VIDEO:
The great Sun Temple at Konark was conceived as a colossal
chariot of the Sun God, Surya, with twelve pairs of exquisitely carved wheels,
drawn by seven galloping horses as if emerging from the turbulent waters of the
Bay of Bengal. The Temple is located in Konark, a small town in the Puri district;
it lies on the coast by the Bay of Bengal. It is connected by road to both
Bhubaneswar (65 km) and Puri (35 km). We visited this divine, historic and
awesome place recently from Puri, as a part of our Orissa (now Odisha) Golden
Triangle pilgrimage.
Even in its present state (it lost its soaring tower long ago),
the temple stands in majestic solitude beyond a vast stretch of golden sand.
The stupendous size of this perfectly proportioned structure is matched by the
endless wealth of decoration on its body – from minute patterns in bas-relief,
executed with a jeweller’s precision, to boldly modelled, free-standing
sculptures of an exceptionally large size. As you read this article you must refer
to the attached photographs and see the attached video to better understand and
appreciate this historic Temple.
The name Konark or also called Konarak is derived from the
name of the presiding deity and means Arka or Sun of the Kona or
corner. Early European mariners referred to the Main Temple as the Black
Pagoda, as opposed to the White Pagoda (the white-washed temple of Jagannath)
at Puri. Both were important landmarks on their voyages in the Bay of Bengal.
Konark Sun Temple was declared a UNESCO World Heritage Site in
1984, not just for its architectural and sculptural excellence, but also
because it is an outstanding testimony to the 13th-century kingdom of Odisha and a monumental example of the personification of divinity. And
for a long, this Temple is considered to be one of the seven wonders of India.
According to ancient texts, the temple was built by Samba, the
son of Lord Krishna and his wife, Jambavati. The handsome Samba was cursed by
his father for an act of impropriety and became a leper. After twelve long
years of penance to Surya, he was cured and decided to build a temple to honour
the Sun God.
According to Bhavishya Purana, Samba brought Maga families (the
Magi Sun-worshippers of Iran) from Sakadvipa, because local Brahmin priests
refused to worship the image. Alien features, like boots, on the Surya images, are an influence of these immigrants.
The original locale of the episode was probably on the banks of
the Chandrabhaga (modern Chenab) in Punjab, a spot that came to be known after
Samba as Mula-Sambapura, identified with modern Multan (in Pakistan). In fact,
the Sun Temple of Multan finds a glowing description in the 7th-century
accounts of the Chinese chronicler Hieun Tsang.
The shifting of the legend to Konark took place when this area
became a centre of Sun worship. A shallow pool of water, within 3 km of the
temple, is known as Chandrabhaga, and pilgrims take a ritual dip in it even
today.
Historically, King Narasimhadeva I of the Ganga dynasty (1238-64)
built the temple, locally called Surya Deul. It is said that twelve hundred men
worked to complete it in 16 years. As a copper plate inscription of his son, Narasimha
II, states with pride, “King Narasimha built a Mahakutira (great
cottage) of Ushnarasmi (Surya) at Trikona”. Some scholars surmise that
the temple was erected as a memorial by the ambitious monarch after a
victorious military campaign against the Muslims.
Abul Fazl, the chronicler of Akbar (1556-1605), paid tribute to
its colossal grandeur when he wrote in the Ain-i-Akbari: ‘Even those
whose judgement is critical and who are difficult to please stand astonished at
its sight’. In the early 17th century when the Mughals ruled the subah of
Odisha, the image of Surya was removed to a shrine within the precincts of the
Jagannath Temple in Puri. In the 18th century the Aruna Stambha, the pillar
dedicated to the Sun God, was removed to Puri by the Marathas who planted it at
its present site, in front of the temple of Jagannath.
Forsaken by the presiding deity, the temple crumbled through
neglect and decay. The lofty tower over the sanctum collapsed, and by the
mid-19th century, when archaeologist James Fergusson visited the site, most of
the plinth and the exquisite wheels and horses were engulfed by rising sand
from the sea.
Debala Mitra writes that it was not just the cruel forces of
nature, the temple also suffered at the greedy hands of man. The king of
Khurdah removed some sculptures to decorate his own fort, while local people
removed the fallen stones with alacrity.
Extensive steps were taken for the conservation of the temple by
the British government from the beginning of the 20th century. The removal of
sand and debris revealed the grandeur of the temple complex for the first time
in centuries. The initial task of conservation, essential for rendering the
monument stable was completed by 1910. At the same time, a large-scale plantation
of trees was undertaken between the temple and the sea to check the advance of
drifting sand. Since 1939, the Archaeological Survey of India has been doing
continuous work at the site.
The Sun Temple is the finest example of the Odisha style of
temple architecture that includes such fine masterpieces as the Lingaraja
Temple in Bhubaneswar and the Jagannath Temple in Puri.
The seven horses of the Sun Temple symbolise the days of the
week, and the twelve wheels, the months in a year. The resemblance to a chariot
ends with the wheels and the horses; the rest of the temple follows the
traditional plan for Odisha temple architecture, consisting of the rekha
deul or sanctum, originally topped with a tower or shikhara, that
ended in a rounded pyramidal curve. This is connected to the assembly hall, the
jagamohana. At a slight distance from the jagamohana stands the
pillared hall of the bhoga mandapa where offerings were made to the
Gods.
It is the exquisite carvings on the outer walls of the structures
at Konark and the free-standing sculptures that give the temple its unique
character. Every carving was designed to blend in with the architectural plan
of the Surya Deul, creating a temple that is both a brilliant architectural
design and a composite showcase of magnificent sculpture.
Among the statues are huge war horses straining at their reins,
rampant elephants and lions that show great vitality. In contrast, are the
subtle charms of nymphs, dancers, the mithuna or erotic couples in
various moods of lovemaking and the sensual alasa kanyas or indolent
damsels. Royalty can be seen in processions, parades and hunts.
The exquisite Wheels of the Sun Temple Chariot
carved on the face of the Jaganmohan platform are so realistic that they even
have an axle kept in position by a pin as it would be in an actual bullock cart. K.S. Behera says the magnificent wheels are ‘the crowning glory
of the temple…which imparts a monumental grandeur unique in the realm of art’.
The thin spokes have a row of alternative beads and discs, while the broad
spokes broaden further near the centre where they become roughly diamond-shaped.
In the centre are richly carved medallions, containing numerous deities, erotic
and amorous figures and kanyas in various poses. Similar medallions also
occur on the face of the axle.
The Main Temple, the Surya Deul, consists of two
structures the rekha deul or the sanctum where the image of the deity
once stood, and the assembly hall or jagamohana. It is this structure
that is designed as a chariot of the Sun God.
The deul and jagamohana stand on a magnificent platform,
over 4 m high, with its façade richly carved. Miniature representations of
temple-like structures (khakhara-mundis) are carved in close succession
along the platform. In the niches of these khakhara-mundis are mainly
figures of beautiful women. Erotic couples and voluptuous young women flaunting
their beauty in various stylized postures are other recurring motifs in the friezes
on the platform.
Twelve pairs of colossal wheels are carved on the sides of the
platform. Each has 16 spokes radiating from the axle, with ornately carved
medallions depicting various deities, while the seven horses gallop together
beside a broad flight of steps.
Little remains of the sanctum except for the platform but it does
give an idea of the original structure, which was a square chamber with a shikhara
that rose to over 60 m! Three larger-than-life statues of Surya, called the parasa
devatas, were placed in niches of the temple wall. These statues were so
placed that they caught the Sun’s rays at sunrise, noon and sunset.
The life-size image of Surya in the southern niche stands
majestically on a chariot drawn by seven horses while only the upper torso of
Aruna, the charioteer is shown. Draped in a short dhoti and with feet covered
by long boots, the figure of Surya is heavily bejewelled with a necklace, armlets,
earrings and a short crown, all richly embellished. In his hands are stalks of
fully blossomed lotuses, a characteristic attribute to Surya. Around the head is
a carved halo with tongues of flames at the outer edge. At the crown of the
halo is kriti-mukha flanked on either side by a flying figure blowing a
conch, while around the edges are ten divine dancers all playing musical
instruments. Near Surya’s right foot is the royal donor with folded hands, his
sword kept flat on the ratha. The kneeling figure near the left foot
evidently represents the family priest of the king. While at the extreme ends
are the goddesses of dawn and pre-dawn, Usha and Pratyusha, dispelling darkness
by shooting arrows. The 3.45 m high Surya images in the western and northern
niches are similar in most essential details to the one on the southern nich.
The Jagamohana or assembly hall (or porch) remains the
best-preserved building in the complex. Its extant height is about 39 m. A
cubed structure with a tiered pyramidal roof, it has recessed walls with
opulent carvings. Beautifully proportioned doorways lead inside but the interior
has been blocked to arrest the walls from subsiding.
Two lions, each rampant on a crouching elephant, are in front of
the eastern stairs of the bhoga mandapa; two elephants, richly decorated
and fully harnessed, on the north; and two gorgeously caparisoned war-stallions
on the south, originally guarded each of the three staircases of the jagamohana.
The animals – masterpieces of Odia art, were originally mounted on a partly-carved
platform. The animals on the north and south sides have been re-installed on
new pedestals.
The Aruna Stambha, a free-standing pillar in chlorite with
the figure of Aruna, the charioteer of Surya, on its crown originally stood
between the jagamohana and the bhoga mandapa. Of exquisite workmanship
and elegant proportion, the Aruna Stambha now stands in front of the main gate
of the temple of Jagannath at Puri, moved allegedly to prevent its desecration
at the hands of Muslim invaders.
In front of the eastern steps of the jagamohana, is a
large, pillared hall on a high platform that is approached by a flight of
stairs. This structure, now without a roof, is the Bhoga Mandapa where
offerings were made to the Gods. Some call it the nata mandir (or dance
hall, or festive hall) because of the panels of dancers and musicians chiselled
over the face of its platform, plinth and walls that give the mandapa an
air of permanent celebration.
On the face of the bhoga mandapa platform are carved rows
of khakhara-mundis or niches with sculpted figures, mostly of women and
erotic couples, while on either side of the khakhara-mundis, are female
figures. These women are portrayed in a variety of poses with their arms raised
over the head, holding the branch of a tree or a flower, fondling a child, or
wringing water from their wet hair. Some of the niches near the corners contain
seated dikpalas, guardians of the directions, while some others have
images of deities or even of elephants. Higher up the platform wall is a row of
geese, and another of an army of infantry, cavalry, elephants and
palanquin-bearers in procession.
To the west of the main temple is the Mayadevi Temple,
dedicated to one of the wives of Surya. But in all probability, the temple was
built for Surya, a presumption substantiated by the figures occupying the
niches in the sanctuary. This temple, which archaeologists claim was built
earlier than the Main Temple, was reclaimed from the sand as late as the beginning
of the 20th century. Consisting of a sanctuary and a porch, it is fronted by a
platform and a compound wall made of laterite.
The pedestal inside the sanctum was found empty when the temple
was unearthed. However, according to local lore, the missing image, called
Ramachandi, is now in worship in a temple 8 km from Konark and was removed to
its new abode when the Muslims overran the temple.
In 1956, a small temple, a little over 2 m tall, was discovered
to the southwest of Mayadevi Temple. Facing east, the temple, locally called Vaishnava
Temple, has Vaishnava affiliation and this irrefutably proves that the
worship of deities other than Surya was conducted within the Sun Temple
enclosure.
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Konark Sun Temple in Odisha
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