History of Temples of Historical Places Odisha

1. Introduction

A temple (from the Latin word templum) is a structure reserved for religious or spiritual rituals and
activities such as prayer and sacrifice. It is typically used for such buildings belonging to all faiths
where a more specific term such as church, mosque or synagogue is not generally used in English.
These include Hinduism, Buddhism, and Jainism among religions with many modern followers, as
well as other ancient religions such as Ancient Egyptian religion.

The form and function of temples is thus very variable, though they are often considered by
believers to be in some sense the "house" of one or more deities. Typically offerings of some sort are
made to the deity, and other rituals enacted, and a special group of clergy maintain, and operate the
temple. The degree to which the whole population of believers can access the building varies
significantly; often parts or even the whole main building can only be accessed by the clergy.
Temples typically have a main building and a larger precinct, which may contain many other
buildings.

The word comes from Ancient Rome, where a templum constituted a sacred precinct as defined by a
priest, or augur.[1] It has the same root as the word "template", a plan in preparation of the building
that was marked out on the ground by the augur. Templa also became associated with the dwelling
places of a god or gods. Despite the specific set of meanings associated with the word, it has now
become widely used to describe a house of worship for any number of religions and is even used for
time periods prior to the Romans.
2. Definition/Meaning of Temple

A temple is a building used for the worship of a god or gods, especially in the Buddhist and Hindu
religions, and in ancient Greek and Roman times.

3. Importance of temples

A Hindu temple reflects a synthesis of arts, the ideals of dharma, beliefs, values, and the way of life
cherished under Hinduism. It is a link between man, deities, and the Universal Purusa in a sacred
space.[17]

The 9x9 (81) grid ‘’Parama Sayika’’ layout plan (above) found in large ceremonial Hindu Temples. It is
one of many grids used to build Hindu temples. In this structure of symmetry, each concentric layer
has significance. The outermost layer, Paisachika padas, signify aspects of Asuras and evil; while
inner Devika padas signify aspects of Devas and good. In between the good and evil is the concentric
layer of Manusha padas signifying human life; All these layers surround Brahma padas, which
signifies creative energy and the site for temple’s primary idol for darsana. Finally at the very center
of Brahma padas is Grabhgriya (Purusa Space), signifying Universal Principle present in everything
and everyone.[4]

In ancient Indian texts, a temple is a place for Tirtha – pilgrimage.[4] It is a sacred site whose
ambience and design attempts to symbolically condense the ideal tenets of Hindu way of life.[17] All
the cosmic elements that create and sustain life are present in a Hindu temple – from fire to water,
from images of nature to deities, from the feminine to the masculine, from the fleeting sounds and
incense smells to the eternal nothingness yet universality at the core of the temple.[4]

Susan Lewandowski states[8] that the underlying principle in a Hindu temple is built around the
belief that all things are one, everything is connected. The pilgrim is welcomed through 64-grid or
81-grid mathematically structured spaces, a network of art, pillars with carvings and statues that
display and celebrate the four important and necessary principles of human life – the pursuit of
artha (prosperity, wealth), the pursuit of kama (pleasure, sex), the pursuit of dharma (virtues, ethical
life) and the pursuit of moksha (release, self-knowledge).[18][19] At the center of the temple,
typically below and sometimes above or next to the deity, is mere hollow space with no decoration,
symbolically representing Purusa, the Supreme Principle, the sacred Universal, one without form,
which is present everywhere, connects everything, and is the essence of everyone. A Hindu temple is
meant to encourage reflection, facilitate purification of one’s mind, and trigger the process of inner
realization within the devotee.[4] The specific process is left to the devotee’s school of belief. The
primary deity of different Hindu temples varies to reflect this spiritual spectrum.[20][21]

In Hindu tradition, there is no dividing line between the secular and the sacred.[8] In the same spirit,
Hindu temples are not just sacred spaces, they are also secular spaces. Their meaning and purpose
have extended beyond spiritual life to social rituals and daily life, offering thus a social meaning.
Some temples have served as a venue to mark festivals, to celebrate arts through dance and music,
to get married or commemorate marriages,[22] commemorate the birth of a child, other significant
life events, or mark the death of a loved one. In political and economic life, Hindu temples have
served as a venue for the succession within dynasties and landmarks around which economic activity
thrived.[23]

4. Types of temples

Known world over for its architectural wonders, Odisha (Orissa) houses some of the best temples in
the country. The temples in Odisha (Orissa) are said to have given supreme expression to
architecture. Taking the Kalinga pattern of architecture to its zenith, these Odisha temples are
unique in both plan elevation and decoration details.

Putting it in rather more simple words, we can say that all these temples have a somewhat similar
structure. They consist of a structural due, the main temple or shrine and the frontal porch. The
main temple, known as Vimana or Deula, is the sanctum enshrining the deity. And the porch or
Jagamohana is a congregation place for the devotees.

Vimanas are constructed on a square base and are marked by a curvilinear tower or shikhara and is
known as rekha deula. The porches of the temples rest upon rectangular bases which are horizontal
platforms arranged successively in a receding formation to constitute a pyramidal superstructure.

1) Jagannath Temple Puri

Belonging to the 11th century and enjoying the honor of being one of the 'char dhams', the
pilgrimage that every Hindu intend to visit; Jagannath Temple is the honor of Puri and Odisha
(Orissa). The holy sight of Lord Jagannath, accompanied by Subhadra and Balabhadra raises loads of
joy among the devotees. The two gods and the goddess of the temple are ornamented in
accordance with the occasion and seasonal change. The structural design of the temple can be found
to be in pyramid shape.

You would be excited to know that the Jagannath Temple of Puri has a latent legend associated with
it. It is believed that in the Krita Yuga, the actual image of the lord had the power of granting
'moksha' to anyone who witnessed it. Yamaraja didn't find this justice. So, he decided to keep the
image in some distant and unknown corner of the earth. However, as Dvapar Yuga arrived, the idol
that is worshipped today in Jagannath Puri was constructed by Lord Vishnu with the help of wooden
logs. And it doesn't make difference in the Lord’s power in spite of having the hands lacking.

Jagannath Temple in Odisha (Orissa) consists of four entrance gates. They are named as
Singhadwara, Ashwadwara, Hathidwara and Vyaghradwara and these names refer to lion, horse,
elephant and tiger. Each day, the Lord at the Jagannath Temple is offered 'bhoga' six times and it is
dispensed among the worshippers close to Ratnavedi.

Now, you must be aspiring to know more about the temple and Jagannath Puri. So, don't wait more
to visiting this place. Immediately book a tour package for Odisha (Orissa) and explore various other
attractions of Odisha (Orissa).

2) Konark Sun Temple

One of the most stunning monuments of religious significance, a true masterpiece of architecture
proudly stands in the form of Sun Temple at Konark. A culmination of Oriya architecture, the temple
is a wonderful place as the language of stone defeats the human language here. Built in 13th century
by King Narasimhadeva, the temple is designed in the shape of a colossal chariot with seven horses
and twelve wheels, carrying the sun god, Surya, across heavens.

Located at a manageable distance from the seat of Lord Jagannath, Puri at 35 kms; the temple is
around 65 kms from the capital city of Bhubaneswar. The name of Konark temple is an
amalgamation of two words--Kona meaning corner and Arka meaning the Sun. That is to say that the
Sun god worshipped in Ark Kshetra is called Konark. Legend says that after killing the demon Gyasur,
Lord Vishnu placed his belongings at several places to commemorate the victory. With His conch at
Puri, Disc in Bhubaneshwar and Mace in Jajapur; He placed the Lotus at Konark.

The temple being an important landmark in the coastal voyage of European sailors was named 'The
Black Pagoda' by them. The mythological reference states that Lord Krishna's son Samba was smitten
with leprosy due to his father's curse. The former underwent severe penance for 12 years at
Mitravana near the confluence of Chandrabhaga River with the sea at Konark and ultimately
succeeded in pleasing the God Surya, the healer of all skin diseases, and was cured of his illness. In
gratitude, he decided to erect a temple in the honor of Surya.

While bathing in the river on the following day, he found an image of God, fashioned out of Surya's
body by Viswakarma. Samba installed this image in a temple built by him in Mitravana, where he
propitiated the God. Since then, this place has been regarded as sacred.

In ancient times worship of Sun god was in vogue and the people were accustomed with the worship
of two Supreme deities--one mother Earth as Dharitri Maata and the other the Sun, the Dharam
devata. Sun god is regarded as the supreme lord of the universe and the prime object of life giving
energy, being the healer of diseases and bestower of desires.

Surya has been a popular deity in India since Vedic period. Therefore, it is described in Rig Veda
regarding Prayer of Sun God as follows. It was dedicated to the Sun-God (Arka) popularly called
Biranchi-Narayan, and the tract in which it is situated was known as Arka-Kshetra as well as padma-
kshetra. Among the five great religious zones or Kshetra which were located in Odisha (Orissa),
Konark was considered to be one, the other four being Puri, Bhubaneswar, Mahavinayak, and Jajpur.

There are several smaller shrines situated in the neighborhood of the Sun Temple. In them are found
Rameswar,Chitreswara,Tribeniswara, and Utpaleswar, all Siva-lingas; and Ramachandi Rudrani,
Khileswari, Charchika and Chitreswari, various forms of Goddess Durga. Legends embodied in the
Kapila Samhita, the Madala Panji, and the Prachi-mahatmya, take the sanctity of Konark back to
mythical times. The legends of these late texts are an obvious adaptation of a much earlier tradition
as recorded in the Bhavisya Purana and the Samba Purana.
3) Temples in Bhubaneswar:

One of the oldest temples (late 8th century), its striking feature is the shape of its sanctuary tower.
The semi cylindrical shape of its roof, a leading example of khakhara order of temples, bears an
affinity to the Dravidian gopuram of the South India temples.

The plan of the deul is oblong and the jagamohana is a rectangular structure, but embedded in each
angle is a small subsidiary shrine. Vaital Deul boasts some figures, although executed in relief, are
characterized by delicacy of features and perfect equipoise.

The outer walls are encrusted with panels of Hindu deities, mostly Shiva and his consort Parvati in
her Shakti form, hunting processions, capturing of wild elephants and the occasional erotic couples.

The facade of the deul above the left of the jagamohana is dominated by two chaitya windows, the
lower one having a beautifully carved figure of sun gold Surya noted for its facial expression, with
Usha (Dawn) and Pratyusha shooting arrows on either side and with Aruna in front driving a chariot
of seven horses.

The medallion in the upper Chaitya-window houses a 10-armed Nataraja or dancing Shiva. In front of
the flat roofed jagamohana is a stone post relieved with two Buddha like figures seated in dharma-
chakra-pravartana mudra.

Another striking feature is the temple's tantric associations, marked by eerie carvings in the sanctum
and the image enshrined in the central niche, eight armed Chamunda, locally known as Kapalini, is
the terrifying form of goddess Durga. Thus, Vaital Deul is a Sakta shrine.
The presiding deity, Chamunda or Mahishasuramardini, sits on a corpse flanked by a jackal and an
owl and decorated with a garland of skulls. She holds a snake, bow, shield, sword, trident,
thunderbolt and an arrow, and is piercing the neck of the demon. The niche is capped by a chaitya
window containing seated figures of Shiva and Parvati.

The Chamunda is surrounded by a host of other smaller size allied deities carved in the lower parts
of the walls, each within a niche separate by a pilaster. The figure on the east wall, to the fight of the
door, is a skeleton form of Bhairava forming the counter part of Chamunda.

The other, carved on the north wall, rises from ground, having filled his skull-cup with the blood of a
person whose severed head lies on the right; on the pedestal is an offering of two more heads on a
tray resting on a tripod, flanked by a jackal feasting on the decapitated body on the right and a
woman holding a head on the left.

The tantric character of the temple is also marked by the stone post, to which sacrificial offerings
were tethered, just in front of the jagamohana. You need an artificial light to see in the darkness of
the interior, though early morning sun lights up the interior.

4) Brahmeshwar Temple:
Architecturally, the temples of Bhubaneshwar can be resolved into three broad styles as rekha,
pidha and khakhara. Most of the temples of the first two orders have two main components--the
sanctum, with a convex curvilinear spire, locally known as the deul, also called bada deul (the big
temple) or the rekha deul (temple of which the spire gives the optical impression of one continuous
line), which towers over the sanctum having the deity image; and an entrance porch or assembly hall
called jagamohana, or pidha deul (a temple of which the root is made up of horizontal platforms or
pidhas), characterized by a stepped pyramidal roof.

The bigger temples may have two to three of these porches--usually a nata-mandira (dance hall) and
bhoga-mandapa (hall of offering). A khakhara style is distinguished by a barrel elongated roof, called
khakhara--the local name of a variety of pumpkin-guard. Over the khakhara are placed kalasas or
amlas flanked by lions.

The outside of temples are profusely decorated with sculptured relief broadly classified as - hieratic
deities, human beings, geometrical, birds and animals and the floral patterns. The iconography
includes the divine images, representation of planets, dikpalas and their female counterparts.

More than 500 temples that remain in Bhubaneswar, some significant, of the early period (7-9th
century AD) are the Parasuramesvara and Vaital Deul; the middle period (10-11th century), the
temple such as the Muktesvara, the Rajarani and the Lingaraja; and the later period (12-13th
century), the Ananta Vasudeva, the Meghesvara and the Yamesvara, are architecturally typical and
impressive. Most of these are active places of worship.

5) Mukteswar Temple:
Mukteswar Temple -- An important landmark to the architectural development in Odisha (Orissa),
the Mukteswar Temple is often described as one of jewels of Odisha (Orissa) for its exquisite
sculptures and elegant looks. The plan is now a full fledged five sectioned form, pancharatha and the
platform or the pabhaga consists of five mouldings, as in latter temples.

The element still common with early temples, like Parasuramesvara and Vaital Deul, is the
tryangabada, three-fold horizontal division of the lower story. The new, more elaborate style has
absence of dopichha lions, squat figures supporting the amla, the recessed sections but now
rounded sharp edges and corners got predominant.

The jagamohana of this late 10th century temple is now a pidha deul with decorated ceiling, carved
into a lotus with eight petals. The change in iconography is equally noticeable with Ketu introduced
as the 9th planet, the association Karttikeya with the cock and the appearance of the mouse as the
mount of Ganesha.

The diamond shaped latticed windows in the North and South walls of Jagamohana depict
enchanting scenes of frolicking monkeys. The chaitya-windows carved on the sanctuary tower show
an arresting ornamental design, bho, a motif-the grinning face of a lion with beaded tassels
emerging from its mouth, flanked by two dwarves, the pattern resembling a coat of arms.

The corner rathas are relieved with female figures, remarkable for their expressive faces, with hair
styles and jewellery shown in exquisite detail. The octagonal wall enclosing the temple has several
niches, each containing a wheel, a lotus medallion or a delicate scroll.

The decorated torana archway in front of the Jagamohana is a masterpiece dating from about 900
AD. It is a detached portal consisting of two pillars supporting an arch within a semicircular shaped
pediment. The decoration of the arch, with languorously reclining females and bands of delicate
scroll-work, is the most striking feature.

A small well, locally known as Marichi Kund, lies immediately beyond the sinister of the enclosure,
the water of which is believed to cure infertility of women. On the door frame of the well is a seated
figure of Lakulisa, surrounded by four disciples.

Situated on the northwest corner of the enclosure of Mukteswar Temple is a latter unfinished,
Siddhesvara Temple, in which the emergence of the Orissan architectural style is almost complex.
The deul is pancha ratha on plan, the bada is panchanga, and the bandana composed of three
moulding dividing janga into tala and upara and the amla on the top of the deul is supported by four
squatting figures. The jangha of the jagamohana is relieved with pidha-mundis. Devoid of
ornamentation, the deities of Shiva's sons-Ganesha and Karttikeya around the tower are its only
interesting points.

The late 10th century Gauri Temple, to the South is a specimen of the Khakhara form but has striking
similarities with Mukteswar Temple in respect of execution of its architectural elements and the
decorative details. Though substantially repaired and renovated, it still has some notable original
sculptures.
Of the few intact figures of nayikas in various flexuous poses, the one, on the South face of the East
projection, leaning against a post on which is perched a bird, and the other, on the West projection,
taking off her anklets, are noted for their mastery treatment.

The temples described above form the compact central group and are located just off Lewis Road in
the older southern part of the Bhubaneswar City. The following temples of the eastern group are
more scattered and located about 10-15 minutes walk from Mukteswar Temple around Tankapani
Road.

6) Parasurameswar Temple:

Built in the 7th century, the Parasurameswar Temple is small but lavishly decorated. Enclosed within
a compound wall, the deul, facing the West is a square towered, while the jagamohana, instead of
being a stepped pyramid, is a rectangular structure with a terraced roof, sloping in two stages. The
deul about 13m high has no platform and is triratha on plan, a dominant style of the early periods.
The temple typifies the stage of Saiva Pasupata Sect, illustrated by the frequent representation of
Lakulisa. He is sculpted in Buddha-like form, with four disciples at his feet as shown on the last side
of the tower, while on the West, above the relief of Nataraja, he looks like the meditating Buddha.
The varandah has projecting moulding topped by a recessed frieze, demarcating bada from the
gandi, a feature not found in later temples. The frieze has mostly amorous couples, separated by
paneled jalis vidalas (a rampant lion, with head swung backwards, springing over a crouching
elephant) at corners, a very typical symbol the beleaguered Buddhist faith.
The jagamohana, adjoining the square towered shrine has an additional doorway on the South and
four latticed windows, one each on the North and South and two on the West, the last, decorated
with wonderfully animated bands of dancers and musicians. The recurring motif is the highly-ornate
chaitya-window, very often filled with animal, human and divine figures, the last including busts of
Shiva. The main entrance to jagamohana also has a fine carving of domestic elephants capturing wild
ones, to the left of the lintel. Set into the outer walls of the shrine, sculptures are scenes from
mythological narratives, forming a repertoire of Saiva myths, among them the highlights are-on the
South of the sanctuary, at eye level in the middle of tower, a superb four armed pot bellied Ganesha
seated on a simhasana, with his trunk touching a bowl of laddus (balls of sweetmeat) held in his
lower left hand, while his upper left holds a parasu (hatchet); Karttikeya in the Southern niche is with
a peacock, holding a spear in his left hand and a fruit in his right; the lintel above this niche
illustrates the marriage of Shiva and Parvati; to their right are Agni (fire), the kneeling figure of
Brahma and next to Brahma is Surya.

Among the notable friezes that line the North wall of the jagamohana are-sapta matrikas (seven
mother goddesses), with Chamunda (Shiva's consort goddess Durga in her terrifying aspect);
Ganesha having a human visage face with a trunk growing from his chin; and several deities of the
Brahmanical pantheon. The temple is dedicated to Shiva, only two of the three original deities
survive. The Sahasralingam, in the far corner of the courtyard, decorated with a thousand miniature
versions of itself.

7) Rajarani Temple:
Set amidst the well maintained gardens, the 11th century Rajarani Temple is famous for its sculpted
figures and the successive tiers of projections rising to form its 18 m tower. The accentuating
miniature replicas of itself decorate the spire, reminiscent of the temples of Khajuraho. It has a
square sanctuary and its interior and exterior surfaces are so recessed that it appears circular. The
ornamental deul stands diagonal to the severely plain jagamohana.

The highlight of the temple is the fine sculptures of dikpalas or guardians of the eight directions
carved around the shrine. Dressed in diaphanous drapery they stand on lotuses, with their mounts
below. Starting from East we encounter successively-Indra (lord of the East) holding a thunderbolt
and an elephant goad, with the elephant below; the potbellied and beared Agni (southeast), god of
fire, with the ram; Yama (South) holding a staff and a noose, with his vehicle the buffalo; Nirriti
(southwest), the god of misery, holds a severed head and a sword above a prostrate figure; Varuna
(West) holding a noose in his left hand, his vehicle is makara or the crocodile; Vayu (northwest)
holding a banner and his vehicle is deer; Kubera (North) placed above seven jars of gems, he has a
horse and Isana (northeast) shown with an erect phallus by the side of an emaciated figure. Of these
the Agni and the Varuna are particularly impressive.

The Rajarani temple is also famous for the tall and slender nayikas (temple figures) carved in high
relief on the walls-figures in amorous dalliance and in such acts as fondling her child, looking into the
mirror, taking off her anklet, caressing the bird, playing instrument, holding branches of trees etc.

The Rajarani takes its name from the local sandstone used to built it. The temple no longer has an
image of the deity in the sanctuary but its strong Saiva associations are testified from the figures of
Shiva and his consort Parvati on the platform and Saiva doorkeepers.

8) Vaital Deul Temple:

One of the oldest temples (late 8th century), Vaital Deul Temple’s striking feature is the shape of its
sanctuary tower. The semi-cylindrical shape of its roof--a leading example of khakhara order of
temples--bears an affinity to the Dravidian gopuram of the South India temples.

The plan of the deul is oblong and the jagamohana is a rectangular structure, but embedded in each
angle is a small subsidiary shrine. Vaital Deul boasts some figures, although executed in relief are
however characterized by delicacy of features and perfect equipoise.

The outer walls are encrusted with panels of Hindu deities, mostly Shiva and his consort Parvati in
her Shakti form, hunting processions, capturing of wild elephants and the occasional erotic couples.

The facade of the deul above the left of the jagamohana is dominated by two chaitya windows--the
lower one having a beautifully carved figure of sun gold Surya noted for its facial expression, with
Usha (Dawn) and Pratyusha shooting arrows on either side and with Aruna in front driving a chariot
of seven horses.

The medallion in the upper Chaitya-window houses a 10-armed Nataraja or dancing Shiva. In front of
the flat roofed jagamohana is a stone post relieved with two Buddha like figures seated in dharma-
chakra-pravartana mudra.

Another striking feature is temple's tantric associations, marked by eerie carvings in the sanctum
and the image enshrined in the central niche, eight armed Chamunda, locally known as Kapalini, is
the terrifying form of goddess Durga. Thus Vaital Deul is a Sakta shrine.

The presiding deity, Chamunda or Mahishasuramardini sits on a corpse flanked by a jackal and an
owl and decorated with a garland of skulls. She holds a snake, bow, shield, sword, trident,
thunderbolt and an arrow, and is piercing the neck of the demon. The niche is capped by a chaitya
window containing seated figures of Shiva and Parvati.

The Chamunda is surrounded by a host of other smaller size allied deities carved in the lower parts
of the walls, each within a niche separate by a pilaster. The figure on the east wall, to the fight of the
door, is a skeleton form of Bhairava forming the counter part of Chamunda.

The other, carved on the north wall, rises from ground, having filled his skull-cup with the blood of a
person whose severed head lies on the right. On the pedestal is an offering of two more heads on a
tray resting on a tripod, flanked by a jackal feasting on the decapitated body on the right and a
woman holding a head on the left.

The tantric character of the temple is also marked by the stone post, to which sacrificial offerings
were tethered, just in front of the jagamohana. You need an artificial light to see in the darkness of
the interior, though early morning sun lights up the interior.
5. Conclusion

To conclude this, I would like to say a few words about how to approach and respect sacred places.
Upon entering the vicinity of a sacred site you may encounter two distinct "personalities": those of
the spirits of the site and those of the humans who perform priestly and administrative functions at
the site. It is my experience that the spirits of the sacred sites are always welcoming of sincere
pilgrims. The human personalities are usually - but not always – welcoming too.

Occasionally the religious and/or administrative staff of a sacred site may be uncommunicative,
authoritarian or prejudiced toward foreigners. Such behavior may be explained by narrow-minded
religious intolerance, by unpleasant experiences the temple priests have previously had with rude
foreign visitors or simply because of the language barrier. Whatever the reception you receive upon
entering a sacred place it is important to always approach the shrine and its staff with respect and
humility. While appropriate behavior is mostly a matter of common sense and politeness, the
following points are important to remember.

Respect the atmosphere of prayer, meditation and ceremony in the shrines by not talking loudly. If
you have a cell phone with you make sure to turn it off before entering the holy place.

Do not assume that you are welcome to participate in shrine ceremonies. While many temples, in
Asia for example, are open to foreign visitors, sometimes their ceremonies are not. It is best to
simply watch from a distance and wait to be invited. If you are invited to participate in a ceremony
or prayer it is best to not leave until other people have done so.

Do not take photographs, especially with flash, within a shrine without prior permission of the
priests or administrators.

To enter many shrines it is necessary to remove one's shoes or cover the head. Watch what local
pilgrims do and follow their example.

When visiting shrines make sure you wear clothing that is considered proper by the local people.
While short pants, skirts and t-shirts may be comfortable in the heat and humidity of tropical
latitudes, to wear such attire in religious places is disrespectful. Often temple priests will be too
embarrassed to ask you to leave or will not know how to speak your language. Respect them in
advance by dressing appropriately.

It is best to not leave anything at sacred sites except your prayers and love. Priests I have spoken to
in Asia, Europe and South America have repeatedly told me they wished foreign visitors would not
leave crystals, feathers, coins and other 'new-age' knickknacks at shrines. This is especially the case
at sacred sites of the Hopi, Navajo, Ute and other Native American cultures.

Do not remove anything from sacred sites such as other pilgrims’ offerings or archaeological items
like pottery shards. However, take the time to pick up litter and other trash; besides this, leave
everything as it was when you arrived.
6. Bibliography

1) "Ranipur-Jharial Yogini Temple: A Ninth Century Monument Remains in Ruins". The New Indian
Express. 7 March 2014. Retrieved 10 June 2014.

2) "Yogini temple of Hirapur". The Hindu. 17 October 2003.

3) "Anantasayana Visnu" (PDF). Indira Gandhi National Centre for the Arts (IGNCA). Indira Gandhi
National Centre for the Arts (IGNCA). Retrieved 8 August 2014.

Reference

https://en.wikipedia.org/wiki/Historic_sites_in_Odisha#References

https://www.orissatourism.org/temples-in-orissa.html