Murals for goddesses and gods : the tradition of Osakothi ritual painting in Orissa
Fischer, Eberhard
Murals for goddesses and gods : the tradition of Osakothi ritual painting in Orissa - New Delhi Indira Gandhi national centre for the arts 1996 - 224p.
CONTENTS
Preface by Kapila Vatsyayan 6
Foreword 7
I.Origins of the ritual folk paintings of South Orissa and the worship of painted icons 9
1.1 Jhoti or chita, white diagrams on walls and floors: Chuli-munda jhoti, sathi ghara, guhala chita, bata mangalavara chita, muruja drawings 9
1.2. Iconic pata paintings on cloth: Durga Madhava pata, anavasara pat/, Mangala pati 13
1.3. Navaratri puja ceremonies in South Orissa 14
2. The osakothi ritual: customs, terms and legends 17
2.1. Osa, kothi and osakothi 17
2.2. Period of observance and distribution of the tradition 18
2.3. Legends concerning the origin of osakothi 18
3. Shrines and murals: the basic forms 21
3.1. The osakothi wall 24
3.2. The layout of osakothi murals 25
4. Iconography and legends 27
4.1. Mangala 27
4.2. The classical devata gods: Ispara (Ishvara or Shiva) with
Ganesha and Kartika (Karttikeya) 28
4.3. The classical dew goddesses: Durga, Kali, Chhinna-masta, Parvati, Sarasvati, Ganga and Jamuna 29
4.4. The local thakuranis, their daughters and sons: Kham-beshvari, Manikeshvari, Bankeshvari, Tara Tarini, Budi Thakurani, Bhagavati, Vrundavati, Hingula, Chamundi, Mahurikalua, Agnikumari, Nidravati, Dhumavati, Naga-kanya,
Satabhauni, Women in the boat, Fulasundari, Lalita, Sobhanga, Pancha bhai, Baidhara, Ghagudipan-chana, Kalapata 32
4.5. Legendary heroines and heroes: Panchu Pandava, Bhima, Navagunjara, Kamadhenu, Hanuman, Rama and Laksh-mana, Mrugabhara, Mayamruga 39
4.6. Minor legendary characters: Had/ Had/an/, Dhoba Dho-bani, Gauda Gauduni, Kandha Kandhuni, Kela Keluni, Barahalia, Batapanthei, Chhoti Neli, Tapoi 40
4.7. Supporting motifs: the boat, ajagara sapa 42
4.8. Filling-in motifs: Bagha venta, Bhalukuni, Srugala, Malu vaidya, Kadhia, Jamakoli alasua, Parades, Sandha mativa, horse, elephant, dromedary and bicycle, man on a ladder, erotic embrace 42
5. The ritual 49
5.1. The terms 49
5.2. The events 49
5.2.1. Erecting the subhakambha pole
5.2.2. Invocation of Mangala
5.2.3. Mangala collecting money in the villages
5.2.4. Painting the osakothi murals
5.2.5. Bringing the thakurani to the osakothi shrine
5.2.6. The nightly invocations of the deities
5.2.7. Kothi ujeiva, the end of the osakothi season
5.3. The performers 70
5.3.1. Adhikari, the owner of rights
5.3.2. Jani, the priest
5.3.3. Gayeni, the singer
5.3.4. Bayeni, the instrumentalist
5.3.5. Hadi baja, the drummer
5.3.6. The Mangala performer
5.3.7. Devata
5.4. The ritual implements 80
5.4.1.Gftate, the pot
5.4.2. Dhanakoila, the string instrument
5.4.3. Beta, the cane
5.4.4. Mayura pinchha, the peacock-feather whisk
5.4.5. Vena, the triangular cloth flags
5.4.6. Ball, the animal-replica offering
5.4.7. Subhakhamba, the auspicious pole
5.4.8. Chhamundia, the canopy
6. The painters of osakothi shrines, their communities and major works 87
6.1. The chitrakara, professional painters 87
6.1.1. The working procedure of the chitrakara Siba Mahapatra from Badagada
6.1.2. Shrines painted by chitrakara - the sites
6.1.3. Common features of osakothi murals by chitrakara professional painters
6.2. The priests as painters 122
6.2.1. The working procedure of Harihara Panda of Purushottamapur
6.2.2. Shrines painted by Brahmins and Malis – the sites
6.2.3. Features of osakothi murals by the priests' group
6.3. The Bauri painters 162
6.3.1. Shrines painted by Bauri - the sites
6.4. Painters from other communities 182
6.4.1. Shrines painted by other painters - the sites
7. Contemporary trends in the osakothi tradition 204
8. Historic remarks 209
9. Summary 211
10. Appendices I-VII
Appendix I: Transliteration of the avahani invocatory song for Mangala from Benia
(translated in chapter 5.2.2.)
Appendix II: Avahani invocatory songs from Chaturmundali (translated in chapter 5.2.6.)
Appendix III: Nodiva invitation for various devata gods and goddesses
Appendix IV: Nauta vandana as recorded in Chaturmundali
Appendix V: Transliteration and translation of a prayer col¬lected from the gayeni singer of
Benia in 1985.
Appendix VI: List of popular thakurani shrines of South Orissa
Appendix VII: The thakurani of Berhampur (extracts translated from the publication of Benimadhava Padhi in Oriya, 1979)
11. Bibliography 222
9788173050953
759.54 / FIS
Murals for goddesses and gods : the tradition of Osakothi ritual painting in Orissa - New Delhi Indira Gandhi national centre for the arts 1996 - 224p.
CONTENTS
Preface by Kapila Vatsyayan 6
Foreword 7
I.Origins of the ritual folk paintings of South Orissa and the worship of painted icons 9
1.1 Jhoti or chita, white diagrams on walls and floors: Chuli-munda jhoti, sathi ghara, guhala chita, bata mangalavara chita, muruja drawings 9
1.2. Iconic pata paintings on cloth: Durga Madhava pata, anavasara pat/, Mangala pati 13
1.3. Navaratri puja ceremonies in South Orissa 14
2. The osakothi ritual: customs, terms and legends 17
2.1. Osa, kothi and osakothi 17
2.2. Period of observance and distribution of the tradition 18
2.3. Legends concerning the origin of osakothi 18
3. Shrines and murals: the basic forms 21
3.1. The osakothi wall 24
3.2. The layout of osakothi murals 25
4. Iconography and legends 27
4.1. Mangala 27
4.2. The classical devata gods: Ispara (Ishvara or Shiva) with
Ganesha and Kartika (Karttikeya) 28
4.3. The classical dew goddesses: Durga, Kali, Chhinna-masta, Parvati, Sarasvati, Ganga and Jamuna 29
4.4. The local thakuranis, their daughters and sons: Kham-beshvari, Manikeshvari, Bankeshvari, Tara Tarini, Budi Thakurani, Bhagavati, Vrundavati, Hingula, Chamundi, Mahurikalua, Agnikumari, Nidravati, Dhumavati, Naga-kanya,
Satabhauni, Women in the boat, Fulasundari, Lalita, Sobhanga, Pancha bhai, Baidhara, Ghagudipan-chana, Kalapata 32
4.5. Legendary heroines and heroes: Panchu Pandava, Bhima, Navagunjara, Kamadhenu, Hanuman, Rama and Laksh-mana, Mrugabhara, Mayamruga 39
4.6. Minor legendary characters: Had/ Had/an/, Dhoba Dho-bani, Gauda Gauduni, Kandha Kandhuni, Kela Keluni, Barahalia, Batapanthei, Chhoti Neli, Tapoi 40
4.7. Supporting motifs: the boat, ajagara sapa 42
4.8. Filling-in motifs: Bagha venta, Bhalukuni, Srugala, Malu vaidya, Kadhia, Jamakoli alasua, Parades, Sandha mativa, horse, elephant, dromedary and bicycle, man on a ladder, erotic embrace 42
5. The ritual 49
5.1. The terms 49
5.2. The events 49
5.2.1. Erecting the subhakambha pole
5.2.2. Invocation of Mangala
5.2.3. Mangala collecting money in the villages
5.2.4. Painting the osakothi murals
5.2.5. Bringing the thakurani to the osakothi shrine
5.2.6. The nightly invocations of the deities
5.2.7. Kothi ujeiva, the end of the osakothi season
5.3. The performers 70
5.3.1. Adhikari, the owner of rights
5.3.2. Jani, the priest
5.3.3. Gayeni, the singer
5.3.4. Bayeni, the instrumentalist
5.3.5. Hadi baja, the drummer
5.3.6. The Mangala performer
5.3.7. Devata
5.4. The ritual implements 80
5.4.1.Gftate, the pot
5.4.2. Dhanakoila, the string instrument
5.4.3. Beta, the cane
5.4.4. Mayura pinchha, the peacock-feather whisk
5.4.5. Vena, the triangular cloth flags
5.4.6. Ball, the animal-replica offering
5.4.7. Subhakhamba, the auspicious pole
5.4.8. Chhamundia, the canopy
6. The painters of osakothi shrines, their communities and major works 87
6.1. The chitrakara, professional painters 87
6.1.1. The working procedure of the chitrakara Siba Mahapatra from Badagada
6.1.2. Shrines painted by chitrakara - the sites
6.1.3. Common features of osakothi murals by chitrakara professional painters
6.2. The priests as painters 122
6.2.1. The working procedure of Harihara Panda of Purushottamapur
6.2.2. Shrines painted by Brahmins and Malis – the sites
6.2.3. Features of osakothi murals by the priests' group
6.3. The Bauri painters 162
6.3.1. Shrines painted by Bauri - the sites
6.4. Painters from other communities 182
6.4.1. Shrines painted by other painters - the sites
7. Contemporary trends in the osakothi tradition 204
8. Historic remarks 209
9. Summary 211
10. Appendices I-VII
Appendix I: Transliteration of the avahani invocatory song for Mangala from Benia
(translated in chapter 5.2.2.)
Appendix II: Avahani invocatory songs from Chaturmundali (translated in chapter 5.2.6.)
Appendix III: Nodiva invitation for various devata gods and goddesses
Appendix IV: Nauta vandana as recorded in Chaturmundali
Appendix V: Transliteration and translation of a prayer col¬lected from the gayeni singer of
Benia in 1985.
Appendix VI: List of popular thakurani shrines of South Orissa
Appendix VII: The thakurani of Berhampur (extracts translated from the publication of Benimadhava Padhi in Oriya, 1979)
11. Bibliography 222
9788173050953
759.54 / FIS