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Sri Jagannath Temple - a Study of Its Cosmic Symbolism

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Sri Jagannath Temple - a Study of Its Cosmic Symbolism Orissa Review * June - 2006 Sri Jagannath Temple - A Study of its Cosmic Symbolism Sunil Kumar Patnaik The temple is a sacred place, a place for of educational and medical help, and above worship, a tirtha, a meeting of divine and all, as the center of: cultural activities, such as earthly life and a community center. Temple the arts, paintings and sculpture, apart from means body or embodiment. Temples enable architecture, music and dance and more devotee to sacred and blissful experience that significantly as symbol of political power. the yogi has attained thorough rigorous and It can well be glimpsed through the painstaking sadhans. These experiences are temple towns of India. The culture that often displayed on the temple walls. revolved the temples can be felt even today in The idea of temple originated centuries temple cities like Banaras, Ujain, ago in the universal ancient conception of god Kanchipuram, Tanjore, Madurai, Dwaraka, in human form. Such, form required a Tirupati, Rameswaram, or Puri, etc. Here the habitation; a shelter and this need resulted in a God is chalachala, the rituals, festivals, are structural shrine. It is often believed that the living today. The culture that once developed temple form is derived from the "vedic" alter with the community such as rituals and festivals the earliest known sacred structure (vedi), and the idea of pilgrims has thus, created which had the square as its essential form. Its network of temple-centers and sacred origin goes back to the pre-Christian era, and geography, continue to emphasize the its evolution into a monument of the great integrative role of the temple in the sub architectural merit is marked by conscious continent. efforts on the part several ruling dynasties from Again the temple in particular the 4th to 17th centuries A.D. Religion in India, symbolizes as an object of devotion like an has been a powerful ideological space for image. Hence, the temple is visualized as worship of the divine, served as super ordinate human body. Accordingly various parts of the institution of social organisation. In the temple are termed after the names of various medieval periods of Indian history, the role of limbs of human body with architectural the temple as the institutional focus of connotations. development is understood by the temples social and economic out reach as a land owner, The Hindu temple is also considered as organizer of rural and urban activities, provider the image of Mahapurusa. The medieval 117 Orissa Review * June - 2006 architectural texts like the Agni Purana and the greatest prominence under the dynastic rule of Isanasivagarudeva Paddhati and others the imperial Gangas. .The present magnificent elaborate this symbolism in a realistic manner. temple of Purusottama-Jagannath was In this way the entire temple becomes the constructed during this period. Several copper manifested form of divinity, containing all plate inscriptions of this period credit levels of existences, all substances, tattva and "Gangesvara" as the builder of the temple and bhuttas from the earth to ether and its structure this "Gangesvara" has rightly been identified gains the absolute supreme changeless essence. with Anantavarmana Chodaganga Deva (1078- 1147 A.D.). lt is known from the inscriptions In India the temple as cosmic symbolism that Chodaganga might have invited some can be best seen from the royal temples of selected Brahmana Pandits or Vaisnavas, famous Brahadisvara temple at Tanjore and belonged to Kanchi and settled near Sri Jagannath temple at Puri. The Brihadisvara Purusottama Kshetra for propagation of temple at Thanjavur (Tanjore) was completed Dvaitya philosophy .It is also known from in 1010 A.D. by Rajaraja I of Chola dynasty. inscriptions that towards 11.5 A.D. several This temple for next 1000 years was the cradle Pandits, Brahmanas and Sadhus (sages) did of Bharatnatyam through the successive settle in different parts of the empire. It is also dynasties. This temple again marked a known that king Chodaganga Deva patronized watershed in the history of art and architecture Vaisnavism under the influence of the great of India. Like other monuments of 'Political Vaisnava saint Ramanuja (1056-1136 A.D.) architecture' in India, this temple symbolized who advocated the Visistadaitya philosophy of the new royal power of its founder. The Vedanta. It is also believed that Ramanuja extensive donative inscriptions at the walls of might have visited Puri during the time of the temple at Tanjore reveal an even more Chodaganga and was closely associated with explicit political function of this temple. the rituals of the temple. For the next 800 years Hundreds of Brahmins and temple servants this temple of Purusottarna-Jagannath is the were brought to Tanjore, among them 400 center of art, cult and culture of Orissa.1n 1230 dancing girls, about 200 dancing masters, A.D. the Ganga King Anangabhima ritually musicians, drummers, goldsmiths etc. Some dedicated his kingdom to the God Purusottama- of these servants had to be maintained by Jagannath and acknowledged the divinity of regular duties in form of rice sent from their Puri both as the sole state deity of Orissa and own villages. For other servants and the as his divine over Lord. maintenance of the Brahmins, villages were Thus like that of Chola king Rajaraja, donated to the temple all over the empire, even King Chodaganga Deva and later in Sri Lanka. Rajaraja and several members of Anangabhima Deva of Ganga dynasty had his family furthermore donated immense made all possible efforts to make Purusottama- treasure of gold and jewels to the temple, which Jagannath as state deity and sovereign Lord. at once made the temple one of the richest in Accordingly the temple was certainly built for India. the Lord Vishnu as the iconographical feature It was during 11th-12th century A.D. that denote. Of course, there are layers of cultural the temple town Puri might have assumed the assimilations and synthesis. 118 Orissa Review * June - 2006 Sri Jagannath Temple at Puri is a matured The pitha (pedestal) on which the temple Kalingan style, consisting of four structures stands signifies a square base. Based on the called (i) Vimana (Sanctum-Santorum) square, the structure of the temple also rises (ii) Jagamohana or Mukhasala (the porch) from the square Vastupurusamandala. The (iii) the Natamandira (dancing hall) pitha on which the Sri Jagannath Temple stands (iv) Bhogamandapa (the hall of offering), built commences from the existing plinth of 5'.2" in in a row in one axil alignment facing east. height. But the major portion of the pedestal is The main temple as discussed above buried. The square is arch type, and the pattern based on Vastu Purusa mandala is of the of order in the Indian tradition, as laid down in Pancharatha type having a curvilinear tower the Brahat Samhita. Based on the square, the rising above all other monuments. It is evident structure of the temple arises in the mid-world that the temple is based on prescribed (antariksha) of air. The square as the architectural design Sri Bachha Khandasala. fundamental figure of vedic sacrificial This is one of the thirty six different examples symbolism and temple architecture lends itself prescribed for Rekha temple in Vastusastra to many variations and still retains its meant for pancharatha type. Vastu sastra texts, symbolism. conventionally attributed to the divine architect Above the pedesta1, the original temple of the universe, Visvakarman, but composed structure stands with Pabhaga. The Pabhaga at various points of time from 5th to 17th again has panchanga divisions of Orissan centuries, represent a growing tradition. temple style like khura, kumbha, pata, kani and Sri Jagannath temple referred as Prasada vasanta in ascending order. All these in the inscriptions. The temple is variously components have decorated with rich carvings known in Sanskrit as the prasada, vimana, like vanalata, scroll motifs, procession of devagriha, devalaya etc. Prasada and Vimana various animals mostly war animals, are the most commonly used terms to refer to procession of foot soldiers, etc. in the horizontal the main and integral part of the Hindu temple. surface of Pata is carved with Giri- Prasada, the other name of the main building, Govardhanadhari Krishna playing with Gopis, is synonymous with Vimana. According to the Dhenukasuravadha, proceeding towards Silparatna (a Vastu Sastra text), "Prasada please Mathura on chariot etc. by their beauty, the minds of Gods and Men." Above the Pabhaga, the next division is The main shrine (Vimana) symbolizes by Tala-Jangha (lower jangha) having miniature means of its architectures, the universe, its temple replicas with Khakara-Mundis in the manifestation and integration. It incorporate in Kanika and raha and anuraha pagas. The front its structure all the images. This is true in every phase of these miniature Khakaramundi niches respect in the architecture of Sri Jagannath of Kanika paga are depicted with astadikapala temple as the temple has vertical divisions i.e. or guardian deities in their respective the pitha (pedestal), the bada (wall),the gandi directions. Again the miniature (body) and the mastaka (the head). Each Khakharamundi shrines (niches) of anu- component signifies the divine aspect of rahapaga depicts the King's court, priests giving celestial world. sermons to the devotees, teachers (acharya) 119 Orissa Review * June - 2006 teaching their disciples. The two sides of each beaded boarders, popularly known as "Bhoo miniature shrine exhibits the image of Vishnu, motif' of Orissan art is carved. Further, above Shrikrishna, and Radha, with the hoard of the projecting Gaja-Simha motifs are found in cows, or playing with veerna etc. The corner all cardinal directions. space in between the two khakaramundi shrines In the Gandi level, bhumi-amalas form within the Tala-Jhanga portion is occupied by offsets partially running all around the temple the giant figures of Gaja Simha, Gaja vidal surface, decorated with creepers and floral trampling over 'apsamarapurusa' or a demon.
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