History of Orissa from the Earliest Times to the British Period v2.c47.96

v2.c47.96

Like the Vaitāl Deul the Rājā-Rāṇī is an exotic in Orissan architecture. In this temple human figures, used in decoration, are perhaps the finest. In chastity of design, poise in execution and sense of proportion the Rājā-Rāṇī figures are perhaps unrivalled.² So also in the case of pure decorative motifs like the meandering creeper turning into scroll ornamental foliage, the Rājā-Rāṇī possesses a distinct advantage over the Liṅgarāja or the Ananta Vāsudeva. In the south-western corner of the Rājā-Rāṇī human figures used as ornaments occur on alternate recessed corners. The intervening corners bear three narrow bands on each facet, two of which coalesce, but forming six bands on two adjoining facets: (1) Narrow band with the meandering creeper, (2) Ornamental foliage, (3) meandering creeper intermixed with ornamental foliage, (4) ornamental foliage of a different type, (5) meandering creeper forming round medallions containing ornamental foliage and (6) narrow band with a creeper. Just above this portion there is a projection, above which are to be found six similar bands in which the decorative motifs issue from the mouths of Geese and Makaras. There is a greater degree of elasticity in all of these motifs. Like most art critics Cohn makes the mistake of placing this temple in the 12th or 13th century A. D., whereas the form of its Śikhara clearly proves that it is later than the Liṅgarāja but earlier than the Jagannātha temple.