Indian Temple Art and Architecture of Five Shaiva Temples of Eastern Odisha

International Journal of Advanced Science and Technology Vol. 29, No. 6, (2020), pp. 8765-8774

INDIAN TEMPLE ART AND ARCHITECTURE OF FIVE SHAIVA TEMPLES OF EASTERN ODISHA

Dr. Ratnakar Mohapatra1 and Hutasan Majhi2

1. Assistant Professor, Department of History, KISS, Deemed to be University, Bhubaneswar, PIN-751024, Odisha, India Email: [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 Email: [email protected]

Abstract The artistic techniques and architectural patterns of the Shaiva temples of coastal belt of Odisha are the important parts of the Hindu temple art of Odisha in Eastern India. The earlier art historians and senior scholars had outlined the art and architecture of some notable temples of Eastern Odisha like Sun temple, Sovanesvara temple, Jagannatha temple , Lingaraj temple, Muktesvara temple ,Madhavananda temple , Mangala, temple, Varahi temple, etc. The extant temples of Eastern Odisha possess the features of Kalinga style of temple architecture of Odisha. Really, some Shaiva temples of the eastern part of Odisha have to be discussed here are very important considering their religious significance and artistic techniques. In fact, the artistic features and architectural patterns of the five Shaiva temples of Eastern Odisha draw the attention of scholars, art historians and archaeologists to commence the research work. The five Shaiva temples taken here for discussion are such as 1. Trilochaneshvara Temple at Sadansa, 2. Brahmeshvara temple at Brahmana-sailo, 3. Bateshvara temple at Khandala, 4. Balunkeshvara temple at Orei, and 5. Dakshineshvara temple at Kunja. The aim of this article is to focus on artistic techniques / designs, architectural features along with the religious significance of the above five Shaiva temples of Eastern Odisha. Methodologically, both the primary and secondary sources have been used for the writing of the present article. Keywords: Indian, art, architecture, Shaiva, temples, Puri, Cuttack, Eastern Odisha.

I. INTRODUCTION The region of Eastern part of Odisha is an important place of Hindu monuments in India. The temples taken here for discussion are located in the different sites of the Puri and Cuttack districts of Odisha. In the past, Shaivism was the principal religion in the coastal-belt of Odisha from the 6th -7th centuries onwards and it was reached the peak of its glory during the Somavamsi period in the 10th-11th century A.D. (Behera & Donaldson, 1998, pp.29-31). There are numerous Siva temples noticed in Odisha and almost every village of Eastern Odisha has a Siva temple of its own (Behera & Donaldson, 1998, p.31). Odisha is famous as the land of temples and the Odishan builders have developed not only a special nomenclature of their own but a distinct style of building art known as the ‘Kalinga style’(Das,1958, p.9). The extant Shaiva temples of Eastern Odisha including the Prachi Valley area suggest that the region was popular as a place of Shaivism in the medieval period. Some of the Shiva temples have been erected in the modern period. All the ancient dilapidated Shiva temples of Eastern Odisha have been repaired in the last quarter of the 20th century and a few in the first decade of the twenty-first century. A large number of Shaiva temples are found existed in different parts of the coastal-belt of Odisha and they represent the Kalinga style of temple architecture of Odisha. The temples of Odisha form a class by themselves and these Hindu monuments can be conveniently labelled as “Kalinga style” (Behera, 1993, p.1). In fact, Odisha is famous for its large numbers of temples for the purpose of worship of various deities of different sects of Hinduism. Indian Shilpashastras recognize 3 major styles of temples such as Nagara, Dravida and Veshara (Ishana Shiva Gurudeva Paddhati and other Texts). Odishan temples architecture is appropriately named as Kalinga Style after its ancient name ‘Kalinga’. In this connection, the Amruteshvara temple inscription of Holala of Karnataka records that the Kalinga style

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ISSN: 2005-4238 IJAST Copyright ⓒ 2020 SERSC International Journal of Advanced Science and Technology Vol. 29, No. 6, (2020), pp. 8765-8774 of temples is existed with other three major styles viz. Nagara, Dravida and Veshara as fourth category temple style of India (M. E. Report, 1914-15, p.90 and Kramisch, 1946, pp.286-295). The Kalinga Style of temple architecture is divided into four types such as rekha, pidha (bhadra), khakhara and Gauriya (Bose, 1931, p.78). All the five Shaiva temples of Eastern Odisha discussed here represent the pidha type of the Kalinga Style temple architecture. In Odishan temple architecture, each temple type / order and its individual part has been given a distinctive name (Mohapatra, 1982, p.14). All the temples of coastal belt of Odisha possess the Kalinga style of temple architecture, which is an offshoot of the Nagara Style temple architecture of India (Mohapatra, 2007, p.25). In fact, Odishan temples practice the most compacted and standardised architectural set in India (Fergusson, 1875, p.414). The Odishan temple architecture with its uniqueness and distinct nomenclature was included in the other types of temples of India such as Nagara, Dravida and Veshara raising their number to four i.e. the Kalinga style (Panigrahi, 1985, p.371). The Kalinga style temples of Odisha are certainly noteworthy for the profusion of sculptures. In this connection, Stella Kramrisch aptly comments that “Architecture in Odishan temples is but sculptures on a gigantic scale” (Kramrisch, Vol.1, 1946, p.218). The sculptures of the Odishan temples occupy a dominating place among the artistic achievements of Odishan sculptors. Some of the extant Shaiva temples of Eastern Odisha have not been covered by the earlier art historians and scholars. Hence the present article attempts to focus on artistic designs and architectural features along with religious significance of five Shaiva temples of Eastern Odisha. Out of five Shaiva temples, four are completely new for the present scholarly work. II. METHODOLOGY Both the primary and secondary sources have been utilized in the writing of present article on five Shaiva temples of Eastern Odisha. 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 the five Shaiva temples of Eastern Odisha is primarily based on practical observations made by the principal author of the article. The secondary data relating to the present piece of work are Books, Journals, Periodicals, Proceedings, Antiquities, Records, Reports, etc. The data collected from both the primary and secondary sources are critically analyzed and used in this article. III. DISCUSSION AND RESULT ANALYSIS 3. Five Shaiva Temples of Eastern Odisha A large number of Shaiva temples are found erected in the different parts of the coastal belt of Odisha in Eastern India. Out of all the extant Shaiva temples of Eastern Odisha, five temples have been taken here for the subject of our discussion through the scholarly work. These five Shaiva temples are noticed in the different sites of the Cuttack and Puri districts of Odisha. The names and sites of these five Shiva temples are such as 1. Trilochaneshvara Temple at Sadansa, 2. Brahmeshvara temple at Brahmana- sailo, 3. Bateshvara temple at Khandala, 4. Balunkeshvara temple at Orei , and 5. Dakshineshvara temple at Kunja. The descriptions of different aspects like location, art, architecture, religious sanctity, etc. of the above five Shaiva temples of Eastern Odisha are briefly described below. 3.1.Trilochaneshvara Temple of Sadansa

The Trilochaneshvara temple is located at Sadansa in the Niali Block of the Cuttack district in Eastern Odisha. The temple has been renovated in 1952 by the Zamindar of Gajarajpur. The temple of Trilochaneshvara is a good specimen of the Kalinga style of architecture. The temple is adorned with ornate decorative embellishment. The local tradition says that the temple was broken by Kalapahara. Observing the artistic pattern of the temple, T.E. Donaldson remarks that one of the most exuberant temples, in respect of surface ornamentation, must have been the Trilochaneshvara temple of Sadansa (Donaldson, Vol. II, 1985-86, p. 676). The temple comprises of vimana, jagamohana and

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ISSN: 2005-4238 IJAST Copyright ⓒ 2020 SERSC International Journal of Advanced Science and Technology Vol. 29, No. 6, (2020), pp. 8765-8774 natamandapa. It is made of sand stones. This temple faces to east. The vimana is of the saptaratha pidha deula and it is around 35 feet high from the temple surface. The pista consists of five decorated horizontal mouldings. All the horizontal mouldings of the pista are carved with scroll work, lotus petalled designs, etc. The intervening recesses between the pidha mouldings are decorated with jali perforations. The jangha of the pista is decorated with khakhara mundis, truncated pidha mundis, simha vidalas, jagrata motifs, dancing female figures, dalamalikas, etc. All the mundi niches of the jangha of pista are carved with dancing female figures (alasa kanyas) standing nayika figures, queen is depicted seated on the simhasana, female figures with baby on their waists, etc. The pista measures 3 feet 4 inches in height. The makara headed gargoyle is fixed on the centre of northern side pista wall of the vimana. It is used for the vacation of the washing water of the presiding deity. The base of the bada measures a square of 26 feet 6 inches. The pabhaga comprises the conventional mouldings of khura, kumbha, patta, kani and basanta. The khura is carved with lotus petalled designs, jali perforations, vajra mastakas, scroll work, etc. The patta and basanta are decorated with scroll work, jali perforations, etc. The vertical bands are joined at the centre of each paga and it is carved with scroll motifs and bordered line designs. The pabhaga recesses are relieved with elongated vajra mundis, which are carved with creepers with flowers surmounted by nayika figures in different postures, dalamalikas, female figures holding lotus flowers, etc. The pabhaga of the bada measures 4 feet 1 inch in height. The jangha of the bada is a single vertical wall. The pagas of the jangha are ornamented with khakhara nayika figures, astadikpalas, alasa kanyas, female figures holding arrow, khadga, royal figure holding khadga on the back of the leaping horse, warriors holding khadga, female figure flanked by attendants, etc. Dikpalas on the bada are in situ though their details are badly worn due to soft nature of stone. All the pagas of the bada have multi-facets and decorated with khakhara mundis at the centre facade, scroll work and bordered line designs. The urdha jangha are occupied with simha vidalas on the foliated pedestals, gajavidalas, etc. The baranda of the bada comprises of five horizontal moldings. The upper two moldings are mostly plain except tankus on the top moulding. The lower three horizontal mouldings are decorated with scroll work, lotus petalled designs, beaded ornaments, etc. The vertical decorated band is joined at the central facade of each paga. Initially, the construction work of vimana and jagamohana was possibly in incomplete condition appeared in the bada portion. The construction designs indicate that the upper part of the baranda and gandi were built much later period than the lower part of the bada. It can be easily demarcated by visitors. In this regard, the local tradition says that the temple was broken by Kalapahara. The exact reasons are not found known to us regarding the reconstruction of the vimana as well as jagamohana. The 3 sides principal niches of the bada are accommodated with the parshvadevatas of Ganesha, Kartikeya and Parvati. Ganesha is the southern side parshvadevata of the temple. The image of Ganesha is engraved in stanaka pose on the podium. The bottom part of the pedestal is decorated with scroll work. Mouse is engraved on the right of the podium. The deity Ganesha holds broken tusk, rosary, a patra of sweets balls and parashu in four hands. Diminutive male human figure holding jackfruit is depicted on both sides of the slab. Apsara figure holding garland is engraved on the top corners. The sand stone image of Ganesha measures 20 x 35 inches in height. The image Ganesha is possibly the original side deity of the temple. Kartikeya is the parshvadevata of the western side. The local people say that the image Kartikeya has been housed in 1990’s and it is not the original side deity. The image of Kartikeya is engraved seated on the peacock. He holds dagger, arrow, ankusha and bow in his four hands. The sand stone image of Kartikeya measures 15 x 12 inches. Devi Parvati is the northern side parshvadevata of the temple. The local people say that the image Parvati has been housed at the time of renovation work in 1952 A.D. The image of Devi Parvati is engraved in stanaka pose on the plain pedestal. She holds unusual attributes in hands. An unidentified animal figure is depicted on the backside of the legs of Devi Parvati. The image Parvati is made of sand stone. The lower garbhika below the central niche of the bada is decorated with khakhara mundi, which flanked by elongated vajra mundi on each side. The elongated vajra mundis (Bose, 1931, pp181-162) are engraved with standing female figurines. The frames of the central niches have multi-facets and the centre facade is decorated with khakhara mundi containing the dancing female figure on both sides. The frames of the principal niches of all the three sides are engraved with scroll work, bordered line designs, etc. The gandi is of the pyramidal superstructure, which comprises of five pidhas. The central paga of the front side is projected out by jhapa simha at the base. Above the jhapa simha is decorated with pidha mastaka design. The raha paga of the southern side is also projected out by the jhapasimha. Dopichha lions and Deula Charini figures are excellently put in in their respective places of gandi. The mastaka

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ISSN: 2005-4238 IJAST Copyright ⓒ 2020 SERSC International Journal of Advanced Science and Technology Vol. 29, No. 6, (2020), pp. 8765-8774 comprises of elements of neck, ghanta, neck, amalakashila, khapuri, kalasa (Borner and Rath Sarma, 1966, p.147) , trident (trisula ) and flag (dhvaja). The pyramidal superstructure of the vimana is of modern construction, which given an overall truncated look to the temple (Donaldson, Vol. 2, 1985-86, p. 677). Three Shivalingas within the Shaktipitha are found worshipped in the sanctum as the presiding deity. These three Shivalingas are locally worshipped as Trilochaneshvara Shiva. The back wall niche of the sanctum houses the two stone sculptures; one of Varaha and another of a royal scene. The image Varaha is engraved in standing pose on the pedestal. He displays as usual attributes in his hands. The image Varaha is made of chlorite stone. Another stone slab containing a royal scene is found preserved near the Varaha image. The royal figure is depicted seated on the couch and he is flanked by retinues on both sides. The stone slab of the royal scene was possibly inserted in the gavaksa mandana of the jagamohana. At the time of renovation, the stone slab has been possibly preserved in the back wall niche of the sanctum. Brass images of Chadrashekhara and Parvati are preserved in the brass khatuli, which is found in the floor of the sanctum-sanctorum. They are being considered as the Chalanti pratimas of the temple. The doorframes are decorated with scroll work, bordered line designs, etc. The doorway lintel is carved with three plain vertical sections. The doorway lintel is decorated with Gaja- Lakshmi image in abhiseka position. Nine planets are carved on the architrave above the doorway lintel. All the grahas are depicted in yogasana pose with usual elements in hands. Each graha is decorated in the separate niche. The northern side sandhisthala wall is partly decorated with the designs of the bada walls of the vimana. The sandhisthala wall recess is filled with the jagrata motif (a lion with a rider depicted on the prostrate body of an elephant). The jagrata motifs of the Odishan temples are generally appeared after the 12th century A.D. This work may be assignable to the 13th-14th century A.D. The similar designs are also found depicted on the southern side bada wall of the sandhisthala. The sandhisthala wall measures 32 inches in width (Donaldson, Vol. 2, 1985-86, p. 678). The vimana of the temple is a renovated structure. The vimana was renovated by the Zamindar of Gajarajpur. The jagamohana of the temple is completely a renovated structure. According to the temple priest, it was rebuilt in 1952 by the villagers. The jagamohana is of the pidha deula and it is around 30 feet high from the temple surface. The pista is the same design and height like the pista of the vimana. Due to broken condition, new stones are inserted in some places at the time of renovation. The bada measures 29 feet square at the base (Donaldson, Vol. 2, 1985-86, p. 677). The original bada wall is partially intact on the northern side. It displays seven pagas with two additional pagas. But the southern side bada exhibits five pagas. During the time of renovation work, the southern side bada wall is rebuilt by the sand stones, which covered in earlier. The northern side bada has the decorative works (elements) of the original structure. The extant bada wall of the original jagamohana displays pabhaga, jangha and baranda like the bada wall of the vimana. The pabhaga is ornamented with scroll work, lotus petalled designs, vajra mastaka panel on the central facade of the khura portions. The pariratha paga on the pabhaga is festooned with khakhara mundi, which flanked on each side by elongated naganagini pilaster. The khakhara mundi niche is decorated with standing female figure. Jali perforations are found in the pariratha paga. Similar designs like the pariratha paga are found in the anuratha paga of the pabhaga. A balustraded window is fixed on the northern side central niche of the bada of the jagamohana. The balustraded window consists of five balusters, which are carved with truncate-elongated khakhara mundis. The female figures of the balusters are completely damaged by nature. The frame of the central niche is decorated with three vertical sections, which are carved with scroll work and jali perforations. The outer frames of the central niche are ornamented with elongated pidha mundis, which contain the standing female figures. The lower gavaksa is decorated with khakhara mundi, which flanked by a pair of naga-nagini pilaster or stambha on each side as on the Sari Deula (Donaldson, Vol. 2, 1985-86, p. 678). The central khakhara mundi niche is incised by the royal figure depicted on the leaping horse. Other parts of the bada on the northern side are completely plain. The gandi is of the pyramidal superstructure and it comprises of five pidhas. The pidha mastaka design is found decorated on the centre of the gandi on each side. The gandi of the jagamohana is bereft of sculptural elements. The mastaka of the jagamohana comprises of beki, ghanta, beki, amalakashila, khapuri and kalasa. Bull is noticed near the doorway of the sanctum. The eastern side (main) doorway of the jagamohana is partly decorated. The upper part of it is bereft of decorative elements. The base

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ISSN: 2005-4238 IJAST Copyright ⓒ 2020 SERSC International Journal of Advanced Science and Technology Vol. 29, No. 6, (2020), pp. 8765-8774 of the door frame is decorated with vajra mundi on both sides. Figures of Nandi and Bhångi are engraved on either side vajra mundi niche of the door frame. The doorframe is carved in three sections, which are decorated with scroll work, creepers with the frolicking boys, lotus petalled designs in successive order and bordered line designs. The upper part of the doorway is designed in half circular lintel in the shape of torana or arch, which is bereft of decorative elements. It is quite possible that there was originally a torana fronting the entrance portal as at Konarka (Donaldson, Vol. 2, 1985-86, p. 678). The right side eastern bada wall of the jagamohana is fixed with a stone slab containing an unidentified male deity. Some of the local people consider it as Lord Narayana. Here the attributes in hands of deity are not found. Out of the four hands, three hands are completely broken. The lower right hand lies on the right knee. This image may be Narayana. The image of Narayana is engraved in padmasana pose on the podium. The deity is depicted seated on the carpet. He wears a garland of wooden flowers in his body. The sand stone image of Narayana measures 24 x 43 inches. The original natamandapa of the temple is not found existed till now. But the pista of the old structure is intact and it indicates that it was initially built at the time of temple construction. The lower part of the pista is buried under the earth. The upper part of the pista is decorated with khakhara mundis, truncated pidha mundis, jagrata motifs, nayika figures and royal figure is carved in the khakhara mundi niche. Nara vidala and simha vidala figures are also found carved in the pista wall of the natamandapa. The local people say that one of the devotees named Bipin Bihari Rout has rebuilt the natamandapa of the temple. The natamandapa of the temple is a modern flat roof. The roof of the natamandapa is supported by sixteen square sized pillars. Inner walls of the natamandapa are depicted with the paintings of Nava- Durga figures, Hanumana, Ganesha and different scenes relating to Lord Shiva. Two ancient pillars of the earlier natamandapa are noticed on both sides of the masonry steps near the natamandapa. Some of the broken detached sculptures of the temple are found scattered inside the temple complex. They are broken lion figures, lion figure on the crouchant elephants, heads of lion figures, two separate crouchant elephant figures, etc. There is a yajnamandapa noticed at the south-east corner of the temple complex. A flat roof shed is used as house for recitation of the Bhagabata Gita. It is noticed in front of the natamandapa. The temple is covered with a boundary wall, which is approximately 6 feet in height. It has two gateways ; one on the eastern side and another on the west-north corner of the temple complex. The local people say that the Trilochaneshvara temple was erected after the Madhavananda temple of Madhava village. In this connection, T.E. Donaldson records that the Trilochaneshvara temple was made in the 13th century A.D. (Donaldson, Vol. 2, 1985-86, p. 676). Architectural features indicate that the Trilochaneshvara temple was possibly constructed in the Ganga period. 3.2. Brahmeshvara temple of Brahmana-sailo The Brahmeshvara temple is situated at Brahmana sailo in the Kantapara Block of the Cuttack district in eastern Odisha. The temple comprises of vimana, jagamohana and natamandapa. Both the structures of vimana and jagamohana are thickly plastered with lime mortar. This temple is made of burnt bricks and sand stones. It is facing to the eastern direction. Architectural pattern of the temple is not so important. Here the old sculptures are not found preserved inside the temple complex. So the temple is undoubtedly built in the modern period. The vimana is of the pancha ratha pidha deula and it is around 25 feet high from the temple surface The pista is decorated with vertical bands and it measures 3 feet 1 inch in height. The base of the bada measures a square of 13 feet 6 inches. All the component parts of the bada (Borner and Rath Sarma, 1966, p. 142) are bereft of decorative elements. The three side central niches of the bada are accommodated with the parshvadevatas of Ganesha, Kartikeya and Parvati. Ganesha is the southern side parshvadevata of the temple. The image of Ganesha is engraved in stanaka pose on the podium. Mouse is noticed in the right of the podium. He holds broken tusk, rosary, a patra ot sweets balls and parashu (hatchet) in four hands. The backside of the head of deity is decorated with arch shaped prabhamandala. The sand stone image of Ganesha measures 13 x 20 inches. Kartikeya is the western side parshvadevata of the temple. The image of Kartikeya is engraved in standing pose on the podium. Peacock is noticed on the right of the podium. The deity Kartikeya wears a garland of beads in his body. He holds trident, rosary, dambaru and the rooster cock in four hands. The sand stone image of Kartikeya measures 26 x 20½ inches. The behind of the head of deity is adorned with a circular prabhamandala. Goddess Parvati is the northern side parshvadevata of the temple. She is engraved

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ISSN: 2005-4238 IJAST Copyright ⓒ 2020 SERSC International Journal of Advanced Science and Technology Vol. 29, No. 6, (2020), pp. 8765-8774 in standing pose on the podium. Lion, the vahana (Gopinath Rao, Vol.1 Part-II, 1914, p.360 and Das, Vol. 1 , 1997,p.219) of devi Parvati is found depicted on the front side of the pedestal. She displays nagapasa in upper right hand, varada mudra (Das, 1997, Vol.I, p.219) in lower right hand, dambaru in upper left hand and abhaya mudra in lower left hand. The behind of the head of Devi Parvati is carved with makara headed arch. The sand stone image of Parvati measures 26 x 21 inches. All the side deities are housed in the pidha mundi niches. They are possibly made in the modern period. The gandi is of the pyramidal superstructure and it comprises of 5 pidhas. Small jhapa simhas are projected on the centre of the middle pidhas of the three sides except the front. Deula Charini figures are found put in the top of rahas. Deula Charini figures are also fixed on the top of kanika pagas. The mastaka of the vimana contains the elements of neck, ghanta, amalakashila, beki, amala, khapuri, three kalasas in successive order, ayudha (trident) and dhvaja (Donaldson, 1985 & 1986, Vol.III. p.1183). Shivalinga within the Shaktipitha is worshipped in the sanctum as the presiding deity. Inner walls of the sanctum are completely plain. The jagamohana is of the pidha deula and it is around 22 feet high from the temple surface. The pista of the jagamohana is designed like the pista of the vimana. The southern side central niche of the bada is fixed with latticed window, which has 72 perforations. Above the window is decorated with creepers with flowers flanked by foliated vase. The eastern side right wall of the bada is fixed with a balustrated window, which contains three balusters. The gandi is of the pyramidal superstructure and it contains three pidhas. The centre of the upper pidha is occupied by the pidha mastaka. The mastaka contains the usual elements of the Odishan pidha deula. Here the ayudha is trident. There is a pedestal containing the figures of bull and a cow noticed at the center of the jagamohana hall. It is the cement work of the twentieth century. Two pairs of Radha-Kåsna images are being worshipped inside the jagamohana. These deities are considered by the local people as Madana Mohana. Both the pairs of Radha-Kåsna images are made of brass and these images were initially installed in the jagamohana near about 150 years before the present as said by the local people. There is a Garuda pillar noticed in front of the Madana Mohana shrine, which found within the jagamohana. The pillar has been recently built by the villagers. There is a small pidha order structure built in front of the jagamohana doorway. The villagers have recently built a flat roof structure around the small pidha deula. The roof of the additional open hall is supported by the four circular pillars. Lion on crouchant elephant is set up on both sides of the main doorway. They are watching the doorway of the temple. Bull is found installed on the podium, which is noticed in front of the natamandapa. According to the local people, this bull is built within 8 years. There is a pillar containing the statue of Bhakta Jayadeva noticed in front of the natamandapa. It is made in the twentieth century. A Tulasi Caunra is found on the south east corner of the temple complex. Besides the three structures of the temple, there is a small pidha deula, which dedicated to Lord Sani noticed on the south east corner of the temple complex. It is located at a distance of 30 meters from the Brahmeshvara temple. The shrine has been built in 1990’s by the efforts of villagers. The sanctum of the shrine preserves the image of Lord Sani as the presiding deity. The local people say that the Brahmeshvara temple is not older than 250 years before the present. The architectural pattern and iconographic features of the parshvadevatas suggest that the temple was possibly built in the 19th century A.D. 3.3. Bateshvara temple of Khandala The temple of Bateshvara is located at Khandala, which is situated about 14 km from Kakatpur and 10 km from the Prachi river. The present temple is erected on the ruins of the earlier shrine. It comprises of vimana, jagamohana and natamandapa. It has been repaired in 1950 A.D. by the efforts of the villagers. The site of the temple is noticed at a few yards distance from the left side of the main road, which lies between Konarka and Kakatpur. The temple is made of burnt bricks and sand stones (rare). It faces to east. The vimana is of the pidha deula and it is around 18 feet high from the temple surface. The three side central niches of the bada are accommodated with the parshvadevatas of Ganesha, Vishnu and Devi Parvati. Ganesha is the southern side parshvadevata of the temple. The image of Ganesha is engraved in standing pose on the podium. The right side two hands of the deity are completely broken. The upper left hand holds a patra of sweet balls and the lower left hand possesses a parashu (hatchet). Mouse is carved on the right of the podium. Small flower medallion is depicted on

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ISSN: 2005-4238 IJAST Copyright ⓒ 2020 SERSC International Journal of Advanced Science and Technology Vol. 29, No. 6, (2020), pp. 8765-8774 both side top corner of the slab. The image Ganesha measures 13 x 7 inches. It is made of chlorite stone. The deity Ganesha is housed in a small nisha-garvaka or shrine of the pidha order. This nisha shrine is about 8 feet high from the surface of the temple complex. Lord Vishnu or Madhavananda is the parshvadevata of the western side. It is a peculiar feature of the temple. Generally, in the Shiva temple, Kartikeya is the parshvadevata of the back side. But here the image of Lord Vishnu is housed as the parshvadevata instead of Kartikeya. The image of Vishnu is engraved in standing pose on the podium. He displays chakra, varada mudra, shankha and gada in four hands. Garuda figure is portrayed on the right of the podium. The bottom part of the pedestal is decorated with scroll work. Shridevi and Bhüdevi figures are flanked on either side of Lord Vishnu. Apsara figure holding garland is portrayed on both side top corners. The image Vishnu may be assignable to the Post-Gajapati period. The deity Vishnu is housed in the small nishagarvaka or shrine of the rekha order. Goddess Parvati is the northern side parshvadevata of the temple. The mage of Devi Parvati is engraved in standing pose on the podium. Due to covering of clothes and restriction, the detailed iconography of Devi Parvati could not be documented by the author at the time of survey. There is a nisha shrine of pidha order erected in front of Devi Parvati. Two lions on the croachant elphants are installed on both sides of the nisha shrine. The gandi is of the pyramidal superstructure and it shows 3 pidhas. The mastaka contains the elements of neck, amalakashila, another neck, amala, khapuri, kalasa, trisula and dhvaja (Donaldson, 1985 & 1986, Vol.III. p.1183). Shivalinga within the Shaktipitha is worshipped in the sanctum as the presiding deity. The Shivalinga is dedicated to Lord Bateshvara Shiva. Another Shivalinga whthin the Shaktipitha is also found worshipped in the sanctum. The jagamohana is of the pidha deula and it is around 15 feet high from the temple surface. The gandi is a pyramidal superstructure, which contains three pidhas (Borner and Rath Sarma, 1966, p. 155). There is no sculptural element on the surface of the gandi. The mastaka contains the elements of neck, amalakashila, another neck, amala, khapuri, kalasa (Donaldson, 1985 & 1986, Vol.III. p.1184) and dhvaja. There is a small flat roof shed attached in the northern side bada wall of the jagamohana. It preserves the images of Chandrashekhara and Narasimha. The image of Chandrashekhara is small in size. He displays ankusha, varada mudra, ankusha and abhaya mudra. The image Chandrashekhara is built in sand stone. The four handed image of Narasimha is engraved in standing pose on the body of a male figure possibly an asura. One of his legs puts on the pedestal while the left leg has kept on the backside of the asura. He holds chakra and shankha in upper two hands. The lower two hands of the deity are engraved in taking out the intestines of Hiranya Kashyap. The chlorite stone image of Narasimha measures 13½ x 8½ inches. The natamandapa is of the modern pillared flat roof mandapa. There is a bull pillar of 3 feet high noticed at the centre of the natamandapa hall. The recumbent bull is installed on the top of square sized pillar. There is a masonry mandapa noticed on the north-east corner of the temple complex. The temple is surrounded by a boundary wall, which is around 5 feet in height. According to the local tradition, the Shivalinga of the temple was initially rescued from the sand dune. While the boys of the village were playing a game (dudu), they discovered the Shivalinga. Thereafter, the villagers had started the worship of that Shivalinga and built the present deula for public worship. The temple is erected on the ruins of the earlier (original) plinth of the temple. The local people say that the temple is not older than 250 years before the present. The architectural patterns and iconographic of the parshvadevatas suggest that the Bateshvara temple of Khandala was probably erected in the 18th century A.D. 3.4. Balunkeshvara temple of Orei The Balunkeshvara temple is situated at Orei in the Gop Block of the Puri district in Eastern Odisha. This temple is situated about 8 km from Gop and 15 km from Nuahat. The temple has been repaired in 1960’s by the efforts of villagers. The local tradition says that the village was the birth place of Sebei Santra, who was the chief architect of the famous Sun temple of Konarka. The temple of Balunkeshvara comprises of vimana and jagamohana. It is built in bricks and sand stones. This temple faces to east. The vimana (Borner and Sarma 1966,p.161) is of the pidha deula (Bose, 1931,p.180) and it is around 21 feet high from the temple surface. The gandi is of the pyramidal superstructure and it comprises of five pidhas / pirhas (Bose, 1931, p185). The mastaka (Bose, 1931, p.183) contains the elements of neck, ghanta, khapuri, kalasa, ayudha (trident) and dhvaja.

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Shivalinga within the Shaktipitha is worshipped in the sanctum as the presiding deity. The Shivalinga is not visible. The image Parvati is housed in the inner back wall niche of the sanctum. Due to covering of clothes and restriction, the iconography of Devi Parvati could not be documented in detail at the time of survey by the author. There is a stone slab containing an image of Mahisamardini Durga. The image of goddess Durga is built in sand stone. The eight armed image of goddess Durga is engraved in standing pose and she is depicted piercing the heart of Mahisasurva. The detail iconography of Devi Durga is not clearly visible. Most of the hands of Devi Parvati are broken and eroded by nature. The head of goddess Durga is completely missing. The image Durga may be assignable to the Somavamsi period. The slab of Devi Parvati measures 15 x 24 inches. There is a figure of bull found preserved on the north-west corner of the sanctum. The jagamohana of the temple is a modern flat roof structure, which is supported by six square sized pillars. An old figure of bull is found preserved on the floor of the jagamohana. Bull figure is noticed at the floor of the jagamohana. There is a Tulasi Chaunra found erected on the southern side of the jagamohana. The local people say that the temple of Balunkeshvara is not older than 400 years before the present. The architectural features suggest that the Balunkeshvara temple was possibly erected in the 18th century A.D. But some sculptures of the sanctum belong to the medieval period. The jagamohana of the temple has been recently built by the efforts of villagers. 3.5. Dakshineshvara temple of Kunja The temple of Dakshineshvara is located at the village Kunja in the Gop Block of the Puri District of Odisha. The temple was possibly built in the modern period. It comprises of vimana and jagamohana. This temple is built in sand stones and bricks. The local people say that the temple has been renovated in 1990’s. It is facing to the eastern direction. This temple has not been done by the earlier scholars. Hence a modest attempt has been made here to highlight the detailed art and architecture of the temple of Dakshineshvara. The vimana is of the pancha ratha (Donaldson, Vol. III, 1985 & 1986, p.1186) pidha deula and it is around 20 feet high from the temple surface. The pista and the lower part of the bada are buried under the sand. The bada exhibits four parts, which are bereft of decorative elements. The three sides central niches of the bada are accommodated with the parshvadevatas of Ganesha, Kartikeya and Parvati. All the side deities are housed in the truncated pidha mundis. Ganesha is the southern side parshvadevata of the temple. The four armed image of Ganesha is carved in standing posture on the plain pedestal. He displays broken tusk, rosary, a aatra of sweets balls and parashu in four hands. The flower medallion is engraved on both side top corners of the slab. The granite stone image of Ganesha measures 15 x 21 inches. Kartikeya is the western side parshvadevata of the temple. The image of Kartikeya is engraved in standing pose on the podium. He holds small khadga in upper right hand, shield in upper left hand, the lower right hand is feeding the peacock and the lower left hand lies downwards. The granite stone image of Kartikeya measures 13 x 20½ inches. Goddess Parvati is the northern side parshvadevata of the temple. The image of Devi Parvati is engraved in standing pose on the plain podium. She displays stalk of lotus, ankusha, rosary and gada in four hands. Lion is portrayed on the right of the podium. The image Parvati is made of sand stone. There is a nisha-garbhaka or shrine of pidha order built in front of the Devi Parvati. A huge stone containing the lion figure on the crouchant elephant is found installed near the doorway of the nisha shrine. It is being considered as the conventional mount of Devi Parvati. The gandi is of the pyramidal superstructure and it consists of five pidhas. The pidha mastaka design is found depicted at the centre of raha paga of the gandi on the eastern side. The mastaka contains the elements of neck, ghanta, additional neck, amalakashila (Borner and Rath Sarma, 1966, p.141), khapuri, kalasa, ayudha (trident) and dhvaja. Shivalinga within the Shaktipitha is worshipped in the sanctum as the presiding deity. Here the Shaktipitha and Shivalinga are always under water. The jagamohana of the temple is a modern flat roof structure. The eastern side bada wall is relieved with dancing female figures. The jagamohana has two doorways; one on the north-east corner and another (main) doorway on the east. Bull, the conventional mount of deity (Lord Shiva) is found installed on the octagonal pillar of 2 feet high. It is noticed at the centre of the floor of jagamohana hall. The jagamohana has been built in 2002 A.D. The temple is surrounded by a boundary wall and it has one gateway on the southern side. The local people say that the temple is not older than 400 years before the present. The temple was possibly erected in the 18th century A.D. considering its architectural pattern.

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IV. CONCLUSION We come to know that the above six Shaiva temples of coastal belt of Odisha have been renovated in the twentieth century A.D. Some of the basic features and peculiarities are noticed in the said Shaiva temples as discussed in the fact. The Trilochaneshvara temple is a good representative of the Kalinga style architecture of Odisha. The back wall niche of the sanctum of the Trilochaneshvara temple houses the two stone sculptures; one of Varaha and another of a royal scene. The stone slab of the royal scene was possibly inserted in the gavaksa mandana of the jagamohana. At the time of renovation, the stone slab has been preserved in the back wall niche of the sanctum. The jagamohana of the Trilochaneshvara temple is completely a renovated structure. According to the temple priest, it was rebuilt in 1952 by the villagers. The architectural pattern and sculptural features of the Trilochaneshvara temple indicate that the temple was possibly built in the Ganga period. The iconographic features of the parshvadevatas indicate that the Brahmeshvara temple of Brahmanasailo was possibly built in the 19th century A.D. The principal niches of the bada of Bateshvara temple of Khandala are accommodated with the parshvadevatas of Ganesha, Vishnu and Devi Parvati. Generally, in the Shiva temple, Kartikeya is the parshvadevata of the back side. But here the image of Lord Vishnu / Madhavananda is the parshvadevata of the western side. It is a peculiar feature of this temple. A small flat roof shed attached in the northern side bada wall of the jagamohana of the Bateshvara temple, which preserves the images of Chandrashekhara and Narasimha. The images of Vishnu and Narasimha in the temple site were possibly brought from any ruined Vaishnava shrine located nearby the site, which has not existed till now. The architectural features of the Bateshvara temple suggest that the temple might have built in the 18th century A.D. The parshvadevatas are not found in the central niches of the bada wall of the vimana of the Balunkeshvara temple of Orei. The iconographic features of the Parvati image indicate that the Balunkeshvara temple of Orei might have erected in the second half of the 18th century A.D. The Shivalinga of the sanctum of the Balunkeshvara temple is not visible to outside. The images of devi Parvati and Mahisamardini Durga of the sanctum of the Balunkeshvara temple possess the artistic features of the medieval period. All the side deities of the Dakshineshvara temple of Kunja are inserted in the truncated pidha mundis. Considering its architectural pattern, the Dakshineshvara temple of Kunja was possibly built in the 18th century A.D. The architectural patterns of the above Shaiva temples represent the pidha type deula of the Kalinga style temple architecture of Odisha. The artistic techniques of sculptures of all the above five Shaiva temples of Eastern Odisha were executed by the Kalingan School of artists. On the whole, the artistic designs and architectural patterns of the above five Shaiva temples possess an important place in the history of the Hindu temple art of Odisha in Eastern India.

ACKNOWLEDGEMENT We are grateful 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, Dr. P.K. Routray, Prof. Harihar Panda and Prof. Byomakesh Tripathy for their encouragement and valuable suggestions in course of the initial preparation of the article. We express my 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.

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