ODISHA:: It's place of temples, land of opportunities, home of undiscovered talents (Arts/Crafts)

Art_&_Craft

Through the century Orissa has retained its cultural identity within the mainstream of pan-Indian culture. A land of rich and diverse artistic acivements, Orissa’s art and culture are the products

of a long historical process in which the sprittual, philoshopical and the human dimensions have merged to yiled the finest effects of a cultured and civlised life.

The cultural heritage of Orissa is reflected in its vibrant art forms. Orissa has distinict tradition of painting, architecture, sculpture, handicrafts, music and dance. Orissa boasts of a long and rich cultural heritage. Due to the reigns of many different rulers in the past, the culture, arts and crafts of the state underwent many changes, imitations, assimilations and new creations, from time to time. The artistic skill of the Orissan artists is unsurpassable in the world.

Through the century Orissa has retained its cultural identity within the mainstream of pan-Indian culture. A land of rich and diverse artistic acivements, Orissa’s art and culture are the products of a long historical process in which the sprittual, philoshopical and the human dimensions have merged to yiled the finest effects of a cultured and civlised life.

The cultural heritage of Orissa is reflected in its vibrant art forms. Orissa has distinict tradition of painting, architecture, sculpture, handicrafts, music and dance. Orissa boasts of a long and rich cultural heritage. Due to the reigns of many different rulers in the past, the culture, arts and crafts of the state underwent many changes, imitations, assimilations and new creations, from time to time. The artistic skill of the Orissan artists is unsurpassable in the world.

Patta Chitra

Miniature paintings are called patta chitras. Pattas are now used as wall hangings. The subject matter of Patta paintings is limited to religious themes. The stories of Rama and Krishna are usually depicted on the pattas. "Rasa Lila", "Vastra Haran", "Kaliya Dalan" are some of the recurring themes of

Patta art. Just 70km away, on the sea coast lies Puri, a temple and beach town that shares and mirrors some of Bhubaneswar’s arts and crafts, even as it nurtures arts and crafts that are uniquely its own. In the famous exquisitely carved Jagannath temple, an annual ritual has given birth to a treasured art form.

                Three paintings on specially treated cloth or patas are prepared by the temple painter and hung inside the sacred precincts of the temple. Originating as a ritual, patas developed over the years, as a distinct school of painting executed by the chitrakar (artist) community. Blood red, red ochre, lamp black, yellow, white and indigo blue sometimes offset each other, sometimes blend to form patachitras in the skilled hands of talented chitrakars who follow in the footsteps of their forefathers.

The word patachitra is derived from the Sanskrit word pata, which means a painted piece of cloth, a picture, a tablet or a plate. Chitra means painting or picture. Elements of folk and sophisticated art and craft characterise each finely executed patachitra.

Since olden times, pilgrims to Puri have been carrying home the colourful patas or patachitras as precious mementos- just as they carry back Ganga jal (water from the holy Ganges) form Haridwar. The patas from Puri are sought after by tourists and art lovers both in India and abroad. The chitrakars live and practice their hereditary art in Puri and in two villages on its outskirts-Raghurajpur and Dandshahi.

In Raghurajpur, there are close to fifty families of pata painters. Each of them has a family sketchbook handed down from generation to generation. Gods and Goddesses, the lilas (fanciful but allegorical activities) of Lord Krishna, legends and animals, are all depicted in the sketchbooks. These books are the chitrakars most valuable possessions and are worshipped along with the family gods. Besides pata paintings, the chitrakars also make unique, circular playing cards known as ganjifa which are popular in villages all over Orissa.

Sand sculpture

In Orissa, a unique type of art form is developed at Puri. But it spreads all over the world. To carve a sand sculpture, the raw material is the only clean and fine-grained sand mixed with water. With the help of this type of sand and with the blessings of God and by the magic of fingures, an artist can carve a beautiful and attractive sculpture on the beach.

In Orissa an unique type of art form is developed at Puri . But it spreads all over the world, To carve a sand sculpture, the raw material is the only clean and fine grained sand mixed with water.

With the help of this type of sand and with the blessings of God and by the magic of fingures, an artist can carve a beautiful and attractive sculpture on the beach. Although not historically proved, there is an interesting story in the Orissan myths regarding the origin of sand sculpture like follows :- " Poet Balaram Das, the author of Dandi Ramayan was a great devotee of Lord Jagannath .

Once during Ratha Yatra (Car Festival), he tried to climb the chariot of Lord Jagannath to offer his prayer . Since he wasn't allowed by the priests of the chariot to climb it and also insulted by them . With a great frustration and humiliation he came to the beach (Mahodadhi) and carved the statues of Lord Jagannath , Lord Balabhadra and Devi Subhadra on the Golden sand .

Then there he started praying and worshipping these statues. His devotion was so strong and deep that the original statues vanished from the chariot and appeared at that place where Balaram das was worshipped.” Although the above stanza has no solid historical support, but it is evident that from the period of Balaram Das , the people of Puri are aquainted with the carving of sculputure on sand . The period of Balaram das as mentioned in history was fourteenth century A.D. Hence sand sculpturing in Puri isn't a new phenomenon, but it is at least seven hundred years old. Now-a-days , pupils are accquianted with the stone sculpturing. So stone sculpturing is treated as the first step of sand sculpturing .

The carving on sand is more easier and quicker than carving on a rigid stone . So it is a easy process of learning the art of carving on sand . So within a short period of time , a pupil gets a clearcut idea about the carving . Though these sand sculptures are very easily eye catching and transferable , It is also destroyed easily. That's why the artists donet continue this type of art for a longer period. With the upliftment of tourism, this wonderful art form receive a high prestige and popularisation.

The outcome appreciation of tourists, encourage the artist to do well. Without any motive, these artists are dedicated their life for the development and popularisation of this art. By their dedicated efforts, they are able to internationalise this art form of Puri. There are very few people who leave their foot prints on sands. One of them is Sudarsan Pattnaik. He has magic fingers, with unlimited potentials and with immense heat to create some thing new on sand. He had always a dream that he would win a prize in an international level. For his excelent talent he travels many countries like London, France, Scotland, China, Holand, Singapore, Denmark and Italy.

He is also appreciated by many for his attractive sand sculpture. Now he became an international artist. In the World Master's Sand Sculpture Champianship held at Italy in July 2001 he represented India and got 3rd prize as first Indian . "Golden Sand Art Institute " which is an open air institute in Puri Beach behind Mayfair Hotel started in the year 1995. Around 50 students are taking training in this institute including tourists.Tourists can take basic 7-10 days familiarization course. Beautiful gallery on the beach can be observed in the beach in the afternoon from 4-6 P.M. The institute is run by Mr Sudarsan Patnaik, e-mail: sudarsansand@hotmail.com , Marichikote Lane, Puri-752001, Orissa,India.

Paintings

   Orissa has an age old tradition of Painting which stretches from the prehistoric rock shelters to the temples and mathas of this century. Out of these the traditional painters, the tribal painter , the folk and rock painters are of significance.

Palm Leaf Paintings

Palm leaf paintings are very ancient in Orissa. In Orissa the Palm Leaf illustrations are mainly of two types, simple engravings or illustrations in pure line on palm leaf and engraving with colour fillings. In these engravings, colours are muted and play a very minor part. Where colours are at all applied, they are just painted either to emphasize the inscriptions, or to fill up blank space.

Away from the shops and bazaars, in some friendly Oriyan household or in a temple or at an astrologer’s place, the ancient art of palm leaf writing still survives. Religious texts continue to be read out from palm leaf manuscripts rather than from printed books.

Horoscopes, too, are traditionally written on palm leaves by professional horoscope makers known as nahakas. Palm leaf was considered so sacred that even after printing presses began operating in Orissa, important texts continued to be printed on the leaves instead of paper. The printing of New Year cards and wedding ivitations on palm leaf is still popular in Orissa.

Jhoti

The folk art of Orissa is bound up with its social and religious activities. In the month of Margasira, women folk worship the goddess Lakshmi. It is the harvest season when grain is thrashed and stored. During this auspicious occasion, the mud walls and floors are decorated with murals in white rice paste or pithau. They are called Johti or Chita and are drawn not merely with the intention of decorating the house, but to establish a relationship between the mystical and the maerial, thus being highly symbolical and meaningful.

Throughout the yea, the village women perform several rituals for the fulfillment of of their diseres. For each ocassion, a specific motif is drawn on the floor or on the wall.

For instance, in Lakshimi Puja a stack of paddy is drawn on the walls structured like a pyramid. During Durga Puja, while dots superimposed with red are painted on the walls.

This combination of red and white signifies the worship of Shiva and Shakti. To draw a Jhoti or Chita, the fingers are dipped in to the rice paste and made to trace out intricate patterns on the floors or walls. Sometimes a kind of brush is prepared from a twig to one end of which a small piece of cloth is attached. This is dipped into the white rice paste to draw patterns on the wall. Muruja is drawn on the floor with powders of different hues. Indigenous methods are used to get colour powders. White powder is obtained from dry leaves, black from burnt coconut shells, yellow from the petals of marigold flower or turmeric and red from clay or bricks. In the holy month of Kartik (November) women observe penace and draw Muruja designs near the Tulsi plant with Chaura in their courtyard.

Horn/ Bone Craft

Horn articles of Orissa are mystical and are blended with a superb fashion design. From the horn of cattle articles of daily use like combs, flower vases and pen-stands are made. Their lively appearance, dynamism and animation vie with the real objects of nature - that spells the names of Parlakhemundi and Cuttack.

Chandua

One of the most important cottage industries encouraged by temple rituals was the creation of applique work Applique in Orissa is an old temple art , which has been refined to perfection. A fine example of the craft is the enormous applique canopies above the reigning deity of Puri , Lord Jagannath . Applique art is the process of cutting coloured cloth into shapes of animals , birds, flowers, leaves and other decorative motifs and stitching them on to a piece of cloth that can ultimately be used as a lamp shade , a hand bag or even a garden umbrella .

The village of Pipli , 40 kms. from Puri , is the site of beautiful applique work, created by artists, quite a few of whom have won national awards for their crafts.

The lovely wall paintings seen on houses are very much eye-catching, whether painted with colours or powdered rice water. The traditional patta paintings are painted on the traditional treated cloth with a laequered hard surface and original colour combinations. The theme of such paintings mostly revolves around Lord Jagannath.

The sets of 96 circular playing cards with traditional charming paintings called " Ganjappa " are much sought after by Connoisseurs. Raghurajpur a road side village about 14 Kms away from Puri towards Bhubaneswar and Chitrakara Sahi in Puri Town houses these artisans The Palm leaf painters are also seen on the job in this village Raghurajpur which is proud of her products-artisans and painters. These paintings are done by the palm-leaf etching technique which are formed by stitching together rows of the leaves. They can be folded into a compact pile, then opened up easily.

Like patachitras, applique work in Orissa also originated as a temple art. Coloured cloth, after being cut and shaped into the forms of birds, animals, flowers, leaves, and other decorative motifs is stitched onto a cloth piece designed as a wall hanging, garden or beach umbrella, a lamp shade and other utility items. Since the past decade or so, saris and household linen in applique work are also being produced in increasing numbers.

Tiny mirrors in a whole range of geometrical shapes and designs are then encapsulated by thread embroidery to create a striking work of art. Four basic traditional colours- red, yellow, white and black are used, while green has been added in comparatively recent times. Besides Puri, appliqué work is also practised to some extent in Chitki, Barpali, and a couple of other places.

Metal Work

A small, select group of gifted Puri craftsmen also persevere with the traditional craft of making brass icons. Elsewhere in the state, in small places such as Behrampur and Belguntha (in Ganjam district), Tarva (Bolangir district), Chandanpur, Phulbani, and Kantilo are scattered some 15,000 families who specialise in producing a variety of brass and bell metal craft objects, which exhibit extraordinary craftsmanship. In Tarva, the craftsmen fashion beautiful utilitarian and decorative objects such as plates, ashtrays and bells out of white metal. About 230 tribal families produce prized dhokra metalware items-boxes, lamps, figures of deities-by the cire perdue or lost wax method.

The highly refined, delicate craft of tarkashi or silver filigree work is practised in Cuttack. Silver is beaten and drawn into fine wires and foils, which are then joined together to form articles-generally ornaments-of stirring beauty. The snow glazed filigree work or tarkashi of Cuttack was once sought after by royal households and merchants from far and wide.

Today, the tarkashi workers continue to uphold the traditions of outstanding workmanship, but the clientele has changed, resulting in a comparatively reduced, standardised variety of articles. Besides its famed tarkashi, Cuttack is also well known for its horn work. Buffalo and cow horns are used by skilled artisans toproduce tastefully designed ashtrays, jewellery, figures of birds and animals.

Tarakashi

Silverware or Trakashi of Orissa is very widely known. Her Filigree works particularly are unique examples of artistic excellence rarely to be seen in any other part of India. Silver wires, extremely delicate, are shaped into intricate designs. Forms of animals and birds, articles of daily use like vermilion receptacles are also made out of silver wires- Filigree ornaments.

Beaten silver is drawn into fine wires and foils which are then fashioned together to create jewellery of infinite beauty. Royal households were known to hanker after the snow glazed filigree works of Cuttack. The workmanship here is similar to that done in Indonesia and it is these cross-cultural influences which may have introduced this wonderful art to India. Since silver utensils play a significant part in family life and religious rituals, some beautiful filigree works bear their mark on the silver utensils available in the state’s numerous markets.

Stone Carving

Stone carving is a very major handicraft of Orissa. As is evident from the innumerable archaeological monuments, rock-cut sculptures, caves and temples built for centuries and embellished with most beautiful and intricately carved statue and other adornments, the art of carving in stone had reached in Orissa dizzy heights.

Stone carving is a major handicraft of Orissa. As is evident from the innumerable archaeological monuments, rock-cut sculptures, caves and temples built for centuries and embellished with most beautiful and intricately carved statue and other adornments, the art of carving in stone had reached, in Orissa, dizzy heights of excellence perfected through centuries of disciplined efforts of generations of artisans.

The progeny of these artisans who built the magnificent temples of "Parsurameswar", "Mukteswar", "Lingaraja", "Jagannatha" (also spelt as Jagannath) and that wonder in stone, the temple chariot of the Sun God at Konark. Besides the beautiful Stupas and monasteries of Lalitagiri Ratnagiri and Udayagiri have kept alive the sculptural traditions of their forefathers and their deft hands can and do chisel and carve exact replicas of the original temple sculptures besides producing a variety of other items. Unlike sculptors of other places, the artisans of Orissa are at home with a variety of materials. They handle with equal facility the ultra soft white soapstone, or "Khadipathara", as the slightly harder greenish chlorite or "Kochilapathara" and the still harder pinkish Khandolite or "Sahanapathara" or "Baulapathara" and the hardest of all black granite or "Mugunipathara".

The tools they use are few and simple and consist mainly of hammers and chisels of various shapes and sizes with such local names as 'Muna', 'Patili', 'Martual', 'Thuk-Thuki' and 'Nihana'. Whether the stone is hard or soft a sort of outline is first drawn on the stone which is already cut to the appropriate size. Once the outline is incised indicating the shape, the final figure is brought out by removing the unwanted portions. While for the harder stones this is done by chiseling out the extra material, with softer stones this is done by scraping out the same with a sharp flat-edged iron tool. As for the motifs, the endless variety of sculptures adorning the temples provides the models although other motifs are also not uncommon.

Among the former the ubiquitous "Alasa Kanyas" or indolent damsels and "Salabhanjikas", lady with the bough of a sal tree, "Surasundaris" heavenly beauties playing on different musical instruments adorning the topmost tier of the Konark temple, the "Nava Grahas" or nine deities representing the nine planets, Konark wheel, Konark horse, elephant, lion composite mythical figures like 'Gajabidala', 'Gajasimha' are quite popular. Other motifs include representation of deities of the Hindu pantheon like Krishna and Radha, Laxmi, Vishnu, Durga, Buddha, Ganesa, 'Haraparvati', Nrusingha etc. In recent times may decorative and utilitarian articles like ashtrays, paperweights, candle stands book rests are also being made. These carvers also make images for installation in temples as presiding deities and Parswa-Devatas as well as large pieces for decoration of public places.

One may find samples of these in the Handicrafts museum, Bhubaneswar, in the Parliament House annexe in Delhi, Konark horse in the Barabati Stadium at Cuttack and Konark wheel almost the same size as the original adorning the face of a modern Hotel at Bhubaneswar. Another giant Konark horse will adorn the traffic island at a busy intersection in Bhubaneswar and will soon be a landmark.

The four colossal Buddha images and the friezes depicting the life of the Buddha and Ashoka in the modern "Shanti Stupa" at Dhauli are also the handiwork of Orissa's craftsmen. Artisans mainly at Puri, Bhubaneswar, and Lalitgiri in Cuttack district practice the handicraft though some are also found in Khiching in Mayurbhanj District. The traditions are carried on from generation to generation and a few ancient texts on the art, which have survived, are followed closely.

Utensils & Kitchenware

Apart from the decorative, votive articles and modern utilitarian items, the craft also covers another group of products in shape of stoneware utensils and kitchenwares. Following the simple process of turning and polishing by using a local wooden lathe called "Kunda", the craftsmen produce beautiful polished plates ('Thali'), containers ('Gina, Pathuri'), cups and glasses.

These are used for pujas, ritual worships as well for regular eating 'Pathuris', stone ware deep containers are particularly good for storing curd as they do not react to acid and these are also filled with water and used for placing the legs of wooden 'Almirahs' to prevent ants from getting in.

The craftsmen making these articles are concentrated at Baulagadia and Nilgiri.

Textile Work

Ikat - that gloriously woven, blurry edged, gemcoloured design, in gorgeous yarns of silk and cotton has become synonymous with Orissa. Speaking eloquently of its old maritime linkages with Bali, the Ikat tradition of Orissa is the intricate process of Tie and Dye i.e., knotting selections of yarn before dipping them in separate colours one at a time and finally weaving them to produce one of the most delightful designs in multi-hued tones, in motifs drawn from the richness of nature, in threads both silken and gold.

The double-ikat designs from Sambalpur are great buys as are the gold embroidered ones from Sonepur. The Bomkai ikats have motifs drawn from the Shakti Cult.

Wood Carving

Wood carving is another important handicraft of Orissa. This again can be broadly grouped into three sub-groups-painted wood carvings, plain wood carvings and wood turned items. In the first group we have painted wooden toys of Puri and Bargarh masks, and idols and chariot decorations. Usually light varieties of wood are preferred and vegetable and mineral colours are used.

The plain wood carvings are mostly done on a soft creamish wood called gambhari or white teak. This variety of wood carving is mostly practiced in Cuttack town though a few craftsmen are also found at Bhubaneswar and Puri.

Wood turned articles using the creamish 'gambhari' and the harder and darker sisu or rose wood is a specialty of the artisans from Daspalla area in Puri district. Popular items are small pitchers with mango leaves and coconut, glass, bowls, and incense stands.

PUPPET

Orissa has a rich tradtion of toys, dolls, puppets and masks. Among the best known are the wooden toys, gaily painted animals, fish and fowl that commented the wildlife of Orissa’s woods and waters, some mythical animals,the most typical being the Gajasimha, a lion riding an elephant, apperntly a ritual figure for one sees it on the temple doorways everywhere in Orissa.

These dancing dolls, small sized and in flowing robes, are made of light wood with extremely flexible joints that make their movements so pleasing . masks are carved out of wood and are painted brightly. These masks are used widely in Sahijatra.