Temple Architecture of Odisha (Kalinga School)

Subject: History Optional (OPSC Civil Service Exam)
Topic: Odishan Temple Architecture (Kalinga School)
Theme: Growth, Architecture Components, and Key Case Studies
Source Material: Based strictly on provided text excerpts.

1. Introduction and Classification

The art and architecture of Odisha, starting with its dated history in 261 B.C. (Asokan conquest), developed a unique identity known as the Kalinga School of Art. While it falls under the broader Nagara style of Indian temple architecture, it possesses a distinctive regional bias.

Canonical Texts: The construction was standardized by texts such as Bhuvana Pradipa, Silpasastra, and Silpaprakasa, which ensured standards in form and measurement.

Three Architectural Orders: Based on the text Bhuvana Pradipa, temples are classified into three types:

• Rekha Deula: Characterized by a curvilinear superstructure (Sikhara). It typically houses the sanctum (Garbha griha).
• Bhadra or Pidha Deula: Features a pyramidal roof of receding steps. It serves as the audience hall (Jagamohana).
• Khakhara Deula: An oblong building with a wagon-vault roof (e.g., Vaital Deula).

2. Architectural Components (Technical Features)

A typical Odishan temple is divided vertically (elevation) and horizontally (plan).

A. Vertical Elevation (The Elevation Plan)

The structure typically consists of four components along the vertical axis:

1. Pista: The platform or base (often absent in early temples).
2. Bada: The vertical wall. It is subdivided into:
   • Pabhaga (foot/bottom).
   • Jangha (thigh) – later divided into tala (lower) and upara (upper).
   • Baranda (moulding forming the upper part).
3. Gandi: The trunk or tower. In Rekha temples, it is curvilinear; in Pidha temples, it is pyramidal with tiers called potalas.
4. Mastaka: The head or crown. It comprises the Veki (neck), Amla (ribbed disc), Khapuri (skull), Kalasa (pot), and Ayudha (weapon/symbol).

Outline of Typical Kalingan Temple

B. Horizontal Plan and Construction

• Projections (Pagas/Rathas): The walls have vertical projections. Based on the number of these projections, temples are classified as Triratha (3), Pancharatha (5), or Saptaratha (7).
• Axial Arrangement: The typical evolution involved a linear arrangement: Vimana (Sanctum) → Jagamohana (Porch). Later, the Nata Mandira (Dance Hall) and Bhoga Mandapa (Offering Hall) were added along the same axial line.
• Construction Technique: Builders used the corbelling technique. Sized Khondalite stones were laid horizontally without cementing mortar, held together by equilibrium and iron cramps.

3. Evolution and Growth of Temple Architecture

The growth of the Kalinga style spans from the 6th to the 13th century A.D..

Phase I: Formative Phase (6th – 7th Century A.D.)

• Key Temples: Lakshmanesvara, Bharatesvara, Satrughnesvara, and Parasuramesvara.
• Features:
  • Early temples were unicameral (sanctum only).
  • Parasuramesvara (7th C.): The best-preserved early specimen. It has a squattish Sikhara and a rectangular Jagamohana with a sloping roof supported by pillars.
  • The plan was typically Triratha.

Phase II: Transitional Phase (8th – 10th Century A.D.)

• Key Temples: Vaital, Sisiresvara, Mohini, and Muktesvara.
• Innovations:
  • Vaital Deula (8th C.): A Khakhara style temple dedicated to Chamunda (Tantric). It features a wagon-vault roof and an oblong sanctum.
  • Shift in Jagamohana: Evolution from rectangular flat roofs to pyramidal forms (e.g., emergence in the 9th-10th century).
  • Muktesvara
    (10th C.): Known as the "Gem of Odishan architecture." It marks the transition with a full-fledged Pancharatha plan and a rounded, elegant Sikhara. It features a unique Torana (arched gateway) and a star-shaped Jagamohana ceiling.

Phase III: Mature/Golden Phase (11th – 13th Century A.D.)

• Key Temples: Rajarani, Lingaraja, Jagannatha, and Konark.
• Features:
  • Soaring heights and majestic appearances with fully developed components of the four-chamber complex (Vimana, Jagamohana, Natamandira, Bhogamandapa)
  • Rajarani (11th C.): Distinctive for Anga-sikharas (miniature spires) clustered around the main tower, resembling the Khajuraho style.
  • Lingaraja (11th C.): The culmination of the Rekha style.
  • Konark (13th C.): The zenith of the style, introducing a detached Natamandira and a high plinth.

4. Important Case Studies (For Short Notes)

A. The Lingaraja Temple (Bhubaneswar)

Lingaraja Temple

• Time Period: Somavamsi period (1025–1065 A.D.).
• Architecture:
  • Height: Approx 180 ft.
  • Components: Perfect specimen with all four chambers: Vimana, Jagamohana, Natamandira, and Bhogamandapa (last two were later additions).
  • Style: Pancharatha plan with Panchanga Bada (5 divisions of the wall).
  • Decoration: The tower has a parabolic curve. The Jagamohana has a pyramidal roof. Sculptures include Puranic episodes like the marriage of Siva.

B. The Jagannath Temple (Puri)

Jagannath Temple

• Builders: Started by Chodagangadeva, completed by Anangabhimadeva III (12th Century).
• Architecture:
  • Height: 214 ft (Highest extant temple in Odisha).
  • Plan: Pancharatha. Surrounded by two compound walls, the outer being Meghanada Prachira.
  • Gates:
    1. Simhadvara (East): Lion Gate (Dharma).
    2. Asvadvara (South): Horse Gate (Jnana).
    3. Hastidvara (North): Elephant Gate (Aisvarya).
    4. Vyaghradvara (West): Tiger Gate (Vairagya).
  • Notable Features: Includes the Muktimandapa (Hall of Salvation) and the Rosasala (world's largest kitchen).

C. The Sun Temple (Konark)

Sun Temple

• Builder: Narasimhadeva I (13th Century, Ganga Dynasty).
• Concept: Conceived as a colossal solar chariot with 24 wheels (representing hours) and 7 horses (representing days).
• Architecture:
  • The main tower (Vimana) was 228 ft high (now ruined).
  • The Jagamohana is a massive Pidha deula with a three-tiered roof (unlike the two-tiered roofs of Lingaraja).
  • Detached Natamandira: Unlike Lingaraja, the dance hall stands separate from the main porch.
• Sculpture: Famous for the Giraffe (African trade link), erotic sculptures (symbolizing Samsara), and chlorite images of the Sun God (Rising, Mid-day, Setting).

5. Conclusion

The temple building activities in Odisha reached their climax during the Ganga period but declined during the Gajapati rule due to a lack of royal patronage and the decline of Hindu power. However, the Kalinga style remains "one of the most compact and homogeneous architecture groups in India," evolving from the humble tri-ratha shrines of the 6th century to the colossal architectural masterpieces of Konark in the 13th century.