Architecture of Bhuvanesvara
Bhuvanesvara, in Orissa is an ancient site of architectural monuments which sweep our imagination in admiration and wonder. It is quite in the fitness of things that this ancient capital of Orissan Kings under whose lavish patronage these wonder temples were erected here, is going to be the new metropolis of Orissa. In a decade this deserted and desolate site bearing testimony to the old glory will grow up into an ideal modern town as the administrative seat of Orissa.
This site still possesses some ancient shrines in their pristine glory besides of some others, either desecrated or worn out by ravages of time. These monuments have been divided chronologically by scholars and have been assigned the period between circa middle of 8th Century A. D., thus covering a period of incessant artistic and architectural creations in this part of India. The finest specimen of this architectural craftsmanship is the famous shrine of Lingaraja, standing in height and magnificence as the most narvellous monument of this belt. Besides, shere are the shrines of Kapilesvara, Brahmesvara, Parasuramesvara, Ananta Vasudeva, Vaital (Lankesvari), Muktesvara, Siddhesvara, and Kedaresvara which are still standing in their old magnificence.
Chronologically speaking, Percy Brown in his Indian Architecture (Buddhist and Hindu) has divided these temples into three groups, His division, however, seems to be based more on stylistic grounds than on clear historical details. Deva Prasad Ghosh (Orissan Temples published by Thacker’s Press and Directories, Lrd.) has also studied this chronology and the topo historical questions. However, when that division is not open to challenge from any opposite point of view, we may accept their chronology as a working hypothesis. Ananda Coomaraswamy in his History of Indian and Indonesian Art (p. 115) also remarks: "The most complete series Illustrating the development of the Nagara Temple from the eighth to the thirteenth centuries is found in Orissa, at Bhuvanesvara, Puri, and Konark." The Orissan Temple- architecture is a peculiar form of curvilinear (rekha) design with a series (commonly 2) of structures completing the whole shrine. The main structure where the sanctum sanctorum is situate is known as the deul or the vimana, while the structure just contiguous from where the pilgrim can have a view if the idol is known as the jagamohana. Nirmal Kumar Bose in Orissan Temples (Thacker’s Press and Directories; Ltd.) opines that this jagamohana is of the bhadra order, i.e., a pyramidal structure of stepped roofs in clerestoric divisions. But besides that there are two other structures, the bhogamandira and the natamandira - the offering- sanctuary and the dance- sanctuary respectively- which also represent to some extent a less axaggerated form of pyramidal clerestories. These four structures are the common features of the Bhuvanesvara temples, except some earlier ones like the Parasuramesvara or the less elaborate ones like the Vaital Deul which have a complete shrine in the deul and the jagamohana taken together.
We need not enter into details here as to the architectural designs and measurements of the Bhuvanesvara group of temples under review. Suffice it to say that vimana or the main icon- sanctuary is an elaborate structure of rock- outparaphernalia of a tapering type. The superstructure is from without a huge mass of rock that has been given a rhythmic form with the chisel by the Orissan sthapatis (architects and sculptors). The bada or the fround- plan is often a square and flat surface like aquadrangular verandah running around the vimana. Next is the pida or the first structure on which the whole gigantic super- structure is rested and which contains carvings of figures all around. Nirmal Kumar Bose (ibid) has given special names to the parts of the figure- inlaid portions of the wall below the curvilinear tower. His pina, however is an extension of the bhadra structure, but Percy Brown (ibid) had made the pida a generic name. Be that as it may, the elaborate inlays and carvings on the outer walls of the structure are really masterpieces of Orissan architecture. Deva Prasad Ghosh (Orissan Temples) has shown this decorative impulse of the Orissan sthapatis was the outcome of rare genious. "They transformed," he observe "the cold and bare surfaces of the walls into a glowing mass, with carvings or intricate variety and delicate fancy." The liner spire that rises up towards the dome in a tapering measurement is often called the amla in the Bhuvanesvara group of temples, and the metalist (originally golden?) emblem resting on a lotus- like circular cap on the amla is called the kalasa or often the ghantakalasa. This in a nutshell is the plan of the Bhuvanesvara temple.
The Bhuvanesvara temple is rich in decorations and the iconographic studies are an interesting one. The main icon in the garbhagriha (sanctum sanctorum) is always a Linga but in the Bhuvanesvara Linga we find two religious cults meet. The Linga is always the representation of a two icon deity called Haridhara of which we shall have occasion to speak below. The outside decorations and the iconographic specimens are varied and not only are the main deities of the Hindu pantheon represented in bold relief but there are also male and female figures, epic- representations, naganaginis and profuse floral or ornamental decorations. Yajna Datta Sharma (Orissan Temples) has opined (contra Mano Mohan Ganguly, Orissan Temples) has opined (contra Mano Mohan Ganguly, Orissa and Her Remains) that "it would be better perhaps to view the temple ornament from two separate but allied angles, (i) architectural and (ii) sculptural. His endeavour to restore from oblivion names in the local art scholl of various motifa on the walls, pillars, cornices, clerestories and ground plans is loudable.
Let us give an idea of the ornamental motif on the outer walis of the Bhuvanesvara temples. The bada of the Muktesvara temple is rich in floral decorations and the lotus motif is very prominent as being present in a row of decorative balustrades Moreover, the Muktesvara bada has a humanmotif and there is a superb representation in a peculiar posture of two human figures lying one upon the other but giving two more postures from a different angle, thus giving four human figures though two are actually carved.
A rare specimen of symbolic Orissan decoration is found in a figure in an obscure shrine just at the outskirts of the town, viz., the Bhaskaresvara temple. It is the three- handed figure of a human body with an animal mouth with a nijamurtti- figure (of a female- nymph) on the left- hand side holding in a dancing posture a resting- place for the left arm of the statue- a rare specimen indeed The standing figure had kundalas (ear- ornaments) and upavita (the sacred thread around the neck and chest) and holdsa weapon in his right hand.
The parasuramesvara Temple in Bhuvanesvara which is hailed as the specimen of earliest Orissan temple- architecture is a two- structured shrine still standing in its pristine purity. The jagamohana is of a simple clerestoric fluted disc with figures inlaid on the pide walls. There are mahalakshmi images with a pronounced sexual relief as representation of a symbolic divinity of fertility. In Orissan temple- architecture we believe, the artist was trained to a sort of erotic representation representing the symbol of Life. Be that as it may, a very fine Kartikeya imge, though somewhat mutilated, is to found on the outer wall of the vimana of this Temple. The serene face of the god with one of his feet and a weapon resting over a couchant peacock, his carrier, is an exquisite representation of earliest Orissan temple- sculpture. Then the Ganesha image is a common iconographic representation on the outer walls of the vinama or the jagamohana of Bhuvanesvara Temples. Leaving aside the famous huge black- stone Ganesha image in the Lingaraja shrine, we have an exquisite specimen on the jagamohana wall of the Siddhesvara temple at Bhuvaneswara It is a Ganesha standing on a lotus- pedestal with four hands, having the four kings of things that he is wont to carry (a rosary, a pot of nadus- a favourite sweet with him, etc.), together with a fat mouse, his carrier, standing on a pedestal"
The Lingaraja- undoubtedly the most magnificent of - temples- is an enormous plan within a huge courtyard containing many other smaller temples. The four- structured shrine of the presiding deity of the town with its jagamohana and vimana containing cenestial figures, human figures, animal figures and narrative- figures from the Epics, besides the gajasimbas and mirttimukhas and all kinds of designs, makes the spectator stand amazed. Besides, the Brahmesvara and the Kapilesvara temple at the two outskirts of the town are huge and grand structures. The two- structured Brahmesvara is panchayatana in plan, i.e., four other smaller shrines at the four corners of the same compound are existent along with the main shrine. The Kapilesvan temple is a four- structured one with many smaller shrines within the compound. The covered verandah or corridor connection the bhogamandira with other parts is a majestic one with figures illustrating narratives from the Puranas inlaid on its walls. It not noted this grand temple of this belt. The Brahmesvara temple is also rich in narrative decoration.
A few words on the Harihara cult of bhuvanesvan should be said. The presiding Lingas or even figures on the outer walls (as such beautiful figures are to be found in the dilapidated Ramesvara temple) are Siva- Vishnu according to the cult of this belt. The Ramesvara figures show that in the same image the characteristics of both these deities are preserved (half Siva and half Vishnu). Therefore in these temples the offerings are purely vegetarian for the association of Vishnu. Parvati, the consort of Siva, and Lakshmi the consort of Vishnu, are given equal status. This Siva- Vishnu cult is a particularly Orissan one and we suppose that Orissa was the meeting- ground of not only artistic but also religious cults. The strong Saiva current of the North and the Vaishnava current of the South might have met and mingles here on the congenial soil of peaceful orissa.
This site still possesses some ancient shrines in their pristine glory besides of some others, either desecrated or worn out by ravages of time. These monuments have been divided chronologically by scholars and have been assigned the period between circa middle of 8th Century A. D., thus covering a period of incessant artistic and architectural creations in this part of India. The finest specimen of this architectural craftsmanship is the famous shrine of Lingaraja, standing in height and magnificence as the most narvellous monument of this belt. Besides, shere are the shrines of Kapilesvara, Brahmesvara, Parasuramesvara, Ananta Vasudeva, Vaital (Lankesvari), Muktesvara, Siddhesvara, and Kedaresvara which are still standing in their old magnificence.
Chronologically speaking, Percy Brown in his Indian Architecture (Buddhist and Hindu) has divided these temples into three groups, His division, however, seems to be based more on stylistic grounds than on clear historical details. Deva Prasad Ghosh (Orissan Temples published by Thacker’s Press and Directories, Lrd.) has also studied this chronology and the topo historical questions. However, when that division is not open to challenge from any opposite point of view, we may accept their chronology as a working hypothesis. Ananda Coomaraswamy in his History of Indian and Indonesian Art (p. 115) also remarks: "The most complete series Illustrating the development of the Nagara Temple from the eighth to the thirteenth centuries is found in Orissa, at Bhuvanesvara, Puri, and Konark." The Orissan Temple- architecture is a peculiar form of curvilinear (rekha) design with a series (commonly 2) of structures completing the whole shrine. The main structure where the sanctum sanctorum is situate is known as the deul or the vimana, while the structure just contiguous from where the pilgrim can have a view if the idol is known as the jagamohana. Nirmal Kumar Bose in Orissan Temples (Thacker’s Press and Directories; Ltd.) opines that this jagamohana is of the bhadra order, i.e., a pyramidal structure of stepped roofs in clerestoric divisions. But besides that there are two other structures, the bhogamandira and the natamandira - the offering- sanctuary and the dance- sanctuary respectively- which also represent to some extent a less axaggerated form of pyramidal clerestories. These four structures are the common features of the Bhuvanesvara temples, except some earlier ones like the Parasuramesvara or the less elaborate ones like the Vaital Deul which have a complete shrine in the deul and the jagamohana taken together.
We need not enter into details here as to the architectural designs and measurements of the Bhuvanesvara group of temples under review. Suffice it to say that vimana or the main icon- sanctuary is an elaborate structure of rock- outparaphernalia of a tapering type. The superstructure is from without a huge mass of rock that has been given a rhythmic form with the chisel by the Orissan sthapatis (architects and sculptors). The bada or the fround- plan is often a square and flat surface like aquadrangular verandah running around the vimana. Next is the pida or the first structure on which the whole gigantic super- structure is rested and which contains carvings of figures all around. Nirmal Kumar Bose (ibid) has given special names to the parts of the figure- inlaid portions of the wall below the curvilinear tower. His pina, however is an extension of the bhadra structure, but Percy Brown (ibid) had made the pida a generic name. Be that as it may, the elaborate inlays and carvings on the outer walls of the structure are really masterpieces of Orissan architecture. Deva Prasad Ghosh (Orissan Temples) has shown this decorative impulse of the Orissan sthapatis was the outcome of rare genious. "They transformed," he observe "the cold and bare surfaces of the walls into a glowing mass, with carvings or intricate variety and delicate fancy." The liner spire that rises up towards the dome in a tapering measurement is often called the amla in the Bhuvanesvara group of temples, and the metalist (originally golden?) emblem resting on a lotus- like circular cap on the amla is called the kalasa or often the ghantakalasa. This in a nutshell is the plan of the Bhuvanesvara temple.
The Bhuvanesvara temple is rich in decorations and the iconographic studies are an interesting one. The main icon in the garbhagriha (sanctum sanctorum) is always a Linga but in the Bhuvanesvara Linga we find two religious cults meet. The Linga is always the representation of a two icon deity called Haridhara of which we shall have occasion to speak below. The outside decorations and the iconographic specimens are varied and not only are the main deities of the Hindu pantheon represented in bold relief but there are also male and female figures, epic- representations, naganaginis and profuse floral or ornamental decorations. Yajna Datta Sharma (Orissan Temples) has opined (contra Mano Mohan Ganguly, Orissan Temples) has opined (contra Mano Mohan Ganguly, Orissa and Her Remains) that "it would be better perhaps to view the temple ornament from two separate but allied angles, (i) architectural and (ii) sculptural. His endeavour to restore from oblivion names in the local art scholl of various motifa on the walls, pillars, cornices, clerestories and ground plans is loudable.
Let us give an idea of the ornamental motif on the outer walis of the Bhuvanesvara temples. The bada of the Muktesvara temple is rich in floral decorations and the lotus motif is very prominent as being present in a row of decorative balustrades Moreover, the Muktesvara bada has a humanmotif and there is a superb representation in a peculiar posture of two human figures lying one upon the other but giving two more postures from a different angle, thus giving four human figures though two are actually carved.
A rare specimen of symbolic Orissan decoration is found in a figure in an obscure shrine just at the outskirts of the town, viz., the Bhaskaresvara temple. It is the three- handed figure of a human body with an animal mouth with a nijamurtti- figure (of a female- nymph) on the left- hand side holding in a dancing posture a resting- place for the left arm of the statue- a rare specimen indeed The standing figure had kundalas (ear- ornaments) and upavita (the sacred thread around the neck and chest) and holdsa weapon in his right hand.
The parasuramesvara Temple in Bhuvanesvara which is hailed as the specimen of earliest Orissan temple- architecture is a two- structured shrine still standing in its pristine purity. The jagamohana is of a simple clerestoric fluted disc with figures inlaid on the pide walls. There are mahalakshmi images with a pronounced sexual relief as representation of a symbolic divinity of fertility. In Orissan temple- architecture we believe, the artist was trained to a sort of erotic representation representing the symbol of Life. Be that as it may, a very fine Kartikeya imge, though somewhat mutilated, is to found on the outer wall of the vimana of this Temple. The serene face of the god with one of his feet and a weapon resting over a couchant peacock, his carrier, is an exquisite representation of earliest Orissan temple- sculpture. Then the Ganesha image is a common iconographic representation on the outer walls of the vinama or the jagamohana of Bhuvanesvara Temples. Leaving aside the famous huge black- stone Ganesha image in the Lingaraja shrine, we have an exquisite specimen on the jagamohana wall of the Siddhesvara temple at Bhuvaneswara It is a Ganesha standing on a lotus- pedestal with four hands, having the four kings of things that he is wont to carry (a rosary, a pot of nadus- a favourite sweet with him, etc.), together with a fat mouse, his carrier, standing on a pedestal"
Lingaraja Temple
The Lingaraja- undoubtedly the most magnificent of - temples- is an enormous plan within a huge courtyard containing many other smaller temples. The four- structured shrine of the presiding deity of the town with its jagamohana and vimana containing cenestial figures, human figures, animal figures and narrative- figures from the Epics, besides the gajasimbas and mirttimukhas and all kinds of designs, makes the spectator stand amazed. Besides, the Brahmesvara and the Kapilesvara temple at the two outskirts of the town are huge and grand structures. The two- structured Brahmesvara is panchayatana in plan, i.e., four other smaller shrines at the four corners of the same compound are existent along with the main shrine. The Kapilesvan temple is a four- structured one with many smaller shrines within the compound. The covered verandah or corridor connection the bhogamandira with other parts is a majestic one with figures illustrating narratives from the Puranas inlaid on its walls. It not noted this grand temple of this belt. The Brahmesvara temple is also rich in narrative decoration.A few words on the Harihara cult of bhuvanesvan should be said. The presiding Lingas or even figures on the outer walls (as such beautiful figures are to be found in the dilapidated Ramesvara temple) are Siva- Vishnu according to the cult of this belt. The Ramesvara figures show that in the same image the characteristics of both these deities are preserved (half Siva and half Vishnu). Therefore in these temples the offerings are purely vegetarian for the association of Vishnu. Parvati, the consort of Siva, and Lakshmi the consort of Vishnu, are given equal status. This Siva- Vishnu cult is a particularly Orissan one and we suppose that Orissa was the meeting- ground of not only artistic but also religious cults. The strong Saiva current of the North and the Vaishnava current of the South might have met and mingles here on the congenial soil of peaceful orissa.