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The Sakhi-Gopala temple is situated at Satyabadi of the sadara subdivision of Puri district of Orissa. This place is 40 kms away eastward from Bhubaneswar and 19 kms west of Puri town. It attracts a large number of pilgrims from all over the country. This place is the centre of many Brahmin sasanas. It is generally believed that one's pilgrimage to the kestra of Puri remains incomplete without a visit to Sakhi-Gopala of Satyabadi. The present temple is known to have been built in the Marahatta period of Orissa history. Prior to that the image of Sakhi-Gopala was kept at places like Varanasi-Kataka, Rathipura Garh, Kantalabai near Cilika lake and within the premises of Jagannatha temple complex of Puri.62 The original Sakhi-Gopala temple at Varanasi-Kataka (present Cuttack) was visited by Lord Caitanya prior to its destruction by the iconoclasts. There is a popular belief that the image was brought from Vidyanagar (Vijayanagara) by Gajapati Purusottama Deva during his successful campaign 162

against the ruler of that land. The deity is widely famous for Him being the witness of the quarrel between the old Brahmana and his proposed son-in-law. 63 At first Baba Brahmacari constructed a small temple for Gopalji by the recommendation of King Ramachandra Deva of Puri. 64 He collected stones from all the Brahmin villages around the Bakulavana region. A small temple was constructed within a few days by the supervision of Baba Brahmacari. This small temple was constructed during the Marahatta period from 1751 to 1803 A.D. The image of Gopala was consecrated in this new temple. From that day, this place came to be known as Satyabadi by the local people. After that another big temple was constructed in this place on the ruins of the old temple, which was very small. The stones of old temple were carefully recovered and again used in the construction of the new temple. This new temple was constructed during the second half of the 19th century A.D. There is no literary evidence about the exact date of the construction of the temple. The public opinions and hearsay accounts provide some data about the period of construction of the temple. It took five year from 1860-1865 A.D. for the completion of the construction. 65 Harinarayana Brahmacari was a saint who made arrangement for the construction of new temple of Gopalji at Satyabadi. At that time Hare Krsna Dash was the Assistant Superintendent of Garhjat Mahala. Baba Harinarayana Brahmacari collected huge amount of money from the wealthy people of Garhjata Mahal through the help of Assistant Superintendent Hare Krsna Dash who heartily cooperated Brahmacari for the construction of the present Sakhi-Gopala temple. Hari babu was a staunch devotee of Gopala and sometimes he had also supervised the construction work of this temple." The temple of Sakhi-Gopala is made of sand stones, which were brought from the Khurda regions. Black chlorites were brought from Nilagiri hill of Balasore district for this temple. Some chlorites were used in making the throne of Lord Gopala and the surplus stones were sent for the construction of the jagamohana floor of the Jagannatha temple of Puri. Some sand stones were also brought from the Garhjata region, which is referred to by Pandita Krupasindhu Mishra in his book Konark. 67 Architectural features of the temple:The temple of Sakhi-Gopala consists of three structures such as vimana, jagamohana and natamandapa (Pl.No-28). It faces to east. 163

Vimana:The vimana is a full-fledged pancaratha rekha deula and its height is approximately 88ft and 6 inches from the ground level of the temple.68 The temple is also about 70 feet high from the surface of the temple complex. 69 The vimana has fourfold vertical divisions viz pista or platform, bada, gandi or sikhara and mastaka. The base of the vimana is square and each side measures 32 feet and 8 inches. 70 The pista of the vimana is 3 feet in height and it is completely plain. The vimana has pancanga type of bada consisting of pabhaga, tala jangha, bandhana, upara jangha and baranda. The pabhaga comprised five mouldings such as khura, kumbha, patta, kani and basanta. The tala garbhiksa or below the central niche contains a rekha mundi on each side of the bada. The patta portion of the pabhaga is decorated with small Rahu heads in three sides. The tala jangha niches of the bada are relieved with pidha mundis, and rekha mundis. The intervening recesses between the pagas of tala jangha are filled with naravidalas, gaja-vidalas, asvavidalas, simha vidals and amorous couples. The central niches of the three sides of the bada are housed with parsvadevata images of Trivikrama, Narasimha and Varaha. The bandhana portion of the bada consists of three decorative horizontal mouldings. The upper jangha niches are relieved with pidha mundis and its intervening recesses are filled with the figures of dancing girls. The kanika paga of the baranda portion contains seven decorative horizontal mouldings. The central raha and the anuratha pagas are left plan. The central raha paga of the western side baranda portion is decorated with an image of Narayana who is flanked on either side by a female figure. The bada of the vimana is surmounted by the curvilinear superstructure and it displays five pagas (Pl.No-29). The base of the raha paga contains angasikharas on each side. The northern side raha paga is depicted with three projected jhapa simhas in its surface. The raha paga of the eastern side contains two angasikharas being superimposed by one above the other. The raha paga of western and eastern sides contain three jhapa simhas arranged in vertical manner from the base of the gandi to the top. The large sized gaja simha figures are projected out on the top portion of the raha pagas. The middle portion raha paga of the southern side gandi is relieved with the images of Jagannatha, Balabhadra and Subhadra. The kanika paga contains seven angasikharas, which are 164

superimposed one above another on each corner. The recesses between the pagas are decorated with seven miniature pidha deulas on each side. The dopicha lions are fixed on the top of the kanika pagas of the gandi. Garuda figures in folded hands are inserted above the raha pagas. They are acting as the supporting elements of the amalaka sila of the mastaka. The entire body of vimana has been deplastered in 2000 A.D. Due to untiring efforts of Bhubaneswar Circle of Archaeological Survey of India, it is possible to identify the above said decorative elements of vimana of the temple. The mastaka of the vimana consists of beki, amalaka sila, khapuri, kalasa, ayudha (cakra) and dhvaja. 71 士mr The image of Sakhi-Gopala (Krsna) is being worshipped in the sanctum as the presiding deity, which is made of black chlorite. This image of Sakhi-Gopala is built with the features of South Indian Art tradition. It is standing on a plain pedestal of 1 1/2 feet high and its height is about 5 feet. " Two of its hands are in the attitude of playing the flute. The other two hands have indistinct objects. A brass image of Radha devi has also been installed with the image of Gopala. Like the Sakhi-Gopala image, it is also designed in standing pose. This brass idol of Radha devi has been kept later on. The image is about four feet in height and is said to have been prepared with the donations of the king of Ranapur some times between A.D.1850-1870.72 The circular lotus pedestal of the goddess is very remarkably executed. Her personal ornaments like mathamani, katisutra and khadu represent traditional art style of Orissa. This image is installed on the left side of the SakhiGopala image on the same kanaka mandapa, which is supported by four circular pillars. Both the images are provided with silver prabhavali. The backside of these two deities is finely decorated with trefoil makara headed arch, scroll motifs and floral devices. The figures of Hanumana and Garuda are carved at the base of arch. The conventional kadamba tree, cows and calves, gopis and vanamala are not noticed on the pedestal. This suggests that the image had come from a place outside Orissa and particularly of South India.73 On the basis of Caitanya Caritamrta and Kanci Kaveri episode; some scholars opine that the image of SakhiGopala at Satyabadi temple was brought from Vijayanagar, which is identified with Rajamundry, by Gajapati Purusottama Deva. 74 The inner walls of the sanctum are completely plain. Out of the layers of ceiling found the lower one is known as garbhamuda and the upper one is called ratnamuda respecti 165

: Jagamohana: The jagamohana or mukhasala of the Sakhi-Gopala temple is a pancaratha pidha deula and its height is 58 feet from the ground of the temple. The base of the mukhasala is square and it measures 33 feet and 6 inches on each side. 75 The structure is erected on a platform of 3 feet high. The mukhasala has pancanga bada, which consists of pabhaga, tala jangha, bandhana, upper jangha and baranda. The pabhaga portion of the bada is completely plain. The tala jangha niches are relieved with the pidha mundis. The bandhana comprised of three horizontal mouldings and its middle portion is relieved with some floral devices. The upper jangha of the bada contains pidha mundis in its niches. The baranda portion of the bada is mostly plain. There are lions shown standing on hind legs under which are carved with diminutive female figures on the four side corners of the baranda. The bada of the mukhasala is surmounted by the pyramidal superstructure and it consists of two potalas; the lower and the upper potalas, which comprise five and four pidhas respectively. The jhapa simhas are finely projected on the upper pidha of each potala and one on each side. The pidha mastaka design is also decorated just above the jhapa simha in the kanthi portion of the two potalas of the gandi. The dopicha lions are fixed on the top of the kanika pagas of gandi. The figures of Deula Carinis are also inserted in the four cardinal direction of beki above rahas. The mastaka of the jagamohana consists of usual elements prescribed by canonical texts are beki, ghanta (bell shaped member) above which beki, kalasa, ayudha (cakra) and dhvaja placed one above another. Natamandapa. It is an open pidha deula and its height is about 25 feet from the surface of the temple complex. The structure is also erected on the pista of 3 feet high. This temple is constructed in much later period. The outer top walls of the bada are decorated with cult icons of very late period. The cult icons are mostly dasavataras of Lord Visnu depicted on the all sides of the outer walls. The mandapa is opened towards all directions. The arch-shaped openings are designed in three sides of the natamandapa. The bada of the natamandapa is surmounted by the pyramidal superstructure, which is supported by four square sized pillars. The gandi of the 166

natamandapa consists of four flat shaped pidhas and each pidha is decorated by tamkus .The mastaka consists of beki, khapuri, kalasa and ayudha (cakra). There is a Garuda pillar of 8 feet installed on the floor of the natamandapa. A small marble Garuda figure, the conventional mount of Lord Visnu has been kept on the top of the pillar. Several other small shrines are also constructed within the temple premises of Sakhi-Gopala. They are viz. temples of Ganesa and Navagraha, Suryanarayana, Siva and foot prints of Gopinatha. The temple of Ganesa and Navagraha are located on the north east corner of the main deula. The temple of Rama-Laxmana-Sita is built in the outside northeast corner of the temple complex. The temple complex of Sakhi-Gopala is enclosed by a compound wall and its height is 10 1/2 feet. The measurement of the eastern and western sidewalls are 186 feet and the southern and northern side walls are 145 feet." The compound wall has only one entrance porch from eastern side. This gateway is shaped like a pidha deula, which is about 35 feet high. Two huge lions are prominently projected on both sides of the entrance porch as gatekeepers of the temple. There is a monolithic Aruna pillar or stambha installed in front of the entrance porch. The shaft of pillar is vertically segmented into seventeen divisions (Pl.No-30). This pillar was installed at later period in the temple by imitating the Konarka Aruna stambha, which is now installed in front of the present Jagannatha temple at Puri." According to the Puranas and Sastras, Garuda stambha should remain in front of the Visnu temple but here the artisans followed the tradition of installing Aruna pillar as it was placed in front of the Jagannatha temple. This stambha is the best specimen of the Orissan traditional art. There is a small figure of Aruna, the conventional mount of Sun god installed on the top of the pillar. Sculptures of the temple: The temple of Sakhi-Gopala is also adorned with some decorative sculptures in the walls of all structures. The parsvadevatas of the presiding deity are housed in the central niches of the three sides of the bada of vimana. The images of Trivikrama, Narasimha and Varaha are housed on the niches of the raha pagas and worshipped as the parsvadevatas of the main deity. The four handed image of Varaha has been installed on the central niche of the southern side of bada. His two hands hold cakra and gada. The left lower hand holds the arm of a 167

female figure, possibly Laksmi while the image of Prthivi has been installed on the elbow of the upraised right upper hand. The panel portrays the scene of the rescue of the goddess Earth by Varaha from the deep Ocean. The four handed image of Narasimha has been installed on the central niche of the western side of the bada. Here the deity is in ferocious form. He has taken out the entrails of Hiranyakasyapa, the demon king with two lower hands while the upper two hands possess conch and cakra. The image of Trivikrama or Vamana has been ensconced in the niches of the northern side as the parsvadevata of the deity. His four hands display the usual elements such as sarkha, cakra, gada and padma. One of his feet firmly plants on the ground and another is lifted upwards. On the top of the uplifted foot is carved the image of Brahma. Beneath the uplifted leg is depicted the scene of king Bali who is presenting gift to Vaman and accompanied by his queen. At that time saint Sukracharya has raised his hands up being dumbfounded. The central niche of the western side of the baranda of vimana is decorated with the image of Narayana and two female figures flanked on either side of the deity. The image of Srikrsna has been depicted on the western side wall of the natamandapa. The figure of Hanumana is finely represented on the top portion of the southern wall of the natamandapa. Two excellent figures of Mahavira (Hanumana) and Ganesa are installed in the inner walls of the southern and northern sides of the entrance porch respectively. The pagas and intervening recesses of the bada of vimana are relieved with pidha mundis, rekha mundis, naravidalas, gaja vidalas, asva vidalas, simha vidalas, amorous couples and nayikas in various poses. Portal Decoration: The sanctum has one doorway towards the jagamohana. The doorjambs of the sanctum are mostly plain. The figures of Brahma and Visnu are installed on either side of the doorway of the sanctum. There is a figure of Garuda carved on the architrave above the doorway lintel. Ganga and Yamuna figures with their respective mounts are depicted at the base of the doorjambs. The mukhasala has three doorways and there is an additional exit door on the southern side. The figures of Krisna with the gopis are elegantly carved on the architrave above the southern side doorway lintel of the mukhasala. The .168

figures of Ganga and Yamuna are found on either side of the doorway. The rest three doorways of the mukhasala are completely plain. The natamandapa has arch shaped openings towards three sides. The middle portion of the western side doorway lintel is carved with the image of Gaja Laksmi. The navagrahas are finely carved on the architrave above the doorway lintel of the western side. Two figures of Sarasvati are portrayed at the base of the doorjambs. Jaya and Vijaya figures are acting as the dvarapalas of the western side doorway. The navagrahas are also carved on the architrave above the eastern side doorwaylintel. The figures of Jaya and Vijaya are also standing as the doorkeepers of the eastern side doorway. The natamandapa is constructed in much later period of the main deula. The approachable steps at the entrance are on three sides of the natamandapa. Two lions are prominently projected on the ground of three side openings viz. northern, southern and eastern sides of the natamandapa respectively. Paintings of the temple: The inner walls of the jagamohana are depicted with the traditional paintings based on the episodes derived from the life story of Lord Krisna, dasavatara panel, legends and myths associated with god Sakhi-Gopala. The ceiling of the jagamohana is finely painted in various floral and other scenes such as Kaliya dalana scene of Krisna, Krisna with Tamala tree, four armed Gaja Laksmi image, two Brahmanas are swearing at Brndavana, Gopalaji with the young Brahmana (as a witness of promise) etc. The figures of Ganga and Yamuna are finely painted on either side of the doorway wall. The inner walls as well as the square sized pillars of the natamandapa are excellently depicted with some paintings such as vanabhoji scene of Krisna, Yasoda is fondling to Krsna and Balarama, scene of Kansabadha, the picture of Krisna and Sudama, vastraharana scene of Draupadi, Panca-Pandava with Draupadi, dasabhuja Gayatri, Radha-Krisna yugala murti, Krisna eating dusts from his feet, preaching scene of Lord Krsna etc. Most of the scenes are derived from the life story of Lord Krsna.