Thursday, 21 November 2024

Lingaraj Temple /ଲିଙ୍ଗରାଜ ମନ୍ଦିର, Lingaraj Temple Rd, Lingaraj Nagar, Old Town, Bhubaneswar, Odisha.

The visit to this Sri Lingaraj Temple at Bhubaneswar, Odisha was a part of the “Kalinga and Ottara Desa Heritage Walk” organized by சோழ மண்டல வரலாற்றுத் தேடல் குழு, between 13th to 18th September 2024. The purpose of this Heritage walk was to see the places, monuments, etc., which are directly or indirectly connected as a proof of Rajendra Chozha’s victory mentioned in his meikeerthi/title over Kalinga and Ottara Desa, the present Andhra Pradesh and Odisha.


Lingaraja Temple is a Hindu temple dedicated to Shiva and is one of the oldest temples in Bhubaneswar, the capital of the East Indian state of Odisha. Lingaraja literally means the king of Lingam, the iconic form of Shiva. Shiva was originally worshiped as Kirtivasa and later as Harihara and is commonly referred to as Tribhuvaneshwara (also called Bhubaneswar), The Lingaraja temple is the largest in Bhubaneswar. This place is also known as Ekambara Sthalam

Moolavar   : Sri Tribhuvaneswar
Consort     : Sri Tribhuvaneswari, Parvati

Some of the salient features of this temple are…..
The temple faces east with an entrance through east side mandapa. Shiva Linga is of swayambhu little large in the Sanctum Sanctorum on a round avudayar.

There are more than 50 Sub Shrines in the Complex, which consists of both Shiva, Maha Vishnu, and Sakthi Temple. Some of them are... Nageswar Temple, Ganapati Temple, Baba Biswanath Temple, Durga temple, Shree Ganesh Temple, Ekadari Mahadev Temple, Viswakarma Temple, Jaganath Temple, Somnath Temple, Sivakali Temple, Kasi Viswanath Temple, Parvati Temple (A separate temple with Sanctum Sanctorum, Jagmohana and Nata mandapa ), Kasi Viswanath Temple, Agora Sakthi ( Kali ) Temple, Sthya Narayana Temple, Tara Kesava temple, Ugreswara Temple, Karthikeya Temple ( Karthikeya with his consorts and a Peacock Vahana is in front of the Sanctum Sanctorum ), Dakshina Kali Temple, Kabileswara Temple, Ekambareswara Temple, Virupaksha Temple, Gara Temple, Bhuvaneswara Temple, Shasra Linga, Amarnath Temple, Ishaneswara Temple, Batakeswara Temple, Pashana Durga Temple, and Lakshmi Narayana Temple.   

ARCHITECTURE
The temple was built in the Deula style and has four structures, namely Sanctum Sanctorum, Jagamohana, Nata mandapa, and Bhoga mandapa. Adhistanam is like oorthuva/upwards lotus petals. The Vimanam over the Sanctum Sanctorum is of 10 talas, measuring to a height of 180 ft. (55 m). The temple represents the quintessence of the Kalinga architecture and culminating the medieval stages of the architectural tradition at Bhubaneswar. The Nata mandapa is a flat plain roof without Vimana.

Lingaraja temple, the epitome of the temple architecture in Bhubaneswar, was constructed in the eleventh-twelfth century. It is enclosed in a 140m (434 ft) wide and 150m (465 ft.) long rectangular high 38 meters. The main deity is the combination of Siva and Vishnu. Subsidiary shrines are attached to the main sanctum exterior on the north, south, and west.

The exterior sidewalls are carved with decorative elements, and lovely females and couples engage in sex on the exterior walls. Its roof is relatively flat, sloping in stages. There are thick pylons inside the Natamandira similar to the pylons on the platform of the dance hall at Konarak. The 30m (93 ft.) high jagamohan has entrances on the north and south. The exterior walls are extensively decorated. The pyramidal roof of the jagamohan with several horizontal layers is separated into two units similar to the bhoga mandapa roof. The façade of both units is decorated with chaitya windows with a lion sitting on its hind legs on top of the window. The inverted bell above the second unit is decorated with a kalasa and lions. The massive tall tower of the jagamohan was constructed by successively superimposing vertical chambers, complete with floor and ceiling. The tower walls are embellished with lovely females standing in various moods and poses with three body bends.

The massive 60m (186 ft.) tall pyramidal tower on the sanctum was constructed similarly to the pidha roof of the jagamohan. It is covered with decorative designs and seated lions projecting from the walls. The round, flat, ribbed amalaka and kalasa above are supported by squatting figures. The sanctum is square inside. The temple is dedicated to Harihara,

Agni is carved more frequently. A Buddha-like carving in a niche is flanked by mythological animals. Most of the deeply carved attractive females are standing in elaborately carved surroundings with three body bends/Three bangha, displaying their best features, engaged in actions like carrying a baby, caressing a bird, and applying vermilion to their foreheads.

Some of the lovely females are standing under open flowers, flanking a goddess who stands under a cobra hood. The open garment makes the sculpture most attractive and endearing.

The walls, carved with detailed delicate decorations, are adorned with deities, females playing guitar, dancers with groups of musicians, and erotic couples — one masturbating her lover. She is looking at him with her head thrown back, her face full of expectation and love. Beside them, a mother is feeding a baby from her bloated breast, holding the baby on the thigh of her bent leg.

A lovely damsel with three body bends is holding a tree branch in a highly decorated niche and another beauty is entertaining a male with flute music. Another full-bodied damsel is standing with stretched torso, exposing her feminine charms.

Another damsel has stretched her body by extending her hands behind her head resulting in a push of her round firm breasts all the way out in front (Fig. 3.39). One sensual female with a full firm bust, narrow waist, round hips, and long legs with plump thighs visible through her diaphanous gown is holding her open lower garment; it is not clear whether she is tying the garment to her waist or undoing it to drop it to the floor. Her downcast eyes, the mischievous sweet smile on her square face, and the act of holding.

The Somavamsi originally dedicated the temple to Siva. They were replaced by the Ganga dynasty in 1078. During the Ganga dynasty, the Vaishnava became dominant and the presiding deity of the temple was changed from Siva to Harihara.

It is constructed on a high plinth. The Rekha duel is 18.3 (57 ft.) high with decorative features like the bho. There are subsidiary shrines near the sanctum. The deities installed in the sanctum are Krishna, Balarama, and Subhadra, sister of Krishna. The central projections of the jagamohan have carvings of slim, tall, lovely maidens in body bends. In a group that resembles the carvings on the Lingaraja temple, the goddess in the center is standing under a naga hood while other lovely damsels stand under bunches of leaves. The hands of most of the females are broken.

Harihara, the main deity is the combination of Siva and Vishnu. Garuda, the vehicle of Vishnu, was given a place on the votive column in front of the bhoga mandapa beside the bull. A number of Vaishnava rites became part of the worship at the temple. Ganga kings and their officers have left records of grants to Lingaraja temple.

Parvati temple is located in the compound of the Lingaraja temple. The temple was perhaps constructed during the reign of Ganga king Bhanudeva (1264-1279). It is similar to Lingaraja temple in design, decoration, and plasticity of sculpture. The pyramidal tower and jagamohan have an exuberantly treated surface resembling the decoration of the Muktesvara temple. The decorative sculpture includes pilasters entwined with beautiful naga and nagini, mythological lions, and damsels displaying their charms. The central projection on the tower is carved with the images of deities (from which Parvati is missing). One of the balustrade windows on the south side of the jagamohan has been converted into a door. Chandradevi, daughter of Anangabhima-III, in 1278 constructed the Ananta-Vasudeva temple (near the Lingaraja temple) during the reign of Ganga king Bhanudeva. The temple with four units, similar to Lingaraja temple, is dedicated to Vishnu.

A balustrade window is carved with images of Rama, Lakshmana, Sita, Hanuman, and a monkey attendant. Most of the niches are badly worn due to the softness of the stone. The courtyard of the temple now serves as a kitchen for the priests and devotees. Some of the sculptures are Gaja Yazhi, Vajra Masthaka,

Mandapa pillars are square without ornamental works.  Most of the Sub Shrines are built with sandstone and laterite stone.









HISTORY AND INSCRIPTIONS
It is believed that the original temple belongs to the 6th Century, and was later rebuilt by the kings from the Somavamsi Dynasty, with later additions from the Ganga rulers. But some historians believe that Jajati Keshari, (615 – 675 CE) built this temple in in 7th Century. Some claim that the temple Sanctum Sanctorum was built in the 11th Century. Nata mandapa was built by the wife of Salini between 1099 to 1104 CE.

An inscription from the Saka year 1094 (1172 CE) indicates gifts of gold coins to the temple by Rajaraja-II.

Another inscription of Narasimha I from the 11th century indicates the offer of beetel leaves as tambula to the presiding deity.

Other stone inscriptions in the temple indicate royal grants from Chodaganga to the nearby village people.

Parvati temple is located in the compound of the Lingaraja temple. The temple was perhaps constructed during the reign of Ganga king Bhanudeva (1264-1279 CE).

Chandradevi, daughter of Anangabhima-III, in 1278 CE constructed the Ananta-Vasudeva temple (near the Lingaraja temple) during the reign of Ganga king Bhanudeva.

According to the Bhubaneśvar inscription, now in the Royal Asiatic Society, Narasimha's brother-in-law, the Haihaya Prince Paramardin, fell fighting the battles of the King. Paramardin had married Chandrika, a daughter of Anangabhima-II. This Chandrikā built a temple of Vishņu at Bhubaneśvar in the Saka year 1200-1278 CE, during the reign of her brother's grandson, Narasimha II. A work on Alankara called Ekāvali was composed in the reign of Narasimha-I by a person named Vidyādhara in which Narasimha is called "The master of the kingdom.

Lingaraja temple is being maintained by the Temple Trust Board and the Archaeological Survey of India (ASI).

Ref
2. A book on the History of Orissa by R D Banerji.
3. World Heritage Monuments and Related Edifices in India

LEGENDS
As per the 13th Century “Ekamra Purana”, written in Sanskrit, the Moolavar, or a Main Deity Shiva Linga, was found under the Mango Tree. Hence this place was called Ekamra Kshetra. Shiva of this temple is worshipped in the form of Harihara, ie the fusion of Shiva and Maha Vishnu. Even, though the main temple is dedicated to Shiva, more than 50 numbers of Parivara Sannidhis are in this temple complex. Both Shiva and Maha Vishnu Sannidhis are there in the same Complex.                                 
POOJAS AND CELEBRATIONS
Apart from Regular poojas Maha Shivaratri, 22 days Chandan Yatra or Chandan ceremony, Ashokashtami or Rukana Rath Yatra, are celebrated in the month of Chaitra on Shukla Ashtami and are celebrated in a grand manner.

TEMPLE TIMINGS
The temple will kept open between 06.00 hrs to 21.00 hrs with a break of 12.30 hrs to 15.30 hrs.

CONTACT DETAILS
Phone No: 0674-2433306

HOW TO REACH
Sri Lingaraj Temple is about 5 km from Biju Patnaik International Airport, 31 km from Cuttack, 56 KM from Puri Jagannath Temple, 59 km from Konark Sun Temple,
The Nearest Railway Station is Lingaraj Temple Road is about 4 km.

LOCATION OF THE TEMPLE:  CLICK HERE







NOTE:-
Most of the Pictures are taken from Web site and Temple's website. Thanks to the un known Photographers

--- OM SHIVAYA NAMA---

Wednesday, 20 November 2024

Ashokan Rock Edict / ଅଶୋକନ ରକ୍ ଏଡିଟ, Dhauli Rd, Dhauli, Odisha.

The visit to this Ashokan Rock Edict at Dhauli, Odisha was a part of the “Kalinga and Ottara Desa Heritage Walk” organized by சோழ மண்டல வரலாற்றுத் தேடல் குழு, between 13th to 18th September 2024. This rock Edict is believed to be the earliest Brahmi inscription found in North India. The purpose of this visit was to see the Ashokan Rock Edict, which we studied in school history lessons, as planted trees on the road sides and dig wells and the place that changed him to follow Buddhism. 


About 2250 years before, ie 3rd Century BCE, the same spot, where the Ashokan Rock Edicts were inscribed, witnessed a horrible battle between Kalingas and the Mouriya King Ashoka. An unimaginable number, say about 2 lakh Soldiers lost their lives, Elephants, Horses, etc. Thousands of soldiers also lost their legs, hands, etc. The blood from the battlefield mixed with the river which changed its color to red. The horrible scene of the battlefield and the soldier's cry had made a turning point in Ashoka’s life. Decided to follow Buddhism and issued many orders to be followed by his officials and made to inscribe on the rocks throughout his country.  

THE HISTORY OF ASHOKA’s ROCK EDICT AT DHAULI, FINDING.
How long the Ashoka’s edict was in force, do not know. It came to light in the early 19th century when James Princechep was the head of India’s Asiatic Society of Bengal. In 1817, he came to know about the inscriptions, through one of his close friends Andrew Sterling. In 1837, he contacted Margam Kitto of East India Company, who was in search of Coal fields in Orissa. Kitto was a Historian and he was interested in archaeology. He faced stiff resistance from the locals and nobody came forward to help him. Somehow managed to get the help of a local person, and reached the spot. Finally found the inscriptions and the Elephant sculpture on the top of this small hill. In the process, he was attacked by a bear and its two cubs.


Kitto took a copy of the inscription and handed it over to Princechep. Since he couldn’t come to a conclusion immediately, he did research, on the inscriptions compared with the inscriptions he got from various places. Finally, he succeeded and found out that the inscriptions belonged to Mouriya Kinga Ashoka and it gave the details of the war between Mouria King Ashoka and Kalinga, the orders issued later. The inscription was inscribed in Brahmi characters in the Pragrutham language.

The edicts containing the order from I to X and XIV and X to XIII are not inscribed. The missing edicts are issued as special orders.  

தௌலி அசோகன் பாறைக் கட்டளைகளின் சுருக்கம்.
புதிதாகக் கைப்பற்றப்பட்ட பிரதேசத்தில் தங்கள் நடத்தையைப் பேணுவது குறித்து அசோகனின் உள்ளூர் அதிகாரிகளுக்கு குறிப்பிட்ட அறிவுரைகளை அவர்கள் பதிவு செய்கிறார்கள். வெற்றிபெற்ற குடிமக்கள் மத்தியில் நம்பிக்கையைப் பெறுவதற்காக, அசோகர் தனது அதிகாரிகளுக்கு எந்தவிதமான துன்புறுத்தல், அநியாயமான தண்டனை அல்லது பலவந்தமாக அடிபணிவதைத் தவிர்க்குமாறு அறிவுறுத்தினார்.

விலங்குகளை வதைப்பதை தடை செய்கிறது. அவரது ராஜ்யங்களில் மனிதர்களுக்கும் விலங்குகளுக்கும் மருத்துவ சிகிச்சைகள் மற்றும் மருத்துவ மூலிகைகள் நடவு செய்வதற்கான ஏற்பாடுகள் செய்யப்பட்டது. சாலை ஓரங்களில் மரங்கள் நடவும் மற்றும் கிணறுகளை வெட்டவும் ஆணையிடுகின்றார் . ஒழுக்கத்தை நிலைநாட்டவும் மேம்படுத்தவும் அனைத்து பிரிவுகளிலிருந்தும் மகாமாத்ராக்களை நியமித்தார். ஒவ்வொரு மனிதனும் என் குழந்தை. எல்லா நேரங்களிலும் எல்லா இடங்களிலும் மக்கள் விவகாரங்கள் தொடர்பான நிர்வாக விஷயங்களைப் பற்றி ஒவ்வொரு 5 ஆண்டுகளுக்கு ஒருமுறை கிராமங்களுக்குச்சென்று உண்மையான் நிலமையை அறிக்கையிடுமாறு தனது அதிகாரிகளுக்கு உத்தரவிட்டார். பொதுமக்கள் எல்லோரும் தனது சொந்தக் குழந்தைகளைப் போன்றவர்கள் என்று பிரகடனம் செய்கிறார். விசாரணையின்றி யாரும் தண்டிக்கப்படக் கூடாது என்றும், கோபத்திலிருந்து விடுபட்டு விரைந்து செயலாற்றவும் தனது அதிகாரிகளுக்குக் கட்டளையிடுகிறார்.


SUMMARY OF THE CONTENTS OF THE ASHOKAN EDICTS ARE AS FOLLOWS
R.E. Prohibition of the killing of animals in the kingdom including his royal kitchen and imposition of restrictions on festive occasions (samaja).
ஆர்.இ. I, ராஜ்ய சமையறையில் விலங்குகளை கொல்வதைத் தடை செய்தல் மற்றும் அவரது அரச சமையலறை மற்றும் இராஜியத்தில், பண்டிகை நிகழ்வுகள் உள்பட அனைத்திலும் கட்டுபாடுகள் விதிக்கப்பட்டது.

R.E. II- Arrangements were made both for human and animal beings for medicinal treatments and plantation of medicinal herbs both in his and bordering kingdoms. Planted trees and dug wells on the road sides
ஆர்.இ. II - மனிதர்களுக்கும் விலங்குகளுக்கும் மருத்துவ சிகிச்சைகள் மற்றும் மருத்துவ மூலிகைகளை நடவு செய்வதற்கான ஏற்பாடுகள் அவரது மற்றும் எல்லையோர ராஜ்யங்களில் சாலை ஓரங்களில் மரங்களை நட்டு, கிணறுகளை தோண்டினார்.

R.E. III - Ordered his officials to go on tour every five years to propagate moral codes among his subjects.
ஆர்.இ. III - தனது குடிமக்களிடையே தார்மீக நெறிமுறைகளைப் பரப்புவதற்காக தனது அதிகாரிகள் ஒவ்வொரு ஐந்து ஆண்டுகளுக்கும்  சுற்றுப்பயணம் மேற்கொள்ள உத்தரவிட்டார்.

R.E. IV- Ordered his officials to promote the practice of morality and compassion among his subjects and wished that these practices would be followed by his descendants
ஆர்.இ. IV- அவரது குடிமக்களிடையே ஒழுக்கம் மற்றும் இரக்கத்தின் நடைமுறையை ஊக்குவிக்குமாறு தனது அதிகாரிகளுக்கு உத்தரவிட்டார், மேலும் இந்த நடைமுறைகளை அவரது சந்ததியினர் பின்பற்ற வேண்டும் என்று விரும்பினார்.

R.E. V -Appointed Mahamatras from all sects to establish and promote morality.
ஆர்.இ. V- அறநெறியை நிலைநாட்டவும் மேம்படுத்தவும் அனைத்துப் பிரிவுகளிலிருந்தும் மகாமாத்ராக்களை நியமித்தார்.

E. VI- Ordered his officers to report on his matters of administration related to the affairs of the people at all times and at all places.
ஆர்.இ. VI- எல்லா நேரங்களிலும் மற்றும் எல்லா இடங்களிலும் மக்கள் விவகாரங்கள் தொடர்பான தனது நிர்வாக விஷயங்களைப் பற்றி அறிக்கையிடுமாறு தனது அதிகாரிகளுக்கு உத்தரவிட்டார்.

R.E. VII - Self-control and purity of mind are objects of attainment for all sects.
ஆர்.இ. VII - சுயக்கட்டுப்பாடு மற்றும் மனத்தூய்மை அனைத்து பிரிவினருக்கும் அடையும் பொருள்கள்.

R.E. VIII - On the tenth year of his anointment, he went out to Sambodhi which was followed by a visit to the Brahmanas and Sramanas, helping the poor and propagating morality.
ஆர்.இ. VIII- அவரது பத்தாவது ஆண்டில் அவர் சம்போதியை விட்டு வெளியேறினார், அதைத் தொடர்ந்து ஏழைகளுக்கு உதவியது மற்றும் ஒழுக்கத்தைப் பரப்பியது.

R.E. IX- Recommended the practice of morality consisting of courtesy to slaves and servants, reverence to elders, gentleness to animals, and liberality to Brahmanas and Sramanas.
ஆர்.இ. IX- அடிமைகள் சித் வேலையாட்களுக்கு மரியாதை, முதியவர்களிடம் மரியாதை, விலங்குகளிடம் மென்மை மற்றும் பிராமணர்கள் மற்றும் ஸ்ரமணர்களிடம் ஒழுக்கம் ஆகியவற்றை உள்ளடக்கிய ஒழுக்க நடைமுறையை பரிந்துரைக்கிறது.

R.E. X- Proclaimed that morality is the only act of fame and glory.
ஆர்.. X-, புகழ் மற்றும் புகழுக்கான அறநெறி செயல் மட்டுமே என்று பிரகடனம் செய்தது.

R.E. XIV- Inscribed a way of morality at various places in his vast empire according to the subject matter and places.
ஆர்..  XIV - அவரது பரந்த சாம்ராஜ்யத்தின் பல்வேறு இடங்களில் நெறிமுறையின் படி பொறிக்கப்பட்ட வழி.

SPECIAL ROCK EDICTS:
S.R.E. I - Addressing the Mahamatras Toshall Ashoka proclaims that subjects are just like his own children and he wishes for their welfare and happiness both in this world and the other as he desires for his own children. He orders his officials to be free from anger and hurry so that nobody will be punished without trial.
எஸ்.ஆர்.இ. 1, மஹாமாத்ரர்களுக்கு உரையாற்றுதல் தோஷால் அசோகா தனது அனைத்து குடிமக்களும் தனது சொந்தக் குழந்தைகளைப் போலவே இருப்பதாகவும், அவர் தனது சொந்தக் குழந்தைகளுக்காக விரும்புவது போல இந்த உலகிலும் மற்ற உலகிலும் அவர்களின் நலனையும் மகிழ்ச்சியையும் விரும்புவதாகவும் அறிவிக்கிறார். அவர் தனது அதிகாரிகளை கோபத்திலிருந்து விடுவித்து, துரிதமாக செயல்பட்டு யாரும் விசாரணையின்றி தண்டிக்கப்படக்கூடாது என ஆணையிடுகின்றார்.

S.R.E. II- He ordered the Mahamatras of Toshall to assure his piety to the unconquered border territories of the forest region (Atavikas).
எஸ்.ஆர்.இ.II, வனப்பகுதியின் கைபற்றப்படாத பகுதிகளுக்கு தனது அவர்கள் மீது கொண்டுள்ள அபிமானத்தை உறுதிபடுத்துமாறு உத்தரவிட்டார்.

LOCATION OF ASHOKA’S EDICT:   CLICK HERE







The Buddhis Temple on the opposite Hill with Stupi
--- OM SHIVAYA NAMA ---

Tuesday, 19 November 2024

Konark Sun Temple /கொனார்க் சூரியக் கோயில் / କୋଣାର୍କ, Konark, Odisha, India.

The visit to this Sun Temple at Konark, Odisha was a part of the “Kalinga and Ottara Desa Heritage Walk” organized by சோழ மண்டல வரலாற்றுத் தேடல் குழு, between 13th to 18th September 2024. The purpose of this Heritage walk was to see the places, monuments, etc., which are directly or indirectly connected as a proof of Rajendra Chozha’s victory mentioned in his meikeerthi/title over Kalinga and Ottara Desa, the present Andhra Pradesh and Odisha.



It is believed that there were three temples constructed for Surya in the northern part of India. Konark Sun temple is on the East side.

THE WORLD HERITAGE MONUMENT
SUN TEMPLE, KONARAK has been inscribed upon the World Heritage List of the Convention concerning the Protection of the World Cultural and Natural Heritage inscription on this List confirms the exceptional universal value of a cultural or natural site that deserves protection for the benefit of all humanity.
 
HISTORY AND INSCRIPTIONS
The Sun Temple, Konark, Kainapara of the Periplus (First century CE) is an important port of the Odishan coast. The most notable marvel of Odishan art is the stately Sun Temple. Built in 1250 CE, during the reign of the Eastern Ganga King Narasimhadeva-I (1238-64 CE) it was to enshrine an image of Sun (Arka) the patron deity of the place. Except for part of Jagamohana stands and the Sanctum Sanctorum, Nata mandapa was damaged above the adhistanam, in 1837 CE. The sand was filled in the Jagamaohana to avoid further damage. After ASI took over, only the Jagamaohana was reconstructed.

As per the book on History of Orissa by RD Banerji, Narasimha-I will be remembered by posterity as the builder of the great temple of the Sun-God at Konakoņa or Koņārka in the Puri District. This fact is mentioned in the land grants of all the successors of Narasimha-I.



ARCHITECTURE
The original temple had a main sanctum sanctorum vimana, which is estimated to have been 229 feet (70 m) tall, jagamohana, which is about 128 feet (39 m) tall, and Nata mandapa and the Bhoga mandapa. Mighty Simha-gajas (A combination of Lion and elephant) welcome visitors at the porches. Between the wheels, the plinth of the temple is entirely decorated with reliefs of fantastic lions, musicians and dancers, and erotic groups. Like many Indian temples, the Sun Temple comprises several distinct and well-organized spatial units.  


The Sanctum Sanctorum is with vimana, and the jagamaohana was designed & constructed in the form of a huge chariot. 24 wheels, 3 m in diameter, are on the south and north sides, and drawn by six(Seven…? Must be 6, 3 on each side) spirited horses. Some claim that the wheels show the exact time, seasons, and months, but this is not true.

The Sanctum Sanctorum symbolizes the majestic stride of the Sun god and marks the culmination of the Odishan/Kalinga architectural style. The Vimana of the deula has collapsed, while that of jagamohan and the nata-mandap are better preserved. The walls of the temple contain superb carvings of divine semidivine, human, and animal figures amidst floral and geometric ornamentations. The vivacious kanyas and dancers are remarkable for their sensuous modelling. Pulsating with human emotions which are absorbed in a variety of gestures and rhythmic actions, such sculptures render the Odishan temple a class unto itself. These are refined iconographical depictions of contemporary life and activities.

PC Website- Site Plan
PC Website - Sanctum Sanctorum
Koshta image
Koshta image 
 Surya in Koshtam


Pranala
Pranala
 Pranala


JAGAMOHANA






The Wheel Sculptures 
The Wheel Sculptures 
The Wheel Sculptures 
The Wheel Sculptures 
The Wheel Sculptures 
The Horse

NATA MANDAPA
The sculptures consists of Dancers, Musical instrument players.
 









LEGENDS
It is associated with all the legends of its own artistic creation – the most evocative being its construction over twelve years using 1,200 artisans – and the stories about the deep commitment of its master builder, Bisu Moharana, to the project, in which his son (who was born during this period) later became involved. Konârk’s location and name are important testimonies to all the above associations, and its architectural realization is associated with the living traditions of Brahmanism and tantric practices.

Criterion (i): A unique artistic achievement, the temple has raised up those lovely legends that are affiliated everywhere with absolute works of art: its construction caused the mobilization of 1,200 workers for 12 years. The architect, Bisu Moharana, having left his birthplace to devote himself to his work, became the father of a son while he was away. This son, in turn, became part of the workshop and after having constructed the cupola of the temple, which his father was unable to complete, immolated himself by jumping into space.

Criterion (ii):  Directly and materially linked to the Brahman beliefs, Konârak is the invaluable link in the history of the diffusion of the cult of Surya, which originated in Kashmir during the 8th century, finally reached the shores of Eastern India.

THE REASON FOR THE COLLAPSE OF THE TEMPLE
Various types of stones with different properties are used in this temple. Chlorite was used for the door lintel and frames as well as some sculptures. Laterite was used for the core of the platform and staircases near the Adhistanam. Khondalite was used for other parts of the temple. Since the Khondalite stone weathers faster over time, this may lead to the collapse of the structures.

CHHAYADEVI TEMPLE (1100- 1200 CE)
This temple is dedicated to the Chhayadevi, the consort of Surya or the sun god, built in the 12th to 13th Century. Door Guardians or the Dwarapalakas are shown as bas reliefs on the door frames. The koshtas are protruding outside. The temple was built with bricks and the remains are only the adhistanam.


AS A WORLD HERITAGE MONUMENT, PROTECTION AND MANAGEMENT.
The Sun Temple, Konârak is protected under the National Framework of India by the Ancient Monuments and Archaeological Sites and Remains (AMASR) Act (1958) and its Rules (1959). Other relevant protective legislation includes the Forest Act, the Konârak Development Act, and the Notified Council Area Act. All conservation programs are undertaken by the Archaeological Survey of India through its national, regional, and local representatives. There are five management-related plans: safety, environment, master planning, environmental development, and tourism. World Heritage funding was received to carry out an assessment of structural stability. Sustaining the Outstanding Universal Value of the property over time will require continuing the structural and material conservation of the main Jagamohana structure and its sculptures; establishing a stronger functional integration of local and central authorities; including the larger landscape setting into the regulated area for development; and addressing the identified threats related to development pressure, environmental pressure, tourism pressure, natural disasters, and local population growth.

SAPTAMATRIKAS TEMPLE
In addition to the Sun Temple, there is a Saptamatrikas temple on the Southwest corner of the complex. The Saptamatrikas are under worship.


Ref
1. https://whc.unesco.org/en/list/246/
2. Display boards at the Monument Site.
 
HOW TO REACH
The Konark temple is about 34 km from Puri, 66 km from Bhubaneswar, and 86 km from Cuttack.
The nearest railway station is Puri.

LOCATION OF THE TEMPLE:  CLICK HERE

























OLD TEMPLE



OLD TEMPLE DISMATLED IRON TUBES

--- OM SHIVAYA NAMA ---