Orissa - Art Culture Heritage @ whatisindia.com

Architecture
Orissa is full of archaeological treasures dating from the pre-historic times up to the end of the Muslim rule in the middle of the sixteenth century. The excavations at Sisupalgarh and Jaugada testify to the presence of a highly developed pre-historic civilization in Orissa.

The caves of Khandagiri and Udayagiri represent Orissan cave architecture dating back to the first century BC. The caves were cut out in the solid rock on the orders of King Kharavela for the use of Jaina ascetics. There are altogether eighteen caves in Udayagiri and fifteen caves in Khandagiri. The caves are decorated with sculptural motifs. The Ranigumpha cave in Udayagiri is a two-storeyed structure and bears highly artistic sculpture. The caves consist of one or more cells and a few of them are fronted by pillared verandahs. The sculptures of Khandagiri and Udayagiri form a landmark in the history of Indian art. They present a vivid picture of the contemporary society and occupy an important place in the rock-out architecture of India.

Like Jainism, Buddhism also provided inspiration for the development of art and architecture. It was Emperor Asoka who directed the entire state machinery for the dissemination of Buddhism. We find two versions of his major rock in Orissa one at Dhauli and the other at Jaugada. The archaeological excavations at Ratnagiri have brought to light the remains of a main stupa, two viharas and eight temples containing Buddhist images. A large number of images of the Buddha and Bodhisattvas of great artistic merit have been collected from the hills of Lalitgiri, Olashuni, Landa and Parabhadi hills. A colossal image of Bodhisattva Padmapani has been found at Jajpur it measures 15'8" inches. Buddhist remains have also been discovered at Boudh, Khiching and Solampur. It is seen that the Lalitgiri sculptures contain the living influence of Gupta art tradition

The temple Architecture
Architecture in Orissa found its supreme expression in the form of temples, some of which are among, finest in the country. Of these, three are most famous the Lingaraja temple at Bhubaneswar (11th century), the Jagannath Temple at Puri (12th century) and the great Sun Temple at Konark (13th century). These mark the culmination of a distinct style of architecture called the Kalinga style remarkable in its plan elevation and details of decoration. In the simplest form, a temple of this style consists of a structural due, the main temple or shrine and the frontal porch. While the main temple, called Vimana or Deula, is the sanctum enshrining the deity the porch or assembly hall called Jagamohana is the place for the congregation of devotees. The former, constructed on a square base, has a soaring curvilinear tower (sikhara) and is known as rekha deula. The latter built on a rectangular base is a pidha temple, i.e. its roof consists of pidhas which are horizontal platforms arranged successively iii a receding formation so as to constitute a pyramidal superstructure.- Although the two temples are architecturally different, they are constructed in axial alignment and interconnected so as to form an integral pattern.

This two-part structure in the earliest form of temple construction is noticeable in the Parsurameswar temple of Bhubaneswar (7th century). A modest specimen of the Bhubaneswar-Lakshmaneswar group of early temples, it has a squattish type of curvilinear sikhara and an oblong pillared jagamohana. The sculptures on the temple walls are also notable for their simplicity and beauty. The Kalinga style reached its perfection during the Ganea period when two more structures were added the front of the two-part temple in order to meet the needs of the elaborate rituals; these are the natamandira (dancing hall) and the bhogamandapa (hall of offerings). The four halls of structure as at Lingaraja and Jagannatha, stand in one line with emphasis on the towering sikhara of the main shrine. However, the devotees have to enter through the side doors of the jagamohana leaving the tamandira and bhogamandapa behind.

Temple building activities in Orissa continued uninterrupted between the 7th and 16th centuries. As different religious sects had their successive sway over the land during this period, they provided the necessary fillip for modifications in the architectural designs and sculptural details. The Vaital temple at Bhubaneswar and the Varahi temple at Chaurasi in the Prachi Valley with their semi cylindrical roofs are examples of a different order of temples described as E(hakhara type in the shiIpasastras. The former with its tower resembling a topsy-turvied boat and the later with its barrel-vaulted top are dedicated to the goddess Chamunda and Varahi respectively. The silhouetted interior of the sanctum and the sculptural motifs in the niches of the temples bear the influence of Shakti cult.

There is yet another class of temples which are almost unique in their conception and execution in the whole country; these are the circular shaped, hypaethral or roofless structures dedicated to the sixty-four yoginis belonging to the Tantric order. Out of all the five shrines of yogini worship existing in the whole country, two are situated in Orissa, the Chausathi Yogini temples one at Hirapur near Bhubaneswar and the other at Ranipur-Jharial in Titlagarh subdivision of Balangir district. At the center of these temples is pedestalled the image of Bhairava around which are located the yoginis, each in a niche. The artistic figures of the yoginis, their hair style varying totally in case of each at Hirapur, are superb in execution.

However, the Kalinga style of architecture which was the most common order throughout progressed well under the patronage of the Somavamsi Kings of Orissa during the 10th and 11th centuries. The Mukteswar temple (10th century) of Bhubaneswar is considered a "gem of Orissan architecture" and is accepted as one of the most beautiful temples of India. Elegantly decorated from top to bottom, it stands within a gracefully laid out compound with an exquisite makara torana in front. The rekha sikhara and rhythmic in treatment, is unrivalled in beauty. The Jagmohana is a harmonious pidha deula crowned with a kalasa at the top. The Rajarani temple (11th century) owing its name to a type of stone known as 'rajarania' is an architectural specimen of the later Somavamsi period. Picturesquely set amidst a wide expanse of rice fields, this temple in its execution combines grace and elegance, beauty of form and sculptural embellishments The deula, adorned with a cluster of miniature temples is reminiscent of Khajuraho. The Brahmeswar temple (11th century) characteristic continuation of the Drissan style. The great temple of Lingaraja (11th century) at Bhubaneswar is the quintessence of Orissan architecture With all the features of temple architecture fully developed and perfectly executed, it is undoubted one of the most finished temples in India. The elaborate temple complex consisting of the lowering sikhara (45 m. in height), jagamohana, natamandira and bhogamandap all in perfect harmony along with the lesser shrines around has a unique grander and majesty. There are a very large number of temples of different order in Bhbaneswar which may be called a veritable museum of temples.

The temple of Jagannatha at Puri is the earliest Ganga monument of Orissa .The massive edifice standing on a high platform connected with the ground led by a flight of 22 steps is the product of accumulated experience of the past temple architecture. The whole of the main temple was covered by a thick consisting of plaster, which earned for it the name 'White Pagoda'. The plaster has since been removed by the Archaeological Survey of India to reveal the beautiful stone carvings.

Finest specimen of Ganga art and the greatest monument of Hindu architect in India is the famous Sun Temple of Konark which is conceived as a chart driven by horses. The chariot had twenty-four wheels and seven horses. The when of the chariot are masterpieces of art. The temple is perfectly proportioned in stupendous size. It is one of the wonders of workmanship in the wood. In the words of Rabindranath Tagore, "Here the language of man is defeated by the language of stone".

Temple Sculptures
The temple sculptures are of two broad categories, namely the cult image and the decorative motifs. The first category includes such images as Ganesh Kartikeya and Durga on the external walls of a Siva temple Varaha, Trivikra Nrusimha and-the ten avataras on the outer walls on a Vishnu temple the Dikpalas, each in its specified corner, the digacharinis and vetalas in the prescribed places, the eight or nine planets (astagrahas or navagrahas) in a panel on the intel with gajalakshmi above the panel in case of all temples. There are also gods and goddesses, and depiction of religious episodes to create a religious atmosphere Although the cult images in a temple are the largest in number, they need all be confined to the cult alone. Religious synthesis is reflected through the images of Ardanarisvara and Hari-Hara (as at Gandharadi). The sculptors were highly imaginative for instance, all forms of Bhairavas and Durga images of an conceivable types are to be seen in the temples.

The decorative motifs consist of the male and female figures, erode sculptures, semi-divine beings as Gandharvas, Nagas, Yakshas, Kinnaras, griffins, enigmatic figures, senses from military and courtly life, secular pictures, fables and stories, scrolls and arabesques, chaitya arches and lotus medallions, flora and fauna and decorative.

Some of the finest temple sculptures of Orissa are round at Muktesvara, Rajarani and Lingaraja temples. The temple walls teem with youthful figures, delicately modeled. Their chiseled smiles defy the passage of time and the onslaughts of decay. A significant feature of temple art is the presence of erotic sculpture on the outer walls to signify the fact that religion cannot he separated from real life. It also means that life is full of illusions and that desires bind us to the wheel of life and death. There are also figures of female musicians and dancers and their sculptural qualities are superb. Massive elephants, horses and lions dominate the Konark temple premises.

Other Sculptures
Besides, there are numerous sculptural treasures strewn all over Orissa. There is a sculpture of an elephant, half hewn from a huge stone near which Asoka wrote his edicts. The nine-feet colossal figure of Lord Nrusimha in black granite is enshrined in the Jagannath Temple premises at Purl. It is really an imposing figure depicting the fearful mood of the god with great artistic skill. The lion-gates are an important feature of Orissan and architecture. Lions are installed at the entrance of temples. That is why thee temple door is called Simhadwara. The lions are not sculpted naturalistically. They have big sharp noses and thick moustaches. Elsewhere the lion is shown atop an elephant and this is symbolic of the triumph of the spirit over matter. Thus, it is evident that the main temples of Orissa possess soaring grandeur unequalled by any other temple in India. Orissan sculpture too as majesty, grace and beauty rarely to be found elsewhere.

References:

http://orissa.gov.in

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