Even today, in most of the villages of Orissa, one can see that the village temple still carries out most of these functions. Many of the sculptural scenes are taken from religious mythology and legends; many represent military and courtly life and the activities, which would have been associated with the temple (such as pilgrimage, teaching, or performance). The jewel-like quality of Orissan stone sculpture has often been remarked, and the temples, from a distance, do indeed convey an impression of resplendent beadwork.

Orissan temples, and especially the Sun Temple at Konark, are famous for their beautiful and often quite explicit erotic imagery. In Orissa, it has frequently been suggested that the imagery has specific reference to Tantric cults. Tantrism, which concentrates on worship of the shakti (female life force), combined elements of both Buddhism and Hinduism with a belief in the efficacy of magic ritual. Sublimated sexual power was seen as especially potent in many Tantric rituals. The senses and feelings, which are common to human experience, are used in Indian art to communicate some sense of the divine experience, and it is the genius of the Orissan artist in doing this that infuses all Orissan sculpture with an ineffable delicacy and spirituality that transcends the subject matter.

Though the whole of Orissa is famous for its temples, a few of the important temples are :

Temple of Lord Jagannath in Puri
Sakhi Gopinath in Puri
Sun Temple, Konark
Lingaraj Temple, Bhubaneswar
Rajarani Temple, Bhubaneswar
Mukteswar Temple, Bhubaneswar
Baladevajew, Kendrapara
Khiching Temple
Nrusinghanath & Harishankar

Most of the temples in Orissa are in one way or the other connected to Lord Jagannath.

BHUBANESWAR

CAPITAL city of the modern state and the ancient kingdom of Kalinga, Bhubaneswar is known as the Temple City of India. Among the finest of its 600 temples is the Lingaraja Temple of Shiva, built in the 11th century. It is also the biggest in Bhubaneswar.  

No less famous is the Mukteswara Temple which was built in the 10th century. It is well known for its stone arch at the entrance and is richly sculpted. With the tales from the Panchatantra carved on it, the temple is a magnificent example of Orissan architecture. The Rajarani Temple, set in picturesque surrounding, is noted for its intricate carvings of floral, animal and human figures. Constructed in the 11th century, it has an unusual tower. More interestingly, the temple has no deity.

Close to the Mukteswara Temple is the Parsurameswara Temple, a small but richly decorated shrine of Shiva that was built in the 7th century. It is one of the best preserved. It has sculptures featuring amorous couples, animals and floral motifs. The Svarnajaleswara Temple located a little south of Parsurameswara Temple has beautiful depictions from the epic Ramayana. Vaital Temple is architecturally striking. It is a temple for Goddess Chamunda (Kapali) and has a tantric influence. About 15 km from Bhubaneswar is the Yogini Temple at Hirapur. One of the four Yogini Temples in India, it has beautiful Yoginis carved from black chlorite.

The Buddhist influence is spread all over Bhubaneswar. Ashokan Rock Edict is situated at Dhauli, 8 km south of the city. The sculpted elephant atop the edict signifies the Mauryan Emperor Ashoka’s conversion to Buddhism after his Kalinga victory. This is said to be the earliest rock-cut sculpture in India.

On the Dhauligiri Hills, where the great Kalinga war was fought, stands a very modern monument to world peace, the Vishwa Shanti Stupa. This magnificent Buddhist Temple was built by Indo-Japanese collaboration. Below the Dhauligiri Hills, the river Daya flows peacefully.

Rock-Cut Caves are also seen on the hills of Khandagiri and Udayagiri which are about 8 km from Bhubaneswar. The double-storeyed Rani Gumpha (Queen’s Cave) is the largest cave with ornate carvings.

The Hati Gumpha (Elephant Cave) has the Chronicle of King Kharavela carved on it.

The excavated ancient township Sisupalgarh lies a few kilometers southeast of the city towards Puri. A fortified town surrounded by a natural moat, it was probably the capital of Kalinga in the 2nd century BC

Bhubaneswar has three museums, one celebrating Orissan heritage and the others; the handicrafts and the tribal research museum. The Orissa State Museum in the city has a rich collection of sculptures, coins, copper plates, stone inscriptions, lithic and bronze-age tools, rare palm leaf manuscripts and traditional folk and musical instruments. The Handicrafts Museum has a handsome collection of stone sculptures, patta-paintings, brass castings, horn toys and silver filigree.

While the temple and monuments and redolent with the culture of a hoary era, the vibrance of life throbs in the sprawling Nandan Kanan Zoological Park. Endowed with a natural lake, it is known for the rare white tigers and migratory birds which nest here during winter. It has also the country’s largest Lion Safari Park and White Tiger safari with Ropeway and Toy Train. The park is located 20 km from Bhubaneswar but it is closed on Mondays.

Another attraction is the Atri Hot Sulphur Spring. 42 km from Bhubaneswar, near the famous Hatakeswara Temple. It has a Bathing Complex for tourists.

RAJA-RANI TEMPLE

This temple is located in old Bhubaneshwar. This gracefully proportionate 11^th country temple stands against the backdrop of green paddy (rice) fields, looking very alluring.

This temple is famous for its elaborately ornate sanctuary. Here one can see a pair of satries or dikpals (temple guardians). In addition to these one can see beautiful nymphs, embracing coupler, lions, elephants decorating the pillars and walls.

Yama in various forms and postures can be seen-it is both fascinating and intermidating for e.g.: Yama holding several heads and a sword over the lying figure of a dead man.

The Orissa king who created this temple died before the finishing touches to the temple were given. A deity was placed leaving the 1 sanctum sanctorum eternally godless, yet it is filled with vacant peace as no pujas are performed here and one can roam around freely.

VAITAL TEMPLES

The Vaital Temple (c. AD 800) belongs to the Khakhara order (a subdivision of the Kalinga school of architecture) which was used for shrines devoted to tantric cults. The deul (tower) of the temple is the most striking difference. It is rectangular in shape, positioned at a right angle to the Jagmohana (porch). The roof vault is derived from earlier free-standing buildings made of wood and thatch. The horseshoe-shape of the chaitya arch became an enduring motif, turning up not only in actual structures, such as the Vaital Temple, but frequently in sculptural decoration. On the Vaital Temple, the outer surface of the vault is absolutely plain, in contrast with the heavy sculptural embellishment of every other existing Orissan temple tower. The shape of the more common Temple form has not been ignored, however; it has been carefully inserted, in miniature form, on the four corners of the Vaital Temple's jagmohana (porch). A brief look at the Vaital Temple will show an extremely accomplished style of sculptural decoration. A slightly closer look will reveal some of the darker facets of the sculpture's content, and the temple's nature. Tantric worship, which combined elements from certain sects of both Buddhism and Hinduism, centered on the worship of shakti, the female life force. It developed elaborate rituals involving magic spells, secret rituals and sacrificial offerings. The interior of the Vaital Temple's inner sanctum is almost completely dark, in keeping with the esoteric rites believed to have been performed there. The temple deity of Chamunda (tantric form of the Hindu goddess Durga) is dimly visible behind her grille, portrayed with a garland of skulls around her neck, seated on a corpse, flanked by an owl and a jackal. Her emaciated body, sunken eyes, and shrunken belly are quite remarkable, and even the usually staid and unflappable Archaeological Survey of India, in their guide to Bhubaneswar, cannot help but remarking that she displays the 'most terrible aspect conceivable'. The 15 niches which adorn the interior wall around her are also filled with a series of singularly strange images. In front of the entrance to the sanctum is a 'fourfaced' linga adorned with unusual carvings. Next to it is a post, to which sacrificial offerings were tied. The entire atmosphere is, in the words of one specialist, disquieting. The Archaeological Survey, sums it up more directly: 'weird'. On the outer, eastern face of the tower (back, thankfully, in the sunlight), there is an extremely fine image of the sun god, Surya, with a sensitive and beautiful face. He is flanked by Usha and Pratyusha, twin sisters of the dawn, while his chariot is driven by Aruna. This is a motif that will be remembered, and later developed fully in the Sun Temple at Konark. The first erotic sculptures known in Orissan art are found here, in a sunken transitional panel on the super-structure. It has been suggested that these images, which are a sort of catalogue of positions, had real relevance to the tantric rituals of this particular temple. Once presented here, they acquired the force of convention and temple builders in later centuries may have accepted them as a standard part of the temple decoration repertoire.

PARSURAMESWAR TEMPLE

This 650 A.D. temple is one of the oldest temples existing in Bhubaneshwar. It is close to the main Bhubaneshwar-Puri road, on the same side as the Lingaraj temple. It has all the main features of the pre-10th century Orissan architectural style temples like pine spire curving up to a point over the sanctum, which houses the deity and the pyramid-covered Jagmohan, where people sit and pray. It has a lively bas-relief of horses and elephant’s processions and latticework on windows. Outside the temple one can see exotic carvings of Ganesha, the elephant God Karti Keya, Shiva Parvati and other deities.

On the northwest corner of the temple compound one comes across the exoticaly unique " Lingam of one thousand Lingas "- the phallic symbol of shiva with 1,000 lingas engraved on it.

[This is one of the best-preserved, Shiva temples. The masonry was kept in place by weight and balance].

The other interesting carvings to be seen are those of Shiva tackling the Lankan king "Ravana," who is trying to uproot Mount Kailasa, the abode of Lord Shiva. Shiva is also shown in the endearing posture as "Natraja"- The Lord of Dance.

MUKTESWAR TEMPLE

This beautifully decorated 10th century, elaborately carved temple is not far from the Parsurameswar temple. It is one of the smallest temples and the compactness of the temple is also very striking. The tank inside the compound is still used by the priest and the devotees. In the well here the women still toss coins in the hope of curing infertility. On the doorframe one can see the carvings of the local saint, Lakulisa. Its earthy red sandstone body is encrusted with intricate carvings, depicting starved lean looking Sadhus (holy men) to voluptuous, become women bedecked with jewels Mukteswar's most distinctive feature is the arched gateway also called "Torana" dated about 900 A.D. The Torana shows the influence of Buddhist architecture. This thick pillared, arched gateway is beautifully carved with strings of beads and other attractive ornaments with statues of smiling women in languorous postures. In the yard stands the Kedareswar Temple, with a striking 8 feet statue of Ram Bhakt Hanuman (the monkey God).

SIDDERVARA TEMPLE

Immediately to the NorthWest of the Muktesvara Temple is the Siddervara Temple. The temple is plain and the carving not elaborate. Unlike the earlier temple, the vertical lower section is divided into five parts and the amla on top of the sanctuary is supported by four squatting figures.

The Gauri Temple to the South is built in the Kahkhara style and has carvings of beautiful women in numerous poses.

Ketu, the ninth planet has been introduced in this temple.

BRAHMESWAR TEMPLE

This 11th century temple is about a kilometer east of the main road. In the courtyard of the temple one comes across four small structures while crossing the porch of the temple one comes across the image of Goddess Lakshmi (Goddess of wealth). Covered with a piece of cloth, with incense sticks in front of it. The main sanctuary houses a Shivalinga. The tower of the Sanctuary is over 18m in height.

The exterior of the temple is elaborately carved with swans, monkeys, lions, deers, figures of Gods and Goddesses, religious scenes and the ninth planet "Ketu" also finds its place here.

The scenes in the riches of the miniature temples of the upper sections are mainly exotic couples in various poses and voluptuous female figures elaborately bedecked with ornaments. A rare depiction of Shiva as Natraja playing on a vina above a bull is found in the carvings of this temple.

THE SHATRUGHANESHVARA GROUP

Mohini, Uttaresvara, Gauri-Sankara-Ganesh and Parchimesvara temple. These temples are in ruins with only the core visible. The first three temples belonged to the 6th century. The Archaeological Department of Orissa has rebuilt the southernmost temple in the group.

Baladevajew Temple

Known to the pilgrims as ' Tulasi Kshetra', Kendrapara houses the temple of Lord Baladeva. The rites and rituals of Lord Jagannath at Puri are generally followed here which make Kendrapara equally attractive - 95 km from Bhubaneswar.

MADHAVA TEMPLE

The famous Madhava temple(13th century) is located on the eastern bank of the Prachi River, about 6 kms. from Niali (Cuttack District). The area between Niali and Madhava appears to have been the principal centre of the Madhava (four-armed Vishnu) cult in Orissa, made famous in Sri Jayadeva's Gita Govinda. The temple is also sometimes referred to as "Durgamadhava" because of the presence of a small Durga image next to Madhava within the sanctum. This joint worship of Durga and Madhava is unique to Orissan Vaishnavism, and is yet another testament of the great Orissan process of synthesis. Madhava is a temple in active worship, and, in fact, draws a large number of pilgrims from all over Orissa.

BRAHMESWARA TEMPLE

Both the deul (tower) and jagmohana (porch) of the Brahmeswara temple (c. 1050) are in the fully developed mature Orissan style. This temple can be dated with fair accuracy by the use of inscriptions that were originally on the temple. They are now unfortunately lost, but records of them preserve the information.

The Brahmeswara shows quite a bit of affinity with the much earlier Mukteswara temple, including the carved interior of the jagmohana, and in the sculptural iconography (such as the lion#head motif which appeared for the first time in the Mukteswara, and is here evident in profusion). There are quite a number of innovations, however, including the introduction of a great number of musicians and dancers (some holding lutes) on the exterior walls, and the use (for the first time) of iron beams in the construction.

The carvings over the door frame contain beautiful flower designs as well as flying figures. Like the Rajarani, there are images of the eight directional Guardian Deities. There are also quite a number of tantric-related images, and even Chamunda (last glimpsed in the Vaital Deul inner sanctum) appears on the western facade, holding a trident and a human head, standing on a corpse. Shiva and other deities are also depicted in their horrific aspects.

One of the lost inscriptions stated that a Queen Kolavati presented 'many beautiful women' to the temple, and it has been suggested that this is an evidence of the devadasi tradition which assumed such importance in later Orissan temple architecture and temple life.

SIMHANATH TEMPLE

Situated on an island in the Mahanadi River, about 10 kms. from Badamba in Cuttack District, the Simhanath temple (c. 9th century) is interesting for its images of Shaiva, Shakta, and Vaishnava cults of Hinduism. The jagmohana (porch) appears to be influenced by the Vaital Deul temple in Bhubaneswar.

The Simhanath temple combines older features with new and energetic experiments. This can be seen in such things as the elongation of the Paga images which crown the niches, and in the addition of a third terrace to the roof of the jagmohana.

NRUSINGHANATH TEMPLE

Located in the sacred Gandhamardan Hills, which according to legends, Hanuman carried on his shoulders from the Himalayas as described in the ancient epic Ramayana, the temple at Nrusinghanath is an important pilgrimage site. It is also an exceedingly fascinating and beautifully  located temple and is worth the journey to this rather remote spot.

The present temple, located at the source of the Papaharini stream, is a 14th century structure built on a more ancient site. The four pillars within the Jagmohana suggest that the earlier temple was built in the 9th century. The beautiful doorframes have been dated to the 11th century.

 The site of the temple is unique. Stone steps wind up the hillside behind the temple, leading past a  waterfall, and eventually curving under the falls to a spot where some beautiful, and very well- preserved relief sculptures are found. The climb to the carvings and return journey will take about an hour. Since shoes are not permitted on these sanctified pilgrimage steps, those with tender feet should take along a pair of heavy socks for the climb.

On the opposite slope of the hill on which the temple is located, is the Harishankar Temple. Between the two temples there is a 16 km. plateau, littered with Buddhist ruins that scholars feel may be the remains of the ancient university of Parimalagiri, referred to by the seventh-century Chinese traveler Hiuen T'sang as 'Po-lo-mo-lo-ki-li'. The trek along this plateau is a long one, but for the serious student of history, it is an unforgettable experience.

KHICHING TEMPLE

The town of Khiching, which is now a rather remote destination in the northern area of Orissa, was obviously once a religious center of some importance. The temples which remain today, although interesting in their own right, are but the humble remnants of a more glorious past.

The large temple of KICHAKESWARI, originally probably dating back to the 7th or 8th century, was reconstructed from the ruins of an earlier temple in the early 20th century. The reconstruction,which used the traditional technique of moving large stone elements up a huge earthen ramp, proved that the ancient skill of temple building and architecture survived into the current century.

Unfortunately, scholars feel that the constructed temple does not reflect the true form of the original, and that the shape now is a bit disproportionate. Nevertheless, the sculptures on this and other Khiching temples are exceptionally beautiful. Large, tall images, they are slender and graceful, reflecting a remarkable sophistication and deftness of touch. In addition to the temples,there is a small museum in Khiching with some very fine images.