JECRC 

UNIVERS
TY​
SESSION : 2020-
21
SUBMITTED TO:​​
MRS. RICHA GUPTA​

SUBMITTED BY:​​
GAURAV JANGID ​​
(19BDIN010)​
KONARK TEMPLES
 • Konark Sun Temple dates back to 1250 AD. The construction of
the temple is credited to King Narasimhadeva I, a warrior and
monarch of the Eastern Ganga Dynasty. This giant temple was
built near an old temple dedicated to Surya, the Sun God.
Inscriptions dating back to the era indicate that the sculpture in
that older temple was re-consecrated into the new temple. It is
believed that this elaborately carved temple was built over a
period of 12 and with the help of 12,000 artisans.
• Several ancient texts eulogize the marvelous beauty of Konark
Sun Temple, which was an active place of worship until at least
the middle of the 16th century. However, the grand structure
wasn’t able to escape the damage and destruction caused by
HISTORY time. It is not clear as to what caused its large-scale destruction
to the extent that the main temple structure was completely
ruined. Some historians suggest that the temple was damaged
due to natural causes while some others imply that the temple
was intentionally damaged by Muslim invaders, mainly
Kalapahad, a general of Gour Sultanate. Whatever be the cause,
the temple suffered extensive damage between 1556 and 1800.
• During the last part of the 18th century, an ornamented pillar
called Aruna Stambha was relocated from Konark Sun Temple to
the famous Jagannath Temple in Puri, which stands there to this
day. The existing portion of the temple was partially restored by
the archaeological teams of the British-era. 
ARCHITECTURE
• A Temple of Great Architectural Brilliance and a splendid blend of Architecture-Art-History, the Konark
temple consists of a Vimana (main temple) intended for housing the deity, Jagamohana (hall in front of
vimana) from where the worshippers could have a glimpse of the deity and a Nirtya-mandapa (dancing
hall), but a separate Bhoga-mandapa (offering hall) was not built at this place. Dancing and offering both
were probably done in the same building. In the Orissan architecture this type of temple is known as
pancha-ratha-dekha deul, as each of its facades are broken by five small projections to produce an effect
of light and shade on the surface and also to create an impression of one contineous verticle line, called
Rekha.

• a fact the beauty of shade and light cannot be effected on a plain surface, was known to the builders, as
such, the facades were broken by a number of small projections. These projections vary from three to
nine, from which they derive the names as tri-ratha (three projections), Pancha-ratha (five projections),
sapta-ratha (seven projections) or nava-ratha (nine projections).
• Since the konark temple is broken by five projections, it is called pancha-ratha. The Jagamohana (gathering hall)
stands on the same plinth as the vimana (main temple). Its roof is of a terraced pyramidal shape and the string
cornices are separated by three tires by means of high recesses, which contain a number of beautiful life-sized
standing figures of women in various dancing poses, Playing on different musical instruments like drums, flutes,
vina and symbals, depicting the usual customs of offering dances, by the devadashis at the time of arati.
• It has four doorways on its four sides. The western one leads to the antarala (inner sanctum), whereas the others
lead to the porches outside. The interior is left unadorned excepting a five feet (1.5 metre) wide ornamental
chlorite block on the sides and top of the door-way of the inner sanctum, like those fixed over the entrances to
the Jagamohana.

Carving on chlorite block over the entrances to the Jagamohana

 • No regular steps were provided for going up the tiers, as on account of religious
sentiments, people were not probably allowed to go there. In spite of that, a few stones

Nirtya Mandapa
were provided in the rear wall above the inner sanctum for climbing up, as and when
absolutely necessary.

(Dancing Hall)
• The Nirtya mandapa (dancing hall) is a big pillared hall built on a very high plinth, in front
of the Jagamohana (gathering hall) which was intended for offering arati-nrityas (dances)
by the devadashis (dancing girls) during the worship. It stands without its roof, but its
of Konark style is very likely the same as that of the Jagamohana. The pillars and walls are
eleborately carved with dancing male and female figures in various poses, playing
different kinds of musical instruments and carrying chamaras, incense burners and
pradips(lamps) in their hands.
Figures playing different musical instruments on wall of Dancing Hall

Figures playing different musical instruments on wall of Dancing Hall

• All the four flight of steps for the hall do not seem to have been built at the same time, as a number of
beautiful motifs are completely overlapped by the later ones. Only the Southern one is not built against
such ornamental facade, probably being the first one, meant for bringing the cooked offerings from the
kitchen hall while others are the after thoughts of the builders.
• Since the staircase to the east side is also built later, the images of two Gaja-Simhas (Rampant lions on
elephant) standing in front of it, were certainly not existing there in the former days.
• The basements of the temple are decorated with a band of about 1452 elephants in different pose. In some
places the king himself is seen moving on elephant's back, attendants holding the Raja-Chhatra (Royal
Umbrella), warriors are found proceding on elephants and horses for a fight, holding swords and shields in
their hands. Bears are chased by the hunters in the forest or killed with bow and arrow. The pathetic
departing scene of an old lady going on pilgrimage, is most touching. She is seen blessing her son while the
daughter in-law bows down to her feet and the grand child clings to her.
 Warrior on Horse Back Lady going on Pilgrimage Bear chased by Hunter
The middle row of sculptures on the temple walls, is decorated with all sorts of imaginary figures like Gajasardula (lion upon
an elephant), Naravyala (lion upon a man) and Nagamithunas with half-human and half-serpent couples, who fabulously live
in deep waters of the sea, where they hoard their treasules. Male and female figures in different poses can also be seen in the
same row. The next higher row contains a number of bigger sculptures, mostly sensual.
 Lion upon Elephant Naga Mithuna Sensual Figure Naga Mithuna Mail Femail Figure
In the superstructure, sandstone(khondolite) blocks of the most ordinary type were used with close joints and
secured with iron cramps, where necessary, while the foundation and the inner core were built with laterite
stones. Since the quality of stones used in superstructure and for the motifs, were not very durable, they were
protected by a thin layer of shell-lime plaster and decorated with beautiful and matching colours, which can still
be seen in many places. It is evident that the ornamental designs and motifs in the walls were carved in situ, after
construction works were over.
 REFERENCE
• http://www.thekonark.in/konarkarchitecture.html
• https://www.fabhotels.com/blog/konark-sun-temple-puri/