Palm Leaf Manuscripts Inheritance of Odisha: a Historical Survey
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Chitrangi Booklet(Low Res).Pdf
Dinanath’s Living Palette Chitrangi A Retrospective 1942-2016 29 August to 3 September 2017 Lalit Kala Akademi Regional Centre Gallery Bhubaneswar Published by IPCA Bhubaneswar Post Box # 25, G.P.O, Bhubaneswar 751001 Odisha, INDIA Email: [email protected] Curator Ramahari Jena Design Jyotiranjan Swain Editor Sukanya Rath Printed at Third Eye Communications A unit of Ketaki Enterprises Pvt. Ltd. Bhubaneswar Email: [email protected] Cover: Lotus Pond, oil on canvas153x168 cm, 1997 (Anna Vergati Collection, Paris) Celebrating the Life and Work of master painter, author, scholar, art educator and visionary Dinanath Pathy Dr. Bansidhar Panda unveiling IPCA’s logo in the presence of Smt. Paramita Mahapatra, Ranjib Biswal and Dr. Dinanath Pathy, January 2016 Dr. Dinanath Pathy, at the inaugural ceremony of Exhibition ‘Repose’ organised by IPCA, with Smt. Paramita Mahapatra, fellow artists and dignitaries, August 2016 Seasons for a Lifetime When we got together as a team right a!er the founding of IPCA, it was a meeting of minds and hearts committed to a shared and long cherished dream - of fostering and nurturing an enabling platform for art and for artists of Odisha. And the journey began; it was as if our dream was bearing fruition. For there was no greater mentor or advocate for the cause of art and artists of the state than the distinguished and dedicated pioneer, Dr. Dinanath Pathy. IPCA had found its visionary captain, and he had found a team of kindred spirit. Prime mover behind IPCA, his faith and conviction acted substantively in everyday reality, demonstrated in the excitement he wore about him and the time and e"ort he invested in de#ning IPCA’s mission and mandate. -
Antiquities of Madhava Worship in Odisha
August - 2015 Odisha Review Antiquities of Madhava Worship in Odisha Amaresh Jena Odisha is a confluence of innumerable of the Brihadaranayaka sruti 6 of the Satapatha religious sects like Buddhism, Jainism, Saivism, Brahman belonging to Sukla Yajurveda and Saktism, Vaishnavism etc. But the religious life of Kanva Sakha. It is noted that the God is realized the people of Odisha has been conspicuously in the lesson of Madhu for which he is named as dominated by the cult of Vaishnavism since 4th Madhava7. Another name of Madhava is said to Century A.D under the royal patronage of the have derived from the meaning Ma or knowledge rulling dynasties from time to time. Lord Vishnu, (vidya) and Dhava (meaning Prabhu). The Utkal the protective God in the Hindu conception has Khanda of Skanda Purana8 refers to the one thousand significant names 1 of praise of which prevalence of Madhava worship in a temple at twenty four are considered to be the most Neelachala. Madhava Upasana became more important. The list of twenty four forms of Vishnu popular by great poet Jayadev. The widely is given in the Patalakhanda of Padma- celebrated Madhava become the God of his love Purana2. The Rupamandana furnishes the and admiration. Through his enchanting verses he twenty four names of Vishnu 3. The Bhagabata made the cult of Radha-Madhava more familiar also prescribes the twenty four names of Vishnu in Prachi valley and also in Odisha. In fact he (Keshava, Narayan, Madhava, Govinda, Vishnu, conceived Madhava in form of Krishna and Madhusudan, Trivikram, Vamana, Sridhara, Radha as his love alliance. -
The Style of Gita Govinda Recital and Odissi Music
International Journal of Humanities and Social Science Invention ISSN (Online): 2319 – 7722, ISSN (Print): 2319 – 7714 www.ijhssi.org ||Volume 4 Issue 10 || October. 2015 || PP.40-43 The Style of Gita Govinda Recital and Odissi Music Dheeraj Kumar Mohapatra Guest Faculty, Odissi Vocal Department, Utkal University Of Culture, India ABSTRACT : In Gita Govinda, Sri Jayadeva has embellished the philosophy, metaphysics, ontology and mysticism in erotic words, melodious versifications, ardent love pictures and pornography delineating the clandestine love of Radha and Krishna. It points to union of natural beings with super nature. Jayadeva Radha is not only radiant, fascinating or angelic, she represents celestial beauty and her union with Krishna, an incarnation of Lord Vishnu, unfolds supreme love and eternal delight. One does not require surveying the history, delving deep into texts and characteristic features of Odissi system to understand its classy style if he at least reads and listens to Gitagovinda of Sri Jayadeva. As this sacred piece of lyrical poem contains all the salient and distinguishing features of classical music, the reader or listener must appreciate the uniqueness and wholesomeness of Odissi as the third system of classical music in the domain of Indian music. Sri Jayadeva has not only originated a specific music tradition, systematic form and definite melodic pattern, raga-tala repertoires but also built a socio-cultural community. The purity, sanctity and characteristic features of Odissi music have been enriched refined and pervaded its horizon through Gitagovinda of Sri Jayadeva. KEYWORDS: JAYADEVA, GITA GOVINDA, ODISSI, MUSIC, CLASSICAL Introduction Music is an integral part of human life, which is created when the vibratory waves are brought into melodious audible notes in material form. -
Odisha Review Dr
Orissa Review * Index-1948-2013 Index of Orissa Review (April-1948 to May -2013) Sl. Title of the Article Name of the Author Page No. No April - 1948 1. The Country Side : Its Needs, Drawbacks and Opportunities (Extracts from Speeches of H.E. Dr. K.N. Katju ) ... 1 2. Gur from Palm-Juice ... 5 3. Facilities and Amenities ... 6 4. Departmental Tit-Bits ... 8 5. In State Areas ... 12 6. Development Notes ... 13 7. Food News ... 17 8. The Draft Constitution of India ... 20 9. The Honourable Pandit Jawaharlal Nehru's Visit to Orissa ... 22 10. New Capital for Orissa ... 33 11. The Hirakud Project ... 34 12. Fuller Report of Speeches ... 37 May - 1948 1. Opportunities of United Development ... 43 2. Implication of the Union (Speeches of Hon'ble Prime Minister) ... 47 3. The Orissa State's Assembly ... 49 4. Policies and Decisions ... 50 5. Implications of a Secular State ... 52 6. Laws Passed or Proposed ... 54 7. Facilities & Amenities ... 61 8. Our Tourists' Corner ... 61 9. States the Area Budget, January to March, 1948 ... 63 10. Doings in Other Provinces ... 67 1 Orissa Review * Index-1948-2013 11. All India Affairs ... 68 12. Relief & Rehabilitation ... 69 13. Coming Events of Interests ... 70 14. Medical Notes ... 70 15. Gandhi Memorial Fund ... 72 16. Development Schemes in Orissa ... 73 17. Our Distinguished Visitors ... 75 18. Development Notes ... 77 19. Policies and Decisions ... 80 20. Food Notes ... 81 21. Our Tourists Corner ... 83 22. Notice and Announcement ... 91 23. In State Areas ... 91 24. Doings of Other Provinces ... 92 25. Separation of the Judiciary from the Executive .. -
Fashioning Readers: Canon, Criticism and Pedagogy in the Emergence of Modern Oriya Literature
1 Fashioning Readers: Canon, Criticism and Pedagogy in the Emergence of Modern Oriya Literature Pritipuspa Mishra University of Southampton Postal Address: University of Southampton Avenue Campus Highfield Southampton SO17 1BF UK Email- [email protected] This is an Accepted Manuscript of an article published by Taylor & Francis in Contemporary South Asia on 22nd March 2012, available online: http://dx.doi.org/10.1080/09584935.2011.646080 Abstract Through a brief history of a widely published canon debate in nineteenth century Orissa, this paper describes how anxieties about the quality of “traditional” Oriya literature served as a site for imagining a cohesive Oriya public who would become the consumers and beneficiaries of a new, modernized Oriya-language canon. A public controversy about the status of Oriya literature was initiated in the 1890s with the publication of a serialized critique of the works of Upendra Bhanja, a very popular pre-colonial Oriya poet. The critic argued that Bhanja’s writing was not true poetry, that it did not speak to the contemporary era, and that it featured embarrassingly detailed discussions of obscene material. By unpacking the terms of this criticism and Oriya responses to it, I reveal how at the heart of these discussions were concerns about community building that presupposed a new kind of readership of literature in the Oriya language. Ultimately, this paper offers a longer, regional history to the emerging concern of post-colonial scholarship with relationships between publication histories, readerships, and broader ideas of community—local, Indian and global. Key words Literary Criticism, Oriya literature, Tradition, Public Word Count: 7344 including references 2 In the winter of 1891, in the capital of the princely state of Majurbhanj set deep in the hills of the Eastern Ghats, a series of articles critiquing the work of an early modern Oriya poet were published. -
View Entire Book
ODISHA REVIEW VOL. LXX NO. 8 MARCH - 2014 PRADEEP KUMAR JENA, I.A.S. Principal Secretary PRAMOD KUMAR DAS, O.A.S.(SAG) Director DR. LENIN MOHANTY Editor Editorial Assistance Production Assistance Bibhu Chandra Mishra Debasis Pattnaik Bikram Maharana Sadhana Mishra Cover Design & Illustration D.T.P. & Design Manas Ranjan Nayak Hemanta Kumar Sahoo Photo Raju Singh Manoranjan Mohanty The Odisha Review aims at disseminating knowledge and information concerning Odisha’s socio-economic development, art and culture. Views, records, statistics and information published in the Odisha Review are not necessarily those of the Government of Odisha. Published by Information & Public Relations Department, Government of Odisha, Bhubaneswar - 751001 and Printed at Odisha Government Press, Cuttack - 753010. For subscription and trade inquiry, please contact : Manager, Publications, Information & Public Relations Department, Loksampark Bhawan, Bhubaneswar - 751001. Five Rupees / Copy E-mail : [email protected] Visit : http://odisha.gov.in Contact : 9937057528(M) CONTENTS Sri Krsna - Jagannath Consciousness : Vyasa - Jayadeva - Sarala Dasa Dr. Satyabrata Das ... 1 Good Governance ... 3 Classical Language : Odia Subrat Kumar Prusty ... 4 Language and Language Policy in India Prof. Surya Narayan Misra ... 14 Rise of the Odia Novel : 1897-1930 Jitendra Narayan Patnaik ... 18 Gangadhar Literature : A Bird’s Eye View Jagabandhu Panda ... 23 Medieval Odia Literature and Bhanja Dynasty Dr. Sarat Chandra Rath ... 25 The Evolution of Odia Language : An Introspection Dr. Jyotirmati Samantaray ... 29 Biju - The Greatest Odia in Living Memory Rajkishore Mishra ... 31 Binode Kanungo (1912-1990) - A Versatile Genius ... 34 Role of Maharaja Sriram Chandra Bhanj Deo in the Odia Language Movement Harapriya Das Swain ... 38 Odissi Vocal : A Unique Classical School Kirtan Narayan Parhi .. -
Splendours of Odishan Paintings.Pmd
1 Splendours of Odishan Painting 2 3 Splendours of Odishan Painting Dr. Dinanath Pathy ILA PANDA Centre for Arts Bhubaneswar 4 1st ILA PANDA Memorial Lecture delivered by Dr. Dinanath Pathy on 12th March 2016 at Bhubaneswar. Published by ILA PANDA Centre for Arts Designed at and Produced by Third Eye Communications N4, 252, IRC Village, Nayapalli, Bhubaneswar, Odisha, India 5 ILA PANDA was educated in visual art at Shantiniketan under the tutelage of Acharya Nandalal Bose and at The Royal College of Art, London. She was married to Dr. Bansidhar Panda and was the partner in the formation of the IMFA Group of Companies in Odisha. She was a member of Indian Parliament. IPCA has been instituted in Bhubaneswar to perpetuate her memory and ideals. IPCA aims at promoting Odia art and artists in the country and on the international level. IPCA’s activities are supported by UMSL Limited, Bhubaneswar. 6 Dr. Dinanath Pathy (1942) has a Government Diploma in Fine Art and Crafts from Khallikote School of Art. He has been awarded two Ph.Ds., including one from Visva Bharati and a D. Litt. honoris causa from Berhampur University. He is the recipient of Jawaharlal Nehru Fellowship, International Rietberg Award and President of India Silver Plaque for Painting. Dr. Pathy is a practicing artist, art historian and writer. He has designed and curated a number of national and international exhibitions including the Festival of India in Sweden and USSR as well as the International Kalinga-Bali Jatra. He has been collaborating with Swiss Scholar Dr. Eberhard Fischer on a number of research projects on Odishan Art since 1978. -
View Entire Book
Orissa Review * June - 2006 A Cult to Salvage Mankind Sarat Chandra The cosmic and terrestrial : both realities are The Hindu inclusiveness is nowhere as reflected in the Jagannath cult of Orissa. The evident as in the rituals of Lord Jagannath. Even cosmic reality of the undying spirit which romance is not excluded in the deity's schedule: abides, endures and sustains; the cosmic reality Once in a week the God is closeted with his of birth and death, as well as the beauty and consort Laksmi (in the ritual Ekanta). The refinement of the terrestrial world are mirrored Sayana Devata golden sculpture used in the in this all-inclusive mid-night ritual after the religious practice. "The Bada Singhara Dhupa, is visible and invisible both not only suggestive but worlds meet in man", even explicit. sang the British poet T.S.Eliot in the Four Over a year Lord Quartets. We may say Jagannath, like human that the Jagannath cult is beings, is engaged in designed to reflect both multification activities. the visible, this-worldly On one occasion realities as well as the (Banabhoji Besha) He cosmic phenomena. sets out on a picnic trip, Hence, the cult reflects a to an idyllic forest land, life style of a god who has which is suggestive of the numerous human God's love for natural attributes. beauty. On the other occasions (seven times in a year), the Lord goes This makes the God and the cult unique. for hunting expeditions. During the summer Several traits characterize the God: the everyday rituals of bathing, brushing of teeth, he goes for boat rides for twenty-one days dressing-up and partaking of food materials. -
Search a Journal of Arts, Humanities & Management Vol-IX, Issue-1 January, 2015
search A Journal of Arts, Humanities & Management Vol-IX, Issue-1 January, 2015 DDCE Education for All DDCE, UTKAL UNIVERSITY, BHUBANESWAR, INDIA Prof. S. P. Pani, Director,DDCE, Utkal University, Bhubaneswar. Dr. M. R. Behera Lecturer in Oriya, DDCE, Utkal University, Bhubaneswar. Dr. Sujit K. Acharya Lecturer in Business Administration DDCE, Utkal University, Bhubaneswar. Dr. P. P. Panigrahi Executive Editor Lecturer in English, DDCE, Utkal University, Bhubaneswar. ISSN 0974-5416 Copyright : © DDCE, Utkal University, Bhubaneswar Authors bear responsibility for the contents and views expressed by them. Directorate of Distance & Continuing Education, Utkal University does not bear any responsibility. Published by : Director, Directorate of Distance & Continuing Education, Utkal University, Vanivihar, Bhubaneswar – 751007. India. Reach us at E-mail : [email protected]. 91-674 –2376700/2376703(O) Type Setting & Printing: CAD 442, Saheed Nagar Bhubaneswar - 751 007 Ph.: 0674-2544631, 2547731 ii History is TRUTH and TRUTH is God. History is a search for the ultimate truth , an understanding which would end the search for any further explanation. Many of you may feel disturbed with such a content. In fact, many of you may feel this statement to be very subjective. Indeed you may opine that history is all about alternative explanations, choice of one explanation over the others with justification. In this short editorial an attempt is being made to explore, ‘History as Truth’. History like any other discipline can never be dealt in isolation; however, it may seem so. It is not even a distinct part of the whole, it is indeed the whole itself- both temporally and spatially. Why all search in history may be partial yet the partial search always can be of the whole only. -
Odisha Sahitya Academy Awarded Books and Writers
ODISHA REFERENCE ANNUAL - 2011 ODISHA SAHITYA ACADEMY AWARDED BOOKS AND WRITERS Sl. Name of the Book Category Name of Writers No. 1957-1958 1. Dilip Lyric Poem Sri Upendra Mohanty 2. Swarna Yugara Sandhana Play Sri Gyaneendra Burma 3. Agnee Parikshya Play Shri Bhanjakishore Patnaik 4. Vyasakabi Fakir Mohan Criticism Shri Natabar Samantaray 5. Veda Manushya Kruta Ki ? Criticism Shri Priyabrata Das 6. Godan Translation Golakha Bihari Dhal 7. Ajara Pound Kabita Translation Shri Gyaneendra Burma 8. Sabujapatra O Dhusara Golap Story Shri Surendra Mohanty 9. Chora Chaitali Story Smt. Rajeswari Dalbehera 10. Kanta O Phula Poetry Shri Godabarish Mohapatra 11. Sanchayan Poetry Smt. Bidyutprabha Devi 12. Bhagaban Sankaracharya Biography Shri Durga Charan Mohanty 13. Jateeya Jeebanara Atmabikash Biography Shri Gobinda Chandra Mishra 14. Odishi Chitra Science Literature Shri Binod Routray 15. Puspa Chasha Science Literature Shri Biswanath Sahoo 16. Kalinga Kahani Child Literature Smt. Kanaka Manjari Mohapatra 17. Pilanka Katha Lahari Child Literature Shri Chandra Sekhar Mohapatra 18. Europere Mo Anubhuti Travel Story Sriram Chandra Das 1959-1961 19. Aranyak Story Shri Manoj Das 20. Ootha Kankal Poetry Late Godabarish Mohapatra 21. Pashchima Diganta Travel Story Shri Shriharsha Mishra 22. E Jugara Shrestha Abiskar Science Literature Shri Gokulananda Mohapatra 23. Jeeban Bidyalaya Essay Shri Chittaranjan Das 24. Juga Prabarttak Radhanath Criticism Shri Natabar Samantaray 25. Kabi Samrat Upendra Bhanja Criticism Shri Ananta Padmanav Patnaik 26. Charam Patra Poetry Shri Rabindra Nath Singh 27. Nar Kinnar Novel Shri Shantanu Ku.Acharya 1962-1964 28. Adi Manabara Itibrutta Story Shri Kamal Lochan Baral 29. Satyabhama Lyric Poem Shri Golak Chandra Pradhan 30. -
Ati 3M: Odissi Dance
BLM #1 STUDENT/TEACHER RESOURCE ATI 3M: ODISSI DANCE Odissi dance is the typical classical dance form of Orissa and has its origin in the temples. The rhythm, the bhangis and mudras used in Odissi dance have a distinctive quality of their own. Odissi dance deals largely with the love theme of Radha and Krishna. It is a lyrical form of dance with its subtlety as its keynote. The intimate relationship experienced between the poetry and music in Odissi is a feature on which the aesthetics of the style is built. It is a "sculpturesque" style of dance with a harmony of line and movement, all its own. The history of Odissi dates back to somewhere between the 8th and the 11th century when the kings took great pride in excelling in the arts of dance and music. It is during these centuries that inscriptions referring to "Devdasis,” the women who worshipped the deity, were carved at the Brahmeshwar temple. "Devdasis" apparently played an important part in the temple ritual and were required to perform from early evening to the bedtime of Lord Jagannath, the temple deity of Puri. Jayadeva's "Geeta-Govinda,” the bible of an Odissi dancer, written in the 12th century, has stupendous influence on the arts of Orissa. The "Ashtapadis" were marked with specific ragas and talas. Around the 15th century, during the reign of Surya Dynasty, the element of "abhinaya" or expressional dance entered Odissi. During the same time Maheshwar Mahapatra wrote his "Abhinaya Chandrika,” an elaborate treatise on Odissi dance style, which is still used by dancers today. -
4.2.5 Saivism 90 Xn
TABLE OF CONTENTS Preface Table of Contents List of Abbreviations 1. MUSEUMS AND ARCHIVES 2. ORISSA, GENERAL 2 2.1 GAZETTEERS 2 2.2 CENSUS 1961 3 2.3 VARIOUS STUDIES 4 3. HISTORY 7 3.1 EPIGRAPHY 7 3.2 NUMISMATICS 8 3.3 HISTORICAL GEOGRAPHY AND TOPOGRAPHI- CAL STUDIES 10 3.4 ACCOUNTS OF EARLY TRAVELLERS 13 3.5 HISTORY, GENERAL STUDIES 14 3.6 PERIODS OF ORISSAN HISTORY 21 3.6.1 Prehistory 21 3.6.2 Asoka and Kharavela 22 3.6.3 Early History after Kharavela 26 3.6.4 Sailodbhavas 31 3.6.5 Bhauma-Karas 32 3.6.6 Bhanjas 34 3.6.7 Somavamsis 37 3.6.8 Gangas 40 3.6.8.1 Ganga Inscriptions 40 3.6.8.2 Ganga History, General Studies 48 3.6.9 Suryavamsis (including up to 1568 A. D.) 52 3.6.10 Afghans and Moghuls 54 3.6.11 Khurda Dynasty 56 3.6.12 Marathas 58 3.6.13 Feudatory States 59 3.6.14 South Kosala and Chhattisgarh 67 3.6.15 British Period and Independence Movement 69 4. RELIGION AND PHILOSOPHY 81 4.1 GENERAL STUDIES 81 4.2 VARIOUS RELIGIONS AND CULTS 86 4.2.1 Buddhism 86 4.2.2 Jainism 4.2.3 Natha Dharma 4.2.4 Saktism (including various goddesses) 89 4.2.5 Saivism 90 xn 4.2.6 Surya Cult 91 4.2.7 Vaisnavism 92 4.2.8 Jagannatha Cult 94 4.2.9 Mahima Dharma 103 5. ART 104 5.1 GENERAL STUDIES 104 5.2 ARCHAEOLOGY ( Excavations ) 107 5.3 MONUMENTS, ARCHITECTURE 110 5.4 PLASTIC ART AND ICONOGRAPHY 118 5.5 PAINTING 122 5.6 INDUSTRIAL ART AND APPLIED ART 123 5.7 FOLK ART 124 5.8 DANCE AND MUSIC 125 6.