Varahi Temple at Chaurasi

The Varahi Temple at Chaurasi, halfway between Bhubaneswar and Konarak, takes us into the later ninth or early tenth century.^[14] This shrine is Sakta, that is dedicated to a goddess, and shows tantric concerns in some of its carvings, which, however, I do not see particularly reflected in the Ramayana^[*] friezes.^[15] ç Its design is complex, with multiple wall planes and crisply articulated moldings, interweaving vertical and horizontal lines. The baranda^[*] frieze at the top of the shrine wall is absorbed into a rich and three-dimensional superstructure, a continuing development that removes the occasion for narrative subjects in this position. The porch,

however, retains a simple two-layered structure, as opposed to the subsequent multitiered and rounded roof where friezes; later come to lose their visibility and significance. The Chaurasi porch thus has two friezes, although the upper one is hard to see and its subject matter hard to identify. The scale of these friezes is proportionally smaller than on earlier temples, reducing complex narrative opportunity and connecting them with the lavish, small-scale decor, against which occasional large elements stand out. Yet despite their scale and some repetitive portions, more care seems to have been used in the carving of these friezes, with elements of setting and multiple relief planes, than at Simhanatha. In general there is great sensitivity in the carving of the large images at Chaurasi, for example the soft, fleshy treatment of the main icon of the goddess Varahi, which carries over even into tiny figures.

The Ramayana^[*] frieze commences to the right side of the door and proceeds counterclockwise (Figures 280, 281). First on the east wall the exiles encounter Surpanakha^[*] , where damage and repetition make it difficult to distinguish events until we see the magic deer, which leads into another puzzling scene.^[16] Around the corner on the north appears a centaur-like Maricha whose torso emerges from the deer's body, as on the Svarnajalesvara^[*] , showing the continuity in the interpretation of that element, which was later to change in Orissa (Figure 282). Jatayu's^[*] battle with Ravana^[*] is divided by what seems to be landscape from Jatayu's^[*] final encounter with the heroes. The novel image of a large figure fallen on a hill flanked by a monkey may represent Dundubhi's corpse thrown by Valin, a flashback that is appropriate, if unusual; both in sculpture elsewhere and in pictures, it is virtually always Rama's lifting of this corpse rather than the initial episode that is depicted. Thus here we seem to have visual analepsis that corresponds to most verbal versions of the story, in which Valin's exploits are recounted to test the hero. Rama's shooting through the seven trees is shown clearly,^[17] ç whereas the killing of Valin is minimized and the accusatory body of the slain monkey (present at both the Svarnajalesvara^[*] and Simhanatha) is absent. Thus the moral issue seems submerged in storytelling. The remainder of the north side of the porch may continue the Ramayana^[*] , probably the monkeys' assistance to Rama.^[18] ç The south side of the porch continues more scenes of monkeys, and its upper tier includes a stretch of water (the large fish at the top left of Figure 283), flanked by monkeys carrying something, perhaps building the bridge to Lanka^[*] . Here again, we seem to confront an unfamiliar version of the story that emphasizes the monkeys' activities, one thread in Orissan Ramayana^[*] celebrations.^[19] ç At the same time, it is worth recognizing that even in familiar portions of the story, figures appear whose presence can hardly be required in any version of the story. For example, at the right of Figure 281 (top), a running female figure is twice flanked by men with bows who seem to accompany her; usually the bow indicates the heroes, although one would expect Laksmana^[*] alone to confront Surpanakha^[*] , who is called for at this point in the story. Could these groups represent Sita with the two brothers, or might the archers be the demonic forces of Khara and Dusana^[*] ? The point is that the Chaurasi sculptors were not aiming at clarity of communication in such hard-to-see friezes that merge with the rich decor of the temple. This does not imply that storytelling did not matter to them, but rather that its goal was one of embellishment rather than didactic address to the viewer.