PURBANCHAL UNIVERSITY

KANTIPUR INTERNATIONAL COLLEGE

LUBHOO , LALITPUR
DEPARTMENT OF ARCHITECTURE

TITILE – RESEARCH ON ORISSA / KALINGA

Acknowledgment
• We are extremely thankful to Ar. Aakriti Mishra , respective subject teacher of
Eastern Architecture of department of Bachelor in Architecture for her constant
support and motivation.
• Again we would like to express our special thanks of gratitude to our teacher
Aakriti Mishra,who gave us the golden opportunity to do this wonderful
presentation on the topic, which also helped us in doing a lot of Research and i
came to know about so many new things we are really thankful to you.
Secondly we would also like to thank my others friends who helped us a lot in
finalizing this project within the limited time frame.
 • Definations
• History and Geography
• Socio-cultural Aspects
• Architecture
• Selecting people
• Material selection
• Site Selection
Contents •
•
Naga Bāndhēṇi
Scale Model
• Potā and piṭha (Mobile Foundation)
• Bhunaksā (the ground plan)
• Deuḷa (Temple of Odisha)
• Classification
• Plans and images
• Summary and conclusions
• References
Kalinga Architecture

• The Kaḷinga architectural style is a style of Hindu architecture which flourished in the
ancient Kalinga previously known as Utkal and in present eastern Indian state
of Odisha and Andhra Pradesh(mainly in Northern Andhra Pradesh districts). The style consists
of three distinct types of temples: Rekha Deula, Pidha Deula and Khakhara Deula. The former
two are associated with Vishnu, Surya and Shiva temples while the third is mainly
with Chamunda and Durga temples. The Rekha Deula and Khakhara Deula houses are
the sanctum sanctorum while the Pidha Deula constitutes outer dancing and offering halls.
• In Kalinga, the ancient land of Sakta cult, divine iconography existed since the mythological era.
Present day research implies that idols (deities) were placed under auspicious trees in the
ancient days. And maybe today a temple in general carries various minute details and the
overall shape of some heritage tree. The various aspects of a typical Kalinga temple include
architectural stipulations, iconography, historical connotations and honoring the traditions,
customs and associated legends.
History and geography
• The Kalinga region is generally defined as the eastern
coastal region between the Mahanadi and the Godavari rivers. However, its
exact boundaries have fluctuated at various times in the history.
• In the ancient Indian literature, the Kalinga region is associated with
the Mahendragiri mountain located in the Ganjam district of Odisha, near
its border with Andhra Pradesh.
• At times, the southern border of Kalinga extended further up to
the Krishna river. In the north, it sometimes extended beyond the Mahandi
river, up to the Vaitarani river. The Kalinga region did not encompass the
whole of present-day Odisha: the north-eastern part of Odisha was
included in the distinct Utkala region. Utkala gradually lost its identity, and
came to be considered as a part of Kalinga.
• The eastern boundary of Kalinga was formed by the sea (the Bay of
Bengal). Its western boundary is difficult to pinpoint, as it varied with the
political power of its rulers. However, the Puranic literature suggests that
Kalinga extended up to the Amarakantaka hills in the west.
• Several ancient inscriptions mention the term "Trikalinga", which has
been interpreted in several ways. According to one theory, Trikalinga refers
to the widest extent of Kalinga. However, the Eastern Chalukya records
suggest that Kalinga and Trikalinga were two distinct regions, with
Trikalinga denoting the hilly region to the west of Kalinga.
 Social culutral aspects
Odisha (formerly Orissa) is one of the 29 states of India, located in the eastern coast. It is surrounded by the states
of West Bengal to the north-east, Jharkhand to the north, Chhattisgarh to the west and north-west, Andhra Pradesh to
the south and south-west. Odia (formerly known as Oriya) is the official and most widely spoken language, spoken by
33.2 million according to the 2001 Census. The modern state of Odisha was established on 1 April 1936, as a province
in British India, and consisted predominantly of Odia-speaking regions.] April 1 is celebrated as Odisha Day.
• Other cultural attractions include the Jagannatha Temple in Puri, known for its annual Rath Yatra or Chariot, tala
Chitra (palm leaf engravings), famous stone utensils of Nilgiri (Balasore) and various tribal influenced cultures. The Sun
Temple at Konark is famous for its architectural splendor while the Sambalpuri textiles equals it in its artistic grandeur.
• Sand sculpture is practiced on the beaches of Puri
• Religion

• Gita Govinda manuscript

• In its long history, earning centres. During Kharavelas reign Jainism found prominence. However, by the middle of the
9th century CE there was a revival of Hinduism as attested by numerous temples such as Mukteshwara, Lingaraja,
Jagannath and Konark, which were erected starting from the late 7th century CE. Part of the revival in Hinduism was due
to Adi Shankaracharya who proclaimed Puri to be one of the four holiest places or Char Dham for Hinduism. Odisha has,
therefore, a syncretic mixture of the three dharmic religions as attested by the fact that the Jagannath Temple in Puri is
considered to be holy by Hindus, Buddhists and Jains.
Architecture
• Selecting people
• According to Manusmṛti there is a specific hierarchy of Command for the management of people involved
in they are classified as:
• Kartā : The Chief patron of the temple, generally the king of the state is designated as kartā. Hence these
devotional ancient architectures often reflect various socio-cultural aspects of society of the time.
• Mukhya Sthapati : The Chief Architect, The master of the Shilpa Shastras, Vastu Shastra, Dharma
Shastra, Agni Purana and Mathematical Calculations. Besides being a very knowledgeable person he is also
a very pious man. He translates the Kartā's vision into an architectural design based on stipulations.
• Sutra Grahaṇi : The Chief Engineer (can be equated) as he is the person who translates the architecture
into actual geometrical dimensions. He is equally proficient in all the required knowledge and most often
is the son of the Mukhya Sthapati.
• Bārdhanikas : The masons, the stone setters
• Takṣaka : The sculptor with hands that create poetry in stone does all the magnificent carvings and
engravings of various forms that has left us spell bound.
• Besides these primary set of specialists, various supportive functions are carried out by other people.
• Material selection
• Primarily certain classes of stones are considered auspicious for the
construction of Kalinga deula (temples). Shilpa Chandrika, an ancient
architecture book define some specific seven varieties of stone as ideal and
specific types are used for certain portions of the temple :
• Sahaṇa
• Chhita Sāhaṇa
• Baḍa Pagaḍa
• Dhobā Kuṇḍa
• Rasa Chiṇḍa
• Niḷa Kusāṇa
• Though clay bricks have been used in very rare cases most Kalingan temples are
built using these stones.
• Site Selection
• Various aspects like type of soil, shape of the Plot, location of the plot, availability and type of
space and ground water level, etc. are taken into consideration while selecting the site. Color,
density, composition and moisture content of the soil discriminates between the best, middle,
sub-middle and worst kind of soil. Based on Vastu Shastra, a rectangular, square, elliptical or
circular plot of land is selected in order of preference.
• Naga Bāndhēṇi
• This is an intricate and very old method in Shilpa Shastra, by which the temple's direction and
the auspicious moment for beginning the sacred construction is determined. Like the present
day Geomorphology, Seismology, Topology etc., probably this is some ancient science which
guides the architect to understand natural forces and build stable massive structures in Odisha.
• Scale Mode
• The Mukhya Sthaptya (Main Sculptor similar to Chief Architect) creates a scale model based on
traditional stipulations and takes the Karta's (producer / financier) approval. In many instances
we see such depictions on walls and motifs.
 Potā and piṭha (Mobile Foundation)
• By observing conventional masonry and going through the following steps of the preparation of potā and piṭha the foundation of a
temple could be understood:
• A square or rectangular area is dug out depending on the type and combination of temple proposed at the center of the
preselected Nāgabandhani plot of land.
• The depth of this Potā is 1/3 of the height of the proposed temple, from plinth level.
• The length and width of this Potā (pit) is always sufficiently broader than the diameter of the proposed temple.
• Hard stone slabs are laid at the bottom to create a level.
• Then with uniformly cut hard stones, the four walls of the Potā are erected and the outer perimeter space between the pit wall and
ground is properly filled with soil.
• The Asṭadala Padma Chakaḍā (Eight lotus petal shaped), is then laid at the exact spot required. This is a square or rectangular shape
of hard uniform stone slab at the center of which an eight petaled lotus shape in exact geometric proportions is engraved. The
petals are aligned to the north, north-east, east, southeast, south, south-west, west and north-west. The exact perpendicular line
through the center of this Asṭadala Padma Chakaḍā determines the axis (rekhā/meru) of the temple. The traditional method of
such alignment is termed as Sanku.
• Thereafter the Potā is properly packed up with large pieces of stone and soil, probably pressed down by elephants.
• The Potā (pit) is leveled off at ground level with huge and thick cut theodolite stones.
• Another layer of theodolite stones, corresponding to the shape and size of the ground plan called the piṭha is constructed. This is
the base of the temple. In many instances, we see this piṭha at various levels of elevation.
Bhunaksā (the ground plan)

• Keeping the Sanku (the vertical axis through the center of Asṭadala
Padma Chakaḍā) as the exact center of Garbhagruha, the ground plan of
the proposed temple is engraved by the Sthapati and Sutragrahaṇi with
the help of a sharp edged instrument, on the perfectly leveled Piṭha. As
temples in every of their details depend on proportions, complex ancient
methods are used for correct geometric designing and executing the
ground plan (bhunaksa) to ensure long term stability and aesthetic
appearance of these huge structures. Simplicity or intricacy of the temple
is reflected in this ground plan.Thereafter, the Bardhanikas set about
precut stones, under the strict vigilance of Sutragrahaṇi as per the
Bhunaksa, deula gaddanni has started.
Deuḷa (Temple of Odisha)
• Temple architecture in Odisha evolved over a long period of time. Stipulated architectural principles with ample provision for
artistic improvisation enabled the progressive generations. Temples in Odisha are based on certain fundamental principles of
stability and take their cue from the human body. The superstructure is basically divided into three parts, the Bāḍa (Lower Limb),
the Ganḍi (Body) and the Cuḷa/Mastaka (Head). Accordingly, each part is given a different treatment throughout, from the
architecture to the final ornamentation of the Temple.
• Temples in Odisha in the classic local style very often have a figure of Gajalaxmi in lalitasana as their lalatabimba or central
protective image over the doorway to a temple or the sanctuary of one.
• Classification
• Classification of deuḷa temples at Bhubaneswar, Puri & Konark
• Konark Sun Temple, one of the most well renowned temples in India, a World Heritage Site. the tower has collapsed in the past.

• Baitala deula, a 9th-century Hindu temple typical Khakara temple dedicated to Goddess Chamunda, Bhubaneswar, Odisha.

• Sculpture of Alasa Kanya at Baitala Deula, Bhubaneswar.

classification
Rekhā deuḷa = Piḍha deuḷa =
• Padma Garbha • Dwichallia Pidhha
• Ratha Yukta • Nahachallia Pidhha
• Meru Shaili • Kathachalia Pidhha
• Examples of Rekha deuḷa are Lingaraja • Ghantashree Mohana
Temple (Bhubaneswar), Jagannath • Pidhha Mohana
Temple(Puri) • Naddu Mohana
• Example: Konark temple, Konark

Baitaḷa /Khakarā deuḷa =

Example: Baitala
deula, Bhubaneswar Varahi Deul,
Chaurasi Durga Templ, Baideshwar
• simplified schema of
a Kalinga architecture temple
The Lingaraja Temple, a revered pilgrimage center and the culminating
result of the architectural tradition at Bhubaneswar, sixth century AD
Konark Sun Temple, one of the most well renowned
temples in India, a World Heritage Site. the tower
has collapsed in the past.
Baitala deula, a 9th-century Hindu temple typical Khakara temple
dedicated to Goddess Chamunda, Bhubaneswar, Odisha.
 Sculpture of Alasa
Kanya at Baitala
Deula, Bhubaneswar
Some others
important
building • Pic- Talcher Palace
structure of
orissa

Picture= TALCHER PALACE

SUN TEMPLE
PLAN OF SUN TEMPLE
TEMPLE ARTS AT
KONARK SUN TEMPLE
TEMPLE ARTS AT KONARK SUN TEMPLE
MUKTESWOR

DHAULI SANTI STUPA

LINGARAJ TEMPLE
 UDAYGIRI CAVES

RAJARANI TEMPLE

BRAHMESWARA TEMPLE
 1

2 3 4

5
1)MUKTESHVARA TEMPLE
2) SRIJAGGANNATHNTEMPLE
3)
4)MUKTESHVARA DEULA
5)KHIRACHORA GOPINATH TEMPLE
Summary and conclusion
• The Kaḷinga architectural style is a style of Hindu architecture which
flourished in the ancient Kalinga previously known as Utkal and in
present eastern Indian state of Odisha and Andhra Pradesh(mainly
in Northern Andhra Pradesh districts). The style consists of three
distinct types of temples: Rekha Deula, Pidha Deula and Khakhara
Deula.
• We can conclude that kalinga /orissa architecture has very
influencial and importance in social ,culture , history and tradition.
• Reference
• Durga Charan Panda, Kalinga Mandira Sthapatya (In Oriya)
• Kalinga Temples Architecture
• Temple Architecture
• Wikipedia
• Google
• Internet
• Boooks and magazines
Thank you