Parasurameswar Temple :
Built in the 7th century, the Parasurameswar Temple is small but lavishly decorated. Enclosed within a compound wall, the deul, facing the West is a square towered, while the jagamohana, instead of being a stepped pyramid, is a rectangular structure with a terraced roof, sloping in two stages. The deul about 13 m high has no platform and is triratha on plan, a dominant style of the early periods. The temple typifies the stage of Saiva Pasupata Sect, illustrated by the frequent representation of Lakulisa. He is sculpted in Buddha-like form, with four disciples at his feet as shown on the last side of the tower, while on the West, above the relief of Nataraja, he looks like the meditating Buddha. The varandah has projecting moulding topped by a recessed frieze, demarcating bada from the gandi, a feature not found in later temples. The frieze has mostly amorous couples, separated by paneled jalis vidalas (a rampant lion, with head swung backwards, springing over a crouching elephant) at corners, a very typical symbol the beleaguered Buddhist faith.
The jagamohana, adjoining the square towered shrine has an additional doorway on the South and four latticed windows, one each on the North and South and two on the West, the last, decorated with wonderfully animated bands of dancers and musicians. The recurring motif is the highly-ornate chaitya-window, very often filled with animal, human and divine figures, the last including busts of Shiva. The main entrance to jagamohana also has a fine carving of domestic elephants capturing wild ones, to the left of the lintel. Set into the outer walls of the shrine, sculptures are scenes from mythological narratives, forming a repertoire of Saiva myths, among them the highlights are-on the South of the sanctuary, at eye level in the middle of tower, a superb four armed pot bellied Ganesha seated on a simhasana, with his trunk touching a bowl of laddus (balls of sweetmeat) held in his lower left hand, while his upper left holds a parasu (hatchet); Karttikeya in the Southern niche is with a peacock, holding a spear in his left hand and a fruit in his right; the lintel above this niche illustrates the marriage of Shiva and Parvati; to their right are Agni (fire), the kneeling figure of Brahma and next to Brahma is Surya.
Among the notable friezes that line the North wall of the jagamohana are-sapta matrikas (seven mother goddesses), with Chamunda (Shiva's consort goddess Durga in her terrifying aspect); Ganesha having a human visage face with a trunk growing from his chin; and several deities of the Brahmanical pantheon. The temple is dedicated to Shiva, only two of the three original deities survive. The Sahasralingam, in the far corner of the courtyard, decorated with a thousand miniature versions of itself.
Mukteswar Temple :
Mukteswar Temple -- An important landmark to the architectural development in Orissa, the Mukteswar Temple is often described as one of jewels of Orissa for its exquisite sculptures and elegant looks. The plan is now a full fledged five sectioned form, pancharatha and the platform or the pabhaga consists of five mouldings, as in latter temples.
The element still common with early temples, like Parasuramesvara and Vaital Deul, is the tryangabada, three-fold horizontal division of the lower story. The new, more elaborate style has absence of dopichha lions, squat figures supporting the amla, the recessed sections but now rounded sharp edges and corners got predominant.
The jagamohana of this late 10th century temple is now a pidha deul with decorated ceiling, carved into a lotus with eight petals. The change in iconography is equally noticeable with Ketu introduced as the 9th planet, the association Karttikeya with the cock and the appearance of the mouse as the mount of Ganesha.
The diamond shaped latticed windows in the North and South walls of Jagamohana depict enchanting scenes of frolicking monkeys. The chaitya-windows carved on the sanctuary tower show an arresting ornamental design, bho, a motif-the grinning face of a lion with beaded tassels emerging from its mouth, flanked by two dwarves, the pattern resembling a coat of arms.
The corner rathas are relieved with female figures, remarkable for their expressive faces, with hair styles and jewellery shown in exquisite detail. The octagonal wall enclosing the temple has several niches, each containing a wheel, a lotus medallion or a delicate scroll.
The decorated torana archway in front of the Jagamohana is a masterpiece dating from about 900 AD. It is a detached portal consisting of two pillars supporting an arch within a semicircular shaped pediment. The decoration of the arch, with languorously reclining females and bands of delicate scroll-work, is the most striking feature.
A small well, locally known as Marichi Kund, lies immediately beyond the sinister of the enclosure, the water of which is believed to cure infertility of women. On the door frame of the well is a seated figure of Lakulisa, surrounded by four disciples.
Situated on the northwest corner of the enclosure of Mukteswar Temple is a latter unfinished, Siddhesvara Temple, in which the emergence of the Orissan architectural style is almost complex. The deul is pancha ratha on plan, the bada is panchanga, and the bandana composed of three moulding dividing janga into tala and upara and the amla on the top of the deul is supported by four squatting figures. The jangha of the jagamohana is relieved with pidha-mundis. Devoid of ornamentation, the deities of Shiva's sons-Ganesha and Karttikeya around the tower are its only interesting points.
The late 10th century Gauri Temple, to the South is a specimen of the Khakhara form but has striking similarities with Mukteswar Temple in respect of execution of its architectural elements and the decorative details. Though substantially repaired and renovated, it still has some notable original sculptures.
Of the few intact figures of nayikas in various flexuous poses, the one, on the South face of the East projection, leaning against a post on which is perched a bird, and the other, on the West projection, taking off her anklets, are noted for their mastery treatment.
The temples described above form the compact central group and are located just off Lewis Road in the older southern part of the Bhubaneswar City. The following temples of the eastern group are more scattered and located about 10-15 minutes walk from Mukteswar Temple around Tankapani Road.
Rajarani Temple :
Set amidst the well maintained gardens, the 11th century Rajarani Temple is famous for its sculpted figures and the successive tiers of projections rising to form its 18 m tower. The accentuating miniature replicas of itself decorate the spire, reminiscent of the temples of Khajuraho. It has a square sanctuary and its interior and exterior surfaces are so recessed that it appears circular. The ornamental deul stands diagonal to the severely plain jagamohana.
The highlight of the temple is the fine sculptures of dikpalas or guardians of the eight directions carved around the shrine. Dressed in diaphanous drapery they stand on lotuses, with their mounts below. Starting from East we encounter successively-Indra (lord of the East) holding a thunderbolt and an elephant goad, with the elephant below; the potbellied and beared Agni (southeast), god of fire, with the ram; Yama (South) holding a staff and a noose, with his vehicle the buffalo; Nirriti (southwest), the god of misery, holds a severed head and a sword above a prostrate figure; Varuna (West) holding a noose in his left hand, his vehicle is makara or the crocodile; Vayu (northwest) holding a banner and his vehicle is deer; Kubera (North) placed above seven jars of gems, he has a horse and Isana (northeast) shown with an erect phallus by the side of an emaciated figure. Of these the Agni and the Varuna are particularly impressive.
The Rajarani temple is also famous for the tall and slender nayikas (temple figures) carved in high relief on the walls-figures in amorous dalliance and in such acts as fondling her child, looking into the mirror, taking off her anklet, caressing the bird, playing instrument, holding branches of trees etc.
The Rajarani takes its name from the local sandstone used to built it. The temple no longer has an image of the deity in the sanctuary but its strong Saiva associations are testified from the figures of Shiva and his consort Parvati on the platform and Saiva doorkeepers.
Vaital Deul Temple :
One of the oldest temples (late 8th century), Vaital Deul Temple's striking feature is the shape of its sanctuary tower. The semi-cylindrical shape of its roof--a leading example of khakhara order of temples--bears an affinity to the Dravidian gopuram of the South India temples.
The plan of the deul is oblong and the jagamohana is a rectangular structure, but embedded in each angle is a small subsidiary shrine. Vaital Deul boasts some figures, although executed in relief are however characterized by delicacy of features and perfect equipoise.
The outer walls are encrusted with panels of Hindu deities, mostly Shiva and his consort Parvati in her Shakti form, hunting processions, capturing of wild elephants and the occasional erotic couples.
The facade of the deul above the left of the jagamohana is dominated by two chaitya windows--the lower one having a beautifully carved figure of sun gold Surya noted for its facial expression, with Usha (Dawn) and Pratyusha shooting arrows on either side and with Aruna in front driving a chariot of seven horses.
The medallion in the upper Chaitya-window houses a 10-armed Nataraja or dancing Shiva. In front of the flat roofed jagamohana is a stone post relieved with two Buddha like figures seated in dharma-chakra-pravartana mudra.
Another striking feature is temple's tantric associations, marked by eerie carvings in the sanctum and the image enshrined in the central niche, eight armed Chamunda, locally known as Kapalini, is the terrifying form of goddess Durga. Thus Vaital Deul is a Sakta shrine.
The presiding deity, Chamunda or Mahishasuramardini sits on a corpse flanked by a jackal and an owl and decorated with a garland of skulls. She holds a snake, bow, shield, sword, trident, thunderbolt and an arrow, and is piercing the neck of the demon. The niche is capped by a chaitya window containing seated figures of Shiva and Parvati.
The Chamunda is surrounded by a host of other smaller size allied deities carved in the lower parts of the walls, each within a niche separate by a pilaster. The figure on the east wall, to the fight of the door, is a skeleton form of Bhairava forming the counter part of Chamunda.
The other, carved on the north wall, rises from ground, having filled his skull-cup with the blood of a person whose severed head lies on the right. On the pedestal is an offering of two more heads on a tray resting on a tripod, flanked by a jackal feasting on the decapitated body on the right and a woman holding a head on the left.
The tantric character of the temple is also marked by the stone post, to which sacrificial offerings were tethered, just in front of the jagamohana. You need an artificial light to see in the darkness of the interior, though early morning sun lights up the interior.
Brahmeshwar Temple :
Brahmeswar temple an intricately carved temple is dedicated to lord Shiva which represents the vigor and innovative force of art and carving. This temple is expected to be built in 11th century A.D. The sculptures on the temple walls reflect the standard of Oriya sculptors, and in display it is a miniature of Lord Lingaraj Temple. This temple is open for all including foreigners. The innovative demonstration of great number of musicians, dancers, and lion head carving on the exterior walls of the temple utters the sculptural affinity .