Vimala Temple
The Vimala temple or Mãā Bimåḷā Deuḷå is a Hindu temple dedicated to goddess Vimala or Bimala, located within the Jagannath Temple complex in Puri in the Indian state of Odisha. It is generally regarded as a Shakta pitha, among the holiest temples dedicated to the Hindu Goddess.
The temple is located in the south-west corner of the inner enclosure of the Jagannath temple complex and on the western corner of the tower of Jagannath, next to the sacred pond Rohini kunda. The temple faces east and is built of sandstone and laterite. It is built in the Deula style with four components; vimana, jagamohana, nata-mandapa and bhoga-mandapa. The temple was renovated around 2005 and is maintained by the Archaeological Survey of India, Bhubaneswar Circle.
Though a small shrine in the temple complex, the Vimala temple is important to the Goddess-oriented Shakta and Tantric worshippers, who revere it even more than the main Jagannath shrine. Vimala is considered to be the tantric consort of Jagannath, hence considered as a tantric form of Lakshmi and a guardian of the temple complex. Devotees pay respect to Vimala before worshipping Jagannath in the main temple. Food offered to Jagannath does not get sanctified as Mahaprasad until it is also offered to Vimala. The Goddess-oriented festival of Durga Puja in the Hindu month of Ashvin is celebrated for sixteen days at Vimala, culminating with Vijayadashami.
History
The central icon of Vimala is of sixth century CE. The present structure, based on its architecture, seems to have been built in the ninth century under the Eastern Ganga dynasty, possibly over ruins of an earlier temple. Its architecture is similar to the shrine of Narasimha near the Mukti-mandapa in the Jagannath temple complex, dated to the ninth century. The Madala Panji states that the temple was constructed by Yayati Keshari, a ruler of Somavashi Dynasty of South Kosala. Kings Yayati I and Yayati II are known by the title Yayati Keshari. The sculptures, especially the parshvadevatas, as well as the background slab of the central icon, reflect the Somavashi style and may be part of the original temple, on whose ruins the new temple was constructed. Vimala is believed to have preceded even the central Jagannath shrine.Hindu philosopher and saint Adi Shankara is believed to have established Govardhana matha in Puri, with Vimala as its presiding goddess. According to Starza, the Jagannath Temple was once a centre of worship for the Trimurti of Brahma, Vishnu and Shiva, along with their consorts and the three central forms of the Hindu Goddess, Sarasvati, Lakshmi and Parvati. The Shri Vidya sect devoted to Goddess worship was strong here until the 17th century. Slowly, Shri Vidya and Shiva-centric Shaiva traditions were eroded but remnants continue, with the Vishnu-centric Vaishnavism becoming the sole tradition. The Tantric Panchamakara, which includes fish, meat, liquor, parched grain and ritual intercourse, were replaced with vegetarian offerings and dance of Devdasis. Fish was caught locally and offered to the goddess. King Narasimhadeva, who ruled between 1623 and 1647, ended the meat and fish offerings of the goddess, although the tradition was later partly revitalized. Today, the goddess is offered meat and fish on special days.
Architecture
The temple is located in the south-west corner of the inner enclosure of the Jagannath temple complex and on the right hand western corner of the tower of Jagannath, next to the sacred pond Rohini kunda. The temple faces east and is built of sandstone and laterite. It is built in the Deula style that has four components namely, vimana, jagamohana, nata-mandapa and bhoga-mandapa. The temple is maintained and was renovated around 2005 by the Archaeological Survey of India, Bhubaneswar Circle.Vimana
The vimana is a Rekha deula, in height and in shape of square. It stands on a platform, which is decorated with lotus and other floral designs and scrollwork. The outer wall of the vimana is divided into 5 parts : pabhaga, talajangha, bandhana, upara jangha and baranda. The niches and intervening recesses of the first part of the wall are ornate, with khakhara mundis, scrollwork, floral designs, creepers, love-making couples and Nagas. The niches and intervening recesses of the second part of the wall are also decorated with khakhara mundis, simhavidalas, Gajavidalas, jaliwork, scrollwork, sikshadana scene and kirtimukha motifs, along with the figurines of eight Dikpalas and some goddesses. The third part of the outer wall has two horizontal mouldings decorated with alasa-kanyas, scrollwork and floral and lotus motifs. The niches and recesses of the fourth part of the wall are decorated with pidha mundis, simhavidalas, erotic scenes, alasa-kanyas, scrollwork, jaliwork and floral designs, along with figures of the consorts of the Dikpalas, Nagas and their female consort Naginis and various goddesses. The Dikpalas and their consorts are seen with their mounts and aligned to their respective directions.Images of the parshvadevatas are placed in the central niches of the outer wall on three sides: the eight-armed Durga slaying Mahishasura on the south; the six-armed goddess Chamunda standing on Shiva on the west and an empty niche on the north, which probably had a goddess figure that was stolen. The lintel of the attendant deity niche has Gaja Lakshmi figurines. The frames of the niches are decorated with scrollwork and kirtimukha motifs and two female attendants accompany each niche. The uppermost part of the outer wall has ten horizontal mouldings, ornate with scrollwork, kirtimukha and lotus and floral motifs. Within the vimana lies the garbhagriha, which is topped with a pancharatha-style, curvilinear temple pinnacle. The goddess Vimala is deified within the sanctum, the sixth century inner chamber that is devoid of wall decorations. The central icon of Vimala holds a rosary in the upper right hand. Her lower right hand is held in a boon-giving gesture and her lower left holds a pitcher, considered to be filled with amrita. The attribute in the upper left hand is heavily disputed. Descriptions include a human figurine, a nagini, a mermaid, a naga-pasha or some other object. She holds no weapons normally attributed to Durga. The icon is installed on a simhasana, adorned with the figures of the goddess' female attendants Chhaya and Maya on the sides. The image is said to be made of lakha and slightly taller than.
The sanctum door, with a flight of stairs, leads down to the jagamohana. The lintel has the Gaja Lakshmi figurine in the centre surrounded with apsaras. The Navagraha are carved above the lintel. The doorjambs are decorated scrollwork, creepers, flowers and boys playing. Two gate-keeper sculptors surround the door.
Jagamohana
The jagamohana or mukhasala is a pidha deula, in height with a square base. It stands on a high platform, which is decorated with floral designs and scrollwork. The outer wall is divided into 5 parts, as in the vimana. The niches and intervening recesses of the first part are adorned with Khakhara mundi niches, Naga pilasters, scrollwork, jaliwork and floral motifs. The talajangha has the same motifs as the vimana's second part of the wall, barring the goddesses. The third part of the wall has three horizontal mouldings. The fourth part of the wall also resembles its counterpart in the vimana, except it does not have the Naga and goddess sculptures. The uppermost part of the wall has seven horizontal mouldings, the central portion of which is decorated with dancing women, amorous couples, elephants, deer, scrollwork and jaliwork. The gavaksha on the northern and southern sides are royal court and sikshadana scenes, with a balustraded window on each side. The frames of the windows are decorated with scrollwork, jaliwork, playing boys, floral designs, creepers and dancing women. The structure is topped with a pyramidal shikhara. The inner walls have no ornamentation. The jagamohana has two doorways: one towards the sanctum and other towards the natamandapa, which is similar in style and decoration to the former.Natamandapa
The natamandapa is a pidha deula, in height and in shape of rectangle in length by. It is probably a later addition to the original temple, which consisted of the vimana and jagamohana. It stands on a platform. The five divisions of the outer wall are undecorated. It is topped with a small pyramidal pinnacle. The natamandapa has four door ways, one on each side of the wall. Inner walls of the natamandapa are adorned with Pattachitra-style traditional Odishan paintings, depicting sixteen forms of the Hindu Goddess, including the Mahavidyas.Bhogamandapa
The bhogamandapa is a pidha deula, in height and in shape of square. It stands on a platform. The five outer wall divisions are undecorated. It is topped with a small pinnacle. An eight-armed dancing Ganesha and a 12-armed, six-headed standing Kartikeya occupy niches on the western inner wall. The ceiling has floral paintings with a lotus design in the middle, suspending downwards. The bhogamandapa has four doorways, opening on each side. Two female gatekeepers guard each door. A flight of steps at the eastern doorway serves as the main entrance of the temple.At the entrance to the shrine outside the bhogamandapa, there is a Gaja-Simha, the lion – the goddess' vahana – riding over an elephant, symbolizing the victory of good over evil. It is covered by a flat roof.
Religious significance
The Vimala Temple is considered one of the Shakta pithas, the most sacred temples of the Hindu Goddess, identified with Parvati or Durga. It is considered to be a prime example of the importance of the Shakti tradition in Odisha. It is customary to worship the god Shiva at each Shakta pitha in the form of Bhairava, the male counterpart or guardian of the presiding goddess of the Shakta pitha.In Goddess-oriented worship, Vimala is regarded as the presiding goddess of the Purushottama Shakta pitha. Jagannath, a form of the god Vishnu/Krishna, is worshipped as the Pitha's Bhairava. This is a departure from the usual tradition of Bhairava as a form of Shiva. So, in this temple complex, Vishnu–one of the Hindu trinity–is equated with Shiva, another of the trinity; this is interpreted to convey the oneness of God. In this regard, Vimala - generally associated with Shiva's consort - is also considered as Lakshmi, the consort of Vishnu. Conversely, Tantrics consider Jagannath as Shiva-Bhairava, rather than a form of Vishnu.
The main sanctum of the Jagannath Temple has three deities: Jagannath, Balabhadra and Subhadra. In Jagannath-centric traditions, while Lakshmi is the consort of Jagannath in the temple complex, Vimala is the Tantric consort and guardian goddess of the temple complex.
Vimala is identified with the goddesses Katyayini, Durga, Bhairavi, Bhuvaneshvari and Ekanamsha in various texts and rituals. She is considered the shakti of Vishnu as well as Shiva in the climactic Durga Puja festivities in the temple. She appears as Mahishasuramardini or Vijayalakshmi in New Delhi Konark stele, 13th century stone stele originally from Konark Sun Temple and now housed in National Museum, New Delhi.