ISSN 0970-8669 Odisha Review

The Surroundings That Built

Incorporating the facts and features described infrastructure, residential buildings, palaces,
by different scholars over the centuries the temples or forts, their construction started soon
article tries to recreate the work atmosphere after the nomadic human beings chose to settle
and the surroundings prevalent during down at one place and thereby a civilisation
construction of the Sun Temple at Konark, started to develop. The pyramids of Egypt of the
determine the location of different work or cost 3rd millennium B.C., the Mayan culture and the
centres, the logistics installed, the technology various buildings and the township at Mohenjo-
and the tools used, the methods applied for Daro and Harappa, etc. are such examples of
and the stages it went through, by
ancient construction activities. Since those days
superimposing the basic principles of modern
to the modern times it is continuing as an important
construction project management principles
activity though with utilisation of newer and newer
which have not been changed much since the
materials, technology and tools as they get
ancient days except being continually refined
by application of better scientific and developed over the ages. However, since then
engineering knowledge, skill and tools the basic steps of planning for huge construction
developed over time. projects have remained almost the same though
the application methods, the materials and the tools
Civil construction is one of the oldest used, the level of skill and the principles and
activities of any civilisation. It started soon after
technology applied to, have become more
the human beings congregated to settle down at
developed, scientific and precise than those used
a suitable location and societies started to form
in the ancient age. The modern projects go
for providing collective security to their basic needs
like food and shelter. It was a priority for the through the same phases, from conceptualisation
human beings to work collectively in producing stage to the final post-construction stage. Apart
the required quantity of agricultural produce and from technology, tools and materials, the
for making their life safe from harshness of nature, environment, the state of culture and the
furious wild animals and aggressive enemies. Be philosophy of the society of a particular period
it cave shelters, congregation of ancient habitats also cast a great influence on the implementation
with common essential facilities, agricultural process of these different basic steps.

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In this context let us study how the and craft, Utkal prospered substantially in this field.
environment, along with technology, tools and The sponsors of art and craft, especially of the
materials used, with regard to construction temple building activity, were invariably the mighty
industry were in the 13th century Kalinga-Utkala, rulers or the influential people of the society. The
the time when the Sun Temple at Konarka was rulers of Kalinga or Utkal, whenever they
built. In that age the character of major inputs for acquired a lot of wealth from some source, unlike
the project, such as, (a) funds, (b) labour, in the west and north regions of Bharatvarsha,
(c) psychology and philosophy embedded in to were not interested in building huge palatial
the lives of the workers, (d) the technology and buildings, castles or forts for themselves. Rather,
the tools available, (e) types of energy and power they invariably spent the amount in building
used, (f) available transport methods, and of religious and social structures like temples and
course (g) the perceived concept of time, were other infrastructure in interest of the general public
quite different than that of the modern age. which in turn induced unity amongst them and
In those days Utkal, being surrounded patriotism for their motherland. The rulers always
from all sides by natural barriers like deep forests, wished to build something unique. Hence, they
inaccessible mountains, large turbulent rivers and planned their projects as a bit above the capability
the vast sea with only a few well-guarded major of their time. By doing so the craftsmen were
roads and ports for entry in to the Kingdom, was imposed with an ambitious goal which forced them
quite safe from outside intrusions or invasions. The to devise improved technology and tools to
people were quite wealthy mostly due to their complete the project and once the project was
expertise in domestic and international maritime completed successfully the technology was driven
trade and commerce, various crafts, and one step up the scale than what was prevalent at
agriculture. The prosperous economy of the the time of its initiation.
Kingdom made their rulers financially strong. As The project implementation was always
all major land routes from the north, west, south of residential type with everyone living on site and
met here and its east coast was lined with a not permitted to return home before its completion1
number of major port-cities with national and while back home the sponsors took care of their
international connections, many scholars, families. This practice helped them to fully
preachers and famous people from other concentrate on the project with complete
kingdoms of Bharatvarsha and also from distant dedication. Availability of a long period of
foreign lands visited the Kingdom while passing interaction amongst the members of the team and
through it. Some of them, being impressed by the with some visiting craftsmen from different parts
peaceful atmosphere, the skill of its artisans, depth of Bharatvarsha and abroad, enabled them,
of knowledge and hospitality of its rulers and the through team efforts, to devise improved tools,
natives, settled down here making Utkala-Kalinga machines, technology and procedures to make
their home. The atmosphere in the kingdom was their work easier and better. Funds for the project
peaceful because of its mighty rulers, a strong were never restricted by the sponsors. Even in
military force and the peace-loving people. Since case of cost escalation more funds were being
a financially strong and peaceful state yields an provided on recommendation of the Council of
atmosphere conducive to the development of art Ministers or the Project Committee as long as

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the project was moving in the right direction, frozen. There was no rat race like the present
towards its unique status. Hence, in certain cases times. Cosmic bodies like the stars, the moon and
it took two to three generations for completion of the sun in association with some simple
a project and some even remained incomplete. instruments were the guiding objects in finding the
Skilled and unskilled labour was cheap and geographical directions. Simple mathematics and
available in abundance. The craftsmen were highly geometrical figures like squares, circles, triangles,
dedicated to their work with lots of perseverance. right angles and straight lines, etc. were used in
Right from the sponsor down to the level of designing the temples following the age-old
helpers were leading spiritual lives practiced manuals of construction and applying certain
through their job. They considered the technology proportional ratios devised by ancient sages for
and skill they used as a part of their practised designing the individual elements. Perfection, no
spiritualism. For them earning money was not the matter how long it took, was the goal of each and
prime objective, rather creating something unique every one working in all different fields.
and leaving it for the posterity was. The
It is said that the Sun Temple at Konark
technology, the skill and the tools they used were
was built by 1, 200 sculptors in 1258 AD (some
developed over thousands of years through
say in 1278 AD) within a time period of 12 years
generations after generations of different specific
and by others as 14 years and 16 years2. We
communities and the process was continuous.
know about its sponsor, the amount of funds
Some simple machines like rollers, pulleys, wheels
utilised for its construction, the materials used, the
and levers made of different materials like wood
chief executive, the chief sculptor, some managers
and metals were being used to move and hoist
and the number of main sculptors engaged in the
the heavy stone and metal articles. Tools were
project3. However, as nothing much has been said
mostly made of metals like iron and steel and in
yet about it, we do know very little regarding the
some cases brass, copper, stone and wood
surrounding area, the activities of different
depending on their use. There were no electric,
steam, petrol or diesel engines. The energy ancillary units functioning there and their locations
harnessed for doing the work was mainly from around the temple complex at the time of its
wind, water, fire, and heat and light from the sun. construction. In other words we do not know
Eventually man and animal power were also used much about the surroundings that built the Sun
extensively. Transportation was mostly through Temple at Konark.
waterways by ships propelled by wind or Considering the size of the project, a huge
manpower. Ships, boats and rafts powered by area surrounding the temple under construction
wind were used for transporting materials and spreading over a radius of 10 to 12 kilometres,
people over long distances and muscle powered must have been very crowded and overflowing
vessels over short distances. On the surface, with activities during these 12, 14 or 16 years.
transportation was carried out by horses and We can divide its total construction period into
elephants, and also by bullock, horse and elephant four segments like, (01) Conceptualisation and
drawn carts. Palanquins carried by four or eight Theme Formulating Stage, (02) Planning and Pre-
people on their shoulders were used for construction Stage (03) Construction Period and
transporting people on land over medium and finally the (04) Post-Construction Stage. I think
short distances. For the people time was almost the time period mentioned by different scholars

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as 12, 14 or 16 years depends upon which phase served as an interface between the God and the
or phases of construction the respective scholars human beings it was to be designed to induce the
have taken in to account. feeling of spirituality not only in a few but everyone
who enters it. Apart from the deity installed within,
Now let us figure out the way the Sun
the temple itself is also considered as a divine
Temple at Konark was built by superimposing
entity. To make the theme of the temple unique
the basic principles of construction project
and proper for the Sun God the Bada Deula or
management methods adopted today on the
the main temple was designed as a Pancharatha
environment that existed at the time as discussed
(having five walls on each of its four sides)
above and determine its different stages, identify
curvilinear structure with a pyramidal Mukhashala
the functional units established and their locations
(entrance hall) placed on a common platform,
around the construction site for its successful
looking like a huge chariot having twenty-four
execution. wheels drawn by seven horses, all carved out of
01. Concept and Theme Formulating stone. It was planned to decorate every inch of
Stage: Every project requires a sponsor on the structure with fine carvings imitated from the
whose initiative the pre-planning activity of the flora and fauna available in nature, gods and
project is carried out. At this stage the concept of goddesses, day-to-day lives of human beings,
the project is formulated and its theme is saints, royalty, events from the epics and with
determined. Since King Langula Narasingha some imaginary cosmic figures.
Deva was the sponsor, with his decision it was 02. Planning and Pre-Construction Stage:
decided to build a new Sun Temple at Konark to This phase consists of various stages like (a)
replace the old dilapidated one. As per Baya Preparation of Architectural and Engineering
Chakada, the planning for the temple started when Drawings, (b) Budgeting and Provision of Funds,
Langula Narasingha Deva was just an 18 year- (c) Appointment of Key Personnel like the Chief
old Crown Prince and not yet coroneted to the Executive, the Departmental Heads, the Technical
throne. 4 Staff, (d) Scouting for a Suitable Location,
It is believed by Hindus that, apart from (e) Determining the Source of Required Materials,
the heaven, God’s abode on earth is usually (f) Establishing Logistics, (g) Appointment of
located on high mountains and inaccessible caves. Sculptors, Auxiliary Manpower and Procurement
Hence the temples, being the abode of gods, are of Animals and Machines.
designed to be as high as possible. The sanctum (a) Preparation of Architectural and
sanctorum, where the presiding deity is installed, Engineering Drawings - After deciding on a
is built like a cave, a cosy enclosed space without theme and the physical size, appearance, etc. the
any doors or windows around except at its engineering and architectural drawings were
entrance. It was also planned with an expected prepared according to the native ancient
lifespan of some thousand years. Hence, the new construction manual Shilpa Sarani (Shilpa means
temple was conceptualised as a huge structure sculpture, architecture and Sarani means manual
built with large stone blocks ornamentally carved in native language) mainly using the principles of
in abundance to make it the highest and the most Vastu Shastra and also taking into account the
beautiful temple of the time. Since the temple factors of astronomy and astrology. As per Kapila

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Vatsyayan, “The ground plan, as well the layout to a depth equal to one third of the height of super-
of sculptures and reliefs follow the square and structure. A complete sketch of Konark temple
circle geometrical forms found in Odisha temple drawn on nine pieces of palm leaves is preserved
design texts such of Silpasarini.”5 According to in Alice Boner Gallery in Bharat Kala Bhawan at
Alice Boner and Sadasiva Rath Sarma the Banaras Hindu University.8 The decorated carved
complete procedure for construction of temples plates and the various motifs were designed for
in Odisha is described in the ancient manual titled the temple keeping in mind the play of light and
Shilpa Prakash. These manuals describe the shade on it for enhancing the overall beauty and a
procedures for selecting a location, soil test, varied visual appeal during different times of the
foundation laying, construction and ratios for day.9 All the different elements were designed to
different parts of the building, temple in this case, maintain the balance and harmony and at the same
with respect to the size of the main structure so time maintaining the contrast between asymmetric
that a temple of any type and size could be built and symmetric elements and their repetitions. The
using the principles described in these scriptures. individual elements were to appear rhythmically
In some cases a miniature model of the temple distributed all over and yet maintaining variety.
planned was built for pre-visualisation of the The life-size and larger than life statues were
structure. Such a model still exists in the compound designed according to Saptatala principle (ratio
of Jagannatha Temple in Puri. As the direction of of the length of the face to height of the body is
the entrance of a temple is considered very taken as 1:7) of Shukraniti devised by ancient sage
important it is determined precisely using Shukra appropriate for Kaliyug.10 At the time, the
geometrical figures and position of some cosmic units of measure were Cubit (length from the tip
bodies. The layout is drawn on the ground before of the middle finger to the elbow end of a matured
work starts. person’s right hand), Chakhanda (the distance
The 230 feet high Bada Deula (main between the tip of little finger and the tip of thumb
temple) 6 at Konark was designed as a with all fingers fully spread and Angula (the width
Pancharatha Rekha temple and the 145-foot high of the individual fingers). 12 Angula are equal to
Mukhashala (entrance hall)7 in Pidha style, both 1 Chakhanda and 2 Chakhanda are equal to 1
standing on a large solid common platform of Cubit. Kathi was also used as a measure of length
height 16 feet for even distribution of the huge where 1 Kathi is equivalent to 1 foot and 9 inches
downward force exerted by the structures over a in present terms. This phase must have taken a
large area for stability. The Rekha temple rises long period as the temple was huge in size and
straight up to one third of the total height of the every inch of it was to be finely decorated.
super structure and then the walls are gradually Moreover each object of decoration was to be
corbelled to reduce the opening at the top placed at a specific location projecting a specific
progressively to a minimum over which the round meaning and purpose.
heavy Amalakashila and other top portions are (b) Budgeting and Provision of Funds –
placed to close the roof. The Mukhashala is a The budgeted requirement of funds for the project
Pancharatha pyramidal structure with was huge in amount, being equal to the total
Amalakashila placed at the top. The foundation amount of revenue of Odisha collected at the time
of the temple below the ground level usually goes over a period of 12 years. As calculated by Pandit

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Krupasindhu Mishra the total amount of revenue the next phase, Narasingha Deva appointed
collected in Utkal including the land and forest Sadashiva Samantaray Mahapatra, popularly
revenue and other taxes in 12 year period was known as Shibai Santara, as the Chief Executive
approximately equivalent to Rupees Fifty-three and the Chief Designing Architect, Gangadhara
crore and Sixteen lakh (Rs. 53, 16, 00, 000/-) in Mahapatra as the Head of the Sculptors,
terms of Indian Rupee coins in early 20th century.11 Narayana Mahapatra as the Master Sculptor and
Manmohan Ganguly calculates this amount as Bishwanatha Mahapatra (Bishu Maharana) as the
Rupees Thirty-six crore (Rs.36, 00, 00, 000/-) Specialist Sculptor for carving the royal scenes
as stated in his famous book “Odisha and Her and the portraits.13
Remains.” However, the amount stated by him is
(d) Scouting for a Suitable Location -
erroneous as he has not taken into account the
Narasingha Deva and his team decided to build
other miscellaneous taxes and the revenue
the new temple at the current location as
collected from forestland. At the time, in 13th
century this amount of expenditure in terms of Chandrabhaga and Konark were already a major
gold was 47, 88, 000 Madha, i.e., 23, 94, 000 religious destinations for sun worshippers since
Tola or approximately 27, 923 kilograms of gold ages. The King also wished to replace the existing
(1Kg equals 85.735 Tola). In the year 2021-22 dilapidated sun temple there built around four
the average cost of 10 grams of gold (24 carat) is centuries ago. Again, according to the scriptures
approximately Rupees 47, 000/-. Hence, the of Bharatvarsha Konarka, known as Kinnapada
present value of expenditure King Narasingha at the time was already a populous town and a
Deva incurred for building the temple in terms of major port-city.14 In 2nd century BC Ptolemy
Indian Rupees is Thirteen thousand One hundred described the place as Kanngara, a famous
Twenty-three crore and Eighty-one lakh (Rs.13, ancient international seaport. In 7th century AD
123, 81, 00, 000/-). The amount thus calculated the Chinese Buddhist pilgrim Hiuen Tsang
was excluding the cost of materials as I presume described Konark as a prosperous port-city
that no cost would have been paid for construction having five multi storeyed towers of great height
materials like stone, wood and metal ores, except with exquisite decoration and saintly figures
for a few imported chemicals, as they all belonged carved on to them.15 Hence, Narasingha Deva
to the King. However, this huge amount of funds logically decided to build this unique Sun Temple
was not provided in a day. It was provided during at Konark to primarily replace the old dilapidated
the entire period of construction from the temple at this already famous destination for sun
enormous amount of valuables collected as booty worshippers. Moreover, being a major trading
from the kingdoms defeated in frequent battles centre it was well connected with other far off
fought by Narasingha with different kingdoms kingdoms in Bharatvarsha and also with
including the Muslims in Bengal during 1244 AD, international destinations through the networks of
1245 AD and again a few times between1247 to roads, rivers and the sea.
1258 AD.12 Considering the imminent difficulties in
(c) Appointment of Key Personnel like transportation of the huge stone blocks and the
the Chief Executive, the Departmental extremely heavy metal beams and wooden
Heads and the Technical Staff - Coming to materials, etc. required for the project, from the

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logistic point of view the best option was to carry transported to the construction site. Apart from
those materials using ships, boats and rafts sailing it, chemicals and huge quantities of iron ore and
on the waterways. Hence, it was further decided ores of other metals were procured from distant
to build the temple right within the mouth of River places for metal foundries set up a little away from
Chandrabhaga flowing at the location after filling the construction site at Orei, on the bank of River
up a portion of it and leaving the rest still flowing Kadua.17 I presume the huge logs of wood
into the sea for keeping this route open for required for building boats, rafts, scaffoldings,
communication. This act made it easier to carry levers, wheels, pulleys and pulley-bearing
the heavy raw materials right from the source to machines were procured from the nearby forest
the sculptors and the metal foundries and then though some special type of wood might have
the finished products from there to the been brought in from deep forests like those at
construction site. This theory supports the fact Daspalla and Nayagarh.
that most of the sculptures were created at the (f) Establishing Logistics - It
workshops and then fixed on to the walls of the encompasses a wide field of establishing
temple and not carved in-situ as expressed by infrastructure for transportation of construction
some scholars. However, refining and polishing materials by waterways and on road with bullock
the sculptures after placing them on the temple and horse-drawn carts, elephants and also with
walls cannot be ruled out. manual labour. The activity centres, like permanent
(e) Determining the Source of Required sheds for animals, animal caretakers, food and
Materials – Karuna Sagar Behera explains, “The fodder suppliers, sculptors, metal smiths, helpers,
temple is built of three basic types of stone, laterite, security personnel, ship builders and repairers,
khondalite and chlorite. The laterite has been used tool and machine fabricators, caretakers of guests,
in the foundations and in the core. The principal transporters, medicine practitioners, entertainers
building material is the khondalite, used to build and management staff, etc. were also set up at
the walls. The chlorite was used for doorframes, nearby areas. It was a necessity as they were to
lintels, simhasan (the seat) of the presiding deity live onsite for the entire period of construction,
and for certain important sculptures, such as the i.e., for 12 years. They were not permitted to
images of the Sun god and the images placed in return to their respective homes unless and until
the mundi niches (recesses at the top portions). the project was completed. The residential houses
The Aruna pillar was made of chlorite.”16 None for the sculptors and their assistants, which space
of these stone varieties were available locally. was also utilised as their individual workshops,
Chlorite was sourced from Nilagiri located at 80 were established along the bank of Patharabuha
Kilometres away and Khondalite, the most used Nala, stretching from the village Tintiar near
material in the temple, from various other places Bedpur, flowing through the villages of Ogalpur,
lying at distances of 20 to 40 Kilometres. Using Nilakanthapur, Badatara, Rupas, Jhinkiria,
ships, boats and rafts the huge stone blocks were Achyutapur, Kharagan, Banakhandi, Junei and
transported by rivers and then right up to the finally to meet River Chandrabhaga flowing into
sculptors through Patharabuha Nala and finally, the sea adjacent to the temple site.18 At the
the finished products sailing again on this extreme end of this channel, at Bayalishbati of
Patharabuha Nala and River Chandrabhaga were Erbang in Gop, near the temple of Gangeshwari

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was the residence of Shibai Santara, the connected to different activity centres of the
Sutradhara or the Chief Architect of the project.19 project through the sea, the network of River
At the other end was the construction site where Mahanadi and its different branches. I presume
the old Sun Temple and the temple of Ramachandi the sheds for elephants, horses and bullocks along
were situated. In between these two extreme with their caretakers were located near Golara
points lived the departmental heads, the sculptors and other forest areas for easy procurement of
and the ancillary staff. The stone blocks coming different types of animal feed and fodder. This
from different places through different rivers were way the entire land area within a radius of 8 to 12
being delivered to the individual sculptors living kilometres from the temple site was fully engaged
along the bank of Patharabuha Nala and the for construction work and other ancillary activities.
finished products were also transported through (g) Appointment of Sculptors, Auxiliary
it and then sailing on River Chandrabhaga to the Manpower and Procurement of Animals and
temple site. Some evidences supporting the fact Machines - The next phase was to employ the
are found there in the form of carved and plane sculptors, helpers, the auxiliary staff, security
finished abandoned stone blocks still lying on its personnel and others. Arrangements were made
bank and some within its bed.20 The metal-smiths for the horses, bullock carts for short distance
lived and worked at the foundry set up at Orei on transportation of people and lighter materials on
the bank of River Kadua that flowed in to land and also by ships, boats and rafts, etc. utilising
Chandrabhaga. The building and repairing unit for the water bodies. Elephants were used for heavy-
the ships, boats and rafts was setup, for obvious duty tasks. The expertise and experience of the
reasons, at the ancient port-town of Khalakata people of Utkala in ship building and sailing at the
located on the seashore, a little away from the time were fully utilised. Narasingha Deva’s father-
temple site.21 The metal foundry for smelting iron, in-law, a Pandya King assisted in construction of
brass, copper to manufacture the huge size rust the temple by sending a team of artisans to join
free iron beams (a few of which are still lying in the 500 already employed by his son-in-law. After
the temple campus), nails, hooks, plates, tools making arrangements for managerial, technical,
and decorative and other items of copper and non-technical personnel and for the animals and
brass were setup also at Orei in Mahakalapada, their shelter, food, water, security, construction
on the bank of River Kadua, the last part of which materials, logistics and funds, King Narasingha
was known as Chandrabhaga.22 This way the Deva moved to the next phase, i.e., to the phase
problem of overcrowding the construction site by of site preparation and actual construction activity.
hoarding the huge quantities of raw materials and 03. Construction Period: After the
the different workshops was avoided. All the infrastructure was put in place, before the start of
major units of construction like the workshops, construction of the temple proper, the site was to
godowns of raw materials, residential colonies, be prepared. Shibai Santara, on an auspicious
animal sheds and administrative units were spread moment of the day, after offering prayers to
over a large area being interconnected through Goddesses Gangeshwari near his residence and
Patharabuha Nala, the network of rivers, the sea to Goddess Ramachandi at the construction site
and the roadways. The faraway sources of raw launched the project. Since the temple complex
materials and required chemicals were also was to be built inside the mouth of River

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Chandrabhaga, close to the sea, its bed had to built later and was not originally planned as it was
be filled up for the required area. For the purpose not placed on this platform. The main temple was
Shibai Santara started to drop huge size boulders designed as per the norms of Kalinga Temple
into the river. However, in the case of such huge Architecture following Shilpasarini and by other
construction projects usually some real-life scholars Shilpa Prakasha (both are ancient
unexpected problems always crop up during its manuals of temple construction in Odisha) with a
implementation and Shibai Santara’s was no Pancharatha Rekha temple (a square base
exception. He was heart-broken as in spite of his curvilinear temple consisting of five walls on each
sustained effort none of the huge boulders thrown of its sides) and so also the Mukhashala as a Pidha
in to the river stayed in place being swept away (pyramidal) temple. The main temple is preferably
into the sea by its strong current. As per a legend, built in Rekha style as for a lesser base area it can
realising Shibai Santara’s unfortunate situation, the soar up to a much greater height whereas a Pidha
Goddess of the temple site (Gramadevati) temple requires a much larger base area to rise
Ramachandi, in the guise of an old lady of the up to even lesser heights. Moreover, Bada Deula
village, advised him symbolically in a fateful dark or the main temple does not require much area
and stormy night to drop the stone blocks starting inside as it houses only the presiding deities
from the bank of the river and not as he was doing, whereas the Mukhashala needs a larger space
i.e., dropping them at the centre. This tip made inside to accommodate a large number of
him successful in filling up the gorge. Since an old devotees waiting and offering prayers there. The
brick temple and the seat of Ramachandi already total height of Bada Deula is approximately 1.5
existed at the southwest corner of the site on the times of the total height of Mukhashala. The
bank of the river, the filling work must have started combination of a Rekha temple with a lower Pidha
from this side towards the east. It was filled up style temple enhances the beauty of the structure.
for the required area leaving a part of it at the The round ribbed Amalaka Shila and the Kalasha
eastern side for the river still continuing to flow at the top of the walls of the temples of a square
into the sea.23 base further enhance its beauty. As no cement
The construction of the temple started was used in construction, the stone blocks were
after completion of the foundation. A platform of attached to each other by rust-free iron hooks
height 16 feet, with12 wheels attached to each of only and were stabilised by the enormous
its north and south sides and 7 horses at its front downward force on the walls of the temples
on the east side, was built. The entire platform exerted by the extremely heavy Amalaka Shila
was profusely decorated with fine carvings. The and the Kalasha placed at its top. The auxiliary
purpose of the platform was to uniformly distribute temples built and attached to the three sides of
the enormous load exerted by the Bada Deula Bada Deula and the Gaja-Singha (Lion-Elephant)
(main temple) and the Mukhashala (entrance hall) statues, weighing more than 45 Tons each placed
on the foundation over a large common base area at 170 feet above the ground level on sidewalls
for stability and also to make it look like, as per provided additional help in stabilising the temple
Hindu belief, the huge horse drawn chariot that walls. Additionally the specially fabricated heavy
Sun God rides to travel across the horizon daily. and huge rust free iron beams were placed as
The Natyamandira (dance hall) seems to have been lintels and support for roofs. One wonders how

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these extremely heavy objects could be lifted to and platforms like Snana Mandapa (bathing
such great heights to be placed properly on the platform), Dola Mandapa (platform with a swing),
temple walls that too in 13th century. M. H. Arnott etc. were built for various rituals and uses. As a
suggests that both the inside and the outside of gesture of gratitude a temple for Gangeshwari to
the temple was being filled with sand, as the whom Shibai Santara used to offer prayers daily
construction progressed vertically, to enable during the construction period was also built. A
dragging up the heavy materials over the sand huge compound wall, having Gumutas or entrance
slope to be placed at the required height.24 gates at its three sides looking like Pidha temples,
However, this idea is discarded by Bishan Swarup was constructed.26 Later an extensively decorated
and Pandit Krupasindhu Mishra. According to Natyamandira with dancers and musical
them, the craftsmen of the time were familiar with instruments was added to the temple complex.
simple hoisting machines like pulleys and levers According to Abul Fazl, the famous historian and
built into scaffoldings for carrying out such member of Emperor Akbar’s Royal Court states
tasks.25These machines were operated by a large in his famous book Ain-i-Akbari that there existed
labour force assisted by a herd of trained 28 temples in Konarka, six outside its northern
elephants. The abundantly available elephants in gate and 22 inside the campus of the temple
the forests of Kalinga- Utkala were captured and complex. Probably the count included all temples
trained for doing such jobs. It is a wonder how including the structures looking like temples such
the Amalaka Shila (Crown Stone) weighing as Gumutas at entrances in the compound wall
around 200 Tons was placed on top of the temple and buildings and platforms existing inside the
at a height of 200 feet above the ground. After complex.
completing construction of the main temple and Next the guardian deities like the Asta
the auxiliary temples the images of the sun in the Shambhu (the eight Siva Lingams) and Asta
auxiliary temples and the statues of the lions, Chandi (the eight guardian goddesses) were
stallions and the elephants were placed at the installed at the eight directions away from the
three entrances. The Nabagraha images were temple area to mark the boundary of the sacred
placed over the lintels and the Ratna Singhasana zone. It is believed that the Asta Shambhu and
(throne of the Sun God) was built inside Bada the Asta Chandi provide security to the temple
Deula. A well decorated sixteen sided Garuda and the sacred zone preventing any damage done
Sthamba (Garuda Pillar) carved out of one piece to it by harmful cosmic and mundane forces. Some
of chlorite stone rising to a height of 33 feet and 8 of these Asta Shambhu and the Asta Chandi
inches from the ground carrying the image of already existed there and some new ones were
Garuda placed at its top was erected in front of installed. Finally, the image of Sun God was
Mukhashala, in the space between it and transferred from the old Sun Temple and installed
Natyamandira. on the throne in the new temple and the process
04. Post-Construction Period: After of consecration started to make the temple
completion of construction of Bada Deula, functional.
Mukhashala, the ancillary temples like the temple Apart from others, two major festivals
of Gramadevati Ramachandi or the administrative were being celebrated at Konark, the
deity of the place, the kitchen and other temples Chandrabhaga Snana Yatra (Chandrabhaga

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bathing festival) which is continuing till date and a sculpted articles taken away from the Sun Temple
Ratha Yatra (car festival) that has been now find home in many famous museums of the
discontinued probably since the temple collapsed. world located in different countries like the United
For the car festival there must have been a wide Kingdom, the United States of America, France,
road and a temple at the destination which is not Germany and many other countries and some in
seen now. Usually, in car festival the God makes the museums of our own Country. Some of it are
His journey towards north. I presume the Sun still owned by the rich and famous persons in
God at Konark was taking his journey up to different countries of the world. Many of us have
Tribenishwara and hence there must have been a not had an opportunity to see these excellent
wide road from the Sun Temple leading to this objects of art created by our ancestors, a
place with a temple existing at this end unless a heartrending affair indeed. Could these articles
prior temple existed at Tribenishwara and was be brought back someday to India for better
being used for the purpose. Hence, Narasingha understanding of our heritage and the level of
Deva must have built a temple there and a wide cultural richness that existed in medieval Odisha?
road leading to this place from the Sun Temple. Though a very remote possibility, it is the most
The Bada Deula is completely missing cherished wish of each Odia, for that matter of
probably since sixteenth century excepting a small every Indian.
part of its Bada (the straight bottom portion). We References:
now find only the Mukhashala intact up to the 1. Pandit Krupasindhu Mishra – Konarka (Odia) –
Amalakashila with the Kalasha and its other Page 225
associated parts missing. The main temple was 2. Pandit Krupasindhu Mishra – Konarka (Odia) –
decorated with innumerable fine sculptures carved Page 220
out mostly of black granite and other similar variety
3. Baya Chakada – A 13th century palm leaf scripture
of good quality stone. Out of these beautiful and of 73 leaves written in Karani script–Leaf III
priceless articles of art, especially the ones not so
4 Baya Chakada – A 13th century palm leaf scripture
large in size, many have been taken away by our
of 73 leaves written in Karani script–Leaf III, 9
the then British rulers, the Portuguese pirates who
once used the dilapidated temple site as their den 5 Kapila Vatsyayan - The Square and the Circle of
the Indian Arts - Page 88
in the east coast, Muslim raiders and some
unscrupulous local people. The larger sculptural 6 Pandit Krupasindhu Mishra – Konarka (Odia) –
Page 94
articles like the Nabagraha slab and other heavier
articles survived their migration from the temple 7. Pandit Krupasindhu Mishra – Konarka (Odia) –
site as they could not be transported by the British Page 99
India Government and others. There were no 8. William K. Mohanty, others - Exploring the Lost
guards like the present time providing security to River(s)…– Odisha Review – November 2017 –
Page 44
the Sun Temple. When I was in school, I
remember to have climbed unrestrained to the top 9. Pandit Krupasindhu Mishra – Konarka (Odia) –
of Mukhashala with a friend of mine and taking Page 201
some pictures of the complex from up there with 10. Pandit Krupasindhu Mishra – Konarka (Odia) –
my Kodak Brownie camera. The invaluable Page 88

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11. Pandit Kripasindhu Mishra – Utkala Itihasa 23. Filling up a portion of its mouth might be a reason
(Odia) – Foot Note – Page 109 for River Chandrabhaga and subsequently
Patharabuha Nala to have vanished. As a major
12. Pandit Kripasindhu Mishra – Utkala Itihasa
width of the river mouth was blocked, all the silt
(Odia) – Page 112
carried by it could not be flushed out into the
13. Alice Boner / Sadasiva Rath Sharma – New Light sea gradually raising a barrier at its mouth. Over
on the Sun Temple of Konarka – Introduction – the years more and more deposits of silt there
Page xiii restricted its flow and the river looked for an
14. Man Mohan Ganguly – Orissa and Her Remains alternative route to discharge the volume of water
– Page 437 it carried. However, at its mouth, due to reduced
velocity of water the force was not enough to
15. Pandit Krupasindhu Mishra – Konarka (Odia) – push its way into the sea through the silt barrier.
Page 59 Over a period of time, the volume of stagnant
16. Karuna Sagar Behera – Konark : The Black water was seeped through the ground, the river
Pagoda – Page 63 dried up and the bed was filled up with blowing
sand to vanish completely leaving only a spit
17 .Pandit Krupasindhu Mishra/Sudhansu Sekhar we see today as Chandrabhaga. The
Rath – Konarka – Extended English Edition – Patharabuha Nala also vanished for the same
Page 37 reason leaving only a few spits at different places
18. Pandit Krupasindhu Mishra/Sudhansu Sekhar on its old path.
Rath – Konarka – Extended English Edition – 24 .M. H. Arnott – Bengal District Gazetteer : Puri –
Page 37 Page 279
19. Pandit Krupasindhu Mishra/Sudhansu Sekhar 25. Bishan Swarup – Konarka: The Black Pagoda of
Rath – Konarka – Extended English Edition – Orissa – Page 60 &
Page 239
Pandit Krupasindhu Mishra – Konarka (Odia) –
20. Pandit Krupasindhu Mishra/Sudhansu Sekhar Page 235
Rath – Konarka – Extended English Edition –
Page 39 26. Karuna Sagar Behera – Konark : the Black Pagoda
– Page 60
21. Pandit Krupasindhu Mishra/Sudhansu Sekhar
Rath – Konarka – Extended English Edition –
Page 29, 37
Sudhansu Sekhar Rath, 62, Som Vihar, Saleswar,
22. Pandit Krupasindhu Mishra/Sudhansu Sekhar
Bhubaneswar – 752101, email: sudhansu.s.rath
Rath – Konarka – Extended English Edition –
@gmail.com.
Page 29, 37

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