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Konark Sun Temple Architecture Attractions, Hours, Navagrahas

About Konark Sun Temple:

A marvelous architecture of eastern India and a symbol of Indian heritage, the Konark Sun Temple, commonly known as Konark, is located in the eastern of Odisha / Orissa, and is one of the most important tourist attractions. Konark is home to a huge temple dedicated to the Sun God. The meaning of “Konark” is of two words “Kona” and “Arka”. “Kona” means “Corner” and “Arka” means “Sun”, so when combined, it becomes “Sun of the Corner”. Konark is also known as Arka khetra. There are three Statue’s of the Sun God on three different sides of the temple, placed in the right direction to capture the rays of the sun in the morning, noon and dusk.

The Konark Temple was built in the middle of the 13th century, is a massive conception of artistic magnificence and technical prowess. Ganges dynasty King Narasimhadeva I built this temple, with the help of 1,200 craftsmen in 12 years. The construction started in 1243 and was completed in 1255 AD. The king was an ardent follower Sun god, so he considered the temple as a chariot for the sun god. Konark Temple was designed as a superbly decorated chariot mounted on 24 wheels, each about 10 feet in diameter, and drawn by 7 powerful horses. It is really difficult to understand how this great temple, every inch space from which it was so wonderfully carved, could have been completed in such a short time. Either way, the Konark Temple, even in its current state of ruin, remains a wonder to the whole world. The great poet Rabindranath Tagore wrote about Konark “here the language of stone surpasses the language of man”.

Around the base of the temple there are pictures of animals, foliage, warriors on horseback and other interesting structures. Beautiful erotic figures are carved on the walls and ceiling of the temple. Konark’s Temple is a masterpiece of medieval architecture in Orissa.

The Konark Sun Temple is widely known not only for its architectural grandeur but also for the sophistication and abundance of sculptural works. Konark is an exceptional blend of magnificent temple architecture, heritage, exotic beach and salient natural beauty. The large structure of the Konark temple seen today is actually the entrance to the main temple. The main temple which consecrated the presiding deity has fallen and only the remains are visible. Even in its ruined state, it is a magnificent temple that reflects the brains of the architects who imagined and built it.

Despite the decline over the centuries, the beauty of this monument is still surprising. If you are really interested in architecture and sculpture, you should visit this world famous monument.

Konark Sun Temple Main Attractions:

The main structure of the temple and the geometric patterns around the temple.

  1. The carved wheels and the spokes of the wheel which serve as sundials.
  2. Architectural figures such as war Horses, Elephants and Guardian Lions at the entrance. Various images of Deities, Dancers, Musicians, Elephants and mythical creatures inside.
  3. The Nata Mandir / Dancing Hall, Nava Graha / Nine Planets Temple.
  4. 3 statues of Sun God at 3 different direction of the temple to catch the rays of the Sun at early morning, noon and the sunset.
  5. The second level of the temple structure showing the famous erotic sculptures.
  6. The Sun Temple Museum is managed by the Archaeological Survey of India.

Konark Sun Temple Facts:

Konark is the third link in the Golden Triangle of Odisha. The first is Puri Jagannath Temple and the second is Bhubaneswar the capital of Odisha.
The Konark temple is built like a gigantic 24-wheel chariot about three meters high and drawn by 7 horses, which shelters the Sun god inside.
The Main entrance is guarded by two mighty Simhas / Lions, each killing a war elephant and under the elephant is a man. Lions represent pride, elephants represent wealth and both consume man.

Konark Temple was originally built on the seaside, but now the sea has receded and the temple is a bit far from the beach. This temple was also known as “BLACK PAGODA” because of its dark color and used as a landmark for sailors for Odisha.

Every day, the rays of the sun reached Nata Raja Mandir from the shore and reflected in the diamond placed in the center of the idol.
A heavy magnet was placed on top of the temple, and both of the temple stones are surrounded by iron plates. The idol floated in the air due to the arrangement of the magnets. The magnet on the top would have disturbed the compass for coastal travelers and would then have been removed.

Konark Sun Temple Architecture:

Most of the architectural figures that made the temple so famous were completely buried under rubble and sand, until the early 19th century. The existence of these beautiful lions, wheels, horses, elephants and simhasana of the Sun God that people ignore, visitors who arrived these days could not even enjoy the height of their beauty.

The desired Narasimhadeva temple was built in the shape of a huge Ratha (chariot), with twelve pairs of magnificently carved wheels on the north and south sides of the plinth masonry and dragged by a team of seven energetic horses, accelerating as if for across the sky.

  • Royal Guard of Konark – Lion Upon Elephant Upon Man
  • Great Wheel of Konark
  • War Horses of Konark Temple
  • Elephants of Konark Temple
  • Seven Horses of Konark Temple – Horses have been named in Bhagawat Gita, as ‘Gyatri’, ‘Usnika’, ‘Anustuv’, ‘Vrihati’, ‘Pangti’, ‘Tristup’ and ‘Jagati’
  • Simhasana (Seat) of the Presiding Deity

Konark Temple Architectural Description:

A Temple of Great Architectural Brilliance and a splendid blend of Architecture-Art-History, the Konark temple consists of a Vimana (main temple) intended for housing the deity, Jagamohana (hall in front of vimana) from where the worshippers could have a glimpse of the deity and a Nirtya-mandapa (dancing hall), but a separate Bhoga-mandapa (offering hall) was not built at this place. Dancing and offering both were probably done in the same building. In the Orissan architecture this type of temple is known as pancha-ratha-dekha deul, as each of its facades are broken by five small projections to produce an effect of light and shade on the surface and also to create an impression of one continuous vertical line, called Rekha.

As a fact the beauty of shade and light cannot be effected on a plain surface, was known to the builders, as such, the facades were broken by a number of small projections. These projections vary from three to nine, from which they derive the names as tri-ratha (three projections), Pancha-ratha (five projections), sapta-ratha (seven projections) or nava-ratha (nine projections).

Since the konark temple is broken by five projections, it is called pancha-ratha. The Jagamohana (gathering hall) stands on the same plinth as the vimana (main temple). Its roof is of a terraced pyramidal shape and the string cornices are separated by three tires by means of high recesses, which contain a number of beautiful life-sized standing figures of women in various dancing poses, Playing on different musical instruments like drums, flutes, vina and symbols, depicting the usual customs of offering dances, by the devadashis at the time of arati.

It has four doorways on its four sides. The western one leads to the antarala (inner sanctum), whereas the others lead to the porches outside. The interior is left unadorned excepting a five feet (1.5 metre) wide ornamental chlorite block on the sides and top of the door-way of the inner sanctum, like those fixed over the entrances to the Jagamohana.

No regular steps were provided for going up the tiers, as on account of religious sentiments, people were not probably allowed to go there. In spite of that, a few stones were provided in the rear wall above the inner sanctum for climbing up, as and when absolutely necessary.

The Nirtya Mandapa (dancing hall) is a big pillared hall built on a very high plinth, in front of the Jagamohana (gathering hall) which was intended for offering Arati-nrityas (dances) by the devadashis (dancing girls) during the worship. It stands without its roof, but its style is very likely the same as that of the Jagamohana. The pillars and walls are elaborately carved with dancing male and female figures in various poses, playing different kinds of musical instruments and carrying chamaras, incense burners and pradips (lamps) in their hands.

All the four flight of steps for the hall do not seem to have been built at the same time, as a number of beautiful motifs are completely overlapped by the later ones. Only the Southern one is not built against such ornamental facade, probably being the first one, meant for bringing the cooked offerings from the kitchen hall while others are the after thoughts of the builders.

Since the staircase to the east side is also built later, the images of two Gaja-Simhas (Rampant lions on elephant) standing in front of it, were certainly not existing there in the former days.

The basements of the temple are decorated with a band of about 1452 elephants in different pose. In some places the king himself is seen moving on elephant’s back, attendants holding the Raja-Chhatra (Royal Umbrella), warriors are found proceeding on elephants and horses for a fight, holding swords and shields in their hands. Bears are chased by the hunters in the forest or killed with bow and arrow. The pathetic departing scene of an old lady going on pilgrimage, is most touching. She is seen blessing her son while the daughter in-law bows down to her feet and the grand child clings to her.

The middle row of sculptures on the temple walls, is decorated with all sorts of imaginary figures like Gajasardula (lion upon an elephant), Naravyala (lion upon a man) and Nagamithunas with half-human and half-serpent couples, who fabulously live in deep waters of the sea, where they hoard their treasures. Male and female figures in different poses can also be seen in the same row. The next higher row contains a number of bigger sculptures, mostly erotic.

In the superstructure, sandstone (khondolite) blocks of the most ordinary type were used with close joints and secured with iron cramps, where necessary, while the foundation and the inner core were built with literate stones. Since the quality of stones used in superstructure and for the motifs, were not very durable, they were protected by a thin layer of shell-lime plaster and decorated with beautiful and matching colours, which can still be seen in many places. It is evident that the ornamental designs and motifs in the walls were carved in situ, after construction works were over.

Konark Temple Chief Architect Story:

The construction work of Sun Temple of Konark was over seen by Sibei Samantray Mahapatra and Bishu Maharana as the chief architect. Local story tells that Sibei Samantray got the blessing of Goddess Ramchandi for this work. The condition of the soil where the temple was to be erected, originally was so bad, that the chief architect, Bishu Maharana, who was entrusted with the work, became very much upset. But when there was no other way but to build on the same place on account of its sanctity, he with great difficulty managed to carry on the work. There was a contract between the king and workers, that no one will be allowed to go away until the whole work was completed.

Anyway the construction was going on, and it was nearing its completion, suddenly the chief architect Bisu Maharana and his workers faced the difficulty on fixing up the Kalasha (temple crown stone) in its proper position. In the mean time the chief architect’s son ‘Dharmapada’ came to see his father, as he was away from home for a long time. Dharmapada was born a month after his father’s departure, and twelve years had gone by. Dharmapada was always sad as he had never seen his father and his mother never tell him much about his father. On his 12th birthday he asked his mother a gift and his mother told him about his father and his responsibility to build the Sun Temple of Konark near the sea. Dharmapada decided to meet his father and after a long journey he reached the construction site. He proceeded to the site and did not take much time to spot his father. After meeting his father and other artisans he came to know that they were not happy and facing a major problem. Though Bishu Maharana was glad to see his son, he could not conceal the fact of his not being able to put the Kalasha properly. He said, ‘my boy, though the construction work is almost complete, we are experiencing some difficulties now in putting the kalasha. If we fail to do it within a reasonable time, the king will detach our heads from our body’. On hearing this the boy immediately got up at the top and discovered something wrong in the work. He immediately rectified the defect and made the Kalasha to go into its proper position.

The work was done but the artisans were still thinking of their fate, that if the king comes to know all about this, he will certainly think that the artisans were not doing their job properly, which a little boy had done in such a short time. Dharmapada never wanted glory, name or fame for his achievements. He was happy that he saved so may lives by completing the temple for Sun God. Dharmapada was very much shocked and to cover up the matter, he climbed onto the temple top and jumped off into the deep blue waters of the sea to sacrifice his life.

Konark Museum

A young boy who achieved the ultimate glory by completing the greatest temple ever built, sacrificed his life to save the life of others. After hundred of years, the Sun Temple is ruined but Dharmapada still be alive in the legend and in the ambitions of every artisan of Odisha. There are many such stories related to the completion of the work at Konark but their accuracy is still in doubt and there is no such historical proof against them.

Konark Sun God Temple:

There are three images of the Sun God at three different sides of the temple. These three images of the Sun God are positioned in such a way to catch the rays of the sun at dawn, noon and evening. In the Vedas, Surya is conceived as an unified manifestation of the Brahmanical Trinity

the Morning Sun being identified with Brahma, the creator;
the Mid Day Sun with Mahaswara, the destroyer and
the Evening Sun with Vishnu, the preserver

It is probably this conception that the artist had wanted to express in the three images of Surya, on the three sides of Konark Sun Temple.

Pravhata Surya – Morning Sun – Creator:

The First image of Sun God on the the Southern side wall called ‘Mitra’ is described as the Pravhata Surya (Morning Sun or Rising Sun). As the plan of the temple slightly makes an angle with the cardinal directions, the image of the south, is flooded with the rays of the morning-Sun and is therefore significant for its expression of youth and activity, justifying the description of Pravhata Surya. It is decorated with typical set of ornaments on the arms, neck and in the ears. The head-dress is also typical. The waist band is provided with tassels hanging down from it. This is called the avyanga (waist band) and is the Indianised form of Aiwiyonghen the secret waist girdle of the Iranians. The drapery, reaching up to the knee, is wonderfully carved. The hands of the statue holds two full bloomed lotuses, one of which still exists above the right hand of the figure. The bottom of the pedestal is decorated with figures of women in various poses. Some are playing on musical instrument and some are in dancing poses. It is also decorated with the figures of seven horses driven by Aruna, the charioteer of Surya, sitting near the feet of the statue with the reins of the horses in his hands. The King and the Queen are sitting on the pedestal with folded hands and the sword is lying nearby. In the panel two standing figures of male attendants are seen with shields and swords in their hands. His four wives-Rajani, Rikshubha, Chhaya and Suvarsasa are seen just above the two attendants. Bramha and Vishnu are sitting at a little higher level. At the top most corners of the panel, Vidyadhars are seen offering garlands of flowers from the Heven.

Madhyanha Surya – Mid Day Sun – Destroyer:

The second image of Sun God on the Western side wall called Punsani is described as the Madhyanha Surya (Mid-day Sun), standing with full vigor and personality. Decoration of the panel, ornaments and drapery used, the presence of King and Queen, the seven horses and the figure of Aruna are almost similar to the Prabhata Surya (Morning Sun) who also wears upanat (boot). Some describe the Sun with Upanat-Pinaddha-Padayugalam (wearing boots in his both legs). It is stated in the Brihat Samhita, that the Sun God should be dressed in the fashion of a northerner, called Udichyavesa.

Astachala Surya – Evening Sun – Preserver:

The third image of Sun God on the the Northern side wall called Haritasvai is described as the Astachala Surya (Evening Sun or Setting Sun). The figure brings out beautifully the tired expression which is the result of a hard days work, when all the other horses are completely tired, he is any how completing his journey by riding on the back of the last horse who is also found to be stooping with its folded legs.

Konark Navagraha Temple:

Navagraha Temple / Nine Planets Temple is located just outside the Sun Temple compound. It houses a huge chlorite slab, 20 feet (6 metres) long, four feet (1.2 metre) high and 7 feet (2 metres) deep with idols of nine planets made with black chlorite stone and richly ornamented. This stone slab was originally set above the temple’s ornamental doorways (Jagamohana) is now kept inside the Navagraha Temple.

The architectural use of the Navagrahas is according to the medieval convention, a kind of prophylactic measure for the safety of the temple and can be seen almost in every temples in orissa. The lintel-slabs of all the earlier shrines of the Bhaumakara period, there contain only the figures of eight grahas. Ketu making his appearance on the architraves from the Ganga period onwards.

In carving out the images, their attributes are not correctly attended to. They are made mostly alike in from, except a few in the group. Most of them are holding rosary and kamandalu in their hands, wearing high pointed crowns and sitting on lotuses the descriptions in the puranas symbolism as follows:

Sun, Moon and Mars:

Surya (Sun) stands on a vehicle of seven horses and holds two lotuses in his both hands.

Chadra (Moon) rides on a swan and carries discs of moon in his left and right hands.

Mangala (Mars) being the warlord, holds a kattara (cutter) in his right hand and in the left, several human heads, in the act of devouring. His vehicle is a goat.

Mercury, Jupiter and Venus:

Budha (Mercury) Sits on a lotus and he is to hold in his two hands the bow and arrow.

Vrihaspati (Jupiter) being the high priest of the Devatas (Gods), has a flowing bread and holds a rosary and kamandalu in his hands, but he has to be seated either on a frog or on a skull, instead of a lotus.

Sukra (Venus) is said to be the priest of the Ashuras (demons). Excepting the blindness of one eye, his icon is more or less correctly shown.

Saturn, Rahu and Ketu:

Sani (Saturn) rides on a tortoise and holds a rod in his one hand, instead of sitting on a lotus.

Rahu (Ascending Node) has only the upper half of the body. Two of his canine teeth are projecting from his upper jaw,to represent him as a monster and a fierce aspect of the Sun and Moon. He is found holding the Sun in one hand and the Moon in the other.

Ketu (Descending Node) is the last one in the group. His upper part is similar to others, but the lower is formed of the body of a serpent coiling round. He is to hold the noose of the snake in one hand and with the other, a sword.

The cruel hands of time did not permit the slab to remain in its original position for long. Ultimately it fell down and was lying uninjured in the debris for many years, when it was discovered, the Asiatic Society of Bengal wanted to remove it to Kolkata, for exhibiting in the museum, as a rare specimen of sculptural decoration of India. To facilitate its removal, the slab was longitudinally cut into two pieces in the year 1893 A.D. But its heaviness even after cutting, and the sandy track all around, it made impossible to do so. It was subsequently left at a distance of about two furlongs from the temple site, Where it was lying for more than sixty years, very recently the Government of India arranged for its installation in a separate shed, close to the temple compound and now this is famous as the Navagraha temple of Konark.

Konark Museum:

The Konark Museum started in 1968 and has been maintained by the Archaeological Survey of India. The museum is located near the main temple heading north. The museum has four galleries displaying 260 fallen pieces and architectural sculptures that were found during the cleanup of the Konark temple complex. The Konark Museum is a treasure for historians and art lovers and is open to the public.

The first gallery of the museum contains 62 antiques, including the image of Surya in sandstone, the reconstructed wheel built by Khandolite, various incarnations of Lord Vishnu, etc. are one of the main attractions.

The second gallery presents 108 antiques, including the reconstructed temple wall, the drummer and the crocodile head in a gigantic nature.

The third gallery of this museum exhibits 45 objects such as celestial nymphs, the image of Surya Narayana, Gaja Vyala, the king and his troops, and various erotic figures.

The latest addition to the museum is the fourth gallery, which presents 45 artifacts including the roaring lion, the man tied by the elephant’s trunk, part of an image of Surya, erotic couples and dance performances of the king witness are some of the works of art presented in this gallery.

Konark Museum Open & Closing Hours:

Saturday to Thursday from 10:00 AM to 5:00 PM
All Friday’s the Museum is Closed

Konark Sun Temple Architecture Attractions, Hours, Navagrahas

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