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Orissa Review * October - 2004

God as Divine Mother

Durgamadhab Dash

God, the Supreme Being, is as much other than the manifestation of the Divine worshipped as the Divine Mother as He is , which exists in every form of our worshipped as the Divine Father. The Divine existence. Since this Shakti can not be Mother is synonymous with Shakti, the Divine worshipped in its essential nature, it is Power that manifests, sustains and transforms worshipped through various manifestations as the as the unifying force of existence. the symbols of creation, preservation and The Divine Mother exists in all beings as destruction. Shakti in relation to these intelligence, mercy and beauty. She is the manifestations is worshipped as , embodiment of the all-existential power. All and . Although they are these powers are the glorious attributes of the represented as three distinct images, they are Supreme Being who virtually one and is the main source of worship of one form is this creation. So adored as the worship worship is the of the other forms. worship of God's The concept of Devi glory; His greatness worship is not of and supremacy over recent origin. It was in the universe. vogue in the ancient Devi worship past. Reference to does not belong to any Devi worship as particular cult. Devi is Mata is worshipped made in the Rig Veda, by one and all irrespective of any distinction. and the great epic, the Mahabharat. The hymns Truly speaking, all beings of the universe are devoted to Devi worship in the Rig Veda, extol Shakti worshippers, for there is none in this the Devi Mother as Devi Durga, the world who does not love power in some form embodiment of the supreme Divine Power. In or other. Scientists have proved that everything the Mahabharat, She is adored as the sister of on the earth is the manifestation of a pure Lord . In the Kanopanishad, She imperishable energy. This energy is nothing appears as Goddess Uma, the Divine consort

1 Orissa Review * October - 2004 of Lord Siva. Yudhisthir worshipped Devi and fought them Mata for from sufferings during their off one after exile. Lord Krishna advised Arjun to pray to another with Devi Mata before the commencement of the Her resplendent Mahabharat war. The glory and the aura of the divine prowess. Divine Mother is devotedly sung in the Devi She played all Mahatmya - the Sapta - which in spiritual the parts in Her values is equal to the Bhagvatgita. The Goddess distinct role as as the Divine Mother is every year worshipped a warrior in a nine-day festival, popularly known as queen. The during the first nine days of the goddess, though bright fortnight in the month of Aswin. This described as period falls in September-October in the young, beautiful English . The adoration of the Devi and caring was during this period is glorified as the mystical savage-like in worship of the Shakti. This is also known as Her intent and Shakti Puja, which is the worship of the purpose, while inherent power of the Supreme Divine. This throwing virtually transcends the inherent ritualism of herself in to various battles. Dasabhuja Durga from Konark the Veda- and Purans. (now in British Museum, London) In the , the Devi is The term, described in different forms with revelations 'Devi' in is an elastic esoteric in Her primordial qualities, called , ideology. Although it refers to a female , and . These three forms are goddess, as described in the Devi Mahatmya, equated with the manifestations of the Universal She is adored as the Divine Mother of the entire Powers of Action (Kriya), Desire (Iccha) and universe. The forms like Durga, , Knowledge (). In Her first form, it is said, Mahalaxmi, Maha Saraswati and so on are but She woke-up Lord from His cosmic Her various divine forms. Each form of the sleep to encounter the (demons), Madhu Devi has a distinctive role meant for a definite and Kaithava who had risen in the cosmic purpose. Each form in this sense is also ocean. In Her second form, she met the forces identified as the Ultimate of the of the demon, Mahisasura and slew him with universe. In the Devi Mahatmya, "Durga' for instance is described and adored as one aspect Her superb divine forces. In Her third form, of the Divine Mother. She is the consort of Lord she killed the Asuras, . She is generally represented with ten with their forces and brought peace to in arms, seated on a lion and some on a heaven and solace to mankind on the earth. . She is worshipped as the protector of Thus as described in the Devi the universe destroying the demons of Mahatmya, the Devi in Her monotheistic divine ignorance and giving blessings of divine love form was blended with the divine glee of all and knowledge. Kali is another aspect of the the 'Devas' and She combated the evil forces Divine Mother. She is another form of the

2 Orissa Review * October - 2004

consort of Lord Paramahansa called the Shiva. She is Divine Mother by more than a dozen names as always shown if to demonstrate to the world that the as standing on particulars of any dogma and tradition are all the chest of but meaningless expositions compared with the Lord Shiva. vision of Mahamaya who may be Kali at one Around Her and Durga at another. But the Mother in waist, She any form is indeed that monotheistic who wears a creates the universe and holds it within Her of human hands. being and yet resides within the living beings Similarly and objects. Be that as it may, behind the veils around Her of the myriad in human forms and neck, she wears personalities, there is formless God who is one a garland of for the entire universe and known as , human heads. the Satchidananda in the linking of Existence Mahisamardini Durga (now in She has four (Sat), Knowledge (Chit) and Anand (Bliss). Philadelphia Museum of Art) arms; the lower Descriptions of the Shakti and the left hand holds a human head. She holds a Brahman are exactly the same except on one saber in Her upper right hand. She offers boons particular point. While the Brahman is infinite, to Her divine children with the other upper the Shakti is ever changing as a vibrant force hand. She makes a sign that dispels fear. She of the Brahman. This vibrant force is the cause deals out as She creates and preserves of the creation of the universe. In this sense the with Her primordial prowess. Kali's role has Brahman and the Shakti are inexplicably a definite purpose. She deals out death as She interrelated. The two are thus one like fire and creates and preserves our life. She also its power to burn. destroys ignorance and gives blessings and According to the Eastern Indian liberation to those who earnestly seek it. While Cosmology, the Devi's creative force brings Lord Shiva represents the Absolute, Kali out and develops this universe. The said represents the dynamic or the relative aspect creative force also draws back in to itself the of the Supreme Reality. whole of the universe on to the blissful Each form of the Divine Mother is thus unchanging being of the Brahman, only to spew an embodiment of the Supreme Divinity. One out again after an age () in the cosmic game form may appear different from the other. But of evolution and dissolution. This is what is in spirit, each such form is a mystery of known as the process of expansion and reproduction of life springing from nothing, contraction of our creation. The expansion is verily the Supreme Primordial Prakriti. Every akin to evolution of the universe and the mystic who has experienced godhead, contraction is equal to dissolution of the personally, intensely and unmistakably would universe. All this happens due to the assure us that the experience of every such form personification of the primal energy of the is as real as any other form of the Supreme Devi. This is known as the Shakti of the Reality. Brahman. We worship the same Maya Shakti

3 Orissa Review * October - 2004 during the Navaratri Puja in the month of Maha Shakti at the back of Her every Aswin. "Devi Mata" is also known as manifestation. She is the Shakti Mahamaya, the mother of the universe. manifested to us through the form of Saraswati. According to scriptures She is the supreme She is Bishnu Shakti manifested to us through divine will. She veils our vision of the the form of Lakshmi. She is also Shiva Shakti Brahman, the Absolute Reality of the universe. manifested to us through the form of . Again She is also throb of His grace which The Devi Mata is the combination of rends this veil, leading us to realize the identity both and Avidya in Her supreme form. of Jivatma with Paramatma. As the symbol of Avidya, She is omnipresent Ramakrishna Paramahansa had in the form of Cosmic delusion. And, at the envisioned this sacred prowess by using his same time as the symbol of Vidya, She is own descriptions. He has spoken in his various adored as the supreme force of cosmic conversations on the close and the deliverance, leading the from the unchangeable link between the Shakti and the mysterious spiritual deliverance to spiritual Brahman. In Ramakrishna's phrase, the . What is the significance of the sharp "Brahman is without change. The Shakti is the knife and the noose, She holds in Her divine creative energy. She is ever changing. But both manifestation? The noose represents the are one like the two sides of the same coin". concept of Her binding force. The noose is the Ramakrishna knew from his own experience symbol of Maya, which binds us to our material that all the different forms of God are different surroundings. This casts a veil on our perspectives of one unchanging Godhead. But conscience for which although we know our Ramakrishna spoke most frequently of the goal, we are ultimately away from it, because Mother because this was the prospective that of the binding he most cherished in his life. Ramakrishna's force of Maya. experience and the experiences of the other The knife She mystics assure us that many of the perspectives holds represents of the Godhead open up to a , the weapon, who functions in the lives of Her devotees, as which can snap their protector, companion and mentor. the noose and lead The conception of the cosmic spirit as the Jiva on the the Divine Mother is very easy to understand. path of God The Motherhood of the Supreme Being is a realization. So the spontaneous urge of every human being who Devi Mother is the comes to this world in the natural order of the embodiment of evolutionary process. Love of the Mother is both the most logical in every human being. It is an easy concordant forces step to god realization. That which is beyond of Vidya and our knowledge is the transiently . Avidya. The Goddess Kichakeswari, Khiching, That which one can know well in the spiritual devotees who Dist. Mayurbhanj order through our mind is the Mother in the worship Her in the spiritual order achieve Her manifestation of Her various forms. She is the grace and attain Mokshya and remain free from

4 Orissa Review * October - 2004 the bondage of birth and death in the wheel of the nine days of Navaratri worship. The Durga human procreation. The Supreme Mother leads Saptasati is a wonderful allegory. We may cite them safe and sound on the path of spiritual here the case of who knowledge. But those who are mesmerized and worshipped Kali Mata in Her terrible form. struck by Her binding force of Maya, lead an But when he perceived Her presence, he awful life full of sarcasm and are born again perceived it in the most gracious dispensation. and again on this earth with endless trails of The story goes like this. material agonies. This is the Para and the Apara Swami Vivekananda was known in the forms of the Divine Mother a la the two sides name of Naren in his childhood days. When of the same coin. We should understand the Devi his father died, he was succumbed to myriad in this way and worship Her divine prowess wants and miseries in life. Naren had elders as Para Shakti full of all-loving and who advised him to meet Krushna compassionate Spirit. Paramahansa known for his occult powers for A question may generally come up: if alleviation of his distressed conditions. He met the Divine Mother is all-compassionate, why the revered monk in Dakhineswar Temple. The then She should appear dreadful in Her Paramahansa received him with cordiality and metaphysical form? affection. Naren expressed his helpless plight The answer to this query is very simple. and the extremities of his pecuniary wants to Kali, as the semblance of Devi Mata, may Ramakrishna. The great monk advised him to appear to be a dreaded deity. But in spirit She meet Kali Mata in the temple and represent his is not like the one we see Her in outward predicament. Naren prayed to the Divine appearance. She is worshipped in Para Mother as advised. The Mother at last appeared as a divine force ensuring victory of the good in Her gracious form, ever radiant to help Her over the evil. Kali Mata stands for destruction ardent devotee. When he saw the Divine of the evil. Durga also stands for the same Mother, he was immensely lost in the surges mystical purpose. She is the destroyer of of divine ecstasy. Naren forgot all his material darkness to emit light. She is the destroyer of necessities for which he had gone to ignorance to bestow knowledge. She destroys Dakhineswar Temple. When the Mother called all pains, all miseries and all tribulations to on him to ask for a boon, Naren said that he bestow bliss and to free the Jiva from this needed Her divine mercy to reach the goal of mundane world. All that we see in Her outward Light, which is the ultimate goal of life. The appearance are the symbols of Her extricating Devi Mata granted him the boon and prowess ever vibrant and alert to annihilate disappeared. all the evil forces of the life like ego and other We learn from the divine experience of such emotions of the senses. So we pray to the Naren a noble lesson of life. As one knows Mother in Her symbolically terrible form for well, Naren had gone to Dakhineswar Temple Her gracious benediction for victory over the to request Ramakrishna Paramahansa to bestow mind. This is the spirit behind . This on him material prosperity of life. But when indeed is the moral content of the Durga he had the visionary experience of the Divine Saptasati which is read in great devotion during Mother, he forgot the actual purpose and he

5 Orissa Review * October - 2004 became deeply concerned about the spiritual from the universe. But for that reason, we cannot needs of his life and asked the Divine Mother call the Devi Mata a destructive force. In Her for grant of knowledge and devotion. destruction, one can see the light of a Ramakrishna, when he came to know of this resplendent regeneration. She destroys but said, "Naren, with the glint of this boon, destroys ignorance in order to bestow bestowed on you by the Divine Mother, you knowledge. She destroys darkness, so that we have all the wants of your life entirely fulfilled. can see light in the ultimate run. Thus we see So go back home; you will have no more in the Divine Mother a glorified spiritual being, worries in life". ever intent upon giving deliverance from This is the rich outcome of Para Bhakti delusion. This is the sacred theme of the in the of devotion and knowledge. The Navaratri Puja. terror-form of the Mother ultimately came out The Devi Mata in Her divine form as as the most benign and magnanimous Mother, Laxmi is worshipped in the second three days when Naren had Her "darshan" in Dakhineswar of Navaratri Puja as the goddess of wealth and Temple. prosperity. She is adored as the preservative Swami Chhidananda Saraswati Maharaj power of God as Vishnu. She is also has explained this allegorical connotation from reverentially venerated as , the consort of a different angle. He says that in the modern Rama, Rukmuni, the consort of Krishna and age we have many antibiotics as medicines. , the Chinmayi Shakti of the Vaishnab These are called lifesavers and millions of cult. The Devi Mata is worshipped in the last people look upon them with feelings of three days of the nine-day worship as gratitude as they are the curative medicines of Saraswati, the creative power of God as many critical diseases. But they are nonetheless Brahma. She is hailed to represent Vak ( Speech terrible and destructive in nature. So on the ) in the Rig Veda and as the presiding cover of every such medicine, a word of deity over arts, music and literature. caution is written that they should be taken with Let us pray to the Devi Mata to illuminate care under the prescriptions of qualified our hearts as Budhi. Let us all pray to Her to physicians. The antibiotics are said to be keep alive the great truth in our hearts and destructive because when they go inside the remove the veil of delusion thrown over our stomach, they kill the germs and thereby the . Let us pray to the Divine Mother disease is removed and one is cured of the to manifest to us as Vidya-Maya as She ailment. Swamiji Maharaj says, would it then manifested to Swami Vivekananda. If She has be correct to call these antibiotics destructive Her radiant eyes on us, then all our delusion, in nature? Yes, we may call them destructive all our sorrows and all our darkness would because they destroy the germs. But their come to an end and we shall see Her as ultimate purpose is something noble, the Sachidananda Para Brahman. purpose being to cure the disease and restore good health. In the same analogy, Mother Kali may appear terrible and destructive in Her Durgamadhab Dash lives at C-80, Palasapalli, outward appearance for annihilating the evil

6 Orissa Review * October - 2004

Origin of Tantricism and Sixty-Four Cult in Orissa

Dr. Janmejay Choudhury

Tantricism in some form or other evolved in is explained as that class of which is almost all the countries of the world. But in addressed to Parvati by Lord Siva, whereas it has a speciality forming a significant Nigama refers to tantra spoken by Parvati to part of the country's religious system in points Lord Siva. Yamalas tantra were designed to of time and space. The ancient and modern mean the worship of united deities. scholars have stated different derivative tantra says Agamas deal with seven topics - meanings of the Cosmology, word 'Tantra'. Destruction, According to M.M. Worship of God, Haraprasad Sastri Sadhana, it means shortening Purascharana, the of abbreviation like six block rites algebraic forms of and four-fold formula. The word meditation. is traced from the Yamala tantra, on term 'tan' (to the other hand, spread) and 'tatri' deals with (to explain). Thus cosmology, the original astronomy, connotation of the division of castes, Chausathi Yogini Pitha, Ranipur Jharial term is scientific. yogadharma etc. Tantra is a science Agamas are of various types. Shaktisangama of and philosophy of science. Tantra tantra records Saiva, Sakha, , , is Sadhana. In order to understand Tantra, its Vaisnava, , Pasupata etc. (of eleven antiquity, significance etc in the religious system types) and Savara of (eleven types). Agamas of India, we have to touch upon the ancient are Vedic or non-Vedic. It is divided into civilisations, when the early men derived the Tantra, Yamala and Damara. Damaras are of magical power from the natural phenomena. six types - Damara, Siva Damara, Durga Tantra is generally categorised into Damara, Saraswata Damara, Brahma Damara Agama, Nigama and Yamala. The term Agama and Damara. In accordance with

7 Orissa Review * October - 2004 the sects the are classified. mother-. The markendeya Purana Geographical conditions are also responsible relates that the gods created goddesses from in classification of Tantra, viz. Visnukranta, their own to assist Durga in killing the Rathakranta and Asvakranta. demon Raktavirya, the ally of Sumbha, who There are three trends of tantras : had the power to multiply himself into demons of the same stature and prowess from the drops Dakshina, Vama and Madhyama. Like this tantra of blood oozing out of his wonds and touching has a vast mass of literature covering wide the ground. They were , who drank range of heterogenous systems. In the blood of the demon before felling on the Tantra Parvati said to Lord Siva 'you grounds. The same story is recorded in the have explained to me crores of tantras each of Mahabhagavata Purana to kill demon, which has a special features of its own." Really who had the power of creating numerous it is difficult to state the nons of tantras. Each demons from his oozed blood touching the tantra has its philosophy, own system of ritual ground. Siva's pasupata weapon proved futile. practice and deity etc. As a matter of fact, the Having no alternative Siva propitiated tantras deal with the worship of not only Nrusimha to come to his rescuse. Lord female deities but with various male deities Nrusimha created hundred and eight terrible as well. And we have really works known as goddess to help to kill Andhaka demon. tantras belonging to various sects like the After Andhaka was killed the new goddesses Saivas, the Vaisnavas, the , the moved in a campaign of destruction in the etc. It is true that this literature is Universe. To subdue them Nrusimha created generally known among the followers of thirty-two mothers more powerful than the various sects as 'Agama' as well. The Tantrikas earlier one. The earlier mothers out of fear took consider tantra as the fifth Veda. Bhaskar Ray refuge in Nrusimha who asked all the created in his book 'Setubandha' describes the mothers to look after the living beings of the 'Chausathi Mahamayavi Tantras' or '64 Yogini' Universe as mothers. An eminent modern as Veda. scholar opined that yoginis were originally The culture of sixty-four Yoginis was the women or priestesses, who being possessed exuberant expression of extreme form of by the spirit of goddesses became yoginis. tantricism in about 8th century A.D. when the The yoginis have been classified in occult and esoteric Sadhana reached the highest different texts according to their functions, peak. Origin of sixty-four yoginis is shrouded names and rituals attached to them. The Yoginis in mystery. The vedic and post-vedic literature are sixty-four in number and are classified as mention the names of some individual yoginis, Sahaja, Kulaja and Antyeja. Another text but never sixty-four manifestations together. divides yoginis into Ksetraja, Pithaja, Yogaja Through the process of transformation the cult and Mantraja based on different principles. The came into existence and exerted an important first two groups of the second classification niche in the Sakta-tantric pantheon. The have association with the sacred pithas; the and Upa-purans which are the source of yogojas are propitiated with yogic practices different cults are referred to find out the origin and the mantrajas with . The mother of sixty-four yoginis, who are basically the goddesses such as , Maheswari,

8 Orissa Review * October - 2004

Vaisnavi, etc. are classified as yoginis. sixty-four yoginis are associated with The yogini of Matsyendranath also refers sixty-four kalas, sixty-four Ratibandhas, sixty- to the worship of mystic circles made up of 4, four , sixty-four Nayika and sixty-four 8, 12, 64 and more angles of the centre of which emotion of human-being. Name of these sixty- there is Siva, Omnipresent, immovable and four yoginis - 1. , 2. Maya, 3. Narayani, undualified. The sixty-four yoginis are most 4. Brahmayani, 5. , 6. Maheswari, probably so many angles representing the equal 7. Rudrayani, 8. Baseli,9. , number of manifestations of the Shakti 10. Ugratara, 11. Charchika, 12. Tarini, embracing Siva. The circle thus forms a 'Lotus' 13. Ambika , 14. Bhagabati, 15. , reminding us of the famous Tantric Sricakra. 16. Kamala, 17. Santi, 18. Kanti, 19. Ghatabari, This theory of holds good when 20. , 21. Chandrakanti, 22. Madhavi, we analyse the extant yogini temples. The 23. Kachikeswari, 24. , 25. Rupa, number of yogini is really perplexing. Various 26. Barahi, 27. Nagari, 28. Khechari, sources have furnished different numbers of 29. Bhuchari, 30. Betali, 31. Kalinjari, yoginis, but ultimately the number sixty-four 32. Sankha, 33. Rudrakali, 34. Kalavati, appears to have been accepted by all the 35. Kankali, 36. Bukuchai, 37. , 38. Dohini, authorities. Of these sixty-four yoginies, the 39. Dwarini, 40. Sohini, 41. Sankata Tarini, principal seven or eight are known as mother 42. Kotalai, 43. Anuchhaya, 44. Kechamukhi goddesses such as Brahmani, Maheswari, Samuha, 45. Ullaka, 46. Samasila, 47. Mudha, Vaisnavi, Kaumari, Varabi, Indrani and 48 Dakhinai, 49. Gopali, 50. , Chamunda, who according to the Puranic 51. Kamasena, 52. Kapali, 53. Uttarayani, stories were created to drink blood of the 54. Trailokya Byapini, 55. Trilochana, demons. It is probable that these eight principal 56. Nimai, 57. Dakeswari, 58. Kamala, mother goddesses who are evidently the yoginis 59. Ramayani, 60. Anadi Shakti, were multified into sixty-four. That the cult of 61. Balakshatrayani, 62. Brahmani, 63. Dharani sixty-four yoginis was widely prevalent is and sixty-four. . All these names of evident from several lists of sixty-four yoginis sixty-four yoginis are described in Chandi recorded in different texts. The , Purana of . purana, Brihadnandikeswara Purana, Twelve lists of sixty-four yoginis cansatha yogini namavali, chandi purana of collected so far do not confirm to each other. Sarala Das, Durgapuja, Brihndla Tantra, Bata The extant yogini temples do not show Avakasa of Balaram Das and other texts uniformity in . In Hirapur Yogini containlist of sixty-four yoginis. Besides, the temple the images are all standing associated inscribed images in the sixty-four yogini temple their , whereas at Ranipur Jharial they of Bheraghal of M.P. furish seventy-fine are in dancing poses. The images of Bheraghat images. Another list enumerates as many as temple of are seated in sixty-nine yoginis in eight categories. Another . text states sixty-nine yoginis in eight categories, such as Gupta Yoginis, Guptatara Yogini, Yogini, Kulatirna Yogini, Nigarva Dr. Janmejaya Choudhury is the Lecturer in History at Yogini, Rahasya Yogini, Atirahasya Yogini. Sri College, Kaipadar in District of Khurda.

9 Orissa Review * October - 2004

Samalei to Sambaleswari - Ashapuri to Samalei ( Mode of Absorption of a Tribal Deity During Medieval Period in )

Dr. Chitrasen Pasayat

Sambalpur, besides being the seat of accepted and exalted by the ruling classes of and Hinduism, is also home to other Sambalpur in order to appease the local and communities such as Muslims, Christians subjects to consolidate their power over the and innumerable indigenous tribal natives and to exercise their authority over this communities. With this multi- area. Understandably, in the racial, multi-religious, multi- process of the building of an cultural and multi-lingual unified Sambalpur Rajya composition, Sambalpur has indigenous communities with always chosen the path of their religious traditions were social accomodation and social successfully absorbed in the integration. Thus, people of mainstream of the Great Hindu diverse religious faiths have Tradition through its branches been residing together in like Saivism, and harmony in Sambalpur. Saktism. The area of our study Therefore, it may be rightly i.e. Sambalpur is the called the most pluralistic headquarters town of modern society. The present paper is an . It is attempt to understand how the situated on the left bank of the indigenous communities and river Mahanadi. their religious traditions have From ancient times, played a significant role in the Sambalpur has been known as process of state formation in the the land of Tantrik Buddhism. erstwhile Sambalpur Rajya It is an ancient town, which has the reputation during medieval period. of a Tantra Pitha. Significantly, when In Sambalpur, the ruling classes were Buddhism as a religio-cultural force began to aware of the fact that communalism would decline in many parts of India, Sambalpur weaken the state and would cause disharmony played the most important role for the in social life and divert the attention of people continuation of Buddhism in its new form i.e. from formation of a separate Sambalpur Rajya. Tantrik Buddhism. The existence of Sambalpur So, attempts were made to integrate the may be dated back at least to the early Christian indigenous communities into one fold under the era. The Greek geographer Ptolemy (middle umbrella of "Hindusim". Their deities were of the second century A.D.) in his book

10 Orissa Review * October - 2004

Geographike refers to a town named shapeless rock made to appear like the face of Sambalaka situated on the bank of the river Samalei Devi with two gold leaves in the forms Manada. Ancient Sambalaka and Manada are of eyes and in the middle a projection identified with modern Sambalpur and the river resembling the mouth of a cow suggests some Mahanadi respectively (Panda, 1996:34). The influence of Tantra. In this context, learned suffix 'pur' has been later added by sanskritising scholar Sasanka Sekhar Panda (1996:37) the original name Sambal when the territory identifies some significant points that in front has come under the rule (Senapati and of the Garbhagriha of Samalei gudi (temple), Mahanti, 1971 : 2-3). Similarly, the Samlei there is a pillared hall wherein a pair of human Pitha may be said to be much older and the foot-prints with two eight-petalled lotus-rosette deity may have been worshipped by the motifs on both sides are carved on a stone- aborigines since time immemorial. panel. This pair of foot-prints is worshipped as Sitalamata. Such foot-prints are found to be Sambalpur is intimately associated with carved on stone-slabs at Ghudar and Ranipur the spread of Tantrik Buddhism in India and Jharial in the district of Balangir and abroad. It is considered to be the land where Narsinghanath in the district of Bargarh. It is the Sambara Tantra was propounded by a widely believed that worship of foot-prints of famous called Pitopada who is also Siddhacharyas was very common to the Tantrik regarded to have attained the of school. In other words, Sambalpur had made invisibility at Sambala (Senapati and Mahanti, Tantrik Buddhism a potent spiritual and cultural 1971:446). Sometimes in the eighth century force in the Indian sub-continent. In view of A.D., Indrabhuti was the king of Sambalaka / this, Sambalpur might be considered to be one Sambalpur and was believed to have of the important urban centres with international patronised Tantrik Buddhism. He was the reputation in between the second and eighth author of the text Jnyanasiddhi. His sister century A.D. Apparently Tantrik Buddhism Laksminkara is also reported to be a Tantrik continued to prevail in Sambalpur till about Buddhist perfectionist. She is regarded as one 13th century A.D. long after Buddhism had of the 84 Siddhagurus in Tantrik Buddhism and vanished from most parts of India. as the propounder of a religious faith called Sahajayana, thus making a great reputation for Reportedly, Laksminkara had married herself. It suggests that by the time of medieval Sevola, the son of the king Jalendra of / period, the land of Sambala/Sambalaka/ Lankapuri. But, Laksminkara preferred the Sambalpur was one of the important seats of career of a Tantrik Buddhist perfectionist and Tantrik Buddhism. practised Tantrik Sadhana in Lankapuri which was regarded as Mahayogapitha or a great There is no denying the fact that the centre of Tantrik Buddhist Yoga. Continuous of Indrabhuti and Sahajayana of meditation and Tantrik Sadhana for seven years Laksminkara flourished in Sambalpur area in the cemetary of Lankapuri Mahayogapitha during the eighth century A.D. At that time, made her properly enlightened and she Sambalpur might have developed a high distinguished herself among the people of India standard of Tantrik culture. Most probably, and abroad as Laksminkara or Samalei Pitha was an integral part of that great goddess Laksminkara because of her Uttama cultural tradition. In the Garbhagriha (inner siddhi or excellent perfection. Lanka / sanctum) of this temple, the fierce and typical Lankapuri is identified with modern Sonepur/

11 Orissa Review * October - 2004

Suvarnapur (Mishra, 2003 : 87-88). repulsed by the hare. Struck by this Lankeswari, therefore, may be identified with extraordinary exhibition of courage by the most Laksminkara, as the former nomenclature seems timid of animals, the thought that there to be a corruption of latter. Legend also might be some supernatural virtue in the land. ascribes Goddess Samalei as Lankeswari. In That night Goddess Samalei appeared in his view of this, Goddess Laksminkara may dream and said, "Why do you appear so sad ? reasonably be identified with Laksminkara i.e. Don't think that there appears to have been a Samalei / who has been mistake. I am Lankeswari here. Worship me. worshipped by the local people in Sambalpur. Your expectations and hopes will be fulfilled." Next day, Balaram Dev discovered the deity Balaram Dev became the first Chauhan in the form of a stone. Thence the Raja decided Raja of Sambalpur Rajya some time in the to build his gad/garh (fort) there. Having built middle of the 16th century A.D. According to a gad he installed in it the deity Samalei. The the prevailing tradition, he discovered the place where her image was set up was a kud image of Samalei beneath a Semel (silk-cotton) (island) on which stood a Semel tree and hence tree. The botanical name of this tree is Bomax was called Semel kud while the deity was Malabaricum. Because of phonetic similarity named Samalei. Samalei has been Sanskritised between Semel and Samalei some scholars to Samaleswari i.e. "Iswari of Sambala" in the give credence to this tale that the deity reigns of . Thus, Sambalpur is known worshipped beneath a Semel tree has come to as the land of Samalei. In other words, she is be known as Samalei. Oral tradition relates the reigning deity of Sambalpur (Senapati and that Raja Balaram Dev was given a grant of Mahanti, 1971 : 2-3). this area by his elder brother Raja Dev of Patnagarh. Balaram Dev established Be that as it may, identical stories prevail himself first at Bargarh on the bank of the river about the origins of other places of Orissa like Jira. Therefrom, he is said to have shifted his , Talcher and . Identical story capital to Chaunrpur, on the right bank of the is also associated with the discovery of deities river Mahanadi. Most probably, during this like Banibakreswari of Kuapada village under period when Balaram Dev carved out a new Delanga block in district and Barala devi Rajya out of the territory of his elder brother of Balasakumpa village in Phulbani district. he named it Huma Desh. The learned scholar This is why it is difficult to locate the exact Dr. N.K. Sahu has ascribed the period of time and place of the origin of this myth foundation of Sambalpur Rajya to the year (Pasayat, 2003 : 10-12). But, this story attests 1570 A.D. (Panda, 1996:35). the fact that the aboriginal religious like Samalei has received royal patronage. Raja As per the legend, the village Chaunrpur Balaram Dev enshrined the deity inside his is said to be the seat of Balaram Dev before gad. During his reign, Puja services were his coming to Sambalpur. One day while provided from the royal treasury. In other hunting, Balaram Dev crossed the river words, state funding of the Puja services has Mahanadi. When he reached the left bank a been introduced since then. Subsequently, the beautiful hare appeared before him. Balaram present temple was built in the reign of Raja Dev set his hounds at the innocent creature. Chhatra Sai (Senapati and Mahanti, 1971 : But, the result was contrary to his expectation. 548). Thus, it may be suggested here that After some time the Raja found his hounds Samalei pitha was already existing when

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Balaram Dev arrived there. Perhaps, the temple families and partly due to land grants of was in a dilapidated condition. Balaram Dev villages by the rulers to indigenous tribal chiefs extended royal patronage and rebuilt or who ended up as independent potentates. In the renovated the temple. Subsequently, Raja frontier zone of uncertain control like Daksina Chhatra Sai had also most probably rebuilt or Kosala (roughly modern west Orissa) the renovated the temple. indigenous tribal chiefs and chiefs of obscure origins took advantage of weak central There is no denying the fact that Raja authority, assumed power and formed several Balaram Dev adopted this and small Rajyas (Deo, 2003 : 96). Formation of a extended royal patronage. But, the most separate Bargarh and subsequently Huma Desh significant development in the period of Raja and finally Sambalpur Rajya by Balaram Dev Chhatra Sai was donation of forty villages for in the 16th century A.D. was the result of the the regular worship of Samalei devi. Names partition of the ruling family of Patnagarh. In of some villages are collected from the local all probability this was a forested area and people. These are Jayaghanta, Kalamati, inhabited by aboriginal people when Balaram Ambasada Katapali, Nunia Jampali, Karpula Dev first arrived here. He was a reputed Senapati, Chaunrpur etc. Thus, Chhatra Sai warrior. Owing to military necessity, the made a permanent arrangement for the administration of this tribal dominated, hilly maintenance of the Samalei gudi (temple). It and forested part was entrusted to him by his means that recognised steps have been taken elder brother Narasimha Dev, the then Chauhan by the Chauhan rulers for the state-funding of Raja of Patnagarh. Balaram Dev successfully the Puja services in Samalei gudi and she has consolidated the Chauhan rule in this part of been raised to the status of Rastra Devi and the Rajya and carved out a new Rajya out of called Samaleswari i.e. 'Iswari' or reigning the territory of his elder brother. Subsequently, deity of Sambala or Sambalpur. However, the his successors extended and strengthened the landed property assigned for the performance Chauhan rule in Sambalpur Rajya. of the daily and special Pujas of Samalei Devi have been converted into personal property by In order to sustain a separate and the priests. This has been possible most independent Sambalpur Rajya, most probably probably during the British rule, either by Balaram Dev and his successors had to depend hiding or destroying the copper plate grants. upon the Bhogas and Bhagas. They had to What these priests have done was contrary to persuade the local tribal people to become the age-old prevailing tradition of this Shakti settled agriculturists so that production would Pitha. Any how, the priests are now managing increase, because a tribal economy based on shifting cultivation cannot sustain a Rajya as the Puja services of Samalei gudi. Reportedly, analysed elsewhere by the learned scholar Dr. the Samalei gudi has no property at present F. Deo (2003:96). To legitimise their status as (Senapati and Mahanti, 1971 : 548). Rajas and to their share of the produce It may be said with precision that, in the (), the Chauhan rulers granted lands to 15th and 16th century A.D. after the and temples which contributed to disintegration of empire of Orissa, a changing the agrarian situation, formation of strong pull towards political fragmentation as hierarchical social order and Brahminisation well as decentralisation of power was taken or Hinduisation of the society. Therefore, it may place partly due to the partition of ruling be suggested here that Samalei Pitha was

13 Orissa Review * October - 2004 already existing when Balaram Dev arrived the aboriginal people identify themselves as here. Perhaps, the temple was in a dilapidated part of the larger Hindu religious culture, thus condition. He extended royal patronage and contributing to Hindu cultural unity at a larger rebuilt or renovated the temple. Later on Raja level which has helped in the state formation Chhatra Sai also most probably rebuilt or in Sambalpur. renovated it. Thus, the temple of Samalei/ Samalei at Sambalpur is a shapeless rock Sambaleswari became an important agent of made to appear like a face. It may be said to Hinduisation in Sambalpur. be a big piece of head-like stone structure. There is a tale which reveals that during According to the oral tradition, the demolition of Hindu gods and goddesses arranged a Yajnya. He invited all the deities by Kalapahada, the priests of Sri Jagannath and relatives to attend the function. But, he did Temple of Puri fled with the images of the not invite his own daughter Sati and son-in- deities. They buried the images on the bank of law Lord Siva, because Sati married Siva Mahanadi in Sonepur/Suvarnapur which is against the wish of Daksha. Yet, Sati went to situated to the south of Sambalpur. Kalapahada attend the ritual ceremony where she was and his army followed the priests and arrived received with disgrace. As a consequence, Sati at Sambalpur where Samalei Devi prevented protested and accused her father for his neglect them from proceeding further. She assumed the and disregard shown to her husband. Daksha form of a milk-maid and appeared before them. broke into anger and cursed Lord Siva by She sold milk and curd to the soldiers who calling him a beggar, ashman, , king of were very thirsty. Immediately, the soldiers goblins etc. Sati could not tolerate such insult consumed the milk and curd which spread and jumped into the Yajnya kunda. Lord Siva desolation among them. At this hour, the army became furious and started his of Raja Balabhadra Dev of Sambalpur drove bearing the corpse of Sati on his back. It was back Kalapahada successfully. It would not be terrible and the destruction of the entire out of place to mention here that identical universe was imminent. Lord Vishnu came out stories prevail in other religious shrines of to save the mankind. He instructed his Orissa namely Chalhakhai Devi at Kulada and Sudarsana to cut the dead body of Sati Dahikhai-Chamunda Devi at , both in into pieces. After the weight was gone and Lord district. Also, this tale is associated Siva became conscious he was consoled by with Danteswari Devi at Bastar in the Lord Vishnu. Thereafter, Lord Siva retired neighbouring state of (Pasayat, alone to his abode Kailash. The body of Sati 2003:20). It may be suggested here that the was hewn into a number of pieces and origin of this story is imagination. That is why wherever a fragment touched the earth a Sakti it is difficult to identify the place where from Pitha ( of Mother Goddess) sprang up. and the time when this tale has first been conceived and later adopted in other religious It is believed to be the head of Sati which is enshrined and worshipped in the Samalei gudi. shrines. However, we cannot ignore the fact that this tale has identified the supernatural Though mythologically, the origin of the power and deeds of Samalei Devi. It has Sakti Pitha at Sambalpur is connected with established socio-cultural relationships the most famous Daksha Yajnya story, originally between the aborigines and the caste-. it is not reported or recorded in any of the epic By assimilating such stories into Samalei cult, tradition of the Hindu religion. There is no

14 Orissa Review * October - 2004 denying the fact that the image of Samalei Devi no face on the front side. Interestingly, this tale is a large block of stone. There is also a with little variation is found in some other projection with a narrow groove in the middle religious shrines namely Kanakadurga at of the stone image of the deity. This projection Piteipur village in district, is believed to be the mouth of the deity. On Jaanlei Devi at Hinjilikatu in both sides of the projection are depressions and Kumari Devi at Bonai in Sundargarh covered with beaten gold leaves which district. Also the tale is associated with represent the eyes of the deity. Moreover, the Chandrahasini Devi at Chandrapur in Bilaspur image of Samalei Devi does not resemble any district of the neighbouring state of Chhattisgarh other Sakta goddess found in Orissa. There is (Pasayat, 2003 :19). All the same, the meaning a Parsva of Samalei called Pitabali of this tale is more important for our study. who is believed to be the deity of tribal people This tale is meant not only to frighten children namely Kandhas (Senapati and Mahanti, away, but also suggests practice of severe form 1971:547). The above descriptions of Samalei of blood sacrifice and influence of Tantra on Devi suggest us to believe that she is a non- this Pitha. deity originally worshipped by the aborigines of Sambalpur. Addition of Daksha As per the oral tradition, once upon a Yajnya story is very likely a later development time human beings were sacrificed before to add to Samalei some more dose of Sanskritic Samalei Devi. It is said that once a Siddha elements. This may be suggested to be a fine Brahmin arrived at Sambalpur. Priests of example of localisation or parochialisation of Samalei Devi caught him for sacrifice before famous Daksha Yajnya story to validate the the deity. The Siddha Brahmin told the priests faith of the aborigines with the Hindu epic to leave him alone before the deity inside the traditions (Great Tradition) of India. By Garbhagriha so that Samalei Devi could eat identifying Sambalpur with the incarnation of him if she wanted. Accordingly, the Siddha Shakti as Samaleswari and her mythical and Brahmin was not beheaded; rather left alone miraculous events, the local people identify and alive before the deity. Then the priests themselves as part of the larger Hindu culture closed the doors of the Garbhagriha. The event (Great Tradition), thus contributing to cultural went contrary to the interests of the priests. unity and consolidation of Chauhan rule in Next morning, the Siddha Brahmin came out Sambalpur. from Samalei gudi alive and unhurt. The story There is another story which indicates spread quickly through out the Rajya that the the horrifying nature of Samalei Devi. Once Siddha Brahmin had been pleased by Samalei the priest had fruits and flowers on a plate and Devi and the deity had blessed him. Maharaja was offering prayers to the deity while his Baliar Singh heard this miraculous incident and small daughter was standing by his side. The ordered to stop the practice of priest discovered suddenly that the deity had before Samalei Devi. Since then buffaloes were disappeared. Looking up, the priest found the sacrificed before the deity. Now-a-days, Bukas deity devouring his girl child. Immediately the (he-goat) and cocks are common sacrificial priest threw the plate at the face of the deity. objects during Durga Puja, and As a result, the face of the deity turned to back other occasions in this Shakti Pitha. This may side. So, the deity is believed to be facing away be understood to be the process of from the main entrance and that is why there is legitimisation of Brahmin priests in the non-

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Brahminic Samalei gudi and minimisation of Rajya have been deeply attracted towards and severe practice of blood sacrifice in this Pitha. absorbed in the mainstream of the Indian According to the tradition, Samalei was cultural tradition through . The great worshipped originally by the natives belonging tradition of Shaktism coupled with Saivism has to Sahara and Jhara communities living on the formed has become a great force for the bank of the river Mahanadi. The main integration of Indian civilization and has a great occupation of these people was to collect influence on the regional religious culture of diamonds from the river bed of Mahanadi. Sambalpur i.e. Little Tradition. Once they found a big stone under the deep A very important aspect of the water. They brought it out with the hope to development of religious system in Sambalpur extract diamonds from it and placed it under a region during the medieval period is the Semel tree on the bank of the river. Later on introduction of Tantrik elements in worship. they realised it as a deity in the form of a stone. As it has been discussed earlier, historical and Thence, they started worshipping her (Dash, archaeological remains attest to the fact that 1962 : 227). Although, Balaram Dev adopted Sambalpur region has been a strong-hold of the local deity, he did not exclude the Saivism and Shaktism coupled with Tantrism. traditional servants of the deity from the temple Furthermore, severe practice of blood sacrifice cult which was emerging as a testimony to at this Pitha, absence of caste distinction, Sanskritisation or Hinduisation of Samalei employment or engagement of tribal/non- Devi. He appointed the Saharas, the traditional Brahmin priests, installation of the guardian worshippers of the deity as the priests and deity (Samalei) in the Garbhagriha i.e. centre Jharas as the servants and holders of canopy of worship, belief in the replica (Chalanti of Samalei Devi (Sae Deo, 1985:7-8). Pratima) of the main deity, annual or Saharas are generally considered to be periodical journey () of the Chalanti untouchables in the social hierarchy of this area. Pratima, spirit possession or descending of In villages, Samalei as village deity is Samalei Devi through human beings etc. suggest worshipped by the Jhankars. Though the some connections with Tantra. As it is Jhankars do not belong to any specific caste discussed elsewhere, Sambalpur as well as or community, they are, in fact, non-Brahmin Samalei pitha has been identified with an priests who also worship other village deities important seat of Tantrism where a very high called Mauli, Budhima and Grampati. Earlier standard of Tantrik culture has been developed Jhankars were granted rent-free lands for their during the Buddhist and pre-Chauhan period. service in the villages. All these combinedly But, thereafter, particularly during Chauhan indicate that Samalei has the character of a period the unique blend of Saktism, Saivism, non-Brahmin deity. Most probably, the rulers Tantrism and Sanskritic/Brahminical culture intended to honour the sentiments and feelings has rose to a new height in Sambalpur region. of the aborigines. In view of this, it may be Most probably, the Chauhan rulers have suggested here that Shaktism has taken all care brought their own faith with them. But, they to adopt the features of the aboriginal or local have not enjoined on common people of this religious cult i.e. Samalei. In other words, area to believe and follow their faith and many local indigenous communities with worship their deity; rather they have reckoned Samalei tradition of erstwhile Sambalpur their own faith with that of the locality. It was

16 Orissa Review * October - 2004 not what they practised and worshipped but whereever they have established their what they felt under what they believed that kingdoms and expanded their territory. was important. The Chauhan rulers have taken Samalei, the deity of the autochthonous people all care to retain the primitive character of this has been hijacked by the ruling classes and Pitha like aniconical image of the deity, non- used as tool to exercise their authority and Brahmin priests of the deity, blood sacrifice control over the latter. Not only Samalei of etc. By constructing or renovating the temple Sambalpur but also Asta-Sambhus in different they have introduced elaborate rituals in a parts of erstwhile Sambalpur Rajya namely systematic manner. By giving rent-free land Bimaleswara at Huma, at grants to the temple they have ensured regular Ambabhona, Biswanath at Deogaon, Puja services for the deity. Also they created Balunkeswara at Gaiasama, Maneswara at myths wherever required to identify the deity Maneswar, Swapneswara at Sorna, as a Hindu Goddess. In all probability, they Bisweswara at Saranda and Nilakantheswara have carefully followed this principle under at Niljee were adopted and given royal political expediency with a view to please the patronage in the reign of Chauhan rulers. local subjects. Temples were constructed and elaborate rituals In this context, mention may be made of were introduced in these temples. Rent-free Ashapuri Devi who is the tutelary goddess of lands and villages were granted and regular the Chauhan rulers all over the country. Ramai Puja services of these deities were ensured. Dev, the first Chauhan ruler of Patna Rajya has This fundamental principle has made them very identified her as Pataneswari in Patna/Patna popular among the local inhabitants and has gad meaning 'Iswari' of Patna (Balangir-Patna). helped them to expand, consolidate and Since then Pataneswari has been the tutelary strengthen the Chauhan rule in Sambalpur goddess of the Chauhan rulers of Patna gad or region. Patana house. Similarly, Balaram Dev has It may be noted here that Pataneswari established Sambalpur Rajya. He has also temples are found only at few places like exalted the local deity Samalei as Patanagad, Balangir and Sambalpur, whereas Sambaleswari meaning Iswari' ' of Sambala/ the number of Samalei gudi or Samaleswari Sambalpur and the king has accepted her as temples in Sambalpur is quite large. Besides his own tutelary goddess.This way the local the Samalei gudi situated in Sambalpur, name of the deity i.e. Samalei has been Barpali and Suvarnapur, the deity occupies a Hinduised to Samaleswari. According to this pivotal position in the religious life of the name, she is the deity of all who reside in common people of Sambalpur area. She is Sambalpur. In other words, the deity represents being commonly worshipped under a tree in a larger society wherein people of various the form of a stone in the vicinity of almost ethnic backgrounds stay together. Thus, the each and every village of erstwhile Sambalpur deity has become the source and symbol of Rajya. This indicates the extent of reverence unity and integrity mainly between the aboriginal people and caste-Hindus in shown to Samalei in Sambalpur area. In Sambalpur. villages, Samalei is worshipped by the Jhankars who enjoy rent-free lands for his Puja It may be understood that the Chauhan services. Moreover, many indigenous, rulers have made it their principle to esteem aboriginal, native, local, folk or tribal and extol the deities of the aborigines or natives communities with their religious traditions

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(Little Tradition) of Sambalpur region have assimilation were not one way flow from been successfully absorbed in the mainstream Hindu Great Tradition to local Little Tradition of the Hindu Great Tradition through Saivism, alone. In Sambalpur area, it was the Shaktism, Vaishnavism and helped in the simultaneous process of acculturation and process of state formation during medieval deculturation. It proceeded through complex period in erstwhile Sambalpur Rajya. Bose processes of interaction which are confirmed (1941:188) has rightly pointed out, "Hinduism by myths, legends and historical evidences. has grown by the incorporation of many tribal cults, until it has become a kind of federation References : of religious beliefs and practices ... which goes 1. Bose, N.K. (1941), "The Hindu Method of by the name of Hinduism." Tribal Absorption, "Science and Culture, Vol.8, pp.188-94. In sum, it may be concluded that as most 2. Dash, S.P. (1962), Sambalpur Itihas (Oriya), of the rulers originated from one of the local Sambalpur : Viswabharati Press. groups it was easy for them to raise their deity 3. Deo, F. (2003), "Chauhan Myth and Royal to be the state deity. In the process it helped Legitimisation in Kosala (Daksina)," Souvenir, them to legitimise and consolidate their Lok Mahotsav, Sambalpur, pp.96-101. political power over the area. Deities became 4. Eschmann, A. (1986), "Hinduisation of Tribal the link between the ruler and the ruled. The Deities in Orissa : The Shakta and Saiva patronage of local deities and their elevation Typology," in A. Eschmann, H. Kulke and G.C. Tripathy (eds.), (1986), The Cult of Jagannath helped the rulers spread the story that the local and the Regional Tradition of Orissa, New deity had been pleased with the new ruler or : Manohar Publications, pp.79-98. the deity had blessed the ruler or the ruler could 5. Mishra, R. (2003), "Scientific Theories in the please the deity. They used the emotional and Creativities of the Samvalaka - Princess religious attachment of the local communities Laksminkara," Souvenir, Lok Mahotsav, to the deities. This was to draw support for Sambalpur, pp.87-90. themselves. This helped the rulers to legitimise 6. Panda, Sasanka Sekhar (1996), "Early Chauhan their position in the area and to enjoy the Temples of Sambalpur Town," Orissa Review, support of the local people. This pattern April, pp.34-38. emerged both because the rulers needed the 7. Pasayat, C. (1998), Tribe, Caste and support of the local communities who were in Folkculture, Jaipur : Rawat Publications. a majority and also because of the fear of the 8. Pasayat, C. (2003), Glimpses of Tribal and deity whose wrath might result from absence Folkculture, New Delhi : Anmol Publications of worship. The incorporation of local Pvt. Ltd. communities into the wider social order and 9. Sae Deo, L.R. (1985), "Samaleswari Mandira their indoctrination proceeded in multifacated Pratisthara Kimbadanti O Samkshipta Itihas (Oriya)," Milan Smaranika, manner through ceremonial and enactment of Hirakhanda, Sambalpur, pp.7-8. hierarchical relations. So, multiple 10. Senapati, N. and B. Mahanti (eds.), (1971), simultaneous processes of Hinduisation, Orissa District Gazetteers, Sambalpur, Tribalisation and Localisation / Cuttack : Orissa Government Press. Parochialisation are found in the linking between the Hindu Great Tradition and the local Little Tradition of Sambalpur. These Dr. Chitrasen Pasayat is the Asst. Administrator in the processes of diffusion, acculturation and Sri Jagannath Temple Office at Puri.

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Shakti Cult in Orissa

Balabhadra Ghadai

The worship of Mother Goddess or Shakti, can also inclined to take Stambhesvari as another be traced back to the Pre-Vedic or Indus Valley form of Khambesvari, the popular deity among Civilisation. Devisukta of the Rig Veda is the the aboriginal people of some areas of ex- primary source of Shakti Cult. In the Rig. Veda feudatary States of Orissa. The primitive tribes there is a description of a goddess named even today, set up a big piece of stone or a ''. She is depicted not only as Mother piece of wood with eyes, mouth painted crudely Goddess but also as an with indigenous colours, emblem of the divine spirit. usually under a tree in But it is difficult to say some central place or when this cult made its first outside the village and appearance in ancient worship it as the Orissa. However, from the guardian-diety of the epigraphic and village. iconographic stand-point, it , on the bank of is obvious that the evolution river Vaitarani, was an of Shakti Cult in Orissa is old and prominent seat of not prior to the 4th century Shakti Cult and tantric A.D. worship, and its history The earliest goes back to the days of epigraphic evidence the when it regarding the Shakti was considered a sacred worship in Orissa is found place of . The in a Copper-Plate Grant of Tushtikara , image of Viraja, now under worship in the who perhaps flourished about the 5th or 6th temple at Jajpur, is a two-handed Century A.D. and was a worshipper of goddess Mahisasuramardini, engaged in killing a Stambhesvari. There is a pillar of Stambhesvari Buffalo-demon. As the image of at Sonepur and a temple of the goddess at Aska Mahisasuramardini depicted on the Gupta in Ganjam. We have reference to that deity in temple of Bhumara is four-handed, it is the Grants of Sulki and Bhanja kings. We are maintained that the present image of Viraja in

19 Orissa Review * October - 2004 the temple of Jajpur belongs to the 5th Century Besides the Vaitala temple, A.D. Kichakeswari (Chamunda) is also the presiding It was during the early Bhaumakara rule deity of the largest temple at Khiching in the in Orissa, that the Durga image became eight- Mayurbhanj district which is the creation of armed (Asthabhuja) and during the later the Bhauma age. Bhaumakara period, this image is found to be The worship of Sapta Matruka (seven - ten-armed (Dasabhuja). The popularity of Mothers) was another form of Saktism during Shakti worship at Jajpur is born out of the fact the Bhaumakara period. The seven goddesses that the Bhaumakara queen Tribhuban are Varahi, Indrani, Vaishnavi, Kaumari, Mahadevi compared hereself with Katyayini Sivani, Brahmani and Chamunda. The deities (Durga or Viraja) at her accession. are of two or four-armed. The earliest During the Sailadbhaba and Bhaumakara representation of such matrukas was found at periods, Tantricism grew from 7th Century Parasurameswar, Vaitala and Mukteswar A.D. The Tantriks worshipped the Mother temples at Bhubaneswar. The Sapta Matruka Goddess as the source of power or shakti and images have also been found at Jajpur, Belhandi the origin of the highest spiritual bliss. From in the Kalahandi district, Markendeswar tank 7th century onwards Tantricism continued to at Puri, Salanpur in Jagatsinghpur etc. These dominate Buddhism, Saivism and Brahmanical Seven Mothers are accompanied by religions. The great Saiva centre of and . The econographic peculiarity Bhubaneswar has also a number of Sakta divides the Matrukas of Orissa into two broad temples built during the Bhauma period. The groups, earlier and later. The earlier Matrukas most ancient Shakti shrine of Bhubaneswar is seem to have been in prevalence in the the temple of Vaitala and its sculpture clearly Sailadbhava and the Bhaumakara periods and proves that the strange esoteric rites were being the later group with the babies as the distinctive performed in it. Four Shakta shrines sprang up attributes, seem to have originated in the on the four sides of Vindu Saravara near the Somavamsi period. Sapta Matrukas found in Lingaraj temple and they are now known as the modern temple of Dasasvamedha on Vaitala, Mohini, Uttareswar temples. The name the river Vaitarani at Jajpur, Markandeswar of the Shakta shrine on the east of the tank, tank and the image of Salanpur holding babies which still exists, has been lost. These Shakta in arms belong to the later group. shrines contain either the images of Chamunda In the Prachi valley, there is a temple of or of Mahisasuramardini. Of them, the Vaitala Varahi at Chaurasi near the village of Tulasipur. is the most prominent and a study of its The special feature of the temple is that its sculpture and architecture indicates that the Jagamohan resembles to that of Parsuramesvara strange esoteric rites including human sacrifice, temple at Bhubaneswar whereas the main were being performed in it. The presiding deity temple is a replica of the Gouri Temple of of Vaitala temple is goddess Chamunda Bhubaneswar. The presiding deity Varahi is a garlanded with skulls and she is of terrific form two-handed beautiful image with fish in one and is known as Kapalini. This Kapalini was hand and a skull in the other hand. This temple the deity of the Kapalikas. can be definitely assigned to the Bhauma

20 Orissa Review * October - 2004

Culture Age. Another Varahi shrine is found at Mahabharata points to the fact that Chodaganga Narendrapur near Gadi in the Balasore district. was responsible for the removal of The part of an ancient fort named Kichakagarh Ramachandi from her original shrine at at Khiching in Mayurbhanj district is known Konarka to the sea-shore at Liakhia Muhana. as Varhi which is a corruption of Varahi. It is But the worship of Shakti did not disappear; it believed that a shrine of took a new form. In this Varahi must have existed period all male deities here though it has not been were provided with traced. consorts or female counterparts. The With the rise of temple of Parvati found Tantric Buddhism and in the Lingaraj Tantric Saivism during the compound was built in Bhaumakara period, the the Ganga period. They Yogini worship became also built the temples of popular in Orissa prior to Lakhmi and Vimala the 10th Century A.D. The inside the compound of Kalika Purana mentions the Jagannath temple at 'Odra' as one of the Puri. important Brahmanical tantric pithas of India. The Thus, evolution of temple of Hirapur, which Shakti cult, down stands not far from the south through the centuries, bank of the river Bhargavi, indicates that worship on which runs the well- of the Mother Goddess known Jagannath road to in various forms Puri was first discovered by Sri K.N. continue unperturbed. There are numerous Mohapatra in the year 1953. There is a similar Shakti shrines in Orissa of which the shrines temple of Yogini at Ranipur Jharial in the of Viraja at Jajpur, Samaleswari at Sambalpur, Titlagarh sub-division of Bolangir district. The Bhagabati at Banpur, at Kakatpur, dimension of this pitha is bigger than that of Charchika at Banki, Sarala at Jhankada, Hirapur. Kichakeswari at Khiching are most famous. During the Somavamsi rule, Shaktism gained momentum in Orissa. But the Gangas do not seem to have favoured and patronised the worship of Shakti. Madalapanji states that Chodaganga banished all goddesses from Balabhadra Ghadai is the Principal in M.K. College, Orissa. Sarala Das in the Madhyaparva of his Khiching in the district of Mayurbhanj.

21 Orissa Review * October - 2004

The Lion : Mount of Goddess Durga

Pradeep Kumar Gan

Shaktism, the cult of Mother Goddess and vast mass of Indian population, Goddess Durga Shakti, the female divinity in Indian religion gradually became the supreme object of 5 symbolises form, energy or manifestation of adoration among the followers of Shaktism. the human spirit in all its rich and exuberant Studies on various aspects of her character in variety. Shakti, in scientific terms energy or our mythology, religion, etc., grew in bulk and power, is the one without which no leaf can her visual representation is well depicted in stir in the world, no work can be done without our art and sculpture. It is interesting to note 1 it. The Goddess has been worshipped in India that the very origin of her such incarnation (as from prehistoric times, for strong evidence of Durga) is mainly due to her celestial mount a cult of the mother has been unearthed at the (vehicle or vahana) lion. This lion is usually pre-vedic civilization of the Indus valley. assorted with her in our literature, art sculpture, 2 According to John Marshall Shakti Cult in etc. But it is unfortunate that in our earlier works India was originated out of the Mother Goddess the lion could not get his rightful place as he and was closely associated with the cult of deserved. Siva. Saivism and Shaktism were the official In all the deities are religions of the Indus people who practised associated in mythology and art with an animal various facets of Tantra. Siva and Shakti, the as its specific vahana, conceived both on the dual deities were the principal deities of the 3 figurative and the metaphysical plane. An non- of the Indus Civilization. The animal acting as vahana owns some magical Mother Goddess assimilation into the Hindu characteristics, in that each single example of Pantheon, however, took place long after Siva its species, either living or carved in sculptural and Visnu had been accepted in two distinct form, bears the implicit presence of the deity phases; i.e. first the Indo- male gods were associated with it. In the realm of Indian given wives, and then, under the influence of sculpture art the vahana of a deity is generally 6 Tantric and Shakti movements, which had been depicted below the latter's pedestal. gaining momentum outside orthodox Hinduism According to H.Zimmer, the vahana meant as for many centuries, these shadowy female an animate divine symbol supporting the figures emerged as supreme powers in their 4 anthropomorphic figure of a god or goddess, own right and emerged into the great Goddess. is an iconic representation of the power and Due to the wide prevalence of the character of the concerned divinity, or an worship of Shakti or the female energy in India incarnation of the same at an inferior stage and from a very early period among almost all the under a different aspect. The depiction of the different ethnological elements comprising the vahana below the pedestal of the deity

22 Orissa Review * October - 2004 dissipates any possible ambiguousness as to with the lion. The car of the Phyrgian goddess the latter's identity. Such treatment of the carved Cybele, whose cult spread all over the Roman images of divinities may have originated in empire is dragged by lions. Goddess Cybele Mesopotamia in the course of the second is popularly known as Mother of the mountain millennium B.C.; from thence, through the in ancient Rome, like the same in the Indian medium of trade, it may have reached in Indian context, Durga and Parvati similarly associated 7 sub-continent in the subsequent epochs. with lion and in the different manifestations, they are also known as the goddess of the In consideration of the mount lion 10 Mountain. The Egyptian goddess Sekmet has associated with her in the myths or in sculptural a leonine head, while the most archaic statues art, goddess Durga can be alternatively of the Greek goddess Aphrodite depict the deity conceived as Mahisamardini or as as accompained by a lion. Sculptural examples Simhavahini. The lion came to prominence in of a goddess associated with lion and paired the Hindu pantheon with the origin of the with a god associated with bull have been goddess Durga, which was narrated beautifully 11 8 recovered from Anotolia. in the Purana. According to this text, after being completely defeated by Durga, the beautiful goddess of dawn, Mahisasura, the gods, headed by Brahma, life and victory, riding a lion, defeats the approached Visnu and prayed for the buffalo-demon Mahisasura. In all her exploits destruction of the demon. Thereupon all the the lion is her mount, ferocious in look and gods including Brahma, Visnu and Siva emitted action. The lion also symbolised in all ancient civilizations as the solar, igneous and luminous flames of anger which solidified into the 12 effulgent form of a goddess (Durga) with three principle of life and knowledge. The lion is eyes and ten arms, each of which bore a weapon well represented in our religious digests and given by the mighty gods. During this time the others, adoration to him along with the goddess offered a white lion to goddess Durga is enjoyed with reference to this point the as her vahana. Vaikrtika Rahasya appended to the Saptasasti states that after worshipping the Goddess, the The golden skinned hairy lion is an devotee has to attend to the demon, whose body archetypal symbol for the golden rayed sun, lies in the left side of the Goddess with severed the lord of the day, whose appearance kills the head and then to the lion, the carrier of the 13 god of the night. Night, terminating the day in Goddess in her right side. the evening, is equally well represented by the bull, whose horns connect it with the cresent Vamabhage grato devyas chinnasirsam mahasuram //29 Pujayen mahisam yena Praptam Sayujyam isaya / of the moon. It seems possible that the lion and daksine paratah simham samagram dharmam isvaram//30 the bull also simultaneously personified other As the symbol of the divine energies antithetic cosmic forces, such as heat and cold, fire and water, light and darkness, life and embodid by the great Goddess, who is stated 9 to have been born out of the tejas of all the death. gods in order to slaughter the buffalo-demon, The lion has always been important in the lion express the heroism and prowess mythology, not only in India, but also in some necessary to defeat the asurik forces contrasting other countries. In Mesopotamia, Ishtar the with the Hindu dharama. Furthermore, the lion goddess of war, has always been associated can be even taken to represent the heroism and

23 Orissa Review * October - 2004 strength required from the sadhaka to enter the Lion, the royal beast, the mount of dangerous path of Shakta-Tantric religious Goddess Durga, represents the best in animal 14 practices, full of pitfalls for the uninitiated. creation. It can also represent the greed for In Indian context the lion is considered to be food and hence the greed for other objects of an animal full of Shakti(power) with a devaic enjoyment, which invariably leads to lust. and sattvik being of rhythmic movement. As Goddess Durga in Simhavahini form is a lesson far as Shakta iconography is concerned, the lion for the control of animal instincts in human almost invariably accompanies the images of beings. Parvati, Mahisamardini and Simhavahini Durga and is also represented in the most part of the References : composite Saiva-Shakta images, such as 1. Singh and Preem , Durga New Ardhanarisvara and Umamahesvara, as the Delhi, 1999, p.1. symbolic animal lion associated with the 2. Sir John Marshall, Mohenjodaro and the Indus Valley Civilization, London, 1931, p.107. feminine side of the sculpture. Of course, from 3. L.P. Singh, Tantra : Its Mystic and Scientific an orthodox Brahmanical point of view, it was basis, Delhi, 1976, p.3. only the lion, that acted in all ages as the 15 4. W.D. O'Flaherty, Hindu Myths, Penguin Books, celestial vehicle of the Mahadevi. It 1975, p.238. represents lordly power in general and lordly 5. Pradeep Ku. Gan, "Durga in Sacred Literature," power of wild beasts in particular. The image Orissa Review, Vol.LX, No.2 & 3, Sept.-Oct., of this animal, expressing a sense of rhythm, is 2003, Bhubaneswar, pp.4-6. thought to be made up Prakriti maya-shakti. 6. F. Brighenti, Shakti Cult in Orissa, New Delhi, Therefore, the lion partakas in the divine 2001, p.231. essence of the great Goddess, the transforming 7. H. Zimmer, Miti esimboli dell' India, Milano, 16 energy of the universe. 1993, pp.70-1. 8. Markandeya Purana, Chapter-82, 1-17. In the Brahmanical pantheon the lion not 9. Chitralekha Singh and Preem Nath, op.cit., p.53. only has relation with the Goddess, but also 10. F. Brighenti, op.cit., p.234. with Siva and Visnu. A lion sculpture placed 11. N.N. Bhattacharya, History of Shakta Religion, on its Vahana- faces the main portal New Delhi, 1974, p.53. of most of the Shakta Shrines. A Shakta pitha 12. F. Brighenti, op.cit., p.232. is always guarded by a image of lion facing its 13. U.N. Dhal, Mahisasura in Art and Thought, main entrance, just like a image in a Delhi, 1991, p.64. Saivite Shrine and a image in a 14. A Boner and S.R. Sharma, eds., Silpa Prakasa; Vaisnavite Shrine. The decorative sculptural Medieval Orissan Text on Temple element of Orissan temples called gajasimha, Architecture, Leiden, 1966, pp.XLIX-L. formed by an lion trampling on a crouching 15. F. Brighenti, op.cit., p.233. marked the victory of divine light over 16. Ibid., p.235. 17 asurik darkness. The Saiva tradition, as 17. Ibid., p.234. attested in the Purana, knows a leonine 18. T.A. Gopinatha Rao, Elements of Hindu form of Siva which the god assumed in his Iconography, Vol.I, Madras, 1914, pp.379-81. Virabhadra incarnation to kill the elephant 18 demon Nila. The lion's association with Visnu P.K. Gan, a Scholar of History, Culture and appears more consistent due to his incarnation Archaeology is presently working at Fakir Mohan as Narasimha. University, Vihar, Balasore.

24 Orissa Review * October - 2004

Shakta Pitha Bhattarika

Pabitra Mohan Barik

Shakta Pitha Bhattarika of Badamba in the way to Panchvati paid prayer to the Goddess district of Cuttack is one of the notable holy Bhattarika. The Mankadagadia hill on the other place of Orissa. This sacred pitha is associated side of Mahanadi where the foot mark of Ram, with Devi Bhattarika. The river Mahanadi the and Sita are worshipped is also longest river of Orissa flows in the side of the quite significant. Another legend says that temple of the Bhattarika. The river is deep Krishna and visited Bhattarika and here. In the foot of it was revealed to the Ratnagiri hill Arjun during his temple of Bhattarika Agyantavasa. The is located. River Demon Gosimha Mahanadi, Ratnagiri kidnapped hill, temple of Satyabhama in Bhattarika, and disguise during that famous places like period. Arjun fought , bravely and killed Nilamadhava, Gosimha demon. , After that Krishna, Simhanath attract Satyabhama and thousands of Arjun prayed Pilgrims, devotees Goddess Bhattarika; and tourists. the presiding deity of According to a popular legend this pitha is the Badamba royal family. The term Bhattarika established by Parsuram and also he carved has different meaning. According to History the image of goddess in the tip of his arrow. In and legend of Badambagada, Gajapati of Orissa this pitha Parsurama penanced to gain mercy ordered Hattakishor and Mallakishor the two of the deity to kill Bhattas or Kshetriyas. The brothers to establish two villages named Goddess became pleased with him and offered Sankha and Mahuri. After that they became king him the desired boom. So the Pitha is in that place. Tribal chief of that area opposed associated to the epic age. According to the these two brothers when they tried to construct Ramayan, Ram, Lakshmana and Sita on their Fort. A terrible battle was fought and finally

25 Orissa Review * October - 2004 tribal chief and his wife died in the battle. Bhattarika. Some research scholars opine that Before death the wife of the tribal chief advised the place was linked with Buddhism. At the king Hattakishore to worship the deity time of Bhaumakara rule the particular place Bhattarika. Another name of the deity was associated with tantric Buddhism. The Bhattarika is Bruhadamba. The king named his Somavamsis who were dead enemies of state Bhuhadamba bearing the name of the Buddhism might have converted the pitha into Goddess. But latter it is know as Badamba the Hindu fold. The tiny Buddhist image is now Devi Bhattarika seated in Lalitasana holding placed in the central niche. The present a lotus in one hand and the other hand in image appears to be a later insertion. The Varadamudra. She is suryopasanatatpara. It worshippers of the goddess Bhattarika are non- is seen that the sun God is worshiped here. In Brahmin, this brings about a folk character of the Jagamohan of the Bhattarika temple an the deity. In the daily ritual of the deity the image of sun god is kept. Another meaning of cooked fish is offered. Devi Bhattarika is the Devi Bhattarika is "respectable lady." Devi considered as the deity of navigation and the Bhattarika associated with eight small images, Fisherman community. The popular myths, five in and three in Lalitasana. legends, archaeological evidence prove that The associated images are Prabha, Maya, Jaya, Bhattarika Pitha has been Shakta Pitha. Sukshma, Visuddha, Suprabha and Abhaya. According to Buddhist "Yogachara" system the Devi is seated in the centre of Chakra associated with eight deties. The priest worships the goddess as Rajarajeswari, Pabitra Mohan Barik is the Lecturer in History in S.H. Mahamaya, , Siddha Mahavidyalaya, Madanpur in the District of Khurda.

SHORT DURATION FRUIT CROPS : BANANA

The state has potentiality for both tall and dwarf banana varieties. The dwarf varieties are more prominent in inland districts while the tall varieties are widely grown in coastal tracts. Patakapura variety of banana belonging to Northman group is a traditional variety of . The fruits are more delicious and highly qualitative with poor keeping quality. This variety fetches very high prices in the market than the other types. This variety is very specific to the particular agroclimate. Under tall varieties, and Chini Champa, Chakrakelli are improved types. Dwarf cavendish, Robusta, Srimanta are dwarf types grown successfully in commercial scale in the state. There are several hill bananas grown by tribals along the hill streams. The varieties are Muguni, Bukuphata, Podasingha, Birupakhi etc. There are several varieties of culinary types of Banana like Bantal, Bantal, Paunsia Bantal, Mendhi Bantal etc. Banana is considered as the most auspicious plant and the fruits are used as offering to . Banana is produced in a total area of 24,700 ha. with approximate production of 2.80 lakh M.T.

26 Orissa Review * October - 2004

Goddess Kali in Orissan Art : With Special Reference to Shyamakali at Puri

Santosh Kumar Rath

In the history of religion mother worship Among these goddesses Kali is the first occupied a prominent place. The antiquity of and most important . Literally Kali mother worship in India dates back to means "Dark-complexioned One". According Harappan civilization. The discovery of to Mahabhagavata Purana, Kali as a Mahavidya originated from the fury of Devi several terracotta female divinities testifies this 2 Sati to terrify Lord Siva. According to fact. The Aryans also gave priority to the 3 Saktisangama Tantra, the are worship of mother goddesses. Later on during linked with ten . In this way Kali is historical period Devi worship got wide linked with ' Bhairava'. Kali is also acclamation due to the patronage of liberal known as Devi or . kings. They used to build several temples for worship of the supreme goddesses like Parvati Legend has it, that after her fight with Mahisasura, Devi Durga became extremely and Durga. In course of time many Sakta rituals angry and took the ferocious dark and festivals have been created for the spread complexioned form, assumed short height and of Saktism. Later on many religious texts based began to walk on the ground. This form of Devi on Shakti or Devi were written during medieval came to be known as Kali. With lolling out period. Till today Devi worship continues in , she started dancing blindly. The gods full swing during Dassehra Festival held in and people in extreme fear appealed Siva for the month of October. help. Lord Siva realising the gravity of the situation lay himself down on the way on Among the several manifestations of the which the ferocious naked Kali was coming. supreme goddesses, her ten terrifying forms are In her blind fury the Devi could not see him popularly called Dasamahavidya. These ten and stepped on his chest. On the very moment forms are very popular since medieval period Siva's linga became erect and entered Kali's and also in modern age. The Dasamahavidya body. At that time Kali recognised her husband are Kali, Tara, Sodasi, Bhubanesvari, Lord Siva and pulled out her tongue in shame. Bhairavi, , Matangi, Kamala, This description of Kali engaged in reverse and Vagalamukhi. Thus mentioned copulation with Lord Siva became very in Chamunda Tantra. popular in texts and iconography. According to these texts her Dhyanas have been created. Kali Tara Mahavidya Sodasi Bhubanesvari The above mentioned description confirms the Bhairavi Chhinamastacha Matangi / 1 iconography of Daksina Kali which is very Dhumavati cha Vagala Mahavidyah Prakirtitah// popular.

27 Orissa Review * October - 2004

Antiquity of Goddess Kali day of 'Dipavali'. Her Vija- is krim. It Kali is regarded as one of the famous is to be noted that animal sacrifice is a special deities in India. The earliest reference of Kali feature during the worship of Kali. The present 4 can be found in the Mundak Upanishad. form of Kali worship is mainly based upon three texts namely Kali Tantra, and "Kali karalika manojabhaca sulohitaya ca Shyamarahasya. sudhumra sphulingini visvarupa ca Various Forms of Kali Devi lolayamanaiti saptajihva". The Vedic literature associates Kali with Devi Kali's position was raised to a another ferocious goddess Nirtti as both of greater height by seveal Tantra Sastras. According to Tulaja Tantra, Devi's well them are dark complexioned. But during post- 11 Nirtti lost her popularity and Kali known forms are eight, such as Daksina Kali, 5 rose to prominence. According to scholars Siddhi Kali, Guhya Kali, Sri Kali, Kali, Kali is the later form of Vedic goddess Nirtti. Chamunda Kali, Smasana Kali and . The great epic Mahabharata also depicts about The Mahakali Samhita give the names of nine Kali. Goddess Chamunda is referred as Kali , such as - Daksina Kali, Bhadra Kali, 6 in the famous Durgasaptasati. It is to note that Smasana Kali, Kalakali, Guhya Kali, earlier in Hinduism Kali was not regarded as Kamakali, Dhana Kali, Chandi Kali. The text Tantraloka written by mentions an important deity, but later on she is 12 considered as a form of Durga. In Purana about thirteen forms , such as : Kalisri Kali, and , Kali is described as the Samhara Kali, Kali, Rakta Kali, Sukali, furious aspect of Durga and worshipped for Kali, Mrityu Kali, or Bhadra Kali wining wars. It is also described that she (concert of Virabhadra), Paramaraka Kali, resides in the cremation ground wearing a Martanda Kali, Kalagni Rudra Kali, Mahakali, garland to skulls. Jadabharata worshipped Kali and Mahabhairavaghorachanda Kali. The nine forms of Kali are described in the Tantrasara as the of the bandits. The famous 13 text Silapadhikaranam of South India has and Agamatatvavilasa of Raghunatha are as described her as the goddess of death follows : Daksina Kali, Maha Kali, Smasana 7 worshipped by the bandits. The Kinasariya Kali, Guhya Kali, , Chamunda Kali, Stone Inscription of Cacca dated 999 A.D. Siddha Kali, Kali and Kamakala Kali. 8 referred about Kali in her terrific form. In the Kali in Orissan Art Oriya written by Balaram Das in Though Kali is regarded as an important the 15th c. A.D. vivid description about Kali 9 deity in Sakta pantheon, but her images came occurs. In Shyamasaparyavidhi written by into existence only from 15th c. A.D. onwards Kasinath in the year 1699 A.D., the first 10 when Dasamahavidya worship gained reference of Kali worship occurred. popularity. Kali images are less depicted in Kali worship is prevalent in whole India temple walls in comparision to Mahisamardini but it is very popular in eastern part (mostly in images. It is noteworthy that after the and coastal Orissa), next to the worship completion of deplastering work of Jagannath of Durga. She is worshipped both at home in temple at Puri, an image of Kali came to 14 her benevolent aspect and in shrines with limelight. She serves as an Avarana-devata. tantric rituals. Besides daily worship at shrines The image is carved on the western side on Goddess Kali is specially worshipped on the the south-west corner in the upper Angasikhara

28 Orissa Review * October - 2004 of the . The image is partially eroded. Another image is found at the base of the back Here goddess Kali is seen standing in Rahapaga of the Baliharachandi temple near Pratyalidha pose. She has dishevelled hair Puri. Here Kali holds a serpent. She holds a and wears a garland of skull. She holds a skull and a severed head by her left hands. She sword and an indistinct object (possibly stands in Alidha pose on the body of Lord Siva severed human head) in her right and left hands who is Urdhvalinga. Images of Kali as Parsva- respectively. Her image is flanked by devata are found in places like Palur in Ganjam attendants. Perhaps this is the earliest Kali district, Bhagavati temple at Sonepur, in the image as an Avarana devata in Orissan temple. Jagamohana of Samalai temple at Sonepur, Another image is located in the premises of Bausani temple in Phulbani district, Dhavalesvara Siva temple near Cuttack. Here Daksinachandi temple at Kantilo etc. Devi is seated in Lalita pose on a lotus under Goddess Kali as a presiding deity can which a corpse can be seen. In her principal be seen in several shrines of Orissa. In the right hand she holds a rosary and holds a sword compound of Kosalesvara temple at by her uplifted back hand. Her right middle Badakanjia in Puri district a two-armed image arm as well as all the left arms are broken. of Kali is worshipped as Rudrani. She is seen She wears a Kirita-mukuta and posseses a seated in Lalita pose on a corpse. She holds a . In later examples when Kali images sword over her head by her right hand while 17 are standardised, many new things are added. her left hand holds a severed head. She wears A four-armed Kali image can be noticed in an a garland of skull. On stylistic ground this exterior niche of the Samalai temple at image belongs to 16th/17th c.A.D. Another Sonepur. Here Kali is depicted in dancing pose image is located near the Lankesvari temple at on a corpse. She holds a Kartri and a sword Junagarh, who is known as Bhubanesvari. She by her right hands while she holds a posseses four hands and is seen dancing on a 15 by her uplifted back right hand. She has placed corpse. She holds a severed head and a sword her left hand in the neck of a standing figure, in her lower right and uplifted hands while her other corresponding hands hold a noose and a who is Urdhvalinga. She possesses 18 dishevelled hair and wears Patra-kundala. skull. One rare image of Devi is noticed in a small temple at Laksminarayanpur in Cuttack As a Parsva-devata, the images of Kali district. She posseses four-arms and stands on appeared from 10th c.A.D. onwards. For Lord Siva's body. She displays Abhayamudra example the image of Kali as a Parsva-devata and Varadamudra by her uplifted right and appear on the ruined Bhimesvari temple at lower hands, while she holds a sword (now Pedagadi, dated to late 10th c.A.D. In the not in situ) and a severed head by her uplifted 19 compound of Samalai temple at Sambalpur a left hand and lower hand respectively. In the rare example of eight handed Kali can be at Kakatpur, Kali is seen noticed. She is seen seated in standing in Alidha pose on the prostrate body Vajraparyankasana on a lotus pedestal. Her of Siva. Devi's right hands show Varada and front right and left hands hold a mace and a Abhaya murdras while her left hands displays small pot while her other right hands are seen a sword and severed head. She also wears a 20 holding a rosary, and a sword. The skull garland. The prostrate body of Siva is remaining left hands hold a skull filled with depicted with Urdvalinga pose here. The above severed human head, an indistinct object and a 16 description confirms the Dhyana of Daksina shield. She posseses dishevelled hair. Kali.

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Goddess Kali is also depicted in the goddess. There is a good approach road to this on cloth, interior wall paintings temple which connects the major road (locally and in ritual murals. Specially in Ganjam known as "Uansa danda") which runs from district paintings of Kali can be seen in Lion's gate to the sea. Osakothi festival. It is interesting to note that From a text known as Kali Archana in a painting at Banesvaranasi, Kali stands on Chandrika, it is known that during the reign of the bank of a river in the mountain landscape. Gajapati Kapilendra Dev, Shyamakali was 22 She holds a scimistar and severed heads in her worshipped under a Vakula tree. With the left hands while she displays Varadamudra in gradual march of time a secondary royal palace her right hand. Her uplifted right hand shows a 21 was built near that place by the Gajapati kings, trident. She is yellow coloured. Another of which little remains now. After Kapilendra interesting painting from the inner wall of the Dev, his son Purusottama Dev became king. Mandapa of Raghunath Jew temple at Cuttack His Rajaguru Trilochana Dev and his wife depicts sacrificing Ahi , the Ratnavati were great devotees of Shyamakali. son of Ravana born in , before goddess In the year 1599 A.D. Madhusingh, the brother Kali. Here she is depicted with her usual of Mughal General Mansingh built the temple 23 attributes. Besides these other paintings of Kali of Shyamakali. During the Muslim invasion are noticed at Dadhivamana temple at Koilo all the royal ceremonies were observed in the near Salepur (), Paschimesvara temple of Shyamakali. Till 1599 A.D., all the temple at Talcher and in some temples at Puri. rituals were performed according to the text Among the moving deities of Kali made Durgotsava Chandrika. But afterwards Kali of metal, mention may be made of an image in Archana Chandrika gained importance in the the at Paradipgarh. Another rituals of Shyamakali. During the first quarter example of this type of image can be noticed of 18th c.A.D. the Rajaguru of king in the Sambalpur University Museum. These Ramachandra Dev- II, Paramalaksmi Rajaguru images are either the above mentioned Parsva- used to worship Shyamakali with tantric rituals. and presiding deities. In the beginning of 19th c.A.D. the famous freedom fighter Jayi Rajaguru was also a great Goddess Shyamakali at Puri devotee of Shyamakali. Goddess Shyamakali Puri, the abode of Lord Jagannath, which is the tutelary deity of Gajapati kings. Till is celebrated as a Vaisnava centre is also today, according to the royal custom, the new famous for its Sakta temples. Both inside and king after his coronation, first visits this temple outside the premises of famous Jagannath and worship Kali. Now-a-days little remains temple there are several temples dedicated to of the said palace (earlier known as Puruna Sakta divinities such as Vimala, Laksmi, Nahara/Bali Nahara) are left. But other temples Bhubanesvari, Harachandi, Daksina Kali, like Astasambhu and Radhakrishna alongwith Shyamakali, etc. which indicates the popularity Shyamakali temple stands testimony to the of Saktism at Puri. There is a temple dedicated royal grandeur of the then age. to goddess Kali at Bali Sahi. Perhaps it is the The iconography of Shyamakali confirms earliest shrine where Kali (locally known as the Dhyana of Daksina Kali prescribed in the Shyamakali) is the presiding deity. The area Sastras. Here Kali stands in Pratyalidha pose where the temple is located is named as on the chest of Lord Siva and posseses four "Shyamakali Lane" after the name of the hands. She is engaged here in reverse

30 Orissa Review * October - 2004 cohabitation with Lord Siva. She holds a sword 2. Das, H.C., Iconography of Sakta Divinities, and displays Abhaya- in her upper left Vol.I, p.13, Delhi, 1997. and right hands respectively while her lower 3. Bhattacharya, B, (Ed), Saktisangama Tantra, left hand is holding a severed human head and Vol.III, Oriental Institute, Baroda, 1947. the lower right displays Varada-mudra. In this 4. Das, op.cit, p.16. context it is noteworthy that her benevolent 5. Ibid. aspect is attested by holding of the sword in 6. Bhattacharya, N.N., The History of Sakta her left hand. Because the sword in right hand Religion, p.136, New Delhi, 1974. symbolises destruction. She posseses three eyes 7. Das, op.cit, p.18. and is surrounded by jackeles and vultures 8. Epigraphia Indica, Vol.XII, p.59. carved on the side. The height of the image is 24 9. Das, op.cit, p.18. around four feet. From artistic point of view 10. Chakravarty, Chintaharana, The Tantras : this image belongs to 15th c.A.D. Studies on their Religion and Literature, p.92, There are other two images installed on Calcutta, 1963. the left side of Shyamakali. These images are 11. Das, op cit, p.19. four-handed and known as Vimala and 12. Bhattacharya, op.cit., p.13. Sarbamangala. Same ascribe them as Chandika. 13. Ibid. Like the famous Vimala image of Jagannath 14. Orissa Review, p.52, Bhubaneswar, July 1996. temple, this icon of Vimala is seen standing 15. Donaldson, T.E, Tantra and Sakta Art of and holding a noose, a human figure and a vase. Orissa, Vol.II, p.546, New Delhi, 2002. Likewise the seated image of Mangala holds a 16. Donaldson, op.cit, p.543. full moon, rosary and lotus. The significant 17. Donaldson, op.cit, p.539. aspect of this image is that she holds a pestle 25 18. Ibid. in her upper left hand. 19. Donaldson, op.cit, p.540. Thus it is inferred from the above 20. Ibid. discussion that Kali has occupied a prominent 21. Donaldson, op. cit, p.545. place in Sakta pantheon. But most of her 22. Rathasharma, , Smarta Pradhanyara images came into existance from 15th century Kendra Shyamakali O Balinaara, (Oriya), onwards. Among the different forms of the p.16 in the Souvenir Saktapramoda, Puri. Devi, the Daksina Kali aspect is the most 23. Rathsharma, op. cit, p.19. popular both in texts and iconography. Most of 24. Das, H.C., Sakta Pithas : A Study, p.117, the Kali images including Shyamakali image Bhubaneswar, 1999. at Puri confirms the Dhyana of Daksina Kali. 25. Bahinipati, , Maa Shyamakali (Oriya) Being the tutelary deity of the Gajapati kings in Odisara Devadevi, Second Edition, Vol.I, of Puri, Shyamakali ranked one among the p.168, Cuttack, 1983. famous goddesses of Puri. From iconographic point of view, her image is the only of its kind in entire Orissa. References : 1. Quoted by Puspendra Kumar, Sakti Cult in Santosh Kumar Rath lives at "Smruti Sadan", Shyamakali Ancient India, p.155, , 1974. Lane, Bali Sahi, Puri-1.

31 Orissa Review * October - 2004 Lajja Gauri : The Nude Goddess or Shameless Woman - Orissan Examples

Pradeep Mohanty J.P. Singh Deo

Striking images of a certain goddess having On the human level, the image of Lajja variously referred to as 'the shy woman', 'the Gauri acts as a temporal reference point, that shameless woman', 'the nude squatting is, the female giving birth, an auspicious goddess', 'the mother goddess' or because her occurrence: she is the embodiment of the idea historical name remains unknown, by numerous of fertility. On the divine level, Lajja Gauri is names, among them Sakambari, , Aditi, the embodiment of the idea of fertility, of Lajja Gauri, , Kottavi, Nagva generation, of life- force. On the cosmic level, Kabamdha etc. Usually one finds them lying in the image suggests universal laws and birth position, the spread-out legs drawn up processes of generation of life. laterally and bent at the knees, the soles of the feet turned upward, the arms bent upwards and Lajja Gauri is almost always made to the hands, each holding a lotus bud.. touch upon lie on her back, supine. The toes of the the petals of the large and open lotus blossom recumbent figure tensely splayed as if she is in that crowns the image, as its neck and head. the act of giving birth, yet there is no indication of pregnancy. Some say that the goddess is India presents the unusual phenomenon simply indecent, shameless, and the pose of a traditional society that has produced indicated sexual receptiveness although religious art continuously from at least the third certainly, the pose is sexually suggestive. millenium B.C. to the present, within supposed Nevertheless, it should be noted that, although canonical prescriptions, but actually with a some do give birth miraculously, Indian great range of variation of forms. There are a goddesses are never pregnant in imagery or great variety of mythological hybrids that are myth. The pose of Lajja Gauri is ambiguous, fixed features of the vocabulary of Indian art. but probably intentionally so since the pose of Among them are found primordial and powerful sexual receptivity and the pose of giving birth symbols whose origins within the culture are the same. The human form and the cannot be traced, yet whose omniscience intercourse/ birth pose are used as a metaphor within the art and culture indicate their for creation. In turn human parturition is used usefulness within it. Lajja Gauri, in artistic and in this image as a metaphor for divine creation. conceptual ancestry, descends from a group of We have seen women who do not get children ancient popular symbols, among others, the for along time worship Lajja Gauri. Butter and lotus and the purna , or brimming pot. red lead are applied on the vagina and breasts Conceptually Lajja Gauri has antecedents, and they pray for children. which may be, and in fact have been, traced back to the Indus or the Chalcolithic culture of Figures of the goddess Lajja Gauri range India. in size from two inches to over life-size and

32 Orissa Review * October - 2004 are made either through time and region from chalcolithic people who are believed to have the minimal and nearly aniconic to the fully been the early inhabitants of India. Another human. Truly these figures appear at the example comes from the Bastar region of beginning of Christian era. In most of the Lajja Madhya Pradesh. Here outstretched leg posture Gauris, the vagina is prominently depicted as of a female is found carved in Gotul or youth if the figure is about to give birth. In many cases dormitory of Muria tribe. The outstretched leg these female figures are shown without the posture of semi squatting position of the motif, head. We do not know the exact reason behind thus conveys the sense of (sexuality). At this widespread motif. One of the suggestions the same time, sexuality corrletes with fertility is that, because of her nudity, the goddess felt ritual or vice versa. Belief in the relation of ashamed, and hence the face was not shown. sex and vegetative-fertility is fathomed by many Whatever it may be this picture became very tribal communities of Eastern India. popular, because probably it satisfied the We have a Harappan seal, in which a human aspiration for children. Hence it is not woman is shown with her legs stretched wide only represented and worshipped today in apart and a plant issuing from her vagina. This many parts of India but it is found depicted in indeed is a symbol of fertility. For centuries churches and monuments as far as South East this continued to hold the Indian mind, as Asia. examples from historical period testify. We have got two Lajja Gauri plaques The village goddess of fertility, measuring 10 to 12 cm, carve don limestone embodies, very often the composite features from the Nuapada district of Orissa. On of sex and fertility. As such, numerous female stylistic ground, it may be assigned to the 8th deities of fertility-nature either in century A.D. It is carved on squatting position anthropomorphic shape or in aniconic features without stretched legs, the common posture of are commonly found in peasant India. The fact female during child-birth. Pendant breast, navel reveals thus the highest regard accorded to the and vulva etc. are conspicuous features of its woman folk, who coalsed in her person blooming youth and also a pointer to the fertility sexuality and fertility, like copulation, cult. The most outstanding features of the deities conception and birth. The idea traversed to the are that they are headless. Instead of the head, Art Tradition of India where erotic art found lotus leaves with stem are delineated on the fused with fertility. The artist who carved Lajja neck, as if it is efflowering from it. Some lotus Gauri images were aware of the more simply leaves along with elongated stems are also erotic images, but they distinguished her image discerned on the right side of the shoulder, as through incorporation of rich symbolism. if they emerge from the neck and bend to the right. Thus, the upper part of the figurine Meanwhile, the image of Lajja Gauri still adorned with vegetation, unfolds a vegetative remains enigmatic. It is obvious that there still and fecundity aspects of its nature. remain quite a few questions regarding the identification, status, affiliation and Interestingly similar representation is disappearance of the intriguing Lajja Gauri to also found among the Bhiyans, a hunting be answered. gathering and shifting cultivator community of Orissa. Indeed, we do not know whether the tribals are the imitators, or have continued the Pradeep Mohanty is a Research Fellow in Deccan tradition of their distant forefathers, the College, Pune and J.P. Singh Deo lives at Khariar.

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A Peep into the Candi Text

Rajkishore Mishra

Saptasati Chandi Savarni and the 8th Sri Candi is not exclusively a single The Markandeya first told Kraustiki independent treatise. It is the portion of about the seven , i.e. Markandeya Mahapurana. To be precise it Svayambhuva, Svarocisa, Uttama, Tamasa, contains the narrations described in the 81st to Raivata, Caksusa and Vaivasvata. Being further 93rd chapters of the said text. In the asked Markandeya enlightened Kraustiki about Markandeya Purana, this portion is otherwise the evolution of the eighth Savarni. known as Devi Mahatmya or Saptasati as it Savarni was son to and who compriseS seven hundred mantras. later became sovereign in the 8th manvantara (a period spanning over 4320,000 solar years). Narration of Prodigious Birds Earlier in the second manvantara (i.e. during Once sage (the author of the regime of Svarocisa) Maharaja Suratha Mimansasutras and the disciple of Vedavyasa) (who was born in Caitra clan) was a great approached Markandeya rsi to get some devotee of Candi. By her grace he was blest to be born a Manu in the eighth Savarnika intricate questions raised in the Mahabharat manvantara. This episode and the stories clarified. Since Markandeya was otherwise relating to the slaying of Madhu-Kaitabha, busy he advised Jaimini to approach the erudite Mahisasura and Sumbha-Nisumbha form the sons of Dronamuni (i.e. Pingaksa, Viradha, corpus of the Candi running over 13 chapters. Suputra and Sumukha) who were then transformed to birds on account of paternal Medhas Narrates Before Suratha curse and were perching in a cave-habitat on Back in the hoary past, it was Medhas the Vindhya mount. When approached, they muni who narrated the glories of the Devi clarified all doubts of Jaimini. Being glad before the king Suratha who was in the company Jaimini further asked the bird-shaped sons of of a merchant named . Markandeya Dronamuni about the 14th manvantara. In reply knew this. So he narrated it before Kraustiki the birds reiterated what they had heard in the (alias Bhaguri). The bird-shaped sons of past when sage Markandeya was enlightening Dronamuni who were privileged to hear this Kraustuki (or Bhaguri), the son of a brahmin. now narrated the same before the sage Jaimini.

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Devi Mahatmya in Other Texts 1. Slokatmaka(verse-oriented) Mantra - 537 This Devi Mahatmya as described in the 2. Ardhaslokatmaka (half-verse) -do- - 38 Markandeya Purana also finds place in other 3. Tripad (three-lined ones) -do- - 66 purana-s either in clipped or extended formats. 4. Uvaca (Thus said) -do- 57 The episode of Maharaja finds 5. Punarukta (Said again) -do- 2 mention in chapters 32, 34, 35 of the 5th canto and in the 10th chapter of the 10th canto of 700 Devi Bhagavat. It is also narrated in 61-64 Three Primal Manifestations of Candi chapters (Prakrtikhanda) of Brahama The Candi treatise is divided into three Vaivartta Purana (said to predate segments. The first segment or Prathama Markandeya Purana). carita refers to the 1st chapter, the second The slaying of Madhu-Kaitabh finds segment or Madhyama carita refers to the mention in 6th-9th chapters and 11th chapter whole of 2, 3 and 4 chapters whereas the third of the 10th canto of Devi Bhagavat. Besides, segment or Uttama carita refers to the it is also mentioned in the 72nd chapter of the narrations starting from the 5th to the conclusive Uttara kanda of the Ramayana and in the 347th 13th chapter. Three deities, i.e., Mahakali (or chapter of the Santi Pava of the Mahabharat. Yoganidra who was instrumental in slaying the demons Madhu and Kaitabha by Narayana), So also the mention of Mahisasura's Mahalaksmi (a unique deity who was recipient death is mentioned in the Devi Bhagavat (5/2- of all valour and glamour of gods and who 20, 10/12), in Purana (ch. 17-30) and crushed the fierce demon Mahisasura) and in Skanda Purana (Ch.83, Prabhas Khanda, Maha Sarasvati (who sprung from the body of ch.36 Arbuda Khanda, ch 67 Brahmakhanda Gauri to kill Sumbha and Nisumbha) are verily and ch.s 119-121, Nagara Khanda). the primordial forms of Candi as described in The death of Sumbha-Nisumbha is the above-mentioned segments. reflected in Devi Bhagavat (5/21-31), Vamana Mahakali presents a fierceful dark figure Purana (Ch 55 & 56) and in Skanda Purana with ten faces, ten hands and twenty eyes. She (Arbuda-24). holds in her hands a sword, arrow, mace, club, Saptasati with Technical Divisions , disc, an iron bar, a fire arm, a club- shaped bludgeon etc and a bleeding human Sri Candi is otherwise known as skull. She embodies the tamas attribute of Sri Saptasatistava which apparently means that it Candi. comprises 700 verses (s'loka-s). But it is not Mahalaksmi is of motley colours as she true. In fact it contains only 518 sloka-s which is recipient of multiple hue from numerous gods is spread over 100 mantra-s. Tantracarya and divinities. Her face is white, hands are Bhaskar Ray alias Bhasurananda Nath of blue whereas her feet are crimson. She is Tanjore in the 17th C. has made a clear-cut eighteen-armed. She caries in her hands a division of Saptasati Candi as per the rosary, lotus, an arrow, sword, a thunder-bolt, following : mace, disc, trident, conch, a gong, noose, a

35 Orissa Review * October - 2004 spear, a drinking vessel and a etc. known as Devi Sukta or Vak Sukta, expressed She embodies the rajas attribute of Sri Candi. through a woman-seer named Vak, daughter of she confers on her devotee great erudition (esa Maharsi Ambhruna. This Devi Sukta is the sampujita bhaktya sarvajnatvam gateway to the Candi text. prayachhati) It has also been prescribed that a Maha Saraswati is eight-armed. She dedicated devout should, before the embodies the sattvik aspect of Sri Candi. She commencement of reading of Candi, read holds in her hands an arrow, a club, a pestle, Argala , Kilaka Stava and Devi Kavaca conch, disc, gong, a plough and an arch etc. in a sequential order. Argala is a door-closing She confers wisdom on her devotee. device. One should unhook it for smooth Efficaciousness of Candi Reading passage. It contains 27 couplets. Soon after reading out the Argala one should concentrate Purana prescribes repetitioin of on the Kilak Stava. The Kilaka is another three times of Candi recitation (triravrtta) for device for obstruction. It is a curse levied by cure from physical ailments, for relief from Mahadeva on the Candi text so that no layman malefic planets five times (pancavrtta); from can have access to Candi for selfish purposes. impending disaster seven times; for ensuring The Kilaka Stava contains 16 couplets. The peace nine times; for winning royal favours Devi Kavaca then follows it. Kavaca means a eleven times; for overpowering foes twelve shield. By reading this a devotee shields both times; for release from prison twentyfive times; his mind and body for an unimpeded journey for cure from cancer thirty times; for relief from in life. So many divinities including nine forms great dishonour a hundred times; to mitigate of Durga, seven Matrkas, ten Dikpala-s etc are loss of wealth and for steady prosperity one invoked in this stava to make the devotee thousand times etc. invincible and inviolable and worthy of An aspirant devotee enjoys all prosperity studying the Candi text. Japet saptasati candim and disease-free life if he involves himself in krtva kavacamaditah / Nirvighnena bhavet the reading of Candi. One who does not aspire siddhiscandijapa - samudbhava. This kavaca for material prosperity can also gain authored by Hariharabrahma contains sixty scholarship. Maharaja Suratha in the days of couplets. After reading out all these and yore got unmixed prosperity whereas the complying with all instructions therein, one merchant (Vais'ya) Samadhi was endowed should commence on reading the Candi text with divine knowledge. If Sri Candi is pleased, with profound concentration. she confers on her astute devotees both earthly Reference : prosperity and erudition (Sa yacita ca 1. Chakravartty Rasmohan, Sri Candi, published vijnanam tusta rddhim prayachhati). by M. Bhattacharya & Co., Calcutta, 1360 Obligatory Prelude to Candi Patha (Bengali Year). Before reciting the Candi text one should bear in mind that the Rg Veda (125th hymn of Raj Kishore Mishra former Secretary Orissa Xth ) contains the essence of the Sahitya Akademi lives at N1/A-27, IRC Village, Mother Spirit. The famous hymn therein is Nayapalli, Bhubaneswar.

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Sakti Worship in Orissan Inscriptions

Bharati Pal

The Supreme deity of the Tantra is known as Kautilya mentioned "Devi" in his Arthasastra the Sakti, inseparable from Siva. It is the Sakti as a spirit of vegetation in connection with the in the Tantra which is said to have brought the sowing of seeds. From the Earth Goddess she Universe into existence, and that preserves it was later conceived as the war Goddess for from the disruptive forces. She governs the the protection of her devotees. The cult of Sakti Universe and overwhelms us with wonder and worship is thus wide and varied both in space awe. In other words it can be said that Sakti and time. Her most common feature is that she denotes divine energy, glorifying the Mother has beautiful yellow complexion and her arms aspect of God. This Universe, is begotten of holds weapons to kill Mahisasura. her free will, who is the beginning of all. She In the earliest epigraphical evidence is Kali, Tara, Bhubanesvari, Bagala, Bhairavi, regarding Sakti worship in Orissa, we find Chinnamasta, Matangi and Kamala. She mention in the Teresingha Plate of Maharaja appears at times to destroy the Asuras and Tushtikara, who worshipped the goddess Sakti assumes four hands and occasionally two, six, in the name of Stambhesvari. He ruled as an eight, ten or even thousand hands. She resides independent king over the Kalahandi region in the cremation ground, where all the worldly during 5th - 6th century A.D and worshipped objects are being reduced to ashes. Maha Sakti Goddess Stambhesvari (Stambhesvari Pada is Maha Yogini connecting the links of creation, Bhakta). It is also revealed from the copper preservation and destruction of the Universe. plate grants of Sulki family, who ruled as She creates the Universe, preserve it and subordinate rulers under the Bhaumakaras in destroy it with all its animate and inanimate 9th -10th century A.D that they were the great objects. She is worshipped as Adya, being the devotees of goddess Stambhesvari. She was beginning of all. She is the origin of all and, worshipped as a 'Kula-devata' or tutelary deity She is said to be the great creator and the of the Sulki dynasty. It is written in the plates commander of all. of Ranastambha 'Asya -Bhagavati- In the form of the Mother Goddess she Stambhesvari-Bhattarikam-Sakshini-Krutva'. was the popular deity in the ancient period. A The Hindol Plate of Kulastambha also refers terracotta figurine from Harappa represent a to the grant having been made the 'Kuladevata nude female with a plant issuing out of her -Stambhesvari- Bhattarika'. Futher it is written womb. She represents mother Sakambhari. 'Asmad Kula-Devata Stambhesvari-

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Bhattarika -Pramani Krutya'. The Hindol In the Chamunda Image Inscription of Plate of the same king contains a similar Vatsadevi of Bhumakara dynasty , we get statement, with some addition to the epithet of reference of Sakti worship. Queen Vatsadevi Stambhesvari. It describes the gift as having installed the image of goddess Chamunda in been witnessed by the 'Kuladevata' the Trilochana temple at Jajpur. The inscription Stambhesvari who is worshipped by the gods, simply refers that "Siddham-Rajni- demons, learned men and ascetics, as "danam- Vatsadevayah Kirttih" (Let there be success. -asmad-adi-Kuladevatam-bhoga-vtim- This image of goddess Chamunda is the fame Sur--vidvainMuni-manuja- of the queen Vatsadevi.) Vandita-Srimat Stambhesvari-Bhattarikam- In the Jatesingha and Dungri Plates of Pramani Krutya Pratipaditam -asmai". Mahasivagupta of Somavamsi dynasty there is Besides the king Sulki, in the Plates of mention of the establishment of goddess 'Sri Bhanja Ranabhanjadeva, we get reference of Panchambari Bhadrambika' in Suvarnapura, goddess Stambhesvari. The epithet written as who at the prayer of all people grant them boons 'Samadhigata-Pancha-Mahasabda' describe in her mercy. We also get reference of Sakti worship during the Suryavamsi period. In the him as having obtained the favour of the Warangal Inscription of Raghudeva we get the goddess Stambhesvari. (Stambhesvari- name goddess 'Gangamangalam Chandi'. It is Labdha-Vara- Prasada). mentioned that he was the devotee of goddess As regards the Stambhesvari, the family Gangamangala Chandi or Durga and also deity of the Sulkis, it is said that the having been a favourite son of the goddess represention of goddess was probably made Durga. out on a Stambha indicating a Siva-Linga, Such In the Balasore Plate of Purushottama a Linga with the representation of the Sakti is deva, the charter begins with the line "Sri Jaya no doubt found among the sculptural remains Durgayai Namah". of Eastern India. It should, however be pointed out that whatever may have been the form of References the goddess worshipped by the Sulkis, the deity 1. Sakti and Her Episode -Pushpendra Kumar- Stambhesvari is still adored by the people of PP 1-5 the different castes of Orissa and in some parts 2. Hindol Plates of Kulastambha, Epigraphia Indica -Vol -28- PP 111 -112, D.C Sircar of the country under the Prkritic name 3. Chamunda Image Inscription-E.I. Vol-28-P- Khambesvari and in the shape of a post or 184 - D, C Sircar pillar. Therefore the word Stambhesvari seems 4. Inscriptions of Orissa - Vol-IV, P-219, S.N to indicate merely the goddess of the pillars Rajguru. without any special association with the Siva 5. King, Brahamanas and Temples of Orissa- linga. Upinder singh PP -106 The cult of this goddess is an instance of 6. Inscriptions of Suryavamsi Gajapati, the Hinduization of an autochthonous deity, R. Subramanyam, PP -64 & P -127- whose worship is still prevalent in Western Orissa, although she is no longer always Bharati Pal is an Asst. Curator (Epigraphy) in the Orissa represented by a post. State Museum at Bhubaneswar.

38 Orissa Review * October - 2004

Reminiscence of Gandhiji's Visits to Puri

Dr. Binodini Das

In the year 1915, Gandhiji returned from South break the audacity of the British authorities: Africa to India with his successful experiments the Rowlatt Act was not revoked; there was on 'Satyagraha'. He also made further no sign of making any experiments on Satyagraha at Champaran amends for the (1917), in the Ahmedabad Mill Strike (1918) atrocities in the and against the Rowlatt Act (1919). His Punjab, or granting Satyagraha is based upon a cardinal principle Swaraj to the of truth and non-violence. He advocates in his nationalists. The Young India, "Non-violence is the law of our Khilafat Non- 1 species as violence is the law of the brute." Cooperation His pragmatism made him to realise that it was Movement was not a too difficult to raise a war against a mighty successful one. power like English. But to energise the spirit among the people of India, he enthusiastically In the special encouraged to carry out a peaceful resistance session held in against the British rule in India. His political September 1920 at messages emboldened with philosophies Calcutta, Gandhi electrified the nationalist sentiments of the suggested to carry out people irrespective of caste, creed and a non-cooperation religion. movement against the Government so long The Jallianwall Bagh Massacre of 13th the latter would not April, 1919 at Amritsar gave rise to Khilafat Movement and it paved the way for Hindu- redress the follies Muslim unity in Lucknow Session of All India committed by her and Congress Committee (AICC) meet. The also would promise to combined efforts of Hindus and Muslims in satisfy the nationalist urge for self-government. the form of granting liberty to Swami All the Congress leaders present there extended Sraddhanand to preach from the pulpit of Jama their enthusiastic support to Gandhiji. Once Masjid and permitting Dr. Kitchlu to hold the again, it was endorsed in the Annual Meet of key of Golden Temple at Amritsar could not AICC held in Nagpur in the month of December

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1920. Gandhiji instructed the Non- Cooperation special meeting "on the same day. Another programme to be launched in a peaceful manner notable event that deserves to be illustrated with boycotting government educational here is that Gandhiji raised his voice of protest institutions, organisations, offices, law courts, against the use of foreign clothes in the temple and legislatures, etc. Side by side, this of Lord Jagannath and also made it a general programme was to be constructively oriented, issue in the public meeting at Puri. As a result, i.e. to popularise the cult of Charkha and Khadi. the people of Puri put a pressure on the temple This was, of course, a dynamic move and had authorities to stop the use of such practices. brought dynamic changes in the attitudes and Gopabandhu in his editorial in "The Samaja" activities of the Congress leaders. on 18 June 1921, strongly advocated the old practice of the temple rituals in which no Gandhiji's charismatic appeal mobilised foreign element of any sort was used.3 As a the people struggling for Swaraj in India. An result of this bold pressure, the chief priest of urge was felt that Gandhi should make visits the temple made an appeal to the people of the to different provinces in order to baptize the country not to offer any kind of foreign clothes people with his political mission imbued with to the deities as they were pledged to use only socio-economic development programmes. Swadeshi articles for worship.4 This would, of course, lead to gather momentum and to provide impetus among the people. During his second visit to Orissa on 5th Orissa was also infested with same impulses. December 1927, Gandhiji spent 8th December It was Gopabandhu Das of village Suando of at Banpur and from there he went to Bolagarh Puri district who, like , persuaded on 9th where he spent three days consecutively. Gandhiji to visit Orissa. And accordingly, On 11th, while he was busy in talking with Gandhiji paid his first visit to Orissa on 23rd Dinabandhu Andrews, he saw a bent old man March 1921. He reached at Cuttack on the same holding a piece of straw in his mouth came to day and delivered his speech in different him. The man prostrated himself before meetings. Then he went to Bhadrak from where Gandhiji. He learnt from the o1d man that as he returned back to Satyabadi School on 27th he was an untouchable; he did this only to show to see its functioning. One thing appealed him proper respect to Gandhiji. Furthermore, the here was that he noticed the spark of old man told that the people of his caste were nationalism among the poor sections of the used to country liquor and also ate the flesh of society who, ignoring their utter poverty, dead animals. Gandhiji was really shocked at this information. The man again .expressed his contributed paisa, pie and its fragmental units.2 sad plight that it was not possible on his part On the same day, Gandhiji with his to follow Gandhiji's advice because of the fear followers like Kasturba, , etc. of being made outcast by his fellow-men. This proceeded to Puri where he received a hearty time Gandhiji did not insist on him to contribute welcome from a large crowd from which a something for the national cause. But he pretty number hailed from the remote areas. pressurised the old man to practise three He addressed a large crowd-nearly 50,000 in principles. They were: (i) he should not number-in front of Simhadvara of the Great prostrate before anybody else; (ii) he should Temple. He also addressed the women in a not be addicted to any kind of alcoholic drinks;

40 Orissa Review * October - 2004 and (iii) he should not eat the flesh of the dead We should accept that Gandhian touch animals. Out of grief and remorse, Gandhiji revolutionised the people's mind in Orissa as wrote: "I have never seen in any place such a result of which they rose from their slumber kind of dead-peace."5 and exhibited their potency in the freedom struggle for India. Gandhiji started his historic Padayatra from Puri on 9th May 1934. He attended the References : 'Gandhi Seba Sangha' Conference at Beraboi 1. Cf. Bipan , Modern India, NCERT, New in Puri district in the year 1938 along with his Delhi, 1971, p.265. wife Kasturba, Maulana Azad, Rajendra 2. "Puri Jilla Swadhinata Samgramara " (Or), Prasad, Sardar Patel and others, but not Harihara Bahinipati, published in Orissare . In his address at Beraboi Swadhinata Samgrama (Or), Utkal Pustak Samsad, Benod Biehari, Cuttack, 1998, p.138. Conference, Gandhiji highlighted the Hindu- Muslim conflict and also suggested for the 3. K.M. Patra and Bandita Devil An Advanced History of Orissa, Kalyani Publishers, New necessity of organisation of a peace-force Delhi-Calcutta-Cuttack, 1996, p.227. (Santisena). He also clarified the aims and objectives of peace- force. Of course, the 4. The Samaja, 22nd June 1921. peace-force started its initiative programme 5. "Puri Jilla Swadhinata Samgramara Itihasa," from Puri.6 op.cit., p.139. 6. Ramadevi Choudhury, Jivan Pathe, Grantha There is no need to evaluate the historic Mandira, Binod Behari, Cuttack, 1984, p.120. importance of Gandhiji's Puri visits or other visits to different parts of Orissa. He preached the doctrine of self-sacrifice, self- reliance and Dr. Binodini Das is working in the P.G. Department of self-sustenance among the people of Orissa. History, Ravenshaw (Autonomous) College, Cuttack.

Shri Debasis Nayak, Minister for Information & Public Relations, Sports and Youth Services inaugurating the Conference of Information & Public Relations Officers at Bhubaneswar on 16.10.2004. Dr. Subas Pani, Chief Secretary of Orissa is seen addressing the Conference. Shri Digamber Mohanty, Commissioner-cum-Secretary and Shri Baishnab Prasad Mohanty, Director, I & P.R are also present.

41 Orissa Review * October - 2004

Organic Farming for Sustainable Agriculture

Dr. B.B. Mishra Dr. K.C. Nayak

Intensification of agriculture through massive toxic residues of pesticides have been revealed adoption of high yielding cultivation, increased in the food stuff not only of plant but also of use of synthetic inputs like chemical fertilizers animal origin like milk and milk products, fish, and pesticides, greater exploitation of irrigation meat and egg etc. at concentrations much higher potentiality of surface and ground water than the permissible level of human body. resources and farm mechanization have largely Therefore the apparent contradiction of our been responsible for a spectacular achievement necessity for nutritional security on one hand in the food grain production that we have and environmental sustainability on the other achieved over past three decades. makes it inevitable to resort to the organic or Paradoxically however overexploitation of eco-farming system as it appears to be a natural and renewable resources and possible option to meet both these objectives. indiscriminate and irrational use of synthetic The later implies a farming system that inputs like inorganic fertilizers and pesticides primarily aims at cultivating land and raising in view of producing more and more from unit crops under ecologically favourable condition. piece of land are being increasingly realized It emphasizes restricting the use of chemical to seriously impair the ecological balance and inputs whether it is inorganic fertilizers or putting the environment in jeopardy. High pesticides and instead, relies more on an yielding cultivation is more fertilizer integrated approach of crop management responsive which often led to aggravation of practices making use of cultural, biological and pest problem as the plants become succulent natural inputs. Addition of organic manures enough to be fed upon by a variety of crop pests. such as FYM, recycling of organic wastes This in turn necessitates increasingly huge through composting, green manures and amount of pesticides to combat pest problem. biological inputs like vermicomposts and Increased use of pesticides has emerged as a biofertilizers etc. constitute important potential source of danger to sustainability of components for plant nutrient management in environment that endangers the existence of all organic farming. similarly it also takes utmost forms of life on this planet. Perils and pitfalls advantage of the natural mechanism for pest of pesticides have been well evidenced due to management with utilization of bioagents such their residual toxicity in our food chain. From as predators and parasites available in nature a number of trials conducted across the country, in plenty and the botanical pesticides which

42 Orissa Review * October - 2004 are effective in controlling crop pests posing matter and 42-95 kg. of N/ha. Similarly, no risk to the environment. Agronomic practices Khesari, cowpea and berseem grown during such as crop rotation with judicious selection rabi season can contribute 12-29 tons of green of crops, inter cropping and companion matter and 67-68 kg of N/ha. cropping, stubble mulching and use of resistant Vermicomposting varieties are among the important factors contributing to organic farming. Vermicomposting is an effective means of composting the decomposable organic Organic Manures in Organic Farming wastes using earthworms naturally present in Organic manure in a broad sense the soil. Vermicomposting is a mixture of worm includes composts from rural and urban wastes, casts enriched with macro and micronutrients crop residues, agro industrial bio wastes and (N, P, K, Mn., Fe, Mo, B, Cu and Zn.), some green manures, apart from the commonly used growth regulating substances such as FYM. Organic manure improves soil physical gibberellins and auxins) and useful micro flora condition including soil porosity and water (Azospirillum, Actinomyces and holding capacity and microbial environment, Phosphobacillus) etc. The nutrient level of replenishes essential micronutrients in soil, vermicompost (1-1.5%N, 0.6-0.8% P and 1.2- increases the utilisation efficiency of applied 1.5 K) is higher than any other compost. From fertilizers and favours micronutrient the available information it is well documented availability to the plant. Organic manure is of that earthworms can consume all types of paramount importance not only in augmenting organic matter and convert them into available the crop production but also for making the form of nutrients. Vermicompost improves the agriculture sustainable as an ecofriendly means physical and biological condition of soil, of soil health management. It is well established improves soil fertility and pulverizes it through that FYM plays an additional role than its their churning and turning action in addition to capacity to contibute NPK. Unlike chemical contributing plant nutrients, improves aeration fertilizers that supply only the major nutrients, and water holding capacity. It is reported that FYM is a store house of several plant nutrients soils with casts contain 5 times nitrogen, 7 times and acts as a good soil conditioner. phosphorus, 11 times potash, 2 times magnesium and 7-8 times actinomyces more Green manuring has recently been under than in soils without earth worm casts. It being practice by our farmers for decades. Estimates a natural means of soil fertility management suggest that a 40-50 days old green manure crop fits well into integrated plant nutrient can supply up to 80-100 kg. N/ha. Even if half management strategy for sustainable of this N is crop utilizable, a green manure agriculture. crop can be a substitute to 50-60 kg. fertilizer Exploitation of Biological Nitrogen Fixation N/ha. Some of the potential green manuring legumes are dhanicha, sunhemp, cowpea, mung, Atmosphere containing as much as 78% bean, guar and berseem etc. Dhanicha, nitrogen can be a potential source of this sunhemp, mung bean and guar grown during essential nutrient to soil utilizing the nature's kharif season as green manure crops have been own mechanism of biological nitrogen fixation. reported to contribute 8-21 tones of green It not only offers an economic and ecofriendly

43 Orissa Review * October - 2004 source of nutrient supply, moreover evidences gives as good as or even better yield than the show that nitrogen so derived is less prone to conventional tillage practices. It aims at loss than fertilizer nitrogen and as a long term reducing tillage to the minimum, necessary for effect it builds up a reserve of readily ensuring a good seed bed, rapid germination, mineralizable organic nitrogen. Thus it plays satisfactory crop stand and favourable growing an important role in sustainable agriculture, conditions. reduces the requirement of externally applied Selection of Crops for Crop Rotation, Inter nitrogen fertilizer and favourably influences the Cropping and Companion Cropping soil microenvironment. BNF is a natural system of biological mobilization of atmospheric Crop rotation has an important role to nitrogen which can be easily available to and play in organic farming. Judicious selection of utilized by plants mediated by microorganisms crops in crop rotation helps in efficient like some eubacteria, cynobacteria, utilization of plant nutrient from different depths actinomyces and a few archaebacteria which of soil. The practice of inter cropping also are commonly called diazotrophs. They have helps in minimizing the risk of crop failure due the ability to convert atmospheric elemental to uncertain rainfall and infestation of pest and nitrogen (N2) to ammonia (NH3) with the help diseases. Available information reveals that in of nitrogenase enzyme system. The efficacy of case of inter cropping of sorphum and red gram true bacteria like Rhizobium, Azotobacter, at 2:1 row ratio it resulted in 70% higher yield Azospirillum and cynobacteria like Anabaena, over the individual cropping of both the crops. Aulosira, Nostoc, Plectonema and Tolypothrix Besides it also reduced the wilt diseases of etc. have already been well established under red gram. Another advantage was that nitrogen field conditions and such microbial inoculants fixed by the red gram could be utilized by the have gained wide acceptance due to their high sorghum crop. Another trial of companion nitrogen fixing potentiality. cropping comprising of three rows of gram followed by one row of linseed revealed that Cultural Recommendations incidence of pod borer in gram as well as fly Minimum Tillage in linseed was remarkably reduced and yield also increased by about 14% in this inter The conventional tillage operation has cropping over the sole cropping of both the disastrous effect on soil erosion causing crops. greater loss of nutrients. This has led to necessity of stubble mulching. In the stubble Integrated Pest management mulching the soil is protected by the crop The multifarious harmful consequences residues left on the soil surface during fallow of indiscriminate use of pesticides have periods. This has now become well cropped up as a serious threat to the ecosystem. established that in stead of frequent tillage In view of the fact that increased use of operations minimum tillage is more useful not pesticides has been drastically endangering the only because it offers cost effectiveness but environmental sustainability, integrated also contributes to conservation of soil and approach to pest management needs adequate moisture. Available information reveals that it importance to make the agriculture ecofriendly.

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Like integrated plant nutrient an integral component of integrated pest management, IPM also makes use of an ideal management strategy. It employs natural combination of physical, chemical, biological mechanism of pest suppression in which the and cultural methods to contain pest damage natural agents like predators, parasites and with minimum ecological implication. It takes microbial agents suppress the pest population. the utmost advantage of natural mechanism of If the natural enemies can be effectively pest suppression. Modifications of crop conserved, the need of other control will environment to make it unfavourable for automatically reduce. infestation of pests, use of resistant cultivars and transgenic alongwith a judicious and need Dr B.B. Mishra and Dr. K.C. Nayak are presently based use of preferably safer chemicals are working in the Minor Irrigation and Water Use Training the major components of IPM. Biocontrol is Institute at Bhubaneswar.

Shri Naveen Patnaik, Hon'ble Chief Minister laying foundation stone of Jayadev Road under Special PMGSY at Balianta on 11.10.2004.

45 Orissa Review * October - 2004

Women and Mental-Health : A Rural Scenario

Dr. Alhadini Dhir

Many women in Indian society have been one achieves success and some times faces victims of humiliation, torture and exploitation failure. In case of failure frustration arises. So for as long as we have written records of social the persons that are not able to tolerate and organisation and family life, although she is successfully face frustrations in their life the center point of the family. Her role in the develop various mental problems. family and society is versatile. The health of Mind is the master of the body. When woman is the concern of the family and the mental condition is good a woman may take community and is very useful for the healthy various responsibilities of a family and herself. life of a community." A sound mind lives in She may understand the complications, try to and gives a sound body." This saying clearly solve them, plan for future and may adjust brings to light the importance of the body. Without proper health there cannot be a proper happily with others. So she may become mentally strong. frame of mind. Herbert Spencer has rightly observed - "To be a good animal is the first The percentage of uneducated women in requisite to success in life and to be a nation rural and tribal area is high till today. To of good animals is the first condition to national manage all the tasks of the family they may face property." The distinguishing feature between some hurdles. If this situation will continue for a man and animal is intelligence and a longer period the woman is unable to rationality. Rationality, a product of mind, maintain her daily work. The time she thinks therefore cannot function properly unless we that she cannot take so be understood that she have a healthy mind. has some mental problem. There is a say "if The objective of our life is to establish the forest will be burnt every body will know adjustment with the changes that continuously but if the mind is burnt no body knows." go on in the environment. In order to achieve Therefore mental health is completely different this objective, it is necessary to have an from physical health and mental health integrated and balanced mentality. Every problems are more important than physical individual tries to solve the complications that health problems. This is the high time to take it come in her/his own physical way. Some times into account and provide proper treatment.

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Common Causes of Mental Health conditions such as hard work, being scolded Problems : by others without any fault and so on. Even Self Esteem during pleasure situations like getting a job or a childbirth, there is mental pressure as these It is an attitude of respecting self and events bring changes in her life. Sometimes she others. Self-esteem, worth and identity are ignores her illness and works hard. She closely related to feeling of adequacy and believes in sacrificing herself while taking care social approval is the need to feel good about of others. This causes a great problem. self and worthy of respect of others. The woman who feels that she has some In our society a barren woman has no contribution towards her family and neighbour, importance. A mother of so many daughters not she feels having self-esteem has its early of a son also suffers from mental pressure. foundation in childhood. This development Death and Loss of Property depends upon the behaviour of the important In the death of near or dear ones, or in persons related to her, such as, father, mother, loss of service, home or valuable property brother, sister, neighbour, teacher, mentor and woman becomes very sad. If unfortunately she preacher. If these persons give her importance, becomes ill or handicapped, then she will be admire and encourage while performing depressed. Crying is a natural reaction, which difficult tasks, she feels herself more valuable. provides mental relaxation to some extent in In some situation girls get less the above situations. But in many families it opportunity to develop their self-esteem. For may not be possible to cry at least. This also example : in a family boys are provided leads to mental problems. facilities to read and attend school regularly, Changes in Life and Society to take a lion share of qualitative food. The girls feel inferior in all such circumstances. Migration due to war calamities, forced Gradually these experiences become so intense displacements and poverty may be responsible that even after marriage they do not expect good because they change the life and society, which food or clothing, good behaviour from in-laws, has great impact on individual and family. care during illness and the necessity of Mental Shock developing knowledge and skill. Violence in family, rape, torture, cruelty, Self-esteem is a part of mental health. A natural and manmade calamities give maximum woman having good mental health realize that shock to the woman. So she becomes afraid, she can face problems in her day-to-day life. feels insecured and helpless and does not To develop self-esteem she should recognize believe the surrounding. In such cases it will her value within herself about which she may take time to cure the person. not be aware. This will influence her attitude towards her health. Physical Problem Mental Pressure in Daily Life Some mental health problems are also the result of some physical problems. Those are - Mental pressure is a vital cause of mental health problems which arise due to various - hormonal changes in the body

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- Malnutrition - Speaks slowly and walks slowly Feels - Contamination of HIV weak - Gas pollution, insecticide, pesticide etc. - Think about death and suicide. - Kidney and pancreatic diseases Worry and Anxiety - Excess use of medicine, wine etc. Worry is described as "imaginary fear" Common Mental Health Problems of Rural which is specific to the situation. Anxiety is a Women generalized emotional state. Anxiety often develops after a frequent and intense worry In crisis the mental state of women may that undermines self-confidence. The other be affected more due to sensitiveness. It is not common names of these feelings may be so easy to know the minds of others. Because tension, neurological complication and weak - There is no specific margin between heart. Each individual may come across such normal reaction to any event or situation type of feeling and after some time may be of life and reaction to the same with normal. In case it increases, continues or mental problem. becomes serious, happens without cause, we may say it as mental problem. Intense sorrow - Each individual may face some or less at long run may lead to commit suicide. The difficulties in life. People show different symptoms are : types of symptoms in different situation. - Frequent movement of hands - Symptoms may vary from place to place. Some behaviour may not be accepted by - Sweating others but it may be normal for a - Feels suffocation without any particular region according to their cardiological problem. culture. - Incapable to think clearly Sorrow - Complain frequently about physical Death and disappearance of loved ones problem without illness. may be the cause of sorrow. But if the following Simple Depression symptoms will continue for a long time, it will be clear that she has some mental problem. The outstanding symptoms in simple - Unhappiness in maximum time depression are a loss of enthusiasm and a - Sleeps more than normal or does not general slowing down of mental and physical sleep at all activity. The individual feels dejected and discouraged. Work and other activities require - Unable to think clearly tremendous effort and some how do not seem - No interest in daily work, taking food worth bothering with any way. Feelings of or sexual activity etc. unworthy, failure, sinfulness and guilt dominate - Various physical problems may appear her sluggish thought process. Her loss of without cause eg. Headache, abdominal interest in things about her extends to eating pain etc. and usually reflected in loss of weight and

48 Orissa Review * October - 2004 digestive difficulties such as constipation. - Guilty feelings as she is escaped and Conversation is carried on in a monotone, and others died or severely injured. questions are answered with a meager supply - Violent behaviours at times and does not of words. In general she prefers just to sit alone know what she is doing. and seeing no hope for the future. The above reactions are very normal. As it is noted suicidal preoccupation is But it becomes severe and recognizable after common and actual suicide attempts may be a month of the particular event. Then only it is made. known that the person has mental health Mental Shock problems. The consequences are - People exposed to automobile accidents, - raising the rate of heart beat explosions, fire, earthquakes, and tornados, - raising blood pressure sexual assault or other terrifying experiences - frequent breathing/laboured breathing frequently show shock reactions. Other events - poor alimentary functions leading to such as social disgrace, imprisonment and acidity, ulcer etc. severe financial losses may prove extremely traumatic. In these cases shock may show a We always give importance to physical wide range of symptoms depending on the causes of illness. But we should be very nature and severity of the terrifying experience, sensitive towards the emotional causes of the degree of surprise and the personality make illness also. There are some ways to remove up of the individual. Among the victims of the stress and strain of mind. Motivation and tornados, fires and other catastrophes a awareness are necessary to solve the problem. "disaster syndrome" has been delineated that By acquiring Knowledge, changing Attitude causes - (Attitude is the mood, reflection, feelings, - Inability to think clearly, position or idea shown by our facial expressions, posture of our body, tone of voice, - Inability to concentrate, words and action.) and Practising the best one - Difficulty in decision making, (KAP) the village women can live happily. - Extreme sensitivity, Self Help and Helping Others - Discouragement There is no particular provision for - Sleep disturbances mental treatment in many places. Woman can - Excessive sweating do a lot of work by using minimum resource - Sustained Muscle tension or she can make good friendship with others. - Remembering all the furious events and It has great impact on her life style which may dreams at night or may not sleep at all. be helpful to maintain good mental health. - Trials to remain away from the person i) Ability to maintain balance with the or place, which are associated with that situation : event. Women do not save time to take care of - Feelings of unsafe and insecurity and themselves. It is not at all good for her. She does not get a sound sleep. should do things according to her choice. Many - Anger with past event or feels ashamed. times we do not care for very minor activities

49 Orissa Review * October - 2004 like spending a little time alone, shopping, judgement (2) Tolerance (3) Power of gardening, cooking with friends, singing a song determination. or playing a musical instrument which may help Moral benefits bring about social efficiency - us to maintain mental balance. - Discipline Generally, we see that when we have worked for sometime we get tired. The - Self-control and self-confidence tiredness is nothing but fatigue. It may be - Team spirit physiological or psychological. Fatigue is a sum total of all those factors that are - Co-operation responsible for diminishing the working - Mutual helpfulness capacity. Rest provides mental relaxation. Due - Courage and to this mental relaxation the body and mind become fresh and becomes possible for a - Skill. woman to take up work again. Exercise like walking, jogging, playing ii) To remove the negative experiences from etc. make one generally happier, calmer and mind : more clear headed. Relaxation can improve the ability to think clearly. Examples - Breathing, It is difficult "to make up one's mind" Meditation, Prayer, Yoga etc. A more exacting especially when each alternative offers values form of Yoga, under the direction of a trained that the others do not and the choice is an practitioner, helps to develop a spiritual sense important one. When we cannot open our heart of inner strength and control. The mental skills to others, write it as poem, story or draw as are thinking analysing and perceiving the picture. For this purpose it is not necessary to situation. We can take it as a challenge and an be a good artist. Simply we can express our opportunity to show our skill. Develop our feelings. It will give good result. emotional skill. Handle the negative emotions. iii) To create and be amidst pleasing Learn the advantages of emotional balance by atmosphere : diverting them into constructive work. Our home may be small one, but we can v) To keep good relationship : do things as we wish, like Decorate our home Two or more persons determine to know with alpana or flowers. Learn to make various and understand each other - between friends, decorative articles. Listen to music, enjoy relatives where they are working together. In natural scenes, spend time in our kitchen this situation both sides, agree to listen to each garden or flower garden. other. They express their common problems iv) To practice some traditional habits : during this time. Tradition, custom, culture and belief help vi) To make friendship : us to be mentally strong. We should acquire When two persons understand each other and practise some habits which may be helpful. gradually there will be a good friendship. It Physical Exercise gives corrective, will take sometime to have faith upon each mental and moral benefits -(1) Power of other. Then only one can express her mental

50 Orissa Review * October - 2004 problem to the other. It can be done in a group What is then lacking ? Womens' active also. They will listen to each other, may find participation and their own realization that solution, help somebody and realise the benefit Health (Physical or Mental) is their own of making friendship. The experiences may not property, not of the Government of the country. be equal therefore are should- Besides there are other components in - Try to listen sincerely to others community living, which should be simultaneously handled. - Try to understand others' feeling Control of our emotions are under our - Don't pretend while listening, rather try own control if we accept facts we should to recollect our experience which may remember that happiness doesnot depend upon be same to some extent. who we are or what we have. It depends upon - Think only one thing -"how to help her". solely what we think. - Don't disclose one's confidential matter Reference to others. But if it is necessary to save 1. Abnormal Psychology and Modern Life, by her life you may disclose it with her James C.Coleman. consent. 2. Child Development, by Elizabeth B.Hurlock. Conclusion 3. Health Education and Hygiene, by B.C.Rai. The health of India means the health of 4. Indian Journal of Public Health, Vol.28/1984. rural people who are about 80% of the population. Health is primarily a personal responsibility just as religion. It is well known that how difficult to make the horse drink though it may be taken to the water front. The living example is the failure of the latrine programme Dr. Alhadini Dhir is the Lecturer (SS) in Home Science, and of keeping up the environment clean. K.K.S.Women's College in the District of Balasore.

Shri Naveen Patnaik, Hon'ble Chief Minister giving away prizes to the students on the occasion of the celebration of 50th Wild Life Week at Jayadev Bhawan on 7.10.2004.

51 Orissa Review * October - 2004

Krishi Vigyan Kendra : The Light House for Rural People

Dr. Ashish Kumar Dash Dr. Monoranjan Mishra

Krishi Vigyan Kendra ( K.V.K. ) ia a noble Later on K.V.Ks were established for easy and concept develoed by Indian Council of active participation of farmers through Front Agricultural Research (ICAR) which was rest Line Demonstration and on Farm Testing. upon a solid base of transfer of tehnology from As per the mandate of Indian Council of laboratory to farmer's field with respect to Agricultural Research, K.V.K. will operate Agriculture, Horticulture, Animal Husbandary, under the administrative control of State Flouriculture. Bee keeping, Mushroom Agricultural University (SAU) or Central Cultivation, Broiler Farming and allied Institute situated in a particular area. Different subjects. As per the recommendations of scientists from different disciplines as per the Mohan Singh Meheta Committee during 1974, specific requirement of that particular area are K.V.K.s were established in difereent states. posted in the Krishi Vigyan Kendra as Training Gradually working guidelines are prepared to Associate. Generally there are six categories make the K.V.K. as the light house for the rural of scientists posted in the K.V.K. i.e. people. (i) Training Associate (Crop Production) to look after the experiment on field crops as well Indian Council of Agricultural Research as provide training and advice on different field emphasized on the research on agriculture and crops. (ii) Training Association (Horticulture) allied subject during 1960's to generate new looks after the training and demonstration on technology for increasing crop production in horticultural crops such as vegetables, fruits different agroclimatic zones of the country. A and flowers.(iii) Training Associate (Plant lot of technologies were generated through Protection) Provides training and constant effort of the scientists to boost up the demonstration on control of different pests and production. But the technologies so generated diseases in different crops. He also imparts in the research field are not transferred through training and advice on diferent types of extension agencies of different state pesticides and insecticides, their methods and Government. It is observed that a lot of time of application. (iv) Training Association technologies could not reach the farmer due to (Animal Science) lookes after over all growth high cost of adoption, lack of the interest of and management of animal resource of that the extension agencies. Hence the transfer of particular area. He also imparts training and the technology was not complete and effective. advices on broiler farming,dog rearing as well

52 Orissa Review * October - 2004 as rabbit rearing etc. (v) Training Associate maps were prepared for future use. After the (Agricultural Engineering) looks after the use survey work detailed plan of work was of different agricultural implements in the field chalked out and depending upon the for different agricultural operations through requirement different activities were training, demonstrations and on farm testing. undertaken in different areas by K.V.K. (vi) Training Associate (Home Science) scientists. involved in the improvement of skill and The objectives of all the activities attitude of the farmers and farm women as well undertaken by K.V.K. are : as provides advices and training on kitchen gardening preparation of nutritional food and (a) To demonstrate the new improved different handicrafts. She also imparts training technology to the farmers as well as to the regarding the preservation and storage of fruits extension agencies directly in the farmers field and vegetables for rural youths of the adopted with their active participation. village. (b) To identify the important problems of that area as per the need of the farmers and Training Organiser, head of the K. V .K. prioritization of the identified problems as per family coordinates the work of all scientists their importance. for smooth functioning of the K.V.K. as well (c) To collect feed back from the farmers as for the benefit of the rural people of that particular area. He is also liaisoning with other and extension agencies and to communicate line departments for coordination and effective these massage to research scientists for implementation of different programs of the modification of technology. K.V.K. in the adopted village. Every K.V.K. (d) To impart training on different topics to has adopted 4 to 6 economically, culturally and different group of the villagers. . technologically backward villages situated (e) To provide new and important within 10-20 Kms radius of the K.V.K. These information to the extension agencies and villages are not too small or too large. Before NGOs for wider circulation in that locality to adoption a detailed survey of the village was improve their economic condition. conducted to study the socio-economic and (f) To prepare different extension models cultural status of that village. Now-a-days and verify these models in the farmers field Participatory Rural Appraisal (PRA) tool was with their participation to create confidence used to conduct the survey in which the village among them. people are actively participated in the process. To achieve the above mentioned The village map was drawn by the help of objectives K.V.K. undertake following types different colour by the villagers themselves and different prominent structures of the village of activities in the adopted villages : such as school, temple, river, club etc. were (1) Farm Advisory Service (2) Training depicted in that map. These structures will help programme for different categories of people. the scientists to conduct the survey easily and (3) Training programme for the extension smoothly. Basing upon the survey the field crop functionaries. (4) Front Line Demonstration maps, animal resource map and other ancillary (Fill) (5) On Farm Testing (OFT).

53 Orissa Review * October - 2004

Farm Advisory Services: and foremost factor to be considered before Krishi Vigyan Kendra otherwise known conducting any training programme. Depending as Farm Science Center. It provides solution upon the need and categories of trainees, to any problems related to agriculture and allied K.V.K. imparts mainly following three types subjects as and when faced by farmers of that of training: particular locality. Interested farmers /persons (a) Training to the practising farmers and can get proper advices regarding the farm women: establishment of new entrepreneurship on non Training on different subjects were traditional sector. The main function of conducted by the scientists of the K.V.K. as advisory service center is to provide per the need of the local farmers of a particular continuous and constructive advice along with area as well as the types of trainees and sound theory and practical knowledge to the different audio visual aids are used to increase contact villagers regarding agriculture and its allied subjects for their cultural and economical the efficiency of the training. As the trainees improvement. The objectives of the Farm are practising farmers and farmwomen, more Advisory Center are as follows: emphasis was given on the practical than theory to improve their skill to change their attitude (a) To study the socio economic status of and increase their knowledge for that particular the villagers. topic. (b) To keep close relationship between (b) Training to the Rural Youth: K.V.K. and villagers. This type of training was imparted to the (c) To prepare individual farm model for rural youth (Both male and female) mostly those uplift of rural people. are left their education in midway i.e. school (d) To provide training and advice to the dropouts. The main objective of this training rural people so as to enable them to take part is to provide sufficient knowledge and skill in the agricultural planning of the village, regarding a new entrepreneurship so that they blocks as well as district. can start their own business singly or (e) Formation of farm club farm center or collectively and generate some income for their village committee for easy transfer of new livelihood. The main thrust areas of this type information related to agriculture to the of training are mushroom cultivation, bee villagers in short time. keeping, preservation of fruits and vegetables, broiler farming, goat rearing, tailoring, wool Training programme for different categories knitting, hand crafts and exotic vegetable of people: cultivation etc. for more profit. In this training Training is one of the most important more emphasis was given on the practical activities of Krishi Vigyan Kendra. Training aspects and trainees were do the practical is planned and systematic effort to increase the themselves to get more confidence. The knowledge, improves the skill and change the scientists of the K.V.K. provide knowledge attitude of a person towards a particular regarding the availability of the raw materials subject. Training need assessment is the first as well as the marketing of different products

54 Orissa Review * October - 2004 in that particular locality for the interested various farming situations. Front Line participants. Demonstration is conducted in a particular area (c) Training programme for the extension after thorough discussion and consultation with functionaries : the farmers of that locality. Depending upon the requirement of that area highly efficient new In this group mostly government proven technology with higher potentialities is employees of agriculture along with extension selected for this programme. Generally a field functionaries of line department and members day is observed in the demonstration field when of different NGOs operated in that locality are the crop is at maturity stage and interaction trained in different aspects. The main objective between the scientists, farmers and extension of this type of training is to refresh the memory functionaries takes place in the field. The crop and up grade the knowledge and skill of the is harvested in the presence of the interested extension functionaries by providing recent and group of farmers so that they can visualize-the new information regarding new techniques as importance of new technology easily and well as new approach of solving different effectively. problems faced by farmers of that locality. As the extension functionaries of different On Farm Testing ( OFT ): department act like a bridge between the Testing of any improved technology along scientists and villagers, the refinement of the with the farmers practice in the farmers field knowledge is highly essential and quite helpful with active participation of both the scientists for effective and efficient transfer of the and farmers is known as OFT. In this method technology. two to three improved varieties or two to three Front Line demonstration: improved technologies are tested in the same field so as to compare the results of these Front Line Demonstration (FLD) is the treatments. As per the suggestions of the farmers field demonstration conducted under the close as well as local soil and climatic conditions supervision of the scientists because the the improved technology may slightly be technologies are demonstrated for the first time modified by the scientists of K.V.K. to get by the scientist themselves before being fed into the main extension system of the state maximum return. department of Agriculture in that particular All these activities of the K.V.K. are area. In this method newly released crop undertaken as per the suggestion and approval production and protection technologies and its of the Scientific Advisory Committee. This management practices are adopted in a block committee consists of representative from the of two to four hectares in the farmers field. Vice-chancellor of State Agricultural Only critical inputs and training for this University or Director of the Institute, demonstration are provided by Krishi Vigyan representative from the Indian Council of Kendra. In FLD both farmers and extension Agricultural Research, representative of the functionaries are target audience. From the District Collector, representatives from FLD, it is possible to generate some data Department of Agriculture, Horticulture, related to factors contributing to higher yield Animal Husbandary, Sericulture, progressive and also constraints of production under male and female farmers, male and female

55 Orissa Review * October - 2004 social workers of that area and Training From these discussion it can be Organizer of the concern K.V.K. The Scientific concluded that the scientists of K.V.K. provide Advisory Committee held once in a year to required knowledge, impart training to improve review the work of K.V.K. and provide the skill and attitude of the people towards a suggestions for future plan of work. The future particular subject, provide proper guidance to technical programme of the K.V.K. is prepared solve any problem faced by the people related as per the suggestion of the farmers of that to agriculture and allied topics. Krishi Vigyan particular area. Kendra provides inspiration, constructive and Besides these activities each K.V.K. has constant advice to the people of that area to got different demonstration units such as start new entrepreneurship for their livelihood Mushroom unit. Biofertiliser unit, and show them proper way when need actual Vermicompost unit, Broiler farming unit, Bee help as the light house help the sailor in the keeping unit, Fruit preservation unit etc. for sea. So we can rightly say that Krishi Vigyan the lagers. When a person will visit K.V.K., he Kendra is the light house for the rural people. will be able to see all the enterprise in the demonstration unit and he can interact with the scientists regarding the establishment of his own enterprise. These units will help the Dr. Ashish Kumar Dash and Dr. Monoranjan Mishra villager to increase his confidence on a are working in the K.V.K., G.Udayagiri in the district particular enterprise. of Kandhamal.

Dr. Damodar Rout, Minister, Culture and Panchayati Raj releasing a poster on PARAB-2004 at 3rd floor Conference Hall of Secretariat on 5.10.04 in the presence of Shri Balabhadra Majhi, Minister, Scheduled Tribes and Scheduled Castes Development (Scheduled Tribes Development).

56 Orissa Review * October - 2004

Sarala Dasa, The Originator of the Oriya Literature Debendra Nath Bhoi Priyadarshini Bakshi

Sarala Dasa was one of the great scholars of Sarala Dasa belongs to Sudra Caste and Oriya literature whose work formed perennial a cultivator by profession. The title 'Dasa' source of information to the succeeding means a slave or a servant of a particular gods generations. It was a perennial spring from or goddess. which the later Oriya literature flowed like a We have this a long list of poets stream without a break. He was the first scholar preceding and succeeding Sarala Dasa; whose who wrote his works in Oriya in 15th century names end with Dasa e.g. Vatra Dasa, A.D. Markanda Dasa, Sarala Dasa, , The life of Sarala Dasa is very obscure. Dasa, Yasovanta Dasa etc.2 The date of his birth can't be accurately Saral Dasa was famous for his three determined, but he can safely be placed on the books like -Mahabharata, Vilanka Ramayana second half of the 15th century A.D. He was and Chandi Purana. He has also written the born at Kanakavati Patana is known as book, Laxmi Narayana Vachanika. The Adi Kanakapura, one of the Sidhikshetras in Parva Mahabharata opens with a long . His early name was invocation addressed to the Lord Jagannatha Siddheswar Parida, later he was known as of Puri, from which it is known that Sarala Dasa Sarala Dasa by the boon of Goddess Sarala.1 started writing his Mahabharata in the reign of There is a story, which tells us that Kapileswar, otherwise known as Kapilendra, Siddheswar in his boyhood was once the famous Gajapati king of Orissa (1435-67 ploughing his father's field and singing so A.D.). He tells us that Maharaja Kapilesvara melodiously that the goddess Sarala stopped with ennumberable offerings and many a salute and listened to his song and endowed him with was serving this great deity and hereby her power of composing beautiful poems. Such destroying the sins of Kali age. stories are also similar with the early life of There were reasons for the rise of Oriya other Indian poets. Particularly of the great poet literature in the reign of Kapilendra. In Kali Dasa, who is said to have illiterate in his Gopinathpur stone inscription a verse proves early life but he could become a great poet that Kapilendra was a native of Orissa. After through the grace of goddess Saraswati. a centuries a native of Odra-desa or Orisa

57 Orissa Review * October - 2004 ruled its own people, giving them a sense of education and untiring efforts have all been pride and self-respect, hopes and aspirations attributed to the grace of the goddess Sarala leading them to battle fields for his extensive the deity of the devotion and inspiration. Poetry conquests and opening to them a new was in the blood of Sarala Dasa and it flowed geographical horizon. A love for the Oriya from his iron stylus as words flow from his language and literature and culture therefore mouth. What he wrote once was final. His is an inevitable consequence of the new format verses are simple, forceful and musical with created by the strong and vigorous rule of no trace of artificiality in them. He had a finer Kapileswar.3 sense of composition and application of all Sarala Dasa followed the main outline colloquial words for his poetical purpose. His of Sanskrit Mahabharata in writing the Oriya writing was free from Sanskritization. Mahabharata. He made numerous deviations Earlier Oriya folk songs were orally and added to it copiously the stories of his own popular and were being used in various folk creation and various other matters known to dances. Such as Ghoda-nacha (Horse Dance). him. In the final form Sarala Dasa's Dandanacha and Sakhinacha (Puppet Dance). Mahabharata is a new creation analogus to One metrical peculiarity of these songs is that 's Raghuvamsa based on the both the lines of a verse do not contain an equal Ramayana. number of letters though the last letters of both Mahabharata brought to light about the the lines produce the same sound. All the eighteen parva's like. 1. Adiparva, works of Sarala Dasa are found to have been 2. Sabhaparva, 3. Vanaparva, 4. Parva, composed with this metrical peculiarity and 5. Udaya Parva, 6. Vishma Parva, 7. therefore, the metre use by him can be regarded Parva, 8. Kanna Parva, 9. Slaya Parva, as a direct descendant of the metre used in the 10. Surtika Parva, 11. Stri Parva, 12. Shanti folk songs. By the fifteenth century the Oriya language had assumed almost its modern form Parva, 13. Anusasanika Parva, 6 14. Asramavasika Prava, 15. Mahaprasthanika and had become ripe for literary compositions. Parva, 16. Asvamedha Parva, 17. Mausala The predominant sentiment in Sarala Parva, 18. Swargarohana Parva.4 Dasa's poem is not love but war. He was also motivated by a strong religious zeal to compose The Chandi Purana5 is based on the well- known story of Durga killing (the religious books in a language intelligible to buffalo headed demon) given in Sanskrit all and to make them available to the general literature but here also the Oriya poet has public in Orissa. He tells in no uncertain words chosen to deviate from the original at several that he composed his poems for the benefit of points. His earliest work Vilanka Ramayana "human beings". There are several indications is a story of the fight between Rama and in his Mahabharata that he served as a soldier Shahasrasira Ravana (thousand headed in the army of the Gajapati King of Orissa and Ravana). his association with the army brought to him a variety of experiences. The stories he heard Sarala Dasa had no systematic education the battle scenes which he witnessed, the from early age. What he achieved through self- places that he visited with the company of the

58 Orissa Review * October - 2004 army the historical incidents and names that he 2. K.C. Panigrahi, History of Orissa, Cuttack, could know all remained stored up in his mind 1995, PP 291. 3) Ibid., PP 288-89 to be utilized in his writings.7 4. Sarala Dasa, Mahabharata (Oriya), Cuttack, 1981, PP 86. - 5) Sarala Dasa, Chandi Purana, Sarala Dasa spent his last time at Bila Cuttack, 1981, PP 67. Sarala but the native place Kanakavati Patana 6. K.C. Panigrahi, Sarala Dash, Makers of Indian known as Kanakapura at Tentuliapada with a literature serie, Sahitya Ekademi, New Delhi, religious establishment known as 1975. Munigoswain, which marks as the traditional 7. K.C. Panigrahi, OP.'CIT, P 292. spot, where he composes his works. Thus, Sarala Dasa was really an originator of Oryia literature. His works inspired the succeeding generation of writers to make it more popular among the people. References : Debendra Nath Bhoi and Priyadarshini Bakshi are the Reasearch Scholars in the P.G. Deptt. of A.I.H.C. & 1. S. Mahanti, Oriya Sahityara Kramabikasha Archaeology in , Vani Vihar, (Oriya), Cuttack, 1993, PP 22-23. Bhubaneswar.

Shri Naveen Patnaik, Hon'ble Chief Minister of Orissa going round the newly constructed library and reading room of the OAS Association at Bhubaneswar on 2.10.2004.

59 Orissa Review * October - 2004

Palmleaf Manuscript Legacy of Orissa and National Mission for Manuscripts

Dr. C. B. Patel

Orissa is exceedingly rich, since ancient times Makenji, Sir John Beams, the-then Collector in exquisite and excellent palmleaf manuscript of Balasore, R. L. , M. M. Chakravarti, expanse of textual and illustrative eminence. H. P. Shastri and Prof. Macdonel etc. The varied palmleaf manuscripts galore, now contributed significantly to the study and found in the collection of museums, private institutions and individuals amply testify to the exuberance and efflorescence of this great tradition from about 10th Century A.D., as is evident from the epigraphic reference to Oriya language and Kutila script found in an inscribed sculpture of Jaina monk-Kumarasena discovered from Gandhi-bedha in Balasore district. They formed the treasure house of wisdom and knowledge on different aspects of Orissan history, culture, artistic & architectural legacy. Because of the easy availability of palmleaf in abundance in Orissa, the palmleaf manuscript culture became very research of palmleaf manuscript tradition of popular through ages. It also becomes easy to Orissa which cast a flood of new light on the scribe and engrave different subject matters manifold aspects of variegated and glowing with an iron stylus. The Oriya writing due to Orissan Culture. its round and linear shape, facilitated the After Orissa became a separate province growth and development of palmleaf in 1936, a series of serendipities and manuscript writing and this tradition even reconnaissance works were taken up to prepare continues till the present days. a list of palmleaf manuscripts found preserved Interestingly, the European scholars were under different agencies through the help of greatly attracted to study the Oriya palmleaf local Pandits and as many as 15 thousand titles manuscript collections during the nineteenth were recorded out of which 11 thousand are century. Rev J. Long published the first research now available in Orissa State Museum. article in the Journal of the Asiatic Society of Education Department, Govt. of Orissa Bengal and subsequently scholars like Col. thereafter, collected a large variety of palmleaf

60 Orissa Review * October - 2004 manuscripts with the initiative of Prof. G. S. Epics, Puranas etc. Among these the illustrated Dash and Prof. N. Banerji with the assistance palmleaf of Bhagavata has evoked great of Prachi Samiti under the banner of newly interest from the scholars and Indologists of founded Ravenshaw college Museum. India and abroad as well. Scholars like Padmasree Paramananda University has also a number of rare collection , Purna Chandra Rath and Kedarnath of manuscripts including that of renowned poet Mohapatra contributed enormously in their . Many private organisations official and individual capacity to the like Raghunandan Library at Puri, enrichment of palmleaf manuscript collection. Banchhanidhi Library, , Saintala When the Ravenshaw College Museum was College, District Bolangir and Veshja Patel shifted to Bhubaneswar during 1947- 48 Sri P. College of Duduka, Sundargarh, Titilagarh Acharya the - then Superintendent of Orissa College, Titilagarh, individual collection of Sri State Museum and K. N. Mohapatra the - then Jitamitra Singh Deo, Khariar, Dileswar Patel curator of Manuscripts opened a separate of Kantapali, Dist. Jharsuguda, Dr. M. K. section of manuscripts in the Museum. This has Misra of Kalahandi and Sri D.Pattnaik of now proliferated into an institution of Bhubaneswar have housed different varieties international reputation with about 40 thousand of palmleaf manuscripts. manuscripts comprising 6 sections, In the arena of Indian philosophy, Oriya Manuscripts have been classified under 27 palmleaf manuscript writers have carved out subjects namely : a permanent nich for themselves. Since the 1.Veda, 2.Tantra, 3. Jyotisha, advent of Buddhism, philosophers like 4.Dharmasastra, 5. , 6. Ganita, Dharmakirti, Kavidindima, Jivadevacharya, 7.Silpasastra, 8. Samgita, 9. Abhidhana, Acharya Narsimha Vajpeyi, Gaudiya 10., 11.Sanskrit Purana, 12.Sanskrit philosopher Baldev Vidyabhusan, Indrabhuti, Kavya, 13.Alamkara, 14. Bengali (Sanskrit), Laxmikara etc. have contributed greatly in this 15. Bengali, 16. , 17.Oriya Purana, field of study. Oriya dictionaries that were 18. Oriya Kavya, 19. Oriya Prose, 20. Oriya composed in Orissa such as Trikanda Sesha Historical Literature, 21. Sanskrit Paper and Haravali of Purusottama Dev and Medini Manuscripts, 22. Oriya Paper Manuscripts, of Medini Kara have received wide 23. Arabic Manuscripts, 24. Darsana recognition in India since early medieval times. Manuscripts, 25. Telugu manuscripts, The Vedic manuscript collection of 26. Copied Manuscripts and 27. Illustrated Orissa State Museum are not that large as Manuscripts. because people are orthodox in nature and Simultaneously Sambalpur University, reluctant to part with their traditional Berhampur University and Utkal University individual collections because till date people have opened their manuscript collections. Dr. of Orissa perform Vedic rites and rituals as N. K. Sahu organised a palmleaf manuscript per the diction of Vedic manuscripts. Therefore, section in Sambalpur. This has developed into unlike Bengal, Vedic palmleaf manuscripts are a palmleaf manuscript library of Sambalpur found in plenty in almost every Oriya house. University which has in its collection Some manuscripts of and manuscripts covering a wide range of subjects. have been brought from Midnapur They are Veda, Grammer, Tantra, Astronomy, district of , Characters of these Medicine, Religion, Philosophy, Alankara, manuscripts are Oriya in content and nature

61 Orissa Review * October - 2004 which hints that originally they had been a good number of palmleaf manuscripts of written by Oriya pandits and script writers. It historical prose and translation works. Oriya is also a known fact that Midnapur region was scholars have also contributed to Bengali and part of Orissa till ancient times. manuscript composition. Among the M. M. Shastri has mentioned the names Bengali works to have been composed by of great Pandits like Jalesvara Misra, Bhaskara Oriya poets are Krishnalila of Ramachandra Parivrajaka and Haladhara who wrote Pattanaik, Manasamangal of Dwarika Dasa, valuable commentaries on the Vedic works. Govardhan Utsava of Gourachandra Parichha, Late Pandit D. N. Bhattacharya, an erudite Basanta of Pindika Srichandan, Dolarasa scholar of Bengal was fortuante to get a of Natabar Dasa, Navanuraga of complete manuscript of the Paippalada Sakha Shyamabandhu Pattnaik, Ganga Mahatmya of of the Atharva Veda from Jagannathpur in the Jagannath Dasa. In Hindi we find literary District of Puri which was not available in any works Brajaboli gita of Patnaik, other part of India. Some kandas of this unique Jayachandrika and Kosalananda of Prahallad Vedic work have been published so far. There Dube, Gundicha Vije of Brajanath and poems are a number of these manuscripts in our of many other poets. Besides we also find collection containing different archas palmleaf manuscripts written in Telugu, Tamili, (chapters). There are three manuscripts Sarada, Newari, Persian and Urdu. The containing ’s Bhasya on the manuscript gallery of Orissa State Museum is Kanvasamhita of which one is complete in now adorned with such rare palmleaf twentyone chapters of its second part of manuscripts collection. Bhasya. Our collection is not enriched by the Sarala Dasa, the writer of Mahabharat acquisition of the manuscripts of different in Oriya has contributed a number of works of of the Yajurveda Upanisads, eminence like Saptakanda Ramayana, Chandi Tapinis and Angirasakalpa of the Atharavaveda, some of which are as yet Purana, Ramayana, Malasri Janana and Mahalaxmi etc. These mauscripts unknown to the scholars. Orissa was a popular centre of Tantric cult from 6th century A.D. are now found in the collection of State Baladeva Rath and Gaurahari Parichha etc. Museum. He established Oriya as a rich contributed enormously to the Oriya literary language in the 15th century A.D.. exuberance of this epoch. Their activities, Mahabharata of Krishna Singh, Purusottam inspired a number of followers to compose Dasa, Jagannath Das and Kapileswar more creative compositions in the field of art are also some of the prize collections of the and literature. They are Pitambar Deva’s manuscript section. Mahabharata and Akhila Chintamani, Kesava Ratha’s Ramayana became very popular in Orissa as Ananga Ragini, Anuraga kalpalata of they were written in Oriya languages and Shyamasundar Deva, Haravati of Ramachndra script due to the initiative of Balaram Dasa, Pattnaik, Anuragavati of Padmanabha etc. In Maheswar Dasa, Kirshna Chandra Rajendra, addition to these we find a number of lesser Kesava Tripathi and Purusottam Dasa. The known writers like Madhavi Dasi, Rani Mohan Madala Panji, the temple chronicle of Puri Kumari, Rani Kshirod Mali, Krishnapriya written in palmleaf is a storehouse of Jema, Sivapriya Dei, Kalpalata Jema, Madhuri knowledge which needs a thorough and Dasi, Achuta Jema and host of others. We find separate study.

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Bhagavata Purana was translated by Charles Fabri remarks that those who Jagannath Das and has become the Bible of carved the masterpieces of sculpture in the 9th, Oriya people. He completed this work in the 10th and 11th century A.D. must have been also Jagannath temple before the advent of Sree able to carve lovely pictures on thier palmleaf Chaitanya in Puri. His mastery over Sanskrit manuscripts. Unfortunately we do not find any literature enabled him to translate this work specimen prior to the 15th century A.D. As into a very lucid and simple style. We have palmleaf manuscripts are perishable, the several copies of this masterly work in our earlier paintings and engravings must have collection. The works Bhagavata Lahari, been obliterated. However, we find lively , Padmapurana by Achyutananda specimen from 15th century A.D. onwards as and the works of Mahadeva Dasa, Haladhara reported by Prof. Ganguly. Thus the history of Dasa, Nilambara Dasa, Pitambara Dasa are the incised drawings on palmleaf manuscripts also a few unique acquisition of the section. goes back to a definite datum line. Difference Few poetic compositions have historical value between stylus incised line drawings and like Jagannath Charitamruta, Chaitanya coloured paintings is enormours. They seem Charitamruta and Bhaktamala, Copies of to belong to two worlds even if one recognizes Veda, Tantra, Dharmashastra, Jyotisha, the elements of hieratic drawings, the ready- Vyakarana, Kavya, Alankara etc. have made formula for eyes, hands, lips etc. of the enriched the manuscript legacy of Orissa. They line drawings being re-employed as a basis have been written in Sanskrit language with for paintings. He has referred to the live leaves provincial Oriya script. A few notable works of a palm leaf manuscript by one Lokanath Dasa in these fields are mentioned below for now found in the Raghunandan Library, Puri. reference of researchers and tourists. They are illustrations of Ushaparinaya text and 1. Vedartha Praveshatika or Sayana Bhashya their date has been assigned to the 18th century. of Yajurveda, 2. Paippalada Samhita of In the painting, women don’t put on blouses Atharvaveda, 3. Brahmanas according to except the end of the saree draped over their Sakha or Yajurveda, 4. Jnanavalli breast. There is one complete naked woman in Tantra, 5. Durga Janana Dipika, leaf-4 from the top left side and she is draped 6. Bhubaneswari Prakasa, 7. Tarini under an element whom she appears to Kulasudha Tarangini, 8.Bhasvati, 9. Kritya embrace. Such erotic illustrations we find in Kaumudi, 10. Vaisvanaresti Paddhati, other private collections also. In 11.Vidyakara Padhati, 12. Nityacharadipa, Ushaparinaya compositions, male figures are 13. Vaijalakarika, 14. Prakriyasara, found wearing typical Mughul tang paijama. 15. Sarasidhanta Samagraha, i.e. tight fitting leggings. In another illustrations 16. Anyopadesasataka,17. Abdaduta, we find four palmleaves from a Ramayana 18. Gitagovinda, 19. Gundicha Champu, manuscript in the collection of Sadasiva Rath 20. Bhakti Bhagavatamahakavyam, Sharma. All the men were found wearing tight 21. Bharatamrita Mahakavyam, Mughul trousers and belted coats, and Marathis 22. Manimala Natika, 23. Parinaya, turbans. The females wear blouses and saree. 24. Raghavayadaviyamahakavya, 25. Kavya Sita seems to have put on a ghaghara, choli, Prakasa Vivarana, 26. Sahityabhusana, orni that is skirt, blouse and handkerchief. The 27. Gita prakasa, 28. Sangitanarayana, Orissa State Museum has obtained a good 29. Sangitakalpalata. collection of such illustrated manuscripts some

63 Orissa Review * October - 2004 of which are in display. The subjects are mostly secular architecture. Hence the word derived from Ramayana, Mahabharata and Bhubanapradipa may be taken to mean the Bhagabata Purana. In many cases temple lamp which sheds light on the characteristics styles, gods and godlings are also found. The of the abode of the Gods. We do not find names most interesting is one Kandarpa Ratha of artists who constructed the colossal temples illustrated over a bunch of palmleaves cut to of Bhubaneswar, Puri and Knoark but in the size and stiched together horizontally in a Bhuvanapradipa there is reference to Pingla, rectangular shape. Enchanting and impressive the artist and Ahidhar the carpenter, along with maidens are intricately arranged to form the information regarding parting dues of each with Radha & Krishna in embrace functionary at the end of the ceremony of the placed at this centre. Another most important construction of the temple, which reads that treasure of the section is the Gita . the Brahmin who will perform will get The plates are plam leaves size and every plate his dues equivalent to the astrologer. Many contains about 17 lines on each side. manuscripts are found uncared in the villages We also find musical texts in palmleaf which are a in state of decay and destruction. manuscript. The Oriya poets have They are the depository of our cultural heritage experimented the use of music in a traditional and should be restored by popular drive Sanskrit lyric. This indicates that music was through various institutions and individuals prevalent in the country prior to . dedicated to the cause of saving the extinct From the style of collection of this text, it is palmleaf manuscript heritage of Orissa. believed that Southern Orissa and Puri were The precious palmleaf manuscripts of the main centres of this musical culture where Museum deserve special mention. It is regular musical performance alongwith textual ascertained from records that 37,273 discussions were being held. From the days of manuscripts have been collected out of which Bharatmuni, Orissa had a special style of music. fifty two manuscripts have been published. Ten The Natya of Bharat has given special descriptive catalogues of manuscripts, five importance to the Udra style of music. It is an alphabetical catalogues and one alphabetical irony that old Sanskrit scripts dealing with catalogue of authors have been made. The music are not available in Orissa. Such texts manuscript section comprises twenty seven generally belong to late medieval times. They sections such as Veda, Tantra, Darsana, include Samgita Kaumodi, Gitaprakash, Historical records, Silpa Sastra, Abhidhana, Samgita Kalpalata, Samgita Narayana and Ayurveda etc. It has Palmleaf, Bamboo leaf, Natyamanorama etc. Handmade paper, Old paper, Ivory Orissa, the land of temples and shrines manuscripts, Bhurja bark, Manuscript, Kumbhi has also received the prolific impress of bark manuscripts, Garland shaped, Fan palmleaf manuscript art diction. However, few shaped, Fish shaped, Sword shaped, Rat and texts are now available among which Parrot shaped varieties of manuscripts and Bhuvanpradipa occupies a conspicuous different types of stylus are displayed in the position. N. K. Bose refers to some of the section. palmleaf manuscripts and says that they are Three hundred sixty six illustrated writtent with an iron stylus. In the Bhuvana- manuscripts of coloured and monochrome pradipa we find description of temples, altars, variety are found. Important variety such as and similar structure. There is no reference to manuscripts of of Kali Charan

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Pattnaik, the Usha harana, Ushavilasa etc. and The National Mission for Manuscripts different varieties of cover design of palmleaf seeks to develop a holistic approach in manuscripts are in the collection. As many as locating, documenting, protecting and making seven thousand manuscripts have been accessible the significant information of the conserved scientifically and manually by way manuscript heritage of india. This challenging of dry and wet cleaning filling of holes made task is carried out through wide networking by worms, use of preservative chemicals and with institutions and scholars across the reinking of invisible writing of manuscripts. country and abroad who have manuscript A microfilming unit is functioning in this section holdings and interest in their preserves. The since 1985-86 with the donation of Ford NMM has identified some of the most Foundation. One thousand seven hundred ninety prominent institutions across the country with eight palmleaf manuscripts have been considerable manuscript holdings and has microfilmed up to date. It is worth mentioning designated them as Manuscript Resource that even today palmleaf is used for recording Centre (MRC). Indira Gandhi National Centre horoscope (Jataka) of new born babies. For for Arts, New Delhi has been identified as the invitation to God, it is also used. In 15th century National Nodal Agency and Orissa State A.D. the palmleaf tradition has reached Museum, Bhubaneswar has been designated as pinnacle of excellence with wide distribution. the MRC to carry out the survey and listing Etching and painting on palmleaf is a work of manuscripts in Orissa. Dr. C. B. Patel, very ancient art diction of Orissa. Origin of Superintendent of Orissa State Museum has this art form marked the beginning of been designated as Project Co-ordinator. dissemination of written version. It is, Orissa Art Conservation Centre, Orissa State therefore, part of our literary tradition. With Museum has been identified as the Manuscript the magnificence of Orissan rulers, illustrated Conservation Centre for Orissa. Keeping in manuscripts reached climax of excellence view the above, MRC/OSM is organizing vindicating the ancient nomenclature of Utkal different Awareness Campaigns, Workshops to i.e. “land of art of exuberance and popularise the mission work and to document efflorescence’. Even to this day, the glorious manuscripts. Donation from individual & tradition thrives in the work of handicraft institution are accepted free of cost for artisans of Orissa. The art form comprises organisation of Central Manuscript Library by inscribed letters and paintings of various NMM at IGNCA, New Delhi. An extensive designs. Such a piece of work is a befitting five days sample survey of palmleaf item for presentation as memento or Souvenir. manuscripts in all the thirty districts of Orissa is already on the anvil. It is hoped, on It is heartning that Government of India completion, the National project will open have recently launched National Mission for many new avenues of exuberant Orissan Manuscripts for documentation preservation palmleaf tradition, idiom and diction. and dissemination of the manuscript heritage of the country. In Orissa in this Project uptill now more than eighty thousand manuscripts have been documented and disseminated in addition to the 40,000 collection of Orissa Dr. C.B. Patel is presently working as the State Museum. Superintendent of Orissa State Museum, Bhubaneswar.

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Durga Worship in Upper Mahanadi Valley

Sasanka S. Panda

Goddess Durga, Banei

We find the traces of the worship of goddess We find another two-handed Durga image Durga in her Mahisasuramardini aspect as at Dharapgarh village of Balangir district, early as the sixth century which can be dated to the same period. The A.D. This is evident from textual references to the the discovery of the ruins of goddess with two arms is a collapsed brick temple quite rare, though containing a two-handed Suprabhedagama, Mahisasuramardini Durga Purvakarmagama and image in the Alidha posture Uttarakarmagama describe 2 in the Garbhagriha and Durga as having two hands. having an inscription on the R. Chanda has suggested that pedestal in the box-headed the two-armed figures of the Brahmi alphabets of the goddess were confined to the 3 sixth century mentioning pre-Gupta period. But as the Brahmanisation process goddess Mahesvari. The seems to have started in temple was unearthed by the western part of Orissa only noted historian, late Prof. after the subjugation of this N.K. Sahu, in 1983, during area by the Gupta monarch excavation in the Maraguda Samudragupta during his valley of the Nuapada Goddess Durga, Lalei, Sundargarh District military expedition to the district. A Sakta Math Daksinapatha in the middle of the fourth (Monastery), said to be the earliest of its kind century A.D., both the two-handed Durga was also unearthed near this temple during this images of Western Orissa can be taken to be of 1 excavation. The discovery of the two-handed the post-Gupta period. Another unique image Mahisasuramardini Durga image in the of two-handed Durga, sitting on Her mount lion Garbhagriha of the Maraguda temple ruins as holding two swords in both Her up-raised well as the Sakta monastery testify to the hands is found fitted in a niche of the exterior existence of the Mahesvari cult as early as the wall of the Bahari Gopalji Temple at Sonepur, sixth century A.D. situated in front of the destroyed palace of the

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erstwhile feudal her womb has been found on a terracotta ruler of Sonepur sealing of the Gupta period (circa 4th-5th Ex-. century A.D.)6 Ringstones and discs found from Four-handed Durga sites of the Maurya and Sunga periods (300- images are found at 200 B.C.) were probably associated with the Belkhandi and cult of Mother Goddess symbolising the . carved on a Ringstones, popularly known as Pandka monolithic rocky Pathar is found in many places of escarpment at archaeological importance in the rural area of Ranipur Jharial the upper Mahanadi valley. One carved Yoni alongwith figured has been discovered during digging of the spill panel of way of the Jonk Dam at Patora in the Maraguda Ten-handed Durga, Saptamatrka, Uma- velley in 1982, which is in the private (Goddess Kusangei) Mahesvara and possession of the noted historian Jitamitra standing Ganesa. Noted historian Dr. J.K. Sahu Prasad Singhdeo of Khariar. In the meantime takes the four-handed Durga images to be of four more stone Yonis have been found in the seventh century. 4 Six-handed Durga images places like Dangrital, Chuipain, Soseng and are found at Belkhandi, Gandharadi and in the Mundapada village, all in the Nuapada Parsvadevata niche of the Ramesvara Siva district.7 temple at Sonepur, as central deity in the Durga The Mother Earth in the shape of Yoni, temple at Bausuni and enshrined as the female organ of generation, in the opinion Vindhyavasini Durga at Narsinghnath. The six- of the learned scholar O.A. Wall, still very handed Durga images can be taken to be of the widely worshipped in the Asiatic religions, and eighth/ninth century when the Bhanjas and the worshipper of Yoni are called Yonicitas.8 other local dynasties were ruling this region. Yoni is wors- The worship of the Mother Goddess or hipped as goddess the female principle can be traced in India as Duarseni at in other regions of the world to the most ancient Patalganga in period. In India the worship of Mother Goddess Nuapada district has been traced in the archaeological findings and at Sindhekela from Indus Valley. An oblong terracotta seal in Balangir district from Harappa depicts a nude female figure in shrines built for upside down with her legs wide apart, and with 5 the goddess by the a plant issuing from her womb. Marshall has local populace. further mentioned that such figurines have been found in various regions situated in a wide belt Even much of the ancient world from the Indus to the Nile. before the Vedic He is of the opinion that they are 'effigies of period or even the the great Mother Goddess.' Such depiction of time when the the goddess with the similar position, but with Indus Valley Goddess Durga, a lotus issuing from her neck instead of from civilisation Vaidyanath, District Sonepur

67 Orissa Review * October - 2004 flourished, Yoni, the origin of the mankind and western, other living world, was worshipped in the southern and rock-shelters by the pre-historic cave-dwellers central India. of the upper Mahanadi valley. Two such Learned scholar Dr. Pradeep K. Behera images while doing exploration work in the dense carved on mountain ranges of Hemgir belt of Sundargarh stone district in 1987-88 encountered hundreds of plaques, depicting small and large rock shelters, out of which six Two-handed Goddess Durga, yielded evidence of pre-historic occupation Lajjyagouri Sarsara, District Sundargarh and artistic activities. In two of those rock has been shelters out of the six discovered by Prof. discovered in the Nuapada district. One was Behera, peculiar triangular engravings were discovered by the learned scholar J.P. Singh found, which have been identified by him as Deo in the Kotipadar village, situated at a stylised depiction of female genital organs distance of 10 kms from Khariar and the other (Yoni). Dr Behera is of the opinion that pre- one was found during digging of the plinth of historic people were somehow connected with the Panchayat College Building at Komna. the process of procreation among the human In this images, the goddess is depicted beings, which has been subsequently referred as headless and instead of head, a full-blown in the religious literatures as fertility cult.9 In lotus is issuing from the neck. This goddess Western Europe also we get evidences of the has been identified with Aditi Uttanapada by prevalence of the stylised of Mother of Venus10 Stella Kramrisch.12 in the Upper Palaeilithic and subsequent pre- H.D. Sankalia has identified her with historic cultures.11 Lajjyagouri. 13 The prominent exhibition of The Fertility Cult or the worship of the vulva in this images emphasize the Yoni type Mother in the child-delivering postures has of the fertility figurines.14 The sprouting of been emphasised in the Lajjyagouri or the Aditi vegetation or lotus from her throat, thereby Uttanapada images found all over eastern, forming her head, allure scholars to identify her with goddess Sakambari.15 In Parvati legend, her sexual aspect, nourishing nature and headless figure is meet with in her Sakambari aspect. In the Laksmi Tantra we find mention of the blue coloured goddess Sakambari who was produced from the body of Parvati during the fourteenth cycle of Vaivasvata Manvantara.16 Learned scholar Dr. Baba Mishra has rightly pointed out that the evolution of Durga- Rock-cut figures of Four-handed Durga and Ganesh, Parvati and Sri Laksmi cults have the same Ranipur Jharial, District Balangir cardinal traits like headlessness, amorous

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aspect and -kundala in both ears and a broad fertility /neck-lace. This lady is calm and while her nourishment right-hand is in Abhaya-mudra, the left hand features.17 is put around the shoulder of a youth whose Therefore in the mouth is near her left breast. This youth is Brahmanical holding a Kartri in his left-hand. The lady- culture, although figure is wearing long cloth hanging from waist Durga-Parvati below up to her feet while the youth is wearing and Sri Laksmi cloth from weist upto knee-portion and hanging from their shoulders in both appear to be different, yet, they cases. It seems to be the mother-son figure of Parvati and Karttikeya. are considered as one. They both as The association of vegetation with the the manifestation goddess has been described in her Sakambari Eight-handed Durga, of a single aspect in the Markandeya Purana.21 This Rampur (Patnagarh) Universal Mother concept is given much emphasis even during Goddess has been mentioned in the Durgastotra the present time, in the Navapatrika ceremony of Mahabharata18 at least since the later Vedic of the autumnal Durga worship, associating nine period. In a Gupta coin, Laksmi has been plants. 'She is the mother par excellence depicted as seated on a lion, the vehicle of sustaining her children, the men and animals goddess Durga.19 of the universe, with food produced from her body.'22 In this context the story of Renuka, the wife of sage can be cited. She is Although we donot find mention of worshipped as goddess Matangi, Yellama and goddess Durga in the Rg Veda, Her name Prthvi etc. for procuring offspring by barren occurred for women even today. 20 the first time as Ambika in In this context it is important to be noted the Taittiriya that during the Baliyatra at Sonepur, religious as rituals of esoteric nature are performed during the consort of Dussehra in the Khaulgad, (most probably Rudra.23 She symbolising Yoni or vulva), in a place called has been Renukapitha, near the Suresvari temple. mentioned as The nourishing mother aspect of mother Durga goddess Parvati is emphasised on an unique Vairocani, image of mother-son (Parvati and her son Karttikeya), fitted to the northern Parsvadevata and niche of Dhavalesvara temple at Mohangiri in Kalahandi district. It is the standing figure of a in the same heavy-breasted female wearing a flat Mukuta, work also.24 Saumya Durga, Bausuni, District Baud

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The names of Tantric goddess, revered by all sections of the Supreme people. 'Durga in her perfect nature represents Goddess as a consolidated idea of different aspects of truth Bhadrakali, as divine power. She is described as the most and Durga powerful martial goddess, equipped with the etc. are mentioned sharpest weapons and making terrifying sound in the later Vedic and as the omnipresent, omni scient and texts like the omnipotent creater, preserver and destroyer of Sankhyayana and the Universe.28 Hiranyakesin In the upper Mahanadi valley, mention Grhyasutras, and Goddess Durga, about the worship of the Mother Goddess in Kumari Temple, Banei also in the Taittiriya the form of Stambhesvari is found in the Teresingha copper-plate grant of king Aranyaka. The two Durgastotras of the Tustikara,29 who was ruling from Mahabharata25 and the Aryastava in the Supplement of Mahabharata have vividly Tarabhramaraka in the 5th century A.D. He outlined the constituent elements underlying the was a devout worshipper at the feet of development of the Sakti Cult. Stambhesvari (the Goddess of Pillar or Post) - 'Stambhesvari Padabhakta.' Stambhesvari The Devimahatmya Section of the worship also flourished in the later period and Markandeya Purana is the most authoritative was such a popular cult among the local text, which contains Devistutis elaborately populace that to appease their subjects, who presenting various multi-farious strands that were predominantly tribals, the later ruling contributed to the formation of the concept of family like that of the Sulkis (circa 700-900 the composite Mother Goddess Durga. The last A.D.) of Kodalaka Mandala, corresponding to 26 couplet of the Narayani-stuti describes the the present Dhenkanal-Angul-Talcher region, glory of the Great Goddess, who will so often made goddess incarnate herself to kill the Danavas. The Stuti Stambhesvari their express the ideas of the divine power and tutelary deity, the energy centering around the Supreme Mother Istadevi.30 Goddess Durga, the central deity of the Sakti cult. In the 82nd Chapter of the Markandeya B.C. Purana we get vivid description about the Majumdar has Great Goddess, who emerged as the rightly pointed out accumulated fury of the Great Gods Brahma, that Stambhesvari Visnu and Siva (the Creater, the Preserver and was an aboriginal the Destroyer of the Universe) and endowed goddess with all the accumulated power of many other worshipped by the major and minor gods of the Hindu Pantheon. non-Aryan tribes Then she set herself in the war path to the kill of the hinterland of 27 the demon king Mahisasura and his retinue. Orissa and in Two-handed Durga, She is taken as the most powerful Shakta course of time she Maraguda, District Nuapada

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was like many enshrined. Most probably Balarama Deva by other tribal accepting Samalei, the goddess of tribals of deities given a the Sambalpur region as his family deity tried place in the to win over his subjects.33 The image of Hindu pantheon.31 Samalei, enshrined in the Samalei temple at Sambalpur is certainly a deity of tribal origin Devi as it does not conform to any of the icons of Stambhesvari, the Hindu pantheon iconogrpahically. Such "The Goddess of icons are enshrined in all three places like the Post or Pillar" Sambalpur, Barpali and Patnagarh in the till the present Samalei temples. The temple of Samalei at day is widely Sambalpur, the earliest of these three, is said worshipped in the to have been built by Balaram Deva (Circa hilly tracts of the 1575 A.D.), while that of Barpali was built by undivided Zamindar Vikram Singh in around 1690 A.D.34 Sambalpur, Balangir, Although the Chauhans of Sambalpur Phulbani, accepted Samalei as their tutelary deity, the early Chauhans of this line continued the Goddess Durga, Banei Kalahandi, Dhenkanal and worship of their tutelary deity, Patanesvari at Ganjam disricts of Orissa in the form of a post Patnagarh in the or pillar of wood or stone. It might have been Balangir district, worshipped either in this form or in the form the capital of their of a figure carved on pillar in the early days Balangir-Patna also. Learned scholar J.P. Singh Deo has taken kingdom. For the the four-handed Devi figure holding a sword worship of and a club in her right hands and a shield and a goddess severed human head in her left hands, carved Patanesvari, out in the top-portion of a ten-feet high cut- which is actually rock pillar found at Dumerbahal village of an image of ten- Nuapada district to be the earliest image of armed goddess Stambhesvari and further putforth his Mahisasuramardini opinion of this deity being Hinduized from Durga, Ramai Deva, the founder Stambhesvari to Samalesvari.32 ruler of the This goddess Samalesvari, otherwise Chauhan kingdom known as Samalei became the family deity of of Balangir-Patna Raja Balaram Deva, the first Chauhan king of sometime in the Sambalpur line, who carved out an independent later part of the kingdom out of the Balangir-Patna state fourteenth century, sometime in the sixteenth century and even built built a temple at Goddess Durga, a temple at Sambalpur where the goddess is Patnagarh, the Somesvar Temple, Sambalpur

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capital of his -II Chandihara, in which it has been kingdom.35 mentioned that goddess Bhagavati Sri In their copper- Panchambari Bhadrambika was enshrined at Pattana Suvarnapura, the present-day plate grants, the 37 Bhanja kings of Sonepur. Khinjali The temple ruins at Sarsara in the Mandala, and the Sundargarh district is of considerable Tungas of importance, due to the two-handed Durga image Yamagartta found here which can be dated to the 6th-7th Mandala have century A.D. In this image, the demon Mahisa also mentioned is depicted in a complete buffalo form, but very themselves as the peculiarly holding a sword in its proper right devout foreleg which is designed like a hand. The worshippers of goddess is standing in Dvibhanga posture, goddess putting her proper left hand on the head of the Goddess Durga, Belsara Gad Stambhesvari. buffalo and pressing its head which is looking The Bhanja king up. In the proper right hand Devi is holding a of Khinjali Mandala, Ranabhanja who ruled long Sula piercing it on the neck of the demon. Baud - Sonepur region for long 58 years some Her Vahana lion is seen in the right side of the time in between 790-850 A.D. has mentioned pedestal near her proper left foot. It is an in his copper-plate grants that he was blessed unique image of goddess Durga, but by goddess Stambhesvari (Stambhesvari unfortunately the head is missing. Lavdha Vara Prasada). As mentioned above, A four- a Mahisasuramardini Durga image was handed Durga discovered by late Prof. N.K. Sahu, the-then image in Advisor in Archaeology to Government of profile is Orissa in June 1983 during excavation of a worshipped mound in the Maraguda valley of Nuapada by the district, on the pedestal of which is a stone villagers of inscription deciphered as 'Mahesvari Ranipur in Bhaveidam'(From This Grows Mahesvari) by Balangir learned epigraphist late Dr. Narayan district. This 36 Rajaguru. Dr. Rajaguru has further stated sculpture is through his correspondence with this researcher kept under a that it is the Mahesvari aspect of goddess Durga. tree near the He has dated the inscription to the 6th century collapsed A.D. palaeographically. pillared Another epigraphical reference to Durga Jagamohana worship is found in the Jatesingha-Dungri of a Siva Goddess Parvati and , plates of the Somavamsi king Mahasivagupta temple to the Mohangiri, District Kalahandi

72 Orissa Review * October - 2004 west of the village. As the bottom portion of Mahesvara and one of four-handed Ganesa are this sculpture is buried underneath the earth, worshipped by people. Among two Durga Her Vahana lion is not visible. The goddess is images, one is four-handed, while the other one wearing Hara, Aksamala on her wrists, arms is six-handed. In both cases Durga is in the and waist-portion and on her feet. Both conventional Alidha posture of an archer. The her lower hands are placed on the knee-portion four-handed image is of the goddess in her of her left leg, which is raised and placed on Mahisamardini aspect, as the demon is the chest of the demon, Mahisasura. A snake depicted in the buffalo form. Durga is lifting (Sarpa) is attacking the demon from the back the entire body of the animal by holding its tail portion of his head. This Sarpa is most in her lower left hand, and piercing the long probably hold by Devi in her Sula (trident) by her lower upper left hand, which is right hand deep into the neck broken. The upper right hand of the buffalo. Objects in her is raised, but the object in it is upper left and right hands are not clear. The peculiarity of Pasa (Noose) and this sculpture of (Staff) respectively. Her hair Mahisamardini Durga is that is forming a Jatabhara on her the Trisula (long trident) is not head. Patrakundalas are in there in the hands of the her ears and a Hara is around goddess. her neck. This image is of the breadth of around eight inches Another four-handed and height of fifteen inches. It Durga in her can be dated to the fifth Mahisasuramardini aspect is century A.D. iconogrphically, enshrined in a separate shrine because four-handed image of to the north of the brick built Durga is a quite earlier Jagamohana of the representation of the goddess Kosalesvara temple at Fourteen-handed Saumya Durga, in the sculptural art of India. Vaidyanath in Sonepur district. Khambesvari Temple, Sonepur Another image of Durga kept In her up-raised proper right inside this temple is a six- hand is a Khadga, while in the lower left hand handed one and of the same dimension. In her is a . She is holding a long trident in her left upper and middle hands are spear and Sakti upper left hand which is pierced into the month respectively, while in her lower left hand she of the demon. In her lower right hand she is is touching the tail of the Mahisa(buffalo). In holding the tail of her Vahana the lion. The her right lower hand is a Sula which she is Jatabhara adorning her head is specifically piercing into the neck of the Mahisa. In her suggesting the Panduvamsi feature, i.e. of the upper right hand is a Sarpa. A Karanda 7th-8th century A.D. Mukuta is adorning the head of the goddess. In the temple enshrining Kevala She is also wearing Patrakundalas in both her Narasimha at Podagad in Nawarangpur ears and a Hara around her neck. Garment is district, four images; two of Durga, one of Uma flowing between both her legs. In the top-most

73 Orissa Review * October - 2004 corners of the stone-slab in both left and right the tail of the Mahisa. Here the human figure sides, front-faced (male and of Mahisasura is absent. This image can be female) with in hands are carved, dated to the 7th-8th century A.D. also. Another which depiction assign a slightly later date, Durga image, six-handed but all hands broken i.e. Circa 8th century A.D. to this image, except one right hand, is also found amidst this because by the 8th century A.D. flying temple ruins. The moustached Mahisasura with Vidyadharas appeared in the sculptural art of sword and shield in hands is lying right on the the upper Mahanadi valley. A four-handed back of the lion. His head is slightly raised Durga image, holding Chakra and Trisula, and Devi is seen piercing the Trisula on his engaged in fierce battle with waist portion rather than on the theriomorphic buffalo- the chest or neck. The body demon Mahisa by riding on of the goddess is heavily it is fitted to the southern bedecked with ornaments Parsvadevata niche of the like Katimekhala, Udara- Bad Jagannath temple, bandha, Kankana, Keyura, situated in the Gopalji Math Hara, Mukuta, Kundala and precinct at Sambalpur, which many others. Her Mukuta is an excellent piece of early deserves special attention. It Chauhan art of the 17th is a Jatamukuta, behind century A.D. As the Trisula which there is an oval- is hold vertically it is the shaped Sirascakra formed by latest form of Durga, the design of lotus-petals. associating Vaisnavism in This Jatamukuta is adorned Her Cult. with Kirtimukha heads on In another place i.e. the top. Strings of pearls are Banei in Sundargarh district coming out of the mouth of also, we find a rare four- the Kirtimukha heads from handed Durga image in the both the left and right sides Alidha posture amidst loose Goddess Durga, and swallowed by the sculptures found in the Banesvara Temple, Deogaon (Banei) central Kirtimukha. From the Kumari temple precinct, on the right bank of mouth of the central Kirtimukha is hanging a river Brahmani. Here Devi is seen to be putting rectangular-shaped flower-design pendant in her uplifted left leg on the back of the beast a string of pearls. This image of Mahisa, while pressing its head with her lower Mahisasuramardini Durga can be placed in the left hand so that the head is turned to one side 10th century A.D. by that pressure and simultaneously piercing its neck with the Trisula, which is in her lower The Mahisamardini Durga image of right hand. In the up-raised upper right hand of Bausuni in Baudh district about which noted goddess Durga is a Khadga, while there is a historian late R.D. Banerji has written is a six- Sankha in her upper left hand. Her Vahana lion handed figure of Devi, exquisitely carved on is seen to be seated crouching, while biting red stone. Very peculiarly enough, her Vahana,

74 Orissa Review * October - 2004 the lion is absent. The cut-head as well as the horn of the demon, while piercing the Sula hold body of the buffalo is lying below and the in her lowest right hand on his neck. Here kneeling Mahisasura is looking up holding a goddess Durga is depicted in a warrior pose, sword and a shield. Goddess Durga is seen in bringing out one arrow from the quiver hanging an archer's pose (Alidha), putting her right on her back in her upper-most right hand. The raised leg on the Mahisasura and piercing the long Khadga of her lower-most right hand is long trident (Trisula) by holding it in her right also penetrated into the neck of the buffalo middle hand into the head of the demon. In her head. In her second upper right hand is a Sakti, left upper, middle and lower while in the second, third and lowest left hands Durga is holding a hands are Khetaka (Shield), shield (Khetaka), bow (Bell) and Dhanu (Bow) respectively. Two (Dhanu) and snake (Sarpa) lions are biting the body of respectively, while a sword the demon in both left and (Khadga) and a wheel right sides of the pedestal. (Cakra) are in her right There is a lotus-petalled upper and lower hands. This Prabhavali behind her head image is enshrined and on the back-slab. A worshipped in a separate beautifully carved Karanda temple, constructed in the Mukuta is on her head. The Siva temple complex at goddess is heavily bedecked Bausuni, on the right bank of with all ornaments. The river Mahanadi. iconographic features date An exquisitely carved this image to the pre- image of eight-handed and Somavamsi period, i.e. 8th- three-eyed Durga image is 9th century A.D. Another exquisitely carved found amidst loose Ten-handed Durga, sculptures in the Chandi Dadpur, District Kalahandi image of the eight-handed temple site at Lalei, situated Mahisasuramardini Durga is on the left bank of river Brahmani, just opposite adorning the northern Parsvadevata niche of Banei town in Sundargarh district. It is carved the Banesvara temple at Deogaon, near Banei on a stone-block measuring around thirty inches also. Devi is seen holding Ankusa, Dhanu, both in height and breadth. couple Sarpa and Khetaka in her four left hands, the (in the proper left side female and right side Sarpa seems to be strangling the Mahisasura male) with garland in hands is carved in both by going around his neck and biting the demon on his face. The right leg of the Mahisasura sides in the top-corners of the stone slab.' The has not come out fully from the cut-neck of the theriomorphic composite figure of demon Mahisa, while the fully-exposed left leg is Mahisa in the human form with the head of a bitten by the lion in the knee-portion. Devi is buffalo is lying below. Goddess Durga is seen in her usual Alidha posture, seen putting her putting her left foot on the body of the demon. left foot on the back of her Vahana, the lion, In her upper-most left hand she is pressing the while the slightly raised right foot on the back

75 Orissa Review * October - 2004 of the Mahisa, lying below. In her raised upper- while trying to give a tough resistance in the most right hand is a Khadga, while in her fight. A long trident held by the goddess in her second upper right hand she is pulling out one third right hand is pierced right into the face of arrow from the quiver hanging on her back from the demon. A long sword is held by Durga in the right shoulder. The broken top-portion of her first upper right hand over her head. She is the long Trisula is still in her third right hand holding an arrow in her second upper right hand and in her fourth right hand is a Cakra. Her over her shoulder, while the object in her fourth body is bedecked with all sorts of ornaments right hand (the lowest one) is not clear. In the and a peculiar Jatabhara is adorning her head. left hands, from top to below, objects held by On the pedestal are foliage- the Devi are Pasa (noose), designs with a bud in the Dhanu (bow), Ankusa and central portion. This image Khadga. The Khadga (sword) is having all the held by Devi in her fourth iconographic features of the (lowest) hand is very peculiar Somavamsi period, i.e. 11th in shape. It has a long handle century A.D. which is fixed to her wrist In 1990, a beautiful with the help of two rings in eight-handed Durga image, it. She is seen piercing this of the size of around fourteen sword in the naval-portion of inches in height and ten the Devil. Goddess Durga has inches in breadth was a smiling face. She is wearing discovered at Salebhata in a Jatamukuta on her head. A Balangir district from long garment which goes underneath the earth in a around her shoulders is mound situated to the left of hanging upto her knee-level. the state highway behind the The cut head of the buffalo is Dak Bungalow on the right lying below near the right foot bank of the river Ang, a of Mahisasura. This image is major tributary of river heavily bejewelled. At Mahanadi. This image is present, this image is kept in exquisitely carved on red Kusangei Temple, Kusang, District Balangir the Siva temple of Salebhata stone, with a thin layer of (Circa 11th Century A.D.) and can be iconographically stucco pasted on it. It displays the beauty of dated to the 9th century A.D. the plastic art that prevailed during the period An unique image of eight-handed of the Panduvamsis and their successors, the Mahisamardini Durga, of the height of around early Somavamsis. The goddess is in the usual two feet and a half and breadth of eighteen Alidha posture with her right leg on the back inches was unearthed a couple of years back of the buffalo stumbling below and left leg on on the back of a rivulet named Suvarnarekha the back of a diminutive figure of her Vahana, (Mayabati) at Rampur, situated on the outskirt the lion. The lion is seen biting the right foot of Patnagarh town of Balangir district. Objects of the demon Mahisasura who is looking up hold by the Goddess in her proper right hands

76 Orissa Review * October - 2004 from top to bottom are Khadga, Sula, arrow Mahisasura, which is in a running posture in and the lowest one in Abhaya mudra, while between both legs of the Devi, just below. In objects in proper left hands are Khetaka, her upper right hand, which is touching her hair, Dhanu, Kunta and Nagapasa. In the proper tied as one Jata in a round shape. In her left right side of the pedestal demon Mahisa in the middle hand, she is holding a Kapala with Agni theriomorphic buffalo form is already in it. Both the lower hands of Devi are put in a beheaded, as a result of which trembling down dancing posture. Durga is seen wearing a Hara on its fore-legs, and the anthromorphic form with a bell hanging from its centre as pendant. of the demon coming out from the cut neck of It is a peculiar form of Durga iconographically, the buffalo. so far found in this region. This image is of the The demon is depicted in the kneeling height of around ten inches and breadth of six down position and being attacked by the inches. This image can be iconographically goddess, who has plunged the long trident deep dated to the 7th century A.D. into the face of the Mahisasura while Ten-handed Durga is worshipped as strangulating his head by putting the serpent- goddess Kusangei in a temple of the 11th noose around his neck. Her Vahana, the lion is century, at Kusang in Balangir district, which seated in the left side of the panel, which seems temple is a proto-type of Lingaraj temple of quite unusual. The heavy ear-rings hanging from Bhubaneswar, most probably built by the her ears and the Karanda Mukuta on Devi's Somavamsi king Yayati II (circa 1024-1060 head as well as absence of the Vidyadhara A.D.). Patanesvari, enshrined in a temple at couple on both the top-most corners of the back- Patnagad is none else than ten-handed Durga slab suggest an early dating, i.e. 7th-8th century in her Mahisasuramardini form. A.D. for this image. This image was for the Another ten-handed Durga image in her first time reported by learned scholar Dr. 38 Mahisasuramardini aspect is found carved on . a rectangular stone-block, having an Another eight-handed Mahisamardini Asthadalapadma (eight-petalled lotus) symbol Durga image is worshipped as Chandi in a carved on the pedestal, which denotes it's small dilapidated temple of the Triratha order relationship with Tantra. It is found in the at Dekhala near Bijepur village, in the southern side of the Somesvara temple at Titilagarh subdivision of Balangir district and Balibandha in Sambalpur town. also at Durgeikhol near Narsinghnath. Goddess Suresvari is worshipped in the Besides this eight-handed Durga image Vana Durga Mantra in the Suresvari temple at another image of Durga in the Alidha posture Sonepur. Images of ten-handed dancing Durga is fitted to the proper left of the doorway to the and four-handed Devi sitting in Lalitasana inner sanctum of the Siva temple at Salebhata. (Bagala of the Dasamahavidya group) on the It is a six-handed image of Durga. The left leg Visvapadma pedestals are fitted to the of the Devi is on the back of the diminutive Parsvadevata niches of this temple. In the figure of a buffalo, while the right leg is slightly Parsvadevata niches of Khambesvari temple raised up and placed on the profiled figure of at Sonepur images of fourteen-handed Durga, her Vahana, the lion. No weapon is held by standing in the Samabhanga and eight-handed

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Durga dancing in the Lalita mode are found. right and left hands respectively while keeping The eight-handed Durga is depicted as dancing lower hands in Varada and Abhaya . with her right heel raised and all hands arranged Her Vahana, a roaring lion in profile is seen symmetrically. The goddess is holding , to be standing behind her figure. A ten-handed Sula, arrow, Khadga, small Khetaka, Dhanu, Durga image is also found at Dadpur in the Parasu and an unidentified object in her hands. Bhawanipatna sub-division of Kalahandi She is wearing Naramundamala, a long garland district. of skulls. Sarpas are coiled around her ankles and wrists as Nupura and Kankana. She is With the rise of the Somavamsis in wearing ornate ear rings and her hair is Western Orissa, the eight-handed and ten- arranged in a Jatamukuta. The ends of a scarf handed Durga images were installed and is hanging upto her feet-level. A profiled figure worshipped in the temples as central deities. of her Vahana, the lion is carved on the pedestal An eight-handed Durga image is worshipped just below her feet. It is an unique image of as Chandi in the Chandi temple of Saintala, goddess Durga in the pacified form belonging where Visnu images as well as temple pillars to the Chauhan period, i.e. 18th century A.D. depicting scenes from the childhood of Krsna are kept. Both these Durga images can be taken A four-armed standing figure of pacified to be of the Somavamsi period, i.e. the ninth- Durga is adorning the northern Parsvadevata tenth century A.D. The most excellent of all niche of the Siva temple of Bausuni. The these Durga images is the one having twenty goddess is holding a Sarpa and an Ankusa in hands, which has been collected from her upper left and right hands respectively, while the lower right hand is in Varada Mudra. Salebhata and now preserved in the Sambalpur In her lower left hand is a Padmanada. She is University Museum. The Visnudharmottara seen wearing a Dhoti-type garment, as quoted in the Vachaspatya, describes the Kuchavandha, Katibandha, Keyura, Kankana, twenty-armed Mahisamardini under the name 39 Hara and also a big garland of rosary beads of Chandika. This Salebhata image can be hanging upto Her thigh-level. It is a Saumya taken as a rare one. We get another twenty- aspect of the Devi with a smiling face seen armed Durga image at Bheraghat in the wearing a Karanda Mukuta and beautiful ear Jabbalpur district of Madhya Pradesh. The rings. Her Vahana, a roaring lion is sitting near twenty-armed Durga can be dated to the 11th her right leg. Century A.D. The ten-armed and twenty-armed images can be taken of the period in between Another four-handed standing figure of 10th-12th century A.D. Saumya Durga is of the height of about one feet and a half is found inside the Jagamohana During the time of the Chauhans also, of the Nilakanthesvara temple at Dadpur in the Mahisamardini Durga was worshipped as a Kalahandi district, which can be dated to the principal deity. We get four-handed Ganga period, i.e. 12th-13th century A.D. Mahisamardini image in the Jagamohana of wearing a Karanda Mukuta, Patra-kundala, the Samlei temple of Sonepur, and another in Hara and Katibandha etc. She is seen holding the Gokarnesvara temple precinct of the same an Ankusa and a Nilotpala flower in her upper town.

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An image of a four-armed Parvati but 9. Journal of the U.P. State Archaeological seated cross-legged in Padmasana is kept in Department, No.2, pp.7-8 ff. the northern Parsvadevata niche of the Siva 10. Pradeep K. Behera, Pre-historic Rock Art temple at Ramgarh in Baud district situated on pertaining to Fertility Cult and other objects of the right bank of river Mahanadi. A long Orissa, Pragadhara garment is around her neck which is hanging 11. A. Leroi - Gourhan, The Art of Prehistoric Man from both shoulders upto the feet-level. She is of Western Europe, Pub : Thames and Hudson, holding Sakti and Dhvaja in her raised upper London, 1968. left and right hands respectively, while the 12. An image of Aditi Uttanapada, Artibus Asiae, lower left and right hands are in Abhaya and XIX, New York, 1956, pp.259-270 ff. Varada Mudras. The Vahana lion in profile is 13. The Nude Goddess or Shameless Women in carved in the centre of the pedestal in the Western Asia, India and South-Eastern Asia, running posture. Artibus Asiae, New York, XXIII, 1968, pp.111- 123ff. From the above evidences it can be 14. D. Desai, Erotic Sculptures of India, Bombay, surmised that from the pre-historic age till the 1975, p.19f. present days the worshipped of the supreme 15. J.N. Banejea, op.cit, p.489f. Mother Goddess is prevailing in the upper Mahanadi valley of Orissa. 16. S.Tattwananda (Tr. & Ed.) Sri Chandi, Calcutta, 1970, pp.120-123 ff. References : 17. Dr. Baba Mishra, Headless Goddess of Nuapada 1. N.K. Sahu, 'Preliminary Report on Excavations Orissa (A Study of Its Antiquity and Indentify), of the Trisul Mound in Kalahandi District,' The Orissa Historical Research Journal, (Article), Satabarshiki Smaranika, (1883- Vol.XLVII, No.2, 2004, pp.53-64 ff. 1983) of the Khariar Sahitya Samitee, 1983, 18. Mahabharata, IV-6 pp.i-v. 19. A.S. Altekar, Catelogue of Gupta Gold Coins in 2. T.A. Gopinatha Rao, Elements of Hindu the Bayana Hoard, p.23. Iconography, Vol.I, Part-II, pp.103-105ff. 20. M.K. Dhavalikar, Lajja-Gouri, Bulletin of 3. V. Mishra, Mahisamardini, Delhi, 1984, p.28; Deccan College Research Institute, Vol.40, Memoir of the Archaeological Survey of India, Poona, 1979-80, pp.30-35 ff. No.44, 1930, p.4. 21. Markandeya Purana, Devi Mahatmya, 91, 4. J.K. Sahu, Odisara Itihas, (History of Orissa in 48-9. Oriya), Cuttack, 1987, p.334. 22. Banerjea, op.cit, p.490 ff. 5. John Marshall, M.I.C., Vol.I, p.48 ff. 23. Taittiriya Aranyaka, x.18 6. J.N. Banerjea, The Development of , Munshiram Manoharlal Publishers 24. Ibid, X 1,7. Pvt. Ltd., New Delhi, Third Edition, 1974, 25. Mahabharata, IV-6 and VI-23. p.489 ff. 26. Markandeya Puran, Ch.91. 7. J.P. Singhdeo, The Early Upland Dwellers of Mahanadi River Valley, The Balangir Lok 27. Markandeya Purana, tr. F.E. Pargiter, Calcutta, Mahotsav Smaranika - 2003, p.67. 1904, ch.82. 8. O.A. Wall, Sex and Sex Worship in the World, 28. H.C. Das, Brahmanical Tantric Art in Orissan Inter-india Publications, Delhi, 1979, p.464f. Cult Images.

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29. Journal of the Kalinga Historical Research 36. Letter dated 7th April 1988 of Dr. S.N. Rajaguru Society, Vol.II, No.2, pp.107-110ff. to this researcher. 30. A Eschmann, H.Kulke and G.C. Tripathy, The Cult 37. S.N. Rajaguru, Inscriptions of Orissa, Vol.IV, of Jagannath and The Regional Tradition of Bhubaneswar, 1966, p.223f. Orissa, Manohar, Delhi, 1978, p.130. 38. Dr. Jadumani Mahapatra, An Extant Sculpture of 31. B.C. Mazumdar, Orissa in the Making, p.177ff; Mahisamardini Durga at Patnagarh, Balangir Journal of the Asiatic Society of Bengal, New Lok Utsav Smaranika-2003, pp.77-78 ff. Series, Vol.VII, 1911, pp.443-447ff. 39. T.A. Gopinath Rao, "Elements of Hindu 32. J.P. Singh Deo, Cultural Profile of South Kosal, Inconography", Vol.I, Part-I, Varanasi, 1971, Gyan Publishing House, Delhi, 1987, p.133 p.346. (Foot Note No.84). 33. Orissa District Gazetteers, (Sambalpur), Cuttack, 1971, pp.546-550. 34. Ibid, p.511 35. J.K. Sahu, "Chauhan Rule in Western Orissa," (Article), New Aspects of History of Orissa, Sambalpur University, 1971, p.36. The researcher lives at VR-23, Unit-6, Bhubaneswar.

State Govt. Signed MoU with Jindal Steel and Power Limited Jindal Steel and Power Limited (JSPL) signed MoU with State Government on 18.10.2004 to set up a two million tonne capacity steel plant in Keonjhar district. The MoU also envisages establishment of a 80,000 tonne capacity ferro alloys plant and a 200 MW captive power plant. The entire project will cost Rs.4000 crore. Energy Secretary R.N. Bohidar and Vikrant Gujral, Vice-Chairman and Chief Executive Officer, JSPL signed the MoU on behalf of the State Government and JSPL respectively in the presence of Chief Minister Sri Naveen Patnaik, Chief Secretary, Shri subas Pani and Executive Vice- Chairman and MD of JSPL Sri Naveen Jindal. The proposed project will provide employment to more than 10,000 people in Keojhar and Angul districts. The company is contemplating to increase capacity of the proposed steel plant to six million tonne per annum in the second phase with an additional investment of Rs.6,000 crore. The project report of the enhanced capacity will be submitted to the State Government shortly. The Chief Minister underscored the need for implementation of a comprehensive rehabilitation package for the affected families. He said, the State Government expects to raise revenue of Rs.300 crore per annum after commissioning of the plant.

80 ORISSA REVIEW

VOL. LXI NO. 3 OCTOBER 2004

DIGAMBAR MOHANTY, I.A.S. Commissioner-cum-Secretary

BAISHNAB PRASAD MOHANTY Director-cum-Joint Secretary

SASANKA SEKHAR PANDA Joint Director-cum-Deputy Secretary Editor

BIBEKANANDA BISWAL Associate Editor

Debasis Pattnaik Sadhana Mishra Editorial Assistance

Manas R. Nayak Cover Design & Illustration

Hemanta Kumar Sahoo Manoj Kumar Patro D.T.P. & Design

The Orissa Review aims at disseminating knowledge and information concerning Orissa’s socio-economic development, art and culture. Views, records, statistics and information published in the Orissa Review are not necessarily those of the Government of Orissa. Published by Information & Public Relations Department, Government of Orissa, Bhubaneswar - 751001 and Printed at Orissa Government Press, Cuttack - 753010. For subscription and trade inquiry, please contact : Manager, Publications, Information & PublicPublic RelationsRelations Department,Department, LoksamparkLoksampark Bhawan,Bhawan, Bhubaneswar - 751001. Five Rupees / Copy Fifty Rupees / Yearly CONTENTS

Editorial

God as Divine Mother Durga Madhab Dash ... 1

Origin of Tantricism and Sixty-Four Yogini Cult in Orissa Dr. Janmejay Choudhury ... 7

Samalei to Sambaleswari - Ashapuri to Samalei Dr. Chitrasen Pasayat ... 10

Shakti Cult in Orissa Balabhadra Ghadai ... 19

The Lion : Mount of Goddess Durga Pradeep Kumar Gan ... 22

Shakta Pitha Bhattarika Pabitra Mohan Barik ... 25

Goddess Kali in Orissan Art : With Special Reference to Shyamakali at Puri Santosh Kumar Rath ... 27

Lajja-Gouri : The Nude Goddess or Shameless Woman Pradeep Mohanty - Orissan Examples J.P. Singh Deo ... 32

A Peep into the Candi Text Rajkishore Mishra ... 34

Sakti Worship in Orissan Inscriptions Bharati Pal ... 37

Reminiscence of Gandhiji's Visits to Puri Dr. Binodini Das ... 39

Organic Farming for Sustainable Agriculture Dr. B.B. Mishra Dr. K.C. Nayak ... 42

Women and Mental-Health : A Rural Scenario Dr. Alhadini Dhir ... 46

Krishi Vigyan Kendra : The Light House for Rural Dr. Ashish Kumar Dash People Dr. Monoranjan Mishra ... 52

Sarala Dasa, The Originator of the Oriya Literature Debendra Nath Bhoi Priyadarshini Bakshi ... 57

Palmleaf Manuscript Legacy of Orissa and National Mission for Manuscripts Dr. C.B. Patel ... 60

Durga Worship in Upper Mahanadi Valley Sasanka S. Panda ... 66 Ya Devi Sarvabhutesu Matru Rupena Sansthita Namastasei Namastasei Namastasei Namoh Namah EDITORIAL Orissa Review

Ya Devi Sarvabhutesu Matru Rupena Sansthita Namastasei Namastasei Namastasei Namoh Namah Thorough search and detailed analyses into the origin of the Shakti Cult deftly denies possible perception of the human mind. Any inference drawn on the basis of targeted studies carrying various perspectives of the Mother Goddess always forms a particle of the whole ocean that dissolves all whims and caprices that tend to trespass principles and order of the society evolved with an objective of peaceful co-existence. To cite here a saying of the super human sensibility in his august creation 'Savitri' has reflected "Shakti is the energy principle activating the descent of on Prakriti and the ascent of Prakriti on to Purusha." The observance of the Durga Puja with multi-coloured mood all over the country signifies the feeling to be identified in the whole with unfatigued juvenile spirit by accumulating the inner spirit. Durga, acclaimed for her prowess and strength primarily symbolises the war goddess. She, according to Durga Saptasati, assumes the forms of Mahakali, Mahalaksmi and Mahasarasvati. These three entities are different aspects of the same Supreme Power. Mahalaksmi is the goddess of secular glory and embodies the principle of sustenance and beauty. Mahakali is emblematic of violence and fury of destruction, dread and horror. Mahasarasvati is an embodiment of knowledge. These three entities are seen combiningly as a causative principle of Creation, Protection and Destruction. Durga is called 'Nihsanga' or without any attachment. Thus, propitiating Durga plainly evokes on atmosphere rich, happy and resourceful, at the same time devoid of any attachment on self-interest. Sprinkling all these impressions on the October issue of Orissa Review, it has basically been considered as a sacred duty on our part which, we hope, will provide at least a base for initiating interesting interactions on an issue warranting further research for attaining spiritual bliss. Ya Devi Sarvabhutesu Matru Rupena Sansthita Namastasei Namastasei Namastasei Namoh Namah