5.4. Animal Figures in Odisha temples

The animals represented on the temples include elephant, horse, camel, boar, monkey, bull, lion etc. The representation of a giraffe at Konarka is interesting, this being the solidary representation of that African animal in Indian tempel art. From early times Kalinga was famous for its elephants and there is no 49

wonder that elephants form a very large part in the decoration. Elephants appear in a number of situations; they move in military processions, carry their masters and are driven into the kheda. The horses are generally depicted in the context of military scenes. The animal sculptures are met with both in early and late temples, but their representations at Konarka are the most impressive. The free standing elephants in the northern court-yeard of Konarka are distinguished by dignified bearing and largness of volume. Leaving apart the broken fragments of seven horses that once dragged the mighty chariot of the Sun god, the two war-horses that are still extant, are indeed among the finest representations of animal form. Commenting on one of these, Havel observes "Had it by chance been labelled 'Roman' or 'Greek', this magnificient work of art would now be the pride of some great metropolitan museum in Europe and America"." Here Indian sculptors have shown that they can express with such fire and passion as the greatest European art, the pride of victory and the glory of triumphant warfare. In Orissa (Odisha) sculpture lions are generally represented in their stylized forms. Lion sculptures are not peculiar to Orissa alone but "the Orissan artists have added and developed many new features and elements particularly in the treatment of the eyes, the moustaches and the manes, which are original and invigorating contribution to the motifs." The lion has been represented in various situation. It is seen on both sides of the main entrance as a guard, or a dvarapala and towering over a couchant elephant. It is also placed on the roof of the jagamohana and is invariably found in one of the three following postures e.g. (1) uda-simha or flying lion, as in the temple of Yukti-Kedaresvara, (2) jhapa-simha or rampant lion, as in the temple of Kedaresvara, (3) ksepa-simha or mad lion, as in the temple of Muktesvara.78 The lion is also noticed in the intervening space below the amalakasila. This representation of the lion is called dopichha simhas or two lions placed back to back. The sculptor was fully aware of the structural use of the lion motif and utilized it in its dopichha forms to support the crowning elements of the temple. The representation of jhapa simha is placed on the raha of later temples, giving the feeling as if the lion is jumping out from the structure with raised paws. The gaja-simha or the "lion standing on elephant" motif is notable alike for its symbolic significance and imagination handling. The gigantic pair in front of the natamandira of Konarka shows this motif as its best. The lion, with 50

J open mouth, lolling tongue, flamboyant manes, protruding eyes stands over the recumbent elephant. The majesty and vigour of the lion in contrast to the attitude of helplessness of the elephant are well expressed by the sculptor. Apart from the 'lion on elephant' motif, the vyala (locally called Vidala) figures are very popular in Orissa. The figures of vyalas or vidalas have been frequently used for the decoration of the temple walls of Odisha. The word vyala is a distortion of vikata, which means grotesque. Therefore V.S. Agrawala terms it "Grotesque in India Art".79 Various types of vidalas occur in the jangha of temples of later period. These motifs became a regular feature of Orissan temples. The popular devices include simha-vidala, gaja-vidala, asva-vidala usually carries a rider on the back. The basic appearance is that of a lion, but the bridle and the rider gives it a composite form. The gaja-vidala is an imaginative combination of lion and elephant; the body, tail and paws are of the lion but the face is that of an elephant. The nara-vidala is a unique product of medieval Orissan art and is found at Konarka. It is as O.C. Ganguly points out, "a predominating human conception with a benign and smiling face gently placing one of the paws on the head of the prostrate warrior at the feet, almost in a gesture of benediction, the right hand being posed across the breast almost in an equally amiable gesture of bestowing an asirvada". Whatever be the type, the Orissan vidalas in all cases are known for their dignified bearing, vitality and liveliness. The vyalas are placed in the recesses of the pilaster in the tala-jangha portion of the bada. They are found either on elephant mount or trampling an elephant and belong to different types described in the Vastu texts. Commenting on the vyala figures of the Orissan temples, M.A. Dhaky remarks, "The vyalas on the Kalinga temples such as Rajarani, Brahmesvara and Lingaraja temple at Bhubaneswar are composed, dignified and seem startingly alive, a specific Kalinga trait not paralleled any where else in India.80 The elephants on the temples have been most realistically treated. In the Orissan art the elephants occupy an important place. Lion on elephant is a very common motif found in the temples. The Muktesvara temple (earlier temple) is the only example where we find animal figures in plenty. These include, apart from lions and elephants, crocodiles, tortoise, bull, deer, crab and boar. The horse is noticed to be too frequently represented; but unlike the medieval sculpture of Europe it is far less met with than the lion or the elephant. It is often seen enclosed in panels with beaded borders on the face of the pidhas or the basanta of the 51

jangha. At Konarka it has been abundantly represented; and the huge on in front of the jagamohana at Konarka may be considered a masterpiece. In respect of this magnificent work of art, Prof Havell also says "The superbly monumental warhorse in its massive strength and vigour is not unworthy of comparison with Verochhio's famous master piece at Venice".81 Bull is seen represented in an Orissan temple, more especially in those belonging to the Saiva sect. It is observed in the Jaina gumpha at Khandagiri as the Vahana of Risava Deva, the first Tirthankara of the Jainas.82 In a Saiva temple it is represented as the vahana or carrier of Lord Siva. The huge bull carved out of a single block and placed in a small temple abutting on the north side of the natamandira within the precincts of the Lingaraja temple, Bhubaneswar, may be cited as a well proportioned and nicely carved example of the animal. The makara or Capricornus like the lotus is an ornamental device, which can be traced from the earliest Buddhist period down to the medieval times, and which is met with in all the Indian Styles of architecture and sculpture. In the medieval Orissan sculpture the makara is seen as a gargoyle or long projecting spout through which rain water or temple washings are meant to be discharged clear of the wall; it is also noticed at the springing of the arched gateway or torana in front of the temple. The torana of the temple of Muktesvara may be cited as an example. The most elaborately and artistically worked gargoyle of Rama Candi temple at Konarka may be cited as a fine specimen of this decorative form. The makara is represented in various forms, with huge distended jaws set with teeth, with a short or elongated curling snout, or trunk and magnificently carved fins and tail.