Kalinga Style Temple Art and Architecture of Two Shaiva Temples of the Coastal Belt of Odisha in Eastern India

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International Journal of Advanced Science and Technology Vol. 29, No. 3, (2020), pp. 11466 - 11477 ` Kalinga Style Temple Art And Architecture Of Two Shaiva Temples Of The Coastal Belt Of Odisha In Eastern India

Dr. Ratnakar Mohapatra1 and Baikuntha Majhi2 1. Assistant Professor, Department of History, KISS, Deemed to be University, Bhubaneswar, PIN-751024, Odisha, India Emil: [email protected] Mobile No.+91 9938197334

2. NFST M.Phil. Scholar, Department of Tribal Culture, Philosophy and Eco-Spiritualism, KISS, Deemed to be University, Bhubaneswar, PIN-751024, Odisha, India E.Mail: [email protected] Mobile No. 9178728734

Abstract

The temple of Hara-Ganeshvara is an important Shaiva shrine of the Praci Valley in the coastal belt of Odisha. It is located at the village Raisa in the Kakatpur Block of the Puri district of Odisha in Eastern India. The artistic technique and architectural features of the Hara-Ganeshvara temple of Raisa and Grameshvara temple of Ghodatikili of the coastal-belt of Odisha are the main aspects of the Kalinga style temple architecture of Eastern India. In fact, a few Shaiva temples of the coastal- belt of Odisha are very important considering their artistic techniques and religious significance. The earlier art historians had not dealt with the Hara-Ganeshvara temple of Raisa and Grameshvara temple of Ghodatikili in detail, for which, these two temples have been taken here for the scholarly work. The aim of the present article is to focus on artistic techniques and architectural features along with the religious significance of the Hara-Ganeshvara temple of Raisa and Grameshvara temple of Ghodatikili of the coastal-belt of Odisha in Eastern India. Methodologically, both the primary and secondary sources have been used for the writing of this article.

Keywords: Kalinga, art and architecture, Hara-Ganeshvara, temple, coastal-belt, Odisha, Eastern India.

I. INTRODUCTION The majority of Shaiva temples are noticed in different parts of the coastal-belt of Odisha in Eastern India. The region of coastal-belt of Odisha is well-known for its Kalinga style of temples in Eastern India. The Prachi valley is the chief centre of Shaivism in the coastal-belt of Odisha in Eastern India. It lies between the Devi river and the Kushabhadra river in the coastal-belt of Odisha. Prachi is an ancient river, which is regarded as most sacred by the people of Odisha (Das, 1958, p.5). Shaivism was the dominant religion in the coastal-belt of Odisha from the 7th century onwards and reached the peak of its glory during the Somavamsi period in the 10th-11th century A.D. In fact, Odisha is famous for its large numbers of Shiva temples for the purpose of worship. Each and every village of

ISSN: 2005-4238 IJAST Copyright ⓒ 2020 SERSC 11466 International Journal of Advanced Science and Technology Vol. 29, No. 3, (2020), pp. 11466 - 11477 ` the coastal belt of Odisha preserves a Shiva temple either at the centre or end of the village. Among all the extant Shaiva temples of the coastal belt of Odisha , Hara-Ganeshvara temple and Grameshvara temple of Ghodatikili have been taken here for the subject of discussion. 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 suitably 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 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). In Odishan temple architecture, each temple type / order and its individual part has been given a distinctive name (Mohapatra, 1982, p.14). All the extant temples of coastal belt of Odisha including the Hara-Ganeshvara temple of Raisa possess the Kalinga style of temple architecture, which is an offshoot of the Nagara Style temple architecture of central India. Bhuban Pradipa, a treatise on temple architecture records that the Kalinga Style of temple architecture of Odisha is divided into four types such as rekha, pidha (bhadra), khakhara and Gauriya (Bose, 1932, p.78 and Mohapatra, 1982,p.14). All the extant Saiva temples including the Hara-Ganeshvara of Raisa in the coastal belt of Odisha represent both the rekha and pidha types of the Kalinga Style 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). The Hara-Ganeshvara Shiva temple of Raisa and Grameshvara temple of Ghodatikili represent the Kalinga style temple architecture of Odisha. It is known from the practical field study that the earlier dilapidated Hara-Ganeshvara temple and Grameshvara temple of Ghodatikili have been repaired in the 20th century. These temples have not been dealt by the earlier art historians in detail as yet. Hence, a modest attempt has been made in this article to highlight the detailed art and architecture along with the religious significance of the temple of Hara-Ganeshvara of Raisa and Grameshvara temple of Ghodatikili of the Coastal belt of Odisha in Eastern India.

II. METHODOLOGY

Both the primary and secondary sources have been utilized in the writing of this article. The primary data have been collected through, 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 Hara Ganeshvara temple of the coastal-belt of Odisha is mainly based on practical observations. The secondary data are Books, Journals, Periodicals, Manuscripts, Antiquities, Records, Reports, etc. The data collected from both the primary and secondary sources are analytically examined and discussed in the present article.

III. DISCUSSION AND RESULT ANALYSIS

3.1. Hara-Ganeshvara Temple of Raisa in Odisha

ISSN: 2005-4238 IJAST Copyright ⓒ 2020 SERSC 11467 International Journal of Advanced Science and Technology Vol. 29, No. 3, (2020), pp. 11466 - 11477 ` A good number of Shaiva temples are found in various sites of the coastal-belt of Odisha in Eastern India. The temple of Hara-Ganeshvara is one of the Shaiva shrines of the coastal belt of Odisha in Eastern India. It is located at Raisa in the Kakatpur Block of the Puri district. This temple is situated about 5 kms from Kakatpur and 3 Kms from the river Praci. It is completely a renovated temple of that area. The local people say that the temple has been renovated in 1930’s by the effort of the villagers (Mohapatra,2017, p.240). The renovation work of the temple complex was also being carried on at the time of survey conducted by the present author. Although the temple is dedicated to Lord Hara-Ganeshvara Shiva still its complex also preserves some minor shrines of the different gods and goddesses of Hinduism of the modern period. A few unidentified old eroded images are also found preserved in the temple premise. In fact, the site of the temple is a coordinating place of Vashnavism, Shaktism, Shaivism, Saura, etc. So, the Hara-Ganeshvara temple is very popular in that locality considering its religious significance. The temple of Hara- Ganeshvara comprises of vimana, jagamohana and natamandapa. It is built in laterite blocks, sand stones and bricks. This temple faces to east.

The vimana of the temple is a saptaratha ( Donldson, Vol.3, 1985/86, p. 1187) pidha deula and its height is about 30 feet from the surface of the temple complex (Mohapatra, 2017, p.241). It has four fold vertical parts such as pista, bada, gandi and mastaka. The pista is about 1 foot high and it is devoid of decorative elements. The bada is panchanga type i.e. having five component parts such as pabhaga, tala jangha, bandhana, upper jangha and baranda (Behera, 1993, p.4). The base of the bada measures 19 feet 10 inches in the eastern and western sides and 17 feet 10 inches in the northern and southern sides respectively. All the component parts of the bada are devoid of decorative elements.

The two sides central niches of the bada of vimana are accommodated with the parshvadevatas of Ganesha and Kartikeya. The northern side central niche is remained blank. Ganesha is the southern side parshvadevata of the temple. The image of Ganesha is engraved in standing pose on the podium. The image Ganesha is made of soft sand stone and it is eroded by nature. The attributes in hands are not clearly visible. Mouse is found on the right of the pedestal. The slab of deity is partly damaged and it measures 7 x 12 inches (Mohapatra, 2017, p.241). Besides the original image of Ganesha, there is an additional figure of Ganesha made of modern cement also found housed in the pidha mundi niche of the southern side. The image Ganesha is about 4 feet in height. He holds pasha, broken tusk, gada and a stalk of the lotus bud in his four hands. Mouse, the mount of deity is depicted at the right of the pedestal. The deity Ganesha is accommodated in the nisha-shrine of the pidha order. Kartikeya is the western side parshvadevata of the temple. There is no original stone image of Kartikeya in the central niche of the western side. Recently, an image of

ISSN: 2005-4238 IJAST Copyright ⓒ 2020 SERSC 11468 International Journal of Advanced Science and Technology Vol. 29, No. 3, (2020), pp. 11466 - 11477 ` Kartikeya made of modern cement is relieved in the central niche of the western side. The two armed image of Kartikeya is depicted in standing posture on the back of peacock. The right hand displays arrow while the left hand holds bow respectively. The image Kartikeya is about 4 feet in height and it is housed in the nisha-shrine of flat roof. The central niche of the northern side is remained blank without any side deity. The gandi is of the pyramidal superstructure and it continues the saptaratha plan of the bada. The gandi contains five pidhas. Each pidha is decorated with tankus and scroll work in all sides. Deula Charini figures are inserted in the four cardinal directions of the beki above rahas. Dopichha lions are fixed on the top of kanika pagas of the gandi. The mastaka comprises of elements of neck, ghanta, neck, amalakashila, khapuri, kalasa (Borner and Rath Sarma, 1966, p.147) , trident (trisula ) and dhvaja (Donaldson, 1985 & 1986, Vol.III. p.1183). Shivalinga within the Shaktipitha is found worshipped in the sanctum. Here the Shivalinga has five faces and it is locally considered as the “Panchalingeshvara”. In this connection the priest of the Hara-Ganeshvara temple of Raisa opines that due to the appearance of five faces of the Shivalinga, for which, the presiding deity is worshipped here in the name of “Pancalingeshvara Shiva”. The Shivalinga is made of white sand stone. There is a simhasana of 1½ feet high noticed near the back wall. An image of Lord Shiva is depicted in padmasana posture on the pedestal. The deity (Shiva) is made of modern cement. The presiding deity is covered by the pidha shaped kanaka mandapa, which is supported by four circular pillars. The sanctum preserves a stone image of Devi Parvati(Mohapatra,2017,p.242). The four armed image of goddess Parvati (of the sanctum) is carved in standing posture on the pedestal. Lion, the vahana (Gopinath Rao, Vol.1 Part-II, 1914, p.360 and Das, Vol. 1 , 1997,p.219) of devi Parvati is found on the pedestal. She possesses as usual attributes in her hands. Due to strict restriction, the detail iconography of Devi Parvati could not be documented by the author at the time of survey. Perhaps, this Parvati image is one of the original side deities of the temple. The sanctum also preserves the brass images of Radha-Krushna, Chandra Shekhara, Vishnu and Anthua-Gopala. The image of Chandra Shekhara is considered as the representative deity of the temple. The sanctum has one doorway towards the jagamohana. The doorframes are bereft of decorative embellishments. There is a huge naga figure depicted on the architrave above the doorway lintel. The jagamohana is of the pidha (Borner and Ratha Sharma, 1966, p.155) deula and it is around 20 feet high from the temple surface (Mohapatra, 2017,p.242). The northern side outer bada wall of the jagamohana is relieved with the figure of Devi Parvati. The four armed image of Devi Parvati is depicted in standing posture on the lotus shaped pedestal. She displays chakra in upper right hand, rosary in lower right hand, shankha in upper left hand and lotus bud in lower left hand respectively(Mohapatra,2017, pp.242-243). The back side of Devi Parvati is decorated with makara headed arch crowned by the kirtimukha motif. Torana figures are leaning on both sides of the arch,

ISSN: 2005-4238 IJAST Copyright ⓒ 2020 SERSC 11469 International Journal of Advanced Science and Technology Vol. 29, No. 3, (2020), pp. 11466 - 11477 ` which is supported by circular pillars on each side. There is a modern flat roof of 7 feet high built in front of Devi Parvati. A stone slab containing an image of Ganesha is found preserved near the figure of Devi Parvati. It is made of sand stone. The attributes in hands are not clearly visible. The image Ganesha measures 1 foot 6 inches in height. The gandi of the jagamohana is a pyramidal superstructure and it contains three pidhas. The mastaka of the jagamohana comprises of elements of neck, ghanta, neck, amalakashila, khapuri, kalasa (Borner and Rath Sarma, 1966, p.147) , trident (trisula ) and flag (dhvaja). The northern side inner wall of the jagamohana is relieved with the figure of Lord Shiva. The four armed figure of Lord Shiva is depicted in dancing posture on the prostrate body of an asura. He displays trident in upper right hand, abhaya mudra in lower right hand, dambaru in upper left hand and the lower left hand is in dancing posture. Here Lord Shiva wears a skin of deer. Naga figure is encircled around the neck of Lord Shiva. The jagamohana has two doorways; one on the south and another on the east. The door frame of the eastern side is decorated with flowers, flower buds and Anthua-Gopala figure depicted on the upper part of the doorway wall. The lintel is also decorated with flowers and flower buds. Navagrahas are carved on the architrave above the doorway lintel. All the nine planets are depicted in yogasana posture with usual attributes in their hands. Rahu head flanked by scroll work is found depicted above the navagrahas. Dvarapala figures are depicted on both sides of the doorway wall. They are watching the eastern side doorway. The southern side doorway is completely plain. The natamandapa of the temple is a flat roof structure and it is about 12 feet high from the surface of the temple complex. The northern side outer bada wall of the natamandapa is depicted with the Panchu Pandava figures and Lord Shiva. All the figures are depicted in standing posture. Inner walls of the natamandapa are relieved with the figures of Dasavataras, scenes of Savitri-Satyavana, Kaliya-dalana, Giri-Govardhana, Gaja-Udharana, Durga- Madhava, Rama-Laxmana-Sita with Hanumana, Chaturdha murtis of Jagannatha, Balabhadra, Subhadra and Sudarshana chakra, Santosi Maa, etc. The northern side inner wall of the natamandapa is relieved with Dasavatara figures such as Matsya, Kachhapa, Varaha, Narasimha, Vamana, Parshurama, Rama, Balarama, Buddha and Kalki (Mohapatra, 2017, p.244). They are depicted in standing posture. Each figure is housed in the separate niche. They display as usual attributes in their hands. Savitri-Satyavana (Astika-Jaratkaru):Devi Savitri is depicted seated posture under a tree. She is praying to Yama, the god of death. Here Satyavana is depicted sleeping posture on the lap of Savitri. Kuthara is found depicted near the legs of Satyavana. The figure of Yama is depicted

ISSN: 2005-4238 IJAST Copyright ⓒ 2020 SERSC 11470 International Journal of Advanced Science and Technology Vol. 29, No. 3, (2020), pp. 11466 - 11477 ` seated on the buffalo. He displays gada in left hand and abhaya mudra in left hand respectively (Mohapatra,2017,p.244). The scene attracts visitors as well as scholars. Kaliyadalana Scene:The southern side inner wall is relieved with the Kaliyadalana scene. Here Lord Krushna is depicted in standing posture on the hoods of Kaliyanaga, which is noticed in the depth water of the lake Kalandi(Mohapatra,2017, p.244). Naga kanyas holding garlands, lotus flowers with folded hands are found depicted in the Kalandi Lake. They are depicted praying to Lord Krushna. Lord Krushna is depicted killing the Kaliyanaga(Mohapatra,2017,p.244). From the artistic point of view, the scene is very attractive. Giri-Govardhana Scene : Here Lord Krushna is depicted lifting the Govardhana Mountain on his little finger of the left hand. Lord Krushna is protecting the cows, cowherds and cowherdresses from the storm raised by Lord Indra (Mohapatra, 2017, p.244). Durga-Madhava: The northern side inner wall is relieved with the Durga-Madhava figure. The eight armed figure of goddess Durga is depicted in lalitasana pose on the back of lion. She holds Madhava (baby) in her left lap. The right side hands display chakra, gada, bow and abhaya mudra while the left side hands hold shankha, padma, ankusha and Madhava respectively(Mohapatra,2017,p.244). Gaja-Udharana Scene: The gaja-udharana scene is depicted on the north-east corner inner wall of the natamandapa. Chaturdha murtis such as Jagannatha, Balabhadra, Subhadra and Sudarshana chakra are found relieved in the northern side inner wall of the natamandapa (Mohapatra,2017,p.244). Bull, the conventional mount of the presiding deity is installed on the octagonal pillar of 3 feet high. It is noticed near the jagamohana doorway of the eastern side. All the sculptural reliefs of the natamandapa are made in the twentieth century. The natamandapa has three doorways; one on each side such as east, south and north. The southern side doorway is completely plain. Figures of Jaya and Vijaya are depicted on either side doorway wall of the south. Lion figures are installed on both sides of the doorway. They are guarding the southern side doorway. The northern side doorway is bereft of decorative elements. Hari-Hara figure is depicted on the right side wall of the doorway. The right side hands of deity hold trident and dambaru while the left side hands display chakra and gada. The eastern side doorway of the natamandapa is completely plain. Two huge lion figures are installed seated posture on both sides of the doorway. There is an old Neem tree noticed in front of the natamandapa. Additional shrines Besides the main temple, some additional shrines are also found erected in the temple complex. They are being mentioned as follows : I. Shrine of Dhabaleshvara: The shrine of Dhavaleshvara is a flat roof structure and it is noticed at the western side of the vimana. The shrine is about 7 feet in height from the surface of

ISSN: 2005-4238 IJAST Copyright ⓒ 2020 SERSC 11471 International Journal of Advanced Science and Technology Vol. 29, No. 3, (2020), pp. 11466 - 11477 ` the temple complex. The back wall of the sanctum of the shrine is relieved with the figure of Dhavaleshvara Shiva, Ganesha and Devi Parvati(Mohapatra,2017,p.245). All these figures are made of modern cement. They are displaying as usual attributes in their hands. The shrine also preserves the Daru images of Lord Jagannatha, Balabhadra, Subhadra and Sudarshana chakra. These Chaturdha murties are kept in the wooden khatuli. Bull, the mount of Lord Shiva is installed near the doorway. II. Shrine of Dasabhuja Durga : The shrine of Dasabhuja Durga is noticed on the north east corner of the temple complex. The back wall of the shrine is relieved with the figure of Dasabhuja Durga. She is depicted in standing posture on the lion. The figure of goddess Durga is made of modern cement. The right side five hands hold chakra, trident, shankha, sickle, lotus bud while the left side hands display gada, bow, arrow, snake and one of her left hands holds trident(Mohapatra,2017,p.246). She is piercing the heart of asura by the trident. III. Shrine of Savitri-Satyavana: The shrine of Savitri-Satyavana is found on the eastern side of the temple complex. Inner back wall of the shrine is relived with the scene of Savitri- Satyavana. Here Satyavana puts his head on the lap of Devi Savitri. Two Yama figures are depicted near the Savitri-Satyavana figures (Mohapatra, 2017,p.246). Devi Savitri is depicted seated posture under the tree. The figure Yama is found depicted on the buffalo. He holds gada in left hand and the right hand displays abhaya mudra respectively. Below the Savitri-Satyavana figure is relieved with the Lakshmi-Narayana figures (Mohapatra, 2017,p.246). They are depicted seated on the pedestal. IV. Shrine of Lord Vishnu : The shrine of Lord Vishnu is found erected at the eastern side of the temple complex. Here Lord Krushna is showing the vishvarupa scene of Lord Vishnu to Arjuna (Mohapatra, 2017, p.246). The twenty armed figure of Lord Vishnu is depicted in standing posture on the lotus designed pedestal. The head of Lord Vishnu is surmounted by the seven hooded serpent. Lord Krushna is depicted standing posture while the figure of Arjuna is found in kneeling posture with folded hands before Lord Krushna. The right side hands of Lord Vishnu hold battle axe, arrow, ankusha, shankha, battle axe, dambaru, bow, shield, gada, padma while the left side hands display rosary, arrow, chakra, rosary, trident, khadga, snake, arrow, gada and abhaya mudra respectively(Mohapatra, 2017, p.246). This scene is completely the work of modern cement. V. Shrine of Patita Pavana : There is a small shrine of flat roof dedicated to Lord Patita Pavana. It is noticed at the southern side of the temple complex. Daru image of Lord Patita Pavana is being worshipped in the shrine (Mohapatra, 2017, p.246). Garuda, the conventional mount of deity is found installed in front of Lord Patita Pavana. VI. Shrine of Hanumana : There is a Hanumana shrine noticed on the southern side of the temple complex. A small flat roof houses the image of Mahavir Hanumana as the presiding deity of that shrine. He holds gada in right hand and huge rock in left hand respectively (Mohapatra, 2017, p.247).

ISSN: 2005-4238 IJAST Copyright ⓒ 2020 SERSC 11472 International Journal of Advanced Science and Technology Vol. 29, No. 3, (2020), pp. 11466 - 11477 ` VII. Shrine of Radha Krushna : The shrine of Radha Krushna is noticed at the southern side of the temple complex. Inner back wall of the shrine is relieved with the figures of Radha-Krushna, which depicted in standing posture under the Kadamba tree(Mohapatra, 2017, p.247). The shrine is a modern flat roof structure. VIII. Shrine of Goddess Vimala: The shrine of goddess Vimala is found erected on the south-west corner of the temple complex. It is a flat roof structure. The four armed figure of goddess Vimala is relieved in the back wall of the sanctum of the shrine. The deity is made of modern cement. She displays chakra in upper right hand, abhaya mudra in lower right hand, shankha in upper left hand and varada mudra in lower left hand respectively (Mohapatra, 2017, p.247). Goddess Vimala is depicted in lalitasana pose. IX. Shrine of Tarini: The shrine of Tarini is noticed on the southern side of the natamandapa. The head of goddess Tarini is being worshipped in the shrine(Mohapatra, 2017, p.247). The shrine is a flat roof structure and its height is about 7 feet from the surface. X. Shrine of Lakshmi-Narayana : The shrine of Lakshmi-Narayana is built on the southern side of the temple complex. It is a flat roof structure of 8 feet high. Inner back wall of the shrine is relieved with the scene of Ananta Sayee Vishnu (Mohapatra, 2017, p.247). XI. Shrine of Surya-Devata: There is a Surya Devata shrine noticed on the southern side of the natamandapa. The shrine of Surya-Devata is built in the design of the ratha or chariot. Seven horses are found fixed in the chariot shaped structure. XII. Shrine of Goddess Mangala: There is a separate shrine of flat roof, which is dedicated to goddess Mangala noticed near the outer boundary wall of the eastern side. The shrine preserves the image of goddess Mangala. The image Mangala is made of modern cement. The four armed goddess Mangala is depicted in lalitasana pose. She displays chandra in upper right hand, rosary in lower right hand, padma in upper left hand and ganana mudra in lower left hand(Mohapatra, 2017, pp.247-248). XIII. Shrine of Navagraha : Near the outer boundary wall of the eastern side is noticed a separate shrine, which is dedicated to navagrahas. It is a flat roof structure of 13 feet high. There is a snanamandapa found erected on the southern side of the temple complex. Goddess Brundavati is being worshipped near the eastern side gateway of the temple complex. All the additional shrines of the temple complex are constructed in the twentieth century. Boundary Wall: The temple complex is enclosed by a boundary wall, which is made of burnt bricks. It is about 6 feet in height (Mohapatra, 2017, p.248). The southern side gateway is occupied by the flat roof structure. Bull figures mounted by Shiva and Parvati are installed on both sides of the gateway of the south. The priests of the Hara-Ganeshvara temple remark

ISSN: 2005-4238 IJAST Copyright ⓒ 2020 SERSC 11473 International Journal of Advanced Science and Technology Vol. 29, No. 3, (2020), pp. 11466 - 11477 ` that the temple is not older than 250 years before the present. Observing the temple, Hansanath Sahoo , a senior scholar of Adaspur is of the view that the Hara-Ganeshvara temple was possibly built in the 19th century. The local people say that the temple was built in the modern period and it has been renovated in 1930’s by the cooperation of the villagers. The architectural features indicate that the main temple was possibly built in the 2nd half of the 18th century A.D. (Mohapatra, 2017, p.248). 3.2. Grameshvara temple of Ghodatikili The temple of Grameshvara is located at Ghodatikili in the Niali Block of the Cuttack district of Odisha. This temple is situated about 1 km from the Praci river and 7 km from Niali (Mohapatra, 2017,p.266). The temple has been renovated in 1990’s. It comprises of vimana and jagamohana. The temple is built in laterite blocks and sand stones. The temple faces to east. Both from the architectural and sculptural points of view, the temple is not so important like other notable temples of Odisha. The vimana of the temple is a pancha ratha rekha deula and its height is about 25 feet from the surface of the temple complex (Mohapatra, 2017,p.266).The pista is plain and it is about 2 feet in height. The base of the bada is a square of 12 feet. The tala jangha wall is relieved with the erotic scene, mithuna figure, male and female figures. The baranda of the bada consists of two mouldings, which are completely plain. The central niches of the three sides of the bada are housed with the parshvadevata images of Ganesha, Vishnu (a diminutive image) and Parvati. Ganesha is the parshvadevata of the southern side. The four armed image of Ganesha is carved in standing posture on the single petalled lotus pedestal. He holds broken tusk in upper right hand, rosary in lower right hand, a pot of ladus in upper left hand and parashu (hatched) in lower left hand respectively(Mohapatra, 2017,p.266).. The deity Ganesha wears a sarpayajnopavita in his body. The backside of the head of deity is decorated with makara headed arch. Mouse, the conventional mount of deity is found at the right of the pedestal. The image Ganesha is made of sand stone. It measures 1 foot 1 inch in width and 1 foot 10 inches in height respectively (Mohapatra, 2017,p.266). The right side top corner of the slab is partly missing. The local people say that initially an image of Kartikeya was being worshipped on the western side certral niche as the parshvadevata of the temple. But the original Kartikeya image is broken by the local children while they were playing games. Now, a diminutive image of Lord Vishnu is being worshipped in the central niche of the western side. The four armed image of Lord Vishnu is carved in standing posture on the pedestal. He holds gada in upper right hand, padma in lower right hand, shankha in upper left hand and chakra in lower left hand (Mohapatra, 2017,p.267). The image Vishnu is made of sand stone and it is also broken from the leg portion. It measures 1 foot in height. Devi Parvati is the parshvadevata of the northern side. The original image of Devi Parvati is partly missing but the head portion of it is designed in modern cement. The broken image is covered with clothes and flowers (Mohapatra, 2017,p.267). The gandi of the vimana is a curvilinear superstructure and it continues the pancha ratha plan of the bada. The gandi is devoid of decorative elements. Deula Charini figures and dopichha lions are completely absent in their respective places above the gandi.

ISSN: 2005-4238 IJAST Copyright ⓒ 2020 SERSC 11474 International Journal of Advanced Science and Technology Vol. 29, No. 3, (2020), pp. 11466 - 11477 ` The mastaka of the vimana consists of beki amalakashila, khapuri, kalasa and ayudha. Here the dhvaja is not inserted in the kalasa. Shivalinga within the Shaktipitha is found worshipped in the sanctum. Inner walls of the sanctum are bereft of decorative elements. The sanctum has one doorway towards the jagamohana. The doorway of the sanctum is bereft of decorative embellishments.The jagamohana of the temple is a flat roof structure built in recent time. It is about 11 feet high from the surface of the temple complex. There is a Tulasi Chaunra found in front of the jagamohana hall. Now, the temple is being managed by a local committee of that village. The Grameshvara temple of Ghodatikili was possibly built in the modern period. The local people say that the temple is not older than 200 years before the present. The architectural pattern and iconographies of the parshvadevatas suggest that the Grameshvara temple was possibly erected in the second half of the 19th century A.D. (Mohapatra, 2017, p.267). IV. CONCLUSION Thus, it is known from the above discussion that the Hara-Ganeshvara temple is one of the renovated Shaiva shrines of the Prachi Valley in the coastal belt of Odisha. From the architectural point of view, the temple of Hara-Ganeshvara represents the Kalinga style architecture of the modern period. The two sides central niches of the bada of vimana are accommodated with the images of Ganesha and Kartikeya. The northern side central niche is remained blank. Most probably, the Parvati image preserved in the sanctum was the original side deity of the northern side. In subsequent period, due to some reason, it has been kept in the sanctum. The northern side inner wall of the natamandapa of the temple is relieved with Dasavatara figures such as Matsya, Kachhapa, Varaha, Narasimha, Vamana, Parshurama, Rama, Balarama, Buddha and Kalki. Depiction of these Vaishnavite deities indicates that the temple site is a place of Hari-Hara worship in the coastal-belt of Odisha. Besides the main temple, thirteen additional shrines of different sects are also found in the temple complex. Really, the site of the Hara-Ganeshvara temple of Raisa is a coordinating place of various sects of Hinduism as evidenced from the available of additional shrines of the modern period. Most of the additional shrines of the Hara-Ganeshvara temple complex of Raisa are erected in the last quarter of the twentieth century and some in the first decade of the 21st century. The Hara-Ganeshvara temple complex is designed like the temple complex of the goddess Mangala temple of Kakatpur of the Puri district in the coastal belt of Odisha. A few old eroded unidentified images are also found to be preserved for the purpose of worship in the Hara-Ganeshvara temple complex. The architectural pattern of the Hara-Ganeshvara temple suggests that it was possibly built in the 18th century. The site of the Hara-Ganeshvara temple is aptly considered an important Shaiva shrine of the coastal-belt of Odisha. A peculiar feature is noticed from the Grameshvara temple of Ghodatikili. The three sides central niches of the bada of the Grameshvara temple are accommodated with the parshvadevatas of Ganesha, Vishnu (a diminutive image) and Parvati. The image of Lord Vishnu is possibly collected

ISSN: 2005-4238 IJAST Copyright ⓒ 2020 SERSC 11475 International Journal of Advanced Science and Technology Vol. 29, No. 3, (2020), pp. 11466 - 11477 ` from nearby ruined Vaishnavite temple, which is not existed till today. It has been haphazardly inserted as side deity of the temple. The above two Shaiva temples epitomize the Kalinga style temple architecture of Odisha. The extant sculptures of the above two Shaiva temples were executed by the Kalingan School of artists of Odisha in Eastern India. On the whole, the artistic designs and architectural patterns of the above two Shaiva temples of the costal belt of Odisha possess the features of the Kalinga style temple art and architecture of the modern period. Acknowledgement We are grateful to Mr. Brahmananda Biswal, Dr. S. K. Mitra, Prof. K.S. Behera (late), Prof. C.R. Mishra (late), Prof. P.K. Nayak, 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 our profound reverence to Prof. Achyuta Samanta, the Hon’ble Founder of KISS, Deemed to be University, Bhubaneswar who encouraged us for the writing of this article.

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