SCULPTURAL ART AND ARCHITECTURAL PATTERN OF THE DHAVALESVARA TEMPLE OF DHAVALESVARA IN ODISHA

Ratnakar Mohapatra
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Abstract

The purpose of this article is to discuss on the sculptural art, architectural features of the Dhavalesvara temple of Dhavalesvara in the Cuttack district of Odisha. Dhavalesvara temple is a significant Shaiva Shrine of the Cuttack district of the state of Odisha. This temple is very famous shrine in that locality, for which, a good number of devotees come to visit this shrine. Old sculptures of different deities of both Saivism and Vaishnavism are also found to be preserved in the temple site, for which the site of the temple is considered as ‘Hari-Hara pitha’. This temple initially consisted of vimana and jagamohana. In later period, natamandapa as well as bhogamandapa were also added to the main temple. The artistic as well as religious aspects of the Dhavalesvara temple represent a noteworthy Shaiva shrine of the medieval Odisha. The original Parvati image in the northern side parsvadevata niche is not noticed, in that place a Mahisamardini Durga image is inserted as side deity. The six armed and three headed image of Kartikeya is unique in the study of Odishan art tradition. The extant preserved old loose sculptures of the temple suggest us that these were probably collected from the local areas for the purpose of worship. Most of the loose sculptures are not in intact, so their identifications are not possible properly due to mutilation of images. All the images of different periods were finely executed by the Kalingan School of artists. Source materials from primary as well as secondary data are utilized in the writing of this article.
奥里萨邦达瓦茹瓦寺的雕塑艺术和建筑模式
本文旨在探讨奥里萨邦喀塔克地区达瓦勒斯瓦拉神庙的雕塑艺术、建筑特色。Dhavalesvara寺庙是奥里萨邦喀塔克地区的一个重要的谢瓦神庙。这座寺庙是当地非常有名的神社,因此有很多信徒来参拜。湿婆教和毗湿奴教的不同神的古老雕塑也被发现保存在寺庙遗址中,因此寺庙遗址被认为是“Hari-Hara pitha”。这座寺庙最初由维马纳和伽伽摩哈那组成。在后期,主庙还增加了natamandapa和bhogamandapa。Dhavalesvara寺庙的艺术和宗教方面代表了中世纪奥里萨邦值得注意的Shaiva神殿。最初的Parvati形象在北侧parsvadevata壁龛没有被注意到,在那个地方,Mahisamardini Durga形象被插入作为侧神。Kartikeya的六臂三头形象在奥里斯坦艺术传统的研究中是独一无二的。现存的寺庙的古老松散的雕塑表明,这些可能是从当地收集的,用于崇拜的目的。大部分松散的雕塑都不是完整的,因此由于图像的残缺,他们的身份无法得到正确的识别。所有不同时期的图像都是由卡林甘学派的艺术家精心制作的。在这篇文章的写作中使用了第一手和二手数据的原始材料。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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