The Aryavarth Express
Agency (Odisha): Surya, the Sun God, is a popular deity in India from ancient times, worshipped as the source of light, life, and power. The Vedas, the oldest sacred texts of Hinduism, are replete with hymns extolling the Sun God as the celestial luminary, the dispeller of darkness, and the sustainer of all creation. The Rig Veda, in particular, dedicates an entire book (Mandala 1) to Surya, with the famous Gayatri Mantra invoking his grace and brilliance.
The cult of Surya gained prominence during the Gupta period (4th-6th centuries CE) and reached its zenith in the medieval era, with grand sun temples being built across India – from Modhera in Gujarat to Martand in Kashmir. However, none could match the scale, grandeur, and technical sophistication of the Konark temple, which was intended to be the crowning jewel of Surya worship.
The Konark temple was one of India’s most sacred sites for sun worship. The name ‘Konark’ is derived from the Sanskrit words ‘Kona’ (corner) and ‘Arka’ (sun) – an allusion to the temple’s unique location and orientation, enabling the first rays of the rising sun to illuminate the inner sanctum. Interestingly, the temple was originally built well inside the sea, but the sea has since retreated and at present is 5 km from the temple. The temple complex, sprawling over 26 acres, was originally enclosed within a high wall with three entrances, each flanked by massive lion statues subduing war elephants.
At its peak, the main temple tower or deul is said to have soared over 220 feet high, though much of it lies in ruins today. The original structure was over 220 feet in high and at present only the Natya Grah (dance hall) exists in ruins. The deul had a square base and a curvilinear spire (rekha), divided into vertical segments (pagas) and horizontal tiers (bhumi), each lavishly carved with deities, dancers, musicians, and lovers. The crowning element was a large spherical stone (amalaka) symbolizing the sun.
The main entrance to the deul was on the eastern side, facing the rising sun. The entrance porch (jagamohana) was a towering 128-feet-high structure with a pyramidal roof, its walls adorned with exquisite sculptures and intricate geometric patterns. The jagamohana was connected to the deul by a short vestibule (natamandira), which served as a dancing hall for temple rituals.
To the northwest of the deul was the dining hall (bhogamandapa), where sacred food offerings (prasad) were prepared and distributed to devotees. The kitchen complex had its own well, granary, and storage rooms. To the southwest was another smaller shrine dedicated to Mayadevi, believed to be an earlier sun temple predating the main structure.
The most striking feature of the Konark temple was the colossal chariot wheels flanking its base. Each wheel, measuring 9 feet in diameter, had eight spokes and was intricately carved with floral patterns, mythical creatures, and erotic scenes. The wheels were not merely decorative but served as sundials, with the spokes casting shadows on the ground to mark time.
The temple is indeed a classic and the only one of its kind. No limestone or cement was used to join the granite blocks. The huge granite blocks were extremely polished and plain, and were separated by iron plates. The entire structure was held together by several magnets. There were primarily 2 main magnets; one at the top of the temple and the other at the basement.
The idol of Sun God was kept suspended in the air by the force of the magnets. The idol of Sun God had a diamond which reflected the rays of the Sun, hence the name Kon-ark. The magnet at the top of the temple was the main force holding most of the temple structure. This was so powerful that it used to disrupt the magnetic compass of the ships going through that route, as Konark was a major port at that time.
Recent studies by archaeo-astronomers suggest that the Konark temple was a sophisticated astronomical observatory, its design and alignment based on precise calculations of solar and lunar cycles. The temple’s orientation, with its main entrance facing the equinox sunrise, allowed the sun’s rays to penetrate the inner sanctum on specific days, illuminating the deity.
The 24 wheels represented the 24 hours of the day, while the seven horses corresponded to the seven days of the week. The wheels were also aligned with the cardinal directions and the solstices, enabling the tracking of the sun’s annual path. The temple’s pillars and niches were strategically placed to mark important astronomical events such as equinoxes, solstices, and eclipses.
The Konark temple also showcased the ancient Indians’ mastery of engineering and construction techniques. The temple was built using interlocking stones without any mortar, each block precisely cut and fitted into place. The roof of the jagamohana was supported by four massive beams, each weighing over 80 tons, which were lifted and placed using complex pulleys and levers.
The temple walls were also marvels of structural engineering, with their thickness gradually decreasing from the base to the top, creating a sense of lightness and elevation. The walls had multiple layers of stone, with the outer layer serving as a protective shield against the salty sea air and the inner layer providing insulation and stability.
Tragically, the Konark temple’s glory was short-lived, as it fell victim to repeated invasions, plunder, and neglect over the centuries. The first major assault came from the Muslim rulers of Bengal in the 15th century, who were known for their iconoclastic zeal. The Odia king, Purusottama Deva, tried to protect the temple by removing the main idol and hiding it in a secret location, but the invaders still managed to desecrate the shrine and loot its treasures.
The temple suffered further damage during the Mughal conquest of Odisha in the 16th century, when the fanatical emperor Aurangzeb ordered his army to destroy all Hindu temples in the region. The Konark temple, being the most prominent symbol of Odia pride and piety, bore the brunt of his wrath. The Mughals not only defaced the sculptures and broke the idols but also attacked the temple’s structural integrity, causing the deul to collapse. By the 18th century, when the Marathas occupied Odisha, the Konark temple was already in ruins, with only the jagamohana and natamandira standing.
The Portuguese removed the main magnet or lodestone as they falsely believed that it was the cause of the destruction of lot of their ships and destroyed it. This lead to the collapse of most of the temple structure. The idols were taken away and placed in the Puri temple, one of them still exists in the Puri temple even today. One of the idols is kept in the National Museum at New Delhi.
When the British took control of Odisha in 1803, they were amazed by the grandeur and mystery of the Konark ruins. James Fergusson, a British historian, in his book ‘History of Indian and Eastern Architecture’ (1876), wrote about the Konark temple: “It is one of the most sublime memorials of sun worship, which has been erected by the hand of man in any part of the world.”
The British administrators and scholars, while appreciating the temple’s architectural value, also contributed to its neglect and decay. In 1838, the Asiatic Society of Bengal proposed moving an architrave depicting the navagrahas (nine planets) from the temple to the Indian Museum in Calcutta, but the plan was abandoned due to lack of funds.
It was only in the early 20th century that serious efforts began to conserve and study the Konark temple. In 1902, the Archaeological Survey of India (ASI) took charge of the site and started documenting and stabilizing the structure. In 1903, the ASI filled the jagamohana with sand to prevent its collapse, and in 1909, it discovered the Mayadevi temple buried under the debris.
Since then, the ASI has undertaken several rounds of excavation, restoration, and preservation at Konark, using modern techniques such as 3D laser scanning and structural analysis. In 1984, the temple was designated a World Heritage Site by UNESCO, recognizing its outstanding universal value as a masterpiece of human creative genius and a testimony to a vanished civilization.
However, the grandest dream for Konark – the re-consecration of the Sun God in the inner sanctum – still remains unrealized. The original idol of Surya that graced the temple is long lost, believed to be buried under the ruins or stolen. Since 2010, there have been periodic demands and campaigns by local residents, religious groups and politicians to restore the idol and revive worship at the temple.
In 2018, the Orissa High Court, acting on a PIL, asked the ASI to explore the possibility of restoring and re-installing the Sun God idol. The ASI, while committed to conserving the structure, has been wary of any new constructions or religious activities that may undermine the site’s integrity and sanctity. It has also cited the lack of historical evidence or descriptions of the original idol.
As of 2023, there is still no official plan or timeline for the consecration of the Sun God at Konark. Some historians and conservationists argue that the temple is best preserved as a protected monument and a symbol of Odia pride rather than a living shrine. They point out that the temple was built more as a royal monument than a regular place of worship, and that the Sun God can be revered even without a physical idolIn January 2023, Odisha’s Commerce and Transport Minister Tukuni Sahu announced that the state government will construct a 100-foot granite statue of the Sun God at the entrance of Konark town. While this is not the same as consecrating an idol in the temple, it is seen as a step towards acknowledging and showcasing the town’s solar heritage.
Since 2022, the ASI has undertaken a massive exercise to remove the sand from the jagamohana and reinforce its structural stability with stainless steel beams. This delicate and complex process is expected to take at least three more years.
The famous Indian historian, Jadunath Sarkar, in his book ‘A History of Jaipur’ (1984), recounts a legend about the Konark temple. According to the legend, the temple was built by the architect Bisu Maharana and his son Dharmapada. When the temple was near completion, the king had the architect and his son imprisoned, fearing that they might build a similar temple elsewhere. But the two managed to escape and built the Surya temple at Jaipur, which is said to rival the Konark temple in grandeur.
Some say it is only a matter of time and technical expertise. Others say it is a matter of collective will and cultural renaissance. And yet others say that the Sun God never really left Konark – He is there in every ray of light that illuminates its stones, in every story and legend that keeps its magic alive, and in every heart that recognizes it as a timeless tribute to human ingenuity and the eternal cycles of nature.
Some scholars argue that the temple’s spiritual essence lies not in its external form but in its internal symbolism and the timeless truths it embodies. They point out that the Sun God, being the source of all illumination, cannot be confined to a single image or idol, and that the true consecration of Konark lies in the hearts and minds of those who behold its beauty and imbibe its wisdom.
Others, however, insist that restoring the ritual heart of the temple is essential to reconnecting with its ancient roots and reviving its lost glory. They argue that the temple, without its presiding deity, is like a body without a soul, and that the ASI’s approach has been too clinical and academic, divorcing the monument from its living heritage.
As of now, Konark remains a timeless marvel frozen in stone, its spiritual core obscured by the ravages of history. Every year, millions of visitors flock here to witness its grandeur and gambol on its grounds during the Konark Dance Festival. But the question of when the Sun God will be resurrected in its womb remains shrouded in speculation.
Will the BJP, which has often invoked India’s ancient heritage and promised to restore the glory of Hindu temples, make the consecration of the Sun God at Konark a part of its election manifesto for the upcoming Odisha assembly polls in 2024? Only time will tell.
Ultimately, the Konark Sun Temple, with or without its original idol, remains a timeless testament to the human spirit’s eternal quest for the divine. Its stones may crumble, but its symbolism endures, reminding us of the cyclical nature of existence, the interdependence of art and science, and the indomitable resilience of our cultural heritage.
As the great Odia poet Gangadhar Meher wrote in his immortal lines:
“The sun may set, the night may fall,
But Konark’s glory shall never pall.
Its light shall shine, its wheels shall turn,
Till time’s last ember ceases to burn.”
