Lord Jagannath temple at Puri is one of the most sacred pilgrimage spots in India, one of the four abodes (dhamas) of the divine that lie on the four directions of the compass. The present temple structure was built in the 12th century by the Ganga king, Chodaganga Deva, replacing an earlier structure which probably dated to the 10th century. 
Long before one reaches Puri, the 214 feet (65 meters) spire of the temple can be seen towering over the countryside. This visual dominance is symbolic of the influence which the temple commands over almost every aspect of life in Puri.
The huge edifice, each side of which measures 650 feet (some 200 meters), is surmounted with a 20 foot (6 meters) wall. Within the compound is a city, or, more accurately, a universe unto itself. With 6000 direct temple servitors, a temple kitchen which feeds 10,000 people daily and some 25,000 on festival days, and a central deity who has become the focus of religious life throughout Orissa, the Jagannath temple is truly an institution unique in the world.
Until recently, almost the entire temple was covered in white plaster, so much so that European sailors in previous centuries used it as a navigation point, referring to it as the 'white pagoda' (in contrast to the 'black pagoda' of Konark, further up the coast). Scholars, however, were long puzzled by the plain facade on this holiest of holy temples, and wondered why it was untouched by Orissa's rich sculptural heritage.
The answer was found in 1975, when archaeologists first began removing the plaster, and found that the sculpture underneath indeed rivals that of the other masterpieces of Orissan temple art. The best guess as to the reason for applying the plaster originally is that an eighteenth century ruler decided that this would be a way to protect the temple from the ravages of the saline sea air. Succeeding rulers continued the practice.
As the old plaster is being removed, archaeologists are also repairing the corroded iron dowels in the original structure, and replacing broken stones with new ones. Finally, a clear, thin coating is being applied to the entire structure, to preserve it for the centuries to come.
Because of the temple's intense religious importance and hallowed traditions, entrance is forbidden to non-Hindus. To have a good view of the temple and its compound, visitors are welcome to ascend to the roof of the Raghunandan Library which is across the street.
The magnificent Sun Temple at Konark is the culmination of Orissan temple architecture, and one of the most stunning monuments of religious architecture in the world. The poet Rabindranath Tagore said of Konark that 'here the language of stone surpasses the language of man', and it is true that the experience of Konark is impossible to translate into words.
The massive structure, now in ruins, sits in solitary splendor surrounded by drifting sand. Today it is located two kilometers from the sea, but originally the ocean came almost up to its base. Until fairly recent times, in fact, the temple was close enough to the shore to be used as a navigational point by European sailors, who referred to it as the 'Black Pagoda'.
Built by King Narasimha Deva in the 13th century, the entire temple was designed in the shape of a colossal chariot, carrying the sun god, Surya, across the heavens. Surya has been a popular deity in India since the Vedic period.
The idea of building an entire temple in the shape of a chariot, however, is not an ancient one, and, indeed, was a breathtakingly creative concept. Equally breathtaking was the scale of the temple which even today, in its ruined state, makes one gasp at first sight. Construction of the huge edifice is said to have taken 12 years’ revenue of the kingdom.
The main tower, which has now collapsed, originally followed the same general form as the towers of the Lingaraja and Jagannath temples. Its height, however, exceeded both of them, soaring to 227 feet. The jagamohan (porch) structure itself exceeded 120 feet in height. Both tower and porch are built on high platforms, around which are the 24 giant stone wheels of the chariot. The wheels are exquisite, and in themselves provide eloquent testimony to the genius of Orissa's sculptural tradition.
At the base of the collapsed tower were three subsidiary shrines, which had steps leading to the Surya images. The third major component of the temple complex was the detached natamandira (hall of dance), which remains in front of the temple. Of the 22 subsidiary temples which once stood within the enclosure, two remain (to the west of the tower): the Vaishnava Temple and the Mayadevi Temple. At either side of the main temple are colossal figures of royal elephants and royal horses.
Just why this amazing structure was built here is a mystery. Konark was an important port from early times, and was known to the geographer Ptolemy in the second century AD. A popular legend explains that one son of the Lord Krishna, the vain and handsome Samba, once ridiculed a holy, although ugly, sage.
The sage took his revenge by luring Samba to a pool where Krishna's consorts were bathing. While Samba stared, the sage slipped away and summoned Krishna to the site. Enraged by his son's seeming impropriety with his stepmothers, Krishna cursed the boy with leprosy. Later he realized that Samba had been tricked, but it was too late to withdraw the curse. Samba then traveled to the seashore, where he performed 12 years’ penance to Surya who, pleased with his devotion, cured him of the dreaded disease. In thanksgiving, Samba erected a temple at the spot.
In India, history and legend are often inextricably mixed. Scholars, however, feel that Narasimha Deva, the historical builder of the temple, probably erected the temple as a victory monument, after a successful campaign against Muslim invaders.
In any case, the temple which Narasimha Deva left us is a chronicle in stone of the religious, military, social, and domestic aspects of his thirteenth century royal world. Every inch of the remaining portions of the temple is covered with sculpture of an unsurpassed beauty and grace, in tableaux and freestanding pieces ranging from the monumental to the miniature. The subject matter is fascinating. Thousands of images include deities, celestial and human musicians, dancers, lovers, and myriad scenes of courtly life, ranging from hunts and military battles to the pleasures of courtly relaxation.
These are interspersed with birds, animals (close to two thousand charming and lively elephants march around the base of the main temple alone), mythological creatures, and a wealth of intricate botanical and geometrical decorative designs. The famous jewel-like quality of Orissan art is evident throughout, as is a very human perspective which makes the sculpture extremely accessible. The temple is famous for its erotic sculptures, which can be found primarily on the second level of the porch structure. It will become immediately apparent upon viewing them that the frank nature of their content is combined with an overwhelming tenderness and lyrical movement. This same kindly and indulgent view of life extends to almost all the other sculptures at Konark, where the thousands of human, animal, and divine personages are shown engaged in the full range of the 'carnival of life' with an overwhelming sense of appealing realism
The only images, in fact, which do not share this relaxed air of accessibility, are the three main images of Surya on the northern, western, and southern facades of the temple tower. Carved in an almost metallic green chlorite stone (in contrast to the soft weathered khondalite of the rest of the structure), these huge images stand in a formal frontal position which is often used to portray divinities in a state of spiritual equilibrium. Although their dignity sets them apart from the rest of the sculptures, it is, nevertheless, a benevolent dignity, and one which does not include any trace of the aloof or the cold. Konark has been called one of the last Indian temples in which a living tradition was at work, the 'brightest flame of a dying lamp'. As we gaze at these superb images of Surya benevolently reigning over his exquisite stone world, we cannot help but feel that the passing of the tradition has been nothing short of tragic.
Lord Lingaraj Temple is one of the must visited temples of Orissa. The god of the gods 'Lord Mahadev'
is being worshiped in this temple. It dates back to the 11th century and represents the mature and complex 'Nagara' style of Orissan temple architecture. Its tower, dominating the surroundings, is visible from miles around. The temple set in a huge walled compound measuring 520 feet by 465 feet, originally consisted only of the sanctum and the mandap or the entrance hall. The dancing hall and the hall of offerings are later additions. Around the main shrine there are many smaller votive shrines. The outer walls of the temple are lavishly decorated with beautiful sculptures which mark a climax of Hindu decorative architecture. Birds, beasts, creepers, flowers, men and women in erotic poses and postures, a host of gods and goddesses all are there in their full majesty and grandeur. The inner walls of the shrine, containing the phallus symbol of Shiva, are plain and without any embellishment. Just north of this temple is the sacred lake of Bindu Sagar with a tiny island in the center, where there are many lesser shrines. Here, once in a year, Lingaraj himself is brought for ritual ablutions.
These temples personify a comprehensive history of the Orissan style of temple architecture from its very inception to perfection spreading almost to two thousand years from 3rd century BC. to 16th Century AD. These magnificent monuments dominating the city skyline are within a reasonable walking distance from one another. The 46 metre high Lingaraj Temple marks the culmination of temple tradition of Bhubaneswar.
Mukteshwar Temple is located in Bhubaneswar. It was built in 950 AD for the shake of the presiding deity ‘Lord Shiva’. The architectural style is Orissan temple architecture.
The small and elegant Mukteswar temple is often referred to as the "miniature gem of Orissan architecture". The frequency with which the term 'gem' is used will be immediately appreciated with the very first glimpse of this delicate, refined little structure. In addition to its beauty, the Mukteswar is important as a transition point between the early and later phases of the 'Kalinga' School of Temple Architecture. The builder has successfully combined many elements of the old with new designs and conceptions. Many of the innovations took root, and became essential features of all later temples. Because of this, one scholar has described the Mukteswar as "harbinger of the new culture". The relationship with older structures can be immediately seen in the small size of the temple - 35 feet (11m) high at the pinnacle of the tower. At this stage, Orissan builders had not yet attempted the later colossal structures. The latticed windows of the 'Jagamohana' (porch) were probably modeled on those of the 'Parsurameswara' temple, and the octagonal compound wall seems to have been patterned on an earlier structure, which now exists only in fragmentary form. A 'torana' (arched gateway), which was excavated in a field near Bhubaneswar in fragments, is now in the Orissa State Museum. It would seem that Mukteswar's own stunningly beautiful gateway was strongly based on this earlier example.
The 'Jagamohana' building has become a structure on its own right, and has begun to show the later shape of a terraced pyramid, although the internal shape has not yet become a real square. Both buildings are now on platforms, and their component parts have become more fully accentuated. Over the doorway to the inner sanctum, the ninth planet ('Ketu', identified by the canopied, three hooded snake) has been introduced. On the other hand, haloes, which in earlier temples delineate the human from the divine, have been removed from the cult images. In general, comparing this temple to the earlier 'Parsurameswara', you will notice an overall lightening of effect. The developing pyramid of the 'Jagamohana' roof as well as stylistic innovations on the exterior of the tower lend a new impression of movement towards the sky, an impression which will become more and more pronounced in succeeding centuries.
This is echoed in an increasing sense of elongation in sculptural decoration as well. There are a number of depictions of skeletal ascetics among the sculptural images, most of them shown in teaching or meditation poses. Some scholars have suggested that this relates to the role of the temple as a center for 'Tantric' initiation. The name 'Mukteswara' ('the Lord who bestows freedom through Yoga') might support this view. Almost all of the sculptures on the temple are wonderful. Around the windows of the Jagamohana are monkeys engaged in a variety of humorous and lively scenes depicting popular stories from 'Panchatantra' (Indian ancient tales). The image of a mythical lion head with open jaws, flanked by attendants, over an elaborate horseshoe shaped 'Chaitya' arch, found on the southern exterior projecting wall of the tower, is one that is common on Tantric shrines, and that is found on many later Orissan temples. This is the first appearance of the image, and it is also the finest.
On the outer face of the compound wall are niches containing a variety of deities. These include 'Saraswati' - sitting on a lotus with two female attendants by her side, 'Ganesa' - with his attendant mouse and 'Lakulisha' - the 5th century founder of the 'Pashupata' sect of 'tantric Shaivism', who is portrayed sitting cross-legged, with two miniature ascetic figures in the triangular side panels. The fact that these wall niches include Buddhist and Jain images as well as 'Shaivite' (Hindu) ones attests once again to the synthesis which was so much a part of Orissan religious life. The 'torana' (arched gateway) of the Mukteswara deserves special attention. Its extraordinarily beautiful sculpture includes elaborate scrolls, graceful female figures, monkeys, peacocks, and a wealth of delicate and lovely decorative detail. On the eastern side of the temple compound is a sacred tank, and in the southwest corner is a well, which is said to cure fertility problems. Several small shrines will be noticed within the compound, many with 'lingam' inside. These were offering shrines depicting utmost faith in God for all purposes during that era.
Rajarani temple is one of the most renowned temples in Bhubaneswar, the capital city of Orissa. 
Rajarani temple of Bhubaneswar is dedicated to Lord Brahma. The origin of this temple can be dated back to the 11th century. It is made from the wonderful red and gold sandstone, which is locally known as Rajarani and this is what gives the temple its name of ‘Raja Rani’. The major attractions of the temple consist of the elaborately carved figurines.
It is an epitome of elegance and grace. The sculptural images adorning its façade and interiors are simply outstanding. Women are portrayed in different postures, like holding the child in their arms, holding mirror in their hand, etc. There is no other temple of this kind in the entire state of Orissa. Rajarani temple has also been ornamented with marvelous artistic sculptural carvings and stands enclosed within a beautiful garden.
Parsurameswara Temple is a small, about 12.80 metre high but lavishly decorated temple, the best-preserved specimen of the earlier group of temples. Enclosed within a compound wall, the temple, facing the west, is a compact shrine with a squattish thick set gandi, while the jagamohana is a rectangular structure with a terraced roof, sloping in two stages. The interior of the jagamohana is lighted by the main entrance and a side entrance on the south along with four latticed windows, one each on south and north and two on the west decorated with bands of animated musicians and dancers. The carvings on the temple walls are chaste and elegant, bespeaking considerable skill of the sculptor. The most recurring motif is the highly ornate chaitya-window, very often filled in with figures (animal, human and divine). A number of reliefs narrating Shaiva mythology are found on various parts of the temple. The temple is dated in the 7th century AD on the basis of inscriptions, one of which gives the name of the deity as Parasevara, probably a corruption of Parasara, one of the distinguished Pasupata acharyas.
Brahmeswar Temple is situated in Bhubaneswar. The next dated temple, Brahmeswar, shows mature workmanship and advanced architectural features. Here the canons of Orissan architecture are found to have been fully applied. Among the dated temples it is the earliest one where iron beams have been used, and where porch or the Jagamohana consists of the full-fledged Pidha-Deula with the usual crowning members. It is a pancha-ratha temple with five plasters, namely two corner plasters, two intermediate ones and one central one, fully developed which give the structure almost a rounded appearance.
Satrughaneswar Temple situated in Bhubaneswar belongs to the 6th century AD group of temples. Even the earliest extant temple, the Satrughaneswar, is found to be a mature conception and origin of the monument apparently lie further back. It represents a Sikhara temple and its shape as available now after restoration and a few sculptures that still exists on the monument or have been recovered from it, supply affinities with those of the Dasavatara temple at Deogarh. The sculptures of the Satrughaneswar are marked by the vigour and exuberance of the designs recalling the best characteristics of the Post-Gupta Art.
The ruined temple of Laxmaneswar standing by its side appears to be a closely analogous monument in shape as well as from and it seems to be an immediate successor of the Satrughaneswar.
The Yogini temple at Ranipur-Jharial has a circular wall just 2 meters high and contains 64 niches within its inner perimeter. All the niches except one contain an image of the Goddess Yogini. Some of the idols are depicted with sensual bodies and ornamented bodices. The temple was worshipped between 9th to 13th centuries AD. The Yogini temple at Hirapur was probably built towards the end of the Bhauma rule, i.e., 9th century AD, as the sculptures strongly resemble those of the famous Mukteshwar temple of Bhubaneswar, which was erected in the 9th century. The Hirapur temple is the smallest measuring 30 ft in diameter with stonewalls barely eight feet high. Built of coarse sandstone blocks with laterite in foundation the Yoginis are carved from fine-grained gray chlorite. The inner walls of the temple have sixty-four niches with sixty Yoginis still in position. Each figure stands upon a large severed human head, holding a curved knife or javelin in one hand and a skull cup in the other. The entrance of the temple has a projecting entrance way flanked by doorkeepers. The sculptures of Hirapur temple are inordinately graceful as the faces are exquisitely carved depicting a gentle smile and hair style of various styles and heavily ornamented. The architecture of this temple blends an extremely original sculptural tradition with extraordinary workmanship.
The presiding deity of the temples are Hari, the name of Lord Bishnu and Shankar, the name of Lord Siva, the temple is meant for both Bishnu and Siva, idol of union. Again it is learnt that when the great disciple of Ramachandra in Ramayan, the great epic of India, the great hero Hanuman was flying with Giri Gandhamardhan means the Great Mountain called Gandhamardhan from Himalayan Range which one was full of medicinal plants and was required for the treatment of Laxman, who was at death during Rama-Ravan fight in Sri Lanka, a part of mountain fell there and now the people started calling it Gandhamardan and it is also rich with medicinal plants.
It is located at Athamallik, the sub-divisional headquarters in Angul district. Maa Maheswari and her temple is the pivot point of the socio-cultural life of Athamallik region. It is a citadel of Saktisim.
Historical records prove that the Goddess has been the royal deity of Athamallik. She symbolizes courage, strength and victory. With the change of capitals from one place to another, various kings had constructed different temples for her worship. The presently standing temple in eastern side of Athamallik town has been built in the year 1922. The divine mother is worshiped along with the Dolagovinda on the sanctorum. The idols are made of gold and other astadhatu (eight metals). The distinctive feature of the idol is that it has eleven hands one of which emerges out of the belly of the idol. The worship of the divine mother here in the form of Maheswari equals the tradition of Sakti Upasana in various other places of Orissa viz. Charchika in Banki, Biraja in Jaipur, Tarini in Keonjhar, Chandi in Cuttack, Bimala in Puri, Samaleswari in Sambalpur.
This temple is situated on Ruchika hill on the bed of the Renuka river. The Renuka river was created by the flood. It's believed that one divotee who worshiped Maa Charchika Devi after pleasing her took away all ornaments of Maa Charchika and build a house where River Renuka is currently flowing. As Maa Charchika was not happy so she created this River Renuka to punish him and to make him homeless. This temple is situated in the heart of Banki. It's good to visit the temple at the time of "Dussehra". It is believed that the Charchika devi idol was created by Parsuram. One of the devotees of Ram chandra.The temple, located on the banks of the River Mahanadi, is embellished with stone carvings that date back to the early 10th and 11th century. The serene ambiance, in which the temple is situated, inspires spiritual feeling among one and all.
Biranchi Narayan Temple, popularly known as ‘Wooden Konark’ is an ancient shrine situated at Buguda, about 92 km from Chhatrapur, in Ganjam district of Orissa. It was built by King Srikar Bhanja in 1790.The presiding deity here is Biranchi Narayan. The image of Lord Biranchi Narayan was recovered from the ruins of Malatigarh. Biranchi Narayan Temple is built in the form of a chariot driven by seven horses. The temple is noted for its exquisite wood carvings and beautiful wall paintings. Maghasaptami, Samba Dashami, Rath Yatra, Danda Yatra (April), Durga Puja and Kali Puja are the major festivals celebrated here. There is a Jagannath Temple situated at the other end of the main road.
Major point of attraction here is the sacred shrine of the twin goddess Tara and Tarini. The temple of Taratarini, situated on top of the blue capped hill is one of the Shaktipithas in the state. Taratarini is about 30 km from Berhampur. Twin Goddess Tara and Tarini are worshiped as manifestations of Shakti in the temple. River Rushikulya flows at the foot of the hill. Goddesses Tara-Tarini have been regarded as the presiding deity in most houses of Southern Orissa.
Two stones anthropomorphized by the addition of gold and silver ornaments and shaped as human faces represent the Goddesses Tara and Tarini as the deities of this temple. Between them are placed two beautiful brass heads known as their Chalanti Pratima. By the time Ashoka conquered Kalinga he found it a famous centre of Buddhism. Particularly the region of Ganjam near the banks of river Rushikulya was an active Buddhist site as shown from the Special Rock Edicts of Ashoka found at Jaugada at a distance of 4 km from Tara-Tarini Hill. The name Tara (Buddhism), an important deity of Mahayana Buddhist pantheon, is suggestive of Buddhist influence. An image of Buddha in meditation, present inside the sanctum sanctorum of the temple lends credence to the claim of this site as an ancient centre of the Buddhist Shakta cult. It has been suggested that from a tribal cult Tara-Tarini may have been transformed into Shakti cult through the process of Sanskritisation.
Maa Tarini is the other name for Goddess Shakti. She is one of the most sacred deities in Orissa. A daily ritual or puja is offered to the Goddess.Ghatagaon is in the midst of a wild forest. A number of festivals take place in Ghatagaon. Tuesdays and Saturdays are observed as the day of Maa. The puja is done by Dehuri, a tribal group instead of priests that follows the rites and rituals of the Puja. Devotees gather in large numbers to follow the Puja. The Goddess is sacred and important to the tourists.
Karunei and Barunei were the presiding goddesses of Khurda and guarded the gate of the fort. It is believed that these two sisters were killing the British soldiers with their long sharp swords in disguise. It is also said that the British soldiers cut the thigh of a bullock and mixed the blood with arms and ammunition. As a result Devi Karunei and Barunei of Khurda fort became powerless and the Britishers defeated the Paikas. Ramchandra Dev- the founder of the Bhoi dynasty constructed the temple for the goddesses. In the temple of Barunaei there is no pedestal.Beautifully carved from two separated blocks of black granite - it represents goddess Barunei and Karunei. The height of each of the idols is 18 inches. The lotus seat on the right side, Devi Barunei holds Dambaru in upper left hand and a Trisul in the upper right hand. They look like war goddesses. Khichidi and Pitah are the main items of Bhoga offered to the deities on leaf plates. The hill side of Barunei is a beautiful spot. It is a place for religious worship and picnic. The visitors, scholars and devotees in large number come to this place everyday. Barunei hill is only two kilometers from Khurda town.
Gupteswar temple also famous as hidden cave temple of Lord Shiva, is located on the banks of Kolab river, about 80 km from Koraput. Situated on a lime stone hill amidst scenic bliss, the cave shrine is dedicated to Lord Shiva. The temple houses a sacred swayambhu Shivling called Gupteswar, which literally means the ‘Hidden God’. Shivratri is the major festival celebrated here amidst much pomp and splendor.
The fame of the temple is not restricted to Orissa but it is also well known in other parts of the country. The people of Chhattisgarh refer to the shrine by the name ‘Gupta Kedar’.
Baripada is situated on the bank of river Budhabalanga and is the present headquarters of Mayurbhanj district. There is an old temple, which is popularly known as the temple of Bada Jagannath. It was built by King Baidyanath Bhanja in 1497 Saka era corresponding to 1575 AD. A small inscription in two lines is now found fixed to the upper portion of the right hand boundary wall of the temple indicating the date of construction of this magnificent edifice. This inscription states that the shrine was built in the Saka year Muni (7) Randhra (9) Abdhi (4) and Subhransu (1) or 1497.The main temple and its Jagamohana and natamandira are all located within a massive Compound, the floor of which is paved with dressed stone slabs. The temple and jagamohana constructed on a high plinth represent rekha and pidha style of Orissan architecture, respectively. On the outer walls of the main temple are noticed the figure of Narasimha, Trivikrama and Varaha worshipped as peripheral deities. The entrance to sanctum is surrounded with figures of Ganesha, Navagraha, Gajalaksmi, Kubera, Bhairava, Ganga, Yamuna, Garuda and Jaina Tirthankaras. Some of them are fixed to the inner walls of the jagamohana. This temple is made of laterite stone with ornamental carvings. It is built in the style of Kakharua Baidyanath temple of Mantri. At present all the monuments including the raised compound walls are covered with lime plaster. Besides the Bada Jagannath temple at Baripada, there is also another important Jagannath temple locally known as Banthia Jagannath temple.
Kantilo Nilamadhav Temple is standing elegantly on the banks of the river Mahandai, Kantilo is famous for the temple of Lrod Nilamadhaba on top of the twin hills with a surrounding of green forests. Lord Nilamadhaba occupies a preeminent position in the cult of Lord Jagannath. A permanent flow of holy water from the feet of Lord Nilamadhaba Lord Siddheswar is the highlight of the place. Kantilo has the most popular picnic spots in Orissa and is 100 km from Bhubaneswar.
The shrine of Lord Ladukeswar, popularly known as Ladu Baba is situated in Sarankul,100 km from Bhubaneswar on the Nayagrah-Aska Road and 13 km from Nayagarh town. The city is regarded as Hari (Vishnu) and Hara (Shiva). This is another major Shaivite shrine. There is always a crowd of people here waiting to see the Lord. People from all over Orissa come here to celebrate the major festival Mahasivaratri.
Odagaon is known for the temple of Lord Raghunath Jew. It is one of the famous temples in Orissa dedicated to Lord Ramachandra. Ramanavami is the most important festival celebrated here. Odagaon is 30 km away from Nayagrah. It is said that the renowned poet of Orissa Upendra Bhanja meditated here and attained perfection in the Rama Taraka Mantra. This temple was built around 1903.
One of the sacred tourist destinations of Puri, Beleswar is a small village, 14 kilometers from Puri on the Puri-Konark marine drive. Beleswar is famous for both religious sanctity and scenic beauty.
It is famous for the Lord Beleswar Temple. This temple is dedicated to Lord Shiva and he is worshipped here as Beleswar. In ancient time, Puri was a place of Saiva worship. From architectural point of view, Beleswar temple is not important but from the religious point of view, it is one of the famous Shaiva shrines of Puri. Mahashivaratri is the famous festival celebrated here. On this day thousands of devotees arrive near the temple to offer their prayer to Lord Beleswar with great devotion.
Beleswar is situated by the side of the Bay of Bengal, so it is also famous for the lovely and long sandy beach. It attracts lots of visitor to enjoy the natural scenery of the beach and to seek divine blessings. The sunrise and sunset site of Beleswar beach is incredible for tourists. Tourists can also enjoy sunbath on the calm and quite sea beach.
One of the sacred tourist destinations of Orissa, Sakhigopal, is a village of historical importance which is situated 19 km north of Puri on the way to Bhubaneswar. It is the most famous spot of Orissa for cocoanut industry. The singular national importance of the place is the famous Sakhigopal temple. It is one of the Lord Krishna temples of the country. It is a saying that unless Sakhigopal is visited, the pilgrimage to Puri is not complete. There is a large influx of pilgrims on festive days like Anla Nabami, Dolapurnima, Chandan Yatra, Kartika Purnami, etc. Sakhigopal means witness Gopal. There is very popular legend behind the name Sakhigopal. Two Brahmins of Vidyanagar of south India went Brindaban on pilgrimage. There the elderly one fell ill and was attended very sincerely by the younger. The elderly one promised the other keeping Lord Krishna as witness that on reaching their native place he would offer his beautiful daughter to the younger in term of marriage. Unfortunately when both of them reached their native place the elderly one expressed evasive replies. The younger one was assured that due to low status of Brahmin caste he was misfit for his lovely daughter. Without delay he again went to Brindaban and worshipped Lord Krishna. However, in the long run Lord Krishna agreed but he told that the Brahmin would walk ahead and he would follow him, but the strict instruction was the Brahmin should not look back, otherwise he (Lord Krishna) would remain then and there. Lord assured that the Brahmin would hear the sound of Nupura (sweet sound producing bracelet used by dancers around ankle). Lord followed the Brahmin to Vidyanagar. On the way they were to cross the river Godavari. Due to sand the feet of Lord were dipped and no sound from nupura was heard. The Brahmin was too restless and apprehensive to look back. Lord stood on sand and did not move. The Brahmin immediately ran to Vidyanagar and called the local people in good numbers. All were stunned to see the statue of Lord Krishna of Brindaban. The elderly Brahmin repented and attested his promise by giving his daughter in marriage to the younger one. The local king developed great devotion and constructed the temple at Sakhigopal.
The temple of Goddess Ramachandi on the river mouth of Kushabhadra river is a splendid scenic picnic resort. It is situated 7 km before Konark on the marine drive from Puri to Konark. Ramachandi is popularly believed the presiding deity of Konark, and the most benevolent Chandi known. It is certainly more ancient than the Sun temple at Konark. 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.
A graceful Chandi, seated on a lotus in a small temple half hidden by sand mounds, on the river mouth of 'Kushabhadra' and the endless Bay of Bengal stretched to eternity, and a thick growth of casuarinas plantation around is the scenic magnificence of the place. Before construction of the Marine drive road, the place was not accessible to out side visitors. However, it attracted large number of local devotees to offer sacrifices 'Bali' in the month of Ashwina. The romantic sight has always fascinated young lovers, students and picnicking troupes from far and wide.
A legend regarding the deity is ever fresh and popular among the locals. "Kalapahada" the rebel Hindu Brahmin Youth turned Muslim, vowed to destroy all the temples in 17th century. After destroying the Sun temple, Kalapahad approached to Ramachandi temple to destroy it. Then Goddess Ramachandi dressed as a Maluni (maid servant) asked Kalapahad to wait at the door till she brings water from the river for the Goddess. Kalapahad anxiously waited for a long time to get some cold water. When it was too late and the Maluni did not return he exhausted and entered inside the temple and found the throne empty. Then he thought the Maluni took away the deity with her and with anger he followed the Maluni. When he reached the bank of the Kushabhadra river he found the goddess Ramachandi floating in the middle of the river. At that time the river was outpouring, so he came back. Then Goddess Ramachandi came in dream of a panda (priest) and told him to build a temple on the bank of the Kushabhadra River. This place is now known as Ramachandi.
Puri, the abode of Lord Jagannath is considered as a Vaisnava centre is also famous for its Sakta temples. Both inside and outside the premises of famous Jagannath temple there are several temples dedicated to Sakta divinities such as Vimala, Laksmi, Bhubaneswari, Harachandi, Daksina Kali, Shyamakali, etc. which indicates the popularity of Saktism in Puri. There is a temple dedicated to Goddess Harachandi at 27 km south west of Puri on the road towards Brahmagiri and Satapada. This temple is dedicated to Goddess Durga and is mounted on a sandy hill near the ocean. Goddess Durga is worshipped here as Baliharachandi. This temple has relation with the Sri Jagannath temple in respect of a ritual on the Mahanavami day in Ashwina. Image of Goddess Kali is found at the base of the back Rahapaga of the Baliharachandi temple near Puri. Here Kali holds a serpent. She holds a skull and a severed head by her left hand. She stands in Alidha pose on the body of Lord Siva. Baliharachandi temple located at the beginning of the river Bhargavi is not just a pilgrim site but also a scenic spot.
It is also famous for stretches of sandy beach and the meeting point of river Bhargavi with the sea. It attracts lots of tourist to enjoy the natural site of beach and to seek divine blessings and eternal happiness. The sunrise and sunset scene of beach is amazing for tourists. The tourists can also enjoy sunbath on the calm and quite sea beach of Baliharachandi. The scenic beauty of this place is ideal for picnic.
Maa Samaleswari, the presiding deity of Sambalpur, is a strong religious force in western Orissa and Chhattisgarh. On the bank of the river Mahanadi the mother goddess Samaleswari is worshipped from ancient times as Jagatjanani, Adishakti, Mahalaxmi and Mahasaraswati. The region in which the temple is situated has a rich cultural heritage. Sambalpur region is popularly known as Hirakhanda from ancient times.The idol of Shree Shree Samalai Devi consists of a large block of granite rock with an inverted, trunk like projection at the bottom. A shallow cut on her “Baraha” like face symbolises her mouth. Traditinal Sambalpuri nose ornament of pure gold hangs down from her imaginary nose. Beaten gold leave fixed on two disproportionate golden eye like depression on the face acts as substitute for her eyes in an attempt to define the face of the mother deity on a mass of self-shaped rock, the devi’s idol inspires sublime sentiments of awe, fear, reverence, devotion, love and affection towards all pervading motherhood.
Gundicha Temple also known as Narasingnath temple, this is the highest monument of Sonepur. The Gundicha temple is said to have been built by Gundicha Devi to commemorate the birth of his son Niladri Singh. Lord Narasingnath is worshipped here. Further during the time of the Car festival. Lord Jagnnath, Lord Balabhadra and Goddess Subhdara are worshipped here. A colossal statue of Lord Narasingnath located in the sanctum was built by King Prithiraj Singhdeo. The temple is about 80 feet high.
The Rameswar temple is located at the confluence of rivers Mahandi and Tel. The lingam of the temple is very old. Legends associate Lord Rama with its installation. Lord Kartikeya and Ganesh along with Goddess Parvati are also worshipped here. A Durga temple is also found near the Rameswar temple where the image of a 10-armed Durga is found. Outside the boundary of the Rameswar temple there is a Brisava temple with colossal image of black Brisava. This temple was built by the Somovamsis in 9th century AD.
An icon of Goddess Khambeswari in the form of Vana Durga is found in the temple. The earliest reference of the Goddess is found in the Tarasinga copper plates of Maharaja Trustikara of 5th century AD. Sonepur was a very important stronghold of the cult of Khambeswari during the reign of the Bhanjas and Somavamsis of 9th-10th century AD. The temple of Khambeswari at Sonepur represents the most vibrant manifestation of this cult. It is said that the Khemidi princess during her marriage with Rajaraja Singh, the Chauhan ruler of Sonepur had brought with her this icon of Khambeswari to the rural palace. Later, Khambesvari temple was built by the king.
The Mother Goddess in the form of Bhagabati is worshipped here. This temple is situated at a little distance from Rameswar temple. She is the presiding deity of the people of Sonepur and is believed to be their protector from all dangerous situations. An icon of the Goddess facing towards the west is found here. The Bhagabati temple is said to have been built by the Chauhan rulers of Sonepur..The village Charada also houses Goddess Chardei whose icon is assigned to 5th-6th century AD. Her main festival is Hanu Yatra which is celebrated with great fervour in the month of Kartika.
Biraja Temple is also called Viraja Devi or Girija Devi temple. It is one of 51 Shakti Peethas and it is where Sati's navel fell. The temple was built in 13th century.
Jajpur town has grown around the temple. The main temple is that of Birajadevi (Biraja mandir). Mounted on a lion she carries a spear with one arm and holds the tail of Mahishasur with the other. Festivals are held during Durga Puja and Kali Puja.
Jajpur is another Hindu pilgrimage. It was named after King Jajati Keshari. In course of time this became Jajpur.
One of the antique temples of Orissa, Siddheswar Temple enshrines the Shiva Lingam of Lord Siddheswar, another name for Lord Shiva. This Shiva Lingam is believed to be the last of a chain of Shiva Lingams installed by Lord Brahma. Built in the riverbed of Baitarini, this temple is associated with a number of ancient myths. The inscriptions on its walls and nearby ruins depict that this holy shrine was built during the reign of Bhaumakara dynasty. The temple is amidst the numerous other holy seats and shrines.
The Siddheswar Temple is around 6 km from Jajpur.