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on the ba岣峚 of the rekh膩 deu岣穉, whereas the pyramidal superstructure surmounts
on the b膩岣峚 of the pi岣峢膩 deula. Both the structures of vimana and jagamohana
are divided into four parts along with the vertical plane. The four divisions of the
structures are namely pista, b膩岣峚, gandi and mastaka.
From bottom to the finial of each part of the temple has a special name.
There was no element of pista found in the temples of k峁�etra from the early to the
end of the Somava峁僺i period. But in the Ganga period, the element of pista
noticed in the temples of the k峁�etra. For example, the 艢iva temples belonging to
the Somava峁僺i period erected in the k峁�etra have no kind of pista beneath the
b膩岣峚s whereas this element (pista) appeared in the Jagannatha temple, which
was constructed during the Ganga period of Orissa history. The rekha and pi岣峢膩
temples have the same pattern of designs appeared in plan, pista and b膩岣峚
portions but they differ in sikhara or gandi. The Kalinga Style of temple
architecture has much resemblance with the N膩gara Style temples of North India.
So the style is called as Pro-N盲gara or the regional style architecture of Orissa.
The origin of angasikharas, which decorate on the gandi of temples, can be traced
to the early Central Indian temples. The influence of Nagara Style temples of
Central India spread over the k峁�etra as well as the whole of Orissa. The
angasikharas appearing as the offset projections on the gandi, as in the
Kandariya Mahadeva temple of Khajur膩ho, could not become popular in the
temples of k峁�etra as well as the whole of Orissa. These base anga艣ikharas have
been used to enhance the elegance and stability of the temples.
The Silpa艣膩tras are silent on the transport of huge block of stones from
the quary sites to the site of temple construction and their lifting up to a great
height of the temples. The stone blocks were transported to the construction sites
on land route by wheeled cart dragged by animals. As a temple progressed in
height, it was gradually buried under the earth or sand in such a way that a
winding path is formed around the temple. The path was spacious enough to
allow the cart carrying the stone blocks to pass without much difficulty.
There is also another technique of temple construction noticed in the
Siddha Mah膩vira temple of Puri. A sculpture panel inserted into the wall of the
Siddha Mah膩vira temple throws interesting light on the technique of the
construction of Orissan temples. The sculpture depicts a temple under the
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