in the btlt.i above the ltaniltas while
images of Siva seated in padmosana arc above the rJhJs as on the Lingarija.
The iconographic program of the avara11a·deva/Js in the m1111di niches of the uppcrjJrigha i.s
nearly identical to that on the Lirlgariija temple. Due to the soft nature of the stone and
their easy accessibility, however, the images arc badly worn and many of the identifying
attributes arc missing so that in some cases, panicularly with composite iconographic
forms, positive identification is difficult. Beginning on the east side of the nonh entrance
the images arc Mahisamardinr and Natarilja; on the cast the images arc a standing Siva, a
three-headed Bhairava scat<d in padmJsana, Hari -Hara and Surya; on the south they
represent ArdhaniriSvara, Ga(lcsa, Kaumiiri on a peacock, and Vamadcva; the images on
the west are a standing male deity holding a lotus and a vase, a four-armed
Lakulisa/DaksiQiimuni, a six-armed Mahiyogi seated in padmJsana and a standing, pot·
bellied Brahma(?) with hands near the chest; while a standing Kantikeya and Aja-Ekapiida
arc on the west side of the nonh entrance. The lthalthara·m11{tdis of the Itani/ta of the lower
jorigha, now buried, most likely contained the dllepalas while the anarlha niches were
probably filled with fift/JdJna or secular motifs as on the Lirlgarija. Diminutive figure
motifs carved in relief appear on the lateral Aanks of the m1111di designs including that of
K"Qa stealing curds as on the Lirlgariija though the figure of Nanda has been eliminated.
11. Ma11ibhadreivara Templt

Although several of the Bhauma-kara rulers adopted Va is1.1avism as their form of
religion and it was also popular with many of the feudatory rulers, including the Bhanjas,
the strong Saivite nature of Bhubancswar apparently dissuaded the construction of
Vai51.1ava shrines at this city during the previous four hundred years of temple construction.
Though it is possible that some temples dedicated to Vis(IU may have been erected but have
not survived, the vinual lack of extant early Vaisoava cult images at Bhubancswar suggests
otherwise. Possibly the earliest Vai$Qava t<mple erected at Bhubaneswar, and one of only
two such temples now extant, is the small Ma1.1ibhadrcsvara temple situated a few yards
nonh of the Sisircsvara in the compound of the Paramguru family. The temple is in a badly
mutilated condition and panially overgrown with foliaRc and roots.
The temple consists of a dt11/ only and faces cast. The bai/a measures 10 feet 8 inches
square at the base and has a modified paii<a·ralha plan similar to 8th century temples at
Bhubancswar wherein the anarlha is not an independent paga but abuts the raha, being even
devoid of decoration. This is an archaizing feature, however, and stylistically the temple
can be ascribed to the mid -11th century. The pabhaga measures ~~ 1/2 inches in height and
consists of five mouldings joined together by a venical bar and <ampalta-leaf but otherwise
devoid of ornamentation, the mouldings resting on a low pi/ha now mostly buried. The
jarigha is a singk·story design measuring 63'/ 2 inches in height. The Itani/ta is a vajra· m1111¢i
with the jambs and projecting cave of the niche being plain. The vajra·mastalta crowning the
Original from
J19
niche is bell-shaped and similar to examples appearing on the Brahmesvara temple, though
not as ornate. It is surmounted by a small projecting block which probably would have
been decorated with a kirti11111kha mask. The riihii is designed as a truncated pi(lha-1111111efi with
the v'!fra-mastaka at the base of the ga11(1i serving as its crowning member. The niche is
framed by a flat pilaster on each side decorated with mouldings at the base and top and an
ii/amba motif on the shaft though the ornamental details were never completed. A ta/a-
garbhik.ii appears beneath the niche, fashioned as a khii/eharii-m1111(1i, while a rudimentary
iirdhva·garbhikii is carved above the niche.
The bara11(ia consists of a large kh11ra-shapcd moulding capped by a thin recess though it
is obfuscated on the riihii by the vajra-mastaka design. The vajra·mastaka designs were left
unfinished. The ga11r/i is devoid of decoration except for a small vajra·mastaka or kiri/a at the
base above each side piiga, including the anartha which is not decorared on the biida, the
design duplicating that of the kiri/a crowning the 1111111{/i of the kanika. The placement of this
motif at the base of the gapdi also appears on the Lirigaraja though only on the kanika. A
similar design appears on the lateral flank of the vajra-mastaka crowning the entrance portal.
The base of this motif above the door is tri-ratha in plan and probably would have been
decorated with three shallow niches similar to the upper riihii niche on other temples of this
period.
The doorframc likewise is devoid of ornamental detail with the flanking pilasters and
jambs above the dt•iirapiila being plain. The dviirapalas are housed in a vajra-m1111tli with lotus-
rosettes appearing in the upper comers of their niche as on the Riijarii(li and Brahmdvara.
Only Mahiikala on the proper right has survived and he is badly mutilated. He stands in a
slight tribhanga pose with his right hand holding the shaft of the trident which stands
upright as on the Rajariioi and Brahmcsvara temples. The kiri/a design crowning the niche
is less ornate, however, and there is a diminutive nii!,a at the base of the inside jamb as on
the J\1uktesvara and other 10th century temples. This last motif is an archaizing feature
which also appears on numerous 11 th-1 zth century temples outside of Bhubanes"'·ar where
it was discontinued after the 10th century. The lintel is broken, the dviira-/aliifa-bimba panel
missing, though the navagraha panel is intact -.•ith each graha housed in a niche with
corbelled ceiling. Ketu is serpentine from the waist down and his hands are uplifted as
standard on 1tth century temples.
The piiriva·dtvatii niches arc empty and it is difficult to determine their iconographic
program as the kanika niches, and the two niches of the m1111rfis on the lateral flanks of the
projecting entrance portal, house the ten avatars of Visou. Although fragments of these
avatars have survived at Gandhara<)i, suggesting they were housed in the exterior niches,
and it appears they were intended for the niches of the dn1/ at Gaa:ieswarpur, eight of the
avatars are still in sit11 on the Maa:iibhadresvara temple and thus present us with the most
complete exterior iconographic program on an early Vaisa:iava temple in Orissa. The mat!ya
and tortoise avatars arc carved on the cast corners of the temple, each placed above a
vii1J11padma cushinn. Rama appears on the south flank of the entrance portal ho lding a gadii
in his right hand and a stringed-bow and arrows in his left hand. A diminutive monkey is
seated in the lower right corner of the niche. Vara ha is in the east kanika niche on the south
side. He is four-armed and plants his left foot on the nagQ occupying the lowe r left comer of
the niche while the niigi in the opposite corner pays homage with her hands folded in aiijoli.
Varaha supports the earth on his uplifted elbow, his major hands clasped in front of his
chest, and holds a tak.ra and conch in his back hands. N rsimha is represented in the
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j60 T E ~ll'l .E S ( )f 1'JIE 101'11·1 1'1'11 ( ; 1: ~ ·rl ' R 11~ IN 1::\ S'rl:RN ( )RISS ..\
standard manner with the prostrate Hira11yakasipu on his uplifted knee, his left foot planted
on a prostrate figure peering up at the avatar. Nrsirilha tears the entrails from
Hirai;iyakasipu with his front two hands while his uplifted back hands hold a ta/era and
conch. The Yamana avatar appears on the south comer of the west side while Balariima
occupies the nonh niche on this side. The west niche on the nonh side, which presumably
housed Buddha, is now empty while the east niche is filled with Kalki riding his horse. The
11111/f(ii originally carved on the nonh flank of the projecting entrance ponal is now missing.
In that Rama appears on the south flank it is likely that its niche contained the image of
Parasuriima to complete the series as represented on other sets of DaiavataraJ. The
juxtaposition of Rama and Parasuriima on the ponal flanks, serving as a second set of
dvarapala1, is probably due to their warrior aspect. The other avatars arc in their natural
sequence.
The small size of the temple, and its small plot, being situated between two existing Siva
temples, suggests that patronage was small and that there must not have been a large
Vai~l)ava community residing in Bhubaneswar at this time.
1 J. Pratapr11drapkr: Akhari(ialtfi•ara (Candraftkhara) Tt111plt

Another temple which can be dated to the mid-11th century is the Akhal)c;laldvara in the
small village of Prataprudrapur on the edge of the Praci valley near KenduJi. The temple
consists of a dt11/,jaga111ohana and na/a-mandira but only the dt11/ dates to the 11th century.
Thejagamohana was added in the t jth century, along with niia-shrines in front of the parsi•a ·
devata niches of the dt11/, while the na/a-mandira was added even later. Unfortunatel y little of
the original decoration of the de11/ remains except for the pabhaga, barari(ia, vajra-mastalea
motifs and the sanctum doorframc. In general the decoration is similar to that of 11th
century temples though there arc also numerous archaizing features typical of the 10th
century. There is an inscription on the left surround of the sanctum doorframe which
records the name of Naranarasirilhadeva and possibly refers to Narasirilha II, proving 1he
temple was in existence in A.O. 1296-97. 1 2~ The inscription w•s probably damaged when
an iron beam was added to help support the lintel.
The ba(ia of the deu/ is pa;;ra-ratha in plan and measures 18 feet square at the base. The
pabhaga, 48 inches high, has only four mouldings rather than five as standard on temples
since the mid -10th century, there being no pointed /ea11i separating the pa//a and vasanta
mouldings. These top two mouldings. richly ornamented with vana-lata scrollwork, are
linked together by a venical bar in the center of each pogo, the bar decorated with alasa-
/eanya or erotic motifs similar to those appearing on the Brahmesvara and Lingaraja. The
khura, in addition to the scandard leiri/a design in che cencer of ics sloping upper surface, is
decorated with scrollwork on its m11hiiri/i and padma PrFfha on the sloping upper surface.
The j iirigha is 9i 1/ 2 inches high but the /eani/ea and anartha are now devoid o f any
decoration, though che anartha is tri-ratha in plan, having been r~construcced in recent
times . The j iirigha has a single story plan but it is impossible to determine the decoracive
program, whether there were mu~(ii designs or figures carved in high-relief as on the
Rajarii(li. A fragmented figure, possibly a dilepalo, is loosely placed under a tree in front o f
1he temp le co mplex. The anartha was probably deco rated with alrua-ll!lin] iiS o r mith1111as.
Original from
Only portions of the rihi decoration remain. The pilasters framing the niche arc devoid of
scrollwork though small 111ith1111a figures carved in high-relief appear near the top. A /ala·
garbhiki is carved beneath the niche as a khikhari· 11tN{ldi. It is lri-ralha in plan with 111i1h1111a
motifs, warriors, domestic scenes and a Lakulisa image in the niches at the base. An irdhva-
garbhiki is placed above the niche, a conventional design on 10th century temples, though
these arc badly damaged due to the erection, and eventual collapse, of niia·shrincs in front
of the rahi at a later date. The niche is crowned by a large pidha-moulding or cave which
serves as the base for the vajra-mallaita design of the ga11di.
The most intact decorative program is that of the baral'da which consists of a lthNra-
shaped moulding capped by a recess. The lthNra moulding is ornately decorated with vana·
/ala scrollwork on its 111Nha11/i and elaborate padma pr11ha on its sloping upper surface along
with spaced animal figures, generally elephants, which give us an idea of how rich the
original decorative program must have been. The recess is filled with beautifully animated
hunting scenes. animal processions and sporadic erotic images. These scenes continue on
the projecting cave of the sandhi-slhala, or entrance portal, though they arc abruptly ended
by the added jaga111ohana which eliminated part of the original entrance projection. The
reconstructed gal'di is devoid of decoration except for the vajra·marlalta designs and ff an king
ariga·iikharar, one at the base of each anarlha. The bara11d11 recess serves as the niche at the
base of these 11riga·iikhar111 which arc crowned by an amalalta and surmounting ltalaia.
Additional ariga-iikharar arc added on the sides of the front rihi, Ranking a "'"!ldi design,
with the vajra-nrarlalta elevated higher up on the gal'di with a Na1araja carved above rather
than the Ndyali lion appearing on the three other sides. The vajra-martalea designs consist of
two superimposed bell-shaped raityar with the smaller bottom design beginning above a lri-
ralha niche placed over the eave covering the piriva·drvali niche, the niches being filled with
erotic motifs and a center deity. There are no figure motifs Ranking the lower caitya. The
larger upper caitya, on the other hand, is Aankcd by a ga1111 on each wing. The ga11a1 assume
different poses on each side of the drNI, holding a weapon or lifting an arm up in an at Iant id
function, and their hair is arranged in spiraling coils. A dancing figure is housed in the
center of the cailJa and a lotus canopy appears at the apex of the design as on the Lingariija
and Brahmesvara designs. The design is crowned by a projecting kirtimNlr.ha supporting an
lld.Jala lion. In general the design, with bell-shaped cairyar and florid wings, most closely
resembles those on the Brahmesvara though the ga11111 on the Akhal)dalesvara are more
terrifying in demeanor.
The sanctum doorframe is ornately decorated and well-preserved except for the missing
dvira·lali{a·bimba panel. The nandovarla Step in front of the door-opening is Ranked on each
side by a double gaja·lr.rinla motif, as on the Brahm.Svara, though the motifs arc carved in
profile rather than frontally. The dvirapilar above the gaja·lr.rinlar arc housed in arched
niches and arc attended by a diminutive river goddess sharing the niche as in one
doorframc in the Khiching Museum. This is the first such example of this juxtaposition in
eastern Orissa•2• and sets a precedence followed on many temples of the 12th-1 }th
ce.nturics. Stylistically the dvirapilar arc similar to those on the Brahmesvara, standing in a
lribhariga pose and lithe in body proportions, though they are four-armed and a small
llti The attCflJanc r1v(t i;toddc s~ c~ on chc T ile~vara arc the same sitt a!> the tl1•irapiila1 anJ h1lu!>c:d 1n 1hi:ir
01,1,•n niche. The female attendant h~urcs o( rhe \1uk1e€.vara share the niche "'·ith thC' d1·iir11p.ilt1 s bur ar<' thC' ~ 2.nlC
size and arc fattri· bcarcB rather than r1\·er god<lc.:ssc~.
Original from
·tl~ ;\ IPt . ES ()I: T li l ~ 10TH -11TH CE l'1'l: RJl~ S 11' l·'.:\ST J:RN <>RISS.\
attendant is added in the comer opposite the river goddess. Their lower left hand holds a
trident while the right is extended in varada. Both hold a lotus in the upper right hand while
Mahiikiila holds a rosary in his remaining left hand and Nandi holds a kapila. Terrifying
facial features arc also represented on Nandi while Mahiikiila has a benevolent smile. At the
base of the inside jamb, above the dvirapila niche, is a diminutive niga as on 10th century
temples, an archaizing feature continued on many t zth century temples outside of
Bhubaneswar, rather than a lt.iri/a design as on the Rajariini and Brahmesvara temples.
There arc three bands of scroll work framing the door-the jalopotra, gtlobo and b/i/i-
though the dvira-lala/a-bimba is missing and an iron beam has been added to help suppon
the lintel. A nauagraha slab appears above the lintd with Ketu having a serpentine body
from the waist down as on t llh century 1cmples. The floor of the sanc1um is much lower
than the door, almost subterranean, suggesting there may have been an earlier shrine ar 1hc
SltC.
Of the cult images both Kiirttikcya and Piirva1i were forcefully removed from their niche
or smashed so 1hat all 1ha1 remains is their head, placed at the base of the niche, and feet
along with ponions of their back-slab and attendants. The attendants o f Piirvatl stand in a
graceful tribhaliga pose in front of a pr(lha-m1111(ii holding a nixa·piia in their right hand and
probably a shon anl<Nia in their left rhough the latter is mostly broken. Smaller attendant
figures are carved above the m11{1(ii1. At 1he top of the niche is a trefoil tora{la with a lefrti-
m11/eha al the apex and makaras at the sides. In the upper corners are vidyadhara couples. The
lion mount appears on the pedestal beneath the uiivapadma cushion. The black-slab of
K:i.ntikcya's niche is similar though there arc no m11{1(ii designs behind Dcvascn:i. or the
peacock and its dwarfish groom. The image of Gane5a is intact and stylistically similar to
the image of the Lingar:i.ja. Gar;iesa is standing in a slightly flexed pose plucking sweci.
from a modaka-patra held in his upper left hand. His lower left hand rests on a /tN/hiira while
his lower right is in varado holding a rosary. The upper right hand is broken off. His hair is
arranged in ajo/a-11111/tN/o and he wears a string of bells around his neck. A mouse peers up
at him from the lower right corner of the niche.
The present jagamohona is paiira-ratho in plan and measures t l feet square at the base,
slightly small for the size of the dt11/. The structure is devoid of omamen12J details except
for the gavale/o balusters and the doorframc. The pabhago is 421/ 2 inches high and consists of
live mouldings of co nventional design, rather than four as on the earlier dtNI, but arc
devoid of decoration. T he jaligha has a two-story design, in contrast to the single story plan
of the dt11/, 1hough the pigas arc left plain. A boro{l(ia at the top consists of five plain
mouldings. The go1,ale/o has a two-story design with the upper story left undecorated. The
tolo-gorbhileti beneath the ga•ale/o wind 0 w is a wide lehalehora· mN{l(ii while the balusters are
carved with ctotic images crowned by a leiri/o. The roof consists of two tie rs of pi(iho-
mouldings, consisting of fou1 and three mouldings respectively, with vajra-1110110/ea slabs
and surmounting Ndyota lions crowning the lower tier above the go1,a/e/a and ponal
projectio ns. The masta/ea contains the st andard members with lions and btlt.i-bhaira1·a1
supponing the gha11/a. In general these crowning clements appear too small for the roof and
seem to settle into the roof rather than surmounting it.
The dvarapalos of the doorframe are housed in pi(lho·111N11di1 with the lo wer portion of the
images obscured by a step placed in front of the door when the nii/o-111011dira was added.
T he d•·aropiilas have one leg uplifted and probably resting on the base of their weapon, a
pose typical on South Indian temples which became briefly popular in the 13th centu ry o n
Original from
numerous Orissan temples. The d oor jambs 2re decoroted with the s12nd2rd /ul/ilii, gelaba
and jalapatra scroll motifs.
The nii/a· mandira consists of a platform and rows of pillars but no surviving roof, if it
ever hand a permanent one. The facing stones on the sides of the platform 2re mostly
missing. The pill2rs 2re square at the b2se, decoroted with 2 piibhiiga of three mouldings,
and h2ve a round shaft with an iilamba motif blocked out ne2r the top. The c2pi1al is in the
sh2pe of a le.h11ra moulding surmounted by a second round shaft, slightly sm2ller th2n the
main sh2ft, which looks like 2n extension to the origin2l pillar.
There are three loosely placed images within the jagamohana datable to the 13th century
which probably belonged to a Vaisi:1ava temple in the immediate vicinity which is no longer
standing. The largest, which probably served as a piiri•a-dtvalii, is of Variiha and measures
l4'/, inches by 161/ 2 inches. He is standing in the conventional pose holding the eanh
goddess on his uplifted left elbow while his major right hand holds her uplifted arm as she
stands in the lower right comer. His upper right hand holds the <akra and the lower left
hand holds the conch above a small image of Laksmi carved in the lower left comer. A
small niiga with arms folded in a!ljali appears beneath Varaha in front of a lotus stalk which
blossoms above the head of the avatar. A kneeling Garuda is carved on the lotus pedestal.
Similar images appear in the Varaha-Nrsimha temple at Adasapur, on the Nrsimha temple
at Puri, on the bhoga-ma(t(lapa of the Liilgaraja temple, and the Ananta-Vasudeva.
The second image is of Gopinatha playing the flute underneath a tree. He is Ranked by
two goddesses rather than gopi1 though a gopi and cows are carved on the lo tus pedestal.
The third image, the smallest of the three, is of Laksmi-Nrsimha, a form of Visl)U
panicularly popular in the 121h-131h centuries in Orissa. Nrsimha is seated with legs
crossed and supponed by a y oga-pal/a on which is seated a small image of Laksmi. His two
from arms hang straight down whi.le his upper two h2nds 2re broken off. Similar images
appear at Algum, Nuapatna, Oharm2sala and Khanderpur. Aside from the fragmented
dikpiila mentioned earlier the only other sculpture in the compound is a large male figure,
standing in a 1amabhariga pose, wearing a large broided turban. His arms are broken off at
the elbows. He is Ranked by a bearded ascetic holding a bell on the right and a younger
female figure on the left holding a large vase. A flying vidhyiidhara is carved on each upper
comer of the back-slab. There are kneeling figures Ranking the center lotus on the pedestal.
The priests identify the image 2s J2y2dev2, the author of the Gitagovinda.
Original from
CHAPTER SIX
TEMPLES OF THE LATE 11th CENTURY

AND THE 12th CENTURY
In addition 10 losing their western regions 10 the Nagas, Telugu-Co<;las and Kalacuris,
the Somavamsis were slowly losing their northern domin ions ro the Palas and their
southe rn dominions to the Gar\gas. The Midnapur region must have been lost during the
reign of Janamejaya II or that of his son and successor Puraiijaya (c. A.O. 108i -1100) as it
is stated in the Ramararita that this area was under a feudatory of the Pala king Ramapala.•
The southern coastal area was most likely lost during the invasion of the Ganga king
Rajariija I Oevendravarman (A.O. 1070-1080) who is credited, in an inscription found in
the village of Dirghasi (Ganjam district), with destroying the troops of the king of Utkal a.2
Trikal inga, the hilly tracts of Ganjam, Kalahandi and Koraput, may have been lost even
earlier as the Ganga king Vajrahasta III Anantavarman (A.O. 1038-1070) of
Kalir\ganagara, when ascending the throne, assumed the title of "Trikalingadhipati" as
stated in his Nadagam inscription of A.O. 1oi8.l Though his claim to have united the
kingdom of Kalinga by conquering the live different pans into which ir had been divided
may have been an exaggeration it is obvious that he was in control of portions of Ganjam
district, including l\lahendragiri mountain. Anantavarman Co<;laganga (A.O. 1078-114 7)
likewise assumed the title of "Tri kalir\gadhipati" on his accession 10 the throne as we
know from an inscription discovered in the Vizagapatam district issued in A.O. 1081. 4
When Puraiijaya's younger brother Kan:iadeva (c. A.O. 1100-1110) ascended the throne
the Somavamsi kingdom must have been confined o nly to the coastal tract comprising the
presenr districts of Puri, Cunack and Balasore and appears to have been a bone of
contention between the Palas and the Cangas. Its relationship with these two powers in the
last years o f the 11th century is unclear. According to the Rama«1rita the king Ramapiila
conquered Kalia\ga and Utkala and restored the family of the Bhava-bhusha(la (Soma) on
the throne of Utkala after their defeat at rhe hands of the Gangas, a fact which leads Sri
Rajaguru to suggest that Kar(ladeva may have joined a confederacy under Ramapala.' In
the Komi plates of Co<;laganga, on the other hand, it is stared that he reins1a1ed the fallen
lord of Utkala ro his throne after having been defeated by Jayasimha, a subordinate ruler of
1-lidnapur under Ramap:lila, a fact which led Panigrahi to suggest that Co<;lagar\ga was nor
helping Kan:iadcva out of benevolent motives but rarher seeking an opponuniry 10 annex
the Somavamsi kingdom.4 Kamadeva himself appears not to have been an able adminisrer
o r military leader but rather a p leasure-lov ing indiv idual who even took a professional
dancer, to whom he granted a renr-frce village as recorded in his Ratnagiri plates issued in
1 P3n1p.r2hi, <:ltron{J/r..( r ~i tlx IJl111um11•1\a r41/ 11ftd 1Jx .\'0111.1t•amsi1 ef<>ri s.r11, p. \8.
1 l;p11.raplutJ /11dirtJ, \ '(>1. I X, pp. ) t 4·) 18 .
' l:p~t,r11ph11J /ud1r1J, \ ·c,J. (\ ', pp. 11! \ - 19\.
• 8:1n,:r11. f/1J/tJrr Q/ (Jr1ssa. I, pp. 14IJ. z49.
\ /11 srr1'plitms tJ/. ()r111a, \ '1>1. I\', p. 4 0 1.
o P'1n 1 ~rah 1, (.hronoluy of Jbr Rht111m11-Kar1JS and I~ ,\1Jf!t;,1r11m1i1 of O ri JJl'l, pp. ~8 · \9.
Original from
his 6th rcgnal year, 7 as his queen. It also appears that there was treachery and dissensions
among 1he officers. According 10 tradition, as recorded in the /Hiidalti Paiiji, Vasudeva
Ratha, commander-in-chief of the SomavarilSi army, invited Coc;laganga to invade Orissa.8
Sri Rajaguru, on the other hand, suggests that so long as Ramapala was alive, Coc;laganga
did not venture to capture Utkala. After the death of the Pala king, in or about A.O. 1110,
the king of Utkala, without the suppo~ of Ramapala, was surrounded and s lain by the
Ganga king.•
The subjugation of Ut kala, along with the capitulation of Surilha (Mandara) and Vengi
apparently took place sometime between A.O. 1110 and 1112 as this great vic1ory of
Codaganga is recorded in 1he Korni copper-pla1e grant of A.O. 1112 '° as well as in a grant
issued from Sindurapora in A.O. 1118.11 That U1kala was included wilhin Codaganga's
empire by 1he second decade of the 12th century is further supported by a stone inscription
in the Lirig araja temple datable to A.O. 1112,12 an inscription in the Khiles»ara temple in
the village of Khilor of Delang P.S. (Puri district) dated to A.O . 1113," and inscriptions in
the Gartesvara temple in the village of Algum (Puri district) and the Markanc;ldvara temple
at Puri.' 4 It is also about this time that Coc;laganga transfered his capital fro m
Kalinganagara (l\iukhalingam) 10 a site near the present city of Cu1tack. During his long
reign of 70 years he buih a series of forts at strategic poin1s and in dense jungles, remains of
which are still extan1, which accounted for his military successes.'S Codaganga was by far
the strongest and most powerful king of his age in northeastern Ind ia. From inscripcions
we know that he ruled the count ry extending from the Ganges in the nonh to the Godiivari
in the south, this area referred to as Trikaliriga during the latter pan of his rule, with a
l2rge group of feudatory chiefs posted in the borders.'• As strong as he was, however, he
was not able to annex the Sambalpur tract occupied by the Kalacuris (Cedis) of Ratn apura .
In the Ganga epigraphic records there is no mention of the ir victory over the Kalacuris, a
fact which indicates that they were not successful in their attempt to occupy the Sambalpur
region. The Kharod and Pendrabandha inscriptions, on the other hand, clearly testify to
the defeat of Co<;laganga and h is son Kamaroava at the hands of the Kal acuri kings
Ratnadeva II and Prthvideva II respectively ." In addition Khijjiriga (Khiching) and
Da 0<)abhukti (l\1 idnapur and Bankura) were brieffy wrestled from Coc;lagariga as suggested
by the Koni inscription of Prthvir:ija II dated to A.O. 1147-48.'8
In addition to construct ing forts, Coc,lagariga is credited, in the Dasgoba plates of
Rajaraja III issued in A.O. 1198,19 with building the present temple of Jagannatha at Puri.
It is most likely that construct ion on the temple did not begin until after the prolonged war
~ l11tfr1.11rirm.1 of ()r111a. \'•>1. I\' , pp. :~; · 1,9.

I SeC' Pan 1~r aht. (.'/ir1;11olo,~r 11/ tht RhtJ1tlllt1·K11ras and J)x .\'0111tJ1'r1m1is o.t ()ri1111. p. \').
" S21ran2r.iy2n R:.1 ja~uru , '"l'hc ~cnduli <~oppc:rpla1e Gran1 o f X2r4l$i1nh<l ()c\'2 )\ ' elf S:aka I los". () / JR}.
\ ' (1<)16) , pp. 14-16.
10 l/11d., p. 11 .
11 Banerji, fli11o~r o_f ()ri1sa. I, p. :49 .
•l Kr1shn2 Pan i~ rah 1, '"'J'hr<:C 'fc.·nlptc lnscr1pt11>ns ir(1m llhuh2nc.·!>"''3t", 01·/Rj, I {19s 1), p. 8.
' ' Sa1yanarayan Ra1ag.uru, H11to':r ~/ tlx G'''"J!.tJS, II ( 1911). p. ~ 1.
1' Ibid., p. ~ 1 .
I) Pani~rah1 . .4 rthorolr;,f.iral Rrmai111 al RhNhtJ""'"'"'· p. z 1~ .

1' Rajaguru, l·li110~)' o/ lhr (;un_(aJ, JI, pp. 4 .~ · 44 .
I? c.:orp11s l1'stription11m /r.dirar11111, \ 'ol. I\' , Pa rt I, pp. <.XX\'I t: XX\'111.

111 lip1!,l'aphi11 f11,J;r11, XX \ ' 11, pp. .t8.t·l:~, .
1? /11s<ript1on1 ofC>rissa, \ '(•I. I l l, l'art II, p. ~¢.
Original from
1·1~~IPl.I ~$ ( >f 1·1-11~ 1 . :\1'1~ 111·H ('.11NTl' R\·' :\N D TllE t t'l'tl C l~ ?'Tl' R''
with the Kalacuris and his suppression of the rebellion, mentioned in the same copper·
plates, which took place in the border area of his kingdom in about A.O. 11 3 ! . Although
Codagar\ga was a follower of Saivism before his conquest of Utkal2, as were his ancestors
ever since they established their kingdom in Kaling• 2fter the Ma1h2ras, sometime 2fter
A.O. 1111 he changed his religious ideology and embraced both Saivism and VaiHlavism.
An early record of this ch2nge appears in the inscription of the Gartesvara temple where it
is stated that a brahmin named Kiimiia:idi, hailing from the Cola country, used both 1he titles
of Para1110111ahtivara and Poramovai111ova like Codaganga.20 Codaganga's first recorded use of
the title of Poromavoif!1ova appears in the Sindurapora grant of A.O. 1118.21 His continued
respect for Saivism is evident in his visit, along with h is wives, to the temple of Bhimdvara
at Drak~ariima in the Godavari district in A.O. 1118 where he made several gifts.22 In A.O.
113 ! he used the titles of Paramabhal!araka·Poromovai111ava·Paramabroh1110~ya, suggesting also
his devotion to the goddess2J which is further supported in the commemorative inscription
of the Ananta Viisudeva temple dated to A.O. 1178 where it is stated he "performed the
worship of the goddess Earth with lotus faces of the hostile kings cut off in battle".2• He
2lso is credited with bringing •bout some harmony between the Buddhists 2nd the
Brahman as of Orissa. He was regarded not only as a popular king among the Hindus, but
also as a mighty ruler by the Buddhist kings of Ceylon with whom he made some
marrimonial alliance.2s He also invited religious preceptors and refo rmers from the south,
as suggested in the Gartdvara temple inscription, through whom he conducted a great
reorientation for the relig ious activities of Orissa.26
Anantavarman Codagar\ga was succeeded by four of his sons, Kamara:i2v2 (A.O. 1147·
u 56), Raghav• (A.O. 1 q6-1170), Raj2riij2 II (A.O. u70-1190) 2nd Aniy2r\kabhim2 or
Anar\gabhim• II (A.O. 1190-u98). It w2s during the reign of Raj2raj2 II th•t the
r.teghesv2r2 temple was built 2s we know from a commemorative inscription originally
attached to it, the temple being constructed by his brother-in-law Sv2pncsvaradcva.21 The
poet Udayana who composed the commemorative inscription was also responsible for a
similar inscription on the Sobhanesvara Siva temple at Niali.28 It was probably during the
reign of Anar\gabhima II, as suggested by von Stietencron, that the Jaganniitha temple was
completed and consecrated.29 During the latter years of his reign the political condition of
northern and eastern India was drastic2lly changed due to the fall of the great R2jput
kingdoms to the invading Muslims. The Muslims had advanced 2s far as Chunar and
Maner near Patna at the time of Anar\gabhima's death 2nd the conquest of Western Bengal,
which opened the road to Orissa, followed the next year.
During the declining years of the Somavarhsi period and the opening years of the Ganga
period there are three major t rends of architectural construction occuring in eastern Orissa,
20 f.p11.,,.apl1/a Jn,ltta, \'(>I. XXIX, pp. 44-4 7,

11 H:anc.'rji, J-li11ory f!f Ori1sa, I, p. t,a9.
21 Pr Jbhat ,\I ukhcrice, l li1t<>ry ~{ i\ftdit1•4/ t.'a11bna1•11m ,,, Ori1111 (C:atcutta, 194o};p. 180.
lJ S. N . Raj2guru, lli11cry ~f tht (.ant,al. II. p . • o .
~· P. ..\charya. ()flR). \'ol. 1 (19s \), p. 28s .
'' ...:. ( ;. ~l1shra, op. t11., pp. 40 •-41 ·
1fi /nsfrip1ion1 of ()ri110, \ 'ol. Ill. Part I, p. ~?·
"j.·IJ R (Old S<ri")· Vol. LX\'I ( 1891). Pan I, p. 19.

" P'.
. r.. . Ray. op. flt.,
. p. 11 .
2'? t-1. v<>n S ttC'tencrnn. " The Date of the jaj{annath Temple : l iterary Sc)urce~ Rccons1JcrC"d," .\"1Jtli1,l>11 Olf
l-l11t(iry· 11111/ c.·11/tHr' o,i <)ri11t1. e<I. hy f\ Ianm21h ~:.th l)a$ (Currack. 1977), pp. ~ 1<>· 1 j 2.
Original from
Tl: ~I P l.F.S <>F T iil~ l ...\TC 11TH <.:ENY-l'RY At'D Tl lf~ 12i l'l (: 1~1'Tl ' R\'
IMPERIAL GANGAS
I
Kimir~ avai dc: va Ri ~h av aJc:v a R:ijarijadeva II Anail~abh i maJcva II
(A.O. 1147- 11 16) ( A.O. 11,6· 11 10) (A.O. 11 10· 1190) (A.O. 11 90·11 98)
I
Ri jarijaJeva I l l
(A.D. 11 9 8· 1111)
I
Analig abhimadeva Ill
(:\ .D . 11 11·11J 8)
I
Nar:asirhhadt \· a I
(A.O. tij8·ti64)
I
l)hinudc\•a I
(A.D. 116.-1178)
I
r-.=ara.sirhhadcva II
(A. O. 1 q 8· q o8)
lihlnuc.lcl,.a II
(A.O. 1 jo8·1 p7)
I
r-.=ar21.!>irhhade\'a Ill
(A.D. 1~1 7·1~ sz.J
Ahi nudc:J,.a Ill

(A.O. •i u·•P'l
I
N arasirhhadc,·a I\ '
(A.D. 1p1· •• •))
I
Bhinudcva I\' 11/ias
N 1sailka
(l 4 1j · l4 jj)
two of which arc eclectic and conservative while the slightly later third is more progressive.
In the first trend, confined for the most pan to the Daya river area between Bhubaneswar
and Puri, the temples arc characterized by a predilection for archaizing, the overall
decorative program strongly influenced by stylistic features standard on early Somava!)lsi
temples though the arrangement of such features is frequently altered. There is some
innovation, however, as it is on these temples that a 1apta·ratha plan and a na/a-mandira arc
first introduced. Included among the temples of this trend is the Somanatha temple at
Ghorodia; the Ganesvara temple at Algum; the Pii<Qesvara Siva temple at Bhillidculi; the
Khilesvara temple at Khilor; the Jiilesvara temples at Kalarahailga and at Golobai; and rhc
Brahmesvara temple at Bcraboi. Due ro the archaizing nature of rhc temples, and lack of
commemorative inscriptions, they arc difficult to dare wirh precision and arc grouped here
according ro srylisric affinities rather than any specific chronological sequence. In rhar rhe
construction of several of the temples arc ascribed by local rradirion to otherwise unknown
members of the Kcsari or SomavarhSi dynasty ir is possible rhar they were built prior ro the
occupation of rhe area by Codaganga or rhat minor members of rhc Kesari family were
Original from
serving as vassals to the Ganga king during his early rule in Orissa. Tentativel y the temples
can be dated to the closing years of the 11th century and opening years of the 121h century.
In the second trend, panicularly evident at Bhubaneswar, the temples are only panially
decorated and lack the re-arrangement of decorative motifs, as well as anistic refinement,
characterizing the temples of the first trend. They belong to a period of transition in which
some of the most ancient shrines were renovated or reconstructed to suggest that they were
probably built during the early Ganga period with the intention of endearing the new rulers
to the indigenous populace. Some of the temples within this group, including the
Kotitinhesvara, Siddhdvara, Riimesvara and Bhiiskaresvara, were panially constructed
with materials from earlier temples built on the same site but no longer extant. Also
included within this g roup is a small temple, overgrown with foliage, in the paddy field
near the Tiilcsvara temple; a temple next to the Tinhesvara; the Aliivukdvara; and the
Kedaresvara. Tentatively these temples can be placed in the first half of the 11th century.
The culmination of this second conservative trend is achie,•ed in the Jaganniitha temple at
Puri, probably begun by Codaganga, which may also have been built at the site of an
earl ier temple, though the decorative program is more cnmplcte and is obviously on a more
grandiose scale.
In the third major trend, beginning in the second half of the 111h century, the temples
exhibit a decorative program characterized by excessive experimentation. The changes
introduced, however, are more in the form of elaboration of existing motifs rather than
architectural innovations, an elaboration which often produces a rather crowded effect. The
most noticeable changes arc the increased number of ptigas on the bti(la and the proliferation
of tala-garbhika designs in the pabhaga, the latter feature somewhat obscuring the horizontal
clarity of this lowest division of the temple. Among the temples included within this more
progressive trend is the Cal)desvara temple near Tangi; the l\iahagai•arri temple ar
Kol)iirak; the l\icghesvara temple at Bhubaneswar; the Sobhanesvara Siva temple at Niali;
and numerous dilapidated temples at Chaudar, including the Kapiilesvara temple.
A) G11nRODI.\: Stl~I A:-;ATllA TE~l l'l.E
One of the earliest of these temples in the first conservati,·e rrend is the small temple o f
Somaniitha situated in the village of Ghorodia within the Delang subdivision of Puri
district near the Daya river.JO The temple is of the paiir1f7atana class with subshrines placed
in the four comers of its small compound, the corner shrines being devoid of sculptural
ornamentation. Thejagamohana and nii/a-mandira are later additions and of no architectural
s ignificance. Stylistically the main shrine is closely related to the small Vai~l)av ite
i\lal)ibhadres,·ara temple next to the Sisiresvara at Bhubaneswar, though more complete in
its decorative program, and probably dates to the closing years of the 1 1th century.
The dtul is paiita-ratha in design and measures 14 feet square at its base. The pahhagu
consists of five mouldings of conventional design, devoid of ornamentation, and measures
~! and 1/, inches in height. The tala-garbk.ika beneath the riihti niche is fashioned as a
k.htik.hara·mu~(ii and is tri-ratho in design. ThejtiJ/gha measures 70 and 1/ inches in height and
2
is devoid of decoration except for the projecting p/i1.as. The k.t111ik.a and anartha are identical
Ill I am 1(lt:btC'd co ll. K. R..ath ,,f thC' St ate Arc-hacnln~1c a l Department for Jirccc1ng mr a11cnt1on co this
C('Olplc.
Original from
Tl~~IPl.l~S <>F 1·11E I .ATE 111'H c;J.,Nil' R\' r\1'0 Tiii:~ 1lTH ('.l:'. ~Tl' R\.
in design and, as on the Ma.,ibhadr.Svara, consist of a simple vajra·11111{1(ii plan. T he niches

arc framed by a flat band of decorative scrollwork and crowned by a projecring cave. The
vi111011ika surmounting the cave is designed as a cursive double railya devoid of figure
sculpture. The riihii niche is likewise framed by a flat band though the scrollwork h as not
survived and only traces of an iirdhva·garbhika are visible above the niche. The niche is
crowned by a large projccring pir/ha-shapcd eave which extends up to rhc bara{l(ia.
The baraMa, measuring J ! inches in height, consists of three mouldings, a /eh11ra, pointed
"4f1i and k.N111bha. The base of the gaMi is decorated with a row of live flattened atiga·
li/eharas, as on the Brahmesvara, with the larger center one extending down to the
projecring riihii eave, thus obscuring the bara{l(ia division of this center piiga. This center aliga·
li/ehara is surmounted by a projecring 11dyatii lion. There is thus no vajra-ma1ta"4 motif on
the riihii, the lion motif serving as the major apotropaic device. An additional anga-lilehara,
flanked by a small pi(iha-m11{1i/i on each side, appears above the row of aliga-li/eharas over the
entrance ponal so that the Ndyatii lion is elevated higher up on the riihii in the conventional
manner. The bhii111i divisions of the gaflpi arc mostly covered up by plaster. Modern
kirti11111/eha masks arc added on the upper pan of the gaflpi. Lions and squatting figures are
placed in the btk i to help balance the amala"4. The ma1ta"4 members are all intact.
The decoration of the doorframe of the sancrum is heavily coated with whitewash so that
the ornamental details are obscured. The tlviirapola1 are accompanied by the river goddesses
and their niche is surmounted by a bht>-type vajra-ma1ta"4, as on other temples of this
period, so that the base of the jambs is thus convened into a vajra-11111{1(ii on each side. The
three bands of scroll work are of conventional design and an image of Gaja-Laksmi appears
on the lintel. The navagraha slab is intact above the lintel.
The pariva-tltva/01 are placed in front of a trefoil-shaped niche and stand on a double-
lotus cushion. On the south only the shoulders and head remain of Gai;ida who was
represented in a dance pose. Kintikeya has fared only slightly better as the upper left arm
and shoulder remain intacr along with the peacock -mount and the female attendant at the
side of the niche. The rest of the image has been ripped away. Though the image of Pirvatl
has suffered no breakage her body is badly worn. That the image was exquisitely carved is
evident in details of the tall ja/o-m11k.N/a, the only pan of the image well-preserved.
The tlilepiila1 are all in 1it11 in their respective corner niches though their details arc badly
worn. They each sit on their respective moum in lalitiisana with the right leg pendant.
Stylistically and iconographically they arc closely related to their counterpans on the
Brahmesvara. The anartha niches arc filled with images of E kapida and Andhakisura-
vadha-miltti on the south, Brahma and Sarasvati on the cast or back, and Na1arija and
Ourgi on the nonh. A detached image of Silrya is now leaning against the south side of
the temple. In a small shrine near the entrance into the compound on the south is an image
of CimuQ<;lii, her face obscured by heavy accretions of paste.
The corner shrines, half the size of the main temple, arc exact duplicates except for the
piibhaga which has only four mouldings. The decorative motifs arc only blocked-o ut,
however, and the niche images were never carved.
Thus, though there are archaizing features wh ich relate the temple to the early
Somavamsi period, such as the single-story plan of the bar/a and the vajra·m11pi/i design of
the piigas, the arrangement of aliga-ii/eharas at the base of the ga{li/i and the style and
iconography of cult images and doorframe suggest a dare postcfior ro the Brahmcsvara
temple.
Original from
J70
B) Al.G l'~I: GARTES\· .·\RA TE~IPl.E
Stylistically related to the Somanatha temple, and almost identical in plan, is the
Gartcsvara temple at Algum, a picturesque village west of Siikhigopiil in Puri district.
Inscriptions on the doorframc, datable to A.D. 11 i6, record endowments made in favor of
Lord Gartesvara by a brahmin named Kiimiiodi who hailed from South lndia,l• proving
that the temple was already in existence at this date. The temple consists of a tle11/, a
jagamohana (now reconstructed with modem masonry) which was a later addition and a
nii/a-mantlira. There is in addition a small pi(lha shrine some distance to the east of the nii/a-
mantlira and a more recent temple erected a few yards south of the main shrine.
The bii(la of the tle11/ is the same size as at Ghorodia, measuring 14 feet square at the base,
and has a similar panca-ralha design with the anartha abutting the riiha. The pabhiiga likewise
consists of live mouldings of conventional design left undecorated except for the vertical
bar running up the center of the projecting piigat. The lala-garbhilt.ti beneath the riihii niche is
a similar khiileharii-1111111(1i. The subsidiary pagas are also in the design of a vajra-m1111(ii though
the rai!)'a-mcdallions of the crowning vimiinilt.ti assume a tear shape in contrast to the bell
shape at Ghorodia. There arc also dwarf figures added on the top medallion turning it into
the bho-typc design. The vajra-m11n(ii1 on the anarlha arc now missing and were probably
removed sometime in the late Ganga period when nifa·shrines were added in front of the
piiriva-tltvatat thus partially obscuring these miniature mll/l{iit. The rahii niche is likewise
framed by a single flat pilaster on each side and has a small irtlh1•a-garbhilt.ti above. The
projecting cave extends up to the bara11(ia.
The bara11(ia, however, consists of only two and not three mo uldings, the pointed ka11i
being eliminated. The ga11(ii was reconstructed in 1974· 71 so that most of its original
decoration, if it were completed, is now missing. In contrast to the row of ariga· fkbarat at its
base, as at Ghorodia, there is only a small lt.iri/a or rai!)'a design on each paga as on the
Mai:iibhadresvara temple at Bhubancswar. The major vajra-111a1taka, which springs from the
projecting eave over the piiriva·tlevatii niche, thus obscuring the bara11(ia division, consists of
a large bho·typc design surmounted by an 11Jyata lion springing above a lt.irtim11kha mask.
The mat/alt.a crowning the ga11(ii is intact and there are crouching btlt.i figures above each
raha.
The santlhi·slhala, or exterior walls of the entrance portal, is mostly obscured by the later
addition of the jagamohana, the original temple probably consisting of a tl111/ only. The
doorframe of the sanctum consists of three bands of decorative scroll work of conventional
design though their details arc mostly obscured by layers of whitewash. The tlviirapalat and
their attendant river goddesses arc housed in a pi(lha-1111111(ii, rather than the vajra-m1111(ii
standard on most 11th century temples. A diminutive niiga appears at the base of the inside
jamb, opposite the amalaka crowning rhc tft,arapiila niche, a motif popular during the 1orh
and early r tth centuries. The Gaja-Laksmi motif on the lintel is also housed in a pl(lha·
m1111(1i while the navagraha slab above is flanked b y an atlantid dwarf at each end.
The piiriva-tlt11alii1 are all in sit11 and quire well preserved . They arc in chlorite and
exquisitely carved, being some of rhc most bcauriful cult images appearing anywhere in
Orissa. Unfortunately some of the delicately etched details are covered with splashes of
Original from
TE~tPl .ES <>F Tl 11~ l . ATI~ 1 1 TH Ct:!' Tl · A.\. AND T•l l~ 11 TH Cl:NT l' R\' }71
whitewash or accretions of din. The body ornamentation and garment designs of Piirvati
are panicularly beautiful. The images are all attached to a back-slab with a trefoil-shaped
niche behind their head. The pleasing countenances of PiirvatI and Kiintikcya seem as if
illumined by an inner contentment. PiirvatT stands on a double lotus cush ion in a slight
1rihhanga pose. Two of her four arms arc broken off. The eight-armed Ga(lcsa is in a dance
pose holding a snake above his head. The snake, along with most of the other attributes, is
missing and the diminutive attendants in the lower comers of the niche arc covered by
accretions of din. The most unique image is that of Kiintikeya who is represented with
three heads, a rare feature in Orissan an. He stands on the back of his peacock-mount and
holds the rooster-cock in one of his left hands. He is six-armed though his two l'flajor arms
arc broken-off at the elbows.
The dilr.piilas arc in si/11 but, being built of sandstone rather than chlorite, arc badly
weathered. Iconographically they are similar to those at Ghorodia with the deity seated in
laliliisana on his respective mount. There is a small dancing Gai:icsa in one of the niches in
the small pi(lha-shrinc near the eastern end of the compound. He is depicted four-armed and
holds the traditional attributes. Within the jaga,,,ohana arc placed two images, a small
Variiha and a much larger image of Lak~mT·Nrsimha, which probably belonged to a Vi~!)U
temple in the vicinity. Steps lead down into the sanctum suggesting that there may be a
pi/ha beneath the dt11/ or that the present temple was built on the sire of an ancient shrinc.J2
The pillared hall in front of the jaga,,,ohana was most likely a nii/a-,,,andira. It measures
2o'h feet in length b y 10 feet in width. Only nine of the pillars arc still standing. The
vcnical face of its pi/ha was ornately decorated with "'"(l(li designs though little of the
decoration now remains. Stylistically the pi/ha can be ascribed to the last half of the 1 }th
century.
C) B Hll. l.llll\l'l.1: PC- R~ES\'ARA TE~IPl.E
Also exhibiting archaizing features, though more ornate in its decorative program, is the
Pumcsvara Siva temple at Bhillideuli, a small village a few miles cast of Nimapara and off
the road leading to Kaka1pur in Puri district.ll The temple faces west and consists of a de11/
and jagamohana. A rectangular hall was added in front of the jaga,,,ohana at a later date along
with a niia shrine in front of the piiriva-dtValii on the nonh side. There arc also some modem
structures next to this hall and numerous detached sculptures from nearby temples
anchored i.n to modern masonry . The temple has recently been repaired but assumes its
origin2I sh2pc. Most of the decoration of the ga(l(li is still covered by plaster. On St)'listie
grounds the temple can be tentatively dated to the opening years of the t 1th century.
1. &i"4 Duoration
The bii"4, measuring 14 feet squ2rc at the b2sc, is paiira-ratha in design 2nd st2nds on •
shon pi/ha now mostly buried. The piihhiiga is ! ! and '/ 2 inches in height and consists of five
mouldings of conventional design ornately decorated. The design beneath the anartha niche
» Acct.>rding to p(1pul:1.r tradition the ~ancfum is often dug deep int«> the c an h on ()ris~2n tempi<.·$. sc> 1h2t
durin~ the r;a in~· sc2son the liti,t.a u•ithin u•ill be surrounded with water.
lt I am indebted to "· S. Behera, o( Utk2l Uni ..·crsny, for direct in~ m~· attention to this temple.
Original from
}71 TEMPLES OF THE LATE uTH CENTURY ANO TH E ,.TH CENTURY
~·-----Z>S'
' r-•7 --.

' I ~--'"
t--''
''I ............
'
.''
I' '
,••
Bhillideuli: Pilfl)dvara Siva Temple
is indented, as on 9th and 10th century temples, while the tala-garbhikd below the riihii niche
is fashioned as an elongated .l:hakharii-1111111/ii flanked b y a niigi-stambha o n each side. The
niche of this multi-faceted 11111/f/ii is filled with erotic motifs. The 11111ha11/i at the base of the
JW11ra moulding is relieved with garbled scrollwork.
The design of the jiiligha, measuring 67 inches in height, consists of a pilaster at the
corner, a niiga/niigi stambha in the an11raha recess and an elongated JehOkhara-11111/f(ii, an
arrangement recalling the decorative program of 10th century temples. The multi-faceted
pilasters at the comers are decorated with ero tic imagery carved in high-relief at their base,
as on the Gauri temple, and with a kirti11111kha frieze at the top. The decorative scrol lwork
on the major face of the shaft is the circular vart11/ii, popular during 1he 12th century, rather
than the garbled vana-latii standard on 10th and 11th century temples. The stambha filling
the anNriihii recess is decorated with two serpents, a niiga above and niigi below, rather than
one as standard on early Somavamsi temples. The base of the stambha is ornamented with a
gaja-kriinta while the capital is decorated with a seated figure, generally in padmii1ana, rather
than atlantid dwarfs. The elongated khiikharii-m111Jtfi crowning the anartha niche has a
diminutive tail.Jo or kiri/a design carved mid-way up its height surmounted by a projecting
block decorated with a squatting dwarf;rak/a, the ensemble simulating a minor 1·ajra-
mastaka motif. Crowning 1his khakharii-111111Jtfi is a shallow panel relieved with an atlantid-
dwarf. The decorative motifs of the subsidia ry pagas arc thus borrowed from temples of the
10th century though their arrangement is slightly varied.
In contrast to this single-story design of the subsidiary piigas, the rahii has a double-story
design above the tala-garbhikd. The niche of the lower story, housing . the piirfva-devatii, is
framed by a thin khiikharii-11111(1/ii on each side which continue the vertical alignment of the
niiga-stambhas belo w. The shaft of these m111Jtfi1 is carved with aucndant figures or ta11ri-
bearers. A lintel above the niche is relieved with elephant processions and a center di·iira·
lo/ii/a-bimbo panel though most of the frieze is now missing. The projecting eave terminat-
ing th is lower story is o rnamented with a frieze of hamsas on its 111Nhii'!/i. The pilasters
flanking this lower story duplicate the design of the kanika while the crowning vimiinikd,
Original from
TE~IP LI~ C>F 1·H1 ~ t.n •rf. 11TH <:l~ ~Tl ' R'I' AND TllE t tTJI c:F.N T l' R'I' J7J
consisting of ten horizontal mouldings capped by an amalalr.a, extends up to the ga11{ii and
eliminates the baraflla divison on the rtihti. The upper niche, framed by these elongated
•i111tini/etiJ of the pilasters, is filled with images of Siva, Aja-Ekapiida on the south and
Andhakiisura-vadha-miini on the east (the niia shrine covering this niche on the nonh),
Aanked on each side by a jtigrata motif with the lion-monster rearing above a crouching
elephant or demon.
z. Gll{t{ii Dttoralion
The baraflla, measuring approximately 32 '/ 2 inches in height, consists of two projecting
mouldings separated by an elongated recess. The lower moulding is a kh11ra while the upper
moulding is a khtilt.harii so that the overall design above each side paga simulates a khtikharii-
m1111{ii with the recess serving as the niche. On the anartha the kh11ra moulding has an
indented plan following the design of the pabhiiga. The 111uhii1.1/i of the k hNra moulding is
decorated with warriors while that of the khiikharti is relieved with elephants. The recess is
filled with standing figures encased in shallow niches framed by panels decorated with jtili
perforations.
The ga1.1tfi is paiica-ratha in plan, continuing the vcnical divisions of the hiitfa, with even
the an11rtihti recess included in the decoration as on earlier temples, the recess filled with
small •ajra-111M{l{ii designs. The lr.anilr.a is divided into six bhlimi divisions. Except for the
bara11{ia moulding serving as the bottom bara11tfi for the first bhlimi the dccorati\•e program
is mostly covered with plaster. The •ajra·mastalr.a at the base of the riihii consists of a bho-
typc design surmounted by a large projecting gaja-krtinla. Dopithhti-simhas are placed in the
btki above the lr.anilr.a and seated deities above the rtihti as on the Lingariija temple. The
members of the crowning 111astalr.a arc intact.
J. Jagamohana
Thc j agamohana measures 19 feet 7 inches square at the base and is decorated similar to
the tieNI. The anartha is wider, however, and an additional a1111rtihti recess appears between
the a11ar1ha and gavti/<Ja, likewise decorated with a ntiga/ntigi-stambha. Modern additions on
the western end, converting the entrance portal into a small pi{iha-shrine, have obscured the
original doorframe and its decorative program. The ptibhtiga, measuring z8 inches in height,
consists of five mouldings of conventional design with an indented plan beneath the
anartha. The lala-garbhikti of the ga•ti/<Ja contains a large khtikharti-111u11tfi flanked on each side
by a smaller hktikharti-1111111tfi and a ntiga/ntigi slambha. The j tingha measures z9 1/ 2 inches in
height and is crowned by a bara1.1{ia of two mouldings separated by a splayed recess,
forming a t/amarli, measuring z1 ' / 2 inches high.
The gavti/<Ja projection is framed at the sides by a pilaster decorated with a figure in high-
relief near the base and capped by a vimtinikti of live mouldings, rather than ten as on the
t/1111, with a crowning amalalr.a. The design is a single-story plan in contrast to the two-story
plan of the rtihti on the t/1111. The window frame is decorated with var111lti scrollwork. There
is a crowning pidha-eave above the window with a hamsa-frieze on its "'uha11/i. The area
above the eave duplicates the bara{l{ia decoration. The window is filled with five balusters
carved with musicians and dancers and crowning kiri/a designs.
The roof of the jagamohana consists of two tiers or po/alas of pi{lha mouldings of
diminishing size. The lower po/ala has live mouldings with a large ghart/a and surmounting
Original from
174 TEMPI.ES OF TllE l.AT c "TH CE:-:Tl: RY AND Tiff. nTll CEr>:TL'RY
amala"'4 crowning the ga•tik/a projection and entrance ponal. The upper po/ala has four
mouldings with a vajra· masta"'4 panel, left uncarvcd, above the masla"'4 design crowning the
ga•tik/a and ponal projections with a projecting lion at the apex. Btki figures suppon the
huge gha(l/ii and crowning members of the masta"'4. Except for the large tiili/r.Ms, projecting
at spaced intervals, the mouldings of the roof arc undecorated.
4. Portal Dttoratio"
Though the decoration of the doorframc of the jagamohana is now obliterated that of the
sanctum is intact. The decorative details, however, arc mostly covered with accretions of
whitewash. The frame consists of three bands of scrollwork of conventional design-/cM/i/ti,
grlaba and jalapatra- with a Gaja-Laksmi carved on the lintel. The dvtirapiilas arc housed in
a khakharti-m1111(/i at the base of the jambs rather than the vajra· mll(l(/i or pi<lha· mt1fl<li popular
on most temples of the 10th-11th centuries. The terrifying Nandi appears in the proper left
niche and the benevolent Mahiikala on the right. They arc two-armed and hold a trident
and shield as weapons. A lion, carved in profile with head turned towards its tail as on the
!'.1uktesvara, appears on a panel beneath the d1•tiraptila flanking the nandtivarta step leading
into the sanctum. The 11avagraha slab is i11 si/11 on the architrave above the lintel.
5. C11/1 Imagn
Although the ptirfva·d•vattis are all in si/11 they arc badly worn, being carved of soft
sandstone rather than chlorite. The dikpiilas arc also badly worn, the facial features mostly
missing, a.n d, due to the large size of the vimtinikil crowing their niche, arc small in size
despite the single-story design of the jtingha on both the 4'11/ and jagamoha,,a. They arc
housed in the 1111111(/i niches of the aftartha, as on the comer shrines at Gaoeswarpur and
probably on o ther 10th century temples such as the Tinhesvara and Muktesvara, rather
than on the 1<4,,;1<4 which has no niche. Even the images of Aja-Ekapada and Andhakasura·
vadha-muni in the upper niches of the rtihti are poorly preserved, again suggesting the poor
quality of stone used for the niche images. This contrasts with other decorative details,
panicularly the scrollwork and the images carved in high-relief, where the original details
arc generally bcner preserved.
There arc numerous cult images scanered within the compound, some now cemented to
walls, which arc better preserved and probably carved of a better quality of stone. Two of
these are of a seated Ga 0 esa and a standing Kantikeya. Ga 0 esa is seated in lalittisafta with
his right leg pendant, a pose he assumes when accompanying the matrkils in earlier works
but now replacing the ardhaparyali"'4 as his standard seated pose, eating sweets from a
modaka-ptitra held in his upper left hand. His other hands hold the rosary, broken tusk and
kif/hara, the latter attribute resting on his pedestal which is partially missing. Stylistically
the image can be dated to the 11th· 11th century, the approximate date of the temple. The
Karttikeya image, on the o ther hand, is later in date and probably served as a piirfva·devalii
on a 11th century temple in the vicinity no longer standing. A detached image of the
Daksi 0 amurti of Siva, possibly belonging to the north upper rtihti niche, is loosely placed on
the south side of the dt11/, leaning on the piibhaga. Other images within the compound
include a small seated Buddha and a rare example of Visi:iu standing under the se rpent
hood of Se5a, the former dating to the 11th century, Astikajaratkaru, and two large Visl)u
images datable to the 111h· 11th century. The Visi:iu images are housed in a small modem
Original from
l7l
shrine near the front of the compound and arc identical in style and iconographical
features. Inside thejagamohafl4 of the main shrine arc two small bronze images, one of Hara-
Piirvatl and one of Mahi$amardinr.
6. Duoraliw Motifs
The decorative program of the temple, aside from the cult images, is dominated by erotic
imagery. The largest of these images arc those carved in high-relief on the l<anika, on the
u111dhi-s1hala and on the pilasters flanking the niches. Other examples arc in lala·garbhilea
niches beneath the rahii niche. Some of the scenes arc virtual duplicates of images appearing
at Khiching and Cauriisi illustrating Tantric rituals such as described in the Ka11/aoi(iiima11i,
including rajapiina. There are in addition numerous acrobatic poses not appearing on earlier
temples which reflect the changing tenor of erotic imagery beginning in the mid -11th
century, the intimacy and compassion associated with early examples being transformed
into heraldic confrontation and acrobatic boasting. Among the numerous scenes of
auspicious exhibitionism, generally flanking the riihii niche, is one of a male figure with
uplifted right arm weighing his lirlga"' with scales held in his left hand, a theme also noted
at Sirilhaniitha, while a displayed female with arms uplifted in an atlantid pose is added
beneath. This motif also appears on numerous later temples, including the Surya Ocul at
Kol)iirak and the Somaniitha at Budhapiida. In another scene rhe male holds his erect lirigam
in the presence of an attendant figure holding a bowl. There is also a scene of a male figure
with sword lifted above his head holding the hair, with his left hand, of two female figures
squatting on a low seat. Even the naga/niigi images arc engaged in amorous activities with
two intcttwining on one of the slambhas of the jagamohana, the earliest such example.
Of the other figure motifs the most interesting arc the male figures at the rop of the
sla,,,bhas filling the annriihii recesses. In most cases the figures arc seated though no rwo are
alike and they assume various poses, some in padmiisana and others with legs merely
crossed, including one who rests his chin on a thin staff or club. In one example the figure
is dancing. The bhiirara/qal<as at the top of the anarthas, on the other hand, arc less varied in
treatment and generally ass ume a running pose with both hands uplifted. The decoration of
the slambhas is also quite unique in the placement of rwo serpents coiling around the shaft
rather than one as on most 10th century temples, though two were carved on the smaller
slambhas of the lala-garbhi/ea designs beneath the riihii niche of the Riijariil)f temple. The
carving of j iili perforations as a background for these niiga/niigi-slambhas is also innovative.
The insertion of a single gaja-kriinla depicted frontally at the base of the slambha, on the
other hand, is an archaizing aspect going back ro the early 10th century. Of female figures
other than those serving as coMri-bearcrs flanking niche images the most numerous arc those
placed in the bara17(ia recess framed by jali perforations. Generally the figures assume
standard ala1ii·ka17.Jii poses, one hand frequently placed over the head, or hold a raJ1ri.
The scrollwork plays an important role in the decorative program, with the kanika
designed as a pilaster as on 10th century temples with multiple facets, serving even as
background in the onllrahii recesses as mentioned. The most dominant scroll, carved on the
center facet of the pilasters and on the frame of the ga,.ti/e/a window, is the circular var/11/a
with various animals housed in the circlets. At the top of these pilasters is the iilamha motif
of kir1im11kha masks dripping festoo ns of pearls, a motif generally associated with the vana·
/ala scroll during rhc 10th and 11th centuries. The narrow offsets arc decorated with the
Original from
k.N/ila or g1111tlik4 (bead) scrolls. The most innovative use of scroll motifs is the employment
of perforated Joli which serves as a backdrop or screen for the figure motifs, a feature which
becomes increasingly popular in the 1>th and !)th centuries.
The most interesting of these temples of this first conservative trend, and by far the most
imaginative, is the Jiilesvara temple situated in the village of Kiilarahanga, a few miles cast
of the Nandankanan and nonh of Bhubaneswar on the way towards Cuuack. The temple is
enclosed by a compound wall and faces west. The main shrine complex consists of a dt11I,
jogomohano and, at a shon distance in front of the latter, a nQ/a-mondiro. The na/o-mandiro,
one of the earliest surviving examples of this type of structure, was linked to the jagamohana
at a later date, probably at the time niia-shrines were added in front of the parivo-dtvotas. A
small rtkha shrine was constructed in the nonh-west comer of the compound sometime in
the late 13th century. Possibl)' similar shrines were added at the other comers which have
not survived. Although the temple is the most archaizing of all Orissan temples, at the
same time it introduces unique aspects and deco rative combinations not met with on any
other structures which suggests outside influences as well as vivid imagination on the pan
of the ii/pins in charge of its construction. Though this unique combination of the archaic
with the innovative makes it difficult to date with precision, from stylistic and iconographic
analysis the temple can be dated to the closing years of the 11th century. According to
local tradition the temple was consrrucred by Padma-kesa ri, one of numerous Kriari names
mentioned in inscriptions but nor forming pan of the ruling dynasty of the Somavarilsi
family ..The fact that it is attributed to a minor ruler, even if fictional, rather than a more
famous Ganga ruler, suggests that the temple was constructed prior to the arrival of these
new rulers in this area."
1. &itla Duoration
The dr11/ is panro-ratha in plan and measures approximately 14 feet square at the ba<e. The
pobhaga, J s inches in height, consists of five mouldings of conventional design though
relatively devoid of ornamentation. The jangha is divided into two stories, unequal in
height, by a madhya-bandhana consisting of a single moulding. The lower story is J 7 Jj, inches
in height and the upper story 19 inches. The arrangement of m1111tfi1 on the jarlgha is unique
and incorporates all three architectural orders in its decorative program, the only such
treatment I know of in Orissan an. The kanika of the lower story is a khakhora· m1111tli, the
standard design on double-story structures, while the anartha of the lower story is a pitfha-
m1111tli, the standard design for the upper story on vinually all temples. The upper story of
both pagos, on the other hand, is a vajra-m1111tli, the standard design on most early temples
with a single-story plan but rare as a decorative element at this rime, the temples at
Ghorodia and Algum being exceptions and dominated by archaizing featu res. The
decoration of the an11raha recesses is also unique and similarly eclectic. The recess of the
lower story between rhe kanika and anartho is filled with a nagafnagi-11ambho (nfi.~o on one end
and a nagi on the other of each side of the temple) surmounted by an atlanrid-gn1111, the
.\.4. I 2m 1nJcb1c(I to K. S. B<-hcra f<>t J1rcctin~ mr 2ltcntit)n to this tt"n1ple.
Original from
Tl ~.\IPl.f~S <>f T lfJ-.'. l.!\1' F. 11Tll C l~l':T l' R'' :\ N O 'fill" 1JTl l <: l ~r-\ 'l' l' R\' J77
standard decoration for a single-story plan on 10th century temples. This recess on the
upper story is filled with a 111ilh11na motif supported by a lotus cushion and lush foliage. The
1Jn11rOhO recess between the anartha and rOhti, in contrast, is filled with a virtila on the lower
story and alasa·leallJa on the upper story, the standard decorative program on most temples
with a two-story design for the jarigha.
The lower story of the raha is a truncated pidha-11111!fdi with a lala-garbhileti beneath the
niche consisting of a single lehalehara-mu!fdi. The niche is framed by a flat pilaster on each
side decorated with a lt.irtim11/eha dripping festoons of pearls against a background of
scrollwork. The upper story consists of a pidha-m11p(ii, housing a figure within its niche,
flanked by a small rtleha-dtul on each side, the design obfuscating the lower three mouldings
of the barap{ia.
In addition to the three types of architectural orders decorating the side pagas of the
jtingha, a fourth mup(ii design appears on the 1andhi-sthala, or exterior walls of the entrance
portal, which has a single-story plan. This is an elongated lehalehara-11111/fdi crowned by a
lealaia with flankingjagralas similar to designs appearing on the triple temples at Baudh and
on the Gauri temple at Bhubaneswar, all dating from the 10th century.
>. Ga!f(ii Dtrora/ion

The barapda consists of three thin horizontal mouldings, eliminated on the raha, crowned
by a large bola or roll-moulding which runs continuously around the deul. It is this large,
projecting bola which effectively separates the bada from the ga!ldi, the lower three
mouldings serving primarily to terminate the vajra· mll!ldi designs of the side pagas and thus
appearing more as the crowning clement of the jarigha rather than an independent feature.
The ga!ldi is panra-ralha in plan though the anNraha recesses arc eliminated. Except for the
row of ariga-iileharas at the base, an alignment deriving from the plan on the Brahmc5vara,
the ga{tlii is generally devoid of decoration. Even the leanilea appears not to have been
divided into bhimis as no am/as arc visible. The crowning members of the mas/a/ea arc intact
though there arc no btlei figures. On the front facade of the ga!ldi, above the aliga-ii/ehara
decorating the roof of the sandhi·slhala, is a vajra· masla/ea design surmounted by a large
projecting gaja-lt.ranla immediately above the lt.irtimN/eha mask crowning the design . Near
the top of the raha is a vitl:Jadhara carved on a project ing block . There arc no vajra-1110110/ea
designs on the other three sides of the ga!ldi. The niche of the ariga-ii/ehara at the base of the
ga!lrJi docs house a deity, however, with that on the north side occupied by Ciimuf.ldii.
J. Jagamohana
The j agamohana is equ2ll1• unique and is cruciform in plan , the plan most likely being
influenced by the pillared 1110/fdapas of the upper Mahiinadi valley with their projecting
balconies. The gavak/a projections on the north and south and the cntnnce on the west arc
greatly increased and a connecting hall is added at the east linking up with the entrance
projection of the de11/ to form the arms of the plan. The north and south walls of the cast
connecting hall are pierced by a gavak/a window filled with three balusters and framed by
three bands of scrollwork. The /a/a-garbhileti beneath the frame consists of four elongated
lehalt.hara-m11!1rlis al igned one next to the other. The frame is crowned by a projecting cave
while the area above is decorated with a bara~da of two thin mouldings capped by a
projecting bala or roll-moulding similar to the bara!fda on the deNI. The roof of the hall v.·as
Original from
378 TE~tPt ES C)F Tl·I E l~ATE 11TH C l~ NTU RY ANO THE 1:TH CENTUfl)'
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KIJtrt.haflga: JilcSv2ra Temple
of the pi(lha order with a small Njra-mastalt.a c2rved on the second moulding. The small
crowning a ma/alt.a is dislodged and le2ns 2gainst the upper facade of the entrance projection
of the tle11/.
The body of thcjaga111oha1111, excluding the projecting arms on all four sides, measures 16
feet z inches square. The p4bhtiga, l l inches high, consists of five mouldings of conventional
design mostly devoid of ornamental detail as on the tft11/. Thcjtiligha, l9 inches in height, is
paiica-ratha in design and has a single-story plan. The lt.anilt.a is an elongated lehtiJ:/Jarti-llf11/IJi
crowned by a It.a/ala with flankingjtigratas, as on the santihi-sthala, with a small vtzjra-111astalt.a
added above the cave covering the niche. The anartha, on the other hand, is crowned by an
a111alalt.a so that the "'lllldi assumes the shape of a rtlt.hti. The an11rahi recess between these
two 1111111tii designs is filled with a sta111bha coiled by two superimposed serpents crowned by
an atlantid gana, as at Bhillidculi, with the recess beginning above the p4bhiga. The entrance
projection on the west has two elongated i!.hiiklMrti-•11/ldis, as well as two aurtihti recesses,
on its nonh and south walls rather than windows as on the connecting hall on the cast.
The gavtilt./as on the nonh and south project 62 inches beyond the 111111rtha and were
originally designed as porches with pillars at the comers supponing the roof and balustercd
windows between the pillars on the three sides. At present most of the original decoration
is missing and the porches arc walled-up by plain courses of stone blocks, the original
lighted design thus being convened into dark chambers. The p4bhiga of the porch is
decorated with a pilaster at the four comers and a tala-garbhileti beneath the windows. The
pilasters consist of five mouldings of conventional design. The tala-garbhiletis on the cast and
west sides consist of three thin stambhas and two khtikhara-111111!{ii1, aligned alternately, while
on the front there is an alignment of three khtikh4rti-•1111Jis, the sta,,,bhas being eliminated.
The p4bhiga is crowned by two horizontal mouldings which serve as the floor and dado of
the porch. The balusters of the windows were carved with female figures alternating with
pillars as on the connecting hall though they appear not to have been framed with
Original from
T l·;~1 Pl.J'.S <>F Tl II ~ I.:\ l 'E 1 , 1'11 <:F.:-\'l'l 'R \ ' :\i'I) l 'J If. t lTI I c:1.,N1'l 'R \ ' J79
scroll work. The roof of these porches, now mosdy missing, was probably of the pir/ha-order
as on the entrance projection and cast conneeting hall. The roof of the jagamohana thus
consisted of a large pir/ha over the main bod)• flanked on all four arms by a small pi(iha, a
most unusual design duplicated nowhere else in Orissa though adumbrated on most large
jagamohanas where a small amalaka at the top of the first tier of mouldings above the
projections simulates a small pi{iha.
The interior of the jagamohana is 10 feet I inches square with the ceiling designed as a
large circular lotus with radiating petals and a hanging center pendant with a band of
scrollwork as an exterior frame. This is a further elaboration on the ceiling of the
Brahmesvara temple where there is a lotus medallion in the center though the radiating
circular design is tronsformed into an octagon at its base above the '"alls.35 There is also a
small lotus-medallion in the ceiling of the four projecting arms with the one in the
connecting hall being J6 inches in diameter while the other three have a diameter of " ·l
inches. With the screened 1,aviik1a porches and connecting hall the interior was thus much
lighter than in most Orissan temples, possibly suggesting changing rituals or fest ivities
raking place "' ithin.
4 . l:ntrana Portals
The doorframe of the sanctum consists of five thin bands of scrollwork, rather than rhe
standard three, which begin above a pir/ha-1111111{ii housing the driirapiilas ar the base. At rhe
base of the inside band, decorated with the k.11/ilii scroll, is a diminutive niiga with hands in
aiijali, a motif popular on doorframes of 10th century temples. The second and third bands
arc decorated with the con,<entional gelaba and jalapatra motifs while the fou rth band is left
plain. The outside band, acting as a border, is decorated with the k.lltilii scroll. The
dviirapiilas are accompanied by the river goddesses standing on their respective mounts, as
at Algum, though the goddesses are larger in size and approximately the same height as the
driirapiilas. A parasol appears above their head though no attendant figures are provided.
The di·iirapiilas are two-armed and hold the trident with the right hand, the left hand
possibly holding a kapiila. On the panel beneath the d1,iirapiilas arc three figu res facing the
door rather than the lion motif popular during the 10th and 11th cenruries. The first figu re,
holding an object with both hands in front of his body, is bearded and wears a turban. The
middle figure is potbellied and holds an object in his hand hanging at his side or over his
shoulder. The third figure holds an object in both hands or in one hand at his side. On the
wings of the nandiivarta step is a kneeling female figure.
The doorframe of the jagamohana is simila r in design with the same five bands (four with
an undecorated fillet) of scrollwork and diminutive niiga at the base above the pit/ha-111u~(ii
housing the dviirapiila. The dt'iirapiilas assume a tribhanga pose, however, and hold the trident
in their left hand, the weapon cutting diagonally across the body, while their right hand is
uplifted. The river goddesses appear next to the door, d isplacing the dviirapiilas, and
attendant figures arc added, one for the river goddess and one for the driirapiila. T he panel
beneath the dviirapiila niche is decorated with three figures as on the doorframe of the
sanctum. The nandiivarla step is decorated with piil>hiiga mouldings, paiira-ratba in plan, and
an atlantid-ga~a on the wings. The dviira-lalii/a-bimba panel on the lintel, designed a< a pidha-
}\ 'fht• ceiling. of ihc ,\ lu k(C~\·ara. nn 1hc oth<:r h:and. is rtc1;ingular w i1h Ctitfcrc<l t'Od~ . <:ircutar 4il·:-1.:ns al~<>
:appt"ar <•n tlK' l:ait·r <:atc.•S\·ar-a temple a1 Kisc:npur and rhc Gail~C'i,·a ri 1cmplc at f~cyali,.hj, i.
Original from
J80 Tl ~ ~11>1.1·:S (lF ·r1 1E 1.:\'fl". 1 tTft C:l·'.:-O:Tl: R\' :\~O l'HE 1:TH <:F.NTl'RY
m11tttii, houses 1he images of Sarasvati and Gar:iesa, a deviation from 1he sundard Gaja-
Lak$mi moiif..16 Sarasvati holds 1he vitto wi1b her major two bands while her upper righ1
bolds a 101us and the lower left, placed on the thigh, possibly bolds a book. Gar;iesa bolds
the standard four objects in his hands. A navagraha is carved on the architrave above. The
entrance porial is Ranked at the sides by a large, projecting naga/nagi-stambha, male on 1he
right and female on the left, with a double gaja-/uanta carved a1 the base.
I· Cult Imaf.tS
The parfva·drvatas are in sit11 with the best preserved image being that of Gar:iesa on the
south. He is represented in the standard manner s1anding in front of a trefoil-niche . There
are in addition two fragmented images of Gar:iesa leaning next to the enshrined image,
probably from nearby Saiva temples no longer extant, with the best preserved of the two
being a later work. The image of Kiiritikeya is in good condition except for the right arms
broken off at the elbows. The image in the nonh is Mahi~amardinl rather than Piirvatl, an
archaizing feature as Parvatf becomes the standard parit•a-devata at this time throughout
most of Orissa. Jl.lahi~amardinl is ten-armed though most of the arms and anribu1es are
now missing. The demon is in human form a11emp1ing to escape from the decapiuted
ca rcass of 1he buffalo. The demon is depicted in a running stance, moving form righ1 to left
ra1her than vice-versa in the conventional manner, suggesting 1hat 1he naga-piiia must have
been held in one of her right hands ra1her than in the lo"·er left as standard on mosi
images. The most unique feature is the addition of addorsed as11ras on the pedestal, possibly
Nisumbha and Sumbha, who are depicted in a running pose with weapons in their uplifted
hands. In the lower corners of the pedestal, anacking the running demons, are emaciated
female figures holding a kapala in one hand and a chopper in 1he other. The severed head
of the buffalo is at the base in the center o f the pedestal. A detached image of
/'.{ahi$amardini, datable to the 10th century, is placed under a tree just outside of the
compound on the southwest. A fragmented image of Karttikeya, only the upper torso and
head remaining, is found leaning against a tree a few miles west of the village, the image
being can•ed of chlorite and probably da1ing to the early 11th century.
Most of the dikpalas are in situ in 1heir respective positions in the kanaka-niches of bo1h
1he dr11/ and jagamohana, though many of 1hem are badly damaged. They all assume a sligh1
tribhanga pose wi1h their diminu1ive mounts occupying one of the lower corners of the
niche, as on early examples at Benusagar, Caurasi and Gaocswarpur, ra1her 1han riding on
them or standing above them as standard on most Orissan temples. The niches of the
anartha of the lower story of 1he dt11/, as well as those of the jagamohana, are filled with
various Brahmanical deities, primarily Saivite though many are dif!icul1 10 iden1ify due to
their ruinous condition and some seem 10 combine aspects of bo1h Siva and Vi~r;iu. In
several examples the dei1y has all four arms uplif1ed holding various weapons, such as
tridcm, sword, gada and fakti. In one image there may be animal heads on each side of the
cemer head, similar to Vaikul)1ha, though it is not clear if these are heads or a headdress.
There is also a sianding, emaciated male figure and possib ly a female counterpari now
mosdy mutila1ed . Of the clearly recognizable deities is an image of Piirvati on the norih
side of the de11/. The niches of the sandi-sthala house Kiiritikeya on the nonh and an image
x. :\n 1nla~ 1: c,( Sara<;, vati "PJ'>l':ll rt- on rhc hnccl alx>\'C thC' niche housinj! Ciar:ic:Sa on thc $omc~\· ara rcmple "'
:\lukhali n~:lm \\·hilt.• nurnt•rc1us '.'> 111.111 im:tj.!.t'S t>( (~a nc ~\1 anJ J .ak ~ nl ! arc 11.1"t apc.>Scd ncx1 to each cuhcr on the
n1c:h1: hn1tl' 11f th t: 11111ntl1 J1: !i •~n $ ~ >n 1hc l.1n)tarj 1a rt.·· cn1; 1rc 1 n~ chc 1eac:h1n)? 2'.'>(lt.'CI ot' s1.A:.!J:l,;110 1 nl <l~c:!i .
Original from
j81
of the bull Nandi on the south. The niches on the north side of the entrance portal are filled
with Kantikeya and a warrior straddling a demon ( ?) while on the south side the niches are
occupied by the bull Nandi and an image of a warrior or wrestler engaged in combat. Thus
Karuikey a and Nandi appear on the exterior -.•alls leading into both the dell/ and the
jagamohana.
The images in the niches of the upper story of the dell/, slightly smaller than the lower
story, are all seated rather than standing. The images in the niches of the Itani/ea are neatly
identical and apparently represent Siva. In each case he is seated in lalitiitana and holds a
trident in his back right hand and possibly a club or gadii in his back left hand. His lower
hands arc generally broken off at the elbows, the left appearing to rest on the thigh and
holding an indistinct o bject, possibly a vase or kapiila. In some cases he is iirdhvalitiga and a
bull is carved on his pedestal. The six anartha niches and the three upper riihti niches on the
north, east and south sides, on the other hand, contain the Saptamtitrk01 along with
Virabhadra and Gal)esa, a rate example of these goddesses filling niches on the upper story
of the jarigha. The series begins with Virabhadra in the north niche on the east side and
continues with Brahm! (east riihti, missing), Siviini (south niche, east side, missing),
KaumiirT (east niche, south side), Vaisl)avl (south riiha), Indriil)i (west niche, south side),
Variihi (west niche, north side), Ciimul)<)ii (north riihii, missing) and Gal)e.sa (east niche,
north side). The mtitrk01 arc seated in lalittitana and hold a child or! the left thigh.
6. Ntita-Mandira
In front of the;agamohana is the remains of a Nandi-tlambba while at a greater distance on
the-cast·west axis is a nD/0·111onJira. The nti/a· mondira, possibly one of rhc earliest survi\ring
examples of this special structure, consists of a pi/ha or platform which measures 26 feet 4
inches square, approximately twice the size of the deul. The sides of the pi/ha, !9 inches in
height, are divided into ptibhtiga,jtirigha and bara11rfa or cornice. The piibhtiga consists of three
plain mouldings while the barapda is made up of a pirfha moulding surmounted by a phtpi or
inverted khura. Thejtirigha is decorated with small figure motifs spaced at regular intervals,
including gaja·krtinla motifs at the corners. The majority of the motifs are alatti-ka~ytit or
mithuna/maithllna images with many being very explicit. Though diminutive in scale and
badly damaged, the~e figures arc stylistically related to the sculpture on the temple proper
and place the date of its construction contemporary with the deu/ andjagamohana. The top of
the pi/ha, or floor of the nifa·mandira, is lined with four rows of pillars, with four pillars in
each row, though most of the larger center pillars have collapsed. The pillars have a square
base and kbNra·shaped capital with groves but are otherwise devoid of decoration. As on all
early nti/a·mandira structures nothing has survived of the roof, a fact which suggests the roof
may have been a temporary feature possibly made of wood. The isolation of the hall at a
short distance in front of the jagamohana, partially dictated by the convention of erecting a
Nandi·tlambha in front of the entrance and probably by the festivities tak ing place within
the structure, is aesthetically pleasing as it does not detract from the closed balance
achieved in the design of the major shrine. At a later date, however, with everchanging
rituals and changing religious practices, a second p latform was added which connected the
nti/a-mandira with the jagamohana.
The adoption of an open pillared-hall for the nti/a·mondira de"iates from the standard
astylar plan for Orissan religious structures and was probably deemed essential to allow
light to flood the interior. This suggests a major change in temple rituals which, up to this
Original from
382 ·r1~ ~IPl.l~S ()f- ·r 11r·: L:\1··~ 11 'fH c: t~ ?\Tl'R\' AND T HE 1:TH (:t~ l'\Tl'R\'
time, were performed in almost total darkness. Even the interior of the jagamohana, as
mentioned, was better lighted than earlier structures. The isolation of the 11ii/a-111a11dira, and
its openness, also suggests that the temple complex was becoming a center for socio-
cultural activities and was not limited to religious worship, that perchance the dtvadiisis
were not performing for the deity alone but also for prospective customers, or p ilgrims,
artractcd to the temple.17 It is also possible that this was a multi-purpose structure and that
pa11di11 took pan in learned discussions within. Even today, in the Jaganniitha compound,
such discussions take place in the M111t.1imaf!9apa which is a pillarcd-hall ..l8 This is funher
suggested by the placement of Sarasvati and Gar:icsa on the lintel of the jagamohana
doorframc where they overlook the performances or discussions taking place in the na/a·
mandira. Sarasvati is the goddess of eloquence, wisdom and learning, and the patroness of
ans and music while Gar:iesa is the lord of categories, the patron of letters, of schools and
the scribe who writes down the Scriptures, so their juxtaposition and placement is quite
apropos.
7. Duorativt klo1ifs
With the niches all filled with cult images the role of decorative figures is d iminished in
the overall sculptural program. Female figures arc generally restricted to the upper an11riihii
recess next to the riihii and to the gaviilt.,a balusters, though in the latter case they alternate
with lt.tlmbha-1/ambhas. Among the motifs represented arc the dalamiililt.ii of garla.nding
herself with a branch and the ubiquitous woman-in-the-door. In the latter motif the female
crosses her legs and rests one arm on the door. The mith1111a/mai1h11na motifs appear in the
upper an11riihii recess next to the lt.anilt.a and on the pi/ha of the nii/a-mandira. Many of the
scenes are explicit and again represent various T antric rituals, i.ncluding numerous
examples of rajapiina. Also erotic arc the atlantid-gaf!aJ carved at the top of the niiga/ntigi
s/ambhas filling the a1111rtihti recesses of the lower jarigha of the dt11/ and the recesses on the
jagamohana. l\1ost of the figures arc represented d isplaying their lirigam and some even
assume acrobatic poses. In contrast to their counterpans on 10th century temples, where
the garias have pot-bellies and jar-like limbs, the garias here arc well-proponioned. The
serpents on the slambhas arc alternately male and female on each side of the dt11! though,
curio usly, the ntiga appears on the proper left and the nagi on the right, the opposite of what
one would expect. On the large Jlambhas flanking the entrance of the jagamohana, on the
other hand, the ntiga is on the right and the ntig i on the left. In the jagamohana recesses.
however, where there arc two serpents on each slambha, the ntiga and ntigi aspects generally
alternate, as on the lala-garhhilt.ii designs of the Riijariini, so that there is both a vcnical and
horizontal conjunction of male/female principles. In at least one c3'e, however, two niigis
appear on the same Jlambha.
Of the scro ll motifs the most popular is the vana-lalti with its garbled design of foliage
without any stalks. Conspicuous by its absence is the circular var111/ti scroll which becomes
the most popular scroll from the mid-11th century at Bhubaneswar. The tilamba motif of
/r]rlim11/eha masks with dripping festoons appears o nly on the pilasrers framing the niches.
The scrollwork decorating the frame of the gaviilt.Ja windo ws on the sa11dhi-11hala is the
lt.tl/ila. In a few examples o f the large pedestals supponing the images in the a1111rtiha recesses
_,, t=-c)r literary rl·ft:renc..:s of d11·t1dOsis ~cc D. Dc~'l i , op. tit . , pp. 16 1·Gt .
l$ K . < :. .\ I J,.hr·.1, np. (if., p. 106.
Original from
of the upper jangho the scrollwork consists of swirling arabesques of fol iage v.·ith a homsa or
kinnara at the base.
8. Comer Shrine
A small pi(iho shrine was erected in the nonhwest corner of the compound sometime in
the 13th century as mentioned earlier. The structure sits on a low pi/ha and has a ptihhtiga of
only four mouldings . It is poiito-rotho in plan and has a two-story jangho but is otherv•ise
mostly devoid of decoration except for the doorframe. Although the lintel is plain there is a
novogroho slab forming the architrave which is carved of a different stone and sty listically
related to that on the jagomohano, suggesting it probably belonged to the original shrine.
The grahas arc housed in a similar arched niche and arc better preserved. The most unusual
treatment is accorded Riihu who is represented from the waist up rather than just a head
and hands. At each end of the grahas is an atlantid -gan•· The dvarapalos arc housed in
elongated pir/ha-m"nrlis and stand with one leg uplifted and an arm crossing the body to rest
on a goda, an iconographic form introduced in the mid-13th century. Within the sanctum is
an image of Camul)<;lii..
E) Kiili.OR: K1 11 1.ES\',\RA Tl'.~IPl.I '.
Another temple belonging to this group is the Khilesvara temple in the village of Khilor
situated midway between Pipli and Delang in Puri district. An inscription on the left side of
the door, of one Padiila Kaiama, can be dated to A.O. 1113 and not only confirms the
existence of the temple at this time but also testifies to the occupation of the area by
Codaganga.19 The temple most likely dates to the last quarter of the 11th century and
exhibits numerous stylistic affinities with the Riijariil)l and Brahmcsvara temples. Like the
Akhal)c;lalesvara temple, of which it also shares some similarities, it consisted originally of a
de"/ only with ajagomohona added at a later date, though the latter is now mostly collapsed.
As with the other temples of this group it combines archaizing features with innovative
experimentation. Among the archaizing features is the continuation of the on11raha recesses
up the g•nrli and the addition of a diminutive naga at the base of the inside door jamb.
Among the experimental aspects are the alignment of ongo-iikhoros on the gonr/i and the
pronounced projection of the anartha, features which relate it to the Rajariil)l temple, the use
of khtikhorii-m11nrfi designs for both the lower and uppe r story of the jiirigha, and the
adumbrated sopta-ratha plan o f the bar/a. This last feature is the most innovative and serves
as a harbinger for experimental designs appearing in rhe second half of the 1 uh centur)'.
Another fearure, more dominant and widespread than on the other temples of this group
and again serving as a harbinger for later developments, is the prolife ration of erotic
imagery, includ ing examples with more than two participants. Some of the ima~es in the
upper recesses are in a later style and date to the late t21h century.
1. &i(ia Detoration
The bar/a is 20 feet 6 inches square at the base and assumes an abbre" iated sapta-ratha
plan with a thin pratiratha added between the kanika and anartha. The ground-plan is nearly
,., 1'hc 1nscr1p1i4\0 i~ n•Jt as )'«-'l t:dit(:d, S~c: S. N. R:i j :i~uru, OJ IRJ, \'. p . s<1.
Original from
TE"IPL.ES OF TH E LATE 11TH CE~TU RY ANO THF. 11TH CENTURY
,_ _____ ,., - - -- ---.

-110 --
'
~ ,.4.
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Tl, TS'
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K hilor: Khi1dvatt Tcmplt'
circular, as on the Rajaraoi though minus the angular pilaster within the recess, with the
anarlha projecting 52 inches beyond the praliratha."' As on the latter temple the lateral side
of the anarlha is decorated with a 11111(1(ii duplicating the design on the front face. The
pabhaga, l l 1/ 2 inches in height, consists of five mould ings of conventional design with
vertical bars linking the top three mouldings as on chc Brahmcsvara and Lingaraja temples.
The figure motifs on these bars consists primarily of alasa-leanyiis or mith1111as except on the
thin pratiratba whe re only scrollwork appears. A ltiri/a design of superimposed medallions
is carved on the kli11ra of the anarlha and leanilea whereas on the pratiratba and the raba the
ltiri/a assumes a bell shape. The eampalta-leaf is decorated with circular arabesques as on the
Lingaraja. The tala-garbbiltti beneath the raha niche consists of an elongated kliakliara-m11ri(ii
Aanked on either side by a naga/nagi-stambba as on the Rajaral)i. The m11rtrfi is crowned by a
lealaia with Ranking jagra/as. A similar Ja/a-garbhi/ta design appears on the sanJhi-sthala, the
first appearance of this motif o n this architectural clement though o riginally it may have
been an entrance portico and not a connecting wall.
The jangba is d ivided into two equal stories, each measuring 14 inches in height, by a
madh)·a-bandhana o f three mouldings as o n the Liligaraja. The mouldings arc.linked together
in the center of the Itani/ea and anartba by figure motifs, either alasa-ltanyas or
111itb11na/111aitb11na images. The lower and upper pagas of the anarlha and Itani/ea arc designed
as lehtikliarti·m11ri(lis, as mentioned, while the hin pratiratba is a simple stambha without a
niche or figure sculpture. The niches of the leanilea of the lower jarigha arc filled with diltpalas
while those of the anarlha ho use female figures holding a ea11ri. The niches of the upper
jangha for both pagas house either ala1a-!tanytis or mithlhlaJ. The a1111riiba recesses are filled
with virala motifs on the lower story and primarily mai1h1111a images on the upper sto ry. Due
.., (ncJu<l1ng tht' projections the biefa 1hus mca5urcs z.9 fct't 6 incht"s (rom r"ihi 10 riha.
Original from
n:r-.1r1.1:s ()F T JIE I.:\ T ..: 11 Tf~ (:J~ !'\Tl .R\ ' :\~O THF. 1z1'H c:1::N·rl 'R\'
10 the thin pratiratha, flanked by a recess with figures on each side, rhere is some crowding
of motifs on the jangha.
The raha is divided into two unequal stories with each designed as a truncated pit/ha-
"'"!lili. The niche of the lower story is framed by a pilaster on each side decorated with
scrollwork and an overlaying a/a,,,ba motif at the top. The decoration on the lintel over the
niche has not survived. The venical face of the projecting pii/ha-eave is relieved wirh a
frieze of warriors, horses and elephanrs. The smaller upper srory has a cemer niche filled
with a piiriva-tkvata, a duplicare of the larger image below, Ranked by plain pilasrers. The
pi(iha moulding serving as rhe covering eave is aligned with the lowest moulding of rhe
bara!li/a.
1. Ga!li/i Duoration
The bara!li/a consists of nine horizontal mouldings which panake of the piiga divisions
and run continuously around the dt11f except on the front facade where ir is eliminared by
the roof design of the sandhi-sthala o r entrance ponal. The ga!li/i continues the paga
alignment of the bai/a and includes the thin pratiratha and flanking a1111raha recesses though
the recess between the anartha and raha is eliminated. The Itani/ta is divided into bhimis
though only the bottom two have survived, the upper ga11i/i being plain due to recent
restoration and repairs. The bhi,,,is contain three bara!li/is with the bottom two in rhe shape
of a kh11ra moulding decorated with a kiri/a design on their upper surface. The an11raha
recesses arc filled with superimposed vajra-,,,ll!Jpis housing a female figure in their niche. The
pratiratha consists of superimposed kh11ra mouldings with a horizontal band of scrollwork
etched on the m11ha11/i and a venical band of scrollwork running up the center. The anartha
has two anga-iikharas at the base, superimposed one above the other, each extending up
about !WO bb#,,,is. The raha also has !WO superimposed aliga-fi/eharas extending up the
center, separated by a projecting gaja-lt.ranta, with a small llliyatJ lion above the top anga-
iilehara. These large aliga-iileharas are Ranked on either side by throe superimposed small
anga·iileharas. There arc thus twelve anga-iileharas on each facade of the ga!li/i, the front
excepted, with eight on the raha and two on each anartha. The total height of the ga!li/i is
approximately seven bhi,,,i divisions. Btlei-bhairavas and dopirhha-simhas arc inscncd in the
btlt.i above the rahas and ltani/eas respectively. The members of the crowning ,,,astalta arc
int2ct.
The 111111ihi-11hala measures ~6 inches but appears larger due to rhe increased projection of
the anartha. It is decorated with a tala-garbhilea in its piibhiiga while rhe lower jangha cominues
this tripanite design with a "'"!1¢i flanked on either side by a stambha carved with a jagrala
morif. The decoration of the upper jangha is obfuscated by a cornice which projects our 10
form a roof over the entrance. As at Prataprudrapur the cornice is decorated wirh a
processional frieze. The cornice was probably supponed by two pillars in front of the
entrance though additional pillars and wall-filling were added when the jagamohana was
constructed. The roof above the cornice in front is decorated wirh a large pi(iha-11111!1!/i
fl:wked by a rtleha design or atiga-iilehara on either side. The niche of the 1111111(ii is filled with
a standing Devi framed on either side by a pilaster and A:wkcd at the corners by an alasii-
ltall.Jii or a ,,,;1h1111a. The lateral flanks of rhis design, aligned with rhe sandhi-sthala and
replacing the bara11<1a of the dt11/, arc decorated with a pi!/ha-m1111(ii which simulates a third
story. The large niche of this m11!1i/i is filled with a dancing Bhairava on the sourh and an
Astikajaratkaru on rhc nonh . Above rhis m1111(ii, forming the base of the fronr riihii, is a
Original from
Tl : ~1Pl. l!S ()F TflF. l...\TE 11TH < :J~ NTL. R''I' ..\NI) Tli E 1iTH C '. F.~ T l · R,.
large a!iga-iilehara flanked on either side by two small a!iga-iileharas superimposed one above
the other. Crowning this design is a projecting gaja-lcranla.
l· Porlal Duora/iqn
The doorframe of the entrance ponal, or 1a11dhi-J1hala, is intact though the base of the
right dvarapiila niche is obscured by a detached image of Andhakisura-vadha-miirti while
the left niche is hidden by an image of Hara-Piirvati cemented to its face. The niches arc
designed as vajra-111Nlftfi1 with a diminutive niiga at the base of the inside jamb next to the bho
design above the dviirapiila. The dviirapiilas arc accompanied by the river goddesses. There
are three bands of conventional scrollwork,-h/i/a, gtlaba and jalapalra-and an image of
Gaja-Laksmi on the lintel. The architrave has a 11avagraha slab with each graha placed in a
piefha-11111~t/i with serrated mouldings above the niche. Steps lead from the door to the
sanctum which is subterranean. Leaning against the walls leading to the sanctum is the
image of Kiintikeya originally housed in the west riihii niche.
4. C11/1 Images
The only piirfva-devalii in si111 is Ganesa, though the image of K:intikcya is in the stairs
leading down into the sanctum and there are small duplicates of these deities in the upper
riihii niches. Gai;icsa stands in a lribhariga pose eating sweets from a moda/ca-pii1ra held in his
upper left hand. His right hands hold the rosary and broken tusk while his lower left hand
rests on a lul/hiira. His backslab is decorated with a /ora~a with a lcir1im111eha at the apex and
standing male figures at the base, the one on the right being Kiintikeya. The base of the
backslab has a Saiva attendant on either side and the mouse peers up at Gai;iesa from the
lower right. Kiintikeya is in a lribhaliga pose holding the lullclul/a in his left hands whi.lc the
peacock-mount appears in the lower right corner of the niche. Parvati most likely was in
a similar pose holding the conventional attributes in her four hands as shown in the small
duplicate in the upper riihii niche.
The dilcpiilas are all i11 1i111 and assume a standing pose with their respective mounts in a
lower comer of the niche as at Kalarahaliga. Stylistically they arc similar to the examples
on the Rajaral)i and Brahmesvara temples, though not as well preserved and less relined .
Among the unusual features is the fact that Indra holds a vajra in each hand. Whereas most
of the niches of the upper jaligha contain erotic motifs, there is one image of a dikpiila-palni.
It appears on the nonh corner and is the ia/cli of Va run a. It is not until the end of the 12th
century that the dilcpiila-pa1ni1 become standard features in the iconographic program.
An unusual representation of Ardhanarrsvara is housed in the niche of the nonh sandhi-
slhala with the lower left hand holding a severed head and the upper right hand carrying a
tfa111ani. Equally interesting is the image of Astikajaratkaru housed in a niche above the
sandhi·slhala on this side and the image of dancing Vamadeva (Bhairava) in the same niche
on the south side. The latter image is particularly gruesome even in its damaged state. He
is emaciated and dances on a corpse. He appears to be six-armed with his right hands
holding a severed-head, !capo/a and tfamaru. His major left hand holds the trident while the
upper hand has a rosary. The lower left hand is indistinct. He wears a garland of skulls and
fangs are visible is his open mouth. The image of Astikajaratkiiru on the north side is one
of the few examples of this motif remaining in si/11 on an Orissan temple, most of the
images being detached, and its placement opposite Bhairava on the south side is significant.
J\lanasa is seated in /aliliisana holding the dead male on her lap as if he were a child. A tree

Tl ~ ~IPl.1-:S <JF Tl·IE l.:\TC 11Tli CENTl.'.R'' ANO Tllf. 11Ttl <:ENTL'RY
is behind Manasii and a serpent appears on her pedestal along with a youth with hands
folded in an.Joli. This motif becomes increasingly popular at this time throughout Orissa and
suggests the continuing popularity of serpent worship though today this form of Manasa is
generally worshipped as Savitri by the local populace. There arc also detached images of
Siva Andhakiisura-vadha-muni and Hara· Piirvati within the antarala though they arc badly
wom. The Hara-Piirvati image is the largest and measures z8 by zo inches.
l. Duorativt Mo1if1
The decorative program is dominated by erotic imagery. Maith1111a motifs appear not only
in the upper an11raha recesses but in most of the major niches of the upper jtirigha as well, on
the Madf!Ja·bandhanii mouldings and on the venical bar connecting the top mouldings of the
pabhtiga. Included among the numerous ero tic scenes arc examples of the rajapii"4 ritual of
drinking the raja or female discharge. Jn some cases a third panicipant kneels beneath the
couple engaged in congress. There are also numerous examples of acrobatic poses for
congress such as leiikila (mutual oral-genital congress) with the female standing on her
head. Other motifs depict bearded ascetics engaged in coitus with young girls which
possibly illustrate the belief that vinue and youth can be absorbed through such contact.
One of the most unusual scenes is that of a bearded figure with uplifted right hand being
embraced by a young boy. Of the less explicit mith11na scenes many duplicate examples
appearing on the Liilgaraja.
The most conspicuous female figures arc those housed in the anartha niches of the lower
jarigha. Included within the motifs are the woman loosing her garments to a monkey, the
female standing in a doorway, the i11/ea1arileii motif of playing with a parrot, the motif of
removing a bangle, the "alaMiilileii motif of garlanding herself with a branch, the darpartii
motif of holding a mirror, and the theme of holding a child up to her breast. Other
popular figure motifs include r1iJ wearing a large turban and pointed beard. In some cases
they appear to be carrying a garland.
The uirala motifs filling the an11raha recesses of the lower jarigha correspond to the
standard iconography of standing on their hind legs above a crouching elephant. The
recesses flanking the first piiga of the sandhi-sthala, on the other hand, are filled with the
jtigra/a motif of a rider on the back of the leaping leonine monster. Of the scroll motifs the
most popular is the circular vart11lti scroll. The iilaMba motif of /t.irlim111eha masks with
dripping festoons is confined primarily to the pilasters framing the rahii niches.
F) BERA DOI: BRAH.\1 1'.SVARA TE~IPl.F.
Also belonging to this group is the Brahmesvara temple at Bcraboi, a small village about
two km. from Delang. The temple is enclosed by a compound wall pierced by entrances on
the nonh and the west. It consists of a de11/ and jagamohana which face cast though
additional modern structures have been erected near the main entrance gate on the west.
According to local tradition the temple was erected by a lesser member of the Kesari
dynasty.
t. Archilu/11ral Fta/Mrts
The dt11/ has a pailra-ratha plan and measures 14 feet square. T he piibhii,~a in ~7 inches high
and consists of five mouldings of conventional design. Thejari~ha is divided into two stories
Original from
388
b)' a modkJo-bondhonii consisting of a single moulding five inches h igh. The lower jiirigha is l 7
inches high while the upper story measures only 31 inches. The kaniko and anartha of the
lower jangha arc decorated with khiikharii·mN~{iis in conventional fashion whereas these piigas
of the upper jangha are decorated with vojra-m111!4i1, as at Kilarahariga, rather than with
pi{lha-11111~{ii1 as at Bhubaneswar. The upper story of the riiha is decorated with a large bhrr
type vajra-maJ/aka similar to the design crowning the riiha on the single-story plan at
Algum. The bara~{la consists of five mouldings which approximate the height of the
pahbaga. Only the lower ponion of the decorative program of the ga~{li remains intact. The
raba and anarlhas arc decorated with a large anga-iikhara at the base while the kanikas display
small vajra-maslako designs superimposed one above the other. A gaja-k ranlo projects out
above the larger ariga-s'ikhara on the raha.
Thejagamohana is completely plastered as reconstructed so that even the m~r/i designs are
eliminated. The roof consists of two po/alas of pi{lha-mouldings of diminish ing size in the
conventional manner and the crowning ma1taka is mostly intact.
z. Cull I magrs
The original parfva-drvalas have been replaced by modern images. The dilepalas of the drul
have survived and arc in their respective niches on the lower jangha. Stylistically they arc
related to their counrcrpans at Ghorodia. They arc seated on their mounts and hold their
conventional attributes. The onartha niches of the lower jangha contain various Brahmanical
deities as at Ghorodia and on the Brahmcsvara at Bhubancswar. The deities on the south
arc Aja-Ekapida and Siva Andhakiisura-vadha-muni; on the west they arc Ardhaniirisvara
and dancing Vimadeva (Bhairava); while on the nonh they arc Na1ariija and a seated
Durgi. The kanika niches of the upper jangha are filled with malrkiis. Beginning on the east,
above the image of Indra on the lower story, the images arc of Brahm!, Vaisl)avl, Siviini,
Kaumari, Vari.hi, Indrii.l)i, and Cii.mui:ida. Except for Ciimul)dii they are each seared in
lalilasano with a child on their left thigh and their respective mount carved among foliage
under their scat. The mount beneath Sivan! appears to be a lion rather than the bull.
Ciimul)dii is in ardhaparyanka with her left knee raised. She holds a kapala in front of her
chest with her right hand while cradling a rrident with her left arm, the hand being placed
near the chin in taruikii with the little finger in her mouth. She is emaciated in form. The
eighth kanika niche, above the dikpala lsiina on the nonh-east comet which concludes the
series, houser a female figure seated in lali1asono similar to the malrkiis though there is no
child on her lap. Her right hand rests on her knee and displays varada or holds a small
offering while her left hand holds a long-stemmed lotus. She wears a crown and animal
heads protrude on either side of ther face, the head on the right resembling a lion.
Vlrabhadra and Gal)csa are housed in the anarlha niches on the south side between the
images of Vaisl)avi and Sivan!. The other anarlha niches of the upper j angha contain the
images of a bearded ,,; seated in padmasana with his hands in dh.J·ana-mudra and a female
figure in padmasana, possibly Manasii as serpent hoods appear over her head and a prosrrate
figure is beneath her lotus seat, on the west while those on the nonh house Mahisamardinl
and a standing four-armed Devi, possibly Piirvati, who holds a rosary in her lower right
hand, the other attributes being indistinct. Mahi~amardinl is two-a rmed and holds the
buffalo-demon by the tail. The head of the buffalo has been severed by Durgii's sword and
is being crushed beneath her right foot.
Original from
The dwirapalas are housed in vajra·mN{fr/is at the base of the door jambs and are
accompanied by the river goddesses. In the panel beneath these mNf!dis on the sanctum,
opposite the nandtivarla step, are three standing figures as at Kilarahat'lga. River goddesses
arc also insened into niches on the western end of the jagamohana next to the sandhi-sthala.
Gangi and Yamunii are depicted standing with o ne leg crossed on their respective mount.
They each hold a water jar in their right hand and a trident in their left hand, the latter
feature being unusual. They wear a long garland in addition to other body ornaments.
Within the jagamohana is an image of Parvati seated in padmasana. She is four-armed and
holds an alilt.kfa in her uplifted left hand while the objects in her other hands arc missing or
indistinct. Her head is framed by a ntalt.ara· lora{fa with a l<irtintNle.ha at the apex. Cemented to
the pilasters framing the jaga,,,ohana door arc images of Vi~Qu and Kankala-Bhairava. The
latter image is badly-worn. The image of Vi~Qu is earlier in date and probably from a
temple in the area which is no longer standing. He stands in a samabhariga pose with his
lower left hand resting on the remains of a gada. Traces of a conch are visible where the
uplifted left hand was held but is now missing. The right hands are broken at the elbow. A
plain halo is carved behind his head and he is Ranked below by Sridevi and Bhudevi.
Resting against the cast end of thejaga111oha11a is a detached image of Astikajaratkiiru while
in front of the jaga111ohana, possibly over the ruins of what may have been a nafa-111andira, arc
other badly ruined images, including one of Hanumiin Stradling a prostrate demon.
}. Duorativt FigNrts
The most interesting non-cult images arc the two fi/qadana panals now attached to the
sandhi-stha/a. The panel on the south is divided into two registers of equal height. On the
top register is a royal figure seated with his right arm resting on a cushion. In the
background on either side is a female attendant. A standing figure with hands folded in
front of his chest faces the seated figure. The center of the lower register contains a male
and female standing and facing one another while an attendant behind each appears to be
braiding the hair of the royal couple. Two small figures, possibly children, look up from
below where they are seated. On the north panel the upper register is much larger and
contains a royal figure, again bearded, seated with a cushion behind his back. His right
hand is raised in front of his chest, as if giving orders, and a smaller figure is seated facing
him while two standing figures in the background listen intently. There arc three small
attendants behind the royal figure while a host of attendants appear above his parasol. In
the small lower register are two seated couples facing each other.
The images inserted into niches of the jagamohana, as well as those of the upper anNraha
recesses of the dtNI, are either female figures or erotic imagery. Included among the female
themes are examples of the rfalamalik.ti motif of a woman garlanding herself with a branch, a
i/iil<ini giving alms to a jackal, monkeys climbing on a woman, and a mother h olding her
child. Many of the erotic motifs display acrobatic poses and there arc numerous images of
oral congress.
The anNraha recesses of the lower jarigha of the dtul are filled with the conventional virala
motifs while the lower story of the sandhi-stha/a is decorated with the siandardjagrala motif.
The only scroll motifs visible appear on the pilasters framing the raha niches. At the top of
the pilasters is the alantba motif of l<irtimNle.ha masks dripping festoons while the lower
portion is decorated with a center band of the circular var/Nia scroll.
Original from
390 'TE ~IPJ_ J~ ()I: T HI-: l.:\ TE 11TH C£ K1.t 1R''I' ANO Ttl~ 1 zTH <:ENl'l 'RY
G ) G o 1.0 BA1: J Ai.ES \'A RA TE~IPl.E>
All that remains of the Jiilesvara temple at Golobai, near J ankia in Puri district, is the
de11/. The bii/la has a paiira-ratha plan and measures 12 feet square at the base. The piibhiiga
consists of live mouldings of conventional design which are devoid of ornamentation
except for the vertical bar running up the center on each piiga. The jiingha is divided into
two stories by a madh.Ja-baftdhanii consisting of a single moulding. The /eani/ea and anartha
arc designed as lehiileharii- and pidha-mouldings on the lower and upper story respectively.
The riihii niche is crowned by a pitiha, /ea11i and vasanta with the latter serving as the base for
the vajra-masta/ea. The vajra-masta/ea designs arc left uncarved except for the projecting lion
motif. The baraMa contains four mouldings. The ga11tii is devoid of ornamentation except
for an aliga-i ilehara at the base of the lt.ani/ea and anartha. On the riihii there arc three ariga-
iileharas aligned at the base with the projecting lion appearing abo ve the larger center one.
A btlei-bhairava appears above each riihii to help support the amala/ea. The jagamoha11a is
completely missing except for a few foundation stones.
The piirlva-devatiis arc ;,, si/11. They stand in a tribharlga pose and hold the conventional
attributes in their four hands. The dikpiilas in the lt.ani/ea niches arc seated in lalitiisana on
their respective mount. The anartha niches, surprisingly, contain ritual scenes, generally
erotic, rather than aspects of Siva or Brahmanical deities. Starting on the south flank of the
sandhi-sthala the images depict a male displaying his lingo,,,, a male carrying an offering,
animal sacrifice, ,,,;,h,,,,a, ,,,i1h1111a, displayed female, a seated r1i, mithllffa and a male
following a female. The niches of the upper story were left uncarvcd. Overall the temple
presents a rather bald appearance. There is no ornamental scrollwork and the stone
employed is soft and crumbling. Placed within the compound is an image of Mahi~amardini
which stylistically can be placed in the 9th century to suggest the existence of an earlier
temple in the area. The demon is depicted in human form with a buffalo-head .
H) E A Ri.\' 12th CENT l,; R\' TE~IPl.F.$ AT BHl'BANESIL\ R
The temples at Bhubancswar included within the second conservative trend, in which the
sanctity and decorative program of earlier temples arc rigidly adhered to, arc generally
characterized by their thick-set, heavy-sho uldered ga11tii with its crowning amala/ea continu-
ing the curve of the last bhumi. Except for the piiriva-dtvatiis and doorframc they arc mostly
devoid of sculptural decoration, though on the Kcdarcsvara and R:i.mesvara there arc a few
sculptures in the an11riihii recesses. The dviirapiilas arc accompanied by the river goddesses
while their niche is generally crowned by an ornate leiri/a motif. The ftavagraha is usually
flanked at each end by an atlantid ga11a. Though exhibiting some of the experimental
solutions achieved on the Brahmesvara and Lingaraja temples, particularly in regards to
the assimilation of ariga-iileharas within the deco rative program of the ga11tii, they lack most
of the advanced architectural features developed during the Ganga period.
1. Ko/itirthtivara Ttmplr
The best known of the smaller temples of this group is the Ko1itfrthesvara which is
situated in front of a tank a few yards southeast of the Svart)ajalesvara. As it now stands it
Original from
Tl ~ :-..IPLES <>F THE I.ATE 11 TH ('.f~NTL' R , ...\'.\:0 T l t•~ 1 1.fH CENl.L' R\ ' 391
consists of a de11/ only though there was originally a jagamohana which was still standing
when visited by Rajendralala l\.fitra in the late 19th century. It was at this time that he
noticed carvings on the faces of some stones facing inwards towards the shrine which were
obviously materials from an earlier temple on the site,'' sculptural fragments which are still
scattered about the area. The antiquity of the site in further attested to by the manner in
which the sanctum is deep within the ground, much below the level of the doorframe, to
suggest that the present temple was probably built over the original shrine at a much later
date. The temple rests on a low pitha, mostly buried, and is paiira-ratha in plan. It measures
approximately 14 feet square at the base. The pobhoga, 39 inches in height, consists of five
mouldings of conventional design which arc only partially ornamented with decorative
details. Thejongha has a single-story design and is 7l '/, inches high. Except for the roho,
however, it is devoid of decoration. The roho is designed as a truncated pir/ha-11111!Jdi which
terminates beneath the bara!Jr/a. The niche is framed by a pilaster on each side with its
decoration only blocked out. Beneath the niche is a plain tala-garbhika fashioned as a
ltholeharo-11111!Jdi. A small iirdhva-garbhika appears above the niche, an archaizing feature
present on most of these temples which was standard on temples of the 10th century.
The bara!Jda, t j inches high, consists of a recess sandwiched between a /dJ11ra and a bola
moulding. It is eliminated on the roho by a bho-type vajra-mastalea which springs directly
from the pir/ha roof over the porfva-dtvala niche. The raitya medallion of the vajra-ma1talea is
tear-shaped as on the Lingaraja with a smaller duplicate in its lower portio n. The Ranking
ga!JaJ face outward and hold a club in their outside hand. The projecting goja-lt.ronta above
is only partially carved, the crouching lion left as a plain block. The remainder of the ga!Jr/i
is undecorated except for plain panels appearing immediately above the bara!Jda on the side
pogas which probably would have been decorated with small vajra-mallalea or kiri/a designs
as on the l\.lai:iibhad rcsvara temple. &lt.i-bhairavas arc placed above the roho to help support
the amalalea.
The doorframe consists of three bands of scrollwork of the conventional kind which
begin above the vajra-m111u.Ji housing the dvarapalas at the base. In the Gaja-Lak5mi panel on
the lintel Lak~mi is seated in /11/itasan11 and Ranked by a female attendant on each side.
There is a lion carved on the panel beneath the dvarapo/11 niche, as on the l\.luktesvara,
though most of it, as well as the nandav11rla step, is buried. The lt.irif11 design crowning the
niche is a bho similar to the v11jr11-mast11/ea on the g11n{li. The dviirapalas hold the trident in
their left hand with l\.lahiikiila having only two arms. They are attended by river goddesses
standing on their respective mount. The goddesses hold a jar in their uplifted hand, facing
the dviirapala, while their outside hand is placed on the thigh in lea(Javal11mbita. A diminutive
attendant holds a large parasol above the head of the goddesses. The door is Ranked on
each side by a large projecting pilaster, undecorated, which supports the architrave above.
The architrave is decorated with a n11v11grah11 slab. T he grahas are housed in small piifha-
"'"ntfis as on the Brahmdvara though Riihu is depicted with shoulders rather than just a
head with hands. The grahas are Ranked at the ends by an atlantid ga!J11. The projecting
cornice covering the entrance portal supports a pit/ha-m11ntfi Ranked on each side by a rtlt.hii-
m11ntfi which serves as the base for the vajra-munr/i design. Above the t'ajra-mastalea panel,
mostly incomplete o r missing, is the large projecting lion motif.
•1 R. l'\litr·a. Gp. ril.. ll, p. 149.
Original from
TF.MPLF.S OF Tll F. LAT F. " TH C.EN 'IT RY AND T llF. uTH C:F.N T!;RY
Except for the images on the doorframe there are no figures carved on the temple. The
material is a bluish-gray, coarse khondalite which does not lend itself 10 fine carving.
2. Ttmplt 1ttar Tirthtivara

A second temple of this group, un-named, stands a shon distance west of the
Ko1itlnhesvara and shares the same general compound area as the earlier Tinhesvara
temple, only a small stream separating the two structures. At present it consists of a dr11/
only, like the other temples, but probably had a jaga,,,oha1ta which has long since
disappeared. It rests on a low pi/ha, mostly buried, and is pailra-ratha in plan. The pii/Jhtiga
consists of four mouldings, rather than the standard five, and thejiingha is divided into two
stories by a madhya-bamihanti of a single moulding. The side piigaJ were left unfinished, their
designs merely blocked-out in the coarse stone, while the rtihti was designed as a truncated
pii/ha-mN'!t/i with a single-story plan. The bara11tfa consists of four mouldings of various
designs that is eliminated on the rtihti by the l'a)ra-111a1talta which springs directly from the
roof covering the ptiriva·devatti niche. At the base of the ga'!tfi is a horizontal alignment of
Aattened anga-filt.hara1 as on the Brahmesvara, the atiga-iikbara1 being progress ively higher
from the Itani/ta 10 the rtihti. The ga1Jt/i above this row of arlga-iikharas is devoid of
ornamentation. &ki-bhaira11a1 arc placed above the rtihti to help suppon the amalalta.
The decoration of the doorframe is similar to that on the Ko1i1irthcsvara temple with the
dvtiraptilas housed in a vajra-mNIJt/i at the base of the jambs, though the crowning kiri/a is
bell-shaped, as on the Brahmesvara, rather than tear-shaped. The lion carved on the panel
beneath the dvtiraptila niche is on top of a small crouching elephant, a rather awkward
interpretation of the gaja-le.rti11ta motif with the lion precariousli• balanced on the smaller
. animal. The dvtiraptila1 stand in a tribhatiga pose and hold the trident in the hand next to the
door. They are accompanied by the river goddesses standing on their respective vehicle as
on the Ko1itinhe$vara. The 11a11agraha slab is likewise flanked by atlantid-ga1Ja1. The grahas are
housed in niches with a trefoil-arched roof and Rahu is depicted as a head and hands only.
The base of the garitfi above the projecting eave covering the entrance has a similar
alignment of a pit/ha-m111Jtfi Aankcd by an atiga-fikhara on each side. The vajra-n101taka mo1if
above the 111111Jtfi is mostly missing though the large projecting gaj a-le.riinla is intact.
3. Ttmplt ntar T tiltivara
There is another temple is the general area of these two temples, situated in the paddy
field near the Talesvara temple, which is of the same date though originally it was more
complete in its decorative program. At present it is in ruins and overgrown with foliage so
that very little of the original decorative program has survived, or is visible, aside from the
doorframe and a Na1araja image in a niche above the entrance portal. The doorframe is
decorated similar to the other two temples with a 11avagraha slab on the architrave Aan ked by
at atlantid galJa at each end. The frame consists of the three standard bands of scroll work
with Gaja-Lak5mi on the lintel. The d1,tiraptila1 are housed in a 11ojra-111111Jtfi at the base of the
jambs with the kiri/a crown being tear-shaped as on the Ko!itinhesvara but without the
Aan king ga1Ja1. The dvtiraptilas stand in a slightly Aexed pose holding the trident in the right
hand and accompanied by the rive r goddesses. The goddesses stand in a trihhariga pose on
their respective vehicle ho lding a vessel in their uplifted inside hand while their outside
hand is placed on the thigh in katytivalambito.
Original from
Tl .. ~IPI J ~S c,i: 1·11E l.:\TE 11Tll c:l:!\Tl ' R\' A ~ I ) 1 1 11~ 1.t'l'll <.1:s ·r1 R\' l9l
4 . Siddhefrara Te111plt
Of the larger temples of this group ic is che Siddhesvara temple that is best preserved,
tho ugh its decorative prog ram is less ornate. It is located a few yards northwest of the
/\luktesvara compound and faces east. The temple was built on the site of an earlier cemple
and utilized stones from it, including a sculptural panel decorated with a 111akara and taNri-
bearer inserted into the tala-garbhik.4 on che west, u•hile the foundations of a compound u·all
are still visible. The site was ar one time o ne of rhe mosr sacred ar Bhubaneswar. According
10 che Iik.Jmra PNra'.fa rhe temple, obviously referring 10 the earlier remple now destroyed,
was erected by rhe cclcscial architect Visvakarmii by o rder of Vi~l)U; since Vi~l)U anaincd
his perfeccion (siddh1) rhrough che blessing of Siva, the presiding deiry u•as named
Siddhesvara. The blessing went further and declared that "\X' hoever will worship the
divinity will become perfecc", and many sages dwelling in its vicinity, according to
tradition, auained to whatever rhey desired; hence the name of the locality, Siddhesvara-
vana, or the "grove of the perfected.""
The drN/, which rises to a height of about 47 feet, is pmim-ratha in plan. The bti(lo
measures approximately 17 feet 6 inches square at the base. Except for the ptibhaga and paJl.a
divisions it is mostly devoid of decoration . T he pabhaga is approximately 48 inches in height
and consists of the standard five mouldings. T he paga di,· isions are poiita-ratha in plan so
that the offsets produce a slightly rounded effect. Thejangha is divided into two srories, each
47 'I, inches in height, by a 111adl/Ja-bandhanii of three mouldings measuring 1 l inches. T he
anartha and kanika of the lower story are decorated with k hakharii-11111'.'tfis while the upper
story is decorated with p~ha-11111'.'tfis in the standa rd fashion. The anNraha recesses of both
srories, howe,rcr, arc filled U'it h thin 1tam/Jha1 racher than t•irtila and ala1ti·kan_rti m<>tifs on the
lower and upper srory respectivel y. The raha has a single story plan and is desig ned as a
truncated pitfha-111"'.ftfi, the niche being crowned b y two picfha mouldings of diminishing size.
The tala·garbhik.4 beneath the niche consists of an elongated /eha/eharii-111u'.'tfi flanked on each
side by a nago-sta111bha, the sta111bha decoration left incomplete. T here is an abbreviated
lirdhva-gorbhik.4 above the niche. The pit/ha mouldings crowning the niche are plain except
for the projecting tanht designs.
T he bara~tfa consists of seven mouldings th ough it is eliminated on the rahii by the large
anga-fikharo which springs directly from the pit/ha roof of the bat/a design. The ga'.ftfi is panra-
ratha in plan with the kanika increased in width and the anNrahii recesses eliminated. The
base of the gantfi is decorated with a row of anga-fikharas as on the Brahmes,·ara which
extend up one bhlimi division. The kanika is divided into five bh;;111iJ with five bara'.fcfis in
each bh;;,,,;_ The horont}iJ above the onga-filehara or first hh;;,,,; are linked by a vertical band
running up the center. The onartha abo\·e the onxo-fikhara is decorated with superimposed
i•ajra-m111J(lis, c>nc for each bJ1ii111i divi!<iion. as on the llrah1ne$\·ara rhough dc,roid uf
ornamental details. A projeccing ud_yota lion is carved above the anga·filehara of the rtihii
while the bara~cfis above are relatively plain. There arc additional anxa-fi/eharas on the roof
of the sondhi-sthala so that the large projeccing gaja·kranta is elevated higher and thus visible
above the pit/ha roof of the jagamohana. Brki-bh1draras are seated on top of the rtihiiJ to help
suppon the amalaka and crowning members.
The jagamohana measures approximately 17 feet square at the base and is p11nro-r11tha in
Original from
TE1'. IPLl~S OF THE J_A1·E 11TH CJ~NT U R Y AND TH E 11T H CENT URY
~------ Jl O"
__,..
L..- ll4
I
-y
_________ __\1••
l
Bhuba.neswar: Siddhci vara Temple
plan. The pabhaga consists of five mouldings of conventiona.1 design and is 36 inches high .
The jiingha has a single-story plan and is 6 3 inches in height . The bara1Jt/a consists of three
mouldings- a /t.h11ra, bola 2nd pit/ha-and is •7 'I. inches h igh. The /eani/ea 2nd anarlha arc
designed as a prdha-fflN'!t/i flanked on each side by 2 slafflbha, the flanking slambhas most likely
influenced by the design of the Lingariija. Their niches, however, were left uncarvcd as on
the dt11/. The gavii/tta projects out 31 inches fro m the anarlha and is flanked by a large
pilaster on each side. The pilasters 2re terminated b y the pro jecting cave over the window
which divides the gavii/tta into two sto ries with the upper niche, likewise flanked by
pilasters, housing bara1Jefa mo uldings. The lala-garbhilcti beneath the window of the lower
story is a wide lt.hiileharii-fflNIJefi flan ked by 2 thin slambha o n c2ch side, the s1ambha1 left
undecorated. The window is framed by three thin mouldings. The window is filled with
five balusters designed as p illars as on the Rajariil)i though without the arlantid capitals.
The vertical th rust of the gavii/tta is continued on the roof with a large "'"'!efi flanked by a
rekhii-111K1Jefi on each side, the center m111Jefi crowned b y a vajra-masla/ea panel left un -
decorated. O n the front, above the entrance projection, thc re/ehii·m111Jefis a re transfo rmed
into piefha-m1111tfis and a second set of pi#Jtl-m11!'efis flank the vajra-maslalea panel above. The
roof contains 14 piefha-mouldings of diminishing size crowned b y a kA/aia only, as on the
Muktcsvara, though it is possible that the top mouldings, which bend in too sharpl y, arc
later replacements for the ghaf!(ii and other crowning elements which have not su rvived.
The doorframe of rhe jagamohana is mostly devoid of decoration and appears overly squat
due to the construcdon of a platform in front at a later date which obscures the lower
po rtion o f the jambs. Pit/ha·mN(lt/is arc at the base of the jambs though the dviirapiilas were
not carved. The doorframe of the sanctum is walled up except for two navagraha slabs o n

TE~fPLE.6 OF TH E. l~ATE 11TH Cll NTUR'' ANO TIIE 11TH CENTURY }9l
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Bhuba.ncs-war: Kc:dirc:Sv.-ir-:a Tc:mplc:
the architrave, one of which probably belongs to the j agamohana door. The pilasters flanking
the entrance o f the jagamohana ate each deco rated with a lr.hakharii-11111~/i though their niches
are now empry. This is a rare feature of a second set of niches flanking the entrance on an
Orissan temple and is repeated o n the Kedaresvara temple. The projecting walls of the
entrance arc deco rated with a pir/ha-mN~r/i though there are no flanking stambhn1.
Original from
The o nly images appearing on the temple are the ptiriva-tft1,a/J1 Gal)esa and K iirtt ikcya .
The four-armed Ganesa holds the standard attributes and srands in a rather rigid pose. The
pose of Kiirttikeya is equally st iff and his body pro po rtions ar< rather stumpy. The im age
leans slightly to the left and the base of the lora~o of the back-slab is une,·en, suggesting the
image is probably a worksho p product ion o r a later image inserted into the niche. The
veritable lack of figure scu lpture in the o,·crall deco ration , producing a rather ba ld
appearance, points out dramatically the increasingly dominant ro le architectu ral features,
such as muntfiJ or miniature shrines, play in the O\'Crall dccorarh-e program.
l · KrdJr1i1•ora Temple
A near duplicate to the Siddhesv ara is the Kediiresvara temple wh ich is situated in the
same co mpound as the Gauri, along with seve ral smaller shrines, and is one of the few
temples which faces south rather than cast or west. There is an inscription on the right
jamb of the doo rframe of the Ja.~amohano v.•hich records the do nation of a perpetual lamp in
front of the lord Kcdiiresvara by Raja Prama<)i, the younger brother of Anantavarman
Co<;!agailga , datab le to A.O. t t41 which proves the existence of the temple before that
dare.•l The drNI, which rises d irectly from the ground, is approximately 40 feet in height.
The bJrfa, measuring approximately t9 feet squar< at the base, is panro·ralha in plan though
the multiple offsets of the anarlha and /eanilea produce an almost ci rcular design particularl y
noticeable in the pii/Jhaga and baro~rfa mou ldings. The piibhiiga, l j inches high, consists of
five mou ldings o f convent ional design which arc only partially deco rated. The ) Jngha is
divided into two stories, each 46 t/ 2 inches high, by a madhya-bandhanii of three mouldings
measu ring t 8 inches in height. The anarlha and leanilea ar< designed as a khiikharii-mu~rfi on
the lower story and pirfha·mN~rfi on the upper story in standard practice. As on the
Siddhdvara these muntfis h ave only been blockcd·out so that there arc no sculptural images
on the projecting piiJ!.al. The lower an11riihii recesses arc filled with viriila motifs while the
upper ones are fil led either with alasii-lea~yii or mi1h1mo/mai1h11na motifs in the conventional
manner. The riihii is designed as a truncated pirfha-mN~rfi as on the Siddhesvara. The lala-
garbhihi beneath the niche is an elongated khiikharJ-mm1tfi fl anked on each side by a niiga:n,~~i
slambha with a serpent at the base and near the top of each slomhha as on the Riijariil)i. A
similar khiikharii-mu!'rfi, but without the flanking Slambhas, is carved on the sandhi-slhala.
The bora~rfa consists of five large horizontal mouldings. The go~rfi, based essent ially on
the design of the Brahmesvara, is nearly identical to that of the Siddhesvara with a row of
ariga·iikharas at the base . The large o ne on the riihii springs directly fro m the pi</ha roof
covering the piiriva-dtt•alii niche and thus eliminates the bara!'rfa division o n this center p/iJ!.a.
The biirfa portion of th is anga-iikhara extends up the height of the bora!'rla and has a two-
story )iilig/Ja. The ariga-iikhoros on the onorlha extend up slightly higher than those of the
leanilea so that the)' become progressively higher towards the center. The V.' idc /eanilea is
divided into five bhiimis with each bhiimi having five bara~tfis as on the Siddhes,·ara. The
anaf/ho above the alij!,a-iilehara is similarly decorated with superimposed vajra·mN!'rfis, one for
each bhiimi division, w it h the 1•a jra motif left uncarved. A large projecting gaja-lr.riinla motif
appears on the rJhii above the arij!,a-fikhara at the base of the gan{li. On the front s ide this
~> l-.:1r<.hna <:. P:tn 1~ rah1 , "Th rt·c l"cmrlc lnscrip1ic>ns f rom tthu1)2ni: ~ v;:i r" , ()llKJ. \ 'c>I. (, ~(). 2 ( 19 .,2) ,
pp. 7 .R,
Original from
l97
motif is larger and elevated higher up so as to be visible above the pi(lha roof of the
jagamohana in the conventio nal manner. /lelei-bhaira/'aJ appear on top of the rdh1i to help
suppon the amalalea.
The jagamohana, coated with numerous applications of u•hitewash, is approximately z9
feet 8 inches square at the base. It has a panra-ratha plan similar to that of the Siddhesvara
though most of the west side is obscured by a modern shrine attached to the wall. The
pabhtiga is 41 ' / 2 inches high and consists of live mouldings of conventional design. The
jtingha is a single-story design 61 inches in height while the bara~(ia, 19 inches high, has three
horizontal mouldings. The leanilea and anartha consist of a pit/ha-muntli with Aanking
1tambha1, the designs merely blocked-out. A pit/ha-11111ndi also decorates the wall of the
projecting entrance, as on the Siddhe5vara, though the ptibhiiga is designed as a tala-garbhileii
as on the sandhi-sthala. The gal'li/qa projecis our 24 inches from the wall and is crowned by a
projecting pi<Jha-eave. The tala·garbhileii beneath the window consists of a large "khti-11111ntli
Aankcd by a smaller one on each side. The window is framed by plain mouldings and filled
with live balusters carved as pillars. The area above the projecting cave is nor as devdoped
as on the Siddhesvara and co ntains only rwo baran(ia mouldings. The pediment projecting
above the roof is of similar design with a center khiikharii·m~di flanked by a rtkhti-11111nfii on
each side. An l{(/yatii lion is perched on top of the pediment. The stepped p)<ramidal roof
consists of a single tier of 1en pit/ha mouldings of diminishing size. The crou•ning mastalea is
intac1 with lions and be.le.i-bhairava1 supponing the huge ghanfti.
The decorative program of the doorframe is nearly identical 10 that of the
Ko1i1Inhesvara temple though it is heavily covered with whitewash. The dvaraptilas arc
housed in a vajra·m11ntfi wi1h lion mot ifs, panially buried, carved on the panel beneath. The
leiri'(a design above the niche is mostl y obscu red b)' whitewash but is 1ear-shaped. T he
d11tiraptila1 hold the trident in their left hand and are accompan ied by the river goddesses.
The door is framed by three bands of siandard scrollwork and Gaja-Lak~mi appears on the
lintel. The navagraha is Aanked by atlantid-ganas at the ends and the pilasters Aanking the
door have a khtikharti-m11n<fi at the base as on the Siddhesvara, the ir niches also empty.
The pariva·dtvattis arc in 1it11 though the image of Parvati appearing in the eastern rtihti
niche, overlooking the Kedara lt.lln<1a or rank, is a later work which is stockier in body
proponions, only panially filling the niche, and is built of chloritc. 44 Kiintikeya on the
nonh and Gar:iesa on the west stand in a slightly flexed tribhati?,a pose in front of a rrefoil-
shaped tora~a with a kirtim11kha at its apex and malearas at the sides while standing lions
decorate the supponing pillars or sides of the back-slab. Both deities are four-armed, with
rwo broken at the elbows, and hold their traditional attributes. Kiirttikeya is flanked in the
lo wer corners by a peacock with attendant and Oevascn:i while: even smaller attendants
appear in the lower corners of Gai;ida's niche behind his hatchet and mouse-mount. The
body ornamentation of Kiinrikcya is almost identical to his counterpart on the Lit\garaja.
The only other figure sculptures appearing on the temple are the figures in the anNriihii
recesses of the dt11/. The mith11na/maith11na and alasa-leanyti1 of the upper recess are generally
covered with droppings from the pidgeons nesr ing on 1he gan(ii which obscures their details.
"" \'('hen R . t\1itr2 v 1~' t<'d the sit(' this 1m aK(' \l.':l.S s1tuat<tl nt:ar th(' H :inum:ln ~t <ll tu ~ . St't' R. ~1i1ra, op . rit., II,
P· Is 8.
Original from
TEMPLES OF 1'HE LATE "TH CENTURY AND THE nTH CENTURY
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Bhubi.neswar : Rimei vara Temple
6. Rimtivara T<mple
The site of the Rimc5vara temple, in the nonhem "xtremes of the city opposite the
Lak~m;u:iesvara group of temples which ar< the earliest cxunt temples of Bhubaneswar, is
lik.,wise of e.xtreme antiquity as is evident from the discovery of a huge bell-capital of the .
Asoka type lying in the tank, known as Asoka Jhara, behind the present tcmple.•S The pi/"'1
of the Riime5vara is constructed of stones bearing clamp marks as well as early rai1J11
designs while an early image of GaQcsa, datable to the 6th-7th century, is enshrined in the
jagamohana, suggesting there was a temple here contemporary with those of the
Lak~mal)esvara g roup. Funher evidence of the antiquity of the site is provided by
descriptions in the Ekamra PNra11a (Chapter LXVU-LXIX) and the Svarnidri11talxxftl.)a
(Chapters XX-XXIV) penaining to festivals of the Lord Tribhuvancsvara. According to
these descriptions it is during the feast of Asoka~iami, beginning on the eighth day of the
bright fortnight of Caiua (March-April), that the image of Candrasekhara, as proxy of
Tribhuvanc5vara. is placed in a car. called Sivadalana, and carried to the temple of
Riimesv:lra where it is welcomed by an image of Durgii housed in a pavilion on the
northeast corner of the courtyard. The image of Cwdrasekha ra is kept in a house at the
site, known as Gur:idicii, where it is feasted and worshipped for five days."4 According to
Panigrohi these festivals when movable images of Lord Tribhuvanesvara arc ukcn to
different temples on certa.in festive occassions represent courtesy visits of the supreme deity
of Bhubaneswar to his older and more established counterparts and contemporaries." That
·~ See Pan1gr:ah1, .•lrth.Jt.(t!G//t11/ k rma1•1 ut 8/J.NhuNl'J• 'lll', pp. 187· 190.

~ 11 '"on this da~· that Siti. "''hen cc:>nhned b>' Ri vana, 1$ ~a1d to h:a,·e uA'eted :some ASoka Ro wers to a god
wht1e praying (or re-union u•1th her lord. The feast 1.s 1hc .subs111utc o( thC' car fn t1\•al of Puri. S« R. ~fnra,
op. ,i1., ll, p. • •S ·
•? Pan1~t:t h1. .1-lrrba<olo..i:1<al Rt mu1,,l al 8J)1i1ba fltt• ·11r, p. i.i.9.
Original from
TE~IPl . ES <>r THE I.ATE ,.·rH CEN T l ' R"t' Af',:0 Tii i ~ 1tTll CF.~ ,. l' RY 399
the site was still an imponant quaner of town during the SomavarilsT period is evident by
the fact that Yayiiti-kesarf erected his palace here, though its ruins arc now almost
completely gone.<t
The titNI of the present temple is erected on a high pi/ha and rises to a height of about 75
feet. The bii/a is paiila-ralha in plan and measures approximatcly.z 1 feet 6 inches square at
the base. The pibhiga is 61 inches in height and consists of five mouldings of conventional
design which arc devoid of ornamental detail. The jarigha is divided into two stories, the
lower one being 1• lf4 inches high, by a 111atlhya-bantlhan4 of three mouldings 18 inches in
height. The paga1 of the lower story arc designed as lt.halt.hara-11rN'!liI while those of the
upper story arc p~dha--'!lis, the designs merely blocked-out as on the Siddhesvara and
Kcdiircsvara temples. V irila motifs fill the an11rihi recesses of the lower story and
111ilhwlflJ{MaithNna motifs in the upper story. The rihi is designed as a truncated piefha·MlllJpi
as on the Siddhesvara with a tala-garbhikA consisting of an elongated lt.hilt.hari-•1111fii with
Ranking slambhas beneath the pirfva-tlevali niche. An abbreviated #rtlhva-garbhikA appears
above the niche.
The bara'!la consists of ten mouldings but is eliminated on the rihi where the ariga-iilt.hara
at the base of the ga'!li springs directly from the piflha mouldings covering the parfva-tltvali
niche as on the Siddhc5vara and Kediircsvara temples. The wide lt.anilt.a is likewise divided
into five bh#111is though the number of baranJis is increased to six. The anga-iilt.haras at the
base of the ga!'ifi increase in size from the lt.anilt.a to the rihi as on the Kediiresvara and
Brahmesvara. The alflJrlha above the anga-iilt.hara is likewise decorated with four super-
imposed uajra-m111Ji/i1, one for each bhliMi. An Ntiyala lion projects out above the larger anga-
iilt.hara on the rihi. The rihi above the entrance on the cast or front side has an additional
row of three aliga-ii/eharat so that the projecting gaja-lt.ranla is elevated higher up on the ga11{1i
in standard fashion. Btlt.i-bhairavas arc seated above the riha to help suppon the a111alalt.a.
The door jambs and lintel of the entrance ponal are heavily smeared with numerous
applications of whitewash and the lower ponion of the doorframc is panially buried by a
platform constructed in front of the entrance. The door is framed by four bands of
scrollwork rather than three and the tlvarapilas arc housed in a pii/ha-m1111{1i. The tluarapilas
hold the trident with their inside hand and arc accompanied by the river goddesses. The
grahas arc housed in arched niches and Ranked by atlantid ga11as at the ends.
The jaga111ohana, though utilizing some of the materials from the original structure, is a
later construction which is small and separated from the tln1/ at the eastern end of a
platform erected in front of the entrance. Its jiligha is divided into two stories with
lt.hi/ehari-m#!'i/is and p~dha-111N11{1is on the lower and upper story respectively. The cast and
south sides arc punctured in the center by a door, serving as windows, while the main door
is on the west facing the tlt11/. Only the lt.hilt.hari-11111!'ifis of the lower story have figures
carved in their niche and these arc primarily mi1h11na/mai1h11na motifs. An exception is an
image of Lak5mT-Nr5irilha, much larger than the other figures and insencd into a plain
niche between two lt.hilt.hara-1111111ifiI. Nrsimha is seated with legs crossed and held by a
yogapa//a with his major hands resting on the knees. He holds a talt.ra and conch in his
upper hands. A diminutive Laksmi, panially broken, is seated on the yogapa//a and looks up
at Nrsimha. Stylistically the image can be dated to the 11th-13th century. The fragmented
gavilt./a window with five balusters haphazardly insened into the wall on the west side, on
• R. ]\fitr·a. op. ril .. II, p. 161 .
Original from
the other hand, probably dates to the 14th-1Jth century. T he roof is a truncated pyramid
consist ing of three sloping tiers separated b y recesses and crowned by a mas/aka. L'tfyatJ
lions are seated on projecting blocks at the level of the second tier in the center of each side.
The pJrir'a·dtratJ images are all in 1i111, each placed in front of a trefoil-shaped tora11a
surmounted at the apex by a lt.irtim11/eha mask and at the sides by a makara. Par\'ati stands in
a slight tribhanga pose holding a naga-pJla, an/eJlla and lotus stem in three hands while the
fourth is extended in varada. She is Aanked by female attendants while her lion-mount is
carved at the lower right. Ga!)esa and Kiirttikeya hold their traditional actributcs and arc
similar to their counterparts on the Kedares\'ara temple. Included amon!( the
mith1ma/111aith11na mo tifs of the upper an11rahJ recesses is that of a bearded figure embracing a
young female, a motif repeated several times in various stages of love-making and
increasingly popular on temples of this period. In one example the male figure, with a
dagger on his belt, most likely is a royal pe~on age and his consort probably a maid-
servant, as suggested by the ra11ri she holds.
7. Bhaskarrfl-ara Ttmplt
The most unusual temple of this group. likewise part iall y constructed " 'ith materials
from an earlier temple on the site, is the Bhiiskares"1ra, situ•ted on the nort heast extremes
of Bhubaneswar near the Brahme5va ra and Meghesvara temples. The antiquity of the si1e
is proved by the discovery of a Buddhist railing pillar buried in earth nearby as " 'ell 1s the
top portion of a colo<sal lion, perhaps the remains of the capital of an Asokan pillar. T he
colossal /inga enshrined within the sanctum, 9 feet in height and t 1 feet 1 inches in
circumference at its base, was most likely the remnant of an Asoka pillar which was
convened into a linga ... The sanctit )' of the site is furt her proved by the visit to the temple
by Cand rasekhara, the proxy o f Tribhuvan.Svara, on the day of Altigha-111kla·sapta111i,
where he is bathed, clothed, worshipped and feasted amidst rejoicings of the assembled
crowd and loud music.IO
The peculiar shape of the Bhaskaresvara temple " 'as probably dictated by the height of
the colossal lingo ensh rined " ' ithin as Dcbala !M itra suggests.S I To enable the de\'otecs to
reach the top of the linga to perform ritualistic worship, the temple was erected on a large
platform. The platform, measuring 48 feet 4 inches by 4 7 feet 8 inches, is 1 t feet high and
pierced by a door on each side leading to the base of the /iriga.12 The bti{la of the platform,
" ·hich rests on a small pi/ha or 11pana, is decorated with pabhJga mouldings, a two-storied
jangha and crowning bara~{la or cornice. There are no mu~(li designs on the jtingha and the
doorframes are devoid of decorat ion except for pi¢ba-mu~¢i1 at the base of the jambs for the
d11Jrapala1, though the latter were not carved. Access to the top of the platform is provided
by a Aight o f stai rs on the north wall. Th ough the p larform is thus devoid o f ornamental
details it does have the basic architectural di visions of a temple and thus ser\'eS as a
harbinger for the large platfo rm constructed for the Surya D eul at Kos:iarak.
The ba{la o f the temple is 11 f<et square at the base with an entrance which pro jects out 7
feet on the west . The bJ{la is panra-ratha in plan except on the " ·est where, due to the
..o P:1n1J.,:r:ah1, . • l,th.itt;/~1r11 / Rrm<11ftt ut kl;NllarttJ»·ur. pp. 18t· 1B6.

~ R. ~l 1 tra. ()p. r11 ,. II. p. 1 ,4.
~I D . ~li r r a , w~""(lf'ftlll '(Jf, p. 6 z.
» ThC"sc thrc.'<" J1nu:n!-1c_1n1. ~ff.'. t:1kc:n fr1)m R. ~fnr2 . op. ril., II, p. '' ·' ·
Original from
401
increased width of the ponal, 1 30 inches across, it is lri-ralha in design. The piibhiiga consists
of five mouldings of conventional design, devoid of ornamental details as on other temples
of this group, and is 63 1/ 1 inches high. Thejiirigha is divided into two stories, each 11 inches
in height, by a madl!Ja-bandhanii of three mouldings 18 inches high. The piiga1 arc designed as
khiikharii-m111Jdi1 on the lower story and pi(iha-mNIJdiJ on the upper with the designs being
merely blocked-out. The anartha is not as wide as the /eoni/eo and appears rather squeezed
between the latter and the riihii. There is a heavy baralJdo at the top of the jarigha consisting
of five horizontal mouldings. The rahii, which projects out 36 inches from the wall, has a
two-story plan with the larger lower story designed as a truncated pi(iha-m11!1f!i. The tala-
garbhikii beneath the niche duplicates the design of the pabhaga. The upper story eliminates
the baralfda and consists of a niche filled with a pi(iha-mulfdi flanked by a thin stambha on
each side and a miniature rekhii at the corners. Above the entrance the design is wider.
The ga'!di, of the pi(iha-ordcr, consists of nine prdba mouldings arranged in a gradual
curving spire rather than a pyramid. The crowning m1111aleo consists of a btlt.i with bhair11v111,
amalaleo, lehapuri and /eolaia, components of a rekhii.Sl The ga1Jdi thus is a hybrid design
combining elements of both the pi(iha and relehii orders and is reminiscent of the designs of
the Madhukdvara and Bhime5vara temples at l\iukhalitlgam, suggesting that the
Bhiskarcsvara may have been constructed soon after the Gangas established their sup-
remacy at Bhubancswar. The rahii projections are crowned by a miniature version o( the
ga1Jdi, extending up five mouldings, though it is pyramidal in design and its amala/eo is
surmounted by an llliyata lion projecting from the mouldings above. Over the entrance
ponal this miniature ga1Jdi is more pronounced, due to its greater projection, and simulates
the roof of a hall in front of the du1/ though attached to it.
The doorframe of the entrance ponal was left unfinished, as were those of the platform,
except for the pitfh11-m111Jdi1 at the base planned to house the dvarapa/aJ. The floor within the
temple is arranged as a gallery which surrounds the colossal lingo rising to its level. The
only scu lptures appearing on the exterior of the temple arc the piiriva-devatas. Stylistically
they arc closely related to their countcrpans on the Ramesvara.
8. Temple in Ma/eorefvara Compound
A temple with similar stylistic features to this second conservative group is situated in
the southwest comer of the later Makarcsvara compound, midway between the
Varul)csvara and Yamesvara temples. The temple now consists of a dtul only but most
likely had a jagamohana. The temple is erected on a low pi/ha which is mostly buried. The
bii(io is paiira-ratha in plan and measures approximately 14 fret 1 inches square at the base
with the entrance ponal, or sandhi-sthala, projecting out an additional 47 inches on the cast
side of the temple. The pabhaga consists of five mouldings of conventional design, devoid of
ornamental detail, and is 39 1/ 4 inches in height. The j iirigha is divided into two stories of
unequal height, the lower being 34 1/ 2 inches high and the upper story 31 1/ 4 inches in
height, by a madl!Ja-bandhana of three mouldings measuring 11 1/ 2 inches. The /eonileo is wider
than the anarlha and the horizontal mouldings of the piibhtiga and bandhana arc flat with no
offsets so that the 11n11raha recesses separating the m111Jifi designs appear to be pan of the
~ ) \~ 'hrn R . ~lit ra \'i~it L·J the ttn\plt the.: cr1 1\l• n i n~ m<:mbcrs v.•r;rc m is$ing and h e fe lt the 1.on{li mu~r h:a\'e
been much t:.illc:r. Sc..~ R. ~ln r2, op. 1 11. • 11, p. ' ' J·
Original from
401
pagas rather than an independent clement. The pagas of the lower story arc khakhara-m1117!fi1
and on the upper story pi!fha-m1111!fis, the m"'.'!fis being merely blocked-out. The an11raha
recesses are filled with thin stambhas, as on the Riimesvara, with those of the lower story
crowned with a khakhara and those of the upper story with a ltalaia. The raha has a single-
story plan and is designed as a truncated pi!fha.
The bara17!fa consists of five horizontal mouldings though it is eliminated on the riibti
where the vajra· mastako panel springs direct!)' from the pi(lha eaves crowning the ptirsl'a·
tk•alti niche. The vajra-mastako design is uncarved, or obliterated, except for the surmount·
ing gaja·krtinla motif which projects out from the rtihti. The remainder of the ga11t/i is devoid
of decoration except for an aliga-iilehara at the base of the anartha and koniko.
The doorframc is devoid of decoration except for the Gaja-Lak~ml image on the lintel,
housed in a pitfha-m11nifi, and the dvtiraptilas at the basc likcwisc housed in pi!fha· m1111ifi1. The
dvaraptilas stand in a slightly flexed pose holding the trident in their left hand while thc right
is extended in varoda. The panels beneath the dvtirapalas, flank ing the nandti1•ar1a step, arc
buried. The base of the rtiha above the entrance po"al is decorated with a large lehalehara-
"'"l'ifi flanked by an aliga-iilehara on each side. The gaja-krtinta projccts out from the rtihti
above the khtikharti-m111'ifi, thus being clcvatcd higher up on the ga17ifi than those on the
other sides.
The ptiriva-dtvatas are ;,, si/11 but are badly worn due to the soft stone utilized in their
construction. They are each placed in front of a trefoil-shaped 1ora17a with a kirtim11/eha at
the apex and makoras at the sides. The best preserved of the images is that of Parvati.
Stylistically she is closely related 10 her counterparts on the Bhaskaresvara and Riimesvara
temples though her body proportions are not as well articulated, hcr waist being 100
narrow and hcr breasts 100 large. She stands in a tribhanga pose holding her lower left hand
in varada while her lower right holds the stem of a lotus. Her upper hands hold a ntiga-p1ii11
and a goad. Female aucndants appear in the lower corners in from of a pi(lha· 111H!1(1i while
the lion-mount pccrs up at her from thc 1·ii1·apadma pedestal.
9. Lingaraja Compo11nd
Among the lesser shrines within thc Lingariija compound which can tentatively be
>Ssigned to the t ith century arc two lehtikharti templcs, the Savitri on the south side of the
Lingaraja and the Gopalit:ii on the north side. Due 10 their inacessibility, however, they arc
not available 10 close scrunity for this study. Both temples are partially buried by the
present pavement of the compound on 1.-hich thc t jth century PiirvatI temple is erected to
prove that they arc earlier in date than the lattcr.S< They are both paiira· ratha in plan with
the ptiga divisions extending up through the khura-shaped khtikharti member of the mastako
as on the later Gramesvara temple at Birpratiippur near Puri. They have a pabhaga
consisting of only four mouldings, rather than the standard five, while the baral'ifa has t-..·o
mouldings, a kh11ra surmounted by a bala or roll-moulding. The jtirigha has a single story
plan but is devoid of ornamentation except for the rtihti projection which is designed as a
truncated pi(iha·m1117(1i. On the semi-circular ga17(ii the rahti assumes the shape of a khtikharti·
m1117lfi with a small n iche at the base. Above the ga111/i is a splayed moulding (srah1) which is
surmounted by the khura-shaped mas/aka, both clements devoid of decoration except for the
\4 Deb ala ~l u r~. J.·l.\B. \ "t,I. II. p. 16.
Original from
TEMPLES OF THE LATE "TH CcN TURV AND THE "TH CENTU RY
paga divisions. The 111aJlalea is surmounted by a lealaia on the Savitrl while on the GopaliQi
the lealaia is flanked by a lion motif on each side.
The parwa-dt11atii1 arc ;,, 1it11 on both temples and represent various aspects of the Dev!.
They stand in a tribbatiga pose in front of a trefoil-shaped tora!f4 with a ltirti111111eba at the
apex. A female attendant standing in front of a p4/ba-,,,111,1Ji appears on each side at the base.
The ~st preserved of the images is that in the north niche of the Gopilii;il temple. The
Dev! is ornately ~jewelled and has her hair arranged in a tall /eiri/a-,,,11/ui/a. Her right arm
is broken at the elbow though it is likely that it was extended in Wlradtz. The left ann, which
held a full-blown lotus with long stalk, is broken at the wrist. The attendant figures also
hold a lotus in their left hands and a lion is carved in front of the attendant on the right.
Both arms are broken-oft' of the Devi on the south side and the attributes arc missing. It is
probable that she held a leapiila and trident as these arc held by both attendants. The Dev!
has her hair arranged in a large horizontal roll on top of the head with a narrow band
holding it in place. The arms arc broken oft' on the Dev! on the west side though remnants
of her attributes, a goad and paia, arc visible. The attendants hold the same attributes
though the goad held in the right hand is obliterated.
Among the many detached images datable to the 12th century within the compound,
many of which arc attached to later shrines, one of the most impressive is the dancing
Gai;iesa housed in the south niche of the Pitilcsvara temple. The image is stylistically
similar to its counterpart at Algum and is well-preserved except for the missing right leg
and one of the left anns. Gai;iesa is cight-anncd and holds his major right arm across the
body in gaja-hasta while a lower left hand holds a ,,,odaJea-pitra from which the proboscis is
plucking sweets. The upper two hands hold a serpent horizonta'lly above the head. The
remaining right hands hold a rosary and broken rusk. The main le.ft hand is held in lea/alea-
hasta, ~neath the hand holding the bowl of sweets, while the broken hand probably held
the hi/biira. A dancing ga!Ja appears in the lower comers of the niche while two musicians
are carved on each side of the lotus cushion on the pedestal. Crouching ~neath the lotus
cushion is the mouse. A trefoil shaped tora!Jll is carved ~hind the head of Gal)csa. There is
also an image of Surya standing in his chariot dating from this period.
I) PURI: )AGANNATHA TEMPLE
The most stupendous architectural undertaking during the early Ganga period was the
construction of the Jaganniitha temple at Puri. Although an earlier Jaganniitha temple was
built at Puri. possibly by Yayiiti I or Yayiiti II during the Somavarhsi period," it is not
clear if the present J aganniitha temple was constructed at the same spot or if it was erected
elsewhere on the coast as a completely dift'erent structure and not the completion of one
started carlicr.S6 The dl11/ and jaga,,,oba1111 of the present structure were probably ~gun by
Co<;lagailga sometime after the prolonged war with the Kalacuris and his suppression of the
border re~llion in about A.O. 11 JI ·S6 According to popular tradition C<>Qaganga is
credited with pouring wealth accumulated during his many conquests into a well which
was dug in the premises of the present compound and is still known by the name "Sunii
» Sec K.C. l\.ii$hr2, op. tit.• pp. )O· JJ·

)6 S. N . R2jaguru. /,,1rriptio"J ef Ori110, Vol. Ill, Pan II, p. J?fi.
Original from
kuan" (the gold well). When the well was filled to the brim the temple work was staned. 17
Inscriptional evidence contained in the praia11i ponions of Imperial Ganga inscriptions
from the time of Rajaraja Ill onwards give total credit for the construction of the temple to
Gangesvara (Coc;!aganga) yet, as pointed out by v. Stietencron, the building of the great
temple is not mentioned in any one of the many inscriptions of Coc;laganga himself or in
othcr inscriptions during his reign or in any inscriptions during the reigns of his four sons.
The earliest known inscriptional reference occurs in the Oasgoba plates of Rajadja Ill
dating to A.O. 1199 and this is at present the only reliable ltr111im11 ante for the 'I"'"'
temple.Sil
Non-inscriptional literary sources, such as the P11r111011ama-mahatmya, indicate that the
temple was not completed br the king responsible for its inception, that while in heaven the
king is worried about the proper continuation of the building activities.•• The impression
that the building was completed after Codagailga is also conveyed by the A1adala Paiiji
which credits the erection and consecration of the temple to Anangabhima II while a
Sanskrit verse current in the Orissan tradition additionally ascribes the date of construction
to A.O. 1197.'° It would seem thus that though possiblr begun by Coc;laganga the temple
was completed by Anangabhima 11. Funher additions were made by Anangabhima Ill in
the 13th century while the na/a-mandira and bhoga·ma11¢apa were added much later, the
former probably in the late 13th century and the latter during the reign of Puru~ouama
(A.O. 1467-1497)61 or even latcr.•2 Other structures were continually being erected within
the compound even up into ?\1:ira1ha rule during the late 18th century when the Aruna
pillar from Kon:irak was placed in front of the templc.•J
The temple has four gates and two large compound walls, the latter dating from the
reigns of Puru~ottama and K apilesvara (A.O. 143 s-1467) according to tradition as recorded
in the Mada/a Paiiji,.. a feature probably inffuenced by contact with South India. The outer
wall, measuring 661 feet by 644 feet, is not uniformly high, its height varying from 10 feet
to 14 feei.•S It has serrated battlements on the top for defensive purposes as the temple
served the purpose of a fort, particularly during the time of the Muslim invasion when
civilians as well as soldiers took shelter inside the compound.66 The gates are all ornately
decorated with auspicious imagery, including nai·agraha slabs and protective animals such as
lions on the east (Simhadi·ara), horses on the south (Aii,advara). tigers on the west
(i'J·aghradvtira). and elephants on the north (Hastid1•ara). In fro nt of the main gate
(Simhadl'ara) is the Aru!'a 1/ambha which was brought from Koi:iarak in the 18th century.
W'ithin the outer compound, in addition to numerous shrines, arc wells, gardens and the
kitchen " •h ich dates from the reign of Or:ivya.irhha (A.O. 1690-1713).67 The inner wall,
~' K. <:. :,.11~hr:.. , 11p. t it .. p. )4·

"' 1-t. \ '<•n $1l(:l cncr<>n, op. ri1 ., p. 1i1.
\IJ !hid., PP· 1 l t ·1 l4·
t.ll Jliitl., p. sz. ~ .

c.1 P. 1\ rchary3. ()J/K}. \'ol. XII ( 1964). p. 20 .
'-'2 Acct)rd1nJ.:: t11 10 1n ~c r 1Jll l•J O in tht n1ifll·mand1r11 the /;Jx.x.11 ·m'1n(japa \a:a.!- erected <lurint-t th( time o(
\ 'irak1S1.1rcc.l1:\'a (:\ .0 . 17t "'·94). Sl·c K.C:. :\1is hra, 1Jp. lit., p. Gz..
to-> lh1tl.. p. 6 , .
b4 find.. p. ' I :lO(t p. 117. fn. 11 .
<·S R. :\l11r:i.. op. tit., JI. p. 189.
~. " .<: . .\ l 1~hr3 . (}p. ,·i1 .. p. 10.a.
tio':' R. ~l1t 1 :1, op. ti J., II. p. 192.
Original from
measuring 420 fcer by } 11 fcer,"8 consisrs of rwo parallel walls separared by a narrow space
of 11 feet, perhaps for defensive purposes. In addition to rhe four garcs rhere is a passage
leading 10 rhe rop ar the nonheas t corner and another on the east leading from the kitchen
to the bhoga-ma~t/apa. Avara~a dava/01 are installed within the wall to form a "prorecd,•e
barrier" around the inner compound and its shrines. Among the more importanr shrines
within the compound, in addition to the temple of Jagann1irha, are rhe /HJ1ktima~t/apa "·hich
is said to have been erected by Prataparudra in A.O. t 121, a shrine of Nrsimha which is
regarded as the earliest temple in the compound, the temple of Vimala Devi (Bhairavi), the
temple of Bhuvandvarf, the Surya mandfra, and the remple of Laksmi which was
c(>nstructed in the second half of the 1 Jth century.••
The Jagannatha temple is erected on a raised platform and its dt11I rises to a height o f 214
feet 8 inches fro m ground lcvd,70 making it the tallest of exisring temples in Orissa.
Stylistically the temple is a near duplicate of rhe Lingaraja tho ugh not as refined in
decorarion. Unfortunately the temple is inaccessible to non-Hindus and p hotography is
prohibited. The de11/ is paiira-ralha in p lan with its jtitigha divided into two stories by a
mad~1·a·bandhana. Niia-garbhakti; arc erected in fro nt of the ptiri,.a·dtvatas. Dikpalas are carved
in rheir respective locations on the kanika-pagas and virala morifs fill the an11raha-recesses of
the lower story. The majo rity of the sculpture is covered over with protective coats of
heavy cunam plaster which obscures the beauty of the original carving. The first such coat,
according to the Afadala Paiji, was applied during the reign of Pratararuda (A.O. 110 4-
11J2). This plasrering was repeated by Narasimhadeva in 1647. D u ring the reign of
Kr~i:iadeva (A.O. 171}-1718), soon after a l\{uslim assault, thorough repairs were again
necessitated . Fifty years later the queen of Virakisoradeva repeated the procedure. Afrer
every J';luslim assault, in fact, purefication, which included white-wash ing, was under·
taken. 71 Although some of this plaster has been removed fro m the bat/a, the ga~{ii and
bara~t/a are still completdy hidden under numero us applications accruing over several
centuries. The kanika-paga is disposed on two planes, as on the Liitgariija, and has an ariga-
ii/ehara carved on the fiat portion of its first bhtimi. The anarlha has 1hree, rarher th an four,
aliga·iileharas superimposed o ne above the other beginning at the level of the second bhimi.
The first bhtimi of the raha has an alignment of four ari1,a-sllehara1, two on eirher side of the
gaja-kranla motif projecring above the vajra-maJ/aka of rhe bara~rJa. The features of Garu<;la
are grafred onto rhe pouncing lion. J\ similar hybrid lion appears in the 1,a)a-leranla motif
projecting above the major vajra-ma;taka design higher up on the raha. Beneath the
crouching e lephant of the lower gaja-kranla, serving as a platform, is a k irtim111eha mask.
Vaisl)avire images, including the various triumphs of avatars, are carved below the va;ra-
ma11aka designs though they may be modern. The same is t rue of images h igher up on the
raha, including examples of Hanumii.n and a Jagannatha trinity. Seated lions are inserted
into the btki above each kanika while an image o f Garucja is inserted above each rtihti to
help suppon the huge amalaka.
Thejagamohana is also similar in design to that o f the Liitgaraja though it has fo ur doo rs,
r..I ~I . i\f. (;an ~u1}'. up. cit., p. 4 11. 1\cco rd 1 n~ ltJ R. t\11tra {qp. tit.. II, p. 1<)l) the v;-all measurements are
400 feet by z7S fee t .
.,. K . C. i\ 1 1~h r2 . op. r11., p. 10 7. See al!><> R. .\luhta, ()p. ri1., II, pp. 1<)1· 19 4 .
'O D tmcnSh,lO as g 1\" CR by i\I. .\(. c ; an~u l)' , np. (JI . , P· 41 7 . ..\c(cJrding {() R. .\fitra (tip. ( I/. , II. P· 191). the:
hc:1ght is 191 i<"CC,
• 1 R. ~lura, ap. rit., I I, p. 19j .
Original from
TF.MPl.ES OF T ll F. I.ATE "TM CENTl'RY AN O 'fll F. 02T H CENTl' RY
the one on the west leading to the garbha-grha, the east door leading to the nafa·mandira, the
south door opening out into the compound, and the nonh door leading to a chamber
which serves as the strong room for the temple. The bii(ia of the jagamohaffa is the same size
as that of the dr11/, 80 feet square, though the roof rises only to a height of 120 feet.72 The
pyramidal roof is arranged in two tiers of pitfha mouldings of diminishing size as on the
Liitgariija though the pediments with vajra·ma1la/ea designs on the laner are here replaced
by a miniature pi¢ha roof on each tier, an uyalii lion appearing behind the surmounting
lealaia at the level of the recess separating the two tiers. The huge ribbed ghartfii of the
ma11alea has a single-story in contrast to the double-story design on the Lingariija. The
interior is divided by square pillars into a nave and two side aisles. It is in here that the
drvada1i1 perform though originally they danced in the '1afa· mandira.'l At the southeast
comer of the jagamohana, though detached from it, is a small chamber of modern date which
serves as a retiring room for the dancers."
The nafa-mandira, of much later date, is likewise 80 feet square and divided within by
four rows of pillars, four pillars in each row. The pillars arc of unequal size, however, those
of the two inner rows measuring 4 feet by 16 feet 8 inches while those of the outer two
rows arc l feet 6 inches b y 1 z feet 8 inches. The two aisles adjoining the nave 2re 10 feet 6
inches while the outer two aisles are 7 feet 9 inches each, suggesting that originally the
interior had only one aisle on each side and that a second row of pillars was added to widen
the room and additions were made to the pillars to raise the height.75 The only sculpture
within are dviirapiilas at the entrance to the bhoga-mantfapa and a Garucja pillar at the eastern
end. There arc numerous paintings, however, including the Kai\ci-Kaveri expedition of
king Puru~ottama depicting the interview between the milk woman (Miii:iiki Gopiilui:ii) and
the cavaliers on horseback (Bal2bhadra and Jaganniitha).7• The exterior walls are bare
except for numerous doors. There arc also numerous small buildings adjoining the
structure, including a retiring room for Lak~mi, where she comes to put on her robes
before proceeding to the pavilion to welcome Jagannatha, and an orchestra where the
musicians assemble to play to mark the completion of panicular ceremonies.77
The bhoga-ma~tfapa is smaller than the other structures, measuring about 18 feet by 16 feet
on ground pl2n, though it stands on a richly sculptured pi/ha 7 feet 6 inches high. The
exterior walls arc also richly carved with sculptural images, many of which were transferred
from the Surya Deul at Koi:iiirak by the Miiraihas for the construction of this building.71
According to R. Mitra the images are so completely integrated into the structure that he
believed it to have been dismantled at Kol)iirak , transferred in 1010 to Puri, and re2ssembled
in its present location.79 The sculptures are in a good state of preservation as this is the only
structure that escaped the practice of applying numerous coats of whitewash, the yellow
72 /hid., p. 1<)4.
7J K. c:. ~I 1shra, op. ril., p. 108.
' • R. l\titr·a, op. til ., II, p. 198.
" /Md.. P· 199.
} & Ibid., p. 199. Sec also K. C. ~t 1shr2, op. <ti. , p. 108.
11 R. /\.iitra, op. tit., 11, p. Joo.

'9 K. C. ~l 1$hr2, op. ril., p. G_s .
'9 R. ~t itra , op.'''·· p. loo. Jn the pcrstinal report of 132hi Brahmaciiri, t('(:Otd('J in rhe i\ltitf11/D P.in1i (faJ>c1cle
no. J4 o( \ 1 rak1i oradc\'l) 11 m('rely S.tllltC'!io rh:11r he kept the plundered 1m<liotc-s ()0 the roof of the hh-<>ga·Ma!ftf.apa.
See Bonc-r and Sarmi, :, ·,. , l .1~h1 on thr .\·.,.,, 1'1111pl1 of Konaraht. pp. II Ill.
Original from
T E'.\1Pl.ES <)f T ll E l, :\TI ~ 11TH CCNTl '. RY AND Tiit: 1tTH CENTL.R'I'
sandstone used in irs construction merely rendered red by rhin coats of ochre.II<> The jangha
is divided into two stories by a madh)·a-bandhana. The dikpafas are carved in rheir respective
comers on rhe lower srory while their female consons are carved on rhe upper story.
Mi1h1111a/ 111aith1ma images abound on rhe walls, panicularly in the recesses of rhe upper story.
Orher imagery appearing on rhe walls include scenes of Krsl)a, rhe avatars of Vi~r;iu and
depictions of rhe king taking pan in rhe twelve yalras ( Ka11/11ka yatras) or festivals, such as
the Dofa-11/sava (swinging fesrival) and Navalufi-11/sava (rowing fesrival).81 The interior of
the building is plain. There are four pillars wirhin ro hdp suppon the roof. The roof is
pyramidal and similar in design ro that of rhe jagamohana, arranged in rwo tiers of pit}ha
mouldings of diminishing size separated by a deep recess, though rhcre are three windows
cut into the mouldings on the fronr or easr facade, superimposed one above rhe other.
Of rhe temples consrructed in rhe third major rrend of the 111h century, characterized by
excessive experimentation along wirh elaboration of standard decorarive motifs, the largesr
was rhe Surya remple at Kol)iirak, now known as rhe ~fahigiyarri or ~fiyiidevi remple.
Although ir is now eclipsed by rhe more famous Surya Dcul erected nexr to ir, during the
111h century ir musr have been one of rhe largest rcmples in existence in Orissa, exceeded in
size only by the Lil)garija, Jagannirha and possibly rhe Virajii. temple ar Jaipur. The
remple has complcrcly collapsed and all rhar remains roday is rhe pabhiiga and porrions of
the lowerjiingha of rhe de11f and jagamohana. Kol)ii.rak is locared on the coasr about 19 miles
nonheasr of Puri82 and from ancienr rimes was considered one of the four most imporrant
places of pilgrimage in Orissa, rhe orhers being Bhubaneswar, Puri and Jajpur. lrs current
name is rhe vernacularised from of two Sanskrir wo rds implying rhe "comer of the sun" or
the "comer of Orissa dedicated ro rhe sun". In Sansk rir works, ho wever, it is referred to as
Padma-fe!etra (the sacred place of Vi~l)u's lorus) or Ark.a-fe!etra (rhe sanctuary of the sun)
while in the Samba P11ra~a ir is called A·faitravana (rhe foresr of Mirra, or the "friendly
foresr").u In conrrasr ro rhe rhrce orher sires, which are large merropolitan areas, Kol)irak
is a remore sire on a sandy beach near the mourh of rhe Candrabhaga river, a dried-up
tributary of rhe Pracl, a fact which led P . Brown ro conjecture thar rhe site was selected in
order "rhat the pracrices so wanronly illustrared might be ceremoniously conducted by its
addicts in an underworld of their own."84 These images which so upser Brown, however,
are nor limited ro the temples at Kol)iirak but appear on virtually all of rhe remples of the
12th and 13th centuries throughout Orissa, in big cities and remote villages alike. Alrhough
borh Surya temples at Kol)iirak are in ruins, even today thousands of pilgrims Rock ro
Kol)ii.rak every year on /.1iigha 111/efa saptami, rhe day of rhe spring festival, to cclebrarc the
new birth of rhe Sun God, a fact which suggesrs that it is the sire on which rhe remple is
erected rhat is hallowed rarher rhan the remples.3• It is possible rhar even earlier remples
'° J\.. C. r>.l ishr2, ()/>. 111., p. 107.

'' Ibid.• p. lo7. S<e also R. ~tnra, op. tit., 11, pp. i1~·118.
t2 There 1s n''"' a d irc1;1 ((>ast:il r<>a<l tc> 1'.f>l)ir'3k (r<'m Puti. Prtvic>U~lr one h:id to travel \'ta N1n1apara 1'<>
1hat the 2ctual d istance was 8~ knl.
&J R. ~tilra, op. tit., 11, p. 1 ) 9 ·
"' P. Br<>Wn, op. tit ., p. 10 8.
8$ Boner, Sarm:l and Das. N rw L it,ht lffl tht . f1111 Ttmplt of Konork.I. pp. \' t • \'i1 .
Original from
TJ-.:~fP l .l~S ()f TJ·ll--: l. :\ 'l' I ~ 11Tll C l ~ 1'Tl " R\. ...\NO 1·11t~ 11Tll <; l~ !\'T l' R \.
dedicated to the Sun God were constructed on the sire prior to the present temples. The
sanctity of the site is alluded 10 in numerous Sanskri1 tex1s. In the Samba PNrarra, wh ich
traces the worship of the Sun God back to Samba (the son of Krs11a), who bu ilt the lirs1
Sun temple on the b anks of the Candrabhiigii river ro which he brought eighteen families of
Magas from Iran for worship, there are two versions of the legend, o ne of which locates
the site in the Punjab while the other places the site on the shores of the eas1ern ocean a1
Tapovana, a forest inhabited by ascetics. T he Prari !tfiihiill11J'O and the Kapila Samhifa, bo1h
later Orissan texts, identify Tapovana with the present site of Ko11iirak or Arleo-/qetra.
Chapter 28 of the Brahma-PNrana also identilics the site of Kol)iirak as a place of Sun
worship, its presiding deit y known as Kol)iiditya . In another accou nt, given in 1he Suf')'a
Ta/Iva Vistara, two branches of Sun wors hippers are mentioned, the Arkins, belonging to
Siikadvipa (Iran) and the J\laitrins, belo nging to Jambudvipa (India). The pilgrimage sites
consecrated to the Arkins arc mostly in the Punjab and \X'estern India '\l;'hile those
consecrated to the J\1aitrins range from the Ganges east i»ard to the Praci and Cand rabhiigii
rivers of Orissa.86
Although the earliest historical evidence about Sun worship in Orissa appears in 1he
Suma11dala copper-pl a1e inscrip1ion of A.O. 199· recording tha1 J\·laharaja Oharmaraja was
a " devotee at the feet of the thousand-rayed",8 7 1here are no surviving early 1cmplcs
dedicated to Surya. His image forms part of the standard iconographic program on most
1emples, however, even serving as a pariva-devata o n the Va rahi temple at Caurasi, and the
existence of numerous large detached images, o r the abu ndance of Su rya images, a1 \'arious
sires, such as Pa ikapacj a,88 Shergarh, Kaupur and Champeswar, suggest that there may
have been special shrines or temples ded icated to the Sun God in their vicinity . In respect
to the J\1ahiigiiyat ri temple a1 Kol)iirak there is much controversy as 10 its daie o f
construction. According to tradition as recorded in the A fiidala Piiiiji (Fascicle 7 o f the
Kcsari dynasty}. a small temple dedicated to the Sun God was bu ilt at Ko11arak by
Puraiidara-kesari of the Somavamsi dynas1y who also fo unded eigh1 iiisanas for the worship
of the god.89 Though the identity of Puraiida ra-kesari is no1 clearly established it could he
Purailjaya (c. A.O. 1081- 1100), the son and successor of Janamejaya II and bro1her of
Kar11adeva"° or it could be one of 1he numerous Kesari names mentioned in inscriptions
bu1 no1 forming pan of the ruling dynas1y of the Somavamsi family. some of whom may
have had a cenain degree of autonomy under Co<,lagailga. T hai 1he temple was in existence
d uring the reign of Anangabhima II (A.O. 11 70- 1190) is evident in the l\ladalii Paiiji where
i1 is recorded 1ha1 he increased 1he amount for the service of the deity fro m 42,100 co,.·ri(·s
10 ! .,100. 1he expend i1ure even being minutely detailed.9 1 It may have have been 1he im a~e
from 1his temple which, as reco rded in the palm-leaf manuscript Baya Cakar/ti (recentl r
d iscovered chronicle o f the building o peratio ns of 1he 1emple), being badly worn, "'"
immersed in 1he ocean when 1he Surya Oeu l construc1ed by Narasimha I (A.O . ll)8 ·64)
\\·as C<>mpJeted and C<'>nsecrated u.•ith its <>u·n image .>2 Later on in this contro,·ers ial 1
.. /'1irf., pp. xxii-xxvi. St·c a ll'Cl R. 11.l ithra, "P· tit ., 11. pp. 14¢· 14 1.
11~ Sec S. N. R .1 j a~uru. () l lK.J, \ "<)I. I (1 <) \t). pp. (•6 ·<'9· ,
118 l 'hf.: :-c>·C:1lled IJ1raflc1 l\. ir2iyana cc:mplc a1 l'a1k apaJa ha::; Sa1\·i1c parir·11-dr1·111ti1 "·h1lc an ima)!C (l f \"i:-nu is
in~ 1 2 l h:<l v:i1hin, the in1<11~c.· r1t' SU r~· a ht• 1n~ l rw>~l· I~· placed''" the p<>rch ••< the later R <i n1c~,· at a temple.
~ l\<1nc r, ~2rn1~ <tntl l)a~. (Jp. (I/,. p. Xll l X.
<:ti Ocha1a ~ l 1t ra , J\..IJl'iJr.ik ( :\t'\l' l)clh1, 197(1), pp. 6 · 7.
~I J/11d.• pp. J•(),
'J2 tt~Jnc r. Sarmi and Oa:\, op. 111., p. 16~ .
Original from
manuscript, however, it is stated that construction on the J\1ahiigayatrl temple commenced
during the 14th alika of Narasimha I when construction on the Surya Deul was nearing
completion," suggesting that the immersed image must have belonged to an even earlier
Surya temple. In the Miitla/J Piifiji, on the other hand, which credits the construction of the
Mahagiiyatrl temple to Rajamiitii Kastiirikiimodinl (the Queen Mother or Dowager
Maharai:ii). thus agreeing with the Ba.Ja Cakar/ii94 in respect to the approximate date of
construction, it is stated that the image from the earlier temple was re-installed in the Surya
Deul constructed by Narasimha,"' suggesting that a new image was not provided but also
that the image installed was not from the J\1ahiigiiyatri temple but an earlier temple.
In both the Baya Cakal/ii and /o;fiidalii Piifiji, though disagreeing as to the image enshrined
in the Surya Deul, it is implied that there was an earlier Surya temple erected at the site but
that it was not the J\fahiigiiyatri temple, that the latter was construcred simultaneously with
the Surya Deul and was dedicated to his conso" or wives. /\ccording to popular tradition
as recorded in the /o;fiida/ii Ptifiji, fascicle No. 7 of l\olukundadeva (c. J\.D. 1111-68),
pe"aining to the invasion of Orissa by the J\fuslims of Bengal under Kiilapiihii<)a, the
temple at that time was known as the Thakuriil)l temple and reportedly was raided and
destroyed by KiiliipahiiQa. 96 No mention of a destroyed temple appears in Abu'! Faz'l's
account of a few years later, however, so that the temple complex apparently was intact
though numerous images may have been defaced. According to tradition still current in
Koi:iiirak the piijii-image within the temple was known as Riimacal)Qi and that she
supposedly left Kol)iirak stealthily when the Muslims under KiilapiihiiQa overran the temple
and destroyed it, the image now in worship in a temple o n the sea about 8 km. from
Kol)iirak.•' In the palm -leaf manuscript of The Arrhiterturt of the Padmaktiara Temple of
Ko~iirka the piijii-image is declared to be an a1/abhllja J\!ahiidurgii?8 whereas in the Trileiila
Mahiimiiyti Arra"ii Vidhi (rules for the thrice daily wo rship of l\olahiimiiyii) manuscript it is
described and illusrrared as a ten-armed l\ofahiigiiyatri, the iakli of Mahiibhiiskara.99 That the
image was already missing in the mid- 18th century is substantiated in the person al report of
Baba Brahmaciirl recorded in the /\Jada/a Piinji (fascicle No. 34 of Virakisoradeva) where he
star<s that the image had been carried away by villagers for their own wo rship. 100
A lthough local tradition, as reco rded in later manuscripts or chronicles such as the Baya
Cakarfii or the Madola Panji, thus declares that the J\lahiigayatri was constructed along v.'ith
the Surya Deul in the mid-13th century and v.. as erected for the consort of Surya, the
surviving architectural, iconographic and stylistic evidence refute this tradition. That the
temple was erected prior to the Surya Deul of Narasimha I is substantiated by the remains
of the south-eastern corner of its original enclosing wall which is still perceptible in the
southern wall of the later enclosure which now surrounds the entire compound. In the
western flank of this south wall exists an opening which originally served as 1he sou1hern
gate for 1he J\fahiigiiyatrl 1cmple bu1 was blocked up with 1hc cons1Cuc1ion of 1he la rger
enclosing wall of the Surya Deul, the east and north walls of 1he earlier compound being
"' Ibid., p. 11 } ·
')II /hid.• p. 113. fn.
~ O . ~litr2, KtFnarak, pp. 6·7.

' arml an dO as. op. '''··
"8 oner, S· ' p. xI\ •11.
"
')1 O . }.firr:11, KM1t1rult, p. 9(,,
.,. Boner, Sarma and Das. op. '''·· p. \J ,
.,., /h1J., p. p and pl. 99.
llXl /hid., p. 11.
Original from
410 Tl ~ ~IP LES ()f T•tl: l.:\TE 11TH <:l ~NTl! R\' ANO T•ll~ 1lTH C l ~NTll RY
dismantled to make room for the larger temple.101 Stylistically, both in respect to figure
sculpture and architectural features, the temple can be dated to the mid-11th century. An
exception, however, is the platform in front of the jogo111ohano which obviously is a later
addition, substantiated by the iconography of its dviiropiilos and the decorative program and
stylistic peculiarities of its side walls which arc datable to the mid·1Jth century. That the
temple was originally dedicated to Surya, and not his consons, is substantiated by the two
piirlvo·dtvotiis still in 1i111, both being Surya images iconographically related to those of the
later Surya Ocul. It is quite possible then that the temple was convened to the worship of
Devi after the construction of the Surya Dcul with its piijii·image being replaced by one of
the goddess or conson of Siirya.102
1. &iefa Deroralion
The temple is erected on a pitho measuring 36 '/,inches in height. The pitho consists of a
khura, lta~i and vatanlo mouldings, similar to that of the Riijaril)i temple, richly or·
namented with pod111o·pr1tho designs on the upper surface of the khuro and frieze motifs of
calvary and infantry on the venical face of the vosan/o. In front of the riihii on the nonh side
is a projecting gargoyle in the shape of a ma/taro while in front of the goviikfa on the nonh is
a similar gargoyle in the shape of a crocodile with a fish in its mouth. The biido of the J.,,/
measures approximately 28 feet square at the base and has an abbreviated sapla· ralha plan
with a thin praliralha added between the Itani/ta and anarlha as on the Khilesvara temple.
The piibhiiga is 81 inches high and consists of five mouldings of conventional design
ornately detailed with scrollwork and a kiri(a design on the 11111hii~li of the khura. The /ala·
garbhik.ii beneath the riihii niche is an elongated khii/eharii 1111111(/i flanked by a niiga/niigi Ilambha
on each side as on the Riijariil)T and Khilesvara temples with a kirifa design added above
the niche at the base of the 11111~efi. The niches of the /ehii/eharii·1111111(ii1 house an image of
Naiaraja on the west and 111ilh1111a images on the nonh and south.
Very little survives of the j iirlgha of the du1/ which probably was similar in plan to that of
the Khilesvara though the upper jiirigho most likely was decorated with piefha·11111~efis in the
standard fashion. The thin proliratha was probably decorated with scrollwork and had no
niches. The niches of the khiilehorii-1111111/is of the Itani/ta on the lower jiitigho were filled with
dileptilos of which only the image of Agni on the southeast corner remains in si111. There is
also an image of Varul)al)T in the Kol)iirak Museum, likewise seated in loli1iisa110 on her
mount, which, as Debala t.iitra suggests, 10> may have filled the niche of the piefha·111u!lefi on
the west side of the upper jririgho, suggesting that the ialetis of the dileptilas were placed on
the upper story. If so this would possibly be the earliest surviving example of their
inclusion in the decorative program where they soon become standard features. Only one
of the images of the anartha niches remains in si111, the eastern one of the north side, and it is
a fragmented Siirya missing above the waist . He is flanked on each side b y a warrior
holding a shield and sword while at his feet is AruQa holding the reins of seven horses.
Another fragmented image of Surya which possibly filled one of these niches is loosely
placed on the pedestal of the later brick temple behind the Mahagiiyatri. There is also an
101 D. ~litr-a . l\O!t.,r.ik, p. 9~ .

•01 D('h<1l:a. ,\fn ra l>UgJlt.'st,; 1ha1 1hc im1gc and its pcdc$.1 al \\':II~ in~rallcd "''ith1n rhc ll.anctum o( the SUrya. Dcul,
\\'h1ch explains rhc $mall size o( the pc<lc!>tal \\'1th1n the lar~c sanctum of the SUry-J OcuL Ste /hid,, p. 7.
10.. /b1J., pp. 101 · 1<>1.
Original from
TEMPI.ES OF THE I. ATE nTH CENTURY AND THE 11Tll CENTURY 4I I
image of Kiim•, holding a bow and arrow in his hands, in the Koi:iarak Museum which
may have been housed in one of the aft4rtha niches. Of the piir/va·dt11alii1 those in the nonh
and south riihii niches 2re i11 1i111 while an image, 2lso of Surya, in the National Museum at
New Delhi, probably was the piirilla-devatii on the west side. The present niches arc
makeshift and devoid of ornamentation.
The 1andhi-!lhala is decorated with three piiga1 on its jiiligha with the recesses between each
filled with a thin 1/ambha decorated with scrollwork. The center piiga on the nonh side has
an image of Surya in the niche of the lehiileharii-mM'!t/i while the niches of the flanking piigas
arc filled with an alasii-/eanyii. Surya is depicted st2nding in his chariot holding a full-blown
lotus in each hand and flanked by a warrior on each side holding a shield and sword.
Arui:ia is carved on the face of the pedestal along with the seven horses.
z. jagamobana
The jagamohana, which measures approximately 43 feet square, is also sapta-ratha in plan
though the thin pratiratha between the anartha and /eanilea is more developed and is designed
as a thin ''"''!tfi complete with niche, the niche housing an image of an alasii-leanyii. The
piibhiiga measures 6z inches in height and consists of five mouldings of conventional design
as on the d111/. In contrast to the thin praliratha, consisting of a single m111!1i, the leanilea and
anarlha are each pailca-ralha in plan on both the piibhiiga and j iirigha. On the piibhiiga this
design consists of an elongated center lehiileharii-m"'!t/i flanked on each side by a niiga or niigi-
stambha and a thin lehiileharii-stambha decorated with scrollwork on its shaft. The niches of
the center Jdiiileharii-m1111tfi are filled with mith11na or ala1ii-leanyii motifs. The design thus
simulates the lala-garbhi/eJ beneath the riihii niche of the de11/, with an added 1/ambha on
each side, though it overlays the piibhiiga mou ldings rather than filling an indentation
between them. The niiga/niigi-1/ambhas also only have one serpent, placed near the top, while
at the base they are decorated with twin gaja-leriinlas.
The jiiligha is divided into two stories by a madhya-bandhanii o f five mouldings, measuring
zl inches high, though only fragments of these mouldings, and nothing of the upper jiiligha,
have survived. The lowerjiirigha measures 48 '/ 2 inches in height. The paiita-ratha design of
the /eani/ea and anartha consists of a center lehiileharii-mll'!t/i flanked by an alasii-/eanyii and
lehiileharii-stambha on each side, the ala1ii-leanyiis, standing above a tall pedestal of foliage,
replacing the niiga/niigi-1/ambha1 of the piibhiiga design. The design is thus a funhcr
elaborat ion of the decorative program of the j agomohano of the Lingaraja, Siddhesvara 2nd
Kedaresvua temples where the "'"'!t/iI were flanked by 2 sing le 1/ombha on each side. The
lehiilehorii-m11'!tfi niches of the leanilea are filled with the dilepiilos as on the dt11/ with the images
of Yama, Varuoa, Vayu, Kubera and !Sana still in 1i111. The anartha niches of the lower
jiiligha apparently contained the graha1 with four of them, including Kctu and Rahu, still in
place. Other examples of grahas filling "'"'!t/i niches are the Lingaraja and possibly the Siva
temple at Khiching as several arc now housed in niches of the modern Kiilcakcsvari
temple. Despite the large size of the temple the niches arc quite small, averaging only about
14 by 7 inches, due to the two-story design of the jiiligha and the addition of a lala-bandhanii
moulding beneath the lehiileharii-m11'!tfi. The pailta-ratha design of the piiga is flanked on either
side by offsets decorated with scrollwork. The an11riihii recesses are filled with virala motifs
though only a few remain in si111.
The north and south gavii/qa projections are flanked on either side by a multi-faceted
pilaster decorated o n the center facet with an alasii-leanyii near the base of the jiirigha. The
Original from
TEMPLF.S OF Tiii:: LATE 11TH CE.:-<TU RY AND THE "TH CENTURY
,. ._,
.------"\ -~ _____ _. ..._
I
~ 1...- I
'
'
'' 1.- .-'. -
I P-•
''
..... ,- 1!:"'
KO('lirak : ~·1ahlgi)• a1rl Temple
pabhaga portion of the pilaster consists of live mouldings of conventional design while the
talo-gorbhi/ea between the pilasters is simil ar to the design on the anartho and leonileo but
without overlaying the ptibhago mouldings as they fill an indentation o r r<cess beneath the
window in the conventional manner. The window is framed by three bands o f scroUwork
on all fou r sides and is filled with fou r balusters ornamenred with female figures carv<d in
high-relief with a canopy of creepers. The cenrer two figures on both sides are musicians.
The balusters are crowned with i-ajra-mostaleo or kiri/a designs.
An unusual feature is the partial deco ration of the interior of the jagamohona "' here
pa/Jhago mou ld ings, o f varying height, appear ar intervals rather than continuously around
the walls. At the co mers these ptibhaga sections consist of live mouldings and arc
su rmounted b y an alasti-leo".)ii housed in a niche framed by scrollwork. At the top of the
frame is a frieze of elephants. Above these comer niches are squ iches in the form of corbels
placed across the angles of the square room, the corbels evidently inrcnded to convert the
square into an ocragon to faciliratc the spanning of the roof.'°' The vertical face of these
corbels arc relieved with a batde frieze ending with the vanquished paying homage to the
victorious king. The cast and west cnrranccs, as well as the north and south govti/e.!a
windows, a rc Aankcd o n each side by a projecting pogo complete with piibhiigo and two story
jiingho. The niche o n each ;angho is lilied with an alasa-leonJ·ti. The pogo is capped br a boro~{ia
Original from
1·Ei\IPl.l:S ()f Tiit:. J.:\ TC 11Tti Cf.NTllR\' ANO T1-ll ~ 1t1.f-1 <:E!'TL'R'J.
of which only ponions of the lower three mouldings have survived. The gavak/a opening is
capped by a frieze depicting an elephant procession. The pyramidal roof of the jagamohana
has not survived but most likely consisted of two po/alas of pirfha mouldings diminishing in
size and crowned by the conventional mastaka elements. !OS
l· Portal Decoration
The interior Aoor of the antarala is decorated with a plain kho ndalite moon-stone which
se rves as a step to the sill of the sanctum doorframe. The sill, carved of ehlorite, is likewiso
fashioned as a moon-stone (nandavarta) but elaborately decorated with lotus-petals and
foliage framed b y a beaded border on its facade and Aanked by a co nch at each end. The
Aanking ponions of the nand,frarta, supponing the jambs of the doorframe, arc tri-ralha in
disign and consist of two mouldings decorated with scrollwork. The jambs, carved of
khondalite, are deco rated with three miniature shrines on each side o f the door. The inside
band is a vajra-m11~rfi housing the river goddess, Ganga on the right side of the door and
Yamuna on the left side. The middle band is decorated with a lehalehara·m11~rfi, housing a
111ith11na in its niche, with a kalaia and Aanking lions on its crown. The base of the outside
band is carved as a pir/ha-m11~rfi with a four-armed dvarapala in its niche. The terrifying
guard o n the proper left is pot-bellied and has a ;·ajiiopavita made of serpents. His lower
right hand is in varada while the upper hand holds a sword or club partiall)' broken. The
upper left holds a 'okra while the lower left is bro ken. The benign guard holds his lower
right in varada while the upper one holds a rosary. The upper left hand holds an indisrinct
object and the lower left is missing. Both guards are accompanied b)' a diminutive
attendant. Only fragments of the scrollwork on the jambs above these miniature m11~rfis
have survived, the outside band being carved with intertwin ing serpent coils and the
middle band with the gtlaba scroll. The architrave was decorated with a navagraba slab of
which a fragment is preserved in the Ko 0 arak l'vluseum along with a small segment of the
graha slab belonging to the architrave of the doorframe of the jagamohana.1(}6 Nothing
remains of the doorframe of the jagamohana except for the Aoor of the passage which is in
the form of a large, plain nandat'arta. The pillars Aanking the entrance, auached to the raha
projection, are broken off above the pabhaga which consists of live mouldings of conven-
tional design and measures 1• inches in width.
4 . C11lt lmagrs
Two of the pariva-d1Patas, as mentioned, are in sitll, Haridasva (Bhiisk ara) on the north
and Mitra on the south. Haridasva is seated in a hieratic pose on the back of a horse. The
horse, with front hooves firmly planted on the ground, is stiff and lifeless. Haridasva is also
stiffly seated with his feet supported by a lotus rising from the pedestal on each side of the
horse. He wears a short dhoti, diaphanous coat of mail and boots. He is richly bejewelled
and his hair is arranged in a tall Jdri/a-m11kll/a. His arms are broken at the elbows and the
10,. 1\cc<1rdin~ I(• 1hc pa l nl · l ('~f m:anu:>cripl of Tht .-lrrhil<t f1Jrr o.f tht Padm01ktitJrt1 Df11la o.f Ko~iirako there \\'t:tC
t\\'Q ciers \lt'ith six mc>uldin~s in the 1<>wcr 1icr and fc1ur in the upper 1ier. The ,\frid11/ti p,;~ti. on 1ht 01her hand,
.
mentions three tirrs and the dlustra11on from the: palm·h:af manuscript 1·riki/4 :\111ha111~,.i ,..1rri0nti l/ idh1 alsi:>
sht>ws three 1hou~h the illustration is verv. in_accura1t 10 most Jc1a1ls and o( doubtful authrnt1ci1v.
Sarmi and Das, op. <it., p. } 1 and pl. 99.
. Sec Boner.
•OO The latter ""·as si1uatcd on the ~1cps of the pl:11(orrn. SeC' Bontr, Sarmi and O:as, op. <it. , pl. 107 a, c.
Original from
1'F.MPLF.S OF THE I. AT E "TH CEN'f LIR\' AND TH E uTH CENTl' R\'
attributes arc missing. He is placed in front of a back-slab carved with a trefoil /oraf!a edged
with Rames and decorated with a ldr1i11111kha at the top and 1110/earas at the sides. The sides
of the back-slab supporting the lorana have a warrior with sword and shield at the base on
each side, standing in a lribhanga pose in front of a It.halt.hara 111111.ufi. Above the "'"!'di on each
side is a female attendant holding a ta11ri in the uplifted inside hand while placing the
outside hand on the thigh in learya11alambi1a. The upper comers of the slab arc each carved
with a vidyadhara couple Rying in a circle of clouds. The image of Surya (Jl,fitra) in the
southern niche is badly mutilated with the head, right arm and left forearm missing. Siiry2
stands in a rigid samabhanga pose on a pedestal resting on a viivapadma cushion supported by
lotus sta.lks. Surya.'s dress and body ornaments arc similar to those on the previous image
a.nd he is likewise R2nkcd by a warrior standing in a tribhanga pose in front of a It.halt.hara·
m11ndi on each side, the 11111ndi crowned by a diminutive /ea/ala with Rankingjagralas as on
the lala·garbhik;i designs in the pabhaga. Above the "'"ndi is a female ra11ri-bcarcr, only the
one on the proper left remaining, with the <a11ri hanging from her uplifted right hand. Her
hair is 2rranged in a large bun to one side of her head rather than behind the head as
standard in the 13th century. Both images of Surya are carved in chloritc and, though
exquisitely carved in respect to body ornamentation 2nd drapery details, arc overly hieratic
and rigid in pose.
The image originally occupying the western niche, as pointed out by Dcbala Mitra, is
probably the one found in the nafa-mandira when it was cleared of debris 2nd s2nd at the
beginning of the 20th century. The image, now in the National Museum at New Delhi , is
well preserved with only the forearms missing and is more sensitively modelled than its
counterparts. •IYI Sury2 is claborotely bejewelled and srands in samabhonga on his chariot, tri-
ralha in design, with the seven horses carved on its facade. A diminutive Arur:ia, depicted
from the waist up, is at the feet of Surya while small images of Dar:idl and Pit\gala Rank his
right and left leg respectively. Warriors standing in front of a khiilebara·mt1ndi are ag2in
c2rved on the sides of the back-slab, one on each side at the base, with a standing female
carved above the m11nJi. The female figures hold a lotus in the uplifted inside hand rather
than a ra11ri 2s on the other im2ges. The top of the back-slab is c2rved with a trefoil tora!Ja
edged with Rames and crowned by a leirti11111kha mask. At the b ase of the torarra is a warrior
riding a horse with a sword in his right hand while on the opposite side is a seated male
playing a vinii. In gener>l, then, the im2ge is more beautifu lly carved than its counterparts
in the other niches and the iconographic program of its b ack-slab is more complex.
Except for the piiriva-dtvattis, carved of chloritc, and the missing piija-image the remaining
cult images were carved of sandstone, or khondalite, and arc small in size with the largest
image, that of the Surya now placed on the pedestal in the sanctum, measuring only 21 1/ 2
inches in height. The leanilea niches of both the d111/ and jagomohana housed the dilepiilas and
their ialetis on the lower and upper stories respectivdy.106 They are seated in lalitasana on
their respective mounts and hold their attributes in their two hands in the conventional
manner, l siina having four arms. The anorlho niches of the de11/ were filled with various
deities with many of them being representations of Surya. Unfortunately, due to the
ruinous cha racter of the temple, it is impossible to reconstruct the total iconographic
11>1 0. ~l i1 ra, Ko,,ard, p. IOJ.

toe 8ib1 Htahmaciri cl2im&in h1$ repon of t~e mid-181h ccn1u'1'· 10 have removed from the ~1 ahi~i )' lllti
ruins an 1magc of the iahi (>f \ 'i)'U, See Boner, Sarmi and Das, op. ,;,,, p. i1.
Original from
TEMPLES OF THE LATE " TH CENTURY AND THE .,TH Cf,NTU RY
program as it obviously ditfers from that of the later Surya Ocul. The anartha niches of the
jaga111o./Ja114 on the lower jiillgha housed eight of the graha1, the ninth being Siirya carved on
the santlhi-sthala. There was also a lf4vagraha slab on the architrave of the doorframc of both
structures, suggesting the important role the planets assume in the iconographic program
of a Siirya tcmplc.•09 The only existing Saivitc image on the temple is that of Na1ariija in
the tala-garbhik4 of the west facade of the t/111/. According to the personal report of Biibii
BrahmaciirI, recorded in the Mat/a/ii Pa1iji (fascicle No. 34 of VIrakisoradcva), he carried
away to Puri many sculptures from the Mahiigiiyatrl ruins, including images of a Biibiiji
(probably a fi/e!iitliilf4 scene), K!l,,a, elephant procession, Vayu-patni, Narasirilhadeva and
ten other works. Most of the images were placed on the bhoga-11ta"4apa of the Jagannatha
temple, two (of Narasirilhadcva) were placed in thcjagamohalf4 of the LaksmI temple while
the Vayu-pami and Biibiiji images were placed in the Hanumiin (Siddha Mahavira) temple.
The ii/e!iidiiM scene, as well as a G.,,csa and one of an elephant procession inserted into the
walls of the Hanumiin temple, arc of chloritc and too large to fit any of the niches of the
MahagayatrJ temple and thus probably belong to the Surya Ocul, as did the images of
Narasirilhadcva.110 The frieze of constructing a temple inserted into the walls of the
Hanumiin temple may have come from the Mahagiiyatrl temple but the image is too
covered with whitewash to make out details and thus cannot be assigned to it with
certainty.
I· Duorati11t Motifs
The most popular decorative motifs in sit• on the ruined temple arc the ala1ii-Jumyiis
Ranking the Jehiileharii-11t11MiJ of the lower jiillgha of the jaga,,,ohana. In general their graceful
and languid poses, body proportions and ornamentation, including hair styles, arc more
closely related to those of the 11th century than the more animated figures of the 13th
century. The face is also illumined by a soft, warm sm.ilc typical of the t tth-1 zth century
which has not as yet hardened as on 13th century images. The figures carved on thcgavii/e!a
balusters arc most closely rclucd to those on the Lingar:ija temple, both in respect to pose
and the manner in which the creepers from a canopy above their heads. The
ltlith11114/,,,aitlnma motifs, with the upper jiillgha of both structures missing, arc confined
primarily to the tala-garbhik4 niches of the piibhiiga. For the most part they arc rather tame in
action in contrast to the more explicitly erotic images on the later Surya Dcul.
The most popular scroll motifs arc the lesifilii and vana-latii though the largest bands are
frequently decorated with the circular vart11/4 which generally encircles animals with its
spraying vines. The most interesting motifs, however, arc the frieze reliefs carved on the
top moulding of the piibhiiga and above the niches of the female figures in the interior of the
jaga,,,ohalf4. In addition to calvary and infantry soldiers there arc elephant riders, provision-
carricrs, dancers, musicians, fighting scenes, hunting of animals, animals carrying supplies,
and assemblage before a king. The /eirifa designs on the kh11ra and tala-garbhi),,; of the
pabhtiga generally issue from a lotus canopy, as on the Lir\gariija, with only a few of them
being of the bho-type with Ranking figures. In several examples these Ranking figures arc
Jdnwara1 rather than ga~as or female figures. The khtikharti-11111~(1is arc generally crowned by
109 On the j11g11111°"""'1 of the Surya Ocul there was a ff4V11tr111M slab on each of the three cnrrancc ponals o(
the 141.11• """-"" as well as one above chc entrance to the sanctum.
1
11> Boner. Sarmi and Das. op. 'it.• pp. ii-iii.
Original from
T•~ ~1r1.1 ~s <l1: T f l E. 1. ..\ TE , , T ti < :r~. !'\ Tl' R , . ,.\ So -r11n 1 i ·r1t < '. 1 :~ T l ·R,.
a kalaia with flanking j iigralas, as at Baudh or K hilor, while the cun•ing upper surfaces of
the mouldings are relieved with padma-pr!/ha.
6. Platform
Added in front of thejagamohana sometime in the 1ith century, probably a1 the rime rhe
Surya Oeul was being constructed, is a rectangular platform. It is rhc same heighr as rhe
pitha of the original two structures though its decorative program is different. On the Ion~
north and south sides the facade is decorated with a se ries of eighteen miniature shrine<,
nine wide le.hiikharii-m111Jdi1 alternating with nine thin 11ajra-m119tfi1. The niches of these mun(lis
arc nlled primarily with erotic motifs, those of the lehtikJ1arii-m1111rfi1 generally in seated o r
horizontal positions and those of the vajra-m111Jtfi1 in standing positions. Some of the mo tifs
are duplicates of scenes appearing on the Surya Deul and stylistically they are identical. The
kiri/a or vajra-mastaka designs crowning the 11ajra-mN1Jdi1 are all of the bho-t ype with Rank ing
ga11a1 while the khiile.harii-m1111tfi1 are all crowned by a sing le large le.hiileharii moulding in
contrast to the multiple mouldings and crowning kalaia with Rankingjagratas appearing in
the tala-garbhika designs of the dtN/ and jagamohana. On the front of the platform there is a
single wide le.hiikharii-m111Jdi flanked b y a thin nyra-mu!Jdi on each side at the comers with a
wide flight of steps between. The lehiile.harti-m1111tfi1 house a dr·iirapiila in their niche while the
thin vajra-111111Jdi niches were nlled with female attendants with only those of the inside
111J11Jt/ii in sit11. The d11iirapiila1 assume mirror image poses w ith one kg uplifted resting on a
lotus-pad and one arm cross ing the body where it rests on a club placed vertically in front
of the guard, the same pose assumed by the d1•iiraptila1 on the Surya Deul which became
popular during the • Jth century. This contrasts with the conventional pose of the driiraptilas
on the sanctum doorframe of the l'>iahiigii.yatri. The hair of the dviirapiilas is arranged in
spriraling coils as on the door guards of the Surya Deul, at Beyii.lisbiiti and on the comer
shrine at Kalarahatiga, all dating from the mid-1ith century , rather than the tall j atii-m11.htn
standard during the 11th and 12th centuries. Nothing remains of the roof or supporting
pilasters though it presumably was flat or slightly sloping ,.•ith a corbelled ceiling.'" T he
structure thus was probably an open-pillared porch, influenced by early nii/a-mandiras, and
was likeli• utilized in a similar manner for various festive occasions. A few vards in front o f
the platform is • small block of masonry which probably fo rmed the core of a pedestal
which supported the base of the dhraja-llambha. 112
K) T .-\ N< :I: C ANl)ESVA RA -rE.\IPl.e
Another 12th cent ury temple stylistically related ro the Khildvara and :lfaha~ayat ri is
the Can<)esvara situated in the village of Chandeswar near Tangi in Puri district on the
northern edge of Chilka Lake. The beauty of the temple and its subsidiary deities a re
glorincd in the K1iara/eft1ra Altiha1myam (17th or 18th century) wh ich was published in
Oriya in 1961. Unfortu nately ,.·hile undergoing repairs the temple collap,ed du ring a
111 The palm·IC'a( dr:a ....· i n~ of the Ttik.ila ,\l,1him~ rd .. lrtanO I ·;,1111 sh•)\l."S it a!> an c1pc.·R hall ....·uh a l:.Jluso
A2nked b~· linn!> c1n 1hc r<k)f thou,i:.h 1hii> <lra -...· 1n~ . a ~ mt•n11r1ni:d c:arlu;r, i!' \' t; r~· inaccura1c and nl J ull 11 1u~
1u1 h cn 11 ci1~·· It :.hou.·-!- (>n.ly $IX m¥n1l1J o n tht: fac::idc t>t' tht pl att'c)rm, t'<1r C">:amplc:, and Jcp1c1:. th<' dt11/ a,. a ,,.,.
ratba \ h r1nl' . Sec r~unl· r. S2rn1a and l):a-., op . 111. , pl. 99.
112 0 . ~lu ra . l\on4r11k, p. 10 6 .
Original from
cyclone on October 29, 19!). At present the temple has been rebuilt only up 10 the bara!1efa
on the dtNI, partly wirh modern materials so that the structu re looks rather bald with most
of the o riginal decorative details being destroyed . The compound, which includes numer·
ous later shrines within irs boundary, is strewn with architectural fragments and scu lp tu res.
Due to constant plundering many of the best preserved images have been removed to the
village where they arc stored in godowns and houses. There arc also numerous fragmcnrs
from an earlier temple, mostly rewo rked at a later date, and SC\'eral Vai~Q3\'3 images v.·hich
probably came fro m a Vi~t)u temple in the immediate vicinity. T he compound wall and the
large entrance gate on the cast are later in date.
1. 8Jefa Duoralinn
The baefa of the dtNI has an abbreviated sapta-ralha plan as at Khilor "' ith a 1hin pratiratha
added between the kanilea and anarlha. It is erected o n a low Npana or berm consisting of a
single moulding measuring 14 inches in height. The berm clo•cly follows the outl ine of rhe
projectiong pagas and is deco rated with scrollwork on irs mNhaJJ/i while rhc sloping upper
surface is relieved with padma Pr/Iha designs. A small sculpru ral p anel projee<s in front of
each paga division. In rhar the garbha·grha o f rhe sanctum is deep below the Roor of rhc
antarala and the doorway, suggesting the temple may have been builr on the sire of an
earlier shrine, there may be a pi/ha buried benearh rhe berm. T he bai/a of the temple is
approximately 22 feet square at the base. T he pabhaga consists o f nve mouldings of
conventional design and is 66 l/4 inches high. The khNra moulding is decorated with a 1•ajra-
111111Jtli which is linked with the <ampaka leaf on the k.Nmbha moulding as on the Rajariit)i
temple. The tala-garbhikii beneath the rahii niche consists of an elongated leJ1iikharii· m1t1Jtli
Ranked on each side by a niiga{niigf·slambha with a serpent at the base and top as at Khilor
and o n the l\iahagayatrl temple. The niche at the base of the m11nefi is divided into two
stories, however, whereas at Khilo r it has a single-story plan and on the Mahagiiyat ri o nly
the o ffsets arc divided into rwo stories. The "'"nefi is crowned at rhc top b y an inve ncd
kh1tra moulding, aligned with the top moulding of rhc piibhtiga, rather than the stand ard
khiikhara mo uld ing surmounted by a kalaia w ith Ranking jagratas as on the other rwo
remples.
The jarigha was d ivided into two stories of equal size, each 16 '/, inches in heig ht, by a
madk1·a-bandhana o f rhree mouldings 11 inches high. The mouldings were richly orn amented
with scrollwork and linked togerhcr by a vcnical panel in th~ center of the kanika and
anartha as on rhc Ling ariija, the panel being relieved with scrollwork or a standing alasii-
kanya. The kanika and anarlha arc multi-faceted with the offsets decorared with scrollwork
and the center facet designed as a khakhara-m1tnefi o n the lower story and pit/ha-munefi on the
upper. The khtikhara-m1tnefis were crowned by a diminutive kalaia with Ranking jagratas
though these were generally obscured by the shadows cast by the projecting bandhana
mouldings. The thin pratiralha was similarly desii-:ned though without a niche, being only 6
inches w ide, and decorated with scrollwork on its shaft bcnearh the crowning 1•imtinikti
designs. The an1traha recesses were filled with the standard virala motifs on the lower srory
and ala1a·kanya1 or mith11nafmaith1tna motifs o n the upper story. The rahii was designed as a
truncared pit/ha-1111tnr.Ji wirh the upper story extending into the baraJJ<.Ja division where it was
su rmounted by a projecting 1tdya1a lion. Little of the decorati ve program o f the riihii has
survi\red as it \\'as altered with the: addition of ni10-shrincs in front <>f the pOrfra·de1·11tiis at a
later date. The uppe r niche housed a small dupl icate of the piirit"a-del'ola.
Original from
TEt\.IPL.E.S 0 1:: THE LATE 11TH CENTURY ANO THE 11TH CE:NTU R)'
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Ta.ngi: CaQ(ldvtr'I Temple
1. Ga1Jefi Duoratio11
The bara!Jl4 consisted of ten horizontal mouldings which served as the base for the ga1Jefi
and continued the sapta·ratha alignment of the bii/a though the a1111riha recesses were
eliminated as on the Liilgaraja and most later temples. The lta11ilta of the ga1Jrfi was divided
into ten bhii111is by ribbed 11111/41, with only three bara'!efis in each hbii111i, and was disposed o n
two planes with the comer rounded and projecting. The thin pratiratha was divided into
baraf!rfis superimposed one above the other up the height of the ga1Jrfi, visually serving as a
beaded band separating the wider Itani/ta and a11artba. The a11arth" was decorated with a
vertical alignment of four superimposed atiga·iileharas diminishing in size as on the
Liilgaraja. The base of the raha was decorated with a large atiga-iilehar" flanked by a smaller
one on each side. A band of scrollwork appears above the aliga-iikhara and higher up is a
large projecting lion. The ht.lei contained dopi<hha·simhas above the lta11ilta and images of
Siva seated in padmasa11a above the rihi to help support the amalalta and crowning
members. The ltalaia was su rmounted by a trifii/a.
l · Jaga111oha11a
Little survives of the jagamoha11a except its floor, 11pana and portions of the pahhaga, the
structure apparently collapsing even before the d111/. It measures approximately 3 1 feet

TJ·:~I Pl.l~S <>F Tll E I.ATE 11TH CENTl.R\' :\1'0 THf: 111·1i c:i:.NTt'R)'
square and its 11pana closely follows the groundplan as on the de11/ and is similarly decorated.
If there is a pi/ha it is buried. Although little of the decorative program thus survives
enough exists to suggest it is a further elaboration on that of the MahiigiiyatrT temple with
an extra paga added at the comers to produce an abbreviated nava-ratha plan. On each side
of the gavakfa we thus have, beginning from the outside corner, a kanika, first anartha, thin
pratiratha, and second anartha. The pabhaga is 4 l 1/, inches high and contains five mouldings
of conventional design. On both anarthas there is superimposed on the center facet a tala-
garbhik4 design as on the leanilea and anartha on the Mahiigiiyairi so that the overall design
consists of horizontal mouldings (leanilea and pratiratha) alternating with vertical elements
(both anarthas), a decorative program which becomes more pronounced on later temples
where the pratiratha is developed into a full paga. The ta/a-garbhik4 designs are only tri-ratha
in plan, in contrast to the paJita· ratha plan of the Mahiigiiyatri, with an elongated le.hale.hara·
"'"!'¢i in the center flanked by a naga·stambha on each side. The base of the stamhhas is
decorated with a single gaja·leranta, rather than twin motifs, and only a few of the niches of
the "'"!'¢is have a two·story plan. The gavak/a projection is similar to that of the
l\lahiigayatrT with pilasters at the corners and a tafa-garbhik4 with a panta-ratha plan
consisting of an elongated le.hale.hara-m11nefi in the center flanked by a naga/nagi stambha and
lehale.harii-stambha on each side. Nothing survives of the jangha though presumably it had a
two-story plan and continued the vertical alignment of the pabhaga as on the Mahagayatri
temple. The gavak/a projection on the south side was convened into a door at a later date,
probably when other structures were added at the front of the east-west axis to facilitate
entrance into the sanctum as on the LiJigaraja and other temples. Nothing of the pyramidal
roof survives.
4. Portal Duoration
The sandhi-sthala is approximately l 1 inches in length and is decorated with a lafa-garbhik4

on the pabhaga division as on the Khile5vara with its tri-ratha plan likewise continuing up the
jangha. The design of the tafa-garbhik4 duplicates that of the rahii on the de11/ with an
elongated le.hale.hara-11111!'¢i in the center, crowned by an inverted le.h11ra, flanked by na1,a/nagi-
stambhas with a serpent at the base and top of each sta111bh11. On the Jangha the center
i:/Jale.hara-11111!'di, duplicating the design of a paga, houses a female t1111ri-bearer in its niche
while the flanking sla111bha1, designed as thin le.hale.hara-11111!'¢is, have two superimposed
niches which likewise house female attendants. This contrasts with the design at Khilor
where the flanking stambhas arc decorated with jagrata motifs.
All that survives of the doorframe leading into the sanctum is the nandavarta step and the
pi(iha-1111111(ii designs at the base of the jambs which house the dvarapalas. Only the dvarapala
on the proper right, along with the river goddess Ganga, are original with those on the left
being modern replacements. The addition of the river goddesses accompanying the
dvarapa/111 is typical of these late 11th and 111h century temples. Gangi is placed on the
inside next to the door, as on the Mahiigiiyatrl temple, rather than on the outside as on
most of these temples. She stands in a tribhaliga pose on her maleara mount holding a vessel
with her uplifted left hand while her right hand, partially broken, is on the thigh. The f<)Ur·
armed Mahakiila stands in a slightly flexed pose on a lotus cushion. His main right hand is
in varada while the left holds a trident. The upper right holds a rosary while the other left,
probably holding a leapala in front of the chest, is broken. The panel beneath the dvaraptila
Original from
410 T1~ ~tP1 . 1~s <>f Tt 1 1~. t.1\Tl-: , 1Tl-t c; c~Tl' R\' :\ND TJ-tF. 1i1·11 c:~.t-: TL' R\'
niche is decorated with an elephant chasing a lion, an unusual variation of the ga)a·krti111a
motif carved on many of these temples. The jambs above the niches have been replaced by
modem bands, five in number rather than the standard three. Steps lead from the door
down to the sanctum which is below ground level, possibly suggesting this was the site of
an earlier temple. A fragment of a navagraha slab is loosely placed on the floor of the
jagamohana, serving as a pedestal for a small Nandi. The grahaJ are housed in pi¢ha·mN11diJ
and seated in padmii1ana.
l · C11/t I magn
The exquisitely carved piiriva·dtvatiiJ arc all in 1it11 and wdl prcscn·ed due to the erection
of niia·shrines at a later date which afforded protection. They are carved of chlorite with a
trefoil-shaped tora1,1a decorating the upper part of their back-slab. Gal)esa stands in a
slightly Aexed pose plucking sweets from a modalea-piitra held in his maj or left hand. His
major right hand is broken at the elbow while his lower right is in varada holding a rosary.
His lower left hand rests on the /ellfhiira which is on the pedestal with blade dov.•n. A mouse
peers up at the deity from the lower right corner. Kiirttikeya stands in a similar slightly
Acxcd pose holding the {ale.ti/ trident in his major right hand and the rooster-cock in his left.
The lower right hand is in varada above his peacock-mount while the back left, possibly
restored, is in abhaya. Devasena is under the rooster-cock supporting its legs with her
uplifted right hand. Karttikeya is richly bejewelled with his yajiiopat•ita formed by a garland
of flowers. The tora1,1a has a kirtim111eha flanked by music playing ga1,1aJ at the apex and
maleara1 surmounted by dancing leinnaraJ at the sides. Flying vitf1·iid/Jara couples are carved in
the upper comers. Khiileharii·m111,1rfiJ decorate the lower corners though they house no
images. A peculiar feature employed throughout the iconographic program is the manner
in which the shaft of the weapons is decorated with beaded coils running continuously
around it. Piirvati stands in a slightly flexed pose with her front right hand in varada and her
left hand folding the stalk of a lotus. Her upper right hand holds a niig a-piiia while her
upper left holds probably a lehar/ga (sword) or an/ellfa. She is ornately bejewelled and
attended by a diminutive female figure on each side standing in front of a lehtileharii-m11ntfi. A
lion peers up at her from the lower right corner. The 1ora1,1a above her head is similar to
that behind Kiirttikeya though the malearaJ arc eliminated.
The dilepiila1 and their ialeti1 were housed in the lower and upper m1111rfi niches of the
leanilea as on the Mahahayatrl but few of chem have survived intact. They are seated in
lalitaJana on their respective mounts in the conventional manner. Despite the large size of
the temple these niches are again quite small, averaging about t ~ '{2 inches by 8 '/ 2 inches,
due to the dominant role the m11ntli shrines play in the decorative program. The anartba
niches of both stories were filled with various deities and sllqiitfana motifs but again few
have survived. The most intereSting is the image of l.\fahi~amardini housed in the niche on
the lo wer jii1igha next to Yama on the southeast. Durga is represented with but two arms
and has hold of the buffalo by the tail with her left hand, her uplifted right foot planted on
its back, while lifting a sword above her head with her rig ht hand.
T here are also numerous loose cult images scattered within the compound , including
three Vaisl)ava images housed in a small shrine south of the de11/. Two of them are quite
small , measu ring approximately 11 by 6 inches, and most likely. filled pii1,a niches on the
)a.gamoha11a o r o n a nearby Vi51)u temple. One of them is the Nrsimha aratar of \'i51)u v.·ith
Original from
TE~IPl.ES <>F THE LATE 11TH CE;NTL!RY AND T HE 11T H CEN T'U R'r' 411
the deity tearing the entrails from the prostrate Hirai:iyakasipu in the conventional manner.
The other is the Varaha avatar with the boar-headed deity represented in alit/hasana holding
Bhudevi with his lower right hand and hoisting her up on the elbow of his uplifted left
arm. The third image is larger in size and possibly filled a raha niche or was placed in a
special shrine. It is a four-armed Vi~nu standing in samahhaliga on a viivapadma cushion. He
is Aanked by Bhudevi and Sridevi. lconographically and stylistically the image corresponds
to many other examples datable to the 11th-13th century. There is also a detached slab
which depicts, in two registers, the exchange of babies and crossing the river from the
Kr~na·lila episode. The lower register contains a row of cows and three sleeping figures.
Housed in a godown at the edge of the village is a small image of Parvati. Though badly
damaged below, the upper torso and face arc wcU preserved and the image obviously is
contemporary with the temple. Her facial features are refined and are illumined by a soft
smile suggesting inner contentment.
One of the most beautiful images which attests to the superb workmanship of the
sculpture on the temple is the Kama now housed in the Seattle An Museum. Originally it
was placed in one of the anMraha recesses of the upper jdligha. The deity is depicted
dispensing arrows from his bow while Rati and Priti are seated at his feet. Among other
images scattered within the compound arc btki images of Siva seated in padma1ana which
correspond closely to those on the Lirlgaraja temple.
6. Duqrativt Afqtif1
Aside from the pdriva·dtvata1 the most beautiful images arc the ala1a·leanyas and
mith11na/ maithMna images which, along with Kama, filled the anMraha recesses of the upper
jaligha. Some of them arc exquisitely carved and assume interesting poses, though many of
them have been plundered or arc broken. One of the most unusual is the motif of a female
wringing her wet tresses after a bath with a ham1a catching the drops of water, a motif
popular in the Kusar:ia period but newly introduced in Orissa. It filled the recess next to the
iakli of Yama on the south side of the temple but the image was broken when the temple
collapsed and all that now remains is the torso and arms. One of the most beautiful images,
and panicularly intriguing, is that of a female with arms lifted above her head riding on the
shoulders of a dancing, pot-bellied ga!Ja. In general the female figures are richly bejewelled
and wear their hair in a large bun to one side and a tiara with festoons on top of the head.
Their face is softly illumined by a warm smile and their features are delicately rendered.
The images average 30 inches in height, excluding their lotus pedestal, and are about 9
inches in width.
Of the maithsma motifs one of the most animated is that of a female clinging energetically
to the neck of her male conson while he cups her breasts with one hand and wraps one leg
around her body. In other examples the female pins the male against the wall and lifts one
leg in the act of mounting him, her right hand holding the back of his head. Among the
less explicit themes is that of the male standing behind the female and gently embracing
her. There is also a small example of a female exhibiting heryqni which was probably on the
pabhaga. Numerous virala motifs have survived intact and have been inserted into their
normal position in the anMraha recesses of the lower story. In the process of reconstruction,
however, some of the female figures in the recesses of the upper story have been shifted and
arc no longer in their original position.
Original from
422 Tf~~1r1.i:.s ()F T lil-'. l.:\ ·r1: l l T H ('.l :KTl'R'l' AND TllF. 1zTH <:ENTl . R)'
L) l\!E(;HES\'ARA TE~IPl.E
The abbreviated sapla-ratha plan of the Khilesvara, l\fahagayatri and Cai:idesvara temples
is funher elaborated on the l\ieghesvara temple with the addition of a second anarlha to
produce an abbreviated nava-ratha plan. According to a commemorative inscription origin-
ally attached to the temple, now fixed to the western compound wall of the Ananu-
Viisudcva temple, the Meghesvara was built by Svapncsvara, brother-in-law of the Ganga
king Riijariija II (A.O. 1170-1190) and commander-in-chief of the army.tu In that
Svapnesvara also served under Anangabhima II (A.O. 1190-1 t98) it is possible that the
temple was built during the latter's reign.tt• The temple is situated in a walled compound at
the furthest northeast extremes of the city. In the commemorative inscription it is recorded
that Riijariija II strengthened the institution of devadosis for performing dance and music
before the Lord and it is quite likely that there was originally a no/a-mandira isolated a shon
distance in front of the jagamohana as at Kiilarahanga and Niali. Whereas the enclosure
walls arc close to the de11/ and jagamohana on the south, cast and nonh sides there is a large
open area in front of the temple which could have accomodated such a structure. Though
no traces of this structure survive the Aoor of the compound has been raised many times so
that today even the pi/ha beneath the de11/ and jagamohana is completely covered with new
paving stones and all architectural debris has been removed. The top of the pi/ha was
visible as late as 1973, however, and the /eirtimule.ha gargoyle utilized for drainage from the
sanctum is still visible on the nonh side where the added pavement forms a well around it.
Unfonunatcly, due to its isolation from human habitation at the outskins of the city,
despoliation for a long time was carried on almost unmolested so that many of the images,
panicularly the female figures of the an11roho recesses of the upper ;origha, were forcefully
plundered from the temple. Two of the poriva-devatos, Gai:icsa and Piirvatl, were also
stripped from their niches, apparently in haste as their broken feet and back-slabs arc still in
the niches. In addition the remaining sculptures are poorly preserved due to the soft and
gritty variety of sandstone used in its construction, a fate shared by most of the Ganga
temples at Bhubaneswar, so that the best images arc those panially protected by the
projecting caves of the roho or the alcove formed in the sandhi-sthala where the de11/ and
jagamohana arc joined.
t. &i(ia Dtforalion
The bti(ia measures approximately 18 feet 6 inches square at the base and has an
abbreviated nava-ratha plan with the ptigas varying in width. From the corner on the ja1i_~ha
we thus have, on each side of the rtiha, a /eoni/eo ( t 4 inches wide), recess (8 inches), v.·ide
anartha (19 1{2 inches), recess (7 'I, inches), pralirarha (l inches), recess (l 'f, inches), ind
anarfha (14 inches) and recess (6'{, inches). The rtihti measures 48 inches at the base v.·hile
the pobhoga mouldings extend 6 inches berond che /eoni/eo. The piibhiiga is 47 inches high and
consists of five mouldings of conventional design with a bell-shaped kiri/a on the kJJ11ra
moulding as on the Brahmesvara temple. Thejri1~zl1a is divided into tv.·o equal stories, each
l9 '{ 2 inches in height , by a nmdhya·b11ndh11nti 11 1{2 inches high and consisting of three
11.> l :p1t.r11phla lnditn , \ 'ol. \ ' I ( 1<)00·01). pp. 1 9 8 · .z o ~ .

11• P:tn1gr:ahi , .-Jr4·fwr"llJl.ltal Rrmain1 al Rh11htJlltSll'tJT. p. 48.

TEr--fPLES OF THE l..ATE 11TH CENTURY AND TliE 11TH CF,.NTUR''
"-- - - - - - - - i A•i -
- ai.. __,,...,
' ''
'----- t l. 1"----~
- ...
......"" . ~·
- .-
Bhubaneswar: f'vleghc$\•2ir2 Temple
mouldings. The piiga1 of the lower story, including the praliralha, ~re decorated with vojra-
m11!'1iJ while those of the upper story are pi~ha-m11'!¢i1. Except for the pratiralha the poga1
have two thin, undecorated offsets on the side facing away from the riihii so that rhe "'"!'~;,
arc not cemered on the piiga1. Due to the increased number of piiga1, and corresponding
recesses filled with images, the overall effect is crowded and deviates from the standa rd
Orissan convention of isolating o ne figure from the other with scrollwork. The niche
frames arc cxtremeley thin, o n the pra1ira1ha eliminated altogether, so that the images
appear almost one next to the other though avoiding the frieze arrangement popular in
Central India, as at Jagat or Khajuraho. Part of this crowding is now alleviated,
unintentionally, b y the theft of many of the images from the amtriihii recesses. The images in
the niches arc quite small, averaging only about t; inches in height, and thus dominated by
the viriila and alasii-ka1!Jii motifs of the an11riihii recesses which measure approximately 26 1/ ,
inches and 2; 1/ 2 inches with their lotus pedestal on the lower and upper stories respectively.
The riihii is designed as a truncated pitfha-mN!J~i with a single-story plan. The lala-garbhik.ii
beneath the niche consists of an elongated lehiileharii-mM{l~i flanked o n each side b y a thin
band of var/11/ii scrollwork. Except for its paika·ratha design and a diminutive Ir.ala/a with
flankingjiigralaJ at the top the m11'!¢i is devoid of ornamentation. The riihti niche is flanked
by a pilaster on each side relieved with var111/ii scrollwork and, near the top. rhe iilamba
motif of festoons dripping from a /eirlimMleha mask. The lintel decoration has nor survived,
Original from
414
suggesting that niio shrines were probably erected in fro nt of the ptiriro-deruttiJ at a later
date with the decoration being removed when these shrines were bonded to the riihii.
Remnants of a pi(lho roof, in fact, are still visible on the bara11(1a mould ings above the rtihii
on the north side. The riihti design of the bti(la is capped by two pit/ha mouldings and a plain
vasan/a moulding at the top.
The 1andhi·1/hala, 40 inches in length, has a ptibhtiga di,·ision aligned with <ha< of the tleul
while its jtirigha is decorated with a large framed niche on each story. The lower niche
houses a j agrala motif while the upper one was left undccora<ed, poS'ib h• in<cnded to house
a bhairava o r alasti·/eanyti as on the temple of Sobhanes,•ara at Niali.
:. Ga11(1i Drroralion
The baro11<1a consists of seven mouldings which partake of <he piiga di\'isions but are
otherwise devoid o f decoration. The ga11(1i, which reached a height of st feet, continues the
nava·ratha plan of the bti(la with the praliratha appearing like a string of beads separating the
two anarlh111. The /eani/ea is divided into nine bhiimi1, rather than ten, each bh1imi ha,·ing
three baran(lis plus the am/ti. The lower two boran(li1 of each bhiimi are joined together b y an
overlaying small vajra-1111111(1i which is barely perceptible and devoid of decoratio n. Both
anarlha1 arc decorated with a series of four an11.a-1//ehara1 of diminishi ng size superimposed
one above the o <her beginning above the first bhiimi and extending to the top of the ga11(1i.
The rtihti consists of a continuous series of boraf14is of equal size extending up the height o f
the ga11(1i with a vertical band running up the center. A slightly broader band runs up the
center of the bara11da where it is crowned b y a projecting leirlim11kha and surmounting 11d1·ulti
lion. This band was probably intended to be decorated with a vajra-1110110/ea but left
incomplete. The panel at the base of the gof14i, serving as the major 1•ojra·maJla/ea which
extends up two bhiimi divisions, was also left plain. It is crowned by a larger leirtimuleha
with surmounting 114Jalti lion. Over the 1andhi-11hala on the front facade is a tv:o·story
alignment of a center pirfho· m1111(1i flanked on either side by a smaller one so that there is
only a single vajra-mallalea panel. This is crowned by a large projecting gaja·leriinla at the
level of the fifth bhiimi. The bisama con sists of two horizontal mouldings rather than one.
Vario us aspects of Siva seated in padmiisona arc inserted in the belei above each riihti, as on
the Lingaraj a, while squatting belei-bhaira1•a1 are placed abo,·e the lt.lllikas rather tha n <he
co nventional dopirhha-1imha1.
l· Ja,~amohana
The jagamohana is 31 feet square at the base and is devoid of decoration except for the
ptibhiiga division and the entrance ponal. The groundplan has an abbreviated nava·ratha
design similar to that of the CaQ<)esvara temple at Tangi except for the additio n of a /ala·
garbhik;i design overlaying the ptibhtiga mouldings of the /eanilea so that all three major pti,~aJ
on each side of the ga1,.ti/f.!a have such a design. These designs consist of a khiileharti·11111f1{1i,
paiira-ratha in plan, in the center Aanked on either side by a J/ambha. In contrast to the
designs at Tangi, however, these arc devoid of ornamental detai l. The pabhiiga, measuring
zs inches in height, consists of five mou ldings of conventional design, also lacking in
ornamental detail, but arc generally obscured by the talo·garbhik;i except on the pratiratha
where they arc in full view. The jarigha is divided into two stories, the lower io 1/ 8 inches
and the upper 30 l/ 8 inches in height respectively, by a matlkya-bandhanti consisting of a single
Original from
mou lding seven inches high. The bara11c/a is 17 inches high but, like the jiingh,,, bereft of
decorative derails.
lt' ,_:,,;
The gavak{a projection is crowned by a pidha-eave, as on the Siddhesvara, with the
gavale.1a·ma11c/ana above aligned with the barai1c/a but left undecorated. The lala·,g,,rl>hile.ii
beneath the window consists of a center lehiilehara-m1111c/i, tri·ratha in plan, flanked on each
1e t~.... side by a slambha and a thin pilaster, all devoid of decoration. The windows have fou r
l!J(~( balusters though only one has received partial decoration, a l'iriila motif of a lion springing
on a crouching elephant, a rare motif for balusters on Orissan temples.
The pyramidal roof consists of twelve pie/ha-mouldings of diminishing size arranged in a
single tier. The crowning mastalea is missing. Ar the level of the eighth moulding above the
gavaksa projections and entrance portal is a projecting pediment which would have been
decorated with a vajra·mastale.a and surmounting lion had the decorath·e program been
Jrc
,r,, completed.
...
..... 4. Portal Duoration
rr.~
l~ The entrance po rtal, facing west, is flanked by a pair of nt{~a/11t{~i·sta111bhas as on the

Rajarar;>l temple. The serpents are carved near the top of the sta111bha, their tails coiling
. downwards, with the male on the proper rig ht and the female on the left in the standard
•""•
fashion. The gaja-le.ranta motifs at the base of the stambhas u•ere not co mpleted . The door is
,. framed bi• three bands of scrollwork though most of it is now missing. The middle band is
decorated with the circular ''ar/11/ii scroll rather than the standard .~t!aba. The j alapt1tra motif
'
I on the outside band is more stylized than on earlier temples as the leaves are more
widespread and rake on the appearance of a trident or triratna. The Gaja-Lak~mi motif on
the lintel is housed in a pi{/ha-1111111(/i. The planer representations are ho used in niches with a
trefoil-arched ceiling. Keru is represented serpentine from rhe waist d own and Rahu is
depicted from the chest up. The d1•arapiilas were housed in khiilehara-mu11c/is but have nor
survived. The panels beneath these m1111¢is are now buried by the floor o f the compound.
The remains o f a Nandi-slambha are visible in front of the d oor.
The decoration of the sanctum doorframe is more complete. An extra band of lotus
petals is added so that the frame consists of four bands of scrollwork. The panels beneath
the dvarapiila niches arc visible and decorated with a kiri/a design. The d1·arapiilas,
acco mpanied by the river goddesses, arc housed in vajra·m1111c/is. Stylisticall y the d1•iiraptila.r
and river goddesses are similar to those at Kalarahai:ig a rhoug h Ganga and Yamuna ha,·e
changed places and the d1·arapalas arc fo ur-armed. Nandi, somewhat stout in body
proportions, stands in a tribhariga pose holding the trident in his lower left hand while the
upper, probably holding a le.apala, is missing. H is lower right hand holds a rosary while his
broken upper hand holds a sword as on the Ko1i1irthesvara. HisJ·njiiopnl'ifa and anklets are
formed of serpents. He wears a vana111ii/a that hangs to the knees and an ornate g ird le. He is
bearded and terrifying in countenance. 1\ kneeling figure with hands folded in aiijali appea rs
at his feet. ~fahakala stands in a similar pose bur is more lithe in body proportions. T he
river goddesses srand on their respective veh icles holding a warer vessel in their uplifted
inside hand while their outside hand is p laced on the thigh in the conventional manner.
•
i
J l . Cult 1mugu
Of the pariva-devafas only the image of K:lrttikeya remains intact, the others having been
plucked from their niches. He stands in from of a trefoil-shaped torana with a le.irtim11/e.hu ar
Original from
TC~ff'l.F.S ( )F THE I. ..\ TF. I I TH Cl~NTll R y ..\NO THE I J T H CF~NTl' RY
the apex and 111alearas at the sides. He assumes a graceful tribhanga pose and is stylistically
similar to his counterpart on the Kcd:iircsvara temple. His lower right hand is extended in
varatla above his peacock-mount while the upper hand is broken off at the elbow. His front
left hand holds the rooster-cock and the back hand, probably in abhaya, is missing.
Dcvasen:ii stands in a tribhaliga pose supporting the feet of the rooster-cock with her uplifted
right hand. K:i.rttikcya is ornately bejewelled and has his hair arranged in the ii/eha!ftfa/ea
coiffure. Of the dilepiilas only five remain ;,, si/11 and they arc badly damaged. They arc
seated in lalitiisana on their respective mounts as on the Brahmc5vara temple.
With the development of the nava·ratha plan there is a corresponding proliferation of
iivararra·dtvatiis on the exterior walls. The iconographic program differs from that on the
Lingar:iija and Valukesvara temples and includes numerous aspects of Siva, some esoteric,
and various forms of the Devi, such as paiiragni·tapaSJ·ii Parvati and Vana-Durgii. !'-.!any of
the images arc missing, however, while others arc badly worn or damaged. Beginning on
the south the images on the lower story are the dikpiila Yama (leanilea}. a damaged figure
riding a horse, probably a king, with warriors or hunters on the pedestal (anartha), Aja·
Ekapada (J>raliratha), and a standing Gagcsa (anartha) west of the riihii while cast of it arc
images of Lakulisa (anartha), a standing Siva with the bull Nandi on the pedestal
(J>ratiratha}. a seated male surrounded by yoginis (anartha) and the dikpiila Agni. The images
on the upper story of the south side are a standing V ana-Durga, combining aspects of
Vai~gavl and Durga (leanilea), a six-armed Siva Mahiiyogi seated in padmiisana ( anartha), a
standing figure holding a club or lehatviiliga with an indistinct animal below (J>ratiratha), and
a dancing Bhairava or yogini ( anartha) west of the riihii with those on the east side being a
dancinggarra (a114rlha), dancingyogini (praliralha) , Standing Gal)csa (anarlha) and a standing
four-armed Devi (leani/ea).
On the back or east side the images of the lower jangha south of the rahii are missing
except for an alasii·leall.Jii {pratiralha) while north of the riihii the first a!14rlha niche is empty
except for three standing disciples on the pedestal. The remaining images arc a walking r1i
wearing a turban (praliralha), a ii/qiidtina motif (anartha) and the dikpiila Vayu (leanilea).
The niches south of the riihii on the upperjarigha are filled with a four-armed Si,•a holding a
parai11 ( leanilea), Hara-Parvati seated on a lotus cushion ( anartha) , standing frmalc holding
a lotus and a warcr jar (praliratha), and a standing Hari-Hara while those north of the raha
contain a toilet scene ( anartha ) , alasa-leanyii ( pratiratha) , standing male with a sword and
shield Aanked on either side by an attendant holding similar weapons ( anartha) and a six·
armed Na1araja ( leani/ea) .
On the north side the images on the lower jarigha are missing cast of the riihii except fo r
the dilepiila Kubera ( leanilea). West of the raha the only image in si/11 is a Jik1iidiina motif with
a pot-bellied figure seated in a relaxed pose resting on a pillow facing two diminutive
disciples (anartha). On the upper story the images cast of the raha arc a standing Sh·a
holding a para/11 and mrga in his uplifted hands (leanilea), a standing Siva holding a Jamar#,
leapiila, trident and a rosary (anartha}, a two-armed Siva holding a leaptila and a trident
(J>ratiratha), and a four-armed Piirvati while those on the west side arc a dancing yogini
(anartha), an alasa·leall.Ja {praliratha), a paiiriigni·tapa!)·ti Piirvati (anartha) and a standing
Kiirttikcya (leanilea). The upper niches on the west side flanking the sandhi-Jthala house an
image of ArdhaniiriSvara and a scene with a male figure, possibly Kama, flan ked on either
sidc by a female with her outside arm uplifted.

TEMPLES OF T HE LATE " T H CENTURY ANO T HE n T H CENTU RY
Of these numerous cult images one of the most interesting is that of a seated male figure
surrounded by female figures with a herd of cows carved on the pedestal, identified by
Panigrahi as the Godhana-harai;ia by Brahmi.t•S If this figure is Kr~Qa it testifies 10 his
emerging popularity as the favorite of the Gopiila clan, also mentioned in the temple
inscription, and possibly suggesting the influence of the Gitagovinda of Jayadcva.11• The
male figure is scared in a relaxed pose on a low couch flanked by standing and scared
female figures on either side, some of them being obliterated. The diminutive seated figure
in the upper left comer appears to hold a l<apala in the left hand. The face is obliterated so
its identification as Brahma is open 10 question. It appears more like an emaciated female
figure with sagging breasts. The image in the opposite comer, slightly larger but equally
worn, represents a female figure taking a giant step. She appears 10 be drinking from a
l<apa'4 held in her uplifted left hand. Her right hand holds a l<artri ( ?) and she wears a
garland of skulls. The objects held in the hands of the other female figures arc indistinct.
The seated figure has long-flowing hair and his legs arc tied with a yoga-pa/fa, aspects nor
associated with K~l)a. An image which docs suggest the growing influence of Vai~Qavism
is that of V ana-Durgi. Included among her attributes arc a ca/era, club, conch and long
bow. The animal carved on her pedestal, possibly a lion, is indistinct.
The four images of Siva in the btlti arc identical 10 those on the Liilgariija and represent
various aspects of the deity. He is seated in padma111111J and holds various weapons in his
hands. The number of hands varies from four to eight.
Within the jagamoha11a is a unique image of Hara-Pirvati leaning against the wall. Siva is
scared in lalitiuana with his right leg pendant while Piirvati is on his left thigh with her left
leg pendant and her right arm embracing him. Siva has three heads and six arms. His major
right hand rests on his knee in varada, possibly holding a fruit or an offering, while his left
arm embraces PiirvatT. His remaining right hands hold a rosary and an indistinct object,
panially broken, possibly a lotus. His uplifted back left hand holds a lotus rosette while the
other left arm is missing. Piirvati's left arm is broken at the wrist. The back right and left
comers of their lotus scat support a trident and a l<apala respectively. The pedestal is
ornately decorated with kneeling devotees, a vajra-gha11/a, a center vessel flanked on either
side by two bowls heaped with offerings, a small conch on a stand, and a seated figure.
There are also smaller images within thejagamohana, earlier in date, of a seared GaQesa and
a scene of two female figures scared in ardhaparyalil<a, one holding a lotus and the other
pouring libations.
6. Dtforative Motifs
Only a few of the female figures from the a11Nriiha recesses of the upper j aligha have
survived intact and, due to the poor quality of stone employed, most of the refinement of
the original carving is lost. The best preserved arc those next to the raha or facing the
sandhi-11hala where they arc better protected from the clements. One of the best of these
images is that of a female holding a child in her uplifted hands, a motif popular during the
Somavarilsi period. Another image in which the facial features arc well preserved depicts a
female removing a bangle from her ankle, a motif also depicted on the Lingariija. The
tt~ lbiJ., p. 8s. A similar image at Niali has been interpreted as a hermitage representing the Sunascpha
episode in the Ri•i.Jaf.111. Sec P. K. Ra)', Pr11rhi V oll~J. p. J4·
110 Prabhat Mukherjee. op. tit., pp. 64•71.
Original from
uplifted leg is now missing, however, though a dwarf attendant appears beneath its original
position where he was helping to suppon it. The female holds the bangle in her left hand.
In terms of body proponions the figures arc not as lithe as their counterpans on the
Lingaraja or Brahmesvara temples, and their facial features not as refined. Though they
invariably have a smile on their lips it has become slightly mechanical and lacks the warmth
and softness typical of 11th century images. In most cases the figures stand in front of a
creeper which meanders behind their back and head though it does not form the protective
canopy as on earlier images. Conspicuous by their absence are erotic images though some
of the images plucked from the upper recesses may have been mith11nas.
The ,,iriila motifs filling the an11riibri recesses of the lower jan1,ha stand on their hind legs
above a crouching elephant or demon and look over their shoulder in typical fashion. Like
their female counterpans of the upper jringha they likewise dwarf the images in the niches of
the projecting m1111{iis and arc similarly crowded in their narrow confines. The 11ajra-maslako
designs crowning the m1111{iis of the lower story are generally of the bho-type, with tear-
shaped medallions, but they arc so poorly preserved, almost crumbling, that their details
are hard to discern. In general the flan king figures are subordinate to the overall design and
could just as well be vines or foliage. The kirtim11kha masks carved on the patfa moulding
of the piibhaga, from which the tampa/eo-leaf of the lellmhha appears to issue, are so small as
to be virtually unnoticeable. T he scrollwork on the horizontal paf!a and t'asanla mouldinizs
of the pabhaga are rather garbled \•ariations of the vana-lala and lellfi/Q motifs. Due to the
thin niche frames, scrollwork plays a subordinate role in the overall decorative program.
The onl)' vertical scroll motifs of any consequence on the exterior walls arc those on the
pilasters framing the riihri niche and on the lateral projections of the m11ndis which generally
are of the 1.art11/J type '1t·ith animals hc>u!'cd in the circular sprays.
1
M ) Nl;\t.I ; S\lttll.-\ 1'bSl ".\R;\ TE.111'1.f.
The innovative experiments d isplayed on the l\lcghcs,·ara, i.e., the increased number of
pa1,as and their variation in width , also appear on the contemporary tempi< of
Sobhanesvara at Niali situated on the eas tern bank of the Praci ri,·cr under the Go,•indpur
Police station in the district of Cuttack , about so kilometers from Bhubanes.,.•ar. Although
the Prncl is a relatively small river, being a minor tributary of the l\fahiinadi, the valley is
teeming with temples representing all of the major religious cults of Orissa, some dating to
as early as the 8th century. \1i' ithin the immediate area of Niali itself there are a large
number of ruined temples and sculptures, including the Hara-Cai:i<)i temple ded icated to
Ciimui:i<)ii, the temple of Lak~mi-Nrsirilha, the Siva temples of Purnesv ara and
Gramesvara, the temple of Nilakantheh·ara, a temple of Brahma and a mafha at Nuiigaon
which houses numerous images of Kr~l)a. There are in addition numerous Vi~i:iu ima1tes
scattered about, some still lying under a banyan tree at nearby Korakora, including eight
images, popularly called r.liidha\·a, which were remo,·ed from surrounding areas and
placed within the compound of the Sobhanesvara temple. T hese images, along with
numerous other sculptures, are now h oused in a scu lpture shed next to the temple
constructed by the State Department of Archaeology in 1971-72.117 The d isco,•ery of so
Original from
Tl::'. ~IPl. ES ()f ·rf'I E f,;\1'E ' , 1·H < :t~ NTl'. RY :\N [) THE 11T• t c;J~NTLI RY
many Vai~navite images, more than from any other site in Orissa, suggests the predomin-
ance of the Madhava cult in this region. The magnificent temple of Madhavananda in the
village of Midhava, in fact, is only 8 kilometers away.
The most imponant structure at Niali is the Siva temple of Sobhanesvara. The temple is
situated within a compound of laterite blocks in a heavily wooded area which makes it
difficult to photograph, overall views being almost impossible. Compounding the difficulty
are the ni/a-shrines added in front of the pariva·dtva/aJ at a later date. The temple faces cast
and consisted originally of a dtNI, Jagamohana and nafa· mandira, the latter isolated at a
distance from the j agamohana as at Kiilaraharlga with a platform likewise added at a later
date connecting the~ two structures and the na/a·mandira convened into a bhoga·ma11dapa as
on numerous other temples. An inscription carved near the entrance of the jagamohana
records that the temple was built by a Niigavamsi king named Vaidyanatha, most likely a
vassal king of the Ganga rulcrs.118 The writer of the inscription ""as the poet Kavi
Udayana, described in the praia1/i section of inscriptions from the Amaresvara temple
(Srlkilku!am district of Andhra Pradesh) and An ant a· Vasudeva, as the first commentator of
the Gitagovinda. 119 Udayana is the same poet who wrote the prai alli inscription of the
l\feghcsvara temple so the date of the Sobhanesvara can likewise be ascribed to the closing
years of the 12th century, possibly during the reign of Anailgabhima II (A.D. 1190-98). An
earlier inscription, consisting of four Jines badly mutilated, is carved on a Siva-lingo known
as Suryesvara, one of live such lingas within the temple compound, suggesting the existence
of earlier shrines at the site. 120
1. Bai/a Duoralion
The biiifa measures approximately to feet square at the base and has an abbreviated nova·
ratha plan as on the Meghesvara though the widths of the pagaJ arc even more varied and
only the wide anartha has an offset. Staning from the comer on each side of the raha is the
ltAni/ea (10 inches wide), pratiratha (l l/, inches), wide anartha (•l inches) and second
pratiralha (l l/, inches). The pabhaga is l} 1/ 2 inches high and consists of live mouldings of
conventional design. The Jangha is divided into two stories, each 44 1/ 2 inches high, by a
madhya-bandhana of th ree mouldings 18 inches high, the mouldings linked by a band of
scrollwork in the center of each paga. The paga1 arc designed as vajra-m1111ifi1 on the lower
story and piifha-m1111(iiJ on the upper story. The 1111111(iis of the upper story all have niches
filled with figure sculptures whereas on the lower story the thin pralirathas arc decorated
with a band of var111/a scrollwork beneath the crowning vajra·11101ta/ea. The broad offset of
the wide anartha is decorated with garbled vana-lata scrollwork with a figure among the
foliage at the base, such as a le.innara or a hamsa. The an11raha recesses between each paga
vary in width, being either 6 1/2 or 7 1/2 inches wide. They are filled with the standard virala
motif on the lower story and alasa-/eanyiis on the upper story. Only a few of the viriilas have
survived while none of the ala1a·lea11.JiiJ are in 1i1111hough a few of their pedestals arc intact.
As on the Meghesvara there is a crowded effect, panicularly next to the pratirathas, though
again it is partially alleviated by the missing figures from the recesses.
1 1~ S. N. Rai:a)tutu. Jnstrip11nn1 ef Oristu, \ rot. 111, parl 11, p. 338.

''" K. <:. ~-lis h ra, op. tit., p. 17·
120 P. K. Ra)'. ..-1 (. 111d1 11> J'""'P'""' .fh(d a1 :\ '1ali, p. 1 .
Original from
4j0
The raba is designed as a truncated pit/ha-m1111di as on the Mcghcsvara though it projects

out 23 inches from the wall, nearly twice as far as on the latter. Most of the design is
obscured by the niia-shrines erected in front of the pariva-devatas at a later date but it is
probable that a tala·garbhiltti was inscncd beneath the niche. On the bara11~. however, there
is a large niche, completely obscuring the mouldings, with a tri-partilt arrangement
surmounted by a panel with a projecting lr.irlimukha and 11tf.ra1a lion.
•· Ga11tfi Dtroralion
The bara11tfa consists of ten horizontal mouldings which partake of the na1·a·ralha design
but arc othe rwise devoid of decorative details. The ga11tfi continues this vcnical alignment
but is mostly covered with plaster so that decorative details arc obscured. The /eani/ea is
divided into nine bhlimis by bhlimi·amlas while the wide anarlha has four superimposed ariga·
fikharas of diminishing size extending the height of the ga11tfi. The decoration of the
praliralhas is not visible. The base of the raha is decorated with a large ariga-fikhara flanked
by a small ariga-fikhara on each s ide. This is surmounted by a vajra-mal/alea panel, co,·crcd
"'·ith plaster, and a projecting 114yala-lion. The crowning mal/a/ea is mostly intacr.
J. ]agamohana
The jagamobana has an abbreviated nava·ralha plan as at Tangi and on the l'\1eghcsvara
but with most of the decorative program still intact. The bat/a measures l ! feet square at the
base with its pagas arranged similar to those o f the dr11/. From the comer on each side of the
gat'alr.Ja is a /eani/ea (•) inches wide), pratiralba {8 •/ 2 inches), wide anarlha (63 1/ 2 inches) and
second praliralha {8 1/ 2 inches). The piibbiiga is J9 1/ 2 inches high and consists of fi,-c
mouldings of conventional design. The /eani/ea and anar1ha each have a Ja/a-garbbiltti design
superimposed over these mouldings. On the /eani/ea it consists of a center elongated
khakhara·m1111tfi flanked on each side by a naga/nagi·slambha with the serpent can·ed at the top
and the lower shaft having a simple lri·ralha design above a base moulding. The m1111tfi is
crowned by a kalaia with flanking jiigralas. The lala·garbhiltti on the "'•ide anartba, on the
other hand. has a sapla·ralha design "''ith a wide elongated khakhara-1111111tfi in the center
Aanked by an alignment on each side o f an elongated khiikhara·m1111tfi with flanking
naga/nagi·slamhhas which duplicate the design on the /eanilr.a. There is thus an alignment of
four slamhhas alternating with three lr.htilr.harti· m11n(/is.
The jangha is divided into two stories, each JJ '/ 2 inches high, by a madhJ•a-bandhana of
three mouldings measuring 1 5 inches in height. The most unusual aspect is the continuation
of the venical alignment of the lala-garbhiltti designs up the height of the jarigha. On the
,l,,,ni/ea there arc thus three lr.halr.harti-m1111rfis aligned next to each other on the lower story
and three pi{/ha·mu~tfis on the upper story, an alignment vaguely reminiscent of the
..
Brahme$,·ara dr11/ where the m11ndis have a center niche flanked bv. a thinner one on each
side or the jagamohana of the l'\lahagayatri temple where the m11~(ii is flanked by an ala11i·
lean1a on each side. On the ...-ide anarlha there are thus seven khakhara·1111111dis and pit/ha·
mundis on the lower and upper story respect ively which, with their thin frames, produce an
almost frieze-like alignment of figures. The niches of the lr.halr.harti-munrfis are capped by a
projecting pit/ha-moulding, even more pronounced than on the de11/ of the Mcghcsvara,
which serves visually to separate the lower story from the upper story. The lo\\•cr story thus
appc•rs more related to the lala·.~arbhika dcsil(n< than to the upper story . The 1•ajra-111aI1aluz
Original from
TE~fPLES OF Tf-IE LATE 11TH CENTUR'' ANO THE 11TH CENT UR\'
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N1aJi: Sobh2ne$vara 5.,,.2 Temple
designs obovc 1hc projecting pit/ha-cave capping the niche, on the 01her hand, appear more
rela1cd to the 111adhya-bandhanii and with it serve visually as base mouldings for the pit/ha-
11111tµ/i designs of the upper story. The an11riihii recesses separating the projecting piigas,
varying in width from 7 Jj, inches on the inside recess next to the gaviif<la to 8 '/ 2 inches on
the outside recess nex1 to the Itani/ta, are filled with viriila motifs on the lowe r story and
alasii-kanyii or 111ith11na motifs on the upper story. The viriila motifs overage 14 •/ 2 inches in
height and the alasii·kanyii1 or 111ith11nas, standing on higher pedestals, average 19 inches. The
baratµ/a at the top of the biit/a, 14 '/ 2 inches high, consists o f six mouldings, visible o nly on
the west side, though generally covered with plastrr or replaced by plain ston<.
The ga11iile.,a projection has • lala-garhhihi design similar to that of the wide anarlha with
four niiga/niigi-Jlambhas 2ligned olternotely with three lt.hiikharii-m111Jt/is. The sh2ft of the
J1a111bha1 beneath the serpent is deco rated with 11arnilii scrollwork. The window obove the
tala-garbhihi now consists of o brood ploin frome filled with six plain balusters, the original
decorative program left incomplete or, more likely, replaced by plain stone at a later date.
The gaviile.,a-ma!Jt/ana above the window, aligned with the bara~t/a, is missing so that at the
bara~t/a level the thin inside pratiralhas serve as the boundaries of the gaviile.,a projection. The
pyramidol roof consists of two po/alas of pit/ha mouldings of diminishing size, five
Original from
431
mouldings in the lower tier and four in the upper, with a gaviik,a panel surmounted by a
projecting 114Jatii lion appearing above the third moulding of the lower story over the
gaviik/a projections. The crowning 111a1talea elements are intact.
The 1andhi-1thala is 43 inches wide and decorated with a piibhaga duplicating that of chc
dt11/. Thejangha is decorated with a large framed-niche on each sto ry, as on the Meghesvara,
rather than khiikhara or pit/ha-11111!'1/i1 as on the dn1/. The niche of the lower story is filled
with ajagrata motif of a rider on a leaping lion while the upper niche contains a Bhairava·
type guardian figure with legs crossed and his arms placed in front o f his chest resting on a
weapon. The decorative program o f the entrance po rtal of the jaga111ohana is obscured by
modem paint and plaster and I have not viewed the sanctum doorframe but presu mably it
would be similar to that of the J\feghesvara.
4 . C11/t lmagn
The piirfva-devalaJ are all in 1it11 but fronted by a nifa·shrine designed as an open porch
with a pit/ha roof supported by fou r large pillars. The four-armed Gan.Sa stands in a
slightly Acxcd pose plucking sweets from a modaleo·piitra held in the upper left hand with his
lower left hand resting o n a /eNfhara . His upper right hand holds a broken tusk wh ile his
lower right is in varada holding a rosary above the mouse carved in the lower right comer.
Behind the mouse is a standing anendant holding a jack- fruit. Ganesa is ornatelr
bejewelled wich hisyajiiopavlta and anklets being formed by serpents. H is hair is arranged in
a ja/a-mu/eN/a and surrounded by a trefoil-shaped 1ora11a carved on the back-slab. Flying
vidytidhara couples appear in the upper comers and dancing ga!fat at the sides o f the tora11a.
Karttikeya stands in a slightly flexed pose holding the rooster-cock wich both of his left
hands. His upper right hand is broken at the wrist while the lower is extended in varada. A
diminutive attendant figure resting o ne arm on a staff is carved in front of the peacock at
the lower right corner with a pil/ha-11111111/i at the base o f the back-slab part ially hidden
behind the peacock, the m1111t/i housing a small image of Kiirttikeya in its niche. In the
opposite corner Devasenii stands in a tribhanga pose with her uplifted right hand supporting
the legs of the rooster-cock . A similar 11111111/i appears beh ind Devascnii. The tora!fa
surrounding the head of K:irttikcya is supported by a virtila on each side o f the back-slab.
T he tora11a has a /e.irti11111/eha at the apex and a vid)·adhara couple in the upper co rners while at
the base is a small Gai:iesa on the left and a standing four-armed Parvati on the rig ht . The
pedestal is decorated with kneeling devotees as on the Ganesa image. The image of Pan·ati
is covered with garments and generally unavailable for close inspect ion.
T he dikpalaJ occupy the leonilea niches of the lower jangha of the de11/ as on the
~feghesvara with each dilcpJla seated in lalita1ana on their respective mount. T here arc only
th ree nidhi jars beneath Kubera's seat, one large one in the center and one on each side
serving as the leg supporting the seat. The iconographic program of the tivara11a-devatti1 is
similar to that of the Meghesvara but with less imagery due to the thin pratiratha1 being
decorated with scrollwork on the lower story and generally ala1ti-leonyti1 or standing r1i1 on
the upper stor)" The /eonileo niches of the upper story house various Brahmanical deities,
including Kama, or various aspects of Siva, such as Ekapiida. On the northeast is a
standing Siva holding a mrga in his upper kft hand similar to the example on the
!\leghe5vara. The larger anarlha n iches of both sto ries ho use primarily mu ltiple figure
scenes, such as liriga-piija o r iikftidiina motifs, with the figu res genenlly in a seated position.
Original from
TEMPLES OF T Hc L ATE u TH CEN'rURY AND THE ,,TH CENTCRY 4JJ
In one scene the /iliga is on the back of a reclining NandI and approached by a bearded, pot-
bellied figure holding a staff over his shoulder with his left hand while carrying a water jar
in his right. In a iikftidi11a scene the main figure is seated on a low couch facing two rows of
figures who arc bearing gifts with one on all four limbs touching the floor with his head.
The seated figure has his right hand raised. A herd of cows is on the pedestal similar to the
scene on the Meghcsvara.121
On the jaga11toha11a the Jikpila1 appear on the kanika, in the center niche flanked on either
side by a female attendcnt, while their faletil or female countcrpatts appear in the same
position on the upper jatigha. The pratiratha niches house ala1i-kaf1.Ji1, rfi1 and in one
example two figures wrestling. The narrow ,,,.,,,4;, flanking the wider 11tiqitfis on the a11artht:J
arc decorated in a similar manner while the niches of the wider mfl!ltfis are filled with
various deities, including Surya. Siva Mahiyogi and Brahma, with iile/adana scenes,
11tith1111as, hunting scenes, warriors and an enigmatic scene of four figures arranged in a
circle. Surya is seated in padmisana holding a full-blown lotus in each hand. There is no
chariot or horses as in similar examples from Khiching and Caurasi. In the image of Siva
Mahiiyogi. or Yoga-Dak$il)limt1ni, Siva is seated in paJ,,,isana with his major hands resting
in his lap in Jhyina-flflldri. Nandl is carved in the lower right comer of the pedestal. As with
many of the images, the details and facial features are panially obscured by accretions of
plaster.
Within the jagaflfoha114 arc loose images of Vi$1)U, Kintikeya, Kilavikala and a wooden
image of Jagannitha.'22 Detached sculptures within the compound include Variha,
numerous images of Vi$1)U and an Astikajaratkiru. There is also an image of
Mahi$amardini affixed to the compound wall on the west which is earlier in date, possibly
from the 11th century. Durga is ten-armed and plants her uplifted right leg on the back of
the decapitated buffalo from which Mahi$• is attempting to escape. Except for the niga-pila
and quiver of arrows behind her shoulder all of the attributes, and hands, are missing.
I· Decorative Motifs
With the proliferation of niches on the exterior walls, and the corresponding increase of
recesses separating the pagas, there arc an overwhelming number of decorative figures with
many of them, panicularly on the jagamohana, still in sit11. The most popu lar of these motifs
arc the alasi-kafl.Ji and 11fith1111a. The alasa-kal!JiS arc extremely dynamic and provocative,
assuming various poses and activities such as looking into a mirror, holding a small child
in uplifted arrns, bending a branch or reaching for a creeper. Stylistically they arc similar to
their countcrpans on the Mcghesvara though their features and ornamental details arc not
as refuted. Their hair is generally tied tightly in a large bun to one side of the head, leaving
little on top of the head so that the face appears overly round, and they generally wear
extremely large round, but plain, earrings. Equally animated in pose arc the ra11ri-bearing
attendants housed in the narrow niches flanking the Jikpalas and the scenes in the larger
niches of the anartha, in some cases appearing as if ready to bust the thin borders of their
niche.
121 Sec P. K. Ray. Prat/Ji L-'all11.r (BhubaneS\\.'2t, 197~). p. 34. R:ay identifies (ht S<tnt :as a hermitage
iUuslrating the Sunasepha episode from the Rimi.Ja!fd.
iu Ibid., p. 11.
Original from
4)4 TcMPtES OF THE L ATF. n1'H CF.NTVRY AND THE ,,TH CcNT!JRY
The lflith11na images arc generally mild in nature with the partners embracing one another
in an affectionate manner. Ao exception appearing on the jagamoha11a represents a bearded,
pot-bellied man embracing around the waist a female figure on each side, a motif
reminiscent of the one on the Mcghcsvara temple which possibly represented K:ima. Herc,
however, the overall tenor of the motif, as well as the body of the male, is quite different.
The female figures each wrap their inside leg around one of the legs of the male with one of
them tugging at his beard while the other has her right arm upraised. Equally popular arc
standing r1is holding a staff over their shoulder or a vessel in their hand. There arc also
numerous examples of the iile/titlina motif of a g11r11 instructing his disciples or of a king or
rfi giving audience. Also popular arc domestic scenes with husband and wife conversing on
a couch, the husband taking leave of his family or walking side by side. In addition to linga·
piijii scenes there arc variations of confronting figures appearing to stir liquid in a pot. In
keeping with the general trend throughout Orissa there is 'thus a growing increase in the
number of secular themes appearing in niches along with various deities.
Of the animal motifs the most numerous arc the •iriilas 61ling the recesses of the lower
jiirlgha on both the dl11/ andjaga111ohana. As on the Mcghcsvara the animals appear cramped
in their narrow confines due to the increased number of projecting piigas and the lack of
offsets decorated with scrollwork so that they abut the figure sculpture next to them. The
panels carved with •<rfra·lflastakas crowning the 11111!'{/is of the lower jiingha arc of lesser
height than those on the Mcghc$vara so that their medallions arc Aattcncd out. In some
cases a face or mask appears in the center medallion. On some of the narrow pratiratha
designs of the d111/ the motif is bell-shappcd and houses various deities, including Na1araja,
though the images arc extremely small and nearly indiscernible. Although there arc
numerous panels carved with the circular >ar/11/ii scrollwork, including the stambhas in the
tala-garbhiJ:,i designs of the gaviilqa, the most favo red motif is the lush >ana-latii which
appears on both horizontal mouldings and vertical offsets with the largest being those of
the wide anartha of the dl11/ where hamsas or leinnaras appear at the base among the foliage.
In general, due to the proliferation of niches, the thin frames and lack of offsets, scrollwork
plays a subordinate role in the overall decorative program.
6. Nii/a· Mandira
The original nii/a·lflandira measures 30 feet J inches square at the base and was isolated a
short distance in front of the jagamohana as at Kilarahanga. The sides of the pi/ha or
platform arc sJ inches high and likewise divided into a pobhoga,jongha and bara~{la though
the jiingha portion is bereft of sculptural decoration. The Aoor of the niifa·mandira also has a
peristylar design with the addition of four large pillars forming a square in the center as in
the pillarcd·ma~{iapas of the upper Mah:inadi valley but without a raised platform. They arc
not aligned with the center pillars on the sides so that the square they form is larger than
the aisles. They arc 14 inches square at the base and 116 inches in height while the
remaining twelve pillars arc 19 1/ 2 inches square and 70 inches high. They have a square
base and octagonal shaft but arc devoid of decoration except for a badly worn iilamba motif
on the base of the square capitals. The stairs on the west end, facing the jagamohana, arc 9
feet 6 inches wide and project out 9 feet. At the sides on the front arc khii/eharii·m11~(iis which
house a dviirapola in their niche. On the cast end there is only a makeshift set of steps which
faces the entrance into the compound. As at Kiilarahallga there is no su rviving evidence of
Original from
T EMPLES OF T H E LAT E .. T H CEr<TU RY AND THE ..T H CENTU RY 4}!
a roof and it is quite possible that temporary roofs, made of bamboo and thatch, were
erected as need demanded, the hall probably serving various functions in addit ion to dance
fcsiivitics.
That this structure was contemporary with the temple is evident in the commemorative
inscription where it is recorded that devadisis danced in the ni/a-,,,antiira of the temple
during the time of Bhoga-piija. 12J This is possibly the earliest known inscription that
explicitly states that J,.adisi1 performed in a nifa-,,,allilira. The dvirapila1 on the west stairs
have one arm lifted in abhaya in front of their chest and wear a large turban. Their other
arm also crosses the body where it probably rests on their weapon. They arc buried from
the waist down by the pl2tform added at a later date, as at Kiilarahanga, when the original
11i/a-1t1a11dira was convened into a bhoga·1t1tl{l('4pa, a conversion suggesting a change in
temple ritual and the status of the enshrined deity with the dance performances being
moved closer to the sanctum. The present ni!a-,,,antiira is likewise lined with pillars though
its pifha is lower.
N) A D DITI ONAL SHRIN ES AND D ETACHED SCl!l.PTU RE
1. Cha1t1~swar: Cha1t1paniitha Co1t1po11nJ

. Among the numerous sites with detached sculptures which can be assigned to the t 2th
century the one which has the most impressive images is Champeswar, a village near
Narsinghpur in the Athgarh subdivision of Cuuack district, a few miles nonh of
Biincswamiisi on the nonh bank of the MahiinadJ river. These images arc scattered in
numerous shrines within the compound of the Champaniitha temple. The Champaniitha
temple faces west and consists of a de11/, jaga1t1ohana, 11iifa-1t1andira and bhoga-ltla!'fiaPa. all of
which arc heavily plastered and devoid of sculptural decoration except for the piirlva-dtvalis
which are of a late date and crudely executed. The structures, of various dates, arc rather
awkwardly joined together in a row. There is also a row of relehi shrines cast of the temple,
pavilions to the north and a doorframc along with several Gancsa images on the south side
of the compound. Embedded into the wall next 10 the compound entrance on the cast is an
image of the dilt.piila l sana and a long frieze depicting a royal figure rccl.ining on a couch
with an elephant procession approaching the palace. A female holding a ta11ri appears
behind the reclining figure while a second attendant is massaging his leg. Kneeling figures
arc facing the royal personage along with female figures standing with hands in alijali.
Stylistically the scene, edged with a border of beads (J11!'(iilt.a), is similar to examples on the
temples at Pratiiprudrapur and Khilor and probably served in a similar manner to decorate
the bara!'fia recess or com ice of the cave covering the sa11di-sthala.
The detached doorframc south of the temple consists of three bands of scrollwork with
dvirapiilas at the base housed in pi¢ha·1t1Jl!'¢i1. The dviirapiilas arc four-armed and stand in
nearly identical poses holding the trident in their main left hand. T he figures arc badly
eroded due to weathering effects on the soft stone. The dviira-lalii/a-bimba panel is missing
from the lintel. Next to the doorframc is an image of Ganesa seated in lalitiilana eating
sweets from a modolt.a-pitra held in his left hand. The image is also badly weathered. More
impressive arc two large images of dancing Gar:icsa carved of mMgMni or chlorite. In the best
12) S. N . Rajaguru. /111trip1i""1 efOrl1111, Vol. Ill, pare fl, p. ~ ~8.
Original from
preserved image the eight-armed Gal)eSa has his major right arm in gaja-hasta while his
main left hand holds a modalea-ptitra from which his proboscis is plucking sweets. His upper
two hands hold a serpent horizontally above the head though the middle section of the
serpent is missing. His third right hand holds a rosary while the bottom hand is placed in
leartari·hasta. His third left hand holds a lultbtira while the bottom hand is broken off at the
wrist. He is richly bejewelled and has a loin-cloth consist ing of several horizontal pleats. He
is flanked at the base by a dancing ga!'a on the right and a dancing emaciated ascetic on the
left. The mouse is carved beneath a vifvapodmo on the pedestal with kneeling disciples or
musicians at the sides. The second image, almost identical in size and style, differs only
slightly in respect to iconographical details. His lowest right hand holds the rosary and the
mouse is carved at his feet rather than on the pedestal. The third right hand is broken at
the wrist but the serpent is intact above his head with scales minutely detailed . Stylistically
the images are similar to those at Algum and on the Piitiilesvara temple in the Lingariija
compound.
In a small pavilion on the north side of the compound is another image of Gal)da
flanked on each side by images of Karttikeya, all three being carved of "'"g"ni stone and
exceptionally well preserved. The four-armed Gal)csa stands in a slightly flexed pose
plucking sweets from a modalea-ptitra held in his upper left hand. His lower left hand rests
on the k.Nthtira while his right hands hold a bro ken tusk and a rosary . He is flanked by
diminutive attendants at the base, each carrying a jack-fruit, and the mouse is carved next
to his right foot. The largest of the Kiirttikcya images is approximately the same height as
the Gal)eSa. Kiirttikeya stands in a tribharigo pose holding the rooster-cock with both left
hands. The lower tight hand is in varodo while the upper right is broken-off at the wrist.
The peacock-mount and Devasenii occupy the lower right and left corners respectively. The
trefoil toraria at the top has a leirtimN/e.ha at the apex and malearos at the sides. Beneath the
malearas, flanking the image of Karttikeya, are female attendants standing in a tribbanga
pose facing the deity. The smaller Karttikeya is nearly identical, the upper right hand also
broken at the wrist, though the malearot and flanking female attendants are eliminated .
Though all three images arc thus well preserved they arc still in worship, cemented to
blocks placed one next to the other, and daubed daily with paste.
Also on the north side of the compound, in a small open shed or pavilion a short
d istance west of the first shed, are images of Surya and Chara. the latter being a rare
example of one of Surya's consorts being carved as a separate image. Surya stands full·
length is his chariot holding a full-blown lotus in each hand. He is flanked at the base by
Usa and Pratyusii dispensing arrows while behind these two, standing in front of a pidha·
"'"!'r/i, arc warriors holding a sword and shield. Above the warriors, or guardians, arc
female figures standing in a tribbanga pose holding an offering in their uplifted inside hand,
probably representing the consorts Riijiii and Nikshubh a. The toro!Ja at the top of che
backslab has a le.irtimNle.ha at the apex and a standing male figure wich stout body
proport ions at each side, possibly reprcsencing Dal)<)i and Pirigala. The charioceer Arur;ia is
seared at the feet of Surya wich che seven horses appearing on the pedestal, three in the
cencer and cwo on each side. Chara. slightly smaller than Surya, sunds in a tribhanga pose
holding a mirror in her uplifted left hand and whac looks like a stylus in the right hand. She
is ornately bejewelled and has a le.iri/a-mNle.11/11 similar 10 that of Surya. The upper corners of
the slab are decorated wich lotus rosettes rather than ,,;d_ytidbara couples. Chaya is flanked at
the base by female attendants v•ich rhc one on her lcfr holdinl( a basket on her head 1>·hile
Original from
4;7
the attendant on the right holds a lotus in her left hand and possibl)' an offering in the
right. It is quite possible that Surya was also flanked by an image of one of his other
consorts, Suvarcasa.• on the other side though no such image has survived.
There are also numerous images within the jagamohana of the Champaniitha 1cmplc,
including Mahi5amardini, Astikajaratkaru and a seated Devi. The most impressive,
however, and the largest image at the siic, is that of Hara·Parvati now enshrined within the
jaganwhana and in active worhip. The deities arc both seated in la/itosana with Parva!i on 1hc
left thigh of Siva, each looking affectionately at the face of the other. The four-armed Siva
has his major right hand in front of his chest, holding a small lotus, while his major left
arm embraces the waist of Piirvati. His back right hand is broken at the elbow while the
same left hand holds the trident. Parvati drapes her right arm around the shou lder of Siva
while her left hand, partially broken, held a mirror. The spandrels of the tora~a framing the
deities arc oma1cly carved with figu res while a diminutive Gal)csa appears between their
respective mounts on the pedestal.
2. Afaninogtwara Temple
A temple which can tentatively be dated to the late 1 tth century is the l\lal)iniigesvara
situated about a mile from the ocean, near the mouth of the Budhabalanga, in Balasorc
district. Although 1hc 1cmplc is a modem reconstruction, having been repaired in the mid-
t9th century by Bhagavan D as of Balasore,'" there are many sculptu res belonging to the
original shrine, including the pirfva·devatiJ and doorframe of the sanct um. As reconstructed
the temple consists of a tk11/,jagomohona, small Nandi shrine and several small shrines within
the compound walls. The doorframe is well preserved and consists of three flat bands of
scrollwork plus a splayed band separating the middle band from the outside band, the
splayed band being decorated with padma·Prf!ha. The d1,orapola1 arc a<.companicd by the
river godesses who arc housed in a separate, rectangular niche as at Narsinghnath. The
niche of the dvorapilas is crowned by a kiri/a design which converts in into a uajra·m~(l.i
similar to t uh century temples at Bhubancswar. The dutiraptilas are rwo-armcd and hold the
trident in the righ1 hand with the left hand extended down as if rest ing on the head of an
attendant, though no attendants arc presently included in thei r niches. The river goddesses
stand o n their respective vehicles facing the door holding a vessel in their uplifted inside
hand in the conventional manner. The most unusual feature is the manner in which the
gaja-krtinta motifs arc carved on the panel beneath the dvtirapola niches. The animals arc
carved as a dopithho motif, i.e., with one head and two bodies, a form normal!)' appearing at
corners such as above the k.anik.a in the btk.i. The nandiuarta step is ornately carved with lush
scrollwork on its circular face. A Gaja-Lak~mi is enshrined in a niche on the lintel with
Lak5mi flanked by a female attendant on each side. There are also two large guardian-type
figures leaning against the front of the jagamohana, Ranking the entrance and known as
Singhibhairava and Satyanarayal)a, which arc obviously of later date and rather crudely
carved. The terrifying Singhibhairava holds a cup in h is major left hand and his major
right hand is in varada. His upper hands hold a trident and rosary. His open mouth has two
fangs and his hair resembles snake coils. A detached graha slab is in thejogomohana.
124 N. N. V'aSU, <>/>· tit. . P· 106.
Original from
438 Tf'..~I P LES ClF T Hf. l.:\TE 11 TH CL~NTl' R.'t' :\NO TH E. 11TH C:E.NTtlR.)'
The porfva-drvattis are carved of chlorite or 11111gN11i, like the doorframe, and are well
preserved except for the broken arms. Their back-slab has a trefoil-shaped toraria with a
leirtim111t.ha at the apex and 111aleara1 at the sides. Ganesa stands in a slightly-Aexed pose
plucking sweets from a modalea-potra held in his upper left hand . His lower right hand rests
on a /ell/hora while his lower right is in varada holding a rosary. The upper right is broken at
the elbow. The mouse peers up at the deity from the lower right comer. Ganesa wears a
string of bells around the neck, waist and both ankles. Klirttikeya stands in a tribhanga pose
with all four arms broken off at the elbows. A small attendant leaning on a staff appears in
front of the peacock in the lower right corner while a larger attendant, rather than
Dcvascni, appears in the opposite corner. PirvatT stands in a slightly flexed pose with all
four arms also broken off, though the lotus and noga-poia are still attached to the back-slab.
Female attendants holding a goad and noga-paia stand in front of pi#Ja·m"!'fiis at the base
flanking the goddess while smaller female attendants, holding the same weapons, arc
carved above these small shrines.
There arc numerous detached images within the j agamohana including examples of an
eight-armed Durgi, four-armed Pirvati, Kaumiri and other goddesses. The two largest
images are of Vi~nu (4J inches by 20 inches} and an eithteen-armed Durgi smeared with
coats of modern paint, yellow, pink, blue and red in color. Durgi stands in a 1a111abhanga
pose holding various weapons in her many hands though most of them are broken off. She
is flanked by a female attendant at the base, the attendants each holding a lotus in the
inside hand. A lion is carved at each comer of the pedestal. Inside a shrine on the
southwest comer is a broken image of Cimur;u,lii while the remains of a yiipa stands outside
the walls near the entrance on the west along with a wood Nandi-stambha. Kept within a
school house a short distance south of the Mar:iinigesvara temple is a dancing Gancsa.
Gal)Csa is six-armed with his major right arm in gaja-hasta and his upper two hands holding
a serpent horizontally above the head. The major left hand, which probably held the
111odalea-patra, is broken off while the remaining left hand holds the hi/hora. The third right
hand holds a broken tusk. The mouse apprears at the lower right, walking t owards some
sweets, while a bowl full of sweet-meats is in the opposite lower corner.
J. Somtlvara (Kalea/p11r) : Somtlvara Ttmplt

Another interesting site which abounds with images datable to the late 11th and the tzth
centuries is Somesvara, situated about three miles from Kaka1pur along the road to
Astaraiiga in the Praci valley, in Puri district. The present brick temple of Somesvara is a
modem reconstruction of the pi(iha order with t he jagamohana only recently completed. It is
a virtual storehouse of treasures, however, with many sculptures haphazardly inserted into
makeshift niches on the exterior walls as well as loose images stored within the jagamohana.
Among the small images insencd into the walls of the tk11/, in addition 10 the porfva-dn,atas,
arc noga/ntigi figures, mith11na/111aith11na images, dancing Ganesa, Virahi, dilepala1, Brahma
and a dancing Vimadeva.'25 Among the images set into the walls of the jagamohana, or
placed within, are the dilepolas Yama and Indra, Hari-Hara, Vigiu, Nrsirilha, Trivikrama,
Varaha, Andhakasura-vadha-muni, Astikajaratkiru, Hara-ParvatT, Mahi~amardini,
Anantasayana, Surya and ala10-leanya1, including the popular 11th century motif of a
11~ f:t)r \ 'inl:.dc.,:a SC't: Boner and Sarma, J"ilpa Pr4U1'a, pl. Xl.\111.
Original from
TEMPl.f_, OF THE LATE 1>TH CENTURY ANO THE ..T H CENTURY 4l9
monkey pulling the garments from a female ngurc.•U There is in addition a small brick
temple of Kiill a shon distance cast of the Somcsvara." 7
The doorframc of the original temple has been nxcd to the jagamoha11a and the dvliraplila1
arc well preserved. They arc four-armed and flanked by a diminutive river goddess in the
lower right comer. They each hold the trident and J:apala in their left hands while the lower
right is in varada. The upper right hand holds an indistinct object. They arc housed in a
pi(iha-m11f.ll!i with a diminutive 111ig11 at the base of the inside jamb as on late 11th and early
11th century doorframcs. Of the diJ:pal111 the best preserved is that of Indra. He is seated in
lalitlis1111a on his elephant mount holding a v~ra in front of his chest with his right hand,
rather than uplifted as standard on most examples, while his left hand rests on his thigh,
possibly holding the stem of what looks like a lotus blossoming near his left shoulder.
Equally well preserved is the image of Astikajaratkiru housed in a niche on the front of the
jag11111oha11a. Manas:i. is seated in lalitilsana on a viivapadma seat holding the rigid Astika on
her lap. She is placed in front of a trefoil-shaped niche rather than a tree, however, and no
serpent appears on the pedestal.
The pliriv11-dtv111tiJ arc insened into the rli/Jli niches of the present brick temple and arc
carved of chloritc. GaQcsa stands in a slightly flexed pose and is well preserved except for
the broken upper right hand. He is flanked by attendants carrying jack-fruit. Kantikeya
stands in a 1ribhalig11 pose and bolds his conventional attributes. Pirvati stands in a slightly
flexed pose holding a rosary and lotus stalk in her lower hands while the upper arms arc
broken off. She is flanked by attendant females at the base while a second smaller pair
appear immediately above. Parvati is ornately bejewelled and, as in the case of the other
pariva-d<Pallis, is exquisitely carved.
An image previously housed in the small KiilI temple, now placed within the jag11111oh1111a
of the Somcsvara, is a terrifying Camur:ic)ii. She is eight-armed and is seated in ar-
dhaparyalil:a above a prostrate corpse. Her major left arm cradles a trident while the little
nnger of her hand is placed in her mouth in the faruilta mode. The major right hand holds
a J:apa/11 in front of her chest. The remaining six hands hold a J:artri (chopper). sword,
efa11111ri, rosary, severed-head and display Parada. Her emaciated body is draped with a
garland of skulls.
Set into a niche in the back wall of the sanctum, immediately behind the Siva-liliga, is a
rare late example of Mahesamuni depicted from the waist up. The rhrce-hcaded image has
six hands with the right hands holding a rosary and a l:aplila while the left hands hold a
vase and a A:ttal:a flower(?). The right face displays terrifying features and a crescent-moon
is in the center of the j11fli-11111J:ll/11 headdress which unites the three heads. The lower set of
hands arc broken off.
4. La111har111J4: Gramtivara Temple

A nearby site which also serves as a storehouse for detached images of temples no longer
extant is the Gramesvara temple in the village of Lataharar:ia, about l km. southwest of
Kakarpur. The temple is one of many in the PracI valley made of brick and consists of a
dt11/ and jaga111ohana, both paiira-ratha in plan and in need of repairs, which arc generally
devoid of sculptural decoration except for the pliriva·dtv,ztlis and doorframc. The piirfv,z.
126 Sec P. K. Ray, Pr.uhi V11llt.J, pp. 12·2~ .
12' With the completion o( the Jt18t1111oha'111 this small shrine has been torn do wn.
Original from
440
dtvatas are in 1it11 and srylistically can be ascribed to the 11th· 11th centuries. The Gai:ida on
rhc south assumes a dance pose while Karttikeya and Parvari arc standing, each placed in
front of a back-slab crowned by a trefoil-shaped tora{ta with a kirti11111/tha at the apex and
makaras ar the base. Piirvati is in a graceful tribhaliga pose, in contrast to rhc more rigid pose
of Kantikeya, with her lower right hand in varada and the lower left, now broken, holding
the sulk of a lotus. The upper hands are broken . She is flanked ar rhc base by female
figures standing in front of pit/ha· mll{tt/is holding a serpent in one hand and a goad in rhc
other. Her lion mount is partially intact at rhc lower right. The doorframc of the sancrum is
intact, wirh a navagraha slab on the architrave, though the dviirapalas arc obscured by
detached images stacked within the jagamohana.
The majority of the images stacked within the jagamohana are Vai51)avite and most likely
belonged to a Visnu temple in the vicinity no longer exrant. Included among the images are
two of Visnu standing in 1a111abhanga, carved of chlorite, which are the la rgest at rhc sire
(s 1 1/, inches by z4 1/ 2 inches and 54 1/ 2 by zs '/, inches). Orher images include Trivikrama
(21 j/, by 12 >/, inches), Varaha (zs 1/ 4 by 12 '/, inches) and a small Garucja. The mosr
interesting image is that of an eight-armed Durgii seated in lalitasana on a vif1,apadma scat.
Her lower right hand is in varada holding a rosary while her main left hand holds a kapiilo
in front of her body. Objects held in the other right hands include a dart (?), sword and
probably a trident. The other left hands hold a dagger with blade pointed down, club and a
lotus. Beneath her lotus seat arc two kneeling devotees at the right and in the center a scene
of the goddess, with knife held high in her uplifted right hand, attacking rhe half-reclining
demon Mahisa characterized by a buffalo-head . At the far left is carved the lion. On the
base of the pedestal arc lighrly etched images of devotees and offerings. The image is
likewise carved of chlorite and measures 14 inches by t 1 1/2 inches.
At the southeast corner of the compound are numerous smaller images, carved of
chloritc, set into cement forming a small shrine. These images arc earlier in date than those
on or in the temple and suggest the existence of still other temples in the immediate
vicinity, including a Jain temple as one of the images is of a Jain couple seated in
ardhaparyalika next to one another on a vifvapadma lotus seat. They are seated in front of a
tree on which is carved a figure in a swing. At the top of the slab is a seated Trrtharik ara,
flanked by attendants, while below the lotus seat is a row of seven seated figures.
Stylistically the image appears to belong to the late 1 tth century. Next to it are images of
Mahisamardini and Surya i.•hich are even earlier in date, possibly belonging to the 9th-10th
century. The ten-armed 1-lahisamardini places her uplifted right foot on the rump of the
buffalo carcass while pushing down on the chest of the demon with her major left hand as
on early images. She plunges the trident into its head wirh her majo r right hand. Starting
clockwise o n the lower right her other hands hold a rakra, 11ajra, pull arrows from a qui,·cr,
sword, circular shield, stringed-bow, bell and niiga·pa;a. The goddess has 2 quiver of arrows
behind each shoulder and wears a lwrha-bandha around her breasts. In the other ima!(e
Surya is represented from 1he thighs up riding in a chariot driven by Aruna with the seven
horses carved on the pedestal. The corners of the chariot are decoraied i.·i1h a large lotus
half-rosette while Surya holds a full-blown lotus in each hand .
~. DJ1or111aiti!O
Some o f the m <>St imprc!'Si\.·c images that can be:: ascribed to the 111h century o n styli~ric
gr<>un<ls u·ere f<.>und at Dharma~ala, most of v. hich have been rcmc)\'ecl 10 the museum at
1

Bhubancswar. The village is situated o n the Brahmai;iT river in Cuuack district just off the
main hiway from Cuttack to Calcutta. In addition to Brahmanical and Sakta images there
are also numerous examples of Buddhist art, from various periods dating at least as early as
the Bhauma· kara supremacy, scattered throughout the area. Included among the images
removed to the Orissa State l\iuseum arc four matrleas, approximately four feet in height,
each seated on a throne in /alitiisana with the right leg pendant . The upper half of the back ·
slab is decorated with a trefoil-schaped tora(la though on the image of Varahi the latter is
obscured by the radiating coils of her hair. Except for Camul)<;la they each hold a child on
their left thigh. Camul)dii is seated on a corpse and holds a severed head in her lower left
hand while her major right hand holds a leapiila in front of her sagging breasts. Her lower
right arm is broken at the wrist and the other left hand is missing. Her body is emaciated
and she wears a garland of sk ulls. V:irahT holds a fish and leapiila in her uplifted hands while
the lower right is in abhaya. Her buffalo-mount is carved on the pedestal. Indriil)i holds a
vajra and an ali/eNfa in her upper hands. Her elephant-mount is on the pedestal. Vai~Qavi has
a ralera and conch in her uplifted hands and G aru<;la is on the pedestal. Both lndr:ii;ii and
Vaisl)avi are richly bejewelled and wear a tall leiri/a·111111eMta. The 111atrleas are carved of
chlorite and are exquisitely detailed. Although the other three 111iitrletis are missing the
image of VTrabhadra is still at Dharmasala where the local people worship him as
Nagisvara. He is seated in lalitiisana and holds a lotus and a trident in his uplifted back
hands. His major rwo hands have been restored and the missing 11ina has been replaced by a
modem spear.
Also removed to the Orissa State Museum arc numerous Vaisl)ava images, including
Nrsimha, Vara.ha, Gopiniitha and a unique image of Visl)U· Krsl)a, all datable to the 1 ith
century. The last two images suggest the growing popularity of the Krsl)a cult, whereby
Krsl)a becomes the favo rite of the Gopala clan, and of Jayadeva who, in his invocation in
the Gitagovinda, addressing all ten incarnations of Vist;iu, associates Krsl)a with Visnu as
being responsible for these incarnations.128 This association is clearly expressed in the
Vi51)u· Krsl)a image from Dharmasala. The deity stands in a slightly Aexed pose with his
right leg c rossed in front of the left as in Gopinatha images, his major two hands holding
the Aute (now missing) to his mouth. His upper two hands hold the ralera and conch. He is
Ranked at the base of the back-slab by two female Jigures on each side standing in front of
a lehJlehara·mN!fifi crowned by a /ea/ala with Rankingjogralas, the inside Jigurcs representing
Sri and Sarasvati, the latter holding a vi(la. The outside Jigures, one holding a ra11ri and the
other a conch, possibly represent Rukmil)i and Satyabh:ima. A diminutive Anantasayana
appears at the feet of Visl)u·Krsl)a while a small kneeling female figure with hands in aijoli,
rather than Garu<,la, is on the lotus cushion and probably represents Bhiidevf.'29 The
Matsya, Kurma and Varaha avatars are carved on the pedestal while Nrsirhha and Kalki
appear on the right and left sides of the back -slab above the lehalehorii·m11~1fis. The
remaining avatars arc on the to p part of the back-slab. A herd of cows is on che pedestal
between the a11alar1.
Included among the images scill scattered throughout che area are examples of Nrsirhha
and Lak~mi·Nrsirhha. Nrsirhha is depicted standing in ii/i(ibJsana wich che demon
1111 K. C:. ~li5.hra, 1Jp. ' ''·· p. S?·

•~ Pra!'anta Kumar Rar. "A l 'niquc lm;a~e f>f \'isnu· KNna in 1hc: ()rissa State ,\l u~t:um," OIIKJ. \ 'ol. XI
( 1•)<• \ ) , pp. z11 · 17.
Original from
442 TloMPl.ES OF Tim 1.ATc "TH CENTl' RY AND TllF. uTH CcNTl'RY
Hirar:iyakasipu draped over his uplifted left knee. His front two hands tear into the stomach
of the demon while his upper two hands, probably restored, hold the gada and a lotus, the
latter probably a modern replacement for the original <akra. His tongue hangs from his
open mouth and his lion-head is surrounded by a prabhti,,,ant}ala of flames. He is flanked at
the base by Sridevi and Bhiidcvi. In the Lak5mi-Nisimha image, a motif panicularly
popular throughout the 13th and 14th centuries, Nisimha is seated with legs crossed on a
high pedestal with 31 lotus petals, the legs held in place by a yogapa!fa, with his major hands
extended to the knees as prescribed in the Skanda PNraf.111 (Vai5r:iava khanda, Puru5ottama
Miihiitmya, Adh. 18, 17-29). His upper hands hold the talua and conch. He wears a tall
kirita-lffNklifa and his head is ringed by a double prabhalffa{l{iala. The diminutive Laksmi is
seated on the yogapotto holding a lotus and looking up at Nrsiri>ha. The base of the pedestal ,
beneath the lotus petals, contains images of Garuc;la and an elephant. Flanking the pedestal
arc two female figures with each holding a (11Jtri in their uplifted inside hand.
Of the other images still remaining in the village one of the most unusual is that of a
female figure, Tantric in nature, known locally as Haladei Suni, taking a giant stride similar
to Trivikrama with numerous corpses carved beneath her feet. Her right arm is broken at
the wrist and hangs akimbo to her right leg. The left hand is uplifted and holds a kapala
( ?). Due to the damaged condition of the image it is impossible to determine how many
arms she had, possibly four, though fragments of a weapon appear above her head. She
wears a garland of skulls which hangs to her knees. The image is placed in a small open
shrine on ruins of a collapsed temple and stylistically appears to be much earlier than the
other images. It probably represents a #Jt.ini.
There arc also many images scattered within the compound of the later Gokarr:iesvara
temple on the banks of the Briihmai:ii river, including Siikta and Buddhists images as well
as Brahmanical. Many of the smaller images, however, arc smeared with numerous
applications of paint which obscure their details and ornamentation. Two of the parfva·
dtvaltis are in sitN but they arc later in date than the other images discussed, probably dating
to the t 3th century or later, and arc panially restored, panicularly noticeable with the
hands.
6. ChaNdar
As indicated in chapter V there arc eight ruined Saiva temples at Chaudar, called As!•
Sambhu, which probably date to the 11th century. Although the temples are panially
rebuilt and generally devoid of sculptural decoration there arc numerous detached images
within the compounds, some of the best examples appearing in the Kapilcsvara compound
along with two doorframes. The best preserved doorframe, inserted into the rebuilt temple,
contains three bands of vana-lata scrollwork rather than the traditional scroll motifs. The
four-armed dvarapJlas are housed in a square niche and arc accompanied by Ganga and
Yamunii . Gaja-Lak smi is in the center of the lintel and a navagraha slab is inscncd into the
architrave. There arc numerous scattered ptiriva-dtvalii images within the compound
including Piirvati and Mahi5amardini, both badly worn. The best preserved image, though
panially restored with modern plaster and paint, is one of Kirttikcya. He stands in a
tribhango pose and holds the ialeti and hkkli/a in the conventional manner. Stylistically the
image is closely related to the example at Kiilarahar\ga.

I
CATALOGUE OF ILLUSTRATIONS
Fig. 1. Y AMESVARA C<>'1POUNO: half-buried temple in the southeast comer. Only 1he upper pan of
the 1,a~(li is visible. It is tri-ratha in plan in contrast to the standard paii<a-rath4 plan on most early
temples, suggesting it may have functioned as a comer shrine in a paffriyatana temple complex, a tri-
ralho plan being common for a subsidiary shrine. Unfonunarcly no attempt has been made 10
uncover the buried pan of the structure. Within one of the rairya-mcdalJions on the nonh side is an
image of Pirva1i. 7rh century.
Fig. 2 . VvoMA~F.$\•nRA: the temple, located in the market area of Bhubaneswar, is mostly buried
except for the entrance ponal and front facade of thcga!'~i. The doorframc is unique in that the river
goddesses arc carved on either end of the architrave. the goddesses facing the 1rt1ha representations.
Kctu on the 11avagraha is depicted in a se21cd pose similar to the examples on the TinhcSvara and on
the Somdvara temple at Mukhalir\gam, suggesring an early 101h cemury dare before the form of
Ketu becomes standardized. It would be: of critic:a.I interest to know if a.ny of the cult images ~re in
JilM in the "'"Hi niches as :a.t present there :a.re no surviving niche images on 10th ce.n tury Saiv:a.
temples excluding archaizing temples in the southern extremes of Orissa, u at Mukhalir\gam,
Sarapalli and Jayati.
Fig. l· BHAVi.Nl·SAl':KAR.\ ; view of the remple buried beneath another rcmplc erccrcd ar a later
date. 7th·8th century.
Fig. •· MVt\Tl~\'ARA Cc >.\IP<>l'NO: small pi(iha temple on the west end along with sever:a.1 min i21 ure
shrines. This is a rare early example of this architc<:tural order being u$Cd as a dt11/. 10th century.
Fig. J· MllKTf!~VAP.A Ct)~ff'(>l'ND: small khaJehorti temple on the west end near the SiddhcSvara
temple. Though small in size and relatively undecorated, it is provided with pirs'vo·dtPoliJ in its rtiha
niches. The pirsPo-dttJalis arc t hose for a Saiva temple though a niche on the b:a.ck waJI of ihe
interior, now empty, indicates that the installed deity was not a Siva-liligo. 10th century. For a front
v iew sec fig. 1916.
Fig. 6. GARUOIPAl<ICANA: view of the corbelled ceiling of the jaf,OMohana of the Buddhaniitha Siva
temple. The roof is mosrly missing so rhar the imerior is well lighted. Corbelled arches appear above
the lintels of the ga1·a"-!a projections u well as t he sanctum door. 1 irh cemury.
Fig. 7. PARASl 1R;\"1F.S\' ARA : vajra·1'f11stole4 design crowning a subsidiary niche on the Jr11I. the design
serving as the. crowning member of a vojra-11111!f# i design . The design consists of two tairyo-mcdalJions
with a floral motif surmounting the top tairyo. There is a female figure standing on each wing of the
top tai!Ja, one holds a small child on her rhigh while the orher has a b ird perched on her arm. The
Jower med2illion houses an image of rhc Jion, v iewed frontally with only the shoulder~ and face
visible, while the upper medallion houses a male figure seated in ardhaparyatill:a, possibly Siva .
Fig. 8. BRAH"tES\' ARA: miniature rtlehi·Jt11/ on the south rihi of t he galJl.i, 1he design cutting
ihrough the borot;t'"· Whc-n carved on the go!'¢i these miniature shrines are referred to as oliga-likharas.
The niche houses a dancing GarJcSa to suggest that the missing pirir,·o·dtvofi wa.s a similar image. A
small va;ra-11101/all:a is placed above the niche and a band of var/Nia scrollwork runs up the heig ht of
the ga~(li.
Fig. 9. KAL•~AHAt<<'A: pi(lh4-mw~rfi and !t.ha!t.har4-111N~(li designs on the lower jangh4 of the dtN/ of
the JalcSvara temple. This is a unique example where these two lfl"!l<ii designs appear on the same
story while the pi1,os of the upper story are vo_jra~"'"!'(iis. The Jikpilo Viyu is in the Unil!.A niche while
Original from
C:\ '1":\L<Xtl·I~ c>F l l .1.l1 STR ..\1.l<.>NS
444
an image of P:irvatl is in the anArtha niche. Also unique is the insenion of ni1.a/nti1.i-1111111bha1 and i·irti/a
moti fs in the artJUdhd rcccs.scs of the lower story, the recesses of the upper stor)' being filled u·ith
milhuna or a/010-ka'!)'O morifs. The temple thus displays all of rhe major dccorati\'e motifs in an
unusual com1>ination.
F ig . 10. Lr\i..;.S'.\IA~ES\'AR ll: general view from the south""est shou·ing the entrance ponal and
reconstructed pi/1h01.a mouldings which measure 46 1/ z inches in height. The truncated ,1..a1Jt/i is
likewise reconstructed but minus all original sculpture and facing stonc-s. The corbelled arch abo,·c
the archicravc is here a chasm but originally u•ould have been filled with the projecting i•tYra·l#aJlalt.a
design. Only a few stones of the plinth of the jagamohana arc visible at the far left '"hile a single
fugmen1ed pillar found in the sanctum was removed 10 the Orissa State Museum. The deMI and
jagamohana of the early Orissan temples were conceived as separate structures rather than as an
integrated unit and 1 in many cases, thcjaga111ohana was a later addition . The front face of the Jt11/ ....,·as
thus always completely decorated as if v isible from the outside e\•en though pan of its decoration
'\lo'ould be hidden with the completion of thc;a~amohana. The only decoration remaining intact, aside
from the scrollwork on the top pabh,if,a moulding, is the entrance pon•I •nd jamb fr•gments in the
rOhO n iches. A cfetached lintel is lying on t he ground next to the north rOhO niche.
Fig. 11 . 8 •1.<\Jt,.\"I r,~\'AR!i: general view from the west sh<>\\•ing the entrance- ponal. The pOl1h,~(11,
measuring 40 '/ 2 inchc-s in height, is reconstructed. The decorative program of the doorframe is
mostly intact though fungus has gathered o n the surface of the Ji·ir1Jpdla1. The corbelled arch abo,·e
t he architrave is clearly visible. Onl)· the core of the ll'!'</i has survived. ~lany of the sculptural
images from these temples arc piled among the debris forming the low compound wall.
Fig. 12. S..-.·rRt·c.a 1ri.;t-.$\.ARA : ~encral vie"' of the temple from the south \\·est sho"'·ing the entrance
pQrtal. Th<>u~h reconstructed \\•irh many of the o riginal stones being replaced by modern ones, it
give~ us an idea of the basic design and decorati\'C program of these earliest extant Orissan temples
which a lrc:ady exhibit t he mot ifs and features standard on later temples. At the base the temple is 1 s
feet 6 inches square.
Fig. Jj . S..-.·rRt1<;HSt·.:;\'AR.\: 1•a;ro·m0Jtoka crowning the truncated rtlchO desi~n of the entrance
pt)rtal on the west. The single hhNmi o f the nlehO is lri-ralha in p lan, in conrrast to the palira-ra1ha
design of the gal'}[li. yet is complete with an an11rtihO recess filled \\'ith a miniature vajra-mul'}(ii. T he
ra.1ra-ma1ltJka consists of two rai()'a··med:allions formed by pearls dripping from the mouth of a
k.ir1i11111kha at the apex. Afi1h11na images appear on rhe external "'' ings of che upper rai!>'o and a
fra~mented LakuliSa is seated abo\•e the J:.irtim11lt.ha. The upper toi!)'a, circular in shape. is filled u·ith
2n image of Na1arija u·hile the larger lower medallion. oval in plan. houses the Rivaninugraha-
vadha4m0rti.
Fig. 14. S.•;rRt '<:HSt·.$\'.<\k.-\ : Pii.f!.11 on t he west corner of the nonh side. The pii~a has a '''!.l'll·m11!1t/i
dcsi).'::n which terminates beneath the htJra!lef" division. The tc..>p course o f the;Oli.(ho is decora1cd \\'ith
a band of scroll\\·ork. An ima~e of NaJarija fills rhe pfi.P_o n iche "'•hilc the Jintcl is decorated u·ith a
cru<.iel)' ·Cotrved Hara 4Par,·ati. 1'he l\tarriage Procession of Si,·a is in the bara1J<1a recess.
Fig. IS · s.\TRt'(:Jl1't~$\'.\fl,\! detail of the tJllNrOha recess of the 1.otit/i. It is filled "''ith a miniatu re
1'0,/ra-11111!14i h<>using an image <>f SUry2. The head of Si\'a is enshrined in a tai~ya 4 mcdallion on the
konilea. The anarlha is decorated \\' ith the triple tai{ya motif on each bartJrt(ii.
Fig. 16. SA1ltl' <;1tro.;1-,S\'/\R,-\: cr,Ju•ning VtJjra·maslok.a dcsi~n of a subsidiary pfi.t,tJ o n t he '''t'!'t C<>mc:r
of the nonh side. A bust of Siva, cxhib>ting the 1arp1J·/ul1Jefa/1J in the r1ght car and 2 third eye, occupies
the lo\\'Cr med:all ion '1.' hilc a small /iti"'a is enshrined in the \•ertical extension. The u pper medalli,,n
has an image of Kitttikeya seated on h is peacock . He hol<.ls a 10kti and a 1•[Ja·pliralea. The mc<lallit>ns
are framed by pearli:; issuinA fr<>m a flat tened lotus at the -ap<:x.
Original from
<::\1·,.\1.<>Gt: r:_ (ll: 11.1.l'STRATl<>NS 441
Fig. 17. Sr\TRlfGHSt::S\'ARr\: entrance portal on west with Ranking subsidial)' pti,e,aJ designed as
vajr11-11111'!fiis. An image of Hari-Hara is enshri_n ed in the ptiga niche on the no"h while the image on
the south is mostly missing. The rtihti, designed as a truncated rtA:ha, measures 86 1/ 2 inches across
and projects 10 inches from the wall. The doorframe assumes a "T" shape with the outside b•nd of
scrollwork extending out to frame the lintel above. The lintel is dominated by a rectangular panel
with an image of Hara-Pirvati in the center. The J11tira-lt1lti/a-hi,,,ba panel is missing. There are four
bands of decorative scrollwork on each side of the door with the Jviraptilas housed in a simple niche,
with arched ceiling, at the base of the two inside jambs. The door-opening on these early temples is
quite small, here measuring 17 b)• 1 7 1/ 2 inches, and the JvirapOlas. in typical Orissan fashion, arc
likewise small, measuring only about 17 inches in height.
Fig. 18. L..\.t.:.$11.IA~ES\'.'iRr\: lower half of doorframc on the entrance ponal with the JvOrapilas.
Although Mahiik:ila is housed within a niche in typical Orissan fashion the Jwirapiila Nandi, on the
proper left. is provided no niche. The gt/aha scroll of miniature figures climbing a meandering vine is
the only example of this motif on these early temples.
Fig. 19. Lr\KSll.IA~1:SvAkA: lower pan of rtihi n iche on the nonh side of the cemple. The guards or
attendants at the base of the inside jamb arc missing. The ja.m bs of these rtihO niches arc decorated in
the same general manner as entrance ponals on these earliest temples. The carving on this example is
exquisite in contrast to other examples of these niches. The second band from the inside exemplifies
the strong predilection for dividing the vertical decoration into panels ornamented with \•arious
geometric and organic morifs rather than with continuous scrollwork as on later temples.
Fig. 10. Sr\l'kl'GHNF.S\'r\RA: lower pan of the rihi niche on the cast or back side of the temple. The
figures housed in chc shallow n iches at the base of the jambs deviate from the standard Jptirapila
motif. On the proper right the image is that of a woman standing in a half-opened doorway while
on the: proper left chc image is that of a male facing the niche and followed by a diminuti\.'C
attendant. The carving on this niche is rather crude and obviously rhc work of assistanrs rather than
the mastcr·carver.
Fig. i1. SATRIJ{;HNf.S\ ' ARA: tf1;-irapila ~fahakaJa at the base of the rtihti niche on the south side of
the temple. With Jvirapilas carved at che base of the jambs the simulation of a doorframc is again
evident. The carving is crude and the body proportion of Mahakala particularly squat from the
knees down. The hands extend almo st to the floor of che niche leaving no room to include attendant
figures. 1 t '/2 inches high.
Fig. 11 . SATRl•GllNESVARA: Jviirapiila Nandi at the base of the riiha niche on the south side of the
remplc. Body proportions arc likewise squat and the carving equally crude. Remains of diminutive
attendants are visible in the lower corners but appear as an aftcnhought as they arc extremely
cramped and awkward in placement. Also awkward is the manner in wh ich the trident bends inward
echoing the shape of the niche. Even though the image is small in scale the terrifying upect of
Nandi is clearly evident in his bared teeth and thin beard. t 1 1/ 2 inches high.
Fig. 1; . BHARATF.SVA RA: subsidiary pii.~• niche with fragment of K:irttikeya. Only the head and tip
of the iai.ti remain intact. The iikhaf}{iai.A coiffure is unusu2I in char the center mesh of hair is
arranged in a Juratt<"z-,,,11k.Mfa (terraced crown) typical of the coiffure of Gat;1eSa. The lintel above the
niche is decorated with a ha,;,sa·lt1ti design, the carving perpendicular as on most of rhc early
temples of Orissa so that the ornamentation adheres closely to the surface.
Fig. 14. GAr,1ESA FRAG'1F.NT: detached fragment piled •mong the debris forming the compound
wall for these three temples. May possibly have served as a piiriva-J,.,atii for one of t he temples.
Though the object held in the upper right hand is indistinct, possibli· a lotus, that held in the upper
left hand is the mti/al<anda (radish or turnip). The coiffure is unfortunately badl)" damaged and all 1hat
can be discerned arc looping tassels hanging acro'5 the forehead. Garland-bearing vitlyiidharas fill the
upper corners of the niche.
Original from
C..\ T:\l.<.>Gt.;E ()f ILl.l'STRA Tl<)NS
Fig. lj. SA'rRLtCHNES\tAftA:image. of GaK:1da housed in a t.ii!;Ya·medallion from the. crowning Pa)fa·
1'1aslahi of the west J>tixa on the south side. of the temple. Gai:ieSa is seated in ardha1'4ryafik.4 with his
right knee uplifted to suppon his lower right hand which holds the miilaunda. His upper two hands
hold a lotus and the h<thira (hatchet), the lotus replacing the japimilo (rosary) standard on later
images. The proboscis is plucking sweets from a 1t1odau·pitro held in the lower left hand.
Fig. 16. D EBRIS FRO~t Ct)~IP<>UND \Xl .\1.1, : on top is a vajra•lllN!lt/i fr:agment with LakuliSa. He is
depicted in rhe traditional dhar11111talera-pravarlana~111udri with chc lab/a {st:aft) held in the crook
formed by h is left •rm. The lower portion of the image is missing. The legs of figures 2re visible on
the extended wings of the upper tairyo suggesting that it was R2nked by figures, possibly atlamids to
judge by the stance of the leg though this motif docs not become srandud until the 8th century. The
lower fr:agment is :a barat1(ii from :a bhi111i division of the ,ga!l(i.i as evidenced by rhc rriplc-toirya motif.
Fig. 17. LAKS:>.ft\~l~\'.-\R... c()~IPc:>ONO : tai~ya-meda11ion with the bust of Siv~. It is a lower
medallion from a vajra·mM~ifi piled among the debris forming the compound wall. Siva is Ranked by
a garland-bearer and a kneeling devote<. He wears a 1arpo-/eM9(ia/11 in his right car and a 111aiwra-
lt1'~ifo/o in the left car. H is hair is matted on top of his head and he has a third eye. A /inga is in the
vcnical extension of the <a,.Jya.
Fig. 18. ORISSA ST,.TF. ~t l!st.-:cr.1 : detached fragment from the LakSmancSv:ara compound showing
the projecting blocks of the tala·bondhani and the pad,,,a-pr1!ha design of the niche sill. The ta/a·
bandhoni originally consisted o f five blocks but the lion motif on the proper left end is now missing .
A single vid:JOdhara rcprcs.omed frontally is unusual. The upper edge of the n iche sill is decorated
with the mali phMlo pha!/iu scroll of Rowers placed inside of triangles of beads.
Fig. 19. sA~Rl'GHNES\'ARA : detail of top pibhaga mould ing, lola·bandhani and pad,,,a·pr1/ha decor·
ation of the niche sill on the north side of the temple. The lower edge of the pibhiga moulding is
decorated with the hmbhilf.4·bandha while the sloping upper surface is carved with an ornate tair>·a
design Ranked on either side b y a hamsa v.·ith a garland hanging fro m its beak. The projecting block s
of the tala·bandhanli arc relieved u•ith scenes from the Rim~a!f.'1.
Fig. JO. LAKS~I J\NE$\'t\RA C<>~IP<.)UND: upper tairya from a 11ajr11·"1a-It.ik.4 crow ning a ~ubsidial')' pJ,_e,a.
Aya/i!fi appears on one of the extended wings of the rail)a. A male dancer is in t he: \•en ical cx1cnsion
of the tairya. A similar disign appears on the Svarr:iajileSvara temple.
Fig. l 1. K IRTIML'KHA MASK: fragment piled among the debris forming the compound wall . The
image origin:ally crowned rhe upper tairya of :a 1Jtl}·,.a·111a1Jakti on che ga~{ii. The mask conforms 10
iislrir injunctions in rcspec1 to its: projecting horns, fangs, frown ing e yebrows. bulging eyes and fan·
shaped cars. Holes appear drilled at the base of the mustache and a diadem is placed between the
eyes. The h:air is meticulo osly groomed :and strings of pearls issue from its mou1h. The O\.'erall
image, wi1h bulbous checks, is Aattened out in :a typical Orissan manner.
Fig. }l. s \·A R NAIAl.f~~\· ARA: viC\\' from n<)nhu•est shou·ing dilapidated state of 1cn1ple prl()r to
di~ma n1Jing it.
Fig. JJ· SV.\lt:O.:AJ'-1.t-;s \·,,RA: detail shou•ing fJa)Ta·1'taJJalea crowning rhe pJ,p_a design on the u.·est
corner of the nonh side, bora!ft)a and first bhlimi of the gafJt/i with a mith11no hou~cd in 1hc '''!l'" ."'"rtfii
niche filling 1l1c an11rihO recess. The frieze in the bafa!f{ia recess depicts the Story of the Golden Deer
and the K illing of Marica by Rima.
Fig. 34. S\'.\R'.'<ilt\Ji.1.1~S,·A1t:\: vit'W of btida -..·ith entrance p•>nal fr<>m southeast Jurinli( rest<>ration.
Onl)' t he pabhtiga moulding$ a11d the lo u.·er portion of the ; OrigJ1a are completed :at th is time.
Fig. Ji. 5,.,..RN -\J.l. 11~sv,.RA : n<)rth rihri n iche wit h Parv.ati. l'hc: n icl1c cuts th r<>uµh the pab!11~f.a
moul1Jings simulating a <lo<>r\1tay. T h e lions ass<.>e1:artd u·ith Parva1i ~re p laced at the b as.e o f the
Original from
CA'TAl.C'JCl !li OP 11. 1.L'S'TRATIONS 447
jambs while deer arc carved on the pedestal Aanking the center lotus design. The architrave above
the niche is decorated with three panels, the top-most illustrating the Marriage of Siva; the middle
panel is decorated with a /iliga·P~Ji in the center and Ranking dancers and musicians; the lower
panel, badly damaged, has the remains of a Hara-Parvatl image in the center. Above the outside
jamb at the left is a niga figure attached to the architrave.
Fig. J6. SvARNAJAl.E.SVARA: niche jamb from a subsidiary ptiga. A good example of the lack of
standardization in the decorative program as most of these jambs arc decorated with a tdMri-bcarcr
or f4/abh11njiA!.4 immcdiatcl)' above the pif!f4·ghat11 at the base. Herc, beginning above the p#r!fa·ghat11.
is a halit1a with foliaccd raj), a lotus half-rosette and a panel decorated with the Jhan11 1.a111hi motif.
Fig. l7· SvARNAJAl.ESVARA: detail showing the top moulding of the pabhaga and the projecting
blocks of the lala-balllihanii. The lower edge of the moulding is decorated with a scroll while the
sloping up~r surface is relieved with an ornate taif)tJ flanked by a flying 11idjidhara and a scene of
liliga-pM)O. The comer blocks of the tala-banJhanO arc decorated with busts of lions while the center
three blocks illustrate a s~nc of lirit,a-pMJ.O. Unique to this temple is the manner in which these
projecting blocks arc framed on three sides b y • thin border of beads.
Fig. 18. SvARNAJAl.ESVARA: upper raitya of vajra-111asla/ea crowning a subsidiary poga design. The
carving of a dancing figure in the vcnical extension of the r-ai{ya is also present on rhe
Laksmandvara group of temples. Housed within the rail)·• is the head and paws of a lion. Jtigralo
motifs of a rider on a leaping lion appear on the wings of the raitya. The lower edge of the bara~(ia
above is decorated with the hmbhi!U-bandha motif.
Fig. J9· SVARNAJALE~VARA: vajrtJ ..1110110/ea motif crowning 1111jra-m1tt1fli design of subsidiary pig11.
Durgi is housed in the lower tait.J11. She is four-armed and seated in paJ,,,Qsana. Her lion-mount is
dcpieted in the upper taif)a while female figures stand on the extended wings. The latter assume
mirror-image poses with the inside arm resting on an 2ttendant figure. Behind these figures is visible
the decorative band formed of medallions housing various animal and floral motifs carved on the
top course of the jtingha. At the •pex of the vajra-maJ/alea is a lotus design.
Fig. 40. $\'ARNAJAL.ESVARA: lower tairya-mcdallion from pajra-lflastalea motif crowning 11t1:jra-llfll.f1(ii
design of subsidi1ry paga. Thi• motif of a male figure seated in ardhaparyanlea holding a lotus is
popular on these early temples. Stylistically this is a good example of the figure-type associated with
this temple.
Fig. 41. SVARNAJAl.ESVARA: view from cast depicting the entrance ponal t.nd crowning vajra-
•allalea motif at the base of the ga/lii. The 1ddition of • second set of bbi1J1i-a,,./ti1 (the lower set is
now missing) above the bara!J#4 more closely unites the lower truncated rtlehi design of the entrance
projection (and the rd.has) with the &Jdjfd•11101talea which serves visually as the crowning members. thus
transforming this truncated rtlthi design of the btiefa into a PtJjr11·111111)!ii. The overall design, with a
h-rti•t1ifJJ11 at the 2pcx and •aka.ras on the external wings of che lower tail.J<I, also simulates a /ora~
projecting out from the temple walls. The circular upper medallion houses a badly damaged
Naiarlja while t.he larger lower window houses a fragmented H2ra· Pirvati image. The respective
mounts 21rc carved beneath the seated deities while their two sons, GaocSa and K:inrikcya, flank
these mounts with Kimikeya appearing within the double header-border. A seated emaciated ascetic
occupies this position on the opposite side. At the base of the extended wings of this lower taitya·
window is the motif of a lion springing on a prostrate warrior, as on the P2raSur:lmeSvara temple,
while above is a second set of 111alearas. Above the entrance is carved a graha slab with five of the
planets still fft sitM. Within the niches of the V")·ra-11111!1{ii1 occupying the a1111rtih4 recesses of the
truncated nJ!.hi arc images of Brahmi and Vi~l)U. At the left of the doorframc can be seen a large
»ii/,• figure holding a va.e in from of itS body.
Fig. 41. S\•ARNAJAt..f,.~VARA: detail of the ga!'r/i showing 2 miniature va1ra-11111ri~i in the an11rihti
recess. Within the niche of this "'""{lfl.i is a ,,,;1h111Ja motif with the male lifting up the chin of the
female. The anartha is decorated with beaded triple tai!Ja·medallions as on the SatrughncSvara.
Original from
f"ig. 4;. $\'r\RK.-\J.\11·:.~\.:\Rr\: Hara·Pirvati image from che lower medallion of the 1·~1ra·"1flJ~11k.a
design. The righ t arm of the damaged Pirvati is awk"·ardly rt-sting on the left shoulder <>t' S1\'a, $1\'a
wears a large circular earring and a serpent looms up behind his right shoulder. An attc.·nJant sns at
his right.
Fig. 44, S\'ARS.\J.\1.t-'.~\'.-\R,\: ten-armed Nataraja from the l'"}Ta•11taJloka. Hi~ nlajor right arm 1s 1n
gqJo·ha1/o while the left displays A:a!alta. T he lower hands arc in arJl1orandra wh ile <he upper sci arc in
arJhapa/alt.4. His remaining right hands hold a serpent and parofk " 'h ilc a trident is in one of his left
hands.
Fig. 41· $\':\Rl'\AJ.\1 t.5\':\R.A. : fra~menred Ardh:an:iriSvara from a "'"'!t/.i shrine in the an11rtihti recess.
The deity holds a lotus and trident in the right hands wh ile the remaining left han<.l has a m1rr(>r.
The female aspoct is suggested by the mirror and the many bangleo on t he left arm.
Fig. 46. $\'ARt..:.-\J Al.E.SVARA: niche fragment de·p ieting a C(>uple Standing in a samabhcJfi..e.,a p<>!'C " ·ith
t heir left h•nds pl•ccd on their hips (J:a(1a1•alam/Ji1a). The figures have a Rowercd halo behind th<ir
heads and the male is depicted as lirdhvalitiga. The male holds what ma)' b< the shaft o i a trident in
his right hand which serves visually to separate the two figures. l 'hc head of t he male is O\'crly l2r~c
in proponion to his body. T he fragment was uncovered "'hen restoration was be~un and stylistically
the figures arc somewhat different from most of those on the temple. The breasts arc fully-rounded,
and not bound by a hi<ha·handha. and cont rast strongly with the pinchcd·waist. There arc no pleats
visible on t he legs of the female as on most other images. ·rhc double string of beads at the ba:r.c of
the coiffure of the male is unusual. lf contcmporar)' with t he temple it is obvi<.)u:;ly t he "·ork of a
sculptor other than the master-carver responsible for most of the carvin~s.
Fig. 47. $\' !iRNAJA L£ S\' ARA: fragmented iilabha".Jiki from cxtcrna] wing of upper tai{)'tJ· medallic)n
of vo;ra·ma1talu crowning "'!ira·111M!f{li design of a subsidial)' ptit,o. The figure "'cars a btha-bandbd
around the breasts, rxarl necklace and girdle consisting of interlocking chains \t.:i1h a circular buckle.
The arched eye-brow is highly st)'lizcd and a circular ht~{iala hangs from her left car. The car\'tnl( of
the hands is rather crude and the work is most like!)· the product of an assistanr.
Fig. 48. $\'AR"A)At.ES\'.,RA: detail of a n iche jamb from a subsidiary pat.a on the nonh side. The
taMri·bcarer is flatly carved in a manner consistent with the Aoral decoration and docs no1 d()mina1C'
the jamb decoration to the same degree as her counterpan on the ParaSur3meS\·ara temple. She is
depicted in a slightly Aexed dviilhatiga pose with both feet firmly planted on t he i:round and the right
hand resting on a shon stall'. She is slightly squat in body proponions with the head and hands
oversize. Diagonal pleats 2rc v isible on her lower garment. The fllNTi is held over the shoulder v.'ith
the tail hanging down . A pli'!'a·ghafa is carved below and garbled scrollwork above.
fig. 49. SvARr<AJAL>.SVARA: detail of niche jamb from subsidiary pa1.a on the nonh side. The
female a.ssumcs an exact mirror-image pos.c <o her countC'rpan on the- opposite jamb. The panel
above is decorated with lion motifs. rather than a scroll as on t he opposite side. so that symmetrical
balance. ach ieved consistently on the ParaSur3meS\•ara temple. is missing. In some cases a '""';.
bearer appears on only one of the niche jambs while floral motifs appear on the other side. 1-:vcn the
lion motifs on chis ja mb are not symmetrical ly balanced. The carving is again flat .
Fig. io. S\'ARX.o\J .l.1.t.S\' ARA: detail of a niche jamb from a subsidiary pOt,a. Herc the r1111ri-bcarer is
male and resis his left hand on a trident while crossing h is left leg beh ind his right. The p2ncl abo\'c
is decorated as a miniature 1·.a;ra-masta_Ju and again points o ut the lack of sta1ldar<liza1ion on 1hcse
jamb$ in contrast to the later ParaSurimeSvar:a temple.
f':'i g. si . $\'!tRSAJ.\IJ·.~\':\RA : fc:malc- fi~urc from a t•tyra·mlln{ii standing in a slightl)· Aexct! pt)~(' \l."ith
her left hand re<1ing o n a shon staff. She holds a lotus in her uplifted right hand. Her body
ornamentation consists of a /eNrha·bantlha, necklace', arm and u•rist bands, a girdle of two r1)pe strand~
u•i1h a circular buckle from ""'hich a tassel issues. head bands and cwo circular /eN!f(lala1 " 'ith a bun<llt'.
Original from
449
of cloth (?) protruding through the left lex~r!ala. There is a plain h2lo behind her head. Her eyes
appear to bulge from their sockets and g ive a cenain degree of seri(>usness to her co untenance. T he
hands arc oversize and her feet arc rather clum~y in treatment.
Fig. !1· SVARNAJAl.ESVARA: i4/ahhaiiji.U from wings of upper tai!ya of a uajra-maslaka design
crowning a uajra·111•~fii. Although the figure is badly worn it is evident rhar the handling of the right
leg. which crosses behind her left, is quite clumsy. The upper torso and facial features, on the other
hand, arc quite pleasing and the flgurc seems warmly content as if meditating on a happy event .
Fig. SJ· S\'ARNAJAt.F.~VARA: lintel over rhc south rtihi niche. In the center is a seated Ga1.1cSa
Ainked on either side by an attendant. Gar:ieSa holds the conventional attributes in his four hands.
The top moulding is decorated with a pair of vidyadharas and swirling arabesque scrollwork.
Fig. 54. S"""R~AJA.1.1;..~\'ARA: fragment depicring a spotted tiger attacking a hgure riding on a horse
with another animal attacking the horse from ~hind. The horse turns its head towards the rear and
is embraced around the neck by the rider. Originally from the nonh side of t he temple.
Fig. 11· S\'AR ~AJ;l. 1.1~\'ARA: a monkey seated within a tai{ya holding a citrus. This fragment was
attached to the nonh side near the bara.IJ{ia recess depieting the consultation between Rima and
Sugrlv2 2bout the quest for Slra.
Fig. 56. $\'AR~/\J.S.l.1·:S\',<\R1.,, : co w·hcad cdyak;a G omukha enshrined wit hin a small tailJ•ti from· the
nonh side of the temple.
Fig . J7· PARASURA~1ESVARA: gener.a.1 view from the southwest showing the two doors of the
ja1.amohan11 and the plain massive e.a.ves of the roof. The j agomohana abuts directly against the front
fac:ade of the J111/ and panly obscures its decoration, a characteristic peculiar to Orissan temple
construction. The ga1,1(1i, rising to a height of only 41 feet, is squat and thick-~ .
Fig. 18. PARAS1..'RA~tF.S\' .... RA : detail of bli{l.a of tlt11/ from cast w ith Kirttikeya enshrined as ptirirta-
dtt'ali in the rihi niche. The bafia is Jri-ratha in design with the subsidiary pagas designed as w;jra-
''""Jefis. The rahi niche cuts through the pihhiga mouldings simulating a doorway.
Fig. 19· PARASUR.~Mf.SVARA: top pabhiga moulding, tala-ba•dhani and sill of subsidiary ptiga niche.
The M•ha!ffi of the ptibhaga moulding is decorated wit h the ma/i phNla pha,Jika scroll of flowers placed
inside of trianglc-s while the sloping upper surface j5 ornamented with a tai~ya design flanked by a
halilsa and 2 viefyadhara. The projecting blocks of the Ja/a-bandhana are om2mentcd with lions and
elephants, each 2nimal represented only from the shoulders up. There arc now six blocks, rather than
five u on earlier temples, w ith the blocks being placed closer togerher. The sill of the niche is
relieved with a row of lotus le2ves (paJma-pr!!ha).
Fig. 60. PARASltR.l.~1E$\1 ARA : vaj ra-maslaka crowning the 11ojra·l#ll1J{ii design of a subsidiary piio.
The lower medallion is filled with an image of Simhavihinl Ourgii while the upper medallion houses
2n image of Siva seated in ardhaf><Jrya•ka. Silabhaiiji.Us stand on the extended wings of the upper
tailJa. At the •pex of the design is a lotus half-rosette.
Fig. 61. PARASl~R.S.~1ES\1 ARA: subsidiary p<i"a on south _facade of dt11! shou•ing rhe clear dcmarcati<>n
of J>Obhtiga.jOJigha and baralJtfa. Jn contrast to the earlier SatrughncSvara temple, where the carving on
the back and sides was sometimes inferior to that on the front, on the ParaSurimcSvara the quality is
consistenr on aJI sides suggesting that there arc now more competent sculptors at work.
Fig. 61. PARASt:RA~tE~\'ARA: lintel and architr2ve abo ve rhe rtihO niche on the south side of the dr11/.
The architrave is decorated with the head of Siv2 in the center Aanked by the ubiquitous sca1ed male
holding a lo1us and an acrobatic atlantid at the corner on each si(le. The manner in which each figure
is placed in a shallow niche resembles a graha slab. In the center of t he lintel below is placed an
Original from
410 e,, T Al.OGl' E 0 1' 11.1.CSTRA T IO:<S
ornate lotus flower flanked by 11itlyidhara1 and the head of Siva on one corner. The lintel o n the east
side is decorated with the Marriage of Si~·a while on the nonh side the motif is that of hunting wild
animals.
Fig. 63. PARASLIR;\~1f..S\ ' l1.RA: 111ithJ111a in the baralJ~ recess alternating with panels of honeyco mb
Joli. The male gently lifrs up rhc chin of the female so thar their eyes meet .
Fig. 64. PARA~URA~tl~!'.\'ARA: dttail of Pa;ro·11tastol:.a crowning subsidiary piga. borari¢o and fir~t
bhli111i of gaJJ{ii. The baraJ}{io consists of two projecting mouldings. decorated with taitya designs and
halirsa motifs as on the top moulding of the pabhaga. and a recessed /VJOnJi ornamented with 11tithN1t4
and female motifs altcmaring with panels of honeycomb j ali and a gaja-kranl• at rhc corner. The
bhUmi division consists of four mouldings crowned by a bhN11ti 0111/0 on the ko11ilea or corner venical
segment. The rop moulding of the boro~rfa serves as the firsr bora~rfi of rhe hhlimi. The second boro~rli
is decorated wirh a <airyo-mcdallion housing the face of a lion. The rhird and fourth borlVJrfis, smaller
in size, arc joined together by a '"iry4-mcdallion. These two roirya-meda11ions decorating the 1nd, Jrd
and 4th bara!J,is thus form 1 minor "'1:/ra-11101/(JU motif. The an11rOhti recess separating thc Jt.ani'A:A from
the anartha is filled with a miniarure JJajra-11111,!f{fi w ith a 111ith11n11 ho used within its niche. The '1fl4rtha
consists of mouldings of identical size superimposed one above the other up the height of the gun(ii,
each moulding decorated with 1 triple taitya motif, four mouldings corresponding to a bhitmi
division. The ga1Jl}i thus is palita·ratha in design and its paga divisions, excluding the rihi, arc not
:aligned with those of the bti(ia which is tri-ratha in pl:an, the subsidiaf)• ptigas of the hOefa tcnninating
!xncarh rhc bor•#o.
Fig. 65. PARA~lJRA~ES\'ARA: detail of rihi showing the tr")ra•maslab motif at the base of the ga!ldi
serving visually to crown the truncated rtA:J;ti design of the btU/4. The rtkhi design tcrminatc-s at the
Mrst bhM111i and is tri-rat"4 in pla.n with miniature 11ajra-1'1N!f{ii1 in the anNrihi recess. The bar(lri4'1 recess
is ornamented with ornate scrollwork issuing from a centrally pl2ced squatting .1ak,ta and atl2ntid
d\lo•arfs at the comers. The lo west tairya-medallion of the i'Oj ra-Maslak4 houses a f\1ahi~amardini whilc-
the smaller upper medallion is filled with the head of Siva. The rhird <airya-mcdallion, forming a
second Njra-11101/aU. cont2ins a Natarija and is crowned by a Jr.irtt'm114ha.
Fig. 66. PARASl'R~"ESVARA : detail of niche jamb of subsidiary pago. The dccorarion of these jambs
is now more standardized 2nd the- motifs symmetrically bal2nccd. The base an d capital arc
ornamented with the pliff!a·ghafa while the shaft has the wom2n-in-a-doorway motif "and a panel
relieved with the Jhatrll santhi scroll.
Fig. 67. PARASURA~tF.S\1 ARA: detail of niche jamb of subsid iary pOga. The taNri-bcarer is more
animated in pose a,,n d mo re three-dimensional in treatment than the exa,,mples on earlier templc-s.
F ig. 68. PARASl'R.~MESVARA: detail of jambs of rahi n iche. The inside band is dccorared " 'ilh
superimposed 2ttendant figures 2nd garland-bc2ring 11i4Jiidhara facing inward to wards the enshrined
pir1i1a·titv111d. On later temples these attendant figures and 11idyidhartU will form pan of the back slab
rather than lxing carved on rhc niche jambs. The center band is dccorarcd " •irh superimposed panels
ornamented w ith various decorative motifs while the outside band consists of superimposed '''atcr
plants (jolopotro).
Fig. 69. PARASUflA~1 ..:~\'AltA : det2iJ of rihti on west facade of ga!'tfi above the t10jra-,,,1111aluJ m~tif.
The decoration consists of triple <.11i!,Ya-medallions with various figure motifs. inc1uding a Si\'a
f\faheSa,,mllni, in the center rot'rya and attendant figures in the smaller Ranking tail.Jal.
Fig. 70. PARASl·R.1.~tt~S\'ARA: detail of gotJ#i showing miniature P0Jra-11111ri(ii1 in an11ribi recess. lmaJ!C'S
with in the niches of t hese miniature shrines depict the \•arious aspects of Siv:a, Bra.hmanicaJ dcitiC'S
such a.s GarycSa, Kintikeya, P:irvati, Variha, ~iahi~arnardini, Slirya, and 111i1h11110 motifs. The images
here arc of Kiirttikcya and Siva h olding • porofN.
Original from
C::\ T :\I.()(; t ·f:; <>F 11.1.l ·sTR.\ Tl()!\S 4P
Fig. 71: PARASUR~r-.11:.S\.ARA: detail of rihti showing seated Siva image at the apex of the 1-·a_jra·
mastaA:.11. Siva is flanked by addorscd lions. Beneath him is a kirli11111k/J4 with pearls dripping from its
mouth to frame the '"irytJ·mcdallions below.
Fig. 71. PARhSliRAt.t ES\' AR.\: detail of upper Pa_jra~,,,a1111U motif on the south rlihi with a scaccd
figure at the apex hold ing a scroll or garland and Ranked by addorsed lions. Beneath is a /<irtim•/cha
with dripping pearls forming a rait.Ja which houses a Natar:ija. KinnaroJ with foliated scrollwork
appear on the cxtc-ndc.d wings of the tai[ya.
Fig. 73. PARASURA~tESVARA: view of jaga,,,ohofla from the northeast showing the lack of bonding
becwcc:n the jaga,,,ohana and Jr11/, pan of the tit11f covered by the joining of the two structures. The
row of various Brahmanical deities carved at the base of the 1ago,,,ohana begins with an image of
Surya. A Sahasra-linga is visible on the right of the phorograph.
Fig. 74. PAR.'r.SliR.i.~1r:~\'ARA: detail ofj a,gamohana on nonh showing the row of J'aptamdtrlt.As with
Virabhad ra and Gaf,'lcia. The wall above these images is decorated with rai~ya designs c2rved in low
reli~f, some of rhc medallions housing figure motifs such as a scared male holding a lotus or the face
of Siva.
Fig. 75 . P..,,RASl'R.l.~lf.:i.\·ARA: view of Ja1.amohana wall on the south side u•ith a scric!I' of Jikpti/01.
T\\:O of the dikpQl.as were removed when the window was cut into the wall at a later date.
Fig. 76. P.o\RASllR.J.~11•.$\' ARA : detail of}4!,0mobana on the south shou•ing the JiJe.pi/aJ Varu9a, Yama
and Indra. \ 1 arul)a holds a v{ja-plirale.4 in his right hand and a noose in his left. A duck appe2rs on
the pedestal rather than the 111akar11 normally associated with Varul)a. Varna holds a 11[111-pKroka and
club while sitting in ardhaparyari"-4 on his bulfalo-mount. Indra sirs on a low couch supponcd by jars
with a da~tfa placed horiionrally on his lap. The figures arc 11 1/ , inches hig h. The wall above these
figu res is decorated with toi~ya motifs carved in low relief, th-e toi~yaJ appearing to Aoat on rhe
surface with the honeycomb ;iii forming a background.
Fig. 77. P.'r.RASUA.1.~tf.$\'ARA : view of west end of the j ogamohona showing the di·Orapila ~1ahik ila
seated in ardhaparyali"-4, the river goddess Ganga, a window filled with a dance grille and door jamb.
Fig. 78. PARASUR.1.:-.11-.S\.ARA: view of \\•est end of ;"ogomohona sho\\.·ing door jamb~ window \\'ith
dance grille, river goddess Yamun:i, d1•arapala Nandl and dilr.pala. The lintel abo"e the d oor is
decor2ted with a Gaja-Laksmi while that above the window contains a liliga-pii.ii scene.
Fir. 79. PAR1'51JR A~t ~\'ARA: image of Candra on north side of j agamqhana. He i$ sc·atcd in
ardhaparyari"-4 with his uplifted righr knee supponing his right hand w hich holds a rosary. His left
hand holds a vase. A ha.l o appears behind his head. The facial features arc typical of the style of the
Svarf)ajilcSva ra master-carver. A taitya appears on the pibhO..ga moulding below Aankcd by a female
lti1111ara and a hatitsa. The image of Candra measures 10 '/ 4 inches wide by 11 inches high.
Fig. 8 0. PARASCRAt.1£S\1ARA: fragmented image of the popular woman-in .. a·half·opcncd doorway

motif carved on the pilaster Ranking the south entrance: portal of the j agamohana. Ali hough the hands
arc awkwardly rendered the details of the door and its hinges arc clearl)' outlined. On later examples
of this motif a parrot is often perched on the top of the door.
Fig. 81. PARASuRA~tt::S\'ARA: detail of south wall of j a,gamohana with im2ges of D2ncing
Ardhanarisvara, Hara-Parvatl and Hari-Hara. The top pabhaga moulding is exquisitely carved with
se:roll motifs and roirya-medallions. The wall above the images of deities is car\•ed with t aitya-
medallons housing a Kanrikcya, lion head and a scared male holding a lotus. Although many of
these individual motifs arc awk ward in excc-utic)n the overall effect is that of an incrustation Aoating
in fronr of rhc wall.

412
Fig. 81. P AR.Ast· K.l. .,11·_-i\ ' A R.\: til'iropOla ~lahikila seated in ardhaporyatil!o on the \lr'C:!'t end of the
}tJf.amohana. He h()lds a lotus in his right hand and the 1rident is h is left hand. A sorpo~b1Jtfalo hangs
frc1m his right ear. His snliling countenance suA~ests h is benevolant aspcet . The facial features are
typical of the $\•arryajileS\'ara master-carver.
Fig. 83. P,\R:\~l 'Ri\~lh~\':\R:\: d1•drapila Nandi and a tiikpala on the u1est end of the 1a.e11111ohona.
Nandi assumes :an ardhapa0·ali/t.a pose like his counterpan on thc opposite side aind likeu·i$.C h1)ld$ a
trident and lotus. His thin beard, mustache and skull-medallion illustrate his Bhairava aspect. The
dik.pdlo was inscncd into the corner \\'hen the ,,,.indow \\'as cut into thc south wall of thc.1a,e,a,,,oha1ra
at at lacer dace. The left hand and irs accriburc arc missing, as is the mount, so it is impossible ll>
iden1ify him. Panigrahi, o n the basis of reducrion, su~gcst~ he n\a;.r be Nirri1i th<>ugh he cc>nfuscd chc
d1·iirapala Nandl in the adjacent n iche with Tsana.•
Fig . 84. PAR ASt'R ,\ ~tt-.:o.\';\RA: four·armcd Si\·a seated in ardhdpar;)'attka cJn the nonh side of the
;a.r,amoha11a. The right hands hc>ld a r<>sary and l<>rus while 1he back lcfr hand holds a 1ritlcn1. The
majt)r left hand is placed on the left thigh 10 help suppc)n lhe bcKly. The facial features are mis~inJ.t
except for a 1arpa·l:M~(lala hanging from t he right car.
Fig . 8~. P.\RASt'Ri\~1 1--,S\'ARli: four·armed Natari;a housed in a raiQ·a from 1he base ofthc .(a~efi. The
serpent is held in rhe back ri~ht hand and the rridcn1 is in the back lcfr \\.•hilc the front t\l,' O hands arc
in a dance m11Jri. He is Nrtlh1·alifi..~a and turns his head sligh1ly to 1he right while tappinR rhythm \l'ith
his left foot.
F ig . 8G. PARASt'R:\~tt·.:->\'ARA : rait>'a design on the.id~t1mohana "'·all. \'\' ithin the circular mc:d:allic>n is a
male seated in ardh11f"'rya1ika holding a lotus in his ri~ht hand, a recurring motif on these carlic-st
()rissan temples. 1-tc \\'Cars a circular hl!lfala in the ri~ht car and a 1t1akAr11·h1J{itila in 1hc Jc-fr car.
Air hough some of these f1~ure-s represent Siva, as e\'idcnt by the- t hird eye and 1arpa·hltt4alo, in other
cases the figure •ppears to be merely a decorati"e motif or space-filler, possibly • pious disciple. A
d iminutive dancing figu re is in the. vertical extension of the roilJa. The rai{yo is ncatl~· framed and .1tili
perforations in the upper corners add to the screen-like effect of the design. The facial features and
figure style arc rypical of the work of the Svarr;iajileSvara master.carver. In contrast ro many of thesc-
minor decorati,·c motifs on the wall of the jaga,,,oha1ta, the carving is crisp and neat while bc.>dy
proponions arc \\'ell articulatC'd, su~_J.tcsting it i!' a '1.'ork by one of thC' more accc>mplishcd artisans in
th is workshop.
Fi~. 87. P .\R ..\~\'RX~t l·:-.\· ..\R .\: <ai~va t:.ie$igns on the Jll.t."mMana wall. l 'he fiJ::urc in t he center
medallic.>n ....,:cars the malwro·/e.1111(iala on the right c:ar and the circular lt.M!1f1,1/11 in the left, just the
re\'crsc of most examples. Althou~h the carving is of poor quality, su.~gesting worksh<lp part1cip·
a1ion, lhc overall decorati\·c ctTc:ct of the ~:alls. rcscmb linR floating incrustatic>n. is quite impres~i\'e,
p•nicularly in the plar o f li!(ht and shade caused by the intense Indian sun.
Fig. 88. P.>\RA!'>l'RA ~tl:~\',\R,\: arabesque scrollwork issuin~ from behind a ki11nara on the pJhh~e.a
moulding of lhe; a.e.amohatta. The carving is perpendicular 10 the surface and deeply cut resulting. in a
rhyrhmic play of liStht and dark accents. The overall desi~n is \'igorous and animated in contrast 10
later work "'·here the patterns become repetitive and the ca~·inSt mechanical. The rustic or folkish
a!l.pcct of the designs thu$ scr,·e to enhance the O\'erall effect. ·rhc lo"'•cr ct:.igc of the moulll in~ is
decorated with the mali phN/a pha(l1"'4 scroll.
Fiµ . 89. P ,\R,.\~l·R.:\ .\tl .. :-\· ,\R:\: k1nnar11 cf>uple o n pr<>iect inj.".! b l<>eks of the 1al11·handhanti o n the Jr11/.
Tfiei r fccc arc cJa....,·s \\·hilc 1heir arms arc mctam<>rph<>lled into a mesh of arahr:syue ((Jlia~c.
f-i~.90. Li1i' ARl·.:->\'.\R .\ C:<l)ll"tll''.\.I) : J.tcncral vie\\' from the !'()Uthcast \l'ith the Binllusaro\•ara in the
ft>reground. There are numerous smaller shrines \\' illlin t he comp<>Un(l as \\'ell a.s a n\uch later temple
Original from
C:ATALOGLIE OF 11 .L US'TRAT IONS 41 l
to the north of 1.he UttarcSvara itself. The entrance g2tc of the compound wall on the cast is a later
addition.
Fig. 91. UTTAR ES\'ARA: general view from the nonhcast. The gavik,a window is a later addition,
being crudely cut into the wall. A small •iia shrine in front of Mahi~amardini on the north side of the
ti111/ is also a later addition.
Fig. 91. UnAR~SVARA: view of dt11! from south . There are two GaJ)cSa images housed within
niches. The niche housing the seated GaocSa is obviously makeshift and not part of the original
design. The projecting porch in front of both images is also a later addition. The pibhaga measures
31 '/ inches in height and consists of three mouldings. Only the basic design of the decor21ivc details
2
is blocked out on the top moulding as well as on the N}r•·-fii plan of the subsidiary pigas. The
design of the rihi above the niche, partially obscured here by the porch addition, is of a va)r•·•asta/r;J
rather th~ a truncated rtkhi as on most other early temples.
Fig. 9l· UrrARES\' ARA: standing male figure from a niche on the jagamohana. This is a good
example of the sculptural style of the images of this temple which arc characterized by long cylinder·
like legs, broad chests and overall flat treatment.
Fig. 94. PASOMFSVARA: view of the plinth •nd /iliga enshrined within the sanctum. This is all th>t
remains of the temple except for the pariva·tie11a/ti1 which arc now aligned in a row next 10 these
ruins. The bti¢a of the temple at the base measures 11 feet square. There is a Mahisamardini housed
in a small modern shrine just a few feet nonh of this plinth.
Fig. 91· McmtNl: two srandin_g male figures housed in a niche on the de•/. The figure on the right
holds a trident to suggest his Saivitc association and has a halo behind his he•d. The face of the
right figure is completely obliterated. He rests a f><Jrah on his shoulder. The lower comers of the
niche arc filled with jackfruit which arc normally associated with Ga~c$a.
Fig. 96. MOHINI: general view from the bank of the Bindusarovara showing the northeist side of
the temple. Thcjaga•ohana has been recently reconstructed.
Fig. 97. MOHINI: view of the btiJ!a from the north. The rihi is designed as a truncated rekhi·tk•I
and the subsidiary piga1 as 11ajr1J·1'IN!f{ii1 as on other early temples. The images housed within the
niches arc a.II badly damaged. some beyond recognition. The parilla-Jt11alti1 are all i11 1i111. the image
here being Pirvari. The ivara!fll· titvali on her right is Gailgidhara.mUni while the one on her left is
possibly Siva st•nding on Dak~a.
Fig. 98. RATNA\.IRI: view of Mon•stery I showing the front porch • nd its back wall which serves
as the entrance into the counyard.
Fig. 99. RATNAGIRI: <aMri-bcircr housed in a shallow niche forming part of the frame of the
entrance ponal.
Fig. miniature vajra·•o.Jlalt.a moc:if from the jamb framing the entrance portal .
100. R ATNAG IRJ:
The upper rairya is flanked by bhirara/tfa"-11 similar to those on Hindu temples of the 8th century at
Bhub•neswar. The lower medallion is filled with a stylized floral motif resembling a lingo. The top
panel is decorated with the dha1U1 ganthi scroll.
Fig. 101. LAl.ITAGIRJ: Bodhisattva holding a lotus in his left hand and extending his right hand in
•arada. Stylistically the image, with long cylinder-like legs, broad chest and overall fl31 treatmcn1 is
similar to numerous figures apprcaring on the UttarcSvara temple.
Fig. 101. RATNAGIRI: back wall of the front porch forming the entrance. The ornately carved
doorframe is of chloritc and, as Dcbal• Mitra points out, is the most splendid of irs kind •nd the
Original from
414 C:r\T.<\1.<>Gl'E (lf ll,l .l 'STRt\ T l<)NS
overall decorative program of this wall is ''unparalleled in the structural monasteries in India!' 1 The
J><ibhaga consists of four mouldings with the middle two joined by a stylized plirt;ta-ghafa as on 8th
century temples at Bhubancswar. The top moulding, designed as a phi•i (cyma), is more ornate,
being decorated with pot1111a-pr!!ha scroll, and serves as the sill for the niches, its upper edge
ornamented with the raliga.ni scroll. As on the Hindu temples the river goddesses arc placed in niches
Ranking the doorframc rather than at the base of the jambs as elsewhere in India. There is also a 11ixa
Ranking the doorframc on either side similar ro detached images found at Hindu temples throughout
Orissa.
Fig. IOj- RATN M ;tRJ: back wall of front porch with portal jambs and a large image of Padmapini.
Fig. 104. RATNhGIR1: doorframc of sanctum on nonh wall of the counyard. There arc four hgu res
at the base on either side of the door, each housed in a separate niche. Within the sanetum is :a
colossal image of Buddha in bhimisporia-m•tlra Ranked by standing figures of Padm•piQI 1nd
V:ajrapir;ii holding ta11rf1.
Fig. 10~. MAR...:ANOF.Yl~\'AR:\: view from cast during conservation work. The pillars supponing
the roof of the projeciing portico are clearly visible.
Fig. 106. ~fARKANOEYF.SVARA: view from the southwest before conservation work. Thejaga111ohono
consists of large plain blocks of kondalite with a slight ga•akfa projection. The sloping roof consists
of a single terrace. This jaga111t>hana most likely was a later addition. The present Ja1,a111ohant1 is a
modem restoration. The u~ of baJusrcrs. rather than }iii, to fill the gavih,a window was not
introduced into temples at Bhubaneswar until the 11th century. Although the crowning members of
the maslaka arc m issing above the ""'a/aka most of the dopirhhi simhos arc ,·,, Ji/11 in the btlei.
4
Fig. 107. llf~RKANOEYF.SVARA: detail of jangha and bara~¥a on north side of dt11I. The paga is
designed as an engaged 1ta111bha with addorsed lions surmounting the piirt;ta-gha!a capital. The NJr•-
"'"!l!fi standard on earlier temples is superimposed on the shaft of the 1Ja111bho so that the overall
de-sign comb!nes features from two different traditions. The niche of the vajrt1 11tlf!lli houses an im2ge
4
of Ekapiida Siva. The offsets of the raha 1te decorated with ratilura scrollwork. The bara~¥a recess is
filled with 1J1ithMAa figure$ and drinking scenes.
Fig. 108. M~RKANOF.YF.S\'ARA: biitja detail on the west side of the tit•/. The J><ibhaga mouldings are
increased to four with the middle two joined by a stylized plif"!lo 1,hafo similar to those on the
4
Lak5mana temple at Sirpur, though the <a111po"4-leaf does not •ppear on Oris<>n temples uniil the
10th century. This pirt;ta·ghafa "'rves visually as the bose for the paga design which simulates •
/u1Mbha-11a,,,bha. The paga is pushed out to the comer of the structure and offws art added to 1he
"'1•i"'1 and the rahii. The image housed in the niche of the "'1•i"'1 is the Ga/Jgidharamurti of Siva.
Fig. 109. M A•KANO EYF.S\'ARA : detail of the raha on the west side of the tl<•I with Kimikeya
housed in the niche. /\ tala·t.arbhi"-4 is added beneath the niche. designed in the manner of a bara~!fa,
which elevates the niche higher up than on earlier temples. The rihi is no longer designed as a
truncated rtlthi. The niche is framed by a Aat pilaster on each side with the pif"!a•ghafa capitals being
rounded. An irJh1:a•garbhiJui is added 2ho\re the niche, an addition which reduces the space available
for the pariva·dtvali. Offsets, decorated with scrollwork, ab ut the rihi to produce a multi facetcd 4
~urface.
Fig. 11 0. }..t '-Rh: .-\NOl•Vt..S\ ' AkA. : dct2il of va;ra·,,,t11takll cro,~tning the niche of the Jea,,iJea. Atlanrid
figt1res no w replace the ta11ri-bc2rers and iilabh.a~il&is standard on earlier temples, 2n inno v2tion
wh ich leads to the development of the bho-motif on later temples.
Original from
Ci\TAl.OGlJE OF 11.LVSTRATIONS 41!
Fig. 11 t. MARKANl)EYF.SVARA: piir1Ja·ghafa capit•I sunnountcd by addorscd lions crowning the

leawilea design. An elephant appears. on the offset behind the lion. These motifs appear on the
L•k$ma(la temple at Sirpur. On the Sisirdvara and Vaitiil Dcul the lions arc uaruformcd into ga}a·
Jer411tas.
Fig. 111. MA1tti.:Al'!i/OEYES\1ARA : lower bar11!J~ design on the rihti above a diminutive 11ajra-ma11alt.A
crowning the piriva·dt11ati niche. The recess is filled with atlantid figures alternating with ban/ea }iii
with diamond perforations. The sloping underside of the lower moulding is decorated with p.a,,,•.
P!l/ha and raliga•i serollwork.
Fig. 11 J· RATNA<.~1R1: MoNASTCRY I: 2rchitcaural fragments decorated wich aclancid figures, )<iii
patterns and piir1JO·gha/as similar to those on the ga~(ii of the Mirka(l<;lcyesvaf2 temple.
Fig. t t 4. MARKA!,.0£Y£SVARA: •·ajra·111astalea design on the leanilea of the gair(ii. The lower medallion
is filled with. an image of Ga(lcsa plucking sweets from a fflodalea·pifra while the upper medallion has
the face of Siva.
Fig. tq. M.\RKA~Of.Yl'.SVARA: bar•!'il• recess with male fig ure ftanked by a female on each side. At
the right is a figure leaning on his staff, a motif also popular at Ratnagiri.
Fig. 116. MARKA~0£YESVARA: barairi/a detail and base of ga!'(ii. The rihi offsets arc divided into
bhN111i divisions with small niches housing figures or jti!i. There is no vertical alf11rihi rc«ss a6 on
earlier temples. The only recessed areas arc those opposite the miniature niches and these arc
likewise filled with jiili perforations. The bhi111i divisions of the leanilea contain only three baral'ifis
rather than four. A vajra-..astalea joins all three mouldings. The lower '"i!Ja of the third bhi,,,i houses
a seated image of Ga(leSa.
Fig. t '7· M.\RKANOEYE$VARA: view of north fac2dc of gair(ii. The vajra·,,,•sfalea obfuscates the
bara!J{itz division on the rihti. The lower taitya is horseshoe shaped producing a vcnical niche in
contrast to the hori2ontal keyhole shaped niches on earlier temples. The oval upper tailya houses an
image of Mahi$amardini. The rihi above this major 11a.jra-111a11alea is decorated with smaller 11ajra-
,,,.11alea motifs of progressively smaller size. The bisa,,,a docs not partake of the paga divisions.
Dopithhi·sil;,has arc placed above the leani/eas to help support the a11tala/ea. The crowning members
a.hove the ""'"/.aJu are missing.
Fig. 118. MARKAN0£YESVARA: major vajra·,,,astalea on the cast facade of the ga!'ifi above the
projecting portico. The motif projects out some three feet from the wall and serves as a roof for the
entrance portal. The motif is surmounted by a small, plain afflalalea.
Fig. 119. MARKANOE'l'ESVAR~: minor vajra-111aslok4 housing a seated female figure in the lower
tail.Jo and a face, probably of Siva, in the upper tai!J•· A ltlrtil11Nltha mask crowns the motif.
Fig. 110. MJ.RKA~DEYESVARA: minor vajro-,,,aslaka on the upper rd.hi on the nonh side of the 1..a!f{fi.
The cjrcular mcdalJion contains an image of a four-armed Devi seated in paryaiika. An ornate
lt.Irtillflllt.ha crowns rhc motif.
Fig. 111. MA.RKAN.OEYES\>'ARA : four-armed Siva in the cast lt.anilea on the south side. He stands in a
tribhariga pose holding a lotus in his uplifted back left hand. His major right ann is extended down.
The other arms arc missing as is most of his body. He is fl•nkcd by the bull Nandi on the right and a
standing attendant on the le~. lconographically the image is similar to one appearing on the north
side of the jaga• ohana of the Sisircivara temple.
Fig. 111. ~1 ARKANOEYES\rARA: image of P2rvatl as pir/tla-J1va1a in 1he nonh raha niche. She srands
in a rigid sa1"abhatiga pose and is stylistically similar to to her counterparts on the PaScimeSvara and
Mohinl temples. Her hands, feet and the lower left corner of the niche arc obliterated. Her upper
Original from
CATAl.OC:l'F. 01' 11.l.l'STRATIONS
hands most likely held a rosary and a lutau flower while her lower lefr hand held a vase. The lower
righl hand is in /i(lrada . Female artcndants occupy the lower corners of the niche along with a small
lion, visible in rhc right corner. and probably • sm2ll deer. The niche me2sures j6 1/ 2 by •• '/2 inchc..
Fig. 11~. ~f.J.R..:ANOE\'E.S\•AR.'\ : (our-armc:d 1-lari-Hara in the west n iche on the south side of the
dt11/. He st2nds in a pronounced lribhaliga pose similar to the image on the )111.a,,,ohana o( the
Par2SurimeSvara temple. The lower right hand is extended in 1111r1Jda while the lower left hand rc5ts
on rhc shoulder of a female ancndanr . The uplifred back hands arc broken but probably hdd a
rosary and a conch. A sarpa·lex~{lala hangs from the right car and a halo appears behind his head.
The coiffure is divided vertically down the center though the \ 7 a.i$(1ava side is mostl)' obliterated.
The dwarf attendant from the lo\\'Cr right comer is missing. These lt.Anil:A niches housing t he i1·ara!'a·
dtvattis measure approximately 2. t 1/ 2 by 11 '/ 2 inches.
Fig. 124. ~fARK.<\NOf.Yt-:S\'ARA : woma.n-in--doorw:ay motif (tt>r11nli·A!a'!ya} in the no nh n iche on the

east side of the Jr11/. T his is the first example of an ala1i -Jwnyi occupying 2 ma.jor niche o n the;i li1.lta.
The jamb o f the niche is decorarcd with panels d isplaying floral morifs on the shaft berween rhe
piir!Ja·gha/as 2s on earlier temples. On later temples these pa.neJs will be eliminated in favor ()f
continuous scrollwork.
Fig. 121. M l.RKA~l)F.YES\'ARA: images of Agni and rhegrab.r Surya on rhe righr side o f the sancrum
doorframc. T he image of Agni is 14 inches in heighr. He is sc21ed with legs crossed and holds a
rosary in his right hand. The left hand is broken-off ar the wrisr. Flames arc v isible behind h is
shoulders. Surya is seated with legs crossed and holds a long-stemmed lotus in each hand in the
Slandard fashion.
F ig. r26. ~i.AR>:Ar-:l>E't'l:~''Ak.\ : image of \' aruo a at the 1<>p of t he sancl um d oorframc on lhc lcf1
side. \' aruo a is seated in patimi1ana and holds a noose is his left hand. The rip;ht hand is in rarado.
Fig. 117. M l.Rt;,, Nl)E\'l'. $\ 'AR. : image of Brahma appearing above the Jwirapala on the r ight side of
the sanctum doorframe. The niche is 16 1/ 2 inches in height. Br2hma holds h is lower righ t hand in
v11rada wh ile his lower left hand holds a water j2r. T he upper right hand holds a rosary \lo'h ilc the
object held in chc upper lefl hand is not clear. He is seated in pad111i111n11 and has three heads.
Fig. u8. Ml.Rt;ANl)f.Yf.S\ ' AkA: rhe dvarapala Nandi carved ar the base of rhe left jamb of rhc
sanctum doorframe. The image is 24 inches in height. He holds the trident in his upper righ1 hand
wh ile his lower right hand hol<ls a vija·piirau. His lower lefr hand is placed on rhe hip and his upper
lefr hand ho lds a lotus flower. His rerrifying aspect is suggesred by his rhin beard, mustache and
frowning countenance.
Fig. 129. S1s.1R1:.S\ '.o\ RA: gc-ncral view from nonhcast sh<lu;ing dilapidated condit ic,n o f the ;a"'a·
mohana prior to conservation work. Th e spire of the Vairil Oeul is v isible at t he le::ft.
Fig. 1 JO. S1S1RES\ ' ARA: detail of south facade o f ga!lfii show ing major vajra·m11!1t/i disig n of rOha.
Rdbti offsets arc decorated with niches housing various figu re motifs and re place the a11ar1ha of carlu:r
temples. These niches arc crowned by d iminutive ''"Jra·ma11aka motifs so that they simulate a
miniature "'1:Jro•11t11!f¢i. In cont rast to the miniature vqjra-m11!1¢i1 appearing in the an11rihd recess of the
earlier temples, hou.'e\•er, these miniature shrines arc not aligned w ith the bh#11ti di,·isions and t hus
not as clearly perceptible as "''1:}ra·11tN!Jt/is. There is no an11rtihti recess and the vcnical clarity of t he
decorative program is less pronounced than on the earlier temples.
Fig. I }J . St~R.I Rt·.S\'ARA: \•icw of the dr11/ from the sou thwest showing the rti.hti and its offsets. f.,·cn
though the wide offset is provided a niche it is art-ached to the rahi and not co nccivC"d as an
independent paga. The lctinilt4 is conceived as 1 /ulmbha-1/ambha with :a miniature va)ro·m"'}{ii car\'C'd
on the shaft of its center facet . The pif'!la·ghofa capit.al is surmounted by two baro!l¢4 di,•isions '1.'ith
the lower bara!ft/a running continuously around the dt11! while the upper bara!Jt/4 is obfuscated al chc
rtihQ b~· the t't1)To•111a11aka. The ovcral clar1t y of design achieved on earlier temples is thus mis~ing.
Original from
C1\TAl.(lGt·E <>I: IL J .t"STR:\ "l'l<l~S 417
Fig. 1 Jl. S1S1RJ:.S\.ARA: detail of rJha on nonh facade of the tlt11/ with the niche housing an ima~c
of Mahiiamudinl. The /o/o-gorbhilt.4 beneath the niche is in the design of a boro~t/a with the recess
filled with )iii perforations, an 2tlantes in the center and lions at the corners (the lower moulding is
buried). The niche is framed at the sides by a hlmbha·slambha reliC"ved with ratiUra scrollwork on its
shaft and a heraldic motif of addorscd jagratas near the top. The pedestal beneath the niche has a
10/o-banJhona of eight projecting b locks decorated with lions and elephanrs. The upper pan of the
niche is filled with an irtiht•a·1>arbhihi design consisting of horizontal mould in~~. The niche jambs 2re
designed as thin Ju,mbha-S1a111bha1 and crowned at the top by a projecting capi121. On the lintel, above
this projeeting c2pit2l on eich corner, is a diminutive PidyOJhara. The niche is crowned by 2 panel of
Mali phMla phat/iko scrollwork and • large khMra-shaped moulding decorated with padma Prflha
scrollwork and a '"i1.Ja in the center houl>ing :t m:tlc figure seated in /a/i10sana. As the rtihi niche
becomes slowly elevated on these temples the overall decorotive program ch•nges accordingly, being
transformed from an entrance pon2I to :t "'' indow.
Fig. 1 H· S1$1RESVARA: detail of koniko showing the piir~a-ghafa capital and cnrablature abo•·c
designed as a lower bara1Jfia with a hcra_ldic motif of :addor,;;cd lions surmounting a panel relieved
with confronting elephants on the lower moulding. Beneath the pMrtta ·t..ha/a capital~ on the center
facet of the shaft. is visible the vajr11·11fa.1J11ka motif crowning the i•ajra·mNIJrji design. The projecting
center facet of the capital is relieved with a hmbhilt.4-hanJha ornament and the ma/i phM/a phaiJiko
scroll of Rowers placed in triangles. The top moulding of the bara-!ftia is decorated with 2 rairya
medallion. Surmounting this r11i1Ja is a squacting)'a.tfa.
Fig. S1S1 RE~\'ARA: detail of rtihti and its offsets. The pMf1J4·~hata c2pit2l of the thin, inside offset
1 }4·
projects our 10 p2nially obfus.c2ce the Pajra·111astalu motifs crowning the "":Jra-111111J<1i design of the
large, outside offset. This offset, though provided a niche below, abutS the raha and is not as yet
conceived as an independent paga.
Fig. 'l l· S1SIRF.S\'ARA: detail of lower bara~j/a design above luniko capital. The lower moulding is
decorated with a taitya design rather than a panel of confronting elephants so that it is more closcJ~r
related to this heraldic motif on the MirkaQdeyc5vara. The addorsed lions arc placed in front of the
rccC"ss and arc thus related to the bara{lr/a design on earlier temples where 2 single lion motif was
generally carved 2t the comer. T he 11111hi1Jfi of rhe upper moulding is ornamenred with rhe rafi1,ani
morif and 2 tairya·medallion in rhe center while the upper sloping surface is decor2ced with a pair of
halirsa1. A squaning atlantes serves visually to link the top moulding of this lower bara!'f/a to the
bottom moulding of the upper bara~(ia. The lower edge of this moulding is decorated with the
hmbhilt.4-bandha while the recessed fillet> are relieved with the paJma pr11ha scroll and a gM~(lilt.4 (bead)
ornament.
Fig. 1J6. S1S1RF.S\' ARA: vt.Yra-mastaka design crowning the niche of a 11ajra-11111!J(il. The IO\\'t:r
medallion is filled with the popular motif of a figure seated in a relaxed position with h is uplifted
knee supponing 2n outstretched arm, 2 ,,·2ri2tion on the earlier motif of 2 seated figure holding a
lotus. Atlantid figures appear on the extended wings of the upper raitra. In this example they have
both arms uplifted. The inside leg is uplifed and placed on the rai!r• to funher su~gest 1heir
supponivc function, as if chcy :arc climbing.
Fig. 1 n. S1S1RcS\'ARA: koniko detail on norrh facade of rhe dtMI. The alasii·ko~ya housed in the
i•ajra-m111J(ii design c:an.red on the shaft of the hlmbha-slambha 2ssumcs a pose popular on eirlicr
temples though there the figures were diminut ive in sc2le 2nd restricted to the j2mhs of the niche or
the extended wings of the upper 'ai~ya crO\\•ning the niche. On the CCf'lter f:acct of the capital is 2 rare
scene of a female reclining with one arm placed under her head as a pillow. The lower moulding of
the barattefa above is decorated with a tai!Ja motif and surrounding 2ddorsed lions.
Fig. 1~8. S1SRIRF.S\' AR ..-.: detail of m:ajor va;ra•marlaka on ,rihi ~f the nonhern fac:ade of the .~o!fcii.
The circular upper-medallion is filled wirh the head of Siva. Siva is identified by his thrid eve.
crescent moon in his coiffure 2nd sarpa..1u1,,411/a h:anging from his rig ht car. ·rhc ex(erior bor(icr of the
Original from
C.\TAU)(;t;I; OF 11.1.L'ST RATIONS
~ai1J·11
is decorated with mak.Pras spewing w2rriors from their mouth, lion masks placed in medallions
and, at the apex, a Jdr1i111111eha flanked by a lion on each side. Flying viJyi.Jhara couples arc vi"iblt in
the upper corners of the lower tairya design. In a smill tai'.Ja~med2llion 21 the right is a scene of :a
male engaged in sexual congress with a horse.
Fig. 1J9· S1sRIRES\ 'AR., : deiail of 1he upper bara~(la and 1he first b.btimi of 1he t.•~f/i. The boranJo
recess is filled with various figure motifs, including ,,,i1h11nas, as on the t.,{irka Qc,leycSvara , and a
recurring theme of a male figure Aankcd b)' a female on each side echoing the image of Kama being
supponed b)· Priti and Rati appearing on the jaga111ohana. Jn the grouping at the right the male is
Aankcd by taNri-bearers while in the scene at the far left it is Kima flanked by Priti and Rati, one
carrying a bow and the o ther an arrow. At the right is the motif of a male Rgure leaning on a staff.
The bhimi consists of three bara!J(iis, rather than four as on earlier.temples, and all arc the same size.
A sm2ll i•ajra·1'1astalea links all three mouldings in the center. ln the lower tairya·mcdallion is an
image of LakuliSa. A diminutive image of Kirttikcya seated on his peacock -mount surmounts the
lt.irti111ult.ha mask at the apex of the design. The niche of the small 11tyra-11111!f<Ji on the rtiha offset houses
a standing femaJc w ith upraised arm accompanied by a diminucivc female actend anc. These 1:~1ra·
""''!<1is are not aligned with the hhNmi divisions of the Unika. Between the niche of this small shrine
and the bhM11ti·amli is a thin pilaster relieved with a pMf!fa·1.,ha/a. On the MirkaQQeycS"•ara this area
was filled withji/i. T here is no an11rihd reces.s so that the ve-n ical divisions of thega{l(ii arc not clearly
demarcated. Blocks can.•cd w ith 111ith1111a1 and atlancid figures join the upper bara{lf/a with che lo\\·er
bara1JrJa. The carving of e"•en minute details is exquisite and shows an advancemC"nt over che work <>n
the Mark•Q\leyesvara.
Fig. 140. S1s1Rf-S\' ARA: gcner2I view from the southeast showing the condition of the )a,f!.alffohana
prior to cons.er,1 ation. A modem structure encroaches on the joga,,,o!Ja,,a at che ri~ht so that che
e2stern end is not readil)' accessible. The roof slopes in two stages and the venical face o( each is
relie\•ed with frieze work of animal processions and epic scenes.
Fig. 141. S1S111.ES\.ARA: detail of i•ajra·"'"!'li o n;a1.a111oha,,11 sho\\·ing t he crowning i·a;ra·mastaka. The
venical niche cutting through the upper rai~,.a is filled "'' ith an image of ArdhaniriS,•ara. The dt"ity is
standing in a relaxed pose with one arm resting on the bull Nandi. a pose normally associated u·ich
the vr~avihana·mUni of Siva. The figures on the extended wings hold a chain in their inside hand
while the ou1Sidc hand rests on 1he hip. The inside leg is uplified ••on 1he 21lan1id mo1if. The mo1if
thus seems to combine the garland·bcaring theme with the at lan1id function a.nd it is th is motif
\\'hich becomes standard on the decorative program of the bM-rype 11ajra-11tastaka dominating 1he
ga~(li on later temples. On the SiSircivara, however. ch is is merely one of numerous variations and
testifies to the: cxpcrimC"ntal nature of the design at this cime. The lower taiva-medallion is filled \ati1h
an image of LakuliSa. He is seated in d'?JinJsaffd with both Jegs locked and is represn'!ted in
dhar1Waralera·pr11114rtlana·1"miri with the lalek/a held against his right shoulder. He is flan ked b~· 2
single disciple on each side. This is one of numerous smaJI images of LakuliSa \\ hich. along \\'ith rhe
1
large image housed in the center niche on the south side of thcja1,amo"'1na, tescify to the populari1r of
the PaSupaca sect at this time .
Fig. 141. S 1s1RP.S\'.'1.RA : view of north side of the ;aJeal!foha,,a. The va1ra·11tN1J{ii niche at t he ri~h1 is
filled with an image of Kama. Aanked by Ra1i and Pri1i, while 1hac a1 1hc left, pan ially h idden by
foliage. contains an image o( Si\'a. The large ccncer niche is no\\1 empty. The base of rhc niche jamb
is decorated \\'ith the mocif of a woman·in-a..door.
Fig. 14}· S1~1 RhS\'AR A : vajra·mN!Uf.i o n chc souch \\ all of the )oJ.amohana wich a fig ure seated in
1
ardhaparyonka. His ra1hcr s1ou1 appearance sugi;cSls he may be Jambhala (Kubera) ye1 ii appears 1hai
he was hold ing either a staff or rri(lent in his left hand which is resting on his uplif1ec.J left knee. He
most like ly is associated with Siv a in that t he dccorat i\•e p rogram of the three major niches o n each
$idc probably reprcscnred a unihed theme. \X' ith Lakul i~a in the center niche and a nti.,_f..<J h~ure 10 the
rij!ht the ii/pin apparently is illu$tracing the $yncrct1st ic aspect of t he Plisilpata sect and, on tht Oftr(h
siclc, the importance of l<tve, or sex, to its tenets. 1'he v~rtical n iche o f the upper tai~ro con(ains the
Original from
c:,\TAl.C)GU E OF 11.1.L!STRATIClNS 459
popular motif of a woman·in·a·door. The Aanking figures arc atlantids. The lower <oilJ• is badly
damaged. The vcnical face of the projecting cave illustrates a battle scene with warriors arranged in
a procession holding bow and arrows or sword and shield.
Fig. 144. S1S,.•svARA: vojro-111'"J(/i on south wall of jago,,,ohona with a naia (not Amoghasiddhi)
enshrined within its niche. The deity is seated in dhyanasano with both legs locked and holds a vase
and rosary in his hands. A c2nopy of seven serpent hoods 2ppears behind his head. A similar im2gc
appears within the jago,,,ohano of the Vaital Dcul. 1 The jambs of the niche arc decorated with a
variation of the dhan• gonthi scroll. The lola·bandhona of eight projecting blocks beneath the niche
recalls the decorative program of earlier temples where this motif appeared above the pabhago of the
subsidiary pagas of the dtNI. The vcrrical niche of the upper <oilJa, mostly missing, contains an image
of Parvati holding a ~lab Rower and a rosary in her upper hands. Garland-bearing vidyadharos
appear on rhc wings of the 1ai1Ja. The shaft of rhe J,,,,,bho-slombho at rhc left is ornately decorated
with the ratiA:Lra scroll.
Fig. '41· S1SRfS\'ARA: four-armed s12nding Siva in the cast niche on the north side of th'c
Ja1,omohono. He holds a small vase in his major left hand while the object in the right hand is missing.
The uplifted back hands hold a rosary and a lotus. He wears a tiger-skin and conventional body
ornaments. He is Hanked in the lower corners by the bull Nandi and 1rilNla·p11rw111. the latter leaning
against a trident. ij l/4 by 10 inches.
Fig. 146. S1$1RF.SVARA : Bhairava in the cast ol!'set niche on the north side. He st•nds in• slightly
Acxcd pose with the major right hand placed on the hip. The major left h2nd holds • lt:Apala while
the uplifted back hands hold a rosary and a trident. A sarpa-"11/fl441o hangs from the right car and a
skull-mcd2llion appears among the matted locks. He is lirtlhvalingo and wears a JoJiiopavi'to. His
terrifying upccts •re stressed by his short beard and bulging eyes. H is overall iconography is based
essentially on the Ji.•Oraprila Nandi. These o8'set niches measure 19 by 8 '/1 inches.
Fig. 147. S1S1 R1~Sv . .RA: 111ithJ111a enshrined in the lower niche of the 11a;ra·111a11aka of thega!f#i on the
south side of the dt•f. The female assumes a twisring pose with her •rms lif1ed over her head,
accentuating her feminine charms, while the more stoic male cooly embraces her waist with his left
arm, looking srroigh1 2head rather 1han being enticed by her seductive movement. Confronting
Jx11i111t1 with foli2tc tails appear below. Compare with fig. t 78.
Fig. r48. S1s1RES\'ARA: four-armed male deity seated in •rdhapol',J•lilt:A in 1hc va)r•-,,,•~Ji niche on
the cast side of 1hc j aga,,,ohona Ranking the door. The image is badly damaged and mos! of 1hc
attributes arc missing. The right hand, resring on the roised righ1 knee, appears IO be holding a
lotus, • popular motif on early temples. The back left hand probably holds • trident. The image
possibly func1ioncd as • Saivite dvarapala such as appear in • similar pose of the west end of the
Pa raSu rime-Svara jaga11toha11a.
Fig. 149. S1S1Rf.SVARA: woman-in-doorway motif in jamb niche on the north side of thej aga111ohono.
A parrot is perched on top of the door. Compare with fig. 114·
Fig. 150. S1s1RF.$\'ARA: alasa-lt:AnJti in a leiJnilt:A niche on the south side of the dt•I. A halo is behind
her head. These niches measure 17'/, by 71/ 2 inches.
Fig . 15 1. V ,.,ITAL D Et11.: general view from rhe southeast. The jaga11toba11a is rectangular in shape
with a miniature rtleha design positioned on each comer. The relatively Rat roof, sloping in two
srages. allows full view of the 11o:fra·111a1tal:.a design decorating the ga!'~i.
Fig. 1s1. VA1TA1. OF.VI .: southwest view of the"'"'· The shon nonh and south sides have a tri.
ralho plan with the raha designed as a tora~a. The vojra-mostolt:A of the !.•~Ji, supported visually by 1hc
1 See Panigr'ahi, ,- lr,hatologi<al R t •o1n1 111 Bh11/lonts••ar, pp. J7· J9•
Original from
rihti offsets, serves as the crowning member of the torafJo design which obfuscates the boro.~fia re<:css.
The offsets arc designed as himhbo-sto,,,bh111 with surmounting Jions.
f ig. 11 J. VA1TA1. D1:. L:1,: detail of the south rihi housing Parvaci in the niche. The ptibl1ti"'a cons.i~ts
of four mouldings with the section beneath the offsets designed as projecting pilrrta·A,ha/a1 '11.' hich
produce a recess beneath the niche. The shaft of the it.Nmbho·Jfambha design of rhc ofsets is decorated
with a niche abo,.·e the plir1Ja·gha/11 base which is filled with a mithuffa. The niche is surmounted by a
heraldic dtsign of addorsed jigratas.
Fig . 114· V AITAI... D1~u1. : i•ajra·mNr;{li de-sign carved on the shaft of the lekmbha·Jlombha formin~ the
J:.ani"-4 on the shon sides 2nd all f;ve pa1,as on the west side. The overall design of these pO.t,aJ thus
combines a stambha or pillar, a popul:ir feature on Central Indian temples. with the i•a1ra·1'IN1J(ii motif
stand:ird on early Orissan temples. The niche of the staml>has is filled with o/0Ji·A-An.1is, lhe ex.ample
here being the popular motif of a woman sc:inding in a half-open doorway. The offsets of rhc
sla111bha are decorated with lush ratilura scrollwork. The niches measure approl(imately z. 7 hy 8 itz
inches.
Fig. 11 S· \·' AI T~I Di:.t·1. : pMf'IJa·gha.ta capiral of lt.kmbha·Jlambha framing the rtihi on the south $i<le.
The capital is rounded, simul:iting a pillar. :ind is decorated with various $Croll motifs incluc.linJt the
pad,,,•-Prf!ha and the mali plN/a phaefiu. Addorscd lions arc added above reclining on a mould ing
relieved with padma~pr1.tha and ro.ngoni scroll motifs.
Fig. t 56. V AIT.\1. O F.lit : heraldic motif decorating the $haft of the stambha framing the rtihi on the
shon north side. The motif contains three lion-monsters with their heads aligned and mouths
spewing festoons of pearls. The addorscd leaping lions have r iders. forming a Jtigrala, \\'ith prostra1e
\\'3rriors beneath their feet. The panel above is decorated with the Jhar1N gonlhi scroll while the
crowning motif is a lotus rosette.
Fig. 117. VAl'r.~1. D t:l'I. : bti¢a detail on the longer \\'est side. Although there are five independent
vertical projections there is no dominating center rtihti. They are all of equal size and designed as
htmhho·stambhas with surmounting addorsed gaja-lerinlas. The over:ill design thus simulates a
pillared·ma!Jefapa. The design is more unified than on the shoner sides as the bdra!"}.a runs
continuously :icross the facade without being interrupted by a lora-!Jo \\'ith !\urmounting vgjr11·1'!a1takA.
The only element of confusion is the horizontal moulding ab<)\'e the !.'!ia·k rtinto motifs. On chc
SiSircSvara it served :as the top moulding of the lower bara!Jfi.a but there is no lower b11rof)t)a here.
Fig. IJ8. \ '.<\ITAL D t:.L:I.: ,_,iew of ga'!¢i and crowning /ehtikMri member on the south side of the
JtM/. The lower ponion of the ga'!#i is designed as a truncated rr/ehi terminated :ibovc the second
bhlimi. The bhit,,,i di,.·isions of the kanil!.Ps consist of th ree boro!fr}is with the top two joinC'd b)' a ~/rd·
mostolea design. The leaniiul is clearly dcm:ircatcd from the rihi with jtili patterns at the level of the
hhlimi-o,,,/i so that the ovcr:ill design eliminates the confusion noted on the Si$ireSvara. The rihi is
designed :is a large i•ajra·1'1QJ/ak/J serving as the arch or crowning member of the toro!Ja. Above the
second bhNmi is a large semi-circular member forming the top of the ga!J{ii. It is in the shape: of a
tai~ya-medallion with a large rectangular niche. Above this member is a n:irrow bth and the
crowning 111astolea in the shape: of a large khikhari devoid of surface decoration .
fig. 1~9. v.. ITAI. D1~u1... : det3il of the rai~1a design of the crownin~ member of the gn'!fii on the
south sic.le of the dtN/. The beaded borders contain a Aying i·1'f!yidhar11 couple, :i "'obra, and a
mi1h11na. A \\•:irrior hold ing a sword appears at the corner of the niche. 1·hc sill o( rhc niche 1s
decorated with hamsa-lotti wh ile the jamb is dc$ig ned as a miniature hlmhha·slambha. The niche on
both the south and north sides is empty.
Fig. 160. \ ' Arr.\r Dt:l'I.: r~;ra-111a1taka <lesi~n C:fO\\'ning the torafla of the rOhti on the north side.
The <le~i~n has maJearos at the sides and a /eir1im11kJ1a at tl)e a~l(. Pi~urcs pull pearls from che mc>urh
of the mak.aras \\'hilc a garland-bc-aring t'idy,idhora i ~ on eithtr side of the lt.ir1i,,,11kha. The O\'Cra11
Original from
<'.1\·r 1\L<>Gt 1 E ()f 11.l.L:STR:\ T l<>NS
design is flanked on either side by a warrior with one leg uplifted to climb the motif so that it
represe.nts an incipient from of the bho design standard on later temples. The circular medallion
contains an image of Hari-Hara similar to the one on the south side of the f\.{irkal)c:;leyeSvara.
Fig. 161. VA1TA1. Deu1.: view of 1,a1,1(ii with vojra•11tastalto on the cast. The rectangular lower niche
contains Surya while the circular upper medallion is filled b y Na1arija. The semi-circular member o f
the ga~(ii on the long east and west sides is plain except for • band of friezework at the base. The
frieze here depicts a battle scene with elephants.
Fig. 161. V Al T.•1. D Ect : view of the ga~(ii and crowning lffastaka from the west. The htki
separating the ga~(ii from the lehtileharii is relieved with bhtiraralr./akas, shon pilasters and )<iii
perforations. The finials along the cn:st of the khtikJJarti consist of an amalaka, khap11ri, ltalala and
triiN/a.
Fig. 16J. VA1T.\1. D EL'I. : general view of the jagamoha•a from the southeast. T he sloping lower
stage of the terraced roof forms an cave over the narrow door on the cast.
Fig. 164. \' AITAI. DEu1.: detail of the jagomohano on rhe souchcasc. The bfi4a berwceen the comer
rr!r.hti designs has a tri-aliga design with the gav~/qa window in the center being filled with plain
checkerboardjti/i perforations. The flanking vajra-1n11~(ii designs were only blocked-out.
Fig. 161. VA1T.\1. DEt11. : detail of back wall of sanctum with CimuQ(li. She is flanked by Jndra 0i
on her right and Sivaduti (?) on her left. CamuQ\li is the seventh matru in the series and is the
presiding deity of the shrine. GaQ,eSa, to the left of SivadUci, concludes the series.
Fig. 166. \ 1 Arr.S.1. DEUI.: det2il of sanctum interior with Brihmi, Sivini, Kaumiri and Vai~Qa\•i.
Fig. 167. Y AITf.t. D EUI.: Bhairava on back wall of the unctum. He is irdh,,alinga, has a sunken
belly, protruding ribs and wears a garland of skulls. His eyes bulge from sunken sockets and h is
tongue protrudes from •n open mouth. He holds a large cle2ver in his uplified right hand and a
kapiila in his left hand. Flames leap from the kaptila. A severed-head is visible ne.r his knee. A
kneeling female on the pedestal faces rwo more scvcrcd·hcads placed on a pedestal as an offering.
Next co the rripod is a jackal eating a corpse.
Fig. 168. VA1T;\1. D EuL. : seared male, possibly Kubcro, in the sanctum. He is in ardhaparyanka and
holds a lotus in his right hand supponed by h is knee. His left hand holds a vase or a large fruit. The
beaded halo is flanked by a standing figure on either side with one holding a bowl and the o ther
placing his hands in olijali. In the center of the pedestal is a tripod heaped with modakas and flowers.
On the right is a figure seated in ardhoparyanka with one hand uplifted while on rh< left is a jug.
Fig. 169. Y AIT.\1. DEu1.: boar-headed male deity in the sanctum. He is scared in ardhaparyalika
holding a Juithtira and a kapiila. Above the kapiila is a flying vidytidhara. The tripod in the center is
flanked by a scared figure and a vase.
Fig. 170. V AITAL OF.ut.: niiga seated in padmiiJona. The right hand, panially broken, appears 10
display varada while the left h and holds a vase. A canopy of seven serpent hoods forms a ni.mbus
behind his head. The niiga is flanked by a standing a11cndan1 on either side and a vid_yiidhar• appears
in each upper comer of the n iche. In the center of the pedestal is a piir~a-gha/a flanked by a tripod on
either side, one heaped with offerings and the other supporting a vase. The rlch body ornamentation,
placement of hands •nd the vase indicate this is a ntiga and not Amoghasiddhi as suggested by
Panigrahi.
Fig. 171. ORtSSA ST, TE M usF.UM: Amogasiddhi from G. Udayagiri in G•njam district. He is
seared in paJmti1owo in front of a serpent which rises up to form a canopy of seven h()()<:i$. His hands
are placed on his lap in tihytin11·111Pdra and he wears no body ornaments. A Saranitha dc\•icc of a
Original from
CA 1·:\l.<JG Ul-: <>F 11.LUSTR.'\ 'tl<>NS
wheel flan ked on either side by -a deer is in the center of che pc:dcstal while a Jjon is placed ar each
corner.
Fig. 171. Vl\l'rAt D1:L1. : a/a1i·At.anyi in a 11111'}1/i n iche on the south side of t he dtkf. She assumes -a
1
t\\.' isting pose with her buttocks and head facing outward. Beaded bands arc visible on her skin and
a scarf flutters in 1he background.
Fig. 17 }· V AITAI. D eur. : alati·le.A'!Ji in 11111tµ}i niche on the west side. She wears a long sea rt- around
her shoulders. These niches average 17 by 8 1/ 2 inches.
Fig. 174. VA1TA1. DElll.: alasti-ll.ll"Ji on nonh side. She stands in a gracelful tribbon,g11 pose \\•ith her
right hand placed near her ear. Her hair is braided on top of her head and • halo appea" behind .
Fig. 171 . VA1TA1. D Eut.: ala1i-A!o11Ji o n west side. She assumes the JarpaJJi mode of looking into a
mirror while applying cosmetics. The uplifred left •nn bends around t he top of her head and her left
leg is crossed behind her righ1 in a relaxed pose. A long scarf is draped around her shoulden and the
lo wer edge of her skin is visible above t he ankles. She wears two ditTerent kinds of earrings and a
broad necklace with a center str-and falling between her brea$tS and fastened to a waist chain. Her
ti~ht-fitting girdle consists of three beaded strings with the loose ends hanging down from a circular
buckle.
Fig. 176. VAn.\1. D f.l't : alasa·hi~ya on the south side. One hand is placed on her hip and the mher
holds a lotus, The figure is badly damaged . A halo is behind her head.
fig. 177. VAITAI. DEUI.: 111i1huna in rihi offset niche: on the nonh side. ThC'- female stands with h er
left leg crossed behind the right and her right hand on her h ip . He r left arm embraces the mak
around the waist. The male stands ln a lribhan1.a pose with his righ1 arm a round her shoulders and
his left h and on the hip. A dagger is fastened to h is right hip. His hair is arranged in two tiers of
sprial coils on top of his head and he wears a Jo}ti1Jpa11ita. T he sash at the lower t>d~e of h is dhoti is
fastened in a loop on his left thigh. The niches of these lum1bha-11a,,,bhas average 27 by 16 inches.
Fig. 178. \ 'AITA!. Of:t11.: mith11na on ,1he south side. The pos.e is a duplicate of one in the lo""·cr
niche of the south ,..a; ra-111a1Jo4A of the SiSireSv21ra with t he fem:ale claspin~ her hands above her hca(i.
A lt hough her body below the waist faces away from her male panner, her upper torso twists back
towards h im. He is in :a tribha.tiga pose and looks straight ahead unaffected by the sec:iuet ive gyrations
o f his consort.
Fig. 179. VAIT.~I. Ot-:u1.: bora(lcJ.a frieze \\' ith love-makin~ scenes :and K2pilika priests. (.)n the
proper right are three ,,,;1b11na fig ures in various stages of love-making and inebri:ation. Jn thC" cen1C"r
n iche is :a hgure lean ing on a staff. At the left is a cowering fl~ure, knees bent and hands folded in
front of h is clcst, facing three Kapiilika adhercnu. The latter arc nude except for a t hin belt and a
neck lace. They hold a A:hafviligo over their shoulder. Nearby is a scene of Bhik$iJanamUni. As on the:
~1arkat,'lt)eye~v2ra and SiSire.S\'ara these scenes apparentl)' illustrate rituals pertain ing ro the form of
religion popular at this time \\•hich combines aspects of PiSupata Sai,•ism and Saktism \\'ith
T antrism in which the Bhik~i1anamUni aspect of Si\' a served as a m<>dcl of conduct, in\'Ol\'ing
drinking. lo\•e-making and human sacrifice.
r:ig. 180. v J\ITAI. D EUI.: bora!Jt/O recess with four fc:malc and three male figu res a ranj?cd alternately
so th<1t each male has a female on either side. T 'hc females emb race a man with one arm u·hile
pl ac1n~ the other hand on their hip.
Fig. 181. v.,JTAL D1;v 1.: bara~4• recess w ith Kama Ranked by Rati a nd Prlti. He lifts the chin of
one and fond les 1he breasts of t he or her. They place one ann around h is waiSt and hold t he bo"' or
an arrow in t he o rhcr hand. 1\t the right is a man embracing a fernale on either side follou·in~ 1he
example of Kama.
Original from
CATALOGUE OF ILtUSTRATIONS
Fig. 181. GAUAT-SAN1'ARA·GANf.~A: southwest view. Accumulations of debris have raised the lt"\'tl
of rhe road up 10 rhe rop of rhe baif,z. A Righr of sreps now gives access to rhe sancrum. The bhiimi
divisions of the li!4nilu contain only three bara!U/is rather than four as on most earl)' temples. There is
no 4fl1trihi recess and the major decorative motifs were only blockcd·out. Ao iUialiliga serves as the
crowning 6niaJ to the •111/a/ea.
Fig. 183. TA.tES\'ARA: nonh view . The temple is erected on a high plinth . The 1aga111()ha11a has
completely disappeared and rhe remains of rhe ga'!#i arc overgrown wirh foliage.
Fig. 181. T1.1.E.~\'AkA: Pajra·•Nl!#i design of rhc subsidiary paga. The niche houses 2n image of
Ek•pida Siv2. The first clemcnr of the design above rhc pahhaga is a tala-bandhana, • fcarurc common
on culicr temples but g12du2lly eliminated on subsidiary pagas. The vajr•·mastalt:a crowning the niche
consisrs of two superimposed caityas with Ranking bharara/qalt:as on rhc upper medallion. The niche
jambs • .., decorated wirh pin;ta·ghafas, ha,;,sa-/aJa 2nd lorus rosettes. Ekapida is four-armed and holds
rhc conventional attributes. He is irdhvaliliga aind weirs a tiger-skin. A seated Durgi appears in the
lower tairya-medallion.
Fig. 18 s. T1.1.F.S\' ARA: view of entrance ponal with dvarapalas, river goddesses 2nd o/(agraha slab.
Fig. 186. SMAl.L TEMPl.F.: caSI view of a small temple situated in the compound of rhe
Paramagurus just nonh of the l\ofa(libhadreSvara temple.
Fig. 187. SMALL TF.MPl.E: doorframc showing dvarapalas, ra1iletra scrollwork and Lakullia on the
lintel. Despite its small size the enshrined images arc rcl2tively large. The dvirapalaJ, for example, 2re
19 inches high, •pproximatcly the same siu as those on the Til.Svara and larger even than those of
the much larger Siiircsvaf2 temple: Lakullia holds the lalestfa •g•inst his right shoulder as on
examples from the Vaitil Ocul and Sisirc5var2.
Fig. 188. s~IALl. TE~IPl.E: image of ArdhaniriSvara housed in the niche of the pilaster abutting the
raha. The niche mc•surcs 18 by 9 11, inches.
Fig. 189. SMAl.I, T EMPLE: small vajra·mastalt:a design on the nonh side of the rcmplc with Gaod a
in the rt1ityo and a J:Jr1i111"1eho at the apex.
Fig. 190. BHAVANl·SANKARA: baif,z from rhe south. The rcmple is mostly buried with a later rcmplc
constructed above ir. The baif,z has a tri·raJha plan with the side pa1.a1 designed as vajra·MN~li1. The
rahi nic·hc houses an im2gc of Hara~Pirvati. The projecting lintel is decorated with arabesque
scrollwork while the architrave is relieved with 11111/i ph11/a p"4efii!a scrollwork. The niche jambs have
a pir!w·ghafa at the base and capital. Sec 6g. l·
Fig. 191. BHAVi.Nl·SANKARA: detail of jagantolkrllO. The ja,1,a•ohallO abuts the dtN/ as on the
ParaSurimcSvara while the design of the framed gt1vilqa window is similar to the Vairil Deul. The
Ranking pagas arc designed as 110,,,bhas wirh a projecting capital rhough the morif has only been
blocked-out.
Fig. 192. BHAVANl·SANKARA: image of Hara·Piirvatl in the Orissa State Museum. The image is
badly fragmcnrcd wirh only the lower rorsos and pan of rhe pedestal remaining. Nandi is carved on
lhc pedes1aJ. In ir.s pre:sen1 state the work measures Js '/2 by ) 1 inches.
Fig. 193 . BHAVANT-SANKARA C<>~fP<.)UNO: talldm111tha·· lifig11 retrieved from the Bindusar0\'2ra. The
head facing us has a large pi1ra·hlri¢ola in each car whereas the other heads each have two different
kinds of earrings. A crescent-moon appears in his matted-hajr. His large eyes. frowning eye-brows
and fleshy cheeks arc typical features of 8rh century images .
Original from
( : .\T:\ l.t X ;t · 1 ~ c.>F 11.1.l'STR .\ 'rlt lNS
Fig. 194. 6 ."i.JR1\1'<>T: general view of the temple from the south . The Ja.,1,amohana is complctcl~·
m1ss1ng except for its s ix interior p illars. A makc·shifc thatched roof has. been erected aht•,·c thl·sc
pillars.
Fig. 191. 8 AJR:\t.;< fl' : view of bO{ia from the n<>n h\lr·cst. The pJhbti,1.a moulll in~s
arc partially bur1<.·d
in the soil. The: hO{ia has a simple tri·ratbo p la n, as on 7th centu ry tcmplcs. \l.'llh a thin pilaster u: ith
crowning plir1Ja·gh11/a added at the co rners.
Fig. 196. BAJRAt.:()T; non h view <>f bti(/11 "'·ith i\lahi~:amardinT hr-.u~cc.I in t he r1ibJ niche. T he:
iconographic program o n this side differs from the o ther sides in that its dominant the-me is crc>tic.
Fig. 197. BAJR/IK<.>T : mith1111.a enshrined in a JJ'!.jra-m11t1fli niche o n the nonh s ide of the dt11/. ..\ m<>rc
explicit maithufla appears in th~ tairya -mc:dalli<>n above. 1'"hc hamia-latii scrollv.·<>rk <>n the niche jambs
is similar to examples on t he S iSireSvara temple.
Fig. 198. BAJR.;\t.;( •T: 1·a1ra·lllN!1t/i design o f subsi<liary pti~a and leN111hha-11an1bha added at t he C<Jrner.
Fig. 199. BAJRAKOi: \•icw of bti{ia on the south with GaQeSa enshrined in rhe rti.hi niche. l 'hc
scro llwork on the niche jambs is a variation on the rotilura and typifies the experimental natu re on
the pan of the carvers despite the overall pcd ilcct ion for archaizing. The scro ll\lo·ork decorat ing the
pNrtJ11·gha/a de~igns on the pahhO~a is a lso d ifferent th a.n that on the Bhubanc:swar temples. A lt.irti·
m11kM mask is added abo\'C lhe pNl"!fa·gha/a to link u p \l.•ith the to p moulding. T he botto m mou ld ing
is panially buried. The tald·J.arbhil!A design beneath the rihi niche includes a tola·bandha11i '4'ith only
three projecting blocks. The t ojra-111u!'fli niche o n the prope r left houses an image of l.akulii;a "'·hilc
1
t he taitya above contains a small Aja-E kap:ida. These same n iches on t he right arc filled "''ith
Ardhan:irTS,,ara and a seated Devi hold ing a vase a nd rosary.
Fig. zoo. 8 ,\)Rt\1'<>T: image of Garig2dharamUni enshrined in a va._1ra-11111!Ufi niche on the v.·cst s1<-le.
The image is badly worn though the image of a kneeling Bhagfrat ha and 1hc makara ve hicle o f
Ga.nga arc visible in the lower corne rs. 1\ s on t he ~1irka()'lfeycSvara image the detail~ of the upper
left corner arc pania lly obliterated.
Fig. 101 . BAJRAK<)T: image of Hari-H ara enshrined in a. Vf!Jra-muri4i niche on the west side.
T hough badly worn a 1,at;ta is visib le in the lower right corner and GaruQa in the lo u·cr left. T he
atlributcs arc missing or indis tingu ishable. T hese images average 16 inches in httight and are built 1n
scctions so that they from pan of the wall as on 8th cc-ntUf)' temples at Bhub ancswar. The badly·
worn features of the major images suggest that the quality of stone employed v..·as ''c:ry poor.
f ig. BAJR/\1'<>T : detail of rtihti on the west s ide of the dt11/. The rtihti is dcsiRncd as a truncated
10 1 .
rtkhti as on temples of the 7th century. T he bhNmi di"ision abo,·c the niche is 1ri-ra1ha in design llut
has no an11rtihti recc·s s separating the J>ixas. The uppe r lintel of t he niche is relieved v..·ith a proccss.ic>n
of four e lephants facing a lion. The image of K-intikcya is heavily plastered a nd paniall)' restored.
J.lc: is seated in lalittiiana o n his pcacock·m(>Unt rather than occupyin~ a throne or standing a s in
ima~cs at Bhubancs"'·ar. Unusual is the fact that he carriC"s a lc>ng staff <>r iokti in each hand. These:
pOrira-dts•attis measure j ~ inches in heig ht.
Fig. zoj. B..\JR.-\K<>T: detail of the ga{l(ll fro m t he southeast shc;)\l.'in~ the ma jor 1·0;1ra-mastaka mt>t if
0\1er the entrance ponal. The truncated relehQ de-sign framing the entrance extends up hi~her than
on the other s icJcs t hus e liminat ing the barafl@a division and making the vujra·maJ/a~ clcarlr visible
above the roof of che ;a_t,amohana. T he 1.a!fcJ.i is hea,•il~· plastered and includes many crude modern
images. T he upper m edallion of the cas t t•tyra-ma1tako contains the st andard Natar3ja. image "'' hile
the lo"'·cr tai!ra of t his <lesi~n o n the south is fi lled v..· ith an im age of GaocSa . The mt>mhers o f the
crowning maJtalta are intact rh(1ugh a few ml><lern brlt.i fij!:ures h ave been added. An Okds'a/i,{e,a
surm<>unt~ the: lehap11ri.
•
Original from
CATALOGL:E Of 11 .1.l'STRATJUKS
Fig. 104. BAJRAK<>T : detail of the (lfla.t.rahn above the lintel on the sanctum doorframc. The ,graha
rc.prcsen1ations arc housed in shallo~' niches in t)·pical Orissan fashion.
Fig. 10s . K t.:.\1.0: view of K:tnakcS\•ara temple from the nonheast. The temple is currenrly being
dismantled so it can then be rest<>red. The norrheast comer shrine at the left has the lower ponion of
its btitja restored.
Fig. 106. K uAL<>: view of t ht KanakcSvara temple from the cast prior to dismantling. The
decorative program of the fist two bhimis of the ga~t/i is siill partially intact. The bull Nandi is visible
in the foreground along with scattered debris.
Fig. 107. K vAtc>: view of the KanakcS\rara temple from t he southwest . The rOhi on the west side
is completely missing while on the south side only the lower pan of the n iche has survived.
Fig. 2 08. Kl!At.o: dct>il of the rahti on the south side of the Kanakdvara temp le. The pahhaga
consists of three mouldings as on 7th century temples while the 1ala-ba"'1ha•a beneath rhe niche is
typical of late 8th century temples, these projecting b locks being restricted to t he side piigas on the
earliest temples. The niche still cuts partway through rhe pahhaga, however, and d11iirapala1 >re placed
at the base of the jambs to simulate the decoration of 2 door. ·fhe overall design of the niche thus
combines decorative features associated with both doorframcs and windows. The niche, including
the pedestal of the pariPa-tkPalti, measures 68 by JO inches.
Fig. 109. K UAl.C.l : dcta.il of himhha-stambha Ranking the rlihi frame. The base is ornamented with
the pir{Ja--ghata motif wh ile the shaft is decorated with ratileera scrollworkt a scroll motif popular on
8th-9th century temples. At the base of the scroll is a mak4ra.
Fig. 210. K u Ato: detail of the subsidiary paga niche on the west with an image of Ardhanarisvara.
These side ptigas arc designed as elongated pajra·m11.!J{list the vimtinilea crowning the niche being
increased in height by the addition of extra mou ldings. The top pii/1haga moulding is decorated with a
variation of the dhan11 ganthi scroll motif on its 11111hi!lfi while tail.)'4 designs and halilsa·lald motifs
appear on the sloping upper surface. The projecting blocks of the lala·ba"'1hana arc more widely
spaced than those: on earlic-r temples. The niche, excluding the pedestal, measures 4} by 14 inches.
Fig. 211. KuAJ.O: detail of top pdbhiiga moulding and lala·handhana on side paga of south side. The
lion and elephant motifs arc all represented in pronte as complete animals in contrast to partial
representations or frontal views as on many earlier examples.
Fig. 111. K uA1.o : sculptural fragments in the Ka;nake$vari compound. The upper fragment
rcpr~ncs. the head of Siva from the GaOg-idharam\irti motif. A sarpa·i:.M{l{ialo hangs from the right
car and the rhird eye is visible on his forehead. With his upper left hand he is holding a strand of
hair with which he wiU soften the descent of G anga. The lower tai!)'a-medallion is filled w ith the
face of Siva. A sarpa·iut~{iala is visible on rhe right ear.
Fig. 113. Kt1A1.<>: the river goddess Ganga housed in a vajro·m11{1(ii n iche on the cast side of the
KanakeSvara temple. As at Bajr2kot these ri ver goddesses occupy the niche Ranking the entrance
portal. She likewise stands in a 1ribbafi1,o pose with the legs crossed. The malr.ara is placed on a small
pedestal in the lower left comer of the niche rather than beneath the goddess.
Fig. 114. K t.:AL<>: detail of the door jambs on the s2nc1um of the KanakeSvara temple. T he five
bands of scroll work from the inside arc the dJJanN ganthi, ratikara, gt/aha, varit)US panels of differing
motifs and the jalapotra rcspecrively. Above a ratiktra panel on the fourth band is an addorsed ~"J'1-
A!r4nla motif. Included in the gtlaba scroll is the motif of a figure in a swing.
Fig. 115. K l1A1.<>: dvdrapti.la Nandi on sanetum dl>Or of the KanakcS,·ar2 temple. T he r(Ji!ra dc~ign
of the niche is more ela1,orare than rhe seemingly make$hift niches on carlir: r tc:mp1C$. ·rhc 1rihhori1.a
Original from
J
CAT c\l.OGl: E ()F 11.1.l 'STRA TIONS
pose is \'cry pronounced and duplicated on the image of ~iah:ik:ila. A rosary and trident arc held in
the upper hands while the lower right hand holds a >(ja·piira"'1. A sarpa·A:x~(lala hangs from the ri!!ht
car and a halo is visib le behind the head. Although ihe image is b adly worn• thin beard is vi<ible <o
suggest the rcrrif)•ing aspect.
Fig. 116. KttAL<>: Ji·<irapfifa ~fah:iklla on the sanctum door. His facial fc:acurcs and body
ornamentation arc most ly obliterated.
fig. 117. Kt1A1.<>: view of the KanakcSvara temple from the west. The opening in the core of
rubble remaining of thc.1,ari{ii shows how the walls were ticd cogcchcr o n call structures for additional
suppon. Even u.·ithout its crowning members the structure here soars ro a height of about So feet.
Fig. i.18. K t•ALc..>: bOfia of nonhwesc corner shrine. The b<i{J.a has a simple lri-ratha plan with the
subsidiary ptiga1 designed as ttt1}ra-M111J(li1 and the rihi as a truncated rtkhti as on 7th century temples.
T he rahti niche here, on the ca.st side, is filled with an image of ~lahi{;amardinl which measures
approximately 36 by 18 inches. The niches of the 110;jra-111lf!f{f.i1, measuring 16 by 11 inches, hou!>e a
fragmcnccd image of the GangadharamUni of Siva and ArdhaniriSvara.
Fig. 219. KuA1.o: e2st side of the nonhwcst comer shrine. This is the best prcser"ed of all of the
temples in the complex. The bara(t¢a recess in filled v.:ith an elephant proc.ession as on the main
shrine. The 1,a1Jt/i has a simple pan<a-ralha plan as on 7th centUt)' temples with the an11rJha recess filled
with miniature Pqjra-m"!lfi.is. The it.411iit.4 is subdivided into four rather than five bhMmi1.
Fig. 110. KuA1.o: south view of rhe nonhwcst shrine wirh entrance pon·al and t'D)Ta·111r1stak.a.
Afi1h1ma figures arc carved on the ht111bba-1/a111bha1 flanking the doorframc while the river godtlesscs
arc housed in the "t1Jra-11111ri(ii1 flanking the ponal. The architarve above the lintel consists of t""'O
bara{t(ia d ivisions with frieze motifs filling the rece$$CS. The 1:ajra-,,,a11aka consists of t\.\'C> tai~r1;1·
medallions surmounted by a kirli111111t.ha at che apex.
Fig. 111. K U Al.(l: northeast view of the southeast corner shrine. Except for the lo"'•er porcion o(
the bO{la and the doorframc ihc decoration has compktcl)" fallen from ihe walls. An imaK< of
l\.fahi§amardini is visible on the cast rJhi. The lintel over the entrance is decorated ~:ith an 111/a,l',raha
slab chough the decoration is badly worn and covered with fungus.
Fig. uz. K UAJ.<>: south view of the norrhe•St corner shrine. The pabhii11.• 2nd ;iiigha have been
restored with the help of modem materials. A dvirapala, leaning on his weapon and with lc:~s
cros.sed, appears on the shaft of a ltM111bha·Jfa111/Jha framing. the door. The va;ra-1"1<1J(ii1 Ranking tl'le
entrance ponal were fllled with the river goddesses though only a fragment of one is ;,, 1ilM. The
river goddess here has her right arm draped around the neck of her attendant as on examples frt.lm
Racnagiri. Simhan<itha and Bactgion rather t han rcstin~ ir on the shoulder.
Fig. 113. K uALO: view of west side o f the nonhcast corner shrine. The bi.(i.a is reconstructed. The
riiha niche is filled with an im2ge of Kintikeya who holds the fakli in his lef< h2nd which is placed
on the hip in "8!Jiva/a,,,hila. The broken right hand probably held a •(ia·piira"8. There is no peacock
visible though traces of the lik.ha'!9alt.a-coiffurc can be seen. The side niches arc filled "'' ith imaRCS. of
ArdhaniriSvara (onl}· the IO'-"'Cf ponion remaining) and Hari· Hara.
Fig. 214. K uAr.o : imaRe of Hari·Hara housed in the vajra·mK'!l/i niche of the west side of the
nonheast shrine. The deiry assumes a dvibhaliga pose and wears a sarpa·hl!ltJala in his right car. The
lower ri~ht h2nd is in varada displ•ying •lotus m21k while t he upper right hand holds• rosary. The
upper left hand is broken "•hile the lower left is placed on the shoulder of Garu<;la occupying the
lower corner of the niche. A Siva gafJa occupies <he opposi<c corner and flying r1itfrtidhara1 fill t hC'
upper comers.
Original from
CATA U>Gl'I! 01' 11.J.USTRATIONS
Fig. 11 s. KuA 1.o: image of Ga&:'CSa in the rihd niche of the nonhcast corner shrine. Bc>th standing
and seated images of Gal)cSa appear at KuaJo. Herc GaQria assumes a standing pose and holds the
111°"'1"4-patra low in his bonom lefr hand. His proboscis is curled up in the act of placing a sweet in
his mouth. The upper left hand holds the fut/hara with the blade up while the lower right h1nd holds
a rosary.
Fig . 116. K UAl.O: Kintikcya in the cast niche on the south side. He stands in a tribhofi$_a pose u·irh
his left hand placed on the hip in "4(.Jiivafa,,,bita while his right is in varada, possibly holding a vija-
pira"4. H is hair is in the iikha11efa"4 mode and he wears patra-hi11f/alas. He is Ranked in the upper
comers by • vidyiidhara while an image of a female figure, probably Devasena, is carved in the lower
left comer standing in a 1ribhali1:,a pose. There is no silA:ti or weapon included. The lower right corner,
where the peacock normally would •ppear, is badly damaged. Although various aspects of Siva
normally occupy these side niches the inclusion of a Pirvatl in one of the vajra-111N111/is on the nonh
side suggest that the ii/pins arc deviating from the standard program. Kantikeya did appear in side
niches on the Lak~maJ)cSvara and SatrughncSvara so there was a precedent established at a much
earlier date.
Fig. 127. K UAJ.O: image o f Siva in a 11a_jr11·11111!'{ii niche on the nonh side of the Kanakei,•ara
rcmple. Though badly fragmented the upper hands arc intact and hold the rosary and paraio. This
latter weapon appears only rarely at Bhubancswar rhough it is popular in outlying districis,
p•nicularly in the southern areas of Orissa. A sarpa-/ul~f/ala hangs from the right ear and attendants
arc visible in the lower comers of the niche.
Fig. u8. KUAJ.O: wzjra-111asta"4 at the base of the gal'f/i of rhe nonhwest corner shrine. The lo,.·er
medallion houses a u-armcd Na1araja whose uplifted right foot appears to be placed on the bull
Nandi. This lower right ponion of the image is badly worn though it appears that a diminuti,•c
image of G>Qcia is ncxr to N• ndl. A small g•!I" appears at the far right while Parvatl is seated to the
left of Naiaraja. In the venical extension above Na1araja is a badly damaged 11111khalinga, encircled by
• garland of Rowers, Ranked by Rying •idyiidharas bearing garlands. The upper medallion is filled
with a MaheSamUni motif though the facial features arc not clear.
Fig. 229. KUAJ.O: fragmented image of Klintikeya found near the entrance to the
Svapndvara/Siddhcivara temple. Though broken the image is carved from a single stone, rather
than from sections, and the stone, probably 111Mg1t11i, is different from the sandstone used on the
KanakcSvara temple and its comer shrines. Kirttikeya is seated in lalili1.ana on a lotus cush ion with
his peacock-mount carved in profile on the pedestal. The lower lefr hand holds a rooster-cock, an
iconographic feature introduced in the 10th cc-ntury. A more complete image of Kintikeya. carved
or the same type of stone, appears near the same temple. Stylistically and iconographically these
images can be assigned to the 10th century.
Fig. 130. SUKt.F.S\'ARA : gener~ view of the de11/ from the nonhwest. The pabhaga has b«n
ttconstructcd and a modem roof has been erected above it.
Fig. 1J 1. su~J.ESVARA : view of the riihii niche on the west side. The niche cuts through the upper
mouldings of the pabhiiga as on 7th and early 8th century temples at Bhubanes"'ar. The piiriva-dn•ala
niche measures approximately 60 by JO inches.
Fig. 13i. SuKJ.ESVA~A : general view from the cast. A Nandl is now placed in front of the
j aga1t1ohana. At the right can be seen some of the debris piled up to form a wall.
Fig. 111. SUKt.F.SVARA : view towards the sactum door from the j agamohana. Pan of the doorframe
is covered by the walls of the hall connecting the diMI with thej aga,,,ohana. Fragments of the corbelled
ceiling of the jagamohana arc visible at the right. The Roor or the jagamobana is lined with sculptural
fr2gmcnts.
Original from
Fig. 2~4. SrKtl·~,.,,R,\ : detail of the pirrta·t.hafa desiAn of the ptihhti,e,a. At 1he base is a variatic>n of
the mali ph11/a phat}ik.a motif. A squatting 1.a~1a, fla n ked on c::icher side by a hr11itsa. appears on t he
sl()ping u pper surface.
Fig. 2 J s. St '""1.1'.S.\' Al\A: 111/a·garl>hi/ea design bcnearh the rihti niche on the south side. The dc~lf.!O
consists c)f a k/Jura mout(ling at the base decorated with pat!ma·pr1tha scroll, a tala·l>andhanii of e1~h1
projecting blocks, and a pht!fi ornamented with a padma·pr1/ha on its sloping underside \\ h iJe mali 1
phula pbar}ile4 is etched on its upper edge. The figures flanking this design face inward and have their
hands folded in aii;oli. They arc prob2bly 2ssociated with the Bhik~a1an2murti image in the niche
above. At the base of the inside jambs of the niche is the angry ui on the righ t and the three excited
females o n che left with the inside one removing her garments.
fig. 2J6. St:l\:1.1~:->\'J\R.1i.: north rtihti niche with the imaRe of P2rvati. The tala•J!.arbhiJui design
beneath the niche is similar to that on the south side. The hgures Aanking this motif arc treated in an
unusual manner. \X' hilc the one on the proper left s'ands in a rigid frontal pose .,.,·i1h one hand
resting on his weapon the figure on the right stands with knees bent and hands uplif1ed in 0~111/1
u·hilc facing the image of Parvati. His weapon is p laced in the left corner of the niche. A h:iln
appears behind his he2.d and his coiffure and elongated ear.; seem Buddhist inspired, as on ima~cs c)f
1.akuliSa. The niche is framed with three bands of scroll\\•ork-thc outside t\\'O decorated \\·irh
ratihra and the inside with the rangani-plus fillets ornamented with the gNndilea (bead) 2nd pad,,,.
pr1/ha scrolls. At the base of the inside bands a rc a female tau-ri· bc:arer and diminuti\•e r1i on either
side. P2rvati stands in a rigid 1111110/>hali.g.a pose on 2 11ii1:apat1ma cushion Ranked by a deer and lion as
on 7th century images at Bhubaneswar. Female attendants holding a tauri appear abo,·c these
animals. The head and arms of 1he goddess are missing. The pedestal of the pJri t·a ·tlf1·atti1 is
suprisingly small.
1-=-ig. 1~7. Su...: 1.~S\.ARA: rai!ya-medallicJn \\•ith an image of Gai:iei.a. Gal)cSa is scatt.'.'d in ar·
dbaparyanle4 and holds the traditional objects in his four h2nds. The Jr.Nthara is held at the ri!(ht " ·hile
the rosary is held in the upper left hand. just the reverse of most images. ·rhe h~ure <)n his leit
-appears to be a monkey who carries possibly a c itrus or a vessel.
Fi~. 2~ 8 . Sl:...:1.1-:S\·:\R:\: tai~>·a fr2~men1 u •ith the upper part t>f a Na,araja ima~c·. The <ai{ra m1>!'t
likcl~·formed part ,,f
a 1•ajra·mastalea dc~ign.
Fig. 2 ~9· Sl1t(l.f.!-\'.'\Ri\: f ragmcnt of 11a;ra·mastak.o cro\\·nin~ a sub$id iary pd)!.a desig:n. T he up~r
tai!ra \\'as Aankcd 1>)' a itilal>/1a1;iki on cac~ side. A k irtim"kha mask appears at the apex of the dcsi~n.
The lowe r med•llion hou,es the face of Siva.
Fig. 140. SL't.:1 1·:::.' :\R:\: lala·hanJl1tJni b locks \\·ith kinnaras. Similar mot ifs appear on the
Para~ ur3me$\•a ra temple.
Fig. 241. S t·KLl".!->\':\RA: detail of pila:;.1er u·ith t!han11 "anthi scroll\\•ork , addo rse<l !."!Ja·ler011101 u·ith
rit.lers and ratiktra ~crollwork.
l:;ig. 141 . S1·...:1 f.!\\·,., ,..,-\: detached ima~c. pr<>bably of \·'1~~u. nov.· stacked \\'ith other fraKmt:nts on
1he A<>t>r of the ;01.amohana. The dt·1ty assumes a graceful tlr1/1J1ari1.a pose a nd i$ Aankcd by 2 female
attendant o n each side.
Fig. 24~. S1 ·1\:11-:.~\·t\R ,\: iilt1hhalijileD fragn1ent from an upper tai{>·a dcsij;!n of a ra;ra·111astalu m<llif
c ro \\·n.ing the mu!fefi designs of a side piit.a. 1lle atlant id figures introduced d uring the 8th century at
Bh ubanes\\•2r a rc here replaced by the iiilahhariJiit.4 motif. one of numer«lUS arch aizing fea tures. of th e
decorative program. The facial features arc sharply delineated. such .as eye brows and mouth, so that
the figure seems \'c~· tense a nd bc..·lics the re laxed pose she a!'sumes.
Original from
L:\TAL()(~l·E <->F l l J.USTRr\Ttc>NS
Fig. •<M· Sc K Lf.SVARA: upper torso of female figure which may have filled a minor niche. The halo
behind her head and two right hands suggest she is a deity. Her hair is tied in a bun on top of the
head in typical fashion and her facial features are again strongly pronounced.
Fig. 14s. St•K1.li.S\'ARA : ala1i·iul'!,1i adjusting an earring. The facial features arc soft I}' carved 2nd
dominated by a soft smile while the hair is arranged in a chignon on one side of the he2dl fe2tures
typical of the 1oth· 1 tth centuries, suggesting this is 2 much later work. St)•listically. and in respecr 10
che particular scone used. the image is a near duplicate of many late images appearing :at Ratna~iri
and obviously was created by the same workshop of sculptors.
Fig. 246. SUl(l.f.~VARA: image of Go~e5a housed in • later shrine at the northeast part of the
compound. This likewise is a later im:age though its f2cial features and those of the attendant figures
ore mosily covered with plaster m•king it difficult to date with precision. The right hands hold a
ros•ry ond broken tusk while the left h1nds hold • modalu·pilra and rest on a hi/hara. A mouse
•ppea" beneath the lower right hand as well as a diminutive attendant. Stylistically, and
iconographically, the image c•n be •ssigned to the t 11h or uth century.
Fig. 247. Su..-1.F.~VARA: upper fragment of a vajra-masla.lr.a crowning the vajra-11111!f.(ii design of a side
paga. The double taifJ•. is crowned by a kirlimHMa mask and flanked by ialabhaiijik41. The lower
tail.Jo houses a bust of Siva.
Fig. 148. SllKl.F-~VARA: moulding with dhanN ganthi scrollwork, himbhiki·bandha and acrobatic
2tlames (bhtirarU.,a/u).
Fig. 249. S l:KLES\.ARA: squatting figure with wings.
Fig. zso. Su..-1 .1(~\.ARA: squ2tting figure within a tairya-medallion.
Fig. 15 1. Su..-1.ts~''ARA: doorframc on the southeast comer shrine. parti2lly buried in the soil with
many fragments forming a makeshift door.
fig. as 1 . Sul\ LES\' ARA: doorframe of comer shrine in the southwest c-orner of the compound.
Karttikcy2 appears on the lint<! and Saivitc dvirapilas at the base of the jambs. The scrollwork on
the jambs of these comer shrines is well executed and very ornate.
Fig. 1 s3. SuK1.F..S\'ARA: view of )Oga•ohana from the north showing the gavi/eft1 design with
balusters filling the window •nd a lala·garbhikA design below. The pablkiga consists of four mouldings
different in design than those on the dtNI and the Ji•gha is divided into two stories by a modkJa·
bandhallli of a single moulding. The decorative program was left incomplete and the structure is a
later addition, probably dating from the end of the 1 11h century, though its possible that it may
have replaced an earlier jat.a111oha11a. The slab beneath the balusters, for example. obviously came
from an earlier temple while a mat1¢apa. or smaller temple, was erected a shon distance in front of
this ha.II and incorporated fragments from an earlier structure within its foundation walls.
Fig. 114. BANKAl)A: general view of the temple complex from the west. In the foreground is the
pabhtiga of the enir2nce g2te while a portion of the compound wall is visible just behind.
Fig. 'I I· BANKAl)A: southe•st view of the dtNI. The pabhiiga consists of three mouldings and has
multiple facets on each paga. The rilki niche cuts through the top two mouldings. The bai/a has • full·
fledged patlra·ratha plan. Numerous detoched sculptural images ore leaning againSt the mouldings,
the largeSt one being a niga. The lintel lies precariously on the jambs of the sanctum doorframe.
Fig. •16. BA:'IKADA: cast rihi niche with fragment of Kiirttikeya image. Images of Garyc$a, a
seated Devi and Kintikeya arc leaning against the base of the niche. At the pro per left foregro und is
a leirti111NMa gargoyle.
Original from
470 CATAl.OGl•E OF 11.J.llSTRATIONS
Fig. 217. B.\N~ADA: souch riihii niche wich Ga~cia. The base of the niche jambs are decoraced with
2t tendants wh ile the pilaster framing che niche has a ta1tri-~arcr above the pir!J4·J!.hafa at t.hc base.
leaning against chc pedcscal bcncach G~da arc fragmcnccd images of Mahi$amordinl, Siva and
another GaQcSa.
Fig. 218. RAN~.\OA: ease rahJ niche jamb wich Brahma ac chc base. An imag e of Brahmi, a nd
p<lssihly Vii~u . olso flanks an early image of Kancikeya in chc Lir\garaja compound.
Fig. 1 ~9. B:\St..AOA: cast rtihti niche j2mb with Vi~Qu. Like Brahmi, Vi~l)u also holds a \'3SC wirh
his two fro nt h ands. The uplifced b ack left hand holds a conch while the rig hc hand is on t he hip.
Fig. 160. s ,.s"}.l)A: ra11rT-bcarcr in a niche of a pilaster framing the south rtihti niche.
Fib. 16 1. BAS~AO..\: southeast comer of thc j aga11tohana. The p.i/Jhtiga consists of three mouldin~s 2s
on chc dt11!. The corner is designed as a miniature shrine as on the Vait21 Dcul and MadhukeS\·2ra
temples. The bd{la bct\\'Cm t hese shrines is decorated with vajra-,,,11.!J{lis as on the ~i2dhukcSvar2. T\\·o
o f the in terio r pillars and the sanctum doorframe 2rc visible in the background. ThC" jaJamohana 2buts
the dr11/ as on the ParaSurime~var·a temple.
Fig. 161. B.<\SK.i.l)A: )of.allfohana 2nd the sanctum door(ramc from the southwest. ThC" 1a1.amohan11
c<>nt~ins eight pillars aligned in two rows.
Fig. 163. BAXKAl)A: nonhwest corner shrine from the souchwest. Only a po nion of che pahb".~•
and cwo pill>rs h a ve survived. In 1he background is the base of che compound wall.
Fig. 264. 8 A1"•.•oA : proper right jamb of che sanctum doorframe. T he d1•arapiila stands with one
leg crossc.d and rests one elbow on a tri1Nla-p11r11!a. T here a rc four bands of decoration wit h the
second one from the inside ornamented with itilahhanjiled figures superimposed above a scatcd _ya:A:.,a.
Fig. 261. BA1"•.•oA: interio r pillar and sahatra-lioga. The pillar is 21 1/2 inches square ac che base
'lntl 107 1/ inches in height. The n iches of the 11ajra·1'1N1J{ii at the base on each side house m1thNnas.
1
T he lingo 1s 16 1/ 2 inches square ac the b2se 2nd i6 inches high.
Fig . 266. BA1'K.,OA : interior pillar of j~gamohana. A lr.irtimKleha mask flanked on eicher side by a
leaping lion appears above the r:ajra-m•t;t<ii.
Fig. 167. BA~~.:S.DA: interior pillar of jagamohana.
Fig. 168. 8 AS...:Al)A: interior p illar ofJaia mohano. The miniature shrine on the shaft is de~dgncd as a
k.iJJkJMrd-11Jll!l<Ji,
Fig . 169. BAX~.1.1.>.<\: detail of an interio r p ill2r.
Fig. 170. B.\~K.J.DA : Saivite guard housed in a va1ra-mN!fci.i niche on -an interior p illar. He is four·
armed and scands " ' ith the right kg crossed behind chc left. His uplifted back h2nds hold a rosary
and a trident. He " 'ears a Jarpa-!Nf}{iola in his right car and his halo has a beaded-border.
Fi~. 211 . B., s•.\DA: dccachcd im2ge o f GaQeia which probab ly served as a pari•a·dr..ata in a
C<.>rner shrine. He is seated in ardhapa':yarilt.4 with a JOf.apaffa holding h is stomach in place. He is
plucking sv.·eecs from a moda"'1-patra held in his major lefc hand whik his r ight hand holds a rad i;h .
The t1plif1cd back hand; hold a rosa ry and leM/hara. H e wears bells aro und his ankles. 26 b r 18
inches.
1:ig. 17 1. S .-\SJ\. •.\O..ti; fra~mc:nte<l image o f a seated Devi. T he on)~· attrihutc remain ing is a r<)!ia r~·
in the back riJ.:ht hand . She " 'ears a large ptitra-ir.Nn(iala in each car. A late feature is the t1c>ral ruri-lc
al1<>\'C each earring. She h as a jcv.·cllcd t iara a nd her hailo is edged with a bealied -l>0rdcr.
Original from
CATAI.<X~l.!E OF 11.1.t;.STR.<\TJ<>NS 471
Fig. 171. BAN>:,l.oA: fragmented image of Siva. He stands in a pronounced lribhanga pose with his
left elbow resting on the head of an attendant. He is irdhttalifit,a and wears a ciger-skin around the
loins. The attributes arc all missing.
Fig. 174. BA>lK,l.OA: Siva standing on a crawling demon. He stands in a 1ribha1igo pose. Except for
the rosary aJI the attributes arc missing. He wears a sarpa·hi!Jfiala in his right car. A bhil1a looks up ar
him from the lower right comer of che niche. 13 by t 1 •/ 2 inchc-.s.
Fig. 171. BAN>:,l.OA: fragme nted image of a seated Devi. She JS in podmii1a•a. The pedestal is
decorated with two tripods and a reclining bull. 1: by 11 inches.
Fig. 176. BANfo,;.A(>A: Nafar~ja in a rairya-mcdallion from a 11djra..111a1taka motif. He i5> e ight-armed
· and is Mrdh11aliliga.
Fig. 177. 8ANfo,;.AQh: seated Siva in a tailja·meda.llion from a v~ra-111a11aka. He ht)lds a rosar)',
trident and vase in three of his h ands. The founh hand is in 11arada 2nd holds an indistinct object.
Fig. 178. BA"1>:AOA: pedestal of broken image of Surya. AruQa is seated in p.dmii1a•a and a
spoked-wheel is v isible behind the center horse. 0~2 and Pratyil~i are dispensing arrows on either
side of Surya.
Fig. :79. BAl'll(AOA: sculptural fragments now piled as a pillar on the northwest corner shrine.
Above is a niche containing 2 taMri-bcarcr. She stands in a pronounced tribhan1.a pose wirh her lefr
hip pushed way out. Below is a fragment of a kinnora couple embracing among foliage.
Fig. 280. BAN>:AOA: niche with the popular motif of a female standing in a doorway. She is squat
in body proportions and has her hair arranged in a jar-like chignon of curls on top of her head.
Fig. 181. BANK,l.l)A: wall niche with a • ilhN••· The male embraces the female from behind and
gently lifts her chin with his left hand. She stands in a pronounced tribhanga pose and cums her head
back towards him. The sash of his lower garment is t ied in a large loop on his th igh . A tree is visible
behind the couple.
Fig. 181. a... ~KAOA : wall niche with a 111i1h11no. They stand in front of a tree facing one another.
The female crosses one leg and embraces the male around the shoulder with her righ< arm. They
both have the same coitfurc and their body ornamentation is almost identical except for the girdle.
Fig. 18J· BADGA<)N : general view of rhe Siva temple from the southeast. The Ja.e.amobana at the
right is a later addition. One of the corner shrines is vi.siblc at the left.
.
Fig. 184. BAOGAON: hO{/a detail on the south side showing the va1ra·111Nnf/i design w ith an image of
LakuliSa in ilS niche. The piibhiga consists of four mouldings of a different design than those on the
8th century temples at Bhubaneswar. The mouldings beneath t he niche are indented. A phtni
moulding is added above the crowning 11a.1'ra·111a11alea 2nd a thin pilaster appears next to the rtihO.
Fig. 181. 8A[)(;AC)N : detail of 1,a!'(i.i with bararµj.11 on south side. The rtihi is Jri-ralha in design with
the narrow ends divided into bh1'111i1 by hh1'1Wi-a111/Q1 simulating the plan of the kAnikAs. The anurci/JO
recess is filled with niches alternating with jO/i patterns rather than i·ajra~11111f!(li1 as on earlier te1nplc~.
The bottom tairya of the 1J")·ra·11101talt.a houses an image of Variha.
Fig. 186. BAOGAON: view of hiic/,o from the west. T he lolo·gorbhikii beneath the riihii n iche is more
developed than on earlier temples but docs not as ycc assume che plan of a miniature shrine. 1·he
image of Kintikcya is co,·cred with whitewash. The side niches are fllled with ArdhaniriSvara ar1d
Hari-H2ra.
Fig. 187 . BAOCi;\()N: view of gop{ii from WC-SC.
Original from
471 <'.A·r:\J .c>C;l' t-: < )p 11.f.l 'Sl 'R :\ T l<>NS
Fig. 288. 8 ..1il)(,:\t1N: \ ' ar2ha in b<>t t<>m tai{)'a•mcda11ion of the l''!JFa·mastaka c>n the south si~c of
the t.,ott(ii. This is the fi rst time a \'ai~l')a\'3 image occupies a do minant positic>n o n the 1,a!ltfi o f a Sai,·a
temple.
Fig. 189. BAIX~A<>N : bO{ia of one of the cornt'r shrinc-s w ith an image of Ga()c-Sa a s ptirsi•a·dtt'Ptfi.
The bdt}.a is tri·ratha in design 2s on the main sh rine thOUf.th w ithout the- thin pilaster added next to
1hc rOhti. The ptihhti.go consists of onlr rhree mouldings rather than four.
Fig. z90. BAfX~.\<->S: genera.I view of subsidiary shrine. The ga!'fii is di,•ided into only three hl11im/
divisic>ns. The shrine originally erected at the nonhcast corner has been shifted to the n<-'rthu;l'~t
co rner so that no\\' there arc t hree of these shrines at the u.·cst e nd of the compound.
Fig. i91 . BAr><;...t,<>N: detail of scroll\\•ork :and pin;a-1.hofa o n the jamb of t he rtihti niche. 1\ s at
Bajrakot the rotiktro scroll is gradually being replacec.i by the 11ana·latti 2nd 1he sculpco r is en1ploy1n~
mo re <)bliquc cutting techn iques.
Fig. i91. BA1)(:A<>r..:: detail of sanctum doorframe. An image of G2ocS2 is no \lt.' placc.·d in fr,)OI ()f
the pila"er flanking rhe doorframe. Gaia-Lakimi is visible on the lint<! alo ng "'ith the b >« o f 1hc
n iche housing the grahas on the architra\'e. The grahas are reversed in or<ler so that Rl hu appears o n
the extreme proper right and Ravi at the extreme left .
Fig. 19}· BAIXiAt)N : detail of sanctum doorframc. The d1·1irapO/a is attcndc.·d by a n1~~" p lac<"d in an
adjoining niche at the base of the jambs. An image o f a sc:ited Our~a i~ nt)\\' p laced in frt>nt o( the.·
pilaster flank ing rhe doorframe.
Fig. 194. B..ti1x ;A<>s: four-armed Siva from a 11~1ro-m11!f{ii niche on the n<Jrt h si<.le o f rhe dr11/. lie
stands in a slightly Acxed pose holding a rosary and bowl or offering in his left han<is u'htlc hi~ ltlu·c r
righ t is extended in vara.Ja and h is upper right ho lds a µrof" o r b at tle axe. The latter.is c<>\'ercd \\·u h
accretions of plaster and debris. Though tJ:e pora1N is not popular as an attribute of Si,·a in ()ri$$a it
is standard as an attribute for th is fo rm of Siva \\•hich appears generally on chc nonh si(ie alo ng \\·n h
Aja Ekap:ida. A t,,a!Ja appears in each lower corner of t he niche. The ima~cs in these: niche~ ml'asur<·
4
approximacel)• 18 1/2 by 11 inches.
Fig. 19l· BACX~A<>:-..: : image o f Ardhan2riSv:ara fro m 11a; ro·mN1J.{ii niche on the west ~i<lc of t he <lt11f.
The image is paniall)' covered with accumulations of p laster and debris and damaged in the lc>v•er
left co mer so that the image is no t readily identifiable. The right h alf of the image is in lirdh,.a/1~~11
a nd the female b reast is p2nl)' intact on the left half of the torso. T he lou•cr rij,tht hand is cxtcn(t<.·<l
and possibly holds a vija-piiralla wh ile the upper right h and holds a rosary. The upper k ft hand,
heavily ornamented wirh bangles, h()lds •mirror while rhe lower left probably hdd th< t d1t< of her
garment o r touched the head of a d iminutive figure in t he lou·er co rner of the niche, possil)ly y<>ung
l'intikcya as on most of these early images. A ~n!Ja occupies t he o pposite comer.
Fi~. 196. 8 .\f>CA<JN : ima~c of LakuliSa fro m ''O./ro·mN!f(ii niche on the south side o f t he drNI.
I.akuliSa is seared in paJmisana displaying the Jhormaralera·pravorttana·mlldrd u •ith the '4hfa held
•i:•inst his bod)' on rhe left side. He is represented in i rdh,,aliriga thoui,:h m ost of th< left part o f the
image is missing. T wo disciples arc visible seated on lotus cushions to rhc right of Lakuli~2.
Fig. 197. B.<l>G-'<>N: image of a seated D u rga placed next to the doorfnme of the sanctu m. Iler
)cJv,: cr ri~hr hand is in i'tlrada, e xhibiting :a Jorus-mark, \\'h ile her upper ri~ht holds a r<l~ary. l'hc
lo wer left ho lds a jar while rhc broken upper lcfr held a lutaka flower. The image measure< 14 It,
inches b~· 1 j l/ • inches.
Fig. z98. !\I An1-11:~1:~\'Al\A: general view of the C(lmpound from t he ca~t . At the lcf1, springin~
fro m a pc<.lestal. is a db1·a101ta"1bha which reaches a hei~~11 of approximately t o feet. A p:iir o f lion~
:arc placed rlanking the sta irs leading up to the lir$t entrance g2te. At thr- right arc S<>mc dc1achc<l
Original from
stabs including one designed as a r1/ehO-de11/. The first entrance gate. 16 fccc 7 inchc:s wide al the base.
though v aguely resembling a South Indian gop11ram, as on the KapolcS\rara tc:mple at C:hczc:rla, is
based essentially on the Orissan leJkikharO·de11/. At che crest of the c·r o\\1ning member arc three spact'd
11malaU1 as on the \' aital Ocul. A similar alig nment is visible above the entrance ponal c.lf the
Ja.e.amohana. The nonhcasc corner shrine at t he right is still pa rtially CO\'ered by a hea\'~' coat of
plaster.
Fig. z.99. ~fAD11L'"t::>\'AKA: \• ie~· o f the second east ~ate from the west. The ~ate, 11 feet 10 inches
square at the base. is designed as a ptrfha-tleul. T he frame consists of progressively recessed jambs in
contrast co the t ypically Aat arrangement on most Orissan doorframes. Some of the dcc<>rati\•c:
motifs are still covered with plaster while ponions appear to be reconstructions.
r:ig. ~oo. ~·1AOHL'" ES\'ARA: view of 1nd cast ~ate fro m the cast . The decoration is similar 10 that
o n chc wc-sc side. The jambs above the drOrapJlas arc relie ved \\'ith panels of r1i1. An in1age of Si\'a is
can•ed o n che chird lintel.
Fig. JOI. ~l ..\t>ltUKl~,...,RA: N:andi shrine ,1,.ith in t he outer courtyard. ·rhe sh rine, 7 feet square ~t
the base, is also designed as a pt(.iha·dr11/ u·ich a similar double amalalea in its ma1taka. Only part <>t' its
decorative program is revealed from beneath hca\'y coats of plaster. N andi sh rines arc unusual on
Orissan temples and its inspiration is obvious!}' South Indian.
Fig. 501. ~li\I)llCK1'.S\'ARA: \"icw o f the no nh khilthari shrine fro m the south east. Th<.' shrine
measu res 11 feet \\' idc at the base. The pi/Jhlit,a mou ld ings are paniall)' hurie<l. The <loc,rfran1e 1s
decoraced wich .r11p1ami1rle41 ~·hilc \11i1hin is placed an image of Ourga seated in lali101a11a.
Fig . JOJ. ~i .\n1 1t.·~1.;.s,·,.\RA : vie""· o f \\•est kl1ikh11ri shr1ne 2nd t he n<)nh \\'tSt t<.)rr1er shrine from the
southeast. Par1 of the ~·est le11likh11rti shrine is still covered u•ith plaster.
Fig. i o4. J\l.\DHe Kf.S \'ARA: d eiail of 1he ga11rfi of 1he dtNI fro m 1he sou1h. Excep1 fo r 1he va;ra-
111a1talt.a and the crou•ning mostalea members t he decorative pr<)g-ram is either covered up or m is..'i inf?_.
The mastalto h•s • double amalalto with the standard dopirhhii-simhas placed in 1hc first btki. In 1hc
second htli:i arc images of Nandi, ho v.·e\'er, ~·hich indicate South Indian inAtacnce. Gac:icSa and
LakuliS:a :are housed in the i•ajra-mastaka medal lions.
Fig. JOj. t\f,\1>t-IL'"1:S\ ' AR..\ : h1i(ia of Jiu/ from t he sou th\\•est. Only t he top m(>uld ing o f t he pOl1hJ.!,a
h:as any surviving dec(,ration.
Fig. 306. !\lhDl lCt("f.$\':\RA: i•qjra-111as111/e.n on the 1,a~1(ii of chc souch u/csc co rner shrine, Lak ul'iSa is
the lower medallion u·hilc a Na~ar:lja is in the upper one. Flying vi1rti.dharaJ carr~·in~ a n1inia1urc
shrine appear in t he borders of the upper tai~ya.
Fig. ~07. 1'fAOHl:...:1iS\'1\RA : 11~1ra-111a1ta/e4 o n the no rth si<le of the 1.r111rfi o f t he: dtul. A<">th rai~yas
house an image of ~1ahi~amardini. The k trti11111kha, makora and !.d)a+krdnla motifs standard o n
Orissan d esigns iir<: absent.
Fig. 308. l\·f ADl tl:KESV ARA: no rchwe·sc \'icw of the ;axamohana sho~·ing the lac k of bonding bet"':ecn
the J111/ and che Jiz.P..amoha11a. The waccr sp<>Ut at the base of c•u: J,•11/ is designed as a Nagari ja. The
p(tha of che tit11/ is complecely buried v.·h ilc only a ponion of it is visible beneath the jaga111oh4na.
Fig. jO<J. l\1Al)t-tt'"~S\'ARA : detail of the t<>p lintel and the double caves of t he roof over the ea~t
entrance of thej o,gomoha110. T he top eave is decorated \\'ith an elephant procession and, at the extreme
left, a group of warriors with the fron1 one kneeling before a se11ed figure with a11end1n1s. T he
bottom ta\'C h as a frieze urith fcsti\•e dancing and hun ting scenes. In s<>mt: episodes the hunters arc
carf)·ing t he dead an imals tied to a pole. The hunters are using ' ' arious weapons such as spears and
arrows. In o ne detail a hunter on horseback has lass<>ed a deer while in an<>thcr scene a dismounted
Original from
4 74 c;:\1 .:\1 .<>C.l· I~ <)F 11.1 .l' STR :\Tl<l~S
hu nter grabs a lion by its throat. A f:lllcn hunter protect$ himself from an a11:acking lion \L'ith his
shield. These scenes are extremely :animated and charming. The lintel is deco rated v.·ith a long frieze
depicting Kr~oa and Balarima 21 the coun of K:arhsa in Mathuri as dcscribc-d in the Vif!'" PMri!lo
(boo k V, ch•p. XX). There is• multitude of people g1thered • t the uen1. Many of them arc seaccd
on platfo rms or raised dais. Near the center of the frieze is a scene of Kr~IJa defeating the elephant ·
demon Kuvabyipi<;la. He is kicking the fallen ei<phant in the head while raising his right hand ready
to str1ke the fatal blow. Jn the ccnccr of the fric.zc arc two wrestling matches with the first
rcprc-S<'n1ing Kr~i:ia and CiQUra fig hting foot 10 foot. O n a smaller scale, beneath a balc·o ny.
Balarima is pu mmeling l\'l U~tika, the latter stretched on the ground with h ands folded in alijoli as he
begs for mercy. In the nexc scene a fig ure on a dais is being yanked co che ground by a p l<>ugh held
h}· one of the \'ictors. T o the left arc numerous other seated figures.
r:ig. 310. l\f..\l>J IL'Kl~S\'.\R:\ : cast entrance portal of the J'1t.omohana. The 11a;ra·lllMf,1(i1i ftankin~ the
pl>nal contain th e ri\'cr gt><ldcsses with in their niche. G:argoyles in the shape of :a ntiga arc \'i~ihle on
the lower edge of che roof, one on each side of che porul. The doorfume consists of progres.ively
rC'cc:ssed jambs, as on the entrance g ate. and is more related to Pir:aQu\'arhST traditions. as at Sirpur o r
R5.jim, than to Orissan traditions where the jambs arc generally Aush with one a nother.
Fig. 311. MADl-il'to:.f:SVARA: virw of rtlt.hi on souchrast corner of jagamoh11na from the rast . Thr
pl;accment of rtle.hti shrines at the f<>ur eornrrs of the 1agamoha11a recalls the plan on the \ ' aital Deu l.
T hes.e rtkhO shrines ha"e a simple lri·ratha plan based o n t he 7th CC"ntury temples at Bhub:anesv;ar.
Tt1e ,go!f(ii is panra•ratha in de~ign ""ith t he k.aflii:.a being divided into three bhimi1.
Fig. ; 11 . ~l ..-.ottl'Kt·S\ '..\R,, : vie\\' of rrJr.hi on nonheast comer o f ; 01.a111oha110 fro m tht" cast. The rdhti
n iche house~ an image of ~fahi~an-)ar'-fini \li:hile the lower mc:<lallion of the i·a;ra·mastalea C(,ntains an
image: of ~laheSamOrti.
Fig. j 1 j . l\l ..-.011tl"b~\',\RA : sou th viC"\\' of the rrle.ha on t he south west corner of the: ;ago111oha11a. T he
niches on the ;iligha contain, from proper right 10 left , ArdhanariS\•ara, GaQeSa and a 111ithN1ta. The
medallions of t he i1ajra·111a1tako arc filled with a lion face and a seated Durgi. Thr rajra•l#M!f~i niche
o n thcjtit{~lJa of thc. ; agamohana is filled 'llt' ith an image of Natarij a .
Fig . } 14. ~lAr>111 ·..: l'. :-\'..\RA: \•ie"' o f .1<i.e.a,,,oha11a from the south\\·est. The rtkhii shrine al'>uts rhe dt11/
an<l panly overlaps it. There is no A:.anika on the rtit.hti shrine where it abuts the dt11/.
Fig. } 11 . ~t ..-.011rK1:~\',\R;\: southeast vic-v.· of the ja,,e,omoha,,a before removal of the plaster. A small
niia sh rine: v.·as aJdc:d in front of t he: rtihd n iche of th t" rtldli on the: southv.·cst co rner, in fr<>nt of
GaQcSa.
Fig. } 16. ~1.\t)Hl'"l::-\·,,tt.>i: Sl>uth":est view of chc:,;a..~amt>hana after the rcmo \·al of che plaster.
Fig . 317. ~fA011t'..:J;S\'•..ti RA : detail of i.•aj ra·#lastaka c ro wning a "''!i ra·1'111nt}i. The mc)tif is cl<)n~atc:d,
cunsi~1 ing of three mouldings rather than rwo as at Bhubancs u·ar. while the me<Jall ions arc tilled
\11ith lotus rosette~ rather than figure motifs.
Fig. ~ 18. ~-t.a.011l'Kl-i.:>'\' ARA: J.•a;ra·mastalea on the t,a'!tfi of the so ut heast co rner shrine. The lov.·er
'!1cdalhon co ntains a figure seated in 11rJhaparyatiU holding a lotus ftov.•c r, most likely represent ing
Si\·a, u·ith a gana in each corner. The upper medallion houses an ima~e o f GaQ~a. The f..O!f~i is parit a·
ratha in design though there are no an11rtihO recesses. () ne of the medallions on the '"1nik.a contains a
pNrna·1.hr1/a mc>tif v.·h1lc- a n<>thcr ho lds a lion face.
f1R. )19· ~I An11t1 K1~~\'.\R,.\: detail of chc roof of 1hc j a_e,amohona and rhc borat;1t/a. T he addition o( a
/1ara!1dtJ is an inno\'ati<ln th at d<>es noc appear on e arly temples at Bhubaneswar. Tht lov.'C"t
pro jcctinR m<>ulding is rclic:vc:d with a figu re fr ieze \l.'hile the u pper mou lding is decorated \l'ith
spaced rai(ra motifs alternating v.·ith haM1a1. The m11h0{1/i of the roof is decorated ~.'ith scro llu:o rk
v.·hile t he slo ping uppe r s urfacr h as pr<">jecting gargoyles ca r\•ed as a nti1.a holding 1 vase.
Original from
CATALOGUE OF 11.LUSTRATIONS 47!
Fig. i10. MADHUK~VARA : east half of the nonh wall of the jaga1J1°"'111a. The continuous alignment
of vajra--4is on the jiiligha suggests Cillukyan inAuence where this arrangement appears on
numerous temples as well a.s the design on the ParaSurimcSvara~ though on the latter the vajr11-•111Jf!is
are not well-developed, not being separated by a recess and projeaing only slightly so as to be
almost imperceptible. The standard Orissan plan, based on the plan of the de•/, has miniature shrines
Ranking a larger center niche which is projcacd. The closest parallel appears on the longer west end
of the de•/ of the Vaitill Deul where there is an alignment of five projcaing pagas with niches. On the
Vaitii.I Deul, however, these paga1 are designed as lu1111bha-11a111bha1 and thus simulacc a pillared hall.
On the nonh wall here there arc ten 1111jr11-11111!'(11i. On three 111111Jfli1 the niche has a window rather than
a deity. The swastika-shaped lattice is also non-Orissan and suggests Cilukyan influence where the
lattice work was more varied than on Orissan temples where it generally consists of)iii ptttcms on
early temples and balusters on Jarc-r temples. The decoration of the cr?wning 11i111inileti1 is still
panially clogged with plaster. The deities enshrined within the niches uc Siva holding a "'rg•, Aja-
Ekapiida and Hari-Hara.
Fig. i11. MADHU~ESVARA: west half of the nonh wall of the j ag••ohana. The deities housed within
the niches are Kintikeya, Indra, Candri and Garu\la.
Fig. J•>. MADHUKESVARA: projeaing va)r•:"'"~li on the roof in the center of the j aga1J1°"'11111 on the
nonh side. The niche contains an image of Siva seated in ardhaparyali/ea. A prancing horse is carved
on the pedestal.
Fig. 31.J. MADHUKE~VARA: cntr2ncc ponal on south side ofj4ga•ohana. The vajra·1Wastak.a forming
a pediment over the door is complete with a ltirti111Mlth. at the apex and ga.Ja·Ju411tas. 11111bras and
jagra1a1 on the borders following examples at Bhubaneswar. The medallions house the Andh2kisura-
vadha-miini below and Na1ariija 2bove.
Fig. }14. M.. OHL'K F,.S\ ' AR.\ : cast view of the southeast comer shrine and second cast compound
waU. The rihi niche cuts panially through the piibhiga mouldings as on 7th century temples at
Bhubaneswar. A low pitha is visible beneath the pabhaga. The gall# is divided into five bhi•is at the
leanilea with each bhi111i subdivided into four bar~is by a bhii111i-a,,,/a, The first bhi111i contains only
three bara'!l(iis. counting the top moulding of the bar11!f/la. and thus is shoncr than the four bh#11tis
above. Pan of the decoration is still obscured by plaster.
Fig. 32) . MADHCKES\'Al\A: west view of the southeast comer shrine. The comer shrines face cast
and west rather than nonh and south a.son the K1nakeSvara and ManikcSvara temples. An image of
Surya appears on the lintel of the doorframe.
Fig. i16. MADHUKF.SVARA: north view of the south khiiJ:harii shrine with entrance ponal. The
pabhaga is completely buried by the addition of a stone Aoor for the compound. The doorframe is
dominated by figure sculpture. A band of gelaba scroll work is added outside of the projecting frame
on each side. Two images of Ga('c$a arc placed within 1hc shrine.
Fig. J•7· MAOHUKF.SvARA: entrance ponal of the southweSt comer shrine. The pabhaga mouldings
arc •gain panially buried. The niches of the flanking vajr•·IJl•~lis arc filled with fem2lc <••ri-bearcrs.
The d.Ora-lala/a-biMba panel on the lintel has an image of Hara-Pilrv2tl while a graha panel appears
above.
Fig. J18. MADHUKESVARA: eaSt face of jaligha on the rekhii at the southeast comer of the
jaga111oha."4. The vajr11-111"'!'¢i niches contain a 111ithllflll and an image of SUrya. The sl2b in the rihi
niche appears ro have an image of f\fahi~amardini ouclincd on its surface.
Fig. 519. MADHLIKE~\'t\l\A : two images of Gtl)ci a housed in the south Jehtil:harli shrine. The jmage
on the proper right is six-armed and holds a vase, rosary and serpent in the right hands. The left
hands hold a hifhara, large ia#•lea and ind isiina object. A mouse is carved on the pedestal. The
Original from
Google
01gitized by UNIVERSITY OF MICHIGAN
l
imaf!C on 1he left has only l\\'O arms. The probc)scis is p lucking a lar~e la¢{111ka (s\\·ec1me:o1t) hclJ in
the left hand. The right h2nd pos;ibly holds the raJi,h or broken tu•k.
FiJr.1;. 3 ~o. J\IAl)lll ' Kl·:'. '',.\RA: image of Gal')tSa p laced in a makeshift niche in the S<.)uth Cc)mp•1und
u •all. Garyc:Sa is seated in /11/iJdJana and holds t he traditional rosar)'. radish, htthira and llfod11A>.a·f'Jtra
in his four hands. A crescent moon is ' 'isib1c in his coiffure and his .)''!iilopavita. armlets and u·r1i>l
band arc formed of serpents. His necklace is a strins.t of bc:lls and he wears a string of bells on his ltf1
leg suggesting C2Jukyan inAuence. 1 A h alo is visible hehind his head and a flying t'i4,.adhara is car,·cd
in each upper corner. Thr mc>usc appears on rhe pe<lesral. The image mrasures 40 b~· 15 1f 2 inchl'S.
Fig. 3~1. f\I Al'>l ll.Jo\E~\':\R./1.: image of Sara.~vati loosel~· p laced w ithin thc: .ia._t.tJmohana. She h<lllls a
11i!lti diag<)nally in front of her h-O<iy \\•ith her t\\'0 maj(lr hands. Her upper ri~h1 hancJ ht\llls a
manuscript while her upper left holds 2 lot us. She is ornarely bejewelled and a r(1Sctte appca~ in the
upper right corner. The image measures }4 1/~ by 19 inchrs.
Fig. ~31· ~IAlll ll'.:F:<\'.-\R.-\: image of SUrya in the west rtihJ niche: of the rrkhO at the n<->rth \\.·c:;.t
co rner of the .ia.e.amoh11tJ11. Surya stands in a rigid 1a111a/1hari_e,a pose holding t he stalk of a full ·b l11\\'0
lo tus in each hand. He u·ca~ a heavy northcrn·type garment that han~s do\\'n tc> h is ankles an<t a
btjc\\·c lled cro'1.·n. T he image measures approximately 17 by 13 1/ 2 inches.
Fig. }}i· ~IAJJJ IL'Jo\l"ii\'ARA:

image of Indra from m119di niche on the nc.>nh wall o f theJa.~ollffJh11na.
Indra stands in a slightly Rcxed pose holding • vq1ra in his right hand while his left hand holds the
t assels of his wais1 cl<>th. He wears a pearl-s1ringed ,ya11iopat1i/a, jeu•ellcd ero\\'n, neck lace and ~ircllc.
1\n addi1ional eye appears on each shoulder. The cleph ant·mount is carved behind t he legs elf ln(.lra.
These n iches measure approximately 1s by 16 inches.
Fig. }~4· ~l .\l>l tl't..t..S\'ARA: f';J.~ini

in nonh rtihti niche o f 1he rrkhO on che nc>rthcast c1>r1~cr t)f the:
Jo1,0 111oho11a. She srands in a rigid Jamtihhango pose holdin1t a rosary in her ri~ht hand and p<.•ssil->ly a
" 'atcr jar in her left. She wears a heavy garment tha1 hangs to her ankles and is richly be1e\\·t"llt'<I.
1-lcr hair is arranged in 2 /uiro!ltfa-,,,1111/r.M/o of tightly coiled curls. A can<)py of se,·cn scrpen1 ho<lds 1s
carved behind her head. T\\'O attendants appear in the l<>wcr corners of the n iche \ldth the one <>n rhe
left carrying a vase in both hands.
Fig.}\~. ~l1&l) l tl' Jo\l-. ~ \' 1\R ,\:

imaS?,C of a u·arrit>r fr1>m t·t1jro-m11!f¢i niche c>n t he southcasc cc,rner
shrine. Hi- stands in 2 sli~htly tlext:d pose rcstin~ h is left hand t>n h is ~hicl<l. ~le hc-,f<ls a cur,«:<l
S\\'<lrd in his right hand. fie is qu ite stocky in build and v.·i-ars a minimum<>( tlrnaments. t-lis )1air is
tightly tie<l in a lar~e bun to onr sicJc of rhe head.
Fig . i \6. ~f,\l)ltl'J..: h:o.\'ARA: male fl~ure hou~ed in niche o n outside pilaster c>f rhc c:i:-r ent rance
ponal of t he.1a,e.amQhan11, serving as e xtc:ri<>r ~uard. His left arm resrs o n a mace, rather than a tri<.fl·nt,
and SUj:!j.ttsts influence from Sout h Ind ia. He hr)lds a 11{!11-pNr11/ui in his r1~ht hand. f·lis coiffu re 1s
arranj.tl'd in coils \\·h ich casca<ic dc>wn to his shcuJl<lc:rs. A lc>tus·r,1settc appea rs at the: t•.•p <>f his
cc>1ffu rc:.
l;iJt. }\1. ~l .\ l)l ll' t..'.1.~\'.->iR ,'\: male ti~urt hou:\c:<l in niche on oursh:tc pilas,cr <>f the cast entrance
pi:lnal of the .Ja.e.amohano. S<'f\' lnJ.t as exterior gt1ard. ·rhr ri~h1 hand hl•l<l:;. a 1·i111·pNra/ei1, as t>n his
counterpart in h~. }.\ 6, u·llilt' the left hand hol<ls the casi>cls of his g;:ar1ncn1. He has n<> ""'eapt)n anJ
1herc: is no attendant figure. A lo tus dia<lem appears a.c t he t<>p ot' his. cc)iffurc.
f:ig. J ~8 . ~f.\l>l lL'"- 1.:o.\"\R:\ : .stan<lin~ male deity. p1)ssi1,ly Siva. I lis maj(1r r1~ht hand is cxrcntll·<l 1n
1'orada " 'llilc the lcfr hc>llls a \\' alcr jar. ·rhe back riJthl h1n<l h1,J<l:;. a rc>~ary \\'hilc 1h<.· <>~lJCCI 1n t he
back left hantl , <lc:scril><:t:I as a mr,e.,11 l)y ).lasrl1an aiah, is int.liitt inct. I lis lc1\\·er ~armen1 extl•n<l:-. tc> hi:;.
Original from
CATAl.OGl'E OF 11.1.l'STRATIONS 477
ankles and he is Aankcd on either side by a female attendant holding a basket on her head with both
hands.
Fig. ~;9. MAl)tfL'~t.S\'AR ..\: i•ajra .. ma11alt.a on the west face of the rtlehi at the southwest comer of
the jaga,,,ohana. The lower medallion houses 1hc bust of Siva. He holds a rosary in his right hand and
a lotus in his left. A third eye is visible on his for~head and a 1arpa-lr.K~i/ala hangs from his right car.
The upper medallion contains a Natar2ja image. Siva L~ ren· armed and holds his upper two hands in
a dance pose with the fingers pointed towards his coiffure. The major right hand is held in rhc
lt.a/ai:.JJ~hasla while the left swings across the
body .in ga)a·hasta. The serpent is held in the lowest two
hands, hanging horizontally across the body of Siva, which is a deviation from. standard iconog-
raphy where ir is held above the head or to one side. The bull Nandi looks up at Siva from between
his legs while Pirvatl is seated ro his left. Ar the apex of the vajra-matlaka is a A!J;1i111Nkha.
Fig. ;40. MADHLtKES\1AR11.: niga projecting out from the roof of t hejaga1'1ohana where it serves as a
gargoyle. The vase held in front of the chest serves as the spout to drain water from the roof. There
are ten of these gargoyles. four on the nonh 2nd south 2nd two on the cast.
Fig. 141. M A011u>:e.Sv.,RA: milhNna from jamb on the west side of the ind cast gate. The figures
assume a similar stance with the left leg crossed behind the right. The male embraces the neck of the
female with his right arm and gently holds her left arm as their faces touch. The coiffure of the
female is tied in a large chignon which rests on her right shoulder.
Fig. 541. MAOHl!KES\'AR.~ : 111ithJ111a in south rihi niche of the rtkhi on the southeast corner of the
)at,amohana. This is the first time that 111ith1111as occupy the rihi niches. a position normally reserved for
pirWa-Jevatis. and indicates the sana iry of the motif. The male hcrc gcntl~· touches the chin of his
female panncr in an affectionate display of compassion.
Fig. 545. 1\ifADHUK~S\'ARA: female taNri·bcarer in vajra·11111fJtfi niche Ranking the doorframe on the
nonhwest corner shrine. She srands in a slightly Acxcd pose holding a 1a11ri with her right hand near
the waist " •hile her uplifted left hand holds a lo tus. Her hair is tied in a large chignon arranged to
one side of the head rather than on top of the head as on 8th century figures at Bhubaneswar. A halo
is visible behind her head.
Fig. 544. MADHl1KJ•_\;\'.~RA : kneeling rfit on cast s ide of ind cast gate. The first figu re on the bottom
panel is bearded and has an emaciated body while the o thers appear ro be younger.
Fig. )41 · MAOHl ' KES\'ARA: iii/a/1haiijileii among foliage of scrollwork on jamb of cast doorframc of
Ja1.amohana.
Fig. ) 46. MADMIJKF..$\ ' ARA: scrollwork on jambs of south doorframe of the )agamohana. Mor ifs arc
padma Prf/ha, gtlaba and ralilura. One of the figu res in the gt/aha scroll is on a swing while another
holds a musical instrument.
Fig. 3 4 7 . ~iAOHVKRS\'ARA: jamb derail on cast doorfr:iimc of .i11.~a,,,ohana. The motifs fr<)m the
botrom consist of a vajra·· maJtaU with flanking gaja-J.e.rintat, the dhdn11 ganthi, a running figure in a
nit he and a triple lt.irli111NIUJa.
Fig. J48 . ~iAllJlt't.: E$\tARA: female taNr;·bcarer in a paga nichC'. She stands in a relaxed pose ~·ith
one kg cro.sed and her left hand resting oo the handle of a sword or club, the right hand holding a
ra11ri.
Fig. 349. ~1.\Dtltt..: Es\'.\RA: jambs of doorframe on the southwest corner shrine. The female in the
niche at the base of the o utside jamb is in the 2ct of rcmo\•ing her garments. a popul1r morif
associated wirh doorframes on early temples.
Original from
<:1\TAl.<>Gt·1·: <>F 11.1.l'STR ..\TIC.)NS
Fig. }~O. ~fAl.l.lt\F.S\'AA.A: general view from the sou1hwest with the PitileSvara compound at the
Jeft. The temple is of the paAttiyatOlla class though all that remains of the southwest corner shrine is a
hole in the ground. The p~dha shrine to the e1st of the M•ll ikeivara. with a projeeting porch, is the
RimeS\'ara temple.
Fig. l p. MAt.1.1~ ESVARA: south view of the Mallikesvara temple. The temple is pa"ially re-
constructed with modern mitcrials with only portions of the roof of the ja1.a,,,ohtina intact. The r11k.ra
design of the gai-Ok/a window betrays South Indian inAuence as does the erection of the Nandi shrine
barely visible at the right. The MN~cii designs of the side p4ga1 of the dtNI are lost but the projecting
cave over the rihti niche is a late feature and suggests the transitional stage of the temple. The pJr1l•a·
Jti'llliJ arc intact while the ten niches of the jaga11tqhana arc filled with various Brahmanical deities
with man)' of them exhibiting unusual iconographical features.
Fig. lll· PATA•.ESVARA: derail of the compound from the nonhwost. The roof of 1he1•1.amohana
consists of six piflhas of dim inishing size but is Aat on top rather than p)•ramidal and has no cro ....·ning
ma.staU. The ga!ffit' of the de11/ contains three pit/has of d iminishing size crowned by a 11ta1tak.6 \l.'ith an
11mal11*8 with supponing fig ures in the btl!.i. The truncated rtl!.hti shrine at the Jcft was joined to the
jagamoha•a by a hall at a slightly later date. The ground level on the nonh side has risen up 10 the t<>p
of the compound wall.
Fig. 3S3· PATA l.f.~\'AR ..\: view of main entrance gate on the west. It is designed as a rel!.hO rather
than a ltJNikharQ shrine :is on the ~tadhukcSvara.
Fig. }S4· PATALES\.ARA: view of \1.'estern ga1e fro m "-'itl~in the compo un<.i. At the right is an in1a~c
of CiimuQ~ii loosely pl1ced ag1inst the compound w•ll.
Fig. ll I· PATAt.li.SVARA: view of the Nandi shrine from the north. It is designed as a simple piJha
shrine and possibly replaces a NandT·sla•bha o riginally placed in front of the 1111,amohana of uih1ch a
pedestal remains. Un1,11·pN;ti is on a baluster.
Fig. }J6. PATA.I.ES\' ARA: west view of the bi(la of the northwest comer shrine. The pibh01.a con51s1s
of four mouldings as on the1a1,amohan1;1 \1.'ith a \•enical bar added which connects all four mouldtnJ(S.
There is an indented design beneath the niche of the side ptiga1 while the crowning 11i111iniU abo\•e
the niche is tri·ratha in pl:in and consists of pl2in horizont:il mouldings rather than 2 va;ra..,,,aJlall'.4 as
standard on earlier temples. The ta/1;1.garbhik.4 beneath the rihi niche is beginning to assume the
shape of a miniature shrine and betrays the tr2nsitional stage of the temple. The projecting cave
abo ve the niche also deviates from the single bh#mi d esign on earlier tc:mplcs and eventually this will
a$Sume a pt(lha plan. The PUJro·11111sla.l!.A of the g~fli bc:gins immcdiatel)' abo\•C this cave and
obfuscates the b1;1rarµ}.a d i\'isio n.
Fig. 3s 7. PATALES\1ARA: \•iew of rhc j11ga,,,ohana from the west. The walls are hea\•ily plastered and
the original designs of the pi1.as arc obscured. The decoration of the doorframc is also covered by
plaster. The projection abo\•e the entrance is designed as a miniature pit/ha with surmounting lion
u•hile behind it is :in tJmalakA, double gha!l/i surmounted by a second tJmalab and kalaia finial~ the!'e
crowning members project above the roof of the j agamohan1;1 and were probably added at a later date
when the pit/ha·shrine w:is a(lded 2it the comer. The pab1JJ1.11 consists of four mouldings while the
jangba is decouted with rwo pagas and a pilaster at the corner. The edge of the pi~ha mouldings of the
roof is decorated with spaced projections (1tiliht1) which are extremely pronounced as on later
temples bcginning u•ith the Brahmeivara, a fcacure which suggests rh:it the present design of the
roof is probably • J1rer modilic11ion of the origin1J d-.ign. Beginning from the doorframe the
images u·ithin the niches arc Yamuni, Hari-Hara and, on the pi{lha ~hrinc.• G:iru<.12. Loosely stacked
against the pObhaJ.a arc ru·o imaRCS of \.'i~t)u and one of Ga,,c.Sa. At the ri~ht is the nonh si<.ic of the
NandT shrine.
Fig. ~18· PA1·~1.l·.$\.A RA: view <>f the Ja1.a ,,,oh11n1;1 from the u•cst. The manner in u•h1ch the
doorframc extends abo\'e the fi rst pit;lha moulding of the roof aJtain su~~c;sts that the r<.>1.>( u·as
Original from
CATAJ.O(;UE OF 11.J.l!STRATJONS 479
changed at a later date. The images within the niches beginning from the doorframc, arc G21\gi,
Kirttikcya and, on the pi_Jha shrine, another Garuda. Loosely sucked against the pabhaga arc several
detached sculptures including two with scculu figures of a much later date.
Fig. H9· PATAl.£SVARA: view of the jaga111ohana from the south. The pi(iha shrine added at the
comer partially obscures the image of Na1arija housed in the second paga niche. The image in the
third niche is Andhakisura-vadha·miirti. The figure housed in the cast niche of the pi(iha shrine is a
male figure seated in paJmislUla with his hands folded in oiljali. At the right is the south entrance into
the jaga111ohano.
Fig. 36o. PATAl.ESVARA: view of the joganroha110 from the south. The wall of the jaga111ohano
disappears into the boulder into which the dt"1 is carved. The first pogo niche houses an image of
Hara· Pirvatl while the smaller second niche contains a much later image of a female standing in an
open door. The image of Gane5a at the left is also much later. The im2gc at the base of the rock in
the center is of Mirka~Qa r!i and measures 18 by 20 Jf4 inches.
Fig. 361. PATALES\'ARA: north view of the )at,a111ohano 2nd the J1wl. The gavile/a window is filled
with lattice work designed t.S interlacing circles, rather than conventional j4/i.pcrforations, while the
pediment above is crowned by a lion motif. There is no added 111os1oko as over the two doors. The
huge kola/a on the roof is aetu2lly the fini2l of the nrostako crowning the south door. Thcga!f(li of the
J.sd is of the pi(iho order and consists of three receding pi(ihas crowned by an 01110/oko. At the left of
the photo is a nlt:.ha shrine, its gafJ(ii now truncated, which is contemporary with the ma.in shrine. At a
slightly later d2tc, probably when the pi(iha shrines were 2dded at the western comers, this shrine
was conncetcd to the jat,a• oho/14 by a shon hall. This h2ll 2lso has doors on the c•st and west to
facilitate passage to the rear of the compound. The roof consists of four pi(ihos and is crowned by a
kola/a. Lion motifs arc placed 2bovc the cast and wcsr doors.
Fig. 361. PATAl.ESVAkA: nonh view of the dtNI. This side of the tit•/ is struetural though there is no
image housed within its shallow niche. The roof is pyramidal and there 2rc small btki figures to help
support the ••alako.
Fig. 363. PATALESVARA : southwest view of the dtwl. The entire south w2ll is formed by the huge
boulder into which the sanetum is carved.
Fig. 364. PATAl.ESVARA: southwest comer shrine. The koniko is divided into five bhlilfliJ in
conventionaJ fashjon. Numerous sculptural fragments arc visible at the base of the shrine.
Fig. 36). MALl.IKESVARA: image of Hara-Pilrv2tl on the southwest comer of the temple. Siva is
seated in /11/i1i1tJ1111 with Parvatj on his left thigh. His major right hand, now missing, was held in
front of his chest while his left hand cups the breast of Pirvatl. His uplifted back hands hold a rosary
and a trident. Pirvatl tums her hc2d back to face Siva while embracing him with her right arm. Her
left hand holds a lotus. The mounts on the pedcStal arc mostly obliterated. 13 by 11 inches.
Fig. 366. MAU.JKESVARA: image of Gangldharamurti on the south side of the jagaMohaflJI. He
stands in a sa111obhanga pose holding a jofi from his hair with uplifted back right hand. G2ngi is
depicted in the upper right comer seated on her mount. Her image in the lower left comer is
obliterated. The bull Nandl is in the lower right comer. Siva is Ranked on either side in the
background by an attendant. 13 1/ 2 by 11 '/,inches.
Fig. 367. PATALESVARA: image of Aja· Ekapida housed in a niche on the north side of the
jogo• ohami. He is represented in irJhavalinga and holds the standard rosary and water jar in his two
front hands. His upper left hand holds a serpent while the missing upper right hand held • trident.
His coill'urc consists of tiers of tightly coiled serpent-curls and a halo appears behind his head. His
terrifying countenance is suggcsrcd by the fangs visible in his slightly open mouth and the frown
2bovc his bulging eyes. A tiger-skin is visible uound his thighs. His necklace 2nd Jajiiopavita arc
formed of serpents. The bull Nandl appcus behind his single foot while a female figure, probably
Original from
t: ;\T.>\J.()( ;l ' t~ <>F 11.1.l '!\'l'R:\ T l<>.SS
Gangi, occupies the lower left corner of the niche. The niche measures 27 by 17 inches. 'I,
Stylistically and iconographicilly the image is closcli· related to t he slightly earlier ima~e on the
Mallikcs"ara a nd the slightly later image on the SomeS"ara temple at Mukhalingam.
fig. 168 . PATAl.f.S\'ARA: image of a kneeling figure, probab ly Garuda, from the west riihii niche of
the pi{iho-shrinc added at the non hwest corner of the 1ogomohana. A similar image appears in the same
niche on the shrine at the southwest corner. The hands are placed in on.Jali in front of the chest and
ap~ar robe holding a lotus o r serpent. The upper pan of the image, above the shoulders, is broken
o ff. The lower part of the back slab is engra\'ed with o "al desig ns -.·hich probably simulate ieathers
from his wings. The niche measures approximately 16 by 10 inches.
Fig. 169. S1>1t1ANATHA: general view from the northeast. The roof o f the ; •)?.•mohana 2od the
crowning /flaJlaJuz of the dt11I have been covered with whitewash. The addition of a third terrace t >n
1he jago f11ohana roof increases its height so that the lower medallion of t he t'ajra-Mastalul on the front
of the Jt11l is contained u·ithin the dark interior rather than being visible on the exter1or as on earlier
temples, 2 feature u ·hich testifies to the experimental natu re of the temple. T he large tcrr2ccd
structure at the l<"ft and the smaller pi{lha-JtNI at the right arc later additions to the complex.
Fig. ; 70. S1~'HhNATt•I\: northwest view of the "'"'· A small nisd-shrine has been added in fron t <>f
the north r#hti niche. There probab ly were similar shrines added in front of the other rtihti niches but
1hcy have been removed. T he ga!flfi is poRro-ratha in plan with chc Uniitt.11 being d i\•ided ln10 fi.,·c
bhil,,,i1. The ground around 1hc temple has risen up to the hcigh1 of the compou nd wall.
Fig. } 71. S1>1HM,ATH." subsid iary pago design on the south side of the dtNI. The paflha1,a con>ist• of
four mould ings similar is design to those at Badgaon . The vi,,,QniU crowning the niche is elongated.
co nsisting of tu·o bhNmi d ivisions with each bl;N,,,i being cro \\•ned by a paJ111a-pr1tha. and replacc-s the
1:a1ra-l/l"!l<Ji design standard on earlier temples. D iminutive 11a1ra-111a1talu designs appear on each
bhNmi. hou•e\•er, as residual reminders of the earlier designs. The placement of GaryeSa and
K:intikcya in subsidiary J>Oxa niches. rather than in rtihi n iches, su~gests a d ifferent icon(>graph1c
program in respect to the pOril'a·dt11at01.
Fig. ; 71. S1~tHl\NATitl\: subsidiary pti,ga on the nonh side of chc J111/. Thin <"n~agcd Jlowt/Jhos arc
added on each side o f the "'"!1¢i, rather than on only one side as 2t B2jrakot and Badgaon, and is 2n
intermediary step leading to the alignment of slam/Jhas alternating with lllN'Jt/i designs st2nd2rd on
10th century temples. A diminutive stringcourse of three projecting b locks at rhe b ase of the 11a111i>ha
is o ne of the last examples of this fea.ture which was popular beneath niches on early temples. The
shaft of the stombha is relieved with scrollwork, a he raldic triple-lion morif, standing fi~urc in a
sh2llow niche. lo tus rose:tte, projecting pMr(la·gha/a c-apital and erotic panel. The O:-ararta-Jt1•a10 in the
pti1.,a niche is a six-armed Siva.
Fig. ) 7 ) · S1~1Hl\NAn1 A: west rtihti niche with the Gangadh:aramUni of Si\•a as t he pir1i:a·Jr1-·oti. The
garbled 11ona-/a1a scrollwork appears on the framing pilasters. T he thin lou•er lintel contains a /i~e,a
Aanked on either side by vi4yiidhoras wh ile the upper lintel illustrates t he Bali-vadha ep isode from the
Rom4ya{la. f ro m the proper right o f t he upper frieze are Ha numin. Lak~marya and Rama \\•ith the
latter shooting an arro w at Bal i who is fighting with SuRrlva. At rhc far left 1he de.ad Bali is
recl in ing v.·ith his head in the lap of h is wife, T~rl, \\•h ile other monke)'S are lifting their arms up in
grief.
Fig. ~ 74. S1~11tAsATtt:\: 11a111blM capital with surmounting panel relieved \l.' ith fi~ure motifs. The
majority of these fig ure m<)tifs arc erotic while some arc decorated \\ ith arl-antid figures. On 10th
1
centu ry temples these panels become the capitals and arc generally d ecorated with atlantid tigures.
Fig. ) 7~· S1~11t1tNATtl.'>: 1111mbha with t'rotic m<>tif o n the panel abo\'e the capital and a m11h"na in
the shallow niche of the shaft.
Original from
CATAl.OGl 'li OF 11.1.l.STRATIO !'S
Fig. j 76. SJ~IHA!>IATHA: view of the dt11/ from the north. A niia-shrinc appears in front of the rObd
niche and another small shrine has been constructed a shon distance in front o f this niia-shrinc. The
mjra•1111Jstait.4 at the base o( the ga1Jr/i houses a seated Durgi in the lower medallion and a standing
Pirvati above. The tJ1111rihi recesses arc filJed w ith superimposed d iminuti,•c vajra-11111!f(lis as on early
temples. The bhlimi divisions of rhe A!Jznilt.a each have four barll{!(iis in add ition to the crowning am/Os.
The baratµ/a recess is filled primarily with scenes from the Rimt!1an11.
Fig. l77· S1"HANATHA: pir7Ja·gha/a c•pital of slambha with surmounting panel. The panel is filled
with -an erotic scene, possibly illustrating a Tantric ritu:al, wi1h a d isplayed female in the center
flanked by a male figure on each side. On the slightly later KutaituQdi 2nd Kii\cakcsvarl temples 21
Khiching. the SomeSvara temple at ~fukhalil'lgam and the Virihi temple at Caurisi similar scenes
play a major role in the overall decorative program.
Fig. j78. S1MHANATllA: image of Kima in the uppe-r medallion of the 11ajr11·11tostai!a on chc west
face of the gari(ii. Kama is seated in /11/i1is11ffa and flanked by Rari and Priri each of u•hom are seated
and facing the deity. Kama affcction21cly lifts the chin of Rati with one hand while placing his other
hand on his thigh for suppon. Behind Rati is his stringed-bow while a makoro-_banncr appears above
Prlti. Images o f Kama also appear on rhe UtrarcSvara, Vaitil Deul and SiSireSvara cemples at
Bhubaneswar datable to the 8th century.
Fig. J 79. S1j 1HANATHA; riha wirh vajra•Mastaka on rhe west face of the Jtul. The 11i,,,anilt:.a crowning
the ri.hi niche consists of a single bhJi111i as on earlier temples though the rihi is here crowned by an
amalaM. as well as the corner pi1,01 or kPni/t:a. The anurahi recesses o f this single hh#mi arc each filled
with 2 vajra•1ttM'Jii complete with a 10/11-bantihani o f thre-c projeaing blocks. The borat1<1a recess above
this bhli•i is filled with illustrations from the Riwr~a!Ja. The vajra-•111/aJ..a contains L2kuliSa in the
lower medallion and Kima in the upper medallion. The an11rlht1 is divided in10 bhi111i di\•i.sions
duplicating the design o f the ko•iko, the om/is being replaced by padmo·Pu/ha mouldings, rather than
consisting of identical mouldings, decor21ed with triple railJa designs, superimposed up the height of
the g"'!(ii as on early temples.
Fig. i8o. S1S1HANATHA : .-ajra·masta"4 on the south side of the ga~(ii. The upper medallion houses an
image of Y ama riding his buffalo-mount. He holds the tfa!r(ia in his right hand, resting on his
shoulder, while h is uplifted left hand holds a noose. He is flanked by two attendants, the one at the
rear of Y ama likewise holding a da~(ia on his r ight shoulder. The image in the lower medallion is of
Andhakasura-vadha-milrti. As on other images of this motif it is combined with the Gajasura·
sarhhira-milni with Siva holding the elephant skin above his head with his upper two hands. With
his major right and left hands he holds a trident d iagonally across the body p iercing the demon
Andhaka. His middle left hand holds a kopila beneath t he demon while the middle right holds what
appea" to be a dead jackal. A small demon, holding a sword and shield, is crawling in front of Siva.
Yog.Svar! holds up a kopala beneath the demon pierced by the trident while Parvatl, seated on a
lotus cushion at the right .side of the medallion. views with awe rhe events taking place. Siva ha.s a
sorpa·hnJifala in h is right car and wears a long garl2nd of skulls. Nandl appea" beneath his feet and
an image of Ga.(le$a is carved in 1he venical extension of the niche above t he elephant skin.
Fig. 381. si~tHAN.\THA : v iew of the j agamohana from the north. The roof has three terr-aces with the
vcnical edge of the lowest eave c2rved with scenes from the Rimt!Ja!Ja runn ing all around the
structure. The roofs of shrines added at a later date appear in the foreground.
Fig. 38z. S1~tHANATHA: view of the jagamoha11a from the south. The miniature rtkhi designs at the
four come" arc Integrated into the overall design of the walls rather than appearing as independent
shrines which project above the roof as on the Vaital Dcul and Madh ukdvara temples. Thcjingho
between these comer rtkhi designs is d ivided into five an1.as by projecting thin sla111bh111. The first and
fifth aligos arc designed as w ide 11111riefi1 while the middle three arc conceived more as windows with
the center gavikf• projecting only slightly. The pihhiga consists of only three mou ld ings r21hcr than
fo ur as on the dt11/.
Original from
C,\TAl.C)(;tif.: <>F 11.Ll 'STRATl<JNS
Fig. J8 J. S1~JHANATHA: view of rhejaga,,,ohana from rhe easr. There is only a single wide "'"nr/i plus
the rtkhi design at thC" comC"r on thC' cast end on C"ach sidC" of thC' C"ntrancc ponal. ~e niches of thC'SC'
111111J.c/i.s housC" thC" river goddcs.5e'S whilC' thC' comC"r rtkhti des igns hous.c 2n image of Siva on the south
and Simhanirha on rhe north. The broad pilasrcr flanking rhe doorframc is decorared wirh rhe
Saptamitrus along with Virabhadra hou~d in four niches on each side of rhe door.
Fig. 384. S1~tHANATHA: viC"w of the j agamoha"" from the C"as1 . ThC" doorframc consists of '"''0 inner
bands of scrollwork wirh rhe dvirapala hou~d ar rhe base of rhe wide inside band 2nd a na,ga
arrcndanr ar rhc base of rhe narrow oursidc band.
Fig. J8l . S1MHANATHA: derail of wesr end of rhc north side of rhc jaga,,,ohana. The imagos,
beginning from rhc proper left, arc of Trivikrama, N!"iriiha, and rhrcc images of Kol)• dcfcaring
demons. ThC' shafts of rhc .sla,,,bha..s house 111ith111111 images while the panels at top arc teliC"vcd with
eroric morifs. The edge of rhc eave ar the top is decorated wirh frieze work.
F ig. i86. Sl"HAN.l.THA: detail of cast end of rhc north side of rhe Jat,a fllohana . The enshrined
images, beginning from rhe proper right, are a badly damaged Hara· Pirvari riding on Nandi,
Variha and a rrinity of ~iva, Vi5 0 u and Bra~mi (Hara-Hari-Pirimaha). The long panel above
Variha is rcliC"ved with the Bhik$itanamUni of Siva receiving alms from AnnapUrr:ia amidst a group
of female figures, some assuming sensuous poses, and r1is wirh uplifted hands and menacing
gesrures. This is one of rhree Bhik~iianamilrti morifs on rhe temple. The frieze on rhc cave above
includes numerous chariots and cattle.
Fig. 387. S1MHANATHA: derail of jaga,,,ohana on 1he sourh side. The short balusrcrs arc dccoraccd
with atlantid figures alternating with ptif"!'a·ghata motifs on the rop register 2nd sta.nding figures on
the bottom. The images seated in lalitti.saflll at the top arc too b2dly damaged lO be reconized.
Fig. 388. S1MHANATHA: a•alars of Viinu on rhe south side of rhe)at,a,,,oha•a. The badly damattcd
hgure on the proper right. standing in a tribhafig11 pose, is probably ParaSurama. The center figure is
of Balarima. He assumes • similar triblmligo pose and holds • ploughshare in his left hand which is
placed on rhe hip in lu!Jiv~/a,,,bita. The objecr held in his right hand is indisrincr. His hair is
arranged in rhc likhart{klu coilfure bur rhcre is no serpent prescnr. Rima, in rhc lasr niche, Stands in a
similar pose and holds rhc bow in his left hand and an arrow in his right. The head is covered wirh
plaster or replaced by a modem slab.
Fig. i89. S1MHANATHA: dccorarive panels on rhc projecring north Rank of rhe '"'Jra·111aJ1a/u of 1he
east face of rhc t,a~{li. These panels appear above rhc sandhi·sthala and arc possibly relared ro chc
Bhik1i1anamurti motif carved on rhe nonh side at rhe same level. Unfortunately, due ro the heiizhr
of the panels and residue from whitewashing. the details arc not clear. In rhe scene on rhc bottom.
beginning ar 1he proper righr, is a male figure holding an indisrinct object and Ranked by a female
figure on each side, one of whom assumes a seductive pose with her arms lifted above her head.
Next the male approaches a female looking into 2 mirro r while combing her hair. In the next scene
the male figure leans on a sword with his r ight hand while a female is arrcmpring ro pull him away
by his lcfr hand. In rhe last scene a male and female are sranding side by side. In rhc upper panel on
1hc proper left arc two scenes with a male and female confronting one another in a foresr while at
the right is a scene of three Mgurcs with one being a go!'o.
Fig. 390. S1"HANATHA: image of Mahi~amardinl in a rihi niche of rhc small shrine ho using Durj(i
in the north part of the compound. She places her righr foor on rhc back of rhc demon and force•
back irs buffalo-head wirh her major lefr hand. Her main righ1 hand plunges a rrident inro irs back.
Her lower right hand holds an arrow while her uplif1cd back hand holds a sword. The orher hand is
oblircrarcd. Her remaining lefr hands hold a shield, bow and •aga·ptila. An arrow is in rhc demon's
back and rhc lion attacks ir from rhe righr. The image measures 10 1/ 1 by • l '/, inches.
Original from
FiR· }91. S 1,t 11AsX1·1 1,.\: tu·o-arn1ed Si va in t he '""!'(Ii niche of che S<>uth cornt.:r ~>n t l)C cast cn(.I <>f
the .l".l',""'ohana. H is right hand is in 1•.11rada, possibly holding :an <_>ffcring:, u·hilc h is left hand rests on
the head <>f triiUla·pur111a and hc>lds a tri<lent. On either sidt of S iva's head is a bell.
f-ig. ~92· S1,\tll1\~~TttA: Jmaµc (> f A~ni rid ing on his mount in a m11!1{/i' niche on the S<>uth :-.11.lc <>f
the;a!,amohana. f-le ho lds a r<•sary 1s his right hand anti a va::;.c in his left. H is hca(.I is fr'amc<.l l>y tlan1cs
and 2 i·i4yti.dharo is in each upper corner of the n iche. z t by 17 1/ 4 inches.
Fig. '9·' · Sl;\lt l\SAT ttA: badly oblircr'1tcd ima1'!e of $i,·a and P;irvati riding on ;\andi. l'hc: figures
bcn<'ath the hooves of Nandi are als<> mutilatc<.I. 20 by 12 inches.
Fi~. 394. S1;\lttA;..A·r11A: Jteneral \·icw o( the S<>man:itha (s<>Uthcast c<>rncr) shrine fr1,m the
southwest. The temple: faces. U-'CSt and has. a small Na11di p l.ace<.I in fr<>nt o f 1hc en1rancc pc,nal. The
l(>v.·er p an of 1he pti/Jh,~P.,o is. buried by t he sto nes o f <he comp(>un<.I A<1c'r \\•hich h a!i been raised on
several occa!iic)ns.
Fig. }91· SL\ltlA~A1·t1A: v ieu• of the Sc1manitha sh rine from t he nt)fc heas1 . T he .~r1r.{ii is p.1iita-ra1ho
in desi~n. thou~h lacki.ni:t on11rdhi reCCSt"CS, v.•i[h the kanika beirlJt Jl"icled intt) tivc bhiin1is by bl/Umi·
am/tis. T here are only three burarfiis u·ith in each bhiimi and the am/ti of the tc1p hliUmi is elimin ate<.! by
t he large bisamo u·hich assume.s a pi(iha dc;sign. 1\t t he rig ht is. che south st:air\\·ay u·hich lea<.{~ intt> t he
cornpounJ.
Fig. 396. S J\111.\S.'\TllA: vieu' fro rn tl~e u·cst u·ith t he entr:tnee pc1rtal. The 11111n{ii niches ff::tn kin)!: the
en1rance house inla)!C'S <Jf the r iver goddess.es. The architr:t\·e of rhe d<><)tframe h:.as an a/fa,.v..raha panel
u•ith an at lant id figure a<.ltled ar each end. T he ()1)()rframe extencls up 10 t he hl'iµht o f the harat1¢a S<.>
t hat the bh#mi di\' ision crowning the entrance portal extends up int<J thega!l(li. As on t he rdhti pti_r,11.< 1)f
the main shrine th is J1hUmi is 1ri-ra1ho in p l-an. with an anurti.hti recess on each s ide of t he center rtihti,
and the riha is likeu•ise crou·ned br an a,,,fa. T he ''tyra-n1as1aka bt:~ins imme<.liatcly abo,·e this sin~le
bhNmi a nd contains a ~-atarija in its lou er medallion u·h ich is rectangular in shape. l 'he upper
1
medallion houses a t present three standing figures each of wh,>m has one hand on their sex orµan
though t hese images ha"e either been rev.•ork c.:d at a later date on are a late r addition replacing the
earlier motif. ·rhc:: anarlhtJ duplicates the design of the kani)u; though the om/Os a re replaced by a
padma-pr1!11a moulding.
Fig. 397· si~tll,'\:O.AT•tl\: vic: u• of the ttlll!l#i design on the nonh side. The pii/JhJ,e,a beneath the nicl1c
has an inc.ltnted desiJ.?,n as on the main shrine. T he vimdnileli above rhc niche con~ists of a sing le bhUmi
crowned by a larj.?.e moulding \li:ith pad111a·Pr!lho on its l<)U'c:r cur\'ing: edge rarher than 1u·o divisions.
as on the d111/ of the m ain shrine. The 1hin 1/aml!ha1 Aankio~ the m111J.4i are relicve<.l u·11h only
scrollu•ork on their shafrs and lack t he ti)!urc m<>tifs on t he;t1y,t1111oha11a and d111/ of 1he ma!11 tt-n,ple.
T he m11~¢i niches, measuring approximately 1 } 1/ 2 by 7 inches, conra in varit,us. aspects of Siva.
Fig. ~98. S1~111As.\·111,\ : detail of the /10{/a o( th<.' S1>manat l1a shrine on t he n<>rt h si<le. ·rhe pti/>h,~e.a
beneath the rtihO niche al~o h as. an indente<.i desi~n in Ct,n1rast to t he main st1rine u•hich h:a~ a 1ala-
"'"'bhiJ:4. The ptiriva-d11•a/01 are the s1andarcJ Sai\'a <lci1ies o f ~fahi~amardini. J...: 2rttikeya and Gar;ieSa.
The 11imOnilt.a abo"e the niche is truncated and Cc>nsists o f a sin~le la rge m 1•ul(ling dc·coratcd \\· ith
$paced toil)•a designs and a crou·n in~ padma·pr1/ho ra1 ht:r than a hh.Umi <.li\'ision . The side niche:- here
cont ain ArdhaniiriSvara and ..{ ar i . ~tara.
Fig . }99· S1~11l:\~:\T11,\: ima~e of d1·riroprilo ~l at\:ikala on the Sc1n1ana1 ha s hrine. tte standl' in a
tribhari1,o pose u·ith kneeling attendants in t he- lou·cr Ct>rncrs. T he upper hands h(>ld a r(>!'a ry and
lotus u•h ile the l<•v.•er right l1ol<ls t he tri<-Jent 2nd the lou•er left is extcn<.lcd in rorcJda. T he image
measures 11 1/,. inches in height.
F ig. 4 00. s1~111AsA1·1 1.-\ : im:tj.?.C of dl'Urapril" ~an<li t)n the Sc>man3tha shrine. He 3S$Ume'"S a n1irror·
image p<)SC of his counterpan t hough the attcnJants a rc standing rather than kneeling. The rt)$ary is
Original from
held in the \tppcr rij.!ht hand a nd the lotus in t he u pper left . He has a thin beard to su~J!l'$1 his
Bhaira\'a aspect .
Pi~. 401 . P.\IJ.\l.\l't ' R: ~1:neral ' 'icu· of the ten) pie f rc>m the S(>Uthca:-;.t befc>rc Ct•nst:r'· ati<>n. The f,>ur
intcric>rpill~~ of the )4.S?,<Jmohana arc expo~ed t.O vieu• as m<lSt of the south u·all h:is C<-1ll:ipsed.
Fi~. 4 0 2 . PAO~IAPl'R : ~eneral view from the nt>nh bef<>re conservation. T he ;ay_amohana is \'try
shon as is the garrefi dc!O.pite the aJ<lit ion o f tu·o bhimis to increase the number to St\'c:n. ·1·hc amala~
is surmounted by an tikait1/ifi..P.t1 fi nial with surm<luntin~ lf..Jlaia. T he jaJ!,allfohana has a pJ/ih~e.a <lf c'>nly
three mouldings in contrast to t he four of the dr11I. an arrangement a lso noticed on t he S1mhanitha
temple. The lou·cr medalli<->n <>f the cast 1·a.1rtz-m11st11Jt.a is also housed u:ithin thc)aj_11mohtJnt1 d ue to t he
increased hci~ht of its roof u:hich consists of three tcrr3ccs.
Fijjt. 403. P1\l)~1APt'R: vicu• <>f the bti<fa of the dr11/ from t he u·c-sc. The ptilih1~f!,1I <>f the si<tc pd,t,11s
consists of four m<>ul<lings \\•it h 21n idcnt3t ion be-neath the niches. T hi: 1·.i111Jniki crO\\'nlnJ.! chcsc !\ldt
niches is designed as a rrlthO u·ith a111alair.a r:ither than a va;ra•mostaka. The en~aj.tcd stamhhas fran)inR
the rrkhti•mM{l{li form part of rhr ptif,o rathi:r rhan being concti\'cd 3S independent units as on the
Sirhhanith a temple. The rtihti is desi~ned as a rrJVNi thou~h the pr<>jecting eave abc1ve the niche 1cn<ls
to divide it into tu•o stories. The rti.hti above this ca\'e is designed as a miniat ure '10.cJ.o, C<lmple1e u·it h
pabhaga and j an/l.h•. with the crou·ning bhiimi div i•ion extending above the bara~jia. The pahh~'" of rhe
ril;O consists of only t hree moulc.1in$tS and is indented u·ith a diminutive rrkhO-drul p lace<.l at t he base
scr,•ing as an abbre\'i:itcd tola-1.arbhik,4. Kirttikeya is housed within t he rihti niche.
Fig. 404. P.o\l)\1.>il>t R: \'i C\\' <>f the btitfa from the sout h"'·<'~t . The stam/Jha1 ha\'C mult iple otT!\<"t~
\l.:h ich produce 2 rounc.lcd effect panicularly not iceable at the co rners.
1:i~.
40 1. P o\J) .\l ..>iPl'R: ~cneral \'icw fro m rhe nonh<."ast. l~xcept for the l>asic ou tlines <>f a rchi-
tectural elements t he temple is relati\'ely de"oid of 1.> rn amen1ac ic>n.
FiJl;. 40 6. P A0{\lr\P1 ' R: s<>ut h v iew o f t he Jo,,t,amohana afte r conser,·acion. The c r<>"'·ning ri'1ttinik4
dc-sij,tns of t he p~P_aJ arc replaced by a simple lar~c A-at b:and sugACStivc of a barnnda as at Paikapat.l a.
The roof has th ree terraces as a1 Sirhhanirha. 1'he pti_P,a niches house imagt-!i o f l·: kapatla Si"-a a nd a
standing female fi j!ure.
Fig . 407. PAo~l:\P~·R : im:a~c c)f a female flAure hfiu!'cd in a niC'he on t he Sf>uth side of t he
Jo,e..amoha110. She Stands in a sa,,,ahhalis11 pose and is slightl)' squat in bodr P'''J><>nif>ns. She hc>ld!\ a
/e.-iptila -and pos~ibly 2 Jehatf.e.11 in he r tu·,> hands. She has 3 circu1ar k.u~tf"la in each ca r and hc:r jtlobular
breasts, pushed tclg:<'ther, appear O\•crly lar~e for the tor!\o,
Fig. 408. PAO\IAPl' R: interior of the jay_a1110Jx1na looking to u•ards the sanctum d•w>r. The f<>ur pillars
-arc plain except for their simple invened A:hNra-shaped capital. The decoration of the s:anccum
doorframc is u nhnished. Above rhe arehitra,•e is :in im a~c of Nararaja housed in the- lou·cr mcdall1on
of the '"a)ra-11101/alto on the ,t.af}tfi. The increased height o f t he roof, as at Sirhh anit ha , h lc>eks t he
l<>u·er h alf o f this clcsi~n fron1 t he o utsi,le. A small Nandi is placed in the center of the; a1.amohana.
l:i~. 409. K 1tAsn1·Rr1 ·R: general vie"'' frc>m rhc nt>r1h\\·e~t ~ht>u·inj:t the pitha c)f the ntifa·mandira and
the u·alls o f t ht./1J,( a mohana. T ht: rc)of of the ndftz·mand1ra is missin~ u ·hitc: that t>f the ,;a~amohano ha~
pan1ally c<>llapsed .
F1J,t. Sf>u1h " ie"'· o f the dr11/. The bdda ha.s a simple: tri-ratha p lan u •ith t he side
4 10. K 1tASl) l· RPt ' R:
p1{f!.aS de!\1~nc-d as 1·a;ra•lflN1Jr/i1. The va1r11-ma1tal!.4 of the ~a~rfi scrvc.s as t he crou·ning memhcr of the
rJhti and <>bfu!\cates t he l>aral}{la d i\'i'°i<1n o n this center pt:i~o. T he ~or;{ii is panta·ratho in plan but chere
is no an11rihO rccc!\s bct\\•een the kanii!a an d the anartha. Tht• an1IJ1 art ext remely hulb<)U!\ afl<-1 t hc
/1h1'111i d i\'i5i,,ns h a"e <>nly ru•o /1ora!Jtfit.
Original from
Fig. 411. K1 1A:"\DhKPtJR: Pa;ra-mas1aki1 on che east face of the f."IJc/.i. The lou•er medalli<)n houses 2n
image of SU.t')·a \l.•hile the upper <>ne has the bu~t of Siva ...fhe vajrt1·ma1/tJka is r::ither plain except for
the ~::i<led borders and lotus rosettes. The anarlha is decorated with the standard triple rai~)'a motif.
Fig. 411 . Ktt\:-..1>1~11.rt·R: image of Ga('leSa in the lower medallion of the va;ra•111astaka on t he south
face of the ga~{li. He is s.eatcd in ardhopaf)'llfika cat ing sweets from a mMaka·ptitra hel<l in his left hand.
His right hand, '"ting on h is knee, probably holds a radish.
Fig. 41 ) · KHA/"o:DERPl' R: west vicu• of chc bti(la. The viminika cro\l.·ning the niche of the side pd.£.t1S is
elongated due to the addition of a khiindi above the 'hhajjii (eave). The ptibh,ifi.a consists of only three
mouldings. The sill of the rihli niche is relie\•cd \\.·ith the 1>'1dm11·pr11ha scrc>ll. A diminuri\•e broken
image of Nrsirhha appears loosely placed in its niche.
Fig. 414. KHANDl·.llP\' R: view from the nti/a·,,,11ndir11. The floor of the nJ/a·111f1ndir11, lined u·ith a rou•
of pillars on each side, is higher in elevation than the JOJ!.amohana and pr<>bably da1c:s to the 14th· 111h
century. Loose sculptures of Nandi arc facing the cntra.ncc of thcjag11111ohan11.
Fig. 411 . B .\IL)E1'\\:!i R: nort hwest view of t he Ourgi temple. ~'ith the greater size of the: ponal. in
contrast to the rJhi, the side piif{aJ become d iminished in size and arc left uncaP.'Cd. f\'l ost of the
decoration of the thin doorframe his disappeared. The vajro-111111/aka over the pona) is more
pronounced than those on the othc:r sides though its dc.c oration is mostly obliterated. Loosely p laced
2gainst the temple arc images of Vi~QU and ~lahi~amardini.
Fig. 416. 6.-\JOl·~\\ .\R: detail of the: south rJhi. The lou·cr medallion houses the lion of the Devi
\\.'h ile the medallic>ns above are filled \\.' ith lotus rosetces.
Fig. 41 7. 8 .... 101~\\:'.'\R: nonheasr view of the ga!'t/i. The ga!Jlfi consi~ts of a single bhNmi divisi<>n
v.•hile the ma1talea contains a large lth11r11 member and a crowning Jehilt.horti Aattcned at the top. On
the long ends these top members ire decorated only on chcir 111Mhti!'fi. On the short c·n ds the 111a1talea
members arc designed as 2 vajra·maJlaka \\'ith the lower medallion being key-hole in shape. On the
nonh end the lower medallion is f111cd u•ith Andhakisura-v2dha·mUn i \\.'hitc the upper one is
occupied by Na~ar:ija.
Fig. 41 8. B1i 10~..SIX'nR: ~outh \•icw . There 2re th ree detached sculptures stacked against the temple,
tv.•o of Vi~IJU 2nd o ne of ~lah1~2mard1ni. The bti(ia has a simple 1ri·r11tha plan 2nd the pibhJ..t,a
cont2ins three mouldings. Thcga~i is also tri-ratha in plan. The mastaka contains images of Ekap3Ja
Slv2 2nd Gar:ieSa.
Fig. 419. 611101"-'i\\AR: east view. The 1,a~efi is µnca·ratht1 on the back u'ith the rtil10 divisi<>n
beginning above the niche of the b4¢a and obfuscating chc bart1~{111. The m11ha!'/i of both members of
the /ll(IJ/alu is decorated v.·ith 2 /ell1'tbhiki-bandha 2nd a rati,gt1nf frieze.
Fig. 420. R.\,;1pt·•·J1tAR1At.: group of dilapidated rrkhii shrines at the north edge of the
Som2tirtha near the St>mcSvara. They arc devoid of ornamentation.
fig. 421. R.\NIP~R -J1t,,R1,\1. : Liyahiiri-Mandir from the east showing the entrance portal. The
ponal has three openings and is crowned by a large 1:ajra·mas1alea, only panly decorated, which
projects part way up the lower member of the 111a11a.A:A as on the Durg:i temple at 8aidcS\\f3r.
Fig. 421. R.X.NJPt:R·JH:\R1.J.1.: interior vicu• of the)a1.a,,,oha1ta of the SomeSvara temple. The inrcrior,
based on • p illa rcd-ll'la!'efapa, is filled with four pillars arranged in a square. A fragmented Nandl
faces the sanctum and a ntigi is at the base of the doo r jambs. An antarala is created between t he d•x>r
and the sanctum \\'ith 2n image of Buddha in~erted into a niche of its u·all.
Original from
Fi~.
42 3. R .l.~1p1 ·R ·J11\R1 .\1.: s<1u1h \•ieu1 c>f the SomeS,·ara. The dr11/ has :a lri·ratha plan but i~
devoid of dec:ora1i<)n. The Ja1.11111ohana has a liercd roof and lhe gat•ikta pr<1iect ion~ are Str<)ng ly
pronounced. ori~inally being porches. The three u indou' alip;nment !"hows affiniric:s u·ith the
1
Simhanitha temple.
FiR. 424 . R .\'."'ll't· R· J ttARL:\ 1. : O(>nh \' ieu• o f the ;a~amohona o f the SomeS\'ara. The original shon
balu,.ers and railing o f the projecting porch h ave survived but the opening above h as been lilkd
u•ith lattice u ·ork to transform it into. a window. It is covered by a thhajjti u ·hich begins bcl<lU' t he
th in bara!l(ia.
Fig. 41 s. R .:\s11)t' K• J tt •\k1.\1. : cast view of c he ,10.~amohano of the SomeS,·ara shou•in~ the entrance
p<) rtal. T he ea,·e projt·c:ts from t he roof and is supponed at t he corners by a pillar. Be1u·een thC'.:.e
t<)rncr pillar$ :trc 1v.·c1 o ther pi11~ rs e" enly spaced to create three openinµ:s , a design b:t~ed on a
p illarcd·ma!t¢apa concept u•hich, w ith Op<'n porches on the nonh and south. allO\\'!" light to b righten
the intcrlc_1r. The side openings u•crc filled "'ith brick at a later dafc urhcn the ma!l-<Jap.o co ncept u·a!'
transf<>rmcd into a 1a,~amohana with a t}·pically Orissan dark interior. The base of the Jlambhas at the
C(>rncrs has a prihhd,~a of four mouldings with a tampoka·lea( on the iekmbha u.·hich J.S joined to 2
\'ertical bar abo"e .similar l O the ptihhiga of the PitileS\·ara temple at Paik apaQa.
Fig. 426. J.l..JPLlR: Siva./itiJ!.a in rhe nonh\\.•est cornC"r of the Siddhc-S.,·ara comp<'lund. The a~h11·pt1tfa
is clcsigned a$ an eight-pointed star as in t he temples at Raudh.
Fi~. 417. j .:\JPl'R. : ~(ah i~amarc_lini in the co mpound of the Akhar:icJalc:S\'ara tc:mplC". She is ten·
armed. Her maj<>r left hand pu.shc:s d<>U' n on t he facC' of the demon 2ttempting ro flee t he d ccapit:1tcd
lluffalo-c:arcass. 2 t 1/ 4 inches high. Late 81h C.
Fi~. 4i8 .
j .\Jrl·R: broken im:t~c o f i\lahi~amar<lini in t he \ 'iraj a C<1n1pl)Unc.I. The <ll'ml>O i!\ e,lepictc<t
in h un1an fo rm atrcmptinJ,':: to escape: from the decapitated buffal<>·ca rcai;s. Late 8th o r early 91 h
cenct1ry.
Fig. 419. J.\JPl'R: imaRC of \' i~i:iu in chc TrilocaneS\'ara cc>mpound. ~tc sc2n<ls in a Jaml.ll>h,11i,~a pc>sc
u· ith h is mai<>r hands resting <)n the head of ta/era· and ga(iti-p11r111a. J' by 18 inches. 8th -9th centu t')'.
Fig . 4 JO. J.~.IPL'• : image of Ardh anirlSvara affi xed to th< inside u·alls of the Brah ma K ut)<)• unk.
T he deit)' assumes a pronounced tribhafi.t.a pose and d isplays the con\•cnt iooal malC" and female
attributes o n the riJ.?,ht a nd left sidcs rc-spcctivcly . 19 b}' 10 inches. 8t h century.
1:1A. 4~ 1. J.3.JPt·R: fk.am11kho-lifi..e..a in the TrilocaneS,·ara compound . J ~ 'I: br t 1 inches. 81h cen1urr.
Fig . 4 ~1. j .\ .JPi·R: miJh11na p laced in a ma keshift n iche of the compound u ·:tll <>(the: Siddhe~\'ara
temple. 16 1/ 4 by 6 1/ 2 inches. 8th-91h century.
FiA. 4 ll· J.<JPl'k: female ngurc affixed ro the inside w alls of the Brahmi Kut)t,la rank . 19 b y 8
inches . 8th cen1u ry.
F1~. 4 ~4· j 1\JPl·R: rk.a1n11kha·lt~e,a in a ~mal l shrine u·ich1n the C:<.>mpound o f the \!ariha tcmpJe. 8th
cent ur\'.
Fi~. 4 ~~ . j .\ Jf.'t R: m1n1at urc shrine \\'ith in the \ rir:.ja C<>mpoun<I. A Si,·a./i~~a rs 10 the sanctum
'1'1tile an inl:t~e of l·lara.Par\'a1i is placed O\'er the n iche. 8th cent ury.
Fii:. 4 <6- J~ ll,,.R : m1ra-ma<1aka affixed to the co mpound u·all of the Siddhd\'ata temple. The
upper mcdallic>n cont ains an ima~~ of Na~ ar2ja u ·hilc the l<>u·er med allion is hllc:d u· ith an image c>f
1.aku li$a lianke<l by t\\'O d isc i p l e~ o n ei1her side. The Jo-.·cr rccc~s is <lec<>rated \\'ith a dance frieze.
81 h .9th cc.-n1ury.
Original from
c:.-\T;\l.<.>Glt..: ()f 11.1.t:STR:\TltJNS
Fig. 417. JXJPCR: image of Piirvati affixed to the wall of 1he j agamohana of 1he Trilocane$vara
temple. 8th cemury.
Fig. 4)8. JAJl'liR: dance frie-Lc affixed to thc;aga,,,oha11a of the TrilocaneSv:ara temple. 8th century.
Fig. 4J9· JXJPUR: pi'!'•·gha/a affixed to the inside walls of the Brah ma Ku~cja unk. 81h century.
Fig. 440. JXJPUR: niche fragment w ith the pedestal of Lakulisa and one disciple in the Brahma
Kul)<J11.. A hamsa-lati scroll is carved on the jamb above a pli.f!lagba/a. 8th century.
Fig. 441. KuP;\RI: general view of the pill2red hall w ith the small vestibule in the foreground. A
small sculpture of Vi~r:iu is visible at the juncture of the two structures.
Fig. 441. K i:PAR1: v iew of p illared hall 2t the juncture showing the receding step-like arrange-mcnt
of the pi/ha.
Fig. 44!· KH1C111NG: view of pillared 1'ra!J(/apa near the Buddhis1 complex known as ltiimu~9ia.
The larger center pillars arc p laced at the four corners of a raised p latform. as at Narsinghnath,
Baidyanath and Charda. The alignment is similar to that of the earliest surviving 110/a-mandiras
dating to the end of the 1 tth century except for the raised dais of the interior and 1he rectangular
plan.
Fig. 444. R:IJIM: view of pillared ,,,.,,q,,pa of the Rimacandro temple. Ai 1hc left is an image of
Gangi. The pillars ar the fron t have lotus h-.ilf-rosettes and scrollwork on 1hcir square shaf1 while
some of the interior p illars have larRC figures carved on thei r shafts.
Fig. 44S· PATNAGARtl: general view of the KosalcSvara temple. The cxcC"rior wall designs are
mostly obscured by p laster though a few bricks can be noticed at the far left, on the base of the
projecting porch which has been walled up. The: inner surrounds of t he: doorframc arc decorated
with lotus rosec1cs and scrollwork as on temples from Dak~ic:ia-KoSala . In front of the entrance is a
smaJl Nandi sh rine. The shaft of the pillars rest on a pir!Ja~gha/a base. T he shrine rests on a low pl/ha
which is panly buried. A later structure is visible to the nonh of the Kosale<vara temple.
Fig. 446 . PATN:\(OARJ-i: interior view of the pillared ma(l(i.apa. The pillars arc 2rranged in rwo rO\l.'S
dividing the interior into a nave and side aisles. The cnrrancc into the south porch is visible at the
left, a female figure standing on the inside face as at Baidyanath, t hough the porch has been
transformed into a small su bsid iary shrine. The engaged pilasters on the walls arc also plastered
over. The pillar designs arc similar to those at PUjiripaJi. The roof is mostly missing.
Fig. 447. PATNAGARH: detail of architrave over the entrance ponal of the pillared-ma~(iapa. The
center niche is filled with an image of Hara~Piirvati with attendants playing a i•i!Ja in the back
comers. In front of the attendants arc the respccrivc mounts of the deities. The sidC" niches arc
occupied by female taNri·bearers seated in ardhaparyali!UI. The imag~ arc co ated u•ith accretions of
whitewash which obfuscates the surface details.
Fig. 448. PATN:\Ci:\RH: detail of inner surround of the ma{t{iapa doorframe. The decorat it)O c<>nsist$
of lotus rosettes linked by a thin vertic•I b2nd of scrollwork. In 1har these surrounds are generally
left plain on Orissan temples it is obvious th at rhe influence Cc)mcs fro m Chat tisgarh.
Fig. 449. BllOHlt\t)~INA: inner surround of the antarala c:loc,rframe of the P2131cSvara temple. Tlle
decoration is similar to that at Patnagarh.
Fig. 4~0. ADBHAR: inner surround of t he: d o<>rframc \\· ith t he same <.ICC(,rat ion as :tt Patnagarh anc.1
Budh ikomna. At the base of the surround is a pPr!Ja·gha/a.
Original from
< :,.\T.-\L<>G L·I~ <lF 11.1.l.STR:\l.l( >SS
Fig. 4S I. 8All>Y ..\'-.:,.\Tlf : general view of rhc 11101J{iapa of the KosaleS,·ar2 temple ftf>m t he ~t)Ul he:.!'I .
The 11111.tt{iapa has a square plan with project ing balconied porches on rhe north 2nd south. ·rhe
orig in2I scone frame, consisting of the doorframc, interior pillars, architra\'eS \\'ith ctiling. an<l
projecting b2lconies, is clearly visible. The roof was terraced as can be seen in chis early ph<>t<>~r;aph.
The exterior walls of brick have crumbled so chat most of the ori~inal dccc>rati\'C prc>gram is
missing. The combination of brick and stone also appears at Rar:iipur·Jhari31, Patna)?:arh and
Kausuli so there is no need to infer that the brick u 1 alls were a later add ition .
Fig. 4sz. B:\IO):'ASATH: gener2I view from rhe nonheist after con5cn.·2rion. l~xccpt f<>r the
prc)jecting porches o n the north 2nd south sides ind rhe general ourline of the pihh~t.a and pd_~a
cli\'i~ion!>, ver)' little of the origin:al decorarive pl:an has been preserved. The madh]a·b11ndhanJ (lr
stringcourse was not continuous on the original brick walls but was inrerrupced by the recc:~~c(I
an11rOhtis \\thich ~·ere filled \l.'it h ni_t,a-Jlambhas. There is also no distinction is this h<>xlike ren<>\'a1i.,n
between pilasters and m11!J(i.i de!>igns nor is there :a.ny su~p;est ion of niches.
Fig. 4S 3. BA10,·A!<t:.-•>r11: view of the south porch. The pill:a.rs a1 the comers are mcxltrn a<lJi1it)n~
fc>r added suppon. 'fhc: o riginal pillars in rhc front are missing and replaced by 1~·0 modern shalts.
The pabha1.a 1 or dado. in front is decorated with a large rai~ya design. The: shon baluster :at th~ \\'c::o.t
end of •he railing is decorated with a scc:nc of Kr~r,;ia killing the clcph2nt-demt>n Ku\•alay:ipTd:a.
These shon balustC!'rs formin~ a riiling on the projecting porches possibly inAucncc:d the use t>I
similir bilusters to fill the windc)WS on the ~111•0.t/a·projcctions on the Som<.·S,·ara temple at Rf!n1pur·
Jhiriil and ac Sirilhanirha and e\'Cntually supplant rhe tisc of honeycom b ;Jli p<.·rfc>ratit)ns a:;.
standard window decoration.
Fig. 454. RAJl~t: interior \•icw of Ramacandra temple \ti:ith pillar deta il. 1\~ai nsr rhe u·alls arc
imagc-s of Kr~r:ia quelling rhc demon Kaliya and a sculpture of Gil)ei.a dancin~.
Fig. 45 S· BAIO Y t\NATtl : detail of interior of the ma!l¢opa ~·ith an image of Hari·•lara a ntJ, Aankin~
the porch entrance, an olasi·/ean_yti lifting up her garment. The undcr~illc c)f the rha(/ri ahc1\'C the
alasti-JeanyO is decorated with a 11iJ.ytitlhara couple.
fig. 456. B .\ IOYASATll: \lt':ill detail shO\\'ing the ptihht~~" design, the lc>\\'er stc>ry c>f 1hc pJ..z.a anc.i the
bisc of the ni1,a·stambha. ·rht"SC nO~as are completely serpentine in contra.st C<l the C•10\'Cnt1(1nal
manner of representing rhc upper torso and head in human form. The niches of the l<>u·cr St(1ry •lf
the ptigas arc coo narrow to have housed imagc-s and are based on prot<lrypcs in <:hatt il'1'!arh, as at
PUj3ripali. This alignment of pilasters a)ccrnating u•ith 11111ttefi1, u•ith nti,v,11·sla111hhas tilling the
separating rc:'ccsses, becomes srandard decoration on 1orh century ten\ples.
F ig. 4 )7· 8 .\10\'.'\;"l;Al' l t: v.·all detail with projecting balcony. The center llalu~rer <>f the P''rch
railing is decorated with a mi1h11na imaFte. The anMrtihti recesses, filled u·ith 11J,r.a·sla"1hln11. extend the
height of thc j tili.(ha without bcin~ di,·idcd into two stories hr a stringcoursc as on t he athacen1 pa,e,,11.
Fig. 458. B A JO\..'\~ATlt: view of cntra.nce portal durinjt consef"\ a1ion. Gaja.}_ak~mi appears C)O the
0
lintel and Ji·tirap0/01 ac the base of the jambs. The inner surrounds of the frame were dcc<lr.ired \\'it h
lt)tus rosettes anc.I S<rollwork as on Chattisgarh cemples though lit tle of the dccor:1t i11n his sur,·i,·<."d.
The images on the architra,·e over the hill entrance arc panially visible here but no\I.· C.lbluscatcd h~·
the completion of the brick "'' ills '''hich arc Aush \\.'ith the doorframe of the pr,>jccring p<>nal . l 'ftc
image \•isible is thit of a m.ilc fiJr,t.ure exh ibiting his lili~am.
Fig. 4l9· B .-\ t1)\. -\S1\ l'•1: intc;ric)r view shou'in~ m<xicrn pillar anc.i archirra,·c a(id<."d inst(le the
prcljecting portal c,n t he east. T he nJ.t,a· Jldmhha mc,1if ar the ba!'c of the pillar originally f(>rmeJ pan
C)f t he e:<tcric>r tlecc>ratit)n of the n<.·arby l'.3.lc~\·ara temp le u·h ich C<>llapseJ Jur1nJ.t 1he nlc>n~O()OS 1n
Aui:usi of 19(>7.
Fi~. 460. P"\'l''.'..\<;.\ltlt : ima~c of tl1·draptila who appc:ars to ha,·e o ne leg uplifted and his fr(>Ot -a rn's
cr•>SS-t=d prc>bahly resting o n his ~·cap<>n. The upper arms 2rc brc>ken otf. An O\':ll halo appe3n;:
Original from
behind his head and a large medallion is placed in 1he center of h is headdre.s. A seated figu re,
possibl)' a youthful Kintikcya, appears in the lo\\•er left corner \\'h ile traces of a tridcnt arc visible
on 1he right edge of the slab.
Fig. 46 1. B:\IO'l' i\N.o\TH: image of female Agurc in 1ri/1hatiga pose within the 111a'!l/apa. HC"r right arm
appears to have been cro<sed in front of her body as if craddling a baby. Her hair is tied in • large
chignon on the right side of her head. A halo is visible behind her he2d. The fi!(ure is very slender
and her body ornamentation, panicularly around t he waist, is better preserved than on most of the
images.
Fig. 462. 8All)\•.\NA1'H: image of a female holding a young child in her righc arm. Her hair is
o rnately tied behind her head and a creeper forms a canopy abO\'C her head. An attendant figure is
\'isiblc at the lower riRht. Her face is illumined by a soft, warm smile.
Fig. 463 . BAID'l' AS:\TH: alasi·kan_J'i lifting up her lo....•er garment, .Ai. parrot is perc hed o n a lo\\·
~t and next to her. A spoked hal<> appears behind her head. Thc$C female ima~cs u·1thin the 11111tztf"p11
measure appr<Jxim:a1ely ,o inches in height (>n the aver-age.
Fig. 464. P .<\1·sA<;.l\Rt1 : alasi·kt1n_yi unfastening hc-r garments. A parrot is o n :a f'!tand next to her as
in the image at Baidranath. A similar halo •ppears behind her he2d though he r hair is tied o n wp of
her head rather than to one side. The image h2s been partially restored .
Fig. 46s. PA'rNAGARH : tapa111ini ParvatT standing on one foot leaning against che cxccrior wall of
the fflo~i/opa. The front urns 2re crossed in fron t of the body 2S if holding something "·hilc the back
hands uc broken otl'. Her head and left leg uc 2lso missing. An ov2I h2lo is visible. The lm"cr
corners arc occupied by attendants. In chc right upper corner is a /itit,o scared in a;·onipa!/a while in
the opposite side is a se21ed figure with a plump stomach, possib ly Ga~eS. or Agni, but too badly
damaged to ident ify . At the t<>p of the slab is a series of nine heads, possibly groho1. t)a(lly \\'Orrt s<>
that facial fcarurcs arc barely visible.
Fig. 466. B>1.1<HA:<D1: alosii·konyii standing in • relaxed pose with her right leg crossed behind her
left. Her uplifted hand •ppears to be orranging her hair w hile her left probably held a mirror. Flying
r·id_yadharas appear at the upper corners and remnants of attendants arc visible at the l<>U'Cr cornc:rs.
There arc also rc-mnants of a thronc·like desig n behind the: image. a feature- v;:hich becomes mc>rc-
ornate on later images. The image measures 41 1/ 2 inches by 16J/,. inches. "
Fig. 467. 8 ,\ID,'.\NATH: detail of shafr of interior pillar of fflo~ifopa. The base of the pillar is square
while: the- shafc is octagonal with st anding lion motifs at chc bottom and lt.irtimNkhas at the top. Tu•o
bands of scrollwork appear in the center. Kir1i11111/e.ha1 also appc~r at rhc base of the capital abo \'C,
Fig. 468. R.i./ 17\1: image of Ganga on a slab at t he entrance to t he pillared 111at1tfapa o f the
Rimacandra temple. She stands in a lribha~(a pose u •ith her left le)?_ crc)sscd behind her ri~ht . A halo
rimmed with pet21s appears behind her head 2nd a pronounced thoffri is above.
Fig. 469. 8 ,.\IO\·Ar-; A1·H: alasd·kaf!ri canted in high-relief on a stone slab \\' ithin the pill3rcc.I
mo~lfapo. She stands in • trihb.Jrit.• pose with her left leg uplifted and p'2ccd •!(•inst the slab in a
relaxed manner. A creeper grou·s from near her ri~ht foot and meanders behind her back co branch
out above her head. Her arms arc- uplifted though her rig.ht one is broken off. The tha//ri above is
even more pronounced than those at Rajim and is decorated \\•ith a i·itf)'tidhara C<>ttple on i t~
u nderside.
Fig . 470. 8 :\ll>'t'A'.'..\1' 11: Hying 1·i1Jtidhara couple carved on 1he unci en:ii(le of the thattri.
Fig . 4 7 l. B 1·.1.i..: 11:\ :-.;l l l : fl)· in~ 11id_rtidharo co uple car\'ed on the unJer$.it.le o f a frag mented cJ1,1//ri .
Original from
Fi~. 4 7 .z. . H1· J 9'f l1\~01 :
u pper surface of fragn1ented rha/fri. As in Chatti:-ga rh the upper surf~cc is
deco rated with lightly carvc.d garlands.
Fig. 47} · B FJ ."'llASC>I : fragmented base for a pillar. As at 01 hcr siles in the upper J\·l ah3nadi \'alley
the bases for t he pillars arc designed as a stylized piir~a-1,hafa similar to those appearing on f"i/lhO.~a
mo uldings of 8th century temples at Bhubaneswar.
fig. 414· pillar fragment decorated v.•ith an i!amba motif of k ir1im11kh111 dripping
Bhl,t\11,-\NOI:
garlan<ls from t heir mo uth.
t:-ig. 4 71. B1:1...-..iAx111: detached sculptures arranged in a large rectangular al ignn1t:nt after bcin~
rcco \-'ercd fro m the debris of the museum v.•hich was demolished by a Aood .
Fig. on \1.'hich is car\•ed an image of Siva Andhaka~ura·

4 76. B1·.L"'11,\s1>1: upper part o f large slab
\'3<lha~mGrti. The skin o f the elephant demon is visible above his head and remnants o f the dem<Jn
Andhaka are visible o n the tip of t he trident . The image is badly damaged and most of t he surface
details arc worn or chipped otf. The pedestal is q uite large and carved with figu re motifs too badly
damas,zcd co identify. As on o ther early examples t he mo tif is combined with the Gaji:-ura:\arphira
motif. The image measures 81 inches by 11 inches.
Fig. 477. 8 1;1,;11,\!'IJI: fragmented image w ith the lower body oi a deity, possibly Camun\lii, seared
in lalitisana on a crouching demon holding a sword. A second bod~' appears at t he base with a jackal
eating its Acsh. The image measures )O 1/ 2 inches by 49 inches in its broken stage and pro bably
SCf\' Cd as a companion piece, along with a standing male figure, to the Andhak3sura·vad ha·n1U rti
1maKt·
Fig. 478. Bi:1,,11A~o1 : broken upper torso of terrifying C>muQc,lll, probably the <Op half o i figure
477. The image is badly damaged t ho ugh a serpent and se"ered head arc visible at the upper lef1 and
her raised upper hand at t he rig ht. T he fragmented image measu res 10 inches b)' }4 1/ 2 inches.
Fig. 479. B 1c1.'""''"' : badly damaged im age o f Mahiiamardini. All surface details are comple1cly
missing though it is possible to sec that the left leg is uplifted and placed on a demon in co ntrast 10
the rig ht leg standard on most images. The image measures 47 inches by 10 inches. A frag mc1lt<:d
image, o nly the head and upper arms visible, is enshrined in the temple next to these detached
images.
Fig. 480. u1~1."'tlA'.\.l)I: badl» damaged 111ithJ111a ima~c. The brc•kcn ima~c measures 43 'lz inchc.·:; by
21 inches.
Fig. 481. B1,1...-11 .\;ro..J>1: dama~cd 1•itf)'tidhara couple carved <>n the C(Jmer of a St(1ne slab, sug~cstin~
it decorated a niche or wall opening as the fig u res arc car,•cd on ditTc:rc:nt faces of the .St()ne meet ing
at a 90 degree ang le. The garlands held by the ligures arc very ornately detailed and tied in t he
center u•ith a lot us rosette:. The image measures 29 inches in height by 10 1/ 4 inches by 1) 1/ 4 inches.
Fig. 481. C •t-\RDA : Rencral view of chc KapilcSvara temple from the east . T he original cnrrance
ponal was removed and t he height of the ma11!/apa walls increased at a later dare. The added pands
above t he original)01~ha arc decorated with modern erotic images. T he roof is lined with project.in~
me:rlo ns around t he edge: and has small tu rrets erected in the center. The ent ire exterior is co ,·ercd
v..·it h nun1ero us coats of white\\·ash.
Fig. 48 }· C H.-\Rl>A : \'it\\' of the de11! and western end of the .l~'!'1"'ohant1 from the ncJnh. Tile base l)f
t he ga!J(fi v.:as altered at the time the height of t heJa.(0111oha,1a was increased. The bi~a is paiira·ra1ha in
design wirh the P'{~at aligned "'ith those o f the gan(ii • s at Gandhariicji. T he leoni/!4 is dc,igncd ., a
simple pilas1cr v.:hilc the anartha i~ fashi<, nr:d as an cJc.,ngated klkikhari-11111!1<1l. This san"\e :arran~cment
appears on thC' v.·all~ of the .l".f'.""'ohana. l'hc ptihhO,e,a of the dt ul is panially buried by the erection of a
plat f<,rm u·hich ru ns c<>mplctcly around t he scruct urc.
Original from
491
Fig. 484. CHARO.\: Jct ail of the base of the ga!J{ii showing the vajra-ma1taka Jesijtn {)O the rtiha. The
design above the rOhO n iche is comple1ely plastered up and appears merely as a large undecorated
panel. The reticulated tailJa motif of the anartha on the first two bh#mis is covered w it h plaster 2nd
c.fccorated ~'ith modern erotic images. The vajra-ma11aJea is crowned b)' a p rojecting wt_,.a10 lion.
Fig. 48 ). C11AROA: view OfJl.a!'ii from 1he south. The leanika is divided into five h/JNmis but the fir.i
two were altered when the changes took place on the Jdxamohana. Erotic figu res again appear on the
anartha. A second bara9t/a is a<.1<.led at the top of the second bl;Umi to ''isually separate the~c lower
bhUmis from the top three which retain t heir original design except for t he cusped design at t he base
of the anarlha on the third bhN111i.
f ig. 486. C1t.,ROA: detail of added section of ) f{(amohana wall with modem erotic images. l ions
appear at the corners of the roof \\thilc the edge is lined wich pr<>jC'cting mcrlons.
Fig. 48 7. Ct1.-\ROA: detail of t he ja1.a111ohana on the sou ch, The o riginal project in g porch u·as
removed and replaced by a plain " "II pierced by cusped windows. The plimh of the ori):inal porch is
\'isible. Pan of the original roof line is vh~ib le above rhc engaged J/aml>ha1 which Ranked l he n<>\\'
mis$ing porch.
Fig. 488. C11ARO..\: detail of the ;agamohana from the east. The pabhti_ga co nsists of f<Jur m<)u ltiings
with a ra,,,paka leaf on the himhha which is linked to the above mouldings by a vertical bar. The
indentat ion beneath the attar1ha niche is fllled with a lala-1,arhhileti u•hilc a diminuti\'C Mrdhava-,e,arhhikli
appears above the niche. The: pilasters framing the niche arc decorated with han~ing garlands as arc
those altern ating wit h the "'"IJ¢i de-signs. Erotic motifs arc added in the panels at t he top of the \&rail .
Fig. 489. C11ARDA: intcri<>r of pillared 11101J¢apa. Op the righ1 the original cn1rancc 10 the projcc1 in Jot
p<.>rch is walled up. A female figure stands at t he entrance \\'ith a pr,>iccting tha/tri appearing hi~h
abc>ve her. The interior is comp1etel)' u•hitewashcd.
Fig. 490. CtLARl>A: interior vie\\' of malJ(fapa w it h pillar. The pillars arc sim ilar in desi~n to 1hose at
Baid)•anath though the bracket capital is more o rnately decorated u·ith a squatting atlantid in t he
center. The pillars arc brightly painted in various colors which detraet from t heir ori~inal state. An
image of ArdhaniriS,·ara appears again!"t the u.·all and a female fl~u rc is vi~iblc flanking the ori~inal
ent rance to the now missing projecting porch.
Fig. 491. CHAROA : detail of a p illar on the interior of the mt11J{la1>4. An ima~c of Hari·Hara is
\•isible •• the left of rhe pill•r and a cusped " 'indow on the right cuts th rough rhe wall rcplacinJ! the
original p<>rch. The lion motifs a1 the base of the p illar and A:itti11111Jt.h11 masks at t he top arc similar to
those at Baid)·anath.
Fig. 491. C11ARl>A: interior vie\\' of ma#apa with dO<)rframc leading into sanctum . The inner
frame consists, of standard bands of scr<.>llu. ork v.•ith Saivite dr iraptila1 at the base and Gaja-l~ak~mT
1 1
on the lintel. The project ing outer frame. most like ly a later addition, is decorated with in1cnu·ining
nit.tJS at the cop and a reclining \-'i~r:iu AnantaSayana on the lintel. Additional bands of scrollwork
\lo'Cre inscned abO\'C this as u•c:ll as a l<>ng panel illust racing Siva and Pirvati playing chess. these
motifs mO$f likely belonging to che east entrance ponal which was removed and placed here u.·hc:n
the 141.amohano underv.•ent alterations.
Fig. 493. ( JIAROA : image o f Hari-Hara on stone slab " 'it hin ihc ma!'f/apa. 1·hc deitr stand~ in a
Jamabhariga pose with an image of the bull Nandi at the 1ou·cr r ight and an attendant of \ i~r:iu at the
1
lower left. A trident is visible on the right edge of the slab, hdd in the upper right hand, while the
upper left hand holds a conch. A Siva g•~• appears on the right side of the pedestal while Garul)a is
on the opposite side. The image measures approximately S7 '/ 2 by 11 inches.
Fig . 494. CH.o\Rl>A: image of :\rdhaniriS\·ara u.•ithin matt{lapa. TI1c deity assun\cs a Jamahhati._~a P'>se
and is flanked bclov.· by rhc bu ll Nandi and a female a1tcndant. The l()\\•er right ha nd is ex1cn<.lcf: 11.1.l ·:-,T R:\ Tl< >:--..S
1·arada while the upper hand holds a parai11. The lm"<r left hand hold~ pan of the garmcot "·hik the
upper hand holds an ind istinc1 ohjcct, pos$ibly a mirror c)r lotus. A Si,•2 ga!J'a i$ can·ed on «ihe ri~h«i
half of tht pedestal 2nd tht lion on rhe lcfr half. The ima~e mtasures s6 inchts br 20 inche!t.
Fig. 491· C1·1,\RCJA: inlag_e of Si\'a ~:ithin the ma!1r/.apo. He stan<ls in a 1amahha~v,o pose Ranked t)~·
the bull Nandi and a f.O!la at the right and a fragmented figure at the left. The ri~ht hand is brc>kcn
off' whilt the left arm hangs akimbo. His h air is arranged in a tall )ofd-m11hifa wich a flamin~ hal<>
behind. A sarpa-hl!J'r/.ala is han~ing from the ri~ht ear. The decoratif>n o n the peclestal con!l.i~tt'- c)nly
of creepers. T ht image measures approximately \ 8 incl)es by 17 1/ 2 inches.
f'i~.496. C !l:\RI):\: f ragmcntcd imaJ.te of A~n i loos,cly placed u:ithin the compound. I le ~t :.n«..1~ in a
pr<>nouncc:d JrihlNJ~~a p<1~(' u: ith Aames rising behind his now missing head . I te is f<>u r·armcd but the:
upper right arm is br()kcn. The obi<'cts held is his hand;$ arc ind i!'tinct thot1~h one appear!' tc1 be a
v:ater jar. The fragmcnt<'d ima~r is 16 inche$ hi~h .
Fi~. 497. <:11:\Rt>A: image of c;aryeSa uiithin the ma!Jrf11pa. Hr is eat in~ ~u·ects from a modaka·ptitra
held in his upper left hand while h is f(>u·er left hand pt>$Sil"lly rests on a hifhtira. li is uppl'r right hanc.I
in brc)ken u·hilt the lou•er one may hc>ld a rosary or offering. An ornate hale.> \l."ith pt-·tal~ aprc:ir~
OChind his head. The image, minus a pedestal, measures 41 1/ 2 inches by 18 inchc'S.
Fig. 498. C1 t .\ROA: image (>fan alasti-lea'!)·ti within the 1'11l!l(iapa. Her le~$ arc cr<>Ssed and hc:r arm!'
uplifted a~ s he: ass ume$ a seducti,·c pose next to a meandcrin~ crccp<"r. }\ttc:ndants app<':ir 1n the
lc>u•c:r corners. The ima.ge mC2$ures approximately 47 inches h>' 18 inches.
Fi~. 499. PA1..\ R1 : general ,·icu· of the: SiddheS\·2ra temple:. The pdhh,~e.11 consi:-t~ c1f f(1ur m(1ulc.lin1-!:-
similar in de$i~n t<> th<>sc: on the l.ak~mar:ia temple at S1rpur. A mand~)"a-h11ndhanri or ~trin~c11ur:-c
di,·idc$ the ;ii~gha inco tu·o scorics thc>u~h the upper Slory i!' not fully dc:,·elt1pc:d 2n(I scn·c-s ,.1!'u2lly
as a b11r11rir/o terminating the: /1Jtj11. The intermediary pd_e,111 beru•ec-n the Jwniie.a and riibi 2rc: set a.t an
angle. The p~ga d ivisions c<>ntinue vertically up the 1.n1J¢i. The: 1.111J4i is di\'idcd into fc)ur hb1imis
th<>ugh it is not rhe ribbed am/01 that scr\'e as the cro\lr·nin~ members for each bhlimis. These b/1iimi
d i,·isions continue hc>rizontally across the .~a!f{fi u·ith the am/a1 being replaced b~1 rai~ra de!'i~ns <>n 1hc
other pOgos. Tile b11ama ill greatly pronounced 2nd curves in\\·<'lrd terminating the !t1lht>Ul'ttc c)f t he
ga~d;.
Fig . jOO. RrJ)Jllt.:1•~1:-...\: c.lc1ail c>f the ,g,anfii :tn<.I upper jd1~v,h11. The a11r1rlhtJ inserted bt-1u·<.·t·n 1hc
J;a111A;a1 is a l!'C> p(1inted while the let1nik.4s a.t the pc>ints each ha\'e six bhlimis rather than tive a$
standard on early temple. T he top /;/1iimi at each of the co mers of the star-shaped plan is crc-lu·nc:d
by a. miniature moslaka. l"hcse t(>p bh1imis project srr2ight up rather than continuinj,! the: curve of the
silhr>uctte of the '-"n{ii.
Fig. soi . B1·1>111...:<•~1s,\: <tetail of the upper sttlry of the./i'~i!ha and the base <>f tlll' .~ar-rfi. 1·he niches
of the upper st(>ry -art fillec.t u·ith thin pila$ters. rather than inl~~e-s. 1"he bhiimi.f C(>ns.is.l tlf horizt>ntal
moulc.iings u'ith the first f,hNmi e longated and decorated v.·i1h ·a rai~ra·me<lallit>n \\'hich \'i~ually !l.Cr\'CS
a$ a c rc.>o,,.:n ing t't1)Fa•matta lta tc:rminating the piJ',a de!>igns of rhc upper Jtit{'!ha as 21 Paliiri.
Fig. ' 01. P ..-.r AR1 : .i1i~ef1a dct~il <>f the Sid<lhc~,·a ra tcn1p1c. ·fhc: upper stc>ry is nc>t ft1ll~· d<.·,·clc>pc.·d
....·h1lc <>n t h(' lc>\\·cr st,•ry t he maic>r ima~es apP<'ar in the tt1i~)·a·mcdalhc>ns rather t han the niches.
}r~~r11ta m<>t1fs <.lccc>ratc t he a.n~lc:<.I pc~t!,111 a.t the ba~c: <>f t he l<•u·c:r stc)ry \\·hilc ,(fJ/t1·k.rdnlt1J appear c1n
the cc>rncrs of the k.an1kti c>t' the upper sr~·,ry.
Fi~. 10~. B1 ·0 111"c >\I:" ·\ : ~~l!.tJ desig n of uppcr .11ili)!'ha u·h h the r11it1·11 de!'ij!:n c-,f the ti r$t hhkmi c1f the
J,a'frfi anc.l hort1!1tfa ser,· ing as a cro\\:nin~ 1·~1ra · l'/fa11aka tt) extend \'i!'ually the h{itfa into the 1,a~t{li.
Original from
<::\·r:\f.()(;t·E <>F llJ.L!Sl.R:\TIC>NS 49}
Fig. so1. Buo111KC>~tSA: (ail.Ja v.:indc.>w with displayed fema le figure. Similar images 2pJ'<'ar at
Plij:irip1li and 11 Ra~ipur-Jhari:il.
Fig. 106. BllDHJlo\.<,:>INA: (ai{)'" window w ith nti,,~a holding his: hand!' in frt)n t c>f hi!' chcst.
Fig . so7. Bt•oHrt-:cl:>tsA: 11ajra-"111!f¢i designs on 1owcr.1iligha. The niches, as at Pal2ri and PUj2ripali.
are tOO small 10 h<>use im-ages so that the major images actu:i.lly appear in the crov.•ning ral~ra
\1,:indows.
Fig. 508. BttOHIK<>r<.tKA: view of jaga111ohan11 Aoor 2nd doorframc of antar~l a. The Ja~~amol1ana
interior was lined with tv.·o rows of pillars of which o n ly the bases have sun·i,·cd . T he jambs of the
doorframc arc dominated by images of the river goddesses as o n temples in ChattisJ.tarh. "C(U is
added on the !.r11ha slab to incr<"asc the number of 1.r11ha1 to nine.
Fig. so9. Bt·o111i.:.cl:-,1~11. : inner su rround of d<>0rfra1ne with the .e.ela/Ja motif of flgt1r<'s climbing a
meandering vin<'.
Fig . 110. l~t: ot 11.,;.<)\I~:\:

dc1ached ima~e of a male flgure seated 1n 11rdhaparyt1likn holding lotus
stalks in each hand. He is !'eatcd on a l<>uts cushion.
Fig. p 1. KAL·,~1.1 : nonhwcst \'iew of the Chheli• temple. Only the lower ponion of the pahlJa.(a
remains standing. The 5>tone pl/ha is visil'> le in rhe foregro u nd as is t he ahhi1eka sp<>Ut projecting from
the north wall.
Fig. 111. K .\rSl ' l,1: ptihhti1.11 detail shou·ing the p oints in the stcllate design. Campaka·lc:a\'CS spill
o,·cr t he: k11mhha moulding as at Sirpur.
Fig. s 13. ""'LISL' l.1: view of antarala and sanctum d<">0rframe. Th<' sanctum has a stone pillar
inserced into each corner in addition to rhe stone door jambs. T he ancarala entrance is fron ced by a
scone pillar on e it her side.
Fig. s14. KAl:st.:1.1: detacheJ ceiling slab from the anrarala. Tlle slab is decorated v.·irh a large
lotus-rosette w ith 2 ~quare frame.
Fig. s•~· R.~~1Pt·M-j11AR1A1.: nor1he2s1 view of the Int.lralarh brick temple. The remains of cht
stone plfha arc visible hut t})e }'l,f."mohana has complerel>• collap!l;ed . 1'he stone clootfrarne of the
an1arala is p rogr<:$sively recessed. ·rhe top clements of the ga!'ii arc missing.
Fig. i tG. R A:,;1P~•-J ttARIA1. : southeast view of the lndral2th temple. The 2ntarala and ga~(li h2ve
been repaired 2nd loose sculptures a re leaning against t he doorfr.-mc. T he /1094 has a panr11·ratha p lan
v. ith the pi/!,llJ ali~ncd with those of the t.,a!'fli to produce a continuous vertical thrust up the hci~ht of
1
(he structure.
Fig. p7. R•s1Pt'R-jHARIA1. : detail of the uppcr jaliitha and t he lower ,(a~iji. The raha
of t he _,.~di is
decora1ed v.:irh small (ai{)'a designs. one on each mou ld ing, rarher than having a large t''!ira·mastaka
design. The offset s of t he rtihO are de~igned as om/Os aligned with those o f the leani/ea. The lower
bhliml of the ie.ant'ka has two bara!J(ils designed as a vajra·mastaka motif u 1 ith a face a.ppearing in the
circular-medallion of 1he upper (oilJ•a. This vajra-m111/11Jea design serves visua.lly as the crownin~
member of the niche of the upper jon,,ha. The o ther eight bhu111i divisions have only one bara~lfi each
in addition to t he amid. The baro!J{ia consists of multiple horizontal mouldings.
Fig. j t 8. StRPUR: dccail of boro~(ia 2nd !.•~di of the Lak~m·~· b rick temple. The base of the bara~lfa
is deco rated with elephant and lion motifs while that of thega-'!4i is dccorat<'d u•ich paired pilasters on
the- kanik,,a and a va;ra-mN!J{li on the 11nartha, duplicating tht de-si~n on the,i i!'gha. and the rihO has an
Original from
494 C r\1":\l.C>GL· t~ () J: 11.1. l'STR :\ 1. l< l~S
:alignment of four pilasters. The rcces5: separating the t\\'O pans is decorated with ; iii perforations
and rai~ya designs. T he bhNmi divisions of the leanilt.o have a bulbous a111/ti while the 1•a;ra·1111111<1.i
designs of the onortha terminate beneath the am/ti. The bh;,,,; d ivisions arc 1hus not a.s clearly
aniculatcd as on Orissan temples.
Fig. 119. R XNIPl'R· Jt1AR1,\1. : bat!a on the west. T he pabhaga is divided imo four mouldings and the
;tirigha h as t\\'O st<>ries. The lower story of the /wnilta is designed as a i"1jra~11tNf!t/i \lr'hilc chc small
upper stOf)' is decorated with a shallo \\', narrow nicht framed by paired pilasters. The 11n11rtha is a
p lain pilaster \\'ith beveled corners . T he riha duplicaccs the design of the Unilt.a. The ima~c in the
tai{ya above the rtihti n iche is Hanumin carrying the Gandhamadan hill over his head.
Fig. i10. R.\N1111:R· J tt.\1t1A1. : t•'fira·ma11alta design on the first bhNmi of rhe b1nilt.a on the /t,.O!Jr/i. The-
lou·cr tai{)'a is left incomplete while rhe upper one is filled with a face.
Fig. i 11. RAs1•~l'k•JttAJ1.1At.; image of Dc\•i on the upper story of the s1zndi-sthala o n the n<>nh
sic.le . She stands in a Ja111ahha1{t,a ptlse and has four arms rhough the hands and attributes arc missing.
Fig. ,: 11. R.\~1Pt'R·Jt1AR1.\1. : t•qjra•m11!f¢i of the Jower Jeanik.a on rhc west side. The tai!)'a·mcdallion
contains a squatting figure u•ith projecting tOnjtUC \\•ho is displaying his large /iti,_~al!I. The niche
below is filled w ith a scene of a male figu re in a/it/ha, t he left foot sli~hdy raised .. with his ri~ht hand
uplifted. Facing him is a figure with hands f<>lded in ol!Jali. The motif may represent Kr~t:1a·damana.
F ig. 51). R ANIPl ' R·JH:\R1A1. : imaJte of Na!2rija in the wes t A!,n,,;u niche on the non h side. His
major right arm crosses the body ingoja·hasta while 2n uplifted right hand holds a tri<-ic.·nt. 1·hc other
hands 2nd 2ttributes 2rc missing.
Fig:. sz4. imljtC of LakuliSa in the east kanika niche <>n tht! south :o:i(te. He 1s
RA NIPl'R· J1-t,\RJ.;\1.:
seated \a.'ith legs crossed and h<->lds the /ah/a over his left shoulder.
Fig. szs. RX N1PUR·Jlt:\R1.:\ 1.: ima~e of Vi~QU in t he t ai{)'a -mc:daJlion of the e:l$t itAnib on the nonh
~ide.He is four. 1rmcrl and st ands in a Jamabln11it.a pose. His lf1wc:r rij.tht hand is in 1•aroda nexr ttl an
im2ge of Garuc;ia while his Jcft hand rest s on the gaJti. The objects i.n the uplifted hands arc
in<li!'tinct.
Fig. s26. RANll't'R ·Jtt:\Rl.~I. : n~e,i·llamhha on the rti.hti offset. Her h ands arc placed in front (>f the
chest .and possib ly ht)ld a \' :lS-e. The serpent t2il continues d o\\'O the- f()\\•er St<>f)' <>f the jtili__gha.
Fig. s27. GANOHARAt)T : general \tiew of the SiddheSvara and Nilamidha\·a temples from the
southeast . They are erected side b~· side on a pl/ha measuring }6 inches in heij.!ht. There u·ere
o rif:tinally small sh rines ereccc-d at the fou r corners. The temples arc identical in plan a nd exterior
decoration except for che emblems of 1hc- rc-specti\•e pre-siding deities cro"'•nin~ the masrokns.
Fi~. s z8. GAl'.l).\ lI R.: \of : ' ' icw of rhc SiddheS,•ara temple fr<>m the south. 'fhe rc)C>f o f the,1a.~a111(1htina
recedes o n both the e2st and "' est si(1es to produce a fla tcened py ramidal shape and t hus serves a$ a
harbinger for the development o f a plt/ba roof. The f.P"ale[a projections a nd e ntrance ponal a re
Ranked on eit her side by a n~r.a/11ti.1.i-sta111h>Ni. ·rhc dtul is pafi<a·rath-a in plan \l.'ilh t he piy_a1 <'>f t he hti(i11
aligned with those: of t he ~a?1<1i to produce a c<>ntinuous vertical thru~t. The i·qjra-maJtakB begins
in\n1ediatel)' above the eave covering 1hc rtihti niche and i!> surm<)Unted b~1 a smaller. seco11d 1·a;ra-
mtJSlt1ka. An elongated mltf,1{ii links. the rv.·o c.le~igns ar1d pan ially c)bfu:-:cate~ rhe baralJ(la di\' isi<Jn. J\n
tik.ii1tJ/i1i1,o crou·n~ t he maJlaka.
Fig. s29. G:\:'l.l)l t.-\k.\uT : dee ail of the pi/ha. The sidc!I> <'>f the pitha arc dtc<>rateIJii,~a t)f
three m<>u lding$ and a./iiri~ho o rnamented "''ith mu1J{ii dc:signs al1crnatin~ \1.'ith s/am/1J1a1. ·rafa·.~at/Jhilea
dc$igns arc inclu<lcd ben cac h the niche <>f the m11!1fli1.
Original from
49l
Fig. l JO. GA,.;DHARAnl : d1ul o f 1he Nilamadh • v• 1emple fro m 1he sou1hwest. The ""1ni""1 is
dt:signcd as an COJ.!aged 1/ambha with a diminut ive 1tajra-m11!J(li at its base while t he anarlha is an
clonga1cd 1•ajra·"1M~<fi. The rQhQ is a vqjra·"'"!ltfi with two 1,:tJjra·Ma11aU dcsi~ns crowning its niche.
T he baralJ{ia consists <>f a pi(lha·moulding surmountt>d by a recess.
Fig. 131 . G ..\SOt-tAR;\l)l: a.narlha design. A tala-garbhika appears beneath tht> niche whi le a d im inut·
ive lirJhi.·a-garhhiJr.4 appears above. The niches measure only abo ut 14 '/ 2 by 7 inches and thus are
quite small in conrrast to similar niches on earlier temples. The add ition of an NrJhi·a -garbhika and the
elongated vi,,,anika crowning the niches p lace more emphasis on architectural motifs than o n
sculp ture.
Fig. ! l'· G .,NOHARAoT: koni/e,, design . T he pabha1,a consiSls of four mouldings wi1h • leirlfa design
carved on the ~bura. A rampa""1·le1f decor11es the htmhha while 1hc !Op 1wo mouldings ire linked by
a vcnical bar ornamented "'ith a small fig ure motif. The kAniU of the jiri1,h" is designed as an
engaged s/amhha with a diminutive 11ajra•mM{f{ii ac ics base. The "'"!'efi is purely ornamental and
obv iousl)' influenced by Par:iQuv arhSi traditions \1r'here these small designs also do no t house ima~cs.
Fig. SJ} · G .,\NOll AR.:\l)l: view of the SiddheSvara from t he east. The inside m11!1{ii on either side is
sliced near t he mi<:fdle ro allow the p lacement of a nti1.o·Jlambha. An image of Gaja.Lak ~mi is in rhe
mn#i niche o n the south si(1e of the e ncrance.
Fig. l l4· GASOHAR,\Df : sou1h gavokfa de.ign of the Siddhesvir• temple. The w indo w is framed at
the sides by a nti1.a/nigi·stambh1J, T he 111111J{lis adjacent to the Jlambbas h ad to be sliced a s on the cast
side to suggest that they were added after che decorative program \1r'as compleccd. The window is
filled with /1an""11iHi of crisscrossing l11tice work forming di1mond·shapcd perforations. The gavakfa-
malJ{iana abo,•e chc wind<>W is decorated with three rtkhi·tlt11/s and two rhin p ilasters utilized co space
t he m in iature shrines.
Fig. 535. GANOllAR.l.oT: nti1.i·Jlamhba. The serpent tails coil beneath the h uman torS.f>S in an
ascending mode. The naga or male is carved on the proper right 2nd t he nagi o r icmale is on 1he lef1.
Fig. l 36. GASDHAR-'Df : image of Gaj1-Lak~ml in • "1Nni/i niche on the east end of 1he jagamohana
of the Sidd hcSvara temple. She is seated in padmisana and has a l<>ng·stcmmc:d l<>tus in each hand.
The niche is 14 b•f 7 inche.s.
Fig. 537. GANDMAR.l.of: interior o f ;agamohana with sanaum d(>Or o f the Nilami<lha,•a temp le.
Detached ima~cs, cemented to the wall, include a standing Vi$i:tU and the mal~ya at·atar of Vi~(lu on
t he nonh side of the door 1nd • Vi~~u frag mem on 1he sou1h side.
Fig. 1 38. GASDllAR ~•>T: douched images cemenied 10 1he nonh wall of t he jagamohana o f t he
Nnamidhava temple. From the proper right the images a rc a raJua.p11nqa, KUnna or runic "'"''"' ·
male upper torso, two \1 i~(lu torsos. a 11tiga fragment from a \ ' ariha ima~e. and an unidentiti(·d
scene.
Fig. s39. GA:Sl>tlAR.\t>i : st anding \ 1 i$(1U in the j a,gomohana. H is fou r arms arc broken off a nd the
attributes are missin~ . A pointe~ halo is behind h is hL"ad and a Pief»tidhora is at e:.ich upper comer of
1he back-slab. He is Ranked by Sridcvl 2nd Bhudevl •t 1he b.,e. The ima11e measures 47 'I, by zz lf,
inches.
Fig. 540. G;\NOtt.-\R ~DJ : detail of Vi~Qu image in t he sanctum of the NTiam:idha,·a temple. He
wears a tall leiri/a·mukM/a and Roral ruffles appear abov~ h is cars. He is orn ately bcjc\\.•cllcd and his
facia l features arc scn!'itivcly rendered.
Fig. s41 . G .o\Nt>tlAR.\Df: frap;mcntcd ima~c of i\lahi~amartlini in the10.l'.amoha11a of the Siddhe$\'ara

temple. Among the u.·capons vh~ib le arc the triJcnt, sword. quiver of arrows. taltro and circular
shield . le measures z4 1/ • br 17 inches.
Original from
c::\·r.\ l.<.')(;t : E ( '>I~ 11.1.t·s1' R:\·r1<.>XS
Fig. 141. B."1.l'D••: gl'neral \'ie\\' of che BhubancSvara and Kapilci\·ara temples placed on 1hc
\l.'C''!'tcrn corners of the rectangu lar alignmcn1. In the background is the RimtS\'ara 1cmplc. The
grounds of chc compound have been refurbished "'ith walks and shrubbery .
Fig. 14)· BAl"DH: detail of the pitha. The pitha duplicates che stellat< plan of the temple. It is 49
inches high and \\'as orn:acely decor21ed 1hough only a few decorative fr:agmen1s ha\'e sur\'i,·c<l.
including an image of :addorsed) O.grotos visible in this fragment.
Fig. 144· B.•l·on: southeast v iew of the Kapile5vara temple. The p rojecting portico is framed bv
an engaged stamhha on each side. On the south flank of the 11tljra-111a1talea above the ponico is a Jargc
Standing female figu re. The silhouette of the !.•~ifi bends in sharply near the top. The l!Anilen is
divided into five bhil,,,is and the a114rtha is decorated with the ornate phand .1.ranthi scroli"''<>rk <>f
mult iple toil.Ja.s with interlacing ribbons.
Fig. 141· 8.-uou : entrance portal of the Siddh.Svara temple. The door is framed by three bands of
scrollwork with t he JvirapOlas housed in an arched niche at 1he base. Ga j a . Lak~m i in on t he lin1el
and a na11agraba slab is on the arch itrave. The '•ojra·moJloka abo\·e the por1ico is a v2riation on the
standard motif with a Je.hikhari·111111J{ii filling the tai!J'a·medal lion. The (riple· niche alignmen( at the
base of the 11ojra-ma1talea ~rves as a harbinger for the development of an upper rOhO niche standard
on later two-story designs.
Fig. s46. BAL!OH : view of li~P.a \\•it hin the sanc,um. The orJ.l1opa/ta or_yonipa/fo in \\•hich the liti1.,o is
seated duplicates the stell:ate plan of the sanetum and 1he temple.
Fig. 147· B At·t>H: horarr(io recess with an ima~c of Gai;leSa and a scene with t\\'O S;1andin~ fii!ure~.
E rc.-1ic rituals are also fo und in the recess and funhcr testif\'• to the Tantric nature of the shrines .
Fig. 148. 8Al'DH : baifa of the Ka pilcsvara temple. The pabhaga consists of live mould ings with each
receiving decoration. The leanikti on the)Oriiha is designed as a 1tambha with female figures carved in
high-relief on blocks projecting from the shaft above a lala·bo•dhana. The shaft above the projecting
blocks is decorated with scro llwork and an overlaying Olombo design. The square capital contains a
bhtirorok/olea motif. The. t wo anotlhos are elongated ld>Okhori-m11!14i1 e:ro\\•ncd by a lta/010 with
Aankingji_grota motifs. The borof1¢o consists of two projeccing mouldings and a recess. l\fany of the
project ing b locks wirh female figure$ have been plundered from the lennil!As.
Fig. 149· B.-\C"l»t : jan~ha detail showing pointed l!Anilen and the two anorthas crou·ncd by a l!Alaia
and addorsed lion mocifo.
Fig. s 50. p,\l.ARI: detail of the upper )Origha shov.rin~ addorscd ga,ja-Ji!rOnta and Jtd.ratd lion motifs.
Fig. IP· B•t·oH: detail of upperjan1.ha and bara~ifa. Among the figure motifs in the bara!'iftt recess
is a seared ga~a holding his liriga,,,, a standing male pointing his erect /iri1.a111 at a female standing next
to him. a Standing figure and -a scared GaQcSa. The seated atlantes in the capital of the pilaster at the
left has arms sh•pcd like jars.
Fi~. i ~ 1. BAl'Oll:
square capi1als of the kanilea with /1/1tiroralt.1alea1. These squa1ring atlantids have a
pot-belly and iar·like limbs. /\!any of them d isplay erotic activ iries.
FiR. S13 · BAl;r)H: bd(i.a <.letail sh<>"'·ing the lehrileJJ1Jrti-m11!1<1l and pilaster dc:i;ign!' \1.•ith 1hcir cro"'·ning
motifs.
Fig. t)4· R.\l·1111: detached torso loosely p laced within the c<>mp<>und. Styli~tically a nd)' ornarne.ntation the lorso is similar to those found at GindhariQi.
Fig. s s S· BAL' l)ll : dr tirap<ila from the base of the do<>rfra mc '->f t he SiddhcS,•ara 1cmple. He stands
1
Original from
497
in a tri'1"4nga pose and is four-annal. His right hands arc in ''"ada and hold a ~mani while the left
hands hold a tridcm and a ltapiila. He wears a garland of skulls. shon beard and bares his teeth t0
suggesr his rerrifying nature. His hair i..~ in a tall ) a/0·"111/eNfa and a halo is \'isiblc. The.SC Jvirapiilas
average 13 inches in height.
Fig. i i6. 8A~DH: alasii-ltanyii carved in high-relief on a projecting block from a ltanilta of the
jiingha. She stands in a tribhanga pose holding an indistinct object in her uplifted right hand . She in
richly ornamented and her hair is arr-anged in a largt chignon above her left shoulder. These images,
with their lotus pedestal, average 16 inches in height.
Fig. l 17· BAL•DH: alasii-lta~yii scanding in a trii>hanga pose wi1h her left arm akimbo and her uplifted
right hand holding an indistinct object, possibbly a vessel or flowers. The necklace on these figures
encircles the bre·asts at the bottom rather than the waisr as on images from the 8th century.
Fig. 1i8. 8 Al•DH : alasii-ltanyii standing in a slightly flexed tribhnnga pose. Her hair in ornately tied
in a large chignon above her left shoulder and looped st rands of pearls arc visible above her
forehead. Her face exudes a warm smile which suggests inner contentment and her features arc finely
carved.
Fig. I l9· BAUDH: detail showing vana-latii scrollwork. The g1rbled foliage is carved w ir h an
oblique cutting technique, rather than perpendicular curting as employed on earlier temples, which
produces a play of convex and concave curves softly outlining the leaves in contrast to a play of
light and dark accents.
Fig. j6o. KuTAlru~DI: general view from the souchwc:sc showing entrance ponal. The temple resrs
on a low pitha and h as been restored. It has a simple fri·rat"4 plan for the bii{la and a panra•rotha p lan
for the galJ{ii as on early Orissan temples. An ile.afa/ili,ga finiaJ surmounts the amalako.
Fig. 161. K uT},1TU1'11)1: b,;,ja detail showing vajra-M•JJefi design of a subsidiary piiga on rhc nonh
side. The piibbaga consisis of four mouldings wirh rhc top two ornarely dccoraicd "'ith scrollwork.
The niches arc framed by a broad band of scrollwork plus two thin offsets. The riiba is Ranked by a
thin offset designed as an engaged pilaster with a dwarf-atlantes on the capital.
Fig. i61. K uTAITU1'01: detail of the ga!ll/i on the nonh side. The bhiimi crowning the riihii niche of
the bti4a extends into the gat1¢i and obfuscates the bara!f(ia division. The baratr4a at the sides consists of
cwo projecting mouldings and a separating recess. The recess is filled with erotic image!}' illustrating
Tantric rituals. The vojra-111astalea at the b-as.e of the rihi of the gatJ{ii is small in s i:zc. being about the
same size 2s those crowning the niches of the side pagas, and consists of two rai~ya-medallions. The
/t:,pnika is divided into five bhNmis with each bhNmi having three barat1<1i1. The bara1J(ii1 arc decorated
with small 11ajr11-11111.slaka motifs.
Fig. i63. K u T;.ITU1'Dl: v iew of the biir/a from the south. The piibhaga beneath t he riiba has an
indented plan. The vajra-muf}{ii designs of the side pigas terminate beneath the bara!Jfia u•hercas the
truncated rtkhO design of the rdhi extends above the bararrtfa.
Fig. 164. K~TAITUNOI: detail of jambs of piif.a niche. Figure motifs appear in niches at 1he base of
the jambs and their offsetS. The scroll motifs are deeply cut with oblique techniques and varied in
design.
Fig. 161 . K uTAITUN(>l: jamb derail with va•a-lalii scroll. The piir~a-gha/a at rhc ba.sc has a hi~h neck
in contrast to the t)•pically squat jar of Orissan an.
Fig. J66. KuTJ.1TUNQI: lintel of riihii niche on sou1h side of dtMI. The gtloba scroll on the jambs is
transformed into a frieze of vi~yOrl/Jaras on the lintel in conventional manner as on doorframes. The
2rchitrave is decorated with miniature shrines alternating with panels of scroll work.
Original from
Fi~. ~(>7. "rT\rrrSDI : /Jh,jrarak.f11k,a on the capital <>fa thin pila$tcr Aank in~ the rJhti. •le has a
pot-h<lly and res.ts his hands on his knees. ()n later in1aAC-S the Jimbs become mc>rc jar·ltkc.
Fig:. 1Cl8. K t··r.\ rrl ·so1: (ai!ra-medall ion with displayed female. She "''ears a 1111 hca(ldres~ and
pl•ccs her hands on her thir:hs for balance. A dancin!( fir:ure with hand< up lifted •pp<:ars to hn
right. Tht' lo"'·cr pan of the imas.te i!I damaged and the Ranking figu re o n the left is missin~. l'h1:- ts a
much larger and more heraldic example of the mot if appea ring on carlr lcmplcs at Bhubancs\l·ar.
Fi!-!. 1(19. K t ·1·\ rrl'sD1: female M~ure stand in~ in a 1rib1"1tif.a pt>se under a c reeper. •ter ri~ht arm
rests l>O the sh<>Ulller o f an a1rendant \\'h ile a srnall figure tllcks on her ~armcnt . The hgure i~ l>at_lly
\l.'()fO.
FiR. 170. Kt ·1·A1Trr-.:01: female figure standing in a tri/Jhati1,a pose unc.Jcr a creeper. •ler lc:ft arm
rc-sts o n the shoulder of an atccntlant u ·hilc a small flttu rc squats in t he <>pptJs.ice c<>rncr, p•>S!"illl~·
tug~ing on rhe l0<>se e nds of her garment as in che prc,·ious photograph.
fi~.171. K1-r.\1n·~n1: imal(e of a female hl(urc holding • c hild o n her uplitrcd right knee, tht
knee being supp<>ncd by a c.fiminut i\'C' attt'ndant. The female fi~urc is quite an imate 1n p<>sc, her
upper lc>rso C\\'ISting back. thc"lugh her arms arc b roken <>ff and her facial fcaru rcs oblitcracc:d.
Fig. , 1 1. K t·r.l.1n1s1>1: mithNna \1,;ith the male embracing h is female panner from the rear. tic
u·raps h is right leg around her knees and grips hcr.roni "'' ith his right hand. His left hand appear.; t<>
grasp her h air. Her left arm han~s limp \l.: hile her right a rm, draped around h i!' shc:Juldcrs, appears. tc>
hold wmcrhing b(·hind his hcall. l:.irtim11kha nl asks appear on 1he sh af1s t>f the JlamhhtiJ framin~ thl·
niche.
Fig. j f)· K1:\CA"-h~\·,\Rl: ~cneral , ·icu· of the temple (rc)m the u·cs.t. The O\'crall pr•lp<>rtlc>ns •)f t he
temple arc quite elongated so t ha1 t he silhouette of tile temple is ovcrl~· tall in contrast tt)
conventional ()riss.an temples and suggests that t he 10th century a nisans at u·<>rk on its cc,n:-.1ructit>n
were possil>ly inAuenced by later tcn1ples betrayinSt ~onhem inffucncc. The pti1'ra-ratl•11 plan
continues up the height of the temple whereas the c2rlier Siva 2nd Ja~eS,·a ra tcmple5 had a btida tha1
was tri~ratho in design. The placement of nt{e,a-stam/Jhas on both sides of the a,,artha, and 1hc1r \'ert ic·al
recesses co ncinuing o n the 1,a'!lfi. as well a s che t apering dc:s.ign of t ht t lllOj::actd 1·imtinikri t>f t he
anart"4, su~~ests t hat the an ises \l.'erc au1 arc o f t he decc)rativc pr<lgram c>f che P:irva1i cemrlc a1
Bhubanesv•ar. This is further strengthened by rhe fact that the remple is <ll'tlicated to the Devi a1lcl
rhc P:irvari is pro babJ)' the most imponant sur,•lvin~ temple in ()r1s~a <.le(ltcatc(l to the J.!<'d1..le:;.s.
O nly fragments of the head and feet of Kirttikcra remain "''ithin the rJh1i niche v•h 1lc 1he 1ma).:c 1n
t he upper niche of t he bti(ia is badly damaged and missing its head. T he niche at the bas.c: c>f chr t.ant/1
is filled u·ith a bust of Si\' a though this probably docs not conform to the <>ri~in al dc:;.ifotn of t he rtJ/ftJ•
mastalr.a. The de.sign <)f the u·alls of the pl/ha or platform appears to be Ct>mpletcly ffi<)dt'.'rn.
f iA. S74 · K 1St 1\~f·S\' \RI : detail of t he ,(tJ!ftfi from the cast. T he arranRen1cnt of t hret' !!iupe r1n1P'l~c:d
nichc-s on the rtiha is pure ph anras.y on the pan <>f the t och cenrury an1sans. The~e n iche fra,.:mcn1s
mcist likely <lec<>ratcd rhe;ti~l!ha of some of the ru ined temple'S. O n chc frc1n1 facade. due co che v.·uhh
<>f the d<><>rfrarne, there is •>nly one tin11rtihi recess. O nly the hrSt t hrc-c bhlimi <li\'1Si<.,ns of chc rcct'~~
are decorated u·ith female fi~ures in this modern rc:con~truct1on. Al1houJ.th there a rc ten hh,;,,,,
d ivis1tlns there arc o nly t \l.·o l1ara1Jfli1 in e ach di,•is.ion rat her t han thrt"e <>r f<Ju r a!' on mo!"c tc«llp lcs..
~1 t>St of the re1iculaceJ tait>·a <lesigns on t ht a11artha and upper rdhti arc- mollcrn and lack the
<lecorati\'e dc-cail found on ()t htr examples <>f t his m(Jtif.
Fi~. j7 ' · K 1:\1:.,i.;,1:~\·.\Rl: \'it"'' ()f t he hrifi,tJ from t he: south. l'he htiJa i~ ptiitta-ratha in p lan \\'Ith the
~111kn <lt!~igncd as a p ila:-.tt'r "'·ith a niche at the base, a dc\·1ati<>n frc>m the standard p ractice \l.'htr<'h~·
the fij.!urcl' at the: baiot' of pil a~tcrs durin~ the 101h-11ch ccnrurics u;crc car\'cd in h igh relief. T he
imaJ.!eS hc>uscd u •it hin t hese n iches arc ~rahas. Thl'r arc car' 't'.'n
a lc>n~ slal>. T he an11rtha is designed as an clc>ngatt•d kJ1Jkharti-11111~{ii. actually coo tall 1n rat io cc> chc
Original from
C1\ T Al.<><;L· F. <>F 11.1.l'STR ,\ TIOl\:S 499
niche, and is flanked in the recesses by nJga-11a111bho1 as on rhe later Parvati temple. There are Jo/o-
garbhiloi designs beneath the niches of the a•artha as well as the raha. In that the original Siva temple
was much larger than this composite reconstruetion, and was only tri-ratha in plan, rhe pagas here are
much too thin and give us litcle idea of the original decorative program of the ruined temple.
Fig. 176. Kn<cA"ESVARI: detail of a niche with pilasters decorated with /oirtimNlthas dripping
festoons of pearls overlaying the scroll work. The capitals of the pilasters arc decorated with pot-like
aclanrid figures typical of the 10th century.
Fig. 177. KtNCA,ESVARl: detail showing • lola-gorbhiloi design beneath the a•orlho niche. The
gcnc12l propooions again seem quite elongated. The images at the base of the /thora mouldings arc
of• sc21cd figure holding a parrot on 1hc right and an erotic Tantric ritual at the lcf<. The larger
niche in the center is filled with the motif of a monkey pulling the garmcnrs from a female embracing
a creeper.
Fig. 178. KHIC':HING Ml!SEL'~f: detail of G3QeSa. A !irtimMkho mask appears in the center of his
coiffure. Flying 11it!J·iidhara1 flank his coiffure while a female figure standing under a creeper appears at
each comer of the curved back -slab. Small bells hang from the lower stand of his necklace.
Fig. 179. K 1ilc.:A,~S\°ARI : detached groho placed in a niche on the corner of the Kiiicak.Svarl
temple. As on a detached doorframc in the site museum the grahos hold weapons and arc not
represented identically in the conventional Orissan fashion. The figure here holds a vase in his left
hand and a sword in his right and probably represents Budha (Mercury).
Fig. s 80. KINcAKES\'ARI: detached graha placed in a niche on the corner of the Kiiicakcivari
temple. He holds a vessel in his left hand and an indistinct object in his right . He is bearded which
suggests that he is probably Brhaspa1i. One of the grahos holds a bow in his left hand and an arrow
or ia/oli in his lcf< hand while the others arc not as well preserved and the objects, except for a water
vessel held by one, 2tC indistinct or missing. The images measure approximately 13 by 8 inches with
their pedestal.
Fig. 581. K1NCA"ES\1ART Co~tPOt:l'D: detail of a memorial stone with a warrior advancing to meet
his enemy. He holds a sword and shield while a diminutive figure appears behind him.
Fig. 182. KHICHING Mus•u•1: nago image broken off from a slambha around which his tail is
coiling. He holds an ornately bejewelled garland in front of his body. His hair is arranged in tiers of
curls and a canopy of seven scrvcnt hoods appears over his head. The image measures ap·
proximately •1 '/2 by 11 inches.
Fig. 58J. K1NCA~f.SVART: detail of a11arlha and 11iga/11iigi rtambbas in the Aanking allJlrtihi recesses.
The male is 3lways repre:sen1ed on the right and rhe female on the left in standard fashion. The
canopy above the ntigi consists of only five serpent ho0<!s while it contains seven hoods over the ntiga.
Both figures have an enchanting smile typical on 1oth-111h century images. There is noyo;nopovila on
the •agi. The scrollwork on the vcnical band running up the ho riionral mouldings is of the J>Olra-lala
type with a central stalk and foliage spraying out symmetrically on each side. Beneath the foliage arc
arranged pairs of animals, one on each side of the stalk. From the bottom these animals arc
elephants, buffalo, boar.1, and halirsas.
Fig. 184. K111CHINC M usr,uM: fragment of a back -slab with a standing female devotee at the base.
She stands in a Jribhari!,• pose holding a lotus-vessel in her uplifted right hand. She is oma1cly
bejewelled, having even o yojiiopavila, with her hair cied in a large chignon above her left shoulder
and hanging festoons above her forehead. There arc three of the~ images in the museum aind it is
probable chat they Ranked large scanding images such as those of Siva. The image measures 28 by 11
inches.
Original from
\00 <:..,·r.-\J.()(~ l ' I ~ flF ILl.l'S'J'R :\ ·ru>NS
Fig. 181 . 1-\: 1:-.;t..-\J..:":o' '•\Rl: female: fi~ure h<>lding a small child on her hip. She scand~ in a tr1hhi.1n,l!,o
p1>sc anJ loc>ks atfcctionatcly at the child. i·his motif of a woman hc>ldin~ a ch ild bccc>nlt."S
lncrc:a:o;in~ly p<>pular in the 1oth· 11th ccnrurics, appca rin~ fi rs1 on temple~ of the upper ~I ahinatJi
vallc:\'' .
Fig. s86. K1:'.• .•\t..l·.:-\' :\Ki : in1lge t)f S2ras,·a1i h<>usc:d in a C<>rner niche flf chc lo\. iricake~,·a ri tc:n1pll·.
She is. ~catc<l in loli1ti1i.1na ht>ltlirlg tl1e 1•i?1ti. ~fhe 11.•\1.:cr pan <>f the image appears not ft> ha''C' bc..:n
fini,hed.
Fijt. s81. J-.:1:\;1,,.\ J..:1·.!'\ ' ART: ft:malt fi~urc carrying a sc,·crcd head in her left hand and a s u·orti 1n her
right han<.i . ·r hc image: is one of many examplc5 in!'c:rted into the temple and tC'$t itic~ to £he Tantr1c
nature: of the: temples.
Fig. s88. K 1NCA)(i . S\'ART: image of an e lephant placed at the base o f a nd,r..a·slamhha rathc-r than the
standard ~'!ia·lertinla motif. A royal figure and his conson are seated c)n the elephant. The: elephant i.s
ornately decorated u.·ith bells and other ornamenls.
Fig. s89. K1~c :AKl·.!"\'\RJ: 1•irdla mc)tif of a female v.:arrior ridinR a lea.pin~ lifln mc>nstcr v.·ith a
crouchin~ c lcphanr btlt•v. It is likely that the motif appeared elscurhcrc in the dccc>rati\•e progr3m ,
1•
a$ on othc-r temple$ <>f t his pc:riod. Generali)' t he mot if at the base c>f thc::i;.e 11a.lftf>ha1 is a ,t.a;a·k.rd111a
reprc:5entcd front ally and without a rider.
Fi~. 190. c:,\:o.l)R :\St ·.i..11.\R A: ~cneral vieu.· fr(lffi the ea:i;.1. T he <1rnatel\· carvetl c.lc>t>rfrarne <l2te$ tel
the 5l'CC)nJ half of the 10th Cl'ritury t hough the present tcrnple appears ·tc> be a later cc>ni;.tructu•r\.
Pi~. 191 . c..:-..l>R\:o.hKlt:\R.\ : Aeneral \•ie\\.• from th e south. The pil>hO,r..a. consi$tin)! of fc>ur mclu l<l-
in~s. res ts on a set of t\1.'0 mouldings which tend t o confuse the a rticul2tion of 2rch iteetural
clements. The jti~~ha is decorated "'' ith a series of p ilasters alternating "''ith s1amhba1 on each si<.fc c.>f
the r#ba, a decorative program obviously based c>n traditions popular in Benj!al. Except f<>r the: ba:.-1C'
outlines of thc~c \'ertical segments and their base <les1J(n chcy arc devoid <>f dccorac1on. The n iches
arc empt)' and the gaf.1¢i is plain.
f ig . ,91. T1 . 1.K1·p1 : general \' icv.· o f a small temple ~h«>\\'in~ the u:i;.c of thin p ilasters on thc ; tint_ha
rathe r t han :i;.i<le pdgr1s \\'irh niches.
1:i~. s9\ . T h1i..:t ·r 1: ~encral vie"'· of a large temple. ·rht./1i~(ha again is decorated \\·irh t hin pilasters
on either sic.le: elf the rtihd rather 1han pJJ!.a dcsi_gns "'' ith niches housinj! imaizts, a decorar ivc prr>gram
<>l>\'i<,uslr intlucnt ial o n the present dc5ign of the Candra~ekhara temple at Khiching.
Fi,g. 594. H.\K.\K.o\R: general view of Siva temple. The ptihhita here is set o n a base of a(Jltitu>nal
mc>ul(lin~s a :i;. on the f:andr:iSckhara temple. Thc ; 01ti!ha on either side of the riihi is dc:corated \l.'i1h an
ali~nmen1 of nJ.f!.a·Jfa,,,hha1 rlt)ter 1h2n piiga designs u!ith niches. The overall silhoucrte is tall and
na rr<J"'. in cc>ntrast to the rhicker and n1ore stable design <Jf typical ()ris~an remples, the K iOcakeS,·2ri
temple at K hichin~ bc:ing an exception and ob viouslr inAuenced by traditi(>n~ of Bengal. 1'he 1.1111d1
here scc:m:\ O\'Crl~· lar~c in rati<> to thc;ti~~ha and vi5ually appears to cru:;.h it. The arran~cmcnt of
n iches <>n the 1.anefi recall:;. the <lcs1~n on the Kiiic:ike~''ari.
f ig. S9S· A \R.\K.\R: (fetail of Si\'a tenlplc from the fr<>n1 s h<>\\'ing t he cnrrancc.
F'i~. 196. B.\Kl.K:\R: )!tner-al \•ic:w <>f t he Sid<lheS\'ara 1cn1plc. The bti4a ha5 a 5imple lri-ratha pl.to
" ·i1h rhc siliC p1~e,11s in the <.ic"ig1'l t)f m111J@is "'·hich term inate beneath the i>arafJda a5 <>n ()ri55an 1cn1plc:i;..
·int!!.""<'' is palira·r111ha in plan, as on ()ri:-:s.an ten1rlcs, rhou~h the pc>sit it)n of the fJIJN,,,1-am/1i1, the
dc.·cc>ratic>n •>f t he anar1ha and the c.ii,·i'.li.itJn c.)f t he rlilki inro t\\·o ~c~n1ents at the b:i~e de\'iare~ tr(>nl rhe
stan<larc.i dccc>rati\'c: pr<>~ram.
Original from
101
Fig. 597· Bi:.sL'~.'.\(: .-\R : general ,.iC\I.' of t he area \l.'herc rhc surviving sculprure!> are linecl up. t\ t t he
rig.hr of the: ph<>tograph can be seen a lintel \l,•hilc t he two large figures at the back are Hanuman and
Gai:icSa.
Fig. s98 . Bi:st'SAG:\R : image of the dikp#la Agn i. I-le stands in a sam11!1h"fi..e,a pose h<>lc.ling a ·~:ater
\'esscl and rosary. A ring of flames aippcars behind and a ram appears in lht lo\\.:cr left co rner. The
image measures 11 '/ 2 by 11 1/ 2 inches.
Fig. l99· B f.NUSAGA R: image of the Jikpala Kubera. He stands in a slightly flexed pose wi1h h is
head 1ilted 10 the right. He holds a sialk or foliage in h is left hand while h is right hand is broken off.
He is slighlly Stout in body build and has a warm smile on h is face. Jars arc placed in the four
corners with their co ntents spilling our. The image measures 17 Jj, inches by 1 j '/ 2 inches.
Fig. 600. S(>'-IES\'AR.--. : general view from lhe wesl u•ilh an ima~e of N andi on a low pedeslal in
fro nt. The temple stands o n a pi/ha and is tri-ratha in p lan 2t the baefa. The subsidiary p~(•J flank ing
rhe entrance ponal are designed as rrlehti-m111J{ii1 wilh a single bh#mi division above lhe niche. a
rransitional de~ign leading ro the development of pi(lha-11111!1rfi and lehtilt,harti-m111Jtf.i designs standard on
later remples. The river goddesses arc enshrined in these n iches Ranking the entrance 2s on mosr 9th
c.cnlury temples. Kcru is added to the p lanet slab over the lintel of the door to m:ake it a 11011agraha.
1·hc gaf1'1i is panra-ra1ha in p l:an rhough there are no 01111rtiha recesses. The ktinika is divided into seven
bb#mi1 and the bara~@iJ of the anartba arc a ligned with t hose of 1he kanika. The lower niche of the
vajra-fffallaka is filled with an image of Naiariija. The bull Nandi appears in the btki above the kanika
replacing the standard Jopkh/Jli-1ililha motif and suggc>ts influence from South Indian traditions.
Fig. 601. S1l~IF.S\'t\R/\ : detail of the southeast corner of the btitja. The ptibhti1.a consists of four
mouldings with an inden ted plan beneath the niche. The i 1i111inil!.4 crowning t he side niches consists
of a bh#mi division crowned by a padma pr1/ha moulding ra1her tha.n an am/a as on the from. The top
course of che piga design is a simple pi4ha moulding. The b11rar;(ia consists of two projecting
mouldings s.e-p:arated by a recess though the latter is plain, or the decoration has not survived.
Fig. 6oz. Sc ,r.11~S\'AR:\ : v iew of the btitf.o from the south. The rtihti niche cuts paniall)' thro ugh the
pah/Jaga as on early <emples. The niche is crowned by a large pi(iha moulding with a K.Nmbhika-handha
on its m11hti!l/i. T he vimtinikti above this eave consists of a single bhi111i, lri-ratha in design. but u·ithout
2 crowning am/ti at the corners or any anNrtiha recesses. The images u•ithin chc niches :arc
GangadharamUrci. GaQcSa and LakuliSa.
Fig. 60~ . S<>r.1 1-.~\'ARA : pigo niche on east side u•ith Hari-Hara. The pilasters arc c.i ecorated wirh a
variation of the vana-loti motif with stalks fr2ming the foliage. An image of Pir\•ati appears on the
lintel A2nked by seated K2p31ikas. Pirvat i is seated in loli1tisana with her right lower hand in vorada
and her lower left hand holding a vase. Her upper hands hold a rosary and lutaka Ro wer. The panel
21 the base of the frame on t he lo"'<' right side depicts two K2palikas holding a kha/vanga over their
shoulder and a small g irl, holding her hands in aiijali, possibly procured for sacrifice. In 1he opposite
corner is a ;i'kftidtina motif of a g11r11 scared on a low seat dispensing instructions 10 disciples.
Fig. 604. So""S'"ARA: paga niche on the nonh side wi1h Aja-Ekapada. An image of C:lmu~<):\
appears on t he lintel flanked by K ap alikas. The penels a< t he base of the frames are filled with a
iikfadana mo1if and K;\p:ilikas.
Fig. 6oJ. S1l~1ES\.ARA: ri.hi n iche on the north side with "'1ahi~amardini. An image of Durgi s<:.a tcd
appears on the lintel Aanked by seated r1is and, 2t the corners. mith1111111. h·tithNnas. wich male u 1arriors.
also appear in the panels at t he base of the pilasters. A frieze of the .faptamtitrlt.ti1 attacking the
demon Nirrit2 is carved on the pedest2l.
Fig. 606. S<>;\lh~\'AR A: rtihti n iche on the case side u1 irh Karccikeya. 1\n image of H ara -Pir\'ati
appears on 1hc lintel Ranked by a (ricu: u·ith Gar:ieSa, Kirlcikcya and seated r1i1 and altcndants. ~fhe
Original from
\Ol ( . .-\·r.-\ J.()(;l·J: ()J: 11.1.1·s TR:\TltlSS
panel~ a1 the base (>f the frame have a mithNna \\.'ith a st:tnding \lo'arrior on the ri~ht a nJ Jev<>tces a 1
the lt'ft. /\ frieze on the pedcst31 illustrates a J anee \a.iith a female dancer o n the left an<.I a d anctnj.!
,R,r11Ja o n the right alon~ with a r!i seated v:ith a.YO.J!.apa/!a bindin~ hi~ le,::!'. Ad<l11it1nal a11cnllan1s 2nd
mu~ician!1i app•:ar at t he cntls and ~cat tcrcd t hr<>u~h<>Ut t he scene.
Fig. 607. $c1~1 L!)\'.\k.\: pti,e,,a niche on t he no n h side with Si\' a hc>lding a parasit. .~ n ima>!c t>f
~ lrttikey a in a ~1ant.lin~ pt)Se appears on t he lintel Ranked by si'A:.Jiidtina mt)11fs <>fa S:aivire hgurc
\xic>re a ~ipil ika ,("r" sea1cc:I on a dais. In the upper comers arc a m11/Juna at the ri~ht and a !'ccnc <>f
a female as~um in~ a seductive p<JSC A:an ked b~1 a \1,:arrior and a figure removinf,t her J(a rmcnt ~ at t he
left. The p~nels at the base of t he frame dtpict ero tic motifs illustrating T anc ric rituals.
l;iJ.?,. (to8. S11~1l·!!>\'.\R 1\ : viev.· fro m we-st v.:ich chC' entrance" ponal and ri ver g<>ddC$S.CS. The d1·JrtJpdla1
:assume mirror-image poses \\'ith <>ne leg upl ifted and p laced o n the blade o f 2n axe u ·h ilc one arm
rt~t!> (>n the hantfle. a pc>sc and iconoAraph)' su~gcsting South lnct1an inAuence.
Iii~. 6o9. Sc -1~11 ~\. -\RJr.: 1·a;ra-ma1tt1k.P on t he rdhti c>f the ta~t side. 1\n image: of SU rya 1s htltJ!>l't.I 1n
t he.· lc>\l.·er n iche ann abot.·e. A kir1imNkha appears at
the apc:x <>t' the motif and lcapi ng;~~ra/as o n the u•inAS of the upper tai~ta.
Fi~. 61 0. St '''' ~'':\RA: detail of d<>or jam bs show in~ scro llu•c>rk . The motif$ frc>m the in!'idc C41o~i't
o f the lt.JJtilO. moli ph11/a pho{lilt.4, a nd ,1,tlabo. The thin fi llet on the o utside is decorated \l.'tth dia~4>0a)
strands alternating u·it h rosettes, a la1e ' ' ari21ion on the ro pe de~.,i~n stan(lard on early dc>orframc.·$.
Fig. 61 1. Sc),\1t·.~\'ARA : lintel o'·er imaRc of ArdhaniriSvar2 on the c ast side decor:.a1cd \lo.' ith an
im:iJ!.C <>f Agni. I le s tands 1n a somahhaliga pc>se hol<.ting a rosary in h is right hand and a \l.'atc r iar 1n
h is left. He has a h alo of Aamcs and is bearded thou~h the latter is c ropped rather than lon)t. He i:-.
a l!'n "''ith<>Ut a p<>t·bc1fy and his mount is not included . He is flan ked by a diminuti\'c atrcndant in
each lo u·cr co rner wit h one han d on the h ip and thC' other upJifted hc>ld ing an indi~t i nct object. The
li~ure in the ri~ht corner appears to be female and t h us mi~ht represent h is consor1 S\'3hi. In 1hc
panels Rank ing ;\gni there arc two kneeling r1i1 on each side along "'· ith a standin~ fi~urc at the
hack . 'fhc r1i <>n the right of Agni holds out a l rNi·11 or sacrificial ladle in his left hand \l. h 1lc in h is0
right h and he hc>lds a similar <>bject t hough lar~cr and damaged. T he r!i on the left <>f ,-\j!ni is
bent.ling O\'cr a sacril1cial bou·I and h<>lds a r<>sar~· in his left h and, his r ight h and being placed <>,·er
1hc bo"·I.
Fig. 61 z. S<)~l hS\'.\R .\ : lintel O\'C'r the image o f Hari·Jola ra o n t hC' cast side decorated u'ith Pa r\'ati
sc:att·d in lali101ant1. Her lc)wcr ri~h1 hand is in var"do "''h ile the upper hand h(>lds a r'>sary. f lc:r lc:t1
han<ls hold a \'a~e and a le11akA Ac>u·cr. A lot us ro!'ctte is in the upper right cc,rncr of t he n iche. The
Rank in~ panels Cf1ntain Kapalika r1i1.
Fi~. 6 1}· Sc>\11•.:0.\' \ R.>\: PiSupata d ii;ciplc:-s at the base: of the n iche j,,mbs h<>u~1n~ l .3kuliS2. The~·
arc each s.eattd 41n a Jo u· dai!' with t he t h ree bcar<.lcd c:>ncs hc>ldi nR a b<>ok in thc:1r left hand . A trident
appears behind t he )'OUM!(« d isciple.
Fig . 6 14. 5,,,, ~~\'.\R \ : lin tel derai1 over t he niche housin~ t he imaf{C of GatiRidharamUn i. The
scene dep ict!' a Sai,·a r!i ho ld ing a tri<lent O\'er hi!' left shoultlcr. A bell han~s from the trit.lcnt. fie
ht1IJ~ a small pur~c and is kneel in~ befo re a Kipilik a r1i ~eatell o n a lo~· dais. The J..:ipalika ht1lds a
/f)M/rd~f!.,tl in hi" lt'ft hand and a ~m2ll purse is on the dai" behind h im . A similar sc:t.:nt appears <>O t he
lintel aho\'C the: image <>f Si,,a h11ldin~ a part1sil.
1:1~. 61 \ . $41\11 :o\ '.\R,\: t<>1le1 scene o n a niche frame. T he female <>n the prc>pcr rlJ!hl 1" lc>c1k1n~ 1otc)
a m1rrc>r and attju~t lOA her cc>1tf\1rc. A male u·arr1t>r "·alkin~ b~· turn!' back 2$ thcJugh attractec.I h,·
her ac-1i\'it \'. A s n1all a11endan1 is at the: left .
Original from
CA'rA J.<)(;L'E <>F 11.1.l'STR :\TJ()l'\S \Oj
Fig. 616. So,IP.""ARA: mithMna scene with the male, slightly behind the female, holding her um
forceful!)' as i( tl)'ing co persuade her co yield co his demands. A second hgure further back raises his
right hand while resting the left hand on his thigh.
Fig. 617. so~IES\'ARA: 111ilhN11a

wich che male unfastening the garments of che female. The female
embraces him with her right arm while placing her left hand to her chin. A kn ife is in the heh of the
male and behind him is a warrior holding a sword.
Fig. 618. St>MESVARA : 111ilhMna with the partners energetically embr2cing. The female clings to his
neck and wraps her left leg around his. The male unfastens her girdle with his left h2nd while
fondling her breast with his rig ht hand. A knife is on his belt . A male wanior holding a sword
appears on the left. His right elbow reSts on his shield and he holds a flower is his left hand. As
arranged here the last four illustrarions seemingl)• represenc the seduccion o( a warri<>r br a fema le,
possibly a councsan.
Fig. 619. S .\ R.t\PAl.1.1: general view of the OibbeS..·ara temple from rhe ~·est. The bi{la is 1ri-ra1/1a in
design and the J>Obha;ia consists of three mouldings with an indented plan beneath the niches of the
side pigas. The ga!'<1i is f>"nta-ratha in plan but without a1111rtih i reces.ses.
Fig. 6zo. SARAPAl.U : general view from the south. The leanilea of the gapli is divided into fi,·e
bhNmis with three bara1J{i.is in each bhNflli. The am/is also crown chc bhsimi divisions of the anartha. The
i•ajra-mastalea design at the base of the ga~efi is only blocked out and left unfinished. The crowning
members of the 111a11alea are missing.
Fig. 611 . SARAPAl.1.1: image of Na{arija in the lourcr niche of the 1·a;ra-ma11aA;a ()\'er che enrrance
ponal on the east.
Fig. 6u. S ARA PA I.I.I : pii;ia design on the nonh with image of Aja-Ekapada. The p,i/Jh,j_(a has an
indented plan as on 9th centUf)1 temples in Orissa though the chrcc moulding d~ign is an archaizing
feature. The niche is framed by a wide band of scrollwork with seated fig ures at 1he base o n each
side. The lintel above is decorated ~·ith a battle frieze. The niches of these side pi,eas measure
approximately 18 inches by 11 inches.
Fig. 61 }· S AR.-\ PAI.I.I: image of Gar.ieSa in riha niche on the south side. Gar)c.."*a is seated in
artfhaparyari/ea eating sweets from a modaka-piitra held in his lower left hand. His lower rig h1 hand
and knee are broken . His upper left hand holds a hi/hiira while the upper righr holds a radish. The
pedestal is mostly damaged except for a bowl of sweets. The image measures 19 inches br 18 1/ 2
inches.
Fig. 614. SARAP ..\Ll.t: <.leta il of the doorframe shc>u•ing the d1·1irapdla niche and a nJ.r..i. The n1~e,i
appears to be holding a "'!Ji. Abo,•e the ntigi is a plir{la-&hafa.
F ig. 621 . S ARAPA I 1.1: detail of niche jamb showing a bearded figure holding a young boy in each
uplifted hand. A similar mmif appears on the Pal\ca-P:i9<,lava temple at Ga9c•warpur and possibly
illustrates the Pralamba-vadha -.·ith Balarama and Kri9a defeat ing the demon.
Fig. 626. SAR AP Al.I.I: derail of the gtlaba scroll of the doorframc. The figu res are playing musical
instruments rather than climbing the meandering vine.
Fig. 617. SARi\PAl.1,1: detail of niche jamb ""' ith an cro1ic ~cene and a mc)nkey. The p<>rou~ sco ne is
badly eroded and details badly worn.
Fig. 618. RAJ,.\R..\JE.S\ 1,\ Rt: general view from the southeast. The remains l>f the pi/ha ~upf'Hlnin~ a
1a1,amohana are visible. The J111/ is panially sunk which sugg~ts it did not ha\'e a ~upp<>ning pirha and
1hat the ;agamohatta may have been a lacer addicion.
Original from
<'. .-\ ·r:\l.(lC L·1: ( >r 11.1.t ·s·rR:\ T l <>~ S
Fig . 619. R XJAR.\.11·...~\·,,Rf: detail of 1,a!ft/i shov.• ing vajr11·ma1toU desi~n on the S<lUlh. The ba~ic
desip;n was o n1)' b locktd·out and left unfin ished as is che case wich m<>St o f che decc>raci\'e prt,~ram
of t he !."!lfi1', A miniat ure rrleha shrine appears in t he lower medallion.
Fig. 630. R;\JARAJES\'ART: rtihti niche on the north side w irh ~fahi$amatd ini. The frame is o rnatc:ly
decorated wich foliage issuing from a p#r!Ja·gha/a at the base on each side. An ornate /elr11muleJ,a nt;l .. k
appears on 1he lime! 2nd dwuf-a1l2mid figures 21 the ends. The image of ~hhisamudini is badl)·
damaged wi1h many of 1he hands bro ken off.
Fig. 6~1 . R.X.J:\R.4..1ES\'ARi: rtil1ti n iche o n the south side with Ga(lc~a. The lintel is ,..ttc<,rarl· d " ·uh
h"titsas ac the ends a nd o rnate scrOll"-'Ork . Gar:ic~a is seated in arJhaparyali/e.a eating S\1,:ccts. fr<lm a
modalia-pa1ra held in his lower left hand. The lo wer ri~h1 h2nd holds a r2dish, the upper rii:ht hand a
r(>Sary and the: upper left hand t he hifhrira . T he l'if1·apod111tJ scat is supponcd b~' jack ·frui1s at the
corners while in the: center is a mouse approaching a bo"'•I of sweets.
FiK· 6~1. R.\JAR.l.JES\'ARf: PO.e.11 niche on the south side wit h LakuliSa. The imas,te o( 1 .ako li~a 1s
badl)• damaged thoug h eno ugh remains to show he is seated in pad111ti1ona and d i5plar5 the
dh11r11111r0Jer11-pr111•arl tana·111"'1ri with his lower hands w ith the /11hto held a~ainst the lt·ft sh<>ultlcr.
His u pper hands h<>ld a bo<>k and trident. Fl)'ing 11idytidharas h<>ld a tiara above h is h(·ad.
Fig. 6B. Rl.J•• l.JES\'ARl: detached image of Mahi~amardini leaning against the •anc1um door-
frame. The image is badly damaged but similar in style 2nd ico nography to the pirsi·a..Jrralti in t he
no n h rlihi niche. The majo r r1ght hand plun~es a t r1dcnt into t he head of the demc'n attcn1p c1ng to
cs.cape from t he buffa1<>·carcass "-'hilc the sh ield strapped to the forearm of the mait>r left hand
pushes do"'' " on its chest . The other ri~ht hand s hold a ra~ra and pluck arrov.:s frc>m a 4ui\'cr \\'hlle
rhe lo\\·cst left hand holds a n<i,t,a·pOia. D in1inutivc female attendants appear at the base, t)ne t)O each
side, while the lic>n ~na\\'S on clne of the legs of t he demc)n.
Fi~. 6 34. R A IAR.~Jl~S,·1\kT : image of Aja.f.kapicla in a n iche c1n t he nonh side. The 111\\·cr arm~ :and
~ttCn{lant in the ((1\\·c r left corne r arc missing . ·1·hc uppe r hands hold a serpent and t rident.
Fig. 6;J. j ,'\'l'A'r 1: cietail of btit}tJ on the south side of rhc small temple nea r the rccc>n!'tn1ctt·d
t\lallikarijin. T he pdhhd.e.o const!'ts <>f thrl·e mould in~s as dc>es the hhNmi division cr<>"-'ninA chc pJ.e,11
n iches. Except fo r the en!'hrincd imaACS the temple is devoid of decoration.
Fi~. 636. j .\YATI : det ail o f do<)rframe. The frame C<>nsists o f three bands u·llich v.:ere lc:lt
undeC<1ratcd.
Pig. 637. J i\Y1~:r1: ima~c of Hari·Hara in niche c>n the: \\'CSt side. lie St:ln(iS in a s11n111h)1al~fl.1J r~'~
"'·irh his lt1wc:r ri~ht hand in 1·arada and t he l<)wcr left rc!'ting on a mace. The upp<"r han(l~ ar<
m1!'sing. FraRmcnts <>f the bull N2ndi appear in t he lc>v.·cr ri~ht corner a nd a male a rccntl2n1. pc)!'!' il:llr
Garu~la, in the left corner.
Fig. 6i 8. H1R.'\Pl'R: ~eneral vie"'' ,,f the Chau~at ' ' <1gini pi1!1a fr(1m t he sourh. The cx1eric)r is plltn
except fc1r t he nine: niches housing Ka(y~yi"l ima~es anti the pr<)it:ctiog enrrance at t he e2~1 . 'l 'hc
nc:"'·ly C(>OS.tructt·d 11ta!ft/tip11 "-'ithin thc pi/ha pr(.1jccts ab(.1vc the: tc1p \If chc: circular "-':tll!'.
1:1j?_. 6 \9. l-l1R.\ Pl R: vie\\· <>f pitha from the ea!'t \\·ith rhc e nc ranee. / )1·iirt1pdlas arc ra r,·c:d o n the
fr<)n t Aan k1njt the p a!'SaJ:<' th<>ugh the~· arc ba<.tlr u·· orn.
Fig. 640. ~l 1 R.\Pl'R: Ka{,.4yini # 8 in a niche on t he no nh side of the exterior wall. Shc 5t and$ 10 a
tri/1harig a pose holding a liapala in her kf1 hand in fron1 of her bod)· and a karlri, mostly mi«inl(. in
her tight h and. Her hair is arranged in a lar~e chi~non ro the left side o f rhe held. A diminuri\'t
attendant in the r ight corner holds a parasol above her head. A severed head appea rs in the center of
the pedestal A1nkcti by a jackal <.>n each side. The: image mel.sures ;t3 inches by 18 inchcs. 1
Original from
CATA LOG ta.; O J' 11.L.l 'STRA T TOl'<S \0\
Fig. 641. H1RAPUR: Ka!rt!J·ini # 9 in a niche on rhe nonheast side of the exterior wall next ro the
entrance projection. As in the image of K4tyllJilfi # t, on the south side of the entrance, she holds a
curved sword above her head in a threatening gesrure. She holds a leapiila in her left hand and a long
shaft against her left shoulder. She assumes a dance-like pose with her hair dishevelled and is near!~
nude. A severed head appears in the center of the pedesta.l Aanked by a jackal on each side. Tho
image measures 30 inches by 17 inches.
Fig. 642. H1RAPl'R: Bhairava image on the south inside wall of the passage. He assumes the
oliflhasawa pose with the left leg ouistrerched and the right slightly bent and placed behind. His right
arm is uplifted and his left oucstretched but both are broken ar the elbow. He is nude and emaciated
in body with a sunken belly and maned hair. He wear.; a long garland of skulls and has serpenis fo r
ankleis. Beginning from the proper right the pedestal is decorated with a Aowering plant, jackal, and
two small attendants, cmacjared in body and assuming a similar Q/i(ihOsana pose, holding a lf!.llrln- in
their uplifted right hand and a leapala in the outsrrctched left hand. Bhairava measures 44 inches by
14 inches.
Fig. 643. H••••~•: Bhairava image on the north inside wall of the passage. He assumes the
pratyalirfhiisalf11 pose with the right leg outstretched and the left leg placed behind. His right arm is
uplifted but broken at the wrist while the left hand holds a severed head. He is likewise emaciated
and wear.; a long garland of skulls. E ven though the genitals arc clearly visible in both images,
neither Bhairava is represented irtlhva/i,;g11. His hair is matted and he also wears serpents for anklels.
From the proper left the pedestal is decorated with an attendant drinking blood from a upala, a
flowering plant, and two more attendants who have both arms uplifted and hold a upila in each
hand. Bhairava measures 40 inches by 17 inches. Bolh of l hcsc Bhairava figures arc carved from a
yellow sandslonc.
Fig. 644. HJR.-\PllR: \ricw o( ca.st wa1l of the Cat)Q.i·11ta!1<1apa in the center of the cncl<>Surc. Thii;; is a
modern structure- with an arched opening on each side Ranked by a pi¢ha~m11tttfi containing an
enshrined image, two images on each wall. The image in the south niche is a Aja· Ekapada while the
image in the nonh niche is a ten-armed Bhaira,•a seated in lalittiJofla. There arc also two ten·ar!flcd
Bhairava images in the niches on the south wall of the moMapa. This intimate association of .\'oleti
with Bhairava conform.\ to passages in the P11ritta1 referring to Dak$a's s:acrifice where it is
recorded that Siva assumed the forms o f many Bhairavas and settled in the vicinity of the .\raletipithas
so that he could keep watch o ver the pans of Sati'• body.
Fig. 64s . HIRi\PCR: view of the interior wall showing yo1,in1i housed within the plain niches.
Beginning with the first foll image on the left side of the photograph the yoJini is # 39 and the last
full one at the right is # 4 l ·
Fig. 646. H1RAPcR: image of Yopni # l· She stands in a graceful tribhllriga pose with the right kg
partially uplifted but now broken oft' above the knee. She wears a garland of skulls and drinks from
a upii/11 held in her left hand. Her right hand is broken oft' at the elbow. She is ornately bejewelled
and ha$ her hajr arranged in a large chignon at the right shoulder. Beneath her lotus pcdc:stal is an
elephant. She measures 1 0 inches by 10 inches.
Fig. 647. HJRAPl'R: image of Yogini # 4. She is four-armed and stands with legs wide apatt on a
tortoise. She holds a upala in her uplifted back right hand while her other hands are broken olf. Her
hair is arranged in tiers of coils in fan-shape above her head. / f/ambikii garlands loop ftom her
girdle. The figure measures 11 inches by 11 inches.
Fig. 648. H1RAPCR: image of Yo?,ini # t4. She stands in a slightly Aexcd pose on a drum. Her arms
are broken at the elbows. Her hair is rolled in a bun on top of the head. She wears two types of
earrings and fangs arc visible in her slightly open mourh. She measures 20 inches by 11 inches.
Fig. 649. HrR,,PUR: image of Yo!.ini # z4. She assumes a dance pose on se\•en '' ratna.kala~as''
carved above her r•iivapadma pc:<.ft'tiital. Her arms arc br<.>ken near the elbow. J-ler hair is elabt)r:ttcly
Original from
~oG c:..,·r.\ I J)(~ l· J :: ClF ll.l. l.S1 ' R:\T l ()~S
arran~c:<l in a l ar~c chi>tfll)n to the right c>f her head and she \\'car~ t\\.'O types of earring:;;. She
mca~urcs 20 inchci; b\· 10 inche!'.
l7 ig. (•\O. ll1R:\Pl k: ima~e (lt' ).fl,f.i'ti D 16. She: assumes a dance pose thc>u~h her rij{llt 11.·fi! i~ br11kcn
otT ab(J\'C rhc knee. She is fc>Ur· arn1cd but they arc m<>stly brc>kcn. }{er tW<l lc>\\'er hanc.ls h11ld an
in,lisrincr ()l)jcct near her left hr1.·a!'t. She has the: hc:ad 1>f a lit)n with the mane for1nin~ a halt) ar11und
her hcall. I lcr pctlc:stal is d1:c1>rarcd u·irh flc1\l.'Cr mo1ifs and possil>ly Slt,ncs. She n1ca:-.ures 10 incho
b~· 1o inchc~.
fi~. 6\1. l~ IR.\l'l.R: im:tgc: 1.>f ) '0j,11ti # 31 . Sile i~ t he prcsitlin~ <.lc:iry and \\'Ors)11pp1.xl as
~1ah:in12ri. She is 1cn-~rmccl an1.I stan1.ls or1 2 lotus thtiugh her btJdy is m1ssin~ bclc>\\' the u· ai~1 2nJ
man}' of her hands arc brc>kcn off...{er hair is arranged in a tall 11111A!M/a and ffc>ral ruriics (an·c>ut
bc.: hin<l her head. She is nc->rma lly clothed so that only her face is \·i:-.il>lc. A nc..·arly st.1ua rc pc.·<l1.:5ta1
pr<>iccts •>ut on 1hc tl<>or beneath her. She measures z.6 inches by I j inchc:s.
Fij.t. 6~1 . 11111..\!ll'R: ima~c <>f )'o_v.,ini # Jl. She is t\\'O·armed and assumes. a d:tnce p<>SC chc 1u>!h hc..·r
rigl1c le~ is n1ls$inJ,t and her h:intls :ire l1rt>kcn f1ff. She has a da1naKt:tl tlc.·rcc: t'acc: \\'ith anim~tl 1.·~1rs an(I
her hair is arran~cd in c<>ils. 1\ kneeling arcl1er shot1ting an -arrt>W is car\'c1.I c.>n rtlc (1(:1.lc.·$t:tl. 'fhc-
yo-.~ini nlc.·a~ures 18 inches I)~' 10 i ncl1c:~.
Fig. 6\j.. H1RAl'L'R: ima~e t>f )·01.ini # ,s. Sl1e has tl1c head <>fan cfc:phan1 an<l s1an1Js in a 5>li.l!h1 ly
llcscd pc)$.C l>n 1hc hack tJf -a <lttnkey. } lcr bt>Jy is stt>UI an<l her arnls are l)rcikc:n c1tf al1c>\'C 1he
clbc)\\'S. Her hair is ne~tl~· arranged in a j atti·11111htfa. She measures 11 inc})c$ l-,y 9 inches.
l:i~. (1\4. ll 1RAPl·R: im2ge <.>f ) 'Q..e,i11i # 39. She star1<.ls in a gr'J.cC.~ful pr11~rdlitfl1i1 pclS(' cin 1l1c.· l,ack t1f a
rat (?) shcM>ting an arrt)u· f r<>m a St r1ngc:d·b<>\\.'. t he latter n<>W O)<l:>.tly m1!'sing. She 1s <1rn:ttc.·ly
bt'J<.'\\·cllc1.>ra'c chi~nc1n to the r1~ht <)f hc.:r face. ;\ f1U1\·er t.>f arrt>\\·s
'3ppcars bc:h1ncJ each shouldc:r. She measures 11 inches by 11 inches.
r~i~. 61 1. lflR:\P\'R: imaJ.!C <>f ) 'ox,ini ff 47. She stan<ls in a :-o.l i)!ht ly fl1.·xc.·d p<>SC (10 a p1.·1.1('5t3I
Jc.·coratc<l \\'ith lotus rc1scttc-s of \"ari<>us size. She is fc,ur-armc:d t h<>U)!h her right h:tncls arc llr1>k1..·n
c>lf and rhc l<>\\.'Cr left hanJ, in t.1hht11·a·m11dra, seems co t>c a n1c1Jcrn rcstc>rati1>n. I lcr n1;t1n rig ht h:inJ
ht1l<ls a 11ci,e,11·pdia. llc:r hair is arran~c:d in a tall j t.1(d·m11kl1/a. She mt"a!-ures 11 inchc..·s l>y 11 inchc::-o..
fi~. 6s6. ll1K.\l't'1t : ima~e c>f )'bJ!.ini # 48. She stan<ls in a graceful pci:-o.e u·ith 11.·~s spreatl anti hc.·r
ri~ht hand up1ift1.·<l ht1ltl in~ a S\\'t1r<l ht)rliontally al><>\'t' her head. ~lcr left hand cc1\'cN tl'I(' mc,1u1h 11f
a J3r~c \\·inc \'cssel (.\la1!)'a JJha111/a ) s1ancling: on her pctlestal a.s if kc.·cpinµ S• >ntell)in~ Cc>ntain1.·d
\1:i1hin. Iler hair is brai<lcd 10 t he right c.>f her he2<I. She has an encl'l:an11nµ srn tle;: that 1llun11nes her
face. J--lcr tc>rS<"> i~ b:.i:tlly t!:amag('tl. An eanhtn p(>t u·ith conic.:tl lict is carvcc,I cul t he pe<lt·~tal. Sht"
mcall.urcs 17 inches hy 10 inches.
Fig. 6s1. H1R:\Pl.R: ima~e of ) '~e,ini #so. She stan<ls in a sJi~htJy ticxcd pose \I. 1th htr lc~s 1
mss~1nµ bclc>u· t he pcl\·is. Sht: has t hree hcatls and her hair is arran~t'd 1n a tal l .1"tti-m11h1ft1. lier luic,ly
is o rnately hc1cu·ellcd and a.>''!/110fHll'ita hangs from her left shoulder. Sl1c: has fc>u r arn1s thc>u~h 1ht·~·
arc.· brc•kcn ( ) tf at t he cll)cJu·s. T hr: dccc>ratit>n o( the pc:1.lc:st2I has n<>t sur\' l\'t'J cxcc:pr fc•r a ~n1 .1ll l1t>n
u·11h pearls 1.lripping frc>m its mt•uth at tht: left cc>rncr. l'ht: ~ro.~ini mcas\1rcs 19 1nc:hc:-1 hy 11 inch"·~.
r:i~. 6~8. filR\l't'R: ima~(' of ) "1~1t.i11i ft. ~1. She St:tnds on t he: l1ack c1f a StC>Ut animal \\·nh h,:r
u·ci~ht mr•s1ly (>n hc.·r left ftJ11t . Iler ri~ht lc:A is sliµh cly liftcJ as if ~l1r: \\·ere tak ing a st,;p. J l"·r
upra 1,.c.·:hl hand h'>ltls a S.\\'11rJ al)()\'C her head u·h1lc her left arm 1s hr(>kc:n lx·I<>\\. tlic 1.·IJ,1>\\-. 111.·r
face is (>hli1era1,·J . She is surr(>unJc:J by flames \\'h1ch suv,g1.·sts she rc.·prc.·~c.·n c s. :\~nc.·yi. 20 1nc:hl.'$ lly
1 1 inches.
1:i~. 6\9. llJK\1'1 R: i1n:l~e cif ) .&,V.'''; u 16. She assun1cs a c.lancc pt>sc c>n 1hc back t1f a n1usk ·tlecr
:tnJ hc>IJ s the :-.kin <>fa lu1n ;tl>t>\'C her hca<I. 1ler lt>\\'1.·r hands ha\'t.' a ~.Jrtri a11d sc.·\·c.·rc.·<l·hc:a<I. She
Original from
C:AT.~l.OCL.E OF 11.1.l"STRATIO!'<S 107
has an emaciaced b()(ly wich sunken belly and pendanc breasts. She wears• garland of skull• and her
hair is in a flame-like """/ell/a. Her face is likewise obliterated. 11 by t 1 inches.
Fig. 66o. H 1 R.,P~R: image of Yot.ini # 63. She is in • d•nce pose on che back of a scag . Her
uplifted right arm is broken at t he elbow as is her left acm which was placed at the hip. She is
ornate!}' bejewelled and has her hair in a large chignon to the right of her face. There is a \'cssel t)n
each side of the pedestal from which issue long meandering stalks. 10 by 10 inches.
Fig. 661. R.~~1p11a ..J1-t..\R1A1. : east view of the Chau~at Yogini pitha \\iith entrance shov.·ing 111a~(fc1po
w ithin. The exterior walls are plain and arc covered by a projecting cave and rounded c<,ping.
Fig. 661. R1.~1Pl1 R·JtiARIAt.: interior view of the pi/ho with Nafarija in the covered 111111J<f11pa. There
arc 64 niches arranged around tl1e walls though some of the J'oginfs are m is~ing. T he niches a\·cragc
40 by 18 '/, inches.
Fig. 663. R.\1'11PUR-jHARIX1. : interior view withJoginit # 13- 18 in niches on 1he south side. i ·oxi11i
#- 14 is much larger than the others and originally had six or e ight arms. Her location in an isolated
area o f t he wall suggested to &glar that this may have been the original entrance. It is pos.ible that
she was on the ma~r/apa along with Naiaraja and other male figures.
Fig. 664. RA~IPl'R·JHARIAI. : image o f Yogini # 11. She has three heads •nd is 1n •squatting or
dance pose. She holds a trident, rosary and possib ly a "'4pala in her three surviving hands. Her hair is
2rranged in tiers. The pose of rhe legs, sharply bent so that the center of gra\'iry is low, is rather
clumsy.
Fig. 66i . RANIPCR-jllARIAI,: image of Yogini # 10. She assumes a similar pose and holds her major
hands in front of her chest while her uplifted back arms arc broken off. She has the head of a lion.
Fig. 666. RANIPCR-j ltAR1A1. : animal-headed Yogini # 11. Her major left hand is placed near che
n2,·el as if hol(tin~ an object. She is six-armed and holds in her survi\'ing hands a .t.atlO, S\1.'ord, rt>sarr
and a va;ra ( ?).
Fig. 667. R.>.N1ri-.-J11.\R1,\1.: i·o1.ini # 11. She is four-armed and has the head of an eleph ant. Her
remaining uplifted back left hand holds a club or an alih<ia.
Fig. 668 . R7'NIPl'R·JllAR1.>.1.: boar-headed, four-armed Yogini # ZJ. Her ma1or hands arc placed
under her breasts ' "hile her uplifted back hands hold a club and a rosary.
Fig. 669. R~s1Pt•R-jHARt,\ 1. : Yo;,ini # 16. She is four-armed and appears t<) be adjusting an ank let
v•ith her major cwo hands. Her uplifted righc hand holds a rosary wh ile the object in t he left hand is
indistinct.
Fig. 670. R.>.s 1Pl·•-J 11,\R1X1.: interior view of )'Ogimi # 41-49. Yo;Jni # 43 h as a child on her left
thigh. Yogini # 44 L' ho,.e-hcadcd, l'ogini # has a buffalo-head and Yogini # 47 has chc head of an
antelope.
Fig. 671. R.\s1P~•-JH.,R1,i.1.:J·~ginis # p and # p . }·ogini # p has a touch-hole in theyoni and is

two-armed. Her righc hand is in her mourh "·hile the left hand holds a "'4pala. \"ogini # p is cwo-
armed and holds a club in her left hand. T he object held in the extended right hand is ind istinct.
Fig . 672. RANIPl1Jt. J 1t.-.k1.\1, : interior v iew with J"!.inis # )4-61. Yogini # S4 has a stout animal
carved on her pedestal while an elephant is on the pedestal of Yogini # ll· The latteryo,(ini hold• a
bow and arrows in her uplifted back hands. while her major left hand holds a sralk of Rowe"(?). A
small animal, possibly a deer, is on the pedestal of Yogini # j6 while a buffalo is on the pedestal of
}'ogini # !7· The lattery o_A?ini ho lds a noose in her right hand. Yngini # l9 hold• a club and a leapala
Original from
108 <'. :\'1'1\J.(){'"il ·a:. ()F 11.1.l 'STR:\Tlt\NS
in her hands \\'h ilc a hc>rse appears on her pedestal. Yogini # 60 ho lds a m irror and aprlics slnd:.tl
pa$te in the part <>f her hair. ) 'oginr # ()1 holds a sword behind her head wi1h her raised rit:ht hj_nJ.
Fig. 67;. s. .NTAl.A: fragment of door jamb. At the base is. figure of. female standing with her
rii:ht hand placed on the hip in Jui{roralamhita and her uplifted left hand holding a v.·atcr jar,
suggesting that she may be a river g<>ddess. The first panel above the ri,·cr gcxldcss represents a pair
<,f addorscd fcma;lc: fi~urcs holding onto a tree limb with their uplifted hand and their garments u·ith
the other as a monkey attempts co pull them off their bodies. This is a popular motif on 10th · 11th
century temples though gcnerall)· there is only o ne female rarher than two. In the scc<.>nd panel is a
$Cenc of a female figure gi\•ing alms to a male .. ,,,.•ho h<>ltls c)ut h is begging bou•I with b<>th h anlls. a
secularized version o f the Bhik~apnamuni of Siv•. Jn t he top panel is a scene of lh(~a-p#1i.
Fi~. 614. SAINT:\ L,\: fragment of door jamb. The ri\•er goddess at the base assumes a mirror-in1:1.,:_e
p<>~c 10 her c<>unterpart in the previous photograph. The scrollwork \l.'h ich separates this ti~ure fr,>m
the panels above 2nd t hen runs \'enically up the outside of the jamb represents a \'ari:11i<.>n on rhc
httilri and ratiletra mot ifs, less refined and lack ing detail, consisting of 2 meanderin~ \·inc: thr<•'1.·in~
otf broad foliage alternately to the right and left. The first panel above tht river goddess rc:pr<"Stnts
t\l.'O female figu res urith children. One of the females is holding a young child near her brc:a!it u·hilc
t he ot her female en1braces a youth stand ing next ro her. In rhe second panel is a scene <>f p«>ssihly
t\\'O female figures being appto2ched bra male hole.l ing a sword. The female in rhe center seems 11>
be standing on 2 shc>n stool or lotus while the female at the left, looking awa~·. is h())din)! ont<J 2
creeper. In the top panel there arc three standing female figu res with the one at the left duplic:i.t1nµ
the pose of her counterpan in the scene below.
Fig. 67~. SA1="'·r .o\1.A: frajZmcnt of a dc>0r jamb. The ri\'cr gcxicfc:s.s at the base ass.umc:s a !'tm1lar
pose to those of the previous jambs though she is much larger in size and has a parasol above her
hc::acl . The jamb ab<.)VC is car\·ed with a crowded scene with many figures includin~ mithu110J, dancers.,
2nimals and possibly Krioa-lila episodes.
Fig. 676. S A INTAl.A: damaged slab with a female figure embracing a ~·<>uth stan(linJ.! nc.:xt tel ht·r
sinlilar to the ri~ht figure in the firs-1 panel at'><lve the ri\'er gt>dc.Jes.s in fig. 674. She \\·cars a scarf
a ro u nd her shoulders anc.I her h:1ir is tied in an elaborate ch i~non at the lc;:fr o f her l)t:ad. J-lcr uplifted
riJ.!ht hand " 'as possibly touching her earring.
Fig. 677. SAJ1'T.\l .A: dama~ed slab with a female fi!(ure hold mg a young ch ild on her hip.
duplicating t he pose of the sec(,n<.1 female in fig . 674, and her right 2rm uplifted. She likeu•isc u·c:ars :t
scarf 2round hc:r shoulders and her hair is arranged in 2 bun on the ri~ht sic.le of her ht::.'ld. She i~
richly orn:1mcntcd though o nly a feu• surface details sur\•i\·c.
Fig. 678. $ ;\1:...·r:\l ...\: s tair ~ris er \\'ith lion 2nd maith11.no.
Pi~. 679. S·\l!'-:1' ..\l .A: j:amb fragn1ent \\'ith multiple scenes. l~xecpt for a \\"restlin~ scene in the ltl"-'t•r
area and Kr~l)a <icfeat in~ t he: h<)rsc demon Kc:Si in the mi<l1.llc right sec:ti<.-n rhe sct:nes are tel<> hatlly
damaged <O identify u·ith any degree <>f ccna inty.
Fig. 680. S 1\IS'J'AI_-.\: iamb ft2j.!ffiCnt v.·ith n1ultiplc scenes. r~xccpt for the mithuno images ()n rhc
right edge the im2gcs 2re too badly dam2gcd to identify. In rhe lower middle area arc \'2rious
animals u·hile in the center is a female dancer. Th e scene nc2r the upper ri!-!h1 cc>rncr pc>~$il>ly
reprcs.cnt!r' the )'Oung 1-\.r~r:ia stealing curds.
Fig. ()81 . S ..\l:0-:'1'1\J .\: l>tt.>kcn \'i~r,iu image \l.'ith back-slal,. Only the feet (>f \' i~QU rtmain. The.·
female figure!> flank ing \'i~r;ru arc Sritfe,·i <)O the right and BhUdevi on 1he lctr. The l<>tus hclJ by
13hUdcvi is carvec.I <>n the inside of t he t,'1di so that her 2rm circles the weapon to h<>ld the !'talk.
Beneath rhc lffi:'t).tl' <.>f Sridcvi is c;aru(fa '\\·h ilc the knccl in~ r!i u.·lth long beard on the <>pp<•~itc.- ~1Jc.·
p<•Ssihly represents l\:ara<la. l'hc pc.·,fc.·stal bct\l.·cc:n these tu•o kneeling ima~cs. i~ car\'cd u·1th three
Original from
<:1\TAl.C.) Gt·l-: <>F lll.l'STRATl(>NS
devotees while above them, beneath the feet of Vi~IJU, are carved the fish and tonoisc 0110/ars. The
representation of the avatars continues up the right edge of the back·slab with Vara.ha, Nrsiritha,
Vamana and ParaSurima and then continues down the left edge with Rima (now mis~ing),
Balarama, Buddha and Kalki. The scene on 1he liniel above prob•bly represenis 1he Churning o f 1he
Ocean wi1h images o f 1he gods on one side o f 1he lotus-halo and the demons on 1he 01her side. A
second nearly identical im2ge of Vi19u is better preserved except for the upper portions of the back-
slab.
Fig. 682. N~s1S•HM,.X.Tf!A: detail of doorframc o n 1he north side wi1h 1he jambs decornted with
leN/ila, gtlaba and j alapatra scrollwork. Some of 1hc figures in t he gtlaba scroll arc playing musical
instruments.
Fig. 68;. 8AIDYANATH: gener•I view o f the Kileivara temple which coll2psed during the
monsoons in A.O. 1967. The door is a recent addition as originally there were no openings in the
walls. The ''a.Jra maJ!alai appears to hat.0•e been removed when the door was added. The ga!ltJi is patito·
4
ratha in plan with the Jeanilai being divided into seven bhUmi1 by a,,,/as, each bhMmi having six:
baraJ!tfis. Stylistic2lly 1he 1emple can be ascribed to the mid-101h century.
Fig. 684. 8AIDYANATH: fragment from anarlha-paga of the Kile$vara 1emple affixed 10 a modem
pillar added to t he interior of the Kosalcsvara temple. The fragment consists of an lirdhva-garhbi/e,i
flanked by ni,~a/nigi S/amhhas. Both the niga and nigi arc crowned by a conopy of seven serpent
hoods. The faces are illumined by a sof1 smile typical of the 10th century.
Fig. 68j. BHhtES\'ARA : general view o f the Bhimesvara temple from the north. The pabhaga
consis1s of three mouldings with a recess separating the top rwo. The j iligha is undecora1ed e xcept
for the rdhd niche. The gattefi consists of 20 mouldings o f identical design and is devoid o f decoration
except for the vajra-masla/ea. The images of Nandi in the brh suggest South Indian influence.
Fig. 686. 8Hh tES\'ARA: vajra-maslalea on the north facade of the ga~i/i. The lower medallion is
occupied by a male deity seated in la/i1i1ana, possibly Siva. H is right hand is in a/1baya while t he left
hand ho lds an indistinct object. l\iahi~amardini is in the upper medallion . She is e ig ht-armed and is
similar to the two examples o n the- bd{la a.nd 1andhi·1thala. A small image of Gat:1cia is to her right in
the border of the failJa and Kintikc-ya is on the opposite side.
Fig. 687. BHhtES\'ARA: detail with pabhaga mouldings on the south side of 1hc deul. The top
moulding is decorated w ith spaced tairya-medallions and occasional figure motifs.
Fig. 688. BHTMtC~VAR.,: south side of the ga~(li with the vajra-llfaJla/ea. The lower medallion is filled
with an image of Siva seated in padmuana above a small Nandi. Siva has his right hand in abh~1•
while h is left hand holds a vase. His upl ifted back hands hold a parai• and a mrga. Seated ascetics,
wearing a yo1,apa/!a, arc in the borders of the rail.Jo. The upper medallio n contains an image of
Lakuliia seaied in his conventional pose w ith the lav fa held against his left shoulder.
Fig. 689. BHi~t•'-~\'AttA : no n hwcst vicu.• of the temple. The rdhd niche contains an image of Brahma
with a diminuti ve l\.lahi*amardini aBixed to the pabhiga next to the drainage spout. Another image of
Mahi~amardini is on the wall of the Jandhi·Jlhala. The j aga111ohana is relatively plain except for the
pabhiga and• slightly proiectinggar,ak,ra with a latticed-window. The interior has a raised dais in the
center of the Aoor, producing • pradak,ri~i path, supporting two rows of t hree pillars each. T"·o
additional pillars arc placed in front of the antarala. In addition to the main entrance on the cast
there is a second door on the south.
Fig. 690. BHhlF,S\'ARA : small image of Mahi~amardini affixed to t he rop mould ing of the pabhal'.a
next to the t1bhi1tka spout on the nonh side of the dtlll. She is eight-armed and is similar to the la rger
image of the 1t1ndhi·1thala except she pulls an arrow fro m the quiver rather than merely ho lding an
arrow .
Original from
po <::\ i ·..\ I.<•( ;l ' J.:; t )F 11.1.l 'Sl'R:\ ·r1< >;..;$
Fi~. G91. N:\<,Rlh: .\T;\.,_,., ,,: ima~c of Gal)c~a in~crtcd inlo niche c.>f chc brick Si,·a t<·n1plc:. Jtc is
2
fc>ur-armcc..f anti is sc~ted in 11rd/Jap11ryofi/ea. I-le is pluckin~ su'cccs from a 111r'd"k.d·p1itra hc.·ld 1n his
n1ajc>r left hantl. t lis right h-an<.ls ht>ld a radish and a r•>sary \li:hilc the back left arm is m1ssin).t. 11 b~
16 1nchc.:s.
1-:i~ .691. ~ ..,c..R1"- .\1'<\K:\~1 : detached image c>f a s1anc.lin~ male fi~ure, p(>Ssibly h:im:a, flankcc.I by a
t'c.:malc on either sidt·. His han<.ls are placed in ftc)Ot of his \\' aisr anc.l pc>ssil>ly hctl<l a h<>w. I It~ ri~ht
ki: i< <lightly rai<cd. The frmal< lii:ure$ hold on 10 his arm<. A peulled halo 'Pl"'"' behind h" hc•J
u:hile the sides t1f the back.slab are lined \ttith art(>\l.'S. 7\ 11, by z8 11. inches.
Fi~. 693 . \ ' XR.liHT: general \•iew fr<>m rhc n<)rth . The r<><>f o f the 1agt111tohtJ1ta has recently been
rc:>otorcd.
f::Oig. 694. \1 ~R.li1 1l: detail of t he ~a~(ii and crou·nin~ mast11ka of 1hc: lon1t \l.'C5t si<le. The l<.>\l.·er bhNmi
o f tl)t !.tJ!l(li serves visu3lly to tcrn1inate the pii.e.o <lcsi~ns of the bU!lo. The second hh1imi is s1n11l2r 1n
design but "'·ith niches at the base of each lthtilr.hara.. ,,,"~<li. The bi111111a consis1s of a phr~1i d"·cc>r:tr1.:d
\\·i1h pt1dma-pr1/ha and $urmoun1ed by a l>rki dccc>rated "'' irh)J/i. The cro \\·n1nR mu11c1k.J C<~ns1::1s 1.>f a
lar~e V1tikhtJrti \\•hich ii;. tri-afi..e,a in t.lesign. The ccnrer a~(a projects and is dccc>rat(.•d u·ith thc m!1J11r
1·~;ra-mastaka \\·hich co n:;.ists ,,f a large 1ai!)'a-n1cdallion f(>rmed b)' strings o f pearls is!'u in~ fr<1n1 a
lefr1i111N/F);a at the crest. The meJ2lli<>n ls tilled \\•ith a small Jehtikhorti-11111~11ji and lar~e;· .e." '1t11 appt,,•ar (1n
the "'·in~s. l 'hc mNhiinfl .,,f the fll nking afi..~aJ is relieved \\'ith mithNna inla~cs \l.'hde the sl<1p1ng upp"·r
su rface is plain.
l~ig. 691. \ ',:\R.'.\11i: g eneral view of tlte drHI ft(1m rhe \A.'c.·!>t. The temple i!' built (10 a pt/l1t1 2nJ h.l!>""
p,ihhJ.t.a of only th ree mc>ulJ1n~s. 1'hc bti4a is palita·rotha in design with the: niche!> st a~f.!crc:d 1n
placement rather than aligned. l "he t1nNrJhi recess bct\\'c::t'.'n t ht' /ea11ih:J and ant1rtha i:: tillc.·<l \\' 1th a n1ii:,i·
11amhho "'·hilc that between the onar1ha and rihti is tilled \\·ith a thin pilaster rclit•\'t·c.I u:ict1 scrt1Jlu·clrk.
Fif(. 696. \ ' ARi.111: det2il of the htirfo on the \\'('!>t sitle. Kiri!n dcs1~ns appear on the: kl•11r11 m<,ul<ln\~
and tampalea·lcaf designs on the lt.Nml>JM of the ptift/Jti.t,a "'•hilc the m11ha'}!i of the: t<•p n11\Ultl1ng 1s
relieved with scrc>ll\\•ork. Tht> pJ.t.aJ are decorated u•it h scrol l\\·ork surmc.luntcd by a n iche till1.:d "'·nh
Jeamolealtipra)'Oia illustrations. The anurtihi is tilled \\·i1h a nti1.l-1taml1ho w ith a g'!_Ja-krtintt1 at its base
\\·hich bc~ins aho,·c t he ptibhJ,~a.
Fig. 697. , .,R'\111: d"·tail t>f S<IUth r.ihi \A,' ith the inll)!(' ( ) f c;:atieSa. The: uppcr plrt o f the niche 1$
filled v.·11h an Mrtlhra-,t,arl1hikd Uc-~i~ncd as a J:./1,ik.l1arti·m11ndi.
r:ig. 698. \' \ R'.\l tl: dt·tail of the a11artha u·1th scr•1ll \\·(>rk :ind l nich<: fillec.i u·ith an Cft>tic ~C('O(.'. Th<.'
scro llu.·o rk is the 1'tJlla •l11tJ 10 \l.·hich oblique cu1t1 n~ techniques "'·ere: cmplo»ed.
Fig. 699. \ ' J..R.\ 111: iJl11/>ha~1ilt.J cr<>wning the nO.r.a ·Jlambho and a mith11no in a niche at 'he ha~e;· elf the
second bhlimi of the f.4'}f}i. The: male partner in the niche is a \\·arrior as C'\' tdcnr b~· the shield. tic
h<>IJ s a club in his ri~ht hand. The female stand!> in a tril>hofiJ.a p<>sc and rather c~>tillett i::hly tinl!tN-
hcr earring \\·ith her lt'ft hand \\'hilc her right hand is held in ff()Ot of her bt>d~· .
1:ig. 100. \ ' ,\1tA11i : ~t:neral \' ieu· «>( the Jt1f.dmnha11a from the sout h. The \l.·2lls and rf1c>f ha\'c: hc.·<.·n
rc.·sto rcd 2nd the pifha has been rcc<'>nstructc1.I 1h11ugh its facing stones are missin~.
Fig. 70 1. \' \R.\11J : s.ourhca~t ,·ie;·\\· <>f the ./11J,ama/J11no v.·it h the entrance p<>r1:il. The;·rc arc t\A.'t>
kh.ikh11rd·mJ(11Pis ant.I t hr<'C p1la!'t<.· rs <.ln each sitle c>f the p(>rt2I. T he portal projects <>Ut 4 \ inchc:ro fr,>m
the "''all anc.i a ri\·cr j,!.<>tf\less is hc>U:i<'d in a m1t!1¢i niche on either side. i·hc entrance is fram<'<l t>n
citllcr side 11)' 2 n,~~11,:nd,r.i-.1111111/il1a, the n1{t.o o n the pr•>pcr riKht 2nd rhc: nQ.(t <.>n the left. At t he far ri>-?ht
c.)f tl1e photo is the remains of a J·Upa.
Fig. 70 1. \ ' \R.\1tl : h1itlo c)( 1hc.111J.t1mu/Jana o n tl1e cast. The ptihlJ,i~a cc>nsi:;.t!> of fc>\lr nlc1uld1n)!!> rathc:r
th an thrcc as t>n t he dt11f, The-re 1s an incJen1a11c1n hcne;·arh the 111111J¢i nicl1e ancl tilt: t'O ~l)!ctl p 1ld!>tl'N
Original from
C:AT A LOGl; E OF 11.1.l:STRAll ONS j I I
extend through the ptibhtiga. The vajra -11101/aka crowning the "'"'!!Ii is Ranked on either side by a
bhtirarakfaJ:A. T he second lltM!ft}i niche is filled wirh an image of Agni-patni. The bara-!f{fa consists of a
single large moulding surmounted b>' a recess filled w ith;ti/i.
Fig. 70). VXRAHT : detail of chc roof of chc j agamohana on the south side. T he vertical face of chc
projecting caves is decorated with stylized lorus petals while the cornice underneath is relieved wirh
scenes from the Ram41a!14. The recess separating the two tcrracc-s is deco rated wich pilrtta-ghafa motifs
alternating with mith11n111 or other figure scenes.
Fig. 704. VARAHT: lndra-parni in a "'"'!<ii niche on the east side of the ;agamohana. She stands in a
relaxed pose and holds an indiscinct object in her lefc hand. The cleph2n1 is visible behind her legs.
These niches average 10 1/
2
inches.
Fig. 701. VXRAHl: Agni-patnl in a lfl•!'cli niche on the soucheast side of the jogomohano. She holds a
rosary and a vessel. Only the head of the ram remains intact. In this earliest example of dikpolas
placed at che comers the series, if follo wing chc conventional pradakfi!'i path clockwise from chc
entrance, actually begins with Agni. Indra and Agni arc placed on the nonh and south sides of chc
cntrtncc pontl whereas o n later temples the series wjll be shifted one place so that isana and Indra
will appear on the cast.
Fig. 706. V~Rl.11!: dilepalo Yama on che south side of ihc jogamohana. He has a club and a noose
in his hands. The buffalo-mounr is in chc lower right comer of chc niche.
Fig. 707. VARA1il: Yama-patni on the south side of the jaga111qhana. She assumes the same trihhariJ!.a
pose as Yama and likewise holds a d ub and a noose. The lower portion of her legs and the moum
:arc missing.
Fig. 708. VARAttT: Ji~ptilt1 JSina on the nonheast comer of che j agamohana. He stands in a tribhafiga
pose holding a rosary and a trident. A 1orpa-utr4ala hangs from his right car. Ac has only two arms
in contrast to four as convenrion:al o n l:atcr im2gcs. The bull Nandi is in the rig ht comer and a ga!Ja
attendant is in the opposite comer.
Fig. 709. VARI.HT: THna-patn! on the northeast comer. She holds a trident in her right hand and
possibly a vase in her left. Ag•!'• is in the lower left comer.
Fig. 710. V.••~Hl : /11ohol'idyi in a m•!fi/i niche Aanking the north gavak1a-window. She is four-
armcd. She holds a club and a trident in her fronc hands while chc back lefc hand holds a se\'ered-
hcad. The back right hand is partially damaged.
Fig. 711. \ 'ARA1-1T : Mohti11i4ya in a 111111Jt}i niche Rank ing the south ,(avOk;'o-window. Her major right
hand is in varada while chc left hand holds a trident. T he back hands hold a rosary and a bell.
Fig. 711. VAR AHT: /11ah4vi4J·ii in a 11t•~i/i niche Ranking the souch go..i k/a·window. Her left hands
are broken off while the objects in her right hands arc indistinct as is the- object o r mounc in the
lower right corner. It is probable that her front left hand held a tridem.
Fig. 7•l· V XRAt1l: detail of a nogi-Jlambha. Her face is illumined by a sofc smile 2nd her hair is
arranged in a Rat bun on top of her head. She wears large circular earrings and a Aoral ruffle appears
above each car. The serpent canopy is badly damaged .
Fig. 714. PANC::A·PANO."'A: general view of the temple complex from che north. Three of chc
corner shrines arc in a good state of preservation.
Fig. 71 S· P i\NCi\-P 1\NOt\\'A : general view of the temple complex frc>m chc no n hwcst prior to
conservation. The platform is completely buried and the: major shrine is overgro~:n with foli ag:e.
Original from
Fi~. 716. P\:'\f .\ · P\st>:\\'.\: \'ie""· c>f t he mait>r $hrinc an<l pla1form A<H>r irc>nl rhe ea~r. ~(Jne c,f 1J1e
d(><Jrframe~ hl\'C sur\'i\'e<l. The cc>rnc:r shrines h:.a.\'C 1hcir entrance on rhe n<>nh <>r !'c>ulh t2c1n~ 1hc::
e:as1-u·esr asial alignmc.-nr of 1he major shrine.
FiJot. 71 7. p ,,:',(;A·P .\Sil.\\·.\: view of the./OJ!,amohana from t he south. O nly the pJhhJ.~a is i1lf~lCt C!SCepr
for a small portion of the ;ti~~ha at the ~(>ut h\l.·cst corner. T he bdtja is lri·at~~a in dc$i~n 3nd c•>ns1s1s ,,f
cn~ag<"d pilasters alternat ing u'i1h le.htile.hdrti·111N!f¢is. There arc only tu:o 11111!11/is on c:3ch s1Je (Jf the:
/,f.ll'ikfa. There arc: no tala-1.arbhik.4 designs beneath the "'"!'t/i niches as <>n the dr11/. l'l1c: pJhhJ.e.a c)( 1hC'
pilasters consists of only th ree mould in~s u hcrcas that of the: "'"!4fi1 has four m<>ulc..l1ng:- i<ll·n1ic.al t•l
1
those of the dtJtl, The base of the pilasters framing 1ht .f.at'lik/a consists of a le.hNra. rece!'!'c:<l kJ1J111/1 an<l
in\'Crted khNra.
r=ig. 7 18. P ,\S<·.<\· P .\s1>."i\'.<\: view (_Jf the dt11/ of the major shrine ft(l m 1l1e u·cst. The /J,ida i~ fh1lira·
rathti in plan u·irh t he lwnika desi~ned as a thin pilaster and the anartha as a lehtik11arti·mu?1(11 \\'Uh a
1·a;ra.,,,a;1aka (_lf!C(>raring its crowning member. The rtihi is designed a$ a truncate'l rrk.Ai rc.:rmin:ltcd
at the tirst bhNmi as t>n e.arly ttmples though its bhNmi is of slight!)' ditJcrcnr design. ·rhe ptihl;,~(•1
cc)nsi~ts of four mc>uldings and there is a tal11·~ar/Jhilei design beneath each n iche.
Fig. 719. P:\S<:A·P.\~DA\·,\: vic;w of the de11/ of the major shrine from the s<">uth. ThC' p1l._st(;!r.- arc
<lec•>rated with scrollwork on their ccnter facet above a tala·ha"dbanti and ha\·c an ,,,·crl :1y1nl-!
kirti,,,Nlehti dripping festoons of pearls at the top. The inner frame of the raha niche h3S a tij.!urc 3l tht
base on each side. the fig ures functic)ning as attendants or guardians for the eni:;hrincd pdriN·
dt11ati1. An image of Garuc,ia is visible in the small niche o f the tala-garbhilci design beneath the rtihti
n iche.
Fig. 710. PAS<:A·PASOA\'A: general view of the southeast corner shrine from the s<>uth. Tht: cclrncr
shrines art duplicates of the major shrint, though only half tht size and consh•tinJ.t 1>f a tft11/ c>nly. l)Ul
bc11er prescr'\rtd and thus enable us 10 recons1ruct visuall>r 1he m issing members cJf 1ht n1:ain s.hrinc.-.
The bhiimi d ivision crov.·ning 1he rtihti niche is tri·ralha in plan u·ith amala/uJJ 1c:rmina1in1-t 1hc CtJfnl·r
pci,t_aJ. The center pOf.a, howe,•cr, is desi~ned as a A:/JOJr.harO·mN!J(li. The barat14a ttfcc1 ivcl~· demarcate!'
the bti{Ja from rhe gaJJ{ii. The t,af!llli i$ paii,a·ratha in design and continues 1he vcr1ical a.lignmcn1 of t he
/1ti.(la. A largt: squa11ing ga!fa is carved on the bisa,,,a above the rihO. This d iffers from the stantlartl
practice whercbi· these figures are placed in the hrki 10 help suppo" the amalal:A.
Fig. 711. p ,., S<:A· P .\SD.'.\' A: west view of the sou1hwcs1 corner shrine. T h<" bnika <.>f the 1.a!uf1 is
d i\'ided into five bhNmi1 b)' ribbed 11111/is with each bhimi having fot1r bara1Jtfis. The a11ar1ha consi:-1s <>f
identical mould in~s superimposed one abo\•c the other up the hei~ht of the .t.o!ftfi. l'hc mt)Uldin~$ arc
decorated with the reticu lated phantl gr111tthi scroll. The base of the rcihci is designed as a 1·111ra·1111111di
u·i1h 1he baratt4a rt:ccss ser,•ing :as its niche. It is crou•ned by a '''!Jra-ma1talw Cc>n!iisrin~ o f a sin~le
rai!>'" <lcsign. The rtihi at)ovc 1hc i·a.Jra·ma.1taka is decora1t:d with t ht phantl 1.r11111h1 scri >ll of {tJJ~J'"·
metlallions and interlacing ribl><.Jns.
Fig. 711. PA1':c;A- P .i.NOA\•.\: bcida t>f th e sout he3$1 corner sh rine frc>m the east . The 1111ar1ha niche~ of
the t\\' O corner shrines on the S<)uth house t he tlikptilas in their respec1ivc positic">ns. "l'hc im2~cs here
are A~ni and Ind ra. 1\ s at Cauri~i Indra is on the north corner of the C3St side. so t hat Agn i is on 1hc:
ca~t "'·ith him, "'·hereas on later temples he is on t he south corner o f th is side, his pc)s11ic>n thus lx· 1n~
shifted so that circt1mambulation <>n a clocku'isc manner can begin "'·ith him on the sc>uth side: c>f the
entrance and end w11h i~ana on the north s1dt o f tht dcx>r on a temple (acin~ ca:-t .
l':ig. 71~. P .\SC.A· P.\sO.'\\'A: dilt.ptila Indra on the cast side of the St>uthcast corner sh rine. J.-le s1anJs
in a trihhati,t,a p<>SC: u•ith h is left hand on his h ip. The object hl·ld in his upl ifted ri~ht hand i!'
indi~rinct. A small Gar:ieS.a is in the l<>""·cr ri>itllt C<)tncr rather th an an elephant u·hilc an at1cnttant
~tan<l~ in the opp<>Sire corner. The!>e niches avcr3ge 10 1/ 4 by 1 l/ 4 inches.
t=i~. 714. P ASt A·P.\:-.1>\\·.-\ : dik.pJla )'am-a o n t he !'<>uth side (lf ,he south\\·est Ctlrtl<:r shrine:. Ile
h(>ltll' a club 1n his right hand u·h>lc his left han<l, n<>U' missing. held a noose 2~ at C3urisi. \'c:s1i~('"!'
Original from
CATAl.OCL'E or 11.1.1.:STRATIO~S 11 l
of his mount arc in rhc lower right comer while an attendant, possibly the record -keeper
Chitragupra, is ro his left.
Fig. 71) . PAN<;A-PANOA\'A: Jikpila Varut:'la on the southwest corner shrine. His left hand is on his
thigh where it holds a noose while his right arm is broken at the: \\' rist. H is mak.ara is in the lower
right corner.
Fig. 716. PANCA· Pi.Nl)AVA: dilt.pala Tsana from the southwesi comer shrine. He holds a rosary and
trident in his rwo hands while -a Jarpa..leM!l{lala hangs from his right ear. His bull-mount an<f ga9a
arrendanr are in the lower comers.
Fig. 717. PANCA·PA!>iDA\'A: milbNna in a detached niche piled among debris. They stand facing one
another in an affectionate embrace.
Fig. 718. PANCA·P~~OAVA: erotic scene depicting a female w ith two male figures. While embrac·
ing 1he male on the couch she turns back to the other male seated on a low cushi<>n.
Fig. 719. PANCA·P~i,11,>AVA: erotic scene depicting fell2tio. T he displayed male is seated on a low
couch while the female is on her knees.
Fig. 730. TIRTHf..S\'ARA: general view from the nonhcast showing the en1rance portal and partially
reconstructed jagamohana serving as a porch.
Fig. 711. T!RTH ES\'ARA: generol view from the west. The temple rests on a low piflia. It is in a
precarious state and near collapse w ith a fast moving spring gradually cutting away the foundation
in from of the temple. The lt.irtimNltha above the >'ajra·mastaka projects out slightly though there arc
not as yet any surmounting Ni/yolti lions as standard on lacer temples.
Fig. 111. TIRTH•SVARA : view of the b#;l from the north. The piibhiiga consists of four mouldings
with /eiri/a designs on the /chNra, rampaka-leaf on the leltmbha and • vertical bar connecting the wp
two mouldings. There is no indented pl•n or tala-garbhilt.ii beneath the ...r1ha. The b#;l is paiira-ralha
in plan with the kanilt.a designed as a Aat pilaster decor>ted with an ala1ii·lt.anyii in high-relief,
scrollwork with an overlaying iilamba motif and • capital housing an atlantid-ga~•· The niiga/•iigi
1/amblNJ extends through the piibhiiga mouldings, where it has a large panel relieved with a female
figure? with the serpcnc near the base of the shaft above a double go/a..A:rinto. The anJJrlha is designed
as an elongated /Wikh11ri·111Nrt<1i with a vcnical bar relieved with scrollwork running up the viminlkti
over the niche. The raha niche is framed on each side by a pilaster decorated similar to the kanika. A
tala-go.rbhilt.4 •ppears beneath rhe niche and •n iirdh,.a·garbhilt.ii •bove the niche, both designed 2S •
lthiileharii·mN~i/i. The riihii is capped by a large p4/ha-shaped moulding which serves as the base for the
Vf!jr11-111asl11.lea 1 the latter obfuscating the boro~{ia division. The b11rarirJa recess is filled \\1 ith elephants
alternating withji/i. The sandhi~11hala is plain above the pibhOg11 except for a milhNna.
Fig. 7lJ· TIRTHF.S\'.\RA: detail of the northeast corner of the biil/o..
Fig. 7l4· TIRTHESVARA: detail of the riibii showing the lateral projection. The riihii projects 14
inches out beyond the 1111arlha and is decorated on its flank with a pilaster as on 'he front . The base
of the pilaster is decorated with the yoniObhi1tka motif while the capital is o rnamented with an
atlanrid ga1.1a displaying his litig11m. both motifs stressing auspicious exhibitionism. The rihti niche is
18 inches by 14 1/ 2 inches while the anarlha niche is 10 inches by 4 'le inches.
Fig. 73S· TIRTHES\'ARA: 1,iajra-mtisla/ea on front facade o f t~c ga!fl/i with Na~arija in the upper
medallion. The lower medallion is filled with the face of Siva. Naiaraja is eight-armed and is
represented iirJh,.alinga.
Original from
\14 C '. AT:\ l.()(jl" t~ <>F 11.1 .l' S'rR:\ 'f J ()~ S
Fig. 136. TIR'rHh~\'1\RA: bara~tfa detail and Unilt.o capital U' ith atl antid ga~a. The prt>jectin~
moulding of the hara~{la is decorated with padma·pr1/ha o n its sloping upper surface along "'ith
spaced d in1inutive female fi~urc11. The at lantes is p<>t-bcllied and h is limbs re!l.emble jars a$ on
examples a< Baudh.
Fig. 7~7. 11Rl'l-il· :'\' :\R.\: pdhh~e,a derail. The leiri!a <>n the Jth11ra has a face in its me<.lalli<>n ancJ the
vertical b ar at the t<>p is rclie\•ed with a female hgure.
Fig. 7) 8. TIR1·1~1·.S\',"ifl;\ : lafa-,1..arhhika dcsiRn beneath the rdhO niche. The squattin~ t.a!Ja h(>ltls h1~
/ili~t111f and is Ranked b>' a 10grata on each side.
Pig . 7l9· GAL'Rl: general view o f the dt11/ from the west sic.ie. The temple res ts on a),."'. p i/ha artd
h2s a ptih~iga with four mould ings on t he kPnileo and five on tht' riba and anarlha \a:ith a talu·.e.arbhii.4
beneath the niche of tht"se last l''"0 ptiga1. The bi{ia is panra·ralha in dc-siRn v.·ith a nd~tJ.'nJ.e.i Jla"1bh"
filling the an11rtihti recess betv.1cen the rd)Jti and anarlha. The kanilt.4 is designed as a pil:1ster \\'irh a
female figure carved in high- relief, scrollwork with tilamha motif and -atlantes. 1·he anartha i5 an
e longated khtiir.harti-m119<}.i crowned by a lealaia Ranked byjtigralas. The rdhO is panra·ralha in plan v.·1th
a pit/ha-11111!'<1i d esi1'tn abo,•e the n iche 21nd female fi~ures carved in high-relief on the AankinJ.!
pilasters. The rihti is capped by a larAC p tef"'1-moulding v.·hich is aligned wich the hara!'¢a mou ld in)!S.
T he 1.a1Jtfi is iapta·ratha in plan and divided into tv.•o bhNmi1 with t he paJ_aJ designed as khtik.harti·m11!1tfiJ
crowned by a k.alas'a. The 111111Jifi1 of the lower bhi111i serve visually as rhe cro \\•ning members of thC'
ptiga1 on the bti{ia. The rtihi consists of two superimposed vajra-maJtait.a designs with a niche a1 the
base of the lower motif. The l!.irlim111eha cro\\·ning the upper motif serves a s a b ase for 21 seated 1.a!'t1
or :rakfa. The bisama consists of a large pht'!i moulding relieved w ith pad,,,a·pr1!"'1 w hile t he /Jt~ is
filled v.•ith JOii perforations. The cro\\•oing 111a11ait.a is hca,·ily p lastered and v.·h itc·u·ashcd and nor
clearly visible in this phorograph .
Fig . 740. G :\URl : general ' 'iew of the dt11! fro m the nonhwest . The pitha is decorated "'·irh a fric.· zc
o f atlantid !.ll!'<JJ at its base and a m11!ar11 g argoyle is visible in front of th e rtihi on t he no rtll. Thl"
laccral flanks of rhc 110)'.Ta•,,,tJJtalt.A designs arc ornamented v.•ith small t ai!yo dc:!iign~ but \\'ith<">Ut t he
ftank ing figures carved on the fro nt designs.
Fig. 741. GAL' Rl: detail of the hii{la on the west side. T he /a/a-~ar/>hi/i:A beneath the "'"~di niche of
the anartha is dC$igncd as an elongated J:hikhari-11111tt<ii with a standing figu re in its narrO\\' niche at
the base . T he A:alaia 21 the top o f the ar1ar1ha is ftan ked by a j agrala on e•ch side as at Bau<lh . The
nti1.a·rlamhha extends into the pdbhti,ga ""·here it is decorated v.·ith a lar~c itilabha1Jileti. The first m<.>t1i
above the pibhi1.11 is a do uble 1.'!ia·l!rinta while t he nliga immediately above has its tail coiling ar<lund
the shaft to suggest a descending act ion. The atlantid t,alJaJ are pot· like in s hape.
Fig. 742 . G Al'Rl: detail of t he bdtj.a on t he south side. On the shoner silics che an11rJJ,,; recess v.·ith
it!i nJ.goln08i 11am/Jha is e lim inated. The female figures can•ed in high-relief as~umc m<>re dyn an1ic:
poses t h an imaRes on earlier temples. \X'ith the greater projection of the rihd the la ter-al ff3n ks are
decorated in the same manner as th e front face. A nondikA·11111kha m<>tif is ' 'isib le on t he i)J11ra
moulding o f the pahl1<iJ1.a.
Fig. 74 ) , G .\ l'Rl : detail of the riihii on the south side. T he 1ala·.11.arhh1kti hcnearh the n iche "
<ie!iigncd as a wi<le khtikharO-m11!'cJi \\•h ile the tirdhva·,.arl1hiU abc>\'C the niche is a r1khd-,,,11~1/i, l"he
female hgurcs carved at the b ase of the framing pilasters are !itag~crcd in placemcnc rather chan
aligned on t he same level. A diminutive Ga~eSa i$ carved on the slopin~ upp<'r surface of the
covering ea ve. The rtihti niches measure z. s 1/ 2 inches by t4 1/ 2 inches.
Fig. 744. C..\t 'Rl: detail <>f the /1ti(la (rom the northwest. 1·hc Unik.a is desi,i::ncd as 21 pil a~tcr v.·uh
the figures carved in h igh -relief appearing. more as ap pendages on a blc>ek aJdc.· d co the pilas tc."r 3 S at
I~auc.fh rat her th an being c<>mplcteJ~· integr.atcd inro th e design . The anortha niches mc:asure 1 1 b~
6 1/ 2 inches.
Original from
II I
Fig. 74,. G ,\ l' fli : derail of chc lirdh1·a·ft_arf1hile.i above the ri hi n iche and the f raming pila~tcrs. 1·he
fcm3le figures are cc>vcrcd by a Ao\\'tr canopy rather th an h av ing a hale"> behind their he~td as on 8th
cent ury imagc-s. The !.ll{lt11 here assume d ance poses.
Fig. 746. G ;\l' Rl: souchv.·cst ,dew of t he bifla sh(>\\·ing the St:'l.~Acted projec1 ic1ns of the pti,gr11,
p rc>bably influenced by stc llate designs, v.·hich protJuce a lc.> zcnge-shaped plan in cc1ntrast to tile
square o r rectangular p lan of earlier temples.
1:i~. 747. GAl~Kl: detail of the upper "''!Jra-mostaka <>n the north facade of the .~''!1tfi. The female
figures on t he wings 2ssume a itila/Jl1an;iki pc)Se '1'ith t he <>urside arm hang ing akimb<> similar to
image~ on the lora{fa of the ~lukceS,•ara temple. Their face is softly illumined by a \\:arm smile typical
of 10th century images. See fig. 8oj .
Fig. 748. GAVRi : detail o f lower t't1} ro•11101toka on the west facade of the l,t1!ufi. The medallion is
fille~ \\ ith a kirtimNleho mask with projecting tongue and a series of seven lotus-jars. The gn~as on the
1
wings of the medallion arc blowing on conch shells. Their hair is piled in dishevelled curls and the
bridge of t he nose is wrinkled similar co the lt.irtimN~a masks. Their eyes arc bulg ing and they have
a closely-cropped beard. The space between the ga~a and the pearls dripp ing from the kirli,,,M/eha is
fllled with a diminutive female dancer. The spandrels at the base of t he motif arc decorated o n each
side \\' ith a; ·ak/o pulling a vint v.·hile tht area on cht upper tqjra-111a11ako is decorated with d isplayed
females. The flgu res o n the wings of the upper dcsi~n arc female figu res adjusting t hei r sandals. The
overall decorat i\•e program thus exhibits dt1al complementary symbo lism combin ing bo th propitious
and apotropaic aspects. I
Fig. 749. GAl' Rl: go!1t/i detail showing nichc:s at the base of the 11111!f¢i desig ns of the second hhlimi.
The scene on the proper right depicts a variation of the 8hik~itanamU ni motif wit h a male figure
holding a shaft over his shoulder w ith peacock feathers tied to it being approached by a female
figu re oliering alms. In the scene at the left the male. ..... it h a club o ver his shoulder, is confronted b}'
a female holding a severed head. The female figure holding a mirror beneath 1he first scene replaces
the iO/abha~ikA motif noted at Caurisi where they ser,,ed to terminate the J/0111bha1 co ntinued
vcrr.ically from the biifla.
Fig. 7,0. GAt..Rl: gotz(li detail showing niches a1 the ba.se of the mu~efi designs of the second bbiimi.
~rhc niche on the right is filled with a mith1111a with the panners facing one another and le~$
intenwined. The matsya at'Olar of Vi$QU is a later rtp lacemen1 2.0d Jacks the refinement and subtlc:tic..-s
of the toth century images. The ka/tJJO crowning the Jt.hOleharO-mKfJ{ii of the firs t bhNmi is decorated
with lotus petals on its body a nd a band of ra~~ani o n its lid. The sloping upper surface o f the
moulding belO\I.' has a diminut ive stag car\'cd in the center.
Fig. 7t t . G ,\ l'Rl: detail of the p lfha sho\l.·ing the frieze o f frolicking 1.anas '1t its base u•ith man~· of
the fi~u rcs assuming ac robat ic p<>s.cs..
Fig. '' z. GAt.rRT: f.11!1(/l detail showing niches at the base <>f 1he m1rl}(ii desi~ns of the scc<>nd bhlimi.
The niches ho use mi1h11na ima~cs with the male figure in che ltft niche hold ing a S\\o'Ord in his ri~ht
hand . Diminut ive animals arc visib le on the sloping upper surfaces of the horizont al mouldings.
Fig. 7, 3· (;At· RI: "'·er parr of the t t1i1J·o <le~ign is a displayed female exhib iting her
J1'ni.
1See Thomas DonalJs.tJn , "DC\'t:lt)pmcn1 of the \'ajr'1 · ~fa$t'1ka on Oriss'1n Temples: ', I~asl and lf't1t, \ 1ol. 16
(1971>). pp. • •9-.H ·
Original from
c::\ T .\J.( )(;l ·1: ( )J ; 11.1.l · ~ ·rRA 1' 1( >'."\~
Fig. 7\4. (; ,,l·xi: de1:ail of the J!''~(ii al>(') \'e the 1a111ll>i·Jlhala. The 11d~·atti lit >n ·aht)\'e 1he 1·a1ra·mcJstak,a
i~ a later a<.lc.liti<>n. In the nicl'e is vi!- ihlc: the p<>pular m<>tif of a fcm:\le stan{ling in a <l1H>r,1.:ay u·ith 2
parrot perched (lO the dt>or.
Fi~. 7 \1. ("i:\CRi : ~e11eral vie\\' of the 1andhi·stl1ala 1>n rhe $t>uth. 1'he u·all al)(>\'C the prih/1,~a is
c.lccclracc:d '\l'lth a lh 1n pilaster and a .>·oniti/1/111,luJ m<>tif. ·rhe tc>p mc>uld in~ <>f the p(tha <l1:-appc.·ars
under the .Ja.r,amohana rather than fc>llou•ing it!> C<>ntc>u r to su gJ!C:-St chat even the: or1~1nal ;1~f!.d ,,,oll(Jnfl
may ha,·c bccn a later acl<lition . The;"i~~ha of the prescnt j a1,amohana is divided intC'> l\lr' t > !"f(1r1c!> h y a
111adJ!)'ll·handl111nO of th ree moulc.lings. The pfi.r,as arc <lt!:.i~11e<l a~ thin kJ1iikharti·m11t1<iis c)n tile l<>\\'cr
stc.>ry ancl ptt}l;a "'11.!"¢is on the upper story. *fhC' p<ihl1d_~,r1 and b11ratt(la are plastered <>,·er.
4
Fi).t. 7 \6. (; .., t .Kl: ala10 i:a'!1ti carvt'd in high rC'lief on the lt.anilt.a. She stands in
4 4
2 ~raceiul trihha~t,o
p ose " 'ith her right hand han~ing $traight do"•n and hold ing the edl!e of her S1sh. Her left hand 1$
uplifted but br<>ktn otf. A meandering vine with a large lotus rosette scr,·cs as a canopy . In pc1:;.c and
b<>dy prc>ponions these female figures arc closely related to those on the triple tcn1plt:- ai iiauJh.
Thc.:sc ima~c-s vary betu·cen 18 1/ 2 to 11 inches in height.
F'i~ . 7\7· G ..\ t· Ri: t \\'O·arn1cd Natarija on a pilaster capital of the latc:ral Aank of chc rtihti. t•c i~ in
1hc ra111ra mode u'ith his left fo<>t raised, the tc,es touching the g round, and his left arm cr<l~!"lnJ.! chc
b<>dy in .e.tJ./a ·ha1to. The rij.!ht hand is in U!aka. He is Nrdhl'alin,ga 01nd u·c:ars a >?:arland of sku lls <-ln his
fc>rchcacl.
Fij{. 7~ 8. G Ar RT: tJ/f1si·lean_yii hc)lc.)ing a mirror car\'cd in the recess between the mN!ft;/i de~iJ!.ils of tht'
ti r.ot bl1iimi <>f the: ~a!fefi. She wears a tiara on her head u:hile her hair is tiec.I in a lar~e chi>tnc>n tc) <>nc:
side o( her ht:ad rathC'r than on t<l p as on 8th and 91h ccn1u ry ima~c-s. Her lef1 han<f hanJ.:s !>tr:iiJ.?,ht
d<)\\'O and hole.ls :i small \•c.·ssel.
Fig . 719. GAl' Rl: ialabhaijiu •pp<!aring in th< pahha1.• of th e na1.a/na1.i stamhha on the we$t side of
the J111/. The tree \\'hich she bends around her head has man)' fruits decorat ing it.
Fig,. 7(\0. G Al'RT: ima~es of an alasi·lea'!J'O and Ganga on the pi1a"1er" framins: the rtihti niche <.)n
the nc>nh. ()nl~· the north rihO nichC' has ri\'er ~cxldesscs on its insi<le pila!'tcrs u·hilc <>n the
~luk1c.·~var:a temple all three niches arc decorated in this mannC"r.
Fig. 76 1. (; ~\\·RT : 1ala-1.arbl11kti design beneath the rOhi niche. It is <lc~i)tncJ as a u·illC k}1.-iJ:,hard·
m1111{1i u·ich a lri·rotha plan. "f'hc center niche houses a female fi~urc u•h1lc the Aank1nJ.! niches are
tillc:d u·ith a ;J1,ra1a motif of a rider on a leaping lion-monster spcu·in)t stri ngs of pearls frc)m its
mc.>uth. l\cnea1h the lion is a crouching elephant.
r:'i,:t. 1<>z. ~1rt\1·1 ~\'.\R,\: general " icw fro m the s<>uthu·cst shou· ing 1hc tora!'a and cc,n1p<>und u·'1 1l.
At the south is chc: ~l i riciku ry<,la u.·cll .
Fig. 76\ . ~ll·,..1·1~:-\·:\K A : J,tener:il view from rhe !:.ourh. The p'it/ho r(W>f of the ,;a,~11111Qbt1110 is sl1J.!hll)'
tru ncarecl at 1ht top antJ the only (r0\•1n inA rncmbtr i$ a kt1/aia tO $u~gest thar the <lt·S.1)!n. is
exp<:rimc:nt al. 1·t1c patira·rtJllRJ plan of the tltu! co ntinues up the: hci~ht of the: 1,a!ftfi and incluc.lc:s the
anNr1ibd rccc.·s.s.
Fig. 764. ~ll·~1·1.:-\.:\R ..\: dc13iJ o f the l1ddo o n the south. l'he kanika is. c.lcsig ned as 2 pila~1er s1m1l2r
t<' that ,,n the G auri temple. l"he a11urdhti rcct·ss is tilled U'ith a "'~~i·Jlamhha u·1th a do uble J.11/'1·.kr,inta
mc>11t'. ·rhc anartha is an clc>ng atf:<l khtikl>tirti 111N!l(li \l' ith its 1:im1if1ikd C<>nsistinA of c:fc:,·cn mclUll~lnJ.!!'
0
Jinkcc.I t<,~c.:thcr l>y an ()\'l"rlaying pl>and !.ranthi ~crc>ll of intcrlacin);t rai{ra dcs.iAns. T he l(>\l'cr
rtl1> ulc.li11~ c)f 1hc /1ar1J!fefa St'r\'CS \' isu'3lly a~ the cr,>u·nin)t rntnll>cr of the pd,~a dcs.1gns rarh(·r rhan
scp:1 ra1 1ng 1hc hii1la fr,>m thc..· ,e,u~t~li. l'his la:-t fu nctitln is scr\'cd l)y the rccc.· :;s alc>nt'.
Original from
CATAl.OGLlli Of ILLUST RATIONS P7
Fig. 76). MuKTESVARA! bara!J¢a detail with a Bhik1a1anamurti motif carved on the sloping upper
surface of the projecting lower moulding. The other scene on this lower moulding depicts a female
figure reaching behind her back to grasp the /inga111 of an approaching ascetic. The crowning
member of the slambha in 1hc anNrtihti recess is a taitya housing a face in its medallion. The recess
above the slambha is decorated with elephants while on the pigas there arc small niches housing /itfg11·
pMjii scenes.
Fig. 766. M UKTESVARA! detail of the b,;/a from the nonhwest. The Roor of the compound has
risen so that the pi/ha beneath the temple is now hidden from view. In the lower left part of the
photograph, however, can be seen the 11111Jeara gargoyle serving as a spout to drain water or liquids
poured on the linga within the sanctum. These gargoyles are normally placed on top of the pi/ha. The
rtiha projeas out z• inches from the wall and its lateral A2nk is decorated with a j tigra/11 motif
panially hidden by the anarlha. The piibhiiga consists of four mouldings on the leanilea and five on the
anartha and rihi.
Fig. 767. Mu~TESVARA: detail of anartha showing its niche. The niche is fumed by a pilaster on
each side decorated with sc-rollwork with overlaying ti/a,,,ba motif and :an atlantid ga{la :at the top.
The upper part of the niche is filled with an iirdhva-garbhileii crowned by • taitya housing • face in its
medallion. The great size of the iirdhva·garbhi/eii reduces the size of the niche so that it measures only
9 1/ 2 inches by I 1/ 4 inches.
Fig. 768. M UKTESVARA : detail of b,;/a showing the piibhtiga 2.n d lower portion of thejiiligha. There
is no tala·garbhiU bcnc:ach the """'' "" niche, only an indent:ation :as on numerous 8th-9th century
tctnples. The sta,,,bha extends into the piibhiga and consists of a set of mouldings and a center panel
decorated with a female figure.
Fig. 769. M~~T•-~VARA: lafa·garbhi/eii design beneath the riihii niche. It is a khikharti design with a
1ri-ratha pl• n. The niches 21 the base house a standing figure in the center flanked by a jiigrata on
c2ch side. The piibbtiga of the framing pilasters consists of five mouldings with /eirifa designs on the
khura 2nd a ramp.lea-leaf on the h<mbha. The founh moulding of the inside pilasters is decorated with
gaja-k.ri.11111 motifs and is possibly a residual carryover from the tola-ballliha1tli designs on earljer
temples. The sloping uppct surface of the pip'ha-shaped third moulding has a diminutive figure
c:arvcd in che center against a plain b:ackground.
Fig. 770. MuKTESVARA : detail of the rihii on the cast side of the dtul. The iirdhva-garbbi/eii, designed
as an e longated rtkhi-11111!f¢ i, is 41 1/1 inches high and thus much l:arger chan che niche which me:asures
only 1 7 '/, inches by t4 '/ 2 inches. The inside pilasters framing the niche have river goddesses •t the
base and liilabhaliji/eii figures at the top while the outside pilasters have only alasii·lea•pis 21 the base.
These female figures at the base are all placed on the same line rather th•n being Staggered in
elevation as on the Gauri. The figures average 19 inches in height.
Fig. 771. r-..t UKTES\IARA: nigo-1to111bha in the ankrihi recess. A double ga)a-krtinta :appears at the b:ase.
The niiga holds a triple-strand garland in both hands. His hair is arranged in two tiers of coils and a
canopy of five serpent hoods •ppears behind his head. He wears aJa}iiopavita and necklace.
Fig. 771. M UKTE.S\rARA: ntigf-s1a111bha in the an11rtihi recess. She holds a vase in her left hand and a
taJtri in her right. Her hair is tied in • roll on top of her head and she is ornately bejewelled with
girdle, necklace, e2rrings and Jajiiopavita. Her eyes arc slightly downcast and her face is softly
illumined by a warm smile. A canopy of five scrvcnt hoods is c2rved behind her head. These anNrahii
recesses are approximately 9 inches wide. The gaja-Jui11t11 ac che base measures 11 inches in height
while the niiga/nagi figures average about t 1 inches high including the canopy .
F ig. 77!· M UKTI'.SVARA: lateral Rank of riihii projection. The front edge of the lateral flank i•
decorated with a pilaSter with alasa·lea".Jii carved in high-relief duplicating the design of the face of
the rtihi, as on the Gauri, while the recessed back of the f12nk is carved with ajigrala motif which is
partly hidden by the projecting anartha.
Original from
p8
Fi~. 7'74. ~fr..:1·1·.:-\··\R.\: ~c.·ne;:ral vic.·v.· c>f the: drul

frc1m the <'ast \\·1th th(' tan k at th<: l>a<it'. Tl1c:
c<>mpound \\·:all ob~curc::-1 the ,·1cv.· c1f the ptihh.~~"· The ' 'cn1cal f>i.r,a d iv1si<>ns of the J!"!'di arc alij.!n<:d
v.·ith thc)sc: of t he )1,U/11 so thal there is continuous vcnical thrusc from chc base ct> chc tt.1p 1n chc
O\•Crall design. T he Jeirti11111kha masks at t he apex of the ""!ira-111a1tolf.41 only project <>ut 2 sl1J.!hc
d1st2ncc so the}' do not disrupt the silhoucttC' of the 1,01Jefi. The bi1a /fla is undecorated though a p lain
panel in the center at the rtihti su~~c-sts a f;gurc moti f may h2vc been intended as at Ganc:S\l:arpur.
The 1'1a1t11b members arc intact.
1:i~. 77~. /\t1 ·1·•rt·:sVARA: <lctail of rOhti on 1hc north fa catle of th~ .v..a!f(ii \l: i1h ~a~ariia. ~:i1:1rija i~
!'ighr -arrt1ed and ht>l<l~ a serpent horizontally al>ovc his heatl ~:ith 1he upper t\\' O h2ntl:o.. .. l is m21•>t
left h2nd is in t.,a;o-hasta and h is ri~hr in Jr.ataka-h11sta. The lt) \\•Cr ri~ht hanlds a d.1marli an,I r.hc
left a trident. Si ,·a·s hair is piled in a tall jafti-11111b/o and he is Urdh1·al1~e,a. Nandi ts ,·i~iblc lx-t\\·c:cn
his legs and a d1minut i\'C dancing Bhrligi at the lc)\\'Cr right. T he image <>f Na~araj~ nr> lt>O~(:r f~>rms
pan of the 1·.a1ro-ma11alea dc~1An. as on earlier temples \\'here it tilled the upper med~lf1<>n. tllclu~h 11s
placement here sug~csts a residual carryover from earlier traditions. A frieze of din1inur ive n1u~icians
dee<>r21es the hhNmi at 1hc base of the rtibO abo\•c t he N4ral0 li1)n sprin~ing: frorn the prt>itct1n~
ltirli11111k.ha mask a1 rhc apex of t he 1·a;ra·11ta1Jalca. The M(>Ul<.lin~s t)n \\·hich Nl~ar:ija is p laCl'ti 2rc
<lce()ratcd \\'ith t he phand,(ranthi s.cr<>ll of in rerlacinR ra1~1a-mc<lalli()OS though here t hl· mt(_lallit>n:i; are
spaced funhcr -apar1 than o n the 01111rtha.
l7 i~. 776. ~(t ·K·r1·:0.\·.\1t.\: tletail ,,f the1.andi sh<,\\·in){ a bhilmi divisic.>n. The leanik.a i~ di\'i<.lc.·<.1 intc1 tlvc
hh1in1i1 \\·ith each hhiimi hav in~ ft>ur hara!1efi1 in a<idition ro the am/J. ·rhe top t\\.·o /J41ra!1<J11 a rc thinner
in size and linked by -a r111~ra as on earlier temples \\·it h the rai!ra formin~ the: t<>p mc\l~llu>n c1f a
s mall 1·a;ra·mo1taka, the bc>tt<.>m medallion appcarin~ on t he sccc.1nd barantfi. The lc•~·t·:-1 h11r'111t}1 i"
<fccc.>r.ttcd \l.'it h a s mall /eiriia a nd generallr duplicates the <lc:-1~n ,,f the top m<>uld1nR t 1f the /111ru1Td11.
The anNrJiha reccs~. c<>ntinuing the vcnical ali~nmcnt from t he /Jtitfa \\·here it is hll<.·d v.:ith a 11~e_11 nQ.et·
stambha, is fi lled \\dth -a m iniature iiajra·1'11'!1J/i. The niche of these 1•a1ra·11111f}tfi1, one aligned \l.'llh each
bhtimi, is tlllcd w ith a woman in a door in contrast to earlier tcmplc-s where the thcn1es in the niches
\·aricd and frequently h<>usc:d cult deities. The anarlha is formed of horizontal m~)Ullfin~s of 1(ll·ntical
St7.<.' supcrimp<>scd conrinuously up the height of the .t.alJ(/i, rather than beinJ.t J1\'i<lcd in to bl1Jimi1. It is
decorated with the pha11d 1,ra111hi scroll of interl2cing tai{Ja· mcdallic>ns.
1:ig. 7-r7. ~11·1·~:r1·::.\· ..\RA : 1·~jra-ma11ak.4 llesi~n on the nonh side t>f the .e.an!li. T he i;irt1m11J:J1a n1a:-k ii;
((>\\·er than on e:arlier dcl'i~ns so that it is now aligned \\·ith tht h<"ads of the Aank 1n~ .i!.ana.1. It al:\<>
prc.1jc.~cts o ut s li,g,htly fu nhcr and sen·es a s a ba~e for a n 11tf.1•a10 lit1n. 1·he "'''!1al art much la rger than c>n
earlier dcsi~n5 and nt>\I.. dc.1m1nate t he i·~1ra-111a1takli \\·hc:reas on earlier m <>t ifs the 1n1agcs u·11h1n t he
mcllallions \\'ere J.-.,m1n('nt. As t he only ti~urc m<>tif on t he rtihti. the upper rilhd dccc>ratctl c1nly " 'Ith
scrclllu·c>rk, the va;ra·111,111aka designs are m (>re dominating o n all sides c>f 1he J.tindi u ·hcrcas
prc\1 iousl~T only the m<•ttf <>n the (rc.>nt facade \\'2.S so treated . The motifs arc il~o bcCl)OllO>t nlc)rc
~ran<lar<lizcd and Jess \'aric:d in <lccoration. At the base of the medallion is a fr ieze of elt:phants and
hunters tlankin~ a central niche hc>u!)inR a royal figure \\' ith attendants. A diminuti\·e r"a~araja is 1n
the ~n1all toi~)'a t)\"l·r the n iche.
f:ig . 7'78. ~lrt..: Tl .~\..\R:\ : '"'J1·a -ma1tak,a dcsi~n o n the ~<.>uth side of the f(.ll!l{it . 1'hc fric;o:c at the hasc.-
dl·p1ccs a hu n1 1n~ ~ccne ~'tl1le in the center niche i~ a iik.Jridii11a melt if. ·rhc:: crc)\li:n in~ ra1tra o f th is h:i~e
m1>t1f hc)uses, 2 face in its n'lCllallit>n.
Fs~. 7'79. i\l1·...: T1 :o.\' \RA: 1·111ra-mostuk,a <lcsi~n \\'Ith t'21ari 1a 2hc)\·c c1n the: ca~t suJ c t>f the .e.11nd1. l 'he
t>ajra-ma1111ka de:\lt!ns bc~1n above a bhUmi d1visi<>n at t he base of rhc rtihd with the borando rectss
st·rving a:\ ns n iche. The c>vcrall dc!'tj!n thu$ C<>ncinues the de-si~n of the btir/a and lransf<•rms 1hc r1ih'1
int<l a 1·~1rd·l!111!1rJi a~ on carlic:r tcmpJ('s. The (ricze at the base <>f the desi~n here 1s t>t' an e leph ant
prc>cl·~~i<,n " 'h ilc the C<.'ntcr n iche is fi lled \\'ith a royal ti~ure 'l.l'ith a11cn<i2n1s . ~'-!arija is c:i~ht ·
armed and hi>lds the ~erpcnt abo,·e h is he2d v.·ith t ht upper two hands. }t is majo r ri~ ht arm is 1n
e."1a·ha11a \\' )'\tic the left is in tJhhara. Tf1e h>\\•er left hantl is jn t•arado \\•h ile tile 01llcr lt•ft han\I hc•l~I" a
'trident. T he remaining right ha~1ds ht1ld indii:tinct ob jects, pos~1hly a \'asc ind (la m"rli.
Original from
C::\TAL< X~ l'. E c>F 11. 1.l'S'l'R:\Tl <lS.S P9
FiF::. 780. 1\-111 ..:·rf.~\'1\RA : general view of the ;iigamohana from the nonh. The l>ti(ia is 1ri-afit.r1 in
design with a pilaster and rwo J:hilehari-m11t1¢i1 on each side of the gavikfa, each an11riha recess being
filled with a naga/na1.i·Jlambha. A bara~9a consisting of a single moulding appears at the t0p of the
jtin1.ha and docs not partake of the paga divisions. The t.•vakfa projeaion is fr2med by a pilaster on
each side. The lower half of the gauak/a is filled with 2 window with om2te frame while the f.til'a/iqa·
1'1a!J{la"4 above is decorated with three lehtilt.harti-1"11'!#.is separated by two reetangular panels relieved
with che woman in a door motif. The gavti}f.!a is crowned by an omatc pediment \1,:hich extends up
the roof. The silho uette of the pi¢ha roof is slight!)' truncated and the only crowning member of the
ma11aka is a le.a/ala. The roof thus is experimental and represents a transitional stage of development.
Fig. 781 . t\1t'~TtS\'ARA : detail of the gat.·tik/a window on the south side of the ; a,t,amohana. The
window is filled with diamond perforations (/1anka -.j ii/1). The inner frame consists of three bands <>f
scrollwork, the j alapatra, rali.ganiand bfili respccti,.•ely. with an inset on the center of each side. The
inset at the top is decorated with Gaja·Lak~mi. rhe one at the boltom with a squarting J ·ak,ta and
those on the sides with a vitfyiJhara couple. An outer frame, extendinEt down the sides to the pibhi;,a,
is decorated with a 1,11111pha_na scroll with vines forming circles ho usinp: scenes of frolick ing monkeys
playing with one an<>ther "''ith crabs placed at the base and alligators in some of 1he circles. The
pQ/Jh01,a of this outer frame consis1s of a rectangular niche housing a female fiRure 2nd placed in the
center of a set of mou ld ings.
Fig. 781. f\.IL'fo\1'f:S\ '...,RA: derail of the ptil>h~~a and khtikJJari-mN!/Pi niche (>f the ;a,~amoha'1a. The
pibhiiga is 32 inches in heig ht, only 1 1/ 2 inches less than that of the deNI, and likewise consists of Ji\'C
mould ings on the m~(ii1 and four on the pilasters. There is no lala-gar/Jhilui beneath the "1NIJ(ii niches,
only an indc-n1ation. A small irdht'a·garbhika appears above the niche. The 1 iminikti or spire consists
1
of only nin(' horizontal mouldings. rarher than ele\'en. and the crowning moulding is a large k/JNra
though it does not form pan of the bara1,1(ia as on the dtul. The recesses arc filled "'' ith nti,v.,a/nr{~i
11ambha1 and ,(aja-Jera111a1.
Fig. 78}. f\f llKTf.S\"AR .... : l!htikhari·111111,1t}i wirh nOt.afnit.i~11ambha1 on theJOrigha of the .Jagan1tJhana. The
pilasters framing lhc niche arc decorated with scrollwork anc:I overlaying ilamha mc)tif as on the dt «I
but lack the atlantid ga{laJ at the cop.
Fig. 784. ~fu~TES\"ARA : comer view of the j Oligha of the j a1..amohana. The ;tiligha measures 6 1 1/ 2
inches in height and is cro\\1 ncd by a bara!l.¢a 10 1/ 2 inches in height. The corner piga is de5.ig ne<l a!\ a
pilaster similar to that of the Jt11f with an ala10·A!.ti'!JO earned in high-relief at the base beneath
scrollwork and an atlantes in a shallow niche at the top.
Fig. 7 8 J. M CKl£S\ 1AR ... : entrance ponal o n the wesr end of the )aga111ohana. The portal, like the
1.ar:Ok1a, projects Out ~8 inches from the wall and is decorated with jtigrala molifs on its lateral Aanks.
The ponal is fla_n kcd at the sides by a pilaster similar in de-sign to the Itani/ea while the pedimen t
abo,·e the door is idc.ntical to th<>sc of the ~a1,.ik.ja. T he nand011fJrla step at the base of the dc>or LI\
ornately carved with scrollwork o n its vertical face and serpents at the sides. This semi.circular step
is flanked on each side by a lion motif such as appear on temples in Central India, rhc lion t um ing its
head back to face the door. Abo\'C the lion motifs arc the dt·irapOla niches. The JvOraptilos arc
accompanied by a female attendant hold ing a fa11ri, both fi~ures sharing the same niche \lthich is
arched at the top to simulate a miniature shrine as on the Tirche~vara . At the base of the insid e jamh
is the bust of a diminutive 1101.a as at Caurisi. The frame consists of three bands of scro ll\lo•Ork, the
JOlapalra , gt laba and hi/iii which become standard on mosf la1er temples. The J.tlaba ch ange~ into ;t
fric~e of 11itl.J·i dhara1 on the lintel. The drtira·lali/a·bimba panel on 1he lintel is decorated "''ith an ima~c
of Siva seated with legs crossed on -a visi•gpadma. I-I.is lower r ight hand is in rarada \\•hile 1hc upper
holds a rosary. His lower left hand rests o n his knee and ho lds a t!fia·pliralt.a while the u pper hand is
bro ken off. Siva is Aankcd by a small bearded ascetic, emaciated and with hands folded in a~joli, at
rhe bottom and by a flying vit[ytidhara on both sides at the top. T he architrave abo,•e the lintel is no v..·
bereft of its decoration which was pro babl}' a 11a11agraha as on che sanctum door.
Original from
po c:..\T.\J.('J(;l'I:. <>F 11,1,l'STR:\ 'f l<>NS
Fig. 786. ~ll·t(·r... S\'A~A: view of the sanctum doorframe. T he decoration is similar to that of the
jaga111ohan11, including the 11and0Parla step and flanking lion motifs, rhough the n iche of the di·iirapii/aJ
is square and the female attendant is separated by a thin '-''all so as to have her 0"'" C<)mpa rtmt.'nt.
T hough a parasol is added above these female figures they still hold a ra•ri and do not srand on a
\•chicle so they are still conceived as a ttendants a nd not river goddesses. Gaja-L<1k~mi rc;placc:s Si va
on the lintel. She is seated in padmi1t1na with lc~s crossed, rather than in la/itisan11 2s on the lintel <>f
the gavtik./a. and is Ranked by a standing attendanc on each side beneat h the elephants. A n111·4~1!rdbd
appears on the arch it rave above w it h Kctu represented as a nO,ga ~· ith serpent hoods ~hind h is ht':ttl.
H is h ands arc folded in afi.jali in front of his serpentine b0<ly. Rihu is represented b~· a hc2<l <>nly.
Each 1,raha is housed in a small pi(iha-1111111<Ji r·a ther than a simple niche a~ on t he earliest tt'mplt!l.. The
step lead ing into t he sanctum and the /ifiga ~·ithin arc decorated with frc-sh Ao"'·crs.
Fig. 787. 1'-lt't.;Tt·:S\'ARA; detail of the ceiling of t he Ja1.amohana "''ith Kintikcya. He is ~cared 1n
ardhap.r)'ari/e4 holding the iai!.li in h is left hand. A peacock is on his right and the kkkhita is at h"
left, There arc two attendants on his left and one on his ri~ht, each holdin,:t a fair.ti and "'' ith ht~ h;t1r
a rranged in the s'iltha{t{iaka mode.
Fig. 788. ~1t·i..:Tt-.S\':\R,.\: derail of t he ceiling with an image of d2ncin~ GlQeS.2. His br•>kc:n ri).!ht
hand was in ,gaja-hasta ~·hilc his major lef1 hand holds a modaka·pt:ilra. His upper tu.·o hantls h cllc.I a
serpent hori.z,>ntally above his head. H is other right hands hold a r~ery and a broken tusk " ·hilt lli~
o ther surviving left hand carries a Jut/hara. He is Ranked above by dancing .,e.a!f,1/ anc.I bclc1u· b~·
musicians. one playing rhe cymbals and rhc other beat ing an atikl!fa-mrrla~1,.a.
Fig. 789. ~·ft·i.:·r....S\'ARA : ceiling detail with a female dancer. She is Ranked by female musician!'. the:
<>nc o n her right p laying a i•ittei. and attendants holding a lorus..
Fig. 790. r-.lt•i..:·r•:~\'.\R/\ : det ail of ceiling with three female musicians. The center ti~u rc is scatc.·d 1n
pad111d1ana playing a drum \\ hile rhe flan king figures are scared in ardhapo')·arik.a u·i1h <>ne knee raisetl.
1
There also is a smaller female musician in each upper corner.
Fi,e:. 791. M l ' KTl'.S\'ARA: alasi·kafl)·i. She is in the efilami/ilei mode of garlanJin!( hcr>elf "·i1h a
creeper. Her right foot is on the: trunk of t he creeper, her hips rendered in protilc, \\'h1le her upper
body bends back to be seen frontally. Her uplifted arms arc broken off. She is richly ornamented and
her C')'es arc slightly dou•nca.st as if lost in thought. These lt.anilt.a figures measure approximately 19·
zo inches in height.
Fi~. 79z. l\:IL' ...-Tf.:\\' AR;\: ala1i-lca11Ji. She stands in a relaxed po!te in front
of a tree \l:ith her rij!ht
le~ crossing behind her left. She is in the Jarpanti m0<.te of lookinR into a
m irror "'•h ilc tix in>t her
coiffure. Two frolicking monkeys arc in rhc branch of the tree. There :arc a lso the remains (>f t\\'CJ
m<,nkeys in the lower corners of the n iche.
Fig. 79~· r-.l t•t.;TES\'AR,4.: ala1i·kAn,1i. She is in rhe .,t."!'fl1anti m<>de of cxpo~ing hc:r back. 1-ter rJj.!ht
arm is raised and her right leg is crossed behind her left as she t\\·is1s her sh<>u lJers int<> a pr<,tile
vie~·. A creeper is behind her with its branches forrning a canc1py. Fru it is visib le on rhc creeper and
a diminutive at1enc_J2nt stands in the lower right comer.
Fig. 194. ~f1·i.: r1:.~,-.'\R.4.: n01.i-sta111bha. The nigi coils l r<->und the 11a111bha in a desccndin~ mcldt " ·i1h
her tail above her can<Jpy of hve serpent hoods. She holc:Js a vessel shaf)f!d like an car of C<>rn in fronr
of the bc>d)'. She is rich ly ornamc:nttd with necklace, arm-bands, .ra;tiopat•ila, girdle with han~in~
festoons. earrin~s and ie""·cllcd t iara. These images measu re approximately 1 S inches in height.
f'i~. 71JS · f\tL·i..:·rES\'.'\R:\ : na1.i coiled on a stamhha holding a lotus Rc>wcr in her rig ht hand and a
c<>nch in her left. Her necklace closely hu~5 the lower contour of her breasts ancl she "'·cars a d(luhlc·
strand girdle. }icr hair is braiclcd to ()ne si<.fc and she wears a jewelled tiara. The ~erpc.·n1ine t ail is
dccoritcd v.·ith scales a nd a canc)py of five serpent ho<.>ds forms i halo bclind her head. Her face 1~
soft ly illunlined br a "'·a rm smile.
Original from
<:.-\T.-\1.t)(tl·F. <>F llJ.t:STR1\TI<>l':S j 21
Fig. 796. l\<( UK'l'ES\'.\R A: malc warrior carved on a lateral flank of the rOhti. He stands v.·ith legs
slightly apan and holds a S\lt'ord in his right hand. Diminutive attendants flan k him belov." A shtJrt
dagger is visible on his hip and anklets are \lt'Orn along with a necklace and girdle.
Fig. 797. ~fl't.:Th$\'ARA : bar111,1r/4 detail with an emaciated ascetic holding a rosary car\'ed (>n rhe
projecting lou•c:r moulding. A female figu re is seated facing the ascetic with her hand placed on the
tripod between them. ln the recess above is a dancing ascetic flanked by a dancing musician on each
side. On his lcfr is a figure holding a staff, possibly a parasol, above his head. The uplifted right
hand of the ascetic holds an indistinct object and he u·ears a plaited turban on his head. His eres
appear closed as if he were in a trance. Kneeling to his right is a diminuti\•e female who also appears
emaciated.
Fig. 798. Mt•i..:·rF.S\' AR.A: detail of the compound wall at the southeast corner with the tank at the
right side of the photograph . The wall measures io inches high from the pavement. The top is
decorated with stylized lo tus petals aligned like merlons. T he jiingho ponion of the wall is lined with
a series of v~ra-11t11!f{fi designs housing primarily lotus rosettes within their niches except at the m2ny
corners where these arc frequently replaced by figure motifs.
Fig. 799. Mt'KTESV.\RA: detail of the compound wall showing the rajro·mu~fii designs. In the niche
at che far right in an image of Kantikcya seated in lali1d111na and holding the rooster-cock in his lc:ft
hand. The peacock occupies che lower right comer of chc niche. The tairya-mcdallions above che
niche generally are filled with faces, human, animal or demonic. The pabhago at the base is decorated
with Jt.iri/a designs housing standing figures, including Jain Tirthir\karas, or ;iill.
Fig. 800. t\·1 t!l''rf.S\'.\ R.A: image of SaraS\'atl in a vajra-mN!f(ii niche on the compc>und ,.:al l. She hc>lds
the Pi!'i with both hands and is seated with legs cros~ed on 2 lotus cushion.
Fig. 801. ~fu~TES\'.~RA: im2ge of Surya in a vajra·1"111J{ii niche of che compound waJI. Siil)•a is
seated in parl111i1a11a in his chariot holding a full~blown lotus in each hand. AruQa and the seven
horses arc carved in diminutive size beneath his scat. H is hair is arranged in a call 111Nhi/a on top of
his head and he has a scarf billowing out from behind his shoulden.
Fig. 802. M u KTES\'ARA: <let-ail of the liJTa!Ja showing the arch springing from pillar capitals. ln the
center of the 2rch is :a eailJo housing 2 face in its medallion. It is flanked on each side by an alasi·
/ui_n yi with her inside arm stretched towards the toi!Ja and her OU(sidc arm hanging down along her
body. At the base of the 2rch on each side is another tai!Ja housing a face. Just above these lower
<oit1ru the silhouel!e of the arch is slightly interrupted b)' a figure seared with aJ'D,,•P•!!• binding his
legs. At the ends of the arch arc mokaros which project out sharply above the lotus capitals of the
pillars. At the top of the arch is a kaloio.
Fig. 803. lvfl'Kn-:~\'.<\RA: detail of the arch of the lora{la showing the ala1i·lt.a'!Ji 2nd faio·a designs
housing faces in their medallion. The lower edge of the arch is dccor2tcd with spaced diminutive
figures or monkeys. The crest of the 2rch is orn2tely decor2tcd with scrollwork of an arabesque
nature.
fig. 804. ~lt't.:Tf..~\':\RA: view of the loratta from the north. The base of the pillars is square,
measuring 30 •/2 inches each side. 2nd decorated wirh a minuacurc rt!Wi·mN!f<fi in the center. T hese
"'"!'" is 2re lri-ratba in design \lt'ith the niches decorated with a center figure flanked by )Ograto1 as on
the 1ala-garbhik81 of the rihli. This square base is }j inches high and decorated on top with 21.f.!Ja-
!rinta 2t each corner. The shaft is 16-sidcd and consists of four blocks of stone. the lower three
plain. The top course is decorated with the ilamba frieze of Jt.i,.timNkha masks dripping fc.~stoon!' c.>f
pearls. Above this top course is a flattened amalaka and the spreading lorus capital.
Fig. 801 . RAJARA::.;J: general view from the nonh. The drNI is palita-ralha in design but due to the
increased projection of the /J01.as it is nearly circular in groundplan and rhus appears to be 1ap1a~roth11.
Thejdtigha is di\•idcd into two stories. The base of thcga!lf!i ha~ 2 stag~ered alignment of a1iga-si.lt.hara1
Original from
<::\ 'f:\I,<><~ L · t ~ f >I~ lf.1.l ':-. 1'R:\1"1<)'.\:S,
'~!itha second example on the rihti extending up t\•en higher. Additional a1~(P·Ji'leJNJra1 arc a<lclc<l
ah<>ve the santihi·Jlhola. The leonii!B above the arl1,o·likhoro1 is di,·idcd into SC\'Cn hl11i111i1. 'J'hc pi(iha rcH>f
of thc.Ja,t_amohano is still sl i~htly truncated at the top and has only a surmoun1in~ b1/aia rather than 2
C<>mple-tc: mas/alto.
fiSt. 806. RAJARAsl: \' iew of the;a~omohana from the southeast. The plan is O<>~· l'~ua rc: in cc>ntrast
to the rec12ngul.ar plan of earlier structu res. The decorati\'C program '.A.' 2S left unfinished c:XCl'pt fc>r
the entrance ponal. 1,_,:d)·o ti lions arc p laced above the tiojro•,,,oJloir.a design.
Fig. 807. R.\JARXNT: ,.icw of the Jr11/ from the west. The pitha consists of three moul<lin).:s and rc~ts
on a Aat 11pana or platform 12 inches in height. The orl,ga-iileJJaros at the base of the .t.olJ{ii scn.•c.- visually
to cr<>wn the pJ1,o designs of the hti(lo with wh ich they are ali~ned. The pti,,e_a1 of the J.a1J¢i al>o,·c the
a~e.a·si'k.haras arc not al igned w ith the ori1,a-1lk/1ara1 as the a1111rihi recc~scs are cli1ninatcd. Rtkl·
bhairai·as >re added io the /,,lei to help support the amala/ea.
f'iJ,t.. 80 8. R ,:\.)1\R,l,i-.;l : \'ieu· o( t he upper rtihi nicl1c ('>f the.iti'~i!ha and the base c>f th e ,v,antfi. The n iche
is fra111e<l br a pila!'ter an<.f ;tigrata m<.>tif on each si<.tc and c rowned by a urf..e,11ma cJr J:.irifa <le::r!-!n
ab<.>'''·
Fig . 809. R AJ,\R.:\NT: angle v ieu· of the afi.~a-liJ:.horoJ at the bas.c of the xa~tfi. ;\n a<ld ittc)nal pila!'ter
appears within the on11rihi recess, complete.- u•ith an1t.0·1i'khara, but is \•isib lc only fr<>m a n an)!le.
Except for the smaller ariga-slkhara on the a,,artho all h ave a double al#alakfi in their c rc>\\·nin):
111a1111ka. The only figure motifs arc che diminutive ima~es between the.- arlJ!,a·iilt.horos of the a11nrtha
and leaniU, placed near their "'as/air.a. The rc.-ticulated ph11nJ granthi scrollwork of the anarlha ah<>\'C
the ••&a-iikharos is too high up to be appreci21cd.
Fig. 8 10. RAJARANT: detail of the bti{ia on the west. Fr<>m the base there is an 11p.a11a, p~tha. ptihltJ.f!.11,
lc>wer Jirl)!ha, 1'1adk1o·bandhani, upper )Ofi)!ha, and baralJtfo. Dileptilos appear on the corners of the 1o\\:cr
lt;.anil:,a, olasti-l:Pn_ytis on the lower onartho and mi1h11"a1 or alo1i~ka'!>·ti1 <>n the upper .Jcifi.2,l'a c>( bolh
pJgo.s. The 01111rtihJ recesses begin abo\•e the pabhtiga and are filled with t•ir1ila mc>t ifs o n tl'le 1<>\\'Cr ~tory
and mithNnas or alosO·hin.ytit on the upper story.
Fig. 81 1. RAJARANT: detail of the bdlfa from the southeas t . T l1e pi/ha C()nsists of three mt)u)tlin~s
~·ithsmall leirifa designs on the base and scrollwork o n t he top moulc.ling. The pabhJ,v.,a h3s five
m<>uldings wilh iwjr11·m11~tfi1 carved on the Jeh11ra. The added pilas ter, decoratc.-d C)nl~· u·ith scro)l1.A.·ork
and scl at an ang1t. is n<>t visible from a perpendicular view.
Fi~. 811. RI.JARA~!: view of 1hc rahO from the oorth. A tala-~arbhile.J ippears beoeaih 1he niche aod
the pti/Jhiix.o of the fram ing pilasters h2s seven rather than five mouldings. A i•0Jro·mN!'{/i is car,·cd cln
the face of the pt/ha in frt>nt of t he tala"1,at /,hilt.i. T he shaft of 1he pil2stcrs framin~ the niche 2rc
(>Cla~onal in design with female figures carved near 1hc base. one on each facet. The niche is \6
inches by 28 inches. It is crowned b)' a pi{iho moulding. The upper niche is designed as a 1•o;ra•mNttdi
with its crowning Jr.iri"/a aliAnc.-d u•ith t he boralJ{i4 mouldings.
Fig. 81). RAJAR.ASl: dctiil <>f the sondhi·stbala on the south . The: pdhh,~e,a conti nuei; the clesi)!n anc.t
clcvati<>n of that on the tif11/. T he ./O~v_ha is decorated u·ith an a11ur1ihti recess. pr<>ieeting J"iJti and
Jr~e,rala can:t'd a~ainst a background of pc r(<>ratcd ;tili.
Fig. 814 . R :\1.\tt.\si: <lerail of 1ala..,.ar/1hiJW anc.I ptihh1~t,a of the riihO. The pO/Jhr{v.,o c">f che Aank1n~
p1l-a.~tcrs c1>n~i~1s of se,·cn ffi<,)Ul(lin~s u·i1h a t'a.i ro-m11ndi car"ed on the kh11ro. 1'he 1altJ-.t.arl1h1k.P I!' an
elongated khJkJ,,1rti-m11!1t/1 Aankcd <>n each side by a "'~fl.''Jn~i11..i·1/am/1ha.
J:ig, 81\. R\J\R,\ 1'1: tala:1:arJ1hiJ:.J bcni:ach che rJhJ n iche on the n<>rch sic.le o( the dtNI. T he
k111ikl1ari·"1Nfttfi is panta·ratho in plan and surn1oun1et.I by a kalaia Ranked o n each si(le by a Jii.V.'"'"·
The Jlambha1 are each cc1ilc<l t>y a pair of serpents. one male an<l 1he f>ther female, arranJ.ted Sc> 1h a1
they ff)rm an auspiciou~ pair t>•>th hori):on1ally an<l \'t!'rtically.
Original from
CATAl,()(jL·n <>P 11.1.L·s1·R1\TJC>NS jlJ
F ig. 816. R AJARA~l: vajra •mN~i/i on 1he vertical face of the pi/ha in front of the tala-gardhik.a on the
south. The niche is filled with a scene of /inga-pijii. The hh• crowning the niche is flanked by a female
figurt! on each side, rather than the standard ga~a, at the base and a small virila motif at the top. The
lower medallion is filled with a peacock and the upper medall ion with a face.
Fig. 8t7. R AJARA,;1: vajra·f#M~i/i on a lehMra moulding of the pabhii._(a. The niche contains an image
of Na1ar:ija flanked by a musician on each side. Siva is six-armed and holds a serpent above his head
with his upper two hands. His major left arm is in ga)a·hasta while his lower left hand holds a trident
or leha/viinga. His remaining right hands are broken off. Nandl appears between his legs and fly ing
vidyaJhara1 in the upptr comers. The vajra-ma,stalea crowning the niche co nsists of t\\•o <ail.Ja-
medallions with a figure holding a garland in the lower medallion and the face of Siva in the upper.
The upper medallion is Ranked by a small conch on each side and the lower medallion by a female
figu re.
Fig. 8 t 8. Ri.J.••·" "l: dancingJ•gi•i or dakini holding a 4;;,,,arii in her raised right hand and a kapala
in her left along " ' ith a trident with possibly a sku ll near itS prongs. She assumes an extremely
graceful pose and has a panicularly sweet smile on' her face. Her bod)' is mostly nude except fo r a
girdle and arm bands. She fills a vajra ·MN~i/i niche on the lehNra moulding.
Fig. 819. RAJAR.i.~T: entrance portal on the east side ofthej o,g,omohona. The entrance is flanked by a
nti,gafntigi-1/amhha on each side which suppon the architrave and its nai·agraha. The nan.dtivarla step is
Aanked b)' a miniature shrine o n each side housing a figure exhibiting its sex organ. The door is
framed by three bands of scrollwork with the dvarapalas housed in a 1•ajra·11tN~(l.i at the base. An
image of Lakulisa is housed in a pii/ha·mMtii/i on the lintel. The base of a vajra·mastuka, left unfinished,
is visible above the ponal.
Fig. Bzo. R.:\JARAl)ll: view of the gaviife/a projection of the j agalllOhana. It is Ranked on the sides by a
ndga/nagi-1ta,,,/1ha left unfinished except for the triple gaja·kranta at the base. The window is framed by
three bands of scrollwork and filled with five balusters only paniall)' completed. The vajra·maJ/aka
design on the pediment was only blocked-out.
Fig. 8z1. Ri.JARM<l: dikpala Indra on the eaSt comer. He stands in a slight!)' flexed pose with his
elephant-mount, badly damaged, below. He holds an afilutia (elephant goad) and vajra in his hands
though the upper pan of the image is a modern restoration. Flying vid)'adharas appear in the upper
comers. Attendants in the lowe r corners arc mostly obliterated. The JikpO/a,s measure approximately
36 inches in height, 48 inches with pedestal.
Fig. Bu. RAJARANl : dikpiila Agni on the southeast comer. He is poi -bellied and surrounded by
flames. He is bearded and his body features and ornaments arc beautifully carved. His ram-mount is
on the pedeStal beneath his lotus cushion. Except for his broken arms the image is well preserved.
Fig. 821. RAJARANT : dikpala Yama on the south comer. He stands in a tribhanga pose holding a
da~4• (club) in his right hand and a noose in his broken left hand. He h2s a shon beard, open mouth
and jev.·elled cro"1n, He is flanked by attendants in the lower corners. His buffalo-mount is carved on
the pedestal along with a small rooster.
Fig. 8:4. R ~J ARA,;T: dikpila Nirriti on the southwest comer. He holds a sword (broken) in his
right hand and a severed head in his left. He is Ranked by 2 male attendant on the right. holding the
s2mc attributes, and a female on the left possibly drinking blood from a kapiila. A prostrate figu re is
carved on the pedestal.
Fig. Bzi . RAJAR,\Nl: dik pala Varu9a on the west corner. His right hand is extended in l'arada while
his Jc-ft holds a noose. He wears a jewelled crown 2nd his faciaJ features, body o rnamentation and
proportions arc exquisittl)' carved . A female attendant with r1111ri appears in the- lov.rer left corner and
his makaro-mount in the right corner.
Original from
Pig. 826. R.:\ fAR:\~i: dikptila \ ' :iyu c>n the n<>tth\ves.t et)tntr. ~l is rij!ht hanli is cs,cnd<:d in''"'"'''''
" ·hilc his lt•ft hc>lcls a b:inner. ,.\ ft·n\:tle 111cnt1:tnt \\'irh tauri is in the lc>\\'tr lcft Ct>rncr \\'hilc tl)t-
<>ppc1si1e c<trncr is nlc>~r ly <>blirer:trcc.I.
I:•)!· 817. R .l. l,\R \ :-.,1; dikpiila f..:ul)cra (>n t he: nc)r,h cc>rncr. l lt' is st,>ut in IJ<>lly built.I anc.I h~>lll~ :.J
Hc>\\'Crcd ·\·:1sc in his lt·ft hanc.I \\'hilt· his right is h rc>kc:n <)ff. l~c:ma lt· fiA\•r<"S hc>lli1ng a \\":ltt·r i:lr :1pp1.:a r
in t he lo\\'Cr corners, 1hc right one mostly m issinµ.. l~ij!,ht jars of nidhi arc car\'cll c>n his pc<lcs.t'11.
Fi~. 828. R.:\1\R\:-.1 : dikprila TSan:i <>n the n<>rtht:asr cc,rner. I-le is ftlur-armt·J anJ rcprc:.·!\t'Oll'ti
Jirdhrali1i.J!.a . ...-tis :arms are hrc>ken c>tf 1nJ the a11rihu1es missin~. ,.\ hl l11 ap)'>t'ars l'leh1n<l hi~ ht·atJ anti a
crct:pcr t'<,rm:ot a canc>p~· al'lc)\'f°. J lis h:air is arra11~c<l in a 1all .1atii-11111/cN,ta. 1\n enlaciatc<l a:-cc:1ic
h(>lding a club 2pp1..·af$ standing a1 his right.
1:1g. 819. R \J.\R \:-.1: simple ~larriagc <>f S1,·a :;cc:nc ht,u:;i:c.l in :1 1,1/11:!!_cJrhl1ik.ii niche b~n(':ath the
piirsi·11·1fe1•a1J. Siva i~ !'caccd <>n a couch \\·ich a pillt>\\' bc:hintt his b:ick. He \\'ea r~ i hc cr,l\\'n t>f a
brJ(tt·~r<>t>m. H is cx1entlcd rij!ht hand h,,JJ s the hand of Par,·ari !'canlling in fr<,nr <>( him . .-\n
at1cntlan1 pl a~· ing a 1•i111i is sca1cd o n the ed~e of the C<)uch \\'hile a taNrl·hcarer :o.1antls bch1nJ .
Fig. 830. R.l.J AR ~Nl: ima~e of Na1:arija in a 1··~1r11·mN!fef,. niche on the k/JNra moultlin~ elf the pJh/1,~!!_a.
Siva 1s six-armed and holds the serpent O\'Cr his he:id with his upper t\\'O hands. H is majr>r left :irm i:o.
in !.'!/a·hasta while his lo\\'Cr left holds :a trident o r lt.hoft1tiri_t.a. His remaining rif.tht hand:;. arc brc>k,·n .
.-1c: is irdhl'olin,_~a :and wears a long ~arland of skulls. t-le is flanked by a musician <~n each side:. lit·hintl
rhc nlusicians is :an ascetic on rhc left anti a female u: ith a to11ri 0\ er her shoulder <>O the right . In the
1
extremt right lo\\·tr com~r is a cii minutive fig ure an(I in the upper left Cc)rner is a 1'1J.>rirlhara. The hull
j\;andi appear!i be1wecn Siva's legs.
Fi~ . 8;1. R.l.J .\R.\s:J : si'k.,riJOna

mot if in 1hc niche <)fa 1·a;ra-11111!f{fi in the kbNra mc,ulJin~ (>f 1hc:
pdhhri~e,a. ·rht scene represents a royal h~ure scared c)n :a low couch urith 3 cu:o.h1,,n behind his back
and an attendant next to him holding a ta11ri. 1·\\·o female: tij.!urc: face him, one squat11nj! and the
()ther bend ing fo r\\•ard, as if listening to him d iscourse. A male attendant or minister appears at the
left . Though these scenes arc small o n t he ~luktcS\·ara and RijariQi they St)<ln \\·ill btC\>mc lar~t·r
':Ind occupy majo r niches o n the ccmple.
fi~. 842. R:\ J:\R:\:-.i:female dancin~ figure in rhc niche '>fa 1·a1ro-mu?1<ii on rhe J::.h11ra mc>ul\l inJ! vf
the ptil>hJ.1!.a. 1'he female a"sume~ a \ ' t'f)' <lyn1mic pose but unf<)ttu narcly is batlly clanl l)!.td :anJ her
:a11rihu1es o lllittrarcd. She is rlankcd by musicians.
Fi~. 8\\. R.l.fAR.:\:-..1: detail of t he upper j ii1{y_ha shc>\\'in~ a mitbNna C<>uple stan<linµ t'.)n a l<>IU!'
cushi<>n. These figures in hig h-relief prc>jecr our :allt.1ut i 1/ 2 inches ft<.>m t ht hackgrc,uncl. Tht- c>tf~rs
are o rnately car\'cd with lush scrc'lll" ·ork "·hich ser,·cs as :a m:anrclc>us foil and ttTcc-ri"cl~· is<>latcs the
ima~cs from t hc.>se on the adir,in in~ ptij,''· T he 111i1h1111a in the an11rtihti rc:cess is <,fan emac1;i.tl'd a$ct·r1c
appr<>ach inf.t a youn~ dam!i-el from the rear. These rt'cesst's are 9 incht's \\·i<lc. t\t t he far riAh1 s1<lc t>f
the phot<>~raph is an example c>f rhc circular 1·arlnlii scrc>ll\\'C1rk jusr beinR in1r1)<luce<l on ()r1s~:an
te1nplcs.
FiJ.!. 8\4. R \ t.\R\ , 1: alas1i·l-..t111)·Ji in t ht' """rrihri rc:cC"-s.s <>f the: oppcr,;ti1~1!ha. Sht' st~nc.i:;. in a 1r1/1hr,11~~·'
pc>se "· i1h her left le){ cro ssed hchind her ri){ht. J..tcr left ha nd hangs srra 1~ht ll<,,,.n anli h(llJs ;i, sn1;all
Ct1smer ic ol,jccr \l·hilc: her uplifted riµ.ht h;tnd h,,Jtis a mirr•lr. Her hair is <>rnarcl~· b raic.fell 1c1 chc left
c.1f her head 1nd ,_l,e is <'>rnately ht·jc;:\\·C'llcd. 1\ creeper mc:and<.·rs up behind her an<l bh>sf.<)nlS int<> a
lar~c Hc>\\·cr s.c:rvin~ as a cano py at>c,,·C'. Thcs<' ti~u res measure appr<>ximatc:I~· 12 inches in hl·1~h1 .
F1~, 8\1. R \ 1\R \ ,1 : olasci~kA"J'li 'S t antiin Jot \\·ith her ri~ht le~ sr rctchc:d out anli placed o n the hase •1f
3 crtcpcr. ~lcr l<>\l'Cr b(>d~· is llcpictctl mc>vin~ c<> rhc r1J!hl and her upper b(x.I~' t\\·1s1 s l'lack t<>\l':&rll~
tht left. She h<,ltl!I a ~trand o( je\\·cllery <>r A<>wcr~ in her uplifred hands. A snlall mc>n kcy appt"ars 1n
the branches (>f 1lle creeper alon~ \\'illl a peaC()Ck ~ 1llc )airer pecks at a pearl in tht ri:ira \\'<>rn by the
Original from
CAT:\J.()(;l't: <>F 11.1.l ·s ·rR :\Tl<>~S
I 'I
alati·kaf1J•O. These alasi·lt.a11J<il on the lou•cr ) titigho ffi(asure 36 inches in height, 48 inches with their
pedes12l.
Fig. 8J6. R.,J., •1.Nl: ialabhafljikli on the anartha of the lower jangha. She has her left leg slightly
uplifted as if moving to the left while bending her upper body back to the right in a very graceful
pose. Both arms arc uplifted and hold on to the creeper meandering behind her body, a pose which
reveals the breasts ro their fullest. Though her facial features arc badly worn enough re.m ain to show
her face is illumin(d b)· a soft and radiant smile rypical of 1oth· 1tth century images. Her body is soft
2nd pli2nt 2nd her proponions lithe.
Fig. 8J7· RAJARANI : a/a1a·k.a1rJa on the anartha of the upper jiri&ha. She stands in a pronounced
lribhalit,a pose supponing her raised rig ht arm on her hip. Her left arm resrs on the shoulders of an
attendant.
Fig. 8J8 . R1.JARANT: ialabhaiijikli on the anartha of the lower jangha. She is in a tribhan!,• pose with
her right leg crossed and planted against the trunk of a tree. Both hands arc lifted above the head to
grasp a branch. A long scarf hangs loosely around her shoulders and falls to the knees. She is richly
bejewelled with arm-bands, bangles, earrings, necklace and riara. Her facial features arc well
preser,red and her eye.brows form a continuous line across her forehead like a meandering creeper.
Fig. 8J9. RAJAR.,Nl: gN•fhani pose with the k.a'!Ji concealing herself by presenting a back view and
holding an object, mosrly broken, in both hands. A creeper meanders behind the figure and blossoms
into a Aowering canopy above her head. Her body appears taut with latent energy rather than
relaxed. T his gNnfhana pose is panicularly loved by women according to the Si/pa Prakliia.1
Fig. 840. RAJAR.,Nl : a/aJa·ka~ya standing in a tribhanga pose leaning against a creeper and holding
2n object in her uplifted right hand. Her left arm is pl2ced along the trunk of the creeper and holds a
fruit. Her face is illuminated by a soft smile. She we2rs only a minimum amount of jewellery which
serves to enhance the soft curves of her body. A diminutive female is in 1he lower right corner.
Fig. 841 . RAJARANT: alasi·k.a'!Ja in the niche of a vajra·M~pi on the leh11r4 moulding. She stands in a
graceful tribhariga pose with her right hand uplifted and placed on top of the head, probably applying
cosmerics, while her left h2nd holds a mirror, mostly broken. A small attendant appears in rhe lower
left corner of the niche.
Fig. 84z. R AJAR.,Nl: male warrior on the upperj.irigha. He stands in a slightly Acxcd pose holding a
sword in his right hand while his left hand rests on a shield. As with most of the warriors on this
temple his hair is piled up high on the head and tightly wrapped. A small attendant figure looks up
at him from the lower right corner.
Fig. 843. RAJAki\t;.il: scene on rhc upper anarlha of the nonh side with an emaciated ascetic ho lding
a small purse in his lef1 hand 2nd raising his right hand above his head. He wears 2 braided turban
2nd loin cloth but is otherwise nude. He confronts • male figure holding a vessel in his left hand
while his right hand holds an indistinct object over the shoulder. A lotus half-rosette appears above
their heads as a canopy.
Fig. 844. RAJARANI: standing couple on the upper k.anik.a at the southeast corner. The male stands
in 2 tribhanga pose with his left arm akimbo holding an indistinc1 object. His right hand is uplifted
but broken. His hair is piled high on his head and tighily wrapped like a warrior coilfure. The
female is smaller in size and stands in 2 similar pose with her right arm hanging straight down 2nd
her left hand holding a long sralf with peacock feathers tied at the top to form a canopy.
Original from
1•6 <••\ '1'1\l ,t )( il ' I~ <lf 11.1 .l":\TR .\ "rJt>i'.S
Fig. 841. R,\J;\Rl.;-.;t: mai1h11na scene with the p:annc:rs C'<Jnfrc,nt in~ one an(>ther \\ ith their frc>nt 0
le~$.
intertwined but firmly pl2nrt:d on the ground. 1"hcir back arm embraces the ~hc1ul<"Jt'r of their par1ner
while the right hand of the male unfastens the girdle of the female. She holds her left hand in ahh~ra
in front of ther breasts and is in no war re jecting his ad,·ances. The male h-as his hair bra1dcf the upper 1ti1~ha.
1::ig. 846. R.l.JAR AK1 : base of st"m/Jha Aanking the enrran<:c p<>rtal :-hc">\lr·in)t a latcr2I vit:"·· T he.£"/"·
krtinta facin~ <>Ut\\·ard is part of a triple: mc._Jtif <lc:corar-ing t he face of t he slam/Iha. In the tii.t'.rtJt(J n1cuii
the lion leaps on its hini.-t legs above a crouching demon.
Fi~. 847. Ba..\ 11~11::-:.\·.\R:\ :

general view from the: north . The temple is of th~ pt1iif~)'atr111a clas~ \1:i1h
subsidiary shrines at the f<>ur comers of the C<lmpound. There arc in a<.1<ii1ic>n t\lo"<l small rrk.J1ri
temples just north of t he compound. The .1axamqhana is a pi(iha structure with all of the cro"·nin)!
members of its 111a.11alea in place 2nd thus a further dcvelf)pment on the t\fukte$,•ara and Ri12r3ni
remples. There is also a pelliment "'· ith '''':}ra·mastaka and surmounting 114,yati li<">n over the \\·e~t entJ
of the pfrjha-rOQf, facin~ the Jrul, in contrast to the Rijaril)i where these pi(f/1as d irec•ly alluttt><l the
111i1.a·iile11ara1 of the dr11/. The .~a~1rati<ln except ic>r the
1·11;ra-ma11ale4 dcsi~ns.
F1g. 848. 8R.\t1~t1'",:\\".-\Jt:\: general \'ICW from the cast. 1·hc ent rance ~;itc: is dccc>ratcd "· 1th
dt·tirapilas at the base of the jambs and Gaia-Lak~mi on the lintel. As the main rtlad to the t«n1plc: is
from the nonh this cast entrance, which le ads to a tank now dried-up, is seldom used. The extcri<lr
\\•alls of the compound arc divided into pO/Jhit,a,jili~ha and hara!J(la but othc:rv.'isc un<lt.:C<>ratcd. The
Na~ar2ja high up on the rihi of the front facade of the .J!.nlJ{ii is barely \•isiblc.
FiR. 849. BRAJ l.\11·.SV.\RA: vie\l: of tht> Jt11/ from the nonh. Tht> temple rt>vens back t<> a square plan
'1' ith the a.ti,(a-iilehoras C<>nfi.ned to ll horizontal alignment at tht> ha~e of the f.t11Jr/.i. The a~e_a-siJ:J1o1ras
arc Aatcencd out and contained \\•ithin the boundaries of the pi1.a d ivisions. AlthouRh the ;D~l!l.41 1s a
two-story design the rihi is fashioned as a pi¢ha·11111tt¢i which rerminatcs abo,·c: the scc,>nd pidha a t
the top of the pint,ha and thus presents a single-story plan. The ari.1,a·ii!thara of the raha b<)(ins
immediately above this pi!/ha roof and thus obfuscates the baro'J#a division on this center p1i:;.a. 'J'hc
bara1J<ia abc)vc the side pO,gas consists of three large mouldings which eliccti\•ely demarcate the btUitJ
from the gtilJ(li. The ga1J(ii is panta ralha ln p lan but [he 11n11rlihi recesses arc eliminated and the width
4
of the leanika is increased. The leanika is divided into fi\'e bhitmis with an ari"'4-jiJt.har11 superimpoS<'d
over the bara1JcJis of the first bhit111i. There arc fi\'c bara1J¢is in each bhN111i and a narrow band c'lf
scroll"'•ork runs vertically up tht> center of the ptiga to lin k all of the bar111Jt/is. The aflartha abo ve rhc
ari~a-likhara at its base is decorated u •ith four 1•a;ra-mun{i.i designs superimposed up the hel~ht of the
iari{ii. one for each bhlim1'. The large atixa-iiiehara at the base of the rOhi is more complete 1n
decoration and has a small vajra·1'tastaka above t he pirii..a-dt1·ali niche. A lar,5!C 1•tJJra·"1111tt1/ed,
surmounted by a projecting kirtim11Ma a nd 114,yatQ lion, appe2rs abovt> th is tJti!.,a·iil:.hara of the rtihti.
T hese projecting motifs form a strong silhouette which interrupts brietl~· the contour of t he ,t.a!'tJ1.
The bi1a,,,a terminating the 1,a'!{li panakc:s of the pit,a divisions but is other\\·i~e plain. 8tl:i·hhaira1·a1
arc placed abo\•c the rtilJ.O to help suppon the: amalaU and its surmounting members. A 1r1dc:nt hni~I
is p laced above the ierJ/aia.
l'='ig. 850. 8RAl1~t•~S\.AR:\: det2il of the brlei with a squatting brlei-hhairora . •;\1 Gandharidi,
GaJ.'ieSu·arpur and on the ~fuktcS,·ara thcs;e images "·ere carved. or in1cndc:d t<> be carvc:d, on 1he
hisama where they actually "'ere t<lO low tO help balance c)r ~uppc)M t he amalalta. l\cRinn1n~ "'·uh chc:
Rija rilr)i they a rc placed in t he brk.i above 1hc hisama.
Fig. 8' 1, UR .\ ll\tl· :\\ .,\R.\: niche 1n the: ~t1t•1ikftJ·mt1ndana on the n<>nh ~idc of the Ja.e.amlJIJano " ·uh an
ima)l;C or a female: dancer htJIJinR a pldht1 f0 ()f \lo'tth her l<·ft hand. She a ssumes a \'Cry <lynamic dance
fX>~c and is flankc:d by fc>ur musicians c)n c::ach s,idc and a r14>·tidhara in each upper Ct'l tner. She ma~·
rcprc'!'cnt t he builtfcr <>f 1hc temple, Queen ~cJl iva1i, as sugg('Sted by P.;antgralli t h<lugh more likely
Original from
<:..\T:\ l.C >Gl ' J~ <>I: Jl.Ll'STR :\ T f(>r\S 117
she per~onifie"S the dancers presentell to 1he temple by this queen and the performancel\ taking place
within the Ja1.amt#Jana.
Fig. 811. BRM<MES\"AR.\: detail of the bJ(ia of the df11i on the north side. The pabhJ1,a consists of five
mouldings of convencional des ign wich kiri/a mocifs on che l!.h11ra moulding and vertical bars
connecting the top three mouldings. The htiefo is panra·ratha in plan and the j titigho is divided into two
stories by a 1'1adh.J•·bandhanJ of a single moulding. The pagas arc idcmical in design with those of the
lower story being a J:hJJ:haro·111•1tefi and those of the upf"'r story • pi(iha-m•1tefi. The niches house
Jileptilas and Br:ahmanie:al deities on the lou•er story and mi1h11nas or a/asil·kan_yOJ on the upper story.
The an11rtihti recesses arc fi lled with viri/a motifs o n the lower story and a/asi·luJf!1ti1 on the upper
story. A}oJ!,r•I• motif is carved on thcjongha of the sandhi·llhala.
Fig. 8SJ· BR.\tl~t f.~\'ARA: detail of the bti{Ja from the west. The vimtinil:A of t he k/10kharO-mJ1nr/i
consists of five mouldings wit~ a hhc-type vo;ra-111as1alea can·ed on :a panel overlaying the bottom
four mouldings. An image of Siva Vi~adhara appears in the niche of the upper leanika. The rohJ
projects out } } inches and itS lateral Aank is decorated with a pilaster relieved w ith 5crollwork an(t a
,,,i1h11na at the top.
Fig. 814. BRAH>lf.S\'.'"·' : detail of the roho on the north side. The raha is designed as a pii/ha·"1·~efi
with a single-story pl2n. The tala-garhhiJ,,.; beneath the niche consists of a conventional pJbhoga design
Aanked on each side by a Rat s/ambha relieved with circular var111/a scroll\l:ork and an o/aJi-leanyti a1
the top. The niche is flanked by a flat pilaster on each side- relieved u1 i1h scr<>llu1o rk an·d an
overlaying ilamba motif on its shaft and a niche at the top filled with :a figure mot if. A iik/idOna
m0tif is carved over the lintel. The niche is crowned by two pi{iha mouldings. The ailga-likhara begins
immedi2tel)' above this roof and h:as a pariva-Jti•alti housed in the niche :at its base.
Fig. 81 i. B•Att~ff-1\•ARA: detail of the boi/a from the northwest. The lateral Ranks of the projecting
11111!1¢i1 arc decorated u•ith a niche housing various female figures. including DurJ.13 Sirhhav:ihini and
aJoniibhi!tlt.a 5ccne here.
Fig. 816. BRA1"1F_\\'ARA: view of the pi{iha roof of the }•J!.•mohana. It consiS1s o f eleven pi(iha
mouldings of diminishing size and is crowned by a mQSfa/ea. The mastaka has a /xki, ghaMo, amlo·beki,
11111alalul, lehap11ri and surmounting Jealaia. The pediment above the g,a1,1Jlt.fa is decorated with a vajra·
111a11aka motif though onl)' ponions have sun·ived. Some of the top pl{ihas, as well as ponions of the
ma1talt.a, are restor.ations.
Fig. 857. 8R AH>l~SVARA: view of the jagamohana from the north u•est. The pa/JbJga consists of fi,•c
mouldings of conventional design fhough not as ornately decorated as on the dt11J. The b~{ia is paiir11-
r111ha in plan with the gai•rik;a projecting out is inches from the wall. The pi1,a1 arc designed as
VJilehari·mN!l¢i1 and house Jikptilas at the corners and various Brahmanical deities in the anartha
niches. The boraru/.a consists of a single large moulding with a frieze on its m11hi !l/i.
Fig. 8) 8. BRAl--t~1E$\'ARA: detail of the bti{ia of rhc j a1.a111ohana on the south side. Some of the anarlha
niches were left unc2rved while in other cases the images arc missing. Ah hough the ;ongha has a
single·story plan the an11rilhi recesses adumbrate a two-story plan as they arc filled w ith a virtila at the
base surmounted by an alosi-U'!)·i or mith11na.
Fig. 819. BRAtt~tES\'ARA: detail of the ga11ik1a projection o n the nonh side. A tala-garbhilr.i,
consisting o f 2 J:JNikhari-11111!1<1i, is carved under the window. The balusters .arc decorated with female
figures, the first such example, with the center figure being a nOt.i. The g11vtikfa-111a{l{ian11 is filled with a
panel of 2 female dancer holding a pi(lha-roof and a mi1h11na at each end. Abo\•e chis is the remains of
a long frieze of warriors and elephants.
Fig. 86o. BR.\tl~fl~S\'AR,\: view of t he center of the ceiling ,,f the;a~amtJholfa w ith a full .hl<)\\'n l<)IUS
anrncr~ «>f the center s<1uare.
Original from
Fig. 861. BRAl-i~lt-.S\'ARA: detail of the ceiling within the 1ag,amohana showin~ the lowest corl-,e1s.
The lo\\·est course is decorated with a frieze of armed warriors, calvary and elephants in procc-sst<)n.
The sccond C<>urse is divided into long panels, frequentl)' separated by projeeting 111i1h11na imaJ.Zc-s or
a!a1ti·ltaf!)'OJ, decorated with \•arious scenes, including many iik/ti.d.tina motifs and examples of lifi.r,a·
p~ji. T he third course is relieved with poJma Pf!/ha scrollwork below and a narrow frie2e of anim:.al
processions above.
Fig. 861. BRAl l~lt:S\'ARA: Jilt.pi/a Agni on the southeast corner of the j agamohana. He is seateJ in
lali1i1a_n1J on his mount (ram) and is surrounded by a mandorla o f Hames. }tis hands are br<>kcn off at
the elbows. He is pot·bellied and has h is hair arranged in tall)a!i.. ,,,11/t.Jl/a. Flying vitf.,.adhara1 occupr
the uppC"r comers of the niche. These niches measure approximately 13 inches by 14 1/ 2 inches.
Fig. 863. 8R h•i~lh~\'ARA: JiA:pila Yama on chc south comer of the Jagamohana. He is seated in
/alitiilana on h is buffalo·mount. Though h is hands arc broken off at the elbows vcsrigcs o( h is da~da
and noose arc visible near thC' upper comc-rs of the niche. He is pot·bellied and wears a sh(>n beard.
His hair is arranged in a tall J:iri/a·1111tb/a. A trefoil arch is carved behind his head.
Fig. 864. BR Ali~IES\'ARA: Jikptila Nirriti on the south\\•csr corner of the )oJ.0111()ha11a. He is sca1cJ in
/o/i1i1ana on a prostrate figure and holds a sword in h is right hand. His left hand and the SC\'CrcJ
head arc broken off. His hair is arranged in a tall J:iri/a·11111itM/a and a trefoil arch is carved bc:hind his
head.
Fig. 861. BR.\H~t f.S\'ARA: JikpJ/a \ 1 3.yu on the nonhwcst comer of thcja1,amoba1111. He is S<atcd in
'4/i1i1ana on his stag·mount. His hands are brokcn off though the remains of a banner arc \·isiblc at
the upper left. His hair is in a call Je.iri/a·m11hl/a and vitfyddhoro1 occupy the upper comers. A trefoil
arch is carved behind his head with )0.(rala suppons ac the sides, the most elaborate setting so far
created for a niche figure.
Fig. 866. BRA1 1~1ES\'ARA: Jikpila Kubera on t he north corner of the JO~amuhana. }{e is seated in
/a/i1ii1ono on a ~iii•apaJma scar wirh e ight jars of flidhi carved on his pedestal. His hands are br<>kcn 21
the elbows. He has a pot-belly and his h air is arranged in a tall A:iri/a ..11111/t.M/11.
Fig. 867. BRA1 1~1ES\'ARA: Jikpiila TSina on the northeast corner of the ;aga111ohana. As on the dt11I he
is f<>ur-armed and seated in laliliJana on the bull-mount. His arms arc broken at the e lb()V.'S though
his left hands held a trident and water vase . ..fe is represented Nrdh1·alirit,a and his hair is arran~ed in a
tall ) afO-m11h/a.
Fig. 868. 8RAH~1t..S\ ' ARA: image of a seated Devi in the 11narth11 niche on the east side tlf t he
)o.v,omohana. She is seated in Jalilisana on a viiuapadma scat v.·ith a lion Caf\·cd on the pec.lc~tal. She ha$
f<>ur arms though the attributes and her head are m issing.
Fig. 869. 8R1t11~1hS\',\Rh: ima~c o f Naiarija in an anartha niche on the no nh side of the d111/. fie i$
six-armed and holds a serpent horizontally above his head with h is upper two hands. His major left
hand crosses his body in g"fa·hasla while his major ri~ht hand is in ler/aka·has/a. His middle kit hand
hold s th e trident and t he m idd le right 2n indistinct object. He is lirdhvalitiga and the bull N anJi is
visible near his ri~ht foot. A bad ly worn dancing Bhrtigi is placed in one lov.•er corner and a
damaged figure appears in the other corner.
Fig. 870. BRAHMF.S\ 'ARJ.: diA:pila )~ ama on che south corner t>f the J111/. He is seated in loli1d1ano o n
his butfalo-mount and ho lds a Ja~rfa and noose in h is 1wo hands. He has a shon beard, po1-bclh· and
h is hair is arranged in a tall leiri/o·~m11hl/a. Lotus rosectc-s occupy the- upper cornc-rs of the- niche.
These niches measure 14 inches by 9 JJ, inches. The flank ing niches arc occup ied b~· female:
attendants, o ne holding a ta11rl and the other a mirror.
Original from
C;\ 'l',-\1.< )(; l 'L•: < l f Il .l.t ·s1·R:\ i ·rc)'.'S P9
Fig . 871. 8R1\ fl)1.._\ \'.o\RA: JikpO!a Nirriti on the south\\'est c<>rner of the Jt11!. J-te i5. seated in
lalitdratta on a prostrate tigurc. Both hands arc broken off and attributes mi ssing . The ftn>ale in the
rlght niche holds a knife and ltApila while the one in the left niche ho lJ5. a ta1Jrt.
Fig. 872 . 8RAM)ll>'.SVAR:\: image of Aia· f~kapiJa on the south side of the dtu!. 1-f is on(; foc)t rests on
t he back of a prostrate corpse. f-le hole.is a trident in h is maic.>r ri~ht hand \\'hilc the lt.•ft hand
probably held a it.optila. His uplifted back hands hold a efomori and a rc)sary. J-le h• Nrdh,.llliirJ:a and
wears a garland of skulls. An attendant is in the lo\\·er left corner o f the niche.
Fig. 873. 8R1\tl M,.'.S\ ' AR.A: image of a fe male Mgure u,•ith arms u plifted in an anllrtha niche <>n the
nonh side of the dt11I. She stands in a twistinR pose holding an ind1~tinct object in her two hands
above the head. A ~carf hangs loosely around her shouldc:rS with a parroc perched on one end. A
diminutive attendant holding an object over her shoulder appears in the IO"-'Cr right corner of the
niche. This is the only image in these niches t hat cannot be identified as a spe<:ilic deity. The female
in the left niche holcJs a mirror and applies p:astt to her hair while the female in the opposite n iche
st.ands v.·ith one arm a kimbo a.nd the other upheld .
Fig. 874. BR •.-.H~11::i\'AkA: image of Ardhan3riS\':ara in an anarlha niche (>n the \\rest i:idc of the
101.amohana. The deity stands in a tribhaliJ!.o pose with the lo\\'Cr riRht hand hold ing a trident and the
back hand broken. The lower left hand is in varada wh ile the upper hand holds a mirror. The upper
pan of the image is damaged , t he head missing, and it appears that the image may ha\•e had six
arms. The bull Nandi appears in the lower right corner and remna.n ts of a lion in the opposite
comer. A serpent-anklet and tiger-skin arc visible on the right leg of ArdhanariSvara and female
or.naments and breast on the left side of the body. The tigure is represenccd lirdh1·alili1,a.
Fig. 871. BRAl'l.\l f .· S\.ARA: mith11na in upper anorlha niche on the \\'tSt si<.te of the d111/. The fenlale
lifts her right Jcg slightl~1 and embraces her panner \\' ith her ri~ht arm. Hi5. left arm is aro und her
waist and h is right hand is fondling her necklace.
f ig. 876. 8RAH~ttS\'ARA: female musicians in upper leanilea niche <>n the south side of the d(11/. The
female on the left holds a vi~a d iagonally in front of her body. The female on the right holds an
indiStinct object with her hands in from of her chest. Both figures are dressed identically and have
rhcir hair a rranged in a l:arge braid at t he back <">f their shoulders. They arc both )<)oking at a
d iminutive female dancer at their feet .
Fig. 877. BRA t-l~t ~S \' ;\RA : female musicians in upper ltanilt.a niche on the S<>uth si<.lc of t he de11/. 1·he
female on the right has one leg crossed and is pl a~·ing a Autc. The female(?) o n the left as:ain holds
an indistinct object in front of the chest.
Fig. 878. BRAH )tESVAR. A: 111i1h11na in upper J:.anilta n iche on the nonh side of the dtJt/. The male
embraces the female with h is right hand while p lacing the left hand, hesitatingly. near chc left breasc
of his panncr. She stands with her left leg crossed and embraces him around the shoulder with he r
left arm. She faces away from him, ho\atcvcr, and places her right hand near t he mouth as if
contemplat ing her next move. The male is nude and his hair i5 braided closely to his head . A small
ohieet is placed near their feet.
Fig. 879. BR,\H)lt:.~\·ARA : female mus1c1ans in onurtihii recc-ss on the nonh sic.le of the JOJ.amohana.
The female on the left stands in a 1ribhari1..a pose and holds a 11i~i in her hands. The female on lhe
right holds an indistinct object, mostly broken, in her hands at \\'hich both figures a rc looking. A
meandering creeper blossoms into a large Aowcring canopy ab<)\'C their heaJ~. ·rhcsc images, with
cushion and canopy, a'·cragc approximately 20 inches in height.
Fig. 880. BRA ..1 ~1h~\.ARA: darpanii motif in the upper an11rtihti recess 011 1he \\'f'St side of the d111/. The
fernale assumes a lrihha~f!.a pose ~·ith her legs crossed and her head facing right looking in~o a mirror
held in her right hand. She is richly bejewelled and has her hair braided in a chignon at the left side
of her head. A creeper bends over her head to f<>rm a ca.nc'p~· <>n \\'hich is standing .a halitsa.
Original from
130 ( ;,\ 'l':\l ,( l(ll' I ~ <>fo ll.l.l '!\TR:\·r1<)i'.S
Fig. 881. BR AJ 1~1Ei;\·,\RA: ala1ii·ka!fri in onNrtihti recess on the south sitlc t>f the ./".f!"moha11a. She
stands in a lrihh•1(~• pose with her right leg croS>cd and both hands lifted o ,·cr t he head.
Fig. 881. BR A1 1 ~1ES\'.<\R.<\: itila/Jha~jilt.O in upper an11rtih ti recess o n the south side o f rhe tlr11/. •lcr right
leg is uplitied as if climbing the tree while her left h and holds o n to the bnnch abo,·e. Though baJly
damaged the figure is dynamically posed and beautifully carved. She .!isplays the sharp pointed no<e
fou nd o n man)' of the figures on the temple.
Fig. 88J. BRA1 1~11·.S\'ARA : dancing (10/eini in 2 niche o f t he lateral flank of a pt<)je-ctin~ mu!1t/i un the-
lower ;ant.ho o f the "'"'· She ho lJs a t;iamani above her head in her right hand and drin ks irom a
kapalo held in her left hand. Except for a necklace and earrings she is nude.
Fig . 884. BRAH~IF.S\'ARA : dancing: .1ogin1· in an11rtihi recess on the north sidC" of t he Ja.e.amohana. She
holds an indistinct object in her r ight hand while cradling a tridC'nt \\'ith her left arm in \li:hich sl1e
holds a le.aptila near her brea~t. Her lov.1er left h and holds a severed head v.1hilc her o t her right arm i!-
missing. She h as a deceptively sweer smile o n her face. A 1or"4/ appea" bencarh her legs.
Fig. 881. BR."tH~fE$\'..,R,\: ¢4!ini in a n iche on the lateral Aank of a "'"!1¢i on the lc>\l.'Cr./,;'~l!'ha c>f the:
south side of the d111/. She holds a kapiilo near her breast in her left hand "·h ich cradl"' a rriJcnr. lier
ri~ht hand is extended toward an emaciated monkey in the lov.•er right corner. A small emaciated
figurc, o r animal, appears hanging at rhc end of the branch form ing a canopy al,ovc the (i.ik111i.
Fig. 886. BRAl-i~IES\'... RA: ;iigrata

motif o n l2tcral Rank of entrance ponal of a corner shrine. The
lion rears u p abo \'C' a crouching e!C'phant. Festoons of pearls. drip from t he lion' s mout h . T he u ·arri()r
holds a sword in rhe uplifted rig hr h and while rurning the head to look back.
Fig. 887. BR. ..\1-t~IE~\'AR.A: khtikharti·mM!l~i on the lo,,.,,·er .ii~i?hn of the dt11f on the n<>rt h ~i(te. A /J)J(J
motif is car\•ed o n the PimOnil!.i. Kubera is housed in thC' niche.
FiR. 888. BJl.."tll~tF.~\'ARA: 11ajra•ma1tolu d esign o n t he vimtinikti o f a J:,htikharti·mNt1(ii. The- lo\\·cr

medallion houses a face and is flanked b y a standing f;gure on each side. The upper nledalli<)n is
filled with a dancing female flanked by a musician o n eath side. It is flan ked hy fii:u rcs o n the
extended wings. A projecting kirtim•Ma 2ppears 2t the •pcx of the motif.
fig. 889. 8RAtt~11>:..~"".,RA: \·icw of nonheast comC'r shrine from the south . The bti(ia is ponta·rotha in
plan 2nd duplicates the dccorati\'e proStram of 1he drNI 1hc>ugh the ~t.a!lfii is devou.I of ornamen121i<1n
except for thc vtyra-moJttJiea de$igns.
Fig. 890. BR:\11~11-.:-.\'.\R-\ : '''!irtJ·111astt1lt.a design abo,•c entrance: of corner shrine. "fhe niche at tht
base houses an ima~c of d ancing c;aryc:Sa. T he niche is Ranked by a kh1iJ:;.harti-111u!f(ii ('" each side and
surmounted b)' a tc1i1J·a \liti1h flanking ga?JaS.
f'ig . 89 1. BRAtl~ll'.S\'.\R .-\: dc:tail o f upper.1Jffxha of corner s hrine u ·ith a \\·arrior and s.catcd r!i till1n~
the niches. An alosti·kll"J'i is in the: an11rtilki recess.
Fi,:t. 891. R RAl l ;\l l::-.\·.--\R.-\: ' 'iew of btirja of C<.-rner shri11e fr«>m che S<)uth . 1'' hc late ral flan k of t he
entrance p<•nal i~ decorated v.·1th a ;ti1.rata mot if. i·he lower Jea111/u niche~ ht>U$t' JiJe.pOlar.
Fig. 89~. BR .-\l 1~11·~\·.\1t.\: doorframe of Ct>rner shrine. The tf,.drapilas are in ra/ra-mu(ltli n iches :.at 1hC'
hasc <JI t he jaml)$. A 1,,a10-k.r1inta i$ c2r\·cd hcneath t he niches. The i2mbs are dt,·01d of Scroll,,.,,·ork. A
na1·a~~raha appears c>n t he architra\·e.
Fi.'!; . 894. BR .\11\IJ..~\·:\ R."t: t'r<ltic s.cent' in the upper k..i11ikii niche: <.l f a Ct)rncr shrine. T he n1alc figurC'
h<llcls his lilif.0111 u•ith his !('ft hancl as he approaches the female: from the rea r. ~~ is ri~ht hand is
uplifted in a t hrcatcn inR gcs.turc. T he female lilts her right hand up, a!' if t'<>r pr<Jtccti(>n. as she 1u rn$
Original from
( '.1\T:\l.<>Gl· l: ()F 1 1.1 .l' STRA Tl(l~ S !j I
to face the male. Her lefr arm is d raped on the sho ulder of a small child who t<>uches her yoni \\'ith
his right hand.
Fig. 895. L1,.,.<i.>\R.'.\JA: general view from the nonheast. The multitude of shrines in the compound
prevents a good overall view. Just to the right of the Lingarija is the Ekambardvara temple.
Fig. 896. L1N<tAftAJA: view from the nonh showing the 101,amohana, nd!tt-mandira and, behind the
Ekambareivara, the bhc1.a-ma~(lapa.
Fig. 897. LINGARAJA: pi(lha-111M~{ii of the upper jarit.h• on the nonh. The niche is occupied by an
image of a standing Bh:airava. He h:as a shon beard and is four~armcd. He holds a trident and alibia
in his major hands while his lower hands hold a rosary and a vessel. He is ftankcd by two sets of
attendants. male below and female above. The upper comers of the niche are filled with vid7adhara1
and ga11dharva1. The alasi·ka".Ji from the 11n11rihi recess has been ripped out. The niche on the 11tad1!ya-
bandhani co ntains a ,,,;1hu11a.
Fig. 898. L1s<:AR AJA: vajra-111a11a"'4 designs on the khakhara-moulding of the lo"·er ; arigha and on
the ,,,aJi?Ja-ba11dhanti mouldings. These bho motifs arc extremely varied in dcsi~n and arc ornately
carved.
Fig. 899. L 1NGARAJ." detail of the b#a from the southwest. The pal1haga has five mouldings of
conventional de~ign u•ith a t'a),a·mll!J{ii on the JelJNra. The pti1,a1 of the lower jiliJ!.ha arc dcsi~ncd as
lr.htiJdxlrd-111111J4is with a single large lehiikhard crowning the niche. The pilasters fr·a ming the rihti have
small figures carved in high-relief and an a/a,,,ba motif on their sh2ft while the square c2pital is
decorated with a bhiirorakfou. The dilepalas Ni11iti and Yama arc visible in the niches of the u•iu.
Fig. 900. LINGARAJA: detail of the jarigho on the south side of the dt•I. The largest figures arc the
ririla motifs and alasi-Ull.Jil in the 11n11rihi recesses of the lower and upper story respectively. The
ufliu niche of the lowerjaligha is filled with the dilepala Yama. He is seated in lali1a1ano on his mount
and is flanked on either side by two standing attendants, one placed above the other, who have his
same pot· belly and c:arry a da!J4a and noose. The 111111J1}i niches arc very shallow so that thC' figures arc
not obscured in shadows. The oflartha niche of the lower story has :a royal figure reading a copper-
plate grant held in his left h2nd. The uniu niche of the upJ'<'r Story origin all)' contained a dancing
Vimadcva similar to the one on the ValukeSv2ra temple. The anarrha niche of the upper story, :as on
the V2lukcsvara, has an image of Kaumirf seated in lali1i1ana on her mount.
Fig. 90t. LINGARA JA: detail of the jiiligha on the west side of the dtNI. The frames of the mM~i/i
niches arc orn:atcly decorated with 11ana·l111i and 11ar111/i scrollwork . The A!.Anilt.a niche of the lower
story contains the diJr.pila Varut)a riding on his Malt.ara· mount while the anortha niche houses a scene
probably rcprcsnting the marriage of a king and queen. The uniu niche of the upJ'<'r story is
extremely shallow so that the figure acrually projects from the frame in high-relief. The image is pot-
bellied and holcl$ a ros:ary and 2 \•asc in front of his chest. A ha,l,10 caiyed on the pedestal suggests it
may be Brahmi. The image in the upper anartha niche is a six-armed Siva ~f:ihi)·ogi. He is sc:ited in
padmisa•a with his m2jor hands folded in dhya•a-111.0ri. His uplifted hands hold a trident and a
uma~(lal• while his lower hands hold a rosary and • hpiila. The image is thus. duplicate of the btlei
fig·u re on this west side.
Fig. 902. L11'1GARAJA: detail of thcjaligha on the west side of the drM/. The uni"'4 niche of the lower
jiirigho houses the dilepala Nirriti while the figure in the upper niche holds a ftower and • vessel. The
anartbd niche of the lou•cr story cont:1ins an elaborate fi}J!!mli.na scene with a female&"""· The im:ige
in the upper niche ~ombincs the teaching :ispcct of LakuliSa with the me.dirative aspect of the Yoga-
Dak~iQimUni of Siva. He is four.. armcd and seated in padmti1ana with his major hands in
dharmatalt.ra·provarltana·mNdri while his lower hands arc in JhyOna· mudri. His hair is arr2ngcd in tiers
of snail -shell curls. his cars arc elongated and a cranial protuberance is visible on his head. Small
figures, possibly disciples, arc on his pedestal.
Original from
I jl
Fig. 90\. l .l!'.<>AR\ J..la: upp!•r .1ci~~J1" c>n the south side «.>(the d.r11/. T he binilea niche houses an inl a,i.:c
o f :\rt.Jhan2rlS\'ara \1:hilc: the 1111ar1/,1a niche has an image of Gal)cSa standing on hi:;; n1,>unt. i ·hc a/aJri·
kD1!yd in the 011Nr1ihJ recess is in thC' act of rcmo,·ing her )o\\·cr garment.
l~ig.
904 ._ J.1:-..(.,\RAJA: nor1hurcst corner of the bele.i shCl\\'ing a tlopifhhri·ti"1ha ab.,,,·e the Jwni~ and
images of Si,·a seated in padmJst111a ab<>vc the rtihU1.
f;iR. 90S · 141:-.:<.,\ll~J.\ : view of the 1,a!ltfi from tht S<>Uth. The bara!lt/a ~crvcs visually as the lJa:-.e <>f
the 1,artfli and. alc>n).':: u·ich the increased numbC'r of bhkmi di\'isions, ten in contrast to h\'e <>O early
ccmplcs, g i,•cs added height to the tC>\\'Cr. The /ea1fi/t4 is d isposed on two pla.nes v•ith the corners
rounded a.nd pr<>iecting. TJ-.c tJlit,a·likharas arc superimposed one ah<>,.·e the other <>n the anartha anJ
are contained within the venical boundaries of the ptigo. The diminishing size of the ori1.a·sik.haras
lead the eye gradually up the soaring height of the 1,a(lf/i and in no way disrupt the graceful and
elegant contour \\•h ieh bends in rapidly near the top where it is softly terminated by the bisoma. ·rht:
huge g~Ja·A:rinlo on che front facade is elevated ab<>''e a large ofi1,a·f/kharo covering the 1ondhi·1thala ~o
as to be "isible abO\'C t he pit/ha roof of the J01.a1'lohaf111. The crO\\'Oing 111ast11Jeo is intaet.
Fi~. 906. I .1:-..C.-\RXJA: 1·a;ra·ma11aka dcsi~n on the " 'est facade of the 1.a!UJi. The desi~n C(•n~i:;.t!' o(
t \l.'O rai~ya·mc:dallions formed by strings of pearls. An image of Kintikcya r1din~ his m ount i!' 1n the
center medallion . A bell hangs do"''" from the lotus canopy at the apex of the de~ign u·h1lc a !'mailer
t'lljF0·1'111Jlab of ccar·shaped medalli<>ns is at the base. The 1.attaJ on the \\'ing~ of the upp~r motif hl)IJ
a club in one hand and lift one leg up as if climbing. They look away from the J.'!/a•kriittla nlt)lif
project in~ ah<>vc the lotus canop}'. A conch is placed beneath t"ach ~a!Jo.
l:ig. 907. l.1:-..c.tAR.l..IA: 1rajr11·ma11alta desi~n on the nonh side of the ~a!Jt/i. The center n'\eJall i1>n
contains an image of \ 1 imadeva or dancing Bhairava . He is four·armcd and holds a trident 2nd 2
club in h is maj<>r hands v.·hile his lower hands hold a kartri and a severed . head. The .~a!las (>n thr
"·ing~ of t he de~ign poke long sticks at the lion above as if ti:·in.st 10 make h im leap. :\ conch 1~
p laced beneath each g.a{lo \\1 hilc the base of the design on either s itJc is decorated "'rirh a mtJ~ra.
fig. 908. L1~ci.-\R.l.JA: crowning mastaltA of the ja1,a111ohana. ·rhe 111"stai!.a consists of a btlc1', 1.h"!11a.
omlti-btl:i. omalaka. Jel>op11ri, kalaiO and surmounting finial. l .. ions arc inserted in the I0\\1 cr l1rk1 tc..> hc:-lp
s uppon the hu~e 1.Ju1!1/ti. There is a seated Siva above eac.h rihi, as on the dt11!. thouJ?h t he li1•n
surmount ing the 1•a;r11·111011aiuJ obscures h is image. Squatting btlei·hhairava1 2re insenec.I into the amlti·
/}(ki but no Ii(>ns.
Fi~. 909. L1:-.t ,,\1<~1.\ : sou1h \'ic\\· of thcjaJ!.amohana. The \\'alls arc mo~tl~· c>h!i-cured fr(1m \' '""". by
small later shrines . The)Qti~ho is di\•ided into t\Ao'O stories and rhc barart4o contains ten mt'>UIJ1n).?_$. T hr
1.a1·ilt./a \\'indc.lW was convened into a door at a later date. The roof consists of t\\'O pqtalas t1f nine
and sc\•cn pief.ha-mould ings respect ively with the vertical face of the mou lJin~s of the l(>\\'Cr fH!tala
being decorated with frieze motifs. F.ach potola has a 1.•a;ra·ma1tako carvecl on a large panel al)()\'C the
t.avtik1a prc>ject ic>ns and en1rance p•)tt2ls.
Fig. 910. Lt!\c;.A.RAJ.\: va;r11-ma1111/eo c.lesign t.>n the l•>\\'tr potala of the; o_r,amoMna r<><>f <)O t itc Ot>rth.
T he niche at the ba~e o f t he large panel cont2ins a scene of lifit.a¥pUjti. '('he bc:adcJ roi~>·a·m('i.l:all111n
contains a smaller J!"!/ra·ma11aka \l.'lthin, complete \\'it h Aank1n1-tt.tJ~o1 and cr<)\\•n1n~ Kd_rati lu•n, and is
Aankcd on e ither side by a~"!'" facing a\Ao'a)' from the larAe 11tf}'alti h(>n surmounting the pant:I. 'fhe
panel is Aankcd on either si<-lc b~· a sn'\all pi<}ho·lllll!fffi h(>using an ima~<' of S2ras\'ati on the ri~ht and
an image of Par\·a1i on 1he IL·f1.
Fi~ . 91 1. 1.1:-.;c..:\K.\ I:\: St)uth 1,a,.Jk/11 \\·indcJ\\'. Three of the balus1ers \\•ere rcmo\·ed to con \·ert the
\\·inJt>\\' into a dt>t>r a1 a larer Ja1c. probably 10 facil itate entrance in10 the interior \l.'hen add1t1c.,nal
st ructurl's "'·e re t:rccrcd tin the east · \a:est a:<ts. The balusters arc dcc<>rated \\'Ith t.1la1ti·kP11•ti1. l 'he
architrave o ver the linrel has a I''"~ frieze depict ing, the ~larri a)!e of Siva.
Original from
C:\ '1'1\L(lGl' E. (>I: ILLt:$1' RA1'1< >r--:S l3J
Fig. 911. L li'\GAR.l.JA: JikpJlo Agni o n the southeast comer of the dt11I. He is seated in lolitisona on
his ram·mount and hol<is a torch in his left hand and a three-pronged ir111t. (?)in his right hand . He is
pot·bellied and wears a beard. A flaming prabhtivoli is carved behind his head v.·hile a kir1i11111Ma is
above the flames. The upper corners arc occupied by a vidytidhara couple. Agni is Aanked on either
side by a pair of standing attendants superimposed one above the other. They each have a pot·helly
2nd hold a rorch. A small figure carrying a garland is in each lower comer of the n iche.
fig. 91 3· L1s<'iARAJ A: Jileptila Varuoa on the west corner of the J111/. He is scaccd in lolitosana on his
mount and is flanked by two diminutive duplicate images o n either side. He holds a noose in his lefc
hand. T he right hand is broken off. A seated Devi appears in the center of the lintel Aankcd on each
side by vit!_J·adhara couples. At the comers arc bhtiraral:./okA figures with one displaying his lirigaflf. The
niche jambs arc decorated with the garbled vana~'410 scrollwork.
Fig. 914. Lt!"C~.'\Rii JA: male deity on the upper ltanilu on the southwest comer of the Jt11/. He
stands in a 1ribhon1,o pose holding a flo'1.•cr in his right hand and a vessel in hi.co left hand. He is
flanked on either side by 2 standing attendant holding an indistinct ol.>ject in their uplifted inside
hand.
Fig. ?t J . L l.S(i ARAJA : iik/tidti110 motif in an awartha niche on the lower jOli1.ha. The n iche is divided
into three uneven registers with the top register being filled with the Brahmanical trinity. Jn rhe large
center register is a seated royal figure faced by standing attendants a.nd ministers along with a seated
g11r11. in t he bottom register arc two seated figures facing o ne another \l,•hile three smaller figurc-s
stand in the background.
Fig. 916. I.1Nti.~RAJA: olasti-konyti in an an11rtihi recess of the upper jingha. She stands in a twisting
pose with her right foor placed on a vase. Her hips are in profile facing to our right while her torso
i$ frontally depicted and her head is in profile facing our left. Her uplifted left arm is over her head,
the hand grasping a branch, while her lowered right hand is placed above a diminutive female
attendant standing v.·ith one hand uplifted.
Fig. 9t7. L1N<;AR~J -" alasa-hmpi removing • bangle (n#pNrapadika). She stands in a graceful
1ribhori1.a pose resting her right arm o n an attendant for suppon. She is richly beje\l.:elled and her face
is illuminated by a soft smile. Her hair is arranged in a bu.n on the left side of her head and she wears a
jewelled tiar2. A creeper meanders behind her back and bends above her to form a canopy with a
Aoral rosette in the center.
Fig. 918. LtNGARAJA: ala1a-kanya. She stands in a graceful tribhanga pose with her right leg crossed
behind the left. Her uplif1td right hand appears 10 be cleaning the ear with a stick. Her lowered left
hand holds •n ind istinct object, possibly • bunch of Aowers. A scarf Ru"ers on either side of her
shoulders and a c reeper fo rms a canopy over her head. A small attendant stands at her left.
Fig. 919. LJN<~ARA IA: mithuno in a niche on the ptibhd)!a. The partners stand in a graceful pose
facing one anot her v.·ith arms intcrt'1.·inc:d.
Fig. 910. L 1S GAR.l.JA: ptibhtigo detail '1.'ith a monkey removing the garments from a female in the
lower scene and an emaciated ascetic making ad 1•ances to a young female in the upper scene. The
male is bearded and wears a braided turban.
Fig. 9z 1. L1N<;ARAJA: pabhat.• detail with the (l.alamaliki moiif of a lta'f)'i garlanding herself with a
creeper in the upper scene. The lower scene depicts a female ascetic, or tjdkini. offering alms to an
animal standing in the lower corner. She stands in front of a meandering creeper and holds a J:apila
in her raised left h2nd. She is nude except for jewellery.
Fig. 921. L1!'GAR.l.J:1.: female ascetic or #kini offering alms to a seated animal, the head of the
latter now missing. She holds a J:Aptilo in her raised left hand and is nude except f<>r jewellery and a
Original from
( ..., ·r :\(.()(;l' F. c>F 11.1.l 'STR \1 'l (l;\:~
girdle from \\'hich hang bell$. A creeper bloom~ ab,·>ve her head and a small tl~urc $t and$ ncx.1 co the
squatting animal.
Fij.t. 9z.j. L1s<~\R\I\ : 11#p11raptidikii motif of an ala1ti-Jw'!ti rcmc>vin~ a ban~lc fr<)m her ankle. She
holds (he bang le fro m her o ther ankle in her left hand. She is richly ornamented and a creeper bends
art>und her head.
fiJ!. 914. l.1st .:\RAJA: female hj.turc h(>IJinA a trident anti a h1plila. A small ft.·male attentl ant stantJs.
ln the l<.)\1,: er right corner of the niche.
Fig. 91l . l.1s< ;ARAIA: view of the bho_P_o-11ta!f<1apo from the northeast. The structure \1•as ori~inally
provided five o penings ,,n each side ....·ith the center opening being framed by a five.cu~pcd torana.
·rhc ori~inal design \\·as a pillared hall and the structure served as a nii/a -mand1'ro. The sitic <>pcn10J.!S
were \\-'<illlled up at a slig:ht ly later date due to cxcC'ssivc strcs~ on the architraves. ThC' pidho roof
co ntains t\\'O potola1 of four and three mou ldings rc:o;pcctivcly. The m<>ulJinJ.ts arc pla1n cxcept for the
projectin1t 1an1e.M1 on the riJJtcs.
Fi~. 926. L1s<;.'\RAJA: h0¢a detail of the bho,t,o·ma!J(iapa showing a \\'all section in!'crtt•d bc:1u·ccn t11c
original pillars. The p illars have a ptibhO!.,o of six mouldings U'hile their shaft is di\'ith:t-i into t\I.'()
stories by a madhJ·o-banJha11ti of three mouldings. The bara!J(ia has seven mouldin~s. The pril1J1,~~11 of t hc
added \\-•all section is decorated with figure panels alternating with Jc,htiJdJor0-111Nndi1. 'J'he .Jli~ttho i"
divided into two stories and is decorated ''"ith flgure panels alternating with "'"!'<ils flanke<J •ln either
!"Ide by a nig11fnigf·1ta111'1ha. The top moulding of the bara!lfiti is decorated "''ith a frieze.
Fig. 917. L1~<;AJl~Ji\: nonh ,·iew of the ntifa·mandira. It has thrC'C doors on C'ach si<.lc.· except the
cast U·hcrc there is onlr one leading in1<> the hho_~a-ma(l{itJpa. T he roof slope~ in four stiges and 1s
plain except for the projecting ttirih/1.
Fig. 9z8. L1NCAR.l.J A: architrave over the si(te dtx>rway on the nJta·11'a11Jiro. The desis.tn C<>nsists of
milhNnaJ alternating \1.•ith miniat ure rrli!hO·JtN/J ind is similar to the 1,ai•ile!a·ma1Jefant1 ot' the ;ut,amohano
though the carving is very crude.
Fig. 929. J.l~<~ARAJ .\: dt:"tail of the 110/a-mondlro w i1h one of the si<.!c door\\·ays. Except for the
d1·0rapQltJs the d<"•<.lrframc is plain. The pibhO,K.t1 C<>ntain~ five mouldings and the ,1411.r,ho i~ <.f1 ... i<lcd into
t\1.'0 stories \\'ith A!htiie.ht1rd and pl{i.ha-mu!1¢i1 o n the lo"''<'r and upper story respccri,·cly, each 1"Nntli
being Hanked on either side by a Jlam/Jha.
Fig. 9JO. S111•.RCi:\R11: south\1.•est view of the f\·fahi~amardini temple. The dc)()rframc o f chlo rite i$
intact except for the architrave which is resting on the pitha. The temple is of the lehtiJ:.hr1rO orJt'r and
is built of coarse l:atc:ritc. \'<'ithin the s:i.n etum arc two images of ~·fahi~amardint.
Fig:. 9j1. Stt~R(;Aa.11 : doorfr:ame of the ~1ahi$amardini temple. The inside b:and i" decorated ":ith
the ra~(oni scroll and the larger outside ba.n d is relie"ed \l.•ith pano-/alti. The dt•tirapUla1 h<lld a lt.dptila 1n
one h and while the other rests on a staff. Gaja-Lak~ml appears on the linrc l.
Fig. 951. S11ER<~AR l1: dt'irapdla inserted into the d<><>rframc of the modern KhciUrcS,·ara temple on
the nonh side of the compound. He is four-armed and has his lou.'cr right hand in 1:ara.do \\-· hilc the
major kf1 hand is in from of his chcs1, probably holding a "4pala. The lower left hand holds 1he
rri<lent and the upper right has a rosary. He u·cars a 1arpo·hl!Jdola in 1he r-ight car and h1~ hair is 1n
cu•o tiers of spriral coils . .-1e "'·cars 2 ya;iiopat•lto and is richly bejewelled.
Fig . 9}}· A\'ASA: cast \'iC\\-' ()f the c: ao<Ji 1cmple. It is a J:.htikharti shrine huilt (')f lar~c Sf(lnc-:-1 ,,f
k(mdahte ancl is de"«,id of f.kt<>ratic>n CXC'l'I f<>r a mr1d~)'a-ha1J19Ja11ti \\·hich di,·1dl·s the ;li~e,ha into
tu•o stories. The temple u 1as. buried ind has only been rc;ccnt ly cxca ... ate<.I. In 1he sanetum is a th ree·
headed <~imur:it.12 scitc:d in podmJJrJ fto ,
Original from
( '. :\T:\l.<><; l' J: <JF 11.f . L'STR .\1"1 < >~ $ I JI
Fig. 9~4· PF.-t ).\ (.;Ao1: d<'tachcd ima~es f<'SCU<'d from chc ruins <>f the Bhime~vari cemple. From the
left arc the bull Nandi, \ .'2.ri hi and a female dcit)' seated above a prc>strate figure \l;·ith the: head of a
bovine animal.
Fig. 9~1- P1 . o.\c ;Ao1: pedestal from the sanetom.
Fig. 9~6. Pt·:D... <:.\OI: Nandi. He wc2rs cwo strinj.;s of bells on the back u• ith one encircling the
hump. A chain is ah•o tied around his neck with a be ll in front.
Fig. 9~ 7. P t-:l>.l.(;AOJ : o/Jhi1rlr.a spout deco rated with a Jeirtimulr.ha.
Fig. <)i8. K .'\l'PL' R: BankcSvara temple; tokro leaning ag ainst the temple. 40 inches in d iameter.
\X.i1h in 1hc temple arc images of Karuikcya and E kapada Siva .
Fig. 9~9. K ,.\ llPl.' R : sanaum o f brick shrine \\'it h a double image of Garu<fa in the center of the
Aoor. 'fhere arc tv..·t> images of SGrya inserted intt) the back "',.all \l:hile <>ne o f GaocSa is in tl1e si<lc
wall. There arc also th ree images of Hara-Pir\'ati inserted into niches of the 1111.amohana.
f ig . 940. K l'NOF.S\':\RA: sc)uthcast view (,f the lar~e rCC(>ns1ructed Siva temple \\.ri1 h detachc tv..·o Storie~.
Fig. 941 . K t.'N Ot:.S\' t\ R:\ : smill Si\•a tC'mplc on the nonheast co rner of the: comp<>und . The p1ibl1,~v,a
consists of f<>ur mouldings u•ith an indentation beneat h the rihti niche. T he h1i(ia has a pa1lra·rotha
plan with the Jr.aniMs designed as Aat pilasters relieved ~·ith scrollu•ork. 10th century.
Fig. 941 . Kt.::i.:o..:~\'AR."i : South view of the Siva temple. T he ft>ur mouldin~s of the bara{lr/.a 2rc
ornately decorated "-'ith scro llwo rk . The pci,P_a designs ha\'C been eliminate<l in che rcconstruccion.
Detached images arc lined against the pti/1hJ~a.
Fig. 94}· K t ' NOE$VARA: Gar;ieSa in the: south rtibti niche of t he larµc Si \•a tc:mple. f-lis n1ait•r h:•n<ls
arc broken o f at t he elbow. His lower right hand is in 1:arada and hc>IJs a ro$ar~1 while the left hand
rests on the hfhtiro. Hi.s head is framed by -a trefoil /()rorto w ith a i!ir1i 111Mle.ht1 at t he apex. A fid_rJ1/l1aro
is in each upper comer while attendants carrying jack·fruit appear at the b ase of the: tora!Jd and in the
Jowcr corners of the niche. The mo use pcC'rs up· at Gar:aeSa from the IO\\'t r rij.!ht. 48 1/ , by 24 inchts.
late 11th or early 11th ccntUf)'. ~
Fig. 944. Kl'!'\OE!ii\ ' ARA : dilt.ptila A~ni. He is seated on his mount anU hl)lds -a r•>!'ary and a to rch in
h is two hands. He is bearded and has a p<>t ·belly. He wears a ral l ;afi·lffkleN,lo and his head is framed
by flames. A torch 2ppcars in each u pper comC"r of che back-slab. 11 by 11 inches.
Fig. 94$- Kt::--.;01..s\'ARA : diJeptila Tsana . ..l e is four-armed and rides on h is mount. The majt)r ri~ht
h and is in varorla ""•hile the back left h and holds a trident. The o ther cu·o hands arc br(>kcn o ff. Ht' is
lirdhvo/iti1,a and is rich!)' ornamented. He wears a tal l ) ofti·m11hft1 and a fc)tUS ros<"tte is in each upper
corner of the back slab. 11 'J.
by t 1 'I. inches.
Fig. 946. K l'NDl.,S\'.\R,\ : dt•draptila on the sanctum doorframc. He hcllcls an otfc:rin~ in h is left hancl
a nd the trident in his ri~ht hand . I le is accompanic!d by the ri\'er gcxldess Gail~i \\'h<>stands c,n her
mount. 18 1/ 2 br 9 ~.inches.
Fig:. 947. Kl' ;o.;f ) t ·.:>\'A flA: sanctum dot>r jamb u·ith a lt.irifo dc!'1~n ab<>\'e the d1«irt1pOl11 n iche. l"h<'
lotus at chc: apex of the dC'Sig n is flan ked on eit her side by a t.a!la blo\\·ing a conch.
Fig. 948. RA1'~A<ilRI: upper niche aho\ C t he center door of the \\'all. The niche i!' fram<.·d b~· a chin
1
b and o f scrollwork \lo'ith at1endant.s at the base and cop. The lintel has. Hying rirfyJdharas 2nd fi\'C
Original from
small niches aligned abo\•e. There arc four nicl1es superimposed o ne above the <>ther o n either side c>f
the major niche. The crou•ning ra;ra..mastalt.a abo\•e the niche has not sun•i\'ed. 10th century.
Fig. 949. R.\i·~.~(:fRI! front view of the u•all. The ali~nment of seven niches filled \l.'it h Budd ha
images, the center niche or d<>or placed in front of the sanctum entrance, must ha\'e hecn quite
impressive. The wall is now placed along the u•est sille of the counyard 2nd the empt~· niches. minus
their pedestals, appear like small cells. E2ch ptiga design is separated from the <>t hcr by a thin recess
filled with a 11tig.a•Jlambha crou•ned b)' a bhiraralqalr.a.
Fig. 910. RA1·r-.:.·\ti1K1: lateral ' 'icw of the wall adlfed in front of the sanctum. The p,i/,11,~I!" con~i~ts
of four mouldings with an indentation beneath the n iche. The niche is fille,c.i u• ith an <:l<>n~:ittn
1oppcd by• va;ra-maslaka with lions Aanking the tail)a dcsign. The niche of the desi~n is empty.
Fig. 911. R i''T"NAC;!RI: female fi~u re

assuming a dance-likc pose. •tcr riJ,tht hand is in 11bh'1_)a u·h 1lc:
the left hand ho lds a lotus. She is ornalCI)' bcjC\l.'Clled and her hair is b rau.IC'<.i in a large ch1~n<,n on
1he left side of her head.
Fig. 9s 1. DA...::RA·B11t~1 f.:\\•11R11: general view of the temple from the southca~t, The clus1t'r of ofi.e.a·
iilt.haras at the base of the gatJ{ii arc not as well integrated into the O\'erall design as on the Ri jariili.
These turrets rcrminate the pOgo designs of the hi{itJ and arc not 2ligncd with the pti,t,as of the ,(an(ii
above and thus obstruct the u pu•ard vertical thrust . The silhouette of the ,t,a!'<ii appear.; rather
truncated.
Fig. 9s ~. D.i."-R.l.·BHI~t f.~\·AR.<\ : detail of the jiri.._~ha on the east side. The ; tili.(ha is d i,·icled into t\l.'t)
stori<."s as on the Ra;aril)i and decorated similarly though the mult iple offsets lack its lu~h scrt>ll"-·<>rk.
On the lower A-.a1tilr.a is the Jileptila Indra while on the upper StOt')' is a 111ithN.na. ThC' rirtila and alasti·
Mii.JO or 111ithJma motifs in thc an11rtih4-reccsses have been los t or plundered.
Fig. 9S4· EK.l.'.\tSARES\"ARA: general view fro m nonhu·est. The atiga-s1kharaJ arc cluStC'red at t he
base of the gaf,l(ii and visually serve to terminate the vertical thrust of the bifla. T he 1.a'.'t/i abo,·e thc$C'
turrets has o nly four bhlimi divisions and is thus truncated in appearance. The proicctinR lion o,·cr
the entrance is much lar~er than those on the other three sides. Dqpirhhi-si!i!ha.s and brki-hhairaflas a re
inserted into the /J,ki to help support the amalaka. The walls of the temple arc mosdy devoid of
decoration.
Fig. 9SS · EKA~tRAR f.S.\'All.<\: detail of the ''"./'a-111astaU 2b(1\'e the entrince ponal. A mtK.lern
kirlim11kha m2sk has been added at the base. The Mtiyatti lion projects o ut from the ,.tihti abo.,,·c thc
ari}.a-s'ikhara in contrast r·o the other th ree sides where 2 seco nd aliga-sl khara has ~en atlded and thc
lion projects ouc from it, the other three lions being smaller than this one on thc fro nt t·>f t he ten1ple.
The projecting plaiform supporting t he lion is left plain.
Fig. 916. \ 1Al.l"KES\"ARA : detail of the Jr11/from the c2st. The temple i~ buried up t<> the level o f the
upper story of the ;an~ha. Strlis1 ically •nd ieonograph ieally the tlrNI is • small duplicaic of 1he
Lirlgarija. The bararrJa consists o f ten moul<Jings wir h a small 11'!fra·111as111Ju on t he rOhti su rmounted
by tn J«!.yalti lion resting on a J:ir1i11111if.ha mas k. The i•a_jra·maslal:A of the ,t.11ndi is surm,,un tcd b~· 2
projecting 1.0;ia·l!.rtin1a. T he Junilt.a is disp<>scd on tu·o planes and t1'1J!l1-sile.htJr111 arc supcr1m~1sc:d
vertically up the height of thC' anarthas.
F1g . 9S7· V A1,t 1...:1:S\'A RA: detail of fig ures AankinR the upper rlihti niche . T he 2liJ,?n mcnt is similar to
th<>sc on the l,ih~arija though the fi~urcs arc all Aush u•ith one an<>rhcr. ~;r(lffi the prc)pt"f right the
motifs are a virija, alasO·A:.o'!yti, 11a_(a/nti1,i-1lambha and ) 0..(rala.
Fig. 9 1 8 . \ ' ..-.1.l't\t·.$VAR .\ : detail of figu res Ranking rhe upper rtihti niche. The alasti·h1111i hc'lllts a
small ch ild on her hip.
Original from
<::\ T :\I.<>C~ l· E ( >F 11.l.l . ST R:\ ·r u )~ !\ Sl7
Fig. 9J9· \'A1.1,.·.,.1;_~,...,RA: 11ujra-ma1talea detail on the bara!J(/a o n the east side. A deit)' seated in
patlmi1ana fills the medallion while dancing and squatting figures appear on each side at the base.
The medallion is composed of concentric rings of pearls issuing from a lotus canopy beneath the
projecting Jr.irlimNk.ha. Ga(la.J and gandharva1 Aank the lotus design.
Fig. 96o. VA1.t ·..:1·:~V.'\kA: detail of the upper rtihi niche and the bara!J{ia. The bara!lfl.a contains ten
mouldings.
Fig. 961. VA l.l' J\J::S\'AR,,-\: detail of the upper jilif.ha on the cast. The ala1i·kolf_J·i 1 of rhe anNrO.hi
rcce-ssc-s, being easily accessible. have- been forcibly removed. The pl{iha·m11tt¢i1 of t he anartha and
J!.anikA house images of a seated Bhaira·\'a and a standing Si,•a.
Fig. 961. V ..\1.t; ..:1.;S\'AR,.\: six-armed ~·fahiyogi on the north anartha of t he west side. As in the same
niche on the Lii1garija the deity is seated in pad,,,O.sana. His major hands arc folded in dfqina or_)'OJ!ll·
mllliri. his upper hands held a rridenr anc.t vase while his lower hanc.ls, restin~ on rhe knees. held .i
rosary and J:apola.
Fig. 963 . VAt.l'.lo\B$\'ARA: four-armed LakuliSa on the south anarlho of the west side. As in the same
niche on rhe Lingadja the lower h ands are folded in dhyana while the upper hands, mostly missing,
:arc in JharmaraJ:ra-pravarllana-,,,MJrti. As on the Liligarija there is no lahl/a but the cars arc
elongated and vestiges of a top-knot arc visible, suggesting that the image combines aspects of
Yoga-Dak~i~amuni and Lakuliia. See fig. 901.
Fig. 964. VA1.l:..:1:.~\·1'.R ..\: standing Siva on the north lulniirA on the cast side. The image is
represented irdhi•alitiga but too b:adly damaged to identify with any degree of certainty. The remains
of the bull Nandl appeu in the lower righr comer, with an anendant behind, while on t he side is a
badly damaged figure, possibly a female. h is difficult to determine how many arms Siva has,
probably eight, though he appears to have a sho n beard which would suggest his Bhairava narure.
Fig. 96J . VA1.r..:ES\1 ARA: image of Aj:a·Ekapida on the west Aank of rhc entrance portal on the
nonh . He holds a tridenr and pafltarii in his right h ands while his left hands hold a serpent an<l
kopJ/4, He has a shon beard and open mouth. The attendant figu rc-s are mostly obliterated.
Fig. 966. ~f ..\NIRltAORl·.S''ARA: general vie\\• from the southeast. T h e temple is o'·ergro \\·n \\'ith
fo liage and in danger of collapsing. lt is situated a few yards nonh of the SiSireSvara temple.
Fig. 968. ~fAl'\IRltA!>Rt:S\'.<\RA: detail of the bti{la on the north. The pabhti,.t,a consists of f\\'e
mouldings, devoid of ornamentation, and a lala·garbhil:D appears beneath the rtihi niche. The bO.{i.a is
pa!ita•ratha in plan rhough the anartha abuts the rOhti and is not decorated. The leanilto is designed as a
NJra•mN!'<i.i and houses an avatar in its n iche. The rJhJ n iche. measuring 31 inches by 18 1/ 4 inches, is
framed by a pilaster on each side and surmounted by an irdhi·a·garbhile8.
Fig. 969. ~-1ASIRHAORf.:S\':\RA: malrya IJl!atar in the nonh leanil!.a n iche on t he cast side.
fig. 970. f\.f,.\NIRltAORE$\'.-\Rt.\: le.itr,,,a avatar is t he south J!.anilea niche on t he cast side.
Fig. 971 . ~f ...,~I Rl lAURt::Sv,\R.":

view from the east. 1·hc: doorframc i~ m<>stly undecorated exec-pt f<>r
the J1:tir1Jpila1 and the naragraha slab.
Fig. 971. r-.t."r.NIRltAORt:..~\'ARA: JvJraptila at the base of the door jamb. f=tc- is hc.>uscd in a ''":ira·m11!'¢i
with a diminutive 11iga carved at the base o f t he inside band next tO the rail.Jo.
Original from
<::\ ·r ..\1.<x;l· l'. t >F 11. 1.l s·r R.\ 'r 1c.>:-.;s
Fig. 973. PRAT.1.PRl'l)RAPL 1R: general view showing theja1,a111o/Jan11 and the J111/. The J111/ has bl·cn
reconstructed and only portions of the original decoration remain. The 1,a1J<fi is plain except fc.>r the
''"J·ra-111111/aiea designs and an ali1.a-iilt.hara at the base of the anartha. The crournin~ Mastalea mC'mbcrs
of the jaga111ohan4 appear too small and seem to sink into the roof rather than floating abo\'C 11.
Fig. 974. PR,\T.l.PRl.l)R:\Pt·R: dt:tail c)f t he cornice of the 1anJhi"-1thala decc>ratcd \\'ith a pr<>ces).ic>n
"·ith elephants and a temple. Numerous peacO(k para~<.>ls sugge~t t he figures o n the elephant). arc
probably of a ro)'al famil)'.
Fig. 971· P1t.\·rAPRt·1>R,\Pt·k: detail of cornice of the sandhi-1th11/a <lccoraced \\·ic h a prc>CCS~tc>n
leading into the m<)untains. Among the mountainous terrain at the proper ri~ht arc ,·aru>us an imals,
such as monkeys and t igers. su~gc~ting a hunting expe<lition.
Fig. 976. PrtATAPAl'OR,-\PL'R: detail o f the bara{lr/a u.-ith vari<>us nlrrativc scenes in rhc r<'Cc~l<. l 'he
projecting lower moulding is decorated with scrollwork on its 11111/Jri!'l' :and padma pr11I"' ''" 11 >
sloping upper surface. Animals or human figures 2re carved in It>\\' rt:licf at spaced inler\'ali> <>n lht'
paJMo Pr!fha, elcph:ants being visible in this detail.
Fig. 977. PR.\ Ti.Plll'D"R:\Pl'R: view of n4/a•manJira and Ja.t,amohana. The jl{(tJmCllJana \\'a.S atlc.lcJ in l he
t~th crntury while the nJlo-manJira \\'as added even later, probabl)· the 14th century. A tcmpt>ra~·
thatched roof has been added over some of the p illars at the front of the nli/a·manJira.
Fig. 978 . PRAT.l.PRt1DR.\ Pl1R: J.'ajr11-ma1talt.4 design above the sandhi-sthala on the front of the ,t,andi
(west). The ga!fal Aanking the medallion have their hair arranged in spiraling cclils. Their m<iuth is
open and their teeth bared. Above the projecting Jt.irtim111ehti is a Natarija rather than an "'!>·atti lic>n.
the last vestiges of the earl ier tradition where Natarija \\•as a standard motif of the 11a;ra-11ta1talr.JJ.
Fig. 979. P1t.o\T.i.PRrOR.'iPt·1t: 1•a;rd·ma1talul design on the south face of the ~a!ffi,". ·rhe m(lt1f is
cro wned by a projecting kirlimNA:ha with surmounting "4>·atti lion.
Fig. 980. PRAT.\PRt:c>RAPllR: view of the bti(ia from the nonh. The prihl1.i1.a has fou r rather than the
standard five mouldings. The bO{la is paiita-ratha in plan though the p.iia decorations ha\'C nt>t
sur,·ived. The rtihti has a talo-garbh1U ~neath the niche and an Jirdh1·a·1,arhhiU above. T he h11ran9a
consists of a ki>Nra-moulding capped by a recess.
Fig. 981. PRhT.APRt.'DRAPt:R: base of the north rihi niche \\'ith decached head o f Pir\'ati. The
Ranking a11endanrs srand in a graceful lribhaitga pos.c in front of a p1(Jha-111111J(li. Ther h<>lt1 a nti1,a·piiia
in the right hand and possibl)' an anl;Mia in the left . The lion-mount i~ carved beneath the r1il'ap11dma
cushion of the pedestal.
Fig. 981 . PRA1'APRtOR:\Pl'k: 1ala~J!.arJ1hilt.O detail beneath the rQhQ n iche on the ca.s.c \\'ith 1.akuli~a in
the center niche. The flanking niches arc filled with mith11rta ima~cs. In the lef1 niche the female is
being approached by a bearded figure wearing 2 turban.
Fig. 98 3. P1t.o\ TAPRUl>R!r.PrR: ptibhOf.a mouldings of the Jr11/. The k.h1tr11 has scr,>ll"1ork on its m11.htirt1i
and pad,,,a pr1th11 on its curving upper surface along with a tai!Ja or kiri/a design housin~ a face. i ·hc
top rwo mouldings arc joined by a venical panel filled wi1h female figures or erotic imagery.
Fig . 984. P1t.o\T.\PRl"DR .\Pl R: tala·.t.arJ1hilei detail wich a battle of cwo v.·arrio~ in the center niche. In
0
the niche on the proper right is a scene of a warrior taking lca\'c <>f his \\'1fc who is h<)fJ10~ a bahy an
her arm. In rhe lt:ft niche the \\:arrior appcan tO be return ing and the baby is now a )·c>unJi!; child
standing next to his mother. In ~ ~pa.rate scene beneath the bactle motif is a ma11h11na tl;inkcd <)n
either side b'.' a !,P!'a holding an ohject on hi~ head .
Original from
CATAl.<>Gl'I\ OF 11.1.l'STR,\ TIO~S l )9
Fig. 98 5. PRAT~PRCDRAPllR: g•vak,ra b2lusrcrs of the j aga,,,ohana. StyliStically the figures are typical
of the lare 1}th or early 14th century. The stone is of an inferior quality and the images are badly
worn. Similar erotic imagery appears on the balusters of the Citrakiri.r.ii temple. The images arc
approximately I) inches high with the ovcnll height of the balusters being 17 '/ 2 inches.
Fig. 986. PRAT~PRUDRAPUR: north view of the jaganrohana. The ba;fa is paiito•rotba in plan and the
pi.bhit,a has five mouldings. The jtiligha is divided into rwo stories but is otherwise undecorated. The
ga1,.ik;a is plain except for the balusters. The roof is divided into two tiers with four pl{lha-mouldings
in rhc lower fM/ala and three is the upper one. In general thcjagamoha11a. obviously a lacer addition, is
too small in relation to the J111/ and is poorly joined to the latter. its roof p2nly obstructing the vicu•
of rhc frieze motifs carved on the cornice of the sandhi-sthala or projecting ponico.
Fig. 987. PRATl.PRllDRAPv•: detail of the sanctum doorframc with the dvarapala Mahiikiila housed
in an arched niche. The dvtirapila is accompanied b)' a small river g oddess and a diminuri,•e
attendant. Addorsed gaja·kranla morifs arc added beneath the dvaropala and flank the nandavarta step.
A diminutive naga is added at the base of the inside jamb above the dvaropilla.
Fig. 988. PRATi.PRUOR,\Pt:R: detached image of Variiha placed in the jagaMohana. He stands in
all(ihti101t11 above a small ntiga with hands folded in alijali. The goddess P~hvi is represented twice,
first holding his right hand as she stands next to him and then on his uplifted left elbow. V ariiha
holds a ralero in his upper right hand while his lower left hand carries a conch. Beneath the conch is a
standing female figure, probably Laksml, who holds a small statf or godiJ in her right hand. Variiha is
richly bejewelled and wears a long Panama/a. A toro~a is carved behind his head with a /eirJimN/eba at
the apex and •auras at the sides. Vid.Jadboro couples are placed on the upper comers of the back·
slab and a small Garuc;la is on the lotus pedestal. )4 'I, by 16 '/2 inches. Late uth or early tjth
century.
Fig. 989. PRATAPRUDRAPuR: detached image of Gopiniitha placed in thejaga111"'1ano. Krsna stands
with his legs crossed in a relaxed pose in front of a trtt. He is richly bejewelled and wears a tiara. A
,...,,,,,,;IQ
hangs to his knees. He is flanked at the base by a female figure on either side, one holding a
lotus and the other carrying a goda. They possibly represent Ru~miQI and Satyabhamii. A gopi
appears on the left side of the pedestal along with four cows. 16 •/2 by 9 1/ 2 inches. Late uth or early
t )th century.
Fig. 990. GHllRODIA: general view from the southwest. The temple is hemmed in by modem
shrines and confined wichin a small compound making it difficult to get a good overall view.
Fig. 991. G1-t<>RoD1A: south view of rhc ga!ltfi. The bara{ltj11 consists of three mouldings similar to
the design of the Brahmcivara and the base of the ga~ifi likewise has an alignment of anga·iikharas
though the one on the raba extends up only the height of those on the other piigas. Most of the
decorative derails arc obscured by plaster. The kaniU is very wide and its bara!l(iis are linked by a
band that runs vertically up the middle. The projecting 11tlyata lion on the front is elevated higher and
is greater in size than those of the other three side--s. &lei-bha,.ravas and Jopithha·1imhos arc insened
into the bth. Numerous modem ltirtim11.lt.htt masks arc carved in the covering coacs of plaster.
Fig. 99z. GHORODIA: north view of the dtNI. The btiefa is paiira·ratbo in plan and the pabhat.a has five
mouldings of conventional design though they arc devoid o f ornamental derails. The ;angha has •
single-story design similar to the Mal)ibhadr.Svara temple. The side pagas are designed as vajra·,,,•!'ifis
while the rihi is a truncated pitJha·11111~fii. The center afiga·f,'Jt.hara extends through thC bara{l(ia
division.
Fig. 993. GH<JR< )DIA: sanctum doorframe. The jambs arc coated with whitewash. The: J11irapila1
are accompanied by rhc: river goddesses who arc rhc same approximate height. The niche is cro\\•ncd
by a bho design as on the Rijar2ryi and BrahmeSvara temples. Gaja.Lak~mi is on chc: Jintel and a
na11agraha appears above.
Original from
c :.-\1· :\l.(l(~l· f ~ <>I: 11 . l.l . ~1 ' R :\iU>r"S
Fig. 994. G11< 1R<>l>IA: dama~t'd dancing Ga('IC'~a in rhc sourh rihti niche:. Only the serpent, mMt1iui·
ptilra and rosary are left intaet. 38 7/ 1 by 19 7/ 1 inches.
Fig. 99~ . G11t 1Rt>OJA : seated Durli:ti in the ea!l.t 11nar1ha niche on the south side. She is f<>ur·armcd
and is seated on a )(nus cushion :above a small lion. 1-ter main right hand is in varada u.·hilc the left
hand holds a vase. The uplifccd hands hold a n1((a·p<iia and J>O'Sibly a goad. She is richlv omamcnccd
though the image is paniall)· obscured I>)' accretit)ns of dirt. 10 1/ 4 by 9 1/ 2 inches.
Fig. 996. GHclft(>l)lh: dile.ptila Yama . He is seated in la/i101a11a o n his butf11l<>·m<>unt, t-lc hold!' a
ga(iti 2nd a noose. I-le is stout in bo<.I)· an<.1 wears a J:.irtfa·m11k.Nfa.
Fig,. 997. G11t•R<>1>1A : front vie\\' of a corner shrine. The~· are sm:all duplicate!> c1f the nlajc1r !i>hrinc
though the decor:at i<>n is o nlr blocked-out. 1"he ptibhti.(a has only fc1ur mould inJtS.
Fi~. 998. G1u~RtU>J.\: side view of a comer shrine. The J1ii(ia is. pa11ra·ratha in plan and ha!'. a sinj!IC·
story d esign '-'' Ith the niclles left uncar\'ed . T here is 2 similar al ignment of a»1.a-1/Jd,ara1 at the base c.>f
the Jl,•~ifi.
F'i>t. 999. 1\1.c .l·~1: \'iew ()f 1he J,11/ from the S.<)Uthwest. The f,ti(la is pa11ta·ra//Ja "''ith the anarlba
ahu1ting the rtihti. The ptibhti_t!,a C<)n:i;i~ts of fi\'e m<.>Ulc.lin~$ of c<>n\'enric.>nal dt.·siRn rht>U~h de\·t>1<l <>f
ornamenral detail. The ga!J4i has recencly been reconstructed.
Fig. 1000. A1.<;l·~1: view of che Jt11/ from the south. The leanil:A is desi~ned as a '''!/fa·mu!ft}i "~ at
GhorOliia though the crowning bho motif is more ornate. The aflarlha decoratic>n ha!'. not sur\'i\'cd.
possibly being removed when nis'a shrines \\1ere -a<ided in front of the ptiri1·0-dt1·attis ac a later dare.
T he rtihti is designed as a truncated pt(lho-m111,1(1i cro\lo·ned by the t•ajra-mo1taka \\:hich obfuscates the
hara~(ia mouldings. The bara~ifa consiscs of only two mouldinj(s. Ac the b.,e of each p~,a o i che 1.andi
is a small J:.irt/a design. The vojra·1'1astalea is of the bhq-.ty~ and surmounte<-{ by a projec11n~
lttr1i111Nleha supporting an Ndyatii lion.
Fig. 1001 . A1.<•l·~1: vie\\' of the temple front the S<>utheast. The ntifa·mandira "'·:as prc>hahly C'rt'Ctt.•(t
in the last half of the 13th century. 'J'he )a.e,amolM1na, now rc:co n!'tructcd mo!t>tly fr<>m nt·"'· n1;11crial:;.,
"'·as also added at a later date.
Fig. 1001. 81111111)1· 1·1.1 : ACneral ,.je""· o f the temple frc>m the sc>ut},. ·me t1.:mplc faces "'·('~t ln(.l
consists of a tlr11/ and Jt1f.(1111ohano thc.,ugh 2.dditional ~tructure:\ have been erect<.•<-{ 10 fr<>nt.
Fi~. 1003. 81111.1.1111•.111.1:"iew of the 4,,,/ from the back or east. The ,x.11nfii is patira·rallJa in pJ3n "'·ith
c,·e n the an11riihti continuing up 10 the bisama, one of the la~t examples of this recess appearing <.>n tht'
1.ar;(ii. The Jeanilea is d ivided into six blJMmi1 rather than five, seven or ten as st:an<iard on most temrlc;(.
~tost of the decorative program is coverc(I ""'ith plaster <and projectinA nodule~ ha\'C r\'en been
a<-i<-ied on the Ju1/aia as on the temples at ~tukhaliii~am, thou~h these ha,•e nO""' been rcmc1\'ed at the
latter site alon~ with the p1a~ter ""'hich covered mc>st of the dccorati,·e proµram . Dop1rhhti·si1"has -.an<.I
seated deities are placed in the brlei.
Fig. 1004. B11 11.11111~l·1.1: '·ie'll• of the l>ti(la from the east. Ttte htida i$ pal1ta-ro1ha in plan \l.'1th 1he
anurtiha extend in~ into the pibhJi.v,a, r-atht:r than be~inning above as on 11th centu~· temples, ancl an
indented plan beneath the anartha as on 10th «ntury temple-s. The ,1tili.(ha is a sinAIC'·Sto ry plan \\' Ith
the leaniJui dcsi~ned as a pilas(Cr with a fip;urc carved in high-relief. The an11riihd is rilled "'·ith a
s/a,,,bha coiled by two serpents. n01.a and 1101,i. rather than one as on 10th century temples. The an.artha
is an elongated "-htikJJ.arti·mNIJdi "''ith the dikp~la in its niche. The rih4 is Ranked by a large pilaster (>n
~ach side and has a two·stor~· pl;,in which obfuscates the barat1efa d i"ision. A t~la 1,arhh1k.ti is insc-rtcd
beneath the niche ""'hile the niche of the upper sto~· is filled "''ith an aspect of Siva ttankc:d b~·.1a:f!rU"ta
motifs. The J1ara1J4a consi!t.ts of a le.hura. recess and A:hOlehari so that each pfi.e.o simulates a "'"!'di
dcsi~n.
Original from
CA T.~l.OGLIF. Of 11.Ll'STR ATIONS 141
Fig. 1001. BHll.1.IDEl'U: view of pabhaga mouldings of the titNI. The pabhiiga consists of five
mouldings of convcncional design with a hrlfo carved on the A:/;11r11 moulding and a ltJfti111111t.ha mask
at its apex.
Fig. 1006. BH11.1.10Euu: rahi derail on the south side of 1hc dtNI. The lala-garbhikJ is designed as an
elongated lehalch<rri·"""!ifi flanked by a naga-slam/lha wi1h gaja-kriinla on each side. The niche of 1hc
11111!'(1i houses an erotic scene. The pilaster and jambs Ranking the pir.iva~Jrvati niche are de.coratcd
with figures of :an erotic nature. Gar,ie$a is represented in a standing pose though the image is badl)·
damaged. The image in the upl"'r niche is of Aja-Ekapida flanked by ajagrala on each side.
Fig. 1007. BHll.l.IDF.Ul.I: image of Siva Andhakisura-vadha-mOni in the upl"'r niche on 1hc cast
side. He thrusts the trident 1hrough the demon with his majo r two hands while his up!"'r right holds
a shon sword and the lower left a !l'.4pala.
Fig. 1008. BHI LUDF.UU : lala-garbhikJ design beneath 1hc parft,.a·dtvala niche. The niche of the
lt.hilt.hari-11111!'!fi contains erotic imagery. ·
Fig. 1009. BHll.UDEULI: derail of the b#a on the cast side. The 1"1al"1ara·Mft/1<1i of the anar1ha
houses the Jile.pila Indra in its niche. The elongated vi111i11iki avove the niche has a diminutive vajra·
111a11ai!.4 with surmountingga~a placed midway up. A similar vojra·mastalea is carved on the crowning
khikhari·mounding though the atlantid·ga!'a above is housed in a shal low niche rather than
projecting out.
Fig. 1010. BHILl.IDEUl.I: detail of thejarigha of 1he dtNI on the south. The dikpii.la Yama is housed in
the anartha niche. The an•rtihi recess is filled with a sta111bha carved with a nigi below and niga above,
the 11aga holding a vi~a. At the base is a single gaja-kriirrta motif. The ga~a at the top is seated in
pad111asana resting his chin on a shon stalf. The /<411i/<4 is designed as a muhi-faccted pilaster with a
111aith1U111 carved in high-relief near the base. The center facet above the 111aith1mt1 is carved with var/Nii
scrollwork with various animal motifs housed in its circular sprays. The offsets arc decorated with
lut/ila and gN!'ifikJ scrolls while the aurJha recC6s has P"rforated ) ii.Ii serving u a screen. The iilamba
motif of hanging festoons at the top of the pilaster is more ornate than on earlier temples with little
floral mo1ifs ap!"'aring on the festoons. The mNha~fi of the lower bartt!ll/a moulding is dccora1ed with
warriors carrying a shield and sword.
Fig. 1011. BH11.1.10Euu : view of 1he jagamchana from 1he nonh. A gargoyle is panially visible on
1he buried pi/ha in from of the gavii"-!a. The roof is divided in10 two tiers of five and four pi(iha
mouldings respectively with a small ma1tt1ka of a ghart/4 and """''"lea crowning the lower po/11/11 above
the gavti/qa and entrance projections. In the center on each side above this 11101/ai:.4 is a 1Jajra·m1111alea
panel, left uncarved, which extends the height of the second pa/ala and is surmoumed by a lion. Bth
figu res help suppon the huge gha~!ii of the larger masla/<4 crowning 1he roof.
Fig. 1011. BHll.l.IDf.Ul.I: view of the gar~11 projection on the nonh side of the jagamohana. The
tola-garbhil:ii consisl'S of a wide lehtik/JtJrd·""'1}(ii flanked on each side by a narrow lehdleh"ri·111M!f(ii and
11agi-11ambha. The window is framed by var/Nia scrollwork and filled with five baluSJers carved wi1h
dancers and musicians. The projecting eave above is relieved with a hatitsa frieze on its "'"hi!'/i. The
upl"'r area is filled with the bara!l(la. The gavalqa is flanked on each side by a pilaster crowned by a
vi11tlinilt.4 consisting of five mouldings and capped by an amalaJf.a.
Fig. 101 }· BH11.1.10Eu1.1: ba(ia detail of the jagamcha11a on the south side. The decorative progum is
similar to that of rhe dtMI though an exrra an11rihti recess is added between the anartha and gavilt./tJ.
The anarlha niches likewi~ hou~ diJepiftJJ. The btJr11rtef" consists of rwo splayed mouldings and a
recess forming a (iamtJri.
Fig. 1014. BH1t1.10Eu1.1: dikpila TSana on the nonheast comer. He is seated in lalitOsan" on his
mount and is four-armed in contrast to other dlleptiltJs who arc two-2rmed. He holds a """'",,; 2nd
Original from
141 c:AT :\ I.()(_; t: I·: ( >F 11.1.l ·s·ri:t .' , .•, >SS
trident in h is upper hands while his IO\\'C r right is in rarada. The lower left, now brt>kcn, pr<>bahly
held 2 rosary or vase.
Fig. 101 S· 8 .-111.1.n>hl'LI: detail of pila~tcr lij.turcs Aanking the south riha niche. The <1ut!-idc sctnc
d cpiCts oral con~rcs.s v.·hilc the figure on the inside jamb, stand ing beneath a k.hJkharJ·11111!1tJi, is. a ,e,Jn1J
holding his /iri1,a111.
Fig. J,.rirapO!a Nandi on the sanctum door. The d1•0raptila1 2rc hous..:d 1n
1016. BHllJJ Ohl ' l..1:
khilt.hari·mN!f{fis with a lion carved in profile on the p2nel beneath Ranking the nandrir(lr/a step. r"andi
has h is hair arranged in c.oils and has a terrifying countenance . ._,tc holds a trident in his right ha nd
and a shield in t he left, the latter not normally associated with guardian figures.
Fig. 1017. B1111.1.1o~l·1.1: acrobatic maith""" on the west side of the tlr11/ with the fc:malc bcn~ling
down touchin~ the Rrc>und v.·ith her hands. Her male panncr is bearded. A similar scene, hclu:;c:d 10
the small niche of the ti1!11·g11r/Jhiki on the south rahti, has a second female figure v.•atching the scene.
Fig. 1018. B11 11.l.IDEl:1.1: scene on the sc>uth sondhi·slb11/a \li:ith a male fi~ure stand inJ.?, beh ind tu:o
squatting female figures. Mis uplifted ri!(ht h•nJ hnld' a su·ord while his left hand hold' t he hair (?)
of the squattin~ female. possibl)' suf,tgesting sacrifice. A small female figure $lands on each side of che
male, each holding one of his arms.
Fig. 1019. K.\1.ARA>IANc;A: ~encral viC\1.' of the temple from the west. Only ponit•ns of t he
ja,(amq/Jaflo roof ha\·e sun·i\•cd. In the foreground is a p latform added at a later date link in I-! the ntita·
111andira with the jag.amqbana. In front of the entrance is a N2ndi p laced on a high pcdc:st2l.
Fig. 10 10. K .\1.ARAH ..\NGA: view of the remple from rhe nonh. The Jr11/ is panra-ratha in p l-:an and
has a two·srory design. The 1andhi·1thala, on rhe other hand, has a single-story design . Thc1a,eamohan4
wis probab ly 1ddcd co the structure at a slightly later date, as sup;~csred by t he thin plain u.. 11 or
pilaster separating the eastem hall of rhc Ja1.a111"J"'"" from the sandbi-sthala~ thouJ.th it i.s <)bviously the
work o f the same workshop. The ama/a/uJ crowning the pidha roof of th< conncaing hall is d isl<><l!(ed
bu t visible above the 1andhi-sthala.
Fig. 1011. K.J.1.:\R.\1-tAS(;A: '"iew of the drul from the sc)uth. 1'he remains e,lf :a platfc>rm frc)nt the
ptibhdga of the dru/. The hora!fd" consists o f three thin horizontal moulc.lings. elimina ted on rht r,j/11i,
and a crowning bala or roll-moulding which runs continuou~ly 2round the dr11/ and etfc:cti,·cly
demarcates the bi@a from the go!lfli. The ga1Jfii is g.enerally devoid of decoration except fe,)r a rtl\1.' of
ati~a-iik1Jara1 at the base and a 1>·a1ra-!fla1talea design on the front facade w ith proicc:ting lion motif.
Fig. 1012. KJ.1.AR,.\ltASGJ\: detail of t he bti!fo on the cast. The pil1hD1,a consists of fi,•c mould1n~s of
con\'ention2I design though lacking ornamcnt2I details. The lt.aniU and anartha of the lower sto ry of
the jt.i.tigho arc designed 2s a khti/ehard 2nd pi¢ha·murifii respective I)' while on chc upper stOf)' they arc
both v'!jra·"'"!'¢is. The first an11r4hti recess is filled \),•ith a ntigo/ni!,i slamhha with 21 lantid !."!fa o n t he
lower story and a 111ith11na on the upper story. The second anurihi recess is filled \1. ith 2 t•1rtila mcuif 1
b<:low and a n alosti-luln_yti above. 'fhc dccor2tivc prORram of the ./titigha is thus eclecric in ut1liz1n~
various "'111J(fi designs and recess motifs though they art arranged in a unique combinat ion.
1-:ig. 1013. K.\1 ..-'i.R.-\ tlASt;A : bti!fa detail on t he ~c>uth. The lo\L-•er story of the: rihi is a tru ncared pidha
design \1.'hilc the upper story consists of a small pi(lha-murfii flanked on each side b~· 2 sm:all rrlr.hi -dr11/.
T\L-'O detached imaRes of Gar:icSa from o ther temple$ arc ltanin~ against t he rdhti pil2sters nexr to the
enshrined prir1i·a·d11•otti.
Fig. 1014. K.J.1 ..... R-\ltA'.'-.to.-\ : ;ti1~r,ho detail on the v.·c"Sr. Tt1c lt)\L-' er lea'!ika niche is filled \1:i1h . the
dik pfila \ ' arur:ia u·hilc the niche of the uppe r stc.)ry hc)u~cs an im·age <lf Siv2 seatc<t in la/1tti1ana. Si\'1
h(>l<ls a crident in h is u pper riJ.!ht h2nd and a xadi in his upper left. ~le is #rdhralifi.v.a and the bull
Nandi appc:ars b<"ncath his sc~t. T he pedestal bcnc:ath tht mith1,na <)f 1hc upper rccc::~s is richly can·eJ
Original from
14}
w ith s.crollwork with a kinnara at the base playing -a flute. There arC' no anarlha-pli"'aJ on the west or
front of the dtNI. See fig. 9.
Fig. to ts. KAtARAHAN:GA: jili_gha on the south sid~ of the dr11/. The images ln the lower niches are
badly damaged. The upper niches house images of Siva seated in laliliisana.
Fig. 1026. K'- LARAHAN<";A: no n heast corner of the jaga111ohaf'l4. The )at,a111ohana has a unique
cruciform plan with the entrance portal projecting 72 inches from the wall while the gaviiiqas,
designed as porches, project out 62 inches and the conne('!ing hall with umdhi·slh.la projea <)O inches.
Fig. 1017. K A1..ARAH.-\NG1i : southeast corner of the jagamohana. The pibhtiga consists of five pl2in
mouldings of conventional design while the talo-garbhika beneath the ,gat:il:..Jo windows contains
elongated khokharii·mN~tfis, those on the nonh-south projeC'! ions separated by thin slamhha1. The ea51
projection or connecting hall is pierced by a framed window on the north and south sides. Thejiirigh.
is panra-ralha in plan •nd has a single-Story design. The kanikas are designed as elongated khokhari-
-pi1 crowned by a kalaia with Ranking jiigrala motifs while the anarlhas assume the shape of a
rtl:hi-11111!'fli with crowning amalalea.
Fig. 1018. K ALARAHANGA: gavilqa window on the sandhi-s1hala or connecting hall. The tala-
garbhile4 consists of four elongated !hi /eJJ1Jri·11111!14i designs. The window frame, measuring JO '/ z
inches by 44 inches, consistS of throe bands of /ut/ilti scrollwork with an inset in the center of all fou r
sides. The inset at the top is decor21ed with a small image of GaQesa. The window is filled with three
b•luSters, the center baluster carved with an alasi-ka11Ji and the Ranking baluSters designed •s
htmbha-1Iamhh.1.
Fig. to29. K Al.ARAHANGA: blitfa deuil on the nonh side of the jaga,,,ohana. The vi,,.inilt41 of the
""'!'¢i designs have a small v'!jra·1'tasla/ea immediately above the eave covering the niche. The 11a111bha
filling the ••Nriihii recess has a serpent at the base and !Op. The bara'J#a consists of two thin
mouldings •nd • large bala moulding •t the top.
Fig. •OJO. K ALARAHANGA : khiikharii-"11f~i design on the j agaMohana. The vi111onilt4 is crowned by a
kola/a with Rankingjigrala motifs. The s/a,,,hhas are surmounted by an •tlantid-ga~. M•ny of these
ga!foS arc erotic in nature and assume acrobatic poses.
Fig. 10 J L K A1.ARAHA1'COA: khiikharti-mN(1pi design on the jagamohana. The niche is filled with an
image of the dikpiila Tsan•. The va;ra-•a1Jaka above the niche is crowned by a projeC'!ing k irJiM11kha
mask.
Fig. tOJ1. K .l.t.ARAHANGA: gavilqa baluster.;. The alasi -"3nyii is «moving her gannenu while the
corner baJusrer is designed as a. k,N,,,bho·slambha with an i/a,,,ba motif near the top of the shaft. These
balusters measure 1 s '/2 inches by 8 inchc,s.
Fig. tOJJ . K.l.1. ARAH ANCA: entrance portal of the jagaMohana. The door is flanked by a niga/nti_~i
J/ambha at the sides which suppon the architrave with its 11avagraho slab. The dvirap4/as arc hou~d in
pipha-"""!ifis at the base of the jambs. T here arc four bands of scrollwork plus a plain, recessed J>alfi
scparacing the outer two. The J1·iro~la/i/o·bi111ba panel contains im2gcs o f S2rasvatT and GatieSa.
Fig. tOJ4· K Al.AR AllANGA: deuil of the ceiling of the jaga,,,ohana. The radiating petals have a
border at the base with swirling scrollwork. A small lotus medallion is carved on the ceiling of the
pro jeaions on all four sides.
Fig. 103s. KA l, ARAHANG ... : nti,ga at the base of the inside jamb of the sanctum doorfr11mc. A similar
niga appears on the doorframc of the jaga111oha11a doorframc. Th is is 2n archaizing feature borrowed
from 10th century ccmplcs.
Original from
< :.-\ ·f. \l.CX. ~l ' I ·. tll· 11 . 1 .l ' ~'l'R :\ 'ff (>SS
Fig. 10~6. K \J.;\R .-\111\S<~.'1. : dt·tiraptila niche at the base of the 1aga•ohano dc>orframc. 'l'hc drtiropti/11
stands in a tribhan~a pose holding rhe u ident d iagonally across rhe body wirh his left hand. llas
uplifted right hand holds a r<>sary. He is accompanied by Yamuni who stands on a tono1~c facing
the door. She holds a large water jar with both hands. A small attendant holds a parasol o,·er her
head while a second small attendant 2ppears in the right comer next ro f\lahikila. The panel
beneath t he niche is can•ed with 1hree s1anding figures as on che doorframc of the sanctum.
Fig. 10}7· K .:i. 1..'1.Rntt1\N(~A: J1:JrapOla niche at the base of thc)a1.11,,,ohana doorframe. GanS!:i !-tand!i
on a fllali:.4ra facing the door and holds a large u•ater jar in her uplifted hands. The di·OrapJ/4 l'andi
stands in a 1ri/1hal'i_~a pose and holds the trident in his left hand in the same manner as his
counterpan.
1:ig. 10;8. 1'..\l.AR:\lt r\:-.;c:A: upper jirigha on the north side of 1hc dtJt/, The ~nilt.a houses an im a~e
of Si\•a seated in lo!iti.1ana holding a 1riden1 and club in his back hands. He is lirJhi·ali!iJ.a and t he bu11
Nandi is carved benea1h his scat. The 1otus ~destal supponing 1he dama~ed 111i1h11na of 1hc alfNrtihO
reec'Ss is decorated wi1h a halirJa a1 1he base of 'he foliage. The anarlha niche is occupied by \'irihi.
She is seated in la!i1ti.1ana u•i1h a child on her left thigh.
Fig. 10;9. Ki\1.ARAttAS<iA: image of 1he Jik.pila Varui:ia on the v.·cst corner of 1he drNI. He stands in
a $lightly ftex<d po.c with his right hand extended down and his uplifted left hand holding a noose.
Fragmen1s o f h is mount arc \•isiblc a1 the Jower right comer. The k.alfilu niches measure
approximately 16 inches by 8 inches.
Fig. 1040. KAt ."iiAttAN(:.>\ : image of the Jikpa!a Kul'.lcra on t he nor1h Cc)rncr of the J"!!.."moha11a. •t<"
is pot·bellied and s1ands above seven jars of nidhi. His hands arc broken off. Tht~ ~nika niches
measure approximatel)' 14 inches by 7 inches.
Fig. 1041. KA1.ARAHAS<"i A: Jilr.pti/11 TSina on che nonheast corner of the 1a1..a,,,oha.11a. He 1s fc>ur·
armed and stands in a slightly Aexed pose in front of his mount. As in the example on the dt11/ hl~
major right hand is extended in 11araJa while his major left holds the cridc:nt. His back right hand
holds a rosary and the back left a ltapi/o. He is tirdhvo/ingo and his hair is maned in a tall ;afa·m•""!•·
Fig. 1041. KALAR :\llA~GA: fra~mcntcd male figure wrestling a figure to the ground. His uplifted
right arm is bro ken buc probabl)' held a su·ord as in the image on the opposite sidc of che cn1rance
projection.
Fig. 1043. K.:\ tAKAtiANC A: detached image of G ai:icSa leaning against the south rO.hti. The body
proponions arc rather stouc and the work is probabl}' later in date, belonging original!)' to a tC'mplc
no longer extant. GaJ)cSa is four. armed 2nd holds the st2ndard attributes in his hands, the •oJaka·
pitro and proboscis now missing. His J"}nopavila and arm·bands arc formed of serpents while btlls
decorate his necklace and ankltcs. 13 1/ 2 by 14 1/ 4 inchts.
Fig. 1044. KALARAllANC~A: ima~c <>f Si\•a in the anorlha nicht on the nonh side of the 1a.e.a•oha1ra.
He stands in a slight 1rihh11fi1.a p<l~ h<>ld ing a sword and trident in h is r1~ht hands v.•h ilc the Jct't
h•nds hold a club and Ja~ti ( ?).
Fig. 1045. K.l.J.ARAf-IAN<iA : standing deity in the anartha niche on the east side of the dr11!. He stands
in a 1rlhhafi1.a pose and h olds a long staff", possibly a trident, while tttc Jcf1 arm is panially mi~sin~. It
appears as if 2nimal heads are carved on each side of the face though, due 10 the ruined condition of
the image and accretion$ of whitewash obscuring details, it is not possible ro identif~· the imaj.!e
positively from this ph<',togr2ph. The coiffure is arran~ed differently than on the other ima~c.'S. 1'hc
figure is decorated with ay":}iiflpat·i/a and ank lets of serpents and wtars a ,.anamtilti or garland u.·h ich
hangs to the knees.
Original from
141
Fig. 1046. KAl.•R.,HANGA: emaciated male figure in anartho niche on the sou1h side of the
jaganroho11a. Its coumcrpan on 1he deMI is moscly missing. He stands in a slighcly flexed pose with
small attendants, badly damaged, in the lower comers. The objects held in his hands are indistinct.
Fig. 1047. KA1.•••H•NG•: image of Vltabhadra in a•artho niche of the upper jangha on the east
side of the: J111/, beginning the series of Saplt1!1Uitrk41. He is seated in Jalitisana holding the vi!'i with
his major two hands. His upper right hand holds a lotus and the upper left a water vessel rather than
a trident . His mou.nt is carved on the pedestal.
Fig. to48. KA1.•R•H•NG•: jagrolo motif on the corner of the pi/ha of the •al•·Mondiro. Most of the
images on the pi/ha are damaged though enough remains to show they arc contemporary with the
temple.
Fig. 1049. Kl.1.AR•H•NGA: alasa·ko"ja from the pi(ha of the nii/a•ma11dira. In addition to female
figures there arc numerous ,,,i1h1m11.s and erotic scenes.
Fig. 1010. KHU.OR: general view from the south. The tkM/ is erected on a low pi/ha that is panially
buried. The b°'4 has an adumbrated sopto-ratho plan with a thin protiralha added betwe<:n the koniko
and the onartha. The pabhaga consists of five mouldings and the jangJHr has a two-story plan. The side
pagos arc designed as Makhorii-1ttM'!¢i1 on each story while each story of the raha is a truncated pii/ho·
11111[1{ii. The bara!Jfia consists of nine mouldings. The gatt<ii has an alignment of atiga-likhor41 at the base
of the afUlrlhas and r0h4 with a sec.and alignment higher up. The decoration above the arig11·ii1Wara1
has not survived.
Fig. 1011. KHU.OR: northeast view. The original design consisted of a J111/ only with a pronounced
entrance ponal. The roof of the ponal consists of a pi(IJ,,,--~(li flanked by an 111iga·ii.l1Joro on ci1her
side at the level of the bara!'¢a. At the base of the ga~(li there is a 5"Cond alignment consisting of a
large aliga·iilehara ftanked on either side by two ariga·iilehara1 superimposed one above the other. A
projecting gqja·Je.ri111a crowns the upper alignment.
Fig. 1op. KHU.OR: southwest view of the b"'4. The onortho projects >• inches beyond the
protirotho to produce a nearly circular groundplan. The thin prolira/M is not yet fully developed.
Fig. tO!J. KHll.OR: detail of the bii4o from the nonh. The /a/o-garbhi/f.P beneath the rahi niche
consist·s of an elongated lehilehari·"""!<1i Ranked on either side by a 11iga/nigi·1la111bha similar to the
design on the Riijariil)i. The "'od1!Jo·bandhoni mouldings arc linked in the center of each pii1,a by 6gurc
motifs as on the LiJ\garija. The pilasters framing the rdhi niche arc decorated wich 11ar111/ti
scrollwork and an overlaying alambo at the top.
Fig. tOS4· Kt111.cJR: nonh JanJhi·Jlhala. The increased projection of the anarlha makes the sandhi·
llhala appear larger as on the Riijaril)i. The pabhaga is decorated with a tala·garbhi/f.P while the j alighas
continue this tripanite alignment with a lehi.khari·11111(1(ii flanked on either side by a 11a111bha. The
bara(ltja area cornains a niche housing 20 image of Astikajararkiru on the nonh and Vamadcva on
the sourh. The cornice of the projecting entrance is decorated with a frieze illustrating hunting and
baulc scenes.
Fig. 1011. KHU.OR: dikpiila Nirriti. He Stands in a tribhaliga pose holding a sword and severed-
head. The koni"4 niches measure 17 '/,by 8 '/,inches.
Fig. 1016. KHU.UR: dikpalo Varul)a. His right hand is in ••roda while his left hand holds a noose.
Fig. 1017. KHU.OR : dikpala Kubera. He has a pot-belly and stands above a row of nidhi-jars. His
arms arc broken off.
Fig. 1018. K111 1.<)R: woman nursing a cl1ild supponcd on her left knee.
Original from
Fig. 1019. KHl l.l>R: woman nursing a child. Many of these figures of the upper swry lack th<
2nis1ic refinemen1 of the best examples on rhc lo'1J.•cr ji1igha and display ditfcren1 coiffures and bod~·
ornaments.
Fig. 1060. K111 1.t)R: alasi-kallJ•O. She stands in a relaxed pose with one leg crossed and one arm
lifted over her head. Her hair is tied tightly at the back of her head so that the h air in front closclv
follows the contour to produce a near-bald etfcct . Stylistically these figures arc more closely r~l2tcd
ro images of the late 11th century as at Niali.
Fig. 1061. KHn.rtR: detail of the upper jirl,g,ha showing figure scenes 10 the an11rdhti rcccsst:s on
either side of the thin pratirolha. ~fost of the figure motifs are erotic.
Fig. 1061. KH11.c1R: detail of the upper Jingha. In one an11rihi recess is a female playing a musical
instrument while in the other one is an erotic scene "'·ith three panicipants.
Fig. 106j. K H11.nR: 11railhNna with the male approaching the female from behind . She bends her
head back and embraces him around the shoulders.
Fig. 1064. K1111.<>R: 11rai1huno with the female climbing the male u·ho in turn suppons her on h is
raised left knee.
Fig. 106~. K1111.<.>R: pObh.it,a detail ,a:ith 111itbJ1na images carved on tt\e venical bar C<.>nnecr ir\g the
top mouldings as on che Liligarija.
Fig. to66. Bl'RA80I: nonh view of the b4¢a of the Brahmdvara temple. The t<mplc has been
repaired with modem materials so that much of the original decorati\•e pr<>gram is lost. The niche
images are in si111, however, except for the ptiriva-drttofis which have been rcplact"d by later images.
The pabh4/l,a consists of five mouldings of conventional design and the jtingha is divided into tw<)
stories. The side pigas arc designed as Jehtilehari·1'11i'!efis and va;ra-11111tt!li1 on the lower and upJ><'r
stories respectively. The rihi has a single-story design of a truncated pit/ht1~11111!f(ii with the •·a_1ra·
111a11ak4 springing directly from its cr<>v.•ning members. The heavy bara11ef11 consists of three
mouldings.
Fig. 1007. BERABOI: tlile.pala Ind ra. He is seated in lali101ana on his elephant-mount. He holds a
t•ajra in his uplifted right hand while prodding the elephant with an anlr.Mia held in h is left hand. The
m11rrefi niches measure ·14 by 7 inches.
Fig. 1068. Bt-:RA8<)1: dilt.ptilo \ ' :iyu. He is scared in laliltiJafta on his stag -mount i nd holds a staff o r
banner in eaeh hand. He wears large earrings and his hair is arranged in a high /eirlfa ·11111hif o .
Fig. 1069. 8F.RA8(ll: dilepila Kubera. He is seated in lali1ti1a11a on a 11iivapatl111a cushion with sc,·en
jars of nidhi on the pedestal. He has a pot-belly and ho lds a f,ada in his right hand and a vessel of
treasures in his left h and with jewels spilling down to his knee.
Fig. 1070. B1·. RAH<>J: mtitrlui V:ir3hi in the nonh ~,,iJui niche of the uppcr.1irigh4 on the v.·est side.
She is seated in lalitosana with a child on her left thigh. She has a pot·belly, boar-snout and her hair
ridiates in t\\'O tiers of spiral coils around her head. Her buffalo-mount is o n her pedestal.
Fig. 1071. BERAH<>I: female seated in laliri1a1111 on a viivapaJ,,,o cushion . She occupies the Jea,,i!tJ
niche on the nonheast corner and concludes the series of 111i1rUs. though she has no child on her
thigh. Her right hand rcstS on her knee and ho lds an indistinct object while her left hand holds a
lotus which Ao\\•ers near her face. She \\'Cars a jewelled tiara and a lion .. heid appears to proJCCt fr<>m
the right side of her face. The area on the left side of her face is indist inct.
Original from
CAT;\ 1.oc;1 ·F. OF 11.J.LtSTRA T IOKS !47
Fig. to72. BEkAl!OI: Aja· Ekapiida in the anartha niche of 1he lower jongha on the south side. He is
four· armcd and holds a trident, ¢a•ani, rosary and upala. He displays terrifying facial features and
wean • garbnd of skulls. An •ttcndant stands on his left and a corpse is on his pedestal.
Fig. t07J. BER.,801: Jpiiropalo and river goddess on the jagamoha.. doorframc.
Fig. to74. BERABOI: scene with bearded figure lifting the chin of a youth c•rrying a vessel from a
niche on the Ja&a,,,ohana.
Fig. to71. BERABOI: maith11na with the female climbing up on the male.
Fig. 1076. Gotl)BAI: east view of the dL11I. Thejaga•oha"'1 is m.issing and the decoration of the
doorframc of the sanctum has not survived. A projecting lion motif is visible high up on 1hc rahii
and a btJei.bhairava is inscned in the btlei above the riiho.
Fig. to77. Go1.oeA1: north view of the temple. The pabhaga consists of five mouldings of
conventional design though they arc bereft of ornamentation.
Fig. to78. Gol.OBAt : south view of the biifla. The j iiligha is divided into two stories by a madh.J•·
bandha.O of one moulding. The uniu and anartha arc designed as a Jehakhara and pi¢ha·•11~ on the
lower and upper story respectively. The dilr.ptilat arc housed in the uniu niches while the anartha
njchcs contain ritual scenes. The niches of thc upper story were left uncarve.d. Gal)cSa occupies rhc
rih4 niche.
Fig. to79. Go1.oeA1: GaQ.Sa in the south raho niche. He stands in a slightly Rcxcd tribhaliga pose.
His four hands arc broken oft'. His hair is fashioned in 2)ll/li·11111ht/a with 2 crC$cent-moon near the
top. His head is framed by a trefoil tor•tµ with a lr.irli""'lr.h• at the apex. He is Ranked by an
attendant figure in the lower comers of the niche. His mount is at the lower right comer. )1 7/ 8 by
t8 1/2 inches.
Fig. to8o. Go1.08A1: Pirvati in the north rahti nicl\Jo. She assumes a tribhanga pose and holds the
ntiga·piH•, ali/r.Mia and lotus in three hands while the fourth is extended in ""'°""·
She is Ranked by
attendants in the lower comers. Her lion-mount peers up at her from the right comer of the niche.
The image is badly worn from pliji rituals.
Fig. to8 t. Go1.0 BAI: detached image of Mahi5amardini. The Devi places her right foot on the
showlder of the demon and bends back its head with her major left hand. Her right hand plunges a
trident into its neck. Her rem2ining h2nds hold a raicrll, arrow, sword, shield, stringed·bow and nti1,a~
pala. The demon, depicted from the rear, has a buffalo-head. A lion gnaws on the left knee of the
demon. 18 by t7 1/ 2 inches. 9th century.
Fig. 1081. Go1.<>BA1 : 111ith""" housed in the west anllrlha niche on the south side. The partners face
one another as they embrace while a female attendant in the left comer looks away.
Fig. 1083. G oLOBAI: scene depicting animal sacrifice in the cast an1Zrth11 niche on the south side.
The male figure holds the head of the animal with his left hand while holding a sword over his head
with his right hand. The animal stands on i1s hind legs. Jn the upper left comer of the niche is a
second male figure who holds a bag over his shoulder.
Fig. 1084. KOTITlRTHr,SvARA: general view from the nonheast. The temple is generally de,•oid of
decoration except for the pabhi1.a mouldings. riha niche, va.jrd-masla/ea, projeeting lion, beh"·bhairavaJ
and crowning 111111/a.Jea.
Fig. to8, . KOTITTRTHESVARA: view from the west wilh doorframc. The temple is partially buried
and fragments from the collapsed jagaMohana arc scattered in front of the temple. The Jparapala1 arc
Original from
CATAl.<.>CL'c OF I Ll.l 'STRATIONS
housed in v4)ra·111111fi/i1 and the grahas arc Ranked on each side by an atlantid t,•!I•· The pediment
above the entrance is decorated with a truncated pl4h"~""'f14i Aankcd by a miniature nl!JJQ.J111/ on
each side. The "'"!14i is crowned by a Htilt.h1Jri moulding with a sunnounting ltal11i'a which extends
into the taitya of the Pti,jrtJ·· 11ttJJlaiu, the latter mostly missing.
Fig. 1086. KOTIT!RTHESVARA: detail of the riihii. The rihi is designed as a truncated pii/ha·111•~efi
with a tala-garbhiu beneath the niche and an irdhva·garbhiu abo ve the niche. The 11ajra·111astalu panel
springs directly above the "'"!l<fi roof thus eliminating the bar11t14a division on the rabi.
Fig. 1087. K on11RTHESVARA: Jvirapiila Nandi accompanied by the river goddess Yamuni on the
sanctum doorframe. NandT stands in a slightly Rexcd pose holding a sword and rosary in the right
hands while the left hands hold a trident and shield (?). He wears a va11aMiili which hangs to his
knees and his anklets are formed of serpents. He has a beard and his hair is in aja(i·-hi/a. Y amuni
stands on her tortoi5"·mount and holds a jar in her left hand, her uplifted right hand holding an
indistinct object. An attendant holds a parasol above her head . Another diminutive attendant is in
the opposite comer. The niche is 18 inches high.
Fig. 1088. T EMPl.E NEXT TO TI•THESVARA : view of the bii/a from the north. The hai/a is paiUa-ratha
in plan. The pibhiiga consists of only four mouldings and i$ erected on a pi/ha which is mostly buried.
The jangha has a two-story plan though the decorative program of the side piigas is only blocked-out.
The bara~tfa consists of four mouldings but is eliminated on the rihi. The riiha is a truncated piefha·
lltll1Jilj with the 11ajra·• aslalu panel springing directly from its roof. A row of allga·iileharas i$ carved at
the base of the t,a!J#.
Fig. 1089. TEMPLE NEXT TO TIRTHESVARA : view from the cast showing the doorframc. The
Jvirapil.as arc housed in a Vlljra·1'111!'fii with a g11.ja··!ri11/a carved on the panel beneath Ranking the
11a1Ulavar/a step. The no1111gr11ba sl:ab is flanked at the ends by an atlantid .ga~a.
Fig. 1090. T EMPI,£ NEXT TO TI•THESVARA: Jvirapila Nandl with the river goddess Yamuni. NandT
stands in a tribha!lga p05" holding 1hc trident in his right hand. H is hair is matted in ajafa·-htfa and
he wears a thin beard. He is ornately bejewelled and has a long 11t1na1t1iilii which hangs to the knees.
Yamuni stands on a tortoise and holds a water jar in her uplifted right hand, her left hand placed on
her thigh. A diminutive attendant holds a parasol above her head. The niche measures 1 5 inches in
height.
Fig. 1091 . T EMPL£ NEAR TALf.S\'AR.A : detail of the jambs with the lt.irlfa design crowning rhc
Jvirapila niche. The lf.irt/11 is te ar-shape. as o n the KofitinhcSvara. and the jambs arc dc-coratcd v.·i1h
the sundardjalapatra, gtlaba and ht/ila scroll motifs.
Fig. 109i. T EMPLE NF.AR TX1.ESVARA : Jvirapiila Mah:lkiila with the r iver goddess Gangi. M•h:lk ala
ho lds the trident in his right hand while Gangi ho lds the water vessel in her uplifted left hand.
Fig. 1093. Sioou f.SVARA: general view from the so utheast. The pi(iha roof of the j aga,,,oha11a is
panially resto red and bereft the cro wning lflalla/u except for the lulaia. The gavilqa has a t"'O·story
design and its pediment projcets out sharply from the roof to continue the vertical thrust.
Fig. 1094. S10 DHESVARA : bat/a ofthejagamohana on the cast Ranking the entrance portal. Thcjiiri~ha
h as a single-story plan w ith the piga1 designed as pi(lha·""'!lifis Ranked on each side by a sla,,,bha.
The lll•!'efi designs arc merely blocked-out. The bar•!'iJa consi!ts of three heavy mouldings.
Fig. 1091. S10011F:S\' ARA: view of the entrance ponal of thc j aga•qhaflll on the cast. The Jvir11ptilas
wo uld h ave been ho used in piefha·lflM!'i/is had they been carved. As there arc two ""••t.raha slabs on
the sanctum doorframe one of them was probably a11ached to the door here. The pilasters Ranking
lhc entrance arc decorated with a khakhari·"111f!t}i though their niche is now empty. The pcdimC"nl
above the portal co nsists o f a wide truncaicd pii/ha·,,,•~i/i Ranked by a sm all pi#a·lflM
!'(ii on each side
at the ba5" wh ile above the design is a va;ra·1t1a1talu panel Ranked by similar pi(iha·•~i/is.
Original from
CATALOGUE OF ILLUSTRATIONS 149
Fig. 1096. SIDOHE$VARA: view of the dnl/ from 1hc south. The biia is jJdik•-r•llM in plan and the
J>dbhdg• consists of five mouldings of conventional design though devoid of omamcntal details. The
jiifglM has a two-story plan with the pig., assuming the standard ~ri-111"!fii and pi'#M-111"!¥is on
the lower and upper stories respectively. The dllJlrihi recesses, however, are filled with a thin sl••biM
on each story. The b•rtlJ.'(/4 consists of seven mouldings. The rihd has a single-story plan and is a
truncated pi;ho-•"!fii. An ""g•-liklMr• springs directly from the pi;bd roof and eliminates the baril1!"4
on the rihd. The base of the l"l¥i has an alignment of 11lig•-li"1>•rM, one for each J>dg•.
Fig. 1097. S100HESVARA: detail of the b#a of the tit•/. Except for the piriN-Jt11tllis the temple is
devoid of figure sculpture.
Fig. 1098. K£D1.RESVARA: detail of the biia of the tit#/, The multiple otl'scts of the pig•s produce an
almost circular ground plan. The pibhdga consists of five mouldings of conventional design and the
biia is J>d"'d-r•tlM in plan. The jiigh• is divided into two stories with the pig•s designed as J:hiA:hori-
111"!¥is and pi#Jo-..t,t;is on the lower and upper Stories respectively. The •1111rihd recesses arc filled
with •iri/11 morifs on the lower story and alasi-/wryi or •it!JMN motifs on the upper story.
Fig. 1099. KEDJ.RESVARA: view of the g.,,;i from the southwest. The bartlJ.'(/4 consists of five
horizontal mouldings which arc eliminated on the rihi. Thcg.t,t;; is pt»1<11-r11lha in plan with the wide
"4ni"4 decorated with a vcnical band running up the center. The "4ni"4 is divided into five bhilltis
with six bar.t,t;is in each division. The base of the l"Mi is decorated with a row of ailga-li"1>or111, as on
the Siddh.Svara, with that of the rihi springing directly from the pT;ho roof covering the piriN-
t1t..1i niche. The aMrtlM is decorated with four Njr•--;is superimposed one above the other
beginning at the second bbii111i. A large gaja-luiwt• projects out from the rihi above the 11tiga-ii""4r11,
that on the front or south facade missing except for its base.
Fig. 1100. K1m1.•ESVARA: view of the pi#Jo roof of the)"!,••°"""" from the west. The pediment
avovc the gallilq11 consists of a J:hiJ:hori-..t,t;i flanked by a nJ:hi-JtNI on each side and surmounted
by an "".µti lion. The roof is formed of ten pi#Jo-mouldings of diminishing size crowned by a
,,,.,,.A.
with btlei-bbdir•wu and Jopithhd-siilbdl supponing the gha,fi.
Fig. 1101. K£D1.RE$VARA: detail of the gd!lf/i with b•r•!l/a mouldings and 11tig•-ii""4rM. The larger
ailga-iik/Jdra of the rihi has a niche at its base filled with a standing deity.
Fig. 11oz. K £D1.RESVARA : view of the ri/M on the west. The rihi has a single-story plan consisting
of a truncated pi;ha-~. The 1•"1-garbhilt.i is an elongated J,hiJ:hari-11t.t,t;i flanked by a Mig•/Migi-
<t•,,,/Jba on each side.
Fig. 1103. KEOJ.RESVARA: view of the upper ji~gha and bartlJ.'(/4 from the nonh. The 11nNrihJ
recesses of the upper story are 611ed with 11"1si-"4nyi or 111ith#1111/111ai1/JMN motifs.
Fig. 1104. KEDJ.RESVARA: view of the pibhig• and lower jiilJgha. The pibhig• mouldings arc devoid
of ornamental detail except for the multiple otl'sets. The • .,,,;JM recesses of the lower jiliglM arc filled
with ririltz motifs.
Fig. 1101. KroJ.oESVARA: view of the ba;., of the dnll from the east. The image of Pirvatl insened
into the ribi niche is later in date and smaller in size than the original pirhd.Jtvt1ti.
Fig. 1106. KEDJ.kESVARA: birapi"1 Nandl and the river goddess Yamuni on the doorframe of the
)•l"..btur4. Nandl holds the trident in his left hand. The images arc covered with accretions of
whjtewash.
Fig. 1107. KroJ.RtiVARA: uth#llll image in the dllJlrihi recess of the upper jiligha of the dtMI. The
fctnale appean to be holding a small vessel in her left hand.
Original from
I 10
Fig. 1108 . Kbl>,.Rh~\' ARA: west side of the .ia1.a111ohant1 with the entrance ponal facing south . The
jangha has a singk·story plan wi<h the paga1 designed as pitlha·,,,N~cii1 with flanking 11a111bhaJ. The
lateral ftank of the entrance ponaJ is decorated with a pitjha·lllN!'t/i with a IUJti.A:ht1rti·•N!1t/i replacing
the p.ahhOga. The l>ara{lefa consists of three mou ldings.
Fig. 1109. K E l>AR1.:.S\ ' ..\RA: view of the hO(ia of thc;'aga•ohona from the south. The pil2stcrs Aankinf{
the entrance have a /eJJiikhari-11111rr(ii with niche as on rhc SiddhcS,•ara. The Ji,.irapti/01 arc h<>uscd 1n a
vajra·lff•~rli at the base of the jambs. The grahas are flanked by an atlantid ga~• a t each end.
Fig. 1110. RAMFS\ ARA: general view of the tftM/ from the nonheast. The remains of a plinth
0
beneath the pi!ha is panially constructed with architectural fragments from an early temple datinFt
from the 6th· 7th century. The pi/ha is 48 inches high. The originalja.(amohana has collapsed and was
replaced at a later dare by a sm2ll structure at the cast end of a platform erected in fronc of rhc J111/.
The bora!l{ia consists of rcn mouldings and is eliminated on the rdhO. The ga!Jli is divided into fi\'c
bhNmi1 with the fi.rst bhli,,,i decorated with a row of oliga-iiA!.haras. The onar1h11 a bo\•c the first bhJi,,,j is
decorated with four super impo~d va;ra•11111t1(ii1. the "'"!It/is being merely blocked-our as on the
Siddhcivua and Kedareivara temples.
Fig. 1111 . R~Mf.S'""" view of the ba(la of the tftM/. The biJefa is panra·ratha in plan while the
pti/Jhiga consists of five mouldings of conventional de-sign devoid of ornamental detail. Thc-jtifigha has
a two-story plan with the p4,,~a1 designed as ~ti>JJari-m11(1t/i1 and pit/ha-11111~flis on the lower and upper
stories respectively. The a1111rtihi recesses of the lower story arc filled with viri/a motifs \\'h ilc: thost" of
rhc: upper story arc filled with ala10·lea11.Ji or 111i1h11NI/ ,,,ai1h11na motifs. The 111i1h1Uta imaFte here
represents a bearded male \\•earing a turban embr2cing a female.
Fig. 1111. RA~1E$\'AR A: view of the rle11/ from the: south\\'Cst. The: rtihJ has a ~inRle·~to11· plan and 1s
dcsignc:d as a truncated pl¢ba"'"'"!'¢i, The piri1:a·dr1't1lis ate ;,, si111.
Fig. 111 ~ - RA~t f.$\'ARA: view of the detached 111a(l¢apa from the southeast . This is a lat('r
replacement for the orig inaJ )aga111ohana. The ; Ori.(ha is divided into t wo stories a.nd dtC<)ratcd \\·ith
lr.htilehari·1111t(l(ii1 on the lower story 2nd pl(iha·11t11!f¢i1 on the upper story. One of the d oorframes from
the original 1aga,,,ohana is insened into the eist will where it serves 2s 2 window while 2 pl2in
window is cut into the south \\•211. The niches of the Je.hti.khari·11t11t1<1i1 2rc filled with small
Milh11,,a/111aith11na motifs. The roof is 2 truncated pyramid with three sloping tiers cro"'•nc:d by an
amalalt.4 and 1<4/ala at the top. Small projecting blocks supponing Mtf_yala lions arc carved in the center
of each side on the second stage or tier. The: pcrpc-ndicular alignment of the rcctan~ular hall and the
shape of the roof resemble 11t•n!lapa1 from South India, such as at Tckkali in the Srlkakulam disiricr
of Andhra Pradesh, and suggest Ganga influence.
Fig. 1114. Ri.;\tl>'.S\'A R..\: dttti.raptila 2nd ri\•Cr goddess Giitgi on the doorfr2me of the )a1,.a111ohalf11.
The tl1·arapala Mahilkiila holds the trident in his left hand. The figures are housed in a '''!J'• ·mMn(li at
the: base of the jambs. They 2rc covered with accretions of \\•hitcwash. The niche is 17 1{2 inches in
height.
Fig. 111 S· R.i.;\t ...S,·:\RA: milhJ111a in aflNrtihti rc:cc~s of upp<:r j01iJ.h11. The male figure is bc:ardcd an<.t
has a da~J~Cr o n his belt, suggesting he i!i. probably 2 r<>~·al fl)!u rc. This is conf1rmc:d by the ra11ri held
b)' the female, suggesting she is a maid·scrv2nt.
Fig. 1116. R>.MH!\\'.\R.A: ima~e of L2k$mi· Nrsirhha inserted into the: \l.·all of the small ma!f{fe1pa in
front of the dr11/. Nrsirhha is seated with legs crossed 2nd tied together b)· a.ro1,apa/Jt1. His main hands
rest on his knees v.·hile his upper hands hold a ralera and conch. 1.ak~mi is seated on the ,Yo,t.aptJ/!a
l<>oking u p at Nrsirilha though her upper ponions arc brclkcn·c11f. Female 2ttcn<lants appear 1n the
lo\\·er comers of the niche.
Fig . 11 17. R.l.;\t l·.::;\·,..,R,. \: i:irtila m'>tif in the an11rtihO·rrccss of the )O\\' <:r;Ongha. The lion stand~ o n h1!i
Original from
C:ATAUK;l; E OF 11.1 .l;STRATIO~S 111
hind legs above a crouching elephant in the standard manner. The head of the lion-monster is tu med
towards his back so tha1 the sha~ is adapted to the recess.
Fig. 11 1 8. RAT\ff.S\·ARA: fragments of a gavik,a window inscned into the west wall of the ma{J(lopa
at the cast end of the platfonn in front of the dtNI. The female figures on the balus1ers can s1ylistically
be placed in the late 14th or 1ith century.
Fig. 1119. RX~fF.S\'AR .\: 111i1h11n4 in upper 111111rihi recess. The figures arc in an intimate embrace
with 1he male gently cupping one of her brcasrs. Their coiffure is neatly groomed and the male has a
scabbard on his girdle. The exquisite carving is panially marred by bird droppings.
Fig. 1110. BHAS~ARf.S\'ARA: general view from the west with entrance. The temple is erected on a
high pl2tform nccessitaied by the colossal /inga enshrined wi1hin . A fl igh1 of stai rs on the nonh gives
access to the temple while doors on the four sides of the platfonn lead to the base of the li~ga. The
roof of the temple is of the pirlha order though the mouldings are arranged in a gradual curving spire
rather than a pyramid and the crowning members arc those of the nlehi order. This alignment of
pi(i,haJ reminds one of the spires of the Madhukesvara and Bhimcsvara temples at Mukhalingam and
suggcscs that the BhiskarcSvara temple may have been constructed by the Galigas soon after they
established 1heir hegemony at Bhubaneswar. The roof above the projections, extending up five
mouldings, is crowned by 2n a!lfala"'1 and assumes a pyramidal sha~ on all four sides with 1hai over
the entrance being more pronounced due to its greater projection.
Fig. 1121. BHAsi.: ARti.S\'ARA: general view from the southwest. The platform rests on a low 11pana
and is divided into pibhaga, two-SJoried jiligha and bara~(i,a, the basic clements of a biefa, and probably
served as the prototype for the platform of the later Surya Deul temple at KoQirak .
Fig. 1121. BH~S~ARESVARA: view of the biefa from the south . The biefa is paika-ratha in design and
the pibhiga has five mouldings. The jingba is divided into two stories with khalehari-mN#iJ and piefha·
MKf!{f.is on the lower and upper stories respectively. The lower story of the rihi is a truncarcd p4/ha·
1'tN~{ii while the niche of the up~r story is filled with a piefha·111111J{i,i wi1h flanking 1/ambha1. The
piriva·dl11a1Qs are i11 1i111.
Fig. 1 113 . T E1'1Pl..F. IN M.... KAR C$\ 1ARA C<l~IP<ll..:NO: general view from the southeast. The jaga111ohaM
has disappeared and the pi/ha is buried. The ga~rli is devoid of deco t2tion exccp1 for the aliga-iileharas
at the base and the lions projecting out above the i•ajra·maslaka design of the rOha and above the:
entrance portal.
Fig. 1114. T EMPLE IN MAKAR F.SVARA COMPOUND: detail of the b,jefa. The pibhaga consiSJs of five
mouldings and the blitla is pafita·ratha in plan. The jitiiha is divided into two stories decorated with
khilehara·mN#i1 below and pi¢ha·mN~(i,i1
above while the recesses arc filled with thin 11a,,,bha1. The
rihi is a truncated pi(!ha·mM!l<fi with an ariga··iilehara springing from its roof to eliminate the bara{t¢a.
Fig. 1111 . TF.~tPJ.E IN MAKARF.S\'.... RA Co~tP<>l..'~D: view of the doorframc of the sanctum . The
Jvirapalas arc housed in piflha-!lfN~(i,is at the base of the jambs while Gaja-Lak~mi is hous«d in a
similar 11111!'{ii on the lintel. The base is buried.
Fig. 1116. TE~IPl.P. JN l\.1AKt\Rl-.S\':\R,.a, Cc>., tP<)l 1ND: detail of the bi{ia showing the: pibhti1.a and lo\\•cr
) iirigha.
Fig. 1117. TE~IPJ.l:i IN ~IAKARES\'ARA Cc >~lt><JCl'l'D: image of Kantikcya in the west rihti niche. He
stands in a tribhariJ,a pose holding tht" ja/t.ti, now missing. in his major right hand . The Jowcr righ1
hand is in raraJa while 1he two left hands hold the rooster..cock. Dcvascna stands beneath the roos ter
while remains of the peacock·mounr are visible in the lower right comer. A trefoil Jorafla is carved
on the back-slab behind Karttikeya's head and vidJ·iidharaJ appear in the upper comers. The niche
measures J9 '/, inches by 19 '/2 inches.
Original from
Ill CATALOGUE OF ILLl•STRATIONS
Fig. 1 u8. T EMPLE IN MAKARESVARA CoMPOllNO : dvirapila Mahikila on the doorframc. He stands
in a slightly flexed pose similar to the guards on the Rijarini and Brahmdvara rcmples and holds
the trident in his left hand. His right hand is extended in var""4. The image is badli· worn due 10 the
soft stone employed on the temple. The niche is 11 1/ 2 inches high.
Fig. 1129. jAGANN~THA: general view of the temple and compound from the sourh. The ga!'4i is
pairo-ratha in plan tho ugh most of its decorative details. as well as the hara~ mouldings, arc hidden
beneath coau of plaster. The wide "4•i"4 is disposed on rwo planes with the comer rounded and
projecting as on the lioigarija. The "4ni"4 is divided into ten bhti..i1 with a small ariga·iiltharo added
on the Rat ponion of the first bhi111i rather than a Adr1{11 design. The "-""''ha ha.s three, rather than
four, anga-iilVJara1 superimposed one above the other. In general these alig11·iilehar1JJ arc roo large 2.tld
do not effectively enhance the upward thrust of the spire. Although the ga1'4i rises 10 • height of over
100 feet from the ground it lacks the elegance and graceful proponions of rhc Lingarija. The
curvature is too gradual and the overall appearance is squat and heavy. There is no transitio n
between the ia!'(ii and bti{ia, the bt1r11!fti4 appearing as the base of the go1Jfii, so that the massive spire:
appears awkwardly grafted omo rhc supponing walls below, though pan of rhis heaviness is
probably due to the plaster adhering to the surface of the ganJi while most of ir has been rcmo»cd
from the bii/a.
Fig. 11 30. jAGANNATHA : derail of the upper j i ngha and baranJ• from the south. The pi¢ha·,,,M'!efi
ovcrl2ying rhc mouldings on the anarliM and "4ni"4 is more developed than on the liolgarija where
the J1i111i,,il:A crowning the niche was abbreviated. The p1~ha·M11!J¢i1 of the upper story ho use ima~cs
of dancing GaQCsa. Kf$QI and Nrslrhha. The 0'111rtih4 rCc C$SCS arc filled with alasti-lealt.Ji motifs. The
baraJJ/4 mouldings, as well as those of the •aJl>Ja·baNihani and the frames of the nicht1, arc
completely covered with layers of plaster.
Fig. 1131. jAGANNATHA: deail of the 1110110"4 crowning rhc ga1'4i. Images of Garucja arc placed in
rhc brJ:i abo ve the rihi and Jopirhhi-1imha1 above the Ju.niJu,. An image of Jagannirha is inscncd imo
a niche on the rihi and a modem kirti11111kh11 mask is carved in the plaster above.
Fig. 1 132. jAGANNATHA: vaj ra·Malla"4 design 21 the base of the ga!'4i on the sourh side of the JrMI.
The lion springing on the cro uching clcph•nt combines aspects of Nrsirilha and Garucja. Beneath
this ia)a-krinta motif is a Ri•iJa~ scene with Rima shooting an a.crow in the direction of Ri,•a.i:ia
carved in a shallow niche at the right. Rim• is surrounded by mo nkeys 2nd Sira is behind him.
Fig. 1133. jAGANN~THA: detail of the pi/ha roof of the jaga111ohana. The roof is >rrangcd in two
potala1 or tiers of piJha mouldings as on the lioigaraja tho ugh the vajro·111a1ta"4 panels arc replaced
by pl(lha-11111.!ffii1 on each tier above the govi !fo and entrance projections. The lower sto ry ha.s seven
piJha1 and rhc upper story has six wirh the mouldings being smaller. Images of Garu<,la uc placed in
the brJ:i above the projections and IH!t.i·hhairavas at the comers. The huge r ibbed t,han/i has a sin~lc
story plan and is crowned by an a11tala"4, MapMri and "4/aia. The bor•n/a at the top of the jiin1,ha
consists of ten horizontal mouldings.
Fig. 1134. MAHAGAYATRl : general view from the nonheast with the brick Vi~r:iu temple in the
background . The platform in front. with four steps, is a later addition. Only ponions of the lou·cr
; iiJJ&h" have survived on the dt11! and; ogo,,,oho11a while the r4h4 niches arc modern structures co protect
the pdriWJ·dti•atis.
Fig. IIJS· ~fAH.\(;.\YATRf: general view fro m the south. Though small in contrast w ith the
adjacent SUrya Dcul the f\fahigiyatrl was o ne of the largest temples in existence during the 11th
century anywhere in Orissa.
Fig. 1136. MAHAGAYATlll : view of the titMI from the nonh. The temple is erected on a low pi/ha of
three mouldings. The ba/a has on abbreviated 1aplo·ratha plan with a thin pratiratha added berwcon
th< /t4ni"4 and aoartha. The pibhat.• consisrs of five mouldings of convcmional dosign v.•irh a Iola·
Original from
CATALOGUE Of lll l:ST R.~T I ON S S! J
g11rbhiltA beneath the riha designed as an elongated l<hilthori-lfl•~li flanked by a niigo/nigi-stombho on

each side. A •ohlro gargoyle is carved on the pi/bo in front of the rihi. The image in the riihi niche
is of Haridasva (Surya) riding on the back of a horse.
Fig. 1137. MAHAGAYATRI: 10/0-gorbhiltA design beneath the rihi niche. The niche of the lthilthori-
~ is filled with a Milh•n• and crowned by a small Jtiri/ • design on the mouldings above. The
sloping upper surface of the mouldings is relieved with /)(IJ••-Prf!ha scrollwork . The nig11/nigi-
1111111b"'11 have a serpent at the base and one near the top.
Fig. 11J8. MAHAGAYATRl: Jtirif• design on the 10/11-gorbhiltA. The center medallion is filled with a
lotus-bell while the design is crowned by a lotus flower. Ag•~" is carved on each side holding a staff
or club.
Fig. 1139. MAHAGAYATRl : view of the s111tdhi-s1bo/11 on the nonh side. Thc j iiligh11 is decorated with
three IWlllJ(i.is with the center niche housing an image of Surya and the side niches containing 11/a1ti-
lw1fJis. The lth•r• moulding of the pabhiiga has a Jtiri/a design on itS M•hii/l/i at each paga.
Fig. 1140. MAHAGAYATRI: detail of the )•go111ohono on the nonh. The b#o is likewise soplo·ratbo
though the praliratha is more developed and is designed as a l<hilthllri·•.,,ili on the lower jingho with
an .Jasii-lwnyii in its niche. The 01tar1h4 and fw1tilu both have a tala·t,arbbiltA carved in the center of
their pabhiiga mouldings. The lw•ilw houses diltp41as in its niche while the -tho houses the grahas. ln
this detail the images arc Vayu (dil!palo) and Ketu (groiN). The lthilthori-11t"'.19is arc flanked on each
side by an o/osii-lwnyi and sl•lflbiN while the an11rihii recesses separating each pig• arc filled with the
Standard •iri/4 motif. The top moulding of the pifiN is relieved with a frieze of warrior>, calvary,
~imal processions, battle scenes, musicjam and dancers.
Fig. 1141. MAH.l.GAYATRl: general view of the temple from the southeast. The platform added in
front of the jag•"'""""" is the same height as the pi/ha.
Fig. 114>. MAHAGAYAT•I: view of the J•ga,.oho•• from the nonh. The g••iik,r• has a wide l•l•-
garbhi/tA beneath its window inscncd between the flanking pilaStcr>. The window is filled with four
baluster> decorated with 11/asi-lwnyis and female musicians. The gargoyle on the pi/h11 is a crocodile
with a fish in its mouth.
Fig. 114l · MAH AGAYATRI : detail with the ga•iik/• on the south side of the j agamohana.
Fig. 1144. MAHAGAYATRl : detail of g••ik,ra baluster> on the south side. The female figures arc
similar in pose and style to those on the Litigarija temple. They stand on a lotus cushion and have a
Jtirifo design at the top of the baluster.
Fig. 1141 . MAHAG.l.YATRI: detail of the pabhig• of the J•t.•"'oh.,,a. The design with horizontal
pabhiiga mouldings alternating with venical -#1 recalls the decorative program on 10th century
temples though the lolo-gorbhiltA designs here arc morc developed and overlay pibhiigo mouldings
rather than being inscncd in recesses beneath niches. Their five-fold or paii<a-ralha design continues
up the jinghll.
Fig. 1146. MAHAGAYATRI: detail of lalo·gorbhiltA design on a side pig•. The design overlays pabhigo
mouldings. The niche at the base of the l<hilt.hori--# houses a 11tith#lfll while a Jtiri/• design is
carved on the mouldings above the niche. The large lthilthira moulding crowning the ""''!¢i is
surmounted by a diminutive lwla/11 with Rankingjigrala1. There is only one serpent on each slo•biN,
alternately male and female, rather than two as on the rihii design of the dtNI, the lower serpent being
replaced by a double goja-ltri•I• motif. The flanking khilthori·1/011tbh41 arc decorated with l!Mtili
scrollwork on their shaft.
Original from
114 C:\T;\1.C>(lt· 1; <ll; ll.l.L· s1·R :\T l <>~S
Fig. 1147. ~fAttA<;A'fA'l'Ri: view of the interior of thejagamohana. PO/Jhi,ga mouldings appear in rht
comers and flanking the entrance and ga~ikfa projections. The mouldings arc surmounted b~· female
figures in niches v.·hilc in the corners arc squinchcs in the form of corbels placed at anRICS to con\·cn
the square interior into 20 octagon at the ceiling. The faces of thc~c: corbels arc rchc\·c:d \\'tth fr1c.· z.c
motifs as is the lintel abo,•c the gavilqa opening.
Fig. 1148. ~fA11AGA'1ATRJ: comer ofjagamohona intcri<>t shou:ing the: pibhti,t..a. a/1.1si4~1frOJ in nu:hes.
lintel with elephant procession, and corbel with a frieze depicting battle !'ccn<:s and li,::urc~
approaching a king seated in h is court. The corner niches measure 2pproximately 28 1nchC's b~· 10 ~:.
inches with the female figures 1' 1/2 inches h igh excluding their l<>[US cushion.
Fig. 1 149. r-.f A11Ac;.i. YATRf: dc12il \\•ith a lintel and corbc·I within the ; a1.amuha,,a. The lin1el fr1ezc
contains infantry -and calvary marching to battle \\ hile the C<)rbel is decr, ra1c<l \li:ith ri(_lt<rs <>n
0
horseback approaching clcpha.n ts in a forest.
fig. 1110. ~1AH.\G.:\Y .... TR1 : detail of the pdl1hJ1.a and niche Aanking the g111:ilf./o pr<>icction . ThC'rc arc
two niches in the designs Ranking the gavJ/qa and entrances, one abo,·c the other to simulate at\\·(>·
story plan. \\'ith the female figures averaging about 18 inches in height. The pihhti,ga on t he i1ltcril>r
consists of fi\•e mouldings with the top moulding serving as a base for the niche frame.
Fig. 1111 . ~iAt-li.<::\YATRT: detail of the pdf.a design Ranking the entrance showing the t\\'O·St<lry
plan with 2n alasti·bl".)i in e2ch niche. The niches 2rc framed at the sides by the circul;i.r r.ar111/ti
scrollwork.
Fig. 11 )2. ~fAH;\c;AY.'iTRl : detail of thc J:.htilehtJrri·lltlllJcJi on the tJnarlha of the )(l\l'Cr ;ti.Ji,~ha t)f the
Ja,ga111ohafla on the west. The k.htilebari moulding is cro\\·ned by a d iminutive lca!tJia \\'ith Aan king
)Ogra/as while the "'"!'efi is Aanked on each side by an ala1i·lr.o"JO standing on an ornate J,>tus·pi:dc:stal.
\'(.' ichin the niche of the "'"~pi is the grllh11 R ihu. The niche measures 1 t ~, inches by 6 ·Y , inchc:s.
Fig. 11 )J· f\fA1-1Ac;.l.YATRT: Jikptila \ ' :iyu on rhe: no rt•'lwe:st corner of the;a.e,amnh.,na. He is scatc:d in
JalitiJa1'a on his stag-mount and holds a banner in each hand. T hese kaniA;a nichc:s avera~c 14 inches
by 7 inches.
Fig. t 1 )4· f\.1i\H ,\c.; AYA1' R1: dileptiia Agni on the southeast corner of the dt1t!. He is scatl·d in
/11/i1i1a11a on his r2m and holds a rosary in his right h2nd while his left hand holds a vcssc.·1 \l'lth
Rames. He is bearded and has a pot-belly. Diminutive female figures fill 1hc upper corner$, a Rying
Pidytidhararii :it the right and a st:inding female holcling indistinct objects at t he left.
Fig . 1111 . ~1 AHAG,i, v;. TRl : image of Surya p laced on the pedestal within the sanctum. The 1ma!Ze
ob,•iously filled a 11111!f( li niche on the exterior of the temple. SUr)'a stands in a 111111abhaliga pl.>$C on h1~
chariot holding a full b lown lotus in c:ich hand. He is Aanked on each side b~· a small \\'arric>t
4
holding a sword and shield. Arul)a is carved on the upper face of the chariot and se\'cn horses
appear on the lower half. z 1 '/ 2 by 9 1/2 inches.
Fig. 11 ~6. ~·IAHA(;,i.YATRT: alasi·Un,;ri in niche on the interior of the Ja!,tJlll()ha,,a. She stanJ~ in a
graceful lribholif.o pose holding a waccr vessel in her uplifccd righ1 hand while 1he lcf1 hand ho!Js 1hc
edge of her sash. Her h2ir is tied in a bun on one side of her head and she 'ia.' Cars larJitC htndala
earrings. She is richly bejewelled with festoons hanging from her girdle and a Aoral motif can·ed <>n
her square buckle. Remnants of stucco on the surface of the image su~~cst the intcric..>r \\'1S
whitewashed and her facial features have been recarved, particularly the mourh 2nd e~·e~. prc>hal>ly
whtn the image \a.•as painte<I.
fig. 1117. t\l .\ tl.\(';,i,)',·••r RT : ala1ti·knn.>·ti in niche on t h(' interior <>f the;il~a111ohana. Sht stands in a
1ribhuti1.a po!>c ho lJing a small vessel ( ?) next to her bre asts \\'1th her left h and \\·hilc the r1~ht ha nd
probably ho ld s a locus.
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Digitized by Google UNIVERSITY OF MICHIGAN
C::\T..\l.CX;LtF. <>F 11.1.L'STRATIC>"'S 111
Fig. 1118. MAHXCAYATRl: alasii-l<Pnyii Ranking a lthiikharii-IJIM~Ji of the lower jiingha of the jaga-
,.,o}Ja,.,. She holds the edge of her sash with her left hand while the uplifted right hand probably
holds a lotus. This is one of the best preserved of the female figures and the facial features arc
panicularly refined and illumined by a warm smile. These images measure approximately 10 1/ 2
inches in height without their lotus cushion.
Fig. 1119. MAHAGAYATR! : fragmented image of Surya now placed on a pedestal in the brick Vi~~u
temple behind the Mahilgilyatri. The image probably filled one of the /JIM~r/i niches of the t1tMI, The
fragment measures 10 inches by 7 )/, inches. The facial features arc similar to those on the other
Surya images on this temple.
Fig. 116o. MA>1XGAYATR!: Jpiirapiila on the front of the platform. He stands with his right leg
uplifted and resting on a lotus while his left arm crosses the body to rest on a dub placed venically
in front of him. This pose, and the hair arranged in coils, duplicates that of the tbiirapiilas on the
Surya Deul and was popular during the l)th century, probably suggesting South Indian inRuence.
This contrasts with the pose and iconography of the d11tir11ptil111 on the sanctum doorframc which arc
more in keeping with 11th-11th century traditions.
Fig. 1161. MAH.J.G.1 YATR!: detail of the platform added in front of the ja,1.amohana during the 1 )th
century. The facade of the platform is decorated with wide Jt:.halt.h11rti•1111f!ltf.i1 alternating with narrow
"":Jro-111111Jfii1. The niches of these 111~¢i1 house primarily erocic themes. those of the 11'1jr1t·M111J{ii1
assuming standing positions and those of the lehOlt.har0-111•!'¢is generally represented in sitting or
reclining positions. Many of the scenes duplicate ones on the_Siirya Dcul and it is most likely the
platform w>S added while the Surya Deul was being constructed.
Fig. t 161. MAHAG.J.YATRI: detail of the facade of the pifha or platform in front of thejagamohana.
Stylistically and iconographically the program differs from the pifha of the jagaMohana and tltNI
though it is the same height. Jn the J:hiJ!hari-MN!fr/i niches the panners are frequently posed on a low
couch or bed.
Fig. 116). MAH.J.G.J.,. ATRI: detail of the facade of the pt(ha or platform in front of the )~(amohana. In
some cases the niches of the J:hiJe.harti·MNrt4i1 arc flanked on each side by a narrow niche filled with an
attendant female.
Fig. 1164. TANC.1: photograph of the temple while rcp•i" were being made before it coll•psed in
I 9J j. The go.Mi continues the sapla•ralho plan of the biefo with the leanilta divided into ten bhJimis. The
anarlha is decorated with a vc-nical alignment of four superimposed aiga-iileharas.
Fig. 1165. TANCJ : detail of the upper j iligha on the southeast comer showing a 111ai1huna. alasi·
l<Pnyii riding a dancing g•!'• and the iPlr.ti of Agni. The thin pratiratha is ornamented with the circular
var/Nii scroll. Agni-patni is seated in lalitOJa1ta on her ram-mount with her right hand in '"arada while
her uplifted left hand holds a torch. She is Ranked by female <aMri-bearcrs while •it!Jiit1haras •ppear in
the upper comers.
Fig. 1166. T ANGI: detail of the upper jiiri)!h• after reconstruction. The female figures have not been
insened into their proper position.
Fig. 1167. TA,.GI: view of the sant1hi-11hala on the south. The piibbiiga decoration consists of a tala-
garhhilr.ii duplicating the design beneath the riihii niches of the t1tNI with a serpent at the base and top
of each stambha. The niche at the base of the elongated lthiiltharii-•M~r/i has a two-story design while
the crowning member of the miniature shrine is an invened leh11ra aligned with the top moulding of
the piibhaga. T he jiingha continues rhe tri-ratha design but is part ially built with modem materials.
Fig. 1 168. T,.\NGI: Ja/a-garbhiU design beneath the rihli niche. The design is similar to those on the
Khilc:Svara and ~lahigiyatri temples except for the: in\•cned khllf'o moulding at the cop.
Original from
CATAl, OGl' E OF 11.1.l.!STRATIONS
Fig. 1169. TANGI: detail of the pibhag• of the Jt• I. The pibhaga consists of five mouldings of
conventional design with a small vajra-111•~li catvcd on the MMra moulding. The •/>4""
beneath 1he
pibhaga consists of a single moulding decorated with scrollwork on its -lui~fi and paJ1110-pr1tha on
its sloping upper surface.
Fig. 1170. TANGI: view of the dt• I from the south. The baPa has an abbreviated 1apta-ratha plan
with the addition of a thin pr111ir111bti between the Uni~ and 11114rlba. The pQriN·dtva1i1 arc ,;, si111 and
well presctved.
Fig. view of the J111/ from the cast showing the entrance to the sancrum. In the
1 171. TANGJ:
foreground is the floor of the jaga111ohana. The fragmented images of the dikpila1 Indra and lsana arc
visible in their respective niches. The garbho-grha is below ground level and reached by sicps. The
Jvarapila1 arc housed in pi(lho-111•~lis at the base of the jambs though only the images on the proper
right arc original.
Fig. 1171. T ANGI: view of the temple from the southeast. There arc many Nandi images \L·ithin
the compound suggesting the existence of numerous temples. The Jo1,a111oha11a has complctcl)•
collapsed with only ponions of the pibhiiga sianding.
Fig. 1171 . TANGI: view of the g•••kl• on the nonh side of thc;aga1ttohana. The •/>4•• follows the
pig• plan of the pibhiga as on the J1• I. The t•l•·garbhiu beneath the g•••kl• window is similar in
design to that of the MahigiyatrT with an elongated Mii"-hari--~(li in the center flanked by a
niiga/nagi-1/a,,,bho and MaMarii-sla• bha on each side.
Fig. 1174. TANGI: detail of the nonhwcst comer of the jaga1ttoha1ta. The bfi4,z has an abbreviated
lf411t1-ratho plan with a "-ani"-4, first 11nartha, pratiratha and second anarlho on each side of the gawile/a.
The pibhaga has five mouldings of conventional design with a lala-garbhiu overlaying the mouldings
of both onarlhas. The laf•·garbhiu design consists of a MaMari--'!li in the center flanked on each
side by a niga/•igi-sta111bha. The sta,,,bhas have only one serpent, near the top, while the base has a
gt1:Ja-Jui11111. The s.tructurcs in the background arc later in date.
Fig. 1171. T ANGI: detail of a tala-1.arbhiu design on the J•gaMohaoa. The niche of the MaMara· •
6IJl!f(ii has a two story design with figures seated in lali1i1tlffd on both stories. The female at the
bottom appears to be combing her hair in front of a mirror. There is a small lt.iri/11 design above the
niche. The niche is framed by foliage while the mouldings above have pa4M•·Pr1!ho designs on their
upper surface. The '1iga·1la111bha has a single g.y·a·k rinta motif a.t its base with the animals depicted in
profile.
Fig. 1 t 76. TANCI: tlikpala Agni in the lower "-ani"-4 niche on the southeast comer of the JtMI. He is
seated in laliliiuJna on his ram-mount holding a torch in his left hand, his right hand in NrU•. He has
a pot-belly 2nd wc2rs a beard.
Fig. 1177. TANGI: anarlho niche of the upper story on the south side. The female h2s both arms
lifted over her head thus allowing the male free play with her body.
Fig. 11 78. T ANGI: detached image of Parvati housed in a godown on the edge of the village. She
stands in a graceful 1ribhanga pose flanked by attendants below who arc mostly obliterated. Her arms
2rc broken off and the attributes missing. She is richly bejewelled and has • circular buckle on her
girdle. Her hair is arranged in aj•fii•,,,NU!•· Her facial features arc delicately chiselled and illumined
by a soft smile. The image measures 11 '/2 inches by 11 t/, inches.
Fig. t 179. TASGI: fragment of a door jamb with a guardian figure in the lower niche resting one
arm on his weapon. In the upper niche- is a warrior cng2gcd in combat. The scrollwork on the insic!c
band is garbled with a half-rosette in the panel above. Stylistically the jamb is earlier than the
Cao<,lcivara and probably from a temple no longer extant, possibly dating to the 9th century. There
arc other early fragments within the compound bur most of them have been reworked at a later daic.
Original from
CATALOGUE OF ILl.USTRATIONS 117
Fig. 1180. TANGJ: gaJ•·•iriJ. motif in the •N"ihi ttcess of the lower jiligha of the Jew/. The monster
has the bead of an elephant and scands on a crouching demon. In that the images att insened into
ttcesses of the lower story many of them survived the collapse of the temple in a good state of
preservation. Th= ttcesscs arc approximately 10 inches wide.
Fig. 1181. TANG!: oJ.si-/,,,".Ji stored in a godown in the village. She stands in a ttlaxed pose with
legs crossed and her right arm in front of her body. Her left ann hangs akimbo and holds a Aower in
its hand. She is ornately bejewelled and has her hair braided in a large bun on the left side of her
head.
Fig. 1182. TANG!: 111oi1htmtz from the ••wrihi recess of the upper jil/ghts of the Jew/. The female lifts
her right leg up and pins the male against the wall as she pttpatts to mount him. Her right hand
cattsses the back of his bead. He holds her uplihed leg with his left hand.
Fig. 118J. TANG!: image of a female 6gutt with uplifted arms riding on the shoulders of a
dancing go/Id in the lllfllrib.i recess of the upper story on the south side. The poc·bellied g•fld suppons
her left foot with his left hand and holds a fragmented staff ( ?) in his right hand. JO by 9 inches.
Fig. 1 184. TANG!: detail of the female 6gutt riding the dancing gOIJd. Her faci•I fcatuttS arc
delicately etched and illumined by a soft smile typic•I on the best 121h century images. She wears a
tiara with festoons of pearls on top of her head and hu two types of curings, the one in the right
ear being circular. There are many strands of pearls in her necklace and a scarf hangs loosely around
her shoulders.
Fig. 1181. MEGHESVARA: general view from the nonh. The temple is situated in a walled
compound with the major entrance on the west and a second entrance on the nonh which leads to a
tank now dried up. The pi;ho roof of the )•g•••bou consists of a single tier of mouldings with the
crowning """'""" now missing. The go!'f!i continues the lldN·r•lhts plan of the b~ with the /,,,•i/,,,
being divided into nine bhii11ri1.
Fig. 1186. M£GHE$VARA : general view from the west. The jog•"""""" is devoid of decoration
except for the pibhigo and doorframc. The la11cr is A•nked by a llig•/lligf·1/0111b"'1 on each side. The
remains of a llihdd·rlo!flbhts with Nandl is visible in front of the entrance ponal. The compound in
front of the rtiholto·sloMl>hts is approximately 61 feet wide by 77 feet long and most likely
accommodated a llif•·••,,,J;ro which hu not survived. The compound Aoor h•s been raised on
numerous occasions so that today even the pithts beneath the tltw/ and )•g••""- is buried. In this
photograph the outline of the pf/ha is visible at the extreme right and left.
Fig. 1187. MEGHESVARA: view of the J1w/ from the southeast. The pibhigo consists of five
mouldings of conventional design while the jiiigho is divided into two stories by a 111tui1!Jo·bo!Ulho•i of
three mouldings. The ri.hi is a truncated pFclh•·llfll!lii with • singlc·story design. The side pigu have a
..Jr•·~ design on the lower story 2nd a pf#Jo·llfll!lii design on the upper story. The bartll!(i4
consists of seven mouldings which run continuously around the Jtwl. A panel is superimposed over
the mouldings of the rib.i, intended for a ••)r•·•ortal<o, surmounted by a projecting leirtilllllVM
supponing an llllJ•li lion. Ni/o·shrincs were erected in front of the piriN.Jtvatiil at a later date but
have since been pulled down, some of the rubble remaining in the foreground.
Fig. 1188. MEGHESVARA: detail of the rihi on the nonh. The l•l.·gorbhiJ:i design consist.s of an
elongated /ehiVJori·~ in the center Ranked by a band of Nrl•li scrollwork on each side. The
image of Pirvttl was ripped from the niche with its feet still visible on the base of the back·slab. The
lintel decoration was probably removed when the •if" shrines were added. The drainage gargoyle on
the pi/"'1 is visible in the J01fi-shaped well in front of the pibhiga, the Aoor of the compound now
raised •bove it.
Fig. 1189. MEGHESVARA: detail of the b~ on the nonh. The b~ has an abbreviated lldN·rolha
plan with a italfihr, wide 111111rJha, thin praliratha and second alfartha. The 111111rtibi recesses of the lower
Original from
< : .<\T.<\l.C)( i l ' I~ C>F 1 1 . 1 . l '!'io'l'R :\ 'rl <)~ S
story arc filled with virtila m<.,tifs \\·hilc th<)SC' of t he uppe r story are filled \\·ith alasi·hiftJOs, t hough
most of chesc images h2vc been plundered.
Fig. 1 190. T\-l i-:<;11 1'.S\':\ RA: detail of the bJ(Ja on the east. The Jeanika n iches ,)f the lo "'·cr 1.to~· are
filled w ith the dikpalas. In the upper niche of the kanika is a n image of Na1araia u·hile o n the inside
011.arllia is a roilet scene with an actcndant braiding t he hair o f a seated Mgure.
Fig. 1191. ~l t'J>ttE~\·ARA : detail of the upper )itiJ.:ha o n the south. In rhe A:anihz niche the imal!c is
of Van2/ Durga holding 2 foit.ro, d~b. long bow and a conch. The animal on the pedestal i<
indistinct. The v.·ide anarlha houses a Siva f\.fahi)'<)gi seated in padmti.sana. His main h ands are p laced
in front of the chest in Jharmarakra·,,,11dri (?}, h is upper hands hold a trident and ltapila \••hilc his
lo\\tcr right is in i•arada hold ing a rosary and the lower left holds a ka111at;(la/11 or jar. The th in
praliralha is carved wit h a standing Mgure hold ing a iait.Ji o r club. The second anarlha houses a
dancing Bhairava ho lding indistinct objects in his uplif1cd hands. The a/aJti·A:a".yi figures. OO\\'
missing, stand on a Piit·apadma wi1h an ornate lotus pedes1al. In the outside anwrtihti a kneeling, hgu rc
is car,•ed on the t1iir·apad111a suggesting the recess may have had a deity \\'ithin.
Fig. 1 191 . 1v1 t:.<;Hf.S\'ARA: detail of t he lo\\'CrJifi.(ha o n the south. The Jikptila AF'{nt i!': in 1hc b1nilea
niche. The \\•idc anarlha niche is filled "' irh a scene of a seated male su.rroundC'd by fC'malc figures,
possibly yop,i11i1. The th in pralirarha is decorated \\ ith an image of Siva holding a trident and
1
indistinct object in his two hands. On the pedestal is the bull N andi. The in sidC' anar1h11 niche has an
image of LakuliSa. The "'"'!<f.i designs on the anarrhas a nd /&JnileP are not centered on the pti,e,as but
have two offsets o n t he side facing away from the rtihi. T he frames of the niches are ext remely t hin.
almost non-existent, so that the tlgurcs nearly touch each o ther and an overl)' cro\\•dcd effecc is
produced, panicularly noticeable at the praliralha. The raj ra-111a11aka designs cro\\tning the niches arc
of the bho-type with tcar·shaped medallions. The flankinA 1.a~as arc subordinarc to the desi~n and
barely perceptible. The medallion of the wide onorlho is filled with a face.
Fig. 119;. f\l1lGt1E~\'AR ..\: detail of the up~r jtitigl1a on the nonh. The leanile4 ht>us.es a standinJ.t
image of K:int ibcya. He is four-armed a nd ho lds the rooster-cock above: Dcvasc-ni but the right
hands are mostly missing. The: wide anarlha displays a four·armc-d Devi standing in Jama/Jhati,P_a. She
holds her lower right hand in vorada while her lower left h and holds a vase. Her upper hands hold a
rosary and ir11it. (sacrificial spoon). Next to each of the four h ands is p laced a pot of fi re. Jn the ri!!ht
come r is a fragmented lion while t he object in the: opposite comer is indistinct. The: im2Rc thu~
r<"presC"nts pafitig11i-1apava Pirvati. The pra1ira1ha is decorated "''ith a fragmented female fi~urc
holding an indistinct object in he r right hand next to the thigh. The inside 1111..artha h<luses a dancinj!:
.JOJ.ini holding a trident in her left hand v-.·hilc her r ight is upraised. The ala1ti·lf.4'!)1i on the insidc <lt'
t he proliralbo poosibly h olds a child at her breast.
Fig. 1194 . ~f hGH1-:.Sv 1o RA: detail of the .ia..(amohana on the sourh side, T he exterior \"\'alls arc m fll' Cly
devoid of decoration except fo r the pdhhii1,11 mould ings. The bOrja h2s an abbreviated H(ll'a·ratlw p lan
similar to that at Tangi thou~h a tala-1,arhhii!i design is added in front o( the pibhiiga mouldings o f
the kanika so th at each major side pi!.• has such a de<ign. The pabhigo consists o f five mouldin)(S of
conventional design though they are mostly o bscured by t he 1al.a·1,.arbhi4is except on. the th in
praliralha. The; ongh11 is divided into t \\'O st<>ries dc,•c>id of decoration as is the: h'1ranfltJ di"isi<)n at t he
top.
Fig. l 19l· ~f1·.<. 11 1:S\' AR:\ : dikptila Kubera on the nonh cc;>rner of the drul. lie i~ ~eal('d in la/i1ii.<11flr1
on a viit·apadma \\'ith the remains of jars visible o n h is pctiestal. The n iche measures 11 by 6 I/~ 1nchc~.
Fig . 1196. ~fi.(:t-t f.~\'."iR,"i: Jikpila A~ni o n t he southeast corner of rhe Jr11/. He is sc:arC'd in ldli1J1,11111
on his ram-mount . The hands and attributc-s as \\'Cll as facial features arc oblircrat ..:d.
Fig. 1197. ~I F.<~11 1-!-\';\R:\; f<>Ur·a rme<l Siva in an 011orlha niche of t he upper.1d~~ht1 on the non h sitlt'
of 1hc: Jr11/. I le stands in a lrihharlj_a p<>sc "''ith his majc-,r ris:tht hand in i•or11da. J-~ i1. corrc:~rc>ndint!- l(_·f1
Original from
<::\ ·r ,.\ l,(>(il' E <>I: 11.1.l ' ~ 'l'R . \ 'l'U >S:,, 119
hand holds a tridcnr ll•hilc h is upl if1cd b ack hands hold a damarN and a .l:npala. He is •rdh,.ali~~a and
\\'<'ars a long ltarland of skulls. His Bhairava aspect is further suggcste<l hy his bu lg ing eyes. The l'Jull
Nandi is at the lower right.
Fig. 1198. ~t1..<:t1t-.~\'AR ..\: ArtihanariS\'ara and an alasO·kan_rti on rhc upper .Jti~r:&. on the u•es1 s icie
of the dtM/. ArdhaniiriSvara h<)lds the trident in the ri~ht hand and an in<"listinct <>l>icct in the left
hand. The bull and lion mou.nts are on the pedestal. The alosG·kan,yti is in a lribha~st.a po:o<e and has just
removed a banp;le from her :ankle, the uplifted leg now missing . ...\ dwarf attencl:tnt holcJs a basket
above his head beneath che missing leg. The smile on the face of rhe ka'!rO is not as S(lft o r u.·arm as
on 11ch century images. She u•ears large circular b1,1{10/01 in her ears.
Fig. 1199. 1\11.,( :ttt..~\':\RA : alosd·it.a-'!)'i and male figure flanked by tu·o fen'\ale figures on the upper
,/iitigho on the west side. The fema le ho lds a child near her breast . She is ornately bejeu·tllcd and has :a
pan icularly heavy buckle fasicning her girdle. T he male figure is embracing 1hc female figures who
have their legs bent in a dance pose and lift their outside arm :above rheir head.
f7 ig.1200. N1A1.1: \' iew of the deu/ from the southu•esr. The temple is construeted on a pi/ha ~:hich
is mos1 l~· buried. The hti{lo has an :at>brevia.ted "ar.·a·rolho plan as on the ~legheS\'ar-a but with tu·o
pra1iralh11J rather than two anar1l101. Niia shrines were t>reeted in front of the pir1i1a-drra1ti1 at a latfr
date. The borot:tda consists of tt>n horizontal mouldings while the lt:anilr.a is d ivided into nine hhNmi1.
The artorlha c'Jf the f.at:t<fi is decorated v.:ith four superimposed a~go-1i'kharo.1 of diminishing s ize . .l\fost
<>f t he dccorat i\'e de-tails are covered with a heavy coat of plaster.
Fig . 1201 . N 1... r1: detail of the drul on the nonheast. The pahhtiga consists of ti\'e mouldings of
c<1n\'enric>nal design and the: ;tiri~ha is di,·ided into t \\'O stories. l'hc pd1.as art de-c1)ratcd \\·it h ' ' 1Jra-
mu11di1 on t he lc>u'cr Story -and pidha-mu'!#is on t he upper story. ~fost of the images from the 111111rO.hti
recesses a.re nc>w mis.sing.
Fig. 120 2 . N1Ar.1: general vie"'' from the southwest with a ni1d·shrine in front of the south rihti.
The t<>p <,f t he pifhtJ is in \•itw in the f<>regrc)un<I. 'J'he p)·r~mic.121 roof of rhejagamohano is cro\\·ncd by
a ma11aka u·ir h the members intac1.
F1~. 1 20 ~ · r\ 1 ~1.1: n<>nhwcst corner of t he orig inal 11if11·mandiro with the second rtiifa-mandira in
the f<">rt·grc>und, the latter added u•hen the o riginal strueture w2s convened into a /1hoga·1"tJ!'(iopa. 'fhe
u·t"st stairs <>f the o riginal structure are visible in the center of the photogr-aph, the base of its pi/ha
;ind t he J,.,irapti/(IJ panially buried by the later add ition. T he floor of the nd/a·mandiro is lined with
f<)ur r<>U'~ <,f pillar~ u •ith t(>ur pillars in each row.
Fig . 1 20 4 . :'\:L-\11 : general \•iew of thejll,(amohana fr< >m the nonh . Thc)ala111obana has a similar na1-·o~
r111ha pl~n \\'Ith t\l.' O pri1tirothn1. i·hc Itani/ea has a 1ala·1,arhhilea \\' ith a lri~ralha p lan which continut'1
\IP t he: heijth t of the /1Pda u·1th th ree 111u!f¢i1 aligned on each story of the jtitixho. The anor1"'1 has a
J(lf'/tJ ·rt1/h(J p l;in u·hich continues up the height <>f the bJ¢a. The ga1•i!fa has a similar 1ap1a ~ ra1ha plan
f•1r it!i 1"fa·,f!.t1rf1/1ikJ while it!i u• indo"'' is hlled with six plain balusters. The baro!f(ia c<>nsists of s ix
m1,\1ltlin,L:s u·h ich arc nlc>stlr cc>vcrcd with plasrer.
i:iJ:. 110 1 . 1\:1 \ I I : l lt't:til of the /11,v,nmoha110 from the nonh . The dikptilas arc ht)U!'ed in the center
k.t111ik.i1 nicht• C)f the lt>u.·er ;tiri.~ho ar1ti their iok1i1 in 1 he same niche on the upper ;O~~ha.
t=ig. 1206. '.' 1 \1 1: cic:13il <)f 1he Ot>nh "'·cst corner t>f the 1oxn111ohona. The pO/Jhti,t,o consists of five
m <)ultling!' t>f Ct>O\•c nrional Jc!'i~n with 1aln·,(11rhl1ik0 ciesign~ O\'trlaying the m oultling5: on the kanlka
ancl 1111t1rt'1t1.
J=ig . 1107. :\1 \1 1: clctail ,,f tile anartho and prtJlirothos on the north s ide of the .ia.~t1mohona. The
11nt1rtf,t1 ha' ~C\' t·n m1111di1 o n l'ach $lt>ry, thin m11ndi1 ahernatinJ.t u 1ith wide o nes. T he u·idc mun!fi n iches
t •n t he 111\\'1;•. r '111ry hc>U!'C 1m~gc~ tJf SCirya, S iva \'oga·Dak~1r:iimUrti and a mithuna u •1th a bearded
rl'l:'l lc· tl.,nk«.:(l l'I\' a female ''" each 5-idc.
Original from
CATALOGUE OF ILLUSTRATIONS
Fig. 1108. N1Au: view of the 1a111ihi-st"'1'4 on the •outh. The lower niche i• filled with a jigrata
m0tif while the upper niche contains a Bhairava-typc guardian figure resting one arm on his
weapon.
Fig. 1109. N1A1.1: detail of thcjaga111•IM•a on the •outh. The upper "4•ilu niche contains the ia.tli
of Yama while the pratiratlM niche is filled with two figures fighting. The afUffihi rccc..cs on each
side of the pratiratha are filled with • ilh1111a images.
Fig. 1110. N1AL1: detail of the upper jiilgh.r of the jaga•ohaM on the west. The center -lf4i of the
fulti"4 is filled with the ia.tli of Varona, Ranked on each side by female attendant figures, while the
?ichc of the protir.ih.r is filled with a female dancer. The amtrihi recesses arc filled with • ith11M
tmagcs.
Fig. t 1t1. NIALi: image of G>J)ch in the •outh rihi niche. He holds the conventional attributes in
his four hand• and his yajilof>"'ila is formed by a serpent. His head is framed by a •alura-tora!fd with
a /Urti•11ltha at the apex. ViJyiJhara couples arc in the upper comers and the rat is at the lower right.
Kneeling devotees are on the pedestal. Approximately 16 by 16 inches.
Fig. 1111. NIAU: image of the Yoga-Dak1inimilni aspect of Siva on the nonh side of the
jaga•""""4. He i• six-armed and h.. hi• major hands folded in Jbyina-,,,,,Jri in hi• lap. His lower right
hands hold the trident (broken) and a water veucl while the upper hands probably held a rosary and .
"4pi'4, the remaining weapons held by the related images of the LU\garija and Mcghe$vara temples.
He is seated in pad1J1i1au and his yajnopa•ila is formed of scrpcnu. His tall jafi·lflW/• is panially
broken. The bull Nandl is carved on the pcdcStal. The details of the figure, panicularly the facial
features, arc panially obscured by accretions of plaStcr or Stucco.
Fig. tiIJ. N IALi: Jikpit. Indra on the cast comer of the dt#/. He is seated in '4/i1i1111111 on his
elephant-mount holding the vojra in his uplifted right hand while the left hand hold• an indistinct
object. A scarf is worn around the shoulders with its ends billowing in the wind. The lu•i"4 niches
of the Jn/ measure approximately t I inches by 7 1/2 inches.
Fig. 1114. NIALi: io.tli of Yama on the upper jiligh• of the south side of the jago..ohau. The
Jilt.pilo-pamir were not carved on the tk11/ and this ii prob1bly the earliest surviving example of them
appearing on this structure. She is seated in '4/itti1111111 on her ram-mount holding a club and noose in
her uplifted hands. Her hair is braided in a large chignon to the left side of her head. The "4•ilu
niches on the jag•M•hona arc approximately 1 J 1/2 inches in height.
Fig. 121 J. N1Au: Jilepi/11 I Sina on the nonheast comer of the J111J. He i$ seated in ltJtitOs111111 on his
bull-mount holding the trident in his uplifted left hand and an indistinct object in his right hand
extended in 1111.riU/4. He ha.s only two hands in contra.st to the four standard in most images. The ends
of hi• scarf billow up from behind his shoulders.
Fig. 1116. NIALi: image of Brahmi in the protirotha niche of the lower jingha on the nonh side of
thcjag11.mo/Ja114. He is seated in '4Jittis11.1ta on a scat w ith a ha61111 carved beneath. He is four·armcd and
holds a rosa.ry and vessel in his major hands. The upper right hand probably holds a lad!< while the
upper left hand is indistinct. He is bearded and has three head• though the facial features arc
panially obscured by accretions of plaster and debris. Gai;ich is in the same niche on the south side.
Fig. 1117. N1Au: image of two figures fighting in the protirolho niche on the upperjingho of the
sough side of the J•t.•"'•h4"a. Their legs arc intcnwincd and they hold weapons in their uplifttd
hands, probably d•ggers.
Fig. 1118. N1Au: domestic scene with the husband bending down to lift up a young child with the
wife standing in the background. Scene could represent the husband just returning or about to leave
on an expedition. There arc an increasing number of secular themes on the temple which suggest the
Original from
CATALOGU E OF ILLUSTRATIONS
changing tenor of the times as well as the increasingly social role the temple was playing in the
community.
Fig. 1119. NIALi: 111i1"""4 in the upper 111111rihi recess of the jaga111r>hafl4. The female wears large
pilrd·ht~/klltu and her hair is braided tightly in • chignon at the b2ck of the head producing a rather
bald appearance in front.
Fig. 1110. NtALJ: 111i1"""'1 in the upper a1'Nrihi recess on the west side ofthc)a1a111oh4114. The male
assumes a rigid p05c with one arm embracing the female 2nd cupping her breast. She is in a lribha!igd
pose with one leg crossed and the right arm draped over the shoulder of the m2le. She turns her
head away from him and looks into a mirror held in her left hand.
Fig. 1u1 . NIALi : ,,,;,,,_ in the upper d"'"i.bi re<css on the west side of the jd/,d"'°""""· The female
stands with her right leg croued heh.ind the left and her left hand hanging at her side, possibly
holding an object. Her right band bolds a cup, probably containing wine, to her lips with the male
6gurc holding her wrist and gently giving encouragement. His left hand rests softly on her shoulder
and he has a smile on his lips. Both 6gures wear large circular earrings.
Fig. 1ui. CHAMPESWAk: gencr:al view of the compound from the nor1h. The main temple,
consisting of numerous later additions, is heavily plastered and devoid of decoration on the exterior
except for the piriwz-ikvdlis. Within thcjdf,d•°"""" arc several detached images including a beautiful
Hara~Pirvati while numerous other 11th century images arc scattered about the compound.
Fig. 1u l· CHAMPESWAk: dcrached doorframe on the south side of the compound. The stone is of a
poor quality and the images, including the tkirdpilds, arc badly worn. The Jvirdpi/41 measure 1 i '/ 2
inches in height.
Fig. uz4. CHAMPESWAR: badly wotn image of Ga~da next to the doorframe. He is seated in
14/itisdM eating sweets from a ,,,oJ,,k;,.pitrd held in his left hand. The mouse appears on the lower
left comer of the pcdest:al. There arc two such images carved of soft stone, one measuring zo '/2
'I,
inches by u '/2 inches and the other 17 inches by 11 inches.
Fig. 1u I· CHAMPESWAR: image of the Jikpi/4 Tsana 6xed to the compound wall by the entrance on
the cast. He is seated in /4/ilis•"" on his bull-mount and is four-armed.
Fig. 1u6. MA~INAGESVAkA: general view from the west. In the foreground is a small Nandl shrine
and leaning against the front of the jdt,••°"""" is the image of Singhibhairava. The remple was
rcconstruc:tcd in rhe 19th century but rhc piriwz-Je..lis and doorframe an: par1 of the origin:al
structure.
Fig. u17. MA'.llNAGESVAkA: detail of rhe lintel of the sanctum doorframe. The image of Gaja·
Lakiml is enshrined in a niche at the center. She is seated in 14/ititdNI and flanked by a female
attendant on each side.
Fig. 1118. MA~INAGESVAlA: f,dj•·krillld design on the panel beneath the tkirdpi'4s on the sanctum
doorframe. This Jopitbhi form, with one head and two bodies for each animal, is a variation of the
double motif where two forms arc placed one next to the other.
Fig. 1119. MA~INAGESVARA: image of Cimu~\li in a sm:all shrine ar the southwcSt comer of the
compound. Most of her arms arc broken off and rhe only intact attributes arc the "-4pi'4 and
kho/.O,;gd. She has an emaciared body and an elephant-skin is stretched above her head. 18 'I, by
16 1/4 inches in its broken state.
Fig. 1110. SoME$VARA (KAKATPU•) : tkirdpild Mah:ikila in a pi4ha·•lllJ#i at the base of the door
jamb. A diminutive nigd appears at the base of the jamb above the niche. The four-anncd Jviropi/4
Original from
stands in a slightly flexed pose with his main right hand in varada and his left hand holding the
trident. The upper hands hold a rosary and a A,,,f>Pla. A diminutive river goddess appears in the
lower right comer of the niche. The niche is 17 inches high.
Fig. 1211. $0>11·.S\'ARA (K A•ATl'l:R): di'<irap,;la Nandl from the door jamb of the jaga,,,q/Jana. His
major right hand is ln var11da v.·hilc h is left hand ho lds a trident. He has a rosary and a JupO!a in his
uplifted hands. He has a short beard and wears a Jong garland. A diminutive river goddcs.s is in the
lower right comer.
Fig. uii. So>1~.SVARA (K•••TPl'R) : dikpa/11 Indra. He is seated in lalitasana on his elephant-mount
holding a vajra in his right hand. H is left hand is placed behind his leg and appean to hold the stalk
of a lotus which blossoms near his shoulder. The image is partially covered with din and whitewash .
It measures 1s by 7 1/• inches.
Fig. 1133. LATAHARANA: image of a Jain couple cemented to a shrine a long with other images in
the southeast corner of the GrameS\•ara compound. The couple arc seated in ortlhaparyol'ilt.a holding a
flower-stalk in their right hand which rests on their uplifted knee. A small figure in a swing appears
between them in front of branches. A Tirtharikara Ranked by attendants is carved at the top. The
pc'destal beneath the vii11opad1110 scat is decorated with seven fig ures seated in ortihaparyofika. The
sculpture measures 17 1/ 4 by 9 inches.
Fig. 11)4· PATIA: Kintikeya fraJ?ment lying under a tree. The image is car,•ed of chl<>rite. His
face is illumined by a soft smile and he wears a '!)'iP.hrar.ialt.ha wirh a tortoise pc-ndanr.
Fig. 11)S· DHAR.~l..\Si\1..\ : image of \ ' ariha in the Orissa State f\.luseum. The deity stands in ,;/tefha
holding the arm of Prthvi with his major rig ht hand and then lifts her up on his major left e lbow. He
holds a takra and a conch in h is back hands. Lak~mi stands in the lower left comer. A lotus
blossoms above the head of Variha. The back-slab is decorated with a malt.ara ../ora!(a with a
AJ;r1imNkha at the apex. H 'I' by 16 inches.
Fig. 11)6. Ct-1Al' OAR: doorframe insencd into the rebuilt KapileS\'ara temple. The jambs arc
decorared with vana-la!O scrollwork. The tivtiraptila.1 and rhe attending river goddesses are housed in
rectangular niches. Gaja-Lak$mi is carved on the lintel and the architr:ave is decorated with a
nai•agraho sl:ab.
Fig. 11)7. (Hi\l'DAR : J1:0raptila ~fahikila and Gangi. The tivtiraptila extentls his major right h:and
in varada and has a rrident in his left h and. His uplifred back hands hold a rosary and a lot us. Garl~i
ht>lds a lotus in her uplifted left hand. Her makara· mount ap~ars among the locus rhizome design of
chc pedestal. The niche measures 16 1/ 2 b>• 14 inches.
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Hindu Temple Art of Orissa 1

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1-IINDU Tfi i\IPJ_JE 1\R T

01g1tized t.,. GOl gle • •

ISBN ?O 0 4 0111J '

CoP.J'Ttght 1911 by E. ] . Brill, Ltititlf, Tht J'tJhtrlonds

All n~hts rtJtrPtd. No f>drl o/ t/Jit book. 11111) bt rrprl>d11rrd ()r

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I am glad to be associa1ed with the publication of Dr Donaldson's studies, albeit at a late

Editor's Preface, by Janice Stari:ardt . \ ·11

I. The Earliest Surviving Temples of Orissa . ZJ

I) Padmapur : Mallikesvara Temple 176

2. Pec;liigac;li, Bac;lasiihi, Koinsarigarh !41

VII. Temples of the 13th Century

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l· Kosalesvara: Kosalesvara Temple

14. Bil)eswamiisl: Padmesvara Temple

XI. Shared Fr2rures :and Additional Structures

XIII. S2ivite Ptirl..-Deuattis

CJ Siva in a ~ated Pose (i11a1J11-.wirti)

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B) Gmealogital Charis of Kings

C) A"hi1u111al Charis anti Diagrams

1. Diagram of the Principle Elements of the Rtkhti-D111/ 10

6. Bajrakot: Bhrngesvara Mahiideva Temple 114

In respect to field research, I particularly want to express my gratitude and appreciation

f\fap of O riss a w ith major ttmplt s ites .

1 Cha·rlcs l.ouis F:abr1. fl11t q9 of th< .·1rt

architectural activity. This fact alone, as suggested by numerous cnucs, should be •

In respect to chronology, Sanskrit works, e.g., the E/etimra PNra~a. Svar~Jdrimahodf9'11,

' Oebala ~litra. Bh1t'11111tsw11r ( New Delhi, 1961).

Hill. Inscriptions appearing on the Kediiresvara and Piirvatl temples at Bhubanesu•ar,

11 Ibid.• pp. i' ~ - ~ 4 .

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• .,. rl~ ._.:

Diagram of che Pri:nc:ipt.I Elements of the Pi./htt-Dt#l

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Diagram of the Principa.1 Elcmc:nts of the Kh4J:h4rti·D1•I

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C) DECORAT l\"E PK<><~RA~I

decorative motifs, in addition to beautifying the structure, serve symbolically as auspicious

)I t.:.ramr i~h . j/.r().· I, X\' , p. 18 0.

&i(ld Decoration of a P11ir11-R4tlM Design (wtsl side of the Gaurl Ttmplt)

D) FoR~tAT AoorTED FOR T HIS STUDY

1. J:agannitha• 960 inches I I. Banka<)a 170 inches

9. BhaskareSvara 176 inches 19. Niali 140 inches

20 L ,1RGEST TE~11>1.1;s 0;1sr-:o oN TH i; H m c; HT 01' T l·1E J. f.-.:(, H.·1

; ti1igha pahhagP rlibd niche

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C11RO!':Ol.OCICAI. (HART OF ORISSAN TE,IPl.ES I

Dair Bh11/111nr111111r 01111idt Bh11hantsa•ar Upptr Alahtinadi [,.'all~y

c. s'' Lak$ma('le5vara group Tai a

C HRONOJ.OG ICAI. CHART OF ORJSSAN TE~IPl.ES II

Datt Bh11hantsw11r 01111idt Bh11banr1vrar

c. 1000 Dikri-BhimeS\·ara Khiching

CHRONOLOGICAL DEVELOPMENT OF TEMPLES

THE EARLIEST SU RVIVING TEMPLES

I· Anamasaktivarman (c. 16i-194 A.0.1 7. Prabhaftjanav2rman

Adopted from N. K. S~hu. 7'/x Utkol Un;rtrsil.J l-Jistory of Orissa, I, p. 41• ·