Indian Art and Architecture of Some Minor Temples Inside the Lord Jagannatha Temple Complex of Puri in Odisha

International Journal of Advanced Science and Technology Vol. 29, No. 7, (2020), pp. 11686-11693

INDIAN ART AND ARCHITECTURE OF SOME MINOR TEMPLES INSIDE THE LORD JAGANNATHA TEMPLE COMPLEX OF PURI IN ODISHA

Dr. Ratnakar Mohapatra1 and Baikuntha Majhi2 1. Assistant Professor, Department of History, KISS, Deemed to be University, Bhubaneswar, PIN-751024, Odisha, India Emil: [email protected] 2. NFST M.Phil. Scholar, Department of Tribal Culture, Philosophy and Eco- Spiritualism, KISS, Deemed to be University, Bhubaneswar, PIN-751024, Odisha, India E.Mail: [email protected]

Abstract

Puri is famous for the seat of Lord Jagannatha and it is well known as the place of Hindu monuments of Odisha in Eastern India. The artistic technique and architectural designs of some minor temples noticed inside the Jagannatha temple premises of Puri are the integral parts of the Hindu temple art of Odisha. Most of the earlier art historians and senior scholars had traced the artistic features of the Lord Jagannatha temple of Puri. All the extant temples of Puri town including the minor temples of the Jagannatha temple complex belong to the Kalinga style temple architecture of Odisha. Some of the minor temples of the Puri Jagannatha temple complex have to be discussed here are 1. Kshetrapala Mahadeva temple , 2. Baikuntheshvara temple, 3. Sarva-Mangala temple , 4. Indrani temple, 5. Navagraha temple, etc. The aim of this article has to focus on the artistic designs, architectural features along with the religious significance of the above minor temples of the Jagannatha temple complex of Puri of Odisha in Eastern India. Methodologically, both the primary and secondary sources have been used in this article. Keywords: Minor, Jagannatha, temple, art, architecture, Puri, Odisha, Eastern India.

I. INTRIDUCTION Puri, the famous seat of Lord Purusottama (Jagannatha), is situated (Latitude 190 47m 55s North and Longitude 850 49m 5s East) in the state of Odisha in Eastern India (Senapati & Kuanr, 1977, p.771). The sacred place is about 59 kms to the south-east of Bhubaneswar, the capital city of Odisha (Mohapatra, 2007, p.1). Puri is famous for its historic monuments in Eastern India. Being Lord Purusottama is the presiding deity of the kshetra, for which this place came to be known as Purusottama kshetra. This kshetra is well-known throughout the world for the celebrated temple of Lord Jagannatha, which stands on a prominent place near the sea-shore. Besides the Jagannatha temple, there are also a series of temples of smaller and medium sizes also found inside the temple complex. The study of art and architecture of all the extant temples of Puri Jagannatha temple complex is a fascinating aspect of the Odishan temple art in Eastern India. In fact, Puri is an important center of temple building activities of Odisha. Besides the main temple of Lord Jagannatha, the site has a good number of temples of smaller and medium sizes, which enjoy the reputation of considerable sanctity (Mohapatra, 2007, p. 13). The extant temples of the Jagannatha temple complex are mostly dedicated to the different deities such as Shiva, Vishnu, Shakta, Surya, Hanumana, Ganesha, Navagraha, etc. The place of Puri is one of the important cultural centers of Odisha and it is also well known throughout India as a place of pilgrimage from the time of Yore (Orissa Historical Research Journal, Vol.III, No.1, 1948, pp.6-12). The holiness of the site of Purusottama (Jagannatha) exists from the prehistoric period, where the tradition cannot reach (Ganguly, 1912, p.398). In fact, the site of Puri Jagannatha temple is one of the most sacred places of pilgrimage in India (Gupta, 2003, p.131). Purusottama kshetra (Puri town) is not only famous as a holy place of India but its adjoining is also treated as grand and splendid in the whole of world (Mohapatra, 2020, p.9993). The

ISSN: 2005-4238 IJAST 11686 Copyright ⓒ 2020 SERSC International Journal of Advanced Science and Technology Vol. 29, No. 7, (2020), pp. 11686-11693 temple complex of Lord Jagannatha of Puri is a coordinating place where all the Hindu gods and goddesses are found to be worshipped. E. Hein considers that Purusottama kshetra, the abode (site) of Lord Purusottama (Jagannatha) at the coast of Bay of Bengal in Odisha as one of the most prominent centers of Hindu pilgrimage (Hein, 1978, p.439). A survey of the extant temples of the Lord Jagannatha temple complex as well as Puri town reveal that there was brisk architectural activities started from the Somavamsi period (10th century A.D.) and completed in the Maratha period of Odisha history. Being an important religious centre as well as the political headquarters, the native rulers tried to develop the religious tradition by erecting different temples inside the Jagannatha temple complex of Puri. All the extant temples of Puri town including the temples of the Jagannatha temple complex belong to the Kalinga style temple architecture of Odisha, which appears to have been a product of the Nagara Style temple architecture of North and Central India (Mohapatra, 2007, p.25). But it has also some distinctive characteristics of its own. In fact, Odishan temples form one of the most compact and homogeneous architectural groups in India (Fergusson, 1875, p.414). Odishan temples style is a distinct terminology viz the ‘Kalinga style’, and was included in the other types of temples, Nagara, Dravida and Veshara raising their number to four (Panigrahi, 1985, p.371). According to Bhubana Pradipa, a treaties on temple architecture, the temples of Odisha have been classified into three orders viz rekha, pidha and khakhara (Bose, 1932, p.78). In Odishan temple architecture has been given a distinct name and components though in ambiguous expressions (Mohapatra, 1982, p.14). The Odishan temples are noteworthy for the profusion of sculptures. Here, Stella Kramrisch aptly remarks that “Architecture in Odishan temples is but sculptures on a gigantic scale” (Kramrisch, Vol.1, 1946, p.218). On the basis of available of a series of extant temples of various sects of Hinduism in the Jagannatha temple complex as well as Puri town, Surya Narayana Das rightly remarks that the place of Puri town can be rightly said as the Mandiramalini kshetra of India (Dash, 1966, p.2). In fact, the minor temples of the Jagannatha temple complex of Puri have not been dealt by the earlier art historians in their scholarly works in detail. Hence, the present article attempts to highlight the arts and architectures along with the religious significance of some minor Hindu temples of the Jagannatha temple complex of Puri of Odisha in Eastern India. II. METHODOLOGY Both the primary and secondary sources have been used in the writing of the present article. The primary data have been collected through Gazetteers, Texts, unpublished thesis, the practical observation, public opinions, hearsay accounts and interview methods during the period of experimental field survey. The collected data with regard to the art, architecture and religious significance of some minor temples of the Jagannatha temple complex of Puri is chiefly based on practical observations made by the first /principal author. The secondary data relating to the present article are Books, Journals, Periodicals, Proceedings, Manuscripts, Antiquities, Records, Reports, etc. The data collected from both the primary and secondary sources are examined and utilised in the present piece of work. III. DISCUSSION AND RESULT ANALYSIS 3. Five Minor Temples from Lord Jagannatha Temple Premises of Puri Besides the Lord Jagannatha temple, some minor temples / shrines of different sects of Hinduism are also found to be erected by the rulers inside the Jagannatha temple complex of Puri in Odisha. In the spacious compound of the Jagannatha temple, there are more than hundred shrines and structures belonging to different periods though most of them are later in date than the original temple complex ( Pani, 2018, p.303). The minor temples of the Jagannatha temple complex are very significant from the artistic as well as religious points of view. These sacred shrines are closely connected with the rituals and festivals of Lord Jagannatha of the site. Among these, some surveyed minor temples of the Jagannatha temple complex have to be discussed here are 1. Kshetrapala Mahadeva temple , 2. Baikuntheshvara temple, 3. Sarva-Mangala temple , 4. Indrani temple and 5. Navagraha temple. The descriptions of different aspects like art, architecture, religious sanctity, etc. of the above temples of the Jagannatha temple complex of Puri of Odisha are briefly discussed below. 3.1. Kshetrapala Mahadeva Temple

The temple of Kshetrapala Shiva is located on the southern side interior of the Jagannatha temple premises of Puri. According to a tradition, devotees get permission to visit Jagannatha after worshipping Kshetrapala Shiva. That is why, the deity is generally called as the guardian of the kshetra (Padhi, 2000, p.144). The temple of Kshetrapala is built in sand stones and it comprises of vimana and mukhashala. This temple faces to south towards sea (Mahodadhi)

The structure of vimana of Kshetrapala temple is of the rekha type deula and it is around 35 feet high from the temple surface (Mohapatra, 2007,p. 216). It is heavily covered with lime mortar. The pagas of the jangha are decorated with rekha mundis (Donaldson, 1985 &1986, Vol.III, p.1187). The three sides principal niches of the bada are accommodated with parshvadevatas of Kutab-Chandi, devi Kali and Yama. The image of Kutab-Chandi is the eastern side parshvadevata of the temple. She is engraved on the standing dog, possibly the mount (Mohapatra, 2007,p. 216). Due to restrictions for entry towards this devi, survey could not be done in detailed about the gestures of the hands of the deity. Devi Kali is the northern side parshvadevata of the temple. The image Kali is found engraved on the prostrate body of Shiva. She holds khadga in upper right hand, gada in lower right hand, cutting head in upper left hand and a blood pot in lower left hand(Mohapatra, 2007, p. 216). The kirtimukha design is finely engraved on the top of the background slab of the deity. Flying apsara figures are also engraved on either side top corner of the slab. Yama is the western side parshvadevata of the temple. He has been installed on the backside of buffalo, the conventional mount. He holds usual elements in his hands. The gandi is of the curvilinear tower and it exhibits five pagas or rathas. Jhapa simhas are projected on each side central raha paga of the gandi. The frontal raha of the gandi (Bose, 1931, p.181) contains an angashikhara. The entire gandi of the vimana is mostly undecorated. Deula Charini is found put in each side top of the rahas. The mastaka contains the elements of beki, amalakashila (Borner and Rath Sarma, 1966, p.141), khapuri and kalasa. Shivalinga within Shaktipitha is found to be worshipped in the sanctum. Gaja-Lakshmi image is engraved on the centre of the doorway lintel. Nandi and Bhrungi are engraved in standing posture on either side jamb. The mukhashala of the Kshetrapala temple is of the pidha type deula and it is around 15 feet high from the temple surface (Mohapatra, 2007,p. 217). The structure of the mukhashala is supported by four octagonal pillars. It is an open mandapa hall. The gandi of this structure is a pyramidal superstructure. Bull, the conventional mount of Lord Shiva is installed in a separate small pidha structure, which is erected in front of the mukhashala. According to R. C. Mishra, the temple of Kshetrapala was constructed during the time of Ananga bhima Deva( Mishra, 2003,p.108). Observing the architectural design, the vimana or main deula of the Kshetrapala temple was probably constructed during the Ganga period of Orissa history (Mohapatra, 2007,p. 217). 3.2. Baikuntheshvara Temple The temple of Baikuntheshvara is located in the northern side Jagannatha temple complex of Puri and the shrine is just found on the way to Koili Baikauntha between the Meghanada prachira and Kurma Bedha of the Jagannatha temple. It is dedicated to Lord Shiva. It faces to east. The temple of Baikuntheshvara consists of single structure i.e. vimana only. The main deula or vimana is of the rekha order structure and it is around 35 feet high from the temple surface (Mohapatra, 2007, p. 221). The pabhaga comprises of vertical segments. The lower garbhiksha or the central portion above the pabhaga is filled with naga-nagini pilasters and rekha mundis. The naga- nagini stambhas or pilasters are flanked on either side of the rekha mundi on each side. The niches and the intervening recesses of the tala jangha are relieved with gaja vidalas (elephant on woman), simha vidalas (lion on elephant) and nara vidalas (woman on elephant). The intervening recesses of the upper jangha are relieved with dancing female figures, lady with her child, female figures with musical instruments like veena, erotic scene, alasa kanyas, amorous couples and mounted horses. The central niches of 3 sides are accommodated with the parshvadevatas of Ganesha, Kartikeya and Hara– Parvati. Ganesha is the southern side parshvadevata of the temple. The six-handed image of Ganesha is engraved in standing posture on the podium. His upper two hands possess a snake; the right hands show rosary and broken tusk while the left hands hold ankusha and hatchet or parashu (Mohapatra, 2007,p. 222). Mouse is noticed on the right of the pedestal. Kartikeya is the western side parshvadevata of the temple. The six-headed standing image of Kartikeya has been installed on the

ISSN: 2005-4238 IJAST 11688 Copyright ⓒ 2020 SERSC International Journal of Advanced Science and Technology Vol. 29, No. 7, (2020), pp. 11686-11693 podium. His right side six hands display naga phasa, arrow, gada, khadga, flower and feeding the peacock, while the left side hands possess bell, rooster cock, shield etc. (Mohapatra, 2007,p. 222). Peacock is found to be engraved on the right of the podium. Two female attendant figures are engraved on the both sides jambs of the parshvadevata niche. Uma-Maheshvara is found as the parshvadevata of the northern side. The image of Shiva is depicted seated pose on the podium. Here goddess Parvati is engraved on the left lap of Lord Shiva (Mohapatra, 2007, p. 222). Both the deities possess traditional elements in their hands. All these three side deities are made of black chlorite. The sculptural features of the side deities indicate that they were made in later period of the Ganga art. The gandi or shikhara of the vimana is of the curvilinear spire and it exhibits nine pagas. The frontal raha of the gandi is designed a big angashikhara topped by the gaja-kranta motif. The middle portions of other three sides of the raha paga are elegantly projected with sardula headed jhapa-simhas. The figures of dopichha lions and Deula Charinis are set up in the top corner and above rahas of the gandi respectively. Mastaka contains the elements of beki, amalakashila, khapuri, kalasa, ayudha (trident) and dhvaja (Donaldson, 1985 & 1986, Vol. III. p.1183). Shivalinga within Shaktipitha is found to be worshipped in the sanctum. Bull figure is noticed in the floor of the sanctum. The backside wall of the sanctum contains two sculptures of dasabhuja Durga and Madhava (Mohapatra, 2007,p. 223). Due to the closing of the door of temple, these two deities could not survey in detail. Figures of Nandi and Bhrungi are engraved on either side doorjambs of the temple. The architectural features of the temple indicate that it was constructed after the main temple of Lord Jagannatha. Probably, it was built during the period of the Gajapati rule in Odisha (Mohapatra, 2007,p. 223). The artistic designs of the parshvadevata images of the temple are more developed than the artistic features of the Ganga period (Mohapatra, 2007,p. 223). 3.3. Sarva-Mangala Temple The Temple of Sarva Mangala is located in the southern side interior enclosure of the Jagannatha temple complex. It comprises of vimana, mukhasala (jagamohana) and open flat roof mandapa. This temple is made of sand stones and it is facing to the western direction. Vimana is of the pidha / pirha deula (Bose, 1931, p.185) and it around 18 feet high from the temple surface (Mohapatra, 2007,p. 263). The parshadevatas are completely absent in the central niches of the bada. The gandi is of the pyramidal superstructure and it contains of three flat shaped pidhas. Figures of two hinted simhas and Deula Charini figures are found decorated in their places of gandi. The mastaka comprises of traditional elements of pidha deula. Here the ayudha is cakra. Goddess Sarva Mangala is worshipped in the sanctum as the presiding deity. The Mangala image is found installed on the podium. She displays gada, varada mudra , trident and abhaya mudra in her four hands (Mohapatra, 2007,p. 264). Devi is in seated posture on the simhasana of 2 feet high and the image of the deity is made of black chlorite. Simha figure is found carved in the podium. The behind of the head of deity is adorned with trefoil arch designed with makara heads. The door jambs of the sanctum are adorned with nagabandhas. The Centre of the doorway lintel is engraved with a Mahavira Hanumana figure. Nine planets are engraved on the architrave and they are depicted in padmasana pose with holding traditional elements. There is an image of goddess Mangala carved above the navagraha slab. Vyaghra mukhi and Simha-mukhi figures are engraved on the base of the jambs of the doorway. Ganga and Yamuna figures are also engraved in the beneath of Vyaghra mukhi and Simha mukhi figures. The jagamohana is of the pidha deula and it is around 13 feet high from the temple surface. The bada of the structure does not have any ornamentation. The northern side bada contains an image of Sankata Tarini in a pidha mundi niche (Mohapatra, 2007,p. 264). The sikshara of the jagamohana is of the pyramidal superstructure. A small mastaka is noticed on the top of it. The inner wall niches of the jagamohana are accommodated with figures of Kali, Ugra-Tara, Sodasi, Mahavidya, Bhubaneshvari, Bagala, Dhumavati, Chhinna mastha, Matangi and Maha-Lakshmi (Mohapatra, 2007,p. 264). These sculptures are excellently engraved in black chlorite by the artists of the Kalingan school of artists. The northern side inner wall of the mukhashala houses a small Ganesha image. The jagamohana has fixed with entrances on northern and the western side. The doorjambs of the western side are finely decorated with creepers with the flowers. Chhaya and Maya figures are set up on the both sides of the doorway. In the western side outer wall of the jagamohana contains two Mahavira (Hanumana) figures in its niches. Simha figure is engraved on the podium of 2 feet high, which found in the floor of the jagamohana.

The natamandapa is of the open flat roof, which is supported by six pillars. The architectural pattern indicates that the Sarva-Mangala temple was possibly built in the 16th century A.D. (Mohapatra, 2007, p. 265). It was probably constructed by Puri king. 3.4. Indrani Temple The temple of Indrani is closely located on the southern side of the Lord Jagannatha temple of Puri. It is single structured of saptaratha rekha type deula and it is around 25 feet high from the temple surface (Mohapatra, 2007, p. 284). The entire structure is heavily plastered in lime mortar. The niches of the side deities of the temple are not noticed from their respective places. An image of Ganesha has been fixed in the southern side bada wall of the vimana (Mohapatra, 2007, p. 285). This image displays with usual attributes in hands. The curved elevation is surmounted on the bada of the vimana or deula. The gandi shows seven pagas. A jhapa simha has been projected on the front side raha paga (southern) of the shikhara. Figures of Deula Charinis are found inserted on the top of the rahas. The mastaka of contains the elements of beki, amalakashila, khapuri and kalasa only. Goddess Indrani is worshipped in the sanctum as the presiding deity. The image of Indrani has been engraved on the decorated podium. It is approximately 4 ½ feet in height. Here devi is in padmasana posture and she holds vajra in her two hands (Mohapatra, 2007, p. 285). The pedestal of devi is relieved with simha-vidalas, ashva-vidalas and standing elephants. Two flying apsara (Behera & Donaldson, 1998, p.149) figures are portrayed on the top corners. The behind of the head of the devi is ornamented with pidha mundis. The doorway of the sanctum is devoid of decorative ornamentations. The architectural style suggests that the Indrani temple was possibly built in the 17th century A.D. (Mohapatra, 2007, p. 285). 3.5. Navagraha Temple The Navagraha temple is situated on the inner enclosure of the north-western side of the Jagannatha temple complex. The temple closely located to the north of natamandapa of the Lakshmi temple. It is a very small temple and built in sand stones. This temple is facing to the eastern direction. The temple is of the pidha type deula and it is around 25 feet high from the temple surface (Mohapatra, 2007, p. 321). The gandi of the deula is a pyramidal superstructure, which comprises of a single flat shaped pidha. The jhapa simhas are finely projected on the four cardinal directions of the pidha. Figures of Dopichha simhas are fixed on the top of the kanika pagas. Garuda figures are found inserted on the top of rahas (Mohapatra, 2007, p. 321). The mastaka of the temple comprises of elements of Odishan pidha deula. The navagrahas are found worshipped in the sanctum as the presiding deities. Nine planets are worshipped starting from the right to left. On the right , there is Rabi (Sun), then Soma (Moon), Mangala(Mars), Budha (Mercury), Bruhaspati (Jupiter), Shukra (Venus), Shani (Saturn), Rahu (ascending node) and Ketu i.e. descending node (Mohapatra, 2007, p. 321). All the nine grahas are installed in the western side inner wall niche of the sanctum. All the grahas are carved in separate stone slabs and they are depicted in padmasana pose with holding personal elements. There is no separate simhasana for them. Other deities such as Rama, Laxmana, Sita, Hanumana, Samaleshvari are also being worshipped in the sanctum of the temple (Mohapatra, 2007, p. 321). The temple has two doorways; one on the east (narrow) and another on the south (main doorway). The door jambs of the temple are completely plain. Jaya and Vijaya figures are housed in the both sides main doorway wall of the south. The architectural features indicate that the Navagraha temple might have built in the 16th century A.D. (Mohapatra, 2007, p. 322).

3.6. Boundary Walls and Gateways of Lord Jagannatha Temple

The temples located inside the Jagannatha premises of Puri are enclosed with two lines of boundary walls built of laterite. These (two) boundary walls form two enclosures; the inner and the outer. The inner enclosure (wall) is known as ‘Kurma Bedha’ (Prachira), named after a tortoise owing to its shape (Mohapatra, 2007, p.97). Pandit Surya Narayana Das has mentioned that the Kurma Bedha of Jagannatha temple was built by King Purusottama Deva (Das, 1966, p. 287 and Das, ed. 2015, p.81). The dimensions of the inner enclosure are 420 feet by 315 feet (Ganguly, 1912, p.410 and Senapati & Kuanr, 1977, p.780). Within the Kurma bedha (prakara), besides the main temple of Lord Jagannatha, in subsequent period, a number of temples of medium and smaller sizes were also erected and at present there 95 in number (Chauley, 1993, p.2). The outer enclosure of the temple is known as ‘Meghanada Prachira’ and the external dimensions of it are 665 feet by 640 feet

(Senapati & Kuanr, 1977, p.780). The height of the surface level varies from 20 feet to 24 feet (Ganguly, 1912, p.411 and Senapati & Kuanr, 1977, p.780). According to R.L. Mitra the wall measurements are 400 feet by 278 feet (Mitra, Vol. II, 1984, p. 192). These boundary walls are capped by serrated battlements. On the basis of local tradition and Madalapanji, the Meghanada pracira (prakara) of Jagannatha temple was built in 1448 A.D. by Kapilendra Deva (1435 -1468 A.D.), the Suryavamsi ruler of Odisha (Mohanty, 2001, p.31 and Das, ed. 2015, p.314). The loftiness of the walls proves that the temple had served as fort. In this connection S.S. Gupta has also stated that the temple complex of Lord Jagannatha was designed like a medieval fortress with crenellated battlements and people took shelter inside its walls during invasions (Gupta, 2003, p. 143). Not only that it was a protective measure taken against the attack in the temple. The enclosures were probably used for the defensive purposes in medieval period.

There are four gates erected on all four sides of the both inner and outer enclosures of the Jagannatha temple. The outer enclosure is provided with large gates on the four cardinal directions. The eastern entrance of the outer enclosure is called Simhadvara or the Lion’s gate ((Senapati & Kuanr, 1977, p.780 and Das, ed.2015, p.370). The entrances on the southern, western and northern sides of the outer enclosure are known as Ashvadvara, Vyaghradvara or Khanjadvara and Hastidvara respectively (Senapati & Kuanr, 1977, p.780 and Mohapatra, 2007, p.98). All the entrance porches in the four cardinal directions of the outer enclosure are constructed in same designed pidha order structures. The eastern entrance is being considered as the most important and it is flanked on both sides by two colossal crouching lions. All the four gates have been named after the respective protective animals. The large gateways on each side of the enclosure walls (both inner and outer) are lavishly ornamented and their architraves contain the navagraha reliefs (Senapati & Kuanr, 1977, p.780). Some standing female figures have been fixed above the gateway lintels of all side entrance porches of the outer enclosure of the temple. All the gateways are also depicted with small images of Shiva, Vishnu, Hanumana, Durga, Narasimha, etc. The deities are provided with lower garments and waist band adorned with vertical stripes. Ornaments like bangles, armlets, necklaces, ear rings and mukutas adorn the deities (Mohapatra, Vol. XII; No-4, p.43). According to Percy Brown these gateways, although substantial structures with pyramidal roof, bear no resemblance to the gopuram type of the South Indian temples, but the principle of such architectural entrances and the additional enclosed area is analogous to the arrangement of prakarams, which about this time was the main characteristic of the Dravida temples of South India ( Brown, 1965, p.106).

It is observed that most of the structures of the Jagannatha temple complex are found built in laterite, sand stones, conglomerate stone, chlorite stone, dolerite stone and khandalite (Pani, 2018, p. 304). The conglomerate stone is used in entrance structures, particularly in lintel levels. The laterite is found used in prakaras and some structures and the dolerite stone is used as door jambs, lintels, niche sculptures and some presiding deities or images (Pani, 2018, p.304). The Archaeological Survey of India accorded protection to the Jagannatha temple complex of Puri in the year 1974-75 and since that time proper conservation of all structures including the above minor temples been initiated (Pani, 2018, p. 308).

IV. CONCLUSION We can conclude the fact that the above minor temples are diligently connected with Lord Jagannatha of the holy city of Puri by considering their location. Some of the peculiarity is noticed in the Kshetrapala Shiva temple of the Jagannatha temple complex of Puri. The three sides principal slots of the Kshetrapala temple are accommodated with the parshvadevata images of Kutab-Chandi, devi Kali and Yama. Such type of side deities is rare in the Saiva temples of the whole Puri town of Odisha in Eastern India. The architectural pattern of the vimana indicates that the Kshetrapala temple was possibly built in the later part of the Ganga period. The six-headed and twelve handed image of Kartikeya is the western side parshvadevata of the temple of Baikuntheshvara. Iconographical point of view, this six-headed and twelve handed Kartikeya image of the Baikuntheshvara temple is unique and one of the masterpiece sculptures of the Puri town. This Kartikeya image contains the artistic features of the Odishan classical art of the Gajapati period. The four armed image of devi Sarva Mangala possesses the artistic features of the Odishan classical art of the medieval period. The

ISSN: 2005-4238 IJAST 11691 Copyright ⓒ 2020 SERSC International Journal of Advanced Science and Technology Vol. 29, No. 7, (2020), pp. 11686-11693 architectural features of the Sarva Manga temple suggest us the temple might have been erected in the 16th century A.D. An image of Ganesha has been fixed at the southern side bada wall niche of the vimana of the Indrani temple and it is a distinctive feature of that temple. The presence of Indrani temple suggests that the worship of Saptamatika is prevalent in the Puri town. The Navagraha temple of the Jagannatha temple complex is a unique and only shrine in the whole Puri town of Odisha. All the grahas are engraved in padmasana pose with their respective elements in the hands and they are very important from the iconographical point of view. The above minor temples of the Jagannatha temple premises exhibit the Kalinga style temple architecture of Odisha. Similarly the sculptures of the said temples are found to be made by the Kalingan school of artists. The Jagannatha temple complex of Puri is enclosed with two lines of boundary walls known as ‘Kurma Bedha’ and ‘Meghanada Prachira’. There are four gates erected on all four sides of the outer enclosures of the Jagannatha temple complex. They are called Simhadvara (east), Vyaghradvara (west), Ashvadvara (south), and Hastidvara (north) respectively. In fact, the erection of boundary walls and four gates suggest that the Kalingan school of architects of Odisha followed the architectural pattern of the Dravida style temple architecture of South India. On the whole, the artistic designs and architectural patterns of the above / discussed minor temples of the Jagannatha temple complex of Puri possess an important place in the history of Hindu temple art of Odisha in Eastern India. ACKNOWLEDGEMENT We are extremely obliged to Prof. P.K. Nayak, Prof. K.S. Behera (late), Prof. C.R. Mishra (late), Prof. Prof. K.K. Basa, Dr. B.K. Ratha, Prof. H.K. Satapathy, Prof. Harihar Panda and Prof. Byomakesh Tripathy for their encouragement and valuable suggestions in course of the initial preparation of the article. We express our profound reverence to Prof. Achyuta Samanta, the Hon’ble Founder of KISS, Deemed to be University, Bhubaneswar who encouraged us for the writing of this article. REFERENCES [1] Orissa Historical Research Journal, ( 1948). Vol.III, No.1, Orissa State Museum, Bhubaneswar, pp.6-12. [2] Senapati , N. & Kuanr, D.C. eds. (1977). Orissa District Gazetteer; Puri, , Orissa Government Press; Cuttack. [3] Ganguly, M.M., (1912). Orissa and Her Remains (Ancient and Medieval), Calcutta. [4] Mohapatra, R., (2007). Temples of Purusottama Kshetra (Puri), An unpublished Ph.D. Thesis submitted to Sambalpur University, Jyoti Vihar, Odisha, India. [5] E. Hein, (1978). “Temple, Town and Hinter Land in Puri”, in A. Eschmann, H. Kulke & G.C. Tripathy (eds.), The Cult of Jagannatha and the Regional Tradition of Orissa, New Delhi, p.439. [6] Padhi, J.B., (2000). Shri Jagannatha at Puri, Puri. [7] Mishra, R.C., (2003). Purusottama Kshetra, (A Study on Jagannatha Culture),Puri. [8] Behera, K.S., (1993). Temples of Orissa, Orissa Sahitya Academi; Bhubaneswar.

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