Orissa Group Temples

Orissa Group Temples
Ar. Kalpeshkumar Patel
KALINGA KINGS ‐ ORISSA GROUP (800 TO 1250 AD)
Orissa is a land of temples. The concentration of the largest number of temples all over the state has
Orissa is a land of temples. The concentration of the largest number of temples all over the state has
made it a centre of unique attraction.
Temples of Orissa provide the most logical beginning for a study of the Indo Aryan Style.
Not only are the plans and general treatment of these religious structures of a special character but
the building art has a separate and distinct nomenclature of its own.
CHARACTERISTICS OF ORISSA GROUP OF TEMPLES
• The generic name for a temple is deul also known as Rekha Deul because of its emphasis on
vertical lines. The deity is placed in the garbha griha of Rekha deul over which rises the
shikhara.
• I f t f d l is a square building or assembly hall corresponding to the mandapa
In front of deul i b ildi bl h ll di t th d i th
in other
parts, but here known as Jagamohan also known as Pida Deul since it is composed of Pidas.
p
This two edifices combined constitute the essentials of the Orissan temple.
Typical Plan Typical Orissan Shikhara

• As the style progressed and also a temple ritual was developed, other buildings were found
necessary, and were added to the front of assembly hall, thus presenting in the larger
examples a series of structures all in one axial alignment.
• Th t b ildi
The two building usually supplemented were first the Nat Mandir or Dancing Hall. And
ll l t d fi t th N t M di D i H ll A d
secondly in front of this the Bhog Mandir or Hall of Offerings.
Typical Plan
• Standing on a basement or a
g
pista (plinth), these halls were
invariably of one storey only, and
the elevation of each consisted
of two parts, a cubical portion
b d below, a pyramidal roof
bada b l id l f
kalasa above.
• y
In the same way the lower and
upright portion of the deul or
tower is called the bada, but
above that it is resolved into
three parts, comprising the tall
middle portion or chhapra the
middle portion or chhapra, the
flat fluted disc at the summit
known as the amla, and its finial
or kalasa.
Principle Parts of An Orissan Temple
• Orissan temples as a whole are of the astylar order, pillar being notable by their absence. In some
of the earlier examples the pillar finds a place, suggested no doubt by other modes, but as a rule it
was not favored.
• In a few of the larger halls however some such support became a structural necessity to sustain the
heavy weight of the pyramidal roof, and according a group of four solid piers, one at each corner of
four solid piers one at each corner of a four square system of roof beams was introduced
four solid piers, one at each corner of a four square system of roof beams was introduced.
• Plain and fearless treatment of the interior contrasted with the profusely ornamented walls of the
exterior, the surfaces of which are charged with a superfluity of plastic patterns and forms.
Evolution of Jagamohan or Pillared Hall
EVOLUTION OF ORISSA GROUP OF TEMPLES
Early Period (750 to 900 AD) Middle Period (900 to 1100 AD)
Middle Period (900 to 1100 AD)
• Parashurameshwar at Bhubaneswar • Mukteshvara at Bhubaneswar
• Laksmanesvara at Bhubaneswar • Lingaraja at Bhubaneswar
• Uttareshvara at Bhubaneswar • Brahmeshvara at Bhubaneswar
• Isavareshvara at Bhubaneswar • Ramesvara at Bhubaneswar
• Sutru Ganeshvara at Bhubaneswar
at Bhubaneswar • J
Jagannath
h at Puri
P i
Later Period (1100 to 1250 AD)
• Ananta Vasudev at Bhubaneswar
• Siddhesvara at Bhubaneswar
• K d
Kedareshvara
h at Bhubaneswar
Bh b
• Jamesvara at Bhubaneswar
• Meghesvara at Bhubaneswar
at Bhubaneswar
• Somesvara at Bhubaneswar
• Rajarani at Bhubaneswar
• The Sun Temple at Konark
PARASHURAMESHWAR AT BHUBANESWAR (650‐700 AD) Early Period (750 to 900 AD)
• I i
It is a relatively small building , measuring 15 by 6m
l i l ll b ildi i 15 b 6
and the tower no more than 13m high. Its low
a dapa has no base , and its tower is somewhat
mandapa as o base , a d ts to e s so e at
squat.
deul
• The Jagamohan is very low and its roof structure
features only horizontal recess (pida).
• The tower or deul displays all the features of the
rekha deul, notably its convex faces. The luxuriant
kh d l t bl it f Th l i t
ornament clothes every stone of the tower ( whose
) y
courses are available from the outside) and is very
striking. The miniature window motif is omnipresent ,
Jagamohan with small figures emerging from the windows, while
nymphs and divinities crush monsters and vigorous
lions mount guard on the sides and summit the tower.
• It O
Its Ornamentation is exquisite.
t ti i i it
PARASHURAMESHWAR AT BHUBANESWAR (650‐700 AD) Early Period (750 to 900 AD)
BRAHMESHVARA COMPLEX AT BHUBANESWAR (1075 AD) Middle Period (900 to 1100 AD)
• The Brahmeshvara Complex at
Bhubaneswar lies on the edge of a long
wide tank bordered with steps.
• The temple dates from about 1075 AD and
stands within an rectangular precinct by 36
by 25m Four smaller secondary temples at
by 25m. Four smaller secondary temples at
each of its angle are arranged on a
“pancayatana”.
• The temple’s plan is based on a rectangular
module of 2:3 ratio, fourteen padas wide.
The sanctum is at the center of the upper
square. Four secondary towers form a
group of five This design reproduces a
group of five. This design reproduces a
classic cosmological pattern.
BRAHMESHVARA COMPLEX AT BHUBANESWAR (1075 AD) Middle Period (900 to 1100 AD)
• The Sanctuary is at the west end and

The Sanctuary is at the west end and
very precisely oriented, on certain days,
the first rays of the sun traverse the
mandapa and enter the garbha griha.
• In the center of the sanctum stands the
linga of Shiva and in the center of the
squared Jagamohan is pyramidal and
composed of eleven successive levels
composed of eleven successive levels
of corbels (pidas). It culminates in an
enormous vase called Kalasa.
• The elegant tower is echoed by four
smaller turrents at the corners of its
precinct. Its vertical rathas contrast
with the very solid pyramidal roof of
the dance pavilion and its horizontal
the dance pavilion and its horizontal
pidas.
GREAT LINGARAJA TEMPLE AT BHUBANESWAR (10th C) Middle Period (900 to 1100 AD)
• Lingraja Temple or Great Temple of Bhubaneswar is the finest example of the Orissan group, and
ranks as one of the foremost architectural productions of the country.
• It occupies the center of a large quadrangular enclosure measuring 142 x 158m, contained within
a high and solid wall, on the inner face of which is a platform, so that on occasions it could be
patrolled and defended.
• Within the enclosure many subsidiary shrines are around the main temple
Within the enclosure, many subsidiary shrines are around the main temple.
• As it stands at present, the Lingaraja consists of the four structures which comprise the fully
developed Orissan temple type, namely the Deul or Sri Mandir, the Pillared Hall or Jagamohan,
the Dancing Hall or Nat Mandir, and the Hall of Offerings or Bhog Mandir.
Nat Bhog
Sri
Sri Jagamohan Mandir Mandir
Mandir
• These buildings are all disposed on the same axis,
These buildings are all disposed on the same axis,
which extends from east to west, but they do not
belong from the same period. Originally the
temple designed was composed of only the two
structures, the Sri Mandir and the Jagamohan, the
two other halls being added probably a century or
h h ll b i dd d b bl
more later.
• The most impressive feature of this
temple is the great tower of Sri
Mandir, as it dominates not only the
entire composition but the whole
town of Bhubaneswar with its height
and volume Its base measures 17m
and volume. Its base measures 17m
but due to the projecting faces it is
not a square.
• The bada or lower storey is vertical
one‐third of its height and above it
has a curve rising to a height of 38m
from the ground.
• Over it is a necking or beki above
Over it is a necking or beki above
Sri Jagamohan Nat Mandir Bhog
which rests the melon‐shaped fluted
Mandir Mandir
disc or amla‐sila; and crowned by a
vase shaped finial “kalasa”, bearing
the trishula or trident of Shiva.
• The deep flucted ribs and miniature
replicas of the Deul, add to the
verticality of the soaring shikhara
which dominates over all the sixty
temples. The outer surface is carved
with gods goddesses nymphs A
with gods, goddesses, nymphs. A
Shiva Linga 3m high and 2.5m in
diameter is installed in garbha griha.
• The Jagamohan is not the customary
square in plan, but oblong measuring
22x17m, with its lower storey bada
rising to a height of 10m and its pida a
pyramidal tower attaining a height of
pyramidal tower attaining a height of
30m from the ground..
• The additional halls of Nat
The additional halls of Nat
Mandir and Bhog Mandir are
in much the same style as the
Jagamohan. The interiors of
these halls are plain single
cells, the walls being entirely
ll h ll b i i l
devoid of ornament and the
ceilings are treated in an
ceilings are treated in an
equally simple manner.
• Each hall has a group of four
massive piers in the center to
support the solid mass of the
roof and they have
f d th h
sculptured patterns on their
shafts.
RAJARANI TEMPLE AT BHUBANESWAR (11TH C) Later Period (1100 to 1250 AD)
• The Rajarani Temple was built in the 11th C and marks a
completely different kind of variant in Orissa architecture.
• Both the tower or rekha deul and the Jagamohan or
pillared hall are radically transformed.
• The tower is now diamond shaped. Its mass is divided by
the deep groves that separate the flanking towers The
the deep groves that separate the flanking towers. The
vigorous projections of the pagas emphasize the double
axis of the tower.
• The temple structure now wears a completely new aspect.
Its base is underlined by a row of motifs in the form of
stylised values. Above this area two panels decorated with
alluring divinities, who exhibit a discreet eroticism as part
of their natural elegance
of their natural elegance.
• The miniaturised external towers seem to clamber over
each other to reach the summit of the central tower.
The diagonally oriented plan of 1 – Deul 2‐ Jagamohan

Rajarani temple
• The integrity of the new design is
clear in the plan of the Rajarani’s
cella. A series of projections
matching the dispositions of the
pagas on the outside of the temple
makes the cella diamond shaped
makes the cella diamond shaped
rather than cubic. The interior thus
reflects the design that governs the
exterior of the sanctuary.
• The development of the Pillared Hall
or Jagamohan is also complete. It
measures 10x10m and the internal
space is bare of ornament The
space is bare of ornament. The
square corbelled roof is made of
thirteen layers, exacting matching
the thirteen horizontal grooves of
the pidas.
• The diamond shaped tower or rekha deul
and square plan Jagamohan are highly
complementary The two volumes one
complementary. The two volumes, one
soaring and vertical, the other squat and
solid set each other off to most
harmonious effect.
• In contrast with the profilic decoration of
the exterior, the interior of the
jagamohan is almost ascetic. The
architectural decoration is limited to bare
architectural decoration is limited to bare
minimum.
The juction of Jagamohan and Garbha griha

THE SUN TEMPLE AT KONARK(1240 AD) Later Period (1100 to 1250 AD)
• The plan of this temple that of genius and its
The plan of this temple that of genius and its
execution, hence was beyond the capacity of
the builders to complete it. Even its
magnificent failure one can see that it was
one of the finest artistic creations.
• I Shikh
Its Shikhara was a colossal creation that was
l l i h
to have reached more than 70m into the sky.
The enterprise was much too heavy for the
The enterprise was much too heavy for the
friable soil on which it was built and the site
was much too close to the ocean; the
Shikhara collapsed in the mid nineteenth
• At Konark, 60 kms from Bhubaneswar, on the century.
shores of the Bay of Bengal, rise the majestic ruins
h f h B fB l i h j i i • A i il f t
A similar fate awaited the dance pavilions or
it d th d ili
of one of the greatest of all Hindu temples, the Nat Mandir; it has lost its super structure
y p p ,
Surya Temple or Sun God Temple, which was built y g y
entirely and now consists of a highly
in 1240 by King Narasimha I of Eastern Ganga decorated base surmounted by pillars
Dynasty. reaching up into nothing.
• The vast complex lies within a quadrilateral
p q
precinct and possesses axial gopurams and corner
turrents. Of all this, only the Jagamohan has
survived, almost intact.
• It is a square plan building, 36x36m and some 40m
Deul
high The vast hall inside is something like 20x20m
high. The vast hall inside is something like 20x20m.
It is one of the largest internal spaces in all Hindu
Architecture. But it is no longer accessible, the
entrance having being walled up and the whole
Jagamohan reinforced.
• Its corbelled roof, carried on four mighty
, g y
pillars, must have been some 30m high. The
imposing pyramidal roof has a row of three
deep horizontal grooves (pidas) that mark the
step by step ascent towards the enormous
vase or kalasa
k l th t d
that decorates the summit.
t th it
• The outer surface of bada is profusely
p y
sculptured with as many as fifteen hundred
elephants in the different patterns, along with
the soldiers riding on horses in the bottom
row, and many mythical animals in the second
row but much of the relief work in the third
row but much of the relief work in the third
row depicts the “maithuna rituals”. They
represent symbolism of Prakriti and Purusha.
• The Surya temple is set a high base whose
sides are covered in ornamental carving,
including twelve pairs of enormous wheels,
sculpted complete with hubs and spokes.
Eight horses are sculpted in full relief on the
sides of the entrance staircase
sides of the entrance staircase.
• The Jagamohan thus comes to symbolise a
colossal processional chariot. Huge wooden
vehicles of this kind are commonly drawn in
processions at great Hindu religious festivals;
so the building is yet another example of the
petrification of a wooden design.
• This vehicle is the chariot of Sun, Surya
makes his daily circuit of the sky. The Hindu
temple is made to materialise an idea and
establishes itself as a symbol of profound
significance. When a processional chariot is
taken out musicians and dancers
taken out, musicians and dancers
accompany it as it wind its way through the
streets. Likewise, the musicians and dancers
are portrayed amid the sculptures that
adorn the temples.
• They are featured on the various levels of
the pyramid (pidas) in the form of statues of
beautiful maidens and they are represented
beautiful maidens and they are represented,
too by the innumerable nymphs to be found
disporting themselves in the two registers of
low relief carvings that decorate the
Jagamohan base.
• There are three stairways to the portico
of the temple with a pair of huge
animals like lions and elephants but the
animals like lions and elephants but the
main entrance is elaborately designed.
Thank You

Orissa Group Temples

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Orissa Group Temples

Typical Plan Typical Orissan Shikhara

• The Sanctuary is at the west end and

The diagonally oriented plan of 1 – Deul 2‐ Jagamohan

The juction of Jagamohan and Garbha griha

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