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2. Architectural Features of Lord Jagannatha Temple: The temple of Lord Jagannatha consists of four structures such as vimana (main deula), jagomohana or mukhasala (the porch), natamandapa (dancing hall) and bhogamandapa (Pl.No-51). All the structures of temple are built in sand stones and aligned in the same axis. As now the extreme length of these four structures in a line is 310 feet, with a width of 80 feet.14 The temple of Lord Jagannatha faces to east. Vimana The vimana of the Jagannatha temple is a pancaratha rekha deula and its height is about 214 feet 8 inches from the road level. 15 It is the tallest extant temple of Orissa at present(Pl.No-2). The structure of the vimana has fourfold vertical division namely pista or plinth, bada (wall), gandi or sikhara and mastaka (head). The vimana or main deula stands on an ornamental pista of 5 feet 2 inches high and plastered all over with cement. The major portion of it is buried in the ground. The visible portion shows three mouldings, which are richly carved. The vimana is pancaratha in plan and its ground plan is a square of 80 feet on each side. 16 The bada of the vimana is pancanga type i.e. having fivefold divisions such as pabhaga, tala jangha, bandhana; upper jangha and baranda. The pabhaga of the bada consists of five conventional mouldings of khura, kumbha, patta, kani and basanta. The mouldings, being continuous, add 85

to the strength and dignity of the entire scheme. The khura is shaped like a horse-hoof and decorated with vanalata designs and scroll works in its bottom part. The khuras have niches in the central facets capped by vajra mundis. In each paga, it has a kirita design and figures of royal personnel. The kumbha is designed like pitcher. The kani is plain but patta and basanta are richly carved. The sculptural friezes of the patta depict procession of various animals mostly war animals intervened by procession of foot soldiers with general seating on a palanquin and giving certain directions. The patta portion of pabhaga displays a sculptured panel containing episodes from the life of Lord Krsna. Some noteworthy scenes among these are Sakata bhnga, KaTiya dalana, lifting of Govardhan Mountain, fighting with Kesin, Kubalaya and Arista etc. The vertical bands are relieved with rich scroll works and two female figures one above the other. The lower jangha of bada is decorated with khakhara mundis (miniatures temples of khakhara order) in the kanika and anuratha pagas. The khakhara mundi niches of the kanika paga are housed with seated figures of asta-dikpalas (guardian deities) while the khakhara mundi niches of the anuratha paga are housed with seated acaryas (teachers) who are teaching their disciples. The intervening recesses between the pagas of tala jangha are filled with various types of vidalas i.e. lion on elephant, lion with elephant trunk rampant on warrior. The bandhana of the bada consists of three horizontal mouldings joined by vertical bands, which are relieved with standing figures of alasakanyas (maidens). The upper jangha is decorated with pidha mundis (miniature temples of pidha order), which contain various deities mostly Vaisnavite in character including the ten incarnations of Lord Visnu such as Matsya, Kurma, Varaha, Narasimha, Vamana, Parasurama, Rama, Balarama, Buddha and Kalki. Lord Krsna is playing on his flute and other manifestations of Lord Visnu are the theme of the other mundis. The consorts of the asta-dikpalas, which are generally seen in the piddha mundis of the 13th century temples, are not found in the pidha mundis of the upper jangha of Jagannatha temple. The intervening recesses between the pagas in upper jangha are relieved with figures of alasakanyas in different postures like holding a lotus, removing anklet, holding camara, fondling child etc. It is interesting to know that all the sixteen 86

kanyas in such places are shown in the sixteen postures as prescribed in the Silpa Prakasa, an architectural text of Orissa." The upper jangha of the bada is also decorated with nagakanyas on the both sides of raha paga, scroll works, jali works, war tour scenes, rows of elephants etc. There are about 30 bhara-raksakas (atlantid) figures carved on the top of upper jaangha. They are as if carrying the entire structure in their own shoulders. The total height of the jangha of bada is approximately 11 feet 6 inches. 18 The baranda over the upper jangha is made of ten horizontal decorative mouldings, which are relieved with scroll works, flower devices, rows of elephants, stylish geese and lotus petalled designs. The central niches of three sides i.e. north, west and south of the bada of vimana are housed with parsvadevata images of Vamana (Trivikrama), Narasimha and Varaha respectively. These three images are made of black chlorite and very exquisitely carved. In front of all the three side central niches, the same designed nisa shrines of pidha order cover the parsvadevatas. They were built with as usual features of Orissan pidha deula and each is about 35 feet in height from the surface of the temple complex. The most remarkable features of the bada of vimana are devoid of erotic scenes, which are relieved on the jagamohana and bhogamandapa of this temple. K.S. Behera opines that the decorative programme of the bada of vimana seems to have been executed in the 12th century AD when the temple was constructed. 19 The curvilinear superstructure is surmounted on the bada of the vimana and it displays five pagas or rathas. They are such as one raha paga in centre, two kanika pagas in sides and two anuratha pagas flanking on the both sides of the raha paga respectively. The gandi of the vimana rises being inclined inwards to the top in a convex curve. The kanika paga of the gandi is divided into ten storeys or bhumis and each bhumi consists of six bhumi bharandis, which are separated by a bhumi amala (ribbed stone resembling an amalaka fruit). The caitya medallions are seen carved on them at intervals. The anuratha pagas of the gandi are decorated with three angasikharas (miniature rekha deulas), which are superimposed one above the other and they are richly carved. The base of the central raha paga is decorated with a large vajra-mastaka, which is a usual decorative element of the most of Orissan temples. Above the vajra mastaka upto 87

the bisama (top of gandi), rows of caitya window motifs with intervening spaces appear with five such motifs in each row. At the base of eastern side raha (frontal) paga is decorated with three angasikharas; a big angasikhara, which surmounted by a gaja kranta motif i.e. lion on elephant at the centre and other two small angasikharas are also flanked on both sides of the central angasikhara. The gaja-kranta motifs also appear on the three sides of raha paga above the vajra-mastaka. Small gaja-kranta motifs are also projected on all sides base of the gandi. The Vaisnavite images including the various triumphs of avataras are carved below the vajra mastaka designs. Each angasikhara of the gandi contains the images of ten incarnations of Lord Visnu. In the upper portion of the southern side of the raha paga contains the images of Hanumana and Jagannatha 'Trinity' in its niches. Below Trinity is depicted with Kaliyadalana scene of Lord Krsna. The image of Ganesa is carved in a niche at the top most angasikhara of the southwest corner of southern face. Goddess Kali image is enshrined on the upper angasikhara of the southwest corner of the western side. On the northeast top corner of the eastern side and in the middle miniature shrines are found the images of Nataraja and Surya. On the northern face of the sikhara, Siva is carved inside a niche of the northeast top corner of central angasikhara. Another notable scene of Ramanuja's tilaka mark is engraved at the top of the upper part of the eastern side of gandi. This mark indicates that during the period of Ramanuja the territory of Kalinga and Utkala was influenced by Vaisnavism and it also dominated over all the sects of Hinduism existent earlier. Vaisnavism became a popular religion in Orissa from the time of Codaganga Deva onwards. The figure of Rahu is noticed at the top of the rahapaga on each side. Dopichha lions are fixed on the top of kanika pagas of the gandi. Garuda figures are inserted in the four cardinal directions of the beki above rahas. They are acting as the supporting elements of the amalakasila of mastaka. The entire body of the vimana was heavily plastered by lime concealing the sculptures.20 In 1975, the temple complex of Lord Jagannatha was declared as a monument of National importance and Experts of Archaeological Survey of India took up the challenging task of its conservation by complete deplastering through the Archaeological Survey of India; Bhubaneswar Circle in 1980's. After that the 88

above-mentioned decorative elements of the main deula of Jagannatha temple could be made possible to identify by scholars as well as visitors. The mastaka of the vimana consists of beki (neck), amalakasila (ribbed stone like an amalaka fruit), khapuri (skull), kalasa (jar), ayudha (Nila cakra) and dhvaja (Patita pavan bana). On the top of the temple, the famous Nila cakra is placed and it is made of asta dhatu. Its circumference is about 36 feet and height is 11 feet 8 inches." It is so designed that there is a wheel within the wheel. The present Nila cakra of Bada deula built by king Divya simha Deva (1692-1715 AD), because the earlier Nila cakra was destroyed by super cyclone in 1693 AD." Seeing the height of the temple, Robert Dunbar has remarked that the tower of the temple of Lord Jagannatha is not only one of the familiar sights of Puri but the 'sign' looked forward to the pilgrim when nearing his goal.23 The sanctum preserves the daru images of Jagannatha, Balabhadra and Subhadra as the presiding deities of the temple. In the garbhagrha, there is a raised platform known as Ratnavedi or Ratnasimhasana on which the images of the Lords have been installed. The simhasana is about 16 feet in length, 13 feet in width and 4 feet of high respectively. 24 Besides the Jagannatha 'Trinity' other deities are also worshipped in the sanctum. The emblem of Sudarsana is placed on the left of Lord Jagannatha. Images of Madhava, Sridevi and Bhudevi have also taken their seats on the Ratnasimhasana of Lord Jagannatha. The existing throne, as per the inscription on it, had been remodelled by king Virakishore Deva (1737 AD - 1793 AD) of Khurda at the suggestion of his grand mother.25 Sufficient space has been left on the sides of throne for the circumambulation of the devotees when at certain specified hours of the day they are allowed inside the inner sanctuary for a closer view of the deities. There are two mudas (ceilings) noticed from the top of garbhagrha; the lower one is known as Garbhamuda and the upper muda (above lower one) is called Ratnamuda respectively. The inner walls of the sanctum or garbhagrha are devoid of decorative ornamentations in contrast to the outer walls. The sanctum of the vimana has one doorway leading to the porch or jagamohana. This door way is known as Kalaghata dvara. It measures 14 feet and 4 inches in height and 8 feet and 10 inches in width. 26 The jambs of the doorway 89

90 0 are relieved with lotus flower devices and creepers with flowers. The GajaLaksmi image is carved on the centre of the doorway lintel. Navagrahas are finely carved on the architrave above the doorway lintel and they are all in padmasana posture with usual attributes in their hands.