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The list of all my blogs has been compiled and can be seen at the link below. With a large number of blogs on my website, at times it is difficult to locate specific blogs.

List of My Photo-Blogs/Travelogues

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This blog is part of my series on the temples in and around Bhubaneshwar. The initial blog: Bhubaneswar – The Ekamra Kshetra can be read at this link.

Bhubaneswar – The Ekamra Kshetra

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Introduction

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Bhubaneswar is the capital and largest city of Odisha. The region, especially the old town, was historically depicted as Chakra Kshetra and Ekamra Kshetra (an area adorned with a mango tree). Bhubaneswar is dubbed the “Temple City”, a nickname earned because of the 2000 temples that once existed, out of which about 700 survive.

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Most of the old temples, around 400 of them, are concentrated around the Old Town area (Ekamra Kshetra) and are connected by an intricate network of lanes and by-lanes, making them easily accessible on foot. The complex is spread over an area of 10.73 sq. km. and is home to the famous Lingaraj Temple, Mukteswara Temple, Rajarani Temple, and the Ananta Vasudeva Temple, among others.

To read more about the history of Bhubaneswar, read my initial blog, whose link is given above.

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The Rajarani Temple

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Set amidst picturesque settings, the Rajarani Temple is a perfect symphony of skilful planning, symmetry of form and exquisite craftsmanship. No wonder it is hailed as a masterpiece of Odisha temple architecture. The temple is small, but the plan is arranged to give great variety and play of light and shade, and as the details are of the most exquisite beauty, it is one of the gems of Odisha art. It was earlier called the Indresvara Temple and dedicated to Shiva.

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The temple was built during the later stages of the Somavamsi rule in the 11^th century CE. Today the temple is devoid of any presiding deity, 

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This temple got its name from the colour of the red-gold sandstone used, which is called rajarani locally. Over time, the stone imparts an amber shade, which accentuates the architectural beauty of the temple. It is an abandoned temple and has no presiding deity and no images inside the sanctum though there are tell-tale signs in the architecture of the temple to corroborate that it was a temple broadly classified as Saivite based on the niches. The side niches have been robbed of their images, but the bases of the Southern and Northern niches have been carved with scenes of Linga worship. Further, the main temple also contains panels that show Shiva and his consort dancing with attendants holding musical instruments. The most notable proof is the carving of Sage Lakulisa, the founder of Shaivism, just above the entrance door and below the navagrahas.

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Architecture

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The Rajarani Temple differs significantly from the traditional Odisha Temple style – it has an unusual tower. Its spire is decorated with clusters of turrets (replication of the spire itself) emerging from the rib of the spire, which is very similar to the Kandariya Mahadeva Temple of Khajuraho. Based on the style, scholars believe that the temple might have been built in the 11^th century CE by the Somavamsi kings who migrated from Central India to Orissa during the period, depicting the syncretisation of the temple architecture of Odisha and Central India.

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Intricate sculptures cover the exterior walls

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Panigrahi, who comprehensively analysed Odishan temples, dates its construction between the Lingaraj Temple and Mukteswara Temple. The Rajarani Temple is built in the pancharatha style on a raised plinth with three mouldings and has two structures – a central shrine called the vimana or duel (sanctum) with a bada (curvilinear spire) over its roof rising to a height of 18 m (59 ft)  and a viewing hall called jagamohan with a pyramidal roof.

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The bada consists of five divisions instead of the three divisions usually found in other temples, namely, pabhaga, talajangha, bandhana, uparajangha and baranda. The lowermost division, called the pabhaga, has five decorative mouldings, namely, khura, kumbha, patta, kani and basanta. The superstructure is crowned with a fluted disc-shaped architectural piece called an amalaka, and a kalasa surmounts it as the crowning finial.

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The jagamohana, though demonstrating a pyramidal structure, is yet to take on the status of a complete structure on its own. It bears signs of the repair done in 1903 when it collapsed. The tiered (pidha) jagamohana and the interior are plain, possibly left incomplete. The plan of the jagamohana is square compared to the rectangular ones present in earlier temples.

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Sculptural Details

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The sculptures have a depth that was lacking in the Mukteswara Temple sculptures. The slightly projecting entrance is flanked by round thick columns entwined by Nagas on the left. Guardians of the eight directions project from the base of the temple in the eight directions, starting from the gateway in a clockwise direction around the porch and the deul, ending at the torana (entrance). These Ashta Digpalas are Kubera (God of Wealth), Yama (God of Death), Vayu (God of Wind), Indra (God of Rain), Agni (God of Fire), Nirriti (God of Suffering), Varuna (God of Ocean) and Ishana (Shiva). They are the protectors of this temple.

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Every nook and cranny of the external walls is covered with intricate artwork

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The prime attraction of the Rajarani Temple is its intricately carved exterior. From floral designs to geometric patterns and from figurative images to Yakshis to Gods cover the outer wall. Below the entrance pillar (sthambh) are three kneeling elephants, over which domineer three lions, the emblems of the Kesari race. 

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Kuber, nayikas and mithuna scenes adorn the outer walls

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The other noted sculptures are naga-nagi sthambha with the seven-headed snake-hood, the Saiva dwarapalas – Chanda and Prachanda – on the entrance doorjambs, and Lakulisa on the lintel of the entrance, above which is the architrave of Navagrahas and of kanika, appearing on the jangha portion of the bada, clad in diaphanous drapery. The image of Varuna is intact and notable for its body ornamentation, coiffure and facial expression. The cult images present in the temple are scenes of the marriage of Shiva, Nataraja, and Parvati.  The striking feature of the exterior carving is the presence of female figures many of which are in an erotic (mithuna) posture figures carved in high relief on the projecting portions of the uparajangha. This again has a similarity with Khajuraho. There are tall, slender, sophisticated nayikas gracing the walls of the sanctum depicted in various roles and moods in amorous dalliance with actions such as turning their head from an emaciated ascetic, caressing her child, holding the branch of a tree, attending to her toilet, looking into a mirror, taking off her anklet, with a pet bird and playing a musical instrument.

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The other decorative motifs are carved in the shape of vyala, jagrata and gajakranta. The scroll motifs are of foliage, creepers and vines (vanalata), each containing lush foliage independent of any stalk or vine.

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In 1903, the temple underwent renovation and refurbishment as by this time, the structure had reached a dilapidated state. Currently, the shrine is maintained by the Archaeological Survey of India. The Department of Tourism of the Government of Odisha organises a Rajarani music festival at the temple every year from 18 to 20 January. The festival focuses on classical music, and all three styles of classical music – Hindustani, Carnatic and Odissi – are given equal importance.

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The photographs bring out the richness of the sculptures and the unique architecture of the temple.

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References

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1) https://commons.wikimedia.org/w/index.php?curid=24584480)

2) https://en.wikipedia.org/wiki/Rajarani_Temple

3) https://bhubaneswartourism.in/raja-rani-temple-bhubaneswar

4) History of Indian and Eastern Architecture by James Fergusson, John Murray, Albemarle Street London 1891, Pg. 425-426

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Note: All photographs displayed above are my exclusive property and copyright; their use is prohibited without explicit consent, in writing.

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