Odisha

Prepared By: Savita Thakur
17025

 Located on the eastern coast of India.
 Adjacent to Madhya Pradesh in the west,
Andhra Pradesh in the south
 West Bengal in north-east
 Bay of Bengal in the east
 Bihar in the north.
 Area = 1,55,707 Sq. Km.

Capital of Odisha is
Bhubaneswar.
Language spoken is Oriya.
Odisha consists of 30
districts.

 Fertile plains along the coast.
Forested highlands towards the
interior.
Western and northern portions
of the state are occupied by the
Chota nagpur plateaus.

33% forest area
Forests are repositories of Bamboo,
Teak, Rosewood, Sanghvan and Haldi
White Tigers, Sloth Bear Mongoose,
Flying Squirrel, Olive Ridley Turtle
Alexandrine Parakeet , Indian Pied
Hornbill, Hill Mynah

 The ancient name was Kalinga.
 Controlled and traded with most of the sea routes
in the Bay of Bengal.
 Mahapadmanabh of Nanda dynasty who ascended
the throne of Magadha in 362 B. C. conquered and
instituted Kalinga to his extensive empire.
 Kalinga became economically prosperous under the
Nanda rule.

 In 261B.C., the Mauryan emperor Ashoka invaded
Kalinga which resulted in the Kalinga war.
 It is presumed that the war took place in the banks
of Daya river.
 After occupying Kalinga, Ashoka took up the path of
non-violence.
 He became an instrument in spreading Buddhism all
over Asia.

 In 1803, the British under the British East India
Company occupied Orissa (Odisha).
 In 1823, Orissa (Odisha) was divided into the
three districts of Cuttack, Balasore and Puri.
 Large scale irrigation projects were undertaken
in the last half of the 19th century.
 The coastal section was separated from Bengal
and made into the Province of Bihar and Orissa
(Odisha) in 1912.

 ‘Odissi’ is the classical dance of Orissa.
 Originally developed in the temple of Lord
Jagannath.
 This dance has been closely connected with
the day to day activities of the temples.
 Strongly linked with the religious movements
of Orissa.

 Gained recognition in early 60s.
 The dance form nearly went extinct during
the British period.
 Before that, there were devadasi nritya and
gotipua nritya.

 Chhau dance (or Chau dance)
 Sambalpuri dance originated from the
western region of Orissa.
 Tribal dance in the district of Koraput
known as dhemsa dance.

 Rasagolla is basically an oriya invention. The
Salepur rasagolla are very famous.
 Kheer is originated in Puri 2000 years ago.
 A typical meal in Orissa consists of a main
course and dessert.

 Jagannath temple in Puri
 Sun temple in Konark
 Rajarani temple in Bhubaneswar
 Mukteswar temple in Bhubaneswar

 Major Jagannath Temple Festivals include
Rath Yatra
 Special Festivals include Konark Festival, Puri
Beach festival, Rajarani Music Festival,
Kalinga Mahotsav, Ekamra Utsav,Shreekshetra
Utsav
 Tribal Fairs and Festivals include Bali
Yatra,Chaita Parava

 The Pipili work and the silver filigree work at
Cuttack
 The Sambalpuri textiles is famous for its artistic
grandeur.
 The handloom sarees available in Odisha can be
of four major types; these are Ikat ,Bomkai etc.
 Pata Painting is considered an important form of
Orissan painting which originated from the
temple of Jagannath at Puri in the 12th century.

 'Applique', is a French term that refers to an art
form of superimposing patches of colored fabrics
on a piece of basic fabric/cloth to give it an
altogether a new look.
 Though this form of art is not unknown in other
parts of India, it is Odisha and especially in Pipli
that the craft has a living and active tradition
continuing over centuries.
 In fact applique works are a vivid expression of
Odisha Crafts.

•The use of all pipli products are
associated with the religious
ceremonies of Lord Jagannath. So it
can be safely concluded that this art
form ascribes its origin to the
Jagannath cult.
•The traditional applique work used at
the time of Dola Jatra for deities are
quite well-known.
Pipili work

 The kings of Puri engaged craftsmen in the service of
Lord Jagannath and set up village Pipili for them to live
in.
 They were specially skilled in designing the canvas cloth
that is used to cover the chariots of Lord Jagganath,Lord
Balabhadra and Devi Subhadra
 The art form typically depended on four basic colors -
red, white, black and yellow to produce a striking effect.
 In recent years, green too has been applied vigorously
enlivening the craft even more.
 In fact the basic inspiration for the art form was mainly
religious in nature.

New product range: wall hangings, garden
umbrellas, lamp sheds, cushion covers and
letter bags are now prepared as they are
very much in demand by the tourists.

 The word “Patta” means cloth and the word
“Chitra” means a picture.
 Thus Patta chitra is a form of painting that is
done on clothes.
 The art form can be traced to as early as the 12th
century A.D and has evolved around the Jaganth
cult in Orissa. Even to this date certain ritual in
the temple of Lord Jagannath is incomplete
without the Patta Chitra


 Traditional Patta Chitras that are painted for Lord
Jagannath has elaborate rituals attached to it.
 The chitrakars/painters need to work on the
painting wearing a new dhoti, eat only vegetarian
food and sleep on floor.
 Once the painting is over, a grand bath (maha
snana) amidst chanting of mantras is arranged and
the deities are put in for Darshan confirming with
tradition.

 The Patta Chitra painting, one of the fascinating
art forms of Odisha, has a tradition that goes
back to centuries. In fact, it is often described
as the best among the Odisha Craft.
 Evolved in the Puranic culture and grown in
mythology, this form of art developed and
revolved around the Jagannath cult of Odisha.

 In today’s context, the Patta chitra has made a slow
sojourn from the temple to the drawing rooms, lounges
of big hotels and guest houses.
 The subject of the paintings has also evolved and taken
new dimensions. In addition to the stories from
Ramayan, Mahabharat and Vesas of Jagannath, new
themes on the life and philosophy of Lord Buddha,
pictures on Jainism, Jesus Christ and important
historical events are also found in patta paintings.
 The traditional pattis are replaced with tassar silk cloth
and the the chitrakaras have adopted to the brushes
sold in the market. Instead of simple rendering, the
paintings are now decorated with more ornamentation

 Palm leaf paintings of Orissa are one of its most
ancient art form.
 Most of the palm leaf paintings in Orissa are
simple.
 Palm leaf is a sacred art of orissa and even today
horoscopes continue to be written in palm leaf.
 Vegetable dyes are used to give these paintings
some colour but these paintings are mostly in
black and white colours.
 The concept of these paintings is the epics of
Ramayana and mahabhatha.Legends of Lord
Jagannath,RADHA AND KRISHNA,Durga ,Ganesha
and Saraswati are most commonly used Gods and
Goddesses in palm leaf paintings.

 Rows of same sized palm leaves are first arranged
together and sewn. These neatly sewn palm leaves are
then folded in such a way so as to make a pile.
 These paintings are first etched out, which means that the
designs and images are neatly etched on the surface of
the palm leaf using a sharp pen or stylus like object. Ink
(or a concoction of charcoal of burnt coconut shells,
turmeric and oil) is then poured along the lines; the lines
are now defined.
 Vegetable dyes are also added to give these paintings
some color, but these paintings are mostly, dichromatic
(black and white).
 The panels of the paintings are unfolded like a fan to
reveal a beautiful patta chitra.
The Technique

 Mythological themes dominate most
pattachitra paintings; scenes from the Hindu
epics, Ramayana and Mahabharata are
lovingly depicted. Local legends and folklore
too find their way into the paintings.
 Legends of Lord Jagannath,Radha and
Krishna, Durga, Ganesha and Saraswati are
the most commonly used Gods and Goddesses

•Papier Mache skill has been creatively practiced by
crafts persons from all over Orissa for long.
•Masks, hand bags, toys are produced out of specially
made papers in Orissa that are not only beautiful but
strong and durable as well
•Orissa has a history of folk theatre also known as
Jatra in local.
•The characters of these Jatras are made of wood and
vividly painted.
Papier Mache

 An elaborate procedure is followed to make
papers for these items.
 Paper, waste cloth and different kinds of natural
fibers are soaked and beaten into pulp.
 They are then mixed with a variety of seeds and
gums for strength and as protection from
termites.
 Special clays and bio-wastes are added for body
and reinforcement.
 The entire process results in a medium so
malleable that it requires skill to be molded into
countless forms.
 Items like masks, toys and caps generate a lot of
interest in the market.

 Practised by
particular caste of
people in Puri,
Cuttack, Ganjam
and Sambalpur
Districts
 brass is an alloy of
copper and zinc
 bell metal is an
alloy copper and
tin.

 The fine engravings on brass and bellmetal utensils, bronze
bangles and pots are important aspects of Odisha art.
 Artefacts made of metal, particolarly brass, find pride of
place in the homes of Odisha.
 Beautiful lamps and lamp stands are used during the
worship of deities.
 Rice measuring made of brass are used in many homes.
 The artisans also make elephants and horses from brassand
decorate them with intricate designs.
 Containers of brass for betel chewers are designed both to
be useful and ornamental.
 There are household articles and utensils made out of
brass and bell metal and they are of different shapes and
sizes.
 The brassware of Odisha reveals the high workmanship of
the artisans and their flair for innovation

 Odisha sarees have a close relation with the
Jagannath culture.
 Originally, the four basic colors which are found on
Lord Jagannath—black, white, red and yellow—are
extensively used in Oriya saris.
 Even the motifs such as the temple border, lotus,
conch and wheel, signify the affinity with the
reigning deity.
 The traditional Oriya sarees have undergone vast
changes as weavers try to adapt the designs to

 Traditionally the Ikat sarees have been produced in
Odisha since time immemorial.
 The Ikat tradition of Orissa is the intricate process of
Tie and Dye
 The Ikat technique is commonly known as BANDHA in
Odisha and the traditional Ikkat sarees called as patan
patola.
 In general terms, Ikat is a form of weaving these
wonderful textiles.

 The weft or the warp or both are tie-dyed before
weaving to create designs on fabric in this
method.
 Traditionally, the women of Odisha dress in sarees
of blue, red and magenta and other deep colors,
with Ikat patterning.
 These beautiful and eye catching saris are made
within the state, mainly at Nuapatna, near Cuttack
on the coastal plain, or in the weaving centers
inland around Sambalpur, Bargarh and Sonepur and
Boudh districts.

 A traditional figured sari from southern Odisha the
Bomkai saree is named after the village where the
craft is practiced.

 These saris, woven traditionally for the local
aristocracy use a heavy low count cotton yarn that
is dyed in bright colours mostly black and red along
with silk fabrics.
 Using a time consuming weaving technique
unusually large pallu.
 There are Bomkai sarees with elegant designs,
enchanting colors for the exclusive women.

 Some Bomkai sarees have small fishes woven
onto the border.
 Fish symbolizes prosperity and good health.
 Bomkai sarees feature threadwork ornament
borders and pallu.
 These sarees are much in demand owing to their
traditional look as well as their understated and
elegant color palette.

 A unique type of art form is developed at
Puri.
 To carve a sand sculpture, the raw material
is the only clean and fine-grained sand mixed
with water.
 Poet Balaram Das is famous for his sand art
of Lord Jagannath, Lord Balabhadra and Devi
Subhadra.
 Sudarshan Pattnaik is one of the famous sand
artists of the present time.

Odisha

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