Kedareshwar Temple (4 km)

            This temple was constructed probably sometime between the last half of the eleventh century and the first half of the twelfth century. This period marked the decline of the Somavansi dynasty and the beginning of the Ganga rule in Orissa. The inscription at the entrance, on the right hand wall of the Jagamohan, records the donation of a perpetual lamp to Lord Kedareshwar by Raja Pramadi, the younger brother of the Ganga king Anantavarman Chodaganga in the 11th century. Thus it is evident that the temple existed as a prominent place of Shiva worship during the early part of the twelfth century.

            The thick-set gandi of the temple that faces south shows a certain immaturity in its architectural design and construction.

Lingaraj Temple (4 km)

            The Lingaraj temple, measuring some 54.8 metres in height,  dates back in its present form to the last decade of the eleventh century, though parts of the temple, it is believed, have been there since sixth century AD. The temple has been prominently mentioned in some of the seventh century Sanskrit texts which is a testimony of its sanctity and significance as a Shiva shrine.

            This magnificent temple raises its majestic spire in the middle of a large compound which is nearly square measuring some 150 metres on each side. Over 50 smaller temples dedicated to many gods and goddesses dot the enclosure. Many of these temples are partially mined. The high rising protective walls made out of solid blocks of red sandstone give the temple complex the appearance of a fortress from the outside. The lone entry point, known as the simhadwara or the Lions' Gate, is on the eastern side. One can see the image of a ferocious-looking lion rushing an elephant under foot on each side of the temple entrance. Such sculptures are rather very common in almost all the major temples of Orissa. This is often considered to be a representation, through sculpture, of the victory of wisdom over ignorance; of enlightment over  a life of sensations, and so on. But in this case, some  scholars are of opinion that  apart  from the conventional metaphysical meaning assigned to the sculpture, it is a symbolic representation of the triumph of a resurgent Hinduism over Buddhism at the time the temple was constructed.

            Traditionally the construction of the temple is credited largely to the three later Somavansi Keshari kings though this claim has not been historically authenticated. The later limit of its construction is believed to be 1114-1115 AD, during the reign of the Ganga king, Anantavarman Chodaganga.

            The Lingaraj temple represents the matrix of Orissan temple architecture. Structurally the temple is a four-chambered one consisting of the deul, jagamohan, nata mandir and bhoga mandapa; the last two are of course later additions. The nata mandira suggests a strong association with the devadasi tradition. The deul built on a pancharatha  plan, rises to great heights. The deeply cut curved lines that run vertically on the spire produce an optical feeling of the temple being larger-than-what-it-really-is. Besides, the temple spire has miniature replicas of itself in the turrets, integrated into the overall structure of the temple.

            Interestingly the massive granite block in the sanctum, the Swayambhu, is worshipped both as Shiva and Vishnu. Hence the temple rituals are partly Shaivite and partly Vaishnavite in character. So much so, that the kalasa in the mastaka region of the deul holds configuration of the trident and the wheel, the former the emblem of Shiva and the latter that of Vishnu. Historians believe that by the time the Lingaraj temple was constructed, the Jagannath cult had been on the rise and the harmony of the two sects can be seen in the Lingaraj temple where the deity is worshipped as Hari-Hara i.e. Vishnu and Shiva.

            The parsva devatas include a magnificently executed larger than life four- armed image of Ganesha in the south; a beautiful Kartikeya in the west and goddess Parvati also in the west in a separate temple. Almost all of them are large in dimension and show very mature workmanship in the decoration of the draperies and other ornamental details.

            Unfortunately the gigantic temple complex is off limit to all non-Hindus. But the visitor can have an uninhibited close view of the entire complex from a viewing platform on the northern side that was specially constructed for Lord Curzon, the then Viceroy of India. A pair of binoculars will be a handy thing to have if you want to have a close view from the platform outside.

Megheshwar Temple (5 km)

            This temple which is 15.55 metre high, was built during the closing years of the twelfth century by Swapneshwara, the brother-in-law of the Ganga king Rajaraja, during the reign of his brother Anangabhima III (circa 1192-95 AD).

            The deul was developed into a sapta ratha in its plan and in construction effected a transformation of the spire into a nearly circular appearance by the rounding of the edges of the many offsets and projections.

Mohini Temple (4 km)

            Situated on the south bank of the Bindu Sarovara, this temple, 9.45 metre high, in its architectural features bears a close resemblance to the Parasurameswar temple. The Jagamohana had fallen into ruins in course of time and has been restored recently.  Mohini literally means the temptress. But Chamunda, the presiding deity of the temple, hardly looks the part. She is carefully modelled as a ten-armed tantric version of Kali and presented in a dancing pose in her terrible best. A six-armed image of Mahisasuramardini (she who crushed the demon Mahisasura) lies on the floor of the Jagamohana.

            One can see the usual group of parsva-devata such as Parvati, Kartikeya and Ganesha, though many carvings were left unfinished in the temple.

Mukteshwar Temple circa 950 AD (4 km)

            This 11 metre high Shiva shrine is a little gem of a temple that was built during a transitional phase of Orissan temple architecture. The temple is remarkably fluent in its design and very elegant in iconography. It is also locally known as the Siddheshwar temple.

            The Mukteshwar gateway, a stylised version of the traditional torana, an arch, is a rare piece of artistic masterpiece which is lavishly embellished with exquisite floral motifs, elaborate scroll work and  graceful female figures. The deul tends to acquire a plump and circular look in the spiral region. Every inch of space on the outer surface has been generously decorated. The jagamohana has stunningly beautiful lattice windows on the outside and a richly sculptured interior, lavishly embellished with floral motifs, and other figures. Over the doorway to the inner sanctum the architrave is relieved with the icons of the navagrahas, the nine planets with Ketu, the ninth planet appearing in form of a canopied three-headed snake. But in this temple the sculptured images of the deities appear without haloes behind their heads, which is rather peculiar and is obviously a deviation from the traditional mode of presenting the deities.

            The outer walls are thickly embroidered with the figures of ascetics in meditational poses or with illustrations of tales from the Panchatantra. The niches are filled with the finely filigreed icons of many gods and goddesses mentioned in the pantheon of Hindu gods. Some of the figures on the outer walls of the temple suggest their association with both Buddhism and Jainism. They thus testify to the spiritual synthesis and religious harmony that characterised the Orissan culture. The artists' repertoire was beginning to acquire a secular character as the art idiom was steadily becoming rich and progressive.

Nandankanan (15 km)

            Nandankanan is a beautiful combination of a well-looked after zoo and a luxurious botanical garden. The two are separated by a large stretch of water, a natural lake. It derives its name from the mythical pleasure garden of the gods, often described in glowing terms in the folk tales or the Puranic literature of the land for its timeless beauty, eternally youthful environment as well as the extravagant forms of entertainment.

            The zoo has been established with the acquisition of a large territory of the nearby Chandaka forests. The well-preserved enclosure thus has all the advantages of a natural sanctuary providing the animals the feel of a natural habitat.

            The zoo has a large stock of white tigers, now put into a tiger safari, in addition to the lion safari and a wide variety of birds and other animals, snakes and reptiles. There is also a crocodile breeding centre. All things considered the zoo offers quite a rich fare to the visitor. The animals are healthy and have a bouncy look about them. The children can take a joy ride in a toy train while the elders relax under the green canopy of shady trees or go for a leisurely floating-trip in a paddle boat in the lake. A family picnic can be arranged by hiring a few cottages on the lake at nominal charges. One could listen to the chirpy music of the birds or hear the sound of twigs snapping and watch the swirling water breaking into hundreds of ripples and lapping the shore. The experience is sure to remain etched in the mind. The zoo remains closed on Mondays.

Orissa Legislative Assembly (1 km)

            Magnificent building known as Vidhan Saudha situated by the side of the Secretariat is a structure of the post-Independence era. Besides the Assembly hall it houses the chamber of the Speaker of the Legislative Assembly and that of the Chief Minister. Prior permission is essential to visit the Assembly.

Orissa Secretariat (1 km)

            The imposing structure of the Orissa Secretariat at the heart of the capital city is an attraction for the visitors. Le Courbusier, the French designer, used the Orissan temple motif in designing this building as well as the main market complex. New structures have been added subsequently in order to provide space for new sections and subsections. Orissa Secretariat is the nerve centre of the State administration and it houses the different ministries and their supportive administrative wings.

Orissa State Guest House (1.5 km)

            Situated to the west of the Orissa Legislative Assembly, the State Guest House offers boarding facilities to guests of the State and visiting officials and dignitaries. Prior permission of the Government is necessary for advance booking.

Orissa University of Agriculture & Technology (5 km)

            The University offers teaching and research facilities exclusively in the field of agriculture and other related areas. It has a vast area of its own with hostels for the students, housing colonies for the faculty and staff, teaching and research blocks with their respective laboratories and a large tract of land in the vicinity of the University for experimental activities.

Odissi Research Centre (7 km)

            Founded by Government of Orissa, the Centre is engaged in research and documentation of Odissi dance form, its classical origin from the temple sculptures of Orissa, the Devadasi and the Mahari tradition. Exposition and interpretation of the intricacies and subtleties of the dance form are made by  exponents of the Odissi form.

Parasurameshwar Temple circa 650 AD (5.5 km)

            This Shiva temple was built probably during the rule of the Sailodbhavas, once the feudatories of the Ganga king Sasanka during the early part of seventh century, who by the year 619 AD had declared their independence under the protection of Madhavaraja II.

            This 12.8 m. high temple, built on a triratha plan with a squattish, thick-set gandi and a beehive shaped deul having successive and inward tapering storeys and vertically taperred ribs converging at the top and a rectangular jagamohana is a very well preserved evidence of Orissan art and temple architecture during the seventh century.

            This lavishly decorated temple has ornate lattice windows. The friezes depict in vigorous detail the floral patterns, figures of amorous couples, elephants, procession of horses. The panelled jalis are relieved with vidalas, a very popular motif found in Orissan art. Most of the decorations are to be seen in stone frames which in a way, are reminisent of the Chaitya arches in the Buddhist monasteries. Eight planets appear on the architrave over the entrance door to the sanctum. In later temples one finds the navagrahas.

            In this temple dedicated to Lord Shiva, the images of Lord Vishnu and some other Vedic gods like Yama, Surya, Indra as well as the images of the group of seven mother goddesses appear. On the southern wall there is a fine figure of Kartikeya mounted on the peacock. The carvings are elegant and the style is typically Orissan.

Paschimeshwar Temple (5 km)

            Structurally, Paschimeshwar temple shows a close affinity with the Parasurameshwar group of temples. It is situated within the enclosure of the Yameshwar temple. It had a half-buried shrine that has been demolished long ago. A visitor can still be happy to see the  parsvadevatas. Mention may be made of Parvati, Shiva's consort, standing erect with a vase, a crooked staff, a rosary and a lotus held in her four arms with her mount the lion on her side. Kartikeya, the warrior son of Lord Shiva, can be seen seated on the peacock holding a spear and a matulinga in his hands. He wears his hair coiffured in a very stylistic fashion known as sikhandaka-kakapaksha. The elephant-headed god, Ganesa, the other son of the Lord, holds his favourite variety of sweets, the laddukas, a hatchet, a rosary and probably a radish in his four hands with his typical pot-belly tied by a snake. He is seated on a throne that is supported by a dwarf.

More about Bhubaneswar