5. Types and Sculptural Features of Orissan Temples (Introduction)

The history of sculpture in Orissa in the early medieval period is linked with the development of temple architecture and shares the same evolutionary process as in architecture. 52 The interior walls of the temple are generally plain but the exterior is fully decorated. The profusion of sculptures on the body of the Orissan temples has evoked admiration of the critics of Indian art. According to Stella Kramrisch, "the coherence of its monumental shape is enriched by its carvings; no where else in India are the walls of the temple as intimately connected with their sculptures. The temple here is a work of monumental sculpture of which the single carvings form the intricate surface". 53 The Orissan temples are remarkable for the abundance of sculptures. There are so much of sculpture that 41

very aptly Stella Kramrisch has remarked "Architecture in Orissa is but sculpture on a gigantic scale". 54 The artistic activity found expression in images of the divinities, decorative motifs and figure sculptures. The temple sculptures constitute the predominating class among Orissa's artistic achievements. The interior walls of the vimana as well as mukhasala are completely undecorated. The Silpa texts are silent as to why the interiors are to be left plain. The interior of the deula or sanctum is conceived as the garbha or womb of the cosmic being.55 In conformity with the idea of garbha the walls have been left plain. The plainness of the walls also emphasizes the serene and solemn atmosphere, which is required for the performance of the rituals of the presiding deity. The interior walls of the mukhasalas of the earlier temples were also left plain. The interior of the mukhasala of a few temples belonging to the later period are found decorated with sculptures. But this practice could not become popular and therefore was not insisted upon. So the interiors of both the mukhasala and vimana have been kept plain as far as possible but the exteriors have been fully decorated. The plain interior when constructed with the ornamented exterior of the temple, it appears to have a symbolic significance. As Coomaraswamy observes "Love and desire are part of life. Life is a veil behind or within which is god. The outside of the temple is an image of this life, samsara and the carvings on it represent everything that belongs to samsara and perpetuate illusion, every bond and each desire of loveliness that binds men to the wheel of life and death. Within, in an empty chamber the image of god is alone, lit up by tiny lamps seen from very far away by the approaching worshipper. This symbolism of phenomenal life as an embroidered veil beyond, which the devotee must pass to find his god has perhaps always and everywhere been present, whether consciously or not, in the mind of Indian Cathedral Builders".56 A perfect harmony between the architecture and sculpture has been achieved on the Orissan temples. After a period of tentative efforts, the Orissan craftsmen succeeded in achieving an orderly arrangement of the sculptural motifs and cult icons on the body of the temple. They also succeeded in securing the balance between grandeur and beauty; between height and elegance. The sculptures on the Orissan temples have not been treated in isolation from the architecture. The most unique about the Orissan temples is the perfect balance between the architecture and sculptures. The arrangement and distribution of the 42

sculptures on the temple is so masterfully done that the whole structure bears a graceful appearance. The sculptural repertory consists of human figures including kanyas and erotic figures, cult icons, animal figures including mythological and composite features; kirtimukhas, nagas and nagini; caitya window motifs, decorative designs like scroll works, architectural motifs viz rekha, pidha and khakhara mundis. The abundance of sculpture, however, in no way overshadows the architectural greatness and beauty. The sculptures have a vital relationship with the temple surface. When they get detached from the temple, they lose much of their grace and animation. The above mentioned sculptures on the Orissan temples can be divided into two broad categories such as one is non-iconic figures sculptures and decorative motifs and another is cult-images. They are categorically mentioned as follows: