History of Orissa from the Earliest Times to the British Period v2.c46.55

v2.c46.55

The art of the decorator reached the highest standard of excellence between the dates of the construction of the Vimāna and the Jagamohana of the Mukteśvara. Comparatively speaking, the decorative art of the Jagamohana is higher in standard of excellence than the Vimāna. At the same time the decorator of the Jagamohana of the Mukteśvara had reached a much higher level in his own art than that of the Vimāna and the Jagamohana of the Lingarāja or Kṛttivāsa. Here perhaps for the first time we find human figures, used as decorative motifs placed in alto-relievo against the walls of the Jagamohana; up to the date of the Paraśurāmeśvara, they were either placed in sunken panels or in medallions of niches or chaitya-windows. In this period there is practically no unnaturalism, want of equipoise or provincial mannerisms. Therefore, the majority of writers on the subject have praised the art of the Mukteśvara very highly. Fergusson calls it "The gem of Orissan Architecture,"¹ others call it the best period of Orissan Art,² even the late Mr. Mano Mohan Ganguly was moved by it: "The temple of Muktesvara may be styled the epitome of Orissan Architecture showing all that is best in it. It may be appropriately called a dream in sand-stone, adapting the immortal phraseology of Colonel Sleeman regarding Taj Mohal."³