KALINGA STYLE

The architectural canons of the Kalinga style have survived in a few, late, Oriya texts in which each
temple-type. These relate to fully developed temples of three broad orders, known in Oriya
terminology as "Rekha" (Latina), “Pidha" (Phamsana), and "Khakhar" (Valabhi). The typical Pidhâ"
order makes its appearance in later times. "Rekha" temples assignable to the Sailõdbhava period, are
best represented by the Parasuramesvara temple, which shows clearly-articulated components
including Latina sikhara.

Vertically, the elevation of the garbhagrha ("Rekha deul") in Oriya texts may broadly be divided into
three principal parts, namely "bada" (kati or mandövara), "gandi" (sikhara), and “mastaka" (head; the
crowning members), having further sub divisions. The components of the kati are "pabhaga"
(vedibandha), "jangha" (jangh), and "varanda" or "varandi" (varandika), the last capped by a recess,
called "kanti" (kantha), demarcating the kati fromn the shikhara. The vedibandha of the early group
of temples invariably presents three mouldings called "khura" (khura-kumbha), "nõli" (kalaa), and
"vasanta" (kapötapali).

The shikhara ends with a square "visama" (vedi; skandha) which does not partake of the ratha
projections but does continue the curve of the ikhara, presenting the appearance of a broad
shoulder. The "mastaka" above this shoulder consists of a short, cylindrical "beki'" (griva), large
amalasraka, low circular "khapuri" (candrika), and a finial (usually faceted, only occasionally
resembling a linga).

No mortar was used in the construction of these temples. Huge blocks of stone were laid dry, one
upon the other, and kept in position by their weight and balance. Kalinga architecture shows an
innate conservatism, as a result of which changes and modifications in the course of its evolution are
not always easy to detect, and architectural features are not so reliable as chronological indicators as
they are elsewhere in North India.

Parasuramesvara, Kalinga

 The ancient name of the Parasuramesvara, as given in a later inscription over the south
doorway of its mandapa, was "Parasesvara" (perhaps a mistake for "Parasesvara;" i.e. the
linga enshrined in the name of Parasara, one of the distinguished acaryasof the Lakulisa-
Pasupata sect).
 the temple faces west and can be ascribed to the first part of the seventh century A.D. It
consists of a garbhagrha and mandapa, now enclosed by a low compound-wall.
 The exterior of the garbhagrha is triratha on plan, with the central projection carried up the
shikhara. The vedibandha consists of khura-kumbha, kalasa, and kapotapali, the last
elegantly embellished with a variety of motifs, such as ornate candrasalika with lotus or lion-
heads, scrolls, hamsas with foliated tails, vidyadharas, human figures including an erotic
couple, and plant and floral designs within diamond-shaped, triangular, or wavy
compartments.
 The treatment of the jangha is enriched not only by these parivaradevata niches, with their
ornate superstructures, but also by smaller niches on the karnas. The bhadra projections
 simulate shrines, each harbouring the image of a parivaradevata: four-armed Ganesa
(South), two-armed Kartikeya (East), and possibly Parvati (North; now empty).
 The "T"-shaped frames of these bhadra niches (Ratha paga) have been treated with
luxuriant decoration that varies from frame to frame. These niches start from the level of
pabhaga, cuts across the vedibandha moulding goes into the jangha part. Temple doorframe
structure in niches and the image of parivaradevta gives the concept of deity in the sanctum,
looking like a mini temple or shrine.
 Jangha is singular member, not divided.
 Above the entablature of these niches is a superstructure divided into two parts by the
varandika; the upper part has paired pent-roofs faced by figured surasenakas merging with
the central lata of the shikhara: the lower part shows mouldings resembling a segment of a
shikhara complete with bhumikhandas and pañjaras in recesses.
 On the central offset, there is particular motif that appears on the Kalinga temples, which
shows Kalamukha often or sometimes typical motif of the lion have conquered the elephant
(gajakranta-simha motif). The varandika the top of the jangha consists of a rupakantha
between two ornate kapotapalis ; this is relieved by gajakranta-simhas (at the extreme
corners, by scrolls and amorous mithunas separated by chequer-pattern in the recess on the
karnas, and patravalli on the central ratha.
 The central ratha displays an integrated lata formed of a row of simhakarnas, flanked by
ardha-simhakarnas, often containing narrative figures or siva's bust or head. This madhyalata
is flanked by narrow anurathas, separated by thin recesses from pratirathas that also are
embellished by gavakshas flanked by ardha-gavakshas on a succession of mouldings creating
a geometric pattern. The Visama that terminates the shikhara is square, with no offsets.
 It is Panca-bhuma prasad. On the western façade of shikhara, Dorris M Srinivasan said that
garbhagrha has sivalinga and axially aligned to it at the top instead of kalasa, the shikhara
finial also a Linga, known as Akashlinga. In the lowest Chandrasalika of ratha, there is an
iconography of Ravananugrahamurti and there is also an image of Natesa in the upper
nasika. An image of lakulisa caps the grasamukha crowning the simhakarna. Srinivasan said
that by unfolding these forms from the Akashlinga to the mukhalinga sadashiva, we get the
notion of niskala to sakala iconography i.e. yakta vyakta. On the south are Siva as
bhikshatanamurti, a bust of Siva, Nataraja and a seated figure, possibly Surya; On the east
are Lakulisa with his four disciples, marriage of Uma-siva and another figure in yogasana. On
the north are Mahisasuramardini, a bust of Siva, Nataraja and Siva-yogasana.
 Garbhagrha doorway had four sakhas. The architrave shows eight seated and labelled
members of the Navagrahas (ketu conspicuous by his absence). It enshrines a Sivalinga fixed
in pithika, with provision for draining water.
 Jagmohana has two entrance doorways, one main on west & another on south. On the top
lintel of the western doorframe, we have gajalakshmi and rituals of linga puja as it was
practiced in Pasupata Saivism. On the southern door, there is inscription of the parasaseswar
sect. There is presence of latticed windows. they also have depiction of dancer & musicians
on them, holding postures and gestures such as tribhangi compared with the todays odisi.
These suggest the performative element in the sculpture.
 on the walls of the Jagmohana, there are sculptural relief, these sculptures show the rustic
quality. There is elaboration of the candrasalika motif, repetitive presence of Siva’s head and
serpent, also there is typical rampant lion motif of Kalinga architecture.
Muktesvara, kalinga

 built in 961 A.D, during the reign of the Somvamsis, also known as somkulins. They are not
originally from the Kalinga but they succeeded the Pandu-vamsis as rulers in the reign of
Dakshin kosala. They have conflicts with the chedi Kalachuris of Dahaldesh west of the
Dakshin kosala. It built during the time period of Bhimaratha.
 At that time Pasupata and the Matyamayura sect prevailed dominant sect of Saivism in the
reign of Kalinga.
 It gives the ideoa of architecture of mature Kalinga period whereas the Parasurameswara has
been studied both for its early 7th century architecture and for the configuration of Lakulisa
Pasupata sect imagery on the temple walls.
 It has for long been hailed as the finest flower of the kalinga style of architecture. The west
facing temple consists of a Prasada and a mukhasala, both of which stand on a low jagati
whose lowest moulding is not visible since covered up by the compound flooring. It placed
within low set enclosure wall, roughly follows the contours of the temple plan. In front of the
Prasada stands a Torana, a feature not encountered in the earlier as well as the
contemporaneous Kalinga temples.
 It has Pancaratha trianga garbhagrha. Its vedibandha is very balanced, most of its carvings
crisp, appropriate, precisely wrought out, and seem a part of the body-fabric. On the two
sides of niche of Raha paga, there is Ganga & Yamuna, almost like a temple doorframe. On
the top of the Raha niche, created a temple elevation which ends in an Amalaka which has
lotus ceiling. Salabhanjika figures flanking the Ganga and Yamuna figures, also there is
Alaskanya figures above them. All the exterior niches are completely empty, so we don’t get
the rationale of the configuration of the imagery. Anuraha paga have smaller niches,
superstructure created through compressed eve-cornesses with detailed interlacing of
candrasalika. On the salilantara recesses, there is motif of half open door with woman
waiting i.e. Vasaksajjika and there are also serpent motifs present on both side, male and
female alternatively.
 The trisakha doorframe of the garbhagrha is similar to that at the hall’s entrance. The raised
sankhavarta, the flanking lions with turned backs, the Saivite dvarapalas with attendant
camara-bearimg ladies. The lalata-bimba differs here it is Abhisheka- Lakshmi in Tara-like
posture. A lintel bearing the Nava-grhas. In the antarala a rectangular block of stone
emanating from above the garbhagrha door stops half the way.
 The five circular bhumi-amalakas of the venukosa, would qualify this Latina shikhara as
pancabhuma. The Rekha curvature is as satisfactory as the detailing of the total mass is clear.
On the ratha, there id bho-motif i.e. ornate gavaksha with two pramatha figures holding
garlands and kirtimukha figure in the middle top. There is also guru-discile and forest scene
present on the ratha. On he anuratha paga, there is gavakshas jalikas in a geometric manner
interlaced. On the salilantara recesses motif of vasaksajjikas. On the kanika paga, pair of
bhumi-amalaka.
 The shikhara is terminated by the visama, where a divinity may have appeared, is left
unchiselled. Next, above the griva, comes the amalasaraka; the kalasa above is a creation of
the conservation early in the current century.
 The kapili wall connecting the shrine with the hall, as in all kalinga temples, is short. The
pidha deul has singular pyramidical layering of cornesses, not khandi or kotal are there. This
is sapta ratha pancanga jagamohana. The hall is broader than the shrine; it is also rectangular
on plan. The naga or nagini stambhas figure in the three jalantara recesses which occur
between the rathaka bays. The latticed window of ratha paga has a trisakha frame of
 exquisite carving. On of the doorframe, there are carvings of monkeys which can be the
storyline of the pancatantra type stories.
 The ceiling reveals that the kalinga architects knew the samatala(flat) and the Ksipta(cusped
and coffered) types of decorated ceilings which they have combined here with considerable
ingenuity and complexity. This is exception in the mukteswara temple.