Sun Temple

Overview

The Sun Temple of Konark imprints the most noteworthy purpose of accomplishment of Kalinga construction modeling portraying the beauty, the delight and the cadence of life its entire wondrous assortment.There is an unending abundance of design from moment patterns in bas-help finished with a gem dealer's exactness to intensely displayed unsupported models of especially huge size. Under the crackling wheels of past occasions, the Sun Temple has lost its primary asylum however the remaining structure and the remnants around affirm till today the unfathomable inventive vitality of Orissan artistes and their impressive commitment to the treasury of Indian Art and building system. Standing magnificently on the sandy bank of the Bay of Bengal, the yard, in its single greatness is an articulate affirmation of a thoughtful and puzzling past.

Committed to Sun God, this temple was built by Raja Narasinghs Deva-I of the Ganga Dynasty astonishes incomparable in the political atmosphere of India. That the popularity of the this temple as an awesome landmark has spread a long ways past the breaking points of Orissa in the sixteen century is adequately borne out not just by the colossal Vaishnava Saint Chaitanya's (AD-1486-1533) visit to the spot additionally by the accompanying succinct depiction which showed up in the A'in-i-Akbari of Abu'l-Fazl, the renowned recorder of the court of Akbar (AD-1556-1605). Close to Jagannath is a temple committed to the Sun. Its expense was settled by twelve years income of the region.

About The Temple

Engineering Glory of the Sun Temple

An Architecture Marvel of Eastern India and an image of India's legacy, Konark Sun Temple, generally known as Konark is arranged in the eastern condition of Odisha (prior known as Orissa), India and is one of the prominent vacation spots. Konark houses a monstrous temple devoted to the Sun God. ‘Konark’ is a blend of two words ‘Kona’ and 'Arka'. ‘Kona’ signifies ‘Corner’ and ‘Arka’ signifies 'Sun', so when consolidates it gets to be 'Sun of the Corner'. Konark Sun Temple is arranged on the north eastern corner of Puri and is committed to Sun God. Konark is otherwise called Arka khetra. There are three pictures of the Sun God at three unique sides of the temple, situated in legitimate bearing to get the beams of the sun at morning, twelve and night.

One of the most sublime monuments of India, the Konark Sun Temple marks the highest point of achievement of Kalinga architecture. Belonging to the Kalinga School of Indian Temples, the temple has curved towers mounted by Cupolas. The Konark temple consists of a Vimana (main temple) meant for housing the deity, Jagamohana (hall in front of vimana), from where the worshippers have a glance of the deity, and a Nirtya-mandapa (dancing hall). As each façade of this temple is broken by five small projections, this type of temple is known as Pancha-Ratha-Dekha deul in the Orissan architecture. The large structure which is seen today is the entrance of the main temple. However, the main temple which enshrined the presiding deity had collapsed and only the remains are available. The pyramidal shaped roof of the temple rises to a height of 30 m.

The Sun Temple worked in the thirteenth century was conveyed as a massive chariot of Sun God, with twelve sets of stunningly ornamented wheels pulled by seven sets of stallions. Superb in origination, this Temple is for sure a standout amongst the greatest landmarks of India, well known as much for its forcing measurements and perfect extents concerning the congruous combination of compositional glory with plastic dependability. It is as a matter of fact the best in Orissa. Its fine traceries and parchment work, the wonderful and characteristic cut of creature and human figures, all give it prevalence over different temples. The boss quality is its configuration and engineering subtle elements. The Sun temple fits in with the Kalinga School of Indian Temples with trademark curvilinear towers mounted by Cupolas. Fit as a fiddle, the Temple did not make any real takeoff from other sikhara temples of Orissa.

The primary sanctum which (229 ft. high) was developed along with the gathering of people corridor (128 ft. high) having elaborate outer projections. The primary sanctum which revered the directing god has tumbled off. The Audience Hall gets by in totally however of the other two viz the Dancing Hall (natya Mandir) and the Dining Hall (Bhoga-Mandap), just little divides have survived the impulses of time. The Temple compound measures 857 ft. by 540 ft. The arrangement of the Sun Temple is on the east-west heading. The Temple is situated in normal surroundings, swarming with casuarina ranches and different sorts of trees, which develop on sandy soil. Nature is all around pristine. Delicate undulating geography around the Sun Temple loans some variety to the scene.

The eastern gateway is the main entrance to the temple compound. It is decorated with Gajasimha (Lion upon an elephant) images, with outward faces, installed on two high stone-benches on either side of the passage.

The sanctum shows heavenly pictures of the Sun-god in the three projections which are dealt with as smaller than usual holy place. The sanctum and the jagamohana together remain on a typical stage studded with a complex abundance of enhancing adornments and figures, frequently of a profoundly suggestive sort.

The top of the jagamohana, made of flat levels gathered in three stages with life-size female models of incomparable appeal and delicacy embellishing every stage, the entire surmounted by two fantastic delegated individuals, creates a beautiful complexity of light and shade and is unparalleled for its loftiness and basic appropriateness. Great in origination, this temple is in fact one of the sublimes landmarks of India, eminent as much for its forcing measurements and perfect extents concerning the agreeable combination of structural glory with plastic polish. Standing on the same platform as the vimana (main temple), this hall has its roof in a terraced pyramidal shape and the string cornices are separated by three tires by means of high niches. Numerous life-sized standing figures of women in various dancing poses, playing on different musical instruments such as drums, flutes, veena and symbals, describing the usual customs of offering dances by the devadashis at the time of arati are worth mentioning here. There are four doorways on its four sides. The western door shows way to the antarala (inner sanctum), while the others lead to the porches outside.

Sun Temple of Konark, implicit the center of thirteenth century, is a gigantic origination of masterful superbness and designing mastery. Lord Narasimhadeva I, the immense leader of the Ganga tradition had fabricated this temple, with the assistance of 1200 artisans inside of a time of 12 years (1243-1255 A.D.). Subsequent to the ruler used to adore the Sun, the temple was considered as a chariot for the Sun God. Konark Temple was composed as a flawlessly beautified chariot mounted on 24 wheels, each around 10 feet in distance across, and drawn by 7 compelling stallions. It is truly hard to see, how this colossal temple, every last bit space of which was so magnificently cut, could have been finished inside such a brief span. Whatever that may be, the konark temple even in its present demolished state, still a marvel to the entire world.

Extraordinary writer Rabindranath Tagore composed of Konark: “Here the dialect of stone surpasses the dialect of man". Around the base of the temple there are pictures of creatures, foliage, warriors on steeds and other intriguing structures. On the dividers and top of the temple lovely sexual figures are cut. Sun temple of Konark is a perfect work of art of Orissa's medieval design.

The Konark temple is generally known for its design significance as well as for the advancement and plenitude of sculptural work. Konark is an outstanding blend of great temple design, legacy, outlandish shoreline and remarkable normal magnificence. The vast structure of Konark Temple seen today is really the passage of the principle temple. The fundamental temple which revered the directing divinity has tumbled off and just the remaining parts can be seen. Indeed, even in its destroyed state it is a wonderful temple mirroring the genius of the designers that envisioned and developed it. In spite of the rot throughout the hundreds of years the excellence of this landmark is as yet astounding.

Mayadevi Temple

To the west of the fundamental temple are the remaining parts of temple no.2 famously called the temple of Mayadevi, accepted to have been one of the wives of Lord Surya. Be that as it may, the vicinity of the sun pictures as parsvadevata in-situ shows its commitment to the sun god, assembled sooner than the principle Sun temple. The temple confronting east, comprises of a sanctum (deul) and a patio (Jagamohana) remaining over a raised stage, facade of which is mitigated with ornamentation. The superstructures of the sanctum and patio are absent. The inside of the patio is remarkable for their sculptural treatment while the sanctum is without any divinity. Elaborately, the temple is assignable to around late eleventh century AD.

Vaishnava Temple

The little block temple confronting east in south-west corner of the compound was found in 1956 amid the sand freedom. Additionally called temple no.3 is pancharatha on arrangement. It comprises of a duel and a Jagamohana however with the superstructure is lost and without any outside enhancement. Pictures of Balarama and two parsvadevatas of Varaha and Trivikrama were uncovered (now showed in Archeological Museum, Konark) demonstrating its Vaishnava association. The temple is datable to around eleventh century A.D.

What to See at Konark Sun Temple

The Konark Sun Temple takes the type of a tremendous chariot for the sun god Surya, with 12 sets of stone-cut haggles group of seven dashing stallions (one and only of which survives intact).The temple additionally symbolizes the progression of time, which is under the sun god's control. The seven steeds, which pull the sun temple eastwards towards the first light, speak to the times of the week. The 12 sets of wheels speak to the 12 months of the year and the eight spokes in every wheel symbolize the eight perfect phases of a lady's day.

The primary access to the complex is on the eastern (ocean confronting) side, before the Hall of Offerings (bhogamandapa). This was a later expansion to the complex and was likely utilized for custom move exhibitions, as its dividers are cut with models of performers and artists and also sensual scenes.

The haven tower was at one time the centerpiece of the Konark Sun Temple, yet today it is close to a disorder of sandstone pieces off the western wing.The forcing structure with the pyramidal rooftop that now becomes the dominant focal point is really the patio (jagamohana).The top of the patio has three levels secured in statues, for the most part artists and artists sereneding the sun god amid his day by day section through the sky. Models on the base stage incorporate a Shiva Nataraja, performing the infinite move. The inside is presently obstructed.

Just past the patio is a twofold staircase that prompts a hallowed place containing a statue of Surya, the sun god. The excellent picture is cut of amazing green chlorite stone and is one of the perfect works of art of Konark. Surya wears tall riding boots and is joined by a little figure of Aruna, the charioteer, at his feet. From here you can move down into the remaining parts of the inward sanctum, where the divinity was initially revered.

The surfaces of the temple are cut with lovely stone figures with a wide assortment of subjects, including numerous suggestive scenes in view of the Kama Sutra. Sensual models are discovered particularly in corners most of the way up the patio, at the edges of the stage and around the entryways of the primary building.

Comparative models can be found on the temples of Khajuraho in Madhya Pradesh. The sensual workmanship undoubtedly symbolizes the joyful euphoria appreciated by the spirit when it unites with the heavenly; however there are various speculations on the matter. Other models beautifying the temples’ outside incorporate gods, creatures, botanical examples, enticing ladies, legendary mammoths and oceanic beasts.The 24 monster wheels are delightfully cut and each of the eight spokes bears an emblem containing allegorical carvings.

Friezes above and underneath the wheels delineate military parades and chasing scenes, with a large number of rampaging elephants. Search for the giraffe in the top frieze along the south side of the stage - this demonstrates Konark exchanged with Africa in the thirteenth century.

The Main Temple

Viman

The primary temple has been totally given way leaving its broken dividers of 227 feet (64 m) high. They are observed to be of 20 to 25 feet thick. Since the fundamental temple has been disintegrated down, now it is hard to give a right and definite record of it. Just three Parsva Devatas (side god) are unmistakable on the dividers of the broken temple and a masterful throne inside the asylum. Albeit a few bits of these side divine beings (Parsva devata) have been broken despite everything they have rich compositional qualities.Their imaginativeness and execution are viewed as best examples of Konark models.

Stature

Since the temple has been broken it is unrealistic to gauge its tallness. Be that as it may, as per different estimation its stature was of around 230 feet (70 meters). By and large as indicated by Silpa Sastra, the tallness of the mass of the principle temple is 13/3 times of the lower pitha (stage). So also the tallness of the Rekha is twofold than the divider. So considering every one of these components the stature of the fundamental temple is ascertained as underneath:

Lower Plinth - 1'.0''

Lower Platform - 13'.3''

Khura Prustha - 2'.3''

Divider - 58'.6''

Rekha bit - 117'.0''

Amalak, Kalas, and so forth - 38'.0''

All out - 220'.2'' (69.494 m)

There is no record of the temple being measured by any institutionalized estimation. By and large, it is depicted starting 230 feet (70 m.) in stature. The most noteworthy temple that exists now in Orissa is the temple of Lord Jagannath at Puri. Its tallness is 214 feet (65.227 m.) from the level of the Grand Road. Consequently, the Sun temple at Konark was the most astounding among every one of the sanctuaries of Orissa and even in India.

Sanctum Sanctorum

Floor And Roof

To get into the sanctum there is a flight of ventures from top of the broken dividers on the north-western corner slipping down to the floor of the sanctum. The floor of the temple is of chlorite stones. It is of square size measuring 32'.10'' (10 m.) on every side. The floor is marginally inclined towards the north and there is a nulla in this side. The sanctum's top was shut by method for internal corbellings from each of the four sides lastly secured by a major stone piece to fill the need of roof. This is flawlessly cut fit as a fiddle of a full-sprouted lotus of around five feet (11.5 meter) in breadth. Each of its petals is enriched with the figure of a moving young lady and Surya (Sun god) remaining on a chariot driven by a group of seven stallions. He is discovered grasping two lotuses with their long stems. The chunk has long scores at its either end for settling it in switched position; which was found from the flotsam and jetsam collected on t he top of Jagamohana amid its leeway.

Shafts

The range of the room being wide, overwhelming iron light emissions 9*9 inches in segment and at the very least forty feet (12 meters) long, were utilized as a part of supporting the corbel. The bars were readied out of some little iron sorts deliberately gathered and manufactured out by warming. There is no sculptural work on the dividers inside the temple, nor do the dividers have any putting.

Throne

There still exists a throne of dark chlorite in the sanctum sanctorum. The picture of Surya Narayan, the directing divinity of the Sun temple had been introduced on this throne. The length, expansiveness and tallness of the throne are 11'.0'' (3.352 m.), 7'.6'' (2.286 m.) and 4'.8'' (1.422 m.) separately. On the throne there is a sacrificial table for the Sun god. There was a mass of 5 feet (1.524 m.) high on the rear of this sacrificial table for encouraging resting of the picture. That has additionally been softened up course of time. A few bits of this throne had been harmed maybe because of striking of substantial stones from the highest point of the temple. It is clear that such broken segments have been again repaired and supplanted by new stones. There were a flight of ventures to the highest point of the throne. Presently just 3 stages exist. There are numerous imaginative takes a shot at the body of the throne. Other than perfectly cut creepers, pictures of assortments of creatures, the most alluring are the scene of the lord Narasimha Dev worshiping the Sun with his allies.

As portrayed by a few researchers there were 4 statues of huge lions each widespread on an elephant, had been anticipated on the higher parts of the temple divider simply over the stature of the yard in four bearings. Among them the eastern one was biggest of all which is presently discovered lying in the compound in three pieces. The nearby aides call it as Flying Lion.

Brief synthesis

The Sun Temple at Konarak, situated on the eastern shores of the Indian subcontinent, is one of the extraordinary illustrations of temple design and workmanship as uncovered in its origination, scale and extent, and in the radiant account quality of its sculptural frivolity. It is an extraordinary confirmation to the thirteenth century kingdom of Orissa and a momentous illustration of the representation of eternality, along these lines shaping a significant connection in the historical backdrop of the dispersion of the clique of Surya, the Sun God. In this sense, it is straightforwardly and really connected to Brahmanism and tantric belief frameworks.

The Sun Temple is the climax of Kalingan temple engineering, with all its characterizing components in complete and flawless structure. A perfect work of art of inventive virtuoso in both origination and acknowledgment, the temple speaks to a chariot of the Sun God, with twelve sets of wheels drawn by seven stallions bringing out its development over the sky. It is adorned with modern and refined iconographical portrayals of contemporary life and exercises. On the north and south sides are 24 cut wheels, each around 3 m in distance across, and additionally typical themes alluding to the cycle of the seasons and the months. These complete the illusionary structure of the temple chariot.

Between the wheels, the plinth of the temple is completely beautified with reliefs of phenomenal lions, artists and artists, and sexual gatherings. In the same way as other Indian temples, the Sun Temple contains a few particular and very much sorted out spatial units. The vimana (vital haven) was surmounted by a high tower with a shikhara (delegated top), which was leveled in the nineteenth century. Toward the east, the jahamogana (group of on lookers corridor) overwhelms the remains with its pyramidal mass. More distant toward the east, the natmandir (move corridor), today unroofed, ascents on a high stage. Different auxiliary structures are still to be found inside of the encased zone of the rectangular divider, which is punctuated by entryways and towers. The Sun Temple is a remarkable affirmation, in physical structure, to the thirteenth century Hindu Kingdom of Orissa, under the rule of Narasimha Deva I (AD 1238-1264).

Its scale, refinement and origination speak to the quality and strength of the Ganga Empire and also the worth frameworks of the notable milieu. Its aesthetical and outwardly overpowering sculptural accounts are today an important window into the religious, political, social and mainstream life of the general population of that period. The Sun Temple is straight forwardly connected with the thought and conviction of the representation of the Sun God, which is adumbrated in the Vedas and traditional writings. The Sun is represented as a heavenly being with a history, lineage, family, wives and offspring, and all things considered, assumes an exceptionally noticeable part in the myths and legends of creation. Moreover, it is connected with every one of the legends of its own aesthetic creation – the most reminiscent being its development more than twelve years utilizing 1,200 artisans – and the stories about the profound responsibility of its expert manufacturer, Bisu Moharana, to the task, in which his child (who was conceived amid this period) later got to be included. Konark's area and name are vital affirmations to all the above affiliations, and its design acknowledgment is connected with the living customs of Brahmanism and tantric practices.

An interesting creative accomplishment, the temple has raised up those flawless legends which are subsidiary all around with outright centerpieces: its development brought about the activation of 1,200 laborers for a long time. The designer, Bisu Moharana, having left his origination to dedicate himself to his work, turned into the father of a child while he was away. This child, in his turn, turned out to be a piece of the workshop and in the wake of having built the vault of the temple, which his dad was not able to complete, immolated him by bouncing into space.

Konarak is an exceptional affirmation to the thirteenth century kingdom of Orissa.Directly and really connected to the Brahman convictions, Konarak is the priceless connection in the historical backdrop of the dissemination of the clique of Surya, which starting in Kashmir amid the eighth century, at long last achieved the shores of Eastern India.

Inside of the engraved and secured degree of the property, its surviving structures and figures, and additionally the ousted stays safeguarded in-situ, speak to its quintessential characteristics of engineering structure, outline and sculptural help. Besides, the secured zone incorporates all territories that can possibly uncover any unexplored archeological remains that might perhaps upgrade the comprehension of the property's Outstanding Universal Value. Distinguished and potential dangers to the respectability of the property incorporate improvement weight: modernization and urban development influencing the earth of the landmark; ecological weight: deforestation because of twisters and human exercises, saline breeze and sand impacting, vehicular developments, and microbiological development; tourism weight: 40% expansion in number of vacationers; regular catastrophes: surge and tornados; and neighborhood populace development. An expansion of the site limits and the cushion zone around the property via land securing has been prescribed for the better administration of the site. Worries over the auxiliary trustworthiness of components of the site have been brought up previously, including the effect of rainstorm drains and related soil disintegration. Also, disintegration of metal spasms supporting the structure because of salt air has in the past brought about some damage.

Authenticity

The Sun Temple's legitimacy of structure and outline is kept up in full through the surviving buildings, their position inside of the intricate, structures and the basic connection of figure to design. The different qualities of the Sun Temple, including its structures, figures, ornamentation and accounts, are kept up in their unique structures and material. Its setting and area are kept up in their unique structure, close to the shore of the Bay of Bengal. In saving the properties as expressed, the Sun Temple, Konarak over and over inspires the solid soul and feeling connected with the structure, which is showed today in the living social practices identified with this property, for example, the Chandrabhanga festival.

Protection and administration requirements

The Sun Temple, Konarak is ensured under the National Framework of India by the Ancient Monuments and Archeological Sites and Remains (AMASR) Act (1958) and its Rules (1959). Other pertinent defensive enactment incorporates the Forest Act, Konârak Development Act and advised Council Area Act. Under the AMASR Act, a zone 100 meters outside the property and a further zone 200 meters outside the property constitute, separately, disallowed and controlled zones for advancement or other comparative movement that might effectsly affect the Outstanding Universal Value of the property. All preservation projects are embraced by the Archeological Survey of India through its national, territorial and neighborhood delegates.

There are five administration related arrangements: security, environment, expert arranging, ecological advancement and tourism. World Heritage financing was gotten to do an evaluation of basic stability.Sustaining the Outstanding Universal Value of the property after some time will require proceeding with the auxiliary and material protection of the primary Jagamohana structure and its models; building up a more grounded practical combination of nearby and focal powers; including the bigger scene setting into the managed range for advancement; and tending to the recognized dangers identified with improvement weight, ecological weight, tourism weight, common calamities, and neighborhood populace developed.

About The Deity

The primary divinity of the Navagrahas or the Nine Planets of Hindu Astrology too, he is additionally considered as one of the Navagrahas. Surya is frequently depicted as riding a chariot driven by 7 steeds or on the other hand, by 1 horse with 7 heads. These 7 stallions speak to the shades of the rainbow and the 7 chakras in the inconspicuous human body also. Surya is in some cases appeared with 2 hands, holding one lotus in each and some of the time with 4 hands, holding a lotus, Sankha (conch), Chakra (plate) and Gada (mace).

Surya Devata in Hinduism is thought to be an eye of the Virata Purusha, or the Vishwarupa (Universal Form) of Lord Sri Krishna himself. By the way, Surya is adored by individuals, holy people and even asuras or evil spirits. Certain gatherings of Rakshasas, called the Yatudhanas, were staunch devotees of the Sun God. Surya Devata is viewed as the Supreme Being among the adherents of the Saura group, which has now turned out to be little and is verging on imperiled. The Sauras adore him as one of the five noteworthy types of God. One can discover numerous temples, all over India, committed to the love of Surya. He is loved in the early hours of day break, particularly on Hindu celebrations, for example, Makar Sankranti, Ratha Saptami, Chhath and Samba Dashami.

Surya is venerated in numerous structures. In any case, two of the most widely recognized types of the god are Arka and Mitra.

Different Names of Surya

Lord Surya is hailed by 108 names. The commonest among them are Aditya, Adideva, Angaraka, Arka, Bhaga, Brahma, Dhanwantari, Dharmadhwaja, Dhatri, Dhumaketu, Indra, Jaya, Maitreya, Prabhakara, Ravi, Rudra, Savitri, Soma, Teja, Vaisravana, Vanhi, Varun and Vishnu.

Surya - Family and Relationships

Surya, or Vivasvata, had 3 rulers, to be specific, Sharanya (additionally called Saraniya, Saranyu, Sanjana or Sangya), Ragyi and Prabha. Sharanya was the mother of Vaivasvata Manu (or Satyavrata, the present Manu) and the twins Yama (the God of Death) and his sister Yami. Later, she likewise brought forth the Ashvin twins, who were the awesome horsemen and doctors to the Devas. Being not able shoulder the compelling brilliance transmitted by Surya, Sharanya made a shallow shadow of herself, called Chhaya. She requesting her to go about as Surya's wife. At the appropriate time, Chhaya brought forth 2 children, to be specific, Savarni Manu and Shani (Planet Saturn) and 2 little girls, to be specific, Tapti and Vishti. Surya's other wife, Ragyi, brought forth their child, Revanta or Raivata.

By chance, Surya Deva's children, Shani and Yama, are the judges of human life and karma. While Shani Deva presents positive or negative results for one's deeds dedicated amid one's lifetime, Yama Deva stipends these outcomes after one's demise.

Simhasana (Seat) of the Presiding Deity

The Simhasana which is made of chlorite stone is beautifully carved and still exists within the sanctum.The base and sides are decorated with beaded borders, surrounded by rows of elephants and various scenes from daily life, such as women carrying offerings, musical instruments and standing in groups with folded hands.

Built in Orissa red sandstone (Khandolite) and black granite, the temple takes the form of the chariot of Surya and is beautifully decorated with stone carvings. The chariot is drawn by seven horses, which represent the days of the week, while the twelve wheels ranged along the base denote the twelve months. Each of the wheels is about nine feet and each contains eight spokes which represent the eight praharas (eight time periods) of a day. The wheels portray the cycle of creation, preservation and achievement of realization. While the rims are carved with designs of foliages with various birds and animals, the medallions in the spokes are carved with the figures of women in various poses. At the base of the temple are various images of animals, foliage, warriors on horses and other interesting structures. Beautiful erotic figures are carved on the walls and roof of the temple. On the three sides of the temple are the three images of the Sun God, namely, Pravhata Surya - Morning Sun (The Creator), Madhyanha Surya - Mid Day Sun (The Destroyer) and Astachala Surya - Evening Sun(The Preserver).

Legend And Stories

Since the season of Mahammad Ghori, Orissa was struck a few times by the Muslims, however the Hindu lords of Orissa could oppose them certainly for a more drawn out period. The Hindus knew that it would be fairly unthinkable for them to handle with such a warrior country and to drive them for all time out of their nation. Still they continued taking aggressive parts in such a way, that they could postpone the Muslim occupation in Orissa, for around two centuries more. By the center of the thirteenth century, when the Muslims had vanquished the entire of the northern India and most parts of neighboring Bengal, there was not really any force which could check their development and it was felt that the Hindu Kingdom of Orissa would soon be overwhelm by them. Around then Narasimhadeva I began taking the hostile against them.

After the demise of Sultan Iltutmish, in 1236 A.D., the throne of Delhi remained weak at some point, when Nasiruddin Mahammad succeeded him and delegated one Tughan Khan, a Governor of Bengal. An awesome battle occurred between the Muslim armed force, under the said Tughan Khan and Narasimhadeva I, at Katasin, in the year 1243 A.D., where the previous were totally defeated and fled. The substantial loss of lives in this war was so serious. Narasimhadeva's triumph in this war must have colossally improved his notoriety according to the contemporary Hindu Kings and in that capacity, he needed to assemble a temple to speak to both, a hallowed place and a Kirti-Stambha (triumph dedication) to celebrate his triumph as indicated by his illustrious status and prestige.

Purpose of Building Konark at this Place

The magnificence of the Sun-rise and the thundering voice of the ocean enchanted Narasimhadeva since his initial life.The stream chandrabhaga which is currently dead, was once streaming inside of a mile toward the north of the temple site and was joining the ocean. On its banks, existed thriving towns and critical exchanging focuses. Exchange was continued with outside nations too, via ocean courses, as there was no preferred correspondence other over the waterway in those days. Narasimhadeva had favored the spot for his proposed temple, for not just empowering him to bring his building materials from better places by the said stream, however the holiness of the place was additionally considered by him.

In this association there is a fascinating legend which says that, once Samba, the child of Sri Krishna, acquired the dismay of Narada. Who exacted retribution himself by getting Samba beset with leprosy. Ultimately, when Samba, was discovered blameless, he was encouraged to practice repentance in the Maitreyi woodland for a long time, to please Surya(Sun God) to cure him of his illness. He acted as needs be and after the recommended period the Sun showed up before him and requested that present the twenty-one distinct names of the god. Next morning when Samba was cleaning up in chandrabhaga, his hands interacted with something in the water. He instantly lifted it up and saw a picture of Surya (Sun God) remaining on a lotus platform, holding two lotuses in his both hands. He conveyed the picture to his Ashrama (seclusion) and introduced it in a temple, worked by him. Samba was however totally cured, after at some point, by revering the deity. Besides the sacredness and the ideal surroundings, the vicinity of superb ocean endlessly thundering and moving inside of a striking separation, was maybe an additional fascination for them.

Festivals

Chandrabhaga Mela

Magha Saptami which is additionally called Chandrabhaga Mela is the most prominent celebration which falls in the month of February. This is a day uniquely put aside for the love of the Sun God at Konark. Although the temple is a ruin, even today a large number of travelers rush to Konark consistently on the Magha Sukla Saptami, the day of Spring Festivals, to praise the new conception of the Sun God. At the point when the Sun has returned on its northern course, they gather before dawn to take bathe in the sacrosanct Chandrabhaga waterway and in the close-by ocean. At the point when on that day the Sun God rises up out of the sea in the Agni Kona, the south eastern corner of the skyline, they venerate and adore him with noiseless petitions to God or shouts of happiness, and numerous in their delight envision they really see him ascending from the water in his brilliant chariot drawn by seven red hot stallions. After that they walk one and a half miles to the temple to circumambulate the altar and to love the Navagraha stone which initially was over the eastern entrance and is currently set up in a little shed outside the compound. At the point when their religious obligations are performed, they pass whatever is left of the day in cooking, eating and fun and by sunset theta have all scattered to their back home excursion. Some of these individuals go ahead foot from inaccessible spot and in the long run spend an entire month out and about before achieving their destination. This shows how awesome is their confidence and their affection for the Sun God, and how solid are dormant recollections of antiquated conventions.

This is the most famous and brilliant celebration of the spot when lakhs of pioneers visit Konark to watch the celebration.Truth be told this is the second greatest celebration in Orissa, alongside Car Festival of Puri.

Another beautiful celebration is the Konark Dance Festival. This is a celebration of traditional move. It is held from first to fifth December consistently in the amphitheater. It is a most energizing move occasions of the nation. The celebration has accepted a sort of unmistakable criticalness and significance for the auspicious endeavors it has made towards the restoration, conservation and continuation of novel temple move convention of Orissa.The merry evenings fill the crucial need of highlighting a critical aspect of Indian’s composite culture and offer the gathering of people an extravagant dining experience for the eyes and ears. As a tribute to the grand landmark, prominent established artists of India get together consistently amid this move celebration to introduce live execution.The move is performed on the Open Air Auditorium set in the midst of the casuarinas grave with the Sun Temple, a World Heritage Monument, at the scenery.

At the point when the sun sets in the skyline and the stars show up in the sky, the outside assembly room resounds with the beats of Raga and Tala to fill the air. The stage for the New Millennium Fete is good to go to sparkle in immaculate radiance of abundantly respected Odissi, Bharat Natyam, Manipuri, Kathak and Chhow Dance-a rich dining experience for the eyes and ears.

Konark Sun Temple Timings

Konark Temple is open from sunrise to sunset for visitors.
Saturday to Thursday from 09:00 am to 05:00 pm .
Closed on – Friday.

Entrance Fee

• Citizens of India and visitors of SAARC (Bangladesh, Nepal, Bhutan, Sri Lanka, Pakistan, Maldives and Afghanistan) and BIMSTEC Countries (Bangladesh, Nepal, Bhutan, Sri Lanka, Thailand and Myanmar) - Rs. 10 per head.
• Others: US $ 5 or Rs. 250/- per head.
• children up to 15 years free.

Konark Museum

The Konark exhibition hall began in the year 1968 and kept up by the Archeological Survey of India. The historical center is situated close to the fundamental temple in the north heading. The historical center has four displays that showcase 260 diverse fallen building pieces and models that were found amid the freedom work of Konark temple complex. The Konark historical center is a fortune house for history specialists and workmanship significant others and is open for open.

To start with exhibition of the historical center holds 62 artifacts, out of which the picture of Surya in sand stone, the Khandolite fabricated recreated wheel, different incarnations of Lord Visnu, and so forth are a noteworthy attractions.

Second display shows 108 relics including recreated mass of temple, the drummer and the leader of the crocodile in colossal nature.

Third display of this gallery showcases 45 objects like heavenly sprites, picture of Surya Narayana, Gaja Vyala, the lord and his troop and different sensual figures.

Late expansion to the historical center is the fourth exhibition, which holds show of 45 curios including thundering lion, man tied by the elephant trunk, part of a Surya picture, suggestive couples and lord seeing move exhibitions are a percentage of the fine arts showed at this display.

Archaeological Museum Timings

Opening Hours : 10.00 am to 5.00 pm
Closed on – Friday

Archaeological Museum Entrance Fee

Rs. 5/- per head (Children up to 15 years free).

The Best time to visit

From November to February

Rare Facts

The fundamental temple structure and the geometrical examples all around the temple.

• The cut haggles spokes of the wheel which serve as sun dials.
• Structural figures including the war steeds, the elephants and the guarding lions at the passageway.
• The Nata Mandir (Dancing Hall).
• Three pictures of Sun God at three bearing of the temple to get the beams of the Sun at day break, twelve and dusk.
• The different pictures of deities, artists, performers, elephants and legendary animals.
• The second level of the temple structure which showcases the well known sensual figures.
• The Sun temple gallery is kept running by Archaeological Survey of India.
• The Nava Graha (Nine Planets) Temple.
• The Konark is the third connection of Odisha's Golden Triangle. The primary connection is Jagannath Puri and the second connection is Bhubaneswar (Capital city of Odisha) The Konark temple is built as a colossal chariot with 24 wheels around three meters high and pulled by 7 steeds, lodging the Sun God inside of The passageway is watched by two tremendous lions, every killing a war elephant and underneath the elephant is a man. The lions speak to pride, elephants speak to riches and the two expends man.
• Konark temple was at first based on the ocean bank however now the ocean has subsided and the temple is somewhat far from the shoreline. This temple was otherwise called 'Dark PAGODA' because of its dull shading and utilized as a navigational point of interest by old mariners to Odisha Everyday, the Sun's beams would come to the Nata Mandir from the coast and reflects from the jewel put at the focal point of the icon.
• A substantial magnet was set at the temple top and each two stones of the temple are sandwiched by iron plates. The symbol was said to have been drifting in air because of the game plan of magnets. The magnet at the top is said to have bothered compasses for waterfront voyagers and later on uprooted.

UNESCO World Heritage Site

The Sun Temple of Konark has been proclaimed a world legacy site by United Nations Educational, Scientific and Cultural Organization (UNESCO) in 1984.

Area – Puri District, State of Orissa

Date of Inscription – 1984

Criteria – (i)(iii)(vi)

Property – 11 ha

Ref – 246

Accessibility

Airport

Bhubaneswar is the closest airplane terminal - 65 kms. Indian Airlines has flights from Delhi, Kolkota, Visakhapatnam, Raipur, Hyderabad, Chennai and Mumbai.

Railways

The closest railheads are Bhubaneswar and Puri. 65 km from Bhubaneswar by means of pipili and 35 km from Puri on marine drive road.

Road

Konark is associated by great all climate motorable streets. Normal Bus administrations work from Puri and Bhubaneswar. Other than Public transport Private visitor transport administrations and taxis are likewise accessible from Puri and Bhubaneswar. For interior transport, Auto rickshaws and Cycle rickshaws are accessible close konark temple which costs around Rs. 250-300 round trek, including holding up time.

There are consistent transports and Jeeps to Konark from Puri, which is 33km down the coast. The voyage takes around an hour and the last transport back to Puri leaves at 6:30pm. Official guided visits leave from the Panthaniwas in Bhubaneswar (Tues-Sun 6:30-6:30, Rs130) furthermore visit Dhauli.

Temple Address

Konark Sun Temple
Konark, Puri, Odisha,
India, Pincode - 752111.