Cultural History of Odisha

2017
OBJECTIVE
IAS
CULTURAL HISTORY OF ODISHA
www.historyofodisha.in | www.objectiveias.in
Cultural History of Odisha 2017
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Contents
1. Cultural Significane of Somovamsi Rule

2. Cultural Significane of Ganga Rule
3. Growth of Temple Architecture
4. Society During Bhaumakaras
5. Religious Life During Bhaumakaras
6. Society During Samovamsis and Ganga Period
7. Cult of Jagannatha
8. Sri Chaitanya Faith
9. Pancha Sakhas and Bhakti Movement
10. Social and Religious Like During Medieval Period
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Cultural significance of the Somavamsi rule

The cultural contribution of the Somavamsis is significant in many ways. The Somavamsis accepted the
Varnashrama dharma i.e., traditional division of the society into four Varnas (Brahmana, Kshatriya,
Vaishya and Sudra), and gave the highest status to the Brahmanas. By performing Vedic sacrifices and
facilitating the migration of Brahrnanas from northern India through generous offer of land grants the
Somavamsi rulers promoted the Brahminisation of the socio-religious life of Odisha as well as the
assimilation of the north Indian Sanskritic culture into the Odishan culture. Women enjoyed respectable
status in the Somavamsi society. Some of the Somavamsi queens performed important works like the
construction of temples. The Queen Kolavatidevi, the mother of Udyota Keshari constructed the
Brahmeswar temple at Bhubaneswar. Nevertheless, the status of women appears to have degenerated
during this period. The Devadasi practice (the practice of dedicating maidens to the temples) and
prostitution were prevalent during this period. The last Somavamsi king, Karnadeva married a dancing
girl, named Karpurasri who was born of a Mahari or Devadasi.
Religious life of the Somavamsi rulers
The Somavamsi rulers were devoted Saivites. They helped the growth and spread of Saivism by the
construction of Siva temples and offer of liberal land grants to the Saiva temples, priests and ascetics.
Consequently, a number of Saiva gurus, such as Sadasivacharya, rathamacharya and Acharya Gagana
Siva came to Odisha from far and wide and enjoyed the patronage of the Somavamsi rulers. With the
help of Janmejaya I Gagana Siva built the Someswar temple at Ranipur-Jharial. Yayati-I built the beautiful
Saiva temple of Mukteswar. The construction of the gigantic Saiva temple of Lingaraj was started by
Yayati-ll and completed by Udyotakeshari. Though ardent Saivites themselves, the Somavamsis
continued the Bhaumakara tradition of religious toleration. They tolerated other sects such as Jainism,
Vaishnavism and Saktism.The king Udyota Keshari carved Navamuni and Varabhuja caves for the Jaina
ascetics.
Art and Architecture
The Somavamsis left their imperishable legacy in the field of art and architecture. The Odishan temple
architecture which began in the Sailodbhava period reached the height of perfection towards the close
of the Somavamsi period. The Odishan temple reached its complete form towards the close of the
Somavamsi period. The architectural activities in the later period, though by no means scarce, were
more concerned with elaboration than with any introduction of new features or forms indicating new
directions of development. Out of the numerous temples, built by the Somavamsis four are most
magnificent Lingaraj, Brahmeswar, Mukteswar and Rajarani (all in Bhubaneswar). Each of them is a
masterpiece of Odishan architecture. The images of these temples are also the finest specimens of
sculpture.
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Promotion of Learning
There was a phenomenal development in the field of Sanskrit learning and literature during the
Somavamsi period. The inscriptions of the period speak of the proficiency of the scholars in Vedas,
Vedanga, Smtitis, Puranas, medical sciences, Astrologgy, Arthasastra, Grammar, Poetry, History, Political
Science and Logic. The land grants to the learned Brahmanas facilitated the study of Sanskritic literature.
A number of Sanskrit scholars such as Sadharana, Purushottam Bhatta, Bhavadeva, Acharya
Subhachandradeva and Narayana Satakarni flourished during the Somavamsi period. Sadharana, the
chief minister of Janmejava I was well-versed in Veda, Vedanga, Vidya, Siksa, Kalpa, Itihas, Smriti and
Arthasastra. Purushottam Bhatta wrote a eulogy on King Udyota Keshari. Some of the Somavamsi kings
themselves were scholars. The Somavamsi inscriptions use some typical Odia words such as Khamba,
Punya and Machha. This period was undoubtedly a significant phase in the formation of Odia language.
Q. Describe the cultural significance of Somavamsi rule.
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Cultural significance of the Ganga rule

In order to understand the cultural significance of Ganga dynasty, it is essential to know about the
society and condition of people during the Ganga period, the religion, art and architecture, music,
dance, language and literature, trade and commerce etc.
Traditional Varna system
During the Ganga period the traditional Varna system(Brahmana, Kshatriya, Vaishya and Sudra) was
prevailed. The Brahmanas enjoyed the highest status and maximum privileges in the society during this
period. Many of them enjoyed land grants (Agraharas) as scholars and priests. During this period it is
found that a number of Brahmanas entered into non-religious professions like military service, other
categories of government service, and trade.
Development of Karanas (Kayasthas) caste
The records of the Ganga period mention the Karanas (Kayasthas) as an important caste developed
during this period. They were a hereditary class of writers. Their Varna status is not clear from the
available records. Some sources say that they were Kshatriyas. Others hold that they were Shudras.
Whatever might be their Varna status, they occupied all cadres of posts in government, from that of a
village-headman and accountant to that of a prime minister and army general.
Position of women during the Ganga period
During the Ganga period women were held in esteem in the society specially in case of royal women. In
many of the donative records the donors state the names of their mothers. Royal ladies were noted for
their pious disposition and devotion to husbands. It appears that the royal ladies had access to
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education and specialised forms of art like music and dance. Chandrikadevi, the daughter of
Anangabhimadeva III was accomplished in music and dance. She built the temple of Ananta Vasudeva in
Bhubaneswar. Sivarani, a lady of Ganga lineage was called the Kaliyuga Saraswati (Goddess of Learning
in Kali Age). However, the women's status seems to have been some extent reduced during this period.
The Smritis and Nitisastras of the time restrict their freedom. Women were expected to be devoted to
their husbands. But the Ganga kings themselves were polygamous. The Smritis also permitted the rulers
to go for poligamy. In practice it appears that women enjoyed a good deal of freedom. They also danced
as Devadasis in the temples. The plentiful depiction of women as singers and dancers, erotic partners
and seductive Nayikas also point out their independence.
Religion during the Ganga period
The early Ganga rulers were devout Saivites. But after capturing Odisha, the Gangas accepted
Vaishnavism. They showed great devotion to Purushottam-Jagannath who was regarded as a
manifestation of Vishnu. Chodagangadeva built the present gigantic temple of Lord Jagannath.
Anangabhimadeva-III declared that he ruled the empire as the Routa or deputy of Lord Jagannath. Puri
with Lord Jagannath as the presiding deity became a great centre of Vaishnavism during the Ganga
period. The great Bhakti saints like Ramanuja, Narahari Tirtha and Jagannath Tirtha came to Odisha from
outside during this period. The recital of Gita Govinda of Jayadeva (the Vaishnava poet of this period)
was introduced into the daily rituals of the Jagannath temple.
Secular nature of the Ganga rulers
The Ganga rulers were secular in nature. Inspite of allegiance to Lord Jagannath, the state deity, the
Gangas also patronized the worship of other deities - Siva, Parvati and Sun-God. Chodagangadeva
donated a village for the maintenance of a perpetual lamp in the Lingaraj temple of Bhubaneswar.
Parvati temple was built inside the precinct of the Lingaraj temple during the Ganga rule.
Narasihmhadeva-I built the temple for Sun-God at Konark. The Ganga rulers seem to have attempted a
harmony between Saivism and Vaishnavism. The transformation of Siva of the Lingaraj temple into the
conjoint deity, Harihar (Vishnu as well as Siva), and the construction of the Vishnu temple of Ananta
Vasudeva by a Ganga princess named Chandrika devi in the midst of the Siva temples indicate attempts
at such a synthesis of Hari-Hara cult.
Art and Architecture during the Ganga period
The art and architecture of Odisha reached the zenith of glory in the constant and strenuous building
activities of the great Ganga monarchs like Chodaqanqadeva, Anangabhimadeva-III and Narasimhadeva-
1. The Gangas built two unrivaled and beautiful monuments - the Jagannath temple of Puri and the Sun
temple of Konark. These two temples are remarkable for their massive structure, architectural skill, fine
ornamentation and beautiful images representing animals, gods, goddesses, episodes from mythology
and erotic partners.
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Patron of Learning
Being learned and cultured themselves, the Ganga monarchs extended their patronage to the
promotion of learning. They offered land grants to the learned Brahmins, temples and maths
(monasteries). The temples and maths were centres of religious culture as well as learning. The copper
plate grants and stone inscriptions show the high water mark of Sanskrit literature in Odisha during the
Ganga era. During this era there were a number of intellectual luminaries in Odisha. Pandit Vidyadhar (
Ekavali ), Jayadeva (Gita Govinda), Shridhar Acharya and Nilambar Acharya (the Smriti writers),
Viswanath Kaviraj (Sahitya Darpan), and Satyananda (the astronomer who wrote Surya Siddhanta)
belong to Ganga period.
Evolution of Odia Language
During this period some stone and copper plate inscriptions of the Ganga period clearly indicate that
Odia language and script took a definite shape. As a result, during the reign of Kapilendradeva, the
immediate successor of the Gangas, Sarala Das could write his magnus opus, Mahabharat in the
language of the masses i.e. Odia.
Music and Dance during Ganga rule
The Ganga monarchs were great patron of music and dance. The Natamandapas (Dancing Halls) of the
temples were the places where the Devadasis (the maidens dedicated to the temples) were performing
dances to the tune of compositions and musical instruments. The temple of Jagannath at Puri and the
Sun Temple of Konark (which were built by the Gangas) have Natamandapas. Anangabhimadeva-III
added Natamandapa to the temple of Lingaraj in Bhubaneswar. The Ganga kings employed damsels in
the temples for singing and dancing. Tradition states that Padmavati, the wife of poet Jayadeva was a
Devadasi, dedicated to Lord Jagannath. She used to dance to the tune of the songs, composed by her
husband. The Ganga temples, particularly the Natamandapas are full of singing and dancing girls in
ecstatic postures with musical instruments found in the panels.
Overseas Trade
The development of cultural activities of Odisha during the Ganga period was possible due to her
economic prosperity. During this period Odisha continued her ancient commercial relation with South
East Asian countries. The engraving of boats in the Bhoga Mandapa of the Jagannath temple of Puri, a
panel show in the transportation of elephants (preserved in the Odisha State Museum) and, the
reference to a township, inhabited by the artisans and traders in the Nagari plate of Anangabhimadeva-
1I1, etc. are the evidence of Odisha's overseas trade and commerce during the Ganga period. Clothes,
diamonds and elephants were exported from Odisha to outside countries.
The four hundred years of glorious rule of the Gangas is unique in many sense in the history of medieval
Odisha. The land was politically and culturally got united. The Kalinga school of architecture reached the
zenith during the Ganga period. Further, the Sanskrit literature developed to a great extent during that
period. The overall socio-economic-political and cultural pictures of this period testify to the fact that
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peace and tranquility prevailed all over the empire during the period of the mighty rulers of the Ganga
dynasty.
Questions:
1. Make an analysis on the cultural significance of the Ganga dynasty.

2. Describe the contribution of the Ganga rulers to the Culture of Odisha.
3. Discuss the different aspects of culture developed during the Ganga period.
4. Write a note on the importance of Odishan culture during the Ganga rulers.
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Growth of Temple Architecture

Odisha is famous in the world for her beautiful temples. In fact, the temples constitute the most
dominant and significant form of architecture in Odisha. They form "One of the most compact and
homogeneous architecture groups in India."
Styles of temple architecture in India
Out of the three styles of temple architecture found in India like Nagara, Dravida and Vesara, Odisha has
followed the Nagara with a distinctive regional bias of its own known as 'Kalinga'. An inscription in
Amritesvara temple at Holal (Karnataka) dated 1235 A.D. mentions the names of all the four categories
like Nagara, Dravida,Vesara and Kalinga.
Texts on temple architecture
In due course of time, several canonical texts were written for the construction of temples. Among such
texts Bhuvana Pradipa, Bhuvanapravesa, Silpasastra, Silpasarini, Silpaprakasa, Silparatna Kosa and Silpi
pothi etc are prominent. These texts helped in maintaining basic standards in the construction
notwithstanding varieties of form and size. The Silpasarini mentions about several kinds of temples, viz.,
Manjusri, Mrudanga eka bhagika, Vasusri, Mahameru, Kailasa, Ratnasara, Vartula ratha Vimana and
Suvamakuta. Each variety has its own design based on a specific yantra (diagram).
Typical Odishan temple
Bhuvana Pradipa mentions about three kinds of temples on the basis of their architectural features.
These are: Rekha (curvilinear superstructure), Bhadra or Pidha (monument with a pyramidal roof) and
Khakhara (oblong building with wagon-vault roof). The text mentions about 36 varieties of Rekha, 5
varieties of Bhadra and 3 varieties of Khakhara with proportionate measurements of each part and their
heights. The typical Odishan temple consists of both Rekha and Bhadra-the Rekha for the Deula
(sanctum cella or garbha griha with the curvilinear superstructure called sikhara or gandi) and the
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Bhadra for the pidha-deula to serve as the audience hall (Jagamohana or mukhasala). The pidha-deula,
added to the front of the Rekhadeula, is covered by a pyramidal roof of receding steps. The smaller
height of Pidha-deula represents a balance with the higher Rekha-deula and "greatly enhances the
grandeur of the soaring curvilinear spire". N.K. Bose mentions that the axial arrangement of the Rekha
and the Bhadra components of the Odishan temple began with the sanctum to which the porch was
added later. Along the same axial line, Nata mandira (dance-hall) and Bhoga mandapa (hall of offering)
were added later.The Odishan temples are usually of curvilinear spire with square sanctum. A few Pidha-
type temples are made on the summit of the Mahendra and in Koraput, two hypaethral (circular and
open) Yogini temples at Ranipur-Jharial and Hirapur the starshaped Ones at Baudh, and a few Khakhar
temples.
Components of the Odishan temple
As regards the plan, in elevation the Odishan

temple has four components, such as, pista
(platform or vedika), the Vada (the vertical
wall), gandi (the trunk), the mastaka (head or
crown). The pista is absent in many temples.
The bada consists of three parts, such as,
pabhaga (footportion or bottom part consisting
of Khura, Kumbha, Patta, Kani, Basanta), jangha
(the thigh part) and baranda (moulding forming
uppermost part of bada). The jangha is sub-
divided into two parts-tala janga (lower thigh)
and upper jangha (upper bond thigh) by a set of
mouldings known as bandhana. There is
similarity between the main temple and the
pidha up to bada. The difference starts from the
gandi. Where as gandi of the Rekhadeula
inclines inward in a convex form, i.e. curvilinear
outline, that of Pidha takes a pyramidal form. The gandi of Rekhadeula is divided into several pagas
(vertical projections). The corner pagas known as kanika-pagas are further sub-divided into horizontal
sections known as bhumi by miniature amlas (ribbed disc resembling amla fruit). The central paga is
known as Rahapaga and the next two as kanika and anu-raha. The door or entrance comes on the raha
paga whereas niches come on the other three raha-pagas which go down upto pabhaga. It is thus in
the plan of a four-door shrine. The subsidiary pagas are placed midway between the raha and the
corner. Depending upon the number of pagas (also called rathas), temples are classified as triratha,
pancha-ratha, saptaratha,etc. The topmost course of gandi is called visama. The mastaka (skull) above it
consists of Veki (neck), amla, Khapuri (skull) Kalasa (Gar) ayudha (attribute or symbol of the deity).
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In pidha deula, the gandi consists of a
number of pidhas, gradually diminishing
towards top in a pyramidal shape. The
topmost pidha is reduced to about half
of the lowest one. In later temples
pidhas were grouped into tiers called
potalas which are separate from each
other by recessed vertical walls known
as kanti. The hollow interior above the
sanctum (garbha-griha) is hidden by a
ceiling (garbhamuda) consisting of
stone beams and rafters to maintain
stability of the structure by binding the walls. In bigger temples, two or three ceilings (mudas) are found,
as in the case of Lingaraja. Access to the chambers is made through an opening above the lintel of the
door of the sanctum. The construction of such lofty temples like Lingaraja and Jagannatha creates awe
and wonder in the mind of the onlooker regarding the technique of construction. In fact, the technique
adopted was corbelling. The sized-Khondalite stones, used in most of temples, are laid horizontally one
upon another, "held together mainly by a system of counterpoise, the weight of one stone acting
against the pressure of another, much of the stability being a matter of balance and equilibrium". No
cementing mortar of any kind has been used but iron cramps and dowels were used to keep the stone
stabs in position.
Initial years of temple architecture in Odisha
The history of temple building in Odisha is said to have begun with Laxamanesvara,Bharatesvara and
Satrughnesvara group of temples at Bhubaneswar in 6th century A.D. and culminated with the Sun
temple of Konarka in 13th century AD. The earliest surviving temples at Bhubaneswar are the three
ruined temples like Laksamaneswar, Bharateswar and Satrughneswar. These are Rekha temples in
triratha plan. On the basis of an inscription on the Laksmaneswara the date of the temples are assigned
to the .later half of 6th century AD. Each of them has niches on its bada to contain parsvadevata. The
front raha of Bharateswara temple is carved with two chaitya windows containing Ravananugraha form
of Siva and Nataraja in the lower and upper niches respectively. These temples are unicameral i.e.,
having only the sanctum without the Jagamohana. The Parsurameswara temple assigned to 7th century
AD. is the best preserved specimen among the early group of temples. It consists of both Deula and
Jagamohana. The Deula is tri-ratha in plan in the bada but features of Pancharatha are visible in the
Gandi. The Sikhara is of modest height and gives a squattish look. The Jagmohana is a rectangular hall
with a terraced roof sloping in two tiers with clerestory in between. The Svavnajalesvara temple at
Bhubaneswar offers another example of the early type. The temple, consisting of vimana only, bears
clear affinities with the Parasurameswar in elevation and decoration. For example, the theme of
marriage of Siva and Parvati is rendered almost in an identical manner in both the temples.
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Growth temple architecture between the 8th and the 10th centuries
The next stage of growth of temple architecture is noticed in the temples built between the 8th and the
10th centuries. The 8th century temples at Bhubaneswar include Vaital, Sisiresvar, Uttaresvar, Mohini
and Markandesvar. Outside Bhubaneswar, the notable temples are Bhringeswar, Siva temple at
Bajrakot, Kanakesvar temple at Kualo, Manikesvar temple at Sukleswar, Dakshesvar temple at Badgan
and Nilakanthesvar temple at Padmapur. The changes and innovations of the period are seen at the
Sisiresivara temple (cir. 775 AD.). It is pancharatha in plan. The front raha paga contains the image of
Nataraja in a chaitya window. The Jagamohana, like that of Parasuramesvara is rectangular in plan and
has a terraced roof but does not have any window or pillar. The roof is held in its position by cantilever
principle. It is an advancement in architectural feature. The Mohini temple on the South bank of Bindu
Sarovar has a totally undecorated pancharatha sikhara, with a plain recessed bandhana below it. The
Mukhasala, a recent restoration with plain blocks of stone, is a pillared hall with pilasters against the
side wall. The Svapnesvar temple at Kualo on the bank of the Brahmani near Talcher is a badly damaged
example of a panchayatana temple. The main temple, like the Satrughneswara group and
Parasuramesvara, contains an Astagraha Panel on the lintel of the shrine. The main temple is dedicated
to Siva while the corner shrines contains images of Durga, Ganesa, Surya and Visnu. The Durga temple at
Vaidyeswara is a small shrine in the Khakhara Style, with a height of about 12 feet. The barrel-vaulted
roof is made of in two levels and the narrow sides are decorated with Vajramastakas containing
Ekapadasiva and Ganesa on one side and Andhakasura badha-form of Siva and Nataraja Siva on the
other side. It appears to be the precursor of the Vaital Deula which has an oblong sanctum, a wagon-
vault roof and a mandapa like that of the Parasuramesvara. It has interesting architectural features-
instead of Raha projections, the Bada has elegantly carved shallow pilasters. At each of the four comers
of the Jagamohana stands a miniature rekha temple. Though small in size, the tower of the temple is
most proportionate and very beautiful. However, the style did not thrive because of the popularity of
Sikhara Style.
Main innovations of the temples of the 9th-l0th century
Temples of the 9th-lOth century temples evolved with more advanced architectural features like the
harmonious proportion of pagas on the Bada and the Gandi. The pyramidal form of the Jagamohana
emerged in the period. The Singhanath temple in the bed of the Mahanadi in Cuttack district, the twin
temples of Nalamadhava and Siddhesvara at Gandharadi in Boud district are some of the specimens of
the period. V. Dehejia states that the Singhanath is "the most advanced of our Formative phase Temples
as far as the joint between Shrine and Mukhasala is concerned." The Mukhasala is a rectangular flat-roof
and pillared. The roof is triple- tiered without any sign of any clerestory between them. The Shrine Walls
are triratha in plan. The main innovations were the tall and slender pilasters on either side of the niches
extending up to the Bandhana level. The Varahi temple at Chaurasi is "one of the most fascinating of
early Odishan temples." Dehejia notes that it marks the transitional phase in Odisha architecture. It is
said to have represented the Vimanamalini or Kamagarbha type of temple prescribed in the text of
Silpaprakasha. The walls of the shrine reveal pancharatha features and contain the features of a typical
transition temple. The Sikhara of the shrine is barrel vaulted like that of Vaital but it has "a richer, more
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baroque appearance characterstic of the transition period." The Mukhasala is rectangular, unpillared
and has a flat double-roof, profusely decorated with Kumbhas and Mithunas in the clerestory. The
Muktesvara temple belongs to the period of transition. The sanctum is a full-fledged pancharatha in plan
and the roof of the Mandapa has a horizontal tier with Kalasa (Vase or Jar) as the crowning element. Its
Sikhara gives a rounded look with elegant contours. The central projection contains an elaborate chaitya
window flanked by two grinning dwarfs, which constitutes an early form of the "bho" motive. It is an
important feature of developed Odishan style. Dehejia notes, “Early Odishan architecture reached its
peak in the exquisite little Muktesvar temple located at the edge of a tank at Bhubaneswar. Long years
of architectural and sculptural experience here crystallized into faultless shape and dimensions, and, as
though this were not enough, the sculptors decided to add a beautiful carved torana gateway and a low
sculptured decorative wall enclosing the temple.” It is considered to be a piece of "gem of Odishan
architecture." The Kutaitundi temple at Khiching is another fine specimen of the lOth century A.D. The
star-shaped triple temples at Boudh, the ruined Visnu temple at Ganeswarpur, the 64-Yogini temple of
Hirapur and Ranipur Jharial may also be assigned to the time. The Odisha State Gazetteer (Vol. Il),
mentions, “The fully evolved temple style emerged about the 11th century. A deula of rekha type and a
Jagamohan of pidha order became the standard type with all their components clearly articulated. The
Pancha-kama pabhaga, Panchanga bada, multiple mouldings as haranda, introduction of Khakhara and
Pidha mundi designs on the jangha, Vidalas and Kanyas in the recesses and figures in high relief are
some of the changes introduced during the period. The deula with well developed projections, vertically
running from the base to the bisama and added with angasikharas on the gandi came to possess a
soaring height and majestic appearance not known in the preceding phase. The projecting lion-
onelephant motif on the raha, insertion of figures on the beki, etc., are some of the additional features
of the rekha deula. The Jagamohan emerged as well-formed pidha deula with harmonious grouping of
pidhas in tiers and all the component members in the mastaka.”
Growth of Odishan temple architecture between 11th century A.D. to 13th century A.D.
The Rajarani temple (l1th century AD.) represents a unique experiment in temple architecture. Its
Sikhara has been clustered by miniature repetition of the Sikhara (called angaSikhara) around the Gandi
in the Khajuraho Style. The beautiful female figures and standing Digpalas are the outstanding features
of the temple. The Rajarani temple and its Jagamohana facing east stand on a platform having three
mouldings. The bada is divided into five parts indicating a progress from trianga to panchanga bada.
While the vimana represents Rekha style clustered with miniature Sikharas, the Jagamohana is a typical
pyramidal structure (pidha deula) similar to that of the Muktesvara temple. The Jagamohana is
pancharatha in plan and crowned by a kalasa. It is surprisingly devoid of any sculptures in contrast with
the heavily carved and decorated main temple. There is no rampant lion on the rahapaga and the top
amalaka is supported by four squat figures. The Deula appears circular on account of the anga sikharas
which cluster round the gandi. The Silpa ratna kosa calls the type as Manjusri (also called Misragarbha,
Misrarekha, Vimanagarbhaka, Vimanamauli and Saptangagarbha) on the basis of the representation of
angasikharas. The Brahmesvara temple of 11th century AD. is a fullfledged curvilinear pancharatha
panchayatana temple. Its pidha temple and components of mastaka are fully developed and have been
followed in the majestic Lingaraja temple. The Lingaraja is the loftiest, grandest and most majestic
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temple of 11th century AD. It marks the culmination of temple architecture. It is the perfect specimen, a
landmark, among rekha temples of the entire country with fully developed Vimana, Jagamohana,
Natamandira and Bhogamandapa. The sanctum is pancharatha in plan. The portion below the spire
consists of five divisions and rests on five richly decorated mouldings. The niches of the central
projections on three sides contain Parsva-devata images. The upara jangha contains roofs of horizontal
tiers (pidhamundis) whereas the tala jangha is presented with miniature shrines of wagon-vaulted roofs
(khakhara mundis). It is described as a shrine “........with a maturity and blooming Odishan style showing
fully developed vimana, Jagamohana, natamandira and bhogamandapa. The parabolic curve of the
tower, rising to a great height lends a unique grandeur to the temple. The height and soaring character
of the towering Sikhara are emphasised by deeply incised lines of the rathas (vertical projections) a pair
of which carry four diminishing replicas of the tower itself as a decorative pattern.” The Lingaraja
temple-pattern followed by a number of temples like the Kedaresvara at Bhubaneswar, Jalesvara at
Kalarbhanga, Gatesvara at Algem etc. The Jagannatha temple of Puri is "by far the most important
temple of the 12th century and the highest extant temple of Odisha." The temple, like the Lingaraja,
consists of the four components of Deula, Jagmohana, Natamandira and Bhogamandapa. The removal
of the coats of plaster, in recent years, from the bada and the gandi revealed the plan as well as the
decoration of the temple. The plan is pancharatha with rounded and projecting kanika. The kanika is
divided into ten bhumis. Multiple baranda mouldings form the base of the gandi. There is almost no
transition from the bada to gandi. Although it is a very lofty tower (about 215 '), a perfectly developed
specimen of rekha temple, it lacks 'the elegance and proportion of the Lingaraja'. The first bhumi of the
raha has horizontal projections of four angasikharas, two on each side of the Garuda motif which crowns
the vajramastaka on the baranda. The Jagamohana is a fully developed pidha deula with a pyramidal
roof. The temple has two compound walls with four gates on the four directions. The Meghesvara
temple (cir. 1195 AD.) of Bhubaneswar is an important structure in the evolution of Odishan temple
architecture. It stands on a platform. It has seven fully formed pilasters which give it the look of a
rounded structure. The intermediate pilasters have a series of complete miniature sikharas running up
to the top and making a part of the walls. The comer pilasters have half-amalakas in place of anga-
sikharas. The Jagamohana is a plain, undecorated pidha temple with a door and two balustraded
windows. The most important change in the plan was adoption of saptaratha in place of pancharatha. It
is the earliest example of Saptaratha.
The temple architecture has attained its most advanced form in the 13th century AD. with the
construction of the Sun temple at Konark. It is rightly observed “Its advancement is marked by the
blending of sculpture with architectural magnificance, chariotcar conception, completely detached
natamandira and provision of a high basement for the sanctum and Jagamohana. The intact
Jagamohana compensates for the loss of the lofty tower. Its bold conception, massive execution, perfect
propertions and imposing dimensions leave the visitor with an undescrible feeling of awe and
amazement.” (Art Traditions of Odisha, Odisha Sahitya Akademy) The temple is conceived as the
mythical chariot of the Sun god with twenty-four wheels and seven richly caparisoned horses. Each of
the wheels is a master piece of Indian art. The conception, indeed, makes it 'a charming monument
unique in the realm of art. The main temple, which is not in existence now, was said to be 228 feet high.
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The gigantic Jagamohana, which survives, speaks volumes on the attainment of the Kalinga style of
architecture. It is pancharatha in plan and stands on a pista. It is a pidha-deula having a three-tiered
pyramidal roof in contrast to the two-tiered roof of the Lingaraja and the Jagannatha temples. The
interior is a square of 60 feet on each side and the ceiling is supported by four pillars and, iron beams. It
possesses three entrances with beautifully carved door-jambs and lintels of finely grained chlorite stone.
The natamandira is, unlike that the Lingaraja and the Jagamohana of the temple, a detached structure,
standing at a distance of thirty feet in front of the Jagamohana. It stands on a richly decorated platform.
The mandira is a profusely ornate pillared hall. The temple-complex is very huge measuring 865 x 540
feet. The plinth and the pedestal measure 16 feet 6 inches. The stylobate befits the giant wheels each of
which measure 9 feet 9 inches in diameter. Each of the seven horses four on the right and three on the
left side-measure 5 feet 2 inches. Most importantly, the temple is planned in such a way as to receive
the first rays of the Sun, the presiding god of the temple. Abul Fazl, the court-historian of Akbar, has
narrated the existence of 28 temples in the grand complex near the Sun temple. The ruins of the temple
of Chhayadevi vouch safe the fact. About the Sun temple he narrates, “Near Jagnnath is the temple
dedicated to the sun. Its cost was defrayed by twelve years revenue of the province. Even those whose
judgement is critical and who are difficult to please stand astonished at its sight.” On the otherhand, Sir
John Marshall was overwhelmed with the grandiose plan and unique execution and remarked,“There is
no monument of Hinduism, I think, that is at once so stupendous and so perfectly proportioned, as the
Black Pagode, and none which leaves so deep an impression on the memory.”
Some important temples of Odisha

During the Sailodbhaba period Lakshmanesvara, Bharatesvara, Satrughnesvara, Parsurarnesvara and
Svarnajalesvara temple had been constructed in Bhubaneswar. During the Bhauma-Kara period
Sisiresvara, Vaitala (Khakara type) and Markandesvara temples were built. During Somavamsi period
Muktesvara, Rajarani, Brahmesvara and Lingaraja temples were built. During Ganga period Jagannath
temple and Sun temple were famous. Let us discuss some important temples of Odisha in brief which
are given bellow.
Parsuramesvara Temple
The Parsuramesvara temple of Bhubaneswar belongs to the 7th century A.D. Although it is tri-ratha in
plan, but the Gandi projects the Pancharatha style The pagas (pilasters) which constitute the special
feature of the Odishan temple architecture were not fully developed in this temple. Each of the three
pilasters contains a niche. The central pilaster contains the highest number of niches and the two other
contain equal number of niches. There are all together eleven niches in this temple The sikhara portion
contains an amalaka, a kalasi and a lingam instead of Ayudha. This is a peculiar feature of the
Parasuramesvara temple of Odisha. The Jagamohana or Muklasala made its appearance first in the
temple of Parasuramesvara. It is rectangular having skylight between two sloping tires of terrace roof.
The roof is supported by two rows of three pillars on each side and the roof supported by the two side-
walls. The addition of the porch-hall to the main shrine reflect the second step in the evolution of
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temple architecture in Odisha. The Parsuramesvara temple reflects other architechiral peculiarities. It
has two doors and four windows placed irregularly in the Mukhasala. One Door in on the south side and
the other is in the west wall. It faces the sanctuary. The windows of north and south help in the
ventilation. The windows on each side of the west door contain figures musicious and dancers. The walls
of the porch and shrine are carved with various sculptures scros creepers, human and animal figures and
stories from mythology are found as decorative motif of the temple. Although the carvings are crude
and coarse but the figures look lively and natural. Simplicity and elegance were the hallmarks of such
sculptures. Even today these sculptures are unparalled in the history of temple architechure of Odisha.
Muktesvara Temple
The Muktesvara temple is a unique one in the field of Odishan temple architechure. It was so elegantly
disigned that it became one of the most beautiful temples of India. The gate of the temple was well
designed and its balance and design give it a grandoise look. The Vimana stands on a raised platform. It
is square in ground plan. The base has its five divisions such as Khura, Kumbha, Pata, Kani and Vasanta.
These five divisions were absent in earlier divisions of temple. The pilasters have recesses which contain
Gaja Simha and Naga columns. Here in this temple, the niches are empty and have no Parsvadevatas
(side deities). The Sikhara is short. It has four Natarajas and four Kirtti-mukhas on four facades. The
Nataraja figure from the western facade has been detached and kept inside a miniature temple inside
the same temple premises. It has no Anga-sikhara (replica of the main tower). The ground plan as the
Jagamohana of the Muktesvara temple is just like a star. The The Muktesvara Temple steps of the
pyramidal roof recede when it ascends. The temple has on amlaka. The Badas on the northern and
southern sides have pilasters and each of them contains a square-shaped perforated window. The
portions of the roof above the windows rise in two tires with the steps (pidhas) and are surmounted by
images of lions. The recesses between the pilasters contain the figures of Gaja-simha and Nagacolumns.
The Torana (gate) is a unique fealure of the temple of Mhktesvara. It stands before the
Jagamohana. The basement of the pillars contain an each face a miniature shrine having a twin
Gaja-simha figures at the top. Each of the sixteen-sided shafts consists of four blocks of stone and at
their top appears Kirtti-mukhas. The top most blocks has imposed Vedika, Amlaka and a spreading lotus
capital on both the sides a pair of female figures with graceful pose are found. Each arch has a projecting
Makara-mukha which is quite distinct in the Torana of Muktesvara.
Vaitala Temple
The Vaitala temple (c. A.D. 775) of Bhubaneswar in a typical temple architecture. It represents the
perfact presentation of the Khakhara type of architecture. Although, it represents a ratha type but the
finials consists of Amalaka and Ayudha. The plan of the temple is different. It stands on a lower
platform. Scroll mouldings are found at the lower basement. Except the west on all the sides of the
temple rectangular niches occur on the walls in the form of window. Between Bada and Mastaka erotic
sculptures occur. The Jagamohana of the vaitala temple is rectangular on its four corners are placed the
replicas of the Sikhara type of temple. The Jagamohana has no pillar, grill or window. There are fifteen
sculptures in the Jagamohana. The inner structure of Vaitala temple has an eight-armed chamunda
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figure was in the presiding deity. She is surrounded by other Matrika figures like Brahmane; Mahesvari;
Kaumari; Vaishnavi; Varahi and Aindri. The image of Virabhadra is also found associated with the
Matrika figures. Historians presume that the vaitala temple was meant for the practice of Tantra rituals.
Unusually, the inside of the temple is dark in comparism to other temples. Perhaps, some esoteric
practices were going on inside the temple.
Rajarani Temple
The Rajarani temple (A.D. 1000-1022) in Bhubaneswar is a splendur in Odishan architecture. Some
historians think that its name was Indresvara or Indralingesvara as per the name its builder lndraratha,
an illustrious somavamsi ruler. This temple has no presiding deity at present and it is famous as a temple
having no deity. The Rajarani temple stands on a platform having three mouldings. The temple has a
punchanga Bada. The Vimana of the temple represents Rekha style clustered with miniature
Sikharas. Its Jagamohana is a Pidha deula having a pyramidal structure. It is Pancharatha in plan. In is
crowned with a Kalasa. In the Rajarani temple, the Navagraha Panel appears on the lintels of both the
purch and the sanctur. The Digpalas, Dvarapalas and other decorative motifs are found on the body of
the temple. The Vimana of the temple bears a large number of its miniature prototype called as Anger-
sikharas. The images of beautiful ladies, Dikpalas and shall images in alto-relievo of the vimana add
lusture to the temple. Considered from every angle, the Rajarani temple attains perfaction in the
Kalingan style of temple architechure.
Lingaraja Temple
Among all the temples of Odisha, the Lingaraja temple at Bhubaneswar deserves special mention. It
bears architectural splendour and is regarded as one of the best archaeological monument of the east
reflecting Kalinga type of architect; with all its perfection. It was constructed between 1025 and 1065
A.D. A gigantic structure of about 180 feet high dominating the entire landscape at Bhubaneswar. The
temple stands within a spacious compound of laterite measuring 520 by 465 feet surrounded by a
number of smaller temples. The presiding deity of this temple is known as Tribhubanesvara
(Bhubaneswar) from which the city has derived its name. The majestic Lingaraja temple has four frontal
projected sections such as the Deula, Jagamohana, Natamandira and Bhogamandapa. It can be stated
beyond doubt that the Natamandira and Bhogamandapa are later additions. The Vimana and
Jagamohana of the Lingaraja temple are wonders for the people in general and art-historians, in
particular because it is a surprise that how big pieces of rocks could be lifted to such a great height when
modern device was quite unknown in that remote phase of history. The Jagamohana of the Lingaraja
temple is decorated with various sculptures. I had also balustrated windows in the north and south,
which of course, are closed now. The Natamandira and the Bhogamandapa are open halls. The images
of Parvati, Ganesa and Kartikeya appear in the northern, southern and western niches of the sanctuary
respectively. The life-size images of the Parsva-devatas are made of chlorite. The three distinct Puranic
episodes are found on the walls of the sanctuary and of the Jagamohana. On the southern door of the
Jagmohana, the marriage scene of Lord Siva has been depicted where Siva wears the crown of a bride
17
groom but appears perfectly naked. The images of Bhrikuti,Brahma and Parvati are associated with the
scene. On the southern facade of the sanctuary, a scene is found where Yasoda churns curd and
Srikrishna, as a child, disturbs her. The image of Nanda is also associated with it. The third episode on
the western side of the Vimana is represented with a simple form of Lord Siva's marriage. The Lingaraja
temple is a rekha deula planned in the Pancharatha style without a Pistha (platform) having
Panchangabada. The Varanda of the temple contains 10 mouldings beautifully carved. The
Janghas are richly decorated and the lower Jangha is ornamented with Khakaramundis. The
Mastaka, Khapuri and Kalasha of the temple have been arranged very nicely and trisula is the finial in
the temple. The beauty of the deula and Mukhasala is very much artistic in nature. Thus, the Lingaraja
temple is architecturally magnificent and it represents the matured kalinga-style of artistic excellence.
The Jagannath temple at Puri
Among all the temples built during the Ganga period, the Jagannath temple at Puri deserves
commendation. As stated earlier, Chodagangadeva might not have started the construction of that
temple. He probably, extended the work of the Jagannath temple after 1147 A.D. and failed to complete
it during his life time as the Dasgoba inscription states that it was constructed in 1198 A.D. which is
certainly after the death of Chodagangadeva. The construction of the temple was completed most
probably by Anangabhimadeva III. Be that as it may, with the construction of the Jagannath temple, Puri
became a great centre of religion and culture not only in Odisha but also outside of it. However, many
later additions to this temple were made during the rule of the Suryavamsi Gajapatis in Odisha. The
imposing structure consists of the Vimana, Jagamohana, Natamandira and Bhogamandapa. The last
two structures were, perhaps, constructed during the Suryavamsi Gajapati rule.
The Vimana of the temple stands at a lofty height of 214 ft. and 8 inches an a square of 80 ft. The heavy
plaster of the temple in the exterior prevented the scholars to know about the sculptural decoration of
the outer walls. However, the recent removal of plasters from the outer walls of the temple by the
Archaeological survey of India brought to light the decorative motif of the temple. The figures in the
Vimana are the proofs of the developed art of Kalinga. Among those, the figures of Astadikpa/a, lion
standing over crouching elephants, the figure of adult Krishna, the procession of horses and elephants,
various sociao-cultural scene, erotic panels etc. The Vimana has been constructed in a Pancharatha
plan.
The Jagamohana of the temple like that Vimana, follows a Pancharatha style. The roof of this structure
is amply supported by several iron beams. Its outer surface contains some erotic scence. Its height is 120
ft.
The Natamandira of the temple is pyramidal in form. It is a square room measuring 69 ft x 67 ft. inside
and the outside measurement of it is a square of 80 ft. The Natamandira depicts the story of the Kanchi-
Kaveri expedition which most probably found place there during the glorious reign of Gajapati
Purusottamadeva.
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Like Natamandira, the Bhogamandapa is a pyramidal structure measuring 58 ft. x 56 ft. The sculptures
in this structure depict mainly stories related with Sri Krishna's life like his playing of flute when the cows
listen to it with' upraised heads, Krishna's various poses, his play with the cowherd women in the boat,
Dola yatra etc. The depiction of other deities of Brahmanical pantheon in the Bhogamandapa is quite
interesting. The scene of indrasabha, (the court of Indra) Rajyavisekha (investitrue ceremoney) of
Ramachandra, God Siva sitting on his bull etc, are depicted marvellously well. The entire Jagannath
temple is surrounded by an outer wall known as the Meghanada Prachira. Historians point out that this
wall did not form a part of the Original plan of the temple. It gave the temple the form of fort having
four gate-ways. The gateways of the temple definitely added grandeur to the structure. The eastern
gate is popularly known as Simhadvara.
On either side of the entrance, the figure of big crouching lion with a crown on the head is found. Two
rubust figures, Jaya and Vijaya are found on the pilasters of that door. This gate is famous among the
pilgrims as Jaya Vijaya dvara. This gate is the main entrance to the temple. This gate contains the images
of Patitapabana, Ganesha, Hanumana etc.
In front of the gate is Aruna Stambha (the Surya pillar) which was brought from Konarka and installed
there during the Maratha rule. The southern gate or Asvadvara comes next in order of importances. The
gate is so named because two big horses (one black and another white) with their riders (Balabhadra
and Jagannath respectively) are found on the pilaster of that door. This reminds the people regarding
the legend of the Kanchi-Kaveri expedition of Purusottamadeva. The northern gate has two colossal
elephants on either side. For that reason it is known as the Hastidvara. It comes next in importance to
the Asvadvara.
The last entrance gate to the temple of God Jagannath is known as the Vyaghradvara. It is due to the
presence of two big tiger images there. Their presence gives a grandiose look to the gate. The religious
significance of these four gates is well discerened. The Simhadvara represents Dharma (piety); the
Asvadvara, Jnana (knowledge); the Hastidvara, Aisvarya (material prosperity) and lastly, the
Vyaghradvara represents Vairagya (renounciation).
Immediately, after the entrance into the temple through Simhadvara, a pilgrirn has to cross
Baisipahacha (22 steps) which, as per the Hindu belief, represent twenty-two sins of human life. When
one crosses these steps, he crosses all the sins and attains Punya (religious merit). The main shrines in
this area are the gateway of Kurma bedha and Saraghara of the Suras. The Small shrines in this
Baisipahachas area are Kasivisvanatha, Ganesa, Nrusimha and Ghantamundia Thakurani. At the top of
the Baisipahacha, a double wall divides the area into two, the outer one and the inner. One can notice
the shrines of Nrusimha, Barabhai Hanumana, Gopala, Rama and Budhima in the area stretching
between the Asvadvara and the inner inclosure. Towards the western gate four important tirthas
(places of pilgrimage) of India viz the Vadrinarayana, Ramanatha, Krishanatha and Jagannath are found.
If one visits these four shrines, he attains Punya.
The outer enclosure, after the Hastidvara is significant with the presence of the shrines of Sitala,
Uttarayani, Hanumana, Somanatha, Dhavalesvara and Patalesvara. Four epigraphs of the famous Ganga
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monarch Anangabhimadeva III found in the Patalesvara temple describe the rituals of the Jagannath
temple. The Rosasala or the kitchen of Lord Jagannath is regarded as the greatest kitchen of the world.
Here, rice and vegetables are cooked simultaneously by earthern pots kept over one another. The
cooked rice and curry are offered to the God as Bhoga which becomes
Mahaprasada after the offering is made.
Among the important shrines in the southern side the Astadhatu (made of eight metals) image of
Nilamadhava in the shape of Lord Jagannath is important.
The Kalpabata is another notable thing inside the temple complex where the women, desirous of son,
bind threads in the branches of that great banyan tree.
The Muktimandapa (hall of salvation) is another sixteen pillared eleved rectangular building measuring
30 ft. x 38 ft. It was constructed by Gajapati Prataprudradeva. There the Brahmin Pandits, apt in sastric
law assemble and give their expert guidance to people to get rid of sins. For centuries, this Mandapa has
allured the attention of the people of Odisha and India as well.
Close to the Muktimandapa there is Rohini Kunda. It contains an image of a crow with four hands. The
water of this Kunda is regarded as sacred by the pilgrims who sprinkle the same over their head.
Among other small temples inside the Jagannath temple complex, the Vimala temple deserves
commendation. From the iconographic point of view, its construction can be dated before the
construction of the Jagannath temple. The sacrifice of the goat before goddess Vimala on the Dasahara
festival clearly indicates the Sakta-tantric character of the temple. The shrines of Sakshigopala, Kanchi
Ganesh, Panchasakti Nilamadhava and Bhadrakali. The temple of goddess Laxmi is another notable
architectural splendour inside the temple complex of Lord Jagannath. The scene of elephants pouring
water over the head of that goddess makes the pilgrim spell-bound for its artistic excellence.
The temple of Navagraha including the Sun god is another shrine inside the temple complex. It indicates
the Saura cult had gained momentum during the glorious days of the Gangas as is evident also from the
Sun temple at Konarka.
The Anandabazar is another notable site inside the temple complex. Here, the Mahaprasada of the Lord
is sold. At that place, male and female irrespective of caste and creed take the prasada together.
Besides, Anandabazara , the Koili Vaikuntha, Nilachala Upabana (garden) and a museum (recently
opened) etc. are other noticeable features of the temple of Lord Jagannath. Thus, it is apparent that the
temple of God Jagannath represents the amalgamation of the Saiva, Vaishnava, Ganapataya, Sakta and
other cults thereby showing religious synthesis. It was again the best representation of the Kalinga style
of art.
The Sun temple at Konarka
The Sun temple at Konarka, popularly known as ‘Black Pagoda’ was the fullest manifestation of the
Kalinga style of architecture. Architecturally, it was 148pecimen in stone. This monumental temple was
20
constructed by Narasimhadeva I or Langula Narasimhadeva in the 13th century A.D. The legend goes on
that 1200 Odishan artists took 12 years for the construction of this gigantic structure. Situated at a
distance of 35 kms to the north-west of Puri on the river bank of Chandrabhaga, the Sun temple has
allured the attention of tourists from all over the world. Konarka is popularly known as Arkakshetra
connecting the worship of the Sun god.
The temple consisted of the Vimana, Jagamohana and Natamandira. The Vimana is now lost due to the
fall of stones from the top of the temple. The existing Jagamohana (Mukhasala), designed with a
pyramidal roof, stands on a high platform. The 24 wheels, carved on the sides of that elevated platform
upon which the Deul (sanctum) and Jagamohana (porch) stand, represent the 24 hours of a day. A group
of 7 spirited horses sculptured on the sides of the staircase denote 7 days of a week. The wheels and
horses together present the idea that the temple was designed in the form of a colossal Solar Chariot.
The Jagamohana contained three doors each with attached steps. However, all these doors and steps
have been blocked up and the interior filled up with sands. The Vimana and Jagamohana were planned
in the Pancharatha style.
The Natamandira was planned as a detached building in front of the main temple. It had approachable
flight of-steps on four sides. It is a lavishly carved pillared structure. All over the structure am depicted
dance and musicai performance that consist of Pakhoaj (leader braces and wooden blocks for producing
designed intonation), Dholak (barrel shaped double faced longish drum), Sahanai (large pipes giving
sweet music), Karatalas (large metallic cymbals with strings), Vina (strined musical instrument), Vamsi
(flute) etc. In front of the eastern flight of the Jagamohana stood a colossal chlorite pillar, known as
Arunastambha. As stated earlier, it had been shifted from Konarka and installed in front of the temple of
God Jagannath at Puri during the Maratha rule.
The main temple, that contained the idol of Sun god, was 230 ft. high, the biggest in the “Whole India.
However, it is ruined. The compound of the temple is 877 ft. x 540 ft. It is really a wonder, how such big
stone slabs were carried on to the top for the construction of this temple. It is suggested by the
archaeologists that after the structure from the ground by sands, the big stones were placed over it.
The Sun temple of Konarka is remarkable for its variety of sculptures. Among them are the deities,
musician-nymphs of the celestial sphere, secular sculptures, erotic figures, birds, beasts, acquatic
animals, mythological figures, motifs reflected in figures, decorative bodies etc. Among the deities the
most remarkable are the chlorite images of Surya in the three projected southern, western and northern
niches of the Deul, the rising sun, mid-day sun and setting sun respectively. The artists very rightly
matched their talent with creation by depicting the rising sun with a smiling face, the midday sun with
grave look and the setting sun with faded look.
The Navagraha sculpture of the temple is another piece of architectural creation. From the left to right
the planets have been installed in this order as such the Ravi (Sun), Chandra (Moon). Mangala (Mars),
Budha (Mercury), Brihaspati (Jupiter), Sukra (Venus), Sani (Saturn), Rahu (the ascending node) and Ketu
(the descending node). Now the Navagraha slab is kept inside separate temple.
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The worship of Siva (in the form of Linga), Purusottama (God Jagannath) and Mahisamardhini (Durga) is
gleaned from the sculptural remains of the Sun temple of Konarka. Four such sculptures have been
preserved in four different places viz. one at Sun temple of Konarka, one in Konarka museum, one at the
National Museum (New Delhi and the last in the Bhogamandapa of the Jagannath temple at Puri.
A noteworthy feature of the Sun temple of Konarka is the three outstanding animal figures which
guarded the three starcases of the Jagamohana. Among these figures Gajasimhas (lion on elephant) find
place in the east, elephants on the north and warhorses, on the south. These animal figures express the
artistic skills of the Odia sculptors.
The Sun temple at Konarka is a specimen of sculptures. Several sculptures like the decorated doors,
royal chambers, the procession of king to receive the warriors, musicians playing on various musical
instruments, meditation of saints, figures of elephants, horses, camels, snakes, divine and semidivine
figures etc. bear ample testimony of the creative mind of the Oriya artists of that period. Very
interesting is the depiction of a ziraffe eating grapes on the temple wall of Konarka. It was an African
animal. It is not known how the Odia artists came in contact with this animal. Be that as it may, it was
definitely a noteworthy feature of the temple art at Konarka.
A notable feature of the architecture of the Sun temple of Konarka is the presence of erotic figures in
the walls. Like the Khajuraho temple, the obscence sculptures of Konarka, depict the sensual pleasures
of human life. It is a clear indication that human life is equal to the life of beasts. The aim of such
depiction was perhaps that a pilgrim who visits the temple should not be swayed by the mundane life
but should control hissenses to get victory over it. A. K. Coomarswamy, a notable art historian remarked
regarding these sculptures as such: “Love and desire are part of life. Life is a veil behind or within which
is God.
The outside of the temple is an image of this life, Samsara, and the carvings on it present everything
that belongs to Samsara and perpetuate illusion, every bond and each desire of loveliness that binds
men to the wheel of life and death.” N. N. Bhattacharya comments on the erotic sculptures of the Sun
temple of Konarka stating that it was the reflection of the abnormal sexual desires of the dominant class
of the man whose magnificence was responsible for the construction of this temple. However, its
importance has been rightly painted out by Robert Ebersole as such : “Even if one elects to dismiss the
intrinsically superb sculptural qualities of the erotic figures, there still remains a tremendous number of
morally acceptable example which attest to the fact that the temple of the Sun represents the
culmination of medieval Hindu art and the supreme achievement of temple sculpture.” Really, the Sun
temple at Konarka is the finest specimen of the creative genius of the Oriya artists.
The Kalinga style of art reached the pinnacle of perfection with the erection of the Sun temple at
Konarka. From the point of elegance, balance and beauty this temple, the only temple in Eastern India
which got distinction to be one of the seven wonders of the world.
Besides these two great temples of national and international importance, the Ganga period also
witnessed massive temple building activities. The temple of Ramesvara, the temple of Gangesvara at
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Bhubaneswar were built by Chodagangadeva. The temple of Chintamanisvara near Laxmisagara in
Bhubaneswar was built by Lakshmi Devi, the wife of Chodagangadeva. The Anantavasudeva temple,
located on the eastern bank of Vindusarovara was another important temple of that period which was
built by Chandrikadevi, the daughter of Anangabhimadeva III.
Another important temple of the Ganga period was Meghesvara temple of Bhubaneswar, constructed
by Svapnesvaradeva, the brother-in-law of Rajaraja II and the Commander-in-chief of the Ganga army.
Further, the Yamesvara temple, Mitresvara temple, Varunesvara temple, Bhaskaresvara temple,
Chitresvara temple, Parvati temple (in the complex of the Lingaraj temple) all in Bhubaneswar belonged
to this period. Among other temples, the Sobhanesvara Siva temple at Niali, the Dakshaprajapati Siva
temple at Banapur, the Kshirachora Gopinath temple at Remuna in the Balasore district, the temple of
Mukhalingam, Simhachalam, Narayanapuram, Tekkali etc. were also constructed during the glorious
days of the Gangas.
Questions:
1. Write a note on the growth of temple architecture in Odisha.

2. High light the components of temple architecture in Odisha.
3. Give an account on the growth of kalinga style of temple architecture.
4. Discuss the architectural components of temple architecture.
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Society during the Bhaumakara

Society underwent changes during ancient and medieval Odisha. Although the Bhauma rulers were
Buddhists, they accepted the Brahmanical socio-religious order. They tried to enforce the Varnashrama,
i.e., division of society into four Varnas (Brahmana, Kshatriya, Vaishya and Shudra). The Neulpur charter
of Subhakaradeva I states that Kshemankardeva put Varnas in their proper places. The Terundia charter
of Subhakaradeva II states that he established the Varnashrama system in accordance with the
scriptures. As the Bhauma rulers accepted the Varnashrama urder, they attached great importance to
the Brahmanas, the highest Varna. They encouraged immigration of Brahmans from Madhyadesa (north
India) and Bengal by the offer of land grants.
The Social Structure : Caste system
One of the notable feature of ancient Indian society was the caste system. The Odishan society was not
an exception to it. It consisted of numerous castes and sub-castes and the interaction among them
brought social harmony bringing peace and tranquility in the Odishan society. The caste structure of the
society of the Bhaumakara period is given bellow:
The Brahmins
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In the Varna system, the Brahmins enjoyed the highest position in the society of and belonged to the
first order. They commanded respect from the people in the society by their learning, prudence, pious
character and other virtuous qualities. It is known from many inscriptions of the Bhauma-Karas that
Brahmins belonging to several gotras like Bharadwaja, Kausika, Visvamitra, Sandilya, Kashyapa, Atreya,
etc. settled in Odisha. They settled in the Shasanas (agrahara villages) as is known from numerous
inscriptions belonging to the Ganga and Suryavamsi Gajapati period. They received land grants from the
kings and other landed aristocrats to worship gods and goddesses in different temples. Those lands
were tax free lands. Further, they were also indispensable for many important ceremonies like the
Abhiseka (coronation ceremony) of the king, marriage, upanayana (sacred thread ceremony) etc. By
their noble works as priests, they commanded respect of the society and were placed in the highest
position in the caste structure. Besides discharging their duties as priests, the Brahmins also got
lucrative posts in the courts of the kings and Zamindars.
The Kshatriyas
The Kshatriyas occupied their position in the society next to the Brahmins. They were warrior class and
shouldered the responsibility to protect the country from internal rebellion and external aggression.
Besides fighting they administered the country. As the inscriptions and literary sources of this land refer,
they were benevolent rulers not despots or autocrats. They had great veneration towards the Brahmins
from whom they sought advice to carry on administration. They were great builders. By receiving their
patronage, a good number of temples were built up in Odisha. They were famous for their charity. The
digging of tanks, establishment of Shasanas, educational institutions etc. were also their look out. They
also took interest in the promotion of learning inside the society. Besides the kings and members of the
royal family, the army chiefs, soldiers and other officials belonged to the Kshatriya caste. The Kshatriyas
looked for the welfare of the subjects of the society
The Vaisyas
The Vaisyas belonged to trading class who resorted to cultivation, cowherdship, trade and commerce.
Generally, prosperity of the land depended largely upon the people of this community. They organised
hatas (local markets) and controlled both inland and maritime trade. From the time of Asoka, it is
evident that trade routes on land passed to distant South via Kalinga and it monopolised the trade and
commerce and her economic prosperity had become an eyesore to Kalinga. This was possible due to the
trading class (Vaisyas) in the ancient and medieval Odisha. Further, the Vaisyas of Odisha carried on
oversea trade with the countries like Ceylon, Siam, Burma, Suvarnadvipa etc. and brought wealth to this
land. They also helped in spreading the Odishan culture in South-East Asia. The Kshatriyas also paid
attention for the growth of the Vaisyas. The kings granted special villages for them known as the' Vaisya
agrahara.
The Sudras
In the traditional class structure, the Sudras occupied the lowest position. The Sudras were drawn from
the community that consisted of artisans, craftsmen, petty agriculturists, servants etc. Even, they were
24
attached to the temples to serve the gods and goddesses. Besides the above mentioned professions,
some Sudras were untouchables. They were untouchables and remained outside the society. However,
they served the society in various capacities. Among them were the washerman (rajaka), fisherman ,
(kaivartta), shoe-maker (charmakara), basketmaker (doma) etc. Besides Sudras, other sub-castes in the
society were saundikas (brewers), tantuvayas (weavers), kumbhakaras (potters), malakaras (gardeners),
napita (barber), tambarakara (coppersmith), tathakara (metal worker), kamara (blacksmith) etc. who
rendered their habitual service to the society.
Promotion of Language and learning
Sanskrit language was used in the inscriptions and literature of the Bhaumakara period. The Buddhist
manuscript, Gandavyuha was written in Sanskrit. The Bhauma rulers were learned and cultured who
extended their patronage to the institutions of learning. The monastery of Ratnagiri was one of the
greatest centres of Buddhist learning in medieval lndia, and attracted
159 scholars from different countries. According to the Tibettan tradition, recorded in Pag Sam Jon
Zang, Bodhisri and Noropa practised Yoga at Ratnagiri. Taranath mentions that Acharya Pito who had
acquired the Siddhi of invisibility was teaching Yoga at Ratnagiri and that Abadhuti, Bodhisri and Naro
(Naropa ?) were his disciples.
Position of women
Women enjoyed high position in the society during the Bhaumakara period. Although, they were
dependant on their parents and husbands, still they commanded respect in the society. A striking
feature of the Bhauma rule was that it provided a number of female rulers. In ancient India, if a king
died without a male issue, the chief queen adopted a boy as the son to ascend the throne, or if the king
died leaving a minor son, the dowager queen acted as the regent, but during the Bhauma rule women
ruled independently in their own rights. Tribhuvana Mahadevi-I ruled as a full-fledged sovereign after
the death of her son. Tribhuvana Mahadevi-II ruled over the kingdom after the death of her husband,
even though her husband's brother had sons, who had legitimate claims over the throne. There were six
female rulers in the Bhauma period. Five of them were dowagers and one was a king's daughter.
Women of high birth and noble families received education. They also received educations in music and
dance. The Bhauma queens were great devotee, to various religious faiths and were instrumental for
building temples and creating provisions for the worship of the God or Goddess. The literature of the
time reflects that monogamy was the prevailing norm of the society. However, polygamy was not
unknown in royal and higher families. The systems of Sati and Pardah were not prevalent. In general,
women enjoyed high position in the society.
Dress and ornaments
The women of Bhauma period were fond of various hair styles, cosmetics, perfumes and ornaments. The
sculptures of the period exhibit various types of organments, such as Kundala (ear ring), Karnaphula (ear
flower), Ratnahara or Chandrahara (necklace), Mekhala (girdle), Koyura (armlet). Manjira (foot
25
ornament) and Kankana (bracelet). The queens preferred necklaces and foot ornaments. Their
ornaments were made of gold and silver and studded with pearls and diamonds.
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Religious Life during the Bhaumakaras

In the pre-Bhauma period both Hinayana and Mahayana schools of Buddhism were prevalent in Odisha.
Hinayana monks of Odisha had the audacity to assert the superiority of their doctrine before the king
Harsha who was a great patron of Mahayana Buddhism. The early phase of Bhauma rule saw the
phenomenal development of Mahayana and Vajrayana or Tantrik Budhism in Odisha.
The three early Bhaumakara rulers - Kshemankaradeva, Sivakaradeva I and Subhakaradeva I respectively
bore the following Buddhist epithets - Paramopasaka (devout worshipper of Buddha), Parama-
tathagata (devout worshipper of Tathagata or Buddha) and Paramasaugata (devout worshipper of
Saugata or Buddha). At the behest of Sivakaradeva I, a Buddhist monk, named Prajna, went from Odisha
to China to translate the Buddhist manuscript named Gandavyuha.
A number of Viharas or Buddhist monasteries which had come into existence in the pre-Bhauma period
continued to flourish in the Bhauma period. Puspagiri, Ratnagiri, Lalitagiri, Udayagiri, Khadipada, Kupari,
Chaurasi and Jayarampur were the great Buddhist centres of the Bhauma period. A number of the
Mahayana and Tantrik Buddhist images of this period have been found in most of the places, mentioned
above.
The Bhauma rulers followed a policy of magnanimity and toleration towards all religious sects. It
appears that the later Bhauma kings inclined towards the non-Buddhist sects like Saivism, Vaishnavism,
Tantricism and Shakti cult. Madhava Devi, the wife of Subhakaradeva I built a Siva temple,
Subhakaradeva III donated a village for the maintenance of the Siva temple of Pulindesvar.
Subhakaradeva IV, Sivakaradeva III and Dandi Mahadevi were great devotees of Siva.
The Siva temples of Sisiresvara, Markandesvara and Talesvara in Bhubaneswar belong to the Bhauma
era. Tribhuvana Mahadevi I, Subhakaradeva IV, Prithvi Mahadevi, and Santikaradeva II appear to be
devotees of Vishnu. The Nandodbhavas, who were feudatory to the Bhaumas patronized Vaishnavism.
The Bhauma period also saw the growth of the Sakti cult in Odisha. The Vaital and Mohini temples of
Bhubaneswar, enshrining Chamunda, were built during this period. The various temples and images of
the Bhauma period testify to the architectural and sculptural excellence as well as religious synthesis
and eclecticism.
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26
Society during the Somavamsis and the Ganga period

The Somavamsis had adopted the Varnashrama dharma i.e., traditional division of the society into four
Varnas (Brahmana, Kshatriya, Vaishya and Sudra), and gave the highest status to the Brahmanas. By
performing Vedic sacrifices and facilitating the migration of Brahrnanas from northern India through
generous offer of land grants the Somavamsi rulers promoted the Brahminisation of the socio-reliqious
life of Odisha as well as the assimilation of the north Indian Sanskritic culture into the Odishan culture.
On the other hand the traditional Varna system prevailed during the Ganga period. As before, the
Brahmanas enjoyed the highest status and maximum privileges in the society during this period. Many
of them enjoyed land grants (Agraharas) as scholars and priests. Besides discharging their duties as
priests, the Brahmins also got lucrative posts in the court of the king. The Ganga inscriptions show that
the Brahmins like Vanapati, Govinda and Vishnu worked under the Ganga kings Raja Rajadeva I,
Anangabhimadeva II and Anangabhimadeva III respectively as ministers having high reputation. The
inscriptions at Srikurmam and Simhachalam refer to Narahari Tirtha who acted as a regent when
Bhanudeva I, was a minor. The Ganga inscriptions states that some Brahmins served as military officers
using titles like Vahinipati, Chamupati and Senapati. Further, the Brahmins were also appointed in the
posts of Sandhivigrahi (Ka), Sasanadhikarin, record- keeper etc. The Brahmins during that period were
also engaged in several other professions besides the above mentioned works. The inscriptional
and literary sources of the period reveal that they resorted the agriculture, trade, temple building
activity and so on. The Brahmins performing higher works like the priests, guru,
Mahasandhivigrahika etc. were known as the Shasani Brahmins. The Brahmins who resorted to lower
professions like agriculture, trades etc. were known as Halua or Jharua Brahmins. Whatever the fact
might be, learning and imparting education were the main .functions of the Brahmins in the society.
They were well-versed in the Vedas and other Sastras. They grew under the patronage of kings and
maintained their educational institutions. The court of the Ganga monarchs and Suryavamsi kings
basked with the learned Brahmins. They contributed a lot of Smriti, Vyakarana, poetry, drama and other
branches of knowledge. Due to their high educationthey were revered by the people in the Odishan
society. During this period it is found that a number of Brahmanas also entered into non-religious
professions like military service, other categories of government service, and trade. The army men could
be recruited from all the four varnas - Brahmana, Kshatriya, Vaishya and Shudra.
The Kshatriyas occupied their position in the society next to the Brahmins. Besides the kings and
members of the royal family, the army chiefs, soldiers and other officials belonged to the Kshatriya
caste. The Khandayats or Paiks were Kshatriyas who resorted, to cultivation at the time of peace and
jumped into the prey when the war drums were heard. The ruling families cemented matrimonial
alliances with other kings and feudatory chiefs to secure their position. Whenever there was any
external aggression they joined hands to oust the army. The help of Paramadrideva, during the reign
period of Narasimhdeva I against the Muslim rulers of Bengal, is well known. The Kshatriyas were thus,
instrumental in maintaining peace and stability of theland and looked after the welfare of their subjects.
The records of the Ganga period mention the Kayasthas as an important caste.
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The Kayasthas or Karanas
The Kayasthas or the Karanas were a hereditary class of writers. Their Varna status is not clear from the
available records. Some sources say that they were Kshatriyas. Others hold that they were Shudras.
Whatever might be their Varna status, they occupied "all cadres of posts in government, from that of a
village-headman and accountant to that of a prime minister and army general". The Kayasthas occupied
a dominant position in the medieval Odisha. Though, the formation of this sub-caste cannot be traced
back to an exact year, still in the 10th-11th century A.D. references to them were made in the
inscriptions. The Kshatriya and Vaisya descent of the Kayastha or Karana is known from inscription. They
became hereditary class of writers and became indispensable for maintaining royal records owing to
their superior knowledge in accountancy and day to day administration. Not only they were the keeper
of the records, but they also occupied high position in revenue department, army and other
departments. From the Ganga period onwards, their high position never dwindied away. The present
day titles like Pattnayak, Dandapata, Mohanty, Kanungo etc. are remembrances of the past where the
Karanas, like today, were regarded as an important class inside the society of Odisha.
The Vaisyas belonged to trading class who were next to the Kshatriyas in the caste hierarchy. The
Kshatriyas also paid attention for the growth of the Vaisyas. The kings granted special villages for them
known as the' Vaisya agrahara'. The Chicacole plates of the Ganga king Madhukamarnava refers to the
grant of land to a Vaisya named Erapa Nayaka. This clearly indicates that the Vaisyas went hand in hand
with the Kshatriyas for maintaining stability in the society. The term 'Nayaka' is an indicator to the fact
that the Vaisyas also entered into the military service of the king and thus, had a close collaboration
with the Kshatriyas to maintain political stability of the land. Their sound economic condition led them
to donate villages to the Brahmins and the temples.
The Sudras occupied the lowest position in the society. The Sudras were drawn from the community
which consisted of artisans, craftsmen, petty agriculturists, servants etc. They also changed their
professions and absorbed within the fold of Kshatriyas and Vaisyas. Even, they were attached to the
temples for the service of the gods and goddesses. In due course of time, the Sudras gave up their duties
and from among them emerged many Siddhacharyas and tantric gurus who belonged to basket maker,
fisherman and leather worker communities.
Religious life
The Somavamsi rulers were ardent Saivites. They helped the growth and spread of Saivism by the
construction of Siva temples and offer land grants to the Saiva temples, priests and ascetics.
Consequently, a number of Saiva gurus, such as Sadasivacharya, rathamacharya and Acharya Gagana
Siva came to Orissa from far and wide and enjoyed the patronage of the Somavamsi rulers. With the
help of Janmejaya I Gagana Siva built the Someswar temple at Ranipur-Jharial. Yayati-I built the beautiful
Saiva temple of Mukteswar.
The construction of the gigantic Saiva temple of Lingaraj was started by Yayati-ll and completed by
Udyota keshari. Though ardent Saivites themselves, the Somavamsis continued the Bhaumakara
28
tradition of religious toleration. They tolerated other sects such as Jainism, Vaishnavism and Saktism.The
king Udyota Keshari carved Navamuni and Varabhuja caves for the Jaina ascetics.
The early Ganga rulers including Chodagangadeva were devout Saivites. But after acquiring Orissa the
Gangas professed allegiance to Vaishnavism. They showed great devotion to Purushottam-Jagannath
who was regarded as a manifestation of Vishnu. Chodagangadeva built the present gigantic temple of
Lord Jagannath. Anangabhimadeva-III went to the extent of saying that he ruled the empire as the Routa
or deputy of Lord Jaqannath. Puri with Lord Jagannath as the presiding deity became a great centre of
Vaishnavism during the Ganga period.
The great Bhakti saints like Ramanuja, Narahari Tirtha and Jagannath Tirtha came to Orissa from outside
during this period. The recital of Gita Govinda of Jayadeva (the Vaishnava poet of this period) was
introduced into the daily rituals of the Jagannath temple. While professing allegiance to Lord Jagannath,
the state deity, the Gangas patronized the worship of other deities - Siva, Parvati and Sun-God.
Chodagangadeva donated a village for the maintenance of a perpetual lamp in the Lingaraj temple of
Bhubaneswar. Parvati temple was built inside the precinct of the Lingaraj temple during the Ganga rule.
Narasihmhadeva-I built the temple for Sun-God at Konark. The Ganga rulers seem to have attempted a
harmony between Saivism and Vaishnavism. The transformation of Siva of the Lingaraj temple into the
conjoint deity, Harihar (Vishnu as well as Siva), and the construction of the Vishnu temple of Ananta
Vasudeva by . a Ganga princess in the midst of the Siva temples indicate attempts at such a synthesis.
Dress and ornament
The sculptures and literature of the period give clues to form an idea about the dress and ornaments of
the people. The male persons used dhoti as lower garment and Chaddar as upper garment. Female dress
consisted of two garments, upper and lower. They seemed to have wore sarees. The folds of sarees,
sometimes, were gathered, carried on to back between the legs and tucked. The garments of the higher
class people were ornamented with embroidery showing their status. The Devadasis (dancing girls) also
used ornamented dress and richly decorated caps. The females took particular care in dressing their
hairs. The sculptures of Konarka temple indicate that comb and mirror were used for that purpose.
Perfumes were also used by ladies as inscriptions of the time refer to perfumers. The sculptures of the
period show that both male and female used ornaments like Kundala (ear-ring), Keyura (armlet) and
hara (neck-lace). Besides, 165 the women used ornaments like mekhala (girdle), Karnafula (ear-flower),
Kankana (bracelet), manjira (foot ornament). nupura (anklet), Katisutra or Katibandha (waistlet) etc.
The female prepared beautiful hair locks and decorated them with flowers.
Food and drink
The inscriptions and literature of the period throw light on the food and drink of the society. The Ganga
inscriptions narrate how rice, ghee, curd, milk, pulse, curries and payasa (rice cooked with milk) etc.
were offered as bhoga (offerings) to the deities in the temples. These descriptions give an idea regarding
the vegetarian food pattern in the society. Non-vegetarian meals were also in vogue in the society.
Drinking of wine was not unknown to the people.
29
Entertainment
Among entertainments, hunting and pa (chess) formed the pass time resorts of the royal families. The
common people might has resorted to certain games, learning, archery and fighting, music, writing etc.
as gleaned from the description of literature.
Promotion of Learning and literature
There was a phenomenal development in the field of Sanskrit learning and literature during the
Somavamsi period. The inscriptions of the period speak of the proficiency of the scholars in Vedas,
Vedanga, Smtitis, Puranas, medical sciences, Astrology, Arthasastra, Grammar, Poetry, History, Political
Science and Logic. The land grants to the learned Brahmanas facilitated the study of Sanskritic literature.
A number of Sanskrit scholars such as Sadharana, Purushottam Bhatta, Bhavadeva, Acharya
Subhachandradeva and Narayana Satakarni flourished during the Somavamsi period. Sadharana, the
chief minister of .Ianrnejava.] was well-versed in Veda, Vedanga, Vidya, Siksa, Kalpa, Itihas, . Smrifi and
Arthasastra. Purushottam Bhatta wrote a eulogy on king Udyota Keshari. Some of the -Somavamsi kings
themselves were scholars. The Somavamsi inscriptions use some typical Oriya words such as
Khamba, Punya and Machha. This period was undoubtedly a Significant phase in the formation of Oriya
language. Being learned and cultured themselves, the Ganga monarchs also extended their patronage to
the promotion of learning. They offered land grants to the learned Brahmins, temples and maths
(monasteries). The temples and maths were centers of religious culture as well as learning. The copper
plate grants and stone inscriptions show the high water mark of Sanskrit literature in Orissa during the
Ganga era. During this era there were a number of intellectual luminaries in Orissa. Pandit Vidyadhar
(the composer of Ekavalr), Jayadeva (the author of Gita Govinda), Shridhar Acharya and Nilambar
Acharya (the Smriti writers), Viswanath Kaviraj (the author of Sahitya Darpan), and Satyananda (the
astronomer who wrote Surya Siddhanta) belong to this period.
Evolution of Oriya Language
Some stone and copper plate inscriptions of the Ganga period clearly indicate that Oriya language and
script took a definite shape during this period. Consequently during the reign of Kapilendra, the
immediate successor of the Gangas, Sarala Das could write his Magnus opus, Mahabharat in the
language of the masses.
Music and Dance
The Ganga monarchs extended patronage to the development of music and dance. The
Natamandapas (Dancing Halls) of the temples were the places where the Devadasis (the maidens
dedicated to the temples) were performing dances to the tune of compositions and musical
instruments. The temple of Jagannath at Puri and the Sun Temple of Konark (which were built by the
Gangas) have Natamandapas. Anangabhimadeva-III added Natamandapa to the temple of Lingaraj in
Bhubaneswar. The Ganga kings employed damsels in the temples for singing and dancing. Tradition
avers that Padmavati, the wife of poet Jayadeva was a Devadasi, dedicated to Lord Jagannath. She used
to dance to the tune of the songs, composed by her husband. The Ganga temples, particularly the
30
Natamandapas are full of the panels of singing and dancing girls in ecstatic postures with musical
instruments.
Position of women
Women enjoyed high position in the society. Women enjoyed respectable status in the Somavamsi
society. Some of the Somavamsi queens performed important works like the construction of temples.
The Queen Kolavatidevi, the mother of Udyota Keshari constructed the Brahmeswar temple at
Bhubaneswar. Nevertheless, the status of women appears to have degenerated during this period. The
Devadasi practice (the practice of dedicating maidens to the temples) and prostitution were prevalent
during this period. The last Somavamsi king, Karnadeva married a 'gancing girl, named Karpurasri who
was born of a Mahari or Devadasi. Women of high birth and noble families received education. They
also received educations in music and dance.
Women were held in respect in the society during the Ganga period. In many of the donative records
the donors mention the names of their mothers. Royal ladies were noted for their pious disposition and
devotion to husbands. It appears that the royal ladies had access to education and specialised forms of
art like music and dance. Chandrikadevi, the daughter of Anangabhimadeva- III was accomplished in
music and dance. She built the temple of Ananta Vasudeva in Bhubaneswar. Sivarani, a lady of Ganga
lineage was called the Kaliyuga Saraswati (Goddess of Learning in Kali Age). Women's status seems to
have been somewhat reduced during this period. The Smritis and Nitisastras of the time restrict their
freedom.
Women were expected to be devoted to their husbands. But the Ganga kings themselves were
polygamous. The Smritis also permitted the rulers to have several wives. In practice it appears that
women enjoyed a good deal of freedom. They sang and danced as Oevadasis in the temples. The
profuse depiction of women as singers and dancers, erotic partners and seductive Nayikas also indicate
their freedom. Chandrikadevi, a daughter of Anangabhimadeva III, excelled in the field of song, music.
The pious character of the women of that period is well-known.
The Somavamsi and Ganga queens were great devotee, to various religious faiths and were instrumental
for building of many temples and creating provisions for the worship of the God or Goddess. The
literature of the time reflects that monogamy was the prevailing norm of the society. However,
polygamy was not unknown in royal and higher families. The systems of Sati and Pardah were not
prevalent.
The concubinage system was practiced in the society. A reference can be made in this matter to Gajapati
Purusottamadeva who was the son of a concubine of Gajapati Kapilendradeva. Inspite of the high
position enjoyed by the women in the society, the practice of Devadasi was a veritable stain in this
regard. In different Buddhist Viharas and in the Jagannath temple at Puri, this ugly practice was
prevalent which undermined the position of women in society. In general, women enjoyed high position
in the society.
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31
The Cult of Jagannath

The cult of Jagannath embodies universal brotherhood, combining elements of Hinduism, Buddhism,
Jainism and the native religious practices of the tribal people. The presiding deities of the temple,
Jagannath, his elder brother Balabhadra and younger sister Subhadra, portrayed in black, white and
yellow, represent the three major races of humanity according to noted religious and social
commentators. The cult of Jagannath shows special concern and compassion for the lowliest and the
most unfortunate in society. It is this spirit of universal love that has attracted even Muslim devotees
such as Salabega whose songs in praise of Lord Jagannath are popular among all Oriyas and devotees all
over the world who celebrate the Car Festival or Rath Yatra of Lord Jagannath with ardent passion.
Origin and development of the Cult of Jagannath
The origin and development of the Cult of Jagannath is quite mysterious. Different scholars have
different views regarding the origin and development of Jagannath Cult in Odisha which can be
discussed as follows:
Tribal origin of Lord Jagannath
The cult of Jagannath is stated to be of tribal origin. It is difficult to determine whether this tribal origin
of God Jagannath is pre-Vedic or not. As per the depiction of Sarala's Mahabharata, God Krishna, killed
by the arrow of Jara Savara, was not burnt in wood fully after his death. As per the order of the divine
voice, Arjuna and Jara threw the half-burnt body into the sea and that body was, later on, worshipped
by Jara in the Dhauli hill at Bhubaneswar. In the mean while, Galamadhava, the king of Kanchi knowing
about the death of Krishna, sent a Brahmin named Vasudeva to collect the body who located it in
Bhubaneswar and transferred it to Nilachala.
By that time, king Indradyumna had constructed a temple at Nilachala and by divine order, the king
proceeded to that place. With the help of Jara, he brought the daru (wood) from Rohini kunda and
installed the image inside the temple at Nilachala. Due to his folly, the images of God Jagannath,
Balabhadra and Subhadra were found incomplete as he opened the door of the temple defying the
request of the sculpture (Bisvakarma in disguise) who had instructed the king not to open the door
before the expiry of fifteen days.
The story revealing the tribal origin of God Jagannath is different in the Skanda Purana. The
Purusottama Mahatmya section of that Purana narrates that the original place of worship of
Nilamadhava (God Jagannath) was at Nila Saila (blue mountain) amidst a thick forest. In a dream, king
Indradyumna of Avanti saw it and sent Vidyapati, a Brahmin to bring the God. Vidyapati married Lalita,
the daughter of the tribal chief Visvavasu. After much persuasion of his daughter, Visvavasu took his
son-in-law for the visit of Nilamadhava. While going to that place with his eyes covered, Vidyapati,
cleverly threw the mustard seeds on the way.
32
In the rainy season, the seeds germinated which clearly indicated the way to the place of worship of
Nilamadhava. Vidyapati informed this to king Indradyumna who went to pays visit to the God. To his
utter dismay, the God had vanished from that place. The king dreamt that a sacred log was coming from
Svetadvipa where lied God Vishnu. In the next morning, he was informed that a log containing the signs
of God Vishnu was found on the sea-shore. The king rushed to the sea-shore immediately and the log
was brought with much rejoicement. Out of the log, four images i,e. Jagannath, Balabhadra Subhadra
and Sudarsana were made and installed in the temple constructed at nila seus (Puri).
Though this fact is narrated differently in the Deula Tala of poet Nilambara Das and the work of the
same name of Sisu Krishna Das, the fact remains the same that God Jagannath had a tribal origin which
has been accepted by many notable scholars like B. Padhi, G.C. Tripathy, H. Kulke and A. Eschmann.
Further, the association of the sevakas of God Jaqannath in Puri bear the name Daitas. The Vanayaga
before the search of Daru for Navakalevara of the God also speaks of the tribal origin of God Jagannath.
The three tribal deities like Jaleri Penu, Tana Penu and Murani Penu, worshipped by the Khonds Odisha
are regarded as Jagannath, Balabhadra and Subhadra respectively .
Vedic origin of Jagannath
Many scholars trace the Vedic origin of God Jagannath. The 3rd verse of the 155th Sukta in the 10th
Mandala of Rig Veda states : "There is a log floating on the sea and no one claims this as his property. O'
ugly evil spirit, ride on that and remove yourself to the other side of the ocean." On the otherhand,
Sayana, a 15th century commentator interprets the above quoted sukta as such : "O, you are difficult to
destroy, take resource to the (sacred) log of wood which has no creator and which exists on the far
distant sea coast, and achieve your salvation by the object." Through the above mentioned Sukta and its
interpretation given by Sayana, the Vedic origin of God Jagannath is traced by several scholars.
As, primarily, the cult of Jagannath is associated with tribal origin, which is non-Aryan in character, the
Aryans might be aware about it and might have reflected that in a different way in the Rig Veda. This
definitely gives a clue to the scholars to think the prevalence of the worship of Jagannath in a daru (log)
from long before the Vedic age. However, this is controversial.
Jaina origin of Lord Jagannath
The Jaina origin of God Jagannath is traced by several scholars. As a heterodox religion, Jainism gave
great challenge to Vedic religion. It has already been discussed earlier that before 6th century B.C.,
Jainism had entered into Odisha. It received royal patronage from Kharavela, the mighty monarch of the
Chedi dynasty. Jainism gained momentum in the nook and corner of Odisha.
The numerous Jaina monuments of Odisha amply justify the fact. Owing to the popularity of Jainism in
Odisha, Balabhadra, Subhadra and Jagannath have been regarded as the three cardinal principles of
Jainism like Samyak Jnana, Samyak Charitra and Samyak Drishti by N. K. Das.
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The concept of Kalpa tree in Jainism is regarded as the Kalpavata inside the sacred complex of God
Jagannath temple at Puri. Kaivalya Mukti, one of the tenets of Jainism is identified with the Kaivalya
(Mahaprasada) of Lord Jagannath that offers salvation to man. Further, B.M. Padhi tends to locate
Vaddha Managala and Nandipada, the two Jaina symbols in the image of God Jagannath that give scope
to presume the Jaina origin of the deity.
However, these facts did not conclusively prove that Jagannath had a Jaina Origin. The principle of
Kaivalya Mukti or salvation of Jainism is found in other religious faiths too. Similarly, Kalpavatas are
worshipped in different parts of India.
Buddhist origin of God Jagannath
Some scholars trace a Buddhist origin of the trinity of the Jagannath temple. It is said that the tooth relic
of Lord Buddha is preserved in the image of Jagannath, that the three deities - Jagannath, Subhadra and
Balabhadra - represent Buddha, Dharma and Sangha respectively, that the Snana Yatra (bathing festival)
and Ratha yatra (car festival) of the Jagannath temple are of Buddhist origin and that the sharing of
Kaivalya (sacred food) on equal footing by all castes is due to the Buddhist impact.
There are some literary evidence of co-relation between Lord Jagannath and Buddhism. According to
some scholars, Jagannath is a common epithet of Buddha. In Tibet, one of the names of Buddha is
Jagannath.
Jayadeva, the twelfth century Vaishnava poet who, according to some scholars, identified Jagannath
with Krishna or Vishnu also accepted Buddha as the ninth incarnation of Krishna or Vishnu. Sarala Das,
the fifteenth century poet, in his Mahabharat regarded Jagannath as an embodiment of Buddha. He
wrote, "To deliver mankind, Jagannath has manifested himself in the form of Buddha." Daru Brahma
Gita of Jagannath Das says, "To assume the form of Buddha the Lord gave up his hands and legs."
Some Oriya Vaishnavas regarded Chaitanya as the partial manifestation of Buddha. In the Chaitanya
Bhagavata of Isvar Dasa, Shri Chaitanya is reported to have said, "I am Chaitanya in the form of
Buddha." Evidently there was a synthesis between Buddhism and Vaishnavism at some stage, and
Jagannath cult bears the imprint of that synthesis.
The Saiva-Tantric origin of God Jagannath
Though by the tenth century A.D., the presiding deity of Puri was known as Purushottama, which is one
of thousand epithets of Vishnu, yet during the Bhauma period, the deity appears to have been
profoundly influenced by Saivism, Shaktism, Tantricism and Buddhism which were simultaneously
prevalent. Scholars are of the opinion that the image of Jagannath has striking similarity with that of
Ekapada Bhairava (Bhairava with one foot, which is a manifestation of Siva, whose worship was
prevalent during the Bhauma period). Some Tantrik texts refer to Puri as a seat of Shaktism, Vimala as
the Shakti and Jagannath as his Bhairava. The prevalence of Saivism at Puri is proved by the existence of
such Saiva shrines as Markandeyesvara, Patalesvara and Lokanath.
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Jagannath Cult and Saktism
The prevalence of Shaktism at Puri is borne out by the worship of Vimala inside the temple, and the
existence of Saptamatruka image. The 'Utkal Khanda' of Skanda Purana describes Subhadra as the Shakti
of Jagannath. The name 'Purushottama', though an epithet of Vishnu, has Tantrik significance according
to some scholars. It represents the erotic aspect of Vishnu. Purushottama is to be found with Lakshmi,
the female erotic partner. In the Anargharaghava natakam, Murari Mishra describes Purushottama with
Lakshmi on his lap. Jayadeva, in his Gitagovinda, dealt with erotic sports of Krishna with Radha, and
identified Radha with Kamala or Lakshmi, the consort of Narayana. Jayadeva also regarded Jagannath as
Krishna. Subhadra was treated as Lakshmi during the Ganga period, and afterwards. The Purushottama
Mahatmya of Skanda Purana (a work of 13th century A.D.) and of Vishnurahasya (a work of 16th
century A.D.) referred to the female wooden image between Jagannath and Balabhadra as Lakshmi.
Vaishnavite origin of the Jagannath cult
The Vaishnavite origin of the Jagannath cult is traced by some scholars Purusottama Mahatmya projects
God Jagannath as Narayana, Krishna-Vasudeva, Buddha etc. Poet Jayadeva, as stated earlier, had
popularised Vaisnavism in Odisha thro his immortal creation Gita Govinda.
Further, during the Suryavamsi Gajapati rule, particularly during Prataparudradeva, the visit of
Srichaitanya and his intimate association with the temple of God Jagannath made Vaisnavism popular in
Odisha. Several festivals associates with Krishna cult like Krishna Janma,Nandotsava, Kaliyadalana,
Kemseveare Vakasuravadha, Chandana Yatra etc. were intimately associated with the festivals of
temple of God Jagannath as are being celebrated till now. No doubt, Vaisnavism was intimately
associated with the Cult of God Jagannath in comparison to any other religion. Though, the origin of
Jagannath cannot be traced satisfactorily, one thing is certain that the Cult, the assimilation of tribal
element, Vedic religion, Jainism, Buddhism, Saivism, Saktism, tantric elements,Vaisnavism, is found.
Sikhism and Jagannath
It is told that Sikhism has relation with Jagannath. The Mangu Math of Puri bears its memory. That math
has the photograph of Guru Nanak. The Sikhs believe that Guru Nanak has visited Puri.
Jagannath and Islamism
Jagannath was regarded as sacred by the Muslims of Odisha. Yavana Salabega had given importance to
him. He had composed many Bhajans for Jagannath. Those Bhajans are very popular in the nook and
corner of Odisha even today.
Impact of Jagannath Cult on Odishan society
The Jagannath cult exercises deep impact over the socio-religious-political life of Orissa. During the
Ganga and Surya rules, Jagannath, so to say, became the State deity. Puri has been visited from ancient
times by founders of different religious cults, who left their legacy through the monasteries. The
Jagannath Temple at Puri in Orissa has been a center of religious, spiritual and artistic pursuits through
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the ages. Lord Jagannath is more than a religious deity for the people of Orissa, he is fountainhead of
their cultural, intellectual and emotional sustenance.
Odissi dance and music as well as Orissan sculpture and the famous patachitra paintings were inspired
and enriched by Jagannath culture. The poet Jayadeva composed his famous Gita Govinda staying in
Puri. As discussed earlier, Yayati I, the great Somavamsi king is supposed to had started the construction
work of the temple of God Jagannath at Puri. Perhaps, during the period of the Somavamsis, the worship
of God Jagannath was given a special attention.
The play Anargharaghava of Murari Mishra of 9th century A.D. refers to the worship God Purusottama
(Jagannath) on the sea-shore. Similarly, the Tantra Yamala (10th cent - A.D.) and the Kalki
purana (11th century A.D.) refer to God Jagannath as the venerate deity of this land. During the glorious
days of the imperial Gangas from 12th century A.D. to 16th century A.D., the worship of God Jagannath
was given due patronage.
The mighty rulers of this dynasty like Chodagangadeva, Anangabhimadeva III and Narasimhadeva were
ardent worshippers of God Jagannath and they stated in different inscription the longing to the God.
During the Suryavamsi Gajapati rule, the power and prestige of Jagannath were enhanced by the rulers
of this dynasty. Its impact on the people of Odisha was so much so that, they even did not oppose the
enthronement of Purusottamadeva, when the legitimate claim of Hamvira was thrown aside by
Kapilendradeva who justified his action as it was the divine will of God Jagannath and thus, kept his
subjects mum. In the Kanchi-Kaveri legend Jagannath and Balabhadra exhibited their martial spirit by
defeating the king of Kanchi.
The reign period of Prataparudradeva witnessed the growing popularity of God Jagannath as reflected in
the Pancha Sakha literature. The visit of Sri Chaitanya to Puri during his reign period popularised the cult
of God Jagannath in the nook and corner of Odisha. His efforts made the people of Odisha a blind
follower of God Jagannath. During the reign period of the Bhoi dynasty, adequate attention was given
for the temple rituals and looking after the comforts and safety of the pilgrims who carnd to this land
from different parts of the country.
The ardent devotion of king Ramachandradeva in keeping Jagannath, Balabhadra and Subhadra out of
the touch of the Muslims, shows the great devotion of the king and people of this land towards the Cult
of God Jagannath. Even today the Chhera Pahanra by the Gajapati king of Odisha, in front of the Gods
during Ratha Yatra in the presence of hundreds and thousands of devotees, proved the popularity of
this cult not only in Odisha but also in different parts of the country and abroad. It has become one of
the four important places of pilgrimage for the devout Hindus not only of Orissa but also of all parts of
India and the world. Largest crowds of devotees are to be noticed in Puri at the time of the car festival
of Lord Jagannath. It is the belief of Hindus that on seeing Lord Jagannath, the manifestation of supreme
being, in his chariot one never falls into the mire of the cycle of rebirth.
Questions:
1. What do you mean by Cult of Jagannath? Discuss the origin and development of Jagannath Cult.
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2. Write a note on the origin and development of Jagannath cult in Odisha.
3. Highlight the association of different cults with the Cult of Jagannath.
4. Discuss the impact of Jagannath Cult on Odishan society.
Sri Chaitanya faith in Odisha: its Impact

The coming of Sri Chaitanya to Odisha opened a new chapter in the religious history of Odisha. The
Vaishanavite religion which was already in existence had a deep impact in the mind of the people of
Odisha. The spell of his teaching and Sankirtan influenced so much that the people of Odisha lost their
military skill. His Sankirtan had spread to every nook and corner of Odisha
Early life of Sri Chaitanya
Sri Chaitanya (1486-1533 A.D.), who was known as Visvambhara before renouncing family life hailed
from Navadvipa of Bengal He was born in a Brahmin family in 1486 A.D. which had migrated from Jaipur
to Navadvipa. As a boy, Visvambhara was handsome, prodigious and naughty. He was also known as
Gouranga for his fair complexion.
Early in the life he became a great Sanskrit scholar and established a tol for imparting education. He lost
his father at the age of eighteen. Soon after his father's death, he married a girl, named Lakshmidevi.
Lakshmidevi died of snake bite within a short time after the marriage. Thereafter Visvambhara took a
second wife, named Vishnupriya. After the second marriage, he went to Gaya to offer pinda to his
ancestors.
His Sanyasa and involvement in Bhakti cult
At this stage he was initiated into the cult of Bhakti by a Vaishnava saint, named Isvara Purl. The
religious atmosphere of the Vishnu temple of Gaya, where Viswambhara offered pinda threw him into
trance. He turned a great devotee of Vishnu or Lord Krishna. On his return from Gaya, he gave up his
scholastic profession, and started living the life of religious devotion and service. He organized
Sankirtans and attracted large number of people. In 1509 A.D., at the age of twenty four, he left home,
and taking the vow of Sanyasa from Keshav Bharati and the name, Sri Krishna Chaitanya, he proceeded
to Puri with some of his associates.
Impact of Sri Chaitany faith in Odisha
In Odisha Sri Chaitanya roused a great deal of religious devotion and enthusiasm. His Sankirtan parties
attracted a large number of people at Puri. On his arrival at Purl, he had a religious discussion with the
great Vedantic scholar, Vasudeva Sarbabhauma, who enjoyed the patronage of the Gajapati
Prataparudra. Defeated in the discussion and impressed by the religious personality of Sri Chaitanya
Sarbabhauma embraced Vaishnavism.
From Puri, Sri Chaitanya proceeded to south, and in June 1509 A.D., met Roy Ramananda, the governor
of Rajamahendri. They had an interesting religious dialogue which is narrated in the Chaitanya
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Charitamrita of Kaviraj Krishna Das. Both appreciated each other's religious inclination. After the
interview with Sri Chaitanya, Ramananda who was already an old man resigned from the royal duty with
a view to spending his time with the former at Puri.
The Chaitanya Charitamrita tells us that Sri Chaitanya refused to grant interview to Prataparudra, the
Gajapati of Odisha on the ground that he wanted to keep aloof from the worldly power and wealth. But
at the instruction of Sarbabhaurna, one day the Gajapati stole into the assembly of devotees in Kasi
Mishra's house where Sri Chaitanya was staying.
As Sri Chaitanya fell into trance on hearing Sankirtana, Prataparudra touched his feet. On coming to
senses, Sri Chaitanya remarked, "Woe to me, I have touched one, given to worldly power and wealth".
This remarked moved the Gajapati, to tears. Impressed by the true devotion of the Gajapati, Sri
Chaitanya embraced him with love.
Jagannath as identical with Krishna
Sri Chaitanya considered Jagannath as identical with Krishna of Kurukshetra. He also popularised Krishna
whom he regarded as "the complete manifestation of personal godhead in his perfect form". The
Chaitanya faith heightened the importance of Radha, the consort of - Krishna. For many devotees Sri
Chaitanya was considered as the living embodiment of Jagannath.
He was also regarded as the dual incarnation of Radha and Krishna. By personal demonstration, Sri
Chaitanya emphasised the importance of devotion. His faith roused religious devotion among all
sections of society, undermined the rigours of caste distinctions and reinforced the Vaishnavism of
Odisha.
Sri Chaitanya died at Puri before the image of Jagannath on 29th June 1533 A,D. He spent six years of his
Sanyasa in pilgrimage, and the remaining eighteen years of Sanyasa at Puri in the company of his devout
followers. Here it is necessary to mention the relation of the Panchasakha and Odishan Vaishnavas with
Sri Chaitanya. Vaishnavism was already popular in Odisha before the coming of Sri Chaitanya to Puri. Sri
Chaitanya had high regards for the Odishan Vaishnava saints like Raya Ramananda with whom he had a
dialogue on Radha-Krishna cult, and Jagannath Das and Balaram Das of Panchasakha group.
Panchasakha and Sri Chaitanya
All the Panchasakha poets were the contemporaries of Sri Chaitanya and were initiated by him.
Nevertheless the Panchasakha, instead of blindly following Chaitanya faith maintained their
distinctiveness by sticking to the concept of void and identifying the same with Lord Krishna.
Some scholars are of opinion that the Panchasakha outwardly professed the Chaitanya cult yet in their
heart of hearts they were but sincere religion of the Mahayana school." According to Chittaranjan Das
the Panchasakha were at once Buddhists, Vaishnavas and Tantriks.
As a religious movement the Panchasakha emphasised the concept of void inner purity, mantra, tantra
and yoga, instead of being guided by formalities. As social reformers, the Panchasakha sought to pull
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down "the hegemony of the social bigots" and rise up "the lower strata of society with the means of
cultural innovations", they took disciples from all the castes and associated themselves with several
lower castes of society and tried for their uplift.
Questions:
1. Discuss the life and teaching of Sri Chaitanya.

2. Write a note on the Sri Chaitanya faith in Odisha.
3. Highlight the impact of Sri Chaitanya faith on the people of Odisha.
4. Discuss the relation between the Panchasakhas and Sri Chaitanya.
**********
Panchasakhas and Bhakti movement

The liberality of the Pancha sakhas antagonized the Brahmins, who disparaged the Oryia translations of
the Mahabharata, Ramayana, Bhagavata and Harivamsa compiled by Sarala, Balarama, Jagannatha and
Achyutananda. The Oriya Bhagavatam of Jagannatha Das was even called “teli bhagavata”, the
“Bhagavata of the low-caste oil-maker”. However, the literary work of the Pancha sakhas was vital to the
development of the Oriya language and cultural identity, uniting the people and creating a feeling of
solidarity that protected the region for a long time.
The five Friends preached the Vaishnava dharma or ninefold process of Bhakti and chanting the Holy
Names (Harinama), giving more importance to the realization of the soul rather than worship of the
Deities. The most important aspect of their preaching was the abolition of all discriminations among
Vaishnavas, no matter from which caste or background they came; Achyutananda, Yasovanta, Balarama
and Ananta met a strong opposition from the casteconscious Brahmins, who even disparagingly called
Jagannatha Das‟s Oriya Bhagavata as “teli bhagavata” (“the Bhagavata of the oil-maker”).
However, this Oriya Bhagavatam became so popular that every village had a Tunga, a hall where the
villagers regularly gathered to listen to its reading. As a reaction against the excessive ritualism of the
caste Brahmins and their monopoly and control over the temples and Deity worship, the Pancha Sakhas
preached that Lord Krishna/Jagannatha could be worshiped as Sunya, “void”, a particular “non-shape”
that transcended the Deity in the temple and therefore could be accessible by everyone at all times. It is
important to understand that such “void” is not an impersonal emptiness devoid of sentiments, qualities
and relationships – in fact quite the opposite, as Jagannatha Das preached the Rasa krida, Acyutananda
preached the Nitya Rasa, Yasovanta preached the Prema bhakti brahma gita and Ananta the Tula sunya
rasa.
They accepted Radha Krishna as Paramatma and Jagannatha as Radha Krishna yugala murti or bhava
murti, and taught that Guru is the manifestation of Brahma, Vishnu and Mahesvara. According to their
39
doctrine (that is also shared by many other groups, including the Natha yogis and several traditions of
Bhakti in Bengal), the human body is a microcosm where the Supreme Lord resides and manifests His
pastimes, including the most intimate lilas of Radha Krishna, where Radha is the pure devoted soul and
Krishna is Paramatma.
The Pancha sakhas followed the path of Bhakti adopting mantra, tantra and yantra in their sadhana;
they manifested mystic power and could change their body into different forms. For many generations,
there has been a serious rift between the followers of the Atibadi Sampradaya and the Bengali followers
of Chaitanya, and especially the Sarasvata Gaudiyas, sometimes with excessive emphasis on marginal
details such as the order of the two verses of the Maha mantra sloka:
“Hare Krishna Hare Krishna, Krishna Krishna Hare Hare Hare Rama Hare Rama, Rama Rama Hare
Hare,”
While the Atibadi Sampradaya and several other ancient Gaudiya Mathas in Puri chant the mantra
starting with the “Rama line”, the Sarasvata Gaudiya insist that the mantra should start with the
“Krishna line” in order “not to be offensive by reversing the lines”.
It is not clear how sincere followers of Chaitanya could find “offensive” the recitation of the Holy Names
simply because one verse is put before the other - also considering that by continued recitation, neither
of the two verses appears to come first, but they form a circle. In fact, we have heard that Narada Muni
tricked Valmiki into chanting the name of Lord Rama by instructing him to chant the name of Death
(Mara); the constant chanting “in circles” of the syllables Ra and Ma was nevertheless so powerful that it
turned a highway robber into the greatest devotee of Sri Ramachandra. Besides, we should remember
the clear teaching of a verse of the Sikshastakam, the short ideological summary considered the only
text actually written by Chaitanya:
“namnam akari bahu-dha nijasarva-saktis tatrarpita niyamitah smarane na kalah”
“O my Lord, Your holy name alone can render all benedictions to living beings, and thus You have
hundreds and millions of names. In these transcendental names You have invested all
Your transcendental energies. There are not even hard and fast rules for chanting these names.”
The Jagannatha charitamrita, a biography of Jagannatha Das written by Divakara Das, states that the
difference between the Oriya (Utkali) and the Bengali (Gaudiya) Vaishnavas is that the Oriyas consider
Jagannatha as the avatari, the source of all avataras, while the Bengalis say that Krishna is the avatari.
Such distinction could be easily overcome by considering that Jagannatha is Krishna Himself, and
especially in the light of the acintya bhedabheda tattva taught by Chaitanya.
The rift between the Bengali and Oriya Vaishnavas has lasted long enough, and is based on very flimsy
grounds, more emotional than philosophical or theological. Divakar Das wrote that the Bengali devotees
were jealous of the Oriya devotees, and in fact still today we find people from the Sarasvata Gaudiya
line writing that the title “Atibadi” given by Chaitanya to Jagannatha Das was meant in an offensive and
sarcastic way, while we know that Chaitanya strictly taught and demonstrated the utmost humility
40
towards all groups of people. Some also say that the powerful influence of the Atibadi Sampradaya,
challenging the excessive ritualism and casteism of the orthodox society, was carried to the extreme
consequences by the antibrahminic and iconoclastic movement called Mahima Dharma in more recent
times. However, this would be an exaggeration considering that the Mahima Dharma actively opposed
the worship of Jagannatha, to the point of attacking the Puri temple with the intent of destroying the
Deities. This seems to be quite far fetched, as all the Atibadi Mathas worship the form of Jagannatha as
well as other divine forms, and uphold the sacredness of the Shastra, which the Mahima sect do not
recognize. The Acharya in the sixth generation of the disciplic succession from the Atibadi Sampradaya,
Purushottama Das, had five prominent disciples, the first of which, Mukunda Das, became the Mahanta
of the Bodo Oriya Matha, and the other four established new branches of the Matha in Puri, called Sana
Oriya Matha, Rama-Hari Das Matha, Vanamali Das matha and Bhagavata Das Matha.
Question:
1. Write a note on the Bhakti movement in Odisha under the Panchasakhas.
**********
Social life in medieval Odisha

Change and continuity became the way of social life in medieval Odisha. The glorious rule of the
Gajapatis, contributed a lot to preserve the social structure of Odisha. In course of time, besides the four
traditional castes, many sub-castes have emerged in the Odishan society. The agrahara villages granted
to Brahmins by different kings provided path for the progress of education. The villages of Odisha
became the centers around which evolved the social life of its people. Their dress, profession, hobby,
learning etc. form the main theme of the social life in medieval Odisha.
The Social Structure: Caste system
The most remarkable aspect of medieval Odishan society was the caste system. It consisted of
numerous castes and sub-castes and the interaction among them brought social harmony bringing
peace and tranquility in the medieval Odishan society.
The Brahmins
The Suryavamsi Gajapatis accepted the Varnashrama system. The Brahmins continued to enjoy
ascendancy in social life, administration, religion and learning during their rule. They held important
positions in the government and were liberally patronized by the Gajapatis. Kapilendra wanted to give
away the whole world to the Brahmins. The Brahmins enjoyed the highest position in the society of
belonging to the first order in the Varna system. By their learning, prudence, pious character and other
virtuous qualities, they commanded respect from the people in the society. From many inscriptions,
particularly of the Bhauma-Karas, Brahmins belonging to several gotras like Kashyapa, Atreya,
41
Bharadwaja, Kausika, Visvamitra, Sandilya, Vatsa etc. settled in Odisha. They settled in the Shasanas
(agrahara villages) as is known from numerous inscriptions belonging to the Ganga and Suryavamsi
Gajapati period. They received land-grants from the kings and other landed aristocrats to worship gods
and goddesses in different temples. Those lands were tax free lands. Further, they were also
indispensable for many important ceremonies like the Abhiseka (coronation ceremony) of the king,
marriage, upanayana (sacred thread ceremony) etc. By their noble works as priests, they commanded
respect of the society and were placed in the highest position in the caste structure. · Besides
discharging their duties as priests, the Brahmins also got lucrative posts in the court of the king. The
Ganga inscriptions show that the Brahmins like Vanapati, Govinda and Vishnu worked under the Ganga
kings Raja Rajadeva I, Anangabhimadeva II and Anangabhimadeva III respectively as ministers having
high reputation. The inscriptions at Srikurmam and Simhachalam refer to Narahari Tirtha who acted as a
regent when Bhanudeva I, was a minor. The Gopinathpur inscription refers to a Brahmin named
Gopinath Mohapatra who was a constant adviser fo Kapilendradeva in matters of war and religion. The
Ganga inscriptions states that some Brahmins served as military officers using titles like Vahinipati,
Chamupati and Senapati. Further, the Brahmins were also appointed in the posts of Sandhivigrahi (Ka),
Sasanadhikarin, record- keeper etc. The Brahmins during that period were also engaged in several other
professions besides the above mentioned works. The inscriptional and literary sources of the period
reveal that they resorted the agriculture, trade, temple building activity and so on. The Brahmins
performing higher works like the priests, guru, Mahasandhivigrahika etc. were known as the Shasani
Brahmins. The Brahmins who resorted to lower professions like agriculture, trade etc. was known as
Halua or Jharua Brahmins. Whatever the fact might be, learning and imparting education were the main
.functions of the Brahmins in the society. They were well-versed in the Vedas and other Sastras. They
grew under the patronage of kings and maintained their educational institutions. The court of the
Suryavamsi kings basked with the learned Brahmins. They contributed a lot of Smriti, Vyakarana, poetry,
drama and other branches of knowledge. Due to their high education-they were respected by the
people in the Odishan society.
The Kshatriyas
The Kshatriyas occupied their position in the society next to the Brahmins. They were warrior class and
shouldered the responsibility to protect the country from internal rebellion and external aggression.
Besides fighting they administered the land. As the inscriptions and literary sources of this land refer,
they were benevolent rulers not despots or autocrats. They had great veneration towards the Brahmins
from whom they sought advice to carry on administration. They were great builders. By receiving their
patronage, a good number of temples were - built up in the nook and corner of Odisha. They were
famous for their charity. The digging of tanks, establishment of Shasanas, educational institutions etc.
were also their look out. They also took interest in the promotion of learning in the society. Besides the
kings and members of the royal family, the army chiefs, soldiers and other officials belonged to the
Kshatriya caste. The Khandayats or Paiks were Kshatriyas who resorted, to cultivation at the time of
peace and jumped into the battle when the war drums were heard. The ruling families cemented
matrimonial alliances with other kings and feudatory chiefs to secure their position. Whenever there
was any external aggression they joined hands to oust the army.
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The Vaisyas
The Vaisyas belonged to the trading class who resorted to cultivation, cowherdship, trade and
commerce. Generally, prosperity of the land depended largely upon the people of this community. They
organized hatas (local markets) and controlled both inland and maritime trade. The Vaisyas of Odisha
carried on oversea trade with the countries like Ceylon, Siam, Burma, Suvarnadvipa etc. and brought
wealth to this land. They also helped in spreading the Odishan culture in South-East Asia. The Kshatriyas
also paid attention for the growth of the Vaisyas. The kings granted special villages for them known as
the' Vaisya agrahara'. Their sound economic condition led them to donate villages to the Brahmins and
the temples. Among them were the Gopalas (milkmen) who looked after cattle-rearing and they traded
in milk, butter, ghee etc.
The Sudras
In the traditional class structure, the Sudras occupy the lowest position in the society of Odisha. The
Sudras were drawn from the community that consisted of artisans, craftsmen, petty agriculturists,
servants etc. They also changed their professions and absorbed within the fold of Kshatriyas and
Vaisyas. Even, they were attached to the temples to serve the gods and goddesses. They were also not
detached from the sphere of education and learning. Sudra Muni Sarala Dasa composed the Odia
Mahabharata, Balarama Dasa, another great poet of Panchasakha period composed Dandi Ramayana.
Besides the above mentioned professions, some Sudras were untouchables. They were untouchables
and remained outside the village. However, they served the society in various capacities. Among them
were the washerman (rajaka), fisherman , (kaivartta), shoe-maker (charmakara), basket-maker (doma)
etc. There were efforts by the -Panchasakhas through their writings to absorb these untouchables
within the traditional structure of the caste system. Through their literature, these poets brought a
protest against caste system, superstition, corrupt practices and so on and tried to free society from the
clutch of rigidity. In due course of time, the Sudras gave up their duties and from among them emerged
many Siddhacharyas and tantric gurus who belonged to basket maker, fisherman and leather worker
communities. Besides Sudras, other sub-castes in the society were saundikas (brewers), tantuvayas
(weavers), kumbhakaras (potters), ma/akaras (gardeners), napita (barber), tambarakara (coppersmith),
tathakara (metal worker), kamara (blacksmith) etc. who rendered their habitual service to the medieval
society of Odisha.
The Aboriginals
Among the aboriginals of the time, references very often occur in the literary and inscriptional sources.
Sarala Dasa's Mahabharata refers to the meeting of God Krishna with a Kandha (Khond) king Bhaskara,
who promised to supply the meat of deer, wild-pig etc. for the Rajasuya yajna organized by Yudhisthira.
With the gradual march of time, efforts were made to bring these aboriginals to the fold of Hindu
society. The Daita Patis, a group of Sevakas of God Jagannath in the majestic temple at Puri can be cited
as an example which was the result of such effort.
The Kayasthas or Karanas
43
The Kayasthas or the Karanas occupied a dominant position in the medieval Odisha. Though, the
formation of this sub-caste cannot be traced back to an exact year, still in the 10th-11th century A.D.
references to them were made in the inscriptions. The Kshatriya and Vaisya descent of the Kayastha or
Karana is known from inscription. They became hereditary class of writers and became indispensable for
maintaining royal records owing to their superior knowledge in accountancy and day to day
administration. Not only they were the keeper of the records, but they also occupied high position in
revenue department, army and other departments.
Proliferation of castes
Nevertheless, the Brahmanical monopoly in the field of religion and learning was broken during the
Suryavamsi rule by the emergence of a reformist religious leadership among the nonBrahmins. The
Vaishnavite movement which preached the doctrine of love and equality and the literary awakening in
Odia language brought about a transformation in the social life and brought to prominence in religious
and literary fields a number of non-Brahmins. Sarala Das, the author of Odia Mahabharat was a Sudra.
Four Vaishnava saints of Prataparudra's reign - Achyutananda Khuntia, Balaram Mahapatra, Yasovanta
Mallik and Ananta Mohanty were non-Brahmins. King Prataparudra extended patronage to Balaram and
Achyutananda, for which the Brahmins became jealous. The Vaishnava saints went to the extent of
challenging the practice of untouchability. The story of Sriya Chandaluni, depicted in Lakshmi Purana of
Balaram Das (Mahapatra) shows how goddess Lakshmi came down to accept the worship of Sriya, the
Chandal woman Simply because of her devotion.
Position of women
Woman's status in society appeared to have degenerated, as compared to the earlier period. The
Suryavamsi monarchs were polygamous. They had a number of queens and concubines. Gajapati
Purushottama was born of a concubine. Purdah (veil) system was prevailing in the Suryavamsi period. It
is written in Chaitanya Charitamruta, that when Chaitanya passed through Cuttack on his way to
Vrindavana in 1514 A.D, "The king mounted his wives in covered litters on the back of elephants which
were drawn up in a line along the route.' Women were expected to be given in marriage before the age
of seven. Sat; practice, though not very popular, was prevalent among. the upper class Hindus.
Devadasis were being employed as before for the purpose of Singing and dancing in the temples. The
Gajapati kings and other nobles could keep concubines. A reference can be made in this matter to
Gajapati Purusottamadeva who was the son of a concubine of Gajapati Kapilendradeva. Inspite of the
high position enjoyed by the women in the society, the practice of Devadasi was a veritable stain in this
regard. In different Buddhist Viharas and in the Jagannath temple at Puri, this ugly practice was
prevalent which undermined the position of women in society. In general, women enjoyed high position
in the society. Women were treated as objects of adornment and wore various ornaments.
Dress and ornament
The sculptures and literature of the period give clues to form an idea about the dress and ornaments of
the people. The male persons used dhoti as lower garment and Chaddar as upper garment. Female dress
44
consisted of two garments, upper and lower. They seemed to have worn sarees. The folds of sarees,
sometimes, were gathered, carried on to back between the legs and tucked. The garments of the higher
class people were ornamented with embroidery showing their status. The Devadasis (dancing girls) also
used ornamented dress and richly decorated caps. The females took particular care in dressing their
hairs. The sculptures of the period show that both male and female used ornaments like Kundala (ear-
ring), Keyura (armlet) and hara (neck-lace). Besides, the women used ornaments like mekhala (girdle),
Karnafula (ear-flower), Kankana (bracelet), manjira (foot ornament). nupura (anklet), Katisutra or
Katibandha (waistlet) etc. The female prepared beautiful hair locks and decorated them with flowers.
Food and drink
The inscriptions and literature of the period throw welcome light on the food and drink of the society.
The inscriptions narrate how rice, ghee, curd, milk, pulse, curries and payasa (rice cooked with milk) etc.
were offered as bhoga (offerings) to the deities in the temples. These descriptions give an idea regarding
the vegetarian food pattern in the society. Non-vegetarian meals were also prevalent inside the society.
Drinking of wins was not unknown to the people.
Hobby
Nothing definite is known about the hobbies of the people by that time. Sarala Das's
Mahabharata projects certain hobbies of the time. Among them, hunting and pa (chess) formed the
pass time resorts of the royal families. The common people might have resorted to certain games,
learning, archery and fighting, music, writing etc. as gleaned from the description of literature. Thus
conceived, the social structure did not remain the same throughout the period.
Questions:
1. Highlight the social life of the people of medieval Odisha.

2. Make an analysis on the changes in social structure in medieval Odisha.
**********
Religion During Medieval Odisha

Religion played a great role in the cultural life of the people of Odisha. Odisha has witnessed the growth
of various religions like Jainism, Buddhism, Saivism, Vaishanavaism, Saktism, etc. However, with the
gradual march of time, all these faiths have been assimilated in one cult i.e. the Jagannath cult.
Vaishnavaism flourished in a more vigorous way during this period along with other religions. During the
Gajapati period, Vaishnavism in Odisha had been centred round the worship of Jagannath.
This cult was gaining popularity because of the efforts of five Odia poets known as the Pancha-Sakhas.
They were Jngannath, Balaram, Achyutananda, Yasovanta and Sisu Ananta. Jagannanth Das translated
the Bhagavata-Purana before he met Chaitanya. These five Vaishnava poets described Lord Jagannath as
personified void (Sunya) which they identified with Krishna. The Krishna cult had already been popular in
45
Odisha through Gita Govlnda of Joyadeva. Even Purusottamadeva, father of king Prataparudradeva,
composed" Abhinava Gita- Govinda in praise of Krishna. Chitanya therefore, found Odisha very receptive
to his teaching of Radha-Krishna creed through Samkritana. His extraordinary religious personality very
mnch impressed the people who came in contact with him. His devotional samkirtan appealed to all. He
accepted people of different castes into his group and gave them the massage of love and fraternity. In a
short time, he became prominent and popular. Even the PanchaSakhas regarded him as their religious
leader.
The Suryavamsi rulers were Vaishnavities and professed great devotion to Lord Jagannath as the state
deity and called themselves the Sevaks or servants of Jagannath. They lavishly endowed the Jagannath
temple with gifts of lands, jewels, money and luxurious articles. Besides the religious factor, the first two
Suryavamsi rulers- Kapilendra and Purushottama had an ulterior political motive behind the profession
of devotion to Jagannath. As both of them had no legitimate claims over the throne, they sought to
legitimize their position by invoking the socalled will of Jagannath in their favour with the help of priests.
Though primarily Vaishnavites, the Suryavamsi Gajapatis also took interest in the worship of other
deities such as Siva and Durga.
***********
Marerial Prepared by OBJECTIVE IAS
In Collaboration with
www.historyofodisha.in
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Cultural History of Odisha

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What were the social lives of people like in medieval Odisha?

What were the social lives of people like in medieval Odisha?

How did the social structure change in medieval Odisha?

How did the social structure change in medieval Odisha?

2017

1. Cultural Significane of Somovamsi Rule

Cultural significance of the Somavamsi rule

Religious life of the Somavamsi rulers

Art and Architecture

Q. Describe the cultural significance of Somavamsi rule.

Cultural significance of the Ganga rule

Traditional Varna system

Development of Karanas (Kayasthas) caste

Position of women during the Ganga period

Religion during the Ganga period

Secular nature of the Ganga rulers

Art and Architecture during the Ganga period

Evolution of Odia Language

Music and Dance during Ganga rule

1. Make an analysis on the cultural significance of the Ganga dynasty.

Growth of Temple Architecture

Styles of temple architecture in India

Texts on temple architecture

Typical Odishan temple

Components of the Odishan temple

As regards the plan, in elevation the Odishan

Initial years of temple architecture in Odisha

Main innovations of the temples of the 9th-l0th century

Some important temples of Odisha

The Jagannath temple at Puri

The Sun temple at Konarka

1. Write a note on the growth of temple architecture in Odisha.

Society during the Bhaumakara

The Social Structure : Caste system

Promotion of Language and learning

Dress and ornaments

Religious Life during the Bhaumakaras

Society during the Somavamsis and the Ganga period

Dress and ornament

Food and drink

Promotion of Learning and literature

Evolution of Oriya Language

Music and Dance

The Cult of Jagannath

Origin and development of the Cult of Jagannath

Tribal origin of Lord Jagannath

Vedic origin of Jagannath

Jaina origin of Lord Jagannath

Buddhist origin of God Jagannath

The Saiva-Tantric origin of God Jagannath

Vaishnavite origin of the Jagannath cult

Sikhism and Jagannath

Jagannath and Islamism

Impact of Jagannath Cult on Odishan society

Sri Chaitanya faith in Odisha: its Impact

Early life of Sri Chaitanya

His Sanyasa and involvement in Bhakti cult

Impact of Sri Chaitany faith in Odisha

Jagannath as identical with Krishna

Panchasakha and Sri Chaitanya