List of Temples in Odisha (Orissa) for opsc exam

Temples in Odisha (Orissa):

Known world over for its architectural wonders, Odisha (Orissa) houses some of the best temples in the country. The temples in Odisha (Orissa) are said to have given supreme expression to architecture. Taking the Kalinga pattern of architecture to its zenith, these Odisha temples are unique in both plan elevation and decoration details.

Putting it in rather more simple words, we can say that all these temples have a somewhat similar structure. They consist of a structural due, the main temple or shrine and the frontal porch. The main temple, known as Vimana or Deula, is the sanctum enshrining the deity. And the porch or Jagamohana is a congregation place for the devotees.

Vimanas are constructed on a square base and are marked by a curvilinear tower or shikhara and is known as rekha deula. The porches of the temples rest upon rectangular bases which are horizontal platforms arranged successively in a receding formation to constitute a pyramidal superstructure. 

Jagannath Temple (Puri):

Belonging to the 11th century and enjoying the honor of being one of the 'char dhams', the pilgrimage that every Hindu intend to visit; Jagannath Temple is the honor of Puri and Odisha (Orissa). The holy sight of Lord Jagannath, accompanied by Subhadra and Balabhadra raises loads of joy among the devotees. The two gods and the goddess of the temple are ornamented in accordance with the occasion and seasonal change. The structural design of the temple can be found to be in pyramid shape.

You would be excited to know that the Jagannath Temple of Puri has a latent legend associated with it. It is believed that in the Krita Yuga, the actual image of the lord had the power of granting 'moksha' to anyone who witnessed it. Yamaraja didn't find this justice. So, he decided to keep the image in some distant and unknown corner of the earth. However, as Dvapar Yuga arrived, the idol that is worshipped today in Jagannath Puri was constructed by Lord Vishnu with the help of wooden logs. And it doesn't make difference in the Lord’s power in spite of having the hands lacking.

Jagannath Temple in Odisha (Orissa) consists of four entrance gates. They are named as Singhadwara, Ashwadwara, Hathidwara and Vyaghradwara and these names refer to lion, horse, elephant and tiger. Each day, the Lord at the Jagannath Temple is offered 'bhoga' six times and it is dispensed among the worshippers close to Ratnavedi.

Now, you must be aspiring to know more about the temple and Jagannath Puri. So, don't wait more to visiting this place. Immediately book a tour package for Odisha (Orissa) and explore various other attractions of Odisha (Orissa).

Architecture of Jagannath Temple:

The architecture of the temple follows the pattern of many Orissan temples of the classical period. The main shikhara, or tower, rises above the inner sanctum where the deities reside. Subsidiary shikharas rise above ante-halls. The temple complex is surrounded by a wall, on each side of which is a gopura or gate, over which rises a pyramid-shaped roof. Being the largest temple in the state, it has a complex covering several square blocks with dozens of structures including a mammoth kitchen.

The main temple structure of this architectural and cultural wonder is 65m (214 feet) high and is built on elevated ground, making it look more imposing. Comprising an area of 10.7 acres, the temple complex isenclosed by two rectangular walls. The outer enclosure is called Meghanada Prachira, 200m (665 ft) by 192m (640 ft). The inner wall is called Kurmabedha, 126m (420 ft) by 95m (315 ft). There are thirty-six traditional communities (Chatisha Niyaga) who render a specific hereditary service to the deities. The temple has as many as 6,000 priests.

There is a wheel on top of the Jagannath Temple made of an alloy of eight metals (asta-dhatu). It is called the Nila Chakra (Blue Wheel), and is 3.5m (11 ft 8 in) high with a circumference of about 11m (36 ft). Every day, a different flag is tied to a mast attached to the Nila Chakra. Every Ekadasi, a lamp is lit on top of the temple near the wheel. There are four gates: the eastern Singhadwara (Lion Gate), the southern Ashwadwara (Horse Gate), the western Vyaghradwara (Tiger Gate), and the northern Hastidwara (Elephant Gate). There is a carving of each form by the entrance of each gate. The Lion Gate, which is the main gate, is located on Grand Road. Thirty different smaller temples surround the main temple. The Narasimha Temple, adjacent to the western side of the Mukti-mandapa, is said to have been constructed before this temple even.

Konark Sun Temple:

One of the most stunning monuments of religious significance, a true masterpiece of architecture proudly stands in the form of Sun Temple at Konark. A culmination of Oriya architecture, the temple is a wonderful place as the language of stone defeats the human language here. Built in 13th century by King Narasimhadeva, the temple is designed in the shape of a colossal chariot with seven horses and twelve wheels, carrying the sun god, Surya, across heavens.

Located at a manageable distance from the seat of Lord Jagannath, Puri at 35 kms; the temple is around 65 kms from the capital city of Bhubaneswar. The name of Konark temple is an amalgamation of two words--Kona meaning corner and Arka meaning the Sun. That is to say that the Sun god worshipped in Ark Kshetra is called Konark. Legend says that after killing the demon Gyasur, Lord Vishnu placed his belongings at several places to commemorate the victory. With His conch at Puri, Disc in Bhubaneshwar and Mace in Jajapur; He placed the Lotus at Konark.

The temple being an important landmark in the coastal voyage of European sailors was named 'The Black Pagoda' by them. The mythological reference states that Lord Krishna's son Samba was smitten with leprosy due to his father's curse. The former underwent severe penance for 12 years at Mitravana near the confluence of Chandrabhaga River with the sea at Konark and ultimately succeeded in pleasing the God Surya, the healer of all skin diseases, and was cured of his illness. In gratitude, he decided to erect a temple in the honor of Surya.

While bathing in the river on the following day, he found an image of God, fashioned out of Surya's body by Viswakarma. Samba installed this image in a temple built by him in Mitravana, where he propitiated the God. Since then, this place has been regarded as sacred.

In ancient times worship of Sun god was in vogue and the people were accustomed with the worship of two Supreme deities--one mother Earth as Dharitri Maata and the other the Sun, the Dharam devata. Sun god is regarded as the supreme lord of the universe and the prime object of life giving energy, being the healer of diseases and bestower of desires.

Surya has been a popular deity in India since Vedic period. Therefore, it is described in Rig Veda regarding Prayer of Sun God as follows. It was dedicated to the Sun-God (Arka) popularly called Biranchi-Narayan, and the tract in which it is situated was known as Arka-Kshetra as well as padma-kshetra. Among the five great religious zones or Kshetra which were located in Odisha (Orissa), Konark was considered to be one, the other four being Puri, Bhubaneswar, Mahavinayak, and Jajpur.

There are several smaller shrines situated in the neighborhood of the Sun Temple. In them are found Rameswar,Chitreswara,Tribeniswara, and Utpaleswar, all Siva-lingas; and Ramachandi Rudrani, Khileswari, Charchika and Chitreswari, various forms of Goddess Durga. Legends embodied in the Kapila Samhita, the Madala Panji, and the Prachi-mahatmya, take the sanctity of Konark back to mythical times. The legends of these late texts are an obvious adaptation of a much earlier tradition as recorded in the Bhavisya Purana and the Samba Purana.

Legend of Jagannath Temple:

According to the legend, Indrayumna, the king of Malava in Sata Yuga, was a great devotee of Vishnu. Once the king dreamt of Nilamadhava Vishnu and was curious to know where that particular form of the Lord was worshipped. Therefore, he sent his emissaries in four directions to find this.

Brahmin Vidyapati was sent to the east. He came to Utkala and entered Savara village where he took shelter in the house of the Savara King Visvavasu. Lalita, king's daughter, fell in love with Vidyapati and the latter got married to her to extract information about Nilamadhava.

Visvavasu used to go to the forest every morning to worship Nilamadhava installed in Niakandara (Blue cave). Vidyapati thus coaxed his wife to request her father to allow him to see Nilamadhava. Visvavasu agreed on the condition that Vidyapati will be taken to the shrine and brought back from there with a blindfold.

On hearing this, Vidyapati went to his wife and asked her to make such an arrangement that he may subsequently know the path. Lalita gave him some sesame seeds to be scattered on the side of the road he followed so that he might know the path when sesame plants grew up during the rains.

Accordingly, Vidyapati was taken to Nilakandara where he saw Nilamadhava. Later, when Vasu Savara offered food to the deity, he did not take it as usual to the king's dismay. At this, a divine voice was heard. It said, "we would no longer continue to be worshipped by you. Oh! Vasu, we will change the present Nilamadhava form and assume Daru form. We shall be worshipped in the temple by Raja Indradyumna".

The king came back from the blue cave with a very heavy heart losing his deity. Vidyapati too bade farewell to his wife and father-in-law and started for Malava. Having heard the story, King Indradyumna started with his retinue for Utkal to see Nilamadhava. On reaching Nilakandara, he found it vacant. But a voice from the air told him to construct a temple on Nilasaila (Blue Mountain).

Hearing this, the king ordered the construction to begin. On completion of the temple, the king went to Brahmaloka to invite Brahma to consecrate the temple. But, Brahma being in meditation, he had to wait for nine Yugas. The temple thus got buried in sand in his absence.

In the mean time, a new dynasty came to rule at Utkala. Galamadhva, a king of that dynasty, detected the buried temple. He was considering installing images in the temple when Indradyumna with Lord Brahma appeared before him. Both the kings had a tussle over the ownership of the temple. However, Lord Brahma decided in favor of Indradyumna and asked him to install deities in the temple.

Now, the king was at a loss as to where to find the deities from. Therefore, god told him in his dream that he would be floating in the sea in the form of a log of wood. Then Sage Narada assured Indradyumna that Vishnu would appear to him in the temple form of three wooden images.

When a big tree, radiant with light was seen floating in the sea, Narada told the king to make three idols out of it and place them in a pavilion. Indradyumna got Visvakarma, the architect of Gods, to build a magnificent temple to house the idols and Vishnu himself appeared in the guise of a carpenter to make the idols on condition that he was to be left undisturbed until he finished the work.

But just after two weeks, the Queen became very anxious. She took the carpenter to be dead as no sound came from the temple. Therefore, she requested the king to open the door. Thus, they went to see Vishnu at work at which the latter abandoned his work leaving the idols unfinished. But a divine voice told Indradyumana to install them in the temple.

The three idols represent the god Jagannath, his elder brother, Balabhadra and their sister, Subhadra. The wooden idols being worshipped are renewed during special occasions. This wooden idol prepared from a log of wood floating on the ocean finds a mention in the Rig Veda, where it is referred to as Purushottama.

Temples in Bhubaneswar:

One of the oldest temples (late 8th century), its striking feature is the shape of its sanctuary tower. The semi cylindrical shape of its roof, a leading example of khakhara order of temples, bears an affinity to the Dravidian gopuram of the South India temples.

The plan of the deul is oblong and the jagamohana is a rectangular structure, but embedded in each angle is a small subsidiary shrine. Vaital Deul boasts some figures, although executed in relief, are characterized by delicacy of features and perfect equipoise.

The outer walls are encrusted with panels of Hindu deities, mostly Shiva and his consort Parvati in her Shakti form, hunting processions, capturing of wild elephants and the occasional erotic couples.

The facade of the deul above the left of the jagamohana is dominated by two chaitya windows, the lower one having a beautifully carved figure of sun gold Surya noted for its facial expression, with Usha (Dawn) and Pratyusha shooting arrows on either side and with Aruna in front driving a chariot of seven horses.

The medallion in the upper Chaitya-window houses a 10-armed Nataraja or dancing Shiva. In front of the flat roofed jagamohana is a stone post relieved with two Buddha like figures seated in dharma-chakra-pravartana mudra.

Another striking feature is the temple's tantric associations, marked by eerie carvings in the sanctum and the image enshrined in the central niche, eight armed Chamunda, locally known as Kapalini, is the terrifying form of goddess Durga. Thus, Vaital Deul is a Sakta shrine.

The presiding deity, Chamunda or Mahishasuramardini, sits on a corpse flanked by a jackal and an owl and decorated with a garland of skulls. She holds a snake, bow, shield, sword, trident, thunderbolt and an arrow, and is piercing the neck of the demon. The niche is capped by a chaitya window containing seated figures of Shiva and Parvati.

The Chamunda is surrounded by a host of other smaller size allied deities carved in the lower parts of the walls, each within a niche separate by a pilaster. The figure on the east wall, to the fight of the door, is a skeleton form of Bhairava forming the counter part of Chamunda.

The other, carved on the north wall, rises from ground, having filled his skull-cup with the blood of a person whose severed head lies on the right; on the pedestal is an offering of two more heads on a tray resting on a tripod, flanked by a jackal feasting on the decapitated body on the right and a woman holding a head on the left.

The tantric character of the temple is also marked by the stone post, to which sacrificial offerings were tethered, just in front of the jagamohana. You need an artificial light to see in the darkness of the interior, though early morning sun lights up the interior.

Brahmeshwar Temple:

Architecturally, the temples of Bhubaneshwar can be resolved into three broad styles as rekha, pidha and khakhara. Most of the temples of the first two orders have two main components--the sanctum, with a convex curvilinear spire, locally known as the deul, also called bada deul (the big temple) or the rekha deul (temple of which the spire gives the optical impression of one continuous line), which towers over the sanctum having the deity image; and an entrance porch or assembly hall called jagamohana, or pidha deul (a temple of which the root is made up of horizontal platforms or pidhas), characterized by a stepped pyramidal roof.

The bigger temples may have two to three of these porches--usually a nata-mandira (dance hall) and bhoga-mandapa (hall of offering). A khakhara style is distinguished by a barrel elongated roof, called khakhara--the local name of a variety of pumpkin-guard. Over the khakhara are placed kalasas or amlas flanked by lions.

The outside of temples are profusely decorated with sculptured relief broadly classified as - hieratic deities, human beings, geometrical, birds and animals and the floral patterns. The iconography includes the divine images, representation of planets, dikpalas and their female counterparts.

More than 500 temples that remain in Bhubaneswar, some significant, of the early period (7-9th century AD) are the Parasuramesvara and Vaital Deul; the middle period (10-11th century), the temple such as the Muktesvara, the Rajarani and the Lingaraja; and the later period (12-13th century), the Ananta Vasudeva, the Meghesvara and the Yamesvara, are architecturally typical and impressive. Most of these are active places of worship.

Mukteswar Temple:

Mukteswar Temple -- An important landmark to the architectural development in Odisha (Orissa), the Mukteswar Temple is often described as one of jewels of Odisha (Orissa) for its exquisite sculptures and elegant looks. The plan is now a full fledged five sectioned form, pancharatha and the platform or the pabhaga consists of five mouldings, as in latter temples.

The element still common with early temples, like Parasuramesvara and Vaital Deul, is the tryangabada, three-fold horizontal division of the lower story. The new, more elaborate style has absence of dopichha lions, squat figures supporting the amla, the recessed sections but now rounded sharp edges and corners got predominant.

The jagamohana of this late 10th century temple is now a pidha deul with decorated ceiling, carved into a lotus with eight petals. The change in iconography is equally noticeable with Ketu introduced as the 9th planet, the association Karttikeya with the cock and the appearance of the mouse as the mount of Ganesha.

The diamond shaped latticed windows in the North and South walls of Jagamohana depict enchanting scenes of frolicking monkeys. The chaitya-windows carved on the sanctuary tower show an arresting ornamental design, bho, a motif-the grinning face of a lion with beaded tassels emerging from its mouth, flanked by two dwarves, the pattern resembling a coat of arms.

The corner rathas are relieved with female figures, remarkable for their expressive faces, with hair styles and jewellery shown in exquisite detail. The octagonal wall enclosing the temple has several niches, each containing a wheel, a lotus medallion or a delicate scroll.

The decorated torana archway in front of the Jagamohana is a masterpiece dating from about 900 AD. It is a detached portal consisting of two pillars supporting an arch within a semicircular shaped pediment. The decoration of the arch, with languorously reclining females and bands of delicate scroll-work, is the most striking feature.

A small well, locally known as Marichi Kund, lies immediately beyond the sinister of the enclosure, the water of which is believed to cure infertility of women. On the door frame of the well is a seated figure of Lakulisa, surrounded by four disciples.

Situated on the northwest corner of the enclosure of Mukteswar Temple is a latter unfinished, Siddhesvara Temple, in which the emergence of the Orissan architectural style is almost complex. The deul is pancha ratha on plan, the bada is panchanga, and the bandana composed of three moulding dividing janga into tala and upara and the amla on the top of the deul is supported by four squatting figures. The jangha of the jagamohana is relieved with pidha-mundis. Devoid of ornamentation, the deities of Shiva's sons-Ganesha and Karttikeya around the tower are its only interesting points.

The late 10th century Gauri Temple, to the South is a specimen of the Khakhara form but has striking similarities with Mukteswar Temple in respect of execution of its architectural elements and the decorative details. Though substantially repaired and renovated, it still has some notable original sculptures.

Of the few intact figures of nayikas in various flexuous poses, the one, on the South face of the East projection, leaning against a post on which is perched a bird, and the other, on the West projection, taking off her anklets, are noted for their mastery treatment.

The temples described above form the compact central group and are located just off Lewis Road in the older southern part of the Bhubaneswar City. The following temples of the eastern group are more scattered and located about 10-15 minutes walk from Mukteswar Temple around Tankapani Road.

Parasurameswar Temple:

Built in the 7th century, the Parasurameswar Temple is small but lavishly decorated. Enclosed within a compound wall, the deul, facing the West is a square towered, while the jagamohana, instead of being a stepped pyramid, is a rectangular structure with a terraced roof, sloping in two stages. The deul about 13m high has no platform and is triratha on plan, a dominant style of the early periods. The temple typifies the stage of Saiva Pasupata Sect, illustrated by the frequent representation of Lakulisa. He is sculpted in Buddha-like form, with four disciples at his feet as shown on the last side of the tower, while on the West, above the relief of Nataraja, he looks like the meditating Buddha. The varandah has projecting moulding topped by a recessed frieze, demarcating bada from the gandi, a feature not found in later temples. The frieze has mostly amorous couples, separated by paneled jalis vidalas (a rampant lion, with head swung backwards, springing over a crouching elephant) at corners, a very typical symbol the beleaguered Buddhist faith.

The jagamohana, adjoining the square towered shrine has an additional doorway on the South and four latticed windows, one each on the North and South and two on the West, the last, decorated with wonderfully animated bands of dancers and musicians. The recurring motif is the highly-ornate chaitya-window, very often filled with animal, human and divine figures, the last including busts of Shiva. The main entrance to jagamohana also has a fine carving of domestic elephants capturing wild ones, to the left of the lintel. Set into the outer walls of the shrine, sculptures are scenes from mythological narratives, forming a repertoire of Saiva myths, among them the highlights are-on the South of the sanctuary, at eye level in the middle of tower, a superb four armed pot bellied Ganesha seated on a simhasana, with his trunk touching a bowl of laddus (balls of sweetmeat) held in his lower left hand, while his upper left holds a parasu (hatchet); Karttikeya in the Southern niche is with a peacock, holding a spear in his left hand and a fruit in his right; the lintel above this niche illustrates the marriage of Shiva and Parvati; to their right are Agni (fire), the kneeling figure of Brahma and next to Brahma is Surya.

Among the notable friezes that line the North wall of the jagamohana are-sapta matrikas (seven mother goddesses), with Chamunda (Shiva's consort goddess Durga in her terrifying aspect); Ganesha having a human visage face with a trunk growing from his chin; and several deities of the Brahmanical pantheon. The temple is dedicated to Shiva, only two of the three original deities survive. The Sahasralingam, in the far corner of the courtyard, decorated with a thousand miniature versions of itself.

Rajarani Temple:

Set amidst the well maintained gardens, the 11th century Rajarani Temple is famous for its sculpted figures and the successive tiers of projections rising to form its 18 m tower. The accentuating miniature replicas of itself decorate the spire, reminiscent of the temples of Khajuraho. It has a square sanctuary and its interior and exterior surfaces are so recessed that it appears circular. The ornamental deul stands diagonal to the severely plain jagamohana.

The highlight of the temple is the fine sculptures of dikpalas or guardians of the eight directions carved around the shrine. Dressed in diaphanous drapery they stand on lotuses, with their mounts below. Starting from East we encounter successively-Indra (lord of the East) holding a thunderbolt and an elephant goad, with the elephant below; the potbellied and beared Agni (southeast), god of fire, with the ram; Yama (South) holding a staff and a noose, with his vehicle the buffalo; Nirriti (southwest), the god of misery, holds a severed head and a sword above a prostrate figure; Varuna (West) holding a noose in his left hand, his vehicle is makara or the crocodile; Vayu (northwest) holding a banner and his vehicle is deer; Kubera (North) placed above seven jars of gems, he has a horse and Isana (northeast) shown with an erect phallus by the side of an emaciated figure. Of these the Agni and the Varuna are particularly impressive.

The Rajarani temple is also famous for the tall and slender nayikas (temple figures) carved in high relief on the walls-figures in amorous dalliance and in such acts as fondling her child, looking into the mirror, taking off her anklet, caressing the bird, playing instrument, holding branches of trees etc.

The Rajarani takes its name from the local sandstone used to built it. The temple no longer has an image of the deity in the sanctuary but its strong Saiva associations are testified from the figures of Shiva and his consort Parvati on the platform and Saiva doorkeepers.