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BULLETIN MONUMENTAL - ISSN / e-ISSN 0007-473X Volume 22 : Issue 8 - 2021

Kalinga Style Temple Architecture of Lord Jagannatha Temple of in Eastern : A Historical Review

Dr. Ratnakar Mohapatra 1

1. Assistant Professor, Department of History, KISS, Deemed to be University, , PIN-751024, , India

Abstract

The celebrated temple of Lord Jagannatha of Puri occupies an important place in the art of India. Lord Jagannatha temple of Puri is the best specimen of the Kalinga Syle temple architecture of Odisha in Eastern India. The art and architecture of Lord Jagannatha temple of Puri is an important part of the Odishan temple art in Eastern India. The sculptures of the Jagannatha temple epitomize the best specimen of the Kalinga School of Art. It is clearly known from the dynastic records that the temple of Lord Purusottama (Jagannatha) of Puri was initiated by Varman Chodaganga and completed by Anangabhima Deva II in 1197 A.D. The vimana (Bada deula) and jagamohana of Lord Jagannatha temple were possibly initiated by Chodaganga Deva sometimes after in about 1135 A.D. The bhogamandapa of the Jagannatha temple was possibly built by Purusottama Deva in the last quarter of the 15 th century A.D. The aim of this article is to focus on the artistic features, architectural pattern along with the religious significance of Lord Jagannatha temple of Puri in Eastern India. Methodologically, both the primary and secondary sources have been used in this article.

Keywords: Kalinga style, temple, architecture, Jagannatha temple, Puri, Odisha, Eastern India I. INTRODUCTION

The study of architectural fearures of the present Jagannatha temple of Puri is a significant part of the Hindu temple art of Odisha in Eastern India. The spot of Puri is notable in India for its renowned temple of Lord Jagannatha alongside other hallowed sanctuaries. It is located (Latitude 19 0 47 m 55 s North and Longitude 85 0 49 m 5s East) on the shore of the Bay of in the state of Odisha in Eastern India (Senapati and Kuanr, 1977, p.771). The Puri town is one of the conspicuous focuses of temple building exercises and journeys of India (Mohapatra, 1989, p.29). Other than the main temple of Lord Jagannatha, the spot has a decent number of Hindu sanctuaries of more modest and medium sizes, which appreciate the standing of extensive holiness (Mohapatra, 2007, p.13). Indeed, the spot of Puri town is perhaps the most hallowed spots of journey in India (Gupta, 2003, p.131). Based on accessible of various surviving sanctuaries of different organizations of in the Puri town, Narayana Das suitably comments that the spot of Puri town can be appropriately said as the Mandiramalini kshetra of India (Dash, 1966, p.2). Among every one of the surviving sanctuaries of Puri Dhama , Lord Jaganntha temple possesses a special spot in the religious . Puri is well known on the planet for the blessed

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temple of Lord Jagannatha (Mohapatra,1989, p.29). The main objective of travellers at Puri is the Jagannatha temple (Gupta, 2003, p.141). Lord Juggernauth is considered as respected notoriety of Hindu . Journey to Puri is quite possibly the main demonstrations of recognition ordered to a Hindu in the custom of his religion as expressed by Laurie (Dash, 2018, p.147). The Hindu people of various territories of India please journeys to Puri for visit of Juggernauth temple ( Sulton, Orissa and its Evangelization, prelude page). Sulton suggests that the Yatra (Car celebration) of Juggernauth is the tremendous social affair of every one of the of India (Sulton, p.56 and see Dash, 2018, p.147). The temple of Lord Jagannatha is the best agent of the Kalinga style temple design of the territory of Odisha in Eastern India. As indicated by Bhubana Pradipa , a text on temple engineering, the sanctuaries of Odisha have been grouped into three orders viz rekha, pidha and khakhara (Bose, 1932, p.78 and see Dev, 1997, p. 67). In Odishan temple engineering, every temple type has particular name. (Mohapatra,1982, p.14). Every one of the surviving sanctuaries including Lord Jagannatha temple of Puri town have the Kalinga style of temple design of Odisha, which seems to have been a result of the Nagara Style temple engineering of North India (Mohapatra, 2007, p.25). Yet, it has likewise some unmistakable qualities of its own. Truth be told, Odishan temples structure quite possibly the most minimized and homogeneous building bunches in India (Fergusson, 1875, p.414). The constructions of Lord Jagannatha temple of Puri represent both the rekha and pidha types of the Odishan temple style. The Odishan temple style is popular for its recognizing features acquire and particular phrasing for example the Kalinga style , and was remembered for different kinds of temples, Nagara, Dravida and Veshara raising their number to four (Panigrahi,1985, p.371). The Odishan temples are critical for the abundance of models. Here, Stella Kramrisch appropriately comments that" Architecture in Odishan temples is nevertheless figures for a tremendous scope" (Kramrisch, Vol.1, 1946, p.218). The style of Odishan temples apparently began during the seventh century and finished in the Sun temple of Konarka (Dev, 1997, p.67). The extant temples of Odisha have the overwhelming situation among Odisha's imaginative accomplishments.

For the spread of Vashnavism, the renowned temple of Lord Jagannatha was erected at Puri during the twelfth century A.D. may have existed in Odisha from the ancient period. The early middle age period is a defining moment in the strict history of Odisha. Vaishnavism lost its imperial support and its place was occupied by . With the coming of Sri Ramanuja Acharya , for whom Vaishnavism had acquired the imperial support. After the success of occupation of Utkal territory by Ananta Varman Chodaganga Deva, there started the brilliant age throughout the entire existence of Vaishnavism in Odisha especially in the Puri town (Mohapatra, 2007, p.126). His construction of the temple of Jagannatha at Puri and the endeavour to bring all religious faiths in the fold of single cult i.e. Cult was a landmark in the religious history of this land (Panda, 2014, pp.81-82). In the history of International religion and culture, Chodaganga Deva opened a new horizon with the universal slogan of equality, fraternity, oneness and amity (Panda, 2014, p.82 and see Panda, 1987). Puri is famously said as Shri Purusottama Dhama, the seat of Lord and Martya Vaikuntha , the home of Vishnu on earth

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(Gupta, 2003, p.133). The temple of Lord Jagannatha is considered as the main Vaishnava sanctum of the Puri in Eastern India. The most spectacular design undertaking in the Ganga rule of Odisha was the construction of the temple of Lord Jagannatha at Puri (Mohapatra, 2007, p.83). It is additionally one of the best commitment of the Ganga rulers towards the workmanship and engineering of Odishan sanctuaries (Mohapatra, 2007, p.83). Jagannatha Dhama, the homestead of Lord Jagannatha is viewed as perhaps the best focal point of the Kalinga Style temple architecture of Odisha. The present article attempts to highlight the architectural features along with the religious significance of Lord Jagannath temple of Puri in Eastern India.

II. METHODOLOGY

Both the primary and secondary sources have been used in the writing of the present piece of work. 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 Lord Jagannatha temple of Puri is mainly based on practical observations and the source materials of earlier scholars. The secondary data relating to the present article are Books, Journals, Periodicals, Proceedings, Manuscripts, Antiquities, Records, Reports, and published theses. The data collected from both the primary and secondary sources are scrutinised and utilised in the present article. III. DISCUSSION AND RESULT ANALYSIS 3. Lord Jagannatha Temple of Puri Puri popularly known as Jagannatha Dham, situated on the East-coast of India, is famous for its historic antiquities and religious sanctuaries. This holy city is well known throughout the world for the celebrated temple of Lord Jagannatha, which stands on a prominent place near the seashore (the Bay of Bengal). The exact geographical location of the temple of Lord Jagannatha is Latitude 19 0 18 m 17 S North and Longitude 85 0 51 m 39 s East (Senapati and Kuanr, eds., 1977, p.779). In fact, the temple of Lord Jagannatha is considered as the most important Vaishnava shrine of the Puri in Eastern India. The most stupendous architectural undertaking during the Ganga period was the construction of the Jagannatha temple at Puri (Mohapatra, 2007, p.83). It is also one of the greatest contribution of the Ganga monarchs towards the art and architecture of Odishan temples (Mohapatra, 2007, p.83).The temple also occupies a pivotal position in the religious history of Odisha.The descriptions of different aspects like art, architecture, paintings , religious sanctity, etc. of Lord Jagannatha temple of Puri are briefly discussed below.

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3.1. Architectural Features of Lord Jagannatha Temple

Lord Jagannatha temple of Puri is the best specimen of the Kalinga style temple architecture of Odisha in Eastern India. The exact Jaganatha temple area of Puri is 10.7 acres (, and Acharya, 2009, p.211). The Jagannatha temple comprises of vimana (main deula ), jagomohana or mukhasala (the porch), natamandapa (dancing hall) and bhogamandapa (hall of offerings). All the edifices of Jagannatha temple are aligned in the same axial alignment ( Behera, 1993, p. 55). As now completed the extreme length of these four structures in a line is 310 feet, with a width of 80 feet (Brown, 1965, p.105). The temple of Lord Jagannatha is facing to the eastern direction. The vimana is of the pancharatha rekhadeula and it is about 214 feet 8 inches high from the road level (Ganguly, 1912, p.417).The structure of the vimana has fourfold vertical division namely the pista orplinth , bada (wall) , gandi or sikhara and mastaka (head). The vimana or main deula stands on an ornamental pista of 5 feet2 inches high and plastered all over with cement (Mohapatra, 2007, p.85). The visible portion of pistha is richly carved. The ground plan of vimana measures 80 feet on each side (Mitra, Vol.II, 1984, p.190). The pabhaga mouldings, being continuous, add to the strength and dignity of the entire scheme. The khura is decorated with vanalata designs and scroll works in its bottom part. The khuras have niches in the central facets capped by vajramundis . The pata portion of pabhaga shows a sculptural panel depicting events from the life story of Lord (Mohapatra, 2007, p.86). Some noteworthy scenes among these are Sakata bhanga, Kaliya dalana , lifting of Govardhan Mountain, fighting with Kesin, Kubalaya and Aristha , etc.(Mohapatra, 2007, p.86). The tala jangha of bada is decorated with khakhara mundis in the kanika and anuratha pagas . The khakhara mundi niches of the kanika paga are housed with seated figures of astha-dikpalas (Mohapatra, 1982. p.53), while the ‘khakhara mundi' niches of the anuratha paga are accommodated with seated teachers who are coaching their pupils. The recess flanked by the pagas of tala jangha is relieved with various forms of vidalas . The bandhana of the bada comprises of three horizontal mouldings joined by vertical bands, which are relieved with standing figures of alasa kanyas (Mohapatra, 2007, p.86). The upper jangha is ornamented with pidha mundis , which house the dasavatara figures of Lord Vishnu such as Matsya, Kurma, Varaha, Narasimha, Vamana, Parasurama, , , Buddha, Kalki, etc. ( Behera, 1993, p 57 and Mohapatra, 2007, p.86). Lord Krishna is playing on his flute and other manifestations of Lord Vishnu are the theme of the other mundis . The female consorts of the asta- dikpalas , which are generally seen in the pidha mundis of the13th century temples, are not found in the

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pidha mundis of the upper jangha of Jagannatha temple ( Behera, 1993, p.57 and Mohapatra, 2007, p.86). The principal recesses between the pagas in upara jangha are relieved with figures of alasa-kanyas in different postures like holding a lotus, removing anklet, holding chamara , fondling a child, etc. All the sixteen kanyas are shown in the sixteen positions as prescribed in the text (Borner and Rathasharma ,“Shilpa Prakasha”,1966 and Padhi, 2000, p.115). The upper jangha of the bada is also decorated with nagakanyas (on the both sides of raha paga ), scroll works, jali works, war tour scenes, rows of elephants, etc. There are about 30 bhararakshaka (atlantid gana ) figures carved on the top of upper jangha (Mohapatra, 2007, p.87). They are as if carrying the entire structure in their own shoulders. The total height of the jangha of bada is approximately 11 feet 6 inches (Ganguly, 1012, pp. 411-41).The baranda over the upper jangha is decorated with blossom devices, scroll works, rows of elephants, stylish geese and lotus petalled designs.

The central niches of three sides i.e. north, west and south of the bada (of vimana ) are accommodated with Vamana (Trivikrama), Narasimha as well as Varaha images respectively. These three parsvadevatas are made of black chlorite and also delicately engraved. The image of Trivikrama or Vamana is noticed in the northern niche of the rahapaga . His right leg sets firmly on the double petalled lotus podium and the left leg is stretching upwards. The image of Trivikrama is four armed and displays sankha, chakra, gada and padma as usual attributes of Lord Vishnu (Mohapatra, 2007, p.101). The podium of the deity is carved with two diminutive Garuda figures. The massive image of Narasimha image is housed in the central raha paga niche of the western or back wall. The Narasimha has been engraved on the twofold lotus petalled podium. Here Lord Narasimha is fashioned in ferocious form. He holds chakra in right upper hand, club in left upara hand while the lower 2 hands have been depicted taking out the intestines of Hiranya Kashyapu. (Mohapatra,2007, p.102). The four handed image of Varaha is the southern side parsvadevata of the temple. He is also engraved on the dual petalled lotus shaped podium. He displays chakra in right upper hand, a female figure possibly Prithvi in his upraised left arm, a club in right lower hand and lotus in left lower hand respectively (Mishra,1971, Plate No.32). The background slab of each parsvadevata is relieved with trefoil arch crowned by kirtimukha motif. The flying are depicted on each side top corner of all slabs. R.P. Mohapatra has referred to that these three parsvadevata images represent masterpieces of Odishan art and their counter parts with such magnitude can only be noticed in the Konarka and Lingaraja temples of Odisha (Mohapatra, Vol.1,1986, p.165). In front of all the three side parsvadevatas are covered by the same designed nisha garbhaks (small shrines) of pidha order, which is approximately 35 feet high from the temple surface (Mohapatra, 2008, pp.150-151).The most remarkable feature of the bada of vimana is devoid of erotic scenes, which are relieved on the jagamohana and bhogamandapa of this temple (Mohapatra, 2008, p.151). In this connection K.S. Behera remarks that the decorative programme of the bada seems to have executed in the 12 th century AD when the temple was constructed ( Behera, 1993, p.57).

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The sikhara of vimana comprises of five pagas such as one raha paga in center, two kanika pagas in sides and two anuratha pagas flanking on the both sides of the rahapaga respectively. The gandi of the vimana inclines towards the top in a convex curve. The kanika paga of the gandi is divided into ten storeys or bhumis (Mohapatra, 2008, p.151) and each consists of six bhumi bharandis , which are separated by a bhumi amala (ribbed stone resembling an amalaka fruit). The chaitya medallions are engraved on intervening pagas . The anuratha pagas of the gandi are decorated with three angasikharas (miniature rekha deulas ), which superimposed one above the other and they are richly carved (Mohapatra, 2007, p.87). At the base of the central raha paga is decorated with a large vajra-mastaka . Above the vajramastaka upto the bisama , row of chaitya window motifs with intervening spaces appear with five such motifs in each row (Mohapatra, 2008, p.151). At the base of the eastern side raha (frontal) paga is decorated with a big angasikhara, which surmounted by a gaja kranta motif i.e. lion on elephant and other two small angasikharas are also flanked on both sides of the central angasikhara . The gaja-kranta motifs also appear on the three sides of raha paga above the vajra-mastaka (Mohapatra, 2008, p.151). Small gaja-kranta motifs are also projected on all sides base of the gandi . The Vaishnavite images including the various triumphs of avataras are carved below the vajra mastaka designs (Mohapatra, 2008, p.151). Each angasikhara of the gandi contains the images of ten incarnations of Lord Vishnu. In the southern side upper portion of the raha paga contains the images of Hanumana and Jagannatha ‘Trinity’ in its niches (Mohapatra, 2007, p.88). Below Trinity , it is depicted with Kaliyadalana scene of Lord Krishna. The image of is carved in a niche of the top most angasikhara of the southwest corner of southern face. Goddess image is enshrined on the southwest corner upper angasikhara of the western side (Mohapatra, 2008, p.151). On the eastern side northeast top corner and in the middle miniature shrines Nataraja and Surya images are engraved (Mohapatra, 2007, p.88). On the northern face of the sikhara , Siva is carved inside a niche of the northeast top corner of central angasikhara . Another notable scene of Ramanuja’s tilaka mark is engraved in eastern side top of the gandi (Mohapatra, 2007, p.88). This mark indicates that during the period of Ramanuja the territory of Kalinga was fully influenced by Vaishnavism and it also dominated over all the sects of Hinduism, which were prevailed in earlier (Mohapatra, 2007, p.88). Thus, Vaishnavism became well-liked religion in Orissa from the time of Chodaganga Deva to onwards. The figure of Rahu is found at the top of the rahapaga in each side (Mohapatra, 2007, p.88). Dopichha lions are found to be inserted in the upper part of kanika paga s. Garuda figures are found to be installed in the four principal directions of the beki . The entire body of the vimana was heavily plastered by lime concealing the sculptures (Acharya,1969, p.304). According to the Madalapanji , the temple was

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plastered and white washed four times during from AD 1627 to 1803 AD. In 1975, the temple complex of Jagannatha was declared as a monument of National importance and Experts of Archaeological Survey of India took up the challenging task of its conservation by the complete deplastering through the Archaeological Survey of India; Bhubaneswar circle in 1980’s (Mohapatra, 2007, p.88). After that the above-mentioned decorative elements of the main deula of Lord Jagannatha temple could be made possible to identify by scholars as well as visitors.

The mastaka of Badadeula comprises of beki (neck), amalaka sila (ribbed stone like an amalaka fruit), khapuri (skull), kalasa (jar), ayudha (Nila Chakra ) and dhvaja (Patita pavan bana ). On the top of the temple, Nila Chakra (a grand wheel of Vishnu) is placed and it is made of an alloy of eight metals called asta dhatu (Gupta, 2003, p.142). Its circumference measures 36 feet and height is 11 feet 8 inches (Kar, 1992, pp.38-39). The present Nilachakra of Bada deula built by king Divya simha Deva (1692-1715 A.D.), because the earlier Nilachakra was destroyed by super cyclone in 1693 A.D.(Mohanty, 1932, Reprint-2001, p. 47 and Das, 1966, p.152). Seeing the height of the temple, Robert Dunbar has remarked that the tower of the temple of Lord Jagannatha is not only one of the familiar sights of Puri but the ‘sign’ looked forward to the pilgrim when nearing his goal( Dunbar, 1999, p. 31).

The daru images of Lord Jagannatha, Balabhadra as well as Devi are worshipped in the sanctum as the presiding deities of the ‘Bada deula’. In the , there is a throne known as Ratnavedi or Ratnasimhasana , on which the daru images of the Lords have been installed ( Gupta, 2003, p.143 and see Mohapatra, 2007, p.89). The simhasana is about 16 feet in length, 13 feet in width and 4 feet of high respectively( Senapati & Kuanr ,eds., 1977.p.784). The images of the Trinity are made out of neem wood and these are carefully carved at the time of Navakalevara ( Mohapatra, 1989, p.23). Sri Jagannatha is considered as Bada Thakura ( the Great Lord), of the ‘Bada Deula’ (Mohapatra, 1989, p.23). Lord Jagannatha and Lord Srikrishna have been held to be one and same ( Das, 1983, Vol. XXIX No.1, p.41). The ‘Trinity’ deities (Jagannatha, Balabhadra and Subhadra) have been variously conceived of as being the symbols of various principles. Some hold that they represent Vishnu, and ; that is Vaishnavism, Shaivism and Saktism. Moreover the Jagannatha ‘Trinity’, other deities are found to be preserved for worship inside the sanctum-sanctorum. The metallic images of and are also installed on the simhasana. The emblem of Sudarsana is placed on the left of Lord Jagannatha. Images of Nilamadhava, Sridevi and Bhudevi have also taken their seats on the Ratnasimhasana . Seven deities adorn the jewelled throne of the sanctum. The existing throne, as per the inscription on it, had been constructed by King Birakishore Deva (1737 AD–1793 AD) at the suggestion of his grand mother (Rajguru, July; 1988, p.7). Adequate gap /space has been left on the sides of throne for the circumambulation of the devotees when at certain specified hours of the day they are allowed inside the inner temple for a closer view of the deities. The pilgrims naturally first visit the Jagannath Trinity and

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offer jewels, ornaments, money, cloths and other valuable articles at their throne (O’Malley,1929 and see Dash, 2018,p.75). There are two mudas (ceilings) noticed from the top of garbhagriha ; the lower one is known as garbhamuda and the upper muda (above lower one) is called ratnamuda respectively (Mohapatra, 2007, p.89). The sanctum of the viman has only one doorway leading to the porch or jagamohana . This door way is known as Kalaghata dvara . It measures 172 inches in height and 106 inches in width ( Senapati & Kuanr, eds.,1977 , p.784). Gaja-Lakshmi image is engraved on the centre of doorway lintel. Nine planets are finely engraved on the architrave and they are depicted in padmasana pose. Observing the architectural features of the temple, K.S. Behera is of the view that the carvings on the bada of the main Jagannath temple can be considered as most beautiful temples of Odisha and the temple does not indicate any decline in creative impose ( Behera, 1993, p.58). Lord Jagannatha temple of Puri is an important landmark in the progressive course of the evolution of Odishan temple architecture in Eastern India ( Behera, 1993, p.58).

The jagamohana or mukhasala (Acharya, Reprint-2006, p.213) is of the pancharatha pidha deula and it is 120 feet high from the road level (Mitra, 1984, p. 194). It has also fourfold vertical divisions viz. pista , bada , gandi and mastaka . The jagamohana is erected on a high ornamental pista of 75 inches high (Ganguly, 1912 , p. 417). The pista is decorated with khakhara mundis , naga-nagini pilasters and gaja-simha motifs. The khakhara mundi niches house the figures of bhararakshaka , seated acharyas and Lord Krishna (Mohapatra, 2008, p.153). The base of the jagamohana measures 80 feet on each side (Mitra, 1984, p.194). The pagas in pabhaga are decorated with khakhara mundis (miniature khakhara order deulas ). The lower jangha is also decorated with khakhara mundis in all paga s. Different types of vidalas are found to be inserted in the intervening recesses of the tala jangha . The upper jangha of the bada is decorted with pidha mundis and its intervening recesses are filled with amorous couples or maithuna figures (Mohapatra, 2008, p.153). A seated Narayana figure is noticed on the northern side raha paga of the bada . The baranda is designed with ten horizontal mouldings.

The gandi of the jagamohana is of the pyramidal superstructure, which comprises of two tiers (potalas) . The kanthi or recess between the two potalas is filled with pidhamundis , dancing figures of Lord Krishna and gopies, etc.(Mohapatra, 2007, p.90). In the centre of each potala is adorned with mastaka design , which surmounts by the rampart lion ( udyata simha ). The Garuda figures are found in 4(four) principal sides of the beki . Rahu heads are fixed on the upper part of kanika paga s (Mohapatra, 2008, p.153).The mastaka comprises of elements of neck , amalakashila , khapuri , kalasa (Borner and Rath Sarma, 1966, p.147), ayudha (chakra ) and flag ( dhvaja) . The four heavy square sized pillars support the pyramidal superstructure or roof of the jagamohana . In the interior of the jagamohana,devadasis are asked to perform dancing though originally they used to dance in the natamandapa ( Mishra, 1971 , p.108). Observing the jagamohana , R.D. Banerjee remarks that the style of construction is exactly similar to that of the and presents no new features (Banerjee, 2006, p.632).

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The eastern side doorway towards the natamandapa is known as Jaya-Vijayadvara . This doorway is considered as the main entrance towards the sanctum sanctorum. All the aspects of rasalila of Lord Jagannatha have been engraved here (Mohapatra, 2007, p.91). The doorjambs are ornately decorated with floral devices, nagabandhas , amorous couples, creepers with the frolicking boys, jali works, pidha and khakhara mundis , etc.(Mohapatra, 2008, p.154). Gaja-Lakshmi figure is finely engraved on the centre of the doorway lintel. Flying figures with musical instruments are also depicted on the doorway lintel. and Siva figures are nicely installed on the both sides of southern doorway (Mohapatra, 2007, p.91). These two figures are more prominent from the sculptural point of view. Nine planets are engraved on the architrave. There is a figure of Varaha depicted above the architrave (Mohapatra, 2007, p.91). Two female attendance figures are flanked the Varaha image. Observing the designs of the door frame, each jamb, divided into facets, is almost identical in treatment to the eastern doorframe of the jagamohana of the Sun temple of Konarka (Behera, 1993, p. 58)

The natamandapa of Bada deula is of the flat roof shaped pidha mohana /deula and it is nearly 60 feet high from the road level (Mohapatra, 2007, p.92). It was built in later date than the temple and its porch ( jagamohana ).This structure measures 69 x 67 feet in the inside and a square of 80 feet on outside respectively (Mitra, 1984, p. 199). It is divided within by 4 rows of pillars, 4 pillars in all rows. The pillars of natamandapa are of two inner rows measuring 4 feet by 16 feet 8 inches and the outer two rows are 3 feet 6 inches by 12 feet 8 inches (Mohapatra, 2007, p.92). Two aisles adjoining the nave are 10 feet 6 inches whereas the outer two aisles are 7 feet 9 inches each, suggesting that originally the interior had only one aisle on each side and that the second row of pillars was added to widen the room (Mitra, 1984 , p.199).Additions were made to the pillars to raise the height. In the modern period, the pillars are decorated with different Gods and Goddesses. The only sculptures of Brahma and Siva within are at the entrance to the bhogamandapa (Mohapatra, 2008, p.155). There are numerous paintings, however, including the Kanchi-Kaveri expeditions of king Purusottama Deva depicting the interview between the milk woman (Manika Gaudini ) and cavaliers(Jagannatha and Balabhadra) on horse back (Mohapatra, 2007, p.116). The relief is also finely painted in Odishan Patta style and it preserves partially the account of Kanchi-Kaveri episode of Purusottama Deva (Mohapatra, 1989, p.30). A famous Garuda pillar is placed at the eastern side doorway of the natamandapa . It is a monolithic pillar, which is made of black chlorite (Mohapatra, 2008, p.155). Garuda, the conventional mount of Lord Vishnu has been installed on the top of the pillar. The or pillar is circular in section and its height is about 9 feet from the floor of the natamandapa (Mohapatra, 2007, pp.92-93) . The outer walls of the natamandapa are plain. Access to the hall is maintained through two wide openings; one on the north and another on the south. There are few other openings to the covered passage of the kitchen. Other four small rooms attached to the sides are meant for worship of some deities and the orchestra.

The bada of the natamandapa is of the flat roof containing five rainwater spouts shaped like the mouth of the Makara (Mohapatra, 2007, p.93). All the four sides top of the roof are decorated with

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serrated battlements. M.M.Ganguly has advocated that the natamandapa is a subsequent addition to the jagamohana . Its constructive peculiarity is akin to the natamandapa of Lingaraja temple of Bhubaneswar (Ganguly, 1912, pp.418-419).There are seven steps in the southern doorway and these are commonly known as Satapahacha . Deities while going to cars during car festival come through these ‘pahacha’(Mohapatra,2007, p.93).and in the last pahacha , they are decorated with tahiya (a betel leaf design).

The bhogamandapa of the Jagannatha temple is of the pancha ratha (Donaldson, Vol. III, 1985 & 1986, p.1186) pidha type of deula like the jagamohana and it is made of sand stones. This structure is not suffered from plastering and white wash. The structure of bhogamandapa is smaller than the other sanctuaries and it measures approximately 58 feet by 56 feet on the base and also stands on a richly sculptured pista of 7 feet 6 inches high (Mitra, 1984, p.200 ). The total height of the bhogamandapa is about 75 feet from the road level (Mohapatra, 2007, p.94). The upana portion of the pista is relieved with rows of elephants and mounted cavaliers (Mohapatra, 2007, p.94). The pabhaga of the pista has usual five mouldings. Diminutive dopichha lions are carved at the corners of the plinth. The jangha of the high plinth is decorated with pidha mundis (Donaldson, 1985&1986, Vol. III, p.1186), Naga pilasters, etc. Jali works are noticeable in all the elements of the pista . The niches of the barandis are accommodated with the chlorite images of the and amorous couples. In the narrow recesses of the barandi portion contain amorous couples or maithuna figures (Mohapatra, 2007, p.94). The pidhamundis are flanked by naga-nagini columns, which capped by seven hooded serpents (Mohapatra, 2008, p.156). In the niches of the barandi are housed with chlorite figures which derived from the Indian mythological scenes. Lord Krishna’s life story is finely prostrated at the upper part of the plinth is very conspicuous. Among the twelve festivals ( kautuka yatras ), two are prominently depicted, they are such as the Dolayatra (swinging festival) and Navakeli yatra (Mohapatra, 2007, p.94). The Dolayatra of Lord Krishna engraved in the niche of the upper barandi . The figure of Lord Siva dancing on a bull is finely engraved (Mohapatra, 2007, p.94). The scenes of the grazing cows with their calves and Lord Krishna with the cowherd boys have been nicely depicted (Mohapatra, 2008, p.156). Lord Krishna is playing on the flute and dancing with gopis (Mohapatra, 2007, p.94). In the eastern side niche is depicted with the scene of the rowing of boat containing Lord Krishna. All the rowers are milk-women ( gopis ) who are making strenuous efforts in rowing (Mohapatra, 2007, p.94). Other gopalila scenes of Lord Krishna, which depicted in the niches of the high plinth are viz. dancing figure of Lord Krishna, Arghasura badha, Putanabadha, Bakasura badha lifting of Giri-Govardhana, childhood scene of Lord Krishna with gopis etc.(Mohapatra, 2007, p.94). The scene of Rama’s installation on the throne of Ayodhya or Oudh is more attractive to visitors and other notable scene is with his Airavata (Mohapatra, 2007, p.94).

The bada of the bhogamandapa is panchanga type and all the components are richly carved with jali works and sculptures. The bottom portion of the bada or pabhaga is excellently relieved with khakhara mundis flanked by naga pilasters, jali works, bhara-rakshakas and flower devices (Mohapatra,

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2008, p.156). Diminutive dopichha simhas are also noticed at the corner walls of the pabhaga . The lower jangha is richly decorated with rekha mundis (miniature rekha temples), small dopichha lions at corners, woman tree motifs, royal tour scene of Puri king with his retinue, amorous couples, scroll works, image of Lord Vishnu, abhiseka scene of Lord Rama, dancing figure of Lord Krishna, rowing of boats, kirtimukha designs in the pilasters and lastly the worship of Mahisamardini Durga-Sivalinga with Madhaba (Jagannatha) by the king (Mohapatra, 2007, p.95). The asta-dikpalas are comfortably accommodated in the rekha mundi niches of the tala -jangha . These dikpalas display usual attributes in their hands. The bandhana is finely decorated with jali works and lotus petalled designs. The upper jangha of the bada is ornamented with kirtimukha motifs, dancing female figures with musical instruments, maithuna figures, royal court scene of Puri king, war tour scene of animals (elephants and horses), images of Rama-Laxmana- on the throne, tandava nritya of Lord Siva, Gaja-Lakshmi image, some gopalila scenes of Lord Krishna such as Krishna is playing on the flute with gopis, Krishna is swinging under the Kadamba tree, etc.(Mohapatra, 2007, p.95). The feminine counter parts of ‘Asta- dikpalas’ are also depicted in the upper jangha of the bada . They are finely carved with their respective mounts and directions (Mohapatra, 2008, p.157). There is a notable bas-relief of Ananta-sayee Vishnua depicted at the southern side outer wall of the bhogamandapa (Mohapatra, 2007, p.95). The baranda comprises of five straight mouldings, which are ornamented with scrollwork, jali works, flower devices, kirtimukhas , cavaliers, rows of elephants, and lions etc.(Mohapatra, 2008, p.157). K.C. Mishra mentions that the chlorite sculptural images contained in the niches of the outer walls of bhogamandapa , are said many of which were brought from the Sun temple of Konarka by Marahattas for the decoration of the temple (Mishra, 1971 , p. 63). R.L. Mitra also remarks that the images are so completely integrated into the structure that he believed it to have been dismantled at Konarka transferred into to Puri and reassembled in its present location ( Mitra, Vol.II, 1984 , p.200 and see Borner and Sharma, 1972, pp. 110-111). These sculptures represent various aspects of Indian culture running from mythology to abundant display of social scenes and marching of royal army. The northern side bada wall is finely adorned with the scene of worship of Durga, Siva Linga and Madhava (Jagannatha) by the King(Mohapatra, 2008, p.157). There is a similar panel representing the worship of Mahisamardini Durga, Jagannatha and Siva Linga on the southern face of the berm of vimana of the Sun temple at . Here Jagannatha is seen along with the Siva ( Linga ) as well as Durga. According to Pandita Surya Narayana Das, the main objective of the depiction of ‘Trinity’ (i.e. Siva-Durga-Jagannatha) seems to have traditionally worshipped together in Odisha (Dash,1966, p.286).

The pyramidal superstructure of bhogamandapa comprises of three potalas such as the lower, middle and upper potalas, which contain six, four and three pidhas respectively. The kanthi or intervening recess separates each potala of the gandi . The figure of Lion is projected at the top of each potala on all sides. The kanthis or recesses between the potalas are inserted with figures of ten incarnations of Lord Vishnu, dancing female figures, miniature pidha sikharas , mounted elephants,

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cavaliers and male dancers with musical instruments(Mohapatra, 2008, pp.157-158). The southern side lower potala is relieved with images of Ganesha, Sarasvati, Buddha and Varaha (Mohapatra, 2007, p.96). Dopichha lions are noticed at the upper parts of the kanika pagas . Garuda figures are found to be accommodated at the four principal sides of the beki . The mastaka contains the elements of neck, bell, additional neck, amalakashila , khapuri (Borner and Rath Sarma,1966, p.149), kalasa , ayudha (chakra ) and dhvaja (Donaldson, 1985 & 1986, Vol.III. p.1183) .Seven deula Charini figures are also inserted for supporting to the kalasa of the mastaka (Mohapatra, 2007, p.96).

The inner walls of the bhogamandapa are plain in comparison to the exterior walls. The four heavy square sized pillars support the pyramidal roof of the bhogamandapa . The structure of the bhogamandapa is bounded on the south by a covered gangway leading to it and the part of the natamandapa from the kitchen (Mohapatra, 2008, p.158). This is a subsequent addition to the refectory or hall of offering. The bhogamandapa has a flight of steps to the northern direction. The eastern and northern sides of the bhogamandapa are provided with doorways. The jambs, lintels and navagraha slabs are remarkably executed by the delicate carvings on chlorite like the Jaya-Vijaya doorway of the jagamohana (Mohapatra, 2007, p.96) .

The twenty-two steps that takes a devotee from the road outside to the inner compound is called Baisipahacha and is considered very sacred (Gupta, 2003, p.144). The temple of Jagannatha employs a large number of Sevakas (temple servants), Pujakas , cooks and all are strictly categorised (Devi and Acharya, 2009, p.322). A ‘Niyoga’ is a society or an organization that is in chage of performing specific rituals in the Jagannatha temple of Puri and the traditional list of the organizations of the Sevakas is called Chatisha Niyoga i.e. 36 Niyogas (Devi and Acharya, 2009, pp.322-23). The eating of Mahaprasad or holy food of Jagannath at Anand Bazar is perhaps the most distinctive features of a pilgrimage to Puri (O’Malley, 1929 and see Dash, ed., 2018,p.79).

3.2. Boundary Walls

The whole temple complex encompasses an area of over ten acres and it is enclosed by two protective walls (Gupta, 2003, p.143). Really, the temple of Jagannatha stands within two lines of boundary walls built of laterite. The inner enclosure (wall) is called as Kurma Bedha (Prachira ), It was built by Purusottama Deva in 1470AD. ( Devi and Acharya, 2009, p.212). The dimensions of the inner enclosure are 420 feet by 315 feet and 20 feet high (Ganguly, 1912, p. 410 and Devi and Acharya, 2009, p.212). Within the Kurmabedha (Prakara ), besides the main temple of Lord Jagannatha, in subsequent period, a number of temples of medium and smaller sizes were also constructed and at present they are 95 in number (Chauley, 1993, p.2).The outer enclosure of the temple is said as Meghanada Prachira and the external dimensions of it are 665 feet by 640 feet and it is not uniformly high, the height varying from 20 feet to 24 feet (Ganguly, 1912, p.411). R.L. Mitra mentions that the wall measurements are 400 feet by 278 feet( Mitra,1984,Vol. II, p. 192). These boundary walls are capped by serrated battlements. On the

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basis of local tradition the Meghanada prachira (prakara ) was built in 1448 AD by (1435 -1468 AD), the Suryavamsi ruler of Odisha( Devi and Acharya, 2009, p.214). The superior manner of the walls suggests that the temple was used as fort. S.S. Gupta has also referred to 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).The enclosures were probably used for the defensive purposes in medieval period (Mohapatra, 2008, p.159).

3.3. Gateways (Dvaras )

There are four gates erected on all four sides of the both inner and outer enclosures of Jagannatha temple. The outer enclosure is provided with large gates on the four cardinal directions. There are two gates to the two compound walls in front of the eastern gateway of the bhogamndapa . The gate of the inner enclosure is ornamented in the same style as the bhogamandapa , but its construction can not be ealier than the 17 th or the 18 th centuries, because the decorative motifs used in it are still further decadent (Banerjee, 2006, p.635). The eastern side outer gate is said Simhadvara ( Lion’s gate). The entrances of the southern, western as well as northern sides of the outer gateways are called as Asvadvara, Vyaghradvara or Khanjadvara and Hastidvara respectively (Mohapatra, 2007, p.98 and Devi and Acharya, 2009, pp.212- 213). All the entrance porchs 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. Similarly western, southern and northern sides are flanked on both sides by two tigers, two horses and two elephants respectively. All the four gates have been named after the respective protective animals (Mohapatra, 2008, p.159). The large gateways on each side of the enclosure walls (both inner and outer) are lavishly ornamented and their architraves contain the navagraha relief (Mohapatra, 2008, p.159). Some standing female figures have been fixed above the gateway lintels of all side entrance porches of the outer enclosure of temple (Mohapatra, 2007, p.98). All the gateways are also depicted with small images of Siva, Vishnu, , Durga, Narasimha, etc.(Mohapatra, 2007, p.98). According to Percy Brown these gateways, although substantial structures with pyramidal roof, bear no resemblance to the 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 main characteristic of the Dravidian temples (Brown, 1965, p.106).

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There is the beautiful Arunapillar noticed in front of the eastern side gateway of Lord Jagannatha temple. It was originally installed before the Sun temple at Konarka and was brought to Puri Srimandira by the Marathas in the early part of the 18 th century AD.( Mitra, Vol.II, 1984 , p.190 and Mohapatra,1989,p.22). This Arunapillar is made of monolithic chlorite stone with sixteen sides and set on an exquisite podium of the same material (Mohapatra, 2007, p.98). The podium of pillar consists of pada, kani, basanta and padma or cyma showing representations of lotus leaves (Mohapatra, 2007, p.98). The plinth of pillar measures 93 x 72 inches (Mohapatra, 2008, p.159). The height of Aruna pillar or stambha is 25 feet 2 inches and its width is 2 feet (Senapati & Kuanr, eds., 1977, p.780 and see Mohapatra, 2007, p.98). Aruna, the conventional mount of the Sun God is found installed on the top. The total height of the Aruna pillar is 33 feet 8 inches from the base (Senapati & Kuanr, eds.,1977, p.780). Mitra records that the pillar was set up here two hundred years old but it was made in the early part of the 13 th century AD. (Mitra, Vol.II, 1984, p.190).

3.4. Date of the Jagannatha Temple

It is known from different sources that the present Sri Jagannatha temple of Puri was not completely built by a single ruler of Puri (Odisha). In the first half of the 12 th century , when Chodaganga established the Ganga dynasty in Odisha after defeating the Somavamsi king, he re-built the great temple of Sri Jagannatha ,which work was started more than one century ahead by Tribhubana Mahadevi of Bhaumakara dynasty( Rajguru, Vol. XXIX, No.1,1983, p.102). From the Kendupatna copper plate of Narasimha II, it is definitely known that Chodaganga Deva caused to to be constructed the great temple of Jagannatha as well as the temple of Lakshmi at Puri, and it was during his reign that Ramanuja,the famous apostle of the Vashnava cult preached his philosophy of qualified monism in Odisha (Sahu, 2005,p.411). The reference to the construction of the present temple of Lord Jagannatha is found mentioned in the Dasagoba copper plate charter of Rajaraja III issued in 1198 A.D.( Sircar and Sharma ,eds., Vol. XXXI, 1956-57, pp. 249-262).It makes us believe that Gangesvara i.e. Ananta Varman Chodaganga Deva constructed the temple and the relevant verses are also recorded in the Nagari copper plate charter of Ananga Bhima Deva-III dated 1230 AD, the Asankhali copper plate inscription of Narasimha Deva III dated 1333 AD and the Kenduli copper plate of Narasimha Dev-IV respectively (Mohapatra, 2008, p.160). The Dasagoba copper plate charter of Rajaraja III definitely records that the temple of Lord Jagannatha was caused to be completed by and not to be restored by Ananga Bhamadeva II in the Saka year 1119 i.e. corresponding to 1197AD (Sircar and Sharma , eds., Vol. XXXI, 1956-57, pp. 249-262). It can be believed that the construction works of the temple had been initially neglected by previous kings but its erection work was commenced by Ananta Varman Chodaganga Deva. On the basis of the Kendupatna Copper plate of Narasimha Deva-II dated 1296 AD, M.M. Chakravarti has identified the title Gangesvara with Ananta Varmana Chodaganga Deva, the founder of the Ganga rule in Utkal territory of ancient Odisha (Chakravarti, Vol. 67/4, 1898, p.328).Most of the scholars also unanimously accept that the title Gangesvara is Ananta Varman Chodaganga Deva. It was very difficult to finish the

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entire temple construction by a single ruler. So the construction of this huge task was possibly continued by his successors and lastly Ananga Bhima Deva-II completed it in 1197 AD. (Das,1978,pp.108-109 and Devi and Acharya, 2009, p.211). In this connection, H. V. Stietencron has stated that Chodaganga Deva started the building of the temple for Purusottama , but he probably did not live to see its completion (Stietencron, CJRTO, p.76). According to the Nagari copper plate grant, after one hundred years of the initiation of the construction work of present temple, Anangabhima Deva-III (1211-1238 AD), the Ganga ruler consecrated the great temple of Lord Purusottama (Jagannatha) at Puri (Rajguru, Vol.I, 1992, p.29).It is clearly known from the dynastic records that the temple of Lord Purusottama (Jagannatha) was initiated by Ananta Varman Chodaganga Deva and completed by Ananga Bhima Deva II in 1197 A.D. ( Mohapatra, 2008, p.160). R. Subbarao has referred to that the reigning period of Chodaganga Deva from 1076 to 1147 AD and transferred his capital to in 1135 AD.( Subbarao, Vol. VII, p.58 and Behera, 1993, p.55) . S.N. Rajguru has also pointed out that the deula and jagamohana of Lord Jagannatha temple were probably begun by Chodaganga Deva sometimes after the prolonged war with the Kalachuris and his suppression of the border rebellion in about 1135 AD.(Rajguru, Vol. III, Part-II, 1961, p.396). By the year 1135 AD Chodaganga Deva had almost finished the work of his empire building. After the final annexation of the Utkala territory in 1135 AD with his own kingdom (Kalinga), then in the next year i.e. 1136 AD, being influenced by Ramanuja, the eminent Vaishnava Alvar of South, he (Chodaganga Deva) immediately started the construction work of the present temple, which was neglected by earlier kings. Arjun Josi has also mentioned that it was because of the spiritual inspiration of Ramanuja, Ananta Varman Chodaganga Deva constructed the magnificent temple of Lord Jagannatha and Maha Laksmi temple on the sea shore (Joshi, 1984, p. 148). The total time period of the construction work of the main deula of Jagannatha temple possibly took 61 years i.e. from 1136 AD to 1197 AD. Really, this intervening period was utilized for the performance of art and architectural activities of the Great temple (Mohapatra, 2004, p.l129). These works were certainly executed by the artists as well as architects of the Kalinga School of art of Odisha.Most probably the construction work of the present temple of Lord Jagannatha was being carried on slowly (Mohapatra, 2007, p.94). W.W. Hunter records that the Jagannatha temple of Puri was finished in 1198 A.D. (Hunter, 1872, see Das, ed. 2018, p.30, also see Ghosh,1848, p.10, and also see Stirling, p.269, 315 ). In this connection H.H. Panda is of the view that Ananta Varman Chodaganga Deva had started the building of great temple of Lord Jaganntha at Puri , which was completed by Anangabhimadeva III (Panda, 2014, p.83). The main deula (temple) of Lord Jagannatha and its porch ( jagamohana ) appears to have been constructed simultaneously (Mohapatra, Vol.I, 1986, p.166). Most probably , the jagamohana was constructed by Ananga Bhima Deva-III (1211- 1238 AD), the Ganga ruler of Odisha (Mohapatra, 2007, p.92). According to S.S. Gupta the natamandapa of Jagannatha temple was added in later, probably in the 15 th century AD, during the reign of the Gajapati dynasty( Gupta, 2002, p.57). P.K.Pattnaik has referred to that the natamandapa was constructed by the patronage of Prataparudra Deva (1495 to 1532 AD), the Suryavamsi ruler of Odisha (Pattanaik, 1977, p. 511).On the other hand, T.E. Donaldson is of the view that the natamandapa of Jagannatha temple was

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erected in the late 13 th century A.D.( Donaldson, Vol.1, 1985, p.404). The architectural pattern suggests that the natamandapa was possibly made in the second half of the 13 th centuryA.D. According to traditions recorded in the Madalapanj i, the bhogamandapa of the Jagannatha temple was constructed by Gajapati Purusottama Deva AD 1467 -1497( Mohanty, 1969, p.48 and see Banerjee, 2006, p.634). T.E. Donaldson has also referred to that the bhogamandapa of the Jagannatha temple was built during the reign of Purusottama Deva AD 1467 -1497 (Donaldson, 1096,Vol.I, p. 404 and see Acharya, Vol. XII; No.1, 1964, p.20). Considering the architectural designs, the construction period of the bhogamandapa of Lord Ja gannatha temple might have built in the second half of the 15 th century AD. (Mohapatra, 2007, p.97). Most probably, it was built by Purusottama Deva, the Suryavamsi ruler of Odisha.

Source: https://in.pinterest.com/dhal0424/jagannath -temple-puri

Lord Jagannatha Temple of Puri in Odisha (12 th Century A.D.)

IV. CONCLUSION

We can conclude from the above discussion that the temple of Lord Jagannatha of Puri represents the best specimen of the Kalinga style temple architecture of Odisha in Eastern India. The site of Lord Jagannatha temple of Puri attracts millions of pilgrims and tourists from all over India and abroad. All the

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structures of Shree Jagannatha temple were not constructed in the same period. The sculptural activities of the temple started from the Ganga period and it was completed in the Gajapati period of Odishan history. This temple is excellently depicted with both types of sculptures, which are clearly mentioned in the subject. All the extant sculptures of the Jagannatha temple of Puri were certainly executed by the artists of the Kalingan School of Art. The vimana or the main deula of the Jagannatha temple is devoid of erotic sculptures (scenes). Although a few enamored couples are noticed in the walls of other components (i.e. jagamohana and bhogamandapa ) of the temple but vulgarity has been restrained. Due to the thick lime plaster in the jagamohana and natamandapa , the exact sculptures are not clearly visible to the outside. The vimana, bhogamandapa and gateways display the fine sculptures of the temple. The decorative ornaments of the vimana could be made possible after the deplastering in 1980’s. Considering the architectural pattern, the temple of Lord Jagannatha of Puri is a noteworthy Hindu monument of Eastern India. The vimana (Bada deula ) and jagamohana of Lord Jagannatha temple were possibly initiated by Chodaganga Deva. The natamandapa of Jagannatha temple was built in the late 13 th century A.D. and the bhogamandapa of the temple was built by Purusottama Deva in the last quarter of the 15 th century A.D. The architectural patterns of all the structures of Jagannatha temple of Puri had been delicately executed by the architects of the Kalingan school of art of Eastern India. In addition to the main Jagannatha temple, a good number of smaller and medium shrines belonging to the different pantheons of Hinduism also erected within the inner as well as the outer enclosures of the temple complex. In fact, the Jagannatha temple of Puri is an important Vaishnava shrine of India. Really, the temple of Lord Jagannatha is the most impressive Hindu monument of Eastern India . Due to the existence of the temple of Lord Jagannatha, the kshetra (Puri) is always being crowded by pilgrims from all parts of India as well as from abroad. In spite of ups and down caused by invaders, the kshetra has been maintaining its religious dignity by preserving a good number of Hindu monuments including the temple of Lord Jagannatha. The famous Car festival ( ) and Navakalevara ceremony are the most important celebrations of the Lord Jagannatha temple of Puri in India. Obviously, the Jagannatha Dhama can also be said as one of the important art centers of Odisha in Eastern India. Lord Jagannatha temple of Puri represents the rekha and pidha types of the Kalinga Style temple architecture and it attracts tourists, historians, archaeologists and architects from all over India and abroad. In fact, the architectural features of Lord Jagannatha temple of Puri occupy a unique place in the history of Odishan temple art of India. On the whole, Lord Jagannatha temple of Puri is not only famous as a Hindu monument of India but its surrounding is also treated as grand and splendid in the whole of world.

Acknowledgement

I am grateful to Prof. P.K. Nayak, Prof. K.S. Behera (late), Prof. C.R. Mishra (late), Mr. Jagabandhu Padhi (late), Dr. B.K. Ratha, Prof. K.K. Basa, Prof. H.K. Satapathy, Dr. P.K. Routray and Prof. Harihar Panda for their encouragement and valuable suggestions in course of the initial preparation of the article. Three old photos of Lord Jagannatha temple of Puri are collected from internet sources. The

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vimana photo of the temple is collected from the book Shri Jagannatha at Puri written by J.B. Padhi, 2000. Old photograph of the Lion Gateway ( Singhadwara ) of the Jagannatha Temple of Puri was taken by an unknown photographer around 1870, (https://www.nuaodisha.com/PhotosOfAncientOdisha.aspx ).

I express my profound reverence to Prof. Achyuta Samanta , the Hon’ble Founder of KISS, Deemed to be University, Bhubaneswar who encouraged me for the writing of this article.

References

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23. Dash, S.N., ed., (2015). Srimandira Sabdakosha (Odia), Sri Jagannath Research Institute, Bhubaneswar. 24. Dash, S.N., ed., (2018). Reports and Notes on Sri Jagannath Temple at Puri , Sri Jagannath Research Institute, Bhubaneswar. 25. Deva Krishna, (Third Edition-1997). Temples of North India , National Book Trust, India, New Delhi. 26. Devi, P.K. and Acharya, R., (2009). PURI The Homeland of Lord Jagannatha , Jagannatha Vallabha Research Centre, Puri. 27. Donaldson, T.E. , (1985 & 1986). Hindu Temple Art of Orissa , Vol. I, II & III, Leiden. 28. Dunbar, Robert, (1999). Temples of Jagannatha Puri , New Delhi, Indian Reprint. 29. Fabri, Charles Louis, (1974). History of the Art of Orissa, Calcutta, pp. XXI-XXIV. 30. Fergusson, J. , (1875). History of Indian and Eastern Architecture , London. 31. Ganguly,M. M., (1912). Orissa and Her Remains , Calcutta. 32. Ghosh, B.K., (1848). The History of Pooree with An Account of Jagannatha and Description of Zillaha Cuttack , Orissa Mission Press; Cuttack. 33. Gupta, S.S., (2003). Chaar Dham; A Guide to the Hindu Pilgrimages , New Delhi. 34. Hunter, W.W. , ( 1872). Orissa, Vol.1, Smith Elder, London ,Great Britain. 35. Hunter, W.W., Stirling, A., Beams, J. And Sahu, N.K., (2005). A History of Orissa, Edited by N.K. Sahu, New Age Publication, Cuttack. 36. Joshi, Arjun, (1984). “History of Lord Jagannatha Temple”, in D. Panda & S.C. Panigrahi (eds.), The Cult and Culture of Lord Jagannatha , Cuttack. 37. Kar, Sashadhar, (1992). Puri Guide , Puri. 38. Kramrisch, S., (1946). TheHindu Temples, Vol.1, Calcutta. 39. Mishra, K.C. , (1971). The Cult of Jagannatha , Calcutta. 40. Mishra, K.C. ,(Edition-1984). The Cult of Jagannatha , Calcutta . 41. Mitra, R.L. , (Reprint 1984). The Antiquities of Orissa , Vol. II, New Delhi. 42. Mohanty, A.B., (1969). Madalapanji, (Prachi Edition) Utkala University, Bhubaneswar. 43. Mohapatra, R., (2004). “The Date of the Jagannatha Temple at Puri’’ in Proceedings of Indian History Congress , Sixty-fifth Session;Bareilly. 44. Mohapatra, R., (2007). Temples of Purusottama Kshetra (Puri), An unpublished Ph.D. Thesis submitted to Sambalpur University, Jyoti Vihar, Odisha, India. 45. Mohapatra, R., (2008). “The Art And Architecture of Medieval Orissa: A Study on Lord Jagannatha Temple at Puri”, in A.K.Patnaik &B.K. Mallick(eds.), UHRJ , Vol.XX, Bhubaneswar. 46. Mohapatra, R.P., (1982). “Tradition in Architecture”, in Art Tradition of Orissa, Edited by Odisha Sahitya Akademi; Bhubaneswar. 47. Mohapatra, R.P., (1986). Archaeology in Orissa (Sites and Monements), Vol.I, New Delhi. 48. Mohapatra, R.P., (1989). Temple Legends of Orissa, Edited by Odisha Sahitya Akademi; Bhubaneswar.

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49. O’Malley, L.S.S., (1929). Bihar And Orissa District Gazetteers, Puri, Revised Edition by P.T. Mansfield, Government Printing Press, Bihar and Orissa. 50. O’Malley, L.S.S., (2018). “The Worship of Jagannath”, Quoted in Dash, S.N., ed., Reports and Notes on Sri Jagannath Temple at Puri , Sri Jagannath Research Institute, Bhubaneswar. 51. Padhi, J.B., (2000). Shri Jagannatha at Puri , Puri. 52. Panda, A.K. , (1987). Four Hundred Years of Orissa: A Glorious Epoch , Calcutta. 53. Panda, H., (2014). History of Odisha , Kitab Mahal; Cuttack. 54. Panigrahi, K.C., (1981). History of Odisha , Cuttack. 55. Pattanaik, P.K., (1977). “Historic Monuments in the Kshetra of Jagannatha”, in M.N. Dash (ed.), Side lights on History and Culture of Orissa , Cuttack. 56. Rajguru, S.N., (1961). Inscriptions of Orissa , Vol. III, Part-II, Orissa State Museum; Bhubaneswar. 57. Rajguru, S.N., (1983). “Religious Evolution in the Medieval History of Odisha”, in Mahatab, H.K. (ed.), OHRJ, Vol. XXIX No. 1, State Museum, Bhubaneswar, Orissa. 58. Rajguru, S.N., (1992). Inscriptions of the Temples of Puri and Origin of Sri Purusottama Jagannatha , Vol.I, Sri Jagannatha Sanskrit Vidyalaya; Puri. 59. Rajguru, S.N., (July;1988). “Sri Jagannathanka Ratna Simhasana Abhilekha” (Odia), in Utkala Prasanga , Orissa Government Press; Cuttack. 60. Sahu, N.K., (2005). “Orissa From the Earliest Times to the Present Day”, in Hunter, W.W., Stirling, A., Beams, J. And Sahu, N.K., (eds.), A History of Orissa, New Age Publication, Cuttack. 61. Senapati , N. & Kuanr, D.C. eds. (1977). Orissa District Gazetteer ; Puri , , Orissa Government Press; Cuttack. 62. Sircar, D.C. and Sharma, S.R. eds., (1956-57). “Dasagoba Copper Plate of Rajaraja III dated Saka 1120 i.e. 1198 AD”, in Epigraphica Indica , Vol. XXXI, Ed. Department of Archaeology, New Delhi. 63. Stietencorn, H.V., (1978). “The Advent of Vaishnavism in Orissa”, in A. Eschmann, Kulke, H. & Tripathy, G.C. (eds.), The Cult of Jagannatha and the Regional Tradition of Orissa , New Delhi. 64. Stirling, Andrew, (1825, Reprinted-1904). An Account of Orissa Proper or Cuttack (Geographical, Statistical and Historical), London, , Reprinted in Calcutta. 65. Subbarao, R. , “Rule of Chodaganga Deva”, in JAHRS , Vol. VII, Rajmahendri . 66. William, F.B. Laurie (Lieutinant, Madras Army), Orissa and the Temple of Jagannath , Madras. 67. https://in.pinterest.com/dhal0424/jagannath-temple-puri 68. https://www.dreamstime.com/photos-images/jagannath-temple-puri.html 69. https://www.gettyimages.in/photos/jagannath-temple 70. https://www.googleadservices.com 71. https://www.iskconbangalore.org/blog/wp-content/uploads/2015/07/041.jpg 72. https://www.nuaodisha.com/PhotosOfAncientOdisha.aspx

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