Growth of Temple Architecture | Odisha State PSC (OPSC): Preparation - OPSC OCS (Odisha) PDF Download

 Page 1


132 
 
 
4.1.0.Objectives 
In this lesson, students explore the growth of temple architecture. After completing this chapter, you 
 
  
 
  
Introduction 
 The art and architecture of a nation is considered as her property. The history of Odishan 
art and architecture starts with her dated history i.e. from 261 B.C., when Asoka conquered this 
land, then known as Kalinga.  The art and architecture of Odisha, in its formative phase took a 
new turn. The style was so elegant, balanced and beautiful that it carved a new identity for itself. 
This was famous as Kalinga School of art.   
Growth of temple architecture 
  Odisha is famous in the world for her beautiful temples. In fact, the temples constitute the 
most dominant and significant form of architecture in Odisha. They form "One of the most 
compact and homogeneous architecture groups in India."  
Styles of temple architecture in India 
Out of the three styles of temple architecture found in India like Nagara, Dravida and 
Vesara, Odisha has followed the Nagara with a distinctive regional bias of its own known as 
'Kalinga'. An inscription in Amritesvara temple at Holal (Karnataka) dated 1235 A.D. mentions 
the names of all the four categories like Nagara, Dravida,Vesara and Kalinga.  
Texts on temple architecture 
In due course of time, several canonical texts were written for the construction of 
temples. Among such texts Bhuvana Pradipa, Bhuvanapravesa, Silpasastra, Silpasarini, 
Silpaprakasa, Silparatna Kosa and Silpi pothi etc are prominent. These texts helped in 
maintaining basic standards in the construction notwithstanding varieties of form and size. The 
Silpasarini mentions about several kinds of temples, viz., Manjusri, Mrudanga eka bhagika, 
Page 2


132 
 
 
4.1.0.Objectives 
In this lesson, students explore the growth of temple architecture. After completing this chapter, you 
 
  
 
  
Introduction 
 The art and architecture of a nation is considered as her property. The history of Odishan 
art and architecture starts with her dated history i.e. from 261 B.C., when Asoka conquered this 
land, then known as Kalinga.  The art and architecture of Odisha, in its formative phase took a 
new turn. The style was so elegant, balanced and beautiful that it carved a new identity for itself. 
This was famous as Kalinga School of art.   
Growth of temple architecture 
  Odisha is famous in the world for her beautiful temples. In fact, the temples constitute the 
most dominant and significant form of architecture in Odisha. They form "One of the most 
compact and homogeneous architecture groups in India."  
Styles of temple architecture in India 
Out of the three styles of temple architecture found in India like Nagara, Dravida and 
Vesara, Odisha has followed the Nagara with a distinctive regional bias of its own known as 
'Kalinga'. An inscription in Amritesvara temple at Holal (Karnataka) dated 1235 A.D. mentions 
the names of all the four categories like Nagara, Dravida,Vesara and Kalinga.  
Texts on temple architecture 
In due course of time, several canonical texts were written for the construction of 
temples. Among such texts Bhuvana Pradipa, Bhuvanapravesa, Silpasastra, Silpasarini, 
Silpaprakasa, Silparatna Kosa and Silpi pothi etc are prominent. These texts helped in 
maintaining basic standards in the construction notwithstanding varieties of form and size. The 
Silpasarini mentions about several kinds of temples, viz., Manjusri, Mrudanga eka bhagika, 
 
Vasusri, Mahameru, Kailasa, Ratnasara, Vartula ratha Vimana and Suvamakuta. Each variety has 
its own design based on a specific yantra (diagram).  
 
Typical Odishan temple  
Bhuvana Pradipa mentions about three kinds of temples on the basis of their architectural 
features. These are: Rekha (curvilinear superstructure), Bhadra or Pidha (monument with a 
pyramidal roof) and Khakhara (oblong building with wagon-vault roof). The text mentions about 
36 varieties of Rekha, 5 varieties of Bhadra and 3 varieties of Khakhara with proportionate 
measurements of each part and their heights. The typical Odishan temple consists of both Rekha 
and Bhadra-the Rekha for the Deula (sanctum cella or garbha griha with the curvilinear 
superstructure called sikhara or gandi) and the Bhadra for the pidha-deula to serve as the 
audience hall (Jagamohana or mukhasala). The pidha-deula, added to the front of the Rekha-
deula, is covered by a pyramidal roof of receding steps. The smaller height of Pidha-deula 
represents a balance with the higher Rekha-deula and "greatly enhances the grandeur of the 
soaring curvilinear spire". N.K. Bose mentions that the axial arrangement of the Rekha and the 
Bhadra components of the Odishan temple began with the sanctum to which the porch was added 
later. Along the same axial line, Nata mandira (dance-hall) and Bhoga mandapa (hall of offering) 
were added later.The Odishan temples are usually of curvilinear spire with square sanctum. A 
few Pidha-type temples are made on the summit of the Mahendra and in Koraput, two hypaethral 
(circular and open) Yogini temples at Ranipur-Jharial and Hirapur the starshaped Ones at Baudh, 
and a few Khakhar temples. 
Components of the Odishan temple   
 As regards the plan, in elevation the Odishan temple has four components, such as, pista 
(platform or vedika), the Vada (the vertical wall), gandi (the trunk), the mastaka (head or crown). 
The pista is absent in many temples. The bada consists of three parts, such as, pabhaga (foot-
portion or bottom part consisting of Khura, Kumbha, Patta, Kani, Basanta), jangha (the thigh 
part) and baranda (moulding forming uppermost part of bada). The jangha is sub-divided into 
two parts-tala janga (lower thigh) and upper jangha (upper bond thigh) by a set of mouldings 
known as bandhana. There is similarity between the main temple and the pidha up to bada. The 
difference starts from the gandi. Where as gandi of the Rekhadeula inclines inward in a convex 
form, i.e. curvilinear outline, that of Pidha takes a pyramidal form. The gandi of Rekhadeula is 
Page 3


132 
 
 
4.1.0.Objectives 
In this lesson, students explore the growth of temple architecture. After completing this chapter, you 
 
  
 
  
Introduction 
 The art and architecture of a nation is considered as her property. The history of Odishan 
art and architecture starts with her dated history i.e. from 261 B.C., when Asoka conquered this 
land, then known as Kalinga.  The art and architecture of Odisha, in its formative phase took a 
new turn. The style was so elegant, balanced and beautiful that it carved a new identity for itself. 
This was famous as Kalinga School of art.   
Growth of temple architecture 
  Odisha is famous in the world for her beautiful temples. In fact, the temples constitute the 
most dominant and significant form of architecture in Odisha. They form "One of the most 
compact and homogeneous architecture groups in India."  
Styles of temple architecture in India 
Out of the three styles of temple architecture found in India like Nagara, Dravida and 
Vesara, Odisha has followed the Nagara with a distinctive regional bias of its own known as 
'Kalinga'. An inscription in Amritesvara temple at Holal (Karnataka) dated 1235 A.D. mentions 
the names of all the four categories like Nagara, Dravida,Vesara and Kalinga.  
Texts on temple architecture 
In due course of time, several canonical texts were written for the construction of 
temples. Among such texts Bhuvana Pradipa, Bhuvanapravesa, Silpasastra, Silpasarini, 
Silpaprakasa, Silparatna Kosa and Silpi pothi etc are prominent. These texts helped in 
maintaining basic standards in the construction notwithstanding varieties of form and size. The 
Silpasarini mentions about several kinds of temples, viz., Manjusri, Mrudanga eka bhagika, 
 
Vasusri, Mahameru, Kailasa, Ratnasara, Vartula ratha Vimana and Suvamakuta. Each variety has 
its own design based on a specific yantra (diagram).  
 
Typical Odishan temple  
Bhuvana Pradipa mentions about three kinds of temples on the basis of their architectural 
features. These are: Rekha (curvilinear superstructure), Bhadra or Pidha (monument with a 
pyramidal roof) and Khakhara (oblong building with wagon-vault roof). The text mentions about 
36 varieties of Rekha, 5 varieties of Bhadra and 3 varieties of Khakhara with proportionate 
measurements of each part and their heights. The typical Odishan temple consists of both Rekha 
and Bhadra-the Rekha for the Deula (sanctum cella or garbha griha with the curvilinear 
superstructure called sikhara or gandi) and the Bhadra for the pidha-deula to serve as the 
audience hall (Jagamohana or mukhasala). The pidha-deula, added to the front of the Rekha-
deula, is covered by a pyramidal roof of receding steps. The smaller height of Pidha-deula 
represents a balance with the higher Rekha-deula and "greatly enhances the grandeur of the 
soaring curvilinear spire". N.K. Bose mentions that the axial arrangement of the Rekha and the 
Bhadra components of the Odishan temple began with the sanctum to which the porch was added 
later. Along the same axial line, Nata mandira (dance-hall) and Bhoga mandapa (hall of offering) 
were added later.The Odishan temples are usually of curvilinear spire with square sanctum. A 
few Pidha-type temples are made on the summit of the Mahendra and in Koraput, two hypaethral 
(circular and open) Yogini temples at Ranipur-Jharial and Hirapur the starshaped Ones at Baudh, 
and a few Khakhar temples. 
Components of the Odishan temple   
 As regards the plan, in elevation the Odishan temple has four components, such as, pista 
(platform or vedika), the Vada (the vertical wall), gandi (the trunk), the mastaka (head or crown). 
The pista is absent in many temples. The bada consists of three parts, such as, pabhaga (foot-
portion or bottom part consisting of Khura, Kumbha, Patta, Kani, Basanta), jangha (the thigh 
part) and baranda (moulding forming uppermost part of bada). The jangha is sub-divided into 
two parts-tala janga (lower thigh) and upper jangha (upper bond thigh) by a set of mouldings 
known as bandhana. There is similarity between the main temple and the pidha up to bada. The 
difference starts from the gandi. Where as gandi of the Rekhadeula inclines inward in a convex 
form, i.e. curvilinear outline, that of Pidha takes a pyramidal form. The gandi of Rekhadeula is 
 
divided into several pagas (vertical projections). The corner pagas known as kanika-pagas are 
further sub-divided into horizontal sections known as bhumi by miniature amlas (ribbed disc 
resembling amla fruit). The central paga is known as Rahapaga and the next two as kanika and 
anu-raha. The door or entrance comes on the raha paga whereas niches come on the other three 
raha-pagas which go down upto pa- bhaga. It is thus in the plan of a four-door shrine. The 
subsidiary pagas are placed midway between the raha and the corner. Depending upon the 
number of pagas (also called rathas), temples are classified as triratha, pancha-ratha, sapta-
ratha,etc. The topmost course of gandi is called visama. The mastaka (skull) above it consists of 
Veki (neck), amla, Khapuri (skull) Kalasa (Gar) ayudha (attribute or symbol of the deity). 
In pidha deula, the gandi consists of a number of pidhas, gradually diminishing towards 
top in a pyramidal shape. The topmost pidha is reduced to about half of the lowest one. In later 
temples pidhas were grouped into tiers called potalas which are separate from each other by 
recessed vertical walls known as kanti. The hollow interior above the sanctum (garbha-griha) is 
hidden by a ceiling (garbhamuda) consisting of stone beams and rafters to maintain stability of 
the structure by binding the walls. In bigger temples, two or three ceilings (mudas) are found, as 
in the case of Lingaraja. Access to the chambers is made through an opening above the lintel of 
the door of the sanctum. The construction of such lofty temples like Lingaraja and Jagannatha 
creates awe and wonder in the mind of the onlooker regarding the technique of construction. In 
fact, the technique adopted was corbelling. The sized-Khondalite stones, used in most of  
temples, are laid horizontally one upon another, "held together mainly by a system of 
counterpoise, the weight of one stone acting against the pressure of another, much of the stability 
being a matter of balance and equilibrium". No cementing mortar of any kind has been used but 
iron cramps and dowels were used to keep the stone stabs in position. 
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132 
 
 
4.1.0.Objectives 
In this lesson, students explore the growth of temple architecture. After completing this chapter, you 
 
  
 
  
Introduction 
 The art and architecture of a nation is considered as her property. The history of Odishan 
art and architecture starts with her dated history i.e. from 261 B.C., when Asoka conquered this 
land, then known as Kalinga.  The art and architecture of Odisha, in its formative phase took a 
new turn. The style was so elegant, balanced and beautiful that it carved a new identity for itself. 
This was famous as Kalinga School of art.   
Growth of temple architecture 
  Odisha is famous in the world for her beautiful temples. In fact, the temples constitute the 
most dominant and significant form of architecture in Odisha. They form "One of the most 
compact and homogeneous architecture groups in India."  
Styles of temple architecture in India 
Out of the three styles of temple architecture found in India like Nagara, Dravida and 
Vesara, Odisha has followed the Nagara with a distinctive regional bias of its own known as 
'Kalinga'. An inscription in Amritesvara temple at Holal (Karnataka) dated 1235 A.D. mentions 
the names of all the four categories like Nagara, Dravida,Vesara and Kalinga.  
Texts on temple architecture 
In due course of time, several canonical texts were written for the construction of 
temples. Among such texts Bhuvana Pradipa, Bhuvanapravesa, Silpasastra, Silpasarini, 
Silpaprakasa, Silparatna Kosa and Silpi pothi etc are prominent. These texts helped in 
maintaining basic standards in the construction notwithstanding varieties of form and size. The 
Silpasarini mentions about several kinds of temples, viz., Manjusri, Mrudanga eka bhagika, 
 
Vasusri, Mahameru, Kailasa, Ratnasara, Vartula ratha Vimana and Suvamakuta. Each variety has 
its own design based on a specific yantra (diagram).  
 
Typical Odishan temple  
Bhuvana Pradipa mentions about three kinds of temples on the basis of their architectural 
features. These are: Rekha (curvilinear superstructure), Bhadra or Pidha (monument with a 
pyramidal roof) and Khakhara (oblong building with wagon-vault roof). The text mentions about 
36 varieties of Rekha, 5 varieties of Bhadra and 3 varieties of Khakhara with proportionate 
measurements of each part and their heights. The typical Odishan temple consists of both Rekha 
and Bhadra-the Rekha for the Deula (sanctum cella or garbha griha with the curvilinear 
superstructure called sikhara or gandi) and the Bhadra for the pidha-deula to serve as the 
audience hall (Jagamohana or mukhasala). The pidha-deula, added to the front of the Rekha-
deula, is covered by a pyramidal roof of receding steps. The smaller height of Pidha-deula 
represents a balance with the higher Rekha-deula and "greatly enhances the grandeur of the 
soaring curvilinear spire". N.K. Bose mentions that the axial arrangement of the Rekha and the 
Bhadra components of the Odishan temple began with the sanctum to which the porch was added 
later. Along the same axial line, Nata mandira (dance-hall) and Bhoga mandapa (hall of offering) 
were added later.The Odishan temples are usually of curvilinear spire with square sanctum. A 
few Pidha-type temples are made on the summit of the Mahendra and in Koraput, two hypaethral 
(circular and open) Yogini temples at Ranipur-Jharial and Hirapur the starshaped Ones at Baudh, 
and a few Khakhar temples. 
Components of the Odishan temple   
 As regards the plan, in elevation the Odishan temple has four components, such as, pista 
(platform or vedika), the Vada (the vertical wall), gandi (the trunk), the mastaka (head or crown). 
The pista is absent in many temples. The bada consists of three parts, such as, pabhaga (foot-
portion or bottom part consisting of Khura, Kumbha, Patta, Kani, Basanta), jangha (the thigh 
part) and baranda (moulding forming uppermost part of bada). The jangha is sub-divided into 
two parts-tala janga (lower thigh) and upper jangha (upper bond thigh) by a set of mouldings 
known as bandhana. There is similarity between the main temple and the pidha up to bada. The 
difference starts from the gandi. Where as gandi of the Rekhadeula inclines inward in a convex 
form, i.e. curvilinear outline, that of Pidha takes a pyramidal form. The gandi of Rekhadeula is 
 
divided into several pagas (vertical projections). The corner pagas known as kanika-pagas are 
further sub-divided into horizontal sections known as bhumi by miniature amlas (ribbed disc 
resembling amla fruit). The central paga is known as Rahapaga and the next two as kanika and 
anu-raha. The door or entrance comes on the raha paga whereas niches come on the other three 
raha-pagas which go down upto pa- bhaga. It is thus in the plan of a four-door shrine. The 
subsidiary pagas are placed midway between the raha and the corner. Depending upon the 
number of pagas (also called rathas), temples are classified as triratha, pancha-ratha, sapta-
ratha,etc. The topmost course of gandi is called visama. The mastaka (skull) above it consists of 
Veki (neck), amla, Khapuri (skull) Kalasa (Gar) ayudha (attribute or symbol of the deity). 
In pidha deula, the gandi consists of a number of pidhas, gradually diminishing towards 
top in a pyramidal shape. The topmost pidha is reduced to about half of the lowest one. In later 
temples pidhas were grouped into tiers called potalas which are separate from each other by 
recessed vertical walls known as kanti. The hollow interior above the sanctum (garbha-griha) is 
hidden by a ceiling (garbhamuda) consisting of stone beams and rafters to maintain stability of 
the structure by binding the walls. In bigger temples, two or three ceilings (mudas) are found, as 
in the case of Lingaraja. Access to the chambers is made through an opening above the lintel of 
the door of the sanctum. The construction of such lofty temples like Lingaraja and Jagannatha 
creates awe and wonder in the mind of the onlooker regarding the technique of construction. In 
fact, the technique adopted was corbelling. The sized-Khondalite stones, used in most of  
temples, are laid horizontally one upon another, "held together mainly by a system of 
counterpoise, the weight of one stone acting against the pressure of another, much of the stability 
being a matter of balance and equilibrium". No cementing mortar of any kind has been used but 
iron cramps and dowels were used to keep the stone stabs in position. 
 
 
Outline of Typical Kalingan Temple 
Page 5


132 
 
 
4.1.0.Objectives 
In this lesson, students explore the growth of temple architecture. After completing this chapter, you 
 
  
 
  
Introduction 
 The art and architecture of a nation is considered as her property. The history of Odishan 
art and architecture starts with her dated history i.e. from 261 B.C., when Asoka conquered this 
land, then known as Kalinga.  The art and architecture of Odisha, in its formative phase took a 
new turn. The style was so elegant, balanced and beautiful that it carved a new identity for itself. 
This was famous as Kalinga School of art.   
Growth of temple architecture 
  Odisha is famous in the world for her beautiful temples. In fact, the temples constitute the 
most dominant and significant form of architecture in Odisha. They form "One of the most 
compact and homogeneous architecture groups in India."  
Styles of temple architecture in India 
Out of the three styles of temple architecture found in India like Nagara, Dravida and 
Vesara, Odisha has followed the Nagara with a distinctive regional bias of its own known as 
'Kalinga'. An inscription in Amritesvara temple at Holal (Karnataka) dated 1235 A.D. mentions 
the names of all the four categories like Nagara, Dravida,Vesara and Kalinga.  
Texts on temple architecture 
In due course of time, several canonical texts were written for the construction of 
temples. Among such texts Bhuvana Pradipa, Bhuvanapravesa, Silpasastra, Silpasarini, 
Silpaprakasa, Silparatna Kosa and Silpi pothi etc are prominent. These texts helped in 
maintaining basic standards in the construction notwithstanding varieties of form and size. The 
Silpasarini mentions about several kinds of temples, viz., Manjusri, Mrudanga eka bhagika, 
 
Vasusri, Mahameru, Kailasa, Ratnasara, Vartula ratha Vimana and Suvamakuta. Each variety has 
its own design based on a specific yantra (diagram).  
 
Typical Odishan temple  
Bhuvana Pradipa mentions about three kinds of temples on the basis of their architectural 
features. These are: Rekha (curvilinear superstructure), Bhadra or Pidha (monument with a 
pyramidal roof) and Khakhara (oblong building with wagon-vault roof). The text mentions about 
36 varieties of Rekha, 5 varieties of Bhadra and 3 varieties of Khakhara with proportionate 
measurements of each part and their heights. The typical Odishan temple consists of both Rekha 
and Bhadra-the Rekha for the Deula (sanctum cella or garbha griha with the curvilinear 
superstructure called sikhara or gandi) and the Bhadra for the pidha-deula to serve as the 
audience hall (Jagamohana or mukhasala). The pidha-deula, added to the front of the Rekha-
deula, is covered by a pyramidal roof of receding steps. The smaller height of Pidha-deula 
represents a balance with the higher Rekha-deula and "greatly enhances the grandeur of the 
soaring curvilinear spire". N.K. Bose mentions that the axial arrangement of the Rekha and the 
Bhadra components of the Odishan temple began with the sanctum to which the porch was added 
later. Along the same axial line, Nata mandira (dance-hall) and Bhoga mandapa (hall of offering) 
were added later.The Odishan temples are usually of curvilinear spire with square sanctum. A 
few Pidha-type temples are made on the summit of the Mahendra and in Koraput, two hypaethral 
(circular and open) Yogini temples at Ranipur-Jharial and Hirapur the starshaped Ones at Baudh, 
and a few Khakhar temples. 
Components of the Odishan temple   
 As regards the plan, in elevation the Odishan temple has four components, such as, pista 
(platform or vedika), the Vada (the vertical wall), gandi (the trunk), the mastaka (head or crown). 
The pista is absent in many temples. The bada consists of three parts, such as, pabhaga (foot-
portion or bottom part consisting of Khura, Kumbha, Patta, Kani, Basanta), jangha (the thigh 
part) and baranda (moulding forming uppermost part of bada). The jangha is sub-divided into 
two parts-tala janga (lower thigh) and upper jangha (upper bond thigh) by a set of mouldings 
known as bandhana. There is similarity between the main temple and the pidha up to bada. The 
difference starts from the gandi. Where as gandi of the Rekhadeula inclines inward in a convex 
form, i.e. curvilinear outline, that of Pidha takes a pyramidal form. The gandi of Rekhadeula is 
 
divided into several pagas (vertical projections). The corner pagas known as kanika-pagas are 
further sub-divided into horizontal sections known as bhumi by miniature amlas (ribbed disc 
resembling amla fruit). The central paga is known as Rahapaga and the next two as kanika and 
anu-raha. The door or entrance comes on the raha paga whereas niches come on the other three 
raha-pagas which go down upto pa- bhaga. It is thus in the plan of a four-door shrine. The 
subsidiary pagas are placed midway between the raha and the corner. Depending upon the 
number of pagas (also called rathas), temples are classified as triratha, pancha-ratha, sapta-
ratha,etc. The topmost course of gandi is called visama. The mastaka (skull) above it consists of 
Veki (neck), amla, Khapuri (skull) Kalasa (Gar) ayudha (attribute or symbol of the deity). 
In pidha deula, the gandi consists of a number of pidhas, gradually diminishing towards 
top in a pyramidal shape. The topmost pidha is reduced to about half of the lowest one. In later 
temples pidhas were grouped into tiers called potalas which are separate from each other by 
recessed vertical walls known as kanti. The hollow interior above the sanctum (garbha-griha) is 
hidden by a ceiling (garbhamuda) consisting of stone beams and rafters to maintain stability of 
the structure by binding the walls. In bigger temples, two or three ceilings (mudas) are found, as 
in the case of Lingaraja. Access to the chambers is made through an opening above the lintel of 
the door of the sanctum. The construction of such lofty temples like Lingaraja and Jagannatha 
creates awe and wonder in the mind of the onlooker regarding the technique of construction. In 
fact, the technique adopted was corbelling. The sized-Khondalite stones, used in most of  
temples, are laid horizontally one upon another, "held together mainly by a system of 
counterpoise, the weight of one stone acting against the pressure of another, much of the stability 
being a matter of balance and equilibrium". No cementing mortar of any kind has been used but 
iron cramps and dowels were used to keep the stone stabs in position. 
 
 
Outline of Typical Kalingan Temple 
 
 
 
Ground Plan of Kalingan Temple 
Initial years of temple architecture in Odisha 
The history of temple building in Odisha is said to have begun with 
Laxamanesvara,Bharatesvara and Satrughnesvara group of temples at Bhubaneswar in 6th 
century A.D. and culminated with the Sun temple of Konarka in 13th century AD.  The earliest 
surviving temples at Bhubaneswar are the three ruined temples like Laksamaneswar, 
Bharateswar and Satrughneswar. These are Rekha temples in triratha plan. On the basis of an 
inscription on the Laksmaneswara the date of the temples are assigned to the .later half of 6th 
century AD. Each of them has niches on its bada to contain parsvadevata. The front raha of 
Bharateswara temple is carved with two chaitya windows containing Ravananugraha form of 
Siva and Nataraja in the lower and upper niches respectively. These temples are unicameral i.e., 
having only the sanctum without the Jagamohana. The Parsurameswara temple assigned to 7th 
century AD. is the best preserved specimen among the early group of temples. It consists of both 
Deula and Jagamohana. The Deula is tri-ratha in plan in the bada but features of Pancharatha are 
visible in the Gandi. The Sikhara is of modest height and gives a squattish look. The Jagmohana 
is a rectangular hall with a terraced roof sloping in two tiers with clerestory in between. The 
Svavnajalesvara temple at Bhubaneswar offers another example of the early type. The temple, 
consisting of vimana only, bears clear affinities with the Parasurameswar in elevation and