Professional Documents
Culture Documents
God, the Supreme Being, is as much other than the manifestation of the Divine
worshipped as the Divine Mother as He is Shakti, which exists in every form of our
worshipped as the Divine Father. The Divine existence. Since this Shakti can not be
Mother is synonymous with Shakti, the Divine worshipped in its essential nature, it is
Power that manifests, sustains and transforms worshipped through various manifestations as
the universe as the unifying force of existence. the symbols of creation, preservation and
The Divine Mother exists in all beings as destruction. Shakti in relation to these
intelligence, mercy and beauty. She is the manifestations is worshipped as Saraswati,
embodiment of the all-existential power. All Lakshmi and Kali. Although they are
these powers are the glorious attributes of the represented as three distinct images, they are
Supreme Being who virtually one and
is the main source of worship of one form is
this creation. So Devi adored as the worship
worship is the of the other forms.
worship of God's The concept of Devi
glory; His greatness worship is not of
and supremacy over recent origin. It was in
the universe. vogue in the ancient
Devi worship past. Reference to
does not belong to any Devi worship as
particular cult. Devi Goddess Durga is
Mata is worshipped made in the Rig Veda,
by one and all irrespective of any distinction. and the great epic, the Mahabharat. The hymns
Truly speaking, all beings of the universe are devoted to Devi worship in the Rig Veda, extol
Shakti worshippers, for there is none in this the Devi Mother as Devi Durga, the
world who does not love power in some form embodiment of the supreme Divine Power. In
or other. Scientists have proved that everything the Mahabharat, She is adored as the sister of
on the earth is the manifestation of a pure Lord Krishna. In the Kanopanishad, She
imperishable energy. This energy is nothing appears as Goddess Uma, the Divine consort
1
Orissa Review * October - 2004
2
Orissa Review * October - 2004
3
Orissa Review * October - 2004
during the Navaratri Puja in the month of Maha Shakti at the back of Her every
Aswin. "Devi Mata" is also known as manifestation. She is the Brahma Shakti
Mahamaya, the mother of the universe. manifested to us through the form of Saraswati.
According to scriptures She is the supreme She is Bishnu Shakti manifested to us through
divine will. She veils our vision of the the form of Lakshmi. She is also Shiva Shakti
Brahman, the Absolute Reality of the universe. manifested to us through the form of Parvati.
Again She is also throb of His grace which
The Devi Mata is the combination of
rends this veil, leading us to realize the identity
both Vidya and Avidya in Her supreme form.
of Jivatma with Paramatma.
As the symbol of Avidya, She is omnipresent
Ramakrishna Paramahansa had in the form of Cosmic delusion. And, at the
envisioned this sacred prowess by using his same time as the symbol of Vidya, She is
own descriptions. He has spoken in his various adored as the supreme force of cosmic
conversations on the close and the deliverance, leading the Jiva from the
unchangeable link between the Shakti and the mysterious spiritual deliverance to spiritual
Brahman. In Ramakrishna's phrase, the wisdom. What is the significance of the sharp
"Brahman is without change. The Shakti is the knife and the noose, She holds in Her divine
creative energy. She is ever changing. But both manifestation? The noose represents the
are one like the two sides of the same coin". concept of Her binding force. The noose is the
Ramakrishna knew from his own experience symbol of Maya, which binds us to our material
that all the different forms of God are different surroundings. This casts a veil on our
perspectives of one unchanging Godhead. But conscience for which although we know our
Ramakrishna spoke most frequently of the goal, we are ultimately away from it, because
Mother because this was the prospective that of the binding
he most cherished in his life. Ramakrishna's force of Maya.
experience and the experiences of the other The knife She
mystics assure us that many of the perspectives holds represents
of the Godhead open up to a Mother Goddess, the weapon,
who functions in the lives of Her devotees, as which can snap
their protector, companion and mentor. the noose and lead
The conception of the cosmic spirit as the Jiva on the
the Divine Mother is very easy to understand. path of God
The Motherhood of the Supreme Being is a realization. So the
spontaneous urge of every human being who Devi Mother is the
comes to this world in the natural order of the embodiment of
evolutionary process. Love of the Mother is both the
most logical in every human being. It is an easy concordant forces
step to god realization. That which is beyond of Vidya and
our knowledge is the transiently Para Brahman. Avidya. The Goddess Kichakeswari, Khiching,
That which one can know well in the spiritual devotees who Dist. Mayurbhanj
order through our mind is the Mother in the worship Her in the spiritual order achieve Her
manifestation of Her various forms. She is the grace and attain Mokshya and remain free from
4
Orissa Review * October - 2004
the bondage of birth and death in the wheel of the nine days of Navaratri worship. The Durga
human procreation. The Supreme Mother leads Saptasati is a wonderful allegory. We may cite
them safe and sound on the path of spiritual here the case of Swami Vivekananda who
knowledge. But those who are mesmerized and worshipped Kali Mata in Her terrible form.
struck by Her binding force of Maya, lead an But when he perceived Her presence, he
awful life full of sarcasm and are born again perceived it in the most gracious dispensation.
and again on this earth with endless trails of The story goes like this.
material agonies. This is the Para and the Apara Swami Vivekananda was known in the
forms of the Divine Mother a la the two sides name of Naren in his childhood days. When
of the same coin. We should understand the Devi his father died, he was succumbed to myriad
in this way and worship Her divine prowess wants and miseries in life. Naren had elders
as Para Shakti full of all-loving and who advised him to meet Rama Krushna
compassionate Spirit. Paramahansa known for his occult powers for
A question may generally come up: if alleviation of his distressed conditions. He met
the Divine Mother is all-compassionate, why the revered monk in Dakhineswar Temple. The
then She should appear dreadful in Her Paramahansa received him with cordiality and
metaphysical form? affection. Naren expressed his helpless plight
and the extremities of his pecuniary wants to
The answer to this query is very simple.
Ramakrishna. The great monk advised him to
Kali, as the semblance of Devi Mata, may
meet Kali Mata in the temple and represent his
appear to be a dreaded deity. But in spirit She
is not like the one we see Her in outward predicament. Naren prayed to the Divine
appearance. She is worshipped in Para Bhakti Mother as advised. The Mother at last appeared
in Her gracious form, ever radiant to help Her
as a divine force ensuring victory of the good
ardent devotee. When he saw the Divine
over the evil. Kali Mata stands for destruction
Mother, he was immensely lost in the surges
of the evil. Durga also stands for the same
mystical purpose. She is the destroyer of of divine ecstasy. Naren forgot all his material
darkness to emit light. She is the destroyer of necessities for which he had gone to
Dakhineswar Temple. When the Mother called
ignorance to bestow knowledge. She destroys
on him to ask for a boon, Naren said that he
all pains, all miseries and all tribulations to
needed Her divine mercy to reach the goal of
bestow bliss and to free the Jiva from this
mundane world. All that we see in Her outward Light, which is the ultimate goal of life. The
appearance are the symbols of Her extricating Devi Mata granted him the boon and
disappeared.
prowess ever vibrant and alert to annihilate
all the evil forces of the life like ego and other We learn from the divine experience of
such emotions of the senses. So we pray to the Naren a noble lesson of life. As one knows
Mother in Her symbolically terrible form for well, Naren had gone to Dakhineswar Temple
Her gracious benediction for victory over the to request Ramakrishna Paramahansa to bestow
mind. This is the spirit behind Durga Puja. This on him material prosperity of life. But when
indeed is the moral content of the Durga he had the visionary experience of the Divine
Saptasati which is read in great devotion during Mother, he forgot the actual purpose and he
5
Orissa Review * October - 2004
became deeply concerned about the spiritual from the universe. But for that reason, we cannot
needs of his life and asked the Divine Mother call the Devi Mata a destructive force. In Her
for grant of knowledge and devotion. destruction, one can see the light of a
Ramakrishna, when he came to know of this resplendent regeneration. She destroys but
said, "Naren, with the glint of this boon, destroys ignorance in order to bestow
bestowed on you by the Divine Mother, you knowledge. She destroys darkness, so that we
have all the wants of your life entirely fulfilled. can see light in the ultimate run. Thus we see
So go back home; you will have no more in the Divine Mother a glorified spiritual being,
worries in life". ever intent upon giving deliverance from
This is the rich outcome of Para Bhakti delusion. This is the sacred theme of the
Navaratri Puja.
in the Sadhana of devotion and knowledge. The
terror-form of the Mother ultimately came out The Devi Mata in Her divine form as
as the most benign and magnanimous Mother, Laxmi is worshipped in the second three days
when Naren had Her "darshan" in Dakhineswar of Navaratri Puja as the goddess of wealth and
Temple. prosperity. She is adored as the preservative
Swami Chhidananda Saraswati Maharaj power of God as Vishnu. She is also
has explained this allegorical connotation from reverentially venerated as Sita, the consort of
Rama, Rukmuni, the consort of Krishna and
a different angle. He says that in the modern
Radha, the Chinmayi Shakti of the Vaishnab
age we have many antibiotics as medicines.
cult. The Devi Mata is worshipped in the last
These are called lifesavers and millions of
people look upon them with feelings of three days of the nine-day worship as
gratitude as they are the curative medicines of Saraswati, the creative power of God as
Brahma. She is hailed to represent Vak ( Speech
many critical diseases. But they are nonetheless
) in the Rig Veda Samhita and as the presiding
terrible and destructive in nature. So on the
deity over arts, music and literature.
cover of every such medicine, a word of
caution is written that they should be taken with Let us pray to the Devi Mata to illuminate
care under the prescriptions of qualified our hearts as Budhi. Let us all pray to Her to
physicians. The antibiotics are said to be keep alive the great truth in our hearts and
destructive because when they go inside the remove the veil of delusion thrown over our
stomach, they kill the germs and thereby the consciousness. Let us pray to the Divine Mother
disease is removed and one is cured of the to manifest to us as Vidya-Maya as She
ailment. Swamiji Maharaj says, would it then manifested to Swami Vivekananda. If She has
be correct to call these antibiotics destructive Her radiant eyes on us, then all our delusion,
in nature? Yes, we may call them destructive all our sorrows and all our darkness would
because they destroy the germs. But their come to an end and we shall see Her as
ultimate purpose is something noble, the Sachidananda Para Brahman.
purpose being to cure the disease and restore
good health. In the same analogy, Mother Kali
may appear terrible and destructive in Her Durgamadhab Dash lives at C-80, Palasapalli,
outward appearance for annihilating the evil Bhubaneswar
6
Orissa Review * October - 2004
Tantricism in some form or other evolved in is explained as that class of tantra which is
almost all the countries of the world. But in addressed to Parvati by Lord Siva, whereas
India it has a speciality forming a significant Nigama refers to tantra spoken by Parvati to
part of the country's religious system in points Lord Siva. Yamalas tantra were designed to
of time and space. The ancient and modern mean the worship of united deities. Varahi
scholars have stated different derivative tantra says Agamas deal with seven topics -
meanings of the Cosmology,
word 'Tantra'. Destruction,
According to M.M. Worship of God,
Haraprasad Sastri S a d h a n a ,
it means shortening Purascharana, the
of abbreviation like six block rites
algebraic forms of and four-fold
formula. The word meditation.
is traced from the Yamala tantra, on
term 'tan' (to the other hand,
spread) and 't atri' deals with
(to explain). Thus cosmology,
the original astronomy,
connotation of the division of castes,
term is scientific. Chausathi Yogini Pitha, Ranipur Jharial
yogadharma etc.
Tantra is a science Agamas are of various types. Shaktisangama
of religion and philosophy of science. Tantra tantra records Saiva, Sakha, Ganapatya, Saura,
is Sadhana. In order to understand Tantra, its Vaisnava, Mahavira, Pasupata etc. (of eleven
antiquity, significance etc in the religious system types) and Savara of (eleven types). Agamas
of India, we have to touch upon the ancient are Vedic or non-Vedic. It is divided into
civilisations, when the early men derived the Tantra, Yamala and Damara. Damaras are of
magical power from the natural phenomena. six types - Yoga Damara, Siva Damara, Durga
Tantra is generally categorised into Damara, Saraswata Damara, Brahma Damara
Agama, Nigama and Yamala. The term Agama and Gandharva Damara. In accordance with
7
Orissa Review * October - 2004
the sects the Tantras are classified. mother-goddesses. The markendeya Purana
Geographical conditions are also responsible relates that the gods created goddesses from
in classification of Tantra, viz. Visnukranta, their own Shaktis to assist Durga in killing the
Rathakranta and Asvakranta. demon Raktavirya, the ally of Sumbha, who
had the power to multiply himself into demons
There are three trends of tantras :
of the same stature and prowess from the drops
Dakshina, Vama and Madhyama. Like this tantra
of blood oozing out of his wonds and touching
has a vast mass of literature covering wide
the ground. They were yoginis, who drank
range of heterogenous systems. In the
blood of the demon before felling on the
Vamadeva Tantra Parvati said to Lord Siva 'you
grounds. The same story is recorded in the
have explained to me crores of tantras each of
Mahabhagavata Purana to kill Andhaka demon,
which has a special features of its own." Really
who had the power of creating numerous
it is difficult to state the nons of tantras. Each demons from his oozed blood touching the
tantra has its philosophy, own system of ritual
ground. Siva's pasupata weapon proved futile.
practice and deity etc. As a matter of fact, the Having no alternative Siva propitiated
tantras deal with the worship of not only Nrusimha to come to his rescuse. Lord
female deities but with various male deities Nrusimha created hundred and eight terrible
as well. And we have really works known as goddess to help Ambika to kill Andhaka demon.
tantras belonging to various sects like the After Andhaka was killed the new goddesses
Saivas, the Vaisnavas, the Ganapatyas, the moved in a campaign of destruction in the
Sauras etc. It is true that this literature is Universe. To subdue them Nrusimha created
generally known among the followers of thirty-two mothers more powerful than the
various sects as 'Agama' as well. The Tantrikas earlier one. The earlier mothers out of fear took
consider tantra as the fifth Veda. Bhaskar Ray refuge in Nrusimha who asked all the created
in his book 'Setubandha' describes the mothers to look after the living beings of the
'Chausathi Mahamayavi Tantras' or '64 Yogini' Universe as mothers. An eminent modern
as Veda. scholar opined that yoginis were originally
The culture of sixty-four Yoginis was the women or priestesses, who being possessed
exuberant expression of extreme form of by the spirit of goddesses became yoginis.
tantricism in about 8th century A.D. when the The yoginis have been classified in
occult and esoteric Sadhana reached the highest different texts according to their functions,
peak. Origin of sixty-four yoginis is shrouded names and rituals attached to them. The Yoginis
in mystery. The vedic and post-vedic literature are sixty-four in number and are classified as
mention the names of some individual yoginis, Sahaja, Kulaja and Antyeja. Another text
but never sixty-four manifestations together. divides yoginis into Ksetraja, Pithaja, Yogaja
Through the process of transformation the cult and Mantraja based on different principles. The
came into existence and exerted an important first two groups of the second classification
niche in the Sakta-tantric pantheon. The puranas have association with the sacred pithas; the
and Upa-purans which are the source of yogojas are propitiated with yogic practices
different cults are referred to find out the origin and the mantrajas with Mantras. The mother
of sixty-four yoginis, who are basically the goddesses such as Brahmani, Maheswari,
8
Orissa Review * October - 2004
Vaisnavi, Indrani etc. are classified as yoginis. sixty-four yoginis are associated with
The yogini kaula of Matsyendranath also refers sixty-four kalas, sixty-four Ratibandhas, sixty-
to the worship of mystic circles made up of 4, four Bhairava, sixty-four Nayika and sixty-four
8, 12, 64 and more angles of the centre of which emotion of human-being. Name of these sixty-
there is Siva, Omnipresent, immovable and four yoginis - 1. Chhaya, 2. Maya, 3. Narayani,
undualified. The sixty-four yoginis are most 4. Brahmayani, 5. Bhairavi, 6. Maheswari,
probably so many angles representing the equal 7. Rudrayani, 8. Baseli,9. Tripura,
number of manifestations of the Shakti 10. Ugratara, 11. Charchika, 12. Tarini,
embracing Siva. The circle thus forms a 'Lotus' 13. Ambika Kumari, 14. Bhagabati, 15. Nila,
reminding us of the famous Tantric Sricakra. 16. Kamala, 17. Santi, 18. Kanti, 19. Ghatabari,
This theory of Matsyendra holds good when 20. Chamunda, 21. Chandrakanti, 22. Madhavi,
we analyse the extant yogini temples. The 23. Kachikeswari, 24. Anala, 25. Rupa,
number of yogini is really perplexing. Various 26. Barahi, 27. Nagari, 28. Khechari,
sources have furnished different numbers of 29. Bhuchari, 30. Betali, 31. Kalinjari,
yoginis, but ultimately the number sixty-four 32. Sankha, 33. Rudrakali, 34. Kalavati,
appears to have been accepted by all the 35. Kankali, 36. Bukuchai, 37. Bali, 38. Dohini,
authorities. Of these sixty-four yoginies, the 39. Dwarini, 40. Sohini, 41. Sankata Tarini,
principal seven or eight are known as mother 42. Kotalai, 43. Anuchhaya, 44. Kechamukhi
goddesses such as Brahmani, Maheswari, Samuha, 45. Ullaka, 46. Samasila, 47. Mudha,
Vaisnavi, Kaumari, Varabi, Indrani and 48 Dakhinai, 49. Gopali, 50. Mohini,
Chamunda, who according to the Puranic 51. Kamasena, 52. Kapali, 53. Uttarayani,
stories were created to drink blood of the 54. Trailokya Byapini, 55. Trilochana,
demons. It is probable that these eight principal 56. Nimai, 57. Dakeswari, 58. Kamala,
mother goddesses who are evidently the yoginis 59. Ramayani, 60. Anadi Shakti,
were multified into sixty-four. That the cult of 61. Balakshatrayani, 62. Brahmani, 63. Dharani
sixty-four yoginis was widely prevalent is and sixty-four. Matangi. All these names of
evident from several lists of sixty-four yoginis sixty-four yoginis are described in Chandi
recorded in different texts. The Kalika purana, Purana of Sarala Das.
Skanda purana, Brihadnandikeswara Purana, Twelve lists of sixty-four yoginis
cansatha yogini namavali, chandi purana of collected so far do not confirm to each other.
Sarala Das, Durgapuja, Brihndla Tantra, Bata The extant yogini temples do not show
Avakasa of Balaram Das and other texts uniformity in iconography. In Hirapur Yogini
containlist of sixty-four yoginis. Besides, the temple the images are all standing associated
inscribed images in the sixty-four yogini temple their Vahana, whereas at Ranipur Jharial they
of Bheraghal of M.P. furish seventy-fine are in dancing poses. The images of Bheraghat
images. Another list enumerates as many as temple of Madhya Pradesh are seated in
sixty-nine yoginis in eight categories. Another Lalitasana.
text states sixty-nine yoginis in eight categories,
such as Gupta Yoginis, Guptatara Yogini,
Sampradaya Yogini, Kulatirna Yogini, Nigarva Dr. Janmejaya Choudhury is the Lecturer in History at
Yogini, Rahasya Yogini, Atirahasya Yogini. Sri Jagannath College, Kaipadar in District of Khurda.
9
Orissa Review * October - 2004
Sambalpur, besides being the seat of Buddhism accepted and exalted by the ruling classes of
and Hinduism, is also home to other religions Sambalpur in order to appease the local
and communities such as Muslims, Christians subjects to consolidate their power over the
and innumerable indigenous tribal natives and to exercise their authority over this
communities. With this multi- area. Understandably, in the
racial, multi-religious, multi- process of the building of an
cultural and multi-lingual unified Sambalpur Rajya
composition, Sambalpur has indigenous communities with
always chosen the path of their religious traditions were
social accomodation and social successfully absorbed in the
integration. Thus, people of mainstream of the Great Hindu
diverse religious faiths have Tradition through its branches
been residing together in like Saivism, Vaishnavism and
harmony in Sambalpur. Saktism. The area of our study
Therefore, it may be rightly i.e. Sambalpur is the
called the most pluralistic headquarters town of modern
society. The present paper is an Sambalpur district. It is
attempt to understand how the situated on the left bank of the
indigenous communities and river Mahanadi.
their religious traditions have From ancient times,
played a significant role in the Sambalpur has been known as
process of state formation in the the land of Tantrik Buddhism.
erstwhile Sambalpur Rajya It is an ancient town, which has the reputation
during medieval period. of a Tantra Pitha. Significantly, when
In Sambalpur, the ruling classes were Buddhism as a religio-cultural force began to
aware of the fact that communalism would decline in many parts of India, Sambalpur
weaken the state and would cause disharmony played the most important role for the
in social life and divert the attention of people continuation of Buddhism in its new form i.e.
from formation of a separate Sambalpur Rajya. Tantrik Buddhism. The existence of Sambalpur
So, attempts were made to integrate the may be dated back at least to the early Christian
indigenous communities into one fold under the era. The Greek geographer Ptolemy (middle
umbrella of "Hindusim". Their deities were of the second century A.D.) in his book
10
Orissa Review * October - 2004
Geographike refers to a town named shapeless rock made to appear like the face of
Sambalaka situated on the bank of the river Samalei Devi with two gold leaves in the forms
Manada. Ancient Sambalaka and Manada are of eyes and in the middle a projection
identified with modern Sambalpur and the river resembling the mouth of a cow suggests some
Mahanadi respectively (Panda, 1996:34). The influence of Tantra. In this context, learned
suffix 'pur' has been later added by sanskritising scholar Sasanka Sekhar Panda (1996:37)
the original name Sambal when the territory identifies some significant points that in front
has come under the Chauhan rule (Senapati and of the Garbhagriha of Samalei gudi (temple),
Mahanti, 1971 : 2-3). Similarly, the Samlei there is a pillared hall wherein a pair of human
Pitha may be said to be much older and the foot-prints with two eight-petalled lotus-rosette
deity may have been worshipped by the motifs on both sides are carved on a stone-
aborigines since time immemorial. panel. This pair of foot-prints is worshipped
as Sitalamata. Such foot-prints are found to be
Sambalpur is intimately associated with
carved on stone-slabs at Ghudar and Ranipur
the spread of Tantrik Buddhism in India and
Jharial in the district of Balangir and
abroad. It is considered to be the land where
Narsinghanath in the district of Bargarh. It is
the Sambara Tantra was propounded by a widely believed that worship of foot-prints of
famous Siddha called Pitopada who is also
Siddhacharyas was very common to the Tantrik
regarded to have attained the Siddhi of
school. In other words, Sambalpur had made
invisibility at Sambala (Senapati and Mahanti, Tantrik Buddhism a potent spiritual and cultural
1971:446). Sometimes in the eighth century
force in the Indian sub-continent. In view of
A.D., Indrabhuti was the king of Sambalaka / this, Sambalpur might be considered to be one
Sambalpur and was believed to have of the important urban centres with international
patronised Tantrik Buddhism . He was the reputation in between the second and eighth
author of the text Jnyanasiddhi. His sister century A.D. Apparently Tantrik Buddhism
Laksminkara is also reported to be a Tantrik continued to prevail in Sambalpur till about
Buddhist perfectionist. She is regarded as one 13th century A.D. long after Buddhism had
of the 84 Siddhagurus in Tantrik Buddhism and vanished from most parts of India.
as the propounder of a religious faith called
Sahajayana, thus making a great reputation for Reportedly, Laksminkara had married
herself. It suggests that by the time of medieval Sevola, the son of the king Jalendra of Lanka/
period, the land of Sambala/Sambalaka/ Lankapuri. But, Laksminkara preferred the
Sambalpur was one of the important seats of career of a Tantrik Buddhist perfectionist and
Tantrik Buddhism. practised Tantrik Sadhana in Lankapuri which
was regarded as Mahayogapitha or a great
There is no denying the fact that the centre of Tantrik Buddhist Yoga. Continuous
Vajrayana of Indrabhuti and Sahajayana of meditation and Tantrik Sadhana for seven years
Laksminkara flourished in Sambalpur area in the cemetary of Lankapuri Mahayogapitha
during the eighth century A.D. At that time, made her properly enlightened and she
Sambalpur might have developed a high distinguished herself among the people of India
standard of Tantrik culture. Most probably, and abroad as Bhagavati Laksminkara or
Samalei Pitha was an integral part of that great goddess Laksminkara because of her Uttama
cultural tradition. In the Garbhagriha (inner siddhi or excellent perfection. Lanka /
sanctum) of this temple, the fierce and typical Lankapuri is identified with modern Sonepur/
11
Orissa Review * October - 2004
12
Orissa Review * October - 2004
Balaram Dev arrived there. Perhaps, the temple families and partly due to land grants of
was in a dilapidated condition. Balaram Dev villages by the rulers to indigenous tribal chiefs
extended royal patronage and rebuilt or who ended up as independent potentates. In the
renovated the temple. Subsequently, Raja frontier zone of uncertain control like Daksina
Chhatra Sai had also most probably rebuilt or Kosala (roughly modern west Orissa) the
renovated the temple. indigenous tribal chiefs and chiefs of obscure
origins took advantage of weak central
There is no denying the fact that Raja
authority, assumed power and formed several
Balaram Dev adopted this Shakti Pitha and
small Rajyas (Deo, 2003 : 96). Formation of a
extended royal patronage. But, the most
separate Bargarh and subsequently Huma Desh
significant development in the period of Raja
and finally Sambalpur Rajya by Balaram Dev
Chhatra Sai was donation of forty villages for in the 16th century A.D. was the result of the
the regular worship of Samalei devi. Names partition of the ruling family of Patnagarh. In
of some villages are collected from the local all probability this was a forested area and
people. These are Jayaghanta, Kalamati, inhabited by aboriginal people when Balaram
Ambasada Katapali, Nunia Jampali, Karpula Dev first arrived here. He was a reputed
Senapati, Chaunrpur etc. Thus, Chhatra Sai warrior. Owing to military necessity, the
made a permanent arrangement for the administration of this tribal dominated, hilly
maintenance of the Samalei gudi (temple). It and forested part was entrusted to him by his
means that recognised steps have been taken elder brother Narasimha Dev, the then Chauhan
by the Chauhan rulers for the state-funding of Raja of Patnagarh. Balaram Dev successfully
the Puja services in Samalei gudi and she has consolidated the Chauhan rule in this part of
been raised to the status of Rastra Devi and the Rajya and carved out a new Rajya out of
called Samaleswari i.e. 'Iswari' or reigning the territory of his elder brother. Subsequently,
deity of Sambala or Sambalpur. However, the his successors extended and strengthened the
landed property assigned for the performance Chauhan rule in Sambalpur Rajya.
of the daily and special Pujas of Samalei Devi
have been converted into personal property by In order to sustain a separate and
the priests. This has been possible most independent Sambalpur Rajya, most probably
probably during the British rule, either by Balaram Dev and his successors had to depend
hiding or destroying the copper plate grants. upon the Bhogas and Bhagas. They had to
persuade the local tribal people to become
What these priests have done was contrary to
settled agriculturists so that production would
the age-old prevailing tradition of this Shakti
increase, because a tribal economy based on
Pitha. Any how, the priests are now managing
shifting cultivation cannot sustain a Rajya as
the Puja services of Samalei gudi. Reportedly,
analysed elsewhere by the learned scholar Dr.
the Samalei gudi has no property at present
F. Deo (2003:96). To legitimise their status as
(Senapati and Mahanti, 1971 : 548).
Rajas and to their share of the produce
It may be said with precision that, in the (Bhaga), the Chauhan rulers granted lands to
15th and 16th century A.D. after the Brahmins and temples which contributed to
disintegration of Ganga empire of Orissa, a changing the agrarian situation, formation of
strong pull towards political fragmentation as hierarchical social order and Brahminisation
well as decentralisation of power was taken or Hinduisation of the society. Therefore, it may
place partly due to the partition of ruling be suggested here that Samalei Pitha was
13
Orissa Review * October - 2004
already existing when Balaram Dev arrived the aboriginal people identify themselves as
here. Perhaps, the temple was in a dilapidated part of the larger Hindu religious culture, thus
condition. He extended royal patronage and contributing to Hindu cultural unity at a larger
rebuilt or renovated the temple. Later on Raja level which has helped in the state formation
Chhatra Sai also most probably rebuilt or in Sambalpur.
renovated it. Thus, the temple of Samalei/
Samalei at Sambalpur is a shapeless rock
Sambaleswari became an important agent of
made to appear like a face. It may be said to
Hinduisation in Sambalpur.
be a big piece of head-like stone structure.
There is a tale which reveals that during According to the oral tradition, Daksha
the demolition of Hindu gods and goddesses arranged a Yajnya. He invited all the deities
by Kalapahada, the priests of Sri Jagannath and relatives to attend the function. But, he did
Temple of Puri fled with the images of the not invite his own daughter Sati and son-in-
deities. They buried the images on the bank of law Lord Siva, because Sati married Siva
Mahanadi in Sonepur/Suvarnapur which is against the wish of Daksha. Yet, Sati went to
situated to the south of Sambalpur. Kalapahada attend the ritual ceremony where she was
and his army followed the priests and arrived received with disgrace. As a consequence, Sati
at Sambalpur where Samalei Devi prevented protested and accused her father for his neglect
them from proceeding further. She assumed the and disregard shown to her husband. Daksha
form of a milk-maid and appeared before them. broke into anger and cursed Lord Siva by
She sold milk and curd to the soldiers who calling him a beggar, ashman, Yogi, king of
were very thirsty. Immediately, the soldiers goblins etc. Sati could not tolerate such insult
consumed the milk and curd which spread and jumped into the Yajnya kunda. Lord Siva
desolation among them. At this hour, the army became furious and started his Tandava Nritya
of Raja Balabhadra Dev of Sambalpur drove bearing the corpse of Sati on his back. It was
back Kalapahada successfully. It would not be terrible and the destruction of the entire
out of place to mention here that identical universe was imminent. Lord Vishnu came out
stories prevail in other religious shrines of to save the mankind. He instructed his
Orissa namely Chalhakhai Devi at Kulada and Sudarsana Chakra to cut the dead body of Sati
Dahikhai-Chamunda Devi at Rambha, both in into pieces. After the weight was gone and Lord
Ganjam district. Also, this tale is associated Siva became conscious he was consoled by
with Danteswari Devi at Bastar in the Lord Vishnu. Thereafter, Lord Siva retired
neighbouring state of Chhattisgarh (Pasayat, alone to his abode Kailash. The body of Sati
2003:20). It may be suggested here that the was hewn into a number of pieces and
origin of this story is imagination. That is why
wherever a fragment touched the earth a Sakti
it is difficult to identify the place where from
Pitha (shrine of Mother Goddess) sprang up.
and the time when this tale has first been
It is believed to be the head of Sati which is
conceived and later adopted in other religious
enshrined and worshipped in the Samalei gudi.
shrines. However, we cannot ignore the fact
that this tale has identified the supernatural Though mythologically, the origin of the
power and deeds of Samalei Devi. It has Sakti Pitha at Sambalpur is connected with
established socio-cultural relationships the most famous Daksha Yajnya story, originally
between the aborigines and the caste-Hindus. it is not reported or recorded in any of the epic
By assimilating such stories into Samalei cult, tradition of the Hindu religion. There is no
14
Orissa Review * October - 2004
denying the fact that the image of Samalei Devi no face on the front side. Interestingly, this tale
is a large block of stone. There is also a with little variation is found in some other
projection with a narrow groove in the middle religious shrines namely Kanakadurga at
of the stone image of the deity. This projection Piteipur village in Jagatsinghpur district,
is believed to be the mouth of the deity. On Jaanlei Devi at Hinjilikatu in Ganjam district
both sides of the projection are depressions and Kumari Devi at Bonai in Sundargarh
covered with beaten gold leaves which district. Also the tale is associated with
represent the eyes of the deity. Moreover, the Chandrahasini Devi at Chandrapur in Bilaspur
image of Samalei Devi does not resemble any district of the neighbouring state of Chhattisgarh
other Sakta goddess found in Orissa. There is (Pasayat, 2003 :19). All the same, the meaning
a Parsva Devata of Samalei called Pitabali of this tale is more important for our study.
who is believed to be the deity of tribal people This tale is meant not only to frighten children
namely Kandhas (Senapati and Mahanti, away, but also suggests practice of severe form
1971:547). The above descriptions of Samalei of blood sacrifice and influence of Tantra on
Devi suggest us to believe that she is a non- this Pitha.
Brahmin deity originally worshipped by the
aborigines of Sambalpur. Addition of Daksha As per the oral tradition, once upon a
Yajnya story is very likely a later development time human beings were sacrificed before
to add to Samalei some more dose of Sanskritic Samalei Devi. It is said that once a Siddha
elements. This may be suggested to be a fine Brahmin arrived at Sambalpur. Priests of
example of localisation or parochialisation of Samalei Devi caught him for sacrifice before
famous Daksha Yajnya story to validate the the deity. The Siddha Brahmin told the priests
faith of the aborigines with the Hindu epic to leave him alone before the deity inside the
traditions (Great Tradition) of India. By Garbhagriha so that Samalei Devi could eat
identifying Sambalpur with the incarnation of him if she wanted. Accordingly, the Siddha
Shakti as Samaleswari and her mythical and Brahmin was not beheaded; rather left alone
miraculous events, the local people identify and alive before the deity. Then the priests
themselves as part of the larger Hindu culture closed the doors of the Garbhagriha. The event
(Great Tradition), thus contributing to cultural went contrary to the interests of the priests.
unity and consolidation of Chauhan rule in Next morning, the Siddha Brahmin came out
Sambalpur. from Samalei gudi alive and unhurt. The story
There is another story which indicates spread quickly through out the Rajya that the
the horrifying nature of Samalei Devi. Once Siddha Brahmin had been pleased by Samalei
the priest had fruits and flowers on a plate and Devi and the deity had blessed him. Maharaja
was offering prayers to the deity while his Baliar Singh heard this miraculous incident and
small daughter was standing by his side. The ordered to stop the practice of human sacrifice
priest discovered suddenly that the deity had before Samalei Devi. Since then buffaloes were
disappeared. Looking up, the priest found the sacrificed before the deity. Now-a-days, Bukas
deity devouring his girl child. Immediately the (he-goat) and cocks are common sacrificial
priest threw the plate at the face of the deity. objects during Durga Puja, Chaitra Purnima and
As a result, the face of the deity turned to back other occasions in this Shakti Pitha. This may
side. So, the deity is believed to be facing away be understood to be the process of
from the main entrance and that is why there is legitimisation of Brahmin priests in the non-
15
Orissa Review * October - 2004
Brahminic Samalei gudi and minimisation of Rajya have been deeply attracted towards and
severe practice of blood sacrifice in this Pitha. absorbed in the mainstream of the Indian
cultural tradition through Shaktism. The great
According to the tradition, Samalei was
tradition of Shaktism coupled with Saivism has
worshipped originally by the natives belonging
to Sahara and Jhara communities living on the formed has become a great force for the
integration of Indian civilization and has a great
bank of the river Mahanadi. The main
influence on the regional religious culture of
occupation of these people was to collect
Sambalpur i.e. Little Tradition.
diamonds from the river bed of Mahanadi.
Once they found a big stone under the deep A very important aspect of the
water. They brought it out with the hope to development of religious system in Sambalpur
extract diamonds from it and placed it under a region during the medieval period is the
Semel tree on the bank of the river. Later on introduction of Tantrik elements in worship.
they realised it as a deity in the form of a stone. As it has been discussed earlier, historical and
Thence, they started worshipping her (Dash, archaeological remains attest to the fact that
1962 : 227). Although, Balaram Dev adopted Sambalpur region has been a strong-hold of
the local deity, he did not exclude the Saivism and Shaktism coupled with Tantrism.
traditional servants of the deity from the temple Furthermore, severe practice of blood sacrifice
cult which was emerging as a testimony to at this Pitha, absence of caste distinction,
Sanskritisation or Hinduisation of Samalei employment or engagement of tribal/non-
Devi. He appointed the Saharas, the traditional Brahmin priests, installation of the guardian
worshippers of the deity as the priests and deity (Samalei) in the Garbhagriha i.e. centre
Jharas as the servants and holders of canopy of worship, belief in the replica (Chalanti
of Samalei Devi (Sae Deo, 1985:7-8). Pratima) of the main deity, annual or
periodical journey (Jatra) of the Chalanti
Saharas are generally considered to be
Pratima, spirit possession or descending of
untouchables in the social hierarchy of this area.
In villages, Samalei as village deity is Samalei Devi through human beings etc. suggest
some connections with Tantra. As it is
worshipped by the Jhankars. Though the
discussed elsewhere, Sambalpur as well as
Jhankars do not belong to any specific caste
Samalei pitha has been identified with an
or community, they are, in fact, non-Brahmin
important seat of Tantrism where a very high
priests who also worship other village deities
called Mauli, Budhima and Grampati. Earlier standard of Tantrik culture has been developed
during the Buddhist and pre-Chauhan period.
Jhankars were granted rent-free lands for their
But, thereafter, particularly during Chauhan
service in the villages. All these combinedly
period the unique blend of Saktism, Saivism,
indicate that Samalei has the character of a
Tantrism and Sanskritic/Brahminical culture
non-Brahmin deity. Most probably, the rulers
intended to honour the sentiments and feelings has rose to a new height in Sambalpur region.
of the aborigines. In view of this, it may be Most probably, the Chauhan rulers have
suggested here that Shaktism has taken all care brought their own faith with them. But, they
to adopt the features of the aboriginal or local have not enjoined on common people of this
religious cult i.e. Samalei. In other words, area to believe and follow their faith and
many local indigenous communities with worship their deity; rather they have reckoned
Samalei tradition of erstwhile Sambalpur their own faith with that of the locality. It was
16
Orissa Review * October - 2004
not what they practised and worshipped but whereever they have established their
what they felt under what they believed that kingdoms and expanded their territory.
was important. The Chauhan rulers have taken Samalei, the deity of the autochthonous people
all care to retain the primitive character of this has been hijacked by the ruling classes and
Pitha like aniconical image of the deity, non- used as tool to exercise their authority and
Brahmin priests of the deity, blood sacrifice control over the latter. Not only Samalei of
etc. By constructing or renovating the temple Sambalpur but also Asta-Sambhus in different
they have introduced elaborate rituals in a parts of erstwhile Sambalpur Rajya namely
systematic manner. By giving rent-free land Bimaleswara at Huma, Kedarnath at
grants to the temple they have ensured regular Ambabhona, Biswanath at Deogaon,
Puja services for the deity. Also they created Balunkeswara at Gaiasama, Maneswara at
myths wherever required to identify the deity Maneswar, Swapneswara at Sorna,
as a Hindu Goddess. In all probability, they Bisweswara at Saranda and Nilakantheswara
have carefully followed this principle under at Niljee were adopted and given royal
political expediency with a view to please the patronage in the reign of Chauhan rulers.
local subjects. Temples were constructed and elaborate rituals
In this context, mention may be made of were introduced in these temples. Rent-free
Ashapuri Devi who is the tutelary goddess of lands and villages were granted and regular
the Chauhan rulers all over the country. Ramai Puja services of these deities were ensured.
Dev, the first Chauhan ruler of Patna Rajya has This fundamental principle has made them very
identified her as Pataneswari in Patna/Patna popular among the local inhabitants and has
gad meaning 'Iswari' of Patna (Balangir-Patna). helped them to expand, consolidate and
Since then Pataneswari has been the tutelary strengthen the Chauhan rule in Sambalpur
goddess of the Chauhan rulers of Patna gad or region.
Patana house. Similarly, Balaram Dev has It may be noted here that Pataneswari
established Sambalpur Rajya. He has also temples are found only at few places like
exalted the local deity Samalei as Patanagad, Balangir and Sambalpur, whereas
Sambaleswari meaning I' swari' of Sambala/ the number of Samalei gudi or Samaleswari
Sambalpur and the king has accepted her as temples in Sambalpur is quite large. Besides
his own tutelary goddess.This way the local the Samalei gudi situated in Sambalpur,
name of the deity i.e. Samalei has been Barpali and Suvarnapur, the deity occupies a
Hinduised to Samaleswari. According to this pivotal position in the religious life of the
name, she is the deity of all who reside in common people of Sambalpur area. She is
Sambalpur. In other words, the deity represents
being commonly worshipped under a tree in
a larger society wherein people of various
the form of a stone in the vicinity of almost
ethnic backgrounds stay together. Thus, the
each and every village of erstwhile Sambalpur
deity has become the source and symbol of
Rajya. This indicates the extent of reverence
unity and integrity mainly between the
shown to Samalei in Sambalpur area. In
aboriginal people and caste-Hindus in
villages, Samalei is worshipped by the
Sambalpur.
Jhankars who enjoy rent-free lands for his Puja
It may be understood that the Chauhan services. Moreover, many indigenous,
rulers have made it their principle to esteem aboriginal, native, local, folk or tribal
and extol the deities of the aborigines or natives communities with their religious traditions
17
Orissa Review * October - 2004
(Little Tradition) of Sambalpur region have assimilation were not one way flow from
been successfully absorbed in the mainstream Hindu Great Tradition to local Little Tradition
of the Hindu Great Tradition through Saivism, alone. In Sambalpur area, it was the
Shaktism, Vaishnavism and helped in the simultaneous process of acculturation and
process of state formation during medieval deculturation. It proceeded through complex
period in erstwhile Sambalpur Rajya. Bose processes of interaction which are confirmed
(1941:188) has rightly pointed out, "Hinduism by myths, legends and historical evidences.
has grown by the incorporation of many tribal
References :
cults, until it has become a kind of federation
of religious beliefs and practices ... which goes 1. Bose, N.K. (1941), "The Hindu Method of
Tribal Absorption, "Science and Culture, Vol.8,
by the name of Hinduism." pp.188-94.
In sum, it may be concluded that as most 2. Dash, S.P. (1962), Sambalpur Itihas (Oriya),
of the rulers originated from one of the local Sambalpur : Viswabharati Press.
groups it was easy for them to raise their deity 3. Deo, F. (2003), "Chauhan Myth and Royal
to be the state deity. In the process it helped Legitimisation in Kosala (Daksina)," Souvenir,
them to legitimise and consolidate their Lok Mahotsav, Sambalpur, pp.96-101.
political power over the area. Deities became 4. Eschmann, A. (1986), "Hinduisation of Tribal
the link between the ruler and the ruled. The Deities in Orissa : The Shakta and Saiva
Typology," in A. Eschmann, H. Kulke and G.C.
patronage of local deities and their elevation
Tripathy (eds.), (1986), The Cult of Jagannath
helped the rulers spread the story that the local and the Regional Tradition of Orissa, New
deity had been pleased with the new ruler or Delhi : Manohar Publications, pp.79-98.
the deity had blessed the ruler or the ruler could 5. Mishra, R. (2003), "Scientific Theories in the
please the deity. They used the emotional and Creativities of the Samvalaka - Princess
religious attachment of the local communities Laksminkara," Souvenir, Lok Mahotsav,
to the deities. This was to draw support for Sambalpur, pp.87-90.
themselves. This helped the rulers to legitimise 6. Panda, Sasanka Sekhar (1996), "Early Chauhan
their position in the area and to enjoy the Temples of Sambalpur Town," Orissa Review,
support of the local people. This pattern April, pp.34-38.
emerged both because the rulers needed the 7. Pasayat, C. (1998), Tribe, Caste and
support of the local communities who were in Folkculture, Jaipur : Rawat Publications.
a majority and also because of the fear of the 8. Pasayat, C. (2003), Glimpses of Tribal and
deity whose wrath might result from absence Folkculture, New Delhi : Anmol Publications
Pvt. Ltd.
of worship. The incorporation of local
communities into the wider social order and 9. Sae Deo, L.R. (1985), "Samaleswari Mandira
Pratisthara Kimbadanti O Samkshipta Itihas
their indoctrination proceeded in multifacated (Oriya)," Basant Milan Smaranika,
manner through ceremonial and enactment of Hirakhanda, Sambalpur, pp.7-8.
hierarchical relations. So, multiple 10. Senapati, N. and B. Mahanti (eds.), (1971),
simultaneous processes of Hinduisation, Orissa District Gazetteers, Sambalpur,
Tribalisation and Localisation / Cuttack : Orissa Government Press.
Parochialisation are found in the linking
between the Hindu Great Tradition and the
local Little Tradition of Sambalpur. These Dr. Chitrasen Pasayat is the Asst. Administrator in the
processes of diffusion, acculturation and Sri Jagannath Temple Office at Puri.
18
Orissa Review * October - 2004
The worship of Mother Goddess or Shakti, can also inclined to take Stambhesvari as another
be traced back to the Pre-Vedic or Indus Valley form of Khambesvari, the popular deity among
Civilisation. Devisukta of the Rig Veda is the the aboriginal people of some areas of ex-
primary source of Shakti Cult. In the Rig. Veda feudatary States of Orissa. The primitive tribes
there is a description of a goddess named even today, set up a big piece of stone or a
'Aditi'. She is depicted not only as Mother piece of wood with eyes, mouth painted crudely
Goddess but also as an with indigenous colours,
emblem of the divine spirit. usually under a tree in
But it is difficult to say some central place or
when this cult made its first outside the village and
appearance in ancient worship it as the
Orissa. However, from the guardian-diety of the
epigraphic and village.
iconographic stand-point, it Jajpur, on the bank of
is obvious that the evolution river Vaitarani, was an
of Shakti Cult in Orissa is old and prominent seat of
not prior to the 4th century Shakti Cult and tantric
A.D. worship, and its history
The earliest goes back to the days of
epigraphic evidence the Mahabharata when it
regarding the Shakti was considered a sacred
worship in Orissa is found place of pilgrimage. The
in a Copper-Plate Grant of Tushtikara Deva, image of Viraja, now under worship in the
who perhaps flourished about the 5th or 6th temple at Jajpur, is a two-handed
Century A.D. and was a worshipper of goddess Mahisasuramardini, engaged in killing a
Stambhesvari. There is a pillar of Stambhesvari Buffalo-demon. As the image of
Mahisasuramardini depicted on the Gupta
at Sonepur and a temple of the goddess at Aska
in Ganjam. We have reference to that deity in temple of Bhumara is four-handed, it is
maintained that the present image of Viraja in
the Grants of Sulki and Bhanja kings. We are
19
Orissa Review * October - 2004
the temple of Jajpur belongs to the 5th Century Besides the Vaitala temple,
A.D. Kichakeswari (Chamunda) is also the presiding
It was during the early Bhaumakara rule deity of the largest temple at Khiching in the
in Orissa, that the Durga image became eight- Mayurbhanj district which is the creation of
armed (Asthabhuja) and during the later the Bhauma age.
Bhaumakara period, this image is found to be The worship of Sapta Matruka (seven -
ten-armed (Dasabhuja). The popularity of Mothers) was another form of Saktism during
Shakti worship at Jajpur is born out of the fact the Bhaumakara period. The seven goddesses
that the Bhaumakara queen Tribhuban are Varahi, Indrani, Vaishnavi, Kaumari,
Mahadevi compared hereself with Katyayini Sivani, Brahmani and Chamunda. The deities
(Durga or Viraja) at her accession. are of two or four-armed. The earliest
During the Sailadbhaba and Bhaumakara representation of such matrukas was found at
periods, Tantricism grew from 7th Century Parasurameswar, Vaitala and Mukteswar
A.D. The Tantriks worshipped the Mother temples at Bhubaneswar. The Sapta Matruka
Goddess as the source of power or shakti and images have also been found at Jajpur, Belhandi
the origin of the highest spiritual bliss. From in the Kalahandi district, Markendeswar tank
7th century onwards Tantricism continued to at Puri, Salanpur in Jagatsinghpur etc. These
dominate Buddhism, Saivism and Brahmanical Seven Mothers are accompanied by Ganesha
religions. The great Saiva centre of and Virabhadra. The econographic peculiarity
Bhubaneswar has also a number of Sakta divides the Matrukas of Orissa into two broad
temples built during the Bhauma period. The groups, earlier and later. The earlier Matrukas
most ancient Shakti shrine of Bhubaneswar is seem to have been in prevalence in the
the temple of Vaitala and its sculpture clearly Sailadbhava and the Bhaumakara periods and
proves that the strange esoteric rites were being the later group with the babies as the distinctive
performed in it. Four Shakta shrines sprang up attributes, seem to have originated in the
on the four sides of Vindu Saravara near the Somavamsi period. Sapta Matrukas found in
Lingaraj temple and they are now known as the modern temple of Dasasvamedha Ghat on
Vaitala, Mohini, Uttareswar temples. The name the river Vaitarani at Jajpur, Markandeswar
of the Shakta shrine on the east of the tank, tank and the image of Salanpur holding babies
which still exists, has been lost. These Shakta in arms belong to the later group.
shrines contain either the images of Chamunda In the Prachi valley, there is a temple of
or of Mahisasuramardini. Of them, the Vaitala Varahi at Chaurasi near the village of Tulasipur.
is the most prominent and a study of its The special feature of the temple is that its
sculpture and architecture indicates that the Jagamohan resembles to that of Parsuramesvara
strange esoteric rites including human sacrifice, temple at Bhubaneswar whereas the main
were being performed in it. The presiding deity temple is a replica of the Gouri Temple of
of Vaitala temple is goddess Chamunda Bhubaneswar. The presiding deity Varahi is a
garlanded with skulls and she is of terrific form two-handed beautiful image with fish in one
and is known as Kapalini. This Kapalini was hand and a skull in the other hand. This temple
the deity of the Kapalikas. can be definitely assigned to the Bhauma
20
Orissa Review * October - 2004
Culture Age. Another Varahi shrine is found at Mahabharata points to the fact that Chodaganga
Narendrapur near Gadi in the Balasore district. was responsible for the removal of
The part of an ancient fort named Kichakagarh Ramachandi from her original shrine at
at Khiching in Mayurbhanj district is known Konarka to the sea-shore at Liakhia Muhana.
as Varhi which is a corruption of Varahi. It is But the worship of Shakti did not disappear; it
believed that a shrine of took a new form. In this
Varahi must have existed period all male deities
here though it has not been were provided with
traced. consorts or female
counterparts. The
With the rise of
temple of Parvati found
Tantric Buddhism and
in the Lingaraj
Tantric Saivism during the compound was built in
Bhaumakara period, the
the Ganga period. They
Yogini worship became also built the temples of
popular in Orissa prior to Lakhmi and Vimala
the 10th Century A.D. The inside the compound of
Kalika Purana mentions the Jagannath temple at
'Odra' as one of the Puri.
important Brahmanical
tantric pithas of India. The Thus, evolution of
temple of Hirapur, which Shakti cult, down
stands not far from the south through the centuries,
bank of the river Bhargavi, indicates that worship
on which runs the well- of the Mother Goddess
known Jagannath road to in various forms
Puri was first discovered by Sri K.N. continue unperturbed. There are numerous
Mohapatra in the year 1953. There is a similar Shakti shrines in Orissa of which the shrines
temple of Yogini at Ranipur Jharial in the of Viraja at Jajpur, Samaleswari at Sambalpur,
Titlagarh sub-division of Bolangir district. The Bhagabati at Banpur, Mangala at Kakatpur,
dimension of this pitha is bigger than that of Charchika at Banki, Sarala at Jhankada,
Hirapur. Kichakeswari at Khiching are most famous.
21
Orissa Review * October - 2004
Shaktism, the cult of Mother Goddess and vast mass of Indian population, Goddess Durga
Shakti, the female divinity in Indian religion gradually became the supreme object of5
symbolises form, energy or manifestation of adoration among the followers of Shaktism.
the human spirit in all its rich and exuberant Studies on various aspects of her character in
variety. Shakti, in scientific terms energy or our mythology, religion, etc., grew in bulk and
power, is the one without which no leaf can her visual representation is well depicted in
stir1 in the world, no work can be done without our art and sculpture. It is interesting to note
it. The Goddess has been worshipped in India that the very origin of her such incarnation (as
from prehistoric times, for strong evidence of Durga) is mainly due to her celestial mount
a cult of the mother has been unearthed at the (vehicle or vahana) lion. This lion is usually
pre-vedic civilization of the2 Indus valley. assorted with her in our literature, art sculpture,
According to John Marshall Shakti Cult in etc. But it is unfortunate that in our earlier works
India was originated out of the Mother Goddess the lion could not get his rightful place as he
and was closely associated with the cult of deserved.
Siva. Saivism and Shaktism were the official In the Hindu Pantheon all the deities are
religions of the Indus people who practised associated in mythology and art with an animal
various facets of Tantra. Siva and Shakti, the as its specific vahana, conceived both on the
dual deities were the principal deities of the
3 figurative and the metaphysical plane. An
non-Aryans of the Indus Civilization. The animal acting as vahana owns some magical
Mother Goddess assimilation into the Hindu characteristics, in that each single example of
Pantheon, however, took place long after Siva its species, either living or carved in sculptural
and Visnu had been accepted in two distinct form, bears the implicit presence of the deity
phases; i.e. first the Indo-Aryan male gods were associated with it. In the realm of Indian
given wives, and then, under the influence of sculpture art the vahana of a deity is generally6
Tantric and Shakti movements, which had been depicted below the latter's pedestal.
gaining momentum outside orthodox Hinduism According to H.Zimmer, the vahana meant as
for many centuries, these shadowy female an animate divine symbol supporting the
figures emerged as supreme powers in their4 anthropomorphic figure of a god or goddess,
own right and emerged into the great Goddess. is an iconic representation of the power and
Due to the wide prevalence of the character of the concerned divinity, or an
worship of Shakti or the female energy in India incarnation of the same at an inferior stage and
from a very early period among almost all the under a different aspect. The depiction of the
different ethnological elements comprising the vahana below the pedestal of the deity
22
Orissa Review * October - 2004
dissipates any possible ambiguousness as to with the lion. The car of the Phyrgian goddess
the latter's identity. Such treatment of the carved Cybele, whose cult spread all over the Roman
images of divinities may have originated in empire is dragged by lions. Goddess Cybele
Mesopotamia in the course of the second is popularly known as Mother of the mountain
millennium B.C.; from thence, through the in ancient Rome, like the same in the Indian
medium of trade, it may have reached in 7Indian context, Durga and Parvati similarly associated
sub-continent in the subsequent epochs. with lion and in the different manifestations,
they are also known as the goddess of the
In consideration of the mount lion 10
Mountain. The Egyptian goddess Sekmet has
associated with her in the myths or in sculptural
a leonine head, while the most archaic statues
art, goddess Durga can be alternatively of the Greek goddess Aphrodite depict the deity
conceived as Mahisamardini or as
as accompained by a lion. Sculptural examples
Simhavahini. The lion came to prominence in of a goddess associated with lion and paired
the Hindu pantheon with the origin of the with a god associated with bull have been
goddess Durga, which was narrated beautifully 11
8 recovered from Anotolia.
in the Markandeya Purana. According to this
text, after being completely defeated by Durga, the beautiful goddess of dawn,
Mahisasura, the gods, headed by Brahma, life and victory, riding a lion, defeats the
approached Visnu and prayed for the buffalo-demon Mahisasura. In all her exploits
destruction of the demon. Thereupon all the the lion is her mount, ferocious in look and
gods including Brahma, Visnu and Siva emitted action. The lion also symbolised in all ancient
flames of anger which solidified into the civilizations as the solar, igneous 12and luminous
effulgent form of a goddess (Durga) with three principle of life and knowledge. The lion is
eyes and ten arms, each of which bore a weapon well represented in our religious digests and
given by the mighty gods. During this time the others, adoration to him along with the goddess
Himavat offered a white lion to goddess Durga is enjoyed with reference to this point the
as her vahana. Vaikrtika Rahasya appended to the Saptasasti
states that after worshipping the Goddess, the
The golden skinned hairy lion is an devotee has to attend to the demon, whose body
archetypal symbol for the golden rayed sun, lies in the left side of the Goddess with severed
the lord of the day, whose appearance kills the head and then to the lion, the carrier of the
13
god of the night. Night, terminating the day in Goddess in her right side.
the evening, is equally well represented by the
Vamabhage grato devyas chinnasirsam mahasuram //29
bull, whose horns connect it with the cresent
Pujayen mahisam yena Praptam Sayujyam isaya /
of the moon. It seems possible that the lion and daksine paratah simham samagram dharmam isvaram//30
the bull also simultaneously personified other
As the symbol of the divine energies
antithetic cosmic forces, such as heat and cold,
embodid by the great Goddess, who is stated
fire and water, light and darkness, life and
9 to have been born out of the tejas of all the
death.
gods in order to slaughter the buffalo-demon,
The lion has always been important in the lion express the heroism and prowess
mythology, not only in India, but also in some necessary to defeat the asurik forces contrasting
other countries. In Mesopotamia, Ishtar the with the Hindu dharama. Furthermore, the lion
goddess of war, has always been associated can be even taken to represent the heroism and
23
Orissa Review * October - 2004
strength required from the sadhaka to enter the Lion, the royal beast, the mount of
dangerous path of Shakta-Tantric religious Goddess Durga, represents the best in animal
14
practices, full of pitfalls for the uninitiated. creation. It can also represent the greed for
In Indian context the lion is considered to be food and hence the greed for other objects of
an animal full of Shakti(power) with a devaic enjoyment, which invariably leads to lust.
and sattvik being of rhythmic movement. As Goddess Durga in Simhavahini form is a lesson
far as Shakta iconography is concerned, the lion for the control of animal instincts in human
almost invariably accompanies the images of beings.
Parvati, Mahisamardini and Simhavahini Durga
and is also represented in the most part of the References :
composite Saiva-Shakta images, such as 1. Chitralekha Singh and Preem Nath, Durga New
Delhi, 1999, p.1.
Ardhanarisvara and Umamahesvara, as the
2. Sir John Marshall, Mohenjodaro and the Indus
symbolic animal lion associated with the Valley Civilization, London, 1931, p.107.
feminine side of the sculpture. Of course, from 3. L.P. Singh, Tantra : Its Mystic and Scientific
an orthodox Brahmanical point of view, it was basis, Delhi, 1976, p.3.
only the lion, that acted in all ages as15 the 4. W.D. O'Flaherty, Hindu Myths, Penguin Books,
celestial vehicle of the Mahadevi. It 1975, p.238.
represents lordly power in general and lordly 5. Pradeep Ku. Gan, "Durga in Sacred Literature,"
power of wild beasts in particular. The image Orissa Review, Vol.LX, No.2 & 3, Sept.-Oct.,
of this animal, expressing a sense of rhythm, is 2003, Bhubaneswar, pp.4-6.
thought to be made up Prakriti maya-shakti. 6. F. Brighenti, Shakti Cult in Orissa, New Delhi,
Therefore, the lion partakas in the divine 2001, p.231.
essence of the great Goddess, the transforming 7. H. Zimmer, Miti esimboli dell' India, Milano,
16
energy of the universe. 1993, pp.70-1.
8. Markandeya Purana, Chapter-82, 1-17.
In the Brahmanical pantheon the lion not 9. Chitralekha Singh and Preem Nath, op.cit., p.53.
only has relation with the Goddess, but also 10. F. Brighenti, op.cit., p.234.
with Siva and Visnu. A lion sculpture placed 11. N.N. Bhattacharya, History of Shakta Religion,
on its Vahana-Stambha faces the main portal New Delhi, 1974, p.53.
of most of the Shakta Shrines. A Shakta pitha 12. F. Brighenti, op.cit., p.232.
is always guarded by a image of lion facing its 13. U.N. Dhal, Mahisasura in Art and Thought,
main entrance, just like a Nandi image in a Delhi, 1991, p.64.
Saivite Shrine and a Garuda image in a 14. A Boner and S.R. Sharma, eds., Silpa Prakasa;
Vaisnavite Shrine. The decorative sculptural Medieval Orissan Sanskrit Text on Temple
element of Orissan temples called gajasimha, Architecture, Leiden, 1966, pp.XLIX-L.
formed by an lion trampling on a crouching 15. F. Brighenti, op.cit., p.233.
elephant marked the17 victory of divine light over 16. Ibid., p.235.
asurik darkness. The Saiva tradition, as 17. Ibid., p.234.
attested in the Varaha Purana, knows a leonine
18. T.A. Gopinatha Rao, Elements of Hindu
form of Siva which the god assumed in his
Iconography, Vol.I, Madras, 1914, pp.379-81.
Virabhadra 18incarnation to kill the elephant
demon Nila. The lion's association with Visnu P.K. Gan, a Scholar of History, Culture and
appears more consistent due to his incarnation Archaeology is presently working at Fakir Mohan
as Narasimha. University, Vyasa Vihar, Balasore.
24
Orissa Review * October - 2004
Shakta Pitha Bhattarika of Badamba in the way to Panchvati paid prayer to the Goddess
district of Cuttack is one of the notable holy Bhattarika. The Mankadagadia hill on the other
place of Orissa. This sacred pitha is associated side of Mahanadi where the foot mark of Ram,
with Devi Bhattarika. The river Mahanadi the Lakshmana and Sita are worshipped is also
longest river of Orissa flows in the side of the quite significant. Another legend says that
temple of the Bhattarika. The river is deep Krishna and Satyabhama visited Bhattarika and
here. In the foot of it was revealed to
the Ratnagiri hill Arjun during his
temple of Bhattarika Agyantavasa. The
is located. River Demon Gosimha
Mahanadi, Ratnagiri k i d n a p p e d
hill, temple of Satyabhama in
Bhattarika, and disguise during that
famous places like period. Arjun fought
N a r a y a n a , bravely and killed
Nilamadhava, Gosimha demon.
Vindhyavasini, After that Krishna,
Simhanath attract Satyabhama and
thousands of Arjun prayed
Pilgrims, devotees Goddess Bhattarika;
and tourists. the presiding deity of
According to a popular legend this pitha is the Badamba royal family. The term Bhattarika
established by Parsuram and also he carved has different meaning. According to History
the image of goddess in the tip of his arrow. In and legend of Badambagada, Gajapati of Orissa
this pitha Parsurama penanced to gain mercy ordered Hattakishor and Mallakishor the two
of the deity to kill Bhattas or Kshetriyas. The brothers to establish two villages named
Goddess became pleased with him and offered Sankha and Mahuri. After that they became king
him the desired boom. So the Pitha is in that place. Tribal chief of that area opposed
associated to the epic age. According to the these two brothers when they tried to construct
Ramayan, Ram, Lakshmana and Sita on their Fort. A terrible battle was fought and finally
25
Orissa Review * October - 2004
tribal chief and his wife died in the battle. Bhattarika. Some research scholars opine that
Before death the wife of the tribal chief advised the place was linked with Buddhism. At the
king Hattakishore to worship the deity time of Bhaumakara rule the particular place
Bhattarika. Another name of the deity was associated with tantric Buddhism. The
Bhattarika is Bruhadamba. The king named his Somavamsis who were dead enemies of
state Bhuhadamba bearing the name of the Buddhism might have converted the pitha into
Goddess. But latter it is know as Badamba the Hindu fold. The tiny Buddhist image is now
Devi Bhattarika seated in Lalitasana holding placed in the central niche. The present Tara
a lotus in one hand and the other hand in image appears to be a later insertion. The
Varadamudra. She is suryopasanatatpara. It worshippers of the goddess Bhattarika are non-
is seen that the sun God is worshiped here. In Brahmin, this brings about a folk character of
the Jagamohan of the Bhattarika temple an the deity. In the daily ritual of the deity the
image of sun god is kept. Another meaning of cooked fish is offered. Devi Bhattarika is
the Devi Bhattarika is "respectable lady." Devi considered as the deity of navigation and the
Bhattarika associated with eight small images, Fisherman community. The popular myths,
five in padmasana and three in Lalitasana. legends, archaeological evidence prove that
The associated images are Prabha, Maya, Jaya, Bhattarika Pitha has been Shakta Pitha.
Sukshma, Visuddha, Suprabha and Abhaya.
According to Buddhist "Yogachara" system the
Devi is seated in the centre of Chakra
associated with eight deties. The priest
worships the goddess as Rajarajeswari, Pabitra Mohan Barik is the Lecturer in History in S.H.
Mahamaya, Tripura Sundari, Siddha Mahavidyalaya, Madanpur in the District of Khurda.
The state has potentiality for both tall and dwarf banana varieties. The dwarf varieties
are more prominent in inland districts while the tall varieties are widely grown in
coastal tracts. Patakapura variety of banana belonging to Northman group is a traditional
variety of Puri district. The fruits are more delicious and highly qualitative with poor
keeping quality. This variety fetches very high prices in the market than the other types.
This variety is very specific to the particular agroclimate. Under tall varieties, Champa
and Chini Champa, Chakrakelli are improved types. Dwarf cavendish, Robusta, Srimanta
are dwarf types grown successfully in commercial scale in the state. There are several
hill bananas grown by tribals along the hill streams. The varieties are Muguni, Bukuphata,
Podasingha, Birupakhi etc. There are several varieties of culinary types of Banana like
Bantal, Gaja Bantal, Paunsia Bantal, Mendhi Bantal etc. Banana is considered as the
most auspicious plant and the fruits are used as offering to Hindu Deities. Banana is
produced in a total area of 24,700 ha. with approximate production of 2.80 lakh M.T.
26
Orissa Review * October - 2004
In the history of religion mother worship Among these goddesses Kali is the first
occupied a prominent place. The antiquity of and most important Mahavidya. Literally Kali
mother worship in India dates back to means "Dark-complexioned One". According
Harappan civilization. The discovery of to Mahabhagavata Purana, Kali as a
several terracotta female divinities testifies this Mahavidya originated from the2
fury of Devi
Sati to terrify Lord 3Siva. According to
fact. The Aryans also gave priority to the
Saktisangama Tantra, the Mahavidyas are
worship of mother goddesses. Later on during
linked with ten Bhairavas. In this way Kali is
historical period Devi worship got wide linked with 'Mahakala Bhairava'. Kali is also
acclamation due to the patronage of liberal known as Ratri Devi or Kalaratri.
kings. They used to build several temples for
Legend has it, that after her fight with
worship of the supreme goddesses like Parvati
Mahisasura, Devi Durga became extremely
and Durga. In course of time many Sakta rituals angry and took the ferocious dark
and festivals have been created for the spread complexioned form, assumed short height and
of Saktism. Later on many religious texts based began to walk on the ground. This form of Devi
on Shakti or Devi were written during medieval came to be known as Kali. With lolling out
period. Till today Devi worship continues in tongue, she started dancing blindly. The gods
full swing during Dassehra Festival held in and people in extreme fear appealed Siva for
the month of October. help. Lord Siva realising the gravity of the
situation lay himself down on the way on
Among the several manifestations of the which the ferocious naked Kali was coming.
supreme goddesses, her ten terrifying forms are In her blind fury the Devi could not see him
popularly called Dasamahavidya. These ten and stepped on his chest. On the very moment
forms are very popular since medieval period Siva's linga became erect and entered Kali's
and also in modern age. The Dasamahavidya body. At that time Kali recognised her husband
are Kali, Tara, Sodasi, Bhubanesvari, Lord Siva and pulled out her tongue in shame.
Bhairavi, Chhinnamasta, Matangi, Kamala, This description of Kali engaged in reverse
Dhumavati and Vagalamukhi. Thus mentioned copulation with Lord Siva became very
in Chamunda Tantra. popular in texts and iconography. According
to these texts her Dhyanas have been created.
Kali Tara Mahavidya Sodasi Bhubanesvari The above mentioned description confirms the
Bhairavi Chhinamastacha Matangi Kamalatmika / iconography of Daksina Kali which is very
1
Dhumavati cha Vagala Mahavidyah Prakirtitah// popular.
27
Orissa Review * October - 2004
of the Vimana. The image is partially eroded. Another image is found at the base of the back
Here goddess Kali is seen standing in Rahapaga of the Baliharachandi temple near
Pratyalidha pose. She has dishevelled hair Puri. Here Kali holds a serpent. She holds a
and wears a garland of skull. She holds a skull and a severed head by her left hands. She
sword and an indistinct object (possibly stands in Alidha pose on the body of Lord Siva
severed human head) in her right and left hands who is Urdhvalinga. Images of Kali as Parsva-
respectively. Her image is flanked by devata are found in places like Palur in Ganjam
attendants. Perhaps this is the earliest Kali district, Bhagavati temple at Sonepur, in the
image as an Avarana devata in Orissan temple. Jagamohana of Samalai temple at Sonepur,
Another image is located in the premises of Bausani temple in Phulbani district,
Dhavalesvara Siva temple near Cuttack. Here Daksinachandi temple at Kantilo etc.
Devi is seated in Lalita pose on a lotus under Goddess Kali as a presiding deity can
which a corpse can be seen. In her principal be seen in several shrines of Orissa. In the
right hand she holds a rosary and holds a sword compound of Kosalesvara temple at
by her uplifted back hand. Her right middle Badakanjia in Puri district a two-armed image
arm as well as all the left arms are broken. of Kali is worshipped as Rudrani. She is seen
She wears a Kirita-mukuta and posseses a seated in Lalita pose on a corpse. She holds a
third eye. In later examples when Kali images sword over her head by her right17hand while
are standardised, many new things are added. her left hand holds a severed head. She wears
A four-armed Kali image can be noticed in an a garland of skull. On stylistic ground this
exterior niche of the Samalai temple at image belongs to 16th/17th c.A.D. Another
Sonepur. Here Kali is depicted in dancing pose image is located near the Lankesvari temple at
on a corpse. She holds a Kartri and a sword Junagarh, who is known as Bhubanesvari. She
by her right hands while she 15holds a Kapala posseses four hands and is seen dancing on a
by her uplifted back right hand. She has placed corpse. She holds a severed head and a sword
her left hand in the neck of a standing figure, in her lower right and uplifted hands while her
who is Urdhvalinga. She possesses other18corresponding hands hold a noose and a
dishevelled hair and wears Patra-kundala. skull. One rare image of Devi is noticed in a
small temple at Laksminarayanpur in Cuttack
As a Parsva-devata, the images of Kali district. She posseses four-arms and stands on
appeared from 10th c.A.D. onwards. For Lord Siva's body. She displays Abhayamudra
example the image of Kali as a Parsva-devata and Varadamudra by her uplifted right and
appear on the ruined Bhimesvari temple at lower hands, while she holds a sword (now
Pedagadi, dated to late 10th c.A.D. In the not in situ) and a severed head by her19uplifted
compound of Samalai temple at Sambalpur a left hand and lower hand respectively. In the
rare example of eight handed Kali can be Mangala temple at Kakatpur, Kali is seen
noticed. She is seen seated in standing in Alidha pose on the prostrate body
Vajraparyankasana on a lotus pedestal. Her of Siva. Devi's right hands show Varada and
front right and left hands hold a mace and a Abhaya murdras while her left hands displays
small pot while her other right hands are seen a sword and 20severed head. She also wears a
holding a rosary, trident and a sword. The skull garland. The prostrate body of Siva is
remaining left hands hold a skull filled with depicted with Urdvalinga pose here. The above
severed16human head, an indistinct object and a description confirms the Dhyana of Daksina
shield. She posseses dishevelled hair. Kali.
29
Orissa Review * October - 2004
Goddess Kali is also depicted in the goddess. There is a good approach road to this
Pattachitras on cloth, interior wall paintings temple which connects the major road (locally
and in ritual murals. Specially in Ganjam known as "Uansa danda") which runs from
district paintings of Kali can be seen in Lion's gate to the sea.
Osakothi festival. It is interesting to note that From a text known as Kali Archana
in a painting at Banesvaranasi, Kali stands on Chandrika, it is known that during the reign of
the bank of a river in the mountain landscape. Gajapati Kapilendra Dev, Shyamakali was
22
She holds a scimistar and severed heads in her worshipped under a Vakula tree. With the
left hands while she displays Varadamudra in gradual march of time a secondary royal palace
her right21hand. Her uplifted right hand shows a was built near that place by the Gajapati kings,
trident. She is yellow coloured. Another of which little remains now. After Kapilendra
interesting painting from the inner wall of the Dev, his son Purusottama Dev became king.
Mandapa of Raghunath Jew temple at Cuttack His Rajaguru Trilochana Dev and his wife
depicts Hanuman sacrificing Ahi Ravana, the Ratnavati were great devotees of Shyamakali.
son of Ravana born in Patala, before goddess In the year 1599 A.D. Madhusingh, the brother
Kali. Here she is depicted with her usual of Mughal General Mansingh built the temple
23
attributes. Besides these other paintings of Kali of Shyamakali. During the Muslim invasion
are noticed at Dadhivamana temple at Koilo all the royal ceremonies were observed in the
near Salepur (Cuttack district), Paschimesvara temple of Shyamakali. Till 1599 A.D., all the
temple at Talcher and in some temples at Puri. rituals were performed according to the text
Among the moving deities of Kali made Durgotsava Chandrika. But afterwards Kali
of metal, mention may be made of an image in Archana Chandrika gained importance in the
the Narayani temple at Paradipgarh. Another rituals of Shyamakali. During the first quarter
example of this type of image can be noticed of 18th c.A.D. the Rajaguru of king
in the Sambalpur University Museum. These Ramachandra Dev- II, Paramalaksmi Rajaguru
images are either the above mentioned Parsva- used to worship Shyamakali with tantric rituals.
devatas and presiding deities. In the beginning of 19th c.A.D. the famous
freedom fighter Jayi Rajaguru was also a great
Goddess Shyamakali at Puri devotee of Shyamakali. Goddess Shyamakali
Puri, the abode of Lord Jagannath, which is the tutelary deity of Gajapati kings. Till
is celebrated as a Vaisnava centre is also today, according to the royal custom, the new
famous for its Sakta temples. Both inside and king after his coronation, first visits this temple
outside the premises of famous Jagannath and worship Kali. Now-a-days little remains
temple there are several temples dedicated to of the said palace (earlier known as Puruna
Sakta divinities such as Vimala, Laksmi, Nahara/Bali Nahara) are left. But other temples
Bhubanesvari, Harachandi, Daksina Kali, like Astasambhu and Radhakrishna alongwith
Shyamakali, etc. which indicates the popularity Shyamakali temple stands testimony to the
of Saktism at Puri. There is a temple dedicated royal grandeur of the then age.
to goddess Kali at Bali Sahi. Perhaps it is the The iconography of Shyamakali confirms
earliest shrine where Kali (locally known as the Dhyana of Daksina Kali prescribed in the
Shyamakali) is the presiding deity. The area Sastras. Here Kali stands in Pratyalidha pose
where the temple is located is named as on the chest of Lord Siva and posseses four
"Shyamakali Lane" after the name of the hands. She is engaged here in reverse
30
Orissa Review * October - 2004
cohabitation with Lord Siva. She holds a sword 2. Das, H.C., Iconography of Sakta Divinities,
and displays Abhaya-mudra in her upper left Vol.I, p.13, Delhi, 1997.
and right hands respectively while her lower 3. Bhattacharya, B, (Ed), Saktisangama Tantra,
left hand is holding a severed human head and Vol.III, Oriental Institute, Baroda, 1947.
the lower right displays Varada-mudra. In this 4. Das, op.cit, p.16.
context it is noteworthy that her benevolent 5. Ibid.
aspect is attested by holding of the sword in 6. Bhattacharya, N.N., The History of Sakta
her left hand. Because the sword in right hand Religion, p.136, New Delhi, 1974.
symbolises destruction. She posseses three eyes 7. Das, op.cit, p.18.
and is surrounded by jackeles and vultures 8. Epigraphia Indica, Vol.XII, p.59.
carved on the side.
24
The height of the image is 9. Das, op.cit, p.18.
around four feet. From artistic point of view 10. Chakravarty, Chintaharana, The Tantras :
this image belongs to 15th c.A.D. Studies on their Religion and Literature, p.92,
Calcutta, 1963.
There are other two images installed on
the left side of Shyamakali. These images are 11. Das, op cit, p.19.
four-handed and known as Vimala and 12. Bhattacharya, op.cit., p.13.
Sarbamangala. Same ascribe them as Chandika. 13. Ibid.
Like the famous Vimala image of Jagannath 14. Orissa Review, p.52, Bhubaneswar, July 1996.
temple, this icon of Vimala is seen standing 15. Donaldson, T.E, Tantra and Sakta Art of
and holding a noose, a human figure and a vase. Orissa, Vol.II, p.546, New Delhi, 2002.
Likewise the seated image of Mangala holds a 16. Donaldson, op.cit, p.543.
full moon, rosary and lotus. The significant 17. Donaldson, op.cit, p.539.
aspect of this image is25that she holds a pestle 18. Ibid.
in her upper left hand. 19. Donaldson, op.cit, p.540.
Thus it is inferred from the above 20. Ibid.
discussion that Kali has occupied a prominent 21. Donaldson, op. cit, p.545.
place in Sakta pantheon. But most of her 22. Rathasharma, Sadasiva, Smarta Pradhanyara
images came into existance from 15th century Kendra Shyamakali O Balinaara, (Oriya),
onwards. Among the different forms of the p.16 in the Souvenir Saktapramoda, Puri.
Devi, the Daksina Kali aspect is the most 23. Rathsharma, op. cit, p.19.
popular both in texts and iconography. Most of 24. Das, H.C., Sakta Pithas : A Study , p.117,
the Kali images including Shyamakali image Bhubaneswar, 1999.
at Puri confirms the Dhyana of Daksina Kali. 25. Bahinipati, Harihara, Maa Shyamakali (Oriya)
Being the tutelary deity of the Gajapati kings in Odisara Devadevi , Second Edition, Vol.I,
of Puri, Shyamakali ranked one among the p.168, Cuttack, 1983.
famous goddesses of Puri. From iconographic
point of view, her image is the only of its kind
in entire Orissa.
References :
1. Quoted by Puspendra Kumar, Sakti Cult in Santosh Kumar Rath lives at "Smruti Sadan", Shyamakali
Ancient India, p.155, Varanasi, 1974. Lane, Bali Sahi, Puri-1.
31
Orissa Review * October - 2004
Pradeep Mohanty
J.P. Singh Deo
Striking images of a certain goddess having On the human level, the image of Lajja
variously referred to as 'the shy woman', 'the Gauri acts as a temporal reference point, that
shameless woman', 'the nude squatting is, the female giving birth, an auspicious
goddess', 'the mother goddess' or because her occurrence: she is the embodiment of the idea
historical name remains unknown, by numerous of fertility. On the divine level, Lajja Gauri is
names, among them Sakambari, Prithvi, Aditi, the embodiment of the idea of fertility, of
Lajja Gauri, Renuka, Kottavi, Nagva generation, of life- force. On the cosmic level,
Kabamdha etc. Usually one finds them lying in the image suggests universal laws and
birth position, the spread-out legs drawn up processes of generation of life.
laterally and bent at the knees, the soles of the
feet turned upward, the arms bent upwards and Lajja Gauri is almost always made to
the hands, each holding a lotus bud.. touch upon lie on her back, supine. The toes of the
the petals of the large and open lotus blossom recumbent figure tensely splayed as if she is in
that crowns the image, as its neck and head. the act of giving birth, yet there is no indication
of pregnancy. Some say that the goddess is
India presents the unusual phenomenon simply indecent, shameless, and the pose
of a traditional society that has produced indicated sexual receptiveness although
religious art continuously from at least the third certainly, the pose is sexually suggestive.
millenium B.C. to the present, within supposed Nevertheless, it should be noted that, although
canonical prescriptions, but actually with a some do give birth miraculously, Indian
great range of variation of forms. There are a goddesses are never pregnant in imagery or
great variety of mythological hybrids that are myth. The pose of Lajja Gauri is ambiguous,
fixed features of the vocabulary of Indian art. but probably intentionally so since the pose of
Among them are found primordial and powerful sexual receptivity and the pose of giving birth
symbols whose origins within the culture are the same. The human form and the
cannot be traced, yet whose omniscience intercourse/ birth pose are used as a metaphor
within the art and culture indicate their for creation. In turn human parturition is used
usefulness within it. Lajja Gauri, in artistic and in this image as a metaphor for divine creation.
conceptual ancestry, descends from a group of We have seen women who do not get children
ancient popular symbols, among others, the for along time worship Lajja Gauri. Butter and
lotus and the purna kumbha, or brimming pot.
red lead are applied on the vagina and breasts
Conceptually Lajja Gauri has antecedents,
and they pray for children.
which may be, and in fact have been, traced
back to the Indus or the Chalcolithic culture of Figures of the goddess Lajja Gauri range
India. in size from two inches to over life-size and
32
Orissa Review * October - 2004
are made either through time and region from chalcolithic people who are believed to have
the minimal and nearly aniconic to the fully been the early inhabitants of India. Another
human. Truly these figures appear at the example comes from the Bastar region of
beginning of Christian era. In most of the Lajja Madhya Pradesh. Here outstretched leg posture
Gauris, the vagina is prominently depicted as of a female is found carved in Gotul or youth
if the figure is about to give birth. In many cases dormitory of Muria tribe. The outstretched leg
these female figures are shown without the posture of semi squatting position of the motif,
head. We do not know the exact reason behind thus conveys the sense of kama (sexuality). At
this widespread motif. One of the suggestions the same time, sexuality corrletes with fertility
is that, because of her nudity, the goddess felt ritual or vice versa. Belief in the relation of
ashamed, and hence the face was not shown. sex and vegetative-fertility is fathomed by many
Whatever it may be this picture became very tribal communities of Eastern India.
popular, because probably it satisfied the We have a Harappan seal, in which a
human aspiration for children. Hence it is not woman is shown with her legs stretched wide
only represented and worshipped today in apart and a plant issuing from her vagina. This
many parts of India but it is found depicted in indeed is a symbol of fertility. For centuries
churches and monuments as far as South East this continued to hold the Indian mind, as
Asia. examples from historical period testify.
We have got two Lajja Gauri plaques The village goddess of fertility,
measuring 10 to 12 cm, carve don limestone embodies, very often the composite features
from the Nuapada district of Orissa. On of sex and fertility. As such, numerous female
stylistic ground, it may be assigned to the 8th deities of fertility-nature either in
century A.D. It is carved on squatting position anthropomorphic shape or in aniconic features
without stretched legs, the common posture of are commonly found in peasant India. The fact
female during child-birth. Pendant breast, navel reveals thus the highest regard accorded to the
and vulva etc. are conspicuous features of its woman folk, who coalsed in her person
blooming youth and also a pointer to the fertility sexuality and fertility, like copulation,
cult. The most outstanding features of the deities conception and birth. The idea traversed to the
are that they are headless. Instead of the head, Art Tradition of India where erotic art found
lotus leaves with stem are delineated on the fused with fertility. The artist who carved Lajja
neck, as if it is efflowering from it. Some lotus Gauri images were aware of the more simply
leaves along with elongated stems are also erotic images, but they distinguished her image
discerned on the right side of the shoulder, as through incorporation of rich symbolism.
if they emerge from the neck and bend to the
right. Thus, the upper part of the figurine Meanwhile, the image of Lajja Gauri still
adorned with vegetation, unfolds a vegetative remains enigmatic. It is obvious that there still
and fecundity aspects of its nature. remain quite a few questions regarding the
identification, status, affiliation and
Interestingly similar representation is disappearance of the intriguing Lajja Gauri to
also found among the Bhiyans, a hunting be answered.
gathering and shifting cultivator community of
Orissa. Indeed, we do not know whether the
tribals are the imitators, or have continued the Pradeep Mohanty is a Research Fellow in Deccan
tradition of their distant forefathers, the College, Pune and J.P. Singh Deo lives at Khariar.
33
Orissa Review * October - 2004
34
Orissa Review * October - 2004
35
Orissa Review * October - 2004
spear, a drinking vessel and a kamandalu etc. known as Devi Sukta or Vak Sukta, expressed
She embodies the rajas attribute of Sri Candi. through a woman-seer named Vak, daughter of
she confers on her devotee great erudition (esa Maharsi Ambhruna. This Devi Sukta is the
sampujita bhaktya sarvajnatvam gateway to the Candi text.
prayachhati) It has also been prescribed that a
Maha Saraswati is eight-armed. She dedicated devout should, before the
embodies the sattvik aspect of Sri Candi. She commencement of reading of Candi, read
holds in her hands an arrow, a club, a pestle, Argala Stotra, Kilaka Stava and Devi Kavaca
conch, disc, gong, a plough and an arch etc. in a sequential order. Argala is a door-closing
She confers wisdom on her devotee. device. One should unhook it for smooth
Efficaciousness of Candi Reading passage. It contains 27 couplets. Soon after
reading out the Argala one should concentrate
Matsya Purana prescribes repetitioin of on the Kilak Stava. The Kilaka is another
three times of Candi recitation (triravrtta) for device for obstruction. It is a curse levied by
cure from physical ailments, for relief from Mahadeva on the Candi text so that no layman
malefic planets five times (pancavrtta); from can have access to Candi for selfish purposes.
impending disaster seven times; for ensuring The Kilaka Stava contains 16 couplets. The
peace nine times; for winning royal favours Devi Kavaca then follows it. Kavaca means a
eleven times; for overpowering foes twelve shield. By reading this a devotee shields both
times; for release from prison twentyfive times; his mind and body for an unimpeded journey
for cure from cancer thirty times; for relief from in life. So many divinities including nine forms
great dishonour a hundred times; to mitigate of Durga, seven Matrkas, ten Dikpala-s etc are
loss of wealth and for steady prosperity one invoked in this stava to make the devotee
thousand times etc. invincible and inviolable and worthy of
An aspirant devotee enjoys all prosperity studying the Candi text. Japet saptasati candim
and disease-free life if he involves himself in krtva kavacamaditah / Nirvighnena bhavet
the reading of Candi. One who does not aspire siddhiscandijapa - samudbhava. This kavaca
for material prosperity can also gain authored by Hariharabrahma contains sixty
scholarship. Maharaja Suratha in the days of couplets. After reading out all these and
yore got unmixed prosperity whereas the complying with all instructions therein, one
merchant (Vais'ya) Samadhi was endowed should commence on reading the Candi text
with divine knowledge. If Sri Candi is pleased, with profound concentration.
she confers on her astute devotees both earthly Reference :
prosperity and erudition (Sa yacita ca
1. Chakravartty Rasmohan, Sri Candi, published
vijnanam tusta rddhim prayachhati). by M. Bhattacharya & Co., Calcutta, 1360
Obligatory Prelude to Candi Patha (Bengali Year).
36
Orissa Review * October - 2004
The Supreme deity of the Tantra is known as Kautilya mentioned "Devi" in his Arthasastra
the Sakti, inseparable from Siva. It is the Sakti as a spirit of vegetation in connection with the
in the Tantra which is said to have brought the sowing of seeds. From the Earth Goddess she
Universe into existence, and that preserves it was later conceived as the war Goddess for
from the disruptive forces. She governs the the protection of her devotees. The cult of Sakti
Universe and overwhelms us with wonder and worship is thus wide and varied both in space
awe. In other words it can be said that Sakti and time. Her most common feature is that she
denotes divine energy, glorifying the Mother has beautiful yellow complexion and her arms
aspect of God. This Universe, is begotten of holds weapons to kill Mahisasura.
her free will, who is the beginning of all. She In the earliest epigraphical evidence
is Kali, Tara, Bhubanesvari, Bagala, Bhairavi, regarding Sakti worship in Orissa, we find
Chinnamasta, Matangi and Kamala. She mention in the Teresingha Plate of Maharaja
appears at times to destroy the Asuras and Tushtikara, who worshipped the goddess Sakti
assumes four hands and occasionally two, six, in the name of Stambhesvari. He ruled as an
eight, ten or even thousand hands. She resides independent king over the Kalahandi region
in the cremation ground, where all the worldly during 5th - 6th century A.D and worshipped
objects are being reduced to ashes. Maha Sakti Goddess Stambhesvari (Stambhesvari Pada
is Maha Yogini connecting the links of creation, Bhakta). It is also revealed from the copper
preservation and destruction of the Universe. plate grants of Sulki family, who ruled as
She creates the Universe, preserve it and subordinate rulers under the Bhaumakaras in
destroy it with all its animate and inanimate 9th -10th century A.D that they were the great
objects. She is worshipped as Adya, being the devotees of goddess Stambhesvari. She was
beginning of all. She is the origin of all and, worshipped as a 'Kula-devata' or tutelary deity
She is said to be the great creator and the of the Sulki dynasty. It is written in the plates
commander of all. of Ranastambha 'Asya Kuladevata-Bhagavati-
In the form of the Mother Goddess she Stambhesvari-Bhattarikam-Sakshini-Krutva'.
was the popular deity in the ancient period. A The Hindol Plate of Kulastambha also refers
terracotta figurine from Harappa represent a to the grant having been made the 'Kuladevata
nude female with a plant issuing out of her -Stambhesvari- Bhattarika'. Futher it is written
womb. She represents mother Sakambhari. 'Asmad Kula-Devata Stambhesvari-
37
Orissa Review * October - 2004
38
Orissa Review * October - 2004
In the year 1915, Gandhiji returned from South break the audacity of the British authorities:
Africa to India with his successful experiments the Rowlatt Act was not revoked; there was
on 'Satyagraha'. He also made further no sign of making any
experiments on Satyagraha at Champaran amends for the
(1917), in the Ahmedabad Mill Strike (1918) atrocities in the
and against the Rowlatt Act (1919). His Punjab, or granting
Satyagraha is based upon a cardinal principle Swaraj to the
of truth and non-violence. He advocates in his nationalists. The
Young India, "Non-violence is the law of our Khilafat Non-
species as violence is the law of the brute."1 Cooperation
His pragmatism made him to realise that it was Movement was not a
too difficult to raise a war against a mighty successful one.
power like English. But to energise the spirit
among the people of India, he enthusiastically In the special
encouraged to carry out a peaceful resistance session held in
against the British rule in India. His political September 1920 at
messages emboldened with philosophies Calcutta, Gandhi
electrified the nationalist sentiments of the suggested to carry out
people irrespective of caste, creed and a non-cooperation
religion. movement against the
Government so long
The Jallianwall Bagh Massacre of 13th
the latter would not
April, 1919 at Amritsar gave rise to Khilafat
redress the follies
Movement and it paved the way for Hindu-
committed by her and
Muslim unity in Lucknow Session of All India
Congress Committee (AICC) meet. The also would promise to
combined efforts of Hindus and Muslims in satisfy the nationalist urge for self-government.
the form of granting liberty to Swami All the Congress leaders present there extended
Sraddhanand to preach from the pulpit of Jama their enthusiastic support to Gandhiji. Once
Masjid and permitting Dr. Kitchlu to hold the again, it was endorsed in the Annual Meet of
key of Golden Temple at Amritsar could not AICC held in Nagpur in the month of December
39
Orissa Review * October - 2004
1920. Gandhiji instructed the Non- Cooperation special meeting "on the same day. Another
programme to be launched in a peaceful manner notable event that deserves to be illustrated
with boycotting government educational here is that Gandhiji raised his voice of protest
institutions, organisations, offices, law courts, against the use of foreign clothes in the temple
and legislatures, etc. Side by side, this of Lord Jagannath and also made it a general
programme was to be constructively oriented, issue in the public meeting at Puri. As a result,
i.e. to popularise the cult of Charkha and Khadi. the people of Puri put a pressure on the temple
This was, of course, a dynamic move and had authorities to stop the use of such practices.
brought dynamic changes in the attitudes and Gopabandhu in his editorial in "The Samaja"
activities of the Congress leaders. on 18 June 1921, strongly advocated the old
practice of the temple rituals in which no
Gandhiji's charismatic appeal mobilised
foreign element of any sort was used.3 As a
the people struggling for Swaraj in India. An result of this bold pressure, the chief priest of
urge was felt that Gandhi should make visits
the temple made an appeal to the people of the
to different provinces in order to baptize the country not to offer any kind of foreign clothes
people with his political mission imbued with to the deities as they were pledged to use only
socio-economic development programmes. Swadeshi articles for worship.4
This would, of course, lead to gather momentum
and to provide impetus among the people. During his second visit to Orissa on 5th
Orissa was also infested with same impulses. December 1927, Gandhiji spent 8th December
It was Gopabandhu Das of village Suando of at Banpur and from there he went to Bolagarh
Puri district who, like Bhagiratha, persuaded on 9th where he spent three days consecutively.
Gandhiji to visit Orissa. And accordingly, On 11th, while he was busy in talking with
Gandhiji paid his first visit to Orissa on 23rd Dinabandhu Andrews, he saw a bent old man
March 1921. He reached at Cuttack on the same holding a piece of straw in his mouth came to
day and delivered his speech in different him. The man prostrated himself before
meetings. Then he went to Bhadrak from where Gandhiji. He learnt from the o1d man that as
he returned back to Satyabadi School on 27th he was an untouchable; he did this only to show
to see its functioning. One thing appealed him proper respect to Gandhiji. Furthermore, the
old man told that the people of his caste were
here was that he noticed the spark of
used to country liquor and also ate the flesh of
nationalism among the poor sections of the
dead animals. Gandhiji was really shocked at
society who, ignoring their utter poverty,
this information. The man again .expressed his
contributed paisa, pie and its fragmental units.2
sad plight that it was not possible on his part
On the same day, Gandhiji with his to follow Gandhiji's advice because of the fear
followers like Kasturba, Rajendra Prasad, etc. of being made outcast by his fellow-men. This
proceeded to Puri where he received a hearty time Gandhiji did not insist on him to contribute
welcome from a large crowd from which a something for the national cause. But he
pretty number hailed from the remote areas. pressurised the old man to practise three
He addressed a large crowd-nearly 50,000 in principles. They were: (i) he should not
number-in front of Simhadvara of the Great prostrate before anybody else; (ii) he should
Temple. He also addressed the women in a not be addicted to any kind of alcoholic drinks;
40
Orissa Review * October - 2004
and (iii) he should not eat the flesh of the dead We should accept that Gandhian touch
animals. Out of grief and remorse, Gandhiji revolutionised the people's mind in Orissa as
wrote: "I have never seen in any place such a result of which they rose from their slumber
kind of dead-peace."5 and exhibited their potency in the freedom
struggle for India.
Gandhiji started his historic Padayatra
from Puri on 9th May 1934. He attended the References :
'Gandhi Seba Sangha' Conference at Beraboi 1. Cf. Bipan Chandra, Modern India, NCERT, New
in Puri district in the year 1938 along with his Delhi, 1971, p.265.
wife Kasturba, Maulana Azad, Rajendra 2. "Puri Jilla Swadhinata Samgramara Itihasa" (Or),
Prasad, Sardar Patel and others, but not Harihara Bahinipati, published in Orissare
Jawaharlal Nehru. In his address at Beraboi Swadhinata Samgrama (Or), Utkal Pustak
Samsad, Benod Biehari, Cuttack, 1998, p.138.
Conference, Gandhiji highlighted the Hindu-
Muslim conflict and also suggested for the 3. K.M. Patra and Bandita Devil An Advanced
History of Orissa, Kalyani Publishers, New
necessity of organisation of a peace-force Delhi-Calcutta-Cuttack, 1996, p.227.
(Santisena). He also clarified the aims and
4. The Samaja, 22nd June 1921.
objectives of peace- force. Of course, the
peace-force started its initiative programme 5. "Puri Jilla Swadhinata Samgramara Itihasa,"
from Puri.6 op.cit., p.139.
6. Ramadevi Choudhury, Jivan Pathe, Grantha
There is no need to evaluate the historic Mandira, Binod Behari, Cuttack, 1984, p.120.
importance of Gandhiji's Puri visits or other
visits to different parts of Orissa. He preached
the doctrine of self-sacrifice, self- reliance and Dr. Binodini Das is working in the P.G. Department of
self-sustenance among the people of Orissa. History, Ravenshaw (Autonomous) College, Cuttack.
41
Orissa Review * October - 2004
Intensification of agriculture through massive toxic residues of pesticides have been revealed
adoption of high yielding cultivation, increased in the food stuff not only of plant but also of
use of synthetic inputs like chemical fertilizers animal origin like milk and milk products, fish,
and pesticides, greater exploitation of irrigation meat and egg etc. at concentrations much higher
potentiality of surface and ground water than the permissible level of human body.
resources and farm mechanization have largely Therefore the apparent contradiction of our
been responsible for a spectacular achievement necessity for nutritional security on one hand
in the food grain production that we have and environmental sustainability on the other
achieved over past three decades. makes it inevitable to resort to the organic or
Paradoxically however overexploitation of eco-farming system as it appears to be a
natural and renewable resources and possible option to meet both these objectives.
indiscriminate and irrational use of synthetic The later implies a farming system that
inputs like inorganic fertilizers and pesticides primarily aims at cultivating land and raising
in view of producing more and more from unit crops under ecologically favourable condition.
piece of land are being increasingly realized It emphasizes restricting the use of chemical
to seriously impair the ecological balance and inputs whether it is inorganic fertilizers or
putting the environment in jeopardy. High pesticides and instead, relies more on an
yielding cultivation is more fertilizer integrated approach of crop management
responsive which often led to aggravation of practices making use of cultural, biological and
pest problem as the plants become succulent natural inputs. Addition of organic manures
enough to be fed upon by a variety of crop pests. such as FYM, recycling of organic wastes
This in turn necessitates increasingly huge through composting, green manures and
amount of pesticides to combat pest problem. biological inputs like vermicomposts and
Increased use of pesticides has emerged as a biofertilizers etc. constitute important
potential source of danger to sustainability of components for plant nutrient management in
environment that endangers the existence of all organic farming. similarly it also takes utmost
forms of life on this planet. Perils and pitfalls advantage of the natural mechanism for pest
of pesticides have been well evidenced due to management with utilization of bioagents such
their residual toxicity in our food chain. From as predators and parasites available in nature
a number of trials conducted across the country, in plenty and the botanical pesticides which
42
Orissa Review * October - 2004
are effective in controlling crop pests posing matter and 42-95 kg. of N/ha. Similarly,
no risk to the environment. Agronomic practices Khesari, cowpea and berseem grown during
such as crop rotation with judicious selection rabi season can contribute 12-29 tons of green
of crops, inter cropping and companion matter and 67-68 kg of N/ha.
cropping, stubble mulching and use of resistant Vermicomposting
varieties are among the important factors
contributing to organic farming. Vermicomposting is an effective means
of composting the decomposable organic
Organic Manures in Organic Farming wastes using earthworms naturally present in
Organic manure in a broad sense the soil. Vermicomposting is a mixture of worm
includes composts from rural and urban wastes, casts enriched with macro and micronutrients
crop residues, agro industrial bio wastes and (N, P, K, Mn., Fe, Mo, B, Cu and Zn.), some
green manures, apart from the commonly used growth regulating substances such as
FYM. Organic manure improves soil physical gibberellins and auxins) and useful micro flora
condition including soil porosity and water (Azospirillum, Actinomyces and
holding capacity and microbial environment, Phosphobacillus) etc. The nutrient level of
replenishes essential micronutrients in soil, vermicompost (1-1.5%N, 0.6-0.8% P and 1.2-
increases the utilisation efficiency of applied 1.5 K) is higher than any other compost. From
fertilizers and favours micronutrient the available information it is well documented
availability to the plant. Organic manure is of that earthworms can consume all types of
paramount importance not only in augmenting organic matter and convert them into available
the crop production but also for making the form of nutrients. Vermicompost improves the
agriculture sustainable as an ecofriendly means physical and biological condition of soil,
of soil health management. It is well established improves soil fertility and pulverizes it through
that FYM plays an additional role than its their churning and turning action in addition to
capacity to contibute NPK. Unlike chemical contributing plant nutrients, improves aeration
fertilizers that supply only the major nutrients, and water holding capacity. It is reported that
FYM is a store house of several plant nutrients soils with casts contain 5 times nitrogen, 7 times
and acts as a good soil conditioner. phosphorus, 11 times potash, 2 times
magnesium and 7-8 times actinomyces more
Green manuring has recently been under than in soils without earth worm casts. It being
practice by our farmers for decades. Estimates a natural means of soil fertility management
suggest that a 40-50 days old green manure crop fits well into integrated plant nutrient
can supply up to 80-100 kg. N/ha. Even if half management strategy for sustainable
of this N is crop utilizable, a green manure agriculture.
crop can be a substitute to 50-60 kg. fertilizer
Exploitation of Biological Nitrogen Fixation
N/ha. Some of the potential green manuring
legumes are dhanicha, sunhemp, cowpea, mung, Atmosphere containing as much as 78%
bean, guar and berseem etc. Dhanicha, nitrogen can be a potential source of this
sunhemp, mung bean and guar grown during essential nutrient to soil utilizing the nature's
kharif season as green manure crops have been own mechanism of biological nitrogen fixation.
reported to contribute 8-21 tones of green It not only offers an economic and ecofriendly
43
Orissa Review * October - 2004
source of nutrient supply, moreover evidences gives as good as or even better yield than the
show that nitrogen so derived is less prone to conventional tillage practices. It aims at
loss than fertilizer nitrogen and as a long term reducing tillage to the minimum, necessary for
effect it builds up a reserve of readily ensuring a good seed bed, rapid germination,
mineralizable organic nitrogen. Thus it plays satisfactory crop stand and favourable growing
an important role in sustainable agriculture, conditions.
reduces the requirement of externally applied Selection of Crops for Crop Rotation, Inter
nitrogen fertilizer and favourably influences the Cropping and Companion Cropping
soil microenvironment. BNF is a natural system
of biological mobilization of atmospheric Crop rotation has an important role to
nitrogen which can be easily available to and play in organic farming. Judicious selection of
utilized by plants mediated by microorganisms crops in crop rotation helps in efficient
like some eubacteria, cynobacteria, utilization of plant nutrient from different depths
actinomyces and a few archaebacteria which of soil. The practice of inter cropping also
are commonly called diazotrophs. They have helps in minimizing the risk of crop failure due
the ability to convert atmospheric elemental to uncertain rainfall and infestation of pest and
nitrogen (N2) to ammonia (NH3) with the help diseases. Available information reveals that in
of nitrogenase enzyme system. The efficacy of case of inter cropping of sorphum and red gram
true bacteria like Rhizobium, Azotobacter, at 2:1 row ratio it resulted in 70% higher yield
Azospirillum and cynobacteria like Anabaena, over the individual cropping of both the crops.
Aulosira, Nostoc, Plectonema and Tolypothrix Besides it also reduced the wilt diseases of
etc. have already been well established under red gram. Another advantage was that nitrogen
field conditions and such microbial inoculants fixed by the red gram could be utilized by the
sorghum crop. Another trial of companion
have gained wide acceptance due to their high
cropping comprising of three rows of gram
nitrogen fixing potentiality.
followed by one row of linseed revealed that
Cultural Recommendations incidence of pod borer in gram as well as fly
Minimum Tillage in linseed was remarkably reduced and yield
also increased by about 14% in this inter
The conventional tillage operation has
cropping over the sole cropping of both the
disastrous effect on soil erosion causing
crops.
greater loss of nutrients. This has led to
necessity of stubble mulching. In the stubble Integrated Pest management
mulching the soil is protected by the crop The multifarious harmful consequences
residues left on the soil surface during fallow of indiscriminate use of pesticides have
periods. This has now become well cropped up as a serious threat to the ecosystem.
established that in stead of frequent tillage In view of the fact that increased use of
operations minimum tillage is more useful not pesticides has been drastically endangering the
only because it offers cost effectiveness but environmental sustainability, integrated
also contributes to conservation of soil and approach to pest management needs adequate
moisture. Available information reveals that it importance to make the agriculture ecofriendly.
44
Orissa Review * October - 2004
Shri Naveen Patnaik, Hon'ble Chief Minister laying foundation stone of Jayadev Road
under Special PMGSY at Balianta on 11.10.2004.
45
Orissa Review * October - 2004
Many women in Indian society have been one achieves success and some times faces
victims of humiliation, torture and exploitation failure. In case of failure frustration arises. So
for as long as we have written records of social the persons that are not able to tolerate and
organisation and family life, although she is successfully face frustrations in their life
the center point of the family. Her role in the develop various mental problems.
family and society is versatile. The health of
Mind is the master of the body. When
woman is the concern of the family and
the mental condition is good a woman may take
community and is very useful for the healthy
various responsibilities of a family and herself.
life of a community." A sound mind lives in
She may understand the complications, try to
and gives a sound body." This saying clearly
solve them, plan for future and may adjust
brings to light the importance of the body.
happily with others. So she may become
Without proper health there cannot be a proper
mentally strong.
frame of mind. Herbert Spencer has rightly
observed - "To be a good animal is the first The percentage of uneducated women in
requisite to success in life and to be a nation rural and tribal area is high till today. To
of good animals is the first condition to national manage all the tasks of the family they may face
property." The distinguishing feature between some hurdles. If this situation will continue for
a man and animal is intelligence and a longer period the woman is unable to
rationality. Rationality, a product of mind, maintain her daily work. The time she thinks
therefore cannot function properly unless we that she cannot take so be understood that she
have a healthy mind. has some mental problem. There is a say "if
The objective of our life is to establish the forest will be burnt every body will know
adjustment with the changes that continuously but if the mind is burnt no body knows."
go on in the environment. In order to achieve Therefore mental health is completely different
this objective, it is necessary to have an from physical health and mental health
integrated and balanced mentality. Every problems are more important than physical
individual tries to solve the complications that health problems. This is the high time to take it
come in her/his own physical way. Some times into account and provide proper treatment.
46
Orissa Review * October - 2004
Common Causes of Mental Health conditions such as hard work, being scolded
Problems : by others without any fault and so on. Even
Self Esteem during pleasure situations like getting a job or
a childbirth, there is mental pressure as these
It is an attitude of respecting self and events bring changes in her life. Sometimes she
others. Self-esteem, worth and identity are ignores her illness and works hard. She
closely related to feeling of adequacy and believes in sacrificing herself while taking care
social approval is the need to feel good about of others. This causes a great problem.
self and worthy of respect of others. The
woman who feels that she has some In our society a barren woman has no
contribution towards her family and neighbour, importance. A mother of so many daughters not
she feels having self-esteem has its early of a son also suffers from mental pressure.
foundation in childhood. This development Death and Loss of Property
depends upon the behaviour of the important
In the death of near or dear ones, or in
persons related to her, such as, father, mother,
loss of service, home or valuable property
brother, sister, neighbour, teacher, mentor and
woman becomes very sad. If unfortunately she
preacher. If these persons give her importance,
becomes ill or handicapped, then she will be
admire and encourage while performing
depressed. Crying is a natural reaction, which
difficult tasks, she feels herself more valuable.
provides mental relaxation to some extent in
In some situation girls get less the above situations. But in many families it
opportunity to develop their self-esteem. For may not be possible to cry at least. This also
example : in a family boys are provided leads to mental problems.
facilities to read and attend school regularly,
Changes in Life and Society
to take a lion share of qualitative food. The
girls feel inferior in all such circumstances. Migration due to war calamities, forced
Gradually these experiences become so intense displacements and poverty may be responsible
that even after marriage they do not expect good because they change the life and society, which
food or clothing, good behaviour from in-laws, has great impact on individual and family.
care during illness and the necessity of Mental Shock
developing knowledge and skill.
Violence in family, rape, torture, cruelty,
Self-esteem is a part of mental health. A natural and manmade calamities give maximum
woman having good mental health realize that shock to the woman. So she becomes afraid,
she can face problems in her day-to-day life. feels insecured and helpless and does not
To develop self-esteem she should recognize believe the surrounding. In such cases it will
her value within herself about which she may take time to cure the person.
not be aware. This will influence her attitude
towards her health. Physical Problem
Mental Pressure in Daily Life Some mental health problems are also the result
of some physical problems. Those are -
Mental pressure is a vital cause of mental
health problems which arise due to various - hormonal changes in the body
47
Orissa Review * October - 2004
48
Orissa Review * October - 2004
49
Orissa Review * October - 2004
like spending a little time alone, shopping, judgement (2) Tolerance (3) Power of
gardening, cooking with friends, singing a song determination.
or playing a musical instrument which may help Moral benefits bring about social efficiency -
us to maintain mental balance.
- Discipline
Generally, we see that when we have
worked for sometime we get tired. The - Self-control and self-confidence
tiredness is nothing but fatigue. It may be - Team spirit
physiological or psychological. Fatigue is a
- Co-operation
sum total of all those factors that are
responsible for diminishing the working - Mutual helpfulness
capacity. Rest provides mental relaxation. Due - Courage and
to this mental relaxation the body and mind
become fresh and becomes possible for a - Skill.
woman to take up work again. Exercise like walking, jogging, playing
ii) To remove the negative experiences from etc. make one generally happier, calmer and
mind : more clear headed. Relaxation can improve the
ability to think clearly. Examples - Breathing,
It is difficult "to make up one's mind" Meditation, Prayer, Yoga etc. A more exacting
especially when each alternative offers values form of Yoga, under the direction of a trained
that the others do not and the choice is an practitioner, helps to develop a spiritual sense
important one. When we cannot open our heart of inner strength and control. The mental skills
to others, write it as poem, story or draw as are thinking analysing and perceiving the
picture. For this purpose it is not necessary to situation. We can take it as a challenge and an
be a good artist. Simply we can express our opportunity to show our skill. Develop our
feelings. It will give good result. emotional skill. Handle the negative emotions.
iii) To create and be amidst pleasing Learn the advantages of emotional balance by
atmosphere : diverting them into constructive work.
Our home may be small one, but we can v) To keep good relationship :
do things as we wish, like Decorate our home Two or more persons determine to know
with alpana or flowers. Learn to make various and understand each other - between friends,
decorative articles. Listen to music, enjoy relatives where they are working together. In
natural scenes, spend time in our kitchen this situation both sides, agree to listen to each
garden or flower garden. other. They express their common problems
iv) To practice some traditional habits : during this time.
Tradition, custom, culture and belief help vi) To make friendship :
us to be mentally strong. We should acquire When two persons understand each other
and practise some habits which may be helpful. gradually there will be a good friendship. It
Physical Exercise gives corrective, will take sometime to have faith upon each
mental and moral benefits -(1) Power of other. Then only one can express her mental
50
Orissa Review * October - 2004
problem to the other. It can be done in a group What is then lacking ? Womens' active
also. They will listen to each other, may find participation and their own realization that
solution, help somebody and realise the benefit Health (Physical or Mental) is their own
of making friendship. The experiences may not property, not of the Government of the country.
be equal therefore are should- Besides there are other components in
community living, which should be
- Try to listen sincerely to others
simultaneously handled.
- Try to understand others' feeling
Control of our emotions are under our
- Don't pretend while listening, rather try own control if we accept facts we should
to recollect our experience which may remember that happiness doesnot depend upon
be same to some extent. who we are or what we have. It depends upon
- Think only one thing -"how to help her". solely what we think.
- Don't disclose one's confidential matter Reference
to others. But if it is necessary to save 1. Abnormal Psychology and Modern Life, by
her life you may disclose it with her James C.Coleman.
consent. 2. Child Development, by Elizabeth B.Hurlock.
Conclusion 3. Health Education and Hygiene, by B.C.Rai.
The health of India means the health of 4. Indian Journal of Public Health, Vol.28/1984.
rural people who are about 80% of the
population. Health is primarily a personal
responsibility just as religion. It is well known
that how difficult to make the horse drink though
it may be taken to the water front. The living
example is the failure of the latrine programme Dr. Alhadini Dhir is the Lecturer (SS) in Home Science,
and of keeping up the environment clean. K.K.S.Women's College in the District of Balasore.
51
Orissa Review * October - 2004
Krishi Vigyan Kendra ( K.V.K. ) ia a noble Later on K.V.Ks were established for easy and
concept develoed by Indian Council of active participation of farmers through Front
Agricultural Research (ICAR) which was rest Line Demonstration and on Farm Testing.
upon a solid base of transfer of tehnology from As per the mandate of Indian Council of
laboratory to farmer's field with respect to Agricultural Research, K.V.K. will operate
Agriculture, Horticulture, Animal Husbandary, under the administrative control of State
Flouriculture. Bee keeping, Mushroom Agricultural University (SAU) or Central
Cultivation, Broiler Farming and allied Institute situated in a particular area. Different
subjects. As per the recommendations of scientists from different disciplines as per the
Mohan Singh Meheta Committee during 1974, specific requirement of that particular area are
K.V.K.s were established in difereent states. posted in the Krishi Vigyan Kendra as Training
Gradually working guidelines are prepared to Associate. Generally there are six categories
make the K.V.K. as the light house for the rural of scientists posted in the K.V.K. i.e.
people. (i) Training Associate (Crop Production) to
look after the experiment on field crops as well
Indian Council of Agricultural Research
as provide training and advice on different field
emphasized on the research on agriculture and
crops. (ii) Training Association (Horticulture)
allied subject during 1960's to generate new looks after the training and demonstration on
technology for increasing crop production in horticultural crops such as vegetables, fruits
different agroclimatic zones of the country. A and flowers.(iii) Training Associate (Plant
lot of technologies were generated through Protection) Provides training and
constant effort of the scientists to boost up the demonstration on control of different pests and
production. But the technologies so generated diseases in different crops. He also imparts
in the research field are not transferred through training and advice on diferent types of
extension agencies of different state pesticides and insecticides, their methods and
Government. It is observed that a lot of time of application. (iv) Training Association
technologies could not reach the farmer due to (Animal Science) lookes after over all growth
high cost of adoption, lack of the interest of and management of animal resource of that
the extension agencies. Hence the transfer of particular area. He also imparts training and
the technology was not complete and effective. advices on broiler farming,dog rearing as well
52
Orissa Review * October - 2004
as rabbit rearing etc. (v) Training Associate maps were prepared for future use. After the
(Agricultural Engineering) looks after the use survey work detailed plan of work was
of different agricultural implements in the field chalked out and depending upon the
for different agricultural operations through requirement different activities were
training, demonstrations and on farm testing. undertaken in different areas by K.V.K.
(vi) Training Associate (Home Science) scientists.
involved in the improvement of skill and The objectives of all the activities
attitude of the farmers and farm women as well undertaken by K.V.K. are :
as provides advices and training on kitchen
(a) To demonstrate the new improved
gardening preparation of nutritional food and
technology to the farmers as well as to the
different handicrafts. She also imparts training
extension agencies directly in the farmers field
regarding the preservation and storage of fruits
with their active participation.
and vegetables for rural youths of the adopted
village. (b) To identify the important problems of that
area as per the need of the farmers and
Training Organiser, head of the K. V .K. prioritization of the identified problems as per
family coordinates the work of all scientists their importance.
for smooth functioning of the K.V.K. as well
(c) To collect feed back from the farmers
as for the benefit of the rural people of that
and extension agencies and to communicate
particular area. He is also liaisoning with other
these massage to research scientists for
line departments for coordination and effective
modification of technology.
implementation of different programs of the
K.V.K. in the adopted village. Every K.V.K. (d) To impart training on different topics to
has adopted 4 to 6 economically, culturally and different group of the villagers. .
technologically backward villages situated (e) To provide new and important
within 10-20 Kms radius of the K.V.K. These information to the extension agencies and
villages are not too small or too large. Before NGOs for wider circulation in that locality to
adoption a detailed survey of the village was improve their economic condition.
conducted to study the socio-economic and (f) To prepare different extension models
cultural status of that village. Now-a-days and verify these models in the farmers field
Participatory Rural Appraisal (PRA) tool was with their participation to create confidence
used to conduct the survey in which the village among them.
people are actively participated in the process.
To achieve the above mentioned
The village map was drawn by the help of
objectives K.V.K. undertake following types
different colour by the villagers themselves and
of activities in the adopted villages :
different prominent structures of the village
such as school, temple, river, club etc. were (1) Farm Advisory Service (2) Training
depicted in that map. These structures will help programme for different categories of people.
the scientists to conduct the survey easily and (3) Training programme for the extension
smoothly. Basing upon the survey the field crop functionaries. (4) Front Line Demonstration
maps, animal resource map and other ancillary (Fill) (5) On Farm Testing (OFT).
53
Orissa Review * October - 2004
54
Orissa Review * October - 2004
in that particular locality for the interested various farming situations. Front Line
participants. Demonstration is conducted in a particular area
after thorough discussion and consultation with
(c) Training programme for the extension
functionaries : the farmers of that locality. Depending upon
the requirement of that area highly efficient new
In this group mostly government proven technology with higher potentialities is
employees of agriculture along with extension selected for this programme. Generally a field
functionaries of line department and members day is observed in the demonstration field when
of different NGOs operated in that locality are the crop is at maturity stage and interaction
trained in different aspects. The main objective between the scientists, farmers and extension
of this type of training is to refresh the memory functionaries takes place in the field. The crop
and up grade the knowledge and skill of the is harvested in the presence of the interested
extension functionaries by providing recent and group of farmers so that they can visualize-the
new information regarding new techniques as importance of new technology easily and
well as new approach of solving different effectively.
problems faced by farmers of that locality. As
the extension functionaries of different On Farm Testing ( OFT ):
department act like a bridge between the Testing of any improved technology along
scientists and villagers, the refinement of the with the farmers practice in the farmers field
knowledge is highly essential and quite helpful with active participation of both the scientists
for effective and efficient transfer of the and farmers is known as OFT. In this method
technology. two to three improved varieties or two to three
Front Line demonstration: improved technologies are tested in the same
field so as to compare the results of these
Front Line Demonstration (FLD) is the
treatments. As per the suggestions of the farmers
field demonstration conducted under the close
as well as local soil and climatic conditions
supervision of the scientists because the
the improved technology may slightly be
technologies are demonstrated for the first time
modified by the scientists of K.V.K. to get
by the scientist themselves before being fed
maximum return.
into the main extension system of the state
department of Agriculture in that particular All these activities of the K.V.K. are
area. In this method newly released crop undertaken as per the suggestion and approval
production and protection technologies and its of the Scientific Advisory Committee. This
management practices are adopted in a block committee consists of representative from the
of two to four hectares in the farmers field. Vice-chancellor of State Agricultural
Only critical inputs and training for this University or Director of the Institute,
demonstration are provided by Krishi Vigyan representative from the Indian Council of
Kendra. In FLD both farmers and extension Agricultural Research, representative of the
functionaries are target audience. From the District Collector, representatives from
FLD, it is possible to generate some data Department of Agriculture, Horticulture,
related to factors contributing to higher yield Animal Husbandary, Sericulture, progressive
and also constraints of production under male and female farmers, male and female
55
Orissa Review * October - 2004
social workers of that area and Training From these discussion it can be
Organizer of the concern K.V.K. The Scientific concluded that the scientists of K.V.K. provide
Advisory Committee held once in a year to required knowledge, impart training to improve
review the work of K.V.K. and provide the skill and attitude of the people towards a
suggestions for future plan of work. The future particular subject, provide proper guidance to
technical programme of the K.V.K. is prepared solve any problem faced by the people related
as per the suggestion of the farmers of that to agriculture and allied topics. Krishi Vigyan
particular area. Kendra provides inspiration, constructive and
Besides these activities each K.V.K. has constant advice to the people of that area to
got different demonstration units such as start new entrepreneurship for their livelihood
and show them proper way when need actual
Mushroom unit. Biofertiliser unit,
help as the light house help the sailor in the
Vermicompost unit, Broiler farming unit, Bee
sea. So we can rightly say that Krishi Vigyan
keeping unit, Fruit preservation unit etc. for
the lagers. When a person will visit K.V.K., he Kendra is the light house for the rural people.
will be able to see all the enterprise in the
demonstration unit and he can interact with the
scientists regarding the establishment of his
own enterprise. These units will help the
Dr. Ashish Kumar Dash and Dr. Monoranjan Mishra
villager to increase his confidence on a are working in the K.V.K., G.Udayagiri in the district
particular enterprise. of Kandhamal.
Dr. Damodar Rout, Minister, Culture and Panchayati Raj releasing a poster
on PARAB-2004 at 3rd floor Conference Hall of Secretariat on 5.10.04 in the
presence of Shri Balabhadra Majhi, Minister, Scheduled Tribes and
Scheduled Castes Development (Scheduled Tribes Development).
56
Orissa Review * October - 2004
Sarala Dasa was one of the great scholars of Sarala Dasa belongs to Sudra Caste and
Oriya literature whose work formed perennial a cultivator by profession. The title 'Dasa'
source of information to the succeeding means a slave or a servant of a particular gods
generations. It was a perennial spring from or goddess.
which the later Oriya literature flowed like a We have this a long list of poets
stream without a break. He was the first scholar preceding and succeeding Sarala Dasa; whose
who wrote his works in Oriya in 15th century names end with Dasa e.g. Vatra Dasa,
A.D. Markanda Dasa, Sarala Dasa, Jagannatha Dasa,
The life of Sarala Dasa is very obscure. Balarama Dasa, Yasovanta Dasa etc.2
The date of his birth can't be accurately Saral Dasa was famous for his three
determined, but he can safely be placed on the books like -Mahabharata, Vilanka Ramayana
second half of the 15th century A.D. He was and Chandi Purana. He has also written the
born at Kanakavati Patana is known as book, Laxmi Narayana Vachanika. The Adi
Kanakapura, one of the Sidhikshetras in Parva Mahabharata opens with a long
Jagatsinghpur District. His early name was invocation addressed to the Lord Jagannatha
Siddheswar Parida, later he was known as of Puri, from which it is known that Sarala Dasa
Sarala Dasa by the boon of Goddess Sarala.1 started writing his Mahabharata in the reign of
There is a story, which tells us that Kapileswar, otherwise known as Kapilendra,
Siddheswar in his boyhood was once the famous Gajapati king of Orissa (1435-67
ploughing his father's field and singing so A.D.). He tells us that Maharaja Kapilesvara
melodiously that the goddess Sarala stopped with ennumberable offerings and many a salute
and listened to his song and endowed him with was serving this great deity and hereby
her power of composing beautiful poems. Such destroying the sins of Kali age.
stories are also similar with the early life of There were reasons for the rise of Oriya
other Indian poets. Particularly of the great poet literature in the reign of Kapilendra. In
Kali Dasa, who is said to have illiterate in his Gopinathpur stone inscription a verse proves
early life but he could become a great poet that Kapilendra was a native of Orissa. After
through the grace of goddess Saraswati. a centuries a native of Odra-desa or Orisa
57
Orissa Review * October - 2004
ruled its own people, giving them a sense of education and untiring efforts have all been
pride and self-respect, hopes and aspirations attributed to the grace of the goddess Sarala
leading them to battle fields for his extensive the deity of the devotion and inspiration. Poetry
conquests and opening to them a new was in the blood of Sarala Dasa and it flowed
geographical horizon. A love for the Oriya from his iron stylus as words flow from his
language and literature and culture therefore mouth. What he wrote once was final. His
is an inevitable consequence of the new format verses are simple, forceful and musical with
created by the strong and vigorous rule of no trace of artificiality in them. He had a finer
Kapileswar.3 sense of composition and application of all
colloquial words for his poetical purpose. His
Sarala Dasa followed the main outline
writing was free from Sanskritization.
of Sanskrit Mahabharata in writing the Oriya
Mahabharata. He made numerous deviations Earlier Oriya folk songs were orally
and added to it copiously the stories of his own popular and were being used in various folk
creation and various other matters known to dances. Such as Ghoda-nacha (Horse Dance).
him. In the final form Sarala Dasa's Dandanacha and Sakhinacha (Puppet Dance).
Mahabharata is a new creation analogus to One metrical peculiarity of these songs is that
Kalidasa's Raghuvamsa based on the both the lines of a verse do not contain an equal
Ramayana. number of letters though the last letters of both
the lines produce the same sound. All the
Mahabharata brought to light about the
works of Sarala Dasa are found to have been
eighteen parva's like. 1. Adiparva,
composed with this metrical peculiarity and
2. Sabhaparva, 3. Vanaparva, 4. Virata Parva,
therefore, the metre use by him can be regarded
5. Udaya Parva, 6. Vishma Parva, 7. Drona
as a direct descendant of the metre used in the
Parva, 8. Kanna Parva, 9. Slaya Parva,
folk songs. By the fifteenth century the Oriya
10. Surtika Parva, 11. Stri Parva, 12. Shanti
language had assumed almost its modern form
Parva, 13. Anusasanika Parva,
and had become ripe for literary compositions.6
14. Asramavasika Prava, 15. Mahaprasthanika
Parva, 16. Asvamedha Parva, 17. Mausala The predominant sentiment in Sarala
Parva, 18. Swargarohana Parva.4 Dasa's poem is not love but war. He was also
motivated by a strong religious zeal to compose
The Chandi Purana5 is based on the well-
known story of Durga killing Mahishasura (the religious books in a language intelligible to
all and to make them available to the general
buffalo headed demon) given in Sanskrit
literature but here also the Oriya poet has public in Orissa. He tells in no uncertain words
that he composed his poems for the benefit of
chosen to deviate from the original at several
points. His earliest work Vilanka Ramayana "human beings". There are several indications
in his Mahabharata that he served as a soldier
is a story of the fight between Rama and
in the army of the Gajapati King of Orissa and
Shahasrasira Ravana (thousand headed
his association with the army brought to him a
Ravana).
variety of experiences. The stories he heard
Sarala Dasa had no systematic education the battle scenes which he witnessed, the
from early age. What he achieved through self- places that he visited with the company of the
58
Orissa Review * October - 2004
army the historical incidents and names that he 2. K.C. Panigrahi, History of Orissa, Cuttack,
could know all remained stored up in his mind 1995, PP 291. 3) Ibid., PP 288-89
to be utilized in his writings.7 4. Sarala Dasa, Mahabharata (Oriya), Cuttack,
1981, PP 86. - 5) Sarala Dasa, Chandi Purana,
Sarala Dasa spent his last time at Bila Cuttack, 1981, PP 67.
Sarala but the native place Kanakavati Patana
6. K.C. Panigrahi, Sarala Dash, Makers of Indian
known as Kanakapura at Tentuliapada with a literature serie, Sahitya Ekademi, New Delhi,
religious establishment known as 1975.
Munigoswain, which marks as the traditional 7. K.C. Panigrahi, OP.'CIT, P 292.
spot, where he composes his works. Thus,
Sarala Dasa was really an originator of Oryia
literature. His works inspired the succeeding
generation of writers to make it more popular
among the people.
References : Debendra Nath Bhoi and Priyadarshini Bakshi are the
Reasearch Scholars in the P.G. Deptt. of A.I.H.C. &
1. S. Mahanti, Oriya Sahityara Kramabikasha Archaeology in Utkal University, Vani Vihar,
(Oriya), Cuttack, 1993, PP 22-23. Bhubaneswar.
Shri Naveen Patnaik, Hon'ble Chief Minister of Orissa going round the newly constructed
library and reading room of the OAS Association at Bhubaneswar on 2.10.2004.
59
Orissa Review * October - 2004
Orissa is exceedingly rich, since ancient times Makenji, Sir John Beams, the-then Collector
in exquisite and excellent palmleaf manuscript of Balasore, R. L. Mitra, M. M. Chakravarti,
expanse of textual and illustrative eminence. H. P. Shastri and Prof. Macdonel etc.
The varied palmleaf manuscripts galore, now contributed significantly to the study and
found in the collection of museums, private
institutions and individuals amply testify to the
exuberance and efflorescence of this great
tradition from about 10th Century A.D., as is
evident from the epigraphic reference to Oriya
language and Kutila script found in an
inscribed sculpture of Jaina monk-Kumarasena
discovered from Gandhi-bedha in Balasore
district. They formed the treasure house of
wisdom and knowledge on different aspects
of Orissan history, culture, artistic &
architectural legacy. Because of the easy
availability of palmleaf in abundance in Orissa,
the palmleaf manuscript culture became very research of palmleaf manuscript tradition of
popular through ages. It also becomes easy to Orissa which cast a flood of new light on the
scribe and engrave different subject matters manifold aspects of variegated and glowing
with an iron stylus. The Oriya writing due to Orissan Culture.
its round and linear shape, facilitated the After Orissa became a separate province
growth and development of palmleaf in 1936, a series of serendipities and
manuscript writing and this tradition even reconnaissance works were taken up to prepare
continues till the present days. a list of palmleaf manuscripts found preserved
Interestingly, the European scholars were under different agencies through the help of
greatly attracted to study the Oriya palmleaf local Pandits and as many as 15 thousand titles
manuscript collections during the nineteenth were recorded out of which 11 thousand are
century. Rev J. Long published the first research now available in Orissa State Museum.
article in the Journal of the Asiatic Society of Education Department, Govt. of Orissa
Bengal and subsequently scholars like Col. thereafter, collected a large variety of palmleaf
60
Orissa Review * October - 2004
manuscripts with the initiative of Prof. G. S. Epics, Puranas etc. Among these the illustrated
Dash and Prof. N. Banerji with the assistance palmleaf of Bhagavata has evoked great
of Prachi Samiti under the banner of newly interest from the scholars and Indologists of
founded Ravenshaw college Museum. India and abroad as well. Berhampur
Scholars like Padmasree Paramananda University has also a number of rare collection
Acharya, Purna Chandra Rath and Kedarnath of manuscripts including that of renowned poet
Mohapatra contributed enormously in their Upendra Bhanja. Many private organisations
official and individual capacity to the like Raghunandan Library at Puri,
enrichment of palmleaf manuscript collection. Banchhanidhi Library, Nayagarh, Saintala
When the Ravenshaw College Museum was College, District Bolangir and Veshja Patel
shifted to Bhubaneswar during 1947- 48 Sri P. College of Duduka, Sundargarh, Titilagarh
Acharya the - then Superintendent of Orissa College, Titilagarh, individual collection of Sri
State Museum and K. N. Mohapatra the - then Jitamitra Singh Deo, Khariar, Dileswar Patel
curator of Manuscripts opened a separate of Kantapali, Dist. Jharsuguda, Dr. M. K.
section of manuscripts in the Museum. This has Misra of Kalahandi and Sri D.Pattnaik of
now proliferated into an institution of Bhubaneswar have housed different varieties
international reputation with about 40 thousand of palmleaf manuscripts.
manuscripts comprising 6 sections, In the arena of Indian philosophy, Oriya
Manuscripts have been classified under 27 palmleaf manuscript writers have carved out
subjects namely : a permanent nich for themselves. Since the
1.Veda, 2.Tantra, 3. Jyotisha, advent of Buddhism, philosophers like
4.Dharmasastra, 5. Ayurveda, 6. Ganita, Dharmakirti, Kavidindima, Jivadevacharya,
7.Silpasastra, 8. Samgita, 9. Abhidhana, Acharya Narsimha Vajpeyi, Gaudiya
10.Vyakarana, 11.Sanskrit Purana, 12.Sanskrit philosopher Baldev Vidyabhusan, Indrabhuti,
Kavya, 13.Alamkara, 14. Bengali (Sanskrit), Laxmikara etc. have contributed greatly in this
15. Bengali, 16. Devanagari, 17.Oriya Purana, field of study. Oriya dictionaries that were
18. Oriya Kavya, 19. Oriya Prose, 20. Oriya composed in Orissa such as Trikanda Sesha
Historical Literature, 21. Sanskrit Paper and Haravali of Purusottama Dev and Medini
Manuscripts, 22. Oriya Paper Manuscripts, Kosha of Medini Kara have received wide
23. Arabic Manuscripts, 24. Darsana recognition in India since early medieval times.
Manuscripts, 25. Telugu manuscripts, The Vedic manuscript collection of
26. Copied Manuscripts and 27. Illustrated Orissa State Museum are not that large as
Manuscripts. because people are orthodox in nature and
Simultaneously Sambalpur University, reluctant to part with their traditional
Berhampur University and Utkal University individual collections because till date people
have opened their manuscript collections. Dr. of Orissa perform Vedic rites and rituals as
N. K. Sahu organised a palmleaf manuscript per the diction of Vedic manuscripts. Therefore,
section in Sambalpur. This has developed into unlike Bengal, Vedic palmleaf manuscripts are
a palmleaf manuscript library of Sambalpur found in plenty in almost every Oriya house.
University which has in its collection Some manuscripts of Yajurveda and
manuscripts covering a wide range of subjects. Atharvaveda have been brought from Midnapur
They are Veda, Grammer, Tantra, Astronomy, district of West Bengal, Characters of these
Medicine, Religion, Philosophy, Alankara, manuscripts are Oriya in content and nature
61
Orissa Review * October - 2004
which hints that originally they had been a good number of palmleaf manuscripts of
written by Oriya pandits and script writers. It historical prose and translation works. Oriya
is also a known fact that Midnapur region was scholars have also contributed to Bengali and
part of Orissa till ancient times. Hindi manuscript composition. Among the
M. M. Shastri has mentioned the names Bengali works to have been composed by
of great Pandits like Jalesvara Misra, Bhaskara Oriya poets are Krishnalila of Ramachandra
Parivrajaka and Haladhara who wrote Pattanaik, Manasamangal of Dwarika Dasa,
valuable commentaries on the Vedic works. Govardhan Utsava of Gourachandra Parichha,
Late Pandit D. N. Bhattacharya, an erudite Basanta Rasa of Pindika Srichandan, Dolarasa
scholar of Bengal was fortuante to get a of Natabar Dasa, Navanuraga of
complete manuscript of the Paippalada Sakha Shyamabandhu Pattnaik, Ganga Mahatmya of
of the Atharva Veda from Jagannathpur in the Jagannath Dasa. In Hindi we find literary
District of Puri which was not available in any works Brajaboli gita of Ramananda Patnaik,
other part of India. Some kandas of this unique Jayachandrika and Kosalananda of Prahallad
Vedic work have been published so far. There Dube, Gundicha Vije of Brajanath and poems
are a number of these manuscripts in our of many other poets. Besides we also find
collection containing different archas palmleaf manuscripts written in Telugu, Tamili,
(chapters). There are three manuscripts Sarada, Newari, Persian and Urdu. The
containing Sayana’s Bhasya on the manuscript gallery of Orissa State Museum is
Kanvasamhita of which one is complete in now adorned with such rare palmleaf
twentyone chapters of its second part of manuscripts collection.
Bhasya. Our collection is not enriched by the
Sarala Dasa, the writer of Mahabharat
acquisition of the manuscripts of different
in Oriya has contributed a number of works of
Brahmanas of the Yajurveda Upanisads,
eminence like Saptakanda Ramayana, Chandi
Tapinis and Angirasakalpa of the
Purana, Valmiki Ramayana, Malasri Janana
Atharavaveda , some of which are as yet
and Mahalaxmi Vrata etc. These mauscripts
unknown to the scholars. Orissa was a popular
are now found in the collection of State
centre of Tantric cult from 6th century A.D.
Baladeva Rath and Gaurahari Parichha etc. Museum. He established Oriya as a rich
contributed enormously to the Oriya literary language in the 15th century A.D..
exuberance of this epoch. Their activities, Mahabharata of Krishna Singh, Purusottam
inspired a number of followers to compose Dasa, Jagannath Das and Kapileswar Nanda
more creative compositions in the field of art are also some of the prize collections of the
and literature. They are Pitambar Deva’s manuscript section. Mahabharata and
Akhila Ratha Chintamani, Kesava Ratha’s Ramayana became very popular in Orissa as
Ananga Ragini, Anuraga kalpalata of they were written in Oriya languages and
Shyamasundar Deva, Haravati of Ramachndra script due to the initiative of Balaram Dasa,
Pattnaik, Anuragavati of Padmanabha etc. In Maheswar Dasa, Kirshna Chandra Rajendra,
addition to these we find a number of lesser Kesava Tripathi and Purusottam Dasa. The
known writers like Madhavi Dasi, Rani Mohan Madala Panji, the temple chronicle of Puri
Kumari, Rani Kshirod Mali, Krishnapriya written in palmleaf is a storehouse of
Jema, Sivapriya Dei, Kalpalata Jema, Madhuri knowledge which needs a thorough and
Dasi, Achuta Jema and host of others. We find separate study.
62
Orissa Review * October - 2004
Bhagavata Purana was translated by Charles Fabri remarks that those who
Jagannath Das and has become the Bible of carved the masterpieces of sculpture in the 9th,
Oriya people. He completed this work in the 10th and 11th century A.D. must have been also
Jagannath temple before the advent of Sree able to carve lovely pictures on thier palmleaf
Chaitanya in Puri. His mastery over Sanskrit manuscripts. Unfortunately we do not find any
literature enabled him to translate this work specimen prior to the 15th century A.D. As
into a very lucid and simple style. We have palmleaf manuscripts are perishable, the
several copies of this masterly work in our earlier paintings and engravings must have
collection. The works Bhagavata Lahari , been obliterated. However, we find lively
Harivamsa, Padmapurana by Achyutananda specimen from 15th century A.D. onwards as
and the works of Mahadeva Dasa, Haladhara reported by Prof. Ganguly. Thus the history of
Dasa, Nilambara Dasa, Pitambara Dasa are the incised drawings on palmleaf manuscripts
also a few unique acquisition of the section. goes back to a definite datum line. Difference
Few poetic compositions have historical value between stylus incised line drawings and
like Jagannath Charitamruta, Chaitanya coloured paintings is enormours. They seem
Charitamruta and Bhaktamala, Copies of to belong to two worlds even if one recognizes
Veda, Tantra, Dharmashastra, Jyotisha, the elements of hieratic drawings, the ready-
Vyakarana, Kavya, Alankara etc. have made formula for eyes, hands, lips etc. of the
enriched the manuscript legacy of Orissa. They line drawings being re-employed as a basis
have been written in Sanskrit language with for paintings. He has referred to the live leaves
provincial Oriya script. A few notable works of a palm leaf manuscript by one Lokanath Dasa
in these fields are mentioned below for now found in the Raghunandan Library, Puri.
reference of researchers and tourists. They are illustrations of Ushaparinaya text and
1. Vedartha Praveshatika or Sayana Bhashya their date has been assigned to the 18th century.
of Yajurveda, 2. Paippalada Samhita of In the painting, women don’t put on blouses
Atharvaveda, 3. Brahmanas according to except the end of the saree draped over their
Kanva Sakha or Yajurveda, 4. Jnanavalli breast. There is one complete naked woman in
Tantra, 5. Durga Janana Dipika, leaf-4 from the top left side and she is draped
6. Bhubaneswari Prakasa, 7. Tarini under an element whom she appears to
Kulasudha Tarangini, 8.Bhasvati, 9. Kritya embrace. Such erotic illustrations we find in
Kaumudi, 10. Vaisvanaresti Paddhati, other private collections also. In
11.Vidyakara Padhati, 12. Nityacharadipa, Ushaparinaya compositions, male figures are
13. Vaijalakarika, 14. Prakriyasara, found wearing typical Mughul tang paijama.
15. Sarasidhanta Samagraha, i.e. tight fitting leggings. In another illustrations
16. Anyopadesasataka,17. Abdaduta, we find four palmleaves from a Ramayana
18. Gitagovinda, 19. Gundicha Champu, manuscript in the collection of Sadasiva Rath
20. Bhakti Bhagavatamahakavyam, Sharma. All the men were found wearing tight
21. Bharatamrita Mahakavyam, Mughul trousers and belted coats, and Marathis
22. Manimala Natika, 23. Rukmini Parinaya, turbans. The females wear blouses and saree.
24. Raghavayadaviyamahakavya, 25. Kavya Sita seems to have put on a ghaghara, choli,
Prakasa Vivarana, 26. Sahityabhusana, orni that is skirt, blouse and handkerchief. The
27. Gita prakasa, 28. Sangitanarayana, Orissa State Museum has obtained a good
29. Sangitakalpalata. collection of such illustrated manuscripts some
63
Orissa Review * October - 2004
of which are in display. The subjects are mostly secular architecture. Hence the word
derived from Ramayana, Mahabharata and Bhubanapradipa may be taken to mean the
Bhagabata Purana. In many cases temple lamp which sheds light on the characteristics
styles, gods and godlings are also found. The of the abode of the Gods. We do not find names
most interesting is one Kandarpa Ratha of artists who constructed the colossal temples
illustrated over a bunch of palmleaves cut to of Bhubaneswar, Puri and Knoark but in the
size and stiched together horizontally in a Bhuvanapradipa there is reference to Pingla,
rectangular shape. Enchanting and impressive the artist and Ahidhar the carpenter, along with
maidens are intricately arranged to form the information regarding parting dues of each
chariot with Radha & Krishna in embrace functionary at the end of the ceremony of the
placed at this centre. Another most important construction of the temple, which reads that
treasure of the section is the Gita Govinda. the Brahmin who will perform Japa will get
The plates are plam leaves size and every plate his dues equivalent to the astrologer. Many
contains about 17 lines on each side. manuscripts are found uncared in the villages
We also find musical texts in palmleaf which are a in state of decay and destruction.
They are the depository of our cultural heritage
manuscript. The Oriya poets have
and should be restored by popular drive
experimented the use of music in a traditional
through various institutions and individuals
Sanskrit lyric. This indicates that music was
dedicated to the cause of saving the extinct
prevalent in the country prior to Jayadeva.
From the style of collection of this text, it is palmleaf manuscript heritage of Orissa.
believed that Southern Orissa and Puri were The precious palmleaf manuscripts of the
main centres of this musical culture where Museum deserve special mention. It is
regular musical performance alongwith textual ascertained from records that 37,273
discussions were being held. From the days of manuscripts have been collected out of which
Bharatmuni, Orissa had a special style of music. fifty two manuscripts have been published. Ten
The Natya Shastra of Bharat has given special descriptive catalogues of manuscripts, five
importance to the Udra style of music. It is an alphabetical catalogues and one alphabetical
irony that old Sanskrit scripts dealing with catalogue of authors have been made. The
music are not available in Orissa. Such texts manuscript section comprises twenty seven
generally belong to late medieval times. They sections such as Veda, Tantra, Darsana,
include Samgita Kaumodi, Gitaprakash, Historical records, Silpa Sastra, Abhidhana,
Samgita Kalpalata, Samgita Narayana and Ayurveda etc. It has Palmleaf, Bamboo leaf,
Natyamanorama etc. Handmade paper, Old paper, Ivory
manuscripts, Bhurja bark, Manuscript, Kumbhi
Orissa, the land of temples and shrines
bark manuscripts, Garland shaped, Fan
has also received the prolific impress of
shaped, Fish shaped, Sword shaped, Rat and
palmleaf manuscript art diction. However, few
Parrot shaped varieties of manuscripts and
texts are now available among which
Bhuvanpradipa occupies a conspicuous different types of stylus are displayed in the
position. N. K. Bose refers to some of the section.
palmleaf manuscripts and says that they are Three hundred sixty six illustrated
writtent with an iron stylus. In the Bhuvana- manuscripts of coloured and monochrome
pradipa we find description of temples, altars, variety are found. Important variety such as
and similar structure. There is no reference to manuscripts of Gita Govinda of Kali Charan
64
Orissa Review * October - 2004
Pattnaik, the Usha harana, Ushavilasa etc. and The National Mission for Manuscripts
different varieties of cover design of palmleaf seeks to develop a holistic approach in
manuscripts are in the collection. As many as locating, documenting, protecting and making
seven thousand manuscripts have been accessible the significant information of the
conserved scientifically and manually by way manuscript heritage of india. This challenging
of dry and wet cleaning filling of holes made task is carried out through wide networking
by worms, use of preservative chemicals and with institutions and scholars across the
reinking of invisible writing of manuscripts. country and abroad who have manuscript
A microfilming unit is functioning in this section holdings and interest in their preserves. The
since 1985-86 with the donation of Ford NMM has identified some of the most
Foundation. One thousand seven hundred ninety prominent institutions across the country with
eight palmleaf manuscripts have been considerable manuscript holdings and has
microfilmed up to date. It is worth mentioning designated them as Manuscript Resource
that even today palmleaf is used for recording Centre (MRC). Indira Gandhi National Centre
horoscope (Jataka) of new born babies. For for Arts, New Delhi has been identified as the
invitation to God, it is also used. In 15th century National Nodal Agency and Orissa State
A.D. the palmleaf tradition has reached Museum, Bhubaneswar has been designated as
pinnacle of excellence with wide distribution. the MRC to carry out the survey and listing
work of manuscripts in Orissa. Dr. C. B. Patel,
Etching and painting on palmleaf is a
very ancient art diction of Orissa. Origin of Superintendent of Orissa State Museum has
this art form marked the beginning of been designated as Project Co-ordinator.
dissemination of written version. It is, Orissa Art Conservation Centre, Orissa State
Museum has been identified as the Manuscript
therefore, part of our literary tradition. With
Conservation Centre for Orissa. Keeping in
the magnificence of Orissan rulers, illustrated
view the above, MRC /OSM is organizing
manuscripts reached climax of excellence
different Awareness Campaigns, Workshops to
vindicating the ancient nomenclature of Utkal
i.e. “land of art of exuberance and popularise the mission work and to document
efflorescence’. Even to this day, the glorious manuscripts. Donation from individual &
tradition thrives in the work of handicraft institution are accepted free of cost for
artisans of Orissa. The art form comprises organisation of Central Manuscript Library by
NMM at IGNCA, New Delhi. An extensive
inscribed letters and paintings of various
five days sample survey of palmleaf
designs. Such a piece of work is a befitting
manuscripts in all the thirty districts of Orissa
item for presentation as memento or Souvenir.
is already on the anvil. It is hoped, on
It is heartning that Government of India completion, the National project will open
have recently launched National Mission for many new avenues of exuberant Orissan
Manuscripts for documentation preservation palmleaf tradition, idiom and diction.
and dissemination of the manuscript heritage
of the country. In Orissa in this Project uptill
now more than eighty thousand manuscripts
have been documented and disseminated in
addition to the 40,000 collection of Orissa Dr. C.B. Patel is presently working as the
State Museum. Superintendent of Orissa State Museum, Bhubaneswar.
65
Orissa Review * October - 2004
We find the traces of the worship of goddess We find another two-handed Durga image
Durga in her Mahisasuramardini aspect as at Dharapgarh village of Balangir district,
early as the sixth century which can be dated to the same period. The
A.D. This is evident from textual references to the
the discovery of the ruins of goddess with two arms is
a collapsed brick temple quite rare, though
containing a two-handed S u p r a b h e d a g ama,
Mahisasuramardini Durga Purvakarmagama and
image in the Alidha posture Uttarakarmagama describe
in the Garbhagriha and Durga as having two hands.2
having an inscription on the R. Chanda has suggested that
pedestal in the box-headed the two-armed figures of the
goddess were confined to the
Brahmi alphabets of the
pre-Gupta period.3 But as the
sixth century mentioning
Brahmanisation process
goddess Mahesvari. The
seems to have started in
temple was unearthed by the
western part of Orissa only
noted historian, late Prof.
after the subjugation of this
N.K. Sahu, in 1983, during
area by the Gupta monarch
excavation in the Maraguda Samudragupta during his
valley of the Nuapada Goddess Durga, Lalei, Sundargarh District
military expedition to the
district. A Sakta Math Daksinapatha in the middle of the fourth
(Monastery), said to be the earliest of its kind century A.D., both the two-handed Durga
was also unearthed near this temple during this images of Western Orissa can be taken to be of
excavation.1 The discovery of the two-handed the post-Gupta period. Another unique image
Mahisasuramardini Durga image in the of two-handed Durga, sitting on Her mount lion
Garbhagriha of the Maraguda temple ruins as holding two swords in both Her up-raised
well as the Sakta monastery testify to the hands is found fitted in a niche of the exterior
existence of the Mahesvari cult as early as the wall of the Bahari Gopalji Temple at Sonepur,
sixth century A.D. situated in front of the destroyed palace of the
66
Orissa Review * October - 2004
67
Orissa Review * October - 2004
69
Orissa Review * October - 2004
70
Orissa Review * October - 2004
71
Orissa Review * October - 2004
72
Orissa Review * October - 2004
west of the village. As the bottom portion of Mahesvara and one of four-handed Ganesa are
this sculpture is buried underneath the earth, worshipped by people. Among two Durga
Her Vahana lion is not visible. The goddess is images, one is four-handed, while the other one
wearing Hara, Aksamala on her wrists, arms is six-handed. In both cases Durga is in the
and waist-portion and anklets on her feet. Both conventional Alidha posture of an archer. The
her lower hands are placed on the knee-portion four-handed image is of the goddess in her
of her left leg, which is raised and placed on Mahisamardini aspect, as the demon is
the chest of the demon, Mahisasura. A snake depicted in the buffalo form. Durga is lifting
(Sarpa) is attacking the demon from the back the entire body of the animal by holding its tail
portion of his head. This Sarpa is most in her lower left hand, and piercing the long
probably hold by Devi in her Sula (trident) by her lower
upper left hand, which is right hand deep into the neck
broken. The upper right hand of the buffalo. Objects in her
is raised, but the object in it is upper left and right hands are
not clear. The peculiarity of Pasa (Noose) and Gada
this sculpture of (Staff) respectively. Her hair
Mahisamardini Durga is that is forming a Jatabhara on her
the Trisula (long trident) is not head. Patrakundalas are in
there in the hands of the her ears and a Hara is around
goddess. her neck. This image is of the
breadth of around eight inches
Another four-handed
and height of fifteen inches. It
Durga in her can be dated to the fifth
Mahisasuramardini aspect is
century A.D. iconogrphically,
enshrined in a separate shrine
because four-handed image of
to the north of the brick built Durga is a quite earlier
Jagamohana of the representation of the goddess
Kosalesvara temple at
Fourteen-handed Saumya Durga, in the sculptural art of India.
Vaidyanath in Sonepur district. Khambesvari Temple, Sonepur Another image of Durga kept
In her up-raised proper right inside this temple is a six-
hand is a Khadga, while in the lower left hand handed one and of the same dimension. In her
is a Dhanu. She is holding a long trident in her left upper and middle hands are spear and Sakti
upper left hand which is pierced into the month respectively, while in her lower left hand she
of the demon. In her lower right hand she is is touching the tail of the Mahisa(buffalo). In
holding the tail of her Vahana the lion. The her right lower hand is a Sula which she is
Jatabhara adorning her head is specifically piercing into the neck of the Mahisa. In her
suggesting the Panduvamsi feature, i.e. of the upper right hand is a Sarpa. A Karanda
7th-8th century A.D. Mukuta is adorning the head of the goddess.
In the temple enshrining Kevala She is also wearing Patrakundalas in both her
Narasimha at Podagad in Nawarangpur ears and a Hara around her neck. Garment is
district, four images; two of Durga, one of Uma flowing between both her legs. In the top-most
73
Orissa Review * October - 2004
corners of the stone-slab in both left and right the tail of the Mahisa. Here the human figure
sides, front-faced Vidyadharas (male and of Mahisasura is absent. This image can be
female) with garlands in hands are carved, dated to the 7th-8th century A.D. also. Another
which depiction assign a slightly later date, Durga image, six-handed but all hands broken
i.e. Circa 8th century A.D. to this image, except one right hand, is also found amidst this
because by the 8th century A.D. flying temple ruins. The moustached Mahisasura with
Vidyadharas appeared in the sculptural art of sword and shield in hands is lying right on the
the upper Mahanadi valley. A four-handed back of the lion. His head is slightly raised
Durga image, holding Chakra and Trisula, and Devi is seen piercing the Trisula on his
engaged in fierce battle with waist portion rather than on
the theriomorphic buffalo- the chest or neck. The body
demon Mahisa by riding on of the goddess is heavily
it is fitted to the southern bedecked with ornaments
Parsvadevata niche of the like Katimekhala, Udara-
Bad Jagannath temple, bandha, Kankana, Keyura,
situated in the Gopalji Math Hara, Mukuta, Kundala and
precinct at Sambalpur, which many others. Her Mukuta
is an excellent piece of early deserves special attention. It
Chauhan art of the 17th is a Jatamukuta, behind
century A.D. As the Trisula which there is an oval-
is hold vertically it is the shaped Sirascakra formed by
latest form of Durga,
the design of lotus-petals.
associating Vaisnavism in
This Jatamukuta is adorned
Her Cult.
with Kirtimukha heads on
In another place i.e. the top. Strings of pearls are
Banei in Sundargarh district coming out of the mouth of
also, we find a rare four- the Kirtimukha heads from
handed Durga image in the both the left and right sides
Alidha posture amidst loose Goddess Durga, and swallowed by the
sculptures found in the Banesvara Temple, Deogaon (Banei)
central Kirtimukha. From the
Kumari temple precinct, on the right bank of mouth of the central Kirtimukha is hanging a
river Brahmani. Here Devi is seen to be putting rectangular-shaped flower-design pendant in
her uplifted left leg on the back of the beast a string of pearls. This image of
Mahisa, while pressing its head with her lower Mahisasuramardini Durga can be placed in the
left hand so that the head is turned to one side 10th century A.D.
by that pressure and simultaneously piercing
its neck with the Trisula, which is in her lower The Mahisamardini Durga image of
right hand. In the up-raised upper right hand of Bausuni in Baudh district about which noted
goddess Durga is a Khadga, while there is a historian late R.D. Banerji has written is a six-
Sankha in her upper left hand. Her Vahana lion handed figure of Devi, exquisitely carved on
is seen to be seated crouching, while biting red stone. Very peculiarly enough, her Vahana,
74
Orissa Review * October - 2004
the lion is absent. The cut-head as well as the horn of the demon, while piercing the Sula hold
body of the buffalo is lying below and the in her lowest right hand on his neck. Here
kneeling Mahisasura is looking up holding a goddess Durga is depicted in a warrior pose,
sword and a shield. Goddess Durga is seen in bringing out one arrow from the quiver hanging
an archer's pose (Alidha), putting her right on her back in her upper-most right hand. The
raised leg on the Mahisasura and piercing the long Khadga of her lower-most right hand is
long trident (Trisula) by holding it in her right also penetrated into the neck of the buffalo
middle hand into the head of the demon. In her head. In her second upper right hand is a Sakti,
left upper, middle and lower while in the second, third and lowest left
hands Durga is holding a hands are Khetaka (Shield),
Ghanta (Bell) and Dhanu
shield (Khetaka), bow
(Bow) respectively. Two
(Dhanu) and snake (Sarpa)
lions are biting the body of
respectively, while a sword
the demon in both left and
(Khadga) and a wheel right sides of the pedestal.
(Cakra) are in her right There is a lotus-petalled
upper and lower hands. This Prabhavali behind her head
image is enshrined and on the back-slab. A
worshipped in a separate beautifully carved Karanda
temple, constructed in the Mukuta is on her head. The
Siva temple complex at goddess is heavily bedecked
Bausuni, on the right bank of with all ornaments. The
river Mahanadi. iconographic features date
An exquisitely carved this image to the pre-
image of eight-handed and Somavamsi period, i.e. 8th-
9th century A.D.
three-eyed Durga image is
found amidst loose Another exquisitely carved
Ten-handed Durga,
sculptures in the Chandi Dadpur, District Kalahandi image of the eight-handed
temple site at Lalei, situated Mahisasuramardini Durga is
on the left bank of river Brahmani, just opposite adorning the northern Parsvadevata niche of
Banei town in Sundargarh district. It is carved the Banesvara temple at Deogaon, near Banei
on a stone-block measuring around thirty inches also. Devi is seen holding Ankusa, Dhanu,
both in height and breadth. Vidyadhara couple Sarpa and Khetaka in her four left hands, the
Sarpa seems to be strangling the Mahisasura
(in the proper left side female and right side
by going around his neck and biting the demon
male) with garland in hands is carved in both
on his face. The right leg of the Mahisasura
sides in the top-corners of the stone slab.' The
has not come out fully from the cut-neck of the
theriomorphic composite figure of demon
Mahisa, while the fully-exposed left leg is
Mahisa in the human form with the head of a bitten by the lion in the knee-portion. Devi is
buffalo is lying below. Goddess Durga is seen in her usual Alidha posture, seen putting her
putting her left foot on the body of the demon. left foot on the back of her Vahana, the lion,
In her upper-most left hand she is pressing the while the slightly raised right foot on the back
75
Orissa Review * October - 2004
of the Mahisa, lying below. In her raised upper- while trying to give a tough resistance in the
most right hand is a Khadga, while in her fight. A long trident held by the goddess in her
second upper right hand she is pulling out one third right hand is pierced right into the face of
arrow from the quiver hanging on her back from the demon. A long sword is held by Durga in
the right shoulder. The broken top-portion of her first upper right hand over her head. She is
the long Trisula is still in her third right hand holding an arrow in her second upper right hand
and in her fourth right hand is a Cakra. Her over her shoulder, while the object in her fourth
body is bedecked with all sorts of ornaments right hand (the lowest one) is not clear. In the
and a peculiar Jatabhara is adorning her head. left hands, from top to below, objects held by
On the pedestal are foliage- the Devi are Pasa (noose),
designs with a bud in the Dhanu (bow), Ankusa and
central portion. This image Khadga. The Khadga (sword)
is having all the held by Devi in her fourth
iconographic features of the (lowest) hand is very peculiar
Somavamsi period, i.e. 11th in shape. It has a long handle
century A.D. which is fixed to her wrist
with the help of two rings in
In 1990, a beautiful
it. She is seen piercing this
eight-handed Durga image,
of the size of around fourteen sword in the naval-portion of
the Devil. Goddess Durga has
inches in height and ten
a smiling face. She is wearing
inches in breadth was
a Jatamukuta on her head. A
discovered at Salebhata in
long garment which goes
Balangir district from
underneath the earth in a around her shoulders is
hanging upto her knee-level.
mound situated to the left of
The cut head of the buffalo is
the state highway behind the
lying below near the right foot
Dak Bungalow on the right
of Mahisasura. This image is
bank of the river Ang, a
major tributary of river heavily bejewelled. At
present, this image is kept in
Mahanadi. This image is
exquisitely carved on red Kusangei Temple, Kusang, District Balangir the Siva temple of Salebhata
(Circa 11th Century A.D.) and can be iconographically
stone, with a thin layer of
dated to the 9th century A.D.
stucco pasted on it. It displays the beauty of
the plastic art that prevailed during the period An unique image of eight-handed
of the Panduvamsis and their successors, the Mahisamardini Durga, of the height of around
early Somavamsis. The goddess is in the usual two feet and a half and breadth of eighteen
Alidha posture with her right leg on the back inches was unearthed a couple of years back
of the buffalo stumbling below and left leg on on the back of a rivulet named Suvarnarekha
the back of a diminutive figure of her Vahana, (Mayabati) at Rampur, situated on the outskirt
the lion. The lion is seen biting the right foot of Patnagarh town of Balangir district. Objects
of the demon Mahisasura who is looking up hold by the Goddess in her proper right hands
76
Orissa Review * October - 2004
from top to bottom are Khadga, Sula, arrow Mahisasura, which is in a running posture in
and the lowest one in Abhaya mudra, while between both legs of the Devi, just below. In
objects in proper left hands are Khetaka, her upper right hand, which is touching her hair,
Dhanu, Kunta and Nagapasa. In the proper tied as one Jata in a round shape. In her left
right side of the pedestal demon Mahisa in the middle hand, she is holding a Kapala with Agni
theriomorphic buffalo form is already in it. Both the lower hands of Devi are put in a
beheaded, as a result of which trembling down dancing posture. Durga is seen wearing a Hara
on its fore-legs, and the anthromorphic form with a bell hanging from its centre as pendant.
of the demon coming out from the cut neck of It is a peculiar form of Durga iconographically,
the buffalo. so far found in this region. This image is of the
height of around ten inches and breadth of six
The demon is depicted in the kneeling
inches. This image can be iconographically
down position and being attacked by the
dated to the 7th century A.D.
goddess, who has plunged the long trident deep
into the face of the Mahisasura while Ten-handed Durga is worshipped as
strangulating his head by putting the serpent- goddess Kusangei in a temple of the 11th
noose around his neck. Her Vahana, the lion is century, at Kusang in Balangir district, which
seated in the left side of the panel, which seems temple is a proto-type of Lingaraj temple of
quite unusual. The heavy ear-rings hanging from Bhubaneswar, most probably built by the
her ears and the Karanda Mukuta on Devi's Somavamsi king Yayati II (circa 1024-1060
head as well as absence of the Vidyadhara A.D.). Patanesvari, enshrined in a temple at
couple on both the top-most corners of the back- Patnagad is none else than ten-handed Durga
slab suggest an early dating, i.e. 7th-8th century in her Mahisasuramardini form.
A.D. for this image. This image was for the Another ten-handed Durga image in her
first time reported by learned scholar Dr. Mahisasuramardini aspect is found carved on
Jadumani Mahapatra.3 8 a rectangular stone-block, having an
Another eight-handed Mahisamardini Asthadalapadma (eight-petalled lotus) symbol
Durga image is worshipped as Chandi in a carved on the pedestal, which denotes it's
small dilapidated temple of the Triratha order relationship with Tantra. It is found in the
at Dekhala near Bijepur village, in the southern side of the Somesvara temple at
Titilagarh subdivision of Balangir district and Balibandha in Sambalpur town.
also at Durgeikhol near Narsinghnath. Goddess Suresvari is worshipped in the
Besides this eight-handed Durga image Vana Durga Mantra in the Suresvari temple at
another image of Durga in the Alidha posture Sonepur. Images of ten-handed dancing Durga
is fitted to the proper left of the doorway to the and four-handed Devi sitting in Lalitasana
inner sanctum of the Siva temple at Salebhata. (Bagala of the Dasamahavidya group) on the
It is a six-handed image of Durga. The left leg Visvapadma pedestals are fitted to the
of the Devi is on the back of the diminutive Parsvadevata niches of this temple. In the
figure of a buffalo, while the right leg is slightly Parsvadevata niches of Khambesvari temple
raised up and placed on the profiled figure of at Sonepur images of fourteen-handed Durga,
her Vahana, the lion. No weapon is held by standing in the Samabhanga and eight-handed
77
Orissa Review * October - 2004
Durga dancing in the Lalita mode are found. right and left hands respectively while keeping
The eight-handed Durga is depicted as dancing lower hands in Varada and Abhaya Mudras.
with her right heel raised and all hands arranged Her Vahana, a roaring lion in profile is seen
symmetrically. The goddess is holding Vajra, to be standing behind her figure. A ten-handed
Sula, arrow, Khadga, small Khetaka, Dhanu, Durga image is also found at Dadpur in the
Parasu and an unidentified object in her hands. Bhawanipatna sub-division of Kalahandi
She is wearing Naramundamala, a long garland district.
of skulls. Sarpas are coiled around her ankles
With the rise of the Somavamsis in
and wrists as Nupura and Kankana. She is
wearing ornate ear rings and her hair is Western Orissa, the eight-handed and ten-
arranged in a Jatamukuta. The ends of a scarf handed Durga images were installed and
is hanging upto her feet-level. A profiled figure worshipped in the temples as central deities.
of her Vahana, the lion is carved on the pedestal An eight-handed Durga image is worshipped
just below her feet. It is an unique image of as Chandi in the Chandi temple of Saintala,
goddess Durga in the pacified form belonging where Visnu images as well as temple pillars
to the Chauhan period, i.e. 18th century A.D. depicting scenes from the childhood of Krsna
are kept. Both these Durga images can be taken
A four-armed standing figure of pacified
to be of the Somavamsi period, i.e. the ninth-
Durga is adorning the northern Parsvadevata
tenth century A.D. The most excellent of all
niche of the Siva temple of Bausuni. The
these Durga images is the one having twenty
goddess is holding a Sarpa and an Ankusa in
hands, which has been collected from
her upper left and right hands respectively,
Salebhata and now preserved in the Sambalpur
while the lower right hand is in Varada Mudra.
University Museum. The Visnudharmottara
In her lower left hand is a Padmanada. She is
seen wearing a Dhoti-type garment, as quoted in the Vachaspatya, describes the
Kuchavandha, Katibandha, Keyura, Kankana, twenty-armed Mahisamardini under the name
Hara and also a big garland of rosary beads of Chandika.39 This Salebhata image can be
hanging upto Her thigh-level. It is a Saumya taken as a rare one. We get another twenty-
aspect of the Devi with a smiling face seen armed Durga image at Bheraghat in the
wearing a Karanda Mukuta and beautiful ear Jabbalpur district of Madhya Pradesh. The
rings. Her Vahana, a roaring lion is sitting near twenty-armed Durga can be dated to the 11th
her right leg. Century A.D. The ten-armed and twenty-armed
images can be taken of the period in between
Another four-handed standing figure of
10th-12th century A.D.
Saumya Durga is of the height of about one
feet and a half is found inside the Jagamohana During the time of the Chauhans also,
of the Nilakanthesvara temple at Dadpur in the Mahisamardini Durga was worshipped as a
Kalahandi district, which can be dated to the principal deity. We get four-handed
Ganga period, i.e. 12th-13th century A.D. Mahisamardini image in the Jagamohana of
wearing a Karanda Mukuta, Patra-kundala, the Samlei temple of Sonepur, and another in
Hara and Katibandha etc. She is seen holding the Gokarnesvara temple precinct of the same
an Ankusa and a Nilotpala flower in her upper town.
78
Orissa Review * October - 2004
79
Orissa Review * October - 2004
29. Journal of the Kalinga Historical Research 36. Letter dated 7th April 1988 of Dr. S.N. Rajaguru
Society, Vol.II, No.2, pp.107-110ff. to this researcher.
30. A Eschmann, H.Kulke and G.C. Tripathy, The Cult 37. S.N. Rajaguru, Inscriptions of Orissa, Vol.IV,
of Jagannath and The Regional Tradition of Bhubaneswar, 1966, p.223f.
Orissa, Manohar, Delhi, 1978, p.130.
38. Dr. Jadumani Mahapatra, An Extant Sculpture of
31. B.C. Mazumdar, Orissa in the Making, p.177ff; Mahisamardini Durga at Patnagarh , Balangir
Journal of the Asiatic Society of Bengal, New Lok Utsav Smaranika-2003, pp.77-78 ff.
Series, Vol.VII, 1911, pp.443-447ff.
39. T.A. Gopinath Rao, "Elements of Hindu
32. J.P. Singh Deo, Cultural Profile of South Kosal, Inconography ", Vol.I, Part-I, Varanasi, 1971,
Gyan Publishing House, Delhi, 1987, p.133 p.346.
(Foot Note No.84).
33. Orissa District Gazetteers, (Sambalpur),
Cuttack, 1971, pp.546-550.
34. Ibid, p.511
35. J.K. Sahu, "Chauhan Rule in Western Orissa,"
(Article), New Aspects of History of Orissa,
Sambalpur University, 1971, p.36. The researcher lives at VR-23, Unit-6, Bhubaneswar.
State Govt. Signed MoU with Jindal Steel and Power Limited
Jindal Steel and Power Limited (JSPL) signed MoU with State Government on 18.10.2004 to set up
a two million tonne capacity steel plant in Keonjhar district. The MoU also envisages establishment
of a 80,000 tonne capacity ferro alloys plant and a 200 MW captive power plant. The entire project
will cost Rs.4000 crore.
Energy Secretary R.N. Bohidar and Vikrant Gujral, Vice-Chairman and Chief Executive Officer,
JSPL signed the MoU on behalf of the State
Government and JSPL respectively in the presence
of Chief Minister Sri Naveen Patnaik, Chief
Secretary, Shri subas Pani and Executive Vice-
Chairman and MD of JSPL Sri Naveen Jindal.
The proposed project will provide
employment to more than 10,000 people in Keojhar
and Angul districts. The company is contemplating
to increase capacity of the proposed steel plant to
six million tonne per annum in the second phase
with an additional investment of Rs.6,000 crore.
The project report of the enhanced capacity will be submitted to the State Government shortly.
The Chief Minister underscored the need for implementation of a comprehensive rehabilitation
package for the affected families. He said, the State Government expects to raise revenue of Rs.300
crore per annum after commissioning of the plant.
80
ORISSA REVIEW
VOL. LXI NO. 3 OCTOBER 2004
BIBEKANANDA BISWAL
Associate Editor
Debasis Pattnaik
Sadhana Mishra
Editorial Assistance
Manas R. Nayak
Cover Design & Illustration
Editorial
Krishi Vigyan Kendra : The Light House for Rural Dr. Ashish Kumar Dash
People Dr. Monoranjan Mishra ... 52
Sarala Dasa, The Originator of the Oriya Literature Debendra Nath Bhoi
Priyadarshini Bakshi ... 57