ODISHA Travel 3

Next stop on our itinerary was visiting the world heritage endorsed Dasabhuja Gotipua Odissi Nrutya Parishada, located in the town of Raghuraj, Puri. If you are  wandering what it is all about, well this tradition is the mother of the Odissi dance tradition.

So what is so unique about this dance tradition, well this dance is performed by male dancers who transform themselves into graceful feminine dancers (through make up).

The Young Performers 

With the decline of the Mahari dance tradition, whereby female temple dancers known as Devadasis were weaned somewhere in the 16th century, the vacuum was filled by male dancers under the auspicious patronage of King Rama Chandra Dev (who founded the Bhoi Dynasty). 

"Goti Pua" means "single boys" who perform the dance in reverence to Lord Jaganath of Puri. According to Kumar, the current Gotipua Guru (Master), boys as young as 5 years old enrolled in this Gurukul (School),to learn this art form, besides going through regular academic classes within the Gurukul. 

The founder of this Gurukul is the late Guru Maguni Charan Das, who was also one of the recipient s of  India' s Padmashree awards, , one of the highest Indian Government's award bestowed on civilians.
   

Entrance To The Gurukul

The Plaque Commemorating Guru Maguni Charan Das

Guru Maguni Charan Das had been instrumental in reviving Gotipua dance form from going into oblivion, taken over by the more popular Odissi dance form. The trademark artistic movement of Guru Maguni is now known as Raghurajpur Gharana, paying obeisance to Raghurajpur, the place of birth of Guru Maguni. 

The Krishna Gopi Dance Moves

The Radha Krishna posture

The dance performance typically embraces the transliteration of ancient Radha Krishna poems into dance movements. Another aspect of this dance also has vigorous acrobatics moves which is derived from various Yoga postures. 

The Acrobatic moves

Another Acrobatic Moves

Krishna Playing His Flute

The Spin

These boys performed for us despite the fact that they had  just finished a few hours of their regular training. We were so amazed by their ability to switch from vivacious graceful gesticulation to robust acrobatic moves. It was simply a wow moment. Guru Kumar was apologetic that the boys were not on their dance regalia, though it was our fault for dropping in unannounced, without making an appointment for a proper dance demonstration. Nevertheless both Kumar and the boys accommodated and truly mesmerized us. 

Next on the agenda was to continue the cultural trail where Kumar brought us to showpiece their art work call the "Pattachitra" Odissi folk art form. 'Patta' means cloth and 'Chitra' means picture, the combined process of creating the Pattachitra is a laborious process that can take months to finish depending on the intricacies involved based on the artist's imagination. 

The Artist Demonstrating The Process

The Intricacies Defined

The guardian and practitioners of Pattachitra folk art form in India are the Chitrakar community of Rhagurajpur, Puri. This village community is also involved in making wooden handicrafts as well as stone carving. The entire craft that is made here revolves around Lord Jaganath of Puri, and particularly the Pattachitra evolved out of the 12th Century, in conjunction with the consecration of Puri Jaganath Temple.

One of The more Intricate Designs

Pillayaar/Ganapathy Design

The uniqueness of the painting starts from the cloth itself, where a 3 layered cotton cloth is bound together using the white stone powder, glued together with glue made out of tamarind seed. The reason for this process to produce the canvass is to facilitate the absorption of natural colours made from natural materials.  

Lord Jaganath,Subadhra and Balabadra

The Buddha's Story Told in This Piece of Art Work

All Pattachitra paintings would have a floral border, in a way it is seen as the trademark of this art form. If you look at the above paintings, one can observe the floral borders. Once the painting is completed then it is held over charcoal fire for drying and eventually a natural lacquer is smothered over to give it a shine.

The Story of MahaVishnu

Interestingly we were told that these paintings have almost no shelf life, meaning with proper care it can actually last forever without any discolouration nor decaying of the canvas.   

Narashimha

These pieces of artwork are real gems  that all art enthusiasts would appreciate. The craftsmanship behind each piece of work is truly prodigious, as such you can imagine the price too. A simple painting may start with about USD50 and can go into thousands of dollars depending on the level of work involved. Greeja and I liked a piece, and thank God it was reasonably affordable, so we took it. But of course one can find the touristy printed version of these art work everywhere, so be careful not to be conned into buying one of those for a price of the originals. 

Thus ended the day with a cultural enlightenment (if I can say so) that is unique to the people of Odisha. 

So I shall meet you all soon in Odisha Travel 4, the final part, which in actual fact was the highlight of our travel ............ Konark. 

Ravi Varmman

17.33

Subang Jaya

23.02.2020

  

ODISHA Travel 2

Continuing with my Odisha travel,  today, I am going to talk about the Odisha Diamond Triangle Udhayagiri, Ratnagiri and Lalitgiri. These 3 monuments stood witness to the Diamond era of Buddhism in India. We started our journey early in the morning on the 25th January 2020, from Bhubaneswar with our driver cum guide Arun, who was a fantastic company.  

  Udhayagiri Monastery

The first stop was Udhayagiri Monastery is known as the Madhavapura Mahavihara. The entire monastery complex was built using stone and bricks. The main Stupa is 7 meters (23feet) high. According to Archaeological Survey India (ASI) this monument would have been built during the 8th century. 

The Main Stupa at Udhayagiri

Below are several Buddha statues that can be found in the Udhayagiri Monastery complex site. Many of it have been destroyed owing to passing of time but others have been known to be destroyed by invaders. 

Jatamukuta Lokeswara

Dhyani Buddha

Avaloketisvara

Dharmachakra Buddha

Udhayagiri is also known as the Hill of the rising sun. This is also considered to be the largest excavated site by the ASI. Here there are 2 sites Udhayagiri 1 and 2. Both are within a large parameter under the administration of ASI. We had a wonderful guy who works for the ASI who volunteered to give us an insight on this archaeological site. 

Udhayagiri Site 2 Entrance to The main Stupa

A Closer look at the Stone Craving on the Main Entrance

Monastery 2 Complex

Ancient Drainage

Ruins at Udhayagiri 2

Stupas Believed To Be The Burial Place of Monks

The ASI has taken efforts to restore structures that are falling apart, so as to stabilize the said from further damage. The lighter coloured base are the restored surface.

These are rooms located within the Monastery Complex for Monks to stay and meditate

The Dhayani Buddha Located in a Brick Stupa at Udhayagiri 2

Avalokiteswara Buddha

A stone Pillar

A functional Kali Temple Located at The Udhayagiri Site

We offered our obeisance to Mahakali, said our prayers, and sought her blessings for a meaningful journey ahead. Sitting inside this ancient shrine felt very energetic and refreshing after a long track between Udhayagiri 1 and 2.

An ancient Step Well located at Udhayagiri 2

The Well.

Our next stop was at Ratnagiri, which is considered to be one of the most revered archaeological site by the ASI. Ratnagiri is also known as the Hill of Jewels. According to ASI this site was established by the Gupta Kings, including Ashoka, beginning of the 5th Century.. This particular monastery professed the Mahayana Buddhism and also played an important role in Vajrayana, or Tantric Buddhism. 

Mini Stupas at The Entry of Ratnagiri

The Main Entrance To The Monastery Complex at Ratanagiri

Statue of Pancika at The Entrance To Ratnagiri Complex

Dhyani Buddha At Ratnagiri

Vajrapani (Protector) at Ratnagiri

For the curious, JataMukuta Buddha is synonymous with Tantric Buddhism which is very much prevalent in Tibet. Interestingly many people may not know that the reference to the mystic land of Shangri La or Shambala by the Tibetans, actually denotes the city of Shambalpur in Odisha. The relationship between Tibetans and and the rich Dakshina Kosala dynasty that predates the Kalingan dynasty is mentioned in various Puranas (ancient text), including the Mahabaratha. The Dakshina Kosala kingdom fell to the Gupta Dynasty under the reign of Samudragupata circa AD350. Even Ptolemy has mentioned about Shambalaka located in the Mahanadi river, in his writings. Hence it would not be wrong to attach great importance to Ratnagiri as a centre of Buddhist teaching located at the eastern end of the Mahanadi river with the Tibetan link. 

Colossal Buddha Head

According to the 12th century Buddhist text, Chaturasiti Siddha Pravritti, it was King Indhirabhuthi who founded Vajrayana Buddhism, where the text claim that it was Buddha himself who appeared before the King who reigned Shambala of Oddiyana (or known as Ottiyan in Tamil or Ottiyam in Telegu both Dravidian language), and taught King Indhirabuthi tantric Buddhism. By virtue of that the King was also known as Mahasiddhi (or "He who has mastered all 8 Siddha knowledge*")

Further the Buddhist text also mentions that King Indhirabuthi, found a male child floating on a lotus flower, and the King brought him up as his own child and named him Padmasaambhava, who in turn was instrumental in bringing Buddhism to Tibet, Sikkim and other North Eastern territories of Bharat (pardon the use of this word, but the word India was non existent then.

Mahakala Temple at Ratnagiri

Regardless one factor is definitely archaeologically well founded, that the Buddhist Monks of the Diamond Triangle were instrumental in bringing the Vajrayana Buddhism to the North Eastern territories of Bharat.    The word Vajra means diamond or thunderbolt in Sanskrit, and it is also an instrument used in tantric rituals by the Tibetan Buddhists. Interestingly in Rig Veda (one of the Vedic scriptures) it is written that Lord Indhira uses the weapon called Vajraayutham. In all 3 traditions ie. Vedic, Buddhism and Jainism Lord Indhira appears as a significant character. Even in European traditions, similarities of Lord Indhira can be attached to Jupiter (Roman), Perun (Slavic), Perkunas (Baltic), Taranis (Celtic), Zeus (Greek) and Thor (Germanic/Norse). 

Lalitgiri 

And finally our day ended at Lalitgiri the Crimson Hill, the 3rd ancient Buddhist archaeological site in Odishsa. Lalitgiri has been found to have an unbroken Buddhist tradition from 3rd BC to 10 Century AD. 

Lalitgiri Stupas

Couldn't resist taking this picture of Cute Puppies having

an evening siesta at Lalitgiri 

Lalitgiri Stupa

The significance of this site is that, the ASI excavated 2 stone caskets with Buddha relics. Within each of the casket they found 3 boxes each made of soapstone, gold and silver, and in the gold box they found a small piece of bone, believed to be of the Buddha. The famous ancient Chinese traveler and chronicler Hsuan Tsang, has mentioned of the relics in one of his literature. The golden caskets are kept as exhibit  in a bullet proof glass casing in the newly built museum at the foot of the Monastery complex. Photography is prohibited, so couldn't get one. The ASI also believes that besides Buddha's relics, the casket also houses the bones of Sariputta and Mahamogallana, both known to be the Buddha's prominent disciples.

An Enthusiastic Couple

Thus ended our day with utmost satisfaction. For Greeja being a Buddhist, our visit to the Odisha Diamond Triangle gave her a special meaning. Stepping on this holy ground, once roamed by Kings, Monks and sundries of ancient time, gave us a phantasmagorical feel.

Will catch up soon on my next journal entry, on my trip to Odisha in Odisha Travel 3.

Ravi Varmman

21.34

Port Dickson

150122020

To the curious:

The *8 Siddha knowledge:

Anima Siddhi

The ability to become smallest in size is known as Anima Siddhi. By attaining this siddhi the practitioner can reduce one’s body even to the size of an atom or even become invisible. He becomes supernaturally strong and congenial.

Mahima Siddhi

Is the ability to expand one's body to an infinite large size. By attaining this siddhi the practitioner is able to expand the size of his body larger than the universe. He can attain the power equivalent to god who has created the universe.

Garima Siddhi

The ability to become infinitely heavy is known as Garmia siddhi. The practitioner can make himself as heavy as he desires to be and cannot be moved by anyone or anything.

Laghima Siddhi

The power to become weightless or lighter than air can be achieved from Laghima siddhi. The practitioner can become any creature on this earth and enter into his body after attaining this siddhi.

Prapti Siddhi

The ability to construct anything is known as Prapti siddhi. The practitioner can achieve anything he desired through this siddhi. There is nothing impossible for him to get such as providing water in the deserted area.

Prakamya Siddhi

Is the ability to become whatever the practitioner desires. The thoughts of the person changes drastically and experiences a flow of supernatural energies. By achieving this ability the practitioner is able to do anything he wants. He can fly in the sky or walk on the water.

Ishita Siddhi

Knowing all powers and getting a control over them is known as Ishita Siddhi. The practitioner is able to get control on all the elements of universe and possess absolute lordship. He gets the privilege to  practice lordship on anyone from states to empires. He gets converted into god himself.

Vashita Siddhi

Or Vashikaran is the ability of getting a control on life and death. With the help of this siddhi one attain control over all kinds of  living and non -living things. The one who excels in this siddhi can influence any person on this earth.

   

Odisha Travel 1

It was an exciting trip to Odisha or formerly known as Orissa. My fascination to Odisha circled around the Kalingan empire, followed by the Mauryan and Gupta empires. Have read the about the great Kalingan war and how Ashoka brought down this mighty empire which eventually was also the precursor for Emperor Ashoka to renounce violence and embrace Ahimsa via Buddhism. 

The Elephant Rock Where The Edict Was Carved

Hence, first on my agenda was to visit Dhauli, where this epic war took place. By 262BC the Mauryan King Ashoka's empire stretched from Baluchistan in the west to Bangladesh in the East, right up to Mysore in the south. The Kingdom of Kalinga stood n the way of his completing his expansion. Thus in the same year, Ashoka preferred war against the Kalingans, which eventually saw the death of  300,000 people, as claimed by  literature. 

Another View of The Elephant Rock

According to one account, a Buddhist monk who stood witness to this cataclysm, approached Ashoka and asked him,"King Ashoka, you have killed hundreds of thousands of people,in your quest to expand your empire, the river is flowing red with the blood fallen warriors. What did you gain by this? Would you  be able to give back the life to any of your warriors?"  

The Spot Where Once The Mighty Daya River Flowed

Apparently these words resonated deeply within Ashoka' which made him reflect and became remorseful which in turn motivated him to seek the path of Ahimsa (non violence) and upholding Dharma (cosmic law and order).

   

A View From The Dhauli Hill, Exacting The Spot Where The War Took Place

In his new avatar, Ashoka commissioned edicts to be written all over his empire renouncing violence, and promoting the Buddhist way of life. But most importantly the focus of his edicts in newly acquired territories was to build trust with the people, emphasizing just governance and the provision of equality among his subjects. 

The Edict Carved On the Stone

The edict was written in Magadhi language using the Brahmi script. Magadhi was the spoken language in the Kalingan region. Ashoka made sure that each edict was written in the local language where everyone understood its content. So therefore if one trails Ashoka's edicts all across his empire, it would have been written in different languages. Many may not know, for example Edict 13 was written both in Greek and Aramaic. Thus was Ashoka's intent, that his governance should be transparent and all his subjects should have awareness of their citizens rights. 

The Preservation of Dhauli Rock Edict

The above photo shows an enclosed area surrounding the edict, to protect it from both natural damage as well as from irresponsible visitors. Kudos to ASI (Archaeological Survey India) for keeping the entire monument and its surrounding in pristine condition.

As we drove up the Dhauligiri Hill we were welcomed by the Shanti Stupa, built between 1971-1972 by Japan Buddha Sanga with the collaboration of Kalinga Nippon Buddha Sanga and the government of Odisha. Also known as the Peace Pagoda, the entire structure is white in colour denoting peace. Four Buddha statues with different postures are placed facing four different direction. It is indeed a sight to behold.

The Shanti Stupa

Below are the four postures of Buddha that one can fine placed on the Stupa. The Dharmachakra Buddha denotes the inception of Buddhism, and the motion of the wheel of Dharma. 

Dharmachakra Buddha

The Nirvana Buddha or reclining Buddha depicts how the Buddha laid during the last few moments of is earthly life before attaining Paranirvana or ending the cycle of rebirth from his Samsara (mortal life). Note that he is depicted lying on his right side on his right arm, as it was recorded. 

Nirvana Buddha

The standing Buddha post is normally synonymous with the Buddha attaining enlightenment, Further this posture is also known as the Abhaya posture or the posture of Protection.

Abhaya Buddha

And the last posture found at the Stupa is the Dhyana Buddha, which typically depicts the days leading to the Buddhas enlightenment under the Bodhi tree. The alms bowl signifies the renunciation of the material world and its comfort.

Dhiyana Buddha

The Daya River, a view from Shanti Stupa

It was a surreal feeling looking down at the river, imagining the Kalinga War, Ashoka's repentence, and how Buddhism contributed to human thought process. 

Next to the Stupa, lies another ancient structure, the Dhavaleshwar Temple, built by the Bhauma Kara Dynasty circa 8th century CE and some scholars claim that it is contemporary to the Lingaraja Temple in Bubhaneswar (another ancient temple built by the Somavamsi Dynasty circa 11th century). Regardless this is a fully functional temple thronged by both Hindus and Buddhist alike.

The Dhavaleshwar Temple with Shanti Stupa in the Background 

Entrance To The Dhavaleshwar Temple, Guarded by 2 Lions

The Holy Basil Plant at The Entrance To The Temple

Greeja and I offered our prayers to Lord Shiva, sought his blessings for the rest of our journey in Odisha. It was indeed an experience that took awhile to sink in. Beyond the sight, it was the historical journey that we relived that made the difference.

I will continue my journal on Odisha in "Odisha Travel 2" soon.

Ravi Varmman

0628

10022020

Subang Jaya.