Cuttack's Golden Durga Puja

The First Golden Durga Puja Idol in Cuttack

In the Silver City of Cuttack, Durga Puja is unique in more ways than one. While the neighbouring State of West Bengal hosts the autumn festival with theme-based pandals and idols, Odisha’s Millennium City of Cuttack decorates the Mother Goddess with gold and silver. The extravagance is reflected in 150-odd Puja Pandals across the city; while the elite puja committees go for gold jewellery and silver backdrops spending several crores of rupees, their smaller cousins opt for just silver.

The Durga idols are usually 20-ft-high and they are accompanied by even taller backdrops (Silver tableaux). The price rise of gold has never been a deterrent for the Durga Puja Committees in Cuttack who make it a point to decorate the majestic tableaux elaborately with silver filigree work, known as Chandi Medha in local parlance, and idols of Goddess Durga, Lord Ganesh, Kartik, Goddess Lakshmi and Saraswati with gold jewellery and crowns every year. Cuttack is known worldwide for its silver filigree craft and filigree artisans who have created several masterpieces with impeccable artistry in the past. Durga Puja is also an occasion for these artisans to showcase their craftsmanship.

While initially, puja committees used to decorate the Goddess and the tableau with silver filigree work and jewellery to create that dazzle, the trend of adding gold to the deity’s idol was started by the Choudhury Bazaar Puja Committee in 2002, which coincided with its golden jubilee celebration. Durga Puja in Choudhury Bazaar began way back in 1956. The organisers made a golden crown of 7.6 kg for Goddess Durga and since then, they have added golden crowns and other jewellery items to the accompanying deities. Of late, the silver tableau is also being converted into a gold one. While the total cost of the Chandi Medha and idols exceeds Rs 15 crore, the puja committee keeps adding some more gold to the entire structure every year.

Subsequently, a group of other puja committees gave a golden touch to their pandals. The Sheikh Bazaar Puja Committee made a 3.5 kg gold crown in 2008 for the deity’s idol that is set against the backdrop of a beautifully carved silver tableau. Over the years, it added gold crowns and necklaces to idols of other deities and even the demon Mahisasura.

At Mangalabag Puja Pandal, not just the Durga idol, the other deities too sport golden crowns weighing at least 2 kg and at Chauliagang Puja Pandal, the Goddess is adorned with a 3 kg majestic golden crown fashioned in the shape of a peacock that is decorated with precious stones. In 2004, the Ranihat Puja Committee prepared a 4 kg gold crown for the Goddess at the cost of Rs 1 crore. While the puja at Ranihat was started a century ago, the committee set up a silver backdrop in 2004.

According to the Cuttack Mahanagar Puja Committee, the apex body of community puja organisers in Cuttack, there are at least 21 puja committees in the city who have silver backdrops and six puja pandals where the deities are adorned with gold crowns and jewellery.

Chandi Medha at Chandni Chowk

The Durga Puja history of Cuttack dates back to several centuries. It is believed that it was Saint Chaitanya Dev who started worshipping the deity during his visit between 1512 and 1517 AD. During his stay at Gadagadia Ghat in Cuttack, he started Durga Puja at Balu Bazaar. Even at Balu Bazaar, a 30-ft-high silver tableau adorns the pandal and the idol here is painted with only organic colours.

The Durga Medha at Chauliagang in Cuttack

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The First Durga Medha in Cuttack at Balu Bazaar

Celebrating Tradition

 

Madhubani painting of 18-armed Devi Durga by Vibhooti Jha

Durga Puja is is the only time of the year when around 2000 Bengalis of Bhubaneswar come together for community bonding. The Kalibari Durga Puja Samiti, on its part, takes care to offer them a taste of authentic Bengali tradition. For the Kalibari Samiti in Bhubaneswar, this is the 52nd year of Durga Puja celebration. While for the Telugus and Gujaratis in the city, puja celebrations begin with 'Navaratri', it is post 'Panchami' that the festivity starts for Bengalis.
"Our forefathers - Ashutosh Rai Choudhury, Bhaumik Ghosh and Satyaranjan Dey - established the Kalibari temple and puja samiti here at Ashok Nagar in 1964. Every year, we also welcome people of other communities to join us," says secretary of the Kalibari Durga Puja Samiti, S Marik. There are around 500 Bengali families in the Capital City who participate in the week-long Durga Puja celebration, which begins with 'Sasthi Puja' on October 19.

An artist paints the Durga idol at kalibari Puja Samiti in Bhubaneswar. Pic by Biswanath Swain

Unlike other parts of the city where Durga Puja is more about massive pandals, light decorations, 'Ravana Podi' and firecrackers, the focus here is just on the rituals and community get-together. Although the samiti members never erect an expensive pandal to welcome devotees, the 'Ekchala' idol of the deity is crafted by Bengali sculptors who are roped in from West Bengal. "The money that is earned through sale of 'bhog' during the puja goes into socially-relevant purposes," says Marik.
This year, a host of cultural activities will also be a part of the festivity. There will be a dance drama 'Mahisasura Mardini' on 'Ashtami' followed a competition on blowing conches and Dhunuchi Naach (traditional Durga Puja dance) in the evening. Interestingly, both the 'Navami', 'Dashami' rituals, 'Sindoor Khela' will be observed on October 22 and the idol will be immersed in the evening. 

Marik says Sandhi Puja on 'Ashtami' is the most important ritual of Durga Puja for the community. "During the Sandhi Puja that marks the transition from Ashtami to Navami, usually a period of 45 to 50 minutes, the Goddess is believed to take the form of Chamunda to kill Mahisasura. Intense prayers are done during this period and the Mother Goddess is offered 108 Lotus flowers and as many ghee lamps are lit," he says, adding that the samiti has never deviated from this tradition so far. 
Yet another attraction of the Kalibari Samiti during the puja is the 'Khicidi Bhog' that is offered to the Goddess and relished by devotees after 'Ashtami' Puja. The puja samiti often ropes in cooks from Kolkata to prepare the 'Khichidi', while the other dishes in the fare like 'Luchi', 'Dal', Chutney' and 'Payas' are prepared by Odia cooks from Bhubaneswar.
Apparently, apart from Bhubaneswar, Odisha has Kalibari Samiti only in Sambalpur besides, a Durgabari in Puri that celebrate the biggest festival of the Bengali community.

A Cultural Kaleidoscope That Puri Is

 Puri has always been a fresh canvas to the photographer’s eye. The centuries-old town exudes a raw charm and unforgettable warmth. TRLT brings you glimpses of different colours and tastes of the town, captured during a recent photo walk.

The 12th century Jagannath Temple at Puri

Aruna Stambha Outside the Jagannath Temple. It is said that Aruna is the  charioteer of God Surya. The Pillar is 32-ft-high and is made of high-quality granite. Lord Aruna is sitting atop Pillar with folded hands looking towards the Deities.

The sculpture of a Lion preying on an Elephant beneath the Aruna Stambha

Devotees at the Lion's Gate of Jagannath Temple

Khaja, also known as Pheni, is a very famous Odia sweet and it is one among the Chappan (56) varieties of 'bhog' (Mahaprasad) offered to Lord Jagannath. Legends say Lord Jagannath appeared in the dream of a man from Puri and instructed him how to prepare it.

Hardly two kilometres away from the Temple, begins the Puri Beach, a destination that certainly needs no introduction.  The Puri beach is the most popular beach in Odisha and the largest in the country. It stretches up to seven km and is a round-the-year destination for both domestic and international travellers. Visitors can enjoy both the sunrise and the sunset, sunbathe, sit back on the beach and watch local fishermen pulling their catch or mending their nets and listen to the melodious rendition of the striking waves.

Compared to other beaches in the country, the Puri Beach is considered to be safer as it does not face high tide and undercurrent very often. High tides occur only during full moon, so taking a bath in the sea is an enjoyable experience. The area near the beach is dotted with hotels and lodgings for travellers of all categories. For food lovers, there are several shacks along the beach selling fried and grilled seafood like prawns, crabs and pomfrets, freshly caught from the sea, along with vegetable pakodas. There are also many shops selling Odisha handlooms and seashell handicrafts. There is a lighthouse which remains open from 4 pm to 6 pm. One can get a spectacular view of the sea and the beach from the top of the lighthouse. 

The view outside my window at the OTDC Hotel

 

A tea shop by the Sea

 

Fishermen get busy checking their nets after returning with a Catch from the Sea

Their Catch

Shells for Sale

Clouds Approach the Puri Beach

Overcast

An old building in the vicinity

 Puri offers a lot in terms of places to eat. Being a Beach Town, Puri is a sea-food lover's paradise. There are shacks on the beach that prepare the seafood caught by the local fishermen. Select your fish, get it prepared and savour it watching the sunset.
While Odia and Bengali delicacies are easy to find, one can also check out restaurants offering Italian, Continental and Awadhi cuisine. Even pure vegetarian restaurants are not hard to find. Try Promphet Fry at 'Gaan' restaurant of Fort Mahodadhi, Prawn Sizzlers and Desi Chicken at Wild Grass or a delectable choice of Pastas and Pancakes at Hotel Honey Bee Bakery and Pizzeria.  

Rice Noodles and Chicken at Hotel Lee Garden. Head to this beautiful place if You want to taste authentic Chinese food

Chicken Curry at OTDC

Puri Sabzi for Breakfast

Honey, Banana Pancake with Ice-cream at Hotel Honey Bee Bakery and Pizzeria

Pasta with Tomato sauce, Sausage, pickled Olives and some India Masalas at Honey Bee Bakery and Pizzeria. The place is small but they serve awesome food

OTDC plays a perfect host

It starts raining in the evening

Lush green land on the outskirts of Puri

 Travellers' Info: 

Puri is located at a distance of 59 km from Bhubaneswar by road and 63 km by rail. Visitors can either hire a taxi or take a bus to Puri. There are plenty of options for accommodation near the Beach area. Best time to visit is from July to February.   Places to see nearby are the Sun Temple at Konark, Raghurajpur Crafts Village, Satpada, Chilika Lake and Alarnath.

Bold Troupers of a Folksy Dance Cult

Gotipua dancers ready for a show

By Diana Sahu

Raghurajpur, the first heritage village of Odisha situated on the banks of river Bhargabi, is known worldwide for its Pattachitra. Bylanes of this quaint little village, where every house is a canvas, are also home to another beautiful art form—Gotipua. At the far end of the village, stand two organisations that have been nurturing Gotipua with all its pristine flavour and glory—Dasabhuja Gotipua Odissi Nrutya Parishad and Abhinna Sundar Gotipua Nrutya Parishad.

 

 

 World-renowned Odissi guru Kelucharan Mohapatra was a Gotipua dancer in his early days. To continue the tradition, the organisations have given the dance form a new lease of life amidst cultural apathy within the state. The Dasabhuja Gotipua Odissi Nrutya Parishad was established by late Guru Maguni Charan Das, the pioneer of Gotipua dance, almost four decades ago. Sebendra Das, brother of Guru Maguni Das, currently runs the Dasabhuja Parishad. He explains the relevance of the dance form. “Gotipua is an amalgamation of two Odia words; Goti means single and Pua means boy. When the dance of the Maharis and the Devadasis of the Jagannath Temple at Puri disintegrated due to various reasons, young boys from various ‘akhadas’ were trained to take the tradition forward. Earlier, Gotipua used to be performed by a single boy, but over the years it evolved as a group dance.” 

The Abhinna Sundar Gotipua Nrutya Parishad has been working for the promotion and popularisation of the ancient dance form for 11 years. It was set up by late Guru Laxman Maharana. “A boy who masters all the three skills of singing, playing folk musical instruments and dancing is considered a true Gotipua. In Odissi, a dancer is restricted to dance,” says Priyabrat Pallai, the guru at Dasabhuja Parishad.
He feels that Gotipua is a poor man’s dance. “Such is the plight of Gotipua that not many cultural organisations in Odisha provide a platform for the artistes during their annual festivals. In fact, our boys perform more outside Odisha. Even the Culture Department has stopped organising its annual Gotipua Festival that was started in 2011,” rues Pallai.

It is believed that most of the grammar and material of the present day Odissi repertoire were distilled from Gotipua that originated as a temple ritual for Lord Jagannath. Movements in the two dance forms are same. The style and approach is different. The uniqueness of Gotipua is its combination of song and dance by boys between five and 15 years, who dress up as girls. They perform to verses on Radha and Krishna written by the Vaishnavite poets of Odisha.

Gotipua is gaining global recognition for its rawness and exuberance. “Though Odissi got the classical status due to proper documentation and promotion by connoisseurs, no such effort has ever been made for Gotipua. It is mainly practised in villages by boys mostly coming from BPL families,” says Abhinna Parishad’s Basanta Kumar Moharana, who recently took a batch of students on a dance tour to Paris.

Both the organisations follow the traditional ‘gurukul’ form of teaching and practise the Raghurajpur ‘gharana’ of Gotipua. Dasabhuja Parishad and Abhinna Parishad have trained more than 300 Gotipua dancers from Puri district. Currently, 35 boys are undergoing training at Dasabhuja Parishad and 15 in Abhinna Parishad. For both the parishads, finance has been a concern. The future is uncertain. “There have been years when we have done 100 shows across the world at a stretch and at times, we get to do just 20 to 30 shows in a year. Stage shows abroad fetch good money. Besides, we earn by performing at all festivals related to Lord Jagannath like Rath Yatra, Chandan Yatra, Jhulana, Dola Yatra,” Basanta adds. 

- dianasahu@gmail.com

A Walk Down Heritage Lane

The City of Temples or 'Mandira Malini', Bhubaneswar was once home to at least 2000 temples. Of them, only 700 exist today. Although a majority of them are dedicated to Lord Shiva, the Capital City also houses heritage structures related to Buddhism and Jainism. Each of these structures are characterised by magnificent architectural designs and beautiful sculptures. Apparently, the City derives its names from the Sanskrit name of Lord Shiva, Tribhuvaneswar, and mythological references describe the area as Ekamra Kshetra and Shaiva Pitha. Historians say construction of temples in Bhubaneswar was at its peak between the 7th and 12th century. Almost all the temples can be seen in the Old Town area around the Bindusagar Lake. 

TRLT brings to you a list of 14 temples/heritage sites you can visit to experience the Kalinga style of temple architecture.

Chausathi Yogini Temple at Hirapur, on the outskirts of Bhubaneswar

1.Chausathi Yogini (64 Yoginis) or Mahamaya Temple is located 15 km away from Bhubaneswar at Hirapur. Located amidst paddy fields, the temple is associated with tantric cult of Odisha and occult practices of medieval times. Built towards the end of Bhauma rule in the 9th century, Yogini Temple is perhaps the smallest of four Yogini temples in the country. While one Yogini Temple is located at Ranipur-Jharial near Titlagarh in Balangir district of Odisha, the remaining two are in Madhya Pradesh. The hypaethral (roof-less) temple facing the east was discovered by Kedarnath Mohapatra of Odisha State Museum in 1953. While 10-armed Mahamaya is the presiding deity of the temple, the heavily ornamented two feet high 64 Yoginis are installed in standing postures, each exhibiting a distinct hairstyle. According to legends, Yoginis accompanied goddess Durga during her war with the demon Mahishasura. In the centre, stands a 'mandap' with an image of 'Ekapada Shiva', an incarnation of the Lord Shiva. All the sculptures in the temple are carved out of fine-grained gray chlorite, while the outer walls are decorated with images of 'Katyayanis'. A pond, called Mahamaya Gaadia', is located in front of the temple adds to the ambience of the place.  

Khadagiri Caves in Bhubaneswar

2. The twin hills of Khandagiri and Udayagiri, located seven kilometre west of Bhubaneswar, are the earliest groups of Jain rock-cut architecture in eastern India. While Khandagiri means a broken hill, Udayagiri denotes the hill of sunrise. There are total 33 rock-cut caves on both the hills out of which, 18 caves are excavated on Udayagiri Hill while 15 are on the Khandagiri Hill. Generally caves are single storeyed but a few of them are double storeyed. The small caves were constructed for meditation purpose of Jain monks and the height being low, does not allow a man to stand erect. As per the inscription at the site, the caves were first excavated by king Kharavela of Chedi Dynasty and his successors who were devout Jains during the first century BC. At the top of Khandagiri, lies a Jain temple, which was constructed in late 19th century. The 18 caves of Udayagiri include the Hathi Gumpha (elephant cave) with its famous inscription of king Kharavela that talks about his military exploits. Another cave―Rani Gumpha (Queen's cave) in Udayagiri―is double-storeyed, having a spacious courtyard. This cave is adorned with elaborate carvings on historical scenes, dancers and religious functions. These ASI protected hills can be approached through NH-5. While entry fee for Indian, SAARC and BIMSTEC citizens is Rs 5 per head, foreign visitors have to pay US $2.00 to enter the hills. 

Sisupalgarh Ruins

3. On the outskirts of Bhubaneswar, off the main road to Puri, stand the fortified ruins of Sisupalgarh that date back to 350 BC. It was the capital of ancient Kalinga during the rule of Chedi Dynasty, which had Kharvela as its king. Historians say that the Hindu epic Mahabharata contains the story of Chedi king Sisupal, a cousin of Lord Krishna who was decapitated by Krishna in an open court. Sisupal was an ancestor of King Kharavela. According to a survey by Archaeological Survey of India (ASI), in 1947-48 the fort area was spread over 562.68 acres of land. In 1950, Sishupalgarh was notified as a centrally-protected monument under the Ancient Monuments Act - 1904. Sisupalgarh has a 2000-year-old quadratic defensive wall, measuring 1200 X 1160 m and portions of the surviving wall are as high as 12 m. The first excavation of the site was conducted by famous historian BB Lal in 1948-49, which brought to light traces of an impressive fort, which, according to historians, was built over several centuries with additions, alterations and various fortifications. Over a decade back, RK Mohanty from Deccan College, Pune and Monica Smith from Cotsen Institute of Archaeology, University of California, excavated around 18 pillars at the site and found various artefacts like pottery, terracotta ornaments. They found the evidence of an urban settlement and estimated the population of the community at over 20,000, living in a city having well laid-out streets and houses with two or three rooms each.   

Rameshwar Temple

4. Also known as Mausi Maa temple of Lord Lingaraj, Rameshwar Temple is just two km away from Lingaraj temple. The temple houses a Shiva Linga within a circular 'yonipitha' made of chlorite. There is also an image of the Durga that is worshipped within the sanctum. Historians say that the temple was built during the late Soma Vansh period that can be traced to the early part of the 12th century AD. The Jagamohan (assembly hall) of the temple was built much later. According to legends, when Lord Ram was returning from Lanka after victory over Ravana, goddess Sita asked to worship Shiva at the site of the temple. Seeing her devotion, Ram built a lingam at the site for the purpose of her worship. Every year during Rukuna Rath Yatra, the annual chariot festival of Lord Lingaraj, bronze images of three deities―Chandrasekhar (the representative of Lord Lingaraj), Rukmini and Basudeva are taken to Rameshwar Temple in a colourful procession. The festival is also called Ashokastami and the deities stay in the temple for four days before returning in the chariot to Lingaraj Temple. The temple stands amidst a beautiful park and within its precincts, lies a lily pond. 

Megheswar Temple

5. Another richly carved temple belonging to the 12th century, Megheswar Temple is also dedicated to Lord Shiva. Built in Saptaratha style of temple architecture, the temple is decorated with carvings of graceful dancers, animals, birds and flowers. Located at Pandav Nagar on the Tankapani Road, the temple complex houses two more temples of Bhaskareswar and Brahmeswar, which are equally ornate. The Bhaskareswar Temple is different from all the temples of the State in terms of structural pattern. The temple is raised on a circular platform and a nine-feet-high Shiva Linga is enshrined inside it. According to an inscription on the premises, the Megheswar along with the water tank near it, came into existence at the instance of Svapnesvara, brother-in-law of the Ganga King Rajaraja during the reign of the latter's brother Anangabhima (1192-95 AD). The Brahmeswar Temple on the premises resembles Mukteswar temple as far as the carvings on the walls are concerned. There is depiction of dancers and musicians on the exterior walls of the temple and in the West side of the structure, there are figures of Lord Shiva and Chamunda. 

Anata Basudev Temple

6. A 13th century edifice dedicated to Lord Krishna, Ananta-Basudev is the only important Vaishnava Temple in Bhubaneswar. Like Jagannath Temple in Puri, idols of Lord Krishna, Lord Balaram and goddess Subhadra are worshiped here. The idols here are made of granite unlike in Puri, where three deities are carved out of wood. While the idol of Lord Balaram stands under a seven hooded serpent, of which Lord Krishna holds a mace and a conch. Another similarity between the Jagannath shrine and Ananta-Basudev Temple is its 'bhoga' (prasad), which is sold and served at the Ananda Bazaar, located within the temple premises. The prasad at this temple is the most sought-after holy meal in Odisha after Lord Jagannath's 'abhada bhoga'. The epigraph on the temple premises reads that it was constructed by Chandrikadevi, daughter of Ananga Bhimadev III in the Saka era of 1278 AD. Located close to the Bindusagar Lake, the temple is visited by thousands of devotees during Janmastami. On the walls of the temple, there is a sculpture of Varaha (boar) incarnation of Lord Vishnu. Apparently, the design of Ananta-Basudev is completely different from other temples in old Bhubaneswar. What makes it different from the rest is that the temple, comprising Jagamohana, Bhoga Mandap and Nata Mandira, stands on a uniform platform. 

Vaital Deul

7. A late 8th century temple dedicated to goddess Chamunda, Vaital Deul is also known as Tini Mundia temple. Located within a walking distance from Lingaraj Temple, Vaital Deul is in the shape of a sanctuary tower and popular as a Shakti Temple. Associated with tantric cult, sacrifice and eroticism, the temple has eerie carvings in the sanctum that has an idol of eight armed Chamunda, locally known as Kapaḷini, the terrifying form of goddess Durga (Mahishasura Mardini). The presiding deity sits on a corpse flanked by a jackal and an owl, and is adorned with a garland of skulls. She holds a snake, bow, shield, sword, trident, thunderbolt and an arrow, and is piercing the neck of the demon. In front of the Jagamohana, there is a stand post where sacrificial offerings were made. On the outer walls of the temple are carvings of Sun God, Lord Shiva and Devi Parvati in her Shakti form and scenes from hunting processions. Some of the early erotic sculptures in Odishan art are found here; erotica later became a conventional motif, present in almost all forms of decorative temple architecture. On the eastern face of the temple, one can see an extremely fine image of the Sun God flanked by his sisters―Usha and Pratyusa―in a chariot, which is driven by Aruna. The Vaital Deul complex also houses another temple by the name of Sisireswar.

Kedar Gauri Temple

8. Kedar Gauri Temple, located in old town area, is one of the eight Astasambhu (8 Hindu temples dedicated to Lord Shiva) temples in Bhubaneswar. There are several legends associated with the construction of Kedar Gauri Temple. According to one, there lived a couple, Kedar and Gauri who decided to marry. The society, though, was against the union that led them to flee from village. During the journey, Gauri felt hungry and Kedar went to search for food during when he was killed by a tiger. When Gauri heard this, she jumped into a pond. After hearing the tragic episode, king Lalatendu Keshari raised a temple, called Kedar Gauri. Dedicated to Lord Shiva (who is also called the Kedareswar) and goddess Gauri, the temple is situated 40 m south of the Mukteswar Temple. In its premises there are two ponds―Khira Kund and Marichi Kund―that are said to have sacred powers. The temple is also famous for the Sitalsasthi Festival during when Lord Lingaraj from Lingaraj Temple is brought in a marriage procession to Kedar Gauri Temple, where he gets married to Devi Parvati. Other attractions of Kedar Gauri Temple are an 8-feet statue of Hanuman and goddess Durga standing on a lion. 

Brahmeswara Temple

9. Situated around a kilometres east of the Lingaraj Temple, the Brahmeswara Temple was built by Somavamsi king Udyotakesari's mother, Kolavati Devi, in honour of the deity Brahmeswara (a form of Lord Shiva) in 9th century. Standing tall at 60-feet, the walls of the temple are exquisitely carved inside and outside with sculptures of several gods and goddesses, animal, birds, erotic couples, damsels and religious scenes. The carvings over the doorframe contain beautiful flower designs as well as flying figures. Like Rajarani Temple, there are images of 'Dikpalas' or guardians of the eight directions in Brahmeswara, besides a number of tantric-related sculptors. A carving of 'Chamunda' appears on the western facade, holding a trident and a human head, standing on a corpse. Lord Shiva and other deities are also depicted in their horrific avatars. Historians say this was the first time that iron beams were used in the construction of a temple in Odisha. One of the lost inscriptions of the temple stated that Kolavati Devi presented 'many beautiful women' to the temple, and it has been suggested that this is an evidence of the 'Devadasi' tradition, which assumed great importance in later Odishan temple architecture and temple life.

Rajarani Temple

10. The 11th century Rajarani Temple, also known as Indreshwara Temple or the temple of love, stands amidst well maintained gardens in Old Bhubaneswar. Famous for its sculptures and successive tiers of projections rising to form the main tower, the temple derives its name from a variety of sandstone (dull red and turbid yellow sandstone) used to build it. With the outer walls ornately carved with numerous erotic sculptures of couples, Rajarani is a reminiscent of the temples of Khajuraho. The temple is aesthetically stunning with carvings of tall and slender nayikas (temple figures) carved in high relief on the walls―figures in amorous dalliance and in acts, such as fondling her child, looking into the mirror, taking off her anklet, caressing the bird, playing instrument, holding branches of trees etc. Around the entire structure are sculptures of 'Dikpalas' or guardians of the eight directions carved around the temple. The temple does not have an idol in the sanctum sanctorum, but its strong Shaivite association can be testified from the figures of Lord Shiva and his consort Parvati on the platform and Shaiva Dwarapalas (doorkeepers) on the entrance doorjambs. The temple, located on the Tankapani Road, is maintained by the Archaeological Survey of India (ASI) as a ticketed monument. While there is an entry fee of Rs 5 for Indian visitors, foreigners have to pay Rs 100 to enter the temple premises. 

Siddheshwar Temple

11. Siddheshwar Temple dates back to 10th century and is located within the premises of the Mukteswar temple. Historians say all the 10th century temples in Bhubaneswar reveal the unification of Hindu, Buddhist and Jain temple architecture. Siddheshwar Temple is taller than Mukteswar temple and its outer walls are covered with minimal carvings. The temple is not as ornate as Mukteswar but has a charm of its own as far as the construction pattern is concerned. The temple tower, built in Pancharatna style of classical Kalinga School of temple architecture, is grouped by a row of miniature turrets and all four sides of the tower are surmounted by four lions. While Lord Shiva is worshipped in the sanctum sanctorum, a beautiful figure of Lord Ganesh in standing posture is another attraction of the temple. The Ganesh idol that is kept covered with a thick layer of red vermillion has been installed at the eastern base of the temple spire. One has to walk through a beautifully maintained garden to reach the temple.

Parasurameswar Temple

12. A few metres away from the Mukteswar Temple, stands the small but lavishly decorated Parasurameswar Temple that dates back to the Sailodbhava period between the 7th and 8th centuries AD. It has all the elements of the pre-10th century style of Kalinga architecture like pine spire and pyramid covered hall. Although the temple is dedicated to Lord Shiva, it is among the first Hindu religious structures to contain depictions of Sapta-Matrikas-Chamunda, Varahi, Indrani, Vaisnavi, Kaumari, Sivani and Brahmi. The temple also contains the earliest representation of a six-armed Mahisamardini Durga image.
Parasurameswar is the only temple with a surviving Jagamohana. Among other carvings are those of Lord Shiva subduing the demon king Ravana, who is seen trying to uproot Mount Kailash, the abode of Lord Shiva. The deity is also sculpted as Nataraja in various tandavas (dance poses) in the temple. In the courtyard, there is a Sahasralinga decorated with a thousand miniature versions of it. The Jagamohana has four latticed windows that are decorated with beautifully carved bands of dancers and musicians, while there is a frequent representation of Lakulisha throughout the outer walls of the edifice. He is sculpted in meditating in Buddha-like form with four disciples at his feet.

Mukteswar Temple

13. Considered 'Gem of Kalinga School of Temple Architecture', Mukteswar Temple is famous for its exquisite and beautiful sculptures in red sandstone. It is one of the most refined temples of Odisha owing to its elegant proportions and delicate carvings. A mid-9th century edifice, the 34-feet-high Mukteswar Temple is adorned with ornate carvings of Panchatantra stories, heavily ornamented female figures with expressive faces, faces of Buddhist and Jain monks, with every minute detail carved to utmost precision. The diamond-shaped latticed windows in the north and south walls of Jagamohana (assembly hall of the temple), depict scenes of frolicking monkeys and ceiling of the temple is decorated with eight lotus petals. The temple is dedicated to Lord Shiva. The most beautiful element of this temple is a decorated stone 'torana' (archway) in front of the Jagamohana, which dates back to 900 AD. The archway is decorated with carvings of reclining women, animals, flowers and a combination of Buddhist, Hindu and Jain motifs. On the twin pillars of the archway are delicate carvings of scroll bands, beads and ornaments. A small water tank, locally known as Marichi Kunda, lies just behind the temple. On the door frame of Marichi Kunda is a seated figure of Lakulisha, a prominent Shaivite revivalist, reformist and preceptor of the doctrine of the Pashupatis, one of the oldest sects of Shaivism. The temple is located off the Lewis Road in the older southern part of Bhubaneswar. Every year, Odisha Tourism and Culture Department organised the Mukteswar Dance Festival on the temple premises in January-February.

Lingaraj Temple

14. Lingaraj Temple, built in 11th century, is dedicated to Lord Shiva and is considered as the largest temple of the city. Built by king Jajati Keshari of Soma Vansh, the main tower of this temple measures 180-feet in height. It is built in red stone and is a classic example of Kalinga style of architecture. The temple is divided into four sections―Garbh Griha (sanctum sanctorum), Yajna Shala (the hall of yajnas), Bhoga Mandap (the hall of offering) and the Natya Shala (hall of dance), and the spacious courtyard of the magnificent shrine comprises 50 small temples that are dedicated to several Gods of the Hindu pantheon. In the sanctum sanctorum, the linga of Lord Shiva is regarded as 'Swayambhu' (self-originated) and worshipped as both Lord Shiva and Lord Vishnu. It is said that when construction of Lingaraj Temple was about to be completed, Jagannath culture started growing in Odisha. Hence, the presiding deity here is known as Hari-Hara; Hari denotes Lord Vishnu and Hara meaning Lord Shiva. The Shivalinga in the sanctum of the temple rises to a height of 8 inches above the floor level, and is 8 feet in diameter. Although thousands of devotees visit the Lingaraj every day, the temple comes alive on the occasions of Shivaratri and Rukuna Rath Yatra. This temple is only accessible to Hindus. Located to the north of the temple is Bindusagar Lake, one of the popular picnic spots in the city. About 1300 ft long and 700 ft wide, this lake turns into a visual delight when thousands of people set sail tiny boats on the occasion of Boita Bandana that commemorates Odisha's rich maritime history. On the western banks of the lake, lies the beautiful garden of Ekamravan (literally meaning one-mango-tree forest). Ekamravan finds mention in ancient Hindu mythological texts as an entire forest that comprised a single mango tree. It was a key element in the abode of Lord Shiva and his divine consort, Goddess Parvati. A variety of plants traditionally associated with Hindu gods and goddess and having spiritual and medicinal significance can be found in Ekamravan.