Maa Kalijai Temple ,chilika

Maa Kalijai Temple ,chilika

Kali jai temple is temple of goddess Kalijai. It is located on an island in Chilika Lake. It’s about 18 K.M away from Balugan in south east direction.

There is long story hidden behind this temple about, how it got it name as “KALI JAI”. Kali, the goddess kali and Jai, is the name of local girl of village of Banapur, who was drowned there during her visit to the village name as Parikudad Gada for the occasion of her marriage. The local people believe that an accidental storm with deep black cloud has vanished her traditional boat, and since then the fisher man hear her voice near to that hills, where her boat was disappeared. Since then she became the adorable goddess among the Odiya people.

This incident was happened some around 2000 years ago. Since then local people bring goats and livestock on this island in the belief that goddess kali will shower wishes to them. During the festival of “MAKAR SANKRANTI” the island host ten thousands of devotees, this is one of largest Oriya fest.Route to TempleBalugan can be easily reachable by using east coast railways and through national highway (NH 5). We can also find buses from Bhubaneswar. To visit Kali jai both motor fitted, traditional boats, modern boats are available. The area also provides good facilities for boarding and lodging with tasty Odiya food.Visiting SeasonThe best time to visit this place is during winter, when you can see dolphins and migratory birds from various places.During the visit to these places we can feel both anxiety of fear and can enjoy the beauty of the nature spreading over the complete place, thus proving a great place for tourist.

Makar Mela at Kalijai Hill

Odisha abounds in spot of scenic beauty and thenatural ake Chilika adds to its aesthetic looks.Chilika, a wonder creation of Nature, is a vastand picturesque lagoon/lake in the heart of coastalOdisha. It displays lavish scenic eauty. Chilikais not just a lake but an ever flowing living entity.In the works of the great Odia Poet, RadhanathRay, it is a place of entertainment for ‘Utkal Laxmi’and so goes the line…..

“Utkal Kamala Vilas Dirghika

Marala Malini Nilambu Chilika

Utkal Tuhi Charu Alankar

Utkala Bhubane Sobhara Bhandar”

Queen of natural beauty, Chilika, thelargest brackish water lake in Asia covering anarea over 1100 sq.km is a great attraction for thetourists. Chilika lake is regarded as a magnificent gift of ature.
“ Sundar Truptira Abasada NanhiJete Dekhuthile Nua Disuthai”
The lake is a mute witness to the rise andfall of so many castles, temples and forts.

“ Atitara Tuhi Sakhi Puratana

Dekhilu Narara Utthana Patana

Kete Rajadhani To Tire Utthita

Hoitanhi Puni Hele Astamita”

x         x      x

“Itihas-ranga Stali Tu Chilika

Toratire Para Srimati Manika

Haste Bhunjithile Sadare Labani

Bhabagrahi Prabhu Bhakti Chintamani”

The blue water of Chilika lake thatspreads around speaks of the glorious heritageof ancient Utkal. The hillock covered with greenbushes in it, speaks of many legends and folktales.The confluence of grandeurs and geese along withother beautiful birds pronounces the co-existenceof Nature’s creations where from “Beauty” and“Truth” comes up, that’s why, the poet andPhilosophers get attracted to the Chilika. Themagnificent sight of the lake enables a man withaesthetic sensibility to be transported to a different world where ‘Art’ and ‘Beauty’ reign supreme.Kalijai Temple or Kalijai Pahada is situated on an island considered to be the abode of the Goddess Kalijai. She is venerated due to the folklore and the  egend. It is an excellent destination.

“ Kalijai Bada Pratyaksha Debata

Koti Koti Dandabata

Pahadara Na Raijey Kshyata Lo

Kalijai Parabata”

The temple of Kalijai is located in theisland of Chilka lake of Puri  istrict. Formerly it came under the ex-Zamidari of Parikuda. The popular Kalijai legend talks of the beautiful rustic bride, Kalijai who met watery-grave on the way to her in-laws house when the boat carrying her capsized on account of a storm. Since then,  alijai has turned into an angelic spirit who safeguards the people on the sea.                                                    
Jai, a small girl was living with her parents in a village on the bank of the river Salia. She was very much liked by her parents for her beauty and religious bent of mind. She used to worshipat the feet of Goddess Bhagabati on all ceremonial days. When she came of a age her parents gave her in marriage to a handsome young man of Parikuda Garh. After the marriage is over her father accompanied her to Parikuda along with a cart load of dowry articles. To reach Parikuda, the only available means of  ommunication then was a long boat journey from Balugaon. So Jaiwith her father boarded the boat clear over the wide expanse of the Chilika water. He successfully avoided the invisible rocks within the deep Chilika water while plying the boat through the favourable cool wind. Jai was all along feeling uncomfortable as she had left her matter and childhood friends. Seeing her plight on the occasion of first boat ride, the father of Jai repeatedly advised the boatman to move boat cautiously across deep waters and rocky beds.“Bhalakari Naha Buha Re Nauri Jhiaku Maduchi Dara; Gadhe Gada loke Chanhi Basithibe Jhia Jiba Sasughara”The boatman as usual plying the boat carefully singing songs of the Chilika lake and praising the glory of the river Goddess.

“ Deulakirati Kalijai Giri

Marakata- Setu Praye yara Shiri”

They were a distance away from the destination. Suddenly a dark cloud appeared inthe sky. The soaring thunder lightening and  iolent breeze caused panic among the boat riders. Before long large drops of rain started falling and soon it became a heavy downpour. The boatman could not controll the boat as it was tossing over the violent waves of the deep Chilika water. It ontinued for a long time and the boat losing all its balance dashed against a huge rock. Several riders including Jai drowned in the  ater. The walling cry of the riders did not overpower the laud thunder. No sooner the boat dashed and sank in the lake water the cloud disappeared on the vast sheet of sparking water. But to every body’s supreme Jai could no more be found. Hear Jai's father repeatedly asked the boatman regarding her whereabouts.

“Bapa Pacharanti Khoji Naurire

“Jhia Mora Gala Kanhi ?”

Buji akhithia Nauri Nije Lo

Tunda ta phitai Nanhi”-Kalijai

The boatman apprehended her drowning when the boat caught in the whirlpool. They all searched the lake for a great distance but could not find any trace of Jai. Her father crushed his fate in giving marriage the daughter at a far off place and returned home with a heavy heart. Since then the rocky hill against within the boat dashed came to be known as the Kalijai hill. The boatman and people travelling in the lake have seen on many occasions the spirit of a young lady with disheveled hair and tearful eyes roaming in the thick forests of the rocky island. Local people identify her with Jai. Local people subsequently built a small temple and installed a stone idol calling her Kalijai.

“ Tolile Pahada-Sikhe Kale Ukte

Sudar Deulatie;

Se Deula Puni Samudre Sate Lo,

Rahiba Debata Kie ?”

In the historical point of view, the real name of Kalijai is Kala Jai means victory over the era. Kalijai or Kalajayi was presiding deity of royal Palace of Parikuda Garh (Krushna Prasada Garh).Goddess was installed there and a temple was built to protecte enemy those were coming on sea route. The main pidha temple and its frontflat-roofed pillared mandapa are built in recent years on the rocky bed of this island, on a common platform and thoroughly  lastered. The outer walls of this temple are devoid of sculptural decoration.The presiding deity under the name of Kalijai is greatly revered by the boatmen and the people who travel through the deep water of the Chilika lake. They believe that Kalijai is a very kind and helpful Goddess and those who pray at her feet never face any danger in the Chilika lake. The presiding deity is installed on a masonry pedestal erected very close to the inner back wall of theGarbhagriha. To her side another image under the name of Malajai has been given preserved for worship. As both the figures have been given deep coasts of vermillion it becomes different to arriveat their iconographic features. A small image of Kanaka Durga kept in one corner of the Garbhagriha. Since the Kalijai temple of Chilika lake remains inaccessible during rainy season, therulers of Parikuda built another shrine for the deity at Parikuda for annual observance of Dasahara festival.Kalijai Island is home to the Goddess Kalijai. Out of various fairs and festivals of this spot, it hosts a huge fairs on Makar Sankranti annually called Makara Mela in the month of January. This fair attracts a large number of visitors both from outside and inside the country. Maa Kalijai is venerated by the local people. There are 132 fishermen villages having 31,000 fishermen. They are quite active in fishing atChilika, visit Kalijai temple on this day to offer their ritual items. The lake Chilika is very much  important from the socio-economic point of view. It is life-line of thousands of fishermen families who completely depend on Chilika for their livelihood. On the day of Makar Sankranti, the special nitis observed in this temple. Goddess wears new clothes and Shri Santosh Singh Mardaraj, the king of Parikuda Garh comes from his fort namely Krushna Prasada Garh in royal procession by boats to this temple to offer special Bhoga, new cloths along with ritual requirements to Goddess on behalf of royal palace and coronation                                             ( Abhishek)observed here.
Maximum devotees came to this spot to offer their sacrificial animals, through victim system is strictly prohibited here from early time. The festival helps bring all fisher folks together, whothough display their own little quirks in the festivities, celebrate as one. It was celebrated by all with much fervor. Each caste added to the gaiety with their own unique customs, attire and celebratory dances. People donned new attire and greeted each other on the occasion. It is one of the biggest annual festivals of fisher folk. The festival is enjoyed with boisterous music, dance and drums. In this time Chilika lagoon became full of motorized boats and general boats. The lake became a perennial source of solace and joy to all emotional-beings. The grandeur and greatness of the lake have a lusting impact on the viewers. Indeed ‘Makar Mela’ of Kalijai hill is a ‘thing of beauty’ and hence a ‘joy for ever’. Its sanctity makes it a place of pilgrimage which attracts tourists from around the globe. It is a witness to so many events and incidents   of mythological and legendary importance.......

Akhadachandi Temple

Akhadachandi Temple 

is a 10th-century A.D. temple in Bhubaneswar(Lat.20°14’46”N.,Long.85°60’02”E.,Elev.61 ft) in the state of Odisha, India. The temple is situated in the south-western embankment of Bindusagar tank in Badu Sahi, Old town.

It is 15 metres east of Markandesvara temple and to the north-west of Mohini temple at a distance of 30 metres. The presiding deity is Mahisasuramardini. The temple is facing towards south and the presiding deity is facing towards east. Various religious sacraments like Durgastami and Balabhoga are performed here. The temple is maintained by Bhubaneswar Municipal Corporation. It is in fair state of preservation. The temple was repaired by the Odisha State Archaeology under the X and XI Finance Commission Award. The temple is surrounded by Bindusagar tank in the east at a distance of 6.40 metres, Markandeya temple in the west and private residential buildings in the southern side.

Architectural features

The temple is constructed in the Kalingan style using coarse-grained sandstone. The main temple is a Khakhara Deul. It is rectangular on plan measuring 1.28 metres x 1.83 metres. On elevation, the vimana is of khakhara order measuring 42.94 metres in height from pabhaga to mastaka. From bottom to the top the temple has bada, gandi and mastaka. With fivefold divisions the bada measures 1.74 metres. At the bottom the pabhaga measures 0.26 metres in height. Jangha measuring 0.52 metres is segmented into tala jangha and upara jangha by a set of bandhana moulding. Bandhana measures 0.08 metres and baranda measures in 0.26 metres. Gandi of the temple is in khakhara order which is arranged in three tires with a semi cylindrical roof. The mastaka of the temple consists of a kalasa flanked by two gajakranta on either sides.

Decorative features 

The doorjamb is decorated with two plaster design measuring 1.10 metres x 0.65 metres. Besides the main entrance there are two subsidiary gateways in the eastern and northernwalls. These are uniform in measurement measuring 0.92 metres x 0.59 metres. two gateways. 

About Mohini Temple Information-Bhubaneshwar

Mohini Temple is located on the south-bank of the tributary Bindu Sarovara. Mohini literally means the temptress. The temple has idols of parsava devatas that are not considered to be the main idols in any temple. The temple holds idols of deities like Parvati, Kartikeya and Ganesha. Not much information is available regarding the building of the temple.
The idol in the sanctum is a ten-armed dancing icon of Goddess Chamunda, a tantric incarnation of Goddess Kali. In the same sanctum there is the idol of a six-armed image of Mahishasuramardini lying on the floor. The decorative feature is a carved lotus on the topmost stone adorning the original Garbha-Muda or the sanctum above the present wooden ceiling.
This temple bears a close resemblance to the Parashurameswar Temple, on the main Bhubaneswar-Puri road. Though unfinished in appearance, the temple has the images of Parvati, Kartikeya and Ganesh and carved wooden ceilings.
Though much of the temple’s interior and exterior has been damaged, the jagamohana or the sanctum has been restored by Orissa State Archaeology while the interior has been inlaid with marble. The temple is devoid of any sculptural embellishments or decoration as found in other temples except the vajramastaka designs in the raha paga.
On plan the temple has been built on triratha (three chariot) and has three divisions of bada or three layers of vertical walls i.e trianga bada in elevation.
The style and architecture of the temple confirms to the rekha style as the jagamohana is flat roofed resembling the temples built during early Kalingan period.
The temple has been built using sand stone while laterite has been used in the foundation of temple construction

Rama - Chandi Temple at Ramachandi

Rama - Chandi Temple at Ramachandi

The temple of Rama-Chandi is one of the important Sakta shrines of Orissa. It is situated near the sea-shore, at a distance of 8 kms to the south of the Sun Temple of Konark.1 This temple is exactly located on the right side of the Marine Drive Road, which lies between Puri and Konark. It is considered by local people that Goddess Ramachandi is the presiding deity of

the whole of Arkakshetra. From the architectural point of view, the temple of Ramachandi is not important but from the religious point of view, it is one of the famous Sakta pithas of Puri. The temple of Ramachandi is a small deula and it

consists of two structures such as vimana and jagamohana. There is an open flat roof mandapa, recently built in front of the jagamohana. This temple is built in sand stones, laterite and bricks.   It faces to north.

  

Architectural Features of the Temple

(A) Vimana

The vimana of the Ramachandi temple is a pancharatha pidha deula and its height is about 30 feet from the surface of the temple complex.2 The structure of the vimana is erected on the

platform of 1 foot high. It has four parts such as pistha, bada, gandi and mastaka. The pista of the vimana is decorated with three horizontal mouldings, which are joined by vertical bonds

The bada of the vimana is panchanga type i.e. having five fold divisions such as pabhaga, talajangha, bandhana, upper jangha and baranda. All the components parts of the bada are

completely undecorated. The central niches of the three sides of the bada of vimana are housed with parsvadevata images of a headless Buddha, a four-armed Devi and Biranchi-Narayana. A disfigured image of Lord Buddha is the parsvadevata of the western side. The image has no head as well as hands. This headless deity has been installed on the double petalled lotus edestal. He is carved in padmasana posture. Two sides knees of deity are completely broken. According to temple priests, this image was originally Buddha but in latter period, it broken

by Kalapahada. A Devi image is the parsvadevata of the  outhern or backside. The four-armed Devi image has been installed on the plain pedestal. This image is carved in   dmasana posture. She displays lotus in right upper hand, rosary in right lower hand whereas the left lower hand lies on the thigh and the attribute in left upper hand is not being clearly visible. The eight-handed image of Biranchi-Narayana is the parsvadevata of the eastern side. He has been installed on the decorated pedestal. The image has three heads (one female, one Varaha and another a male head). It stands in alidha pose on a chariot drawn by seven spirited pigs. Out of the eight arms, five are completely broken and other three hands display bow, club and mudgal. R.P. Mohapatra has referred to that it is an image of Marichi of the Buddhist Pantheon.  Small Varahi images are carved on the both side top corners of the slab of deity. The backside head of Devi is decorated with semi-circular shaped arch. All the   parsvadevatas of the main deula are made of black chlorite.

The pyramidal superstructure is surmounted on the bada of vimana and it consists of three flat shaped pidhas. Each pidha is

decorated with tankus in all sides. Jhapa simhas are projected on the western, eastern and northern or front sides of the gandi. Dopichha lions are fixed on the top of kanika pagas of the gandi. Deula Charini figures are insterted in the four cardinal directions of the beki above rahas. They are combinely acting as the supporting elements to the amalaka sila of the mastaka.

The mastaka of the vimana consists of beki, ghanta (bell shaped member) above which there is another beki, amalaka sila,   apuri, kalasa, ayudha, (chakra) and dhvaja. The sanctum  reserves ten-armed Goddess Rama Chandi as the presiding deity of the temple. She is worshipped in the form of Dasabhuja Durga. Her right five arms displays khadga, gada, chakra, trident and lotus flower whereas the left five hands hold panapatra,  arasu, pasa, bow and dambaru respectively. The image is made of black chlorite and it is 30 inches in height.4 Here Goddess wears a silver mukuta on her head. Lion, the conventional mount of Devi is carved on the pedestal. She is piercing Mahimsasura,

the demon by her trident. The image of Goddess Ramachandi

is installed on the simhasana of 2 feet high. The deity is certainly more ancient than the Sun temple at Konark.5 Goddess Ramachandi, the presiding deity of the Konark region is   rshipped here with great reverence.

(B) Jagamohana

The jagamohana or mukhasala of the temple has a

vaulted roof or semi-cylindrical roof and it is about 12 feet in

height. The outer walls of the jagamohana are completely plain. Both the structures of vimana and jagamohana are heavily   astered with lime mortar. There is a lion installed on the octagonal pillar of 2½ feet high and it is noticed in the floor of the jagamohana. The niches of the northern wall contain two images of Varaha and Trivikrama. Both these images are  ashioned in as usual attributes in hands. The backside head

of these two deities are decorated by trefoil arch. They are installed on the double petalled lotus pedestal. Both sides top corners of the slab are carved with flying apsara figures. Inner walls of the mukhasala or jagamohana are depicted with  aintings of Dasamahavidya figures such as Devi Lakshmi,  airabhi, Bagala, Dhumabati, Chhinnamasta, Matangi,

Bhubanesvari, Sodasi, Tara and Kali. They are depicted in traditional Patta style painting of Orissa. It is executed by the local artists of Puri. The doorway of the jagamohana is devoid

of decorative ornamentations. Two lions are installed on the  oth sides of mukhasala and they are acting as the dvarapalas of the temple.

(C) Natamandapa

Recently, a new open flat roof structure is built in front of the jagamohana hall. It is considered as the natamandapa of the temple. Lion, the conventional mount of presiding deity,

installed on the floor of the natamandapa hall. In the north west corner of the temple complex is occupied by a Siva temple  amed Ramesvara. A rescued Sivalinga is being worshipped in the sanctum. This small Saiva shrine faces to east. The temple complex of Goddess Ramachandi is enclosed by a boundary wall and it measures approximately 80 feet in length and 40 feet in width respectively.6 This boundary wall is built in bricks.

Date of the Temple

According to local tradition, in the 16^th     century A.D. Goddess Ramachandi was being worshipped in a small shrine in the Sun Temple Complex of Konark. After destroyed it by Kalapahada, this Goddess was shifted to the present site. Then a temple was constructed herefor the worship of Goddess. Dr. B.K. Ratha has

said that the present temple of GoddessRamachandi was onstructed in the eighteenthcentury A.D.7 The architectural eatures of themain temple indicate that it was constructed not

earlier than 300 years. The available of extantdamaged culptures, which noticed in the templepremises, prove that there was an old huge templeconstructed there before the erection of thepresent temple.8 The jagamohana of the templeis built in the twentieth century.It is known from the above discussion that

the architectural feature of the temple is not soimportant but from the cultural point of view, thetemple is considered as an important Sakta shrine of the Arkakshetra. The site of Ramachandi temple is also a picnic spot.

Laxmi Narayan Temple

Laxmi Narayan Temple

This temple is located in the Kapileswar temple precinct. The enshrined deity is Laxmi- Narayana seated in padmasana over a lotus pedestal. Narayana has four arms holding conch in his upper right hand, a lotus in upper left hand and lower left hand is holding a mace. Laxmi is seating on his left lap. Both the images are crowned with Kirita mukuta. Laxmi is holding a lotus. The temple has a vimana in pidha order. On plan the temple measure 1.46 m in length and on its width it is merged with the kitchen walls. The total height of the temple is 3.24 m (bada 1.34 m, gandi 1.15 m, and mastaka 0.75 m). The cella measure 0.90 square m. There is a Garuda image over a pillar in front of the temple. The doorjamb measure 1.15 m in height x 0.50 m in width. This temple is closely attached with the pathway of the kitchen.

Akhandalamani Temple

This famous temple, the abode of “Lord Siva” is located in the bank of river Baitarani, at Aradi, 37 km to the east of the district headquarters of Bhadrak via Asurali, Kothara and Dhusuri. This place is also linked to Chandabali by boat through the river Baitarani. From Chandabali ferry ghat to Aradi it will take hardly two hours by boat. The temple is just 8 km away from the famous Kali mandir of Rameswarpur village

here is no conclusive history available either regarding Baba Akhandalamani or the temple of the lord Siva. According to legend, around 350 years ago during the rule of Raja Sri Niladri Samara Singha Mohapatra, one early morning the Raja sent a peasant to cultivate his paddy field on the bank of the river Baitarani. While cultivating, the blade of his plough was broken by hitting with some hard material. The peasant was astonished and found a black glazed granite stone full of blood flowing toward the river Baitarani. The peasant ran to call King Niladrisamar Singhm and he hurriedly came to the spot, finding a flood of milk in place of blood and a huge black cobra hooding the stone.That night the king had a dream regarding the arrival of the God Akhandalamani on that place. This news spread like wild fire in the locality. The next day King Niladri Samara Singha Mohapatra started worshiping the great god and immediately built a wooden temple on the spot. A large number of devotees from different villages started visiting and worshiping the great God. The king invited five Brahmins from a village named Naharagrama of Jajapur district to perform seva-puja (worshiping and taking care) of lord Akhandalamani.The present main temple of Aradi was built by the King of Konika Shri Harihara Bhanja and his chief queen Satyabhama Patadei. The height of the temple is around 150 ft. All the stones used in this temple were brought from the historic hill of Lalitgiri near Chandikhol.The main hall was built by a sage named Shri Narasingha Pratap Kumar and the surrounding wall of the temple was built by a noted sage named Shri Darshan Sekhara Das. Later, today's Bhoga Mandapa near the temple (along with the present temple office) was built by government initiative. The P.W.D road from Bhadrak to Aradi was declared State Highway and was converted into all weather Road instead of fare weather road. A Pantha Nivas was built at Aradi by Tourism Dept., Govt. of Orissa. The Govt. of Orissa sanctioned a handsome amount for the temple.

sitabinji keonjhar ,odisha

sitabinji keonjhar

Sitabinji, famous for the fresco paintings on a Rock Shelter called Ravan Chhaya, lies at a distance of 30 kms from Keonjhar.Superintending Engineer of Government Of Orissa, Keonjhar, Orissa invites tenders notice for improvement of Katrabeda to Sitabinji road at Keonjhar

Sitabinji Pictographs  located on the banks of the Sita River, is famous for ancient fresco paintings carved on a rock shelter called the ‘Ravan Chhaya’.( 20 KMs from Ghatagaon)

Sitabinji, located on the banks of the Sita River, is famous for ancient fresco 

paintings carved on a rock shelter called the ‘Ravan Chhaya’. The Chikinia Park is a popular picnic spot near Sitabinji.

Ravana
Chhaya, a
rock shelter
near
Sitabinji,
Orissa, is
around
1,300 -
1,500 years
old and
contains
ancient
painting created in the tempera method. Sitabinji is a rural community
that has an interesting past and was named after the stream Sita that
flows near the region.
There is a crevice in between two rock boulders that consists of exquisite tempera art and painting that can be traced back to the 7th
century. The art work is not linked with any religious beliefs and depicts the scene of a royal procession. Ravana Chhaya can be
literally translated into Shadow of Ravana, the King of Lanka (as mentioned in Ramayana).
The Ravana Chhaya rock shelters are situated between two massive boulders of granite. The larger boulder is inclined towards the
smaller boulder, which creates a triangular crevice in between. The gap is around 6.7 m in height and 4.7 m in depth. The depth of the
crevice has provided favourable conditions for the preservation of the precious artwork.
History of Ravana Chhaya
The cave had adequate significance in the ancient times, even in the period before the artwork was created. Followers of Lord Shiva
used the cave around 4th - 6th century AD. They used to worship Mukha Linga, a depiction of lingam with four faces of lord Shiva and
are still situated in the Sitabinji region. The inscriptions in the nearby areas also depict the Mukha Linga which provides evidence that
worship of Shiva was hugely popular in Orissa during the 5th century AD.
There are also remnants in the vicinity that contain pieces of ancient bricks and inscriptions in Pali language. More over ancient coins
of the Kushanas and other sculptures have also been excavated, which suggest that Sitabinji was widely popular in those days. Other
rock cut shelters in the area contain paintings and artworks from the Mesolithic period, which are also popular as Paintings of
Sitabinji.
Tempera Paintings of Ravana Chhaya
The painting of Ravana Chhaya rock shelters, which was created in the tempera technique, was brilliant in terms of quality and skill,
dates back to 7th Century AD. The granite surface, which is usually rough, was smoothened by using a thin layer of lime, before
applying the quick drying colours that was used in tempera paintings. The painting appears to have resemblance with the styles
adopted in artworks of Hindu religion. It portrayed an imperial figure sitting on top of an elephant and holding a sword, in a royal
procession. A number of followers escort the procession on foot, along with women who seem to be dancing and a few horsemen. It
is believed by experts that the location was used as a royal retreat while hunting.
The name of Maharaja Sri Disabhanja also appears in the lines below the painting. It was writing was painted in the Sanskrit
language in the 7th century AD. Furthermore, to protect and conserve the artwork from seeping water, a channel has been chiselled

on the rocks, right above the artwork. But still the lower portion of the painting has eroded.