Our mother land India is famous for its culture, society and religious matter in all

around the world. But with this India also has created a glorious place in all around the world
for its dedication to Art and Architecture. There are many number of monuments in India
which comes under the world heritage site are became famous in all over the world. India
rich in its Art and Architecture and this tradition was started from 3 rd century B.C with the
rise of Mauryan dynasty. From that time there are many dynasty were rule over in India and
make a development process in Art and Architecture of our country and that process reached
its pinnacle at the time of Gupta period when a new form of architecture that temple building
activities were started from this period.Orissa is situated in the eastern coast of India and it
extends from 17’49’’N to 22’34’’Nlatitude and 81’29’’E87’29’’E longitude. It is unique of
its culture, religion, art and architecture. It is famous for its existing continuity from 6 th
century A.D to 15th century A.D. Orissa is famous for its rich heritage of temples; over the
centuries the orissan sthapatis have produced numerous temples which can rival the best
works created elsewhere in India. According to James Ferguson remarked that “it is the land
of temple, there are more temple in Orissa then the rest part of the country”. Among the
temples of Orissa there are more temples which situated in and around the Bhubaneswar. So
it is called the mandira malini Bhubaneswar (The temple city of Orissa). In otherwise the
temples of Orissa are famous all the world over the unique characteristics of their architecture
and sculptural style. Besides the architectural designs the orissan temple are remarkable
abundance of sculpture. The purpose behind the engraving of this sculpture on the temple
wall for beautifully ornamentation of temple, so Stella kramrish has remarked that
“architecture in Orissa is buts sculpture on a gigantic scale”. According to the
coomaraswamy observes the life is a veil behind or within which is god. The outside of the
temple is an image of this life, samasara and the carvings on it represents everything that
belongs to samasara and perpetuate illusion every bond and each desire of loveliness that
binds men to the wheel of life and death

In general orissan temples are affiliated to the northern Indian style, but they do not
constitute a subclass of the Nagara style. In course of evolution the orissan temple style
developed certain distinctive features for which it can be regarded as a separate style that is
known as kalingan temple architecture. In an inscription of Karnataka, the kalinga style is
mentioned along with Dravida, Nagara and Vesara style. The silpasastra of Bhubanapradipa

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are mentioned three types of temple architecture but the present scholar were classified
generally five categories of temples in Orissa. Those are Rekha, Pidha, Khakara, Hypotheral
and Goudiya temple. The Hypotheral and Goudiya type of temple architecture are very rare
in Orissa. In a typical orissan temple the Rekha deula and Pidha deula are components of one
architectural scheme. As regular temple architecture, there is no difference between a Saiva
temple and a vaisnava shrine but for sakta shrine the khakara type of temple was generally
preferred. While the ground plan of the khakara temple is oblong, Rekha deula and
jagamohana are square. The khakara deula is distinguished by a wagon vaulted roof, which
seems to have been derived from the chaitya hall of Buddhist. Generally the goudiya temple
originated in eastern India. It is said to be the combination of the gothic style and the Aryan
style of architecture. There are few Gaudiya temples in the district of Mayurbhanja and there
are only two example of this type of temple in the town of Puri. The Hypaetheral temples are
a circular temple in the ground plan without roof. The example of this type temple in odisha
one is Hirapur near Bhubaneswar and another is Ranipurjharial in Bolangir district.

HISTORY AND LEGENDS OF VARAHI AS MATRIKA:

According to the Shumbha-Nishumbha myth of the Devi Mahatmya from

the Markandeya Purana religious texts, the Matrikas goddesses appear asshaktis (feminine
powers) from the bodies of the gods. The scriptures say that Varahi was created from Varaha.
She has a boar form, wields a chakra (discus), and fights with a sword. After the battle
described in the myth, the Matrikas dance – drunk on their victim's blood.

According to a latter episode of the Devi Mahatmya that deals with the killing of the
demon Raktabija, the warrior-goddess Durgacreates the Matrikas from herself and with their
help slaughters the demon army. When the demon Shumbha challenges Durga to single
combat, she absorbs the Matrikas into herself. In the Vamana Purana, the Matrikas arise
from different parts of the Divine Mother Chandika; Varahi arises from Chandika's back.

The Markendeya Purana praises Varahi as a granter of boons and the regent of the

northern direction, in a hymn where the Matrikas are declared as the protectors of the
directions. In another instance in the same Purana, she is described as riding a buffalo.
TheDevi Bhagavata Purana says Varahi, with the other Matrikas, is created by the Supreme
Mother. The Mother promises the gods that the Matrikas will fight demons when needed. In

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the Raktabija episode, Varahi is described as having a boar form, fighting demons with her
tusks while seated on a preta (corpse)

In the Varaha Purana, the story of Raktabija is retold, but here each of Matrikas
appears from the body of another Matrika. Varahi appears seated on Shesha-nāga (the serpent
on which the god Vishnu sleeps) from the posterior of Vaishnavi, the Shakti of
Vishnu. Varahi is said to represent the vice of envy (asuya) in the same Purana.

The Matsya Purana tells a different story of the origin of Varahi. Varahi, with other
Matrikas, is created by Shiva to help him kill the demon Andhakasura, who has the ability –
like Raktabija – to regenerate from his dripping blood.

The Devi Purana paradoxically calls Varahi the mother of Varaha (Varahajanani) as

well as Kritantatanusambhava, who emerges from Kritantatanu. Kritantatanu means "death
personified" and could be an attribute of Varaha or a direct reference to Yama, the god of
death. Elsewhere in the scripture, she is called Vaivasvati and described as engrossed in
drinking from a skull-cup. Pal theorizes that the name "Vaivasvati" means that Varahi is
clearly identified with Yami, the shakti of Yama, who is also known as Vivasvan. Moreover,
Varahi holds a staff and rides a buffalo, both of which are attributes of Yama; all Matrikas are
described as assuming the form of their creator-gods.

In the context of the Matrikas' association to the Sanskrit alphabet, Varahi is said to
govern the pa varga of consonants, namely pa, pha, ba, bha, ma. The Lalita Sahasranama, a
collection of 1,000 names of the Divine Mother, calls Varahi the destroyer of demon
Visukaran In another context, Varahi, as Panchami, is identified with the wife of Sadashiva,
the fifth Brahma, responsible for the regeneration of the Universe. The other Panch
Brahmas ("five Brahmas") are the gods Brahma, Govinda, Rudra, and Isvara, who are in
charge of creation, protection, destruction, and dissolution respectively. In yet another
context, Varahi is called Kaivalyarupini, the bestower of Kaivalya ("detachment of the soul
from matter or further transmigrations") – the final form of mukti (salvation). The Matrikas
are also believed to reside in a person's body. Varahi is described as residing in a person's
navel, and governs the manipura, svadhisthana, and muladhara chakras. Haripriya
Rangarajan, in her book Images of Varahi—An Iconographic Study, suggests that Varahi is
none other than Vak devi, the goddess of speech

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LITERATURE REVIEW:

Literature is an important source for the study of archaeological remains. When we have
going to study an archaeological findings or remains we must follow the information about
that things in existing literature.

J.N Banerjee in his book “Development of Hindu Iconography” discussed about the
important aspects of the iconographic features of the Hindu deities.

In “Canons of Odishan Architecture” of N.K Bose is a panoramic and most fabulous

work on the Kalingan style of temple architecture. This books deals with the development
and importance of different segments of temple architecture from the early phase to later
phase. The architectural study of the monuments of Devi delta area is based on this book.

Mr. Donaldson and Dr. K.S. Behera together wrote the book “Sculpture Masterpieces
from Odisha” is a beautiful work. This book helps a lot for iconographic study of the
different image of the different sect.

METHODOLOGY:

The methodology of the purpose of the study will be based on:-

 Literature review
 Field study or exploration
 Collection of data
 Data interpretation
 Documentation of data
 Photography
 Personal interview

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 Kalingan style of temple is broadly divided into 3 type. The typical
kalingan style of temple consists of the sanctum and the porch, two
component parts of on architectural scheme. The vimana or the sanctum is of
rekha order curvilinear spire. The front porch on the jagamohana also called
the mukhasala, mukhamandapa ,bhadra deula etc .the sanctum on the cells is
meant for a glimpse of the deity and ritual worship and therefore smaller and
less specious. The mukhasala is meant for sheltering the devotees for their
prayer and meditation.

While vimana and jagamohana the two architectural suprestuctures of

the earlier temples, two more structures, namely natanandapa and
bhogamandapa were added to It. when kalingan temple architectural
developed to its fullest extent.both these two structures are pidha order. Each
one is a separated structure, yet they form one architectural organization.
Standing in a row, with different height, it gives the impression of a
mountain range and the eye travels to the sikhara on the pick of the sanctum,
which is the highest one. The remark ability of a kalingan style of temple
came from its plan and elevation. The interior ground plan of the temple is
square but externally they are broken by offset projection. These projections
are called as pagas. Depending on the number of pagas, the temples are
classified as triratha, pancharatha, saptaratha and nabaratha. The earlier
temples once characterized by triratha plan in course of evolution, the
treratha gave place to pancharatha, saptaratha etc. however the interior
ground plan of the khakhara temple is rectangular mainly for the number of
deities enshrined. But externally the temple appears to show a cruciform plan,
because of projections.

I. REKHA DEULA :

The sikhara or the tower is the most important feature of the rekha
deula. Originally the sanctum was a flat roofed square structure on one of its

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sides. The ground plan of the sanctum and sikhara is square. The vimana can
be divided into four part such as,- Pista ,bada, gandi, mastak invertible way.

The pista is not feature of orissan temple architecture. The bada is the
perpendicular wall of the vimana. It can be sub-divided into three parts such
as,-pabhaga, jangha, and baranda. The pabhagais are the bottom portion of
the bada. It consist of some set of moulding such as,-khura, kumbha, pata,
kani vasanta,respectively. The portion above the pabhaga is called as jangha
in developed temples. The bandhan devided the jangha portion into two such
as, - talajangh, and upara jangha. The bada relived with vertical projection.
The design of bada became triratha, pancharatha, saptaratha and nabaratha
with the ground process of evolution. The gandi rises straight up to a certain
hight and begins to curve near bisama. The raha paga is the most prominent
one. The kanika paga is devided into several bhumis by miniature amalakas
called bhumi amalakas. Each bhumi is further sub-devided into anumber of
horizantalmoulding colled bhumi barandi. The protion above the gandi
iscalled mastaka or head consists of bekiamalakas, khapuri,kalasa, and
ayudha.

II. PIDHA DEULA:

The second type of deula is pidha type.like jagamohana, it is some like

rekha deula up to its bada portion. The gandi consists of number of tiers or
pidha. The pidha are arranged diminishing order. The mastaka consist of beki,
ghanta, again beki, amalaka, kalasa and ayudha

III.THE KHAKHARA DEULA:

The khakhara deula usually consists of oblong ground plan and

semisylindercall roof. The khakhara deula gradually meant for sakti worship.
The ground plan gradually oblong instead of square garvagriha. The sanctum
can be divided into four division like rekha deula. The bada above its
pabhaga moldings elegantly carved shallow. (fig iv)

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The gandi consist of pagas such as rahapaga , anurahapaga ,kanika paga
above the gandi portion. There is the mastaka consists of beki , amalaka
,khapuri, kalasa, and ayudha

ARCHITECTURAL DIVISION

Vertically, a temple can be divided into four division i.e., pista badaa,
gandi, mastaka. There is no difference between rekhad deula and pidha deula,
except the treatment of gandi, while the former of a curvilinear outline, the
latter is a pyramidal shape. The craftsmen of kaling considered the temple as
the body of the cosmic bing and hence the name of different point of the
temple had been given after the limbs of the human body.

PISTA:

The pista is not a compulsory feature of the temple. But it is often

found in the temples build during the Ganga epoch.

BADA:

The bada is the first important part of the temple. Inicially,it had been
divided into three parts, and know as Tri-anga bada. Its elements are
pabhaga ,jangha and baranda. This type of composition is found the temples
belonging to the earlier group. Later on, with the increase of hight. The bada
division increased to five and now called as panchang bada. Hear the jangha
is divided into parts with a set of moldings known as bandhana. Now the five
elements of bada are pabhaga, tala jangha ,bandhana, upara jangha, and
baranda. In earlier temples the pabhaga was composed of three elements I,e.,
khura, kumbha, and pata. Later on two more elements were added; known as
kani and basanta. The baranda which is topmost portion of the bada, separates
the gandi from the bada usually it is composed five or seven molding but in
case of very large dimantion, it increases to ten or even more.

GANDI:

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 The gandi is the portion where the rekha or pidha deula differ to each
other. The gandi is rekha deula is divided into three parts kown as pagas by
the continuation of the projection of the bada this type of triratha plan,
having three parts generally found in early temples. The central projection or
paga of a treratha temple as known as raha paga having two projections
known as kanika paga on the both sides. With the evolution of the temple
architecture, triratha pattern give way to pancharatha pattern having two more
pagas. The new pagas known as anuratha paga was placed in between
rahapaga and kanika paga. In asaptaratha temple projection, the rahapaga are
called anuratha paga. The gandi end with the vimana, topmost curs with or
without paga division, sealing the spire.

In the pidha deula, the gandi is made of a number of pidha. The pidha
are arranged in continuous succession or in tiers, which are called potalas in
local terminology. The intervening vertical space in between the potalas is
known as kanti or kanthi. The pidha gradually diminish in size, as they rise,
and the uppermost one is generally half the size of the lowest one.

MASTAKA:

The mastaka is the topmost portion of the temple. In rekha deula the
mastaka consists of five elements. Beki separated the gandi from the mastaka.
Above the beki are amalaka, khapuri, and kalasa. The crowing element of the
temple is the ayudha or the auspicious weapon, from which it can be known
that to which divinity the temple is dedicated. The dhwaja on the center of
the raha .

The arrangement is slightly different for the pidha deula. Above the
beki, there is the ghanta, enormous bell-shaped component, and in order to
provide for the amala, yet another beki, known as amla-beki is put in the rest
of the arrangement is just he seme as for the rekha deula.

The kalingan temple style exhibits a flexible characteristic. In course

of its evolution, some change are obvious , as the stylistic changes
distinguish one phase from the other but spite of it, a remarkable continuity
is found the development of the style till it reaches the climax. The earliest

8
standing temple on orissan soil has been dared to 6 t h century A.D to 16 t h
century A.D. In the inscriptional evidence of Hatigumpha belonging to 1 s t
century B.C. kharavela is described as the “Repairer of all shrines of gods”
(seva- devayatana-sankara-karako). But there is no evidence to determine
their architectural shape. Some architectural fragment and detached
sculptures, representing yaksa and naga images have been found which can be
dated to 1 s t and 2 n d century A.D. These images do not help us any way to
realize the size and shape of the structure to which they belong.

EVOLUTION OF ORISSAN TEMPLE ART:

In Indian context, the earliest surviving example of temple architecture

dated back to the gust period. But in Orissa, not a single specimen of that
period has been found as yet. From the village of Asanput (keonjhar district),
a stone inscription has been discovered, which refers to the construction of a
temple by Maharaja Saturbhanja, who may be dated to 3 r d or 4 t h century A.D.
on the basis of paleography of the inscription.

The evolution period of the Orissa temple architecture censes along

span from 6 t h Century.A.D to 16 t h Century.A.D.

According to Vidya Dahejia” there are four phases of Orissan temple

style such as,

A. The early or formative phase(6 t h to 9 t h Century.A.D. sailodvaba

/bhumakara)
B. Mature or middle phase(9 t h to 11 t h Century.A.D Somavamsis)
C. Later or climax phase(11 t h to 14 t h Century.A.D Gongas)
D. Decline phase (14 t h to 16 t h Century.A.D Gajapatis)

A. THE EARLY OR FORMATIVE PHASE

The early temples belonging to this phase were probably built during the rule
of the Sailodbhavas, from the middle of 6 t h century A.D. till the first half of
8 t h century A.D. This period shows certain characteristic features in the
temple architecture. The temples are Triratha in plan, Pabhaga of three
mouldings, the Baranda terminating in a recessed Kanti, the gradual curvature

9
and stunted form of the Sikhara unburdened by any Angasikhara, and the
absence of dopichhalion below the Amlakasila. The presence of eight rahas
viz., Ravi, Chandra, Mangala, Budha, Brihaspati, Sukra, Sani and Rahu in the
graham slab, excluding the ninth one i.e., Ketu is another characteristic of the
early group. The Satrughneswar group, the Paresuramesvara group and the
Svarnajaleswar temple belong to this period.

After the Sailodbhavas, the temple building tradition was carried on by the
Bhaumas and their vassals. The temples of Sailodbhavas, the temple building
tradition was carried on by the Bhaumas and their vassals. The temples of
this period were marked with the continuation of the earlier traditions with
some innovations, modification and improvements. The typical specimen of
this group is the Sisiresvara temple at Bhubaneswar. The peculiarities of this
period can be clearly noticed in the said temple, in the Pagas of the Virnaria,
in the orientations of the niches enshrining side deities, in some deul and a
rectangular Jagamohana. The development of the deul from Trinath to
Pancharatha plan is clearly seen in the temple. The roof of the Jagamohana is
built according to the cantilever principle. A noteworthy feature of the
images enshrined is that they a have been made of two or three blocks of
stone contained in two or three courses of the walls. The new technique is to
be traced to centre of the Bhauma tradition of art and architecture. A sunken
panel with amorous couples carved in it, also marks the transition between
the cubical portion and the curvilinear tower. The Markandeyasvara temple
on the south-west corner of the Bindusagar tank is related to the Sisiresvara
temple and may also be assigned to the 8 t h century. Standing side by side on
a common platform, the twin temples of Nilamadhava and Siddhesvara a
Gandharadi have rectangular Jagamohan as of Parasuramesvara. The
jagamohana of Gandharadi have no clerestories and their roofs are built on
the cantilever principle like that of Sisiresvara. The lattice windows and
main doors are flanked by Naga pillars, as found in the Varahi temple at
Chaurasi. All these features indicate that the temples are definitely later than
that of Parsuramesvar. The Bhringeswara temple at Bajrakot, the
Kannakeswara temple at Kualo, the Manikeswara temple at Soklesvara, also
belong to the Bhauma period.

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B. THE MIDDLE OR MATURE PHASE

The development of temple architecture that started during the rule of the
Bhaumas, reached its perfection towards the close of the reign of the
Somavamsis. With the beginning of this phase, the Jagamohana became an
inseparable part of the temple, which transformed from flat roofed to a well-
arranged Pidha deul in continuous succession or in tiers. In the Muktesvara
temple at Bhubaneswar, we find the beginning of second phase of temple
architecture, with the introduction of Pidha deul for the first time. The
Pidhas arranged in tiers is also found in the Lingaraja temple. The lattice-
window is now replaced by balustraded window, which served the model for
the succeeding generation. The Sikhara received great beauty, lightness and
rhythm in its treatment, which was thick stunted and possessed weight,
previously. The projections of the deuls are now well developed and produce
a charming effect in light and shade by their recesses. Another notable
feature of this period is the introduction of the projecting lion from the Raha,
with either a Kirtimukha or an Elephant under it ( Gajasimha). This
Gajasimha motif became very popular subsequently. The Amlakasila is
supported by Deulacharinis and Dopichhalions . But these elements are
absent in the Muktesvara temple as the temple belonged to the early part of
the Somavamsi period. During this period, the Bada division increased to
five segments viz. Pabhaga, Talajangha, Bandhana, Uparajangha and
Baranda with the Pabhaga division also increasing to five mouldings i.e.
Khura, Kumbha, Pata, Kani and Basanta. The Kanti of the early hphase
disappeared giving place to a band of mouldings, which demarcate the Bada
from the Gandi. In the Gandi, we also notice the embellishment of
Angasikharas which diminish in size as they rise to the pick, adding to the
grandeur and ascent of the Sikhara. The sculptures of this period are
excellent in their plasticity and modeling and include non-iconic female
figures. The technique of modelling the figures in also-relieveo is also
another new development. In Bada new sculptural motifs are introduced
known as Pidha mundi, Khakara mundi and Vajra mundi. With the
introduction of the ninth planet Ketu, the Navagraha sab became an
indispensable feature in later times.

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As the Kalingan temple architecture was in the process of development during
the Somavamsi period, all the elements stated above are not found in all the
temples of the said period. The monuments built during the early period of
Somavamsi rule possess many features common to the temples of the
preceding dynasty but the temples belonging to the developed phase, like
Lingaraj and Brahmesvara have all the fundamental characteristics of the
Kalinga architecture. The three Tantrik temples at Baud, the Panchapandava
temple at Talachua, the Muktesvara temple, the Rajarani temple, the
Brahmesvara temple and the Lingaraja temple at Bhubaneswar and the
Jalesvara temple at the village of Kalarabanga, belong to this group.

C. THE LATER OR CLIMAX PHASE

The Kalingan temple architecture reached its climax during the 12 century
under the patronage of the Gangas. The process of evolution continued as
usual and the earlier temples like Lingaraja and Brahmesvara served as
models for the Ganga builders. Many temples were constructed during this
period. They usually stand on raised platforms. Though they carried on the
existing tradition regarding plan and elecation, the distinct improvement of
the design can be marked in the Saptaratha plan. Another important
innovation of this period is the addition of two more structure, namely
Natamandira and Bhogamandapa. The provision of porches or subsidiary
temples in front of the Parsvadevata is altogether a new feature. The Vahana
stambha like Bull in Saiva temples, Garuda in Vishnava templs and Aruna in
Surya temples, is another notable feature of this period. The Natamandira,
Bhogamandapa and Vahanastambha in the Lingaraja temple are later
addition. The appearance of the consorts of the Dikpalas on the upper Jangha
of the temple is another new development of the period. The so-called corbel
arch is to be found not only in the doorways of the Vimana but also in the
Jagamohana of the temple. Some of the cult images like Ganesa and
Kartikeya appear in their last evolutionary form. The wall of the temple
decorated with scrollwork, usually in the form of creepers, in full or half
medallions including leaf designs and animal figurines such as deer, bear,
elephant, horse and swan. The Jagannatha temple at Puri, the Laxmi temple
inside the complex of Jagannatha temple at Puri, Sari temple, Chitrakarini

12
temple, Yamesvara and Anantavasudeva temple at Bhubaneswar, the
Dakshaprajapati temple at Banpur and the world famous Sun temple at
Konark, can safely be included in this group.

The temple building activities which started during 6 t h century A.D., began to
decline due to lack of Royal patronage, and continuous invasion of the
Afghans. But the activities continued in the western part of Orissa. In
Sonepur also many temples were built during the Chauhan rule from mid-14 t h
century to 19 t h century. Though they followed Kalinga style, variations are
noticeable which give an impression of a style different from the traditional.

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VAITALA TEMPLE:

Vaitala deula is a 9 th century hindu temple typical khakhara temple dedicated to goddess
Chamunda located in Bhubaneswar, the capital city of orissa. This is also locally known as
“Tini Mundia Mandira”.

The temple bears two inscription. One of them is in the proto-oriya script and hence it
belongs to a much later period, i.e., the thirteenth or fourteenth century A.D. the second one
is inscribed on the wall to the right of the doorway of the mukhasala. It reads ”Om Sri
Chandra Udah”. The paleography of the inscription as suggested by K.C Panigrahi belongs to
the later half of the 8th century A.D. the meaning of this inscription has not yet been correctly
ascertained. Therefore this particular inscription doesnot help much in ascertaining the exact
time of the construction of the temple.this much can be said that by the time this inscription
was engraved i.e., later half of the 8th century A.D the temple was in existence.

Vaitala temple’s striking feature is the shape of its sanctuary tower. The semi- cylindrical
shaope of its roof is a leading example of khakhara order of temples- which bears an affinity
to the Dravidian gopuram of the south Indian temples. Its gabbled towers with a row of
sikharas reveals on mistakable signs of southern intrusion. The plan of the deula is oblong
and the jagamohana is a rectangular structure, but embedded in each angle is a small
subsidiary shrine. Vaitala deula boasts of some figures, although executed in relief, are
however characterized by delicacy of features and perfect equipoise.

The vimana as has been said earlier, is of khakhara order. It has a rectangular ground
plan. It is of moderate height (11.5 m high). The bada is separated from the gandi by a
recessed kanthi which is releaved with various figures including mithunas. The pabhaga
moulding are same as those of the sisiresvara .because of the rectangular ground plan the
walls on the eastern and western sides are larger than the other two. This had necessiated a
different treatment of the bada and also of the sculptural arrangement on them.

KHAKHARA TEMPLE IN MUKTESWAR COMPOUND:

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 There is a small khakara temple in the Mukteswara compound. It faces east and stand
to a height of 8 feet 6 inches, it measures 5feet 3inches by 2 feet 3inches . The bada is triratha
in plain,it has three horizontal divisions the pabhaga ,13 inches high rises vertically usual
mouldings . the jangha measuring 19 inches in height in plain the raha niches have begun
caught above pabhaga there are projecting eves above the ratha niches the varanda consist of
two khura shaped molding with a recess in between the gandi is carved near the top. On the
longer sides the gandi has a series of convex and concave moldings

The shooter sides rise vertically.Above the eaves over the parswavadevatta niche on all sides
is carved a khakara mundi which decorate the Baranda as well as the gandi this is the only
khakara temple with a round gandi where the gandi decorated with khakara mundis. The
mastaka is decorated from the gandi by a deep recess. From a rectangular piped base the
elongated mastaka khakara inches inwards along both the horizontal axis and assumes as the
shape of the khura.

The door frame is plain at the base the door jamb there is an arched niche enshrining
dwarapala. The dwarapalas are 4 armed male figures and may be identified as Nandi and
mahakala. Nandi onthe proper left holds a kapaala in the main left hand against the chest .
His back hands are broken and the right hand is broken from the elbow . The graha pannel
contains 9grahas. All the planet except Rahu and Ketu are seated in Padmasana .

` The Ganesha in the sourthern niche sited in maharaja-Lila pose holds a bowl
of sweets in the left hand a rosary in the right hand, kuthara in the backed left hand and an in
distinct object in the back right. The mouse is carved bellow his site, the Kartikleya on the
west site in Lalita asana holding a cocked in the left hand and Sakti in the right hand. His
Pickock mount is carved beneath the seat

GAURI TEMPLE:

The Gauri temple at Bhubanewar is situated in the compound of the Kedareswara

temple. The temple faces east, It consist a Vimana of Khakara order and Mukhasala in
Pidha orader the present Mukhasasla is built about a century ago to replace the original one
that had collapsed

The Vimana extremely measuring 13 fit 4 inches by 11 fit stands on a low Pista
triratha in design. The lower part of the pista is relief with a bharavahakas while the upper
part is decorated with scrolls lotus petals and small charity design. The bada in Pancha- ratha

15
in design. It has a three horizontal in division . The pabhaga has five moulding on the raha
and anuratha and a four molding in the kanika in the kanika paga as we seen in the
Mukteswara temple. This molding are join together like a leaf like strip –the subsidiary
niches and the raha niches are separated set of molding in the pabhag, the lowest molding in
the set is design as a pidha mundi with a niche . the treatment of the pabhaga is on a thye
jangha is not uniform . the kanika paga is treated as a pillastered is decorated with a kanya or
mithuna . kirtimukha drifting string of pulse and a bhara- bahaka with in a niche the anuratha
paga is design as a khakkara mundi complete with niche ground by kalasa . the kalasa is
flanked by a lion within rider rampling an elephant. The parsva devata niches on the raha
paga are flanked by a pair by a narrow pilaster, the decoration of the outside pilasters is
similar to that of the kanaika paga, the pillasteers next to the niche are decorated with kanya
and kirtimukha drifting pearls in between on the north the kanya is replaced by ganga and
Yamuna . the upper part of the raha is filled with a set of moulding crown by a amlaka

The ganndi divided in to two tires. The subsidiary paga each tire is design as khakkara
mundi is topped by a kalasa . The khakkara mundi of the lower tire are aligned with the pagas
of the bada but those on the upper tire are over half the width inward and contain a niche at
their base.

The mastaka is separated from the gandi by a bold splayed out molding relived with
lotus petal and capped by a recesses with jail. The original shape of the mastaka is not known
within certainty for it has undergone repair more than once in the past

The present mukhasala is already was built a century ago it is plastered and white
washed. it is square in ground plan the bada has five division , pabhaga , lower jangha, lower
bandhana .each paga is relived with a pidha mundi on the upper jangha and khakkara mundi
in the lower jangha. The pyramid roof contains five pidhas mastaka contain of beki,
amlabeki, khapuri and kalasa

The presiding deity of the temple is Gauri. who according to Markandaya purana
represent the satwik manifestation of Devi three four armed Devi stand on a lotus she holds a
pasa in the upper right hand and ankusa in the upper left hand , a mirror in the main left hand
and anajnakthii n the main right . The image of Gauri conforms with the uttarakamikagama
description of the Devi produce by rao

16
 The Gajalaxmi in the lintel of the vimana door side in lalita- sana holding a
stemmedlotus in the left hand .her right hand is in barada mudra, she is flanked on either side
by an a elephant standing on a lotus issuing from her lotus cushion

GOPALINI AND SAVITRI TEMPLE:

There are khakara temples in the compound of the Lingaraj temple the Gopalini also
called Bhubaneswari and the Savitri . The Gopalini temple is situated in the north of the
mukhasala is a latter addition and the Savitri in the south west corner of the vimana of the
Lingaraj temple

The Gopalini temple faces east and consists of a vimana of khakkara order and a
mukhasala of pidha order. both the sculpture are plastered the vimana stand to a height of 31
ft its exterior measures 17 fit 5 inches by 13 fit 10 inches it is pancharatha in plan with the
paga division extending through the gandi and mastaka . the pabhaga consists of four
mouldings of which the lowest moulding is partly buried by the pavement of the compound
.the second moulding in the shape of khura and upper two are patta shaped the mouldings are
joined by a vertical band at the center of the each paga the jangha 67inches in height is
devoid by ornaments . the raha paga are designed as a truncated pidha mundi as on the
Dakhina chandi temple.

The gandi with a series of concave and convex mouldings on the longer sides is
carved near to the shooter side is plain and rise vertically the raha on all sides except the front
is designed as a truncated rekha deula with a nich at the base the decorative rekha deula
without mastaka having a pancha ratha in design the mastaka is demarcated from the gandi

The mukhasala a latter structure,is built on a platform its measures 19ft 5inches by 18
ft 5inches the wall are plain and without paga division besides the main door in the east and
additional door In the north there is a ball lustrated windows with three baluster on the south
the roof is formed by five pidhas diminishing in a pyramidal shape the mastaka consist of
beki , amlaka khapuri and kalasa.

Sculpture:

17
 The image of a two armed Devi house with a Pidha mundi on the back wall of the
Garbhagriha is now worshiped as an Gopalini , the presiding deity .she holds a lotous on her
right hand , her left hand on varadamudra

The parswadevata represent three different forms of the devi they are all two armed
figures and stand in a graceful tribhanga pose and flanked by a female attendant on either side
the female attendant carved with pidha mundis at the base of the back side slab carry similar
attributes as the goddess the back slab of each motley carved with a Makara Torana
consisting of a trefoil arch with makaras at the sides of the kirti mukha at the apex. Flaying
vidyadhara holding grained in hands upper comers .both the hands of the devi in the south
niche are broken

SAVITRI TEMPLE:

The Savitri temple faces east architecturally it is identically with a Gopalini temple
and similar to Dakhina Chandi temple. the bada is of three divisions is pancharatha in plain ,
pabhaga consisting four mouldings ,jangha is un decorated ratha is designed as truncated
pidha mundi and the baranda consists of two mouldings in the Gopalini temple and the
Dakhina Chandi temple the gandi no shows the paga devisions , the mastaka separated from
the gandi by splayed srahi. The mastaka khakara is khura shaped as no ten at Dakhina Chandi
and Gopalini temple

The image worshiped at present as Savitri, the presiding deity is a replacement of the
original one she has one of her hands in varoda mudra and in other hand hold a stemmed
lotus three deferent form of devi as enshrined as parsavadevatta . they are all two armed
figure standing in tribhanga pose on lotus flanked by a female attendant on either side .on
back slab in each images is relived with a trefoil arch with a kirtimukha at the top . The arms
of the devi in the south niches are broken along with the attributes her hair is arranged in a
coil on the left side of her head

MAHISA MARDINI TEMPLE AT SHERAGARH:

The Mahisha Mardini temple at Shergarah in the district of Balasore is situated in a

compound along with four other small temples of Rekha order all dedicated to Siva and a
modern pidha temple called Khajuresvara also dedicated to Siva the temple is now a dreadful
state of dilapidation. It is built of coarse laterite except of the doorframe and the part above it
which are constructed of chlorite stone

18
 The temple is of khakara order and faces west it is without a mukhasala. The vimana
with the top portion of the gandi together with mastaka missing now stands to a height of
about 13ft 6 inches, it stands on a low pista 2 feet and 2 inches high,of three courses of
laterite extremely the temple measures 9feet 8inches by 7feet 4 inches .the trianga bada is
pancharatha in plain there are no recess in between the pagas of the bada. The pabhaga 25
inches high, consist of three mouldings khura ,noli and inverted khura .these mouldings are
joined by a plan vertical stripe at the center

The gandi plain and it stands to a maximum height of 4 feet 7inches on the north east
corner on the part it is preserved to a lesser height .the gandi is relived with the outline of the
chaity window on the other sides and the back side mastaka khakara is altogether disappeared
along with the crown element.

CHANDI TEMPLE AT KISHORPUR:

The Chandi temple at Kishorapur consist of a vimana of khakra order a mukhasala

with terraced roof and four subsidiary shrines all the khakara order at four corners the temple
belonged to the panchayatana class all the structure are built of soft literate compound wall
that no more exists .

The vimana faces east and rises to height of 15feet 6inches stands on a low platform
1fet 4inches in high of two courses of lateritic its exterior measures 9feet 4inches by 6fet
9inches all the base while its interior measures 6feet 1 inch 4 feet 1inch

The bada with 3 divisions is pancharatha plain the pabhaga 2feet 8 inches high consist
of 4 mouldings, khura ,kumbha noll and an inverted khura . these mouldings joined by a plain
vertical stripe at the center of the each paga but otherwise devoid of ornamentation the jangha
4fet 5inches in plain the kanika has narrow facets at the concerts the anuratha designed has a
multi faced pilasters it has two mouldings ,khura and inverted khura moulding at the top

The gandi 2feet 6 inches high made of three course of stone it is rounded near the top
the shooter side are relived with the outline of a chaitya window design the raha has a khura
mouldings at the base on the shooter sides and the west it is designed as a rekha deula

The mastaka is separated from the gandi by plain recessed kanthi 9 inches high the
elongated mastaka in khakara in the shape of khura is made of two courses of stones the

19
crowning elements above the khakara have disappeared a kalasa now found on the front wall
of the mukhasala was most likely a part of the crowning element of the viman;

DAKSHINA CHANDI TEMPLE AT BALAPUR:

The Dakhina Chandi temple at Belapur of Khurdha district consists of a khakkara

order and a rectangular flat roofed mukhasala . The mukhasala is a modern structure, both the
structure are plastered and while washed the complex is enclosed by a late rite compound
wall.

The vimana faces east built on a platform, 2ft 5 inches high it raises to a height of
about 18 ft . its exterior measures 10 fit 6 inches by 8ft 6 inches while the garva-griha
measures 7ft 9 inches by 5 fit 9 inches , the bada is of 3 divisins and pancharatha in plan . the
pabhaga 20 inches high consists of 4moulding khura, kumbha, noli and khura the moulding
are join by a plain vertical strip at the centre of each projection the jangha measures 45
inches in height is plain in plan , the raha is designed as a trunkated pidha mundi the upper
part of the raha niche and thepa bhaga below are treated respectively as the upper part and
the lower part of the rekha deul a. in the Varahi and the Gauri temple we find two different
set of moulding , one set replacing the pabhaga moulding below the niche and the other
filling the upper part of the niche . in this temple an experiment has been made to intricate 2
sections in two part of a single decorative the varanda consists of two moulding the upper on
is with semi-circular surface and the lower one is in the shape of khura

The gandi with a series of concave and convex moulding on the longer sides on
curved near the top.The shooter side rise vertically the gandi is decorated with a rekha deula
n each side except the front. These rekha dreula with their base on the varanda extend up to
the top of the gandi .they appear truncated at the top without the mastaka element of the rekha
deula on the shooter side and the lion on the back side seem to be latter addition

The mastaka is demarcated from the gandi by a splayed mouldings triratha in

designs .the mouldings is more projected on the raha on the front side the eliminated khura
shapped mastaka khakara is also triratha in designs the central projection of the mastaka
khakara on the front is relived with a miniature rekha shrines truncated at the top visually
serving as the as the roof of the slightly projecting doorway . The mastaka khakkara is
crown by a kalasa. The lion appearing in the crest seem to be latter addition

20
 The door frame is covered by recent marble work. The armed Dvarapalas are carved
in a niche at the base of the jambs. They hold sword in their right hand and a kapala in the left
hand as the lintel contain the image of Laxmi and graham panel

The mukhasala is rectangular in structure with a flat roof .It is stands on a platform,
its exterior measures is 17 feet by 15 feet 1 inch while its interior measures 10 ft 5 inches by
9ft 4 inches. The wall is plain and without ratha projection hereby we have find three
balusters window in the south side

The garva- griha contain two images of 10 armed Mahisamardini Durga the one under
worship is a later image. The other one which is multiplied was in probability the original
image of the presiding deity. in both the images the Mahisamardini is shown engage in a
fight with a demon in human form issuing from the duplicated body of the buffalo in the
image under worship the Devi plans of left roof on the back of the buffalo on her mount lion
while bearing a trident held in her major right hand in the chest of the demon in human form
for other right hand hold a sword a chakra an arrow and a Bajra.

21
 Varahi, one of the Mother Goddesses, a manifestation of 64 Yoginis and the
counterpart of Varaha-Vishnu was created to annihilate the powerful demons like Chanda,
Munda, Sumbha, Nisumbha, Raktavirjya and the tripuravijayi Mahisasura. The goddess
Varahi associated with the other mothers-Brahmani, Maheswari, Koumari, Vaisnavi, Indrani
and Chamunda assisted Ambika in her combat against the demons. Since she is linked with
other mother goddesses, her origin is also associated with them. Worship of the goddess in
her individual form has been prevalent in Orissa and other parts of India. Similar to other
gods and goddesses of the Hindu pantheon her origin is traced from the Puranas, the last great
authority of Indian religion. The Skanda, Markandeya, Matsya, Devi, Brahmavaivarta, Devi
Bhagabata, Varaha and Linga Puranas have lucidly narrated interesting legends of Matrikas'
origin, their iconographic features, and their role in the religious life. These Puranas record
the names of numerous Matrikas. But the seven mothers have been accepted universally,
supported by the iconographic texts. The antiquity of the worship of the mother goddess is
traced from the Indus Valley Civilization (flourished in 4th/3rd millennium B.C). In fact, the
worship of Siva and Sakti in the Indus Civilization is proved by the archaeological treasures
unearthed from excavations at Harappa and Mohenjodaro. While speaking about the religion
of the Indus people, Sir John Marshall (the famous archaeologist and the excavator of the
sites) remarks that Sakti worship was of great antiquity in India; it originated out of the
mother goddess and was closely connected with the cult of Siva. The continuity of the Sakti
cult since then till the beginning of the historic Cult of Varahi in Orissa Dr. H.C.Das Varahi,
Samlei Temple, Sonepur Rajghat, Rupar, Kausambi, Pataliputra and in the south has
retrieved remains pertaining to the Sakti cult.

The epics particularly the Mahabharata highlighted the Sakta principle. The two
Durga stotras, one chanted by Judhisthira and the other by Arjuna in the form of eulogy are
considered basically the genesis of Mahadevi-Durga manifestation, which was fully reflected
in the Puranas and Upa-Puranas. On the basis of iconographic conception as recorded in the
Puranas, the manifestations of Sakti were carved in sculptures and worshipped in the

22
temples. Of the numerous Puranic legends, I touch upon in short, a few of them to signify the
importance of the Sakti in different forms. The Makandeya Purana (compiled in the 4th
century A.D.) relates that the Matrikas were created by Brahma, Vishnu, Siva, Indra,
Kartikeya etc. to fight the demons as the assistants of the MahadeviDurga. Particularly the
demons like Chanda, Munda and Raktavirjya were endowed with quality of multiplying into
demons equal to themselves in strength and prowess no sooner their drops of blood oozed
out from the wounds touched the ground. To kill the demon Raktavirjya, Siva created from
his energy the goddess Yogeswari and similarly the other major gods created Saktis from
their energies. It was with the assistance of the Matrikas Mahadeva was able to kill the
demon Raktavirjya. This story is recorded in different forms in other Puranas.

The account of theMatsya Purana runs that when Siva discharged his Pasupata weapon
against Andhaka demon, numerous demons of similar stature sprang up from the drops of
blood gushing out of his body. In order to assist him in the combat Siva created as many as
132 goddesses of formidable countenance, who drank all the bloods of the demon finally
killing him in the battle ground. Thereafter, the ferocious goddesses started their campaign of
destroying the whole universe. Having no other alternative to subdue the goddesses Siva
prayed to Narasimha who appeared instantly with his claws besmeared with the blood of
Hiranyakasipu, his tongue flapping out like the spark of electricity, with the formidable fangs
sparkling like a thousand Sun. He created 32 Matrikas who were more terrible than the
goddesses created by Siva. The earlier mothers asked to stay in different parts of the world
and look after the human beings and animals as their children. This indicates various
manifestations of the Sakti conceived iconographically and were propitiated. To highlight
each of them UpaPuranas and interesting legends were composed. It is pertinent to note that
the Matrikas were created as the war goddesses iconic forms. They are seated at ease either
in Lalita or Yogasana, associated each with a child on the lap (except Chamunda who is
seated in Rajalilasana) and flanked below by their respective vahanas. They bear forms and
cognisances of their male counterparts. According to the Markandeya Purana these are the
female counterparts who are armed with the same weapons, wear the same ornaments, and
ride the same vahanas and carry the same banners as the corresponding male gods do.
Accordingly Brahmani should be sculpted like Brahma, Maheswari like Maheswara,
Vaisnavi like Vishnu, Varahi a short-statured women with the face of a boar (like Varaha-
Vishnu ), Indrani like Indra, Koumari like Kumara (Kartikeya) and Chamunda created from

23
the 3rd eye of Mahadevi represents a skeleton in appearance-flesh dried up, bones and
sinews shown through the dried skin, eyes sunken and abdomen contracted, with hairs
shooting upwards in the shape of flames tied with snakes, with the tongue and teeth
protruding out, wearing a garland of skulls, and a tiger skin, sitting on a deadbody flanked by
an owl or vulture and jackals drinking blood dropping from the severed head of the demon.

According to the iconographic fearures Varahi has the face of boar and colour of the
storm cloud. She wears on her head a karandamukuta amd is adorned with ornaments made
of corals. She weilds the hala (plough ) and the sakti and is seated under a kalpa tree. Her
vahana as well as the emblem on her banner is the elephant. To this description
Vishnudharmottara adds that she has a big belly. According to this authority she has six
hands, in four of which she carries the danda, khadga, khetaka and pasa. The two remaining
hands being held respectively inabhaya and varada poses. The Purvakarmagama relates that
she carries the saranga dhanu, the hala and the musala as her weapons. Leaving aside the
iconographical references we have the archaeological treasures of the Matrikas from the
Gupta perod. The Gangadhar stone inscription of Kumara Gupta speaks of the Matrikas. In
the chronological sequence the inscription of the early Chalukya ruler, we come across the
names of seven mothers. TheMatrikas appeared in the sculptural representation throughout
India. In the succeeding period the Sakti cult became so prominent that the Mothers appeared
in the mainstream of Indian religion in some form or other. Orissa became a prominent
centre of Saktism in Eastern India.

According to the Hevajra Tantra, the Sakta-Tantrism flourished in four major centers
of India-Uddiyana (Orissa), Purnagiri, Kamarupa and Jalandhara. TheKalika Purana (11th
century A.D.) emphasizes that the first Brahmanical tantric pitha in India originated and
developed in Odra Desa (Orissa), the presiding deities of which were Jagannatha and the
goddess Katyayani. The archaeological evidences prove the prevalence of Shaktism in Orissa
from the Gupta period, Viraja being the earliest Sakti goddess (in Mahisasuramardini form).
The earliest group of Sapta Matrikas is sculpted in the Parasurameswar temple (7th century
A.D) of Bhubaneswar. The images here are seated in Yogasana flanked by Ganesa and
Virabhadra. The next in order of chronology comes Matrikas of Vaital temple (8th century
A.D). Here the images beautifully sculpted bearing the art tradition of the Bhaumakaras.
They are all seated in ease in Yogasana. They are not associated with the child. Chamunda is

24
the presiding goddess locally known as Kapali. Dr. K.C.Panigrahi referring to the grim
atmosphere created in the dark cella of Khakhara (Vaital) temple and a stone yupa in front of
the temple suggests the prevalence of Kapalika form of worship in the temple. Chamunda
was the presiding goddess of the Kapalika sect of Saivism. It is interesting to note that in
Orissa a separate order of temple known as the Khakhara was erected in honour of a form of
the Sakta deity. The Vaital shrine is the earliest shrine of this order. We have in Orissa as
many as thirteen extant Khakhara temples in different stages of preservation. No male deity
was ever enshrined in such temple. We have a separate Silpasastra in regard to this type of
temple along with the temples of Rekha and Pidha order. Varahi in the group of Matrikas in
the Vaital temple is a sow-faced deity holding a fish and an exe in her two hands. She may be
identified as Matsya Varahi. The ceiling of the Mukteswar temple( C. 10th century A.D)
contains a set of Saptamatrikas on an eight-petalled lotus, each petal having a Matrika. For
the first time here we find the association of a child each (except Chamunda). Child was
perhaps associated with the mother from about 10th century onwards.

All other Matrikas set to be discussed in the succeeding pages are linked with
children. Contemporary to this group there is a set of Saptamatrikas on the edge of the
Markandesvara tank in Puri town (assignable to the Somavamsi period) and the
Saptamatrikas of Sathalpur near Jagatsinghpur town. Facing to the temple is enshrined a
beautiful image of Ajaikapada Bhairava in a separate structure signifying the tantric aspect of
the Matrikas. The association of Bhairava with the Matrikas reminds us of the concept of
Sakta Pithas. There is a set of Saptamatrikasin the front façade of the Simhanath temple near
Vaideswar (in Cuttack district) on the river Mahanadi. Here the Matrikas on the door jamb
flanked on either side by Ganga and Yamuna is a novel feature in Orissan architecture. The
Saptamatrikas of Khiching in the district of Mayurbhanj are beautiful pieces of art of the
Bhanjas. Chamunda of the Matrika group is worshipped as Kichakesvari, the tutelary deity of
the Bhanjas. The other Matrikas are preserved in the Khiching museum. At Belkhandi in the
district of Kalahandi there is a group of Saptamatrikas (only lower portions are available)
belonging to the early Somavamsis ruling from Sirpur (now in Chhattisgarh). The Orissa
State Museum preserves four beautiful Matrikas from Dharmasala. From the point of view of
artistic imagery these are the best images so far discovered from Orissa. These images may
be assigned to the late Somavamsis or the Gangas. Similar in style and workmanship are the
two sets of Matrikas at Jajpur. The Matrikas of colossal stature kept in the compound of
S.D.O's residence are by far the biggest sculptures of this order in India. In broken stage they

25
look terrific, but elegant. Another group of Matrikas (seven) is enshrined in a modern
structure on the Dasasvamedha ghat on the Vaitarani. In the door lintel (now detached) of the
Durga temple at Shergarh in the district of Balasore we come across in miniature form a set
of Saptamatrikas flanked by Ganesa and Virabhadra. The temple is of Khakhara order
assignable to 9th century A.D. A set of dancing Saptamatrikas is engraved in relief form in a
part of the door jamb now preserved in the Balasore Museum. The workmanship of the
images is of low order indicating their execution in a period of decadence. Yoginis are
basically the Matrikas.

The 64 Yogini temples at Hirapur near Balkati and at Ranipur Jharial in Balangir
district contain the images of some Matrikas. The above survey relates the prevalence of the
cult of Saptamatrikas in Orissa. Of the seven Matrikas, Varahi and Chamunda became very
popular in Orissa as their individual manifestations are found in different places.

A life-size image of Varahi (6 ft. 1 in. high and 2 ft. 9 in. wide) is enshrined in the
temple of her name at Chaurasi in Prachi valley. She is in perfect state of preservation. Seated
in lalitasana on a cushion placed on a plain legged seat with her hanging right leg resting on a
life-like crouchant buffalo, the figure holds in her right hand a fish and in the left a blood-
cup. Decked in finger rings, anklets, valayas, armlets, two kinds of necklace, large ear studs
and a tiara over the hair which rises upwards in spiral coils, the three-eyed deity is pot-bellied
and is clad in a dhoti. The plain halo is oval, and the back side of the figure is cut out of the
oblong back-slab. The temple enshrining the image of Varahi comes in the order of Khakhara
and bears resemblance to the Gouri temple at Bhubaneswar. On stylistic ground the temple
and the image are assignable to the early part of 10th century A.D. In the Jagamohana of the
temple are seen two loose sculptures of Varahi seated in Maharajalilasana, having a skull cup
and a fish in two hands. The other is four armed holding in the lower left a skull cup, in the
upper left a rosary, a water-pot in the lower right ( upper left broken) associated with the
mount buffalo and kneeling devotee. These two images were probably enshrined in some
other temples in the locality.

An image of Varahi (3 ' 6 " by 2 ' 2 '') in chlorite stone, two armed, seated in
Maharajalilasana holding a fish and a wine cup is enshrined in a modern temple in the
village, Bonchuo in Anandapur Sub-Division of Keonjhar district. She is worshipped as a
pitha devi and is considered as important as Tarini of Ghatagaon. A colossal sculpture of
Varahi (in broken state measuring 8 ft. in height) at Narendrapur of Bhadrak district is the

26
biggest image in Orissa. Narendrapur of Bhadrak district is famous for Patani Mangala who
is enshrined in a modern temple built by the Raja of Kanika. Orissa has the distinction of
having a shrine of Panchavarahi at Satbhaya. Out of five one is lost and is replaced by an
image of some other goddess. All the existing four images are of the same stature, seated in
Rajalilasana holding a skull-cup and a fish each. Stylistically these sculptures are assigned to
C. 11th century A.D. J.N. Banerjee is of opinion that the cult of Panchavarahi flourished only
in Orissa as no other such shrine is seen anywhere in India. The images are locally named as
Batakumari, Panchurai, Vimalai, Kamalai and Janjali. This shrine has no history but is
associated with a legend. Initially the goddesses acted as the protectress of the forest clad area
in the previous Kanika state. People of the locality were not aware of them. The deities while
wandering in the forest thought the way to receive homage from the people. They caused
blazing fire in the jungle at night. People were terrified to see such unusual fire continued for
days together. The Raja of Kanika was informed of the happening. At last under the orders of
the king the jungle was cleared. Surprisingly the fire extinguished. The goddesses told the
king in a dream to worship them. A temple was constructed and worship was introduced.
However, this is a very important Sakta-tantric centre of Orissa. An image of Varahi (two
armed holding a fish and a wine cup) is worshipped in Balisahi of Puri town. Her
workmanship is bold and similar in style to that of Varahi of Chaurasi. The above survey
reveals that Varahi not only flourished with the Saptamatrikas and 64 Yoginis but also rose to
eminence as an independent cult. Most of the individual images of Varahi were carved and
installed during the Bhauma cultural epoch (736-940 A.D.). This cult alongwith other Sakta-
tantric cults developed with the spread of Tantrism. It was during the Bhauma period
Saivism, Saktism and Buddhism were amalgamated with tantrism resulting in creation of
gods and goddesses of tantric character based on the Tantras.

The worship of the deified form of female energy or principle which is called Shakti
in our religious terminology is traced back in the Indian history to the pre-Vedic Indus Valley
Civilization. On Orissan context, some scholars trace the worship of Shakti in the form of
Viraja at Jajpur to the preChristian era on the basis of certain references to this deity in the
Mahabharat, Hari Vamsa and Vayupurana. But Shakti worship at Viraja, the ancient place-
name of Jajpur, was overshadowed by the predominance of Buddhism for some centuries
preceding the Gupta era. With the efflorescence of the Brahmanical religion in the Gupta
period, the Shakti worship at Jajpur assumed new importance. The present image of Viraja in
the temple at Jajpur belongs to the fifth century A.D. This image, called Mahisamardini, is a

27
two-handed Durga, engaged in killing the buffalo demon. The two-handed image of
Mahisamardini is the earliest form of Goddess Durga. Besides Jajpur, an image of this type
has been found at Somesvar near Kakatpur of the Prachi valley. In first half of the seventh
century A.D., Hiuen Tsang noticed a large number of Deva temples in Orissa. Some of the
temples must have been places of Shakti worsHIP. During the early Bhaumakara rule, the
Durga image became eight-armed. During the later Bhaumakara period this image is found to
be ten-armed. The ten-armed Mahisamardini images of the Prachi valley are assigned by the
scholars to the tenth century A.D. The Dasabhuja or ten-armed Durga was depicted as a war
Goddess, armed with weapons of different Gods like Siva's trident, Vishu's disc, Varuna's
conch, Agni's dart, Yama's iron rod, Vayu's bow, Surya's arrows, Indra's thunder bolt,
Kuvera's mace, Brahma's rosary and Shakti Cult in Orissa pot, Viswakarma's sword and
Himavan's lion. Though the early Bhaumakara Kings were Buddhists, Shakti worship
flourished at Jajpur, their capital, all through the Bhaumakara rule. The popularity of Shakti
worship at Jajpur is borne out by the fact that the Bhaumakara queen Tribhuvan Mahadevi
compared herself with Katyayani (Durga or Viraja) at her accession.

During the Sailodbhava and Bhaumakara periods the deification of female energy was
conceived and executed in various ways. The image of Siva was accompanied by that of his
consort Parvati. Deification of female energy was also introduced within the framework of
Saivism, because Siva was conceived as Ardhanariswar (half-male and half-female). The
most important factor contributing to the popularization of the worship of mother Goddess
during these periods was the growth of Tantricism from seventh century A.D. The Tantriks
worshipped the mother Goddess as the source of power or Shakti and the giver of the highest
spiritual bliss. From seventh century onwards Tantricism continued to dominate Buddhism,
Saivism and Brahmanical religion.

The Buddhist Tantricism, called Vajrayan, conceived of the Goddess Tara

(Saviouress). Tara images have been found in such places as Banapur, Vanesvaranasi,
Ratnagiri, and Khiching. During the Bhaumakara period the Tantrik Shakti worship
dominated Bhubaneswar, the great centre of Saivism. The Kapalikas who were the devotees
of Siva worshipped the Tantrik Goddesses, Chamunda and Mahisamardini, for the attainment
of Siddhis. Four Shakti shrines were erected on four sides of the Vindu Sarovar tank, near the
Lingaraj temple. Of these four temples Vaitala, Mohini, Uttaresvar, and another
unnamedVaitala is the most important. The presiding deity of Vaitala temple is Chamunda.
Chamunda is terrific looking deity, with sunken belly, emaciated body, bulged eyes and

28
garland of skull, seated on a corpse, and flanked by jackels. The name Vaitala is derived from
Vetala, the spirit whose help the Kapalikas and Tantrikas sought for the attainment of
Siddhis. In the Vaitala temple strange Tantrik rites like human or animal sacrifice were being
practised. In front of the temple, the basement of a stone Yupa which was used for sacrificial
purposes is found. In the inner wall of this temple, a fierce image of Bhairava is found.
Chamunda was a deity worshipped by the Buddhists, Saivites as well as Tantrikas. Apart
from the Vaitala temple, a prominent centre of Chamunda worship in the Bhaumakara period
was Khiching.

The Shakti worshippers of the Bhaumakara period conceived of worshipping a group

of seven mother Goddesses, called Sapta Matruka. The seven Goddesses are Varahi, Indrani,
Vaishnavi, Kaumari, Sivani, Brahmi and Chamunda. These seven Goddesses were
accompined by Ganesha and Virabhadra. The Sapta Matruka images have been found at
Jajpur, Belkhandi (in the district of Kalahandi), near Markandeya tank of Puri, Salanpur
(Jagatsinghpur P.S of the undivided Cuttack district) and in the Parasuramesvara, Vaitala and
Muktesvar temples of Bhubaneswar. Dr. K.C.Panigrahi has discerned some iconographic
differences between the Saptamatrukas of earlier period (Sailodbhava and Bhaumakara) and
those of the later period (Somavamsi period). The later Sapta Matrukas, such as the image
found in the modern temple of Dasasvamedha Ghat of Jajpur, Markandeya tank image (which
is attributed to the Somavamsi ruler Bhimaratha in the Madala Panji) and the image of
Salanpur hold babies in arms.

The seven mothers with babies in arms were designed to symbolically deify the
maternal affection. Like Chamunda, Varahi, one of the seven mother Goddesses, was
worshipped independently. Varahi temple is found at Chaurasi village of the Prachi valley (in
the Puri district) and Narendrapur in the Balasore district.

The Varahi image of the Chaurasi temple which is assigned to the tenth century A.D.
is a colossal image, seated on a crouching buffalo, holding a fish in right hand and a skull in
the left hand. By worshipping Varahi, people sought to ward off pestilences. The
Brahmanical Tantricism developed in the form of a cult, called Yogini cult. According to
Kalika Purana, Orissa was the land where the female Tantrikas just as the Kapalikas were the
devotees of Lord Siva, Yoginis were the devotees of Shakti or Durga. The Yoginis and
Kapalikas lived in spiritual as well sexual intimacy for the attainment of spiritual bliss. The
Yogini temples contain Shakti, i.e. a deified form of female energy as the presiding deity, and

29
contain as many as sixty four manifestations of Shakti. In Orissa two Yogini temples of
Bhaumakara period are found. The Yogini temple of Hirapur, near Bhubaneswar, is presided
by the ten-armed figure of Bhairava and a four-armed Ajaikapada Bhairava. This temple
contains sixty three images, symbolizing the different manifestations of Shakti. The presiding
deity of the Yogini temple of Ranipur-Jharial (in the district of Bolangir) is a terrific
Chamunda. This temple possesses forty manifestations of Shakti. This was situated within the
territory of the Somavamsis of Kosala. During the Bhaumakara rule, the Sulki rulers
worshipped a mother-Goddess in the form of a pillar Goddess called Stambhesvari. The
Somavamsis were Saivites. During their rule the worship of Shakti or Tantricism did not
suffer from any negligence due to the close relation between Saivism and Tantricism, i.e. the
cult of Siva who is known as Bhairava and that of His female consort whi is called Bhairavi,
Shakti, Parvati, Durga or Mahamaya. But the Ganga rulers extended their patronage to
Vaishnavism and showed no interest in Tantrik cult. Chodagangadeva was antagonistic to the
Shakti worship. But the worship of Shakti did not disappear; it assumed a new form. In the
temples of Ganga period the Dikpalas or guardian deities appear with female consorts. The
Gangas built the temple of Parvati inside the Lingaraj temple compound. They also built the
temples of Lakshmi and Vimala inside the compound of the Jagannath temple at Puri. During
the Ganga period the deification of female energy entered into Vaishnavism. Jayadev, the
twelfth century poet, introduced Radha as the consort of Krishna. The Tantrik cult adjusted
itself within the pantheon of deities at Puri or Shreekshetra during the Ganga and Suryavamsi
rules. The Bata Avakasha of Balaram Das, the poet of early sixteenth century A.D. tells us
that Jagannath is attended by sixty four Yoginis, Katyayani, Saptamatruka, Vimala and
Viraja. The Bata Avakasha mentions seventy six mother Goddesses. The worship of Shakti or
mother Goddesses continues to prevail in different parts of Orissa under different names.

30
 The Varahi temple of Caurasi is unique in more than one way. The image enshrined in
this temple is exquisitely beautiful and considered to be one of the masterpieces among the
images of the deity found all over India. Structurally marvelled, it stands different from all
other contemporary temples of Orissa (10th-11th century A.D.). A curious combination of
Tantricism and Vaisnavism can be marked in the sculptures of this temple which is at once
amazing and thought provoking. Varahi is believed to be the Sakti of Varaha. In the Tantric
text 'Varahi Tantra' mention has been made of five forms of Varahi i.e., Svapna Varahi,
Canda Varahi, Mahi Varahi (Bhairavi), Krcca Varahi and Matsya Varahi. The description of
Matsya Varahi closely corresponds to the image enshrined in the temple. She has two arms
and she is shown seated in Lalitasana on a pedestal. Following the iconographic canons, the
image bears the face of a boar and body of a divine woman. Her right hand holds a fish while
the left hand holds a Kapala. She has kept her right foot on her Vahana buffalo which is
seated on the pedestal at the bottom. Varahi is represented with a third eye on her forehead
which is not clearly visible at present. Her hair is decorated in the form of spiral coils." The
beauty of this image lies in her big belly to indicate her as holding the universe in her womb
(Bhugarbha Paranesvari Jagaddhatri).On the back slab two Vidyadharas are represented each
on either side. In addition to the main deity in the sanctum two more images of Varahi which
are smaller than the main image are placed in the Jagamohana. Both of them are seated in
Ardhaparyankasana. Among them the image in the right niche is shown with a fish in her
right hand and a kapala in her left hand. At the bottom a figure of Naravahana is placed on
the pedestal. The four-armed Varahi in the left niche holds a kapala in the lower left hand and
is shown with Varada mudra in the corresponding right hand. The upper right hand holds a
fish and left hand holds a rosary. Two of the Parsva Devatas are still found intact in the
niches of the temple. In the niche of the south wall Ganesa, the deity of the learning has been
represented, while the niche of the west wall protects the image of Surya, the deity of light.
The niche of the north wall is empty. Most probably, it contained the image of some tantric
deity i.e Bhairava. Lord Ganesa belongs to the divine family of Goddess Durga and Varahi is

31
considered to be a form of Durga. In Durga Saptasati, Varahi is evoked for bestowing long
life. So Ganesa's representation as parsvadevata is obvious. But the installation of Surya or
Sun. God as a parsva devata seems to be conspicuous. Varahi is basically a Ratri Devata. She
is otherwise called as Dhumra Varahi or Dhumavati. According to tantric rituals, she should
be worshipped only after sunset and before sunrise. According to Parsurama Kalpasutra, the
time for worshipping Varahi is in the middle of the night. How can Sun, the God of the Day
be worshipped.

The Varahi temple was constructed on the bank of Praci River, about 9 miles from
Gop on the road to Kakatpur, most probably during the rule of Somavansi kings. The distance
of the space between the two temples is too little, but the distance of time span is too wide. It
is interesting to observe that much before the construction of the Konarak temple. The Sun
God had been worshipped in the temple of Varahi. In Vaisnava tradition Surya is considered
to be the manifestation of Vishnu. He is called Surya Narayana or Viranchi Narayana. Varahi
as it is mentioned earlier is the Atmasakti of Varaha. And Varaha is the incarnation of Visnu.
The significance of Varaha avatar lies in the fact that this is the only incarnation of Narayana
in which the Supreme Hari incarnated Himself in the form of a boar, which was identified by
the Rsis as Brahma Varaha. He took Varaha form for two purposes viz. to create the universe,
and to redeem the earth from the clutches of the demon Hiranyaksa. So the co-existence of
Varahi and Surya Narayana is quite acceptable. The Praci Valley area is well-known as a
famous centre of Vaisnavism and Saivism. It is the seat of "Dvadasa Madhavas" and
"Dvadasa Sambhus". But it would not be wrong to assume that Pancamakara concept of
Tantric Buddhism comprising of matsya, mamsa, madya, mudra and maithuna, developed in
this region earlier than Vaisnavism and Saivism. This can be substantiated by the depiction of
the erotic figures found above the niches of Parsvadevatas According to J.N Banerjea, these
erotic figures of the reliefs appear to illustrate the practices of eight types of Kamakala
(astakamakala prayoga) of kaula Sampradaya. It is described in the fourth patala of an
unedited Sanskrit text called Kaula Cudamani written in Oriya script. The date of this text is
not known, but the Vamacara Kaula ritualism very well corresponds to these erotic relief's on
the wall of the Caurasi temple. Viewed from architectural point, the temple of Varahi in
Caurasi is the most beautiful monument in the Praci Valley. This temple marks a significant
deviation from the usual tradition of Rekha and the Bhadra type and exhibits a novel style
which according to Orissan nomenclature is of Khakhra or Gaurichara variety. The ground
plan of it somewhat resembles that of the Vaital temple in Bhubaneswar, but while the plan

32
of the latter admits of no regular ratha protection, this temple presents a pancharatha type
both in plan and construction. The Vimana is rectangular in cross section and with its
elongated vaulted roof and other architectural features it resembles more with the Gauri
temple of Bhubaneswar than with the Vaital temple. The vase of the Vimana measures 18ft
by 22 ft and height of it is 27ft. The Jagamohana which is also rectangular in shape like that
of the Parsuramesvara is a Pidha temple with seven distinct tires of Pidhas. The walls of both
the Vimana and Jagamohana are beautifully decorated with the figural and arabesque motifs
and maintain a high order of balance and rhythm. The noteworthy reliefs are found on a
single board that surrounds the whole Jagamohana just below the Varanda where scenes from
Ramayana such as killing of the illusory deer, the abduction of Sita, the murder of Jatayu, the
uprooting of seven palm trees, the murder of Vali, the construction of the bridge over the sea
are depicted with grace and precision. The majestic moulding, designs and carvings of the
entire temple are found in remarkable varieties and profusion not being overdone and
accentuated the singular beauty and richness of the monuments in a manner that was hitherto
unknown in the Praci Valley. From the availability of the numerous images of Varahi, it is
understood that Varahi worship must have been prevailed in Orissa during early medieval
period. There are many shrines dedicated to her where she was worshipped as a presiding
deity. Mention may be made of the Varahi temple of Satbhaya (Cuttack) Banchua (Keonjhar
district), Narendrapur (Balasore district). Images of Varahi have also been found from Jajpur,
Dharmasala Ayodhya, Danagandar, Kisenpur, Tarapur, Padagadi, Kantilo, Garudapancana,
Bayalishbati, Chatesvar, Bhubanesvar etc. The representation of Varahi in the Saptamatrka
panel in different temples of Orissa be speaks of her pacific aspect Varahi, is the fifth in the
row of Saptamatrka (the other being Brahmani, Mahesvari, Kumari,Vaisnavi, Indrani and
Camunda. She is otherwise called Pancami. The deities Brahma, Govinda, Rudra. Isvara and
Sadasiva are the five powers in charge of five acts - Creation, Protection, Destruction,
Dissolution and Regeneration respectively. They are Panca Brahmas. The fifth among them is
Sadasiva "Paniamasya Brahmanah - Sadasiva Stri, Pancani," which means the consort of the
fifth Brahma is Pancami who is none other than Varahi. She is called "Kaivalyarupini"
because she is not different from Kaivalya. The five kinds of Muktis are the Salokya, the
Samipya, the Sarupya, the Sayujya and the Kaivalya. The final mukti is Kaivalya and Varahi
is the bestower or Kaivalya. The Varaha Parana says that the mother Goddesses are eight in
number and includes Yogesvari with them. It further says that these Matrkas represent eight
mental qualities which are morally bad; accordingly Yogesvari represents Kama or desire,
Mahesvari Krodha, Vaisnavi lobha or covetuousness, Brahmani mada or pride, Kaumari

33
moha or illusion, Indrani, matsarya or faultfinding, Yami or Camunda Paisunya or
talebearing. And Asuya, that is envy, a very destructive human quality is controlled by
goddee Varahi.Varahi is a complex deity to understand. She occupies a very important
position in different cults. In Saktism Varahi occupies the highest position of the commander-
in-chief of Lalita Paramesvari's army. In Tantric Saktism Varahi possesses a very powerful
position. In Buddhism Varahi is called Vajra Varahi and is the queen of God Heruka who is
combodiment of Sunya. In Vaisnavism, the images of Varahi are represented with Sankha,
Chakra, Gada and Varada or Abhaya Mudra in her hands. In the tantric Saktism the same
Goddess is depicted with pot-belly and as holding matsya, manias and wine pot in the hands.
While in Vaisnavism and Saktism She is shown standing or seated on either lotus pitha or on
the Vahana of Mahisa or Mahisa's head or boar or lion or Garuda or Sesanaga, the same deity
in the Tantric Saktism is shown either seated or standing exclusively on the Vahana of
Shebuffalo or corpse. It is very important to note that 30 yantras and 30 mantras are
prescribed for Varahi exclusively which indicates her power to bestow siddhi to aspirants and
Sadhakas who worship her sincerely and faithfully. Besides, the iconographic prescriptions of
Varahi are detailed in the Agamas, Yamalas, Sutras, Tantras, Silpasastras, Puranas and the
Buddhist texts. While explaining her different forms, attributes, vahanas and postures, these
texts treat Varahi as Supreme Sakti, who is pure external Mulaprakrti. She is Supreme
Female Energy. To conclude it can be said that embodying the temple of Earth Goddess
Varahi, the land of Prachi Valley has become a place of great pilgrimage.

34
 One of the earliest temple in eastern Orissa to incorporate the new Architectural
features filtering into Orissa via Mahanadi valley is the varahi temple in the village of
Chaurasi on the bank of the river Prachi about nine miles from Gop on the road to kakatpur.
The temple is of the khakhara type and dedicated to varahi one of the matrikas, though it is
not likely, as suggested by Mitra, that it is the sole surviving temple among seven erected in
the region dedicated to the Sapta Matrikas.

The temple consist of a rectangular khakhara type deula and oblong jagamohana with
a roof made of two sloping terraces as on the twin temples at Gandharadi with which it is
stylistically aligned. The overall decorative programme is more lavish, however, and the
temple probably is slightly later in date. Tentatively the varahi temple can be dated to the first
quarter of the 10th century.

ARCHITECTURE:

The varahi temple at Chaurasi is a fine example of khakhara temple. The temple is consisting
of the Vimana of khakhara order and the Mukhasala, a rectangular flat roofed hall. Both stand
on a plinth of two levels. The plinth also shares the projections and recesses of Vimana and
the Mukhasala.

The stones used in the temple are of very poor quality. Because of the quality of the
stones the sculptures are devoid of grace and elegance though these belong to the developed
stage in the evolution. This has also destroyed the soft outline of different elements on the
surface of the temple.

The vimana is similar to the Gouri temple in many respects. The panchaangabada
consist of three divisions. The pabhagamouldings showadvanced features as noticed in the
Mukteswar and Gauri temples. The pagas project prominently on the bada. The paga
divisions are continued upto the mastaka. The pagas are liked many sidedpilasters decorated
with scrollwork. The recesses between the kanika and anurathas are filled with Naga Nagi

35
pillars. Here the Naga Nagi pillars are different from the Naga Nagi pillars of the Mukteswar
and Gauri temple. Hear we noticed that the Naga pillars are in ascending order with a garland
in their hand.

The bada is separated from the gandi by a set of mouldings. The kanika and anuratha pagas
extends to the gandi and are topped by kalasa like the Gauri temple. In the latter case the
kanika and anuratha pagas on the gandi are carved in the manner of two superimpose
khakhara mundis. The gandi is divided into two levels by a recessed kanthi decorated with
mithuna and other erotic sculptures. The decoration of the lower portion is repeated in the
upper one. The rahapagas, are decorated with two superimpose vajramastakas, the upper one
extending to the mastaka. In the Gauri temple two vo-mot6ifs take the place of vajramastakas
and these do not extend to mastakas.

The mastaka is demarcated from the gandi by a mouldings. It consists of one khakhara
only. The treatment of the roof is slightly different from that of the Gauri. Unlike the roof of
the Gauri it is carved. The mastaka is crowned by a kalasa and udyata simhas are placed
above the rahapagas. The lower edge of the khakhara is releaved with friezes.

The mukhasala is rectangular hall with flat roofed in two tiers. There are no internal
pillars. The joining of the vimana and mukhasala has been perfectly done. Here we notice
identity in the treatment of the walls of both the mukhasala and the vimana. Blocks
containing mithuna and kalasa are alternately placed in the clerestory. The vertical edges of
the sloping eaves are carved with scenes of military procession. A kalas crowns on the
mukhasala.

BADA DECORATION:

The deula measures approximately 18ft by 12ft 6inch in pancharatha in plain the
temple rest on a plain pitha 2ft 4inch in high the pabhaga is 32 inch high and contains only 3
mouldings the khura moulding at the base in plan while a campake –leaf is carved on the face
of the kumbha moulding the mumbanti or lower edge of the top moulding is relived with
scroll work while its sloping upper area is ornamented with a small caitya medallion the paga
designs on the shorter north and south sides are similar to those on the longer west side
though anuratha and raha is not wide the raha paga on the north and south sides is designed as
a khakara mundi with its niche resting on the top moulding of the paga . The upper half of the
niche is filled with an f also design as a khakara mundi, an architectural feature peculiar to

36
the somavamnsi period which actually restricts the size of the parsva devata enshrined
within .A thin tala garbhika appears the beneath the niche . The nich is framed on each by
pilaster relived on its central facet with scroll work. A large projecting eve crunch the nich.
The raha paga on the longer west side is much wider in its upper portion folds with an urdha
garbhika consisting of their khakaramundis . A band of decorative scroll work frames the
inside of the niche , relived with a dvara-lallaata – bimba panel above , and the scroll work on
the flanking pilasters designs above a tala bandhana motif

The kanika paga is the same on all sides and consist of a central vertical facet relived
with ornate scrollwork above on a tala bandhana the upper portion of the facet has a shallow
nich filled with mithuna motifs and a crowning urdha bandhana which turns into a rather
ineffective baranda . The anaratha pagas on the longer west side was similar in design
through the nich is slightly elevated so that there is more scroll work beneath. There is also an
additional offset so that the paga appears multifaceted. The anuratha paga on the north and
south sides though facetd, are narrower and lack the shallow niche. The recess between the
kanika and anaraha is filled with a naga stambha. This is the first example of this motif
appering in the anuratha recess .The coils of the naga apper beneath the torso so that the
figure appear to be ascending. At the base of the stambha is a gaja kranta motife of a lion
punching on a crouching elephant. Boath animals are depicted in profile and the designs
obviously derives from the early motifs appearing on the projecting tala bandhana or dentil
frieze standard on earlier Odishan tempels. A similar profile design appears on a broken
fragment from the panchu pandava temel at ganeswar pur and another example at khiching
where is an later tempels the motife turns into a doubled Gaja kranta with all animall depicted
frontally. There are adition examples represented frontally here to sugest the transitional
motif and the tempel. thes stambhas designs above the pabhaga mouldings, rather than
extending through them as on latter th century tempels and continuing into the gandi where
they are surmounted by Salabhannjikka figures on the recess between the anaratha and raha
on the west sides is filled with a thin cluster scroll work extending of the height of the
janghaa.

The overall decorative program of the bada , consisting of a khakara mundi designs
for the raha flanked by pilasters of varying size with niches staggered in elevation and a
truncated pabhaga , suggestes the experimental nature of the temple although the designs
exhibits many of the new features introduced in to odisha ata this time theay are not
completely fused with the indigenious tradition and appear somewhat exotic.

37
GANDI DECORATION:

The experimental nature of the temple is particularly evidence in the designs of the
veranda and the gandi. The veranda, in fact, can be conceived as the sty bhumi of the gandi or
as the crowning members of the bada. The consists of a row of khakara mundi aligned with
the pagas of the bada and decorated with asmall vajra mastaka on its top mouldings. On the
north and south sides these muindi crowning the kanika and anaratha are surmounted by a
kalasa which on the longer west sides only the kanika has these surmounting motif on the
raha these mundi designs have a small niche at the base immediately above the projecting
eave crowning the parssva Devata nich, the recess separating the kanika from the anaratha are
filed with the salabhnjikas crowning the naga stambhas . On the north and south sides the
recess separating the raha from the anaratha are decorated with panels relived with mithuna
couples

The devison above the verandas design is identical ,and as such can be
consider as a second bhumi, expect there is a recess at the base which is decorated with nich
on the anaratha and kanika on the west and on the kanika of the shorter sides the niche
containing mithunas the recess between the kanika and tha anaratha is likewise field with a
stambha surrounded by a salavanjika . On the north and the south sides the anaratha is
eliminated and replaced by the vajra mastakas designs of the raha with became extended and
triratha in plain. It consist a large chaity medallion formed by strings of pearls dripping from
the mouth of a kirtimukha projecting from the crest of the khakara. The medallian is led with
a khakara mundi has on the gandi. On the longer east and the west sides this medallion is
flanked by a large dwarf yaksya standing on the wings with one leg uplifted and holding a
club in one hand while the other hand is plased on the cheek.

This is the first example of this type bajramastaka appearing on the gandi through its appears
on the paga designs of the bada of 8th century temple at Bhubaneswar and small flanking
dwarfs appear on the bajramastaka on the north and south sides of the vaitala deula . On later
tempels it becomes the standard aportpic motif on the gandi though the dwarp yakshya will
move closer to the centre and flanked the kirtimukha mask, from the north and south side the
kirtimukha mass is replaced by a udyta lion on later tempels. These udyata lion will be placed
above the kirtimukha chronic the vajramasstaka of rekha temples and project sharply out
from the silhouette of the gandi. We thus see numerous new motifs in their incipiency on the

38
varahi temple which will became standard decoration on later temples though their design
became modified and more ornate.

MASTAKA DECORATION:

The mastaka is demarcated from the gandi by a molding. It consists of one khakhara only.
The treatment of the roof is slightly different from that of the Gauri. Unlike the roof of the
Gauri it is carved. The mastaka is crowned by a kalasa and udyata simhas are placed above
the rahapagas. The lower edge of the khakhara is releaved with friezes.

JAGAMOHANA:

Thejagamohana measures approximately 31ft and is tri anga design. Most of the
sculpture have survaived . The pabhaga measures 26 inch in high and consists of four
mouldings ,rather than as on the deula with kiriti designs carved on the khakara through
thrugh their details were not completed A compaka-leaf carved on the kumbha links of the
third moulding which is design as pidha and decorated with a chaitya on its sloping upper
surface . The top moulding is in the shape of an in vated pidha with its projecting upper
surface relived with the scrolled work.

The side or flanking angas of the jagamohana are decorated with khakara mundi design
alternating with thin pilasters as on the twine temple at Ganadharadi , on each side of the
centre the graksa projection . There are no tala garvikas beneath the mundi niches, however,
so that the pabhaga appears indented. the vimanika above the nich is not as elongated as at
Ganadharadi and consist of a single bhumi capped by a splayed phenI decorated with
padmaprstha scroll work and surmounted by a vajramastaka. The vajeramastaka is flanked by
bhararaksakas as on the 8th century tempels at Bhubaneswar the design is more ornate and
theire is a small kirtimukha at the apex. The thine pilasters alternating with the mundis are
relieved scroll work above a purna ghata at the base and crowned by a squatting atlantes at
the top. On corners pilasters are wider and crowned by a mithuna rather than an atlantes
while the purna ghata the base is replaced by a set of mouldings of tala bandhana .all of the
pilasters extend through the pabhaga mouldings rather than beginning above them AS on the
deula . on the shorter east and there are two khakara mundi designs and three pilaster on each
side of the entrance portal .

The garvika projection on the north and south side is framed by the side by nagi- stambhas as
at gandharadi though the gaja-kranta motif off at the base is replased by horizontal moulding

39
and represent are both female .ther I also a capital added above the nagi decorated with a
center figure flanked by squatting atlantids. The garvika between the nagi stambhas was
much wider on the varahi temple and khakara mundi added to each side of the window,its
niches being field with a four armed female guard. The window is filled with crisscrossing
bars and lattice to produce diamond shape perforation. the three bands framing the window
are ornately carved with the scroll work there are four insects one at the centre of the each
side ,decorated with a figure motif on the top of the motif is gaja lakshmiand the sides are
vidya dharas and the bottam a potbellied gana . The gavaksa mandana above the window is
decorated with the talavajra-mundis separated from one another by a thin pilaster same in
design

The janghameasures 48inches in heightand is crowned at the top by a baranda

consisting of a slightly projecting pidha moulding recess which is 16inches in heigh, the
mubanti of the moulding is relived with scroll work while its sloping upper face contains
miniature dancing figures and animals widely spaced against a plain background. The recess
is field with jalli panels alternating with alternated dwarfs. The terraced roofed slopes in two
stages with the vertical face of the projecting eves carved with the stylized lotus petals. the
recess separating the two stages is decorated with sallow niches alternating with the large
purna-ghatas the niches contain figure motif most of which are erotic in nature the cornices
beneath two projecting eve are decorated with the seen from the Ramayana hunting seens
and animal processions on the crown of the flat roof is a monolithic kalasa placed on a square
pedestal on the interior there are twelve engaged pilasters, four on each the north and south
walls and two flanking the entrance portals on the east and west ends.

40
ODISHAN SCULPTURE AT A GLANCE:

The sculptural glance of Odisha date goes back to the fore-part of elephant cut out of
rock boulder at Dhauli. Though Asoka was responsible for the carving of the elephant. It does
not betrayed the Mauryan characteristic but the Dhauli elephant can be regarded the ancestors
of the numerous elephants are found on body of the Odishan temples. Similarly the railing
pillars and the lion capitals discovered from the neighborhood of the Bhaskaresvara temple
and the bell shaped lotus capital in the vicinity of the Ramesvara appears to be the works of
the same artist. There is nothing oriyan as supposed by K.C. Panigrahi. The relief’s
sculptures on the lotus capitals bear affinities with those on the caves of Udayagiri. The
reliefs sculpture of the Udaygiri caves (1st century B.C.) so the definite sign of improvement
over the once discussed above since the caves are excavated for the use of Jaina Arhatas, the
theme of the art here is predominantly Jaina. The Jaina bias did not prevent the sculptors
from depicting the secular themes which mostly deal the royal past times like hunting, sword-
dueling, dancing performance etc. where the royal personages have been prominently
displayed.

The Asanpat Nataraja is the earliest Nataraja image of Orissa. The eight-armed
Nataraja with urdhavalinga is holding a snake over his head with two upper hands and a vina
with the two lower hands. One of his left hands is in varada mudra and in the rest of his hand
he is holding trisula, damvaru and rosary. The legs are bent with the right heel raised upward
to indicate the pose of dancing. He is flanked by his two attendants. He is wearing
jatamukuta. The image bears the characteristics similar to those of the images on the walls of
early temples.

Another important piece of sculptures is the Mukhalinga at Sitabhinji in the

Keonjhar district. It can be placed in the fourth-fifth century A.D. It is a fine combination of
the linga and anthropomorphic forms of Siva. The purpose of the above descriptions in to

41
establish a link between the sculptures of the caves of Udaygiri and the temples of Orissan of
which the earliest one is dated 7th century A.D.

As concerned Odishan temple it date goes back to the 6 th century A.D. during
this time the Orissan temple containing some features of Gupta art such examples Gupta
feature can be noticed in the doorway with over hanging lintel the depiction of river goddess
Ganga and Yamuna, the wig-like hair dress of the male figures and certain low-cut decorative
motifs, particularly the floral designs. Vidya Dahejia, contention that the Gupta sculptural did
not influence the Orissan art idiom does not appear to be correct in view of the above
discussion but he again say that the Orissan sculptors had a fair knowledge of the Gupta
sculptural style is evident from their borrowing of certain Gupta features as shown in the
preceding paragraph. Therefore it can be said that the Gupta sculptural style had its influence
in the Orissan temple at, but the influence was limited to a few examples.

According to Stella Kramrisch, “the coherence of its monumental shape is

enriched by its carvings, nowhere else in India are the walls of the temples as intimately
connected with their sculptures.

The sculptures on the Orissan temples can be divided into two broad
categories – Religious and Secular. The religious sculptures include various cult icons, the
panels depicting the stories from the Epics and Puranas and the semi-divine beings such as
yakshas, nagas, suparna, vidyadharas etc. the Buddhist and Jaina images, a rare occurrence on
the early temple belong to this categories. The second categories includes the erotic
sculptures including mithunas, the beautiful female figures or nayikas in various posess and
action, reliefs depicting the war, hunting, dancing and preaching scenes, the royal
personages , animals and birds, Kirttimukha,, and various decorative designs including
chaitya arches. The religious themes predominates the sculptures of the early temple. But we
noticed a process of gradual secularization of the sculptures in the course of evolution as a
result of which the temples to the close of the period process them in greater number.

The sculptures on the temples of the earlier phase of our period are very
poorly treated. They are carved in low-relief. About the sculptures Dahejia says, “Proportions
are poor, images stocky and figures generally in rigid postures. The human body has an
awkward appearance with arms and legs seeming to be separate entities, flat and flabby, and
attached to the body in an inorganic fashion without any depiction of underling bone or
muscular structure”. The figures and toes look very awkward. Similarly the seated figures are

42
also very uncomfortably place. But the treatment of the Parsvadevatas is slightly better than
the other figures. Therefore Dahejia says that these were the works of “more advanced
craftsmen”. This explanation does not appear satisfactory. It is not known why the three
Parsvadevatas images, were assigned to the more advanced craftsmen for execution and the
rest were left to inexperienced ones.

The Parsvadevata images do not form part of the temple wall as found in the
Vaital and the Sisiresvara temples. Here they were carved separately and placed in the niches.
The sculptor who worked on independent block of the stone for the surface of the temple
wall, naturally the works of the former was bound to be slightly better than those of the latter.
This seems to be the plausible explanation for the difference noticed in the treatment of the
Parsvadevatas and other figures of the temple. Even then the Parsvadevata images from some
serious defects in their execution. Their legs and arms are inorganically fitted into the bodies.
The eyes are very oddly treated and devoid of expressions.

In the next group of temples represented by the Vaital, the Sisiresvara, the
Markendeyasvara, the Simhanatha, etc., a marked improvement is noticed so far as the
treatment of the sculptures is concerned. Here the sculptures have been carved in deeper
relief and consequently the figures appear more round and delicate. The sculptors appear to
have been successful to a great extent in rectifying the defects noticed in the treatment of the
figures of the previous group of temples. The limbs are more accurately carved and joined
more organically to the body. Thus these do not appear separate entities. The treatments of
the eyes are better and the facial expression is graceful. About the sculptures Debala Mitra
says the dignified self-composed figures of the deities with the expression of absorption are
mellowed with warmth of spiritual grace or an elegant refined.

The figures are stockier and tendency for slenderness is discernible. The
mithunas figures of this phase are particularly charming. But certain defects such as odd
treatment of legs and awkward positioning of the legs of the seated figures s noticed in the
earlier phase still continue in site of the efforts at improvements. The decorative motifs are
found skillfully executed. The mastery over skill also extends to the arrangement of
sculptures within the available spaces.

In the last phase of our period the sculptures exhibit the sign of further
improvement. The figures are curved in alto-relievo. Temples belonging to this phase are
seen lavishly decorated with decorated sculptures which Fabri describes “forest of

43
ornamentation”. The decorative motifs are treated in most delicate manner. The arrangement
of sculptures on temples surface reaches the stage of complete perfection. The figures are
slender with elongated limbs. The facial expression of both divine and secular figures is
charming.

The most important aspect of the sculptures of these temples is the profusion
of exquisitely carved nayikas or indolent damsels. They are seen engaged in various feminine
pastimes like looking at the mirror, bending down the bench of the tree, putting an ornament
in the parting of the hair, fondling a baby, opening the door, talking to her pet bird, kicking at
the foot of the conventional Asoka tree, dancing or playing on musical instruments, standing
in a relax position, amorous in company with her beloved, allowing a peacock pearls from the
parting of the hair and so on. The varahi temple may be a small temple but the sculptures
depicted on the body of it are very beautifully.

MAIN CULT DEITY:

The presiding deity of the temple is Varahi, one of the Matrikas. The image is of fine
Workmanship. The goddess is seated in lalitasana on lotus seat. She is two armed-potbellied
with the face of boar. Her breasts are prominently carved. The hairs of her head have been
arranged in tight curls. She holds fish in her right hand and a cup in the left. She wears large
rings in her ears. Her mount Buffalo has been shown on the pedestal.

CULT IMAGE:

Two of the persva-devatas have survived Ganesh on the south and Surya on the west or
backside of the temple. The niche on the north side is empty, according to the Kula doctrine
observed in this temple, consecrated to Varahi who represents the Jnana-aspect of other Devi,
it should have contained an image of Bhairava, the male counterpart of the Jnanasakti. The
presence of Ganesh suggests that he may be invoked to help remove the evil of ignorance that
obstructs the light of Jnana. Surya as the principle of light or illumination is obviously a
complementary aspect of the Jnana Devi. Surya is seated in padmasana on his chariot which
is drawn by seven horses rearing up on their hind legs in tip-toe fashion. He holds the stalk of
a full-blown lotus in each hand. His hair is arranged in a tall Mukuti and the ends of his scarf
billow up behind to give the impression of the swift movement. His body ornamentation is
neatly curved .the charioteer Aruna is shown down to the west. Diminutive images of Dandi
and Pingala appear at the corners of the chariot and again at the base of the jambs framing the

44
niche. A mithuna murti is carved on the inset above the surya attaced to the base of the urdha
garbhika. The four armed Ganesha is depicted in a standing pose eating sweets from a bowel
held in a upper left hand ,his lower left hand rest on the handle of a hatchet with its bleed on
its ground his lower right hand holds a rosary while his upper right has a broken tusk rather
than a radish as was customary on earlier images. His upper potbelly overhangs his girdle a
trefoil niche appears behind his head. He is flanked by flanked vidydharas above and bye
ganas in the lower corners a mouse appears on his right foot.

The nich of the corners mundis house digapalas while those of the second mundi contain their
Sakti though several of them have not survived and a few have been placed during recently
repairs. This is the earliest appearance in their in their respective positions on a surviving
Odishan temple as at Bindusagar they are depicted standing with their mount one of the lower
corner of the niche. A diminutive Gana was added to the opposite corner. their iconography
has been standardized as yet nitrite ,for example ,by attending by a dancing figure rather than
a prostarate cropse.The niche of the third nich on the long north and south sides contain a
saivaite deity with the surviving images being Ganesha ,Kartikya and four armed Durga .
The niches on their either side of the gavaksa window hose four armed mahavidyas or avarna
saktis as the mahavidyas represents the various stages and aspects of the spiritual knowledge
and further emphasized the janana aspects of Varahi who is the 14th anga of tripurasundari ,
the niches of the south and the north flanks of the entrance projections and houses the river
goddesses Ganga Yamuna altogether their river goddesses and thus sixteen avarana saktis
containing the eight Digapalas panels four garvikas guards two river goddesses and two
Devis from the third mundi in addition to the two female guards on both of the entrance and
sanctum doorframe which formed a protective ring around the jagamohana

Within the jagamohana are two detached images of the pot bellied varahi, boath seated in
Rdhaparanika .one his two arms while the other has four, the two armed figures holds a
kpala in the left hand a fish on the right . Her hair rises in spiral curls against a background
of an oval halo flanked at the top by vidyadharas .the pedastels is decorated with two
kneeling devotees and two tripods heaped with the offerings The four armed varahi holds a
kapala and a rosary in her left hands while her lower right has a water-port The upper right
hand and the backed slab are missing of varahi is one of the sanctum , she is sitting on a
pedestal The most impressive image of the varahi is one in the sanctum, she is sited in the
lalitasana on a cushion on a plan seat with her right foot resting on her buffalo mount carved
on the pedestal ,she holds a fish on her right hand and a kapala in here left . A third eye

45
lightly etched into her four head and vidyadharas on the upper corners of her black slab . The
image is partially fixed into the wall .The sculpture is approximately six feet one inch high in
bold in execution and monumental in conception.

EROTIC SCULPTURE:

As on other temple dating from the other close of Bhauma period and opening years of the
Soma vamnsi period inclueding the Simhanatha temple , the Kutiundi temple at Khiching ,the
Someswar temple at Mukhalingum , Atbaudh and the panca – Pandava temple at Ganeswar
pur ,erotic imagery pertaining to specific tantric rituals Playes a role in the overall decorative
program .for the first time ,however this imagery appears in the major niches . they are in all
of the kanika niches and on the two anarataha niches on the long west side six of the images
have been identified by j.n Banerjea as illustrating stages of the ritul love making or
kamapalaprayoga , as described in the upanished Odia manuscript cooled the
Kulakacudamani.The theme which he identifies as Rajapana is actually a scene of fellatio,
however ,and in many cases the male figure has a suggesting he may be a kapalika , so
apparent that the scenes do not illustrate the rituals as described in his particular text .some of
the illustration are nearly identical to small examples appearing at khiching and mukhalingm
and testify to the widespread popularity of these rituals in the 10 th century As the other sides
there is also as an image of the bhiksatanamurti .It is placed on the northeast corner of the
jagamohana , in addition to thise ritualistic scenes there are also numerous mithuna images
appearing on the gandi and in the recess separating the traces of the jagamohana roof .For the
most part these mild scenes represent courting etiquette with the male attempting to win the
affection the female .There is also an image of a female displayed female carved on apilaster
capital of the jagamohana where is flanked in either side by a bararaksaka.

DECORATIVE MOTIFS:

Aside from the cult images and mituna murti the most popular figure motifes are the
salavangika appering on the gandi and the bhararaksakas appearing on the pilasters and
flanking the pagas bajramastakas of the jagamohana in the terms of the body proportion and
the ornamentation the female figures closely approximate those on early somavamnsi temples
at Bhubaneswar ,such as mukteswar generally the creepers bends around the head of the
figures to surve as a canopy .The hair is normally tide in a circular bun to one side of the head
, as at mukhalingam rather than on the top of the head as in the bhauma period the squatting
bhararaksas are charecterised by pot like limbs as well as bellies similar to those appearing on

46
the triple temples at baudh other figure motif include hunting and the battle scenes of the
Ramayana and on the veranda and the roof of the jagamohana there are in adition occasnaly
sceens depicting menial task such as carrying water ship of animal motif the most
conspicuous are the Naga stambhas framing on the entrance protral and gabaksha projection
and trhe anuraha paga recess on the deula .The jagakranta motif of a lion springing on a
cnrounching elephant appearing at the base of the stambha is morely aliignted to appearing
on tala bandhana of earlier temples than the double and they trip

The udyatasimha also make their initial appearance on the roof above the bajramastakas and
the kirtimkhas crowning the later motif becomes more prominent due to its increased
projections from the wall a kirtimukha freeze with linga hanging festoons of pearls dripping
from open mouth is carved near the topof the naga stambhas

Aside from scrollwork on the door frame the most popular motif is the violate which appers
generaly on the pagas beneath the niches and on the pilasters in some cases there is a central
stalk which ruins vertically through the luish foliage suggesting a tree of enclose d by a frame
so that the overall design a adheres closely to the wall surface the carving is extremely
refined and the motif varied to avoid the monotony

SECULAR IMAGES:

Among the secular images the mithuna figures are richly carved in the temple and
jagamohana. The Nayika figures especially the salabhanjika is appeared in the temple a many
of numbers. The Naga sthambha also carved in the recesses of the temple. And there is a big
Naga stambha at the door way of the temple. All over the temple there is 14 numbers of Naga
sthambas are appeared. With these there also some scene from the Ramayan like the hunting
and battle scene are carved in the upper part of the jagamohana. With this there are some
other images are project in the temple like udyata simha. Bhararakshaka.Vidyadharas etc.

PORTAL DECORATION:

the entrance portal of the jagamohana,as at a gandhardi, is framed at the sides by

naga nagi stambha,the serpent on the proper right being male and the one on the left female
rather than both being as at the gavaksa.the doorframe consist of three mouldings decorated
with the kutela, Gelaba and Jalapatra scroll motifs, an alignment which becomes standard on

47
most later temples, the entire gelaba motif changes into flying vidyadharas on the lintel.at the
base of the kutila scroll,on the inside jamb above the roof of the dvarapala niche, is carved a
diminutive Naga figure in the act of descending the jamb.although this is a popular decorative
motive on temples in central and western india, as at Gwalior, Khajuraho or Odisha,this its
first appearance in eastern Orissa. Its diminutive size, and lack of coils of the jamb above it,
suggest it is an archaic residue from the earlier practice popular on temple doorframes in
chattisgrh, of carving large Naga figures, or super imposed Nagas,with their entwining tells
forming a scroll framing the door way .The Gajalaxmi panel on the lintel is partial cover with
multiple coats of whitewash though it is possible to discern the Laxmi is seated in the
standard early pose with legs crossed rather than a lalitasana.

The dvarapalas are housed in an arched niche at the base of the two inside jambs.they are
both four armed fmail guards though they are badly damaged so that all of their attributes
cannot be identified. They each hold a rosary, however, and the one on the proper left holds
a trident, at the base of the outside jambs adjacent to the dvarapala is a standing Naga
attendant housed in a plain niche the Naga on the proper right holds a garland while the on
the left holds a vase in fronts of its body with both hands both figures have a canopy of
serpent hoods as on the Sisiresvara door frame the Nagas are carved at an angle facing inward
a similar juxtaposition of Naga female dvarapala appears at orissa though the female river
goddess and the Naga is placed next to her rather than in a separate niche, Naga attendance
also appears on a door frame at karvan near Baroda in Gujurat though they are placed
between a dvarpala and river goddess

The door frame of the sanctum is similar in decoration through the female dvarpalas
are two armed and have a pot belly. Their hair is arranged in spiral coils so that, except for
their face, they closely resemble the image of Varahi enshrined within. They both hold an
attendant female figures appear in the lower corners of the niches. The adjacent Naga figures
each hold a garland in front of their body.In front of the entrance of the jagamohana which
further suggests the tantric nature of the temple.

48
 On the basis of above discussion , we may arrive at following conclusion, it is
apparently clear from the above discussion that the worship of sakti or Matrika is very and
most important concept in all over India since stone age to till today. We can see and know
about different aspect of worship mother goddess in the study about Matrika or Shakti cult in
Odisha and India. Odisha was not logging behind the cultural aspect of Matrika which started
from Pre-Historic time to till today. This indeed at per with other part of Ancient India, has
played a vital role in shaping the destiny of Matrika cult. The study of Matrika images
contains input from various aspect and forms. Another important thing is that the temples are
being regular modernized by spending huge sum of money and amenities for pilgrims are
being developed in the temple complete. Regularly, new temples are coming up at different
places which signify the popularity of the cult. To some of it can be said that sakti cult is the
earliest religious system in the Odisha as well as in India also.

The Varahi temple of chaurasi may be small in size but it is one of the oldest temples which
survived in the prachi valley. This temple is dedicated to Varahi one of the matrikas. The
temple is richly sculptured and highly decorated. And it holds a unique place in the temple
architecture of Orissa. People believed that it is the replica of konark but there is no similarity
between these two temples. The temple is belongs to may be the 10 th century A.D. and it is
the time of the Ganga. This temple is carved in every inch like mukteswar and it is now a
tourist place after the preservation work has done by the archaeological survey of india.

49
Alasakanya: Indolent damsel, female figures in various poses, usually on the walls of
temples, also called nayikas.

Anuratha: The projection next to the kanika-paga in pancharatha and sapta-ratha temple.

Asta dikpalas: Guardians of eight quarters (four cardinal and four intermedia-ries).

Bada: Wall portion of the temple below the curvilinear spire or pyramidal roof,
consisting of pabhaga, jangha and baranda.

Bandhana: Bond, moulding (single or multiple) between two janghas.

Deula: General name for a temple as a whole. When used above it refers to the
sanctuary, as distinguished from the porch or festive hall.

Dikpalas: Guardians of the quarters housed in niches of the kanika-pagas of later

temples. They include Indra (east), Agni, (south-east),

Gaja-Kranta.: Lion seated with three legs on an elephant, one paw held in front of the
chest as if ready to strike the crouching elephant below.

Gandi: Trunk, vurviliner spire or Pyaramidal roof above the bada nad below the
mastaka, sikhara.

Garbha-Griha: Sanctum sanctorum

Jagamohana: Hall in front of the sanctum usually a pidha-deula.

Jali: Any perforated or honey-combed pattern.

Jangha: Shin vertical portion of the bada between the moudlings; tala jangha, the lower
one between the pabhago and bandhana mouldings, upara-jangha, the upper
one between the bandhana and baranda mouldings.

Kalasa: Water-jar; crowning element of the temple in the form of a stone vase,
figuring as the container of the nectar of immortality.

Kanika paga: Corner vertical segment running from the base of the deula to the top of the
gandi. Lower niches on the later temples house the dikpalas.

50
Khakhara-mundi: Miniature presentation of khakhara temple as an ornamental motif
generally carved on the projecting pagas of the lower jangha.

Khura: First basic element of the pabhaga, in the form of a hoof.

Kirtimukha: Decorative motif showing the grinning face of a lion from the mouth of which
often issue beaded tassels.

Makara: Legendry acquatic animal, a king of crocodile with a small proboscis.

Mastaka: Head, crowning elements above the spire or gandi.

Mithuna: Amorous couple in various degrees of intimacy.

Mukhasala: Frontal porch, jagamohana.

Mundi: Miniature temple carved on wall as a decorative motif.

Naga/ Nagini: Serpent, fabulous creatures half human and half serpent. Female counterparts
are known as Naginis.

Naga stambha: Pillar ornamented with Naga/Nagini figures, the tails of these figures
generally coil around the shaft of the pillar.

Nayika: Female figures in various poses and actions on the walls of a temple,
alasakanyas.

Pabhaga: Division corresponding to foot, a set of lower most mouldings at the base of
the temple, numbering three on the earliest temples and five on the later
temples.

Paga: Vertical projecting divisions of the wall and spire of the temple.

Panchanga-bada: Bada with five components, namely pabhaga, talajangha, bandhana,

upara jangha and baranda.

Parsvadevatas: Accessory deities, occupying the niches of the central projections of

the main temple. They are according the religious associations of the temple.
A Saiva temple generally contains the figures of Parvati, Kartikeya and
Ganesh. In a Vaishnava temple, the parsvadebatas are three of the ten
incarnations of Vishnu usually Narasimha. A Sakta temple has generally three
different forms of the enshrined deity.

Pidha: Wooden seat projecting member consisting the pyramidal roof of a

jagamohana.

Pidha deula: Temple with roof made of pidhas in steps. The form of deula is often
related to the jagamohana.

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Pidhamundi: Miniature representation of the pidha temple as an ornamental motif;
generally carved on the projecting pagas of the upper jangha.

Pista: Base or plinth of the temple below the pabhaga mouldings.

Rahapaga: Central vertical projection on the temple which houses the parsvadevatas
within niches.

Ratha: Segment produced on the outer face of a temple which has been subjected to
projections.

Rekha deula: Type of temple characterized by a curvilinear tower which presents the
appearances of a continuous line.

Sakti: Energy; the supreme power, the creative principle, the Goddess, the source of
existence, female counter part of the God. A kind of spear.

Saptamatrikas: The seven mothers, Brahmani, Mahesvari, Kaumari, Vaishnavi, Varahi,

Indrani and Chamunda.

Saptaratha: Temple with seven projecting pagas on each side.

Silpa sastra: Sanskrit manual giving general principles and and rules of architecture and
allied art.

Simhasana: Seat with legs carved in the shape of lions.

Trayanga bada: Bada with three divisions, namely pabhaga, jangha and baranda.

Tri-ratha: Temple with three projecting pagas on each side.

Udyata simha:Lion seated on a platform with both hind legs on the ground, appearing ready
to leap; generally placed on the gandi and projecting out above the kirtimukha
mask of the vajramastaka.

Vajramastaka: Prominent ornament on the front of the gandi, smaller on the khura mouldings
and subsidiary pagas, generally consisting of chaitya medallions formed by
strings of pearls issuing from a kirtimukha mask or lotus design. It was
believed the security of a temple depended on the strength and stability of this
element.

Vidyadharas: Celestial spirits generally benevolent and bearers of wisdom.

Vina: A kind of stringed musical instrument.

Yaksha/Yakshi: A class of demi gods, guardians of the earth’s treasure.

52
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