The Antiquities of Orissa v2.c17.s1.88

v2.c17.s1.88

[91]. **Muktesvara Temple :—**About three hundred yards to the west of the last, there was once a mango tope, which, having been the dwelling place of some hermits, is known by the name of Śiddhāraṇya or the “grove of the perfect beings.” Most of the trees have since fallen under the axe, but still there are several which give to the locality an umbrageous appearance. It has also the benefit of several natural springs. The place was, therefore, selected for the location of a great number of temples, of which more than a score are still entire. Of these the most worthy of notice are Mukteśvara, Kedāreśvara, Śiddheśvara and Paraśurāmeśvara. The first of these is the smallest of the four, but it is at the same time the handsomest—a charming epitome of the perfection of Orissan temple architecture—faded—colourless—joyless—but beautiful past effacing even by the decay of a thousand years, which has furrowed its brow, and wrought wrinkles on its once glistening surface. According to European architects the most important element of beauty in architecture is size ; but the Orissan artist, in this instance, has so ingeniously adapted the ornaments to the scale of his work that the effect is the most charming ; and the mind, wrapt in admiration by the beauty of the details, fails to detect the smallness of the structure on which they are set. The temple is barely 35 feet high, and the porch 25 feet ; but the parts are so adjusted, so adapted to each other, that the eye fails to detect anything puny, or trite, or common-place in any part of the edifice. The ornamentation is of the most sumptuous description, sculptured and finished with the greatest care and taste. The floral bands are neater and better executed than in most of the temples, the bas-reliefs sharp and impressive, the statuettes vigorous and full of action with drapery well disposed, and the disposition of the whole elegant and most effective. The subjects of the statuettes are also more varied and interesting, and less objectionable on the score of decency, than what obtain in the larger temples, in which the frequent repetitions of the same subjects produce an unpleasent sense of samenss. Among the subjects may be noticed a lady mounted on a rampant elephant and striking her uplifted sword against a giant armed with a sword and shield ; a figure of Annapūrnā presenting some alms to his lord Śiva (Vol. I, plate XXIII, fig 83) ; semi-ophide females canopied under the expanded hood of five or seven-headed cobras (plate V, vol. I) ; lions mounted on elephants ; groups of elephants fighting with lions (Vol. I, plate XX, 65*b*) ; lions capped with elephantine trunks (Vol. I, plate XX, 65*a*) ; demsels in various attitudes, some dancing, others playing on the Mṛdaṅga, or the Vīnā, or the Tāmbura ; crouching monsters supporting heavy weights ; saints worshipping Śiva ; an emaciated hermit giving lessons to a disciple ; another reading a palm leaf MS. placed on a crosslegged stool ; a lady standing under an umbrella ; another standing by a door with a pet parrot on her hand ; another enjoying the cool shade of a tree ; another standing on a tortoise. This last is evidently intended for the goddess of the earth. The head dresses of most of these ladies are particularly interesting, and most of the chignons shown on plate XXV of Vol I have been taken from them. The scroll works, bosses and friezes are also worthy of special note, as they display marked excellence in design, and great delicacy of execution (Vol. I, pl. VII, 11 and 12 ; XI, 24 and 26 ; XV, 41 ; XVI, 44 ; XVII, 55 and 57 ; and XXXVI, 143). The monkey scroll given in plate XII of Vol. I, is the best specimen of this class of work.