हिन्दी साहित्य- सीमांचल
Barabati Fort
Barabati Fort is a 14th century fort built by the Ganga dynasty near Cuttack, Orissa. The ruins of the fort remain with its moat, gate, and the earthen mound of the nine-storied palace, which evokes the memories of past days. Today it sits next to the modern Barabati Stadium, the venue of various sport events and cultural programs. There is also a temple dedicated to Katak Chandi, the presiding deity of the city, not far away from the fort.
Location
This medieval fort is situated at [pic]20°29′1.32″N 85°52′3.36″E / 20.4837°N 85.8676°E / 20.4837; 85.8676Coordinates: [pic]20°29′1.32″N 85°52′3.36″E / 20.4837°N 85.8676°E / 20.4837; 85.8676, about 8 km away from the center of the Cuttack, at the apex of a delta formed by the river Mahanadi on the north and its distributary, the Kathajodi on the south, and is located at 14.62 metres above sea level.
History
Cuttack (or Kataka) was founded by King Nrupa Keshari in 989 AD. King Marakata Keshari built the stone revetment on the left bank of the Kathajodi in 1006 AD to protect the city from the ravages of floods. Due to its strategic location, King Anangabhima Dev III shifted his capital from 'Choudwar Kataka' to the present Cuttack, then known as 'Abhinaba Varanasi Kataka' and built the fort of Barabati in 1229 AD. Cuttack has witnessed the rule of several dynasties : the Kesharis, the Gangas, the Gajapatis and the Bhois.
The Chalukya King, Mukundadev Harichandan, built a nine-storey building in the precincts of Barabati Fort in 1560 AD. This last independent Hindu king of Orissa died fighting the Sultan of Bengal, Suleiman Karni in 1568 AD. In the fifteenth and sixteenth centuries, Barabati Fort was defended by two rings of forts on either side of the Mahanadi and the Kathajodi. In 1568 AD, the city passed to the hands of Afghan rulers of Bengal, then to the Moghul Empire in 1592 and the Marathas in 1751. Cuttack, with the rest of Orissa, came under the British rule in 1803. The Bengal-Nagpur Railways connected Cuttack with Madras(Chennai) and Calcutta(Kolkata) in 1919. It became the capital of the newly formed state of Orissa in 1936 and continued to be so till 1948 when the capital was shifted to Bhubaneswar. The city completed one thousand years of its existence in 1989.
The ruins of the old Barabati Fort lie on the right bank of the Mahanadi, in the western part of the city. All that remains of the Fort is an arched gateway and the earthen mound of the nine-storeyed palace. Archaeological surveys reveal that the Fort was roughly rectangular in structure having an area of over 102 acres (0.41 km2), and it was surrounded on all sides by a wall of laterite and sandstones. To the west of the mound there is a tank. In the north-eastern corner of the mound are remains of what once was a temple. The temple was made of whitish sandstone over foundations of laterite blocks. About four hundred fragments of mouldings and some mutilated pieces of sculptures have been recovered so far. This temple of the Ganga period containing a stone idol of Lord Jagannath is in ruins. A mosque built by Nawab Murshid Quli Khan, governor of Emperor Aurangzeb in 1719 CE still exists.(Ref: Imperial Gazetteer of India,1901)
Konark Sun Temple
|Sun Temple, Konark* |
| |
|[pic] |
|[pic] |
|State Party |[pic] India |
|Type |Cultural |
|Criteria |i, iii, vi |
|Reference |246 |
|Region** |Asia-Pacific |
|Inscription history |
|Inscription |1984 (8th Session) |
|* Name as inscribed on World Heritage List. |
Konark Sun Temple is a 13th-century Sun Temple (also known as the Black Pagoda), at Konark, in Orissa. It was constructed from oxidizing and weathered ferruginous sandstone by King Narasimhadeva I (1236-1264 CE) of the Eastern Ganga Dynasty. The temple is one of the most well renowned temples in India and is a World Heritage Site. It is one of the Seven Wonders of India (as per the poll collected by NDTV).
] Architecture
The temple takes the form of the chariot of Surya (Arka), the sun god, and is heavily decorated with stone carving. The entire complex was designed in the form of a huge chariot drawn by seven spirited horses on twelve pairs of exquisitely decorated wheels.
The entrance is guarded by two giant lions, which are each shown crushing a war elephant. Each elephant in turn lies on top of a human body. The temple symbolizes the majestic stride of the Sun god. At the entrance of the temple is a Nata Mandir. This is where the temple dancers used to perform dances in homage to the Sun god. All around the temple, there are various floral and geometric patterns.The temple is now partly in ruins, and a collection of its sculptures is housed in the Sun Temple Museum, which is run by the Archaeological Survey of India. The poet Rabindranath Tagore wrote of Konark: "Here the language of stone surpasses the language of man."
The Sun Temple, built in the thirteenth century, was conceived as a gigantic chariot of the Sun God, with twelve pairs of exquisitely ornamented wheels pulled by seven pairs of horses. Majestic in conception, this temple is one of the most sublime monuments of India, famous as much for its imposing dimensions and faultless proportions as for the harmonious integration of architectural grandeur with plastic allegiance. Every inch of the temple is covered with sculpture of an unsurpassed beauty and grace, in tableaux and freestanding pieces ranging from the monumental to the miniature. The subject matter is fascinating. Thousands of images include deities, celestial and human musicians, dancers, lovers, and myriad scenes of courtly life, ranging from hunts and military battles to the pleasures of courtly relaxation. These are interspersed with birds, animals (close to two thousand charming and lively elephants march around the base of the main temple alone), mythological creatures, and a wealth of intricate botanical and geometrical decorative designs. The famous jewel-like quality of Orissan art is evident throughout, as is a very human perspective which makes the sculpture extremely accessible.
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Konark Sun Temple at Night
The temple is famous for its erotic sculptures, which can be found primarily on the second level of the porch structure. It will become immediately apparent upon viewing them that the frank nature of their content is combined with an overwhelming tenderness and lyrical movement. This same kindly and indulgent view of life extends to almost all the other sculptures at Konark, where the thousands of human, animal, and divine personages are shown engaged in the full range of the 'carnival of life' with an overwhelming sense of appealing realism. It is admittedly the best in Orissa. Its fine traceries and scrollwork, as well as the beautiful and natural cut of animal and human figures, give it a superiority over other temples.
The Sun temple belongs to the Kalinga school of Indian temples with characteristic curvilinear towers mounted by cupolas. In shape, the temple did not make any major departure from other sikhara temples of Orissa. The main sanctum which (229 ft. high) was constructed along with the audience hall (128 ft. high) having elaborate external projections. The main sanctum which enshrined the presiding deity has fallen off. The Audience Hall survives in its entirely, but only small portions of the Dancing Hall (nata Mandir) and the Dining Hall (Bhoga-Mandap) have survived the vagaries of time. The Temple compound measures 857 ft (261 m) by 540 ft (160 m). The alignment of the Sun Temple is on the east-west direction. The Temple is located in natural surroundings, abounding with casuarina plantations and other types of trees such as mahogany, rosewood, eel which grow on sandy soil.
History
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Stone Work at Konark
The large structure seen today is actually the mantapa (jagmohan). Of the main tower, which once stood in the front, only the remains can be seen. This tower (deul) was perhaps 200 feet (60 metres) tall, higher than any other temple in India[1].
Kalapahad
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A sculpture of Surya - the sun god at Konark
The most popular theory about the root of the fall of Konark temple rests with the Kalapahad, the general of Bengal Sultan Sulaiman Khan Karrani. According to some accounts Kalapahad was formerly a Hindu Kayastha [2] officer, however he had converted to Islam[3]. According to Afsanah-i-Shahan of Shaikh Kabir Batini [4], he was a Batini Afghan. According to the history of Orissa, Kalapahad invaded Orissa in 1508. He destroyed Konark temple, as well as a number of Hindu temples in Orissa. The Madala Panji of Puri Jagannath temple describes how Kalapahad attacked Orissa in 1568. Including Konark temple, he broke most of the images in most of the Hindu temples in Orissa. Though the stone walls are of 20 to 25 feet (7.6 m) thick, he somehow managed to displace the Dadhinauti (Arch stone) and thus caused the tower to collapse. He also damaged most of the images and other side temples of Konark. Due to displacement of the Dadhinauti, the tower gradually collapsed and the roof of the Mukasala was also damaged, due to the stones falling down from the temple top.
Orissa came under Muslim control in 1568. There were constant attempts to destroy the Hindu temples. The Pandas (priests) of Puri, to save the sanctity of the Puri temple, took away the Lord Jagannath from the Srimandir and kept the image in a secret place. Similarly, it is said that the Pandas of Konark took away the presiding deity of the Sun temple and buried it under the sand for years. Latter on the image was said to have been removed to Puri and kept in the temple of Indra, in the compound of the Puri Jagannath temple. According to others, the Puja image of the Konark temple is yet to be discovered. But others hold the view that the Sun image now kept in the National Museum of Delhi was the presiding deity of the Konark Sun temple.
The Sun worship in the Konark temple ended upon the removal of the sacred image from the temple. This resulted in the end of pilgrimages to Konark. The port at Konark was also closed, due to pirate attacks. Konark was as glorious a city for Sun worship as it was for commercial activities, but after the cessation of these activities, Konark became deserted and was left to develop as a dense forest for years.
In 1626 the then king of Khurda, Raja Narasimha Dev, son of Purusottam Dev, took away the Sun image to Puri along with two other moving deities - Sun and Moon. Now they are found in a temple in the compound of Puri Jagannath temple.
As described earlier there was a big block of stone called Navagraha Paata placed in front of the Mukhasala. The then king of Khurda removed the block. The king had taken away many sculptured stones from Konark and constructed some portions of Puri temple with them. During Marahatta's time the outer compound wall of the Puri temple was constructed of stones from Konark temple.
It is reported that among all the temples the Naata Mandir or the Dancing hall of Konark was in its original form for the longest period, and that it was broken intentionally since it was considered an unnecessary structure during the Maratha administration.
In the year 1779, a Marhatta Sadhu had taken away the Arun Pillar from Konark and put it in front of the Lion's Gate of Puri Jagannath temple. Thus by the end of 18th century Konark lost all its glories and had been turned to a dense forest. In course of time, the temple area thus became devoid of people, covered with dense forest, full of sand, filled with wild animals and became the abode of pirates. It is said that even the locals feared to go to Konark in broad daylight.
Sisupalgarh
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Sisupalgarh or Sishupalgarh are a ruined fortification in Khurda District in Orissa, India. It is the largest and best preserved early historic fortification in India.[1]
Description
The remains of the ancient city Sisupalgarh has been discovered near Bhubaneswar,capital of an eastern state of Orissa in India.Archaelogists claim the city to be at least 2,500 years old.On the basis of the architectural pattern and artefacts discovered during the early excavations, Prof Lal concluded that this fort city flourished between 3rd century BC and 4th century AD.On the basis of the new findings, Ms Smith and Mr Mohanty claim that the fortified city flourished from around 5th century BC and probably lasted well after the 4th century. The population of the city could have been about 20,000 to 25,000.Archaeological scientists have employed geophysical survey, systematic surface collections and selected excavations in the 4.8km perimeter of the fortified area and studied individual houses and civic as well as domestic architecture to arrive at the figure.The significance of the population is clear when one bears in mind that the population of classical Athens was 10,000.However the historians also claim that it is too early to comment on the population of the city as yet only a part of the city has been excavated. [2] The first excavations at the site were carried out by Prof BB Lal as far back as in 1948. In 2005 ground penetrating radar revealed the probable position of the southern moat. A column structure toward the centre of the fort has been recorded three-dimensionally by means of a laser scanner. These may belong to an incomplete major structure. This defensive settlement originated during the Mauryan empire. [3] As at Jaugada, in plan the quadrangular glacis is 1125 x 1115m and tips 10° clockwise of north. Its defences are the highest known of this period. Two gates pierce each side of the fortress. The gates themselves measure over 90m in length from the inside to outside and vary considerably in size, shape and in details of building. The western of the two gates in the northern glacis seems to be the largest and/or best preserved. The two in the southern glacis are the smallest. But as year for year the encroaching rice paddies increase in size, these and the other gates decrease in size. Excavation facets in the gate structures can be seen from the windows of commercial aircraft which pass by Sisupalgarh on the way in and out of Bhubaneswar. The settlement probably was not dense, but rather there was room inside the fortress to graze. [4]
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Column ruins in Sisupalgarh.
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State of preservation of a column in Sisupalgarh.
Preservation of the remains
Encroachment due to recent urban settelements in the vicinity of the site threatens to engulf a large part of the fortified city.The major portion of the land that constitutes the ancient city is in private possession making an archaeological study difficult.With a view to preserve the archaeological site for future excavations the ASI is contemplating asking the state government for control over the land. Well-known historian Karuna Sagar Behera has voiced serious concern over the preservation of material unearthed from the site as he said "Its is a shame that some gold coins and terracotta pottery found at the place during the first excavation in the late 1940s were subsequently lost." Measures should be taken to ensure that all the material excavated are properly preserved for future research. The project is being supported by the National Science Foundation of India, the National Geographic Society and the Cotsen Institute of Archaeology, California.
The Leaning Temple of Huma
|The Leaning Temple of Huma |
|[pic] |
|[pic] |
|[pic] |
|The Leaning Temple of Huma |
|Location within Orissa |
|Coordinates: |[pic]20°40′N 84°35′E / 20.67°N 84.58°E / 20.67; 84.58 |
|Name |
|Proper name: |Huma Gudi |
|Location |
|Country: |India |
|State/province: |Orissa |
|Locale: |Huma near Sambalpur |
|Architecture and culture |
|Primary deity: |Shiva |
|Architectural styles: |Stone and limestone Temple |
|History |
|Date built: |1660-1788 |
The Leaning Temple of Huma is the only leaning temple in the world and the only one of its kind in India.[citation needed] It is located in Huma, a village situated on the left bank of the Mahanadi, 23 km south of Sambalpur in the Indian state of Odisha. The temple is dedicated to the Hindu god Shiva.
Nobody knows whether this structure is leaning by design or by default. One interesting fact is that while the edifice leans, the pinnacle of the temple is perpendicular to the ground. Located in a calm and serene village environment unspoiled by tourists and pollution, it's actually a marvel.
Architecture
Apart from the main temple the Bhairavi Devi temple is situated to the left of the main temple and Bhairo temple is situated to the right of the main temple. Temple was rebuilt or renovated by King Baliar Singh (1660-1690 A.D.), the fifth Chauhan king of Sambalpur. The rest of the temples were built during the rule of King Ajit Singh (1766-1788 A.D.) of Sambalpur.[1][2]
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Main Temple
It is in fact, amusing and wonderful to see a temple in a leaning shape. It reminds us of the leaning tower of Pisa. The temple is positioned on the rocky cradle just on the bank of the river Mahanadi. The basis of leaning cannot be assumed to be the technical flaws at the time of construction. It is also not easily acceptable that weak foundation might have caused leaning attitude of the temple. In fact, construction of temple is quite favourite of Chauhan Kings as well known to us from innumerable temples built during their reigns. They had already established themselves as good builders. Again, the temple is not an enormous structure. There might have been interior displacement of the rocky bed on which it stands, either due to flood current in the river Mahanadi or earthquake, thus affecting the straight posture of the original temple.
In other words, the plinth of the temple has deviated slightly from its original arrangement and as a result, the body of the temple has tilted. there is no denying the fact that this has fascinated the attention of historians, sculptures and other researchers. The surprising thing is, the main temple is tilted to one direction and other small temples are tilted to some other directions. Within the temple complex i.e. within the boundaries of temple, everything found to be in tilted condition including the boundaries and the angle of inclination is not changed since last 40/50 years as said by the villagers and priests. The reason of the tilt can be due to some geological reason, may be the earth crust is uneven in structure. The angle of inclination is yet to be measured.
Legend
The worship of Siva is said to have been initiated by a milkman, who daily crossed the Mahanadi to a place on the bank where the underlying rock cropped out. Here he daily offered his dole of milk, which was at once consumed by the rock, and this miraculous circumstance led to enquiries, which ended in the construction of the present temple.[3]
Annual Fair
An annual fair takes place at the foothill of the temple in March every year on the occasion of Shivratri, which is a typical village fair with its unforgettable golden chasm. There is a special type of fish found here known as 'Kudo' fish. They are so tame that they will eat foods from the hands of those who are on the banks.[2][1]
Biranchi Narayan Sun Temple
The Biranchi Narayan Sun Temple, also known as the Abode of Viranchinarayana or the Wooden Konark, is a Hindu Temple located in the town of Buguda in Ganjam, Orissa.
This the second Surya temple constructed in Orissa, after the famous Konark Sun Temple.
] Construction
The temple was constructed by King Srikara Bhanjadeva in 1790. The presiding deity at the temple is Biranchi Narayan, whose image was recovered ruins at Maltigad. The imagery also features a chariot driven by seven horses with one wheel on its left side, with Surya as the chariot-driver.
The roof of the temple is constructed on a total of 46 pillars (32 of shorter height and 14 of taller height), and contains intricate wood designs. Unlike the Konark temple, which faces east, the Birachi Narayan Sun Temple faces west. Consequently, while at Konark sun rays of the rising sun shine on the installed Surya, at the Biranchi Narayn Temple the rays of the setting sun fall on Surya's feet.
Wooden Konark
As per the desire of the king, the main God of the temple is made in wood. According to a legend, the stone image of the Surya is constructed in line off the main wooden image of lord Surya.The similarities of the stone image with the wooden image confirms that it is constructed later on. Regarding the stone image there is a legend. It states that after the construction of the temple, one day the king dreamt that the God Viranchi Narayan himself, came and told him "Oh King! Now I am without being worshipped laying in a neglected conditions at the foot heels of Malatigad mountain near Keshripalli of Ganjam District.I will be happy if you will bring me to your newly setup temple. The next day the king reached in the said place and came to know from a farmer that, while sharping his sword in a stone, he has marked that blood came out from that. Then people dug out the stone and found that it is like a statue with seven horshes, one wheel and Sun God.
Biranchinarayan Temple, Palia
Sri Biranchinarayan Temple is in Palia village, which is located 15 km south of Bhadrak, on the way from Bhadrak to Chandabali. It occupies a significant place in the cultural map of Orissa state of India. Today, the standing Biranchi Narayan Temple stands as evidence of the heritage of Surya Upasana in Orissa. Biranchi Narayan is another name for Lord Surya, the Sun God of light and lustre. The existing temple is dedicated to Biranchi-narayan, who is enshrined as a roughly four-faced image of the Sun. A square stone slightly tapering towards the top contains four carved images of the Sun god in relief, on the four sides of a slab. The figures hold two lotuses in two hands, as usual, and are depicted standing on chariots drawn by seven horses.Architecturally, the temple can be dated to the 13th century. It was renovated and reconstructed in the beginning of the 20th century by the generosity of a local zamindar.
] Architechture
In general the structure exhibits the Kalingan style of temple architecture.The peculiarities of the temple include the two door-jambs of the eastern door, which probably originally belonged to a Saiva temple and were reused in the present temple during a renovation. The sculptures and carvings of the two door jambs bear a close resemblance to the Siva temples of Bhubaneswar and Khiching of the 10th or 11th century A.D.
Festivals
• Ratha Saptami or so called Maagha Saptami.
• Samba Dashami
Transport
Bhadrak is the nearest railway station which is between Bhubaneswar and Howrah.Lots of taxies and bus facilities are there for Paalia.
Ratha Saptami
|Ratha Saptami |
|[pic] |
|Surya - the Sun god with consorts Saranyu and Chhaya |
|Also called |Surya Jayanti, Magha Saptami |
|Observed by |Hindus |
|Begins |Seventh day (Saptami) of the bright half of the Hindu month |
| |Maagha |
|Ends |January/February |
|2009 date |February 2 |
|2010 date |January 22 |
|Related to |Worship of Sun god Surya |
Ratha Saptami or Rathasapthami (Sanskrit: रथसप्तमी, Telugu: రథ సప్తమి, Kannada:ರಥಸಪ್ಥಮಿ) or Magha Saptami is a Hindu festival that falls on the seventh day (Saptami) in the bright half (Shukla Paksha) of the Hindu month Maagha. It marks the seventh day following the Sun’s northerly movement (Uttarayana) of vernal equinox starting from Capricorn (Makara). It is symbolically represented in the form of the Sun God Surya turning his Ratha (Chariot) drawn by seven horses (representing seven colours) towards the northern hemisphere, in a north-easterly direction. It also marks the birth of Surya and hence celebrated as Surya Jayanti (the Sun-god’s birthday).
Ratha Saptami is symbolic of the change of season to spring and the start of the harvesting season. For most Indian farmers, it is an auspicious beginning of the New Year. The festival is observed by all Hindus in their houses and in innumerable temples dedicated to Surya, across India.[1] [2][3]
] Background
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Surya's chariot
Sun worship is deep rooted in the Vedas of the [Hindu religion and its antiquity also relates to several mythologies of the world such as that of China, Egypt and Mesopotamia. The Gayatri Mantra jap – the sacred Vedic chants to Savitr (Sun god) – is recited by the Hindus every day with great reverence. As the puranic Hinduism evolved around the early Christian era, the worship of Sun, linked to the equinoxes, was established.[3][2]
In the Rig Veda Mandala 10/Hymn 85, the sun god's bride seated on a chariot pulled by two steeds is mentioned. This symbolism is therefore common to both Norse mythology and Vedic history.
The relevant verses (translated from Sanskrit by Ralph Griffith) are as follows:
10. Her spirit was the bridal car; the covering thereof was heaven: Bright were both Steeds that drew it when Surya approached her husband's, home.
11. Thy Steeds were steady, kept in place by holy verse and Sama-hymn: All cars were thy two chariot wheels: thy path was tremulous in the sky,
12. Clean, as thou wentest, were thy wheels wind, was the axle fastened there. Surya, proceeding to her Lord, mounted a spirit-fashionied car.
Religious significance
Ratha Saptami marks the seventh day following the Sun’s northerly movement (Uttarayana) of vernal equinox starting from Capricorn (Makara). It is symbolically represented in the form of the Sun God Surya turning his Ratha (Chariot) drawn by seven horses, with Aruna as the charioteer, towards the northern hemisphere, in a north-easterly direction. The symbolic significance of the ratha and the seven horses reigned to it is that it represents the seven colours of the rainbow. The seven horses are also said to represent the seven days of a week starting with Sunday, the day of Sun god Surya. The chariot has 12 wheels, which represents the 12 signs (each of 30 degrees) of the Zodiac (360 degrees) and constituting a full year, named Samvatsara. The Sun’s own house is Leo (Simha) and he moves from one house to the next every month and the total cycle takes 365 days to complete. The Ratha Saptami festival seeks the benevolent cosmic spread of energy and light from the Sun God.[1]
Ratha Saptami also marks the gradual increase in temperature across South India and awaits the arrival of spring, which is later heralded by the festival of Ugadi or the Hindu lunar New Year day in the month of Chaitra.
Legends
Ratha Saptami also marks the birth of Surya to sage Kashyapa and his wife Aditi and hence celebrated as Surya Jayanti (the Sun-god’s birthday). A legend is narrated by the Kamboj empire’s King Yashovarma, a noble king who had no heir to rule his kingdom. On his special prayers to God, he was blessed with a son. The king’s vows did not end with this, as his son was terminally ill. A saint who visited the king advised that his son should perform the Ratha Saptami pooja (worship) with reverence to rid of his past sins. Once the King’s son performed this, his health was restored and he ruled his kingdom well.[citation needed] It is also said that sage Bhisma breathed his last breath a day after the Rathasaptahmi day.
Sun temples
|Sun Temples in India |
|[pic] |[pic] |
|Surya idol at Konarak temple |Sun Temple, Modhera |
There are Surya temples all across India where Ratha Sapthami is fervently celebrated. However, the most famous one is the World Heritage Site of the Konarak Sun Temple, in Konark, Orissa. Besides Konark, there is another sun temple in Orissa, the Biranchi Narayan Temple (Biranchi khetra) in Buguda, Ganjam District. There are sun temples in Modhera, Gujarat, created by king Bhimdev of the Solanki dynasty, in Arasavalli, Andhra Pradesh and in clusters of Navagraha temples in Tamil Nadu and Assam. The Sun Temple at Martand (Jammu and Kashmir) and Sun Temple of Multan are temples, which were destroyed during Muslim conflicts in the past. Details of few temples are elaborated.[1]
Konarak
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The Konarak Sun Temple is a World Heritage Site and one of the Seven Wonders of India, as compiled by the Times of India in 2007.[4] It takes the form of the chariot of Surya (Arka), the Sun god, and is heavily decorated with stone carving. The entire complex was designed in the form of a huge chariot drawn by seven spirited horses on twelve pairs of exquisitely decorated wheels. It was constructed from oxidizing and weathered ferruginous sandstone by King Narasimhadeva I (1236–1264) of the Eastern Ganga Dynasty. At the entrance of the temple is the Nata Mandir, where the temple dancers used to perform dances in homage to the Sun god. All around the temple, there are various floral and geometric patterns and human, divine and semi-divine figures in sensual poses.
Ratha Saptami is celebrated with a holy dip on Chandrabhaga beach at Konark, though this rite has nothing to do with the temple, which is abandoned and has no religious significance in present-day Hinduism.[5][6]
Modhera Temple
This Sun Temple was built by Raja Bhimdev I of Solanki Dynasty in 1026 and is dedicated to Lord Surya, the Sun God of Hinduism. This was the time when Somnath and the adjoining area was plundered by Mahmud Ghazni and reeled under the effects of his invasion. The Solankis, however, regained much of their lost power and splendour. Anahilvad Patan, the Solanki capital, was restored to glory. Royalty and traders jointly contributed to build grand temples.
Solankis were considered to be Suryavanshis, or descendants of Sun god and they ruled as Rajputs of Marwar. The temple was so designed that the first rays of the Sun fell on the image of Surya, the Sun God, at the time of equinoxes.
Suryanar Temple
This temple in Tamilnadu, called the Suryanar koil, is located 22 kilometres from Kumbakonam. This temple pre-dates even the great Sun God temple in Konarak. It was built by Kulottungan I. The temple has a fifty feet gopuram (tower) and at the entrance the image of horses and the chariot of Surya appear. Around the Sun’s main sanctum, which is central to the temple, there are shrines for all the other planets in the galaxy of nine planets. It is noted for its Navagraha kshetra (Nine plants place). People visit this temple daily in large numbers to propitiate the Sun God (considered as the chief of the planets in Indian astrology). Ratha Sapthami is celebrated as a festival day here. It is stated in one of the inscriptions found in the temple that it was built in the reign of Kulottunga Choladeva (AD 1060-1118) and was then called Kulottungachola-Marttandalaya.
Religious observances
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Surya, the Sun God
God Vishnu in his form as Surya (the Sun-God) is usually worshipped on this day. Usually, Rathasapthami begins in households with a purification bath (bathing is also done in a river or sea) by holding several Ekka (Calotropis Gigantea) leaves on their head while bathing and chanting a verse which is supposed to invoke the benevolence of the Lord in all that one indulges in during the rest of the year. Argyam or (Tharpanam) (water held in the palms) is offered to the Sun God on this day while chanting hymns are performed to the Sun God. It also involves doing a puja with the ritual Naivedhya (food offering to God), and offering of flowers and fruits. Important prayers offered to the Sun god on this occasion are the Adityahridayam, Gayathri, Suryashtakam, Surya Sahasram namam. The preferred time for the pooja is within one hour after sunrise.[7][1] In places like Mysore and Melkote, ceremonial processions carry the Surya Mandala - the icon of Surya. [7]
Ekka leaves (in Kannada), are also known as Arka (in Sanskrit, meaning a ray or flash of lightning) leaves, Jilledu in Telugu, Erukku in Tamil and Calotropis Gigantea (bowstring hemp) in English. Arka is also a synonym for Surya or Sun. Its significance to Sun God could be compared to the significance of Tulsi (Ocimum tenuiflorum) leaves to Vishnu. Arka leaves are also used for worship of god Ganesha known by the name Arka Ganesha and also for Hanuman worship. Its stems, called samidha (sacrificial offerings of wood) are used for the Yagna ritual as a sacrificial offering to a ritual fire. Its shape is said to represent the shoulders and chariot of Sun God. Its use during the ritualistic ceremonious bath involves placement of seven leaves - one on the head, two on the shoulders, two on the knees and two on the feet.[1]
In some of the important Vaishnavite temples such as the Tirumala, Srirangam and Melukote, Ratha Saptami is one of the important festivals of the year. A one-day Brahmotsavam is held in Tirumala, and the Utsava Murthy is conducted in a variety of vahanams (vehicles) around the main temple precincts during the day.[7]
On this day, in South India, Rangoli is drawn with coloured rice powder depicting a chariot and seven horses as symbolic of the Ratha Saptami. Cowdung cake is also burnt at the centre of this depiction and milk boiled on the fire is offered to the Sun God.
Other Sun festivals
There are other festivals dedicated to Sun God Surya in India. Makara Sankaranti is the most widely celebrated Hindu festival dedicated to the Sun God. It is celebrated as Makara Sankranti throughout India and as Pongal also known as Thai Pongal by Tamils all over the world. People thank the Sun God for ensuring a good harvest and dedicate the first grain to him. Chhath is another Hindu Festival dedicated to Surya. It is believed to have been started by Karna, the son of Surya, who became a great warrior and fought against the Pandavas in the Kurukshetra War. Chhath is unique to Bihar, Jharkhand and the some parts of Uttar Pradesh.
Biranchi Narayan Sun Temple
The Biranchi Narayan Sun Temple, also known as the Abode of Viranchinarayana or the Wooden Konark, is a Hindu Temple located in the town of Buguda in Ganjam, Orissa.
This the second Surya temple constructed in Orissa, after the famous Konark Sun Temple.
] Construction
The temple was constructed by King Srikara Bhanjadeva in 1790. The presiding deity at the temple is Biranchi Narayan, whose image was recovered ruins at Maltigad. The imagery also features a chariot driven by seven horses with one wheel on its left side, with Surya as the chariot-driver.
The roof of the temple is constructed on a total of 46 pillars (32 of shorter height and 14 of taller height), and contains intricate wood designs. Unlike the Konark temple, which faces east, the Birachi Narayan Sun Temple faces west. Consequently, while at Konark sun rays of the rising sun shine on the installed Surya, at the Biranchi Narayn Temple the rays of the setting sun fall on Surya's feet.
Wooden Konark
As per the desire of the king, the main God of the temple is made in wood. According to a legend, the stone image of the Surya is constructed in line off the main wooden image of lord Surya.The similarities of the stone image with the wooden image confirms that it is constructed later on. Regarding the stone image there is a legend. It states that after the construction of the temple, one day the king dreamt that the God Viranchi Narayan himself, came and told him "Oh King! Now I am without being worshipped laying in a neglected conditions at the foot heels of Malatigad mountain near Keshripalli of Ganjam District.I will be happy if you will bring me to your newly setup temple. The next day the king reached in the said place and came to know from a farmer that, while sharping his sword in a stone, he has marked that blood came out from that. Then people dug out the stone and found that it is like a statue with seven horshes, one wheel and Sun God.
Festivals
• Ratha Saptami or Tila Saptami in the month of Maagha
• Samba Dashami in the month of Pausha
• On Every Sunday,Sankranti.
• Samba Dashami
• It is a festival unique to Orissa and is celebrated on 10th day of the Sukla Paksha of Pausha Masa. Legends say that Samba, the son of Lord Krishna, was afflicted by leprosy and he was cured by Surya, the Sun God, after 12 years of penance near Konark. So on this day, all mothers pray to Sun God to keep their kids healthy.
• Tradition
• On this day, female folks of thefamily wake up early in the morning before sun rise. After bath,they prepare variety of food items like, Khichdi, Udiya Puli,Ghadghadia Tarkari (a curry item) and offer them to Sun God during sun rise. One of the specific characters of this ritual is variety of individual food item is offered to Sun God in the name of each member of the family,After that female folks of the families go on preparing variety of Pitha (Cake) like; Manda Pitha, Kakara Pitha, Arisha Pitha, BiriLaddoo and other items like MakarChaula, Chhenaguda,, DhanuMuaan, sweet dishes like Khiri,Rasagola, Jhilli, Chhenagaja, Sweet Curd etc. all over the day. In the noon time, a bowl of turmericwater with a beetle in it is taken to ‘chaunra mula’ (a small temple likes tructure with a Tulsi plant overhead). All the cooked foods are served in plates. Then female heads of the family see the face of Sun God through the bowl of turmeric water and offer all the cuisine to the God. They readthe legend of ‘Samba Dasami Brata Katha’ and pray for the well-being of the whole family members.In the late night or evening, anotherpuja is observed as a part of SambaDasami ritual. This is known as‘Mahakala Puja’. Special Budha Chakuli is offered to Yama.
• Ashtapadi
• From Wikipedia, the free encyclopedia
• Jump to: navigation, search
• Ashtapadis or Ashtapadi hymns are regular compositions of music in India where there are eight lines (steps) within the composition. Each song of Ashtapadi is set in a special raga and tala. It is a rhyme of eternal love and supreme devotion.The literal meaning of "Ashtapadi" is "eight steps" (The same name is used for Ashtāpada, an Indian boardgame,the forerunner of chess).
• [edit] Ashtapadis of 'Gitagovinda'
• Gita Govinda was composed in the 12th century by Indian poet Jayadeva in Sanskrit language. Gita govindam is a lyrical poetry in twelve chapters, sub-divided into twenty four divisions called Prabandha. The songs in Gita Govinda symbolize the eternal love of Lord Krishna and his beloved Radha.
Hirakud Dam
|Hirakud Dam |
|[pic] |
|Floodgates of Hirakud Dam |
|Official name |Hirakud Dam |
|Locale |Hirakud Dam |
|Coordinates |[pic]21°34′N 83°52′E / 21.57°N 83.87°E / 21.57; |
| |83.87Coordinates: [pic]21°34′N 83°52′E / 21.57°N|
| |83.87°E / 21.57; 83.87 |
|Construction began |1948 |
|Opening date |1957 |
|Construction cost |100 Crore Rs in 1957 |
|Dam and spillways |
|Type of dam |Dam and Reservoir |
|Length |4.8 Km & 25.8 Km |
|Height |60.96 Mtr |
|Impounds |Mahanadi |
|Spillway capacity |42,450 cubic metres per second (1,499,000 |
| |cu ft/s) |
|Reservoir |
|Capacity |5896,000,000 m³ |
|Catchment area |83400 sq km (32200 sq miles) |
|Power station |
|Installed capacity |307.5 MW |
Hirakud Dam (Oriya: ହିରାକୁଦ ବଂଧ) is built across the Mahanadi River, about 15 km from Sambalpur in the state of Orissa in India. Built in 1957, the dam is one of the world's longest earthen dam.[1] Behind the dam extends a lake, Hirakud Reservoir, 55 km long. Hirakud Dam is one of the longest dams in the world, about 16 mi (26 km) in length. It was the first major multipurpose river valley project started after India's independence. The name of the dam is mostly mis-pronounced in North India as Hirakund which is actually Hirakud.
] Construction history
Before the devastating floods of 1937, Sir M. Visveswararya proposed a detailed investigation for storage reservoirs in the Mahanadi basin to tackle the problem of floods in the Mahanadi delta. In 1945, under the chairmanship of Dr. B. R. Ambedkar, the then Member of Labour, it was decided to invest in the potential benefits of controlling the Mahanadi for multi-purpose use. The Central Waterways, Irrigation and Navigation Commission took up the work.[2]
On 15 March 1946, Sir Howthrone Lewis, then the Governor of Orissa, laid the foundation stone of the Hirakud Dam. A project report was submitted to the government in June 1947. Pandit Jawaharlal Nehru laid the first batch of concrete on 12 April 1948. The dam was completed in 1953 and was formally inaugurated by Prime Minister Jawaharlal Nehru on 13 January 1957. The total cost of the project was Rs. 100.02 crores (in 1957. Power generation along with agricultural irrigation started in 1956, achieving full potential in 1966.[2]
Technical details
[pic]
[pic]
Dyke
[pic]
[pic]
Sasan Canal
• Length Total = 25.8 Kilometers [2]
• Length = 4.8 Kilometers [2]
• Artificial Lake = 743 Sq. Kilometers [2]
• Irrigated Area(both crop) = 235477 Hectors [2]
• Area lost in construction of Dam = 147,363 acres (596.36 km2) [2]
• Power Generation = 307.5 MW [2]
• Cost = Rs.100.02 crores (in 1957) [2]
• Top dam level = R.L 195.680 Mtr [2]
• F.R.L/ M.W.L = R.L 192.024 Mtr [2]
• Dead storage level = R.L 197.830 Mtr [2]
• Total quantity of earth work in Dam = 18,100,000 m³ [2]
• Total quantity of concrete = 1,070,000 m³ [2]
• Catchment = 83400 Sq. Kilometers [2]
Structure
The Hirakud Dam is a composite structure of earth, concrete and masonry. Ten km north of Sambalpur, it is the longest major earthen dam in the world, measuring 24 km including dykes, and stands across the river Mahanadi. The main dam has an overall length of 4.8 km[2] spanning between two hills; the Lamdungri on the left and the Chandili Dunguri on the right. The dam is flanked by 21 km earthen dykes on both the left and right sides, closing the low saddles beyond the adjoining hills. The dam and dykes together measure 25.8 km.[2] It also forms the biggest artificial lake in Asia, with a reservoir holding 743 km² at full capacity, with a shoreline of over 639 km. There are two observation towers on the dam one at each side. One is "Gandhi Minar" and the other one is "Nehru Minar". Both the observation towers present breathtaking views of the lake.
Purpose
In the upper drainage basin of the Mahanadi River, centered on the Chattisgarh Plain, periodic droughts contrast with the situation in the lower delta region where floods may damage crops. The dam was constructed to help alleviate these problems by creating a reservoir and controlling river flow through the drainage system.[3] The dam regulates the flow of the Mahanadi River and produces hydroelectricity through several hydroelectric plants.[4]
The dam helps control floods in the Mahanadi delta and irrigates 75,000 square kilometres of land. Hydroelectricity is also generated. The Hirakud Dam regulates 83,400 km² (32,200 mi²) of Mahanadi's drainage. The reservoir has a storage capacity of 5.818 km³ with gross of 8.136 km³.[2]
It drains an area of 133,090 km², more than twice the area of Sri Lanka. The amount of earth, concrete and masonry materials used to build the dam is sufficient to make a road 8 metres wide and pave it from Kanyakumari to Kashmir and from Amritsar to Dibrugarh in Assam. With successful irrigation provided by the dam, Sambalpur is called the rice bowl of Orissa. Here photography is strictly prohibited.
The project provides 1,556 km² of kharif and 1,084 km² of rabi irrigation in districts of Sambalpur, Bargarh, Bolangir, and Subarnpur. The water released by the power plant irrigates another 4360 km² of CCA in Mahanadi delta. The dam can generate up to 307.5 MW of electrical power through its two power plants at Burla, on the dam's right bank and Chiplima, 22 km downstream from the dam. In addition, the project provides flood protection to 9500 km² of delta area in district of Cuttack and Puri. Source: Dilip Kumar Padhi VU2DPI
Chiplima has gained prominence as the second hydroelectric project of the Hirakud Dam. A natural fall of 80 to 120 feet (25 to 40 m) in the river Mahanadi is used to generate electricity. The place is mostly inhabited by fisherman, whose deity ghanteswari is very popular in the neighbouring area. The State Livestock Breeding Farm and Agricultural Farm are located here.
People affected by the dam construction
The main purpose of the Hirakud Dam was to check the massive flood that was effecting a large part of coastal Orissa. But construction of the dam greatly affected the native of western part of Orissa. Nearly 150,000 people were affected by the Hirakud project. Nearly 22,000 family were displaced by the dam project.
In the original estimate, an amount of Rs 12 crores was provided for payment of compensation to the affected people. After revision, the amount was reduced to Rs 9.5 crores and the total compensation paid to the people was, in reality, only Rs 3.32 crores. A large number of families were evacuated from their hearth and homes without compensation from 1956 onwards.[5]
Cattle Island
Cattle Island is located in one of the extreme points of Hirakud Reservoir, a natural wonder. Completely inhabited by wild cattle, with out any trace of humans. It is near Kumarbandh village of Belpahar-Banharpali range which is about 90 km from Sambalpur. It can be reached by launch from Hirakud Dam, it is closer by 10 km via the river. The island is a submerged hill, and before the construction of Hirakud Dam it was a developed village. During the resettlement period, villagers left some of their cattle behind; when the dam construction was over, the cattle settled on the hilltop. With the passage of time the nearby area filled up with the reservoir water, turning the hilltop into an island. Being away from mankind, the cattle are now wild, very swift and not easily caught. Living on a hilltop with dense forest, they are larger than tame cattle, almost all of which are white in colour. Nearby residents attempt to capture these animals from time to time, but these hunts are rarely successful. Though descended from tame cattle, these animals provide a contrasting picture of this breed of animal returning to life in the wild.[6]
Wildlife
The dam with the channel provides an ideal environment for the wildlife. The Debrigarh wildlife sanctuary is located here.[7] Several species of migratory birds visit the reservoir during winter. Nearly 20-25 species of birds are seen in the reservoir and common among them are Common Pochard, Red-crested Pochard, Great Crested Grebe and several others.[8]
Sambalpur
|Sambalpur |
|- Hand Loom City - |
|— city — |
|[pic] |
|From top left to right: Budharaja Temple, Hirakud, Gandhi Temple, Sitalsasthi |
|Carnival, Samaleswari Temple. |
|[pic] |
|[pic] |
|Sambalpur |
|Location of Sambalpur |
|in Odisha |
|Coordinates |[pic]20.67°N 84.58°E / 20.67°N 84.58°E / 20.67; |
| |84.58Coordinates: [pic]20.67°N 84.58°E / 20.67°N 84.58°E / |
| |20.67; 84.58 |
|Country |[pic] India |
|State |Odisha |
|District(s) |Sambalpur |
|Population |154,164 (2001[update]) |
|• Density |• 122 /km2 (316 /sq mi) |
|Literacy |79.05% |
|Time zone |IST (UTC+5:30) |
|Area | |
|• Elevation |• 135 metres (443 ft) |
|Codes[show] |
|• Pincode |
|• 768001 |
| |
|• Telephone |
|• +0663 |
| |
|• Vehicle |
|• OR15 |
| |
|Website | |
|[pic] |
|Seal of Sambalpur |
Sambalpur (सम्बलपुर) ,(ସମ୍ବଲପୁର) is a city in the Sambalpur district of Western Odisha (Kosal), India. It lies at a distance of 321 km from the state capital Bhubaneswar. Sambalpur is famous for Hirakud Dam, Sambalpuri Saree, Sambalpuri songs, Sambalpuri dance, The Leaning Temple of Huma, Gandhi temple [1] and the Sitalsasthi Carnival. In the year 1876, Sambalpur was established as a municipality. It is currently the headquarters and the largest city of the Sambalpur district. Sambalpur derives its name from Goddess Samaleswari, an incarnation of Shakti and the presiding deity of the Samaleswari Temple located in the city.
Etymology
Sambalpur derives its name from that of the Goddess Samalei, an incarnation of Shakti who is regarded as the reigning deity of the region. In history, it has also been known as 'Sambalaka'.
History
[pic]
[pic]
Sambalpur in 1825, Watercolour of the fort at Sambalpur, by an anonymous artist for the Gilbert Collection, c. British Library [2]
The history of Sambalpur, as depicted by eminent historians, is full of events including Indian freedom struggle representing the different sections of society. Since Sambalpur is one of the ancient district of India, which survived even in the prehistoric age, much of the historical records about the origin and the existence of Sambalpur in the political scenario of Odisha are still in obscurity.
Sambalpur is mentioned in the book of Ptolemy (Claudius Ptolemaeus) as Sambalaka on the left bank of river "Manada", now known as Mahanadi, other evidence are available from the records of Xuanzang, and in the writings of the celebrated King Indrabhuti of Sambalaka of Odra Desha or Oddiyan (oldest known king of Sambalpur), the founder of Vajrayana Buddhism and the Lama cult. He has written the book Jñānasiddhi.
French merchant Jean Baptiste Tavernier (1605–1689) in his travel account “Six Voyages en Turquie, en Perse et aux Indes (1676–77)” translated into English by Valentine Ball as “Travels in India” (2d ed., 2 vol., 1925) wrote about the numerous famous diamond mines of Sumelpur (Semelpur), the present day Sambalpur. He states that, 8,000 people were at work in these mines at the time of his visit, in the dry season at the beginning of February.
In 1540 A.D., the kingdom ruled by the Chauhan dynasty was bifurcated. Southern portion of river “Ang” was ruled by Narasingh Deb and his brother 'Balaram Deb' received northern part of the river. Balaram Deb established his new capital at Sambalpur. Sambalpur was ruled by the Chauhan dynasty till 1800. The kingdom of Sambalpur was also known as Hirakhand and Sambalpur was its capital[3].
Sambalpur came under the Bhonslas of Nagpur when the Marathas conquered Sambalpur in 1800. After the Third Anglo - Maratha war in 1817, the British Government returned Sambalpur to the Chauhan king, Jayant Singh but his authority over the other princely states were taken out.
When the last ruler of Sambalpur, 'Narayan Singh', died in 1849 without a direct male heir, the British seized the state under the doctrine of lapse. Sambalpur was kept under "South west Frontier Agency" with headquarters at Ranchi. The official language of this region at that time was Hindi. "South west Frontier Agency" was renamed ‘Chhota Nagpur Division’ in 1854. The name of Veer Surendra Sai, who fought against the British Rule, is recorded in golden letters in the history of India's struggle for independence. During the Sepoy Mutiny in July 1857 the mutineers broke open the prison at Hazaribagh, where Surendra Sai was imprisoned and released all the prisoners. Surendra Sai fought against the British after reaching Sambalpur. There was no mutiny in Cuttack division, so Sambalpur was transferred to Cuttack division in 1858 and Oriya was made the official language of Sambalpur. Sambalpur along with other princely states of Western Orissa was included in the newly created Chhattisgarh division of Central Province in 1862. In January 1896, Hindi was made official language of Sambalpur. For the people of Sambalpur, whose mother tongue is Sambalpuri, it made no difference whether Hindi is the official language or Oriya. Moreover, here people speak Hindi more fluently and correctly than Oriya. People of Utkal region were employed in large numbers in Government jobs in Sambalpur. They feared that they will have no future, if Hindi continued as the official language. They, and some misguided locals, organized a movement for the retention of Oriya language as the official language. Oriya was re-introduced as the official language of Sambalpur district in 1903 but they demanded amalgamation with Orissa Division as a solution of the language crisis. This suited Lord Curzon, Sir Andrew Fraser and Mr. Risley, who were bent upon dividing Bengal on the basis of religion, so that British rule could continue in India. So the demand of amalgamation was accepted by the British Government during the partition of Bengal in 1905 when Sambalpur and the adjacent Sambalpuri speaking tracts were amalgamated with the Orissa Division under Bengal Presidency. Bengal's Orissa division became part of the new province of Bihar and Orissa in 1912, and in April 1936 became the separate province of Orissa. After Indian Independence in August 15, 1947, Orissa became an Indian state. The rulers of the Princely states of Western Orissa acceded to the Government of India in January 1948 and became part of Orissa state.
1825 to 1827, Lieutenant Colonel Gilbert (1785–1853), later Lieutenant General Sir Walter Raleigh Gilbert, first baronet, G.C.B., was the Political Agent for the South West Frontier with headquarters at Sambalpur. He made few paintings during his stay at Sambalpur by an unknown artist which are currently with the British Library and Victoria and Albert Museum.[4]
1956 Hirakud Dam was built across the Mahanadi River at Hirakud and VSSUT started functioning as University College of Engineering, Burla under Utkal University.
1966 Sambalpur University Act was passed.
1967 Sambalpur university located at Burla started functioning.
1980 A devastating flood inundated parts of Kosal. Even the price of 'choorha' (beaten rice) shot up to Rs.7 per kg. G.M. College in Sambalpur became a large camp for 6000 flood affected people. On September 22, when a group of students were collecting donations in the main business centre, Khetrajpur, 3 kilometres from Sambalpur, they had an altercation with some traders. In the ensuring clash, Surya Kant Bohidar was beaten up by the traders. Later that afternoon when a large student contingent went to Khetrajpur, they too were beaten up. The police remained passive spectators. Prominent businessmen were believed to have personally assaulted the students. While 30 students were hospitalised, not a single trader was hurt. Though the students named the businessmen in their FIR, the police took no action against them. The incident crystallised the latent anger against the powerful trading community. The movement was not communal, as was made out but was directed against the exploitative practices of the trading community. It called for action against blackmarketeers and hoarders and demanded that essential commodities reach those reeling under the floods of September 1980. This movement later on spread to the other parts of Odisha.[5]
Vajrayana Buddhism
Although it is generally accepted that Tantric Buddhism first developed in the country of Uddiyana or Odra Desha under King Indrabhuti, there is an old and well known scholarly dispute as to whether Uddiyana or Odra was in the Swat valley, Odisha or some other place.
1. Indrabhuti, the oldest known king of Sambalpur founded Vajrayana while his sister who was married to Yuvaraja Jalendra of Lankapuri (Suvarnapur) founded Sahajayana. These new Tantric cults of Buddhism introduced Mantra, Mudra and Mandala along with six Tantric Abhicharas (practices) such as Marana, Stambhana, Sammohana, Vidvesan, Uchchatana and Vajikarana. The Tantric Buddhist sects made efforts to raise the dignity of the lowest of the low of the society to a higher plane. It revived primitive beliefs and practices a simpler and less formal approach to the personal god, a liberal and respectful attitude towards women and denial of caste system.
2. From the seventh century A.D. onwards many popular religious elements of heterogeneous nature were incorporated into Mahayana Buddhism which finally resulted in the origin of Vajrayana, Kalachakrayana and Sahajayana Tantric Buddhism. Tantric Buddhism first developed in Uddiyana, a country which was divided into two kingdoms Sambhala and Lankapuri. Sambhala has been identified with Sambalpur and Lankapuri with Subarnapura (Sonepur).
3. Many celebrated Vajrayana Acharyas like Sarah, Hadipa, Dombi, Heruka, Tantipa and Luipa came from the so-called despised classes. The cult exerted a tremendous influence over the tribal and despised classes of people of Sambalpur and Bolangir region. It was in the 9th/10th century A.D. that there appeared seven famous Tantric maidens at Patna (Patnagarh) region which was then called Kuanri-Patana. These maidens are popularly known as Saat Bhauni (Seven sisters), namely, Gyanadei Maluni, Luhakuti, Luhuruni, Nitei Dhobani, Sukuti Chamaruni, Patrapindhi Savaruni, Gangi Gauduni and sua Teluni. They hailed from so-called the low castes of the society and were followers of Lakshminkara. Because of their miraculous power and feats; they have been later on deified and worshipped by the folk people.
4. A systematic analysis of the trend of religious development of the period under review and circumstantial evidences reveal that Chakra Sambar Tantricism of Tantric Buddhism gained popularity in the Gandhagiri region. The chief deity of Chakra Sambara Tantra is Buddha Sambara, the deity whose worship is still popular in China and Tibet. According to Sadhanamala, god Buddha Sambara is one-faced and two-armed. He appears terrible with his garment of tiger-skin, garland of heads, a string of skulls round the head, three eyes and in Âlidhamudrâ, he tramples upon Kalaratri. A number of texts relating to the procedures of worship of God Buddha Sambara have been coposed by siddhacharyas like Darikapa, Santideva, Jayadratha and others. King Indrabhuti of Shambala (Sambalpur) composed Chakra Sambara Stotra, Chakra Sambara Anubandha Samgraha, Chakra Sambara Tantraraga Sambara Samuchchaya Nama Brutti etc. The philosopher cum king Indrabhuti became the source inspiration to the adherents of Tantric Buddhist cult in Kosal including Gandhagiri region.[6]
5. Indrabhuti and Laksminkara, the two royal Buddhist Acharyas creted a mass of followers to their cults. In the 9th-10th century A.D. the worship and sadhana of Buddha Sambara, the presiding deity of Chakra Sambara Tantra gained popularity in the Gandhagiri region. In Gandhagiri which also contained a large number of caves and rock shelters, apparently of the Vajrayanists and Sahajayanists, the adherents of the cults used to live in seclusion and practice Kaya Sadhana or Yogic practices along with worshipping god Buddha Sambara.[7]
6. This Tantric Buddhist Culture greatly affected the religious faith and beliefs of the tribal of Gandhagiri, so much so that eventually even today one can notice the invocation of various Buddhist Siddhacharyas and Buddhist deities in the mantras of the tribal to ward off evil spirits or cure some disease. It is also interesting to note here that Buddha was worshipped by many tribal in the name of Budharaja. There is also a small hillock at the heart of present day Sambalpur by the name Budharaja.[8]
Kalki & Shambhala
Kalachakra tantra was first taught by the Buddha to King Indrabhuti, the first dharmaraja of Shambhala.[2]
"Lord Kalki will appear in the home of the most eminent brahmin of Shambhala village, the great souls Vishnuyasha and Sumati." (Srimad-Bhagavatam Bhag.12.2.18)[3]
Geography and Climate
Sambalpur is located at 21°.27' North Latitude and 83°.58' East Longitude in Kosal. The average elevation is 150.75 meters above the mean sea level. The geography of Sambalpur comprises the following:-
• Rivers :- The Mahanadi;
• Hillocks :- Laxmi Dungri, Budharaja, Brooks Hill (Small hill);
• Plain Area :- Mandlia, Sunapali, Durgapali, Dhanupali, Makhnapara, Budharaja, Bareipali, Burla, Hirakud;
• Small Ponds :- 18;
• Big Ponds :- 8;
• Sea/Gulf :- Nil;
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River Mahanadi at Sambalpur
Climate
Sambalpur experiences extreme type of climate with hot and dry Summer followed by humid Monsoon and cold Winter. The hot season commences from 1st week of March and lasts till the second half of June. In the month of May, temperature rises up to 47°. Similarly in the month of December, the temperature comes down to 5°C.[9] Sambalpur gets rainfall from South Western monsoon. The relative humidity is high during rainy season being generally over 75%. After rainy season the humidity gradually decreases and the weather becomes dry towards the winter. The best time to visit Sambalpur is between September to March. Heaviest ever recorded rainfall is 581.9 mm in Sambalpur in 1982 which was the highest ever in Odisha till September 2010.[10]
Demographics
As of 2001[update] India census,[11] Sambalpur had a population of 154,164. Males constitute 52% of the population and females 48%. Sambalpur has an average literacy rate of 66%, higher than the national average of 59.5%: male literacy is 74%, and female literacy is 58%. In Sambalpur, 11% of the population is under 6 years of age. Now the expected population of Sambalpur is 2,43,649.
Language Spoken
The chief communicative language of the Sambalpur region is Sambalpuri Language. Not much research has been done on the accent and phonetics of this language, and it is generally considered to be a dialect of Oriya;[12] however, recent research done at Sambalpur University claimed Sambalpuri as a distinct language and the University has subsequently introduced a one year diploma course in Sambalpuri Studies.
Culture
The culture of Sambalpur has its own unique identity. For several hundreds of years the people of Sambalpur have been an integral part of this and due to their contributions, now Sambalpur stands uniquely in the cultural diaspora. These developments have made the common Sambalpuri person stand out in terms of the language he speaks, the cloths that he wears, the dances that he performs etc.. Several traits of the culture like Sambalpuri language, Sambalpuri dance, Sambalpuri songs or Sambalpuri sarees have held a national identity and it is now being admired by people outside this region.
[pic]
[pic]
Annual Sital Sasthi Carnival
Sambalpur Lok Mahotsav [13]
A cultural manifestation of the hidden age-old traditional performing art of a vast geographical area is possible through this annual celebration of the festival in the name of” Lok Mahotsav”. This festival is by the people, for the people, of the people & a reflection of the socio- anthropological evolution of the people of an area. Here “Lok” means “People” only.
[pic]
[pic]
Sambalpur Lok Mahostav
Sitalsasthi Carnival [14][15]
The marriage of Lord Shiva and Goddess Parvati is being celebrated as Sitalsasthi for hundreds of years from now in Sambalpur. People from all walks of life join in large numbers in the carnival.
Music
The folk instruments which are in vogue in Sambalpur region are Dhole, Madal, Nishan, Tasa, Pakhoj, Bansi, Bir-Kahali, Gini, Ektara, Muhuri, Ghulgula, Ghunguru, Jhanj etc.. They are widely used in temples during 'aarti'.
Dhole: It is an age old instrument of Indian folk music. The 'dhole' of Sambalpur is slightly different in its making and use. It is made from the trunk of a tree. Both the side of the 'dhole' are of same size. Sambalpur 'dhole' can be used for any type of Sambalpuri folk song.
Madal: The Sambalpuri 'madal' is different from that of all other parts of India. The 'madal' is made out of fired clay and is like a cylinder. Madal is a drum which is used in slower rhythms. Most of the danceless songs are accomplished with the Madal.
Nishan: It is made out of iron sheets. The sound emitted by the 'nishan' is heart throbbing. This is mostly used in worship of Kali or Durga and in the battle field.
Tasha:It is played by two thin bamboo sticks. The sound of 'tasha' creates an atmosphere of horror, fear and excitement.
Dance
Most of the community dances are connected with a function or the worship of a deity. Colourful folk dances are enjoyed by the people.
Dalkhai Dance Dalkhai is a ritual folk dance. Songs sung on this occasion are known as Dalkhai songs. Young girls of Binjhals, Soura and Mirdha tribes perform this dance during Dusserah, Bhaijuntia and other festive occasions. However, non tribal people also participate in this ritual dance and songs without hesitation which is an indicator of the tribal and non tribal interaction in Kosal. The young girls stand in a line or in a semicircular pattern while dancing (Pasayat, 1998, 2003, 2007, 2008, 2009).
Karma Dance
Karma is the most colourful dance of the district. It is mainly a tribal dance in honour of “Karam Sani”, the deity who grants children, as they believe. Non-tribal people also participate in this ritual dance and songs. In the beginning the dancers enter the dancing arena in two rows. The dramers and the singers accompany with rhythmic steps.
Humo and Bauli
These are two playful dances performed generally by young and unmarried girls on special occasions who sing and dance in groups. The stepping and movements of the dance are very slow. However, the old and aged women of the villages also play the guiding role during performance of this songs (Pasayat, 2008).
Koisabadi Dance
This dance is prevalent among the Gond and the Bhuyan tribes. Male dancers take part, holding a two feet long stick. The songs are mainly based on the immortal love story of Radha and Krishna.
Architecture
Sambalpur retains its classic sleepy charm, even in the face of rapid, albeit unplanned expansion and a deluge of retail establishments. Some of the houses along the old part of Sambalpur are still maintained, and used, like they were, a century ago. A peculiar way the houses in the older parts of town are arranged is, the gulli system, literally, mazeway. Houses in Patnaikpara, Nandpara, and along the parallel streets of sansadak and badsadak are examples of the above. The streets of Badasadak and Sansadak extending from Kunjelpada Chowk to the office of Sambalpur municipality have a proud heritage.
The architecture in the district attracts people from all over because of its unique designs. The important historical relics in the district of Sambalpur are the temples built by the Chauhan rulers. The splendour of Odisha Art and Architecture had reached its climax in 13th century much before the advent of the Chauhan into Sambalpur region.
The Pataneswari temple of Sambalpur was built by Balaram Dev, the first Chauhan ruler of Sambalpur in the last part of 16th century. It consists of a sanctum with an enclosed circular count. The Pataneswari Deity is the temple of Goddess Kali.
The Samalei temple in the town represents the finest Chauhan style of circumvallation round the sanctum. The image of Samalei is a unique sculpture and appears to be a primitive deity worshipped by the local people. However, Samalei or Samaleswari is the tutelary deity of Chauhan dynasty of this area (Pasayat, 1998, 2003, 2007, 2008).
Festivals
Nuakhai
This is the most important social festival of Sambalpur. Generally it takes place during the month of August and September. Preliminary preparation of the festival starts 15 days before the occasion. The first grains of the paddy crop, cooked into various dishes are offered to the deities. There after the eldest member of the family distributes new rice to the junior members of the family. All the household articles are cleaned. People greet each other. It is a community festival celebrated by every Hindu family low and high.
Bhaijiuntia
It is mostly known only in the region of Western Odisha. Bhaijiutia festival is celebrated on the Mahastami Day of Durga Puja. It is a total fasting undertaken by women for the whole day and night to seek Goddess Durga's blessing for the long life of their brothers.
Puajiuntia
It is another fasting puja of similar austerity for women of the area. The Puajiuntia festival is observed by mothers to invoke the grace of Lord Dutibahana for the long life and prosperity of their sons.
Besides the above listed festivals, other religious festivals are observed. These include Shiva Ratri, Dola Jatra, Durga Puja, Janmastami, Dipavali, Ganesh Puja and Saraswati Puja.
Shiva Ratri mela at Huma attracts a large numbers of devotees. Ratha Yatra is held at almost all central places of Sambalpur. On the occasion of Makara Jatra, a fair is held at Themra in Sambalpur.
The most popular festivals celebrated by Muslims are Id-Ul-Fitre, Id-Ul-Juha and Muharram. The Sikhs also celebrate the birth day of Guru Nanak.
Economy
The economy of Sambalpur is basically dependent on agriculture and trade. Majority of the residents are either salaried or self employed. Forests play an important role in the economy in terms of contribution to revenue and domestic product. In the past Sambalpur has been a great centre of diamond trade. Kendu leaf or Coromandel Ebony or East Indian Ebony (Diospyros melanoxylon) also forms part of the economy of Sambalpur with many bidi manufacturing units functioning in Sambalpur [16]. The place is famous for its globally renowned textile bounded patterns and fabrics locally known as Baandha. Sambalpur is famous for its Hand loom textile works. Popularly known as Sambalpuri textile. It has earned international fame for its unique pattern, design and texture. The large number of rice mills found here also contribute to the economy. Approximately 25 rice mills are functioning in Sambalpur, Burla and Hirakud [17]. The first rice mill was established in 1953 at Sasan, Sambalpur [17].
Some of the industries located at Sambalpur are:-
• Hindalco - Aluminium Ingot
• Hirakud Industrial Works - Galvanising
• Rathi Steel & Power - Sponge Iron
Transport
As Sambalpur is the commercial capital of Western Orissa, it has a well networked transport facility for commercial and public transportation.
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Sambalpur Junction
Road
National Highway 6 which connects Surat to Kolkata passes through this city. It is connected to Bhubaneswar through National Highway 42. Rourkela-Sambalpur State Highway-10 is presently being upgraded from a two lane highway to four lane and even six lanes where it is necessary. An estimated amount of Rs. 1270 crores is to be spent on this upgradation and it is planned in such a way that by 2017 it will have the capacity to handle 49,000 vehicles everyday.[18]
Rail
Sambalpur is one of the Divisional Headquarters of East Coast Railway [19]. There are four railway stations namely Sambalpur (Khetrajpur), Sambalpur Road, Hirakud and Sambalpur City in Sambalpur. There are direct train connections to all the metros and prominent cities across India. It lacks direct connectivity to Indore, Dehradun and Guwahati.
Air
The nearest Airports are Mana Airport, Raipur (262 km) and Biju Patnaik Airport, Bhubaneswar (325 km). A new airport is being constructed at Jharsuguda (50 km).[20]
Education
Sambalpur is having one of the best facilities for education in the state with many schools and universities. Several private institutes are also being run at Sambalpur. Some of the prominent institutes are:-
• Sambalpur University [4]
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Sambalpur University
The Sambalpur University Act was passed by the Odisha legislature on 10 December 1966, the university started functioning from 1 January 1967 with Prof. Parsuram Mishra as the first Vice Chancellor. In the year 1973 the University was shifted to the present campus named Jyoti Vihar at Burla.
• Veer Surendra Sai University of Technology [5]
VSSUT (earlier University College of Engineering, Burla) was established in the year 1956 as the first engineering college of the state of Odisha. It has already produced more than 10,000 graduate engineers and 2000 post graduates in different fields of engineering and technology.
• Gangadhar Meher College (Autonomous), Sambalpur[6]
• Women's College, Sambalpur
• NSCB College
• Hindi Teacher Training College, Sambalpur
• Odisha Medical College of Homoeopathy & Research, Sambalpur
• VSS Medical College & Hospital, Sambalpur [7]
• Lajpat Rai Law College, Sambalpur
• Silicon Institute of Technology, Sason, Sambalpur
Places of Interest around Sambalpur
Hirakud
Hirakud Dam is built across the Mahanadi River, about 15 km from Sambalpur. Built in 1956, it was the first major multipurpose river valley project started after India's independence. The dam is the world's largest earthen dam [21] and is one of the longest dams in the world, about 16 mi (26 km) in length. It also forms the biggest artificial lake in Asia, with a reservoir holding 743 km² at full capacity with a shoreline of over 640 km.[22]
The Leaning Temple of Huma
The Leaning Temple of Huma located about 25 km from Sambalpur. The 17th century temple of Huma leans at an approximate angle of 47 degrees to the west. (Pasayat, 1998, 2003, 2004, 2007, 2008).[23]
Samaleswari Temple
This is the main tempe of Goddess Samaleswari, located on the banks of river Mahanadi. Sambalpur owes its name to her.[24]
Ushakothi [25]
A wild life Sanctuary, 43 km north east of Sambalpur on National Highway 6 stretching for more than 130 km, the sanctuary hosts of Elephants, Tigers, Gaurs, Sambars, Black panthers, Deer, Spotted deer, and Wild bears etc.
Ghanteshwari Temple [26]
As the name indicates there's bells in every direction. Located 33 km south-west of Sambalpur and on the bank of river Mahanadi, it played an important role for navigation in the past. It was called a light house without a light. A temple also existed here, of Goddess Ghanteswari from whom the place got its name. Earlier there were some large bells on this spot and with the help of wind those created enormous sound which made the navigators aware of this treacherous spot. This area being the conglomeration of three streams of water of river Mahanadi, the water current here is very dangerous forming a whirlpool. Due to this many boats get drowned while nearing this spot. Here the wind blows quite heavily and with the help of it, the bells produce sound. Now after the construction of Hirakud Dam, this spot became safer. The specialty of this temple area is thousands of bells hanging everywhere, the only place of its kind in Odisha.
Chiplima [26]
Located about 37 km from Sambalpur, Chiplima is known for a natural fall(24.38 mts in height) harnessed for generating electricity. It is an ideal picnic spot and also known for harbouring “Ghanteswari”, the presiding deity of the place. Moreover, the State livestock Breeding Farm and Agricultural Farm are located here.
Kandhara
Sambalpur also boasts of a pilgrimage-cum-sight seeing spot. Kandhara, 78 km from Sambalpur in Rairakhol Sub Division, is the birthplace of poet Bhima Bhoi [27], the great propounder of Mahima Dharma or alternatively known as Alekha Dharma.
Cattle Island [28]
Cattle Island exists in one of the extreme points of Hirakud Reservoir, a natural wonder. It is near Kumarbandh village of Belpahar-Banharpali range which is about 90 km from Sambalpur. The island is a submerged hill, and before the construction of Hirakud Dam it was a developed village. During the resettlement period, villagers left some of their cattle behind; when the dam construction was over, the cattle settled on the hilltop. With the passage of time the nearby area filled up with the reservoir water, turning the hilltop into an island. Being away from mankind, the cattle are now wild, very swift and not easily caught. Living on a hilltop with dense forest, they are larger than tame cattle, almost all of which are white in colour. Nearby residents attempt to capture these animals from time to time, but these hunts are rarely successful. Though descended from tame cattle, these animals provide a contrasting picture of this breed of animal returning to life in the wild. If the visit to this island is taken by a boat in the Hirakud reservoir it's an adventurous trip with some of the breathtaking views.
Politics
Sambalpur is part of Sambalpur (Lok Sabha constituency).[29] Current MLA from Sambalpur Assembly Constituency is Jayanarayan Mishra of BJP, who won the seat in state elections in 2004 and 2000 also. Previous MLAs from this seat were Durgashankar Pattanaik of INC who won this seat in 1995 and 1990, Sraddhakar Supakar of INC in 1985, Ashwini Kumar Guru of INC(I) in 1980, and Jhasketan Sahoo of JNP in 1977.[30]
Demand for Separate State
A movement has emerged in this area and majority of the people in this region are demanding a politically separate Hirakhand/Kosal state from the state of Odisha.
Eminent Personalities
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[pic]
Veer Surendra Sai
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[pic]
Gangadhar Meher
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[pic]
Bhima Bhoi
• Veer Surendra Sai [31][32]
• Gangadhar Meher [33][34]
• Bhima Bhoi [27]
• Chandra Sekhar Behera ( 1873–1936):Chandra Sekhar Behera of Sambalpur was a leading freedom fighter and an active participant in the Non-Cooperation Movement. He consolidated the National freedom movement in Sambalpur region and merged his activities with the Indian National Congress. He was a founding member of the National School of Sambalpur started on lines of Satyabadi Vana-Vidyalaya founded by Gopabandhu Das. As the chairman of Sambalpur Municipality, he received Gandhijee in Sambalpur in 1928. Organised a mass movement against illiteracy and untouchability.He was instrumental in the activities of Utkal Sammilani in formation of the separate statehood for Odisha. Chandra Sekhar breathed his last on 23 January, 1936.
• Satya Narayn Bohidar: Known as the pioneer of Sambalpuri language and grammar, Satya Narayan Bohidar [35] was born on 1 August 1913 at Sonepur. His formative and creative years were spent in Sambalpur that produced a good no. of literary translations and biographies. Fighting against all odds, Sri Bohidar was successful in preparing the dictionary and grammar specially in Sambalpuri Language which provided a significant identity to it. Satya Narayan Bohidar died on 31 December 1980, leaving a great legacy behind him to influence the future generations.
• Jadunath Supakar: Born on 10 February 1931 in an artisan’s family of Sambalpur town, Padmashree Jadunath Supakar [35] was educated from National Arts School of Shantiniketan. Starting as an artist of portraits, Jadunath earned his name as a great master of handicraft who continued his undying effort for popularity of forgotten traditional weaving. Working for national handloom Board, Jadunath tied his hand in Serriculture. His designs were highly appreciated in London, Paris, New York and he was engaged in weavers service center, established for the cause of artisans development. Jadunath was also known for his mastery in playing musical instruments.
• Issac Santra: Known for his service and benevolence par excellence, Isaac Santra [35] was born in the year 1892 at Sambalpur. Being a Christian, he was persuaded by his family to join a missionary at Bolangir but his interest was different. He graduated as a doctor from Cuttack and decided to dedicate himself in Leprosy Eradication Mission. He established a Lepor home at Hatibari, a village surrounded by dense forests and spent his time in serving the patients. Highly admired by the patients, academic circles in abroad, even by Mahatma Gandhi during later's visit to Sambalpur for his humanitarianism and philanthropy, Isaac Santra was honoured by Govt. of India with “Padmashree” award. He also edited a magazine “Prabhatee”, propounding human values and qualities. He died on 29 August 1968.
• Laxmi Narayan Mishra: Eminent freedom fighter, known for his selfless and sincere service to the motherland, Laxmi Narayan Mishra [35] was born in the year 1906 and had left school as a student to join India’s freedom movement. He was imprisoned for seventeen years for his active role in the national struggle for Independence. Jail provided him advantage to be a scholar and Laxmi Narayan had become a real Pandit with his education on religion, culture and political thought. He was an expert in the languages like Sanskrit, Urdu, Bengali, Telugu, Hindi, English and had earned a fame as an extraordinary orator. He was assassinated during a train journey at Jharsuguda.
• Laxminath Bezbarua [36][37][38]
• Sashi Bhusan Satpathy (1913–1991) He was an eminent personality of Sambalpur. He was a famous lawyer and social worker.
• Chandrakant Pradhan
• General S Padmanabhan He became the 20th Chief of Army Staff of the Indian Army in September 2000. He was born at Trivandrum in the Indian state of Kerala on the 5th of December, 1940 and spent his childhood at Samblapur.[39]
• Aparajita Mohanty
• Nabakishor Mahapatra He is the founder of AM FINANCIAL and is the first youngstar to bring the craze of indian stock market to western orissa and even to the whole orissa.Now a days he is considered as the inspiration of many youngstars.popularly he is now described as the YUBRAJ of western orissa.
Gallery
|[pic] |[pic] |[pic] |
|Huma Temple [40] |Mahanadi Bridge at far [41] |Dhanupali Bridge [41] |
Given below places near by to Sambalpur in tabular form:-
|Sambalpuri Language |Sambalpuri Saree |Sambalpuri Cinema |
|Sambalpur University |Veer Surendra Sai University of Technology, Burla |Veer Surendra Sai Medical College |
|Western Orissa |Western Orissa Development Council |Farmers Suicide in Western Orissa |
|Maa Samaleswari |Samaleswari Temple |The Leaning Temple of Huma |
|Veer Surendra Sai |Gangadhar Meher |Sarat Pujari |
|Nuakhai |Sitalsasthi Carnival |Burla, India |
|Hirakud |Kochinda |Rairakhol |
|Hirakud Dam |Bhukha |Kuilta |
Lalitgiri
Lalitgiri (also known as Naltigiri) is a Buddhist complex in Orissa comprising of major stupas and monasteries (viharas), similar to Ratnagiri, and together with Ratnagiri and Udayagiri part of Puspagiri University.
Puspagiri University
Puspagiri University was a prominent Buddhist seat of learning that flourished until the 11th century in India.[1][2] Today, its ruins lie atop the Langudi hills, low hills about 90 km from the Mahanadi delta, in the districts of Jajpur and Cuttack in Orissa.[3] The actual university campus, spread across three hilltops, contained several stupas, monasteries, temples, and sculptures in the architectural style of the Gupta period.[4] The Kelua river, a tributary of the Brahmani river of Orissa flows to the north east of Langudi hills, and must have provided a picturesque background for the university. The entire university is distributed across three campuses on top of the three adjoining hills, Lalitgiri, Ratnagiri, and Udayagiri.
Puspagiri ranks along with Nalanda, Vikramshila and Takshila universities as one of the primary institutions of higher learning in ancient India. The three universities were mentioned in the travelogues of the famous Chinese traveler Xuanzang (Huien Tsang), who visited it in 639 CE, as Puspagiri Mahavihara,[5] as well as in medieval Tibetan texts. However, unlike Takshila and Nalanda, the ruins of Puspagiri university were not discovered until 1995, when a lecturer from a local college first stumbled upon the site.[6][7] The task of excavating Puspagiri's ruins, stretching over 143 acres (0.58 km2) of land, was undertaken by the Orissa Institute of Maritime and South East Asian Studies between 1996 and 2006. It is now being carried out by the Archaeological Survey of India (ASI).[8]
Tourism
ASI has launched a major conservation effort, and as of 2007, in the process of acquiring more land in the university's vicinity.[citation needed] Once fully unearthed, the site is expected to become a significant international tourist destination in India.[9] The state government has initiated an annual Buddha Mahotsava at the site.[10]
There are other Buddhist attractions around Langudi hills, the site of Puspagiri. Kaima hill in its immediate vicinity contains a unique rock-cut elephant surrounded by four monolithic khondalite pillars, and dates back to the Mauryan period in the 3rd century, B.C. Deuli, a hill situated in the confluence of the Brahmani and Kimiria rivers, has preserved five rock-cut Buddhist chambers inside caves. Some more Buddhist sites have also been discovered at Bajragiri, Sarapur and Paikrapur. The Langudi sites are perhaps the largest historic Buddhist complex in India.[11]
Langudi can be approached from Jaraka and Chandikhol on the National Highway 5, and are easily accessible from the urban centers of Cuttack and Bhubaneswar. The best months to visit the place would be during October and February.[12]
History
As of 2007, the ruins of this university have not been fully excavated yet. Consequently, much of the university's history remains unknown. Of the three university campuses, Lalitgiri in the district of Cuttack is the oldest. Iconographic analysis indicates that Lalitgiri had already been established during the Sunga period of the 2nd century BC, making it one of the oldest Buddhist establishments in the world.[citation needed]
Architecture
Asokan statues
The recent discovery of a few images of the emperor Ashoka are a major find.[13] Based on this find, it has been suggested that the Puspagiri university may have been commissioned originally by Asoka himself.[14][15]
Ratnagiri (Orissa)
|Pilgrimage to |
|Buddha's |
|Holy Sites |
|[pic] |
|The Four Main Sites |
|Lumbini · Bodh Gaya |
|Sarnath · Kushinagar |
|Four Additional Sites |
|Sravasti · Rajgir |
|Sankissa · Vaishali |
|Other Sites |
|Patna · Gaya · Kosambi |
|Kapilavastu · Devadaha |
|Kesariya · Pava |
|Nalanda · Varanasi |
|Later Sites |
|Sanchi · Mathura |
|Ellora · Ajanta · Vikramshila |
|Ratnagiri · Udayagiri |
|Bharhut · Barabar Caves |
|view • talk • edit |
Ratnagiri was once the site of a mahavihara, or major Buddhist monastery, in the Brahmani and Birupa river valley in Jajpur district of Orissa, India. It was part of the Puspagiri University, together with Lalitgiri and Udayagiri.
] History
Ratnagiri was established no later than the reign of the Gupta king Narasimha Baladitya in the first half of the sixth century CE, and flourished until the twelfth century CE. A Tibetan history, the Pag Sam Jon Zang, identifies Ratnagiri as an important center in the development of the Kalachakratantra in the 10th century CE, an assertion supported by the discovery of a number of votive stupas, plaques, and other artifacts featuring Kalachakra imagery.[1]
Architectural features
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[pic]
Ratnagiri
A large-scale excavation was conducted at the site between 1958 and 1961[2], uncovering much of what is known today. The main stupa dates to the 9th century AD and was likely built on the site of an earlier, Gupta-era stupa. Seals were found bearing the legend "Sri Ratnagiri Mahavihariya Aryabikshu Sanghasya," which helped identify it. Prominent, well-persevered standing statues of the bodhisattvas Vajrapani and Padmapani can be found in niches in a portico. Monastery No. 2 features a central paved courtyard flanked by a pillared veranda around which are eighteen cells, a central shrine featuring an image of Shakyamuni in varada mudra flanked by Brahma and Sakra, and elaborately ornamented entrance porticos.
According to Amit Jha, a lecturer in the Department of History at Sri Aurobindo College, Delhi University, "Ratnagiri comprises two magnificent monasteries, also rebuilt more than once. One of them was double-storyed and had an extensive courtyard with two-sides of it having a number of cells for habitation of monks. Besides, we have archaeological remains of six temples, thousands of small stupas, 1386 seals, myriad sculptural relics and architectural pieces of daily use. The largest stupa was 47 feet (14 m) square and 17 feet (5.2 m) high surrounded by four minor stupas. There are hundreds of miniature votive stupas decorated with lotus, petal and beaded tassels."[3]
A museum now located on the site displays statuary featuring Tara, Avalokiteshvara, Aparajita, and Hariti have also been found, all in prototypical of Gupta style.
Location
Latitude 20° 38' N | Longitude 86° 20' E
|Ratnagiri |
|— ruins — |
|[pic] |
|[pic] |
|[pic] |
|Ratnagiri |
|Location of Ratnagiri |
|in Orissa and India |
|Coordinates |[pic]20.6333°N 86.3333°E / 20.6333°N 86.3333°E / 20.6333; |
| |86.3333Coordinates: [pic]20.6333°N 86.3333°E / 20.6333°N |
| |86.3333°E / 20.6333; 86.3333 |
|Country |[pic] India |
|State |Orissa |
|Time zone |IST (UTC+5:30) |
Udayagiri (Orissa)
|[pic] |
|The Four Main Sites |
|Lumbini · Bodh Gaya |
|Sarnath · Kushinagar |
|Four Additional Sites |
|Sravasti · Rajgir |
|Sankissa · Vaishali |
|Other Sites |
|Patna · Gaya · Kosambi |
|Kapilavastu · Devadaha |
|Kesariya · Pava |
|Nalanda · Varanasi |
|Later Sites |
|Sanchi · Mathura |
|Ellora · Ajanta · Vikramshila |
|Ratnagiri · Udayagiri |
|Bharhut · Barabar Caves |
|view • talk • edit |
Udayagiri is a Buddhist complex in Orissa comprising of major stupas and monasteries (viharas), similar to Ratnagiri, and together with Lalitgiri and Ratnagiri part of Puspagiri University. As per epigraphical artifacts found here, its historical name was “Madhavapura Mahavihara.”[1]
Numerous excavations by the A.S.I.[2] have been conducted since 1958, and continue to this day. During the large excavation from 1997 to 2000, a second part (Udayagiri-2) was discovered with additional stupas and monasteries.[3]
] Location
Latitude 20° 38' 45" N | Longitude 86° 16' 25" E
|Udayagiri |
|— ruins — |
|[pic] |
|[pic] |
|[pic] |
|Udayagiri |
|Location of Udayagiri |
|in Orissa and India |
|Coordinates |[pic]20.6333°N 86.2667°E / 20.6333°N 86.2667°E / 20.6333; |
| |86.2667Coordinates: [pic]20.6333°N 86.2667°E / 20.6333°N |
| |86.2667°E / 20.6333; 86.2667 |
|Country |[pic] India |
|State |Orissa |
|Time zone |IST (UTC+5:30) |
Udayagiri and Khandagiri Caves
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|Udayagiri |
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|Looking onto the Udayagiri caves from Khandagiri, in Bhubaneswar. |
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|Ranigumpha (cave no-1) Udayagiri |
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|Ganeshagumpha (cave no-10) Udayagiri |
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|Hathigumpha (cave no-14) Udayagiri |
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|Khandagiri caves |
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|Udayagiri |
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|Udayagiri |
Udayagiri and Khandagiri Caves are partly natural and partly artificial caves of archaeological, historical and religious importance near the city of Bhubaneswar in Orissa, India. The caves are situated on two hills Udayagiri and Khandagiri, mentioned as Kumari Parvat in Hathigumpha inscription and face each other across the road. They have a number of finely and ornately carved caves. It is believed that most of these caves were carved out huge residential blocks for the Jain monks, during the reign of King Kharavela. Udayagiri meaning Sunrise Hill, has 18 caves while Khandagiri has 15 caves.
The caves of Udayagiri and Khandagiri, called lena or leṇa in the inscriptions, were dug out mostly during the reign of Kharavela for the abode of Jaina ascetics. The most important of this group is Ranigumpha in Udayagiri which is a double storeyed monastery.
Unfortunately, a number of the Jaina caves on the Khandagiri side have encroachment problems, with local Brahmins turning them into Hindu shrines and covering up some of the Jaina iconography.
] Count of the caves
B.M. Barua , basing on a reading of line 14 of the Hathigumpha inscription declared that altogether one hundred and seventeen caves were caused to be excavated by Kharavela and others on the Kumari hill (Udayagiri). Marshall has counted more than 35 caves in both the hills, while M.M. Ganguli has enumerated only twenty seven caves.
The number of existing caves may be counted at Udayagiri as eighteen, while Khandagiri present only fifteen excavation. The local names of the existing caves are present below and those are numbered according to the enumeration of the Archaeological Survey of India.
The famous caves
In Udayagiri, Hathigumpha (cave 14) and Ganeshagumpha (cave 10) are especially well known due to art treasures of their sculptures and reliefs as well as due to their historical importance. Rani ka Naur (Queen's Palace cave, cave 1) is also an extensively carved cave and elaborately embellished with sculptural friezes. Khandagiri offers a fine view back over Bhubaneswar from its summit. The Ananta cave (cave 3) depicts carved figures of women, elephants, athletes, and geese carrying flowers.
Inscriptions in Caves in Brahmi
Hathigumpha inscription
The Hathigumpha cave ("Elephant Cave") has Hathigumpha inscription, written by Raja Kharavela, the king of Kalinga in India, during the 2nd century BCE. Hathigumpha inscription consists of seventeen lines incised in deep cut Brahmi letters on the overhanging brow of a natural cavern Hathigumpha in the southern side of the Udayagiri hill. It faces straight towards the rock Edicts of Asoka at Dhauli situated at a distance of about six miles.
Other minor inscriptions
Besides Hathigumpha inscription of Kharavela there are some other minor Brahmi inscriptions in the twin hillocks of Udayagiri and Khandagiri, which were deciphered earlier by Prof RD Banergy during 1915-16 (Epigraphic Indica-XIII) and BM Baraua (Indian Historical Quarterly-XIV). Sadananda Agrawal has given further clarifications about them and are produced as under:
I- Mancapuri cave inscription (Upper storey)
This inscription is engraved on the raised space between the second and third doorways of the cave. The text in Devanagari script is as under:
L.1- अरहंत पसादाय कलिंगानं समनानं लेनं कारितं राजिनो ललाकस
L.2- हथिसिहस पपोतस धुतुना कलिंग चकवतिनो सिरिखारवेलस
L.3- अगमहिसिना कारितं
Translation - By the blessings of Arhats the chief queen of Kharavela, the Cakravarti monarch of Kalinga, the great granddaughter of Hathisiha (Hasti Simha) and the daughter of Lalāka or Lalārka caused to be excavated the cave for the sramanas of Kalinga.
II- Mancapuri cave inscription (Upper storey)-A
This inscription is incised on a raised bend between the 3rd and 4th doorways from the left and contains single line. The text in Devanagari script is as under:
ऐरस महाराजस कलिंगाधिपतिना महामेघवाहनस कुदेपसिरिनो लेणं
Translation - This is the cave of Aira Mahameghavahana Maharaja Kudepasiri, the overlord of Kalinga.
Note:- Kudepasiri seems to be the immediate successor of Kharavela.
III-Manchapuri cave inscription 'B' (Lower storey)
This inscription has been engraved on the right wall of Veranda, to the right of the entrance to the right-hand side chamber of the main wing, consisting of one line. The text in Devanagari script is as under:
कुमारो वडुखस लेणं
Translation - [This is] the cave of Prince Vaḍukha.
Note:- On palaeographic ground Prof Banergy considers this inscription to be a little earlier than the inscription of king Kudepasiri. According to Sadananda Agrawal, Prince Badukha stands an obscure figure in history, but Badukha seems to be the son or brother of Kudepasiri.
IV- Inscriptions in the sarpagumpha (Over the door way)
This inscription consisting of one line, is incised over the doorway of the sarpagumpha. The text in Devanagari script is as under:
चूलकमस कोठाजेया च
Translation - The chamber and veranda/or side chamber of cūlakama. Note:- However Dr. Sahu interpreted Ajeya being united by a Sandhi qualifying Koṭha there by denoting invincible. But he ignored the conjunction ca (Devanagari: च) which follows Koṭha(Devanagari:कोठा) and Jeya (Devanagari:जेया).
V- Inscription in the sarpagumpha ( to the left of the doorway) The text in Devanagari script is as under:
L.1- कंमस हलखि
L.2- णय च पसादो
Translation :- [The pavilion is the] gift of Kamma and Halakhina.
Note:- Most probably Halakhiṇa was the wife of Kamma. Chūlakamma - found in the inscription No.IV and Kamma of this record indicate official designations rather than the proper names. Kamma may be taken as minister of works (Karma saciva) and Cūlakamma appears to be a junior cadre of minister in the Department of works.
VI- Haridas cave inscription
This inscription contains one line has been incised over one of the three entrances to the main chamber of the cave from the veranda. The text in Devanagari script is as under:
चूलकमस पसातो कोठाजेया च
Translation :- The chamber and veranda (or side chamber) are the gift of cūlakama.
VII- Vyāghragumphā inscription
The record is incised on the outer wall of the inner chamber. The text in Devanagari script is as under:
L.1- नगर अखंदस
L.2- स भूतिनो लेणं
Translation :- The cave of Bhūti, the city judge.
VIII- Jambesavara cave inscription
This inscription has been engraved over the entrances to the inner chamber of the cave. The text in Devanagari script is as under:
महादस बरयाय नकियस लेनं
Translation :- The cave of Mahamāda Nākiya and Bāriyā.
X- Tatowāgumphā inscription (Cave No -1)
The record of this inscription is incised over one of the entrances to the inner chamber. The Text reads in Sanscrit as
पादमुलिकस कुसुमस लेणं x [।।]
Translation: The cave of Kusuma, the padamulika.
Notes:- There is a syllable after the word lenam, which may be read as ni or phi,. padamulika literally means, one who serves at the feet [of king].
According to Kishori Lal Faujdar, Here Kusuma seems to be related with Kaswan clan of Jats. He refers an article ‘Hathi Gumpha and three other inscriptions’ (page 24) in Devanagari as under[1]:
कुसवानाम् क्षत्रियानां च सहाय्यतावतां प्राप्त मसिक नगरम्
Kusawānāṃ kshatriyānāṃ ca Sahāyyatāvatāṃ prāpt masika nagaraṃ.
Translation:- This translates that the city of 'Masikanagara ' was obtained with the help of 'Kuswan' Kshatriyas.
Note:- Sadananda Agrawal has interpreted Masikanagara as Asikanagara and identified with the city Adam (Nagpur district). In view of the evidence of a highly prosperous city unearthed at Adam, Prof AM Shastri is of the opinion that Adam itself represents the Asikanagara of Hathigumpha inscription. It is worth noting in the present context that a terracotta sealing having a legend, has been discovered from Adam [2], situated on the right bank of the river Wainganga, which reads Asakajanapadasa (Devanagari: असकजनपदस).
XI- Ananta Gumpha inscription (A)
The record is incised on the architrave between the left ante and the fifth pillar. The text in Devanagari script is as under:
दोहद समणनं लेणं
Translation :- The cave of the Dohada Śramaṇas.
List of Caves at Udayagiri
1- Ranigumpha, 2- Bajagharagumpha, 3- Chota Hathigumpha, 4- Alkapurigumpha, 5- Jaya-vijayagumpha, 6- Panasagumpha, 7- Thakuranigumpha, 8- Patalapurigumpha, 9- Mancapurigumpha, 10- Ganesagumpha, 11- Jambesvaragumpha, 12- Vyaghragumpha, 13- Sarpagumpha, 14- Hathigumpha, 15- Dhanagharagumpha, 16- Haridasagumpha, 17- Jagammathgumpha, 18- Rosaigumpha,
List of Caves at Khandagiri
1- Tatowagumpha No.-1, 2- Tatowagumpha No.-2, 3- Anantagumpha, 4- Tentuligumpha, 5- Khandagirigumpha, 6- Dhyanagumpha, 7- Navamunigumpha, 8- Barabhujigumpha, 9- Trusulagumpha, 10- Ambikagumpha, 11- Lalatendukesarigumpha, 12- Unnamed, 13- Unnamed, 14- Ekadasigumpha, 15- Unnamed,
The above nomenclature, however has no historical significances but accepted at present for the convenience of scholars and general readers. The art of Udayagiri and Khandagiri being almost contemporaneous with that of Sanchi, marks a striking resemblance with it but at he same time retains its own individuality and advance technique.
Hathigumpha inscription
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Hathigumpha inscription. From the Archaeological Survey of India Collections, taken by William Henry Cornish in c.1892.
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Hathigumpha on Udayagiri Hills, Bhubaneswar
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Hathigumpha inscription of King Khāravela at Udayagiri Hills
The Hathigumpha inscription ("Elephant Cave" inscription), from Udayagiri, near Bhubaneshwar in Orissa, was written by Kharavela, the king of Kalinga in India, during the 2nd century BCE. Hathigumpha inscription consists of seventeen lines incised in deep cut Brahmi letters on the overhanging brow of a natural cavern called Hathigumpha in the southern side of the Udayagiri hill near Bhubaneswar in Orissa. It faces straight towards the rock Edicts of Asoka at Dhauli situated at a distance of about six miles.
The inscription is written in a type which is considered as one of the most archaic forms of the Kalinga Brahmi alphabet, also suggesting a date around 150 BCE.[1]
The inscription is dated to 165th year of the era of the Maurya kings, and the 13th year of Kharavela's reign, which, considering the coronation of Chandragupta in 321 BCE as the probable start of the era, makes a date of 157 BCE for the inscription, a date of 170 BCE for Kharavela's accession, and a date of 162 BCE for the conflict against the Yavana king Demetrius.[2]
] Background
Hathigumpha inscription at Udayagiri caves is the main source of information about Kalinga ruler Kharavela. This inscription, consisting of seventeen lines has been incised in deep cut Brahmi letters of the 1st Century BC on the overhanging brow of a natural cavern called Hathigumpha in the southern side of the Udayagiri hill. It faces straight towards the rock Edicts of Asoka at Dhauli situated at a distance of about six miles. It was introduced to the Western world by A. Stirling in 1820 who published an eye copy of it in Asiatic Researches, XV, as well as in his book An Account, Geographical, Statistical and Historical of Orissa or Cuttack and by James Prinsep who deciphered the inscription. Princep's reading along with the facsimile prepared by Kittoe was Published in the Journal of the Asiatic Society Bengal, VI (1837), where he erroneously attributed this inscription to a king named Aira. Towards the end of 1871 a plaster cast of the inscription was prepared by H. Locke which is now preserved in the Indian Museum, Calcutta. Alexander Cunningham published this inscription in 1877 in the Corpus Inscriptionum Indicarum Vol. I and in 1880 R.L. Mitra published a slightly modified version in his Antiquities of Orissa, Vol. II.
Bhagwan Lal indraji is credited with the first authentic reading which he presented before the Sixth International Congress of Orientalists, 1885 it is to be noted here that Pandit Indraji was the first scholar to declare that the king eulogised in the Hathigumpha inscription was named Kharavela. It is a fact that there is a large number of lacuna in the inscription, which obstruct its correct reading and because of its mutilated condition has given rise to unnecessary controversies. The inscription mainly mentions the various conquests of this king, starting with his fight against the Satavahana king Satakarni:
"And in the second year (he), disregarding Satakamini, dispatches to the western regions an army strong in cavalry, elephants, infantry (nara) and chariots (ratha) and by that army having reached the Kanha-bemna, he throws the city of the Musikas into consternation." Epigraphia Indica, Vol. XX
The inscription then mentions that Kharavela forced the Indo-Greek (Yavana) king Demetrius to retreat from Rajgir, about 70 km (50 miles) southeast of Pataliputra, to the area of Mathura:
"Then in the eighth year, (he) with a large army having sacked Goradhagiri causes pressure on Rajagaha (Rajagriha). On account of the loud report of this act of valour, the Yavana (Greek) King Dimi[ta] retreated to Mathura having extricated his demoralized army and transport." Epigraphia Indica, Vol. XX
Salient features
The Hathigumpha inscription mentions that:[3]
• In the very first year of his coronation ( His Majesty) caused to be repaired the gate, rampart and structures of the fort of Kalinga Nagari, which had been damaged by storm, and caused to be built flight of steps for the cool tanks and laid all gardens at the cost of thirty five hundred thousand (coins) and thus pleased all his subjects.
• In the second year, without caring for Satakarni [His Majesty] sent to the west a large army consisting of horse, elephant, infantry and chariot, and struck terror to Asikanagara with that troop that marched up to the river Kanhavemna.
• Then in the fourth year, (His Majesty] .... the Vidhadhara tract, that had been established by the former kings of Kalinga and had never been crossed before. The Rathika and Bhojaka chiefs with their crown cast off, their umbrella and royal insignia thrown aside, and their Jewelry and wealth confiscated, were, made to pay obeisance at the feet [of His Majesty).
• And in the fifth year, [His Majesty] caused the aqueducts that had been excavated by king Nanda three hundred years before , to flow into [Kalinga] Nagri through Tanasuli.
• And in the seventh year of his reign [ the Queen] of Vajiraghara, blessed with a son attained motherhood.
• In the 8th year of his reign, he attacked Rajagriha in Magadha and forced the Indo-Greek king Demetrius (described as the Yavana king ("Yavana-raja") named Dimi{ta}) to retreat to Mathura.
• In the 12th year of his reign, he attacked the king of Uttarapatha. Then brought back the image of Kalinga Jina with its thrown and endowment that had been taken away by king Nanda and the jewels plundered by him (King Nanda) from the Kalinga royal palace, along with the treasures of Anga and Magadha.
• He then attacks the kingdom of Magadha, and in Pataliputra, the capital of the Sunga, makes king "Bahasatimita" (thought to be a Sunga king Brhaspatimitra, or Pusyamitra himself) bow at his feet.
•
o It is important to note that as far back as 1951, the Yavana-raja was thought to actually be the Kushana Vima Kadphises rather than the Indo Greek Demetrius, as it was only interpreted to be Dimita (since the inscription is not in very good condition). P.L. Gupta has been a longstanding proponent of this theory.
Kharavela
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Maximum extent of Khārabeḷa (ଖାରବେଳ) Kaḷingan Empire: 2nd century BCE
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Hātigumfā on Udayagiri Hills, Bhubaneswar
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Hātigumfā inscription of King Khārabeḷa at Udayagiri Hills
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Khandagiri caves
Khārabeḷa (Oriya: ଐର ମହାମେଘବାହନ ଖାରବେଳ,Aira Mahameghavahana Kharavela) (IAST: Khārabeḷa, Devanagari: खारवेल, Odia: ଖାରବେଳ) (193 BC – after 170 BCE)(if his attack on the Rajgriha against demetrius is assumed in 185 bc then his start year would be 193 bc as he attacked rajgriha in his eighth year of reign) was the greatest emperor of the Maha-Meghavahana Dynasty of Kaḷinga (present-day Orissa state of India). The Chedi dynasty of Kaḷinga under the kingship of Khārabeḷa ascended to eminence and restored the lost power and glory of Kaḷinga, which was subdued since the devastating Kaḷinga war with Ashoka. All these happened within a century of Ashokan era. The Kaḷingan military might was reinstated by Khārabeḷa. Under Khārabeḷa's generalship, the Kaḷinga kingdom had a formidable maritime reach with trade routes linking it to the then Simhala (Sri Lanka), Burma (Myanmar), Siam (Thailand), Vietnam, Kamboja (Cambodia), Borneo, Bali, Samudra (Sumatra) and Jabadwipa (Java). On the religious side, though extremely liberal, Emperor Khārabeḷa patronised Jainism.
Emperor Khārabeḷa (ଖାରବେଳ) led many successful campaigns against Kingdoms of Magadha, Anga, Satavahanas and the then South Indian regions of Pandya kingdom, present Tamil Nadu state, and expanded Kaḷinga till the river Ganges in North and river Kaveri in South, with full West to East coverage. Khārabeḷa (ଖାରବେଳ) was the third king of the Mahāmeghabāhana dynasty. The main source of information about Khārabeḷa is his famous seventeen line rock-cut hātigumphā inscription in a cave in Udayagiri hills near Bhubaneswar in Odisha.
] Introduction
The chief source of information about emperor Kharavela is the Hathigumpha inscription at Udayagiri caves, near present Bhubaneswar city. According to the inscription, Kharavela belonged to the Chedi clan, and was a lineal descendant of the sage king Vasu. Apart from this eulogic descent amounting to a myth, several historians have tried to speculate the origin of Kharavela. However, in absence of any material evidence to the converse, Kharavela has been accepted as being from an Odia descent.
Etymologically, the name Kharavela is the prakrit transformation of Sanskrit word Ksharavela (Devanagari:क्षारवेल). The first syllable Khāra (Devanagari:खार) is the corrupt form of Kshāra (Devanagari:क्षार) meaning 'saltish'. The letter Khā (Devanagari:खा) in the Hathigumpha inscription is the transformed corrupt (Apabhramsha) form of kshā (Devanagari:क्षा). The second syllable, Vela means 'wave' or 'shore'.
Incidentally, in north-western part of India, there is a clan of Jats having the clan name Khārvel, which claims descent from the Emperor Kharavela, originated during the north-western conquest of the emperor. Similarly, in history books Air (ऐर) has been stated as a clan that originated from Nagavanshi ruler named Airawat. [1] However, deep and multi-disciplinary research is required to arrive at the exact origin of Kharavela.
Hathigumpha Inscription
This inscription, consisting of seventeen lines has been incised in deep cut Brahmi script on the overhanging brow of a natural cavern called Hathigumpha (Oriya: ହାତୀଗୁମ୍ଫା) (Meaning in English: The Elephant’s Cave) in the southern side of the Udayagiri hills near present day Bhubaneswar. The inscriptions date back to the 1st century BCE. It faces straight towards the rock Edicts of Ashoka at Dhauli, which is situated at a distance of about six miles.
The inscription was first discovered/noticed by A. Stirling in 1820 who published an eye copy of it in Asiatic Researches, XV , as well as , in his book titled “An Account, Geographical, Statistical and Historical of Orissa or Cuttack”. Thereafter, indologist and linguist James Prinsep succeeded in deciphering the inscription. Subsequently, Princep’s reading along with a facsimile prepared by Kittoe was published in the Journal of the Asiatic Society Bengal, VI (1837).
According to Princep, the referred personality in the Hatigumpha inscription was a king named ‘Aira’. Towards the end of 1871 AD, a plaster cast of the inscription was prepared by H. Locke, which is now preserved in the Indian Museum, Calcutta. Later, Alexander Cunningham published this inscription in 1877 in the Corpus Inscriptionum Indicarrum Vol. I and in 1880 R.L. Mitra published a slightly modified version in the book Antiquities of Orissa, Vol. II.
The first authentic reading of the inscription is credited to historian Bhagwan Lal Indraji. Indraji presented the novel approach before the Sixth International Congress of Orientalists in 1885, which was widely accepted. Pandit Indraji was the first scholar to declare that the King referred to and eulogised in the Hathigumpha inscription was named Kharavela' and not Aira. However, there are a large number of lacunae and faults (Both syntactical and physical deformities) in the inscription, which obstruct its correct reading and the mutilated condition of the inscription has given the space for rival claims and given rise to controversies.
Salient features of the Hathigumpha Inscription
The Hathigumpha inscription starts with a version of the auspicious Jain Namokar Mantra: नमो अरहंतानं [।।] णमो सवसिधानं [।।] for in Jainism.
The body-text mentions that:
• In the very first year of his coronation, (His Majesty) caused to be repaired the gate, rampart and structures of the fort of Kalinga Nagari, which had been damaged by storm, and caused to be built flight of steps for the cool tanks and laid all gardens at the cost of thirty five hundred thousand mudra (coins) and thus pleased all his subjects.
• In the second year, without caring for Satakarni, (His Majesty) sent to the west a large army consisting of horses, elephants, infantry and chariots, and struck terror to Asikanagara with that troop that marched up to the river Kanhavemna.
• Then in the fourth year, (His Majesty] .... the Vidhadhara tract, that had been established by the former kings of Kalinga and had never been crossed before. The Rathika and Bhojaka chiefs with their crown cast off, their umbrella and royal insignia thrown aside, and their Jewelry and wealth confiscated, were, made to pay obeisance at the feet (of His Majesty).
• And in the fifth year, (His Majesty) caused the aqueducts that had been excavated by king Nanda three hundred years before, to flow into Kalinga Nagri through Tanasuli.
• And in the seventh year of his reign [the Queen] of Vajiraghara, blessed with a son attained motherhood.
• In the 8th year of his reign, (His Majesty) attacked Rajagriha in Magadha and forced the Indo-Greek king Demetrius (described as the Yavana king ("Yavana-raja") named Dimi{ta}) to retreat to Mathura.
• In the 12th year of his reign, he attacked the king of Uttarapatha. Then brought back the holy idols of Kalinga's Jain Gods (The Blessed Tirthankars) which earlier Magadha rulers had carried away with them after Kalinga War in Past. Tirthankar’s idol was brought back with its crown and endowment and the jewels plundered by king Nanda from the Kalinga royal palace, along with the treasures of Anga and Magadha were regained.
• (His Majesty) then attacked and vanquished the kingdom of Magadha, and Pataliputra, the then capital of the Sunga, and made king "Bahasatimita" (May be a Sunga king Bruhaspatimitra, or Pusyamitra himself) bow at his (His Majesty’s) feet.
The inscription states that the Emperor Kharvela had a liberal religious spirit. Kharavela describes himself as:
“ सव पासंड पूजको सवदेवायतन संकार कारको ” (Prakrit Language, Devanagari script)
Translation: The worshipper of all religious orders, the restorer of shrines of all gods.
Minor Inscriptions of Kharavela
Besides the celebrated Hathigumpha inscription of Kharavela, there are several other minor inscriptions in the twin hills of Udayagiri and Khandagiri Caves, which were deciphered earlier by Prof. R. D. Banerjee during the years 1915-16 (Epigraphic Indica - XIII) and subsequently by B. M Barua (Indian Historical Quarterly-XIV). These minor inscriptions pertaining to Emperor Kharavela have been engraved in Brahmi script, prakrit language. Shri Sadananda Agrawal, historian, has given details and clarifications about those.
Period
The dating of Kharavela's period has been highly debatable and controversial. It has been a formidable challenge to ascertain the correct date of Kharavela’s ascendancy and reign within a definite chronological frame work.
The internal evidence from the Hathigumpha inscription, reasonably places the date of emperor Kharavela’s reign in second half of the 1st century BC. An exact time bracketing has been unachievable at present. The exact time bracket of Kalingan emperor Kharavela will continue to be controversial so long any other corroborative evidences have not been discovered.
The Indian numismatist P.L. Gupta has suggested that the Hatigumpha inscription is from the 2nd century CE:[2]: "The Hâthîgumphâ inscription refers in line 8 to a yavana-râja, who fled to Mathura when he realized the might of Khâravela. The name of the yavana-râja bears three letters, of which the second letter may be fairly read as ma or mi. It has been doubtfully restored as Dimita, meaning Demetrius the Indo-Greek king. But as early as 1951, I thought it to be Vimaka, meaning Vima Kadphises. The Patna Museum has a plaster cast of this inscription, which I personally examined when I was there as Curator. It confirms my suggestion."
There are some issues with this interpretation, since the stated facts are that the name consists of three letters, of which the second is mi or ma, and that the king is categorized as yavana, not kushan or tukhara, nor saka or pahlava. It is otherwise unknown for a Kushan king to have been referred to as a yavana, and for Vima Kadphises to be referred to as Vimaka (expanded from Vema/Vima). Also, there are palaeographic problems with dating the Hâthîgumphâ text so late as Wema Kadphises (Reign 90s-110s CE). The period of 1st century BC, or approximately contemporary with the Sanchi inscriptions from the reign of the Satavahana Satakarni, has been preferred by Indic script specialists.
Wars & Expeditions
It is revealed from Line-4 of the Hathigumpha inscription that Kharavela in the second year of his reign dispatched a strong force comprising cavalry, elephants, infantry and chariots to the western quarter without caring for or bothering about Sātakarnī, and the kingdom of Asikanagara was frightened of its (Kharavela’s army) reaching the river Kanhavemṇā. Some scholars prefer to read Masikanagara instead of Asikanagara and locate it in the coastal region of Andhra Pradesh.
An article about Emperor Kharavela mentions about the rule of Kaswan in 2nd century of Vikram samvat. It has been mentioned in ‘Hathi Gumpha and three other inscriptions’ (page 24) in Sanskrit as under:
Sanskrit - कुसवानाम् क्षत्रियानां च सहाय्यतावतां प्राप्त मसिक नगरम्
IAST - “Kusawānāṃ kshatriyānāṃ ca Sahāyyatāvatāṃ prāpt masika nagaraṃ”.
Translation: The city of 'Masiknagara' was captured with the help of 'Kuswan' Kshatriyas.
According to Sadananda Agrawal, interpretation of the city as Masikanagara is not well-supported. Kanhavemṇā is commonly equated with the river Krishna coastal flowing in Andhra Pradesh. However, Krishna lies much to the south of Kalinga, and not west as averred in the epigraph (Devanagari: पछिमदिसं). But there is another stream flowing to the west of Kalinga in Vidarbha and known locally at present as Kanhan which flows about 17 km northwest of Nagpur and joins the river Vena (Wainganga), and it is the combined flow of these two streams that is spoken as Kanhavemṇā in our records.
The recent find of a seal belonging to the Asikajanapada in course of intensive archaeological excavations at Adam (Nagpur district) has solved also the problem of locating the historical Asikanagara whose king or and people became frightful at the arrival of Kharavela's army at Kanhavemṇā, as per the Hatigumpha inscription. In view of the evidence of a highly prosperous city unearthed at Adam, Prof. A. M. Shastri is of the opinion that Adam itself represents the Asikanagara of Hathigumpha inscription. It is worth noting in the present context that a terracotta sealing having a legend, has been discovered from Adam, situated on the right bank of the river Wainganga, which reads Asakajanapadasa (Devanagari: असकजनपदस).
The Hathigumpha inscription tells us that again in his fourth regnal year Kharavela directed his invasion against the Satavahana territory. In course of the campaign the army of Kalinga marched headlong against the Rathikas and Bhojakas who inhabited the western Deccan and whose chiefs might have been subordinates or vassals under Satavahana king Satakarni.
It is quite likely that the Rathikas are to be located in southern Maharashtra region and adjoining Karnataka, Andhra Pradesh where a large number of coins of some chiefs styled Mahārathi have been found in excavations. Likewise , as regards the Bhojakas, it is not impossible that they flourished in the region of Goa and adjoining parts of Karnataka where the Bhoja Kings are found a few centuries later. As a result of this victory Kharavela’s suzerainty spread over the land from the eastern sea to western sea.
The eighth regnal year of Kharavela, three years after his war in western India, heard the war trumpets of Kalinga blowing in direction of the north.
Kharavela entered into the territory of Magadha and fought out important engagement with the army of that empire at Gorathagiri and stormed that outlying fortress which guarded Rajagrha, the former capital of Magadha. The strong fort was demolished and Rajagrha was put to great trouble.
Gorathagiri has been identified with the modern Barabar hill in the Gaya district in Bihar state. In the Sabhaparva of the Mahabharata this hill has been referred to by the name Gorathagiri wherefrom Girivraja (Rajagrha) the capital of Magadha was surveyed by Krishna, Bhima and Arjuna on the way of their campaign against Jarasandha.
It is worth nothing here that two small inscriptions are found engraved in that hill, which read Gorathgiri and Goradhagiri respectively. While the former belongs to Asokan period the latter seems to be incised by one of the men who had accompanied Kharavela in this campaign.
It was by that critical time that one Yavana King (Indo-Greek) who was then in occupation of Mathura was advancing against Magadha. The king's name has been read extremely doubtfully as "Dimita", and has been identified by many scholars with the famous Indo-Greek King Demetrius, son and successor of Euthydemus belonging to 2nd century BC.
In commemoration of this victory over the Indo-Greeks and age old enemy Magadha, Kharavela constructed the great victory palace in Kalinganagari at a cost of thirty eight hundred thousand coins which stood to personify in all its grandeur the great victory a great conqueror.
The tenth year witnessed another expedition towards north. According to Hathigumpha inscription that year he caused his army much towards Bharatavarsha. Dr Sahu remarks:
“In the epigraphic records of India the name Bharatavarsha appears for the first time in Hathigumpha inscription. This name however, denoted to Northern India by that time.”
When the twelfth year of his reign dawned Kharavela marched against Uttarapatha (Northwest India) with a vast army. This was his third onslaught against North India, forcing several chiefs to submission, who were very likely the Indo-Greeks. On his return from Uttarapatha Kharavela planned for the final encounter against Magadha and the Kalingan army encamped on the banks of the Ganges not far off Pataliputra. The people of Magadha were struck with terror at the sight of the elephants and horses and Brhaspatimitra, the king of Magadha was humbled by Kharavela and made the Magadhan king touch his feet. Many renowned scholars equate Brhaspatimitra with Pushyamitra, the founder of Sunga dynasty.
It is worth nothing in the present context that for recording the events of his reign Kharavela chose the Hathigumpha in the southern side of Udayagiri hill which faces straight towards the Dhauli hill bearing Rock Edicts of Ashoka. In the former hill we find the inscription of the victory of Magadha and in the latter that of the victory of Kalinga. Kharavela’s inscription seems to have been intended to counter affect Asoka’s inscription.
Before his home ward march the monarch brought back from Magadha the greatest and by far the most significant war trophy to his home land was the Original Idol of Kalinga's Jain Tirthankars (Gods) Idol that adorned the spiritual realm of Magadha. This Kalinga Tirthankars (Jain God) was once the invaluable religious property of Kalinga but was carried away from Kalinga during the first wave of the northern invasion under Mahapadmananda emperor of Magadha.
Dr. N.K.Sahu aptly remarks about his expeditions: “Thus within a short span of ten years (form his 2nd to 12th regnal years.) Kharavela could achieve a series of brilliant victories extending his suzerainty from the North-Western part of India to the farthest extend in the South. “
The political and military performances of Kharavela have, in fact, no parallel in history and this great monarch fully justifies the epithet Chakravarti given to him in the inscription of his chief queen.
He seems to have abandoned his throne in the 13th year of his reign, and was succeeded by his son Kudepasiri.
Dynasty
In the first line of Hathigumpha inscription Kharavela styles himself as
IAST-Airena Mahārājena Mahāmeghavāhana Chetarāja vasa Vadhanena Pasath Suvalakhanena Chaturantalunthana Gunaupenetta Kalimgādhipatinā Siri Khāravelan
(Devanagari:ऐरेण महाराजेन महामेघवाहनेन चेतराज वस वधनेन पसथ सुभलखलेन चतुरंतलुठन गुणउपेनेत कलिंगाधिपतिना सिरि खारवेलेन)
While the earliest scholar J. Princep and R. L. Mitra take the word Aira as the name of the king of Kalinga eulogised in the inscription, other few scholars are inclined to take the word as dynastic name and connected the ancestry of Kharavela with the puranic Aila belonging to the lunar Kshatriya dynasty. Bhagwan Lal Indraji is the first scholar to assert that the King whose activities are glorified in the inscription in named Kharavela.
It is a significant to note here that there is also no direct evidence in Hathigumpha inscription to show that Kharavela belongs to Cedi Dynasty. The only meaning conveyed by this expression is that Kharavela was the son of Cetarāja (Devanagari:चेतराज).
There is a small crack in the stone above the letter ta (त) giving the impression of medial i. this crack misled some eminent scholars like R.D. Banerji and D.C. Sircar to decipher the word as Ceti (Devanagari:चेति) and this conjectural reading led the renowned scholars to hold the view that Kharavela belongs to Cedi dynasty. But in no way this can be accepted. It is pertinent to note in this context that a small inscription is found engraved in the Mancapuri Cave where King Kudepasiri (one of the successor of Kharavela) styled himself as Aira Maharaja Kalingadhipati Mahameghavahana (Devanagari:ऐरे महाराजा कलिंगाधिपतिना महामेघवाहन).
The King Sada has also been styled himself as Maharaja Kalinga Mahisika Adhipati Mahameghavahana. Both Kudepasiri and Sada, happen to be the successors of Kharavela, have never been stated in their respective inscription to be belonging to Cedi dysasty. It is significant that the word Aira has not been prefixed with the name of Sada.
The Vahana ending dynastic (and personal) names were quite popular during the few centuries preceding. The meaning of Mahameghavahana is the great one riding on clouds. Dr. Sahu takes Maha as the prefix of Megha and opines: “ Mahameghavahana literary means one whose vehicle is great cloud”.
In line 17 of the Hathigumpha inscription Kharavela claims to have been descended from Rajarsi Vasu Kula. King Vasu recorded in Hathigumpha inscription can not be taken as Cedi king. It is pertinent to note in the context that in Mahabharata, Meghavahana as a dynastic name is found mentioned (Sabha Parva, XIV, 13) while the same epic preserves detailed accounts regarding the activities of Cedi dynasty. Cedi and Meghavahana have been flourished as two distinct dynasties since the early times, so both the dynasties should not be equated.
Cetaraja was the father of Kharavela and it seems probable that he was the immediate predecessor of Kharavela, belonging to be the second king in the Mahameghavahana line in Kalinga.
The line-7 of the Hathigumpha inscription indicates that the Queen of Vajiraghara (Chief Queen of Kharavela ?) gave birth to a son. Another inscription in the lower storey of the same caves informs us that it had been executed by the Aira Maharaja Kalingadhipati Mahameghavahana Kudepasiri. In this cave another inscription is incised which reveals the name of Kumara Badukha. It is to be noted here that Kumara Badukha has not assumed any royal title. Badukha is brobably Prakrat form of Burdak. However, it is difficult to be sure of the relationship between Kharavela and Kudepasir. As no available record speaks any thing more about prince Badukha, he stands an obscure figures, in history but seems to be the son or brother Kudepasiri.
Mahiska country denoted the modern coastal Andhra (Guntur – Krishna region) which was apparently added to the Mahameghavahana kingdom at least during the reign of Maharaja Sada.
The Sada rule came to an end during end 1st century / early 2nd century AD. On basis of above discussion we can say that Kharavela belonged to Mahameghavahana dynasty and the Genealogical chart of can be given as under:
1- Mahameghavahana 2- Cetaraja 3- Kharavela 4- Kudepasiri 5- Badukha 6- Mahasada 7- Sada’s successors.
Queens of Kharavela
The Hathigumpha inscription mentions that in the seventh year of his reign [the Queen] of Vajiraghara was blessed with a son attained motherhood. Sometime before his coronation the prince very probably married chief queen as per presence was essentially required in anointation ceremony. The chief queen, whose record has been engraved in the upper storey of Mancapuri Cave, was the great-grand daughter of Hastisimha and the daughter of king Lalaka or Lalarka. It is to be pointed out here that not much is known about Hastisimha and Lalarka from any other source. We find mention of Lal (लल) as a gotra of Jats living in Muzaffarnagar district in Uttar Pradesh, India, who originated from mahapurusha Lala (लल). The famous Panjtar stone inscription, now in (Pakistan), written in the year 122 of Saka ara, referse to one “ Lala, the protector of the Kushana dynasty of Maharaja Kanishka”. This Lala, was a Lalli “Jat” It also refers to the gift of two trees by one Moika in the eastern region of “ Kasua”. That last word Kasua is the same as Kasuan the name of the Kushana clan (and territory) which is still existing.[3][4]
R. D. Banerjee has identified Vayiraghara with Wairagarh in present Chanda district of Maharastra, because in some medieval inscription this place is found referred to as Vayirakara. However, Dr. M. K. Sahu identifies this place with Vajradantadesa mentioned in the Kamasutra of Vatsyayana.
King Kharavela is known to have two queens. Line-15 of the Haithgumpha inscription refers to the queen of Simhapatha, who was very likely his second queen. Simhapatha may be same as Simhapura which was the capital of Kalinga during the rule of the Matharas in the 4th century. The place is identified with modern Singupuram in Srikakulam district of Andhra Pradesh.
Remembering Kharavela
Kharavela Nagar is an important commercial district of Bhubaneswar and home to the city's first mall. With the rise of industry, in particular IT and higher education, the history of ancient Kalinga and in particular Kharavela is being revived as Orissa's golden age.
|Middle kingdoms of India |
|Timeline: |
| |Geographical area |155,707 sq. km |
| | | |
| |Total forest area |58136 sq. km. |
| | | |
| |Coastline |480 km. |
| | | |
| |Capital |Bhubaneshwar |
| | | |
| |Time |GMT + 5.30 hrs. |
| | | |
| |Location |Between 17° C31'N - 20° 31'N and 81° 31'E - 87° 30'E |
| | | |
| | |West Bengal in the north east, Jharkhand in the north, Andhra Pradesh in the south, |
| |Neighbouring States |Chattisgarh in the west, Bay of Bengal on the east |
| | | |
| | |Typically tropical with three major seasons, Summer (March-June), Rainy |
| | |(July-September), Winter (October-February). |
| |Climate in Orissa | |
| | |150 cm. |
| | | |
| | |36804660 (2001 census), 3.58% of country's Population. Population density 236 per |
| |Average rainfall |square km. Male - 1,86,60,570, Female - 1,81,44,090 and the sex ratio F:M is |
| | |972:1000. The urban population is 55,17,238 whereas rural is 3,12,87,422. |
| |Population of Orissa | |
| | |Total 63.08 percent; 71.35 percent male and 50.51 percent female. |
| | | |
| | |The majority (over 94 percent) consists of Hindus. Muslim, Christians, Sikhs, |
| | |Buddhist and Jains form a very small minority. |
| | | |
| | |Unilingual Oriya speaking state. |
| |Literacy rate | |
| | |Total districts 30 - Major are Cuttack, Puri, Khurda, Nayagarh, Balasore, Bhadrak, |
| | |Dhenkanal, Sundergarh, Sambalpur, Deogarh, Koraput. |
| |Religion | |
| | |Airport at Bhubaneswar; Total railway route length - 2287 km; broad gauge railway |
| | |network about-2401 km; Total length of surfaced roads about 14,870 km, criss-crossed |
| | |by a network of national and state highwas. Regular connections available to all |
| |Language |major cities of the state and adjoining Kolkata, Raipur, Ranchi, Vizag etc. |
| | | |
| |Administrative set up |Facilities like STD, ISD, E-mail, Internet, Cellular phones are functional almost |
| | |everywhere in larger town and cities. |
| | | |
| | |Time honoured temples, virgin beaches, lakes, tribal areas, handicrafts and |
| |Transportation |handlooms, wildlife reserves, majestic monuments, fair and festivals. |
| | | |
| | |Chandipur Beach |
| | |Gopalpur on Sea |
| | |Rath Yatra in Puri |
| | |Shri Jagannath Temple |
| | |Sun Temple Konark |
| | |Konark Dance Festival |
| |Communication |Bhitarkanika National Park |
| | | |
| | | |
| | | |
| |Orissa Tourist Attractions | |
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| | | |
| | | |
| |Places to see in Orissa | |
| | | |
Orissa Tribal Culture
Nestling on the eastern coast of India, Orissa is one of the most exquisite regions dominated by exotic sandy beaches, plenteous wild life, and holy temples famous for their architectural splendor and primitive lifestyle. The charm of the city is still well- nigh chaste and unrevealed by the visitors, up to its full extent. The other lure of the city lies in its tribal population dotted with more than 62 tribal communities. The tribal communities of Orissa constitute about 23% of its total population. Orissa is inhabited by tribes like Saora or Sabar that had a respectable mentioning in the epic of Mahabharata.
Mostly the Orissa tribes are high land habitats with opulent ethnic trait, cultures and customs dominated by varying languages. The culture conscious tribes are able to preserve their social customs and dignified values. The most primitive tribes are Bondas, Gadabas, Koyas, Kondhas and Sauras.
Tribal Culture
The culture of tribal Orissa is affluent with their own folk songs and dances, their tattoos. Tribal culture of Orissa is well depicted in its modern city in form of poems, art and craft or music.
The tribes have adapted the Hindu traditions and culture from centuries, which is mixed with their own culture giving a distinct zest to the entire racial. Songs and dances are the essence of the tribal culture of Orissa. The traditions and the ceremonies for wedding, birth and death all are represented by singing songs, rural dances along with feasts.
The Tribal Folk
Orissan tribes are strong, assiduous and simple hospitable tribes, normally like to be reserved and maintain distance from the people of other communities, as they are too shy. The major occupation of these tribes is agriculture and fishing and hunting. Men usually wear loin attire and women rap long stretch of cloth around them. Women are adorned with ornaments like bangles, armlets, bracelets, necklaces, rings, hairpins etc usually made of silvers, aluminum, and brass. The practice of tattooing is prevalent among women folk. Girls above 5 years are found with tattoo mark on their faces and hands.
Festival Celebration
Numbers of deities are worshiped by the tribes for their happy life. Many festivals are also celebrated with much of enthusiasm and excitement. The ceremony rituals are observed through out the year in order to appease their deities and ascendant.
The most significant festival of the year are the chaita parab and push parab- this day all able men of the village go on a hunting expedition. The tribes with their cultural dance, song and music all distinguish custom of their artistic life, which demarcate them from the other non tribal groups.
Orissa acquire every thing
Orissa is a state, embellished with hilly terrain of the Eastern Ghats, where primitive tribes dwell and a beautiful stretch of the Indo-Aryans coast where modern life persists. A blend of 2 discrete civilization with contrast cultures, beautiful landscapes, beaches, rich wildlife, offers the best of India to its visitors.
|Places To See in Orissa |
| |
| A lot of architectural wonders and heritage sites at Orissa offer breathtaking views and a wholesome experience to the tourists visiting |
|the state.The beaches in Orissa with some or the other unique feature of their own are the best loved beaches being yet unspoiled. The Puri Beach|
|Festival therefore attracts lots of tourists from all over the world. |
| |
|Then there is the Sun temple at Konark that stands as mute evidence to exceptional architectural skills of Oriya artists. The Udaigiri and |
|Khandgiri caves are also a potential tourist attraction in Orissa. With exceptional stone carvings, these caves are the best archaeological site |
|at Orissa. |
| |Orissa Beaches |Jagannath Temple Puri |
| |Puri Beach |Architecture of Jagannath Temple Puri |
| |Gopalpur on Sea |Legend of Jagannath Temple |
| |Chandipur Beach | |
| | |Temples in Orissa |
| |Wildlife in Orissa |Brahmeshwar Temple |
| |Bhitarkanika National Park |Mukteswar Temple |
| |Chandaka Elephant Reserve |Parasurameswar Temple |
| |Debrigarh Wildlife Sanctuary |Rajarani Temple |
| |Nandankanan National Park |Vaital Deul Temple |
| |Simlipal National Park | |
| |Ushakothi Wildlife Sanctuary |Orissa Dance & Music |
| |Tikarpada Wildlife Sanctuary |Odissi Dance |
| |Orissa Wildlife Map |Orissa Folk Dances |
| | | |
| |Chilka Lake in Orissa |Fairs and Festivals in Orissa |
| |Udayagiri & Khandagiri Caves |Chandan Yatra |
| |Dhauligiri |Durga Puja Orissa |
| |Konark sun Temple |Konark Dance Festival |
| |Bhubaneswar |Puri Beach Festival |
| |Puri |Rath Yatra |
| |Cuttack |Orissa Tourist Festivals |
| |Sambalpur |Orissa Tribal Festivals |
| |
|Orissa Beaches |
|Puri Beach |
|Gopalpur on Sea |
|Chandipur Beach |
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|Wildlife in Orissa |
|Bhitarkanika National Park |
|Chandaka Elephant Reserve |
|Debrigarh Wildlife Sanctuary |
|Nandankanan National Park |
|Simlipal National Park |
|Ushakothi Wildlife Sanctuary |
|Tikarpada Wildlife Sanctuary |
|Orissa Wildlife Map |
| |
|Chilka Lake in Orissa |
|Udayagiri & Khandagiri Caves |
|Dhauligiri |
|Konark sun Temple |
|Bhubaneswar |
|Puri |
|Cuttack |
|Sambalpur |
|Jagannath Temple Puri |
|Architecture of Jagannath Temple Puri |
|Legend of Jagannath Temple |
| |
|Temples in Orissa |
|Brahmeshwar Temple |
|Mukteswar Temple |
|Parasurameswar Temple |
|Rajarani Temple |
|Vaital Deul Temple |
| |
|Orissa Dance & Music |
|Odissi Dance |
|Orissa Folk Dances |
| |
|Fairs and Festivals in Orissa |
|Chandan Yatra |
|Durga Puja Orissa |
|Konark Dance Festival |
|Puri Beach Festival |
|Rath Yatra |
|Orissa Tourist Festivals |
|Orissa Tribal Festivals |
| |
| |
|[pic][pic][pic][pic] |
Pilgrimage in Orissa
Dotted with temples and architectural wonders, the holy land of Orissa is flocked round the year by the pilgrims. Along with being the world heritage site of the Sun Temple at Konark, Orissa is also referred to as the seat of Lord Jagannath at times.
With a glorious history dating back to 2000 BC, the pilgrimage sites at Orissa attract the pilgrims from all over the world on the occasion of Rath Yatra of Lord Jagannath, the presiding deity at Puri. To add another plume to the colorful feather of pilgrim destinations of Orissa, the magnificent Lingaraj and exquisitely carved Mukteswar temples also attract hoards of pilgrims.
A place sacred to all, the Hindus, Jains and Buddhists, Orissa is a much revered pilgrimage point for devotees. Despite the world famous pilgrim centers, Orissa also has the following Hindu Temples namely Ananta Vasudeva, Baladevajew, Bharateswar, Bhaskareswar, Bharatimath, Brahma, Brahmeswar, Papanasini, Puri Jagannath , Rajarani, Rameswar, Satrughaneswar, Subarneswar, Swarnajaleswar, Taleswar, Tirtheswar, Uttareswar, Vaital and Vimaleswar / Gaurisankar temple.
Jagannath Temple Puri
Konark sun Temple
Brahmeshwar Temple
Mukteswar Temple
Parasurameswar Temple
Rajarani Temple
Vaital Deul Temple
|Simlipal National Park |
| Simlipal Wildlife - Taking its name from the abundance |[pic] |
|of semul or red silk cotton trees that bloom vividly here, the | |
|Simlipal National Park is home to three of India's biggest animal| |
|species --Tiger, Asian Elephant and Gaur. Spread over a sprawling| |
|area of 2750 sq. kms, the park is at an altitude of 559.31 | |
|meters. | |
|Set on a wide expanse of Sal forest, this park is nestled in the | |
|very centre of Mayurbhanj, the northernmost district of Orissa. | |
|Notable variations in topography, conducive climate and | |
|required vegetation has supported large varieties of animals, birds and reptiles to flourish in one of the earliest and finest of India's 15 |
|Tiger reserves falling under Project Tiger. |
| |
| A forested, hilly terrain 200 km south-west of Kolkata, the reserve is endowed with an exceptional biodiversity. Of the reserve's almost |
|1,000 species of flowering plants, 94 are orchids, many of which are on show at the small display at Gurguria. |
| |
| The reserve remains open from mid October to mid June. An entry permit needs to be taken from the office of Assistant Conservator of Forest,|
|National Park, Jashipur or from the Range Officer, Pithabata at Pithabata. Check Gate to visit the reserve. The tourists can explore the reserve |
|from 0600 to 1200 hours in the day. This time is extended by two hours for the reservation holders and is 0600 to 1400 hours. |
| |
| With the nearest airports being at 250 and 300 kms at Calcutta and Bhubaneshwar respectively, the reserve is 76 kms away from Lulung and 115 |
|kms from Jashipur. |
| |
| The fauna at the Park including tiger, leopard, elephants, bison, sambar, porcupine, pangolin, flying-squirrel, hill myna, hornbill and |
|pythons can be observed closely by exploring the reserve in private jeeps and cars. But before going on any such expedition, the tourists are |
|advised to take an anti-malarial drug. |
| |
| Simplipal National Park, a tract of total wilderness is spread over an 845 sq km core area. In the ancient days, this reserve was the |
|hunting preserve of the Mayurbhanj maharajas. As a result of excessive hunting, the wildlife here was seriously damaged. And then it was in the |
|year 1957 that a small area of it was declared a sanctuary. |
| |
| Today, the tiger reserve extends over 2,750 sq. km, within a larger area of 4,374 sq km that constitutes the biosphere reserve. But |
|unfortunately, the tribal communities here still indulge in an annual ritual hunt (akhand shikar) with bows and arrows. To add more to the woes |
|of the animals, encroachment, livestock grazing, poaching and indifferent visitors are also there. |
| |
| But the management of the reserve has managed to sustain a vast variety of wild life here despite nature's resilience. Better funding for |
|effective protection and awareness is therefore required at this stage to sustain healthy numbers |
|Bhitarakanika Wildlife Sanctuary |
| |
| Bhitarkanika National Park - Considered one of the most | |[pic] |
|impressive wildlife sanctuaries of Asia, the Bhitarkanika Wildlife | | |
|Sanctuary in Orissa is special due to reasons more than one. | | |
|Housing the dynamic and salt tolerant species of trees, the | | |
|Mangroves that generally grow in tropical and sub-tropical | | |
|inter-tidal regions; Bhitarkanika has a luxuriant green, rich and | | |
|pulsating eco-system. | | |
|Located in the estuarial region of Brahmani-Baitarani, in the north-eastern place of Kendrapara district of Orissa, the sanctuary covers an area |
|of 672 square kilometers of mangrove forests and wetland. Crossed by a thick network of brooks, with the Bay of Bengal on the east, Bhitarkanika |
|Wildlife Sanctuary is home to over 215 species of birds, including winter migratory birds from Europe and central-Asia. |
| |
|Apart from the Mangroves, another rarity that the sanctuary has to its account is the inhibition of its ecosystem by the Giant Salt Water |
|Crocodiles and numerous varieties of other animal species. It is because of these specialties only that a vast expanse of forest around 145 |
|square kilometers has been officially declared as the Bhitarkanika National Park. This park including mangrove forests, creeks, estuaries, |
|rivers, accumulated land, backwater and mud flats is very significant for the ecological, biological and geomorphologic background of Orissa. |
| |
|To add more, the Bhitarkanika Wildlife Sanctuary in Orissa is also rich in avifauna, reptilian and mammalian population. The mangrove forests in |
|the sanctuary are also a good habitat for King Cobra, Water Monitor Lizard and Indian Python. An area of about 4 hectares is visited by a large |
|number of water birds every year from June to October. The area near Suajore creek at the sanctuary is frequently visited by Asian Open Bill, |
|Cormorants, Darters, Black Ibis, Egrets and many more |
|Debrigarh Wildlife Sanctuary |
|Total area - 347 sq km. |[pic] |
|District - Baragarh | |
|Nearest town Sambalpur - 50 km. | |
|Best season to visit Debrigarh - November-June | |
|Entry Point - Dhodrokusum | |
|Debrigarh Wildlife Sanctuary - The pleasant environs of the Hirakud Lake supporting a mixed deciduous forest provide a natural habitat to a |
|variety of wild life in the Debrigarh WildLife Sanctuary, which stretches across the Lohara and Debrigarh Reserve forests on the Barapahad hills |
|in Baragarh district. The waterfalls tumbling down the hill sides during the monsoon and the proximity of the large Hirakud reservoir attract a |
|number of tourists. |
| |
|The tiger, leopard, sloth bear, chital, sambar, and nilgai inhabit this almost virgin forest. Besides, a host of resident and migratory birds |
|such as the chousingha and the crested serpent eagle add colour to the landscape. The mugger crocodiles and freshwater turtles residing in large |
|numbers add to the diversity of the reserve forest. |
| |
|Enclosing the Kamgaon and Lakhanpur wild life ranges, Debrigarh is flanked by the Debrigarh, Jhagadabehera, Lambipalli and Mundakati villages. |
| |
|Accommodation is available at the Forest Rest Houses in Dhodrokusum and Dechua. One can also opt for a Tourist Cottage at Chaurasimal. |
|Chandaka Elephant Reserve |
| Chandaka Elephant Reserve - 193 sq. kms of the Chandaka |[pic] |
|forest on the outskirts of Bhubaneswar in the Khurda Uplands were| |
|designated as an Elephant Reserve in August 1982. The Sanctuary | |
|was marked out to check and restore the depleting forest cover | |
|which once covered Bhubaneswar. Conservation management | |
|techniques over the last two decades have revived the natural | |
|vegetation of the designated area which now supports a variety of| |
|wild life . | |
|From a bushy cover that characterized the landscape before 1982, the diversity of flora today ranges from the semi evergreen, to the moist |
|kangada forests, coastal sal forest, thorny bamboo brakes, planted teak and eupatorium scrub. There is a suffusion of medicinal plants and bamboo|
|plants, with a few orchid species also thrive in the wet and shady areas of the reserve. |
| |
|Among the fauna about 30 species of mammals, 27 species of reptiles and 120 species of birds can be sighted. Besides the elephant, leopard, |
|chital, barking deer, mouse deer, langur, rhesus monkey, mongoose, sloth bear, wolf and hyena also inhabit the sanctuary. A variety of snakes, |
|like the python, and the monitor lizard can also be sighted there. Mugger crocodiles have adapted to large water bodies within the sanctuary. |
|Come July, and water birds, mainly storks, heron, egrets and cormorants can be observed. |
| |
|The forest supports a thriving bird life, with the Kamarkhunti reservoir being a breeding ground for the Garganey and common teal, pin tail, |
|white eyed Pochard and spot billed Duck, among others. |
| |
|The watch towers at Kochilaberana, Pitagodia and Charichhak afford an excellent view of the wildlife in the sanctuary. One of the watch towers |
|enables tourists to capture the pachyderm's movements during the late evening hours. |
| |
|The revived Chandaka forest reserve is popular amongst eco-tourists and nature researchers. |
|Nandankanan National Park |
| Nandankanan National Park - Located at a short distance |[pic] |
|from Bhubaneshwar, there lies a miraculous zoo in the splendid | |
|environs of the Chandaka forest. The zoo contains a botanical | |
|garden with the soothing sound of water of the Kanjia Lake. Due | |
|to its being a successful breeding ground for endangered species | |
|such as Asiatic lion , Indian crocodiles, Sangal lion, tailed | |
|macaque, Nilgiri | |
|langur, Indian pangolin, mouse deer and countless birds, reptiles and fish; a part of the zoo has been declared as a sanctuary. |
| |
| 34aquaria, another part of the zoo is home to a large variety of fresh water fish. The reptiles at the zoo are also guarded well in a park. |
|Its cave like entrance takes the desired care of numerous species of crocodiles, lizards, turtles and snakes who share the park with natural |
|ease. |
| |
| With 67 species of mammals, 18 varieties of reptiles and 81 species of birds coexisting in the deeply forest boundaries; the zoo enjoys an |
|excellent reputation both nationally and inter nationally for successfully breeding black panthers , gharial crocodiles and white tigers in |
|captivity. |
| |
| Extensive research and concentrated efforts of the zoo officials have been instrumental in giving a new direction to the existence of White |
|Tiger, one of the rarest creatures in the World. The natural environs of Nandankanan facilitated the mating and the entire zoo got filled with |
|unmatchable excitement and jubilation, in 1980 when the first litter of White tigers were born to Deepak and Ganga, to tawny tigers. Subsequent |
|litters of white tigers have been distributed to zoos both home and abroad. Currently, Nandankanan is home to over 34 white tigers and is famous |
|for its white tiger population. Nandankanan or the garden of Gods offering the most natural and growth conducive environment to these royal |
|animals has become an all time favorite for tourists and locals both. |
| |
| Just 20 kms from the state capital, the zoo is spread over a sprawling area of 20 kms. |
|Ushakothi (Badrama) Wildlife Sanctuary |
| Total area : 304.03 sq km. |[pic] |
| Location: 22 km from Sambalpur | |
| District : Sambalpur | |
| Nearest Town : Sambalpur (45 kms) | |
| Best time to visit : Ushakothi October-April | |
|Founded In: 1962 | |
|Highlights: Houses Leopards, Tigers and Sambars | |
|Located at a distance of approximately 22 km from the Sambalpur district, Ushakothi Wildlife Sanctuary is one of the most popular tourist |
|destinations in Orissa. It is spread over an area of approximately 285 square km and serves as the natural habitat of tigers, leopards and |
|sambars. The flora of the sanctuary comprises of several species like Sal, Sandalwood, Arjun, Neem, Acacia and Casuarinas. The best time to visit|
|the reserve is from October to May. There are two watchtowers in Ushakothi Wildlife Sanctuary, from where one can have an aerial view of the |
|surroundings. |
| |
|Fauna |
|The most popular attraction of the Ushakothi Wildlife Sanctuary comprises of Panthers, large spotted feline species. Since they are nocturnal |
|creatures, one has to take a jeep safari at night to get a close view. Other wild animals seen at the sanctuary are Sambal, Chital, Nilgai, |
|Leopards, Wolves, Tigers and Elephants. Infact, it is said that there are 15 tigers and 35 elephants in Ushakothi. Though Sloth Bears are rare, |
|one can hope to see them at dusk, when they come to drink water in the nearby river. |
|Tikarpada Wildlife Sanctuary |
|Total area 795.52 sq km |[pic] |
|Nearest town Angul 58 kms and Dhenkanal 120 kms | |
|Best time to visit to Tikarpada December-April | |
| Tikarpada Wildlife Sanctuary - Enclosing the mighty Satkosia gorge where the Mahanadi plunges into the Eastern Ghats, the Tikarpada |
|Sanctuary is a very popular resort visited by tourists. The Mahanadi cuts through 22 km of the multi-hued collage of sal trees in Tikarpada, and |
|a visit to the sanctuary is an awesome experience. |
| |
| Boating, white water rafting, fish angling and treks through the lush forest are activities one can indulge in at the sanctuary. The Rescue |
|and Rehabilitation Centre is actively conserving and breeding the endangered species of the crocodiles in the Mahanadi eco system in Tikarpada. |
|Though tigers are rarely sighted now, the wildlife within the sanctuary includes the Indian adjutant stroke, red jungle fowl and Indian pitta. |
| |
| Located at a convenient distance of 120 kms from Dhenkanal and 58 kms from Angul, tourists can proceed to Saptasajya, a scenic picnic spot. |
|The Saptarshi and Raghunath temples in the vicinity are also frequented by tourists visiting the sanctuary. |
| |
| While the forest lodge is located within the forest, you can choose to camp out in the open with the special permission of the forest |
|office. |
| |
|Orissa Tourism Wildlife Map |
|[pic] |
Famous Folk Dances of Orissa are :
Chhow Dance - Famous Folk Dances of Orissa Chhow Dance--An ancient dance form, mostly prevalent in areas of Mayurbhanj district, and which originated in the mock fights of the Oriya warriors, is known for its masculine vitality. Chhow of Sareikela (Jharkhand) and Purulia (West Bengal) are slightly different dance forms from that of the Mayurbhanj of Orissa, performed during the Chaita Paraba in open air on a raised platform.
This dance includes both tandava and lasya elements represented by Lord Shiva and Goddess Parvati respectively. The percussion instruments, like traditional drums and other musical instruments, are generally played. Intricate feet movements, whirls and jumps depict the emotions rather than the facial expressions. Hence the feet, the legs and the waist are used to depict bhavas. It is a thematic dance presenting popular episodes from the epics and Puranas.
The Chhow dance begins with ranga vadya--an ensemble of indigenous musical instruments which inspires the dancers, followed by the orchestra taking up the initial tune of the dance in slow steps. In the next stage, 'nata', the thematic contents of the performance and the drama, is built up. The concluding stage is 'nataki' when the vigorous movements of the dancers develop a high tempo. An equally popular, a form of battle or martial dance, Paika exhibits tactics of warfare.
Other folk dances include the Chaitighoda, or the dummy horse dance, a traditional fishermen's dance. The dancer inside the horse frame displays the galloping movements of a horse with two other characters the Rauta and the Rautani singing and dancing along to entertain the audience nightlong.
The girls in Sambalpur area dance and sing Dalkhai to the beats of drums, timkis and nisans, a performance in which at times the lover raises some questions in the form of a song and her beloved reciprocates accordingly.
The most ancient of folk dances of Orissa, the Danda Nata is a culture where Lord Shiva and his consort Gori are propitiated. The bhaktas (devotees) do severe penance by walking on a bed of red hot live charcoal, stand on edged swords or pierce their tongues or skin with iron nails.
In a rural dance, the Medha Nacha, the performer puts a mask and dances to the rhythms of the enchanting music in a religious procession. Made of paper machie, mask can be human, divine or animal.
Orissa Tribal Dances--The colorful costumes of the tribes with headgear made of animal horns and shells and their dances to the accompaniment of drums, flutes and string instruments leave the audience spell bound. These lively and spontaneous dances still continued to be performed on the occasions of birth, death, naming ceremony, marriages, changing seasons and numerous fairs and festivals. The dancers are mostly performed by groups of men and women and accompanied by a song.
The Changu Dance and the Karma dance are also some of the tribal dances of Orissa. The styles of dance and music by Saura, Gond, Koya, Kondh and Gadba tribe are mostly varied.
Odissi Dance
Orissa Folk Dance
Geography of Orissa
The state of Orissa covers an area of 1,55,707 sq.km. having a coastline of about 480 km on the Bay of Bengal. It lies between 17° 31' and 22° 31' The Western Rolling Uplands are lower in elevation, 153-305 m and have a bedrock of hard soil and a lot of flora and fauna. 31' N latitude and 81° 31' and 87° 3°' E longitude. Bounded by West Bengal in the northeast, Jharkhand in the North, Andhra Pradesh in the South, Chattisgarh in the West, the State is open to the Bay of Bengal on the East.
Morphologically it can be broadly divided into five major regions. The coastal plains in the East, the middle mountainous and highlands region of north and northwest, the central plateaus, the Western rolling uplands and the major flood plains.
Accounting for about ten percent of total surface area, the coastal plains belong to the post tertiary period and are formed by the alluvial deposits of the six major rivers-the Subarnarekha, the Budhabalanga, the Baitarani, the Brahmani, the Mahanadi, and the Rushikulya. The region stretches from the West Bengal border i.e. from the river Subarnarekha in the north to the river Rushikulya in the South. This region slopes eastwards, maximum width in the middle (the Mahanadi delta), narrow in the North (Balasore plain comprising deltas of the Subarnarekha and the Budhabalanga) and narrowest in the South (Ganjam plain comprising smaller delta of the Rushikulya). The South coastal plain also comprises the laccustrine plains of Chilika Lake. The long stretch of land covers the districts of Balasore, Cuttack, Puri and a part of Ganjam with miles and miles of paddy fields constituting the 'rice bowl' of the State.
The area inland is made of the ancient landmass of peninsular India and covers about three-fourth of the entire state. The Middle Mountainous and Highlands Region mostly comprises the hills and mountains of the Eastern ghats rising steeply in the East and slope gently to a dissected plateau in the west running from northeast (Mayurbhanj) to northwest (Malkangiri). These appear like scattered series of steep ridges interrupted by a number of river valleys and flood plains. The elevation varies between 300-1200m. The entire area very rich in mineral resources in mainly inhabited by tribes.
The plateaus are mostly flat forming the western slopes of the Eastern ghats with elevation varying between 305-310 m. There are two broad plateaus in Orissa: the Panposh-Keonjhar-Pallahara plateau comprising the upper Baitarani catchment's basin and the Nabrangpur-Jeypore plateau comprises the Sabari basin.
The Western Rolling Uplands are lower in elevation, 153-305 m and have a bedrock of hard soil and a lot of flora and fauna.
|Orissa Tourist Map |
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|[pic] |
Art and Handicrafts in Orissa
Having an ancient tradition of making splendid pieces of art by hands Oriya artists have long been presenting their awe inspiring master pieces to the world. There are a lot of handicrafts that have been running as the life force in the cultural land of Orissa. Some of which include- Patta Chitra, Sand Art, Metal Work, Silver Filigree, Stone Carving and making Puppets and Masks etc.
Patta chitras are miniature paintings, used as wall hangings with religious themes as their subject matter. Legends from the lives of Lord Krishna are mainly depicted on this specially treated cloth known as Patta.
Developed over the years, this art form has helped a distinct school of painting to evolve. Having its origin in Sanskrit language, the word Patta Chitra literally means a painted piece of cloth. This ritualistic art observes a fine blend of sophisticated art and folk element in the form of rich colors. The skilled hands of the talented artisans present blood red, red ochre, lamp black, yellow, white and indigo in a unique way as they pretend to be offsetting each other.
These pattas are carried back home by pilgrims to Puri as precious mementos. Practiced widely in Raghurajpur and Dandshahi villages at the outskirts of Puri, these pattas have become synonymous to the place.
Another famous handicraft of Orissa is also based at Puri. This implies carving a sand sculpture with just clean and fine-grained sand mixed with water. Attractive sculptures are carved out of this sand by the Oriya artists.Dating back to fourteenth century A.D. the origin of this art is associated to Poet Balaram Das, the author of Dandi Ramayan.Very eye catching and splendidly beautiful, this art form has gained immense popularity with the development of tourism.
The artists of Cuttack have also invariably contributed to enrich their tradition in the form of an art known as Silver Filigree. Owing its popularity to this art form only the silverware or Trakashi of Orissa is very widely known.
Thin wires drawn from beaten silver and foils are fashioned to make unique examples of artistic excellence. Forms of animals and birds, small show pieces, fine pieces of Jewellery and articles of daily use like vermilion receptacles are made by the filigree artists that are popular the world over.
Artists of Orissa create miraculous master pieces of art practicing yet other crafts too that are now not popular in India but across the globe as well.
Climate in Orissa
Orissa, on the eastern sea board of India, enjoys a tropical monsoon type of climate like most other parts of the country. Its annual average rainfall is about 200cm. The south-west monsoon normally sets in between 5th June in the coastal plain, and by 1st July the whole of the state is under the full sway of the south-west monsoon. By 15th October, the south-west monsoon withdraws completely from Orissa. Orissa, on the eastern coast of India, is not directly influenced by south-west monsoon branch from the Bay of Bengal like the west coast, but the annual cyclones from the Bay of Bengal influence it and bring copious rain with two seasonal peaks, July-August and October-November. During the winter, except Northern Orissa, all other parts remain almost dry.
Rainfall
Monsoon rainfall is of highest importance as it directly controls the crop condition in Orissa. Monsoon rainfall is considered 'high' when it is above 140cm and 'low' when it is less than 120 cm as this is barely sufficient for a good paddy harvest. Winter rainfall helps the growth of the second crop in Orissa and hence is of importance. A total rainfall of above 5 cm during the winter has been taken to be 'high' while less than 2.5cm is 'low' in Orissa.
Cyclones
Flood and drought are common to many states in India, but only a few states are subject to cyclones and tornado. Orissa is one of the few. Cyclone has in recent years become a regular feature like flood and drought.
The cyclonic storms during the monsoon which originate in the Bay of Bengal often cross the east coast between Paradeep and Chandbali and make a north-west ward journey. They proceed over Kendujhar and head towards Sambalpur and then decrease in intensity. There are two cyclonic peaks in their occurrence, one during May-July and the other during October-November. As far as the periodicity of the occurrence of the storms is concerned, the maximum number of cyclones occurred during south-west monsoon period (154) followed by the post-monsoon period of the north-east monsoon (70) and pre-monsoon period (57).
Seasonal Divisions
Orissa experiences three main seasons, but the year is locally divided into six seasons.
Grishma (Summer), Baisakha and Jyestha (mid-April to mid-June)
Barsa (Rainy season), Ashadha and Sravana (mid-June to mid-August)
Sharad (Autumn), Bhadraba and Aswina (mid- August to mid-October)
Hemanta (Winter), Kartika and Margasira (mid-October to mid-December)
Sisira (Winter), Pausa and Magha (mid-December to mid-February)
Basanta (Spring), Falguna and Chaitra (mid-Feb to mid-April
These six local seasons are grouped into three main seasons:
Basanta and Grishma (Summer)
Barsa and Sharad (Rainy season)
Hemanta and Sisira (Winter)
Museums in Orissa
With a very few numbers of museums present in the state, the most famous museum at Orissa is the State Museum which began as a subsidiary of Ravenshaw College's History Department.
With a wide range of antiquities being added every year, the museum has gradually become one of the premier institutions of the state standing as mute evidence to the rich cultural heritage of the region. Archaeology, epigraphy, numismatics, armory, mining, geology, painting, anthropology and manuscripts, you can have them all in the museum.
One of the most significant aspects of this museum is its manuscript gallery. Some of the rare palm leaf manuscripts about 50,000 in number are housed in this gallery. Covering diverse subjects like religion, philosophy, astronomy, astrology, poetry, science, medicine, mathematics, warfare and the crafts, these manuscripts are a repository of artistic expressions of that time.
These manuscripts were made by the incision of Oriya script on a dried palm leaf with a stylus. The manuscripts at the museum depict highly symbolic scenery with costumes, jewellery, hairstyle and facial expressions similar to stone sculptures of Orissa.
Abhinava Gita Govinda is believed to be one of the earliest palm leaf manuscripts dating back to 1496. The museum also houses an illustrated manuscript of Gita Govinda written by the 12th century poet Jayadeva. Displaying an advanced writing technology, it has 80 folios in rich primary colors that have remained intact even after such a long period.
Orissa State Museum, Bhubaneshwar - This Museum in bhubaneshwar shows India most artistic traditions with influences form Buddhism, Jainism, and Brahminical styles. The Museum also showacase archaeology and numismatics, armoury, natural history and contemporary art.
Culture of Orissa
The sacred environs of Lord Jagannath temple, the eroticism of Konark's Sun temple, the wondrous caves of Jainism, the mystical monasteries of Buddhism, the paintings of folklore and the weaver's magic; all stand as meek evidences of an eloquent past and continuing golden present of Orissa.
Expressions of the soul find way in the form of indigenous theatres namely 'Prahalad-Nataka' or the 'Dhanuyatra' here. Dance and music form an inseparable part of the rich culture of the state. The exotic classical dance of the region evolved from the cult of the 'devadasis' or female temple dancers. Folk dances like 'Chhow' and 'Sambalpuri' along with tribal dances like 'Ghumura' & 'Paraja' leave every spirit truly elated. Then there are fairs like 'Bali Jatra' that come as a reminder of an ancient maritime links with Bali. And to crown it all is the universally-acclaimed 'Rathyatra' of Lord Jagannath which has become an absolute synonym to Orissan culture.
Culture is the main system of any state and it depand on the situation of that palace. Every state has its own culture. Culture of Orissa makes different it from other state of India. Orissa is a state situated in the east coast of India. Orissa is bounded on the north by Jharkhand, on the north-east by West Bengal, on the east by the Bay of Bengal, on the south by Andhra Pradesh and on the west by Chhattisgarh. The official language of the state, spoken by the majority of the people is Oriya because it the culture of Orissa. It is closely related to Bengali and Assamese. Orissa is also called the city of lord because there are many temples in Orissa. Culture of Orissa also effected by the other nearly states the basically language of Orissa closely related to Bengali and Assamese.
Orissa’s cultural dance ‘Odissi’ is most famous classic dance of India. The culture of the Adivasis is an integral part of modern Orissan heritage. Odissi music is usually classified as a kind of Hindustani classical music of northern India. The capital city of Bhubaneswar is known for the exquisite temples that dot its landscape. Orissa has a proud cultural heritage that arose due to the intermingling of three great religious traditions - Hinduism, Buddhism and Jainism.
|Location of Orissa |
| The State of Orissa is located on the eastern coast of India at 17° 49' North - 22°0 34' North Latitude & 81° 29' East-87° 29' East Longitude.|
|Carved out of Bihar in 1936, Orissa is located on the eastern coast of India. Bordered by Madhya Pradesh in the west, Andhra Pradesh in the |
|south, West Bengal in north-east, Bay of Bengal in the east and Bihar in the north, the state extends to an area of 1,55,707 Sq. Km. |
| |
|[pic] |
Culture of Orissa
The sacred environs of Lord Jagannath temple, the eroticism of Konark's Sun temple, the wondrous caves of Jainism, the mystical monasteries of Buddhism, the paintings of folklore and the weaver's magic; all stand as meek evidences of an eloquent past and continuing golden present of Orissa.
Expressions of the soul find way in the form of indigenous theatres namely 'Prahalad-Nataka' or the 'Dhanuyatra' here. Dance and music form an inseparable part of the rich culture of the state. The exotic classical dance of the region evolved from the cult of the 'devadasis' or female temple dancers. Folk dances like 'Chhow' and 'Sambalpuri' along with tribal dances like 'Ghumura' & 'Paraja' leave every spirit truly elated. Then there are fairs like 'Bali Jatra' that come as a reminder of an ancient maritime links with Bali. And to crown it all is the universally-acclaimed 'Rathyatra' of Lord Jagannath which has become an absolute synonym to Orissan culture.
Culture is the main system of any state and it depand on the situation of that palace. Every state has its own culture. Culture of Orissa makes different it from other state of India. Orissa is a state situated in the east coast of India. Orissa is bounded on the north by Jharkhand, on the north-east by West Bengal, on the east by the Bay of Bengal, on the south by Andhra Pradesh and on the west by Chhattisgarh. The official language of the state, spoken by the majority of the people is Oriya because it the culture of Orissa. It is closely related to Bengali and Assamese. Orissa is also called the city of lord because there are many temples in Orissa. Culture of Orissa also effected by the other nearly states the basically language of Orissa closely related to Bengali and Assamese.
Orissa’s cultural dance ‘Odissi’ is most famous classic dance of India. The culture of the Adivasis is an integral part of modern Orissan heritage. Odissi music is usually classified as a kind of Hindustani classical music of northern India. The capital city of Bhubaneswar is known for the exquisite temples that dot its landscape. Orissa has a proud cultural heritage that arose due to the intermingling of three great religious traditions - Hinduism, Buddhism and Jainism.
|Chilika |Chilika Eco Tourism |
| | |
| Chilka Lake - Asia's largest brackish water lagoon| |
|with water spread ranging from 1165 sq km m the rainy | |
|season to 906 sq km in the dry season is nestled in the | |
|heart of the coastal Orissa. It extends from Bhusandpur | |
|in Puri district in the North to Rambha-Malud in Ganjan | |
|district in the South, separated from the Bay of Bengal | |
|by a 60 km long narrow strip of marshy islands and | |
|sand-flats. | |
| | |
| Some of the prominent islands like Nalabana, | |
|Kalijal, Somolo, Honeymoon, Break-fast, Birds and | |
|Rajahansa inhabited by small subsistence fishermen | |
|families, are popular destinations for daily boat trips.| |
|Because of its rich bio-diversity and socio-economic | |
|importance, Chilika was designated as a Ramsar site in | |
|1981 to afford better protection. | |
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|Facts about Chilka Lake, Orissa | |
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|Water Spread Area | |
|1100 sq km | |
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|Max length | |
|64.3 km | |
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|Max breadth | |
|18 km | |
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|Districts | |
|Puri, Khurda and Ganjam | |
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|Best time to visit Chilka Lake | |
|November-February | |
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|Entry Points | |
|Satpada, Barkul and Rambha-110 km, 97 km and 120 km | |
|respectively from Bhubaneswar | |
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| |[pic] |
| |[pic][pic][pic][pic] |
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| Chilika is recognized as one of the most important wetlands in the world because it is home to a phenomenal variety of birds. Chilika |
|Lake offers visitors a spectacular display of its colorful avian charms in a thousand different hues presented by over 160 species in the |
|peak season between November and February. The lake and its reed islands teem with nesting birds-white bellied sea eagles, ospreys, golden |
|plovers, sand pipers, flamingos, pelicans, shovellers, gulls, include migratory ones flying great distances from Iran, Central Asia and |
|Siberia. |
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| The large Nalabana Island (Forest of Reeds) covering about 16 sq km in the lagoon area was declared a bird sanctuary in 1987. The core |
|area of about 9 sq km attracts around 400,000 waterfowls of different species. Often underwater, the island gradually emerges with the |
|outset of summer. It is literally a paradise for bird-watchers. |
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|[pic] |
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|[pic] |
|Another major attraction at Chilika is Irrawady dolphins which are often spotted off Satpada Island. Satpada, bounded by the lagoon on |
|three sides, offers an excellent view and attracts the visitors to its entire 30 km stretch of sand bar. Boats arranged by OTDC are |
|available for both the islands. The lake also supports the local fisherman in earning their living from Chilika's prawn, mackerel and |
|crabs. |
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|Of late, slightly reduced number of birds--owing to growth in prawn farming as well as silting and reduced salinity--has alarmed the |
|conservationists. The plying of mechanized boats, the increasing of different fishing nets and gears has threatened the flagship species of|
|the Chilika lagoon, the Irrawady dolphin. |
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People & Lifestyle of Orissa
Ancient Orissa was a confluence of racial streams that kept on invading the state leaving their own imprints thus affecting the life style a lot. Historians believe that Aryans entered Orissa from the northeast, subjugated the primitive people living there and imposed on them their language and culture. But on reflection we conclude that the people then living in the land were not perhaps all of the primitive type, nor were they subjugated culturally. What might have happened probably was a racial and cultural amalgamation.
Geographically Orissa stands as a coastal corridor between the northern and southern India. It is natural therefore that an assimilation of the races and cultures of the Aryans and the Dravidians; must have taken place here in the days of gore. At the same time successive racial and cultural tides might have surged up from the different sides, rolled in and broken over this bound culminating in the indo-cultural synthesis.
In spite of being rural, people of Orissa, have still retained India's earliest civilization in its pristine form by keeping their traditional values still alive. Not only in their secluded hamlets, but also in the countless thousands of villages in the country side one can catch a glimpse of the dwindling horizon of humanity, through the innocent and benign outlook of tile villagers. A sensitive person who happens to be a prisoner of the modern society with its stress and strain will not, while in a typical Oriya village, fail to mark the relationship of its common people with God, nature and their fellow men.
Monuments in Orissa
Between the 7th and the 13th century AD, architecture in Orissa thrived under the patronage of the Ganga dynasty. The Kalinga School of Architecture is believed to have had its origins during this period, which follows a strict code laid down by ancient religious texts.
Most of the monuments in Orissa that remain today are large temple complexes dedicated to a presiding deity, with the construction of the temple parts likened to a human body. The rekha deul or curvilinear spire resting on a square base is unique to Orissa's monuments, while the interior chamber or the "garba griha" is dark and built to allow only a glimpse of the deity. The spires are adorned with symbols of virtue and immortality.
The monuments in Orissa provided for worshippers in a separate square shaped porch called the "jagamohana" to congregate and await their turn to pay their respects to the deity. A pyramidal roof marks the architecture of the "jagmohana", and is supported by either pillars or pilasters on the inner walls. A walled courtyard enclosed the temple complex. The carvings on the temple range from figures of Gods, to planets, to human forms, flora and fauna, military and court life. The lion gates to the temple are another characteristic feature of Orissa's monuments.
The rigidity of Orissa's temple architecture relaxed during the Ganga rule, as the "natya mandir" or the dancing hall, and the "bhoga mandapa" or the hall of offering were added. Similarly, more layers to the roof were added and plinths raised. The Lingaraj temple and the Mukteswar temple in Bhubaneswar, the Sun Temple at Konark, and the Jagannath Temple in Puri are some of the monuments in Orissa built in accordance with the Kalinga School of architecture.
The Vaital Temple in Bhubaneswar reflects a different architectural theme, with a semi-cylindrical roof and a lopsided boat shape defining the tower. This and the Varahi temple at Chaurasi with its barrel shaped tower bear the influence of the Shakti Cult. The Tantric influence on some of the monuments in Orissa is seen in the circular design, sometimes roofless, and enshrining the images of Bhairav and the yoginis.
Prehistoric Caves in Orissa
Rock art of prehistoric times have been excavated in Vikramkhol in Jharsuguda. The rock caves, home to prehistoric man, were decorated with engravings and paintings of geometrical forms of humans and animals. Similar caves are found in Sundergarh, Sambalpur and Kalahandi.
In Dhauli, Jaugad and Sisupalgarh, the rock edicts demonstrate the highly evolved sculptural skills of Orissa 2000 years ago.
Jain and Buddhist Sculptural Art in Orissa
In the first century BC, rock caves were carved out to accommodate Jain ascetics under the Kharavel(Chedi) dynasty. The Khandagiri and Udaygiri caves display highly aesthetic wall panels depicting contemporary life. In Puri, Keonjhar, Balasore and Koraput, caves have been unearthed with figures of Jain Tirthankaras and Sasanadevas and their emblems. Some of the cells have pillared verandahs circling them.
While Buddhism was followed by the people of Orissa ever since its origins as a religion, it took a new turn after King Ashoka adopted its tenets after the Kalinga war. Between 261 BC to the 12th century AD, Buddhist art flourished, and sculptures of the Bodhisatva and Avalokiteswara abound in Lalitgiri, Udayagiri and Ratnagiri
|Jagannath Dham puri | |
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| Puri, on the east coast of India, in the state of | |
|Orissa is a hoary pilgrimage center, enshrining Jagannath, | |
|in a colossal temple. Puri is the forerunner of the | |
|Jagannath cult in Orissa, which saw the flowering of several| |
|temples dedicated to Jagannath all over the state. | |
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| Puri is an ancient shrine, enshrining Krishna - | |
|Jagannath in the form of a wooden image. Also enshrined are | |
|wooden images of Balabhadra (Balarama) and Subhadra brother | |
|and sister of Krishna respectively. Interestingly, the Rig | |
|Veda refers to Purushottama in the form of a wooden image, | |
|prepared from a log of wood floating on the ocean. Puri is | |
|also referred to in the Bhrama purana. | |
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| Orissa has Konark as the Surya Kshetra, Puri as the | |
|Vishnu kshetra, Bhubaneshwar as the Hara Kshetra and Jaipur | |
|as the Parvati Kshetra. | |
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| Legend has it that the original image of Jagannath was | |
|found at the foot of a fig tree, in the form of an Indranila| |
|or the Blue Jewel. Its blinding brightness, prompted Dharma | |
|to request it to be hidden in the earth. King Indradyumna, | |
|of Malwa intending to discover this image, performed severe | |
|penances, and was instructed by Vishnu to go to the Puri | |
|seashore, and look for a floating log, and fashion an image | |
|from its trunk. | |
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| The King did discover the log of wood. Vishnu and Vishwakarma appeared in the form of artistes and prepared images of Krishna, |
|Balarama and Subhadra from the tree. Interestingly, the wooden images being worshipped are renewed during special occasions. New images |
|have been installed in 1863, 1893, 1931, 1950, 1969 and 1977. |
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| Puri was a center of Buddhist worship, before it became a center of Vaishnavism again. The Rath Yatra at Puri has its parallel with |
|the chariot procession of the Buddha's tooth at Dantapuri. |
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| Puri is located on the gentle slope of the Nila hill, adjacent to the sea. A sacred banyan tree is revered as a manifestation of |
|Vishnu, the ocean - Balarama and a pool- the king Indradyumna. Pilgrims are required to offere worship first at a Shiva temple, and then at|
|the banyan tree and then at the shrine to Balarama before proceding to worship Jagannath. Subhadra is to be worshipped next. |
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|The Temple: The vast temple complex occupies an area of over 400000 square feet, and is bounded by a 20 feet high fortified wall. This |
|complex contains about 120 temples and shrines. The shikhara of the Jagannath temple towers to a height of 192 feet. |
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| Structurally the temple has four chambers. The outermost is the Bhogmandir, the next is the Nata-mandir pillared hall for music and |
|dance, the next is the Jagamohana - or the mandapa where devotees gather for worship and the last is the sanctum or the Deul enshrining the|
|deities. |
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|History: The temple was originally built by the Kalinga ruler Anantavarman Chodaganga (1078 - 1148 CE). Much of the present structure was |
|built by King Ananga Bhima Deva in the year 1174 CE. It took 14 years to complete and was consecrated in 1198 CE. It is believed that the |
|image of Jagannath was buried thrice in the Chilka lake for protection from invaders. |
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| Puri represents one of the four peethas established by Sankaracharya, the other four being Sringeri in south India, Dwarka in |
|Saurashtra, and Badrinath in the Himalayas. Ramananda of the 14th century - a follower of the Sri Vaishnava religious leader Ramanuja, is |
|also associated with this temple. Chaitanya of the 15th - 16th centuries popularized the worship of Jagannath. |
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|Festivals: Elaborate worship services are carried out throughout the day here. There are as many as 24 festivals each year, the most |
|important one of them being the Rath Yatra or the Chariot festival in the month June - July. The spectacular chariot festival involves the |
|procession of three colossal chariots bearing the images of Jagannath, Balarama and Subhadra through the streets of Puri. |
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| Jagannath's chariot is a 35 feet square, rising to a height of 45 feet, with 16 wheels, 7 feet in diameter. More than 4000 people drag|
|the chariot. Hundreds of thousands gather from all over the country to witness this festival. The chariot is dragged to the deity's summer |
|abode where the deities are worshipped for a week, and then a re-enactment of the chariot festival, where they are brought back in |
|procession happens. New chariots are made each year. |
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|Photo Gallery |
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|[pic] |[pic] |[pic] |
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