KONARK TEMPLE

HOME SAND ART AND PATA CHITRA KONARK TEMPLE MUKTESWAR TEMPLE

INTRODUCTION

Architecture in Orissa found its supreme expression in the form of temples, some of which are among, finest in the country. Of these, three are most famous the Lingaraja temple at Bhubaneswar (11th century), the Jagannath Temple at Puri (12th century) and the great Sun Temple at Konark (13th century). These mark the culmination of a distinct style of architecture called the Kalinga style remarkable in its plan elevation and details of decoration. In the simplest form, a temple of this style consists of a structural due, the main temple or shrine and the frontal porch. While the main temple, called Vimana or Deula, is the sanctum enshrining the deity the porch or assembly hall called Jagamohana is the place for the congregation of devotees. The former, constructed on a square base, has a soaring curvilinear tower (sikhara) and is known as rekha deula. The laatter built on a rectangular base is a pidha temple, i.e. its roof consists of pidhas which are horizontal platforms arranged successively iii a receding formation so as to constitute a pyramidal superstructure.- Although the two temples are architecturally different, they are constructed in axial alignment and interconnected so as to form an integral pattern.

KONARK TEMPLE

HISTORY 

Konark is also known as Konaditya. The name Konark is derived form the words Kona - Corner and Arka - Sun; it is situated on the north eastern corner of Puri or the Chakrakshetra. Konark is also known as Arkakshetra.

This temple built in 1278 CE by the Ganga  King Narasimha Deva  is one of the grandest temples of India and was referred to as the Black Pagoda. The ruins of this temple were excavated in late 19th century. The tower over the Garbagriha is missing, however the Jagmohana is intact, and even in this state, it is awe inspiring.

Legend has it that Samba, the king of Krishna and Jambavati entered the bathing chamber of Krishna's wifes, and was cursed by Krishna with leprosy. It was decreed that he would be relieved of the curse by worshipping the sun God on the sea coast north east of Puri. Accordingly Samba reached Konaditya Kshetra and discovered an image of Surya seated on the lotus, worshipped him and was relieved of his curse.

It is said that the temple was not completed as conceived because the foundation was not strong enough to bear the weight of the heavy dome. Local beleif has it that it was constructed in entirety, however its magnetic dome caused ships to crash near the seashore, and that the dome was removed and destroyed and that the image of the Sun God was taken to Puri.

PLAN

Height

Now it is estimated that the present height of the Mukhasala is 130 feet. The upper portion consisting of Kalasa and Khwajapadma has been broken. And this broken portion is stated to be of 20 feet in height. So the original height of the Mukhasala was about 150 feet (45 meters). Almost all historians as well as the Engineers have agreed to this measurement. Sri Manmohan Ganguly has described the present height of the different parts of the Mukhasala as follows:-

Pitha (Platform) ..... 16'.6'' (5.029m.)
Wall ..... 39'.10''(12.141m.)
Lower Jangha = 10'.11''
Lower Barandi = 8'.10''
Bandhana = 2'.7 1/2''
Upper Jangha = 9'.4''
Upper Barandi = 8'.1 1/2''
................39'.10'')
Pidha roof ..... 46'.1''(14.046m)
(1st Pidha = 15'.5''
Between 1st and 2nd Pidha = 8'.10''
2nd Pidha = 10'.7''
Between 2nd and 3rd Pidha = 5'.7''
3rd Pidha = 7'.4''
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46'.1'')
Beki, Sree, Khapuri and Amalak .....25'.9'' (7.848m)
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Total.....128'.2'' (39.064m)

Excepting the Jagannath temple at Puri the porch of Konark is the heighest of all the other temples in Orissa.

PLAN OF NATA MANDIR

Interior

The interior of the porch has been sealed in 1904 by filling it up with stone boulders, lime and stand and the doors have been closed. So its description is not possible presently. According to the available books there were no sculptural works inside the Mukhasala. The length and breadth of the inside floor was of 60 feet (18.288 cm.).

It is also described that there was a lower roof inside the Mukhasala. This lower roof was said to have rested on four pillars and iron beams. This lower roof collapsed in 1848. Due to fall of this tower roof the inside was filled in with stones. The inside walls had been plastered by the mixture of lime and sand.

THE TEMPLE - architecture

The Konark temple is widely known not only for its architectural grandeur but also for the intricacy and profusion of sculptural work. The entire temple has been conceived as a chariot of the sun god with 24 wheels, each about 10 feet in diameter, with a set of spokes and elaborate carvings. Seven horses drag the temple. Two lions guard the entrance, crushing elephants. A flight of steps lead to the main entrance.

The nata mandir in front of the Jagamohana is also intricately carved.  Around the base of the temple, and up the walls and roof, are carvings in the erotic style.  There are images of animals, foliage, men, warriors on horses and other interesting patterns. There are three images of the Sun God, positioned to catch the rays of the sun at dawn, noon and sunset.

Apart from the depiction of the stone wheels and the caparisoned horses drawing the colossal chariot of Sun God, the Konarak Temple is a typical example of the Orissan temple architecture. The temple is not different from those of other regions. On plan, the temple consists of a deul (sanctum sanctorum or the sanctuary), antarala, jagmohana (porch or the mahamandapa) and a bhoga-mandapa, the latter being detached from the main temple complex as a separate unit, but along the same alignment with the main temple. The only variation from the other temples of Orissa and that can be viewed here that the temple proper stands on a huge platform, the sidewalls of the platform utilised for the depiction of the richly embellished stone chariots. 

The deul is a typical rekha deula of the Orissan order marked by the curvilinear sikhara, which could have originally marked with the typical karma-amalakas. The jagmohana (frontal porch, mahamandapa) is the typical pidha deul with receding pidhas resembling a pyramidal roof. Both the rekha and pidha deuls were crowned by amalaka and a stupi. The rekha and pidha deuls are square on plan inside, while the outside is a typical example of a pancha-ratha structure known as rathas or pagas in Orissan architecture. The central projection, also the most pronounced one is known as raha paga, while the middle one is anuratha-paga and the corner one is known as kanika-paga. Apart from these major projections, numerous other minor projections and recesses could also be discernible.

On elevation, both the pidha and rekha deuls are divided into the components namely, pishta (or jangha, the platform), bada (the wall portion, the vertical wall), gandi (the portion immediately above the bada, the ‘the trunk portion of a body’; in a rekha deul it is curvilinear, while in a pidha deul it is pyramidal) and mastaka (the crowning element, ‘head’; it consists of beki (neck), amala, khapuri, kalasa). It is also easily discernible that there is no marked difference between the pidha and rekha deuls up to the top of the bada portion. The bada portion further consists of pabhaga (foot) which is composed of five broad mouldings, tala jangha (lower shin), bandhana (a set of mouldings which divides the jangha into two, namely the tala and upara jangha), upara jangha (upper shin) and the veranda which is again a set of mouldings, the number may vary, here in the pidha-deul there are ten mouldings.

The pidha-deul as described above is in the form of a stepped pyramid with receding tiers of pidhas, arranged into three tiers, called as potalas. The gandi portion of the pidha-deul is preserved fairly at the Konarak temple. However, the gandi portion of the rekha-deul and a large part of the bada had collapsed long ago. Even the extant remains of the rekha-deul remind us of the typical superstructure it should have once had. The bhoga-mandapa as stated above is detached from the main temple structure. The mandapa is a pillared edifice, now open to the sky. 

The stones are laid in ashlar masonry, the individual stones were carved and finished smoothly and hence the joints are less visible. These stones were placed on one another firmly due to their own weight supplemented by the use of iron dowels to hold them properly in their place. 

The evidence indicates that three different kinds of stones were used in the temple construction. The stone type known as khondalite was used largely for the temple construction while the high quality chlorite was used for the doorjamb and some sculptures. The interior core of the temple and other structures were largely constructed using the laterite stones. The selection of khondalite which is a variety of garnetifeours felspathic gneiss that is prone to easy weathering and chemical alteration had been a major cause in the gradual disintegration of the temple. Most of the garnet composition is decomposed into a spongy mass of oxide which is further deteriorated by the saline winds and heavy rainfall witnessed in this region. Hence it is been an arduous task conserving this temple.

SCULPTURE IN KONARK TEMPLE

THE SCULPTURES OF KONARK TEMPLE ARE FAMOUS FOR MINUTE DETAILING AND EROTIC NATURE.

FAMOUS WHEEL OF KONARK TEMPLE

Walls And Piers

The walls of the Mukhasala begins from the Lotus pitha. It has been built in Panch Ratha type containing five divisions- Pabhaga, Tala Jangha, Bandhana, Upper Jangha and Varanda. There are three tiers of Pidha on the walls. Its roof is of a terraced pyramidal shape and the string cornices are separated by three tiers by means of high recesses, which contain a number of beautiful life-sized standing figures of women in various dancing poses, plying on different musical instruments like drums, flutes, vina and cymbals, depicting the usual customs of offering dances, by the devadashis at the time of arati.Among these three tiers have six Pidhas (layers). Each tier is prominently separated from the other. The distance between first and second tier is 7 feet and between second and third is 5'.7'' (1.701m). Just on the doors of east, south and north there are figures of Bhairava (Lord Siva) on the lower parapet. The images have four heads and six arms each.

Above the tiers there exist Sribeki, Sree, Sree Khapuri, Dori, Amalak Beki, Amalak Sila, Amalak Khapuri and Kalasa Pada. The Kalasa and the Dhwajapadma on its top have been broken. There are eight lions around the Sree-Beki. They seem as if they have been pressed by the pressure of the upper portion of the Mukhasala. There are some to have taken pains to support the Amalak stone on their backs and, as is seems, there is every likelihood of falling of the Amalak if they loose their hands at any moment.

Doors

There were four doors in four sides of the Mukhasala. The western leads to the main temple, whereas the others lead to the porches outside. The doors are made of black chlorite and full of sculptures. The breadth of these door jambs on both the sides are of 14'.6'' (4.42m.) each and the front elevation is 6'.10'' (2.082 m.).

In the past there were two pillars in front of the eastern door extending the door to 16 feet (4.876 m.) forward. Above these pillars the Navagraha Paata was kept on iron beams of 21 feet (6.4 m.) long. This fell down in the year 1628 A.D.

Flight Of Steps

Now there exist remains of flight of stairs in front of the doors of the Mukhasala in east, south and north direction. Each side had 17 steps according to Madalapanji. The length and breadth of these steps were 42'.6'' (12.954 m.) and 3'.6'' (1.66m.) respectively. No regular steps were provided for going up to the their, as, on account of religious sentiments, people were not probably allowed to go there. In spite of that, a few stones were provided in the rear wall above the corridor  of the inner sanctum for climbing up, as and when absolutely necessary.

In front of the eastern staircase there were two big figures of rampant lion each crouching on an elephant. Now these two have been placed in front of the Naata Mandir. Similarly in southern front there were two war horses and in the northern front there were two big elephants. Now they have been placed in separate pedestals in respective sides at a few meters distance from their original position.