ॐ त्र्यम्बकं यजामहे सुगन्धिं पुष्टिवर्धनम्।
उर्वारुकमिव बन्धनान् मृत्योर्मुक्षीय मामृतात्॥
कर्पूरगौरं करुणावतारम्
संसारसारं भुजगेन्द्रहारम् |
भवं भवानीसहितं नमामि ||
ॐ नम शिवाय् ।।
Aerial View of Lingaraja Temple (Image 1)
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| Aerial View of Lingaraja Temple (Image 1) |
Bhubaneswar, capital city of Odisha is known as city of temples. Beautiful and majestic temples dating from 6th century A. D. onwards with their sculptures full of power and life representing the Deva’s and Devi’s of the Sanatana Dharma stand here symbolizing the magnificence of man's spiritual aspiration that defies time and creed
Bhubaneswar derived its name from the city’s presiding God, Bhagwan Shiva locally known as “Tribhuvanesvara” which means “the Bhagwan of the Three Worlds”. Popularly Bhagwan Shivji is referred as “Bhubanesvar” and after him the city is known as “Bhubaneswar”. Tribhuvanesvara is also known as Lingaraja. Lingaraja in its real terms means “King of Lingams or Linga’s”
Bhubaneswar is also referred as Ekamra Ksetra (as per Ekamra Purana and other scriptures) as Lingaraja Mahaprabhu originated under a Mango tree called Ekamra (Mango in Sanskrit is referred as Amra). Lingaraja Mahaprabhu is also described as “Swamyambhu Linga” (i.e. self-originated and self-manifested). This temple is dedicated to HariHara a form of Bhagwan Vishnu and Bhagwan Shiva
In early medieval period, Bhubaneswar emerged as the major centre for Saivites (Shaivites) “followers of Saivism (Shaivism)” and was also known as Ekamra, Ekamra Kanana, Svamakuta, Svamachala, Ekamra Tirtha, Swarnadri Tirtha, etc.
The Ekamra Ksetra or Ekamra Kanana was much more extensive than the present temple town. As per religious texts, such as Svarnadri Mahodaya and Ekamra Chandrika, it extended from Khandacala (Khandagiri) on the west to Kundalesvara on the east from Valahadevi on the north to Bahirangesvara at the top of the Dhauligiri on the south. The area is believed to be circular in shape
It is also mentioned in Svarnadri Mahodaya, that Amsas (parts) of the Swamyambhu Linga i.e. Tribhuvanesvara or Bhubanesvar are worshipped as Jyotirlinga’s in various names in twelve different places of India In this second of the three articles on Lingaraja Temple we will mainly focus on the Architectural Magnificence of the main temple and some of the other temples in the campus
Main Temple Complex and its unique Architectural Features1
(as described by K.S.Behera in his book The Lingaraja Temple of Bhubaneswar – Art and Cultural Legacy)
This east facing architectural marvel has a height of about 148 ft with the temple compound boundary bearing dimensions of - Length: 520 ft, Width: 465 ft and Height: 10-20 ft. Architectural magnificence of the Lingaraja Mandira testifies the fact how unique was traditional style of Odishan (Orissan) architecture. The Mandira has been built of fine grained khandolite stone based on the traditional technique of corbelling. In constructing the temple, stone blocks have been placed one upon the other following the stacking technique. The masonry is of the dry order and mortar has not been used. Sometimes, iron dowels have been used to keep the stones in position. The images of Parshva-Devata’s have been carved out of chlorite or muguni stone. The architrave and door jambs are also made of such stones
The stability of the superstructure depends upon the individual stones. To ensure structural stability, the architects adopted the device of tying the opposite walls of the tall temple by means of mudas or ceiling above the sanctum. The Lingaraja temple has at least three ceilings in its internal construction. The stones used in construction of the temple are around 20 ft in length which is about 4-5 times of those used now a days. Inside the campus of temple premises, there are 108 small temples (precise information is not available on the foundation of the temple with regard to the materials used, the depth of foundation, its condition, horizontal extent, surrounding zone and other related issues) (Image 1 Aerial View of Lingaraja Temple)
In Odishan Silpa Sastras different names such as garbha-muda, ratna-mıłda, etc. are used to denote these ceilings. The ceiling immediately over the garbha-grha is known as garbha-muda. In large temples, such as the Jagannatha temple Puri the same system of mudas is followed. In the construction of the superstructure the architects used various devices to raise the blocks of stones to the required heights. It is believed that the temple was buried within the earth during the process of construction and stones were taken to great heights with the help of earthen ramps
As per Linga Purana2, there are three types of temples of Bhagwan Shiva namely Nagara, Dravida and Kesara (Vesara). The Linga Purana3 mentions temples, such as Kailasa, Mandar, Meru, Himasaila, Mahendrasaila, etc. The Linga Purana records, “He who makes the temple called Kailasa, rejoices happily in the aerial chariots of the shapes of Kailasa peaks”4. As per traditions recorded in the Madala Panji5 it is mentioned that Yayati Kesari laid the foundation of Bhubaneswar temple in the form of "Kailasa". As the peak of Kailasa is the residence of Shiva, the tall sikhara of the Lingaraja temple dedicated in honour of “Tribhuvanesvara” “the Bhagwan of the Three Worlds” is aptly called Kailasa. The Silpa Sarini, an unpublished Silpa Sastra text of Odisha brought to light by Pandit Sadasiva Rathasarma and Alice Boner, designates the Deula of the Lingaraja as Kailasa variety of temple
The Lingaraja temple broadly belongs to the Nagara class, but it has certain individual features resembling the Odishan style of architecture. The temple like the common Odishan temple, consists of a sanctum, surmounted by a curvilinear spire (Rekha-Deula), fronted by an audience hall (Mukhasala or Jagamohana) surmounted by a pyramidal roof (Pidha-Deula). Both the temples, Rekha-Deula Pidha-Deula are square in plan. Both the structures belong to one architectural scheme, but after the Deula has been built to some height, the construction of the Jagamohana walls seems to have been undertaken. This is suggested by the two different stone door frames, the sizes of which do not correspond as R. D. Banerjee has observed “The stone lintel of the front door frame is much lower than that of the rear one, proving thereby that the vimana and the Jagamohana were not built at the same time"6. Further, the carved front face of the Deula is covered by the addition of the Jagamohana in the front
The same building materials, style of carving and the decorative programme indicate that the interval between the dates of their construction could not have been long. Both the structures could have been conceived as one architectural plan and executed by the same school of sculptors. Both the monuments belong to the same period and the absence of a regular kapili of a juncture wall connecting the sanctum and the Jagamohana gives the impression of an imperfect joint between the Deula and the Jagamohana. This seems to suggest that the Odishan architects adopted a different technique to join the two contrasting structures of different heights and forms. In succeeding centuries two other structures were added at the front along the east-west axis i.e. Nata-Mandira and Bhoga-Mandapa
The Lingaraja temple marks the culmination of the Odishan temple architecture and it provided the model for later temples to follow. The Indian Silpa Sastra texts and epigraphical evidence from Karnataka mention four styles of temples, i.e., Nagara, Drauida, Vesara and Kalinga. Kalinga in its geographical extent included present Odisha and adjoining areas of Andhra Pradesh and West Bengal. In this context, the ancient name Kalinga could have been used to denote the order of temples in Orissa in a broader sense
The Lingaraja temple shows certain distinctive peculiarities of its own. The construction of two contrasting structures, Deula with a curvilinear superstructure and the Jagamohana with a pyramidal superstructure mode of receding pidhas and the latter being subordinate to the Bada-Deula is quite peculiar to Odisha. The grandeur of the curvilinear spire surmounting the sanctum is hightened with the placement of a Jagamohana of lower height. This is evidently different from other regional manifestations of the Nagara style, where the superstructure of the Maņdapa’s largely differs from the soaring quality of the spire over the sanctum
The Lingaraja temple is also different from the northern Indian style being a compact and closed structure as distinguished from the open pillared halls, which detract the vertical ascent of the spire of the sanctum7. Unlike the large temples at Khajuraho, there are no lateral transepts with balconied windows in the Mandapa. The Lingaraja temple is different from the Khajuraho temples, which are without any enclosure wall. The Khajuraho temples stand over high platform-terrace or jagati. The Deula of the Lingaraja temple rises abruptly from the ground without any platform at the base
The interior of the Lingaraja temple is plain without any decorative carvings as found in Khajuraho temples. In the architectural design of the superstructure and placement of the anga-sikhara, the Lingaraja temple follows a different design in placing the four anga-sikharas on the anuratha. The Lingaraja temple is panca-ratha in plan and is different from the sapta-ratha sanctum of Khajuraho. At Khajuraho, in some large temples, there are subsidiary shrines in the four comers to make the temple a pancayatana one. At Lingaraja, there are three subsidiary shrines in front of the three Parshva-Devata images, but such structures are clearly later additions. In many respects the architectural and the decorative programme of the Lingaraja is clearly related to Odishan style
Lingaraja Main Mandira
The main temple complex consists of a Deula (Sanctuary), Jagamohana (Porch), Nata-Mandira (Hall of Dance), and Bhoga-Mandapa (Hall of Offering). The Deula and the Jagamohana were integral parts of one architectural scheme, while the other two structures were later additions. The Deula is a fully developed Odishan Rekha temple and its attached Jagamohana is a Pidha temple with its superstructure in the form of a stepped pyramid in two tiers
I. Deula (Image 2) (Image 8)
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| Principal Components of the Deula of the Lingaraja (Image 2) |
1. Bada: (Image 3)
The Deula rises from the ground and it is not built over a low pitha. The Bada is panca-ratha on plan and has five horizontal mouldings namely, pabhaga, lower jangha, bandhana, upper jangha and varanda
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| Bada South-West Flank (Image 3) |
a. Pabhaga (Image 4)
The pabhaga of the kanika and anuratha of the bada have five mouldings, i.e., khura, kumbha, patta, kani, and basantha. The khura, i. e., the bottom moulding, is carved with vajra-mundi with its niche containing figures and scenes in the centre with flanking female figures. The khura niche is crowned by a vajramundi design. The plain kumbha is relieved with ornate campaka-leaf design and scrollwork. The patta has scrollwork and the kani is quite plain, while the basanta is relieved with foliated leaf. The patta, kani and basanta are joined at intervals by vertical bands carved with female figures, placed one above the other or mithuna figures
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| Pabhaga (Image 4) |
b. Lower Jangha
The lower jangha of the kanika and anuratha contains a khakhara-mundi (Image 5). These khakhara-mundi, instead of being formed of a series of horizontal mouldings, have a prominent khakhara design. The muhanti of the khakhara-mundi is carved with scrollwork. The upper portion is relieved with caitya-window design. The niches of the khakhara-mundi have flanking vertical bands relieved with scrollwork enclosing in their foils human and animal figures. The lintel of the khakhara-mundi contains figures of Sarasvati, Ganesha and bhara raksakas (Image 6)
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| Khakara-mundi and Pidha-mundi (Image 5) |
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| Lower Jangha, South-West Flank (Image 6) |
c. Bandhana
The bandhana is made of three mouldings, connected at intervals by vertical bands relieved with mithuna in the kanika and caitya-window motif connecting the two upper mouldings on the anuratha
d. Upper Jangha
The upper jangha of the kanika and anuratha closely follow the lower jangha, but in place of khakhara-mundis, there are pidha-mundis (Image 5). The niches of the pidha-mundis (Image 7) of the upper jangha contain divinities, such as Shiva, Ardhanarisvara, Parvati, Karthikeya, Ganesha, etc. In place of the vidalas of the lower jangha, the recesses in the upper jangha, there are female figures or alasa kanyas in various poses
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| Upper Jangha with Pidha-mundi, west (Image 7) |
e. Varanda
The varanda is composed of ten mouldings, all ornately carved with scrollwork, foliated leaf and friezes depicting animal figures, human figures, etc. The varanda mouldings provides a base for the soaring Gandi without separating it from the Bada. In the local silpa sastras, the ten mouldings have their characteristic names and decorations, such as khura, pheni, noli, patta, basanta, etc
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| Deula, Panigrahana, Khakara-mundi, west (Image 8) |
2. Raha
The Raha maintains the pancakarma pattern of the Bada. The construction of porches, locally called nisa-deula, in front of the Parshva-Devata images have partly obscured the layout of the Bada on the side faces of the Raha. The Raha of the Bada contains chlorite images of Parshva-Devata’s, Ganesha in the south, Karthikeya in the west, and Parvati in the north (Image 9, 10 & 11)
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| Parshva-Devata “Ganesha” (Image 9) |
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| Parshva-Devata “Parvati” (Image 10) |
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| Parshva-Devata “Karttikeya” (Image 11) |
3. Gandi (Image 12)
The curvilinear Gandi, panca-ratha on plan, has five pagas on its four faces. The kanika is divided into ten bhumis, each bhumi surmounted by bhumi amlas, which are rounded at the corner and rectangular on the sides. The kanika wall is designed in two planes. The portion at the comer has been rounded and projected. The anuratha has a succession of four diminishing rekha-sikharas, which add to the soaring quality of the Gandi. There are also carved vertical lines, which are continued up to the top and highlight the height. The base of the Raha has a large bho or vajra-mastaka design which is placed above the smaller counterpart on the varanda. As usual, the design is flanked by gana figures. In the centre of the design on each face, there are miniature figures of Parshva-Devata’s, Ganesha on the south, Karthikeya on the west, and Parvati on the north. The vajra-mastaka is crowned with lotus and there is no kirtti mukha, as at Muktesvara temple. Above the vajra-mastaka, Murti of lion rampant on an elephant occurs on each face. On the eastern side the vajra-mastaka is placed at a higher level than in other sides. The eastern Raha is distinguished by a large anga-sikhara and the vajra-mastaka is placed above it. The decoration above the projecting lion consists of a series of caitya-windows. At the level of the top bhumi each face of the Raha has a small window. The Raha has two vertical bands, which run up to the top of the Gandi
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| Deula, Gandi (Image 12) |
4. Mastaka (Image 13)
The crowning elements above the Gandi consist of beki, amla, khapuri, kalasa and the ayudha or the emblem of the Murti. The huge amla is supported by dopicha-simhas at the corners and seated figures above each Raha representing forms of Shiva with Trishula (Trident) being a characteristic feature. The seated figures are in the padmasana. The eastern figure above the Raha probably represents a figure of Shiva-Surya. The kalasa placed over the khapuri represents a later replacement as the original one was blown down in 1900. The ayudha on the top represents the emblems of both Shiva and Vishnu, symbolic of the identification of Lingaraja as Hari-Hara. This Trishula at the top of the temple has been reformed into Pinaki Dhanu (emblem combining chakra of Vishnu and pinaka-bow of Shiva) (Image 14). The height of the Deula is 45.11 mts
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| Deula, Gandi, Vajra-Mastaka South (Image 13) |
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| Trishula (Before), Pinaki Dhanu (Now) (Image 14) |
5. Interior
The interior of the Deula is plain, but it has been plastered. The floor has been paved with stone slabs. There is a huge Shivalinga located in the middle of the sanctum placed over a Linga pitha, in which there is a channel to drain out the water. Access to the sanctum is provided through a passage leading to the interior of the Deula. The base of the doorposts contains figures of Shaivite dvarapalas (door keepers) and images of Ganga and Yamuna
II. Jagamohana (Image 15)
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| Principal Components of Jagamohana (Image 15) |
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| Jagamohana, Bandhana & Upper Jangha, North (Image 16) |
The Jagamohana (height 28. 96 mts), is panca-ratha on plan and it rises abruptly from the ground like the Deula. The Bada closely follows the Deula in its decorative programme. The Bada has five divisions. Its pabhaga consists of a series of five mouldings khura, kumbha, patta, kani, and basanta. The jangha has been divided into two parts by a bandhana (Image 16) composed of seven mouldings, at intervals connected by vertical bands of Murti’s. The lower jangha contains khakhara-mundis with a pillar on either side. The khakhara-mundis carry the bho-motif on the central facet. In the niches are various figures and Murti’s, but dikpala figure has not been depicted. In the recess between the rathas are rampant vidalas. These figures are depicted as lions shown rampant on elephant, while others are fashioned as hybrid figures, combining bodies of the lion and head of an elephant, and standing over a human figure. The design of the upper jangha duplicates that of the lower, but in place of khakhara-mundis, pidha-mundis have been used (Image 17). Each pidha-mundi consists of three pidha mouldings crowned by an amla. The niches of the pidha-mundis are filled with cultural icons and other figures. As in the lower jangha, there are flanking pillars on the either side of the mundis. The varanda is made of mouldings
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| Jagamohana, details of pidhas, south (Image 17) |
The Jagamohana originally had two balustrade windows, the one on the north is still intact. The balustrade window on the south has been converted into a door, probably when the Nata-Mandira was added. As the eastern entrance was affected because of the construction of an additional structure in the front, a door on the south was thought of, to provide entry into the Jagamohana. The window is flanked on either side by stambhas decorated with a figure in high relief above the Pabhaga. The stambha has a square capital depicted with figures of ganas. The central panel above the southern window depicts the marriage of Shiva and Parvati; the one on the north side comprises a group of men in front of a preceptor. Above this, both on the south and north, there are three miniature Rekha temples separated from each other by an alasa-kanya (Image 18), but at each end, there is a male figure
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| Jagamohana, alasa – kanya, upper jangha recess (Image 18) |
The pyramidal Gandi is in two tiers, each separated by a vertical wall known as kanthi. The frontage of the kanthi is designed with khakhara-mundis and standing alasa-kanyas. In the bottom tier, there are nine gradually diminishing pidhas and in the top, there are seven pidhas. The pidhas are separated from each other by a narrow recess and at intervals have vertical projections known as tankus. The vertical faces of the lower tiers are designed with decorations representing processions of infantry, cavalry, elephants and other scenes. The Pidhas maintain the panca-ratha division of the Gandi
The Mastaka of the Jagamohana consists of a beki, a bell-shaped member called sri or ghanta, a second beki, amla, khapuri and the kalasa. The massive Mastaka is supported by lion figures on the comers of the beki. The double ghanta is divided into two parts by a central band; both the parts are designed with a series of long potalas. The beki-amla contains squatting beki-bhairavas The eastern door of the Jagamohana has an elaborate door frame, which is made of chlorite. Each doorpost is divided into three sakhas designed with scrollwork. In the first sakha, a vertical series of vajra-mundi is designed and in the second sakha it’s mithuna. At the base of the doorpost, there are two standing female figures possibly representing Ganga and Yamuna. The third sakha on the right is partially survived at the base. The central lintel contains the figure of seated Lakshmi in the niche. The adjoining walls on both the sides of the doorposts contain several inscriptions, which throw light on the history of the temple
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| Jagamohana, Devi Parvati worshipped as Raja Rajeswari (Image 19) |
The interior of the Jagamohana is without any carving on the walls. Though earlier Jagamohanas were of astylar plan, the Jagamohana of the Lingaraja has in the interior four pillars dividing the hall into a nave and two aisles. These pillars are intended to support the weight of the roof. The roof is constructed in the usual bracket fashion; each course projects beyond the other and gives the appearance of an inverted pyramid (Image 19 & 20)
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| Jagamohana, Mahisamardani (Image 20) |
III. Nata-Mandira (Image 21)
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| Nata-Mandira, R.L. Mitra (1868) (Image 21) |
The present Nata-Mandira stands on a pitha, (Image 22) which connects the Jagamohana and the structure now called Bhoga-Mandapa. The front of this platform is planned as a Bada consisting of Pabhaga, jangha and varanda. This hall is 15. 84 sq. mts. and it provides ample opportunity for dance and other festivities. The exterior of the platform is not highly ornamented; the pabhaga and varanda each consists of three mouldings. The decorations in the jangha comprise khakhara-mundis, pidha-mundis and female figure
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| Nata-Mandira “Pitha” (Image 22) |
The structure of the Nata-Mandira rises over this platform. The base is about 15. 84 mts Iong and 14. 63 mts wide. There is no beam on the east and the west. The pabhaga consists of five mouldings (khura, kumha, patta, kani and basanta). The lower jangha has khakhara-mundis. The khakhara-mundis are edged by a thin pillar on each side. In the bandhana are five mouldings. The decorative programme of the upper jangha is similar to that of the lower one. The upper jangha, however, has pidha-mundis and adjoining pillars like the lower one
In the varanda, there are ten mouldings. The Nata-Mandira can be approached from all the four sides. The doorway (Image 23) on the eastern side connects the Nata-Mandira with the Bhoga-Mandapa. The walls on the south, west and north were provided with three doors. The principal door on the west connects it with the Jagamohana. The principal doorway on the north and south are surmounted by Navagraha architrave. The Navagraha slab is further crowned by pidha-mundis and figure sculptures
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| Nata-Mandira, Vaishnava Dvarapalas (Iamge 23) |
The roof of the Nata-Mandira is sloping and is made of four tiers of pidhas, with tankus at interval. The structure ends with a flat terrace surmounted by battlement of crest tiles. The architectural style is similar to the Nata-Mandira of the Jagannatha temple at Puri
The interior of the Nata-Mandira is plain. There are four large pillars in the central part arranged in a square. Each pillar rises over a plain pedestal, being made of pabhaga, lower jangha, bandhana, upper jangha and varanda, The jangha’s are divided into facets and recesses. The decorative programme of the columns continue till the springing point of the corbelled arches, which support the ceiling of the Nata-Mandira
IV. Bhoga-Mandapa (Image 24)
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| Bhoga-Mandapa with Vahana – Stambha in the foreground, east (Image 24) |
The present Bhoga-Mandapa is the eastern most structure, bulit in east-west alignment in front of Lingaraja. It is constructed on a pitha, which is about 18. 28 sq mts and 1 mt High. The pitha rests over a low upana and is panca-ratha on plan. The pitha has two mouldings both at the lower and the upper portion. The intervening space is filled with vajra-mundis and human figures. The jangha is decorated with pidha-mundis and khakhara-mundis, flanked by pillars. In the niches of the mundis are human figures either seated or in standing position. In between the pillars, there are also mithuna figures. The varanda consists of a simple moulding crowned by a frieze work depicting rows of animals and other figures. A few fragments of this moulding are plain
The Bhoga-Mandapa rises over the platform. The layout of its Bada comprises of pabhaga, lower jangha, bandhana, upper jangha and varanda. The wall in the pabhaga position is decorated with three rectangular panels and two khakhara-mundis placed alternately below a horizontal band on the top. The jangha is divided into two by a bandhana of three mouldings. The lower jangha has three rectangular panels designed with alasa-kanyas in high-relief and two khakhara-mundis arranged alternately with naga/nagi - stambhas placed between each. The layout of the upper jangha follows the decorative programme of the lower jangha, but the khakhara-mundis are replaced by pidha-mundis and in place of alasa-kanyas, there are mithuna figures. The varanda consists of seven mouldings, the top moulding being designed with hunting scenes and animal procession. The varanda consists of seven mouldings crowned by bhara rakşakas
On the eastern face of the Bhoga-Mandapa, in addition to the central doorway, there are two plain windows on each side. The two windows also exist on the northern and southern side, though the doorway on the northern side is blocked by a wall. The windows in northern and southern faces contain three plain balusters. The roof of the Bhoga-Mandapa is of pidha type. It is divided into two potalas with four pidhas in the lower and three pidhas on the upper. A projecting lion is placed at the top of the first potala, one each in the central part of the four sides. The mastaka consists of a beki, a ghanta, a second beki, amla, khapuri and the crowning kalasa. The ghanta is supported by lions
The interior of the Bhoga-Mandapa is approached by a flight of steps on the east and the south. On the north, there is a plain stair case consisting of three steps leading to a terrace in front of a small room, which houses the images of Lakshmi – Narayana (Image 25)
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| Bhoga-Mandapa, Laksmi-Narayana (Image 25) |
V. Vahana – Stambha (Image 24)
At the end of the eastern stair case and in front of the Bhoga-Mandapa, there is a monolithic standing pillar, vahana-stambha, with Vrsabha (bull) and figure of Garuda in kneeling position. The pillar is 60cms, in diameter and 6. 09 mts High. It has a square plinth at the base without any moulding
Parvati
Mandira (Image 26)
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| Parvati Mandira (Image 26) |
The Parvati temple is located in the north-west comer of the Lingaraja compound and has a special religious significance. From the point of view of architecture and sculpture, it is also a magnificent temple. The temple consists of the Vimana, Jagamohana, Nata-Mandira and the Bhoga-Mandapa. The Vimana and the Jagamohana formed parts of the original scheme and belong to the same period. The Nata-Mandira and the Bhoga-Mandapa are clearly later additions
R.L. Mitra8 believed that the Bhagavati temple (same as the Parvati temple) was constructed by Vijaya Kesari about two centuries later than the Lingaraja temple. On grounds of style, however, the temple may be regarded as a monument of the Ganga dynasty which succeeded the Somavamsi dynasty in coastal Odisha. Its stylistic features are similar to those of the Lakshmi temple within the compound of the Jagannatha temple at Puri. At present the presiding goddess of the temple is variously called Bhagabati, Ánnapurna and Parvati. The goddess is two-armed and she holds a lotus in her right hand and a pot of gems in the left hand
She is seated in lalitasana on a visvapadma. She wears a bejewelled kirita-mukuta. The image is placed below a tri-foil arch with a kirttimukha at the apex and makaras at the sides. Her vahana, the lion is present to be seen in the right side, while kneeling devotees are seen on the left side. The Devi of the temple conforms to Saubhagya Bhubanesvari, who holds a pot of gems in one hand and a red lotus in the other hand. Parvati is also called Uma. Therefore, in later period the Devi was called Uma or Parvati
1. Deula
The Parvati temple stands on a pitha of three mouldings with a narrow ledge around the base. The pitha mouldings follow the panca-ratha plan of the Deula and the Jagamohana. The facade of the platform (about 9. 60 mts High) is richly carved. The bottom moulding is relieved with lotus petals on the upper portion scroll-work on the muhanti and, at places, caitya-window motif. The middle moulding kani is plain. The top moulding basanta is relieved with creepers and scroll-work. The exterior wall of the Bada is embellished with elongated khakhara-mundis, naga/nagi-stambhas, alasa-kanyas, scroll-works, etc.
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| Bada, Parvati Mandira (Image 27) |
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| Pabhaga Parvati Mandira (Image 28) |
The Bada (Image 27) is made of pabhaga (Image 28), jangha and varanda based on panca-ratha on plan. The pabhaga consists of five mouldings. The kanika paga is relieved with scroll-work and its central facet is embellished with female figures. The anuratha is treated with elongated khakhara-mundis (Image 29) edged by naga/nagi-stambhas. The placement of the naga and nagi on the columns, show an upward movement
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Elongated Khakara-mundi, North, Parvati Mandira (Image 29) |
The central projection had in their niches the images of the Parshva-Devata’s. The niche is treated like a khakhara-mundi with a column surmounted by a miniature khakhara-mundi on either side. There were images of Parshva-Devata’s in the south, west and north niches. All of these represented a form of Devi. At present, only a chlorite image of the Devi Parvati is in situ in the northern niche. The four-armed standing Devi holds Trishula and a water jar in her upper hands, while the lower hands are broken. She stands against an ornamental makara-torana. She is flanked by female attendants near her feet. The Parshva-Devata image of Parvati in the south side niche is made of khandolite stone. The Devi stands in sama bhanga posture and holds Trishula and an indistinct object in her upper hands, The lower hands are missing. The western niche is empty and its Parshva-Devata images are also missing
The varanda consists of a projected moulding, crowned by a recess separating the Bada and the Gandi. The Gandi, like the Bada is based on panca-ratha plan and has five mouldings. The anuratha, is provided with two anuraha recesses covered with super-imposed vajra-mundis. The kanika is divided into ten bhumis and demarcated by bhumi-amalas. The decoration of the Raha consists of an elaborate bho-design, which starts immediately above the varanda recess. On the eastern front, the decoration of the Raha has a miniature sikhara below the projecting lion, which is seen at a higher level. The Raha decoration above the projecting lion includes five vertical bands of scroll-work reaching almost the top As in case of the other Odishan temples, the walls of the interior are plain. The door frame of the temple is surmounted by an architrave carved with figures of the Navagrahas. Surya holds lotus in each hand. Chandra, Mangala, Budha, Brhaspati, Sukra and Sani carry in their left hand water pot and in the right hand rosary. Rahu represented in upper half only, holds a crescent in each hand. Ketu holds a sword and shield and the lower part of his body is in the form of a serpent
2. JAGAMOHANA
The Bada (Image 30) of the Jagamohana follows closely the ornamentation of the Deula. It has a pabhaga of five mouldings, a jangha and a varanda of two mouldings. The additional features to be noticed in the Jagamohana is the provision of anuratha being edged by a naga/nagi-stambha with a column on each side. The kanika has pillar with an alasa-kanya. The naga/nagi-stambhas are similar to those of the Deula, but without crowning bhara raksaka figures
The Jagamohana originally had images of dikpalas in the niches of the khakhara-mundis. This is evident from an image of seated Isana, which is found in a niche of the khakhara-mundi in the northeast corner. The seated image is placed on a bull but his hands are broken The pyramidal roof of the Jagamohana is made of eleven pidhas arranged in two tiers six on the lower and five on the upper. The usual crowning components are all in position. The ghanta is supported by beki-bhairavas
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| Bada ofJagamohana, Parvati Mandira (Image 30) |
3. NATA-MANDIRA and BHOGA-MANDAPA
The Nata-Mandira and the Bhoga-Mandapa are stylistically later than the vimana and the Jagamohana of the Parvati temple. It appears that originally the Bhoga-Mandapa was built on an isolated structure. It was probably an open-pillared Mandapa and subsequently the openings were closed with walls. The Nata-Mandira came up later than the Bhoga-Mandapa by connecting the Jagamohana with the Bhoga-Mandapa. This connecting hall is about 5.18 mts Iong and 4.26 mts wide. In the Nata-Mandira, there are two doorways, one on the north and another on the south provided with flight of steps. The roof of the Nata-Mandira is built of three pidha mouldings
Both the Nata-Mandira and the Bhoga-Mandapa stand on a pitha, which is higher than that of the Vimana and the Jagamohana. The face of this platform is in the form of a Bada with pabhaga, jangha and varanda. The jangha is embellished with mundi designs. The Bhoga-Mandapa is built as a pidha temple. Its pyramidal roof is made of five pidha’s and is crowned by the usual Mastaka (Image 31)
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| Vajra-Mastaka, Parvati Mandira (Image 31) |
The Bhoga-Mandapa has openings on north and south and an entrance in the east. Inside the Bhoga-Mandapa, there are four pillars arranged in a square. The roof of the structure rests on the four pillars. In the interior of the Bhoga-Mandapa, there are two detached chlorite images, a four-armed standing Karthikeya and a two-armed standing female figure fixed on the inner side of the eastern wall
Gopalini (Gopaluni / Bhuvanesvari) Mandira (Image 32)
The temple of Gopalini or Bhuvanesvari is situated on the northern side of the Lingaraja temple. As mentioned in our scriptures like Sthala Mahatmyas (Ekamra Purana) since Parvati Devi killed the two demons Kirtti and Vãsa (Kirttivas Vimardini) in the guise of a Gopalini, the temple of the Devi Parvati (Bhuvaneśvari), is famous as Gopalini
The temple consists of a Deula and Jagamohana. The Deula is of the khakhara variety, while the Jagamohana is of the pidha order. The Deula is surmounted by the semi-cylindrical roof. The Bada of the pabhaga consists of four mouldings, instead of the usual five mouldings. A plain jangha and recess separate the Bada and the plain Gandi. The khakhara -mastaka is distinguished by a kalasa, flanked by lions on both sides. The front Raha of the temple is dominated by three miniature Rekha temples. The Parshva-Devata images of the temple are standing figures of Parvati placed in the niches on the south-west and the north The Jagamohana is a pidha temple and is devoid of decorative details just like the Deula. The Bada is plain and is built on a low platform. The Jagamohana has two entrances, one on the east and another on the north. The pyramidal superstructure has five pidha’s. The mastaka consists of the usual components, such as e beki, ghanta, amla, khapuri and kalasa
The khakhara - deula of Bhuvanesvari is at a lower level than the Parvati temple, which belongs to the 13th century. The temple, which is very close to the Lingaraja, could not have existed in the 11th century when the main temple of the Lingaraja was built. It seems that this khakhara temple was built in the 12th century
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| Gopalini Mandira (White Temple in the picture) (Image 32) |
Ganesha
Mandira (Siddha-Ganesha)
As per Sthala Mahatmyas such as Ekamra Purana, Ekamra Chandrika, Svarnadri Mahodaya a Bhakta (devotee) after entering through Singha Dwara of Lingaraja Mandira should first take blessings of Ganesha. The presiding god is also famous as Siddha-Lambodara or Siddha-Ganesha. He is considered as Vigneshvara, the remover of obstacles
The temple with its Deula faces north. In front of the sanctum, there is a porch in place of a regular Jagamohana. The Deula, in the disposition of its pagas of the Gandi (Image 33), gives the impression of a sapta-ratha temple. The Bada of the temple has live divisions. The pabhaga consists of five mouldings of which two upper mouldings are visible. The jangha is divided into two registers by a bandhana of three plain mouldings. The lower jangha has khakhara-mundis, which have empty niches. The upper jangha is distinguished by pidha mundis. The varanda is composed of seven plain mouldings. The central projections have in their niches, the images of Ganesha as Parshva-Devata. In the south, there ís a two-armed seated image of Ganesha while in the west a standing image of Ganesha survives as a Parshva-Devata. The niche on the east is empty
The temple is of modest dimension and its Gandi has five bhumis in the kanika-pagas. The decoration of the Raha consists of replicas of Rekha Deula and a projecting lion. The treatment of the Raha and the placement of the miniature temples is similar to other minor temples in the compound. The anuratha has a succession of two miniature temples. The raha-paga on the north is remarkable; in the arrangement of the miniature temples on its Gandi, at the level of the varanda, there is a pidha type motif with two miniature Rekha temples, on either side. The mastaka consists of the beki, the amla supported by deula - carinis, khapuri and the kalasa
The Murti of the temple is a two-armed seated figure of Ganesha placed in a miniature Pidha temple. The lintel above the doorway contains the figures of Navagraha’s with Ketu distinguished by upraised hands. On each side of the entrance, there are two nayika figures: one with folded hands and other playing a vina. In front of the Deula, there is a modest vahana stambha surmounted by a Musaka (mouse) (Vimana of Ganesha). On the northern face of this column, there is a miniature figure of two armed Ganesha
In front of the temple there is a porch with a pyramidal roof made of live pidha’s. The porch is open in all the sides with its doorways distinguished by decorated arches. The interior ceiling is carved with a lotus design. The over-sailing courses of the ceiling on the west Anantasayi-Vishnu and the scene of the marriage of Shiva with Parvati (Parvati parinaya); while the northern face is relived with a procession of infantry and elephants. The style of the ornamentation of the entrance columns and their arches suggest that the porch could have been added in the 13th century. On grounds of style, the temple however belongs to the late 11th-12th centuries
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| Ganesha Mandira (Gandi Design, North – West) (Image 33) |
Ekambaresvara Mandira (Image 34)
The Ekambaresvara Shiva temple is located in the northern side of the courtyard of the Lingaraja temple. According to the Shiva Purana (Uttara Khanda), the Ekambaresvara Linga facing west was located under the shade of a mango tree in the forest, called the Ekamravana. Therefore, it was called Ekambaresvara Linga and it is praised as a magnificent Jyotirlinga
The temple is a Rekha-Deula and is panca-ratha on plan. The Bada consists of pabhaga of five mouldings, bandhana of three mouldings connecting the lower and upper janghas and varanda is of seven mouldings. The Bada is virtually plain, but the paga divisions are well articulated. The Parshva-Devata’s niches on the north and east are empty; an eight-armed dancing Ganesha adorns the niche of the south. There are anga-sikharas at the base of the Gandi on each paga. In addition, there are anga-sikharas; above the flanking pilasters of the Raha. On each face of the temple, there are seven anga-sikharas; the one on the Raha is the tallest of all. The arrangement of anga-sikharas in the base of the Gandi recalls the treatment at the Dakra - Bhimesvara temple. The clustering of the anga-sikharas at the base of the Gandi, however, does not aid to the soaring quality of the temple. The kanika paga, above the anga-sikharas is divided into four bhumis. The treatment of anga-sikharas of this temple is different from those of the Rajarani temple, where the crowding of the anga-sikharas heighten the vertical thrust of the temple. The flattened anga-sikharas arranged horizontally at the base of the Gandi provides a different model, which laid the foundation for the development at the Brahmesvara temple
Another peculiarity of Ekambaresvara is the depiction of one large miniature temple on the front facade of the Raha, instead of two miniature temples as in other sides. The projecting lion on the front facade is therefore very large compared to its counterparts in other sides. The Gandi terminates with a bișama. The usual components of the mastaka are found. The beki, however, has beki-vairavas in the Raha and dopiccha-simhas on the corners; this arrangement being the first of its kind in the evolution of Odishan Rekha-Deula, a feature which is repeated in the Deula of the Lingaraja temple. In front of the main entrance on the west, there is an open platform meant for rituals. It is said that, Raja of Puri used to visit the temple on the Shivaratri and royal Samskaras are held on this platform
The Ekambaresvara temple, considering its affinity to Rajarani and Dakra - Bhimesvara, may probably be assigned to the 11th century and could be earlier than the Brahmesvara and Lingaraja temple. Ekambaresvara is the first Shivalinga of the Ksetra. In view of the great sanctity and opularity, it finds mention in several texts such as Ekamra Purana, Ekamra Chandrika and Shiva Purana (Uttara Khanda). The Oriya Mahabharata of Sarala Das (15th century) also refers to the Ekambaresvara in the Ekamra Ksetra
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| Ekambaresvara Mandira (Image 34) |
Lakshmi-Nrsimha
Mandira (Image 35)
The temple of Lakshmi-Nrsimha is located on the southern side of the Bhoga-Mandapa of Lingaraja Temple. It stands on a high platform and seems to have consisted of a Deula and Jagamohana while it was constructed probably during 13th century. The Deula is a Rekha category of temple. The Bada design is quite similar to the Odishan style of architecture. Its pabhaga has five plain mouldings, bandhana has three mouldings and varanda has seven mouldings. The two jangha’s are distinguished by khakhara-mundis in the lower and pidha-mundis in the upper respectively. The Gandi is built in panca-ratha style and has the usual projection with projecting lion on the Raha and bhumi-amala in the kanika-paga. The mastaka of the temple has usual crowning elements. Its amla is supported by dopicha-simhas in the corners. The Parshva-Devata’s niches are empty
The presiding Vigraha of the temple is an image of Lakshmi-Nrsimha. The four-armed Nrsimha is seated on a padmasana in the utkutika posture with his legs kept in position by a yogapata. His front two-hands are projected forward and are placed over his knees. The Devata holds with his raised back hands a chakra and a sankha. Lakshmi is shown on his yogapata. The image is edged by Sridevi and Bhudevi
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| Laksmi Nrsimha Mandira (Image 35) |
Anantesvara Mandira
The Anantesvara temple is located on the southern side of Lingaraja temple. It is a Rekha category temple of consists of a Deula only which is built on panca-ratha plan. Its Bada consists of pabhaga of five mouldings, a bandhana of one moulding dividing the jangha into two parts, and a varanda of four mouldings. Like the Bada, the Gandi is also plain in its architecture. The usual projecting lion motif appears on the Raha. The three Parshva-Devata’s niches are empty. Being built of laterite stone, the temple has no artistic carvings
The unique interest of the temple lies in the worship of Baladeva, Ekanamsa and Krishna in its sanctum. The image of Ekanamsa (Devi Subhadra) is placed in the centre. Baladeva (Ananta) stands in a samabhanga pose with two arms. Krishna is four-armed. The arrangement of three figures seems to suggest that the arrangement could have been done later. The image of Baladeva is the largest among the three Devi-Devata’s. His two hands are broken. The Devata is distinguished by the serpent-hood over his head. The Devi Ekanamsa stands in tri-bhanga pose. Her right hand is in varada pose, while she holds a stern of lotus in her left hand. She is edged by a female figure on the either side. Vasudeva Krishna evidently was four-armed, but the arms are now broken. The images of the Trinity may be assigned to the 13th century (Image 36)
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| Vasudeva Trinity, Anantesvara Mandira (Image 36) |
Visvakarma Mandira
On the western side of Lingaraja Temple there are several temples, the one of the southern side is locally called Visvakarma, who was responsible for the construction of the great Lingaraja Temple. The temple is of panca-ratha design and faces east. The enshrined Shivalinga (placed much below below the ground level), is worshipped as Visvakarma. The Bada of the temple is composed of a pabhaga of five mouldings, jangha divided into two parts by a bandhana and varanda of two mouldings
The Bada is without any ornamentation. On the three sides of the Bada, there are Parshva-Devata niches: a four-armed Karthikeya image on the west, a standing four-armed Parvati on the north and a four-armed standing Ganesha on the south (Image 37). The curvilinear Gandi has projecting lions on the Raha. The projecting wall on the east has a doorway with flanking pidha-mundis on the sides, Gaja-Lakshmi in the lintel and Navagraha slab above the doorway
The eastern face of the Gandi of the temple is noted for its arrangement of miniature temples in the pattern of Ladukesvara, Lavanesvara, etc. In front of the temple, there is a small Vigraha of Nandi, made of chlorite stone gazing at the Shivalinga of the temple
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Ganesha, Visvakarma Mandira (Image 37) |
Rama-Sita
Mandira
At a short distance to the north of the Visvakarma temple is the Rama-Sita temple facing east. It is a temple built Rekha design with pabhaga of four mouldings, a plain jangha and a varanda of two mouldings. The Gandi, built in the panca-ratha style. The eastern face of the Raha has three miniature temples with two flanking anga-sikharas. Inside the sanctum, there is a Shivalinga and metal images of Rama and Sita. The temple has a Navagraha slab over the doorway. Being basically a Shiva temple, it has Shaivite Parshva-Devata’s, a four-armed standing Karthikeya on the west and a four-armed Parvati image on the north. In front, in the absence of a vahana-stamba, a Nandi has been placed on the pavement
Shiva-Kali Mandira
The minor temple, to the north of the Rama-Sita temple, is known as the Shiva-Kali temple. It represents a deula of the Rekha order built on panca-ratha plan and is east facing. The Bada has a panca-kama pabhaga, two jangha’s separated by a bandhana of three mouldings and a varanda of five mouldings. The Bada is quite plain and usual khakhara-mundis and pidha-mundis are absent. The Gandi has in its Raha projecting lion over the kirtti-mukha pedestal. On each face of the temple in the Raha, there are three miniature temples and the anuratha has also a miniature sikhara
The entrance doorway of the east has Gaja-Lakshmi in the lintel and Navagraha slab above the doorway. In the garbhagruha, a Shivalinga is worshipped. In front of the temple as usual there is a Nandi. The usual Parshva-Devata’s of a Shiva temple appear in the exterior niches in standing position: Ganesha on the south, Karthikeya on the west and Parvati on the north
Gauri-Shankara Mandira
The temple is situated to the east of Bhoga-Mandapa of the Parvati temple. The temple is so called because in addition to the usual Shivalinga in the sanctum, there is a standing four-armed figure of Parvati attached to the back wall of the temple. This east facing temple is built in Rekha design. It has Bada with five divisions: pabhaga, jangha divided into two registers by a bandhana of one moulding and varanda of two mouldings. The outer niches of the Bada, meant for the Parshva-Devata’s are empty and it is also devoid of any carving such as pidha-mundis and khakhara-mundis
The Gandi is based on panca-ratha plan and has projecting lions on the Raha’s. The front face of the Raha is decorated with a central khakhara-mundi, flanked by miniature rekha-sikharas on either side. The doorway in the east has dvarapalas (door keepers) at the base, Gaja-Lakshmi in the lintel and Navagraha slab architrave above it
Karthikeya (Karttikeya) Mandira
The temple of Karthikeya is located on the northern side just in front of Ekambaresvara temple. This south facing temple is built in Rekha design. Deula has five fold divisions in the Bada as per unique style of Odishan architecture. Its pabhaga consists of five mouldings, bandhana of three mouldings, and varanda is composed of five mouldings. The plain lower jangha has khakhara-mundis and in the upper jangha there are pidha-mundis
The Gandi is devoid of carvings. The temple is built in accordance of panca-ratha plan with five projections on each side. The projecting lion is seen on each face of the Raha. The Deula has the usual crowning elements, such as beki, amla, khapuri and kalasa. The northern niche has a standing figure of Karttikeya as the Parshva-Devata, the western niche is empty and the eastern niche contains a standing female figure as the Parshva-Devata and her hands are not intact. The central southern Raha has three miniature temples and one miniature temple on each of the two sides. The temple has no Jagamohana. The vahana-stambha, located in front of the entrance at a short distance, is surmounted by a peacock. The presiding Devata of this temple is a standing figure of Karthikeya, whose upper part is only visible. He is distinguished by sikhandaka hair style and Mayura vahana
Vrsabha Mandira (Image 38)
Vrsabha is personally connected with Bhagwan Shiva as his vahana. This pidha temple is on the northern side adjoining the wall of the Nata-Mandira of Lingaraja Temple. The temple stands on a low platform of three mouldings. The temple has five-fold divisions in the Bada. The pabhaga and the bandhana consists of five and three mouldings respectively. There are khakhara-mundis in the lower jangha and pidha-mundis in the upper jangha. The recesses in the Bada have vyalas and kanyas. The balustraded window on the west is plain, the eastern one has a figure of Surya placed in a ratha (chariot) which is drawn by four horses. The figure of four-armed standing Karttikeya on the western face of the temple is noteworthy for its iconography. The varanda of the temple consists of seven mouldings. This Nandi temple has its entrance on the north with dvarapalas showing Vaishnavite attributes such as Sankha, Chakra, etc.
The superstructure of the temple is of the pidha type. The pidha’s are arranged in two tiers, with four pidha’s in lower and three pidha’s in the upper portion. Inside the temple, there is a gigantic monolithic figure of a bull sitting on its heels. The floor on which it rests is about one metre below the ground level of the courtyard
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| Nandi in Vrsabha Mandira (Image 38) |
Daksina-Kali Mandira
This Shakti temple is located in the north-eastern part of the courtyard, quite close to the eastern boundary wall. It is basically a pidha temple built on a platform consisting of a pabhaga, a jangha and a varanda. The pyramidal superstructure consists of three continuous pidha‘s. The mastaka consists of beki, amla and miniature kalasa. The Parshva-Devata niches are all empty
The four-armed presiding Devi holds Padma (lotus), Trishula (Trident), Chakra and Khadga. The Devi stands over a horizontal male figure levelled to the ground. This modest shrine is an important pitha for tantric worship
MANDAPAS IN THE COURTYARD OF LINGARAJA TEMPLE
These mandapa’s have ritual significance w.r.t. Festivals of Lingaraja Mahaprabhu
Mandapa
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Position
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Significance
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Nahikata9
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Left side while proceeding from the vahana-stambha towards west keeping the Bhoga-Mandapa of the main temple on the right side | Used in Sri-Krishna Janmastami Festival for the nabhi chedana (cutting of navel) viddhi |
| Beherana |
Situated quite close to the Jagamohana of the Lingaraja Temple towards its south
Thalikata Mandapa : A small mandapa to the east of Beherana Mandapa where prasad thalis after being offered to Devi Parvati are kept
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Vidhhis of Pusyabhiseka and Sitalasa Sasthi festivals |
| Ba-A-Khia |
This small mandapa stands in the north-western part of a long mandapa
During summer, the Chalanti Pratima comes out from the temple to enjoy cool air (bapavana), therefore, it is also called Pavanakhia Mandapa
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Chalanti Pratima of Lingaraja Mahaprabhu enjoys dance and music from this mandapa during Chandana Yatra |
| Ratha | Situated to the south of the main temple | A notable feature is the provision of the wheels, which seems to suggest that it was conceived as a ratha (chariot) like the Alankara Mandapa of the Simhancala temple |
Somabara10
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Situated on the north-western side of the Lingaraja temple near the Shiva-Kali temple | It has a special significance in connection with the viddhis of Lingaraja Mahaprabhu held on Monday (Somabara), which is an auspicious day for Shiva. This Monday festival is locally known as Somabara bedha and it is celebrated every Monday. The Utsava Vigraha’s of the Lingaraja are taken out in a procession and placed on this mandapa for ritual worship. The viddhi ends with circumambulation (Pradakșina) of the temple. A notable feature of this mandapa is the provision of arches |
Makara11
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Situated on the northern side of the Lingaraja temple, immediately to the east of the Candesvara temple | Used for viddhis on the Makara Sankranti. After the procession of the Chalanti Pratima of Lingaraja returns to the temple complex, milk is boiled on this mandapa to prepare cream, which is used for the preparation of makara rice. Therefore, this mandapa is locally known Makara Mandapa |
| Kalpataru | Situated in front of the temple of Gopalini on the northern side of the Jagamohana of the Lingaraja temple. It is open to the sky. This structure is generally believed to be in honour of the Kalpataru of the temple, which is locally called a Varuna tree. A detached image of the Surya Dev has been placed near the sacred tree. Both the Surya Dev and the tree are placed inside a square pit. The Kalpataru is a wish-fulfilling tree and it represents the triple qualities of Shiva. The worship of the Kalpataru along with three circumambulations is an essential part of the pradakșina of the Lingaraja temple. The facade of the platform has been carved with workmanship of a later period. On the western side, the scheme of decoration includes a female figure which is reminiscent of the story of Parvati subduing the two demons Kirtti and Vasa. The platform is approached by a flight of steps on the eastern side | |
WELLS IN THE LINGARAJA COMPOUND
JEMADEI WELL
The Jemadei well is located near the kitchen towards its western side. The well is of round shape and its low parapet is made of khandolite stone and the water is used for cooking purposes
AMANIA WELL
The well near the south-western corner of the enclosure is locally called Amania well. This well is actually a big trench and there is no water in this well. When the sanctity of the temple gets polluted for some reason, the offerings meant for the Devata-Devi are thrown into this well
GARA WELL
The Gara well to the south of the Ekambaresvara temple is rectangular in plan. The water of the well is used by the devotees and for the worship of the Devata-Devi
PADUKA CHANNEL
The water poured on Lingaraja Mahaprabhu along with milk, coconut water, etc. is discharged through a channel which passes under the Nisa Parvati temple. The underground channel for draining water from the sanctum passes near the Caņdesvara temple and moves towards the west and is connected with a kunda (reservoir), located on the south of Parvati temple
ENCLOSURE OF THE LINGARAJA TEMPLE
The main temple complex and the subsidiary shrines are protected by a high compound wall like the Jagannatha temple at Puri. The total area of the courtyard is 158.49 mts x 141.73 mts with 8.53 mts projection on the northern side. The courtyard around the main temple complex is paved with khandolite stone. The compound wall is made of dressed laterite blocks. The wall is about 2.28 mts thick
At the north-eastern comer, there is a small pavilion approached by a flight of steps. The small structure is called Cahani Mandapa or Bheța Mandapa and during the return Ratha festival, Devi Parvati comes to this platform to welcome Lingaraja Mahaprabhu. This seems to have been a later practice and the original purpose of this structure is not known quite clearly
There are entrances to the temple on the east, north and south side of the boundary wall
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| Singhadwara (Image 39) |
EASTERN ENTRANCE “Singhadwara” (Image 39)
The main entrance of the Lingaraja temple in the east is called Singhadwara. There are two lions as guardians. Of the three entrances, the eastern one is the largest. This entrance is surmounted by a pidha temple, which has nine continuous pidha’s. The Bada has a pabhaga of five mouldings, bandhana of seven mouldings and varanda of ten mouldings. The lower jangha is adorned with khakhara-mundis and the upper jangha with pidha-mundis respectively. The usual crowning elements of a pidha temple appear in the mastaka
NORTHERN ENTRANCE “Uttaradwara”
This eastern entrance is generally used by the temple priests. The entrance is surmounted by a pidha temple, which is comparatively smaller in dimension than the structure in the east. The Bada of the temple is plain. The jangha is divided into two by a bandhana of two mouldings. In this pidha temple, pidha’s are arranged into two tiers; having four pidha’s in lower and three pidha’s in the upper. The projecting lions are placed at the level of the upper tier. The usual crowning elements are also to be seen in tis temple. The dopicha-simhas occupy the beki at the corners. Especially, during Mahashivaratri and Pusyabhisheka this door is opened for Badu Sevakas for bringing water in 108 pots for Jalabhisheka ritual
SOUTHERN ENTRANCE “Dakshinadwara”
Like the eastern and northern entrances, the courtyard of the temple can be approached through a gateway on the south. It is reported that, the palace complex was situated on the southern side and usually the family members of the royal family visit the temple through the southern entrance. The southern gateway is comparatively small and represents a mere opening with two folding doors
During ancient times of Utkala kingdom, general people used to use Singhadwara to enter the temple, Badu Sevakas through Uttaradwara and royal family through Dakshinadwara. For this reason, houses of Badu sevakas are nearer to the Uttaradwara and the palace complex near Dakshinadwara
The non-Hindu visitors and foreigners are not allowed into the temple. They can see the some of the rituals and various temples in the campus from the pandal built near to the boundary of Uttaradwara (around same height as that of the boundary wall)
Concluding Remarks
The Lingaraja temple reflects the elaboration of some of the architectural features of the earlier temples. The earlier phases represent experiments by the architects. The accumulated experiment and expertise resulted in the construction of the Lingaraja temple with its architectural and decorative features in a standardised format. The selective choice of earlier features coupled with innovative designs make the Lingaraja one of the finest temples in India
We are really thankful to K.S.Behera for the wonderful insights in his book “The Lingaraja Temple of Bhubaneswar – Art and Cultural Legacy”. Without those elaborate details the article wouldn’t have been complete. We are also thankful to Indira Gandhi National Centre for the Arts, New Delhi (http://ignca.nic.in/ ) and Aryan Books International (http://www.aryanbooks.com/) for their support and guidance. We would request the readers to read this book as it’s an ocean of knowledge w.r.t. Ekamra Ksetra and Lingaraja Temple
We are also thankful to Kedarnatha Gaveshana Pratisthana, Bhubaneswar for their guidance in understanding the scriptures and also for the books titled “Ekamra Chandrika” and “Svarnadri Mahodaya”
I am also thankful to Kar Nana (Sanskrit scholar and Pujari) and Mantu Nana (Badu Sevaka of Lingaraja Mandira) for their knowledge on our scriptures and for guiding me. I am also thankful to my parents for their valuable help in translating regional texts
References
1. K.S.Behera “The Lingaraja Temple of Bhuaneswar – Art and Cultural Legacy"
2. Linga Purana, 77.7
3. Linga Purana, 77.9-21
4. Linga Purana, 77.8
5. Madala Panji, p.6
6. R.D.Banerjee, History of Orissa, p.359
7. Stella Kramrish, The Hindu Temple, Vol I, Calkutta
8. R.L. Mitra, The Antiquites of Orissa, Vol II, p.123
9. M.M.Mahapatra, Traditional Structure and Change in an Orissan Temple, p.84
10. M.M.Mahapatra, Traditional Structure and Change in an Orissan Temple, p.54
11. M.M.Mahapatra, Traditional Structure and Change in an Orissan Temple, p.65
2. Linga Purana, 77.7
3. Linga Purana, 77.9-21
4. Linga Purana, 77.8
5. Madala Panji, p.6
6. R.D.Banerjee, History of Orissa, p.359
7. Stella Kramrish, The Hindu Temple, Vol I, Calkutta
8. R.L. Mitra, The Antiquites of Orissa, Vol II, p.123
9. M.M.Mahapatra, Traditional Structure and Change in an Orissan Temple, p.84
10. M.M.Mahapatra, Traditional Structure and Change in an Orissan Temple, p.54
11. M.M.Mahapatra, Traditional Structure and Change in an Orissan Temple, p.65
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