Amlaka:
The Amalaka is a circular, ribbed stone disk that sits atop the Shikhara (spire). It symbolizes celestial unity and acts as a transition between the Gandi and the Kalasha, the temple’s crowning element.
Anga Sikhara:
Angasikhara refers to the decorative elements or sculptures of miniature "rekha deula" on the spire of the temple. These miniature structures are intricately carved and placed on the spire or superstructure of the temple, adding to its overall grandeur and aesthetic appeal.
Anuraha Paga:
In Odishan temple architecture, the vertical elevation of the temple’s outer walls is divided into vertical offsets or projections and recesses called paga. These help articulate the structure’s surface and enhance its visual rhythm. The main types are: Raha Paga:
The central vertical projection on each side of the temple.
It is the most prominent and often houses a niche with a deity.
Anuraha Paga:
Narrower projections flanking the raha paga on both sides.
They serve as intermediate links between the main and corner projections.
Kanika Paga:
The corner projections of the temple structure.
Typically more slender and help define the temple’s corners.
Anuratha Paga:
Located between the kanika paga and anuraha paga.
They are secondary projections that contribute to the temple's decorative scheme.
Anuratha Paga:
In Odishan temple architecture, the vertical elevation of the temple’s outer walls is divided into vertical offsets or projections and recesses called paga. These help articulate the structure’s surface and enhance its visual rhythm. The main types are: Raha Paga:
The central vertical projection on each side of the temple.
It is the most prominent and often houses a niche with a deity.
Anuraha Paga:
Narrower projections flanking the raha paga on both sides.
They serve as intermediate links between the main and corner projections.
Kanika Paga:
The corner projections of the temple structure.
Typically more slender and help define the temple’s corners.
Anuratha Paga:
Located between the kanika paga and anuraha paga.
They are secondary projections that contribute to the temple's decorative scheme.
Ayudha:
Ayudha is a Sanskrit term that broadly refers to weapons or implements, often associated with warfare or symbolic representations of power and protection.
Bandhana:
A horizontal band inserted between the Tala Jangha and Upara Jangha, acting as a decorative break. The Bandhana often consists of several smaller moldings and enhances the visual complexity of the temple.
Baranda:
Baranda is a series of moldings at the junction between the Jangha (the main vertical wall) and the Gandi (the tower or spire) of the temple. This element plays both a decorative and functional role in the overall structure of the temple. It acts as a visual threshold, marking the end of the Jangha and the beginning of the spiritual ascent toward the temple’s tower.
Basanta:
Basanta (or Vasanta) is the uppermost molding of the Pabhaga. Positioned above the Kani, the Basanta serves as the crowning layer of the temple’s foundation and has both architectural and symbolic significance. It is usually a slightly projecting, flat band or strip that is often intricately decorated with floral or ornamental patterns. Its design is more refined and ornate, symbolizing the culmination of the foundational layers and the transition to the temple’s main structure above.
Bhadra Deula:
In Odishan temple architecture, the Mukhasala, also known as Mukhamandapa, Jagamohana, or Bhadra Deula, is the assembly hall or front porch situated before the main sanctum (Vimana). It is typically a square or rectangular hall with a pyramidal roof known as the Pidha Deula style. The Jagamohana serves as the space where devotees gather, pray, and view the deity from a distance. Unlike the vimana, it is accessible to the public and often richly decorated with sculptures, pillars, and carvings that reflect the temple’s artistic and ritual importance.
Bho motif:
The Bho motif, also known as Bho Purusha, is an architectural decoration usually found on the lintels of temple entrances. It typically depicts a male figure with a fierce or regal expression, often holding a weapon or positioned in a powerful stance. The Bho motif sometimes appears as a stylized face surrounded by leaf patterns or other decorative elements.
The Bho motif represents a guardian spirit, symbolizing protection and warding off evil spirits from entering the sacred space of the temple. It also represents the deity's power to guard the temple from external threats.
Dikpala:
Dikpalas are deities in Hinduism assigned to protect the cardinal (north, south, east, west) and intermediate (northeast, northwest, southeast, southwest) directions of the universe. Each Dikpala is associated with a specific direction and is believed to safeguard that area. In Odisha and other regions, these deities are often depicted in temple architecture and are worshipped to ensure balance and protection in their respective directions.
Gaja Vidala:
Gaja Vidala is a unique sculptural motif found in Odishan temple architecture. It represents a mythical creature combining elements of both a lion (Vidala) and an elephant (Gaja). Typically, the Gaja Vidala depicts a lion-like figure pouncing upon or restraining an elephant, symbolizing the triumph of strength, courage, and divine power over brute force or chaos.
Gandi:
The Gandi is the central superstructure or body of the temple tower above the Bada. It usually has a curvilinear or pyramidal shape in Odisha temples and is intricately decorated with carvings and sculptures of deities, dancers, and mythological figures.
Jagamohana:
In Odishan temple architecture, the Mukhasala, also known as Mukhamandapa, Jagamohana, or Bhadra Deula, is the assembly hall or front porch situated before the main sanctum (Vimana). It is typically a square or rectangular hall with a pyramidal roof known as the Pidha Deula style. The Jagamohana serves as the space where devotees gather, pray, and view the deity from a distance. Unlike the vimana, it is accessible to the public and often richly decorated with sculptures, pillars, and carvings that reflect the temple’s artistic and ritual importance.
Kalasa:
The Kalasa is a pot-like finial at the very top of the temple. It represents auspiciousness, abundance, and serves as a sacred culmination of the temple’s vertical ascent.
Kani:
Kani is one of the essential moldings in the Pabhaga. Positioned above the Pata molding, the Kani is a vital element that adds both aesthetic and symbolic value to the temple’s foundation. It is a slightly concave or angled molding, often decorated with intricate carvings, such as floral motifs or geometric patterns. Its concave shape provides a smooth, sloping transition between the lower and upper sections of the Pabhaga, creating a sense of flow within the temple’s structure.
Kanika Paga:
In Odishan temple architecture, the vertical elevation of the temple’s outer walls is divided into vertical offsets or projections and recesses called paga. These help articulate the structure’s surface and enhance its visual rhythm. The main types are: Raha Paga:
The central vertical projection on each side of the temple.
It is the most prominent and often houses a niche with a deity.
Anuraha Paga:
Narrower projections flanking the raha paga on both sides.
They serve as intermediate links between the main and corner projections.
Kanika Paga:
The corner projections of the temple structure.
Typically more slender and help define the temple’s corners.
Anuratha Paga:
Located between the kanika paga and anuraha paga.
They are secondary projections that contribute to the temple's decorative scheme.
Khura:
In Odishan temple architecture, Khura is an element found in the Pabhaga. The Pabhaga consists of a series of molded layers that form the temple's foundation, and the Khura is specifically the lowest molding in this series. The Kumbha, which translates to "pot" or "jar," has a pot-like or bulbous shape that slightly bulges outward, resembling a water-filled vessel. This rounded, smooth molding often features subtle decorative elements, such as floral or beaded patterns, enhancing its aesthetic appeal.
Kirtimukha:
Kirtimukha translates to “Face of Glory” and is typically a demonic or monstrous face with wide eyes, large fangs, and a fierce expression, often with a gaping mouth. Unlike the Bho motif, the Kirtimukha is usually more stylized and may be surrounded by intricate patterns or foliage. It is often carved on the upper sections of temple facades, at the top of arches, or above doorways.
Kirtimukha is a symbol of both destruction and creation, believed to devour negative energy and greed. According to legend, it originated from Shiva’s wrath and symbolizes the annihilation of ego, pride, and evil forces.
Kumbha:
The Kumbha is a distinctive pot-shaped structure located between the Khura and Pata of the Pabhaga. This element is symbolic, representing a pot or a sacred urn.It is often adorned with ornate carvings and sculpted figures, adding to the overall aesthetic appeal of the temple. It symbolizes prosperity and abundance in Hindu mythology.
Mithuna Figure:
These are sculptures of amorous couples depicted on the temple walls, believed to symbolize divine unity and fertility. They are a common motif in Odishan temple architecture and sculpture.
Mukhamandapa:
In Odishan temple architecture, the Mukhasala, also known as Mukhamandapa, Jagamohana, or Bhadra Deula, is the assembly hall or front porch situated before the main sanctum (Vimana). It is typically a square or rectangular hall with a pyramidal roof known as the Pidha Deula style. The Jagamohana serves as the space where devotees gather, pray, and view the deity from a distance. Unlike the vimana, it is accessible to the public and often richly decorated with sculptures, pillars, and carvings that reflect the temple’s artistic and ritual importance.
Mukhasala:
In Odishan temple architecture, the Mukhasala, also known as Mukhamandapa, Jagamohana, or Bhadra Deula, is the assembly hall or front porch situated before the main sanctum (Vimana). It is typically a square or rectangular hall with a pyramidal roof known as the Pidha Deula style. The Jagamohana serves as the space where devotees gather, pray, and view the deity from a distance. Unlike the vimana, it is accessible to the public and often richly decorated with sculptures, pillars, and carvings that reflect the temple’s artistic and ritual importance.
Nabaratha:
In Odishan temple architecture, pagas are the vertical projections or offsets on the temple’s exterior walls, dividing them into rhythmic segments of projections (rathas) and recesses. These enhance both the structural articulation and ornamental richness of the temple.
Based on the number of pagas, temples are classified as:
Triratha – with three pagas (Raha and Kanika ×2) – the simplest form.
Pancharatha – with five pagas (Raha, Anuraha ×2, Kanika ×2).
Saptaratha – with seven pagas (Raha, Anuraha ×2, Anuratha ×2, Kanika ×2).
Navaratha – with nine pagas, adding more intermediate pagas between existing ones.
This classification reflects the evolution and complexity of Kalinga temple architecture.
Nagara:
The Nagar style of temple architecture, also known as the Nagara style, is one of the primary forms of temple architecture in India, and it is prevalent in Northern and Central India, including Odisha. However, in Odisha, this style is adapted into a distinct regional variation known as the Kalinga style or the Odishan style of temple architecture.
Natamandapa:
The Natamandapa or dance hall is a separate structure found in larger Odisha temples, often in front of the Jagamohana. It’s where dance and music performances were held as offerings to the deities, especially in the temples of the Kalinga architectural style.
Pabhaga:
In the context of Odishan temple architecture, "Pabhaga" refers to the distinctive architectural base or platform that supports the main sanctum (Vimana) and Jagamohana of a temple. The Pabhaga is divided into several horizontal layers, each featuring distinct moldings and carvings. The various components of the Pabhaga are Khura, Kumbha, Pata, Kani, and Basanta.
Paga:
In Odishan temple architecture, pagas are the vertical offsets or projections on the outer walls of a temple. They divide the wall surface into distinct vertical segments, creating a rhythmic pattern of projections (rathas) and recesses. Pagas serve both structural and aesthetic purposes—enhancing the temple's visual appeal and often serving as niches for sculptural decoration. Common types include raha paga (central), anuraha paga (side of raha), anuratha paga (between anuraha and kanika), and kanika paga (corners). The total number of pagas determines the ratha classification of the temple, such as Triratha, pancharatha, saptaratha, or navaratha.
Pancharatha:
In Odishan temple architecture, pagas are the vertical projections or offsets on the temple’s exterior walls, dividing them into rhythmic segments of projections (rathas) and recesses. These enhance both the structural articulation and ornamental richness of the temple.
Based on the number of pagas, temples are classified as:
Triratha – with three pagas (Raha and Kanika ×2) – the simplest form.
Pancharatha – with five pagas (Raha, Anuraha ×2, Kanika ×2).
Saptaratha – with seven pagas (Raha, Anuraha ×2, Anuratha ×2, Kanika ×2).
Navaratha – with nine pagas, adding more intermediate pagas between existing ones.
This classification reflects the evolution and complexity of Kalinga temple architecture.
Panchayatana:
A Panchayatan temple is a style of Hindu temple architecture where the main deity's shrine is centrally located, surrounded by four smaller shrines at the corners, representing five principal deities (Panchayatana).
Pata:
Pata (or Patti) is one of the essential moldings in the Pabhaga. Located above the Kumbha, the Pata serves both an architectural and symbolic purpose within the temple’s foundation structure. It is a flat, rectangular or band-like molding, often plain but sometimes decorated with simple patterns or lines. Its simplicity contrasts with the rounded Kumbha below it, creating a sense of balance and visual contrast within the Pabhaga.
Pidha Deula:
In Odishan temple architecture, the Pidha Deula refers to a type of temple structure with a pyramidal roof, made up of horizontal, receding tiers called pidhas. This style contrasts with the tall, curvilinear Rekha Deula. The Pidha Deula is commonly used for mandapas or halls like the Jagamohana (assembly hall), Natamandira (dance hall), and Bhogamandapa (offering hall). It is generally more accessible than the vimana and often features elaborate carvings and ornamentation, reflecting its role as a space for public rituals and congregational activities.
Pista:
In Odishan temple architecture, the term Pitha or Pistha refers to the raised platform or pedestal upon which the temple stands. This base is crucial as it elevates the entire temple structure, providing both physical stability and symbolic significance. The Pitha serves as a sacred foundation, isolating the temple from the earthly ground and emphasizing its spiritual and architectural prominence.
Raha Paga:
In Odishan temple architecture, the vertical elevation of the temple’s outer walls is divided into vertical offsets or projections and recesses called paga. These help articulate the structure’s surface and enhance its visual rhythm. The main types are: Raha Paga:
The central vertical projection on each side of the temple.
It is the most prominent and often houses a niche with a deity.
Anuraha Paga:
Narrower projections flanking the raha paga on both sides.
They serve as intermediate links between the main and corner projections.
Kanika Paga:
The corner projections of the temple structure.
Typically more slender and help define the temple’s corners.
Anuratha Paga:
Located between the kanika paga and anuraha paga.
They are secondary projections that contribute to the temple's decorative scheme.
Rathas:
In Odishan temple architecture, pagas are the vertical projections or offsets on the temple’s exterior walls, dividing them into rhythmic segments of projections (rathas) and recesses. These enhance both the structural articulation and ornamental richness of the temple.
Based on the number of pagas, temples are classified as:
Triratha – with three pagas (Raha and Kanika ×2) – the simplest form.
Pancharatha – with five pagas (Raha, Anuraha ×2, Kanika ×2).
Saptaratha – with seven pagas (Raha, Anuraha ×2, Anuratha ×2, Kanika ×2).
Navaratha – with nine pagas, adding more intermediate pagas between existing ones.
This classification reflects the evolution and complexity of Kalinga temple architecture.
Rekha Deula:
Rekha Deula is a significant style of temple architecture found predominantly in the Indian state of Odisha. These temples are characterized by their tall and vertical curvilinear spires, often adorned with decorative elements and sculptural motifs.
Salabhanjika:
In Odishan temple architecture, a Salabhanjika is a sculptural motif depicting a beautiful woman, often portrayed in a graceful, sensuous posture and typically shown touching or bending a tree branch. The term Salabhanjika translates to "woman breaking a branch of a sala tree," a tree that holds cultural and symbolic significance in ancient Indian art and mythology.
Saptamatrika:
The Saptamatrikas, also known as the Seven Mothers, are a group of deities worshipped in Hinduism, particularly in Shaktism. They are considered manifestations of the divine mother, Adi Shakti, and are often associated with the fierce aspects of the goddess. In Odisha, as in many other regions, the Saptamatrikas are venerated in temples with distinct iconographic details and are an integral part of the local religious and cultural landscape.
Saptaratha:
In Odishan temple architecture, pagas are the vertical projections or offsets on the temple’s exterior walls, dividing them into rhythmic segments of projections (rathas) and recesses. These enhance both the structural articulation and ornamental richness of the temple.
Based on the number of pagas, temples are classified as:
Triratha – with three pagas (Raha and Kanika ×2) – the simplest form.
Pancharatha – with five pagas (Raha, Anuraha ×2, Kanika ×2).
Saptaratha – with seven pagas (Raha, Anuraha ×2, Anuratha ×2, Kanika ×2).
Navaratha – with nine pagas, adding more intermediate pagas between existing ones.
This classification reflects the evolution and complexity of Kalinga temple architecture.
Triratha:
In Odishan temple architecture, pagas are the vertical projections or offsets on the temple’s exterior walls, dividing them into rhythmic segments of projections (rathas) and recesses. These enhance both the structural articulation and ornamental richness of the temple.
Based on the number of pagas, temples are classified as:
Triratha – with three pagas (Raha and Kanika ×2) – the simplest form.
Pancharatha – with five pagas (Raha, Anuraha ×2, Kanika ×2).
Saptaratha – with seven pagas (Raha, Anuraha ×2, Anuratha ×2, Kanika ×2).
Navaratha – with nine pagas, adding more intermediate pagas between existing ones.
This classification reflects the evolution and complexity of Kalinga temple architecture.
Vidala:
In Odishan temple architecture, Vidala refers to mythical lion figures, often combined with other animals, symbolizing divine power, protection, and victory over negative forces. These composite creatures are seen on temple walls, pillars, and other architectural elements, enhancing both the decorative appeal and spiritual symbolism of the temple. Each type of Vidala combines the lion’s strength with attributes of another animal or entity, each with unique meaning.
Vimana:
In Odishan temple architecture, the Vimana is the main sanctum or shrine that houses the presiding deity. It is typically built in the Rekha Deula style, characterized by a tall, curvilinear spire rising above the garbhagriha (inner sanctum).Its vertical elevation, crowned with an amalaka and kalasha, reflects the divine aspiration and sacred geometry of Kalinga architecture.