TY  - GEN
AU  - Fischer, Eberhard 
AU  - Pathy, Dinanath
TI  - Murals for goddesses and gods : the tradition of Osakothi ritual painting in Orissa
SN  - 9788173050953
U1  - 759.54 
PY  - 1996///
CY  - New Delhi
PB  - Indira Gandhi national centre for the arts 
KW  -  
N1  - 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

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