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\û\ûMòeú gâú @Uk aòjûeú _Šû 9 i_^ ùjAMfû^ ùXñKò gâú aâjàû^¦ a^ùQûe 12 @ûeê ^ûAñ^ @ûMe Kjñe gâú i¬d Kêcûe cògâ 15 K[û ieþfû _\àgâú jf]e ^ûM 16 ùfûKû«e WKÖe \ßûeòKû^û[ ^ûdK 25 ùfûK iõMúZ, ^û\aâjà I ùfûKaû\ý cû¦f : GK @^êPò«û @¤û_K _êeêùhûc cògâ 28 ùKûgf aûjòe ù\aúù\aZûe- iêfj be^ò a^ûc ae^ò Mêeêgâú _ŠòZ Nûiòeûc cògâ 37 _½òc IWògûe iõÄéZòùe - i´f_êeú ùfûKMúZ gâú ùcûjòZ Kêcûe ÊûAñ 43 PdðûMòZò: ùKûifò e _ùjfû fòLòZ iûjòZý gâú iûùKZ iòâbêiY 46 iñ_êe iêZûeþ Kûaý : ùiû^_êeú aû§ gâú _â\êýcÜ Kêcûe iûjê 48 cjû^\úe cjû~ê¡ : iZý I Z[ý gâú ùK\ûe cògâ 51 eê\âKûkú Rd ùjû... Wÿ. _õPû^^ cògâ 54 ^ûPMúZe @_êað i¸ûe: “^ì@ûñLûA’ @ûce Zòjûe Wÿü. Z_Êò^ú Mêeê 58 _âûPú^ ùfûKaû\ý : ]ê^ùKf gâú ùPø]êeú aòbûe 61 bûMaZþ MúZû (ùKûgþfú) gâú fù´û\e Zâò_ûVú 63 Haldhar Nag: ‘Truly’ Inspirational! Dr. Ashok K Choudhury 65 Epigraphical Treasures of Subarnapur Dr. Sadananda Agrawal 71 Folk Festivals and the Family Bonding Smt. Bandana Meher 82 Temples of Western Odisha on its economic and cultural rejuvenation Sh. Ranjan Pradhan 84 \û\ûMòeú gâú @Uk aòjûeú _Šû

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KßûUðe ^õ: G`þ 25/aêfðû, i´f_êe i_^ ùjAMfû^ ùXñKò gâú aâjàû^¦ a^ùQûe

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RùY RùY ^òùŸðgK ejòùf û Zûuê ùKûeòIMâû`e iekZû, @ûùaMcd jé\d, Zû’eò iéÁòKkûe K\~ðý KêjûMfû û _âùZýK ^éZý\k _ûAñ RùY RùY iõMúZ eì_ ù\Lô bûwò_ùWÿ û ùi ^úea eùj û Zû’e aò ù\ûh ^òùŸðgK ejòùf û ^éZýKê iaðûw iê¦e Keòaû _ûAñ K’Y? UâûKÖeùe aiò ùlZ Phòùf jkò@û MúZ @ûC aòbò^Ü _âKûe ewùaew _eò]û^, @kuûe @û\ò aûjûeòa Kò? Äêfcû^uùe aòbò^Ü _âKûe ù\ûkò, KâúWÿû aýajéZ ùjfû û aû\ý~ªe c¤ @bò^a eì_ ù\LôaûKê ie¬ûc ù~ûMûA \ò@ûMùf Mûñ Sò@cûù^ @ûC aCkò, còkòfû, ^éZýbwú I ùfûKMúZe Êe iõù~ûR^ûùe aûweò, iR^ú bkò MúZMûA ùLkòaûKê c^ Keòùa c¤ ^ìZ^Zû _eòflòZ ùjfû û ùghùe Äêf, KùfR Kò? Mûñ Sò@ @û]ê^òK ùcûUeKûeþùe a]ì iûRò ggêe aòbò^Ü @^êÂû^e QûZâQûZâú, ~êaK-~êaZúcûù^ Gjò NeKê Mfûùaùk @ûC \êfûMúZe Mê¬eY gêYû~òa ^éZý\kùe ù~ûM\û^ Keò ù\g-aòù\gùe ^éZý- Kò? 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aû\^ KkûKê iû]^ Keò[û«ò, ùijò Mêeê aû ZûßòKZû \éÁòeê @ûMKê @ûùfûP^ûe iõbûa^û eùL û _ìað_êeêhuê iàeY Keò jêkjêkò ù\fû_eò ùlZâ @¤d^ ùaùk @ûC RùY _êeêLû MòfòMòfò aRû~ûA[ûG û aû\ýKûe (Xÿêfò@û) cjûù\a RM\fû û Mâûc - fuûaûjûf 3. jûZþ gúZfû aû @le gê¡ò - Zû_ùe aòbò^Ü Kjòùf- “aû\ýe cìk Zß ùjfû Zû, [ô, ^û, Pû, U, ^û, ^û\Kê ù~ûWÿò ùaûf juû ~ûG û ùiùZùaùk ù] û Gjû ùjCQò aû\ýe VûU û ù~ùKøYiò PcWÿû aû\ý ùXÿûf Kò´û cû¦fùe @le ]ß^ò MêWÿòK ÆÁ ~[û- ùXÿûf, cû¦f, c\ðk, cé\w GA aûU ù\A ~òaû aûeò ùjC[ûG û GjûKê jûZþ gúZfû, @le gê¡ò _ûAñ aû¤ û GjûKê @ûce ù\gú bûhûùe iòWÿò aû VûUþ aû _eùN^þ _ûe ùaûfò Kêjû~ûG û Kêjû~ûG û @ûC @ûce ùXÿûf aû\^e cìkcª ùjfû - 4. AÁ ù\aZû iàeY - aû\ýKûe Zûe aû\^ Zûk, fd @ûC _ûU (aû\ýûle) û” _âKòâdûùe AÁù\auê iàeY Kùe I GK ùZùa GZòKò Kêjû~ûA _ûùe ù~ _½òc IWÿògûe ^ò¡òðÁ ùg÷kúùe aRûA[ûG û AÁù\auê iàeY ùfûKaû\ý ùXÿûf, cû¦f, c\ðk, ^òiû^þ, Zûiû, UòcòKòWÿò, Kfûùaùk ùXÿûf aûùR - Mò\þZûe Mò\þZûe cêjêeú AZýû\ò e aû\^ùe ùKøYiò _âKûe gûÈúdZû ^ Mò\òMò\ò Zû (2[e) Mò\òeþ Mò\ûKþ Zû Mò\òMò\ò Zû [ôùf c¤ aû\ýKûecûù^ Zûue aû\^ ùg÷kúùe ùcøLôK (2[e) Mò\þZûe Mò\þZûe Mò\òMò\ò Zû Mòj^þ\eò Mòj^þ\ûKþ Zû ZòKòZòKò Zû û ZòKþZû ZòKþZû ZòKòZòKò bûùa ÊZª ^òdcùe @^êa§òZ û iêZeûõ ùKøYiò aò Zû Mò\þZûe Mò\þZûe Mò\òMò\ò Zû û ùijò_eò ~êMùe ùKøYiò aò aû\ý (ùfûK ùjC Kò gûÈúd) Zûk, cû¦fùe aûùR - ]ôKþ Zûjûñ ]ôKþ Zûjûñ ]û Zê^þ fd I _ûUKê QûWÿò _eòùahY Keû~ûA _ûeòa ^ûjó û Zê^þ (2[e) _½òc IWÿògûe ùfûKaû\ý ùXÿûf, ^òiû^, Zûiû, cêjêeú, ]ôZcþ ]ô^ûKþ ZûKþ ]û Zê^þZê^þ UòcòKòWÿò, cû¦f, c\ðf, Xÿû_þ, Pûwê, NêaþKêWÿê, iûewú, ]ûe Mò^ûjû¦þ Zûe NòZûNòZû Zê^þ Mòjþ¦eò Nêcþeû, MêñMêñ ^û\ò@û, Sû¬, WÿñWÿû, KûVò, ]ì^þùKfþ, Nêwêeê Mò^ûjû¦þ Zûe NòZûNòZû Zê^þ AZýû\ò û aû Pû_þ, SfûùSûf, aúYûaûWÿò, aGñgú, ^ûMþ]ì^ú, NñUú, Mò^ò, cêeþ\êñMþ, LñRþ^ò, gòwû AZýû\ò û 5. gqò RûMeY - bò^Ü bò^Ü ù\úa ù\aZûuê _ìRû Kfûùaùk ZûuVûeê gqò _ûAaû ^òcù« Kò´û aû\ý~ªe ùgâYú aòbûM - iõMúZKûecû^u aeê@û ù\jùe Kûùkiú @ûaòbðûa KeûAaû cZùe aû\ý Pûeò _âKûe û ZZþ aû Zûe aû\ý (Stringed ^òcù« ùMûUòG _ùe ùMûUòG _ûeþKê aRû Instrument), gêiòe aû\ý (Wind Instrument), ~ûA[ûG û GjûKê aû\ýKûeu bûhûùe gqò @a^¡ aû\ý (Covered Instrument) Gaõ N^ aû\ý aû _ûeþ Kêjû~ûG û (Solid Instrument) û 6. Kúf^þ aû iòWÿò - ù\aú ù\aZûcû^uê Zûe aû\ý - ù~Cñ aû\ý~ªùe Zûe MêWÿòK @ûaûj^ Keòaû _ûAñ ùMûUòG ÊZª iòWÿò ejòQò û L¬û ~ûA[ûG I ZZ aû @ûwêVòùe Kò´û ùKøYiò ~ª aû\ýKûe iòWÿòKê iòWÿò PXÿò[ûG Gaõ ^ò¡òðÁ iûjû~ýùe aRû~ûG, ZûjûKê Zûe aû\ý Kêjû~ûG û ùg÷kúùe IjäûA [ûG û GjûKê ùfûKbûhûùe NêaþKêWÿê, iûewú @û\ò Zûe aû\ý ùgâYúe @«bêðq û Kúf^þ, iòWÿò aû gòfþgòfû Kêjû~ûG û gêiòe aû\ý - `êuòKò _a^ cû¤cùe ù~Cñ GA hWÿPKâ ùb\e K[û gêYò cêñ PKòZ ùjûA aû\ýKê _eòùahY Keû~ûG, ZûjûKê gêiòe aû\ý ~ûA[ôfò û Gjû ^òjûZò _âûPú^ ^êùjñ, @aðûPú^ û Z[û_ò Juhar Surta 2016 30 nuakhai parav 2016

Kêjû~ûG û _½òc IWÿògûe gêiòe ùgâYúe aû\ý ùjfû - @ûfòwý aû\ (Embraced) - ù~Cñ aû\ý ~ª cêjêeú, gòwû, aGñgú I ^ûMþ]ì^ú û @ûfòwòZ ùjaûe ù~ûMýZû eLô[ûG aû ù~Cñ aû\ýKê @ûfòw^ Keò _eòùahY Keû~ûG ZûjûKê @ûfòwý aû\ý @a^¡ aû\ý - (@a+^j+Z) @[ðûZþ ~ûjûKê Kêjû~ûG û @ûa¡ Keû~ûA[ûG û ù~Cñ aû\ý ùgâYúKê PcWÿûùe @ûa¡ Keò Pc \CWÿòùe a§û ~ûA[ûG I _òUò_òUò aû\^ _½òc IWÿògûe ùfûKaû\ý cû^ _âûdZü icùÉ Keû~ûG ZûjûKê @a^¡ aû\ý Kêjû~ûG û _½òcûkùe @uý I @ûfòwý û aû\ý~ªe @ûKéZò I @aiÚûKê ù\Lô @a^¡ aû\ýe _âPk^ I icûRùe Zûe bìcòKû c¤ @uý Kò´û @ûfòwý aû\ý ùaûfò Kêjû~ûA_ûùe û ùZYê Lêaþ @]ôK û ùXÿûf, cû¦f, c\ðk, cé\w, Nêcêeû, ^ògûY, GA ùgâYúd aû\ý MêWÿòK ùjùf ùXÿûf, cû¦f, cé\w, Zûiû, UòcòKòWÿò, L¬Yú, XÿêfKò AZýû\ò _òcûkúd @a^¡ c\ðk, XÿêfKò, NêþaþKêWÿê, L¬Yú, Xÿû_þ I Pûwê û aû\ý û @a^¡ aû\ý ^éZý I iMúZùe aòùgh ~\ò gêiòe aû\ý cêjêeúKê _½òc IWÿògûe ùfûK iûjû~ýKûeú eò\òcþ bûaùe aýajûe jêG û aû\ýe cwê@ûk bûaùe MâjY Keòaû, ùZùa cw aû N^ aû\ý - ‘N^’e @[ð KVò^ I M¸úe û N^ cêLý @w ùjCQò ùXÿûf û ùfûK aû\ý ùXÿûf, ~ûjû _½òc g± cûù^ M¸úe g± û Kò«ê ]ûZê ^òcðòZ aû\ý~ª IWÿògûe _âZòUò ]cðúd _að_aðûYú, iûcûRòK _að_aðûYú, iaêKê N^aû\ý Kêjû~ûG û Mò^ò, Sû¬, Nò, SfûùSûf, @ûùcû\ _âùcû\ @^êÂû^ I Rúa^ RúaòKû _ûAñ cêLý a§ê aúYûaûWÿò, Nêwêe, N AZýû\ò N^ ùgâYúd aû\ý I ùjûA~ûAQò û ùiA[ô_ûAñ ùXÿûfKê _½òcûke Rúa^ Êe dûaûjûùe KûVò, ]Wÿ]Wÿò AZýû\ò KòQò ù\gú aû\ý c¤ Gaõ cû¦fKê _½òcûke Rúa^ cêzð^û Kêjû~òa û ejòQò û @a^¡ aû\ýe Êeì_ I AZòjûiKê ù^A KòQò ù~ùjZê _½òc IWÿògûe @a^¡ aû\ý MêWÿòK KòQò ù_øeûYòK C_ûLýû^ I ùfûKKûjûYú ejòQò û Zûe aòùgh bûaùe aýajûe jêG û ùZYê @ûC UòKòG ^ò¡òðÁ @aZûeYû Kùf _âa§Uò iêL_ûVý I gîZò iêLKe ùja û bûaùe @ûùfûP^ûKê @ûYòùf bf ùja û [ùe ÊûZú ù_ûLeúKê _ûYò @ûYòaû _ûAñ ~ûA @a^¡ aû\ý Zò^ò _âKûee û Gjò aû\ýe MXÿY, [ôùf û Zûuê ù\Lô ù\aeûR A¦â _âak ahðû_ûZ Kùf û @ûKéZò, aRûAaû @aiÚû I ùg÷kúKê ù^A C¡ßðK (Urdh- cûVò@ûùe ahðûaò¦ê _Wÿò c]êe g±UòG iéÁò ùjaûe gêYò vaka), @uý (Ankya) I @ûfòwý (Alingya) ^ûcùe @ûjäû\òZ ùjùf ÊûZú û _\à_Zâùe c¤ ahðûaò¦ê _Wÿò GK aòbq Keû~ûA@Qò û c^ùfûbû g± gêYû~ûC[ôfû û @ûgâcKê @ûiòfû_ùe aò Zûu Kû^ùe ùiA g± _âZò]ß^òZ ùjC[ôfû û GA cûVò@ûe C¡ßðK aû\ý (Held Vertically) - bì_éÂeê g±eê C\þaê¡ ùjûA ùi cé\w I _êÄe (ùXÿûf) Zò@ûeò f´ bûaùe C_eKê CVò[ôaû aû\ý~ª aû C¡ßð]ûe Kùf û _Ya (ùQûU ^ûMeû) I \Ÿêðe (aWÿ aû\ý~ª aû\ý~ªKê C¡ßðK aû\ý Kêjû~ûG û ^ògû^þ, Zûiû, UòcòKòWÿò, ù~Cñ[ôeê bdue g± gêùb) ij @^ýû^ý @a^¡ ]ì^ùKf, Nêceû AZýû\ò _½òcûkúd C¡ßðK aû\ý û aû\ýKê ù\agòÌú aògßKcðû Zò@ûeò Kùf û _êÄe, _Ya, @uý aû\ý (Kept Horizontally) - bìcò ijòZ \Ÿðêe, \êŸêbò, bìcò I cé\w AZýû\ò @a^¡ aû\ý~ªe icû«e bûaùe aû @û^êbìcòK bûaùe ù~Cñ aû\ý ~ªKê ^ûc ùa\ùe a‰ðòZ @Qò û eLû~ûG Kò´û aû\ý _eòùahY Keû~ûG, ùZùa ZûjûKê ÊûZú ùjCQ«ò \lm K^ýû û ÊûZúu ij R^ @uý aû\ý Kêjû~ûG û iû]ûeYu ~ù[Á iµKð ejòQò û ÊûZú, ahðû I cûVò@û; GA Juhar Surta 2016 nuakhai parav 2016 31

Zòù^ûUòeê @a^¡ aû\ýe iéÁò û @ûC @ûRò aò ÊûZú ^lZâ Zò@ûeò aû\ý~ªKê @ûùaûeò ù^ùf û cûUòùe Zò@ûeò @a^¡ Kê Mûñ PûhúUòG @ù_lû eùL û ÊûZú ^lZâùe _âak ahðû aû\ý~ªe Êe @]ôK @^ê^ûiòK, @]ôK ZewûdòZ I géZòc]êe û ùjùf gûcêKû Mbðùe cêqû iéÁò ùjûA[ûG û @[ðûZþ ÊûZú cû¦fe Êeì_ - ÊûZú I _ûaðZú \êA bCYú ùjCQ«ò ^lZâe ahðû GùZ c]êe I C^àû\^û cêLe ù~ gûcêKû \lK^ýû û ÊûZú cû¦f Zò@ûeò Kùf I _ûaðZúu Êûcú ÊZü cêqû Zò@ûeò Keò\òG I @^ý_ùU Mûñ Pûhú aò _âak @û\òù\a cjûù\a aû\^ Kùf û ù~ùjZê Gjò aû\ýùe aûeò_ûZùe C^àû\òZ ùjC[ûG û ùZYê Z ùKCñ _êeûZ^ cûñue \k @[ðûZþ iûZbCYú ^éZý Kùf ùiùjZê cûñu Kûkeê Êe ]ß^ò aû ^û\ ijòZ Gibòue _âûPú^ iõ_Kð \keê Gjò aû\ýe ^ûc cû\feê cû¦f ùjûAQò ùaûfò ejòQò û ùZùa G K[û iZ ù~ ùcNe MRð^, ahð_ûZ, Kecû ùfûK^éZý gòÌúcûù^ Kêj«ò û @û~ðýK^ýû _ûaðZú _ûjûWÿeê _Wÿê[ôa û _[ee g±, ^òR ù\jKê jûZùe I ÊûZú Gaõ @^û~ðý @û\òaûiú ù\aZû gòaue còkòZ _òUòùf aûjûeê[ôaû g±, MQKê MQùe _òUòùf aûjûeê[ôaû Cù\ýûMùe ^éZý I aû\ýe @ûe¸ ùjûA[ôfû Gaõ Gjò g±, Rwf ù_ûWÿòùf iéÁò ùjC[ôaû g±eê jó @a^¡ @û~ðý @^û~ðýe i¹ògâY _âKòâdûUò ùfûKiõÄéZòùe ejòQò aû\ýe iéÁò ùjûA[ôa û ùaûfò MùahKcûù^ ÊúKûe Ke«ò û @a^¡ ùgâYúd aû\ýKê KòeY \ò@û aû\ý ~ª cû¦fe R^à - cû¦fe R^à ij geúe ZßKê I KòeY ejòZ aû\ý~ª bûaùe \êAbûMùe aòbq iõ_KòðZ Keò cû¦f aûdKcûù^ ùMûUòG iê¦e MúZKê Keû~ûA_ûùe û KòeY ejòZ aû\ý~ª ~[û- ùXÿûf, Mû^ Ke«ò û Zû’e @aZûeYû ^òcÜùe KeûMfû û ^ògûY, Zûiû, UòcòKòWÿò @û\ò aû\ý~ª û KòeY\ò@û _âgÜ - “ibûùe ùjûAQê Vò@û Kj bûA cû¦êfò@û ùKùZ aû\ý~ª, ~[û- cû¦f, c\ðf, cé\w @û\ò aû\ý~ª û @ûwêkùe ùjfû ]ûdñû ù~ ùKùZ @ûwêkùe ùjfû aû\ý~ªùe KòeY ù\aû _eµeûUò bûeZ Pûdûñ ? ùKCñVûeê cûUò@ûYò MXÿòfû ùKCñ aò§ûYú ùKCñ ahðùe ùa÷\òK ~êM _ùe @ûe¸ ùjûAQò û aòùgh Keò icê\âe Rk @ûYò ù~ cûUò bòRûAfû Kj _êYò ? Lêf @û\òaûiúcû^u ijòZ \âûaòWÿ I @û~ðýcû^u iõiMð _ùe MXÿòfû ùKcù«, C@û iûùR Lûe ùKùZ ùKjê jûWÿò ùN^ò @a^¡ aû\ý~ªùe KòeY ù\A ^ì@û ^ì@û iêc]êe Mfû jùÉ ù~ ùjRûùfLû Kjòù\aê cùZ ? @ûjZ ^û\ MêWÿòK iéÁò Keòaûùe ùa÷\òK ~êMe iwúZm Ce - @ûjû .... cûù^ ilc ùjùf û ùa\ _ìaðe @a^¡ aû\ýMêWÿòK ù~ aâjàu ùaûfò Kê¸ûe, cûZéMùbð aûi Zûe iêc]êe ^ [ôfû, Zûjû ^êùjñ û _e«ê ùa\_ìaðe KòeYe- cûZéMùbð aûiZûe jòZ ùXÿûf, ^ògûY, Zûiû, UòcòKòWÿò AZýû\òe Êe aû ^û\ LêfKê MXÿòfû _\àPKâ ùjû UòKòG M¸úe Gaõ bdue û G bdueú ^û\Kê _âic^ _ìað\òùM cêL Keò Zûe Keòaû _ûAñ @û\òaûiú iõMúZmcûù^ aû\^ ùg÷kúùe céòKû ]ûZû MXÿòfû, gìf Wÿ´eê eLôfû cû]ê~ðýe eiKê iaê _eòùahY KeòQ«ò û Kò«ê @a^¡ gìf Wÿ´eê eLôfû aû\ýùe KòeY _âùf_ Kùf aû\ýeê iéÁ ^û\Kê ùKûck _â[ùc cŠf aiûAfû ùjû aZòg ^ûWÿò bò@ûY I iêc]êe Keò[ûG I Zûjûe Zew ù~ûR^ ù~ûR^ ~ûGñ Kfû û _eòaýû¯ ùjûA[ûG û Gjûe @[ð ^êùjñ ù~ KòeYejòZ PcðKê Kfû QûCYú ]^ý ]^ý ùi aò§ûYú aû\ýùe Zew iéÁò jêG ^ûjó û ]^ý ]^ý ùi aò§ûYú aû\ýe ]ß^òùe bò^ÜZû @ûYòaû _ûAñ _~ðýûdKâùc gìf Wÿ´eê L¬òfû _êYò ùjû @û\òaûiúcûù^ MQùe Zò@ûeò aû\ý~ª ij cûUòùe ^ûbòPùKâ KeA bûùfYò û Juhar Surta 2016 32 nuakhai parav 2016

G MúZUò ^ò½òZ bûaùe _êeûY ~êMe _eaðò fdùe aûRû a\kûA cû¦f aRûA[û«ò û GA ^éZýùe _~ðýde û Kò«ê _êeûY ~êMe ajê _ìaðeê ùa\_ìað I beZcê^òu ^ûUýgûÈùe CfäòLôZ _òŠòa§ ~[û- Mêkà, ùaù\ûe Kûkeê ùfûK iõMúZ ~[û: MúZ, aû\ý I gévkòZ, fZû I ùb\ýK @û\ò ^éZý ùg÷kú ù\LôaûKê ^éZýe @ûe¸ ùjûA[ôfû û _e«ê GK[û aò iZù~ ùa\ còkò[ûG û Gjû iõ_ì‰ð @û\òaûiúcû^u ^éZýùg÷kú û ~ûjûKê ùa\û«, gûÈ, _êeûY KûkKâùc ùfûK iõÄéZòe GK Kò @^ê¤û^ Keò beZcê^ò Zûu ^ûUý gûÈùe iÚû^úZ @bý«eú (Inner) @õM ùjûA ~ûAQò û Keò[ôùa ùaûfò @^êcû^ Keû~ûG û cû¦f iû]ûeYZü Pûeò _âKûee û 1. Mjfò@û gòÁ @ûgâòZ Kecû ^éZý Kò«ê bò^Ü ]eYe û cû¦f cû¦f aû Sfò@û cû¦f, 2. iõ_â\û cû¦f, 3. 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@fMû eûGR cû^ùK aû§ùK MêùU ^´e Kfû, ]fû, jf\ò@û @ûe fûf eõM aû§eþ cìf eõM (Product Number) ù\AKeò PòjÜûi^ö ùjùf A bûùa M^û ùjiò @ûe A iaê eõM RM^Üû[ cjû_êeêKe @õPfùe aê^ûùjA[ôaûe aû§e @ûe MêùU aW Lêaò ù\je eõM ùfùL^ @û^þö _\à aû§ùK RM^Üû[ ùjfû ù~, Aù^ iaê aû§ùK MêùU ^ûñ \ò@û~ûGiòö AUû cjû_êeêKe @ûGñL iñùM, NûMeû aû§ùK ZûKe ùaK aû§ iñùM aû§gòÌúe bûa @ûe aû§gòÌúe Kaò_^ùK iñùM Zêf^û Keû ~ûGiòö fûf eõM iê\gð^ùK, Kfû PòjÜûiòòö A ]ûeûù^ Satya Narayan Vastralaya RM^Üû[ cjû_êeêùK, jf\ò@û ù\aú iêb\âûùK PòjÜûiòö Weavers’ Co-operative Society Ltd., Sonepur VòKþ ùi^Zû iûMê@û eõM afb\â cjû_êeêùK PòjÜûiòö @ûeþ Ramji Co-operative Society Ltd., Sonepur _\à, cdìe, eûRjõi, jeòY ùfùL^þ aû§ ù_âc a^ûA[ôaûe ùKZUû aû§e ^ûñ ùjfû – Põ\e ùK PòjÜûfû ùafùK iòõj, jûZú ~ûKûeþ gqòeþ PòjÜû C\ó@ûñ, @ûicû^ Zûeû, còf^, iûaòZâú, iKZû_e, @û^ö NêWû ùi«û _âMZòe PòjÜû @ûGö @ûce c¦òe aòPòZâû_êeú, cYò\ûe, cêKZûcûf, _õPgúfû, eûùcgeú, cû^ùK A iaêe PòZâ ù\LaûeùK còffû ùafùK ~ûmùi^ú ö aû§ùe aò A iaê ù\LaûeùK còfiòö A @õPfùe _âÉêZ aû§ ]ûcòðK bûa^û iñùM aò RûZúd _êeÄûeùe i¹û^òZ aû§gòÌú RêWò ùjAKeò eùjiòö A[ô RM^Üû[ iõÄéZò @ûe c¦òe gâú _âjfäû\ ùcùje aû§ùK cê^êh Rúa^e PûeUû cû^Ke bìcòKû icKe^ê @ûùNö _âûKéZòK eõM jòiûùa @ûgâc aâjàùPø~ýð, MéjûiÚ, aû^_âiÚ @ûe i^ýûi iùw Juhar Surta 2016 50 nuakhai parav 2016

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Zòjûe bòZþùe Zòjûe bûA ^ì@ûñLûA Zòjûe aýajûe _âûd GK _âKûee û Gjû _êYò GK Kéhò _â]û^ \\û,ùaûjì, cû’,aêùj^þ iaþKê ùcûe Rêjûe û @k û GYê bû\âa cûiùe giý `k ]eòaû icdùe @ûùc GVûùe Kéhò bòòK _að ^ì@ûñLûA (^aû^Ü) c^êhý GK iûcûRòK _âûYú û iéÁòe _âûKþ Kûkeê _ûk^ Keê û ^ì@û MQùe _â[c `k Kò´û ahðe _â[c c^êhý icûR ùKûkùe R^àfûb Keò @ûiê@Qò û icûRùe C_ôû\òZ giýKê @ûeû¤ý ù\aúu ^òKUùe ic_ðY Zû’e R^à,@bòaé¡ò I céZêý û icûRòK _eòùag c¤ùe Keòaû _ùe _eòaûe c¤ùe ùia^ Keòaû ùjCQò Zû’e iéÁò,iÚòZò I aòfd û icûRùe jòñ iõÄéZòe R^à û _âûPú^ bûeZúd _eµeû û Gjò _eµeûKê jòñ @ûùc icûR ^[ôùf iõÄéZòe iéÁò @i¸a ùjûA_Wÿ«û û iõÄéZò ^ì@ûñLûA cû¤cùe i¹û^ ù\A @ûiêQê û Gjò _að aðcû^ ùjCQò @ûc icûRe \_ðY û _âûPú^ @û¤ûcôòK Rúa^e _½òc IWÿògûe @^ý ùKùZK @k Z[û _ùWÿûgú _eò_éÁò I aòKûg _â]û^Zü iõÄéZò C_ùe ^òbðe eûRý c¤ _âù\ge ùKùZK iÚû^ùe c¤ _ûkòZ ùjûA Keò[ôfû û ùZYê iõÄéZò ùjCQò,ibý icûRe @ûiêQò û KòQò ahð _êùað ^ì@ûñLûA _að aòbò^Ü @kùe cìkbòò û iûcûRòK Rúa^e iêL,\êüL,bf c¦,jû^ò,fûb aòbò^Ü \ò^ùe _ûk^ Keû~ûC[ôfû û cûZâ iêLe K[û iêeêPò-KêeêPò, iêaò]û-@iêaò]û,jhðð-aòhû\,ji I fêje Gùa bû\â gêKæ _õPcúKê ^ì@ûñLûA Zò[ô ]û~ðý Keû~ûA _eòPd @ûùc iõÄéZòeê jòññ C_fa]ô Keò_ûeê û GYê _ûk^ Keû~ûCQò û ùMûUòG _eòaûee ~òG ù~CñVò icûR I iõÄéZò _eÆee _eò_ìeK û [ûC _ùQ,Gjò \ò^K _ûAñ icùÉ ÊMéjKê i_eòaûe @ûc ù\g,@ûc bûhû I iõÄéZò _eÆe G_eò @ûiò[û«ò ^ì@ûñ LûAaû _ûAñ û Gjò _aðùe @ûùc @wûwú bûaùe RWÿòZ ù~ ùMûUòKùe lZò NUòùf iû]ûeYZü bìcò_êRû,A¦â_ìRû _êaðK ^ìZ^ giý @^ýUò @_âbûaòZ ùjûA ejòaû i¸a ^êùjñ û bûeZ ùlZeê @ûYò[ûC û Mâûce AÁ ù\aûù\aúu eûgò, _eò ajê bûhûbûhú, ajê ]cðûaf´ú, aògûk bêLŠKê ^lZâ ijòZ gêbûgêb MY^ûKeò GK ^òŸòðÁ cêjêð aû§ò eLôQò Gjûe iõÄéZòe iìZâ û ùag,ù_ûhûK, ]û~ðý Keû~ûA[ûG û Mûñùe @ûeû¤ ù\aúu _ûLùe PûfòPkYúe _âùb\ [ûA c¤ @ûc iõÄéZò jòñ @ûcKê ^ì@ûñ fûMòfû _ùe _âùZýK Nùe ù\aûù\aúuê ^êZ^ ^òKUiÚ Keò eLôQò û giý ùbûM fMû~ûG û _eòaûee aùdûùRý aýqò @^ý icÉuê ^ì@ûñ giý ù\fû _ùe icùÉ GK KcðKäû« Rúa^ùe cYòh ^òR Rúa^Kê iwùe ^aû^Ü blY Keò[û«ò û ^aû^Ü blY _ùe C_ùbûMý Keòaû _ûAñ @ù^KMêWÿòG _að_aðûYúe icùÉ Mâûce @ûeû¤ ù\aZûuê \gð^ Keò ^òR ^òRe _âPk^ KeòQò û iû]ûeY ù\÷^¦ò^ Rúa^eê KòQò icd MêeêR^ I aùdûùRý aýqòuê _âYûc Keò ùicû^ue @_ieò ~ûA Gaõ ^ìZ^ Ciôûj I CŸú_^û c¤ùe ^òRKê @ûgúaûð\ bòlû Keò[û«ò û Zû’_ùe _êYò Mûñcû^uùe jRûA ù\aû _ûAñ _að_aðûYúe iéÁò û @ûc Gjò _½òc bR^, Kúð^, ^éZý, MúZ, ùLk, ùKøZêK AZýû\òe IWÿògû Z[û i´f_êe, afûwúe, iê¦eMWÿ I KkûjûŠò @ûùdûR^ icMâ _eòùagKê Ciôa cêLeòZ Keò[ûG û @û\ò @ke ùfûKcû^ue ùagbêhû, PûfòPkYú, Juhar Surta 2016 nuakhai parav 2016 59

G Z Mfû ^ì@ûñLûA _að _ûk^ iµKðùe icýK bû\âa cûiUò iòõjcûi û iòõj gqòe _âZúK û iKk ]ûeYû û cûZâ Gjò _að _ûk^e Zû_ô~ðý I MêXÿZKêß gqòe @û]ûe iì~ðý Gjò bû\âa cûiùe iòõj eûgòùe flý Keòaû K[û û _â[cZü cYòhe Rúa^]ûeY @aiÚû^ Ke«ò û GYê bû\âa cûiùe ^aû^Ü _ûk^e _ûAñ @ZýûagýK Lû\ý,aÈ I aûiMéj c¤eê Lû\ý ùaø¡òK I KéhògûÈ i¹Z akò ~êqò ejòQò û _êYò ùa÷÷\òK ùjCQò _ûâ[còK û Lû\ý cìkZü _âKéZòe \û^ Gaõ @^Üe Kûkeê cûUòKê cûñ’ eìù_ _ìRû Keû~ûCQò û ùZYê cûUòeê iéÁò_ûAñ _âùZýK _âûYú iéÁò Kûðu ^òKUùe EYú û C_ôû\òZ giýe _â[c @]ôKûeúYú ùjCQ«ò cûñ! @ûc ù\gùe _êYò giýKê flàúu Êeì_ bûaùe MâjY bû\âacûi ùjCQò jeòu gd^ Kûk û Gjò cûiùe Keû~ûCQò û ùZYê KéhòRûZ giýe _â[c C_ôû\^, iéÁò ù\aZûu Vûeê ù\aúu _âbûa @]ôK û @ûc _½òc Kûðuê @_ðY Keòiûeòaû _ùe ^òùR GjûKê blY IWÿògûùe gûq ]cðe _ûâafý [ôaûùe @ûùc AÁù\a Keòaûe _eµeû bûeZ ahðùe @ù^K iÚû^ùe ij AÁù\aúuê c¤ _â[ùc ^aû^Ü @_ðY Keò[ûC û GYê ejòQò û Gjò _að aòbò^Ü _âù\gùe aòbò^Ü ^ûcùe ùcûUûùcûUò bûaùe ^aû^Ü _aðùe _â[c C_ôû\òZ giý _ûk^ Keû~ûCQò û cûZâ,CùŸgý GK û _ê^½ giýe Bgeuêß @_ðY Keû~òaû _Qùe _âMûXÿ bqòbûa ejòQò û C_ôû\^ _ûAñ ijûdK ùjûA[ôaû aòbò^Ü gqò Z[û cûUò ZéZúdZü Gjò _aðe iûcûRòK \òM I A¦â ù\aZû @û\òuê _ìRû Keû~òaû, _ùeûlùe @ûce _~ðýûùfûP^û Kùf ù\Lôaû ù~ ^aû^Ü blY _ùe C_Kûeú, _âûKéZòK gqòcû^u Vûùe KéZmZû mû_^ û _ùe icùÉ ùicû^u aùdûùRý MêeêR^cû^uê Gjò cj^údZû _é[aúe @^ý ùKøYiò iõÄéZòùe ù\ _âYûc Keò ùicû^u @ûgòaûð\ bòlû Ke«ò û Gjò @ûgúaðû\ Lû~ûG ^ûjó û bòlû I @ûgúaûð\ _â\û^ jó @ûc iõÄéZòe géwkû,bqò \òZúdZüß ^ì@ûñLûA _að bû\âa cûiùe _ûk^ I gûkú^Zûe _eòPûdK û G[ôùe C_^òh\e aûYú Keû~ûG KûjóKò û Gjûe gûÈ iwZ Zû_ô~ðý ùjfû @«^òðjòZ ùjûAejòòQò û Gjò @aieùe gZâê,còZâ c¤ùe ù~, ùa\ùe Kéhòe _ûUò ~m C_ùe aòg\ bûaùe @ùckZû \êe ùjûA ùiÜj, ùc÷Zâúe @û\û^_â\û^ a‰ð^û Keû~ûAQò û Gjò ~mMêWÿòK ùjfû : ùjaûUû ‘aiêù]÷a KêUê´Kcþ’e aûûð aj^ Kùe û K: iúZû ~m aû bêcò KhðY @]ôKûõg _að_aðûYú iû]ûeYZü @û^¦ C_ùbûM _ûAñ iéÁò ùjûA[ôùf ùjñ ^ì@ûñLûAe L: _âa_Y ~m aúRa_^ ]ûcòðK, iûõÄéZòK, iûcûRòK I @[ðù^÷ZòK ùPZ^û bò^Ü M: _âf´^ ~m aû _ûâe¸òK giýùz\^ _âKûee û Giaê cìkùe ejòQò @û¤ûcôòK bòòbêcò û ^ì@û aÈ, ^ì@û @^Ü, ^ì@û Pò«û]ûeû iaêVò @«^òðjòZ ùjûA N: Lk ~m aû giý @ck ejòQò ^ìZ^ bûùa Rúa^Kê MXÿòùZûkòaû _ûAñ Gjû O: _~ðýûdY ~m aû giý iõPd GK còk^e _að,@ûcôúdZûe _að Z[û iõKÌe \òai C_ùeûq ~mMêWÿòKe ^ûc c¤eê _âf´^ ùaûfò ùcûe ÊKúd cZ û ~m aû _âûe¸òK giýùz\^e icd ùjCQò bû\âa aðcû^e Gjò @aldcêLú icûRùe cûi û Gjò icdùe giý ]eòaû @ûe¸ Kùe I ùiMêWÿòKê @ûùc icùÉ Gjò bûaUòKê C_f² Keò @ûc bòZùe KúU_Zw LûA~òaû _ìaðeê iéÁò Kûðuê @_ðY Keû~òaû @«ùPðZ^ûKê RûMâZ Keò_ûeòùf Gjò ^ì@ûñLûA _að aò]ôiõwZ û gûÈ i¹Z @ûC ùMûUòG cZ ùjCQò _ûk^e iû[ðKZû _âZò_û\òZ ùjûA_ûeòa û ùKak Juhar Surta 2016 60 nuakhai parav 2016

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Iñ ZZþ iZþ, gâúc\þ bMaZþ MúZû A[ê @ûMþùK aW Zêceþ Kûcþ^û ~ûC _êeò (10) (ZêeþZúd @]ýû) A[ê ù\aþùZ Zé_þZ ùjA ZcþKê Zé_þZ Keþùa @Rðê^ KjêP^þ.... \êùjñ \êjóKê Zé_þZ Kùf bfþUû ùjaû ùZùa (11) Zêceþ cùZ Kecþ Vû^ê aê¡ò aWþ ù~ùa ~Mýñ[ô Zé_þZ ùjA ù\aþùZ ù\ùa Kûc^ûeþ `fþ fMCQ ùNûe Keþùc cùZ Ké¾ ùK^þ bûùa (1) ZûñKeþ ù\fûUû ^ûAñ ù\A ZûñKê ù~ LûG ùi ùPûeþ (12) còfûMêfû K[û[ô ùcûeþ aê¡ò cêjòZþ ùjaû ~Mýñeþ @Mþfòfû @e^þ LûA iû]ê ùjiò ^òhþ_û_þ VòKþ K[ûUû Kjê^þ ù~^þ[ô ùcûeþ bfþ ùjaû (2) ^òReþ fûMò Lûfò eû§ò LûA _û_ú LûGiò _û_þ (13) gâúbMaû^ KjêP^þ @e^þ [ê Rúaþ cûù^ @e^þ RûZþ ahðû^ê KjòùPñ @ûùN A iõiûee ~êùW iû]þ^û K[û ~Mýñeþ^ê RûZþ ahðû ~Mýñeþ RûZþ Kecþ Vû^ê (14) iûõLý ~êMúe Mýûñ^þ[ô ~êMúeþ Kecþù~ûMþ[ô ^òÂû (3) ùa\êñ Kecþ _ecûcôû Vû^ê ùa\ RûZþ Rû^ Kecþ ^ûAñ Keò ^òhþKecþ bûa ^ûAñ _ûGi^þ Kòùj AùjZê i\û ~ùMýñ [ôi^þ ieaþ aýû_ò aâjà (15) Kecþ QûWò ùK^þiò ùfûKþ iò¡ò _eû_Zþ ^êùj (4) G^þZû iõiûeþ PKâùK _û[ð ù~^þ ùfûKþ cûù^ ^ûAñ Qù^ aò Kòùj ùKùb Kecþ QûWò ejò ^ûAñ _ûeþiò A¦âò ùbûMþ [ô ejò ùi _û_ú ùaKûeþ eùjiò RúAñ (16) _eþKêZò RûZþ Mêù^ aû§ò ùjA @eþKùf _Wò Keþiò (5) @ûcôû [ô eZþ @ûcôû[ô iù«ûh @ûcôû[ô Zé_Zþ ù~ùb Kecþ A¦âòùK C_þeò@û eê§ò ù~ AZûeþ aòhG bûaþiò Zûeþ fûMò KòQò Keþaû Kecþ @Mþfò ^ûAñ^ ùZùb (17) ùi cêeêLþ Z còùQ KfûùfûKþ afò Rû^ ]eûùjiò (6) Zûeþ Keþaû ^ûAñ Keþaû \eþKûeþ ^ûAñ^ AVûù^ c^eþ aùf Kecþ A¦âòùK eê§ò @ûeþ AZûùK ù^A ^òReþ Êû[ðeþ bûaþ^û Zûeþ ^ûAñ^ ùK^þiò Rúaù^ (18) @ûiq ^ûA ùjA Kecþ Kùf ùi ùfûKþ cjû^þ ùjA (7) Keþaû fûAKþ Kecþ Keþ ^ûAñ eLô @ûiqò gûÈ ^úZò cû^ò Kecþ Ke AUû @Kecþ Vû^ê bfþ @ûiqò ^ûAñ [ûA Kecþ Kùf _ebêeþ _ûù\ [ôZò (19) Kecþ ^ûAñ Kùf Z A \òjþ ^ûAñ jG jfþ Pfþ (8) R^Kþ @û\ò Ehòcûù^ Keþùc iò¡ò _ûA ~Mýñeþ fûMò @ûiqò QûWò Kecþ Zùc Ke fêKeþ cwf fûMò Keþaû VòKþ Rû^ ZêA (20) AZûùK QûWò Kecþ Kùf añ]þù^ _Wû iûe (9) aWþ ùfûKþ ù~^þUû Keþiò ùQûU Keiò ùiUû _ìeþùa ~Mýñeþ iûùw _eþ\û ieþRò aeþjàû afò ùi VòKþ afò Kùjaû ~\ò ùQûU Kùjiò VòKþUû (21) Juhar Surta 2016 64 nuakhai parav 2016

PòjÜò fêùK ùcûeþ _û[ð Keþaû Kecþ ^ûAñ aù^ Kùfaò _eeþ ]eþùc ^òReþ ]ecþ aù^ _ûGaû Rò^òh @_ê@û ^ûAñ ùZùW aò KeA (22) ^òReþ ]eùc ce^þ bfþ _eeþ ]ecþ aò_\þ @ûù^(35) ~\ò cêAñ bûaò PóZò Kecþ Keò ^ûAñ Pûùf @Rðê^ KjêP^þ cûeþ cûeþùM iùb ~òùa Rû^ò[ _û[ð bùf (23) ù`eþ Kûeþ \ssûeû _VûùjûA _û_þKecþ PfûKþ Keþcò ^ûgþ ùjùa iaê ùfûKþ ~\ò Kecþ ^ûAñ Keþcò Azû Zûeþ ^ûAñ [ôùf aò Ké¾ Kecò Rae\Éò (36) Rûeþ RûZò@û KeþZû iûRò ^ûgeþ Kûe^þ a^þcò (24) gâúbMaû^ KjêP^þ @ûiqòò [ûA cêeêLþ ùfûKþ Kecþ Keþi^þ ù~^þZû eRþ Mê^þ RûZþ Kûcþ^û @ûeê Kêeê]þ Rû^ AUû A[ô ^ûAñ [ûA ùfûKþ bfþ fûMò Mýûñ^ú Keþaû K[û (25) A iñiûeeþ aùX aGeò MLû _û_ú aùX bêLû (37) @[ôe ^ûAñ Keò Keþùc eZþ @Mýûñ^úe c^þ Kêjêfû[ô ^ò@ûñ cfò[ô \_ð^þ ù~^þZû XûñKò ùjiò fMûaû K[û iaê Keþùc ZûjûùK Mýû^ú R^þ (26) ù_Uþ MebþùK còZû^þ AUû Mýûñ^þùK XûñKò [ôiò (38) _eþKêZòeþ Mê^þ \ssûeû Z iaê Kecþ ùjA ~ûGiò Kûcþ^û eì_þ RêG AUû ù_Uþ ùKùb ^ûAñ _êùe @jõKûeþ [ô cêeêLþ ùfûKþ cêAñ KeêùQ bûaþiò (27) Mýûñ^úe i\û aGeò Zûeþ Mýûñ^þùK XûñKò ]ùe (39) Zss Mýû^ú MêYþ Keþceþ iaê bûMþùK Rû^ò iaê @ûeê c^þ aê¡ò AZûeþ eùjaû Vû^þ A[ô @ûiqò eùL ^ûAñ MêùY MêYþ [ôiò cû^ò (28) AZûñKeþ \ssûeû cêjòZþ Keò XûñKþiò @ûcôûe Mýûñ^þ(40) Mê^þ Kecþ [ô @ûiq ù~ùZ _eþKêZòeþ Mêù^ cûZò ùi[ôeþ fûMò @ûù~ iaê A¦âòùK Keò ag ùi cêeêLþ @Mýûñ^ú cû^þKeþ Mýûñ^ú @[ôe ^ûAñ Keê cZò (29) Mýûñ^þ aòMýûñ^þ ^ûgê A aWþ _û_úùK Ke ^ûg (41) cùZ iaê ic_òð bMaZþ c^û ùjA A¦âòùK C^ÜZ Kùji^þ AZûeþ Vû^ê C^ÜZþ c^þ c^eþ Weþ McþZû @ûgû QûWò Keþ fùXA (30) c^þ Vû^ê aê¡ò C^ÜZ aê¡òeþ Vû^ê @ûcôû Rû^ (42) ù~^þ cûù^ ùcûeþ A cZþùK ùjA geþ]û ~êKZþ aê¡òeþ Vû^ê @ûcôû C^ÜZþ Rû^ò aê¡òeþ aùf ù\ûh ^ûAñ ù\Lô cû^þ i^þ ùji^þ Kecþ añ]^ê cêKZþ (31) c^þùK agþ Keò @RòZû Kûcþ^û RòZ ùjùf (43) ù\ûh ]eò ùcûeþ A cZþ ùK ^ûAñ cû^^þ ù~^þ cûù^ Iñ ZZþ iZþ iaê Mýûñ^þ[ô @Mñýû^ú cêeêLþ LZcþ Rû^ ùicûù^ (32) iaê _eû^ú Mñýû^ú cûù^ aò ^òRþ _eþKêZòeþ bêfò aâjà aò\ýû gâúc\þ bMaZþ MúZû C_^òh\þe Kcðù~ûM _eþ KêZòeþ aùg ùPùeÁû Keþi^þ Rò\ò KûYû Keò_ûeò (33) eì_þ ZêeþZúd @]ýû ùghþ ùjfû û A¦âò @ûeê Zûeþ aòhdû ùbûMþ[ô [ôiò @û\eþ @^û\e @aie _âû¯ _â]û^ gòlK, A \êjò[ô agþ ^ûAñ ùja \êùj ^êjñ^þ jòZKeþ (34) ùiùfWò,iêa‰ð_êe Haldhar Nag: ‘Truly’ Inspirational! Dr. Ashok K Choudhury

This time of year, we often find ourselves only three semesters. An American author thinking about the origins of some of our and humorist, Mark Twain dropped out of favorite writers: how they found themselves on school at the tender age of twelve, when his the writing path, how they learned. And we’ve father died, and all the children of the family been surprised to realize how many successful had to pitch in. His elder brother Orion was and even legendary writers dropped out of already a printer, and Mark Twain took a job school and ended up teaching themselves. as a printer’s apprentice, his only compensation Many of those without a formal education, or being board and clothes. A few years later, without much of one, went on to achieve great Orion bought out a small printer, and the two success. brothers worked there together, the younger just beginning to flex his writing muscles. Charles Dickens, a celebrated English writer and social critic, in earliest years enjoyed George Bernard Shaw, the famous a private education. At the age of 12, his father playwright, attended several schools in his youth was tossed into debtors’ prison and everything before dropping out entirely at age 14, finding changed. Little Charles was forced to drop out little value in formal education. “Schools and of school and take a job at a boot blacking schoolmasters, as we have them today,” he once warehouse, where he worked ten hour days wrote, “are not popular as places of education for six shillings a week. Eventually, after an and teachers, but rather prisons and turnkeys inheritance gave his father the cash to get out in which children are kept to prevent them of prison, Dickens went back to school, but disturbing and chaperoning their parents.” A his experiences in the factory carry through voracious learner and reader, he spent hours in much of his work. the National Gallery of Dublin reading about art, history, and literature, and beginning to William Faulkner, Nobel laureate, though write on his own. writing from his teen age, didn’t much care about school, and dropped out at age 15 to The legendary science fiction author, H.G. work in his grandfather’s bank. Despite his Wells was pulled out of school when his father, lack of a high school diploma, he enrolled as a professional cricket player, fractured his a special student at Ole Miss at 22 where his thigh. Wells was only 11 years old, but the loss father worked, but dropped out again after of the grand part of the family’s income forced Juhar Surta 2016 66 nuakhai parav 2016

him to take apprenticeships. Wells worked as the end of her formal education. Like other a draper at the South Sea Drapery Emporium women writers from southern Africa who did but his experiences there later inspired the not graduate from high school: Olive Schreiner novels The Wheels of Chance and Kipps. One and Nadine Gordimer, Lessing made herself of the most critically acclaimed, oft-banned into a self-educated intellectual. and widely pirated of all Chinese writers, Guan While it has to be conceded that education Moye, better known as ‘Mo Yan’, is the 2012 is the way out of deprivation for many, Nobel laureate. He attended a primary school especially in our country, the fact remains that in his hometown, but was interrupted in the academic education is far from all that you fifth grade during the turmoil of the Cultural need for success. As exemplified by these men Revolution in 1966, a decade of political chaos and women, famous Indians who dropped when many of China’s school closed down. out of school/college are many. Recently two To escape poverty, he returned to the life awardees Gurdial Singh, ‘arguably’ the most of peasant in a farm for years, and then in a celebrated and the best known Punjabi writer, factory in 1973 that produced petroleum. After writing fiction and non-fiction for nearly six the Cultural Revolution he joined the People’s decades, elevated to “the Immortals of Indian Liberation Army (PLA) in 1976 and after five Literature” by the Sahitya Akademi in February years of military life, literature became his 2016 along with Nirendranath Chakravarti, passion. an eminent Bangla poet. In spite of good in Doris Lessing, also writing under the studies and interested in pursuing education, name ‘Jane Somers’, was the oldest person the economic compulsion was Singh’s way ever to win the Nobel Prize in 2007 for to bind up his education in class seven as Literature. The Persian-born, Rhodesian- his father, a carpenter-cum-blacksmith, and raised and London-resident novelist, educated crafted wheels for bullock carts in winters and in a Catholic Convent during 1927-31, just moulded trunks and water tanks out of iron outside Salisbury, where, she heard ‘horrific sheets in summer, was unable to bear his cost sermons’ on ‘hellfire’ and the ‘undying worm’, of education. as Lessing wrote in her autobiography Under Moments after President Pranab My Skin (1994). Rebellion against her mother’s Mukherjee conferred India’s third highest academic aspiration for her, she left the school Civilian Award Padma Shri on 28th March and continued reading at home. After a short 2016 on Haldhar Nag, a renowned Koshali stint at home, she was sent to an all-girl high poet and writer, for his contribution towards school in the capital of Salisbury (now Harare) literature and education, his picture of from which she soon dropped out. That was receiving the award at Rashtrapati Bhawan had Juhar Surta 2016 nuakhai parav 2016 67 gone viral on various social media platforms. scholars. Born to a hardcore manual labourer Clad in a white dhoti and vest, and hair slicked couple in the village Ghens in Bargarh district; back with oil with barefoot when received the about 76 kilometers from Sambalpur in the award, Nag was an anomaly, but his life is full western part of the state of Odisha on 31st of inspirational things. Certainly he may not March 1950, Haldhar, youngest of the siblings be a man of means but his poetic fragrance including five brothers and one sister, studied lured many. Though failed to complete class up to only Class III. He was forced to drop-out III, Nag has been an awe inspiring genius. His from school after death of his father when he creativity now is a subject matter for learned was just ten. As no option left out to support scholars and avid researchers. He is far more his family he did odd jobs like dishwasher in who inspires the elite as well, illiterate alike. a local halwai (sweet) shop near a bus stop, Writing is his addiction. He could be anything, which saved him from starvation. Couple of a peanut seller, a cook, a stationer, but he has years later a village Sarpanch took him to a to write a few lines. Playing around with words residential school hostel and found him to got brings him pleasure. He writes because it gives a job as cook and cooking at a school where him oxygen. British Broadcasting Corporation he worked for years until he opened a small (BBC) has made a documentary film on Nag’s stationery shop near a school. life and works. As a number of schools came up in the Kedar Mishra, a noted Odia poet says, area, he approached a banker and got Rs 1,000 “Nag’s magic, perhaps, lies in his poetry as loan to start a kiosk in front of the school for well as his simple life. In an age when poetry selling stationery items and eatables, and to is becoming a little too hard for the masses, feel ink in the pens for school students in ten Haldhar touches people’s hearts. His poetry paisa. The small shop now has been renovated has modern and contemporary sensibility”. and serves as a memento for the scholars and Even at this age, he remembers all the poems admirers visit for their research work now days. and his twenty epics by-heart without having to “Life of a widow’s child was tough,” Nag added. refer any books that he has written so far. You During his tenure as a cook he developed a just need to mention the name or subject. He deep bond with the children of the school, never misses anything. He composes poems on serving them meal and listen them to prepare his mind and recites with ease and grace. Now their lessons. It was there that his appetite for he attends at least three to four programmes poetry was whetted. As they recited the poems every day to recite his poems. Nag with of the popular poets in their textbooks, he was extraordinary skill hardly attended school has a listener, marveling at the beauty of the verses been named in the PhD research theses of five and learning them through repetition. Once he Juhar Surta 2016 68 nuakhai parav 2016

came across a poem ‘Gramapatha’, from a high and mythology other than taking up the cause of school poetry text titled Kavita Pravesh, which the oppressed, social reforms, scientific events, describes a village road, touched him. He read and contemporary issues like farmer suicide, it repeatedly. pre-eminence of cricket over other sports, as well as slow degeneration of our society, all Known as ‘Koshali Kuili’, ‘Jadavkila derived from the everyday life around him, but Gourav’, ‘Koshal Ratna’, ‘Jadav Jyoti’ and so hardly writes about politics, though his works on, he was initially writing folk literature in reflects the rebellious spirit hidden among the Koshali till 1990 including Lokgeet, Samparda, mass ready to erupt in time. Nag picks up the Krushnaguru. The first poem he penned raw theme from the dark uncrowned alleys ‘Dhodo Bargachh’ (The Old Banyan Tree), and depicts them on the hitherto unanalyzed describing how a banyan tree near the village and unexplored territory. He is voice to all entry point which everyone took for granted, voiceless women of the society and boldly published in Art and Artist, a local magazine speaks about against their exploitations. He in 1990 followed by four more appreciated admits, “People in the lowest strata of life by critics and admirers, motivated Nag to compel me to write. Nag reiterates, “Poetry compose more and more verses in Koshali, is not merely an individual expression of self one of the five Prakrit languages existing since rather it goes beyond and work as a weapon of Vedic era along with Sanskrit, though some the marginalized to fight for injustice”. recent research done at Sambalpur University claims it as a distinct language. The felicitation Even though he might not have attended and that encouragement he received since ’90 school, his works have gone even beyond them. compelled him touring nearby villages to recite In his view, “poetry with real-life connection his poems, common occurrence of his native has a message for the people. Everyone is a district. A Bargarh based literary organization poet, but only a few have the art of giving Abhimanyu Sahitya Samsad started patronizing them shape.” Both his Mahasati Urmila, and him and helped him to publish his poems in Tara Mandodari are of mythological in nature, local magazines and later published most of and Achhia, inspired by Mahatma Gandhi’s his anthologies. fight against untouchability, is a masterpiece on social issue. Bacchhar, which has left a lasting Popularly known as Lok Kabi Ratna in impression on everybody, on the theme nature Odisha, the themes of his poems are based as it’s about how the year was divided into six on the rural areas and draws from the rustic parts and seasons came into being on earth. surroundings. His poetry brings closer to the His use of exotic verses interweaving scientific mass. He can complete verses at will. His and social theme made the volume memorable. writings are mainly on religion, nature, society Juhar Surta 2016 nuakhai parav 2016 69

His other notable works Siri Somalai, Veer he has been felicitated by more than three Sundar Sai, Karamsani, Rasia Kavi, biography hundred institutions, including Odisha Sahitya of Tulasidas, and Prem Paechan are included Akademi in 2014 for his work in development in Haldhar Granthabali: Vol. I brought out by of language. Sambalpur University has already Friends’ Publishers, Cuttack. Soon Sambalpur honoured Brahmaputra Award on him. Number University is coming up with a compilation of of institutions has been established in the rural his writings titled Haldhar Granthabali: Vol. pockets of western Odisha by the poetry lovers II and will be a part of their syllabus. Famous i.e. ‘Loka Kavi Haladhar Sanskrutik Parishad’, publishing houses have come forward to ‘Loka Kavi Haladhar Bana Bidyalaya’, publish most of his works. ‘Haladhar Mandap’, etc. which is befitting tribute to a ‘truly’ rare creative phenomenon The State and the national apex bodies of Odisha. But his major achievement lies with should come together to publish his entire two decades of his writings Koshali language writings and translate them into Odia, as well, have been recognized worldwide. But people in Hindi and English for the wider readership. keep referring him as the second Gangadhar Presently along with Laxminarayan Panigrahi, Meher, the svabhabkabi, considered as one an academic in a college of Ghens, he is working of the chief architects of the renaissance of on the project on Sri Aurobindo’s supra-mental Odia literature, who lived in Barpali, only a few consciousness since last twelve years. They kilometers away from Nag’s village. have read and discussed Sri Aurobindo’s Savitri several times to understand the philosophy of He does not want to be comparing with super-mind and Haladhar has completed a draft great poet. For him Gangadhar Meher was like text of the manuscript, but not in verse form. an institution in the field of Oriya literature His contribution in the academic sector doesn’t and does not want to be known as the second end there. Five scholars have done their PhD Gangadhar Meher. He just wants to live and research based on the works of Nag. He leaves die as ‘Haladhar Nag’. If people remember his audience spellbound wherever he goes, be him even after his death, they should do so that Shantiniketan or Hyderabad, Raipur or only by his name. Hundreds of poets imitate Pithoda. his style and technique boosting a robust ‘Haldhar Dhara’ in Western Odisha. Living Nag is also a recipient of Odisha Living with his spouse Malati Nag and daughter Legend Award, which was established in Nandiniin Ghens in a simple hutment, his only 2011 by Odisha Diary, the leading website wish, being in the forefront of the Sambalpuri- of Odisha, on its 11th year of foundation, Koshali Language Movement, is the inclusion as an acknowledgement of his excellence in of Sambalpuri-Koshali, the language over Koshali literature and his special contribution 1.5 cores people in western part of Odisha, of social and cultural harmony. Besides, Juhar Surta 2016 70 nuakhai parav 2016

Boudh, Bolangir, Sonepur, Sundergarh, a block of Nabarangpur district. Besides, a sizable population also speaks in areas adjoining and contiguous to Western Odisha i.e. Chhatisgarh and Jharkhand though there are multiple tribal and ethnic dialects in the area. Despite the fame and epithets he achieved, Haldhar Nag remains unchanged and unaffected by adulation and material possession. Never uses soap, only applies mud to wash hair. Whatever he earns from recitations and Rs 1000/- that he gets as monthly allowance from the state government he donated to ‘Haldhar Nag Orphanage’, which he started in 2009 at Luhurachati on Odisha-Chhatisgarh border. In an interview he asks, “Why do I need money in the 8th Schedule of Constitution. It’s for myself when I grew up as an orphan”? the lingua franca of at least ten district of Nag is only happy to recite his verse if one western Odisha including Kalahandi, Nuapara, offers him a bowlful of pakhal (watery rice), a Sambalpur, Bargarh, Deogarh, Jharsuguda, traditional Odia-dish. Sahitya Academy New Delhi Epigraphical Treasures of Subarnapur Dr. Sadananda Agrawal

Epigraphy is a pedantic term for inscriptions large number of inscriptions discovered from in general, or says, study of old inscriptions. this region so far. The Brahmi characters of An epigraph is writing incised or engraved on a this inscription indicate that it belongs to an hard substance, stone, metal, wood, bone, ivory early date, but this has been badly damaged and and so forth. Again, the term epigraph usually cannot be deciphered at present as has been applies to an old writing of this nature having reported by N.K. Sahu1. some historical importance. Epigraphy in India During the 8th century A.D. the has proved to be the very back bone of history, Bhanjas established their rule in Sonepur, especially for the early and medieval history Birmaharajpur, Boudh, Phulbani and Daspalla of any region. An epigraph is considered regions which they called Khinjalimandala to be much more reliable and valuable as an with the head quarters at Dhrutipura, a authentic source of history than a manuscript. nearby place of Boudh. Copper plates Epigraphy, again, is a comprehensive term, grants of Satrubhanjadeva, SIlabhanjadeva which includes in itself quite a few other and Ranabhanjadeva have been discovered related studies, such as, sigilography( study of from this region. SONEPUR GRANT of seals), calligraphy (study of different styles and Satrubhanjadeva2 was discovered from Sonepur mode of hand writing) and orthography (study town some year before 1898 A.D. and was sent of spellings). In the epigraphic and numismatic to B.C. Mazumdar who edited the same. This map of Odisha Subarnapur occupies a very charter reveals that Satrubhanjadeva granted important place. The study of epigraphy and some land to a Brahmin in the Visaya (district) numismatic with its various aspects, itself of Royara, identified with modern Rohila on is vast and complicated. It is not possible to the Mahanadi situated near the town of Binka. discuss all in detail in this small paper. The The KUMURKELA CHARTER3 of Ranaka purpose of this paper is only to give an outline Satrubhanjadeva was unearthed in April 1916 of the epigraphic and numismatic discoveries from the village of Kumurkeli in B.M. Pur from this tract. sub division. Maharaja B.M. Singhdeo of Binka Brahmi record found in the Sonepurraj lent it to B.C. Mazumdar who was bed of Mahanadi, close to the modern town by that time unfortunately suffering from the of Binka is the earliest inscription among the loss of eyesight, but, was very eager to edit the Juhar Surta 2016 72 nuakhai parav 2016

same with the help of others. He prepared the Satrubhanjadeva issuer of Kumarkela charter text of his reading with an elaborate note. He was the son of Ranabhanjadeva and he was admits his disability to examine the epigraph in the last Bhanja ruler of Dhrutipura branch. his own eyes and states: Recent discovery of a coppe plate grant issued by Satrubhanjadeva corroborates the above “XXX I am blind now, I made my statement of Dr. J. K. Sahu. This will be amanuensis to draw the letters on the palm of discussed at length by Dr. S.N. Agrawal in a my hand to enable me to decipher the text ; it Historical Journal. affords me very great delight that following this curious process I have been able to decipher The son and successor of Satrubhanja the record successfully and can confidently was Silabhanjadeva II. One complete set of publish an account of it.4” copperplate grant known as TATARKELA CHARTER issued by this Silabhanjadeva has It is, however, an unparalleled process of been edited and published by this author.6 This reading and ancient inscription of this type. The charter is of inestimable value as it furnishes charter mentions that village Jaintamura and some concrete evidence to reconstruct the Kumurakala situated in the district of Uttarapalli5 genealogy of this Khinjalibhanjas. Snigdha were donated by Ranaka Sri Satrubhanjadeva Tripathy has edited another set of copper to the Brahmin Bhattamanoratha. Village plate grant7, whose first plate has been lost. Kumurkala of this charter has been identified Smt. Tripathy has created a lot of confusion with the modern village of Kumerkeli near by taking Silabhanjadeva issuer of the charter B.M.Pur the find spot of the charter. But village as the founder of the dynasty which is not Jaintamura defies identification. The extant at all tenable. The Tatarkela charter purports records of this dynasty clearly reveal that two to record the village Tatarikella included in districts namely Uttarapalli and Daksinapalli the Dakhinapalli by Sri Sangramamahadevi have been formed comprising the modern evidently the queen of Silabhanja. The gift Birmaharajpur region (north side of Mahanadi) village can very well be identified with modern and modern Subarnapura – Boudh on the village of Tatarkela the find spot of the charter right (south) of Mahanadi respectively. River situated in between Manumunda and Boudh Mahanadi was the dividing line between these on the right bank(south) of river Mahanadi. two districts. Odra district comprised the modern Boudh Daspalla region. Silabjanjadeva II was succeeded by his brother Ranabhanjadeva. The majority of this Some scholars led by Dr. J. K. Sahu hold the dynastic record belongs to Ranabhanjadeva. view that Satrubhanjadeva issuer of Sonepur He is also known to have ruled the kingdom grant was the father of Ranabhanjadeva and with the head quarters at Dhrtipura for the Juhar Surta 2016 nuakhai parav 2016 73 maximum number of years, because his last inflicted a crushing defeat over the Odra king known record is dated in his 58th regnal year. by killing him with a spear as has been averred The following plates have been discovered rightly by the Brahmesvara Temple Inscription10 from this tract. of Rani Kolabatidevi. After that the Boudh Phulbani region came under the suzerainty of TASPAIKERA CHARTER 8:- in the the Somavamsi who constituted that territory year 1901 this set of copper plate grant was into a separate province called Odradesa. In the unearthed from Binka and acquired by the then records of Janamejaya Odradesa has been found Maharaja of Sonepur Pratap Rudra Singhdeo. mentioned for the first time in the NAGPUR After 15 years his son Maharaja B.M. Singhdeo MUASEUM PLATES11 issued in his 8th regnal lent the inscription to B.C. Mazumdar who year. So it may reasonably be asserted that got it edited. This charter records the gift of Janamejaya had already killed Satrubhanjadeva- village Taspaikera in Uttarapalli (district) on II prior to his 8th regnal year. It is revealed the bank of river Mahanadi. This Uttarapalli from the 1st GOPALPUR CHARTER12 that Visaya has been found mentioned in many the coronation ceremony of Somavamsi king copper plate grants belonging to Somavamsis Janamejaya Mahabhabagupta (850-885 A.D.) and Telguchodas. was held at Suvarnapura situated on the bank Another set of copper plate grant known of river Tel (Telasanathat) where there were as “UNIVERSITY MUSEUM PLATES”9 shops full of counch-shells, sea-shells, pearls, issued by this king reveals that it was issued gems, corals and gold. Further Suvarnapura has been described as the best of the capitals (maha- on the auspicious day of Mahanavami of the kataka-vara). The use of such prefix is very 52nd regnal year of the king declaring the significant. Without doubt, it may therefore be grant of the village Campamalli situated in the concluded that Subarvnapura was a prosperous Uttarapalli (district) of Khinjalimandala. This and important capital of the Somavamsis. Campamalli has been identified with modern This descriptions should not be taken as Campamal near Birmaharajpur. mere conventional because the archaeological The Bhanja king Satrubhanjadeva II, survey in Suktel valley by Dr. S.N. Agrawal and son of Ranabhanja was driven out by the recent archaeological excavations in Mahanadi Somavamsi king Mahasivagupta from Sonepur valley, around Birmaharajpur clearly revealed region and consolidated his rule in Odra that stone ornaments manufacturing was a Visaya(comprising the modern Boudh-Daspalla thriving trade of this region in ancient time. region). Janamejaya,son of Mahasivagupta It is revealed that the grant was made on the played the pivotal and final role in the hostilities. occasion of Indradhvaja festival, in the first Sometime during his rule Janamejaya had year of accession(Prathama-rajy-abhiseka Sakr- Juhar Surta 2016 74 nuakhai parav 2016

otthana-mahocchava-samaye). This festival was Ranipur Jharial CP popularly observed especially by the kings for augmentation of glory and military success. While this festival is referred to in a number of ancient texts of India inscriptional reference is very rare and the charter in question is one of them. The importance of the charter lies in another fact that this is the earliest known epigraphic record where name of Suvarnapura is found mentioned. Again, this record clearly reveals that Janamejaya’s father had occupied Suvarnapura by his own prowess.

The BAKRATENTALI GRANT13 of Janamejaya issued in his 3rd regnal year has been discovered from Sonepur in the year 1898. The plates like other Somavamsi plates are three in number (Triphali Tamra Sasana). They pass through a copper ring containing a Ksitimandapadhara. We have identified Tunkela royal seal or emblem of the figure of a Gaja with modern Tukla near Khariar and have Laksmi in relief, being flanked on her each side located the above Visaya (district) in modern by an elephant. It records king’s donation of Khariar region of Nuapada district. In this the village Bakratentali situated in Luputtara charter Koighosa has been designated as Maha- Khanda to the Brahmin Bhattaputra Jatarupa panc-adhikaran-adhikrta. This designation is not resident of village Meranda. Bakratentali, met with in any other extant Somavamsi record Luputtara and Meranda have been identified and Agrawal has interpreted it as the “head of with modern Baktetel, Lupursingha and Menda a Judiciary establishment”. All the charters of 14 of Suvarnapura district. Janamejaya belonging from 16th to 31st regnal RANIPUR JHARIAL COPPER PLATE year have been issued from Arama. SONEPUR GRANT15 of Janamejaya has been stated to be PLATES16 of Janamejaya has been issued from issued from the capital of Arama during his this capital in his 17th regnal year. This charter 16th regnal year. Arama has been identified records the donation of village Gotaikella with modern Rampur near Binka (Vinitapura included in the Luputura Khanda of Kosala in of Somavamsi records). It records the donation favor of illustrious Kamalavana Merchants’ of the village Tunkela situated in the Visaya of Association immigrant from Khadirapadra Juhar Surta 2016 nuakhai parav 2016 75

(Khairpadar in kalahandi district) and resident been identified with modern Gotarkela near the of Subarnapura. Lines 22-25 of this charter town of Sonepur and Lupursingha respectively. declare : Both the temples have been fully “Being in possession of this charter, this collapsed now and no trace of them is found. Kamalavana Merchants’ Association has, in Dr. Agrawal assigns both the temples to last its turn, bestowed (the same village), having Bhanja king Satrubhanjadeva-II, because his registered it as deed, on the two temples, (one) newly discovered charter commences with an of the lord Kesava (and the other) of the lord invocation to Adityadeva and the king declares Aditya for charity, oblation and offerings as well himself as Parama-Vaisnava. as for repairing wear and tear (in the temples).” The SECOND GOPALPUR These plates were reported to be discovered CHARTER17 and KALIGHANA PLATES18 from a plot of land opposite the Khambesvari of Janamejaya have been stated to be issued temple at Sonepurraj in the year 1933 while from Subarnapura capital in his 10th and 34th digging foundations by certain workmen. regnal year respectively. The 2nd Gopalpur Village Gottaikela and Luputura Khanda have Charter is important for the religious history, Juhar Surta 2016 76 nuakhai parav 2016

which clearly indicates that Sadharana, the One set of copper plate grant20 issued by donee of this record had erected a shrine the Rastrakuta king Mugdhagondaladeva, a dedicated to god Visnu in his Jalasayana form feudatory of Janamejaya has been discovered at Suvarnpura. It is interesting to note here from the village of Deogain situated near that the charter concludes with the well known Tarbha of this district. This charter purports Vaisnava sectarian formula Om Namo Bhagavate to donate the village Kirankela included in Vasudevaya. Mention may be made here that Telatatta Visaya. This Visaya has been named this so far happens to be the only record of after the river Tel and has been located by the the Soma dynasty to contain this formula. It sides of river Tel. Another set of copper plate is pertinent to note in this context that all the grant belonging to king Devapya who was also members of this dynasty of Odisha without a a feudatory chief of Janamejaya was discovered single exception were devout Saiva. It is averred from Sambalpur town and now preserved in from the extant records of Janamejaya that his the N.K. Sahu Museum. Jyoti Vihar, Burla21. minister named Sadharana had occupied the highest position in Somavamsi administration Janamejaya was succeeded to the thrown and Janamejaya also bestowed him great by his first son Mahasivagupta Yayati I honour. He has been eulogized in the records (885-928A.D.) who appears to have shifted issued from 10th to 34th regnal years. It is his capital from Suvarnapura to Binitapura stated that the administration of Janamejaya (Binka), situated on the Mahanadi and issued well known in the three worlds, is looked after four charter22 from this capital till his 15th by his Brahmin minister named Sadharana, regnal year. The NIBINNA CHARTER23 has whose intellect was purified by the study of all been discovered from Subarnapura district. the worth knowing Arthasastra and Smrti texts The learned editor B.C. Mazumdar24 states and was verily divine preceptor (Brhaspati) in that the record was unearthed in the feudatory the knowledge of the Vedas, Vedanga,Siksa, state of Sonepur, and just after of its discovery Kalpa and Itihasa. Agrawal has also assigned the he obtained the same from the ruling chief Vaisnavite Indralatha brick temple of Ranipur for deciphering and editing. The charter Jharial to this Sadharana. records the gift the village Nibinna included in Uttarapalli Visaya (district) of Kosala country In his CHAUDWAR PLATES19 Janamejaya has assumed the title KOSALENDRA. He to the Brahmin Pundarika Sarma. Nibinna has was the real architect of his family’s greatness been identified with modern Nimna in B.M. in Odisha is clearly indicated by the fact that Pur subdivision. he is the first member of Soma dynasty with CUTTACK PLATES25 of Yayati issued whom the historical narrative begins in the later during his 9th regnal year from Vinitapura are of records of the family. Juhar Surta 2016 nuakhai parav 2016 77 great historical importance. It records the gift kingdom lay waste and wrapped in total of village Chandagrama included in the Visaya anarchy for some time as has been inferred by of Marada of Daksina Tosala to a Brahmin the records relating to this period. who was the residence of village Silabhanjapati THE MARANJAMURA CHARTER29 of of Odradesa. The gift village Chandagrama has Mahasivagupta Yayati II alias Chandihara (1023- been identified with modern Chandragrama of 1040 A.D.) issued in his 3rd regnal year from the Cuttack district. To quote R. Benerjee: “The capital of the Suvarnapura had been discovered pragana of Hariharapur is up to this day called in 1912 A.D. from earth at the boundary of in common parlance Marada Hariharapur and two villages namely Jatesingha and Dungri there still exists in that Pragana a village called Chandra.”26 It clearly proves that Odradesa and situated near Birmaharajpur. This charter is also Tosala were two separate countries during the otherwise known as JATESINGHA-DUNGRI Somavamsis and need not be equated. COPPER PLATE GRANT OF YAYATI. At the outset the Prasastikara has composed a long Yayati has seemed to change his capital prose passage in very expressive and ornate style from Vinitapura to Yayatinagara situated on to eulogize the capital of Suvarnapura situated the river Mahanadi in the Odradesa, sometime on the confluence of river Tela and Mahanadi after his 15th regnal year. Two sets of PATNA and singing the glorious achievements of (BALANGIR) PLATES issued during his 24th, 27 and 28th 28 regnal years proved that his master king Yayati, whose tutelary deity during his time Telatatta Visaya of Kosala was Bhagavati Pancambari Bhadramvika descended brought under the direct control of central over there with the desire of favoring all the administration which was formerly governed people by granting their desired boons. We are by the Rastrakutas. further told that Yayati was invited not only by the ministers and courtiers of Kosala but After Mahasivagupta Yayati I, also by the nobles and feudatories of Utkala, Mahabhavagupta Bhimaratha, Mahasivagupta Kongada and Kalinga to ascend the throne. Dharmaratha, Mahabhavagupta Nahusa and Epigraphical study of the period clearly reveals Indraratha ruled over the Somavamsi kingdom that Candihara Yayati’s achievements were very from Yayatinagara chronologically up to 1023 much significant. He has restored the sunken A.D. till the Cola invasion. It is learned from fortune of the family which now got a new lease the Cola record that during his Gangetic of life for nearly another century and found an expedition Rajendra cola captured Indraratha together with his family members and all were important position in contemporary Indian perhaps killed. Capital Yayatinagara was also politics. His military exploits have been well destroyed badly. Therefore entire Somavamsi painted in his charter and has been compared to Juhar Surta 2016 78 nuakhai parav 2016

the Pauranic heroes, Nala, Nahusa, Mandhata, 1065 A.D.) and Udyota appointed his second Dilipa, Bhagiratha and Bharata. The grateful son Somesvaradeva as the ruler of Kosala posterity in their records described him as the during his reign. Before Somesvaradeva the representative of Madhusudana (Pratinidhi second son of Candihara Yayati Abhimanyu Madhusudanasya) and a conqueror of the world had been coronated at Suvarnapura. A single 31 (Visva-vijayin) and saluted by whole world. On plate discovered from the village Mahada of the whole after Maharaja Kharavela Candihara Birmaharajpur P.S. has been now preserved Yayati is the most outstanding monarch in the at Odisha State Museum. This is the middle plate of a Triphali-tamrasasana issued during annals of Odisha. the reign of Udyota the son and successor During the reign of Candihara Yayati the of Candihara Yayati. In the absence of first Somavamsi territory was divided into two main and third plates many important facts remain political units namely Kosala and Utkala. As a obscure. The learned editor of this plate has result of which Kosala was made a separate been unable to identify its donor. However province with Suvarnapura as its capital and a Agrawal32 has presumed that it might have been prince of royals blood was placed in its charge. issued by Abhimanyudeva from Suvarnapura. In the year 1908 one set consisting of four Further discoveries are awaited to produced copper plates of different sizes was unearthed detailed and accurate accounts if this charter. at the time of cultivation in a field in the village One set of copper plate grant known of Kelga situated in Birmaharajpur P.S. This as KAMALAPURA CHARTER33 gas been charter is known as SONEPUR (KELGA) discovered from Kamalpur near Birmaharajpur. PLATES30 of Kumar Somesvaradeva. The This charter has been stated to be issued by beginning portion of the charter reveals : Ranaka Jayarnama, feudatory chief of last “ It is a grant issued from Suvarnapura the Sonavamsi king Karnadeva(1090-1118 A.D.) capital of the Kumaradhiraja Somesvaradeva and was a ruler of Koladamandala. The learned who ascended the throne of Kosala after editor K.C. Panigrahi and J.K. Sahu34 have done Abhimanyudeva, was made a king in the country lot of confusion in identifying Koladamandala of Kosala at the mercy of the illustrious king site with Kolada near Bhanjanagar and Udyotakesari of the Somavamsa.” Rampur Binka area of Subarnapura district. But Agrawal35 has located the above The importance of the charter lies in Kolledamandala or Koladamandala in a another fact that Somesvara declares himself portion of modern Sambalpur and Angul as Pascima-lank-adhipati. district adjacent to Birmaharajpur Subdivision. Candihara Yayati was succeeded to the The importance of this Kamalapura charter throne by his eldest son Udyotakesari (1040- and Sonpur plates of Kumar Somesvaradeva Juhar Surta 2016 nuakhai parav 2016 79 lies in the fact that some of the letters appear Kosala during the year 1070 A.D. As a result with the rounded top which is an outstanding of which Somesvara conquered this tract and characteristic of modern Odia script. It is quite Telugucoda Yosaraja-I, who served under significant to note here that many pure Odia Somesvara as a lieutenant was offered the words are found in these two charters. governor ship of this tract. The Telugucoda In Kosalesvara temple of Baidyanath a dynasty ruled from Suvarnapura till about 1115 small inscription belonging to Somavamsi A.D. as the feudatory of Naga kings of Bastar. period containing two lines is found on a piece The MAHADA PLATES 38 of Telugucoda 36 of stone. The readings of K.C. Panigrahi and Somesvara-II are stated to have been issued on 37 N.K. Sahu are found to be erroneous. The Sunday, Magha Su.di. 7 when the sun was in revised text is given below. Makara and the moon at Revati during the 23rd L-1- Siddham (expressed by a symbol) regnal year of his overlord Somesvara, the Naga Ranakasri king. The above details exactly correspond to L-2- Vandhokasya 18th January 1092 A.D. as per the calculation of Dr. Agrawal39. It is revealed from this charter (The text and photograph of the inscription that the king registered this grant standing have been produced by Dr Sadananda Agrawal before Lanka-vartaka on the river Citrotpala, i.e. in his Sonapura Itihasa Vol.I p.89.)But it has not Mahanadi. Lanka- vartaka has been identified yet been possible to identify Ranaka Vandhoka with the big whirlpool of Mahanadi near referred to in this inscription. Sonepur which is locally known as Lankesvari The Somavamsi age covering a period of Darha. It purports to record the gift of the two centuries till their decline and fall in 1070 villages Mahada, Atandrela, Medhakakhadna, A.D. has been a land mark in the history of this Kokattideva, Pancapallika together with region which witnessed the height of culture, Champamalla. Due to over sight the name of sculpture, architecture and literature. They the Visaya (district) has not been mentioned. We have contributed so much to the shaping of the have identified all the villages of the record with Odia culture that they have been recognized as modern Mahada(find spot of the charter), a and the MAKERS OF ODISHA. modern Champamal of Birmaharajpur region.

40 Three sets of copper plate grants The KUMARISINGHA and PATNA 41 belonging to Telugucoda dynasty have so far MUSEUM PLATES have been issued by been discovered, which are stated to be issued Somesvara III in the 11th and 17th years of from Suvarnapura capital. The Chindakanaga his reign respectively. The former was issued king Somesvara of Bastar region invaded at the time of lunar eclipse on the full moon Juhar Surta 2016 80 nuakhai parav 2016

day of Magha. Such an eclipse took place on Sonepur and now preserved in N.K. Sahu the 21st January 1106 A.D. Sunday and also museum, Jyoti Vihar Burla. The importance on 10th January 1107 A.D. Thursday. This of this record lies in the fact that it testifies being the 11th regnal year of the king he to the inclusion of the region around Sonepur might have come to throne in 1095-96 A.D. in the dominion of Imperial Gangas in the The Kumarisingha copper plate grant registers 13th century A.D. and it has been written in the donation of village Kumarisimha included Odia language. The purpose of the document in Uttarakula Visaya which may be identified is stated that 12 villages situated in the with modern Kumarisingha of Birmaharajpur Visaya or district of Naeda were granted to sub division, the find spot of the charter. The God Vaidyanath for the longevity of king Patna museum plate records the donation of Virabhanudeva by a viceroy from Sunupura the villages Phullamuthi and Dohali belonging kataka, identified with modern Sonepur. This to Caroda Visaya. Caroda may very well be God Vaidyanatha has also been referred to in identified with modern Charda near Binka the charters of Telugucodas as stated earlier. famous for housing the temple of Siva The inscription is dated as Sri Virabhanudevasya assignable to the Somavamsis. The gift villages pravadhyamana-vijae-raje samvat 7 srahi Mina have been identified with modern Phulmuthi Krsna 3 Sauri-vare which falls on March 3, 1268 and Dabpali, situated near Charda. A.D.43 Virabhanudeva of this record has been identified with Bhanudeva I of Ganga dynasty. An interesting epithet of all the Choda kings in above charters, viz. Sri Vaidyanatha- After the Ganga rule Subarnapura was Pada-pankaja-bhramara, speak of their devotion again occupied by another Bhanja dynasty. to God Vaidyanatha(Siva), whose temple lies One set of copper plate grant belonging to on the river Tel about 12 miles from Sonepur. Solana Bhanja has been stated to be issued This shows that God Baidyanath was their from Svarnapura. Dr. Agrawal following Dr. tutelary deity. It is pertinent to quote here that N. K. Sahu and others assigns this charter to all the coda kings in their respective charters 14th century A.D. in his book Sonapura Itihasa have declared themselves to be the lord of Vol.II page.76-79. entire Kosala. The Bhanja rule was supplanted by the The KHAMBESWARI TEMPLE Chauhans of Patna and Madangopal Singhadeo INSCRIPTION42 belonging to Ganga period of Sambalpur branch established his capital at was lying in front of the above temple of Subarnapura during mid 17th century A.D. Juhar Surta 2016 nuakhai parav 2016 81

REFERENCES 1- Orissa District Gazetteers, Balangir- Cuttack- 1968- 19- IO-Vol.IV.pp.142and 144. pp.39-40. 20- Journal of Orissa research Society (JORS)-No.3, 2- Epigraphia Indica (EI)- Vol. XI,pp.99-103ff. Bhubaneswar-pp.29-34ff. 3- Journal of Bihar and Orissa Research Society (JBORS)- 21- Journal of Orissa History (JOH)-Vol.II,No.1, pp.1-5ff. Vol.II, pp.429-35ff. 22- IO- Vol.IV,pp.159-189ff. 4- Ibid- p.429. 23- EI- Vol.XI, pp.95-98ff. 5- Dr. (Smt). Snigdha Tripathy wrongly deciphered this 24- Mazumdar,B.C.- Orissa in the Making, Calcutta- 1925, word as Udrapalli (vide Inscriptions of Orissa (IO)-Vol. p.163. VI,p.60.) 25- EI- Vol.III.pp.351-55ff. 6- Agrawal S.N.- Two Copperplate Grants from Western 26- IO- Vol.IV. p.`177 Orissa- Siddhartha Prakasani, Menda, 2001 pp.1ff. 27- JASB(new series)- Vol.I. pp.7-8 and 16-18ff. 7- Orissa Historical Research Journal (OHRJ)- Vol. XLV. 28- Ibid-pp. 8-12 and 19-23ff. Pp.14 ff. 29- JBORS- Vol.II, pp.45-55ff. 8- JBORS- Vol.II.pp.167-177ff. 30- EI-Vol.XII, pp.237ff and Vol.XXVIII,pp.321ff. 9- New Aspects of History of Orissa (NAHO)-Vol.II.pp.5- 31- JOH- Vol.II, no.2,pp.1-4ff. 13ff. 32- Agrawal S.N.- op.cit.-Vol.1 p.66. 10- IO- Vol.IV-pp.244 ff. 33- JOH- Vol-I, pp. 1-5 ff. 11- (i) EI- Vol.VIII. pp.138ff. (ii) IO- Vol.IV, pp.118- 34- Joh-Vol.II, pp.2. 123ff. 35- Agrawal S.N.- op.cit. Vol.II,p.23-24. 12- Agrawal S.N.- History of Sonepur (Odia). Balangir- 36- Panigrahi K.C.-History of Orissa, Cuttack- 1986,p.445. Vol.II (see the preface by Dr.J.K.Sahu). OHRJ- Vol. 37- Orissa District Gazetteer, Balangir- p.40. XXXIX- pp.92ff. 38- EI- Vol. XII,pp.218ff and XXVIII pp. 243ff. 13- EI- Vol.XI-pp.93-95 ff. 39- Agrawal, op.cit. Vol.II, p.39 14- Agrawal, S.N.- op.cit. Vol-I p. 53 and map. 40- Journal of Kalinga Hisorical Research Society (JKHRS)- 15- Edited by this author in- Studies on Odishan Epigraphy, Vol.I No.3, pp.29ff. Delhi- 2015-pp.97-108ff. 41- EI- Vol.XIX, pp.97ff. 16- EI- Vol.XXIII- pp.248-53ff. 42- (i)EI, Vol-XXXII, pp.325ff. (ii) Agrawal, Op.cit. Vol- 17- Agrawal, Op.cit., Vol-II pp.125 and OHRJ- Vol. II, p.67 XXXIX.pp.119-132. 43- EI-Vol- XXXII. P.326. 18- Indian Historical Quarterly (IHQ)-Vol.XX,pp.245-50 Folk Festivals and the Family Bonding Bandana Meher

Festivals can contribute to the development Another festival, which brings the bonding of identities through storytelling, explaining between the family members is Puajiuntia, who we are through the concerts and other where mother observe whole day fast for long events, and through the media, which retells life and prosperity of their sons and daughters. those stories to others (Karlsen, 2007, p. This festival has its significance in mother child 186). This helps in passing the culture to the relationship. All mothers staying in a locality next generation. Many festivals have attached came together to celebrate this. Puajiuntia is folk tales either from people or from ancient also have mythological background, which is scripture, which direct toward making the recited during the puja. It binds the mother and belief stronger, like Bhaijiuntia. children in a mutual responsible relationship. This festival is celebrated on the Suklapaksha Bhaijiuntia is celebrated during Mahastami Asthami tithi of the Aswini month. of Dushara with the spirit of sisters observe fasting for long life and prosperity of their Festival like Puspuni, which is celebrated brothers. Sisters offer their prayer to the deity in the Purnami tithi of Pausa month related Durga and Mangala. This festival is well known with the concluding of new harvest has the in the region for tying the bond between significance of jovial relationship among the brother and sister. The significance is attached grand-parents and the grand-children. Puspuni with a folk story with this puja, where a sister rejoicing were primarily characterised by family kept fast for her brother and was able to save get together and neighbours sharing different him from the king’s cruelty. With this spirit foods. The festival is characterised by two attached, every Dushara the brother make sure important events for the farming community, to bring her sister back to maternal home once the annual contract of land labourers comes in a year. This festival has a great importance for to an end and payments with annual bonus by the relationship among the brother and sister. landowners and agreements of fresh contracts As a blessing every brother swears to protect are finalised for the ensuing year. Interesting his sister throughout the life. The local form of and enjoyable scenes are happened in the folk dance Dalkhai is quite attached to it, where streets of villages. Jubilant boys and girls raise sisters after offering their prayer to the deity, funds in the name of ‘chher-chhera’ feasts from dance and sing together for the prosperity of the families in the village, regaling them with their brothers and maternal families. their dance and music. In some villages, mock Juhar Surta 2016 nuakhai parav 2016 83 quarrels between angry old grandmothers and and other seasonal fruits like char, mahul naughty children are organised. These events etc. before it is offered to the deity as Gudi. are entertaining and create a great deal of During Gudikhai all the family members amusement and laughter among the audience. come together to celebrate the onset of the Gudikhai is also a festival which celebrated seasonal fruits, which has much significance in the western part of Odisha. It is celebrated in brings the family members together under for welcoming of seasonal fruits like mango one roof and celebrate the festival of Holi. and Holi. It is celebrated at the time of Thus festivals in western Odisha have their Purnami thiti of Phalgun month. People of significance attached to intensify every western Odisha believe in not having mango relationship in the family.

Faculty, MSW Programme, Sambalur University Temples of Western Odisha on its economic and cultural rejuvenation Ranjan Pradhan

A. SIGNIFICANCE: SAMBALPUR DISTRICT: One of the significant developments in Samaleswari Temple at Sambalpur: religious tourism in western Odisha can be The mother goddess Samaleswari is reinvention of major temples with regard to adored from historicstretches as Jagatjanani, tourism development which can boost the Adishakti, Mahalaxmi and Mahasaraswati on economy of the region in different ways. It the bank of the river Mahanadi. The region in is a fact that, not only Bhubaneswar and its which the temple is situated has a rich cultural hinterland areas that have developed unique heritage. Sambalpur region is popularly known temples around it but also the gadajat area as Hirakhanda from ancient times. The temple of western Odisha that has developed some is of Sandhara order. It is built of a kind of distinctive temples which need to be given stone robust as granite, cemented with lime tourist attention for its historical and cultural mortar, and the whole building is plastered, but importance attached to it. In a time of dwindling in the course of time the surface has become value system in materialistic extremism these mouldy. The temple comprises two separate temples can serve three purposes: (1) to structures. The square sanctum sanctorum inculcate a positive value showing the way enshrining the deity is four step below the for regeneration,(2) to increase the economic 10-foot-wide covered circumambulation, potential of the community by keeping it which is supported by 12 stone pillars. Eleven busy in value added activities through a side goddesses are embedded on the outer process of interaction with national and wall of the sanctum, so that the devotees international tourists and (3) new interaction can worship those deities during parikarma may lead to research and development in the through the vaulted circumambulation. The way of living of the people amounting to Idol of Shree Shree Samalai Devi consists further development.On this framework of of a large block of Granite rock with an developments, reinvention of religious tourism inverted, trunk like projection at the bottom. is the significant aspect in the present time in A shallow cut on her “Baraha” like face western Odisha. symbolises her mouth. Traditional Sambalpuri B. MAJOR TEMPLES TO BE nose ornament of pure gold hangs down REJUVENATED: from her imaginary nose Beaten gold leave fixed on two disproportionate golden eye like Some of the major temples of western depression on the face acts as substitute for Odisha which have great religious tourism her eyes in an attempt to define the face of the potential are enumerated as follows: Juhar Surta 2016 nuakhai parav 2016 85 mother deity on a mass of self-shaped rock, spot and with the help of wind those were the devi’s idol inspires inspirationalthoughts creating gargantuan sound which made the of awe, fear, reverence, devotion, love and navigators aware of this treacherous spot and affection towards all-pervading motherhood. they never came near it. This area being the Among the varieties of festivals observed conglomeration of three streams of water of before the goddess throughout the year, three river Mahanadi, the water current here is very of those festivals are observed conspicuously. deceitful forming a whirlpool. Due to this The first two are navaratra puja during the many boats historically were drowned while months of March and April and during the nearing this spot. Here the wind blows quite months of September and October. Among heavily and with the help of it the bells were these two navaratra pujas (nine days unceasing producing sound. Now after the construction worship of the goddess) the second one is of Hirakud dam, this spot became safer. observed with a pronouncedmagnificence and dedication. The third festival which is said Humamandir at Huma: to be the chief festival of the entire western Humamandir or The Leaning Temple of Odisha (Sambalpur) region is nuakhai and in Huma is the only leaning temple in the world this festival the agriculturalists offer the first . It is located at Huma, a village placed on harvest from their lands to the goddess before the bank of the Mahanadi, 23 km south of using it for theirindividual uses. Sambalpur in the state of Odisha. The temple is dedicated to the Hindu god Shiva and is not Ghanteswari Temple at Chiplima: known if this structure is leaning by design or Maa Ghanteswari’s Temple is one of the from another reason. While the edifice leans, most sacred and beautiful places in Sambalpur. the pinnacle of the temple is perpendicular As the name specifies, there are bells (ghanti) to the ground.Apart from the main temple everywhere. People offer bell to Maa after the the Bhairavi Devi temple is situated to the contentment of their wishes. A large number left of the main temple and Bhairo temple of pilgrims visit this abode everyday from is situated to the right of the main temple. across the state. This place is treated as Heart According to historical records Ganga Vamsi of Chipilima which is a beautiful picnic spot. Emperor Anangabhima Deva-III built this The specialty of this temple area is, thousands temple.Temple was rebuilt or renovated by of bells hanging all around, the only place of King Baliar Singh in between 1660-1690 its kind in Odisha. Ghanteswari’s Temple is A.D., the fifth Chauhan king of Sambalpur. located at 33 kms south-west of Sambalpur and The rest of the temples were built during the on the bank of river Mahanadi. It was playing rule of King Ajit Singh perhaps in between an important role for navigation in the past. 1766-1788 A.D. of Sambalpur. The temple and was called a light house without light. The is positioned on the rocky cradle just on the place got its name from goddess Ghanteswari. bank of the river Mahanadi. The basis of Earlier there were some big size bells on this leaning cannot be assumed to be the technical Juhar Surta 2016 86 nuakhai parav 2016

flaws at the time of construction. It is also not Belkhandi has gained prominence as a centre easily acceptable that weak foundation might of religious activities and archaeological have caused leaning attitude of the temple. In importance with an attractive site. Besides the fact, construction of temple is quite favourite temples now standing therein, ruins of 12th of Chauhan Kings as well known to us from Century monuments have been excavated innumerable temples built during their reigns. from there in the recent past. They had already established themselves as Among the sculptures unearthed images good builders. Again, the temple is not an of Sapta Matruka (Seven Mother Goddesses) enormous structure. There might have been and Uma Maheswar are noteworthy. The ruins interior displacement of the rocky bed on which of Belkhandi are preserved in a small museum it stands, either due to flood current in the river adjacent to the temple premises. It is also an Mahanadi or earthquake, thus affecting the ideal site for an outing. This place is 67 K.Ms straight posture of the original temple. In other from Bhawanipatna. words, the plinth of the temple has deviated slightly from its original arrangement and as a Maa Lankeshwari Temple at Junagarh: result, the body of the temple has tilted. The Maa Lankeshwari is the principal deity of surprising thing is, the main temple is tilted to the Naga clan at Junagarh. The deity is still one direction and other small temples are tilted revered by the king and his descendants. The to some other directions. There is no denying descendants of the king perform puja in the the fact that this has fascinated the attention temple of Lankeshwari on the auspicious day of historians, sculptures and other researchers. of Mulashtami as Khandbasa. ‘Khandabasa’ KALAHANDI DISTRICT festival was observed at Goddess Lankeswari temple at Junagarh with the congregation of Manikeswari Temple at Bhawanipatna: a large numbers of devotees.After performing Manikeswari is one of the popular Hindu the traditional rituals, the swords of Goddess deity in Odisha. There are many Manikeswari Lankeswari and Bhairav were placed on the temples present in Western and Southern part two sides of the Goddess Lankeswari altar of Odisha. Manikeswari temple in Bhawanipatna by a representative of the royal family in is well recognized in Odisha. Manikeswari is also standing position over a heap of rice.Goddess the primary deity associated with the royal family Lankeswari is treated as a war Goddess of Paralakhemundi in Gajapati. Chhatar Jatra is as thus the significance of the practice of one of the most popoular festival of Manikeswari ‘Khandabasa’. Tradition has it that during at Bhawanipatna. Khandasadhaka is a festival the rule of Chindakanaga, Ganga, Kalachuri associated with Manikeswari in Paralakhemundi. and Naga dynasties the traditional sword of Belkhandi Siva Temple at Bhawanipatna: Goddess Lankeswari was worshipped to seek her blessings before going to a war. Durga Puja Situated on the confluence of the river Tel and gajalaxmi puja are also important festival. and Uttei, two tributaries of the river Mahanadi, Various pandals are constructed throughout Juhar Surta 2016 nuakhai parav 2016 87 the town. Junagarh is a town and a notified area Paradeswar Temple at Dharamgarh: council in Kalahandi district in the Indian state Paradeswar temple is among the few, of Odisha. It was the capital of the former and perhaps three shiva temples in the world state of Kalahandi. Junagarh is 26 km from where the Linga is made of mercury known Bhawanipatna, connecting National Highway as Rasalingam. Dharamgarh became a sub- 201.This highway recently has been termed divisional headquarters in post-independence as National Highway 26. Junagarh was a well- period when Kalahandi joined Odisha state. built fort. The fortified area has a number of Dharamagrh sub-division is histrorically well temples with Oriya inscriptions. This is a place known for rice production in the region. This which has sculptural evidence of the sati rite, region was known as puelpahar, which symbolises which was prevalent in medieval India, and was production of more straw and paddy. In post stopped during theBritish Raj by Lord William Upper Indravati irrgation project it among the Bentinck. The sculptures are identified as sati leading rice producing sub-division in Odisha. pillars Junagarh was famous for its lakes and Kalahandi contributed largest number of rice fruit garden ‘chha kodi bandha naa kodi tota’, mill, out of which majority of the rice mills are means 120 ponds and 180 orchard. Junagarh is in Dharamgarh sub-division. also famous for its temples. It is also known as temple city of Kalahandi. BARGARH DISTRICT Asta-Sambhu Temples at Undivided Bhimkhoj Shiva Temple at Dharamgarh: Sambalpur: This is one of the popular religious site in Bargarh district is having a large number the region. The Bhima Kunda present near the of Siva Temples which were built during the Shiva temple is believed to be the foot print Chauhan rule of undivided Sambalpur. The of Bhima, so the name of village Bhimkhoj most important among them were those of (Foot Print of Bhima from Mahabharat) is the Asta-Sambhu or 8 Siva Temples such as (1) derived from the mythological foot print Bimaleswar Temple at Huma (Sambalpur), (2) of Bhima. Recently Nagabom is quite Kedarnath Temple at Ambabhona (Bargarh), popular festival associated with this temple. (3) Baidyanath Temple at Deogaon (Bargarh), Dharamgarh is the sub-divisional headquarters (4) Balunkeswar Temple at Gaisama (Bargarh), of Dharamgarh Sub-Division in the district of (5) Mandhata Baba Temple at Maneswar Kalahandi in Odisha, India. It is also referred (Sambalpur), (6) Swapneswar Temple at Sorna to as Dharmagarh. Odisha state Government (Bargarh), (7) Visweswar Temple at Soranda recently upgraded it from Gram Panchayat to (Bargarh) and (8) Nilakantheswar Temple at Notified Area Council (NAC). Dharamgarh is Nilji (Bhatli). The Bimaleswar Temple at Huma known as the granary of Kalahandi district. on the Mahanadi was built by Maharaja Baliar The Dharamgarh sub-division of Kalahandi Singh and the rest were built during the reign includes Golamunda, Koksara, Jaipatna, of Ajit Singh and his son Abhaya Singh. These Kalampur, Junagarh and Dharamgarh blocks. temple, though small height, are great artistic Juhar Surta 2016 88 nuakhai parav 2016

beauty and each of these with picturesque Dadhivaman is a form of Lord Jagannath and background. In the religious context, these asta- a parallel cart festival is organized accordingly. sambhu temples give a strong bond of gadajat Bhatli is known as the Shreekhetra of Western regions as one single monolithic cultural zone. Odisha.

Kedarnath Temple at Ambabhona: Kalimandir at Bargarh: The temple with hundreds monkeys hanging Kalimandir at Bargarh is famous for from the tree and jumping from one branches to its location being in the heart of Bargarh another synchronized with the small boys of the town. Kali-puja is one of the big festivals at areas plunging into the ponds create a memorable Kalimandir road, Bargah when Goddess Maa scene to the visitors. The temple is inside a pond. Shyama Kali is worshiped on the occasion The Maha Shivaratri at Kedarnath Temple of Dipawali and Yagnas are organized. The celebrated on the Chaturdasi in the month of big beautiful statue of Goddess Shyama Kali Falguna. The temple is located on the foot hills is made up of alloy including eight kinds of of Bara Pahar, nearly 35 km from Bargarh town. metals. A new temple for the Goddess built Lord Shiva is worshipped on this occasion. On recently is really an attraction point for the this day the devotees observe fasting and remain pilgrims. Beside the Kali temple, there are Sri awakened at night. Many cultural programmes Syameshwar Mahadev temple and Hanuman are organized which the people enjoy. The day temple. observed in each and every Shiva Temple in Bargarh. This temple is visited by many people Nrusinghnath Temple at Nrusinghanath: due to its proximity to historical reasons. A peak It is situated in Bargarh District of Odisha in the Barapahar hills in Bargarh sub-division and the nearest airport is Raipur of Chhatisgarh having a height of 2267 feet. It was a noted which is 230 kms distance from it by road. The rebel stronghold during the revolt of Balabhadra nearest railway station is Nawapara which is Deo, the Gond Zamindar of Lakhanpur, who 42 kms from here. This is a famous temple was killed here. Mahapatra Ray and Baldia in Western part of Odisha and is considered Ray also sought shelter here during 1840 AD as Ganga of east Chhatisgarh people. It is after murdering Baluki Dash, the Maufidar of worshiped and admired by more number of Bargarh. Veer Surendra Sai the freedom fighter people from Chhatisgarh than Odisha due was captured here in 1864 by British soldiers. to a kind of historical connection. The Odia There is a wild life sanctuary here. Except for speaking Chhatisgarhi people admired a lot to elephants, wild buffaloes and blank Bucks most this temple and its natural scenic surroundings. of the other important animals in the State of Chhatisgarh government also persuades the Odisha are more or less represented here. authority in Odisha to develop this region looking its popularity in Chhatisgarh. The Dadhibaman Mandir at Bhatli : temple has great connection with Patanagarh Dadhibamana Mandir is situated at Bhatli region due to its proximity and also for historical which is one of the Block of Bargarh District. reason whereas the temple was built by Baijal Juhar Surta 2016 nuakhai parav 2016 89

Singh Deo, a king of Patna. The location of the BOUDH DISTRICT temple is magnificent augmenting the beauty of Ramanath Temple at Boudh: the Gandhamardan hill. Nrusinghanath Jatra is A group of three temples of Siva at Boudh a major festival of celebrated in the religious town called the Rameswar or Ramanath site of Nrusinghanath where Lord Vishnu temples, dating back to the 9th century AD is worhipped in the form of Marjarakesari. are reputed for their special feature. The Nrusinghanath is also a historical site which decorative motifs and the plastic art of three attests the religious synthesis of tribal people temples at Boudh are certainly superior to and non-tribal people; and among Saivism, and older than the great Lingaraj-Ananta – Vaishnavism, Tantrism and Buddhism.This Vasudeva group. One particular feature of mela is celebrated from Triyodasi to Purnima the Ramanath temple is worth particular in the month of Baisakh at Nrusighanath attention. Their plan is quite different from Temple. It is celebrated on the occasion of any other temples. In plan these temples are Nrusingha Janma (birth) and also known as eight-rayed stars and the argha-pattas of the Narsingh Chaturdashi Mela. A huge gathering lingas are also similar. These magnificent of devotees graces this occasion. temples built of red sandstone and profusely SUNDARGARH DISTRICT: carved are stated to have been constructed in the mid-9th century AD. The temples Hanuman Vatika at Rourkela: with rich texture and curved surfaces are Hanuman Vatika, or the garden belonging strikingly noteworthy. Each of these temples to Hanuman, is located in Rourkela. The garden stands by itself on a raised platform and each houses the second tallest statue of Hanuman consists of a cell and an attached portico. The in Odisha.The garden was refurbished and minute recesses and angularities produce a inaugurated by the chief minister, the late Biju charming effect of light and shade and confer Patnaik of Odisha. The height of the statue is an appearance of greater height from the 75 feet. Every year on 23 February it celebrates continued cluster of vertical lines than they its foundation day. Other temples inside the really possess. Archeological Survey of India premises are 12 Jyotirlingas, Batta Mangala Devi, has preserved this temple. Sarala Devi Temple, Jagannath Temple, Lakshmi, and Santoshi Mata Temple. One Kalyan Mandap Hanuman Temple at Boudh: is built to accommodate public gatherings and This temple is situated in the midst of the functions. The Hanuman statue was built by river Mahandai to the east of Boudh town..The Sri Lakshman Swami of Hyderabad. The newly Hanuman temple was constructed by a religious established Sai Baba temple has become the favorite of the devotees, the idol of which is very mendicant. This shrine was constructed on a similar to the idol of the one located in Shirdi large stone. The temple commands a beautiful Sai Baba. It is situated contiguous to Rourkela view, especially during rain when the river General Hospital on the way to Panposh. Mahanadi water is in full. Juhar Surta 2016 90 nuakhai parav 2016

Matengeswar Temple at Boudh: and Yamuna are among the amazing places of The Chandra Chuda and Matengeswar sculpture unearthed here. It is located at 40 km temple are situated on the bank of river distance from Balangir. Mahanadi in Boudh town. Both the temples are Harishankar Temple at Harishankar: Siva temples. In the Matengeswar temple there It is situated in Bolangir District of Odisha. is also separate temple for goddess Parvati. This is a famous Shiva temple - where Shiva BOLANGIR DISTRICT: worshipped alongwith Vishnu in Western part Pataneswari Temple at Patanagarh: of Odisha and is considered as holy place due to its presence in natural scenic beauty. It is a The ancient capital of the kingdom of famous picnic hub for the people of coastal Patna or Patnagarh combines in happy synthesis Odisha because coastal Odisha does not its mythic past with the modern present. The have much hilly part and surroundings, and temples of Patneswari in Chalukyan style and this tourist destination has a well established that of Someswar Siva belonging to the 12 th popularity among coastal film personalities. It Century are the monuments of prominence. is a natural beautiful place having the famous One can find here the reminiscence of the selhapathar - the slippery stone where one earliest group of temples build during the can take bath and enjoy the act of falling slip Chauhan rule in western part of Odisha. during bathing amongest natural beauty. This Someswar Temple at Ranipur-Jharial: is also a place where a deer park is made for Ranipur Jharial is known as “Soma the beautification, enjoyment and educational Tirtha” in scriptures and it combines a section purpose of the school children. It is a hangout of religious faiths like Saivism, Buddhism, place for Ollywood team where the famous Vaisnavism and Tantrism. The circular open regional Oriya-Sambalpuri film Bhukha has vault enclosure of sixty-four yoginis, the major been made to capture the virginity of natural attraction of the place, is one of the four such beauty in a rural setting. shrines in India. The temple of Someswar Siva SONEPUR DISTRICT is the noted one among a plethora of about Patali Shrikhetra Temple at Patali: 50 temples here. The majestic brick temple of Indralath is said to be the tallest brick temple It is situated in hill top of the Ulunda forest of Odisha. range, a place of great reverence in Odiya oral mythology where Lord Jagannath was hidden in Chandi Temple at Saintala: a cave during war period anticipating His theft Saintala is distinguished for its Chandi and defilement. This religious place is associated temple which is now in ruins. Goddess with Shaktism, Buddhism and Vaishnavism. Chandi in Mahisamardini form is presently It is located in the foot of Trikut Hill at fitted in a small mound. The Dasavatara or Kotsamalai of the Birmaharajpur subdivision. ten incarnations image of Lord Vishnu and The Madalapanji describes that during the shattered doorjamb with figures of Ganga invasion of Raktavahu, Sovanadeva-a king Juhar Surta 2016 nuakhai parav 2016 91 of Odisha escaped with the images of Lord Balangir which is 60 kms. distance. There are Jagannath, Balabhadra and DeviSubhadra. He also regular bus services from Bhubaneswar, then reached Sonepur and buried the images Cuttack, Berhampur, and Sambalpur. at a place called Sonepur-Gopali. After 144 years, Yayati Keshari of Somavamsi dynasty Kosaleswara Temple at Baidyanath: got the images and made new images. He built It is located at Baidyanatha of Subarnapur a temple at Puri and enshrined the idols. Dr. district. In the balcony of the brick-built Dimiri and Dr B.K. Ratha have already testified Jagamohana Hall of this temple a peculiar the linkage of Patali Srikhetra with Srikhetra Kirtimukha head is carved on brick. From the and also found archeological properties of mouth of this kirtimukha a bunch of leaves are pre-historic importance. This place is very flowing down. Such arts are found carved on the enchanting where mind moves towards eternal Laksmanesvara temple located at Sirpur of the bliss looking at the vast lowland patches. One Chhattisgarh state, which was built on 8th century. will wonder to find a vast forest range. There is Sasisena Temple at Sonepur: a small temple on the hill top to remember the incident mentioned above and the historical It is also called as Nimunhi Temple, the importance attached to it. Thus, it is a biggest temple with no entrance and exit. It is found part of heritage tourism in this region. The in Sonepur city. The Sasisena Kavya written nearest airport is Bhubaneswar which is 330 by Pratap Rai a well-known poet of 17th kms and the nearest Birmaharajpur bus stand century describes the detail story behind this is sixteen kms. temple. The present Sasisena temple was built by Maharaja Vira Mitrodaya Singh (1902-1937 Subarnameru Temple at Sonepur: AD). However, it is also reported that the It is situated in Sonepur town in Subarnapur Sasisena memorial was built before the second district of Odisha.It is a shrine for the half of 18th century AD. worshipping of Shiva. Popular story of Gold Hariharnath Temple at Sonepur: coin Rain is associated with this Place, when an ardent devotee asked lord for help. The Place The Hariharnath Temple is devoted to attracts thousands of visitors and Pilgrimages Lord Shiva and Lord Vishnu. According to for its scenic beauty as this temple is situated legend, Lord Rama built this temple while just on the Bank of Tel River. Major festivals visiting Janakpur. The temple draws a large are Shivaratri and Kartik Purnima. Sonepur is number of people on the full moon day of the well connected to nearest railway station of month of Kartik. 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Kinjal Jena - Winner Junior Group Juhar Surta 2016 112 nuakhai parav 2016