Showing posts with label Swarajya. Show all posts
Showing posts with label Swarajya. Show all posts

Thursday, 24 April 2025

Aryabhata

The Genius and the Myth

He ranks with Archimedes, Euclid, Isaac Newton and Leonard Euler as one of the greatest mathematicians of the world. He began a new epoch in Indian astronomy and mathematics, that continued for more than a millenium. His book Aryabhateeyam is a masterpiece of brevity and eloquence.

But what did Aryabhata actually do? Aryabhata did NOT invent zero; or gravity; or the heliocentric system. As I wrote in my first essay, even Indian mathematics and Sanskrit scholars are stunningly ignorant of Aryabhata’s actual accomplishments. Since we are equally ignorant of almost all of ancient India’s glories, this is not specifically galling; just generally abysmal. Only Bhaskara was perhaps as popular and admired, but unlike Newton’s apple or Watt’s tea kettle, or the anecdotes of Birbal or Tenali Raman, we don’t even have popular legends about him. But we are so creative, we blame the British for this situation, decades after they left.

Ever computed a square root? Aryabhata.
Cube root? Aryabhata.
Summed up a series of numbers? Aryabhata.
Series of squares? Aryabhata.
Divided by a fraction by multiplying by its inverse? Aryabhata.
Computed the areas of triangles, circles, trapeziums? Aryabhata.
Calculated sines? Aryabhata. 

And that’s just the simple mathematics we learn in school.

Wait! Did he invent ALL of these? Ah, that’s the question. Aryabhata himself claims not a single invention. He explicitly states that “by the grace of Brahma, the precious jewel of knowledge (jnana-uttama-ratnam) has been extracted from the sea of true and false knowledge (sat-asat-jnaana-samudraat), by the boat of my intellect (sva-mati-navaa).” As Euclid compiled five centuries of geometrical discoveries of the Greeks, Aryabhata compiled several centuries of mathematical and astronomical discoveries of Indians.

Sulba sutra and Jain mathematicians knew how to compute, square roots, but Aryabhata was the first to describe the algorithm. We don’t know if cube roots were calculated earlier, his algorithm is the oldest extant. His sine calculations are considered much superior to those listed by Varahamihira. His kuttakara algorithm to find solutions is considered ingenious even today.

It is not feasible to explain his mathematical and astronomical discoveries in a magazine article for the general reader. There are excellent translations, technical papers, books that do that. This essay’s purpose is to provoke you to read them, and marvel at Aryabhata’s sva-mati-navaa. And to place Aryabhata and his work in historical context.

Manuja Grantham

The eighteen siddhantas were attributed to rishis. But every jyotisha siddhanta after Aryabhata and Varahamihira, is attributed only to men, not rishis. These arose from commenting, understanding, questioning, correcting, improving existing siddhantas and inventing or discovering new concepts. There was no fear or taboo against criticizing a mere manuja like Aryabhata or Bhaskara, rather than a rishi. This era of Mathematics and Astronomy is called “Classical” by historians. I prefer VarahaMihira’s phrase Manuja Grantha.

मुनिविरचितमिदमिति यच्चिरन्तनं साधु मनुजग्रथितम्
तुल्येऽर्थेऽक्षरभेदादमन्त्रके का विशेषोक्तिः ॥१–३॥ – बृहत्संहिता

muni-viracitam-idam-iti yat-cirantanam saadhu na manuja-grathitam
tulye-arthe-akshara-bhedaad-amantrake ko viSheshokti – BrihatSamhita 1-3

 Translation This (idam) is muni-uttered (muni-viracitam) so sacred (cirantanam) and good (saadhu). Not (na) so manuja-grathitam (man-composed) it is said (iti). If it is not a mantra (amantraka), and meaning (artha) is equal (tulye) but words different(akshara-bhedaa), what’s wrong (vishesha) with it?

Philosophically, this verse by Varahamihira, is as insightful and expressive as Kalidasa’s verse puraanamityeva na saadhu sarvam(Not everything is excellent, simply because it is ancient). 

Aryabhateeyam

The phrase Kusumapure abhyaarcitam gnaanam (knowledge respected in Kusumapura), in Aryabhateeyam hints that he lived in Kusumapura (Pataliputra or Patna). No biography or portrait of any Indian astronomer exists. The pictures of Aryabhata pervading the internet, as well as his statue, are merely artists’ imaginations. Almost all we know about him comes from his books and those of his critics and commentators, like Brahmagupta and Bhaskara I, who mentions Pandurangasvami, Latadeva and Nishanku, as pupils of Arybhata.

He composed:

(1) Aryabhateeyam in 499AD when he was 23 years old. Multiple copies survive in full form.

(2) Aryabhata Siddhanta, which is lost, and known only by quotations from commentators. In this book, Arybhata advocated midnight as the starting hour of each day, instead of sunrise, perhaps based on Surya or Romaka Siddhanta. Aryabhateeyam uses sunrise as day-beginning.

I confine this essay to Aryabhateeyam. It consists of two parts. The first, Dasha Geetika (Ten Songs), lists astronomical constants:

·        Orbital periods and Diameters of Sun, Moon, Planets

·        Number of years in a yuga, yugas in a kalpa, kalpas in a manu

·        Deviation of planets from the ecliptic

·        Epicycles, in different quadrants

·        Table of Sine differences.

 

His first verse is a salutation to Brahma - he was a scientist, but not an atheist. Almost every jyotisha who followed him begins his work with a salutation to his favorite God. Jain mathematician Mahavira begins with an invocation to his namesake, the tirthankara Vardhamana Mahavira. It may also indicate that he was updating the Paitamaha (Brahma) siddhanta, some of whose data, had become obsolete.

The second part, called AryaAshataShatam (i.e The 108 Arya verses) consits of three chapters – Ganita (Mathematics), Kaala Kriyaa (Calculating Time), and Gola (Sphere – i.e. Celestial, Sphere meaning the visible universe).

The siddhantas of later jyotishas were each nearly a thousand verses long. What Aryabhata summaries in one or two verses is explained by them with whole chapters. So cryptic and compact was Aryabhateeyam, it was impossible to understand without bhashyaas (commentaries); such was its impact, that bhaashyaas were written on it centuries after others improved upon his methods. Telugu Marathi and Malayalam commentaries followed those in Sanskrit, Arabic etc; and English translations in the colonial period, which range in appreciation from astonishment to incredulity to calumny.


1.    Ganita - Mathematics

The mathematics set forth by Aryabhata is mostly practical, not theoretical: its primary purpose is astronomy. I mention only simpler concepts in this essay.

It also varies from extremely simple to extremely complex statements, hypotheses, and algorithms.

We must understand that mathematics was not taught to school children, then as it is today; it was perhaps the most advanced of technical subjects and confined to specialists.  Arithmetic symbols familiar to us like + - x ÷ = were only introduced in fifteenth century Europe. Mathematics was not expressed in equations, but in slokas.

Aryabhata gives two line slokas like this:

त्रिभुजस्य फल शरीरं समदलकोटी भुजार्ध संवर्गः

Tribhujasya phala shareeram samadalakoti bhujaardha samvargaH.

 Bhuja means Arm. Tribhuja means three-armed or Triangle.

Translation “Multiplication (SamvargaH) of perpendicular(Samadalakoti) and half (ardha) the base(Bhuja) results (phala) in Triangle’s (Tribhuja-sya) area(Shareeram).”

A similar verse(sloka) defines the area of a circle as its half-perimeter (or half-circumference) multiplied by its half-diameter (radius) 


This is a simple algorithm, just a formula really, to calculate one value, based on known parameters. A more complex version is his algorithm for summation of a series, which includes several calculations, including for the mean of the series, and encoding an alternate algorithm! This way of stating multiple mathematical formulae is called muktaka by Bhaskara I.

Kaalakriyaa – Time

Aryabhata divided time and circles  with the same geometric units as earlier siddhantas. His major departure, was to define the four yugapadas namely krta, treta, dvaapara and kali, as of equal time; and as the time it took all the nine planets to align, or complete an integral number of revolutions around the earth. He included a biographical note, that 3600 years passed between the beginning of Kali yuga (end of Mahabharata war) and the twenty-third year of his birth. This implies that the constants in DashaGitike were based on his personal observations in that year.

This differed from the smriti definition of the first three yugapadas as four, three and two times as long as the kaliyuga, and offended the orthodox of everyone. Even his followers didn’t accept this division, but they followed his computations and algorithms, as they were significantly better than those of earlier siddhantas.



Gola – Celestial Sphere

Arybahata states that Solar and Lunar eclipses are shadows of the Moon on Earth and Earth on the Moon, respectively. He also stated that the  Sun is the only source of light, and not just planets, but even the stars only reflect sunlight.

Kadamba flower

Aryabhata used the metaphor of a kadamba-pushpa-grantha,  to explain how people and creatures in all parts of the world believe they are standing on top of the world. He introduced another metaphor, for Earth’s rotation: consider a boat-rider on the Ganga, who feels trees on the shore pass him by; whereas, in reality it is the boat that is moving. Similarly Aryabhata suggested, the earth actually rotates, and like trees on a river bank, the stars seem to revolve around it. But it was only a metaphor, not a proof.

He also explains such concepts as Ascencions of the Zodiac, Sine of Ecliptic etc. which are too technical for this essay.

The impact of Aryabhata was phenomenal. Even fervent critics could not ignore him or his works. But he launched an era of manuja grantham, and he was followed by a long line of brilliant scholars, whom we will discuss next.

-----------
This essay was first published as part of a series in Swarajya
For the entire series click this link --> Indian Astronomy and Mathematics   

References

1.      The Aryabhateeyam by Walter Eugene Clark, University of Chicago, 1930.

2.      Aryabhatiyam, translated by KV Sarma and KC Sukla, Indian National Science Academy, New Delhi, 1976.

3.      Facets of Indian Astronomy, KV Sarma, Madras.

Related Links




Monday, 7 April 2025

Era of Rishi Siddhantas

 Rishi Siddhaantas and Manuja Siddhaantas

The thousand years before Aryabhata were as rich in intellectual fervour and activity as the thousand years after him. This was the era of the composition of most of the Vedaangas, the creation of such seminal works like Bharata’s NaatyaShaastra, Chanakya’s ArthaShaastra, Vatsyayana’s KaamaSutra, and several magnificent treatises on various subjects. Among these were eighteen jyotisha siddhantas, all attributed to deva-s like Surya or rishi-s like Kashyapa, Atri, Mareechi as described in this sloka.

सूर्यः पितामहो व्यासो वसिष्ठोऽत्रि पराशरः
कश्यपो नारदो गर्गो मरीचिर्मनुरङ्गिराः।।
लोमशः पौलिशश्चैव च्यवनो यवनो भृगुः
शौनकोऽष्टादशश्चैते ज्योतिःशास्त्र प्रवर्तकः ।।

Surya pitaamaho vyaaso vashishto atri paraasharaH
Kashyapo naarado gargo mareechi-r manu-r angiraaH
lomashaH paulisha-shcaiva chyavano yavano bhrguH
shaunako ashtadasha-shchaite jyoti shaastra pravartakaH 

This stands in stark contrast with the Siddhantas in the post-Aryabhata classical era, all of which are ascribed to scholarly astronomers, but not rishis. Varahamihira’s phrase manuja-grantham, succinctly describes this.

This was the period during which numerals, the place value system, angular units like degrees, minutes and seconds, trigonometry, and several such mathematical concepts must have been discovered. Instruments like shanku (gnomon), chakra (hoop), gola (armillary sphere), ghati yantra (copper pot) were used.

But all 18 siddhantas are now lost, except the Surya Siddhanta, which was modified and updated in the later centuries. Fortunately, Varahamihira, a contemporary of Aryabhata, wrote a treatise called Pancha Siddhantika, a comparative study of five of these eighteen siddhantas. He quoted and explained several verses from them. So, we understand some concepts of the era.

Types of Jyotisha texts

Jyotisha texts come in several categories. Siddanta-s are once in a century grand texts, composed by superlative scholars. A siddhanta may have several commentaries, called bhashya-s, in the succeeding centuries. For practical use, more compact books called karana-s were composed, which was used by pandits to prepare almanacs/calendars called panchaanga-s for public use. The latter tradition is still extant.



It is my belief that the various texts on astronomy and mathematics rival the commentaries and compositions on the Ramayana and Mahabharata. So rich and so widespread was the literature.

Pancha Siddhantika

The five siddhantas Varahamihira studied, those of Pitamaha (Brahma),  Vashishta, Surya, Romaka and Paulisha, explain motions of planets (in a geocentric model), prediction of eclipses, sine tables, celestial longitudes and latitudes. None of these are mentioned in Vedanga Jyotisha. They vary mostly in minor details, which Varahamihira explains. The small Vedic yuga of five years was dropped, and the humongous yuga of 432000 years used. We have no idea when or how this changed. A day count, ahargana, counting number of solar days (regardless of month or year) since the start of the Kaliyuga, which began when the Mahabharata war ended, came into vogue. Kaliyuga years are found inscribed in several royal inscriptions; for example, the Anamalai inscription of Maranjadayan Varaguna Pandyan in Madurai.

The solar zodiac is used extensively. It was most probably borrowed from the Greeks or Babylonians. The solar zodiac is a popualar theme on ceiling sculptures of temples in Tamilnadu, like this one in Kudumiyan Malai, Pudukottai.

Romaka (also called Lomasha) and Yavana refer to a Roman and a Greek, Paulisha to a Paulus Alexandrinus, say historians of science. While some foreign ideas were obviously borrowed, there is a puzzling absence of inclusion of other ideas, including those of Euclid, Ptolemy, or Archimedes. Whereas the Greeks developed an epicyclic theory of planetary motion, Indians developed a theory based on air strings pulling the planets. Geometrically, these are simply different epicyclic model than those used by the Greeks. They involved extremely complicated geometry, trigonometry and algebra, but they were quite accurate in predicting eclipses, solar and lunar, the biggest challenges of Indian astronomy.

That Mercury and Venus had a different type of orbital movement, from the other planets, Mars Jupiter and Saturn, was realized. Siddhantas explain eight types of planetary movement.

A vocabulary of scientific and technical words developed, to describe both such astronomical concepts and mathematical ideas and theorems.



From the earlier knowledge of hypotenuses and circles, as found in Sulba Sutras, we can understand that the concepts of sine, cosine and other trigonometric ideas arose. The Indian sine was not the opposite/hypotenuse that we learn in school today, but the radial sine (abbreviated as R-sine), called the ardha-jyaa (half-bowstring). A chord connecting the ends of an arc looks like a bow (Sanskrit: chaapa or dhanush). When seen as part of a circle, the radius of the circle (CM )is the hypotenuse of the triangle (CMA) formed by the half-chord (MA), the radius touching the top (M) of this chord, and the segment (CA) of the radius dividing the chord into two equal halves. In Indian siddhantas, in the table of sines, expressed as a series, only the numerators are listed. Hence they are radial sines (multiplied by radius). The word for cosine is koti-jyaa.

The word jyaa and this concept of trigonometry traveled from India to Baghdad in the eighth century during the reign of Caliph al-Mamun, along with the zero, the decimal place value system, Indian numerals (now called Arabic numerals) and the works of Aryabhata and Brahmagupta. It transformed into the Arabic word jyaab or jeyb which means pocket. This then was taken to Europe by Leonardo Fibonacci, an Italian merchant, in the twelfth century, and translated into Latin as sinus, and later into English as sine. Then it came to India under English colonialism, making a full circle (pardon the pun) into our mathematical textbooks as sine. We learn trigonometry as the gift of the Europeans, not realizing its Indian origin.

Angular measurements called kalaa (degrees) liptaa (minutes) and viliptaa (seconds), were used, based on the sexagesimal system (Base-60) rather than decimal, which hints at a Babylonian origin. In addition, a sub division of the second into sixty parts and division of the cirlce into twelve parts (called raashi) also existed. Angles were often represented in karana texts with five aspects, not just the three we use today.

The division of time was also sexagesimal, with a day consisting of sixty naadis, each naadi of sixty vinaadis. Remember, the naadi existed in the Vedic period; was it indigienous or imported? It’s not one of several mysteries.

Step by step mathematical procedures (now called algorithms, after the Uzbek mathematician, Mohammad ibn Musa al-Khwarezmi) also emerged in the era of 18 Siddhantas. The place value system and zero were invaluable in developing algorithms for multiplication and division, square and cube roots, and several algebraic procedures solving indeterminate linear equations.

Ujjain Meridian

Two millennia before the world adopted the Greenwich meridian, Indian astronomers used the Ujjain meridian, as the prime meridian of longitude in India. This is the longitude that passed from north pole (Meru) to south pole (Vadavamukha). That the earth was a globe, not a flat plain was well understood by astronomers. They believed that Devas lived at Meru and Asuras at Vadavamukha, and Mankind in between.

गगनमुपैति शिखिशिखा क्षिप्तमपि क्षितिमुपैति गुरु किञ्चित्
यद्वदिह मानवानामसुराणां तद्वदेवाधः १३  Pancha Siddhantika 13-4

Gaganam-upaiti shikhi-shikaa kshiptam-api kshitim-upaiti guru kincit
Yadvad-iha maanavaanaam-asuraaNaam tadvadeva-adaH 

The flame (shikhaa) of a lamp(shikhi) points skywards (gaganam) and a heavy (guru) object (kincit) thrown (kshiptam) skywards falls back to earth (kshiti); this happens in the lands of men (maanavaanaam) and asuras (asuraaNaam)

This was one concept of gravity, before Newton changed it.

उदयो यो लङ्कायां सोऽस्तमयः सवितुरेव सिद्धपुरे
मध्याह्नो यमकोट्यां रोमक विषयेऽर्धरात्रं स॥ Pancha Siddhantika 15-23

Udayo yo lankaayaam sa-astamaya savitur-eva siddhapure
Madhyaahno yamakotyaam romaka-vishaye arddha-raatram saH

Translation When it is Sunrise (udaya) in Lanka, it is Sunset (astamaya) in Siddhapura, Noon (madhyaahna) at Yamakoti,  Midnight (arddha-raatra) in Romaka-vishaya 

Lanka is not the Sri Lanka we know, but the point where the Ujjain meridian intersects the equator. Ujjain was a major center of learning in ancient India, and is also perhaps closes to the Tropic of Cancer (Karkata). We don’t know what places Yamakoti and Siddhapura signify, perhaps they are also place marker names like the equatorial Lanka.


While all the other Siddhantas determine time with Ujjain as the prime meridian, Romaka Siddhanta says the days starts with sunset at Yavanapura, which is not Athens or Rome, but Alexandria in Egypt.

The logical thought process which inspired the use of Ujjain and Lanka for calculations is simple, but brilliant. Longitude and latitude determine local time. So, the times of sunrise, sunset, moonrise, eclipses, will vary from place to place. Once the calculations are made for a prime meridian like Ujjain, local panchaangam-s can be prepared with only minor changes applied for local longitude and latitude – these are called deshantara, Each Siddhanta has a section about it. 

Celestial longitudes and latitudes were easier to calculate, than those on earth. The Surya Siddhanta lists Rohitaka (Rohtak, Haryana) and Kurukshetra and other cities on the Ujjain meridian. Others list such places as Kanyakumari, Malavanagar, Sthaneshvar, Vatsyagulma, Mahishmati, Vananagara as cities on the Ujjain meridian.

Some  trivia : Ujjain passed on its torch to Madras, briefly. Today, Indian standard time is set on longitude 82.5E,  based on Greenwich meridian. But for about a century, the Madras meridian was used as the prime meridian, especially for railway clocks.

For the entire series click this link --> Indian Astronomy and Mathematics   

References

1.      Surya Siddhanta, by Phanindralal Gangooly

2.      Pancha Siddhantika, edited by KV Sarma

3.      Pancha Siddhantika, edited by G Thibaut, Sudhakara Dwivedi


Tuesday, 7 September 2021

Mukteshvara temple Bhubaneshvar - Seven thousand wonders


Mukteshvara temple

Foreword I wrote essay this for a series on temples, titled Seven Thousand Wonders of India, in Swarajya magazine last year. They stopped after six essays. This is the seventh. Here is the link to the first six essays.

History

Until I visited Bhubaneshvar, I used to think Kanchipuram was the temple capital of India. The difference is that Kanchipuram temples are of Dravidian architecture, while Bhubaneshvar has temples of Nagariarchitecture. Puri gets the fervent devotees, and Konarak gets the UNESCO tag and global acclaim, but Bhubaneshvar has so many marvelous temples, it is a crying shame they are not far more famous. Orissa history too, gets subsumed under the larger Indian narrative – Asoka’s conquest of Kalinga is all we ever hear. But Orissa has a long and amazing history. The Bhaumakaras, Shailodbhavas, Somavamshis, Chodagangas, Gajapatis and other dynasties that ruled Orissa developed and continued a distinct line of Nagari architecture, called Kalinga.

The Mukteshvara temple has no inscriptions, but art historians say it was built in the Somavamshi era, most likely by the king Yayati I.

The largest, grandest, centralest temple of Bhubaneshvar is Lingaraja, in the heart of the old city. But the most beautiful enchanting captivating temple must surely be Mukteshvara. Oddly, very few locals seem to know it, perhaps because it is maintained by the ASI. KedaraGowri temple, equally ancient, just across the street, is far more famous.

A priest in Lingaraja temple told me that the city has one less than one lakh Siva temples – if one more temple had been built, the city would have equaled Kashi in sanctity; so at Siva’s own request, it wasn’t built.

Architecture

Mukteshvara and Siddheshvara are twin temples in the same complex, facing west and east, respectively. Siddheshvara temple is taller, but plainer, with far fewer decorative features. They both have a garbagraha and jaganmohana (or jagmohana – called sabha-mandapa in most Nagari temples). The larger Kalinga temples like Lingaraja and Puri also have two more mandapas called nata-mandira and bhoga-mandira. There are also several small shrines, several with lingas, scattered all over the complex.

Pond and the two temples

The stone used is a distinct reddish Orissa sandstone, locally called rajaraniya. In fact, about a mile away is a larger temple called Rajarani, named not for some royal, but after the stone. It is softer than granite, but not perhaps as soft as soapstone, so yields itself to very intricate sculptures. Here and there one sees damage, but a lot of it marvelously well preserved.

Mukteshvara has two unique features - a torana entrance; and a short surrounding wall. There is also a well to its south called Marici kunda, and a beautiful spring-fed pond to its east.

Torana

The entrance torana is a beautiful arch, which has suffered some damage, but has been restored so masterfully, that it is not at all obvious. Slender beautiful women languidly grace both sides of the arch – which is one sculpture, not a series of blocks. The two ends of the arch rest on amalakas, which top the dressed pillars. The central portion of these pillars are sixteen sided, topped by kirtimukhas having pearl garlands (muktamaala) coming out of their mouths.

Torana and Compound wall


Compound wall

The short decorative compound wall around the Mukteshvara is not seen anywhere else in Bhubaneshvar. Lingaraja has a huge compound wall around it, but most other temples are just open with grounds around them. Even the Siddheshvara temple in the same campus doesn’t have such a wall. The compound wall parallels the several zig-zag cuts and patterns of the temple itself. Its lower part is decorated with a series of panels with patterns; the corner panels have intricate miniature sculptures, in them. Even smaller sculptures decorate the  upper level.

Vimaana

There are five different types of vimaana or shikhara in Nagari architecture. In Kalinga temples, usually the garbhagruha or deula (devaalaya in Odiya language) is of rekha type and the jaganmohana of phamsana type (called pidha in Orissa). The rekha type is the most common among Nagari temples in general and in Kalinga temples in particular. The shikhara can be very plain, or very elaborately carved: older temples in Bhubaneshvar like Lakshmaneshvara, Bharateshvara and some smaller temples like Uttareshvara, are low in decoration; as is Siddheshvara : but Mukteshvara itself is suffuse with decoration and sculpture, unparalleled for a temple of its size. The most elaborate feature of such decoration are gavakshaas : small circles and semicircles, in several intricate, repeating patterns. These are found in Nagari temples like Kashi Vishveshvara in Pattadakkal, also; but for sheer beauty in patterns and the overall pleasing effect, Mukteshvara is among the best.

The rectilinear look of the rekha temples is most distinct: a series of flat layers, slightly receding from their respective lower layers, seeming to curve towards the amalaka at the top. The levels or talaa-s are less visible in rekha devalayas compared to Dravida temples; these levels are called bhumi, and each is marked by a small amalaka called bhumi amalaka.

ratha-s

The vertical partitions, of rekha devaalaya, called ratha-s, are much more starkly visible. A temple may have three, five or seven rathas – the central one is projecting, and the others are often recessed or alternate, between recession and projection when more than three. Mukteshvara is pancha-ratha temple; the corner rathas are shared among the adjacent faces of the temple. The earlier Bhaumakara kings built tri-ratha temples; and the Chodagangas who succeeded the Somavamshis built sapta-ratha temples.

A sculpture in a gavakshaa features in every slab except the bhumi-amalakas in the corner rathas. The anuratha-s between the centre ratha and corner rathas are completely covered in intricate gavakshaa-s all the way to the top. The central ratha has a large panel on each side, called  chandrashaala, which has a circular centre, gana-s on either side, and a kirtimukha pouring out pearls from the top. Slightly above these are images of Nataraja in each side. The front and central portion has an important keystone featuring a seated lion; a common feature in all Kalinga temple.

elements of architecture


The Kalinga equivalents of the adishtaana and paada are called paabhaaga and jangha; these together are called badaa and form the lower part of the temple. These are often plain, but even these are extensively decorated in Mukteshvara. Shaalabhanjika-s adorn the pilasters; some are quite damaged though. Mithuna couples, vyaala-virala-s (riders on lions like in the Kanchi Kailasanatha temple), kapaaTa kanyaa-s, gaja-simha-s (lions riding on elephants) can be seen here and there in recessed niches. 

A lion faced praNaala brings water out from the garbhagriha.

Jaganmohana

The jaganmohana is shorter, squatter, and its shikhara is a series of plain and parallel slabs. But the lower half is just stunning in its complexity and elegance. There are windows in the centre of the northern and southern walls, surrounded by a series of sculptures of frolicking monkeys in a creeper (lathaa); flanked by two elaborate pilasters; the walls on both sides of these pilasters have two pilasters that are in the shape of temples, and a highly segmented corner pilaster, with two cylindrical stambhaa-s in between, around which a naaga is shown climbing. Above the window are two sculptures of kapaaTa-kanyaa-s (women opening or modestly standing behind doors) – these are also repeated on the rekha-deula, as are the naaga stambhas

The twelfth century Tamil epic Kalingathu Barani, narrating the conquest of Kalinga by the king Kulottunga Chola, has an entire chapter, in every stanza of which, women are asked to open the door to welcome victorious soldiers. One wonders whether the poet Jayamkondaar, actually visited Orissa, saw these sculptures and was inspired to include this concept in his poem.


jagmohana

The interior of the jaganmohana is just as splendid, especially the ceiling, though it is difficult to photograph in the darkness. A series of beams arranged as octagons and rectangles, alternating, leads to a circular lotus design at the very center. Remarkably, this internal pattern is not even remotely discernible from the external pattern on the roof. The central lotus has saptamaatrika sculptures in its various petals. The alternating design creates interesting patterns in the corners, and the sthapathis have run riot with their imagination, richly endowing it with various sculptures of dancers and musicians, as bracket figures. Kartikeya and a dancing Ganesha flank the central square.

interior of ceiling


Other Sculptures

The lintel over the entrance to the sanctum features navagrahaa-s in a row. Above them is a Gajalakshmi panel in the center.

The miniatures sculptures in small square panels, topped by single gavakshaas in triangles, are the standout sculptures of Mukteshvara. Some of these are in excellent condition, others damaged to varying degrees. Lakulisa, unknown munis by themselves or with disciples, yoginis, dancers, musicians, composite sculptures – the variety is breathtaking. Perhaps the most charming are images of Surya, Kartikeya, and Sarasvati. A tricky sculpture, featuring four bodies of women in gymnastic posture, but sharing only two heads, is quite similar to such sculptures in every kind of temple in every region in India, from Ajanta to Tirunelveli.

Some sculptures of Mukteshvara deula

Unlike most Dravidian temples, the dvaarapaalaka-s aren’t huge and threatening. One barely notices them, carrying a bow and arrow or a trishula, as we enter the temple. Voluptuous women embracing tree branches; smiling nagas and naginis bearing garlands; shy women holding half open doors; these are the most memorable aspects of Mukteshvara.

More sculptures

References

  • Lecture by Shyam Raman, THT, 2016
  • Site Seminar book, Tamil Heritage Trust, Madras
  • The Mukteshvara in Bhubaneshvar, by Walter Smith
  • Photos from my visits.

Related Links

Muktesvara temple (TK Krishnakumar blog)


 

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Sunday, 16 August 2020

Seven thousand wonders of India


I am writing a series of essays about temples in Swarajya magazine, titled Seven Thousand Wonders of India.

The links to the essays are here. Only the first six essays were published in Swarajya.

  1. shilpam nayanaabhiraama - Sculptures
  2. svasti shree - Inscriptions
  3. prajanaam ishta siddhyartham - Architecture
  4. atimaanam - Rajasimha Pallaveshvaram
  5. ramyam Lokamahadevishvaram - Pattadakkal Virupaksha
  6. adviteeya - Ellora Kailasanaatha
  7. Mukteshvara temple, Bhubaneshvar
  8. Dasavatara temple, Deogarh 

Related Links

My series in Swarajya on Indian astronomy and mathematics

What is special about Mamallapuram

What is special about Amaravati sculptures 

Art Blogs


Sunday, 27 October 2019

Swarajya series on Indian Astronomy and Mathematics

Swarajya magazine is publishing a series of my essays about Indian Mathematics and Astronomy. I'll add links to new essays as and when Swarajya publishes them.

Swarajya's Contents page for these essays

Links to Swarajya series essays in my blog

3. Number Notations in Sanskrit
4. Astronomy and Mathematics in the Vedas
5. Era of Vedangas
7. Classical Era - Aryabhata
8. Varahamihira's Eclipse Proof
9. The Classical Era - Brahamagupta to Bhaskara
10. The Kerala School of Mathematics and the Modern Era

Links to essays in Swarajya's website

1. Sanskrit - A Language of Science

2. An Introduction to Indian Astronomy

3. Number notations in Sanskrit

Astronomy and Mathematics in the Vedas

5 The Vedangas (mathematics in prosody, grammar, shulba sutras)

6 The Eighteen Jyotisha Siddhantas

7 Eclipses as shadows - VarahaMihira's proof

Aryabhata 

9 The Classical era - From Brahmagupta to Bhaskara

10 Kerala school of Mathematics

My other essays in Swarajya

Earlier Swarajya has published my essays on Mamallapuram and Amaravati sculptures, also.

Mamallapuram
Amaravati sculptures
Tamil Heritage Trust

Contents Page for this Blog