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The temple of Gopinatha is exactly located on the southern bank of the Indradyumna tank of Puri town. It is built in sand stones, which locally called as Baulamala patharas. According to tradition it was contructed by king Indradyumna of Malwa. The temple consists of two structures such as vimana and mukhasala. The temple complex is enclosed by a compound wall, which is made of laterite and bricks. This temple faces to west. Vimana: The vimana of the temple is a pancaratha pidha deula and its height is about 20 feet from the surface of the temple complex.55 It has four vertical divisions such as pista, bada, gandi and mastaka (Pl.No-22). The pista of the vimana is 2 feet in height and it is devoid of decorative elements. The base of the bada is square of 15 feet on each side. The bada of the vimana is pancanga i.e. having fivefold division such as pabhaga, tala-jangha, bandhana, upper jangha and baranda. All the components of the bada are devoid of sculptural elements except the parsvadevatas of central niches. The central niches of the bada contain parsvadevata images of Varaha, Narasimha and Trivikrama. The image of Trivikrama or Vamana is the parsvadevata of the northern side. The four handed image of Trivikrama is shown standing on a plain pedestal. His four hands display conch, cakra, gada and padma. His right leg is firmly set on the ground of the pedestal while the left leg is 146

upraised to cover the sky by his foot. There is a scene of Balidana beneath the uplifted left leg, here the king Bali is swearing to present gifts to Vamana while Sukracarya lifts hands up with dismay. Narasimha is the parsvadevata of the eastern side niche of the bada. The four handed Narasimha image has been installed on the plain pedestal. Out of the four hands, two possess conch and cakra while other two lower hands are engaged in taking out the entrails of Hiranyakashyapu, the demon king. Sridevi and Bhudevi are standing on either side of the deity (Narasimha). Varaha, the parsvadevata of the southern side has been installed on the plain pedestal. His four hands display cakra in right upper hand, arm of a female figure possibly Laksmi in his right lower hand, goddess Prthvi seated on his left uplifted arm and conch in left lower hand. Two female figures are standing on either side of the deity with camara in their hands. All the parsvadevatas are housed in the pidha mundi niches and carved out of the blackchlorite. The gandi of the vimana is a pyramidal superstructure, which consists of seven pidhas. It continues the pancaratha plan of the bada. The jhapa simhas are projected on the centre of the middle pidha of the gandi. The edges of all pidhas of the gandi are decorated with tankus. Dopichha lions are fixed on the kanika pagas of gandi. Garuda figures have been inserted in the four cartdinal directions of the beki above rahas. The mastaka of the vimana consists of normal canonical elements such as beki, ghanta (bell shaped member) above which there is another beki, amalakasila, khapuri, kalasa and ayudha (cakra) and dhvaja. The sanctum of the vimana preserves the image of Gopinatha (Krsna) as the presiding deity and it is made of black Chlorite. The image of Krsna is in standing posture and playing on the flute by his two hands. The height of the image is 2 1/2 feet. The image of Radha devi is also being worshipped with Lord Krsna and it is made of brass. Other small images of Radha and Krsna are also kept on the simhasana. All these deities are placed on the simhasana, which is of 2 1/2 feet high. The innerside walls of the sanctum are devoid of decorative devices. The doorframes of the main sanctum are completely plain. The images of Gaja-Laksmi and navagrahas are not carved in their respective places of the doorway. 147

Jagamohana or Mukhasala: The jagamohana of the temple is a pidha deula and its height is about 20 feet from the surface of the temple complex. The base of the jagamohana is rectangular and it measures 30 feeet in length and 20 feet in width respectively. The bada of the jagamohana is pancanga. The pabhaga of the bada is devoid of decorative ornamentations. The tala jangha niches are relieved with fighting scenes, female figure with her child', a female figure on the shoulder of a male figure and Krsnalila scenes. In one scene Krsna has been installed on the dambaru shaped pedestal and his two hands display cakra, conch and the other two hands engaged in playing the flute. The image of Anthua- Gopala (Krsna) is depicted as taking curd from a pot. The dancing figure of Krsna playing on flute is finely depicted on the niches of the tala-jangha. In another scene Yasoda is holding Krsna in her thigh and here she is in seated posture. There is a fighting scene of an elephant with an woman and in it the woman is holding the tusk of elephant. Krsna is standing under the Kadamba tree. There is a fighting scene of Krsna with the washerman of Kansa. In another scene Lord Krsna is depicted as kneeling posture with lifting the curd pot by a single finger. The bandhana portion of the front side of bada consists of five mouldings while the other three sides are completely plain. The niches of the upper jangha are also relieved with some scene of Krsnalila such as yugala image of Radha and Krsna, Krsna playing flute on the pedestal, Krsna standing under the Kadamba tree, Krsna with the gopis, Krsna is on the branches of Kadamba tree, transportation of Krsna from Mathura to Gopa, vastraharana scene of gopis by Krsna, Krsna playing on flute being canopied by the seven hooded serpent, the dancing figure of Krsna with Radha etc. The baranda portion of the bada is plain in three sides. Only the front side is depicted with some Krsnalila scenes. They are dancing Krsna, Krsna with a cow, churning of curd by Yasoda and the scene of Nandaraja with Krsna. The bada of the mukhasala is surmounted by the pyramidal superstructure, which contains three pidha mouldings. There is a small mastaka inserted on the top of the upper pidha. Two jhapa-simhas are projected on the northern and southern sides of the mastaka. 148

The inner walls of the mukhasala are without any embellishments. There is a Garuda stambha of 3 feet high in the centre of the jagamohana. The jagamohana has one doorway towards the western side. The doorframes of the jagamohana are also completely undecorated. The navagrahas are finely carved on the architrave above the doorway lintel. They are all in seated postures with usual attributes in their hands. Jaya and Vijaya figures are standing on either side of the doorway of jagamohana. Two lions are fixed on the both sides of the doorway one on each side. There is an open court-yard in front of the jagamohana. The southern side of the temple complex is covered with the kitchen rooms and some other rooms, which are being used by the priests of temple. Gateway (Entrance Porch):The westernside boundary wall has an entrance porch, which is covered by a small pidha order structure (Pl.No-21). Its height is about 18 feet from the surface of the temple complex. Each side doorframe of the entrance porch is relieved with pidha mundis at the bottom part of the doorjambs. The image of Gaja-Laksmi is carved on the centre of the doorway lintel. Some birds are finely depicted above the navagraha slab. The bada of the entrance porch is surmounted by the pyramidal superstructure, which consists of three pidhas. The top of the pidha is crowned by a mastaka. Two small jhapa-simhas are projected on the northern and southern sides of mastaka. The figures of Garuda and Angada are depicted in standing posture on the both sides of the entrance porch. They are acting as the gate keepers of the temple. Two lions are projected on the both sides of the main entrance porch. Masonry steps are provided for entry into the temple complex as well as the jagamohana. Date of the temple: B.K.Ratha remarks that the Gopinatha temple near Indradyumna tank was contructed during the sixteenth centrury AD.5 On the basis of the architectural style and sculptural features, the construction period of the Gopinatha temple can be tentatively assigned to the first half of the 16th century AD. 149