By way of introduction, I am a retired geologist from the Geological Survey of India. I have long nurtured an academic interest in the historical sculptures and temple architecture of Odisha—particularly the nature of the rock types used, their provenance, methods of transport to architectural sites, structural emplacement, quality, and durability under the prevailing climatic conditions.

During a recent visit to the Madhabjiu Temple near Niali in the Prachi Valley, several observations prompted a few queries, which I place before you purely out of scholarly inquisitiveness:

On the Prachi River:
Why has the Prachi River become defunct? Was this due to natural geomorphological processes such as river migration, avulsion, or piracy, or due to anthropogenic intervention? Considering that it must once have been a perennial river with sustained discharge—even during the British period—it seems unlikely that such a river would decline so rapidly without significant cause.

On the Sandstone Used:
The sandstone appears ferruginous and relatively fine-grained, comparable to the lithology of the Bhubaneswar region.

What is the precise source of these rocks?

Were they quarried locally or transported from the Bhubaneswar belt?

If transported, what was the mode of conveyance? Did the Prachi River play a significant role in carrying finished or semi-finished blocks and sculptural motifs?

Spatial Distribution of Temple Architecture:
Why does this style and concentration of temple architecture appear confined to the southern side of the Kathajori River and not extend further north into Cuttack or Jagatsinghpur districts?

Religious Periodicity:
What is the chronological relationship between the Devi cult, Vaishnavism, and Shaivism in the Prachi Valley? Were these traditions sequential in dominance, or did they flourish simultaneously in syncretic form?

Iconography and Social Reflection:
The sculptures of women in the Madhabjiu Temple suggest a society that was culturally refined and possibly indicative of relative gender dignity. The graceful postures and dance motifs reflect aesthetic richness and social prosperity.
Notably, the temple does not exhibit erotic carvings. When and under what socio-religious influences were erotic elements introduced into Odishan temple art?

These reflections arise purely from my academic curiosity and interdisciplinary interest as a geologist engaging with heritage studies.

Once again, I commend your thoughtful effort in documenting and interpreting the civilisation of the Prachi Valley.

With regards,
Girija Prasad Mohapatra
Mob: 8895385694
Email: gp_mohapatra@yahoo.com