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Konark Sun Temple
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This article is about the temple of the sun at Konark. For the list of sun temples in the world, see Temple of the Sun.
Sun Temple, Konârak
UNESCO World Heritage site
Location
Konark, Odisha, India
Criteria
Cultural: (i)(iii)(vi)
Reference
246
Inscription
1984 (8th Session)
Area
10.62 ha (26.2 acres)
Website
konark.nic.in
Coordinates
19°53′15″N 86°5′41″E / 19.88750°N 86.09472°E / 19.88750; 86.09472Coordinates: 19°53′15″N 86°5′41″E / 19.88750°N 86.09472°E / 19.88750; 86.09472
Location of Konark Sun Temple in Odisha.
Konark Sun Temple (India)
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Konark Sun Temple is a 13th-century CE sun temple at Konark about 35 kilometres (22 mi) northeast from Puri on the coastline of Odisha, India.[1][2] The temple is attributed to king Narasimhadeva I of the Eastern Ganga Dynasty about 1250 CE.[3][4]
Dedicated to the Hindu god Surya, what remains of the temple complex has the appearance of a 100-foot (30 m) high chariot with immense wheels and horses, all carved from stone. Once over 200 feet (61 m) high,[1][5] much of the temple is now in ruins, in particular the large shikara tower over the sanctuary; at one time this rose much higher than the mandapa that remains. The structures and elements that have survived are famed for their intricate artwork, iconography, and themes, including erotic kama and mithuna scenes. Also called the Surya Devalaya, it is a classic illustration of the Odisha style of Hindu temple architecture.[1][6]
The cause of the destruction of the Konark temple is unclear and remains a source of controversy.[7] Theories range from natural damage to deliberate destruction of the temple in the course of being sacked several times by Muslim armies between the 15th and 17th centuries.[1][7] This temple was called the "Black Pagoda" in European sailor accounts as early as 1676 because its great tower appeared black. [6][8] Similarly, the Jagannath Temple in Puri was called the "White Pagoda". Both temples served as important landmarks for sailors in the Bay of Bengal.[9][10] The temple that exists today was partially restored by the conservation efforts of British India-era archaeological teams. Declared a UNESCO world heritage site in 1984,[1][2] it remains a major pilgrimage site for Hindus, who gather here every year for the Chandrabhaga Mela around the month of February.[6]
Contents
1 Etymology
2 Location
3 Description
3.1 Reliefs and sculpture
3.2 Hindu deities
3.3 Style
3.4 Other temples and monuments
4 History
4.1 Ancient Texts
4.2 Konark in texts
4.3 Construction
4.4 Damage and ruins
4.5 Aruna Stambha
4.6 Preservation Efforts
5 Reception
6 Gallery
6.1 Antique paintings and photographs
6.2 Current day photographs
7 See also
8 References
8.1 Bibliography
9 External links
Etymology[edit]
The name Konark derives from the combination of the Sanskrit words Kona (corner or angle) and Arka (the sun).[9] The context of the term Kona is unclear, but probably refers to the southeast location of this temple either within a larger temple complex or in relation to other sun temples on the subcontinent.[11] The Arka refers to the Hindu sun god Surya.[9]
Location[edit]
The Konark Sun Temple is located in an eponymous village about 35 kilometres (22 mi) northeast of Puri and 60 kilometres (37 mi) southeast of Bhubaneswar on the Bay of Bengal coastline in the Indian state of Odisha. The nearest airport is Bhubaneswar airport (IATA: BBI). Both Puri and Bhubaneswar are major railway hubs connected by Indian Railways' Southeastern services.[12]
Description[edit]
Original temple and the surviving structure (yellow), left; the temple plan, right
The Konark Sun Temple was built from stone in the form of a giant ornamented chariot dedicated to the Sun god, Surya. In Hindu Vedic iconography Surya is represented as rising in the east and traveling rapidly across the sky in a chariot drawn by seven horses. He is described typically as a resplendent standing person holding a lotus flower in both his hands, riding the chariot marshaled by the charioteer Aruna.[13][14] The seven horses are named after the seven meters of Sanskrit prosody: Gayatri, Brihati, Ushnih, Jagati, Trishtubha, Anushtubha, and Pankti.[14] Typically seen flanking Surya are two females who represent the dawn goddesses, Usha and Pratyusha. The goddesses are shown to be shooting arrows, a symbol of their initiative in challenging darkness.[15] The architecture is also symbolic, with the chariot's twelve pairs of wheels corresponding to the 12 months of the Hindu calendar, each month paired into two cycles (Shukla and Krishna).[16]
The Konark temple presents this iconography on a grand scale. It has 24 elaborately carved stone wheels which are nearly 12 feet (3.7 m) in diameter and are pulled by a set of seven horses.[5][2][17] When viewed from inland during the dawn and sunrise, the chariot-shaped temple appears to emerge from the depths of the blue sea carrying the sun.[18]
1822 drawing of the mandapa's east door and terrace musicians
1815 sketch of stone horses and wheels of the mandapa
The temple plan includes all the traditional elements of a Hindu temple set on a square plan. According to Kapila Vatsyayan, the ground plan, as well the layout of sculptures and reliefs, follow the square and circle geometry, forms found in Odisha temple design texts such as the Silpasarini.[19] This mandala structure informs the plans of other Hindu temples in Odisha and elsewhere.[19]
The main temple at Konark, locally called the deul, no longer exists. It was surrounded by subsidiary shrines containing niches depicting Hindu deities, particularly Surya in many of his aspects. The deul was built on a high terrace.[5] The temple was originally a complex consisting of the main sanctuary, called the rekha deul, or bada deul (lit. big sanctum).[18] In front of it was the bhadra deul (lit. small sanctum), or jagamohana (lit. assembly hall of the people) (called a mandapa in other parts of India.[20]). The attached platform was called the pida deul, which consisted of a square mandapa with a pyramidal roof.[18] All of these structures were square at their core, and each was overlain with the pancharatha plan containing a variegated exterior.[18] The central projection, called the raha, is more pronounced than the side projections, called kanika-paga, a style that aims for an interplay of sunlight and shade and adds to the visual appeal of the structure throughout the day. The design manual for this style is found in the Silpa Sastra of ancient Odisha.[18][21]
A stone wheel engraved in the walls of the temple. The temple is designed as a chariot consisting of 24 such wheels. Each wheel has a diameter of 9 feet, 9 inches, with 8 spokes.
Twice as wide as they were high, the walls of the jagamohana are 100 feet (30 m) tall. The surviving structure has three tiers of six pidas each. These diminish incrementally and repeat the lower patterns. The pidas are divided into terraces. On each of these terraces stand statues of musician figures.[5] The main temple and the jagamohana porch consist of four main zones: the platform, the wall, the trunk, and the crowning head called a mastaka.[22] The first three are square while the mastaka is circular. The main temple and the jagamohana differed in size, decorative themes, and design. It was the main temple's trunk, called the gandhi in medieval Hindu architecture texts, that was ruined long ago. The sanctum of the main temple is now without a roof and most of the original parts.[22]
On the east side of the main temple is the Nata mandira (lit. dance temple). It stands on a high, intricately carved platform. The relief on the platform is similar in style to that found on the surviving walls of the temple.[5] According to historical texts, there was an Aruna stambha (lit. Aruna's pillar) between the main temple and the Nata mandira, but it is no longer there because it was moved to the Jagannatha at Puri sometime during the troubled history of this temple.[5] According to Harle, the texts suggest that originally the complex was enclosed within a wall 865 feet (264 m) by 540 feet (160 m), with gateways on three sides.[5]
The stone temple was made from three types of stone.[23] Chlorite was used for the door lintel and frames as well as some sculptures. Laterite was used for the core of the platform and staircases near the foundation. Khondalite was used for other parts of the temple. According to Mitra, the Khondalite stone weathers faster over time, and this may have contributed to erosion and accelerated the damage when parts of the temples were destroyed.[23] None of these stones occur naturally nearby, and the architects and artisans must have procured and moved the stones from distant sources, probably using the rivers and water channels near the site.[23] The masons then created ashlar, wherein the stones were polished and finished so as to make joints hardly visible.[23]
The original temple had a main sanctum sanctorum (vimana), which is estimated to have been 229 feet (70 m)[17] tall. The main vimana fell in 1837. The main mandapa audience hall (jagamohana), which is about 128 feet (39 m) tall, still stands and is the principal structure in the surviving ruins. Among the structures that have survived to the current day are the dance hall (Nata mandira) and the dining hall (Bhoga mandapa).[2][17]
Reliefs and sculpture[edit]
Detail of carved chariot wheel
Bansuri musician
A young woman
The walls of the temple from the temple's base through the crowing elements are ornamented with reliefs, many finished to jewelry-quality miniature details. The terraces contain stone statues of male and female musicians holding various musical instruments.[24] Other major works of art include sculptures of Hindu deities, apsaras and images from the daily life and culture of the people (artha and dharma scenes), various animals, aquatic creatures, birds, mythological creatures, and friezes narrating the Hindu texts. The carvings include purely decorative geometric patterns and plant motifs.[24] Some panels show images from the life of the king such as one showing him receiving counsel from a guru, where the artists symbolically portrayed the king as much smaller than the guru, with the king's sword resting on the ground next to him.[25]
The upana (moulding) layer at the bottom of the platform contains friezes of elephants, marching soldiers, musicians, and images depicting the secular life of the people, including hunting scenes, a caravan of domesticated animals, people carrying supplies on their head or with the help of a bullock cart, travelers preparing a meal along the roadside, and festive processions.[26] On other walls are found images depicting the daily life of the elite as well as the common people. For example, girls are shown wringing their wet hair, standing by a tree, looking from a window, playing with pets, putting on makeup while looking into a mirror, playing musical instruments such as the vina, chasing away a monkey who is trying to snatch items, a family taking leave of their elderly grandmother who seems dressed for a pilgrimage, a mother blessing her son, a teacher with students, a yogi during a standing asana, a warrior being greeted with a namaste, a mother with her child, an old woman with a walking stick and a bowl in her hands, comical characters, among others.[27]
A kama scene on the walls of the Konarka Temple
The Konark temple is also known for its erotic sculptures of maithunas.[28] These show couples in various stages of courtship and intimacy, and in some cases coital themes. Notorious in the colonial era for their uninhibited celebration of sexuality, these images are included with other aspects of human life as well as deities that are typically associated with tantra. This led some to propose that the erotic sculptures are linked to the vama marga (left hand tantra) tradition.[5] However, this is not supported by local literary sources, and these images may be the same kama and mithuna scenes found integrated into the art of many Hindu temples.[5] The erotic sculptures are found on the temple's Shikhara, and these illustrate all the bandhas (mudra forms) described in the Kamasutra.[20]
Other large sculptures were a part of the gateways of the temple complex. These include life-size lions subduing elephants, elephants subduing demons, and horses. A major pillar dedicated to Aruna, called the Aruna Stambha, used to stand in front of the eastern stairs of the porch. This, too, was intricately carved with horizontal friezes and motifs. It now stands in front of the Jagannatha temple at Puri.[29]
Hindu deities[edit]
The upper levels and terrace of the Konark Sun temple contain larger and more significant works of art than the lower level. These include images of musicians and mythological narratives as well as sculptures of Hindu deities, including Durga in her Mahishasuramardini aspect killing the shape-shifting buffalo demon (Shaktism), Vishnu in his Jagannatha form (Vaishnavism), and Shiva as a (largely damaged) linga (Shaivism). Some of the better-preserved friezes and sculptures were removed and relocated to museums in Europe and major cities of India before 1940.[30]
The Hindu deities are also depicted in other parts of the temple. For example, the medallions of the chariot wheels of the Surya temple, as well as the anuratha artwork of the jagamohana, show Vishnu, Shiva, Gajalakshmi, Parvati, Krishna, Narasimha, and other gods and goddesses.[31] Also found on the jagamohana are sculptures of Vedic deities such as Indra, Agni, Kubera, Varuna, and Âdityas.[32]
Style[edit]
The temple follows the traditional style of Kalinga architecture. It is oriented towards the east so that the first rays of the sunrise strike the main entrance.[2] The temple, built from Khondalite rocks,[33][34] was originally constructed at the mouth of the river Chandrabhaga, but the waterline has receded since then.[citation needed] The wheels of the temple are sundials, which can be used to calculate time accurately to a minute.[35]
Other temples and monuments[edit]
The Konark Sun Temple complex has ruins of many subsidiary shrines and monuments around the main temple. Some of these include:
Mayadevi Temple – Located west-southwest from the entrance of the main temple,[36] it has been dated to the late 11th century, earlier than the main temple.[37] It consists of a sanctuary, a mandapa and, before it, an open platform. It was discovered during excavations carried out between 1900 and 1910. Early theories assumed that it was dedicated to Surya's wife and thus named the Mayadevi Temple. However, later studies suggested that it was also a Surya temple, albeit an older one that was fused into the complex when the monumental temple was built.[36] This temple also has numerous carvings and a square mandapa is overlain by a sapta-ratha. The sanctum of this Surya temple features a Nataraja. Other deities in the interior include a damaged Surya holding a lotus, along with Agni, Varuna, Vishnu, and Vayu.[38]
Vaishnava Temple – Located southwest of the so-called Mayadevi Temple, it was discovered during excavations in 1956. This discovery was significant because it confirmed that the Konark Sun Temple complex revered all the major Hindu traditions, and was not an exclusive worship place for the saura cult as previously believed. This is a small temple with sculptures of Balarama, Varaha, and Vamana–Trivikrama in its sanctum, marking it as a Vaishnavite temple. These images are shown as wearing dhoti and a lot of jewelry. The sanctum's primary idol is missing, as are images from some niches in the temple.[39] The site's significance as a place of Vaishnavism pilgrimage is attested to in Vaishnava texts. For example, Krishna Chaitanya, the early 16th-century scholar and founder of Gaudiya Vaishnavism, visited the Konark temple and prayed on its premises.[40]
Kitchen – This monument is found south of the bhoga mandapa (feeding hall). It, too, was discovered in excavations in the 1950s. It includes means to bring water, cisterns to store water, drains, a cooking floor, depressions in the floor probably for pounding spices or grains, as well several triple ovens (chulahs) for cooking. This structure may have been for festive occasions or a part of a community feeding hall.[41] According to Thomas Donaldson, the kitchen complex may have been added a little later than the original temple.[42]
Well 1 – This monument is located north of the kitchen, towards its eastern flank, was probably built to supply water to the community kitchen and bhoga mandapa. Near the well are a pillared mandapa and five structures, some with semi-circular steps whose role is unclear.[43]
Well 2 – This monument and associated structures are in the front of the northern staircase of the main temple, with foot rests, a washing platform, and a wash water drain system. It was probably designed for the use of pilgrims arriving at the temple.[44]
A collection of fallen sculptures can be viewed at the Konark Archaeological Museum, which is maintained by the Archaeological Survey of India.[45]
History[edit]
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Ancient Texts[edit]
The oldest surviving Vedic hymns, such as hymn 1.115 of the Rigveda, mention Surya with particular reverence for the "rising sun" and its symbolism as dispeller of darkness, one who empowers knowledge, the good, and all life.[14] However, the usage is context specific. In some hymns, the word Surya simply means sun as an inanimate object, a stone, or a gem in the sky (Rigvedic hymns 5.47, 6.51 and 7.63) while in others it refers to a personified deity.[14][46][47] In the layers of Vedic texts, Surya is one of the several trinities along with Agni and either Vayu or Indra, which are presented as an equivalent icon and aspect of the Hindu metaphysical concept called the Brahman.[48]
In the Brahmanas layer of Vedic literature, Surya appears with Agni (fire god) in the same hymns.[49] Surya is revered for the day, and Agni for its role during the night.[49] According to Kapila Vatsyayan, the concept of a Surya–Agni relationship evolves, and in later literature Surya is described as Agni representing the first principle and the seed of the universe.[50] It is in the Brahmanas layer of the Vedas,[51][52] and the Upanishads that Surya is explicitly linked to the power of sight, and to visual perception and knowledge. He is then internalized and said to be the eye, as ancient Hindu sages suggested abandonment of external rituals to gods in favor of internal reflection and meditation of the gods within, in one's journey to realize the Atman (soul, self) within, in texts such as the Brihadaranyaka Upanishad, Chandogya Upanishad, Kaushitaki Upanishad, and others.[53][54][55]
The Mahabharata epic opens its chapter on Surya by reverentially calling him the "eye of the universe, soul of all existence, origin of all life, goal of the Samkhyas and Yogis, and symbolism for freedom and spiritual emancipation".[14] In the Mahabharata, Karna is the son of Surya and an unmarried princess named Kunti.[14] The epic describes Kunti's difficult life as an unmarried mother, then her abandonment of Karna, followed by her lifelong grief. Baby Karna is found and then adopted, and grows up to become one of the central characters in the great battle of Kurukshetra where he fights his half-brothers.[56]
Konark in texts[edit]
Konark, also referred to in Indian texts by the name Kainapara, was a significant trading port by the early centuries of the common era.[57] The current Konark temple dates to the 13th century, though evidence suggests that a sun temple was built in the Konark area by at least the 9th century.[58] Several Puranas mention Surya worship centers in Mundira, which may have been the earlier name for Konark, Kalapriya (Mathura), and Multan (now in Pakistan).[59] The Chinese Buddhist pilgrim and traveler Hiuen-tsang (also referred to as Xuanzang) mentions a port city in Odisha named Charitra. He describes the city as prosperous, with five convents and "storeyed towers that are very high and carved with saintly figures exquisitely done". Since he visited India in the 7th century, he could not have been referring to the 13th-century temple, but his description suggests either Konark or another Odisha port city already featuring towering structures with sculptures.[40]
According to the Madala Panji, there was at one time another temple in the region built by Pundara Kesari. He may have been Puranjaya, the 7th-century ruler of the Somavasmi Dynasty.[60]
Construction[edit]
The current temple is attributed to Narasimhadeva I of the Eastern Ganga Dynasty, r. 1238–1264 CE– . It is one of the few Hindu temples whose planning and construction records written in Sanskrit in the Odiya script have been preserved in the form of palm leaf manuscripts that were discovered in a village in the 1960s and subsequently translated.[61] The temple was sponsored by the king, and its construction was overseen by Siva Samantaraya Mahapatra. It was built near an old Surya temple. The sculpture in the older temple's sanctum was re-consecrated and incorporated into the newer larger temple. This chronology of temple site's evolution is supported by many copper plate inscriptions of the era in which the Konark temple is referred to as the "great cottage".[40]
According to James Harle, the temple as built in the 13th century consisted of two main structures, the dance mandapa and the great temple (deul). The smaller mandapa is the structure that survives; the great deul collapsed sometime in the late 16th century or after. According to Harle, the original temple "must originally have stood to a height of some 225 feet (69 m)", but only parts of its walls and decorative mouldings remain.[5]
Damage and ruins[edit]
A lithography plate from James Fergusson's "Ancient Architecture in Hindoostan" (1847) showing part of the main tower still standing
The temple was in ruins before its restoration. Speculation continues as to the cause of the destruction of the temple. Early theories stated that the temple was never completed and collapsed during construction. This is contradicted by textual evidence and evidence from inscriptions. The Kenduli copper plate inscription of 1384 CE from the reign of Narasimha IV seems to indicate that the temple was not only completed but an active site of worship. Another inscription states that various deities in the temple were consecrated, also suggesting that construction of the temple had been completed.[62] A non-Hindu textual source, the Akbar-era text Ain-i-Akbari by Abul Fazl dated to the 16th century, mentions the Konark temple,[40] describing it as a prosperous site with a temple that made visitors "astonished at its sight", with no mention of ruins.[62][63][64]
Texts from the 19th century do mention ruins, which means the temple was damaged either intentionally or through natural causes sometime between 1556 and 1800 CE. The intentional-damage theory is supported by Mughal era records that mention that Kalapahad, formerly a Hindu named Rajiv Lochan Ray or Kalachand Roy Bhadury later he had converted to Islam, attacking and damaging Jagannath Puri and the Konark temple.[62][65][66] Other texts state that the temple was sacked several times by Muslim armies between the 15th and 17th centuries.[1][40] Islamic texts describing the raids of Kalapahad mention his army's first attempt to destroy the temple in 1565, but they failed. They inflicted only minor damage and carried away the copper kalasa.[40]
A medieval era description of Konark
When nine flights of steps are passed, a spacious court appears with a large arch of stone upon which are carved the sun and other planets. Around them are a variety of worshippers of every class, each after its manner with bowed heads, standing, sitting, prostrate, laughing, weeping, lost in amaze or in rapt attention, and following these are divers musicians and strange animals which never existed but in imagination.
—Ain-i-Akbari, Abul Fazl[40]
The controversial Hindu text Madala Panji and regional tradition state that Kalapahad attacked again and damaged the temple in 1568.[67] The natural-damage theory is supported by the nearness of the temple to the shore and the monsoons in the region that would tend to cause damage. However, the existence of nearby stone temples in the Odisha region that were built earlier and have stood without damage casts doubt to this theory. According to P. Parya, the number of rings of moss and lichen growth found on the stone ruins suggests the damage occurred sometime around the 1570s, but this approach does not indicate why or by whom.[62]
According to Thomas Donaldson, evidence suggests that the damage and the temple's ruined condition can be dated to between the late 16th century and the early 17th century from the records of various surveys and repairs found in early 17th-century texts. These also record that the temple remained a site of worship in the early 17th century. These records do not state whether the ruins were being used by devotees to gather and worship, or part of the damaged temple was still in use for some other purpose. This evidence of the use of the temple, however, contradicts any theories that the late 16th-century Muslim invasion had completely destroyed the site.[68]
Aruna Stambha[edit]
In the last quarter of the 18th century, the Aruna stambha (Aruna pillar) was removed from the entrance of Konark temple and placed at the Singha-dwara (Lion's Gate) of the Jagannath temple in Puri by a Maratha Brahmachari named Goswain (or Goswami).[69][70] The pillar, made of monolithic chlorite, is 33 feet 8 inches (10.26 m) tall and is dedicated to Aruna, the charioteer of the Sun god.[70]
Preservation Efforts[edit]
Sound and light show in Konark Temple
In 1803 the East India Marine Board requested the Governor General of Bengal that conservation efforts be undertaken. However, the only conservation measure put in place at the time was to prohibit further removal of stones from the site. Lacking structural support, the last part of the main tower still standing, a small broken curved section, collapsed in 1848.[71]
The then-Raja of Khurda, who had jurisdiction over this region in the early 19th century, removed some stones and sculptures to use in a temple he was building in Puri. A few gateways and some sculptures were destroyed in the process.[72] In 1838 the Asiatic Society of Bengal requested that conservation efforts be undertaken, but the requests were denied, and only measures to prevent vandalism were put in place.[71]
In 1859 the Asiatic Society of Bengal proposed, and in 1867 attempted to relocate an architrave of the Konark temple depicting the navagraha to the Indian Museum in Calcutta. This attempt was abandoned as funds had run out.[71] In 1894 thirteen sculptures were moved to the Indian Museum. Local Hindu population objected to further damage and removal of temple ruins. The government issued orders to respect the local sentiments.[71] In 1903, when a major excavation was attempted nearby, the then-Lieutenant governor of Bengal, J. A. Baurdilon, ordered the temple to be sealed and filled with sand to prevent the collapse of the Jagamohana. The Mukhasala and Nata Mandir were repaired by 1905.[62][73]
In 1906 casuarina and punnang trees were planted facing the sea to provide a buffer against sand-laden winds.[71] In 1909 the Mayadevi temple was discovered while removing sand and debris.[71] The temple was granted World Heritage Site status by the UNESCO in 1984.[2]
Konark Sun Temple panoramic view
Reception[edit]
The Konark Sun Temple has attracted conflicting reviews. According to Coomaraswamy, the Konark Sun Temple marks the high point of the Odisha style of Nagara architecture.[74]
The colonial-era reception of the temple ranged from derision to praise. Andrew Sterling, the early colonial-era administrator and Commissioner of Cuttack questioned the skill of the 13th-century architects, but also wrote that the temple had "an air of elegance, combined with massiveness in the whole structure, which entitles it to no small share of admiration", adding that the sculpture had "a degree of taste, propriety and freedom which would stand a comparison with some of our best specimens of Gothic architectural ornament".[75] The Victorian mindset saw pornography in the artwork of Konark and wondered why there was no "shame and guilt in this pleasure in filth", while Alan Watts stated that there was no comprehensible reason to separate spirituality from love, sex, and religious arts.[76] According to Ernest Binfield Havell, the Konark temple is "one of the grandest examples of Indian sculpture extant", adding that they express "as much fire and passion as the greatest European art" such as that found in Venice.[77]
Indian writers, too, have expressed a spectrum of opinions. For example, the leftist author Bhattacharya criticized the "brahmanical temple erotica", offering it as evidence of "female exploitation by the dominant classes of Hindu male society", and a "reflection of abnormal sex desires".[78] In contrast, the Nobel Laureate Tagore wrote,
Here the language of stone surpasses the language of human.
—  Rabindranath Tagore[79][80]
Gallery[edit]
Antique paintings and photographs[edit]
Watercolour painting of two European officers with a dog exploring the interior (1812)
Watercolour "somnath" drawing of the north side of Konark (1820). It depicts part of the main tower still standing.
Photograph of a general view from the south-west (c.1890).
Arunastambha at the Singhadwara at Jagannath Temple in Puri (1870)
Current day photographs[edit]
Nata mandir
Front view of Nata mandir
A simha-gaja at the entrance
A weathered horse sculpture
Elephants of Konark Temple
A secondary statue of the Sun god
A sculpture on the temple wall
Mayadevi Temple at Konark
Sculpture of a makara on Mayadevi Temple
Vaishnava Temple
Sanctum of the Vaishnava Temple
Carvings on the Sun temple
A sculpture on the temple wall
A sculpture taken from the site at the British Museum
Replica of Sun Temple at Gwalior
See also[edit]
Orissa portal
History of Odisha
Solar deity
Konark Dance Festival, an annual event held at this site
References[edit]
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External links[edit]
Wikimedia Commons has media related to Sun Temple, Konârak.
Konark Sun Temple (Official Website), Tourism Department, Government of Odisha
Konark Sun Temple, World Heritage Site, UNESCO
Konark Sun Temple, Archaeological Survey of India
Konark Dance Festival, Government of Odisha
Iconography at Konark Temple, Rusav Kumar Sahu (2011)
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Climax community
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The Daintree Rainforest in Queensland, Australia is an example of a climax forest ecosystem.
Warren Woods in Michigan, USA is an example of a Beech-Maple climax forest. Beech (pictured) and Sugar Maple (bottom left) dominate the forest due to their towering height and tolerance to shade.
In ecology, climax community, or climatic climax community, is a historic term for a biological community of plants, animals, and fungi which, through the process of ecological succession in the development of vegetation in an area over time, have reached a steady state. This equilibrium was thought to occur because the climax community is composed of species best adapted to average conditions in that area. The term is sometimes also applied in soil development. Nevertheless, it has been found that a "steady state" is more apparent than real, particularly if long-enough periods of time are taken into consideration. Notwithstanding, it remains a useful concept.
The idea of a single climax, which is defined in relation to regional climate, originated with Frederic Clements in the early 1900s. The first analysis of succession as leading to something like a climax was written by Henry Cowles in 1899, but it was Clements who used the term "climax" to describe the idealized endpoint of succession.[1]
Frederic Clements' use of "climax"[edit]
Clements described the successional development of an ecological communities comparable to the ontogenetic development of individual organisms.[2] Clements suggested only comparisons to very simple organisms.[3] Later ecologists developed this idea that the ecological community is a "superorganism" and even sometimes claimed that communities could be homologous to complex organisms and sought to define a single climax-type for each area. The English botanist Arthur Tansley developed this idea with the "polyclimax"—multiple steady-state end-points, determined by edaphic factors, in a given climatic zone. Clements had called these end-points other terms, not climaxes, and had thought they were not stable, because by definition climax vegetation is best-adapted to the climate of a given area. Henry Gleason's early challenges to Clements's organism simile, and other strategies of his for describing vegetation, were largely disregarded for several decades until substantially vindicated by research in the 1950s and 1960s (below). Meanwhile, climax theory was deeply incorporated in both theoretical ecology and in vegetation management. Clements's terms such as pre-climax, post-climax, plagioclimax and disclimax continued to be used to describe the many communities which persist in states that diverge from the climax ideal for a particular area.
Though the views are sometimes attributed to him, Clements never argued that climax communities must always occur, or that the different species in an ecological community are tightly integrated physiologically, or that plant communities have sharp boundaries in time or space. Rather, he employed the idea of a climax community—of the form of vegetation best adapted to some idealized set of environmental conditions—as a conceptual starting point for describing the vegetation in a given area. There are good reasons to believe that the species best adapted to some conditions might appear there, when those conditions occur. But much of Clements's work was devoted to characterizing what happens when those ideal conditions do not occur. In those circumstances, vegetation other than the ideal climax will often occur instead. But those different kinds of vegetation can still be described as deviations from the climax ideal. Therefore, Clements developed a very large vocabulary of theoretical terms describing the various possible causes of vegetation, and various non-climax states vegetation adopts as a consequence. His method of dealing with ecological complexity was to define an ideal form of vegetation—the climax community—and describe other forms of vegetation as deviations from that ideal.[4]
Continuing usage of "climax"[edit]
Despite the overall abandonment of climax theory, during the 1990s use of climax concepts again became more popular among some theoretical ecologists.[5] Many authors and nature-enthusiasts continue to use the term "climax" in a diluted form to refer to what might otherwise be called mature or old-growth communities. The term "climax" has also been adopted as description for a late successional stage for marine macroinvertebrate communities.[6]
Additionally, some contemporary ecologists still use the term "disclimax" to describe an ecosystem dominated by invasive species that competitively prevent the re-introduction of once native species. This concept borrows from Clement's earliest interpretation of climax as referring to an ecosystem that is resistant to colonization by outside species. The term disclimax was used in-context by Clements (1936), and despite being an anthropogenic phenomenon which prevents the facilitation and succession to a true climax community, it is one of the only examples of climax that can be observed in nature.[7][8]
References[edit]
Jump up ^ Cowles, Henry Chandler. 1899. The Ecological Relations of the Vegetation on the Sand Dunes of Lake Michigan. Botanical Gazette 27(2): 95-117; 27(3): 167-202; 27(4): 281-308; 27(5): 361-391.
Jump up ^ Clements, Frederic E. 1916. Plant Succession: An Analysis of the Development of Vegetation. Washington D.C.: Carnegie Institution of Washington.
Jump up ^ Hagen, Joel B. 1992. An Entangled Bank: The Origins of Ecosystem Ecology. New Brunswick: Rutgers University Press.
Jump up ^ Eliot, Christopher. 2007. Method and Metaphysics in Clements’s and Gleason’s Ecological Explanations. Studies in History and Philosophy of Biological and Biomedical Sciences 38(1): 85–109.
Jump up ^ See, for example, Roughgarden, Jonathan, Robert M. May and Simon A. Levin, editors. 1989. Perspectives in Ecological Theory. Princeton: Princeton University Press.
Jump up ^ Rosenberg R., S. Agrenius, B. Hellman, H. C. Nilsson, and K. Norling. 2002. Recovery of marine benthic habitats and fauna in a Swedish fjord following improved oxygen conditions. Marine Ecology Progress Series 234: 43-53.
Jump up ^ Clements, Frederic E. 1936. Nature and Structure of the Climax. Journal of Ecology. Vol. 24, No. 1, pp. 252-284
Jump up ^ Johnson, K. 1984. Prairie and plains disclimax and disappearing butterflies, in the central United States. Atala. Vol. 10-12, pp. 20-30
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The Making of The Wizard of Oz
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The Making of The Wizard of Oz
Author
Aljean Harmetz
Language
English
Publisher
Hyperion
Publication date
Dec 2, 1998 (60th anniversary edition)
Media type
Paperback
Pages
368
ISBN
0-7868-8352-9
OCLC
40076566
Dewey Decimal
791.43/72 21
LC Class
PN1997.W593 H3 1998
The Making of the Wizard Of Oz, written by film historian Aljean Harmetz, is a book about the production of the 1939 film The Wizard of Oz. It was the second book ever published documenting the making of this film, released a year after Doug McClelland's 1976 work Down the Yellow Brick Road.
The book was published in November 1977, after the film had been telecast a total of nineteen times. With 93 photos, the book tells readers how the film was made and describes the Golden Era of moviemaking in the 1930s and 1940s at Metro-Goldwyn-Mayer.
The book took two years to be created. Aljean Harmetz researched the film and the studio and interviewed the surviving cast, crew and MGM staff. From the acquisition of the music to the scripts, casting, and filming, Harmetz's book provides readers with a detailed re-creation of how the studio produced this film.
It was reissued in paperback in 1984, and again with a new preface by the author for the film's 50th anniversary in 1989. Another reissue was released, again with a new preface, shortly before the film's theatrical re-release in 1998, and another reissue is planned for the film's 75th anniversary in 2013.
After the success of the book, Aljean Harmetz adapted her knowledge and contacts with the film's survivors into a 30-minute PBS documentary in 1979.
Table of contents[edit]
The Studio 1938
The Scripts
The Brains
The Heart
The Nerve and the Music
Casting
The directors
The Stars and the Stand-ins
The Munchkins
"Below the line"
Special Effects
Accidents
After Oz
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The Wizard of Oz
Elements
"Surrender Dorothy"
Ruby slippers
Music
"Over the Rainbow"
"Ding-Dong! The Witch Is Dead"
"We're Off to See the Wizard"
"If I Only Had a Brain"
"Optimistic Voices"
"The Merry Old Land of Oz"
"If I Were King of the Forest"
"The Jitterbug" (cut from final film)
Versions, sequels, and
adaptations
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The Wizard of Oz in Concert: Dreams Come True
On television
Was
Apocalypse Oz
Off to See the Wizard
Journey Back to Oz
The Wiz
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Return to Oz (1985)
Tom and Jerry and the Wizard of Oz
Wicked
Oz the Great and Powerful
Legends of Oz: Dorothy's Return
Tom and Jerry: Back to Oz
Lost In Oz
Dorothy and the Wizard of Oz
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Related
The Making of The Wizard of Oz
Friend of Dorothy
Over the Rainbow
Dark Side of the Rainbow
Meco Plays The Wizard of Oz
Lego Dimensions
L. Frank Baum
The Wonderful Wizard of Oz

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