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Introduction :

Orissa is a Land oftemples and it is also believedto be the Epicentre ofpanchapasana of Hinduism. Allthrough the ages Orissa hasretained a cultural identity muchmore prominent than hergeographical situations andpolitical establishment. Thepolitical stability by periodicorder and economic vitalitythrough a larger part of historywere responsible for the growthof culture. The enormouswealth of the country led to thedevelopment of art andarchitecture. The importancegiven to image worship in Indiaand belief in personal God led

to the erection of temples. TheTemple is an abode of HinduGods and Goddesses.Etymologically, the wordtemple is derived from the Latinword Templum, which meansan open or consecrated spaceor a building inaugurated by anaugur. It is generally conceivedthat a building used for theworship of Hindu Gods andGoddesses. In its primitivesense, this word correspondsto a place marked off as sacredto a God, in which the house ofGod may be erected. In itsusage, it is rather employed ina restricted sense to denotevarious religious affiliationsexcept Christianity and Islam1.

According to theBrahminical concept the templeis not merely a place ofdevotion, but also an object ofdevotion like an image and theinvisible spirit. Hence thetemple is visualized as thehuman body, with architecturalconnotations2. It is true thattemple in some form must haveoriginated as soon as the imageworship came into vogue.When God was universallyvisualized in human form, suchan anthropomorphic formrequired a habitation or ashelter and this probablyresulted in a structural shrine.3The Indian Silpasastrarecognizes three main types oftemples known as the Nagara,

RamesvaraGroup of

Temples atBoudh

Ramesh Meher

the Dravida and the Vesara4.All the available texts areagreed on the point that theNagara style was prevalent inthe region between theHimalayas and the Vindhyas.The Dravida country is wellknown and the texts rightlyconfine the Dravida style tothat part of the country lyingbetween the river Krisna andthe cape of Kanyakumari. TheNagara and Dravida style canthus be explained withreference to Northern Indiaand the Dravida countryrespect ively, and thecharacteristic form and featureof each easily determined. Theterm Vesara, however, is notfree from vagueness. Some ofthe texts ascribe the Vesarastyle to the country between theVindhyas and the river Krishna.This separate style of templearchitecture may be recognizeda style known to thearchaeologists as theChalukyan style . The

Vesara or Chalukyan style,however, is a hybrid one,borrowing elements and featureboth from the Nagara and theDravida. The Nagara styledeveloped in North India andthe Dravida style in SouthIndia. But the indigenousscholars have classified theentire temple architecture ofIndia into four types such as theNagara, the Dravida, the

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Vesara and the Kalinga. Someeminent scholars like R.D.Banerjee, R.P. Das and K.C.Panigrahi have accepted thetemples of Orissa as a subclassin the category of Indo- AryanNagara style temples ofCentral and North India5. In theDravida style the sikhara(spire) of the temple is markedby a succession of graduallyreceding storeys. The Nagarastyle of temple architecture ischaracterized by curvilinearsikharas. The Kalinga styletemples architecture of Orissaappears to have been aproduct of the Nagara styletemple architecture of NorthIndia. But it has also somedistinctive characteristics of itsown. This Kalinga stylearchitecture shows that even inthe pre-Muslim period thepredominant temple style ofOrissa came to be recognizedas distinct one.

The Kalinga country, inits stages of art and culturalgrowth assiduously preservedto transcribe its own artisticenvironment, which we findreflected in the entire gamut ofits temple creation, which in thesequel, have become thecynosure of attracts andexamination of the world ofscholars, artists, artisans andthe intellectual elite.6 Thetreatment of the temple art of

Kalinga is in order to revivifyits manifold graces of the past,its changing affiliation inreligious cults and trends, itsunderlying fidelity to a co-ordinated life style, depictingdance, music, devotion,sensualism, esoterics, and allthat human kind envisions in itspersistent quest after themeaning of life.

With the growth anddevelopment of Brahminicalreligious in Orissa, the structuralshrines grew throughout theland. Though differing indimensions and details, theyposses s common features andthus we may agree withfergussen that Orissan templesform one of the most compactand homogeneous architecturalgroups in India.7. Orissa has arich and unique heritage of arttradition beginning from thesophisticated ornate templearchitecture and sculpture tofolk art in different forms. Thestudy of architectural traditionin Orissa is fascinating subjectin view of the fact that themonuments associated with ithave survived to a greater extentthrough the ravages of time.The temples of Orissa survivednear about one-thousand yearsthrough the vicissitudes of timeaffording a varied andinteresting study to the studentsof History and Architecture inparticular.

A survey of the extanttemples of Orissa reveals thatthere was brisk architecturalactivity from about the 6th, 7th

centuries AD to the 11 th

Century AD, the Orissa templestyle became complete andestablished its distinct feature,which were to shape the patternfor later temple buildingactivities. The style reached itsclimax about the middle of thethirteenth Century AD. It is alsodifficult to trace its originwhether the temples that wereerected in Orissa followed anindependent pattern from thevery beginning or were relatedto the Gupta type of temples.Though we cannot be certainabout the origin of Orissantemple architecture, in courseof its evolution, it developedcertain individual features of itsown. Because of thesedistinctive features, Orissantemples form a class bythemselves and the manymanifestations of this school oftemple architecture in Orissacan conveniently be labelled asKalinga style after the territorywhere the temples are found.An inscription on the capital ofa pillar in the mukha mandapaof the Amritesvara temple atHolal (Bellary district ofKarnâtaka state) mentions theKalinga type (along with theNagara, Dravida and Vesara)as one of the four categories of

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temples in India8. Most of thescholars have accepted thetemples of Orissa as a sub-class in the category of Indo-Aryan Nagara style of temples.According to Manasâra theNorthern or Indo-Aryan styleof architecture covers thewhole area occupied by theAryans usually designated asHindustâna , the North of Tapi

and Mahanadi rivers.9. R.C.Majumdar has also referredthat the region from the Orissancoast on the east to Kashmiron the west, the whole ofNorth India was studded withtemples of Indo Aryan style.10

Most of the Orissan templewere built from the 7th CenturyAD to the 16th Century ADwhen Orissa was successivelyruled by five principal dynasties.They are Sailodbhavas ofKongoda mondala,Bhaumakara of Tosali/ Utkala,Somavamsis and Gajapatis.Thus Orissan temples, one ofthe most distinct variations ofthe Nagara style of templeconstruction is particularlyrewarding in that there exists acontinuous series ofmonuments spanning nearly athousand years of architecturalactivity. The Orissan provincialtemple style is distinctive andenticing to the students of IndianHistory and Temple Art inparticular.

There are severalterms used for the temple inOrissa. Among the popularwords used are Devayatana,Mandira, Prasada, Devalaya.Devakula etc.11 On the basis ofVastusastra, it is found thatPrasada is the most commonword used to indicate a templein North Indian context. But inOrissa, the nomenclatureMandira, which is widelyprevalent now a day, wasaltogether absent during theancient period.12 The builder oftemples in Orissa, however,had several canonical texts toguide them in the planning andexecution of a temple. Some ofthese texts, which have cometo limelight are Bhubana-pradipa, Bhubanapravesa,Silpapothi, Silpasastra,Upanisada, Silpa Ratnakosa,Padma Kesara, Deula MapaguNagara etc. indicating thestandard achieved by theancestors of builders in the fieldof temple architecture ofOrissa.13.

The practice of buildinghouses for Gods andGoddesses is very old inOrissa. According toHatigumpha inscription,Mahameghavahana Kharavelarepaired Savadevayatanas i.e.all devayantanas or houses ofGod. This postulates theexistence of several

Brahminical shrines long beforeKharavela s accession to thethrone in the 1st Century B.C14.Those shrines decayed and thusrequired renovation, which waspromptly attended to byKharavela, a ruler of veryliberal outlook. In very earlyperiod, such a shrine mighthave been made of wood,thatch and bamboo, but in laterphase it soon became asanctum of stone. It is mostunfortunate that all the earliertemples are perished by nature.Being the products of thetentat ive efforts of thecraftsmen, those temples didnot possess the inherentstrength to resist the fury ofnature. This experience musthave led the craftsmen to inventthe technique of impartingstability to the temples under allcircumstances in later period.

According to BhubanaPradipa, a treatise on templearchitecture, the temples ofOrissa have been classified intothree orders viz; Rekha, Pidhaand Khakhara.15 The templesthus evolved in Orissa consistsof the sanctum and the porchor frontal hall, the two formingcomponent parts of onearchitectural scheme. TheSanctum (called Vimana) canbe divided into three types vizRekha, Pidha and Khakharaorders. Similarly the frontal hall

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or Mukhasala is either a flatroofed rectangular hall with theroof arranged in Pidhas i.e.tiers. So the later is calledPidha deulas. From the artisticpoint of view, the district ofBoudh is one of the importantCentres of the Kalinga schoolof Art in the central part ofOrissa. The extant temple of thisregion reveals the goodspecimen of the Rekha andPidha types of temple. TheKhakhara order temple is notfound in that place.

Boudh is one of thecentrally located districts ofOrissa. Its boundaries in thenorth extend up to Sonepur andAngul districts in the south toPhulbani district, in the west toBalangir and Sonepur districtsand in the east to Nayagarhdistrict.16 The strategic locationof Boudh led her to play ansignificant role in the evolutionof Orissa and her culture. Beinglocated on the bank ofMahanadi, Boudh offered asuitable land to various politicalpowers to display theirefficiency in the field of politicsand cultural activities. Thereason was that, MahanadiRiver occupies the premierposition among the rivers ofOrissa. It provides the richestdeltaic area with maximumdensity of population. It servedas the central line ofcommunication and was used

for trade and other socio-economic movement, whichadded a greater advantage tothe state located on its bank. Itwas quite natural that theimperialistic policy of theSomavamsis andBhaumakaras who hadestablished their kingdom at thebank of the upper course andlower course of Mahanadirespectively tried to capture thisfertile land located on themiddle course of the river, inorder to strengthen their powerand position. As a result themajor portion of the politicaland the cultural history ofBoudh was regulated by twomost powerful dynasties ofOrissa, i.e. the Somavamsisand the Bhaumakaras atdifferent times. On the otherhand, a close study of theepigraphs found from Boudhand its suburb reveals thatultimately the Somavamsisoccupied this sub- region ofOrissa.

There are three starshaped temples standing in atriangular construction withinthe complex of modernRamesvar temple at Boudhtown. All of these temples areconstructed with indigenoustradit ions. They areBhubanesvara, Kapileswaraand Sidhesvara17. These are thewonderful temples built of redsand stone, profusely carvedand star shaped in plan. Thegeneral form of these templesis like three identical templeseach standing on a raisedplatform (Pista). These templesbear the name of Bhuvanesvara,Swapnesvara, and PaschimaSomanatha18. Each of them hada cell and an attached smallportico. The triangular placingof these temples within thecourtyard is quite unusual. Theydefinitely do not represent threeof the four corner shrines of aone-time panchayâtan templein which the main shrine hasbeen obliterated. However the

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star like plan results as apilaster, decorated with kanyâscroll and kirtimukha withgarlands. The triple temples arearranged on three corners of arectangle, the first two facingeast and the other to west. Twotemples are standing at theSouthern and Northern ends ofthe base line of the imaginarytriangle, known respectively asBhubaneswara andSwapnesvara facing east. Thetemple at the apex of the triangleis Kapilesvara, which faceswest. The ruins of a fourthtemple discovered near themsuggest that they were possiblysubsidiary shrines thoughnothing of a central shrinesurvives except for severalimages which are too large forthe extant temples19. On theother hand except thedifference in direction, thesethree temples are otherwiseidentical in respect of their plan,elevation and embellishment.Each and every one of them isdedicated to Lord Siva and ineach shrine a Linga is installed.The temples have an eightpointed stellate plan formed bytwo intersect ing squaremeasuring 11 feet each.20 Theshrines have a small projectingportico and the silhouette oftheir gandi curves sharply nearthe top in contrast to thegradual curvature typical onearlier Orissan temples.

Though small in scale thetemples are richly decorated.

Architectural features of theTemples

The Group ofRamesvara temples consists ofone structure i.e. Vimana andother part of temple are notobtainable. The Vimana oftheses temples are Rekha Deulaand divided into four parts suchas Pista, Bada, Gandi,Mastaka.

Pista

Pista is prepared ofred sandstone; all of the threetemples are sited on a pista of50 inch high, being approach bya flight of steps. Very little ofthe decoration of the pistasurvives as the facing stoneshave mostly been broken off.However enough remainssuggest that it was richornamented, as images of tworiders leaping on the oppositedirection and a kirtimukhaplaced between them can beobserved on various faces ofthe pista though highlyabraded. It assumes the starground plant of the temples.The round plan is prepared onthe principle of rotating asquare round the same exist orby two intersecting squares. Asa consequence the wall on eachside excepting the front of the

shrine has in its middle atriangular projection. The wallbecomes divided into fourfacets of equal length. Thefacets have been relieved byoffsets at regular intervals. Infront of the temple, the one-dimensional projection of theporch with an octagonal pillarat either side substitutes for thetriangular projection. D.R. Dasobserves that the pista iscomposed of a number ofhorizontally aligned mouldings.Though extremely damagedkhura, kumbha, kani andVasanta can be recognizedamong them21.

Bada

The bada is tri-angatypes such as pabhaga (thelower), jangha (middle), andbaranda (upper). 22

Pabhaga

The pabhaga consistsof five moulding and measures25 inches high. The mouldingfrom pedestal up, consists of akhura, kumbha, patta, Kaniand vasant, A champaka leafhanging from the kumbha linksup with a chaitya or kiritadensing as the khura as atGandharâdi. The top threemouldings are linked togetherby vertical bars decorated withdiminutive standing figures,separated by the thin band

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scroll-work forming the flatedge of the Kani. So except forthe Kani, which has not yetunspecified its pointed shape,the pabhaga thus takes forgranted the fully developedplan which will becomestandard on virtually all, laterOrissan temples. A ridge or anoverflowing foliage is added onthe kumbha here in order toproduce the consequence of agate with pallava. However,the leaves in the presentinstance are reduced to a thinleafy band. Kani is not a knife-edge moulding but similar totwo khuras clasped face toface the patta in custody withits true nature is square. TheVasanta is a moulding of theinverted khura form but incontrast with the lower khura,it is rather narrow.

Jangha:

Jangha is 50 inches inheight and thus confirms to thestandard Orissan plan wherebyit is twice the height of thepabhaga. Each point in the starshaped plan is 32 inches wideand consists of two multifaceted Khakhara mundis anda pilaster. The Khakharamundis (miniature shrines) looklike a real temple in necessaryinformation. All of them arecomplete with Pabhaga,jangha, gandi and mastaka.The pabhaga corresponds

with the same section of theoriginal deula. The jangha ofthese miniature shrinesaccommodates a recessedniche within a rectangular framecurrently empty, the nicheseems to have one contained adivine figure. Thus the niche ofthe mundis rests directly on topof the pabhaga and without atalagarbhikâ. But the niche hasa small urdhva garbhika at thetop. The vimanikâ crowing theniche consists of multiplehorizontal mouldings leading thegandi of the miniature shrine tobe divided in to five bhumibarandikas and crowned by aKhakhara mundi. Like in atypical Khakhara shrine, itsmastaka has a kalasabetween two lions. The lions inthe present instance are out ofcontrol and mounted by riders.The pilasters forming the tips ofthe star shaped design seem tobe influenced more by CentralIndian traditions though in overall design it keeps its Orissantraditions, based essentially onfree standing pillars with dwarfscarved on the capital. Thepilaster has a base, a shaft anda capital. The base is a tala-bandhana or lower stringcourse consisting of multiplemouldings, which continues tillthe top of the niche on theneighbouring mundis on whicha titled S-like pattern is carved.D.R. Das observed the base of

the purnaghâta style23. Abovethis is a standing female figurecarved in high relief, the firstexample on an Orissan temple,where by the major figure on apaga projects out from thesurface rather than beingcovered within a niche. Thisperformance may have difficultto sink niches into pilastersmeeting at such sharp angles.These figures actually appearon blocks, which projectsharply out from the pilaster ina rather awkward manner,almost like an addition, anaspect, which suggest theexperimental natural history ofthe decorative programme. Theremainder of the pilaster, abovethe figure carved in high reliefis decorated with scrollworkand a kirtimukha at the topdripping festoons of pearls, amotif also appearing atGandharâdi. The capitalcrowning the shaft is decoratedwith an atlantid dwarf housedin a shallow niche.

The major figures onthe walls of the bada, those inniche (now all missing) and thefigure carved in high relief onthe pilasters are thus suggestedin the overall decorativeprogramme rather thanappearing on the same groundline, an arrangement presagingthe development of a two-storied jangha.24

Unfortunately some of the

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projecting block with the figuresin high relief have crudelyknocked off from the pilastersand carried away. There areseveral detached images ofdeities, including one of Brahmaand one of a four armedNatarâja in the bhujangatransits pose above Pismire, arare example of this particulardance mode in Orissan art.There are also images ofGanesha, châmundâ andpossible Vishnu.

Baranda:

The baranda consistsof two projecting rollmouldings and a recess organdi above relieved withfigures on panels and jalidecoration.

Gandi Decoration

The silhouette of thegandi bends inward sharply atthe top near the beki toproduce an overall ellipticalprofile for the building. Thedecoration continues thevertical alignment of the badawith three pagas on each of thepoints in the star shaped plan25.The star plan of the templeresults in the absence of anyrahas. The facets between aretreated here as anarthas. Thecorner pagas are divided intofive bhumis bybhumi-amlas intypical fashion with eachbhumi

subdivided into four barandis.The barandis are decoratedprimarily with chaitya or floralmotif as an earlier Orissantemple. The anartha paga(middle paga) consists ofsuperimposed mouldingscontinuing up to the Visama.The decoration, as atGandharâdi, consists of triplechaitya medallions withinterlacing ribbons connectingeach chaitya with one above.In contrast to Gandharâdi,however, where, much of thedecoration is missing or left incomplete, so that only theframework survives. Thedecoration on the Boudhtemples is extremely ornate andproduce an almost lace likeincrustation. The jewel likedelicacy of this repeating motif,with it s intricate ribbonconstruction signify the verticalor ascending aspect of theGandi and almost obliteratesthe horizontal division of thebhumi barandis. The trendfrom here on is to replace theearlier decorative motifs basedessentially on floral decorativemotifs and human figures withmore elaborate ornamentationswhich stress the verticality ofthe structure, a change inkeeping with the increasingdesire to erect higher and higherstructure. The inside paga isdivided into uneven barandissimulating the corner or Kanika

but with a pheni decorated withpetals replacing the bhumiamla, a design more consistentwith traditions in Chattisgarh, asat Kharod and Palari, wherethe bhumi amla is fashioned asa pheni with petals rather thana ribbed disc.

Mastaka:

The mastaka of theseVimana consists of an amlaka,a khapuri, a kalasa and aayudha. The last twomembers, however, arepreserved only in the mastakasection of the Kapilesvara. Itremains unexplained why in aSiva Temple the ayudha is aChakra.

Portico

The temples, asindicated are built on a highpista consisting of five coursesleading up to the sanctumdoorway inside the projectingportico. The roof of the porticois held up by two octagonalpillars in front and a projectingpilaster in each side. Thepilasters are decorated with afigure carved in high relief abovethe pabhaga and scroll workas of the type found on thejangha of the bada of the duel.The octagonal pillars have alarge kumbha with an over-flowing foliage or a ghâtapallava near their base while

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the shaft is decorated withscrollwork. Near the top is afrieze of kirtimukha withfestoons of pearls dripping fromtheir mouths to form loopinggarlands. All the base of theporch is the door leading to thegarbhagriha. The doorframehas three bands of scrollwork,which continues across the lintalabove. Two Saivite dvârapâlasare housed in arched niches atthe base of the jambs. They arefour armed and their hair is piledup in a tall jatamukuta on topof their head, but most of theirdetails have been weatheredaway. However sarpakundalais also identifiable in the rightear of one of them. They standin a tribhanga pose and are notprovided with attendants.Gajalaxmi shows on the dvâraLalâtâ bimba panel over thedoorway. The Goddess beingbathed by two elephants isseated in lalitasana with theright leg-hanging pendent overher pedestal. She holds a lotusin the left hand and displaysabhayamudrâ in the righthand. This pose becomesstandardized in the latertemples and replaces the morerigid padmâsana pose popularon earlier Orissan temples.

A lintel keeping its twoends on the two walls betweenthe pillars of the porch and thedoor case existing as a browof the latter bears a panel of

nine grahas. Among the ninegrahas Rahu is represented byhead only in contrast to theusual motif of a half bust figure,Ketu is represented seated withlegs crossed or in Bhumisparasamudra in the mannerof the other panelrepresentations rather than asa figure with serpent coils as inlater temples. Ketu lifts bothhands up. The objects in thetwo raised hands of the Ketuare indistinct. Sani holds asword in his right hand while theattribute in his left hand isindistinct. Soma, Mangala,Buddha, Brihaspati and Sukradisplay in common a pot in theupraised right hand and rosaryin the left.

The veranda isprevailing by the sukanâsa,appears at the base of thetriangular projection in front ofthe gandi. The sukanâsa is athree sided rectangular section.The face of the sukanâsa istrinatha of which the raha isconceived as a miniature shrineof the Khakhara order. Thekanikas are also created likeshrines but withoutsuperstructures. Probablyimage of divinities were once setin these shrines, which areactually niches. These threeshrines are made to support abeautifully executed largedecorative motif with a highlystylized chaitya arch as the

Central design (bho). Themedallion of the bho enclosesthe superstructure of thekhâkarâ shrine on the raha. Itseems that, at the peak of thebho was kirtimukha. Traces ofstring and bell on a chainsuspended its mouth may stillbe recognized at this place. Thesidewalls of the sukanâsa werefashioned like demi-bhosmostly damaged these demi-bhos used to house figuresculptures, the extant examplesare of female figures.Jatamukata crown is one ofthem. If they were of divinenature, the indications aremissing.

The garbhagriha ofthe temple is approached fromthe door across a stepped silland through a vestibule built into the thickness of the wall. Thevestibule is divided into twostorages. The lower storecorresponds to the passagethrough which thegarbhagriha communicatedwith the veranda. The upperstore is a triangular spaceproduced by the corbelled archspanning the two sides of thevestibule. This story isseparated from the lower oneby a ceiling, which in fact is theextension of the door lintel. Itconstitutes the womb of thesukanâsa and serves effectivelyto reduce weight on the door

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lintel. Three stone slabs placedside by side have constituted it.

The Siva Lingainstalled in the temple is stuckinto an arghya of heither tounknown design. In keepingwith plan of the temple, it is alsomade stellate on the principleof intersecting two squares26 atangles of 4527, for the drainageof ablution water.

Decorative motifs

Theses temples arecovered with minute andintricate carving. There are nosurviving cult-images in theniches of the temples,suggest ing that as atGandharâdi, the figures musthave been carved separatelyand then placed in the niches incontrast to the Bhaumatechnique whereby the figureswere part of the wall itself. Themost dominant figures carvedin high relief on the projectingpanelled of the pilasters at thepoints. Though, badly mutilatedmost of them are depicted in agraceful tri-bhanga pose withone hip pushed out. They werea strand of jewels, which hugsthe lower contour of theirglobular breasts rather thancrossing at the waist as in thefigures on the Vaitâl Deul. Theirgirdle generally consists of threechains and a tassel hangsbetween their legs. The hair is

normally arranged in a largechignon on one side of the headthough in one case on femalefigure standing in a hieratic poseon the lateral side of the vajramastaka panel. Over theportico, the coiffure is piled ina tall tiara arrangement as onthe dvârapalas. Fequently, ason the Muketesvara temple, ameandering vine grows behindthe females and forms a canopywith large flowers above herhead.

An additional popularfigure motif is thebhararaksaka decorating thecapitals of the corner pilasters.A motif peculiar to the templesof the early Somavamsi period,characteristic of this atlantidfigure is the large potbelly andthe manner in which the limbsassume a similar shape. Oftenthe fingers are very stiff andresemble foliage emerging frompots. In some cases the eroticnature of the bhararaksaka isstressed, as when holding hisenlarged Lingam28. There arealso examples of erotic ritualsincluding purascarana, in thebaranda recess, which stressthe tantric nature of the temples.Other erotic motifs include aMaithuna with the femaleseated on the lap of a male anda srngarana scene with a malepointing his Lingam at a femalefigure29. Among the deities

within the recess is an image ofGanesa. Diminutive imagescarved on the sloping face ofthe barandies of the gandiinclude dancers and Lingapuja. There are also numerousfragments and detached imagesscattered within the compound,including Buddhist and Jainimages, which most likelybelonged to other temples. Themost interesting decorativemotif is the large kalasa withflanking jagratas, whichsurmounts the Khakharamoulding crowning the pagadesigns. Similar water jars;though minus the leaping lionsalso appear on 10th Centurytemples in eastern Orissa. Assuggested, the inspiration forthe motif most likely comesfrom Daksina Kosala though itdoes not appear there in thisexact manner.

Significance of the stellateplan

Frequently questionsare raised about the explanationof the stellate plan andtriangular placing of these threetemples. Not only that thegarbhagriha but thearghapatta of the Siva lingaswithin have this stellate design.K.C. Panigrahi furtheremphasizes that the star likeshape of the shrines and theSaktis of the Siva Lingas

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enshrined in them indicate thatboth the temples and the deitieswere made in the form ofMandalas or mystic figures withthe help of which the Tantrikaswanted to attain their Siddhis30.The Tantric nature of the shrinesis furthermore suggested bysmall images of erotic ritualsplaced in the baranda recessthough only a few examplessurvive31. R.D. Banerjee alsoexplains that the triangularplacing of the temples at Boudhis of Tantric significance32.Vidya Dehejia agrees with R.D.Benerjee for want of only otherexplanation.33. But R.DBanarjee does not explain whySiva temples should bearranged in such a way as tomake an imaginary yantra.Further K.C.Panigrahi has saidto associate the Boudh templewith the Tantrikas is notbelievable. The Tantrikas donot make a Mandala or ayantra on the principle ofintersecting squares.

At Budhi Komna, asmall village in the Kalahandidistrict of Orissa, there is a bricktemple34 locally known as thePatalesvara which thedepartment of Orissa StateArchaeology has renovated byway of restoration, havingstellate ground plan, like thetemple at Boudh35. In theBolangir district, has also the

same ground plan like at Boudhand Budhi Komna. Accordingto the view of K.C. Panigrahiand R.D. Banerjee the stellateplan of the shrines and theSaktis of the Lingas and thetriangular placing of the templesare due to the Tantricsignificance, then why there isonly one stellate temple each atBudhi Komna and Kansil in theplace of three identical temples,out to be placed in a triangularformat ion. So it may bebelieved that the arrangementof the Boudh temples in atriangular formation may haveany implication other thanTantric. Further the Tantricnature of the shrines might havebeen indicated by the executionof erotic figures of biggerdimension and prominence, butwhy there are so small eroticfigures at Boudh as observedby Donaldson. On the otherhand we cannot imagine theerotic figures as indicatives ofthe Tantric significance of thetemples. There are so manytemples at Bhubaneswar, Puriand other parts of Orissa, fullof bigger erotic figures, butcertainly devoid of any Tantricsignificance.

On the other hand, itmay be of a few significance thatall the known example oftemples built on a plan of twointersecting squares have been

discovered in Western Orissa.Formally this part of Orissa wasincluded within Kosala, whichalso comprised Durg, Raipur,Bilaspur and Raigarh districts ofM.P. A number of stellatetemples have been noticed inthat region of M.P36 with thepossible exception of one37.The plans of these temples donot reproduce exactly what hasbeen found in Orissa. In M.P.the central element on eachface of the temple is rectangularinstead of being triangular.These differences apart, theprinciples guiding the layout ofthe temples of Orissa and M.Pare fundamentally similar assuch they seem to constitute agroup by themselves andrepresent a Kosalan version ofthe Rekha temple sytle38. S.K.Saraswati refers to a list of tenkinds of circular templesenumerated by thesamaranjgana satradhara39.The plans of a few of the templetypes are said to have beenreached by rotating the squareksetra all around or in differentdirection. S.K.Saraswati findsin this description on obviousallusion to the stellate plan ofthe temples at Boudh and otherplaces. Krishna Deva who alsoconsiders the samaranganasutradhara description of sometemples of the Circular class asreferring to the stellate layout of

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the plan40 thinks that the way inwhich the text has treated andextolled these temples makes itclear that the circular templesformed the MetropolitanMalava type. He furtherbelieves that the original nucleusof the Amaresvara temple atOnkar Mandhata in the EastNimar District (M.P.) beingassignable to the second half ofthe 10th Century is the earliestof such temples41. In thistemple he recognizes thebeginning of the bhumija modeof the Nagara temple style. Itis evident that bothS.K.Saraswati and KrishnaDeva were unaware of theexistence of a plancharacterized by obliqueprojection between the rahasin a group of Kosalan templesof a date earlier than the stellatetemples at Boudh or Malwa42.Therefore it may be understoodthat this plan, which became adominant feature of thebhumija class of temples43

originated in Kosala and not inMalwa.

From the abovediscussion it may be that, thestar shape of these temples atBoudh is not to meet theritualistic need of Tantrikas butto confirm to a standardizedplan evolved in Kosala. It mayalso be due to a desire tointroduce a novelty that the

arghyas inside these templeswere made Star like.

Comparative Study andDate of these temples

Every monuments oftemple architecture in Orissaand central India represents aregional demonstration of theNagara temple style and hascertain common features, beingderived from the same model.The entire temples of Orissahave curvilinear spires andsquare plans with projectedangles of sikhara type or ofRekha order and it ultimatelybecame the dominant form thetemple architecture in Orissa.Now, the earliest templerepresents the nature productsof that type. But the Orissantemple architecture by reasonof its own distinct individualitiesand long history of evolutionsoon came to acquire for itselfa separate nomenclature i.e. theKalinga style. Prof. R.D.Banerjee has drawn ourattention to an inscriptions ofthe pre-Muslim period in thetemple of Amriteswara at Holalin the Ballary district, in whichmention has been completed offour classes of temple Nagara,Kalinga, Dravida andVesara.44 Prof. Banerjeeobservation has further beensupported by another scholar,Mr.D.P.Ghosh who hasexposed certain well-marked

peculiarities distinguishing theOrissan group of temples fromthe sikhara temples of NorthIndia, Central Provinces,Rajputnâ, and Gujrat. TheRamesvara group of temples atBoudh, which we havediscussed about theirarchitectural features, theirdecorative motifs as well as theiconography of these imagescertainly played a significantrole in the long evolution ofKalinga temples. Each of thesetemples have the commonfeatures of indigenous sub-styles of temple architecture ofCentral India and Orissa andpave the way for maturedKalinga style which is markedperfectly in the Lingaraj templeof Bhubaneswar.45

There is no paleographyor epigraphic sources availablefor the determination of thedates of these temples ofBoudh. However these templescan be co-related on the basisof their architectural features,their decorat ive motifs,sculptures and iconography oftheir image to one or other ofthe monuments of which thechronology is known asanalytical study of the dated anddatable temples and cumulativeresults. When applied to studythese undated temples ascognates of one or other of thedate and datable temples. Wemay not be able to find out the

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exact date of their constructionbut we can place them toparticular period as cognates ofthe particular temple of whichthe date is known. Such achronology, thoughapproximate is borne out by thelogic of the evolutionaryprocess experienced by thearchitectural movement,through different period ofOrissan history.

The stellate plans of thethree Siva temples of Boudhrepresent a pure Kosalanversion of the rekha templestyle46. Among such stellatetemple of South kosala, it hasbeen observed that temple atKharad and Pallari are theearliest one. Buddhi Komna,Kansil and Dhobini temples,are a step further to Kharad andPallari, whereas Boudh has themost modified, developed andlatest temples among them47. Itis more fully adapted to theOrissan architectural traditionand exhibits a furtherelaboration of the decorativeprogramme evolved atGandharâdi. On the other hand,a comparative style of itsfeatures with the dated templesof Eastern Orissa can clearlypoint out the time of itsconstruction. While the templesof Boudh, which has a stellateplan having seven Konarkas onthe body can not be easilycompared with the Kalinga

temples of Bhubaneswar inarchitectural elevation but itpossesses a super affinitytowards the decorative motifs,sculptural programme andiconographic peculiarities ofother Orissan temples.

The number ofpabhaga moulding used tochange in long evolution ofOrissan temples. Boudh is astep forward to Gandharâdi,having five horizontal mouldingsat pabhaga. A new mouldingis added here in between pattaand Vasanta i.e. Kani. As aresult of which there is nowkhura, kumbha, patta, kaniand vasanta or pabhaga atBoudh. But kani has not yet gotits point shape, rather the edgeis flat. A champaka leaf fromthe Kumbha links up with achaitya on the muhanti of itskhura as at Gandharadi. Thetop three moulding are linkedtogether by vertical barsdecorated with diminutivestanding figures separated bythis band of Scroll work. Thisarrangement of five mouldingsbecame prevalent atBhubaneswar from the templeof 10th Century A.D.48 Amongthose temples most popular areGauri and Mukteswar of 10th

century A.D. Brahmeswar andRajarani of 11th Century A.D.Lingaraj and other temples of12th and 13th Century A.D.

Boudh provides a closesimilarity though not absolutewith the pabhaga mouldingsof mukteswar. On the Gouritemple the Kanika has fourmouldings, but theanarthahasfive mouldings where atalagarbhika is inserted unlikeBoudh. There are no verticalbars or champaka leaf and itis less ornamentally decoratedthan Boudh. While thisarrangement of four mouldingson the Kanika and five on thetwin piers of the anartha isrepeated on the Muktesvarabut like Boudh there is notalagarbhika inserted beneaththe anartha niche, merely ashallow indentation. Themoulding on the anartha isornamentally decorated thanon Gauri with the champakaleaf added to the Kumbha asis possessed by Boudh.Though the temples of 11th and12th Century possesse the fivemoulding ofpabhaga uniformlyon kanika and anartha, talagarbhika are eliminated fromthe anartha, but by this timekanika has already achieved itsperfect pointed shape. There isno vertical bar linking theseupper three moulding as atBoudh but there is a very smallfigure motif. Generally, eroticcarved at the base of the comingPidha in the centre of pattaand Vasanta. The kirita designon the khura is now

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transformed into a smallvajramundi with the niche,housing various figures, motifsand the crowningvajramastaka linked to thechampaka leaf above.Therefore the decorative planfor the pabhaga achieves itsnature form on the templesdated from 11th Century A.D.So, considering pabhaga is themost valuable source to date anundated temple. Boudh shouldbe placed in 10th Century ascognate member ofMukteswar and its group. Byreason of the unique stellateplan of Boudh, it cannot becompared with other Orissantemple in respect of pagadivision on the bada. However,the vertical alignment of thebada can be discussed withthree pagas on each side of thepoints in the star shaped plan.We may discuss the otherdecorative and sculptural motifsas possessed by jangha atBoudh and can compare themwith other dated Orissantemples.

Each point in the starfashioned plain is 32 incheswide and consists of twomultifaceted elongatedkhakhara mundi and apilaster, with smallurdhwagarbhikas above theniches, as at Ganeswarpur,Gouri temple, Mukteswara andother 9th and 10th century

temples, where the elongatedkhakhara mundis were usedas the paga division arecompletely eliminated from thebada of the temple of 11th, 12th

centuries. The bada of thosepost 10th centuries templesbecame panchanga with twostoried Jangha with abandhana within lower andupper jangha. As we mark,nothing of the criteria of thebada of post 10th centurytemple is seen on these Sivatemples of Boudh, it seemsirrelevant to place it amongthose later temples of Rajarani,Lingaraj, Brahmeswar etc.

The Vimanikacrowning the niches of theelongated Khakharamundiconsists of multiple horizontalmouldings leading to the gandiof the miniature shrine to bedivided in to fivebhumibarandikas andcrowned by a Khakharamundi. A similar fashion isdeveloped on the anuratha ofthe bada at Mukteswar andGaneswarapur. Due to theincreased height of Mukteswar,there are in its vimanikã, thesmaller khakhara shrinecrowned by a kalasa flankedby a lion on either bhumibarandikas side similar to thebada of Gauri temple of 10th

Century A.D. where theanartha is crowned by kalasa

and jagrata below thebaranda mouldings. Thepilaster, forming the tip of thestar shaped design, where twoslaps meet to form an angularprojection has a base, a shiftand a capital. The base isdecorated with lower stringcourse, consisting of multiplemouldings on the shift a femalefigure is carved in high relief.The remainder of the pilaster,above the figure carved in reliefis decorated with scroll workand a kirtimukha at the topdripping festoon of pearls. Thecapital crowning the shaft isdecorated with an attentivedwarf housed in a shallowniche. The kanika pilaster ofthe Panchayatana temple atGaneswar (dedicated to Visnu)is decorated in the exactmanner at Boudh, but thestanding female figure in theshaft is encashed within a niche.These attaint dwarfs are alsosoon on the upper raha nicheat Mukteswara. Above all thedecoration of the bada atBoudh combined the charactersthat of Mukteswar, Gauri andGaneswarpur temples dated to10th Century A.D. Vidya Dehjiarightly placed them in onegroup belonging to theculmination phase of Orissantemples. The notable feature ofthese temple is that with thetransformation of the pagafrom a vajramundii to

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Khakhara mundi is thuscomplete now the jagrataswith kalasa in between crownsthe khãkharã mundi in theplace of a vajramastaka.

The bada at Boudhwas full of images of Gods andGoddesses. Unfortunatelysome of the projecting blockswith the figures have knockedof from the pilaster and carriedaway. There are severaldetached images mostimportant to other easternOrissan temples possessNatarâja and Ganesa. Theimages of Natarãja of Siva asthe Lord of dancers is afrequently occurring motif inthe temple of Bhubaneswar.Most important among themare Vaital, Sisiresvar,Muktesvara, Rajarani andPâpanâsini. Numerous imagesof Ganesa are also seen inParasurâmeswar, Vaital,Sisireswar, Mohini andBhâratesvar etc belonging todifferent periods of history ofOrissan temples.

The gandi at Boudh iseffectively demarcated fromthe bada by the baranda andthe silhouette though containingonly five bhumis bends insharply near the top rather thancurving gradually as an earlytemple. The decorationcontinues the vertical alignmentof the bada with three pagas

on each side of the points in thestar shaped plan. The Kanikaor tip of each point has fourbarandis in each the 5 bhumi.The barandis are decorated primarily with chaitya orfloral motifs as in earliertemples. Kosalesvara temple atBaidyanath, Ganeswarpur andMukteswara have the similarpattern ofkanika division at thegandi. With the coming of the11th Century the kanika pagabecame divided into fivebhumis having fivebhumibarandikas in the placeof four as in earlier temples. Themiddle paga consists ofsuperimposed mouldingcontinuing up the height of thegandi decorated with this scrollmotif exquisitely carved so asto produce a lace likeincrustation, which accentuatesthe vertical thurft of the pagaby obliterating the horizontaldivision of the barandis. Theanartha paga ofGaneswarpur and Mukteswaris decorated in a similar fashionas on the above side middlepaga at Boudh.So far as theinside paga at Boudh isconcerned, which is dividedinto uneven barandis by apheni with padma pista in theplace of ribbed amla. It is moreinfluenced by Chhatisgarh as atKhanod and Pallani than theOrissan tradition. On the frontside, just above the porch is a

sukanâsa, which supports abeautifully executed large bho.The construct ion of thesukanâsa is dictated here bythe necessity of the plan, wherethe gap between the gandi ofthe shrine and the porch is tobe filled. However, as inBoudh, Mukteswar also has thebho motifs whereas there issingle bho motif rests in thefront of the shine at Boudh.There are four bho motifs oneach of the four side of thegandi at Mukteswar. Due to theangler projection at the middleof other three sides at Boudh,it is also impossible to have bhomotifs on every side as atMukteswar.

The doorframe insidethe porch has three hands ofscrollwork, which continuesacross the lintel above.Donaldson observed that, thenumber of jambs on either sideof the door is generallystandardized at three initialexperimental phase and fromthe 10th Century the scrollmotifs are likewisestandardized49. This the doorframe at Boudh is based purelyon the tradition of Orissantemple of 10th Century A.D.Gajalaxmi rests on thedvâralalâta bimba panel andrectangular navagraha slababove it. As group as atKotitirthesvara temple whichbelongs to Muktesvara group

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and at Mukteswara itself.Laxmi is being bathed by twoelephants seated is lalitâsana.Which is typical in post-9thCentury temples atBhubaneswar whereas laxmi isfound seated in rigidPadmâsana in earlier temples.

On the earliest templesthere are only eight grahasrepresented Ketu being absentand it is not until the 10th

Century that the number isincreased to nine possibly dueto the popularity of the Astottarisystem of astro logicalcalculation in the early periodin which Ketu is not included.It is quite likely that Vimsottarisystem of calculationprescribed by Varahamihira50

was introduced into Orissa bySomavamsis. This systemincorporates Ketu among theGrahas. The earliest Astagrahaslab was attached to theSouthern raha niche of the

Laksmanesvara temple, nowhoused in Orissa StateMuseum; whereas the earliestnavagraha slab appeared onthe temples of Budhikomna andthen at Boudh. AtBudhikomna, except Rahu alleight-seated graha aredepicted ardhaparyanka,where as they are inBhumisparasa mudra atBoudh as at Muktesvara andKotitirthesvar of Bhubaneswarbelonging to 10th Century A.D.Rahu is reduced to head onlyas at Muktesvara. Ketu is notrepresented as a serpentinefrom the waist down butappears in Bhumisparsamudra. It shows that thetemples of Boudh was a laterconstruction to Budhikomnaand belong to the age ofKott it irthesvara andMuktesvara. Muktesvara is anexact duplicate of Boudh so farthe trisakha door jam, Gaja

laxmi and Nava graha panelare concerned.

In general the doorframe at Boudh is relatively flat,the jambs being nearly flush withone another rather thanprogressively stepped as in thearchitectural traditions and thereare no large figures flanking thedoor on either side, except twoSaivite dvarapalas housed inarched niches at the base of thejambs. Originally in earliertemples these dvarapala usedto be housed in small niches butlater on it becames arched andeventually transformed first intovajramundii and then into aPidhamundi in 11th and 12th

centuries.

Above all Boudh andMuktesvara possess incommon the same subdivisionsat the base such as khura;kumbha, patta, kani andVasanta with a leaf design inthe kumbha linked up with achaitya arch above; the sameform of rounded corners andthe same kind of sunken panelmarking the transition betweenthe bada and sikhara. We alsofind in them the same form ofthe nine, not eight as in earliertemples, in which Râhu hasbeen represented by a head,but not be a half-buse figure,the same types of doorkeepers,Alasakanyâ, Kirtimukha,chaitya archs the dwarf with

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uplifted hands as if supportingthe Sikhara and the same formof pouncing lion-riders. Thedecorations consist of apeculiar type of interlacingscrolls at Sikhara. The pitcherscarved in alto relive in itsvimâna, a large chaitya archflanked by the two saivite imageholding a chain with a belt atthe end dropped into a lotusmedallion is to be found in thosetwo places. The miniatureimages of lakulisâ in variousmudrâs too occur at Boudhand Muktesvara.

Thus in the overallarchitectural and decorativeprogrammes of the shrine,porch and door frame, Boudh,though sharing various motifswith Kosalan temple style isuniquely Orissan and has a fairsimilarity with Muktesvar,Panchayatana, Vishnu templeof Gonesvarapura, Gauri andKottitirthesvara temples of 10th

Century. A. D. So, it deservesto be regarded as a cognatemember of Muktesvar groupand belongs to this epochalso51.

Conclusion

It is known from theabove discussion that thearchitectural feature of thetemple is important like othernotable temples of Orissa. Thetriple Siva temples of Boudh

possess striking similaritiesparticularly with Muktesvarand other temples ofBhubaneswar belonging to 10th

Century A.D., which wereconstructed under theSomavamsis patronage. Itbears the idea that as thesethree temples are to be foundon the original place ofSomavamsis, the follower ofSaivism. The early Somavamsisrulers might have constructed itin the same 10th Century A.D.as Muktesvar52. Though, itmight be of two or threedecades earlier than the latter.Peoples of this town and theneighbouring village worshipthese deit ies with greatdevotion. Festivals like MakaraSankranti, Pana Sankranti, andSivaratri etc are regularlyobserved in this temple complexwith much pomp andenthusiasm.

References:

1. T.V. Sairam, Indian templeforms and foundation, NewDelhi, 1982, pp 18-19.

2. Hayasirsa Pancaratra; quotedin Har ibhata Vilâsa;Agnipurana, chapter 61, vs-19-27.

3. Vidya Dehejia, Early stoneTemple of Orissa, New Delhi,1979, p.20.

4. Isana Sivagurudeva paddhatiand others.

5. R.D.Banerjee, History ofOrissa; vol-II, Calcutta, 1931,p.335.

6. K.V.S. Rajan, Early KalingaArt and Architecture, NewDelhi, 1984.

7. James Fergusson, History ofIndian and EasternArchitecture, London, 1875,p.414

8. The inscription of theAmritesvara temple at Holalaof Karnataka in Madrasepigraphica Report, 1914-15, P-90 also sees Stella kramisch.The Hindu Temples, Vol-I,Calcutta, 1946, pp.286-295.

9. S.K. Sarasvati, Temples ofOrissa, in OHR, Vol-I, N-4,Bhubaneswar, 1935, pp.233, -235.

10. R.C.Majumdar, Ancient India,New Delhi, 1952, p.436.

11. Alice Borner & SadaSiva,Ratha Sarma, Silpaprakas,Leiden, 1966, p.XXVI...

12. T.P. Bhattacharya, The canonsof India Art (A study onVasnavidya), Calcutta, 1986,p.227.

13. N.K.Bose, Canons of OrissaArchitecture, Calcutta, 1932,p.5.

14. Vide Hatigumpha inscription,line 17.

15. N.K. Bose, Op.cit., p.78.

16. S.C. Bhatt, The EncyclopadicDistrict Gazetters of IndiaEastern Zone, vol-9, NewDelhi, 1997, p.567.

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17. A., Cunningham (ed),Archaeological survey ofIndia Report, vol. Xiii, p.118.

18. P.K. Mishra, ComprehensiveHistory and Culture of Orissa,vol-1, p.655.

19. T.E. Donaldson, Hindu TempleArt of Orissa. Vol-I, Laiden,1985. p.224.

20. Ibid.

21. D.R. Das, stellate temple ofOrissa, Art and culture, offprint, 1983. p.4.

22. P.K. Mishra, comprehensiveHistory & culture of Orissavol- p-656.

23. D.R. Das, Op- cit p.5.

24. T.E. Donaldson. Op.cit. p.226.

25. T.E. Donalson op.cit., p-2007.

26. R.D. Banergee, History ofOrissa, vol- II, calcurta 1931pp.355-56.

27. D.R. Das Op. Cit, p.6.

28. T.E. Donaldson Op.cit., p.228.

29. Ibd.

30. K.C. Panigrahi, History ofOrissa & Cuttack, 1931 p.392.

31. T.E. Donaldson op. cit, P-224.

32. J.B.O.R.S Vol-XV 1929, P-67(R.D. Banerjee, Antiquities ofBoudh state).

33. Vidya Dehejia, op cit, p.149.

34. A.N. Tiwari, (ed), NewDimension of tourism inOrissa. Bhubaneswar 1976pp.41-55.

35. S.K. Saraswati, The Historyand culture of the Indianpeople, Vol-V, p.556.

36. J.G. Wiliams, (ed)Kalâdarsana, & New Delhi,1981, p.137.

37. The plain of a ruined templeat Arbhor (Raigarh dist),noticed by N.K. Bose, intiontemple Designs, & Calcutta,1981, p.170.

38. D.R.Das, op.cit., p.10.

39. S.Ritti and B.R.Gopal, (ed),studies in Indian History andCulture.

40. Pramod Chandra, (ed) Studiesin Indian templearchitecture, New Delhi, 1975,p.95.

41. Pramod Chandra, (ed), op.cit.,p.92.

42. J.G.Williams(ed), op.cit.,1981,p.137.

43. Pramod Chandra, (ed), op.cit.,p.95

44. R.D. Banerjee, History ofOrissa vol-II Calcutta, 1931,P.335.

45. Percy Brown, IndianArchitecture, Buddhist andHindu, Bombay, 1949, p.122.

46. D.R.Das, stellate temple ofOrissa, Art and culture, 1983,p.10.

47. T.E. Donaldson, op.cit., p.755.

48. T.E. Donaldson, op.cit., p-799.

49. T.E. Donaldson, op.cit., P-850.

50. O.H.R.J. vol-XI, (1962), pp.70-71.

51. K.C. Panigrahi. op.cit., p-159

52. K.C. Panigrahi, Archaeolgicalremains at Bhubaneswar,Calcutta, 1961, p-159

Ramesh Meher is the Mender,Rabindra Bhawan, Viswa Bharati,Shanti Niketan, P.O. Bolgarh, Dist.-Birbhum, West Bengal.