Kalinga Deula (temple)

Besides these primary set of specialists, various supportive functions are carried out by other people.

(B)The Material : Primarily certain classes of stone are considered auspicious in the construction of temples. Though clay bricks have been used in very rare cases. As per Shilpa Chandrika, the following seven varieties of stone are ideal and specific types are used for certain portions of the temple :

(C) Site Selection : Various aspects like Type of Soil, Shape of the Plot, Location of the Plot, available open and type of Space and ground water table etc are taken into consideration while selecting the site, Color, Density, Composition and Moisture content of the soil discriminates between the Bhrahmana, Kshetriya, Saivya and Sudra class of soil. And adhering to Vastusastra, a rectangular, square, elliptical or circular plot of land is selected in order of preference.

(D) Naga Bandhani : is an intricate and ancient method in Shilpasastra, by which the temples direction and the auspicious moment for beginning the sacred construction is determined. Like the present day Geomorphology, Seismology, Topology etc, probably this is some ancient science which guides the architect to understand natural forces and build stable massive structures in Orissa.

(E) Scale Model : The Mukhya Staptya creates a scale model based on traditional stipulations and takes the Karta's approval. In many instances we see such depictions on walls and motifs.

(F) Potta and Pitha-(Mobile Foundation) : We were surprised to find some eminent author mentioning that Temples in Orissa in general do not have foundations. Actually, with a paradigm shift from the present day conventional masonry and going through the following steps of the preparation of Potta and Pitha, shall indeed highlight the importance that is awarded to the foundation of a temple.

(i)  A square or rectangular area is dugout depending on the type and combination of temple proposed at the center of the preselected Nagabandhani plot of land.

(ii)  The depth of this pit is 1/3 of the height of the proposed temple, from plinth level.

(iii)  The length and breadth of this Potta (pit) is always sufficiently broader than the diameter of the proposed temple.

(iv)  Hard stone slabs are laid at the bottom to create a level.

(v)  Then with uniformly cut hard stones, the four walls of the Potta are erected and the outer perimeter space between the pit wall and ground is properly filled with soil.

(vi)  The Astadala Padma Chakadda, is then laid at the exact spot required. This is a square or rectangular shape of hard uniform stone slab at the center of which an eight petaled lotus shape in exact geometric proportions is engraved. The petals are aligned to the north, north-east, east, southeast, south, south-west, west and north-west. The exact perpendicular line through the center of this Astadalapadma Chakadda determines the axis (rekha/meru) of the temple. The traditional method of such alignment is termed as Sanku.

(vii) Thereafter the Potta is properly packed up with large pieces of stone and soil, probably pressed down by elephants.

(viii) The Potta (pit) is leveled off at ground level with huge and thick cut theodolite stones.

(ix) Another layer of theodolite stones, corresponding to the shape and size of the ground plan called the Pithha is constructed. This is the base of the temple. In many instances, we see this Pitha at various levels of elevation.

(G) Bhunaksa-(the ground plan) : Keeping the Sanku (the vertical axis through the center of Astadala padma Chakadda) as the exact center of Garbhagruha, the ground plan of the proposed temple is engraved by the Stapati and Sutragrahani with the help of a sharp edged instrument, on the perfectly leveled Pitha. As temples in every of their details depend on proportions, complex ancient methods are used for correct geometric designing and executing the ground plan (bhunaksa) to ensure long term stability and aesthetic appearance of these huge structures. Simplicity or intricacy of the temple is reflected in this ground plan, Bhunksa.

Thereafter, the Bardhanikas set about precut stones, under the strict vigilance of Sutragrahani as per the Bhunaksa. Deula gaddanni has started.

Temple architecture in Orissa evoluted over a long period of time. Stipulated architectural principles with ample provision for artistic improvisation enabled the progressive generations top excel in splendor and created masterpieces in stone called the Temple of Orissa.

Temples in Orissa are based on certain fundamental principles of stability and take cue from the human body. The superstructure is basically divided into 3 parts, the Baada (Lower Limb), The Gandee (Body) & the The Mastaka (Head). Accordingly, treatment to the different parts, are given from the architecture to the final ornamentation of the Temple.

In this chapter we shall dwell on the different types of temple and their different structural parts. As already stated, Orissa Temples are based on the equation of proportions. Hence we shall also try to simplify some of the principle proportion for basic understanding :-

TYPES & SUB CATEGORIES OF TEMPLE

(3) BAITALA or KHAKARADEULA

Besides these 3 primary types of Temples, We also come to see temples with admixture of styles in Orissa.

Rekha Deula or Rathaka Deula are also called the Vimana or Garbhagriha or Sanctum Sanctorum. Rekha or Rathakas also called as Paagas, are fundamentally the curvilinear pilasters those rise from the base (plinth, pithha) to the bottom of Mastaka. These Rathakhas or Paagas play vital role and based on these Rathakhas. Temples in Orissa are sub-classified as :-

These increase in the number of Paagas or Rathakhas are over many generations and as a result of progressive improvisation. While Eka Ratha Deulas are the most ancient fundamental temples, these have become extinct. Most temples fall under the Pancha Rathaka or Sapta Rathaka Deula subcategory. Naba Rathaka Deulas are very rare and are ultimate examples of Kalinga Temples architecture.

Rathakas ::

Are the curvilinear pilasters like structures, risinging vertically from the 'Pittha' (plinth), continuing through two of the three body segments of the temple (the Badda and the Gandhi) and terminate at Bissama, below the Mastaka part. These pillisters or Rathakas are also called Paagas actually characterise the temple. Primarily these Paagas are ::

(i) Raha Paaga.
(ii) Annuraha Paaga or Annartha Paaga.
(iii) Kannika Paaga or Kani Paaga.

The subdivision of Annuraha and Kannika Paagas are also reffered as Parirathaka and Parikanika.

As already stated, the three vertical segments of a temple are the Bada, the Gandhi and the Mastaka. These are again subdivided into various structural components ::

(A) BADDA :: ::

Badda is the vertical section of pilasters from the Pithha (plinth) upto 1/3rd the height of a Meru Saili Rekha Deula, measured upto the base of the Kalasa. The enclosure created by this Bada is the Garbhagruha or sanctum sanatorium. The different vertical sections of Bada are ::

(i) Paabhaga or Paada--(sacred foot).

(ii) Taala Jangha.--  (lower leg).

(iii) Bandhanni.--  (knee).

(iv) Uppara Jangha.--  (upper leg)

(v) Barandi.--  (waistline).

Depending upon the combination of these parts, Bada is again sub-catagorised as ::

(a) Trianga Bada. -- With Paabhaga, Jangha and Barandi. This is an initial stage in the evolution of Orissa Temple Architecture, when the Jangha was not subdivided.

(b) Panchanga Bada -- With Paabhaga, Tala Jangha, Bandhani, Uppara Jangha and Barandi.

In brief, the proportion of these vertical sections are ::
Barandi = Paabhaga = A. Tala Jangha = Uppara Jangha = 5/6 A and Bandhanni = A/3.
And A = 8 units when temple height is 100.

Paabhaga and Barandi ::

Paabhaga and Barandi are the two vertical sections at the bottom and top of Bada respectively. These are created of various horizontal designs in stone called the Karmas like Khura, Kumbha, Padma, Pati, Kanni, Basanta etc. Combination of 3, 5, or 7 of these Karmas are termed as Trikarma, Pancha Karma or Sapta Karma respectively. While Paabhaga is generally in Trikarma or Panchakarma, Barandi is usually Saptakarma.

Gandee

Another important component of Gandi are the Kannika Paagas. These pilasters are created of horizontal bar (Barandi) like designs and at every 3 or 4 or 5 such Barandias a Bhumi (level) is create. Often this demarcation is marked by Bhumi Amala (goose berry like structure corner stone). And depending upon the height of the temple we come to see between five to ten such Bhumis.

The head segment of temple generally divided into six parts ::

(i) Beki ::     The neck

(ii) Tripatta Dhara ::     Three thin line on upper portion of Beki and just under Amalakasila.

(iii) Amlakasila::     Or also called the Amlakashree. Is the face part. A goose berry structured stone.

(iv) Khapuri::     Cap like structure on the Amlakasila.

(v) Kalasa ::     Is the sacred pot and has 8 subparts like Pada, Dori, Handi, Patti, Handi, Beki, Khapuri and Ghaddi.
So also called the Astanga Kalasa.

(vi) Ayudha::     The sacred weapon. Generally we come across the Trishula, the Chakra and the Neela Chakra.
These are firmly located on the Astanga Kalasa. And Dhwaja (flag) is tied to this Ayudha

Invariable superior stones are used for the Mastaka part. Specially the Kalasa is often made of the best (Mugunni) stone and in large Kalasas, more than one stone are joined properly and used. Ayudhas being very delicate and placed at the apex of a temple, are generally made of Astadhatu (alloy of 8 metals) though we still see very few Ayudhas made of stone.

While in a Meru saili Rekha Deula, the height is between 2.5 to 3 times of the base of the temple, in Padmagarbha and Rathakajukta Rekha Deulas, the proportion is much less. In a Padmagarbha, the Gandi part is plain and the temple appears like a Siva Linga. Where as in a Rathakajukta Rekha Deula the Rathakas or Paagas are prominent in the Bada and Gandi part of temple.

 With this in brief on Rekha Deulas we shall proceed to the other type of temple called Pidhha Deula.