Barabati Fort
Barabati Fort is a 14th century fort built by the Ganga dynasty near Cuttack, Orissa. The ruins
of the fort remain with its moat, gate, and the earthen mound of the nine-storied palace, which
evokes the memories of past days. Today it sits next to the modern Barabati Stadium, the venue
of various sport events and cultural programs. There is also a temple dedicated to Katak Chandi,
the presiding deity of the city, not far away from the fort.
Location
20°29′1.32″N 85°52′3.36″E20.4837°N 85.8676°ECoordinates:
20°29′1.32″N 85°52′3.36″E20.4837°N 85.8676°E, about 8 km away from the center of the Cuttack, at
the apex of a delta formed by the river Mahanadi on the north and its distributary, the Kathajodi
on the south, and is located at 14.62 metres above sea level.
This medieval fort is situated at
History
Cuttack (or Kataka) was founded by King Nrupa Keshari in 989 AD. King Marakata Keshari
built the stone revetment on the left bank of the Kathajodi in 1006 AD to protect the city from
the ravages of floods. Due to its strategic location, King Anangabhima Dev III shifted his capital
from 'Choudwar Kataka' to the present Cuttack, then known as 'Abhinaba Varanasi Kataka' and
built the fort of Barabati in 1229 AD. Cuttack has witnessed the rule of several dynasties : the
Kesharis, the Gangas, the Gajapatis and the Bhois.
The Chalukya King, Mukundadev Harichandan, built a nine-storey building in the precincts of
Barabati Fort in 1560 AD. This last independent Hindu king of Orissa died fighting the Sultan of
Bengal, Suleiman Karni in 1568 AD. In the fifteenth and sixteenth centuries, Barabati Fort was
defended by two rings of forts on either side of the Mahanadi and the Kathajodi. In 1568 AD, the
city passed to the hands of Afghan rulers of Bengal, then to the Moghul Empire in 1592 and the
Marathas in 1751. Cuttack, with the rest of Orissa, came under the British rule in 1803. The
Bengal-Nagpur Railways connected Cuttack with Madras(Chennai) and Calcutta(Kolkata) in
1919. It became the capital of the newly formed state of Orissa in 1936 and continued to be so
till 1948 when the capital was shifted to Bhubaneswar. The city completed one thousand years of
its existence in 1989.
The ruins of the old Barabati Fort lie on the right bank of the Mahanadi, in the western part of
the city. All that remains of the Fort is an arched gateway and the earthen mound of the ninestoreyed palace. Archaeological surveys reveal that the Fort was roughly rectangular in structure
having an area of over 102 acres (0.41 km2), and it was surrounded on all sides by a wall of
laterite and sandstones. To the west of the mound there is a tank. In the north-eastern corner of
the mound are remains of what once was a temple. The temple was made of whitish sandstone
over foundations of laterite blocks. About four hundred fragments of mouldings and some
mutilated pieces of sculptures have been recovered so far. This temple of the Ganga period
containing a stone idol of Lord Jagannath is in ruins. A mosque built by Nawab Murshid Quli
Khan, governor of Emperor Aurangzeb in 1719 CE still exists.(Ref: Imperial Gazetteer of
India,1901)
Konark Sun Temple
Sun Temple, Konark*
India
State Party
Type
Cultural
Criteria
i, iii, vi
Reference
246
Region**
Asia-Pacific
Inscription history
Inscription
1984
(8th Session)
* Name as inscribed on World Heritage List.
Konark Sun Temple is a 13th-century Sun Temple (also known as the Black Pagoda), at
Konark, in Orissa. It was constructed from oxidizing and weathered ferruginous sandstone by
King Narasimhadeva I (1236-1264 CE) of the Eastern Ganga Dynasty. The temple is one of the
most well renowned temples in India and is a World Heritage Site. It is one of the Seven
Wonders of India (as per the poll collected by NDTV).
] Architecture
The temple takes the form of the chariot of Surya (Arka), the sun god, and is heavily decorated
with stone carving. The entire complex was designed in the form of a huge chariot drawn by
seven spirited horses on twelve pairs of exquisitely decorated wheels.
The entrance is guarded by two giant lions, which are each shown crushing a war elephant. Each
elephant in turn lies on top of a human body. The temple symbolizes the majestic stride of the
Sun god. At the entrance of the temple is a Nata Mandir. This is where the temple dancers used
to perform dances in homage to the Sun god. All around the temple, there are various floral and
geometric patterns.The temple is now partly in ruins, and a collection of its sculptures is housed
in the Sun Temple Museum, which is run by the Archaeological Survey of India. The poet
Rabindranath Tagore wrote of Konark: "Here the language of stone surpasses the language of
man."
The Sun Temple, built in the thirteenth century, was conceived as a gigantic chariot of the Sun
God, with twelve pairs of exquisitely ornamented wheels pulled by seven pairs of horses.
Majestic in conception, this temple is one of the most sublime monuments of India, famous as
much for its imposing dimensions and faultless proportions as for the harmonious integration of
architectural grandeur with plastic allegiance. Every inch of the temple is covered with sculpture
of an unsurpassed beauty and grace, in tableaux and freestanding pieces ranging from the
monumental to the miniature. The subject matter is fascinating. Thousands of images include
deities, celestial and human musicians, dancers, lovers, and myriad scenes of courtly life, ranging
from hunts and military battles to the pleasures of courtly relaxation. These are interspersed with
birds, animals (close to two thousand charming and lively elephants march around the base of the
main temple alone), mythological creatures, and a wealth of intricate botanical and geometrical
decorative designs. The famous jewel-like quality of Orissan art is evident throughout, as is a
very human perspective which makes the sculpture extremely accessible.
Konark Sun Temple at Night
The temple is famous for its erotic sculptures, which can be found primarily on the second level
of the porch structure. It will become immediately apparent upon viewing them that the frank
nature of their content is combined with an overwhelming tenderness and lyrical movement. This
same kindly and indulgent view of life extends to almost all the other sculptures at Konark,
where the thousands of human, animal, and divine personages are shown engaged in the full
range of the 'carnival of life' with an overwhelming sense of appealing realism. It is admittedly
the best in Orissa. Its fine traceries and scrollwork, as well as the beautiful and natural cut of
animal and human figures, give it a superiority over other temples.
The Sun temple belongs to the Kalinga school of Indian temples with characteristic curvilinear
towers mounted by cupolas. In shape, the temple did not make any major departure from other
sikhara temples of Orissa. The main sanctum which (229 ft. high) was constructed along with the
audience hall (128 ft. high) having elaborate external projections. The main sanctum which
enshrined the presiding deity has fallen off. The Audience Hall survives in its entirely, but only
small portions of the Dancing Hall (nata Mandir) and the Dining Hall (Bhoga-Mandap) have
survived the vagaries of time. The Temple compound measures 857 ft (261 m) by 540 ft (160
m). The alignment of the Sun Temple is on the east-west direction. The Temple is located in
natural surroundings, abounding with casuarina plantations and other types of trees such as
mahogany, rosewood, eel which grow on sandy soil.
History
Stone Work at Konark
The large structure seen today is actually the mantapa (jagmohan). Of the main tower, which
once stood in the front, only the remains can be seen. This tower (deul) was perhaps 200 feet (60
metres) tall, higher than any other temple in India[1].
Kalapahad
A sculpture of Surya - the sun god at Konark
The most popular theory about the root of the fall of Konark temple rests with the Kalapahad, the
general of Bengal Sultan Sulaiman Khan Karrani. According to some accounts Kalapahad was
formerly a Hindu Kayastha [2] officer, however he had converted to Islam[3]. According to
Afsanah-i-Shahan of Shaikh Kabir Batini [4], he was a Batini Afghan. According to the history of
Orissa, Kalapahad invaded Orissa in 1508. He destroyed Konark temple, as well as a number of
Hindu temples in Orissa. The Madala Panji of Puri Jagannath temple describes how Kalapahad
attacked Orissa in 1568. Including Konark temple, he broke most of the images in most of the
Hindu temples in Orissa. Though the stone walls are of 20 to 25 feet (7.6 m) thick, he somehow
managed to displace the Dadhinauti (Arch stone) and thus caused the tower to collapse. He also
damaged most of the images and other side temples of Konark. Due to displacement of the
Dadhinauti, the tower gradually collapsed and the roof of the Mukasala was also damaged, due
to the stones falling down from the temple top.
Orissa came under Muslim control in 1568. There were constant attempts to destroy the Hindu
temples. The Pandas (priests) of Puri, to save the sanctity of the Puri temple, took away the Lord
Jagannath from the Srimandir and kept the image in a secret place. Similarly, it is said that the
Pandas of Konark took away the presiding deity of the Sun temple and buried it under the sand
for years. Latter on the image was said to have been removed to Puri and kept in the temple of
Indra, in the compound of the Puri Jagannath temple. According to others, the Puja image of the
Konark temple is yet to be discovered. But others hold the view that the Sun image now kept in
the National Museum of Delhi was the presiding deity of the Konark Sun temple.
The Sun worship in the Konark temple ended upon the removal of the sacred image from the
temple. This resulted in the end of pilgrimages to Konark. The port at Konark was also closed,
due to pirate attacks. Konark was as glorious a city for Sun worship as it was for commercial
activities, but after the cessation of these activities, Konark became deserted and was left to
develop as a dense forest for years.
In 1626 the then king of Khurda, Raja Narasimha Dev, son of Purusottam Dev, took away the
Sun image to Puri along with two other moving deities - Sun and Moon. Now they are found in a
temple in the compound of Puri Jagannath temple.
As described earlier there was a big block of stone called Navagraha Paata placed in front of the
Mukhasala. The then king of Khurda removed the block. The king had taken away many
sculptured stones from Konark and constructed some portions of Puri temple with them. During
Marahatta's time the outer compound wall of the Puri temple was constructed of stones from
Konark temple.
It is reported that among all the temples the Naata Mandir or the Dancing hall of Konark was in
its original form for the longest period, and that it was broken intentionally since it was
considered an unnecessary structure during the Maratha administration.
In the year 1779, a Marhatta Sadhu had taken away the Arun Pillar from Konark and put it in
front of the Lion's Gate of Puri Jagannath temple. Thus by the end of 18th century Konark lost
all its glories and had been turned to a dense forest. In course of time, the temple area thus
became devoid of people, covered with dense forest, full of sand, filled with wild animals and
became the abode of pirates. It is said that even the locals feared to go to Konark in broad
daylight.
Sisupalgarh
Sisupalgarh or Sishupalgarh are a ruined fortification in Khurda District in Orissa, India. It is
the largest and best preserved early historic fortification in India.[1]
Description
The remains of the ancient city Sisupalgarh has been discovered near Bhubaneswar,capital of an
eastern state of Orissa in India.Archaelogists claim the city to be at least 2,500 years old.On the
basis of the architectural pattern and artefacts discovered during the early excavations, Prof Lal
concluded that this fort city flourished between 3rd century BC and 4th century AD.On the basis
of the new findings, Ms Smith and Mr Mohanty claim that the fortified city flourished from
around 5th century BC and probably lasted well after the 4th century. The population of the city
could have been about 20,000 to 25,000.Archaeological scientists have employed geophysical
survey, systematic surface collections and selected excavations in the 4.8km perimeter of the
fortified area and studied individual houses and civic as well as domestic architecture to arrive at
the figure.The significance of the population is clear when one bears in mind that the population
of classical Athens was 10,000.However the historians also claim that it is too early to comment
on the population of the city as yet only a part of the city has been excavated. [2] The first
excavations at the site were carried out by Prof BB Lal as far back as in 1948. In 2005 ground
penetrating radar revealed the probable position of the southern moat. A column structure toward
the centre of the fort has been recorded three-dimensionally by means of a laser scanner. These
may belong to an incomplete major structure. This defensive settlement originated during the
Mauryan empire. [3] As at Jaugada, in plan the quadrangular glacis is 1125 x 1115m and tips 10°
clockwise of north. Its defences are the highest known of this period. Two gates pierce each side
of the fortress. The gates themselves measure over 90m in length from the inside to outside and
vary considerably in size, shape and in details of building. The western of the two gates in the
northern glacis seems to be the largest and/or best preserved. The two in the southern glacis are
the smallest. But as year for year the encroaching rice paddies increase in size, these and the
other gates decrease in size. Excavation facets in the gate structures can be seen from the
windows of commercial aircraft which pass by Sisupalgarh on the way in and out of
Bhubaneswar. The settlement probably was not dense, but rather there was room inside the
fortress to graze. [4]
Column ruins in Sisupalgarh.
State of preservation of a column in Sisupalgarh.
Preservation of the remains
Encroachment due to recent urban settelements in the vicinity of the site threatens to engulf a
large part of the fortified city.The major portion of the land that constitutes the ancient city is in
private possession making an archaeological study difficult.With a view to preserve the
archaeological site for future excavations the ASI is contemplating asking the state government
for control over the land. Well-known historian Karuna Sagar Behera has voiced serious concern
over the preservation of material unearthed from the site as he said "Its is a shame that some gold
coins and terracotta pottery found at the place during the first excavation in the late 1940s were
subsequently lost." Measures should be taken to ensure that all the material excavated are
properly preserved for future research. The project is being supported by the National Science
Foundation of India, the National Geographic Society and the Cotsen Institute of Archaeology,
California.
The Leaning Temple of Huma
The Leaning Temple of Huma
The Leaning Temple of Huma
Location within Orissa
Coordinates:
20°40′N 84°35′E20.67°N 84.58°E
Name
Proper name: Huma Gudi
Location
Country: India
State/province: Orissa
Locale: Huma near Sambalpur
Architecture and culture
Primary deity: Shiva
Architectural styles: Stone and limestone Temple
History
Date built: 1660-1788
The Leaning Temple of Huma is the only leaning temple in the world and the only one of its
kind in India.[citation needed] It is located in Huma, a village situated on the left bank of the
Mahanadi, 23 km south of Sambalpur in the Indian state of Odisha. The temple is dedicated to
the Hindu god Shiva.
Nobody knows whether this structure is leaning by design or by default. One interesting fact is
that while the edifice leans, the pinnacle of the temple is perpendicular to the ground. Located in
a calm and serene village environment unspoiled by tourists and pollution, it's actually a marvel.
Architecture
Apart from the main temple the Bhairavi Devi temple is situated to the left of the main temple
and Bhairo temple is situated to the right of the main temple. Temple was rebuilt or renovated by
King Baliar Singh (1660-1690 A.D.), the fifth Chauhan king of Sambalpur. The rest of the
temples were built during the rule of King Ajit Singh (1766-1788 A.D.) of Sambalpur.[1][2]
Main Temple
It is in fact, amusing and wonderful to see a temple in a leaning shape. It reminds us of the
leaning tower of Pisa. The temple is positioned on the rocky cradle just on the bank of the river
Mahanadi. The basis of leaning cannot be assumed to be the technical flaws at the time of
construction. It is also not easily acceptable that weak foundation might have caused leaning
attitude of the temple. In fact, construction of temple is quite favourite of Chauhan Kings as well
known to us from innumerable temples built during their reigns. They had already established
themselves as good builders. Again, the temple is not an enormous structure. There might have
been interior displacement of the rocky bed on which it stands, either due to flood current in the
river Mahanadi or earthquake, thus affecting the straight posture of the original temple.
In other words, the plinth of the temple has deviated slightly from its original arrangement and as
a result, the body of the temple has tilted. there is no denying the fact that this has fascinated the
attention of historians, sculptures and other researchers. The surprising thing is, the main temple
is tilted to one direction and other small temples are tilted to some other directions. Within the
temple complex i.e. within the boundaries of temple, everything found to be in tilted condition
including the boundaries and the angle of inclination is not changed since last 40/50 years as said
by the villagers and priests. The reason of the tilt can be due to some geological reason, may be
the earth crust is uneven in structure. The angle of inclination is yet to be measured.
Legend
The worship of Siva is said to have been initiated by a milkman, who daily crossed the Mahanadi
to a place on the bank where the underlying rock cropped out. Here he daily offered his dole of
milk, which was at once consumed by the rock, and this miraculous circumstance led to
enquiries, which ended in the construction of the present temple.[3]
Annual Fair
An annual fair takes place at the foothill of the temple in March every year on the occasion of
Shivratri, which is a typical village fair with its unforgettable golden chasm. There is a special
type of fish found here known as 'Kudo' fish. They are so tame that they will eat foods from the
hands of those who are on the banks.[2][1]
Biranchi Narayan Sun Temple
The Biranchi Narayan Sun Temple, also known as the Abode of Viranchinarayana or the
Wooden Konark, is a Hindu Temple located in the town of Buguda in Ganjam, Orissa.
This the second Surya temple constructed in Orissa, after the famous Konark Sun Temple.
] Construction
The temple was constructed by King Srikara Bhanjadeva in 1790. The presiding deity at the
temple is Biranchi Narayan, whose image was recovered ruins at Maltigad. The imagery also
features a chariot driven by seven horses with one wheel on its left side, with Surya as the
chariot-driver.
The roof of the temple is constructed on a total of 46 pillars (32 of shorter height and 14 of taller
height), and contains intricate wood designs. Unlike the Konark temple, which faces east, the
Birachi Narayan Sun Temple faces west. Consequently, while at Konark sun rays of the rising
sun shine on the installed Surya, at the Biranchi Narayn Temple the rays of the setting sun fall on
Surya's feet.
Wooden Konark
As per the desire of the king, the main God of the temple is made in wood. According to a
legend, the stone image of the Surya is constructed in line off the main wooden image of lord
Surya.The similarities of the stone image with the wooden image confirms that it is constructed
later on. Regarding the stone image there is a legend. It states that after the construction of the
temple, one day the king dreamt that the God Viranchi Narayan himself, came and told him "Oh
King! Now I am without being worshipped laying in a neglected conditions at the foot heels of
Malatigad mountain near Keshripalli of Ganjam District.I will be happy if you will bring me to
your newly setup temple. The next day the king reached in the said place and came to know from
a farmer that, while sharping his sword in a stone, he has marked that blood came out from that.
Then people dug out the stone and found that it is like a statue with seven horshes, one wheel and
Sun God.
Biranchinarayan Temple, Palia
Sri Biranchinarayan Temple is in Palia village, which is located 15 km south of Bhadrak, on
the way from Bhadrak to Chandabali. It occupies a significant place in the cultural map of Orissa
state of India. Today, the standing Biranchi Narayan Temple stands as evidence of the heritage
of Surya Upasana in Orissa. Biranchi Narayan is another name for Lord Surya, the Sun God of
light and lustre. The existing temple is dedicated to Biranchi-narayan, who is enshrined as a
roughly four-faced image of the Sun. A square stone slightly tapering towards the top contains
four carved images of the Sun god in relief, on the four sides of a slab. The figures hold two
lotuses in two hands, as usual, and are depicted standing on chariots drawn by seven
horses.Architecturally, the temple can be dated to the 13th century. It was renovated and
reconstructed in the beginning of the 20th century by the generosity of a local zamindar.
] Architechture
In general the structure exhibits the Kalingan style of temple architecture.The peculiarities of the
temple include the two door-jambs of the eastern door, which probably originally belonged to a
Saiva temple and were reused in the present temple during a renovation. The sculptures and
carvings of the two door jambs bear a close resemblance to the Siva temples of Bhubaneswar and
Khiching of the 10th or 11th century A.D.
Festivals

Ratha Saptami or so called Maagha Saptami.

Samba Dashami
Transport
Bhadrak is the nearest railway station which is between Bhubaneswar and Howrah.Lots of taxies
and bus facilities are there for Paalia.
Ratha Saptami
Ratha Saptami
Surya - the Sun god with consorts Saranyu and Chhaya
Also called Surya Jayanti, Magha Saptami
Observed
Hindus
by
Begins
Seventh day (Saptami) of the bright half of
the Hindu month Maagha
Ends
January/February
2009 date
February 2
2010 date
January 22
Related to
Worship of Sun god Surya
Ratha Saptami or Rathasapthami (Sanskrit: रथसप्तमी, Telugu: రథ సప్త మి, Kannada:ರಥಸಪ್ಥಮಿ)
or Magha Saptami is a Hindu festival that falls on the seventh day (Saptami) in the bright half
(Shukla Paksha) of the Hindu month Maagha. It marks the seventh day following the Sun’s
northerly movement (Uttarayana) of vernal equinox starting from Capricorn (Makara). It is
symbolically represented in the form of the Sun God Surya turning his Ratha (Chariot) drawn by
seven horses (representing seven colours) towards the northern hemisphere, in a north-easterly
direction. It also marks the birth of Surya and hence celebrated as Surya Jayanti (the Sun-god’s
birthday).
Ratha Saptami is symbolic of the change of season to spring and the start of the harvesting
season. For most Indian farmers, it is an auspicious beginning of the New Year. The festival is
observed by all Hindus in their houses and in innumerable temples dedicated to Surya, across
India.[1] [2][3]
] Background
Surya's chariot
Sun worship is deep rooted in the Vedas of the [Hindu religion and its antiquity also relates to
several mythologies of the world such as that of China, Egypt and Mesopotamia. The Gayatri
Mantra jap – the sacred Vedic chants to Savitr (Sun god) – is recited by the Hindus every day
with great reverence. As the puranic Hinduism evolved around the early Christian era, the
worship of Sun, linked to the equinoxes, was established.[3][2]
In the Rig Veda Mandala 10/Hymn 85, the sun god's bride seated on a chariot pulled by two
steeds is mentioned. This symbolism is therefore common to both Norse mythology and Vedic
history.
The relevant verses (translated from Sanskrit by Ralph Griffith) are as follows:
10. Her spirit was the bridal car; the covering thereof was heaven: Bright were both Steeds that
drew it when Surya approached her husband's, home.
11. Thy Steeds were steady, kept in place by holy verse and Sama-hymn: All cars were thy two
chariot wheels: thy path was tremulous in the sky,
12. Clean, as thou wentest, were thy wheels wind, was the axle fastened there. Surya, proceeding
to her Lord, mounted a spirit-fashionied car.
Religious significance
Ratha Saptami marks the seventh day following the Sun’s northerly movement (Uttarayana) of
vernal equinox starting from Capricorn (Makara). It is symbolically represented in the form of
the Sun God Surya turning his Ratha (Chariot) drawn by seven horses, with Aruna as the
charioteer, towards the northern hemisphere, in a north-easterly direction. The symbolic
significance of the ratha and the seven horses reigned to it is that it represents the seven colours
of the rainbow. The seven horses are also said to represent the seven days of a week starting with
Sunday, the day of Sun god Surya. The chariot has 12 wheels, which represents the 12 signs
(each of 30 degrees) of the Zodiac (360 degrees) and constituting a full year, named Samvatsara.
The Sun’s own house is Leo (Simha) and he moves from one house to the next every month and
the total cycle takes 365 days to complete. The Ratha Saptami festival seeks the benevolent
cosmic spread of energy and light from the Sun God.[1]
Ratha Saptami also marks the gradual increase in temperature across South India and awaits the
arrival of spring, which is later heralded by the festival of Ugadi or the Hindu lunar New Year
day in the month of Chaitra.
Legends
Ratha Saptami also marks the birth of Surya to sage Kashyapa and his wife Aditi and hence
celebrated as Surya Jayanti (the Sun-god’s birthday). A legend is narrated by the Kamboj
empire’s King Yashovarma, a noble king who had no heir to rule his kingdom. On his special
prayers to God, he was blessed with a son. The king’s vows did not end with this, as his son was
terminally ill. A saint who visited the king advised that his son should perform the Ratha
Saptami pooja (worship) with reverence to rid of his past sins. Once the King’s son performed
this, his health was restored and he ruled his kingdom well.[citation needed] It is also said that sage
Bhisma breathed his last breath a day after the Rathasaptahmi day.
Sun temples
There are Surya temples all across India where
Sun Temples in India
Ratha Sapthami is fervently celebrated.
However, the most famous one is the World
Heritage Site of the Konarak Sun Temple, in
Konark, Orissa. Besides Konark, there is
another sun temple in Orissa, the Biranchi
Narayan Temple (Biranchi khetra) in Buguda,
Ganjam District. There are sun temples in
Modhera, Gujarat, created by king Bhimdev of
the Solanki dynasty, in Arasavalli, Andhra
Surya idol at Konarak
Sun Temple, Modhera
Pradesh and in clusters of Navagraha temples
temple
in Tamil Nadu and Assam. The Sun Temple at
Martand (Jammu and Kashmir) and Sun
Temple of Multan are temples, which were destroyed during Muslim conflicts in the past. Details
of few temples are elaborated.[1]
Konarak
The Konarak Sun Temple is a World Heritage Site and one of the Seven Wonders of India, as compiled by
the Times of India in 2007.[4] It takes the form of the chariot of Surya (Arka), the Sun god, and is heavily
decorated with stone carving. The entire complex was designed in the form of a huge chariot drawn by
seven spirited horses on twelve pairs of exquisitely decorated wheels. It was constructed from oxidizing
and weathered ferruginous sandstone by King Narasimhadeva I (1236–1264) of the Eastern Ganga
Dynasty. At the entrance of the temple is the Nata Mandir, where the temple dancers used to perform
dances in homage to the Sun god. All around the temple, there are various floral and geometric patterns
and human, divine and semi-divine figures in sensual poses.
Ratha Saptami is celebrated with a holy dip on Chandrabhaga beach at Konark, though this rite
has nothing to do with the temple, which is abandoned and has no religious significance in
present-day Hinduism.[5][6]
Modhera Temple
This Sun Temple was built by Raja Bhimdev I of Solanki Dynasty in 1026 and is dedicated to
Lord Surya, the Sun God of Hinduism. This was the time when Somnath and the adjoining area
was plundered by Mahmud Ghazni and reeled under the effects of his invasion. The Solankis,
however, regained much of their lost power and splendour. Anahilvad Patan, the Solanki capital,
was restored to glory. Royalty and traders jointly contributed to build grand temples.
Solankis were considered to be Suryavanshis, or descendants of Sun god and they ruled as
Rajputs of Marwar. The temple was so designed that the first rays of the Sun fell on the image of
Surya, the Sun God, at the time of equinoxes.
Suryanar Temple
This temple in Tamilnadu, called the Suryanar koil, is located 22 kilometres from Kumbakonam.
This temple pre-dates even the great Sun God temple in Konarak. It was built by Kulottungan I.
The temple has a fifty feet gopuram (tower) and at the entrance the image of horses and the
chariot of Surya appear. Around the Sun’s main sanctum, which is central to the temple, there
are shrines for all the other planets in the galaxy of nine planets. It is noted for its Navagraha
kshetra (Nine plants place). People visit this temple daily in large numbers to propitiate the Sun
God (considered as the chief of the planets in Indian astrology). Ratha Sapthami is celebrated as
a festival day here. It is stated in one of the inscriptions found in the temple that it was built in
the reign of Kulottunga Choladeva (AD 1060-1118) and was then called KulottungacholaMarttandalaya.
Religious observances
Surya, the Sun God
God Vishnu in his form as Surya (the Sun-God) is usually worshipped on this day. Usually,
Rathasapthami begins in households with a purification bath (bathing is also done in a river or
sea) by holding several Ekka (Calotropis Gigantea) leaves on their head while bathing and
chanting a verse which is supposed to invoke the benevolence of the Lord in all that one indulges
in during the rest of the year. Argyam or (Tharpanam) (water held in the palms) is offered to the
Sun God on this day while chanting hymns are performed to the Sun God. It also involves doing
a puja with the ritual Naivedhya (food offering to God), and offering of flowers and fruits.
Important prayers offered to the Sun god on this occasion are the Adityahridayam, Gayathri,
Suryashtakam, Surya Sahasram namam. The preferred time for the pooja is within one hour after
sunrise.[7][1] In places like Mysore and Melkote, ceremonial processions carry the Surya Mandala
- the icon of Surya. [7]
Ekka leaves (in Kannada), are also known as Arka (in Sanskrit, meaning a ray or flash of
lightning) leaves, Jilledu in Telugu, Erukku in Tamil and Calotropis Gigantea (bowstring hemp)
in English. Arka is also a synonym for Surya or Sun. Its significance to Sun God could be
compared to the significance of Tulsi (Ocimum tenuiflorum) leaves to Vishnu. Arka leaves are
also used for worship of god Ganesha known by the name Arka Ganesha and also for Hanuman
worship. Its stems, called samidha (sacrificial offerings of wood) are used for the Yagna ritual as
a sacrificial offering to a ritual fire. Its shape is said to represent the shoulders and chariot of Sun
God. Its use during the ritualistic ceremonious bath involves placement of seven leaves - one on
the head, two on the shoulders, two on the knees and two on the feet.[1]
In some of the important Vaishnavite temples such as the Tirumala, Srirangam and Melukote,
Ratha Saptami is one of the important festivals of the year. A one-day Brahmotsavam is held in
Tirumala, and the Utsava Murthy is conducted in a variety of vahanams (vehicles) around the
main temple precincts during the day.[7]
On this day, in South India, Rangoli is drawn with coloured rice powder depicting a chariot and
seven horses as symbolic of the Ratha Saptami. Cowdung cake is also burnt at the centre of this
depiction and milk boiled on the fire is offered to the Sun God.
Other Sun festivals
There are other festivals dedicated to Sun God Surya in India. Makara Sankaranti is the most
widely celebrated Hindu festival dedicated to the Sun God. It is celebrated as Makara Sankranti
throughout India and as Pongal also known as Thai Pongal by Tamils all over the world. People
thank the Sun God for ensuring a good harvest and dedicate the first grain to him. Chhath is
another Hindu Festival dedicated to Surya. It is believed to have been started by Karna, the son
of Surya, who became a great warrior and fought against the Pandavas in the Kurukshetra War.
Chhath is unique to Bihar, Jharkhand and the some parts of Uttar Pradesh.
Biranchi Narayan Sun Temple
The Biranchi Narayan Sun Temple, also known as the Abode of Viranchinarayana or the
Wooden Konark, is a Hindu Temple located in the town of Buguda in Ganjam, Orissa.
This the second Surya temple constructed in Orissa, after the famous Konark Sun Temple.
] Construction
The temple was constructed by King Srikara Bhanjadeva in 1790. The presiding deity at the
temple is Biranchi Narayan, whose image was recovered ruins at Maltigad. The imagery also
features a chariot driven by seven horses with one wheel on its left side, with Surya as the
chariot-driver.
The roof of the temple is constructed on a total of 46 pillars (32 of shorter height and 14 of taller
height), and contains intricate wood designs. Unlike the Konark temple, which faces east, the
Birachi Narayan Sun Temple faces west. Consequently, while at Konark sun rays of the rising
sun shine on the installed Surya, at the Biranchi Narayn Temple the rays of the setting sun fall on
Surya's feet.
Wooden Konark
As per the desire of the king, the main God of the temple is made in wood. According to a
legend, the stone image of the Surya is constructed in line off the main wooden image of lord
Surya.The similarities of the stone image with the wooden image confirms that it is constructed
later on. Regarding the stone image there is a legend. It states that after the construction of the
temple, one day the king dreamt that the God Viranchi Narayan himself, came and told him "Oh
King! Now I am without being worshipped laying in a neglected conditions at the foot heels of
Malatigad mountain near Keshripalli of Ganjam District.I will be happy if you will bring me to
your newly setup temple. The next day the king reached in the said place and came to know from
a farmer that, while sharping his sword in a stone, he has marked that blood came out from that.
Then people dug out the stone and found that it is like a statue with seven horshes, one wheel and
Sun God.
Festivals
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Ratha Saptami or Tila Saptami in the month of Maagha
Samba Dashami in the month of Pausha
On Every Sunday,Sankranti.
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Samba Dashami
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It is a festival unique to Orissa and is celebrated on 10th day of the Sukla Paksha of
Pausha Masa. Legends say that Samba, the son of Lord Krishna, was afflicted by leprosy
and he was cured by Surya, the Sun God, after 12 years of penance near Konark. So on
this day, all mothers pray to Sun God to keep their kids healthy.
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Tradition
On this day, female folks of thefamily wake up early in the morning before sun rise. After
bath,they prepare variety of food items like, Khichdi, Udiya Puli,Ghadghadia Tarkari (a
curry item) and offer them to Sun God during sun rise. One of the specific characters of
this ritual is variety of individual food item is offered to Sun God in the name of each
member of the family,After that female folks of the families go on preparing variety of
Pitha (Cake) like; Manda Pitha, Kakara Pitha, Arisha Pitha, BiriLaddoo and other items
like MakarChaula, Chhenaguda,, DhanuMuaan, sweet dishes like Khiri,Rasagola, Jhilli,
Chhenagaja, Sweet Curd etc. all over the day. In the noon time, a bowl of turmericwater
with a beetle in it is taken to ‘chaunra mula’ (a small temple likes tructure with a Tulsi
plant overhead). All the cooked foods are served in plates. Then female heads of the
family see the face of Sun God through the bowl of turmeric water and offer all the
cuisine to the God. They readthe legend of ‘Samba Dasami Brata Katha’ and pray for the
well-being of the whole family members.In the late night or evening, anotherpuja is
observed as a part of SambaDasami ritual. This is known as‘Mahakala Puja’. Special
Budha Chakuli is offered to Yama.
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Ashtapadi
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From Wikipedia, the free encyclopedia
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[edit] Ashtapadis of 'Gitagovinda'
Jump to: navigation, search
Ashtapadis or Ashtapadi hymns are regular compositions of music in India where there
are eight lines (steps) within the composition. Each song of Ashtapadi is set in a special
raga and tala. It is a rhyme of eternal love and supreme devotion.The literal meaning of
"Ashtapadi" is "eight steps" (The same name is used for Ashtāpada, an Indian
boardgame,the forerunner of chess).
Gita Govinda was composed in the 12th century by Indian poet Jayadeva in Sanskrit
language. Gita govindam is a lyrical poetry in twelve chapters, sub-divided into twenty
four divisions called Prabandha. The songs in Gita Govinda symbolize the eternal love of
Lord Krishna and his beloved Radha.
Hirakud Dam
Hirakud Dam
Floodgates of Hirakud Dam
Official name
Hirakud Dam
Locale
Hirakud Dam
21°34′N 83°52′E21.57°N
Coordinates
83.87°ECoordinates:
21°34′N
83°52′E21.57°N 83.87°E
Construction began 1948
Opening date
1957
Construction cost
100 Crore Rs in 1957
Dam and spillways
Type of dam
Dam and Reservoir
Length
4.8 Km & 25.8 Km
Height
60.96 Mtr
Impounds
Mahanadi
Spillway capacity
42,450 cubic metres per second
(1,499,000 cu ft/s)
Reservoir
Capacity
5896,000,000 m³
Catchment area
83400 sq km (32200 sq miles)
Power station
Installed capacity
307.5 MW
Hirakud Dam (Oriya: ହିରାକୁଦ ବଂଧ) is built across the Mahanadi River, about 15 km from
Sambalpur in the state of Orissa in India. Built in 1957, the dam is one of the world's longest
earthen dam.[1] Behind the dam extends a lake, Hirakud Reservoir, 55 km long. Hirakud Dam is
one of the longest dams in the world, about 16 mi (26 km) in length. It was the first major
multipurpose river valley project started after India's independence. The name of the dam is
mostly mis-pronounced in North India as Hirakund which is actually Hirakud.
] Construction history
Before the devastating floods of 1937, Sir M. Visveswararya proposed a detailed investigation
for storage reservoirs in the Mahanadi basin to tackle the problem of floods in the Mahanadi
delta. In 1945, under the chairmanship of Dr. B. R. Ambedkar, the then Member of Labour, it
was decided to invest in the potential benefits of controlling the Mahanadi for multi-purpose use.
The Central Waterways, Irrigation and Navigation Commission took up the work.[2]
On 15 March 1946, Sir Howthrone Lewis, then the Governor of Orissa, laid the foundation stone
of the Hirakud Dam. A project report was submitted to the government in June 1947. Pandit
Jawaharlal Nehru laid the first batch of concrete on 12 April 1948. The dam was completed in
1953 and was formally inaugurated by Prime Minister Jawaharlal Nehru on 13 January 1957.
The total cost of the project was Rs. 100.02 crores (in 1957. Power generation along with
agricultural irrigation started in 1956, achieving full potential in 1966.[2]
Technical details
Dyke
Sasan Canal
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Length Total = 25.8 Kilometers [2]
Length = 4.8 Kilometers [2]
Artificial Lake = 743 Sq. Kilometers [2]
Irrigated Area(both crop) = 235477 Hectors [2]
Area lost in construction of Dam = 147,363 acres (596.36 km2) [2]
Power Generation = 307.5 MW [2]
Cost = Rs.100.02 crores (in 1957) [2]
Top dam level = R.L 195.680 Mtr [2]
F.R.L/ M.W.L = R.L 192.024 Mtr [2]
Dead storage level = R.L 197.830 Mtr [2]
Total quantity of earth work in Dam = 18,100,000 m³ [2]
Total quantity of concrete = 1,070,000 m³ [2]
Catchment = 83400 Sq. Kilometers [2]
Structure
The Hirakud Dam is a composite structure of earth, concrete and masonry. Ten km north of
Sambalpur, it is the longest major earthen dam in the world, measuring 24 km including dykes,
and stands across the river Mahanadi. The main dam has an overall length of 4.8 km[2] spanning
between two hills; the Lamdungri on the left and the Chandili Dunguri on the right. The dam is
flanked by 21 km earthen dykes on both the left and right sides, closing the low saddles beyond
the adjoining hills. The dam and dykes together measure 25.8 km.[2] It also forms the biggest
artificial lake in Asia, with a reservoir holding 743 km² at full capacity, with a shoreline of over
639 km. There are two observation towers on the dam one at each side. One is "Gandhi Minar"
and the other one is "Nehru Minar". Both the observation towers present breathtaking views of
the lake.
Purpose
In the upper drainage basin of the Mahanadi River, centered on the Chattisgarh Plain, periodic
droughts contrast with the situation in the lower delta region where floods may damage crops.
The dam was constructed to help alleviate these problems by creating a reservoir and controlling
river flow through the drainage system.[3] The dam regulates the flow of the Mahanadi River and
produces hydroelectricity through several hydroelectric plants.[4]
The dam helps control floods in the Mahanadi delta and irrigates 75,000 square kilometres of
land. Hydroelectricity is also generated. The Hirakud Dam regulates 83,400 km² (32,200 mi²) of
Mahanadi's drainage. The reservoir has a storage capacity of 5.818 km³ with gross of
8.136 km³.[2]
It drains an area of 133,090 km², more than twice the area of Sri Lanka. The amount of earth,
concrete and masonry materials used to build the dam is sufficient to make a road 8 metres wide
and pave it from Kanyakumari to Kashmir and from Amritsar to Dibrugarh in Assam. With
successful irrigation provided by the dam, Sambalpur is called the rice bowl of Orissa. Here
photography is strictly prohibited.
The project provides 1,556 km² of kharif and 1,084 km² of rabi irrigation in districts of
Sambalpur, Bargarh, Bolangir, and Subarnpur. The water released by the power plant irrigates
another 4360 km² of CCA in Mahanadi delta. The dam can generate up to 307.5 MW of
electrical power through its two power plants at Burla, on the dam's right bank and Chiplima,
22 km downstream from the dam. In addition, the project provides flood protection to 9500 km²
of delta area in district of Cuttack and Puri. Source: Dilip Kumar Padhi VU2DPI
Chiplima has gained prominence as the second hydroelectric project of the Hirakud Dam. A
natural fall of 80 to 120 feet (25 to 40 m) in the river Mahanadi is used to generate electricity.
The place is mostly inhabited by fisherman, whose deity ghanteswari is very popular in the
neighbouring area. The State Livestock Breeding Farm and Agricultural Farm are located here.
People affected by the dam construction
The main purpose of the Hirakud Dam was to check the massive flood that was effecting a large
part of coastal Orissa. But construction of the dam greatly affected the native of western part of
Orissa. Nearly 150,000 people were affected by the Hirakud project. Nearly 22,000 family were
displaced by the dam project.
In the original estimate, an amount of Rs 12 crores was provided for payment of compensation to
the affected people. After revision, the amount was reduced to Rs 9.5 crores and the total
compensation paid to the people was, in reality, only Rs 3.32 crores. A large number of families
were evacuated from their hearth and homes without compensation from 1956 onwards.[5]
Cattle Island
Cattle Island is located in one of the extreme points of Hirakud Reservoir, a natural wonder.
Completely inhabited by wild cattle, with out any trace of humans. It is near Kumarbandh village
of Belpahar-Banharpali range which is about 90 km from Sambalpur. It can be reached by launch
from Hirakud Dam, it is closer by 10 km via the river. The island is a submerged hill, and before
the construction of Hirakud Dam it was a developed village. During the resettlement period,
villagers left some of their cattle behind; when the dam construction was over, the cattle settled
on the hilltop. With the passage of time the nearby area filled up with the reservoir water, turning
the hilltop into an island. Being away from mankind, the cattle are now wild, very swift and not
easily caught. Living on a hilltop with dense forest, they are larger than tame cattle, almost all of
which are white in colour. Nearby residents attempt to capture these animals from time to time,
but these hunts are rarely successful. Though descended from tame cattle, these animals provide
a contrasting picture of this breed of animal returning to life in the wild.[6]
Wildlife
The dam with the channel provides an ideal environment for the wildlife. The Debrigarh wildlife
sanctuary is located here.[7] Several species of migratory birds visit the reservoir during winter.
Nearly 20-25 species of birds are seen in the reservoir and common among them are Common
Pochard, Red-crested Pochard, Great Crested Grebe and several others.[8]
Sambalpur
Sambalpur
- Hand Loom City -
— city —
From top left to right: Budharaja Temple, Hirakud, Gandhi Temple, Sitalsasthi
Carnival, Samaleswari Temple.
Sambalpur
Location of Sambalpur
in Odisha
20.67°N 84.58°E20.67°N
Coordinates 84.58°ECoordinates:
20.67°N
84.58°E20.67°N 84.58°E
Country
State
India
Odisha
District(s)
Sambalpur
Population
154,164 (2001)
• Density
• 122 /km2 (316 /sq mi)
Literacy
79.05%
Time zone
IST (UTC+5:30)
Area
• Elevation
• 135 metres (443 ft)
Codes[show]
• Pincode
• 768001
• Telephone • +0663
• Vehicle
• OR15
Website
http://www.sambalpur.nic.in
Seal of Sambalpur
Sambalpur (सम्बलपरु ) ,(ସମ୍ବଲପୁର) is a city in the Sambalpur district of Western Odisha (Kosal),
India. It lies at a distance of 321 km from the state capital Bhubaneswar. Sambalpur is famous
for Hirakud Dam, Sambalpuri Saree, Sambalpuri songs, Sambalpuri dance, The Leaning Temple
of Huma, Gandhi temple [1] and the Sitalsasthi Carnival. In the year 1876, Sambalpur was
established as a municipality. It is currently the headquarters and the largest city of the
Sambalpur district. Sambalpur derives its name from Goddess Samaleswari, an incarnation of
Shakti and the presiding deity of the Samaleswari Temple located in the city.
Etymology
Sambalpur derives its name from that of the Goddess Samalei, an incarnation of Shakti who is
regarded as the reigning deity of the region. In history, it has also been known as 'Sambalaka'.
History
Sambalpur in 1825, Watercolour of the fort at Sambalpur, by an anonymous artist for the Gilbert
Collection, c. British Library [2]
The history of Sambalpur, as depicted by eminent historians, is full of events including Indian
freedom struggle representing the different sections of society. Since Sambalpur is one of the
ancient district of India, which survived even in the prehistoric age, much of the historical
records about the origin and the existence of Sambalpur in the political scenario of Odisha are
still in obscurity.
Sambalpur is mentioned in the book of Ptolemy (Claudius Ptolemaeus) as Sambalaka on the left
bank of river "Manada", now known as Mahanadi, other evidence are available from the records
of Xuanzang, and in the writings of the celebrated King Indrabhuti of Sambalaka of Odra Desha
or Oddiyan (oldest known king of Sambalpur), the founder of Vajrayana Buddhism and the
Lama cult. He has written the book Jñānasiddhi.
French merchant Jean Baptiste Tavernier (1605–1689) in his travel account “Six Voyages en
Turquie, en Perse et aux Indes (1676–77)” translated into English by Valentine Ball as “Travels
in India” (2d ed., 2 vol., 1925) wrote about the numerous famous diamond mines of Sumelpur
(Semelpur), the present day Sambalpur. He states that, 8,000 people were at work in these mines
at the time of his visit, in the dry season at the beginning of February.
In 1540 A.D., the kingdom ruled by the Chauhan dynasty was bifurcated. Southern portion of
river “Ang” was ruled by Narasingh Deb and his brother 'Balaram Deb' received northern part of
the river. Balaram Deb established his new capital at Sambalpur. Sambalpur was ruled by the
Chauhan dynasty till 1800. The kingdom of Sambalpur was also known as Hirakhand and
Sambalpur was its capital[3].
Sambalpur came under the Bhonslas of Nagpur when the Marathas conquered Sambalpur in
1800. After the Third Anglo - Maratha war in 1817, the British Government returned Sambalpur
to the Chauhan king, Jayant Singh but his authority over the other princely states were taken out.
When the last ruler of Sambalpur, 'Narayan Singh', died in 1849 without a direct male heir, the
British seized the state under the doctrine of lapse. Sambalpur was kept under "South west
Frontier Agency" with headquarters at Ranchi. The official language of this region at that time
was Hindi. "South west Frontier Agency" was renamed ‘Chhota Nagpur Division’ in 1854. The
name of Veer Surendra Sai, who fought against the British Rule, is recorded in golden letters in
the history of India's struggle for independence. During the Sepoy Mutiny in July 1857 the
mutineers broke open the prison at Hazaribagh, where Surendra Sai was imprisoned and released
all the prisoners. Surendra Sai fought against the British after reaching Sambalpur. There was no
mutiny in Cuttack division, so Sambalpur was transferred to Cuttack division in 1858 and Oriya
was made the official language of Sambalpur. Sambalpur along with other princely states of
Western Orissa was included in the newly created Chhattisgarh division of Central Province in
1862. In January 1896, Hindi was made official language of Sambalpur. For the people of
Sambalpur, whose mother tongue is Sambalpuri, it made no difference whether Hindi is the
official language or Oriya. Moreover, here people speak Hindi more fluently and correctly than
Oriya. People of Utkal region were employed in large numbers in Government jobs in
Sambalpur. They feared that they will have no future, if Hindi continued as the official language.
They, and some misguided locals, organized a movement for the retention of Oriya language as
the official language. Oriya was re-introduced as the official language of Sambalpur district in
1903 but they demanded amalgamation with Orissa Division as a solution of the language crisis.
This suited Lord Curzon, Sir Andrew Fraser and Mr. Risley, who were bent upon dividing
Bengal on the basis of religion, so that British rule could continue in India. So the demand of
amalgamation was accepted by the British Government during the partition of Bengal in 1905
when Sambalpur and the adjacent Sambalpuri speaking tracts were amalgamated with the Orissa
Division under Bengal Presidency. Bengal's Orissa division became part of the new province of
Bihar and Orissa in 1912, and in April 1936 became the separate province of Orissa. After Indian
Independence in August 15, 1947, Orissa became an Indian state. The rulers of the Princely
states of Western Orissa acceded to the Government of India in January 1948 and became part of
Orissa state.
1825 to 1827, Lieutenant Colonel Gilbert (1785–1853), later Lieutenant General Sir Walter
Raleigh Gilbert, first baronet, G.C.B., was the Political Agent for the South West Frontier with
headquarters at Sambalpur. He made few paintings during his stay at Sambalpur by an unknown
artist which are currently with the British Library and Victoria and Albert Museum.[4]
1956 Hirakud Dam was built across the Mahanadi River at Hirakud and VSSUT started
functioning as University College of Engineering, Burla under Utkal University.
1966 Sambalpur University Act was passed.
1967 Sambalpur university located at Burla started functioning.
1980 A devastating flood inundated parts of Kosal. Even the price of 'choorha' (beaten rice) shot
up to Rs.7 per kg. G.M. College in Sambalpur became a large camp for 6000 flood affected
people. On September 22, when a group of students were collecting donations in the main
business centre, Khetrajpur, 3 kilometres from Sambalpur, they had an altercation with some
traders. In the ensuring clash, Surya Kant Bohidar was beaten up by the traders. Later that
afternoon when a large student contingent went to Khetrajpur, they too were beaten up. The
police remained passive spectators. Prominent businessmen were believed to have personally
assaulted the students. While 30 students were hospitalised, not a single trader was hurt. Though
the students named the businessmen in their FIR, the police took no action against them. The
incident crystallised the latent anger against the powerful trading community. The movement
was not communal, as was made out but was directed against the exploitative practices of the
trading community. It called for action against blackmarketeers and hoarders and demanded that
essential commodities reach those reeling under the floods of September 1980. This movement
later on spread to the other parts of Odisha.[5]
Vajrayana Buddhism
Although it is generally accepted that Tantric Buddhism first developed in the country of
Uddiyana or Odra Desha under King Indrabhuti, there is an old and well known scholarly
dispute as to whether Uddiyana or Odra was in the Swat valley, Odisha or some other place.
1. Indrabhuti, the oldest known king of Sambalpur founded Vajrayana while his sister who
was married to Yuvaraja Jalendra of Lankapuri (Suvarnapur) founded Sahajayana. These
new Tantric cults of Buddhism introduced Mantra, Mudra and Mandala along with six
Tantric Abhicharas (practices) such as Marana, Stambhana, Sammohana, Vidvesan,
Uchchatana and Vajikarana. The Tantric Buddhist sects made efforts to raise the dignity
of the lowest of the low of the society to a higher plane. It revived primitive beliefs and
practices a simpler and less formal approach to the personal god, a liberal and respectful
attitude towards women and denial of caste system.
2. From the seventh century A.D. onwards many popular religious elements of
heterogeneous nature were incorporated into Mahayana Buddhism which finally resulted
in the origin of Vajrayana, Kalachakrayana and Sahajayana Tantric Buddhism. Tantric
Buddhism first developed in Uddiyana, a country which was divided into two kingdoms
Sambhala and Lankapuri. Sambhala has been identified with Sambalpur and Lankapuri
with Subarnapura (Sonepur).
3. Many celebrated Vajrayana Acharyas like Sarah, Hadipa, Dombi, Heruka, Tantipa and
Luipa came from the so-called despised classes. The cult exerted a tremendous influence
over the tribal and despised classes of people of Sambalpur and Bolangir region. It was in
the 9th/10th century A.D. that there appeared seven famous Tantric maidens at Patna
(Patnagarh) region which was then called Kuanri-Patana. These maidens are popularly
known as Saat Bhauni (Seven sisters), namely, Gyanadei Maluni, Luhakuti, Luhuruni,
Nitei Dhobani, Sukuti Chamaruni, Patrapindhi Savaruni, Gangi Gauduni and sua Teluni.
They hailed from so-called the low castes of the society and were followers of
Lakshminkara. Because of their miraculous power and feats; they have been later on
deified and worshipped by the folk people.
4. A systematic analysis of the trend of religious development of the period under review
and circumstantial evidences reveal that Chakra Sambar Tantricism of Tantric Buddhism
gained popularity in the Gandhagiri region. The chief deity of Chakra Sambara Tantra is
Buddha Sambara, the deity whose worship is still popular in China and Tibet. According
to Sadhanamala, god Buddha Sambara is one-faced and two-armed. He appears terrible
with his garment of tiger-skin, garland of heads, a string of skulls round the head, three
eyes and in Âlidhamudrâ, he tramples upon Kalaratri. A number of texts relating to the
procedures of worship of God Buddha Sambara have been coposed by siddhacharyas like
Darikapa, Santideva, Jayadratha and others. King Indrabhuti of Shambala (Sambalpur)
composed Chakra Sambara Stotra, Chakra Sambara Anubandha Samgraha, Chakra
Sambara Tantraraga Sambara Samuchchaya Nama Brutti etc. The philosopher cum king
Indrabhuti became the source inspiration to the adherents of Tantric Buddhist cult in
Kosal including Gandhagiri region.[6]
5. Indrabhuti and Laksminkara, the two royal Buddhist Acharyas creted a mass of followers
to their cults. In the 9th-10th century A.D. the worship and sadhana of Buddha Sambara,
the presiding deity of Chakra Sambara Tantra gained popularity in the Gandhagiri region.
In Gandhagiri which also contained a large number of caves and rock shelters, apparently
of the Vajrayanists and Sahajayanists, the adherents of the cults used to live in seclusion
and practice Kaya Sadhana or Yogic practices along with worshipping god Buddha
Sambara.[7]
6. This Tantric Buddhist Culture greatly affected the religious faith and beliefs of the tribal
of Gandhagiri, so much so that eventually even today one can notice the invocation of
various Buddhist Siddhacharyas and Buddhist deities in the mantras of the tribal to ward
off evil spirits or cure some disease. It is also interesting to note here that Buddha was
worshipped by many tribal in the name of Budharaja. There is also a small hillock at the
heart of present day Sambalpur by the name Budharaja.[8]
Kalki & Shambhala
Kalachakra tantra was first taught by the Buddha to King Indrabhuti, the first dharmaraja of
Shambhala.[2]
"Lord Kalki will appear in the home of the most eminent brahmin of Shambhala village, the
great souls Vishnuyasha and Sumati." (Srimad-Bhagavatam Bhag.12.2.18)[3]
Geography and Climate
Sambalpur is located at 21°.27' North Latitude and 83°.58' East Longitude in Kosal. The average
elevation is 150.75 meters above the mean sea level. The geography of Sambalpur comprises the
following:
Rivers :- The Mahanadi;

Hillocks :- Laxmi Dungri, Budharaja, Brooks Hill (Small hill);

Plain Area :- Mandlia, Sunapali, Durgapali, Dhanupali, Makhnapara, Budharaja,
Bareipali, Burla, Hirakud;

Small Ponds :- 18;

Big Ponds :- 8;

Sea/Gulf :- Nil;
Sambalpur
Climate chart (explanation)
J
F M A M
12
24
28 32
13 15
24
22
37 42
18 25
56
43
27
J
J
A
S
O
N D
100
225
228
191
180
37
40
26
32
25
31
25
32
25
28
31 30 28
20 16 11
average max. and min. temperatures in °C
precipitation totals in mm
River Mahanadi at Sambalpur
Climate
Sambalpur experiences extreme type of climate with hot and dry Summer followed by humid
Monsoon and cold Winter. The hot season commences from 1st week of March and lasts till the
second half of June. In the month of May, temperature rises up to 47°. Similarly in the month of
December, the temperature comes down to 5°C.[9] Sambalpur gets rainfall from South Western
monsoon. The relative humidity is high during rainy season being generally over 75%. After
rainy season the humidity gradually decreases and the weather becomes dry towards the winter.
The best time to visit Sambalpur is between September to March. Heaviest ever recorded rainfall
is 581.9 mm in Sambalpur in 1982 which was the highest ever in Odisha till September 2010.[10]
Demographics
As of 2001 India census,[11] Sambalpur had a population of 154,164. Males constitute 52% of the
population and females 48%. Sambalpur has an average literacy rate of 66%, higher than the
national average of 59.5%: male literacy is 74%, and female literacy is 58%. In Sambalpur, 11%
of the population is under 6 years of age. Now the expected population of Sambalpur is 2,43,649.
Language Spoken
The chief communicative language of the Sambalpur region is Sambalpuri Language. Not much
research has been done on the accent and phonetics of this language, and it is generally
considered to be a dialect of Oriya;[12] however, recent research done at Sambalpur University
claimed Sambalpuri as a distinct language and the University has subsequently introduced a one
year diploma course in Sambalpuri Studies.
Culture
The culture of Sambalpur has its own unique identity. For several hundreds of years the people
of Sambalpur have been an integral part of this and due to their contributions, now Sambalpur
stands uniquely in the cultural diaspora. These developments have made the common
Sambalpuri person stand out in terms of the language he speaks, the cloths that he wears, the
dances that he performs etc.. Several traits of the culture like Sambalpuri language, Sambalpuri
dance, Sambalpuri songs or Sambalpuri sarees have held a national identity and it is now being
admired by people outside this region.
Annual Sital Sasthi Carnival
Sambalpur Lok Mahotsav [13]
A cultural manifestation of the hidden age-old traditional performing art of a vast geographical
area is possible through this annual celebration of the festival in the name of” Lok Mahotsav”.
This festival is by the people, for the people, of the people & a reflection of the socioanthropological evolution of the people of an area. Here “Lok” means “People” only.
Sambalpur Lok Mahostav
Sitalsasthi Carnival [14][15]
The marriage of Lord Shiva and Goddess Parvati is being celebrated as Sitalsasthi for hundreds
of years from now in Sambalpur. People from all walks of life join in large numbers in the
carnival.
Music
The folk instruments which are in vogue in Sambalpur region are Dhole, Madal, Nishan, Tasa,
Pakhoj, Bansi, Bir-Kahali, Gini, Ektara, Muhuri, Ghulgula, Ghunguru, Jhanj etc.. They are
widely used in temples during 'aarti'.
Dhole: It is an age old instrument of Indian folk music. The 'dhole' of Sambalpur is slightly
different in its making and use. It is made from the trunk of a tree. Both the side of the 'dhole' are
of same size. Sambalpur 'dhole' can be used for any type of Sambalpuri folk song.
Madal: The Sambalpuri 'madal' is different from that of all other parts of India. The 'madal' is
made out of fired clay and is like a cylinder. Madal is a drum which is used in slower rhythms.
Most of the danceless songs are accomplished with the Madal.
Nishan: It is made out of iron sheets. The sound emitted by the 'nishan' is heart throbbing. This
is mostly used in worship of Kali or Durga and in the battle field.
Tasha:It is played by two thin bamboo sticks. The sound of 'tasha' creates an atmosphere of
horror, fear and excitement.
Dance
Most of the community dances are connected with a function or the worship of a deity. Colourful
folk dances are enjoyed by the people.
Dalkhai Dance Dalkhai is a ritual folk dance. Songs sung on this occasion are known as Dalkhai
songs. Young girls of Binjhals, Soura and Mirdha tribes perform this dance during Dusserah,
Bhaijuntia and other festive occasions. However, non tribal people also participate in this ritual
dance and songs without hesitation which is an indicator of the tribal and non tribal interaction in
Kosal. The young girls stand in a line or in a semicircular pattern while dancing (Pasayat, 1998,
2003, 2007, 2008, 2009).
Karma Dance
Karma is the most colourful dance of the district. It is mainly a tribal dance in honour of “Karam
Sani”, the deity who grants children, as they believe. Non-tribal people also participate in this
ritual dance and songs. In the beginning the dancers enter the dancing arena in two rows. The
dramers and the singers accompany with rhythmic steps.
Humo and Bauli
These are two playful dances performed generally by young and unmarried girls on special
occasions who sing and dance in groups. The stepping and movements of the dance are very
slow. However, the old and aged women of the villages also play the guiding role during
performance of this songs (Pasayat, 2008).
Koisabadi Dance
This dance is prevalent among the Gond and the Bhuyan tribes. Male dancers take part, holding a
two feet long stick. The songs are mainly based on the immortal love story of Radha and
Krishna.
Architecture
Sambalpur retains its classic sleepy charm, even in the face of rapid, albeit unplanned expansion
and a deluge of retail establishments. Some of the houses along the old part of Sambalpur are
still maintained, and used, like they were, a century ago. A peculiar way the houses in the older
parts of town are arranged is, the gulli system, literally, mazeway. Houses in Patnaikpara,
Nandpara, and along the parallel streets of sansadak and badsadak are examples of the above.
The streets of Badasadak and Sansadak extending from Kunjelpada Chowk to the office of
Sambalpur municipality have a proud heritage.
The architecture in the district attracts people from all over because of its unique designs. The
important historical relics in the district of Sambalpur are the temples built by the Chauhan
rulers. The splendour of Odisha Art and Architecture had reached its climax in 13th century
much before the advent of the Chauhan into Sambalpur region.
The Pataneswari temple of Sambalpur was built by Balaram Dev, the first Chauhan ruler of
Sambalpur in the last part of 16th century. It consists of a sanctum with an enclosed circular
count. The Pataneswari Deity is the temple of Goddess Kali.
The Samalei temple in the town represents the finest Chauhan style of circumvallation round the
sanctum. The image of Samalei is a unique sculpture and appears to be a primitive deity
worshipped by the local people. However, Samalei or Samaleswari is the tutelary deity of
Chauhan dynasty of this area (Pasayat, 1998, 2003, 2007, 2008).
Festivals
Nuakhai
This is the most important social festival of Sambalpur. Generally it takes place during the month
of August and September. Preliminary preparation of the festival starts 15 days before the
occasion. The first grains of the paddy crop, cooked into various dishes are offered to the deities.
There after the eldest member of the family distributes new rice to the junior members of the
family. All the household articles are cleaned. People greet each other. It is a community festival
celebrated by every Hindu family low and high.
Bhaijiuntia
It is mostly known only in the region of Western Odisha. Bhaijiutia festival is celebrated on the
Mahastami Day of Durga Puja. It is a total fasting undertaken by women for the whole day and
night to seek Goddess Durga's blessing for the long life of their brothers.
Puajiuntia
It is another fasting puja of similar austerity for women of the area. The Puajiuntia festival is
observed by mothers to invoke the grace of Lord Dutibahana for the long life and prosperity of
their sons.
Besides the above listed festivals, other religious festivals are observed. These include Shiva
Ratri, Dola Jatra, Durga Puja, Janmastami, Dipavali, Ganesh Puja and Saraswati Puja.
Shiva Ratri mela at Huma attracts a large numbers of devotees. Ratha Yatra is held at almost all
central places of Sambalpur. On the occasion of Makara Jatra, a fair is held at Themra in
Sambalpur.
The most popular festivals celebrated by Muslims are Id-Ul-Fitre, Id-Ul-Juha and Muharram.
The Sikhs also celebrate the birth day of Guru Nanak.
Economy
The economy of Sambalpur is basically dependent on agriculture and trade. Majority of the
residents are either salaried or self employed. Forests play an important role in the economy in
terms of contribution to revenue and domestic product. In the past Sambalpur has been a great
centre of diamond trade. Kendu leaf or Coromandel Ebony or East Indian Ebony (Diospyros
melanoxylon) also forms part of the economy of Sambalpur with many bidi manufacturing units
functioning in Sambalpur [16]. The place is famous for its globally renowned textile bounded
patterns and fabrics locally known as Baandha. Sambalpur is famous for its Hand loom textile
works. Popularly known as Sambalpuri textile. It has earned international fame for its unique
pattern, design and texture. The large number of rice mills found here also contribute to the
economy. Approximately 25 rice mills are functioning in Sambalpur, Burla and Hirakud [17]. The
first rice mill was established in 1953 at Sasan, Sambalpur [17].
Some of the industries located at Sambalpur are:
Hindalco - Aluminium Ingot

Hirakud Industrial Works - Galvanising

Rathi Steel & Power - Sponge Iron
Transport
As Sambalpur is the commercial capital of Western Orissa, it has a well networked transport
facility for commercial and public transportation.
Sambalpur Junction
Road
National Highway 6 which connects Surat to Kolkata passes through this city. It is connected to
Bhubaneswar through National Highway 42. Rourkela-Sambalpur State Highway-10 is presently
being upgraded from a two lane highway to four lane and even six lanes where it is necessary.
An estimated amount of Rs. 1270 crores is to be spent on this upgradation and it is planned in
such a way that by 2017 it will have the capacity to handle 49,000 vehicles everyday.[18]
Rail
Sambalpur is one of the Divisional Headquarters of East Coast Railway [19]. There are four
railway stations namely Sambalpur (Khetrajpur), Sambalpur Road, Hirakud and Sambalpur City
in Sambalpur. There are direct train connections to all the metros and prominent cities across
India. It lacks direct connectivity to Indore, Dehradun and Guwahati.
Air
The nearest Airports are Mana Airport, Raipur (262 km) and Biju Patnaik Airport, Bhubaneswar
(325 km). A new airport is being constructed at Jharsuguda (50 km).[20]
Education
Sambalpur is having one of the best facilities for education in the state with many schools and
universities. Several private institutes are also being run at Sambalpur. Some of the prominent
institutes are:
Sambalpur University [4]
Sambalpur University
The Sambalpur University Act was passed by the Odisha legislature on 10 December 1966, the
university started functioning from 1 January 1967 with Prof. Parsuram Mishra as the first Vice
Chancellor. In the year 1973 the University was shifted to the present campus named Jyoti Vihar
at Burla.

Veer Surendra Sai University of Technology [5]
VSSUT (earlier University College of Engineering, Burla) was established in the year 1956 as
the first engineering college of the state of Odisha. It has already produced more than 10,000
graduate engineers and 2000 post graduates in different fields of engineering and technology.

Gangadhar Meher College (Autonomous), Sambalpur[6]

Women's College, Sambalpur

NSCB College

Hindi Teacher Training College, Sambalpur

Odisha Medical College of Homoeopathy & Research, Sambalpur

VSS Medical College & Hospital, Sambalpur [7]

Lajpat Rai Law College, Sambalpur

Silicon Institute of Technology, Sason, Sambalpur
Places of Interest around Sambalpur
Hirakud
Hirakud Dam is built across the Mahanadi River, about 15 km from Sambalpur. Built in 1956, it
was the first major multipurpose river valley project started after India's independence. The dam
is the world's largest earthen dam [21] and is one of the longest dams in the world, about 16 mi
(26 km) in length. It also forms the biggest artificial lake in Asia, with a reservoir holding
743 km² at full capacity with a shoreline of over 640 km.[22]
The Leaning Temple of Huma
The Leaning Temple of Huma located about 25 km from Sambalpur. The 17th century temple of
Huma leans at an approximate angle of 47 degrees to the west. (Pasayat, 1998, 2003, 2004, 2007,
2008).[23]
Samaleswari Temple
This is the main tempe of Goddess Samaleswari, located on the banks of river Mahanadi.
Sambalpur owes its name to her.[24]
Ushakothi [25]
A wild life Sanctuary, 43 km north east of Sambalpur on National Highway 6 stretching for more
than 130 km, the sanctuary hosts of Elephants, Tigers, Gaurs, Sambars, Black panthers, Deer,
Spotted deer, and Wild bears etc.
Ghanteshwari Temple [26]
As the name indicates there's bells in every direction. Located 33 km south-west of Sambalpur
and on the bank of river Mahanadi, it played an important role for navigation in the past. It was
called a light house without a light. A temple also existed here, of Goddess Ghanteswari from
whom the place got its name. Earlier there were some large bells on this spot and with the help of
wind those created enormous sound which made the navigators aware of this treacherous spot.
This area being the conglomeration of three streams of water of river Mahanadi, the water
current here is very dangerous forming a whirlpool. Due to this many boats get drowned while
nearing this spot. Here the wind blows quite heavily and with the help of it, the bells produce
sound. Now after the construction of Hirakud Dam, this spot became safer. The specialty of this
temple area is thousands of bells hanging everywhere, the only place of its kind in Odisha.
Chiplima [26]
Located about 37 km from Sambalpur, Chiplima is known for a natural fall(24.38 mts in height)
harnessed for generating electricity. It is an ideal picnic spot and also known for harbouring
“Ghanteswari”, the presiding deity of the place. Moreover, the State livestock Breeding Farm
and Agricultural Farm are located here.
Kandhara
Sambalpur also boasts of a pilgrimage-cum-sight seeing spot. Kandhara, 78 km from Sambalpur
in Rairakhol Sub Division, is the birthplace of poet Bhima Bhoi [27], the great propounder of
Mahima Dharma or alternatively known as Alekha Dharma.
Cattle Island [28]
Cattle Island exists in one of the extreme points of Hirakud Reservoir, a natural wonder. It is
near Kumarbandh village of Belpahar-Banharpali range which is about 90 km from Sambalpur.
The island is a submerged hill, and before the construction of Hirakud Dam it was a developed
village. During the resettlement period, villagers left some of their cattle behind; when the dam
construction was over, the cattle settled on the hilltop. With the passage of time the nearby area
filled up with the reservoir water, turning the hilltop into an island. Being away from mankind,
the cattle are now wild, very swift and not easily caught. Living on a hilltop with dense forest,
they are larger than tame cattle, almost all of which are white in colour. Nearby residents attempt
to capture these animals from time to time, but these hunts are rarely successful. Though
descended from tame cattle, these animals provide a contrasting picture of this breed of animal
returning to life in the wild. If the visit to this island is taken by a boat in the Hirakud reservoir
it's an adventurous trip with some of the breathtaking views.
Politics
Sambalpur is part of Sambalpur (Lok Sabha constituency).[29] Current MLA from Sambalpur
Assembly Constituency is Jayanarayan Mishra of BJP, who won the seat in state elections in
2004 and 2000 also. Previous MLAs from this seat were Durgashankar Pattanaik of INC who
won this seat in 1995 and 1990, Sraddhakar Supakar of INC in 1985, Ashwini Kumar Guru of
INC(I) in 1980, and Jhasketan Sahoo of JNP in 1977.[30]
Demand for Separate State
A movement has emerged in this area and majority of the people in this region are demanding a
politically separate Hirakhand/Kosal state from the state of Odisha.
Eminent Personalities
Veer Surendra Sai
Gangadhar Meher
Bhima Bhoi

Veer Surendra Sai [31][32]

Gangadhar Meher [33][34]

Bhima Bhoi [27]

Chandra Sekhar Behera ( 1873–1936):Chandra Sekhar Behera of Sambalpur was a
leading freedom fighter and an active participant in the Non-Cooperation Movement. He
consolidated the National freedom movement in Sambalpur region and merged his
activities with the Indian National Congress. He was a founding member of the National
School of Sambalpur started on lines of Satyabadi Vana-Vidyalaya founded by
Gopabandhu Das. As the chairman of Sambalpur Municipality, he received Gandhijee in
Sambalpur in 1928. Organised a mass movement against illiteracy and untouchability.He
was instrumental in the activities of Utkal Sammilani in formation of the separate
statehood for Odisha. Chandra Sekhar breathed his last on 23 January, 1936.

Satya Narayn Bohidar: Known as the pioneer of Sambalpuri language and grammar,
Satya Narayan Bohidar [35] was born on 1 August 1913 at Sonepur. His formative and
creative years were spent in Sambalpur that produced a good no. of literary translations
and biographies. Fighting against all odds, Sri Bohidar was successful in preparing the
dictionary and grammar specially in Sambalpuri Language which provided a significant
identity to it. Satya Narayan Bohidar died on 31 December 1980, leaving a great legacy
behind him to influence the future generations.

Jadunath Supakar: Born on 10 February 1931 in an artisan’s family of Sambalpur town,
Padmashree Jadunath Supakar [35] was educated from National Arts School of
Shantiniketan. Starting as an artist of portraits, Jadunath earned his name as a great
master of handicraft who continued his undying effort for popularity of forgotten
traditional weaving. Working for national handloom Board, Jadunath tied his hand in
Serriculture. His designs were highly appreciated in London, Paris, New York and he was
engaged in weavers service center, established for the cause of artisans development.
Jadunath was also known for his mastery in playing musical instruments.

Issac Santra: Known for his service and benevolence par excellence, Isaac Santra [35]
was born in the year 1892 at Sambalpur. Being a Christian, he was persuaded by his
family to join a missionary at Bolangir but his interest was different. He graduated as a
doctor from Cuttack and decided to dedicate himself in Leprosy Eradication Mission. He
established a Lepor home at Hatibari, a village surrounded by dense forests and spent his
time in serving the patients. Highly admired by the patients, academic circles in abroad,
even by Mahatma Gandhi during later's visit to Sambalpur for his humanitarianism and
philanthropy, Isaac Santra was honoured by Govt. of India with “Padmashree” award. He
also edited a magazine “Prabhatee”, propounding human values and qualities. He died on
29 August 1968.

Laxmi Narayan Mishra: Eminent freedom fighter, known for his selfless and sincere
service to the motherland, Laxmi Narayan Mishra [35] was born in the year 1906 and had
left school as a student to join India’s freedom movement. He was imprisoned for
seventeen years for his active role in the national struggle for Independence. Jail provided
him advantage to be a scholar and Laxmi Narayan had become a real Pandit with his
education on religion, culture and political thought. He was an expert in the languages
like Sanskrit, Urdu, Bengali, Telugu, Hindi, English and had earned a fame as an
extraordinary orator. He was assassinated during a train journey at Jharsuguda.

Laxminath Bezbarua [36][37][38]

Sashi Bhusan Satpathy (1913–1991) He was an eminent personality of Sambalpur. He
was a famous lawyer and social worker.

Chandrakant Pradhan

General S Padmanabhan He became the 20th Chief of Army Staff of the Indian Army
in September 2000. He was born at Trivandrum in the Indian state of Kerala on the 5th of
December, 1940 and spent his childhood at Samblapur.[39]


Aparajita Mohanty
Nabakishor Mahapatra He is the founder of AM FINANCIAL and is the first youngstar
to bring the craze of indian stock market to western orissa and even to the whole
orissa.Now a days he is considered as the inspiration of many youngstars.popularly he is
now described as the YUBRAJ of western orissa.
Gallery
Huma Temple [40]Mahanadi Bridge at far [41]
Dhanupali Bridge [41]
Given below places near by to Sambalpur in tabular form:Sambalpuri
Language
Sambalpur
University
Veer Surendra Sai University of
Technology, Burla
Western Orissa
Western Orissa Development Council
Maa Samaleswari
Veer Surendra Sai
Nuakhai
Hirakud
Hirakud Dam
Samaleswari Temple
Gangadhar Meher
Sitalsasthi Carnival
Kochinda
Bhukha
Sambalpuri Saree
Sambalpuri Cinema
Veer Surendra Sai Medical
College
Farmers Suicide in Western
Orissa
The Leaning Temple of Huma
Sarat Pujari
Burla, India
Rairakhol
Kuilta
Lalitgiri
Lalitgiri (also known as Naltigiri) is a Buddhist complex in Orissa comprising of major stupas
and monasteries (viharas), similar to Ratnagiri, and together with Ratnagiri and Udayagiri part of
Puspagiri University.
Puspagiri University
Puspagiri University was a prominent Buddhist seat of learning that flourished until the 11th
century in India.[1][2] Today, its ruins lie atop the Langudi hills, low hills about 90 km from the
Mahanadi delta, in the districts of Jajpur and Cuttack in Orissa.[3] The actual university campus,
spread across three hilltops, contained several stupas, monasteries, temples, and sculptures in the
architectural style of the Gupta period.[4] The Kelua river, a tributary of the Brahmani river of
Orissa flows to the north east of Langudi hills, and must have provided a picturesque background
for the university. The entire university is distributed across three campuses on top of the three
adjoining hills, Lalitgiri, Ratnagiri, and Udayagiri.
Puspagiri ranks along with Nalanda, Vikramshila and Takshila universities as one of the primary
institutions of higher learning in ancient India. The three universities were mentioned in the
travelogues of the famous Chinese traveler Xuanzang (Huien Tsang), who visited it in 639 CE,
as Puspagiri Mahavihara,[5] as well as in medieval Tibetan texts. However, unlike Takshila and
Nalanda, the ruins of Puspagiri university were not discovered until 1995, when a lecturer from a
local college first stumbled upon the site.[6][7] The task of excavating Puspagiri's ruins, stretching
over 143 acres (0.58 km2) of land, was undertaken by the Orissa Institute of Maritime and South
East Asian Studies between 1996 and 2006. It is now being carried out by the Archaeological
Survey of India (ASI).[8]
Tourism
ASI has launched a major conservation effort, and as of 2007, in the process of acquiring more
land in the university's vicinity.[citation needed] Once fully unearthed, the site is expected to become a
significant international tourist destination in India.[9] The state government has initiated an
annual Buddha Mahotsava at the site.[10]
There are other Buddhist attractions around Langudi hills, the site of Puspagiri. Kaima hill in its
immediate vicinity contains a unique rock-cut elephant surrounded by four monolithic khondalite
pillars, and dates back to the Mauryan period in the 3rd century, B.C. Deuli, a hill situated in the
confluence of the Brahmani and Kimiria rivers, has preserved five rock-cut Buddhist chambers
inside caves. Some more Buddhist sites have also been discovered at Bajragiri, Sarapur and
Paikrapur. The Langudi sites are perhaps the largest historic Buddhist complex in India.[11]
Langudi can be approached from Jaraka and Chandikhol on the National Highway 5, and are
easily accessible from the urban centers of Cuttack and Bhubaneswar. The best months to visit
the place would be during October and February.[12]
History
As of 2007, the ruins of this university have not been fully excavated yet. Consequently, much of
the university's history remains unknown. Of the three university campuses, Lalitgiri in the
district of Cuttack is the oldest. Iconographic analysis indicates that Lalitgiri had already been
established during the Sunga period of the 2nd century BC, making it one of the oldest Buddhist
establishments in the world.[citation needed]
Architecture
Asokan statues
The recent discovery of a few images of the emperor Ashoka are a major find.[13] Based on this
find, it has been suggested that the Puspagiri university may have been commissioned originally
by Asoka himself.[14][15]
Ratnagiri (Orissa)
Pilgrimage to
Buddha's
Holy Sites
The Four Main Sites
Lumbini · Bodh Gaya
Sarnath · Kushinagar
Four Additional Sites
Sravasti · Rajgir
Sankissa · Vaishali
Other Sites
Patna · Gaya · Kosambi
Kapilavastu · Devadaha
Kesariya · Pava
Nalanda · Varanasi
Later Sites
Sanchi · Mathura
Ellora · Ajanta · Vikramshila
Ratnagiri · Udayagiri
Bharhut · Barabar Caves
view • talk • edit
Ratnagiri was once the site of a mahavihara, or major Buddhist monastery, in the Brahmani and
Birupa river valley in Jajpur district of Orissa, India. It was part of the Puspagiri University,
together with Lalitgiri and Udayagiri.
] History
Ratnagiri was established no later than the reign of the Gupta king Narasimha Baladitya in the
first half of the sixth century CE, and flourished until the twelfth century CE. A Tibetan history,
the Pag Sam Jon Zang, identifies Ratnagiri as an important center in the development of the
Kalachakratantra in the 10th century CE, an assertion supported by the discovery of a number of
votive stupas, plaques, and other artifacts featuring Kalachakra imagery.[1]
Architectural features
Ratnagiri
A large-scale excavation was conducted at the site between 1958 and 1961[2], uncovering much
of what is known today. The main stupa dates to the 9th century AD and was likely built on the
site of an earlier, Gupta-era stupa. Seals were found bearing the legend "Sri Ratnagiri
Mahavihariya Aryabikshu Sanghasya," which helped identify it. Prominent, well-persevered
standing statues of the bodhisattvas Vajrapani and Padmapani can be found in niches in a
portico. Monastery No. 2 features a central paved courtyard flanked by a pillared veranda around
which are eighteen cells, a central shrine featuring an image of Shakyamuni in varada mudra
flanked by Brahma and Sakra, and elaborately ornamented entrance porticos.
According to Amit Jha, a lecturer in the Department of History at Sri Aurobindo College, Delhi
University, "Ratnagiri comprises two magnificent monasteries, also rebuilt more than once. One
of them was double-storyed and had an extensive courtyard with two-sides of it having a number
of cells for habitation of monks. Besides, we have archaeological remains of six temples,
thousands of small stupas, 1386 seals, myriad sculptural relics and architectural pieces of daily
use. The largest stupa was 47 feet (14 m) square and 17 feet (5.2 m) high surrounded by four
minor stupas. There are hundreds of miniature votive stupas decorated with lotus, petal and
beaded tassels."[3]
A museum now located on the site displays statuary featuring Tara, Avalokiteshvara, Aparajita,
and Hariti have also been found, all in prototypical of Gupta style.
Location
Latitude 20° 38' N | Longitude 86° 20' E
Ratnagiri
— ruins —
Ratnagiri
Location of Ratnagiri
in Orissa and India
20.6333°N 86.3333°E20.6333°N
Coordinates 86.3333°ECoordinates:
20.6333°N
86.3333°E20.6333°N 86.3333°E
Country
India
State
Orissa
Time zone
IST (UTC+5:30)
Udayagiri (Orissa)
The Four Main Sites
Lumbini · Bodh Gaya
Sarnath · Kushinagar
Four Additional Sites
Sravasti · Rajgir
Sankissa · Vaishali
Other Sites
Patna · Gaya · Kosambi
Kapilavastu · Devadaha
Kesariya · Pava
Nalanda · Varanasi
Later Sites
Sanchi · Mathura
Ellora · Ajanta · Vikramshila
Ratnagiri · Udayagiri
Bharhut · Barabar Caves
view • talk • edit
Udayagiri is a Buddhist complex in Orissa comprising of major stupas and monasteries
(viharas), similar to Ratnagiri, and together with Lalitgiri and Ratnagiri part of Puspagiri
University. As per epigraphical artifacts found here, its historical name was “Madhavapura
Mahavihara.”[1]
Numerous excavations by the A.S.I.[2] have been conducted since 1958, and continue to this day.
During the large excavation from 1997 to 2000, a second part (Udayagiri-2) was discovered with
additional stupas and monasteries.[3]
] Location
Latitude 20° 38' 45" N | Longitude 86° 16' 25" E
Udayagiri
— ruins —
Udayagiri
Location of Udayagiri
in Orissa and India
20.6333°N 86.2667°E20.6333°N
Coordinates 86.2667°ECoordinates:
20.6333°N
86.2667°E20.6333°N 86.2667°E
Country
India
State
Orissa
Time zone
IST (UTC+5:30)
Udayagiri and Khandagiri Caves
Udayagiri
Looking onto the Udayagiri caves from Khandagiri, in Bhubaneswar.
Ranigumpha (cave no-1) Udayagiri
Ganeshagumpha (cave no-10) Udayagiri
Hathigumpha (cave no-14) Udayagiri
Khandagiri caves
Udayagiri
Udayagiri
Udayagiri and Khandagiri Caves are partly natural and partly artificial caves of
archaeological, historical and religious importance near the city of Bhubaneswar in Orissa, India.
The caves are situated on two hills Udayagiri and Khandagiri, mentioned as Kumari Parvat in
Hathigumpha inscription and face each other across the road. They have a number of finely and
ornately carved caves. It is believed that most of these caves were carved out huge residential
blocks for the Jain monks, during the reign of King Kharavela. Udayagiri meaning Sunrise Hill,
has 18 caves while Khandagiri has 15 caves.
The caves of Udayagiri and Khandagiri, called lena or leṇa in the inscriptions, were dug out
mostly during the reign of Kharavela for the abode of Jaina ascetics. The most important of this
group is Ranigumpha in Udayagiri which is a double storeyed monastery.
Unfortunately, a number of the Jaina caves on the Khandagiri side have encroachment problems,
with local Brahmins turning them into Hindu shrines and covering up some of the Jaina
iconography.
] Count of the caves
B.M. Barua , basing on a reading of line 14 of the Hathigumpha inscription declared that
altogether one hundred and seventeen caves were caused to be excavated by Kharavela and
others on the Kumari hill (Udayagiri). Marshall has counted more than 35 caves in both the hills,
while M.M. Ganguli has enumerated only twenty seven caves.
The number of existing caves may be counted at Udayagiri as eighteen, while Khandagiri present
only fifteen excavation. The local names of the existing caves are present below and those are
numbered according to the enumeration of the Archaeological Survey of India.
The famous caves
In Udayagiri, Hathigumpha (cave 14) and Ganeshagumpha (cave 10) are especially well known
due to art treasures of their sculptures and reliefs as well as due to their historical importance.
Rani ka Naur (Queen's Palace cave, cave 1) is also an extensively carved cave and elaborately
embellished with sculptural friezes. Khandagiri offers a fine view back over Bhubaneswar from
its summit. The Ananta cave (cave 3) depicts carved figures of women, elephants, athletes, and
geese carrying flowers.
Inscriptions in Caves in Brahmi
Hathigumpha inscription
The Hathigumpha cave ("Elephant Cave") has Hathigumpha inscription, written by Raja
Kharavela, the king of Kalinga in India, during the 2nd century BCE. Hathigumpha inscription
consists of seventeen lines incised in deep cut Brahmi letters on the overhanging brow of a
natural cavern Hathigumpha in the southern side of the Udayagiri hill. It faces straight towards
the rock Edicts of Asoka at Dhauli situated at a distance of about six miles.
Other minor inscriptions
Besides Hathigumpha inscription of Kharavela there are some other minor Brahmi inscriptions in
the twin hillocks of Udayagiri and Khandagiri, which were deciphered earlier by Prof RD
Banergy during 1915-16 (Epigraphic Indica-XIII) and BM Baraua (Indian Historical QuarterlyXIV). Sadananda Agrawal has given further clarifications about them and are produced as under:
I- Mancapuri cave inscription (Upper storey)
This inscription is engraved on the raised space between the second and third doorways of the
cave. The text in Devanagari script is as under:
L.1- अरहं त पसादाय कललंगानं समनानं लेनं काररतं राजिनो ललाकस
L.2- हथथलसहस पपोतस धत
ु न
ु ा कललंग चकवततनो लसररखारवेलस
L.3- अगमहहलसना काररतं
Translation - By the blessings of Arhats the chief queen of Kharavela, the Cakravarti monarch of
Kalinga, the great granddaughter of Hathisiha (Hasti Simha) and the daughter of Lalāka or
Lalārka caused to be excavated the cave for the sramanas of Kalinga.
II- Mancapuri cave inscription (Upper storey)-A
This inscription is incised on a raised bend between the 3rd and 4th doorways from the left and
contains single line. The text in Devanagari script is as under:
ऐरस महारािस कललंगाथधपततना महामेघवाहनस कुदे पलसररनो लेणं
Translation - This is the cave of Aira Mahameghavahana Maharaja Kudepasiri, the overlord of
Kalinga.
Note:- Kudepasiri seems to be the immediate successor of Kharavela.
III-Manchapuri cave inscription 'B' (Lower storey)
This inscription has been engraved on the right wall of Veranda, to the right of the entrance to
the right-hand side chamber of the main wing, consisting of one line. The text in Devanagari
script is as under:
कुमारो वडुखस लेणं
Translation - [This is] the cave of Prince Vaḍukha.
Note:- On palaeographic ground Prof Banergy considers this inscription to be a little earlier than
the inscription of king Kudepasiri. According to Sadananda Agrawal, Prince Badukha stands an
obscure figure in history, but Badukha seems to be the son or brother of Kudepasiri.
IV- Inscriptions in the sarpagumpha (Over the door way)
This inscription consisting of one line, is incised over the doorway of the sarpagumpha. The text
in Devanagari script is as under:
चल
ू कमस कोठािेया च
Translation - The chamber and veranda/or side chamber of cūlakama. Note:- However Dr. Sahu
interpreted Ajeya being united by a Sandhi qualifying Koṭha there by denoting invincible. But he
ignored the conjunction ca (Devanagari: च) which follows Koṭha(Devanagari:कोठा) and Jeya
(Devanagari:िेया).
V- Inscription in the sarpagumpha ( to the left of the doorway) The text in Devanagari script is
as under:
L.1- कंमस हलखख
L.2- णय च पसादो
Translation :- [The pavilion is the] gift of Kamma and Halakhina.
Note:- Most probably Halakhiṇa was the wife of Kamma. Chūlakamma - found in the inscription
No.IV and Kamma of this record indicate official designations rather than the proper names.
Kamma may be taken as minister of works (Karma saciva) and Cūlakamma appears to be a
junior cadre of minister in the Department of works.
VI- Haridas cave inscription
This inscription contains one line has been incised over one of the three entrances to the main
chamber of the cave from the veranda. The text in Devanagari script is as under:
चल
ू कमस पसातो कोठािेया च
Translation :- The chamber and veranda (or side chamber) are the gift of cūlakama.
VII- Vyāghragumphā inscription
The record is incised on the outer wall of the inner chamber. The text in Devanagari script is as
under:
L.1- नगर अखंदस
L.2- स भतू तनो लेणं
Translation :- The cave of Bhūti, the city judge.
VIII- Jambesavara cave inscription
This inscription has been engraved over the entrances to the inner chamber of the cave. The text
in Devanagari script is as under:
महादस बरयाय नककयस लेनं
Translation :- The cave of Mahamāda Nākiya and Bāriyā.
X- Tatowāgumphā inscription (Cave No -1)
The record of this inscription is incised over one of the entrances to the inner chamber. The Text
reads in Sanscrit as
पादमलु लकस कुसम
ु स लेणं x [।।]
Translation: The cave of Kusuma, the padamulika.
Notes:- There is a syllable after the word lenam, which may be read as ni or phi,. padamulika
literally means, one who serves at the feet [of king].
According to Kishori Lal Faujdar, Here Kusuma seems to be related with Kaswan clan of Jats.
He refers an article ‘Hathi Gumpha and three other inscriptions’ (page 24) in Devanagari as
under[1]:
कुसवानाम ् क्षत्रियानां च सहाय्यतावतां प्राप्त मलसक नगरम ्
Kusawānāṃ kshatriyānāṃ ca Sahāyyatāvatāṃ prāpt masika nagaraṃ.
Translation:- This translates that the city of 'Masikanagara ' was obtained with the help of
'Kuswan' Kshatriyas.
Note:- Sadananda Agrawal has interpreted Masikanagara as Asikanagara and identified with the
city Adam (Nagpur district). In view of the evidence of a highly prosperous city unearthed at
Adam, Prof AM Shastri is of the opinion that Adam itself represents the Asikanagara of
Hathigumpha inscription. It is worth noting in the present context that a terracotta sealing having
a legend, has been discovered from Adam [2], situated on the right bank of the river Wainganga,
which reads Asakajanapadasa (Devanagari: असकिनपदस).
XI- Ananta Gumpha inscription (A)
The record is incised on the architrave between the left ante and the fifth pillar. The text in
Devanagari script is as under:
दोहद समणनं लेणं
Translation :- The cave of the Dohada Śramaṇas.
List of Caves at Udayagiri
1- Ranigumpha, 2- Bajagharagumpha, 3- Chota Hathigumpha, 4- Alkapurigumpha, 5- Jayavijayagumpha, 6- Panasagumpha, 7- Thakuranigumpha, 8- Patalapurigumpha, 9-
Mancapurigumpha, 10- Ganesagumpha, 11- Jambesvaragumpha, 12- Vyaghragumpha, 13Sarpagumpha, 14- Hathigumpha, 15- Dhanagharagumpha, 16- Haridasagumpha, 17Jagammathgumpha, 18- Rosaigumpha,
List of Caves at Khandagiri
1- Tatowagumpha No.-1, 2- Tatowagumpha No.-2, 3- Anantagumpha, 4- Tentuligumpha, 5Khandagirigumpha, 6- Dhyanagumpha, 7- Navamunigumpha, 8- Barabhujigumpha, 9Trusulagumpha, 10- Ambikagumpha, 11- Lalatendukesarigumpha, 12- Unnamed, 13- Unnamed,
14- Ekadasigumpha, 15- Unnamed,
The above nomenclature, however has no historical significances but accepted at present for the
convenience of scholars and general readers. The art of Udayagiri and Khandagiri being almost
contemporaneous with that of Sanchi, marks a striking resemblance with it but at he same time
retains its own individuality and advance technique.
Hathigumpha inscription
Hathigumpha inscription. From the Archaeological Survey of India Collections, taken by
William Henry Cornish in c.1892.
Hathigumpha on Udayagiri Hills, Bhubaneswar
Hathigumpha inscription of King Khāravela at Udayagiri Hills
The Hathigumpha inscription ("Elephant Cave" inscription), from Udayagiri, near
Bhubaneshwar in Orissa, was written by Kharavela, the king of Kalinga in India, during the 2nd
century BCE. Hathigumpha inscription consists of seventeen lines incised in deep cut Brahmi
letters on the overhanging brow of a natural cavern called Hathigumpha in the southern side of
the Udayagiri hill near Bhubaneswar in Orissa. It faces straight towards the rock Edicts of Asoka
at Dhauli situated at a distance of about six miles.
The inscription is written in a type which is considered as one of the most archaic forms of the
Kalinga Brahmi alphabet, also suggesting a date around 150 BCE.[1]
The inscription is dated to 165th year of the era of the Maurya kings, and the 13th year of
Kharavela's reign, which, considering the coronation of Chandragupta in 321 BCE as the
probable start of the era, makes a date of 157 BCE for the inscription, a date of 170 BCE for
Kharavela's accession, and a date of 162 BCE for the conflict against the Yavana king
Demetrius.[2]
] Background
Hathigumpha inscription at Udayagiri caves is the main source of information about Kalinga
ruler Kharavela. This inscription, consisting of seventeen lines has been incised in deep cut
Brahmi letters of the 1st Century BC on the overhanging brow of a natural cavern called
Hathigumpha in the southern side of the Udayagiri hill. It faces straight towards the rock Edicts
of Asoka at Dhauli situated at a distance of about six miles. It was introduced to the Western
world by A. Stirling in 1820 who published an eye copy of it in Asiatic Researches, XV, as well
as in his book An Account, Geographical, Statistical and Historical of Orissa or Cuttack and by
James Prinsep who deciphered the inscription. Princep's reading along with the facsimile
prepared by Kittoe was Published in the Journal of the Asiatic Society Bengal, VI (1837), where
he erroneously attributed this inscription to a king named Aira. Towards the end of 1871 a
plaster cast of the inscription was prepared by H. Locke which is now preserved in the Indian
Museum, Calcutta. Alexander Cunningham published this inscription in 1877 in the Corpus
Inscriptionum Indicarum Vol. I and in 1880 R.L. Mitra published a slightly modified version in
his Antiquities of Orissa, Vol. II.
Bhagwan Lal indraji is credited with the first authentic reading which he presented before the
Sixth International Congress of Orientalists, 1885 it is to be noted here that Pandit Indraji was
the first scholar to declare that the king eulogised in the Hathigumpha inscription was named
Kharavela. It is a fact that there is a large number of lacuna in the inscription, which obstruct its
correct reading and because of its mutilated condition has given rise to unnecessary
controversies. The inscription mainly mentions the various conquests of this king, starting with
his fight against the Satavahana king Satakarni:
"And in the second year (he), disregarding Satakamini, dispatches to the western regions
an army strong in cavalry, elephants, infantry (nara) and chariots (ratha) and by that army
having reached the Kanha-bemna, he throws the city of the Musikas into consternation."
Epigraphia Indica, Vol. XX
The inscription then mentions that Kharavela forced the Indo-Greek (Yavana) king Demetrius to
retreat from Rajgir, about 70 km (50 miles) southeast of Pataliputra, to the area of Mathura:
"Then in the eighth year, (he) with a large army having sacked Goradhagiri causes
pressure on Rajagaha (Rajagriha). On account of the loud report of this act of valour, the
Yavana (Greek) King Dimi[ta] retreated to Mathura having extricated his demoralized
army and transport." Epigraphia Indica, Vol. XX
Salient features
The Hathigumpha inscription mentions that:[3]

In the very first year of his coronation ( His Majesty) caused to be repaired the gate,
rampart and structures of the fort of Kalinga Nagari, which had been damaged by storm,
and caused to be built flight of steps for the cool tanks and laid all gardens at the cost of
thirty five hundred thousand (coins) and thus pleased all his subjects.

In the second year, without caring for Satakarni [His Majesty] sent to the west a large
army consisting of horse, elephant, infantry and chariot, and struck terror to Asikanagara
with that troop that marched up to the river Kanhavemna.
Then in the fourth year, (His Majesty] .... the Vidhadhara tract, that had been established
by the former kings of Kalinga and had never been crossed before. The Rathika and
Bhojaka chiefs with their crown cast off, their umbrella and royal insignia thrown aside,
and their Jewelry and wealth confiscated, were, made to pay obeisance at the feet [of His
Majesty).
And in the fifth year, [His Majesty] caused the aqueducts that had been excavated by king
Nanda three hundred years before , to flow into [Kalinga] Nagri through Tanasuli.
And in the seventh year of his reign [ the Queen] of Vajiraghara, blessed with a son
attained motherhood.






In the 8th year of his reign, he attacked Rajagriha in Magadha and forced the Indo-Greek
king Demetrius (described as the Yavana king ("Yavana-raja") named Dimi{ta}) to
retreat to Mathura.
In the 12th year of his reign, he attacked the king of Uttarapatha. Then brought back the
image of Kalinga Jina with its thrown and endowment that had been taken away by king
Nanda and the jewels plundered by him (King Nanda) from the Kalinga royal palace,
along with the treasures of Anga and Magadha.
He then attacks the kingdom of Magadha, and in Pataliputra, the capital of the Sunga,
makes king "Bahasatimita" (thought to be a Sunga king Brhaspatimitra, or Pusyamitra
himself) bow at his feet.

o
It is important to note that as far back as 1951, the Yavana-raja was thought to
actually be the Kushana Vima Kadphises rather than the Indo Greek Demetrius,
as it was only interpreted to be Dimita (since the inscription is not in very good
condition). P.L. Gupta has been a longstanding proponent of this theory.
Kharavela
Maximum extent of Khārabeḷa (ଖାରବେଳ) Kaḷingan Empire: 2nd century BCE
Hātigumfā on Udayagiri Hills, Bhubaneswar
Hātigumfā inscription of King Khārabeḷa at Udayagiri Hills
Khandagiri caves
Khārabeḷa (Oriya: ଐର ମହାମେଘବାହନ ଖାରବେଳ,Aira Mahameghavahana Kharavela) (IAST:
Khārabeḷa, Devanagari: खारवेल, Odia: ଖାରବେଳ) (193 BC – after 170 BCE)(if his attack on the
Rajgriha against demetrius is assumed in 185 bc then his start year would be 193 bc as he
attacked rajgriha in his eighth year of reign) was the greatest emperor of the Maha-Meghavahana
Dynasty of Kaḷinga (present-day Orissa state of India). The Chedi dynasty of Kaḷinga under the
kingship of Khārabeḷa ascended to eminence and restored the lost power and glory of Kaḷinga,
which was subdued since the devastating Kaḷinga war with Ashoka. All these happened within a
century of Ashokan era. The Kaḷingan military might was reinstated by Khārabeḷa. Under
Khārabeḷa's generalship, the Kaḷinga kingdom had a formidable maritime reach with trade routes
linking it to the then Simhala (Sri Lanka), Burma (Myanmar), Siam (Thailand), Vietnam,
Kamboja (Cambodia), Borneo, Bali, Samudra (Sumatra) and Jabadwipa (Java). On the religious
side, though extremely liberal, Emperor Khārabeḷa patronised Jainism.
Emperor Khārabeḷa (ଖାରବେଳ) led many successful campaigns against Kingdoms of Magadha,
Anga, Satavahanas and the then South Indian regions of Pandya kingdom, present Tamil Nadu
state, and expanded Kaḷinga till the river Ganges in North and river Kaveri in South, with full
West to East coverage. Khārabeḷa (ଖାରବେଳ) was the third king of the Mahāmeghabāhana
dynasty. The main source of information about Khārabeḷa is his famous seventeen line rock-cut
hātigumphā inscription in a cave in Udayagiri hills near Bhubaneswar in Odisha.
] Introduction
The chief source of information about emperor Kharavela is the Hathigumpha inscription at
Udayagiri caves, near present Bhubaneswar city. According to the inscription, Kharavela
belonged to the Chedi clan, and was a lineal descendant of the sage king Vasu. Apart from this
eulogic descent amounting to a myth, several historians have tried to speculate the origin of
Kharavela. However, in absence of any material evidence to the converse, Kharavela has been
accepted as being from an Odia descent.
Etymologically, the name Kharavela is the prakrit transformation of Sanskrit word Ksharavela
(Devanagari:क्षारवेल). The first syllable Khāra (Devanagari:खार) is the corrupt form of Kshāra
(Devanagari:क्षार) meaning 'saltish'. The letter Khā (Devanagari:खा) in the Hathigumpha
inscription is the transformed corrupt (Apabhramsha) form of kshā (Devanagari:क्षा). The second
syllable, Vela means 'wave' or 'shore'.
Incidentally, in north-western part of India, there is a clan of Jats having the clan name Khārvel,
which claims descent from the Emperor Kharavela, originated during the north-western conquest
of the emperor. Similarly, in history books Air (ऐर) has been stated as a clan that originated from
Nagavanshi ruler named Airawat. [1] However, deep and multi-disciplinary research is required
to arrive at the exact origin of Kharavela.
Hathigumpha Inscription
This inscription, consisting of seventeen lines has been incised in deep cut Brahmi script on the
overhanging brow of a natural cavern called Hathigumpha (Oriya: ହାତୀଗୁମଫ
୍ ା) (Meaning in
English: The Elephant’s Cave) in the southern side of the Udayagiri hills near present day
Bhubaneswar. The inscriptions date back to the 1st century BCE. It faces straight towards the
rock Edicts of Ashoka at Dhauli, which is situated at a distance of about six miles.
The inscription was first discovered/noticed by A. Stirling in 1820 who published an eye copy of
it in Asiatic Researches, XV , as well as , in his book titled “An Account, Geographical,
Statistical and Historical of Orissa or Cuttack”. Thereafter, indologist and linguist James Prinsep
succeeded in deciphering the inscription. Subsequently, Princep’s reading along with a facsimile
prepared by Kittoe was published in the Journal of the Asiatic Society Bengal, VI (1837).
According to Princep, the referred personality in the Hatigumpha inscription was a king named
‘Aira’. Towards the end of 1871 AD, a plaster cast of the inscription was prepared by H. Locke,
which is now preserved in the Indian Museum, Calcutta. Later, Alexander Cunningham
published this inscription in 1877 in the Corpus Inscriptionum Indicarrum Vol. I and in 1880
R.L. Mitra published a slightly modified version in the book Antiquities of Orissa, Vol. II.
The first authentic reading of the inscription is credited to historian Bhagwan Lal Indraji. Indraji
presented the novel approach before the Sixth International Congress of Orientalists in 1885,
which was widely accepted. Pandit Indraji was the first scholar to declare that the King referred
to and eulogised in the Hathigumpha inscription was named Kharavela' and not Aira.
However, there are a large number of lacunae and faults (Both syntactical and physical
deformities) in the inscription, which obstruct its correct reading and the mutilated condition of
the inscription has given the space for rival claims and given rise to controversies.
Salient features of the Hathigumpha Inscription
The Hathigumpha inscription starts with a version of the auspicious Jain Namokar Mantra: नमो
अरहं तानं [।।] णमो सवलसधानं [।।] for in Jainism.
The body-text mentions that:

In the very first year of his coronation, (His Majesty) caused to be repaired the gate, rampart
and structures of the fort of Kalinga Nagari, which had been damaged by storm, and caused to
be built flight of steps for the cool tanks and laid all gardens at the cost of thirty five hundred
thousand mudra (coins) and thus pleased all his subjects.

In the second year, without caring for Satakarni, (His Majesty) sent to the west a large army
consisting of horses, elephants, infantry and chariots, and struck terror to Asikanagara with that
troop that marched up to the river Kanhavemna.

Then in the fourth year, (His Majesty] .... the Vidhadhara tract, that had been established by the
former kings of Kalinga and had never been crossed before. The Rathika and Bhojaka chiefs with
their crown cast off, their umbrella and royal insignia thrown aside, and their Jewelry and
wealth confiscated, were, made to pay obeisance at the feet (of His Majesty).

And in the fifth year, (His Majesty) caused the aqueducts that had been excavated by king
Nanda three hundred years before, to flow into Kalinga Nagri through Tanasuli.

And in the seventh year of his reign [the Queen] of Vajiraghara, blessed with a son attained
motherhood.

In the 8th year of his reign, (His Majesty) attacked Rajagriha in Magadha and forced the IndoGreek king Demetrius (described as the Yavana king ("Yavana-raja") named Dimi{ta}) to retreat
to Mathura.

In the 12th year of his reign, he attacked the king of Uttarapatha. Then brought back the holy
idols of Kalinga's Jain Gods (The Blessed Tirthankars) which earlier Magadha rulers had carried
away with them after Kalinga War in Past. Tirthankar’s idol was brought back with its crown and
endowment and the jewels plundered by king Nanda from the Kalinga royal palace, along with
the treasures of Anga and Magadha were regained.

(His Majesty) then attacked and vanquished the kingdom of Magadha, and Pataliputra, the then
capital of the Sunga, and made king "Bahasatimita" (May be a Sunga king Bruhaspatimitra, or
Pusyamitra himself) bow at his (His Majesty’s) feet.
The inscription states that the Emperor Kharvela had a liberal religious spirit. Kharavela
describes himself as:
“ सव पासंड पूिको सवदे वायतन संकार कारको ” (Prakrit Language, Devanagari script)
Translation: The worshipper of all religious orders, the restorer of shrines of all gods.
Minor Inscriptions of Kharavela
Besides the celebrated Hathigumpha inscription of Kharavela, there are several other minor
inscriptions in the twin hills of Udayagiri and Khandagiri Caves, which were deciphered earlier
by Prof. R. D. Banerjee during the years 1915-16 (Epigraphic Indica - XIII) and subsequently by
B. M Barua (Indian Historical Quarterly-XIV). These minor inscriptions pertaining to Emperor
Kharavela have been engraved in Brahmi script, prakrit language. Shri Sadananda Agrawal,
historian, has given details and clarifications about those.
Period
The dating of Kharavela's period has been highly debatable and controversial. It has been a
formidable challenge to ascertain the correct date of Kharavela’s ascendancy and reign within a
definite chronological frame work.
The internal evidence from the Hathigumpha inscription, reasonably places the date of emperor
Kharavela’s reign in second half of the 1st century BC. An exact time bracketing has been
unachievable at present. The exact time bracket of Kalingan emperor Kharavela will continue to
be controversial so long any other corroborative evidences have not been discovered.
The Indian numismatist P.L. Gupta has suggested that the Hatigumpha inscription is from the
2nd century CE:[2]: "The Hâthîgumphâ inscription refers in line 8 to a yavana-râja, who fled to
Mathura when he realized the might of Khâravela. The name of the yavana-râja bears three
letters, of which the second letter may be fairly read as ma or mi. It has been doubtfully restored
as Dimita, meaning Demetrius the Indo-Greek king. But as early as 1951, I thought it to be
Vimaka, meaning Vima Kadphises. The Patna Museum has a plaster cast of this inscription,
which I personally examined when I was there as Curator. It confirms my suggestion."
There are some issues with this interpretation, since the stated facts are that the name consists of
three letters, of which the second is mi or ma, and that the king is categorized as yavana, not
kushan or tukhara, nor saka or pahlava. It is otherwise unknown for a Kushan king to have been
referred to as a yavana, and for Vima Kadphises to be referred to as Vimaka (expanded from
Vema/Vima). Also, there are palaeographic problems with dating the Hâthîgumphâ text so late
as Wema Kadphises (Reign 90s-110s CE). The period of 1st century BC, or approximately
contemporary with the Sanchi inscriptions from the reign of the Satavahana Satakarni, has been
preferred by Indic script specialists.
Wars & Expeditions
It is revealed from Line-4 of the Hathigumpha inscription that Kharavela in the second year of
his reign dispatched a strong force comprising cavalry, elephants, infantry and chariots to the
western quarter without caring for or bothering about Sātakarnī, and the kingdom of
Asikanagara was frightened of its (Kharavela’s army) reaching the river Kanhavemṇā. Some
scholars prefer to read Masikanagara instead of Asikanagara and locate it in the coastal region of
Andhra Pradesh.
An article about Emperor Kharavela mentions about the rule of Kaswan in 2nd century of
Vikram samvat. It has been mentioned in ‘Hathi Gumpha and three other inscriptions’ (page 24)
in Sanskrit as under:
Sanskrit - कुसवानाम ् क्षत्रियानां च सहाय्यतावतां प्राप्त मलसक नगरम ्
IAST - “Kusawānāṃ kshatriyānāṃ ca Sahāyyatāvatāṃ prāpt masika nagaraṃ”.
Translation: The city of 'Masiknagara' was captured with the help of 'Kuswan' Kshatriyas.
According to Sadananda Agrawal, interpretation of the city as Masikanagara is not wellsupported. Kanhavemṇā is commonly equated with the river Krishna coastal flowing in Andhra
Pradesh. However, Krishna lies much to the south of Kalinga, and not west as averred in the
epigraph (Devanagari: पतिमहदसं). But there is another stream flowing to the west of Kalinga in
Vidarbha and known locally at present as Kanhan which flows about 17 km northwest of Nagpur
and joins the river Vena (Wainganga), and it is the combined flow of these two streams that is
spoken as Kanhavemṇā in our records.
The recent find of a seal belonging to the Asikajanapada in course of intensive archaeological
excavations at Adam (Nagpur district) has solved also the problem of locating the historical
Asikanagara whose king or and people became frightful at the arrival of Kharavela's army at
Kanhavemṇā, as per the Hatigumpha inscription. In view of the evidence of a highly
prosperous city unearthed at Adam, Prof. A. M. Shastri is of the opinion that Adam itself
represents the Asikanagara of Hathigumpha inscription. It is worth noting in the present context
that a terracotta sealing having a legend, has been discovered from Adam, situated on the right
bank of the river Wainganga, which reads Asakajanapadasa (Devanagari: असकिनपदस).
The Hathigumpha inscription tells us that again in his fourth regnal year Kharavela directed his
invasion against the Satavahana territory. In course of the campaign the army of Kalinga
marched headlong against the Rathikas and Bhojakas who inhabited the western Deccan and
whose chiefs might have been subordinates or vassals under Satavahana king Satakarni.
It is quite likely that the Rathikas are to be located in southern Maharashtra region and adjoining
Karnataka, Andhra Pradesh where a large number of coins of some chiefs styled Mahārathi have
been found in excavations. Likewise , as regards the Bhojakas, it is not impossible that they
flourished in the region of Goa and adjoining parts of Karnataka where the Bhoja Kings are
found a few centuries later. As a result of this victory Kharavela’s suzerainty spread over the
land from the eastern sea to western sea.
The eighth regnal year of Kharavela, three years after his war in western India, heard the war
trumpets of Kalinga blowing in direction of the north.
Kharavela entered into the territory of Magadha and fought out important engagement with the
army of that empire at Gorathagiri and stormed that outlying fortress which guarded Rajagrha,
the former capital of Magadha. The strong fort was demolished and Rajagrha was put to great
trouble.
Gorathagiri has been identified with the modern Barabar hill in the Gaya district in Bihar state.
In the Sabhaparva of the Mahabharata this hill has been referred to by the name Gorathagiri
wherefrom Girivraja (Rajagrha) the capital of Magadha was surveyed by Krishna, Bhima and
Arjuna on the way of their campaign against Jarasandha.
It is worth nothing here that two small inscriptions are found engraved in that hill, which read
Gorathgiri and Goradhagiri respectively. While the former belongs to Asokan period the latter
seems to be incised by one of the men who had accompanied Kharavela in this campaign.
It was by that critical time that one Yavana King (Indo-Greek) who was then in occupation of
Mathura was advancing against Magadha. The king's name has been read extremely doubtfully
as "Dimita", and has been identified by many scholars with the famous Indo-Greek King
Demetrius, son and successor of Euthydemus belonging to 2nd century BC.
In commemoration of this victory over the Indo-Greeks and age old enemy Magadha, Kharavela
constructed the great victory palace in Kalinganagari at a cost of thirty eight hundred thousand
coins which stood to personify in all its grandeur the great victory a great conqueror.
The tenth year witnessed another expedition towards north. According to Hathigumpha
inscription that year he caused his army much towards Bharatavarsha. Dr Sahu remarks:
“In the epigraphic records of India the name Bharatavarsha appears for the first time in
Hathigumpha inscription. This name however, denoted to Northern India by that time.”
When the twelfth year of his reign dawned Kharavela marched against Uttarapatha (Northwest
India) with a vast army. This was his third onslaught against North India, forcing several chiefs
to submission, who were very likely the Indo-Greeks. On his return from Uttarapatha Kharavela
planned for the final encounter against Magadha and the Kalingan army encamped on the banks
of the Ganges not far off Pataliputra. The people of Magadha were struck with terror at the sight
of the elephants and horses and Brhaspatimitra, the king of Magadha was humbled by Kharavela
and made the Magadhan king touch his feet. Many renowned scholars equate Brhaspatimitra
with Pushyamitra, the founder of Sunga dynasty.
It is worth nothing in the present context that for recording the events of his reign Kharavela
chose the Hathigumpha in the southern side of Udayagiri hill which faces straight towards the
Dhauli hill bearing Rock Edicts of Ashoka. In the former hill we find the inscription of the
victory of Magadha and in the latter that of the victory of Kalinga. Kharavela’s inscription seems
to have been intended to counter affect Asoka’s inscription.
Before his home ward march the monarch brought back from Magadha the greatest and by far
the most significant war trophy to his home land was the Original Idol of Kalinga's Jain
Tirthankars (Gods) Idol that adorned the spiritual realm of Magadha. This Kalinga Tirthankars
(Jain God) was once the invaluable religious property of Kalinga but was carried away from
Kalinga during the first wave of the northern invasion under Mahapadmananda emperor of
Magadha.
Dr. N.K.Sahu aptly remarks about his expeditions: “Thus within a short span of ten years (form
his 2nd to 12th regnal years.) Kharavela could achieve a series of brilliant victories extending his
suzerainty from the North-Western part of India to the farthest extend in the South. “
The political and military performances of Kharavela have, in fact, no parallel in history and this
great monarch fully justifies the epithet Chakravarti given to him in the inscription of his chief
queen.
He seems to have abandoned his throne in the 13th year of his reign, and was succeeded by his
son Kudepasiri.
Dynasty
In the first line of Hathigumpha inscription Kharavela styles himself as
IAST-Airena Mahārājena Mahāmeghavāhana Chetarāja vasa Vadhanena Pasath Suvalakhanena
Chaturantalunthana Gunaupenetta Kalimgādhipatinā Siri Khāravelan
(Devanagari:ऐरे ण महारािेन महामेघवाहनेन चेतराि वस वधनेन पसथ सभ
ु लखलेन चतरु ं तलठ
ु न
गण
ु उपेनेत कललंगाथधपततना लसरर खारवेलेन)
While the earliest scholar J. Princep and R. L. Mitra take the word Aira as the name of the king
of Kalinga eulogised in the inscription, other few scholars are inclined to take the word as
dynastic name and connected the ancestry of Kharavela with the puranic Aila belonging to the
lunar Kshatriya dynasty. Bhagwan Lal Indraji is the first scholar to assert that the King whose
activities are glorified in the inscription in named Kharavela.
It is a significant to note here that there is also no direct evidence in Hathigumpha inscription to
show that Kharavela belongs to Cedi Dynasty. The only meaning conveyed by this expression is
that Kharavela was the son of Cetarāja (Devanagari:चेतराि).
There is a small crack in the stone above the letter ta (त) giving the impression of medial i. this
crack misled some eminent scholars like R.D. Banerji and D.C. Sircar to decipher the word as
Ceti (Devanagari:चेतत) and this conjectural reading led the renowned scholars to hold the view
that Kharavela belongs to Cedi dynasty. But in no way this can be accepted. It is pertinent to note
in this context that a small inscription is found engraved in the Mancapuri Cave where King
Kudepasiri (one of the successor of Kharavela) styled himself as Aira Maharaja Kalingadhipati
Mahameghavahana (Devanagari:ऐरे महारािा कललंगाथधपततना महामेघवाहन).
The King Sada has also been styled himself as Maharaja Kalinga Mahisika Adhipati
Mahameghavahana. Both Kudepasiri and Sada, happen to be the successors of Kharavela, have
never been stated in their respective inscription to be belonging to Cedi dysasty. It is significant
that the word Aira has not been prefixed with the name of Sada.
The Vahana ending dynastic (and personal) names were quite popular during the few centuries
preceding. The meaning of Mahameghavahana is the great one riding on clouds. Dr. Sahu takes
Maha as the prefix of Megha and opines: “ Mahameghavahana literary means one whose vehicle
is great cloud”.
In line 17 of the Hathigumpha inscription Kharavela claims to have been descended from Rajarsi
Vasu Kula. King Vasu recorded in Hathigumpha inscription can not be taken as Cedi king. It is
pertinent to note in the context that in Mahabharata, Meghavahana as a dynastic name is found
mentioned (Sabha Parva, XIV, 13) while the same epic preserves detailed accounts regarding the
activities of Cedi dynasty. Cedi and Meghavahana have been flourished as two distinct dynasties
since the early times, so both the dynasties should not be equated.
Cetaraja was the father of Kharavela and it seems probable that he was the immediate
predecessor of Kharavela, belonging to be the second king in the Mahameghavahana line in
Kalinga.
The line-7 of the Hathigumpha inscription indicates that the Queen of Vajiraghara (Chief Queen
of Kharavela ?) gave birth to a son. Another inscription in the lower storey of the same caves
informs us that it had been executed by the Aira Maharaja Kalingadhipati Mahameghavahana
Kudepasiri. In this cave another inscription is incised which reveals the name of Kumara
Badukha. It is to be noted here that Kumara Badukha has not assumed any royal title. Badukha
is brobably Prakrat form of Burdak. However, it is difficult to be sure of the relationship between
Kharavela and Kudepasir. As no available record speaks any thing more about prince Badukha,
he stands an obscure figures, in history but seems to be the son or brother Kudepasiri.
Mahiska country denoted the modern coastal Andhra (Guntur – Krishna region) which was
apparently added to the Mahameghavahana kingdom at least during the reign of Maharaja Sada.
The Sada rule came to an end during end 1st century / early 2nd century AD. On basis of above
discussion we can say that Kharavela belonged to Mahameghavahana dynasty and the
Genealogical chart of can be given as under:
1- Mahameghavahana 2- Cetaraja 3- Kharavela 4- Kudepasiri 5- Badukha 6- Mahasada 7- Sada’s
successors.
Queens of Kharavela
The Hathigumpha inscription mentions that in the seventh year of his reign [the Queen] of
Vajiraghara was blessed with a son attained motherhood. Sometime before his coronation the
prince very probably married chief queen as per presence was essentially required in anointation
ceremony. The chief queen, whose record has been engraved in the upper storey of Mancapuri
Cave, was the great-grand daughter of Hastisimha and the daughter of king Lalaka or Lalarka.
It is to be pointed out here that not much is known about Hastisimha and Lalarka from any other
source. We find mention of Lal (लल) as a gotra of Jats living in Muzaffarnagar district in Uttar
Pradesh, India, who originated from mahapurusha Lala (लल). The famous Panjtar stone
inscription, now in (Pakistan), written in the year 122 of Saka ara, referse to one “ Lala, the
protector of the Kushana dynasty of Maharaja Kanishka”. This Lala, was a Lalli “Jat” It also
refers to the gift of two trees by one Moika in the eastern region of “ Kasua”. That last word
Kasua is the same as Kasuan the name of the Kushana clan (and territory) which is still
existing.[3][4]
R. D. Banerjee has identified Vayiraghara with Wairagarh in present Chanda district of
Maharastra, because in some medieval inscription this place is found referred to as Vayirakara.
However, Dr. M. K. Sahu identifies this place with Vajradantadesa mentioned in the Kamasutra
of Vatsyayana.
King Kharavela is known to have two queens. Line-15 of the Haithgumpha inscription refers to
the queen of Simhapatha, who was very likely his second queen. Simhapatha may be same as
Simhapura which was the capital of Kalinga during the rule of the Matharas in the 4th century.
The place is identified with modern Singupuram in Srikakulam district of Andhra Pradesh.
Remembering Kharavela
Kharavela Nagar is an important commercial district of Bhubaneswar and home to the city's first
mall. With the rise of industry, in particular IT and higher education, the history of ancient
Kalinga and in particular Kharavela is being revived as Orissa's golden age.
Middle kingdoms of India
Timeline:
6th
century
BCE
5th
century
BCE
4th
century
BCE
3rd
century
BCE
2nd
century
BCE
1st
century
BCE
1st
century
CE
Northwestern India

Gandhara
(Persian rule)
(Greek conquests)

Indo-Greeks



Indo-Scythians
Indo-Parthians
Kushan Empire






Magadha
Shishunaga
dynasty
Nanda empire
Kalinga
Maurya Empire
Sunga Empire

Kuninda Kingdom



Indo-Sassanids
Kidarite
Kingdom
IndoHephthalites






Gupta Empire


Harsha
Gurjara Pratihara




Pala Empire
Solanki
Eastern Ganga
dynasty
Sena dynasty
Satavahana
empire
Pandyan
Cholas
Chera

Kalabhras
Kadamba
Dynasty
Pallava

Chalukya

Rashtrakuta

Western
Chalukyas
Hoysala Empire
Western Satraps
Shahi
(Islamic Empire)
Southern India



(Islamic conquests)
2nd
century
3rd
century
4th
century
5th
century
6th
century
7th
century
8th
century
9th
century
10th
century
11th
Northern India

century

Udayagiri and Khandagiri Caves
Christianity in Orissa
Christianity is a small minority in Orissa state of India. Church of God (Anderson), Council of
Baptist Churches in Northern India and Evangelical Missionary Society in Mayurbhanj are
among the Protestant denominations of Orissa. [1] Christ Church the full Gospel Church, Gospel
Outreach Ministries, India Evangelistic Association and Orissa Baptist Evangelical Crusade are
among the non-Catholic denominations of Orissa as well. [2] The Church of North India is
present in Orissa as well. Oraon, Kharia and Munda people are notable ethnic groups with a
significant Christian population.
Roman Catholic Church
The archbishop of Roman Catholic Archdiocese of Cuttack-Bhubaneswar is Dr. Raphael
Cheenath. Its suffragan dioceses are:




Balasore
Berhampur
Rourkela
Sambalpur
Sharad Purnima
The Sharad Purnima or Kojaagari Purnima or Kumar Purnima is a harvest festival celebrated
on the full moon day of the Hindu lunar month of Ashvin (September-October). The rainy season
is over and the brightness of the full moon brings special joy. This is a traditional celebration of
the moon and is also called the Kaumudi celebration, Kaumudi meaning moonlight.
At night, goddess Laxmi is worshiped and night vigil is observed. According to a folk-tale, once
a king fell on evil days, and was in great financial straits, but then his queen observed this fast
and night vigil, and worshiped the goddess of wealth, Laxmi. Consequently, they were blessed
by the goddess and they regained their prosperity.
Maharashtra & Bengal
Some people believe[who?] that on this night Laxmi goes around from place to place asking, "Who
is awake?" ("Kojagarti?") and shows her pleasure on those she finds awake. Hence, the night is
spent in festivity and various games of amusement, in honour of the goddess. So people sit in the
moonlight singing songs, or keep themselves entertained in some other way. They fast from solid
food and take only fluids like coconut water or milk. Milk is boiled until it thickens, and milk
masala (called kheer, a readymade combination of dry fruits) is added to it and drunk. There is
also a tradition to have cool milk and rice flakes on this night. It is a harvest festival and is
celebrated throughout the country, particularly by Maharashtrians i.e. by people residing in
Maharashtra, India. The eldest child of the family is also honored on this day.
In the western state of Gujarat, the night is known as Sharad Poonam. In Gujarat people celebrate
it by doing Garba and Raas.
Lakshmi worshipped on Sharad Purnima
The Bengali people call it Lokkhi Pujo and arrange several bhog and upachar for mother
goddess Lakshmi.
Currently, this full moon comes during Sharad ritu (season ) of the year and hence it is called
Sharad Pornima or Sharad Poonam. (Purnima or Poonam = full moon).
There is an Ayurvedic reason behind consuming rice flakes with cool milk on this night. Sharad
ritu (season) consists of two months of overlapping seasons when the summer is about to end and
the winter slowly starts. During Sharad the days are warm and nights start to become cooler. This
is perfect season for Pitta prakop when pitta vitiates along with other two doshas. Consuming
rice flakes with milk during night time is good remedy to pacify pitta.
In Orissa
Time For The Festivity
Sharad Purnima is known as Kumar Purnima or Lakshmi Puja in Orissa,an eastern state of India.
Kumar Purnima is the full-moon day in the month of September- October. This autumn festival
is one of the most popular and important festivals of Orissa. 'Kumar' or Kartikeya, the handsome
son of Shiva was born on this day. He also became the 'God of war'. As young girls always wish
for a handsome husband, they propitiate Kumar who was most handsome among the Gods. But,
peculiarly enough there is no ritual for the God, instead the sun and the moon are worshiped.
Main Ritual
In the early morning the girls after their purificatory bath wear new garments and make foodofferings to the sun. They observe fasting for the day. In the evening when the moon rises they
again make food offerings of a special variety and take it after the rituals are over. It is a festival
of rejoicing for the girls. All of them sing and dance. The songs are of special nature. They also
play a kind of game known as Puchi. They also indulge in other varieties of country-games.
The Gajalaxmi Puja
Gaja Lakshmi
This day is also observed as the birthday of Laxmi, the Goddess of wealth. Therefore, many
people worship the Goddess at their homes and keep themselves awake by playing Pasha (Chess)
esp in Brahmapur of Ganjam, and other indoor games. Significantly it suggests that those who
wish to acquire wealth should always be vigilant at night. It is for this reason the owl, a bird that
sleeps in the day and comes out only at night.Goddess Laxmi is worshiped by devotees in
different pendals in and across the state of Orissa,esp in Kendrapara & Dhenkanal. The pendals
are decorated with beautiful decoratives.
Historic sites in Orissa
Asurgarh Fort - Narla, Kalahandi
A well civilized, urbanized, cultured people inhabited on this land mass around 2000 years ago
for which Asurgarh was its capital[1]. This fort is situated near Narla about 35 km from
Bhawanipatna in Kalahandi. Asurgarh served as an advanced civilization around 300 BC to 500
AD. and was the capital of Vyaghraraja of Mahakantara around 4th century AD. It was the
capital of Kantara through which trade and commerce between Kalinga, Kantara, and Soouth
Kosal were made. The Asurgarh Fort is almost rectangular in shape having four gates piercing
the surrounding mammoth wall that is made of brick, rubble and earth. After the wall, a wide and
deep moat girdles the fort on three sides respectively on the north, south and east. The fort area
measures 24.29 hectares of land. On the west of the fort, the river Sandol flows close to the
western rampat towards north to meet the river Utei, a tributary of the Tel, at a distance of about
3 km from the fort site. Close to the eastern ditch, the builders of the fort excavated a huge water
reservoir measuring 200 acres of land. It is popularly known as Asursagar. It has been pointed
out that the water of the reservoir could be trained into the ditch of the fort through two sluices
gate. On the southwest corner of the fort, another small tank was dug, which is known today by
its name Radhasagar. Habitation zone of the peoples is being documented towards the south and
north of the fort immediately after the fortified wall. Lowe town or habitation area is further
superimposed by another mud wall within 100 hectares radius at each settlement zone, the mud
wall has single gate in the middle[2][3]
Ranipur-Jharial
Ranipur-Jharial is an important archeological site situated in Balangir district of Orissa[4]. The
site is situated at a distance of 104 km from Balangir town and 35 km from Titilagarh town. The
site consists of the twin villages of Ranipur and Jharial. It has been mentioned as Soma Tirtha in
scriptures, the place combined a cross section of religious faiths like Saivism, Buddhism,
Vaisnivism and Tantrism. In the past, queens used to live at Ranipur and Jharial was a fort.
The Somavanshi Keshari kings built many temples here that can be dated back to the 9th/10th
century AD. It is said that there were at least 200 temples covering an area of about half a mile in
length and a quarter of a mile in width. The largest stone temple is 'Someswar Siva', which
stands on the banks of the river. It was constructed by a famous Mattamayura Shaivacharya
Gagana Siva whose inscription can be found on the lintel of the temple.
The Hypaethral Temple
Ranipur-Jharial houses one among the five existing rare monuments of Hypaethral temples
(temples without roofs) dedicated to 64 yoginis in India (the other three are Chausath Jogini
Temple at Hirapur near Bhubaneswar, Khajurao and Bheraghat near Jabalpur) and Dudhai near
Lalitpur. Some other ancient temples are also situated at the site. Tarini Charan Nayak
While the images at Hirapur are made of black chlorite stone, the images at Ranipur-Jharial are
made of sandstone. The temple of 64 yoginis of Ranipur-Jharial is famous not only for its
beautiful architecture but also for its religious significance. Three-faced Shiva stands at the
centre of the temple encircled by 64 images of the yogini goddesses in various positions .
Unfortunately, out of 64 yoginis, many are missing at present. The cult of yogini worship in
Orissa began in the 9th century. Shivaratri mela is also celebrated in Ranipur-Jharial each year
where devotees from far off places come.
The remarkable 20 m high Indralath Temple of this place is said to be the highest brick temple of
ancient India.
Sources of information: The Yogini Temples of India, In the pursuit of a mystery, Stella Dupuis,
Pilgrims Publishing, Varanasi-2008 Yogini Cult and temples, A Tantric Tradition, Vidya Deheja,
National Museum, New Delhi- 1986
The existing temples are five and the three-faced Shiva image is NOT embracing Parvati.
Inchudi
Inchudi is a village situated 19 km from Balasore town. It is famous for the historic Salt
Satyagraha of 1930[5]. It is said that after Dandi (where Mahatma Gandhi himself led the
movement), the mass civil disobedience against Salt Laws was most successful in this village.
The participation of several women in the Inchudi campaign was regarded by the then Congress
High Command as the highlight of the movement.
Kaliakata
Kaliakata is a small village in Chhendipada, situated north-west of Angul town. Kaliakata has
pre-historic sites that were discovered by Valentine Ball in 1876[6]. A recent investigation has
revealed that the sites are very important for study of pre-historic antiquities.
Kuchai and Kuliana
Kuchai is a pre-historic site situated at a distance of 8 km north of Baripada[7]. Excavations at
Kuchai yielded yielded some Neolithic possessions of man. Potteries found here indicate the
development of Microlithic culture of the late Stone Age in this area.
Several palaeolithic artifices have been found at Kuliana, which situated at a distance of 18 km
from Baripada,
Vikramkhol (Bikramkhol)
Vikramkhol is a cave containing pre-historic, undeciphered pictographic inscriptions[8][9]. The
cave is situated at a distance of 26 km to the west of Jharusguda.
The inscription is in a natural rock-shelter, six feet below the top. The rock is a rough sandstone.
The rock-shelter is 115 feet (35 m) in length and 27 feet 7 inches (8.41 m) in height from the
floor (35 m by 8.4 m). It faces north east. The inscribed portion is about 35 feet (11 m) by 7 feet
(11 m by 2.1 m). Some of the letters are sharply cut, but the incision-marks of the majority do
not show sharp cutting. It seems that an iron chisel was not used. Some of the letters are partly
cut and partly painted, while some letters are only in paint, but the majority are completely cut. It
is evident that all the letters were first painted before being incised, which was the method
regularly employed in the period of Brahmi inscription. The color of the paint is red ochre, with
which we are familiar in the pre-historic and historic caves and cave-buildings in India.
The inscription was discovered by an educated Sadhu, Swami Jnamananda. An examination of
the letters, which at first sight give the impression of having Brahmi forms, showed that the
writing was a mixture of Brahmi forms and a developed type of the Mohenjodaro script.
Prehistoric Cave Painting Sites
Gudahandi
Gudahandi hills are situated near the Khaligarh village, at a distance of 7 km from Ampani hills.
A row of caves is situated at the foot of these hills. These caves bear pre-historic pictographic
paintings[10].
Pictographic paintings in red and black colours appear at the entrances of some of the caves.
Even though these paintings are yet to be studied thoroughly, it is widely believed that they
belong to the period of Indus Valley Civilisation. All the three hills taken together have the
appearance of a pot with a lid on it.The name Gudahandi, meaning a pot with molasses, may
have originated from this.
Simlikhol
Simlikhol is situated 60 km from Padmapur in Bargarh district. The site has a 13 feet (4.0 m)
high cave that consists of pre-historic rock paintings and other things of palaeontological
interest[11]
The cave was probably a natural rock shelter for the primitive man. During British Raj, the cave
was used as a shelter by many freedom fighters evading arrest or detention.
During Dussehra, a festival is observed at a Durga temple located besides the cave.
Ushakothi
Ushakothi, situated 20 km from Sambalpur, is a rock-cut cave situated at the foot hill of
Maheswar hill, in the midst of deep forests. It measures 150 feet (46 m) in height and more than
200 feet (61 m) in width. This cave contains yet to be deciphered primitive paintings[9].
Yogimath
Yogimath, situated 124 km from Bhawanipatna, is notable neolithic cave paintings[12]. The
unique brick temple of Pataleswar at Budhikomna is situated at a distance of 40–50 km from
Yogimath.
Famous Temples
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Kakatpur Mangala Temple , Puri
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Akhandalmani Temple
Ananta Vasudeva Temple
Baladevjew Temple, Kendrapada town
Charchika Temple
Jagannath Temple (Puri), Puri
Maa Taratarini Temple Hill Shrine, Near Berhampur, Ganjam
Jagannath Temple (Koraput), Koraput
Sakshigopal temple, Sakshigopal, Puri
Lord Hanuman Temple, Siruli, Puri
Ramachandi Temple, Konark, Puri
Baliharachandi Temple Puri
Konark Sun Temple
Lingaraj Temple, Bhubaneswar
Maa Manikeswari Temple, Bhawanipatna
Maa Samaleswari Temple, Sambalpur
Mausimaa Temple
Mukteswara Temple
Kapilash Temple, Dhenkanal
Majhi Ghariani Temple, Rayagada
Rajarani Temple, Bhubaneswar
Tarini Temple, Biribati, Cuttack
Maa Katak Chandi Temple, Cuttack
Bhattarika Temple, Cuttack
Saktiswar Temple, Bariniput, Jeypore
Sabara Sree Kshetra, Koraput
Panchanana Temple, Raju Street, Jeypore
Jagat Janani Temple, Jeypore
Maa Tarini Temple, Ghatgaon, Keonjhar
HariShankar, Balangir
Nrusinghanath, Paikmal, Bargarh
Ghanteshwari, Chiplima, Bargarh
Dhyanakuda Pitha, Hajipur, Jagatsinghpur
Sarala Temple, Jhankad, Jagatsinghpur
Gorekhnath Temple, Gorekhnath, Jagatsinghpur
Patneswari Temple,Patnagarh
Nilamadhav Temple, Kantilo, Nayagarh
Gupteshwar Temple,Jeypore
Maa Tara Tarini Temple , Ganjam
Odogaon Raghunath Temple, Nayagarh
Ladoo Baba Temple, Sarankul, Nayagarh
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Paschima Lanka
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Paschima Lanka also called Paschim Lanka or Western Lanka refers to the modern
day of Sonepur region of western Orissa, India.[1],[2] According to historians the Sonepur
region was known as Paschima Lanka around 10th-11th centuries. The evidence comes
from a copper plate charter issued on late of 10th century by a Somavansi prince named
Kumara Someswaradeva of Subarnapur.[3] The Prince had identified himself as the king
of Paschima Lanka. It was further found that the Mahada copper plate grant of Kumara
Someswaradeva was registered on the bank of river Chitrotpala (Mahanadi) and near to
the province of Lanka. The presiding deity of Paschima Lanka was goddess
Lankeswari.[4]
Buddhism in orissa
Buddhism was known in Orissa, right from the time of its inception, though the Lord
Buddha never visited Orissa during his lifetime. Buddhist Chronicles refer to Buddha's Kesa
Asthi (Hair relic) brought to Odra (Orissa) by two rich traders -- Tapassu and Bhallika. In
the subsequent period, the nail and tooth relics of Buddha too entered into Odra.
Scholars believe that Biraja (modern Jajpur) was a sacred land of Buddha Padmaprabha
and the cradle of Mahayana, supported by fact that Jajpur and its neighbourhood are seen
to be rich in Mahayanic antiquities. In the 7th century, the visit of Hiuen Tsang to Orissa
vividly accounts the flourishing state of Buddhism in Odra.
Between the 8th-10th century, Buddhism was the state religion under the Bhaumakaras
and this period also saw evolution of tantric form of Mahayana Buddhism. The influence and
impact of Buddhism continued in Orissa until 15th century. The innumerable stupas, viharas
(monasteries) and images found across Orissa testify to its long heritage.
Buddhist tourism in Orissa has observed the opening up of some new vistas by recent
findings from excavations. Despite the fact that many Buddhist monuments already exist in
Orissa, these newly identified sites with Buddhist remains have also added to the charm of
Orissa. With Lalitagiri, Ratnagiri and Udaygiri hills located 90 kms from Bhubaneshwar and
60 kms North East of Cuttack, Orissa attracts many Buddhist tourists each year.
The Ratnagiri Hill is known to have the most extensive ruins and is famous for housing
the monastery of 'Pushpagiri' reported by Chinese traveler Hiuen T' Sang. Most of the
sculptures found here date back to 8th and 9th centuries. The Laitaghiri hills in Orissa also
serve to be a historical site of importance. An ancient stupa containing relics preserved in
caskets of stone is one of the recent and spectacular discoveries.
The Shanti Stupa at the Dhauli Hill, on the bank of the River Daya, is also one of the
much famed Buddhist sites at Orissa. It was here that emperor Ashoka underwent a psyche
change and abandoned war for the rest of his life, in the 3rd century BC. So, the NipponBuddha Sangha established a peace pagoda or Shanti Stupa at Dhauli. A monastery named
Saddharma Vihar Lalitagiri was also constructed here, thus, making it the earliest Buddhist
complex of 1st century AD.
Apart from these, Buddhist monuments are scattered throughout the state still awaiting
further excavation and study. Cuttack, Sambalpur, Balasore, Ganjam and Phulbani are
some, to name a few.
Orissa Facts
Geographical area
155,707 sq. km
Total forest area
58136 sq. km.
Coastline
480 km.
Capital
Bhubaneshwar
Time
GMT + 5.30 hrs.
Location
Between 17° C31'N - 20° 31'N and 81° 31'E - 87° 30'E
Neighbouring States
West Bengal in the north east, Jharkhand in the north,
Andhra Pradesh in the south, Chattisgarh in the west,
Bay of Bengal on the east
Climate in Orissa
Typically tropical with three major seasons, Summer
(March-June), Rainy (July-September), Winter (OctoberFebruary).
150 cm.
Average rainfall
Population of Orissa
36804660 (2001 census), 3.58% of country's
Population. Population density 236 per square km. Male
- 1,86,60,570, Female - 1,81,44,090 and the sex ratio
F:M is 972:1000. The urban population is 55,17,238
whereas rural is 3,12,87,422.
Total 63.08 percent; 71.35 percent male and 50.51
percent female.
Literacy rate
Religion
The majority (over 94 percent) consists of Hindus.
Muslim, Christians, Sikhs, Buddhist and Jains form a
very small minority.
Unilingual Oriya speaking state.
Language
Administrative set up
Transportation
Total districts 30 - Major are Cuttack, Puri, Khurda,
Nayagarh, Balasore, Bhadrak, Dhenkanal, Sundergarh,
Sambalpur, Deogarh, Koraput.
Airport at Bhubaneswar; Total railway route length 2287 km; broad gauge railway network about-2401 km;
Total length of surfaced roads about 14,870 km, crisscrossed by a network of national and state highwas.
Regular connections available to all major cities of the
state and adjoining Kolkata, Raipur, Ranchi, Vizag etc.
Facilities like STD, ISD, E-mail, Internet, Cellular phones
are functional almost everywhere in larger town and
cities.
Communication
Time honoured temples, virgin beaches, lakes, tribal
areas, handicrafts and handlooms, wildlife reserves,
majestic monuments, fair and festivals.
Orissa Tourist Attractions
Places to see in Orissa
Chandipur Beach
Gopalpur on Sea
Rath Yatra in Puri
Shri Jagannath Temple
Sun Temple Konark
Konark Dance Festival
Bhitarkanika National Park
Orissa Tribal Culture
Nestling on the eastern coast of India, Orissa is one of the most exquisite regions
dominated by exotic sandy beaches, plenteous wild life, and holy temples famous for their
architectural splendor and primitive lifestyle. The charm of the city is still well- nigh chaste
and unrevealed by the visitors, up to its full extent. The other lure of the city lies in its tribal
population dotted with more than 62 tribal communities. The tribal communities of Orissa
constitute about 23% of its total population. Orissa is inhabited by tribes like Saora or Sabar
that had a respectable mentioning in the epic of Mahabharata.
Mostly the Orissa tribes are high land habitats with opulent ethnic trait, cultures and
customs dominated by varying languages. The culture conscious tribes are able to preserve
their social customs and dignified values. The most primitive tribes are Bondas, Gadabas,
Koyas, Kondhas and Sauras.
Tribal Culture
The culture of tribal Orissa is affluent with their own folk songs and dances, their
tattoos. Tribal culture of Orissa is well depicted in its modern city in form of poems, art and
craft or music.
The tribes have adapted the Hindu traditions and culture from centuries, which is mixed
with their own culture giving a distinct zest to the entire racial. Songs and dances are the
essence of the tribal culture of Orissa. The traditions and the ceremonies for wedding, birth
and death all are represented by singing songs, rural dances along with feasts.
The Tribal Folk
Orissan tribes are strong, assiduous and simple hospitable tribes, normally like to be
reserved and maintain distance from the people of other communities, as they are too shy.
The major occupation of these tribes is agriculture and fishing and hunting. Men usually
wear loin attire and women rap long stretch of cloth around them. Women are adorned with
ornaments like bangles, armlets, bracelets, necklaces, rings, hairpins etc usually made of
silvers, aluminum, and brass. The practice of tattooing is prevalent among women folk. Girls
above 5 years are found with tattoo mark on their faces and hands.
Festival Celebration
Numbers of deities are worshiped by the tribes for their happy life. Many festivals are
also celebrated with much of enthusiasm and excitement. The ceremony rituals are
observed through out the year in order to appease their deities and ascendant.
The most significant festival of the year are the chaita parab and push parab- this day
all able men of the village go on a hunting expedition. The tribes with their cultural dance,
song and music all distinguish custom of their artistic life, which demarcate them from the
other non tribal groups.
Orissa acquire every thing
Orissa is a state, embellished with hilly terrain of the Eastern Ghats, where primitive tribes
dwell and a beautiful stretch of the Indo-Aryans coast where modern life persists. A blend of
2 discrete civilization with contrast cultures, beautiful landscapes, beaches, rich wildlife,
offers the best of India to its visitors.
Places To See in Orissa
A lot of architectural wonders and heritage sites at Orissa offer breathtaking views and a wholesome
experience to the tourists visiting the state.The beaches in Orissa with some or the other unique feature of
their own are the best loved beaches being yet unspoiled. The Puri Beach Festival therefore attracts lots of
tourists from all over the world.
Then there is the Sun temple at Konark that stands as mute evidence to exceptional architectural skills of
Oriya artists. The Udaigiri and Khandgiri caves are also a potential tourist attraction in Orissa. With
exceptional stone carvings, these caves are the best archaeological site at Orissa.
Orissa Beaches
Puri Beach
Gopalpur on Sea
Chandipur Beach
Wildlife in Orissa
Bhitarkanika National Park
Chandaka Elephant Reserve
Debrigarh Wildlife Sanctuary
Nandankanan National Park
Simlipal National Park
Ushakothi Wildlife Sanctuary
Tikarpada Wildlife Sanctuary
Orissa Wildlife Map
Chilka Lake in Orissa
Udayagiri & Khandagiri Caves
Dhauligiri
Konark sun Temple
Bhubaneswar
Puri
Cuttack
Sambalpur
Orissa Beaches
Puri Beach
Gopalpur on Sea
Chandipur Beach
Wildlife in Orissa
Bhitarkanika National Park
Chandaka Elephant Reserve
Debrigarh Wildlife Sanctuary
Nandankanan National Park
Simlipal National Park
Ushakothi Wildlife Sanctuary
Tikarpada Wildlife Sanctuary
Orissa Wildlife Map
Chilka Lake in Orissa
Udayagiri & Khandagiri Caves
Dhauligiri
Jagannath Temple Puri
Architecture of Jagannath Temple Puri
Legend of Jagannath Temple
Temples in Orissa
Brahmeshwar Temple
Mukteswar Temple
Parasurameswar Temple
Rajarani Temple
Vaital Deul Temple
Orissa Dance & Music
Odissi Dance
Orissa Folk Dances
Fairs and Festivals in Orissa
Chandan Yatra
Durga Puja Orissa
Konark Dance Festival
Puri Beach Festival
Rath Yatra
Orissa Tourist Festivals
Orissa Tribal Festivals
Jagannath Temple Puri
Architecture of Jagannath Temple Puri
Legend of Jagannath Temple
Temples in Orissa
Brahmeshwar Temple
Mukteswar Temple
Parasurameswar Temple
Rajarani Temple
Vaital Deul Temple
Orissa Dance & Music
Odissi Dance
Orissa Folk Dances
Fairs and Festivals in Orissa
Chandan Yatra
Durga Puja Orissa
Konark sun Temple
Bhubaneswar
Puri
Cuttack
Sambalpur
Konark Dance Festival
Puri Beach Festival
Rath Yatra
Orissa Tourist Festivals
Orissa Tribal Festivals
Pilgrimage in Orissa
Dotted with temples and architectural wonders, the holy land of Orissa is flocked round the
year by the pilgrims. Along with being the world heritage site of the Sun Temple at Konark,
Orissa is also referred to as the seat of Lord Jagannath at times.
With a glorious history dating back to 2000 BC, the pilgrimage sites at Orissa attract the
pilgrims from all over the world on the occasion of Rath Yatra of Lord Jagannath, the
presiding deity at Puri. To add another plume to the colorful feather of pilgrim destinations
of Orissa, the magnificent Lingaraj and exquisitely carved Mukteswar temples also attract
hoards of pilgrims.
A place sacred to all, the Hindus, Jains and Buddhists, Orissa is a much revered pilgrimage
point for devotees. Despite the world famous pilgrim centers, Orissa also has the following
Hindu Temples namely Ananta Vasudeva, Baladevajew, Bharateswar, Bhaskareswar,
Bharatimath, Brahma, Brahmeswar, Papanasini, Puri Jagannath , Rajarani, Rameswar,
Satrughaneswar, Subarneswar, Swarnajaleswar, Taleswar, Tirtheswar, Uttareswar, Vaital
and Vimaleswar / Gaurisankar temple.
Jagannath Temple Puri
Konark sun Temple
Brahmeshwar Temple
Mukteswar Temple
Parasurameswar Temple
Rajarani Temple
Vaital Deul Temple
Simlipal National Park
Simlipal Wildlife - Taking its name
from the abundance of semul or red silk
cotton trees that bloom vividly here, the
Simlipal National Park is home to three of
India's biggest animal species --Tiger,
Asian Elephant and Gaur. Spread over a
sprawling area of 2750 sq. kms, the park is
at an altitude of 559.31 meters.
Set on a wide expanse of Sal forest, this
park is nestled in the very centre of
Mayurbhanj, the northernmost district of
Orissa. Notable variations in topography,
conducive climate and
required vegetation has supported large varieties of animals, birds and reptiles to flourish in one
of the earliest and finest of India's 15 Tiger reserves falling under Project Tiger.
A forested, hilly terrain 200 km south-west of Kolkata, the reserve is endowed with an
exceptional biodiversity. Of the reserve's almost 1,000 species of flowering plants, 94 are
orchids, many of which are on show at the small display at Gurguria.
The reserve remains open from mid October to mid June. An entry permit needs to be taken
from the office of Assistant Conservator of Forest, National Park, Jashipur or from the Range
Officer, Pithabata at Pithabata. Check Gate to visit the reserve. The tourists can explore the
reserve from 0600 to 1200 hours in the day. This time is extended by two hours for the
reservation holders and is 0600 to 1400 hours.
With the nearest airports being at 250 and 300 kms at Calcutta and Bhubaneshwar
respectively, the reserve is 76 kms away from Lulung and 115 kms from Jashipur.
The fauna at the Park including tiger, leopard, elephants, bison, sambar, porcupine, pangolin,
flying-squirrel, hill myna, hornbill and pythons can be observed closely by exploring the reserve
in private jeeps and cars. But before going on any such expedition, the tourists are advised to
take an anti-malarial drug.
Simplipal National Park, a tract of total wilderness is spread over an 845 sq km core area. In
the ancient days, this reserve was the hunting preserve of the Mayurbhanj maharajas. As a
result of excessive hunting, the wildlife here was seriously damaged. And then it was in the year
1957 that a small area of it was declared a sanctuary.
Today, the tiger reserve extends over 2,750 sq. km, within a larger area of 4,374 sq km that
constitutes the biosphere reserve. But unfortunately, the tribal communities here still indulge in
an annual ritual hunt (akhand shikar) with bows and arrows. To add more to the woes of the
animals, encroachment, livestock grazing, poaching and indifferent visitors are also there.
But the management of the reserve has managed to sustain a vast variety of wild life here
despite nature's resilience. Better funding for effective protection and awareness is therefore
required at this stage to sustain healthy numbers
Bhitarakanika Wildlife Sanctuary
Bhitarkanika National Park - Considered
one of the most impressive wildlife
sanctuaries of Asia, the Bhitarkanika Wildlife
Sanctuary in Orissa is special due to reasons
more than one. Housing the dynamic and
salt tolerant species of trees, the Mangroves
that generally grow in tropical and subtropical inter-tidal regions; Bhitarkanika has
a luxuriant green, rich and pulsating ecosystem.
Located in the estuarial region of Brahmani-Baitarani, in the north-eastern place of Kendrapara
district of Orissa, the sanctuary covers an area of 672 square kilometers of mangrove forests
and wetland. Crossed by a thick network of brooks, with the Bay of Bengal on the east,
Bhitarkanika Wildlife Sanctuary is home to over 215 species of birds, including winter migratory
birds from Europe and central-Asia.
Apart from the Mangroves, another rarity that the sanctuary has to its account is the inhibition
of its ecosystem by the Giant Salt Water Crocodiles and numerous varieties of other animal
species. It is because of these specialties only that a vast expanse of forest around 145 square
kilometers has been officially declared as the Bhitarkanika National Park. This park including
mangrove forests, creeks, estuaries, rivers, accumulated land, backwater and mud flats is very
significant for the ecological, biological and geomorphologic background of Orissa.
To add more, the Bhitarkanika Wildlife Sanctuary in Orissa is also rich in avifauna, reptilian and
mammalian population. The mangrove forests in the sanctuary are also a good habitat for King
Cobra, Water Monitor Lizard and Indian Python. An area of about 4 hectares is visited by a large
number of water birds every year from June to October. The area near Suajore creek at the
sanctuary is frequently visited by Asian Open Bill, Cormorants, Darters, Black Ibis, Egrets and
many more
Debrigarh Wildlife Sanctuary
Total area - 347 sq km.
District - Baragarh
Nearest town Sambalpur - 50 km.
Best season to visit Debrigarh November-June
Entry Point - Dhodrokusum
Debrigarh Wildlife Sanctuary - The pleasant environs of the Hirakud Lake supporting a mixed
deciduous forest provide a natural habitat to a variety of wild life in the Debrigarh WildLife
Sanctuary, which stretches across the Lohara and Debrigarh Reserve forests on the Barapahad
hills in Baragarh district. The waterfalls tumbling down the hill sides during the monsoon and the
proximity of the large Hirakud reservoir attract a number of tourists.
The tiger, leopard, sloth bear, chital, sambar, and nilgai inhabit this almost virgin forest.
Besides, a host of resident and migratory birds such as the chousingha and the crested serpent
eagle add colour to the landscape. The mugger crocodiles and freshwater turtles residing in large
numbers add to the diversity of the reserve forest.
Enclosing the Kamgaon and Lakhanpur wild life ranges, Debrigarh is flanked by the Debrigarh,
Jhagadabehera, Lambipalli and Mundakati villages.
Accommodation is available at the Forest Rest Houses in Dhodrokusum and Dechua. One can
also opt for a Tourist Cottage at Chaurasimal.
Chandaka Elephant Reserve
Chandaka Elephant Reserve - 193 sq.
kms of the Chandaka forest on the
outskirts of Bhubaneswar in the Khurda
Uplands were designated as an Elephant
Reserve in August 1982. The Sanctuary
was marked out to check and restore the
depleting forest cover which once covered
Bhubaneswar. Conservation management
techniques over the last two decades have
revived the natural vegetation of the
designated area which now supports a
variety of wild life .
From a bushy cover that characterized the landscape before 1982, the diversity of flora today
ranges from the semi evergreen, to the moist kangada forests, coastal sal forest, thorny bamboo
brakes, planted teak and eupatorium scrub. There is a suffusion of medicinal plants and bamboo
plants, with a few orchid species also thrive in the wet and shady areas of the reserve.
Among the fauna about 30 species of mammals, 27 species of reptiles and 120 species of birds
can be sighted. Besides the elephant, leopard, chital, barking deer, mouse deer, langur, rhesus
monkey, mongoose, sloth bear, wolf and hyena also inhabit the sanctuary. A variety of snakes,
like the python, and the monitor lizard can also be sighted there. Mugger crocodiles have
adapted to large water bodies within the sanctuary. Come July, and water birds, mainly storks,
heron, egrets and cormorants can be observed.
The forest supports a thriving bird life, with the Kamarkhunti reservoir being a breeding ground
for the Garganey and common teal, pin tail, white eyed Pochard and spot billed Duck, among
others.
The watch towers at Kochilaberana, Pitagodia and Charichhak afford an excellent view of the
wildlife in the sanctuary. One of the watch towers enables tourists to capture the pachyderm's
movements during the late evening hours.
The revived Chandaka forest reserve is popular amongst eco-tourists and nature researchers.
Nandankanan National Park
Nandankanan National Park - Located
at a short distance from Bhubaneshwar,
there lies a miraculous zoo in the splendid
environs of the Chandaka forest. The zoo
contains a botanical garden with the
soothing sound of water of the Kanjia Lake.
Due to its being a successful breeding
ground for endangered species such as
Asiatic lion , Indian crocodiles, Sangal lion,
tailed macaque, Nilgiri
langur, Indian pangolin, mouse deer and countless birds, reptiles and fish; a part of the zoo has
been declared as a sanctuary.
34aquaria, another part of the zoo is home to a large variety of fresh water fish. The reptiles
at the zoo are also guarded well in a park. Its cave like entrance takes the desired care of
numerous species of crocodiles, lizards, turtles and snakes who share the park with natural ease.
With 67 species of mammals, 18 varieties of reptiles and 81 species of birds coexisting in the
deeply forest boundaries; the zoo enjoys an excellent reputation both nationally and inter
nationally for successfully breeding black panthers , gharial crocodiles and white tigers in
captivity.
Extensive research and concentrated efforts of the zoo officials have been instrumental in
giving a new direction to the existence of White Tiger, one of the rarest creatures in the World.
The natural environs of Nandankanan facilitated the mating and the entire zoo got filled with
unmatchable excitement and jubilation, in 1980 when the first litter of White tigers were born to
Deepak and Ganga, to tawny tigers. Subsequent litters of white tigers have been distributed to
zoos both home and abroad. Currently, Nandankanan is home to over 34 white tigers and is
famous for its white tiger population. Nandankanan or the garden of Gods offering the most
natural and growth conducive environment to these royal animals has become an all time
favorite for tourists and locals both.
Just 20 kms from the state capital, the zoo is spread over a sprawling area of 20 kms.
Ushakothi (Badrama) Wildlife Sanctuary
Total area : 304.03 sq km.
Location: 22 km from Sambalpur
District : Sambalpur
Nearest Town : Sambalpur (45 kms)
Best time to visit : Ushakothi OctoberApril
Founded In: 1962
Highlights: Houses Leopards, Tigers and
Sambars
Located at a distance of approximately 22 km from the Sambalpur district, Ushakothi Wildlife
Sanctuary is one of the most popular tourist destinations in Orissa. It is spread over an area of
approximately 285 square km and serves as the natural habitat of tigers, leopards and sambars.
The flora of the sanctuary comprises of several species like Sal, Sandalwood, Arjun, Neem,
Acacia and Casuarinas. The best time to visit the reserve is from October to May. There are two
watchtowers in Ushakothi Wildlife Sanctuary, from where one can have an aerial view of the
surroundings.
Fauna
The most popular attraction of the Ushakothi Wildlife Sanctuary comprises of Panthers, large
spotted feline species. Since they are nocturnal creatures, one has to take a jeep safari at night
to get a close view. Other wild animals seen at the sanctuary are Sambal, Chital, Nilgai,
Leopards, Wolves, Tigers and Elephants. Infact, it is said that there are 15 tigers and 35
elephants in Ushakothi. Though Sloth Bears are rare, one can hope to see them at dusk, when
they come to drink water in the nearby river.
Tikarpada Wildlife Sanctuary
Total area 795.52 sq km
Nearest town Angul 58 kms and Dhenkanal
120 kms
Best time to visit to Tikarpada DecemberApril
Tikarpada Wildlife Sanctuary - Enclosing the mighty Satkosia gorge where the Mahanadi
plunges into the Eastern Ghats, the Tikarpada Sanctuary is a very popular resort visited by
tourists. The Mahanadi cuts through 22 km of the multi-hued collage of sal trees in Tikarpada,
and a visit to the sanctuary is an awesome experience.
Boating, white water rafting, fish angling and treks through the lush forest are activities one
can indulge in at the sanctuary. The Rescue and Rehabilitation Centre is actively conserving and
breeding the endangered species of the crocodiles in the Mahanadi eco system in Tikarpada.
Though tigers are rarely sighted now, the wildlife within the sanctuary includes the Indian
adjutant stroke, red jungle fowl and Indian pitta.
Located at a convenient distance of 120 kms from Dhenkanal and 58 kms from Angul,
tourists can proceed to Saptasajya, a scenic picnic spot. The Saptarshi and Raghunath temples
in the vicinity are also frequented by tourists visiting the sanctuary.
While the forest lodge is located within the forest, you can choose to camp out in the open
with the special permission of the forest office.
Orissa Tourism Wildlife Map
Famous Folk Dances of Orissa are :
Chhow Dance - Famous Folk Dances of Orissa Chhow Dance--An ancient dance form,
mostly prevalent in areas of Mayurbhanj district, and which originated in the mock fights of
the Oriya warriors, is known for its masculine vitality. Chhow of Sareikela (Jharkhand) and
Purulia (West Bengal) are slightly different dance forms from that of the Mayurbhanj of
Orissa, performed during the Chaita Paraba in open air on a raised platform.
This dance includes both tandava and lasya elements represented by Lord Shiva and
Goddess Parvati respectively. The percussion instruments, like traditional drums and other
musical instruments, are generally played. Intricate feet movements, whirls and jumps
depict the emotions rather than the facial expressions. Hence the feet, the legs and the
waist are used to depict bhavas. It is a thematic dance presenting popular episodes from
the epics and Puranas.
The Chhow dance begins with ranga vadya--an ensemble of indigenous musical instruments
which inspires the dancers, followed by the orchestra taking up the initial tune of the dance
in slow steps. In the next stage, 'nata', the thematic contents of the performance and the
drama, is built up. The concluding stage is 'nataki' when the vigorous movements of the
dancers develop a high tempo. An equally popular, a form of battle or martial dance, Paika
exhibits tactics of warfare.
Other folk dances include the Chaitighoda, or the dummy horse dance, a traditional
fishermen's dance. The dancer inside the horse frame displays the galloping movements of
a horse with two other characters the Rauta and the Rautani singing and dancing along to
entertain the audience nightlong.
The girls in Sambalpur area dance and sing Dalkhai to the beats of drums, timkis and
nisans, a performance in which at times the lover raises some questions in the form of a
song and her beloved reciprocates accordingly.
The most ancient of folk dances of Orissa, the Danda Nata is a culture where Lord Shiva and
his consort Gori are propitiated. The bhaktas (devotees) do severe penance by walking on a
bed of red hot live charcoal, stand on edged swords or pierce their tongues or skin with iron
nails.
In a rural dance, the Medha Nacha, the performer puts a mask and dances to the rhythms
of the enchanting music in a religious procession. Made of paper machie, mask can be
human, divine or animal.
Orissa Tribal Dances--The colorful costumes of the tribes with headgear made of animal
horns and shells and their dances to the accompaniment of drums, flutes and string
instruments leave the audience spell bound. These lively and spontaneous dances still
continued to be performed on the occasions of birth, death, naming ceremony, marriages,
changing seasons and numerous fairs and festivals. The dancers are mostly performed by
groups of men and women and accompanied by a song.
The Changu Dance and the Karma dance are also some of the tribal dances of Orissa.
The styles of dance and music by Saura, Gond, Koya, Kondh and Gadba tribe are mostly
varied.
Odissi Dance
Orissa Folk Dance
Geography of Orissa
The state of Orissa covers an area of 1,55,707 sq.km. having a coastline of about 480
km on the Bay of Bengal. It lies between 17° 31' and 22° 31' The Western Rolling Uplands
are lower in elevation, 153-305 m and have a bedrock of hard soil and a lot of flora and
fauna. 31' N latitude and 81° 31' and 87° 3°' E longitude. Bounded by West Bengal in the
northeast, Jharkhand in the North, Andhra Pradesh in the South, Chattisgarh in the West,
the State is open to the Bay of Bengal on the East.
Morphologically it can be broadly divided into five major regions. The coastal plains in
the East, the middle mountainous and highlands region of north and northwest, the central
plateaus, the Western rolling uplands and the major flood plains.
Accounting for about ten percent of total surface area, the coastal plains belong to the
post tertiary period and are formed by the alluvial deposits of the six major rivers-the
Subarnarekha, the Budhabalanga, the Baitarani, the Brahmani, the Mahanadi, and the
Rushikulya. The region stretches from the West Bengal border i.e. from the river
Subarnarekha in the north to the river Rushikulya in the South. This region slopes
eastwards, maximum width in the middle (the Mahanadi delta), narrow in the North
(Balasore plain comprising deltas of the Subarnarekha and the Budhabalanga) and
narrowest in the South (Ganjam plain comprising smaller delta of the Rushikulya). The
South coastal plain also comprises the laccustrine plains of Chilika Lake. The long stretch of
land covers the districts of Balasore, Cuttack, Puri and a part of Ganjam with miles and
miles of paddy fields constituting the 'rice bowl' of the State.
The area inland is made of the ancient landmass of peninsular India and covers about
three-fourth of the entire state. The Middle Mountainous and Highlands Region mostly
comprises the hills and mountains of the Eastern ghats rising steeply in the East and slope
gently to a dissected plateau in the west running from northeast (Mayurbhanj) to northwest
(Malkangiri). These appear like scattered series of steep ridges interrupted by a number of
river valleys and flood plains. The elevation varies between 300-1200m. The entire area
very rich in mineral resources in mainly inhabited by tribes.
The plateaus are mostly flat forming the western slopes of the Eastern ghats with
elevation varying between 305-310 m. There are two broad plateaus in Orissa: the
Panposh-Keonjhar-Pallahara plateau comprising the upper Baitarani catchment's basin and
the Nabrangpur-Jeypore plateau comprises the Sabari basin.
The Western Rolling Uplands are lower in elevation, 153-305 m and have a bedrock of
hard soil and a lot of flora and fauna.
Orissa Tourist Map
Art and Handicrafts in Orissa
Having an ancient tradition of making splendid pieces of art by hands Oriya artists
have long been presenting their awe inspiring master pieces to the world. There are a lot of
handicrafts that have been running as the life force in the cultural land of Orissa. Some of
which include- Patta Chitra, Sand Art, Metal Work, Silver Filigree, Stone Carving and making
Puppets and Masks etc.
Patta chitras are miniature paintings, used as wall hangings with religious themes as
their subject matter. Legends from the lives of Lord Krishna are mainly depicted on this
specially treated cloth known as Patta.
Developed over the years, this art form has helped a distinct school of painting to
evolve. Having its origin in Sanskrit language, the word Patta Chitra literally means a
painted piece of cloth. This ritualistic art observes a fine blend of sophisticated art and folk
element in the form of rich colors. The skilled hands of the talented artisans present blood
red, red ochre, lamp black, yellow, white and indigo in a unique way as they pretend to be
offsetting each other.
These pattas are carried back home by pilgrims to Puri as precious mementos. Practiced
widely in Raghurajpur and Dandshahi villages at the outskirts of Puri, these pattas have
become synonymous to the place.
Another famous handicraft of Orissa is also based at Puri. This implies carving a sand
sculpture with just clean and fine-grained sand mixed with water. Attractive sculptures are
carved out of this sand by the Oriya artists.Dating back to fourteenth century A.D. the origin
of this art is associated to Poet Balaram Das, the author of Dandi Ramayan.Very eye
catching and splendidly beautiful, this art form has gained immense popularity with the
development of tourism.
The artists of Cuttack have also invariably contributed to enrich their tradition in the form
of an art known as Silver Filigree. Owing its popularity to this art form only the silverware or
Trakashi of Orissa is very widely known.
Thin wires drawn from beaten silver and foils are fashioned to make unique examples of
artistic excellence. Forms of animals and birds, small show pieces, fine pieces of Jewellery
and articles of daily use like vermilion receptacles are made by the filigree artists that are
popular the world over.
Artists of Orissa create miraculous master pieces of art practicing yet other crafts too
that are now not popular in India but across the globe as well.
Climate in Orissa
Orissa, on the eastern sea board of India, enjoys a tropical monsoon type of climate like
most other parts of the country. Its annual average rainfall is about 200cm. The south-west
monsoon normally sets in between 5th June in the coastal plain, and by 1st July the whole
of the state is under the full sway of the south-west monsoon. By 15th October, the southwest monsoon withdraws completely from Orissa. Orissa, on the eastern coast of India, is
not directly influenced by south-west monsoon branch from the Bay of Bengal like the west
coast, but the annual cyclones from the Bay of Bengal influence it and bring copious rain
with two seasonal peaks, July-August and October-November. During the winter, except
Northern Orissa, all other parts remain almost dry.
Rainfall
Monsoon rainfall is of highest importance as it directly controls the crop condition in
Orissa. Monsoon rainfall is considered 'high' when it is above 140cm and 'low' when it is less
than 120 cm as this is barely sufficient for a good paddy harvest. Winter rainfall helps the
growth of the second crop in Orissa and hence is of importance. A total rainfall of above 5
cm during the winter has been taken to be 'high' while less than 2.5cm is 'low' in Orissa.
Cyclones
Flood and drought are common to many states in India, but only a few states are
subject to cyclones and tornado. Orissa is one of the few. Cyclone has in recent years
become a regular feature like flood and drought.
The cyclonic storms during the monsoon which originate in the Bay of Bengal often cross
the east coast between Paradeep and Chandbali and make a north-west ward journey. They
proceed over Kendujhar and head towards Sambalpur and then decrease in intensity. There
are two cyclonic peaks in their occurrence, one during May-July and the other during
October-November. As far as the periodicity of the occurrence of the storms is concerned,
the maximum number of cyclones occurred during south-west monsoon period (154)
followed by the post-monsoon period of the north-east monsoon (70) and pre-monsoon
period (57).
Seasonal Divisions
Orissa experiences three main seasons, but the year is locally divided into six seasons.
Grishma (Summer), Baisakha and Jyestha (mid-April to mid-June)
Barsa (Rainy season), Ashadha and Sravana (mid-June to mid-August)
Sharad (Autumn), Bhadraba and Aswina (mid- August to mid-October)
Hemanta (Winter), Kartika and Margasira (mid-October to mid-December)
Sisira (Winter), Pausa and Magha (mid-December to mid-February)
Basanta (Spring), Falguna and Chaitra (mid-Feb to mid-April
These six local seasons are grouped into three main seasons:
Basanta and Grishma (Summer)
Barsa and Sharad (Rainy season)
Hemanta and Sisira (Winter)
Museums in Orissa
With a very few numbers of museums present in the state, the most famous museum at
Orissa is the State Museum which began as a subsidiary of Ravenshaw College's History
Department.
With a wide range of antiquities being added every year, the museum has gradually
become one of the premier institutions of the state standing as mute evidence to the rich
cultural heritage of the region. Archaeology, epigraphy, numismatics, armory, mining,
geology, painting, anthropology and manuscripts, you can have them all in the museum.
One of the most significant aspects of this museum is its manuscript gallery. Some of the
rare palm leaf manuscripts about 50,000 in number are housed in this gallery. Covering
diverse subjects like religion, philosophy, astronomy, astrology, poetry, science, medicine,
mathematics, warfare and the crafts, these manuscripts are a repository of artistic
expressions of that time.
These manuscripts were made by the incision of Oriya script on a dried palm leaf with a
stylus. The manuscripts at the museum depict highly symbolic scenery with costumes,
jewellery, hairstyle and facial expressions similar to stone sculptures of Orissa.
Abhinava Gita Govinda is believed to be one of the earliest palm leaf manuscripts dating
back to 1496. The museum also houses an illustrated manuscript of Gita Govinda written by
the 12th century poet Jayadeva. Displaying an advanced writing technology, it has 80 folios
in rich primary colors that have remained intact even after such a long period.
Orissa State Museum, Bhubaneshwar - This Museum in bhubaneshwar shows India
most artistic traditions with influences form Buddhism, Jainism, and Brahminical styles. The
Museum also showacase archaeology and numismatics, armoury, natural history and
contemporary art.
Culture of Orissa
The sacred environs of Lord Jagannath temple, the eroticism of Konark's Sun temple,
the wondrous caves of Jainism, the mystical monasteries of Buddhism, the paintings of
folklore and the weaver's magic; all stand as meek evidences of an eloquent past and
continuing golden present of Orissa.
Expressions of the soul find way in the form of indigenous theatres namely 'PrahaladNataka' or the 'Dhanuyatra' here. Dance and music form an inseparable part of the rich
culture of the state. The exotic classical dance of the region evolved from the cult of the
'devadasis' or female temple dancers. Folk dances like 'Chhow' and 'Sambalpuri' along with
tribal dances like 'Ghumura' & 'Paraja' leave every spirit truly elated. Then there are fairs
like 'Bali Jatra' that come as a reminder of an ancient maritime links with Bali. And to crown
it all is the universally-acclaimed 'Rathyatra' of Lord Jagannath which has become an
absolute synonym to Orissan culture.
Culture is the main system of any state and it depand on the situation of that palace.
Every state has its own culture. Culture of Orissa makes different it from other state of
India. Orissa is a state situated in the east coast of India. Orissa is bounded on the north by
Jharkhand, on the north-east by West Bengal, on the east by the Bay of Bengal, on the
south by Andhra Pradesh and on the west by Chhattisgarh. The official language of the
state, spoken by the majority of the people is Oriya because it the culture of Orissa. It is
closely related to Bengali and Assamese. Orissa is also called the city of lord because there
are many temples in Orissa. Culture of Orissa also effected by the other nearly states the
basically language of Orissa closely related to Bengali and Assamese.
Orissa’s cultural dance ‘Odissi’ is most famous classic dance of India. The culture of the
Adivasis is an integral part of modern Orissan heritage. Odissi music is usually classified as
a kind of Hindustani classical music of northern India. The capital city of Bhubaneswar is
known for the exquisite temples that dot its landscape. Orissa has a proud cultural heritage
that arose due to the intermingling of three great religious traditions - Hinduism, Buddhism
and Jainism.
Location of Orissa
The State of Orissa is located on the eastern coast of India at 17° 49' North - 22°0 34' North
Latitude & 81° 29' East-87° 29' East Longitude. Carved out of Bihar in 1936, Orissa is located on
the eastern coast of India. Bordered by Madhya Pradesh in the west, Andhra Pradesh in the
south, West Bengal in north-east, Bay of Bengal in the east and Bihar in the north, the state
extends to an area of 1,55,707 Sq. Km.
Culture of Orissa
The sacred environs of Lord Jagannath temple, the eroticism of Konark's Sun temple,
the wondrous caves of Jainism, the mystical monasteries of Buddhism, the paintings of
folklore and the weaver's magic; all stand as meek evidences of an eloquent past and
continuing golden present of Orissa.
Expressions of the soul find way in the form of indigenous theatres namely 'PrahaladNataka' or the 'Dhanuyatra' here. Dance and music form an inseparable part of the rich
culture of the state. The exotic classical dance of the region evolved from the cult of the
'devadasis' or female temple dancers. Folk dances like 'Chhow' and 'Sambalpuri' along with
tribal dances like 'Ghumura' & 'Paraja' leave every spirit truly elated. Then there are fairs
like 'Bali Jatra' that come as a reminder of an ancient maritime links with Bali. And to crown
it all is the universally-acclaimed 'Rathyatra' of Lord Jagannath which has become an
absolute synonym to Orissan culture.
Culture is the main system of any state and it depand on the situation of that palace.
Every state has its own culture. Culture of Orissa makes different it from other state of
India. Orissa is a state situated in the east coast of India. Orissa is bounded on the north by
Jharkhand, on the north-east by West Bengal, on the east by the Bay of Bengal, on the
south by Andhra Pradesh and on the west by Chhattisgarh. The official language of the
state, spoken by the majority of the people is Oriya because it the culture of Orissa. It is
closely related to Bengali and Assamese. Orissa is also called the city of lord because there
are many temples in Orissa. Culture of Orissa also effected by the other nearly states the
basically language of Orissa closely related to Bengali and Assamese.
Orissa’s cultural dance ‘Odissi’ is most famous classic dance of India. The culture of the
Adivasis is an integral part of modern Orissan heritage. Odissi music is usually classified as
a kind of Hindustani classical music of northern India. The capital city of Bhubaneswar is
known for the exquisite temples that dot its landscape. Orissa has a proud cultural heritage
that arose due to the intermingling of three great religious traditions - Hinduism, Buddhism
and Jainism.
Chilika
Chilka Lake - Asia's largest
brackish water lagoon with water
spread ranging from 1165 sq km m
the rainy season to 906 sq km in the
dry season is nestled in the heart of
the coastal Orissa. It extends from
Bhusandpur in Puri district in the
North to Rambha-Malud in Ganjan
district in the South, separated from
the Bay of Bengal by a 60 km long
narrow strip of marshy islands and
sand-flats.
Some of the prominent islands like
Nalabana, Kalijal, Somolo,
Honeymoon, Break-fast, Birds and
Rajahansa inhabited by small
subsistence fishermen families, are
popular destinations for daily boat
trips. Because of its rich bio-diversity
and socio-economic importance,
Chilika was designated as a Ramsar
site in 1981 to afford better
protection.
Facts about Chilka Lake, Orissa
Water Spread 1100 sq km
Area
Max length
64.3 km
Max breadth
Districts
Best time to
visit Chilka
Lake
Entry Points
18 km
Puri, Khurda and
Ganjam
NovemberFebruary
Satpada, Barkul
Chilika Eco Tourism
and Rambha-110
km, 97 km and 120
km respectively
from Bhubaneswar
Chilika is recognized as one of the most important wetlands in the world because it is
home to a phenomenal variety of birds. Chilika Lake offers visitors a spectacular display of
its colorful avian charms in a thousand different hues presented by over 160 species in the
peak season between November and February. The lake and its reed islands teem with
nesting birds-white bellied sea eagles, ospreys, golden plovers, sand pipers, flamingos,
pelicans, shovellers, gulls, include migratory ones flying great distances from Iran, Central
Asia and Siberia.
The large Nalabana Island (Forest of
Reeds) covering about 16 sq km in the lagoon
area was declared a bird sanctuary in 1987.
The core area of about 9 sq km attracts
around 400,000 waterfowls of different
species. Often underwater, the island
gradually emerges with the outset of summer.
It is literally a paradise for bird-watchers.
Another major attraction at Chilika is
Irrawady dolphins which are often spotted
off Satpada Island. Satpada, bounded by
the lagoon on three sides, offers an
excellent view and attracts the visitors to its
entire 30 km stretch of sand bar. Boats
arranged by OTDC are available for both the
islands. The lake also supports the local
fisherman in earning their living from
Chilika's prawn, mackerel and crabs.
Of late, slightly reduced number of birds--owing to growth in prawn farming as well as
silting and reduced salinity--has alarmed the conservationists. The plying of mechanized
boats, the increasing of different fishing nets and gears has threatened the flagship species
of the Chilika lagoon, the Irrawady dolphin.
People & Lifestyle of Orissa
Ancient Orissa was a confluence of racial streams that kept on invading the state leaving
their own imprints thus affecting the life style a lot. Historians believe that Aryans entered
Orissa from the northeast, subjugated the primitive people living there and imposed on
them their language and culture. But on reflection we conclude that the people then living in
the land were not perhaps all of the primitive type, nor were they subjugated culturally.
What might have happened probably was a racial and cultural amalgamation.
Geographically Orissa stands as a coastal corridor between the northern and southern
India. It is natural therefore that an assimilation of the races and cultures of the Aryans and
the Dravidians; must have taken place here in the days of gore. At the same time
successive racial and cultural tides might have surged up from the different sides, rolled in
and broken over this bound culminating in the indo-cultural synthesis.
In spite of being rural, people of Orissa, have still retained India's earliest civilization in
its pristine form by keeping their traditional values still alive. Not only in their secluded
hamlets, but also in the countless thousands of villages in the country side one can catch a
glimpse of the dwindling horizon of humanity, through the innocent and benign outlook of
tile villagers. A sensitive person who happens to be a prisoner of the modern society with its
stress and strain will not, while in a typical Oriya village, fail to mark the relationship of its
common people with God, nature and their fellow men.
Monuments in Orissa
Between the 7th and the 13th century AD, architecture in Orissa thrived under the
patronage of the Ganga dynasty. The Kalinga School of Architecture is believed to have had
its origins during this period, which follows a strict code laid down by ancient religious texts.
Most of the monuments in Orissa that remain today are large temple complexes
dedicated to a presiding deity, with the construction of the temple parts likened to a human
body. The rekha deul or curvilinear spire resting on a square base is unique to Orissa's
monuments, while the interior chamber or the "garba griha" is dark and built to allow only a
glimpse of the deity. The spires are adorned with symbols of virtue and immortality.
The monuments in Orissa provided for worshippers in a separate square shaped porch
called the "jagamohana" to congregate and await their turn to pay their respects to the
deity. A pyramidal roof marks the architecture of the "jagmohana", and is supported by
either pillars or pilasters on the inner walls. A walled courtyard enclosed the temple
complex. The carvings on the temple range from figures of Gods, to planets, to human
forms, flora and fauna, military and court life. The lion gates to the temple are another
characteristic feature of Orissa's monuments.
The rigidity of Orissa's temple architecture relaxed during the Ganga rule, as the "natya
mandir" or the dancing hall, and the "bhoga mandapa" or the hall of offering were added.
Similarly, more layers to the roof were added and plinths raised. The Lingaraj temple and
the Mukteswar temple in Bhubaneswar, the Sun Temple at Konark, and the Jagannath
Temple in Puri are some of the monuments in Orissa built in accordance with the Kalinga
School of architecture.
The Vaital Temple in Bhubaneswar reflects a different architectural theme, with a semicylindrical roof and a lopsided boat shape defining the tower. This and the Varahi temple at
Chaurasi with its barrel shaped tower bear the influence of the Shakti Cult. The Tantric
influence on some of the monuments in Orissa is seen in the circular design, sometimes
roofless, and enshrining the images of Bhairav and the yoginis.
Prehistoric Caves in Orissa
Rock art of prehistoric times have been excavated in Vikramkhol in Jharsuguda. The rock
caves, home to prehistoric man, were decorated with engravings and paintings of
geometrical forms of humans and animals. Similar caves are found in Sundergarh,
Sambalpur and Kalahandi.
In Dhauli, Jaugad and Sisupalgarh, the rock edicts demonstrate the highly evolved
sculptural skills of Orissa 2000 years ago.
Jain and Buddhist Sculptural Art in Orissa
In the first century BC, rock caves were carved out to accommodate Jain ascetics under
the Kharavel(Chedi) dynasty. The Khandagiri and Udaygiri caves display highly aesthetic
wall panels depicting contemporary life. In Puri, Keonjhar, Balasore and Koraput, caves
have been unearthed with figures of Jain Tirthankaras and Sasanadevas and their emblems.
Some of the cells have pillared verandahs circling them.
While Buddhism was followed by the people of Orissa ever since its origins as a religion,
it took a new turn after King Ashoka adopted its tenets after the Kalinga war. Between 261
BC to the 12th century AD, Buddhist art flourished, and sculptures of the Bodhisatva and
Avalokiteswara abound in Lalitgiri, Udayagiri and Ratnagiri
Jagannath Dham puri
Puri, on the east coast of India,
in the state of Orissa is a hoary
pilgrimage center, enshrining
Jagannath, in a colossal temple. Puri
is the forerunner of the Jagannath
cult in Orissa, which saw the
flowering of several temples
dedicated to Jagannath all over the
state.
Puri is an ancient shrine,
enshrining Krishna - Jagannath in
the form of a wooden image. Also
enshrined are wooden images of
Balabhadra (Balarama) and
Subhadra brother and sister of
Krishna respectively. Interestingly,
the Rig Veda refers to Purushottama
in the form of a wooden image,
prepared from a log of wood floating
on the ocean. Puri is also referred to
in the Bhrama purana.
Orissa has Konark as the Surya
Kshetra, Puri as the Vishnu kshetra,
Bhubaneshwar as the Hara Kshetra
and Jaipur as the Parvati Kshetra.
Legend has it that the original
image of Jagannath was found at the
foot of a fig tree, in the form of an
Indranila or the Blue Jewel. Its
blinding brightness, prompted
Dharma to request it to be hidden in
the earth. King Indradyumna, of
Malwa intending to discover this
image, performed severe penances,
and was instructed by Vishnu to go
to the Puri seashore, and look for a
floating log, and fashion an image
from its trunk.
The King did discover the log of wood. Vishnu and Vishwakarma appeared in the form of
artistes and prepared images of Krishna, Balarama and Subhadra from the tree.
Interestingly, the wooden images being worshipped are renewed during special occasions.
New images have been installed in 1863, 1893, 1931, 1950, 1969 and 1977.
Puri was a center of Buddhist worship, before it became a center of Vaishnavism again.
The Rath Yatra at Puri has its parallel with the chariot procession of the Buddha's tooth at
Dantapuri.
Puri is located on the gentle slope of the Nila hill, adjacent to the sea. A sacred banyan
tree is revered as a manifestation of Vishnu, the ocean - Balarama and a pool- the king
Indradyumna. Pilgrims are required to offere worship first at a Shiva temple, and then at
the banyan tree and then at the shrine to Balarama before proceding to worship Jagannath.
Subhadra is to be worshipped next.
The Temple: The vast temple complex occupies an area of over 400000 square feet, and is
bounded by a 20 feet high fortified wall. This complex contains about 120 temples and
shrines. The shikhara of the Jagannath temple towers to a height of 192 feet.
Structurally the temple has four chambers. The outermost is the Bhogmandir, the next
is the Nata-mandir pillared hall for music and dance, the next is the Jagamohana - or the
mandapa where devotees gather for worship and the last is the sanctum or the Deul
enshrining the deities.
History: The temple was originally built by the Kalinga ruler Anantavarman Chodaganga
(1078 - 1148 CE). Much of the present structure was built by King Ananga Bhima Deva in
the year 1174 CE. It took 14 years to complete and was consecrated in 1198 CE. It is
believed that the image of Jagannath was buried thrice in the Chilka lake for protection from
invaders.
Puri represents one of the four peethas established by Sankaracharya, the other four
being Sringeri in south India, Dwarka in Saurashtra, and Badrinath in the Himalayas.
Ramananda of the 14th century - a follower of the Sri Vaishnava religious leader Ramanuja,
is also associated with this temple. Chaitanya of the 15th - 16th centuries popularized the
worship of Jagannath.
Festivals: Elaborate worship services are carried out throughout the day here. There are as
many as 24 festivals each year, the most important one of them being the Rath Yatra or the
Chariot festival in the month June - July. The spectacular chariot festival involves the
procession of three colossal chariots bearing the images of Jagannath, Balarama and
Subhadra through the streets of Puri.
Jagannath's chariot is a 35 feet square, rising to a height of 45 feet, with 16 wheels, 7
feet in diameter. More than 4000 people drag the chariot. Hundreds of thousands gather
from all over the country to witness this festival. The chariot is dragged to the deity's
summer abode where the deities are worshipped for a week, and then a re-enactment of
the chariot festival, where they are brought back in procession happens. New chariots are
made each year.
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