KONARK

THE SUN TEMPLE

A UNESCO World Heritage Site

 KONARK: Sun Temple
Built By: King Narasimhadeva I of Eastern Ganga
Dynasty
Period: In 1238 AD
Type: Cultural
Location: 35 km from Puri and 65 km from Bhubaneswar

Geographic Location: Eastern state of Odisha

Longitude; 86.095482 ;
Latitude; 19.887583 ;
chief architect: Bishu Maharana
Site Plan
 Site Plan
• The temple was originally built at the mouth
of the river Chandrabhaga, but the waterline
has receded since then.
• Konark temple was initially built on the sea
bank but now the sea has receded and the
temple is a little away from the beach.
• It is carefully oriented towards the east, so
that the first rays of sunrise strikes the
principal entrance.
 Etymology
• The name 'Konark derives from the combination of
the Sanskrit words, Kona (corner or angle) and Ark (the
sun), so when combines it becomes 'Sun of the Corner‘ ;
in reference to the temple which was dedicated to the
Sun God Surya.
• The monument was also called the Black Pagoda'(Kaala
Pagoda) by the European sailors due to its dark color . In
contrast, the Jagannath Temple in Puri was called
the White Pagoda. Both temples served as important
avigational landmarks for the sailors.
• Konark is also known as Arkakhetra.
 History
• Sun Temple of Konark, built in the middle of 13th
century.
• King Narasimhadeva I, the great ruler of the Ganga
dynasty had built this temple.
• This was done with the help of 1200 artisans within
a period of 12 years (1243-1255 A.D.).
• Since the ruler used to worship the Sun, the temple
was built as a giant ornamental chariot for the Sun
God.
 Architecture
• The temple follows the traditional style of Kalinga
architecture.
• Also, the Sun temple of Konark is a masterpiece of
Orissa's medieval architecture.
• The whole konark sun temple is all enclosed within a
courtyard measuring 865 ft. by 540 ft.
• The main temple building is mounted on 24 wheels ,
each about 10 feet in diameter, and drawn by 7
mighty horses.
 Architecture
• Around the base of the temple there are images of
animals, foliage, warriors on horses and other
interesting structures.
• On the walls and roof of the temple beautiful erotic
figures are carved.
• The only variation from the other temples of Orissa
is that the temple proper stands on a huge platform,
the sidewalls of the platform utilised for the
depiction of the richly embellished stone chariots.
Architecture: Plan
 Plan
• In Konark Temple
»Deul (Garbha-Griha)
»Jagamohan
»Nat-Mandir
»Bhog-Mandir
»Maya Devi-Mandir
»Vaishnava-Mandir
• On plan, the temple consists of a deul (sanctum sanctorum or the
sanctuary), antarala, jagmohana (porch or the mahamandapa) and a
bhoga-mandapa, the latter being detached from the main temple
complex as a separate unit, but along the same alignment with the
main temple.
• The main structure in these religious temples are deul and mandapa.
• The bigger structure is called every where deul but the mandapa is
also known by the name of jagamohana.
 Plan: Deul(Garbha-Griha)
• DEUL(GARBHA-GRIHA):
» The deul is a typical rekha deula of the Orissan order marked by the
curvilinear sikhara, which could have originally marked with the
typical karma-amalakas.
» It was the bigest structure in the temple arena of 70m in height. It
collapsed in 1837.
» In its three sides it has three subsidiary shrines with stairways leading
to the niches, each containing a life size image of sun god (morning ,
mid-day & setting sun).Made up of greyish-green chlorite stone
» The main pratima (idol) was believed to be kept in the deul.
» The shikhara of the deul : This peak was a 52 ton magnet.
» The magnet held the beams in place and that allowed the structure to
endure the harsh conditions of the Orissa coast that faces several
cyclones, for centuries without being affected.
 Plan: Deul(Garbha-Griha)
• DEUL(GARBHA-GRIHA):
» Floating in the air because of the unique arrangements of the main
magnets and other series of magnets.
» The placement of the temple had been aligned in a way that the first
rays of the Sun falling on the coast would pass through the Nata
Mandir and would reflect from the diamond placed at the center of
this idol in the Main Sanctum. This phenomena would last for a couple
of minutes during the early morning.
» These magnets were later removed by the Britishers for acquiring the
magnetic stone, Another legend states that, the magnetic effects of the
lodestone was so strong that it disturbed the ships compasses that
passed by the coast and the ships would run aground. To save their
trade and their ships, the Portuguese took away the lodestone.
» The lodestone that was acting as the central stone and keeping all the
stones of the temple well balanced, fell out of alignment because of
its removal and eventually led to the destruction of main sactum.
 Plan: Jagamohan
• JAGAMOHAN:
» It is a square building of 36x36 m and 40m high.
» Following nagara style.
» It has largest internal space in Hindu architecture of 20 m sq.
» It has a vast hall inside no longer accessible. Its corbelled roof,
carried on four mighty pillars of about 30 m high having
» The plinth of the side walls are carved by the 12 exquisitely carved
huge wheels of chariot which are one of the most amazing part of
the temple. There used to be seven horses on the side walls too.
» These huge wheels are also known as dharma chakra and works as
sun dials.
» The jagmohan (frontal porch, mahamandapa) is the typical pidha
deul with receding pidhas resembling a pyramidal roof.
 Plan: Jagamohan
• JAGAMOHAN:
» Both the rekha and pidha deuls were crowned by amalaka and a stupi.
The rekha and pidha deuls are square on plan inside, while the outside
is a typical example of a pancha-ratha structure known as rathas or
pagas in Orissan architecture.
» The central projection, also the most pronounced one is known as raha
paga, while the middle one is anuratha-paga and the corner one is
known as kanika-paga.
» Apart from these major projections, numerous other minor projections
and recesses could also be discernible.
» On elevation, both the pidha and rekha deuls are divided into the
components namely, pishta (or jangha, the platform), bada (the wall
portion, the vertical wall), gandi (the portion immediately above the
bada, the ‘the trunk portion of a body’; in a rekha deul it is curvilinear,
while in a pidha deul it is pyramidal) and mastaka (the crowning
element, ‘head’; it consists of beki (neck), amala, khapuri, kalasa).
» It is also easily discernible that there is no marked difference between
the pidha and rekha deuls up to the top of the bada portion.
 Plan: Jagamohan
• JAGAMOHAN:
» The bada portion further consists of pabhaga (foot) which is composed
of five broad mouldings, tala jangha (lower shin), bandhana (a set of
mouldings which divides the jangha into two, namely the tala and
upara jangha), upara jangha (upper shin) and the veranda which is
again a set of mouldings, the number may vary, here in the pidha-deul
there are ten mouldings.
» The pidha-deul as described above is in the form of a stepped pyramid
with receding tiers of pidhas, arranged into three tiers, called as
potalas.
» The gandi portion of the pidha-deul is preserved fairly at the Konarak
temple. However, the gandi portion of the rekha-deul and a large part
of the bada had collapsed long ago. Even the extant remains of the
rekha-deul remind us of the typical superstructure it should have once
had. The bhoga-mandapa as stated above is detached from the main
temple structure. The mandapa is a pillared edifice, now open to the
sky.
 Plan: Nat-Mandir
• NAT-MANDIR:
» It was built on the same principle as of Jagmohana standing on a basement or a
plinth, these halls were invariably of one storey only, and the elevation of each
consisted of two parts, a cubical portion(bada) below, and a pyramidial roof
above.
» It’s pyramidal roof stands on the four-square system of roof iron beams.
» Showing group of four pier having four square system of roof iron beam
» where the temple dancers used to perform the dance to honour the Sun god.
» Apart from this the entire complex is richly decorated with the dancing ladies,
various scenes from the daily lifes, mythological figures and erotic sculptures.
» The entrance is guarded by two huge lions, each killing a war elephant and
beneath the elephant is a man.
» The lions represent pride, elephants represent wealth and both of them
consumes man
» Everyday, the Sun’s rays would reach the Nata Mandir from the coast and
reflects from the diamond placed at the center of the idol.
 Materials
• Three different types of stone were used.
Chlorite: was used in the door-frame.
Laterite: was used in the foundation staircase and the centre of
the platform.
Khondalite: the most usual kind, was used elsewhere.

The stones were smoothly finished and then fitted together.

They were laid horizontally, placed one upon another, and
joined together with iron cramps and dowels.
The workmanship was so perfect that the joints could hardly be
seen.
Designs were carved on them only after that.
 Masonry
• The stones are laid in ashlar masonry.
• The individual stones were carved and finished smoothly and hence the joints
are less visible.
• These stones were placed on one another firmly due to their own weight
supplemented by the use of iron dowels to hold them properly in their place.
• The stone type known as khondalite was used largely for the temple
construction while the high quality chlorite was used for the doorjamb and
some sculptures.
• The interior core of the temple and other structures were largely
constructed using the laterite stones.
• The selection of khondalite that is prone to easy weathering and chemical
alteration had been a major cause in the gradual disintegration of the
temple.
• Most of the garnet composition is decomposed into a spongy mass of oxide
which is further deteriorated by the saline winds and heavy rainfall witnessed
in this region.
 Architecture
• In the temple designing all age groups were kept in
mind:
~ The lowest level, is decorated with sculptures of
animals and trees – for the benefit of educating /
entertaining children.
~ The upper level has sculptures of gods & goddesses
– for the elderly. And the middle section consists of
erotica to educate the young householders.
• Legend has it that, the uniqueness of the temple lies
in the fact that between every two stone pieces there
lies an iron plate.
 Remains
• The audience hall (Jagamohana), which is about 128 feet
(39 m) tall, still stands and is the principal structure in the
surviving ruins.
• Among the structures, which have survived to the current
day, are the dance hall (Nata mandira) and dining hall
(Bhoga mandapa).
 Architectural: Remains

• As one can see, the main sanctum is

completely missing while the roof of Dancing
hall is missing too
 Architecture
• Two smaller ruined temples have been discovered nearby.
• One of them is called the Mayadevi Temple and is located
southwest from the entrance of the main temple.
• It is presumed to have been dedicated to Mayadevi, one of the
Sun God's wives.
• It has been dated to the late 11th century, earlier than the
main temple.
• The other one belongs to some unknown Vaishnava deity.
• Sculptures of Balarama, Varaha and Trivikrama have been
found at the site, indicating it to be a Vaishnavite temple.
• Both temples have their primary idols missing.
 Aruna Stambha
• In the last quarter of the 18th century, when
worship had ceased in the temple, the Aruna
stambha (Aruna pillar) was removed from the
entrance of Konark temple and placed at the Singha-
dwara(Lion's Gate) of the Jagannath temple in Puri
by a Maratha Brahmachari called Goswain (or
Goswami). The pillar is made of monolithic chlorite
and is 33 feet 8 inches (10.26 m) tall. It is dedicated
to Aruna, the charioteer of the Sun God.
 Dharma Chakra/ Sun Dial
• The wheels of the chariot are also symbolic and have been
interpreted as the 'Wheel of Life'.
• They portray the cycle of creation, preservation and achievement
of realisation. The diameter of each of the wheels is about
nine(2.73 metres) feet and each of them has a set eight equal parts.
They are elaborately carved all over. The thicker ones are all
carved with circular medallions at their centres on the widest part
of the face. The axels of the wheels project by about one foot from
the surface, having similar decorations at their ends. The rims are
carved with designs of foliages with various birds and animals,
whereas the medallions in the spokes are carved with the figures of
women in various luxurious poses, mostly of erotic nature. These
wheels may also possibly represent the twelve Zodiacs.