3. Sculptures of Lord Jagannatha Temple

The sculptures of the Jagannatha temple epitomize the best specimen of the Orissan School of Art, which is recognized by archaeologists as well as scholars as the Kalinga School of Art. After complete deplastering by the Archaeological Survey of India, Bhubaneswar Circle in 1980's, the detailed description of the sculptures of the vimana or main deula could be made possible to identify by scholars as well as visitors. The deplastered surface of the main deula (vimana) of Jagannatha temple has brought to light an array of sculptures and other decorative details. In this connection, G.C.Chauley opines that the minute designs and figurines have been carved and cut in stone with such consummate skill that they create almost an illusion of wood or ivory carvings.5 The vimana and the bhogamandapa mostly display the sculptural activities of the temple. But due to the application of thick lime plaster on the walls of the jagamohana and the natamandapa, the detailed sculptural activities of these two structures are not clearly visible. The history of sculpture in Orissa in the early medieval period is intimately linked with the development of the temple architecture and shares the same evolution process as in architecture. The interior walls of the Jagannatha temple are mostly plain while the exterior walls are profusely carved with sculptural elements. Various types of sculptures are elegantly depicted in the

different parts of the temple. The sculptures of the Jagannatha temple constitute the predominating class among the sculptural achievements of Orissan temples. The temple of Lord Jagannatha is adorned with excellent sculptures of cult images and the non-ionic figures & decorative motifs. They are categorically mentioned as follows:Cult Images or Religious Sculptures:Depictions of various types of cult images are found from the different parts of the Jagannatha temple. They are such as presiding deities, parsvadevatas, navagrahas, dikpalas, Vaisnavite deities, Buddhist & Jaina Images, Worship of Durga-Madhava and Sivalinga, Jaya-Vijaya Statues, other deities and Mythological scenes. Presiding Deities:The garbhagrha is generally called as sanctum of the temple. This is the main part of the vimana where the daru or wooden images of Jagannatha, Balabhadra and Subhadra as well as the emblem of Sudarsana are installed on the throne known as Ratnasimhasana or Ratnavedi.58 Other deities such as Madhava (a small image of Jagannatha), Sridevi (a golden image of Laksmi) and Bhudevi (a silver image of Sarasvati) have also taken their seats on the Ratnavedi. Sridevi is on the left side and Bhudevi on the right side of Lord Jagannatha respectively. The main images of Jagannatha, Balabhadra and Subhadra are the presiding deities of the temple (Pl.No-35). The images of Jagannatha, Balabhadra and Subhadra are carved out of the Nim wood, which is best wood available for the purpose in Orissa. It is hard, close grained, susceptible of high polish and not liable to wrap or crack, while its bitter taste makes it proof against the ravages of works and insects.59 The images of 'Trinity' are made each of one solid block, the hands being formed of separate pieces. These images look like human heads, eyes, resting on a pedestal. There is no carving or painting of any kind to indicate the ears. The images of Jagannatha and Balabhadra have arms projected horizontally forward whereas the image of sister Subhadra is entirely devoid of Human form. According to Niladri 60 Mahodaya the image of Jagannatha is based on 'Cakrayantra'. The significance of 100

64 prescribing the 'Cakrayantra'for Jagannatha is evident from the colour of Cakra as well as that of the deity and the title Cakradhari given to Lord Jagannatha. The image of Jagannatha has circular eyes, a straight headline, a square knob on the head and black colour. Its nose is large and very much hooked. The mouth is crescent shaped.61 The size is slightly shorter than that of Balabhadra and its height is 84 yavas.62 The word Yava is used as to imply the breadth of a grain of barley. The image of Balabhadra is based on Sankhayantra according to which he is shown in the colour of the ssankha (conch-shell) i.e. white.63 The image of Balabhadra should have a total length of 85 pavas or a little above 7 feet. One pava is used as equal to one inch. His mouth is indicated by paint in the shape of crescent. The nose is large and hooked as that of Jagannatha. Two red spots indicate the nostrils of Lord Balabhadra. The eyes, which are oval, placed on the inclined surface, look as if they were obliquely set, the outer corners rising upwards. There is no carving or painting of any kind to indicate the ears. The arms project laterally and horizontally in a line with the mouth and the forearms project forward, ending in stumps without any hands. The image of Sudarsana is based on the Gadayantra.65 The Sudarsana Cakra is a mere stump, 84 yavas long and 21 yavas in thickness." The whole of its surface is carved in a check pattern. There is no any sign of wheel mark on any part of this staff. Generally the priests of the temple say that a wheel mark is stamped on the top of it. The image of Subhadra differs from the images of Jagannatha as well as Balabhadra and having a rounded head. Apparently the image has no arms. The eyes are oval and nose is not as distinctly indicated as in the other two images of the 'Trinity". It's total height is 52 pavas. Seven deities have been installed on the Ratnavedi or Ratnasimhasana, so it is known as 'Sapta varna Pitha'.68 The presiding deities are painted every year during the fortnight preceding the Car-festival, which period is called as Anasara. The daru (wooden) images are renewed every 12-18 years when there are two months of Asadha. Parsvadevatas:On the three sides central niches (north; west and south) of the bada of vimana are housed with parsvadevata images of Trivikrama (Vamana), Narasimha and Varaha. The four handed standing image of Trivikrama is 101

housed in the northern side niche of the raha paga of bada (Pl.No-46). The right leg of deity is firmly set on the pedestal, while the left leg is stretched upwards. A tiny image of Brahma is placed above the uplifted leg of deity. The image of Trivikrama displays gada (mace) in right upper hand, cakra in left upper hand, lotus flower in right lower hand and conch (sankha) in left lower hand respectively. The background slab of the deity is decorated with trefoil makara headed arch crowned by the kirtimukha motif. Two female figures are depicted in standing posture on the both sides of deity and displaying lotus in their hands. Beneath the uplifted leg of deity, the dwarfish Vamana is carved as receiving the gift of three steps of earth from king Bali, who is accompanied by his wife. Saint Sukracarya is shown raising his hands up with dismay. The four handed massive image of Narasimha is housed in the central raha paga niche of the western or back wall (Pl.No-47). The deity holds cakra in upper right hand and a gada in his upper left hand. The lower two hands are engaged to take out the entrails of Hiranya Kashyapu, the demon king. He wears a vanamala round his neck instead of a flower garland. His face is fierce looking. R.L.Mitra has described that on the western side a colossal image of Narasimha is depicted loaded with ornaments and dressed in figured brocade cloth like that of the Kartikeya of the Bhubaneswar temple." The backside head of deity is relieved with trefoil makara headed arch. The four handed image of Varaha has been installed on the double petalled lotus pedestal and it is noticed in the southern side rahapaga niche of the bada (Pl.No-48). He possesses cakra in right upper hand, gada in right lower hand, lotus (padma) in left lower hand and the left upraised arm bears the image of goddess Prthvi.70 M.M.Ganguly is of the view that the garments of Varaha show nice carvings like those noticed on the parsvadevata of the Lingaraja temple at Bhubaneswar." The background slab of the deity is decorated with trefoil arch; makara head at the base and kirtimukha motif at the apex. All the three parsvadevatas are carved out of black chlorite and they represent masterpieces of Orissan art. The parsvadevatas of the Jagannatha temple were placed on a high position in the rahapaga beyond any human reach, like that of 102

the Lingaraja temple." The counterparts of these parsvadevatas with such magnitude can only be noticed in the Konarka and Lingaraja temples of Orissa.73 Navagrahas.Rows of nine grahas or planets are carved on the architraves above the doorway as well as the gateway lintels of the Jagannatha temple. According to the Hindu astrologers, the propitiation of grahas leads to the annihilation of evils. The names of grahas are viz. Sun (Rabi), Moon (Candra), Mars (Mangala), Mercury (Budha), Jupiter (Brhaspati), Sani (Satrun), Rahu (ascending node) and Ketu (descending node). All the grahas except Surya and Rahu hold rosary in right hand and water pot in left hand. The navagraha slabs of the Jagannatha temple represent the typical Orissan mode of depicting them in a row. They are. carved out of black chlorite and seated in padmasana posture with usual attributes in their hands. Dikpalas:Asta-dikpalas are usually carved in their respective directions on the bada portions of Orissan temples. The khakhara mundi niches of the lower jangha of the vimana of Jagannatha temple contain seated figures of eight dikpalas (guardian deities). In the constructive order from the eastern quarter are to be placed Indra, Agni, Yama, Nairrta, Varuna, Vayu, Kuvera and Isana. The descriptions of the vehicles and weapons or ayudhas of the eight dikpalas are given here with starting from the northern face of the bada of vimana; we come across Kuvera or the god of wealth with characteristic vehicle of seven jars and bearing varada and abhaya weapons. In the north eastern niche, Isana or Mahadeva with bull as his vehicle is noticed holding trisula and kapala as his weapons. Vayu, the god of wind with stag or deer as his vehicle in the north western one and his weapons are cakra and ketana. Varuna, the god of water with makara (Capricornus) as his vehicle, is noticed in the niche of the western side. Sankha (conch) and padma are the weapons of Varuna. Nairrta with a human figure as his symbol, in the south-western one, khadga, dhala are the weapons of Nairrta. Yama, the god of nether regions with buffalo as his vehicle is seen in the southern niche of the southern face. Danda, khadga, trisula and 103

aksyamala aksyamala are the weapons of Yama. Agni sitting on a ram is placed in the southeastern one; aksyamala and kamandalu are the attributes of Agni. Indra, the god of rain with an elephant as his vehicle is seen in the eastern side (direction) of the vimana. Vajra and ankusa are the weapons of god Indra. The rekha-mundi niches of the tala jangha of the bhogamandapa are comfortably housed with astadikpala figures while the pidha mundi niches of the upper jangha are housed with female counterparts of the asta-dikpalas. They are installed with usual attributes in hands riding their respective mounts and directions like in the vimana. Vaisnavite Images: In course of deplastering the frontal walls of all the three nisa shrines, G.C.Chauley has noticed that on the both sides of each doorjamb of the parsvadevata shrines, figures of Visnu, four on either side carved depicting the twenty four forms of Lord Visnu.74 They are such as Kesava, Madhava, Damodara, Narayana, Visnu, Govinda, Madhusudana, Trivikrama, Vamana, Sridhara,Hrsikesa,Padmanabha, Sankarsana, Vasudeva, Pradyumna, Aniruddha, Adhoksaja, Purusottama, Narasimha, Acchyuta,Upendra, Janardana, Hari and Krsna. 75 The discovery is unique of its kind in the context of Visnu iconography, in Eastern India as so far no where in India all the 24 forms of Lord Visnu are depicted within any known temples neither in South nor in North India." The upper jangha of the vimana has pidha mundis containing deities including the ten incarnations (avataras) of Lord Visnu such as Matsya, Kurma, Varaha, Narasimha, Vamana, Parasurama, Rama, Balarama, Buddha and Kalki. Each side anuratha paga of the sikhara of the vimana contains the images of Vaisnavite deities. The surface of the sikhara or gandi of vimana are carved with the figures of deities of the Hindu pantheon. The figures of 'trinity' i.e. Jagannatha, Balabhadra and Subhadra are depicted in northern side rahapaga of the gandi of vimana. About 30 feet further down, the monkey god Hanumana is seen. Noteworthy is the figure of Narasimha with Laksmi flanked by two attendants. Below it is depicted with the composite figure of Hari-Hara provided with eighthands and flanked by Balarama and Krsna with two cowherd boys to the further 104

right." Garuda figures are inserted in the four cardinal directions of the beki above rahas of the vimana as well as the jagamohana. There is a seated Narayana image noticed on the northern side rahapaga niche of the upper jangha of the jagamohana. He displays the usual attributes viz. sarkha, cakra, gada (mace) and padma in his four hands. The inner walls and the supporting pillars of the natamandapa are richly decorated with Vaisnavite deities such as Visnu alongwith Laksmi, Narasimha (calm posture), Narayana etc. Behind the Garuda pillar on inner wall of the eastern side of the natamandapa, there are interesting sculptures, which generally attract the attention of visitors those who come to temple. On one sidewall of the natamandapa, there are sculptures of the ten incarnations of Lord Visnu. Close by, on the eastern wall, the sculptures depicting the scene of Kanci-Kaveri expedition of Lord Jagannatha and Balabhadra are the later addition. In this scene, Jagannatha and Balabhadra are depicted mounted on horse back with a milkmaid carrying a jar of curd on her head. This milkmaid (Manika gaudini) is also displaying a ring before them. According to tradition, this Manika gopalini (milk woman) gave curd to Lord Jagannatha and Balabhadra when they were setting out in disguise, for Kanci to help King Purusottama Deva in the battle against the King of Kanci. Ratnagir Rao has also pointed out that the incident of Kanci-Kaveri expedition of Lord Jagannatha and Balabhadra find pictorially representation in the hall of natamandapa.78 An image of Narasimha is depicted in a small niche on the pista portion of the bhogamandapa. The tala jangha portion of the bada of bhogamandapa also contains the images of Visnu and Narasimha. Another image of Narasimha has also been depicted on the upper jangha portion of the bhogamandapa. There is a bas-relief of Ananta sayee Visnu depicted on the southern outer wall of the bhogamandapa. The ten incarnations of Lord Visnu are also noticed in the recesses or kanthis between the potalas of sikhara of the bhogamandapa. In the northern side inner wall of the main entrance porch (eastern side) of the Jagannatha temple, there is an image of Lord Patitapavana, the friend of the down trodden people. The low-caste people and non-Hindus, who were 105

denied to enter inside the temple precincts, have seen this replica image of Lord Jagannatha. A small image of Garuda has been installed in front of it. The idols of Hanumana, Radha-Krsna and Narasimha have been installed in the niches of the sidewalls of the main entrance porch (hall) of the temple. Buddhist and Jaina Images: The images of Lord Buddha and Jaina Trithankars are rarely noticed in the temple of Lord Jagannatha. The upper jangha of the vimana is decorated with pidha mundis one of which contains the image of Lord Buddha (one of the ten incarnations of Lord Visnu)."The lower potala of the southern side of the bhogamandapa is also relived with an image of Lord Buddha. It is also interesting to find a small image of Jaina Tirthankara placed in a niche of the jagamohana of the Jagannatha temple. Worship of Durga -Madhava and Sivalinga:The most significant sculptures engraved on the outer niche of the northern side of the bhogamandapa is the worship of Durga, Madhava (Jagannatha) and Sivalinga by the king.80 This scene not only shows the essence of kings liberal policy but also represents the religious harmony that prevailed in medieval Orissa(Pl.No-49). Pandita Surya Narayan Das has described that the main objective of the depiction of 'trinity' (i.e. Siva-Durga-Madhava) seems to have traditionally worshipped together in Orissa. 81 Here, Jagannatha is shown along with Siva (linga) and Durga. This shows a definite syncretic tendency. 82 In the same panel, the king is shown accompanied by his female attendants. A peculiar feature in this panel is the presence of a bearded ascetic like the figure is shown shaking hands with the king. K.C.Mishra has identified here that the king might stand for Indradyumna, and the bearded male figure may represent the Savara chief Visvavasu. 83 Jaya-Vijaya Statues: Jaya and Vijaya statues are also noticed at the different parts of Lord Jagannatha temple of Puri. The doorway of the jagamohana leading to the natamandapa is known as Jaya-Vijaya dvara. Both the statues of Jaya and Vijaya 106

84 possessing as usual attributes in their hands installed on either side of the doorway. They are the celestial creatures of heaven who guard the Ratnasimhasana of the garbhagrha. Other club wielding Jaya and Vijaya figures are also found at the entrance to the bhogamandapa. They are acting as the traditional dvarapalas of the temple. Other Deities: Besides these, other deities are also depicted in the different parts of the temple. The figures of Sri Caitanya and Ganesa are noticed in the niches of the southern face of the bada of the vimana.85 The top of the north eastern corner on the eastern side and in the middle niches of the sikhara of vimana are engraved with images of Nataraja and Surya. The image of goddess Kali is engraved on the southwest corner upper angasikhara of the western side gandi of the vimana. An image of Ganesa is also carved in a niche of the top most angasikhara of the southwest corner of the southern face of the gandi of the vimana. The figures of Brahma and Siva installed at the southern side doorway of the jagamohana are more prominent. The four headed Brahma figure displays kamandalu in left lower hand and palm leaf manuscript or pothi in right lower hand. The upper two hands are joined at the chest as in anjali mudra (praying posture). A diminutive female figure, which is identified by K.C. Mishra as devi Savitri is standing on his left. The figure of Siva displays spear in right upper hand, mayamrga in left upper hand and the lower two hands are joined at the chest portion in anjalimudra. Devi Parvati is standing in praying posture on the right of Lord Siva. Another four handed Siva image has also been depicted on the left side eastern inner wall of the natamandapa. He displays parasu and mayamrga in the upper two hands and the lower two hands are in anjalimudra. Devi Parvati has been installed on the right side of Lord Siva. There is a recumbent bull depicted on the plain pedestal of Siva. There are some figures of Lord Siva engraved on the bada portion of the bhogamandapa of the temple. They are such as Siva in tandava nrtya, worship of Sivalinga and they are carved in separate chlorite slabs. 86 107

The river goddesses Ganga and Yamuna appear on the eastern side doorjambs of the bhogamandapa with their respective vehicles such as makara (crocodile) and tortoise. The bottom portions of the both side doorjambs of the most of doorways are relieved with khakhara mundis in which the goddesses Ganga and Yamuna have been housed. The images of Gaja-Laksmi are mostly carved on the centers of the doorway lintels of the Jagannatha temple. There is an image of Daksinakali installed on the niche of the one of square sized pillars of the natamandapa. Mythological scenes: Mythological scenes are also depicted in the different parts of Lord Jagannatha temple of Puri. They have been derived from the life story of Lord Krsna as well as the story of Ramayana. Life story of Lord Krsna: In the western side niche of the pista of vimana is relieved with the images of Sri Krsna and Radha devi. The image of Krsna has been installed on the pedestal, which relieved with figures of cows. Here Krsna is playing on flute with dancing posture. Radha devi has been installed on the double petalled lotus pedestal and she is carrying a pot on her head. Some priests of the temple say it as Vanadevi. Most probably, this female figure is Radhadevi. The sculptured friezes of the patta of vimana mostly depict episodes from the life story of Lord Krsna. Noteworthy scenes among these are such as sakata bhanga, Kaliyadalana, lifting of Govardhana Mountain etc. U.K.Subudhi has also stated that the patta measures about 6 inches in width and displays a sculptural panel containing episodes from the life of Lord Krsna of the Bhagabata Purana. 87 The Kaliyadalana scene of Lord Krsna is engraved on the sikhara of the vimana of temple. Some scenes of the life story of Lord Krsna are also depicted on the top of the plinth nearby the jagamohana in a row and it is quite striking. Here a scene depicting Lord Krsna is returning from grazing field with cows & calves accompanied by the cowherd boys and gopis. 108

| The inner side pillars of the natamandapa contain the images of RadhaKrsna Yugala-murti. Here Krsna is playing on flute under the Kadamba tree. The chlorite figures contained in the niches of the barandi of the bhogamandapa are very important as they also depict various scenes from the Indian mythology. The upper barandi of the bhogamandapa is relieved with different scenes of Lord Krsna such as Krsna is standing with gopis, Aghasura badha, Putana badha, Bakasura badha, lifting of Giri-Govardhana and child Krsna with gopis. They are finely depicted in the plinth or pista portion of the bhogamandapa. The khakhara mundis of pabhaga of the bada of bhogamandapa are relieved with the dancing figures of Krsna. The tala jangha niche of the bada of bhogamandapa also contains the figure of Krsna who is playing on flute with dancing posture. Lord Krsna's entire gopalila scenes are also elegantly depicted on the upper jangha portion of the bada of bhogamandapa. The scene of Krsna lila from his childhood upto the prime of his youth has been depicted on the bhogamandapa.38 Ramayana Scenes: The niches of the upper jangha of the vimana contain pidha mundis, one of which is housed with an image of Lord Rama. Below is found the Hanumana figure in the sikhara of vimana. Then comes the scene of the monkeys with Lord Rama and a little higher up is noticed the figure of Dasanana (Ravana) in a flat niche guarded by two gate keepers in both sides. There is a small solitary figure of Sita on the same level with the monkey scene. Hanumana is represented as making obeisance to her.89 Images of Rama and Balarama are finely carved on the pista portion of the bhogamandapa. Another notable scene such as Dhenuka is carrying Balarama on his shoulder, Rama and Balarama are depicted in standing posture with a Varaha image, abhiseka scene of Rama and Sita, archer scene of Lord Rama and the lifting of the Gandha Mardana Mountain by Mahavir Hanumana. In a niche of the upper jangha of the bhogamandapa contains the scene of Rama and Laxmana are sitting on the throne. 109

Non-Iconic Figures & Decorative Motifs Besides the depiction of Cult images or religious scenes, the non-iconic figures and other decorative elements are also finely carved on the different parts of the temple of Lord Jagannatha. These types of sculptures include alasakanyas, erotic figures, secular scenes and figures, animal figures, caitya window motifs, naga-nagini figures, kirtimukha motifs, scroll works, Rahu figures, vajra mastaka panel and other decorative designs. Different types of non-iconic figures and decorative elements of Jagannatha temple are being mentioned below: Alasa kanyas. The temple walls of Lord Jagannatha contain the female figures, which occur in a variety of graceful poses and postures. The decorative female figures depicted in the mood of lassitude, are known as alasa kanyas in Orissa. The bandhana portion of the bada of vimana is decorated with the standing figures of kanyas (maidens). The recesses between the pagas of the upper jangha contain the figures of Kanyas in different postures. They are shown in various roles such as fondling child, looking at mirror, removing anklet, displaying a flower, holding camara, playing on musical instruments etc. The variety of graceful attitudes, gestures gave the artists ample opportunity to exhibit the feminine grace to the fullest extent. The recesses between the pagas of the bada of jagamohana also contain indolent damsels playing with various kinds of musical instruments. Some standing female figures have also been fixed above the gateway lintels of all entrance porches of the outer enclosure of the temple. Erotic Figures: Depictions of erotic figures or mithuna motifs are also noticed in the walls of Jagannatha temple. The vimana or the main deula of the Jagannatha temple is devoid of erotic scenes. But the recesses between the pagas of upper jangha of the jagamohana are relieved with erotic figures. Some erotic and amorous couple scenes are also found in the niches of the pista and tala jangha of the bhogamandapa. Debangana Desai has referred that the erotic figures at Puri Jagannatha temple like those at Bhubaneswar and Konarka portrayed on the 110

1 lotus pedestals.90 Though some erotic figures are appeared in the different parts of the temple of Lord Jagannatha, the number here are comparatively less than the Sun temple of Konarka. The temple of Lord Jagannatha is not the only temple in which such relief occurs. There are many other early and late medieval temples on whose walls are depicted with such grossly sensual figures. Secular scenes and Figures: The secular scenes and figures are also comparatively rare in the Jagannatha temple at Puri. Mostly executed by the secular craftsmen of Kalinga School, these sculptures portray many aspects of their every day life. The pista portion of the vimana is richly carved with warrior scenes, war tour scenes and solidiers with shields in their hands. The khura portion of the pabhaga of vimana is relieved with figures of royal personnel. The sculptured friezes of the patta depict procession of foot solidiers with the general sitting on a palanquin and giving certain directions. The khakhara mundi niches of the anuratha pagas of the lower jangha of vimana are housed with seated acaryas (teachers) who are teaching their disciples. The pista portion of the bhogamandapa is relieved with secular scenes such as warrior (archer) scenes, female musicians and royal court scenes. The outer walls of the bhogamandapa are depicted with the king of Puri taking part in the twelve yatras." It seems that the king actually was performing these festivals along with the festivals of Lord Jagannatha. They are viz. Dola Utsava, Kumara Utsava, Snana Utsava, Vijaya Utsava, Abhiseka Utsava, Navakeli Utsava, Nrtya Utsava, Raja Utsava, etc. Out of these, some notable scenes are being described below: Dola Utsava - The king is seated on a cradle, which is fixed to an arch above with iron chains. Some female attendants accompany him; two of them hold camaras and other look at the swinging king." 92 Navakeli Utsava - A beautiful decorated boat is being driven by five women, one of them standing on the prow of the boat with the radder in her hand and the other four pulling the oars (ahulas); the sixth female attendant holds an umbrella over the king. Here the king is seated on a dola inside a small pavilion in the centre of the boat.93 111

· Nanda Utsava - The king is seated inside a beautiful palanquin carried by his attendants. On one side nine bearers are seen; on the other side only four are seen. Two female figures holding umbrellas ride on the horseback on the both sides of the king. Vijaya Utsava - Here the king is seated on the throne to receive New Year's blessings. He is served by three female attendants one holding umbrella, another holding camara and the third one holding some offerings. Two sanyasis accosted by the Pratihari are shown invoking a prosperous new year for the king." Animal Figures: Various types of animal figures are noticed from the different parts of the temple of Lord Jagannatha. The sculptured friezes of the basanta (of the bada of vimana) depict procession of various animals (rows of elephants and horses) mostly war animals intervened by procession of foot soldiers. The recesses. between the pagas of the lower jamgha of vimana are filled with different types of vidalas i.e. (lion on elephant and lion with the elephant trunk rampant on a warrior). The gaja kranta motif projects above the vajra mastaka panel of each side raha paga of the sikhara of vimana. Such gajakranta also appears on the above the angasikhara of the frontal or eastern side raha paga. A smaller projecting lion also finds on each side base of the gandi. Dopichha lions are fixed above the kanika pagas of the gandi of vimana. The recesses of the tala jangha of jagamohana are relieved with simha vidalas i.e. lion on elephant and mounted lion on the crouchant elephant. Two potalas of the gandi of jagamohana contain the figures of udyata lions, the lion in the upper tier or potala being larger than that of the lower. The rampant or udyata lion of the jagamohana is similar to the style of Bhubaneswar figures.95 The jangha portion of the bhogamandapa is depicted with a bridled lioness mounted by a human figure having kilted legs. The sardulas at the corners of the plinth of bhogamandapa are also very peculiar, they are called dopichha or placed back to back. The jangha of the bada of bhogamandapa is relieved with diminutive dopichha lions at the corners, row of elephants, crocodiles, swans and the war tour scenes of elephants and horses. 96 112

Besides these animals, some colossal protective animal figures have also been projected on the ground of four cardinal gateway sides of the outer enclosure of Jagannatha temple. They are such as two lions in the eastern gate, two tiger figures in the western gate, two horses in the southern gate and two elephants in the northern gate respectively. On the eastern side of the main entrance porch, there is colossal crouching lion the usual Orissan make, with a crown on the head. These two lions are of imposing appearance and serve as guards at the doorway and from them the doorway has been derived its name of Simhadvara or Lion's Gate. This gate shows two large crouching lions with one forepaw raised guarding the door. These two lions are exquisitely carved on stone. Each of these lions is represented with big and sharp human like nose at the top, a pair of thickset moustaches and broad open eyes. Its face is kept open and the mouth is wide. This is the symbol of strength. The northern gate had two elephants for guards, thence its name Hastidvara or 'Elephant's gate'. Due to the narrow road in the northern side, these two huge elephant figures have been removed from their original position to an out of the way and placed near the inner gate of that side." These elephants are of fairly considerable height (1.5 metres) and mounted by mahutas on the neck.98 They are richly carved by the artists. The western gateway had no special guardians and it woes its specific name Khanjadvara to the fact of trays of full of offerings from certain categories of devotees being brought in through it." Now this gate has two tigers, whence its name became Baghradvara. These two tigers are made of modern mortar and signify the energy. Most probably, the western side gate had no any animal guards in earlier. The southern gate has two horses, whence it's name Asvadvara. On each side a galloping horse of masonry works. These colossal animals on the four sides are installed for the purpose of protection to the temple. Thus, these four gates have been named after the respective (protective) animals. On the basis of tradition, H.S.Pattanaik says that the four gates represent dharma, artha, kama and moksa through the symbolism of lion, elephant, horse and tiger figures respectively.100 113

Caitya Window Motifs:The caitya window device is another popular motif of Orissan temple. This motif also appears from the sikhara of the vimana of temple. At the kanika paga of each bhumi, there is bhumi amala connected with six bhumi barandis (course of stones) and the caitya windows are finely carved on them at intervals. The raha paga of the gandi of vimana also contains the rows of caitya windows with intermittent spaces appear with five such windows in each row. Naga and Nagini figures Naga and nagini figures or snake gods and goddesses are noticed on the both sides central rahapaga of the bada of vimana. The jambs of the jagamohana doorways are ornately decorated with naga-nagini figures. The jangha portion of the pista of bhogamandapa is also richly relieved with some naga pilasters. The niches in the pabhaga portion of the bada of bhogamandapa are flanked by pilasters on each side, those on the one side of niches being nagini colomns capped by seven-hooded serpent. The jambs of all the doorways of the bhogamandapa are also exquisitely carved with naga-nagini figures (nagabandhas). Kirtimukha Motifs:Kirtimukha or the 'Face of glory' is an important decorative motif, which occurs on the temple of Lord Jagannatha. Kirita designs are noticed on the khura portion of the bada of vimana and the niches of the upper jangha of the bhogamandapa. These motifs are also depicted on the top of the trefoil makara headed arches, which are relieved on the background slabs of the parsvadevatas. Scroll works: The Orissan artists evolved a number of artistic types locally known as phula lata, patra lata, vana lata, phasa lata, cakri lata, jiva lata etc. These types of devices are depicted on the different parts of the temple such as pista, bada and sikhara of the vimana. The pedestals of the parsvadevatas, pista and bada portions of the bhogamandapa are also relieved with scroll works. Most of the 114

doorframes of the temple are also ornately decorated with different kinds of scroll works. Rahu Figures:The sculptors here have shown their creativity in fashioning the figure of Rahu. Normally, the Rahu figures are carved with a fearful face projecting teeth and round eyes holding a broken piece of moon in their hands. 101 Rahu figures (heads) are noticed on the four side's top central (raha) paga of the sikhara of vimana. These figures (Rahus) have also been fixed on the top of kanika pagas of the gandi of jagamohana. Vajra mastaka Panel: The design of vajra mastaka is usual decorative element of the most of Orissan temples. This element is also noticed from the temple of Lord Jagannatha. On the three side's central raha paga of the baranda of the vimana are relieved with vajra mastaka designs, which are surmounted by the gajakranta motifs. At the base of each side central raha paga of the gandi of the vimana is also decorated with large vajra mastaka panel, which is surmounted by gajakranta motifs. Other Decorative Designs:Besides the above decorative elements, other designs have also been carved for the purpose of ornamentations of the Jagannatha temple. Of these, the architectural designs such as khakhara mundis, pidha mundis, rekha mundis (rare), angasikharas, lotus medallions, bands of lotus petals and jali works as well as jharavali designs. These are the standard decorative elements of the later temples. The pidha and khakhara mundis of the temple house the various cult images, mithuna motifs and other figures in its niches. The tala jangha of the vimana has khakhara mundis in the kanika and anuraha pagas. The khakhara mundis of the kanika paga of vimana contain seated figures of eight dikpalas (guardian deities) while those of the anuratha pagas depict seated acaryas (teachers). The upper jangha depicts pidha mundis containing various deities mostly vaisnavite in character. Some female figures are also housed in the pidha 115

mundis. The anuratha paga of the sikhara of vimana contains three angasikharas superimposed one above the other. Each angasikhara is housed with the images of Vaisnavite deities. The frontal (eastern side) raha paga of the sikhara of vimana contains a large angasikhara, which is surmounted by a projecting gajakranta motif. There are some khakhara mundis depicted on the niches of the pabhaga of the jagamohana. The images therein cannot be rightly identified due to the application of thick plaster on them. The tala-jangha of the bada of jagamohana also contains some khakhara mundis whereas the upper jangha niches contain some pidha mundis. The kanthi or recess between the potalas of the sikhara of jagamohana is also filled with pidha mundis. The pista portion of the bhogamandapa is richly carved with both pidha and khakhara mundis. The pabhaga of the bada of bhogamandapa is also relieved with khakhara mundis. The recesses or kanthis between the potalas of bhogamandapa are too filled with pidha mundis. The bottom portions of the doorjambs of all the structures are decorated with khakhara mundis in which Jaya and Vijaya figures are mostly housed as the traditional dvarapalas of the temple.