Magical Odisha – An Architectural and Cultural Odyssey

Odisha located on the eastern seaboard of India has long been known for its rich culture and heritage. Celebrated as Kalinga kingdom in the historical time, Odisha was once an important maritime nation. Odisha’s Sadhavas (merchants) often would make sea voyages to carry out trade with the merchants of Java, Sumatra, Borneo, Siam, Cambodia and Sri Lanka and bring enough wealth. Through these mercantile communities, Odisha also had made profound cultural expansion in Southeast Asia, which is evident among numerous Hindu and Buddhist art of the region. A comparison of Odisha’s historic art with Southeast Asia’s Hindu and Buddhist sculptures show strong cultural ties between the two regions.

The Golden Sea beach of Puri at the time of Sunrise

Odisha’s Wall Murals at Nuapatna Village

For an appreciation of Odisha’s heritage and to narrate the stories of Odisha recently Virasat E Hind Foundation had conducted its first curated trip for four guests from the National Museum of Thailand at Bangkok. It was the brainchild of our esteemed friend Ms Anita Bose who also worked as a volunteer in the museum until recently.  Though the guests are based in Bangkok at the moment they represent diverse nationality, Beverly from the United States, Cathy from the UK, Nathalie from France and Tasnee from Thailand.

The trip was for 5 days, part of an 11 day East India Tour, which also included West Bengal, Anita’s home state, apart from Odisha. In Odisha, the trip was conducted in the golden triangle (Bhubaneswar, Puri and Konark), Buddhist excavated sites at Ratnagiri and Udayagiri, the royal heritage of Dhenkanal, Joranda, the global headquarter of Mahima Cult, Dhauli, the battle site of Kalinga, Ragurajpur, Odisha’s craft village, Nuapatna textile cluster and Dokra craft of Saptasajya. The logistic support for the trip was provided by Discovery Tours and Travel, Bhubaneswar.

The trip had been designed to showcase Odisha’s diverse heritage in a capsule, from culture to heritage, forest and mountains, art and craft and food.

Visitors arrived from Kolkata in an early morning flight and they were received with a hearty welcome.

Receiving the guests at Bhubaneswar Airport

Our first destination was Dhauli, the battle site of Kalinga. Dhauli is also where the story of Odisha begins. At the break of the dawn, the site of Dhauli is transformed into a mystical aura overlooking the Daya River, which was the stage of Kalinga battle. You become a time flyer visualizing how the site would have looked 2,300 years before at the time of the battle and Emperor Ashoka gave up his arms while surrendering to the eight noble paths of Buddhism.

At Dhauli Battle Site in the Early Morning

Our next stop was the Yogini Temple at Hirapur, one of the four open-air circular shrines dedicated to Tantric Yogini worship in the whole of India. Some of the Yoginis at Hirapur look terrific with their Tantric gesture and attire. Our guests also offered puja at the shrine and were narrated about the Tantric practice in Odisha in the historical era. The temple is dated to 9th century.

After visiting the Yogini temple, we headed for Ranch Restaurant to relish an Indian breakfast. It was also the occasion for a chit chat and to know the interest of the guests better.

The next stop was at Raghurajpur, Odisha’s craft village. Sri Gangadhar Maharana, Odisha’s finest patachitra artist had been intimated before. Our guests strolled through the open-air art corridor of Raghurajpur and interacted with several artisans and finally spent considerable time at Gangadhar Ji’s house to see his innovations for the art. We also narrated the origin and evolution of patachitra art and what makes it unique among all Odia crafts. Anita also has written a book on Patachitra and Jagannath cult. The next surprise was the Gotipua dance. The young boys had dressed up like girls and performed stunning dance sequences before us for about 30 mins. It was the highlight of the day. Our guests were simply astounded.

At Raghurajpur

We headed for Puri for the check-in at Cocopalm Resort, which is sea facing on the Beach Road.

On day 2 the early morning was spent at the golden beach of Puri experiencing various morning activities in the beach and fishermen delving into the deep sea.

At Golden Beach in Puri

After a lavish breakfast in the hotel, we headed for Konark, Odisha’s only world heritage monument and an epic in stone. Our guests were taken on a journey through its art corridors. It was magnificent glowing under the morning sun. After spending an hour we visited the recently built Konark Interpretation Centre and explored Konark’s history, legend, art, architecture and also about history and monuments associated with Sun worship of India. Watching a documentary film on Konark in a cosy theatre was an experience by itself.

At Konark

After relishing a delicious meal at the seaside Lotus Resort we returned to Puri for a brief nap. In the evening we again travelled to Konark to witness Odissi Dance at Konark Kala Mandap. Thanks to the gesture of Anita, Abhada, the mahaprasad of Lord Jagannath had been arranged in the hotel.

On Day 3 we explored the temples of Bhubaneswar in the morning. Our guests were narrated about the idea behind Hindu temples, their meaning and in particular about Kalinga temples, their architectural styles, legends, history and cultural significance. We saw Brahmeswar, Parasurameswar and Mukteswar temples.

In Bhubaneswar Temples

After visiting the temples we headed for Odisha Hotel in Lewis Road to relish a sumptuous Odia thali. It was grand with all ingredients of an Odia meal, badi chura, chenna tarkari, kakharu phula bhaja, tomato khata, patra poda machha, and rasagola. All our guests enjoyed the food very much.

After lunch, we went to visit the towering Lingaraj Temple, the highest achievement of Kalinga temples. The next surprise was a visit to the Odisha Craft Museum, one of the finest museums in the country showcasing the region’s finest art and craft heritage.  Our visitors were thrilled while taken through a journey of Odisha’s timeless craft culture.

After a coffee break in the museum, we travelled to Dhenkanal for the night stay.

Everyone was surprised when we entered through the ramp and the majestic gate of the royal palace. No one had ever thought that they would get a chance to stay in a royal palace. It turned out to be a wonderful experience for all our guests.

Next day was the longest journey to the Buddhist corridor. After breakfast, we headed for Udayagiri and then Ratnagiri, both excavated Buddhist sites having much artistic splendour of Mahayana and Vajrayana Buddhism. It was almost an emotional journey for all our guests specialising in Buddhism and its art.

At Udayagiri, Ratnagiri and Joranda

In the evening while returning back we spent an hour at Joranda’s Sunya Temple, the seat of Mahima Cult, a 19th-century religious movement which rejected the Hindu orthodox practises and emphasized on the nirakara (god without form) philosophy. Our guests got a chance to interact with resident monks who are known for their simplicity having matted hair and wearing the bark of trees.

Our last day of the trip was spent at Dhenkanal’s Dokra village and at Nuapatna textile cluster. The highlight of the day was having interaction with Sri Sarat Patra, Nuapatna’s most respectful and talented weaver. The trip ended with the shopping of stoles and saree at his shop.

At Dokra Village and Nuapatna with Sri Sarat Patra

In the words of Beverly Frankel

I want to tell you how much I appreciated your knowledge, guidance and friendship throughout our February trip in Odisha’s many architectural and cultural sites. As “Culture Vultures” from the National Museum Volunteers in Bangkok, we adored being able to experience the beautiful villages you showed us for the Patachitra paintings, Odisha dancers, batik and ikat weavers and bronze cast makers.  The religious contrast between the majestic temples of Konark and Bhubeneshwar’s Lingaraj, etc and the Aleka Mahini settlement was amazing to see the range of devotional activities.

Ashok’s conversion to Buddhism retold by murals, stone engravings, and the Buddhist sites of Udaigiri and Ratnagiri were unforgettable. Appreciated especially was our arrangement to spend the night in the old Palace in Dhenkanal.  It was magical –  dining in the garden and living in the spacial splendour of the old rooms. The seaside of Puri and life in the markets and streets of our journey were added delights.

Thank you for making it all possible and guiding us with your vast range of knowledge.

 

Romance in Murals – Expression of Love at Chitrasala in Bundi

‘That slender one should send a letter

Couched in artistic language

Written on a Kettaki leaf, scratched by Kasturi and wrapped by a silken thread

Having a symbol of her breasts smeared with sandal paste

With her name inscribed on upper portion’

 

‘Forgetful of worldly attachments

Lost in his thoughts

Suffering from fever caused by his memory

She heaves deep sighs, neglects her food, walks or rest

Without bothering to listen to her friends’

 

‘High palaces and blossoming lotuses

Do not give the pleasure any more

She throws the ornaments being placed on her body by her friends

Nor is she delighted by acts of entertainment

Having achieved an objective she is restless

Is desirous of engaging in such pursuits

Which she could not in the presence of her lover’

The 18th-century Chitrasala of Bundi palace in Southeastern Rajasthan is a chock-a-block of romantic depictions of Shringar Rasa in the form of large murals. Most of Chitrasala murals are inspired by Rasikapriya, a love poem written by Keshavdash of the 16th century.

Bundi takes its name from a narrow valley Bandu – Ka – Nal (Bandu was a chieftain of the Meena Tribe and Nal means the narrow ways). Rao Deva conquered this terrain in 1342 CE and renamed as Hadoti. The Aravali Mountains surrounding Bundi present the most picturesque view with its flowing rivers and lush green forest, in the whole of Rajasthan.

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BUNDI PAINTINGS FROM AN ARTIST’S PERSPECTIVE

Rasikapriya is portrayed as the vehicle of emotion. The description of the countryside, cities, forests, hermitages, rivers, gardens, tanks, sunrise, moonrise and the seasons are beautifully illustrated by the artists of Chitrasala. There are seven colours, namely, white, black, yellow, red, grey, blue and mixed tones that have been primarily used in Chitrasala murals.

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BUNDI FORT – A CONFLUENCE OF IDEAS

Keshavadeva defines a nayaka or hero as a man who is young, expert in the art of love, emotional, proud, selfless, generous, handsome, rich and reframed in taste and culture. A nayika is a heroine whose very sight fills a male’s heart with shringar rasa. There are four categories of naikyas according to Rasikapriya.

Padmini – Padmini is a beautiful nayika, soft as lotus, intelligent, cheerful, clean and soft-skinned, free from anger and has a golden complexion. She loves clean and beautiful cloths.

Travel Tips

Bundi is located in southeastern Rajasthan at a distance of 50 km from Kota, the largest city of the region. Bundi can be reached from Kota by regular bus services and shared vehicles. While at Bundi one can also explore the surrounding hill terrains rich in prehistoric rock art. There are many stay options in Bundi ranging from budget homestays to high end. Keep three days for your Bundi trip if you love a more relaxed slow trip.

Chitrani – Chitrani is adorned with diverse beauties. She is fond of dancing and singing. She is fond of perfumes and her lover’s portraits.

Sankini – Sankini means short-tempered and clever. She is a luxuriant growth of hair, likes red garments and pinches hard when excited. She is shameless and unhesitant.

Hastini – She has a thick figure, a fat face and large feet. Her lower lip and eyebrows are thick and her voice is rough.

Another draw of Chitrasala is the Ragini murals. Ragas are primary sources of all musical renderings in India. Each Raga or Ragini has an emotional situation based on different facets of love, either in union or separation. Ragas are ascribed to Shiva and his consort Parvati and Raginis are ascribed to Brahma and his consort Saraswati.

The important features of Ragini murals at Chitrasala are strong eyes, pointed chin, projected nose, round face, Jahangir style turban, narrow patka with geometrical designs, transparent chakadar jama, attractive black pompoms and shading under the armpits. Ragini Todi, Ragini Megha Mallar, and Ragini Asvari are important examples of this sect.

The depiction of zenana or women’s harem is yet the attraction of Chitrasala murals. Zenanas are large palaces built for women. These palaces are divided into different apartments allotted to the royal women or queens, less important ladies who hold various managerial positions and attendants. In these wings, only the kings and princes are allowed. Some common zenana scenes that appear in Chitarasala are princes playing chaupar, palace gardens, palace ponds, palace terraces, the celebration of Teez festival and women listening to music, feeding the fish and enjoying wine and smoking huqqua.

The love murals of Chitrasala are a treat to eyes. They follow shringar at all its spell and intensity – when the passion strikes a woman after seeing her lover she sweats and is thrilled with romance and such is the intensity of her involvement she does not see even her friend standing nearby.  They integrate with the landscape of Bundi and the cycle of seasons. There are joy and delight everywhere.

Author – Jitu Mishra

He can be contacted at jitumisra@gmail.com

Murals of Bijapur – Splendours of Deccani Odyssey

Contemporary to Akbar, there lived a Sultan at Bijapur, in Deccan, who was a dreamer, with an almost maniacal sensitivity to art. He was Ibrahim Adil Shah II, the patron of the greatest artwork in Deccan. Just as Akbar transformed Mughal art, Ibrahim elevated Bijapur paintings to a level of dramatic power and technical sophistication that had no parallels in contemporary schools.

Ibrahim’s patronized miniatures are difficult to spot for a common traveller of art to Bijapur, but what amuse you is the traces of murals that adorn the interior walls of a few of Bijapur monuments. Even though mostly eroded, the remaining impressions still indulge their curious onlookers. 

The carved mihrab in Jama Masjid is the first one to be noticed and also best preserved. It has retained traces of fantastic paintwork on crisply modelled gesso.

The spandrels above the arch are filled with leafy tendrils exploding into fanciful blue and purple flowers against a rich golden background. The other attractions are Trompe-l’œil (the French term for ‘deceive the eye’– an art technique that uses realistic imagery to create the optical illusion that the depicted objects exist in three dimensions) depiction of books in low relief, painted in rich gold and brown to suggest embossed leather bindings. What further catches your eyes in the mihrab is the treatment of faceted part domes, where calligraphic alams, some on chains are surrounded by the elegant leafy tendrils. 

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BIJAPUR WATER HERITAGE – AN OASIS IN PARCHED DECCAN

These magnificent compositions combine the formal character of Central Asian pictorial tradition and abundant naturalism of Deccani tradition. 

The other building that has preserved Adil Shahi wall murals at Bijapur is Ashar Mahal, the grand courtly structure of the 17th century.

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GOL GUMBAZ – THE TRIUMPH OF DECCANI ARCHITECTURE

In one of the upper chambers, there are traces of murals depicting courtly women, now badly damaged and difficult to photograph because of strict restriction and lack of natural light. The chamber next to it, however, appears magical with the depiction of Persian mystical pottery drawn by Chinese or Middle Eastern artists. Harmoniously proportioned these vases are composed of arabesque patterns similar to the 15th century Timurid designs. 

Travel Tips:

Bijapur is a medium-sized city located in North Karnataka near Maharashtra border in the heart of Deccan. The city is well connected both by road and railway. However, the nearest airport is either in Pune or Hyderabad (both 8 hours away). Hubbali is yet another nearby airport which is well connected by both rail and road service. The city has plenty of stay options starting from budget to luxury. Famous for Medieval architecture, especially Indo-Islamic including the second-highest dome and a triumph of Deccani architecture, Bijapur is an art lover’s paradise. While at Bijapur also visit Kumtagi waterworks (25 km from the city). One should keep a minimum of three days for a true appreciation of Bijapur’s water heritage.

Paintings are also seen in the walls and vaults of one of the pavilions at the pleasure resort in Kumtagi, 25 km away from Bijapur. Though badly damaged, the remaining traces show a depiction of courtly pastimes, such as Polo match complete with horses and players, wrestling, drinking and musical performance. One can also find Europeans appearing in formal dress.  

The wall murals of Bijapur are hardly talked about and perhaps it is the only Internet source documenting these valuable artistic assets of South Asia of yore. 

The Adil Shahis were Shia Muslims having a strong bond with their roots in Persia. Yet they had also inherited the local tradition. These paintings reflect in a sense a true amalgamation of ideas, the spirit of the idea of India, an essential subject to ponder at this juncture of the disturbance being faced in the country.   

Author – Jitu Mishra

He can be contacted at jitumisra@gmail.com    

 

 

 

 

Leepakshi – Incomplete Grandeur

A two-hour drive from Bengaluru on Hyderabad Highway drops you at a mysterious land surrounded by a cluster of dramatic hills and a vast semi-arid plateau of Andhra’s Anantapur District at the vicinity of the dried up Pennar River. A legend goes: this was where the blind Jatayu fell, wounded after a futile battle against Ravana, who was carrying away Sita. When Sri Ram reached the place, he saw the bird and said compassionately, “Le Pakshi” – “rise, bird”, in Telugu.

Keeping aside the legend, the tiny town of Leepakshi is however known for its 16th century Veerabhadra Temple, a grandeur in Vijayanagar art and architecture, and one of the finest monuments in the whole of South India. The temple is built on a tortoise shaped low hill called Kuruma Shaila.

Veerabhadra, the fierce god created in his rage after the Daksha Yagna and the immolation of Parvati is the main deity here.

The construction of the temple of Veerabhadra is attributed to the initiative of two contemporary brothers, namely Veeranna and Virupanna at the provincial Vijayanagar Court of Penukonda. It is said that Virupanna was the officer in charge of the state treasury of the provincial government at Penukonda, administered by a governor appointed by Achyuta Deva Raya (1529 – 1547 CE), the Vijayanagar Emperor from Hampi.

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KANCHIPURAM MURALS – AN ARTISTIC SOJOURN

The Ruins of Penukonda – The Provincial Capital of Vijayanagar Empire

Penukonda or the Ghanagiri (as described in Vijayanagar inscriptions) was an important and influential province of the Vijayanagar Empire, and the rulers of Vijayanagar and Penukonda were also related through matrimonial alliances. The cult of Veerabhadra was quite popular during this period throughout the Vijayanagar Empire. He was the mascot, the war-cry and a source of inspiration for the Vijayanagar army. It is believed that both the brothers had a special affinity towards Lord Veerabhadra and had been inspired to build a temple at Leepakshi, which had been strongly linked with Puranic tradition.

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KAKATIYA DYNASTY – AN ARCHITECTURAL SOJOURN

The Veerabhadra Temple complex is a wonderful example of Vijayanagar architecture. Filled with gopuras, vimanas and sprawling courtyards the temple’s major architectural features are the ranga mantapa and ardha mantapa. Carved with an exquisite array of images of dancers, musicians and the Puranic deities, like those of Anantha Sayana, Dattatreya, Brahma, Tumburu, Narada and Rambha, the temple is however incomplete. The sprawling Kalyana – Mantapa meant as a sacred space for celebrating the wedding of Shiva with his beloved Girija has splendid and carved massive pillars, but there is no roof over them.

A major attraction of the temple is the ceiling murals depicting 14 aspects of Shiva, flanked by rishis whose gazes direct a viewer’s eyes to subsequent depictions from the killing of demon Andaka to Ardhanairswara, a figure whose body is composed of Shiva on the right side and Parvati on the left. There are also manifestations of Shiva as Kirata (boar hunter), Shiva’s wedding with Girija, scenes of Krishna’s childhood, and the legend Manu – Neeti – Cholan who disposed justice even to animals. There is also a scene of Viranna and Virupanna worshipping Shiva and Parvati in the company of other courtiers.

Travel Tips

Leepkshi is located at a distance of 120 km from Bengaluru off Hyderabad Highway in Anantapur District of Andhra Pradesh. The nearest town is Hindupur, which is 15 km away. It takes about 2 and half hours to reach Lepakshi from Bengaluru. There are both buses as well as rail connectivity to Hindupur from Lepakshi. If you are travelling by bus or train hire an auto from Hindupur to Lepakshi. Lepakshi can be covered in a day trip. Penukonda is further north about 50 km from Lepakshi.

The murals of Leepakshi manifest the contemporary life in Vijayanagar Court and society. Full of vitality with protruding eyes, angular postures, grace and delightful movement these provide primary pieces of evidence to appreciate the grandeur of cosmopolitan Vijajayanagar. The costumes of men and women, colour embroidered sarees, jewellery, hairstyle, tall headgears (kulavi) are among the finest in Indian mural tradition. The wealthy traders and officials in the 16th-century court are seen dressed in Persian styles are depicted in Leepakshi murals. According to Brigitte Khan Majlis, an expert on Leepakshi murals, the textiles show a wide spectrum of patterns, some bearing a close similarity to extant cotton textiles of Kalamkari tradition, produced along the east coast for export to Indonesia in 17th and 18th centuries.

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KAMAN PANDIGAI

Veerabhadra Temple’s yet another major attraction is a mammoth Ganesha – hewn in stone and leaning against a rock. Perpendicular to it is a massive Naga with three coils and seven hoods. It forms a sheltering canopy over a black granite Shiva lingam.

The first sculpture at Leepkashi is, however, you will encounter is a spectacular Nandi of 27 feet length and 15 feet height, reputedly India’s biggest monolithic Nandi.

Author – Jitu Mishra

He can be contacted at jitumisra@gmail.com

Jau Kandehi of Balasore – Excellence in Lacquer

As I grow old, I become more nostalgic about my childhood days in the 1980s. It was an era without Internet and Smart Phones, no pizza or any food of foreign origin. Our favourite pastime was ‘playing’, enacting Odisha’s folk stories and colourful legends.

Though I was a boy and the kandhei bahaghara (marriage of dolls) used to be a pastime activity for girls, but we all celebrated our childhood to the tune of the ditty –

“Aa Baula Bohu Bohuka Khela Kheliba,

Come, friends – let’s play doll marriage having fun and joy

Jhia bahakari pua bahakari

By letting marriage between our daughter and son

Jani – jautuka deba”

And giving away dowry and gifts

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PAPIER MACHE – THE STORY OF ODIA MUKHA AND ITS MASTER ARTISAN

Toys have been integral to India’s 5000 years of civilization. From the dawn of Indus Valley until the time computer games and cheap Chinese toys started making inroads to India’s interiors, playing with traditional toys dominated the length and breadth of the country. In past, India had a rich tradition of making toys using a variety of material. However, unfortunately very few have survived.

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LIFE IN TERRACOTTA – TILE CRAFT OF BARPALI

One of these is Jau Kandhei, or Lacquered Toys, which since the 17th century is being made as part of Balasore’s folk tradition. Today, dolls made of fired clay, painted with colourful lacquerer and artistically designed with lacquered threads are an integral part of Balasore’s folk culture.

Travel Tips

Silpi Kesu Das lives in Balasore, the largest city in North Odisha and located midway between Bhubaneswar and Kolkata. Connected by both excellent road and rail Balasore is also a major tourist destination especially for its Chandipur Beach. There are excellent stay options in and around Balasore for all kinds of travellers. The founder of Balleswari Kala Kendra Silpi Kesu Das’s workshop is located near Remuna Golei in Balasore City.

Dublagada, Koshamba Nagar, Near Remuna Golei, Po – Bhimapura, Dist – Balasore, Pin-756003, Odisha, India Website: http://www.jaukandhei.com Mob: 9861104590

In the 17^th Century, Balasore was at the centre of Odisha’s seafaring culture. Surrounded by the estuary of Budhabalaga River, which meets the Bay of Bengal near the famous beach of Chandipur on one side and the dense forest of Nilagiri and Kuldiha on the other side, Balasore had a strategic position in the maritime map of India. The city was positioned at the crossroad of ideas. It was Balasore where the Dutch followed by the Portuguese, French and the British first arrived in the north-east coast of India to establish factories and trade. The forest of Nilagiri and Kuldiha had an abundance of lacquer which was used for making toys.

Balaram Gadi near Balasore – a major harbour in the 16th century

In the words of Silpi Kesu Das, an internationally acclaimed lacquered toy artist, ‘keeping a pair of dolls in the bedroom is considered auspicious in our tradition. This is why the bride’s family used to gift lacquer dolls to the couple in earlier days. It glorifies the celestial relationship’.

Kesu’s Miniature Paintings – Horseshoe Crab, a rare marine species from Balasore finds depiction in each of his painting.

Watch here his interview.

 

 

Author – Jitu Mishra

He can be contacted at jitumisra@gmail.com

 

Sitabinji – A Mystical Journey through Time and Space

Goddess Sita left the kingdom of Ajodhya in revolt when her husband Lord Rama asked her to prove her purity to the citizens of the kingdom to prove wrong the charge about her by a citizen of his kingdom.

Sita was pregnant by the time she left her husband. Wandering in the forest after forest, she finally took refuge in the ashram of Sage Valmiki. Finally, the goddess gave birth to twin sons, Lava and Kusha at the ashram. As they grew into young boys they were educated and trained in military skills under the guardianship of Sage Valmiki.

Unquestionably this is a story from Indian mythology, but historians have their own ideas for establishing the historical truth in the episode. According to them, it was on the banks of Tamsa River, a tributary of Ganga flowing through the borders of Uttar Pradesh and Madhya Pradesh, where the ashram of Valmiki flourished and Sita had sheltered after she left Ajodhya forever.

In contrary to scholarly speculations, the aboriginal tribes of Keonjhar in North Odisha have their version of the episode. Sitabinji located in the heart of this forested region according to local belief and folklore was the place where the ashram of Valmiki was located.

Sitabinji, a small tribal village is located beside river Sita amidst dense forest and hills. The entire region is shrouded in mysteries from time immemorial.

Sitabinji Village

Sita River

Consisting of huge granite monoliths and half-opened umbrella-shaped rock formations Sitabinji is the place where Mesolithic (Late Stone Age communities) tribes roamed more than 10,000 years ago in search of food and shelter. The land filled with forest and hills was the perfect refuge for hunting wild games and gathering wild fruits. Millennia after millennia passed. In the process, the Mesolithic tribe evolved into farming communities. Migration of communities happened between lands and eventually, the primitive tribes came under the influence of Hindu mythology and started weaving stories for each of the rock boulders and hills that dot the landscape.

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Splendours of Sonepur – In the land of Ramayana’s Lanka

The Stunning Landscape of Sitabinji

Today, Sitabinji according to local belief is the land where the episode of Goddess Sita’s detachment happened from her consort Lord Rama in the mystical past. The rock boulders are named after various events and character of the episode, such as bhandara ghara (the granary), the school for Lava and Kusha, the ashram of Valmiki and the cave where Sita had delivered her twins.

Sitabinji continued to be inhabited by tribes and Shaiva upasakas (Shavite Monks) in the Early Historic Period. The finding of a Chaturmukha Lingam and sculpture of a moving elephant testify the presence of Shaivism in the early Gupta Era of Indian History (3rd Century CE).

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Ranigumpha – Rock-cut Romance

Among archaeological relics, the most prominent is the shelter of Ravanachhaya, an half-opened umbrella-shaped rock formation. On the ceiling of this shelter, there are remains of tempera paintings, dated from the 5th century CE, the only of its kind in the entire Eastern and North-eastern India.

Travel Tips

Sitabinji is located at a distance of 35 km from Keonjhar, the nearest city. To reach Sitabinji one has to make a detour for about 9 km from village Khatrabeda on Keonjhar – Ghatagaon and Panikoili Highway. There is no public transport available for Sitabinji. One has to arrange own vehicle or cab either from Keonjhar or Bhubaneswar (200 km). From Bhubaneswar, it takes about 4 hours to reach Sitabinji. Though it can be covered in a day, we recommend for a two days trip from Bhubaneswar. While at Keonjhar you can also explore its spectacular waterfalls and Ghatgaon Tarni Temple.

The paintings are mostly eroded. However, from its present state of preservation, it is presumed to be depictions of a royal procession. The key attraction is a royal figure sitting on an elephant. A band of footmen lead the procession followed by a horseman and a dancing woman. An inscription found below the character tells the name of the royal figure, Maharaja Shri Disabhanja.

Though the painting is contemporary of Ajanta murals, there are significant differences in colour schemes and compositions.

There is no other information on Disabhanja from any other sources. However, according to historians, he was one of the members of Bhanja rulers in Early Historic Odisha, who had their capital at Khiching, further north of Sitabinji.

Yet another attraction of Sitabinji is a shrine in a cave formed by two huge boulders. Legend has it that Maa Sita used this place as a shelter when she was deserted by her husband Lord Rama. It is believed that she gave birth to Lava and Kusha at this very place. The present shrine is made out of mud and bricks containing the carved stone idols of Sita and her twin sons. Besides the shrine, there are a large number of terracotta horses of varying sizes and colours piled by the devotees seeking the blessing of the Goddess for their good fortune.

At the entrance of Sitabinji archaeological complex, you are drawn to a huge boulder, which is believed to be the bhandaraghara (warehouse) and the hiding place of looted treasures by the famous dacoit ‘Ratnakara’ who later turned into Valmiki, and the writer of the epic Ramayana.

The archaeological treasures of Sitabinji uniquely blend with its rustic landscape. Its rock shelters and boulders appeared to be the miniature version of Australia’s aboriginal site Uluru, which is listed as a UNESCO World Heritage Site.

Millions of years old rock boulders of Sitabinji are also amongst earth’s earliest rock formations.

Author: Jitu Mishra

He can be contacted at jitumisra@gmail.com

Olive Ridley Sea Turtle in Bhubaneswar’s Walls – A Visual Treat

Olive Ridley Sea Turtle is the smallest and most abundant among all sea turtles found in the tropical world. They are found mostly in warm and tropical water, primarily in the Pacific and the Indian Ocean.

Growing to about 2 feet in length and weighing around 35 kilos, Olive Ridley Turtle is best known for their behaviour of synchronized nesting in mass number, termed arribadas. Females return to the same beach from where they hatched to lay their eggs. They lay their eggs in conical nests about one and a half feet deep, which they laboriously dig with their hind flippers. Gahiramatha and Rusikulya Estuaries are the world’s largest mass nesting sites for olive turtles.

Mating often occurs in the vicinity of nesting beaches, but copulating pairs have been reported over 1000 km from the nesting beaches.

Olive Ridley Sea Turtles migrate in large numbers from the beginning of November every year for mating and nesting on the coast of Odisha. Within two months the nesting season starts.

However, though listed as vulnerable under IUCN and protected under the ‘Migratory Species Conservation’ there is a high rate of their mortality due to collision with boats, trawlers, gillnets ghost nets and longline fishing. In addition, coastal development, natural disasters, climate change and beach erosion have also become potential threats to nesting grounds.

The carcass of an Olive Ridley Turtle found near Devi River Mouth

Also, Read Here: 

The Slow Death of Odisha’s Living Marine Heritage; the Olive Ridley Turtles

There is also a lack of public awareness about Olive Ridley Turtles in Odisha. Both as ideas of beautification and generating awareness recently part of Bhubaneswar’s public walls were illustrated with cycles of their migration and nesting on Odisha coast.

The drive for beautification started in October 2018 with an eye on Odisha Hockey World Cup that was held in Bhubaneswar in the following months. The artwork was carried out by 15 groups of artists from Odisha Modern Art Gallery, Krutika, Konark Arts, Bakul Foundation and Sutra Advertising apart from several individual artists. Each of the groups had submitted proposals on themes focusing on wildlife, folk and urban lifestyles, hockey and tangible and intangible heritage of Odisha in general and Bhubaneswar in particular.

Travel Tips: 

Bhubaneswar’s AG Square where murals are drawn is located at the heart of the city, at a distance of 2 km from the Airport and the Railway Station. Go in the early morning to avoid traffic. For Olive Ridley Turtle sighting the best place is however Ruikulya Estuary, 150 km from Bhubaneswar towards south on Berhampur Highway. February and March are the nesting seasons.

The AG Square area, which forms the city’s most prime location, was chosen for Olive Ridley Turtle and the work was assigned to artist Satyabrata.

Olive Ridley Turtle (Oly) was also the official mascot for Odisha Hockey World Cup 2018. One section of the walls focused on Oly as hockey players.

Today any passerby on the roads around AG Square is drawn for a moment to these beautiful murals and for children no doubt these together have become an open-air picture book to explore the world of Olive Ridley Turtle.

Author – Jitu Mishra

He can be contacted at jitumisra@gmail.com

From ‘Muthi Anukula’ to ‘Kheta Badia’ – A Photo Journey through Odia Rice Culture

Akshaya Trutiya – when a large part of India celebrates this summer festival buying fresh gold, the farmers of Odisha begin their agriculture cycle of the year. On this auspicious day, the farmers of Coastal Odisha celebrate ‘Muthi Anukula’ starting the sowing work of fresh paddy crops at their village farms.

Odisha is an agrarian state with a significant rural population. Rice is the mainstay of Odisha’s agrarian economy. In fact, rice is the lifeline of Odisha. Most of Odisha’s festivals revolve around agricultural cycles. They reflect a symbiotic relationship between her land and people, especially farmers who constitute a large chunk of Odisha’s population.

If you are in Odisha during July and August, the peak of monsoon season what draws your attention is vast green rice fields as far as your eyes can stretch appearing as if you are stepped in fields of sapphire.  There are small elevated manchas (raised platforms) with thatched roofs at intervals. Farmers watch their growing crops during the night hours to prevent the invasion of wild animals from these platforms. Sowing is in full swing mostly by womenfolk. The fields also become their pastime place – gossip and sharing their mundane matters with peers. There is a playful atmosphere all around with water, mud and crops.

The festival of Gamha Purnima, which is also celebrated as Rakshya Bandhan in most part of India, is the next important festival in the agricultural cycle. The rice saplings have now matured. It requires a break. Gamha Purnima is also the birthday of Balaram, the elder brother of Lord Krishna and the farming god. On this occasion, the agricultural implements such as ploughs are worshipped along with bulls and cows.

Plough and Other Agricultural Implements

Storage Facilities for Rice

Tenda – Water Lifting Device for Rice irrigation

Time moves on. By October/November, the rice plants start ripping and turn gold and in some places ready for harvesting. Harvesting is an elaborate process involving several steps. While the harvesting is carried out, the women folk celebrate Manabasa ritual on every Thursday of the month Margasira. In Odisha rice is revered as Goddess Lakshmi. The women folk of Odisha illustrate their home floors, from the entrance to backyard with elaborate chitta depicting paada (feet) of goddess Lakshmi, apart from various floral motifs and geometrical symbols. The ingredient used for these floor murals is rice paste. The process of making murals starts on Wednesday evening and continued to the next day.  A story goes:  Once Lakshmi visited the home of Shriya Chandaluni, a scavenger low caste woman. Balabhadra got angry and did not let Lakshmi enter the Jagannath Temple at Puri. Lakshmi avenged the insult by cursing her husband Jagannath and brother-in-law Balabhadra to go through a prolonged ordeal without food and water.  At last both her husband and brother-in-law realized their mistake and invited Lakshmi with grace to live in the temple.

The story emphasizes the importance of equality and feminism against the background of rice cultivation.

In the end, an elaborate ritual ‘kheta badia’ terminates the rice cycle.

Odisha may not have impressive rice terraces as one sees them in China and Southeast Asia, but very few know that Odisha offers the widest range of domesticated and wild rice anywhere in the world. Some archaeologists even have speculated that parts of the Eastern Ghats in Odisha possibly yet region for the origin of rice.

Author – Jitu Mishra

He can be contacted at jitumisra@gmail.com

 

Kanchipuram Murals – An Artistic Sojourn

Every year millions of tourists, art connoisseurs and heritage enthusiasts visit Ajanta, the mural capital of India located in Sahyadri Hills of Maharashtra. The mural heritage of Ajanta was however short-lived, thanks to the fall of Vakatakas and their patronage.

The features that were laid in Ajanta was however found in full bloom in the Pallava Court at Kanchipuram, 1000 km away from the Vakataka capital. Unfortunately very little of Pallava murals have survived today. Following the Pallavas, it was the Vijayanagar and then Nayaka rulers who also made Kanchi as a canvas for their mural sojourn.

Pallava – Image Courtesy: Vijay Sundararaman Iyer

Vijayanagar – Image Courtesy: Vijay Sundararaman Iyer

Nayaka

Pallavas who made Kanchipuram as their capital were great patrons of art. Mahendra Verman I, the founder of the dynasty was credited for the introduction of rock-cut architecture in Tamil Nadu in 7^th Century CE. Because of his artistic talent, he was titled variously as Vichitra Chitta, Mattavilasa, Chaitrahari or Chitrakarapuli. However, none of Mahendra’s murals has survived at Kanchi today. What has remained are from the period of Rajasimha, who ruled towards the end of the 7^th century CE.

Also, Read here:

Ajanta – India’s First Renaissance

Mahendra Verman I at Mahabalipuram

Kailashnath Temple Kanchipuram

Rajasimha’s murals have also mostly gone; however, a close observation helps us to find traces of lines and colours on small cells in the pradakshina path.

In cell 9 there are remains of fragments of upper and lower arms of Shiva and in cell 11, one finds the beautiful face of Shiva depicted in Pallava style with only a part of the nose, cheek, kandala and yognopavita. In cell 23, there are remnants of a painting of Shiva and cell no 34 there remain traces of a mahapurusha (kirata, shoulder and thigh are left). However, the most striking remains are that of a Samakanda mural in red on the back wall of cell 41. The colours are gone, but the line of composition of the seated Shiva and Parvati and a lovely attendant of Parvati are an indication of the excellence of the artist’s ability. Depicting Samakanda was a favourite Pallava theme for murals as well as sculptures. The curve of the arms and legs, the excellent proportion of the limbs, details such as tussle, the folds of the garments and the ornamentation are surpassed only by the very adorable baby Skanda. Parvati’s figure is full of feminine grace.

Kanchipuram is located at a distance of 72 km from Chennai off Bangalore Highway. The city is also well connected by rail. Located on the banks of Vegavathi River, Kanchipuram has a rich history and heritage. It was the administrative capital of Pallavas in the 7th century. It was later ruled by Cholas and Vijayanagar rulers. Kanchipuram was a great centre of education in historical time. Of the 108 holy temples, the best -known are  Varadharaja Perumal Temple, Ekambareswarar Temple, Kamakshi Amman Temple, and Kumarakottam Temple. The city is well-known for its hand-woven saree industry known as Kanchipuram Silk. While at Ekambaeswarar Temple relish Kanchipuram Idli which is offered to temple as prasadam every morning. 

Images Courtesy: Vijay Sundararaman Iyer

One other painting which is in a fair state of preservation is that of Kinnara and Kinnari, a half human and a half bird couple who are celestial musicians.

The tradition of Pallava murals had carried forward the Ajanta tradition. They display the same grace of line and movement. The artists were masters of brushwork and figure drawings. The paintings were executed on a smoothly prepared surface in the fresco style. The colours used are black, red, white, yell, blue and green.

The Pallava murals of Kanchipuram are known for their fully open and wide eyes in accordance with South Indian ideals which demands wide, beautiful eyes as they are most striking features in the face. Faces are round and fuller.

The Pallava tradition of murals was revived much later in the 16th century during the Vijayanagar Period at the time of Achyutadevaraya who had commissioned murals on the walls and ceilings of Vardarajaperumal temple at Kanchipuram.

Vardarajaperumal Temple

In Andal Unjal Mandapa, the ceiling is carved with stories of Krishna from the Bhagavata Purana and Harivamsa, stories of Kaliyamardana, Vishnu with his consorts and so on.

Other common themes include the Vijayanagar crest of the boar and dagger, vidyadhara ridden of palanquins composed of feminine figures of Rati and Manmatha.

Vijayanagar Murals – Images Courtesy: Vijay Sundararaman Iyer

Sadly the Vijayanagar murals are also badly survived. The only prominent colours left are red, yellow, green and black. Yet the leftover outlines depicts prominent figures, strong undulated lines and animated movement.

Vijayanagar rulers were succeeded by Nayakas in the 17th century, who had commissioned Jain themes of various bala lilas of Rishabadeva, the first Tirthankara, of Vardaman, of Krishna, of Neminatha and so on. These paintings are illustrated as long elaborate panels in the ceiling of the Jain Temple at Kanchi. The panels are supplemented with the depiction of purnakumbha, flowers along with dancers and musicians.

The mural heritage of Kanchi may not be the richest in India but what makes it interesting is the evolution of styles and multiplicity of forms and themes that developed at different periods of history under the patronage of different dynasties. But sadly most of it gone with ravage of time.

Author – Jitu Mishra. He is grateful to archaeologists Vijay Sundararaman Iyer and Aarti Iyer for their knowledge sharing and accompanies at Kanchi in February 2018. Jitu can be contacted at jitumisra@gmail.com

Osakothi Rituals in Ganjam – An Anthropological Journey

A story goes – On the way to heaven, the five Pandava brothers had rested on the veranda of a Brahmin’s house, where no woman was ever blessed with the birth of a child. Arjuna came forward to intervene. He erected a Kothi and a Chammundia (a temporary shelter) with the help of arrows. Through this act, Yama, the God of Death was barricaded out.  At night a messenger of Yama appeared but had to leave unsuccessful. Consequently, an agreement was made with Yama – whoever observes Osa will bear sons, and all children will remain alive.

The news spread in no time throughout Avanti. Shriya Chandaluni (a woman sweeper named Shriya) heard it while she was sweeping the street near the palace. One of the queens expressed her displeasure because Shriya to whom she saw first in the morning was untouchable.  Equally, Shriya also thought it was inauspicious to have seen the face of the queen because she was antakudi, a barren woman.

The queen wanted to take revenge and reported the matter to the king. The king took away the five sons of Shriya and had them killed in the forest. Shriya went to the forest in search of her sons. Seeing them dead, she cried aloud. At that time Shiva and Parvati were wandering in the wilderness. They heard Shriya’s cry. While comforting her they asked her to observe Osa by erecting a Chammundia, a temporary shelter. She replied that she could only do it when all her sons are alive. Shiva requested her to turn her head away. He sprinkled water on the dead bodies and her sons came back to life. They joined their mother and also started worshipping themselves. The king watched them performing the ritual and when performed Osakothi himself, each of his 99 queens bore sons.

According to yet another story, Kalidasa, the poet had once lived in Bauri Sahi (street of untouchables). There he had started a Kothisala. First, he made the appearance of Shiva Tandav, after that the image of Parvati, then Mahisamardhini Durga and Kali. Mangala followed them, then Ganesha and Kartikeya, and finally Panchu Pandava.

 

How did Kalidasa go to Bauri Sahi? There was a king, who had addicted to women. Because of this weakness, he could not give time to rule properly. Everyone suffered. Then all his subjects assembled together and proposed him to create a mural of his favourite queen and keep it near him. The king liked the idea and invited the court painter to draw the mural. He got it done. All appreciated the work but Kalidasa said ‘no’. The king sought the answer. In reply, Kalidasa said there was a kalajai, a black mole on the left thigh of the queen, which is not in the figure. The king got annoyed with the answer and started doubting about the secret relationship between Kalidasa and his wife. Immediately he removed the poet.  With no other choice, the poet took refuge at Bauri Sahi where he started the Kothisala.

Both stories confirm us that the Osakothi tradition in Ganjam stems from the untouchable groups, the upper caste joining later.

For cultural anthropologists and archaeologists, Osakothi rituals are of great interest as one draws a series of parallels between the evolution of early belief systems against their social and cultural settings and their continuity till modern time.  Keeping this in mind recently I had ventured into the heartland of Ganjam around Digapahandi to experience and document the Osakothi rituals.

Also, Read Here:

Travel through Digapahandi – Ganjifa’s Last Bastion

Travel Tips:

Though Osakothi rituals are celebrated in most part of Ganjam we visited villages around Digapahandi and for this story, we had zeroed on Khallingi Village, about 15 km from Digapahandi via Patapur. The ritual is carried out during Durga Puja time every year. You can also visit villages around Dharkote, Purussotampur, Aska and Buguda towns to witness the festival. There is an excellent road network in the district and you will find villagers are very welcoming. However, for a comfortable stay, you can either chose Berhampur, the largest city in the region or Gopalpur-on-Sea. Taptapani Hotspring is the other nearby attraction which is also the gateway to the tribal heartland of Southern Odisha. For food, you have small restaurants on highways and towns. 

Osakothi shrines are temporary structures but now have been made permanent. But one should not confuse them with temples. They have strange characters showing a fusion of tribal and folk beliefs. In middle ages, local zamindars and feudal kings appropriated the land and villages of aboriginal chiefs of Kondh and Saura tribes. To hegemonize their subjects, goddesses from tribal realms were accepted as Esta Devis, family goddesses of the royal households. Some of the local Thakuranis acquired great prominence and their shrines were equated with ancient Shakta temples of Hind pantheons.

 

Osakothi shrines are a link between the tribal deities and beliefs and mainstream Hinduism. The Thakurani (goddess) is represented as a ghata (pot) and depicted in the murals along with various other deities. The season mostly lasts for seven days around Dussehara (from Ashtami to Kumara Purnima). Traditionally an Osakothi shrine is a simple structure, but nowadays because of increased wealth, one finds permanent structures. The basic requirements are a wall for the murals with a vedi platform or a ledge for keeping the ritual objects, a canopy and an open space for the performances and gathering.

The murals of the osakothi shrines are meant to house tetiskoti devatas (thirty-three times of ten million deities). At least 10 to 20 images and a maximum of hundred gods, goddesses, heroes of epics and legends are depicted on walls as attendants of the relatives of the divinities. The murals thus represent a microcosm in a reduced scale.  In an Osakothi mural, the entire family of the goddess does appear with sons, daughters and vehicles with a full entourage, regalia and pomp. The Thakurani is then considered to be Adimata, the creation mother. The wall on which murals are drawn is divided into components, symbolizing chambers and houses of various gods and goddesses forming the great family.

Mangala is often depicted in an Osakothi shrine as the dominating deity. She is seen sitting in cross-legged padmasana with four arms, her body is coloured yellow and she wears red or pink sari and a blouse. The goddess carries five pots, one on her head on top of her crown and four in her hands.

Shiva is the only male deity to appear in Osakothi paintings. He even occupies the central position. He is shown as Nataraj. However, Shiva is not invoked in osakothi ritual. There are stories that explain why Shiva is illustrated as a central figure in Osakothi murals. One such story is – there was a widow who would often get possessed by Thakurani. Once Shiva appeared in another form and beat the woman mercilessly saying that the goddess should return to her home and prepare dinner for her family instead of moving around. From then on Shiva is not invoked when the Thakurani appears.

In Osakothi paintings Durga appears with four or more arms, grasping a trident, sword and other weapons in her hands. She is generally represented as a beautiful and forceful woman. In osakothi, Kali is the central figure of the Shakti Cult. She is depicted as a black skinned naked goddess dancing violently on prostrate Shiva. Her powerful many armed images with swinging weapons of all shorts are the most prominent icon in Osakothi murals.

There are also icons of Chinnamasta, Parvati or Gauri, Saraswati, Ganga and Yamuna and a number of Thakurani goddesses such as Khambeswari, Manikeswari, Bankeswari, Tara Tarini, Budhi Thakurani, Bhagawati, Urandawati, Hingula, Chamundi, Maharikala, and so on. There are also minor legendary characters such as Hadi Hadiani, Dhoba Dhobini, Gauda Gaudani, Kandha Kandhuni, Keula Keaulani, Barahalila, Batapanthei, Chhoti Neli and Tapoi.

The Osakothi rituals consist of erecting and painting a shrine (now days erecting is not practised), performing puja, offering prayers, taking out processions, dancing and entertainment. The aim of the ritual is to obtain a boy child. The participants are lower caste inhabitants of a village or local group. Women act as observers. Paintings are drawn by Dandasi Harijan artists. There is a strong belief that if they don’t follow Osakothi rituals, Thakurani may interfere destroying the life and property of people. An interesting story goes: in one of the villages the tradition was stopped for three consecutive years. Thakurani became angry. She said: ‘I will make the village Kala Khamba, black poled (i.e. she will burn houses). I will bring smallpox and phatua, a cow disease’. The Thakurani came to a village and demanded that she performs Osakothi. First, the villagers said: ‘We have no money’. The Thakurani replied: ‘Money is my problem. I shall go with you from village to village to collect money’.

For all 8 nights in a row, the participants in the ritual congregate at the shrine to invoke various gods and goddesses. The ritual begins after the sunset. The Jani (priest) worships the ghata pots representing the goddess Mangala and the image in the murals. He lights a lamp and burns incense after offering ukhuda bhoga (fried parched rice mixed with molasses) to the deities. The dhana koila instrument is then played by the Bayani musician or the singer. The Gayani singer begins the first avahani (invocation song), the audience joins the chorus, called pali. Slowly everyone gets involved. Some of the participants become active personifications of the divine and semi-divine characters and called Devata. One such male Devata may suddenly move forward and backwards and fall in trance called Devata Lagiva. Usually, four or five me men enter into this state simultaneously. The Jani and his companions try to calm the Devata if his movements become too frenzied. They pour water from a lota into his mouth and touch his head with a Mandara (China Rose) flower was taken from Mangala pot.

The ritual ends with Koti Ujeiva on the evening of the Purnima (full moon) or the day following it. The pots are taken to the pond in a procession.

Today, however, Osakothi is in the declining state through the rituals are still on. In our exploration, we were also surprised to see the replacement of murals with flex prints depicting mythological stories in southern style. The beliefs are no more intense as the lower castes are more empowered now. Because of technology and information flow the superstitious beliefs are also fading. It is a million dollar question – for an anthropologist like me it is a loss but one has to accept that we all need to progress and develop scientific tempers and get away from such archaic practices. However, rituals like Osakothi also play as symbols of identity and community bonding at the grassroots of Indian society in the era of market force and globalization.

Author – Jitu Mishra

He can be contacted at jitumisra@gmail.com