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