Dharmapada grew up in a small nondescript village in Orissa inside the 12th century. Right from his formative years he becomes interested in structure and crafts and being the son of a fantastic temple architect, Bisu Maharana, he had to get admission to the manuscripts describing details of temple construction. By the time he grew to become 12, he had mastered the artwork of Odiya temple structure.
But he was usually sad as he had in no way visible his illustrious father and his mom could not tell him much about him. On his twelfth birthday, he requested his mother a gift, the chance to satisfy his father, which she could not refuse anymore.
After a long adventure, a worn-out Dharmapada reached an abandoned seashore where the sight of a magnificent shape stuck his attention. He knew right away, this is the vicinity in which his father is building the largest temple of the land committed to the Sun God. He rushed to the construction site and it did now not take him long to spot his father. Behind the hugs and kisses, Dharmapada should see something was troubling his father.
The temple was the largest ever built by way of the famed craftsman of Utkal. 12 thousand of the fine from the land had labored for 12 long years to construct the sun temple. It became the pinnacle of craftsmanship, architecture, and details ever placed together. But the temple changed into not entirely but. The very last keystone or the ‘Kalasha’ became but to be placed at the temple. And this craftsman had failed multiple instances and nobody knew how to pinnacle the Kalasha. The king, Narshinghdev, had introduced the deadline till the morning, failing which all of the twelve thousand craftsmen would be killed. And being the lead architect of the project, Bisu Maharana became upset for being the failure that could kill so many people.
Dharmapada requested his father to take him around the temple and display him the development. As he reached the top of the temple, he remembered the manuscripts he had read approximately the temple construction. He knew he had the solution. He knew the layout of the stone that could suit as the important thing stone and might hold the temple together. As he explained the design to his father, Bisu become pleasantly surprised. He changed into so proud to have a son as proficient as Dharmapada.
The father and the son immediately went into the workshop and in a couple of hours, the ‘Kalasha’ changed into geared up to be installed. As they rolled the stone on the sand slopes to the pinnacle of the temple, the moon became shining in its full glory. By mid-night time the important thing stone became in place and the temple became whole. Bisu became glad for his son who had managed to store lots of lives.
As the euphoria of success subsided, Dharmapada heard a whisper some of the humans accumulated around to look at the finishing touch of the temple. People feared the king could no longer be too type to the failed craftsman because the Kalasha became finished by a 12 year youngster and now not by means of the craftsman themselves.
Dharmapada by no means desired glory, call, or fame for his achievements. He turned into glad he should keep so can also live by way of finishing the temple for the God. He slowly made his manner even though the group to the pinnacle of the temple. In no time he was standing on the top of the Kalasha he had just erected. He looked at the horizon as the first rays of the sun started touching the temple, as though the Sun God became showering his blessings. With tears in his eyes, Dharmapada jumped off the temple-pinnacle into the deep blue waters of the sea.
The Sun Temple at Konârak, located at the eastern shorelines of the Indian subcontinent, is one of the remarkable samples of temple structure and art as discovered in its concept, scale, and proportion, and inside the sublime narrative electricity of its sculptural embellishment. it is an outstanding testimony to the 13th-century nation of Orissa and a monumental example of the personification of divinity, as a result, forming a useful link inside the history of the diffusion of the cult of Surya, the Sun God. for the duration of this sense, it’s without delay and materially linked to Brahmanism and tantric belief systems.
The Sun Temple is that the fruits of Kalingan temple structure, with all its defining factors in whole and extremely good form. A masterpiece of creative genius in each theory and realization, the temple represents a chariot of the Sun God, with twelve pairs of wheels drawn by seven horses evoking its movement throughout the heavens. it’s adorned with sophisticated and delicate iconographical depictions of up to date existence and activities. On the north and south aspects are 24 carved wheels, every about three m in diameter, also as symbolic motifs touching on the cycle of the seasons and therefore the months. These complete the illusionary shape of the temple-chariot. Between the wheels, the plinth of the temple is entirely adorned with reliefs of exceptional lions, musicians and dancers, and erotic groups. Like many Indian temples, the Sun Temple comprises numerous distinct and well-organized spatial units. The Vimana (essential sanctuary) became surmounted by means of an excessive tower with a Shikhara (crowning cap), which changed into razed in the nineteenth century. To the east, the Jahamogana (target market hall) dominates the ruins with its pyramidal mass. Farther to the east, the Natmandir (dance hall), today unroofed, rises on an excessive platform. Various subsidiary structures are nonetheless to be found in the enclosed area of the oblong wall, which is punctuated by using gates and towers.
The Sun Temple is an incredible testimony, in physical form, to the 13th-century Hindu Kingdom of Orissa, below the reign of Narasimha Deva I (AD 1238-1264). Its scale, refinement, and thought to represent the electricity and stability of the Ganga Empire also due to the fact the cost systems of the historical milieu. Its aesthetical and visually overwhelming sculptural narratives are nowadays a useful window into the religious, political, social, and secular lifetime of the humans of that period. The Sun Temple is directly related to the idea and notion of the personification of the Sun God, which’s adumbrated in the Vedas and classical texts. The Sun is personified as a divine being with a history, ancestry, family, better halves and progeny, and intrinsically, performs a truly outstanding role inside the myths and legends of creation. Furthermore, it’s associated with all of the legends of its artwork – the foremost evocative being its construction over twelve years the use of 1,2 hundred artisans – and consequently the stories approximately the deep commitment of its master builder, Bisu Moharana, to the project, during which his son (who was born all through this period) later have become involved. Konârak’s place and call are essential memories to all or any of the above associations, and its architectural realization is associated with the residing traditions of Brahmanism and tantric practices.