It is thus obvious that the Puri Navakalevara festival is the highest possible form of Hinduization of this tribal ritual, which in other hinduised region is also formed in some of the temples of western Orissa the original main elements are still clearly visible, but the Brahmanic component is, as it is natural for such a great temple as Puri, highly elaborated.

One could perhaps object, that the amazing similarity between the tribal and the temple rituals are themselves due to Hinduisation in the other direction being so to speak copied from Puri. But this century on the one hand up to the beginning of this century the Puri ritual and even the texts pertaining to it were kept strictly secret, on the other hand the ritual is consentingly found in remotest parts of Western Orissa, but not as far as I can see - in other parts of Orissa. From the literature I could gather it appears, that the in other areas of sub-regions tribal shrines or symbols are not renewed in that way, new ones may be raised, if the old one decay, but the old ones are not actually changed.

As the ritual of renewal thus seems to be found in Western Orissa only. It is obvious that it should have been introduced to Puri form that very region. And this is indeed exactly what the temple chronicle of Puri, the Madala Panji says. The chronicle tells us, that the Jagannatha figure had been hidden actually buried, in the Sonepur region, the very of Western Orissa, for 146 years, until the king Yayati Keshari rediscovered them. After such a long time the idols were naturally disfigures. The king therefore, called the Daitas, who as the text explicitly says, were living in the forest nearby, brought them to Puri together with Brahmanic priest in a new temple - the first we know the historically for Jagannatha and ordered the first Nabakalebara festival to be performed.

This original function of Sudarshan is still evident at some special occasion movable images, namely ……… Sudarshan is taken out of the temple to visit other places. The second possibility we observed namely the symbol itself being made into a image is there for the poles as well: a face is added to the pole and thus a rudimentary image, a figure even is there, as in the great Kambhesvari temple at Aska. This figure meets the minimum requirements of a proper image, and yet conveys the impression of a post, a continuation which is often popular depictions of Kambhesvari is not so elegantly achieved. The figure of Aska does resemble very much to the figure of Subhadra
We have thus both iconographical parallels for Subhadra and for Sudarshan.

The question which is essential for further tracing the origin of the Jagannatha figure is now, whether there is any possible iconographical and iconological link between the symbol of the bloodthirsty goddess and any instance of Visnava iconography, as Jagannatha is a representation of Visnu. Such a connection is there towards Narasimha.

There is for instance a famous temple where a stone originally worshipped by Khonds is now worshipped as a variant of Narasimha, Narasimhanath. Narasimha is also the only Vaishnava figure worshipped in the cells of the Samalai temple at Sambalpur. The first iconological relation is the idea of sacrifice, as Narasimha is so obviously dismembering a victim. A further feature, peculiar to Orissa points out his particular connection to wood. The pillar of Hiranyakasipu's palace, out of which according to classical texts Narasimha appeared to save Prahallada, has become in Oriya tradition a wooden pole, which like in this popular freskol is depictions of Sudarsan. Now Narasimha has in Orissa a popular iconography of his own, namely a sort of abrevation, a head with arms protruding from them, which I first took for a Kirthimukha, until I found this image. Interestingly enough, the bypasses whom I asked told me it was a representation of Durga, but the priest who worships it, explained it was Narasimha. It is obvious that this popular iconography furnishes one more iconological link, namely the association between a head and the bloodthirsty goddess. Such abbreviated, popular representations of Narasimhas are often found on poles representing Kambhesvari. Taking all this into account it would seem plausible, that the present Jagannatha figure, developed from that popular Narasimha iconography by giving the post not only a head but a head with arms, a head with round eyes, the round eyes being the attribute of the Narasimha's fury (krodha), and a head not round or oval like a human one, but of that peculiar shape typical for the lion's had. Seen within a typology of icoonographic Hinduisation, the only explanation for the peculiarity form of the Jagannatha image would be that it originally represented Narasimha. A quich glance at the of Narasimha corroborates this hypothesis.