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SHAKTA TEMPLES OF PURUSHOTTAMA KSHETRA鈥擨n Orissa (Odisha), Shakti is worshipped in the forms of Mahisamardini Durga, Parvati, Candi, Camunda, Mangala, Varahi, Kali, Vimala, Carcika, Marcika, Bhagavati etc. The ksetra of Purusottama abounds in Sakta shrines. Prior to the advent of Vaisnavism, however, the ksetra was once a Shakta pitha as substantiated both by literary records (in lists of Sakta pitha in tantric texts) and by archaeological evidences (in the shape of extant temples and images). Goddess Vimala is the earliest presiding deity of the ksetra. Hence She (Vimala) is regarded as the Ksetresvari, the mistress of the ksetra. Native rulers of Puri, from Somavamsi to Suryavamsi periods, were devotees of various goddesses and conceived Sakta deities as their tutelary goddesses. They (native rulers) also constructed some Sakta temples for common worship in the different parts of the ksetra as well as other places of their kingdom. Besides the temple of goddess Vimala, a number of other important Sakta shrines are also noticed in the different parts of the ksetra. They are Laksmi temple, Sarva-Mangala temple, Mausima temple, Indrani temple, Bata-Mangala temple, Daksinakali temple, Syamakali temple, Alam Candi temple, Rama Candi temple, Hara Candi temple, Pala-Hara Candi temple, Varahi temple, Bhubanesvari temple, Carcika temple, Marcika temple, Baseli temple, Parvati temple, Jhadesvari temple etc. The descriptions of the notable Shakta temples of the ksetra are mentioned below. 1. Vimala Temple Goddess Vimala is one of the most important Shakta deities of Orissa. The temple of goddess Vimala is situated on the south west corner of the inner enclosure (Kurma Bedha) of the Jagannatha temple complex of Puri. It is located exactly to the west of the Rohinikunda near the Mukti Mandapa.' The temple of Vimala seems to be an old structure but not novelty is noticed in the architectural pattern. It is a temple usually resorted to by the Tantrikas who attach greater importance to it than the main temple of Lord Jagannatha.² Goddess Vimala is popularly known as Pada-Pithesvari of the ksetra (Puri). Those devotees, (Saktas) who come to visit Lord Jagannatha, have also to visit goddess Vimala. So from the

religious point of view, the temple of Vimala occupies a unique place in the cultural history of Orissa. Architectural features of the temple The temple of Vimala belongs to the Kalinga Style of architecture. The present temple appears to have been constructed during the Ganga period of Orissa. The temple of Vimala consists of four structures such as vimana, jagamohanaa, natamandapa and bhogamandapa. All the structures of the temple are built in sand stones, known called Baulamala patharas. The temple of Vimala faces to east, which is peculiar to the Shakta tantra temple. Vimana:The vimana of the Vimala temple is a rekha-deula and its height is about 60 feet from the ground of the temple.³ The structure of the vimana is pancaratha in plan and it stands on a platform of 2 feet high. The vimana has four vertical divisions such as pista, bada, gandi and mastaka. The pistta or platform is ornately carved with scroll works, flower medallions and lotus petalled devices. The base of the vimana is square and it measures 15 feet on each side. The bada of the vimana is pancanga type i.e. having five fold divisions such as pabhaga, tala jangha, bandhana, upara jamgha and baranda. The pabhaga of the bada consists of the conventional mouldings of khura, kumbha, patta, kani and basanta. The pagas of the pabhaga are decorated with khakhara mundis. The intervening recesses between the pagas of pabhaga are relieved with flower medallions, scroll works, creepers, amorous couples and naga-pilasters. The pagas of the tala jangha are decorated with khakhara mundis. The recesses between the rathas of tala jangha are filled with simha-vidalas, gaja-vidalas, jali works, scroll-works and kirtimukha motifs. The figures of asta-dikpalas are housed in the khakhara mundi niches of the lower jangha and they are all in seated postures with their respective mounts and directions. The siksadana scenes of saints are also finely housed in the khakhara mundi niches of the tala jangha. The bandhana of the bada consists of two horizontal decorative mouldings, which are relieved with alasakanyas, scroll works, flower designs and lotus petalled devices. The pagas of the upper jangha are decorated with pidha mundis. The intervening recesses between the pagas of upper jangha are also filled with simha-vidalas, erotic scenes, alasakanyas, scroll works, jali works, naga and nagini figures and flower designs. The consorts or the 240

female counterparts of the astadikpalas have been comfortably accommodated in the pidha mundi niches of the upper jangha. They are all in seated postures with their respective mounts and directions. Different incarnations of devi Durga are also depicted in the niches of the upper jangha. The central niches of the three sides of bada are housed with devi images as side deities of the temple. The baranda portion of the bada consists of ten horizontal decorative mouldings, which are relieved with scroll works, lotus petals, flower medallions, kirtimukha designs and stylish geese. The bada of the vimana is surmounted by the curvilinear spire, which continues the pancaratha plan of the bada. The base of the gandi is decorated with a series of angasikharas. The kanika pagas of the gandi contains seven bhumi amalas in its surface. Two vajra mastakas are super-imposed one above another at the base of the kanika pagas of gandi. The raha paga of the gandi contains four angasikharas on each side. The base of the raha paga contains three angasikharas, one slightly big at the centre and other two small angasikhara are flanked on either side of the central angasikhara. There is another angasikhara superimposed on the central angasikhara of the raha paga. The middle portion of the western side raha paga is finely projected with the sardula headed motif. The jhapa -simha motif is projected on the middle portion of the eastern side of the raha paga. Deula Carini figures are inserted in the four cardinal directions of the beki above rahas. They are the supporting elements of the amalakasila of the mastaka. The mastaka of the vimana consists of beki, amalakasila, khapuri, kalasa and ayudha (cakra). Here the finial or dhvaja of the mastaka is not found from the top of ayudha. The sanctum of the vimana preserves the image of goddess Vimala as the presiding deity of the temple. Devi Purana gives the iconographic features of goddess Vimala. The image of Vimala enshrined in the temple bears some typical iconographic characteristics leading one to assign it to the Bhauma art phase." The four armed image of goddess Vimala is in standing posture on a lotus pedestal. The image of goddess Vimala is carved in black-chlorite and it measures approximately five feet in height.5 She holds aksamala in upper right hand, phasa (noose) in upper left hand (or a human figure), an amrtakalasa (sudhakalasa) in left lower hand and varada mudra in the lower right hand(Pl.No-43). According to Lokanatha Puja Panda, the lower left hand possesses a drinking vessel. There is a 241

lot of controversy over her attributes in the upper left hand. It is differently stated as a human figure, a naga woman, a naga phasa (noose) and some other. She (Vimala) has the synthesis form of Mahakali, Maha-Laksmi and Mahasarasvati, which is described in Sri Candi.' She holds kalapasa, which is the ayudha (weapon) of Mahakali, amrtakalasa, the ayudha of Maha-Laksmi and aksamala (ayudha of Sarasvati) as a result of which,she represents three rahasyas (qualities of devi). The goddess is installed on the simhasana of 2 feet high. Here devi is three-eyed, like Siva and she wears a crown. Two nude and fierce looking female attendants are flanked on either side of the presiding deity.³ Characteristics of this cult image, are purely Sakta-Tantric. The backside head of the deity is decorated with trafoil makara headed arch. The inner walls of the sanctum are devoid of decorative ornamentations. Jagamohana:The jagamohana or mukhasala of the Vimala temple is a pidha deula and its height is about 35 feet from the surface of the temple complex. It has also four vertical divisions like the vimana. The structure of the jagamohana stands on a low platform or pista of 2 feet high. The base of the bada is square and it measures 25 feet on each side. The pista portion of the jagamohana is decorated with scroll works and flower designs. The bada consists of five-fold divisions such as pabhaga, tala jangha, bandhana, upara jamgha and baranda. The pabhaga is made of the conventional mouldings of khura, kumbha, patta, kani and basanta. The pagas of the pabhaga are relieved with khakhara mundis. The intervening recesses between the pagas of the pabhaga are filled with naga pilasters, amorous couples, erotic scenes, scroll works, flower designs and jali works. The erotic scenes and the amorous couples are finely housed in the khakhara mundi niches of the pabhaga. The pagas of the tala jangha are relieved with khakhara mundis. The intervening recesses between the pagas of tala jangha are filled with simha vidalas, gaja-vidalas, siksadana scene of saints, scroll works and jali works. The astadikpala figures are housed in the khakhara mundi niches of the tala jangha. They are all in seated postures with their respective mounts and directions. The bandhana of the bada consists of three decorative horizontal mouldings. The pagas of the upper jangha are decorated with pidha mundis. The recesses between the pagas of upper jangha are relieved with erotic scenes, scroll works, kirtimukha motifs and jali 242

works. The female counterparts of the astadikpalas are also housed in the pidha mundi niches of the upper jangha. They are depicted with their respective mounts and directions. The baranda of the bada consists of seven horizontal decorative mouldings, which are relieved with dancing female figures, amorous couples, scroll-works, a frieze of elephants and deers and jali works. Gavaksa. The central or raha paga of the bada of jagamaohana contains two balustraded windows; one on the northern and another on the southern side. The window of the each side contains four balusters, which are finely carved with dancing female figures holding musical instruments in their hands. Frames of the balustraded windows are relieved with scroll works, flower medallions, jali works, creepers containing the frolicking boys and decorative female figures. The gavaksa mandana of the both northern and southern sides of the bada are relieved with the royal court scenes andsiksadana panels. The bada of the jagamohana is surmounted by the pyramidal super structure. It consists of two potalas, the lower and upper potalas, which contain five and four pidhas respectively. Figures of the Deula Carinis and dopichha lions are completely absent in their respective places. The mastaka of the jagamohana consists of beki, ghanta (bell-shaped member), above which there is another beki, amalaka sila, khapuri and kalasa. Here the ayudha of the mastaka is missing. Natamandapa The natamandapa of the Vimala temple is a pidha deula and its height is about 22 feet from the surface of the temple complex. It is clearly known from the architectural designs that the natamandapa must have been constructed in later period of the main deula and jagamohana. The structure of the natamandapa stands on the platform of 3 1/2 feet high. The base of the structure is rectangular and it measures approximately 35 feet in length and 18 feet in width. The bada of the natamandapa is pancanga type i.e. having five-fold divisions such as pabhaga, tala jangha, bandhana, upper jangha and baranda. All the component parts of the bada do not contain any ornamentation. The baranda of the bada consists of three horizontal mouldings. 243

The bada of the natamandapa is surmounted by the pyramidal super structure and it consists of three flat-shaped pidhas. There is only kalasa kept on the top the upper pidha. Bhogamandapa The bhogamandapa of the Vimala temple is a pidha deula and its height is about 20 feet from the surface of the temple complex. It stands on a high platform of 4 feet. The base of the bhogamandapa is square of 15 feet. The bada of the bhogamandapa also consists of pabhaga, tala jangha, bandhana, upper jangha and baranda. All the component parts of the bada are also completely plain. Small dopichha lions have been fixed on the two front side corners of the tala jangha. The bada of the bhogamandapa is surmounted by the pyramidal superstructure. Masonry steps of ascending order are provided for approach towards the bhogamandapa as well as the sanctum. Archaeological Survey of India; Puri Circle, has recently renovated the four structures of the Vimala temple. Sculptures: The temple of goddess Vimala is also adorned with some sculptures, which found from its walls. The parsvadevata images are housed in the central niches of the three sides of bada. The eight armed Mahisamardini Durga is the parsvadevata of the southern side of the bada. She has been installed on the double petalled lotus pedestal. Out of the eight hands of the deity, only two upper hands display khadga and parasu and the rest hands of the deity are completely broken. Two flying apsara figures are carved on the both sides top corners of the background slab and they are displaying garland of flowers in their hands. The background slab of the deity is decorated with the kirtimukha motif at the apex. The astabhuja Durga is shown piercing Mahimsasura (demon) by a trident. This gesture is not clearly visible, because it is severely damaged by nature. Lion, the conventional mount of devi firmly stands on the pedestal. Two conventional attendant female figures are also depicted at the base of the frame of parsvadevata niche. The image of goddess Camunda is the parsvadevta of the western side of the main presiding deity. The six-armed devi image has been kept on the prostrate body of a corpse, which lies on the plain pedestal. Most parts of the image are broken. Out of the six hands of the deity, five are completely broken and only right upper hand displays khadga. Two female attendants are flanked on either side of 244

the deity. Here devi is in standing posture on the prostrate body of Siva. The works of the background slab seems to have been designed during the Somavamsi period or before the Ganga dynasty. The frames of the western side parsvadevata niche are decorated with scroll works and kirtimukha motifs. The image of GajaLaksmi is carved on the middle portion of the lintel of the parsvadevata niche. Two female attendants of devi are also carved on the base of the frame of the parsvadevata niche. There is no image of devi found from the central niche of the northern side as the parsvadevata of the main deity. Most probably, the local miscreants stole it. The niches of the western inner wall of the bhogamandapa are housed with two excellence sculptures of Ganesa and Kartikeya. Both the sculptures are a little more than 2 feet in height. The eight handed image of nrtya Ganesa has been installed on the double petalled lotus pedestal. His right three hands display rosary, broken tusk and dhyana mudra while the left three hands exhibit battle-axe, a pot containing ladus and abhaya mudra. The upper two hands of the deity possess a snake. Mouse, the conventional mount of Ganesa is carved on the left of the pedestal. Two female attendant figures are flanked on either side of the Ganesa image. Another notable sculpture of Kartikeya has also been kept in a niche of the right side western inner wall of the bhogamandapa. The six headed Kartikeya image is installed in standing posture on the plain pedestal. He has twelve hands; the right six hands display naga-phasa, arrow-head, pasa-amkusa, club, lotus flower and touching the mouth of peacock, while the left five hands hold rooster cock, shield, gada, bow and broken object. One of the hands of the left side displays direction of a finger. Peacock, the conventional mount (of the deity) is installed in standing posture on the right of Kartikeya image. Both these two sculptures were probably made during the Ganga period of Orissa history. The pagas of the tala jangha of vimana are decorated with khakhara mundis while the pagas of the upper jangha are relieved with pidha mundis. The intervening recesses between the pagas of the bada of vimana are filled with amorous couples, naga-pilasters, simha-vidalas, gaja-vidalas, alasa-kanyas, naga and nagini figures, scroll works, jali works and kirtimukha motifs. The khakhara mundi niches of the upper jangha are housed with female counterparts of the astadikpalas, siksadana scene of saints and different Devi images. 245

The figure of gaja-simha or lion on a croachant elephant is the conventional mount of goddess Vimala. It has been installed at the outside of the temple i.e. ten feet eastern side of the bhogamandapa. The gaja-simha figure is about 4 feet in height and the place of the conventional mount is covered by the flat roof. Portal Decorations:The sanctum has one doorway towards the jagamohana. The doorjambs of the sanctum are finely carved with scroll-works, flower designs and creepers with the frolicking boys. The flying apasara figures are carved on the surface of the doorway lintel. The central portion of the doorway lintel is carved with an image of Gaja-Laksmi. The navagraha figures are carved on the architrave above the doorway lintel. Figures of two traditional dvarapalas of the presiding deity are found at the base of either side of the doorway of sanctum. The jagamohana has two doorways; one on the western side towards the sanctum and the other one on the eastern side towards the natamandapa. The doorjambs of the eastern side doorway of the jagamohana are ornately decorated with scroll works, flower designs, jali works and creepers with the frolicking boys. The image of Gaja-Laksmi is finely carved on the centre of the doorway lintel of the east. The navagraha figures are also carved on the architrave above the doorway lintel. They are all in yogasana posture with usual attributes in their hands. The natamandapa has four doorways, one on each side. All the doorways except the western side are completely undecorated. The doorjambs of the bhogamandpa are completely plain. Two female figures are depicted on either side niche of the entrance doorway wall of the bhogamandapa. They are acting as the dvarapalas of the main entrance doorway. They hold knives in their right hands and the left hands, which are lying upon the left thighs. Their faces, bellies and hands are very fleshy. Paintings The inner walls of the natamandapa of the temple are fully depicted with the paintings of as many as sixteen forms of the goddess Durga. Out of these paintings, the paintings of the Dasamahavidya s are very important. They are such as Vimala, Chhinnamasta, Ugratara, Mahakali, Bagala, Dhumavati, Syamakali, 246

Bhubanesvari, Sodasi and Bhairavi. These paintings are executed in the traditional Patta style paintings of Orissa. The other paintings, which are depicted in the walls, are Vana-Durga, Vadrakali, Vimala, Hara Candi, Matangini and Jaya-Durga. The local artists of Puri have excuted these paintings. Date of the Temple According to K.C. Panigrahi, the present temple of Vimala appears to have been constructed during the Ganga period and it is likely that has been built on the foundation of an earlier Shakta Shrine dedicated to a goddess.10 Madalapanji states that the first temple was erected by Yayati Keshari (AD 922-955 AD), the Somavamsi king of Orissa." According to N.K. Sahu and K.N. Mahapatra, the existing temple was built by the great king Ananta Varman Codaganga Deva in the first half of the 12th century A.D.12 It appears that in the Somavamsi period the Sakta shrine of goddess Vimala was totally incorporated into the newly built temple complex of Lord Jagannatha. On the basis of the architectural style, it may be presumed that the construction period of the vimana or the main deula of present Vimala temple can be tentatively assigned to the rule of imperial Gangas. Most probably, it was constructed in the 12th century AD, while the sculptures, especially the parsvadevatas seem to have been made during the Somavamsi period. Because the background slabs of the side deities are not decorated with the trefoil arch, which was the usual pattern of the Somavamsi art. The images of the parsvadevatas are not designed in the Ganga style of sculptures. It indicates that these images are the side deities of the earlier temple. So it appears that the present Vimala temple was erected on the foundation of the earlier deula. The other structures of the Vimala temple indicate that they were constructed in the later period of the main deula or the vimana. According to Surya Narayana Dash, the bhogamandapa of the Vimala temple was constructed by Divyasimha Deva (AD 1703 to 1720 AD), the Maharaja of Parlaksemundi.¹³ Most probably, the structure of the bhogamandapa was added in the later medieval period of Orissa history. 13