ShodhKosh: Journal of Visual and Performing ArtsISSN (Online): 2582-7472
SCULPTURAL ART AND ARCHITECTURAL PATTERN OF THE DHAVALESVARA TEMPLE OF DHAVALESVARA IN ODISHA 1 Associate
Professor in History, KISS, Deemed to be University,
Bhubaneswar-751024, Odisha, India
1. INTRODUCTION The region of eastern Odisha is popular in Shavism and it is covered with a good number of Shaiva temples/monuments. Indeed, Shaivism was the key religion in the seaside belt of Odisha from the seventh century onwards and arrived at the pinnacle of its greatness during the Somavamsi time frame in the tenth-eleventh century C.E. The surviving Shaiva temples of the Eastern Odisha demonstrate that the undivided Cuttack district was popular as the place of Shaivism. The Dhavalesvara temple of Dhavalesvara is one of them. The temple of Dhavalesvara is most significant island Shaiva Shrine in the Cuttack district of Odisha in India. It is situated about 27 Kms. from the Badambadi Bus stand of CUTTACK city. The temple stands on the elevated land on the western side of the island on River Mahanadi Mohapatra (1986), p.37. The name Dhabalesvara is derived from two local words viz; Dhavala (white) and Iswara (God/Shiva) i.e. attribution of Lord Shiva. The temple is dedicated to Lord Shiva Dhavalesvara Shiva. The site of the Dhavalesvara temple is considered by people as well as devotees as a unique Shaiva shrine in the coastal belt of Odisha in Eastern India. The earlier temple of Dhavalesvara was constructed during the medieval period and it was possibly renovated and repaired by rulers of the Athagah State. From the cultural as well as historical point of view, Dhavalesvara temple of Dhavalesvara is a famous Shaiva shrine in the coastal belt of Odisha. A large number of people /devotees come to visit Lord Dhavalesvara on the 14th day of month of Kartika, when a big fair is observed here in honour of presiding deity. The day of fair is called Bada-osha by the local people of Cuttack district of Odisha. Other festivals like Pausa Purnima, Dola Purnima and Kartika Purnima are also celebrated in the temple of Dhavalesvara. Mahashivaratri is observed by devotees in the temple of Dhavalesvara with great enthusiasm. In Odisha, Mahashivaratri is predominantly important in the Shaivism tradition of Vaishnavism. The site of Dhavalesvara temple is a coordinating place of Shaivism, Vaishnavism and Shaktism, which can be proved by the available of sculptures of the above three sects of Hinduism. The architectural features of the Dhavalesvara temple represent the Kalinga style architecture of India particularly of Odisha. The Odishan temples structure a class without anyone else and these Hindu landmarks can be advantageously marked as "Kalinga style" after the domain where the temples are discovered Behera (1993), p.1. According to Manasara, "Northern or Indo-Aryan temple architecture covers the entire Aryan-occupied area north of the Tapti and Mahanadi rivers, commonly called 'Hindustana'" Sarasvati (1935), pp.233-235. Eastern Odisha was a vital part of the old Kalinga region of India. The Kalinga Style of temple design is categorized into four types, for example, rekha, pidha (bhadra), khakhara and Gauriya Bose (1931), p.78). Here, the Dhavalesvara temple shows the rekha and pidha orders; the vimana is rekha order and jagamohana is pidha type respectively. The stone carvings and old sculptures of the Dhavalesvara temple date back to the Gajapati period. A good number of sculptures of medieval period are found to be worshipped in the temple premises of Dhavalesvara. In fact, Dhavalesvara temple is noteworthy for the profusion of sculptures. Observing the temples of Odisha, one scholar say that “Architecture in Odishan temples is but sculptures on a gigantic scale” Kramrisch (1946), p.218. Old sculptures of different deities of Saivism and Vaishnavism are noticed in the temple premises. Lord Dhavalesvara of Dhavalesvara is very famous in the eastern part of Odisha by considering its sacredness. People from the neighbouring Garjats and Cuttack town in particular assemble here in large numbers during festive occasions and the gathering reaches the climax on the 14th day of Kartika month when a big mela observed here in honour of presiding deity Mohapatra (1986), p.37. This temple initially built in two components like vimana as well as jagamohana. In later natamandapa along with bhogamandapa were also added to the main temple. Both the latter structures are open flat roof design of the twentieth century. This temple of Dhavalesvara is constructed in sand stones. It faces to western direction. Religious point of view, the temple of Dhavalesvara is considered by devotees as an important sacred place of the state of Odisha. The peaceful ambiance, in which the Dhavalesvara temple is situated, inspires spiritual sensitivity among the devotees. Being an important Shaiva shrine of Eastern Odisha, the author has taken this temple for focusing on the sculptural art, architectural pattern as well as religious significance of the Dhavalesvara temple of Dhavalesvara. 2. LEGENDARY ORIGIN OF LORD DHAVALESVARA There is a local legend that the name Dhabalesvara is attributed to a miracle performed by Lord Shiva. A black bull calf was once stolen from a village by a local miscreant who then ran to a Shiva temple. While the irritated mob waited outside the temple, he secreted himself and the calf within the sanctum. The calf's cries were audible to the crowd. The thief begged Lord Shiva earnestly to save him from the mob. The Lord, seeing his plight, approached the throng in the form of a Sanyasi and inquired as to what was upsetting them. The Sanyasi brought the black calf outside to allay their concerns after being informed that they thought the thief and the calf were both hiding in the sanctum. The crowd let the thief go after realising that the calf was white. When the assassin vanished, the thief realised who had saved him. He admitted it and expressed regret to the group. He made a commitment to serve the Lord for the rest of his life. The name Dhavalesvara was given to Lord Shiva as a result of his transformation of a black calf into white. The above data with regard to the legendary origin of Lord Dhavalesvara is collected from an internet source Dhabaleswar Temple (2011). Figure 1
3. DATA AND METHODOLOGY For
the writing of this article, qualitative method has been adopted by the author.
In fact, an extensive field /spot study had been practically
undertaken by the author to collect detailed primary data / information on the
sculptural art, architectural pattern,
and
religious significance of the Dhavalesvara temple
of Dhavalesvara. Observations, public
opinion, hearsay, and personal interviews were also made by the author during
the experimental field study on the temple of Dhavalesvara.
The author had interacted with Laxmana Pati, the
chief priest and other senior priests of the Dhavalesvara
temple to know the construction period of the temple. The
photographs of the extant images
and of the temple of Dhavalesvara were also practically taken by the author himself during field study in the month of May, 2023. The author basically
collected primary data by practical field study on the extant
sculptures and architecture of the Dhavalesvara temple. For the collection of data, the
present author practically remained one day in the site of Dhavalesvara
temple. In fact, the empirical method has been used by the author for the
writing this
article. Secondary data relevant
to books,
journals,
magazine, etc. are also partly used in the preparation of
the article. Thus, the
source materials of both types are used by the author for writing the article
on Dhavalesvara
temple of Dhavalesvara. 4. RESULT ANALYSIS AND DISCUSSION 4.1. SCULPTURAL ART & ARCHITECTURE OF DHAVALESVARA TEMPLE 1)
VIMANA The vimana of the temple is of the pancha ratha Donaldson (1985/86), p. 1186 rekha deula, and it rises roughly forty feet high from the ground. The bada of vimana is divided into five vertical sections. The vimana and the jagamohana are both submerged in the earth to the pabhaga level Mohapatra (1986), p.37. There are no ornamental embellishments on any of the bada's component pieces. Ganesha, Kartikeya, and Parvati (the eight-armed Durga) as parsvadevata figures are displayed in the middle niches of the bada's three sides. The image Ganesha is the parsvadevata of the southern side. The deity Ganesha is revered widely in India and is regarded as the most well-liked Hindu deity Das (1958), p. 48. On the double-petaled lotus pedestal, Ganesha's eight arms and dance position are depicted. The left side's two hands carry a pot of ladus and japamala, and one of the left side's hands is broken. The upper two hands hold a serpent, the right side's two hands are broken, and one of the right side's hands touches the bailey. He is covered with a sarpayajnopavita. He has a pot-belly that falls over his girdle and a jata-mukuta Donaldson (1985/86), p. 1017) hair style. On either side of the deity in the slab are two female attendance figures. The deity's mount is a mouse. On the pedestal's centre, there is an engraving of the deity's mount, a mouse. The Ganesha image is made of chlorite stone. It measures 1 foot 8 inches in width and 3 feet height respectively. The Ganesha figure possesses the artistic features of the Odishan sculptural art of the Gajapati period. The height of pidha shrine is 20 feet and it contains the image of Ganesha. Figure 2
The eastern side's parsvadevata is Kartikeya. In the study of Odishan iconography and art tradition, the six-armed, three-headed representation of Kartikeya of the site is unique Donaldson (1985/86), p. 38. Kartikeya's likeness is carved in a standing position on top of a peacock figure that is positioned on a pedestal with two petals of the lotus flower. He is holding a small spear in his right hand. The elbow section of one of the right hands is broken, while another right hand is in the varada mudra position. One hand of the left side lies on the rooster cock whereas the upper left hand grips chammar. A collection of decorations and a crown with a conical shape adorn him Donaldson (1985/86), p. 38. A Debasena figure is sculpted raising a rooster cock's legs. An image of an apsara is located on the slab's upper corner. The Kartikeya image measures 3 feet in height and 1 foot 7 inches in width respectively. Chlorite stone was used to create the image. This image shows the iconography of Odishan art of the Gajapati period. Figure 3
Goddess Durga is the northern side parsvadevata of the temple and it is worshipped by local people as Goddess Parvati. So, it is a peculiar thing of the Dhavalesvara temple. Her roots appear to be among the tribal and peasant cultures of India. Durga is an established Goddess in mediaeval Hinduism, upholding dharma like a female version of Vishnu and defending the cosmos from the menace of demons Kinsley (1986), p.96. On the pedestal, there is a standing carving of Durga with eight arms. On the pedestal of the slab, there is a statue of Mahisasura. The Puranas record an intriguing struggle between Mahisasura and Durga and the eventual slaying of the latter with his friends Das (1997), p. 246. The devi Durga slab is where this killing scene is shown. The goddess Durga's hands have all been broken. According to the temple priests and the locals, Kalapahara a Muslim invader who raided temples in Odisha during the Middle Ages broke this image. Black chlorite stone is used to create the image of the goddess Durga. The author was unable to document Devi Durga's iconography in detail, because of restrictions and being completely covered by clothing. The image of Durga is 2 feet 11 inches in height and 1 foot 9 inches in width. It shows the artistic features of the mediaeval period of Odishan history. Devi Parvati/Durga is placed in 20 feet high pidha temple/shrine. According to R.P. Mohapatra Donaldson (1985/86), p. 38, none of the current parsvadevatas date back to the construction of the original temple. Most likely, when the current temple was being built in the late mediaeval era, the images of Kartikeya, Ganesha, and Durga were housed. A lion figure is projected in the middle of each side of the baranda Behera (1993), p. 4. The pancharath scheme of the bada is carried out by the curvilinear gandi of the vimana. The middle raha of the gandi's five rathas is projected with a rampart lion figure on each side Bose (1931), p. 181. Lime mortar was used to cover the entire gandi. Dopichha simhas are inserted at the upper parts of the kanika-pagas. Deula Charini figures are positioned above the centre rahas in the gandi's four cardinal directions. The elements of beki, amalaka sila, khapuri, amala, auspicious jar, trisula with dhvaja Donaldson (1985/86), p.1183 are noticed in the mastaka of the vimana. Figure 4
Shivalinga of sanctum is dedicated to Lord Dhavalesvara Shiva. Outsiders cannot see Shivalinga in this location. Above the sanctum is a brass serpent sculpture. Over the Saktipitha, a four-pillared kanaka mandapa of the modern period was constructed to safeguard the Shivalinga. The sanctum's floor is located 6 feet lower than the temple surface. The sanctum's inside walls are covered in marbles. Steps of ascending order are erected for entry into the sanctum-sanatorium. There is only one door leading to Jagamohana in the sanctum. At either side of the pidha mundi recesses of the doorway, Nandi and Bhrungi figurines are carved. They are assuming the role of the temple's dvarapalas. On the wall above the doorway lintel is a Navagraha panel. All nine gods (Grahas) are seen in yogasana with their hands holding as usual attributes. The entryway lintel's middle is decorated with a carving of the goddess Gaja-Lakshmi. 2)
JAGAMOHANA The jagamohana is a pidha deula and it rises around 35 feet above the surface of the temple premises. The five vertical sections of the bada of jagamohana are clearly noticed. There are no ornamental embellishments on any of the bada's component pieces. Pyramidal superstructure is surmounted on the top of baranda and it is designed with pidhas that are flat in shape. Tankus are used to embellish each pidha on all sides. Above the rahas, beki figurines called deula charini are put in the four cardinal directions of gandi. Dopichha lions are put into the gandi's top corners. The jagamohana's mastaka is consisted of beki, ghanta, a second beki, amalakasila, khapuri, kalasa Borner and Sarma (1966), p.147 and flag. The jagamohana's interior walls are entirely plain. The jagamohana has a rectangular-shaped pillar in the middle, and a 4-foot-tall sculpture of a humped bull is mounted on it. On the left side of the sanctuary entryway, there is a little kanaka mandapa that houses the brass statues of Chandra Sekhar and Parvati. They are stored in a wooden box called a khatuli. They are taking on the role of Lord Dhavalesvara Shiva's Vijepratima. A brass image of Panchamukhi Shiva may be discovered in the jagamohana's southern side inner central niche. Nearby, a preserved modern-era bull can also be seen. There are two doors on the jagamohana, one on the western (main) side and the other on the northern side. Figures of Nandi and Brungi are seen at the jagamohana's western side doorway. There is a big, contemporary sculpture of a humped bull in front of the doorway. 4.2. LOOSE SCULPTURES OF SOUTHERN SIDE BADA WALL Sun God (Surya Devata): The four armed image of the Sun God is kept in the southern side bada wall of the temple's vimana. On the chariot, the sun god's figure is engraved and is seated in padmasana. Seven horses in the shape of chariot drivers embellish the slab's pedestal. Sun god exhibits padma in lower left hand, chakra in the right upper hand, sankha in the left upper hand, and abhaya mudra in the right lower hand. The Sun God's charioteer, Aruna, is depicted holding the reins in his left hand and a whip in his raised right hand Donaldson (1985/86), p. 1140. A black chlorite stone is used for making of Sun God's representation. It measures 1 foot 6 inches in width and 2 feet 5 inches in height respectively. The artists from the Kalingan School of Art created this image. The iconography of the Surya image is the finest example of traditional Odisian art of the first decade of the twenty-first century. Near the Surya Devata, two contemporary bull figurines are found to be worshipped. There is an antique stone with the engraving ‘Surya Yantra’ is also noticed nearby the Surya Devata. Some mediaeval loose sculptures of various Hindu deities are preserved on a little flat roof on the southern side. These are mentioned below: Radha-Krishna: On the pedestal, the image of Radha-Krishna is depicted standing. The slab for this image is made to resemble a chariot. The stone slab has attendant figures holding parasols engraved into both sides. The slab's bottom is engraved with a horse, a woman, and a man carrying several objects on his shoulders. Radha-Krishna's upper portion is embellished with pidhas with double-storied designs. Chlorite stone was used to create the image. It is one foot wide and eight and a half inches in height. The Radha-Krishna's iconography has characteristics of Odishan sculptural art of the 15th–16th century CE. According to the temple priest, this artwork was first uncovered from a neighbouring abandoned site through excavation, and it was subsequently brought here for worship. Figure 5
Krishna Image: Carved into a simple pedestal is a two-armed representation of Lord Krishna in dancing pose. The pedestal's middle has an engraving of a cow. God's right hand is in a dance position while the left palm of the god is hoisting the Govardhan Mountain. The Govardhan mountain has attendant figures (Gopis) holding upstanding pillars to boost the mountain. A scene of the Govardhan mountain is engraved on the slab's upper portion. Chlorite stone was used to create the Lord Krishna statue. It is one foot and one-half inches wide and one foot and nine inches tall. The iconographic elements of the Krishna figure are reminiscent of the Odishan artistic style of the 15th–16th century CE. Figure 6
Vishnu: Carved into the double-petalled pedestal is a four-armed representation of Lord Vishnu in the padmasana pose. He is holding sankha in his upper left hand, padma in his upper right hand, and chakra in his lower left hand. The lower right hand is fractured at the elbow. A kirita mukuta is placed on the deity's head. On both sides of the pedestal, there are images of devotees holding folded hands. On Lord Vishnu's thigh, there is a little statue of Lakshmi (?). Chlorite stone is used to create the image of Lord Vishnu. Its width is 11 inches, and its height is 1 foot 7 inches. The Vishnu image's aesthetic reveals the 15th century Odishan art's artistic characteristics. Kartikeya: On the double-folded pedestal, a standing depiction of Kartikeya image is sculpted. The pedestal is etched with a peacock figure on its right part. His right upper hand is holding an ankusa, his left upper hand possesses a rooster cock, his left lower hand is resting on the rooster cock's back, and his lower right hand is feeding the peacock. A Debasena figure is found engraved lifting the legs of a rooster cock. Sandstone is used to create the image, and nature has slightly eroded it. On the slab's left top corner is a flower medallion. Right of the pedestal, a peacock figure may be seen. The deity's slab is one foot one inch wide and two feet long. The iconography of the Kartikeya image displays the stylistic elements of the Gajapati-era classical art of Odisha. Figure 7
Vaishnavi: On the triple-sectional pedestal, a Vaishnavi figure is engraved in the yoga pose. She makes the mudras for sankha in the upper left arm, chakra in uppara right hand, abhaya mudra in the lower left arm, and varada mudra in the lower right hand. She has designed mukuta on her head and wears earrings. On the upper corner of the slab is a depiction of a full-blown lotus blossom. Chlorite stone was used to create the image of Vaishnavi. It is 1 foot 6 inches tall and has a width of 10 inches. The 16th century CE may be assignable to the date of Vaishnavi image. Figure 8
4.3. LOOSE SCULPTURES OF THE JAGAMOHANA DOORWAY Loose sculptures are found on the right of the jagamohana doorway. These images are Ananta Basudeva (Narayana), Trivikrama, Vishnu, Vishnu, Rama, etc. Ananta Basudeva: Two handed image of Ananta Basudeva (Narayana) is engraved in a standing position on the designed podium. The elbow parts of both hands are broken. On each side of the pedestal is a figure of a female devotee with her hands clasped. The pedestal's bottom features scrolling details. On each side of the god is engraved with female attendant figures holding lotus buds. The pidha mundis are housed with these female attendant figures. The trefoil arch is used to embellish the back of the deity's head. Ananta Basudeva/Narayana's head is decorated with seven partially ruined hooded serpents. His body is adorned with a variety of Kalingan School of Art-made jewellery. On each side of the trefoil arch are images of apsaras holding garlands. Chlorite stone is used to create Ananta Narayana's image. Its width is 2 feet and a half, and its height is 4 feet. He is wearing a wooden flower garland. The iconographic elements of the Ananta Basudeva image point to the creative elements of Odisha sculptural art of the 14th century CE. Figure 9
Trivikrama: Since the Middle Ages, Trivikrama has been widely worshipped in Eastern Odisha. Vamana (Trivikrama) is one of Lord Visnu's avatars. Vamana is the fifth incarnation of the Hindu god Visnu Deborah (1991), p.3-4. On the double-petaled lotus pedestal, Trivikrama's four arms are depicted standing. Garuda statue is engraved in the pedestal. The deity's hands are shown to be holding gada in the upper right hand, lotus in the lower right hand, disc in the upper left hand, and sankha in the lower left Behera and Donaldson (1998), pp. 85–86. The deity's right side leg puts on the podium, whereas the left leg is raised to the pedestal holding the fully broken image of Brahma. Under Trivikrama's raised leg, a Balidana scene has been etched. Bali is seen pouring water in this image to represent the gift being given to Vamana. Sridevi, Bhudevi, and Sarasvati are portrayed in the slab's sides. The deity's back is embroidered with a trefoil makara arch crowned by the kirtimukha motif. The upper portion of the slab has one apsara figure on each side. Trivikrama is a one-foot-ten-inch wide by three-foot-four-inch tall image. Chlorite stone was used to make it. It is made of stone called chlorite. The Trivikrama image has iconographic elements that are representative of the classical art of Odisha of the13th-century CE. Unidentified Male Deity: This image depicts a male deity with four arms standing on two folded pedestals. He wears a long diadem on his head. All four hands have been deformed, rendering their qualities invisible. He is covered with a garland that extends to his knees. Cloth is placed over the deity's lower body. A flower medallion can be seen on the slab's two side top corners. It is, according to the temple's priest, an image of Lord Vishnu. The author was unable to accept the temple priest's interpretation of the Garuda figure as a representation of Vishnu because it was not there on the pedestal. Chlorite stone is used to create the image of the male deity. It is 2 feet 5 inches tall and has a width of 1 foot 1 inch. This male deity's iconography incorporates elements of the Ganga period's classical art in Odisha. Vishnu: On the double-sectional pedestal, Lord Vishnu's four-armed representation is etched in a standing position. He is holding padma in his upper right hand, chakra in his lower left hand (which is broken), and gada in his upper left hand. The deity's head is decorated with mukuta. He has a body garland made of wooden flowers. Chlorite stone is used to create the image of Lord Vishnu. It stands 1 foot 6 inches tall and has a width of 9 inches. The iconographic elements of the Vishnu image point to the stylistic elements of the Odishan sculptural art of the 13th-century CE. Figure 10
Rama: A statue of Lord Rama has been kept on the site's Navagraha slab. On the double sectional pedestal, a two-handed image of Lord Rama is engraved in a standing position. He is seen as an archer. The right hand is severed from the elbow part whereas the left hand retains the bow. The god slab is entirely unadorned. It is made in chlorite stone. It stands 1 foot 7 inches tall and has a width of 9 inches. The artistic characteristics of the mediaeval classical Odishan art are seen in the iconographic elements of the Rama figure. All the above sculptures in the right-side main doorway of the jagamohana are preserved on the detached Navagraha slab. These loose sculptures were collected /discovered from the nearby site as said by one of the old priests of Dhavalesvara temple. They represent earlier features of Odishan art and have nothing to do with the present Dhvalesvara temple Donaldson (1985/86), p.38. 4.4. LOOSE SCULPTURES OF LEFT SIDE DOORWAY WALL OF JAGAMOHANA- Hari-Hara Image: An image of Hari-Hara has been put into the jagamohana's western side wall niche. On the ornamented pedestal, the four-armed representation of Hari-Hara is sculpted in yogasana. The slab's pedestal is embellished with sculptures of a humped bull, a kneeling Garuda, and a standing person with a mace. He is holding a chakra in his upper left hand, a sankha in his lower left hand, a trident in his upper right hand, and a dambaru in his lower right hand. The characteristics of the hands in this image demonstrate that it is an amalgam of Hari and Hara. On the slab's top corners on each side, there are flower medallions to be seen. Chlorite stone is used to create the Hari-Hara image. Its height is 1 foot 8 inches, and its width is 1 foot 1 inch. The iconographic elements of the Hari-Hara image display the stylistic elements of the Odishan sculptural art of the 16th-century CE. Figure 11
A Couple Figure: A stone couple figure is found installed in one of the niches of western outer wall of the jagamohana and it is approximately 1 ½ feet high. Brahma: A Brahma image is found fitted in the niche of the jagamohana's southern side outer bada wall. On the pedestal, which is adorned with a number of kalasas (pots), the two-armed representation of Brahma is discovered carved in the ardhaparyanka position. Sankha is in his left hand, and padma is in his right. Trefoil arches embellish the back of the deity's head. He has a body garland made of wooden flowers. He has kirita mukuta on his head. Chlorite stone is used to create the Brahma image. The Brahma image is 13½ inches in width and 20½ inches of high. The features of Brahma image may be assignable to the 16th century CE. Figure 12
Bedhakali image is found to be worshipped at the niche of southern outer wall of the jagamohana. 4.5. NATAMANDAPA AND BHOGAMANDAPA The natamandapa is an open flat roof of the twentieth century. A huge bull figure of modern masonry work is found kept in the open natamandapa hall. Bhogamandapa is a pillared mandapa of the twentieth century. A Shivalinga is found to be worshipped in the centre of bhogamandapa hall. 4.6. ADDITIONAL SHRINES Two small additional shrines are found at the western side. These are of Lord Rama and Radha-Krishna. A Narasimha image of fine workmanship is noticed in the front side wall of the Radha Krishna shrine. 4.7. DATE OF DHAVALESVARA TEMPLE There are no reliable records pertaining to the time of the Dhavalesvara temple was originally built. According to the locals, Dhavalesvara temple of Dhvalesvara was constructed during the Gajapati era. In this regard, the temple priest Laxmana Pati opines that Sri Prataprudra Deva, the Gajapati king of Puri, had built the Dhavalesvara temple. According to local legend and several Shaivite images of the location, the Dhavalesvara temple may have been built in the sixteenth century CE. The local ruler of Athgarh repaired the temple during the succeeding era. A Board of the Endowment Commission under the state Government of Odisha is now managing the Dhavalesvara temple. 5. CONCLUSION We can conclude on the above-mentioned facts that the Dhavalesvara temple is a completely renovated Shaiva shrine of the Eastern Odisha. There is a legendary origin of Lord Dhavalesvara Siva of the temple, which is popular in the local area of the Cuttack district. The temple's Shivalinga is hidden beneath the saktipitha , which is not visible from the outside. The temple's vimana and jagamohana were both constructed during the Gajapati rule, but the natamandapa and bhogamandapa were afterwards added. The structures of the Dhavalesvara temple are the example of Odisha's Kalinga-style temple architecture. Due to the presence of ancient sculptures representing the Shaiva, Vaishnava and Shakta sects, the temple serves as a coordinating place of Shaivism, Vaishnavism and Shakism. There is a peculiar thing of the temple that Mahisamardini figure there instead of the original Parvati image in the southern side parsvadevata niche of vimana. The temple's priests incorrectly revere it as Devi Parvati. The current Kartikeya, Ganesha, and Durga figures were most likely kept in the central niches during the late mediaeval era. In the study of Odishan iconography and artistic heritage, the six-armed, three-headed image of Kartikeya of the Dhavalesvara temple is exceptional. The Durga image of the temple is a unique finding in the history of temple art of Odisha. In the place of Parvati image, goddess Durga image is being worshipped as side deity. The old priest of the temple opines that this Durga image is found to be worshipped here from the time of renovation of the temple. The old loose sculptures from the temple site are still in good condition and show that they were taken from another nearby destroyed/ruined Vaishnava shrine. There are a few of the ancient loose sculptures still found, however they are preserved for worship. Available of the Shaivite, Vaishnavite and Shakta images in the temple site suggest that the temple is a coordinating place of Shaivism, Vaishnavism, and Shaktism. The iconographic characteristics of the extant images indicate that all the images were not made in the same period. All the images of the site belong to different periods of the Odishan art and these were mostly decorated with different types of ornaments as noticed in their bodies. Some of the loose sculptures are found mostly mutilated, for which their identifications are not possible at present. Considering the sacredness of temple site, a good number of devotees from the different places of Odisha come to visit Lord Dhavalesvara on the 14th day of month of Kartika, when a big mela is observed here in honour of presiding deity. The other festivals like Pausa Purnima, Dola Purnima, Mahashivaratri are observed by the devotees in the temple of Dhavalesvara. From the cultural point of view, Dhavalesvara temple of Dhavalesvara is an important Shaiva monument of the Eastern Odisha in India.
CONFLICT OF INTERESTS None. ACKNOWLEDGMENTS I would like to thank Prof. Kishore K. Basa, Prof. P.K. Nayak, Prof. R.D. Choudhury (Late), Prof. S.R. Bandyopadhyay, Prof. K.S. Behera (late), Prof. C.R. Mishra (late), Prof. J. Dora, Prof. A. Samanta, Prof. Deepak Kumar Behera, Dr. P. K. Routray, Dr. R, Tripathy, Dr. M.K. Behera, and Dr. B.K. Ratha (Late) for their suggestions at the time of writing article. REFERENCES Behera, K. S., and Donaldson, T. E. (1998). Sculptures Masterpieces from Orissa, Style and Iconography, Aryan Books International. Behera, K.S. (1993). Temples of Orissa, Orissa SahityaAcademi. Borner, A., and Ratha Sarma, S. (1966). “Shilpa Prakasha” of Rama Chandra Kaulacara, E.J. Brill. Bose, N. K. (1931). Canons of Orissan Architecture. Das, G.S. (1958). Exploration of the Prachi Valley. Utkal University. Das, H. C. (1997). Iconography of Sakta Divinities, Vol.2. Pratibha Prakasana. Deborah, A. S. (1991). The Myths of Narasimha and Vamana : Two Avataras in Cosmological Perspective, State University of New York Press. Donaldson, T. E. (1985/86). Hindu Temple Art of Orissa, Vol. III, Leiden. Kinsley, D. (1986). Hindu Goddesses, Vision of the Divine Feminine in the Hindu Religious Tradition. Kramrisch, S. (1946).
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